Subject: Photography

Photograph of an Art Deco mirror. The image shows a mirror in the Art Deco style. The photograph was likely taken around 1910, based on the date provided in the metadata. The location of the photograph is unknown, but it is associated with the Cohen/Hughes collection, based on the metadata.

Billhead from December 1, 1897, issued by David N. Carvalho, advertising his services as an "EXPERT EXAMINER AND PHOTOGRAPHER OF QUESTIONED HANDWRITING." The bill was sent to the District Attorney's Office at 265 Broadway. Carvalho's office and laboratory address is also listed. The billhead notes that David N. Carvalho is the son of Solomon N. Carvalho.

A sepia-toned cabinet photograph by Benjamin J. Falk, depicting actor Frederick Solomon in theatrical costume. Solomon is shown standing against a stone background, dressed in a tunic, breeches, and belt with pouches, holding a ring of keys and a single key, looking upwards. The bottom left of the card mount features the photographer's name "Falk" and address "949 BROADWAY, N.Y." printed in decorative red script, typical of the period.

A sepia-toned cabinet photograph depicting an unknown man and woman, likely a couple, posed in a studio setting. The man, with a mustache, wears a suit and bow tie, while the woman wears a light-colored dress with lace details. The photograph was taken by Levy in Pueblo, Colorado, circa 1880s. The quality of the photograph is noted as being poorly composed, suggesting the photographer may have been a traveler or had a brief career. The reverse side of the cabinet card is embossed with "PVY PUEBLO, COLO" in an ornate style, typical of the period. **3.

A sepia-toned cabinet photograph depicting the second building of Mount Sinai Hospital in New York, New York. The impressive building features a grand Second Empire architectural style with mansard roofs, dormer windows, and ornate facades. The foreground shows a dirt road with scattered rocks, suggesting ongoing construction or development around the hospital. The verso of the card identifies it as part of a "New Series of Cabinet Photographs" from 1874-75, published by G. W. Thorne at 60 and 62 Nassau Street, near Maiden Lane, New York. The verso also lists other notable New York City landmarks and destinations available in Thorne's photographic series.

Cabinet photograph taken by Louis Heller circa 1880s. The photograph's verso is marked "Louis Heller Photographer, Fort Jones, Siskiyou Co California." Heller (1839-1928), a Jewish photographer born in Germany, immigrated to the United States and worked in New York City before settling in Northern California around 1862. He was known for his photographs of the Modoc War. This image is from the collection of Judaica Americana.

Cabinet photograph depicting a scene from David Belasco's play *May Blossom* at the Madison Square Theatre in New York, New York, on January 13, 1908. The photograph, possibly a publicity piece, is mounted on board. It is noted for being one of the first plays to command $5.00 tickets.

Cabinet photograph of a woman wearing a hat, fur, and gloves. The photograph was taken by Cohen, located at 439 Milwaukee Avenue, Chicago, Illinois, circa 1890. The photograph measures 4 1/4" wide x 6 1/2" tall and is mounted on dark gray.

Carte de visite (CDV) photograph of a Pawnee man, circa 1868. The image depicts a man wrapped in a buffalo robe, holding a bow and two arrows. A single golden eagle tail feather adorns his scalp lock. The photograph bears the imprint of Max Meyer, Dealer in Musical Instruments…Fancy Goods & Cutlery, Omaha, Nebraska. The verso is stamped with the inscription "Pawnee," and the same inscription appears in reverse off-print on the recto. The photograph is likely the work of the Jackson Bros. Studio. Max Meyer was the elder brother of Julius Meyer, whose "Indian Wigwam Emporium" sold Indian artifacts and war trophies, including photographs of Native American clients.

Carte-de-visite (CDV) photograph of a man in Odd Fellows regalia, taken by Edward Abraham Kusel in Oroville, California, during the 1870s. The photographer, Edward Abraham Kusel, was an active member of the Odd Fellows. The photograph's reverse side is inscribed: 'E. A. Kusel, Montgomery St., Oroville.' Kusel was a pioneer Jewish settler in northern California's gold country, known for his contributions as a merchant, photographer, and community leader. He imported one of the first sewing machines into California and was instrumental in developing scientifically-based photography methods.

Carte-de-visite (CDV) photograph of a young Confederate soldier. The reverse of the photograph features an advertisement for S. Moses & Son, photographers located on Camp Street in New Orleans, Louisiana. The photograph is undated, but likely dates from the American Civil War period (circa 1861-1865).

Carte-de-visite (CDV) photograph of a young girl, taken by Bachrach & Bro. in Baltimore, Maryland. The photograph is undated, but based on the style, it is likely from the late 19th century.

Carte-de-visite (CDV) photograph depicting a bust view of Confederate General Richard S. "Baldy" Ewell. The reverse of the photograph is inscribed "Levy & Cohen...Landscape Photographers; N. W. Corner Ninth & Filbert Street." The image is one of a series taken by Levy & Cohen in Richmond, Virginia in 1865, documenting sites of historical interest during the American Civil War. This specific photograph is exceptionally rare.

Carte-de-visite (CDV) photograph of Sophia Sulzberger. The photograph, attributed to Walker, shows a middle-aged woman. A handwritten inscription on the reverse identifies the subject as Sophia Sulzberger; however, the authorship and accuracy of this inscription are uncertain. The photograph was taken in Philadelphia, Pennsylvania.

Carte-de-visite photograph of the Oroville Courthouse in Butte County, California, circa 1865-1870. The photograph was taken by Edward Abraham Kusel, a pioneer Jewish settler in northern California and prominent photographer. The image depicts the original courthouse building before any additions, erected in August 1856.

