September 2018 Travel Photograph
Albums & Collections

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September 2018 Travel Photograph Albums & Collections.
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[Album with 124 Original Albumen Photographs, Taken by a Cavalry man from the Second Regiment of the “Chasseurs d’Afrique” of the French Armée d'Afrique, while Stationed in Tlemcen (Northwestern Algeria), with Interesting Views of Tlemcen, Portraits of Fellow Officers, and Several Views of Tunis, Constantine and Annaba].

Ca. 1880s. Oblong Folio ca. 25x33 cm (9 ¾ x 13 in). 49 stiff card leaves (12 blank). With 124 mounted albumen prints, including 36 larger photographs, from ca. 17,5x23 cm (6 ¾ x 9 ¼ in) to ca. 15x21,5 cm (6 x 8 ½ in); the rest are from ca. 11x18 cm (7 x 4 ½ in) to ca. 7x10,5 cm (2 ½ x 4 in). The majority captioned in French in period manuscript black ink on the mounts, several with additional notes in Arabic. Period brown quarter morocco with pebbled cloth boards and marbled papered endpapers, spine with gilt tooled decorations and gilt lettered title “Album.” With an engraved armorial bookplate from the “Montvaillant” library pasted on the inner side of the front cover. Album slightly rubbed on extremities, several leaves a bit waved, several images slightly faded, but overall a very good album.
Interesting collection of original photos documenting the service of the Second Regiment of French Chasseurs d’Afrique in Tlemcen, an important regional centre in the Oman department of French Algeria, and a popular vacation spot for the French residents of the colony. The Chasseurs d’Afrique, a corps of light cavalry was formed in 1830 during the French Conquest of Algeria, and was actively employed on service in North Africa and several other locations around the world, with the personnel usually being recruited from French volunteers of French residents of North Africa. The Second Regiment of the Chasseurs d’Afrique was stationed and operated in the Algerian province of Oran, with several breaks when the corps took part in the Crimean War (1854-56), the Italian War of 1859, military expeditions to Morocco (1859) and China (1860), France’s Invasion of Mexico (1862-67), Franco-Prussian War (1870-71), and others.
The album dates back to the Second Regiment’s service in Tlemcen in the 1880s and contains over fifty photos of its officers (all mounted on horses) and privates, including: adjutants Plaire, Gaussens, Moret; “capitaine-instructeur” A.-T. De Fleurance; mayor of medical service (2 class) R.-B.-F.-A. Roux; captain-commandant P.-E. Chassery, second captains L. Boudon, J.-A.-F. Poch, E.-D. Gallois; first lieutenant C.-J.-C.-F. Bartoli; second lieutenants F.-C.-F. Boucon, E. Pourier, A.-C. Houillon; sub lieutenants V. Petit, J.-M.-J. Huguet, A. Uchan, L.-A.-A. Goutelle; a trumpeter, a maître d'armes, and several private servicemen; group portraits of the cavalry officers giving water to their horses, officers and soldiers of a mountain artillery unit; mounted officers in the field outfits; two privates from the forage unit; privates in a line-up, and others. All officers whose names were recorded in the album can be found in the official list of members of the 2nd Regiment of the Chasseurs d’Afrique for 1886 (See: Annuaire Spécial de l’Arme de la Cavalerie Française…/ Publ. Par E. Poyer. Paris, 1886, p. 139). There are also two group portraits featuring the compiler of the album (“photographe”) in his “civilian house” and “military house,” and photos of his two horses – Macron and Palestro.
Over fifty photos show different parts of Tlemcen (several depict the city under snow), with interesting views of the Catholic church of St. Michel (its altered building now serves as a public library), a crossroad with “Café de Boulevard” in the foreground and the tower of Mosque Sidi Brahim behind, the Banque de l’Algéria, the Grand Bassin, Boulevard Nationale, numerous ancient city gate (Porte d’Oran, Porte du Sud, Porte de Bou Médine, Porte de Fez, Porte des Carrières, Porte Bab-el-Khemis, Porte du Méchouar), ruins of the nearby Mansoura fortress, Mosque Sidi Brahim, the house of the 2nd regiment’s colonel A.-J. Roullet, old Arabic cemetery, Mosque Sidi El Haloui, Tower of Agadir, chapel of the French military hospital, several street views (Rue Haedo, Rue de Mascara, Place du Beylick), the Great Mosque, City Medrese, the major city market (“Grand Marché”), Arabic market on Place Cavagnac, several “messageries oranaises” (local post coaches), and many others. There are also seven family portraits taken in Tlemcen, and several views of Tunis, Constantine and Annaba. Overall a very interesting historically significant visual account of Tlemcen and its French military contingent in the 1880s.
“Tlemcen has more buildings dating from the 12th to the 15th century than any other town in Algeria. With the exception of the Great Mosque built by the Almoravids in the 12th century, most of the city’s medieval buildings strongly reflect the influence of Moorish (Muslim) Spain. The Mosque of Sīdí bel Ḥassan (1296, now a museum), the Méchouar, or citadel (1145, now a military hospital and barracks), the Sahrij, or Great Basin (a 14th-century reservoir, now dry), and the Grotto of Rabbi Ephraim ben Israel Ankawa (15th century) are notable landmarks. Tlemcen’s winding, narrow, arched streets are crowded with shops, cafés, and mosques. The ruins of the Marīnid city of Mansoura to the west has notable examples of Hispano-Moorish art” (Encyclopedia Britannica).


[Album with Fifty-eight Early Original Albumen Photographs of French Algeria, Showing Algiers, Constantine, Bone, El Kantara, Katara Gorge, Roman Ruins in Timgad, Portraits of Native Algerians, Views of Smaller French Settlements and Country Houses, Algerian Villages etc.]

Ca. 1878. Oblong Folio album ca. 36x48 cm (14 x 18 ¾ in). 54 card stock leaves. Total of 58 original albumen photographs including forty-three large photos from ca. 19,5x25,5 cm (7 ½ x 10 in) to ca. 14,5x20,5 cm (5 ¾ x 8 in), ten panoramic views ca. 12x28,5 cm (4 ¾ x 11 ¼ in) and five smaller photos, ca. 10x13,5 cm (4 x 5 ¼ in). Six photos numbered and/or captioned in French in negative. Period maroon half morocco album with gilt tooled spine and pink pebbled cloth boards; gilt lettered title “Algérie, 1878” on the front cover; marbled endpapers. Mild wear at the album’s spine and extremities, first leaf slightly soiled, a couple of images mildly faded, but overall a very good album of early photographs.
Interesting collection of early photos of French Algeria most likely taken by a visiting professional photographer who didn’t sign or caption his works in negative (there are also no marks of the professional photo studios of the time). The album starts with nineteen views of Algiers, including two panoramas of the city and the port taken from sea and from the hill above the Kasbah of Algiers, views of Place du Gouvernement with Djama’a al-Djedid Mosque and the equestrian statue of Henry d’Orleans (1822-1897, a hero of the conquest of Algeria in the 1840s), several street views in the old town (Rue de Sabat, Rue de la Abarine among the identified), Summer Palace of the Governor General, an Arab cemetery, interiors and court yards of the city mansions, etc. There are also several views of the ancient road and the Roman bridge in the Katara Gorge, a distant view of mud-brick walls of El Kantara, several excellent panoramas of Constantine featuring the Great Bridge and the railway station far back (as well as three views of the interior of the Ahmed Bay Palace), views of Bone (Annaba), salt pans (apparently in the basin of the Chott Melrhir Lake), an interesting view of a French estate in the countryside, a photo of the Roman Forum in Timgad, three large studio portraits of native Algerians, and several interesting photos of smaller French settlements and Arab villages in the interior. Overall a very good album with early well-executed photos of French Algeria.


HENNIG, Friedrich Lothar (1875-after 1939)
[Album with over Forty Original Watercolours and Pencil Drawings and Over Forty Original Gelatin Silver Photographs, Showing Douala, Lome, Luanda, Lüderitz Bay, Environs of Swakopmund and Cape Town, Libreville, Fernando Po Island, Gorée Island, Tenerife, African Flowers, and Others, Titled:] Habicht. 10 October 1904.

Ca. 1904-1905. Large Octavo (ca. 26x20,5 cm). Thirty-one card leaves with tissue guards. With ca. thirty watercolours and over a dozen pencil and/or ink drawings, from ca. 4x5,5 cm (1 ½ x 2 ¼ in) to ca. 18x23 cm (7x9 in); and over forty gelatin silver photos from ca. 5x6,5 cm (1 ¾ x 2 ½ in) to ca. 14x20,5 cm (5 ½ x 8 in), mounted on the leaves or loosely inserted. With a mounted printed postcard and several chromolithographed prints of African flowers loosely inserted. Most watercolours, drawings and photos with ink and pencil captions in German and/or dates on the lower margins of the images or on the mounts. One of the prints of African flowers with a presentation inscription in English on verso. Period light green full cloth album with gilt lettered title on the front cover. A few photos mildly faded, otherwise a very good album.
Album with beautiful watercolours and interesting original photos of the West African coast drawn and taken by Dr. Lothar Hennig during his service as a ship surgeon on S.M.S. “Habicht” in December 1904 - May 1905. Gunboat of the German Imperial Navy, S.M.S. “Habicht” was a part of the West African Squadron in 1885-1905, visited a number of West African ports from Gorée Island to Cape Town, and took part in several punitive expeditions against the native rebels of German colonies (Duala and Bakoko people in 1886 and 1891, people of Kribi in 1897, and others). In 1904-1905, during Dr. Hennig’s service, “S.M.S. Habicht” was a part of the combined military and naval force sent to suppress the Herero Revolt in German South-West Africa (modern-day Namibia).
The watercolors and drawings show Douala (House of king Rudolph Manga Bell, banks of the Wouri River), Luanda (four views of the old city, a small lighthouse in the harbor, a Portuguese bark near the city), Congo River (sketched during a trip to Kinshasa on board SMS “Vineta”), Lüderitz Bay (Namibia), sandy coast of Swakopmund, Cape Town and environs (S.M.S. “Habicht” at sea on the way to Cape town, local fish boats in the harbor, Table Mountain), a bay hear Cape St. Mary (Angola), a street in Libreville (Gabon), silhouette of Fernando Po Island (now Bioko, Equatorial Guinea), Gorée Island and French ships in the harbor of Dakar (Senegal), Punta Roxa on Tenerife (Canary Islands), a street in La Grana (Ferrol, Spain), and others. Several watercolours show African flowers and trees: flowers growing on the Table Mountain (4), Strelitzia reginae from Orotava (Tenerife), a pine on the sear shore near Cape Town, and a baobab (ink drawing); there are also pencil drawn sketches of horns of African antelope. A pencil drawn sketch designs an invitation to the celebration of the 25th anniversary of SMS “Habicht’s” service in the navy (1880-1905), which was to take place in Cape Town, on the 18th of March 1905. A later watercolour depicts Mount Bromo (East Java, Indonesia), being apparently drawn during Hennig’s service on S.M.S. “Fürst Bismarck” in 1909 (then a part of German East Asia Squadron).
The photos show Duala (palace of king Manga Bell, German cemetery, native houses), Lome (several views of a railway bridge on the pier, taken from the distance and close up, with German naval officers posing to the camera on the bridge), SMS “Habicht” in Cape Town harbor, native sail boats, portraits of an Angolan girl, and an African boy with eye disease, and others. Several photos apparently portray Dr. Hennig, showing him in a forest near Douala, hunting near Cape St. Bras (Angola), standing on a beach near Lüderitz Bay in a company of penguins, and on a picnic near Cape Town. The album closes with a large photo of “Eleonora Woermann,” a passenger, freight and mail liner for German West Africa (on service in 1902-1915).
Dr. Friedrich Lothar Hennig served in the Imperial German Navy in 1896-1911, in 1904-1905 he was ship’s surgeon on S.M.S. “Habicht” off the coast of Southwest Africa; in 1908 served on S.M.S. “Fürst Bismarck,” during WW1 served in the Reserve-Lasarett in Braunschweig, and later operated a private clinic there ( Militaria Forums).


[Historically Important Collection of 103 Original Photographs Taken during a Survey Trip Prior to the Completion of the First Ethiopian Railway from Djibouti to Addis Ababa, with Scenes of Dirt Road Travel on a Truck, Traversing Rivers etc., Portraits of the Travellers including Emperor Menelik II’s Advisor Armand Savouré, Portraits of the Locals, and Interesting Views of Dire Dawa, Addis Ababa, Hurso, Mulu, et al.]

Ca. 1911-1912. 103 loose gelatin silver prints of various sizes, including five large photos ca. 18x23,5 cm (7 x 9 ¼ in) or slightly smaller, 30 photos ca. 13x17,5 cm (5x7 in) or slightly smaller, 62 small photos ca. 6,5x9 cm (2 ½ x 3 ½ in), and six photos ca. 9x14 cm (5 ½ x 3 ½ in, printed as real photo postcards). Vast majority of images with period manuscript pencil captions in French on verso of photographs. Photos slightly waved, a few with mild fading, but overall a very good collection of interesting images.
Historically significant collection of original photographs illustrating the survey of the area between Dire Dawa and Addis Ababa performed by the Franco-Ethiopian Railway Company during the construction of the first Ethiopian railway linking the capital with the port of Djibouti in the then French Somaliland. The initial construction started in 1894 by the Imperial Railway Company of Ethiopia which managed to bring the line to the vicinity of Harar by 1906 where the station and the settlement of Dire Dawa was constructed. The company went bankrupt the same year and further construction was postponed until the newly formed Franco-Ethiopian Railway Company took over in 1908. The work resumed in 1914 and the next year the line reached Akaki, just before Addis Ababa, finally getting to the capital in 1917.
The photographs from our collection were taken within the time frame of 30 November 1911 – 3 August 1912 and start with the views of the Catholic church and the railway station in Dire Dawa, and a portrait of the expedition members leaving on a train for the nearby Ourso (Hurso). Further road trip is documented in a large group of photos showing the expedition truck going with difficulties on backcountry dirt roads up and downhill, crossing rivers, and skidding in mud, with the travellers and local guides clearing the path for the truck from stones, digging behind the rear wheels, making an improvised road with wooden planks, pushing the truck et al.; several photos have the steep road grades marked on verso from 15 % to 27 %. Other “expedition” photos show the camps set on the sites of the future stations of the railway (Hurso, Gota, Mulu, Awash, and others), and the expedition members, including Armand Savouré - a major French merchant in Ethiopia and an advisor to Emperor Menelik II. There are also interesting photos of a Catholic mission in Hurso (with the priest standing in front of the hut), a gorge near Balchi taken during the return trip, native villages and markets, portraits of native guards armed with rifles, guides posing with a hunted gazelle and a marabout, native water and firewood carriers, women and children, a portrait of a French woman and a child travelling in palanquin, and others. Several views of Addis Ababa show the market square (including an image featuring a large tractor), Catholic mission (exterior and interior of the church, portraits of fathers Julienne and Basil, native flock, nuns et al.), the street and the gate leading to the Royal Guebi compound, and others. There are also two almost identical portraits of Armand Savouré, his wife, children and an Ethiopian child posing in front of their house in Addis Ababa. Overall a very interesting collection of original photos from the early days of construction of the first Ethiopian railway.
“The Imperial Railway Company of Ethiopia (Compagnie Impériale des Chemins de fer d'Éthiopie or Compagnie Impériale Éthiopienne) was a firm founded in 1894 to build and operate a railway across eastern Ethiopia from the port of Djibouti to the capital of Addis Ababa. It was founded by Alfred Ilg and Léon Chefneux and headquartered in Paris, France. The firm failed in 1906 when political discord halted construction, and it failed to obtain any new capital. The portion it had completed ran from Djibouti to just short of Harar, the principal entrepôt for existing commerce in southern Ethiopia. Its terminus evolved into the city of Dire Dawa, today a larger city than Harar itself.
Following the 1906 Tripartite Treaty between Italy, France, and Britain and the 1908 Klobukowski Treaty between France and Ethiopia, Menelek consented to further expansion of the railway, granting the new concession to his personal physician, a black Guadaloupean named Dr. Vitalien, on 30 January 1908. The assets of the former company were then transferred to a new firm, the Franco-Ethiopian Railway (Compagnie du Chemin de Fer Franco-Éthiopien), which received a new concession to finish the line to Addis Ababa. After a year of wrangling with the previous financiers and their governments, construction began anew. By 1915 the line reached Akaki, only 23 kilometers from the capital, and two years later came all the way to Addis Ababa itself. <…>
The railway is currently in a partially-abandoned state. There has been no passenger service between Dire Dawa and Addis Ababa since 2008. The service from Djibouti to Dire Dawa ceased in August 2010 but restarted in August 2013” (Wikipedia).


