The stereoscopic trip I am writing about today started with an email from Mindi, a pen-friend of mine (we have never met face to face but have been exchanging emails for some time about another project), who sent me a link for a Buy it Now eBay sale. The seller was offering a rare set – or so he wrote, rightly apparently – of twenty-four 45×107 stereoscopic negatives of Hawaii – and more specifically of Waikiki and Ainahau – taken by an amateur in the 1910s. Mindi, who is of Hawaiian origins, was moved to tears by these images of a long-gone Hawaii showing, among others, the Honolulu Opera House and the Ainahau hotel. I do not know much about Hawaii, have never been there and will probably never go, but I must confess that, unlike most people, I have a soft spot for negatives. Firstly, they are the closest you can get to the photographer and to the camera they were using. Unlike prints made from them, they were in the camera at the time the photograph was taken and are the most direct link you can have to the whole photographic process. Secondly, stereoscopic negatives may not be easy to view, on account of being untransposed, but they usually show more than the resulting print, which is generally cropped.

On receiving Mindi’s email, I therefore had a look at the gallery of half stereo images displayed by the seller and had a peek at the other items he had for sale since the description of the Hawaii negatives mentioned they were part of a much larger collection. This is when I came across a set of thirty-four stereoscopic negatives, by the same amateur, of Boston (Massachusetts) and New England. The photos were interesting and, not being as expensive as the Hawaii ones, I decided to buy them. I am not a collector per se and I usually buy things when I feel I can write about them, even if it sometimes takes a while. There was something about those images which told me they could be turned into an article. A week later, I went back to the Hawaii photographs and took the rash decision of buying them too as they also looked full of promises. Like everything related to the history of Hawaii, they were a lot more expensive than what I usually buy, and way beyond my budget but some little voice in my head whispered I would not regret it. I nearly did. The two sets of images took a month and a half to travel from the States to Britain and were even considered lost at some point. But they eventually turned up at one week’s interval, to my and the seller’s utter relief. In the meantime I had bought from the same dealer what was left of the amateur’s negatives, some 250 images including views of France, Algeria, Germany, Italy, Switzerland, etc. These only took ten days to arrive, by which time I had already scanned and started studying the Hawaii set of negatives.

01. One of the two boxes containing the twenty-four 45 x 107 mm stereoscopic negatives of Hawaii and one of the negatives out of its protective envelope. On the lid of the negative box (on the left) one can read “Neg. Honolulu Pagent [sic]”.

02. Scan of one of the negatives, as it is and its positive counterpart To view the images in relief, it is necessary to cross-eye view. The original dimensions of the negatives are 45 x 107 mm.

Out of the twenty four Hawaii glass plates, two were broken and three were chipped but I am happy to report that some digital cleaning managed to “fix” most of those issues. There were short captions on half of the plates: Coral Gardens (1) Waikiki (1), Ainahau (4), Ainahau Waikiki (3), Ainahau rice field (1), Mrs. Lewis Ainahau (1), Residential Grounds Waikiki (1), but no dates or any other indication.

I knew from Mindi and from some research I had done that the Ainahau estate – which had once belonged to Hawaiian princess Kaiulani then to her father, Scotsman Archibald Scott Cleghorn – had been turned into a hotel for a very short time, between 1913 and 1917. With these two extreme dates in mind I started cleaning the image showing a military parade marching past the old Honolulu Opera House and got my first clue as to the exact time the photos were taken when I examined a banner – stretched under the bulb-lit board on the façade of the Opera House – which read “CIVILIZATION, Produced by Thos. H. INCE”. A quick internet search provided the rest. Civilization is a silent epic movie, which was often compared to David Ward Griffith’s 1915 The Birth of a Nation, and was premiered at the Los Angeles Majestic Theatre on 17 April 1916. Further research in Honolulu newspapers, however, revealed that this anti-war film, produced and partly directed by Thomas Harper Ince (1880 – 1924), was first shown at Honolulu’s Opera House between 17 and 24 February 1917 as part of the festivities of the 1917 Mid-Pacific Carnival which opened on 19 February and closed 6 days later.   

That was it, then ! The amateur photographer who had taken these negatives was in Hawaii on the occasion of the 1917 Carnival and had photographed for the stereoscope some of the events. From the program of the Carnival which was published in the press (see further below), the stereoscopic image of the military parade can be dated precisely to Thursday 22 February, Washington’s Birthday. Troops from nearby Schofield Barracks and Fort Kamehameha came to town by rail on Wednesday 21 and joined soldiers from Forts Shafter, Armstrong, and other places, before returning to their posts on the Friday. Over 4,000 soldiers took part in this parade which featured representations from each post on the island including the First Regiment, National Guard of Hawaii.

