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The Solomon G. Haven family papers contain the business and personal letters of Solomon Haven, a Buffalo, New York, lawyer and politician, as well as many letters concerning his wife, Harriet Newell Scott, and daughters Mary and Ida Haven.

The Solomon G. Haven family papers contain the business and personal letters of Solomon Haven, as well as many letters of his wife and daughters. The collection holds 185 letters.

The Solomon Haven Correspondence series consists of 103 letters written from Haven to James Smith, his law partner in Buffalo, New York; 33 letters to his wife; and several letters addressed to various political acquaintances. Most of the letters were written during the period of Haven's congressional career, with the heaviest concentration being from 1853 to 1856.

The letters to Smith contain scattered commentary on the Supreme Court, before which Haven argued three times, on Erie County politics, and on their legal practice in Buffalo. These also offer extensive commentary on New York state politics, including discussions of most of the major figures in the state at the time; references to the various intraparty factions; and discussion of the role of political newspapers during this period of political volatility. Of particular note is the detailed commentary on congressional politics surrounding the struggle over the Kansas-Nebraska Bill, the election of the Speaker of the House (1855-56), and a description of various party conventions in 1856, especially the Know Nothing convention in Philadelphia. By this time, Haven had become a fierce American Party supporter, a fiscal conservative, and an ardent critic of the political games being played by most of the Democratic, Whig, and Republican schemers in Washington and Albany. In a letter to his friend James Osborne Putnam (1818-1903), Haven wrote: "You ask for the Whig party. You would as yet ask in vain for any party here -- there is but little doing effective here for the future -- Cass and Douglass are playing high at the game of Weasel" (December 20, 1851).

Solomon’s letters to his wife Harriett (Hatty) were written between 1839 and 1858, and have an affectionate tone; their focus is largely on the many Washington, D.C., social events, such as parties, celebrations, balls, dinners, and other social/political gatherings, which he typically found tiresome. He was a regular guest for dinner at the White House. His letters relay information about who attended the parties, such as the wives of generals, congressmen, and the President, what the ladies’ were wearing and how they interacted with the men. An 1856 letter mentions the reaction of Elizabeth Spencer Cass (wife of lawyer and politician Lewis Cass) to the caning of Charles Sumner (1856).

The Mary and Ida Haven Correspondence series (39 items) documents two trips taken by Mary Haven to Europe. The first commenced sometime before December 1877 and ended in 1879. Mary spent her time primarily in Paris, leaving only for short excursions to Cannes, France, and Geneva, Switzerland. Her second trip began in June 1884, and lasted until sometime after August of the same year. This trip started with short visits to several cities in Germany and Switzerland, and, by August 29, 1884 (the last letter of her correspondence), she had returned to Paris.

Mary, also known as Ninnie, wrote her letters to her sisters, Ida and Antoinette, and to her mother, all of whom lived at the same address in Buffalo, New York. She traveled with other Americans including a traveler named “Puss,” who, as internal evidence suggests, is her husband, Charles Day. She often discussed her activities in Paris and the differences between life at home and life in Paris, her membership in an Art club, other social engagements, and her trips to other European countries. Her letters show, however, that she spent much of her time socializing with other Americans and British friends. While in Europe, she attended “English church.” As a member of an Art Club, Mary spent some of her time painting and taking art classes.

In two letters from Paris (April 29 and May 16, 1878), Mary wrote about attending the opening of the Exposition Universelle: she waited amidst hordes of other people and saw celebrities who passed near her, such as Queen Isabella and her daughter; the Prince of Wales; the Prince of Denmark; foreign ambassadors and generals of the French Army; and many others. Mary wrote a particularly interesting anecdote about a dressmaker, Madame Connelly from New York, who, in a state of drunkenness, told her that she purchased dresses and belts in France very cheaply and re-sold them in New York for an enormous profit (March 26, 1878). A letter from May 16, 1878, mentions the divorce of a woman whose husband cannot support her, possibly because he was an alcoholic. When traveling to Europe in 1884, Mary noted that writer Mariana Griswold Schuyler Van Rensselaer was on the same ship.

