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The Charles Machin memoir - in narrative form - documents the personal, financial, and business-related trials of an early 19th century trader of a variety of goods, including cotton, slaves, and mahogany.

The Charles Machin memoir was written in an engaging, literary style, its strength lying in its ability to put the reader into the mind of an early 19th-century trans-Atlantic merchant. It is possible that Machin embellished the truth to make for better reading.

English in origin, Machin lived and traded in Savannah, Charleston, New York, Philadelphia, Jamaica, Havana, and England, moving easily among the port cities, raising capital and stores for trading voyages that inevitably went sour. Through his adventures, Machin emerges as a likable, but not always reputable man who beat and threatened the lives of his debtors and was willing to engage in smuggling cotton and slaves. At the same time, he was constantly surprised by the unethical behavior of his partners and their willingness to hurt others in the name of profit. Machin was repeatedly caught up in the machinations of other, more ruthless merchants.

The memoir provides insight into the financial wrangling, legal and extralegal, of merchants and entrepreneurs. The networks of friendships and false-friendships, the schemes to raise money, and the ideas about profit and risk are all important in situating the mind of the early American merchant. In some ways, Machin was the proverbial man without a country who either easily switched identities or whose identity changed with the context: an Englishman, a some-time resident of Savannah, and a trader in any port or enterprise that promised a good return.

Machin's memoir also includes some excellent descriptions of life in the several ports and countries he visited, most notably of Havana and other locations in Cuba, but also of Jamaica, Cartagena, and the far interior of Georgia and South Carolina.

The George Martin Trowbridge papers contain Trowbridge's description of his military service with the 19th Michigan Infantry during the Civil War, including religious, medical, and social aspects of soldier life.

The George Martin Trowbridge papers contain a total of 238 letters, 47 of which are written on earlier letters in order to conserve paper. Trowbridge wrote 191 of the letters to his wife, Lesbia ("Lebbie") during his Civil War service with the 19th Michigan Infantry. When his supply of stationery ran low, he reused incoming letters, interlining them with his own writings, and thus 42 letters from Lebbie and 5 from George's friends are also preserved with the collection. The letters span October 9, 1863, to June 22, 1865. Trowbridge apparently intended his wife to preserve these letters for posterity, because he wrote exceptionally detained accounts of the latter part of the Civil War, totaling 1,089 pages of correspondence.

Early letters in the collection describe camp life in McMinnville, Tennessee, which the 19th Michigan occupied for six months from October 1863 to April 1864, with very little to do. Trowbridge was considerably anguished at being separated from his wife, and his long answers to her letters included attempts to govern his household from a distance of several hundred miles. Trowbridge's relationship with his wife emerges with great complexity in their correspondence. George repeatedly discussed the place of women and proper parenting, and he appears to have harbored a nagging suspicion during the first several months of his service that his wife might have been unfaithful to him. His frequent condemnations of adultery, pointed comments concerning infidelity on the part of soldiers' wives, and assertions that he would personally drop a wife who was guilty of infidelity, eventually brought Lebbie to exasperated protests; by the opening of the Atlanta Campaign, references to the subject ceased completely. An evangelical Christian, Trowbridge wrote letters during the occupation period that revealed his interest in the spiritual lives of his fellow soldiers; he described prayer meetings and theological debates. He also frequently criticized the military's secular treatment of the Sabbath, especially in a letter of November 22, 1863.

After the spring of 1864, the unit began its participation in the Atlanta Campaign and in his letters, Trowbridge increasingly discussed military engagements, medical work, duties, and the places and people that the regiment encountered. Of particular note is Trowbridge's 36-page account (November 11-December 17, 1864) of Sherman's March to the Sea, detailing the Union army's destruction of plantations, railroad tracks, and cotton storage facilities. It also provides an excellent description of slavery in Georgia, including working conditions of half-clothed young slaves, the sexual advantage that masters took with their female slaves ("there is white blood in most"), and the illegality of slave literacy. Other topics mentioned include the historical significance of the march, Confederate resistance near Savannah, and the production of "Sherman ties" made by winding heated railroad track pieces around trees. Trowbridge also wrote a 56-page narrative of the March through the Carolinas, dated February 2-March 26, 1865. In this, he gave an account of further destruction of homes, cotton, and infrastructure; of Sherman's reputation as a fighter; of the capture of bank safes in Charleston and Camden; and of the battles of Averasboro and Bentonville.