[Collection of Thirty-five Albumen Stereoviews Showing Native People, Their Customs and Hunting Scenes in East Africa, Including Kenya, Lake Victoria, Tanzania, and Zanzibar, With Interesting Group Photographs of the Maasai and Kikuyu People, Titled:] East Africa Through the Stereoscope, Volume 1 & 2.

1909. 35 pairs of albumen stereo views, each ca. 8x15,5 cm (3x6 in), mounted on original brown stiff cards. Each numbered with photographer’s copyright and typed caption in English on recto, many with printed captions in French, German, Spanish, Swedish and Russian on verso, and some with printed travel notes. Housed in publisher's original gilt tooled black cloth box ca. 19x6,5x11 cm (7 ½ x 2 ½ x 4 ½ in) with title and studio name on spine. Box with some wear, but overall a very good collection with interesting strong, sharp photographs.
This collection of 35 albumen stereoviews contains excellent photographs of native people in East Africa, showing their customs and dress, as well as American and African hunters, with views in Kenya, Lake Victoria, Tanzania, and Zanzibar. Eleven photographs were taken in Kenya, six of which show the Kikuyu people, including “women decorated with beads and brass wire” grinding corn, “a Kikuyu warrior buying a wife from her father, the King,” “Women of Kikuyu tribe bringing firewood to a British Government Station”, and “King Wambugoo and his sixteen wives.” Other views in Kenya include “Warriors and women of a village near Mt. Kenia in festival dress,” a Mombasa street scene showing “ivory on the way from the jungle to America,” and “natives smoking fresh killed meat.” There are also six views taken around Victoria Nyanza [Lake Victoria], the chief reservoir of the Nile, including one photo of a Kavirondo village with people holding cages of “decoy quail.” Additionally, five photographs show Tanzania, including American and African hunters carrying zebras after a hunt, a portrait of the photographer with “his party” and three photographs taken near Mt Kilimanjaro, one of which shows a Wachagga village on the mountain’s slopes. There are three interesting photographs of the Masai [Maasai] people, including a group of people watching the gambling game of “Bao” and women building houses, and two photographs from Zanzibar showing a group of women “dressing their hair,” and “masked women holding a fetish that keeps off devils.” Overall, an excellent collection of strong photographs showing native people of East Africa.
“Underwood & Underwood established itself in 1882 as a stereographic distributing company. The company was founded by two brothers, Elmer and Bert Underwood. Underwood & Underwood were publishing twenty-five thousand stereographs a day by 1901…Around 1900 Underwood & Underwood introduced boxed sets, with specific themes such as education and religion, and travel sets depicting popular tourist areas of the world.” (The Yellowstone Stereoview Page)


[Album of Ninety-three Original Gelatin Silver Photographs of Madagascar, Most Likely Prepared in the Office of Madagascar Governor Joseph Gallieni and Showing Railroad and Bridge Construction, Tananarivo Agricultural Exhibition of 1902, Children’s Fest of 1902, Bicycle Races and Malagasy Bicyclists, Malagasy Hospital and a Doctor, General Gallieni at Tananarive Sport Club, Native Families, Workers, Villages and Towns, Weddings of French Elite on Madagascar, et al.]

Ca. 1900-1905. Oblong Octavo (16x22 cm). 51 double album leaves. With 93 mounted original gelatin silver photographs, ca. 12x17 cm (4 ¾ x 6 ½ in), or slightly smaller. Almost all photos with manuscript pencil captions in French on the mounts or on versos. Period red full cloth album with blind stamped borders on the covers. Binding slightly faded and with minor water stains, weak on hinges, six photos have been previously removed, a few photos mildly faded, but overall a very good album.
Historically significant photo collection showing French Madagascar in the beginning of the 20th century. Covering a wide range of topics – from railroad and bridge construction to public hospitals and native doctors, agricultural exhibitions, bicycle races, sport clubs, portraits of native people, “Children’s fests,” weddings of high ranking French officials et al. – this collection belongs to a group of similar photograph albums, carefully prepared by the office of General Joseph Gallieni (Governor of French Madagascar in 1896-1905), with the purpose of promotion of the achievements of the French authorities and thus “pacification” the island in the early years of the French rule. Twenty-one albums of the same style (same size of the bindings and of the photos) are deposited in Foiben-Taosarintanin'i Madagasikara/ Geographic and HydrologicalInstitute of Madagascar (the contents of the albums were analyzed by Alain Tirefort in his article La «pacification» de Madagascar (septembre 1896 - mai 1905). Les représentations photographiques du fonds FTM à Antananarivo, Rennes, 2006, pp. 187-203). A large number of photos very similar to the ones in our album can be found on the website of the Archives nationales d'outre-mer which specialize in documenting French colonial history (e.g., view here). According to the notes in the photos’ descriptions from the website of Archives nationales d'outre-mer, the photos derive from “Album du fonds Gallieni.”
The interesting images show: construction of the Brickaville-Tananarive railway (works at km 9, waterfalls on the railway route at km 12, construction camp, future platform crossing the village of Ambodimanga et al); various bridges in Madagascar constructed by the French authorities (in Mangabe, Ampasimbola, metallic bridges in villages of Mahela and Maromby, over the Mamba River, several bridges on the way to Majunga/Mahajanga, and others); towns, villages and sites in different regions of Madagascar photographed during Gallieni’s tours: Brickaville, entrance to the Mandraka River gorge, villages of Mahela, Beforona, native houses in Bekaratsaka and Tananarive, native hospital in Arivonimamo, medical station in Mangabe, Tamatave, a road between Amboasary and Moramanga, and others.
Over thirty images are dedicated to numerous fests and celebrations either organized by the French authorities, or featuring them as guests: a “Children’s fest” in Tananarive in 1902 (7 photos), “shooting competition” (5 photos), “agricultural fair” (6 photos, showing the best bulls and horses, the award ceremony, the building of the restaurant), “horse competition” in Androhibe (2), a public fest in Antsahavola (5 images, showing a bull fight, horse competitions, native dance and tug-of-war competition); bicycle races and sportsmen (6 photos, showing races in Mahamasina, a Malagasy champion posing with his bike, “Malagasy cyclists” et al.), “gymnastic fest” (2), and the reception in the British embassy to celebrate the coronation of Edward VII (5). Over a dozen photos depict the processions during the weddings of high-ranking officials in Madagascar, including that of a daughter of Albert Clarac (1854-1934), a noted French specialist in tropical medicine and the director of Madagascar health service in 1902-1905. The photos feature many representatives of the French elite in Madagascar – including General Gallieni himself, with the names of several people identified and written on the mounts. Other photos portray the “General returning from a trip to the coast,” “General and members of his suite at the sport club,” native rickshaw-style transports, porters, gold prospectors, families, Malagasy doctor with his assistants (another portrait shows him visiting a sick person in a hospital), scene of a kabary (public speech), et al. Overall a very interesting historically significant album.


[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 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 in 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 8½ 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.


[Album with 207 Original Gelatin Silver Photos and Seven Platinum Prints Showing the Early Years of Southern Rhodesia, future Zimbabwe, Including Two Portraits of White Settlers featuring Cecil Rhodes, Portraits of Ndebele and Shona Nobility, Ndebele Woman Riding a Bicycle, Young Member of British South Africa Police, Group Portrait of Rhodesian Troops at the Crocodile Pools during the 2nd Anglo-Boer War, Views of the Bulawayo Laager and City Streets, Hunting Scenes with Game Trophies, White Settlers’ Houses and Farms, Native Villages etc.]

Ca. 1893-1904. Oblong Large Quarto (ca. 24x30 cm). 30 card stock album leaves. 214 original photos, including five large platinum and gelatin silver prints ca. 22x28,5 cm (8 ¾ x 11 ¼ in); 205 gelatin silver prints and four platinotypes of various size: three large ones ca. 21,5x27 cm (8 ½ x 10 ¾ in), about 24 large ones ca. 15,5x20 cm (6x8 in), the rest are from ca. 11,5x15,5 cm (4 ½ x 6 ¼ in) to ca. 6,5x10 cm (2 ½ x 4 in). Over thirty photos captioned, signed or numbered in negative. Period green half cloth album with olive cloth boards. Binding mildly rubbed on extremities, slightly weak on hinges, otherwise a very good album of strong interesting photographs.
Rare historically significant collection of excellent studio photos and lively snapshots illustrating the founding years of Southern Rhodesia – modern-day Zimbabwe and at the time a chartered territory of the British South Africa Company under the rule of Cecil Rhodes. Taken at the turn of the 20th century, the photos contain important visual materials related to the First and Second Matabele Wars (1893-94 and 1896-98) and the Second Anglo-Boer War (1899-1902). Three large well-executed studio platinum prints show a skyline panorama of Bulawayo taken from the distance, a view of the Shangani Memorial in the nearby Matobo Hills (erected in 1904 in memory of the heroes of the First Matabele War), and a group portrait of European settlers featuring Cecil Rhodes, sitting apparently in the Matobo hills. Two large gelatin silver prints include a portrait of two European settlers climbing apparently also in the Matobo Hills, and a view of the statue to Cecil Rhodes in front of Bulawayo City Hall. The album also includes a view of the Khami ruins near Bulawayo taken by a local photographer L. Pedrotti, and over twenty photos by the Bulawayo studio of W. Rausch. The latter’s photos include a group portrait of European settlers featuring Cecil Rhodes (dated 1896), views of “Induna’s Grave,” “Native’s harvest,” a scene with a prospector crossing a river near “Fort Manzinjama,” group portrait of “Capt. Ramsay’s troop, Crocodile Pools” (modern-day Notwane Siding south of Gaborone, Botswana, which during the Second Anglo-Boer War served as a campsite of British South Africa Police); two views of “Bulawayo laager” (a fortification erected by the European settlers during the Siege of Bulawayo in the course of the Second Matabele War); several excellent portraits of Ndebele and Shona people, including “Gambo,” “Queen Marwe,” “Langabe,” “Queen Mpitipiti,” “Queen Makope,” native girls and women (including two portraits showing women posing next to or mounted on bicycles), warriors posing with spears and shields etc.; picturesque scene of “Bringing the beer at a war dance;” a photos of a “Kaffir Kraal,” several street views of Bulawayo depicting a whirlwind and clearly showing signs of the local businesses (Marriott & Parker Ltd., F.E. Woods – Baker and Confectioner, W. & C. Cowie, Stirk & Co. Ironmongers, Humber Cycles, French Burr Stone Mealie Mills, The Bulawayo Hardware Stores, Vienna Café and Restaurant, Second Hand Furniture Exchange etc.)
The original snapshots include numerous photos of European settlers (including an interesting portrait of a blacksmith at work and several portraits of a young member of the British South Africa Police posing in full uniform and with a rifle), their houses and stock farms, a series of photos from a safari (with the hunters posing next to the killed animals); views of oxen-driven carts on “road to Victoria falls,” going through the bush, crossing the “Lumenia River” and other streams, a photo of a train crossing a flooded river valley, three photos of the Victoria falls (with one showing the beginning of the bridge construction over the Second Gorge, and one showing the completed bridge); several photos of the Khami ruins near Bulawayo, street views of Bulawayo showing the Queens Hotel, Marshall’s Buildings, races at the city racecourse (apparently, Ascot racecourse), and a fire in a private house; views of Bulawayo vicinity (including photos captioned “Bulawayo Waterworks Scenery” and “Hillside Bulawayo,” both signed McG), portraits of the native villages and people etc.


[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: view here). 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.


12. [ALASKA]
LA ROCHE, Frank (1853-1936)
[Interesting Collection of Twenty-four Original Photographs of Alaska].

Ca. 1895. 14 grey thick card leaves. 24 gelatin silver prints from ca. 18x23,5 cm (7 x 9 ½ in) to 11x18,5 cm (4 ½ x 7 ½ in). All mounted on original thick grey card leaves, most captioned in negative. Overall a very good collection of strong, sharp and interesting images.
This interesting collection of photographs includes twenty-three by La Roche (Seattle) including images of: Juneau: from the water, from steamer, log cabin, Pres. Church; Sitka: Indian Avenue (x2), Indian merchants, driveway, Indian River Rapids, bridge on Indian River Trail; Wrangell: from steamer, evening, Wrangell Narrows; Skagway: from bridge, Broadway; Metlakahtla (BC): group of Indian children, Indian brass band; White Pass Railroad: from the mouth of the tunnel; Lynn Canal (x2); Steamer "Queen" taking on ice; Muir Glacier: Steamer "Queen" in the Ice Takou Inlet: Grenville Channel (BC); WITH one by Winter & Pond: Old Tlingit Indian.
La Roche "made numerous trips to southeastern Alaska and the Yukon Territory photographing among others, scenes during the Klondike gold rush, ca. 1897-1899. These included views of his experiences traveling from Dyea, Alaska over the Chilkoot Pass into British Columbia to reach the gold fields" (University of Washington Libraries).


GIRON, Manuel Maria & URIBE, Alberto
[Collection of Sixteen Large Original Gelatin Silver Photographs of Guatemala City, Showing the Historic City Centre, including the Now Non-Existent Castillo de San Jose, First Building of El Calvario Church, and Central Penitentiary].

1891. Sixteen original gelatin silver prints, each ca. 18x23 cm (7x9 in), mounted on original card stock leaves, unbound. Each photo with an ink stamp “Uribe y Giron, Guatemala, Dic. 21, 1891” and a period pencil caption in Spanish on verso. Overall a very good collection of strong images.
Interesting collection of large views of Guatemala City, taken by the local photo studio of Manuel Maria Giron and Alberto Uribe. The photos give an excellent picture of the Guatemala City’s historic centre, then still sparsely built up, with detailed views of several buildings which were severely damaged during a series of earthquakes in 1917-18 and later demolished. Among them is Fort of Saint Jose (Fuerte de San Jose, destroyed during the earthquakes and later rebuilt, now a site of Guatemala Military Museum), shown from the distance and close, with the two “lagunas” (ponds) clearly seen in the foreground. There are also interesting pictures of the first building of the Church of Our Lady of the Remedies (El Calvario), which was originally built in 1784-87, and after being damaged in earthquakes, was demolished to extend the Guatemala City’s road network; a new church of the Cavalry was constructed a few meters away in 1926-32. Several pictures show the Central Penitentiary (demolished in 1968), including a view of the garden at its entrance. There are also several impressive panoramas of Guatemala City taken from the top of the Fort of Saint Jose or El Calvario in all directions, showing the “Mercadito,” and recently constructed railway line. Overall a very interesting collection of early photos of the capital of Guatemala.


[Album of Sixty-five Early Original Albumen Photographs of City Views and Scenic Sights from an Early Tourist's Travels through the United States and Canada Including Stops in Quebec, New York, Pennsylvania, Illinois, Colorado, Utah, California, etc, Including One of Titusville Showing the Oil Wells Developed During the First US Oil Rush].

Sept 16 1872 – Jan 18 1873. Oblong Folio ca. 26x35 cm (10 x 13 ¾ in). Sixty-five original albumen photographs, including 19 larger ones each ca. 9,5x17 cm (3 ¾ x 6 ¾ in) to ca. 16,5x22,5 cm (6 ½ x 8 ¾ in), the rest are each ca. 9x9,5 cm (3 ½ x 3 ¾ in) and smaller, mounted recto on 28 beige card stock album leaves. All but two photos captioned in period manuscript brown ink on mounts. Additionally, with twenty-three flower and plant samples found during the travels mounted on the album leaves, all but one captioned in period manuscript brown ink. Period style brown half morocco with gilt stamped spine titled “AMERICA ALBUM” with brown cloth boards. Overall a very good album with strong photographs.
This album contains interesting early photographs of American cities and tourist sights and the surrounding natural features from an early tourist’s travels through the United States with a few stops in Canada. The album includes several impressive large photographs including a photo of the oil wells and workers in Titusville, Pennsylvania (the first site of the US oil rush, 1859-1870s), a view of Salt Lake City with snow-covered mountains in the background, and a view of Lake George, NY which shows the SS Minnehaha. There are photos of San Francisco, 5th Street in St Louis, Denver and Chicago. Other sights of interest include the Niagara Suspension Bridge (opened for traffic in 1855), a hydraulic mining operation in Utah and the St Charles Hotel, New Orleans (the second building was completed in 1861). Additionally, there are photographs of natural features such as mountains and rocks in California (Yosemite Valley, Cathedral Rocks…) and Colorado (Sentinel Rock, Chimney Rock…). A very good album with strong photographs that visually document the early cities of North America.
Captions: Boston: Harbour; State House; Public Garden; Chapel Harvard; Washington Elm; Glen House: Base of Mt Washington; Tuckerman’s Ravine: Glen Notch; Falls of Montmorency; Lake George; Kays’ Conservatory Montreal; Trenton Falls; Niagara Suspension Bridge; Terrapin Tower and Horseshoe Fall; Oil Wells Titusville; Chicago; Wagner’s Drawing Room Car; Pullman’s Sleeping car; Devil’s Slide; Palisades; Snow shed Mt Aspen; Secret Town Bridge; View of Cape Horn; Kesler’s Peak, Meek’s Camp Utah; Hydraulic Mining; Salt Lake City; Clark’s Ranch; House built on a section of a tree; Yosemite Valley; Cathedral Rocks; Washington Mountain; Bridal Veil Fall; El Capitan; Half Dome; San Francisco; Denver, Colorado; Sentinel Rock; Chimney Rock; Grey’s Peak, St John’s; Quaker Rocks; St Louis 5th St; The Capitol, St Louis; Independence Hall; Interior of J.H. Philadelphia; Richmond, Washington; New Orleans St Charles Hotel; Bonaventure Cemetery.


