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Collection

R. W. Butterfield Princeton College Class of 1866 carte-de-visite album, ca. 1866-1870

1 volume

The R. W. Butterfield Princeton College Class of 1866 carte-de-visite album, compiled by Roger W. Butterfield, contains studio portraits of various men, women, and children.

The Princeton College Class of 1866 carte-de-visite album (23.5cm x 18cm), compiled by Roger W. Butterfield, contains 198 cartes-de-visite and 3 tintypes. The brown leather cover has gold floral designs imprinted on a raised portion of its cover; the central, sunken part of the cover has the title "Princeton College Class of '66" and the name "R. W. Butterfield" imprinted in gold. The title "Album" is printed in gold on the spine, and the volume has just one of its two original metal clasps. The book has two pages of biographical information about the members of Princeton College's Class of 1866. The photographs are credited to photographers from both the east and Midwestern states.

The vast majority of items are studio portraits of men and women of varying ages, photographed individually, in pairs, and groups. The album includes four outdoor group photographs of young men, presumably students, posed on a lawn, and in front of buildings. Of note is an outdoor photograph of a posed group with guitar, pipes, canes, and two men in shirt sleeves boxing. Many of the photographs are autographed including those of University of Michigan professors James V. Campbell and Thomas M. Cooley. Several portraits of children include one of a man and boy, the man smoking a pipe, and one of three girls, and a commercially produced image of "Rebecca," the emancipated slave from New Orleans. Other cartes-de-visite are pictures of a painted portrait, a statue, Minehaha Falls, and several grave monuments; one lithograph shows an unidentified religious building. One loose carte-de-visite is laid into the album.

Collection

Schoff family carte-de-visite album, [1860s]

1 volume

The Schoff family carte-de-visite album contains carte-de-visite and tintype portraits of men, women, and children taken in cities such as Rochester, New York, and Ypsilanti, Michigan, in the mid- to late 19th century.

The Schoff family carte-de-visite album (15.5cm x 13cm) contains studio portraits of unidentified men, women, and children, comprised of 19 tintypes and 11 cartes-de-visite. Some of the cartes-de-visite originated in Rochester, New York, and Ypsilanti, Michigan, and one tintype portrait of a woman has a caption etched into the back: "I like this picture best of all." A few smaller tintypes have raised paper borders. The album's brown leather cover has a raised geometric design on the front and back, and the title "Album" is printed in gold on the spine; the volume has two metal clasps, one of which retains its original ornamentation.

Collection

Shaw family collection, 1905-1925 (majority within 1915-1925)

1.75 linear feet

This collection is primarily made up of letters that brothers Charles B. and Clarence F. ("Freeman") Shaw wrote to their mother, Hattie C. Shaw of Swampscott, Massachusetts. Charles discussed his life in Schenectady, New York, prior to World War I and his life in Washington, D.C., in the early 1920s, when he was a clerk for General John J. Pershing. Freeman Shaw wrote to his mother about his experiences with the United States Army's 103rd Aero Squadron in the United States and France during World War I.

This collection (1.75 linear feet) contains correspondence and other items related to Hattie C. Shaw of Swampscott, Massachusetts, and her two eldest sons, Clarence F. ("Freeman") and Charles B. Shaw.

The Correspondence series (approximately 400 letters) comprises the bulk of the collection. The earliest items are personal letters to Hattie C. Shaw from her son Charles and from other correspondents, between 1905 and 1911. Charles B. Shaw began writing regularly to his mother after he moved to Schenectady, New York, in July 1915. He wrote about his daily life, including initial homesickness and leisure activities, such as attending dances, attending sporting events, and participating in bowling leagues. He described public gatherings such as parades and pro-war rallies, Union College events, and festivals, and mentioned local efforts to enlist volunteers after the country's entry into World War I in April 1917. A few letters briefly reference a large workers' strike in October 1915 and the presidential election of 1916. Shaw's final letters from this period concern his intention to accept employment in Washington, D.C., which he did just before joining the United States Army. Enclosures in these letters include a printed advertisement, newspaper clippings, and a certificate authorizing Charles B. Shaw to work as a stenographer for the state of Massachusetts (June 16, 1915).

