July 2019 Travel Photograph Albums & Collections

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July 2019 Travel Photograph Albums & Collections.
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MOLL, Alexandre Marie Frédéric Henry (1871-1910); BRUSSAUX, Eugène (photographer); MUSTON, Étienne (1864-1949) (Photographer)
[Album with 146 Original Gelatin Silver Photographs from the Mission to Delineate the Border Between French Congo and German Cameroon in 1905-1907, Including Excellent Early Portraits of Native People from Modern-Day Central African Republic (M’Biemou, Pande, Baya/Gbaya, M’Boum, Labbi), East Cameroon (Bororo), and Chad (Laka, Mundang, Toubouri); Views of Gaza, Kounde, Lere, Chari River, Lake Chad, Benue River, Scenes of Dancing, Playing tam-tams, Throwing knife contest; the court of the ruler in Ngaoundere, Baya and Mundang cavalry, warriors, Baya witch-doctor; details of costumes, hairdos, and scarification etc.]
Ca. 1909. Folio album ca. 42,5x35 cm (16 ¾ x 13 ¾ in). 41 soft card leaves. With 146 mounted original gelatin silver prints including five large portraits ca. 27x20,5 cm (10 ¾ x 8 in), and fifteen large photos ca. 16,5x22 cm (6 ½ x 8 ¾ in); the rest of the photos are from ca. 12x16,5 cm (4 ¾ x 6 ½ in) to ca. 6x8 cm (2 ½ x 3 ¼ in). All photos with manuscript captions in French in brown ink on paper labels mounted under the images. Moll’s presentation inscription on verso of the front free endpaper « A mon vieil ami Crépy, en souvenir des bonnes heures vécues avec lui. H. Moll. 23/6/09.” Period brown half morocco album with brown pebbled cloth boards, blind stamped title “Mission Moll. 1905-1907. Congo - Cameroon” on the front cover; spine with raised bands; marbled endpapers. Spine expertly recased keeping everything original, several images with mild silvering, but overall a very good album of rare photographs from Moll’s expedition to Central Africa.
Extensive historically significant collection of original images from the 1905-1907 French expedition aimed to delineate the border between the west African colonies of French Congo and German Cameroon, which roughly stretched along the eastern border of modern-day Cameroon with the Republic of Congo (Congo-Brazzaville), Central African Republic and the Republic of Chad. The photos were taken by expedition members Eugène Brussaux (sent by the French Société de Géographie and the Minister of Public Instruction to conduct geographical and ethnographical research) and Étienne Muston (assigned to study economy and social structure of the region), and include excellent early portraits and scenes from life of several major ethnic groups and tribes of the region – M’Biemou, Pande, Baya (Gbaya), M’Boum, Labbi (all taken in Central African Republic), Bororo (taken in Ngaoundere, Cameroon), Laka, Mundang, Toubouri (taken in Chad) and others. Among the photos are five large portraits of women and girls from Pande, Baya, M’Boum, Laka, and Mundang tribes; several portraits of the tribal chiefs (Le chef Souka et ses tambours, Le chef Abba, Le chef Baboua et ses femmes, Le chef de Koundé, Chef Laka); views of Gaza, Kounde, Lere, Chari River, Lake Chad, Benue River, the interior and exterior of the chief’s house in Lere, Touburi farm, village and granaries; scenes of dances, drumming tam-tams, throwing knife contest; photos of the court of the ruler in Ngaoundere, Baya cavalry performing a “fantasia,” another “fantasia” by Laka warriors, portraits of Baya warriors and war tam-tams, Mundang “cavalry” and warriors, Baya witch-doctor, harp and flute players, women and children; details of costumes, hairdos, and scarification, several views of the expedition camps featuring the expedition members and many others. Overall the album is an early primary source on the ethnography and history of the Central African tribes, and includes a collection of rare views of remote towns and villages in modern-day Central African Republic and the Republic of Chad.
The album was made on the special assignment of the expedition leader Henri Moll, a captain of the Senegalese Tirailleurs, who had successfully carried out the mission on border delimitation between French Sudan and British Nigeria in 1903. After the 1905-7 mission in French Congo/German Cameroon Moll was appointed the commander of French forces in Chad and was killed in 1910 in the battle of Doroté (Chad) during the French conquest of the Wadai (Ouaddai) Sultanate east of Lake Chad (1909-1911).
Moll’s 1905-1907 expedition covered over 2500 km from Brazzaville to Lake Chad, moving north along the Congo River, its tributary Sangha River, Mambere River, across the Ngaoundéré Plateau, and up the Logone and Chari Rivers. The expedition started the border delineation survey in the town of Nola (modern-day Central African Republic), visited several border towns – Bania, Gaza, Carnot, Kounde (also in today’s CAR), Ngaoundere (Cameroon), and then proceeded north to Lai, Lere (both in Chad) and Fort Lamy (now N’Djamena, the capital of Chad). On the way back the mission went to Yola and down the Benue River to the Niger River Delta.
Our copy was been presented to Auguste Crépy, a president of the Société de Géographie de Lille in 1908-1935. Moll gave an extended report of his mission at the society’s session on May 31, 1908, and it was published in the Society’s proceedings later that year (Moll, Commandant. Délimitation du Congo et du Cameroun// Bulletin de la Société de géographie de Lille. 1908. T. 49. Pp. 337-343). The head of another party surveying the southern stretch of the border Captain Cottes delivered another report at the Society’s session on October 18 that year, and the report was also published (Cottes. Les Confins du Sud-Cameroun et du Congo Francais// Bulletin de la Société de géographie de Lille. 1908. Vol. 50. Pp. 275-290).
There are three other known custom made albums with original photographs from Moll’s expedition. Two luxury copies bound in the Levant morocco and decorated with elaborate copper plates depicting African women, elephants, rhinoceroses and snakes were presented by Moll in January 1908 to the French President Clément Armand Fallières (1841-1931, President in 1906-1913) and German Emperor Wilhelm II (1859-1914, reign: 1888-1918) (see more about the luxury copies: L’Album de la Mission Moll// L’Illustration. 25 Janvier 1908. No. 3387. P. 72). Another copy with 201 original gelatin silver prints was presented to the Société de Géographie in Paris and is now deposited in the National Library of France (https://gallica.bnf.fr/ark:/12148/btv1b7702243n/f43.planchecontact). The Société de Géographie’s copy is very similar to ours and includes all same images as our copy, with addition of others, they are placed in the same order as in our copy and the captions are the same and executed in the same style on the same type of paper labels.
[Leaf 1]. Tirailleurs soudanais. - Dans le M'Biémou (3 different views).
[Leaf 2]. [A large portrait of] Pandé.
[Leaf 3]. N'Goundi de Nola. - Village de N'Goundi. - Village pandé. - Case baya. - Campement sur la basse Madei.
[Leaf 4]. Danse de femmes Bayas. - Moutons de la Sangha. - Baya du sud.
[Leaf 5]. Féticheur baya. - Baya. - Arrivée d'une caravane. - Fabricant de plats en bois. - Bayas du sud.
[Leaf 6]. Gaza. - Borne astronomique à Gaza. - Joueur de harpe.
[Leaf 7]. Pêcheurs bayas. - Coiffure baya. - Baya. - Tam-tam de guerre. - Coiffure de la Kadeï. - Guerrier baya.
[Leaf 8]. [A large portrait of] Baya.
[Leaf 9]. Le chef Souka et ses tambours. - Le chef Abba. - Le chef Baboua et ses femmes. - Femmes faisant de la poterie. - Un village baya.
[Leaf 10]. Campement de route. - Tam-tam labbi. - Village baya du nord. - Tam-tam labbi. - Casse de Labbis. - Tam-tam labbi.
[Leaf 11]. Passage du Loin. - Baya du nord-est. - Blocs erratiques des Hauts-Plateaux.
[Leaf 12]. Baya du nord. - M'Boum. - M'Boum. - M'Boum. - M'Boum.
[Leaf 13]. Buveurs de doko. - Fantasia de cavaliers bayas. - Arrivée à Koundé. - M'Boum.
[Leaf 14]. Le chef de Koundé. - Tata du chef de Koundé.
[Leaf 15]. [A large portrait of] M'Boum.
[Leaf 16]. Peuhl. - Le Lamido Maïgali. - Haoussas. - Bororo.
[Leaf 17]. La cour du Lamido de N'Gaoundéré. - Bororo. – L’Entrée du tata du Lamido. - Route de N'Gaoundéré.
[Leaf 18]. Chutes du Gou. - Pays de Kouboï. - Poulailler laka. - Chef Laka.
[Leaf 19]. [A portrait of] Chef Laka.
[Leaf 20]. [A large portrait of] Laka.
[Leaf 21]. Moundan. - Joueur de flageolet Moundan.
[Leaf 22]. Le Mayo-Kabbi á Léré. - Pays de Léré.
[Leaf 23]. [A large portrait of] Moundan.
[Leaf 24]. Construction d'une case. - Léré. - Fantasia moundan. - Tréné. - Danse moundan. - Léré.
[Leaf 25]. Tête de vache moundan. - Cheval moundan. - Cheval moundan. - Boeuf moundan. - Moutons moundans. - Près de Léré.
[Leaf 26]. Léré. - Moundans. - Costume de fête moundan. - Léré. - Moundans. - Moundans. – Moundan.
[Leaf 27]. Une rue intérieure du tata. - Les terrasses du tata.
[Leaf 28]. Retour des plantations. - Tata du chef de Léré. - A Léré. - Vallée du Mayo-Kabbi.
[Leaf 29]. Joueuses de flûte moundans. - Pêcheur moundan. - Métier à tisser moundan. -Pêcheurs moundans. - Moulin à mil. - Cotonniers.
[Leaf 30]. Cavaliers moundans. - Cavaliers moundans. - Guerrier moundan.
[Leaf 31]. Joueurs de corne toubouris. - Costumes de femmes toubouris. - Porteurs toubouris. - Porteurs toubouris. - Toubouris.
[Leaf 32]. Ferme toubouri. - Village toubouri. - Greniers à grains toubouris.
[Leaf 33]. Porteurs toubouris. - Toubouri. – Toubouris.
[Leaf 34]. Toubouris. - Toubouri. - Toubouri. - Toubouri. - Toubouri. - Sac à enfant.
[Leaf 35]. Chevaux lakas. - Autruche (Laï). - Vache laka. - Troupeau laka. - Boeuf laka.
[Leaf 36]. Fantasia laka. - Fantasia laka.
[Leaf 37]. Lancement du couteau de jet. - Lancement du couteau de jet.
[Leaf 38]. Le chari. - Lionceau à Fort-Lamy. - Mousgou.
[Leaf 39]. Village de Goulféi. - Mort d'un éléphant. - Bords du Chari. - Lac Tchad.
[Leaf 40]. Rives du Tchad. - Près du Tchad. - Troupeaux boudoumas.
[Leaf 41]. Bas-Niger. - La Bénoué à Yola. - Rives de la Bénoué.


[BORGNIS-DESBORDES, Gustave, General] (1839-1900)
[Rare Collection of Twenty-four Very Early Large Original Albumen Photographs Which Document Borgnis-Desbordes Military Expeditions From Upper Senegal into French Sudan (Mali). French and Indigenous Troops are Shown, as well as the Indigenous Peoples Including Chiefs and Settlements Including Forts and Villages Encountered].

1878-1881. 24 mounted original albumen photos, each ca. 19x25 cm (9 ½ x 9 ½ in) and slightly smaller, all with period manuscript pencil captions in French on mounts under the photos. Mounts light grey-green stiff card. Majority of the images mildly faded, no doubt due to the fact that were produced in Africa under less than perfect conditions, but overall still a very historically important collection of interesting photographs.
This historically important collection of photographs documents the French expedition led by Borgnis-Desbordes against the Toucouleur Empire during the period 1878 to 1881. In 1878, Borgnis-Desbordes' forces destroyed the Toucouleur fort at Sabouciré, which is shown in the present collection after the assault. Borgnis-Desbordes is made Commander of the Military Territory of Haut Senegal in 1880, which essentially makes him Governor of all the territory east of Senegal and in charge of French policy in the French Sudan (Mali) including exploration and railway construction. The present collection of photographs also documents the battalion of Senegalese Infantry with French officers with which Borgnis-Desbordes penetrated the French Sudan from Bafoulabé to the Niger, with a view to establishing the Dakar- Niger railroad. The present collection of photos show the French and Indigenous officers and troops of the expedition including: artillery, surveyors, interpreters (Bambara & Ousman Fall), Seneglese infantry; Indigenous Peoples: Bambara Chief Mary Ciré; Kayes Bakers; Khasso Chief Mukassi Sambala; Khassonké Chief Demba Sambala, his daughter and a young Khassonké; Chief with his daughter; group of Mandingos; Chief of Fatafe; Indigenous Settlements Including: Fort Bakel; Sabouciré; Mantanso; Kayes. The French captions read: Officiers d'artillerie (campagne 1880-1881); Mission topographique (campagne 1880-1881); Interprètes et autres indigènes de la mission Galliéni à Ségou; Détachement de spahis sénegalais (campagne 1880-1881); Mary Ciré chef Bambara; Tirailleurs sénégalais; Boulangers noirs de Kayes; Fort de Bakel sur le Sénégal; Jeune Kassonké; Makassi Sambata, chef du Kasso; Demba Sambala, chef Kassonké, et sa griote; Fille de Demba Sambala et ses deux servantes; Ousman Fath interprète; Femme d'Ousman Fath interprète et sa griotte; Village de Sabouciré (Logo) pris d'assaut en 1878; Chutes de Gouïna (Sénégal); Baobab; Chef et sa fille; Groupe de Malinkés; Massif de Kita (versant sud); Groupe de tirailleurs; Thiama, interprète bambara; Mantanso, village du Gangaran; Chef du village de Fatafé. Overall a very rare collection of the earliest photos of this remote region in the interior of Africa.


[Collection of Forty-nine Original Gelatin Silver Photographs Showing Madagascar's Newly Appointed Governor, General Joseph Gallieni and Other French Officials During Their Tours Through Madagascar's Administrative regions (Ambohidratimo, Antanarivo, Mahajanga, Diego-Suarez, Sainte Marie etc.), Additionally an Execution Including a French Soldier, Hospital and Road Construction, and Interesting Portraits of Malagasy People].

Ca. 1897. 49 gelatin silver photographs all mounted recto on nine large stiff leaves each ca. 53,5x36,5 cm (21 x 14 ¼ in). Includes one large photograph ca. 28x36,5 cm (11 x 14 ¼ in), five photographs between ca. 20,5x25,5 cm (8x10 in) and 15x21 cm (6 x 8 ½ in), 24 photographs between ca. 11x15,5 cm (4 ¼ x 6 in) and ca. 13x18 cm (5x7 in), and 19 photographs each ca. 9x12 cm (3 ½ x 4 ¾ in) and smaller, with 33 captions in period manuscript ink or pencil and three photographs dated and signed "A Posquets". One photograph has been removed, cleanly cut out of a leaf, some photographs with mild to moderate fading, but overall a very good collection of interesting photographs.
This historically interesting collection of photographs shows General Joseph Gallieni (French Governor of Madagascar in 1896-1905) and other French officials touring different administrative regions of Madagascar in its early years as a French colony, including Ambohidratimo, Tananarive (Antanarivo), Majunga (Mahajanga), Diego-Suarez, Sainte Marie and others. The largest photograph is a group portrait of French officials with their bicycles, with a clear view of colonial buildings in the background. After being appointed as Governor of this new colony in 1896, Gallieni reorganized French forces, and is known for capturing and executing several rebel leaders: a series of six photographs shows the execution of two people, at least one of them appears to be a French soldier. Many of the photographs show local people, including several portraits of Sakalava and Hova women, a group of locals dancing and men carrying the director of administrative services in a filanzane (litter). One interesting photograph shows rows of people lined up in front of a French “substance transportation” office holding large woven baskets; the caption reads “Madagasy bringing rice to the administrative services.” Numerous photographs show the arrival of the General in different villages and the festivities organized in his honour, and there is one image of a crowd gathered for a “Kabary” (improvised conference between two groups from different cultures). One photograph shows the General passing by in a canoe as people watch from the banks of the river. Gallieni’s role was largely administrative, and the collection includes several photographs of infrastructural changes in the country, including a hospital under construction in Ambohidratimo, and workers building a new road. One view of Tananarive captioned “Palace of the Queen” indicates that these photographs were taken before Gallieni exiled the Queen in 1897. Overall a historically interesting collection of photographs showing the activities of General Gallieni in Madagascar in its early years as a French colony.
Le chef du Service administratif en Filanzane; Ankaralia (Ankarana?) Campement en plein air; Arrivée du général – arc de triomphe dressé à Ouidroyohauigy(?); Maison du directeur des services administratifs, Tamatave; Types de tirailleurs Comoriens; Construction de l’hopital d’Ambohidratimo; Kabary du General, Tamatave; Premier Etage de la maison du directeur des services administratifs; Femme de Ste Marie; Antsizane (Antsirabe?) 1897 Mosquet / A Posquets; Magasin des subsistances […] de Morondava; Peloton d’execution; […] arrivant au lieu d’execution; […] au poteau; (Les mêmes) Dernière minute!; Feu!; On retire les cadavres; Danse executée dans la cour d’Anabaekely(?); Papotte des officiers du commissariat a Tananarive; Le pont et l’ancienne piste militaire à l’intersection de la nouvelle route; Majanga 1897 Mosquet; Armée Hova […] a Tananarive; General Gallieni en pirogue; Femmes Sakalaves Morondava; Ivondio(?) En attendant le general; Femme Hova; Embouchure de X; Palais de la reine a Tananarive; Jeune fille Hova; L’arrivee du general a Sambayavia(?); Rue de Tananarive 1898; Malgaches apportant du riz aux services administratifs; En foret dans les hauteurs du col d’Amboasary


BERTIN, Charles
[Historically Important Content Rich Album with 100 Original Gelatin Silver Photographs of Northern Madagascar in and Around Diego-Suarez (Antisiranana) and Including Cap Diego and Sakaramy and some Photos Showing Travels Around Madagascar Taken and Compiled by a Senior French Military Administrator (Colonel?) Charles Bertin (who calls himself Majesty Charles 1st Bertin in the caption beneath his portrait at the front of the album). The Album Shows the French Military Establishments During the Final Years of the Pacification of Madagascar, but also is very rich in Images of the Malagasy People, Their Everyday Activities, Their Villages and Habitations and Includes Different Ethnic Groups such as the Bourjanes, Betsileo, Hora, and Antaimoros. Additionally Shown is the Damage and Rebuilding After the 1904 Cyclone in Northern Madagascar.]

Ca. 1904. Thick Oblong Quarto album ca. 19,5x29,5 cm (7 ½ x 11 ½ in). 100 original glossy gelatin silver photographs each ca. 11,5x16,5 cm (4 ½ x 6 ½ in) mounted on recto and verso of 50 stiff card leaves ca. 18x23 cm (7x9 in). All with period manuscript brown ink captions in French on the mounts. Period red full morocco with moiré endpapers and gilt-tooled decorations on spine and covers. The album is mildly worn at extremities and has a tear at the top of the hinge of the front cover, but otherwise very good and is full of sharp interesting photographs.
Historically Important album of interesting photographs of the mainly the northern part of Madagascar but also includes the photographers travels around Madagascar during the later years of French pacification. A large portion of the album shows different ethnic groups, such as Betsileo military men with their families (highland ethnic group), Antaimoros men in front of their houses (ethnic group on the southeast coast), Bourjanes men carrying goods, a Hora woman on her way to mass, and portraits showing the hairstyles and dress of women in Sainte Marie and Tomatave [Toamasina]. The photographs capture domestic and village scenes such as markets, local people building houses, fishing, piling rice, playing music, transporting water and bathing. One photograph shows Senegalese soldiers in service of the French washing their laundry in the river. Several images show groups of local and French people at Kabarys (improvised conference between two groups from different cultures), including a celebration of July 14th, a gathering “in honour of the district chief” and the collection of taxes (locals stand in a circle as a French officer walks around). There are also numerous photographs showing the French establishment and colonial activities on the island, including the Sakaramy train station under construction, colonial houses, views of Diego-Suarez and Cap Diego showing military huts, and views of Antisiranana showing the French quarter and the Malagasy quarter. Five photographs are captioned “after the cyclone of December 15th 1904” and show the destruction of buildings at the northern tip of the island, including the hospital of Diego [Antisiranana], military buildings in Sakaramy, and French and Malagasy men salvaging provisions from the debris. Also included are several photographs of natural landscapes including hunting excursions in the forest, the Besoka river, the Sakaramy waterfall and lakes near Foret d’Ambre [Alan Ambohitra]. Overall a very interesting overview of Malagasy people and landscapes in the late pacification efforts.
Madagascar was annexed by France in 1896, after which General Gallieni (1849 –1916) became the civil and military commander of the colony, abolishing the monarchy and exiling Queen Ranavalona III in 1897. From 1900 à 1902, Colonel Lyautey was responsible for the “pacification” of the southern region and worked towards the area’s economic development. Two insurrections, in the northwest (1898) and in the southeast (1904), were quickly put down, and, when Galieni left the island in 1905, unification had been achieved.


[Album of over 300 Original Gelatin Silver Photographs Documenting the Zaïan and Rif Wars in Morocco].

