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The San Francisco (Calif.) autograph album contains manuscript inscriptions, portrait photographs, photographs of western scenes, pictures of statues, and reproductions of popular paintings.

The San Francisco (Calif.) autograph album (20cm x 13cm, 180 pages) contains around 125 photographs and prints, as well as manuscript inscriptions. Some of the inscriptions, dated at San Francisco between 1860 and 1888, include brief quotations and uplifting messages, along with the contributor's signature. A few small dried plant specimens are laid into the album. The brown leather cover has a floral design, the word "Autographs," and an illustration of a quill and book inlaid in gold.

The majority of the album's photographic prints are studio portraits of women and, less frequently, men; pencil captions identify many individuals, such as John S. Hittell, an early author of Yosemite guidebooks, and Benjamin P. Avery, miner, journalist, and diplomat. Some photographs are associated with inscriptions and autographs. A number of images are missing. Images include reproductions of popular paintings, and pictures of statues, primarily busts. A number of the paintings are attributed to David Dalhoff Neal.

Of note are views of Yosemite National Park, likely commercially produced stereograph halves; a photograph of a group of men participating in "Hydraulic Washing" in Yuba County, California, published as a stereograph by Lawrence and Houseworth; a view of tourists under giant Redwood trees; the upended tree stump in Mammoth Tree Grove (Calaveras County, California). One view and one portrait carrying the blind-stamp of photographer Carleton E. Watkins and several other views are similar to known Watkins images; at least one (Crystal Lake House) compares to a stereo by Alfred A Hart.

A small number of images are from Europe, showing cathedrals, the view from Trinità dei Monti in Rome, and a view of a waterfall below a village. The majority of the inscriptions are in English, with several in German.

This volume (112 pages) contains Sarah Welles Hunt's reminiscences about her life, as well as occasional journal entries that Hunt composed from July 1, 1851-May 23, 1893. She wrote about her travels in New York, Massachusetts, Ohio, Michigan, and Québec; her encounters with famous individuals; her family; and current events.

This volume (112 pages) contains Sarah Welles Hunt's reminiscences about her life, as well as occasional journal entries that Hunt composed from July 1, 1851-April 9, 1891. She wrote about her travels in New York, Massachusetts, Ohio, Michigan, and Québec; her encounters with notable individuals; her family; and current events.

Hunt began her diary on July 1, 1851, with her recollections about her life from her birth in 1810 to around 1851, including information about her family, travels, and notable individuals she had seen or met. She mentioned attending the Clinton Female Seminary in 1826 and noted the cholera outbreak of 1832 in Utica, New York. Some pages have been cut out of the volume.

From 1851-1891, Hunt occasionally wrote journal entries about her life in New York, Massachusetts, and Michigan. While living in the east, she recounted her visits to family members in Ann Arbor, Michigan, and Ashtabula, Ohio; on one occasion, she traveled through New York to Montréal, Québec (1860, pp. 77-78). After moving to Michigan, Hunt sometimes traveled to Ohio and New York. Hunt periodically recorded news about her siblings, parents, in-laws, and children, including dates of births, marriages, and deaths. She also commented on current events, such as European politics in the early 1850s, a railroad accident in Norwalk, Connecticut (May 6, 1853, pp. 46-47), and the Civil War (1864-1865, pp. 80-83). In 1876, Hunt visited the Centennial Exhibition at Philadelphia, Pennsylvania. Genealogical notes and 2 newspaper obituaries for John Alfred Davenport are laid into the 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.

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.

The Shelter Island (N.Y.) photograph albums contain portraits of young female vacationers, pictures of visitors enjoying leisure activities on and around a beach, and views from the steam yacht Meteor.

The Shelter Island (N.Y.) photograph albums contain 188 pictures taken during a visit to Shelter Island around the late 19th century. Volume 1 (26cm x 22cm) contains 98 photographs from an Original Kodak or Kodak #1 camera and Volume 2 (32cm x 28cm) contains 90 photographs from a Kodak #2 camera, mounted 4 to a page. Each album has black covers with the title "Kodak" originally printed in gold on the front; the title on the second album has faded.

Both albums contain similar photographs of people enjoying outdoor leisure activities, particularly on a beach. Many items are informal portraits of young women alone or in pairs, often identified in manuscript captions. Women, men, and children are shown sitting and walking along the beach, wading in the water, riding in carriages, and watching baseball at "Jim-town," among other activities. The seaside hotel Manhausett House appears as does "the Casino." Several images are of spectators at a tennis pavilion. Of note are a group of images in the second album from a trip on the steam-powered yacht Meteor, including shots of passengers relaxing on deck and crew members. A monkey appears in one photograph in each of the albums. A photograph vendor's wagon appears on the beach, and a man is posed with a camera on a stand.

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.

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.

The Watkins and Livingston family scrapbook contains letters between members of the Watkins, Livingston, and Jay families; genealogical data recorded by Lucretia Elizabeth Hamersley Rylance; and miscellaneous drawings and newspaper clippings related to the families.

The Watkins and Livingston family scrapbook includes 94 items relating to the Watkins and Livingston families. Lucretia E. Hamersely Rylance created the scrapbook in 1882 and included family correspondence retrieved from her Aunt Beebee's attic as well as her own genealogical research.

The bulk of the collection consists of 69 letters, with many written between sisters Susan Symmes and Judith Watkins. The letters primarily regard family news and concerns, noting health, marriages, and social visits. Additional topics mentioned include the American Revolution, the death of Governor Dewitt Clinton, the Peggy Eaton scandal, Cherokee removal, the nullification crisis, bank and tariff struggles, the anniversary of Andrew Jackson's Battle of New Orleans, the Panic of 1837, African American servants, Fanny Kemble Butler, and Austrian exile Giovanni Albinola. Letters from John Jay and his descendants are also represented in the collection. With women from prominent families penning many of the letters, the correspondence also highlights women's relationships, reading habits, engagement with financial matters, and occasionally thoughts on political affairs.

The Watkins and Livingston family scrapbook also includes newspaper clippings, a family tree, a cabinet card, a pen and ink drawing of a scene from a fairy tale, and colored pen and ink drawings of family coats of arms. See the Detailed Box and Folder Listing for more information about each item.

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.

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.