Pictured here we have an exceptionally rare and original, 1820′s large size, Hand Sewn 24 Star American Flag.

The Flag came to us without information on its origin,  but we know that the 24 Star Flag was in use from July 4th, 1822 (after Missouri joined the Union) until July 4th, 1836 (when Arkansas became the 25th state). Although this was a rather long period, 24 Star Flags are among the very rarest and most sought after by collectors.

The outstanding research website “Rare Flags” by Anthony Iasso has this to say about the 24 Star Flag:

“Period flags in this star count are extremely rare. Although the period for 24 stars lasted for a relatively long time, flags in this star count are extremely rare, since militarily the nation was at peace and flag making for home use was uncommon. Some flags were made during this period to welcome Lafayette on his visit to the United States in 1824, but of the few flags that are believed to be from this period, possibly to celebrate that event, most feature 13 stars”.

He also states:

“Flags that pre-date the American Civil War are very rare. Those in certain star counts, such as this flag of 24 stars, are almost non-existent… Both 24 and 25 star flags are exceedingly rare, with just a small handful known to survive. Although among collectors smaller flags are generally more sought after, I’m personally very attached to these majestic large ship’s flags from the early-to-mid 19th century. Flags of this period were almost never made for personal use. The few survivors of the period were typically made for maritime or Navy use. They show the age and character of that time in American history where our sailing ships traveled the world, building up our nation’s trade and influence. These large flags were grand signals of our national presence, and they were often the first recognizably American symbol that people in foreign ports, unfamiliar with America itself, came to recognize as the symbol of our nation.”

Click Here to view one of the few surviving 24 Star Flags which is amazingly similar to the example offered here!!

This particular 24 star Hand Made American Flag measures approx. 140″ by 85″ and is made of strips of red and white wool bunting type material with a blue canton with inserted white cotton stars. Every bit of the extensive stitching on this beautiful and historically important Flag is hand sewn including all of the repairs and patches.

This Flag was not a factory production piece but a very large Flag made for a particular purpose likely as a Ship’s Flag. Although this Flag was official from 1822 to 1836, it was a period of peace and, since American Flags were not made for “home” use at the time, very few flags with this star count were made. We are told that 24 Star Flags are “almost non-existent” and only a small handful are known to have survived.

There no grommets on the hoist of the Flag but rather there is an original, braided rope cord sewn into the hoist with loops in the end of the cord for mounting the Flag on a pole or mast. There are 2 holes in the hoist – one near the top and one near the bottom. The borders of these holes have been hand sewn to create a reinforced “cloth grommet” There is a period, manuscript inscription in iron gall ink on the hoist that reads “4 yds” – indicating that the Flag is 4 yards long. The canton measures approx. 74″ by 47″. The 24 stars are arranged in four rows with 6 stars in each row.

This is an exceptionally rare and historically important, 1820′s large size, Hand Sewn 24 Star American Flag and worthy of a place at the very center of even the most advanced Museum quality Collection! We are thrilled to have been able to have it if only for a brief time!!

ORIGINAL 1820′s HAND SEWN 24 STAR AMERICAN FLAG – EXCEPTIONALLY RARE SHIP’S FLAG

For more information, please see our eBay listings.

Pictured above is an  original, 1863 Battle of Gettysburg / Civil War subject CDV Photograph, which was sold to support those children orphaned by the Civil War. This fascinating  CDV is titled “The Children of the Battle Field” and features a fantastic Albumen Photograph taken from the famous Ambrotype Photograph which was originally found clutched in the hands of an unidentified Union Soldier who died on the Battle Field at Gettysburg.

The three young children pictured here are identified in printed text on the card mount below the photo as “Frank. / Fredrick. / Alice.”. Printed text on the back of the mount reads: “The Children of the Battlefield. / This is a copy of the Ambrotype found in the hands of Sergeant Humiston of the 154th Regiment of New York Volunteers, as he lay dead on the Battle-Field of Gettysburg. The copies are sold in furtherance of the national Sabbath School to found in Pennsylvania an Asylum for dependent Orphans of Soldiers in memorial of our Perpetuated Union”. Further text on the reverse reads “This Picture is private property and cannot be copied without wrongdoing the Soldier’s Orphans for whom it is published”.

