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This collection contains letters, biographical newspaper clippings, cartes de visite, and other material related to Episcopal bishops between the late 18th and early 20th centuries.

This collection contains letters, biographical newspaper clippings, cartes-de-visite, and other material related to 155 Episcopal bishops serving in the United States between the late 18th and early 20th centuries. Many of the newspaper clippings provide biographical information and dates of ordination, as well as autographed letters, often related to church matters. Of the five volumes, two contain biographical sketches of bishops, two pertain to the consecrations of bishops, and one includes descriptions of churches and cathedrals in Europe.

See the Detailed Box and Folder Listing and Subject Terms for a complete list of bishops represented.

The David V. Tinder Collection of Michigan Photography consists of over 100,000 images in a variety of formats including daguerreotypes, ambrotypes, tintypes, cartes de visite, cabinet photographs, real photo postcards, stereographs, and mounted and unmounted paper prints. The collection is primarily made up of vernacular photographs of everyday life in Michigan taken by both professional and amateur photographers from the 1840s into the mid-twentieth century. In addition to supporting local history research, the collection has resources for the study of specific events and subjects. Included are images related to lumbering, mining, suburbanization; the industrialization of cities; travel and transportation; the impact of the automobile; the rise of middle-class leisure society; fashion and dress; ethnicity and race; the role of fraternal organizations in society; and the participation of photographers in business, domestic, and social life. The collection is only partially open for research.

The subject contents of different photographic format series within the Tinder collection vary, depending in part upon how each format was historically used, and the date range of that format's popularity. For example, cartes de visite and cased images are most often formal studio portraits, while stereographs are likely to be outdoor views. Cabinet photographs are frequently portraits, but often composed with less formality than the cartes de visite and cased images. The postcards and the mounted prints contain very diverse subjects. The photographers' file contains many important and rare images of photographers, their galleries, promotional images, and the activities of photographers in the field. See individual series descriptions in the Contents List below for more specific details.

Included throughout are images by both professional and amateur photographers, although those by professionals are extant in far greater numbers.

Detroit Edison executive, advocate of the need to develop peaceful uses for nuclear power. The papers of Walker L. Cisler are divided into nine series: Atomic Power Development Associates (APDA), Detroit Edison, War Service, Personal File, Speeches, Overseas Advisory Associates (OAAI), Other Affiliations, Visual Materials, and Sound Recordings.

The papers of Walker L. Cisler are divided into nine series: Atomic Power Development Associates (APDA), Detroit Edison, War Service, Personal File, Speeches, Overseas Advisory Associates (OAAI), Other Affiliations, Visual Materials, and Sound Recordings.

The Allen family photograph album contains carte-de-visite and tintype portraits of various individuals, including members of the Allen family of Mayville, Michigan.

The Allen family photograph album (13cm x 10cm) contains 22 cartes-de-visite, 13 tintypes, one lithograph, and one printed card. The cartes-de-visite and tintypes are studio portraits of men, women, and children. Most items show a single person, though some, such as a woman and a young baby, were photographed in pairs. The lithograph depicts a young girl holding a dog. An educational card, one of a series of "Little People Lesson Pictures" issued by the American Sunday-School Union (volume IV, number 1, part 5), is laid into the volume. The card has a colored print of a Biblical scene entitled "Beginning of the Hebrew Nation," and the reverse side has questions and answers about Abraham's journey to Canaan. The cartes-de-visite were made by photographers in locations such as Imlay City, Michigan; Owosso, Michigan; and Peterborough, Ontario. The volume's covers are leather, with a Maltese gold-embossed cross stamped in relief on each side.

The Arabella Chapman carte-de-visite albums primarily contain carte-de-visite and tintype photographic portraits of members of the Chapman family, middle-class African Americans from Albany, New York. Also pictured are friends, neighbors, and a few prominent abolitionists and public figures.

The Arabella Chapman carte-de-visite albums (16cm x 13cm) contain 95 carte-de-visite and tintype photographic studio portraits of the family, friends, and associates of Arabella Chapman, along with public figures and role models. The photos were taken from the 1860s to the turn of the century, with the bulk from the 1870s and 1880s. An inscription indicates that "Bella" Chapman received the second album from R. H. Bundy on October 3, 1878. The albums' covers are bound in blue leather, with designs carved in relief and metal clasps.

The first volume has 32 cartes-de-visite and 17 tintypes, including commercially produced photographs of Abraham Lincoln, Frederick Douglass, and John Brown. Also included is an autographed carte de visite by New York State Representative and Underground Railroad organizer William Henry Johnson (1833-1918). The second volume has 24 cartes-de-visite and card photographs, as well as 22 tintypes. Each volume has a partially completed index, with some manuscript captions written directly on some mounts and album pages. The sequence of photographs does not correspond to the indices.

Many of the photographs were taken by photographers in Albany, New York, along with a few images taken during visits to Pleasure Island Park; Saratoga, New York; and other locations. Arabella Chapman appears in six photographs taken at different times in her life.

Portraits of Arabella Chapman's immediate and extended family make up the largest portion of the photographs, including repeated photographs of her parents, future husband, siblings, cousins and nieces, daughter, and in-laws. The majority of the remaining images show Chapman's school friends, family friends, and neighbors from Albany. These include William Brent, a hotel waiter born in Washington, D.C.; Jim Goines, a porter; Charlie Butler, the son of a billiard hall owner and also employed as a waiter; and Anna Latour, the Chapmans' next-door neighbor, whose brother William was a waiter. Some portraits show Arabella's female peers, such as Elizabeth Myers, the daughter of Stephen Myers; Anna Bolden, listed both as a student and as a servant in a white household; and Mary Crosby, who with Chapman formed the only recitation team from Wilberforce in Albany's 1868 annual public school exhibition. A photograph pasted into the last page of the second volume shows Arabella's children and their neighbors, the Spragues.

The Weld-Grimké family album is a 12.5 x 16 cm bound cartes de visite photograph album with some tintypes and gem tintypes interspersed. The album has a brown leather cover with gilt clasps. The photographs all appear to date from the 1860s to the 1870s but there is no precise date for individual photographs listed. The album has a printed title page that reads "Photographs/Boston/Roberts Brothers." The album is 50 pages with each page containing a single slot for a photograph, though some pages have multiple photographs tucked into the same slot. The photographs are almost all studio portraiture. While some of the individuals in the album have been identified (including Theodore D. Weld) the vast majority are unidentified.

The Weld-Grimké Family Album is a 12.5 x 16 cm bound cartes de visite photograph album with some tintypes and gem tintypes interspersed. The album has a brown leather cover with gilt clasps. The photographs all appear to date from the 1860s to the 1870s but there is no precise date for individual photographs listed. The album has a printed title page that reads "Photographs/Boston/Roberts Brothers." The album is 50 pages with each page containing a single slot for a photograph, though some pages have multiple photographs tucked into the same slot. There are 52 photographs in the album, 46 of which are cartes de visite. There are also 6 tintypes, 2 of which are gem tintypes. The photographs are almost all studio portraiture of individuals ranging from infanthood to old age. One exception to this is a photograph of a satirical drawing of an unidentified individual playing some sort of instrument (loose photograph on page 49). Some of the individuals in the album have been tentatively identified with the majority unidentified. One photograph (on page 24) has been speculated to be a portrait of Charlotte Brown, an African-American servant of the Weld-Grimké family, but this has not been confirmed.

