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The International royal portraits album is a 76 page (24.75 x 20 cm) embossed leather album containing portrait photographs of royal families and statesmen from around the world, with a particular focus on western Europe. The album was compiled by Sarah T. Emmons beginning in 1870 and presented to her daughter, Clara G. Collins in 1885.

The International royal portraits album is a 76 page (24.75 x 20 cm) embossed leather album containing portrait photographs of royal families and statesmen from around the world, with a particular focus on western Europe. Most of the portraits are of contemporary rulers but there are also portraits of historical figures such as Mary Queen of Scots. Also present are photographs of statuary and other art. The inscription on the first page identifies Sarah Emmons as the compiler of the album, starting in 1870, which was then presented to her daughter Clara G. Collins in 1885. Many of the prints were added after 1870, for example one loose photograph of Stirling Castle has a note on the back indicating that it was purchased in 1874, whereas a photograph by Alexander Bassano of Alexandra of Denmark, wife of Edward VII, was not taken until 1881. Most of the portraits have captions written underneath identifying the subject. Researchers should be aware that not all of Sarah Emmons' identifications are correct.

Of note is the photograph on page 51 of Confederate President Jefferson Davis' children. The inscription underneath notes that the picture was "taken in Montreal, while they were fugitives there during the Civil War." At the request of his friend Jacob Thompson, Halmor Emmons dined with Davis while in Montreal on business in 1866. Supposedly Emmons and Davis spent the visit debating the justifications and causes of southern secession.

The back of the album contains loose photographs as well as newspaper clippings, mostly of poetry, inserted in the album presumably by Clara Collins. The latest of these clippings date to 1921.

Resarchers should be aware that the Library of Congress Subject Headings do not have authorized terms for all the individuals depicted in the album (for example, the Queen of Madagascar, Rasoherina, does not have an authority term). The subject list in this finding aid should therefore not be taken as all-encompassing.

The Ismailia-Damascus pilgrimage photograph albums consist of a three-volume set containing approximately 260 photographs taken during an Ismailia Shriner pilgrimage trip in 1902 to the western United States and an undated expedition overseas to various places in Greece, Egypt, Turkey, Palestine, Syria, Algeria, Lebanon, and Italy.

Volume 1 (23 x 25 cm) contains approximately 98 photographs pertaining to an overseas Shriner expedition to various locations around the Mediterranean Sea region including sites in North Africa, western Asia, and southern Europe. It is unclear when this expedition took place, though it likely occurred ca. 1902. Many of the sites visited by the group are related to biblical stories, events, and personages. Images of particular interest include the Lion's Gate at Mycenae (pg. 1); the Arch of Hadrian in Athens (pg. 3); the supposed tree under which Mary and Joseph rested in the Land of Goshen (pg.8); ruins from a "last stand" made by European Crusaders (pg. 11); the Plain of Sharon (pg. 12); the Great Pyramid (pg. 14); a "Nilo-meter" on the River Nile (pg. 14); an elevated view of Istanbul (pg. 16); a group of Greek Klephts marching in traditional uniforms (pg. 17); Tiberias (pg. 18); a tour boat conducted by guides of Nassaire, Farajallah & Co. (pg. 19); Jerusalem's Damascus Gate (pg. 21); the bell tower on the Mount of Olives (pg. 24); the Monastery of Choziba (pg. 24); the Mosque of Amr in Cairo (pg. 28); ancient Egyptian ruins at Luxor (pg. 30); the public square in Corinth where Paul was said to have preached (pg. 31); Bisharin villagers near Aswan (pg. 34); a waterfront view of Algiers (pg. 35); Pompeii (pg. 36); Job's Wall in Silwan, Palestine (pg. 40); the Bosporus Strait (pg. 41); Haifa (pgs. 43 & 45); Damascus (pg. 46); Ba'labakk (pgs. 47 & 48); and Hotel Fast in Jerusalem (pg. 49). Many but not all of the images have inscribed captions on their versos. A loose cartoonish engraving/etching of a bald man with a moustache wearing Arabic clothing while riding a camel titled "Dr. Walter D. Greene" is also present inside the front cover. The album is string bound in black leather covers with the word "Photographs" embossed in gold on front.

