If you ever wanted to learn about the importance assigned or excitement surrounding the discovery of the X-Ray, look no further than any photographic journal published the world over between 1896-1897. Chronicled in breathless detail within their many pages, this new and miraculous revelation was aided by photography’s very ability to record the see-through results of these “mysterious rays” on a myriad of materials.

And so this new victory was shouted far and wide: the symbolic Iron Heel of Progress, represented by the dual disciplines of scientific investigation and photography coming together, marched forward. In my own convoluted way of thinking, the splendid specimen of shoe including said iron-studded heel protecting a foot within makes perfect sense, literally and perhaps symbolically making a full-page debut along with other objects in the July, 1896 issue of The Photographic Times.

The reason for all this excitement was the official announcement late the year before: German physicist Wilhelm Röntgen (1845-1923) had “produced and detected electromagnetic radiation in a wavelength range today known as X-rays or Röntgen rays”. (1.) For his efforts, Röntgen in 1901 was awarded the first Nobel Prize in Physics.

I will be the first to admit scientific photography is not a collecting focus for the PhotoSeed archive, however, the possession of a postal cover and several pages from a hand-written letter by Photographic Times editor Walter E. Woodbury (1865-1905) posted to this site was reason enough to visually explore X-Ray photography in this space as the profound discovery it remains even today. On May 22nd, while working in advance of the July issue, Woodbury penned a short missive to America’s equivalent of Röntgen: University of Pennsylvania physics professor Arthur Willis Goodspeed. (1860-1943) Radiography and its Application was the name of the article he had already written, dated April 30th and eventually published. But at the time, working more than a month in advance, editor Woodbury was willing to hold up publication of his journal until he could secure the necessary photographs showing the dry-plate, x-ray-effected negatives he knew would cause a stir, and thus providing proof for and generating interest in Goodspeed’s article.

Goodspeed was no stranger to photographic experimentation. In the mid 1880’s he had witnessed and assisted the English photographer Eadweard Muybridge (1830-1904) while he conducted the now famous Animal Locomotion studies under the support of the University of Pennsylvania and more unbelievably, had made by accident along with British photographer William Jennings, the first known X-Ray photograph in the physical lecture room at the school on February 22, 1890 . A centennial  remembrance written by TL Walden Jr. for the journal Radiology in 1991 partly states:

On that evening, Goodspeed and Jennings had been making brush electrographs of coins and brass weights. After they finished their experiments, Jennings stacked all of the photographic plates; two coins–either left from the experiments or Jennings’ trolley fare–were placed on top of the plates. Goodspeed then demonstrated to Jennings the university’s collection of Crookes tubes, with the idea of photographing the glow from the tube. While the two men were talking, however, the Crookes tube was emitting x radiation that affected the nearby plates. After the plates were developed, Jennings noted that one had the shadow(s) of a disk(s) on it; neither man could explain the image. (2.)

The photographic holdup for Woodbury was worth it. Englishman John Carbutt, (1832-1905) who had first made a name for himself in America by taking stereoscopic landscape photographs as well as running a Chicago portrait studio in the 1860’s, had become an important collaborator in the late 1890’s with Goodspeed in Philadelphia. Carbutt’s invention of specialized glass dry plates sensitive to the newly identified x-rays were provided to Goodspeed for research purposes; the same year his article appeared in The Photographic Times.  Carbutt’s role as well as the importance of these plates was acknowledged in it:

With a view to developing the sensitive plate to produce the best results possible, Mr. John Carbutt has given untiring attention and made many experiments. The Carbutt plates have most of them been tested by the writer in comparison with other makes, and those now in use give by far the best results of any yet tried. The negatives from which the illustrations accompanying this article have been reproduced are samples of the plates referred to.  (3.)