[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 (24,5x33 cm). 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.


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)


[Album of Ninety-six Original Gelatin Silver Photographs of Blagoveshchensk on the Amur River, Showing Major Trading Houses and Shops on the Bolshaya Street, Girls' School, Cathedrals and Churches (Demolished in Soviet Time), the Triumphal Arch, Customs House and Steamers on the Amur River, Chinese Villages on the Other Bank, Chinese workers, Russian Peasants, and Others].

Ca. 1910s. Oblong Folio (ca. 26x34,5 cm). Twelve album leaves. Ninety-six mounted gelatin silver prints, each ca. 7x10 cm (2 ¾ x 4 in). No captions. Period brown quarter faux leather album with paper boards, rubbed on extremities, corners slightly bumped. Several images slightly faded, but overall a very good album.
Interesting album of rare photos of Blagoveshchensk, the centre of the Russian Amur oblast and an important port on the Amur River located just about 500 meters from Chinese city of Heihe on the other bank of the river. Blagoveshchensk was founded on the confluence of the Amur and Zeya Rivers in 1858 and became an important trade center in the early 20th century due to the lucrative gold extraction industry on the river and the proximity to the state border with China. The main street of Blagoveshchensk – Bolshaya – accommodated the offices of the main Siberian trade houses, the port numbered over 150 steamers and over 200 barges.
The photos were apparently taken by a well-off Blagoveshchensk resident, and include over a dozen views of the Bolshaya Street (now Lenina Street), showing Kunst and Albers department store (built in 1894, one image shows the store with the sign “Christmas fair”), Siberian Trade Bank, Trade house “Kokovin and Basov,” Torgovaya Square (now Victory Square) with open air wooden pavilions, shops of I.K. [?] Mazur, V.M. Pankov, Matveyenko bros., “Japanese shop Tokio-Yoko, goldsmith,” garden supplies shop, first city electric station “Vseobshchaya Kompaniya Elektrichestva” (built in 1908), Cathedral of the Intercession of the Theotokos (demolished in 1980, new cathedral of different design built in 1997-2002), Alexeyevskaya school for girls (on the corner of Bolshaya Street and American side-street), entrance to the Voznesenskoye cemetery with an Orthodox Christian chapel (built in 1872, demolished in the 1930s), and others. There are also interesting views of the Triumphal Arch (built in 1891) and trade house “Mauritania” on the embankment of the Amur River, several photos of the steamers on the river (with two signs reading “Andrey” and “Peterburg”), views of the city embankment (showing cannons pointed towards the state border, frozen Amur, timber piles on shore), Amur River banks and villages on the Chinese side, Russian customs house, portraits of Chinese cart drivers, brick makers, Russian peasants et al. The album closes with three images of an open air church sermon and a church procession and over twenty portraits of Blagoveshchensk residents – apparently, the album compiler and his family.


[Album with Over 340 Gelatin Silver Snapshots and Albumen Studio Photographs, Compiled After a Voyage on the Bibby Line to Burma and India in 1902-1903 with a Stop in Sri Lanka, Showing Local People, Buildings and Views of the Suez Canal, Colombo, Kandy, Yangon, Mumbai, Madras and Kolkatta].

1902-1903. Oblong Small Folio ca. 25x32 cm (10 x 12 ½ in) with 342 photographs, including 10 large photographs each ca. 22x27,5 cm (8 ½ x 11 in), all but two are albumen prints signed by studio in negative “Peridis & Georgiladakis,” and one is signed “Harington & Norman,” 10 panoramas each ca. 5x17 cm (2 x 6 ¾ in), 16 photographs between ca. 10,5x15 cm (4 ¼ x 6 in) and ca. 16x23,5 cm (6 ¼ x 9 ¼ in) and the rest are snapshots, each ca. 8x10 cm (3x4 in) and slightly smaller. The vast majority are captioned in period manuscript ink or pencil on the leaves, or in negative by the studio and all but thirteen photographs are mounted on recto and verso of thirty-six beige stiff card album leaves. Additionally including a brief itinerary of the voyage in period manuscript blue ink on front endpaper. Period gilt tooled black half sheep with black pebbled cloth boards. Mild wear at album extremities and spine, mild foxing on some leaves and photographs, some photographs partially detached, but overall a very good album with strong, sharp photographs.
This album of over 340 photographs was compiled by Mary E. Carver after her voyage to Asia aboard the S.S. Warwickshire and the S.S. Shropshire, both steamships on the Bibby Line, and shows the people, buildings and views along the way, including sights in Sri Lanka, Burma and India. There are several photographs taken onboard the ships, showing the group of travelers and views from the deck. Additionally, a few photographs taken during a stop in Sri Lanka show the buildings, local people and shore of Colombo, and the Temple of Tooth in Kandy. A large portion of the album features sights in Rangoon [Yangon], Burma, including the wharf, native merchants in the street, Cantonment Gardens, the Gymkhana Club, and a “sacred lake.” Several of these photographs show the group travelling across the Bago river to have a picnic at the Syriam Pagoda, including the native people pushing the boats onto the shore as the travelers sit inside. There are also several views of Pagoda Hill on the way to the Shwedagon Pagoda and interesting snapshots showing the Pagoda under construction as a crowd of people stand and watch. Shwedagon Pagoda is considered the most sacred Buddhist pagoda in Myanmar, as it is believed to contain relics of the four previous Buddhas of the present kalpa (Wikipedia). Another large portion of the album shows places in India, including the streets and Great Western Hotel in Mumbai, government buildings and the Bank of Bengal in Madras, the banks of the Hooghly and native people bathing in the river, as well as the courts of Justice, cathedral, and Old Court Street in Kolkatta. There are also snapshots and larger studio photographs showing the passage through the Suez Canal, and some photographs showing the streets of Port Said. One of the studio photographs is a large portrait of a Sudanese soldier, signed “Peridis.” Overall, a very good album with strong, sharp photographs of people, buildings and views in Burma, India and Sri Lanka taken by an early passenger of the Bibby Line steamships.
The Bibby Line was founded in 1807 by the first John Bibby (1775–1840). It has operated in most areas of shipping throughout its 200-year history, and claims to be the oldest independently owned deep sea shipping line in the world (Wikipedia). “In 1893 Bibby Line was placed on the ‘Government Approved’ list. This gave the incentive to develop passenger accommodation on board the vessels” (Bibby Line Limited).
“Active from the 1860s to the 1890s, the Zangakis brothers were commercial photographers based in Egypt. The images these men created were not limited to Egypt alone but also included photographic work in Algiers and Palestine. The Zangakis brothers principally catered to the growing Western tourist market in the Near East” (The National Herald).


19. [ASIA - CHINA]
[Album of Seventy-five Original Gelatin Silver Photographs of Beijing and Environs Taken by a German Officer during the First Years of the Republic of China].

Ca. 1912-1914. Oblong Folio (27x35,5 cm). 24 stiff card leaves. With 75 mounted original gelatin silver photographs, including 19 large photos ca. 16,5x22,5 cm (6 ½ x 8 ¾ in), four panoramas ca. 8x22 cm (3 ¼ x 8 ¾ in) or slightly smaller, the rest are from ca. 12x16 cm (4 ¾ x 6 ½ in) to ca. 9x14 cm (3 ½ x 5 ½ in). The majority of photos with manuscript ink captions in German on the mounts, first three photos with additional later pencil captions in Russian. Period brown quarter sheep album with decorative Chinese silk boards, later rebacked in faux leather; decorative endpapers, all edges gilt. Binding slightly rubbed on extremities, corners slightly bumped, several images with different degrees of silvering, but overall a very good album with interesting strong images.
Important collection of high quality original photos of mostly Beijing and environs, taken by a German officer right after the Xinhai Revolution and showing the first years of the young Republic of China. Very interesting are two photos taken during the revolution events in Beijing: a panorama showing a “Fire in Peking on 29 February 1912” as a result of the Peking Mutiny which happened the same day, and a photo of German guards standing on watch next to their cannons in the Western diplomatic quarter in Beijing (the American flag is waving above the US embassy in the background).
There are also over a dozen photos of German military officers and soldiers, including two large images of an artillery unit; several photos from a German military camp in Huangtsun ten miles south of Beijing (group portrait of officers and soldiers with a waving German flag, artillery observation point, a detachment with machine guns, bringing a howitser in position); a view of the “German officers’ casino”; two group portraits of German commanding officers taken on January 27th 1913 and 1914 – the birthday of Kaiser Wilhelm II (the earlier photo has the names of the officers captioned in pencil underneath), and four pictures from the military review during the visit of Elmershaus von Haxthausen (1858-1914), German minister to China in 1911-14 (two photos also have pencil captions identifying the depicted officials).
The photos of Beijing include several views of the Forbidden City (a procession with a palanquin leaving the Tiananmen Gate, general public at the Meridian Gate, general views, and others), Yellow Temple, the Temple of Heaven, Hatamonn Gate (Chongwenmen) and a view from the Hatamonn bridge (showing a part of the European diplomatic quarter and a sports field), “Deutsches Tor”, Hall of Classics (Beijing Guozijian), five photos of the Beijing Ancient Observatory (with close-up views of the astronomical instruments), Coal Hill in the modern-day Jingshan Park just north of the Forbidden City, the Temple of Earth, a series of six images of the Summer Palace and nearby Kunming Lake, the Grand Canal in the Tongzhou district, Marco Polo (Lugou) Bridge (southwestern Beijing). There are also two photos of the Ketteler Gate and Cross in Beijing: both were erected after German ambassador in China Clemens von Ketteler had been killed during the Boxer Rebellion. The Gate was erected in 1903 on the site of his murder in the Dongdan neighbourhood and was relocated and renamed in 1918.
A dozen images depict the “Taji-tai-tze” temple and mountain (Guoquing Temple on Mount Tiantai?), with general views taken from above, photos of the priests’ graves, “the tree of life,” the entrance gate, the interior of the inner temple et al. Other photos include two views of the “Nankau Pass” (Juyong Pass) over the Great Wall of China, with one image showing a group of German officers standing on the Wall; three views of the Ming Tombs (the stone archway, the entrance to the Sacred Road, and German soldiers posing in front of the Changling Tomb), and others. The album closes with a portrait of a young German officer mounted on a horse, apparently, the album’s compiler. Overall an historically important well-preserved photo collection illustrating German involvement during the first years of the Republic of China.


[Album with Forty-four Large Rare Albumen Photographs of Tea Gardens, 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.
Beautiful album with 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.: view here).
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.


SPRING, Sir Francis Joseph Edward (1849-1933)
[Album of Forty Original Photographs of the Construction of the First Railway Bridge over the Kistna/Krishna River near Bezwada (Vijayawada, Andhra Pradesh State), Supplemented with the Manuscript Notes of the Sir F.J. Spring, Engineer-in-Chief of the Construction, With the Gilt Lettered Title on the Front Cover:] Kistna Bridge. Bezwada. 12 Spans of 300 Feet. F.J.E. Spring, L.C.E., M.Inst.C.E., Engineer-in-Chief.

Ca. 1893. Oblong Folio (ca. 30x38 cm). 40 card stock album leaves. With 40 mounted original photographs (39 gelatin silver prints and one albumen print), from ca. 24,5x29 cm (9 x 11 ½ in) to ca. 17,5x23 cm (6 ¾ x 9 in). All gelatin silver photos with printed captions and numbers (from 3 to 67, with gaps) on the paper labels attached to the album leaves under the images; twenty-eight photos additionally dated or numbered in negative (i.e. “21.2.92” or “5483”). Ink presentation inscription by the author on the front free endpaper: “Presented to the Society of Engineers by Sir Francis Spring, K.C.I.E., Hon. Fellow Society of Engineers, September 1927;” ink stamps of the society (dated 10 October 1927) ibidem. Over twenty leaves with Spring’s handwritten ink or pencil commentaries about the photos on the margins. Period dark brown half sheep album with dark grey pebbled cloth boards, gilt tooled spine and gilt lettered title on the front board; moiré endpapers, all edges coloured; binder’s paper label in the inner corner of the rear pastedown endpaper “Bound at the Lawrence Asylum Press, Madras”. One photo completely faded (almost certainly this was a production problem and so the albumen photo was most likely added as a replacement photo), a few other photos with mild silvering, extremities with some rubbing but overall the album is in very good condition.
Historically significant album with the original photos showing the construction of the first railway bridge over the Kistna (Krishna) River near Bezwada, now Vijayawada City (Andhra Pradesh, India). The city is currently one of the busiest stations of the Indian Railways and houses the headquarters of Vijayawada railway division (South Central Railway Zone). The bridge was constructed in 1890-1893 and became an important link on the new East Coast State Railway, allowing train traffic from Madras further north (before the trains had to stop at Tadepalli on the right bank of the Krishna River, and the cargo was transported by boats). The construction of the bridge transformed Bezwada into a bustling railway junction, connecting the line with Nizam’s Guaranteed State Railway system and the Bellari-Kristna State Railway. The bridge was designed by Sir Alexander Rendel (1829-1918) and constructed by F.J. Spring as Engineer-in-Chief, Ernest Ilfill Shadbolt (1915-?) as Executive Engineer on construction, G.T. Walch as Chief Engineer of Irrigation, and E.W. Digby as Engineer in charge. The bridge was completed in a short time – only 2,5 years, and the engineers received a special recognition of the Governor General of India. This massive structure was in service for almost 100 years and was dismantled and replaced with a new railway bridge in 1989, when its girders developed cracks (Velu to dedicated railway line across the Krishna// The Hindu. Sunday, Nov. 14, 2004).
Our album houses a historically significant collection of excellent photos showing in detail different stages of construction of the bridge. Most likely taken by an official photographer of the East Coast Railways, the photos were then mounted in the specially made albums which as a rule were produced in a limited number of copies, and the number and selection of images in them were usually different. Another album with the same title is held in the Library of the Institution of Civil Engineers in London, but the selection of images in that album is different from ours. The photos are accompanied with printed numbers and captions; our copy is additionally supplemented with the manuscript notes by F.J. Spring, Engineer-in-Chief of the construction. About twenty-five leaves bear his commentaries on the margins, explaining some details of the construction, and naming several native workers and British engineers, including “Nathi, Jemadar, Rudyard Kipling’s “Peevoo” in the ‘Bridge Builders;’” “Ale-Din, with Author for over 20 years, a most ingenious artisan and small contractor;” “John Durrand,” Spring himself captioned as the “Author,” “McClintock,” “E. Digby” and others. The images include several general panoramas of the construction site, and close up views of "Kistna Anicut", "well curb 38’21’9” double octagonal 4ft high", "pile bridge", “girder staging,” "founding a pier on top of a well," "erecting iron caisson on floor between two pontoons", "span number one completed," “girder erecting” &c. Several images clearly show the machinery used during the construction, including steam engines, steam boats, steam cranes, Gwynne’s Invincible Centrifugal Pumping Engine, hydraulic riveter carriers etc. The first leaf of the album includes the printed text of the Resolution of the Government of India recognizing the successful completion of the bridge. Overall a very interesting visual source on the early history of railways in India.
Sir Francis Joseph Spring “had been for thirty-four years concerned with railway construction and operation in India, and for an additional fifteen years was chairman and consulting engineer to the Port of Madras, holding this position until his retirement in 1919. <…> In 1871 he went to India, where he was concerned with the construction of railways and locomotives. He was responsible for the construction of the Kistna bridge, consisting of twelve spans of 300 feet each, and of other important bridges. He was appointed engineer-in-chief to the East Coast Railway and later became manager. From 1893 he had acted as consulting engineer to the Government of India upon railway affairs and was created C.I.E. In 1894. He was Director of Railway Construction, India, and Deputy Secretary to the Government of India. He was also Under-Secretary for Railways to the Government of Bengal and Senior Government Inspector of Railways. In 1904 he was appointed chairman and consulting engineer to the Port of Madras and later acted as consulting engineer to the port authority at Chittagong. A knighthood was conferred upon him in 1911.” (Obituaries/ Minutes of the Proceedings of the Institution of Civil Engineers, 1934. - Vol. 237. – pp. 643-645).


