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Consists of 73 photographs, each mounted on a separate page, with handwritten legend, documenting a family trip through Mexico and Texas in the 19th century. Includes panoramas of Chapultepec, Guadalupe basilica, Zacatecas, Aguascalientes, Orizaba Mountain, Plantation La Cross in Tehuantepec; the Alamo in San Antonio, Texas; various missions; El Paso, Texas; Chapala, Alameda Central (Mexico City); La Vega Canal (probably Xochimilco), Cuernavaca, Teatro Juarez in Guanajuato; as well as scenes of prison, market place and rural life.

Consists of 12 folders: 1) "The Undercut," Vance's, Humboldt Co., California : about 17 feet diameter; 2) Logging at Vance's, Humboldt Co., California : log 17 feet in diameter; 3) 22. Stump 22 feet in diameter, North Fork, Humboldt Co., Cal.; 4) 60. Indian "Kah-hah" Writchpec, Humboldt Co., California; 5) 71. Scene at Hoopa Valley Humboldt Co., California; 6) 75. Scene at Hoopa Valley Humboldt Co., California; 7) 76. Scene at Hoopa Valley Humboldt Co., California; 8) 78. Scene at Hoopa Valley Humboldt Co., California; 9) 87. Arcata wharf, Humboldt Co., California; 10) 93. Scene near Trinidad, Humboldt Co., California; 11) 103. Markusen's Gold Mine, Orleans, Humboldt Co., California; 12) 127. Virgin redwood, Freshwater, Humboldt Co., California : Excelsior Redwood Co., Eureka, Cal.
Each is mounted with printed legend under photograph. All have stamp A.W. Ericson, and 10 bear number as well. Printed at the bottom: For additional copies address Ericson Bro's, Arcata, Humboldt Co., Cal. Printed advertisement for A. W. and R. Ericson, Arcata, Cal., on back.

1 mounted cabinet card photograph from the 1800s of a water and hydraulic ditch in Santa Maria, California

Eighteen portrait photos from Russian photographic studios, including Vezenberg i Ko., A. v. Sondag and Hugo Hoffers & Co., all in St. Petersburg. Five portraits are identified as Ludwig Börne, Jean Paul, Giacomo Meyerbeer, Charles Dickens and Alexander II, Emperor of Russia. Three photos show works of art, one being the sculpture, "The three graces," by Bertel Thorwaldsen. There is also a "trick" photograph, actually a photo of a drawing that can be seen in two different ways.

Corner of Montgomery, Post, and Market streets showing crowd during pro-Union rally at Washington's Birthday event in San Francisco in 1861. Thomas Starr King spoke later in the day at a nearby theater.

Studio portraits of men, women, and children, identified on the backs (in English - perhaps by the purchaser) as to whether they were Spanish, Indian, Mestizo, or Criollo.

A fine, dramatic portrait of a Cantonese opera actor standing in a Chinese restaurant in San Francisco. He is surrounded by ornate Chinese-style chairs. In the background, a Buddha shrine is visible, as are stringed instruments hanging on the wall. Scrolls and paintings hang on the wall. The actor, clearly a leading man (xiaosheng) wears an elaborate, ornate costume and the winged cap of a loyal official, the flaps of which could typically be moved with hidden wires for comic or dramatic effect. Carleton Watkins, a prolific and acclaimed 19th century photographer of California, made a number of views of San Francisco's Chinatown, which was located a couple of blocks from his studio-showroom on Montgomery Street. Watkins is known to have employed a Chinese-American darkroom assistant, Ah Fue, who may have helped give him access to people and locations not normally visited by white photographers. Based on Peter Palmquist's checklist of Watkins' stereoviews—one of which was a cropped version of this photograph—this image likely dates from the late 1870s. According to the Sacramento Bee (7 March 1879), Long Yow was the leading male Chinese actor of the day in San Francisco, earning $6700 per year performing in Chinatown's two theaters. This image could be him or one of the half-dozen other leading players on the stage at the time. The photo was taken by Watkins in a Chinese restaurant. A sheet or curtain was hung on the right side of the image, opposite the windows, either to simplify the scene or to reflect light back toward the center of the image. Two other Watkins photographs taken in this room are known: one of two women seated in the same room with the sheet on the right side of the image, titled "Interior, Chinese Restaurant, S. F." (New Boudoir Series, B3764) and a group of four men having tea at a table in front of the musical instruments without the sheet, which reveals a wall of glass (New Boudoir Series B3762). The albumen silver print measures 8-3/16 by 4-3/4, with the image slightly smaller and the mount somewhat larger. It is captioned in letterpress, "B 3765. Chinese Actor. S. F. / Watkins' New Boudoir Series Yo Semite and Pacific Coast, 427 Montgomery Street, San Francisco." [From dealer description]