Carte-de-visite (CDV) photograph depicting the ruins of Richmond, Virginia, after the American Civil War. Taken by Levy & Cohen in 1865. Shows the U.S. Customs House (Confederate Treasury Department). A revenue stamp is visible on the back. This image is part of a series of at least 33 views of Richmond taken by Levy & Cohen.

Carte-de-visite (CDV) photograph depicting the Treasury Building in Richmond, Virginia, after the Confederate capital's destruction in April 1865. Published by Levy & Cohen, this image is part of their series, "Levy & Cohen's Views of the Rebel Capital and its Environs." The reverse shows a canceled 2-cent stamp. Library of Congress negative #LC-B8184-10380.

A sepia-toned cartes-de-visite portrait photograph depicting Rabbi Abraham Sutro (1784-1869). Rabbi Sutro is shown from the waist up, with a long white beard, wearing a dark cap and a coat. He is adorned with a medal, signifying his membership in the Order of the Red Eagle, fourth class, awarded by Prussian King Frederick William IV. The reverse of the photograph features the photographer's mark, "PHOTOGRAPHIE vom B. WOHLMUTH MÜNSTER CLEMENSSTR. 117", surrounded by decorative flourishes, typical of studio photography of the period. The card itself shows signs of age, including wear and tear around the edges.

A sepia-toned cartes-de-visite (CDV) featuring a studio portrait of an unknown young woman, depicted seated and looking directly at the viewer. She is dressed in period attire, characteristic of the mid-19th century. The reverse side of the card features the ornate, florally decorated oval imprint of the photography studio, "Bergman & Flexner, Photographers, Bee-Hive Gallery, 94 West Main Street, Louisville, Ky." The borders of the card also exhibit a decorative, dashed line pattern.

A carte-de-visite featuring a sepia-toned photographic portrait of an unknown, bearded man. The man is depicted from the chest up, looking to his left, wearing a suit and bow tie. The reverse side of the card features an ornate, Victorian-style design for Bogardus & Bendann Brothers' Photographic and Portrait Galleries, located at No. 1153 Broadway, near 27th Street, New York. The design includes decorative borders, elegant typography, and a central emblem featuring a shield, musical instruments, floral elements, and radiating lines.

This item is a carte-de-visite, a popular photographic format from the late 19th century. The front features a portrait of a young man with a mustache, dressed in a dark suit and bow tie, looking slightly to the right. The reverse side is ornately designed with the business name "Bogardus & Bendann Brothers Photographic and Portrait Galleries" in decorative Victorian-style lettering, accompanied by a crest-like emblem surrounded by a sunburst design. The address "No 1153 Broadway near 27th street NEW YORK" is also prominently displayed.

A carte-de-visite studio portrait of a man, identified as Maurice Strakosch, presented in a bust-length pose with a mustache and a bow tie. The reverse of the card features the ornate design and branding of the photographer, Ch. Reutlinger, including their name, address (21 Boulevard Montmartre, Paris), a crest-like logo, and the phrases 'Déposé' and 'Garanti d'après nature.' Both the front and back of the photograph contain handwritten script.

Carte-de-visite (CDV) portrait photograph of Phinehas Willard, produced by E. A. Kusel of Oroville, California, likely in the 1870s. Willard, known for striking it rich in a gold mine near Oroville, is depicted from the waist up, seated, wearing a suit and bow tie. The photograph is a sepia-toned albumen print, characteristic of the Carte-de-visite format popular in the mid to late 19th century. The reverse side of the card features the photographer's imprint: 'E. A. KUSEL. MONTGOMERY STREET. Oroville.' **3.

A hand-tinted carte-de-visite photograph, likely taken between 1865 and 1870, by photographer E. A. Kusel in Oroville, California. The photograph depicts two young, unknown children standing side-by-side, with the boy on the left wearing a suit and the girl on the right in a pink dress and floral headpiece. The image exhibits a characteristic studio backdrop and lighting of the mid-19th century. The reverse side of the card features the photographer's imprint, "E. A. KUSEL, MONTGOMERY STREET, Oroville," centered in ornate typography. The hand-tinting provides color to the children's clothing and facial features, a common decorative practice for studio portraits of the era.

A sepia-toned cartes-de-visite photograph, approximately 1870, depicts an unknown couple. A bearded man in a suit is seated, resting his arm on a large fur throw. A woman in a striped dress with braided hair stands beside him, her hand also resting on the fur. The reverse of the card features an elaborate red and gold design with ornate Victorian-style scrollwork and lettering, prominently displaying "E. KLAUBER" in a decorative banner, a large stylized "K" monogram, and the address "COR. 3rd & JEFFERSON STS / LOUISVILLE KY." 3.

This cartes-de-visite features a portrait of an unknown man with a moustache, wearing a dapper suit and pocket square, typical of the Victorian era. The verso contains an elaborate advertisement for E. Klauber, Photographer, located at the corner of Jefferson Street and Third Avenue in Louisville, Kentucky. The ad identifies Klauber as the 'SOLE LICENSEE for the Unchangeable Photograph, Patent Chromotypes, &c.' and is characterized by ornate Victorian-style lettering, decorative borders, and a prominent 'EK' monogram. 3.

This carte-de-visite features a portrait of Alice Oldham Beasley, produced by the Eureka Photograph Gallery I. G. Levy in San Francisco, circa 1871. The photographic card shows a waist-up portrait of a woman in period dress. The reverse side prominently displays the ornate Victorian-style lettering of the "Eureka Photograph Gallery I. G. Levy" with its address, and includes a note indicating that negatives were preserved for extra copies at reduced rates. The subject's name, "Alice Oldham Beasley," and the year "1871" are handwritten at the top of the reverse side. 3.