Seven incoming letters to Mary and a single miscellaneous item complete the series. Her sister Ida wrote two letters while she traveled abroad in Germany in the summer of 1880. At this time, Mary was living in New York. Alice Craven Jones, a family friend in Hampstead, London, wrote five letters in the 1890s. Alice offered hopes that her family would come to visit them overseas, offered condolences for the death of a loved one in 1890 (likely Mary’s sister, Antoinette), and related the news of Minnie Jones’ marriage to a lawyer by the name of Perks (1895). Finally, an 8-page unsigned letter to Ida Haven describes visits to small villages in Italy; the writer worked with the Red Cross and commented extensively on the manner, dress, and religion (Catholic) of the citizens.

Two items contain decorated letterheads: the letter from August, 24, 1879, has scenic pictures of famous locations on stationary from a hotel in Zurich, and an undated item (marked only July 15) features printed pictures of the buildings Sprudel-Colonnade and Muhlbrunn-Colonnade.

The Vera and Gene Foreman photograph albums consist of four volumes containing approximately 917 photographs and miscellaneous ephemera that document the experiences of Vera Irene Masuch and her husband-to-be Charles Eugene “Gene” Foreman in post-World War II Europe both before and after they first met as well as earlier trips taken by Vera and friends to various places in the United States.

Volume 1 (1942-1943)

This album (25.5 x 33 cm) has brown faux-leather covers and contains approximately 159 photographs as well as some postcards. Images include numerous snapshots of young men and women (including Vera) on a ranch in Green Mountain Falls, Colorado; coverage of visits to Pike's Peak, Denver as well as an unidentified tropical location; and photographs showing young men in military uniforms.

Volume 2 (1949)

This album (32 x 38 cm) has decorative dark blue faux-leather covers and white plastic ring binding and contains 50 photographs as well as some ephemera. Only five pages near the front of the album and two pages towards the back contain any photographs, most of which show American GIs (including Gene) in training camp settings primarily near the town of Friedburg, Germany, and engaging in social activities. Some but not all images have captions. Also present towards the back of the album are several loose images including real photo postcards showing travel scenes to European locations such as Paris, Naples, Rome, and Venice as well as a group portrait of a football team, a program dated December 2 1950 for a USAREUR football game between the 2nd RCT "Dragoons" and 16th Infantry Regiment "Rangers," and a souvenir from the Casa Blanca cocktail bar in Newark, New Jersey bearing Gene Foreman's signature.

Volume 3 (1949-1950)

This album (32 x 38 cm) has decorative black faux-leather covers and white plastic ring binding and contains approximately 580 photographs as well as some ephemera. Images include photographs (including football games) from the U.S. military base near Augsburg from 1949 to 1950; recreational visits to Augsburg, Berchtesgaden (including the Eagle's Nest), Garmisch, Bonn, Heidelberg, and Frankfurt am Main in Germany, Salzburg and Vienna in Austria, and locations in the Netherlands, France, and Italy; wounded American soldiers encountered during a visit to a hospital in Munich; and 24 views of the former concentration camp in Dachau. Other images of note include photographs of a wedding between Vera's friends Mary and John and sporadic images unrelated to post-war Europe that were taken during past vacations including trips to Colorado, Utah, and El Paso, Texas.

Volume 4 (1950-1951)

This album (34.5 x 28 cm) has red leather covers and red satin lining and contains approximately 125 photographs as well as some ephemera. The first page bears the inscription "Merry Christmas! Gene, 1951, Augsburg, Germany" as well as a photograph of Vera and Gene seated together at a table. Images include numerous snapshots of friends and soldiers engaged in social activities taken on the Augsburg military base as well as photographs (including real photo postcards) taken in other European locations such as Venice, Pisa, Florence, Cannes, Amiens, and Paris. Numerous individuals are identified through captions. Also present is a tissue with lipstick kisses and a tuft of blonde hair, while several photographs and ephemeral items are stored loose towards the back of the album.