• Theodore Dwight Weld (page 1, page 20)
• William Hamilton (page 4)
• Sarah Weld Hamilton (page 5)
• Angelina G. Hamilton (page 6)
• William Hamilton Jr. (page 7)
• Llewellyn Haskell (page 9)
• Llewellyn Thomas Haskell (page 12)
• Louis Olcott Haskell (page 13)
• Elizabeth "Lizzie" Cram (page 21)
• William James Rolfe (page 22)
• Theodore Weld Parmele (page 27, page 34)
• Elizabeth Smith Miller (page 28)
• Ann Carroll Fitzhugh (page 29)
• George Walker Weld (page 30)
• Gerrit Smith Miller (page 35)
• Ruth C. Bodwell (page 36)
• Rena Louise Twiss (page 45)

• A photograph of a painting of the Empress Eugenie. (page 33)
• A portrait of Rebecca an escaped slave from New Orleans. (page 38)
• A photograph of a painting of Beatrice Cenci. (loose item on page 41)
• A portrait of actor Edwin Booth (page 40) brother of John Wilkes Booth.
• A photograph of a painting of "Little Samuel" based on the etching done by Samuel Cousins. (page 43)

In addition to this finding aid, the Clement Library has created a Photographer Index for the album, containing the names of all the photographers in the order that they appear in the album. This index also records any handwritten inscriptions that were found on the photographs.

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)

The New England family travel photograph album contains approximately 600 photographs that document the domestic life and foreign travels of an unidentified husband and wife couple from suburban Boston during the first decade of the 20th-century.

The New England family travel photograph album contains approximately 600 photographs that document the domestic life and foreign travels of an unidentified husband and wife couple from suburban Boston during the first decade of the 20th-century. The album (28.5 x 36 cm) has pebbled black leather covers with “Photographs” stamped in gold on the front. By and large, images are presented chronologically and many have extensive captions which mainly identify the locations pictured as well as certain individuals. It appears that many image captions were cut and pasted from white paper and added on top of pre-existing faded captions that had been written directly on the album pages. Some images that show people of African descent have subtly derogatory captions. Photographs showcasing the family’s domestic life include pictures of annual spring blooms in their backyard; friends and family; various domestic activities including interacting with pet cats; and regional outings such as visits to Mt. Washington, Point of Pines nature park in Revere, Massachusetts, and poet John Greenleaf Whittier's birthplace in Haverhill, Massachusetts.

In the summer of 1905, the couple travelled to Montreal and up the St. Lawrence River to Quebec City and beyond, resulting in the production of nearly ten pages of photographic highlights (pgs. 7-16). Later that summer, they also took photographs while vacationing in the Lake Sebago region of Maine with friends whom they later visited in Providence, Rhode Island (pgs. 16-20, 22). A visit to New Orleans, Louisiana, and Beauvoir, Mississippi, in December of 1906 is also documented (pgs. 30-37). In 1907 the couple undertook a period of extensive international travel beginning with a trip to England, Scotland, Ireland, Belgium, and France (pgs. 38-57). A second visit to Quebec in September 1907 is briefly represented (pgs. 57-58), while a series of pictures from a trip to St. Augustine, Florida, in April 1908 are also included (pgs. 59-62). Photographs related to two separate tours of the Caribbean and Central/South America in July and August of 1908 and March of 1909 make up a substantial portion of the album (pgs. 63-103); images from the first tour mainly include scenes from Caribbean islands such as St. Thomas, St. Croix, St. Kitts, Antigua, Guadeloupe, Dominica, Martinique, St. Lucia, and Barbados as well as British Guiana, while images from the second trip include scenes from Puerto Rico, Jamaica, Panama, Venezuela, Trinidad, Dominican Republic, and Cuba. Also present are several commercially-produced photographs, including a number of panoramic views, showing scenes from Mexico (pgs. 104-111). The majority of images taken during the couple’s travels consist of typical sightseeing photographs showing important cultural landmarks and historic buildings as well as street scenes, methods of transportation, and local people and industries. Throughout the album there are also numerous photographs taken aboard various transport vessels mid-voyage.

A few noteworthy historical events are minimally represented by photographs in this album, such as the January 15 1905 Washington Street Baptist Church fire in Lynn, Massachusetts (pgs. 2 & 3); the Quebec Bridge a few weeks after its collapse on August 29 1907 (pg. 57); the Great Chelsea Fire of 1908 (pg. 59); Panama Canal construction in 1909 (pgs. 87-89); long distance views of the site of the village of St. Pierre, Martinique, which was decimated by the volcanic eruption of Mt. Pelée on May 8 1902 (pg. 80); and the wreck of the battleship Maine in Havana Harbor (pg. 179). Individuals identified by captions throughout the album include Dr. Robert L. Bartlett (pgs. 4 & 89); “Miss Morse” (pg. 5); Stanley and Donald Clauss of Providence, Rhode Island (pgs. 17, 19 & 22); Hattie English, Lizzie English, “Mrs. Boynton,” and “Miss Lord” (pg. 19); Samuel Pickard (pg. 20); Jessie Pauline Whitney (pg. 21); "Mr. Little" (pgs. 19 & 22); William Rhodes (pg. 26); Maud Burdett (pgs. 38 & 58); George C. Hardin (pg. 74); Dr. Selah Merrill, American Consul in British Guiana (pg. 80); "Mrs. Parker" (pg. 85); and Hermann Ahrensburg (pg. 91). Other images of interest include a couple of photographs showing United States cavalrymen at camp in Lakeville, Massachusetts (pg. 2); a multiple exposure photograph showing the wife and other women (pg. 22); four photos showing a group of women that appear to be associated with a possible Masonic organization with the acronym “O.E.O.T.” (pg. 23); two photos of local boys diving in St. Lucia (pg. 72); a picture of a school for natives in St. Thomas where students were supposedly fined 10 cents a day for being absent (pg. 82); photos from Kingston, Jamaica, showing women working on a railroad and men operating a hand-made sugar mill (pg. 86); a group portrait of a baseball team in Venezuela (pg. 92); photos of the natural asphalt deposit Pitch Lake in Trinidad (pgs. 94 & 95); and photographs showing people with Brownie box cameras (pgs. 82 & 103).

The McViccar-Antes collection contains correspondence, financial records, legal documents, and other items related to the McViccar and Antes families of northern New York.

This collection contains correspondence, financial records, legal documents, and other items related to the McViccar and Antes families of northern New York.

The Correspondence series (168 items) contains 1 letterbook and 167 personal letters that members of the McViccar and Antes families received from 1802-1901; most letters are dated 1817-1845 and 1865-1894. The earliest items pertain to Elizabeth Todd McViccar of Cambridge, New York, and her sons, John and Peter. John McViccar received personal letters from acquaintances and family members, including his brothers-in-law, Palmer, Halsey, and Nathaniel Townsend. John McViccar also received a series of letters from his brother Peter, who described his journey from New York to Hampden-Sydney College in Virginia in 1821. Peter McViccar continued to write about life at the college until the mid-19th century. One of Peter's letters contains ink drawings of Mount Vernon, the United States Capitol, and government buildings in Washington, D.C. (December 22, 1821).

