Robert K. Bonine documents the destruction of the 1906 San Francisco earthquake.

Karina dancing.

Footage shot not long after the 1906 earthquake in San Francisco is edited together so that more than one scene and more than one vantage are included. We see fire raging. We see burned-out buildings, piles of rubble, and buildings with only one wall standing. People stand and watch; others walk purposely through the debris. A carriage passes; the camera pans the desolation. A horse-drawn cart is laden with a family's remaining possessions. A sign hangs outside one building: "A little disfigured but still in business. Men Wanted."

Foxy Grandpa and Polly was a comic strip upon which husband and wife team Joseph Hart and Carrie DeMar based a musical for the stage. Here, in the third film of the series, they enter from our left, hand in hand, a sylvan backdrop behind them. They're in fancy dress: he in three-piece suit and tie, bowler hat in hand; she in frilly floor-length dress, hat, and long braid of hair behind. They do a carefully choreographed dance - he's comic with large nose and male-pattern baldness splitting white curly hair; she's festive and smiling. They stay in sync. The camera is stationary, and it's one take.

In the background is a row of three-masted sailing ships, at anchor, their sales furled. In the foreground, a simple pier that's more like a yardarm juts out above the water; about 15 boys of six or seven years of age are on the jutting wood, and they jump off into the water below. The water looks to be about three feet deep. They swim back toward the pier. A small motorized boat passes. It's a stationary camera; one take.

The boys dance to Grandpa's banjo playing, then indicate that he can't equal their skill. Grandpa gets up and performs an intricate step while still playing the banjo.

A view of Waikiki in 1906.

A view of King Street in Hawaii.

A view of New York's latest sky-scraper, the remarkable Flatiron Building, at the junction of Broadway, Fifth Ave., and 23rd St., New York. A panorama of the surroundings before a look upward toward the top of the scraper.

Following a shot of a newspaper that outlines the hardships of living in the Klondike, there are scenes a typical Klondike town, of people on a raft, and of people mining for gold.

A view of Pearl Harbor via railway.

A bunch of people traveling by foot or on horseback past the camera in Hawaii.

A bunch of men on horseback gallop past people near a shack in this short shot by Robert K.Bonine.

A crew row their way from the S.S. Kinau through troublesome water to the shore.

Cooperating with, and probably subsidized by, the islands' local railroad company and their promotional committee, Bonine photographed a series of short films under the rubric Scenes and Incidents, Hawaiian Islands. Subjects included Hawaiians Arriving to Attend a "Luau" or Native Feast; Shearing Sheep, Humunla Ranch, Hawaii; and Panoramic View of Waikiki Beach, Honolulu. His Hawaiian travelogue showed the picturesque quality of this overseas territory, acquired at the beginning of the Spanish-American War. The photographer himself became an exhibitor, presenting his own program at several venues, including the Orange Camera Club in May 1907.

Sheep bound through a narrow opening, followed by a panoramic vista of the flock running through a meadow.

The "Foxy Grandpa" is a series of eight short staged films illustrating scenes and incidents from William A. Brady's musical production ‘Foxy Grandpa’ which, in turn, was based on Carl E. "Bunny" Schultze's comic strip of the same name. This picture, the first in the series, shows the artist and the actors from the musical being introduced to the audience. They are cartoonist Carl E. Schultze (“Bunny"); Joseph Hart, who plays "Foxy Grandpa"; Carrie DeMar, who appears as "Polly"; and the two child actors who portray the mischievous boys, “Chub" and “Bunt.” This film is currently lost.

Second film in the "Foxy Grandpa" series, based on the comic strip of the same name by Carl E. Schultze (drawing under the name of “Bunny”). In this film, a tramp attempts to fight with Foxy Grandpa, who returns his blows and chases him away.

A first-class picture of the twin-screw express steamship "Columbia" of the Hamburg-American Line, leaving her pier with a great crowd of travellers aboard.

A busy street scene on Lower Broadway,

Taken in the immense excavation for the foundation of the new Macy building at the corner of Broadway and 34th Street, New York.

A panoramic view of Waikiki Beach.

Cast fishing in Hilo.

A view of Haleiwa via the Oahu railroad.

Young men playing on a floating platform off the coast of Honolulu.

An early look at surfers off the coast of Honolulu

A static shot of crowded trams returning people from an unknown sporting event.

A panoramic view of Honolulu Harbor

Various scenes of daily working life at a sugar plantation in Hawaii.

Various scenes of local color in Hawaii.

A 360 degree view of Haleakala.

Dock workers offloading bags of sugar in Hawaii

Cattle are driven into the sea and tied to a row boat.

A static shot of the sea tide bashing against the rocks.

Scenes of men and women parading horses.

A companion picture to No. 1964 ('Cutting Sugar Cane' (1901) (q.v.)), and equally interesting. Honolulu, Hawaii.

The model of a photographer keeps changing from a beautiful woman to an ugly tramp.

American Mutoscope & Biograph

Fourth film in the “Foxy Grandpa” series. The boys try to play a trick on Foxy Grandpa with the punching machine, but he manipulates it so well that the joke is turned on the boys, who are bowled over by the punching arm.