Volume 2 (18.5 x 27.5 cm) contains approximately 98 photographs related to the Ismailia-Damascus Pilgrimage of 1902. Images of particular interest include a cyanotype of B.W. Rowell (pg. 1); a group portrait of the travelling party at the railroad station in McFarlan, Kansas (pg. 5); scenes from Pikes Peak, Colorado (pgs. 7-23); views of the Garden of the Gods (pgs. 24, 25, 28-36 & 38); the Royal Gorge (pgs. 37, 39, 40, 42 & 44); Glenwood Springs, Colorado (pgs. 47-49, 57 & 58); the Mormon Tabernacle and Salt Lake Temple (pgs. 52-54); Monterey Bay, California (pgs. 64-66 & 67); Santa Barbara, California (pgs. 68-71); Mount Shasta and Shasta Springs (pgs. 73-77); natural landscapes in Oregon (pgs. 81-86); and a ferry boat on the Columbia River (pgs. 91-96). The album is bound in red leather covers with the words "Photographs of the Ismailia-Damascus Pilgrimage 1902; Compliments of B.W. Rowell, Imperial Recorder; To Walter D. Greene" embossed in gold on front.

Volume 3 (18.5 x 27.5 cm) contains approximately 63 photographs related to the Ismailia-Damascus Pilgrimage of 1902. Images of particular interest include scenes from Spokane, Washington (pgs. 1-3); geysers at Yellowstone's Norris Basin (pgs. 12-22) and Upper Basin (pgs. 27-36); Yellowstone Lake (pgs. 39-43); Yellowstone's Upper and Lower Waterfalls and Grand Canyon (pgs. 46-51); Shriner Caleb Saunders posing with a haul of fish (pg. 52); and Walter D. Greene posing with his wife Mary L. Greene (pg. 55), an unidentified fellow "manager" of the pilgrimage (pg. 56), and alongside George F. Loder and a man identified as "Gass" (pg. 57). The album is bound in red leather covers with the words "Photographs of the Ismailia-Damascus Pilgrimage 1902; Compliments of B.W. Rowell, Imperial Recorder; To Walter D. Greene" embossed in gold on front.

Ann Arbor, Michigan, photography firm. Photonegatives, and some photoprints, of images largely relating to Ann Arbor and the University of Michigan, but including Ypsilanti and other Michigan cities: buildings, businesses, houses, street scenes, community activities, and organizations; also photos of automobiles, storm damage, etc. taken to support insurance claims.

The Ivory Photo collection consists of an impressive array of negatives and prints taken by Ann Arbor photographer Mel Ivory from the 1920s to the early 1970s. Most of the photographs were taken by Ivory for customers, whether the University of Michigan, local businesses, or private citizens. The collection is probably most valuable for its extensive documentation of Ann Arbor and the University of Michigan, the two areas in which it bulks largest. However, because it spans a relatively long time period, the collection is also useful for illustrating changes in photography as an art and as a business, and for documenting social trends in twentieth-century America. Finally, the collection documents the career of a commercial photographer.

As a photographer for the University of Michigan in the 1920s and 1930s, Ivory took the standard pictures of campus events, buildings, and people, but the value of many photographs from this period is as much aesthetic as informational. Producing cover art for the Michigan Alumnus allowed him to experiment with unusual angles, lighting, and subject matter. (See, for example, photographs of the Clements Library and of students strolling through the Diag in the 1930s.) In stark contrast to these images is a large group of photographs of car wrecks that Ivory took for insurance companies between 1937 and 1969.

Besides providing thorough documentation of the physical plant of the University of Michigan, the Ivory collection evokes the flavor of life on campus in the 1930s and 1940s through photographs of football games and crowds, dance bands, social events, professors at work in laboratories, the Michigan Daily staff at work, and students in classrooms, libraries, and dormitories.