On September 4, 1832, John McViccar wrote to his brother Archibald about the death of his young daughter, Louisa. John T. McViccar wrote several letters to his parents, John and Rhoda McViccar, relating his experiences at school in the 1840s. Other correspondents mentioned subjects such as travel to the South and discussed political issues. Most items dated after 1850 are related to the Antes family of Cicero, New York. Harriet (or "Harriette") Fiske McViccar wrote to her cousin, Mary McViccar Antes, wife of Evert Antes, with news from Fayetteville, New York (September 16, 1856). M. M. Duncan, an acquaintance of Mary Antes, discussed her employment and aspects of domestic life.

John McViccar's letter book (approximately 66 pages) contains copies of his personal and professional letters, dated September 8, 1818-October 3, 1840. He commented on aspects of his daily life, his finances, and his business affairs. Some of the letters from 1823 concern Elizabeth McViccar's estate.

The Legal and Financial Documents and Invitations series (64 items) concerns members of the McViccar (earlier items) and Antes (later items) families. Financial records include wills, receipts, and indentures, many of which relate to land in Onondaga County, New York. Evert Antes received several preaching licenses in the late 1800s; the series also contains 2 marriage certificates. Later items include a military discharge for Paul J. Antes, who served with the 3rd New York Volunteers during the Spanish-American War.

The Genealogy, Poetry, Obituary, and Visiting Card series (12 items) includes a newspaper obituary for John McViccar, genealogical notes about the McViccar family, essays by Evert Antes, and a calling card.

Three Photographs are portraits of Nancy Barkly Antes Benedict: one is a carte-de-visite, one is a large card photograph, and one is a tintype.

This collection contains letters that James Edwin Lough and his wife, Dora A. Bailey, exchanged around the turn of the 20th century. During the year before their marriage, Bailey wrote to Lough about her life in Somerville, Massachusetts; Lough later wrote to Bailey about his life in Oshkosh, Wisconsin, where he was a college professor.

This collection (0.5 linear feet) contains approximately 340 letters that James Edwin Lough and his wife, Dora A. Bailey, exchanged around the turn of the 20th century. During the year before their marriage, Bailey wrote to Lough about her life in Somerville, Massachusetts; Lough later wrote to Bailey about his life and work in Oshkosh, Wisconsin, where he was a college professor.

Dorothy Albonetta Bailey ("Dora") wrote around 280 letters to James Edwin Lough ("Ed") between September 1899 and June 1900. She commented on her life and social activities in Somerville, Massachusetts; shared her feelings for Lough; and discussed their upcoming marriage. James Lough also received letters from other correspondents, including cousins and acquaintances; his father wrote him a letter about marriage on June 22, 1900. Most items dated after June 1900 are Lough's letters to his wife from Oshkosh, Wisconsin, and New York City, where he was a college professor. Lough discussed travel between Wisconsin and the East Coast, and occasionally referred to his teaching; he sometimes enclosed newspaper clippings. In a series of letters from 1905, Dora Bailey Lough provided news of their young son. Additional items include a carte-de-visite photograph of a child, made by J. W. Black & Co., a metal nameplate for James Edwin Lough, a list of addresses, and a page of the Boston Herald from October 1, 1899.

This collection contains letters, documents, financial records, photographs, and other materials related to Chapin and Mary Dean Howard of Meriden, Connecticut, and Grafton, Vermont. Mary Howard's incoming correspondence includes letters from her two sisters and her brother-in-law, who lived Sioux Falls, South Dakota, in the late 19th century.

This collection contains 62 letters, 41 documents and financial records, 27 photographs, 26 genealogical manuscripts, 5 pieces of ephemera, and 6 newspaper clippings related to Chapin and Mary Dean Howard of Meriden, Connecticut, and Grafton, Vermont. Mary Howard's incoming correspondence includes letters from her two sisters and her brother-in-law, who lived Sioux Falls, South Dakota, in the late 19th century. Other material concerns various Howard family members' financial affairs, estate administration, and family genealogy.

The Correspondence series (62 items) primarily consists of incoming letters addressed to Mary Dean Howard. She received 11 letters from her mother, Angeline Cobb Dean, about life in Chester and Grafton, Vermont, between 1865 and 1873; around 40 letters from her sisters and brother-in-law, who lived in Sioux Falls, South Dakota; and others from female friends. Lucy Dean Woodworth, Harriet Dean Tufts, and Arthur H. Tufts all commented on their social lives, family health, and other aspects of their lives in South Dakota Mary received 2 letters about a friend's experiences as a schoolteacher in Sand Beach, Michigan (October 14, 1883, and February 27, 1884), and a letter from Lewis B. Hibbard about the World's Industrial and Cotton Centennial Exposition in New Orleans, Louisiana, which he composed on the exposition's illustrated stationery (January 8, 1885). The remaining letters include business letters addressed to Chapin Howard (3 items), additional family correspondence, and a letter that William Battison wrote to the Grafton postmaster about the history of the wool industry in Grafton, Vermont (July 7, 1904).

The collection's Documents and financial records (41 items) primarily concern the fiscal affairs of Ormando S. Howard, Chapin Howard, and the estate of Aurelius C. Howard. They include inventories, land documents, accounts, account books, and receipts. A series of oversize ledgers documents Ormado S. Howard's involvement in settling Aurelius C. Howard's estate. Chapin Howard kept records of his transactions with W. H. Wellard, most of which involved the lumber trade. Two account books document C. Howard's accounts with C. O. Howard (3 pages, 1887) and Gladwin Howard's accounts with S. J. Hall for foodstuffs and other goods (17 pages, 1890). Two later documents relate to claims against the estates of Chapin and Mary Dean Howard. Also included is a manuscript report of a committee that visited several schools in 1878.

The Photographs series (27 items) is made up of 16 cartes-de-visite portraits; 7 cabinet card photographs including images of a young Chapin Howard at Saxtons River, Vermont; 1 tintype of 2 young men; 2 paper prints of an unidentified family; and a picture of a house in Meriden, Connecticut.

The Genealogical papers series (26 items) is comprised of notes, family trees, lists, and other material pertaining to the ancestors of Mary Dean and Chapin Howard and to the history of Grafton, Connecticut.

The collection's Ephemera series (5 items) contains advertising and business cards, a program for an event at the Winthrop Hotel (November 27, 1883), an invitation to members of the Montowese Tribe no. 6 (to Chapin Howard, 1887), and a patented envelope for "mailing photographs, fancy cards, etc."

The Newspaper clippings (6 unique items) include 21 copies of Mary Dean Howard's obituary, an article about the history of the Grafton Library, an article respecting several Vermont ministers, a list of Republican voters in Grafton, and obituaries for Peter W. Dean and Chapin Howard.

The Stevens family papers consist of correspondence, photographs, and newspaper clippings related to the courtship of Frederic W. Stevens and Edith de Gueldry Twining and to their son Neil's experiences as a medical volunteer in France during the First World War.

The Stevens family papers (1 linear foot) consist of correspondence, photographs, and newspaper clippings related to Frederic W. Stevens and Edith de Gueldry Twining and to their son Neil, who was a medical volunteer in France during the First World War.

