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The Brookline, Massachusetts, photograph album contains 34 photographs and 2 half tone prints showing people and places in Brookline, Massachusetts.

The Brookline, Massachusetts, photograph album contains 34 photographs and 2 half tone prints showing people and places in Brookline, Massachusetts.

The album (14.5 x 18.5 cm) has green cloth covers with "Photographs" stamped in gold on the front. Images of interest include views of Italianate and Dutch Colonial houses, Brookline after a heavy snowfall, a Deerfoot Farm Dairy Brookline Delivery cart, a young woman with a Gibson Girl hairstyle, portraits of women and men playing tennis and resting on a lawn, people at a rocky beach, an interior view of a residence, group portraits taken during a hiking trip, and two halftone prints of the Harvard Congregational Church.

The Brown and Fox family photograph albums are a two-volume set of albums containing approximately 253 snapshots of people and places in Iowa, Illinois, and Michigan as well as views of Colorado.

The Brown and Fox family photograph albums are a two-volume set of albums containing approximately 253 snapshots of people and places in Iowa, Illinois, and Michigan as well as views of Colorado.

Volume one (19 x 14 cm) has brown paper covers with "Photographs/Souvenirs/of/Denver Colo" stamped on the front cover and contains approximately 67 photographs. Contents mostly consist of architectural photographs of houses in rural or semi-rural settings as well as portraits, many of which are accompanied by handwritten notes. Images of interest include the farm of Henry Brown near Toledo, Ohio; a woman standing near a roadside fruit and flower stand; the homes of Will, Ben and Harry Fox; the Abraham Lincoln home and tomb in Springfield, Illinois; the Catholic Church in Stuart, Iowa; and the courthouse and high school of Fremont, Nebraska. Also of note are photographs of the High Bridge in Boone, Iowa, the Methodist Church in Pueblo, Colorado, and a large house in Monroe, Michigan, possibly the home of Cyrus Augustus Olmsted (1863-1948).

Volume two (20 x 15 cm) has black fabric covers and contains approximately 186 photographs. Contents mainly consist of portraits and outdoor views from a trip to Colorado. Between the inside front cover and seventh page there are numerous portraits of men, women, and children, and many more individual and group portraits are present throughout the remainder of the album. Subsequent images of interest include outdoor views of the American West; a rest tent called the "Corona Café"; a cyanotype of a woman sitting on a rocking horse; the front of a train and the downtown area of a small railroad town; a church en route to Denver, Colorado; a woman holding a Brownie Box camera on her lap; Castle Rock, Colorado as seen from aboard a train; multiple pictures of an infant; views of Garden of the Gods; a snowy street scene with a streetcar in what appears to be Denver; and a group of people shaking hands with an individual wearing a Native American headdress.

The Brown family photograph album contains approximately 100 photographs (mostly cyanotypes) showing the home, neighborhood, family members, and friends of Phildelphia textile manufacturer Crosby M. Brown (1857-1906) and his wife Addie O. Brown (1857-?).

The Brown family photograph album contains approximately 100 photographs (mostly cyanotypes) showing the home, neighborhood, family members, and friends of Phildelphia textile manufacturer Crosby M. Brown (1857-1906) and his wife Addie O. Brown (1857-?).

The album (31 x 26 cm) begins with the birth of May Marguerite Brown in October or November, 1888, and focuses on the subsequent visits of relatives and neighbors, including the Mayers, Crosby M. Wright, and Aunt Ellen Smedley. Images include family group portraits, exterior and interior views of the large family home at 63rd and Median Streets, winter scenes at nearby parks, and views of the neighboring homes of John Bell, Mr. Hess, and Jacob Jones. Other photographs depict Brown family visits to Ellen Smedley at "Bala" in Bryn Mawr (Pennsylvania), to Norwalk (Ohio), and a fishing trip to Waterville (New Hampshire). Also included are views of mill clerk F. A. Reinstein in his office, and industrial buildings from 33rd and Walnut Streets in Philadelphia (possibly the family textile mills).

The California and Washington holiday photograph album contains approximately 110 photographs related to an excursion on the West Coast made by an unidentified couple.