The Ann Arbor subseries includes numerous photographs of houses and businesses, filed by address to facilitate research into a particular building or site, as well as a rich assortment of photographs depicting life in Ann Arbor through more than four decades. There are numerous photographs of men and women at work in factories, stores, and other settings. Some show women at work in unusual settings (as cab drivers for Ace Cab Company, for example) while others depict women in stereotypically female occupations (as secretaries, store clerks, and ditto machine operators). Photographs of drug and department store display windows and of products in grocery stores illustrate trends in merchandising.

The Ivory collection is also remarkable for its documentation of social mores. Wedding photographs taken from the 1930s to the 1960s depict a variety of settings, fashions, wedding rituals, and even fads, such as a 1940 wedding at a roller rink. There is also a small group of photographs of funerals and an extensive series of portraits of children, families, and individuals.

Photographs of a depression-era hobo cooking near a railroad car, of lawn parties and country clubs, of the soap box derby and sports teams reflect diverse aspects of life in Ann Arbor. The home front during World War II is documented in views of an aluminum drive, a blitzkrieg game in a local tavern, a commuter bus with a female conductor, and the Judge Advocate General's school exercises in the Law Quad.

Although the Ypsilanti subseries is considerably smaller than the Ann Arbor and University of Michigan subseries, it contains a number of valuable photographs, such as the Cleary College photographs showing rows of students at typewriters, students relaxing on boarding house steps and in Cleary lounges and recreation rooms, and annual graduation processions. The Washtenaw County subseries contains rural scenes such as farms, country roads, and a county fair. The remaining subseries consist of businesses, street scenes, railroad stations, and a variety of other photographs representing Michigan towns and counties.

A few copy negatives made by Ivory from existing photographs are scattered throughout the collection. A late nineteenth or early twentieth-century anatomy lesson in the Medical School, for example, is filed in the "Colleges, Schools, and other Divisions" section of University of Michigan 5"x7" negatives.

The contents of the various subseries and sub-subseries are for the most part self-evident, but a few words of explanation about the Ann Arbor subseries are in order. "Buildings and Views" consists largely of exterior views of buildings. However, there are many interior scenes of people and activities in the "Churches," "Hospitals," and "Schools" sections. For example, photographs of Ann Arbor churches include views of the pastor and congregation, choirs, recreation rooms, meetings, and athletic teams in addition to interior and exterior views of the buildings. "Schools" contains photographs of sports teams, classroom scenes, social events, and buildings representing Ann Arbor public and parochial schools, but also Ann Arbor Secretarial School and Concordia College.

Researchers seeking images of commercial enterprises will find material in the "Buildings and Views" sub-subseries (listed under the street address in the "Houses and Businesses" section) and in the "Businesses" sub-subseries (under the name of the enterprise).

The "Houses and Businesses" negatives within the "Buildings and Views" sub-subseries are arranged alphabetically by street name and then numerically by address. Most of these photographs are exterior views, but interior scenes of businesses have been filed here in order to keep exterior and interior views of a particular business together. Photographs of products, equipment, people at work, and special events are filed in the "Businesses" sub-subseries when no building exteriors exist or when the address of the business was unknown. Researchers should look both places for photographs of businesses. Although some "see also" references have been added, they are by no means exhaustive. Researchers may also wish to examine the "Motor Vehicles" sub-subseries, which contains photographs of trucks owned by Ann Arbor businesses.

In the University of Michigan subseries, "Buildings and Views" consists of exterior and interior views of buildings, whereas "Colleges, Schools, and Other Divisions" contains photographs of professors and students in laboratories and classrooms as well as group photographs of staff and students.

The James Galloway Antioch College photograph album is a memorial book for the Antioch College Class of 1860 containing 37 photographs including views of campus, co-educational classes, and individual portraits of class members.

