Oblong Folio (ca. 38.5 x 26.5 cm or 15 x 10 ½ in). 32 cardstock leaves (three blank). 135 mounted gelatin silver photographs, with 42 larger ones from ca. 28 x 23.5 cm (11 x 9 ¼ in) to 20.5 x 15 cm (8 x 6 in) and the rest from ca. 14.5 x 10 cm (5 ¾ x 4 in) to 9 x 7 cm (3 ½ x 2 ¾ in); eight gelatin silver photographs loosely inserted from ca. 21 x 18.5 cm (8 ¼ x 7 ¼ in) to 9 x 5 cm (3 ½ x 2 in). 120 images with period ink and pencil captions on mounts; three images with pencil captions on verso. Period red quarter sheep album with cloth boards and gilt-tooled decorative borders; all edges gilt; moire endpapers. Spine and edges of covers rubbed or with minor losses; mounts slightly waved and age-toned, two mounts with corner tears not affecting images; two images (loosely inserted) with tears and creasing on edges, a few photos faded, but overall a very good album of interesting photos.

135 vernacular and studio photographs show the Cape Colony, including Cape Town and its suburbs and environs. The compiler of this album was the wife (identified in captions as “F.B.”) of a local officer, “Major Burton,” and was likely an affluent member of Cape Town society. Several photographs are of the compiler and her friends and family, with over 40 people identified in the captions: “Mr. Rhodes” (Cecil Rhodes, 1853-1902), “Col. Manning” (William Manning, 1863-1932), “Mr. Stewart” (Thomas Stewart, 1857-1942), “Mr. Fillis” (Frank Fillis, 1857-1921), “Col. Morris” (William George Morris, 1847-1935), etc.

At least three photographs are attributed to John Henry Tangye (1870-1911), with two being captioned “taken by Corporal Tangye” by the compiler. John Tangye was a photographer with the Royal Engineers during the Second Boer War, known for his views of Cape Town.

Over 40 photographs show suburbs and estates of Cape Town. Claremont is prominently featured with several views showing the estates of Claremont House, “the Grove” (Feldhausen), and “Harfield,” as well as Claremont Station, the house of Donald Currie, St. Andrew’s Church, and Molteno Road. Also featured is the suburb of Newlands, with views of Charles Rudd’s “Fernwood” estate, a portion of the Liesbeek River, “Lover’s Walk,” and Newlands Avenue. Other suburbs photographed include Tokai (showing Tokai Manor House and a chalet), Rosebank (“Charlie’s Hope,” part of the “Erinville” estate and purchased by the colonial government), Muizenberg (“Sandown”), Plumstead (“Southfield”), Constantia, Simon’s Town, and Kalk Bay.  Several properties associated with Cecil Rhodes are also shown, including Groote Schuur (with blooming hydrangeas and lions), Kirstenbosch, and his home in Muizenberg where he died.

Seven photographs show prominent sites in Cape Town: the House of Parliament and a street identified as “the Avenue” (likely Parliament Lane); the old St. George’s Cathedral; the Castle of Good Hope; and Adderley Street. Additionally, two photographs are general views of Cape Town.

Nine photographs are views of Table Mountain (with a series of photos showing the cable car), Lion’s Head, and Lion’s Rump (Signal Hill). Other natural sites in the Western Cape are also included: the Cango Caves, Knysna Forest, and the Swartberg and Montagu Passes.

Other photographs in the album show Madeira (Portugal) and the Canary Islands (Spain).

Overall, a historically interesting collection of photos showing affluent Cape Town at the turn of the century.