A black and white photographic portrait (carte-de-visite) of J. M. Levy, captured in a bust shot. Levy is depicted looking to the left, with her hair styled in ringlets on the sides and a small bow visible at her neck. The name "J. M. Levy" is handwritten in script below the portrait. The reverse side of the carte-de-visite features the imprint of the photographic studio, "Fredricks & Co., 179 Fifth Avenue, (Madison Square), New York," surrounded by decorative flourishes and ornate borders typical of the mid-19th century. This photograph is identified as Juliana M. Levy and is part of a collection of Levy family portraits. **3.

This carte-de-visite features a studio portrait of two young boys, possibly twins, holding hands. They are dressed in dark, possibly military-style, outfits with decorative buttons and belts, and wear boots. The photograph was taken by I. G. Levy at the Eureka Photograph Gallery in San Francisco, California, circa 1870s. The reverse side of the carte-de-visite features the photographer's imprint with ornate Victorian-style lettering for "Eureka Photograph Gallery" and "I. G. Levy", along with the

A sepia-toned carte-de-visite portrait of Judah P. Benjamin, presented in a head-and-shoulders view. Benjamin is depicted with a beard and wearing a dark suit with a bow tie, facing forward with a slight smile. The item is a photograph mounted on cardstock, characteristic of the carte-de-visite format popular in the mid-19th century. The reverse side of the card contains handwritten text, including the name "Benjamin." Judah Philip Benjamin served as Attorney General, Secretary of War, and Secretary of State for the Confederate States of America. He was the first Jewish-American to hold a cabinet position in American history and is often referred to as the “brains of the Confederacy” due to his close relationship with Jefferson Davis.

This item is a carte-de-visite featuring a photographic portrait of an unknown man, taken by Klauber & Campbell's Photographic Gallery in Louisville, Kentucky, circa 1863. The front of the card displays a bust portrait of a man with a beard and mustache, wearing a dark coat and a bow tie. The verso (back) of the card contains a printed advertisement for "KLAUBER & CAMPBELL'S Photographic Gallery / Main St., 2 doors below 4th St. / LOUISVILLE, KY." The text is presented in a decorative, ornate Victorian-style typography, typical of the period for photographic studio branding.

A carte-de-visite photograph of an unknown man with a beard, facing right. He is dressed in a suit with a bow tie. The reverse of the card features an oval-shaped stamp with the business name "Klauber & Campbell's Photographic Gallery" and address "Main St. 2 doors below 4th, Louisville, KY". The front of the card bears a handwritten inscription, "Yours Truly Frank".

This album page features four individual carte-de-visite photographs of members of the Levy family. The top left photograph shows Mary E. Levy. The top right image depicts Charles S. Levy and Juliana M. Levy as young children. The bottom left photograph is of Juliana M. Levy at approximately 12 years of age, and the bottom right features Charles S. Levy at approximately 10 years of age. The page is designed with ornate decorative frames around each oval portrait, including intricate borders and central ornamental elements, typical of mid-19th century photographic album presentation. The photographs are part of a collection pertaining to a New York City family.

This carte-de-visite (CDV) features a sepia-toned photographic portrait of two young men, possibly miners, taken by Louis Heller in Fort Jones, Siskiyou Co., California. One man stands, holding a pocket pistol, while the other is seated. Both wear hats and attire typical of the late 19th century, suggesting a frontier or working-class context. The photograph is mounted on a card with a decorative border. The verso displays the photographer's imprint: "Louis Heller, Photographer, Fort Jones, Siskiyou Co. Cal." in an ornate, Victorian-style typeface, indicating the studio location. **3.

A carte-de-visite portrait depicting Norval P. Harvey, age 3, photographed on July 29, 1866, by Louis Heller in Yreka, California. The image shows the young child standing on a cushioned stool, posed within a studio setting featuring a draped curtain background with tassels. The reverse side of the card identifies the photographer as Louis Heller of Yreka, California, and includes a handwritten inscription "Norval P. Harvey 3 years 29th July 1866."

CVD - Circa 1870 Man Holding Open Book by Philp & Solomons, 332 Penn Ave, Washington DC. ONE OF THE FOUNDERS OF THE RED CROSS; Philp & Solomons (1859-1874) was a publishing and bookstore partnership in Washington, D.C. The partners were bookseller Franklin Philp (1826-1887), who handled visual materials, and Adolphus S. Solomons (1826-1910), who had responsibility for the textual materials. Solomons helped to establish the American Red Cross and was the founder of the Jewish Protectory and Aid Society and the Russian Jews Immigration Aid Society. Philp was born in England and entertained visiting English celebrities at his home in Washington. According to one report, Philp overdrew the partnership account by $90,000 and left Solomons greatly embarrassed. Philp later became notorious for embezzling funds from his position as a clerk to the naval pay inspector at San Francisco, California.

A sepia-toned carte-de-visite (CDV) featuring a formal studio portrait of Francis Lieber. Lieber is depicted standing, wearing a dark suit and bow tie, with his right hand tucked into his waistcoat and his left hand resting on the back of a chair. The photograph is mounted on cardstock, typical of mid-19th century studio portraiture. The reverse side features handwritten annotations identifying the subject as "Francis Lieber" and mentioning his role as a "History Prof Col. U" and involvement "on Prep. Com. 1864 against secession." The photographer's imprint, "Rockwood, Photographer, 839 Broadway, N. Y.", is also printed on the back. 3.