The individual captioned as "me" in a number of photographs in Volume 3 appears to be Vera. She also appears regularly in the pictures of Volume 1 (also identified as "me" in captions) as well as Volume 4, but does not appear at all in Volume 2. Gene appears for the first time outside of Volume 2 in the final few pages of Volume 3, where he is initially introduced in a portrait with the caption "Gene Forman - Eibsee Hotel, June 1950"; this portrait is followed by a full page of photos of Gene. Given that Volume 2 seems to portray Gene's time in Friedburg and most of Volume 3 seems to represent Vera's personal experiences in Augsburg and traveling elsewhere in Europe, it appears that they may have been unacquainted prior to June 1950. By October 1950 the two appear to be acting as a couple, as documented in a travel bureau itinerary present at the end of Volume 3 that details a four-day program in Naples for "Miss Masuch and Mr. Forman." The couple also appears together in Volume 4, though in this instance the "me" captions refer to Gene and not Vera, suggesting that he was the primary creator of that album.

This collection is made up of 51 items related to Private Victor J. Harles, who served in France with the United States Army's 350th Infantry Regiment during World War I. Harles sent 47 letters and postcards to his parents and sister in Clayton, Missouri, while in training at Fort Dodge, Iowa, and while serving in France and Germany between August 1918 and May 1919. He described his training exercises, aspects of military life, and the towns he visited in France during and after the war. Also included are 2 pre-enlistment letters and 2 pieces of ephemera.

This collection is made up of 51 items related to Private Victor J. Harles, who served in France with the United States Army's 350th Infantry Regiment during World War I. Harles sent 47 letters and postcards to his parents and sister in Clayton, Missouri, while in training at Fort Dodge, Iowa, and while serving in France and Germany between August 1918 and May 1919. He described his training exercises, aspects of military life, and towns he visited in France during and after the war. Also included are 2 pre-enlistment letters and 2 pieces of ephemera.

Harles wrote 13 letters from Camp Dodge, Iowa, between May and August 1918, and 2 while awaiting deployment from Camp Upton, New York, in early August. He discussed many aspects of military life, such as the food; leisure activities; his influenza inoculation (with a small drawing of the mark it left on his arm, June 16, 1918, and June 19, 1918); and training exercises, including rifle practice and anti-gas maneuvers (July 3, 1918). On July 7, 1918, he mentioned having seen three African American men hanged for an assault on a young woman. Once he received his assignment to the signal corps, Harles took classes in telegraphic systems and described the work of the corps. He also encouraged his family to look after his fiancée, "Lil," while he served abroad, and composed 1 letter while en route to Europe.

Victor Harles sent 17 letters, 13 postcards, and 1 Christmas card from France and Germany to his family in Missouri, writing primarily about his surroundings and war news. He reported seeing foreign allied soldiers and German prisoners of war, drew maps for his regiment's signal corps, and commented on the small French villages in which the 350th Regiment stayed during most of its active service. Harles had some knowledge of the French language, attained through his immigrant grandmother, and could interact with the locals. He described local customs and gave his impressions of the town's buildings. Although he arrived in Europe shortly before the armistice, he reported that his unit had participated in battle. His letters also include a brief comparison between occupied Germany and wartime France (May 5, 1919) and signal his intent to break off his engagement (May 17, 1919).

After the war, Harles traveled around France and to Coblenz, Germany, as a theater painter with the 88th Division "Show Troupe." He spent some additional time in Paris before returning to the United States onboard the Pocahontas in late May 1919. Three printed and partially printed postcards provided his family with news of his arrival in France, a new mailing address, and news of his return to the United States on June 1, 1919.

