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The People photographed while reading photograph album contains 82 portraits of people reading as well as three newspaper clippings regarding the accidental death of railroad fireman Joseph Ronk in Wooster, Ohio.

The People photographed while reading photograph album contains 82 portraits of people reading as well as three newspaper clippings regarding the death of a railroad fireman.

The album (26.5 x 21.5 cm) has red velvet covers and a metal clasp. While the album itself and all the photographs in it date to the 19th/early 20th century, these materials were compiled by a noncontemporary individual with an interest in historic images of people reading. Also present are three newspaper clippings related to the accidental death of railroad fireman Joseph Ronk (1865-1888) following a train derailment in Wooster, Ohio, in July 1888.

The Rehoboth Beach, Mountain Island, Norfolk photograph album contains 56 cyanotypes, 70 snapshots, and 1 lithograph depicting people and various locations along the eastern coast of the United States.

The Rehoboth Beach, Mountain Island, Norfolk photograph album contains 56 cyanotypes, 70 snapshots, and 1 lithograph depicting people and various locations along the eastern coast of the United States.

The album (14.5 x 18 cm) has brown cloth covers with “Photographs” embossed on the front. Images of note include numerous outdoor shots and studio portraits of women and children, a cyanotype of three women sitting on a set of carriage wheels captioned "I like Ruth best of all," a cyanotype of two women sitting on a dock with the inscription "Yacht. Rare. ‘Island Heights’ July 27th 1901," an African American man with a horse, and a trip to Rehoboth Beach, Delaware, in the summer of 1900. Other photographs of interest include pictures of the Lewes family who were the owners of Rehoboth Beach, the Norfolk Conservatory in the City Park, an 1899 trip by four women to Mountain Island, North Carolina, La Fayette Square in Baltimore, and a picture of a young man and woman with a caption suggesting they had recently been engaged.

The Richard Crossley Civilian Conservation Corps photograph album contains two documents and approximately 90 snapshot views of Civilian Conservation Corps Camps in Ravenna and Broken Bow, Nebraska, as well as Fort Scott, Kansas.

The Richard Crossley Civilian Conservation Corps photograph album contains two documents and approximately 90 snapshot views of Civilian Conservation Corps Camps in Ravenna and Broken Bow, Nebraska, as well as Fort Scott, Kansas.

The album (19 x 25.5 cm) has blue felt covers with orange felt bear skin spelling "C.C.C/Civilian Corps" sewn on to the front. Images include views of young men in uniform, a CCC camp, and an airbase, as well as photographs of a man (likely Richard Crossley at Fort Scott) dressed in full uniform and the same man holding aloft an Air Corps Technical School diploma. Also present are two documents are present including a membership card for CCC Company 2732 as well as honorable discharge papers.

The Robert M. Vogel collection of historic images of engineering & industry contains approximately 22,890 photographs (including 18,500 stereographs), 1220 prints, 13 photograph albums, 11 books, 117 pieces of ephemera, and 15 pieces of realia documenting a wide range of subjects primarily related to 19th-century civil engineering, industrial processes, and mechanization.

The Robert M. Vogel collection of historic images of engineering & industry contains approximately 22,890 photographs (including 18,500 stereographs), 1220 prints, 13 photograph albums, 11 books, 117 pieces of ephemera, and 15 pieces of realia documenting a wide range of subjects primarily related to 19th-century civil engineering, industrial processes, and mechanization.

Particularly well-represented topics within the Vogel collection include images of different types of civil infrastructure such as bridges, canals, roads, dams, and tunnels as well as images showing construction projects, various types of machinery, modes of transportation (such as railroads, steamboats, automobiles, etc.), agricultural pursuits, natural resource extraction (including oil drilling, quarrying, mining, and lumbering), textile operations, electrical and hydraulic power generation, manufacturing, metal working, machine shops, and various industrial factory scenes. Many images of important and iconic structures are included such as the Brooklyn Bridge, Panama Canal, Hoosac Tunnel, and SS Great Eastern. Other represented topics include general architectural views, scenes of disasters/accidents, and portraits of notable individuals (such as Thomas Edison, Isambard Kingdom Brunel, and Robert Stephenson). While predominately United States-focused, the materials are international in scope overall and especially include many images of industrial sites and civil infrastructure in Great Britain. The order of the collection's original arrangement has largely been kept intact.