A carte-de-visite (CDV) featuring a bust portrait of an unknown man, possibly a Union Civil War soldier. The verso displays an elaborate back stamp of T. Lilienthal's Photographic Establishment at 102 Poydras St., New Orleans. The design includes a detailed illustration of the multi-story storefront with people visible, and ornate Victorian-style lettering for the business name and address. 3.

This item is a carte-de-visite photograph depicting an unknown woman in full dress, standing beside an ornate chair. The reverse side of the photograph identifies the photographer as T. Lilienthal, located at 102 Poydras, New Orleans. Cartes-de-visite were a popular format for portrait photography in the mid-19th century.

An exhibitor's pass to the United States International Exhibition held in Philadelphia in 1876. The pass includes a photograph and was found among the papers of Charles Cohen, whose mother, Mrs. Henry Cohen, was associated with the Committee of Thirteen, which organized an art exhibit at the Centennial celebration.

Original glass magic lantern slide, hand-numbered #1818, by Siegmund Lubin, titled "THE SUN." Features a smiling sun with bright yellow rays. The slide bears Lubin's address, 21 S. 8th Street, Philadelphia. Lubin opened his first optical shop at 237 N. 8th Street in 1885 and moved to 21 S. 8th Street in 1890, where he began making magic lantern slides. Siegmund Lubin was a pioneer in early motion pictures and invented the first practical cineograph. Circa 1890.

This letter, dated March 26, 1866, is from H. G. Norton & Co. in New York to the Providence Rubber Co., concerning sample shipments of hosiery. The letter features an ornate, highly detailed lithographed letterhead depicting a block of buildings on Broadway, New York. The illustration identifies several businesses, including H.G. Norton & Co. (Rubber Goods) at 509 Broadway, Bogardus Photographs, Taylor's International Hotel & Saloons, Solomon & Hart (Fabric for upholstery), S. Strahlheim & Co. (Laces & White Goods), E.A. Hayt & Co. (Cloaks and Mantillas), W.H. Lyon & Co. (Yankee Notions and Hosiery), Watrous Boyden & Fay (Hats), and B.F. Beekman (Silk and Straw Goods), each with their specific building number. The architectural style depicted is typical of mid-19th century commercial blocks in a major city. **3.

A handwritten letter from Theodore Lilienthal in New Orleans, Louisiana, dated May 25, 1865, addressed to J. P. Van Nest in Mobile, Alabama. The letter offers photographic services, detailing prices at $12.50 per hundred pictures or 25 cents each, and notes that the pictures are "the best and are approved by the respective generals." The letter is written on lined paper in a cursive hand. It is accompanied by an addressed and stamped envelope, postmarked "T. Lilienthal, New Orleans, May 27 1865" and "New Orleans LA May 29 65." 3.

A letter from O. A. Crawford to the Gassner & Marx Camera Company in Rochester, New York, dated January 17, 1899. The letter is printed on the company's letterhead, which features a lithograph of a Dayplate camera. The envelope also features the company's lithograph. The letter was sent from Thorntown, Indiana.

Carte-de-visite photograph of the Confederate Treasury Building (now National Bank of Virginia) in Richmond, Virginia, taken by Levy & Cohen in 1865. This image is part of a series documenting the damage to the Confederate capital after the American Civil War. The photograph is matted and mounted on card stock with an informational panel on the back. The image is exceptionally rare; only approximately 20 different views from this series are known to have been sold commercially.

Carte-de-visite photograph depicting the Treasury Building in Richmond, Virginia, after the Confederate capital was spared from the flames of April 3, 1865. Published by Levy & Cohen of Philadelphia, this image is part of their series, "Levy & Cohen's Views of the Rebel Capital and its Environs." A cancelled two-cent stamp appears on the reverse.

Leather-bound album containing a dozen or more cabinet cards and carte-de-visites (CDVs), predominantly from the 1860s, featuring the Levy family and photographs by prominent New Orleans photographers. The album includes images with New Orleans backstamps (many from Jewish photographers), photographs from Germany and Texas, and inscriptions indicating a presentation in New Orleans in 1865. The album contains biographical notes on several photographers, including S. Moses & Sons and Edward Jacobs.

A sepia-toned carte-de-visite (CDV) photograph depicts a Cooper and Levy delivery cart, pulled by two horses, with a man standing beside it. The cart is visibly labeled "COOPER AND LEVY" and "104 & 106 First Ave Seattle." The reverse side of the photograph features the imprint of the photographer, "J. C. JUDKINS, PHOTOGRAPHER," indicating their location at "Concord and University Sts., Seattle - Wash." The image captures a moment in late 19th-century urban commerce, showcasing a common mode of delivery for a mercantile business.

A carte-de-visite (CDV) photograph titled "Synagogue, Hanover Street" on the mount recto. The image depicts an outdoor view of the facade of the synagogue building on Hanover Street in Baltimore, featuring a prominent portico. The verso of the mount includes the photographer's imprint, "D. R. Stiltz & Co., View Photographers, Office at Butler, Perrigo & Way's, 168 W. Baltimore St., Up Stairs," and a copyright statement: "Entered according to Act of Congress, in the year 1864, by D. R. Stiltz & Co., in the Clerk's Office of the District Court of Maryland." A pencil inscription on the verso notes that "Henrietta Szold's father was rabbi of this synagogue 'Hanover St. Synagogue'." This building was the early home of Temple Oheb Shalom, founded in 1853, and was later renovated in 1870.