In closing, and with a nod to collectors like myself seeking out the ultimate published examples of Röntgen, or X-Ray scientific photographs, I suggest a further investigation of the 15 oversized, hand-pulled photogravure plates published in 1896 under the direction of Austrian photo-chemists Josef Maria Eder and Eduard Valenta. Containing magnificent studies of human bones, various small animals as well as man-made objects including a set of lockets, this portfolio, titled Versuche über Photographie mittelst der Röntgen’schen Strahlen, features as its’ final plate the now iconic coiled snake titled Aesculap-Schlange. First taken by Eder and Valenta and presented to members of the Viennese Photographic Society in January of 1896, (4.) these photographs have long ago entered the canon of modern photographic art, a scant two months after Röntgen’s initial discovery shook the world.

1. Wilhelm Röntgen: from: Wikipedia: accessed: 2012
2. excerpt: The first radiation accident in America: a centennial account of the x-ray photograph made in 1890: TL Walden Jr.:in: Radiology: December, 1991: pp. 635-639
3. excerpt: Radiography and its Application: A.W. Goodspeed: in: The Photographic Times: New York: July, 1896: pp. 308-309
4. from: Beauty of Another Order-Photography in Science: Ann Thomas: Yale University Press: New Haven and London, in association with the National Gallery of Canada, Ottawa; 1997

 I’ve never bought into the hokum that “a photograph is worth a thousand words”. I’ve always thought the medium was bigger, believing the phrase has been overused in popular culture to the point it has cheapened the very essence of Photography as Memory.

This might not be earth-shattering news to the picture-taking masses, so I’ll just reiterate my feeling that any photograph-new or very old- has the ability and inner life to prove incalculable worth and embody pure memory, especially for you, if you happened to take it. Photographs are simply the personification of Memory made real. It matters little if today’s memories are in digital form, or of the vintage paper variety accompanying this post, made over 100 years ago.

When we receive sad news, shock and tears always come first. And then memories. In this case, always good ones, and then the photographs already taken invariably retrieved and revisited. This is how it went yesterday when my wife and I belatedly learned a dear friend had passed on. Georgia native Kim McCoy was a young woman who was passionate, funny, articulate: a writer with a voice that could deliver in public as well as a former journalist of conviction who used her own professional gift of words to give life and context back to her own loving family.

As is Life, intent and chance mysteriously came together, and my next post in this space would feature a preview of flower studies which will soon find their way to the site dating to 1904 taken by American photographer Louise Birt Baynes. (1876-1958) After acquiring them, I had struggled for almost a year trying to learn the identity of their maker, with chance granting me success only last week after Golden rod was found with proper attribution in a photographic journal. Several of these photographs have the added bonus of hand-written poetry on their mounts. And so for Kim, some words penned a century ago and recited anew to your memory of a life cut short at 33. One to celebrate as fully as is Nature’s own beautiful Closed Gentian, a flower that never fully opens:

“It never opened someone said,
The strange, fair, bud was all,
a bright hope only half interpreted,
and shriveling to its fall.”

No matter the evidence, in this case-the title assigned to it: Portrait de M. Peters– I refused to believe my eyes. That’s why I initially tagged it Portrait: Woman on this site: a most strange, mysterious and striking study of a woman with frizzed-out hair—or so I thought: a hand-pulled photogravure tinted in yellow hues— which made up the final plate included in the 1894 portfolio Première Exposition d‘Art Photographique. (First Exposition of Art Photography) The work was issued by the Photo-Club de Paris that year for their very first exhibition which took place at the Georges Petit galleries in Paris from January 10-30th.

 But now thanks to a chance encounter with the photo reproduced in the English journal The Studio, I now know the truth, and have subsequently updated the tag to Portrait: Men:

The Portrait from life, by Mr. Eustace Calland, is a costume study of Mr. William Theodore Peters—as Bertrand de Roaix. The photograph, we understand, is now being exhibited at Paris. Mr. Peters is the author of a forthcoming volume of verse, containing, among other numbers, the Pierrot of a Minute, a charming poem already familiar through the author’s recitation in public.  (1.)