The James Galloway Antioch College photograph album is a memorial book for the Antioch College Class of 1860 containing 37 photographs including views of campus, co-educational classes, and individual portraits of class members.

The album (28 x 23.5 cm) has moiré fabric covers with "James S. Galloway" stamped on the front. The title page lists the photographer as J. W. Winder. The majority of images are studio portraits of members of the Class of 1860, most of which include the subjects’ signatures and hometowns. Of note is a portrait of suffragist Olympia Brown (1835-1926), the first woman to both graduate from theological school and become a full-time ordained minister. Also present is an image of the Antioch College campus, three photographs of co-educational classes, and a letter from one of Galloway's classmates describing the Class of 1860’s 50th reunion in 1910 which Galloway did not attend.

The Jerome, Arizona mining photographs consist of 56 photographs (including 33 real photograph postcards) related to mining operations, anti-labor vigilantism, and Arizona scenery.

Most of these images appear to have been taken by an anonymous photographer who referred to himself as "Bob" and who may have been associated with a Philadelphia-based contracting firm, Charles A. Sims & Co., that was hired by the United Verde Mine. Many of the photographs have handwritten captions and bear evidence of having previously been mounted in a scrapbook; many captions have been rendered partially illegible after being affected during the removal process. The captions directly refer to details within the photographs, particularly related to mining operations.

A total of 33 real photo postcards are present, including 14 locally produced images by The Fotoplace and Areldson Studio. Several real photo postcards bear correspondence, and "Bob" appears to have sent some of these images to a woman named "Kitty."

Items of particular interest include at least two photographs depicting J. E. O'Rourke (the superintendent of the United Verde Mine); multiple views of Jerome, Arizona, including street and bird’s-eye views; multiple views of mining facilities and encampments; three images of Native Americans (likely Yavapai); two views of the Montezuma Castle cliff dwellings; a view of stalactites taken from the inside of a cavern; and eight images documenting the expulsion of I.W.W. strikers in Jerome in July 1917 by local citizens who were organized into a vigilance committee. Also present are at least five images taken near present-day Tonto Basin, Arizona, north of the Theodore Roosevelt Dam, which may be associated with another project on which the Charles A. Sims & Co. firm was contracted. While the dam itself does not appear in any of these images, the photographer wrote that the area depicted was to be inundated. Since the dam was constructed by the U.S. Reclamation Service between 1903 and 1911, these images are likely older than those taken in Jerome.

For a complete list of the collection’s contents, see the Detailed Box and Folder Listing section below.

The Jersey Shore, Pennsylvania, Boston, and Canada travel photograph album contains approximately 240 photographs of a trip to several locations around the eastern United States and Canada.

The Jersey Shore, Pennsylvania, Boston, and Canada travel photograph album contains approximately 240 photographs documenting a trip to several locations around the eastern United States and Canada.

The album (25.5 x 31.75 cm) is a "Ward's Album for Unmounted Photographs" with green cloth covers. Images of interest include views of a beachside town with palm trees in what appears to be New Jersey; the Elephantine Colossus at Coney Island, New York; a railroad likely near the Delaware Water Gap; John Bartram's House and various other buildings in Philadelphia; the railroad depot at Landsdowne, Pennsylvania; the Longfellow House and Trinity Church in Boston; as well as the interior of what appears to be a summer cabin. Also present are images of Baltimore, Maryland, including views of the Basilica of the National Shrine of the Assumption of the Blessed Virgin Mary; and images from Canadian locations including the Ontario Provincial Legislation Building in Toronto as well as the Château de Ramezay and Market Day at Place Jacques-Cartier in Montreal.

The John D. Bagley photograph albums consist of three photograph albums created by John DuCharme Bagley IV of the Bagley family of Detroit, Michigan.

The John D. Bagley photograph albums consist of three photograph albums belonging to John DuCharme Bagley IV of the Bagley family of Detroit, Michigan.