An attractive scene inside a San Francisco Chinese restaurant in the 1870s. The image centers on a recessed seating area along the back wall of a room in an empty restaurant, with tables in the foreground, a collection of decorative objects is displayed on the left side of the image. On the right are a doorway and tall, neat stack of extra chairs. The room is neat, luxurious, and virtually devoid of Western objects. Watkins photographed the exterior of two large Chinese restaurants, one on Jackson Street and the other on Dupont, in San Francisco. It's not clear which restaurant this is. The previous image in this series of photographs (B3759) is the restaurant on Dupont; the subsequent one (B3761) is the restaurant on Jackson. Carleton Watkins, a prolific and acclaimed 19th century photographer of California, made a number of views of San Francisco's Chinatown, which was located a couple of blocks from his studio-showroom on Montgomery Street. Watkins is known to have employed a Chinese-American darkroom assistant, Ah Fue, who may have helped give him access to people and locations not normally visited by white photographers. Based on Peter Palmquist's checklist of Watkins' stereoviews—one of which was a cropped version of this photograph—this image likely dates from the late 1870s. The albumen silver print measures 8-1/16 by 4-3/4. In Watkins' New Boudoir Series of Pacific Coast Views, B3760. The albumen print is very near fine, with minor spotting to the edges, not affecting the image. The mount appears to have been cut down and is currently 10-1/8 by 8-1/2, with some tanning along the top edge and a modern caption in pencil along the bottom edge. [From dealer description]

A studio carte-de-visite portrait of a seated Chinese woman holding a fan in one hand and a small, hard-to-make-out object in the other. She is wearing embroidered silk robes, large earrings, and typical Chinese thick-soled shoes. According to Palmquist and Kailbourn's Pioneer Photographers of the Far West, John Q. Reed operated out of the Odd Fellows' Lodge (the imprint on the verso of this CDV) in 1870 and 1871, enabling this image to be dated with some accuracy. According to the 1870 census, there were just 40 Chinese immigrant women living in Stockton, all working as prostitutes or in houses of prostitution. The woman in this picture is young and seems dressed in expensive clothes, suggesting that she was perhaps a successful owner of a house of prostitution or that she was part of a wealthy Chinese merchant family from outside the city. In any case, images of Chinese American women from this time period are very scarce. The photographer's imprint is on the back, giving his location as "Entrance Odd Fellows' Hall." [From dealer description]

A hand-constructed scrapbook of 467 pages containing clippings from an unknown newspaper about the events in Paris during the week of late March and early April, 1871.

Portrait of a Chinese man.

A striking image of "Scar-Faced Charley," one of the leaders of the Modoc Indians of northern California who were engaged in a war with the United States Army in 1872 and 1873. This is the original portrait of Scar-Faced Charley, taken by photographer Louis Heller who, along with Eadweard Muybridge, took the most famous pictures of the Modoc War. The image is copyrighted on the recto of the mount by Heller in 1873, and a printed attestation below the caption title reads: "I certify that L. Heller has this day taken the Photographs of the above Modoc Indian, prisoner under my charge. Capt. C.B. Throckmorton, 4th U.S. Artillery, Officer of the Day." This is followed by the printed affirmation of commanding General Jeff. C. Davis. Named for the distinctive scar on one of his cheeks, Scar-Faced Charley is shown in this famous image from the chest up, gazing intently at the viewer, wearing a fur hat with ribbons hanging down either side of his face and a high-buttoned tunic. Scar-Faced Charley (died December 3, 1896) was one of the leading warriors of the Modoc tribe during the conflict. He took part in the April 26, 1873 attack on U.S. Army soldiers at the lava beds, during which twenty-three American soldiers were killed and another nineteen injured, with only one Modoc fighter lost in the process. In fact, it was Charley himself who halted the attack, calling out to the soldiers "All you fellows that ain't dead had better go home. We don't want to kill you all in one day" (quoted in Madley). Over the next month, however, the Army won the decisive advantage, and the Modoc eventually surrendered. Scar-Faced Charley was part of a group of 153 Modoc men, women, and children who were sent as prisoners of war to the Quapaw Agency in Oklahoma in 1873. [From dealer description]

The album contains original albumen prints of the mansion and grounds of Milton S. Latham in Menlo Park, California. This album, with images approximately 14 x 17 inches, was originally presented to David Farquharson, architect of Thurlow Lodge.

Signed photograph portrait of Verdi.

An intriguing, unattributed stereoview of a group of male Chinese laborers, presumably in the American West. The image shows a group of five Chinese men dressed in traditional garb. Four of them look directly at the photographer, while the man seated on the far right looks to his left. He is holding a child on his knee. A tent is seen on the righthand side of the image and shovels rest on the ground on either side of the group. There is no caption or printed information on either side of the mount, but it is likely that the men were railroad workers, or perhaps mine workers. [Descriptive information provided by dealer // JAD2015/7/23]

Signed photograph of Grieg. Inscribed.

Unidentified Sioux Indians gathered in front of a teepee. Standing together are two men, a woman, and a young boy and girl. The men wear dentalia breastplates, long shirts with fringe, and feathers in their hair. One holds a rifle and the other holds a tall forked stick. The woman and girl wear dresses and long dentalia earrings. The boy wears fringed pants and a brimmed hat, and carries a blanket over one arm. Another woman sits on the ground by a branch tripod holding a cook pot over a fire pit. Behind the group are other teepees.

View of Whangarei waterfall near Auckland, New Zealand.