Ca. 1917-1925. Oblong Folio ca. 29x42,5 cm. Twenty-five purple album leaves. Over 300 original gelatin silver prints, two are ca. 17,5x23 cm (6 ¾ x 9 in), over 45 prints are ca. 12x17 cm (4 ¾ x 6 ¾ in) and the rest are ca. 9x11,5 cm (3 ¼ x 4 ½ in) or smaller. Photographs are mounted, and the majority with period manuscript black ink captions in French. Additionally with over 20 French newspaper clippings and magazine articles mounted on album leaves. Period maroon pebbled cloth album. Overall a very good album of interesting strong photographs.
This collection documents in detail the success of French conquest in Morocco between 1917 and 1925. It focuses on the submission of several Berber villages to French rule during and following the Zaian war (which took place 1914-1921, as France extended its influence in Morocco eastwards through the Middle Atlas, met with resistance from Berber tribes). These include Ksiba (captioned “newly won”), Aguelmame Aziza, Tsiwant (village stormed in 1923), Aït Bazza (photos include Colonel de Chambrun explaining the manœuvre on the eve of the attack and the submission of the village), an exchange between the Maréchal Lyautey and Zayan Pasha (1922), and the submission of Tribes from North of the Ouergha River to Aïn Aïcha in 1924. The album also documents a portion of the Rif War, a colonial war between Riffain tribes and the French and Spanish troops in the Rif mountains (1921-1926), including a visit from Damaso Berenguer, High Commissioner of Spanish Morocco, aerial photographs marking posts and villages, and several images of Riffain prisoners. Also included are over 15 photos of Almis du Guigou, including Armistice Day (November 11 1918), a visit from Alexandre Millerand ( President of France from 1920-1924) in 1922
The photographs are likely taken by Lieutenant de Séroux from the 1st Spahi Regiment, whose accomplishments are highlighted in newspaper clippings included in the album. A photograph shows his decoration by Maréchal Lyautey (the first French Resident-General in Morocco from 1912 to 1925) in June 1918. Also photographed is General Poeymiraum, one of Maréchal Lyautey’s collaborators; both are known for playing crucial roles in the submission of the Zaïans.
The photograph include (with the original French captions):
Fes; Campements; Premier avion atterit à Almis, 10-1918; Le Maréchal Lyautey me décore (june 1918); Almis du Guigou; Tazouta 1920; Sefrou 1920; General Poeymirau; Visite du Président de la République Millerand au Maroc; Khenifra; Le Maréchal et le Pasha des Zaïans; Ksiba nouvellement conquis; Rabat: Défilé du 14 Juillet 1922; Le roi et la reine des Belges s’embarquant sur le «Diana»; La reine des Belges à Casablanca; Dans le Moyen Atlas; Aguelmame Aziza; Le village de Tsiouant Foukani pris d’assaut en 1923; Aït Bazza: veille d’opération, Le Colonel de Chambrun explique la manœuvre; Visite du Général Berenguer, Haut Commissaire Espagnole à Fez, 1923; Le Pasha Baghdadi de Fes; Voyage des Attachés Militaires Etrangers au Maroc 1923; Soumission des Tribus du Nord de l’Ouergh à Aïn Aïcha (1924); Ma decoration à Aïn-Aïcha Janvier 1925; Taounate 1924-1925; Aerial photographs; Prisoniers Riffains Juillet 1925.


[Album with 230 Original Gelatin Silver Photographs, Including Over 180 Photos Showing German South-West Africa and the Events of the Herero and Namaqua Uprising: Swakopmund, Windhoek, Okahanja, Franzfontein, Okenyenya Mountain, Okawayo, Erongo Mountains, Spitzkoppe Mountain, German Military Camps and Posts, Drills, Portraits of Herero Leaders Samuel Mahaero and Hendrik Witbooi, the Family of a Herero Chief Zacharias Zeraua, An Executed Herero Man, German Military Officers, Herero Families, Children, etc.]

Ca. 1904-1906. Oblong Folio (ca. 40x51,5 cm). 28 card stock album leaves. With 230 mounted photos, the majority - gelatin silver photos, including twenty larger photos ca. 16,5x22 cm (6x10 in), the rest are from ca. 11,5x17 cm (4 ½ x 6 ¾ in) to ca. 7,5x10 cm (3x4 in); with five albumen photos ca. 10x15,5 cm (4x6 in) and six photochromic studio views of Frankfurt ca. 16x22,5 cm (6 ½ x 8 ¾ in). About 140 photos with pencil manuscript captions in German on the opposite back of the previous photos mounts, six photos captioned in negative. Period brown soft cover album with leaves fastened with a string. Cover with water stains and minor tears on extremities, several images faded, several mounts with minor tears not affecting the photos, but overall a very good album of interesting photos.
Historically significant extensive collection of original photographs taken by a German officer while on service in German South-West Africa (modern-day Namibia) which includes some vivid scenes and portraits illustrating the ill-fated Herero and Namaqua uprising and its suppression by the Imperial Schutztruppe. The album opens with a dozen photos of Frankfurt and other parts of Germany and is followed by about thirty portraits and views taken on board the German steamer “Lucie Woermann” which took the album’s compiler to Swakopmund (portraits of German officers and settlers going to the colony – with many names and military ranks captioned, views of Las Palmas, scene of the Equator crossing celebration etc.) Over thirty photos taken in Swakopmund show the unloading of the cargo, horses and artillery guns on the pier, office of the Woermann Line in the port (clear sign “Wormann Linie”), black port workers, a German officer with a photo camera, the compiler of the album with his German and native subordinates; six group portraits taken in the military camp near Swakopmund show soldier in the open-air canteen, a blacksmith’s shop, a music band, officers drinking beer etc.
Over a hundred the photos in the album depict German military camps and settlements, and native villages in modern-day north-central Namibia: Windhoek (Kaiser Wilhem Berg, Catholic mission, post office, hospital), German military cemeteries in Otjimbinde, Okahanja and Otjosondu (with clearly seen signs on the graves of Richard Max von Rosenberg (1878-1904) and Volkmar von Wurmb (d. 1904) and more graves identified in pencil on verso of the leaf); Khan railway station; Franzfontein (farm, German post); Okonjeje (Okenyenya) Mountain; Okawayo (German station in the bush, barracks, officers’ quarters, hoisting of German imperial flag on Kaiser’s birthday); Mounted Schutztruppe members in the Erongo Mountains; Spitzkoppe Mountain; railway station in Kalkfontein (?) etc. Very interesting is a photo of the house of a German settler Margarethe von Eckenbrecher near Okombahe, an Italian-style mansion abandoned by the family during the Herero uprising, with a painted (?) line from Horace but still seen above the main entrance “Caelum non animum mutant qui trans mare currunt” (“For those who cross the sea, the sky above changes but the heart does not”; more about the house and its history see in: Eckenbrecher, M. Von. Africa: What in Gave Me, What It Took from Me: Remembrances from My Life as a German Settler in South West Africa. Lenigh University Press, 2015).
The album includes several large portraits of the Herero people, including those of the uprising leaders Samuel Mahaero and Hendrik Witbooi, and the family of Herero chief Zacharias Zeraua who “was a firm Christian believer who attempted to remain neutral during the Herero-German war. He was the sole pre-war chief to survive the war in Namibia” (Gewald, J.-B. Herero Heroes: A Socio-Political History of the Herero of Namibia, 1890-1923. James Curry & others, 1999, p. 33). There are also portraits of “Franzfontein Hottentoten,” native children, “Das Alte Jakob Hottentot,” a German nurse “Schwester Selma,” photographs of a hanged Herero man and another one being beaten, scenes of military drills, portraits of numerous German military officers with many names written down on verso, portrait of an Englishman wearing a uniform Shutztruppe hat, views of military camps with tents and horses, including the tent of the album compiler etc. Overall an interesting content-rich original album giving an eye-witness account of the events of the Herero-Namaqua uprising and its suppression which became the first case of genocide in the 20th century.
“On January 12, 1904, the Herero people, led by Samuel Maharero, rebelled against German colonial rule. In August, German general Lothar von Trotha defeated the Herero in the Battle of Waterberg and drove them into the desert of Omaheke, where most of them died of thirst. In October, the Nama people also rebelled against the Germans only to suffer a similar fate" (Wikipedia).


[Album with Sixty-one Original Albumen Photographs, the Majority of Which are of South Africa Showing Detailed Views of Kimberley and De Beers Diamond Mines, Johannesburg Gold Mine, Sites and Memorials of the Anglo-Zulu and First Boer Wars, Views of Pietermaritzburg, Georgetown, Durban, Newcastle; Ethnographic Photos of Zulus and “Kaffirs”; With: Photos of Zanzibar (6), Lamu in Kenya (6), Aden (4) and Egypt (8)].

Ca. late 1880s. Oblong Folio (ca. 37,5x46,5 cm). 40 beige card stock album leaves. With 61 recto mounted albumen photos, with 27 larger ones ca. 26,5x36,5 cm (10 ½ x 14 ½ in) and smaller, 11 medium ones ca. 19,5x26 cm (7 ¾ x 10 in) and smaller and 23 smaller one 15,5x21 cm (6 x 8 ¼ in) and smaller. The vast majority of images either captioned in manuscript pencil on mounts or in negative in photo. Period brown gilt tooled half morocco, with pebbled cloth boards. Covers with mild wear at extremities, a couple of leaves mildly foxed at margins and a couple of leaves with minor tears and a couple of leaves loosened at hinges. Overall a very good album with strong interesting images.
The album contains nine excellent views of Kimberley and the De Beers diamond mines near the modern-day city of Kimberley (Northern Cape, South Africa), showing the mines’ exterior with rail tracks for mining carts, shafts and native workers, a general view of “De Beers Compound & Miners”, machinery and structures at De Beers' mine; “Drying Ground. "Blue" with Diamonds”; a sharp general view of Kimberley Market Square featuring the post office and the building of “Goodchild’s Auction house” among others; and a “Coach from Kimberly to Johannesburg” (standing next to the Kimberley booking office of Gibson Bros. who ran “coaches to the Transvaal gold fields”). There are also three interesting views of the Gold mines and extracted gold in the newly founded village of Johannesburg (1886), Transvaal Republic (Johannesburg Gold; Gold Crushing Stamps, Gold Reef).
The album houses several attractive views of Pietermaritzburg and environs (city panorama taken from the barracks of Fort Napier and marking the building of the officers’ mess, city club, Eden Falls near Pietermaritzburg etc.), Bond's Drift on Lower Tugela River (Natal), Georgetown (Cape Colony), Newcastle and Durban (Natal), three views of Cape oxen-driven carts, two staged portraits of “Zulus at home” and “Zulus as they "Walk out"”, a view of a “Kaffir Kraal”, and portraits of two “Kaffir” women. There are also interesting early photos of the British war memorials in South Africa – a large view of “Rorke's Drift Isandlwana” Hill, the site of the Battle of Isandlwana during the Anglo-Zulu War (1879), and two views of the British cemetery and memorial at Majuba Hill and Ingogo River (Shuinsshoogte) – the sites of two battles during the First Boer War (1880-81). Two photos portray British infantry regiments in South Africa.
The album also contains six views of Zanzibar (Portuguese Fort & Sultan's Palace, Universities' Mission Orphanage, interior of the United Christian Mission church, street scenes); six views of Lamu village (Lamu Island, Kenya) showing the fort, Vasco da Gama's column; six views of Aden and eight views of Egypt and Suez Canal by H. Arnoux, Zangaki, Bonfils, and others. Overall a nice collection of large early detailed views of famous South African diamond and gold mines, several major cities, and portraits of the native people.


[Album of Thirty-One Original Gelatin Silver Photographs Showing Important Places and Indigenous People in Sudan with an Emphasis on Locations along Sudan Government Railways].

Ca. 1925. Oblong Folio album ca. 30x37 cm (11 ½ x 14 ½ in). 31 original gelatin silver photographs each ca. 15x20 cm (5 ¾ x 8 in) including one photographic map ca. 20,5x27,5 cm (8 x 10 ¾ in) mounted on recto of 32 leaves. All are captioned and numbered in period manuscript white ink. Period grey full cloth album with a maroon gilt stamped leather label titled “SUDAN,” and maroon cloth corners. Album cover mildly worn at extremities, some mild staining of covers and back cover with a minor chip, but overall a very good album of strong photographs.
This album of interesting photographs of Sudan includes views of Halfa, Kassala, Sennar (Sannar), Khartoum, Omdurman, Suakin, and Port Sudan, which are all located along the Sudan government railways. Also, several images show the Al Gezira agricultural region which is known for its extensive irrigation scheme. “The Gezira scheme was introduced by the British in 1925, and distributes the waters of the Blue Nile through a 2,700-mile (4,300-km) network of canals and ditches to irrigate fields growing cotton and other cash crops” (Encyclopedia Britannica). The album contains images of native people picking cotton and harvesting wheat, a cotton ginning factory, and the main Gezira canal. It also shows views of the Sennar irrigation Dam during and after its construction, which was completed in 1925. Additionally, there are six photographs of Khartoum, including government buildings, Gordon College, Kitchener Memorial Medical School, people sitting in the garden of the Grand Hotel Khartoum and a group of Sudanese soldiers standing at the Khartoum Palace, captioned “The Governor General’s escort” (likely members of the Sudan Defense Force which was formed in 1925). There are also several photographs of southern Sudan along the White Nile, including images of a post boat near Rejaf and people in dugout canoes and on a Nile boat near Taufikia. Several interesting ethnographic photographs show native people, including portraits of a Hadendoa, an Azande, and a Shilluk, and there are photographs of local vendors at the grain market in Omdurman, women sitting outside a straw hut in Kassala, and people holding a camel outside “Arab Houses” in Suakin (once the region’s chief trading port that fell into disrepair in the 1920s). Many of the locations shown in the album are along the railway network in Northern and Central Sudan. A photo of a map at the beginning of the album shows existing and proposed Sudan Government railway routes: the latest one recorded is the Hayya – Kassala route completed in 1924. Also included is one photograph of a government railway express train. Overall, an excellent album with strong interesting photographs.
Captioned Photos: N°1287 Mail Boat at Halfa; N°1289 Roman Fort at Halfa Reach (?); N° 1220 Sudan Gov’ Railways Express Train; N° 1292 The Palace Khartoum; N°803 The Governor Generals Escort at the Palace Khartoum; N°1295 Grand Hotel Khartoum; N°1278 Government Buildings Khartoum; N°849 Khartoum. Gordon College; N°1219 Kitchener Memorial Medical School; N°1209 Omdurman. The Grain Market; N°990 Port Sudan Quays; N°1312 Suakin. Arab Houses; N°680 A Hadendoa; N°1284 Kassala Mountain; N°1290 A scene in Kassala; N°1294 A scene in Kassala; N°1254 Sennar Dam looking East. Upstream side under construction; N°1269 Sennar Dam. View below the Dam Completed; N°1291 Main Gezira Canal; N°847 Cotton Picking; N°2028 Cotton Ginning Factory; N°848 Harvesting Wheat; N°1293 Police Camel Race; N°1217 Rejaf Post Boat; N°1205 A boat at Taufikia; N°908 Azande on Trek; N°1213 Dugout canoes on the White Nile near Taufikia; N°826 A Shilluk; N°907 Grinding Telebun; N°987 Herd of Elephant.


[Album of Fifty-Six Original Gelatin Silver and Platinum Photographs Showing Ethnographic Views and Colonial Buildings and Infrastructure in Kenya, Uganda and Tanzania Following the Construction of the Uganda Railway (1896-1901).]

Ca. 1907. Large oblong Folio album ca. 26x33,5 cm (10 ¼ x 13 in). 13 light green stiff card album leaves. 56 gelatin silver and platinum photographs including 15 photographs ca. 15x21 cm (5 x 8 ½ in), 8 each ca. 10,5x15 cm (4x6 in), and the rest ca. 6,5x10 cm (2 ½ x 4 in) and slightly smaller, mounted recto and verso. All but 10 captioned in period manuscript blue ink or pencil. Period dark brown quarter sheep with gilt bands, brown pebbled cloth boards and moiré endpapers. Album and photographs in very good condition.
This album contains photographs of local people and colonial establishments in British East Africa (present-day Kenya), Uganda (protectorate established in 1896) and German East Africa (present-day Tanzania). A large portion of the photographs are taken along the Uganda Railway from Mombasa, where the Railway began in 1896, to the terminus at Kisumu on the eastern shore of Lake Victoria, where it was completed in 1901. One image shows local people standing near a railway station, and another shows railway worker gangers gathering near a cart. Several photographs show an Indian Bazaar in Nairobi, likely started by a community of British Indian labourers who were brought to Kenya to complete the railway in the late 1890s. "Built during the Scramble for Africa, the Uganda Railway was the one genuinely strategic railway to be constructed in tropical Africa at that time. 2,498 workers died during its construction"(Wikipedia). Many of the images are ethnographic studies of the local peoples including portraits, groups standing in a row with women holding their young children, people working, native settlements and market scenes. One photograph shows Kikuyu Natives in Nairobi sorting coffee beans on the ground as a European supervisor watches. Several images show colonial buildings, including the Memorial Cathedral in Mombasa (the administrative centre of British East Africa until 1905), and a Missionary Society School in Uganda which was founded in 1895 to educate native chiefs’ sons. Also included are images of a Government House, and a U.M.C.A. (Universities' Mission to Central Africa?) House and Chapel in Tanga, Tanzania, which was the first establishment and administrative center of German East Africa. Overall, an excellent album showing local peoples and colonial establishments in British East Africa, Uganda and German East Africa.
List of photographs:
Wakamba Women, B.E.A.; Kikuyu Natives B.E.A.; Kisumu Beef Market; Kikuyu boy outside hut, Nairobi 1907; Uganda Railway Co. Steamers on Lake Victoria, Nyanza, 1907, Kisumu; Ripon Falls, Source of the Nile, Jinja, Uganda; Exterior of Mombasa Memorial Cathedral; River View, Magda, G.E. Africa; Indian Bazaar, Nairobi, B.E.A.; Indian Bazaar, Natives Shopping, Nairobi, B.E.A.; Namirembe Markey, Uganda; Kampala Fort, Uganda; Ripon Falls, Jinja, Uganda; Queen Victoria’s Statue, Nairobi B.E.A.; Canoe, Lake Victoria Nyanza; Mengo, Uganda, C.M.S. School for sons of chiefs in foreground; Scenery, French Mission, Nairobi, B.E.A.; Kikuyu Natives sorting coffee beans, French Mission, Nairobi B.E.A.; Kibwezi Natives, B.E. Africa; Kavirondo Native; Kikuyu Women going to market, B.E.A.; Kikuyu Group, B.E.A.; Kavirondo Native; Watching the train pan, Kibos, B.E.A.; Kisumu Market; Gangers, Uganda Railway, B.E.A.; Interior of Mombasa Memorial Cathedral; King’s Lake, Mengo, Uganda; Waterfall near Magila, G.E.A. (2 views); Bagamoyo Village, Magila, G.E.A.; Tanga Bay, G.E.A.; Street in Tanga, G.E.A.; U.M.C.A. Mission House and Chapel, Tanga, G.E.A.; Government House, Tanga G.E.A.; Bridge built by the late Padre Harrison, Magila, G.E.A.; Village, Magila, G.E.A.; River, Magila, G.E.A.; View, Magila, G.E.A.; Public Gardens, Tanga, G.E.A.; Native Street, Tanga, G.E.A. (2 views); Bismarck’s Monument, Tanga, G.E.A.; Kisumu Market, B.E.A. (2 views); Station on the Uganda Railway, B.E.A.


[CHICHESTER, Harry D.] (d. 1911)
[Historically Important Collection of Fifty-six Original Photographs Showing American Sealers, the Fur Seal Industry, and Native People of the Pribilof Islands].

Ca. 1908-1911. Fifty-six loose gelatin silver prints of various size, including twenty-three larger photos ca. 11,5x16,5 cm (4 ½ x 6 ½ in), the rest are from ca. 10x13,5 cm (3 ¾ x 5 ½ in) to ca. 9x9 cm (3 ½ x 3 ½ in). Ten photos signed “H.D. Chichester 09,” “H.D. Chichester 08,” “H.D. Chichester” or “H.D.” in negative. Four images with period ink or pencil captions in English on verso. A couple of images mildly faded or with minor silvering on the margins, otherwise a very good collection.
Historically significant collection of original photos taken by Dr. Harry D. Chichester who worked as the agent of the U.S. Bureau of Fisheries on the Pribilof Islands in 1910-1911. Ten photos bear his signature in negative. Twenty-one photos (including eighteen large ones) depict the fur seal industry on the Pribilof Islands, including images of family groups of fur seals, men driving them to the killing ground, clubbing and skinning them, piling bundles of furs, loading them on boats etc. Other interesting photos show the sealers in wet suits on the sea shore, tents of native people, volcanic eruption over one of the Pribilofs, a vessel of a fur seal company, portraits of a group of Alaskan gold miners (?) inside their tent (with the scale and some papers in the foreground), of an American man dressed in a fur seal coat, hat and boots (on board of a vessel), a dog sled, a wooden building with the sign “Kingsland villa” and an American flag waving above, etc. Three photos are captioned and relate to the other parts of Alaska or the Aleutians – “Port Clarence [coast of the Bering Sea just south of the Seward Peninsula] – Indian grave,” “Unalaska Reindeer,” and “Nome – native camp on Koozitreen River” [Kuzitrin River, Seward Peninsula].
Over a dozen photos taken by Harry Chichester are deposited in the C. Willard Evans photograph collection in the Historic Documents Department of San Francisco Maritime National Historical Park (see more: http://www.oac.cdlib.org/findaid/ark:/13030/c8571f98/entire_text/). Although the images themselves are nor available for the online view, they are supplemented with captions and annotations which may indicate that some of the images are the same as in our collection:
1) Box 1. Item No. 002. Bogoslof Island, Alaska, 1892. Steam and/or ash is rising from the island on the left side of the photograph.
2) Box 1. Item No. 046. Two men standing on a rocky beach in Alaska, 1909. The men appear to be dressed for wet weather. The men in Item 105 are wearing similar clothing.
3) Box 1. Item No. 050. Men rowing ashore at Saint George Island, Alaska, circa 1900-1911. A steamship is in the right background, port broadside view. In the left middle distance, men are rowing ashore. In the foreground, a group of men are waiting the rowers' arrival at the landing.
4) Box 1. Item No. 051. Men unloading supplies from a rowboat at Saint George Island, Alaska, circa 1900-1911.
5) Box 2. Item No. 096. Group of fur seals being driven to the killing grounds on Saint George Island, Alaska, circa 1900-1911. Two men are in view, one of which is holding a long stick.
6) Box 2. Item No. 099. Men clubbing fur seals on Saint George Island, Alaska, circa 1900-1911. The fur seals are huddled together and the men are encircling them. Each man is holding a long stick.
7) Box 2. Item No. 110. Walrus in Alaska, circa 1900-1911. Close-up view of the head.
Harry Chichester was on the Pribilof Islands as early as in 1896, when he was mentioned as an employee of the North American Commercial Company, who took pictures for the members of the Commission of Fur Seal Investigations on St. George Island (Jordan, D.S. Observation on the Fur Seals of the Pribilof Islands: Preliminary Report by … Commissioner in charge of Fur Seal Investigations for 1896. Washington: Government Press, 1896, p. 6; Jordan, D.S. The Fur Seals and Fur Seal Islands of the North Pacific Ocean. Part 1, Washington, 1898, p. 21). In 1910, with the end of the private lease of the islands by the North American Commercial Company and transfer of their administration to the state Bureau of Fisheries, Chichester became its first official agent, stationed in St. Paul, and in addition to his duties carried out a survey of living conditions of the local population, ordered by the authorities from Washington. The survey covered housing, clothing, diet, living habits, diseases and parasites, alcohol abuse etc., but was never completed as Chichester died on May 31, 1911 in a boat accident during a leisure trip. A boat with Chichester, Dr. Walter L. Hahn (the resident naturalist) and their wives capsized in the salt water lagoon near the village of St. Paul. Chichester and Hahn managed to bring the boat and their wives on shore, but both men died the same day due to the long exposure to ice cold water (see more: Martin, F. Before the Storm: A Year in the Pribilof Islands, 1941-1942. University of Alaska Press, 1910, pp. 111-113). Chichester’s photographs of fur seals were used as illustrations to several editions of D.S Jordan’s “Matka and Kotik: a tale of the Mist Islands” (San Francisco, 1897, 1900, 1903, 1910 &c).
Overall a very historically interesting collection of original photos giving a first-hand account of the fur seal industry and everyday life on the Pribilof Islands in the early 20th century.