Toward the end of the war, when stationery got scarce, Trowbridge began writing on letters which Lebbie and others had written to him. Thus over 40 of her letters are preserved. Lebbie's letters, which are still largely legible in spite of the fact that George wrote between the lines of her letters, provide ample family news and many details of life on the homefront. Of particular interest is her description of reactions to Lincoln's assassination in Michigan (on George's letter of May 23, 1865), as well as her discussion of alcohol use by her neighbors (August 28, 1864). Both George and Lebbie comment upon the failed love life of Lebbie's sister, Gertrude A. Fox (b. 1843), who for a time was engaged to her first cousin.

This collection is made up of letters that Henry R. Partridge, a merchant ship captain, wrote to his wife Salista during voyages to Europe and the Caribbean in the 1870s. He commented on his loneliness, the loading and unloading of cargo, other crew members and vessels, and ports of call. One additional letter concerns Henry Partridge's suicide in 1880.

This collection is made up of 13 letters that Henry R. Partridge, a merchant ship captain, wrote to his wife Salista during voyages to Europe and the Caribbean on his brig Salista in the 1870s. One additional letter concerns Partridge's suicide in 1880.

Henry Partridge wrote to his wife between April 17, 1871, and September 15, 1879, while in port at Alicante, Spain (2 items); Naples, Italy (2 items); Marseille, France (1 item); Messina, Italy (2 items); Beirut, Lebanon (1 item); Gibraltar (2 items); Saguá la Grande, Cuba (1 item); Cádiz, Spain (1 item); and Bilbao, Spain (1 item). Partridge commented on recent sailing experiences; discussed cargo purchasing, loading, and unloading; noted food purchases; and reported on other crew members and other vessels. In his letter of January 21, 1872, Partridge told his wife about the Salista's steward, who had recently discovered that he was not the father of his favorite daughter. In another letter, Partridge told his wife of a man who had left in the company of two women after his family had returned home (July 1, 1873). Partridge occasionally wrote about food, salt shipping, and consignment agents; his letter of November 13, 1876, contains penmanship practice by his daughter Ada. Partridge frequently commented on his loneliness and desire to meet with his wife upon his returns to Boston and New York.

John Zittlosen, a commission merchant in New York City, wrote a letter to L. M. Partridge on January 27, 1880, concerning Henry Partridge's suicide by gunshot in Gibraltar. Zittlosen copied the text of a telegram he had received, shared his condolences, and requested that the recipient first inform Salista Partridge that her husband was sick, "so that the shock will not come to[o] hard on her at once."

This scrapbook includes clipped articles and images, original drawings, and written entries within the pages of a 1850s blankbook of receipts. Contextual clues indicate that individual(s) added to the volume at later dates, pasting clippings over used pages, and internal evidence suggests at least one compiler may have lived in Maine. Original drawings primarily center on themes of violent encounters between scouts and Native Americans, romantic entanglements, and conflict. Sometimes illustrated newspaper and magazine clippings are pasted throughout the volume, many relating to themes of marriage, love, women, family, and memory. Several pages were used to copy a portion of an undated letter, an essay, and a manuscript poem.

The individual(s) who created this scrapbook pasted items, drew scenes, and wrote entries within the pages of a 1850s blankbook of receipts, seemingly created for use by a Boston shipping or exportation company. Contextual clues indicate that persons added to the volume at later dates, pasting clippings over used pages, and internal evidence suggests at least one compiler may have lived in Maine.