And so it was not a woman who English photographer Eustace Calland (1865-1959) depicted but a man: the American poet and actor William Theodore Peters. (1862-1904) A quick online search of Peters gave me the impression he may have been the poster child for Decadence with a capitol D exemplified by 1890’s Paris. (2.) Someone who in the immortal words of American comic Steve Martin might have well stood in for the original “One Wild and Crazy Guy.” Peters lifestyle caught up with him however, and he is reported to have died in that city in poverty- not even 40 years old.

Since it was exhibited in January, 1894 in the Photo-Club de Paris exhibit, this portrait of Peters was most likely taken sometime in 1893. Another intriguing aspect of the photograph is a cloak he wears in it. As I don’t think it is a coincidence, I’m going to connect the dots here and conclude this post by going further: this is the very cloak made famous by Peter’s friend, the English poet and playwright Ernest Christopher Dowson, (1867-1900) who finished penning the following lines in August, 1893  (3.)  with the title:

To William Theodore Peters on his Renaissance Cloak

The cherry-coloured velvet of your cloak
   Time hath not soiled: its fair embroideries
Gleam as when centuries ago they spoke
   To what bright gallant of Her Daintiness,
   Whose slender fingers, long since dust and dead,
   For love or courtesy embroidered
The cherry-coloured velvet of this cloak.

 
Ah! cunning flowers of silk and silver thread,
   That mock mortality? the broidering dame,
The page they decked, the kings and courts are dead:
   Gone the age beautiful; Lorenzo’s name,
   The Borgia’s pride are but an empty sound;
   But lustrous still upon their velvet ground,
Time spares these flowers of silk and silver thread.

 
Gone is that age of pageant and of pride:
   Yet don your cloak, and haply it shall seem,
The curtain of old time is set aside;
   As through the sadder coloured throng you gleam;
   We see once more fair dame and gallant gay,
   The glamour and the grace of yesterday:
The elder, brighter age of pomp and pride.    (4.)

Ten years after these lines were written Peters and Dowson were both dead, with this portrait by Calland possibly being the sole surviving image known of Mr. William Theodore Peters.

1. The Studio: An Illustrated Magazine of Fine and Applied Art: London: Offices of the Studio: Vol. II: 1894: p. 138 (photograph appears on p. 139)
2. “He was, as an irreverent American once said of him, that “rara avis in human kind,—a poet with money,” and so stole time from his verse-making to give charming little dinners, the lists of which were redolent with Lady This and Countess That, since he knew nearly every woman of title, native or sojourner, in Paris.”: excerpt: Verses Written in Paris by Various Members of a Group of “Intellectuals”: in: The Critic: An Illustrated Monthly Review of Literature, Art and Life: New Rochelle, New York: Vol. XXXIX: 1901: pp. 38-39
3. notes: Ernest Dowson Collected Poems: edited by R.K.R. Thornton: University of Birmingham Press: 2003: pp. 257-258
4. included in: The Poems of Ernest Dowson: Dodd, Mead and Company: New York: 1922: pp. 144-145

When researching this site’s new online gallery for a view album of Japanese tissue photogravures several months ago titled Life and Nature, (1889) I had no idea how important the American painter and amateur photographer George Bacon Wood Jr. (1832-1909) would figure in my respect for someone pursuing both disciplines equally well.

 With the introduction of the brand new dry-plate, the most advanced technology of its’ day invented by George Eastman and others and marketed to the masses beginning around 1880, the world of amateur photography soon opened to those who rejected the unforgiving and laborious wet-plate collodion process that preceded it. After reading about the break-through in his Philadelphia newspaper, Wood jumps into amateur photography with all the gusto, passion and creative problem solving he had long applied to his occupation as landscape painter.

In a short biography of Wood I’ve prepared along with the online material, I’ve included a humorous self-account of his 1882 inauguration into the medium.  This includes his first efforts at exposing one of those new dry plates while stalking one very uncooperative cow in a field, a bovine that just would not stay still long enough for Wood to make a decent exposure. Being a  perfectionist however meant not giving up so easily. A challenge for sure, but not insurmountable, and for his efforts, one of the least unheralded people in the history of photography I’ve since encountered who continued to make his livelihood with the brush.