The bulk of the letters written during World War I consist of Freeman Shaw's letters to his mother pertaining to his experiences in the United States Army. His letter of December 2, 1918, provides details about his service history, including the names of the towns and bases where he was stationed. Shaw wrote a few letters from Fort Slocum, New York, in August 1917 before joining the 103rd Aero Squadron at Kelly Field in San Antonio, Texas. While in training, he shared details of camp life and conditions, often commenting about his uniform. After his arrival in Europe around December 1917, Shaw was briefly stationed in England before traveling to France. He commented on the scenery and the warm reception his squadron received from local citizens. His letters refer to his work digging trenches and performing guard duty, and his preference for working with the French army rather than the American army. By April 1919, he returned to the United States, where he awaited a discharge.

Charles B. Shaw wrote infrequently to his mother while serving at the American Expeditionary Forces' headquarters during the war, focusing mostly on his leisure activities, including concerts and sporting events held at the YMCA. From May-July 1919, he received a group of letters from the War Department Zone Finance Office, concerning the payment of his Liberty Loan bonds. Many of these letters enclose blank affidavits and similar forms.

From 1920-1925, Charles B. Shaw wrote weekly letters to his mother about his life in Washington, D.C., where he was a clerk in the office of John J. Pershing. He often used stationery of the American Expeditionary Forces' General Headquarters and the office of the General of the Armies. Shaw reported on Pershing's travels, the gradual downsizing of his office, and the general's retirement. Despite fears that he would lose his job, he remained employed until at least August 1925. Shaw also discussed his leisure activities, including bowling, playing tennis, going to the racetrack, and attending football and baseball games (including at least one contest that featured Babe Ruth). He occasionally wrote about his automobile. In his later letters, he referred to a female acquaintance named Mary, possibly his future wife.

The collection's Writings (2 items) are a typed copy of a speech by Chauncey Depew entitled "The Problem of Self-government," delivered by Charles B. Shaw in a prize speaking contest on May 26, 1911, and a brief essay regarding the "Fortification of the Panama Canal."

Five Financial Documents include a receipt to Charles Shaw for dental work (December 3, 1910), receipts for dues paid to the Swampscott Club (July 1, 1917) and the Supreme Temple of Pythian Sisters (February 8, 1922), and receipts related to Charles B. Shaw's policies with the New England Mutual Life Insurance Company (December 1, 1921, and undated).

The Photographs series (22 items) contains snapshots of unidentified men, women, children, and a cat at leisure outdoors. Four items show young men wearing sweaters with a large letter S sewn on the fronts.

The Printed Items and Ephemera series (4 items) is made up of a newspaper clipping with photographs of Russians in a queue and barracks in France, a social invitation for Charles B. Shaw, a wedding invitation, and a monogrammed napkin.

Collection

Traveling photographers collection, ca. 1850s-1900s

approximately 245 photographs

The Traveling photographers collection contains approximately 245 examples of photographs produced by various traveling photographers that operated in the United States primarily during the latter half of the 19th-century.

Works by approximately 145 different traveling photographers are present in this collection and include cartes de visite, cabinet cards, stereographs, tintypes, and a small number of larger format images. For many of these photographers there is only a single example of their work included in the collection. Locations of operation include a wide range of regions across the United States, with eastern states such as Pennsylvania being particularly well-represented. Most of these photographs are typical individual and group portraits of men, women, and children.

The collection has been divided into two volumes. Volume 1 contains cartes de visite and tintypes while Volume 2 contains cabinet cards, stereographs, and a few other images with larger mounts of varying sizes. Volume 1 also includes two clippings and one photocopied page from an article about traveling photographers written by Eaton S. Lothrop, Jr., for Popular Photography magazine as part of his "Time Exposure" column series.