Examples of items of particular interest include salt prints possibly taken by civil engineer Montgomery C. Meigs documenting the construction of the U.S. Capitol and Washington Aqueduct in Washington, D.C.; a series of portraits of early Baldwin Locomotive Works locomotives; images documenting the SS Great Eastern and USS Niagara steamships; a group of 4 colored stereoviews on glass produced by Frederick Langenheim showing the Niagara Falls Suspension Bridge ca. 1850s; images related to specific railroads including the Baltimore & Ohio Railroad, Mauch Chunk, Mount Washington Cog Railway, and New York City elevated railroad; and half-frame proof prints of stereographs produced by Underwood & Underwood as well as H. C. White & Co.

The following list represents the general subject categories found across the Vogel collection along with relevant box and folder numbers:

• Box 07.2
• Box 14.1
• Box 14.2
• Box 14.3
• Box 31.2
• Box 52
• Box 56
• Folder 2.10
• Folder 3.08

• Box 06.2
• Box 06.3
• Folder 1.08
• Folder 2.15

• Box 01.1
• Box 03.3
• Box 06.3
• Box 07.1
• Box 28.2
• Box 28.3
• Box 46.2
• Box 57
• Box 58
• Box 59
• Box 61
• Box 63.10
• Folder 1.04
• Folder 2.04
• Folder 2.09
• Folder 2.14
• Folder 2.15
• Folder 2.16
• Folder 3.08

• Box 06.1
• Box 06.2
• Folder 2.06

• Box 03.1
• Box 03.2
• Folder 2.17
• Folder 3.08

• Box 03.3
• Box 04.1
• Box 04.2
• Box 04.3
• Box 05.3
• Box 05.4
• Box 06.1
• Folder 3.08

• Box 05.1

• Box 01.1
• Box 01.2
• Box 01.3
• Box 02.1
• Box 02.2
• Box 28.3
• Box 43.2
• Folder 3.02
• Folder 3.08
• Folder 3.10

• Box 02.3
• Box 05.2
• Box 06.1
• Box 49.1
• Box 49.2

• Box 09.1
• Box 09.2
• Box 36.1
• Box 36.2
• Box 39.1

• Box 08.2
• Box 08.3
• Box 18.4
• Box 28.1
• Box 28.3
• Box 46.1
• Box 53.2
• Box 58
• Box 61
• Box 63.08
• Box 63.11
• Folder 1.03
• Folder 2.16
• Folder 2.17

• Box 06.3
• Box 17.3
• Box 20.1
• Box 24.3
• Box 25.1
• Box 28.1
• Box 41.1
• Box 54
• Box 57
• Folder 1.07
• Folder 2.16

• Box 11.2
• Box 45.2

• Box 27.1
• Box 27.2
• Box 27.3
• Box 39.2
• Box 46.1
• Box 46.2
• Box 56
• Box 57
• Box 58
• Box 59
• Box 63.02
• Box 63.03
• Box 64.1
• Folder 1.05
• Folder 1.11
• Folder 1.13
• Folder 2.04
• Folder 2.11
• Folder 2.17
• Folder 3.08

• Box 07.2
• Box 07.3
• Box 08.1
• Box 08.2
• Box 28.1
• Box 28.2
• Box 43.2
• Box 46.3
• Box 52
• Box 54
• Box 56
• Box 57
• Box 59
• Box 63.04
• Box 64.2
• Box 64.4
• Folder 1.09
• Folder 2.05
• Folder 2.10
• Folder 2.12
• Folder 2.17
• Folder 3.08

• Box 07.1
• Box 07.2
• Box 13.2
• Box 13.3
• Box 14.1
• Box 27.2
• Box 27.3
• Box 31.2
• Box 32
• Box 33.1
• Box 33.2
• Box 34
• Box 35
• Box 36.1
• Box 37
• Box 39.2
• Box 40
• Box 41.2
• Box 42
• Box 43.1
• Box 43.2
• Box 46.2
• Box 53.1
• Box 53.2
• Box 60.1
• Box 61
• Box 63.01
• Box 63.03
• Box 64.1
• Box 64.3
• Folder 1.03
• Folder 1.07
• Folder 2.05
• Folder 2.06
• Folder 2.11
• Folder 2.15
• Folder 3.03
• Folder 3.08
• Folder 3.09
• Folder 3.12

• Box 15.1
• Box 43.2
• Box 44
• Box 55.1
• Box 55.2
• Box 60.1
• Box 60.2
• Box 62
• Folder 1.01
• Folder 1.02
• Folder 1.12
• Folder 3.07

