July 2015 - Travel Photography - Albums, Collections & Panoramas

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[Album with over 290 Original Photos or Real Photo Postcards of Alaska, with the Emphasis on the Construction and Early Years of the Copper River & Northwestern Railway from Cordova to the Kennekott Copper Mines].

Ca. 1900-1910s. Oblong Folio (ca. 25x36 cm). Over 50 leaves. With over 290 gelatin silver prints (including over 20 dismounted or loosely inserted ones), vast majority printed as real photo postcards (private and studio ones); also with three large photos ca. 18,5x23,5 cm (7 ¼ x 9 ¼ in) and about two dozen small family portraits. Over 20 images signed and/or titled in negative. With a business card of Lila Marie Hubbell (pianist and teacher, Bremerton, Wash.) loosely inserted. Period style brown half morocco with cloth covered boards; gilt lettered title “Alaska album” on the spine. A number of leaves worn and with tears on extremities, several detached from the stub and loosely inserted, some photos removed from the album (but with 20 additional loose photos at rear); overall a very good album.
Interesting historically significant album with early images of the Copper River and Northwestern Railway, constructed in 1907-1911 by J. P. Morgan and the Guggenheim family to transport copper ore from the Kennicott mining town to Cordova. The railway operated until the copper deposits were depleted in 1938. The Copper River Highway and the McCarthy road were subsequently constructed along the railway’s tracks.
The album apparently compiled by one of the employees of the CR&NW Railway, or by a local resident, contains over 20 original photos of the railway’s trains, going along the tracks, snow plowing, or with railroad workers, engine drivers or passengers posing to the camera. The photos include a nice portrait of the engine drivers posing next to the train’s snow plow on the track, group portrait of workers and officials of the Katalla Coal Company Railroad posing on engine at Brunner Crossing (real photo postcard by Evans), and a view of “Lieut. F. Mears private train, Sept. 5th to 8th 1914, standing at Chitina depot, C.R. & N.W.Ry.” (real photo postcard by P.S. Hunt). A series of eight photos depict a train wreck on the CR&NW Railway with cranes and workers trying to raise the train from a river; there are also scenes of the railway’s survey and construction operations with wood blocks and excavators at work. A dozen photos depict the tracks of the CR&NW Railway, from the wharf in Cordova to the Kennikott mine with the end of the tracks; about seven images show the bridges, including the Kuskalana Bridge under construction and sections of the Million Dollar Bridge across the Copper River. There are also interesting images of several ships belonging to the Alaska Steamship Company fleet which were used to bring supplies for the CR&NW Railway construction: original photo of the steamer “Nizina” with passengers on board, and real photo postcards of S.S. Farallon, S.S. Yukatan and S.S. Northwestern (by J. Thwaites, also with a large photo of the ship by Winter Pond Co.). There is also a real photo postcard of a wreck of S.S. Portland on a beach at Katalla (near Cordova).
Large group of images represent family photos of the album’s compiler, showing Alaskan residents posing in front of their houses, cabins, in hunting camps, with sledge dogs, on board local steamers or small sailing boats; there are interesting photos of the interiors of local houses and cabins, scenes of public entertainment in Fairbanks, a big group portrait taken during a public celebration, a photo of a “Wash day at Smith’s camp”; portrait of skaters on the ice near Chitina et al. Several photos and real photo postcards show views of Cordova, Tenakee Springs, Ketchikan, Seward, Fort Liscum, Chitina and Copper Rivers, Alaskan towns, mountains, glaciers et al. About 20 real photo postcards mounted in the album were taken by J. Thwaites, E. Hegg, Andrew Evans, H.A. Ives, P.S. Hunt, and Winter Pond Co. Overall a very good album.


[Album with 95 Original Photographs of Central Algeria, Showing French Military Posts and City Views of El Golea, Ghardaia, Laghouat, and Bogharie, with Several Rare Images of Fort Mac-Mahon; Titled:] Souvenir du Sud Algérien. 1906-1907.

Ca. 1906-1907. Quarto (ca. 28x19,5 cm). 25 stiff card leaves. Ninety-five gelatin silver prints ca. 8x11 cm (3 x 4 ¼ in), and six loosely inserted, from ca. 16,5x12 cm (6 ½ x 4 ¾ in) to ca. 5,5x8 cm (2x3 in). Most images with period ink captions in French on the mounts. With six loosely inserted family photos of various size from the same collection, not related to Algeria. Period green cloth album. Five images removed from the album, a few photos slightly faded, but overall a very good album.
Very interesting historically significant album showing French military posts in the Sahara in central Algeria in the early 20th century. The album opens with two portraits of French commanders of the native Algerian military regiments – “Colombier,” brigadier of the 1st Spahi cavalry regiment, and “Quillé,” corporal of the 1st Turcos (or tirailleur) infantry regiment. Then follow over fifty images depicting French military post in El Golea (modern El Menia), the southern gateway to the Sahara. The photos show officers’ quarters, the infirmary, administration building, post office, barracks of tirailleurs, “bureau arabe,” scenes of a courier’s arrival to the post and the award of “Lieutenant Sadey” with a “cross”, group portraits of native infantrymen and French officers in native costumes, a portrait of native cavalrymen dressed for the celebration of the 14th of July; four scenes of drilling for water near the springs that create the oasis around El Golea; there are also general and street views of El Golea, photos of the El Golea market, church, house of commandant Lamy, nearby salt lake, ancient skar (Berber hill fortification), portraits of local children, spahi cavalrymen with local women, goat shepherds, a nomadic family, and others. Four photos taken in El Golea show different stages of loading and mounting a camel.
A series of eleven photos depict a trip to Fort Mac-Mahon (Hassi el Homeur), 170 km west of El Golea, one of the largest and the most remote French forts in the Sahara (built in 1894). The images show the party’s movement through the desert, stops at wells on the way, making tents, Fort Mac-Mahon from the distance, and its entrance; two interesting portraits depict French officers in native dress posing in front of the stone plaque marking distances from Fort Mac-Mahon to several locations in Algeria.
There are also interesting views and panoramas of the cities of Ghardaia, Laghouat, and Bogharie (street views, portraits of the locals, images of markets, military barracks et al). Several photos loosely inserted in the album portray a French military man, most likely the compiler of the album.
Overall a very interesting album with unusual rare images of central Algeria.


[Collection of Three Albums with ca. 480 Original Photographs and over 70 Real Photo Postcards from a Voyage Around the World via the Suez Canal, South-East Asia, and the Pacific, Including 60 Original Photos and 34 Real Photo Postcards of the Khmer Temples in Cambodia – Angkor Wat, Bayon, Ta Prohm, Pre Rup, Ta Keo, Baphuon, Preah Khan, Preah Ko, Banteay Srey and others; also Including over 300 Original Photos of South-East Asia – Sumatra, Java, Sabang Island, Singapore, Penang, Bangkok, Vietnam, Hong Kong, China and Japan; also with photos of Port-Said, Hawaii, California and the Grand Canyon].

1934-1935. All albums Oblong Folio (ca. 27x36 cm), with 23, 22 and 30 stiff card leaves respectively. Over 480 mounted gelatin silver prints, mostly ca. 5,5x5,5 cm (2x2 in) or slightly bigger – ca. 8x5,5 cm (3 ¼ x 2 in); also including a large panorama ca. 12,5x30,5 cm (4 ¾ x 12 in), and about 17 original photos postcard size - ca. 9x14,5 cm (3 ½ x 5 ¾ in). With over 70 real photo postcards showing sites visited on the trip. All images with period captions in French related either to individual images or to groups of images; all albums with manuscript labels pasted on verso of the front cover. Period Chinese decorative cloth albums, spines are stitched through on top and bottom with decorative strings. Very good albums with strong clear photographs.
Interesting photo collection assembled by a French couple during their trip around the world in 1934-1935 on board the “Baloeran” (a Rotterdam steamship built mainly for cruises between the Netherlands and the Dutch East Indies) and later on board the “Empress of Canada,” a liner of the Canadian Pacific Steamship Company.
The collection is especially interesting because of its large number of original photos of Angkor Wat and other famous Khmer temples of Cambodia - Bayon, Ta Prohm, Pre Rup, Ta Keo, Baphuon, Preah Khan, Preah Ko, Banteay Srey and others. The second album contains 60 original photos and 34 real photo postcards of the Khmer temples with general views, architectural details and portraits of the travellers posing in front of the temples, the collection is an interesting and relatively early picturesque representation of this UNESCO World Heritage Site.
There are also a number of interesting unusual views taken during the tour across the Dutch East Indies, French Indochina, China and Japan. Over 90 images of the Dutch East Indies include photos taken on the Sabang Island, Sumatra (a rubber plantation, gold course in Brastagui, two coastal views of Sibolga, volcanic Lake Toba, Prapat village), and Java (port and market in Batavia, botanical garden in Buitenzorg, crater of the Mount Salak, tea plantations near Pingalangan [?], rubber plantations and native children dancing in Garut, railway station in Bandjar, Borobudur temple, batik sellers). The journey continued in Singapore (illustrated with over 30 photos, showing the house of a British official, botanical gardens, and golfing at the Singapore club grounds), and Malaysia (over twenty images, showing the gold club; port, streets and temples of Penang, views of Penang taken from the Strawberry Hill, including a large commercially printed panorama; with nine real photo postcards showing various operations on a Malaysian rubber plantation). Over 30 images are dedicated to the couple’s stay in Bangkok, Thailand, showing the city port and floating market, a street restaurant, scenes of venom collection at the famous Pasteur Institute, Bangkok temples (Wat Pho Temple, Wat Arun Temple, the Marble Temple, and the Temple of Emerald Buddha), the house of the director of the bank, and others. Over 60 images of French Indochina (modern Vietnam) include views of Saigon, Mekong, rural areas around Saigon, rubber plantations, tea plantations and factories near Arbre Broye, landscapes taken during the tour to the Dalat resort, local villages, a gold mine, saline near Cana, Vietnamese boats in Phan Thien, An Loc town, and others. The collection also includes original photos and reals postcards of Hong Kong, and over fifty original photos of China (Summer Palace, Temple of Heaven, Great Wall, the Ming Tombs, various views of Pekin); over twenty original photos of Japan (Kyoto & Nikko).
There are also portraits of the travellers and their friends on board the “Baloeran,” views of Port Said, Suez Canal, the port of Colombo, Honolulu, Pebble Beach golf course in California, and the Grand Canyon. The last album closes with six real photo postcards of New York. Overall an interesting photo collection of the images of the Khmer Temples and unusual views and scenes taken in South-East Asia.


LEYTSINGER, Yakov Ivanovich (1855-1914)
[Collection of Six Original Photograph Views of Arkhangelsk, Solovetsky Monastery and Mezen City on the White Sea].

Ca. 1890. Six albumen prints ca. 13,5x21,5 cm (ca. 5 ¼ x 8 ¼ in). All mounted on original card within gilt printed decorative borders; all with period ink captions in Russian on verso. Mounts slightly warped, otherwise a very good collection.
A very good collection of pre-revolutionary views of Arkhangelsk, and two other interesting places on the White Sea – the town of Mezen and Solovetsky Monastery. The photographs were taken by Yakov Ivanovich Leytsinger, Russian statesman and philanthropist of Swiss origin, a member of Arkhangelsk City Council (1897), Mayor of (1903-1914). He opened his photography studio in Arkhangelsk in the 1880s and was known for high quality of his work. Leitsinger was the official photographer of the official tours across the Russian North of the Governors of Arkhangelsk province – Alexander Engelgardt (1895, his book “The Russian North” was illustrated with Leytsinger’s photos), and I. Sosnovsky (1911). Leitsinger took official photographs in Arkhangelsk of the start of the Arctic expeditions led by Vladimir Rusanov and Georgiy Sedov; his series of views of Solovetsky monastery was acquired for the collection of the Imperial House of Romanovs.
The four views of Arkhangelsk show the city embankment and the city’s main street – Troitskaya (now Troitsky prospect). Two images of the Northern Dvina embankment show the Arkhangelsk Holy Trinity Cathedral with the bell tower (1765), Church of Archangel Mikhail (1742-43) and the Annunciation Church (1763) – all of them, together with five other Arkhangelsk churches were demolished in the late 1920s. The photos of Troitskaya Street show the governor’s office with the monument to Mikhail Lomonosov (the monument survived but was relocated in 1930), with the Holy Trinity Cathedral in the background; and central part of the street, with the Chief Auditor’s office in the foreground.
The panorama of the Solovetsky Monastery erroneously captioned as “Arkhangelsk” was taken from the Prosperity Bay and shows the Dormition Cathedral (1552-57), Church of Saint Nicholas (1834) with the bell tower, St. Trinity Church (1856-59), the main Cathedral of the Monastery - Preobrazhensky Cathedral (1556–1564), administrative buildings and massive monastery walls and towers with the Saint Gates.
Very interesting is a photograph of Mezen, a town in the modern Arkhangelsk oblast “located on the right bank of the Mezen River close to the point where it flows into the White Sea. The settlement at the location of the present-day Mezen was founded in the 16th century” (Wikipedia). Mezen has a well preserved historical centre mostly represented with traditional Russian wooden architecture – as seen on the photo. Today it is included in a security zone of Russian Federation, and the access to the town is restricted.
All photographs bear the stamp of the 10th Jubilee photograph exhibition in Moscow, where Yakov Leitsinger was awarded with the Grand Dager Medal for his works.


[Album with 86 Original Photographs of the Southern BC Interior, Including Views of Cranbrook, Moyie, Creston, Trail, Greenwood, Vernon, Chase, Ashcroft, stages loaded for the Cariboo region at Ashcroft, boat landing at Chilliwack and others].

Ca. 1900s. Oblong Octavo (ca. 16,5x20,5 cm). 24 black stock leaves (7 blank). With 86 mounted gelatin silver prints, the majority ca. 6,5x11 cm (2 ½ x 4 ¼ in). Vast majority with period ink captions in the corners of the images, one photo titled and signed in negative “Near Hosmer. Rourke photo”. Original soft brown sheep album fastened with a string and with a decoration of cloth maple leaves on the front cover. Album worn, several images faded, two with losses of corners and margins, eight images apparently have been removed from the album, several images with silvering on the margins; mounts with creases. Overall still a good album.
Private photo album with some interesting views and scenes taken during a travel in the southern interior of British Columbia, including street views of Cranbrook, a series of photos from a riding trip “in the mountains” from Cranbrook, views of Lake Moyie and Moyie town, Kootenay River at Bonners Ferry (Idaho), views of a street and the railway station in Bonners Ferry; Creston, Kootenay Lake and steamer Moyie; general and street views of Trail, Greenwood, Vernon, Chase, Ashcroft, “Indian Officer talking to Indians, Ashcroft,” stages loaded for the Cariboo region at Ashcroft, boat landing at Chilliwack and others. Numerous views taken while on the way from one town to another show railway tracks, tunnels, roads, landscapes etc. Faded images depict Nanaimo harbour, the Strait of Georgia, Ladysmith harbour, Courtenay, Chinatown in Cumberland and others. The album ends with a photo of a totem pole in Seattle and a view “Near Hosmer” (East Kootenays) by Rourke.


[Photograph Album with Over 180 Early Images of British Columbia and Alberta, Including Rare Images of Pioneer Coal Mining Towns in the Crowsnest Pass of Southeast B.C. – Fernie, Today’s Ghost Towns Michel and Natal; as well as Vancouver, Victoria, Nanaimo, Ladysmith, Edmonton, Banff et al.].

Ca. 1900-1910. Oblong Quarto (ca. 18x26 cm). Fifty leaves, with approximately 182 mounted gelatin silver prints, the majority on postcard size or slightly smaller. Most images with period manuscript captions in ink. Original black pebbled cloth album. Several photographs loose, a handful with some damage, but overall a very good album with generally strong images.
Interesting photo album with a number of rare views of pioneer coal mining towns located in the Crowsnest Pass of Southeastern British Columbia: Fernie and presently deserted Michel and Natal with their surroundings. Apparently assembled by local residents (probably, by some Alex and Agnes Middleton, whose portraits are included), the album unveils an extensive gallery of the photos of Michel: general views with the railway station and rows of miners’ houses; photos of the coal tipple, power houses, Catholic church, hotel, store of the Trites Wood Company (taken before and after the big fire of 1908), a view of Michel taken at moonlight, et al. The photos of Natal show the C.P.R. Depots and general views of the town in summer and winter. Several views of Fernie shows its Catholic church, Pearson Residence, railroad loop, a street and general view of the tent camp after the great fire of August 1908. One photo shows another ghost town of the area - “Corbin, B.C., in the heart of the Rockies.”
The Crowsnest pass and vicinities of all three towns are shown in a number of images: of Michel Creek; Crowsnest Mountain and Lake, Elk’s prairie, canyon, river and falls; “Government road, 1 mile from Michel,” Fairy Creek Dam, Lizard Range; a couple of casual images show a camping party at Crowsnest. Several interesting images show a logging camp at the Eddy’s spur, located nearby.
Additionally, there are several interesting images of Vancouver (waterfront, Stanley Park, Hastings St., docks and steamers), fisheries at New Westminster; street views of Victoria, Nanaimo, Ladysmith, Edmonton, and Blairmore. An interesting image, apparently taken in Alberta, depicts a carriage of “Immigrants cross River.” All in all, a very nice, cohesive collection of images from the early pioneer days of British Columbia.


[Album with 25 Original Photographs of British Columbia, Compiled by the British Columbia Conclave of the Masonic Order of the Red Cross of Constantine, Titled:] Memories of British Columbia.