The image shows 26 Chinese women sitting in front of the Mission. "The Presbyterian Mission House at 920 Sacramento Street was chartered with rescuing Chinese girls and women from abusive circumstances. In 1882, Congress passed the first of three Chinese exclusion acts. These acts prevented all but a few privileged classes of Chinese men from sending for their families in China. Single men could not send for Chinese wives, nor did the law permit them to marry non-Chinese wives. The small ratio of Chinese women to men bred a rampant prostitution market. To feed this market, Chinese girls and young women, mostly from Canton, were bought, kidnapped, or coerced into coming to the U.S. Most of them arrived at Angel Island in the San Francisco Bay. To gain entry, they presented false papers showing them to be the wives or daughters of the few privileged classes who were allowed to send for family. Once in the country, these girls were sold for one of two purposes. Girls in their teens were pressed into prostitution. The life of the average Chinese prostitute was brutal and short. Most died of the harsh treatment within five years. The little girls were sold for household servants called Mui Tsai's. The Mui Tsai's and prostitutes were the main target of the Presbyterian Mission Home's efforts, though girls of good family were also sent to the Home to receive an education." (Encyclopedia of San Francisco). The first mission home was at 933 Sacramento. It later moved to a more commodious building at 920 Sacramento Street.We are able to find one Houseworth photograph of the rescued Chinese women of the Mission Home but it is the one where they are all sitting on the steps of an interior staircase. [From dealer description]

Travel descriptions by a young man heading west, written to his sister in Philadelphia.

An original Japanese cabinet photo portrait of Frances, wife of the missionary to Korea, Horace Allen and their son Maurice. Sepia image measures approx. 5.5 x 4 inches on a slightly larger mount with gilt edges. Photographer’s imprint at the foot of the image, fine attractive back-stamp for Ogawa, No. 1 Idamachi Shichome, Tokio on the verso. With a neat small contemporary ink inscription on the verso, “Fannie & Maurice Allen, Developed in Japan from amateur photo.” An attractive portrait of the seated young mother holding up her chubby little son as they sit in front of an attractive screen decorated in east Asian motifs. Dr. Horace Allen has gone to Korea with his wife in 1884 as a physician to the U. S. Legation (and a covert Presbyterian missionary); his efforts at medical reform opened the way to the easing of restrictions on missionary work in the Hermit Kingdom. By 1890, Horace Allen was the U.S. minister and consul general to Korea and (among other efforts) was later vocal in his calls for U.S. intervention in the Russo-Japanese War. Later census records suggest Maurice was born in Korea in 1887, which would date this from early in the family’s time overseas and suggest that the means of processing and printing photographs were not easily found in Korea at the time. [Descriptive information provided by dealer // JAD2016/2/11]

Album of black and white photographs of various locations in San Francisco, including the Cliff House, the Presidio, and several in Golden Gate Park. Each photograph has a caption written beneath it in ink, with the date "1888" added in later pencil.

Photographs document electric railroad and street-railroad lines throughout the United States, primarily in California. Cars are identified for the following routes: Morgan's Louisiana & Texas Railroad, Pacific Electric Railway, Pennsylvania Railroad, Sacramento Northern Railroad, Santa Fe Railroad, Southern Pacific Railroad, Temiscouata Railroad, United Railroads and Union Pacific Railroad. Railway lines include: San Francisco Municipal Railway, California Street Cable Co., Market Street Railway, Sacramento City Lines, Stockton Electric Railway, Eureka Municipal Railway, Visalia Electric Railway, Marysville/Yuba City Railway, Interurban Electric Railway, San Francisco, Napa & Calistoga Railway, Los Angeles Traction Company, Los Angeles Interurban, Los Angeles Transit Lines, Los Angeles Pacific Railroad Co., Los Angeles Railway, Metropolitan Transit Authority Los Angeles, Central Ca. Traction Co., San Bernardino Valley Traction Co., Redlands Central Railway Co., San Diego Electric Railway and the Santa Barbara & Suburban Railway. Other lines include: Syracuse & Suburban Railway, Utah Idaho Central, New York Central and South Field Beach Railroad. Photographs taken in Mexico depict railroad engines, cars and trolleys and their route names.

A photograph of an 1885 Henry Alexander painting of musicians in a Chinese restaurant. Albumen silver print on thin photographic paper on a slightly larger modern mount. Captioned in a strip along the bottom of the negative. [From dealer description]

Perhaps the most compelling of Taber's Chinatown photographs, a portrait of a traveling vegetable seller, carrying two large baskets of produce suspended from a pole balanced on his shoulder. Another man, also Chinese, poses, perhaps as a customer. The two men are standing in a landscaped park or public garden, with a row of poultry enclosures behind them. This rare glimpse of Chinese-American domestic life has few comparable commercial images—the majority of Chinatown photographs sold by professional photographers in the late 19th century are street scenes or views inside of restaurants. Only Arnold Genthe's Old Chinatown series offers similar insight. In fact, Genthe also took a photograph of an itinerant peddler, "Vegetable Peddler, Old Chinatown" which has more street life but the peddler's face is turned away from the camera, and his baskets are much smaller. [From dealer description]

A photograph of Chinese women at Sutro Heights, attributed to William Charles Billington. This image was used on souvenir postcards in the early 1900s.

