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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.

This collection contains correspondence related to the family of Elizabeth Ellery Sedgwick Child, granddaughter of politician Theodore Sedgwick and wife of Harvard professor Francis James Child. The collection also includes several photographs and printed items.

This collection (1 linear foot) contains correspondence related to the family of Elizabeth Ellery Sedgwick Child, granddaughter of politician Theodore Sedgwick and wife of Harvard professor Francis James Child. The collection also includes several photographs and printed items.

The Correspondence series, which comprises the bulk of the collection, contains letters the Sedgwick family wrote to and received from family members and friends, as well as several poems. From 1826-1842, Robert Sedgwick, his wife Elizabeth, and their daughter Elizabeth ("Lizzie") corresponded with family members including Catherine Maria Sedgwick of Stockbridge and Lenox, Massachusetts, and Jane Minot Sedgwick of New York City. Most of the early correspondence pertains to the writers' social lives and family news, and to travel around New York, Massachusetts, and Pennsylvania. Catharine Maria Sedgwick also reported on acquaintances such as the actress and writer Fanny Kemble, whom she deemed "fated to suffer" (May 27, 1834), and the writer and social theorist Harriet Martineau (November 2, 1834).

The bulk of the remaining correspondence is dated 1855-1885 and pertains to the relationship between Lizzie Sedgwick and her husband, Frank James Child. Child wrote to Sedgwick from Cambridge, Massachusetts, and Paris, France, and received letters from Sedgwick and others. The couple's other correspondents included at least one writer in Italy who commented on their relationship and health, family news, and the Civil War. Postwar correspondence includes letters to Susan Ridley Sedgwick Butler. Three late postcards to Mrs. G. A. Stanger of Springfield, Massachusetts, concern her son Herb's experiences in Georgia while serving in the armed forces during World War I.

The Photographs series (5 items) contains 3 photographs of Helen Child (later Sargent), a photographic print of Elizabeth Sedgwick Child, and a photograph of the Child family's home in Cambridge, Massachusetts.

Printed Items (9 items) include a certificate regarding Francis Child's qualifications as an instructor of Greek at Harvard University (September 22, 1846), 2 illustrated Christmas cards (1881 and undated), a copy of the Boston Daily Advertiser (August 1, 1884), an obituary for Francis Child from The Nation (September 17, 1896), and copies of the poems "From My Arm-Chair" by Henry Wadsworth Longfellow and "The City of the Living" by Elizabeth Akers Allen. The series also includes a biography of Oliver Wendell Holmes that George B. Merrill presented to the Harvard Club of San Francisco on October 18, 1894, and an advertisement for the Massachusetts Association Opposed to the Further Extension of Suffrage to Women.

The Gerald T. and Charlotte B. Maxson printed ephemera collection contains over 5,000 pieces of assorted ephemera, the majority of which were commercially printed in the United States during the mid to late 19th-century.

The Gerald T. and Charlotte B. Maxson printed ephemera collection contains over 5,000 pieces of assorted ephemera, the majority of which were commercially printed in the United States during the mid to late 19th-century.

The Maxson collection provides a valuable resource for the study of 19th-century visual culture, commercial advertising, and humor in addition to the role of gender, ethnicity, and race in advertising. American businesses are the predominant focus of the collection, though many international businesses are also represented. While trade cards are by far the most prevalent type of ephemera found in this collection, an extensive array of genres are present including die cut scrapbook pieces, photographs, engravings, maps, serials, and manuscript materials.

The 23 binders that house the Maxson collection were arranged by the collectors themselves. Items are organized somewhat randomly in terms of topical arrangement. While pockets of related materials can be found here and there (for instance, the entirety of Volume 16 contains circus-related items while Volume 11 contains an extensive number of Shaker-related materials), for the most part any given subject may appear in any given volume. In some cases, items are clustered as a result of having been acquired together or due to a documented common provenance. Occasional typed annotations written by the Maxsons help provide additional context for certain items.