Ca. 1927. Oblong Folio (ca. 27x37 cm), 12 card leaves. 25 gelatin silver prints, all but two ca. 18x23 cm (7 ¼ x 9 in), two ca. 17,5x10,5 cm (7 x 4 ¼ in). All with custom printed captions on the mounts. First large photo with a paper label attached to the top (official letterhead of the Government House in Victoria, signed and dated by R. Randolph Bruce). Original maroon full sheep album with gilt lettered title on the front cover, moire endpapers and decorative edges. Gilt lettered red sheep label with presentation inscription on the first pastedown, paper exlibris of Rita Yvonne Butterfield ibidem. Boards slightly rubbed on extremities, but overall a near fine album.
This luxury keepsake album was specially produced as a present to “The Rt. Hon. The Earl of Cassillis, C.C.C. M… Ill… Grand Sovereign, Illustrious Order of the Red Cross of Constantine by Western Canada Conclave, No. XXV. Victoria, British Columbia, October 6th, 1927.” The Earl of Cassillis, who was the Grand First Principal of the order’s Supreme Chapter in Scotland, apparently visited Victoria to take part in the celebration of the 60th anniversary of the formation of the first Masonic chapter in British Columbia, which took place in October 1927. The album opens with portraits of Harry H. Watson, Reigning Sovereign of the Western Canada Conclave, and Edward E. Leason, Intendant General for British Columbia and Canadian Yukon. The photo of the Government House in Victoria has a paper label attached to the top, with the official letterhead of the Government House, signed and dated 8 October 1927 by Robert Randolph Bruce (1861-1942), Lieutenant Governor of British Columbia in 1926-31.
The photos show the Parliament Buildings in Victoria, Saanich Peninsula, Elk Falls on the Campbell River, Mount Baker from the Malahat Drive, Mount Arrowsmith, “Mr. R.P. Butchart’s Sunken Gardens,” Colwood Golf Links near Victoria, Esquimalt dry-docks, a car with B.C. Licence plate in the “Virgin Forest,” local farmlands with herds of ships and cows, strawberry field during the harvest time, a tulip bulb farm et al. BC industry is represented with a close portrait of loggers at work, photos of a logging railway, pulp and paper mill, salmon catch, and a view of “Large timbers for export” loaded on a railway car, the timbers are with chalk inscriptions “Let BC flourish by her timber” and “BC forever.” The album closes with a photo of a catch of trout captioned “Speckled Beauties abound in B.C. Waters.”


[Collection of Eleven Large Original Architectural Photos, Including Nine Photos of Burmese Buddhist Sites taken by the Famous Local Photo Studio of Watts & Skeen; and Two Early Photos of Ceylon Taken by F.A.E. Skeen before his Union with H.W. Watts].

Ca. 1870-1890s. Eleven large albumen prints, ca. 28,5x22 cm (11 ¼ x 8 ¾ in) or slightly smaller. All mounted on period stiff card leaves with pen and/or pencil captions in French on the mounts. Two images by Watts & Skeen titled in negative; to images of Ceylon numbered and signed “Skeen & Co.” in negative. Overall a very good collection.
Nice collection of large well preserved photos taken by the Burmese photo studio of Watts & Skeen, including nine photos of famous Buddhist sites in Burma (general views and photos of architectural details of the Swedagon Pagoda in Yangon, Shwenandaw Monastery and the gate to the Kuthodaw Pagoda in Mandalay, the Shwethalyaung Buddha statue in Pegu (shown shortly after the beginning of the restoration in the 1880s), and others. Two early images of Ceylon by Skeen & Co. Taken in the 1870s show the Isurumuniya temple carved in rock and the Avukana Buddha statue.
The creator of the images has been attributed on the base of the British Library’s Asia, Pacific & Africa Collections.
“Watts and Skeen was a commercial photographic company active in Burma (now Myanmar) from the 1880s to the 1900s. The firm was managed by F.A.E. Skeen. Skeen had gone to Ceylon (now Sri Lanka) to join his brother in the firm 'Skeen and Co.' in 1878. In 1888 Skeen went into partnership with H.W. Watts and opened a branch in Rangoon. The firm continued in business in Burma until circa 1908. However, Skeen himself returned to Ceylon in 1903 to run the firm there on the death of his brother. H.W. Watts continued to be listed in the almanacs as manager of the wine merchants 'Arthur Barnes' until circa 1924” (Cambridge University/Royal Commonwealth Society Photograph Collection online).


9. [BURMA]
[Photo Album with 64 Original Photographs of Burma and Japan, with Interesting Images of the Oil Rich Region near Yenangyaung in Lower Burma].

Ca. 1910s. Oblong Octavo (ca. 20x24 cm). 32 card leaves. 62 albumen prints (and two loosely inserted), including two large views ca. 15x20 cm (5 ¾ x 8 in), the rest ca. 10,5x12,5 cm (4 x 4 ¾ in). Several signed in negative, twenty with period ink notes on verso. Owner’s period ink inscription on the front free endpaper. Period black half morocco album with green pebbled cloth boards and moiré endpapers; gilt tooled spine with raised bands, all edges gilt. Rebacked in style, otherwise a very good album with well preserved strong images.
Interesting private album with original photos of the Irrawaddy River and the oil rich region near Yenangyaung in the Lower Burma. Compiled by D.W. Burdie (his inscription is on the front free endpaper), a British traveller to Burma who was apparently associated to the Rangoon Oil Company (now the Burmah Oil Company), the album documents his journey up the Irrawaddy River, showing nearby villages, “Burmese Bazaar at Pegan” [?], the river boat with the travellers on the way to Yenangyaung, sail boats and bamboo rafts, oil refining tanks, a group of “Burmese moving boiler,” “R.[angoon] O.[il] C.[company] Buildings at Chiney,” Flat loading with Bamboo at Prome” (Pyay), native saw mill et al. A number of images portray local people: families, villagers, cart drivers, a “Burmese boy catching prons [sic!] in the Irrawaddy River,” a “Native of India money lenders” et al. Twelve photos depict a Burmese funeral procession and a subsequent feast. There are also two large views of Mandalay and a part of the Irrawaddy River taken from different angles. The album also contains about twenty views and scenes of Japan, apparently of Nara and Kyoto (with the Kanabiki waterfall). Overall a very good interesting album.


NOTMAN, William (1826-1891) et al.
[Album with 55 Original Photographs by William Notman & Son, Bailey Bros., S.J. Thompson, D.A. Weese, A. Loeffler and S.J. Johnston showing Vancouver, Canadian Rockies, Toronto, Montreal, Kingston, New York and the Hudson River Valley, Supplemented with 13 Amateur Photos taken by the Album’s Compiler during the Travel along the Canadian Pacific Railway].

Ca. 1890-1900s. Folio (ca. 36x26 cm). 30 card leaves (4 blank). With 46 large gelatin silver, albumen and platinum prints, from ca. 12x22,5 cm (4 ½ x 9 in) to ca. 26,5x21 cm (10 ¼ x 8 ¼ in). With nine smaller professional gelatin silver prints ca. 9,5x12 cm (3 ¾ x 4 ¾ in) and thirteen amateur albumen and gelatin silver prints ca. 9x11,5 cm (3 ½ x 4 ½ in) or slightly smaller. All professional photos signed, numbered or titled in negative. Original brown half morocco album with green cloth sides and decorative endpapers; paper label of “Arentshorst & Zoon Boekbinderij, Kampen” on the first pastedown. A couple of images slightly faded, but the majority in very good condition.
Attractive album of large photos of Canada and the Eastern United States. Albumen prints by the studio of “William Notman & Son” include a nice view of “Vancouver from C.P.R. Hotel” (showing the West End and the Coal Harbour), and a series of twenty photos taken on the Canadian Pacific Railway: Albert Canyon; Glacier House; The Great Glacier from Road; Marion Lake, Mt. Abbott Glacier; Bow Lake & Mt. Hector; West Ottertail Mountain, Leanchoil; Van Horne Range; Cathedral Peak; Lake Louise; Emerald Lake; Cascade Canyon & Mountain; C.P.R. Hotel and Bow Valley; Banff Springs Hotel & Mount Rundle; Banff & Tunnel Mountain; Bow Valley from Banff Hotel; Bow River [with Mount Rundle and a small wharf with canoes]; Sundance Canyon; Three Sisters, Canmore; The Gap looking west. There is also a nice panorama of Medicine Hat with the truss Finlay Bridge across the South Saskatchewan River.
Among the other photos of the Canadian Rockies are three large gelatin silver prints by Bailey Brothers: X.602. Fraser Canyon near North Bend; X.790. Eastern Corner of Mt. Stephen, Kicking Horse Pass; X.791. Bow River, Banff National Park. Another gelatin silver print titled “Mt. Stephen from Kicking Horse Valley” was produced by one of the brothers, William H. Bailey (signed W.H.B. In negative). There is also a platinum print by S.J. Thompson showing Mt. Rundle in Banff. The album also houses thirteen small amateur photos of the Canadian Rockies taken during a voyage on the CPR.
Eastern Canada is represented in three original photos by Notman & Son: 3027. South East from Parliament Bldg, Toronto; Montreal from the Mountain; [A view of the Maisonneuve Monument in Montreal]. There is also a series of six views of Kingston, Ontario by D.A. Weese: City Buildings; Private Dwelling; a Part of Harbour; Falls, Kingston Mills; Rideau at Mills; Kingston. A large anonymous photo shows the Place du Canada in Montreal with the Macdonald Monument. Four large anonymous photos depict the Niagara Falls, with two images titled in negative: “14. Genl. View from New Bridge, Moonlight” and “Whirlpool rapids, Niagara Falls.”
The “U.S. Views” include a photo by A. Loeffler “City Hall, Pulitzer, Tribune, Times & Potter Buildings,” three albumen prints by J.S. Johnston showing the Madison Square, the Brooklyn Bridge and the Statue of Liberty; two unsigned views captioned in negative: “The Banks of the Hudson, Lower Entrance to the Highlands” and “84. The Banks of the Hudson, Upper Entrance to the Highlands;” and a view of the Thousand Islands region in the New York State by Notman & Son. The album closes with four gelatin silver prints at rear showing a Chinese town and the Hague city (Holland). Overall an attractive photograph collection.


11. [DELHI DURBAR 1911]
[Sumptious Morocco Album with 142 Original Photographs of the Delhi Durbar of 1911 Commemorating the Coronation of King George V and Queen Mary as the Emperor and Empress of India Titled:] Coronation Durbar, Delhi, 1911.

1911. Elephant Folio (ca. 50x39 cm). 142 gelatin silver prints of various size mounted on 30 stiff card leaves, the majority either ca. 27,5x20 cm (ca. 10 ¾ x 7 ¾ in) or ca. 12,5x19,5 cm (ca. 5x7 ¾ in), there are also large double-page group portrait, ca. 40,5x56 cm (ca. 16x22 in), and large panorama ca. 19x133 cm (7 ½ x 52 ¼ in). Manuscript pencil captions under the photos. Handsome period style red full morocco with gilt tooled borders, original red morocco label with gilt tooled title and Imperial crown mounted on the front board, spine with raised bands, decorative paper endpapers, all edges gilt. Large panorama with minor creases, mounts slightly browned on extremities, otherwise a very good album.
Interesting rare collection of original photos of the Delhi Durbar of 1911 taken by Bourne & Shepherd company – the official photographers of the ceremony. Specially for this occasion “they were given the title, 'Kaiser-e-Hind' which they still use as part of their official letterhead” (Wikipedia). This solemn ceremony at Coronation Park in Delhi lasted for 9 days (7-16 December 1911) and was the only one attended by the sovereign. The Durbar of 1911 is also famous for the fact that on December 12, 1911 George V, “the then Emperor of India along with Queen Mary, made the announcement that the capital of the Raj was to be shifted from Calcutta to Delhi. On December 15, 1911, they laid the foundation stone for Viceroy's residence, and New Delhi here, which was subsequently shifted to its present location on Raisina Hill near Rashtrapati Bhavan (President's House)” (Wikipedia).
The album documents several days of the Durbar and includes a series of images showing the Kingsway railway station and high-ranking guests arriving to the ceremony (H.H. Of Indore, H.H. The Nizam, H.H. Of Biroda, H.H. Of Kashmere et al.); the reception at Salimgarh Fort; the “State entry”; the subsequent reception at the “Ridge” with the scene of fire of the “Reception Tent”; nice series dedicated to the “Presentation of Colors”; opening of the “All India Memorial” in front of the Delhi Fort; “Review” ceremony; “Reception of Chiefs”, the solemn Durbar ceremony itself – with large folding panorama of the scene; the “Church Parade”, photo of “His Majesty Reading the Proclamation” et al. Very important is the image of “Laying if the Foundation Stones of Imperial Delhi by Their Majesties”.
A series of images in dedicated to the luxury tent camps built for the guests and participants of the ceremony, including general views of different camps (Bengal and Assam Camp, Punjab Camp, King’s Camp, Burma Camp, Camp of the Governor of Bombay et al.), and the interiors of the Emperor’s tent (HM’s Audience Chamber, Drawing Room, Her Majesty’s Boudoir et al.). There are also views of Delhi related to the solemn festivities: the Red Fort gate, Durbar post office, Jama Masjid mosque, Diwan-i-Khas Hall in the Red Fort et al.
A group of images shows the sport tournaments organized during the Durbar: semi-finals and finals for Polo, finals of the football tournament with the group portrait of the winning team and a photo of their Majesties watching the game; winners of the hockey tournament et al. Interesting portraits include those of “Balochistan Chiefs” “Bhutan Chiefs”; “Shan Chiefs”, “Bishops of India and Chaplains who conducted the State Service” and a large double-page group portrait of the Durbar guests, the majority of whom are shown wearing the Delhi Durbar Medal – special insignia to commemorate the ceremony (there were 26800 medals in silver and 102 in gold).
Overall a beautiful album with historically significant images.
The Delhi Durbar, meaning "Court of Delhi", was a mass assembly at Coronation Park, Delhi, India, to mark the coronation of a King and Queen of the United Kingdom. Also known as the Imperial Durbar, it was held three times, in 1877, 1903, and 1911, at the height of the British Empire. The 1911 Durbar was the only one attended by the sovereign, who was George V. The term was derived from common Mughal term durbar.
On March 22, 1911, a royal proclamation announced that the Durbar would be held in December to commemorate the coronation in Britain a few months earlier of King George V and Queen Mary and allow their proclamation as Emperor and Empress of India. Without public forewarning, the announcement of the move of India's capital from Calcutta to Delhi was also made at the Durbar. Practically every ruling prince and nobleman in India, plus thousands of landed gentry and other persons of note, attended to pay obeisance to their sovereigns.
The official ceremonies lasted from December 7 to December 16, with the Durbar itself occurring on Tuesday, December 12. The Sovereigns appeared in their Coronation robes, the King-Emperor wearing the Imperial Crown of India with eight arches, containing 6170 exquisitely cut diamonds, and covered with sapphires, emeralds and rubies, with a velvet and miniver cap all weighing 34.05 ounces (965 g). They then appeared at a darshan (a sight) at the jharoka (balcony window) of Red Fort, to receive half a million or more of the common people who had come to greet them. A feature film of the coronation titled With Our King and Queen Through India (1912) – also known as The Durbar in Delhi – was filmed in the early color process Kinemacolor and released on 2 February 1912.
King George V announced the movement of the capital of India from Calcutta to New Delhi during the Durbar and also laid the foundation stone of New Delhi. Generally the Durbar achieved its purpose of cementing support for British rule among the ruling princes, as was demonstrated by the support given during the First World War” (Wikipedia).

“Bourne & Shepherd established in 1863, is the oldest photographic studio still in operation, and one of the oldest established photographic businesses in the world. At its peak it was the most successful commercial firm in 19th-and early 20th-century India, with agencies all over India, and outlets in London and Paris, and also ran a mail order service.
Though some sources consider its inception to be 1862, when noted British photographers, Charles Shepherd established a photographic studio, with Arthur Robertson, called ‘Shepherd & Robertson’ in Agra, which later moved to Shimla and eventually became the part of ‘Howard, Bourne & Shepherd’, set up by Samuel Bourne, Charles Shepherd, along with William Howard, first established in Shimla around 1863, and later in Kolkata in 1867, where it is still operational today, at Esplanade Row, in Esplanade, Kolkata (Calcutta) under the same name. Today some of their earlier work is preserved at Cambridge University Library, the National Portrait Gallery, London, the National Geographic Society's Image Collection and the Smithsonian Institution” (Wikipedia).


[Album of over 550 Original Photographs Compiled by a North American Traveller, Including Over 260 Images from the 1924 Around the World Cruise on RMS “Laconia” Showing Hawaii, Japan, Korea, China, the Philippines, Java, Singapore, Burma, India, Ceylon, Suez Canal, Egypt, Greece, Palestine and Italy; and Over 290 Images from the 1926 Travel Across Europe Showing France, Italy, Switzerland, Germany, Holland, Belgium and Great Britain].