Life and Nature was originally purchased by this writer in late 2007 and squirreled away until a few months ago, when I started posting similar view albums whose gorgeous tissue gravure plates were done by Ernest Edward’s New York Photogravure Company.  On first look, I had no idea Wood’s background was that of a painter, and I certainly had no clue what the “B” for the initial of his middle name stood for. I was also intrigued by the fact the album’s cover went so far as to omit reference to his full first name-shortening it to “Geo” instead of George. A period advertisement for the work included here does spell out his name, but neglects to include the fact he was a Jr.

A complicated or simple soul this Wood chap?  More research revealed an impressive amount of his photographic work held by The Library Company of Philadelphia, with the following exciting statement from their website:

In 1982, for example, we acquired more than 500 photographs by Philadelphia photographer and painter George Bacon Wood from a descendant.  Additional gifts of Wood photographs throughout the 1980s increased the collection by about 300 more images.  This body of photographic work along with paintings from other institutions and private collections will form the basis of a Library Company exhibition in 2014.

Timely to be sure, and more reason for me to hone in on some of Wood’s background. The majority of online sites, mostly art galleries who have handled his paintings in the past, with the exception of the Library Company, state he died in 1910. I have no idea how they got even some of the basics wrong, as his New York Times obituary clearly states his passing was actually June 17th, 1909:

Wood. — At Ipswich, Mass., June 17, George Bacon Wood, formerly of Staten Island and Philadelphia. Services Monday, June 21, at the residence of his daughter, Mrs. Bernard Hoopes, Germantown, Philadelphia.

Figuring the cause was also worth the shelling out of two bucks on my part, I purchased the September/October, 1979 issue of the defunct magazine American Art & Antiques, which seemed to contain one of the more important accounts of Wood’s working life. It not only helped, it lead me to another rich source in the form of a posthumous volume penned by Wood’s youngest daughter Elizabeth: A Girl’s Life In Germantown, published in 1916.

Although the 1979 article dealt mostly with his career as a painter, the book itself revealed this gem concerning Wood’s embrace of photography:

“Above the woodshed, which was attached to the barn, my father had a studio built, with a north window, skylights, and an outside stairway. He had seen the announcement in a newspaper that the dry plate had been invented, and he immediately became interested in photography, since the dry plate made the process easier and more reliable.”

And yet, the volume also stated this sobering observation from the daughter on her father’s artistic endeavors:

“My parents were of Quaker origin, my father following this religion to the end of his life. His mother and father were very strict in their beliefs and this made the study of art a difficult one for him, for an artist in those days was looked upon by Quakers as almost predestined to the loss of his soul. My father’s aspirations doubtless caused much unhappiness to his parents, and his study of art under this disapproval was erratic and pursued almost entirely alone. Persistence, however, carried him to success.”

Furthermore, Wood’s wife Julia, born Keim Reeve, was an Episcopalian, with the implication set forth by her youngest daughter in the 1916 book as being of a more tolerant persuasion, at least in relation to artistic pursuits . Mother of his seven children, (she married Wood in Oct. 1858) her last years before her untimely death in 1887 were spent as an invalid occupying a wheelchair in a room of their stone house on Philadelphia’s Germantown Avenue-surely a sad and ultimately tragic event for Wood to endure for his remaining life.

A Few Details on the Artist’s Background

George Bacon Wood Jr.’s parents: Horatio Curtis Wood (1803-1879) and Elizabeth Head Bacon (1807-1846) had ten children, of which he was the third born on January 8, 1832 at 150 N. Fifth St. in the city of Philadelphia.