While most of the people represented in this collection are unidentified, the following individuals are identified by accompanying inscriptions:
  • “Wm. Johnson” - taken by N. L. Stone (Vol 1)
  • “F. W. Huling” - taken by C. S. Roshon’s Mammoth Union Photograph Car (Vol 1)
  • “Jimmie McCool Taken in 1889” - taken by S. R. Miller’s Photograph Car (Vol 1)
  • “J. B. [or J. R.?] Enders” - taken by A. J. Miller, Keystone Traveling Gallery (Vol 1)
  • “Uncle John Grimes” - taken by H. F. Knoderer & Bro (Vol 1)
  • “J. P. Seip & Bro” - taken by Josiah Knecht (Vol 1)
  • “Angalina Seip” [Angelina Seip] - taken by Josiah Knecht (Vol 1)
  • “Julie Hamlin” - taken by Huested Bros. (Vol 1)
  • “Timo Moyer?” - taken by Geo. V. Knecht (Vol 1)
  • “Sam Rhenis Martin” and “Probably Sam Rhenis Martin’s Wife” - taken by Callahan’s Traveling Gallery (Vol 1)
  • “Mrs. R H Blodget 236 35th St. Denver Col. Formily Mary Neil” - taken by King & Co.’s Traveling Gallery (Vol 1)
  • “[?] Adaline Temple” - taken by F. J. Aiken (Vol 1)
  • “Presented to Mr. & Mrs. Silas Boyer” - taken by B. Breslow’s Empire Movable Photograph Gallery
  • “C. H. Holmes May 2nd 1881” - taken by J. B. Silvis (Vol 1)
  • “Lou House - Graham’s Baby” - taken by the Erik Borklund Photo Car (Vol 2)
  • “Olive Woodward” - taken by A. Couturier (Vol 2)
  • “Geo. H. Dunham” and “Fredd Harry Dunham” - taken by Currier & Parkinson (includes stamp depicting Landing of Columbus on verso) (Vol 2)
  • “Will Duning of Dresden” - taken by F. M. Foster (Vol 2)
  • “Pansy Lovewell” - taken by the Hutchings Rail-Road Photo-Car (Vol 2)
  • “Jabez Willes brother of Julia Willes Thrall” - taken by F. L. Hale (Vol 2)
  • “Charlie, Mary, & Bruce Blaney Claysville Washington Co Pa.” - taken by Gibson & Myres (Vol 2)
  • “Mrs. James J. Connelly #10 McConnellsburg PA” - taken by S. R. Miller’s Photograph Car (it is unclear if this inscription is related to the couple depicted) (Vol 2)
  • “Carrie and Mattie Ewan”- taken by the National Art Company’s Railroad Palace Photographic Studio (Vol 2)
  • “George & Sarah Kistler” - taken by Rollow’s Art Car (Vol 2)
  • “Leo Martin” and "Jim Martin" - both taken by the Pacific Photograph Car, Rockford, Washington (Vol 2)
  • “Arron Smith Children” - taken by the Pacific Photograph Car, Rockford, Washington (Vol 2)
  • “Miss. Kittie M. Newell July 22nd 1889” - taken by Abel J. Whalen’s Accommodation Photo. Car (Vol 2)
  • “Will Schnegg” - taken by H. C. Williams’ Floating Gallery (Vol 2)
  • “Jonas Heim” - taken by B. L. Wilson’s Traveling Gallery (“Christina Waltz Williamsport Pa.” likely a relative of the subject and former owner of the photograph) (Vol 2)
  • “April 1891 - Maggie Austin April 1891. A. M. Austin 43. E. G. ‘ ‘ 43 Mag ‘ ‘ 14 Edd ‘ ‘ 18 May ‘ ‘ 21.” - taken by W. H. Yant (Vol 2)
  • “Howard J. Martin about 1893” - taken by Boston and Albany R.R. Photo Car (Vol 2)
  • “Wash’s Daughter Pearl” - taken by F. M. Steele (Vol 2)
  • “The Boy Preacher, Age 14: John E. De Merritt” - taken by Winslow and Shobe (Vol 2)
  • “Maurice (Moe?) Boynton Alice Price } 2nd buggy” - taken by Carson Bros (Vol 2)
  • “Mrs. J. C. Boxley” - taken by Newton & Sprague Photo Car (Vol 2)