The Maxson Collection Subject Index serves as a volume-level subject index for materials found throughout the binders. The subjects indexed here are generally representative of both visual and commercial content. In addition to more general subjects, many names of specific people, places, buildings, events, and organizations that appear in the materials have also been listed. Researchers engaging with this collection should be aware that they will encounter numerous examples of racist caricatures, especially ones depicting African American, Native American, Irish, and Chinese people.

This collection is primarily made up of correspondence between and addressed to members of the Gough family of Gort, Ireland, including George Stephens Gough; his wife, Jane Arbuthnot; and their children, Hugh, George, Rodolph, and Eleanor ("Nora"). The Gough family directly descended from Hugh Gough, 1st Viscount Gough. Most of the letters pertain to the education and military career of the younger George Gough. The collection also includes a travel diary, documents, financial records, and notes.

This collection is primarily made up of correspondence between and addressed to members of the Gough family of Gort, Ireland, including George Stephens Gough; his wife, Jane Arbuthnot; and their children, Hugh, George, Rodolph, and Eleanor ("Nora").

The Correspondence series (740 items) largely consists of incoming personal letters addressed to Jane Gough, Viscountess Gough, and her son George. George Gough frequently wrote to his parents (most often his mother) throughout the 1860s, describing aspects of his education at Woodcote House in Henley-on-Thames, England; Eton College; and the University of Cambridge. He also commented on family news and his desire to join the military. George's later letters, written from the 1870s-1890s, concern his career with the British Army, which included service in England, India, and Africa; some of his letters from 1881 refer to political relations around the time of the First Boer War. He also wrote letters from Dresden, Germany, and from Switzerland.

Jane Gough received additional letters from acquaintances, including a group of letters expressing sympathy after George was wounded at the Battle of Abu Klea in January 1885. George Gough received letters from his siblings Hugh, Rodolph, and Nora, and from school friends and other acquaintances. One frequent correspondent, "Hubie," wrote throughout the 1860s, telling Gough about his experiences at Eton College and University College, Oxford.

The Diary (147 pages) recounts George Hugh Gough's travels in Canada and the United States during the fall of 1888. The volume covers the entirety of the trip up to Gough's return departure for Ireland, including ocean travel between Ireland and North America and railroad travel throughout Canada and the United States. Gough's entries regard daily activities, the scenery, historical context about places visited, and current events (such as the United States presidential election of 1888). The first page contains a list of visited locations and the distances between them. The final four pages contain a list of expenses incurred between September 28, 1888-November 15, 1888. A menu for passengers on the "'Allen' Line" of "Royal Mail Steamers" is pinned into the volume.

• Québec, Québec
• Montréal, Québec
• Ottawa, Ontario
• Toronto, Ontario
• North Bay, Ontario
• Vancouver, British Columbia
• Victoria, British Columbia
• Portland, Oregon
• San Francisco, California
• Yosemite Region, California
• Ogden, Utah
• Denver, Colorado
• Chicago, Illinois
• New York City, New York

The Documents series (11 items) contains military appointments for Hugh Gough (March 15, 1843, and May 1, 1861) and George Stephens Gough (January 5, 1849), a document authorizing the recipient to raise a number of men for a military regiment (November 5, 1804), and 7 accounts for purchases made by G. V. H. Gough in March 1914. Gough paid for automobile repairs, shoe repairs, medical supplies, and food.

The Photographs series (11 items) includes nine black-and-white prints showing soldiers at leisure, soldiers with horses, and a military encampment. The remaining items are a carte-de-visite portrait of an unidentified boy and an informal outdoor picture of a boy with a dog.

