Search

The Admiral William Mead photograph album contains approximately 250 photographs related to the family and career of U.S. Navy Rear Admiral William Whitman Mead.

The Admiral William Mead photograph album contains approximately 250 photographs related to the family and career of U.S. Navy Rear Admiral William Whitman Mead.

The album (35.5 x 29 cm) has pebbled covers with partial leather bindings and "Photographs" stamped on the front cover and contains around 250 photographs of various sizes and formats, including collodion, gelatin silver, platinum, silver platinum and albumen prints, cyanotypes, and snapshots. The spine and edges show considerable wear. The photographs chronicle three periods in Admiral Mead's naval career: his time as lighthouse inspector in the Great Lakes, and his assignments as commandant of the Newport, Rhode Island naval base and Portsmouth Naval Shipyard in Kittery, Maine. Additionally, there is at least one photograph towards the front of the album from the Lomaland School in San Diego as well as a series of others mostly located towards the back of the album that were taken in an unidentified tropical location (possibly Florida).

Some of the album’s captions, primarily in beginning and the lighthouse section, appear to have been first added when it was originally assembled and many are partially erased. The majority of captions, however, were contributed at a later date by Admiral Mead’s niece, Annie Adelia Mead Ferguson. Annie appears to have come into possession of the album at some point and added her own annotations identifying people and places she recognized in the photographs. She also added a handwritten note to the inside of the album’s front cover in 1970 indicating that the album had once “belonged to William Whitman Mead” before explaining that she captioned certain images herself and speculating on which of her children might want to inherit the album. It is unclear who originally took many of the photographs, though there are indications that Annie's mother Unadilla Gazlay Mead may have contributed some material. One photograph on pg. 32 shows Unadilla and her husband Omar C. Mead, Admiral Mead’s brother, posing together on a dock in either Portsmouth or Newport while the former can be seen holding a camera in her hands, while on pg. 44 there is a self-portrait taken in a mirror of a woman with a camera that appears to be Unadilla.

The album provides extensive documentation of lighthouses along the shores of Lakes Superior and Huron in the mid-1890s, as well as views from Great Lakes locations such as Duluth, Copper Harbor, and the locks at Sault Ste. Marie. Specific lighthouses represented include Seul Choix Light, Old Mackinac Point Lighthouse, Sand Island Lighthouse, Huron Island Lighthouse, Isle Royale Light, an abandoned lighthouse on Isle Royale, a pair of unidentified lighthouses possibly located in the Keweenaw Peninsula, Windmill Point, a lighthouse in St. Clair Flats, Gull Rock, Stannard’s Rock, Rock Harbor Light, and other unidentified structures. Images related to Admiral Mead’s time at the Newport naval base include portraits of Mead both in and out of uniform, portraits of family members such as Julia Mead, a collotype postcard of Trinity Church, and various buildings and street scenes. Images related to Admiral Mead’s time at Portsmouth Naval Shipyard include views of the Commandant’s house, “The Admiral’s Yacht,” and portraits of various individuals including John W. Yerkes, Elizabeth O. Yerkes, Amelia R. Yerkes, Annie Meade Matthews, Omar C. Mead, and Annie Adelia Meade as a young child. Of particular interest are a number of candid shots of locations and participants in the Portsmouth peace talks that ended the Russo-Japanese War in 1905 (including several photographs of three unidentified Japanese men described as “servants” in one caption) that are present on pgs. 30, 36, 37, and 39. While most of the ships that appear in the album are unidentified, identified vessels include the passenger steamer North Land on pg. 16 and the lighthouse tender Marigold on pg. 23. Other individuals identified by caption include Robert A. Watts (Admiral Mead’s brother-in-law) and Margaret A. Watts (Admiral Mead’s mother-in-law). Also present are three outdoor portraits of unidentified African American men and women on pg. 21 captioned “Those good ole’ days!!” and “Same good ole days!” as well as a cyanotype of an unidentified African American girl on pg. 48.

The Albert D. Noble, Jr., glass negatives collection consist of 92 glass plate negatives made by photographer Albert D. Noble, Jr. as well as 33 photographic prints, 2 newspaper clippings, and a computer disk with 180 digital images (including additional photographs by Noble, Jr. and copies of older family portraits).