In early 2017, a Bacon family descendant, working from a bible in their possession that once belonged to the artist’s maternal grandmother, Mary Ann Warder Bacon, kindly supplied PhotoSeed with the following details regarding George Bacon Wood Jr.:

Horatio Curtis Wood (1803-1879) and Elizabeth Head Bacon (1807-1846,) actually had two sons named George Bacon Wood. The first son died of scarlet fever just seven weeks before the second son was born, so he was also given the name George Bacon Wood, only with the Jr. suffix. … there were several tragedies in the Wood family when GBW Jr. was young. Just before GBW Jr.’s eighth birthday, his younger brother, John Bacon Wood, died from a respiratory ailment. When he was only 13, his mother, Elizabeth, died two hours after the delivery of her 10th child, and three years later, (in 1848-ed) GBW Jr.’s older brother, Richard, suffered horrific injuries in a train accident in Maryland, lingering for over a week before his death. (According to a newspaper article about the accident, a witness speculated that the injuries to Richard’s legs were severe enough to require amputation.)

Because he was a Quaker, (known as the Religious Society of Friends) George Bacon Wood Jr.’s  moral compass precluded him from taking part in the American Civil War. (1861-1865) Before embracing photography, he continued his occupation as a landscape painter, with many fine studies done in New York state’s Adirondack mountain region while spending summers and even a winter in Elizabethtown. He was also a genre painter however, which revealed itself later on in his photographic studies-often featuring his own children in what we would perhaps consider today as being overly contrived situations.

A genre painting done by Wood sometime after 1870 titled The Fifteenth Amendment, or Civil Rights, is quite revealing with the additional knowledge that it’s creator was a Quaker. After Abraham Lincoln signed the Emancipation Proclamation, this American Constitutional amendment prohibited governmental bodies within the United States from denying voting rights to one “based on that citizen’s race, color, or previous condition of servitude”, otherwise known as slavery. Wood’s painting, formerly owned by art historian Donelson F. Hoopes, the great-great grandson of Wood and the aforementioned author of the 1979 article, is pictured along with it, described in the caption thus: “this whimsical genre scene conveys the artist’s observations of social change in America following the passage of the 15th Amendment in 1870”.

Showing two well-dressed patrons face to face at an outdoor market, one being white and the other an African American, with the latter presumably borrowing a clay pipe from the white gentleman in order to light his own, I would further argue the work shows Wood’s keen empathy for his fellow human being, and therefore a rebuttal of sorts to a later discovery instigated by none other than Alfred Stieglitz in 1900.

It was at this time that Wood gave a lantern slide lecture, “The Camera in the Hands of an Artist”  before members of The New York Camera Club. A  later critique of the talk signed by Stieglitz and published in an issue of Camera Notes revolved however around genre photographs most decidedly not whimsical in nature:

One of the Mouths of the Mississippi,” a young negro boy biting into a watermelon, will illustrate the general tone of the lecture.    A.S.

For anyone who has spent time leafing through American mass-circulation photographic journals from over a century ago, these types of overtly racist genre photographs-often not limited to the work of amateurs but also appearing in period advertising-crop up with alarming frequency. In concurring with Stieglitz, these types of images and misappropriations personally make me wince, their only possible justification now serving as damning evidence worth saving as part of the historical record.

But Wood was human, so perfection can never be an option, even a century after his passing. One of the images included in Life and Nature, titled Chain-Gang, features a grouping of puppies chained together. Also a very sad photograph when seen by modern eyes, but almost certainly viewed in its’ day (1888) as downright cute by many.  The loaded title to the work, with the connotation of shackled prisoners, doesn’t soften it. However, genre photography of this type practiced by Wood, as well as many others in his day, should not easily be pigeon-holed, type-cast, or set in stone in my estimation. The evidence? Pups as movable props for this one example. More than one photograph taken by Wood around this time-featuring the same or similar litter of puppies-surely brought smiles to many faces, and still has the power to do so. In conclusion, the following example, titled Dog Show, gives credible evidence Wood indeed had a heart, empathy, and most certainly, an enduring and intact soul. Please visit here to learn more and see Life and Nature.