1924-1926. Oblong Folio (ca. 28,5x40 cm). 52 stiff card leaves. Over 550 gelatin silver prints. Photos from the voyage round the world mostly ca. 7,5x13,5 cm (3 x 5 ¼ in), with a few smaller ones; photos from the travel to Europe are either ca. 5,5x8 cm (2x3 in) or ca. 7x12 cm (2 ¾ x 4 ¾ in). Period manuscript title on the first leaf, most images with period manuscript captions, some very informative. Period cloth album by the “Badger Line. Loose Leaf Devices” (paper label on the rear endpaper). Covers mildly rubbed, worn ad faded at extremities, several images detached with one missing (Waterloo field), first two leaves loose, a few images faded, two photos on the third leaf with water stains, but overall a very good album with strong interesting images.
Interesting collection of lively original photos compiled by a North American traveller, during one of the earliest steamship cruises around the world - on board the Cunard Line’s RMS “Laconia” (it was “Laconia” which executed the first around the world cruise in 1923). The photos are accompanied by extensive manuscript notes, and are preceded with a handwritten title on the first leaf: “W.W. Foster. Our 1924 trip around the world, showing only the pictures photographed with the large camera”. Also (last half) “Camera views of our 1926 tour through Europe.” The creator of the album can possibly be attributed to Major-General William Wasbrough Foster DSO CMG VD (1875-1954), British Columbia noted military officer and public servant, director of the timber exporting company “Evans, Coleman & Evans”, chief constable of Vancouver City Police (since 1935), president of the Royal Canadian Legion (1938-40), Honorary Aide-de-Camp to three Governor-Generals of Canada, head of BC Hydro-Electric Power Commission (1945-54), president of the Alpine Club of Canada (1920-24), and of the Canadian National Parks Association, et al. Two of the photos at the end of the album depict a middle-aged man with his wife in Cairo beside the pyramids. There is a resemblance between W. W. Foster and the depicted man.
The photos from the 1924 voyage around the world include some interesting images of Hawaii (panoramas and street views of Honolulu); over forty photos of Japan (bird’s-eye views of Yokohama, scenes in Yokohama harbour, interesting views of destruction after the earthquake of September 1923 taken from the Bluff; Mt. Fuji; temples of Kyoto; native children), views of Korea (Seoul Marble Pagoda, scenes on a railway station “on the way to Peking”); over fifty views of China (street scenes and types in Peking; the Forbidden city; port and streets of Shanghai, junks and locals at Hong Kong, Repulse Bay Hotel; views taken during their 90-mile trip up the Pearl River, busy harbour and streets of Canton); Philippines (harbour and streets of Manila, buffalo driven carriages); Java (Batavia, Buitenzorg); Singapore (botanical garden); Burma (port and streets of Rangoon); India (Calcutta, Hooghly River, Bombay, Elephanta Caves); Ceylon (landing and an English estate in Colombo; the lake and Temple of the Sacred Tooth Relic in Kandy); Suez Canal; Egypt (Nile Bridge, street views of Cairo, the pyramids); Greece (Athens and the Acropolis); Palestine (Haifa, “Camel burden bearers,” Acre, Sea of Galilee, streets of Tiberias), and Italy (Naples).
The second voyage made in summer 1926 around Europe resulted in the views of France (Fontainebleau Palace); over 120 photos of Italy (Naples, Pompeii, Amalfi Drive, Capri, Rome, Pisa, Florence, Venice, Milan, Monte Carlo, Genoa, Italian Lakes); twenty views of Switzerland (Geneva and Lucerne); over fifty views of Germany (Munich, Dresden, Berlin, Potsdam, Frankfurt, the Rhine Castles); the Netherlands (Amsterdam, Marken, Hague, Volendam); Belgium (Antwerp, Brussels, Waterloo); over twenty views of England (London, Stratforn-on-Avon, Windsor castle); and over thirty views of Scotland (Edinburgh, Abbotsford); the album closes with a photo of the coast of Labrador taken on the way back in August 1926.
Overall a picturesque representation of Asian and European life in the in the 1920s, capturing the bustle of the streets and harbours of major cities, together with vivid portraits of some of the locals.


[A Superb Presentation Photograph Album of the Eastern Bengal Railway Line, Presented to W[rey]. A. E[dward] Hanby [M.B.E.] (Retiring Deputy Chief Engineer) by the Officers of the Eastern Bengal Railway in 1917].

1917. Elephant Folio, (39 x 54cm). 26 stiff card leaves. With 89 mounted, matte silver gelatin photographs. The first leaf with a tipped in leaf of 52 ink signatures of railroad administrators. The photos from ca. 23.5 x 29 cm (9.5 x 11.5 in.) to ca.13.5 x 20 cm (5.5 x 8 in.). There are 35 larger single leaf views. Most of the views are captioned in white ink. Many of the photographs are either by Bourne & Shepherd or Hoffmann and Johnston Period black full morocco with a silver presentation plaque mounted on the front cover, with an engraved inscription: “Presented to W.A.C. Hanby, Esq, by the officers of the Eastern Bengal Railway, 1917.” Extremities with mild wear, front joint cracked otherwise a very good album.
Mr. Wrey Edward Hanby, M.B.E., joined the engineering branch of the Public Works Department in Bengal, c.1888, and spent most of his career working for the Eastern Bengal State Railway, retiring in 1917 as a Deputy Chief Engineer. The Eastern Bengal Railway Company was established in 1857 with the objective of introduction of railway transport in eastern Bengal and even to move into Burma. The strong images in this album include: a group of officers of the EBR at headquarters in 1915, a group of officers of the EBR in 1917, Indian peasants ploughing, harvesting, cutting and working with jute, boats bringing jute to a riverside station, foreshore of the river Houghly at Chitpore, the Chitpore goods shed, the Chitpore road with many carts pulled by oxen, clearing trees from a vast estate for a garden, a view of a massive garden, women and children transplanting seedlings, a group of Bhooteas in Darjeeling in 1905 (Bourne and Shephard photo), 12 images of the effects of a cyclone on the Ganges river in October 1909, (Bourne and Shephard photos), 8 images of the effects of the great earthquake of 12th June1897 on the EB Railway, showing cracks in the earth, in bridges and tracks, in the Nelphanari station yard, on the Rungpur branch, etc. (Bourne and Shephard photos), St. Paul’s cathedral in Calcutta, 3 street scenes in Calcutta showing bustling activity and the Holwell monument, the EBR offices, and the High court, (Bourne and Shephard photos), EBR main station, shipping on the Hooghly river (B&S photo), a Calcutta suburb (B&S photo), the family burial ground of the Nawab of Murshidabad (Johnston and Hoffmann photo), the old Katra Musjid temple in Murshidabad, loading a wagon ferry barge from a train engine and open box cars, (Johnston and Hoffmann photo), a panorama of the lower Ganges bridge, the lower Ganges bridge being constructed, a close-up of the lower Ganges bridge dated 1914, a train coming through the lower Ganges bridge in 1915, from the point of view of a traveler at one end, a river scene on the Ganges river, brick manufacturing, brick foundations for a building, well sinking with heavy equipment, earthwork coolies, many workers building up a well, a boat building and two river scenes on the Ganges river, a view of the Sendlah(?) train yard showing the old office buildings, the Chitpore train yard, 3 images of changing 40 feet spans on the Kitihar, Parbatipur(?) section of track; E.B.Railway, Ghat station on the River Ganges, (Johnston and Hoffmann photo), a Dak bungalow, Carts crossing a ford, Avenue of papal(?) trees, River steamer with flats in tow, Government House in Dacca (Johnston and Hoffmann photo), Loading timbers onto M.G. Trucks at Jainti(?) (Johnston and Hoffmann photo), Jainti River with the Himalayas in the distance (Johnston and Hoffmann photo), Peacock Island, Gauhati, Gauhati from Peacock Island (Bourne and Shephard photo), The Beadon Falls, Shilong (Bourne and Shephard photo), A long view of Shilong, In the Forest below Ging, Darjeeling, A train and its cars on the DHRy, the single loop (Bourne and Shephard photo), A train going up the Darjeeling reverse no. 3, (Bourne and Shephard photo), The town of Darjeeling from below the shrubbery, (Bourne and Shephard photo), Snowy Range from Sandakfoo, Darjeeling, (Bourne and Shephard photo), Snowy Range from Senghal, Everest on the left, Darjeeling, (Bourne and Shephard photo), On the Teesta, below the Bridge, Darjeeling, (Bourne and Shephard photo), Bridge over the Runjnoo, Darjeeling; Main Gate to twelve buildings, Gaur, (Johnston and Hoffmann photo), Andina Building, Pandua, (Johnston and Hoffmann photo) & The Twelve Door Building, Gaur, (Johnston and Hoffmann photo).


14. [EGYPT]
BEATO, Antonio; SÉBAH, Pascal J.; PERIDIS, Pappa
[Album with 56 Large Original Early Photographs of Famous Ancient Egyptian Sites].

Ca. 1870-1890s. Oblong Folio (ca. 31,5x43 cm). 30 stiff card leaves. 56 large albumen prints ca. 21,5x27 cm (8 ½ x 10 ½ in). Twenty-eight images with period handwritten captions in French on the mounts, over thirty either signed, titled or numbered by the studios in negative. Period maroon gilt tooled half morocco album with cloth boards and moiré endpapers. Album rubbed and faded at extremities, mounts with foxing, several images slightly faded, but overall a very good album.
Nice collection of large early views of the iconic Egyptian temples and sites produced by the famous Middle Eastern photo studios of Antonio Beato (after 1832-1906, studio in Cairo), Pascal Sebah (1823-1886, studios in Istanbul and Cairo), and Pappa Peridis (fl. Ca. 1890-1905, studio most likely in Cairo). The album contains over thirty original photos by A. Beato (the majority with his stamps “A. Beato” in negative, the rest attributed on the basis of the online collection of the Washington University Libraries). The images include several views of the Luxor temple complex (temple of Amun, statue of Ramesses II, bas-reliefs, the pigeonniers et al.), Karnak temple (the obelisks, the Pylon of Ptolemy, interior of the Hall, the reliefs, the Sphinxes, view from interior of the complex, et al); temple of Medinet Habu (interior court views, pilasters and statues in the first court); Philae temple (view of the colonnades, the temple kiosk); temple of Edfu (view from temple of Horus, sanctuary of the Temple of Horus, village of Edfu); the Ramesseum with colossus of Ramesses II; Colossi of Memnon; temples in Deir el-Bahari, Dendera, Esna, Kom Ombo, Abydos, statue of Ramesses at Saqqara, and others. There are also views of Aswan, Nile rapids at the first cataract, an Arab village near Luxor, feluccas on the Nile, portraits of a local girl with a water jug, two boys at a shaduf, locals atop a pile of bricks, men and oxen on a wooden bridge over a well lifting jugs full of water, and others.
Twelve photos taken by the studio of Pascal Sebah include a series of interesting views of Cairo (general panorama, views of the Qasr al-Nil (Ghezireh) Bridge, equestrian statue of Ibrahim Pasha, entrance and a side view of the famous Shepheard’s Hotel, entrance to the Mouski district, an Arab cemetery), Tombs of the Caliphs, the Pyramid of Cheops, Sphinx, portraits of the Egyptian Arabs, and an image of a bas-relief of Cleopatra in the Dendera Temple. There are also four interesting views by Pappa Peridis (all signed “Peridis” in negative), showing a bazaar in Luxor, general view of Karnak temple, the Avenue of Sphinxes in the Karnak temple, and the Aswan Low Dam. Overall a very good album of large classical views of Egypt.


[Album with 43 Original Photographs of Florida].

Ca. 1908. Oblong Small Octavo (ca. 13,5x18,5 cm), 18 leaves (including covers). 43 mounted gelatin silver prints, all but three ca. 8,5 cm (3 ½ in) square (the other three are ca. 4,5x8,5 cm and smaller). The majority of photos either with period ink captions on the paper labels attached to the mounts, or with later pen notes on the images. Original black paper wrappers album with stamped title “Photographs” and paper label with an ink manuscript title “Florida Pictures” on the front cover. Several images with minor silvering on the extremities, otherwise a very good album.
Private album with interesting snapshots of DeLand and Tampa, Florida, taken by a DeLand resident. The images of DeLand show the city’s Baptist church, Elizabeth Hall of the J.B. Stetson University, “Christian church”, and club house. Several photos depict the album compiler’s family and friends having at recreation in DeLand: boating on a Blue Lake, and playing croquet and tennis (the names of the people on the photos are noted as: Mr. & Mrs. Nahm, Mr. & Mrs. Hizer, Mr. Witty, and Mr. Knowles); five images show the interior and exterior of the family’s apartment in DeLand, as well as a portrait of “My land lady & I.” There are also three photos showing a street, post office and Sacred Heart Catholic church in Tampa, several ocean views taken from a steamer (probably, the Manatee); photos from a visit to Fort Marion (Castillo de San Marcos, St. Augustine), images of ostriches on a farm, a steamer and others.


[Souvenir Photo Album with 54 Platinum Phototype Views of Norway by Samuel J. Beckett, Supplemented with 22 Original Photos by a British Traveller to Norway, Including an Image of the Famous Research Ship Fram Taken During Fridtjof Nansen’s North Pole Expedition of 1893-96].

London: Waterlow & Sons, ca. 1890s. Oblong Octavo (ca. 15x24 cm). 54 card leaves. With 54 platinum phototypes ca. 11x16 cm (4 3/8 x 6 3/8 in), all with printed captions on the mounts; ten captioned, two also signed in negative. With 22 original gelatin silver prints, from ca. 13,5x20 cm (6x8 in) to ca. 7,5x10 cm (3x4 in), including seven full-page images. All with period ink captions on the mounts. Original publisher's dark green cloth album with gilt stamped title “Souvenir Series of Norwegian Views” on the front board, all edges gilt. Minor staining on the lower edge of the rear board, one card leaf loosely inserted, but overall a very good album.
This interesting album was compiled during a voyage along the Norwegian coast to the North Cape by a group of British tourists on S.S. Rollo, Wilson Line (launched in 1870). Having acquired this souvenir album of Norwegian views, its owner supplemented it with twenty-two of his own photographs made during the voyage and in most cases corresponding with the respective views in the album.
The original photographs show S.S. Rollo (off Sunndal) and travellers on board the ship; their hike to the Folgefonna glaciers (a series of five photos, including group portraits of the travelling party “starting from Sundal for the “Folgefond” and during a picnic on the way to the Folgefonna; three images of them crossing the glacier), views taken “on the Voss Railway,” showing the Sorfjorden, the Naerodal Pass from Stalheim Hotel, village of Merok, Torghatten mountain, the town of Molde taken from above and “showing heights around fjord,” Lower and Upper Lerfos waterfalls near Trondheim, a view of the fjords under “the midnight sun,” “a cod liver oil factory at Hammerfest,” and a family group of “Laplanders with reindeer.” The album closes with a photo of the party “climbing to the top of the North Cape,” and the final “group taken on North Cape at Midnight.”
Very interesting is the original photo of “Dr. Fridtjof Nansen’s ship the Fram, bound for the North. 310 tons, length 128 ft., breadth 36 ft., depth 16 ft. Passed her at Meloe, latitude 66°48,” longitude 13°20” East. July 9, 1893.” This was the famous Nansen’s Fram expedition (1893-1896) which attempted to reach the North Pole with the help of the Arctic ice drift. Fram was on its way to the Laptev Sea, having left Christiania on the 24 June 1893. The geographical point mentioned in the manuscript note is actually Meloya Island, northern Norway.
The platinum phototypes based on the photos by Samuel J. Beckett include views of Stavanger, Sundal, Odde, Begren, Vossevangen, Tvinde, Vinje, Stalheim, Merok, Molde, Trondheim, Tromso, Hammerfest, the North Cape, Folgefonna glaciers, numerous fjords, waterfalls, cliffs, the Voss railway, Norwegian folk costumes, portraits of peasants performing various agricultural works, native carriages and boats et al.


[Large Photograph Panorama of the Western Face of the Rock of Gibraltar with the Inner Harbour, the Settlement Ascending the Slopes of the Rock, and the Moorish Castle Above].

Ca. 1870. Panorama ca. 14,5x51,5 cm (5 ¾ x 20 ¼ in), composed of three albumen prints, ca. 14,5x17 cm (5 ¾ x 6 ½ in). Two parts mounted on the original thick paper leaf, with the third part folding. Images slightly faded, the third part with several creases, but overall a very good panorama.
This attractive panorama of the Gibraltar waterfront gives a nice overview of the inner harbour, with the fortified embankment and a group of boats in the foreground, and the settlement ascending the hill towards the Moorish Castle and the Rock of Gibraltar in the background.


RODGER, Jack B., Chief of the Wells Volunteer Fire Brigade
[Collection of Two Albums with over 440 Original Snapshot Photographs of Gold Mining in Wells, B.C., and Berens River (ON), Views of Barkerville, Clifton, Favourable Lake (ON), Sandy Lake (ON), and others; With a Small Certificate Signed by Rodger as the Fire Chief in Wells].

Ca. 1930-1940s. Both albums Oblong Octavo (ca. 18x29,5 cm), with 50 and 27 stiff card leaves respectively. Over 440 mounted gelatin silver prints, vast majority between ca. 6,5x10,5 cm (2 ½ x 4 ¼ in) and ca. 5,5x8 cm (2x3 in); also including a large photo ca. 12,5x20 cm (4 ¾ x 8 in), and ca. 13 original postcard size photos- ca. 13,5x8 cm (5 ¼ x 3 in). A number of photos captioned or dated on the images or on the mounts. With a certificate printed on card (ca. 7x10 cm) and signed by “Jack B. Rodger” as the Fire Chief of Wells. Period black cloth albums, spines are stitched through on top and bottom with strings. A number of images removed by previous owners, a few images slightly faded, but overall a very good collection.
Important private photo collection assembled by Jack B. Rodger, a gold miner and resident of Wells, B.C., the Chief of the Wells Volunteer Fire Brigade in the 1930s. The photos give a detailed illustration to the very early years of life in Wells (the town was founded in 1933 around the Cariboo Gold Quartz Mine). Historically important images include over ten portraits of miners inside the Wells’ mines performing different operations – “drilling in a stope,” “Boyles diamond drill,” Rodger himself is shown inside the “Island Mountain Mine, B.C.;” there are also a panorama of the Cariboo Gold Quartz Mine taken from the air, a scene of placer mining and gold extracting with a water jet, “Jim Brennan’s placer mine,” four images show the transportation of a large piece of mining equipment, general view of the Wells town site and photos of the Main Street, Community Hall, “my house, Wells, B.C.,” a fire hose cabin in Wells, the Cariboo district mountainous scenery near Wells, et al. Numerous portraits of Rodger show him posing with his friends and family, three humorous photos show them having fun in Wells during winter.
Other interesting photos show the hotel in Clinton (Cariboo district), old carriages in Ashcroft, and several views of Barkerville – St. Savior’s Church, street views, the cemetery with a close up photo of the grave of James Lindsay. The original snapshots are supplemented with two real photo postcards of Wells and Barkerville. At the end of the first album Rodger mounted six newspaper clippings from a Wells’ newspaper describing his career as at first the Assistant Fire Marshal and later as the Chief of the Fire Brigade in Wells.
A large number of photos in both albums are dedicated to Rodger’s subsequent work in the gold mines and industrial facilities in Northern Ontario and Manitoba. Very interesting are the images taken during his work at the Berens River Gold Mine (now a ghost town) and nearby Favourable Lake and Sandy Lake. The photos show “Berens River Mine from Air,” portraits of miners inside the Berens River gold mine, “moving a diamond drill [across a lake], winter 1937,” Berens River power dam and lumber mill, hydro plant on the North Wind Lake, series of views apparently of the Berens River water treatment plant, small aerodrome on the Favourable Lake for water planes with a wooden cabin bearing a sign “Canadian Airways;” South Trout Lake, Rodger’s houses in Berens River and Favourable Lake, a scene of an amateur dentist operation titled “Dentist, Berens,” a hotel in Favourable Lake, and others. Very interesting is the series of portraits of native people from the Sandy Lake reserve gathered from the “Treaty Pay Day, 1941;” Rodger is posing on one of them with the tribe, the caption next to the image reads “Rodger and his squas.” There are also images captioned “Wingold Mine”, “Beresford Lake Hotel” (Manitoba), portraits of Rodgers with his fellow miners; views of the Banff Springs Hotel; Vancouver Sun Tower (World Building), Duluth town in Minnesota (Ford plant, zoo, general view) et al.
Overall a very interesting first-hand visual account of gold mining in Northern B.C. and Ontario in the 1930s.
“Wells, pop 236 (2006), 80 km east of Quesnel in the Cariboo, sprang into being in 1933 after Fred Wells, a prospector, finally struck gold. His Cariboo Gold Quartz Mine gave birth to a company town that had a population of 4,000 by the end of the decade. The mine continued to operate until 1967; unlike nearby Barkerville the town has remained a functioning community, if much diminished from its heyday, with a thriving arts and crafts community” (Encyclopaedia of British Columbia online).
“Berens River has the reputation of being Ontario’s remotest ghost town. It also has the reputation of being the only ghost town with a bowling alley. It became a ghost town in 1948, complete with homes, a hospital, apartments, a swimming pool, a jail and the bowling alley. The town blossomed with the gold rush of the 1920s. As with Uchi Lake, Berens River was plagued with the problems and difficulties of its isolation. The mine started operations in 1937 and the town grew to a population of 650. The town prospered until the start of World War II and then suffered the same fate as the town of Uchi Lake. The mine finally closed in 1948 and the town fell silent but remains undisturbed to this day” (Chenoweth, H. Berens River/ wwwghosttowns.com).