The glass plate negatives are contained in two boxes and include images of Noble, Jr.'s childhood home in Grand Rapids and other private residences and public buildings in the area as well as views taken in Detroit of Noble, Jr.'s family's Christmas decorations, community ice skating, bicycling in the countryside, rural buildings, and regional parks including Belle Isle Park. The majority of images depict people, activities, and scenes from summer vacations to places like Orchard Lake and Upper Straights Lake; a group visit to the French Lick Springs Hotel in Indiana in 1902; views from the Pan-American Exposition in Buffalo, New York in 1901 (misidentified in Bayard C. Schoettle's publication Glass Negatives: Albert Dewitt Noble, Jr. as an event based in Grand Rapids); and numerous studio portraits of family members, acquaintances, and the noted elocution teacher Edna Chaffee Noble (no relation to Noble, Jr.). The glass plates are in a variety of sizes (16.5 x 21.5, 12.5 x 20.5, 11.5 x 16.5, and 10 x 12.5 cm) and each is stored in individual paper slipcases. Some but not all of the splipcases provide information regarding an image's subject matter. Most of the plates are in good condition, with only a few displaying cracks and none being broken. 33 photographic prints (31 unmounted and 2 mounted) are also present and include an image of several cows near a body of water, two mounted albumen prints of "Orchard Lake Cottage," two silver platinum prints showing an unidentified house and a sailboat, 16 unmounted gelatin silver prints showing various domestic, industrial, social and architectural scenes (most of which are represented in the glass negatives), and a series of 11 unmounted snapshots and 1 negative transparency showing scenes from Roseland Park Cemetery and the gravesite of Edna Chaffee Noble. Two newspaper clippings from the July 16 1899 Detroit Free Press Art Supplement related to Noble, Jr.'s second place finish in a photo competition are also included.

The CD-R accompanying the collection contains about 180 scanned images including all 92 of the glass plates present in the collection, approximately 75 additional photographs produced by Noble, Jr., and several photographs of trophies awarded to Noble, Jr., by the Grand Rapids camera club. The CD-R also includes images of early Noble family portraits that were scanned and retouched by Schoettle during his preparation for Glass Negatives: Albert Dewitt Noble, Jr.

The Arizona photograph album contains 70 images taken by an unknown photographer showing scenes from Flagstaff, Arizona Territory, and the surrounding area.

The Arizona photograph album contains 70 images taken by an unidentified photographer showing scenes from Flagstaff, Arizona Territory, and the surrounding area. The album (21 x 31 cm) has black pebbled cloth covers and a leather spine. Images of interest include views of men visiting cliff dwellings near Flagstaff; a group visiting the Grand Canyon by carriage and horseback; past the John Hance house and trail; scenic shots of the Grand Canyon taken from the Grand View Hotel; trailside cooking; and a wagon breakdown on the return trip. Additional photographs show Timothy Riordan, president of the Arizona Lumber & Timber Company, and his family at the rustic Thomas' Hotel in Oak Creek Canyon; an excursion to the lava beds including amateur photographer Father Daniel McGillicuddy of Worcester, Massachusetts, who is shown setting up his camera among the rocks; 11 views of the 1902 Fourth of July celebrations in Flagstaff, with masked participants, horse-drawn floats, soldiers in formation, and the former homes of Michael and Timothy Riordan decked out in bunting. Also present are photographs of the home of Frederick Sisson, a manager with the Arizona Lumber & Timber Company, including views of a porch or interior decorated with Native American rugs, pottery, textiles, baskets, and animal skins.

The Brown family photograph album contains approximately 100 photographs (mostly cyanotypes) showing the home, neighborhood, family members, and friends of Phildelphia textile manufacturer Crosby M. Brown (1857-1906) and his wife Addie O. Brown (1857-?).

The Brown family photograph album contains approximately 100 photographs (mostly cyanotypes) showing the home, neighborhood, family members, and friends of Phildelphia textile manufacturer Crosby M. Brown (1857-1906) and his wife Addie O. Brown (1857-?).

The album (31 x 26 cm) begins with the birth of May Marguerite Brown in October or November, 1888, and focuses on the subsequent visits of relatives and neighbors, including the Mayers, Crosby M. Wright, and Aunt Ellen Smedley. Images include family group portraits, exterior and interior views of the large family home at 63rd and Median Streets, winter scenes at nearby parks, and views of the neighboring homes of John Bell, Mr. Hess, and Jacob Jones. Other photographs depict Brown family visits to Ellen Smedley at "Bala" in Bryn Mawr (Pennsylvania), to Norwalk (Ohio), and a fishing trip to Waterville (New Hampshire). Also included are views of mill clerk F. A. Reinstein in his office, and industrial buildings from 33rd and Walnut Streets in Philadelphia (possibly the family textile mills).