This cabinet photograph, taken circa 1890, depicts the headstone of William Tinsley at Gettysburg National Cemetery in Gettysburg, Pennsylvania. The inscription on the headstone reads "WILLIAM TINSLEY CO. F. 5. CAV.", indicating his service in Company F of the 5th Cavalry. The image shows the headstone surrounded by grass and is mounted on a gray card, typical of the cabinet photo format.

An albumen print photograph titled "No. 9.--Bombproof, for Telegraph Operator in Trenches" depicting a dug-out structure covered with earth, located by a body of water, likely a trench. The photograph was taken by Haas & Peale on Morris Island, South Carolina, and Hilton Head, South Carolina, around 1863, during the American Civil War. The print is mounted on card stock and features a decorative geometric border framing the image. The photographers' names, "Haas & Peale," are signed on the image itself, and printed below the image are "Photod by Haas & Peale Morris Island & Hilton Head, S.C." and the descriptive title.

This albumen print, titled "No. 41.--One piece--Henry's Battery," captures an artillery battery during the American Civil War. The photograph depicts soldiers, including African American artillerists, gathered around a cannon with horses nearby, set against a sandy, outdoor landscape. The scene features commanding officer Captain Guy Henry seated on horseback. The image is mounted on cardstock, with the photographers' imprint and title printed on the recto. A decorative corner border is visible on the mount. The photograph is part of a series taken in South Carolina in 1863, documenting General Quincy Gillmore's army and siege operations.

This albumen print, created by photographers Haas & Peale, depicts "No. 10.--Battery Hays," featuring seven 30-pounder Parrot Rifles positioned \"Against Wagner\" on Morris Island, South Carolina. The photograph is mounted on card stock and framed by a decorative green border with ornate corner embellishments typical of the period. This image is part of a rare series documenting General Quincy Gilmore's Union Army siege operations in South Carolina during the Civil War, specifically in 1863.

This stereoview photograph, captioned "Clove Valley", depicts a scenic rural landscape with a wooden fence winding through trees and open terrain, offering a distant view. It is part of photographer Isaac Almstaedt's "Staten Island Gems" series, capturing the natural beauty of Staten Island.

A sepia-toned cabinet card photograph, attributed to Isaac Almstaedt, depicting a steamboat in the middle of a body of water with a dock on the left side and several sailboats in the background. The verso of the card is captioned "Bay by moonlight."

This Carte de Visite, attributed to photographer Isaac Almstaedt, captures a quiet town street scene. The sepia-toned photograph features a dirt road leading into the distance, flanked by mature trees and fencing. On the right side, a substantial brick building with a gabled roof is visible behind a white picket fence, suggesting a residential or institutional structure. The overall composition provides a glimpse into a late 19th-century landscape, possibly of Staten Island.

This cabinet card features a portrait of an infant baby dressed in a long, elaborate white christening gown, seated against a dark, patterned backdrop. The photograph is mounted on a stiff cardboard card typical of the late 19th century, featuring the photographer's name, "J. Haas," in ornate script on the lower left, along with the address "7117 So. Broadway, St. Louis." **3.

This Carte de Visite (CDV) is a sepia-toned photograph attributed to Isaac Almstaedt, depicting a view from the St. Marks Hotel. The image shows a landscape with a single figure wearing a hat, a garden in the foreground with various plants and some architectural elements, and a body of water with distant structures in the background. The reverse of the card bears the handwritten caption "View from St. Marks Hotel."

A stereoscopic photograph depicting a steamboat at a dock, featuring well-dressed white and black individuals. The back of the photograph is stamped "J. G. Mangold, Portrait & Landscape Artist, Hickman & Kimberly Block, Palatka, Florida." The photograph was likely taken after the great fire of 1884 in Palatka, as J.G. Mangold, a resident photographer, documented the aftermath of the fire. The photograph's creation is estimated to be circa 1880, based on the information provided. Additional genealogical information about J.G. Mangold's family is included in the archival description.

A photograph of Al Jolson. The photograph is dated January 1, 1929. The photograph is part of MS. Coll. 1410, M, Oversize box 1, folder 28.

A photograph of the Hess Brothers department store located on Hamilton Street in Allentown, Pennsylvania. The photograph, dated circa 1905, is described as the "best available" image of the store. The image is part of the M Collection, located in Ms. Coll. 1410, Box 8, Folder 33.

A photograph depicting the storefront of Joseph Levy & Son Real Estate, located at 389 [Street Name]. The image shows the owner standing outside the store. Adjacent businesses include a deli and a hardware store. The photograph indicates that the business also offered money loans. The date is unknown but is inferred to be around 1900.

Carte-de-visite photograph depicting Richmond, Virginia in ruins after the Civil War. The photograph, part of a series documenting the aftermath of the war, was taken by the firm Levy & Cohen, located at the northwest corner of Ninth and Filbert Streets, Philadelphia. The image shows the 'Burnt District' of Richmond. Levy & Cohen, a partnership of two Jewish photographers, toured Richmond in the summer of 1865 and captured at least 33 different views of the city. This particular photograph is exceptionally rare, with only a limited number of surviving examples. Published in Philadelphia, Pennsylvania, approximately 1865.

A photograph depicting the storefront of Rosenfeld Bros. located at the corner of Baltimore Street and Market Space in Baltimore, Maryland. The image shows a brass sign that reads "BUY YOUR CLOTHING." The photograph is dated circa January 1, 1865.

A photograph depicting the grocery distribution center of Sears. The image is described as a "great colored picture." The photograph dates from circa 1910 and is associated with Julius Rosenwald. The photograph's geographic location is Chicago, Illinois.