The collection's visual materials include printed postcards, an illustrated Christmas card, and 3 photographs of Victor Harles. Two photographs are enclosed in his letter of February 25, 1919, and the third is attached to his passport, also present in the collection. The postcards depict scenes from Paris, other French cities, and Coblenz, Germany. Additional material includes 2 early letters Victor wrote about life as an artist in Norway, Maine (June 13 and 30, 1916), and a metal identification tag for "M. J. Schreibert." One postcard postmarked 1908 depicts a Papago Native American woman filling a pot.

The William A. Lewis photograph collection consists of approximately 1,530 items pertaining to a wide range of visual subjects that are represented across a variety of photographic formats including daguerreotypes, cartes de visite, stereographs (which form the bulk of the collection), and glass plate negatives as well as modern slides, film strips, snapshots, and postcards.

The William A. Lewis photograph collection consists of approximately 1,530 items pertaining to a wide range of visual subjects that are represented across a variety of photographic formats including daguerreotypes, cartes de visite, stereographs (which form the bulk of the collection), and glass plate negatives as well as modern slides, film strips, snapshots, and postcards.

The subject matter of this collection is thematically and chronologically diverse and reflects the broad interests of the collector, with the U.S. Civil War and 19th-century views of American and European cities being particularly well-represented topics. The collection is organized into four main series according to subject matter and is further divided into specific subject groupings within each series. In most cases, multi-item sets have been kept together and placed within the most generally appropriate subject grouping. An extensive number of photographers and publishers are represented throughout the collection including the likes of H. H. Bennett, C. B. Brubaker, John Carbutt, Centennial Photographic Company, B. F. Childs, E. & H. T. Anthony & Company, Alexander Gardner, T. W. Ingersoll, International Stereoscopic View Company, Keystone View Company, William Notman, Timothy O'Sullivan, William Rau, Strohmeyer & Wyman, Underwood & Underwood, and F. G. Weller.

The following list provides a breakdown of every topical subsection of the collection and includes item counts for each grouping:

• Airships (11)
• Bridges (69)
• Civil War I--stereographs (91)
• Civil War II--cartes de visite, Kodachrome slides, negative film strip copies of stereographs held at the Library of Congress, postcards (48)
• Disasters (49)
• Expositions (24)
• Industry & Labor (89)
• Miscellaneous (23)
• Portraits (109)
• Railroads (62)
• Ships (80)
• War (30)

• Alaska (47)
• Arizona (3)
• California (20)
• Colorado (2)
• Dakota (4)
• District of Columbia (50)
• Florida (2)
• Hawaii (1)
• Illinois (17)
• Iowa (2)
• Maine (8)
• Maryland (27)
• Massachusetts (20)
• Michigan (31)
• Missouri (3)
• New Hampshire (10)
• New York (116)
• Ohio (2)
• Oregon (2)
• Pennsylvania (16)
• Tennessee (1)
• Texas (1)
• Vermont (3)
• Utah (3)
• Virginia (6)
• Washington (1)
• West Virginia (1)
• Wisconsin (2)
• Wyoming (2)
• Unidentified locations (35)

• Austria (5)
• Belgium (6)
• Brazil (1)
• Canada (3)
• Cuba (5)
• Czechoslovakia (1)
• Egypt (5)
• England (21)
• France (43)
• Germany (14)
• Greece (1)
• India (2)
• Ireland (4)
• Italy (22)
• Japan (3)
• Mexico (1)
• Miscellaneous (31)
• Monaco (4)
• Netherlands (1)
• Norway (3)
• Palestine (5)
• Panama (41)
• Puerto Rico (3)
• Scotland (10)
• Spain (2)
• Sweden (2)
• Switzerland (9)
• Turkey (1)

• Keystone Alaska and Panama views, set box (1)
• Stereoscope (1)