The Caspar Wistar Miller photograph albums contain approximately 172 photographs stored in two albums that document travels in the western United States, Alaska, and Europe by Philadelphia-area physician Caspar Wistar Miller during the late 19th-century.

Volume 1 (33.5 x 40 cm) has maroon and black leather covers with “Photographs” stamped in gold on the spine and contains 87 photographs related to Miller’s travels in the western United States and Alaska from May to August of 1888. Many images appear to include glass plate negative numbers. Traveling mostly by rail, Miller’s itinerary and layovers can be tracked from the photographs, almost all of which note the date and location. Miller appears to have held an interest in photos of valleys looking first in one direction (“up”) and then the other (“down”), and he also regularly sought out possibilities for bird’s-eye views of towns. The album opens with a photo of a cantilever bridge in Niagara, New York, before documenting Miller’s time in Pullman, Illinois, where he observed the railroad baron George Pullman’s newly built factory town. It is likely that Miller traveled in Pullman railroad cars during this journey. Subsequent images show scenes from Colorado, New Mexico, and California, where Miller spent a month photographing various towns and cities along the Pacific coast before heading into the Northwest. Included are images of the area surrounding the Las Vegas, New Mexico hot springs; street scenes, historic sites, and Native Americans in Santa Fe; and views of buildings, historic sites and natural scenery in Californian locations including Pasadena, Los Angeles, Santa Barbara, Yosemite, Monterrey (including views of the Hotel Del Monte), Santa Cruz, San Francisco, and the Lick Observatory on Mount Hamilton. Images related to the Northwest include a bird’s-eye view of Portland, Oregon, and a series of photographs of acrobats performing in Tacoma, Washington. Also present are a series of images taken in early July 1888 after Miller joined a few dozen other travelers on a three-week Alaskan cruise exploring inlets, harbors, and villages. Alaskan images include a group portrait of Tlingit women and infants; photos showing a grave totem and totem poles at Fort Wrangell; Tlingit men and women selling wares on a wharf in Juneau; views of Juneau and Sitka; a block house in Sitka; the face of Muir Glacier; a Tlingit camp at Pyramid Harbor; a group portrait of officers in command of the sidewheel steamship “Ancon”; and group portraits of fellow travelers posing with various Tinglit items including a chilkat blanket. A newspaper clipping regarding Alaskan totem poles is also included opposite one of the totem pole images. Photographs taken during Miller’s return home include scenes from Port Townsend, Washington; Yellowstone National Park; and Minnehaha Falls in Minnesota.

Volume 2 (28.5 x 39 cm) also has maroon and black leather covers and contains 85 photographs related to Miller’s European travels between May and August of 1892. The vast majority of these images are high-quality commercially-made photographic prints documenting typical tourist attraction subjects such as historic buildings, street scenes, cathedrals and churches, sculptures, and landscape views. Many of these images were likely produced from glass plate negatives that were originally created in the 1870s and 1880s. A small number of half-tone reproduction images clipped from printed sources are also present. Many of the commercially-produced images include captions within the photographs that provide site information and negative or series numbers, while some also contain blind stamps bearing photographer or studio names. The album begins with images of scenes in Le Havre and Paris, France; the two Le Havre-related photographs appear to have possibly been taken by Miller, while the Parisian views were all purchased from the gallery “A Jeanne D’Arc Paris 3, Place Rivoli, 3.” Most, if not all, of the remaining photographs in the album were also purchased by Miller. Subsequent images include views of sites, sculptures, and Alpine scenery in the Swiss locales of Geneva, Vevey, Montreux, La Tour-de-Peilz, Bern, Zurich, Fribourg, Thun, Oberhofen, Interlaken, and Lucerne. Other Swiss-related images include views of the Lauterbrunnen Valley; the Jungfrau; the Lion of Luzern monument; a wall tower and hotel in Zug; a man operating a dog-powered milk cart; and the Rheinfall. Austrian views include scenes from locations such as Innsbruck, Kufstein, and Rattenberg, while German destinations such as Lindau, Munich, Nuremburg, Heidelberg, Frankfurt am Main, Koblenz, and Cologne are also represented. The back-end of the album contains images from Brussels, Belgium, including another photograph of a dog-powered milk cart.