CONSTANTINE, Dimitrios; BONFILS, Félix; SÉBAH, Pascal J.; FIORILLO, Luigi
[Album with 50 Large Original Early Photographs by the Prominent Pioneering Studios of the Middle East, Showing Athens and the Acropolis, the Lion Gate in Mycenae, Temple of Apollo in Corinth, Temple of Jupiter in Baalbek, Great Pyramids of Giza, Tombs of the Caliphs in Cairo, Pompey’s Pillar in Alexandria, Wailing Wall in Jerusalem, et al.].

Ca. 1850-1880s. Oblong Folio (ca. 28x40 cm). 25 stiff card leaves. 50 large albumen prints, from ca. 25,5x36,5 cm (10 x 14 ¼ in) to ca. 20x25,5 cm (7 ¾ x 10 in). Nineteen images (of Greece) with period handwritten captions in English on the mounts, twenty either signed, titled or numbered by the studios in negative. Period green full morocco album with gilt tooled decorative frames on the covers and the spine; moiré endpapers, all edges gilt, with gilt brass clasps. Album mildly rubbed at extremities, one clasp is missing, a few images mildly faded, but overall a very good album.
Attractive collection of early large well preserved photos of famous temples and antiquities of the Mediterranean and Middle East produced by the best studios of the time. The album contains nineteen interesting albumen prints of ca. 1850-1860s., attributed to Dimitris Constantin, one of the first Greek photographers. The images show a series of views of Athens and the Acropolis (general views, closer views of the Erechtheion, temple of Hephaestus, temple of Athena Nike, Greek theatre, Roman amphitheater, sculptural detail showing a dancing Maenad, and others), the Lion Gate in Mycenae, temple of Athena at Cape Colonna, temple of Apollo in Corinth et al. One image is signed in negative “D. Constantin á Athénes,” the creator of others has been ascertained on the basis of the online collections of the J. Paul Getty Museum.
Over twenty images from the famous studio of Félix Bonfils (1831-1885), with many early ones dated ca. 1870. The photos include a dozen views of the Jupiter Temple in Baalbek, images of the Wailing Wall in Jerusalem, Pompey’s Pillar in Alexandria, the Pyramids of Giza (with two portraits of European tourists climbing the pyramids with the assistance of the native guides), the Sphinx, Colossi of Memnon, Tombs of the Caliphs in Cairo, et al. Five photos were taken by the studio of Pascal Sebah (1823-1886) and depict the Pyramids of Giza (with a separate view of the Pyramid of Cheops), an Arab village in El Ousta, an Arab woman mounted on a donkey, and a group of palms on the Nile bank. A photo by Luigi Fiorillo (fl. Ca. 1860-1910s) shows the entrance to the Saladin Citadel of Cairo. Overall a very good collection of large early photos of the famous sites of the ancient world.


[Album with Forty-Six Original Photographs of India and Ceylon].

Ca. 1890. Oblong Small Quarto (ca. 18x25 cm). 25 leaves. With 46 silver gelatin prints (6 of these are duplicates), each 11x16 cm (4x6 in), many with contemporary manuscript captions on verso. Period gilt tooled half morocco with brown cloth boards. Rebacked in period style, mounts slightly foxed, some images mildly faded but overall a very good album with good clear images.
The images are uniform in format and non-commercial. The photographer was likely a missionary as several of the photographs deal with missions. The photographer documents a wide area from the Khyber Pass to Peshawar, Simla, Delhi, Agra, Ratnapura, Lucknow, Cawnpore, Kotla, Megnanapuram and across to Ceylon.
The images include: A house at Palamcottah, Residency at Lucknow, Kandy, a church in Peshawar, a missionary group with camels, Batala, a house in Colombo, tea plantation, Avisawella, the Kutub, Delhi, Khyber Pass, a desert fortress, church at Megnanapouram, Gates, Courts of Justice, Agra, Mrs Kember's Mission House, Palamcottah, scene in Ceylon, Tamarind tree, Megnanapouram, Sacred elephant in the Temple, Tinnevelly, Forts, Agra, house in Hatton, Ceylon;,scene at Ratnapura, tomb at Old Delhi, Girls at Cotla Mission School, Cotla School boys, tea plantation, Amritsar, Mission House, Lucknow, Cawnpore monument to massacre, church at Cawnpore, burnt down in the Mutiny, Peshawar church, monument in the Residency grounds, Lucknow, Himalayan scene (Simla, Darjeeling), ruins of Delhi Gate at Lucknow etc..


21. [INDIA]
DAYAL, Lala Deen (1844-1905), DEL TUFO & CO. & NICHOLAS & CO.
[Collection of Thirteen Original Large Original Architectural Photos of Indian Sites taken by Indian Photo Studios, Including Ten by Lala Deen Dayal, Two by Del Tufo & Co. (Madras), and One by Nicholas & Co. (Madras)].

Ca. 1880-1890s. Eleven albumen prints and two gelatin silver prints, from ca. 28,5x22,5 cm (11 ¼ x 9 in) to ca. 23,5x19,5 cm (9 ¼ x 7 ½ in). All mounted on period stiff card leaves with pen and/or pencil captions in French on the mounts. Most images by Dayal numbered, one also signed in negative, two images by Del Tufo & Co. Signed, captioned and numbered in negative, the image by Nicholas & Co. With the studio blind stamp in the left lower corner. Four photos by Dayal with weak illegible ink stamps on the images, two heightened in white gouache, overall a very good collection of bright photos
Nice collection of large well preserved photos taken by native Indian studios, including ten images of Indian sites by Lala Deen Dayal, the court photographer to the sixth Nizam of Hyderabad and the photographer to the Viceroy of India (since 1885). The photos dated 1882-1895 depict the entrance to a cave in Ellora; Kailasa rock-cut temple (Ellora); pillars inside cave No 19 (Ajanta); carvings of Parsvanatha temple (Khaujraho temples); sculptures of the Jugdeesh Temple (Udaipur); the northern gate of the Great Stupa of Sanchi; the principal entrance of the Gwalior Fortress; Agra Fort; Elephanta Caves (interior towards the Lion Caves); and the interior of Jain Temple, Mt Abu.
Two gelatin silver prints by the Madras studio of Del Tufo & Co. Show the Meenakshi Amman Temple in Madurai and one of the Pancha Rathas monuments at Mahabalipuram (ca. 1890s., both signed and titled in negative). Large albumen print by Nicholas & Co. (Madras) depicts a sacred equestrian statue in the temple city of Madurai (with the studio’s blind stamp in the left lower corner).
The creator of the images has been attributed on the base of the British Library’s Asia, Pacific & Africa Collections.
“Lala Deen Dayal (also known as Raja Deen Dayal) was an Indian photographer. His career began in the mid-1870s as a commissioned photographer; eventually he set up studios in Indore, Mumbai and Hyderabad. He became the court photographer to the sixth Nizam of Hyderabad, Mahbub Ali Khan, Asif Jah VI, who awarded him the title Musawwir Jung Raja Bahadur, and he was appointed as the photographer to the Viceroy of India in 1885. He received the Royal Warrant from Queen Victoria in 1897. In the early 1880s he travelled with Sir Lepel Griffin through Bundelkhand, photographing the ancient architecture of the region. Griffin commissioned him to do archaeological photographs: The result was a portfolio of 86 photographs, known as "Famous Monuments of Central India"” (Wikipedia).
“Del Tufo & Co.” photo studio was active in Madras in ca. 1890-1910s.
"John P. Nicholas was in business from c. 1858 and in partnership with H.V. Curths from c. 1869-c. 1873. The firm of Nicholas and Co. Continued until around 1905, although Nicholas appears to have left Madras in about 1895 (Madras Asylum almanacs)." (Falconer, J. Ethnographical Photography in India 1850-1900// Photographic Collector, 1984, 5(1), pp. 16-46).


22. [INDIA]
[Collection of Forty-Four Original Photographs of India, with Views of Temples, Mosques and Palaces in Delhi, Agra, Lucknow, Bombay, Fatehpur Sikri, Benares, et al.].

Ca. 1870. With forty-four albumen prints ca. 16x20,5 cm (6 ¼ x 8 in), mounted on original leaves, disbound from an album. All but three images with the studio’s blind stamp “Frith’s series” in the left lower corners, more than half captioned in negative. Over twenty with additional period manuscript captions on the mounts. Some mounts with minor tears and chipping on extremities, several images with creases, but overall a very good collection.
Attractive collection of classical architectural photos of India from the studio of Francis Frith, mostly known for his views of Egypt and the Middle East, as well as for his extensive archive of photos of over 7000 British towns and villages, “the only nationally important photographic archive of its kind still in private hands” (francisfrith.com).
Sharp and detailed, the images show some famous examples of the ancient Hindu and Mughal architecture in India: Delhi (the palace, Qutub Minar tower, mosques of Jama Masjid and Moti Masjid, tombs of Humayun and Mirza Jahangir, Alai Darwaza gateway et al.); Agra (the gateway and mausoleum of Taj Mahal, Sikandra, zenana in the Agra Fort, Itmad-Ud-Daulah's Tomb et al.); Lucknow (Qaisar Bagh complex, the Residency, Asfi mosque of the Bara Imambara complex, gate of the Hosseinabad Bazaaret al.); Bombay (stone carvings in the Elephanta and Ellora caves et al.); Fatehpur Sikri (the palace, Tomb of Sheikh Salim Chishti); ancient Hindu temples of Benares and Bendrabund et al. Several photos give an excellent insight into 1870's India, i.e. Panorama of Bombay taken from Mazagaon Fort, pyramids of cotton sacks loaded in the Cotton Green suburb of Bombay; a bull-driven “Hackery”, or a view of Delhi taken from the top of Jama Masjid. Overall a very good collection.
Francis Frith “is noted for his studies of the Middle East and for establishing the largest photographic publishing firm in the 19th century. He was one of the founder-members of the Liverpool Photographic Society in 1853 and he exhibited portraits and landscapes to much critical acclaim. He made three trips to Egypt and the Holy Land between 1856 and 1860.<…> Although Frith was not the first European photographer to visit Egypt, his work was wider in its geographical scope and more systematic in its coverage than that of, for example, Maxime Du Camp. Frith photographed most of the key monuments several times, combining general views with close studies of their significant details and broader views of their landscape environment. The clarity of his images proved to be of immense value to archaeologists. The photographs are also often powerfully composed, revealing an understanding of the poetic qualities of light that gives them lasting aesthetic value.
Frith’s earlier experience as a printer proved useful in the commercial exploitation of his photographs. They were exhibited widely, sold through print dealers and issued in serial form to subscribers. In 1858-60 he published Egypt and Palestine Photographed and Described by Francis Frith, the first of a series of magnificent albums containing mounted albumen prints accompanied by letterpress commentaries. In 1862 he also produced a limited edition of The Queen’s Bible, illustrated with his photographs of the Holy Land. He had set up his own publishing firm in Reigate in 1859 and he specialized in picturesque scenes for the rising tourist market. <…> Through his shrewd exploitation of the picture postcard the firm quickly became the largest of its kind in the 19th century. The business remained in the Frith family after his death and was wound up in 1971. Material salvaged from the premises was later reissued as the Francis Frith Collection” (Ray McKenzie; Grove Art Online).


23. [JAVA]
KINSBERGEN, Isidore van (1821-1905)
[Collection of Three Original Photos of the Borobudur and Prambanan Temples in Java, Including a Very Well Preserved First Photographic Image of the Borobudur Temple after its Restoration].

1872, 1896-7. Three albumen prints, each ca. 16,5x22 cm (6 ½ x 8 ¾ in). All mounted on period stiff card leaves with pen and pencil captions in French on the mounts. All titled and dated in negative. Overall a very good collection.
Three photos of the Javanese temples by prominent photographer of the Dutch East Indies Isidore van Kinsbergen, including the first photographic image of Borobudur temple after its restoration (dated 1872), and two photos of the Prambanan temple dated 1896-1897.
“Isodorus "Isidore" van Kinsbergen was a Dutch-Flemish engraver who took the first archaeological and cultural photographs of Java during the Dutch East Indies period in the nineteenth century. The photographs he produced during his visit to the colony in 1851 ranged in subject from antiquities and landscapes to portraits, court-photography, model studies and nudes. His monograph was published in black and white with a coloured quire of nearly 400 photographs. His photograph of Borobudur was the first picture of the monument that showed the results of the first restoration c. 1873” (Wikipedia).
“… Boro-Boedoer (Borobudur) is still considered the true pinnacle of his archaeological work. Supplementing the Antiquities of Java series, the Batavian Society had commissioned Van Kinsbergen in 1873 to photograph the Borobudur. The manner in which he immortalized the various Buddha types on this world famous monument enraptured the Dutch scholar G.P. Rouffaer: “If ever the concept of God, as we see it, has revealed itself to the Hindus in the language of sculpture, that is it certainly in these depictions of the sitting Buddha.” ” (Hannavy, J. Encyclopaedia of Nineteenth Century Photography. New York, 2008, vol. 1, p. 1436).


HAMMERSCHMIDT, Wilhelm (fl. ca. 1860s-1869)
[Large Early Four-Part Albumen Photograph Panorama of Jerusalem].

Ca. 1860s. Four-part folding albumen print panorama ca. 21,5x106 cm (8 ¼ x 42 in), unmounted. Signed “W. Hammerschmidt” in negative. Pencil note in French on verso. Image mildly faded, but overall a very good panorama.
Attractive panorama of the Old City of Jerusalem taken from the Mount of Olives, with the Temple Mount in the centre and the Kidron Valley (Valley of Jehoshaphat) in the foreground. The Dome of the Rock is seen in the centre, Al-Aqsa Mosque to the left, and sealed Golden Gate and St. Stephen’s Gate to the right.
“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).


LA ROCHE, Frank (1853-1936)
[Original Photograph Titled:] 1263. Juneau from the Water.

Ca. 1890s. Gelatin silver print ca. 18x23,5 cm (7 ¼ x 9 ¼ in). Mounted on the original photographer’s card with blind stamped address and signature “La Roche” on the lower margin. Signed and titled in negative. Mount with minor chipping on the extremities, otherwise a very good photo.
“A prolific landscape photographer, he reputedly made over 100 round trips to Alaska. His only trip into the Yukon interior was in the late summer and fall 1897. Views from his summer 1897 journey were copyrighted that year and published in an 1898 souvenir album, one of the earliest printed works to depict the harrowing trip faced by the gold-hungry hordes” (“Camera Workers…” online, vol. 1).
“Frank La Roche was born in Philadelphia, where he learned the trade of photography. He arrived in Seattle just after the great fire of June 1889 to find the city in ashes, but soon opened a gallery in the Kilgen block on 2nd Avenue. His studio, in addition to high-class portrait photography, specialized in scenic and industrial views of western Washington state. He produced extensive views of the Seattle waterfront, streets and buildings, early Everett land speculation, ships, logging activities, and American Indians. In addition, he traveled in California, the western United States and along the line of the Canadian Pacific Railway, taking scenic views which he produced for sale to travelers. He also 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. He sold mounted prints of his travels, but preferred to reach a larger audience through his six-part album entitled Enroute to the Klondike” (Frank La Roche photograph collection/ University of Washington Libraries online).


PAAR, T[heodore] H.
[Photo Album with Ten Original Photographs of Kanchenjunga and Darjeeling].

Darjeeling, ca. 1900. With ten silver gelatin prints each ca. 21x28 cm (8 ½ x 11 in). Nine of the images with captions and photographers name in negative in lower margin. Period green cloth boards rebacked in green morocco. Photographs mounted on original card leaves, a couple mildly faded by overall in very good condition.
The captioned images included in this album are: #23. Kinchinjunga by Sunset; #85 Kinchinjunga from Phalut; #80 Kinchinjunga from Sandakphu; #78 Mt. Everest from Sandakphu; #79 Clouds from Phalut; #14 View from Senchal; #12 Kinchinjunga from Observatory Hill; #67 Darjeeling by moonlight; #42 Chinbatti Loop; one image of a statue not captioned. "Kangchenjunga is the third highest mountain in the world. It rises with an elevation of 8,586 m (28,169 ft) in a section of the Himalayas called Kangchenjunga Himal that is limited in the west by the Tamur River and in the east by the Teesta River" (Wikipedia).