Other items of interest include 14 tintypes including a group portrait taken at the Algonquin Bon Ton Tent by W. H. Pearce and a miniature tintype produced by Douglass’ Travelling Car (Vol 1); several photographs with revenue stamps; and 10 cartes de visite by C. G. Blatt, including three items containing humorous poetry in their backstamps (Vol 1); a stereograph view of "the old Block House at Annapolis Royal" by the Palace R.R. Photograph Car Co. (Vol 2); a stereograph view of Bridgewater, Vermont (Vol 2); a stereograph view of the "Steam Packet 'Minnesota' at Hastings [Minnesota] (Vol 2); a portrait of a pet pug taken by Will. H. McMillan, R. R. Palace Photo Car that bears an inscribed caption reading: “For my dear ‘Missis’ from her Devoted ‘Brownie’” (Vol 2); a group portrait of a man and women taken by Keil & Matula with an inscribed caption reading “Czechlovakia Couple Fayetteville, TX” (Vol 2); several portraits of children that appear to show hidden mothers in the background; two studio portraits of unidentified individuals produced by Civil War veteran turned photographer Capt. J. B. Shane (Vol 2); a number of photographs that appear to be copies of earlier images, including a portrait of a man produced by the Hutchings Railroad Photo Car bearing an inscribed caption reading: “Copied from original” (Vol 2); and a possible self portrait of photographer Abel J. Whalen on a mount stamped "Whalen's 'Accommodation' Photo. Car."

The following lists contain names of photographers represented in the collection as well as the total number of images included for each photographer:

Volume 1: Cartes de visite
  • F. J. Aiken [2 images]
  • Aldhizer & Eutsler [2 images]
  • Atkinson’s Photographic Railroad Gallery [1 image]
  • L. K. Bair [1 image]
  • B. Billian [1 image]
  • C. G. Blatt [10 images]
  • A. F. Bonine [1 image]
  • E. A. Bonine [2 images]
  • J. K. Bottorf [1 image]
  • Bowdish's Traveling Gallery [1 image]
  • B. Breslow’s Empire Movable Photograph Gallery [2 images]
  • Brown & Huard [1 image]
  • Burchfield & Bottorf [1 image]
  • J. Bushong [1 image]
  • Callahan’s Travelling Gallery [3 images]
  • H. P. Carnes [1 image]
  • Coggeshall’s Excelsior Photographic Car (John Ingersoll Coggeshall) [2 images]
  • G. W. Dibert [1 image]
  • W. A. Dietrich [4 images]
  • Doran's Photographic Car [1 image]
  • Dougherty (Mammoth wagon) [2 images]
  • Dougherty & Cope (Mammoth wagon; J. L. Cope) [3 images]
  • J. W. Fothergill's Mammoth Photograph Car [1 image]
  • F. Z. Fritz [2 images]
  • William R. Godkin [1 image]
  • M. C. Goodell [4 images]
  • William Griffin [2 images]
  • Harry Gurlitz’s Photograph Car [1 image]
  • W. H. Heiss [2 images]
  • J. J. Hodge [2 images]
  • J. M. Horning & Co. [2 images]
  • Huested Bros. [1 image]
  • Johnson & Sullivan’s Portable Railroad Gallery [1 image]
  • King & Co.’s Traveling Gallery [1 image]
  • George V. Knecht [5 images]
  • Josiah Knecht [8 images]
  • H. F. Knoderer & Bro. [1 image]
  • C. L. Leonard [3 images]
  • J. Loveridge [1 image]
  • C. D. Luccock [1 image]
  • J. H. McGowan (U.P.R.R. Photographic Car) [1 image]
  • A. J. Miller [1 image]
  • S. R. Miller's Photograph Car [2 images]
  • William Nick [3 images]
  • Nick & Knecht [2 images]
  • E. W. Peirce (The Railroad Photograph Coach) [1 image]
  • Lewis P. Peter [7 images]
  • Peter & Kresge [1 image]
  • Peters & Brother [1 image]
  • F. B. Pine's Floating Photographic Studio, of the St. John's River, Fla. [1 image]
  • S. Place [1 image]
  • Portable Picture Palace [1 image]
  • G. M. Primrose [2 images]
  • W. H. Rector [4 images]
  • C. S. Roshon (Mammoth Union photograph car) [1 image]
  • J. B. Silvis (U.P.R.R. Photographic Car) [2 images]
  • C. H. Sisson [1 image]
  • C. M. Stark [1 image]
  • N. L. Stone [1 image]
  • A. Stoppel [1 image]
  • Tucker & Powell [1 image]
  • W. A. Vale [1 image]
  • M. C. Vance [1 image]
  • D. S. Von Nieda [1 image]
  • Horace L. Webber [1 image]
  • West & Lewis (Travelling photographers) [1 image]
  • Whalen's Portable Art Gallery (Abel J. Whalen) [1 image]
  • L. H. Whitson (Professor L. H. Whitson's Rail Road Photographic Car) [1 image]