The photograph albums document the life of John DuCharme Bagley IV over a period of twenty years or so. Bagley IV was clearly an enthusiastic amateur photographer who enjoyed documenting his family and friends. The photos in all three albums are snapshot-sized and mostly taken outdoors. While the earliest album (Volume I) is extensively captioned, the other two are not.

Volume 1:

The first volume (14 x 30 cm) includes images taken between 1903 and 1905, including numerous photographs taken during a Bagley family trip to Europe. Bagley IV was a teenager at the time. Identified family members documented in this album include his older sister Frances, younger brother Phil, parents John N. and Esther, and an “Aunt Frankie” who was likely Esther’s sister. This trip appears to have lasted several months, perhaps the better part of an entire year. Locations visited included the German Alps, Naples, Rome, Pompeii, Lake Lucerne, Amsterdam, and London. The family’s return to New York by steamship is also represented. The remainder of this album documents experiences on Woodcote Farm in Ionia, Michigan, as well as family life in Detroit and outdoor summer activities at Long Lake in Grand Traverse County, Michigan.

Volume 2:

The second volume (20.5 x 30.5 cm) contains material compiled during World War I and afterwards. Views of the U.S. Naval Academy and of Washington D.C. are included, and Bagley IV is shown in many images wearing a naval uniform. Several warships (including what appears to be the USS Pennsylvania, commissioned in 1916) are pictured from afar throughout the album. One series of snapshots shows an Armistice celebration taking place at an unidentified location. Several pages showcase scenic views taken during a train journey through an unidentified mountainous region. The bulk of the remaining pictures in this album consist of portraits of family and friends posing informally in urban, domestic, and rural settings. Bagley IV appears regularly, usually in a business suit, and in a couple of cases he can be seen standing next to a Bagley & Co. company vehicle. Also present is a large loose photo that shows John J. Bagley’s birthplace in Medina, New York, which was photographed in 1895.

Volume 3:

The third volume (20.5 x 30.5 cm) contains numerous photographs taken during visits to New Mexico and Colorado in 1908 as well as Oregon in 1909. Images in the New Mexico section highlight operations and personnel of the Maxwell Irrigated Land Company. Bagley IV’s younger brother Phil may have been involved with this company. While it is not entirely clear which photos were taken in Colorado, numerous images of logging operations and logging camps were most likely taken in Oregon. Also present are personal photos showing Bagley IV and his wife Mary visiting forests and beaches. The final section of the album includes photos of Bagley IV in a navy uniform and views of the U.S. Naval Academy at Annapolis, Maryland.

The John P. Cook photograph collection contains 9 photographs associated with U.S. Army officer John Pope Cook, including 7 images given to Cook by Dakota Territory-based Indian trader Charles Philander Jordan.

The John P. Cook photograph collection contains 9 photographs associated with U.S. Army officer John Pope Cook, including 7 images given to Cook by Dakota Territory-based Indian trader Charles Philander Jordan.

Among the photographs that were given to Cook by Jordan are a heavily retouched cabinet card studio portrait of Sitting Bull and a stereograph view on a cabinet card-sized mount captioned "No. 45 Spotted Tail's Tepee," both taken by photographer W. R. Cross; a studio group portrait of Red Cloud and Charles P. Jordan on a mount of Washington, D.C.-based photographer John Nephew bearing the verso inscription "To my most esteemed friend Gen. John Cook. C. P. Jordan July 9/89"; and five studio portrait photographs taken by John Alvin Anderson of six of Jordan's children born to his Lakota wife Julia Walks First Jordan (1859-1913; a niece of Red Cloud's, also known as Winyan Hoaka, True Woman, Weah-Wash-Tay, The Beautiful One), identified through verso inscriptions as "Mary J. Jordan," "Everard Cady Jordan," "Collins Custer Jordan," "Edwin E. & Wm Ward Jordan," and "Ella Adaline Jordan." The date and location of the portrait of Red Cloud and Jordan may point to the possibility of that image having been produced while the subjects were in Washington, D.C., during the 1889 Sioux Land Commission negotiations.