It is important to mention that on 22 February 1917 the United Stated had not entered the conflict which had been raging in Europe since August 1914, although they had been a major supplier of war material to the Allies. It took the Germans’ decision to resume unrestricted submarine warfare for the United States government to sever diplomatic relations with Germany (February) and, following the sinking of American ships and the deaths of U.S. seamen and citizens, to declare war on Germany on 6 April 1917. 

A close look at the stereoscopic photograph reveals a cameraman filming the parade as well as a professional photographer fixing for posterity the marching of the soldiers. The cameraman can be seen in full relief, standing just underneath the V of the word CIVILIZATION on the banner decorating the façade of the Opera House, but the photographer only appears in one half of the negative and is therefore totally flat.

03.  Stereoscopic card after an original 45 x 107 mm stereoscopic negative showing the military parade that took place in Honolulu on 22 February 1917.

04. Enlargement of the banner stretched on the front of the Opera House and advertising Thomas Harper Ince’s silent movie Civilization. Notice the fully stereoscopic cameraman.

05. Detail of the same negative showing the flat photographer.

The 1917 Mid-Pacific Carnival was the eighth, and last, of its kind, which makes those stereoscopic images even more historically important. Although a Carnival was held in 1918 it was far from being as grand as its predecessors and was advertised as a “home affair” for “home folk”. The United States were at war then and many American lives had been lost. The spirit of the Carnival survived for a short while with Hawaii’s Annual Territorial Fair (1918 to 1922) and then it was gone, as was the Honolulu Opera House, opened in 1896 on the spot formerly occupied by the 1879 New Music Hall, and razed a couple of months after this photograph was taken to make room for the new federal house. 

But before lamenting the loss of another historical place, also featured in these stereoscopic negatives, let’s have a quick look at the events of this 1917 Carnival, which was advertised by a poster designed by Ned Steel and W. H. Bull. The latter was inspired for his design by a photograph of two surfers taken by Roscoe Perkins. Bull’s painting was first used on the cover of the August 1916 issue of the Sunset magazine before being made into a poster for the Mid-Pacific Carnival of the following year. Strangely enough, Perkins’s photograph had a fairly long career since it was issued as a postcard in the 1930s, fifteen years or more after it was taken. Postcards of the posters of the 1910 to 1917 Carnivals are outrageously expensive but the Perkins postcard can be found fairly easily. Here is a copy of it recently found on eBay.

06. 1930s postcard after a photograph of surf riders taken by Roscoe Perkins around 1915. This image was the inspiration for the design of the poster advertising the 1917 Mid-Pacific Carnival.

The Honolulu Star Bulletin, on page 11 of its Monday 19 February 1917 issue, published the programme of the Carnival, which reads as follows:

Daily Program of Carnival MONDAY, FEBRUARY 19 8 p.m. – Ball of All Nations – Palace grounds. Free. TUESDAY, FEBRUARY 20 3 p.m. – Hawaiian Pageant – At Kapiloani Park. Reserved seat $1. 8:15  p.m. – A Night in Hawaii – Bijou theater. Reserved seat $1. WEDNESDAY, FEBRUARY 21 12 p.m. – Hibiscus Show – In Pan-Pacific Pavilion. Bishop’s Square, opposite the Young Hotel. Admission 25 cents. 8 p.m. – Army and Navy Service Ball – By invitation only. N. G. Armory. THURSDAY, FEBRUARY 22 WASHINGTON’S BIRTHDAY 9:30 a.m. – Military Review – The biggest annual army parade held anywhere in the United States. Reserved seats 25 cents. 1:30 p.m. – Swimming Meet – First day. At government slip, fork of Alaska street. Reserved seat $1. 8 p.m. – Japanese Lantern Parade – A river of fire pouring down the street. Reserved seat 25 cents. 9 p.m. – Masqued Ball – In N. G. H. Armory. Everybody invited. Admission $1. Boxes of six seats, $5 additional. FRIDAY, FEBRUARY 23 1:30 p.m. – Children’s Festival – At Punahou. Reserved seat 50 cents. 9 p.m. – Director’s Ball. N. G. H. Armory. By invitation only. SATURDAY, FEBRUARY 24 1:30 p.m. – Swimming meet – Part 2. Government slip, foot of Alaken street. Reserved seat $1. 8 p.m. – Water Pageant – Piers 7, 8, and 9. Honolulu harbor. Reserved seat $1. EVERY DAY FOR SIX DAYS MORNING TO MIDNIGHT The Seven Scenic Wonders of Hawaii, depicted in realistic dioramas on view in the Pan-Pacific Pavilion. Bishop Square, opposite Young Hotel. Carnival Circus in Aala Park; trained animals, human freaks, a dance hall and modern electric illusion; the African Dodger, the illusion.