Here is a “Sketch” written in 1863 detailing the story of “The Children of the Battlefield”:

“Few readers of the public journals will fail to remember that, after the battle of Gettysburg, a dead soldier was found on the field, clasping in his hand an ambrotype of his three little children. No other incident of the present fratricidal war is known to have so touched the heart of the nation. For months after the battle, the soldier’s name, and the home of his family, were a mystery. The ambrotype found within his clasped hands was obtained by J. Francis Bourns, M.D., of Philadelphia, who had the picture photographed, in the hope that its circulation might lead to the discovery of the family, and the soldier’s own recognition, and, at the same time, that the sales of the copies might result in a fund for the support and education of the little ones thus left fatherless. Publicity was also given to the incident in many newspapers throughout the country. From various quarters letters of affecting inquiry were soon received; but still the mystery of the soldier was unsolved. At length, in the month of November, a letter arrived with the intelligence that a soldier’s wife at a little town on the Allegheny River, in Western New York, had seen the account of the picture in a religious paper, the American Presbyterian, of Philadelphia, – a single copy of which was taken in the place. She had sent her husband such a picture, and had not heard from him since the sanguinary struggle at Gettysburg. With trembling anxiety she awaited the reply and the coming of the picture. A copy of it came, and was the identical likeness of her own children, and told the painful story that she was a widow and her little ones were orphans. The unknown soldier was thus ascertained to be Amos Humiston, late of Portville, Cattaraugus county, New York, sergeant in the 154th N.Y. Volunteers.”.

A glass plate showing the aftermath of The Battle of Gettysburg titled “A Harvest of Death.” This image was taken by Timothy H. O’Sullivan for Alexander Gardner circa July 5-6, 1863. It is courtesy of the Library of Congress.

For more information, please see our eBay listing.

An early Billings, Montana photographer, Alfred Baumgartner had a studio on Minnesota Avenue which opened in 1906 and closed just a few years later. Little is known of his work except that he was certainly a true Western Photographer – had a “cowgirl” in his employ at the studio and most of his surviving works are in studio portraits of local Billings, Montana residents. We recently purchased a small collection of simply fantastic and stunningly beautiful, Art Photo style portraits of Native American Crow who lived on the expansive Crow Indian Reservation south of Billings, that were taken and copyrighted in 1906 by Alfred Baumgartner.

As far as we can tell Baumgartner, never published this or any of the Crow Images in this wonderful collection as we can find only a single example of a Native American Photograph by Baumgartner in any museum or library collection (that photograph is of Crow Chief Plenty Coups and is held in the collection of the Yellowstone Western Heritage Center- image can be found here). We believe this beautiful Photograph may be the only known example or at the very least exceptionally rare.

Each Photograph in this collection is very much in the style of Carl Moon with a soft, warm “feel” to the Image and a respectful treatment of the subject, and most features a wonderfully appropriate and beautiful painted backdrop and the high quality and stunning beautiful, embossed card mount that complete the artistic presentation. There is text in a number of the negatives, or stamped on the recto, that reads “Baumgartner Studio, Billings, Mont.”.

Studio full length Photographic seated portrait of an unidentified Crow Woman    dressed in a beautiful, elk tooth tunic and wearing a multi-strand necklace and agency blanket.

 Photographic portrait of an unidentified Crow Warrior dressed in traditional garb with an elaborate, multi-strand necklace and with typical Crow hair style along with his wife. Also in the Photo is a second Crow brave dressed in much more western style clothing with his wife and young child . (We feel that we have seen this Crow Brave at the left before but we have been unable to identify him. Any information regarding his identity would be greatly appreciated.)

Studio full length portrait Photograph of an unidentified Crow Warrior dressed in traditional garb with an elaborate, multi-strand necklace and with typical Crow hair style. (We feel that we have seen this Crow Brave before but we have been unable to identify him. Any information regarding his identity would be greatly appreciated.)

This Photograph is a half figure, studio portrait of Strikes the Iron dressed in a wonderful, elk tooth tunic.  (The subject is not identified but the wife of Chief Plenty Coups was photographed numerous times in her life and she is easily recognizable.)

This Photograph is a full figure, studio portrait of the Plenty Coups and his wife Strikes the Iron dressed in a combination of traditional and western garb with Plenty Coups wearing his full eagle feather war bonnet and a pipe bone breastplate.