When photographer and photographic supply dealer Henry Greenwood Peabody of Boston compiled and self-published the oblong quarto volume The Coast of Maine: Campobello to the Isles of Shoals in 1889, he offered it for sale by subscription, advertising it along with the fact he was the sole American agent for Wray lenses in photographic journals including Anthonys.

These lenses were first manufactured in London by a gentleman named William Wray beginning in 1850. Peabody, presumably using a Wray lens or lenses outfitted on his 8 x 10″ view camera, had scoured the rocky Maine coastline the year before in search of the picturesque. The published results in The Coast of Maine included 50 full size plates, done using the very fine photo-gelatine process, (collotype) a specialty of Ernest Edward’s Photogravure Company of New York. These plates, most of which show the coastline in proximity to the ocean; multiple lighthouse views but surprisingly very few boats, (Peabody was an important photographer of sailboats on the high seas) are supplemented with poetry and prose by seven writers, including the American poet and writer Celia Thaxter. (1835-1894)

Her poem Reverie had been first copyrighted as early as 1878 and published in 1880 in her collection of poems titled Drift-Weed in Boston. Although this long-form poem predates the above photo Wing and Wing by at least ten years, Peabody paired it in double columns opposite this lone sailboat photograph (in full sail) appearing in the work.

Reverie

The white reflection of the sloop’s great sail
Sleeps trembling on the tide;
In scarlet trim her crew lean o’er the rail,
Lounging on either side.

Pale blue and streaked with pearl the waters lie
And glitter in the heat;
The distance gathers purple bloom where sky
And glimmering coast-line meet.

From the cove’s curving rim of sandy gray
The ebbing tide has drained,
Where, mournful, in the dusk of yesterday
The curlew’s voice complained.

Half lost in hot mirage the sails afar
Lie dreaming still and white;
No wave breaks, no wind breathes, the peace to mar:
Summer is at its height.

How many thousand summers thus have shone
Across the ocean waste,
Passing in swift succession, one by one,
By the fierce winter chased!

The gray rocks blushing soft at dawn and eve,
the green leaves at their feet,
The dreaming sails, the crying birds that grieve,
Ever themselves repeat.

And yet how dear and how forever fair
Is nature’s kindly face,
And how forever new and sweet and rare
Each old familiar grace!

What matters it that she will sing and smile
When we are dead and still?
Let us be happy in her beauty while
Our hearts have power to thrill.

Let us rejoice in every moment bright,
Grateful that it is ours;
Bask in her smiles with ever fresh delight,
And gather all her flowers;

For presently we part: what will avail
Her rosy fires of dawn,
Her noontide pomps, to us, who fade and fail,
Our hands from hers withdrawn?

Celia Thaxter.

This  collection of 32 mounted gum bichromate photographs showing the beauty of the Hawaiian islands circa 1900-1910 were believed to have been taken by California photographer William Worden, (1868-1946) based on the final known 1904 image by him of a rain-slicked Market Street “Grand illumination” view which celebrated the encampment of the Independent Order of Odd Fellows that year.  More scholarship needs to be done for the Worden attribution, with the following being my original 2012 post for the album.

You can see all of the album photographs here, as well as my post from 2011.

Album Particulars

The majority of the photographs are believed to have been taken in Hawaii, (known as the Hawaiian Territory at the time) although one photograph, the last presented with the album, shows a nighttime view of Market street in San Francisco, California. Based on other surviving photographs from this era, it depicts the Grand illumination of Market which took place in conjunction with the Sovereign Grand Lodge of the United States and Canadian encampment of Independent Order of Odd Fellows which officially took place in that city from September 19-24, 1904. (1.) Another photograph, appropriately printed in a green tint, shows a stand of Redwood trees, probably taken in California. One subtle clue from the album indicates the photographer may have been a member of the U.S. military based in Honolulu between 1900 and 1920.