Penmanship exercises and short notes are written on many of the pages, either where no additional content has been added or where clippings have been pasted on top. The names James Randall Reeves and Orren Cunningham appear on some of these pages, as well as place names of Bennington and Windsor, Maine, possibly indicating one of the early owners of the volume. The handwriting appears to match the text that accompanies the original illustrations.

Original drawings made using pencil, colored pencil, and ink can be found throughout the volume, sometimes with dates added, ranging from 1863 to 1869. Remnants of clippings that had previously been affixed to the page indicate that an owner of the volume must have pasted items into the scrapbook at a later date than the drawings were originally produced. Many of the images depict scenes of conflict or relate to two fictional characters, Hezekiah and Ezekiel. The two men appear to be scouts, and the images depict their encounters with villains, Native Americans, and a love interest, Flora. Violence, unrequited love, and emotional disappointment are central themes, and the concept of a "gas of hope" that spontaneously streams from Ezekial's head appears several times when the character experiences excitement or distress.

• Page 1: "Back Villains for your lives, says Peter, or you shall all die at the break of day by Cats." At the base of the page: "Indifference.". The illustration shows a man carrying a revolver in one hand while a woman holds his other arm. She extends an arm out behind her towards two men following them, one with a darker complexion and a machete raised over his head and the other pointing a musket at them.
• Page 3: "As the Villains again leaped against the door, an arm was thrust through the broken hand, and a voice cried out." The illustration is a nighttime scene with three men with a battering ram striking at a closed door of a house, where a man points a pistol out of an opening at them.
• Page 6: "Rescued from fire..." (the text is partially obscured by remnants of a newspaper clipping). The drawing depicts a firefighter descending a ladder from second story that is ablaze, holding a woman in his arm.
• Page 8: "...burly scout. A Sioux Chief captured" (the text is largely obscured by affixed clippings). The drawing shows a mustachioed man in military garb, a fur hat, and a cape who is holding a knife covered in blood. He is grabbing the arm of a Native American man who has dropped his knife and who is bleeding from a wound in his arm. Two ink drawings of insects (a beetle and a dragonfly) are pasted on the page.
• Page 10: "Perrilous adventure of Hezekiah the Scout, under cover of the darkness at the haunted schoolhouse." The image is a nighttime scene of a small building with a man climbing through a window. Another man runs behind him saying, "stop villain stop."
• Page 12: "The fate of Hezekiahs beaver is inevitable" and "Wonderful adventure of the Scout, Hezekiah cries out with a loud voice Ezekiel come here, help me bind these knaves." The drawing is of a bare-chested man in a green hat, holding two Native American men by the throat, one in each hand. A pencil marking indicates the year 1865.
• Page 16: "...The robber of the Rhine" (at least one additional word is partially obscured). The drawing depicts a balding man smoking a long pipe, wearing a musket on his back, and holding a bloody sword in front of him. A pencil marking indicates the year 1866.
• Page 18: "Death of Heavy [?]" and "Desperate adventure of Hezekiah, Slatt down in Kintuck..." The image is of a shirtless man (with a green hat) facing off with a Native American man, the former wielding his musket overhead and the latter his tomahawk each to strike the other. They stand over three dead or dying Native American men.
• Page 21: "Ezekial, & he knows who, on sunday eve, at the schoolhouse coming from meeting, by cats." The drawing depicts a man kneeling beside a seated woman who is holding a handkerchief or piece of cloth. One of his hands is on her shoulder, the other holds one of her hands. Another man lies face down in the corner.
• Page 24: "Weep stricken one your sorrows will have an end." Text at the bottom of the page is largely obscured by clippings, but "Ezekiel" and "Flora" are both visible. The drawing shows an upset man with mussed hair and arms akimbo, holding a handkerchief. One of the clippings over the man's head is "FIRST LOVE." A pencil marking indicates the year 1866.
• Page 26: "A streak of hope for Ezekial." The drawing shows a smiling man wearing a yellow hat that is releasing a stream of green gas, labelled "gas of hope."
• Page 27: "weep on str[i]cken one thy sorrows shall never end." The image depicts two men standing before a small grave with headstone reading "Dead Hope." Ezekiel, wearing a yellow hat from which "gas" spews, points down to the grave, saying, "What Have You Buried There Hezekiah." Hezekiah, barefoot, wearing a green hat and ragged pants, and holding a shovel, replies, "A. Dead Hope. I. Thought. She. Loved Me. But. She Did. Not Oh. Dear. What. Shall. I. Do Boo Hoo Boo Hoo." The illustration is marked in ink: "Drawn by Ezekiel himself in 1867."