Volume 1: Tintypes
  • Bishop's Portable Photograph Gallery [1 image]
  • J. Davidson [1 image]
  • Doolittle & Humphrey's Tintype and Ferrotype Car [1 image]
  • Dougherty & Cope (Mammoth wagon; J. L. Cope) [1 image]
  • Douglass’ Traveling Car [2 images]
  • Paul’s Mammoth Travelling Photograph and Ferro-type Car [1 image]
  • W. H. Pearce (The Algonquian Bon Ton Tent) [1 image]
  • E. B. Squier [2 images]
  • A. D. Terhune [1 image]
  • Williams & Dodge’s Photograph Cars [2 images]
  • C. C. Williams [1 image]

Volume 2: Cabinet cards
  • Antoinette Palace Railroad Photo Car (Studio Antoinette) [2 images]
  • Blocker Palace Art Studio and Traveling Cottage Gallery [1 image]
  • Erik Borklund [1 image]
  • Boston and Albany R. R. Photo Car [2 images]
  • W. A. Bradley [1 image]
  • P. L. Britain (Palace R. R. Photo Car.) [1 image]
  • Clark’s Portable Gallery [1 image]
  • J. P. Coffey, Photo. Car. (J. N. Bayles) [1 image]
  • A. Couturier [2 images]
  • James H. Crockwell [1 image]
  • Currier & Parkinson [1 image]
  • J. W. Dalrymple [1 image]
  • Drum Rail Road Photo Car (Oscar Drum) [1 image]
  • Elite R. R. Photo Co. [1 image]
  • Fallman Parlor Photo Car [3 images]
  • F. M. Foster [1 image]
  • Gibson & Myres, Traveling Photographers [1 image]
  • F. L. Hale [2 images]
  • F. J. Haynes [3 images]
  • T. E. Hays [1 image]
  • Howell (Prairie Queen Gallery - Temple, Tex.) [1 image]
  • Hutchings Bros. Railroad Photo. Car [1 image]
  • Hutchings Rail-Road Photo-Car [3 images]
  • K. C. Photo Car [1 image]
  • Keil & Matula, Traveling Photographers [1 image]
  • Keystone Portable Gallery [1 image]
  • Lyden & Bellinger [1 image]
  • Malloy (20th Ave. No. & Wash. Minneapolis) [1 image]
  • William H. McMillan [1 image]
  • J. W. Merideth [1 image]
  • S. R. Miller [3 images]
  • National Art Company’s Railroad Palace Photographic Studio [1 image]
  • Newton & Sprague Photo Car. [1 image]
  • Nowack Bros. Floating Gallery [1 image]
  • Pacific Photograph Car [4 images]
  • Palace R.R. Photograph Studio [1 image]
  • Lewis DeArcy Rollow (Rollow’s Art Car) [2 images]
  • J. B. Shane [2 images]
  • Showman & Joy’s Palace Cars [1 image]
  • Smith Brothers [1 image]
  • C. H. South [1 image]
  • F. M. Steele [1 image]
  • The K. C. Art Chariot [1 image]
  • The Stuart Queen City Photo Co's. Great Australian Route, Car No. 12 [4 images]
  • The Traveling Art Company [1 image]
  • M. F. Timmerman (East Tenn. Photo Car) [1 image]
  • Tooley & Grigsby (The Monarch Traveling Photographers) [1 image]
  • Turner & Johnson [1 image]
  • N. A. Watkins [1 image]
  • Welsh & Harlow [1 image]
  • West & Lewis (Travelling photographers)
  • Whalen's "Accommodation" Photo. Car. (Abel J. Whalen) [2 images]
  • H. C. Williams (Williams' Floating Gallery) [1 image]
  • B. L. Wilson's Traveling Gallery [1 image]
  • Wilson's Railroad Photo Car. (B. L. Wilson) [1 image]
  • Winslow and Shobe [1 image]
  • Wolfe & Peiffer (Keystone Traveling Photo Studio) [2 images]
  • W. H. Yant [1 image]
  • Young, Portrait Artist (Boston Portrait Car) [1 image]