MOXHAM, Edgar Coleman (1858-1913)
[Album with Sixty Original Gelatin Silver Photograph Portraits Taken on a Voyage from St. John’s in Newfoundland to Rowsell Harbour Located North of Saglek Bay in Northern Labrador, Including Views of the Rowsell Harbour and Camp Headquarters, Moravian Missionary Station in Hebron, Bays and Inlets of Labrador, Icebergs and Packed Ice, St. John’s, Brigus, Portraits of Inuit, Missionaries, “liveyere Old Tom Evans and His Dogs” Edgar Moxham Himself, etc].

Ca. 1905. Oblong Folio (ca. 28,5x40 cm). 18 gray card stock album leaves. With sixty mounted gelatin silver prints, including one large photo ca. 15,5x25,5 cm (6 x 10 in); the majority of the photos are ca. 8x13,5 cm (3 x 5 ½ in), four smaller photos are ca. 7,5x9,5 cm (3 x 3 ¾ in). All photos with detailed white ink manuscript captions on the mounts, the first and the last leaves with extensive handwritten passages by Moxham describing the expedition and listing its most notable members. Period black cloth album with leaves fastened with a string and a gilt lettered title “Photographs” on the front board. Cover with some minor water staining, several images slightly faded, but overall a very good album.
Historically important first-hand visual account of this early 20th century sea voyage along the western coast of Newfoundland and Labrador from St. John’s to Rowsell Harbour, a fjord about 50 kilometers north of Saglek Bay in northern Labrador. The album was compiled by the expedition leader Edgar C. Moxham, an American mining engineer and a brother of Arthur J. Moxham (1854-1931), one of the founders of the “Dominion Iron & Steel Company” in Nova Scotia and an executive of the DuPont Company for over 10 years (1902-1914). The expedition sailed on board the sealer steamship “Kite” (which was used by Robert Peary during his Second Greenland Expedition in 1891) and aimed to pick up a party of 107 miners who were developing a pyrite deposit near Rowsell Harbour. The “Kite” left St. John’s on the 24th of June 1905, “expecting to traverse the distance of but 1000 miles in 6 to 8 days,” but “met with Arctic ice soon after its departure & as a result it was not until 3rd August that the ship was able to penetrate to its destination, after a voyage of 40 days. All hands were immediately embarked and the expedition returned in safety, to St. John’s 10th August 1905.”
The album contains over forty photos taken in Labrador, including a large excellent view of Rowsell Harbour with the “Kite” near the shore and five smaller views of the Rowsell Harbour showing the “Camp Headquarters,” “The Harbour from Camp” and the rocky cliffs surrounding the fjord. Very interesting are the four photos of the Moravian missionary station in Hebron where the “Kite” had to stay for several weeks, waiting for the sea to clear from the ice (the mission was closed and the site was abandoned in 1959, it was designated a National Historic Site of Canada in 1976). The photos include a general view of the mission buildings and three portraits, showing missionaries Paul Schmidt (1870-1912), Ernst Bohlmann (1864-1945), “Revd. Asboe [?]” “Native servants of the Mission & Capt. Collins,” and “Children of the Moravian Missionaries.” The other photos of Labrador show the Battle Harbour, whaling station at Cape Charles (four views, including that of a “cargo of whalebone”), Okak Islands, crew members waiting for the ice to loose at Turnovik, Black Islands where “fog and ice held us for 2 days,” “Kiq-la-Paix we were again held for 36 hours”, heavy ice in the Saglek Bay, two photos of a pack of huskies “pulling water wagon,” several views of the sea covered with “the crush ice” which “had forced itself more than half way up & over the mountainous coast… a moving, cracking, groaning mass,” etc. There are also several interesting portraits showing an Inuit in his kayak at sea, a “liveyere” “Old Tom Evans and his dogs,” and two groups of Inuit on board the “Kite,” captioned “Our good little friends and constant visitors, especially at scoffin (meal) time,” and “Sweethearts and wives.” A dozen views of Newfoundland show St. John’s Harbour, the pier at Brigus (two photos taken on the “Kite’s” departure and return), the western coast (Bay of Islands, Twillingate, Little Bay, Bay of Roberts), coastal schooners met on the way, the deck of the “Kite” with a crewmember “Joe Morgan,” and the Cabot Tower in St. John’s with signal flags “Welcome Home.”
The first leaf of the album contains a detailed description of the expedition’s proceedings, the last leaf has a touching dedication to the expedition members: “With gratitude and thanks beyond words to you, my comrades & friends, tried and true, to whose grit, skill, and steadfast purpose alone is due the safe return of the expedition: John Bartlett, Mangr. – Robt. A. Bartlett Capt. s/s “Algerine,” John Bonzain, mine Foreman; George Bartlett – Doctor; Geo. Collins, Capt. Of s/s “Kite,” to our faithful Mickmack Indian hunter John Stevenson who lost his life in our service and to One more dear at home I dedicate this record of our venture into the frozen North, Edgar C. Moxham, Mining Engineer in charge of both expeditions.”
Many photographs are supplemented with extensive manuscript passages, describing particular events of the voyage or Moxham’s thoughts about them, i.e.: “The weeks dragged by, the situation becoming acute. This is 3rd August. On the 24th of last August the snow storm, such as no ship can expect to live against, had commenced. Only 3 weeks could therefore be counted upon to reach our men. Failing this we must return South with the ice flow for our own preservation, thus abandoning our expedition at Rowsell’s “in extremis.” An attempt was made by one of the party to cross the intervening 50 miles overland, but even this was found to be quite impossible for any white man to accomplish.”
The album opens with a portrait of Edgar Moxham and a photo of a wolf who according to the caption, are “two of a kind;” on the verso of the first leaf Moxham qoted several lines from Rudyard Kipling’s romantic poem “The Explorer” (1898):
"There's no sense in going further - it's the edge of cultivation,"
So they said, and I believed it…
Till a voice, as bad as Conscience, rang interminable changes
On one everlasting Whisper day and night repeated -- so:
"Something hidden. Go and find it. Go and look behind the Ranges --
"Something lost behind the Ranges. Lost and waiting for you. Go!"
Overall a rare content rich photo album, giving a vivid account of the life in Canadian Arctic and the difficulties of an Arctic voyage in the early 20th century.


VAUDRY, Jean-Baptiste (1875-1938)
[Historically Important Album with Fifty Original Gelatin Silver Photograph Portraits of Indigenous Peoples from the Chaco Boreal and Nearby Regions of Eastern Bolivia, including Chiriguano & Tembeta (Eastern Guarani), Mataco & Noctene, Chorote, Toba & Topiete People, Quechua from the Potosi Department and Aymara from Western Bolivia, Showing Chiefs, Missionary Schools, Family Groups, Villages, Musicians, French Expedition Members and Vaudry Himself; With Detailed Manuscript Captions by Vaudry, the Album is Titled:] Souvenir d’un voyage au Chaco Boreal. Potosi. 4 Juillet 1904.

Ca. 1903-1904. Oblong Quarto (ca. 21x30 cm). 24 card stock album leaves. With fifty gelatin silver prints, including 48 mounted photos ca. 12x17 cm (4 ¾ x 6 ¾ in), and two smaller photos loosely inserted, ca. 8,5x12 cm (3 ½ x 4 ½ in). All mounted photos are placed within ink-drawn frames and supplemented with detailed captions in Spanish by Vaudry. His presentation inscription in French: “Souvenir d’un voyage au Chaco boreal. Potosi. 4 Juillet 1904. J.B. Vaudry. Ingénieur.” in black ink is written on the front free endpaper of the album. Period green cloth album with blind stamped decorative borders and a gilt lettered title “Album” on the front board; all edges gilt. Album mildly rubbed and with some mild wear of extremities, several mounts with mild wear on blank margins, several images mildly faded with a couple moderately faded, a larger and smaller photo with small corners missing, but overall a very good important album of interesting photos.
Historically important album of large well-executed ethnographical portraits of people from several tribes of southern and eastern Bolivia, most from the remote region of Chaco Boreal. All photos are annotated in detail by the photographer – a French engineer Jean-Baptiste Vaudry who took them while in the service of the Bolivian-Argentinean Boundary Commission (1902-1904). Vaudry also collaborated with the French scientific mission to South America led by Georges de Créqui-Monfort and Eugène Sénéchal de Lagrange (1903-1904) which carried out a comprehensive ethnographical research of the Bolivian people. Vaudry issued an account of his travels in 1908 (Dans l’Orient bolivien. Notes sur provinces de Chiquitos y Velasco// Annales de géographie, tome XVII, 1908, 71-80) and became a corresponding member of the Geographical Society of Sucre the same year. He prepared several maps of Bolivia, including “Mapa de la region Uncia-Colquechaca” (1924). Vaudry’s photograph portraits of native Bolivians, including many included in this album, were used as illustrations in Arthur Chervin’s “Anthropologie Bolivienne” (Paris, 1908, 3 vols.) which summarized the results of the ethnographic research of Georges de Créqui-Monfort and Eugène Sénéchal de Lagrange’s expedition.
The album opens with thirteen portraits of the Quechua people photographed in towns and villages of the Potosi Department in southwestern Bolivia, including Potosi; Samasa (east of Potosi), Chaqui, Siporo, Caiza, and Bartolo (all in Linares Province); Tomare, Porco, and Yura (Porco Province); and two towns of Chuquisaca Department (south-central Bolivia) - Sopachuy (Tomina Province), and Tarabuco (Yamparaez Province). Twelve photos portray Chiriguanos & Tembetas (Eastern Bolivian Guarani people) from villages and Catholic missions across southeastern Bolivia - Acero Province of the Chuquisaca Department (Mision de Santa Rosa de Cuevo and Mision de Machareti); and Gran Chaco Province of the Tarija Department (Tatarenda, Caiza, Mision de San Francisco Solano, Mision de Tareiri, and Fortin Murillo). The following twenty-two portraits are solely dedicated to the people of the Chaco Boreal. There are eight portraits of Mataco and Noctenes people from the basin of the Pilcomayo River and Gran Chaco Province of the Tarija Department (Fortin Murillo, Los Puentes, Colonia Crevaux nueva); one photo portrays Achicoria, a son of Cacique Sirome from Puesto del Hito (Argentina). Five portraits show the Chorotes from Caiza and El Galpon, and nine photos show the Tobas people from Fortin Murillo, Tayasunanca, Colonia Crevaux, and Teyu (all in the Gran Chaco Province, Tarija Department). The last photo in the album shows a group of the Tapiete people (Acero Province of the Chuquisaca Department). Two smaller loosely inserted photos portray the Aymara people from the Andes in western Bolivia.
The portraits show individuals and family groups, children with teachers and priests in missionary schools, tribal chiefs and their children, musicians, smokers, a man in a hunting outfit with a bow and arrows, et al., with details of national costumes, footwear and decorations clearly visible; several photos show native villages with huts made of grass. European or non-native settlers, missionaries or officers present on several photos, including Vaudry himself who poses with the cacique and several Mataco men in Los Puentes, and with Toba boys in Fortin Murillo (both Gran Chaco Province). All mounted photos are supplemented with the captions giving details about the tribes of the photographed people, the locality, province and department where they were taken; just over a dozen include interesting additions of peoples’ names, professions or social status – “El Cacique Bairahua y familia,” “Marcelina,” “Juana,” “Napoleon Taco ó Yaguaraco (hijo del Cacique Grande Mandeporrai) y Senora,” “El Cacique;” Vaudry also marks teachers and missionaries on the group portraits and provides their names - “Maestra Tarijena,” “Maestra Crucena,” “R.P. Ficorecco (franciscano italiano)” et al. Overall a historically significant and valuable content rich visual source on the traditional culture and life in the Chaco Boreal and nearby regions of Bolivia at the turn of the 20th century.


[Historically Important Album with 190 Original Gelatin Silver Photographs Taken by a French Prospector Travelling to the Cariboo Region in British Columbia, Documenting in Detail the Last Years of the Cariboo Gold Rush, Including Gold Exploration and Mining Along the Quesnel River, Life of Indigenous People on Quesnel Reserve, Views of the Prospector's Travels to the Cariboo Gold Region in British Columbia Including the Cariboo Wagon Road, Travels Across Canada on the Canadian Pacific Railway, and Photographs of the Buildings and Streets Scenes From the Towns on the way Including Vancouver, Victoria, Ottawa and New York.]

Ca. 1896. Oblong Folio album ca. 25x34 cm (9 ¾ x 13 ¼ in). 190 original gelatin silver photographs each ca. 5,5x8 cm (2x3 in) mounted in windows 4 per page on recto and verso of 24 stiff card leaves each ca. 23,5x29 cm (9 ¼ x 11 ½ in), including 16 matte photographs and the rest glossy, all captioned in French in period manuscript pencil on the beneath the photos on the mounts. Period red half morocco album with red pebbled cloth covers, with small period manuscript black ink label “Ile de Vancouver et Colombie Britannique” and marbled endpapers. Mild wear at album extremities, a few minor chips on covers, one leaf with small tear, and very mild foxing at leaf extremities but otherwise a very good album with historically interesting strong sharp photographs.
This historically significant album documents the travels of a French prospectors to British Columbia during the last years of gold exploration in the Cariboo region, and just prior to the Klondike gold rush (1896-1899). The travellers arrived in New York, visited Ottawa and took the Canadian Pacific Railway to the West Coast, where they visited Vancouver and Victoria, then travelled on the CPR to Ashcroft. From Ashcroft, they travelled north along the Cariboo Wagon Road (a project initiated in 1860 to provide safer access to the Interior during the Gold Rush) until Soda Creek. There they boarded the Charlotte steamer (built in 1896 and the only steamer on the upper Fraser until 1909) and travelled north along the Fraser River to “Quesnel Mouth” [Quesnel]. From Quesnel they travelled east and then south along the Quesnel River to the Quesnel Forks area.
Over 80 photographs show activities at various mines along the Quesnel River and views of hillsides that had been washed away due to hydraulic mining. These include ca. 50 photographs of the “French Claims” mining camp across the river from the Johnson and Sullivan claims, which show workers taking samples from the riverbed, gold panning using a sluice box and a rocker box, and digging trenches, the Chinese cook for the camp, the tents and a log house captioned “House of French Claims.” There are also views of Fader’s dredging camp (1895 – 1899), a trench at Sullivan claim, and views of the Johnson Claim and the Columbia claim (1895 -1899). Several photographs show mines near Quesnel Forks including Gold Point mine, Morehead Lake camp and Little Lake camp, one of which shows a group of Japanese workers eating lunch at the work site.
The photographs of Indigenous people are particularly interesting as they show communities taking part in traditional customs with evidence of the European influence in their attire. The photos capture a transitional phase for the local people, who were moved onto the reserve and who were increasingly affected by European influence (the closest residential school, Saint Joseph’s mission, opened in 1890). Fifteen photographs show a “rancherie” in Quesnel (colloquial term for residential cluster on a reserve), including a group of women sitting with their children in front of a wooden “summer house,” a man chopping wood, salmon hanging to dry, a “cache” where provisions are stored, the chief and his wife, an elder, and a view of the cemetery. There is a photograph of a family, including two women wearing headscarves, one of which is carrying a baby on her back. One photograph is captioned “young Shilkotin man” [Tsilhqot'in (Chilcotin)]. Another photograph shows three men dressed in European clothing returning from salmon fishing; one of them is holding a knife and a freshly cleaned fish.
The album includes ten photographs of Quesnel Mouth [Quesnel] including a group photo of Chinese people in front of a house with a sign that reads “Wa Lee Co.” and captioned “House of Qua Li, Chinese negotiator,” a street in Quesnel showing the “James Reid General Merchant” store (established in 1873), and a photo of a Hudson’s Bay Company boat arriving with a dozen people paddling and sitting with their legs dangling over the edge.
Also included are 10 views from the CPR on the way to Vancouver (The British Columbia (BC) portion of the railway was constructed between 1881 and 1885) including Nepigon, Fort William; Russian peasants (mujiks) employed in agricultural export in Manitoba and Assiniboia; Port Arthur; Winnipeg; Brandon (debris from a train crash); Laggan; a CPR snow plow. Ca. 20 photographs of places in Vancouver including the new CPR station; Granville Street; Stanley Park; Hotel Vancouver; Georgia Street; Methodist Temple; Cordova Circus; Anglican Church; Cordova Street; Bank of Montreal; Hudson’s Bay Company store; Railway street; the Courts; and the Velodrome. 4 photos of Ashcroft, showing the CPR station, a main road; a Chinese street and a Thompson river bridge. Stops along Cariboo Wagon Road: Begin at Ashcroft (became the southern end of wagon road when it was revised in 1885), Clinton; 83 miles house; 150 miles house; indigenous house. Additionally, there are four photographs of New York and one view of the Ottawa. Overall a very historically interesting album which documents French prospectors travelling to British Columbia on the newly constructed CPR to take part in the final days of the Cariboo Gold Rush, just before the Klondike Gold Rush.


[Rare Historically Significant Album with 367 Original Gelatin Silver Photographs Documenting the Early Life of the Francophone Communities in Southern Saskatchewan, Including Forest Hill Ranch, the town of Dumas, Eastend Ranch and Sixteen Mile Ranch in the Cypress Hills and Others; with Interesting Early Photos the Town of The Pas in Manitoba].

1911-12. Oblong Folio album ca. 29x41 cm (11 ¼ x 16 ¼ in). 53 brown, blue or green card stock leaves. Total of 367 original gelatin silver photographs including two panoramic views measuring ca. 5,5x29 cm (2 ¼ x 11 ¼ in) and ca. 5x16 cm (2 x 6 ¼ in), and three larger photographs ca. 11x17 cm (4 ½ x 6 ½ in); the rest are from ca. 8x13 cm (3x5 in) to ca. 5x5 cm (2x2 in). 42 leaves with loosely inserted pieces of paper with period manuscript captions in French annotating all or some of the photos mounted on the leaves. Period brown quarter morocco album with gilt tooled spine and brown pebbled cloth boards, some very minor wear at extremities, a couple of images mildly faded, but overall a very good album of strong interesting photos.
Historically significant extensive collection of original photos Documenting the early life in the French communities of southern Saskatchewan, many of which have disappeared in the second half of the 20th century. The photos were taken by a French resident of the Forest Hill Ranch – a small livestock enterprise several kilometers south of the French village of Dumas (near Wawota, southeastern Saskatchewan) which was established in the first decade of the 20th century by three French emigrants - doctor A. Nové-Josseraund, Antoine Picot and Bernard de Witte. The ranch was initially successful and grew to housing about 120 horses and more than 300 heads of cattle, but the WW1 ended its development, with most Frenchmen leaving for the battlefields in Europe; the ranch was not in existence after the war. The nearby Francophone town of Dumas was founded in 1901 and had flourishing years in the beginning, especially with the arrival of the Wolseley-Reston side branch of the CPR in 1906. In the 1940s it had about 100 inhabitants, two grain elevators, a church, a school and several private businesses, but the abandonment of the railway branch in 1961 led to the end of the community; Dumas is a ghost town nowadays.
The photos were most likely taken by Antoine Picot, one of the founders of the Forest Hill Ranch: he moved to Lyon after the WW1, and the period paper labels with manuscript captions and notes to the images (loosely inserted between the album leaves) have printed letterheads of a Lyon hotel. Over 200 photos show the Forest Hills Ranch, the town of Dumas and surroundings: the main ranch house, panoramic views taken from the house (with a note marking “maison du Docteur A. Nové-Josseraund”), horse corrals and different breeds of horses, buildings in Dumas, town panoramas taken from the distance and showing the CPR station and a train passing by, a photo of the Dumas General store with the owner posing in front with his wife and daughter, herds of horses near Kennedy village, nearby lakes and forests (Jew Lake, Fish Lake), scenes of hunting, harvesting crops and hay, winter transportation of logs on horse-driven sledges, numerous portraits of the French settlers (Bernard de Witte and J. Pion among the identified), including a vivid portrait of a female horse rider captioned “Miss.” About sixty photos show French ranches near Eastend in Saskatchewan’s Cypress Hills, including the famous Eastend Ranch and Sixteen Mile Lake Ranch owned by brothers Daniel and Jean Tenaille (the main houses, the ranch lands, horse training in the corrals, Dan Tenaille in his Ford car etc.); one photo shows Daniel Tenaille in the military camp in July 1912 while giving orders (he was a Major of the 27th Light Horse Regiment, and died in battle in 1915 near Pas-de-Calais). About forty photos depict town of The Pas in western Manitoba where the album’s compiler travelled in March 1912; interesting images show Hotel de Pas, the office of the “Hudson’s Bay Herald” newspaper with its editor and publisher A.H. De Trèmaudan (1874-1929) posing in front, the “Dreamland” cinema theatre, drug store, dentist’s office, church, jewelry shop, several photos of the Hudson Bay Railway bridge over the Saskatchewan River under construction (built in 1910-12), local restaurant with the sign “Meals at all hours” etc. Other interesting photos show the travelling party on the way to and in Banff – apparently, they drove Dan Tenaille’s Ford car, a member of the group riding horse down a street in Calgary, Lethbridge Viaduct in Alberta (constructed over the Oldman River in 1907-1909), the port of New York etc. Overall a very interesting album with important original photos of French farms and settlements in Saskatchewan in the early 20th century.
“A visitor to Dan Tenaille’s ranch could not easily tell whether he was in Canada or in the United States, but he would quickly recognize the effects of imported money and grand aspirations. The site was just north of Eastend on Little Frenchman Creek, harboring amenities the French-speaking Metis buffalo hunters of decades past could scarcely have imagined. The Tenaille house sat, startlingly large, on the wooded creek bank. In a country of dirt-floor shacks and two-room ranch houses, it was a marvel: two stories, French-style shingles, two double-decker porches, a glassed-in veranda, thirteen rooms, wooden ceilings, cedar paneling flawlessly matched by a carpenter brought over from France, imported French linen wallpaper, gaslights, indoor running water, a wine cellar. There was a dark room for developing photographs, one of Tenaille’s many hobbies, and an outdoor exhibit of wild animals in cages and hillside enclosures. Tenaille bought land from homesteaders – a modes 560 acres, according to family records – and named his New World playground Eastend Ranch. He stabled purebred horses – Percherons, Thoroughbreds, and polo ponies – and let the rest of his livestock roam south to the international border. He played polo, chases coyotes in an early Ford automobile, and tobogganed down the hills at breakneck speed, racing against a stopwatch. <…> Dan Tenaille, his brother Jean, to whom Dan was “deeply attached,” and Guy Armand Thomas De Cargouet, a man who claimed to be a French viscount, formed a small phalanx of French aristocracy across southwest Saskatchewan. Jean built a stone residence on Sixteen Mile Lake, just north of Maple Creek, that was even more elaborate and formidable that Dan’s house. It had glassed-in-shelves, a window where hired help received wages, a large dais on which the dining room table sat, and an observation deck on the roof for sighting and shooting ducks” (LaDow, B. The Medicine Line: Life and Death on a North American Borderland. New York: Routledge, 2002, p. 95).