The Writings, Lists, and Genealogy series is made up of 12 items. Writings include a small notebook containing French poetry, a sheet containing limericks and drawings, and an item titled "Liber secundus." Extracts and notes pertain to a House of Lords commission respecting forfeited Irish estates around the turn of the 18th century, to an "Index to the "Prerogative Wills of Ireland," and to a poem entitled "The Migration of the Sons of Umor." Lists include a "Catalogue of a Collection of Minerals and Geological Specimens arranged and sold by J. Tennant" in London, a list of clothing belonging to a member of the Gough family, a list of men involved in a cricket match, and a list of words made for an unidentified purpose. A family tree traces the descendants of Hugh Gough, great-grandfather of Hugh Gough, first Viscount Gough. One group of papers was intended to be used to record purchases in February 1862, though it contains only a heading.

Two items in the Printed Items series (11 items) pertain directly to Viscount Hugh Gough: a poem addressed to Gough and his wife during their visit to Bath on April 1, 1850, and a document regarding the construction of a memorial to Gough following his death (May 21, 1869). Other items include a "Map of the Northern Uaso Nyiro" (1914), three scorecards from cricket matches held at Lord's Cricket Ground in 1868 and 1780, and newspaper clippings pertaining to wineglasses, a funeral, and the Franco-Prussian War. The collection includes two books: a pocket-sized Book of Common Prayer that belonged to George Gough (1872) and a Catalogue of Pictures at Basildon Park, Berkshire (1910).

The Personal Stationery and Family Crests series (62 items) includes a drawing of a jester and numerous drawings and crests, most cut out of personal stationery belonging to a variety of individuals and families.

The Hair documents, ephemera, and prints collection is comprised of 103 items, mostly printed materials related to hair, shaving, and wigs. Included are ephemeral advertisements, trade cards and price lists, government acts relating to hair and wigs, manuscript letters and indentures, caricatures and cartoons, broadsides, sheet music, other miscellaneous prints, and one braided lock of hair.

The Hair Documents, Ephemera, and Prints collection is comprised of 103 items, mostly printed materials related to hair, shaving, and wigs. Included are ephemeral advertisements, trade cards and price lists, government acts from British monarchs George II and George III relating to hair and wigs, manuscript letters and indentures, caricatures and cartoons, broadsides, sheet music, other miscellaneous prints, and one braided lock of hair. The material spans from 1717 to the late 1980s, with the bulk of materials dating from the late eighteenth century to the end of the nineteenth century. A majority of the materials are from England, although some are from Belgium, France, Switzerland, and Scotland. Many of the items are satirical and are commentary on fashion and the idea that the local barber was the "jack of all trades." Two similar items, a comical manuscript resume of "Isaac Morgan" and a fictitious advertisement for the varied services of "Isaac Factotum" offer exaggerated illustrations of how a barber did more than cut hair. Of interest is a series of mid-nineteenth century Valentines which center around the love-lives of barbers. Also included is a letter from Alex Campbell to his relative John Campbell, the Cashier of the Royal Bank of Scotland during the Jacobite rising of 1745. There is also sheet music from the composer (Franz) Joseph Haydn (1732-1809), A Pastoral Song, better known as My Mother bids me bind my hair. Of note are prints by British satirists William Hogarth, Isaac and George Cruikshank, and Thomas Rowlandson.

This collection is made up of correspondence, diaries, documents, ephemera, and other items related to Hilon A. Parker and other members of the Parker family. The papers reflect Hilon A. Parker's life in Plessis, New York; his service in the 10th New York Heavy Artillery Regiment during the Civil War; and his postwar work as a railroad engineer and administrator.

This collection (3 linear feet) is made up of correspondence, diaries, documents, ephemera, and other items related to Hilon A. Parker and other members of the Parker family. Materials pertain to Hilon A. Parker's life in Plessis, New York; his service in the 10th New York Heavy Artillery Regiment during the Civil War; and his postwar work as a railroad engineer and administrator.