This fairly short but very precious document allowed me to match several of the negatives in the Hawaii set with some of the events described. Two cases in point are the photographs below which were taken during the 20 February Hawaiian Pageant at Kapiloani Park.

07. Stereoscopic card after an original 45 x 107 mm stereoscopic negative showing the Hawaiian Pageant that took place at Kopiloani Park on 20 February 1917.

08. Stereoscopic card after an original 45 x 107 mm stereoscopic negative showing one of the participants to the Hawaiian Pageant at Kopiloani Park on 20 February 1917.

The same daily programme also gave some meaning and context to three stereoscopic photographs featuring costumed girls and young ladies. These were taken either on 23 February, during the Children’s Festival which was held in the grounds of Punahou College, or on 21 February, during the rehearsal of the said event. Two of the photographs show in the background the old stone building of the school which seems to have survived to this day.

The programme for the Children’s Festival included a choir of 1,000 voices and several other highlights among which the Snowstorm dance by the children of the third, fourth and fifth grades. Our amateur photographer took a stereoscopic picture of the Snow Queen, the young Laura Millicent Carter [1] behind whom are standing her two attendants, Margaret Cremer and Mililani Lucas [2], as well as other pupils from the Liliuokalini school. Another photograph shows a group of Chinese girls from the Kauluwela school, also taking part in the same dance.

09. Stereoscopic card after an original 45 x 107 mm stereoscopic negative showing Laura Carter as the Snow Queen, her attendants Margaret Cremer and Mililani Lucas and other young performers of the Snowstorm dance, all from the Liliuokalini school. Two older girls behind the Snow Queen’s attendants are holding flags bearing the name of the school. Behind them stands the old stone building of Penahou College.

10. Stereoscopic card after an original 45 x 107 mm stereoscopic negative showing a group of Chinese girls from the Kauluwela school, also performing in the Snowstorm dance.

Another highlight of the Children’s Festival was performed by the young women of the Normal school who were costumed and grouped so as to form the American flag. I think, from the different “colours” of the costume they are wearing, that some of these students feature in the next stereoscopic photograph.

11. Stereoscopic card after an original 45 x 107 mm stereoscopic negative showing a group of young women from the Normal school wearing costumes of different “colours”. Are these the students about to be grouped to form the American flag ?

Our photographer also turned his camera towards anonymous people, like that young woman and her baby or that young Asian boy, photographed in one of the streets of Honolulu.

12. Stereoscopic card after an original 45 x 107 mm stereoscopic negative showing a young Hawaiian woman and her baby.

13. Stereoscopic card after an original 45 x 107 mm stereoscopic negative showing a young Asian boy, photographed in the street.

Nine out of the twenty-four negatives being captioned as having been taken on the Ainahau estate, it may not be a waste of time to give the readers a little more information about it. This ten-acre estate [3] was gifted to princess Victoria Kawekiu I Lunalilo Kalaninuiahilapalapa Kaʻiulani Cleghorn, better known as Princess Kaiulani, by her godmother, Princess Ruth Keʻelikōlani. Kaiulani was the daughter of Scottish businessman and later governor of the island of O’ahu, Archibald Scott Cleghorn and of his wife, Princess Miriam Kapili Kekauluohi Likelike, sister of King Kalākaua and of Queen Liliʻuokalani. Being the only child born to the Kalākaua dynasty, Princess Kaiulani was the direct heir to the throne of Hawaii. Her father had a two-story building erected on the Ainahau estate. First used as a country house, it soon became the family’s permanent residence as they all loved it so much and continually added to its charm. Charles Cleghorn was very interested in horticulture and imported shrubs, trees and flowers from all over the world to be planted at Ainahau, including a banyan tree which was, reportedly, the first one planted in Hawaii and the progenitor of all the banyan trees on the archipelago. The princess, who was an accomplished horse-rider, swimmer, dancer, cyclist and surfer, was also fond of peacocks and up to fifty of them were at one time roaming through the grounds. This earned her the nickname of “Princess Peacock”.