Photograph of Temple Israel. The exact date is unknown, but based on contextual clues is presumed to be circa 1910. The photograph is part of the M collection, located in Ms. Coll. 1410, Box 6, Folder 39. The image shows Temple Israel.

Carte-de-visite (CDV) photograph of the Jewish Cemetery on Ocean House Road in San Francisco, California. The verso of the photograph is titled "468. Jewish Cemetery, Ocean House Road" and includes a cancelled two-cent revenue stamp dated September 10, 1868. A similar photograph exists in the Library of Congress collection, dating to 1866.

A photograph depicting the Jewish Sanatorium for Incurables. The hospital is prominently featured in the foreground. The image was likely taken around January 1, 1926.

Photograph depicting the ghetto in New York City. The photograph's date is estimated to be January 1, 1909, based on metadata provided by the donor. The image is part of the M Collection, located in Ms. Coll. 1410, Box 6, Folder 40. Geographic location is New York City, New York.

Collection of over fifty original snapshots depicting scenes in Israel circa 1945-1948. Subjects include immigrants arriving by truck, Arab individuals, tent camps, individuals possibly including Weizmann and Herzl, military personnel, children, and various other scenes.

A group of eight photographs depicting scenes of settlers. The photographs are dated 1/1/1947. The geographic location is Texas.

A postcard depicting an unknown scene. This is one of three in a set and was sold for 25 cents. The exact date of creation and publishing information are unknown. The postcard is part of the Ms. Coll. 1410 collection, housed in Box 3, Folder 16.

Single page from the periodical *Judge*, published in New York, New York, on January 1, 1902. The page features an article titled "Secretary Hay's Note and the Jewish Question" and includes five unflattering photographs of Jews in New York City. The article exhibits antisemitic sentiments.

A stereoscopic photograph showing a path through a cemetery in New Orleans, Louisiana, lined with numerous ornate vaults and scattered trees. The reverse side features intricate Victorian-style lettering advertising "Series of Stereoscopic Views of New Orleans & Vicinity" and "A. Lilienthal Photographer," embellished with a cherub motif.

This stereoscopic photograph, produced by A. Lilienthal, captures a bustling view of Canal Street in New Orleans, Louisiana, around 1876. The image depicts a wide street with cobblestones, numerous pedestrians, horse-drawn carriages, and streetcars. Multi-story buildings line both sides of the street, with a distant church spire visible. One prominent establishment on the left side of the street is identified as "Lilienthal's Watch & Jewelry." The reverse side of the stereoview features ornate Victorian-style typography, a cherub motif, and decorative borders, branding it as "Series of Stereoscopic Views of New Orleans & Vicinity" by "A. Lilienthal, Portrait & Landscape Photographer."

A stereoscopic photograph depicting the Ohio River Bridge (also known as the 14th Street Bridge) from the Louisville, Kentucky side. The image shows the long span of the bridge with its stone piers and metal truss structure, extending across the river. The foreground features a grassy, uneven embankment. The item is a stereoview, designed to create a three-dimensional effect when viewed through a stereoscope, and bears the photographer's name "E. KLAUBER Photo." and location "Louisville, Ky." printed vertically on the left side.

A stereoscopic photograph titled "New York Harbor," taken by I. Almstaedt, Photographer. The image presents an elevated panoramic view of a city landscape with a significant body of water, likely New York Harbor. The verso of the card features a pink background with "Staten Island Gems" printed in decorative script, followed by "I. Almstaedt, Photographer, Tompkinsville, S.I." and "Duplicates can always be had," indicating it is part of a series by the photographer.

A duotone stereoscopic photograph from the "Staten Island Gems" series by I. Almstaedt, Tompkinsville, S.I., circa 1875. The image, possibly titled "Fort Street N.B." based on handwritten inscription and external description, depicts a snow-covered winter landscape with bare trees and a stone wall. The card features a narrow red border on the front. The reverse is printed on pink cardstock with "Staten Island Gems" in ornate Victorian-style lettering above "I. Almstaedt, Photographer, Tompkinsville, S.I." and the phrase "Duplicates can always be had."

A stereoscopic photograph by I. Almstaedt, part of his "Staten Island Gems" series, depicting Sailors' Snug Harbor. N. B. The image captures a grand building with columns, possibly part of the Snug Harbor complex, surrounded by numerous bare trees, a decorative fence, and an ornate gateway. The ground appears bare, possibly in winter. The photograph is mounted on a card with an orange border. The reverse side, partially damaged, features a pink background with ornate text indicating "I. ALMSTAEDT, PHOTOGRAPHER, TOMPKINSVILLE, S. I." and the phrase "Duplicatas can always be had."

This stereoscopic photograph, part of the "Staten Island Gems" series by J. Almstaedt, Photographer, depicts the "Piazza N. Y. Yacht Club House." The image shows a spacious interior hall with an arched wooden ceiling, supported by numerous wooden pillars, and rows of empty chairs set up, suggesting an event space or dining area. The back of the stereoview is printed with "Staten Island Gems," "J. Almstaedt, Photographer," and "Tompkinsville, S. I." in ornate Victorian-style lettering. **3.

A stereoscopic photograph from the series "Staten Island Gems," featuring a hillside view of a road with trees and scattered figures. The photograph is mounted on a card, with the reverse side displaying the series title "Staten Island Gems" and the photographer's name "J. Almstaedt, Photographer" along with "TOMPKINSVILLE, S. I." in ornate black typography. The card also states, "Duplicates can always be had." 3.