The correspondence (464 items) consists mainly of personal letters written and received by Hilon A. Parker between the 1860s and early 1910s. During the Civil War, Hilon A. Parker and his brother Harvey exchanged letters and wrote to their parents about service in the Union Army. Hilon served in the 10th New York Artillery Regiment. Thirza Parker, Hilon and Harvey's sister, provided news from Plessis, New York, while her brothers were away. Much of the correspondence from the late 1860s consists of letters between Hilon A. Parker and Mary Cunningham, his future wife. Hilon described the scenery and his work for railroad companies in Iowa, and Mary wrote about her life in Copenhagen, New York. After their marriage, most of the correspondence is comprised of incoming letters to Hilon A. Parker from personal and professional acquaintances. Parker received many condolence letters following Mary's death in early 1892. Later items include content related to Native American schools and to Parker's career in the railroad industry. A few late items sent to Hilon's daughter Florence in 1911 and 1912 concern his estate.

A group of 36 pencil and colored drawings and 32 letters relate to students at the Rainy Mountain Boarding School on the Kiowa-Comanche-Apache reservation in western Oklahoma. Kiowa schoolchildren gave the drawings as thank you notes to Hilon Parker, general manager of the Rock Island Railway, for a train ride he arranged for them in 1899. The children's ledger drawings show teepees, traditional Native American costume, and animals such as horses and buffalo. The children sent 13 letters to Hilon A. Parker on May 5, 1899. The Kiowa correspondence and drawings are accompanied by a group of 19 letters by grade school children in Chicago, Illinois, to Florence Parker Luckenbill, Hilon A. Parker's daughter, around 1925. The Chicago children commented on the Kiowa drawings and letters.

The Hilon A. Parker diaries (31 items) form a continuous run from 1860 to 1911, with the exception of the years 1896 and 1903. His brief daily entries concern life in Plessis, New York, in the early 1860s; service in the 10th New York Heavy Artillery Regiment during the Civil War; and work for the Chicago, Rock Island & Pacific Railway Company. Lucinda Parker, Hilon's mother, kept 6 diaries covering the period from 1858-1865, excepting 1862. She commented on her daily activities and social life in Plessis, New York.

Hilon A. Parker made entries in a commonplace book from February 1863-August 1863 and in April 1866. The first section of the volume contains poems and brief essays composed at Fort Meigs in Washington, D.C. Many of the entries refer to military life and to the war. The later pages of the volume include diagrams of cannons, mathematics and physics notes, and definitions of military terms. Items glued into this section of the volume include a small paper flag and many clipped autographs.

The collection's military documents (39 items) include orders, passes, commissions, and other documents related to Hilon A. Parker's service in the 10th New York Artillery Regiment during the Civil War; one item pertains to his pension. Undated materials include a casualty list and a blank voucher form.

Nine account books belonging to Hilon's father Alpheus Parker span the years from 1853-1878. Some of the volumes pertain to Parker's accounts with specific banks. Hilon Parker's business papers contain 35 accounts, receipts, and other items related to his personal finances and to his work for the railroad industry; one item concerns his voter registration (October 19, 1888). Most of the later material, including contracts and other agreements, regard business agreements between railroad companies. Some of the accounts are written on stationery of the Chicago, Rock Island & Pacific Railway Company.

Mary Cunningham's Hungerford Collegiate Institute papers (40 items) include essays, poetry, report cards, and newspaper clippings related to Cunningham's studies at the institute in the mid-1860s. The papers include a manuscript magazine called The Nonpareil, edited by Mary Cunningham (Vol. 5, No. 8: November 18, 1863).

Approximately 80 speeches, addresses, and essays written by Hilon A. Parker pertain to the Civil War, the Republican Party, and Illinois politics. Parker also composed speeches and essays about the life of Abraham Lincoln and about Native Americans.

The Hilon A. Parker family papers include 8 photographs: an ambrotype image of several members of the Parker family posing outside of the Parker & Fairman storefront in Plessis, New York, and portraits of Derrinda Parker Tanner (tintype), Isaac L. Hitchcock (daguerreotype), Lucinda and Thirza Parker (daguerreotype), two unidentified women (ambrotypes), Hilon A. and Harvey M. Parker in military uniform (card photograph), and Hilon A. Parker as a grown man (photographic print).