• Box 11.2
• Box 11.3
• Box 12.1
• Box 12.2
• Box 13.2
• Box 23.1
• Box 61
• Folder 2.05

• Box 11.2
• Box 12.2
• Box 14.2
• Box 63.07

• Box 12.2
• Box 12.3
• Box 12.4
• Box 13.1
• Box 13.2
• Box 37
• Box 46.2
• Box 57
• Box 58

• Box 21.3
• Box 22.1
• Box 22.2
• Box 22.3
• Box 28.1
• Box 39.2
• Box 61
• Folder 2.14
• Folder 2.15
• Folder 3.08

• Box 23.1
• Box 23.2
• Box 23.3
• Box 24.1
• Box 24.2
• Box 40
• Box 41.2
• Box 50.1
• Box 50.2
• Box 51
• Box 52
• Box 55.1
• Box 55.2
• Box 61
• Folder 1.03
• Folder 2.02
• Folder 2.05
• Folder 2.14
• Folder 3.02
• Folder 3.10

• Box 29.1
• Box 29.2
• Box 30
• Box 46.1
• Box 57
• Folder 1.07

• Box 24.3
• Box 25.1
• Box 25.2
• Box 25.3
• Box 26.1
• Box 26.2
• Box 26.3
• Box 27.1
• Box 27.3
• Box 37
• Box 38
• Box 39.2
• Box 40
• Box 41.1
• Box 42
• Box 46.3
• Box 64.1
• Folder 3.06

• Box 10.3
• Box 11.1
• Box 11.2
• Box 41.2
• Folder 3.05
• Folder 3.12

• Box 01.1
• Box 10.3
• Box 28.3
• Box 39.1
• Box 46.3
• Box 56
• Box 64.2
• Box 64.3
• Folder 2.15
• Folder 3.06
• Folder 3.07

• Box 08.1
• Box 28.1
• Box 46.3
• Box 64.2

• Box 09.3
• Box 10.1
• Box 10.2
• Box 10.3

• Box 39.1

• Box 34
• Box 42
• Box 56
• Box 63.07
• Folder 2.16

• Box 15.1
• Box 28.2
• Box 31.2
• Box 33.2
• Box 36.2
• Box 54
• Box 58
• Box 64.3
• Folder 2.16
• Folder 3.04

• Box 19.1
• Box 19.2
• Box 19.3
• Box 20.1
• Box 20.2
• Box 20.3
• Box 21.1
• Box 21.2
• Box 21.3
• Box 28.2
• Box 45.2
• Box 46.3
• Box 57
• Box 59
• Box 63.09
• Folder 2.08
• Folder 2.11
• Folder 2.14
• Folder 3.05
• Folder 3.07
• Folder 3.08

• Box 15.1
• Box 15.2
• Box 15.3
• Box 16.1
• Box 16.2
• Box 16.3
• Box 16.4
• Box 17.1
• Box 17.2
• Box 17.3
• Box 18.1
• Box 18.2
• Box 18.3
• Box 18.4
• Box 28.1
• Box 28.2
• Box 31.1
• Box 35
• Box 46.2
• Box 47
• Box 48.1
• Box 48.2
• Box 49.1
• Box 56
• Box 57
• Box 58
• Box 59
• Box 61
• Box 63.05
• Box 63.06
• Folder 1.06
• Folder 1.10
• Folder 2.01
• Folder 2.03
• Folder 2.04
• Folder 2.06
• Folder 2.07
• Folder 2.10
• Folder 2.13
• Folder 2.16
• Folder 3.04
• Folder 3.07
• Folder 3.10
• Folder 3.11
• Folder 3.12

• Box 28.2
• Box 43.1
• Box 43.2
• Box 45.1
• Box 45.2
• Folder 2.06

• Box 08.1
• Box 08.2
• Box 25.1
• Box 28.3
• Box 39.1
• Box 39.2
• Box 46.3
• Box 53.2
• Box 56
• Box 57
• Box 59
• Box 64.2
• Box 64.4
• Folder 1.04
• Folder 2.04
• Folder 2.15
• Folder 2.16

While the Vogel collection general subject categories are generally comprehensive there are still numerous instances of items that could feasibly belong to multiple categories other than the group they are classified under. For instance, there are disaster images found in several groupings other than "Disasters," while bridge construction images can be found in all of the various "Bridges" categories as well as within the "Construction" category. For more detailed descriptions of specific materials, see the box and folder listing in the Contents section below.