The 5 earliest letters in the Correspondence series (around 152 items total), written in November 1884, are addressed to Julia Twining and express condolences about her father's recent death. These are followed by a lengthy series of letters from Frederic W. Stevens to his fiancée, Edith de Gueldry Twining, prior to their wedding. He wrote daily from July to September 1903, giving his future wife updates on his daily life and on mutual friend, and his later letters include a series written in the summer and early autumn of 1906, while Edith lived at her family's summer home in Clinton, New York. These letters focus on domestic affairs and on the state of the couple's household in Morristown, New Jersey.

Neil Campbell Stevens wrote 5 letters from Europe during the World War I era, including 4 concerning his service in French hospitals during the opening and closing months of the war. In a letter postmarked 1914, he related his experiences treating French and German patients while working as a medical aide at the Val-de-Grâce military hospital.

Other items include a letter by a British soldier about military protocol affecting "this Ulster business," which was rioting centered around the Irish Home Rule controversy (April 20, 1914); a letter of thanks from Paul Salembier, a soldier with the 145th French Infantry who received a care package from the Stevens family (March 28, 1916); and a printed letter to Edith Stevens concerning the relocation of her house (November 22, 1928). The series also has 3 letters in French.

The Postcards series (33 items) contains both blank cards and cards with short messages. The majority of the items depict scenes from France, including painted landscapes as well as photographs related to World War I. French general Joseph Joffre is the subject of several photographic postcards, and some show damage done to Senlis, France, and other scenes from the western front.

A large number of Photographs (c. 120, plus 1 photograph album) portray France during World War I, and also family vacations to Niagara Falls and other lakeside destinations. Several of the war-era photographs show members of the ambulance corps, 3 showcase a bullet-strewn Model T, and others present camouflaged military installations, guns, soldiers, and scenery from the western front. Other peacetime material consists of unlabeled portraits, a picture of Barbara Stevens on a tennis court, and a photograph album containing pictures of a family vacation near a lake.

The Identity Papers series consists of 2 items. One is Neil C. Stevens's passport, and the other is his identity paper for the Hôpital Militaire du Val-de-Grâce. Both include photographs of Stevens.

The Newspaper Clippings series contains 53 clippings from The New York Times and The New York Tribune, which document several aspects of World War I. Topics include the outbreak of war, the official declaration of war by the United States, food prices on the home front, submarine attacks on American shipping, and maps of suspected military movements in both the western and eastern fronts. Other items are a political cartoon showing Napoleon chastising the Germans for their plans to invade Eastern Europe, and a report on the return of Neil Stevens from his first three months in France. Two clippings, dated April 18 and 20, 1914, relate to "The Plot Against Ulster" and the controversy over Irish Home Rule.

The Receipts series (3 items) includes a letter concerning the payment of $7 for an article printed in The Independent (March 2, 1895), a receipt for a case of tobacco shipped to Neil Stevens during his time in France (November 21, 1914), and a receipt for a donation from Barbara and Alice Stevens to the Charité Maternelle de Paris (March 5, 1917).

Among the items in the Ephemera series (11 items) are 3 calling cards, 1 invitation, a solicitation for donations to the War Children's Relief Fund, a pamphlet about Yosemite National Park, and a broadside advertising the Morristown Committee Third Liberty Loan.

Notes and Genealogy (7 items) include notes on the history of the Twining family and a typed biographical sketch of Sutherland Douglas Twining (1835-1918) with manuscript notes.

The Samuel Ripley papers contain correspondence from a soldier in the 36th Wisconsin Infantry, describing several months at Camp Randall, participation in the siege of Petersburg, and his feelings about the war.

The Samuel Ripley papers contain 60 letters, spanning February 1864-February 1865, two brief undated notes, and two photographs. Samuel Ripley wrote 58 of the letters between the commencement of his service in the 36th Wisconsin Infantry in February 1864, and his imprisonment at Salisbury Prison in August of the same year. The recipients were his wife Mary and his mother Abigail. Ripley's early letters, between February and mid-May 1864, describe life at Camp Randall near Madison, Wisconsin, including drilling, taking on the responsibilities of company clerk, and leisure activities. Several letters also mention attempts to visit Mary, as well as to bring her to Madison before his departure for the front.

Between June and August, Ripley wrote 37 long, richly-detailed letters, in which he discussed many aspects of the war: his opinions on its progress and how it was conducted, experiences participating in trench warfare during the Siege of Petersburg, attitudes toward fighting and the Union cause, and, to some extent, politics. He also frequently mentioned his ongoing rheumatism and digestive issues, but generally reported experiencing fair health. Correspondence from June 14-23, 1864, vividly depicts the siege of Petersburg, including being grazed by bullets and participating in an undermanned charge through an unprotected melon field (June 19, 1864). In a letter of June 20, 1864, Ripley described the variety of activity in the trenches: "any one fires from the trench who pleases and when they please, so some are firing some eating some cooking some hunting grey backs." Surprisingly, although an undated note in the collection states that Ripley was wounded on June 22, 1864, his letters do not mention such an event.

A strong believer in the Union and in the abolition of slavery, Ripley admitted to disliking warfare (June 27, 1864), but hoped that peace arbitrations would not succeed unless they ended slavery (July 25, 1864). In several other letters, he expressed distaste for "Copper-heads." He also frequently made predictions about movements and on the outcome of the war, which he believed had neared its end.

Ripley's later letters are particularly introspective and frank; on August 22, 1864, he wrote to his mother, describing his reasons for enlisting against the wishes and advice of friends, and alluded to his own shortcomings and disagreements with his deceased father. He also mentioned his distrust of some Union officers, whom he suspected of receiving bribes from Southerners and stealing packages from Union soldiers. In his last letter of August 28, 1864, Ripley notified his wife about his capture. Two letters from military officials, providing details on Ripley's imprisonment and death, close the correspondence.

The Miscellany Series contains lyrics to a Civil War song, a few biographical details, and two photographs of Ripley (one tintype and one carte-de-visite).

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.

The Williamson family collection is made up of 9 bound volumes pertaining to Clara Gurley Williamson, her daughters Ruth and Mary, and other members of the Williamson family of New Brunswick, New Jersey. The items include diaries, financial records, a newspaper clipping scrapbook, and a photograph album.

The Williamson family collection is made up of 9 bound volumes pertaining to Clara Gurley Williamson, her daughters Ruth and Mary, and other members of the Williamson family.

The D. Abeel Williamson Diary, composed in a pre-printed pocket diary, contains David Abeel Williamson's daily entries about his life in New Brunswick, New Jersey, from January 1, 1862-May 25, 1862, and about his experiences with the 7th New York Militia Regiment from May 26, 1862-August 27, 1862. His early entries mainly record the weather and his social activities; he mentioned his admission to the bar in his entries of May 21, 1862, and May 22, 1862. A newspaper clipping about the surrender of Fort Donelson is pasted into the entries for February 16, 1862, and February 17, 1862. During his time in the army, Williamson noted the hot weather near Washington, D.C., and Baltimore, Maryland, and mentioned other aspects of military service, such as guard duty, marching, and reviews. A commuter's ticket for the "New Jersey Rail Road" is laid into the volume's pocket.