More information on Chief Plenty Coups:

The last traditional Chief of the Crow Nation, Plenty Coups was a visionary that led his people from the ‘Buffalo Days’ into the 20th century. He was an accomplished statesman and ambassador well known by several US Presidents and foreign leaders. Chief Plenty Coups best illustrated the close bond between the US and Crow Nation when, in 1921, he offered his war bonnet and coups sticks at the dedication of the Tomb of the Unknown Soldier. In his speech, he promised the allegiance of Crow warriors to fight any enemy of the United States. His promise has been upheld countless times in wars or armed conflicts since that gathering. The Chief was a leader by example – he was a productive farmer and stockman, expert steward of his 1885 allotment, and a supporter of education. In 1928 Plenty Coups and his wife, Strikes the Iron, willed their home and land as a place for all cultures to come together in a cooperative nature. Their homestead is now Montana’s Chief Plenty Coups State Park. The Chief did not dedicate this location to glorify himself or his deeds, but to honor the culture of the Crow Nation and to bring people together.

For more information, please see our eBay listing.

This Photograph has absolutely no identification, nor a photographer’s mark but our extensive online research turned up the fascinating story of this wonderful image. As far as the photographer is concerned, we know that Warren King Morehead (pictured at the left) was the only news reporter on site in the days following Wounded Knee that had “his own photographer”. There is some confusion in many of the pictures associated with Morehead, because on top of having “his own photographer”, he also in many instances took photos himself. In this particular case it appears most likely that Morehead engaged one of the few photographers who were present at Pine Ridge in the days following the “Battle”, all of whom were employed by George Trager.

The Photo is a truly amazing tableaux with Warren King Moorehead seated wearing a revolver in a holster attached to a belt loaded with cartridges. A large caliber, double barreled shotgun leans against a clock behind Mooreheads chair. Pine Ridge and Deadwood, South Dakota Deputy U. S. Marshall George Bartlett sits at a table writing furiously. Bartlett also has a substantial six gun in a holster at his belt and a beautiful, Winchester Repeating rifle on the table in front of him. The Indian Police Sentry also wears a revolver in a holster on rig studded with cartridges and holds his Springfield rifle in front of him. This room is cluttered but certainly chock full of weapons with a large caliber rifle leaning against the wall behind the unidentified gentleman and another rifle on the desk to the right of Moorehead.

We were able to identify the folks in this Photograph from the caption printed under the Newspaper illustration taken directly from the Image. The caption reads: “Where the graphic dispatches which have appeared in the daily press during the past fortnight where written. The figure on the left is the writer of the accompanying article. The Indian police sentry on the right was guarding the ravine back of the house and was called in to be photographed”. The accompanying article was written by Moorehead (thus identifying him in the photo) and we could easily identify Bartlett (from other portraits) who was Moorehead’s friend and Indian language translator. The location was somewhat of a mystery until we discovered a photograph published on page 124 of the volume titled “Eyewitness at Wounded Knee” (Jensen, Paul and Carter; Nebraska State Historical Society, 1991). That image shows Marshall George Bartlett standing in front of the combination Post Office and Store owned by Louis Mousseau with its small attached log cabin residence. The caption led us to believe that the Image offered here was taken in the residence of Mousseau. That caption reads “The first news stories of the killings at Wounded Knee were written in the small log cabin shown here, just behind the Wounded Knee Post Office… The small cabin was the home of Louis Mousseau, a French-mixed blood, who operated the combination Post Office and store. This was the nucleus of a small community. There was a day school, a little used Presbyterian church and a nearby dance lodge. George Bartlett (standing) had a financial interest in the store.”. The caption to this photograph seems to identify the location of the Photo offered here (by its reference to the earliest reports of Wounded Knee and the connection with George Bartlett) but also likely identifies the unknown white man in the image as the owner of the home – Louis Mousseau.

George E. Bartlett was a quite fascinating character – a U.S. Marshal for Pine Ridge Agency as well as for a city west of there already infamous as Deadwood, South Dakota. Bartlett had worked as a sales representative for the gunpowder company and also ran a small trading post of his own on a creek through part of the Pine Ridge Reservation. From his wild days as a Pony Express rider and then Marshal in Deadwood, Bartlett had picked up the Indian name “Huste,” which was explained to be a dialect word for “Wounded Knee”. Bartlett had been sent to Pine Ridge in hopes that he could negotiate an end to the “Ghost Dance Troubles”.

