Collection of 83 photographs.

A window into a transformative era

Notes

An impressive collection documenting Hawai'i in the late 19th century, shortly before its annexation, offering a compelling visual narrative of the island's diverse social, cultural, and environmental landscape.

Many of the images are by Furneaux (1835-1913), a Boston-born artist. Originally a tourist in Hawai'i, Furneaux soon settled and became a prominent figure in Hilo. He served as the US consular agent and shipping commissioner at Hilo port, actively advocating for infrastructure improvements. In addition to his amateur photography, Furneaux was known for his dramatic paintings of Hawaiian volcanoes, including Kilauea. We have traced no other photographs by Charles Furneaux in commerce. Another image, though unsigned, is attributed to the Englishman James J. Williams (1853-1926), the founder of the longest-established photography business in Honolulu.

Musicians and instruments are captured through a photograph of women playing the 'ukulele, guitar, and five-string taropatch. Under the patronage of King Kalakaua, who championed the revival of native Hawaiian culture in the late 19th century, the 'ukulele gained prominence as a symbol of national pride. His support of traditional music, including the Royal Hawaiian Band, fostered a renaissance of Hawaiian musical traditions. One image shows the band, led by the Prussian Henri Berger, whom Queen Liliuokalani named the "father of Hawaiian music".

Agricultural themes are vividly represented through

An impressive collection documenting Hawai'i in the late 19th century, shortly before its annexation, offering a compelling visual narrative of the island's diverse social, cultural, and environmental landscape.

Many of the images are by Furneaux (1835-1913), a Boston-born artist. Originally a tourist in Hawai'i, Furneaux soon settled and became a prominent figure in Hilo. He served as the US consular agent and shipping commissioner at Hilo port, actively advocating for infrastructure improvements. In addition to his amateur photography, Furneaux was known for his dramatic paintings of Hawaiian volcanoes, including Kilauea. We have traced no other photographs by Charles Furneaux in commerce. Another image, though unsigned, is attributed to the Englishman James J. Williams (1853-1926), the founder of the longest-established photography business in Honolulu.

Musicians and instruments are captured through a photograph of women playing the 'ukulele, guitar, and five-string taropatch. Under the patronage of King Kalakaua, who championed the revival of native Hawaiian culture in the late 19th century, the 'ukulele gained prominence as a symbol of national pride. His support of traditional music, including the Royal Hawaiian Band, fostered a renaissance of Hawaiian musical traditions. One image shows the band, led by the Prussian Henri Berger, whom Queen Liliuokalani named the "father of Hawaiian music".

Agricultural themes are vividly represented through images of Japanese residents and a village on Hilo. These people arrived from the 1850s to work the sugar plantations. Together with a depiction of a sugar cane flume, they underscore the labour-driven transformation of Hawai'i's landscape and society. The boom of the sugar industry, largely controlled by American and European settlers, led to an increased foreign influence over the islands' economy and governance. The photographs of grass huts, or hales, stand as visual records of local architectural practices.

Urban life and political power are depicted in town scenes, images of Honolulu Harbour, and 'Iolani Palace, in addition to two photographs of Queen Lili'oukalani, who was overthrown in 1893. Another shows a party at the Captain Cook memorial at Kealakekua Bay. Finally, the island's natural beauty is captured, showing, among others, Mana Waiopuna Falls, also known as Jurassic Falls.

A window into a transformative era