Volume 2: Stereographs
  • T. A. Aldrich [1 image]
  • Coggeshall’s Excelsior Photographic Car (John Ingersoll Coggeshall) [2 images]
  • Mrs. Emma A. Cooke's Traveling Photo. Pavillion (Emma A. Cooke and W. A. Cooke) [1 image]
  • J. P. Doremus [1 image]
  • H. H. H. Langill [1 image]
  • Palace R. R. Photograph Car Co. [1 image]
  • F. B. Pine's Floating Photographic Studio, of the St. John's River, Fla. [1 image]
  • W. E. Warren's Portable Photograph House [2 images]

Volume 2: Larger formats
  • J. A. Bellinger [1 image]
  • Carson Bros. [1 image]
  • Newton & Sprague Photo Car. [1 image]
  • D. R. White [1 image]

Collection

Virginia, Georgia, and Maryland carte-de-visite album, 1870s-1880s

1 volume

The Virginia, Georgia, and Maryland carte-de-visite album contains carte-de-visite and tintype studio portraits of men, women, and children taken around the 1870s-1880s. Most of the tintypes are hand-tinted.

This album (13cm x9cm) contains 16 carte-de-visite and 13 tintype photographs taken in Virginia, Georgia, and Maryland circa 1870s-1880s. Most items are individual portraits, with three exceptions: a carte-de-visite of two women, a tintype of a woman holding an infant, and a tintype family photograph of six people, mostly children. The majority of the tintypes and at least two of the cartes-de-visite have hand coloring. One photograph of an infant is identified as Estelle Simcoe. The volume's brown cover has a raised geometric design, and the title "Album" is stamped in gold on the spine.

Collection

Wabash (Ind.) family photograph albums, [19th century]

2 volumes

The Wabash (Ind.) family photograph albums contain tintype and carte-de-visite studio portraits of men, women, and children in Indiana, Ohio, and Pennsylvania in the 19th century.

The Wabash (Ind.) family photograph albums (both 14cm x 10cm) contain tintype and carte-de-visite studio portraits of men, women, and children in Indiana, Ohio, and Pennsylvania in the 19th century. The first volume contains 19 tintypes and five cartes-de-visite, and the second volume contains 16 tintypes and nine cartes-de-visite; an index of subjects in included at the back of the second album. Some of the tintypes have raised decorated borders on their cardstock frames, and many include hand coloring. Most items are individual portraits, though some men and women posed in pairs. One man appears in a Masonic sash and apron. Each album has a brown leather cover with a raised geometric design and floral patterns stamped in gold.

Collection

William Brunton journal, 1880-1885

1 volume

The William Brunton journal contains an autobiographical sketch and diary notes that Brunton, a Unitarian minister from Boston, composed for his son, Herbert Rogers Brunton, about the boy's childhood. He described his son's temperament and daily activities during his first 10 years of life.

The William Brunton journal contains an autobiographical sketch and diary notes that Brunton, a Unitarian minister from Boston, composed for his son, Herbert Rogers Brunton ("Bertie"), about the boy's childhood. He described his son's temperament and daily activities during his first 10 years of life.