The Samuel May photograph album contains approximately 208 photographs as well as letters and ephemera compiled by U.S. Army soldier Samuel May from his time stationed in London, France, and Germany during World War II.

The Samuel May photograph album contains approximately 208 photographs as well as letters and ephemera compiled by U.S. Army soldier Samuel May from his time stationed in London, France, and Germany during World War II.

The album was originally housed in a vinyl binder but has since been moved to a separate binder where images and ephemera have been housed in plastic sleeves. In addition to photographs the album also contains a set of tourist postcards, five tickets, one drawing, one newspaper clipping, four magazine clippings, one event advertisement, two miscellaneous documents, one newspaper, and three letters home. All of the photographs have information written on their backs.

Images of note include pictures of leisure activities taken while May was stationed in France including views of Rheims, Marseille, and Paris; the destroyed German War Office and the 1936 Olympic Stadium in Berlin; the city of Aachen in ruins; and young men sporting Adolf Hitler-style mustaches as a joke captioned "This is just in case we lose." Also of interest is a drawing of Samuel May on American Red Cross stationery as well as letters home that were likely written while May was waiting to return home following the war’s conclusion.

The Smith family travel photograph albums consist of two volumes containing photographs, chromolithographs, die-cut scrapbook pieces, and pressed flower designs accumulated during a trip to Europe, Egypt, Syria, and Palestine.

The Smith family travel photograph albums consist of two volumes containing photographs, chromolithographs, die-cut scrapbook pieces, and pressed flower designs accumulated during a trip to Europe, Egypt, Syria, and Palestine.

The albums chronicle the journey of siblings “J. M. Smith" and “M. H. Smith.” Each album bears the name of its respective owner on the front cover. The Smiths left New York City on May 20th 1874 on the Cunard Line Steamer Abyssinia, before disembarking in Queenstown, Ireland, on May 29th. After spending time in Ireland, England, and Scotland they visited several locations in mainland Europe including Paris, Switzerland, southern Germany, Brussels, the Netherlands, Italy, Prussia, and Austria. After exploring Europe, the Smiths ventured to the Middle East where they toured Egypt, Christian holy sites in Palestine (present-day Israel), Turkey, and Syria. They subsequently traveled back through Italy and France before boarding the steamer Bothnia in Liverpool and returning to Pittsburgh, Pennsylvania.

Volume one (25 x 19.5 cm) has purple covers with “J. M. Smith” stamped in gold on the front and contains 47 photographs, 19 printed items, 1 drawing, and numerous dried pressed vegetation arrangements. Several images found in this album are also found in volume two including commercial photographic reproductions of engraved portraits, Italian Renaissance artwork, and other 19th century paintings. A handwritten itinerary outlining the course of the trip can be found inside the front cover and suggests the albums were finished being compiled by August 20th 1875. Items of interest include several portraits of various individuals including Julia Anderson, Jinnie Miller, Lula Miller, Nannie Anderson, and Reverend Christopher Newman Hall; numerous dried floral compositions; a pen and ink drawing of the “arms & crest of ‘Darsie’”; a photograph of two leaning towers in Bologna; a printed memorial card for Elizabeth Maria Thompson, founder of the British Syrian Schools Mission in Beirut and Damascus; and an image of blind children likely from one of Thompson’s schools.

Volume two (25 x 19.5 cm) has purple covers with "M. H. Smith" stamped in gold on the front and contains 64 photographs, 70 printed items, and numerous dried pressed vegetation arrangements. A handwritten itinerary outlining the course of the trip that is nearly identical to one found at the beginning of volume one is located inside the front cover. Items of interest include a photograph of a painting of Queen Victoria’s family; die-cut scrapbook pieces depicting different manner of dress in nations including the United States, China, and Italy; and numerous photographs and photographic reproductions of portraits of European royalty, rulers, and people wearing traditional ethnic clothing (mainly Swiss, Germans, Italians, and Greeks). Also of note are pressed vegetation and flower designs including moss samples spelling out “Italy” and “Egypt”; photographic and lithographic portraits of Prussian leaders Wilhelm I, Crown Prince Frederick William, Prince Carl, and Otto von Bismarck; a collection of materials from Marie Antoinette’s prison cell along with flowers from around Paris; a photograph of a female professor at the University of Bologna, Italy who was said to be too beautiful to be seen teaching (also found in volume two); a lengthy description of religious sites in Jaffa, Palestine; a reward of merit in Arabic given to M. H. Smith by an Arab guide (also found in volume two); and photographs of the King and Queen of Greece. Numerous photographs have been colored by hand.