In early 1890 Bartlett had invited a young writer / archeologist / anthropologist by the name of Warren King Moorhead out to visit him and had taken him around to the camps and settlements of the Lakota Sioux across the Nebraska/South Dakota border. After the relative success of the author’s novel “Wanneta” (which included much material gathered in this earlier visit) Bartlett had continued to suggest Moorehead come out again to write about this Ghost Dance phenomenon. With the support of an editor at “The Illustrated American”, Moorehead traveled to Chadron, Nebraska where Bartlett owned a ranch, and quickly found himself welcomed in the camp of Red Cloud, a greatly respected Lakota leader.

Moorehead never claimed to speak any of the Lakota dialects he encountered, but the articles he later wrote included a variety of Indian words, and of course his friend and guide George Bartlett spoke a number of Sioux tongues quite well. During this time Moorhead took some of the only photographs of the Ghost Dance ceremony seen before the Wounded Knee Massacre. After almost eight weeks of travel and camping among the various settlements across the Pine Ridge area, he was called into the headquarters of Gen. John R. Brooke, commanding officer of the Department of the Platte. According to Moorehead’s journal, Brooke informed him that as he was the only correspondent who spoke the “hostiles” language, and was accepted enough to overnight in their camps, he was considered a liability to the Army as they tried to bring order to the Pine Ridge situation: so two soldiers would escort him directly to his quarters, watch him pack, and take him to the next train east. Bartlett, however, remained behind and is seen in various photographs taken by Trager and W. R. Cross in the days following the Wounded Knee Massacre. Moorhead returned to Pine Ridge just after New Years Day 1891 and began reporting on the aftermath of the massacre. George Trager and his Northwestern Photographic Company photographers are best known for the Photographs taken in the days leading up to the Battle of Wounded Knee and for those taken of the aftermath of that bloody massacre.

For more information, please see our eBay listing.

Pictured above is what is believed to be a previously cataloged, circa 1896 Richard Outcault “Yellow Kid” Wax Head Full Figure Doll Candy Container (click here for a history of the evolution of the Yellow Kid). Extensive research has been unable to discover another example of this early, newspaper comics character having surfaced, nor any mention of the container in the extensive references pertaining to Yellow Kid Collectibles.

The Yellow Kid was the name of a lead comic strip character that ran from 1895 to 1898 in Joseph Pulitzer’s New York World, and later in William Randolph Hearst’s New York Journal. Created and drawn by Richard F. Outcault in a strip entitled Hogan’s Alley (and later under other names as well), it was one of the first Sunday supplement comic strips in an American newspaper. The Yellow Kid is also famous for its connection to the coining of the term “yellow journalism.”

Mickey Dugan, better known as The Yellow Kid, was a bald, snaggle-toothed boy who wore an over-sized yellow nightshirt, and hung around in a slum alley typical of certain areas of squalor that existed in turn of the 19th to 20th century in New York City. Hogan’s Alley was filled with equally odd characters, mostly other children. With a goofy grin, the Kid habitually spoke in a ragged, peculiar ghetto slang, which was printed on his shirt, a device meant to lampoon advertising billboards.

This apparently previously unknown Yellow Kid Candy Container features the Yellow Kid doll seated with a large drum between his legs. The delicate, thin paperboard drum is covered with an even more delicate, yellow crepe paper, and the top and sides of the drum slide off the base revealing the container which held the candy. The Yellow Kid doll/figure features a wax head, wax hands, and some type of papier-mâché composition shoes. His torso is solid and appears to be contiguous with his head. It is also likely made of wax. He wears a stiff, cloth nightshirt or tunic that appears to have originally been off-white in color (though possibly a light yellow), but is now mostly a dark brown. It appears that he may have originally worn a small hat (there is a small hole in his head and a small ring around the hole that appears to be a “shadow” of where a hat may have been.

The candy container measures approximately 4” tall to the top of the seated Yellow Kid’s wax head, and 4” by 4” at the base (measured from the soles of the Kid’s shoes to his upright back and across his widely spread legs). The drum shaped paper container itself measures approx. 2” tall and 2” in diameter across the head of the drum.

Although the candy container is not marked in any way, there is absolutely no doubt that this is the Yellow Kid – besides his trademark, floor length nightshirt/tunic and the fact that he is “beating the drum,” the figure’s wax head distinctly shows the characteristics of Outcault’s comic creation. This includes two large front teeth (the Kid was often called “snaggle-toothed”), very large ears that are perpendicular to his head, and the trademark Yellow Kid “goofy grin.”