[Album with Twenty-four Original Gelatin Silver Photos Documenting the 1919 Voyage of S.S. Boveric Through the Strait of Magellan Starting in the South Atlantic and Ending in Iquique, Chile].

September - October 1919. Oblong Octavo album (ca. 15,5x20,5 cm). 11 brown card stock leaves. With 24 mounted gelatin silver photos, ca. 11x16,5 cm (4 ¼ x 6 ½ in) and slightly smaller, all captioned in detail in manuscript black ink on mounts and all dated and initialled F.A.. Period brown stiff card covers album titled on front cover "Photos." Covers with some minor wear at extremities, but overall a very good album with strong sharp images.
Historically interesting album of original gelatin silver photos taken on a voyage S.S. Boveric through the Straits of Magellan and include views of: Stern of S.S. Boveric in a gale 200 miles from the Straits of Magellan; Gale in South Atlantic; southern Patagonian channels (x2); Entrance of Chasm Reach (x2); English Narrows (x5); Glacier in Sarmiento Channel (x2); Indians coming alongside, in dug-out canoe; Plaza showing Cathedral, Conception, Chile; Plaza, Santiago, Chile; Plaza da Armas, Santiago, Chile; Travellers in a car out at Florida near Santiago, Chile; River Maipu, 20 miles from Santiago; River Maipu entering Turbines; S.S. Huasco Arica, Chile; S.S. Boveric leaving Iquique, Chile; Waterfront at Arica, Chile; Moro Rock, Arica, Chile. The S.S. Boveric was a 3987-ton steel screw steamer, built by Russell and Co. Of Glasgow in 1898. (NLA).


[Rare Collection of Thirty-two Gelatin Silver Photographs Showing Important Buildings and Street Scenes from Santiago [De Los Caballeros] and Environs].

Ca. 1910. With 32 original gelatin silver photographs, each ca. 13x18 cm (5x7 in), most numbered or captioned in negative and a couple of images with manuscript captions in pencil or blue crayon on verso. Twenty images with photographers stamp Cantinchi (13) or De Lancey (7) in negative. Overall a very good collection of interesting strong sharp images.
Rare collection of views in and around Santiago in the Dominican Republic. The present historically interesting images include photos from the Hielo Saw Mill and Ice Plant, Pension Belge, Train Station, Parke de Moca, Santo Cerro's Village, City Hall, Road Near Santiago, Road to the River, The Guardia Camp, Gurabito River, Leather Making, Cathedral, San Jose Church, Ruins Old Santiago, Church, Santo Cerro, Governor's Palace, Nibaje Bridge etc.., "Founded in 1495 during the first wave of European settlement in the New World, the city is the "first Santiago of the Americas".., European neoclassicism is represented at the Palace Hall, built between 1892 and 1895, by a Belgian architect named Louis Bogaert. The Victorian era was the zenith of architecture in the city. Numerous residences were built in this European style, which makes up the historic center of Santiago" (Wikipedia).


[Historically Important 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.]

Ca. 1907-1909. Oblong quarto album ca. 18x29 cm (7 x 11 ½ in). 69 card stock leaves (5 blank). With 127 original gelatin silver photos (one loosely inserted, the rest are mounted), the vast majority ca. 11,5x16 cm (4 ½ x 6 ¼ in), with five large photos ca. 15x20 cm (6x8 in), and three smaller photos ca. 7x15 cm (2 ¾ x 6 in) and smaller. All but one photo captioned and/or dated and/or numbered in pencil or white ink on the lower margins or on the mounts. Period maroon quarter cloth album with marbled papered boards, album fastened with a string. Album rubbed on extremities, several images with mild silvering, but overall a very good album of strong interesting images.
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).
Our 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.


CHESTER, C.L. (1877-1958)
[Rare Collection of Thirty Gelatin Silver Photographs Which Document C.L. Chester's Travels Through Peru (Lima and along the Central Railway) in 1910 and Show Urban and Rural Scenes Including Indigenous People].

1910. With 30 original gelatin silver photographs, each ca. 12,5x17,5 cm (5x7 in), all numbered and captioned in manuscript black ink in English on verso and additionally with a C.L. Chester copyright ink stamp on verso. Overall a very good collection of interesting strong sharp images.
C. L. Chester was a pioneer documentary film maker who began his career as chief travel cameraman with the Edison Film Company. The present Peruvian photographs were created during that time and were featured in Century Magazine in 1911. Additionally, Chester also supplied the photographs for two photo illustrated books on Lima and the railway of central Peru which were published in 1913. The present historically interesting images include photos from both Lima and central Peru and show: an Chester on a raft in the Perene River, native Chuncho Navigation, Perene River, San Ramon (jungle town), poncho weaving, Huancayo, La Merced, Chester and his group on the trail, Chuncho Indians, Perene colony store, Pizarro's bones, Lima, Calle de Lima, Callao, Miraflores, Exposition Building, Lima, old Inca terraces below Matucana, Ticlio (camera was in mouth of Galera tunnel), Morococha lakes, Ticlio, La Punta, Puente de Challape, Central Railway, Huancayo Branch, Central Railway, Huancayo Valley, On trail to the Perene, spinners of yarn, Infiernillo, Galera Tunnel, government trail to headwaters of the Amazon, government trail to Rio Perene, Jungle in the Perene, government trail. Overall an historically interesting collection showing Lima and Central Peru in the early 20th century.


[Album of 174 Original Gelatin Silver Photographs of the Voyage of German Naval Officer Fritz Standke to the Iguazu Falls and Asuncion on a Streamer via the Rio de la Plata, Uruguay, Parana, Paraguay Rivers with Stops in Uruguay, Argentina and Paraguay].

1918. Oblong Folio (24.5x33cm). 30 brown album leaves. With 174 original gelatin silver photographs ca. 17,5x23,5 cm (7 x 9 ½ in) and smaller, the smallest ones ca. 4,5x6,5 cm (2 x 2 ½ in). Images mounted on recto and verso of album leaves most captioned in German in manuscript white ink and some with printed paper labels on mounts. Additionally included are two manuscript maps in white ink and mount mounted printed text describing details of the journey. Original blue patterned full cloth album. Overall a very good album of interesting strong photographs.
The interesting photographs in this very extensively annotated album include views of Argentina (Buenos Aires (Darsena Norte), Isla Martin Garcia with interior and exterior photos of barracks, Colon, Concordia, Posadas including a series of photographs documenting the harvest of Yerba Mate, San Ignacio including ruins of the old mission, riding through the Amazon Jungle; Uruguay (Paysandu, Salto); A series of over 70 photos of the Iguazu falls with hotel and surroundings; Paraguay (Asuncion (panorama and port); San Bernardino). Included in the photographs are two-part panoramas of Darsena Norte, Garganta del Diablo, Asuncion, San Bernadino, Iguazu Falls.


LAUNAY, Louis de (1860-1938)
[Collection of Forty-four Large Original Platinum Print Photos Showing Spitsbergen during the Early Years of Industrial Development on the Archipelago].

Ca. 1910. 44 loose platinum print photos, each ca. 16x21,5 cm (6 ¼ x 8 ½ in), all with period pencil numbers on versos. With the original film developers paper envelope for the photographs. A couple images mildly faded, the envelope with tears, but overall a very good collection of strong interesting images.
Interesting collection of original photographs taken by a noted French geologist Louis de Launay during his trip to Spitsbergen in 1910. Apparently drawn by the rapid development of coal and mineral mining on the main island of this Arctic archipelago in the early 1900s, de Launay took a summer cruise on board the French steamer “Ile de France” with a group of French tourists. The photographs include four group portraits of the tourists on board the steamer, a view of them being transported on shore in two pinnaces pulled by a tugboat, and three portraits of the tourists walking on shore (with one photo most likely depicting de Launay studying a piece of glacial ice). There are also several views most likely showing Longyearbyen - the only major settlement on Spitsbergen at the time, founded just four years before (1906), showing the town waterfront and whaling boats in the harbor. 31 photos taken from the sea show the panoramas of Spitzbergen’s shores, coastal mountains, fjords and glaciers. There is also a photo of a busy Norwegian harbour and waterfront, possibly in Tromso.
Louis de Launay was a professor in the Paris School of Mines for 46 years, professor of geology in the Ecole nationale de Ponts et chaussees since 1907 (now Paris Institute of Technology), editor-in-chief of the “Nature” magazine (1904-1919), a member of the Paris Academy of Sciences (since 1912), director of the Service of the Geological map of France (1930), Commander of the Legion of Honour (1935); he authored over a hundred books and articles on geology and mining.
“At the beginning of the 20th century the Industrial Revolution rolled over Europe. The newly industrialized countries demanded large amounts of raw materials and coal was especially in high demand. The prices for coal became very high and Svalbard was again like a magnet to adventurous people looking for the next huge profit. During the first few decades of the 20th century almost all available land areas were annexed for future mineral exploitation and mining. Svalbard was politically a no-man’s land and at times the occupations and land claims became quite chaotic. The coal deposits were the most interesting, but prospecting for phosphorite, gold, iron, zinc, lead, copper, gypsum, asbestos and marble also took place. In the years leading up to World War I this activity virtually exploded, creating a Klondike-like atmosphere marked by prospecting, occupations, installations and experimental operations. There was a strong optimism and belief in technical advances during these years and venture capital was readily available. <…> Grandiose, over-optimistic and based on poorly grounded assumptions, most of the schemes ended after a short trial period. In many cases, the mineral “towns” were built and the facilities were constructed but operations never actually started up. The investments were huge in the establishing phase and the transport of labour to the islands was time-consuming and difficult, while the seasons during which operations were possible were short and hectic. When the venture failed, the installations and production equipment, houses and machinery were left on site due to the high costs of disassembly and transport to the mainland. In many places around Svalbard remains from loading facilities, mining galleries, mine-cart tracks, twisted rail-lines, tractors, drilling equipment and other installations, smithies, workshops, living and dining quarters are silent witnesses to the activity that once took place here. The dreams of quick profits were broken and expectations of wealth vanished” (Svalbard’s History/ Norwegian Polar Institute. Cruise handbook for Svalbard online).


21. [ASIA - ALTAI]
[Album with Ninety Original Gelatin Silver Photographs from Two Soviet Tourist Trips to Lake Teletskoye and Mount Belukha in the Altai Mountains, Organized by the Society of Proletarian Tourism and Excursions].

Ca. 1931. Oblong Folio album ca. 26,5x35 cm (10 ¼ x 13 ¾ in). 15 card stock leaves. With 54 mounted original gelatin silver prints including five large photos from ca. 17,5x23 cm (7x9 in) to ca. 13x17 cm (5 x 6 ¾ in), the rest of the photos are postcard size - ca. 9x13 cm (3 ½ x 5 in). Most photos with black ink captions in Russian on the mounts. The album also houses two mounted printed maps of the Altai region with the tourists’ routes outlined in red. With 17 loose gelatin silver photos ca. 8x10,5 cm (3 ¼ x 4 in) printed on photo paper of postcard size, ca. 9x13,5 cm (3 ½ x 5 ¼ in); six photos numbered in negative, fifteen captioned in ink on versos. With 19 smaller loose gelatin silver photos ca. 6x8 cm (2 ¼ x 3 ¼ in), seven captioned and/or dated in Russian on versos; the photos are housed in a paper envelope ca. 8x13 cm (3x5 in) with a manuscript note in Russian “Altai. Small photos 1931. Amateur” (in translation). Period brown cloth album fastened with a string. Several images with mild silvering, but overall a very good album of rare strong photographs.
Attractive collection of original photos illustrating early years of the organized Soviet tourism to the Altai Mountains. The album houses photos from two trips to the Altai organized in summer 1931 by the Society of Proletarian Tourism and Excursions (1929-1936) – the first volunteer union of independent tourists in Soviet Russia. Founded by the Central Committee of Komsomol (Young Communist League), and headed by a prominent Soviet politician and an avid mountaineer Nikolay Krylenko (1885-1938), the Society strived to develop independent adventurous travels among young people and became very popular, with about 800,000 members in 1932. The Society operated about 360 tourist bases across the country and organized tours on over 170 routes, published several newspapers and magazines about tourism, pocket phrase books for over 20 national languages of USSR, opened the first college in Russia educating tourist guides, produced tourist and mountaineering equipment, fostered the increase in production of bicycles and amateur photo cameras; during the travels many tourists conducted scientific surveys, discovered mineral deposits, gave lectures for the population of remote regions, helped peasants during agricultural season etc. Like most of all other Soviet volunteer societies founded in the 1920s (“Friends of Children,” “Away with Illiteracy,” “Technique – to the masses” etc.), the Society of Proletarian Tourism was closed in the mid-1930s, as a dangerous ground of freedom and potential activities of the “enemies of the people.” The Society’s chairman Nikolay Krylenko was arrested and executed during Stalin’s Great Purge in 1938.
The album illustrates two trips to the Altai. The first one was a round trip from Biysk to Lake Teletskoye, now a part of the UNESCO World Natural Heritage Site “Golden Mountains of Altai.” The tourist went up the Katun River to Ulala (now Gorno-Altaysk, the capital and the only city in the Altai Republic), Anos and Chemal villages and across the mountains eastward to the southern shores of Lake Teletskoye, crossed it from south to north and returned to Biysk rafting on the Biya River past the Artybash village. Interesting images show Russian peasants and their horses on a ferry across the Biya River near Biysk, a group of Siberian peasant girls in traditional costumes, six views of Lake Teletskoye, including one showing people from “Energostroy” state company (founded in 1927 for the construction of hydroelectric plants in USSR, a predecessor of the “Hydro project” firm) doing research on the lake’s shore; the Artybash village taken from Lake Teletskoye, Katun River valley and cataracts, River Biya flowing out of Lake Teletskoye, etc. Several interesting photos portray Altai native people, showing two horse-mounted Altai women smoking pipes, Altaians reading Soviet “Kьzьl Ojrot” newspaper (“Red Oirot”) near their ail (yurt), views of a Altaian settlements etc. Several photos portray the tourists - riding horses along the bank of the Biya River, approaching Ulala, listening to a lecture near Chemal village, posing at the bank of the Katun River near the Chemal village, going across mountain passes to Lake Teletskoye, rafting down Biya River etc.
The second trip started in Semipalatinsk (now Semey, Kazakhstan). The tourists went by boats up the Irtysh River to Ust-Kamenogorsk and further up to Irtysh’s tributary Narym River, thence on the road to Katon-Karagay and Berel villages, up the mountain to Rakhmanovskiye Klyuchi village and the foothills of the Belukha Mountain. The return trip went along the Bukhtarma River. Interesting images show a “sand storm. Semipalatinsk,” a base of the Proletarian Tourism Society in Katon-Karagay, Rakhmanovskoye Lake and a nearby village, the upper reaches of the Katun River, the Bukhturma river, tourists camp near the Belukha Mountain, a large portrait of four tourists posing on a Belukha glacier, portraits of Altaian families, Altaian winter dwellings near Berel village, etc.
Overall an interesting rare source on the early Soviet tourism and the Altai travels by the Society of Proletarian Tourism and Excursions which was destroyed during the Great Purge of the 1930s.


BREMNER, Frederick (1863-1941), STEWART, Francis Benjamin (1860-1919) & OTHERS
[Historically Important Album with Forty-three Original Photographs of Baluchistan and North-West Frontier, Including Thirteen Large Albumen Photographs by Fred Bremner, showing Military Men from the “Types of the Indian Army,” Views of Quetta, Sind-Pishin State Railway, Bazaar in Chaman; a Group Portrait of the Graduates of the Poona School of Army Signalling by Francis Stewart, and Twenty-Nine Private Photos from a British Military Expedition in Baluchistan or North-West Frontier, Including Interesting Individual and Group Portraits of the Native People].

Ca. 1890s. Oblong small Folio album ca. 24,5x31 cm (9 ¾ x 12 in). 36 card stock leaves (18 blank). With 43 mounted original photos, including thirteen large albumen prints attributed to Fred Bremner ca. 21x26,5 cm (8 ½ x 10 ½ in), a large gelatin silver print by F.B. Stewart (ca. 20x27,5 cm (8x11 in); a three-part albumen panorama ca. 10x43,5 cm (3 ¾ x 17 in), ten albumen photos ca. 15x19,5 cm (5 ¾ x 7 ¾ in) or slightly smaller, sixteen smaller albumen photos ca. 10,5x14,5 cm (4 x 5 ¾ in), and two smaller gelatin silver photos ca. 7,5x9,5 cm (3 x 3 ¾ in). Six photos signed “Bremner in negative;” about a dozen with numbers in negative; several photos with later pencil captions in English on the mounts. Period dark green full straight grained morocco album; moiré endpapers, all edges gilt. The leather on the back cover with a large tear neatly repaired, but overall a very good album with strong interesting images.
Historically interesting album with large well-preserved original photos of British military camps, civil infrastructure, and vivid portraits of the native people in Baluchistan and the North-West Frontier.
The photos taken by Frederick Bremner include five portraits from his famous “Types of the Indian Army” (Quetta, 1897, an album with 60 carbon prints); the photography work was authorized the British Indian Army’s Commander-in-Chief who provided Bremner with an introductory letter. The photos in this album portray the Army Soldiers from the 26th (Baluchistan) Regiment of Bombay Infantry, the 5th Regiment of Bombay Cavalry (Sindh Horse) (shown with a camel); the officers of the 24th (Baluchistan) (Duchess of Connaught's Own) Regiment of Bombay Infantry, including the Commander Lieutenant Colonel Alfred Pearson; and two group portraits of “Afghan warriors” [?] armed with rifles. The second “Afghan” portrait is taken against the same background as the portrait from the collection of the National Galleries of Scotland, titled “Afghan Warriors” (View here).
There are also Bremner’s views of the bazaar in Chaman (a border town on the border of the Baluchistan Province of Pakistan and Afghanistan), Quetta Race course, three views of the Sind-Pishin State Railway: “Louise Marguerite Bridge, Chappar Rift, Khalifat Mountain,” “No. 2 Rope incline Khojak Pass 1889,” and a view of another railway tunnel; and three views of mountains, rivers and a water well (?) in Baluchistan.
The majority of the photos (29) are smaller privately produced views and portraits of the officers and native soldiers of a British field force, taken during a campaign either in Baluchistan or North-West Frontier. The series opens with a portrait of a middle-aged British man in civil clothes, posing in a desert landscape, possibly the photographer or compiler of the album. The photos include an excellent three-part panorama of a British military camp in a mountainous desert, views of other camps, British forts, caravans with military supplies crossing snow-covered valleys, native villages; portraits of native soldiers and civilians, British officers posing in front of their tents, wearing traditional Afghan sheepskin coats etc.
The photo taken by Poona (Pune, Maharashtra) photographer Francis Stewart is a group portrait of the graduates of the School of Army Signalling of 1894, featuring their signal lamps and other equipment. Francis Benjamin Stewart “was a British photographer and filmmaker who was based in Pune beginning in the 1880s. He worked for the British military and government as well as for private businesses such as the Warwick Trading Company” (Special Collections/Getty Research Institute/Online Archive of California). Stewart was also known as the “official cinematographer” of the 1903 Delhi Durbar.
“In 1889, Bremner established his own photographic studio in Karachi, and successively studios in Quetta, Lahore and Rawalpindi. He travelled great distances to rarely photographed areas, and his work therefore captures a scarce record of rural life, landscapes and people in late 19th and early 20th century India (his work spans 1882 to 1922). Of particular interest to military historians are Bremner's photographic studies of British and Indian Army units on station in the North West Frontier region of India (now Pakistan) during the late 1800s. These studies are distinguished by the quality of the plates, which preserve in detail the faces, equipment, uniforms and living conditions of a battalion of the line from this period. Photographed on location with the troops and then sold to order, these books are now extremely rare with very few copies available for public viewing” (Wikipedia).


[Collection of Fourteen Real Photo Postcards and One Gelatin Silver Photo of the Old Town of Bukhara in the Early Soviet Era].