A scrapbook contains newspaper clippings, ephemera, and other items related to the life of Hilon A. Parker. Many articles concern Civil War veterans' groups (the Englewood Union Veteran Club and the Grand Army of the Republic) and other topics related to the war, such as an article regarding a reunion of the 10th New York Heavy Artillery Regiment, the fate of John Brown's wife and sons, memorial poems, and a map of entrenchments around Petersburg, Virginia. Other groups of clippings concern Illinois politics, liquor laws, the railroad industry, and the life of Hilon A. Parker.

The papers include newspaper clippings (21 items), biographical notes and writings (18 items), a hand-sewn US flag made by Thirza Parker for Hilon Parker while he served in the Civil War, a silhouette made in Denver, Colorado, in 1903, and other items.

This scrapbook contains correspondence, documents, maps, and ephemera related to the family of Jabez Huntington of Norwich, Connecticut, including his sons and other descendants. The items pertain to the American Revolution, education, family history, and life in Connecticut from the 1770s to the 1830s.

This scrapbook (55 pages) contains correspondence, documents, and ephemera related to the family of Jabez Huntington of Norwich, Connecticut, including his sons and other descendants. The earliest item is a poem dedicated to Kitty Fell, written by William Apthorp in 1763, followed by a letter from William Hubbard to Andrew Huntington concerning Thomas Hutchinson's order to surrender Castle William to Colonel Dalrymple (September 13, 1770). During the Revolutionary War, Andrew Huntington received letters from his brothers Jedidiah and Joshua, who discussed escalating tensions in Boston in 1775, the gathering of Continental forces, and the progress of the war; he also received a note from Jonathan Trumbull excusing him from military duty (September 1, 1775). Other items from the late 18th century include love letters and poems to Maria Perit, cards admitting Perit to balls held at Yale College, and letters from "Lucy" at "Bethlehem" (possibly Bethlehem Female Seminary) to her brother.

A small number of items from the early 1800s pertain to the will and estate of Pelatiah Webster, Charles P. Huntington's father-in-law, and an 1802 return for the 20th Connecticut Militia Regiment. In 1814, Samuel Huntington wrote to his son Julian about his other sons' academic progress. In the 1820s and 1830s, Samuel received letters from acquaintances who discussed political issues, and in the late 1830s he wrote to his son William, discussing William's education at Wesleyan University and the possibility of his attending Harvard College. Some letters are addressed to Huntington family women, including letters from Lydia Sigourney to Mrs. Hannah Huntington (likely Andrew's wife); Maria Perit Huntington letters, often regarding literature and poetry; and letters to Ruth L. Huntington. One letter from P. H. Huntington to "Miss Perkins" contains genealogical information about the Webster, Perit, and Leffingwell families (August 13, 1891).

The scrapbook also contains documents, maps, and other materials related to the Huntington family. Visual items include property maps (cataloged separately); a photograph of Ebenezer Huntington's home in Norwich, Connecticut; a card photograph of Benedict Arnold's birthplace; and engravings of Norwich Bridge, women at leisure, and "Cromwell at Ripley Castle." Genealogical notes, poems, instructions for making a doll, and legal documents (many of which relate to property ownership) are also present. Newspaper clippings pertain to the history of the Huntington family, particularly to Jabez Huntington and his sons.

This collection is made up of correspondence, legal and financial documents, and other items concerning several generations of the Lee family of New York and New Jersey from the early 18th century to the late 19th century.

This collection is made up of correspondence, legal and financial documents, and other items concerning several generations of the Lee family of New York and New Jersey from the early 18th century to the late 19th century.