22. [ASIA - INDIA]
[STAUBACH, Charles Peter] (1871-1966)
[Two Albums with over 235 Original Gelatin Silver Photographs, over 45 Real Photo and Printed Postcards, and Two Chromolithographs, Showing Important Sites, Street Scenes, Locals and Tourists in India - Agra, Mumbai, Elephanta Island, Delhi, Kolkata, Varanasi, Jaipur, Fatehpur Sikri, Darjeeling, Madras and Madurai.]

10-24 February 1930. Two Quarto loose-leaf albums, each ca. 29x24 cm (11 ½ x 9 ½ in) with over ca. 235 original gelatin silver photographs including ca. 60 professional photographs signed “Resolute World Cruise,” each ca. 9,5x12 cm (3 ¾ x 4 ¾ in), and ca. 170 original snapshots from ca. 6x5,5 cm (2 ¼ x 2 ¼ in) to ca. 10x14 cm (4 x 5 ½ in). Also included are ca. 20 real photo postcards and ca. 25 printed photo postcards, each ca. 8x13 cm (3 ¼ x 5 ¼ in), two chromolithographs each ca. 17,5x14,5 cm (6 ¾ x 5 ½ in), two cartes-de-visite, each ca. 4x7 cm (1 ½ x 2 ¾ in), and 11 printed photographs ca. 14,5x20 cm (5 ¾ x 7 ¾ in) and smaller. Images mounted on 74 stiff black card stock leaves, all captioned and/or numbered in negative or in period white manuscript ink on the mounts. With fifteen mounted paper leaves with printed itinerary, passenger list and destination descriptions (passenger list features General Milton J. Foreman, hero of the Spanish American War and WWI, and one of the organizers of the American Legion). Two black full cloth binders with period manuscript titles “India I” and “India II” in white ink on the front covers and spines. Some leaves detached from the binders, but overall very good albums with strong sharp images.
Interesting, content rich collection of original snapshots, studio photographs, real photo and printed postcards, and several pieces of ephemera documenting a travel to India by an American businessman and bicycle enthusiast Charles P. Staubach and his wife Edith in February 1930. The two-week travel to India became a side trip during their voyage around the world on board the Hamburg-American Line S.S. “Resolute,” and took them from Bombay (Mumbai) to an excursion to the Elephanta Island, and then by train to Jaipur, Agra, New Delhi, Benares (Varanasi), Calcutta (Kolkata), and Darjeeling. After that the party returned to Calcutta and proceeded by train across the subcontinent to Madras (Chennai), and from thence – to Tanjore (Thanjavur), Trichonopoly (Tiruchirappalli), Madura (Madurai) and Dhanushkodi, where they embarked for Ceylon in the evening of February 23, 1930.
The album houses over 20 photographs of Bombay, including views of the city, a British Government building, Theatre Street, the Bombay Museum, a burning ghat, and several views of the Elephanta Island showing the caves, a ferry to the island and a traveller carried on a sedan chair. There are over 45 photographs, post cards and printed images of Agra, including numerous views of the interior and exterior of the Taj Mahal, the Agra Fort and the Pearl Mosque. Over 45 photographs and photo postcards show sites around Delhi, with Muslim devotees gathered at Jumma Masjid, Delhi Fort, the Pearl Mosque, and Old Delhi (including Quwatul Mosque and Iron Pillar, tomb of Safaar Jang and Indian Parliament building). Additionally, ca. 35 photographs and photo postcards of Calcutta show views of the city, betel vendors in the street, and views of the Jain Temple. Ca. 30 photographs and photo postcards show Benares, including street scenes, local workers, people bathing in the Ganges River, Hindu cremation ceremony, and sacrifice of a goat in the temple of Kali. Over 25 photographs and postcards of Darjeeling show a public market, and local people waiting at the Ghum station. Many photos show important religious sites, including the Maharaja’s palace in Jaipur, the Bragadiswara Swamy (Brihadisvara Temple) and Srirangam Temples in Tamil Nadu, and temples at Trichinopoly and Madura, and several religious buildings in Fatehpur Sikri, including Panch Mahal and Salim Chisti, with detailed views of exterior and interior and notes about architectural and historical information. Original snapshots include interesting views taken at railway stations, street scenes “on the road Jaipur to Amber,” portraits of the travelers “mounting Amber elephants” and sitting at the top of the Tiger Hill, “snapshots along the Calcutta-Bombay Railway” et al. Several photos show the travellers posing for group photos with the family of Mr. Thambu-Swamy in Madras, likely one of their hosts. Additionally, there are two German chromolithographs depicting the Taj Mahal, Agra and the Burning Ghat in Vanarasi. Overall, a nice collection of well-selected studio photos and lively snapshots showing main sites of India in the 1930s.
Charles Peter Staubach was born in the family of Baldwin Staubach (1840-1926), an emigrant from the Grand Duchy of Hessen, who owned an iron foundry and a machine shop in New York City. C.P. Staubach worked as a sport columnist for New York Herald, New York Sunday Times, and New York Evening Telegram; was an associate of several tobacco companies, including “American Tobacco Company,” and for many years was an office manager of the Burroughs Adding Machine Corporation. He was Captain in the New York National Guard and served in the Spanish-American War; was a member and former secretary of the Hartford Rotary Club and the past president of the Rotary Club of Newark; a member New York's Historical Society; the Mark Twain Memorial Society and Trinity Episcopal Church in Hartford. In the 1890s he became a bicycle enthusiast, and a captain of Manhattan Bicycle Club, later he organized the Century Road Club Association, becoming its first president, and life member # 1. He took part in many notable races, including the famous Irvington-Millburn Annual 25 Mile Handicap Races in New Jersey, the 1892 one hundred mile race from Philadelphia to Newark, and New York Evening Telegram bicycle parade on the upper Broadway in 1896. He was nominated to the American Bicycle Hall of Fame in 1965. He had four children with his wife Edith Arnold (1871-1945) whom he married in 1897 (see more about the Staubach family:


[Attractive Lacquered Album with 112 Original Photographs of Japan, China, Singapore, Samoa, and Hawaii, Including Interesting Images of Nikko Temples and Processions, Tea Houses, Villages and Hotels around Lake Hakone, Streets of Tokyo, and Nara, Panoramas of Penang and Hong Kong, Scenes of Execution in Canton, Portraits of “Maoris” and Samoans, etc., Titled]: Around the World, 1900.

20 March- 31 August 1900. Oblong Folio (ca. 32,5x41 cm). With 112 gelatin silver prints of various size mounted on 21 stiff card leaves, including 10 large images, ca. 25,5x29 cm (ca. 10 x 11 ½ in), and three large colour photos, ca. 20x26 cm (ca. 8x10 ¼ in). Manuscript ink captions on the mounts. Original lacquered Japanese album with leather spine, marbled paper endpapers, all edges gilt. Rebacked in style, boards slightly rubbed and neatly repaired on the corners, minor foxing of the endpapers, otherwise a very good album.
Interesting album with lively original views and portraits of the locals from Japan, China, Singapore, Samoa and Hawaii, taken by a British traveller during a trip around the world, in March-August 1900, and supplemented with several evocative studio photos. The album starts with seven photos of Port Said and Colombo where the compiler of the album arrived on board the P.& O. Steamer “Arcadia” (“Arab Coal Raft,” streets of Port Said and Colombo, “Singhalese boys at Mount Lavinia” etc.) and is followed by seven views of Penang and Singapore, including an attractive two-part panorama of Penang taken from R.M.S. “Chusan.” A dozen of interesting original snapshots of China include a view of the Hong Kong harbour with the building of the Club, “the Queen’s road” and monument to the Queen Victoria in Hong Kong, a view of Macao taken from “Boa Vista” hotel, three dreadful images of execution of pirates in Canton (with dismembered bodies and “the crucifix on which the prisoner is fastened for the death by a thousand bats”), views of a crowd of native boats on the Canton river, a portrait of the travelling party at the balcony of “Li Hung Chang palace” (Li Hongzhang, 1823-1901, noted Chinese politician) etc.
More than half of the album are photos of Japan (over 60 images), where the traveller stayed from May 4 to June 20, 1900. Interesting views show Yokohama harbour taken from the bedroom window of the Grand Hotel, Tokyo (Kameido shrine, street views, private house owned by an Englishman named “Milne”), Nikko and environs (about twenty photos, including three large views of a “tea house at the entrance to the Temple of Iemitsu,” a “garden at Dainichi-do,” and the Daiya River; and smaller views of the Tosho-gu Temple, “celebrated Red Lacquer Bridge”, Karamon gate, bronze Torii, “Avenue of criptomenia trees”, street views, botanical garden, Lake Chuzenji, “fish flags at the Boys Festival;” and three photos of a temple procession, with a picture of “3 gold shrines, 75 men to carry each. These are not allowed to be photographed”). There are also over a dozen interesting photos taken around Lake Hakone and nearby resort towns, showing streets of Miyanoshita, Sengaku village, Hayakawa River, servant girls from tea houses at Dogashima, Miyanishita and Fujiya Hotel; a portrait of the compiler with his guide Hirakata, at the Otome Toge pass where “one gets a magnificent view of Fujiyama,” three coloured studio photos of Lake Hakone and Mount Fuji, etc. Other images show Nagoya Castle, Nara, and Kyoto (Golden Pavilion, Katsura River, a group of geishas). The album closes with eight views of Samoa, including two studio portraits and six snapshots of “Maoris,” “Cricket at Apia,” “Samoan natives,” “Annie” etc.; and six studio photos of Hawaii, including four views of Honolulu by a local photographer Frank Davey (harbour, Main road, Royal Palms, rice field). Overall an interesting album with a large collection of high quality lively original photos (some quite large) of tourist sites and lesser-known areas of Japan.


24. [ASIA - JAPAN]
[Album of 125 Original Gelatin-Silver Photographs of Central Japan Including Nikko, Mount Nasu, Mount Asama, Kyoto, Kamakura etc., Showing Architecture, Landscapes, Temples and Local People etc. [With] Six Original Japanese Prints and two Original Watercolours].

1911. Oblong Folio (27x36 cm). 33 black album leaves. Collection of 125 gelatin silver prints, all but six mounted on recto and/or verso. Includes two photographs ca. 8,5x29 cm (3 ¼ x 11 ¼ in), seven ca. 9,5x14 cm (3 ¾ x 5 ½ in), six ca. 9x9 cm (3 ½ x 3 ½ in) and the rest 7,5x10 cm (3x4 in) or slightly smaller. Captions in period manuscript white ink on most leaves. Additionally over 10 photographs have been hand coloured. The collection also includes two studio albumen prints each ca. 21x25,5 cm (8 ¼ x 10 in) with captions in negative, Six original Japanese prints ranging from ca. 6,5x9,5 cm (2 ½ x 3 ¾ in) to ca. 9x14 cm (3 ½ x 5 ½ in), and two original watercolours ca. 6,5x20 cm (2 ½ x 7 ¾ in). Period style black gilt tooled half morocco with black cloth covers. A couple of album leaves with some mild traces of moisture but overall a very good album of interesting strong photographs.
This album of unique private photographs compiled by (mostly likely) an English lady (several photos which show the photographer are captioned "self") shows a variety of locations in central Japan, including the topography, architecture and local scenes. Included are images of Nikko (over 20 photographs): Temple procession (6 photos); Monastery Garden (4 photos); Gangnam ga fuchi (4 photos); Japanese girls in Kimono (4 photos); Tomb of Shogun Leyasu; Nasu Dake (Mount Nasu): 20 photographs including crater, inn, Nasu village; Kyoto: 14 photographs including pagodas, Gion Shrine (Now Yasaka Shrine), Gion Procession, Teapot lane, Chionin Temple; Kamakura, Kanagawa Prefecture (over 10 photographs): Daibutsu (4 images); Beach (2 views); Hachiman Temple and Lotus Garden (4 images); Shrine; Trip to Mount Asama (15 images including Kawarayu, Shibukawa, Maebashi; 4 views of Asama Yama; Kusatsu); Chuzenji Lake (On the way (5 images); Lake (5 views); Lakeside hotel; 2 images of net fishing); Pack horse; 3 photographs of carts and drivers; planting rice; ploughing paddy; Yumoto Lake (2 views); Miyanoshita Onsen, Kanagawa Prefecture (Fujiya Hotel, White Japanese Cock).


25. [ASIA - JAPAN]
[KUSAKABE, Kimbei] (1841–1934)
[Collection of Forty-four Original Albumen Photographs of Japan].

Ca. 1880. Forty-four handcoloured albumen photographs each ca. 20x26 cm (8 x 10 ½ in), most titled in negative. Photographs mounted on both sides of original card mounts. Generally good strong images but with a few mildly faded ones, a few mounts with mild foxing but overall a very good collection.
The titled images in this collection include: 8. Kago, Travelling chair; 11. Palying Samisen Tsudzumi Fuye & Taiko; 67. Home Bathing; 80. Visiting Ceremonial; 84. Freight Cart; 87. Collie Winter Dress; 94. New Year's Ceremony; 97. Farmer's House; 123. Dancing Party; 131 Sumiyoshi Dance; 167. A Fiddler and the Guiteress; 172. Hair Dressing; 195. Street Amazake Seller, a kind of drink made of fermented rice; 217. Group of Children; 175. Dogashima; 934. Tennoji Pagoda at Osaka; 129. Yomeimon Gate Nikko; 233. Nunobiki at Kobe; 484. Daibutsu Nara; 509. Shijo Bridge at Kioto; 626. Main Street Tokio; 629 Cherry bank at Koganei; 901. Hozugawa, a Rapids at Kioto; 902. Hozugawa, a Rapids at Kioto; 917. Kinkakuji Garden at Kioto; 921. Kinkakuji Garden at Kioto; 1016. Enoshima; 1018. Daidutsu Bronze Image Kamakura; 343. Tennoji Temple Osaka; 1087. Lake of Biwa from Miidera; Jinrikisha, (Carriage), Osuwa; Burial Place, Nagasaki; Entrance to Nagasaki Harbour; Nagasaki Harbour; Bund, Nagasaki; Road to Mogi, (Tagami); Takaboko, (Pappenberg), Nagasaki; Nakashima-Gawa, Nagasaki; Budhist Temple, Nagasaki & five untitled images.
“Kusakabe Kimbei was a Japanese photographer. He usually went by his given name, Kimbei, because his clientele, mostly non-Japanese-speaking foreign residents and visitors, found it easier to pronounce than his family name. Kusakabe Kimbei worked with Felice Beato and Baron Raimund von Stillfried as a photographic colourist and assistant before opening his own workshop in Yokohama in 1881 in the Benten-dōri quarter, and from 1889 operating in the Honmachi quarter. He also opened a branch in the Ginza quarter of Tokyo. Around 1885, he acquired the negatives of Felice Beato and of Stillfried, as well as those of Uchida Kuichi. Kusakabe also acquired some of Ueno Hikoma's negatives of Nagasaki. He stopped working as a photographer in 1912-1913. Most of his albums are mounted in accordion fashion” (Wikipedia).


[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).


[MATSUIDAIRA, Harumitsu & Shigetoki]
[Album with Sixty-six Original Gelatin Silver Photographs of Manchuria and Korea].