[Large Anonymous Four-Part Albumen Photograph Panorama of King William’s Town in the Eastern Cape Province of South Africa].

Ca. 1880s. Four-part folding albumen photograph panorama ca. 18x98 cm (7 x 38 ½ in), dissected and mounted on linen. Unsigned. Pencil note in English “King Williams’ Town” on verso. Image mildly faded, but overall in very good condition.
Interesting panorama of King William’s Town shows a wide-spread settlement with the downtown core in the centre and residential quarters with vegetable gardens to the left and right.
“Founded by Sir Benjamin d'Urban in May 1835 during the Xhosa War of that year, the town is named after William IV. It was abandoned in December 1836, but was reoccupied in 1846 and was the capital of British Kaffraria from its creation in 1847 to its incorporation in 1865 with the Cape Colony. Many of the colonists in the neighboring districts are descendants of members of the British German Legion disbanded after the Crimean War and provided with homes in Cape Colony; hence such names as Berlin, Braunschweig, Frankfurt, Hamburg, Potsdam and Stutterheim given to settlements in this part of the country. King William's Town was originally declared the provincial capital of the surrounding Adelaide District in the 1830s. On 5 May 1877, the Cape Government of Prime Minister John Molteno opened the first railway, connecting the town to East London on the coast and to the Xhosa lands inland and further east. With its direct railway communication, the town became an important entrepot for trade with the Xhosa people throughout "Kaffraria". The area's economy depended on cattle and sheep ranching, and the town itself has a large industrial base producing textiles, soap, candles, sweets, cartons and clothing” (Wikipedia).


28. [KUSAKABE, Kimbei] (1841-1934)
[Collection of Forty-Six Original Photographs of Japan].

Ca. 1880. Forty-six 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; 14. Buddist Priests; 16 Wind Costume; 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).


[Collection of Seven Original Photographs of Lapland]; [With:] Sweden Illustrated (Karl Lund; Goeteborg 1927, 63 pp.).

Ca. 1927. Seven silver mat silver gelatin prints each ca. 17x23 cm (7x9 in). Overall the collection is in very good condition.
The seven attractive photos show the landscape, habitations and people of Lapland. One photo: "Reindeer herds in the high mountains" is illustrated on page 62 of “Sweden Illustrated” and this publication is included with the collection.


30. [LATVIA]
[Luxurious Private Album of Thirteen Large Photographs of the Dervaniski Lake near Daugavpils and Lautzen am See – Patrimonial Estate of the Baltic German Barons von Engelhardt]: Rittergut Lautzen in Kurland. Baron Alphons v. Engelhardt-Schnellenstein. Geb. 26 Juni 1820 – 21 Februar 1872.

Ca. 1890s. Oblong Folio (ca. 31,5x40,5 cm). Thirteen large albumen prints ca. 21,5x27,5 (ca. 8 ½ x 10 ¾ in) mounted on card. All images with period manuscript ink captions in German and Russian on the mounts. Original dark brown morocco luxury album with gilt stamped title and decorative borders, marbled endpapers and gilt edges. Album slightly rubbed at extremities, but overall in very good condition, with bright and strong large photographs.
The album evidently originates from the family collection of the Barons von Engelhardt, and apparently illustrates one of their summer hunting gatherings in the 1890s. Two perfectly executed group portraits show the same hunting party, posing with guns or having a break with some beer and cards. The manuscript captions identify the people shown as “Factotum” (assistant), “Arthur”, “Willja (Schönheiden)”, “Förster” (ranger), “Forstgehülfe” (ranger’s assistant), “Alexis”, and “Piqueur” (whipper). Two of them are most likely sons of Baron Alphons von Engelhardt-Schnellenstein: Alexis von Engelhardt and Arthur Emanuel von Engelhardt - the owners of the Lautzen am See estate at the time. The album also contains several images of the estate itself: panorama of the Dervaniski Lake with the main manor in the background, one of its houses built in typical Baltic style, and a picnic ground nearby. Another group portrait taken in the estate’s park most likely shows the whole family of von Engelhardts: mother Olga (nee Baronesse von Buttlar, 1828-1902), brothers Arthur and Alexis, and their younger sister.
Other photos show views of the Dervaniski Lake (or Uste-See) taken near Lautzen am See estate, Spivakiski, Rostovka and Olgaslust. The photos show fields and meadows, wooden houses of the locals, and very often the hunting party of the Engelhardts with dogs and once even with a bear on leash.
Baron Alexis von Engelhardt (1868-1954) was a Baltic German writer and journalist, author of books on the history of Courland: “Die deutschen Ostzeeprovinzen Russlands” (Munich, 1916) and “Die Kavaliere von Illuxt” (Munich, 1949). In Russia he is known as the author of two articles about Anton Chekhov where he developed two popular stereotypes: “Chekhov – Russian Maupassant” and “Chekhov – pessimist”. (See: “Der russische Maupassant (Anton Tschechow)”// Das litterarische Echo. 1 Jg. (1898/99). № 3. S. 150-153; and “Anton Tschechow” // Almanach d. K. Akademie d. Wissenschaft. Wien, 1908, IX).
Baron Arthur Emanuel von Engelhardt (1864-1932) was a writer on hunting topics, author of “Aus russischen Wäldern Sümpfen und Steppen; Erinnerungen eines baltisches Weidmanns” (Berlin, 1826) and “Mischka (Berlin, 1928)”.
Lautzen am See (Dervaniski) - private estate 9,5 km south to Daugavpils, on Dervaniski Lake (Uste-See) near the border with Lithuania.
See more: Gottzmann C., Hörner P. Lexicon der deutschsprachigen Literatur des Baltikums und St. Petersburg. Bd. 1. 2007, P. 395; Feldmann H. And others. Baltisches Historisches Ortslexicon. Vol. 2. Lettland. 1990, p. 332.


[Album with Fifty Original Photographs of Ports and Views in the Mediterranean and Russia made by a Crew Member of the British Steamer Nigretia].

Ca. 1910s. Oblong Octavo (ca. 17x21 cm). 25 card leaves. Fifty gelatin silver prints ca. 10x15 cm (4 x 5 7/8 in) inserted into the decorative pockets on the album leaves. Thirty-eight images with period ink captions on the mounts. Original publisher's black cloth album by “M.W. & Co. Ltd, London” with gilt stamped title “Photographs” on the front board and a printed title page “The Decorated Interchangeable Photo Scrap Album;” with a pencil inscription “J. Cartirs” on the title page. Spine rubbed and loose at hinges, endpapers and several mounts slightly soiled, but overall a very good album.
An interesting album compiled by a crew member of the British steamer Nigretia (launched 1910) showing its commercial voyages to Russia and the Mediterranean, with a series of images taken on board the steamer showing its crew and cargo. The majority of photographs show Nigretia’s voyages in the Mediterranean, showing Livorno (captioned as Leghorn), Bagnara (Calabria, Italy), Cagliari quay (Sardinia), St. Mark’s Cathedral in Venice (mistakenly captioned as “St. Paul’s”), ruins of Pompeii (five views), Nice (two views, including a photo of two American yachts in the harbour), the banks of the Bosphorus with Turkish fortresses, palaces, and the Ortaköy Mosque (three views). The Mediterranean coast of North Africa is represented with seven views of the Algerian ports of Bona (Annaba) and Honaine (with interesting images of construction works over the loading docks), and three views of Nigretia off Tripoli, including a group portrait of Arab workers on the steamer’s deck.
There are also four interesting images of the Russian ports of Odessa and Archangelsk with loaders at work and piles of wooden planks prepared for transportation; views of the Kiel Canal with the Levensau High Bridge (Germany, launched in 1895), the Port of Hull (Kingston upon Hull, Yorkshire), two photos of Dartmouth, Devon, and a photo of Nigretia in the port of Charlestown, the United States. A series of photos taken on board Nigretia show its cargo deck, working crew members, and the interior of the salon with several senior officers posing.


BARNES, Albert Henry (1876-1920)
[Album of Twenty-four Original Photographs of Mount Rainier National Park, Titled]: Sights and Scenes.

Ca. 1910. Oblong Quarto (21x28,5 cm), 12 stiff card leaves with tissue guards. Large mounted silver gelatin prints, the majority ca. 14x20 cm (5 ½ x 7 ¾ in), with a few smaller ones ca. 12x17 cm (4 ¾ x 6 ¾ in). Most images with period ink captions, some inscribed in negative on the lower margins. Period black quarter cloth album with dark grey papered boards and a paper title on the front cover. Album slightly soiled and rubbed, but overall a very good album with strong clear images.
This photo album contains photos of the famous park’s landmarks, including distance and close up views of Mt. Rainier, Tatoosh Mountains and Paradise Valley, Mt. Adams, mountainous scenery taken from Beljica Peak and the Saw Tooth Range, views of Nisqually, Paradise and Mashel Rivers, Rainier Fork (a tributary of the American River), Narada Falls of the Paradise River et al; photos of Reflection, Mineral and Clear Lakes; forest sceneries include a picture of a road “3 miles above Elbe,” two portraits of a ranger with a gun posing in front of a large “Fir tree on Roundtop Creek, Lewis Co. Wn. Diam. Over 13 Ft”, and a photo of two hunters carrying a deer.
“Both a photographer and a painter, Albert Henry Barnes photographed the people, the cities and the landscapes of the Pacific Northwest. Well known as both a photographer and an oil painter, he documented images of the landscape, people, and cities and towns of Western Washington around the turn of the 20th century. However, little is known about his life. He apparently operated out of studios both in Parkland and Tacoma. His images appeared in some local newspapers from 1905-1915. He also wrote descriptive articles for photography magazines, railroad publications, and travel books. In 1909, he photographed, wrote and published a work entitled: Sights and scenes from Tacoma to Paradise Park: forty-eight views. In 1911, in collaboration with his friend A.H. Denman, he published his best-known work: "Our Greatest Mountain and Alpine Regions of Wonder". The work contained a number of Barnes landscape photographs, as well as a color reproduction of his painting entitled "Mount Tacoma".
In addition to his publication work, he provided services for the Washington State Historical Society such as documenting commemorative services for some of the historical markers erected by the society. Among the photographs in this collection are images of unidentified homesteaders, early scenes in Mount Rainier National Park, the Columbia River Gorge, hotels and lodges in Western Washington, and scenes of Tacoma” (Albert Henry Barnes Photographs/ Washington University Libraries on-line).


[Collection of Thirteen Original Photos of New South Wales, Including Views of Sydney Harbour, Bondi Beach, Hacking River, Shoalhaven River, and Three Interesting Images of the Parramatta River Taken on the Day of the Scull Boat Race between George Towns and Jim Stanbury in 1905 or 1906].

Ca. 1900s. Thirteen unmounted gelatin silver prints, ca. 15,5x20,5 cm (6x8 in). All with pencil titles in English on versos. Housed in their original period paper envelope with the printed title “Pearl Platino-Argentic Paper, Manufactured by Baker & Rouse, Abbotsford, Melbourne.” The envelope opened on three sides, with tears on extremities, otherwise a very good collection of bright images.
This interesting collection of photos of New South Wales includes views of Sydney Harbour taken from the deck of HMS “Powerful,” Circular Quay taken from RMS “Orontes,” two images of Bondi Beach and three rare views of the Parramatta River taken on a day of the famous scull boat race between George Towns and Jim Stanbury (one of two races between them, either in 1905 or in 1906). The photos show the Parramatta river full of canoes, paddle boats, and “steamers going up to the starting point,” as well as “the Parramatta River after the finish of the Stanbury-Towns boat race, the boats hurrying back to town.” The other images show the Hacking River taken from the Moombara district (Port Hacking, southern Sydney), Jamberoo village on the Illawarra South Coast of New South Wales; Nowra Bridge over the Shoalhaven River (built in 1881), and the Bomaderry Creek near Nowra (South Coast). The last view shows the harbour of Hobart with HMS “Challenger” on the right taken from the deck of RMS “Orontes.”
“George Towns was the Australian Single Sculls World Champion from 1901 to 1905 and 1906 to 1907. He was the last of the seven Australian World Sculling Champion who between them held the title almost uninterrupted from 1876 to 1909” (Wikipedia). His two races with another famous Australian sculler James Stanbury (1868-1945) took place on 22 July 1905 and 28 July 1906.
“Stanbury was a tough proposition as he had been World Champion from 1891 to 1896 and had held off several challenges before losing to Gaudaur. The race was agreed to be run on 22 July 1905 on the Parramatta with a stake of £500 a side. The water was smooth and the weather was fine with just a light breeze. Again large crowds were on hand to witness what was expected to one of the great sculling contests. At the start Stanbury at once went to the front and by Uhr’s Point was a length and a half ahead. Towns then spurted but could make no impression on the leader. For every effort Towns made Stanbury responded and he crossed the line by two lengths in a time of 19m.47s.
Often when one sculler was beaten by another he was offered a return match to have the chance to get even – or, go two down. Stanbury offered Towns and they had another Championship race on the same course almost a year later on 28 July 1906. After the start Towns took an early lead but was soon overhauled by Stanbury who then continued to widen the gap until he was two lengths ahead but at Cabarita he started to show signs of distress. It was evident that his right shoulder was troubling him and about which rumours had been circulating. He had to slow down considerably and Towns then managed to catch up. Stanbury’s shoulder finally gave out and from there on the race was a procession. Towns won by about twenty lengths in a time of 19m.53s. This was Stanbury’s final Championship race; he had raced in seven and won five” (Wikipedia).


[Photo Album of 26 Original Photographs of Nikko, Japan].

Ca. 1890. Oblong Folio (28x38 cm). 26 leaves. 26 large photographs ca. 20,5x26 cm (8 x 10 ¼ in) mounted on 26 stiff cardboard leaves. All photographs numbered and captioned in negative, 15 photographs with custom made labels with type written text. Period brown gilt lettered half morocco with cloth boards neatly rebacked and re-cornered in style with new endpapers. Overall a very good album.
The album includes early large photographs of the main sites of Nikko, a mountainous resort approximately 140 km north of Tokyo, which became especially popular among foreign visitors in the end of the 19th century. "In 1890 first railway connection to Nikko was provided by the Japanese National Railways, which was followed by the Tobu Railway in 1929 with its Nikko Line" (Wikipedia). Nowadays Nikko is also a popular destination for Japanese and international tourists, famous for its ancient temples, tombs of great Japanese shoguns Tokugawa Ieyasu and Tokugawa Iemitsu, the Futarasan Shinto Shrine and numerous hot springs. The shrine of Nikko Tosho-gu, Futarasan Shrine, and a Buddhist temple complex Rinno-ji now form the UNESCO World Heritage Site Shrines and Temples of Nikko (Wikipedia).
The photographs show Hatsuishi Street (numbered 1197), the Sacred Bridge (748) leading to the Futarasan Shrine, Manganji Garden (1129 and 1132), and a large group of views of the Tosho-gu Shrine. The latter includes pictures of several gate: Ishidorii (740), Yomeimon (715 and 729), Karamon (733), Niomon (716), Torii (709), Eaimitsu (427); views of Five-storied pagoda (757), Eaimitsu temple (702), tomb of Iyeyasu shogun (710, 711, 714); a sculpture of Three Wise Monkeys (1052), stone lions of Tobikoye Shishi (1145), Korean bronze lantern (358), lavish wall carvings (761), buildings of Koro (739), Futatsudo (1147), Kaguraden (1210), Mizuya (713), an alley with stone idols (807) et al.


LINDAHL, Axel (1841-1906); BEYER, F.; JAEGER, J. &c.
[Collection of Thirty Large Original Photographs of Norway and Sweden].

Thirty large albumen prints ca. 16,5x23 cm (6 ½ x 9 in) mounted on original card leaves (ca. 33x47 cm). The majority of images captioned in Norwegian and Swedish in negative at the bottom, and supplemented with period ink captions in German on the mounts. Housed loosely in a period portfolio with grey cloth boards and red sheep spine with gilt tooled faded label “Scandinavie.” The leaves are slightly waved and soiled, the portfolio is rubbed and worn, but the images are bright and sound. Overall a very good collection.
The attractive photographs in this collection include:
1)83. Bygdo. Fra Parken ved Oscarshald. Axel Lindahl.
2) Hvalfangerskibet Düncan Greys Skytter og Kanon Skaarö, M.G./ Walfisch-Kanope v. Walfischboot Düncan Greys.
3) 1699. Thelemarken. Veien over Haukelidfeld, Rensdyr./Renthierherdeam haukelid-Berg
4) 393. Sogn, Borgunds nye Kirke fra Svartegjaeld/ Sogn, Borgunds neue Kirche, gesch.v. Svartegjaeld
5) 2358. Soan. Naerdalen. Seflefos. Axel Lindahl.
6) 713. Romsdalen. Slettafos/ Slettafall
7) 710. Romsdalen. Vermaafossene/ Vermaa-fälle
8) 757. Romsdalen. Mardalsfos fra Eikisdalen. Axel Lindahl/ Mardals- fälle
9) No. 235. Slettafos. Eneret 1891. F. Beyer, Bergen
8) 712. Romsdalen, Vermaafossene/ Vermaa-fälle
9) 711. Romsdalen, Vermaafossene/ Vermaa-fälle
10) 49. Christiania fra Ekeberg. I. Axel Lindahl / Christiania
11) 2364. Sogn. Naeredalen. Stalheim Hotel. Axel Lindahl/ Hot. Stallheim im Naero-Thal
12) 36. Nordstrand Bad ved Christiania. Axel Lindahl/ Bad Nordstrand b. Christiania
13) 52. Christiania fra Oscarhald. II. Axel Lindahl/ Christiania (pencil)
14) 1639. Thelemarken. Loveid Kanal/ Loveid-Shleussen-Kanal, Thelemarken, Norw.
15) 77. Bygdo. Oscarshald fra Skarpsno. / Oscarhald
16) 1145. Tromso/ Tromsö
17) 1887 [?] Hamerfest wahrend dei Brande
18) 1223. Finmarken. Hammerfest
19) No. 220. Romsdalshorn. Eneret 1891. F. Beyer, Bergen/ Romsthalhorn
20) 2313. Sodn. Borgunds Kirke Housed in period portfolio with green cloth boards and red sheep spine with gilt tooled faded label “Scandinavie”. The leaves are slightly waved and soiled, the portfolio is rubbed and worn, but the images are bright and sound. Overall a very good collection.
21) No. 26. Stockholm. Utsigt fran Mosebacke. J. Jaeger Kgl. Hoffotograf/ Stockholm
22) No. 2. Stockholm och dess omnigifningar. Kgl. Slottet, sedt fram Skeppsholmen. J. Jaeger Kgl. Hoffotograf/ Kgl. Sloss in Stockholm
23) No. 255. Trondhjeims domkirke. Eneret 1891. F. Beyer, Bergen/ Domkirche in Trontheim
24) 2432. Hardanger, Odde. Axel Lindahl/ Odde am Hardanger-fjord
25) No. 378. Upsala. Nya Universitetshuset. Lidahis Fotografiaffar, Stockholn/ Upsala, Neue Universitat (pencil)
26) 1512. Bergen, Panorama fra Floifjeldet I. Axel Lindahl/ Panorama v. Bergen
27) 1512. Bergen, Panorama fra Floifjeldet II. Axel Lindahl/ Panorama v. Bergen
28)9293. Olat kyrre. K. Knudsen, Bergen/ Norw. Dampher “Olaf Kyrre”
29 & 30 Uncaptioned.