A stereoscopic photograph from the "Staten Island Gems" series by J. Almstaedt, depicting the "N. Y. Yacht Tub House" located on a pier over water, with small boats nearby. The verso is pink with ornate black text advertising "Staten Island Gems" and identifying "J. Almstaedt, Photographer" of Tompkinsville, S. I., also noting "Duplicates can always be had." The image captures a serene waterside scene.

This stereoscopic photograph, titled "View from Hamilton Park," is part of the "Staten Island Gems" series by J. Almstaedt, Photographer, located in Tompkinsville, S.I., circa 1875. The image captures a serene landscape from Hamilton Park, featuring a verdant vista with lush trees framing the scene, a wooden fence, and two small figures observing the distant scenery. The back of the item features the series title "Staten Island Gems" in a stylized, decorative font, along with the photographer's name and location. 3.

A stereoscopic photograph from J. Almstaedt's "Staten Island Gems" series, depicting an "East Side Ferry Boat" on the water, leaving a prominent wake. The item presents two identical photographs mounted side-by-side on a card for 3D viewing. The front of the card features an orange border, while the pink reverse side includes printed text identifying the photographer, his location, and the series name "Staten Island Gems," noting that "Duplicates can always be had."

A stereoscopic photograph showing a long wall of burial niches in the New St. Louis Cemetery on Esplanade Street in New Orleans, Louisiana. The scene depicts numerous individual tomb compartments, some adorned with wreaths, under a tree-lined sky. The reverse side of the photograph features ornate Victorian-style typography advertising "Series of Stereoscopic Views of New Orleans & Vicinity" by "Lilienthal, Portrait & Landscape Photographer."

This stereoscopic photograph, created by T. Lilienthal, captures a view of the Jockey Club House in New Orleans, Louisiana, which was also known as the Luling Mansion and later the Louisiana Jockey Club. The image features a large, multi-story building surrounded by dense trees and shrubs, with a winding pathway leading towards it. The reverse side of the card is adorned with ornate Victorian-style typography, including a cherub motif, advertising "Series of Stereoscopic Views of New Orleans & Vicinity" and identifying "T. Lilienthal, Portrait & Landscape Photographer" at 121 Canal St., New Orleans. **3.

A stereoscopic photograph titled "New Orleans Scenery," captured and published by T. Lilienthal. The image depicts a street scene featuring buildings, trees, and decorative garden beds or planters with statuary. The reverse side lists numerous "New Orleans Views" available from Theo. Lilienthal, indicating a wide range of subjects photographed by the studio. The front includes the photographer's name and location (N. O., LA) printed vertically along the right edge.

The item is a stereoscopic photograph by T. Lilienthal, capturing a view of Howard Cemetery in New Orleans, Louisiana, circa 1870. The image features a large fountain in the foreground, with various monuments and structures visible in the background. The reverse side of the card is ornately decorated with Victorian-style lettering, identifying the item as part of a "Series of Stereoscopic Views of New Orleans & Vicinity" by T. Lilienthal, a "Portrait & Landscape Photographer" located at 121 Canal St., New Orleans. 3.

This stereoscopic photograph captures a woman and a young child with a small wheelbarrow on a paved driveway in front of a grand private residence, surrounded by mature trees. The back of the item features an elaborate design typical of Victorian-era photography, including a cherub figure, ornate borders, and decorative text. It identifies the item as part of a "Series of Stereoscopic Views of New Orleans & Vicinity" photographed by "T. Lilienthal, Portrait & Landscape Photographer." The address "121 Canal St., New Orleans" is noted, along with the inscription "100 Private Residence on St. Charles st."

A stereoscopic photograph by Theo. Lilienthal, produced in New Orleans during the late-1860s to early 1870s. The view depicts the equestrian Jackson Monument situated within Jackson Square. The reverse side features a decorative cherub logo and text indicating it is part of a "Series of Stereoscopic Views New Orleans and Vicinity." The item is a sepia-toned stereoview, typical of 19th-century photography.

This stereoscopic photograph captures a bustling scene at the "French Market" in New Orleans, Louisiana. The image depicts numerous people, horse-drawn carts laden with goods, and buildings lining what appears to be a street or market thoroughfare. The back of the item identifies it as part of a "Series of Stereoscopic Views of New Orleans and Vicinity," photographed by Theo. Lilienthal, and features a decorative cherub logo.

A stereoscopic photograph depicting the luxurious interior of the SS Great Republic's cabin. The image shows a long, grand hall with an arched ceiling, illuminated by multiple ornate chandeliers. Rows of elegant chairs and tables extend into the distance, suggesting a dining area or salon. The reverse side of the photograph features an ornate decorative frame with text identifying the photographer, Theo. Lilienthal, and stating "Series of Stereoscopic Views of New Orleans and Vicinity." The SS Great Republic was a sidewheel steamship, launched in 1866, and was the largest passenger liner on the US west coast, and the largest ship of any kind built in the United States for commercial purposes at that date.

This stereoscopic photograph captures a bustling street scene on Canal Street in New Orleans, Louisiana, circa 1875, likely during a Mardi Gras celebration. A large crowd of people fills the street, gathered around a prominent statue, possibly of Henry Clay. Buildings line both sides of the street, and utility poles are visible. The reverse of the photograph features ornate Victorian-style lettering reading "Series of Stereoscopic Views of New Orleans and Vicinity" and "PHOTOGRAPHED BY Theo. Lilienthal," accompanied by a decorative cherub logo holding photographic equipment. 3.

This stereoscopic photograph presents a bird's-eye view of New Orleans, Louisiana, looking from St. Patrick's towards the river, with prominent buildings and the Hannah Sugar Refinery visible. The item is a stereoview, intended for three-dimensional viewing. The reverse side features an ornate, decorative border enclosing text that identifies the photographer, Theo. Lilienthal, and states it is part of a "Series of Stereoscopic Views of New Orleans and Vicinity." 3.