The curious and intriguing evidence for this is one of the album leaf supports. On it is a mounted photograph showing the famous volcanic tuff cone Diamond Head on the Hawaiian island of Oahu. On the verso is printed:
War Department
| Headquarters Hawaiian Department |
Honolulu, H.T.
| ——————————-
Official Business

Evidently a mailing envelope, a red ink stamp is used to address its recipient, which is unfortunately mostly rubbed out, except for a few details which can still be gleaned:
Commanding Officer |
Th
| Honolulu

In trying to date this envelope, we note the term Hawaiian Department in relation to the U.S. military did not come into general use until February 15, 1913, when it superseded the term Department of Hawaii. 2.
Taking this further, but of course with no evidence he was the album’s photographer, cursory research turns up a listing for the Commanding Officer, Major Thomas J. Smith, who around this time headed up the Hawaii Ordnance Depot for the U.S. Army in Honolulu in 1917. 3.

Other than the tell-tale geologic profile of Diamond Head which can be seen in several landscapes in the album, other identified locations for photographs include Moanalua Park and Sacred Falls on the island of Oahu. The present-day Liliuokalani Park and Gardens on Hawaii Island and Foster Botanical Garden in Honolulu-all places existing in the first decade of the 20th century, may be the location for other album photographs. Of course, with the inclusion of the Market street photograph, the well known Japanese tea garden in San Francisco’s Golden Gate Park cannot be ruled out as a possible location as well. Among the carefully composed studies, album photographs show Japanese gardens, an interior study of a tea house, a wooden footbridge, stone lanterns, and large Poinciana tree. Other studies include a rice paddy, taro patch and still life of a vase of Sun-lit flowers.

Surviving examples of Hawaiian artistic photography from the period before World War I or earlier not purely topographical in nature are considered rare. But that is not to say there wasn’t an interest in amateur photography in the Hawaiian Islands at this time. In 1889, the well-known photographer Christian Jacob Hedemann (1852–1932) became president of a group of amateur photographers who founded the Hawaiian Camera Club in Honolulu that year. The Photographic Times reported:

“There are about fifty amateurs in the Hawaiian Islands, which ought to be enough material to make the organization prosperous and useful. The public has an interest in it, as one function assumed by the Camera Club is the holding of exhibitions.” 4.

Later, in 1907, the newly formed Hawaiian Photographic Society was also founded:

“The Hawaiian Photographic Society was formed at Honolulu, H. T., in May, most of the enthusiastic amateurs of that city being present to aid in its formation. A notable work to be undertaken by the society is the securing of photographs of the places of historic interest on the island and placing these in the Hall of Archives as the basis for a photographic survey.” 5.

On a provenance note, the album was purchased in 2011 from a former owner in the Midwestern United States.  Additional insight into this album is welcomed.

NOTES:

1. CALIFORNIA HISTORIAN JOHN T. FREEMAN: EMAIL CORRESPONDENCE WITH PHOTOSEED SITE OWNER ALONG WITH CORROBORATION OF FRONT PAGE ARTICLES AND GRAPHICS FROM THE SAN FRANCISCO CALL NEWSPAPER EDITIONS OF SEPTEMBER 19-20, 1904 AS RETRIEVED VIA THE CALIFORNIA DIGITAL NEWSPAPER COLLECTION: JANUARY, 2012 2. FROM: WAR DEPARTMENT- ANNUAL REPORTS, 1913: WASHINGTON: GOVERNMENT PRINTING OFFICE: 1914: P. 95 3. FROM: HAWAIIAN ALMANAC AND YEARBOOK FOR 1918: THOMAS G. THRUM: COMPILER AND PUBLISHER: HONOLULU: 1917: P. 169 4. THE PHOTOGRAPHIC TIMES AND AMERICAN PHOTOGRAPHER: W.I. ADAMS, EDITOR: THE PHOTOGRAPHIC TIMES PUBLISHING ASSOCIATION: NEW YORK: FEBRUARY 8, 1889: P. 74 5. NOTES AND COMMENT: IN: THE PHOTO-MINIATURE: EDITED BY JOHN A. TENNANT: VOLUME 7, APRIL, 1907:  P. 408