The Hattie S. Williamson Memorandum Book contains financial records of collections that the Second Reformed Dutch Church Sunday School of New Brunswick, New Jersey, received from November 26, 1865-June 16, 1867. The amount of each donation is recorded next to the donor's name. Other records pertain to the Sunday school's accounts with the Novelty Rubber Company and the church's efforts to raise money for an organ.

The Clara Gurley Account Book, kept from July 9, [1875]-April 16, 1880, contains accounts for Gurley's purchases of items such as books, ribbon, fabrics, and buttons. A piece of fabric is pinned onto the book's final page.

The first Clara Gurley Williamson Diary, written in a pre-printed Excelsior volume, covers the year 1905. Williamson began writing in Dresden, Germany, where she had lived with her children since late 1903, and recounted her daily activities and news of acquaintances. In April, she and her children took an extended tour of Europe, including Austria, Switzerland, Italy, France, and Holland, where Williamson remarked on visits to museums and other points of interest. The entries from August concern the family's return to the United States on the Holland-American Line steamer Ryndam and their first months back in New Brunswick, New Jersey, and Indianapolis, Indiana. Williamson kept a record of letters written and received and acquaintances' addresses in the volume's memoranda section. She laid newspaper clippings, a letter, calling cards, small photographs, stamps, and other items in the volume. The final page of the diary contains a newspaper clipping about the Williamsons' return to the United States and intention to relocate to Indianapolis.

The Mary Williamson Diary recounts the author's travels through Europe from April 10, 1905-August 11, 1905. Williamson described her daily activities and sightseeing in cities such as Prague, Munich, Venice, Rome, and Paris, as she visited museums and places of historical importance with her mother and sister. The diary includes a list of books Williamson read from 1907-1908 and a list of addresses of European hotels.

The Ruth A. Williamson Diary pertains to the author's experiences and travels in England from June 7, 1909-September 3, 1909. She spent most of her time in London; some later entries mention travels around southern England and to Edinburgh, Scotland. Williamson most frequently wrote about sightseeing and visiting famous landmarks, but also commented on other activities, such as shopping. Ruth A. Williamson's calling card is laid into the volume.

The second Clara Gurley Williamson Diary, also in a pre-printed Excelsior volume, contains daily entries about Williamson's life in Indianapolis, Indiana, from January 1, 1918-April 2, 1918. Williamson commented on her social activities, her health, and news of her friends and family members, especially her children. She occasionally mentioned news of the war, such as the signing of the Treaty of Brest-Litovsk (February 22, 1918). Financial records and instructions for knitting a "Kitchener sock" are written in the back of the volume. Items laid in include a calling card for Charles G. Williamson containing his military address, a cloth United States flag mounted on a small wooden dowel, and clippings about the deaths of Henry Janeway Hardenburgh and Douw D. Williamson. A postcard with a painting of Waikite Geyser in New Zealand, addressed to A. Parsons in London, England, is also laid into the diary.

The Scrapbook (1860s-1880s) is comprised of newspaper clippings about numerous topics, including biographies of William Gurley and biographical notices about other members of the Gurley family, such as Clara Gurley Williamson and Esther Gurley Cook. Some clippings feature prominent individuals such as Ulysses S. Grant, Charles Dickens, and Louisa May Alcott. Items report national news, news from Troy, New York, and stories about Emma Willard and the Troy Female Seminary. Additional topics include poetry, international travel, and stamp collecting.

A Photograph Album contains 42 carte-de-visite photographs, 2 lithographs, and 1 tintype print. Most of the photographs are studio portraits of men, women, and children, including many members of the Gurley family and related families. Most of the pictures are dated 1866-1880, though the album includes a 1902 photograph of Charles G. Williamson in a military uniform.

The Elizabeth Rous Comstock papers contain letters and writings related to Comstock's family, her Quaker ministry, and her social reform activities. The letters span her entire career with the greatest concentration of correspondence centering on her work with the Kansas freedmen's program and her family life. In addition to the Elizabeth Comstock material, the collection includes content related to her daughter Caroline, her grandchildren, and papers related to the Kempton family.

The Elizabeth Rous Comstock papers (282 items) contain letters and writings related to Comstock's family, her Quaker ministry, and her social reform activities. The letters span her entire career with the greatest concentration of correspondence centering on her work with the Kansas Freedmen's Association and on her family life. In addition to the Elizabeth Comstock material, the collection contains content related to her daughter Caroline, her grandchildren, and to the Kempton family.

The Correspondence series (151 items) contains 123 items related to Elizabeth Comstock and her family. The bulk of the collection consists of letters written by or addressed to Elizabeth Comstock between 1847 and 1890.

• Elizabeth’s correspondence with her friends, acquaintances, and immediate family, particularly with her husband, daughter, and sister Caroline.
• Correspondence related to Elizabeth’s work with social reforms and social justice, primarily concerning her relief work in Kansas in 1879 and 1880.

The family and friends correspondence primarily relates to everyday life, such as work, homemaking, visiting, family life; contemporary issues such as the Civil War and slavery; and news of friends and family, including illnesses, marriages, and deaths. Elizabeth wrote many of the letters, which document her perspective on her work, her marriage and relationship with her husband, and on religion and the Society of Friends. Elizabeth’s preaching, charitable work, and travels are often mentioned in these letters, including her trip across the Atlantic in early 1884. These letters cover both theoretical discussions of religious topics and discussions of the Society of Friends, its policies, and its schools. A subset of these letters regards Caroline De Greene’s serious illness and "mental suffering" in 1870, which may have been related to childbirth. Also of note is a letter from Elizabeth Steere that describes her experiences living in the remote Minnesota Territory (December 9, 1856).

The second group of Elizabeth's correspondence mainly consists of letters between Elizabeth and Joshua Longstreth Bailey, a dry goods merchant and philanthropist, who assisted her in her work with the Kansas Freedmen’s Relief Association from 1879 to 1881. Elizabeth discusses the logistics of supplying newly arrived African Americans with food, shelter, and a means of subsistence, and relates information about the migrants and their experiences in both the South and in Kansas. Elizabeth shares, in depth, her perspective on this large migration, which she refers to as "the Exodus." An item of note is a letter from John W. Snodgrass proposing a plan to buy land to aid resettled former slaves in Kansas (May 3, 1881). Other items concern Comstock's work to improve the lives of former slaves and prisoners during the Civil War, including a letter from Ed Howland who wrote to Comstock of a "plan before Congress to change the whole plan of taking care of colored people" (February 3, 1865). B. Dornblaser, the warden at the Illinois State Penitentiary, wrote to Comstock about pardoning Frederick Marx from Kentucky who was "tricked" into buying a stolen mule (April 5, 1865). She also communicated with Thomas Story Kirkbride, superintendent of the Philadelphia Hospital for the Insane (March 6, 1870).

The collection also contains material related to her daughter Caroline and to Elizabeth's grandchildren. Much of this is correspondence between Caroline and members of her family, regarding news, daily life, traveling and visiting, religion, work, and school. Of interest are letters of reference for Caroline "Calla" De Greene in support of continuing her education and recommending her for positions teaching French and German at the college level (May 2, 1893, July 11 and October 5, 1898, May 10, 1905, and March 19, 1906).

The Kempton Family material consists of 26 letters, which largely concern religious issues, everyday life, and news of family and friends. These include the 7 earliest items in the series, from 1827-1828, with the rest scattered throughout.