14. Hand coloured postcard after an old photograph showing Princess Kaiulani with some of her peacocks outside the house on the Anaihau estate.

In 1888, one year after the death of Kaiulani’s mother, novelist Robert Louis Stevenson arrived in Hawaii and soon made friends not only with King Kalākaua but also with the Cleghorns. He was a regular visitor at Ainahau and shortly before Kaiulani left for Britain in order to further her education, he wrote a poem for his “island rose.”

Forth from her land to mine she goes, The island maid, the island rose, Light of heart and bright of face: The daughter of a double race.  Her islands here, in Southern sun, Shall mourn their Kaiulani gone, And I, in her dear banyan shade, Look vainly for my little maid.  But our Scots islands far away Shall glitter with unwonted day, And cast for once their tempests by To smile in Kaiulani’s eye.

The young princess was supposed to stay in England – first in Northumberland, then in Brighton – from 1889 to 1893 but by the time she was ready to sail back to Hawaii the 17 January 1893 coup took place that overthrew Queen Liliʻuokalani – who had been proclaimed Queen after the death of her brother on 20 January 1891 – and set up a Provisional Government under President Sanford B. Dole. For several years Kaiulani had an itinerant life in several European countries but eventually returned to Hawaii on 9 November 1897 and moved back to Ainahau to live the life of a private citizen. Hawaii was officially annexed by the United States on 4 July 1898 and the young princess, who campaigned against it, died less than a year later, on 6 March 1899, of inflammatory rheumatism. She was only twenty-three. She was given a state funeral on 12 March and buried next to her mother in the Royal Mausoleum of Hawaii. Shortly before her father’s death on 1 November 1910, her remains were moved to the underground Kalākaua Crypt. In his will, Archibald Cleghorn gifted Ainahau on the condition that it became a public Park. The bill to accept the gift passed the Senate in 1913 but was, however, killed in the House of Representatives. The estate, which included a main building, five cottages and a grass house, was rented from the Cleghorn estate by Edwin H. Lewis (1870 – 1951) and a hotel, run by his wife Doris, opened there on 1 July 1913. This is the place where our photographer and most probably his family (there is a photograph of one of his girls among the negatives) stayed for the duration of the 1917 Mid-Pacific Carnival.

A rare leaflet, probably published at the time of the opening, describes Ainahau in the following terms:

Ainahau Hotel Once the Home of Queens and Princesses: A Distinctly tropical Hotel Situated in a 12-Acre Park at the Famous Waikiki Beach, opposite the Moana Hotel Rates, $1.50 per day, and up Mrs E. H. LEWIS, Proprietor Telephone 4205

Ainahau has for many years been a favorite residence of chiefs of Hawaii. The beauties of the twelve acres of semi-tropical garden, nurtured with loving care during all the lifetime of the late Princess Kiulani and by others long before her birth are beyond description. It was inherited by the Princesss Likelike who in turn devised it to Kaiulani, the beautiful Hawaiian princess heiress to the throne, who was the subject of one of the prettiest of Robert Louis Stevenson’s poems. During all her lifetime Likelike and her husband, Governor A. S. Cleghorn, an intense lover of trees and plants, devoted themselves to the care and development of Ainahau. Kaiulani inherited her fondness for trees and flowers, and during all the years of her life, Ainahau was the object of her loving care, many of the trees and shrubs now growing there having been planted by her.

Ainahau with its coconut palms, royal palms and dates, its lotus pond and stream, its ferns, creepers, flowers, mangoes, lawns and shady retreats, its location on the beach and yet just where the trade-wind breezes blow down the valleys behind to give it all the climatic perfection of Oahu’s most favored spots, is the ideal beach hotel site. The former home of the late Governor is one of rich construction and first-class conveniences. Built as a home for princes and chiefs, it was rebuilt with unsparing expenses. But for legal entanglements the people of Honolulu would have this magnificent property as a public park. They and their visitors can enjoy it now, as a splendid ocean-side hotel.

15. Stereoscopic card after an original 45 x 107 mm stereoscopic negative. Mrs Doris Lewis, proprietor of the Ainahau Hotel from July 1913 to March 1917.

16. Stereoscopic card after an original 45 x 107 mm stereoscopic negative. Exterior view of the Ainahau hotel.

17. Stereoscopic card after an original 45 x 107 mm stereoscopic negative. Another exterior view of the Ainahau hotel.

18. Stereoscopic card after an original 45 x 107 mm stereoscopic negative. Yet another exterior view of the Ainahau hotel.

