Photograph album of the Philippines during the Spanish American War | Collections | The Huntington

Photograph album of the Philippines during the Spanish American War | Collections | The Huntington

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Willis J. Raynor photograph album of the Philippine-American War
Visual Materials
An album compiled by Major Willis J. Raynor documenting his experiences in the Philippines during the Philippine-American War (1899-1902), which was waged between the United States and the First Philippine Republic after the Philippines was annexed at the conclusion of the Spanish American War in 1898. The photographs are a mixture of personal snapshots and commercially-produced images, and several have handwritten captions. The album begins with scenes of Fort Logan, Colorado, in 1899, where Raynor was stationed, showing officer's quarters and presumably his wife and small children. The remainder of the album is set in the Philippines and subjects include: Raynor and other members of the 25th Infantry; war carnage; native Filipinos at work and with families; homes; and buildings in Corregidor, Luzon, Manila and elsewhere. Other photographs include "Decoration Day" at Corregidor and a cyanotype of patients in a hospital ward in Iloilo. Of note are several portraits of significant figures of the Philippine Revolution, including Emilio Aguinaldo, Antonio Montenegro and General Francisco Macabulos. The back of the album has a few clippings related to the war, and a personal clipping about the birth of Raynor's son on October 31, 1902, days before he shipped back to the United States.
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Philippine American War photograph albums
Visual Materials
Four photograph albums containing a total of 218 images (chiefly 4.5 x 6.5 inches) of the Philippine American War, taken by an unidentified photographer most likely associated with the 19th U.S. infantry stationed in Cebu, Philippines. Primarily in Cebu with some in San Nicolas and elsewhere, the images document Filipino life and culture as well as U.S. soldiers in military activities and recreation. Three photographs depict the refueling of a hospital ship in Hong Kong, and there are also images of the recruitment of Indigenous soldiers in Puerto Rico, and rare views of the surrenders of Filipino generals Mateo Noriel Luga and Aguedo del Rosario. The photographs are captioned and numbered continuously throughout the four albums. The first album, images 1 to 54, contains mostly detailed panoramas (3.5 x 12 inches) of Cebu and its port, plaza, and bay. The second album, images 55 to 109, contains a range of subjects including the 19th Infantry band baseball team, Filipino homes and families, elaborate Holy Day celebrations in San Nicolas, and several photographs of insurgents and their surrenders. The third album, images 111 to 165, includes church interiors, street and market scenes, and a family identified as "Spaniard and Filipino Mixed Family." The fourth album, images 166 to 218, includes several scenes from the 19th Infantry's training in Michigan, prior to their arrival in the Philippines; interior shots of Colonel Edward J. McClernand's home; a church procession in the streets of Cebu; and the deportation of prisoners to Guam. Some writing in the album reflects racist views toward Filipino and Chinese people.
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Photograph album of individuals and groups in the Philippines
Visual Materials
A photograph album containing 12 photographs. The last page of the album has a handwritten index with descriptions of each photograph. The photographs depict "the artist" (possibly the photographer) and his home in Inga, Enrile, Cagayan, Philippines; scenes of life on Luzon Island in the Philippines including a market, students and their teacher, and women bathing; a prison yard labeled as "Fort Santiago, Manlia"; and the Pasig River in Manila. Content warning: one image depicts skeletal remains.
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Photographs related to the U.S. Navy in the Philippines and New Guinea during World War II
Visual Materials
A collection of 447 photographs in two albums and other material related to the U.S. Navy in the Philippines and New Guinea during World War II. The photographs were made by commercial photographer and sailor H. Leroy Carlson, who created the albums as an inventory of his images for sale as souvenirs and postcards. A printed catalog with descriptive captions accompanies the albums. The first volume contains photographs taken in Finchhaven, British New Guinea (April 1944), and Hollandia and vicinity, Dutch New Guinea, from 1944 to 1945, including Japanese prisoners of war. The second volume of photographs were taken in the Philippines (1945), with scenes in Mindoro, Manila, Luzon, Tacloban, San Antonio, and a U.S. Navy receiving station. Images depict New Guinea and Filipino people in portraits and daily activities, along with street scenes, shops, rural villages, houses, tropical gardens, wedding celebrations, fishing, and other activities. Images in the Philippines include bombed-out buildings, schools, churches, a Chinese cemetery, indigenous Mangyan people, and Javanese (Indonesian people). U.S. military personnel are seen working, in barracks, on navy ships, and participating in recreational activities. Three of Carlson's 16mm motion picture films are also part of the collection: one of the naval Seabees Camp in New Guinea during World War II; and two home movies of Carlson family trips to New York, Nicaragua, Yellowstone, and Canada. Other personal materials are: a volume of clippings (1947-1949) of Carlson's photographs published in Lake Tahoe, California newspapers; the Cine-Kodak Magazine 16mm movie camera used to shoot the films; and several snapshots, negatives, color slides, and miscellaneous ephemera related to Carlson and his family. A hand-held Airequipt automatic 35mm slide changer (1950s?) for viewing color slides is also part of the collection.
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Dorothy O'Dell Philippines photograph album
Visual Materials
This album contains photographs compiled by Dorothy O'Dell, who resided in the Cavite province of the Philippines during her husband's service in the U.S. Navy. The images depict the couple's travel in England, India, Jerusalem, Panama, the Philippines, Sri Lanka, and Vietnam, capturing specific sites such as Mount Ebal, the "Gateway to Ancient Shechem," Sebastia (Palestine), the "Ancient Castle Thunton" (Taunton Castle, England), Windsor Castle (England), Edinburgh Castle (Scotland), Heidelberg Castle (Germany), the "Hindu Temple" (Meenakshi Amman Temple) and the "Lake Temple" (Vandiyur Mariamman Temple) in Madurai, India. The photographs also document their residence in O'ahu, Hawai'i and Dorothy's evacuation from the Philippines and return to the United States via the S.S. Washington to San Francisco, California. However, many of the images capture Philippine landmarks in Manila, some of which were later damaged or destroyed by the Japanese in World War II. These landmarks include the Jai Alai Building, Puerta de Parián, and Nuestra Señora de la Paz y Buen Viaje cathedral in Antipolo. There are also photographs of the Chinese Yu Tan and Paco cemeteries in Manila, the Taal Volcano, images of Igorot dancers in ceremonial dress performing for Navy personnel, an Igorot person in traditional clothing in Northern Luzon, Filipino funeral processions, street scenes capturing Filipino citizens in their daily activities, livestock, and the O'Dell home on "Radio Road" or Salamanca Drive.The depictions of daily life in pre-war Philippines in and around the naval base are described through written notes by Dorothy on the album pages. Two cabinet card portraits produced by the B.D. Garduno Studio are also included in the album along with photographs of American naval ships and military personnel. The leather album cover is embossed with two Chinese dragons with an emblazoned sphere between them and a Chinese Junk ship below. A few of the album pages appear to have missing photographs.
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Cartes-de-visite by early commercial photographers in the Philippines
Visual Materials
A group of 10 carte-de-visite portraits taken in the1860s and 1870s in photography studios in Manila, Philippines. The unidentified sitters are Filipino, Chinese, and Spanish men, women and children, mostly in individual portraits, with one image of three Indigenous men posed with spears. Six images are credited to Pedro Picon (one dated 1867); the others have imprints for Fotografia Universal Manila, Honiss Fotografo Manila, H. Schuren, and W. W. Wood. These cartes-de-visite illustrate the early activities of commercial photography studios in the Philippines.
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