[Album with 50 Original Photographs of British Columbia and the Pacific Northwest including the 1905 Portland Lewis and Clark Centennial Exposition].

Ca. 1900s. Oblong Octavo (ca. 14x20 cm). 50 black stock leaves with 50 mounted gelatin silver prints, each ca. 7,5x10 cm (3 x 3 3/8 in). The majority with period ink captions in the corners of the images. Original black cloth album. A few images slightly faded, several with silvering on the margins, six with bigger or smaller defects of the negatives, but overall a very good album.
Album with some interesting unusual photos of British Columbia and the American northwest coast. The B.C. Images concentrate on the Kootenays area, showing Nelson from the wharf, Kootenay Lake (four photos, including a view of the landing site), Trout Lake in the West Kootenays (five photos, including a view of logging on the lake), the historic Windsor Hotel on the Trout Lake (built in 1892 and still working), portraits of local residents posing in front of their house, with a fish catch, and on massive tree stumps.
The images of the U.S. West coast include a view of Northport on the Columbia River (Washington State), and a series of photos taken at the Lewis and Clark Centennial exposition (Portland, Oregon, 1905) and showing: U.S. Government Building and the Bridge of Nations, Forestry Building, Oriental Building, buildings of the states of Massachussetts, Washington, New York and Idaho, Grand Stairway, totem poles, sunken gardens, a photo of a military band and a company next to the Government Building, view of the “Trail,” sculptures, e.g. “Cowboy at rest,” and others. There are also bird’s-eye view of Portland, photo of hotel “Estacada” near Portland, four prairie scenes in Montana, views of the bad lands in the Washington State, and St. Paul’s (Mississippi). Overall a very good album.


37. [PRAGUE]
[Original Mounted Photograph Titled:] Panorama of the City of Prague.

Ca. 1880. Original four part photograph ca. 19x72,5 cm (7 ½ x 28 ½ in) mounted on two leaves. One leaf with five other smaller (each ca. 10x14 cm or 4 x 5 ½ in) titled photographs of Prague mounted on the verso. Overall a very good panorama.
This attractive photographic panorama of the banks of the Vltava river and the old town of Prague as seen from Letna, shows the Charles Bridge in the background, and other famous Prague landmarks such the Church of Our Lady before Týn, Astronomical Clock, Powder Tower etc.


RICHTHOFEN, Manfred von (1892-1918)
[Album with 20 Original Photographs, Titled on the Front Cover:] Manfred von Richthofen (1892-1918). Photo Album.

Ca. 1916 - early 1918. Oblong Folio (ca. 24,5x32 cm), 7 card leaves. 20 mounted gelatin silver prints of various size, including two large aerial panoramas ca. 15,5x27,5 cm (6 ¼ x 10 ¾ in) or slightly smaller, and nine large photos ca. 12,5x16,5 cm (4 ¾ x 6 ½ in), the rest of images are ca. 9x13 cm (3 ½ x 5 ¼ in) and smaller. Three images numbered in negative. Handsome recent red full morocco album with gilt tooled decorative frame (with the Iron Cross) and title on the front board, and blind stamped decorative border on the rear border; white moiré endpapers. Two panoramas consist of two parts neatly stuck together, several images with minor silvering, but overall a near fine album.
Rare collection of original photographs dedicated to the German Army Air Service (Luftstreitkräfte) during World War I, including some of the last portraits of Manfred von Richthofen. The album opens with two views of Heidelberg and six aerial views of an airfield and a hangar constructed near a West European city, apparently one of the German airbases at the time, in Belgium or France. The photos include two large two-part panoramas and show the aircraft hangar, a small plane on the landing strip, surrounding infrastructure (service buildings, a railway leading to the hangar), and a small European city within medieval star like defensive walls. A series of six photos portray an inspection of a German air force base by the German High Command headed by Paul von Hindenburg, Germany’s Chief of General Staff since 1916. There is also a picture of the German mechanics servicing a biplane fighter which is decorated with the iron crosses painted on the tail and wings (late insignia with a simple rectangular cross which was used in March/April – November 1918).
The album closes with three important photograph portraits of several of Germany’s top pilots gathered for the flying contest at the Adlershof aviation testing center outside Berlin in mid-January 1918. The photos depict exactly the same moment as the “Richthofen Film” (part 2) made by A.F.G. Fokker in 1918 (see the original video at Steven Spielberg Film and Video Archive online, http://www.ushmm.org/online/film/display/detail.php?file_num=3353; copyright by the U.S. Holocaust Memorial Museum). The first photo shows famous German ace Manfred von Richthofen or “Red Baron” (1892-1918; the top ace of the war, credited with 80 air combat victories) talking to Hans Klein (1891-1944), a German fighter ace credited with 22 aerial victories, awarded with the Iron Cross and the Pour le Merite order, or “Blue Max” in October 1917. The second photo portrays Adolf von Tutscheck (1891-1918), Commander of Jagdgeschwader 2 since February 1918, awarded with the Blue Max in August 1917. On the photo he is shown in a flight hat and wearing his Blue Max.
The third photo is a group portrait of six of German fighter pilots (from left to right): Lt. Erich Löwenhardt (1897-1918; the third highest German flying ace with 54 victories, awarded with the Blue Max in May 1918); Oberlt. Bruno Loerzer (1891-1960; commander of Jasta 26, later of Jasta III, the third of the German famous “flying circuses,” awarded with the Blue Max in February 1918); Manfred von Richthofen, Lt. Kurt Schwarzenberger (chief test pilot for the experimental fighter division of Idflieg); Hans Klein; Albert Mühlig-Hofmann (1886-1980, commander of the Field Equipment Service of Idflieg). Note that Hans Klein is shown wearing his Blue Max and still possesses his right index finger (shot off in combat on 19 February 1918). These portraits are one of the last depictions of Adolf von Tutscheck (killed in action on March 15, 1918), Manfred von Richthofen (killed in action on April 21, 1918), and Erich Löwenhardt (killed in action on August 10, 1918).
Overall a very interesting historically significant photograph collection.


39. [RIGA]
SCHULZ, Carl Anton (1831-1884)
[Leporello Photo Album of Sixteen Original Photograph Views of Riga, Titled:] Album Riga.

[Riga, ca. 1880s]. Oblong Octavo (ca. 11x19 cm). Sixteen albumen prints mounted on card, including four double-page panoramas ca. 8,5x35 cm (ca. 3 ¼ x 13 ¾ in), and 12 views ca. 8,5x16,5 cm (ca. 3 ¼ x 6 ½ in). All images with period manuscript ink captions in German on the mounts, some – with manuscript pencil commentaries in English. Original brown publisher’s cloth album with gilt stamped title and decorative pictorial vignette on the front cover. One panorama with a minor scratch on the left part, several leaves detached from each other, but overall a very good album with strong bright images.
Attractive album of early photographs of Riga issued by the local photographer Carl Anton Schulz, whose “Photographisch-Artistisches Atelier” was located at Nikolai Boulevard, 3. All images, bright and sound, have period - apparently the publisher’s - ink captions, written in German on the mounts. Some photos are also supplemented with interesting pencil notes in English, most likely made by a British tourist travelling around the Baltics at the time. The photographs not only give great artistic view on the architecture of 19th century Riga, but also show many of its inhabitants: bourgeois pedestrians, cab drivers, port workers, clerks et al.
The panoramas show Riga harbour with the Old city meeting the Daugava River crowded with fishing boats and trade vessels; an overview from the balcony of the Riga theatre (now Latvian National Theatre), with a commentary in English: “fortifications made into gardens & moan into canal, old Town left, new Town right”; “Der Bastei Boulevard”; and the Daugava River with the pontoon- and railway bridges, the latter built in 1871-1872 “by English engineer”. The street views include photos of the stock exchange building (now the Art Museum Riga Bourse), Ritterhaus (now housing the Latvian Parliament), the Powder Tower (Der Pulverturm) with “English cannon balls” stuck in it, Alexander Boulevard, Kalkstrasse (with an antiquarian bookshop shown on the right), Elisabethstrasse, Landstrasse, buildings of the Lomonosov and Krons gymnasiums, Riga customs house, gas company et al.
“Carl Anton Schulz was born February 21, 1831 (d. 1884) and was schooled as an artist. His sons also joined him in his photography business - Oskar, with a studio in Libau (Liepāja, Latvia); Arthur, in Dorpat (Tartu, Estonia); and Eduard in Riga - the pictures of scenes of Riga from the late 19th and early 20th century attributed to C. Schulz's studio were taken by Eduard. Their photographic atelier exhibited at the Exposition Universelle of 1900 in Paris, and at the 700th anniversary of Riga exposition in 1901 - for which their studio produced the lithographed flyer” (Center for Baltic Heritage on-line). Schulz was known for his album of Latvian views titled “Livländische Schweiz” (1880s).


[Attractive Original Photograph Panorama of Rio de Janeiro].

Ca. 1920s. Two-part folding gelatin silver print panorama ca. 15x43 cm (6x17 in), unmounted. Titled and signed “D.K. Rio” in negative. Beautiful sharp strong panorama.
This beautiful iconic panorama of Rio de Janeiro shows the Botafogo Bay and neighbourhood with the Sugarloaf Mountain and the Urca Peninsula in the background.
“Botafogo was named after João Pereira de Sousa Botafogo, who was responsible for the galleon Botafogo's artillery, so he included the ship’s name in his family name. When he went to live in Brazil, the Portuguese Crown granted him the land known today as Botafogo. The name literally means "set it on fire" (a reference to the Botafogo galleon's artillery power). <…> Botafogo's beach is within Guanabara Bay, sheltered from the Atlantic Ocean by the Urca peninsula and Sugarloaf Mountain. Attractions include the Home of Ruy Barbosa, the Museu do Índio - which explores the culture and history of the major indigenous peoples of Brazil — and the Villa-Lobos Museum. The Public Archive for the State of Rio de Janeiro (APERJ) is also located in Botafogo” (Wikipedia).


41. [ROME]
[Collection of Four Large Photographs of Rome].

Ca. 1870. Four large mounted albumen prints each ca. 27x38 cm (10 ½ x 15 in). Two captioned in negative “Foro Romano; 32 Interno del Colosoco Roma”. The mounts with some wear and soiling, one with tears and creases, but overall a very good collections of early photographs.
The attractive Rome photographs in this collection include two photographs of the Coliseum (exterior & interior) and two of the Forum including the Temple of Saturn.


DINESS, Aglaya Pavlovna
[Collection of Five Original Photographs of the Town of Korsakov in Southern Sakhalin by a Russian Female Photographer, Including a Two-Part Panorama of Korsakov].

Ca. 1890s. Five albumen prints, three ca. 15x20,5 cm (5 7/8 x 8 in) including two comprising a two-part panorama, and two photos ca. 10,5x16 cm (4 1/8 x 6 ¼ in). All mounted on original album card leaves, one titled and signed in negative. Very good sound photos.
A collection of five rare early photos of southern Sakhalin made by Russian Far East female photographer Aglaya Diness. After her husband’s death Diness chose an unusual, for a Russian woman, profession and became a photographer and widely travelled across the Russian Far East and China. In the 1890s she took numerous photos of Kamchatka, Sakhalin, Khabarovsk, Ussuriisk and Manchuria, together with a series of excellent views of Port Arthur (now Lüshunkou, China). In 1899 Diness was awarded with the diploma of the Industrial and Agricultural Exhibition in Khabarovsk.
Our collection represents early interesting views of Korsakov town at the southern end of the Sakhalin – the oldest Russian settlement on the island. There is a two-part panorama of the town, titled and signed “Photo A. Diness” in the right lower corner (in Cyrillic), and a view of Korsakov’s logging depots on the shore of the Aniva Bay; two smaller images show a forest log house and a waterfall, apparently in the Korsakov’s vicinity. The images are especially interesting, as they show Korsakov still under the Russian rule, before it had been ceded to Japan after Russia’s defeat in the Russo-Japanese War of 1904-1905. Overall a very interesting historically significant collection.
“While under Russian administration fort Korsakovsky was an important administrative center in Sakhalin's penal servitude system and a final destination for hundreds of prisoners from European Russia, sentenced to forced labor for particularly serious crimes. Such prisoners and their families comprised early settlers of fort Korsakovsky until its hand-over to the Japanese. Prominent Russian writers, including A.P. Chekhov and V.M. Doroshevich, visited Korsakovsky and left keen observations of its unsavory trade. In 1905, Korsakovsky was handed over to Japan after Russia's defeat in the Russo-Japanese war of 1904–1905” (Wikipedia).


[Unique Collection of 23 Original Photographs Documenting the Investigation of the Wreck of the Russian Coast Guard Ship Kreiserok in the Vicinity of Cape Soya, Northwestern Hokkaido].

Ca. 1889. One photograph ca. 16,5x22 cm (6 ½ x 8 ½ in), eighteen photographs, ca. 12x17 cm (4 ¾ x 6 ¾ in) and four smaller photographic portraits of the Kreiser’s crew, ca. 11x8 cm (4 ¼ x 3 ¼ in) mounted on card leaves of different sizes. The majority of photographs with pencil captions in Danish on the lower margins of the mounts. Minor foxing of the mounts and mounts a bit warped, but overall a very good collection.
This important photographic collection documents the search expedition of the Russian Navy to the northwestern Hokkaido in November 1889 - January 1890. The purpose was to investigate the fate of the shipwreck of the Russian coast guard schooner Kreiserok ("Little Cruiser") which was in service on the coast of Tyuleniy Island (in the Sea of Okhotsk, 19 km to the south of Cape Patience (Mys Terpeniya), on the eastern Sakhalin coast) protecting against poachers and disappeared in a storm on the 26th of October, 1889.
The wreck of Kreiserok was discovered by Japanese on the shore next to village Wakkanai, in the vicinity of Cape Soya, the northernmost point of Hokkaido, 43 km away across the Laperouse Strait from Sakhalin Island. The Russian consulate informed the Pacific Squadron of the Russian Navy which wintered in Nagasaki, and the Squadron Commander rear admiral Vladimir Schmidt sent the investigation expedition on clipper Kreiser ("Cruiser") to ascertain whether the wreck was indeed the Kreiserok.
The expedition under the leadership of renowned Russian Polar explorer, doctor Alexander von Bunge (1851-1930) included Lt. V.N. Bukharin and other Russian mariners, as well as Japanese officials and translators. The party reached the place of the wreck with great difficulties because of heavy snowfalls and strong winds. They examined what left of the schooner - a part of stern with steering wheel and the right side with both masts. Two ship’s boats, the flag and the board with the ship’s name were discovered, as well as a body of a sailor (Fedor Ivanov). None of the crew members was rescued, obviously there were no survivors. The cause of the disaster wasn’t determined, but it was assumed that the ship wrecked because of the ice formation on Kreiserok’s hull and rigging during strong storm, winds and low temperatures.
This photograph collection, assembled by the Danish member of Kreiser’s crew, Lt. C.M.T. Cold (who also captioned most of the images), includes eleven images of the Kreiserok wreck on shore with all parts of the schooner's remains clearly visible. Five images show the surrounding coast and a Japanese settlement, covered with deep snow. The majority of the pictures from the wreckage also show the expedition members, with Alexander Bunge present on five pictures, and possibly V. Bukharin and Lt. Cold present at least on six pictures; several pictures show the Japanese members, and two images are group portraits of all expedition members. Five pictures are dedicated to the clipper Kreiser including four portraits of its crew members, and a view of Kreiser in the harbour of Nagasaki, the latter was reproduced in: Krestianinov, V.I. Cruisers of the Russian Imperial Navy, 1856-1917. Part 1. SPb., 2003 (Крестьянинов, В.Я. Крейсера Российского Императорского флота, 1856-1917. Ч. I. СПб, 2003).
The monument erected in 1897 in Vladivostok in memory of Kreiserok and its crew became the first monument of Vladivostok and the first official memorial on the Pacific to Russian naval mariners who perished on duty.
Kreiserok ("Little Cruiser") was a coast guard schooner of the Russian Imperial Navy. Tonnage 15 t., length 24 m., width 8 m., draught 2.13 m. Built in 1884 in Seattle, before 1886 - American schooner "Henrietta." In 1886 it was confiscated by the Russian clipper "Kreiser" for poaching in the Russian waters of the Bering Sea. In 1887 under command of lieutenant Tsvangman it carried out hydrographical survey of the Amur estuary. On the 14th of May 1888 it was renamed after the clipper "Kreiser" and became a coast guard vessel of the Tyuleniy Island (the Sea of Okhotsk). In October 1889 during its service on the island’s coast it captured American poaching schooner Rose and prepared to escort it to Vladivostok, but instead wrecked in a storm with the entire crew perishing. A cape and a bay in the Possiet Gulf (Peter the Great Gulf of the Sea of Japan) were named after it.
Alexander von Bunge was a renowned Russian Polar explorer, doctor of medicine and zoologist, a son of famous botanist Alexander von Bunge (1803-1890). He participated in the expeditions to the mouth of the River Lena (1882-84), Yenisey River (1892-95), Spitsbergen (1900) et al; he headed the expedition to the New Siberian Islands (1885-86). Von Bunge’s meteorological observations were used by F. Nansen during his famous Fram expedition. An island in the Arctic Ocean (Bunge Land), a peninsula on the Russky Island (Nordenskiöld Archipelago), glaciers on Spitsbergen and Novaya Zemlya, and a mountain on Spitsbergen were named after him.