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.

The collection contains 41 photographs of the British born actor, Owen Fawcett (1838-1904) and his family. It includes formal portraits of Owen Fawcett at various ages, as well as portraits of Mr. Fawcett in costume, some with other actors. The collection also contains formal portraits of families and children, most of which are photographs of Owen Fawcett's grandchildren; also included is a photograph of the Charles E. Hunter family given to Fawcett in 1894.

The collection contains 41 photographs of the British born actor, Owen Fawcett (1838-1904) and his family. It includes formal portraits of Owen Fawcett at various ages, as well as portraits of Fawcett in costume. The collection contains formal portraits of families and children, most of which are photographs of Owen Fawcett's grandchildren; also included is a photograph of the Charles E. Hunter family given to Fawcett in 1894. A loose bookplate of Fawcett's is also present in the collection.

• Two autographed portraits of Fawcett. (1, 2)
• Owen Fawcett, his wife, daughter, and grandchild in their backyard. (13)
• A late 19th century cabinet card enlargement of an earlier portrait of an unidentified young man (a member of the Fawcett family?); this portrait is housed in its original paper-wrapper. (16)
• Two portraits of Fawcett in costume as Colley Cibber. (26, 27)
• Three 1903 portraits of Fawcett in costume as Darby Keegan in the play Robert Emmett. This was Fawcett's last performing role before his retirement. (39-41)

The Delta, Colorado photograph album contains approximately 90 photographs compiled by Gertrude L. Hick related to the Hick family residence and neighborhood in Delta, Colorado, and excursions to various locations in Colorado.

The Delta, Colorado photograph album contains approximately 90 photographs compiled by Gertrude L. Hick related to the Hick family residence and neighborhood in Delta, Colorado, and excursions to various locations in Colorado.

The album (18 x 27 cm) is disbound and has a grey cloth cover with gilt stamped title "The Kodak Book." The album was compiled by Gertrude L. Hick, the wife of physician Lawrence A. Hick, and presented as a Christmas gift to her mother. Images of interest include photographs of the landscape near Delta, Colorado; Gertrude and Lawrence Hick with their young son; the Hick family residence and neighboring homes on Main Street; neighborhood children; the Hicks with friends on excursions to Grand Mesa and Colorado Springs; frontier cabins; and several views of Pitkin, Colorado, including two photographs of mining camps. Two large photographs show the exterior and interior of the Delta Cash Grocery, a store managed by Gertrude's brother, Byram Luce. Additional photographs show a group of children gathered around a maypole; several views of La Platte, Nebraska (Gertrude's hometown); and a bearded man, possibly Delta carpenter Albert Tillotson, displaying his woodcarvings which is captioned, "Compliments of Mr. and Mrs. Tillotson."

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.

This collection contains incoming correspondence and other items related to Elsie F. Weil of Chicago, Illinois, and New York City, including many passionate letters from Weil's close friend Gertrude Emerson, who wrote about her foreign travels, life in New York City, and her deep bond with Elsie. Other friends and, to a lesser extent, family members, wrote to Elsie about their daily and social lives in New York City, Chicago, and Boston. Additional materials include two of Elsie's diaries, articles written by Elsie F. Weil and Gertrude Emerson, and ephemera.

This collection (1.5 linear feet) contains incoming correspondence and other items related to Elsie F. Weil of Chicago, Illinois, and New York City, including many letters from Weil's close friend and fellow writer Gertrude Emerson. Other friends and family members wrote to Elsie about their daily and social lives in New York City, Chicago, and Boston. Additional materials include two of Elsie's diaries, articles written by Elsie F. Weil and Gertrude Emerson, and ephemera.

The bulk of the collection is comprised of Elsie F. Weil's incoming correspondence. The first group of items consists of letters that Elsie's father Jacob, brother Leo, and mother Pauline sent to her from 1897-1907. Jacob and Leo Weil offered advice, and Pauline Weil provided family news from Chicago while Elsie lived in Lafayette, Indiana, around 1904. In 1913, Elsie received letters about her career as a writer, often mentioning specific articles. Additional professional correspondence appears throughout the collection.