Two Taber images taken in San Francisco's Chinatown, on a contemporary cardstock mount, probably removed from an album. The photograph of Clay Street offers a sunlit view of the street, looking down hill. A Chinese man in a work apron is walking in the foreground, facing the camera. Other men walk away from Taber's lens or cross the street as a cable car reaches the intersection. Signs for two businesses are clearly visible on the right hand side. The tall vertical sign in the immediate foreground advertises Yuantang's (元堂) shop with medicinal herbs from various provinces of China. A sign farther back, at the corner of the next street, advertises Tai Ning Tong (太寧堂), another Chinese medicine shop. On the back (verso) of the card, mounted in the opposite orientation, is a photograph of a Chinese restaurant, showing the entry hall opening out into the dining room, which has tables and chairs but no people. [From dealer description]

A photograph of an exceptional oil painting by Theodore Wores of a Chinese actor in the lobby of a theater in San Francisco. The actor is in the character of a general. Seated behind him, four musicians perform. This image was reproduced in 1891, probably in Harper's Weekly. This photograph may be the source of that engraving. The area below the actor's outstretched arm shows evidence of tampering in the negative (original to the print). Faint Chinese characters appear to float in the air, as if they had been unsuccessfully removed. This is a striking image, all the more so because of the mysterious details that become apparent on close examination. Wores (1859–1939) was born in San Francisco and painted a number of canvases in the Chinese quarter of that city. Albumen silver print on thin photographic paper, 4-3/4 by 7-1/2 inches, on a slightly larger modern mount. Captioned in a strip along the bottom of the negative. The caption is partially cut-off at the ends. [From dealer description]

A mounted cabinet card photograph of an irrigation ditch in Riverside, California taken in 1890

A studio portrait of a seated Chinese man holding afan. The photograph is captioned (rather than signed) in ink in Chinese characters with the name MaHanchen. [From dealer description]

Photographs include such subjects as Manila and the Philippine Islands; Capitola, Monterey and San Francisco (California); and Whitehorse, White Pass, etc. in the Yukon. Most are amateur snapshots, however a few are professional, such as E.A. Hegg in the Yukon.

Album contains 134 uncaptioned black-and-white photographs of Mexico, many of which appear to be on a ranch. Images feature Caucasian men in front of various homes and buildings, on horseback, women in Victorian clothing, a dentist, surveyors (possibly at a mine); Mexican families, cillages with thatch-roofed homes, women washing clothing in creeks, a girl making tortillas by hand, men harvesting agave, families in river canoes, men getting water at a large well, street vendors; cities scenes and landmarks such as parks, bird's eye view and street scenes of Mexico City, monuments, churches, theaters, courtyards, hotes, stagecoaches and horse-drawn carts, street cars, trainyards, markets, catacombs; several images of Mesoamerican stone carvings; scenic view of jungle, waterfalls, mountains; adn several commercial shots relating to a coffee plantation. Locations include Mexico City, Metlaltoyuca and Pantepec (Puebla). [From dealer description]

One albumen photo mounted on board. Imperial cabinet card, oblong format. A wide angle view of the U.S. Cruiser "Charleston", numbered 5009. The recto of the board has a sticker "Hirsch, Kahn & Co., Manufacturing Opticians, Photo Supplies, 333 Kearny Street, San Francisco." [From dealer description]

Albumen studio portrait of a young Chinese American man dressed in ethnic attire, wearing traditional jacket, trousers and platform shoes, and holding a book in his left hand. According to the 1880 census, 98 Chinese are counted living in Santa Cruz; they came to California due to the gold rush, and later worked in railroad construction, logging, and in the sugar beet fields. They lived in a small Chinatown, mostly along Front Street in old wood buildings, which were destroyed in the 1894 great fire. The anti Chinese laws of the 1870s put an end to immigration, and prevented resident Chinese immigrants from owning property or becoming citizens. Period note on the verso, written in pencil "Suez June." Photographer's stamp on verso reads, "Taken At Hunter's Photograph Gallery, 551 North 3D Ave. Cor. 149th St." [From dealer information]

A small cabinet card photograph of the United Brethren church's Chinese Christian mission, a large two-story wooden building that was once located at 353 Second Ave NW, in Portland, Oregon, just outside the traditional borders of the city's Chinatown. Some thirty-seven people are posed in front of the building, 31 Chinese men, six Anglo women, and an Anglo man. The tall Anglo man, with a large white beard, has a small asterisk inked next to his head. He is identified on the back (verso) of the photograph as the Rev. George Sickafoose. The Rev. Sickafoose was the pastor of the Chinese Christian congregation, which numbered about 150 according to Brethren publications of the era. Standing next to him is a woman who may be Ellen Sickafoose, his wife, who was the superintendent of the mission and its school. In fact, she assumed this position in 1883, with her husband joining her a year later. Standing in front of both Sickafoose is a Chinese man with his arm akimbo. This is Moy Ling, who started a lay Christian group for Chinese immigrants in Portland in the 1870s. The United Brethren agreed to take it over in 1882, sending Mrs. Sickafoose to Portland the next year. Moy Ling continued to work with the mission for many years. According to the Oregonian newspaper (June 17, 1908), Moy was the secretary to the Chinese consul in Portland, the superintendent of the Chinese mission (having assumed Ellen Sickafoose's position), and "a wealthy Chinese merchant now retired from active business." [From dealer description]

Includes scenes of drama productions, processions, sports events, etc.