• Page 30: "N.E. View of the royal oak of Shag Town, May 2d 1867." The drawing is a landscape featuring a large barren tree with a wooden plank/case/contraption and musket leaning against it. A sun smiles in the sky.
• Page 32: "View of Mud Pond, & Poccihog Hill, Sketched on the eastern rock, At half past three O'Clock." A landscape drawing shows a lake and a heavily wooded hillside. A smiling sun is in the sky and a person rows a boat on the lake.
• Page 36: Portrait of a bearded man in military uniform, with blue and gold epaulettes.
• Page 38: "A sorrowful meeting of the two scouts, Dialogue. Ezekial - 'Oh the letter, the letter, she loves me not.' Hezekiah - "Weep not Bro Scout, I pronounce it a forgery, by cats." The image is of two men wearing hats, muskets, and powder horns. One holds a slain animal in his hand, and the other cries while holding a letter and gas spews from his hat.
• Page 40: "Tallow plenty, or courting by candle-light, Stebbins telling Flora about his farm, out west." The drawing is an interior scene of a room with wallpaper, curtains, chairs, and a table. A man and woman embrace while holding candles, and additional candles are located on the table, chair, and floor.
• Page 44: Text at the top of the page is partially obscured but reads in part, "Bachelor . . . the famous scout," while additional text at the bottom reads "The inocent subject of my contempt by day, and my dreams by night." The drawing is a portrait of a man in a rumpled green hat, shirt, and suspenders, likely representing Hezekiah. A printed, pasted-on caption reads "THE GHOST OF OAK GROVE."
• Page 46: The letters "P.L.L." appear at the top of the page, and the note "Signed in the first degree, P.L.L." appears beside a highly stereotyped pencil portrait of an African American man.
• Page 48: Portrait of a bearded man.
• Page 50: Portrait of a man with moustache and goatee, with the text, "Art. Miller, California" written beside him.
• Page 52: "Poor old maniac, but once powerful scout, now dwindled away with sorrow for the lost Flora." The image shows Ezekial holding a wooden cane and a large "grief bag" on his back that has a vent spewing gas. On the bag is a printed, pasted-on caption reading "THE HAND OF FATE". He is wearing ragged pants and his hat spews green gas. Hezekiah wears his green hat and proffers something to Ezekial, saying, "Poor old fellow you must be hungry. Can I do anything for you, you seem to be weary of life. I guess I take you to a place of safety at once." Ezekial: "Answers with great vigor. I'm not hungry it is grief that gnaws like hunger at my very vitals. No never. You are the man that ruined me, if I was a smart man as I [...] I would kill you."
• Page 54: "Ezekial goes home with -- gets near home when the old scout jumps through the gateway inclosed in a sheet, See the consequences, of his rush act." The image shows a man draped in a white sheet standing in the doorway of a round stone structure. A well-dressed man and woman run apart from each other, leaving their hats on the ground. On the opposite page, several notes are written: "The identical hat worn by Hezekiah at the siege of Tattletown"; "The hat worn by Hezekiah at the destruction of Troy"; and "The sad effects of first love."
• Page 56: A man wearing a feathered hat and cape brandishes a sword while standing with one foot on the back of a slain man who has dropped his sword. He continues to fight with a man in a robe with a cross on it. A woman sits on the ground with a hand to her head. A printed, pasted-on caption reads "WHO''S TO WIN." A pencil marking indicates the year 1869.
• Page 58: "The burly scout, the stabbed scout, & Frankrifle, outscouted, by the bank scout at the old barn . . . gets valuable information concerning the conspiracy, by cats." The image shows four men in a hayloft, one, likely Ezekial, wears a yellow hat that is expelling gas. A printed, pasted-on caption reads "HUNTED DOWN."
• Page 60: "In dishabille," and at the bottom of the page: "Stebbins - 'Get out of my bed, Oh get out of my bed!" The drawing is of a woman wearing a shift and draped with a blanket reclining in a bed. A man in a nightshirt is seated on floor gesticulating at her.
• Page 62: "Who's Been here?" The drawing shows a woman looking out the window, while a man in a nightshirt, carrying the rest of his clothes, flees from the open door. A nicely dressed man with cane approaches him. A printed, pasted-on caption reads "TAUGHT BY EXPERIENCE."
• Page 64: "My idea of domestic bliss. or High life in the Lowlands." Text at the bottom of the page reads, "Stebbins about played out. 20 years hence." The drawing shows a man holding a hatchet in one hand, while wearing ragged clothing and a green hat spewing gas. A woman hits him over the head with a broom, while many small children are strewn about the floor and pull on the adults. A pencil marking indicates the year 1864.
• Page 66: A flying lizard/dragon with a shouting sun.
• Page 90: A checkerboard.