The Commonplace Book and Diary series (2 items) contains an 1839 commonplace book (52 pages) of poems and essays inscribed as belonging to Charity Kempton. Many entries center on the theme of a loved one leaving on a sea voyage. These include passages called "Seamen's Hymn," "Matrimonial Chart," and "The Old Oaken Bucket." The second item is Elizabeth Comstock's 34-page travel diary (8 blank pages) during the summer of 1878. It contains Biblical verses, brief descriptions of places she visited, notes on her activities, and notes on religious services she attended.

The Poems Series (10 items) contains handwritten copies of poems, all of which are religious in nature. Included among the 9 unattributed poems are a cautionary poem on dancing and drinking, a 16-page poem called "The Ministry of Angels," and a poem entitled "One Lord, One Faith, One Baptism: A Dialogue in Verse." The single attributed poem is a copy of William Cowper's "God Moves in Mysterious Ways."

The Corrections for Caroline Hare's Life and Letters of Elizabeth Comstock series (1 item) is 7 pages of notes and corrections for Caroline Hare's biography of Elizabeth Comstock (see the Related Materials section for information on the Clements' copy of this book). The comments range from grammatical edits to insights into personal events and her ministerial efforts.

The Miscellaneous Writings series (25 items) contains non-correspondence material including: religious quotations, miscellaneous notes jotted down on scraps of paper, Friends meeting minutes, recipes, and essays on religion and marriage. Most of these items are unattributed but are likely from Elizabeth Comstock, Chastity Kempton, and others. Of note is a three-page item containing "Dying expressions of Soldiers," including the last words of a soldier on the Battlefield of Fredericksburg (December 13, 1862), and those of a man about to be hung in Nashville, Tennessee. This series also contains instructions for refining sugar, and remedies for common maladies, such as heartburn, dysentery, snake bites, and nausea, "By the celibrated Indian Doctor John Mackintosh, of the Cherokee Nation; None of which have ever before been communicated to the world" (undated).

The Documents series (11 items) contains various official documents related to the Comstock and Kempton families.

• Elizabeth Comstock's ancestors’ 1740 marriage covenant between William and Mary Moore
• A deed from Isaac Steer to Aaron Kempton in Woodstock, Michigan (1845)
• A handwritten pass from Philip Henry Sheridan allowing Comstock and her companion Mary B. Bradford to travel by rail to Baltimore, through enemy lines (December 9. 1864)
• A document entitled "The Colored Exodus. A Statement of Monies Received from Various States, Canada, and England.
• Elizabeth's sister Lydia Rous' last will and testament (March 5, 1889).

The Accounts series (6 items) contains 3 lists of books to be sent to various Friends libraries and associations, 1 list of donated goods such as fabric and clothes addressed to E. Smith of Victoria Road, an 1875 bill for goods, and an item documenting money owed with interest for an unspecified purpose.

The Printed Ephemera series (24 items) includes miscellaneous printed material: passes to cross Union and Confederate lines during the Civil War; 8 "Bible Reading Leaflets;" two Quaker related essays; a fragment of a book labeled "Self-Communion" (pages 3-10); 4 poems (prayers); 4 event cards; and a catalogue for mechanical farming equipment. The collection also holds one of Comstock's hymn books entitled, Gospel Hymns and Sacred Songs (Words Only) , by P.P. Bliss and Ira Sankey. The handmade cover is reinforced with a portion of a postcard stamped March 9, 1878 (95 small pages of hymns).

The Newspaper Clippings series (50 items) is composed of printed items related to the Kansas Freedman's Relief program. These include several essays and articles written by Comstock and her colleagues, as well as newspaper stories about Comstock's activities aiding African American "refugees" in Kansas, who were suffering from sickness, poverty, and unemployment. Many of these include pleas for charity. The clippings come from newspapers across America, as well as from England.

The Prints and Photographs series (8 items) consists of 7 photographs, including 2 of Elizabeth and 1 of her daughter Caroline, one print of the residence of R. Hathaway in Rollin, Michigan.

• Elizabeth Comstock, taken in Philadelphia for De Greene, undated
• Elizabeth Comstock portrait, hand colored and in a small square wooden frame (Behind his photograph, as part of the backing, is a small picture of 7 angels with trumpets, clipped from a postcard).
• Carrie Wright De Greene O'Harrow, 1881
• Freddie Hare at age 4 ½, August 1874, labeled "for Carrie" (Carte-de-visite)
• Unlabeled picture of a girl, undated
• Woman reading (likely Caroline Hare), accompanying the letter dated February 22, 1882 (Carte-de-visite taken by J. Cooper)
• A portrait of a woman in a small metal frame accompanying the letter from March 16, 1870.

• A machine catalogue with images of: Cooks Sugar Evaporator, Cross-Cut sawing machine, a victor mill, vertical mill with sweep below, and a back-geared mill
• Ink sketch of Caroline Hare’s home in letter, February 13, 1870
• An engraved portrait of Comstock in a newspaper clipping from early 1881

The Mark A. Anderson collection of post-mortem photography contains approximately 1068 items including photographs, ephemeral items, documents, manuscripts, printed items, and realia pertaining to the visual history of death and bereavement between the 1840s and the 1970s. Photographs make up the bulk of the collection.

The Mark A. Anderson collection of post-mortem photography contains approximately 1068 photographs, ephemeral items, documents, manuscripts, printed items, and realia pertaining to the visual history of death and bereavement between the 1840s and the 1970s. Photographs make up the bulk of the collection. Mr. Anderson assembled this collection from dealers, antique shops, and individuals. His motivation stemmed from a desire to document and to provide historical perspective on various end-of-life practices which, in the 20th century, fell into taboo and disfavor.

The majority portion of the photographic items in the collection are neither dated, nor attributed, although approximate dates can often be determined by when particular photographic formats were in use (see timeline at www.graphicatlas.org.). Consequently, the materials have been organized first to accommodate their sizes, formats, and preservation needs, and second to reflect major subject themes present, though scattered, throughout the entire collection. These non-mutually exclusive subjects are as follows:

• Post-mortem portraits
• Post-mortem scenes
• Funeral tableaux
• Funerals and funeral processions
• Floral arrangements and displays
• Memorial cards and sentimental imagery
• Cemeteries and monuments
• Funeral industry
• Mourning attire
• Unnatural death

The first three subjects - post-mortem portraits, scenes, and funeral tableaux - all depict the recently deceased, and so fall into the narrowest definition of a post-mortem photograph. Their distinction into three separate subjects is a partly arbitrary decision, made to break up what would otherwise be a large and unwieldy grouping of photos, but also to roughly shape the order of the collection (post-mortem portraits without décor tended to date earlier chronologically than broader, beautifying scenes).

Post-mortem portraits:

The post-mortem portrait photographs, comprising 251 items in the collection, depict the bodies of dead family members and friends. These images show the deceased, sometimes posed with living family members, and for the most part do not include elements of a larger scene, such as floral arrangements, banners, or other décor.