Ca. 1907. Oblong Small Octavo ca. 15x20 cm (6x8 in). 25 thick card stock leaves (7 blank). With 66 original gelatin silver photographs, with 60 images ca. 7,5x10 cm (3x4 in), five larger photos ca. 10x13,5 cm (4 x 5 ¼ in), and one smaller photo ca. 6x8,5 cm (2 ½ x 3 ½ in). Sixty photos with detailed ink captions in Japanese on the mounts, four other photos captioned in Japanese in negative. Period dark brown half sheep with cloth boards and elaborate gilt stamped ornaments on the spine; moirè endpapers; paper label of a Japanese bookshop on the front pastedown endpaper. Binding slightly rubbed on extremities and weak on hinges, several images mildly faded, otherwise a very good album.
Interesting album of original photos showing Manchuria and Korea just a few years after the Russo-Japanese War (1904-1905) as seen by Japanese travellers. Both territories became protectorates of Japan after the war – Manchuria as a part of the Kwantung Leased Territory and the Korean Peninsula after the signing of the Japan-Korea Protectorate Treaty of 1905, so Japanese companies quickly moved into the new markets in search of opportunities. The photos were apparently taken by brothers Harumitsu & Shigetoki Matsuidaira – younger members of the influential Japanese aristocratic family, which was closely involved with the Japanese major general trading company Mitsui Bussan. The trip was undertaken to inspect the new offices of Mitsui Bussan in the major cities of the Liaodong and Korean Peninsulas.
The party left Japan on July 30th (the year is not mentioned, but most likely it was 1907), taking a ferry from Shimonoseki to Moji city (modern-day Kitakuyushi, Fukuoka), and sailed to Dairen (Dalian) on board the “Miyushino Maru” boat. From there the travellers took a train to Mukden (Shenyang), visiting Yingkou, Liaoyang, and passing by the Bushun coal mine on the way. The next city shown in the album is Antoken (Dandong) in the mouth of the Yalu River, from there the party went by railway to Pyonyang, Seoul and Jinsen (Incheon), leaving to Japan on board the “Iki Maru” boat a month later, on August 30th the same year.
The photos show ferry boats in the Moji city, nine views taken on board the “Miyushino Maru” (portraits of the Matsuidara brothers, the ship’s crew, Mr. Naosuke Mizoguchi, and three views of the Korean coast taken on the way). Manchuria is represented by photos of Dairen (Yamato hotel and harbour, Dairen primary school, and several views of the city and environs taken from the 203 Hill, with one photo showing Japanese group standing next to Russian graves with Orthodox Christian crosses); Yingkou (street, local office of the Mitsui Bussan company, scene of a Chinese wedding procession); Liaoyang (general views taken from above, railway line and adjacent streets, temples, city fortifications and “house of General Kuroshima”); Bushun coal mine taken from the train; Mukden (Mukden Palace, general panoramas taken from above, a street view etc.); Antoken (Dandong) and the Yalu River. Photos of Korea include several views of Pyonyang (train on the tracks, the old castle), four well-executed views of Seoul (general panoramas and a street view); and four views of Jinsen (the harbour and beach, street and panoramas of the city roofs). Two photos portray the members of the party at the house of Mr. Ogadaki, manager of the local branch of Mitsui Bussan. The album closes with six studio photos, showing Korean children posing on the Monument of Wongaksa in the Tapgol Park (Seoul), three views of the 203 Hill overlooking Dairen, etc. Overall an interesting rare photo album showing Japanese-controlled Manchuria and Korea in the early 20th century.


[Album of Ninety-eight Real Photo Postcards, showing the Philippines (84), Chinese Execution (11), Great Wall of China and Portraits of American Aviator Charles Lindbergh and Leonard Wood - Governor General of the Philippines in 1921-1927].

Ca. 1920s. Oblong Octavo (ca. 19x28 cm). 24 thick stock album leaves. With 98 mounted original real photo postcards, each ca. 8x13 cm (3 ¼ x 5 ¼ in), the majority captioned and numbered in negative (in English). Original maroon faux leather cloth album fastened with a string, gilt lettered title “Album” on the front board. Album slightly rubbed on extremities, but overall a very good album with strong sharp images.
Interesting collection of real photo postcards depicting the Philippines in the 1920s, then a territory of the United States. The interesting images show Manila (old legislative building, Chinese cemetery, Aquarium, Manila Hotel, Fort Santiago, Church of San Juan del Monte, Estero de Binondo canal, botanical garden, Manila Bay, car station at Fort Mills, Uy-Chaco building, U.S. Army transport dock, U.S.S. “Thomas,” etc.), several views of the Benguet (Kennon) Road built by the U.S. Army Corps of Engineers in 1903-5 (bridges, road serpentine, waterfalls), Baguio hill station (camp of the Benguet Mining Co., city hall, forest nursery, government cottages, Camp John Hay, city market, Igorot village), Antipolo and environs, salt beds in the Cavite province, Pagsanjan River and Falls, Montalban Dam, a village in Kalinga, “Taal volcano in eruption” etc. There are also nice portraits of local people - laundresses, fishermen, people at a public well, dancers, bathing girls, native cart drivers, a girl with a big python; views of native huts, alleys of coconut palms, and Carabao buffalos resting in a pond. The album also houses eleven numbered postcards documenting a “Chinese execution,” a view of the Great Wall of China, and closes with two postcards portraying a renowned American aviator Charles Lindbergh (1902-1974), and Leonard Wood (1860-1927), Governor General of the Philippines in 1921-1927. Overall a nice collection of well-preserved real photo postcards showing the Philippines and China.


[Album of Sixty-one Original Gelatin Silver Photographs and 65 Real Photo and Printed Postcards Illustrating the Life of the Queen’s Own (Royal West Kent Regiment) While on Service in British India and during the Third Anglo-Afghan War, Highlighted by Nine Large Studio Photos of Afghans and the Khyber Pass by Randolph Holmes, the Others show the Military Rest Camps in the Northwest Frontier, Khyber Pass, Drummers during Drill, Dalhousie Cantonment, etc.]

Ca. 1919. Folio (ca. 43x29 cm). 27 stock album leaves. With 61 mounted original gelatin silver photographs, including nine large studio photos by R.B. Holmes, each ca. 24x29 cm (9 ½ x 11 ¼ in); two large original gelatin silver photos ca. 20,5x26 cm (8 x 10 ¼ in), and fifty original gelatin silver snapshots from ca. 8x14 cm (3 ¼ x 5 ½ in) to ca. 4x5 cm (1 ½ x 2 in); also with 24 real photo and 41 printed postcards. Studio photos signed or numbered in negative, several original photos and real photo postcards captioned in negative, about half the photos or real photo postcards with later manuscript ink captions on the lower margins or the mounts. Period album in blue half cloth with black papered boards. Tape residue on the margins of three real photo postcards, a lower right hand corner of one leaf removed, a couple photos and real photo postcards mildly faded, but overall a very good album of strong interesting images.
Interesting collection of original snapshots, large official photos, studio photos, real photo and printed postcards, most likely collected and taken by a drummer from the Queen’s Own (Royal West Kent Regiment) while on service in British India and during the Third Anglo-Afghan War in around 1919. The album including two large official group portraits of the drummers (one captioned “Queen’s drums” in a later old hand); the first photo shows a large drum in the centre which has a painted coat of arms and device “Honi Soit Qui Mal y Pense” (belonged to the Queen’s Own Regiment). There are also two smaller photos and four real photo postcards showing the drummers during drill and while “playing retreat outside the Chamba Club, Dalhousie” (period manuscript caption on verso). Other interesting snapshots and real photo postcards depict Dalhousie military cantonment and environs (“No. 5 barrack,” “Gindari Ghat Road,” “Hospital Hill”), Khyber Pass (“Pumping Station,” Jamrud Fort, a panorama of a British camp, a small photo of a cookhouse, a lookout tower, Shabkadar fort, portrait of a Frontier police officer), Chamba and environs, several military rest camps (in Pathankot, Dunirah, Ghar etc.), a young trumpeter, several portraits of the native coolies, children, a postman, etc. Nine large studio photographs by noted Peshawar photographer Randolph Bezzant Holmes (1888-1973) include portraits of an “Afreedi,” “Pathan woman,” an elderly Pashtun man, two Afghan men with camels, and five views of the Khyber Pass showing a British military camp near Ali Musjid, and British trucks and camel caravans on the pass’ serpentine roads. Holmes left a valuable visual evidence to the Third Anglo-Afghan War as he accompanied the British army during the operations in the Khyber Pass. Printed postcards include twelve colourful views of the Kalka to Shimla Railway (built in 1898), printed by Moorli Dhur & Sons, Ambala; eleven humorous postcards depicting everyday life of a soldier on service in British India (with a printed artist’s signature “W. Quinn”), eight views of Dalhousie and environs; seven views of Peshawar and environs by Dababhoy Photo, Moultan, and others. Overall an interesting album with some historically significant images from the time of the Third Anglo-Afghan War.


[Collection of Forty-four Original Gelatin Silver Stereo view Photographs of Russian Turkestan from the “Srednyaya Aziya” Series].

Moscow-Saint Petersburg: Stereo photographic Publishing House “Sviet”, 1910. Forty-four pairs of gelatin silver stereo view photographs, each ca. 7,5x15cm (3x6 in) printed on original publisher’s cards; printed captions in Russian and German on rectos, 33 cards with additional printed captions in Russian on versos. One card torn with a lower right corner of one image missing, otherwise a very good collection of strong images.
Rare interesting collection of stereo photographic views of Russian Turkestan – a conquered Central Asian province of the Russian Empire in 1867-1918, which covered the territories of modern-day Turkmenistan, Uzbekistan, Kyrgyzstan, Uzbekistan and Kazakhstan. The photos were issued by a major Russian publisher of stereo views “Sviet” (“Light”). Photos of Uzbekistan show the desert in the Mirzhacho’l or Golodnaya Steppe (“Hungry Steppe”); a steamship wharf on the Amu Darya River (with the anchored river steamer “Imperator Nikolai”), sites of Samarkand (Ulugh Beg Madrasa, mausoleum of Tamerlane, street views, bread market), Tashkent (the 19th-century building of the Dzhuma Mosque which was demolished due to complete decay in 1997 and rebuilt in 2003, pilgrims near the Dzhuma Mosque, cotton factory in the Chigatay suburb), Bukhara (Zargran Madrasa, Mir-Arab Madrasa), a village near Tashkent, camel caravan on a street of Termez etc. There are also photos of modern-day Kazakhstan showing the Talas River, ferry on the Syr Darya River, Malaya Almatinka River, cliffs near Verny (Almaty), a tomb of a rich Kirghiz/Kazakh near Verny, and general view of Shymkent; Tajikistan (Zeravshan/Zarafshan Glacier, Turkestan Range, and reeds in the upper reaches of Amu Darya), and Turkmenistan (three views of Krasnovodsk/Turkmenbashi, including a photo of the new railway station built in 1895, and a scene of clearing of the irrigation channel near Bayramaly). There are also portraits of different national groups inhabiting the region, including “Kirghizes” (Kazakhs) near their winter Yurts, a Teke man mounted on a horse with his wife, a group of Khiva people, Sart women on a market, a Sart-book binder at work, Afghans on a Merv street, East Indians in Bukhara, et al. Several photos depict agricultural activities in Central Asia, i.e. Plowing, raking hay, or threshing, or show sheep guided by the local shepherds. Overall an historically interesting collection of well-preserved original stereo views of Russian Central Asia.


[Album with Sixty-seven Original Albumen and Gelatin Silver Photographs of the Tonkin Protectorate of French Indochina (Modern-Day Vietnam), Showing Streets, Sites and Public Festivities in Hanoi, Tonkinese Villages, Numerous Photos of the Locals, Nam Quan Post on the Chinese Border, French “Légionnaires en route,” French Expats during a Leisure Hike, Newly Constructed Long Bien Bridge, and Others.]

Ca. 1900. Oblong Quarto album ca. 16x24,5 cm (6 ¼ x 9 ½ in). 56 paper leaves. With 29 original albumen photographs and 38 original gelatin silver photos (22 gelatin silver photos loosely inserted, all other photos mounted on the album leaves). Albumen photos are from ca. 14,5x14 cm (5 ¾ x 5 ½ in) to ca. 11x8,5 cm (4 ¼ x 3 ¼ in); gelatin silver photos are ca. 13x16,5 cm (5 x 6 ½ in) or slightly smaller. Twenty loosely inserted gelatin silver photos with period pencil captions in French on verso. Attractive period brown full morocco album with elaborate blind stamped decorative frame and gilt lettered title “Album” on the front board; moiré endpapers, all edges gilt, binder’s blind stamped signature “Antoine Maitre” on the lower margin of the rear board. A couple of images with some fading, one photo with a minor tear on the margin, otherwise a very good album.
Interesting historically important photographs showing the Tonkin Protectorate in the north of French Indochina at the turn of the 20th century. Most likely taken by a French resident of Hanoi, the photos include four group portraits of French expats while on a hike (with a list of nine names of the photographed people on verso of one of the images), and a portrait of a French military officer with his family posing in front of their house in Tonkin Protectorate. Over twenty views of Hanoi include two photos of the Long Bien Bridge across the Red River which was built in 1899-1902 (with one photo showing a train going on the bridge), one of the old city Gates, several views of the Temple of Literature (Temple of Confucius) and the pagoda at the Petit Lac (Hoan Kiem Lake), eight picturesque scenes of a public fest on the streets of Hanoi and at the Petit Lac, photos of the Gate to the Garde Indigene, deer in the city’s botanical garden etc. There are also two interesting photos of French soldiers in Tonkin, captioned in negative “Légionnaires en route” and “Reconnaissance aux environs d’un poste;” portraits of members of a native militant group, prisoners, people on a market, water carriers, native women, a mother with child, a servant, several views of Tonkinese villages in the countryside, Vietnamese coastal and river boats, temples, elephants working in a field, a photo of the Nam Quan frontier post and gate on the border between French Indochina and China (now the Friendship Pass, well into the territory of the Republic of China since the early 1950s), and others. Overall a historically significant collection of original photos of Hanoi and Tonkin region in the early 20th century. The creator of the album’s exquisite binding Antoine Maitre had a workshop in Dijon, Côte-d’Or; his “specimens of bookbinding, pocket-books for various purposes” and “albums and scrap-books” were exhibited at the first World Fair in London in 1851 (Official Descriptive and Illustrated Catalogue of the Great Exhibition of the Works of Industry of All Nations… Part Iv. Colonies-Foreign States. Division I. London, 1851, p. 1192).


[Two Albums with Over 450 Original Gelatin Silver Photographs, Taken by a Soldier of the Royal Hampshire Regiment on Service in India, Showing the Khaisora Operation of the Waziristan Campaign (1936-7), Regimental Life at the Station in Kamptee, Military Exercises in Mansar; Views and Portraits of Local People of Nagpur, Agra, Jabalpur, Purandar, Mumbai, and Eight Real Photo Postcards of Hyderabad.]

1936-9. Two albums: Oblong Quarto ca. 23,5x31,5 cm (9 ¼ x 12 ¼ in) and oblong Folio ca. 27x37 cm (10 ½ x 14 ½ in). Total of ca. 451 original gelatin silver photographs, vast majority ca. 7x11,5 cm (2 ¾ x 4 ½ in), with two photos ca. 8,5x13,5 cm (3 ¼ x 5 ¼ in), and one ca. 11x8,5 cm (4 ¼ x 3 ½ in); with eight real photo postcards each ca. 8,5x13,5 cm (3 ½ x 5 ¼ in). All but one mounted in golden or blue corners on recto and/or verso of 48 black leaves, the majority captioned and dated in period manuscript black ink on the mounted labels. One watercolour of an Indian temple ca. 17,5x24 cm (7 x 9 ½ in) tipped in at front of album. Red and blue cloth albums with patterned boards and silk cords. Albums mildly worn at extremities, one leaf partially torn along the spine and one leaf folded but overall two very good albums with strong photographs.
Extensive collection of over 450 original snapshots giving an lively personal account of military exercises and everyday life of the 1st Battalion of the Royal Hampshire Regiment stationed in India in 1936-39, including 69 excellent photos taken during the Khaisora operation (1936-7) – a military expedition on suppression of the local tribes under the leadership of a freedom fighter Mirzali Khan during the Waziristan Campaign (1936-9). The photos show numerous military camps in the Khaisora valley, columns of British soldiers and camels on the move, flying military planes, soldiers and bulldozers clearing roads, explosions and fires over native villages, bodies of the local people, native leaders gathering for a jirga (council), British soldiers posing inside field fortifications with machine guns, carrying bread loaves, cooking at the camp stoves, eating at long tables in the field, et al. Other twenty photographs taken during the Waziristan Campaign show Dosali and Mirali Forts, British military camps, portraits of “Gurkhas & machine gun,” “wireless operators,” British soldiers with machine guns, et al.
Over 130 photos depict daily activities of the regiment while stationed in Kamptee (with several of the stations in Rawalpindi and Barian), showing the barracks, the dormitory, the church on the territory of the compound, St. Joseph’s convent, Kamptee floods, nearby village and river, soldiers digging trenches, relaxing, reading newspapers, singing songs, participating in various sports (soccer, rugby, running, hurdling etc.); with names and nicknames of most soldiers being written down. There are also fifteen images of “Private Buckle’s funeral” in Kamptee in 1938, portraits of an Indian ice-cream seller with a box of “Winchester ice cream,” and a colourful Hindu “high priest”. Over forty images show military training in the nearby Mansar camp (soldiers of different platoons posing with machine guns, in front of their tents, holding an issue of “The Statesman”, swimming in a river, “our cooks,” privates in full uniform with the banner of the Royal Hampshire Regiment, distant views of steel manganese mines near Mansar, et al). About ten photos show Nagpur - the provincial centre, with the views of the railway and factory, native market, Hindu temple, local people bathing and feeding the elephants, an elderly beggar receiving a gift from a young child et al.
There are thirty excellent photographs of the locals (captioned as “Jungle people”) shown dancing, and playing music, fishing, drawing and carrying water; there are also portraits of a newlywed local couple with relatives, three young girls trying to use a rifle; eleven photographs of British soldiers and locals riding elephants during a tiger hunt, et al. Other photos include fifteen nice views of the Western Ghats taken during a hike to the Purandar Fort (south of Pune, Maharashtra), about thirty views and portraits of British soldiers and the locals “near Bombay”; over thirty views of Jubbulpore (Jabalpur – Dhuandhar Falls, Madan Mahal Fort, Balancing Rock, et al.), about twenty views of Agra and environs, and four real photo postcards of Hyderabad. The smaller album opens with an attractive watercolour of a Hindu temple, possibly drawn by the compiler of the album. Overall an interesting historically significant account of the activities of The Royal Hampshire Regiment in India shortly before the beginning of WW2.