While the cloth nightshirt of the Yellow Kid is complete and intact, it has been stained a uniform, dark brown color (all of the nightshirt except the arms and the top of the back), and there are blotches of a similar brown color on the sides of the Drum. It appears to us that the original candy contained in the Drum melted or deteriorated in some way and caused this staining. The pattern of blotches on the sides of the Drum actually give it the “look” of an “animal skin” surface which, in truth, is quite attractive (although not original). The fact that the body of the Yellow Kid’s Nightshirt is quite uniformly stained dark brown and the arms remain light, creates a rather appealing look also (again, however, not original).

While we were able to uncover a number of very rare and highly desirable wax head doll candy containers from the late 19th century, we have found no mention in any of the references, nor any online references, to a Yellow Kid Candy Container such as the one offered here. We believe that it may, in fact, be a previously unknown Yellow Kid item and perhaps the only known example. Any information regarding the rarity and/or manufacturer of this fantastic Yellow Kid Candy Container would be greatly appreciated!!!

If you are interested in learning more about this item, please see our eBay listing.

Annie Oakley, the iconic American champion sharpshooter and trick-shot artist, was born Phoebe Ann Moses in a rural western border county of Ohio. Oakley’s amazing talent and timely rise to fame led to a starring role in Buffalo Bill’s Wild West show, which propelled her to become the first American female superstar.

Born in 1860, Annie was the sixth of Jacob and Susan Moses’ eight children. Her father, who had fought in the War of 1812, died in 1865 at age 65 from pneumonia and overexposure in freezing weather. Her mother married Daniel Brumbaugh, had a ninth child, Emily, and was widowed a second time. In 1870, Annie and her sister were admitted to an orphanage and within a few months she was “bound out” to a local family to help care for their infant son, on the false promise of fifty cents a week and an education. She spent about two years in near-slavery to them, where she endured mental and physical abuse. She would often have to do boys’ work. One time the wife put Annie out in the freezing cold, alone, to survive. Annie referred to them as “the wolves.” Even in her autobiography, she kindly never told the couples real name. When, in the spring of 1872, she reunited with her family, her mother had married a third time, to Joseph Shaw.

Annie began trapping at a young age, and shooting and hunting by age eight to support her siblings and her widowed mother. She sold the hunted game for money to locals in Greenville, as well as restaurants and hotels in southern Ohio. Her skill eventually paid off the mortgage on her mother’s farm when Annie was 15.

Oakley soon became well known throughout the region. During the spring of 1881, the Baughman and Butler shooting act was being performed in Cincinnati. Traveling show marksman and former dog trainer Francis E. Butler (1850–1926), an Irish immigrant, placed a $100 bet per side (roughly equivalent to $2,000 of today’s money) with Cincinnati hotel owner Jack Frost, that he, Butler, could beat any local fancy shooter. The hotelier arranged a shooting match between Butler and the 15-year-old Oakley. The last opponent Butler expected was a five-foot-tall, 15-year old named Annie. After missing on his 25th shot, Butler lost the match and the bet. He began courting Oakley, and they married on June 20, 1882. The couple never had children.

In 1885 Butler and Annie joined Buffalo Bill’s Wild West – and the rest, as they say, is history!

An 1890’s, cabinet card photograph has recently come to light which is believed to be a previously unknown portrait of shooting champion and renowned trick shot artist Annie Oakley. The photo is by Waltermire of Sioux City, Iowa, and depicts a female trick shot artist that bears a striking resemblance to Annie Oakley. The young woman is pictured making adjustments to a pump-action target rifle (actually a Colt Lightning small frame 22 pump action rifle) and surrounded by sharpshooter targets, American flags, and a second target rifle. The image has never been seen before, and although the woman pictured bears a striking resemblance of Annie, it has not as yet been definitively identified as being a portrait of the woman respectfully nicknamed (by Hunkpapa Lakota Sioux Tribal Chief and Holy Man Sitting Bull) “Watanya Cicilla” (rendered “Little Sure Shot” in public advertisements). Given the content of the photograph and the strong resemblance of the young woman to Annie Oakley, there is a growing confidence that this is a previously unknown portrait of the iconic female sharpshooter – one Oakley historian and researcher has offered the following comment:

“I’ve seen a lot of cabinet cards people have thrown out there with Annie’s name as a suspect. This is the first one I’ve seen where I think it may be the real deal…”

The photograph depicts a young, female trick shot artist working with what appears to be a clay pigeon on the stock of the pump action Colt 22 caliber rifle. She is seated on a chair and holds the rifle straight out in front of her. Behind her is a painted background and an array of American Flags. To the right of the young woman we see a second target rifle and a number of targets and other accouterments, which one would associate with a trick shot artist in a Wild West Show. The mount is also printed with the photographer’s credits of Waltermire of Sioux City, Iowa. We know that on September 22, 1896, Buffalo Bill’s Wild West (with Annie Oakley as a member of the cast) performed at Sioux City, Iowa, and it is entirely possible that this is when the Photograph was taken.