The California and Washington holiday photograph album contains approximately 110 photographs related to an excursion on the West Coast made by an unidentified couple. The album (18.5 cm x 29 cm) has black cloth covers and is tied with black string. Towards the beginning of the album there are 20 photographs of Native Americans (likely members of the Confederated Tribes of the Umatilla Indian Reservation) with tipis at an encampment and on horseback in full regalia during a parade in Walla Walla, Washington; a river view with paddle steamers; and two views of a parade with the marching band from the U.S. Indian School in Chemawa, Salem, Oregon. Subsequent images from further south along the Pacific coast include views of Golden Gate Park; Sutter Fort and the Capitol building in Sacramento, California; the outdoor organ from the Panama-Columbian Exposition in San Diego; Balboa Park; an early Loughead Model G seaplane on a dock with a sign offering passenger rides; and the Santa Barbara Mission and rocky coastline nearby. Also present are views of Multnomah Falls, Oregon, and giant redwoods. Towards the back end of the album are four photographs showing a parade on a suburban street with 5 women wearing uniform caps, possibly factory workers, sitting in an open automobile decorated with American flags and a sign on the back that reads "Doing our bit."

The California, Colorado, and Long Island vacation photograph album consists of 65 snapshot photographs from 1904 to 1906.

The California, Colorado, and Long Island vacation photograph album consists of 65 snapshot photographs from 1904 to 1906. The album begins with scenes of Colorado. These images show views from a railway through the Rocky Mountains and a trip to Garden of the Gods in Colorado Springs.

A majority of the photographs were taken in San Francisco, California. These photos date from May, 1906, just after the San Francisco earthquake and fire. Many of the images show refugee camps and temporary housing, displaced businesses, and damage on Van Ness Ave, which was used as a firebreak by the United States Army. The McKinley Parade, also known as Fiesta de Los Angeles is photographed as well. Other California scenes include Cliff House in San Francisco, an ostrich farm in Pasadena, vineyards, and orchards of olive trees, palm trees, and lemon trees.

The last portion of the album is of Long Island, New York State. These scenes include people on a boat in the water near Westhampton, people swimming in Jamaica Bay, and Apacuck Point.

The album is 18.5 x 14 cm with red cloth covers.

The California travel photograph album (17.5 x 14 cm) contains twelve gelatin silver print views of various travel destinations in California in 1898.

The California travel photograph album (17.5 x 14 cm) contains twelve gelatin silver print photographs of various travel destinations in California in 1898. Captions are written below each photograph.

The Camp Funston, Kansas, and Camp Lee, Virginia, photograph album contains approximately 100 photographs related to World War I army training activities and facilities at Camp Funston, Kansas (later Fort Riley); Camp Lee, Virginia; and Fort Myer, Virginia.

The Camp Funston, Kansas, and Camp Lee, Virginia, photograph album contains approximately 100 photographs related to World War I army training activities and facilities at Camp Funston, Kansas (later Fort Riley); Camp Lee, Virginia; and Fort Myer, Virginia. The album (21 x 28 cm) has brown suede covers stamped with a U.S. Army design and is bound with string. Most photographs include manuscript captions on versos. Images include photographs of training activities including bayonet drills, hand-to-hand combat, digging trenches, and practicing maneuvers; Basil M. Stevens standing at the front of African American guard troops; and individual portraits of officers in uniform, autographed and inscribed to Basil M. Stevens. Additional photographs taken in Washington, D.C., show Stevens with military officers and his wife, Helen.

The Camp Lin-E-Kin photograph album (16 x 24 cm) contains 36 photographs of people and activities at a girls' camp in Maine.

The Camp Lin-E-Kin photograph album (16 x 24 cm) contains 36 photographs of people and activities at a girls' camp in Maine. Images depict varied activities: hiking, boating, dancing, and calisthenics. Of interest are numerous photographs of girls wearing costumes and a group wearing swimming outfits, an image of a cabin interior with girls writing letters and knitting, and two photographs of girls holding cameras. An envelope with 10 additional photographs is laid in the album.

The album has a black cloth cover tied with string; housed in a grey board wrap with blue cloth spine.

The Camp Wihakowi photograph albums are a two-volume set of albums containing images and ephemera documenting a Northfield, Vermont, summer camp for girls from 1923 to 1926.

The Camp Wihakowi photograph albums are a two-volume set of albums containing images and ephemera documenting a Northfield, Vermont, summer camp for girls from 1923 to 1926.