Photo shows Henry Clay Ide (1844 - 1921) seated on the railing, and his daughter Annie standing near him, on the verandah of his residence in Samoa. Ide was appointed as the American Land Commissioner (1891), judging land claims by foreigners in the islands, and as Chief Justice (1893 - 1897). Ide was later appointed a commissioner by the Taft Commission in the Philippines, and became Vice Governor (1906) and US Governor General. Robert Louis Stevenson lived in Samoa in the village of Vailima in the early 1890s, where he took the native name Tusitala (Samoan for "Teller of Tales") and became a good friend of Henry Ide's. [Descriptive information provided by dealer // JAD2015/11/17]

Most prints are captioned. People photographed include Robert Louis Stevenson (captioned as "Tusitala," with Salinoa), a group photograph, "Tusitala's feast," also showing Stevenson with his wife Fanny Osbourne, Malietoa Laupepa, then the current King of Samoa, Mataafa, the former King, Talola, Manga, and other Samoans and colonists. Places photographed are Villa Vailima, Apia, the Vaca mountains, a German plantation on the way to Vailele, Vaimoso, the Lake of Lanuto, Pago Pago harbor, Olosenga and Ofoo (2 islands), etc.

Original albumen photographs taken during the Philippine Insurrection including images of American volunteers from California and Utah, the battle at Caloocan, the camp of Nebraska volunteers who suffered the first attack by Aguinaldo's forces, scenic photos including Pasig River, the Puenta Colgante, a suspension bridge across the Pasig River, photo of the Pueblo Santa Cruz de Malaron on Luzon, numerous post-battle scenes with casualties, and Emile Aguinaldo after his capture.

Black and white mounted photograph depicting Rubinstein and three other men on the construction site of the conservatory.

Black and white photograph portrait of the composer Camille Saint-Saëns.

Black and white mounted autograph photograph portrait of Puccini, inscribed by composer to unknown woman.

Black and white photograph of Mascagni, on which the composer has inscribed as short note to "Carissimo Signore Max Rikoff." The inscription includes two bars of the CAVALLERIA RUSTICANA.

Black and white studio portrait of Mascagni, which he has autographed and inscribed to Miss Davis.

Photograph of the Wood Mountain Gulch Mine in Colorado. Shows several Chinese workers in the foreground.

Image of the Asiatic Squadron near Hong Kong towards the end of April 1898. 12 ships are numbered with ink, and in the upper left corner of the image the names of the ships are listed.

In letters and postcards to his family in Fargo, North Dakota, John B. Kinne describes his experiences in the United States Army during the Spanish-American War. He relates episodes from the War in the Philippine Islands, mentioning George Dewey, Battle of Manila Bay, insurgent attacks on the Spaniards and specific battles throughout the Islands. A photo from Manila depicts three ecclesiastics.

Photograph album from the Lowman's family trip to Guatemala in 1898

Rare photograph of the short lived San Francisco embarkation camp for the Philippine theater during the Spanish-American War, commissioned at the end of May 1898 and closed less than two months later in July because of its unsanitary conditions. It was named for General Wesley Merritt commanding officer of the Philippine expeditionary forces. An excellent view of the camp, situated between Point Lobos Avenue (Geary Blvd.) and Fulton Street between First (Arguello) and Sixth, with troop names and highlights noted in pencil in the lower margin, and the original and later San Francisco street names on the card mount. Beyond the camp the Pacific Ocean, Bonita Point, Golden Gate, Presidio Reservation, Mount Tamalpais, and Lime Point can be seen. Signed in the negative W.L. Street, Photo., S. F., of whom little is known other than he was active active in the late 19th to early 20th centuries, and produced some excellent series on the San Francisco earthquake. [From dealer information]

Philippines Insurrection photograph of 3 men about to be hanged for their part in the insurrection. The men are receiving their last rights with one man already with a noose around his neck.

Large mounted photograph on photographer's matte board. A montage presentation that consists of reproductions of 35 of Varney produced cabinet card portraits of the Band members, laid down into one grand image. [From dealer description]

Materials consist of 6 photographs of members of the United States military serving in the Philippines, primarily the 6th Artillery.

Views taken at the Great American Exhibition grounds, in a gallery, in an office, etc., with a woman standing on the steps of a building with a notation, "yours truly."

Photographs from a Carnival celebration in Panama sometime during the 20th century. Includes floats titled Sueño Infantil and La Reina

Photograph of five railroad workers (four Chinese) standing near a sign for North Fork.