[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 Eighty-six Original Photographs of Two French Navy School Ships Including Views of Onboard Activities and Stops in Guadeloupe, Martinique, Malta, Portugal, Algeria, France and Belgium Titled:] Campagne d’Été (Aout 1885) à bord du Bougainville – École Navale, Manche-Anvers Campagne d’Application à bord de la frégate d’Iphigénie (5 Octobre 1886-30 Juillet 1887) – Atlantique-Méditerranée occidentale [Summer Voyage (August 1885) Aboard the Bougainville - Naval School, Manche-Antwerp].

Ca. 1885-1887. Large Folio album ca. 35,5x27,5 cm (14 x 10 ¾ in). 86 original photographs including 80 albumen prints and 6 cyanotypes, mounted on recto and/or verso of 29 leaves ca. 34,5x24,5 cm (13 ½ x 9 ½ in). 10 large photographs from ca. 23,5x17,5 cm (9 ¼ x 6 ¾ in) to ca. 27,5x23,5 cm (10 ¾ x 9 ¼ in), one photograph ca. 5,5x9 cm (2 x 3 ½ in) and the rest ca. 13,5x9,5 cm (5 ¼ x 3 ¾ in) to ca. 12x18,5 cm (4 ½ x 7 ¼ in). All captioned in period manuscript black ink on mount and/or in negative on the photograph. Period brown half sheep with gilt bands, brown pebbled cloth boards and moiré endpapers. Album leaves slightly waved, covers with some mild wear at extremities, but overall album and photographs in very good condition.
This album contains photographs showing onboard activities, landscapes and port cities during the travels of two French Navy School ships. The majority of the album focuses on a voyage aboard the Iphigénie frigate from October 5th 1886 to July 30th 1887 around the Mediterranean sea and across the Atlantic Ocean to the Caribbean. Two large photographs show a rare views of a equatorial line-crossing ceremony in November 1886 during which the crew dress up in costumes. Several photographs show landscapes of the Caribbean, including the Islands of the Saints, «La Grande Anse» and the Chameau Mountain in Guadeloupe, as well as the Madame river in Martinique. Additionally, there are two portraits of laundresses in Fort de France, Martinique. Eight photographs of Malta include a panorama of Valletta, views of the port, and streets in the Faubourg of Lisla. There are several images showing Portugal, including the Tower of Belem in Lisbon and eight views of the Pena Palace in Sintra. Photographs of Algeria include views of Alger and Mers-el-Kébir and two portraits of Moorish women. Also shown are several onboard exercises, such as firing the canon, and military exercices on land, such as landing exercises. The album also contains photographs of another Naval School ship’s voyage from Manche, France to Anvers, Belgium onboard the Bougainville in 1885. These include views of the Saint André Church and the Calvaire St Paul in Anvers as well as two destroyer stationed in the Brest port, the Terrible and the d’Estaing. Overall a historically interesting early album showing scenes of the voyages and activities of French Naval School ships in the Mediterranean, Atlantic and Caribbean.
List of Captioned Images:
Chaire de la cathédrale d’Anvers; Chaire de l’église de St André, Anvers; Anvers, Lot de la Bourse; Salle du Conseil – Palais des Grands Maîtres, Malte; Chef de Corporation par G. De Vos – Musée d’Anvers; Malte – Le Port, Polyphemus torpilleur anglais, lance torpilles sous l’eau- guille mobile; Le Christ de Léonard de Vinci, cathédrale d’Anvers; Malte – L’entrée du port; Le Christ de Rubens; Malte – Le Port; L’Intérieur de St André (Anvers); Calvaire St Paul (Anvers); L’Adoration de l’agneau de Van Dyck; Iphigénie au mouillage dans le port de Philippeville (Mai 1887); Tour de Belem – Lisbonne – Octobre 86; Faubourg de Belem (Lisbonne); Couvent des Hicronymites – Lisbonne; Château Royal de la Pena sur la Suerra Cintra (30 kil ouest de Lisbonne); Porte d’entrée du Château de la Pena; Château de la Pena; Château de la Pena porte d’entrée; Ruines du château des Maures sur un piton en face de la Pena; Autre vue de la Pena prise de la route qui y conduit; Cour intérieure de la Pena. À gauche, vue sur l’océan. A droite, porte d’entrée (diable); Château de la Pena, Porte donnant accès aux galeries qui conduisent à la porte principale (diable); La Pena; Blanchisseuse de Fort de France dans ses plus beaux atours; Maison particulière sur la savane à Fort de France; La fête du passage de la Ligne à bord de l’Iphigénie, Passage à la baille pour le baptème; Paysages des environs de Fort de France; Arbre à Pain; Rivière Madame Fort de France; La fête du passage de la Ligne à bord de l’Iphigénie Novembre 1886. Le défilé du roi tropique et sa suite; Decembre 86 à Janvier 87 Deux Vues prises des flancs du chameau; Mouillage des Saintes (terre d’en haut), le bourg à droite, le fort Napoleon à gauche, le fort de la bête rouge au premier plan, l’Iphigénie; La terre d’en haut, Le Bourg, anse du fond curé au premier plan puis petite anse puis anse du bourg; Alger, Vue générale prise des jetées; Mauresque d’Alger – Aïcha; Le Bourg des Saintes; Vue Prise des flancs du Chameau, du bourg des Saintes et d’un ravin; Terrible, cuirasse d’escadre, canon du 42 eme; L’Iphigénie au mouillage des Saintes prise des bords de l’anse du bourg, porte sable à droite, porte à vache et paté à gauche; L’ilet à Cabrits, l’Iphigénie, les aspirants aux observations; Square sur le quai d’Ajaccio 13 Mai 1887; L’ilet à Cabrits; Montagne du Chameau aux pieds le fort de la tête rouge puis le pain de sucre, au dernier plan, la terre d’en bas; Exercice du canon de débarquement aux Saintes; Blanchisseuse du Fort de France; Exercices en terrains variés, compagnie de débarquement de l’Iphigénie aux Saintes, Montagne de Chameau au milieu au dernier plan; Formation contre la cavalerie; Ruines près de Quimperlé Juillet 1887; Appartements du 1er président à Alger Mai-Juin 1887; Exercices de débarquement aux Saintes; Dakar mi-Novembre 1886; Le bourg des saintes; La Grande Anse (Saintes) Tir du fusil; L’Iphigénie aux Saintes – Port Napoléon à droite; Ajaccio place Grandal; Statue d’Abattuci Ajaccio près du rivage, sortie de la ville en allant à Bastia; La Valette, Malte, fin de Mai 1887; 4e poste Babord, l’Iphigénie; 1er poste Babord; Champion, poste de guerre de Malte-Anse des Français; Strada Crocifixo (Malte); Strada Vittoria (Malte); Grotte de Napoléon à Ajaccio; Saintes-Escrime au Sabre; Galerie dans le palais des Grands Maître, Malte; Iphigénie à Malte- Anse des Français; Iphigénie, Gaillard d’arrière; Tir du canon de l’Iphigénie; Gaillard d’Avant, l’Iphigénie; Tir du canon revolver sur la dunette; Dunette de l’Iphigénie; Le Terrible en armement dans le port de Brest; Le d’Estaing en armement dans le port de Brest; Mers-el-Kébir 10-13 Juin 1887; Mers-el-Kébir Le Port, vue prise de la route d’Aïn el Turk; Tir du canon de 10 c/m Gaillard d’avant de l’Iphigénie; Ecouvillonnez; Types Algériens, Femme Mauresque d’Oran; Dunette tribord prise de la grande hume; Gaillard d’avant de l’Iphigénie prise de la Grande Hume.


[Album with 107 Original Gelatin Silver Snapshot Photographs of the Mediterranean, Mostly Greece, Including over Seventy Views of the Main Sites of Athens and Environs, as well as of Corfu, Patras, Cape Maleas, Cape Matapan, areas near Kalamata and Navarino, Lipari Islands, “near Palermo”, “Spanish coast”, Gibraltar, and others].

Ca. 1910s. Oblong Quarto (ca. 18x29 cm). Twenty seven grey card stock leaves. 107 inserted gelatin silver prints, ca. 7x12,5 cm (2 ¾ x 5 in), all but one image with captions manuscript captions on the small paper labels attached to the mounts. Photos inserted in album leaf windows, four to a leaf. Original black full cloth “Gilson adjustable album” (paper label on the inner side of the back cover), fastened with a string. A few images with mild silvering or mildly faded, but overall a very good album.
Album with interesting original photos of Greece, mostly Athens and Peloponnese, taken during WW1 by an American sailor. The images illustrate his voyage from Saranda (Albania) to Athens via Corfu and Patras, and then around the Peloponnese peninsula, with the return voyage to New York via Sicily and Gibraltar. Most photos in the album (over seventy) show Athens and environs: Acropolis (general views from different points, the Propylaea, Temple of Athena Nike, Parthenon, Hekatompedon, Erechtheion, Cave of Pan, Asclepeion), Mount Lycabettus, Theatre of Dionysus, the Choragic Monument of Lysicrates, Areopagus, Cave of the Furies, Pnyx Hill, Philopappos Hill and Monument, prison of Socrates, Theseion, the Stoa of Attalus, Roman Market, Dipylon Gate, Salamis Island, Arch of Hadrian, Olympiaeum, the Ilisos River, Panathenaic Stadium, Metropolitan Cathedral of Athens, Agios Eleftherios (or Little Metropolitan) church, the Chapel of St. George (Lykavittos Hill), several street views with shoe shops, herds of goats and local people, port of Phalerum, Munichia hill fishermen’s boats at Piraeus, and others.
Other views of Greece show the town of Corfu, Patras, and several places on the Peloponnese peninsula: “near Agios Vasileios,” Cape Maleas, Cape Matapan, “near Kalamata”, and “near Navarino” (Pylos). About twenty photos at rear were taken in the other parts the Mediterranean and on a way back home to New York: La Justice (French battleship Justice, 1904-1922, of the Mediterranean fleet), Lipari Islands (north of Sicily), Vocarno, “near Palermo”, “Spanish coast”, Gibraltar, British torpedo boat at Gibraltar, “on ocean”, “Pilot boat in New York Harbour”, and a pier in Brooklyn.
A nice collection of views of the main sites of Athens and views of the Peloponnese and the Mediterranean.


[Album of Sixty-three Original Studio Collotypes, Gelatin Silver and Albumen Photographs of Greece, Titled:] Reise nach Griechenland, 1903 [Travel to Greece, 1903].

Ca. 1903. Folio (ca. 33x26,5 cm). 32 thick stock album leaves. With 63 mounted original photos (34 collotypes, 20 gelatin silver prints, 9 albumen prints), including 49 large images ca. 21,5x28,5 cm (8 ½ x 11 ¼ in), six medium images ca. 20x14,5 cm (7 ¾ x 5 ¾ in), and eight smaller images ca. 9,5x13,5 cm (3 ¾ x 5 ¾ in). About thirty captioned/or signed/ or numbered in negative, all with period ink captions in German on the mounts. Period style green half morocco album with cloth boards and gilt lettered title on the spine and with original decorative endpapers, all edges gilt. Several images slightly rubbed on the margins, otherwise a very good album with strong sharp images.
Nice collection of large late 19th century studio photographs of Greece. Most of the album (34 images) are excellent collotypes by the notable Athens studio of Rhomaides freres, including photos of classical and neoclassical architecture of Athens (Temple of Hephaestus on Acropolis, Choragic Monument of Lysicrates, Temple of Olympian Zeus, Arch of Hadrian, the Stoa of Hadrian, Temple of Aeolus and Agora, Kerameikos, the Stadium, Mount Lycabettus, the Academy, National Library, Metropolitan Cathedral, National Archaeological Museum, images of seven statues and bas-reliefs from the Museum’s collection). Other collotypes by the Rhomaides Brothers show the Temple of Demeter in Eleusis, Corinth Canal, Temple of Apollo and Acrocorinth, Tomb of Agamemnon and Lion Gate in Mycenae, a masonry tunnel in Tiryns, several general views of Nafplio, Olympia, and Patras, and images of three statues from the Archaeological Museum of Olympia. There are also seventeen excellent portraits of Greek men and women in traditional costumes (including a portrait of a Greek priest and two scenes with women dancing). The album closes with nine large albumen prints showing Corfu (harbour, the Old Fortress, Pontikonisi Island, Maitland Rotunda street views, city theatre). Overall a very good album with bright well-preserved studio photos of Greece.


CUCCIONI, Tommaso (ca. 1790-1864)
[Album of Fifteen Early Large Original Albumen Photographs Showing the Monuments and Architecture of Rome].

Ca. 1859. Oblong Folio ca. 34x46 cm 13 ¼ x 18 in). With fifteen large original albumen photographs each ca. 22,5x31,5 cm (8 ¾ x 12 ¼ in) mounted recto one per page on beige album leaves, each captioned in period manuscript pencil. Period red quarter sheep with red pebbled cloth boards with gilt title “Rome”, with marbled endpapers and blind stamp “Fotografia Cuccioni Roma via Condotti 10” on each leaf. Mild wear at album extremities and spine, and some dust staining on covers, front hinge with a crack at bottom of spine, but overall an album with large strong and sharp photographs.
This album contains fifteen large photographs of important historical monuments and architectural sights in Rome, produced by Tommaso Cuccioni, an early Italian photographer who held a studio on Condotti Street in Rome. Photographs included: Le Tibre, Fort St. Ange; Fort St. Ange; Le Capitole; Cour du Capitole; Le Forum; Ruines du Palais des Césars; Le Colysée; Intérieur du Colysée; Forum de Trajan; Temple de Vessa; Vieux Théâtre de Marcellus; Fontaine de Trévi; Château d’eau; Statue de Moïse par Michel Ange, Eglise de St Pierre aux Liens; Eglise de St Pierre (Cortège du Pape).
“Beginning in 1852 Cuccioni became a photographer and specialized in large format views of Rome's ancient monuments. In 1859 Cuccioni exhibited for the first time at the Société Français de Photographie in Paris with his mammoth images, and received critical acclaim. The manufacture of mammoth images was very expensive to produce, and only the wealthy on their Grand Tour could afford them. Today only a few examples can be found in public and private collections. Cuccioni's albumen prints are seldom available on the art market.” (Bonhams) “Of the slow, but inexorable, passage from engraving to photography, [Cuccioni] can be considered an emblematic character” (Translated from Treccani).


[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 1/2 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.


[Album with Thirty-eight Original Albumen and Gelatin Silver Photos of Pondicherry (South-East Coast of India) and Saint-Denis, Réunion (Indian Ocean)].