The earliest items (1701-1840) largely consist of legal and financial documents, receipts, accounts, and other financial records related to Thomas Lee, his nephew Thomas (ca. 1728-1804), his grandnephew William (1763-1839), and, to a lesser extent, other members of the Lee family. Many pertain to land ownership in New York and New Jersey. Some legal documents, such as Thomas Lee's will (May 16, 1767), concern decedents' estates. In the 1820s and 1830s, the Lee siblings, including Henry, William, Cyrus, and Phebe, began writing personal letters to one another. Cyrus Lee and his wife Emily Fisher received letters from her mother, E. Fisher of Humphreysville, Connecticut. One letter contains teacher Samuel Squier's response to accusations of drunkenness and inappropriate behavior (February 25, 1774). Additional early materials include a contract related to the establishment of a singing school in Boston, Massachusetts (ca. 1745), medicinal recipes (October 31, 1789), poetry (undated), articles of apprenticeship (February 25, 1796), a daybook reflecting construction costs for a school house in Littleton, New Jersey (October 2, 1797-May 1, 1799), records of William and Isaac Lee's labor at a forge (September 5, 1809-October 24, 1914), and a manuscript copy of an act to incorporate part of Derby, Connecticut, as Humphreysville (May [4], 1836).

After 1840, the bulk of the collection is made up of personal letters between members of the Lee family. Incoming correspondence to Cyrus and Emily Fisher Lee makes up the largest portion of these letters. Emily's mother wrote about life in Humphreysville, Connecticut, frequently discussing her health and that of other family members. Emily's sister Elizabeth discussed her travels in Indiana and Ohio and her life in Ogden, Indiana. After the mid-1850s, many of the letters pertain to Cyrus and Emily's son Robert. He received letters from his grandmother, aunt, and cousins. He sent letters to his sister Emily while he lived in Ogden, Indiana, in the late 1850s and early 1860s. A cousin, also named Emily, wrote to Robert about African-American and white churches in Princeton, New Jersey, and her work as a schoolteacher (February 15, 1858).

Robert Lee wrote one letter about camp life and his poor dental health while serving in the 3rd Indiana Cavalry Regiment (October 3, 1861), and Emily shared news of Littleton, New Jersey, while he was away. Cyrus's sister Phebe wrote to her brother's family during this period. After the war, Cyrus and Emily Fisher Lee continued to receive letters from Emily's mother and sister. Elizabeth Benjamin, living in Lecompton, Kansas, sent letters on January 22, 1871, and March 13, 1871, discussing the death of her son Theodore, who died of a gunshot wound. The final letters, dated as late as 1903, are addressed to Elizabeth M. Lee, likely Cyrus and Emily's daughter. Later items also include a calling cards and a lock of hair.

The collection includes five photographs of unidentified individuals, including cased tintypes of a man and a young child, each with an ornate oval matte and preserver, as well as a third similar tintype portrait of a young boy which no longer has a case. A photograph of a United States soldier is housed in a hard metal frame that includes a fold-out stand; the frame bears the insignia of the United States Army infantry. The final item is a photographic print of a man, woman, and young child posing beside a house.

The collection contains a group of 13 printed and ephemeral items, including sections of the New-Jersey Journal and Political Intelligencer (April 21, 1790), True Democratic Banner (October 9, 1850), and New York Sun (May 9, 1936). Other items of note are a colored drawing of a house (1861 or 1867), printed poems ("Napoleon Is Coming" and "The Lass of Richmond Hill," undated), a price list for the works of Emanuel Swedenborg, a Hungarian Fund bond, and an advertisement for men's shirts and shorts with attached fabric samples. Three additional items pertain to births, deaths, and marriages in the Lee family.

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).

This collection is made up of correspondence, military documents, financial records, and other items related to the Van Vechten (also Van Veghten) family of Albany and Catskill, New York, and Detroit, Michigan. Most of the material dates from the mid-1700s to the late 1800s.