Gertrude Emerson began writing to Elsie Weil in January 1914, and remained Weil's primary correspondent through the early 1920s. Her early letters pertain to her life in Winnetka, Illinois, where she taught at the Girton School. Emerson encouraged Weil to pursue a career in writing, discussed her own work, and shared news of her family. In the spring of 1914, she described a trip to New York City. During their periods of separation, Emerson expressed her desire to reunite with Weil and proposed plans for their shared future. Her letters include passionate declarations of her love for Weil and her devotion to their friendship, and she often referred to her desire to hold Weil, offering a birthday kiss in her letter postmarked April 26, 1915. She also spoke of her wish to travel around the world, though her mother prohibited transatlantic travel in 1915 on account of the growing threat from German submarines ([May 7, 1915]).

Weil and Emerson traveled together to Korea, Japan, and China in 1915 and 1916, and the collection includes a series of typed letters that Weil addressed to an unspecified group in early 1916. She described their travels between locations, shared observations about local cultures, and reported on their daily activities. A newspaper article about their trip, printed in Japanese, is filed in with the correspondence (December 15, 1915, 3 copies). Weil later received letters and postcards from acquaintances in Asia, particularly in late 1916. Gino Merchiorri, a soldier, wrote two letters to Weil about his experiences in the United States Army during World War I.

Gertrude Emerson moved to New York City in late 1916 after being hired by Asia magazine, and often wrote to Weil, who remained in Chicago, about her life there. She commented on her social life and her friends, who included the writer Ernestine Evans and the naturalist William Beebe. In 1919, she traveled to British Guiana (present-day Guyana), stopping shortly, mid-voyage in the Virgin Islands and Barbados. Before her arrival in South America, she described her sea travel and the Caribbean cities and islands she visited. While in Guyana, Emerson described the scenery and everyday life, particularly with regard to Indian "coolie" workers and their culture. After her return to New York City that fall, she discussed her social life, Elsie's articles for Asia, and their shared New York apartment.

Emerson wrote another series of travel letters while visiting Japan, the Philippines, Malaysia, and India in 1920 and Mexico in 1924. While in India, she met with Mohandas Gandhi and commented on Indian politics. Though she consistently voiced her love for Weil throughout her correspondence, other topics came to dominate her correspondence. By the mid-1920s, Emerson had fallen in love with a man named Kim, whom she considered marrying. Some of her later letters, including several undated items, are written on long sheets of thin, illustrated paper. Other illustrated items include a brief typed essay with a watercolor depiction of a Flemish portrait (enclosed with her letter of February 9, 1914) and a sketch of the view outside of her window in Winnetka (undated).

Elsie Weil received smaller groups of letters from other friends from the mid-1910s to mid-1920s, including Rose Wilder Lane, who described her life in Mansfield, Missouri, in the late summer and early fall of 1919. She shared her fondness for the scenery of the Ozarks, discussed her career as a writer, and told anecdotes about her experiences. She later wrote about travels in Europe and her life in Paris, France, where she briefly described international relations between the Allied powers just after World War I. She also commented on female involvement in political issues. Blix Leonard of Boston, Massachusetts, and Elmer Stanley Hader of New York City frequently illustrated their letters; some of their sketches and drawings are humorous and cartoonish. Weil also corresponded with Kenneth Durant and Ernestine Evans. Some of Weil's New York correspondents expressed their support for the Bolshevik Revolution in 1919.

The collection includes 3 diaries. The first, which has the title "My Trip Abroad" and "Elsie F. Weil" stamped in gold on its front cover, was intended for use during a trip abroad; Weil used it only to record the name of her ship, the SS Manchuria, and the date of her departure, September 19, 1922. The other two diaries contain brief entries respecting Weil's daily activities for 1920 and 1925, with some significant gaps between entries. These diaries often refer to Weil's social acquaintances, including Gertrude Emerson, "Rose," and others.

The collection's 6 photographic prints include 3 views of Gertrude Emerson on horseback and 1 of Emerson posing outdoors. The other pictures show an unidentified man posing outdoors in a suit and a Buddha statue in a Tokyo temple.

Additional items include magazine and newspaper articles by Gertrude Emerson, Elsie F. Weil, and Ernestine Evans, largely concerning travel to Asia; instructions related to creating flower arrangements; and unused bookplates belonging to Elsie F. Weil, bearing an Asian-style illustration of boats on water. Other visual materials include picture postcards from East Asian countries and a series of postcards from Wisconsin. The final items are a Christmas card and an advertisement once inserted in a newspaper.