[Attractive Lacquered Album with 112 Original Photographs of Japan, Hong Kong, Singapore and Hawaii Taken During an Around the World Trip Titled]: Around the World, 1900.

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.
The album includes photos taken by a British traveller during a trip around the world, dated 20 March – 31 August 1900. The author left London in the beginning of March on the P.& O. Steamer Arcadia and proceeded to Port Said and Colombo, where he changed to the R.M.S. Chusan for Hong Kong. After calling at Penang and Singapore he arrived to Hong Kong, and visited Canton and Macao. Then he proceeded to Japan, arriving to Kobe on 4 May and travelling around the country until the end of June. On 20 June he left on S.S. “Futami Maru”, calling at Manila, Samoa, and Hawaii. One of the last photos dated 31 August 1900 shows the Niagara Falls.
The images of Japan comprise the majority of the album (63) and include views of Yokohama harbour, Tokyo (Kameido shrine, private house owned by certain Englishman Milne et al.), Kiga, a series of images of the Nikko shrines with the “celebrated Red Lacquer Bridge”, Eaimitsu temple, Karamon gate, bronze Torii, “Avenue of criptomenia trees”, botanical garden et al. Interesting in the image of the “fish flags” waving in Nikko during the Tango no Sekku or the Boys Holiday – “the idea is that as the fish swims against the stream, so may the boy ‘swim’ through life”. The author also took a series of photos of a temple procession in Nikko, with a picture of “3 gold shrines, 75 men to carry each. These are not allowed to be photographed”. Other images shows street musicians, small tea houses and hotels, Kyoto geishas, Nagoya Castle, Nara City et al. Three colour photos show Lake Hakone and Mount Fuji. The album opens with a self portrait of the compiler shown mounted on a horse, with his guide Hirakata, at the Otome Toge pass where “one gets a magnificent view of Fujiyama”.
A series of interesting photos of China include 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, view of Macao taken from the hotel ‘Boa Vista’, several dreadful images of execution of pirates in Canton, native boats crowded on the Canton river, a portrait of the travelling party at the palace of “Li Hung Chang” (Li Hongzhang, 1823-1901, a noted Chinese politician) et al. The beginning of the album numbers 14 views of Port Said, Colombo, Penang and Singapore, with street views, native boats with painted eyes in the bows, diving boys, and islands near Singapore which “we were passing nearly all day & each one seemed more beautiful that the last”. In the end of the album there are over a dozen photos of Manila, Samoa and Hawaii with large views of Honolulu, scenes of “Cricket at Apia”, portraits of natives, Hawaiian dancers et al.


[Album with 172 Original Photographs of St. Paul Island, Alaska, Showing St. Paul City, Organized Seal Hunting, Local Orthodox Community, Portraits of the Local Inhabitants and Scenes of the Celebration of Independence Day].

Ca. 1930s. Oblong Quarto (ca. 18,5x29 cm). 49 stiff card leaves (21 blank). 172 gelatin silver prints, the majority ca. 6x10,5 cm (2 ¼ x 4 in); also with a large photo ca. 13x18,5 cm (5 x 7 ¼ in), and twenty original photos of postcard size. Over seventy images with typewritten or manuscript titles on verso; ca. Fifteen images of postcard size numbered and/or signed in negative. With a real photo postcard signed “C.H. Hope” in negative. Period brown patterned full sheep album with gilt lettered title “Photographs” on the front cover, spine is stitched through on top and bottom with a string. Album mildly rubbed at extremities, several leaves detached and loosely inserted, , several images slightly faded, but overall a very good album.
Album of interesting snapshot photographs made by a resident of Saint Paul Island (Pribilof Islands, Alaska). The amateur photographer took several views of the Saint Paul City in summer and winter, with two photos marked as “taken at 2 am”, and one as “taken at 8 pm”, all three showing the town in bright daylight. There are also several noteworthy views titled in negative and showing Saint Paul’s radio station, “Radio Compass House,” the Landing Dock in winter,” “Dormitory,” and others. Other views of the city titled on versos show the “Chief Officer’s House, Radio,” “Radio Headquarters,” the graveyard et al. The album also includes numerous photos of various types of seals (including a photo of “a rare white bull seal”), and scenes of seal hunting, skinning, and further operations at a local factory, i.e. “the first kill” (scene with a group of hunters on the beach next to killed seals), or “skinning the first kill.” A group portrait of local workers posing in front of a wooden building most likely shows one of St. Paul’s seal hunting brigades.
Several interesting photos show local Orthodox Christian community, including portraits of an Orthodox bishop and a priest apparently residing in St. Paul: “the Bishop and Priest, the tall one is the one that keeps his egall [sic!] eye on the bunk house;” views of an Orthodox procession, and portraits of an Aleut couple just married in the Orthodox church. There are also well executed portraits of the local residents: “this is the mess boys” (a group of Aleut boys with guitars), “native boys,” “native going home with his seal meat,” and others. A series of photos most likely depicts local celebration of the 4th of July: “part of the crowd watching the fourth of July sports,” “tug of war outside, natives,” “St. Paul tug of war team, the losers;” “pie eating contest;” “the losers of the skin boat race,” “the belles of the village ready for the egg race” (mostly Aleut girls), and “crowd watching boat race.” There are also interesting photos of “the skin boat with cargo from the Penguin” (tender “Penguin,” on service in the Pribilof Islands in 1930-1950) and US Government Cutter “Bear” near Wainwright, Alaska. A real photo postcard signed “C.H. Hope” in negative shows Mt. Newhall (near Unalaska).
The album also contains several portraits of the compiler of the album – “Yours truly”, posing with the Aleut and American residents of St. Paul, or alone; on one of the portraits he is shown with the gun which “we shot the walrus with.”
Overall a very interesting first-hand account of life and of the seal hunting industry on the Pribilof Islands in the 1930s.


[Large Original Photograph Panorama of Steamer Point in Aden].

Ca. 1880. Albumen print panorama ca. 20x52 cm (7 ¾ x 20 ½ in), dissected in two parts and mounted on original card. With the photographer’s numbers (5, № 2, 6) written in negative on the lower margin. Pencil caption in German on the mount. A very good sharp panorama.
Interesting panoramic view of the Steamer Point (modern Tawahi) part of Aden, an important port of call and coaling station for the steamers following the routes to India or Africa through the Suez Canal. The photo shows the port with barracks and a coal station, and a number of vessels, including larger ships, in the harbour. A very good detailed panorama.
“On 19 January 1839, the British East India Company landed Royal Marines at Aden to occupy the territory and stop attacks by pirates against British shipping to India. The port lies about equidistant from the Suez Canal, Bombay (now Mumbai), and Zanzibar, which were all important British possessions. Aden had been an entrepôt and a way-station for seamen in the ancient world. There, supplies, particularly water, were replenished, so, in the mid-19th century, it became necessary to replenish coal and boiler water. Thus Aden acquired a coaling station at Steamer Point and Aden was to remain under British control until 1967” (Wikipedia).


[Three Original Stereo view Photographs Showing the Opening of the Suez Canal]: Inauguration du Canal de Suez. 801. Entrée de la flotte dans le canal a Port-Said; 808. La Themis portant le pavillon amiral a Port-Said; 816. La flotte au mouillage & montagnes akaka a Suez].

Ca. 1869 - early 1870s. Three pairs of albumen prints ca. 7,5x15 cm (3x6 in). Mounted on the original card with printed titles on the lower margins of the mount. Very good stereo views.
Collection of three early stereo views depicting the opening of the Suez Canal on the 17th of November 1869. The images show the entrance of the international fleet into the Canal at Port Said, French frigate Themis going through the Canal under the flag of admiral Moulac (Themis accompanied French Imperial yacht L’Aigle with Empress Eugenie on board), and the fleet at anchor in Suez.

“At 8 a.m. On the 17th a fleet of ships, headed by L’Aigle with Lesseps and [Empress] Eugenie on board, prepared to pass through. The length of L’Aigle was 99 meters and its beam 18 meters. In 4 hours it made 44 kilometers, reaching Kautara to receive the salute of the Latif. In the rear of the L’Aigle followed the Emperor of Austria; in their own yachts, the Prince Royal of Prussia, the Prince and Princess of Holland, the English ambassador at Constantinople, Lord Elliot, and the Russian ambassador at the same court, General Ignatieff. These were accompanied by the engineers of the canal, Voisin Bey, La Roche, Gioia, and others; the Prince of Holland by M. Ruyssenaers still the consul-general, and then vice-president of the Canal Company. After a delay at Ismailia, where a ball at the palace was attended by from four to five thousand guests, the fleet passed forward, L’Aigle, with the Empress Eugenie, reaching Suez on the 20th” (Nourse, Prof. J.E. The Maritime Canal of Suez, from its Inauguration, November 17, 1869, to the year 1884… Washington, 1884, p. 73).
“The magnificence of the three-week-long inaugural ceremonies reminded some observers of The Thousand and One Nights. Many notable political and literary figures attended the celebration, among them the Austrian emperor Franz Joseph, the king of Hungary, the prince of Prussia, and the prince and princess of Holland. Undoubtedly the most valued guest, however, was the French empress Eugénie, for whom the khedive built a palace on the Nile, a replica of her private apartments in the Tuileries. <…> Among the scholars and writers attending were the famous German Egyptologist Richard Lepsius, the Norwegian playwright Henrik Ibsen, the French painter Jean-Léon Gérôme, and the French writer Théophile Gautier. A large contingent of journalists was also present” (Celik, Z. Displaying the Orient. Architecture of Islam at Nineteenth Century World Fairs. University of California Press, 1992, p. 145-146).


[Photo Album with Twelve Original Photographs Titled:] Album du Canal de Suez. H. Arnoux Phot. Port Said.

Port Said, ca. 1870. Oblong Folio (ca. 27x37 cm). 12 card leaves. Twelve mounted albumen photographs each ca. 21,5x27 cm (8 ½ x 11 in). Original red gilt titled pebbled cloth covers. Covers slightly bumped and faded, front hinge with cracks, book block loose, a few images very mildly faded, mount leaves slightly waved, but overall a very good collection of photographs.
The attractive images include: Port Said; a ferry with camel traders going across the canal; the canal entrance at Ismailia with a ship; ships in the canal; Kantara; Palais du Chantier; the canal entrance at Jimsah; canal dredges; Suez etc. "The Zangaki brothers were born on the island of Milos. It is not known where they learned photography but soon after their arrival in Egypt they became established photographers. The Greek brothers’ photographs are very commonly found in tourists’ albums assembled in the Middle East in the latter part of the 19th century. From their Port Said studio, they were in an ideal position to sell to those on the Grand Tour" (Jacobson, K. Odalisques & Arabesques: Orientalist Photography, 1839-1925. London, 2007, p. 277). "The Suez Canal is an artificial sea-level waterway in Egypt, connecting the Mediterranean Sea and the Red Sea. Opened in November 1869 after 10 years of construction, it allows ships to travel between Europe and South Asia without navigating around Africa thereby reducing the sea voyage distance between Europe and India by about 7,000 kilometres (4,300 mi). The northern terminus is Port Said; the southern terminus is Port Tewfik at the city of Suez. Ismailia is on its west bank, 3 km (1.9 mi) from the half-way point" (Wikipedia).


[Album with 125 Original Photographs of Garden Island - Sydney Base of the Royal Australian Navy, Showing its Sites and Residents, Tennis Club, “Tresco Mansion,” portraits of the “Japanese officers at Garden Island,” and others, as well as Views of Sydney Harbour, the Blue Mountains, Golf Clubs in Blackheath, Melbourne and Sydney, et al].

Ca. 1910-1914. Folio (ca. 32x27,5 cm). 12 stiff card leaves. 125 gelatin silver prints ca. 7,5x10 cm (3x4 in) mounted within rectangular or oval frames. All photos with period ink manuscript titles on the mounts. Period green full cloth album with colour stamped title “Sunny memories” on the front cover. Overall a very good internally clean album with bright photos.
Interesting photo album from the family of a high ranking Australian naval officer who resided at Garden Island, base of the Royal Australian Navy in Sydney (now a restricted area). The interesting images include views of Garden Island: streets, embankment with HMS Pegasus, Signal Hill on the Coronation Day, interior of the island church, “Idol from Mallo Kollo Island” (Malakula, Vanuatu), “the tree planted by H.M. The King,” “swimming bath,” and others. A series of views depict Garden Island tennis club which is considered to be Australia’s first lawn tennis court (built in 1880), showing the court itself and tennis court pavilion, group portraits of players shown during games or afterwards, posing with rackets.
The album’s owner or compiler (named “H.C.”) is on several photos, posing in naval uniform in his garden, on board HMS Encounter and on board a naval ship at the beginning of WW1 (the last photo dated November 1914); there are also portraits of (probably) his wife “Ad” and other naval officers and sailors (Gosling, Baker, S.P.O. Trevin); views of their house and garden on Garden Island (the exterior, interiors of the drawing room and office, images of the front and kitchen gardens). Six interesting group portraits show “Japanese officers at Garden Island” posing in white uniform with “Ad” and another lady at the tennis court.
Five photos depict the “Tresco” mansion – the official residence of the Naval Officer-in-Command at the Garden Island (the exterior and interiors, “swimming bath”, a view of the Sydney harbor from Tresco). Three photos show the Bristol biplane in Sydney with the following commentary: “one of two sent arrived Dec. 1910, flew Perth, then Melbourne, then Sydney, c. Feb. 1911.” There are also images of numerous ships in Sydney harbor (HMS Fantome, HMS Cambrian, HMS Powerful, HMS Encounter, P&O S.S. Moldavia, HMS Pioneer et al.), Sydney botanical gardens, a series of photos from a trip to the Blue Mountains (Grand Canyon, Grose Valley, Kanimbla Valley, Hydro Majestic Hotel in Medlow Bath, and others). Several photos reveal the album compiler’s keenness on golf (images of the Blackheath golf links, the Royal Melbourne golf club and the Royal Sydney Gold club). Overall a very interesting illustration of the social life of Australian naval officers on Garden Island on the threshold of the First World War.
“Garden Island, located in Sydney Harbour to the east of the Sydney Harbour Bridge and Circular Quay, has been associated with the defence of Sydney and eventually Australia, since the first fleet of convicts arrived in 1788. Garden Island is thus named because it was here that the crew of HMS Sirius of the First Fleet planted a vegetable garden in late January 1788. Garden Island has had connections with the Navy since the early days of the colony. As well as a garden, it housed a gun emplacement which guarded the passageway between Farm Cove and Pinchgut (Fort Denison) until the construction of Fort Macquarie on Bennelong Point. A similar gun pit was built on Gov. Macquarie’s Point, but this was removed after Fort Macquarie was built and no trace of it remains today. In 1811 Gov. Macquarie declared Garden Island a civilian establishment and thus it stayed until 1856 when it was returned to the Royal Navy for use as a base. The base grew in a ramshackle manner with new buildings and facilities being added progressively over the next century. Today it is a restricted area and houses the Fleet Base of the Royal Australian Navy and the Garden Island Dockyard” (Garden Island/sydneyforeveryone.com.au).


[Album with Over 130 Original Photographs of Southwestern Tajikistan, Showing Views and Local People near Qurghonteppa (Kurgan-Tyube), Farkhar (Parkhar), Kulob, and Dushanbe, Titled in Manuscript:] Tadschikistan, 1929-30.

Ca. 1929-1930. Quarto (ca. 27x18,5 cm). 25 stiff card leaves. Over 130 mounted gelatin silver prints of various size, including a large photo ca. 18x24 cm (7 x 9 ¼ in), thirty-five large images ca. 11,5x16 cm (4 ½ x 6 ¼ in) or slightly smaller, forty-seven images ca. 8x11 cm (3 x 4 ½ in), and over fifty small images ca. 5,5x7,5 cm (2x3 in). Eight photos titled in Russian in negative, ca. Twenty with manuscript titles in German or Russian on the images, one photo with a presentation inscription in Russian, dated 20th June 1930 on verso. Period light brown full cloth album with decorative colour stamped vignette on the front board. A few images slightly faded or with minor silvering, but overall a very good internally clean album with well preserved interesting photos.
Interesting album with over 130 original photos from a journey to southwestern Tajikistan, compiled apparently by a German engineer (or other high-qualified contract worker) who was employed in the USSR in 1929-1930. The images include high quality amateur photos taken in Qurghonteppa (Kurgan-Tyube), Farkhar (Parkhar), Kulob, Dushanbe (Stalinabad in 1929-1961) and nearby areas, showing city and mountain views, a series of views of road construction by Soviet workers, “road to Farkhar from Saray Komar,” scenes of “crossing Vakhsh River on water-skins,” net fishing, cotton harvesting, caravan of donkeys in winter, native villages, portraits of the locals (a group of young women with drums, “settlers from Afghanistan,” family groups, men resting in shade, market sellers, cart drivers), and others. Several photos show the group of Soviet (and German) workers, their camp, topographical survey works on the river Yakhsu, surrounding salt steppes; scenes of Communist demonstrations, and others.
Overall a very interesting collection of original unusual photos of Tajikistan.


MOODY, Enrique Carlos (1863-1935)
[Album with 42 Large Original Early Photographs Showing the Route of the Recently Completed Transandean Railway, Including Views of Buenos Aires, and Valparaiso].