Volume One (22 x 15 cm) has a black pebbled cover bound with cord and the word “Photographs” stamped in green on the front. The inside back cover includes a stamp with Dorothy Young’s address. The volume contains approximately 83 snapshots primarily dated to 1923 and 1924. Many of the images are either snapshots of natural scenery or portraits of people. The camp nicknames of a number of individuals are inscribed below their portraits. Images of interest include pictures of the 1923 camp counselors, Young’s cabin for the summer of 1923, a portrait of Dorothy Young (captioned “Dot”) with long hair, group portraits of the entire 1923 and 1924 camps, outdoor views of the Camp Wihakowi, a trip to the beach, and a hike on Scrag Mountain. Also present are 4 honors badges stored in envelopes, 7 pieces of ephemera, and 7 pen and ink drawings including two drawings of camp uniforms and sketches of the Scrag Mountain hike.

Volume Two (22 x 25 cm) has a tan cover bound with cord and the words “My Summer Camp” stamped on the front in black. Inside the front cover there is a printed cover page with Young’s address and two certificates from the Winchester Junior Rifle Corps. Many album pages are printed with categorical headers such as “Snapshots”, “Hikes” and “Motor Trips.” The album contains approximately 153 photographs, 42 pieces of ephemera and realia, and 4 drawings. Items of interest include a written account of the location of the camp, lyrics to camp cheers and songs, an hourly schedule from the 1925 camp, a drawing and record of costumes worn at the 1926 masquerade, written accounts of “The Hike to the Sanborns/July 10, 1925” and “Uncle Emmett’s Slate Quarry”, a list of campers along with their addresses and nicknames, a small mail duffel bag filled with souvenir pictures of Boston, and more honors badges. Also present are photographs of campers playing sports and shooting rifles, a trip to Sanborn Cottage, camp counselors, Young’s August cabin, and a picture of campers from West Roxbury.

The Caribbean vacation photograph album contains 110 commercially produced photographs compiled by an unidentified traveler during visits to several Caribbean countries and territories.

The Caribbean vacation photograph album contains 110 photographs compiled by an unidentified traveler during visits to several Caribbean countries and territories.

The album (30.5 x 25.5 cm) is bound with gray leather. All photographs are unmounted and most are accompanied by hand-written and printed captions including dates. It remains unclear whether the dates listed with captions (ranging from 1892 to 1897) refer to when a photograph was originally taken or when the photograph was acquired by the album's anonymous compiler. Certain photographs appear to have possibly been reproductions of earlier daguerreotypes, ambrotypes, tintypes, etc. Most images were commercially produced by professional photographers, some of whom are identified in captions.

Caribbean locations represented include Cuba, the Bahamas, Bermuda, Grenada, Jamaica, St. Vincent and the Grenadines, St. Kitts and Nevis, St. Lucia, Barbados, Antigua, Guadeloupe, Trinidad and Tobago, Grenada, and Curacao. Also present are views of Caracas, Venezuela, as well as St. Augustine and Rock Ledge in Florida. In addition to street scenes, landscapes, occupational portraits, and architectural views, there are also numerous images depicting local civilians engaged in various activities, including many portraits of Afro-Caribbean men, women, and children.

Contents include views of the Alcazar Hotel and a slave market building in St. Augustine; a silk tree, The Queen's Staircase, and a banana garden in Nassau; views of Columbus Cathedral, Columbus Memorial Chapel, the Tomb of Columbus, an Afro-Caribbean stagecoach driver, Moro Castle, and Our Lady of Mercy Church in Havana, Cuba; the Cienfuegos Cathedral and plaza; a group of people performing a "Zapatec Dance (sic)"; views of the steamers Orinoco and Trinidad likely shown docked in Hamilton Harbour, Bermuda; the Princess Hotel, Harrington Sound, Pyramid Rock, Hungary Bay, Tucker's Cave, "Queen Cave," and St. Peter's Church in Bermuda; the H.M.S. Tourmaline in the Bermuda floating dry dock; a bird's-eye view of St. George's, Bermuda; a coral rock quarry scene; views of Jamaican scenery including Port Antonio, Annotto Bay, Castleton Garden, a "Negro Cottage," Kingston, the Rio Cobre Hotel, a bog walk in Spanishtown, and a group of Afro-Caribbean sugarcane cutters; "Blue Beard's Castle" on St. Thomas; a group of masqueraders performing in a parade on St. Kitts; a leper hospital on Rat Island, Antigua; a large group portrait of Afro-Caribbean women doing laundry in a river on Guadeloupe; a view of a windmill in Barbados; a studio portrait of an Indo-Trinidadian woman; a view of a coffee plantation in Grenada; a view of La Guaira, Venezuela; and views of Caracas, Venezuela, including the interior of the "American Home" and the house of former president Antonio Guzmán Blanco; views of Curaçao including the harbor; and a studio portrait of an Afro-Caribbean woman posing with water coconuts.