Album contains 119 uncaptioned black and white photographs and 3 copy negatives of Mexico, most of which are commercial shots with some copy photos. Many of the photos appear to illustrate events related to the Cananea mine strike, including one shot of Colonel William Greene speaking to strikers. Images feature local people and families, many of whom appear to be very poor; school and schoolchildren, primarily white; various individual adn group studio portraits; barrack-style housing and other mine buildings; street scenes of unidentified cities; soldiers on march and in camps; a funeral; hanged men on a tree; white men and women in front of homes, possibly on a ranch, and on various outings; group of men with survey equipment. Last few pages of album include photos taken in Denver, Colorado of a Knights Templar Grand Commandery parade. [From dealer description]

An early portrait of the Syrian-born Phares Behannesey (187901950) and his brother in "native dress," presumably taken while Phares was resident in Galesburg, Illinois and touring as a lecturer on life in the Middle East. Phares later settled in Los Angeles and became a prominent member of the Los Angeles Arab-American community. Behannesey was one of the local Arab-Americans who funded the 1909 legal fight of George Shishim to establish that Arab-Americans were in fact members of the "white race" and eligible for U.S. citizenship. [From dealer description]

Album of fifty-three original gelatin silver photographs of Swarkopmund, Windhoek, Gross Barmen, Oljimbingue, Karibib, Ababis and Khan in Deutsch Suedwest Afrika (Namibia) compiled by a senior German colonial surveyor when Namibia was the German colony of Deutsch Suedwest Afrika. [From dealer description]

An oblong photo measuring approximately 21-1/2" x 17" mounted on a board measuring 26" x 22". Depicts officers of the Austro-Hungarian Navy on board a ship at Yokohama harbor, Japan. Research has shown that the only time ships of the Austro-Hungarian Empire were in Yokohama was at the conclusion of the Boxer Rebellion fighting in 1900. Photograph shows 33 individuals in uniform.

American Soldiers in the Philippines, including the 24th Infantry. Includes a few photos of the 24th Infantry, and an African American unit (with white officers).

Professional quality photographs includingf the commanding officer, the officers, the band, and one each of Companies A-M (no J). The photos were taken with the men standing on a five-tier bleacher with evergreen trees in the background.

A majority of the images are of soldiers, groups of soldiers and soldiers participating in some kind of a public spectacle in front of a grandstand with foot races and a variety of displays of athletic and military prowess (including a few photos of trophies). There are also quite a number of photos of local residents. There are no combat-related photos.

Small oblong (24 x 16cm.) album containing 23 leaves with a photo mounted on both sides of every leaf. Captions in white ink beneath each photo. Some or all of the photos appear to be commercial photos of various scenes, including some from the Insurgency. There are no photos of any identified American soldier although this album was likely compiled by or for a soldier. Inscribed on the first album leaf: "With wishes for a pleasant season and happy years to Mrs. Abijah Chamberlain from Willard, San Francisco, Cala. Dec. 25, 1901." Most photos are from the Philippines, with 10 relating to the insurgency. There are four photos of Japan, a shipboard photo on the "Meade," and a damaged photo captioned "Camp U.S.A. Gen'l Hosp., Presidio and Golden Gate S.F.C.A." inside the back cover.

On June 5, 1901, about three-hundred pounds of black powder stored at the Mare Island Naval Ammunition Depot exploded.

Twenty-three male members of the Mission Parlor, San Francisco, each wearing either a ceremonial sash or collar.

This photo album contains 129 black-and-white photographs with a few handwritten captions of scenes in Mexico. Images feature street scenes and notable landmarks such as churches, cathedrals, monuments, military academy, aqueducts, street vendors, musicians, donkeys loaded with wares, markets, catacombs; Mexican and indigenous men, women and children including many portraits of young women; the Guadalajara Sanitarium; many shots of a bull fight; Chapultepec Castle; canal and vendors on boats; scenic views of valleys and mountains; mummies in Guanajuato; craftswomen sewing lace, making reed mats; farms and plantations for coffee, bananas, agave; Atec antiquities in a museum; villages and families. Locations include Guadalupe, Mexico City, Guadalajara. Most images are commercial shots. [From dealer description]

From the 1904 World's Fair in St. Louis, frontal view of the California state building with figures in foreground. The building is a replica of the old Franciscan Mission of La Rabida at Santa Barbara.

Album contains approximately 115 photographs, mostly 3” x 4” with some about 3.5” x 5”. Most are in album page inserts; a few are tipped-in. The album also contains a tipped-in index and presentation statement from Irving P. Wagner to Colonel (retired) William Peters Hepburn. Photographs include: the New York departure, the ship, members of the tour, sights and scenes of Cuba and Jamaica, and views of Colon and Panama including the reception committee, the sea wall and watch tower, the U. S. Legation, the railway, and many street and countryside scenes apparently related to the canal and its proposed construction.

Album contains over 100 snapshot images, collected by an anonymous sailor during the Cincinnati's time on duty on the Asiatic Station. A few are commercial photographs with captions in the negative but most are snapshots of shipboard routine, other sailors, and life and scenery ashore. Contents include Japanese geishas, a Chinese opium den, and street and harbor scenes. There are many images of sailors going about shipboard tasks and routines, and sailors ashore playing football and baseball. One of the images is of nine sailors in their baseball uniforms. One of the many images of navy ships is of the “USS Wilmington,” a gunboat stationed in Chinese waters in 1904.