Ca. 1885. Oblong Quarto (ca. 22,5x28 cm). 24 card stock album leaves (3 blank). With 38 mounted original photographs (23 albumen prints & 15 gelatin silver prints), including 35 images from ca. 12x17,5 cm (4 ¾ x 6 ¾ in) to ca. 10,5x14,5 cm (4 x 5 ½ in, and three smaller panoramas ca. 8,5x17 cm (3 ½ x 6 ¾ in). Sixteen photos with ink or pencil manuscript captions in French on the mounts. Period dark brown half sheep album with dark grey cloth boards, gilt tooled spine; moiré endpapers. A couple of images mildly faded, one with a small hole affecting the image, one with a tear and a stain, binding rubbed on extremities, otherwise a very good album of interesting images.
Interesting annotated album with historically important original photographs of the French colonial cities of Pondicherry in India and Saint-Denis in Réunion, Indian Ocean. The album includes thirty views of Pondicherry, starting with a photo of the statue to Joseph Marquis Dupleix (1697-1763, Governor-General of French India in 1742-54); the statue is shown in its original location on Place de Gouvernement where it was erected in 1870; it was moved to the end of the city’s Rock Beach in 1979. The other images show famous carved pillars brought from the Gingee Fort (Tamil Nadu) after its capture in 1751, Aayi Mandapam (Park Monument) erected to commemorate provision of fresh water to the city by the French, Eglise de notre Dame des Anges (built in 1855), Immaculate Conception Cathedral (consecrated 1791), Hotel de Ville (La Mairie or Municipal Hall), Hotel de Gouverneur (now Raj Nivas or Government House), Hindu temples, Calve College Government School (built in 1875), mosque and a Muslim cemetery, Periya Mani Kundu or Grand Tower Clock near the Goubert Market or Grand Bazar, several street views showing street lamps, rickshaw carts and drivers, sacred bulls, a traditional oil mill (moulin à huile); two city panoramas taken from the sea and showing the promenade and the jetty, etc. There are also eight views of Saint-Denis, the capital of the island of Reunion, showing city streets with the mountain ranges in the background, a French church, Jardin de l’Etat, and a panorama of the mountains with the pond in Saint-Denis’ vicinity.


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)


[Extensive Album with Over 400 Original Studio and Snapshot Photographs, Real Photo Postcards and Printed Ephemera Showing a Travel to Egypt, Palestine, Syria and Lebanon During WW1].

Ca. 1915-1919. Oblong Folio (ca. 29,5x44 cm). 32 card stock album leaves. With over 400 mounted images, including ca. twenty original large studio and snapshot photographs, from ca. 25x40 cm (9 ¾ x 15 ½ in) to ca. 14x18,5 cm (5 ½ x 7 ¼ in). The rest are either real photo/printed postcards (ca. 9x14 cm) or original photos of various size, from ca. 12x16,5 cm (4 ¾ x 6 ½ in) to ca. 4,5x6,5 cm (1 ¾ x 2 ½ in). Most images with manuscript ink captions in English on the mounts, several studio photos signed or numbered in negative. Period brown half sheep album with cloth boards, spine with a gilt tooled number “5.” Binding with cracks of both hinges, corners bumped, several leaves with the lower corners worn, a few images mildly faded, but overall a very good extensive album of photographs.
Interesting, content rich album, most likely compiled by a British military officer during his service and travel around Egypt and the Middle East during the WW1 (one of the earliest images showing the travelling party near the pyramids of Sakkara in Egypt is dated “December 1915”). The album is generously filled with the original snapshots, as well as classical large studio photos and real photo postcards of the Egyptian antiquities, temples and mosques, famous sites of Jerusalem and the Palestine, views of Damascus, Beirut and Baalbec, and vivid portraits of the locals. A series of eleven photos in the end depict the famous Nahr-el-Kalb Stelae in Lebanon, which were very difficult to visit during wartime, and show some of the high-ranking officers of the Egyptian Expeditionary Force during their meeting there in the early 1919.
The album opens with over 290 images of Egypt, the majority are original photographs or real photo postcards, mixed with several printed postcards. Very interesting are the large studio photos of an “Arab Shop,” the interior of a “Coptic Church in Old Cairo,” the Mosque of Sultan Hassan, the Mosque of Ibn Tulun (by G. Lekegian), the Citadel, and the interior of the Al-Azhar Mosque. Real photo postcards and original snapshots include numerous portraits of local people – “Types of Fellahin,” “Pot-seller,” “Baker,” “Khife-grinder,” “Cobbler,” “Weaver,” “Tobacconist,” “Water-carrier” and others; there are also a series of “Scenes on the Nile” (sailing feluccas, peasants on the flooded fields, shepherds et al.), several photos of shadufs in operation, scenes of thrashing, “Egyptian road scenes,” “Egyptian village scenes” (with nice views of the Luxor and Karnak Arab villages), a number of Cairo street scenes (local markets, passers-by, a procession of an “Egyptian wedding” etc.) Ca. 170 real photo and printed postcards depict Egyptian temples and antiquities (Great Pyramids of Giza, the Sphinx, Pyramids of Sakkara and Dahshur, rock tombs in Beni Hasan, temples, tombs and bas-reliefs in Luxor, Karnak, Deir el-Bahari; the Ramesseum, Tombs of the Kings, the Queens and the Nobles in Thebes, Philae Island, temple of Dendera, numerous showpieces from the Cairo Museum, etc.)
Palestine is shown in 56 original studio & snapshot photos and ca. 26 printed postcards and images. The original photos include several portraits of Palestine Arab villagers, Bethlehem and Druze women, four pictures of the central nave of the Great Mosque of Gaza after British bombardment in 1917 (restored in 1925), views of Ascalon, the tower of Ramleh (Ramla), panoramas and street views of Jerusalem (with two large attractive views of the Dome of the Rock, a studio photo of its interior, three studio photos of modern models reconstructing the structure of the Jerusalem Temple in different historical eras etc.), Siloam, Rachel’s Tomb, Jaffa, Hebron, Bethlehem, Jordan River etc. Very interesting are four large original photos, with one showing a busy Jerusalem street with the first pavilion of the Bezalel Academy of Arts and Design shortly before it was demolished by the British authorities (Israel’s national school of art was founded in 1906, the pavilion was built in 1912 next to the Jaffa Gate, demolished in 1918-1919); the other three photos show armed shepherds in the Judean Hills and St. George Orthodox Monastery near Wadi Qelt valley. Printed postcards and images show streets and religious sites of Jerusalem, Bethany, and portraits of the locals, including a “Bedouin,” a “Metualy Arab,” a “Druse Sheik,” etc.
Syria and Lebanon are shown in 16 original photos (Damascus panoramas and street views, interior of the Great Mosque, vendors and buyers at the Bazaar; Beirut etc.), 10 printed postcards by Sarrafian Bros. (views of Beirut and environs, Baalbec, cedars of Lebanon, a waterfall on the Barada River etc.), and twenty printed images of Baalbec.
The last twelve images (11 gelatin silver photos and one printed postcard) depict the famous Commemorative Stelae in the mouth of the Nahr-el-Kalb River, north of Beirut, including the Assyrian and Roman ones, the “Inscription of Emir Bishir, Feudal Lord of Lebanon,” those of Napoleon III, and united British and French troops commemorating capture of Homs, Aleppo, Beirut and Tripoli. The last image of the series is a group portrait of British high-ranking military commanders posing in front of a British and French commemorative stela, showing among others General Edmund Allenby (1861-1936, Commander of the British Empire’s Egyptian Expeditionary Force in 1917-18) and General Edward Bulfin (1862-1939, Commander of the XXI British Army Corps during the Sinai and Palestine Campaign in 1917-1918). The photo was taken in the early 1919 during a special visit to the valley by several military commanders of the divisions, comprising the Egyptian Expeditionary Force. A similar photo taken at the same moment, but featuring a different mix of military officers (among them is Australian General Henry Chauvel, Commander of the Desert Mounted Corps in 1917-19) is now held in the collections of the Australian War memorial ( One of the photos shows the stela with the original inscription carved by the Royal Engineers in the late 1918-early 1919: “The British Desert Mounted Corps aided by the Arab Forces of King Hussein Captured Damascus, Homs and Aleppo. October 1918,” which omits the tribute to the Australian and New Zealand forces - an important part of the operation. It was due to General Henry Chauvel that the text of the inscription was changed in 1927 and currently reads as: “The Desert Mounted Corps composed of British, Australian, New Zealand and Indian cavalry, With a French regiment of Spahis and Chausseurs d’Afrique And the Arab forces of King Hussein Captured Damascus, Homs and Aleppo. October 1918”.
Overall an interesting extensive album with historically significant photos of Egypt and the Middle East during WW1.


HAMMERSCHMIDT, Wilhelm (ca. 1830 - d. 1869)
[Album of Forty-eight Early Original Carte-de-visite Albumen Photographs of Egypt].

Ca. 1864. Duodecimo (ca. 15,5x11,5 cm). 24 card stock album leaves. 48 albumen photos mounted in window mats recto and verso; photos ca. 8,5x5,5 cm (3 ¼ x 2 ¼ in), 29 of them are hand coloured; photographer’s signature “W. Hammerschmidt” in negative is visible on one photograph. Each photo may contain the photographer’s printed label, caption and number on verso (versos are not visible in the album). Each photo with a handwritten caption in French on the mount. Owner’s ink note on verso of the front board: “Gottlieb. Alexandrien, 7 September 1864 (Egypten).” Original brown full morocco album with elaborate blind stamped borders on both boards, and a decorative brass plate imitating a coat of arms on the front board; moiré endpapers, all edges gilt, brass clasp. A couple photos very mildly faded, two portraits with minor losses to the images, otherwise a very good album of good strong images.
Attractive rare album of early carte-de-visite photographs of Egypt by the Cairo studio of Wilhelm Hammerschmidt. Invented in the middle 1850’s, photograph portraits and views in the format of “carte-de-visite” (ca. 85x55 mm) steadily gained popularity in the 1860s and became objects of collecting, especially portraits of celebrities and views of famous sites around the world. Wilhelm Hammerschmidt who was well-known for his large well-executed views of Egyptian antiquities and streets of Cairo and Aexandria, also issued a series of smaller carte-de-visite photos of Egypt in order to satisfy the growing demand from European tourists for these compact and easily transportable souvenirs from the Land of Pyramids.
This album is an excellent example of the early years of production of carte-de-visite photos and includes six views of Alexandria (general panorama, Pompey's Pillar, the port, Cleopatra's Needle - still in situ at the time the photograph was taken, Place des Consuls and Greek Orthodox Cathedral of Evangelismos); three views of Cairo (general panorama, the Asbakiya Gardens and the Citadel), and three photos of the Great Pyramid of Giza and environs. The other 36 photos (all but seven hand coloured) show representatives of different tribes and social groups of Egypt: Arabe avec la pipe; Femme arabe de la moyenne classe; Nègre à chameau; Musicien barberin; Femme portant son enfant; Anier avec son baudet; Femme accroupie et fumant la narguileh; Bédouins de Gyzèh; Femme portant des cruches d’eau; Chameaux de charge; Barbier; Dame se promenant à baudet; Arabe travaillant du coton; Chameaux de charge; Marchandes d’oranges; Cheikh mendiant; Dame arabe à la maison; Bey; Famille arabe de la basse classe; Menuisier arabe; porteur d’eau; Dame sortant; Pacha en grande tenue; Coupeur de tabac; Dame levantine; Chèvres égyptiennes; Joueur de clavicorde; Domestique; Mouton d’Egypte; Scribe copte; Sapeur et fantassin; Chèvre égyptienne; Abyssinienne; Chameaux du cortège de la tente de Mecque; Vendeur d’eau; Police consulaire (Kawasse). Overall a beautiful album, one of the early keepsakes specially produced for the emerging tourist market in Egypt in the 1860s.
Hammerschmidt was active in 1860-1864 at his studio in Cairo. Hammerschmidt exhibited his photographs of Egypt at the Société Française de Photographie in 1861 and 1863, and at the Exposition Universelle in 1867. 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.
“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).


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.


[Album with Fifty-five Original Albumen Photographs of Istanbul and Bursa, Including a Large Ten-Part Panorama of Istanbul].

Ca. 1890s. Folio album (ca. 38x27 cm or 14 ¾ x 10 ½ in). 32 stiff card leaves (3 blank). With a ten-part albumen photo panorama of Constantinople ca. 238,5x19,5 cm (94 x 7 ¾ in), dissected, mounted on linen put together in accordion-like manner; and 54 mounted albumen prints, ca. 20,5x26,5 cm (8 x 10 ½ in). All but one or two captioned, numbered and signed “Sebah & Joailler” in negatives, some additionally dated in negative (“1894”). Handsome period maroon full sheep album decoratively blind stamped, gilt tooled decorative borders on both boards and gilt lettered owner’s initials "V.F.B" on the front board; moiré endpapers, all edges gilt. Album slightly rubbed, but overall a very good album of strong images.
Attractive album with unusual and interesting photos taken by the important Istanbul studio of Jean Sebah (1872-1947) and Polycarpe Joailler (1848-1904) - official photographers of the Ottoman Sultan since 1899. It includes thirty-one attractive views of Istanbul and twenty-four photos of Bursa, the ancient second capital of the Ottoman Empire, located in northwestern Anatolia at the foot of Mount Uludag – the ancient Mysian Olympus. The album opens with a stunning panorama of Istanbul (Constantinople) taken from the top of the Galata Tower, showing a densely built city, laying on both shores of the Strait of Bosphorus and the Inlet of Golden Horn, Old and New Galata Bridges, Seraglio Point with the Topkapi Palace, the building of the Ottoman Bank (constructed in 1890-1892), Hagia Sophia, the Süleymaniye Mosque and other sites of Istanbul’s historic peninsula. The other thirty photos of Constantinople show the British embassy in Therapia (Tarabya), Seraglio Point, Golden Horn taken from the Pera Palace Hotel, New and Old Galata Bridges, Galata Tower, Tophane district and Nusretiye Mosque, Dolmabahçe Palace on the shore of the Bosphorus, Yıldız Palace and Hamidiye Mosque, Yedikule Fortress, Sultan Ahmed Mosque and the Hippodrome, Pertevniyal Valide Sultan Mosque, Hagia Sophia, interiors of the Süleymaniye Mosque and Hagia Sophia, a close-up portrait of a Turkish couple, and others. The twenty-four views of Bursa include several panoramas of the city with the Grand Mosque of Bursa and Mount Uludag in the background, five views of Bursa Bazaar with the sellers posing in front of their small shows, photos of the Muradiye Mosque, Sultan Orhan’s Tomb, interiors of the Grand Mosque and Bayezid I Mosque, façade, entrance and interior of the Green Mosque, and others.
“Constantinople-based photographic studio Sebah & Joaillier formed from a partnership between Joannes (Jean) Pascal Sebah and Policarpe Joaillier which dates only from 1890, but from its establishment, took over the marketing of the catalogue of fine images produced in Turkey and Egypt by Pascal Sebah. Sebah operated a studio in Constantinople from the 1860s, and also worked in Egypt from 1873. The same images, therefore, have been marketed by the studio at various times as being the work of P. Sebah, J.P. Sebah, or Sebah & Joaillier. Following Pascal Sebah’s death in 1886, the Turkish studio was operated by his brother Cosimi for a time, who also trained Pascal’s son in the art of photography. Joannes, known as Jean, reputedly joined the business aged 16, took it over at aged 18, and immediately entered into a partnership with Policarpe Joaillier. Joaillier returned to France in 1910, but with subsequent partners, Jean Sebah remained actively involved with the studio until 1943. From the 1870s, Sebah, and later Sebah and Joaillier, were major subjects of evocative imagery to the increasing number of people to undertook the Victorian Grand Tour. Their studio images of Egyptians and Nubians in “traditional” costumes and undertaking “traditional” tasks were highly popular, and indeed had been Pascal Sebah’s Les Costumes Popularies de la Turquie published to critical acclaim in 1873” (Hannavy, J., ed. Encyclopedia of Nineteenth-Century Photography. Vol. 1, New York, 2008, p. 1261). The studio became the official photographers of the Ottoman Sultan in 1899.


BATES, J. Leading Aircraftman, R.A.F. Aden
[Interesting album with Fifty-five Original Photographs of Aden and Mukalla in Yemen during WW2].