The Strickland family photograph album contains approximately 124 photographs related to the Strickland family of Ontario, Canada.

The Strickland family photograph album contains approximately 124 photographs related to the Strickland family of Ontario, Canada.

The album is disbound and photographs are mounted on eight loose 35 x 43 cm board pages. The original sequence of the pages is unclear and several images appear more than once. Most photographs are studio portraits of individuals, group portraits taken in front of buildings, or scenic views. At least one of the studio portraits is the work of Montreal photographer William Notman. Several images appear to be half-images taken from stereographs.

Images of interest include views of the homes of Catharine Parr Traill and Col. Samuel Strickland on Lake Katchewanooka, Col. Strickland with his family and Traill holding a child, a Native American family beside a lake, a canoeing party and canoe portaging, a view of the front of “Westove” (Traill’s home after 1860) next to Christ Church, possible portraits of Traill as well as Susanna and John Moodie, a party on the front lawn of Col. Strickland’s property engaged in bird hunting and croquet, the grounds of the University of Toronto, and the musical group the Montreal Bell Ringers. Also of note are multiple portraits of children ranging from toddlers to adolescents as well as views of five unidentified buildings likely located in Lakefield, staged images of lumber camps, and an unidentified dam and bridge on a river.

The Summer 1894 snapshot album contains 68 outdoor photographs of various scenes including a militia camp, a lake, Central Park, and a sawmill under construction.

The Summer 1894 snapshot album contains 68 outdoor photographs of various scenes including a militia camp, a lake, Central Park, and a sawmill under construction.

The album (18 x 26.5 cm) is lacking covers but the spine remains partially intact. Images of note include views of a militia camp showing men in uniform relaxing and completing drills, the Bethesda Fountain and the John Quincy Adams Ward Seventh Regiment National Guard, State of New York Memorial in Central Park, men in a store selling hosiery, a group of people in front of a series of changing rooms on a dock, the construction of a sawmill, and a trip in the summer of 1894 to an unidentified lake.

The Thomas M. Bridges Crow Creek and Fort Hall Reservations collection contains approximately 242 photographs in 5 albums, 13 loose photographs, a Catlinite pipe bowl, and a ball headed war club. These materials were associated with Dr. Thomas Miller Bridges, a physician and surgeon who was employed on Native American reservations during the late 19th and early 20th centuries.

The Thomas M. Bridges Crow Creek and Fort Hall Reservations collection contains approximately 242 photographs in 5 albums, 13 loose photographs, a Catlinite pipe bowl, and a ball headed war club. These materials were associated with Dr. Thomas Miller Bridges, a physician and surgeon who was employed on Native American reservations during the late 19th and early 20th centuries.

Photographs

Volume 1: This album (18.5 x 29.5 cm) has pebbled black faux leather covers with “Photographs” stamped in gold on the front and contains 51 photographs, all of which pertain to Crow Creek Reservation and primarily date to ca. 1892-1896. Detailed printed captions have been cut and pasted beneath every image in the album. Several captions have dates that were crossed out for unknown reasons. A handful of images also have numbers inscribed next to them. It is uncertain who took the majority of these photographs, though at least one photograph included in this album (a studio portrait of “White Ghost,” Yanktonai chief) has shown up elsewhere on mounts produced by a photographer based in Chamberlain, South Dakota, named H. B. Perry. It is possible that Perry produced a substantial number of the photographs in this album. Dr. Bridges may have also contributed many photographs.