Newspaper and magazine clippings are pasted throughout the volume. While content varies, many relate to themes of marriage, love, women, family, and memory. Poetry is heavily represented. A fair number of the clippings include jokes, humor, and wordplay. Several are directions for household maintenance or preventing pests, and a number of others relate to scientific topics.

In addition to articles and written text, the compiler also pasted in clipped illustrations from newspapers and magazines. Several feature Union Army officers, most of whom appear to have a connection to New York State. Landscapes of New York City and the Amazon River are also included, as well as several satirical illustrations and animals.

A number of the printed images relate to women, including Tennie C. Claflin, Victoria C. Woodhull, and Elizabeth R. Tilton. Rev. Henry Ward Beecher's image appears twice in the volume, including once where he is placed facing Elizabeth R. Tilton and a chain connecting the figures by the nose has been added in by pen (page 14). A short poem written in ink appears below it, reading:

Henry W. B., so buoyant with glee,

And Lizzie R. T., so innocent and free,

As happy as bees in the sweet apple trees

Raised a slight (?) breeze and made the whole world sneeze!

Several pages appear to have been used to copy a portion of an undated letter, which referenced a trip from Portland to Augusta, Maine, on the Maine Central Railroad, attitudes towards funerals, the teaching profession, arguments, and placebos (beginning page 57). Another passage appears to be an essay entitled, "to old Bachelors & maids" (pages 86-88) and a manuscript poem is written on the back inside cover that seems related to scouts and Native Americans.

This collection is made up of letters that Robert Pate wrote to his wife Fern about his United States Army service in Wyoming, the Hawaiian Islands, and Saipan during World War II, as well as a newsletter. Most of Pate's correspondence concerns his love for Fern and their relationship.

The Robert Pate correspondence is made up of 34 letters that Pate wrote to his wife Fern while serving in the United States Army during World War II, and a newsletter. Pate wrote 4 letters from Fort F. E. Warren, Wyoming (November 29, 1942-January 25, 1943); 5 letters from Oahu, Hawaii (February 21, 1944-April 21, 1944); and 25 letters from the Pacific Theater, mainly Saipan ([June 28, 1944]; November 12, 1944-September 20, 1945). Pate's love letters primarily concern his romantic feelings for his wife and his thoughts about their relationship. He expressed his doubts about Fern's fidelity to him in a letter of January 25, 1943, but later chastised himself for his feelings of jealousy; he also discussed his own needs, though he assured his fidelity to his wife. He briefly referred to his living conditions, health, and optimism about the war, and encouraged Fern not to worry about his safety. The collection includes an issue of The Daily Target, a newsletter for United States servicemen in the Mariana Islands (May 25, 1945). The newsletter contains articles, one-panel comics, photographs, and a map of Allied progress in the Pacific.