The volume, entitled "Remembrances of The Early Days of Herbert Rogers Brunton," is approximately 100 pages long. Its first 17 pages consist of William Brunton's autobiographical sketch about his childhood in England and first years in the United States. He described his schooling, his early entry into the work force, his alcoholic father, and his early religious training in Manchester, England. William moved on to an examination of Herbert's personality and kept semi-regular diary entries from April 4, 1880-December 31, 1885. The diary concerns Herbert's development, primarily through anecdotes. Herbert, described by his father as a "Mother's boy," frequently traveled to the family's farm near his grandparents' home in Braintree, Vermont (purchased in March 1880), and often voiced a dislike of schooling despite frequently excelling in his studies. The diary also recounts the family's health and activities, such as Nellie's many illnesses and annual Christmas celebrations. Several personal letters, written to Herbert and to Nellie by her parents, have been bound into the second half of the volume, along with a receipt for a suit and cap from a clothing company. A few poems are posted into the later pages. Additional material includes two children's sketches, sketches "done by Mamma when you had the scarlet fever 1885," and a manuscript poem, "For His Grave."

Collection

Williams family papers, 1823-1896 (majority within 1833-1896)

1.25 linear feet

This collection is made up of correspondence, documents, financial records, and other items related to the family of Augustus D. Williams and Julia Ann Chamberlain and to their daughter Fannie. The Williams family lived in Ohio.

This collection is made up of correspondence, documents, financial records, and other items related to the family of Augustus D. Williams and Julia Ann Chamberlain, including their daughter Fannie. The Williams family lived in Ohio.

The Correspondence series (137 items) consists primarily of incoming personal letters addressed to Julia Ann Williams (née Chamberlain) and to her daughter Frances ("Fannie"). Julia corresponded with her siblings and other family members, who lived in New Hampshire and Ohio in the mid-19th century. Her sister Louisa, who married Samuel Durgin and moved to Gustavus, Ohio, in the mid-1830s, wrote often, sharing news of her social life and requesting news of relatives who remained in New Hampshire. After Julia moved to Maumee, Ohio, around 1835, she received letters from her mother Betsy (who married Joseph Baker after the death of Julia's father) and from various siblings. The Baker family lived in Boscawen, New Hampshire. Julia's stepsister Amanda shared social updates from Loudon, Ohio, and news of family health and of her experiences working in a school. On September 28, 1839, Joseph Baker told Julia of her stepsister Elizabeth's recent illness and death, and E. B. White, a friend of Julia's from Maumee, Ohio, included a drawing of a woman in a cloak in her letter dated October 1840.

After Julia's marriage to Augustus D. Williams in late 1840 or early 1841, the couple received letters from his siblings and extended family, including several from Mortimer H. Williams, who lived in Irwinton, Georgia. Sophia Williams, then Mrs. Henry Clark of Maumee, Ohio, corresponded frequently with Julia and Augustus. Other early material includes a letter regarding the estate of Reverend Nathan Williams of Tolland, Connecticut (May 19, 1830), and additional letters written by Williams siblings in New Hampshire and Ohio throughout the 1830s and 1840s.

During and following the Civil War period, most correspondence is addressed to Frances ("Fannie") Williams, the daughter of Julia and Augustus. Letters written by female cousins during the war include one from Memphis, Tennessee (September 3, 1864) and one from Ellen, who mentioned the recent death of a friend, then fighting in Alabama (October 27, 1864). Many of the postwar letters regard careers in education and social news in Wauseon, Ohio, home of Fannie's cousins Ellen and Libbie. Fannie Williams also received correspondence from friends, including a series of 10 letters and 2 postcards from Clara B. Whitton of Wolfeboro, New Hampshire, written between October 22, 1887, and December 22, 1891. Fannie's cousin J. A. B. Parker sent a swatch of fabric on January 12, 1892, and a series of letters commencing on November 19, 1890, contains a lock of hair. In 1895 and 1896, Fannie received several items related to John Alexander Dowie of Chicago, Illinois, a practitioner of "divine healing." One of her cousins sent newspaper clippings related to Dowie's trial (February 5, 1895); the same cousin included a ticket for the Healing Room at Chicago's Zion Tabernacle (April 10, 1895). Margaret Snell Parsons enclosed newspaper clippings and a poem about the healing practice (June 30, 1896). Other later items include letters from Louisa Durgin to Julia Williams, written at her home in Wauseon, Ohio, and a few letters Burt Williams wrote to his sister Fannie in 1896.