• Post-WWI Keystone views of German and American zeppelins and one real photo postcard showing pre-WWI aircraft (Series I, Box 1, Airships)
• Numerous views of the Brooklyn Bridge under construction and after completion, and the Niagara Falls suspension bridge (Series I, Box 1, Bridges)
• Views of Civil War battle sites, encampments, and leaders on contemporary mounts as well as numerous reproductions of stereographs showing important battlefield sites and troops (Series I, Boxes 1-2, Civil War)
• Stereographs, real photo postcards, and other images documenting the aftermath of the 1906 San Francisco Earthquake, 1871 Chicago Fire, 1889 Johnstown Flood, 1900 Galveston Hurricane, and other calamities (Series I, Box 3, Disasters)
• Images showing scenes from various American and European events, with an emphasis on the 1876 Centennial Exhibition in Philadelphia (Series I, Box 3, Expositions)
• Images showing mills, factories and people engaged in various occupations, including a boxed set of 50 images related Sears, Roebuck operations produced around 1906 (Series I, Box 3, Industry & Labor)
• Hand-colored early groupings of French theatrical tableaux (Series I, Box 3, Miscellaneous)
• Approximately 109 portrait photographs in different formats of various individuals, including William Jennings Bryan; a boxed set of 50 cartes de visite depicting Danish actors and actresses; cartes de visite of Emperor Napoleon III and the Mikado of Japan; and numerous unidentified subjects represented in real photo postcards (1), tintypes (17), framed/cased ambrotypes, and daguerreotypes (13) (Series I, Box 4, Portraits)
• Approximately 62 images of railroads, mostly in the U.S., including photographs from an 1866 expedition to the 100th meridian on the Union Pacific Railroad while under construction (Series I, Box 5, Railroads)
• Approximately 80 images of ships including warships, freighters, riverboats, passenger ships, shipwrecks (including of the USS Maine), and shipyards mostly in the U.S. with the notable exception of a photo of the 1858 launch of the SS Great Eastern, with Isambard Kingdom Brunel possibly in the crowd. Also of interest are 8 photos and postcards showing ships in World War I-era "dazzle" camouflage (Series I, Box 5, Ships)
• A Keystone View Co. series of images related to World War I (Series I, Box 5, Wars)
• A number of images produced by Keystone View Co. and other stereograph purveyors that focus on major cities such as Boston, New York, Paris, Constantinople, and Jerusalem (throughout Series II & Series III)
• Views from geological expeditions to the American frontier in the 1860s and 1870s (Series II, Unidentified Locations)

This 2-volume account (301 pages) consists of William West Medwin's memoirs about his experiences in the Royal Navy and his later travels, as well as poetry that he composed in the early 19th century.

This 2-volume manuscript (301 pages) consists of William West Medwin's memoirs about his experiences in the Royal Navy and his later travels, as well as poetry that he composed in the early 19th century.

Medwin began composing his account in 1830, and dedicated the manuscript to his surviving son. Later pages contain references to dates as late as 1833. The memoir, written on pages 1-214 and 250a-299, chronicles Medwin's experiences from 1799, when he joined the crew of the Mercury, until around 1833, when he was living in his family in London, England. He began with a brief history of his ancestors and an account of his childhood up to his enlistment in the navy. Medwin was a crewman on multiple ships and traveled to North America, the Caribbean, South America, and Europe. During the American Revolution, he was stationed in Canada and elsewhere, and after the war helped evacuate Loyalists and African-American soldiers from the newly independent United States.

Medwin's memoirs also reflect his later life, including his residence in North America, where he described the tobacco industry and plantation farming, and his years in France, where he frequently attended theatrical performances. He sometimes commented on local customs, such as the practice of "bundling" in North America (p. 63). Pages 214-248 contain poetry by Medwin; some poems are laid and pinned into the volume. Medwin then resumed his memoir with an account of his life after his return to London and the death of his eldest son. The final pages (pp. 266-299) are comprised of Medwin's philosophical and religious musings.