Henry Dresser’s album contains 219 letters from, and 225 photographs and other portraits of, over 250 individuals, including most of the leading ornithologists and naturalists in Britain, Europe and North America during the last third of the nineteenth century and the first decade of the twentieth. The album serves as a proud and tangible record of Dresser’s extensive scientific networks, for it appears that Dresser began to compile the album in the 1860s and that he explicitly utilised his networks to solicit correspondence and photographs to incorporate in the album. His biographer, Henry McGhie, states that Dresser ‘valued his acquaintances with other naturalists greatly and collected signed letters and photographs from them from the mid-1860s onwards, which he kept in an album. He wrote to John Harvie-Brown in 1869: “Please send me a photo so that the light of your countenance may shine in my ‘bird room’ when I open my book of collectors.” His album [...] represents fifty-odd years of social advancement in ornithological society.’ (McGhie, pp. 75-76)
Among the notable ornithologists and naturalists represented in the album are: George Augustus Boardman (/9/e-f, /45/c, /84/a); Charles Darwin (/52-53); Daniel Giraud Elliott (/31/b, /43/d, /48/b); Arthur Hay, Viscount Walden, ninth marquess of Tweeddale (/40/a, /63/d, /78/b, /87/b); Wilfrid Hudleston Hudleston (/163/a-b, /164/d, /173/c); Thomas Huxley (/56/a, /142); Sir John Lubbock (/55/c, /88/a); Alphonse Milne-Edwards (/48/a, /49/c); St George Jackson Mivart (/68/b, /138/a); Alfred Newton (/i/b-d, /1/a, /96/b); Thomas Littleton Powys, fourth Baron Lilford (/40/b, /93); Heinrich Gottlieb Ludwig Reichenbach (/41/e, /49/b); Count Hercules Turati (/8/b, /9/b, /10/b); Jules Pierre Verreaux (/18/a-b, /19/b); and Alfred Russel Wallace (/32/b, /39/b, /41/c, /241/a-k, /242/a).
As is evident from the preceding list of significant subjects, the 219 letters, 205 photographs and 15 printed reproductions of photographs are pasted into the volume in no obviously meaningful order. They are not arranged by surname, date, nationality or discipline, and while a letter and photograph relating to a single individual may appear on the same or adjoining pages, frequently an individual’s letters and photographs are widely dispersed through the album. Some pages are crowded with items, and yet the last quarter of the album remains blank.
Dresser’s album constitutes an important source for the historiography of natural history (especially ornithology) in the period from the 1860s to the 1900s, for the history of international scientific and social networks, and for the history of portrait photography.