Ca. 1930s. Fourteen loose real photo postcards ca. 8x13 cm (3 ¼ x 5 in), one original gelatin silver photo ca. 8,5x12,5 cm (3 ½ x 5 in), all with pencil captions in Russian on versos. Overall a very good collection of strong images.
Interesting collection of Soviet real photo postcards showing Bukhara, one of the oldest centers in Central Asia. Once an important stop of the Silk Route and a capital of a powerful Emirate, it became a Russian protectorate in 1868. During the Russian Civil War the Emirate of Bukhara declared independency, but was invaded by the Red Army and was annexed to the USSR in 1920. On September 2, 1920 Soviet troops under command of Mikhail Frunze stormed and captured Bukhara, with the bombardment destroying a large part of the city, including the walls and many palaces in the Ark (the citadel of the Emirs), mosques, madrasas and living quarters. The real photo postcards show some of the damage inflicted to the city – the destroyed walls of the Arc, hasty repairs to the damaged brick work of the walls of the Kalan Mosque and the Ulugbek Madrasa. There are also views of the Kalan Minaret (“The Tower of Death”), Divan-Beghi Madrasa, and a series of vivid street views showing water carriers, horse-driven carts (“arbakesh”), Uzbeks drinking tea outside, donkeys laden with firewood, market goers, etc.; one view of a Bukhara street features numerous Soviet red flags attached to the walls on both sides. Overall an attractive well-preserved collection of Bukhara views in the early Soviet years.


24. [ASIA - CHINA]
[Album with 111 Original Gelatin Silver Photos of Beijing and Environs, Apparently Taken by an American after the Boxer Rebellion, Including 86 Interesting and Unusual Portraits of Chinese Beggars, Street Sellers, Elders, Peasants, Construction Workers, Families, Monks, Noble Women, Camel Riders; Market and Street Scenes, Views of Beijing Historical Sites etc.]

Ca. 1900s. Oblong Quarto album (ca. 21x29,5 cm). 28 black card stock leaves. With 111 mounted gelatin silver photos, ca. 8,5x14 cm (3 ¼ x 5 ½ in), no captions, seven photos numbered in negative. Original black cloth “Badger” album by “The Henn Co., Milwaukee” (a white ink stamp on the inner side of the rear cover) fastened with a string. Overall a very good album with strong interesting photos.
Historically interesting album of original gelatin silver photos taken in Beijing and environs, by an American photographer, in the timeframe between the end of the Boxer Rebellion (1899-1901) and the Xinhai Revolution of 1911. China rapidly moved into the sphere of American interests in the 1900s when the the US became its close neighbour with the annexation of the Philippines. After the Battle of Beijing (14-15 August 1900) when the troops of the Eight-Nation Alliance, including Americans, stormed and occupied Beijing, the interest in America for China and the Chinese grew.
The album is distinguished by its collection of 86 vivid and unusual portraits of Chinese people of different classes and lively street scenes, apparently taken in Beijing. Very interesting are eleven portraits of street beggars and homeless people (three – with young children), group portraits of street passers-by, water carriers, construction workers, elders drinking tea and smoking (opium?), young women, numerous street sellers (pottery, food, baskets, there is even a photo of a Chinese dealer of curio and antiques), peasants working on the fields, kids, portrait of a young noble Manchu woman in traditional costume and headdress, a Buddhist monk, a street barber attending his client, a camel rider, two photos of bound “lotus feet;” a scene of a Buddhist ceremony featuring monks (one wearing a deer mask) and Chinese officials, several market scenes, etc.
The album also includes ten photos of the sculptures of Buddha and Chinese deities (including a stone sculpture of laughing Buddha half-buried in the ground) and fifteen views of Beijing, including an interesting panoramic view with a residential quarter in the foreground and the towers of the Old Beijing city wall in the horizon, photos of the Emperor’s Throne in the Forbidden city, Summer Palace (the Tower of Buddhist Incense and the Kunming Lake, the Long Corridor, Jade Belt Bridge), ruins of the Old Summer Palace, the Ancient Observatory, Dongbianmen (Southeast) watch tower (showing the damage after the bombardment during the Battle of Beijing), the roof of a Five-Dragon Pavilion and the Nine-Dragon Wall in the modern-day Beihai Park (former Imperial Gardens) etc. Overall an excellent collection of early vivid and unusual portraits and street scenes in Beijing and environs taken in the last years of the Qing dynasty.


[Album with Fifty-two Large Rare Albumen Photographs Including Forty-four of the Tea Plantations, British Planters, Native People and Historical Sites of Assam; With Six Large Studio Photos of Ceylon and Two Photos of New Zealand].

Ca. 1890. Folio ca. 30,5x38 cm (12x15 in). 25 thick card stock leaves. With 52 large original mounted albumen photographs, from ca. 20,5x26,5 cm (8 x 10 ½ in) to ca. 14,5x20 cm (5 ¾ x 7 ½ in); about a dozen photographs captioned and/or signed by the studio in negative. Period brown full sheep with elaborate blind and gilt stamped ornaments on the boards, neatly rebacked in style; decorative endpapers, all edges gilt, remnants of a metal clasp designed to fasten the boards. Several photos mildly faded, otherwise a very good album of strong interesting images.
This historically interesting album contains forty-four rare and well preserved 19th-century studio photos of tea gardens, British managers and residents, and native people from around Sibsagar (Sivasagar, Assam). Although none of the photos bear the full name of the photographer, nine of them are captioned or signed “O.M.” (or “C.M.”?) in negative. Several identical photos from the National Anthropological Archives of the Smithsonian Institution were attributed to the famous Indian studio of Bourne & Shepherd (est. 1863) (e.g.: http://collections.si.edu/search/detail/edanmdm:siris_arc_57181?q=assam+tea&record=12&hlterm=assam%2Btea&inline=true).
Jayeeta Sharma, the author of “Empire’s Garden: Assam and the Making of India,” suggests that “hitherto unpublished” photos of Assam tea gardens from the collection of the Smithsonian Institution were taken by Colin Murray “who was the firm’s head photographer from 1870 and eventually took control in 1884 when the founders retired and left India,” also noting that “in contrast to some other regions of British India, photographic images of nineteenth-century and early-twentieth-century Assam are difficult to find, except for privately held prints which can seldom be effectively reproduced” (Illustration Acknowledgements/ Sharma, J. Empire’s Garden: Assam and the Making of India. Duke University Press, 2001, p. [xiv]).
Our collection includes vivid views of numerous bungalows of British planters or managers – including photos of the bungalow in Mohanbari, tennis grounds adjacent to a bungalow with a British man posing with a lawn mower, technical buildings where collected tea leaves were processed (one photo shows boxes of tea being loaded onto a bullock cart), interior of the living room and the verandah of the “Koleapanee Bungalow” (the latter featuring a family of the owners sitting in armchairs); general views of the tea gardens with bungalows, fields of tea bushes, rolling hills or areas cleared for new gardens etc. The album houses eleven interesting group portraits of British in Assam - planters, residents or military men stationed in Sivasagar; with one group posing in front of the stone carvings of the Sivadol Temple, others shown with tennis rackets, mounted on horses during a game at “Nazira polo club,” dressed in full uniform (“Sibsagor Mounted Infantry,” the regiment was formed in 1884 as “Sibsagar Mounted Rifles” and was known under the name of “Sibsagar Mounted Infantry” in 1886-1889), etc. Other interesting photos show a group of native hill people of Assam, barracks of native workers, or “coolie lines,” a picture of native people and British planters at a river bank (most likely, Dikhow River near the town of Nazira, where several other pictures were taken), and a portrait of a “Mech woman weaving.” Four photos show temples and monuments of Sivasagar dating back to the time when the city was the capital of the Ahom Kingdom, including famous Sivadol or Shiva Temple (the highest temple in India with the height of about 32 m), Sivasagar tank (artificial lake), and Rang Ghar royal entertainment pavilion (shown in a state of neglect, with trees growing on its roof). The album also includes six large photographs of Ceylon (Sri Lanka), with two signed by a local studio “Colombo Apothecaries Company” (1880s - ca. 1920s); the photos showing native fishermen, “merchant women,” families, bullock carts and their drivers, two rickshaw carts carrying British gentlemen et al. There are two albumen photographs of New Zealand, including one signed by the Dunedin studio of Burton brothers (1866-1914). Overall an extensive collection of rare historically significant photographs depicting British tea gardens in Assam in the late 19th century.


LAWRIE & CO.; BREMNER, Fred (1863-1941); WOODCROFT, G.W. (active 1860s-1880s); HOOPER, William Willoughby (1837-1912) & OTHERS
[Historically Important Album with 76 Original Albumen Prints of India and Pakistan, Including an Early Large Two-Part Panorama of Madras, Over a Dozen Large Views of Madras, Fourteen Large Early Views of Karachi, Two Large Portraits of the Victims of the 1876-79 Madras Famine, Taken by Col. W.W. Hooper, Views of Hill Stations, Agra, Bombay, Aden, etc.]

Ca. 1880s. Folio album ca. 31x25,5 cm (12 ¼ x 10 in). 36 card stock leaves. With 76 mounted original albumen prints including a two-part panorama ca. 22x56,5 cm (8 x 22 ¼ in), 71 large photos from ca. 23x30 cm (9 x 11 ¾ in) to ca. 16,5x20,5 cm (6 ½ x 8 in), and four smaller photos ca. 10x15 cm (4x6 in) or slightly smaller. Nine photos signed, numbered or captioned in negative, twenty-three with period pencil captions in English on the mounts. Period attractive dark green half morocco album with green pebbled cloth boards (paper label of “M.W. & Co. London” on the bottom of the rear paste-down endpaper). Spine with raised bands and gilt lettered borders, moiré endpapers, all edges gilt. Several leaves slightly waved and a couple of images mildly faded, but overall a very good album of strong rare photos.
Historically significant album with rare early photos of Madras (Chennai) and Karachi, compiled by a British resident in India and Pakistan in the 1880s. Most likely, the compiler was an associate at the “Agra Bank Ltd.”, as the album contains photos of the bank’s offices in Madras, Bombay, Agra and Karachi. The album evidently dates to the time before 1887 as it was that year that the “Agra Bank Ltd.” closed (the bank was established in 1833 as “The Agra & United Service Bank Ltd.,” merged and renamed “Agra and Masterman’s Bank” in 1866 and failed that year; re-established as the “Agra Bank Ltd.” in 1867 and continued to operate until it’s liquidation 1887). The album includes several group portraits of British residents in India which most likely feature the compiler, i.e. On the portrait of the “Badminton group, Madras.”
The album houses over a dozen unsigned, but identified photos of Madras, including two views of the harbour, an excellent two-part panorama of George Town with the Parry’s corner in the foreground (the panorama was taken from the top of the lighthouse on the Esplanade), a view of the harbour with the massive screw-pile pier on the right (construction finished in 1875), Government Houses in Madras and nearby Guindy (Governors’ weekend retreat place), Central Railway Station, Chepauk Palace, Senate House, St. Andrew church, and others. There is also a photo captioned “Grand stand, race course,” possibly taken at Madras Race Club (founded in 1837).
Among fourteen identified views of Karachi are close-up images of the Holy Trinity Cathedral (the first major church of Karachi, built in 1855, underwent major reconstruction in 1904 and 1970s), exclusive men-only Sind Club (built in 1883), two close-up views of the Agra Bank (closed in 1887), two views of the Karachi harbour (one signed “Lawrie & Co.” in negative), two close-up street views showing a pole with street lamps on the Clerk Street next to the Saddar Bazaar and Eduljee Dinshaw Charitable Dispensary (built in 1882 and still working), a street car of the East India Tramway Company (the line was opened in 1885) next to the elegant building of Max Denso Hall and Library (constructed in 1886 as the first library for the natives of Karachi). The photo shows one of the steam-powered tramcars which apparently only were in service for one year, before being replaced with horse-driven cars in 1886 (https://www.thefridaytimes.com/tram-to-cantt-station-karachi-circa-1950/).
Very interesting are six bird’s-eye views of Saddar Town - historic colonial core of Karachi taken from the tower of the Holy Trinity Cathedral. The photos beautifully depict the early years of colonial construction in Karachi and feature single-storey building of the General Hospital with the Roman Catholic church and Convent directly behind, the Frere Hall and Clifton Road, Napier Barracks and Elphinstone and Frere Streets, private residences and distant harbour etc. Two of six images are signed “Lawrie & Co.” in negative; the photos were most likely taken by Fred Bremner, who was G.W. Lawrie’s brother-in-law and worked as a photographer for his studio in Karachi in 1882-1886; Bremner set up his own Karachi studio in 1889. A series of very similar photos from the collection of the British Library were attributed to “an unknown photographer, c.1900” and are housed in ‘an album of 46 prints titled 'Karachi Views'. Views 21-32 from this album join together to form a 360-degree panorama of the city from the tower of Trinity Church” (View here). There are also four picturesque panoramic bird’s-eye views of British hill stations – possibly, located in Pakistan.
The album also contains two disturbing photos of the victims of the infamous 1876-79 Madras famine, taken by Colonel William Willoughby Hooper. Other photos include two views of Taj Mahal in Agra, group portrait of “Natives at Kana,” a photo of an official public celebration, a close-up portrait of a native Indian ascetic (?), four views of Malta, four views of Port Said and Suez, two large photos with ten and eight carte-de-visite sized portraits of Egyptians in traditional costumes, and four views of Aden. Two photos in the album (a view of the Agra Bank in Karachi and a group portrait of British residents in India) were signed in negative by G.W. Woodcroft, a photographer active in Bangalore in ca. 1860s-1880s. (http://www.getty.edu/art/collection/artists/28086/gw-woodcroft-british-active-1860s-1880s/).
Madras “was founded in 1639 by the British East India Company and was the first important English settlement in India. The city expanded around Fort St. George, constructed on the seafront in the early 1640s as a trading post and base for European residents. By 1690 it contained a population of over 300,000 and remained the centre of English influence in the East until the rise of Calcutta in the late 18th century. It was laid out on a grid plan, the earliest example of English town planning on a large scale in India, and by the late 19th century had developed a legacy of grand colonial architecture…” (http://www.bl.uk/onlinegallery/onlineex/apac/photocoll/m/019pho0000406s2u00037000.html).
“Karachi, one of the world's largest metropolises, was once the capital of Pakistan. It is now the capital of the Sindh province in the lower Indus valley, and is the financial and commercial centre of Pakistan. This huge city was however developed only in the mid-19th century after the British conquest of Sindh. Karachi is built around a bay which is a natural harbour protected from storms by a group of small islands. Its history prior to the 18th century is sketchy but it is believed to be the ancient port of Krokala on the Arabian Sea, visited by Alexander's admirals in 326 BC. The small fishing village was known as Kolachi-jo-Goth in the 18th century, and then became a trading post under the Kalhoras and the Talpur rulers of Sindh, but the port remained small. With the British development of its harbour it grew into the large city of Karachi and an important centre of trade, particularly of cotton and wheat.” (View here).


[Album of Fifty Original Hand-Coloured Albumen Photographs of Geishas by a Japanese Photographer.]

Ca. 1900. Oblong Small Octavo (ca. 12x18 cm). 25 beige card stock leaves put together in accordion-like manner. With 50 hand coloured mounted (recto and verso) albumen prints, each ca. 9x14 cm (ca. 3 ½ x 5 ¼ in), some captioned in Japanese in negative on photos. Original period Japanese pictorial (showing dragons) cloth album. A couple of the hinges with Japanese paper repairs, but overall a very good album of strong interesting photos.
An attractive and interesting album by a Japanese photographer homogenously complied of images of Geishas showing them wearing various styles of kimonos, sewing, doing make-up and hair, playing with dolls, in a rickshaw, painting and reading, playing musical instruments, with and teaching children, doing calligraphy, eating and drinking, cleaning and preparing food, playing games, bathing and dancing. Overall an album of attractive images of Geishas engaging in various activities.


[Album with Eighty-one Original Gelatin Silver Photographs of Kashmir, Titled:] Kashmir Views. By Diwan Alim Chand, G.C.

Ca. 1895. Oblong Large Folio (ca. 33x46 cm or 13x18 in). 30 stiff card leaves. With 81 mounted gelatin silver prints, including 41 large photos 20,5x28 cm (8 x 11 in), the rest are from ca. 10,5x15,5 cm (4 ¼ x 6 in) to ca. 13,5x20 cm (5 ¼ x 8 in). All photos with printed captions on the paper labels mounted under the images. Luxurious Handsome period black full morocco album with elaborate gold tooled borders on both boards and the spine; front board with gilt lettered title and gilt tooled coat of arms of the Princely State of Jammu and Kashmir; moiré endpapers, all edges gilt. Binder’s label attached to the upper corner of the front pastedown endpaper (“Bound at the Caxton Works, Bombay”). Front cover with minor scratches, some leaves with very minor chipping, a couple of photos with mild silvering, but overall a very good album.
A beautiful album in a period custom made presentation binding with unusual and interesting views of Kashmir taken by the official photographer of the Princely State Dewan Alim Chand. The album opens with ten views of Kashmir’s capital Jammu showing the suspension bridge across the Tawi River, the Prince of Wales College, the Raghunath Temple, public library and museum, Amar Mahal Palace, the town from the Fortress of Bahu, the Maharaja’s palaces, army headquarters, arcade round the octagonal spring at Verinag, and others. There is also a group of twenty-five views of Jhelum River, Srinagar and environs, showing Sri Pratap Sindh museum, the Residency, several city panoramas taken from the river, Sher Garhi Palace, Raja Hari Singh’s villa, Shah Hamdan Mosque, the barrage below Srinagar, Takht-e-Sulaiman Mountain, Hari Parbat Hill with the Durrani Fort, water reservoir at Harwan, silk factory (with the photos of the exterior, workmen boiling cocoons, dying silk fibres, reeling in silk, and a warehouse with the twisted bundles of silk ready for dispatch), Nishat Bagh garden, Shalamar Bagh, Nasim Bagh, and others. Very interesting is a group of 12 photos taken on the route to the Hindu Amarnath Cave Temple, including several pilgrims’ camps (at Aishmuqam village, Pahalgam, Chandanwari and Panj Tarni), Lidder River valley near Pahalgam, “the mountainous track leading to the cave of Amarnath,” Sheshnag Lake, entrance to the cave, the main object of worship – the Ice Lingam inside the cave, and Hatyara Talao Lake on the way back.
Other photos show the ruins of Awanti Swami Temple in Awantipora, Achhabal village, the chinar tree at Shadipur which is believed to be the confluence of rivers Indus (Sind) and Jhelum (Vitasta), Kheer Bhawani temple erected over a sacred spring in the Tul Mul village, Lake Manasbal, Wular Lake, Jhelum River at Baramulla, hydroelectric plant in Mohra (built in 1907), six views of Gulmarg (Kashmir Residency, palace of the Maharaja, the club, the bazaar, Raja Hari Singh’s quarters, the church and Nedou Hotel, Taru mountain at Ahal Parti); several views of Gandarbal (banks of the Sindh River with the ruins of the old bridge, the new bridge, and others), images of the upper Sindh River Valley, one of the ancient Vangata Temples, Lolab Valley, local artisans’ production (wood carving, silver & copper ware, papier-mâché), and others; the album closes with a well-known Alim Chand’s photo of “the stag in solitude.”
Dewan Alim Chand had a publishing house in Jammu, the capital of Kashmir (several publications can be found in Worldcat, dating 1876-1924), and in the 1890s took a series of views of Kashmir and portraits of its royalty in the capacity of the Princely State’s official photographer. He was mentioned in the list of the attendants of the 1911 Coronation Delhi Durbar as a “State photographer” of Kashmir (Coronation Durbar, Delhi 1911. Official Directory with Maps. Calcutta, 1911. Part 2. Civil and Central Camps, p. 215). This album with specially prepared printed captions and a luxurious decorative binding was most likely produced in a small copy run and given as a present to a high-ranking state official or British colonial administrator. An album with similar description (the same photographer, topic, and number of photos) was found in the collection of the National Army Museum (Chelsea, London).


[Album with 100 Original Gelatin Silver Photographs of the Philippines (78) and China (22) almost certainly complied by an American Military Officer Stationed in the Philippines. These Photos Document the American Military Presence in the Philippines after the Philippine - American War (1899-1902) and show Manila, Baguio, Fort Mills and the Indigenous Peoples of the Philippines. Additionally with Twenty-two Photos of a Visit to China (Peking (Beijing), Tientsin (Tianjin), Great Wall and Shanghai on the Voyage over to the Philippines].

Ca. 1915. Oblong Quarto album (ca. 16x24.5 cm). With 24 black card leaves. With 100 original gelatin silver mounted photos, with 88 real photo postcards each ca. 9x14 cm (3 ½ x5 ½ in) all captioned and most numbered in negative, 4 larger studio photos each ca. 13x17,5 cm (5x7 in) all captioned in negative and eight smaller vernacular ones each ca. 6,5x4,5 cm (2 ½ x 1 ½ in). Original blue felt boards with "album" stamped on front cover in silver gilt and album fastened with a cord. Overall a very good album of strong and sharp interesting photographs.
Historically interesting album documenting the early American military presence in the Philippines after the Philippine - American War (1899-1902) just after the hostilities with Philippine resistance groups had ended in 1913. The photos American military establishments including Camp John Hay which was established in 1903 in Baguio, Fort Mills which was built to protect Manila Bay and was completed in 1915 and the Mansion (in Baguio), built in 1908, to serve as the official residence of the American Governor-General during the summer in order to escape the heat in Manila. Additionally, this album includes 25 images of the indigenous peoples of the Philippines including the Ifugao tribe which is from the landlocked province in the centre of Luzon and the Igorots, a tribe who originate from the Northern provinces of the Philippine archipelago. The individual images this interesting album of photos includes are:
Manila: Plaza Cervantes; Cock fighting; Luneta; Pottery, basket and hat market; Filipino boy scouts; Plaza Goiti; Colegio de Asuncion; Old canons Ft. Santiago; Public market, Paco; Walled city; Army and Navy Club; Rizal Day; Old and new Manila; Residence on Plaza Militar; Manila Hotel Calle Real, W.C.; Walled City; Binondo Canal; Ft. Santiago; U.S. Transport ships Thomas & Merritt; Sto. Domingo Church; San Sebastian. Indigenous peoples: Negrito girl; Ifugao girl; Ifugao belle; Igorrote soldier and wife; Ifugao marriage dress; Igorot house; G-string Igorots; Igorot warriors Mountain Province; Igorots; Ifugao women; Igorot girls in costume; Igorot Head Hunter with Knife; Igorrote strong man; An Igorrote Family Mountain Province; Igorot maidens; Igorots in Costume; Igorot dance; Igorot Dog Feast; Bontoc Igorots - a tribal dance; Kalinga in full dress; Igorot head; Weaving Igorot g-string. Baguio: Camp John Hay(4); Villa Carmen; To Haights Place; Sawmill at Haights; Mansion House (2); Gorge and river along Benguet Road (3); Sunset; Gardens; Mess Hall Government Center; Igorot Village; Igorot Dog: Camp 30; Panorama; Dogs for Igorot market; trail to Haights. Fort Mills: Review; Barrio, New Barrio; Barrio street. Eight smaller images showing most likely the album compiler and his friends.
Peking: Entrance to Forbidden City; American Pagoda; Camel train; Temple of Heaven; Temple of Passion; Entrance to Josh House; Pagoda; Camel Back Bridge, Summer Palace; Wedding procession(3); Altar of Heaven. Tientsin: Firebell; Street scene; Water supply; Chinese funeral; Street of Manufactures; Panorama; Chinese Sampans. Great Wall: near Hankou; End of Great Wall. Shanghai: Chinese cart.
Overall a historically valuable visual documentation of the early American military presence in the Philippines.