The Documents and Financial Records series (109 items) contains accounts, receipts, and legal documents related to members of the Williams family, including many who resided in Tolland, Connecticut, and New York State during the early 19th century. Some of the legal documents pertain to real estate. A license signed by Mayor Cornelius W. Lawrence of New York City authorized David B. Williams to keep a tavern (May 31, 1834). One undated item documents Julia Ann Chamberlain's conversion to Christianity. An account book (91 pages) may have belonged to L. B. Williams of Murray's Commercial School in Maumee, Ohio. The decorated title page includes a drawing of a bird, and a second ink drawing of a bird is laid into the volume.

The Compositions series (102 items) consists primarily of essays by Julia Ann Chamberlain, Fannie Williams, and Mary F. Williams; poems and floral drawings are also present. Most of the essays concern moral topics, history, and religion, including multiple essays on topics such as "hope" and "morning." The series contains compositions about Native Americans, Christopher Columbus, and John Smith.

The Photographs series (16 items) includes cartes-de-visite, other card photographs, and tintypes. Most images are studio portraits of men, women, and children. Two larger tintypes (6" x 8") show the exterior of a home and a garden; one shows a group of people standing behind croquet wickets. One group photograph of school-age boys and girls, taken in May 1890, includes the names of each of the children present.

The bulk of the Newspaper Clippings (39 items) are poems, household hints, and recipes. Other items pertain to weights and measures and to Benjamin Harrison's return to Indianapolis after his presidency.

The Ephemera (45 items) includes invitations, notes, visiting cards, holiday greeting cards, and other items; most are visiting cards for residents of Ohio, some with illustrations. A series of 4 colored prints shows children's leisure activities. The series contains a large colored die-cut advertisement for Jacob Folger of Toledo, Ohio, showing a girl holding flowers.

Collection

Wolf family photograph albums, [1880s]-1906

2 volumes

The Wolf family photograph albums contain cabinet card and carte-de-visite portraits of numerous men, women, and children. Most of the photographs were taken in Indianapolis and various small towns in central Indiana.

Together, the Wolf family photograph albums contain 61 portraits taken in Indianapolis, Indiana, and other central Indiana locales around the late 19th century. Volume 1 (26cm x 21cm) contains 45 items in sleeves and 6 loose items; Volume 2 (20cm x 15cm) contains 7 items in sleeves and 3 loose items, as well as three paper cutouts in the shape of hatchets related to the annual celebration of George Washington's birthday. Most items are cartes-de-visite and cabinet cards, though tintypes, other card photographs, and unmounted prints are also present. The first volume also has a small plate containing the names of George McGaughey, Sallie McGaughey, Jesse McGaughey, and Mrs. Minnie Wolf.

The majority of the photographs are studio portraits of men, women, and children. Some members of the Hill, Wolf, and McGaughey families are identified by captions written on the album pages or directly on the photographs. A picture of Jacob Grove Wolf is accompanied by part of a newspaper obituary regarding his death. Henry G. Wolf, Jr., posed near a large waterfall, possibly at Niagara Falls. Volume 1 has a hard leather cover with a slightly raised decorative design, including a small rope culminating in a tassel. Volume 2 has a hard white cover with a raised, painted floral design.

Collection

Women Photographers carte-de-visite album, [1860s-1880s?]

1 volume

The Women Photographers carte-de-visite album contains studio portraits made by female photographers and husband-and-wife teams in the United States and England.

The Women Photographers carte-de-visite album (13.5cm x 10cm) contains 21 studio portraits of men, women, and children made by female photographers and husband-and-wife teams in the United States and England. This album was likely compiled by collector Frederick P. Currier from individual unrelated photos and an empty album

With the exception of one picture of a man and a woman, all of the items are individual portraits. One woman wore a large cross on a necklace, and one infant posed on a chair. The album's dark brown cover has a raised geometric design, and the volume is closed with two metal clasps. A floral design is carved into the sides of the pages. A list of photographers and their locations, when given, is provided below.