These portraits include the earliest photographic images in the collection, including 28 cased daguerreotypes, ambrotypes, and tintypes. 78 cabinet card photographs date from the late 1860s to around the turn of the century. Among many notable cabinet cards are two images of Frances Radke, taken and retouched by R. C. Houser, showing her image before and after Houser's post-capture work (3.1 and 3.2). Also of note is a framed crayon enlargement of infant Adelaide Banks by photographer/artist Edward Stuart Tray (26) and a post-mortem carte de visite of an unidentified African American infant taken by photographer S. P. Davis of Danielsonville, Connecticut (4.282u).

Post-mortem scenes:

The post-mortem scene photographs, numbering 155 items in total, are similar to the portraits described above, except that they show the deceased as part of a larger environment, whether in a private home, a funeral home, or out-of-doors. Most of these views are mounted photographic prints from the 1880s to the early decades of the 20th century, frequently centering on the corpse, lying in a casket or coffin, amidst an abundance of floral arrangements, banners or flags, family members or friends, and/or personal belongings. Their caskets are often lined with white cloth.

Many of these images have unique qualities; several examples illustrate the variety of postmortem scenes in the collection. Six photographs by W. Jakubowski and Co. and Jos. Ziawinski, of Detroit, Michigan, include five wedding photographs (of the bride and groom, bridesmaids, and family members) and one post-mortem scene of the wife. She appears to have died within a short time following the marriage; the funeral home scene image contains one of the wedding photographs and a banner marked "Dearest Wife" (18.5-18.10). One mounted photograph depicts a dog, laid on linen, in a homemade casket (14:17). The collection also contains examples of different persons on display in the same funeral home/parlor (e.g. 18.1-18.4). A set of two cabinet card photos of a child in a buggy is accompanied by one of the buggy's metal lanterns (23.1-23.3). Also of note is a photogravure of the 1888 painting "Requiescat" by British artist Briton Rivière showing a dog seated next to its deceased owner (25.2).

Funeral tableaux:

The collection's 35 funeral tableaux photographs show the deceased in an open casket or coffin, typically in front of a church or homestead, with a posed assembly of funeral attendees or mourners. They often show a large group of family and friends, and so are frequently large format prints. Group portraits of this sort were occasionally framed and displayed in the home. Most of the examples in this collection are large prints (many of them mounted), with smaller examples, including a real photo postcard, two snapshots, and one cabinet card. Particular items of note include a framed tableau on the steps of the Church of The Descent of The Holy Ghost in Detroit by Thomas Hoffman (27), a photomontage image of a nun's funeral (28), two tableaux scenes by F. A. Drukteinis taken outside of the same church in Detroit during different seasons and involving the same family (20.12 and 20.15), and three related tableaux scenes (two mounted and one unmounted) involving a presumably Hungarian family that were taken outside of what appears to be a Catholic church in Cleveland, Ohio, during three different funerals (20.16a-20.16c).

Funerals and funeral processions:

The 70 items depicting or pertaining to funeral gatherings show various aspects of the movement of the deceased from the home or funeral home to the cemetery and funeral and burial ceremonies. This group is comprised of real photo postcards (22 items), snapshots (13 items), and a variety of other formats. Examples include an albumen print depicting the Plymouth Church decorated for Henry Ward Beecher's funeral in 1887, and snapshot and postcard photographs of a burial at sea.

Floral arrangements and displays:

Additional documentation of funeral decoration may be found in the collection's 176 still life portraits of floral arrangements and other decorations. A portion of the floral display photographs include pre- or post-mortem photos of the deceased either incorporated into the display or added to the image after printing. One particularly fine example is a large format photograph of a floral arrangement for the funeral of Joshua Turner Mulls; the display included a cabinet card photo of Mr. Mulls and a modified enlargement of the cabinet card. Accompanying the floral arrangement photograph is the cabinet card depicted in the display, with artist's instructions for coloring the enlargement (22.1-22.2).

Memorial cards and sentimental imagery:

The collection includes 105 memorial cards and ephemeral items bearing sentimental imagery. Memorial cards were created as tributes, often displaying birth dates, death dates, and other information about the deceased. Many of these cards include border designs and some bear photographs of the departed. Black-fronted memorial cards gained popularity from 1880 to 1905. Of many interesting examples, the collection includes two examples of memorial cards which haven't yet been personalized (4.306-4.307) and two reflecting World War I-related deaths (4.316 and 4.317). Materials with sentimental imagery include items such as a photograph of an illustration entitled "Momma is in Heaven," a memorial book dedicated to Olive C. Partridge in 1897, and other items.

Note: an advertisement for the Memorial Card Company of Philadelphia is located in the 'Funeral Industry' section of the collection (14.35).

Cemeteries and monuments:

61 photographs, printed items, and realia explicitly pertain to cemeteries, burial markers, or monuments. Some of the cemeteries and monuments are identified, such as the Garfield Memorial at Lakeview Cemetery in Cleveland, Ohio (4.1-4.3). The collection includes examples of cemetery-related realia, including an ovular, porcelain headstone photograph (pre-mortem) of the deceased.

Note: cemeteries may be seen as background for many photographs throughout the collection.

The funeral industry:

The Mark A. Anderson collection of post-mortem photography holds a diverse selection of photographs, ephemera, and printed materials related to the business aspects of death, dying, and bereavement. This group contains around 153 items overall, including receipts (1896-1956); various types of advertising materials (including an undertaker's advertising card, a cabinet photograph of the Arbenz & Co. storefront advertising undertaking as a service, fans from a church and the A. C. Cheney funeral home, a thermometer, and other items); and 118 coffin sales photographs (illustrating a massive selection of different casket models offered by the Boyertown Burial Casket Company of Pennsylvania).

Two photograph albums, that of Clarence E. Mapes' furniture store and funeral home and that of the Algoe-Gundry Company funeral home, provide visual documentation of a rural and an urban funeral home (respectively) in Michigan in the first half of the 20th century:

The photo album and scrapbook of Clarence E. Mapes' furniture store and funeral home in Durand, Michigan, dating from ca. 1903-1930, contains interior and exterior photographs of the furniture and undertaker portions of the shop. The album includes photographs of casket showroom display mechanisms; an example of a "burglar proof" metallic vault; a posed photo of the embalmer standing over a man on the embalming table; images of carriage and motorized hearses; business-related newspaper clippings; and various family and vacation photographs. Several prints, dated August 1903, appear to depict the aftermath of the Wallace Brothers Circus train wreck on the Grand Trunk railroad at Durand. Among these photographs are carriage hearses, a horse-drawn cart carrying ten or more oblong boxes (for transportation and perhaps burial of victims of the wreck), a man standing in an alleyway near three stacked boxes, and a large group of persons standing in a largely unearthed section of a cemetery. The Mapes album is accompanied by a C. E. Mapes Furniture advertising fly-swatter.

The Algoe-Gundry Company album dates from ca. 1924 to 1960 and contains (almost exclusively) 8"x10" photographs of this Flint, Michigan, funeral business. The album includes images of the exterior and interior of Algoe-Gundry buildings, hearses, ambulances, and billboard advertisements.

One album was produced ca. 1939 by the Central Metallic Casket Co. of Chicago, Illinois. Titled "Caskets of Character," the album contains images of patented (or soon to be patented) casket designs as well as a printed cross-sectional view detailing the company's "Leak-Proof" Separate Inner Sealer.