[ELIZALDE, Joaquin Miguel “Mike”] (1896-1965)
[Album with Sixty-one Original Gelatin Silver Photographs Showing a "Hunting trip to Wilds of Luzon Along Cagayan River, Hosted by Mike Elizalde," a Member of an Influential Philippino Family of Sugar and Mining Industrialists and Future American Congressman, Ambassador and Adviser to President Manuel L. Quezon; the Photos Portray Elizalde and His American Guests, Indigenous Guides, Rowers and Local People, Show the Cagayan River and Valley, the Travellers’ Dugout Canoes, Camps etc.]

April 1930. Oblong Quarto album (ca. 22x31 cm). With 18 dark brown card leaves (17 with mounted photos, one blank). With 61 original gelatin silver mounted photos, with six larger ones ca. 12,5x21 cm (5x8 in) and the rest ca. 9x15 cm (3 ½ x 5 ¾ in). The front paste down with the album’s title in black manuscript pen and J. M. Elizalde’s printed name card pasted underneath. Original brown faux crocodile leather cloth boards, fastened with a cord. Album covers with some wear and a couple of minor tears but overall a very good album of strong and sharp photographs.
This rare historically interesting album of photographs documents a leisure trip along the Cagayan River in northern Luzon (the Philippines), hosted by an influential local industrialist and future politician Joaquin “Mike” Elizalde, apparently for his American business partners. The photos portray the Americans in dugout canoes, with their indigenous guides and rowers, rivers scenes along the Cagayan River, locals along the river with their water buffaloes and other domestic river scenes, the travellers' accommodations along the route including huts and tents, locals encountered and their dwellings, domestic village scenes with locals and hunting scenes, etc. The Rio Grande de Cagayan is the longest river in the Philippines, and passes through one of the few remaining primary forests in the Philippines, which is home to many endemic species. The indigenous guides are most likely from the local Ilongot tribe who live between the southern Sierra Madre and Caraballo Mountains. The Ilongots are known to be aggressive and culturally conservative and sustain themselves by living close to rivers which they use for transport and to get food. Overall a rare collection of images of this remote part of the Philippines with the ties to a noted Philippino and American industrialist and polititian.
“ELIZALDE, Joaquin Miguel <…>; industrialist; financier; economic advisor to President Manuel L. Quezon, 1937-1938; member of the Philippine national economic council 1937-1941, 1952-1953; member of the joint preparatory committee on Philippine affairs, 1936-1937; member of the Philippine council of state 1936-1941, 1952-1953; served in the Philippine Army; appointed as a Resident Commissioner to the Seventy-sixth Congress, to fill the vacancy caused by the resignation of Resident Commissioner Quintin Paredes, and served until his resignation on August 9, 1944 (September 29, 1938-August 9, 1944); member of the war cabinet of President Manuel L. Quezon, 1941-1944; member of the board of governors of the International Monetary Fund and of the International Bank for Reconstruction and Development, 1946-1950; appointed ambassador extraordinary and plenipotentiary of the Republic of the Philippines to the United States, 1946-1952; minister of foreign affairs of the Republic of the Philippines 1952-1953; economic adviser to the Philippine Mission at the United Nations, with rank of ambassador, 1956-1965” (Biographical Directory of the United States Congress online).
The Elizalde family founded the first radio station in the Philippines in 1940 and still owns its successor, Manila Broadcasting Company.


[Album with Forty-Nine Early Original Albumen Photographs of Views of Sri Lanka with Many Views of Colombo and Kandy].

Ca. 1885. Oblong Folio (ca. 32 x44,5 cm). 25 beige card stock album leaves. With 49 recto and verso mounted albumen photos each ca. 21x27 cm (8 ¼ x 10 ¾ in). A number of images captioned and signed in negative. The photographers include Scowen & Co., C.A. Coy Ltd, C.A. Co., Skeen & Co., Apothecaries Co. Period green pebbled cloth album gilt titled on cover "Photographies." A couple of images mildly faded but overall a very good album with strong interesting images.
An interesting album of views of Colombo and Kandy and the countryside in between, including identifiable images of: Dalada Maligawa (Temple of the Tooth), Kandy (Scowen & Co.); Kandy from Upper Lake Road (C.A. Coy Ltd.); Kandy; Birds Eye View, Kandy (C.A. Coy Ltd.); Entrance to the Buddhist Temple, Kandy (Scowen & Co.); Post Office, Colombo (C.A. Co Ltd.); Grand Oriental Hotel, Colombo; Kaducannawa Station with train; Colombo Fort Lighthouse; Ficus Elastica - Assam India Rubber (C.A. Co.); Ficus tree (Skeen & Co.); Hindoo Temple, Colombo (C.A. Co.); Kandy, (Skeen & Co.); Kandy (Apothecaries Co.). The uncaptioned photos include views of rivers, coastal towns, interior jungle, interior village, hill town view, colonist waiting by rail line, rail line through mountain side, local fruits and vegetables, coastal and interior landscapes, waterfalls, locals with ox-drawn cart, views of Colombo and Kandy with colonial buildings and temples, etc.
Charles Thomas Scowen (1852-1948) was a British photographer during the nineteenth century. He was active as a photographer from 1871–1890, working in Sri Lanka and British India in the early 1870s. By 1876 Scowen had established a studio, Scowen & Co in Kandy and by the 1890s, he had opened a second in Colombo...,
William Louis Henry Skeen (1847–1903) was an English photographer in Ceylon (now Sri Lanka) who photographed tea and coffee cultivation, railway construction, landscapes and various inhabitants in the second half of the 19th century"(Wikipedia).
Overall a interesting and representative album of the southern part of Sri Lanka in the later part of the nineteenth century.


GSELL, Émile (1838-1879); DIEULEFILS, Pierre (1862-1937)
[Album with 113 Original Albumen Photos of French Cochinchina and Tonkin, Including Two Large folding Panoramas of Saigon Harbour, Views of the Norodom Palace, Ben Nghe Creek, “Chinese Pagoda” in the Cholon Quarter, Eiffels Pont des Messageries, Central Post Office, Saigon Theatre, Ky Cung River in the Lang Son province, port of Haiphong, Halong Bay, Portraits of Grand Councillor Phan Thanh Gian, Vietnamese Noblewomen, Actors, Female Dancers, Prisoners, Street Sellers, French Military Officers etc.]

Ca. 1860-1870s-1880s. Folio (ca. 48x31,5 cm). 39 green card leaves (3 blank). With 113 mounted original albumen photographs, including two three-part panoramas, ca. 19,5x81 cm (7 ¾ x 32 in) and 18x72 cm (7 x 28 ½ in), four large photos from ca. 26x34,5 cm (10 ¼ x 13 ½ in) to ca. 20x28,5 cm (7 ¾ x 11 ¼ in), and 28 carte-de-visite size portraits ca. 9,5x5,5 cm (3 ¾ x 2 ¼ in); the rest of the photos are middle-sized, from ca. 16,5x22 cm (6 ½ x 8 ¾ in) to ca. 11,5x16,5 cm (4 ½ x 6 ½ in). No one photo signed, about a dozen numbered or captioned in negative. The three parts of one of the panoramas are with period pencil captions in French on versos. Original black buckram album, slightly rubbed on extremities. A couple photos with small tears on the corners, several images mildly faded, but overall a very good album of strong sharp interesting images.
Excellent album housing over thirty rare early images of Saigon (Ho Chi Mihn City) and environs taken by Émile Gsell, the first commercial photographer based in Saigon, and a large group of the 1880s photos of Saigon and Tonkin (northern Vietnam) by Pierre Dieulefils. Very interesting are Émile Gsell’s two large folding panoramas of the Saigon harbour dating back to the 1860s and showing French naval ships on the Saigon River, “Chinese” or Ben Nghe Creek leading to the Chinese quarter of Cholon, and several French buildings on the banks, including the Customs House and the Headquarters of the Messageries Maritimes (it is noteworthy that one of the panoramas which is obviously earlier than the other one, doesn’t show the Messageries Maritimes building, and its site is occupied by a small one-storey building). Other photographs attributed to Émile Gsell include three large views showing the Governor-General’s or Norodom Palace in Saigon (completed in 1873), a native quarter of Saigon on the river bank, and a French mansion in Saigon; middle-sized photos of the “Pha-Kien Pagoda in the Cholon quarter,” “Arroyo Chinois” (“Chinese” or Ben Nghe Creek), French buildings on the banks of a canal in Saigon, etc. The album also houses twenty-eight Gsell’s carte-de-visite size photos, mostly portraits of Vietnamese people, including Phan Thanh Gian (1796-1867), the Grand Councillor at the Nguyen court of the Cochinchina Kingdom, and the Ambassador to France who committed suicide when France invaded Cochinchina in 1867. One portrait shows Phan Thanh Gian alone, and the other one – with eleven members of the Cochinchina embassy to France. The other portraits show Vietnamese actress, “Femme annamite riche,” soldier, a group of actors in masks, musicians at al.
The album also houses a large group of views of Saigon and Tonkin province which date back to the 1880s. Although unsigned, many of them are captioned or numbered in negative and were attributed to a noted Saigon-based photographer Pierre Dieulefils, like a view of the Ky Cung River captioned “400. Le Song Ki Kong à Langson”. Other photos include large views of Saigon, showing the Governor’s palace, the main entrance to the Military Hospital (building completed in the late 1870s), Central Post Office (built in 1886-1891, the photos show the exterior and the interior of the building), the “Arroyo Chinois” (“Chinese” or Ben Nghe Creek), the second building of the Saigon Theatre (built in 1882 and was replaced by the current building in 1900), the Eiffels Pont des Messageries Maritimes (built in 1882, now called the “Rainbow Bridge”), the monument to Leon Gambetta on the Boulevard Norodom (opened in 1889 and moved in 1914), and others. There are also about a dozen large expressive portraits of Vietnamese families, upper-class women, Buddhist priests, actors, bare-breasted female dancers, prisoners in wooden cangues, street fruit sellers, peasants planting and harvesting rice, launderesses and children bathing in a canal, rickshaw carts on a boulevard in Saigon etc. Over twenty photos at rear were apparently taken during the Tonkin Campaign (1883-1886) and include views of the “Baie d’Allong” (Halong Bay), Haiphong docks and port, villages and countryside of northern Vietnam, French naval ships, military camps, a scene of public execution, portraits of French military officers, a view of the French monument to the soldiers fallen at the Battle of Hoa Moc etc. Overall an excellent collection of large early images of people and places of French Cochinchina and Tonkin.
Eight pictures by Émile Gsell, found in the e-collections of the National Library of France:
Pagode de Phâ-Kien, à Cho-Len [Cholon]; Arroyo chinois; [A small portrait of:] Femme annamite riche (from the “Souvenir de Cochinchine” album with 35 albumen photos, ca. 1865-1875, view here).
[A small portrait of:] Actree Chinois; [A Panorama of Saigon in three parts:] 1. Vue generale de Saigon. Port militaire. Maison Wong-tai. Mort de Pavillon. Entrée de l’Arroyo de Cholon; 2. Suite de la vue de Saigon. Arroyo de Cholon vu a travers les bambous des messageries; 3. Suite de la vue de Saigon; [A small portrait of:] Phan Thanh Giang. Dernier viceroi des trois provinces Occidentales du Nam Ky [Yinb long. Chan doc. Ha tien] (from the «Voyage de l'Égypte à l'Indochine” album with 184 albumen photos, ca. 1880, view here.


WILLIAMS, Montgomery (ca. 1885-1916)
[Two Albums with 199 Original Gelatin Silver Photographs Showing Ascension Island, Including the Laying of Cable for the Western Telegraph Company in 1910, Military Presence, Local Life, Buildings and Landscapes].

1910-13. Two albums with a total of 199 gelatin silver photographs including one panorama ca. 7x18,5 cm (2 ¾ x 7 ¼ in), twenty photographs between ca. 14x9 cm (5 ½ x 3 ½ in) and ca. 12x16,5 cm (5 ¾ x 6 ½ in), and the rest ca. 8x11 cm (3 ¼ x 4 ¼ in) and smaller, loosely mounted in windows or on leaves, the majority with period blue ink manuscript captions on the leaves. Also included is one drawing in period black ink ca. 13x20 cm (5x8 in) titled “Repairing Land Lines, Long Beach Ascension.” One oblong quarto album ca. 25x29,5 cm (9 ¾ x 11 ½ in) with 52 white album leaves. Period manuscript blue ink label on endpaper: “H. M. Island of Ascension 1910-1913.” Includes a newspaper clipping ca. 4,5x8,5 cm (1 ¾ x 3 ¼ in) titled “Gold Ring On an Atlantic Isle” with manuscript note “Daily Mail 10th Oct./25.” Period gilt tooled blue half sheep with pebbled cloth boards. Some minor rubbing of extremities. Second album quarto ca. 24x16 cm (9 ½ x 6 ¼ in) with twelve brown stiff card leaves. White typescript label pasted on inside of front cover: “Ascension Island / 1910-1913 / Montgomery Williams / Royal Marines.” Period brown cloth boards with gilt title “PHOTOGRAPHS” on front cover. Overall, two very good albums with strong, sharp photographs.
These interesting albums contain nearly 200 photographs showing activities, buildings, people and landscapes of Ascension Island, and the laying of the island’s third telegraph cable. The photographs were taken and compiled by Montgomery Williams, a member of the British Royal Marines in the Royal Military Academy who documented his three years living on Ascension with his wife and young daughter. Particularly interesting are two photographs that show the laying of a telegraph cable in Comfortless Cove: men are pulling a long cable onto shore and placing it along a dugout trench on land. This occurred “in 1910 when CS Colonia laid 3145 nm of cable from St. Vincent - Ascension - Buenos Aires, Argentina, with CS Cambria assisting and CS Cormorant (2) laying the cable up the River Plate. This cable was the second longest telegraph cable to be laid.” Also visible is the small cabin which served as the cable hut, from which the lines went to Georgetown, buried along Long Beach (History of the Atlantic Cable & Undersea Communications). Additionally, the album contains some photographs of the military presence on the island, including views of the Admiralty College and a photograph of “Admiral Sir William Kennedy and some New Zealand officers ashore.” The photographs also show the everyday activities of people on the island, including hiking excursions, horseback riding, hunting and fishing, the arrival of the mail boat, as well as a sports event on Ascension Day. There are images showing the roads and horse-drawn carts, as well as natural landscape photographs including a large plain where numerous seabirds are seen nesting. There is also a photograph labeled “S.S. Norse Prince burning off Ascension Jan 1910,” showing a British steamship that caught fire just off the coast. Overall, a very good album showing the life of a Royal Marine Officer and his family living on Ascension Island during the early 1910s.
“Ascension Island is an isolated volcanic island in the equatorial waters of the South Atlantic Ocean. It was garrisoned by the British Admiralty from 22 October 1815 to 1922.” (Wikipedia)
Captain Montgomery Williams, R.M.A., was educated at Dulwich College and the Naval College, Greenwich, and entered the Royal Marines at the age of 17. He died while fighting in France during the first World War, in August 1916.
"At the outbreak of the Boer War in 1899 the only way to get a telegraph message from the UK to Cape Town was either via the west coast or the east coast of Africa, a slow and tedious journey. A quicker and more direct route was urgently required. The Eastern Telegraph Company contracted the Telegraph Construction and Maintenance Company to manufacture and lay the necessary cables, which were to link Cape Town - St. Helena - Ascension - St. Vincent, Cape Verde Islands. Messages were then routed over the Western Telegraph Company cables, St Vincent - Madeira - Carcavelos, Portugal, from there to Porthcurno they again travelled over the Eastern network.
In 1901 the Eastern Telegraph Company contracted the same company to manufacture and lay cables from St Vincent to Madeira, 1130 nm, and from there a 1375 nm cable to Porthcurno. CS Anglia and CS Britannia (2) carried out the work. Another cable laid by CS Anglia in the same year was that from Ascension to Freetown, Sierra Leone, a distance of 1125 nm. This was to provide an alternative route in case of cable failure.” The cable shown in this album is the third telegraph cable reaching Ascension Island. (History of the Atlantic Cable & Undersea Communications).


[Collection of Twenty-one Large Albumen Photographs of Classic Period Sights in Greece with Eighteen Taken in Athens with an Emphasis on the Acropolis Including Photos of the Parthenon, Olympieion, Erechtheion, Theater and the Temple of Athena Nike].

Ca. 1890. With 21 large loose albumen studio photographs mounted on light green-grey stiff card mounts, each ca. (20,5x26,5 cm) (8 x 10 ½ in). All photos captioned (places) in German in manuscript black ink. Some mild foxing of blank margins of mount leaves, one mount margin with minor damage, but overall a very good collection of strong sharp images.
These attractive photographs of Classic period sights in Greece Include the Acropolis; Acropolis (Detail); Acropolis with Olympieion; Acropolis with Theseion; Erechtheion (x2); Theater (Acropolis); Theater (Detail) (Acropolis); Parthenon; Temple of Athena Nike; Ancient Greek Temple (Athens); Grave stele (Athens) (x2); Byzantine Greek Orthodox Church (Athens); Statue of Pallas Athena (Athens); Ancient Greek Male Statue (Athens) (x2); Ancient Greek Statute of Male Bust (Athens); Carved ancient Greek stone column top piece (Eleusis); Ancient Greek Statue of Man with Child (Olympia) (x2). Overall an attractive group of photos showing Classic Greek architecture and sculpture in Athens and surroundings.


[BUCHAN-HEPBURN OF SMEATON, Sir Archibald Banister] (1852-1929)
[Album with Nine Original Watercolours, and Sixty-Four Original Gelatin Silver Photographs Made on a Mountaineering Trip to Montenegro and Albania, with Interesting Views of the Komovi Mountains of the Dinaric Alps (Andrijevica Village, Kucki Kom Peak, Tara River), Durmitor Mountain Range, Podgorica, Kolasin, Niksic, Zabljak, Cetinje; Lake Skatar, Kir River and Shkodër City in Albania, and Others; With: Seven Watercolour Views of Rural France at Rear].

1908. Large Oblong Folio ca. 37,5x47,5 cm (14 ¾ x 18 ¾ in) with 20 stiff black card leaves. Sixteen mounted watercolours of various size, from ca. 25x35,5 cm (10x14 in) to ca. 10,5x19 cm (4 ¼ x 7 ¼ in). 64 mounted gelatin silver prints, including one large image ca. 29x40 cm (11 ½ x 16 in), the rest are ca. 12x17 cm (4 ¾ x 6 ¾ in) or slightly smaller. Most images captioned and some dated in manuscript white ink on the mounts. Inscription on verso of the front free endpaper: “Albania, Montenegro, France.” Period black full morocco with a printed name of the binder on top of the front pastedown endpaper “W. & J. Milne” (Edinburgh). Album mildly worn at extremities and spine, with faint scratches on the boards, four watercolours apparently previously removed, but overall a very good album with strong photographs and vibrant watercolours.
Interesting album with large original photos and watercolours from a mountaineering trip to northern Montenegro and Albania in 1908. The album is from the estate of Buchan-Hepburn baronets, and the photos and watercolours were most likely created by Sir Archibald Buchan-Hepburn, a member of the Botanical Society of Edinburgh since 1894 and its president in 1912-1913. The majority of images (about fifty, including four large watercolours) depict the trip to the Komovi Range of the Dinaric Alps in northern Montenegro, showing Podgorica village, landscapes on the route to Andrijevica and the village itself, local guides, mountain hamlets, Kucki Kom Peak (2487 m.), Tara River, Kolasin village and its inhabitants, the traverse over the mountains from Kolasin to Niksic and thence to Zabljak (showing local pilgrims and a shepherdess with her flock), a street in Zabljak and a distant view of the Durmitor Mountain Range (with a note “7818 ft.”); several photos also show Montenegrin towns of Kotor and Cetinje. Very interesting is a large panorama of the Albanian town of Shkodër on the shore of Lake Skatar with the old bridge over the Bojana River in the foreground. There are also eight smaller street views of Shkodër and five stunning watercolours of the city and nearby Kir River. The album concludes with seven uncaptioned watercolours that likely depict a small town in France, showing people in the streets, butcher produce on an outdoor stand, and a woman washing clothes. Overall, a very interesting album of sharp photographs and attractive watercolours of Montenegro, Albania and France.
Photographs: Cattaro; Road from Cattaro to Cetingue; Near Cetingue; Native of Cetingue; Cetingue March 1908; Road from Cetingue to Arenetsa [?]; Lake Scutari. Lesendra near Virpazar; Lake Scutari; Near Arenetsa [?]; Lake Scutari; Scutari, Albania; Scutari; On the way from Podgarica to Andrijevica, Three days ride, March 1908; Podgarica to Andrijevica; High country near Andrijevica (5000 ft.); Andrijevica; Drizha river; Beech forest; Kucki Kom; Kolasin; Kolasin to Nicsick; Niksick to Sabjak; Sabjak near Dormitor; Dormitor 7818 ft; Skutari.
Watercolours: River Kir outside Scutari; Scutari; Outside Scutari Kir. R.; Near Scutari Kir. R.; Near Scutari; Podgarica, Montenegro; Kirch. Near Andrijevica; Kucki Kom from Kirch, April 1908; Tara River.


[Album of Twenty Early Original Albumen Photographs, showing Moscow and Nizhny Novgorod (1), Titled:] Moskva. Avgust 1871 goda [Moscow, August 1871].