This collection is made up of correspondence, military documents, financial records, and other items related to the Van Vechten (also Van Veghten) family of Albany and Catskill, New York, and Detroit, Michigan. Most of the material dates from the mid-1700s to the late 1800s.

Two loose Correspondence items are a letter from Abraham Van Vechten to Harmanus Bleecker regarding news from Albany, New York, and local politics (January 20, 1813) and a letter that Abraham Van Vechten received from an acquaintance (November 10, 1813).

The Scrapbook (37 pages), currently disbound, contains printed and manuscript documents, notes, and other items from the late 1700s and early 1800s. Military records include muster rolls and related registers concerning Samuel Van Vechten's Continental Army company; a muster roll for John Van Vechten's company of the 66th Regiment of New York militia, pertaining to his service in the War of 1812; and military commissions for Samuel and John Van Vechten, signed by Cadwallader Colden and Daniel D. Tompkins. A Revolutionary War parole claim and several additional documents concern Jonathan, Lucas, and other members of the Elmendorff family. Additional items include a land survey conducted by Samuel Van Vechten in 1773, indentures pertaining to lands in the state of New York, a political broadsheet printed by the Albany Argus (October 12, 1824), and a letter from George Clinton to Christopher Tappen dated July 1, 1768.

The Orderly Book (34 pages) pertains to John Van Vechten's service in the New York Milita in the War of 1812. Orders, dated September 14, 1814-November 29, 1814, concern troop movements, drills and parades, and logistical matters. John's son Peter presented the volume to his own son, James, in 1913.

The Financial Records series contains loose and bound items. The Accounts subseries (7 items) contains brief notes and calculations; an undated document by Philip Phelps of the Albany Comptroller's office is also present.

Two Account Books belonged to members of the Van Vechten family in the 18th century. The first (approximately 310 pages) contains records dated from approximately 1672-1752, some of which were written in Dutch. The second half of this volume is an extensive genealogical record of the Van Vechten family and related families, compiled by Peter Van Vechten in the early to mid-1890s. The second account book (approximately 260 pages), which may have belonged to Teunis Van Vechten (1707-1785), contains records pertaining to individuals customers, dated from approximately 1768 to 1787 (bulk 1770s). Most entries pertain to sales of foodstuffs and related services, such as grinding wheat; at least one customer regularly paid for postage. Many of the individuals referenced in the volume were residents of Catskill, New York, including farmers, blacksmiths, and other laborers.

The Maps series includes 3 Loose Maps and a Survey Book. The individual maps include John Van Vechten's manuscript survey of lands along Batavia Kill; a printed map of the "Hollow Land" in the Netherlands, including the area around Amsterdam, showing city locations, the North Sea, and the Zuiderzee; and a blueprint map of lands belonging to Teunis Van Veghte [sic] in September 26, 1770. Samuel Van Vechten's Survey Book (approximately 40 pages) contains instructions for conducting land surveys, with illustrated examples and problems. Some pages bear small sketches of buildings.

The Photographs series (5 items) includes reproduced 19th-century portraits of Charlotte Scott, Harmon William Van Veghten, and Mary Jane Tigert, as well as a 20th-century portrait of John J. Tigert IV. The final item is a photograph of a house that belonged to the Schuyler family.

The undated Recipe Book contains manuscript instructions for making cakes, puddings, custard, blancmange, whipped cream, and other items. Newspaper clippings pasted into the front page include recipes for numerous types of cakes and puddings.

The Genealogy series (13 items) includes manuscript and typed notes about the Van Veghten (or Van Vechten) and Schuneman families, genealogical charts and trees pertaining to the Vanderpool and Van Vechten families, and reproduced images of manuscript notes about the Van Vechten family. Also included is a reproduced image of the Van Vechten family crest. The notes concern persons born as early as the mid-1600s and as late as the mid-1940s. Additional genealogical material may be found in one of the collection's account books (see above).

Miscelleanous material (5 items) includes fragments and an etching of a man and dog in front of a country home.