19. Stereoscopic card after an original 45 x 107 mm stereoscopic negative.The “dining-room” of the Ainahau hotel with customers.

20. Stereoscopic card after an original 45 x 107 mm stereoscopic negative. Another view of the dining-room at a quieter time of the day.

21. Stereoscopic card after an original 45 x 107 mm stereoscopic negative. A view of the grounds around the hotel.

22. Stereoscopic card after an original 45 x 107 mm stereoscopic negative. Another view of the grounds showing what looks like the banyan tree under which Robert Louis Stevenson sat with Princess Kaiulani.

I am sorry to say that very shortly after these photographs were taken, the hotel closed its doors. Advertisements started appearing in the local press in March 1917 which read “For sale – Entire furnishings of Ainahau hotel, 40 bedroom sets, billiard and pool tables, etc.” The estate had been bought earlier in the year for £60,000 by James W. Pratt “and other interests” who were planning on subdividing it into 40 different lots and turning it into a luxurious residential district. As early as 25 September 1916 the Honolulu Star Bulletin had lamented the suggested sale. “The Ainahau,” wrote a journalist from that newspaper, “with its waving coconut trees and paths, has always been known as one of the most beautiful and romantic spots in Honolulu. […] The passing of Ainahau to outside interests marks another step in the rapid dissolution of the old Hawaiian homes and customs, for it is one of the last of the old homesteads around which centered the old Hawaiian life.”

In the early 1920s Princess Kaiulani’s former home was occupied by filmmaker William F. Aldrich and his actress wife Peggy. The couple had turned the place into a studio and the kitchen into a darkroom. On the night of 2 August 1921 a faulty gas heater set fire to the house. One of the fire engines sent to extinguish the flames had an accident, the water pressure was too low and the building could not be saved. The firefighters therefore concentrated on trying to preserve the nearby properties. The banyan tree under which Stevenson had sat with Princess Kaiulani protected some of the houses from the flames but was badly damaged.

There are not many photographs of Ainahau and I am not sure there are any stereoscopic images other than the ones above. They are a poignant souvenir of a bygone era and we can only be grateful to our amateur photographer for taking them.

Speaking of our photographer, I had very little hope, when buying these photos of Hawaii, of ever finding who he or she was and had I only purchased the Hawaii set of negatives, chances are I would never have. As it happens, I bought everything the seller had from this person – at least I think so – and discovered, in the other two sets, elements that allowed me to establish the photographer’s identity. This confirms my opinion that sets of images which have been kept together for decades should never be sold separately. I can understand why sellers do it as it usually allows them to get more money, but it destroys every connection that can be made between the images and, consequently, their history. Over the years I have seen dozens of family albums dismantled and photos of relatives – husbands and wives, parents and children – sold to different buyers. Entire families are separated that way, never to be reconnected again. Nobody seems to care ! I find it very sad and I am glad that, in this case at least, I managed to keep the connections.

If you remember, the first set of negatives I bought was of the Boston area. Several of the images in that set showed the interior of a house and two of the negatives even featured a stereoscope in which glass slides in trays could be viewed. That gave me the first clue that this amateur photographer must have lived in or not very far from Boston, thus allowing me to concentrate my researches in that area and eliminating at once a huge part of the United States and the rest of the world.

23. Stereoscopic card after an original 45 x 107 mm stereoscopic negative. Interior of the photographer’s house, featuring a stereoscope (extreme left).

24. Stereoscopic card after an original 45 x 107 mm stereoscopic negative. Another view of the interior of the photographer’s house, showing the same stereoscope from a different angle (extreme right).

The second clue came with the larger set of negatives, the last one I bought with photos of Algeria and European countries. On three of the boxes containing the negatives I found initials and a surname. Now, I like unusual names as they make things much easier to search but in this case the photographer went by the very common name of Turner, H. B. Turner. Tough luck, or so I thought.