Ca. 1871. Oblong Folio (ca. 28x34,5 cm). 21 thick stock album leaves. With 20 mounted albumen prints, including twelve large images ca. 19x25 cm (7 ½ x 9 ¾ in), the rest are ca. 12x16 cm (4 ½ x 6 ½ in). All but two captioned in English or French in black ink on the mounts, seven photos hand coloured. Period brown full morocco album with large gilt lettered title in Russian on the front board; moiré endpapers, all edges gilt; remains of a brass clasp on the front board. Album rubbed on extremities, weak on hinges, spine with a minor tear on top, minor spotting to first and last leaves, several photos with occasional light foxing, but overall a very good album.
Attractive custom-made photo album with twenty original studio photos of Moscow and Nizhny Novgorod, collected during a visit to Moscow in August 1871. Among the photos are large hand coloured views of the Grand Kremlin Palace, the Tsar Bell, a panorama of Moscow taken from the top of the Ivan the Great Bell Tower (showing the Cathedral of Christ of the Savior, consecrated in 1883), Saint Basil’s Cathedral, close-up view of the Cathedral of Christ the Saviour with the Bolshoy Kamenny Bridge in the foreground; Russian telega or horse-driven cart, and a portrait of a “Moscow friend” (“muzhik”, or peasant). Other photos include portraits of Emperor Alexander II and his wife, Empress Maria Alexandrovna; four views of the Kremlin and the Red Square: Spasskaya Tower, St. Catherine Church of Ascension Convent (demolished by the Soviet authorities in 1929), monument to Minin and Pozharsky, a view of the Kremlin taken from the Moscow River embankment; and six photos of other Moscow sites: Sukharev Tower on the modern-day Sadovoye Ring road (demolished in 1934), Bolshoi Theatre; a view of the Moscow River, the Orphanage and Zamoskvorechye district, taken from the Kremlin; church of Holy Trinity in Ostankino; Red Gate triumphal arch (demolished in 1927); and Petrovsky Palace (then on the outskirts of Moscow, now within the city border). There is also a nice view of the territory of the famous Fair in Nizhny Novgorod, showing the fair pavilions (the one on the right has a sign indicating that it belongs to the well-known Russian merchant Savva Morozov), the Transfiguration or old-fair Cathedral, and the bridge over the Oka River. Overall an interesting collection of large early photos of Moscow, with an attractive view of the Nizhny Novgorod fair grounds.


HAMMERSCHMIDT, Wilhelm (ca. 1830 - d. 1869), MAISON BONFILS (1867-1909), and others.
[Album with Twenty-One Original Albumen Photos of the Ancient Temples of Egypt (Djoser Pyramid in Saqqara, Temples in Dendera, Karnak, Luxor, Abu Simbel, Philae Island), Nile’s First Cataract, Tombs of the Califs and Sultan Hassan Mosque in Cairo, the Bacchus Temple in Baalbec, Wailing Wall in Jerusalem, the Valley of Josaphat, and others, Titled:] Documents Archéologiques sur la Egypte. Nubie. Syrie. P. Verdier de Latour, 1875.

Ca. 1870s. Oblong Elephant Folio (ca. 45,5x62 cm). 22 leaves. With 21 albumen photographs, from ca. 23x30,5 cm (9x12 in) to ca. 18x25 cm (7 ¼ x 10 in), eight with numbers or markings in negative, three with clear signatures of Wilhelm Hammerschmidt in negative. First leaf with title in watercolour in French, and text in Egyptian hieroglyphs and cuneiform; armorial bookplate of Mr. Verdier de Latour on the title page. Attractive period dark brown quarter sheep with patterned and blind stamped papered boards with decorative borders on both boards and gilt lettered title “Album” and the initials V.[erdier de] L.[atour]. First paper leaf slightly waved and with minor damage on top and bottom of outer blank margin, not affecting the image, but overall a very good album of strong and sharp images.
Attractive collection of large early photos of the iconic sites of ancient Egypt and the Middle East, taken by some of their first photographers – Wilhelm Hammerschmidt and Maison Bonfils. Many photos show the famous architectural objects in their original state, i.e. The entrance to the Luxor temple half-buried in sand (before the large-scale excavations in the 1880s), the entrance to the Abu Simbel Temple also half-covered with sand and before its relocation in the 1960s due to the flooding the low-laying areas near Nile by the waters of the Lake Nasser; the Philae Island complex before it was flooded during the construction of the Aswan Low Dam etc. The photos most likely derive from the private collection of Michel Francois Verdier de Latour (1824-1879), chancellor of the French legations in Stockholm, China, and Berlin, French consul in Riga and Birmingham. The title page refers to Verdier de Latour’s special interest in Egypt and the Middle East, and the text written in Egyptian hieroglyphs and cuneiform may shed light on the circumstances of the compilation of the album.
The photos show: the Pyramid of Djoser at Saqqara (signed in negative “W. Hammerschmidt”); the Colossi of Memnon; Temple of Hathor at Dendera (signed in negative “W. Hammerschmidt”); three views of the Karnak complex (Obelisks in the Amun-Re Temple, the Gate of Ptolemy, a row of pharaoh statues); the columns of the Esna Temple (signed in negative “W. Hammerschmidt”); the entrance to the Luxor Temple with the obelisk and two sitting statues of Ramesses the Great, half-buried in sand (the excavation would not begin until 1884); the entrance to the Abu Simbel temple with the four colossal statues of Ramesses the Great half-buried in sand; two views the Philae Temple in its original state before the it was flooded by the Aswan Low Dam in 1902 (the double colonnade and the Trajan’s Kiosk); Nile’s First Cataract; ruins of the Bacchus Temple at Baalbec; Tombs of the Califs in Cairo; the Mosque of Sultan Hassan in Cairo; Jaffa from the sea (by Felix Bonfils); the Wailing Wall in Jerusalem; the Valley of Josaphat, and others.
“Born in Berlin, Wilhelm Hammerschmidt was already a professional photographer when he settled in Cairo, Egypt, around 1860. There he established the Hammerschmidt shop, where he sold photographic materials to other early photographers such as Henry Cammas. Hammerschmidt exhibited ten views of Egypt at the Société Française de Photographie in 1861 before becoming a member the following year. He also made costume and ethnographic studies, exhibiting those at the Exposition Universelle in Paris in 1867. Hammerschmidt also made photographs in Syria and Nubia, now Sudan” (Wilhelm Hammerschmidt / J. Paul Getty Museum online). Hammerschmidt is considered one of first photographers to produce high quality detailed images of Egypt and his travels and photographs of Upper Egypt and Nubia predate popular tourism in Egypt. He appears to have collaborated with the pioneering photo chemist Hermann Wilhelm Vogel (1834-1898) which would explain the high quality of Hammerschmidt's photographs.
Maison Bonfils was started by Felix Bonfils (1831-1885) in Beirut in 1867 and was "to become one of the most successful photographic businesses in the world. They photographed most of the important sights in the Middle East and their views were widely distributed" (Jacobsen p. 216). Bonfils' "stock had variety enough to please all and ranged from classical landscapes and biblical scenes to ethnographic portraits” (Perez, p. 141).


ARNOUX, Hippolyte (active 1859-1888)
[Album with Twenty-three Large Original Albumen Photographs Including Two Panoramas by Hippolyte Arnoux Showing the Newly Completed Suez Canal (1869) with Views of Port Said and Ismaïlia].

Ca. 1869. Oblong Folio album ca. 36x46 cm (14x18 in) with 23 large original albumen photographs including two panoramas ca. 18,5x81 cm (7 ¼ x 32 in) and ca. 18,5x78 cm (7 ¼ x 30 ¾ in), one very large photograph ca. 32x43,5 cm (12 ¾ x 17 in), and the rest each ca. 22x26,5 cm (8 ½ x 10 ½ in), mounted on recto of stiff white card leaves, all but three captioned in French and nine signed in negative by the studio. Original publishers red quarter morocco with pebbled cloth boards gilt titled “Album du Canal de Suez / H. Arnoux Phot. / Port – Said” with marbled endpapers. Some wear at extremities and spine and slight discoloration of album boards around edges, but overall a very good album with strong, clear photographs.
This album contains twenty-three original albumen photographs of sights along the Suez Canal and views of Port Saïd and Ismaïlia. There are two large, fully mounted panoramic views, including one showing the Canal and Port Said. Also included is one portrait of Ferdinand Lesseps (1805 – 1894), the French diplomat who developed and led the construction of the Suez Canal, and one photographic map of the canal. Overall, an excellent album with large views along the Suez Canal, as well as Port Saïd and Ismaïlia.
Photograph captions: Pirée à jetée Ouest (Port Said); Place de Lessepa; El Kantara (Choute de Syrie); Gare d’El Ferdanne; Courbe d’El Girsh; Chalet du Vice-Roi à l’entrée du Lac de Timsak; Fonction du Canal au Lac Timsak; Quai Mehemet Ali (Ismaïlia); Palais du Khedive; Lac Timsak; Chalet de Ferdinand de Lesseps (Ismaïlia); Kabut el Souek, Lacs Amers; Gare Guillaumet; Courbe du Canal à Chalouf; Panorama de Suez; Embouchure du Canal de Suez; Rade de Suez; Bassin de Chadoub Suez; Buste du Lieutenant Waghoui au terre-plein de Suez; Fontaine de Moïse (Suez); Canal Maritime de Suez.
Hippolyte Arnoux (active ca. 1860 - ca. 1890) was a French photographer and publisher. During the 1860s, he documented the excavation of the Suez Canal and published the resulting photographs as Album du Canal de Suez. (Wikipedia)
“The Suez Canal, is a large, artificial maritime canal in Egypt west of the Sinai Peninsula. It is 101 miles long and 984 feet wide at its narrowest point, running between Port Said on the Mediterranean Sea, and Suez (al-Suways) on the far northern shore of the Red Sea… In 1854 and 1856, Ferdinand de Lesseps, a former French diplomat with friendly connections with Egyptian authorities, obtained a concession from Said Pasha, the Ottoman viceroy of Egypt, to create a company to construct a maritime canal open to ships of all nations, according to plans created by Austrian engineer Alois Negrelli. The company was to operate the canal by leasing the relevant land for 99 years from its opening, for navigation purposes only. The Suez Canal Company came into being on December 15, 1858.” (Revolvy)


[Album with Eighty-six Large Albumen Studio Photographs and Three Photogravures Showing Egyptians at work and Domestic Scenes, Views of Buildings and Street Scenes in Cairo, Great Pyramids of Giza, Main Sites of Upper Egypt Including Dendera, Karnak, Thebes, Philae and with about Twenty-five Detailed Views of Hieroglyphic Reliefs of the Main Temples of Upper Egypt].

Ca. 1880. With Eighty-six large mounted albumen photographs each ca. 20x26 cm (10 ¼ x 8 in), many signed, numbered and captioned in negative by the studios of Bonfils, Beato and Zangaki. The photographs mounted recto on period grey thin card leaves. Handsome maroon period style gilt tooled and titled half morocco with cloth boards. Several photographs mildly faded but overall a very good collection of strong interesting photos.
This interesting collection of strong photographs by the studios of Bonfils, Beato and Zangaki include images of Water carriers, locals working a well, a young farmer, praying in the desert, papyrus market, Mehmet Ali Mosque, Tombs of the Caliphs and the Citadel, interior of Al Azhar Mosque, Minaret of the Al Azhar, Heliopolis Obelisk, Koubr-el-Aâma Avenue, Pyramids and Sphinx, Feluccas on the Nile, Bedrechen, Sakkara Pyramid, Dendera temple complex Including the Temple of Hathor, Karnak and Thebes temple complex Including the Great Hall etc..., Additionally with over 60 archaeological views including 25 rare detailed views of various temple Hieroglyphic reliefs.
Maison Bonfils was started by Paul-Felix Bonfils (1831-1885) in Beirut in 1867 and was "to become one of the most successful photographic businesses in the world. They photographed most of the important sights in the Middle East and their views were widely distributed"(Jacobsen p. 216). Bonfils' "stock had variety enough to please all and ranged from classical landscapes and biblical scenes to ethnographic portraits and subtly erotic images of Oriental men and women. A close examination of Bonfils photographs reveals quite clearly that Felix had a different eye than the others, and at least in the beginning, a more naive and less commercial approach to image making" (Perez p. 141).
"Established first in Cairo in 1862, at the Rue du Muski, and from 1870 on in Luxor, Antoine Beato was one of Egypt's most prolific photographers. His photographs appear in most of the composite travel albums of the period through the turn of the century and cover all aspects of Egypt: landscapes, architecture, ethnographic images, and genre scenes" (Perez, N. Focus East: Early photography in the Near East, 1839-1885. New York-Jerusalem, 1988, p. 131).
"The Zangaki brothers were born on the island of Milos. It is not known where they learned photography but soon after their arrival in Egypt they became established photographers. The Greek brothers' photographs are very commonly found in tourists' albums assembled in the Middle East in the latter part of the 19th century. From their Port Said studio, they were in an ideal position to sell to those on the Grand Tour" (Jacobson, K. Odalisques & Arabesques: Orientalist Photography, 1839-1925. London, 2007, p. 277).


MAISON BONFILS (1867-1909)
[Album with Forty-five Early Large Original Black Signature Bonfils Albumen Photographs of Egypt Showing Thebes, Dendera, the Pyramids, Cairo and Alexandria Titled:] Egypte.

Ca. 1867-1870. Oblong Folio (ca. 35x46,5 cm). With 49 beige card leaves. With 45 mounted (recto only) albumen photographs ca. 22x28,5 cm (8 ½ x 11 ½ in) (signed (Black Signature) and numbered in negative in photo), each with a printed caption on paper pasted on the mount. Mounts additionally with printed signature "Bonfils. Phot., Beyrouth. (Syrie). Attractive period dark green quarter morocco with pebbled cloth boards, gilt titled "Egypte." A few of the mounts mildly foxed otherwise a very good album of strong and sharp interesting photos.
This album is composed of some of the "earliest images of Maison Bonfils.., sensitively composed architectural views. This high quality is particularly evident in the black signature views" (Jacobsen p. 216). The present album of forty-five photos of Egypt includes twenty photos of Thebes including thirteen detailed ones of the Temple of Ramesses III at Medinet Habu showing the Royal Pavilion, the main entrance, pylons, gates, courts, reliefs with inscriptions and the surrounding plain; Colossi of Memnon; a General view of the Ramesseum and its Osirid statues; General view of the Valley of the Kings; Karnak temple including its Columns. Six photos of the temple complex at Dendera including general views, columns and reliefs. Six photos of the Pyramids and Giza (two including the Sphinx) including one photo of the landscape with trees around the Pyramids. Seven photos of Cairo, including three of the Mosque of Muhammad Ali with the Great Fountain and four general views of Cairo showing the Citadel, aqueduct and the Mosque and Madrasa of Sultan Hassan. Finally, six photos of Alexandria including the Consul's Square, Cleopatra's Needle, Pompey's Pillar, the Turkish Cemetery, city view and shoreline with English Church. The Maison Bonfils was started by Felix Bonfils (1831-1885) in Beirut in 1867 and was "to become one of the most successful photographic businesses in the world. They photographed most of the important sights in the Middle East and their views were widely distributed" (Jacobsen p. 216). Bonfils' "stock had variety enough to please all and ranged from classical landscapes and biblical scenes to ethnographic portraits” (Perez, p. 141).


[Album with Fifty-seven Original Photos of the Holy Land and Middle East, Including Iconic Views of Jerusalem, Bethlehem, Jericho, Bethany, Baalbec, Beirut etc. by the Bonfils Studio, and Rare Unusual Photos of Damascus and Constantinople by the Local Studios of Suleiman Hakim and Mihran Iranian].

Ca. 1890-1900s. Oblong Folio (ca. 32x42,5 cm). 29 card stock leaves. With 57 original photographs (56 albumen photos and one gelatin silver photo), from ca. 22x28 cm (8 ¾ x 11 cm) to ca. 12,5x22,5 cm (5 x 8 ¾ in), the majority signed, numbered or captioned in negative, all but six with period manuscript ink captions on the mounts. Owner’s ink inscription on the front free endpaper “Mr. & Mrs. Bruce, Sumburgh, 1902.” With a printed booklet explaining Dr. Schick’s models of the Temple Mount, loosely inserted. Period black half morocco album with black pebbled cloth boards and gilt tooled borders on the spine and corners; moiré endpapers, all edges gilt. Album rubbed on extremities, corners slightly bumped, two mounts with minor tears not affecting the images, one photo with a minor tear on the upper margin, but overall a very good album of strong interesting images.
An interesting collection of well-preserved large photographs by the Bonfils studio showing the iconic sites of Jerusalem and other sites of the Holy Land and the temples of Baalbec; with rare unusual views of Damascus and Constantinople taken by the small local studios. The photos were collected by “Mr. & Mrs. Bruce” of Sumburgh (the Shetland Islands) during their travel to the Holy Land in 1902 (possibly by John Bruce Jr. Of Sumburgh (1837-1907) and his wife Mary; John Bruce Jr. Was Deputy Lieutenant of Orkney and Zetland, Convener of Shetland. J.P., General Merchant, Joint Partner of Grierson & Bruce). The album opens with a large group portrait of the travelling party, apparently including Mr. & Mrs. Bruce, posing in front of the Mosque of Omar in Jerusalem (unsigned studio photo). It is followed by nine sound studio photos of Dr. Conrad Schick’s famous wooden models of the Jerusalem temple and the Temple Mount from the times of the Tabernacle to the late 19th-century.
The album includes 29 photos by the studio of Paul-Felix Bonfils, showing Jerusalem and environs (Siloam, Tombs of the Kings, David’s Gate, Damascus Gate, the Golden Gate, Mount of Olives, the Valley of Josaphat, Garden of Gethsemane), Bethany, Hebron, Mountain of Temptation, Elisha’s Fountain at Jericho, Bethlehem, Damascus (the Minaret of the Bride and the Straight Street), Beirut with the National Evangelical Church, general view and close-up views of the Baalbec temples, Lebanon mountains and a forest of the Lebanon cedars, general panorama and a view of the port of Smyrna (Izmir), and the port of Tripoli. Seven interesting photos by a Damascus studio of Suleiman Hakim include a panorama of the city with the Citadel, views of the Pharpar/Barada River embankment, the Tomb of St. John, the gate of St. Paul’s Wall, and the cedars of Lebanon, a portrait of “an Arab Sheikh” riding a camel, and a photo of the “Pariah dogs” on the street. There are also eight rare views of Istanbul produced by a local Armenian studio of Mihran Iranian (fl. Ca. 1890s). The photos show the Topkapi Palace, the Selamlik Procession of the Turkish Sultan, the Blue Mosque, the “Pigeon Mosque”, and the exterior and interior of the Hagia Sophia (three photos signed “M. Iranian” in negative, the rest are attributed to, by the same type used for the captions). The album closes with a view of San Remo (by Strengel & Co.) and a colour tinted photo of the Blue Grotto on the Capri. An unsigned gelatin silver photo shows a young Arab with a horse in front of Mount Tabor.
Maison Bonfils was started by Paul-Felix Bonfils (1831-1885) in Beirut in 1867 and was "to become one of the most successful photographic businesses in the world. They photographed most of the important sights in the Middle East and their views were widely distributed" (Jacobsen p. 216). Bonfils' "stock had variety enough to please all and ranged from classical landscapes and biblical scenes to ethnographic portraits” (Perez, p. 141).
“Details regarding Mihran Iranian’s life and career are scant. It is known that he established his studio in 1891 in Pera district of Constantinople – the center of Armenian cultural and political life. In 1895 he enters into partnership with another photographer by the name of Gugasyan. By the 1900s the business seems to have wound down. Of all the major Armenian studios from Istanbul, Iranian’s albumen photographs are the rarest and less than 300 images are known to have survived. Iranian’s primary subject was the city of Constantinople, its picturesque landscape, architectural heritage and the many types of artisans and workers that populated its streets. Evidently using a light camera with faster lens, which allowed for mobility and rapid exposures, Iranian captured the bustle of the city streets with remarkable clarity. Teeming with movement, these images often have an immediacy and documentary veracity unlike similar views produced by other Istanbul photographers from the previous decade” (Galstyan, V. Database of Armenian Photo-Media Practitioners/ http://www.lusarvest.org/practitioners/iranian-mihran/).


FERNIQUE, Etienne-Victor, abbe (1836-1915)
[Collection of Forty-Eight Original Albumen Stereo view Photographs of Jerusalem, Bethlehem, Bethphage and Bethany, Issued in the Series:] Souvenirs de Terre Sainte.

[Paris]: ca. 1860s. Forty-eight pairs of albumen stereo view photographs, each pair ca. 8,5x16 cm (3 ¼ x 6 ¼ in) mounted on original publisher’s cards; printed captions in French on the mount rectos, occasional pencil numbers on versos. A couple of images mildly faded, most mounts with small cutouts of lower corners to fit viewer, otherwise a very good collection of strong interesting images.
Interesting collection of early stereo view photographs showing both universal Christian and specifically Catholic landmarks of Jerusalem, Bethlehem, Bethphage and Bethany. Thirty-four views of Jerusalem show the City of David archaeological site, eleven views of different parts of Via Dolorosa, three views of the Armenian Cathedral of Saint James (interior and exterior), the Palace of High Priest, Zion Gate, Palace of Caiaphas on Mount Zion, Franciscan Chapel of Flagellation, Catholic Church of Saint Anne, three views of the Garden of Gethsemane, five views of the Catholic Church of Pater Noster, bridge across the Kidron brook, the Latin Patriarchate in Jerusalem (Co-Cathedral of the Most Holy Name of Jesus), galleries under the Psephina Tower, and others. The collection also includes two views of Jaffa, two views of Bethphage (similar to each other, but numbered differently), two views of Bethlehem (the Cisterns of David and terraces of the Franciscan convent), three views of Bethany (ruins of the Benedictine convent, Jardin de Madeleine, Pierres du Colloque), and two views of St.-Jean dans la Montagne (modern-day Ein Karem neighbourhood of Jerusalem, the birthplace of St. John the Baptist), showing the general view of the village and Franciscan Church of Visitation. It is interesting that eight photos feature the same European middle-aged man (one photo shows only his hat) posing in front of the sites, who was most likely Fr. Fernique himself. Overall a very good collection of early stereo views of the Holy Land.
The photographer, abbe Etienne-Victor Fernique was a French Catholic priest from the Paris diocese who took two trips to the Holy Land after he had been ordained in 1862, and organized over seventy educational lectures in Paris and its suburbs with the use of stereoscope. Later on he became a Knight of the Order of Holy Sepulchre, and in 1889-1906 served as a cure of the Catholic Church of Saint Etienne in the Noisy-le-Sec suburb of Paris.