Because this image has never been seen before, and the sharpshooter pictured is not identified in any way, we, as yet, cannot state definitively that the young woman pictured is “without a doubt” Annie Oakley. It seems almost impossible to believe that there was another female sharpshooter, who resembled Annie Oakley to this extent, that would have been photographed in the manner seen here, and who was of such notoriety that the photographer felt it unnecessary to identify in any way.

If you’d like to learn more about this piece, further details can be found at our eBay listing.

The photographs scattered throughout this post and all from a spectacular, circa 1867, finely bound, large folio album. Each is an original, stunningly beautiful, large format Albumen photograph of the Himalayan Mountains and the region of Kashmir by the preeminent, 19th-century British travel photographer Samuel Bourne– renowned for his prolific seven years’ work in India, from 1863 to 1870.

The album, titled Cashmere, contained 38 of the most beautiful, original, circa-1867 Albumen photographs taken during Bourne’s 12-month, 1866-7 journey through the Himalayas to the region then known as Cashmere (or Kashmir). Seldom does a collection of these breathtaking Albumen photographs come to light, and the volume described here is an untouched, complete album of views documenting Bourne’s epic journey.

The Album itself is sumptuously bound in heavily chamfered leather with elaborate decorations in gold gilt, red, green, and black decoration. The board designs have an air of an exotic, Arabic text, and gold gilt lettering in the central panel on each cover reads simply: “Cashmere.”

Contained within the album are 44, light- to medium-weight card leaves on which are mounted 38 images in total– 27 are rare, full plate images measuring 11 1/2″ x 9 1/2″ which are (obviously) mounted one to a page. There are also 9 photographs measuring 7 1/2″ x 4 1/4″ and 2 measuring 3 3/4″ x 4 1/4″. Each photograph is surrounded by a double, hand ruled, line border in blue and black inks. Below each image, there is a hand-lettered title done with gold and blue inks, in an exquisite, Gothic-style Calligraphic font. The leaves with mounted photographs are hand numbered with Roman Numerals I through XXXIII.

The included photographs are some of the most stunningly beautiful, mid-19th century “travel” images we have ever come across. The first 26 Photos document Bourne’s journey through the Himalayas, while the final 12 are views that were taken in the region of Kashmir.

Arriving in Calcutta early in 1863, British Landscape Photographer Samuel Bourne initially set up in partnership with an already established Calcutta photographer, William Howard. They moved up to Simla, where they established a new studio, Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, which became the premier photographic studio in India.

When Samuel Bourne set off on his nearly 12 month sojourn to the Kashmir region of the Indian Sub-Continent, he journeyed with an immense amount of equipment and personal luggage. Everything needed to be carried on the backs of, what he called, “coolies“– human pack animals. Included were 2 very large wet plate cameras and 250 12″x10″ glass plates and 400 8″ x 4 1/2″ plates, not to mention the tremendous amount of chemicals, darkroom equipment, lenses, tripods, etc. In all there were 42 men employed in carrying Bourne’s equipment on this epic undertaking.

Working primarily with a 10×12 inch plate camera, and using the complicated and laborious Wet Plate Collodion process, the impressive body of work he produced was always of superb technical quality and often of artistic brilliance. The images contained in this album attest to his skill and artistic genius. His ability to create superb photographs whilst traveling in the most remote areas of the Himalayas and working under the most strenuous physical conditions, places him firmly amongst the very finest of 19th-century travel photographers.

We believe that the photographs contained in this album were printed out sometime between 1867, when Bourne returned from Kashmir, and 1870, when he returned to England after 7 years in India. Upon returning to his homeland, Bourne expended most of his energies in non-photographic business endeavors. Although continuing to photograph as a relaxation, and belonging to the local Photographic Society, much of his creative energy from this time onwards was devoted to water-color painting. Bourne is justly regarded as one of the finest landscape and travel photographers of 19th-century India; combining a fine eye for composition with high technical expertise.