Also present are two photomechanically-illustrated postcards that date to the early 20th-century. One postcard bearing an advertisement for the Northern Pacific Railway was postmarked June 11, 1915 and addressed to John P. Cook's daughter Nina Cook in Frontier, Michigan, with the message "Dear Nina: I am on my way wish you were with me love Fred." The second postcard bears a profile view of the U.S.S. Nebraska and appears to have been postmarked August 1, 1910 and was addressed to Cook at his residence in Ransom, Michigan, with the message "Dear cousin sorry to make you all wait so long for ans (sic) to your kind letters but can't be helped this is a photo of one of the ships with the Atlantic fleet."

The Kate and Robert Johnson photograph album contains interior and exterior images of the Johnsons' homes and grounds in San Francisco, and Menlo Park, California, as well as portraits of the Johnsons, their family members, and friends photographed at these locations. The pictures, taken by Eadweard Muybridge circa 1880, also include examples of spirit photography.

The Kate and Robert Johnson photograph album (30 x 25 cm) contains 84 images of the Johnsons' homes on O'Farrell Street in San Francisco, California, and "Heartsease" near Menlo Park, California, taken by Eadweard Muybridge circa 1880. The album has a pebbled brown cover with a binder's ticket from Partridge & Cooper, 192 Fleet St. [London].

The first group of 42 images consists of exterior and interior views of their San Francisco mansion, including views of parlors, bedrooms, and children's rooms. A few individual portraits taken on the premises are included. Of particular note are several spirit photographs of Robert and Kate Johnson, both of whom were alive at the time (20, 21, 24, 29). The couple's art collection is often visible including the painting "Elaine" by Toby Rosenthal. Furniture and decorative arts objects appear and reappear in different rooms and positions in the carefully composed images. In one image (37), it is possibly the photographer Muybridge who appears in a mirror reflection. The section ends with a close portrait of Robert C. Johnson.

The remaining 42 photographs are scenes from the Johnsons' "Heartsease" estate near Menlo Park, California. While the San Francisco photographs focus primarily on room interiors, the Menlo Park photographs mostly show the grounds and surroundings. Two images include sporting activities: a girl riding a young pony (70) and a group of men and women playing croquet (60). A photographic title page image for this section includes Muybridge's pseudonym "Helios" (44). Also included is a portrait of one of Kate Johnson's numerous cats, her affinity for which was well-documented (43).

This album showcases Muybridge’s interest in urban architecture and landscape photography, his success in earning commissions from notable men and women, while also touching on San Francisco’s rapidly developing wealth. It highlights the Johnsons' ornate mansion, their expansive art collection, and features both their urban homestead and rural retreat simultaneously. Moreover, with portraits, staged "spirit" photographs, and landscape scenes placed alongside more traditional photographs of the Johnsons' homes, the album speaks to Muybridge’s multiple artistic talents and the nuances of the Johnson’s personalities.

The Key West, Dry Tortugas album (10 x 12 cm) contains 14 collodion printing-out-paper prints consisting of architectural views of Fort Jefferson, Florida, portraits of government employees at Fort Jefferson and Key West, a view of Bird Key and a group of dairy cows on Key West.

The Key West, Dry Tortugas album (10 x 12 cm) contains 14 collodion printing-out-paper prints consisting of two exterior and seven interior views of Fort Jefferson, Florida, two group portraits of the "Commandant" with his brother and wife, a view of "Bird Key, near K[ey] W[est]", a group portrait of 25 men posed outdoors with the caption: "Govt. employees at Key West, Florida. All except 11 died, yellow fever, 1899.", and a picture of cows on a street captioned: "A walking dairy at Key West; the manner in which milk is delivered." Two photographs in mounts are labeled: "Burgert Bros., Key West, Florida.

The album has a half-cloth cover with floral cloth boards and the title "Photogs" imprinted in silver. Housed in a gray box.