[Album with Fifty Large Original Albumen Photographs Showing Religious Sites and Views of Jerusalem, Bethlehem, and Jaffa].

Ca. 1867-81. Large Folio album ca. 46x33 cm (18x13 in) with 50 large original albumen photographs, each ca. 28x22 cm (11 x 8 ½ in), mounted loosely one per leaf on brown paper leaves. All captioned in French and/or English, and signed and/or numbered in negative by the studio “Bonfils.” Period red quarter morocco with marbled boards. Mild wear at album’s extremities and spine, one hinge with a crack at tail of the spine, two photographs with a very small tear (ca. 0.5 cm), and one photograph mildly faded, but overall a very good album with strong, sharp photographs.
This interesting album contains 50 large photographs by Maison Bonfils (active 1867-81, studio in Beirut) showing important religious sites in the Holy Land of Israel and Palestine. The majority of the photographs show Jerusalem, including detailed images of the interior and exterior of buildings, views of biblical sites and general views of the city. There are also a few photographs of Bethlehem and Jaffa and one photograph showing a group of people resting with their camels in the desert. Maison Bonfils was started by Paul-Felix Bonfils (1831-1885) in Beirut in 1867 and was "to become one of the most successful photographic businesses in the world. They photographed most of the important sights in the Middle East and their views were widely distributed" (Jacobsen p. 216). Bonfils' "stock had variety enough to please all and ranged from classical landscapes and biblical scenes to ethnographic portraits” (Perez, p. 141).
The photographs included in this album are: Couvent du Mont Garmet, Palestine; Jaffa, la passe; Vasquez de Salomon; Halte de Chameaux dans le Desert; Grotte de la Nativité; Bethléem, Grotte de la Nativité, la Crêche; La Vallée du Tiropeon, Jerusalem; Vue de Jerusalem; Vue de Jerusalem et Eglise Russe; Panorama of Jerusalem, taken from the North; Porte dorée extérieure, Jerusalem; Tomb of David on Mt Zion; Mount of Olives; Ancient Church of the Ascension; Tomb of the Virgin and Cave of the Agony; Cave of the Agony, interior; The garden of Gethsemane, general view; The Valley of Tombs of Jehoshaphat; Vue generale de Siloé; Piscine de Siloé; Jerusalem, fontaine de de la vierge; Jerusalem, Tour Antonia; Couvent Cophte, Ixe station; Interior of the “Ecce Homo”; Stables of Salomon; General view of the site of Salomon’s temple; Foundations of Antonia’s Tower; General view of the mosque of Omar; Details intérieurs de la Mosque d’Omar; Jerusalem, Chaire de la mosque; The Jaffa gate, outside; The tower of David; The Damascus Gate; St Stephen’s gate; Tomb of Lazarus at Bethany; Field of Aceldama; Jerusalem, Tombeau des rois; Tomb of the kings, inner court; Façade of the Holy Sepulchre; Xe et Xie stations, le Calvaire Autel des Latins; Chapel of the Apparition of the Virgin; Chapel of St Helena in the Basilica; Grotte de St Helene, interieur; Interior of the Holy Sepulchre; Inside of the Holy Sepulchre, the Angel’s stone; XIV station, Interior of Holy Sepulchre, the tomb.


[Historically Important Collection of Thirteen Large Platinum Print Photographs of some of the Main Sites at Petra, Jordan].

Ca. 1900. Thirteen large studio platinum print photographs, each ca. 24x29,5 cm (9 ½ x 11 ½ in), many captioned "American Colony, Jerusalem" in negative, some numbered and with title captions in negative, the rest with manuscript title captions in French in brown ink. Overall a very good collection of interesting strong sharp photos.
Rare historically important collection of large views of the rock-cut archeological remains at Petra, Jordan, showing the archeological sites before restoration. The interesting strong images include: Siq (narrow passage) (4) (including one of the entrance with a Bedouin on a horse and one of the exit with a Bedouin on foot and the El Khazneh seen in the background); El Khazneh (Treasury); The Theatre (with Bedouin tents); High Place for Sacrificing (3) including detail views and one photo with a sitting Bedouin; Tombs (4), including the Urn Tomb, an interior view and the tombs on the path to the High Place of Sacrifice. Petra (Raqmu), was likely established in the 4th century BC as the capital city of the Nabataean Kingdom. The Nabataeans were a nomadic tribe of Arab traders who utilized Petra proximity to major trading routes to establish it as a major regional trading centre. Today it is considered one of the seven wonders of the world. "The American Colony was established in Jerusalem in 1881 as a Christian utopian society engaged in philanthropic work under the leadership of Anna and Horatio Spafford, in what is now East Jerusalem. The sale of photographs was one method of augmenting their funds" (Bonhams).


[Interesting Album with Forty-two Large Original Photographs of the Aden Protectorate in Yemen in WW2 Compiled by a Member of the No. 131 M.U. (RAF Maintenance Unit) Stationed in Khormaksar, Aden March 1942, Including Nine Photos of the Environs of Cape Town at the end].

Ca. 1942-3. Oblong Folio album ca. 27x36,5 cm (10 ½ x 14 ¼ in). 25 black card stock leaves. With 42 mounted original gelatin silver photographs each ca. 15,5x20,5 cm (6x8 in). Many photos with period manuscript white ink captions on the mounts, many additionally with decorative designs drawn in white. Period black with painted gilt and colour pictorial decorations lacquered album with a black cloth spine. Rebacked, some minor repair of card leaves and some signs of removed tissue guards but overall a very good album with strong interesting photos.
Interesting collection of large photos of the Aden Protectorate in Yemen including images of: The Aidrus Mosque and its Minaret (Crater); Persian Mosque (Crater); Crater Pass from Ma'alla; Shipyards from Khormaksar Road; Water-cart, Ma'alla; Fruit Market, Ma'alla; Native Craftsman; Native Weavers; Shipyards at Ma'alla; Well at Steamer Point; Stocks at Ma'alla; Native Barber at work; Market; A camel train from Crater Pass; Salt pans; Street scenes; Sultan's Palace, Lahej; Bird's Eye view of Aden; Mosque at Shaikh Othman; Group photo presumably including the compiler - 131 M.U. Winners of Wills Cup 1942-3; Windmill (at salt works); and several other photos including photos of the local inhabitants in native dress (including native armed warriors), street scenes (including the Shell Strand Garage and the Marina Hotel) and city views and some landscape views of the surrounding countryside. The nine views at the end are probably Simon's Town in South Africa. Overall an interesting album of large well taken photographs of Aden during WW2.


[Album with Thirty-seven Large Original Albumen Photos of Tasmania, Showing Engines and Carriages of the Tasmanian Main Line Railway, Three Important Photos of the 1886 Bridgewater Train Accident, Walter Webster’s Royal Mail Coach on the Huon Road, Views of Hobart, Launceston, New Town, Sandy Bay, Mount Bischoff Tin Mine, Huon River Bridge, Sorell Causeway, Salmon Ponds on the Derwent River, Launceston Cataract Gorge, and Others].

Ca. 1880s. Oblong Folio (ca. 35x41,5 cm). 39 card stock leaves. With 37 original albumen photographs, all but one ca. 26,5x37,5 cm (10 ½ x 14 ¾ cm) or slightly smaller; the last photo at rear is ca. 17,5x20,5 cm (6 ¾ x 8 in). Ten photos captioned or signed “Anson Brothers, Hobart” in negative, three photos have the ink stamps of the studio put on versos, but clearly seen on rectos; 27 images are with period manuscript ink captions on the mounts. Original black full sheep album with blind stamped ornaments on the boards; marbled endpapers. Album rubbed on extremities, leaves mildly soiled and waved, a couple of images mildly faded, but overall a very good album of good strong images.
An excellent collection of large early albumen photographs of Tasmania taken by the award-winning Hobart studio of Anson Brothers (ca. 1880-1892). Very interesting are six photos of the private Tasmanian Main Line Railway which ran from Hobart to Launceston in 1872-1890, until it was bought by the colonial government. The photos show a train on the “Horseshoe Bend, Main Line Ry near Jerusalem” (with the engine driver and three other men standing on top of and next to the engine); Bridgewater railway bridge not long after its reconstruction in the 1870s (with a train in motion); a beautiful bright photo of the railway’s engine and tender No. 12 (with the company’s logo T.M.L.R. on the side), two close-up photos of the first-class cars, and a smaller photo of the first-class car’s interior. There are also three historically significant photos of the Bridgewater train accident which happened on July 23, 1886 (a view of the train off rails taken from the distance and two close-up views showing the details of the wreck).
Another sharp well-executed photo shows a horse-driven wagon of Walter Webster’s Royal Mail Coach Line on the Huon Road (the company was founded by brothers Walter and Frank Webster in the late 1870s and ran passengers and mail from Hobart to Mount Wellington and Huon Valley well into the 1910s when horse-driven coaches were replaced with automobiles). The sign “W. & F. Webster, Proprietors. Hobart Town and Franklin” is clearly seen on the side of the couch.
Other interesting photos include three general panoramas of Hobart (taken from the Storm Bay, “from above high school” and from the Huon Road), a view of the corner of the Macquaire & Murray Streets with Hobart Savings Bank in the foreground; panoramic views of Hobart’s modern-day suburbs New Town and Sandy Bay, as well as of the Sorell Causeway and Launceston with the Cataract Bridge in the centre. There are also four impressive photos of Mt. Bischoff tin mine in northwestern Tasmania (showing the open-pit mine, the tin dressing shed, and the prospectors’ wooden cottages); seven photos of Derwent River near New Norfolk and famous Salmon Ponds (the oldest trout fishery in the Southern Hemisphere founded in 1861); two views of the Cataract Gorge near Launceston; single views of St. John’s Square in Launceston, Huon River Bridge (modern-day Huonville), Mount Wellington, Fern Tree Valley, and others. Overall a beautiful collection of well-preserved early historically significant photos of Tasmanian railways and major cities.
“Anson Brothers was a photographic firm based in Hobart. Founded by brothers Joshua, Henry Joseph and Richard Edwin Anson, they took over the premises of Samuel Clifford’s former studio and continued his practice of view photography. The initial years of the firm were compromised by the imprisonment of Joshua Anson in 1878 for stealing photographic equipment from his former employer, Henry Hall Baily. The firm produced remarkable photographs of Tasmanian scenery which were awarded medals at the 1883–84 Calcutta International Exhibition and the 1888–89 Melbourne Centennial International Exhibition” (The Art Gallery of NSW online).


[Album with Twenty-seven Original Gelatin Silver and Albumen Photos, showing the Launch of a Coastal Ship, “Cannibals and a Sorcerer,” Female “Royal Highness,” Native Villages, German Settlers, Members of a “1905 Surveying Expedition” etc. in Herbertshöhe (Kokopo) & New Mecklenburg (New Ireland Province), German New Guinea].

Ca. 1900-1905. Quarto album (ca. 27x21,5 cm). Over 30 laid paper leaves (nine with mounted photos, the rest are blank). With 27 mounted original photos, from ca. 12,5x17,5 cm (5x7 in) to ca. 9x12 cm (3 ½ x 4 ¾ in), including 26 gelatin silver photos and one albumen photo. Sixteen photos with period pencil captions in German on the mounts, three photos numbered in negative. Attractive custom made brown full calf with leaves bound together with a string; five bronze metal ornaments - four corners and a centerpiece showing a German Imperial Eagle - on the front board. A couple of images mildly faded, but overall a very good album of strong interesting images.
Interesting photos include a view of the Herbertshöhe waterfront with the German Imperial flag being hoisted and the ship of the Governor of German New Guinea Albert Hahl (1868-1945) arriving to the harbour; two scenes of launching a coastal boat at the Herbertshöhe wharf during a “high visit;” several interesting group and individual portraits of New Guineans, showing native canoes with the rowers and a “hexenmeister” (witch doctor), a naked female “Eine Königlische Hoheit” (“Royal Highness”), a group portrait of “Neuguineans Kannibalen u. Hexenmeister” (“New Guinean cannibals and a witch doctor”). There are also group portraits of German officials with families, Germans gathered at a local branch of the “Lucas Bols” drinking establishment, two photos of a German monument on the beach and four pictures from a “1905 surveying expedition” showing two hilly landscapes, the “entrance to a mine” and a portrait of two German expedition members drinking alcohol after a day’s work. Overall a historically interesting album of photos of remote Papua New Guinea.


[Album with Eighty-four Original Gelatin Silver Photographs and Ten Pieces of Ephemera Including Fifty-six Historically Interesting photographs of Maoris Showing Their Life and Culture and Twenty-eight Landscape Views of the North and South Islands of New Zealand Titled:] Maori-Land.

1908. Oblong Small Folio (ca. 23,5x33 cm). 40 green card stock album leaves. With 84 mounted matt and glossy gelatin silver photos, including 29 larger photos each ca. 16x21 cm (6 x 8 ½ in), 46 medium ones each ca. 12x16,5 cm (5 x 6 ½ in) and 9 smaller ones of varying formats and 10 pieces of ephemera, half mounted and half loose. The majority of photos captioned in manuscript on mounts in red and white ink. Additionally, with a manuscript presentation on front fly leaf dated Nov. 1908. Period brown gilt tooled half morocco with pebbled cloth boards, front cover gilt titled "Maori-Land." Rebacked in style, otherwise a very good album with strong interesting photographs.
This album of historically interesting photographs of North and South Island New Zealand includes an extensive collection of photos of Maoris and their life and culture with images of: Maori Salutations, Maori Guide at Ratorua, Maori women in traditional costume, Maori Chiefs with tattoos and their Wives, Maori Belles, Maori Baskets and Handicrafts, Maori Mothers and Babies, Maoris washing and cooking, Maori Haka, Maori Dancers including Poi-Poi Dancers, Maori Dwellings and Buildings, Maoris Harvesting, Maori Mothers Meeting and Maori Schools. Additionally the album includes 28 landscape views with images of: Christchurch including houses in the suburb where the compiler lived (Millar St.), the Southern Alps; Pink Terrace Rotomahana; Mitre Peak, Milford Sound; Lake Ada, "The Inferno" Tikitere, Whanganui River, Penguins, Buller Gorge, Rotorua geyser and Mount Cook. The ephemera items include official Christmas greeting cards from various branches of New Zealand Government. The British compiler of the album seems to have been in New Zealand in an official capacity and was particularly interested in Maori culture. The majority of photos but not all are studio images and include several New Zealand Tourist Government Department ones. Overall an historically interesting album which includes an extensive collection of images showing the Maoris and their life and culture in the early 1900s.


TATTERSALL, Alfred John (1866-1951); ANDREW, Thomas (1855-1939)
[Album with Eighty-Five Original Albumen and Platinum Photographs of Samoa, Including Six Panoramas of Apia Harbour, Views of Apia (Mulinu’u village, Immaculate Conception Cathedral, German Courthouse), Villa Vailima of R.S. Stevenson, Mount Vaea, Waterfalls on Upolu Island (Falefa, Papaloloa, Papase’ea, Falealili), Villages on Upolu Island (Falevao, Salani, Lalomauga, Falese’ela, Vaiee), Savaii Island (Matautu village, Safuni Lake), Tutuila Island (Pago Pago), Three Rare Views of Apolima Island, Portraits of the First Governor of German Samoa, Native Members of “Lieut. Gaunt’s Brigade,” Samoans in a War Canoe, Six Photos of the Wrecked German and American Naval Ships after the 1889 Apia Hurricane, etc.]

Ca. 1890-1900s. Oblong Folio (ca. 30x40,5 cm). 28 card stock leaves. With 85 original photographs, including 6 platinum panoramas ca. 9,5x30,5 cm (3 ¾ x 12 in) or slightly smaller, 27 large albumen photos ca. 18x23,5 cm (7 x 9 ¼ in), and 52 smaller albumen photos from ca. 14x20,5 cm (5 ½ x 8 in) to ca. 12x17 cm (4 ¾ x 6 ¾ in). Thirty albumen photos with blind stamps of Alfred Tattersall in the left lower corners, thirty-three albumen photos signed, captioned or numbered by Thomas Andrew in negative. Period brown half calf with green patterned cloth boards, decorative ornaments on the spine and decorative Overall a very good album of sharp and strong images.
Large historically significant collection of early original photos of Samoa taken by noted local photographers Alfred Tattersall and Thomas Andrew during the first years after the archipelago’s partition in 1899 into German and American Samoa.
Photos by Alfred Tattersall include: a portrait of Wilhelm Solf (1862-1936, Governor of German Samoa in 1900-1911); several views of the Apia harbor and waterfront, featuring the first building of the Immaculate Conception Cathedral, German colonial Courthouse (built in 1902), and trade houses of William Blacklock (1856-1942, trader and US Consul General in Samoa in 1880s-1905) and Peter Fabricius (1853-1908) (large signs “W. Blacklock” and “P.C. Fabricius” are clearly seen on the roof and the top of the buildings); close-up views of the Villa Vailima (the last residence of Robert Louis Stevenson and later that of the Governor of German Samoa); the Colonial Courthouse decorated with palm branches and flower garlands with several members of German colonial administration posing in front; Mount Vaea; winding road to Vailele village; Mulinu’u village with traditional fale houses; Samoa war canoe with a large group of warriors; portrait of a Samoan family next to their house; a scene of a public gathering with the dancers performing siva; boys bathing in a waterfall; plantations of taro, bread fruit and cacao trees; a detailed view of the exterior and interior of the Immaculate Conception Cathedral, and others.
The album also houses six excellent panoramic views of Apia attributed to Thomas Andrew, featuring the building on the waterfront, naval ships in the harbor, Mount Vaea, Apia harbor and Vaisigano River and the old bridge. The photos signed or captioned by Thomas Andrew (some dated 1904 or 1905) include: a view of the Apia harbour and waterfront, photos of numerous Upolu Island waterfalls (Falefa, Papaloloa, Papase’ea, Falealili Falls, and others), different villages and sites on Upolu (Falevao, Salani, Lalomauga, Falese’ela, Vaiee), Savaii Island (Matautu village, Safuni Lake), “Interior of Apolima [Island]” (the smallest of the four inhabited islands of Samoa), two views of the “Entrance to Apolima [harbour] (from the left and right sides),” two views of the harbor and American station at Pago Pago (Tutuila Island), views of a “Native fort with tree lookout,” coconut palm plantations at Savaii, coral gardens near Apia, and others. Very interesting is Andrew’s group portrait of “Lieut. Gaunt’s Brigade” - native supporters of King Malietoa Tanumafili I against Chief Mata'afa Iosefo Laiufi during the Second Samoan Civil War of 1898-99, the “brigade” was commanded by R.N. Lieutenant Guy Gaunt (1869-1953) of HMS “Porpoise,” future British counter-intelligence officer and politician.
Six photos (three signed by Tattersall and one by Andrew) show the famous shipwrecks in the Apia harbour which were irreparably damaged by the hurricane on March 15-16 1889. Despite the obvious signs of the approaching hurricane three American and three German naval ships refused to leave the harbor where they took stand during the Samoan Crisis (1887-89) and were all sunk. The photos feature SMS Adler, SMS Eber, USS Vandalia, and German corvette Olga either sunk or knocked over on the beach; USS Trenton is seen on one of the photos trying to salvage the remains of USS Vandalia. There are also two unsigned photos of a Catholic mess and procession near the Immaculate Conception Cathedral. Overall an interesting extensive collection of early photos of Samoa in very good condition.
Alfred John Tattersall “was a New Zealand photographer who lived in Samoa for most of his life and contributed a significant collection of images of the Pacific Island country and its peoples during the colonial era. Tattersall moved to Samoa in 1886 to work as an assistant in the studio of J. Davis. When Davis died in 1893 Tattersall over his studio and negative collection. He went on to live in Samoa from 1886 to 1951, including the volatile era when Britain, Germany and the United States were vying for control of the Samoan Islands. Many of his photographs are significant in the history of Samoa and covered eras such as German Samoa (1900-1914) followed by the country's administration under New Zealand which saw the rise of the pro-independence Mau movement” (Wikipedia).
“Thomas Andrew arrived in Samoa in 1891 and opened a photographic studio in Apia. His photography was wide-ranging including portraits, landscapes and major events including the funeral of writer Robert Louis Stevenson (1894), the Mau Movement working for independence and the volcanic eruptions of Mt. Matavanu (1905–1911). A collection of his work is held by the Museum of New Zealand Te Papa Tongarewa” (Luminous-Lint).


[Historically Interesting Collection of Twenty-four Gelatin Silver Photographs of Views of French Polynesia Including Views from the Islands of Moorea, Raiatea and Tahiti, Showing the Native People, Their Daily Activities, Habitations and Villages, Important Landmarks and Colonial Buildings].

Ca. 1895. 24 original mounted gelatin silver photographs, Including 8 large ones each ca. 19x24 cm (7 ½ x 9 ½ in) and 16 smaller ones each ca. 11x17 cm ( 5x 6 ½ in) all captioned in English in manuscript black ink below images on mounts. Overall a very good collection of interesting strong photos.
Rare collection of large vernacular views from less documented places on the Islands of Moorea, Raiatea, Tahiti in French Polynesia. The present historically interesting photos of French Polynesia include images from the Island of Tahiti: Pension Lorina (with proprietors), Papeete; Faa (with native boy in front of hut); View of Moorea from Faa; Hut in Paea (with locals outside a large native hut); Fautaua Avenue; Locals in Fautaua Valley; Fautaua Waterfall; Pont Bourgoin, (Fashoda Bridge) Fautaua; Locals scraping coconuts, Locals in front of native oven; Locals drying copra; Large gathering of locals singing Himene, July 14th (Bastille Day); Maraa Grotto; Tautira River (with native canoe); Tautira Road; Locals in a pandanus - Tautira. Moorea: Haapiti with locals(2); Locals fish spearing; (Portrait) Maata + Titi, Moorea.
Raiatea: Village; Locals carrying wild bananas; Vanilla plant; Locals climbing coconut palm.
Overall an historically interesting collection showing unusual views and documenting the native people and their daily activities on the islands of Moorea, Raiatea, Tahiti after the end of the Leewards War were local resistance to French rule had been pacified after France annexed and made the islands a colony in 1888.


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