• Portrait of Anna Lee Bridges at 18 months old
• Group portrait captioned “With the Sioux, an Indian’s home” that shows Dr. Bridges standing outside of a home next to a Native American family
• Group portrait of Crow Creek Agency employees including William Fuller (carpenter), R. Ryerson (blacksmith, miscaptioned as “N. Ryerson”), Joseph Wertz (miller), S. M. Childers (farmer), and Dr. Bridges
• Multiple views of Crow Creek Agency buildings including the physician’s residence, Grace Howard Mission School, church and parsonage (William Fuller also appears in this image), hospital, aspects of the Crow Creek Indian School complex (including the girl’s and boy’s buildings, school rooms building, and dining room), and trader’s store
• Group portrait of five men holding various tools captioned “the blacksmith and his helpers”
• Two photographic reproductions of oil-on-canvas paintings by agency carpenter William Fuller, including a depiction of a scaffold burial overlooking Lower Brule Reservation painted ca. 1882 and a bird’s-eye view of the Crow Creek Reservation painted in 1893
• Image captioned “A war party of Sioux Indians, So. Dak., 1893” that is possibly related to Sun Dance-Fourth of July celebrations
• At least four images related to beef issue on Crow Creek Reservation
• Three images documenting the transportation and assemblage of 500 wagons that were granted for issue at Crow Creek Reservation
• Group portrait of members of the Crow Creek Indian Police
• Group portrait of three men identified as “Burned Prairie,” “Robt. Philbrick” (Robert Philbrick, also known as Tahcaduzahan/Swift Deer), and “Wounded Knee” who are described as “Judges of the Court of Indian Offenses, Crow Creek Indian Agency, S.D.”
• Group portrait of Crow Creek Agency employees including Robert Smith (blacksmith), Iron Shield (policeman), Dr. Bridges, Joseph Sutton (farmer), J. F. Geigoldt (issue clerk), J. C. Fitzpatrick (chief clerk), Fred Treon (U.S. Indian agent), and Thomas Stevens (assistant clerk)
• Studio portraits of “‘White Ghost’, Chief of the Yanktonai Sioux” and “‘Iron Nation’, Chief of the Brule Sioux,” both of whom can be seen wearing mixtures of western and traditional clothing and holding objects such as a turkey feather fan, rifle, and pipes
• Group portrait of two women wearing dentalium shell earrings (one of whom carries a child on her back) identified as “Fire Tail” and “Visible Lightning” posing outside of a tipi next to an empty chair draped with a blanket
• Outdoor portrait of a man identified as “Two Crow” seated outside of his log cabin home
• Outdoor portrait of a man identified as “Talking Crow” holding a rifle and wearing a feather headdress, arm bands, and otter fur breastplate fitted with mirror discs while sitting on a horse dressed in a buffalo scalp horse mask (images of horses wearing these masks are exceedingly rare)
• Outdoor portrait of “‘Bull Ghost’, a sub-chief of the Yanktonai Sioux” seated before a tipi on a blanketed chair wearing a mixture of western and traditional clothing including an otter fur turban, hair feather, moccasins, and wool leggings while holding a tobacco bag, tomahawk, and pipe
• Group portrait of ten schoolgirls posing with teacher Mary A. Reason
• Photograph taken outside the home of a medicine man named “Eagle Dog” (possibly the man standing at left wearing a grizzly bear claw necklace) showing pots, pans, chairs, and animal skins drying
• Group portrait captioned “A dancing party of Sioux Indians” showing nine men gathered around a drum while dressed in traditional clothing including otter fur bandoliers, moccasins, leg garters affixed with dance bells, an otter fur breastplate, and a split horn war bonnet
• Photograph showing several men on horseback captioned “A band of Sioux, at the Agency, July 4th 1895?” with the year listed in the caption crossed out.

Volume 2:This album (18 x 30 cm) has pebbled black leather covers and contains 5 photographs. While no captions or dates are provided, most of these images were likely taken ca. 1910. Four of the images are outdoor group portraits that appear to have been taken during a lakeside cottage trip to an unidentified location, possibly somewhere near Idaho Falls or Yellowstone National Park. A young girl (likely Berenice Bridges) appears in three photos wearing a white dress, while Dr. Bridges likely appears in two photos sporting a long beard. Several other unidentified individuals (likely including Maggie and Anna Lee Bridges) are also present in these images. The fifth photograph in this album is a group portrait of four unidentified individuals, including three Native American people (two older adults and one child) and a white woman, standing outside of a tipi.

Volume 3: This album (19 x 26 cm) has red string-bound cloth covers with “Photographs” stamped in gold on the front cover and contains 47 photographs, the majority of which document aspects of Fort Hall Reservation and primarily date to ca. 1896-1899. Detailed printed captions have been cut and pasted beneath most images in the album. A handful of images also have numbers inscribed next to them. While some images may have been produced by Dr. Bridges himself, many of these photographs (especially images from regions outside of Fort Hall Reservation) were likely taken by other photographers.