Views of Yellowstone National Park. Images of thermal springs, geysers, railroad trains, coaches, tourists, the Grand Canyon of the Yellowstone and the Yellowstone River.

Photo album with 72 black and white photographs of varying sizes mounted to the leaves of the album. Photos depict mostly hydroelectric power projects being constructed on the Kern River, California, and an early dam construction project (possibly the Theodore Roosevelt Dam in Arizona) by the then-U.S. Reclamation Service. Photographs include: a 20-mule team hauling heavy equipment across the desert, various stages of construction, U.S.R.S. personnel in early automobiles with U.S.R.S. license plates, workers and their families in camp, views along the rivers, and more.

Group portrait of 20 women all dressed in whites, with some parousels, Parlor banner, posed on the curb of (apparently) 1013 Clay Street, San Francisco, CA. Rare image of this women's auxiliary, taken before the San Francisco earthquake and fire (which destroyed the block). [From dealer description]

This album of proof sheets for stereoview cards was manufactured by the H.C. White Company. The album contains 1421 original photographs and 425 differend views. Some of the photos have "T.W. Ingersoll, Jan 1906" written in pencil below the image, suggesting that he was a photographer for H.C. White Company at the time. The subjects of the photos are wide ranging, including public buildings and famous tourist attractions including Canterbury Cathedral, Shakespeare's birthplace, the Tower of London, Tower Bridge, as well as rural scenes, street life, and harbor views. [Adapted from dealer description]

This album documents the First French colonial exposition, held in Marseille in 1906. Marseille is at the center of France's colonial project by its geographic location, its port, and its proximity with North Africa. With the opening of the Suez Canal, Marseille became an important maritime stop on the route to the Middle East and Asia. The Exposition was conceived by Dr. Édouard Heckel, founding director of the Colonial Institute and Museum of Marseille since 1893, taking inspiration from the Paris Universal Exposition of 1900. It opened on April 14, 1906, and contained recreations of three major colonial sites: the temple of Ankor Vat in Indochina, the Tata fortifications of Sudan, and the large and detailed, Tunisian and Algerian pavilions. Other colonial possessions are represented as well, including the trading companies of India, Guadeloupe, Martinique, Réunion. Almost 1,800,000 visitors visited the exposition by the time it closed on Nov. 18, 1906

Photograph album with 127 Original Gelatin Silver Photos Illustrating Life of American Residents during the First Years of the Panama Canal Zone, with Views of Empire, Sabanas, Ancon, Panama City, Cristobal, Lac Cruces, Chagres River, Camacho Reservoir, Fort San Lorenzo, Portraits of American Residents, Afro-Panamanians, etc.], circa 1907-1909. Historically significant, detailed and well-annotated collection of original lively images taken by a resident of the American-administrated Panama Canal Zone during the first years of its existence. According to the Isthmian Canal Convention of 1904, the control over the construction of the Panama Canal, and the administration of the area stretching on both sides of the future Canal for about five miles fell under the control of the United States, and stayed as such until 1979 when the Canal Zone was abolished and Panama Canal went under the joint control of the United States and Panama (was fully turned over to Panama in 1999). The album dates back to the first 5 years after the creation of the Canal Zone, and to the time of the active construction of the Canal itself (it was completed in 1914). The photographer was most likely one of the American engineers or other white-collar workers employed during the construction. He travelled to the Canal Zone on board the steamship “Panama” with his family and was provided with a house in the "family quarters" of Empire town (Spanish "Emperador," was located south of Las Cascadas), where the headquarters of the Canal administration and engineers were located. The album contains over twenty interesting photographs of Empire – a general view of the town with "Canal just beyond near hill," views of "Our house," disbursing office, bachelor and family quarters, the mess hall (interior and balcony), Chinese vegetable gardens which provided the Zone with fresh produce (on one photo the Americans pose with a gardener in front of his hut), tennis courts, cricket field with the players, "native huts, back of Empire," and others. There are also over fifteen portraits of the American residents of Empire and Ancon towns, with most names captioned underneath: "Collins, writer for Sat. Evening Post" (likely, James Hiram Collins, 1873-1943, American writer and journalist), "Cleland, Wilma & Marty McDevit," "Pickens family," "Carlson, Brown, Squires" and other gentlemen photographed in the bachelor quarters, "Mr. & Mrs. Jackson," "Peggy U. & cousin Stanley Kelly," Storla family posing in their house in Ancon , a group portrait of "Tennis enthusiasts" (with several names added - Squires, Poole, Manley, Keeling, Hosletter), et al. Other interesting photos show the Camacho Reservoir, gate house and spillway; American houses in Las Sabanas, several views of the road to Sabanas (featuring Ancon Hill in distance, and an officer of "Panamanian Mounted Police" riding a horse), Hotel Tivoli in Ancon, a Decanville steam railway engine with an American woman posing in the engineer’s seat, several portraits of Afro-Panamanians, including a portrait of a newly-wed couple captioned "our <…?> Boy’s wedding." There are also several views of Cristobal town on the Atlantic coast showing the Cristobal Point taken from the sea, "De Lesseps building" (old French Canal Headquarters with the statue of Christopher Columbus in front, the statue was moved in 1916 and 1930, and is now located on the Juan Demóstenes Arosemena Boulevard), the waterfront, and Tortoise Lagoon. Eight photos depict a pleasure trip down the Chagres River to Fort San Lorenzo and show the Americans boarding a small river steamer at Gatun, Chagres River, ruins of the fort and the members of the group posing in front of the "old powder magazine." Another eight pictures illustrate a trip to the ancient town of Las Cruces on the upper Chagres River, now abandoned due to the rise of the Lake Gatun; the pictures show the trail to Las Cruces, the town and its Afro-Panamanian inhabitants. Over twenty photos depict Panama City: the harbour at low tide, boats of "coastwise shipping," the seawall, interior of a "jail yard," entrance and interior of the President’s Palace, "Government Opera House," the Church of Santo Domingo and the famous Flat Arch (built in 1678, burned in 1756 and was ruined ever since; the flat arch eventually fell in 2003 and was later restored), "the Cathedral & Plaza," the Church of Santa Ana, La Mercedes church, street views (the one with playing children is captioned "Panama playground"); a scene of a bull fight on Plaza Herrera, the spectators; the Old Panama City (ruins of the bridge of over moat and Cathedral of San Jeronimo) and others. There are also several views of the Caribbean Sea and the "Panama" steamship taken on the way to Cristobal. Overall an historically important first-hand visual account on the early years of the Panama Canal Zone. [From dealer description]