Also of interest is funeral director's license granted by the Michigan State Board of Embalmers and Funeral Directors to Vincent J. George of Fowler, Michigan, in 1938. (25.1)

Mourning attire:

In America, mourning attire tended to follow trends set in Europe. The bereaved wore mourning clothing according to current fashion trends and societal expectations. Mourning clothing styles, often dark-colored and somber, depended on how close the mourner was to the deceased and local societal expectations. Seventeen portrait photographs show men and women wearing mourning attire without the deceased present. This group includes cabinet cards, a 1/9 plate ambrotype of an adult woman, two tintypes, and one carte-de-visite.

Note: persons wearing mourning attire may also be found scattered throughout the other sections of the Mark A. Anderson collection. While most are concentrated in the funeral photographs, mourners are also present in postmortem portraits, postmortem scenes, and cemetery photos.

Unnatural death:

43 photographs (mostly snapshots) depict "unnatural deaths," deaths not caused by age or naturally occurring disease, such as suicides, accidents, murders, and war. The larger portions of the snapshots are mid-20th century police photographs of crime or accident scenes.

Nine Indiana State Police photographs show a train-automobile accident; a group of eight unmarked photos depict the body of woman, apparently violently murdered, at the location of her death and in a morgue; 14 are of a man struck down, beneath a train; two are of a rifle suicide; and the others are of varying accidents. One World War I-era real photo postcard appears to show a man who was shot dead in a foxhole. A stereoscopic card by photographer B. W. Kilburn shows the burial of Filipino soldiers after the Battle of Malolos, Philippine Islands [ca. 1899].

Note: The photograph album/scrapbook of the Clarence E. Mapes furniture and undertakers shop contains several photographs of what appear to be the aftermath of the Wallace Brothers Circus train wreck, Durand, Michigan 1903 (see above description in the 'Funeral Industry' section of this scope and content note).

The Alexander T. Stewart collection contains around 300 letters that Stewart received from strangers requesting financial assistance, employment, and other means of support. Many commented on the Civil War's negative economic impact on their lives, particularly in the South.

The Alexander T. Stewart collection contains around 300 letters that Stewart received from strangers requesting financial assistance, employment, and other means of support. Many commented on the Civil War's negative economic impact on their lives, particularly in the South.

The majority of the letters are dated 1865-1876, including a large group (around 215 items) dated 1869-1870. Stewart's correspondents requested loans, donations, or employment; some wrote more than once. Writers include war widows, former soldiers, and others who had been affected by the war, particularly in the South. Many provided details of recent financial hardships, such as spouses' or parents' deaths, unemployment, and the effects of the Civil War, and some provided character witnesses or references. A soldier requested money for a camp stove (January 6, 1865); another man requested help after having difficulty collecting loans from southern borrowers (February 27, 1862); and a third writer mentioned displaced persons in South Carolina (March 9, 1867). Correspondents occasionally enclosed carte-de-visite portraits or newspaper clippings, and some pasted return postage onto their letters. The letters reveal the authors' views on wealth, social status, employment, and philanthropy in the Reconstruction-era United States.

Stewart received letters from correspondents in states including Alabama, California, Connecticut, Delaware, Georgia, Illinois, Indiana, Iowa, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Michigan, Minnesota, Mississippi, Missouri, New Hampshire, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Rhode Island, South Carolina, Texas, Utah, Vermont, Virginia, and Wisconsin. The few items that are not begging letters include a letter that Alexander T. Stewart wrote about his business affairs with P. Whitin & Sons (September 30, 1861) and a letter offering Stewart medical advice (April 7, 1873).

The collection contains 4 printed items: a ticket to a charity festival at the Astor House (February 22, 1855), 2 newspaper articles relating to Alexander T. Stewart, and a printed advertisement for A.T. Stewart & Co.'s store (September 23, 1871).

This collection contains personal and business correspondence related to Philadelphia merchant George Fales, as well as documents, newspaper clippings, and correspondence pertaining to the Union Volunteer Refreshment Saloon and Hospital, which Fales's nephew, Samuel Bradford Fales, helped to operate during the Civil War.

This collection contains personal and business correspondence related to Philadelphia merchant George Fales (35 items), as well as documents, newspaper clippings, and correspondence pertaining to the Union Volunteer Refreshment Saloon and Hospital, which Fales's nephew, Samuel Bradford Fales, helped to operate during the Civil War (6 items).

George Fales received 4 letters from his brother Samuel between 1815 and 1835, which mainly concern financial and business matters. The first letter, written on December 4, 1815, provided a list of expenses, including money intended for the construction of a school for African Americans in Boston. Other letters from business associates discuss finances; business with Fales or with his firm, Fales, Lothrop & Company; and potential business ventures such as a wood-chopping enterprise. Fales also received 3 personal letters from his nieces Eliza F. Bridgman and Mary T. Monroe and 1 from his nephew Samuel Bradford Fales, who described his travels near Pittsburgh (April 22, 1836). Samuel B. Fales granted his uncle power of attorney in a document dated February 4, 1834.

The collection also contains 6 items related to Philadelphia's Union Volunteer Refreshment Saloon and Hospital, including 2 letters addressed to historian Benson J. Lossing. Robert R. Carson encouraged Lossing to utilize the Union Volunteer Refreshment Committee's business card in his pictorial history of the war, and attached a newspaper clipping reporting a grand jury's approval of the project (April 7, 1862). Arad Bellows provided a list of corrections and additional information in response to Lossing's recent work (August 6, 1866). Samuel Fales wrote 2 letters to "Reverend Sibley" about the Union Volunteer Refreshment Saloon and Hospital, written on stationery bearing a letterhead engraving of the establishment and including the projected number of soldiers assisted (November 20, 1865). One of these letters is attached to a printed newsletter about the enterprise, entitled "The Fair Record of the Union Volunteer Refreshment Saloon."

Three newspaper clippings, including 2 from The Philadelphia Inquirer and 1 from the Evening Bulletin, concern the history of the saloon and hospital, and contain testimonials. The collection also contains a carte-de-visite photograph of Samuel B. Fales and a broadside poem entitled "Lines in Memory of the Philadelphia Volunteer Refreshment Saloon," signed and inscribed by Samuel B. Fales for Benson Lossing.

The collection consists of approximately 900 negatives depicting the art and architecture of Latin American countries, including Peru, Argentina, Brazil, Bolivia, Columbia, Mexico and Cuba. The negatives were the product of Dr. Wethey's research focus on Latin American art and architecture starting in the 1940's.

The collection consists of approximately 900 negatives depicting the art and architecture of Latin American countries, including Peru, Argentina, Brazil, Bolivia, Columbia, Mexico and Cuba. The negatives were the product of Dr. Wethey's research focus on Latin American art and architecture starting in the 1940's. The majority of the collection focuses on the art and architecture of Peru, with a secondary focus on Argentina, especially religious architecture, including altars, facades, cloisters, naves, and chapels. The some of the Peruvian art is from the Cuzco school. Many of the negatives have been photographed from books. The artwork includes the work of Jose Clemente Orozco, Diego Rivera, Frida Kahlo, Prilidiano Pueyrredón, Benito Quinquela Martín, and many others.

The collection was rehoused but the original negative sleeves were preserved, complete with the original description. The information written on the original envelopes was transferred to the new sleeves and recorded in an inventory, which is available upon request. The original sleeves are housed in the last two boxes of the collection.