• Group portrait of the “Conn. Indian Association Scholars and others,” with missionary, educator, and close friend of the Bridges family Amelia J. Frost identified in the lineup
• Images of various Fort Hall Agency buildings such as the Fort Hall Indian School, the physician’s and agent’s residences, main office
• Several pictures of Fort Hall Indian School employees and students including a group portrait of the Fort Hall Indian School brass band
• Photograph showing a well being bored
• Several images documenting a train wreck on the O.S.L.R.R. at Ross Fork, Idaho
• Outdoor portrait of Cahuilla basket maker Ramona Lubo captioned “Ramona at Cahuilla”
• Photograph of human remains inside of a coffin captioned “Sioux grave, method of bur-ial in the sixties, after the Government stopped bur-ial in trees or on scaffolds”
• Two photographs, including one captioned “Dress Parade,” that show two unidentified Native American men wearing traditional clothing (the man wearing a bone hairpipe breastplate may possibly be Levi Levering, also known as He’-con-thin’ke or White Horn, an Omaha Indian teacher at Fort Hall Indian School)
• Three images showing US Army 4th Cavalry Troop F performing drills
• Group portrait of Anna Lee Bridges with friends “Eulia Churchill” and “Maggie Funkhouser”
• Group portrait of two white girls identified as “Maggie & Bertie Funkhouser” wearing Native American costumes
• Group portrait of Fort Hall Agency employees taken in 1899 including W. H. Reeder (carpenter), C. M. Bumgarner (farmer), Dr. Bridges, P. J. Johnson (blacksmith), M. Timsanico (interpreter), Paul Bannock (stableman), W. H. Evans (farmer), E. C. Godwin (clerk), Lieut. F. G. Irwin (acting agent), C. M. Robinson (issue clerk), and Ed. Lavatta (farmer)
• Four images related to the Warm Springs Indian Agency in Oregon
• Two views of the San Gabriel Mission Church, one of which was produced by Warren Bros.
• Two views of Mt. Putnam
• Group portrait of Native American boys of various ages wearing military-style uniforms captioned “School boys, Ft. Hall Indian School, Idaho”
• Group portrait showing the family of Old Ocean (Bannock guide said to have aided Lewis and Clark) aged “112 yrs old.”

Volume 4: This album (23 x 26 cm) was produced by the Eastman Kodak Company and has string-bound black cloth covers with “Photographs” embossed in gold on the front cover. It contains 85 photographs, the majority of which document aspects of Fort Hall Reservation and primarily date to ca. 1896-1899. Detailed printed captions have been cut and pasted beneath many images in the album. Dr. Bridges possibly produced all or most of these images and captions himself.

• Several views of various Fort Hall Agency buildings
• Several views related to travels in Teton Pass, Jackson Hole, and Snake River in Wyoming
• View of the “Conn. Indian Association Mission School” with an additional manuscript caption stating “Miss [Amelia] Frost’s first mission"
• Several group portraits of Native American and white cowboys
• Outdoor portrait of an unidentified Native American man on horseback wearing a split horn bonnet
• Two images related to Fort Hall Agency beef issue
• Image showing several people examining an older Native American woman captioned “Granny Pokibro, on parade”
• Multiple images that include Anna Lee Bridges
• Several images showing members and officers (including Lieut. Holbrook and Capt. Hatfield) of US Army 4th Cavalry Troop F
• Three photos of Omaha Indians including two portraits of an unidentified Omaha man (possibly Levi Levering) wearing a feather headdress as well as a group portrait showing Levi Levering sitting beside his wife Vena Bartlett Levering while she holds their infant child
• Group portrait of three members of the Fort Hall Reservation Police crossing Snake River
• Images of geysers, waterfalls, and other scenery likely taken at Yellowstone National Park
• Two solo portraits (including a man identified as “F. M. Parsons”) of men standing at the top of the Malad Divide
• Portrait of a young child identified as “Little Bill Mo-cats Jr.”

Volume 5: This album (18 x 29 cm) has black pebbled faux leather covers and contains 54 photographs primarily related to Fort Hall Reservation ca. 1896-1899. Detailed printed captions often including sequential numbers have been cut and pasted beneath most images in the album. Some album pages have missing photographs with captions still present. Dr. Bridges may have produced many of these images and captions himself.