Studio cabinet photograph of the University of Chicago trained Japanese Theological Professor in Japanese costume and holding a straw Panama hat, inscribed and signed on the verso in Japanese and Roman characters by Otsuka. University of Chicago alumni directories show Otsuka getting a Baccalaureate in Divinity and list his address as a professor at the Seigakuin Theological Academy in Tokyo. A 1908 evangelical paper notes Otsuka’s participation in a service in Wellsburg, W. V., perhaps marking a period of a sort of inversion of the usual model of the missionary work by sending an Asian to bring the word of Christ to the the Mountain State. [Descriptive information provided by dealer // JAD2016/2/11]

These original photographs focus on the inhabitants of San Francisco's Chinatown, and in most cases, Chinese children. Each is signed by Goldsmith; four are also dated 1920 and one dated 1921.

Group photograph of nine boys, in uniform, each wearing a "P.H. McCarthy for Mayor" illustrated apron, and in the center an anvil with the legend "Blacksmiths and Helpers 168 & 316." Eight other men are standing in the background, one with a banner "We will vote as we march - Union Labor."

The Fort Mills Artillery Barracks on Corregidor Island in the Philippines.

Most of these 8x10 prints show recently completed work or work still in progress, particularly tunnels and cuts. There are some photos of Klamath Falls, including the depot and water tower, the town of Esplanade, and the U.S. Canal crossing.

Three photographs mounted on thick board with printed text on the verso. The photographs include "Making Tortillas, Mexico," "Mining, Mexico," and "Picking Coffee, Brazil," and all three were used as part of the Commercial Museum of Philadelphia's exhibits in the early 1900s to educate the public about international commerce and indutry.

A mixture of photogrpahs of Japanese, often in family units, back in the homeland as well as photographs of Issei (first generation) and Nisei (second generation) in America. The album opens with a portrait of the Nichi Bei -- literally "Japan & America" -- Band, a portrait taken by the Oakland firm of Komai & Arai. There are also two professional photographs taken in 1955 at a recognition banquet for new Issei citizens in Fresno, California, another of a grouping at the Oakland, California, Japanese Independent Congregational Church (as well as five similar ones, possibly on the same site). And, allthough unidentified, there are five snapshots taken at what appears to be a relocation camp during World War II.

Views depict homes, landmarks and monuments surrounding the area of Waterloo.

A large photo album documenting the life of a Japanese American Issei farm worker & fruit packer manager, and later occupational teacher in Southern California and Oregon prior to the incarceration of Japanese Americans in 1942. Filled with snapshots and studio portraits of funerals, Buddhist churches, Japanese picture brides, weddings, parties, family members, friends, farms, farm equipment, and more, with ove 90% of images with handwritten captions in Japanese, with a few bearing inscriptions in English in lower part of image or margins, and several with photographer's imprints. This photo album provides a visual and textual aratifact of the Japanese immigration onto the Pacific Coast between the Wars, before President Roosevelt's Executive Order 9066. The album was carefully annotated and assembled over decades by Frank Yoshida who had immigrated to the US from Fujita Town, Fukushima Prefecture (now Kunimi) in 1906. Due to the Chinese Exclusion Acts, and other legislation, California experienced a serious labor shortage a the end of the 19th century attracting Japanese workers by the thousands. They revolutionized agriculture in the West, especially strawberry growing, and by World War I nearly two thirds of all Japanese Americans worked farms stretching from British Columbia to the Imperial Valley. [From dealer description]