This stereoview depicts the interior of the U.S. Treasury's "Dry Press Room," showing multiple workers engaged in the process of manufacturing currency. The image provides a glimpse into the industrial operations of the U.S. Treasury in Washington, D.C., during the mid-19th century. An advertising label on the reverse identifies H. Cohen as a dealer in "Cromos, Engravings, and Frames" in Washington, D.C., suggesting he sold or distributed this photographic view.

This stereoscopic photograph, part of the "Staten Island Gems" series by Isaac Almstaedt, a photographer based in Tompkinsville, Staten Island, captures a tree-lined street captioned "St. Marks Place, N. B." (New Brighton). The reverse side of the card features the photographer's name and series title in decorative, ornate Victorian-style lettering typical of the period. 3.

This stereoview, part of the "Staten Island Gems" series by J. Almstaedt, Photographer, depicts the steamboat "Thomas Collyer" on the water, with what appears to be a lighthouse or buoy in the distance. The front of the card is captioned "Thomas Collyer". The reverse side features ornate Victorian-style lettering for "Staten Island Gems" and identifies J. Almstaedt as the photographer, located in Tompkinsville, S.I., noting that "Duplicates can always be had." The card itself has an orange border, typical of stereoviews from the period, designed to be viewed with a stereoscope to create a three-dimensional effect.

A stereoview photograph depicting the exterior of the Levy & Stearn store, a fancy goods and toy bazaar located at 168 Superior Street in Cleveland, Ohio. The storefront is elaborately decorated with various goods on display, including baby carriages, toys, and other merchandise, with several individuals standing outside. The reverse side of the card serves as an advertisement, detailing Levy & Stearn as importers, wholesale and retail dealers in Fancy Goods, Toys & Notions, Wooden and Willow Ware, Berlin Zephyrs, Germantown Canvasses, Perforated Board, and Gold & Silver Trimmings for military, regalia, church, and theatrical purposes. It also notes them as sole agents for Whitney Baby Carriages. The card features ornate Victorian-style typography. The front of the stereoview has vertical text reading "168 Superior Street, opp. Weddell House, CLEVELAND, OHIO." and "FANCY GOODS & TOY BAZAAR."

This trade card features an engraved portrait of John Hancock on the front, with the name "Hancock" printed below and "Bufford Boston" in the bottom right corner, indicating the publisher or printer. The reverse side presents a "Directory of Reliable Business Men on Fulton Street, BROOKLYN," listing various businesses, their industries, and street numbers. Businesses include a one-price clothier, cigar store, hotel and restaurant, saddle & harness maker, hatter, fashionable boot & shoe maker, fine groceries, photographer, dyeing establishment, dry goods store, central tea company, butter/cheese/egg supplier, fruit/wine/liquor store, music store, furniture store, bakery, butcher, fancy goods store, gent's furnishing goods store, and sporting goods store. The card serves as an advertisement and business reference, typical of late 19th-century mercantile practices.

A double-sided trade card for Herrman Cohn, an importer and wholesale dealer located at 19 Dupont Street, San Francisco, California. The front of the card features a red illustration of a lighthouse on a rocky shore with radiating light, alongside the business name and address in bold, decorative typography. The verso details the products offered: moldings, frames, engravings, artists' materials, chromos, photographs, ornaments, cut out pictures, decalcomanies, looking glasses, and cords. The typography on both sides is bold and decorative. Note: The business name appears as "Herrman Cohn" on the front and "Herrman Cohen" on the verso. 3.

A trade card for J. E. Bernstein, identifying him as "New Jersey's Coming Clothier" located at 50 Newark Ave., Jersey City, N. J. The front of the card features a colorful lithographic illustration of a woman in a period dress with feathered hair and fur accents, set against a plain red background. The verso contains a black and white photographic portrait of J. E. Bernstein, a man with a mustache, likely the proprietor, along with the business's name and address.

This trade card advertises J. L. Greenbaum, a photographer located at 217 South Third Street in Louisville, Kentucky. The front of the card features a photograph of a woman standing in front of a clock. The back of the card includes a full advertisement and highlights Greenbaum as the sole agent for the Rochester Photo Press advertising cards.

This trade card advertises L. Levin & Son, photographers located at 910 Market Street in San Francisco, California. The front of the card depicts a comical, drunken man. The back of the card is blank.

This trade card advertises the services of Louis E. Levy, a general outdoor photographer. The front of the card features a stylized image of a camera lens on a black background. The back of the card provides more information about the business, including the address: 622, and Levy's specialization as a publisher of 'Levy's Photographic Advertising Albums.'

This trade card advertises Moses, a photographer in New Orleans, Louisiana. The card is easel-shaped and features a scene with a hose, boat, and mountains. On the back is a list of photographers in New Orleans. This card was in an exhibit at the Library of Congress in Cincinnati during 2005.

This trade card advertises Blessing & Bro., a photographic supply firm in Galveston, Texas. The front of the card (Image 1) depicts a charming scene of puppies watching their mother kill a rat. The style suggests a late 19th-century aesthetic. The back of the card (Image 2) features a full advertisement for Blessing & Bro., listing their services including frames, albums, and photographic apparatus. The address, 117 Market Street, is visible on the front of the card.

Trade card advertising Daisies, a business offering pictures and frames, located at 614 Fulton Avenue. The card is estimated to date from circa 1885. The card's geographic location is New York, NY, based on the address.