• Three group portraits of a Fort Hall Agency employee picnic held near the head of Ross Fork Creek in 1898
• Image showing “Bannock and Shoshoni Indians horse racing” far in the distance
• Image of hay being stacked at Fort Hall Agency
• Several views of various Fort Hall Agency buildings including the carpenter’s residence, physician’s residence, and agent’s office
• Outdoor portrait of an unidentified Bannock girl on horseback captioned “No. 67. Bannock Indian Girl, showing squaw saddle”
• Group portrait taken in 1899 of Levi Levering (far right) and Rueben P. Wolfe (far left), both Omaha Indian teachers employed at Fort Hall Indian School, posing with their wives Vena Bartlett Levering (second from right holding infant) and Rose E. Cordier (second from left, also known as Rose Wolf Setter and Rose C. Setter)
• Group portrait of two white girls dressed as “Imitation Indians”
• Group portrait of several Omaha Indian men likely visiting Fort Hall Reservation dressed in “handsome native dress of buck-skin & beads”
• Two halftone reproductions of photographs taken by Lee Moorhouse in October 1898 of infant Cayuse twins Emma and Edna Jones (also known as Tax-a-Lax and Alompum) in cradleboards (miscaptioned in album as “Umatilla Indian twins”)
• Image of a scaffold burial captioned “a man and his wife buried in 1872, this negative was made in 1886”
• Photos of a Chinese merchant and a Chinese grave at Fort Hall Agency
• Eight images documenting a rabbit drive
• Portrait of Old Ocean “age 112”
• Three images of buildings in Salt Lake City, Utah, identified as the “Mormon temple,” the “Bee-hive,” and “Eagle Gate”
• Portrait of an unidentified man standing inside of the dispensary at Cheyenne River Agency, South Dakota
• View of an uncovered sweat house
• Six images showing various buildings, issue day, and hay work scenes at San Carlos Agency, Arizona
• Photograph showing a man and dog outside of a building captioned “Pump house, Lower Brule, S.D.”
• Image of a building with a sign above the front entrance reading “Govt. Trading Post.”

Loose Images: Also present are 13 loose photographs. Items of interest include an unmounted photographic reproduction of a ca. 1880 lithograph depicting a group of Native Americans preparing a scaffold burial with a typed caption on the verso reading “Scaffold burial, as practiced by the Crow Indians, elevating the corpse to the scaffold. (Copied by permission, from the 1st annual report of the Bureau of Ethnology)”; an unmounted group portrait of several Mohave people including two women and seven children; an unmounted portrait of an unidentified Native American man seated outside of a dwelling made of mud and straw captioned “An old time medicine man and his hut”; an unmounted group portrait taken outside a Fort Hall Reservation building captioned “School House, teacher & pupils at Ross Fork”; an unmounted view of a building captioned “Fort Hall. Location. The old adobes”; a studio portrait of an adult Anna Lee Bridges wearing a nurses uniform taken by F. R. Lambrecht, likely ca. 1918; and a studio portrait of Berenice Bridges as a child.

Realia

The first piece of realia is a pipe bowl (7.5 x 3.5 x 3 cm) made from Catlinite that likely dates to the 1850s and is most probably of Lakota/Dakota origin.

The second piece of realia is a ball headed war club (54 x 15 x 6 cm) that likely dates to the 1860s and is most probably of Lakota/Dakota origin. The club is made entirely of carved wood. The ball head is painted black and is lacking a spike while the main body is decorated with brass upholstery tacks on one side.

Both of these items were likely acquired by Dr. Bridges as a result of his personal interest in Native American material culture.

The Thomas O'Brien photograph album contains approximately 136 snapshots of people from the Marshall and Gilbert Islands, American soldiers, and U.S. military facilities taken by U.S. Army infantryman Thomas O’Brien.

The Thomas O'Brien photograph album contains approximately 136 snapshots of people from the Marshall and Gilbert Islands, American soldiers, and U.S. military facilities taken by U.S. Army infantryman Thomas O’Brien.

The album (30 x 30 cm) is a modern green three-ring binder with plastic sleeves. Images of note include pictures of women from the Marshall Islands (including numerous topless portraits of young women); performers attached to the Bob Hope show such as June Brunner, Patty Thomas, and Carol Landis; copies of Japanese photographs of causalities; Kauai and other Hawaiian locations; and a monument to the 323rd U.S. Army Infantry Regiment. Many images have handwritten captions on their versos. O’Brien is present and identified in several photographs. Also present is a copy of a card that O’Brien sent to his mother Helen O’Brien.