25. Modern stereoscopic card. Two boxes of negatives, showing the initials and surname of the photographer.

As it turned out, things did not prove so difficult after all. A search on a photographer named Turner who had operated in the Boston area showed me several photos taken around 1918 in Boston and Cambridge, Massachusetts, by one H. B. Turner. One of the online images even indicated his first name as being Herbert. Another search with that new element showed me that one Herbert Bryant Turner had written a book entitled “Picturesque Old France” which was published in 1929 and was illustrated with photos taken by the author himself. Could it be my photographer ? I found an online copy of the book which I could borrow for an hour and flipped through the text and images. Herbert Bryant Turner’s work describes a kind of “ideal” motoring trip through France and features several places which are rather out of the way of traditional tourist destinations. A lot of the places’ names rang a bell, not only because I have been there myself but also because they were to be found among the negatives of Europe I had acquired. Could it be a coincidence ? I did some further research on the man in Ancestry and I struck gold when I found a photograph of him which looked very much like the person sitting with Mrs Edwin H. Lewis in one of the stereoscopic photographs of the Ainahau hotel (see illustration 15 above). I also found him in two other of the Hawaii negatives (probably taken by his wife or one of his daughters). In one of them he has his back turned to the camera but in the other one he can be seen holding the leather case of a stereoscopic camera.

26. Stereoscopic card after an original 45 x 107 mm stereoscopic negative. Detail. Herbert Bryant Turner holding the leather case used to protect the stereoscopic camera he is being photographed with.

In less than an hour’s time I had found definite proof that my photographer and Herbert Bryant Turner were one and the same man and that I owned about 300 negatives by that person. I have hundreds of other similar stereoscopic negatives and positives on glass and let me tell you that, except in very few cases, I have never been able to find out who took them. This was, therefore, most fortunate.

I learnt through my research that Herbert Bryant Turner was born in Boston, Massachusetts, on 31 May 1871, and that at the time he married Eveline Buxton (1869 – 1939) in Toledo, Ohio, on 28 December 1899, he was living at Arlington and was a publisher. His company was named H. B. Turner & Co. and, by some interesting coincidence, published among other works, Robert Louis Stevenson’s Essays and Criticisms (1904). Mr and Mrs Turner had one son, Buxton Bryant, born at Arlington in 1902 but who only lived for a few months. They also had three Cambridge-born daughters: Inez Josephine (1904 – 1986), and the twins Vesta Adelaide (1906 – 1983) and Julia Lucinda (1906 – 1996). The 1910 census lists the Turner family as living at 244, Pleasant Street in Arlington but by 1920 census they had moved to 4, Potter Park, Cambridge, Massachusetts. In a 1913 passport application Herbert Bryant describes himself as retired (he was only 42 years old then) and as living permanently in Cambridge so the move there may have occurred soon after he retired from publishing. This means the Turners were living in Cambridge when they visited Hawaii and that the photographs I have of the interior of their home were taken at Cambridge too. It is purposely I am not giving all the information I have about Mr. Turner in this article as I am planning to write at least another one about his stereoscopic negatives. 

27. Stereoscopic card after an original 45 x 107 mm stereoscopic negative showing Inez Josephine Turner (in the middle) and the twins Vesta Adelaide and Julia Lucinda. The photograph was taken during a family trip to Venice, Italy, around 1911.

At the end of his 1929 book Picturesque Old France, Herbert Bryant Turner devotes a few pages to the photographic equipment recommended and concludes with what he considers the “ideal” instrument:

For those who desire an ideal instrument, yet a specialized camera, I recommend the Heidoscop 6 x 13 cm., a German stereoscopic camera, compact and precise, wonderfully made, focusing accurately, and delightful to work with. Besides producing sharp, lifelike pictures to be viewed by a stereoscope, the negatives will yield enlargements up to 11 x 14. In this case use only plates — the Gevaert Sensima Ortho Plate is excellent. I prefer the Heidoscop to all other cameras for travel. It can be bought in the United States.

Does this mean there may be somewhere, waiting to be discovered, larger stereoscopic negatives by Herbert Bryant Turner than the Verascope Richard format I have ? I do wonder where they might be, if they have survived !!!!

28. Stereoscopic card after the original 45 x 107 mm stereoscopic negative shown in illustration 02. A street in Honolulu in February 1917.

NOTES

[1] Laura Millicent was born in Honolulu on 4 August 1909 to Richard and Laura Carter. She studied stenography and became a private secretary. She never married, and died in Honolulu on 3 April 1994, aged 84.

[2] Although I could not discover anything on Margaret Cremer (her first name and surname are apparently too common and there are several persons who could be the little girl in the photo) I found that Mililani Rose Roberston Lucas was born in Honolulu on 19 June 1909 to George William Lucas, a customs officer, and his wife Mabel, née Roberston. Miliani married a first time in 1927 and became Mrs. Fernandez. She married again in 1932, after a divorce, and took the name of Kendall. Her husband, Charles Russell, was a clerk at the Honolulu Circuit Court. Mililani Kendall passed away on 3 August 1974.

[3] Some sources say 10 acres, others 12.

Denis

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