Ca. 1905-1908. Oblong Folio (ca. 25x32 cm). 25 stiff card leaves. 42 gelatin silver prints ca. 17x23 cm (6 ½ x 9 in) or slightly smaller. The majority numbered in negative, six also titled and signed “Moody Photo, Bs. As.” in negative; all photos with period ink manuscript titles in Spanish on the mounts. Period maroon full sheep album with gilt lettered title “Gruss aus Süd-America. 1908” on the front cover; moiré endpapers. First leaf with a period ink dedication in German dated “Buenos Aires, Januar 1908.” Album slightly rubbed at extremities, otherwise a very good album of bright photos.
Interesting rare collection of original photos of the recently completed Transandean Railway (Ferrocarril Trasandino) by prominent Buenos Aires photographer Enrique Carlos Moody. The railway was constructed in 1887-1908 and first opened to traffic in 1910, it “operated from Mendoza in Argentina, across the Andes mountain range via the Uspallata Pass, to Santa Rosa de Los Andes in Chile, a distance of 248 km. <…> The Transandean completed a 1,408 kilometres (875 mi) rail link between the Argentine capital of Buenos Aires with the Chilean port of Valparaiso, and provided the first rail route linking the southern Pacific and Atlantic Oceans. <…> The railway has been out of service since 1984, and has been partly dismantled.” (Wikipedia). The album was compiled shortly before the official opening of the railway and thus documents a very early stage of its development.
Over twenty photos document different stations and landscapes on the railway’s route. Very interesting are the three photos of the Transandean train – while on stop in the Mendoza River valley (showing a locomotive and six cars with clear signs “F.C. Transandino B.A. Y V.”); a closer image of the train stopping in a mountainous valley with the passengers posing to the camera; and at the Puente del Inca station with passengers waiting for departure. Other views taken along the railway route show Hotel Puente del Inca (taken from the distance and closely), natural bridge at Puente del Inca, railway bridge over the Mendoza River, Los Penitentes (general views, waterfalls, River de los Penitentes), views of the Valle de los Paramillos (with the railway track in the foreground), Valle de las Cuevas, small settlement and a station at Las Cuevas, La Cumbre (Uspallata) mountain pass with a local man standing next to the border sign “Chile (the railroad tunnel run underneath the pass),” Sierra de los Leones, Laguna del Inca lake, the Blanco River, a group of loaded mules at the Rio Blanco station; the Salto del Soldado cliffs, and others.
The album also contains a series of well executed views of the two destination points of the Transandean – Buenos Aires and Valparaiso, as well as of Mendoza. Nine lively views of Buenos Aires show a funeral procession on the Av. Rivadavia turning in front of the Metropolitan Cathedral, the Water Company Palace (completed in 1894), the Argentine Pavillion (now the Museo Nacional de Bellas Artes), Paseo Colon Gardens, La Recoleta Cemetery, “El Corso” in the Palermo neighbourhood, Mataderos de Liniers (National cattle ranchers’ market), Los Diques in the port of Buenos Aires, and an open air concert hall of the famous Tigre Hotel (opened in 1890 and demolished in 1940). Photos of Mendoza depict the shady and wide Avenida San Martin, and Ruinas de San Francisco (ruins of the Jesuit church of San Francisco destroyed by the earthquake in 1861, National historic landmark of Argentina). Eight views of Valparaiso show the Bellavista railway station, Echaurren Square, two interesting views of the Condell Street (with one showing a military procession), Victoria Theatre, Church of the Holy Spirit, Avenida de las Delicias, and general view of the city taken from the sea.
Overall a very good collection of bright early images of the Transandean Railway, Buenos Aires and Valparaiso.


[Album with 15 Original Photographs of Vancouver, Mostly of Stanley Park, with Three Views of False Creek and English Bay].

Ca. 1910s. Oblong Octavo (ca. 17,5x25,5 cm), 18 album leaves (two loosely inserted). 15 mounted gelatin silver prints ca. 10x15 cm (3 7/8 x 5 ¾ in). All but one with period white ink captions on the mounts. Original grey paper wrappers album with stamped title “Photographs” on the front cover. Several images with minor silvering, otherwise a very good album.
Attractive photographs of Vancouver’s Stanley park views, showing the park’s entrance, main paths and alleys, impressive cedar trees, the Duck pond, the fog bell tower, “Water pipe line,” the Royal Corner and the Second beach. There is also a panoramic view of the North Shore mountains taken from Stanley park, as well as a view of downtown Vancouver taken from False Creek, with a wooden bridge on the left (apparently, the first Cambie street bridge constructed in 1891). The album closes with two photos of English Bay showing private houses on the waterfront, and swimmers and a boat near the surf.


PONTI, Carlo (1823-1893); NAYA, Carlo (1816-1882), and others
[Album with 35 Original Photographs of Venice and Milan, Titled in Manuscript:] Photographs Collected in Venice and Milan in June and July 1870 by W.I. Blackburne-Maze.

1870. Folio (ca. 37,5x29 cm). 35 stiff card leaves. 35 albumen prints, including 24 large ones, ca. 19,5x25 cm (7 ¾ x 9 ¾ in) or slightly smaller, and eleven smaller ones, ca. 13x17 cm (5 ¼ x 6 ¾ in). Fifteen images numbered in negative, six also titled in negative; all but one photos with period ink manuscript titles in English on the mounts. Eighteen photos with blind stamps “Carlo Ponti, Venezia” on the mounts. Period dark green full morocco album with gilt lettered title “Venice and Milan” on the front board; the boards and the spine with gilt tooled decorative borders, moire endpapers, all edges gilt. Gilt lettered stamp “R. Ackermann, 191 Regent St., London” on the top left corner of the front pastedown. First leaf with a period ink title in English. Album rubbed at extremities, corners mildly bumped, spine with minor cracks on hinges on foot, a few images mildly faded, but overall a very good album.
Attractive collection of early architectural views of Venice and Milan produced by the famous Venetian photographers of the time – Carlo Ponti and Carlo Naya who initially worked together, but later became two main competitors in the field of production and trade of souvenir photographical prints for tourists.
The album opens with eighteen albumen prints bearing the blind stamp of the studio of Carlo Ponti which show the famous landmarks of Venice: the Piazetta and Island of St. George, the Doge’s Palace (general view and views of the court yard), the Quay of the Paglia Bridge and the Church of Santa Maria della Salute, the Cathedral Square of St. Mark and the Campanile, the terrace under the Campanile, the Clock Tower, St. Mark’s Cathedral (general view and view of the entrance), view of the Doge’s Palace and Piazza San Marco taken from water with a gondola in the foreground, the Bridge of Sighs, the Church of Santa Maria della Salute, the Rialto Bridge, Grand Canal and the Island of La Salute, the Ca’ d’Oro Palace, panorama taken from above with the church of Santa Maria della Salute, and others.
Eleven smaller photos of interiors and architectural details of Venetian churches and palaces, apparently taken by Carlo Naya show the decorations of the broze fountains in the court yard of the Doge’s Palace, bronze poles on the Square of St. Mark, interiors of the St. Mark’s Cathedral, golden staircase of the Doge’s Palace, tombs of Canova and Titian in the Church of St. Maria dei Frari, carved oak seats in the church if St. Giorgio Maggiore, and others. There are also six anonymous photos of Milan showing the Milan Cathedral – general perspective and views focusing on the details of the roof spires, and the Simplon Gate.
As follows from the manuscript title, the photos were acquired in Italy by William Ireland Blackburne-Maze (1825-1886) of Southborough, Kent, later Justice of the Peace for the county of Kent, Honorary Lieutenant-colonel of the 1st West Kent Rifle Volunteers. On return to England he ordered a luxury keepsake album to house the collection from the famous Rudolph Ackermann’s store of prints and artists’ supplies on 191 Regent Street, London.
“Initially [Naya] worked with the established publisher Carlo Ponti, who distributed his prints. The two men soon quarrelled, however, and Naya opened his own studio. In 1868 he opened a larger photographic shop in the Piazza San Marco, his business soon growing to rival Ponti‘s. In the latter half of the nineteenth century, the two firms were considered the leading photographic concerns in the city. At the time of Naya‘s death in 1882, Edward Wilson, an experienced and knowledgeable writer on photography, described Naya‘s studio as ‘the largest establishment we think we ever saw devoted to photography, in an old palace on the other side of the grand canal‘.
Ponti and Naya were both photographic chroniclers of the city‘s tourist sights. Greater ease of travel meant that tourists came in ever increasing numbers to see the splendours of Italy, and these visitors were eager to take away with them souvenirs to show their friends and family at home and to help them remember what they had seen. Thus a photographer with a large stock of negatives showing the buildings and monuments, canals and palaces, harbour views and gondolas of Venice was assured of a steady, reliable income for years to come” (Frecker, P. Carlo Naya// Luminous Lint. Photography: History, Evolution and Analysis, online).


[Two Original Photograph Views of Vladivostok].

Ca. 1899. Two gelatin silver prints ca. 10 and 11,5 x 16,5 cm (ca. 4 and 4 ½ x 6 ½ in). One image with ink stamp of “The Gilliams press Syndicate” and old label with type-written text “Panorama of Vladivostok and Harbour” on verso. One image strengthened with paper and with remnants of the old mount on verso. The images are bright and clear, overall a very good pair.
Two sharp views of downtown Vladivostok. One is taken looking east, with the Golden Horn Bay and numerous naval and commercial ships on the right, and the conjunction of Svetlanskaya and Aleutskaya Streets on the left. The locomotive moving on the Trans-Siberian Railroad is seen in the foreground, and the busy commercial and residential development of Svetlanskaya Street is in the background, with the recently completed Vladivostok Dormition Cathedral (1899).
The smaller image is taken on Svetlanovskaya street and is looking west, to the Vladivostok Railway station and Tiger Sopka (left, in the background); the city wharf is seen on the left. Detailed view of part of Svetlanskaya Street is seen in the foreground.


[Album with over 330 Original Photographs of Early Washington State Views; With Twenty Real Photo Postcards, Including Seventeen by L.D. Lindsey; the Album is Titled:] My High School “Stunt Book”. Begun Jan. 11, 1913.

Ca. 1911-1914. Oblong Quarto (ca. 26x30,5 cm). 50 black paper leaves (17 blank). With over 330 mounted gelatin silver prints (and three loosely inserted), from ca. 11x16 cm (4 ¼ x 6 ¼ in) to ca. 6,5x5 cm (2 ¾ x 2 in), many are postcard size. Eight photos are tinted. The majority with white ink manuscript captions on the mounts; the album with a white ink manuscript title on the first leaf. With twenty real photo postcards, all titled (and seventeen also signed) in negative. Original black cloth album. Two images apparently removed, but three additional loosely inserted. Album slightly rubbed on extremities and with a scratch on the front board, but overall in very good condition.
Nice and well preserved private album assembled by Seattle high school girl Leotta Foreman and covering her and her family’s travels throughout Washington State. The images include numerous views and group portraits taken in Mount Rainier National Park (the Reese’s Camp, Nisqually Glacier, Mt. Tacoma or Rainier, Mesler’s Camp), Lake Chelan (taken from the Moore’s Point, War Creek Trail, the Great Northern Railway; views of Mt. Agnes, Bridal Veil Falls, Bullion Canyon, Bridge Creek, Fields Point Landing et al.), Columbia River, Stehekin River and Rainbow Falls. There are also interesting photos of steamer “Tourist” at the Chelan Lake, steamer “Columbia” leaving Entiat, views of Wenatchee town, Okanogan Avenue in Chelan city, of a stage near the Chelan Hotel; an interesting group portrait of high school girls posing in front of the “Stadium High” confectionery in Seattle, a photo of the steamship “Sioux,” taken apparently in Puget Sound. The album closes with several views of Lake Crescent and the Ovington’s resort (including three real photo postcards titled in negative). The photos portray Leotta, her family and friends during numerous summer activities - while riding cars or horses, swimming, fishing, camping, enjoying outings and picnics, posing at a nearby ranch et al.
Seventeen real photo postcards by L.D. Lindsley from the “Chelan series” and “Wenatchee series” show the Chelan Lake, Field Hotel on the lake, Lincoln Rock (Columbia River), the Stehekin Valley, Bridge Creek, mail steamer “Tourist,” Mt. Agnes, Isella Glacier and others.


HAMACHER, Ephraim J. (1857-1935)
[Collection of Two Original Photograph Views of Whitehorse, Each Titled:] Whitehorse, June 11, 1913.

1913. Two unmounted gelatin silver prints, each ca. 19,5x25 cm (7 ¾ x 9 ¾ in). Titled and signed “E.J. Hamacher” in negative. Minor creases and tears on extremities, with minor losses, but overall very good bright photos.
Two attractive panoramic views of the young growing community of Whitehorse taken by the renowned local photographer E.J. Hamacher, who was later credited for accomplishing the most comprehensive visual history of the early years of Whitehorse. The photos taken from the clay cliffs surrounding the town show the main outline of Whitehorse with the Yukon River and the wharf with the sternwheelers in the foreground, followed by the streets, the residential area and the church; distant snow-capped hills of the Coast Mountains are seen in the background.
“Ephraim J. Hamacher (or E.J. As he was commonly called) was born June 10, 1857 in Kitchener, Ontario and was living in Yakima, Washington when news of the Klondike Gold Rush broke out. He moved north, and in 1898 set up a photography studio in Bennett City, B.C. In April 1900 Hamacher moved to Whitehorse, Yukon and operated a general merchandise and photographic store selling his own prints as well as photography equipment and supplies. Hamacher became known as "The Whitehorse Photographer". He was involved in many community activities including hunting, fishing, curling and playing piccolo in the town band. E.J. Hamacher died in Whitehorse on November 1, 1935” (E.J. Hamacher Collection/Yukon Archives online).
“Hamacher worked in Washington and Oregon possibly as early as the 1870s (Mautz, 1997). By the summer of 1898, according to Becker, he was left in charge of Hegg's " studio" at Lake Bennett while Hegg, P.E. Larss and others carried on to Dawson. Hamacher was assisted by Florence Hartshorn” (Camera Workers: The British Columbia, Alaska & Yukon Photographic Directory online, vol. 1).


BOND, Frances Eileen Berkswell
[Album with over a Hundred Original Photographs Compiled During Two Cruises: a 1931-1932 World Cruise on RMS “Empress of Britain” Showing Jerusalem, Cairo, Bombay, Colombo, Batavia, Bangkok, Beijing, the Great Wall of China, Japan, Hawaii, Panama Canal, and others; and a 1934 Cruise around the Caribbean, Showing Nassau, Jamaica, Colon in Panama, Cartagena, La Guaira in Venezuela, Trinidad, Barbados and others; Titled:] World Cruise. From Monaco to Southampton. December 15th 1931 – April 16th 1932. Q.S.T.S. “Empress of Britain;” Cruise to the West Indies. From Southampton to Southampton. January 27th – March 8th 1934. R.M.S. “Homeric.”

1931-1934. Oblong Folio (ca. 28,5x38,5 cm). 48 stiff card leaves. Over a hundred gelatin silver prints, many by a cruise ship photographer, including eleven large images ca. 18x23 cm (7x9 in), and over sixty ca. 11x15,5 cm (4 ¼ x 6 ¼ in). Over thirty images are captioned in negative and bear a blind stamp “White Star Line. Homeric Cruises Copyright.” With several real photo postcards and numerous ephemera, cut-out photo portraits of the travelers and silhouettes of the cruise ships. With two period handwritten titles marking two cruises; all images with period handwritten captions. Period decorative tapa cloth album with gilt lettered title “Aloha. Hawaii” on the front cover, spine is stitched through on top and bottom with a string. Corners slightly bumped, first leaf loosely inserted, but overall a very good album with strong images.
Interesting private keepsake album illustrating two cruises – a world cruise on board RMS “Empress of Britain,” one of the first travels of this liner (in service since 1931), and a cruise around the Caribbean on board RMS “Homeric.” The album was compiled by a young British girl, Frances Eileen Berkswell Bond who went on both cruises with her family and friends. Interesting images from the first cruise include large professionally taken views of the Bangkok Temples (Temple of the Sleeping Buddah and Temple of the Emeral Buddah), Taj Mahal, Panama Canal, and the Acropolis; several large group portraits of the “Empress of Britain’s” passengers, including two of the parties dressed for fancy balls (in “Egyptian” and “Chinese-Japanese” styles); views of Jerusalem, Cairo and the pyramids, feluccas on the Nile, burning ghat in Bombay, Colombo harbour and Mount Lavinia beach; locals washing laundry in a Batavia canal; a scene of the crossing the Line celebration on board the “Empress of Britain;” a native hut in Batavia; the Forbidden City of Beijing; Great Wall of China; the Aloha Tower and Waikiki Beach in Honolulu; a street in San Francisco; Panama Canal administration building in Balboa; and others. A number of images portray Eileen, her family and friends, several pieces of ephemera relate to the ship’s tennis tournament which Eileen took part in and won (in the mixed doubles). There is also an interesting printed “Certificate” given to Eileen by “Neptune, the Great God of all the High Seas” after crossing the Equator and appointing her “one of our most worthy subjects.”
The second cruise is illustrated in 37 original photos apparently produced by the ship’s photographer and bearing a blind stamp “White Star Line. Homeric Cruises Copyright.” Interesting images show the harbour and water tanks at Tenerife, harbor of St. Lucia, swimming pool deck of RMS Homeric, a panorama and a view of the sponge market in Nassau (Bahamas), swimming pool of the Bournemouth Club in Jamaica, the statue of Columbus at Colon (Panama), street views of Cartagena, photos of a harbor and a street of La Guaira (Venezuela), mountain scenery “En route to Caracas,” coconut and sugarcane plantations in Trinidad and Barbados, Pitch Lake on Trinidad, and others (Madeira, Gibraltar, Barcelona, Monaco, Monte Carlo, Ajaccio, Algiers, and Tangier). Over a dozen images portray the travelers and their friends, including a large photo of participants of a fancy dress ball “held in Mid. Atlantic;” there are also a number of cut out portraits of the ship’s passengers and crew. The album closes with a large wedding portrait of the album’s compiler with her husband.
Overall a vivid picturesque representation of ocean cruises in the early thirties.


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