Ca. 1941-1944. Oblong Quarto album ca. 23x30,5 cm (9 x 11 ¾ in). 24 grey card stock leaves, occasional tissue guards. With 55 mounted original gelatin silver photographs, including fourteen large photos ca. 15,5x20,5 cm (6x8 in) or slightly smaller; the rest are from ca. 9,5x15 cm (3 ¾ x 6 in) to ca. 5x5 cm (2x2 in). Also with four mounted real photo postcards, six printed postcards and nineteen pieces of various printed ephemera related to Bates’ service in the Middle East. Most photos with period white ink captions on the mounts, several pieces of ephemera with period pencil notes on verso. Period brown canvas cloth album fastened with a string, illustrated with two dogs on the front board. Overall a very good album.
Interesting collection of 55 original photos taken by a young Australian L.A.C. (leading aircraftman) John Bates during his service in the R.A.F. Maintenance Unit in Aden. According to several pieces of ephemera from the album, Bates arrived in Aden from Durban on board H.T. “Mauretania” in September 1941, and by August 1944 he was already in the Maintenance Unit stationed in Egypt; Bates left the Middle East in November that year, when H.T. “Orontes” took him from Suez to Liverpool.
The album includes fourteen large excellent photos, including a group portrait of the members of the “Signals Section, R.A.F., Aden,” views of the Aden harbour, the Tawila Tanks, famous local salt pans and windmills, four views of Mukalla with the iconic white minarets (one photo captioned “Cypher Office, Aden”), close-up portraits of a camel rider and a newly-wed couple and guests at a “Somali wedding,” and others. Smaller images include several views of the Aden Harbour and Steamer Point (two photos showing S.S. New Amsterdam and a British submarine in the harbour), the old town and the crater, British military headquarters, the Tawila Tanks, salt pans and windmills, picturesque street views showing native musicians, passers-by, a British car with the license plate “ADN2914,” portraits of armed Arab men, native women and girls, several scenes of construction of native boats, a photo of the interior of the “barrack block,” a portrait of apparently Bates himself posing in front of the monument to Queen Victoria at Steamer Point, and others.
The ephemera include a berthing card and a meal card from the H.T. “Mauretania” which took Bates from Durban to Aden in September 1941; five printed programs of various events and performances which took place in Aden during WW2 (comedy “George and Margaret” by the Aden Command Dramatic Society, comedy “Hay Fever” by the Aden Dramatic Productions Unlimited, lithographed “Concert of the Band of the 1 Polish Carpathian Rifle Bde.” which took place on October 11th, 1942; Service of Re-Dedication at the Keith-Falconer Memorial Church, which took place on December 7th, 1941; a show by the Garrison Theatre in March 1944); a cinema ticket from the “Suez Canal Zone;” a playing card from S.S. Orcades; a typewritten poem written by one “of the airmen who served out in Aden” and dated “2/12/41;” a schedule of a trip from Suez to Liverpool in November 1944 on board the H.T. “Orontes;” a typewritten Camera Licence given in August 1944 to “J.F. Bates, L.A.C. From 104 M.U.” and signed by H.D. Goossens, “Flying Officer, for Officer Commanding No. 1 R.S.U. R.A.F.;” a piece of paper with the stamp of the Air Headquarters, Aden, dated “25 Aug. 1942,” and others. The real photo postcards show Addis Ababa, Alexandria and Cairo, the printed postcards are reproductions from the original paintings by Capt. Rundle, R.N. Showing the capture of Aden by the British in 1839. Overall an interesting content rich album illustrating life in Aden during WW2.
From the poem about Aden found in the album:
“There’s no disease known that doesn’t thrive out there,
The heat fries the blood, and the ink in your pen,
And the dust covers hundreds of England’s white men,
In that damnable crater at Aden.
And if when I die I’m sent for a spell,
To some place where stained souls are made clean and well,
Pray Peter in mercy to send me to H…
But not back to that H… called Aden.”


[Album with Eighty-eight Albumen Studio Photos and Gelatin Silver Snapshots of Egypt, Showing Streets of Cairo, Alexandria Harbour, Great Pyramids of Giza, Several Main Sites of the Upper Egypt, and The Nile’s First Cataract Shortly before the Start of the Operation of the Aswan Low Dam].

15 July 1901 – 16 July 1902. Oblong Folio (ca. 31x41cm). Eleven card stock leaves. With 88 mounted original photos, including 16 large albumen studio photographs, between ca. 21,5x27,5 cm (8 ¼ x 10 ¾ in) and ca. 16x22 cm (6 ¼ x 8 ½ in); and 72 gelatin silver snapshots, ca. 10x11,5 cm (3 ¾ x 4 ½ in) or smaller. All photos with period ink captions in English on the mounts, several studio photos signed, captioned and numbered in negatives. Period style green gilt tooled half morocco with cloth boards and gilt lettered title on the spine; all edges gilt. Several images slightly faded, a few with minor creases or chipping on the margins, but overall a very good album.
Attractive album with large unusual studio photos of ancient Egyptian temples and pyramids, as well as lively original snapshots of streets in Cairo, Alexandria harbor, ancient temples, and portraits of the locals. The album was most likely compiled by an English traveler during a lengthy – a year-long – stay in Egypt, which was then an officially autonomous province of the Ottoman Empire, but de facto a protectorate of Great Britain (since the occupation in 1882). The traveler stayed in Alexandria and Cairo and took a classical voyage up the Nile as far as the First Cataract near Aswan. It is interesting, that the voyage to the First Cataract coincided with the last phase of construction of the Aswan Low Dam (1898 – December 1902), and four photos taken there show the still unflooded Philae Island (one snapshot and one large studio photo) and two snapshot views of “Assouan Barrage from Philae,” dated “Jan. 12, 1902.”
Studio photos, including those signed by G. Lékégian & Co (active in Cairo 1887-1910) and Antonio Beato (active 1862 - ca. 1900, established in Luxor in 1870), show a panorama of Cairo with the Arab cemetery and the Citadel, views of the Great Pyramids of Giza, the step pyramid of Saqqara, temples in Karnak, Medinet Habu, Deir el-Bahari, Esna, Edfu, and two interiors of the tombs of the Kings in the Theban Necropolis. Original snapshots include several street views of Cairo (Place d’opera, a square near the railway station, a road in Abbassia, the Delta Barrage, camel riders crossing the old bridge over the Nile etc.), over a dozen photos of the animals from the Cairo Zoo, views of different ancient Egyptian temples and sites (the Pyramids of Giza, statue of Rameses II, temples of Luxor, Karnak, Kom Ombo, the Ramesseum, and others) - with some featuring the travelers or their dog “Wuzzy” posing in front of the ruins, views of the “landing place” on the Nile in Esna, Alexandria harbor (with five interesting photos of privates from a British cavalry camp bathing their horses in the Mediterranean), two snapshots of a polo game in Cairo, passers-by on a “Station on Port Said – Ismailiyeh Rwy,” etc. Overall an interesting photo collection showing major archaeological sites and everyday life in the early 20th century Egypt.


[Album of Thirty-six Early Albumen Photographs of Various Cities and Towns in the Australian State of Victoria Titled in Gilt on Front Cover:] Photographic Views of Victoria.

Ca. 1880. Quarto (ca. 27x22,5 cm). Thirty-six stiff card leaves. With thirty-six mounted albumen photographs each ca. 16x22 cm (6 ½ x 8 ½ in). All captioned in pencil on mounts. With a presentation inscription on front free fly leaf: "A Souvenir of Victoria to Mrs. Rose from A. & S. Th. Melbourne, 4th of January 1882”. Period black decoratively gilt tooled full sheep album. Rebacked in style. A few photographs mildly faded but overall a very good collection of interesting early photographs.
The Victorian Gold Rush of the 1850s and 60s led to a significant economic and population expansion in Victoria and the rivalry with New South Wales resulted in the Melbourne International Exhibition in 1880 which was the first official World's Fair in the Southern Hemisphere. This interesting collection of early photographs of the towns and cities in post gold rush Victoria documents the development of the state at that time and includes images of: the Melbourne International Exhibition; Interior Opening Day; West Melbourne from Exhibition Dome; Independent Church Collins St.; Sailor's Home Spencer St.; Bourke St. East; Melbourne Town Hall; Bourke St. West; Scot's Church Collins St.; New Eastern Market; Museum; St. Kilda's Road; Government House; Kew Lunatic Asylum from Studley Park; Punt - Simpson Road; Melbourne from South Yarra; Melbourne from the Domain; Mountain Tree Ferns Dandenung State Forest; Coranderrk Aboriginal Station; Lower Falls on Creek Scene; Moorabool River Railway Viaduct; Clunes; Ferns; Geelong Railway Station; Scene on the Yarra; Stawell Mining Township; Aqueduct over River Plenty; Ballarat Mines; Castlemaine; Geelong West; Echuca Punt; Castlemain State Quarries; Falls Lower Campaspe; Hesket; Bush Sawmills (near Stawell); River Scene (with presumably the photographer by the river bank).


SPITZ, Charles Georges (1857-1894); HOARE, Susan; MIOT, Paul-Emile (1827-1900)
[Album of Fifty Early Original Photographs of Tahiti, Including Portraits of Queen Pomare IV, King Pomare V and His Wife, Queen of Bora Bora, French Naval Officers, Views of the French Naval Transport Ship Scorff, Matavai Bay, Titled:] Souvenirs l’Ocean Pacifique.

Ca. 1880-1887. Folio (ca. 32,5x25 cm). Sixty album leaves (ten blank). Fifty albumen prints (one in two copies) of various size, from 7x4,5 cm (2 ¾ x 1 ¾ in) to ca. 20x25,5 cm (8x10 in), the majority are ca. 11x16,5 cm (4 ¼ x 6 ½ in) or slightly larger. Photographs are mounted on rectos of the album leaves (with one mounted on verso, one loosely inserted); the majority with period manuscript pencil or ink captions in French on the mounts. Nine photos additionally mounted on card (including five images on the cabinet cards of Papeete photo studios of Georges Spitz and Mrs. S. Hoare). Period maroon cloth album with colour stamped decorative ornament on the boards and spine; paper label with a faded ink title on the front cover, spine and back cover with some mild fading, but overall a very good album and strong interesting photographs.
Interesting collection of early views of Tahiti taken by prominent local photographers just a few years after the annexation of the island by France in 1880. The photos were apparently collected by a French naval officer during his service in 1886-1887 on the transport ship “Scorff” of the French Pacific Naval Division under command of Raymond Paul Adolphe Marie de Royer de Saint Julien (1849-1900). The album opens with a portrait of Queen Pomare IV taken by an important photographer of Tahiti Admiral Paul-Emile Miot in ca. 1870; a part of the outstanding series of photos of Oceania taken by Miot during his service as the chief of staff of the French Naval Pacific Division on board the frigate “Astrée” in 1868-71. The other images in the album belong to the Papeete studios of Charles Spitz and Susan Hoare: five photos are mounted on the distinctive studio cards with printed names of the photographers, and eight more were identified on the basis of Jean-Yves Tréhin’s “Tahiti, l'Éden à l'épreuve de la photographie” (Gallimard, 2003, see pp. 68, 72, 84, 85, 89, 94, 100, and others); the other images most likely were taken by the same studios, judging on the similar style and choice of objects.
The photographs include several portraits of the rulers of the Society Islands, including those of Queen Pomare IV, King Pomare V and his wife Queen Marau, the king surrounded by his tohitus (chiefs), and the Queen of Bora Bora; the members of the influential Salmon family (the founder of the clan Alexander Salmon (1820-1866), a merchant from Britain, became the first Jew to reside in Tahiti); interesting studio group portraits of Tahitians in traditional costumes; a well-known portrait of a Marquesan warrior, families of the “Tahitians from the interior,” and others. There are also interesting street views of Papeete and several photos of the interior of Tahiti (most likely taken by George Spitz during his travels across the island): Matavai Bay, Fautaua River and Falls, Le Diadème Peak, Taravao; and a distant view of the Moorea Island. Ten “naval” photos include a portrait of Rear-Admiral Marcq de Saint-Hilaire, the commander of the Pacific Division at the time, group portrait of “Scorff’s” officers (in two copies), views of the “Scorff,” “Décret,” “Duquesne” and other ships of the Pacific Division on the Tahitian roadstead, festivities on the 14th of July in the Papeete harbor, a large view of a military review, and others. There is also an interesting photo of the distribution of prizes at the first Papeete Catholic school for boys in 1886, featuring Delphino Moracchini (governor of French Polynesia in 1885-1886).
A list of photos:
Reine Pomaré IV (by Paul-Émile Miot, ca. 1870). - Reine Maraü (by Charles Spitz). - Roi Pomaré V (by S. Hoare, ca. 1885). – Le Roi entouré de les Tohitus (chefs). – Femme Tahitiens (by S. Hoare, ca. 1880). – Groupe Tahitien (2). - Femme de Papeete. – La famille Salmon (by S. Hoare, ca. 1885). - Princesse Vetua, reine de Bora Bora (by S. Hoare, ca. 1885). - Contre-amiral Marcq de Saint-Hilaire. – Guerrier des îles Marquises (by Charles Spitz). – Distribution des Prix à l’Ecole des Frères á Papeete en 1886. – Bâtiments de la Division navale du Pacifique en rade de Papeete. - Le 14 juillet 87 en rade de Papeete. – Le quai de Papeete, le 14 juillet 87. – Une rue à Papeete. – La rue de l’est à Papeete. - La rue de l’est. – Les allées de la Fautaua (3). – Vue du Diadème. – Cascade de la Fautaua (2). – Allée de la Fautaua. - Le Diadème. – Vue du Diadème. – Baie de Matavaï. - Végétation tahitienne (by Charles Spitz). - Le mayore, fruit de l'arbre à pain. – [A view of Duquesne and Scorff in Papeete harbour] (mounted on the studio card of G. Spitz). - Un ruisseau dans la Fautaua. - Paysage à Tahiti. - Vue prise à Taravao (2). – L'île Moorea prise de Tahiti, distance 12 milles. - Tahitiens de l'intérieur. - Un Canaque à la pêche sur les récifs. - Baie de Cook à Moorea, le Scorff au mouillage. – [Portrait of two Tahitian women] (mounted on a studio card of S. Hoare). – [Group portrait of three Tahitian women] (mounted on a studio card of G. Spitz). - [Portrait of a Tahitian woman] (mounted on a studio card of S. Hoare). – [View of the Scorff]. - Etat-major du Scorff(2, by G. Spitz, one image mounted on his studio card). – [View of the Scorff] (2). – [Naval review in Papeete on the 14th of July, 1886]. – [A portrait of the Queen of Bora Bora and her sister] (by S. Hoare, ca. 1880). – [Papeete harbour].
Bibiliography: Charles Georges Spitz. Photographies de Tahiti 1880-1890. Ministère de la culture de Polynésie Française, Tahiti, 2002; Tréhin, Jean-Yves, Tahiti, L'Eden à l'épreuve de la photographie. Gallimard – Musée de Tahiti et des Îles, 2003; Tréhin, Jean-Yves. Gauguin, Tahiti et la photographi. Gallimard / Musée des Iles, 2003.
About Hoare studio:
"As "official" photographers for the protectorate, the Hoares endeavour to depict people in power, both in groups and independently; the royal family and its entourage as well as other notables." (Histoire de l'Assemblée de la Polynésie Française online). "Many Tahitian women are photographed, wearing for the most part a long cotton dress or "mission dress," and a hat made of leaves or sometimes simply flowers in their hair. This approach reflects, for the first time, the local population's interest in the photographic process and illustrates a turn in the history of photography in Polynesia [...]. Few traces of smiles appear on the numerous photographs taken before a background of painted canvas [...]. The people are serious, even grave. The importance of the instant, which captures their social status, arouses a slight apprehension which is rapidly disguised [...] The process becomes a more or less conscious method of integration and enables the more well-to-do Tahitians to claim a form of recognition" (Tréhin, J.-Y. Tahiti, L'Eden à l'épreuve de la photographie…, p. 79, in translation).
About Charles Spitz:
"The views of Tahitian and island landscapes demonstrate, through the use of light, framing, and angle, a great professionalism and developed aesthetic. Despite the imperatives of a studio geared towards commercial production, many of Spitz works are some of the most successful photographs taken in Polynesia at the end of the 19th century." (Tréhin, p. 109, in translation)."Spitz finds his inspiration when he places his lens at the heart of nature and confronts himself to the authenticity of the place. His work can therefore join that of painters, writers, travellers, artists, who are dazzled by omnipresent nature, the power of colours and contrasts, and the shock of sensorial impressions." (Tréhin, p. 117, in translation)."The work of Spitz illustrates a chronology of colonial life in Tahiti and on the islands between 1880 and 1893. The photographic "truth" is often discovered a posteriori, a photograph tends to gain its significance only once it is placed in its historical context." (Tréhin, p. 106, in translation).


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