Carpenter's pocket ledger, 1855-1864, (Majority of material found within 1858)
1 volume
1 volume
1 volume
1 volume
An unidentified tradesperson, possibly a cooper or blacksmith within the area of Washington County, Maine, kept this account book between 1818 and 1824. They document debts and credits with several members of the community. Debts included services (mending rakes, pails, and tubs, making tubs, and making a delivery) as well as goods (flax seed, various grains, leather, churns, and tubs). The accounts also record credits, often in the form of bartered services and goods such as chopping acres, setting shoes, making a chisel, and hay and corn. One sheet of paper is laid into the volume, recording births and marriages in Nathaniel C. Kelly and Abigail Kelly's family.
1 volume
An unidentified tradesperson, possibly a cooper or blacksmith within the area of Washington County, Maine, kept this account book between 1818 and 1824. They document debts and credits with several members of the community. Debts included services (mending rakes, pails, and tubs, making tubs, and making a delivery) as well as goods (flax seed, various grains, leather, churns, and tubs). The accounts also record credits, often in the form of bartered services and goods such as chopping acres, setting shoes, making a chisel, and hay and corn. One sheet of paper is laid into the volume, recording births and marriages in Nathaniel C. Kelly and Abigail Kelly's family.
1 volume
This nineteenth-century album contains 46 once-bound pen-and-ink caricatures on heavy card stock, each card with or formerly with metal eyelets on one short edge. A pencil inscription at the back of the volume reads, "Mr. Albert L. Briggs, Providence, RI," and internal references to Providence, Rhode Island, further suggests that either Briggs or another local resident may have produced the artwork. The figures represented in the volume vary widely and some are more sympathetic or more disparaging than others. The illustrator relied heavily on exaggerated features, stereotypes, and jokes directed at people's physical appearance to provide especially social commentary on race, ethnicity, gender, and class.
At least seven of the illustrations relate to women, including drawings referring to women's rights and various women's roles as mothers, performers, physicians, and cooks. One, labelled "What is home without a mother," may be a reference to a song by the same name published in 1854, and it features a woman with a monstrous face. Another titled "HANNAH LONG" depicts a woman peddling "Quaker Bitters" (probably the Providence, Rhode Island, patent medicine by that name) and may be referring to Hannah Longshore (1819-1901), who graduated from the first class of the Women's Medical College of Pennsylvania in 1851.
Many of the caricatures focus on impoverished or working class people, showing individuals in tattered clothing or in lower-paying professions such as a farmer, a shoeshine, and a seeming gravedigger. A number of illustrations depict men in various stages of intoxication or alcoholism. Forms of social disorder are highlighted in caricatures of a convict and of a knife-wielding murderer labelled "THE MAN THAT KILLED JOHN GILPIN." Commentary on physical and mental disability are also represented, in drawings of a mentally ill man labelled "Luny" and a man with unaligned eyes and feet labelled "On exhibition."
Other caricatures reflect racial, ethnic, and religious stereotypes. Two racist caricatures depict African Americans, including one of a Black Congressman and one of an Uncle Remus character. Another caricature depicts a recent immigrant, while two are anti-Semitic (those labeled "The Torturer" and "NAME IT"). Two figures depict high religious figures, from Catholic or Orthodox Christian churches; one wears a robe, a fur-brimmed mitre, and snowshoes. The word "KAMSCHASA" is written near the bottom of the robe, likely referring to the Kamchatka peninsula in Russia.
Other caricatures highlight people based on their height, weight, profession (such as a king, a knight, an editor, a lecturer), or social posturing. For example, attitudes like dignity, contentment, nosiness, and bashfulness are spotlighted. Others appear more innocuous, such as illustrations of someone reading the morning newspaper and another of someone taking "Rush's Pills," but underlying subtexts for many of the images likely have additional meaning.
7 pages (1 volume)
This account book, possibly kept by Simon Emery (1727-1790) of Kittery, Province of Massachusetts Bay, contains five pages of debts, credits, and memos related to court fees, hay, and agricultural labor.
On the back cover is a crass manuscript poem, "An Epitaph," respecting the death and burial of a teenage woman who refused to have sex with men or masturbate while alive:
"An Epitaph / Here lies the body of a Beauteous Maid / Whose Secret parts, No man Did Ev'r Invade / Scarce her own hand she would Admit to touch / That Virgin Spring Altho. it Itch'd so much / She Dyed at Eighteen years of Age, & then / She gave to worms what she Deny'd to men / It was her last request with Dying groans / To have no Tomb at all, if built with stones / Such Vigorous things she always us'd to wave / For fear they would Disturb her in the grave"
7 pages (1 volume)
This account book, possibly kept by Simon Emery (1727-1790) of Kittery, Province of Massachusetts Bay, contains five pages of debts, credits, and memos related to court fees, hay, and agricultural labor.
On the back cover is a crass manuscript poem, "An Epitaph," respecting the death and burial of a teenage woman who refused to have sex with men or masturbate while alive:
"An Epitaph / Here lies the body of a Beauteous Maid / Whose Secret parts, No man Did Ev'r Invade / Scarce her own hand she would Admit to touch / That Virgin Spring Altho. it Itch'd so much / She Dyed at Eighteen years of Age, & then / She gave to worms what she Deny'd to men / It was her last request with Dying groans / To have no Tomb at all, if built with stones / Such Vigorous things she always us'd to wave / For fear they would Disturb her in the grave"
2 volumes
These 2 volumes contain labor records for a cotton mill in Wiccopee, New York, between 1854 and 1857. The books document male and female workers' names, their positions, and the amount of time they worked. Also included are similar records for the New York Rubber Company in 1858. Each volume is roughly 13"x12".
Volume 1 contains 39 pages of information about employee attendance in the carding room, where workers cleaned and prepared cotton fibers for processing, between June 5, 1854, and May 30, 1857. Each page documents around one month. Individual workers' names are followed by a daily record of their labor at the factory, which states the number of days and/or hours worked, and occasionally monthly totals. Many entries note the employee's specific job within the carding room.
The mill records are followed by 3 pages of similar records respecting workers in the New York Rubber Company's "grading room" (undated) and those who performed other tasks, such as carpentry and moving machinery (undated and January 20, 1858-June 5, 1858).
Volume 2 contains 40 pages of records for the Wiccopee mill's spinning room, kept between June 5, 1854, and May 2, 1857, and 39 pages of records for the weaving room, kept between June 5, 1854, and May 9, 1857. The end of the second volume includes 10 pages of accounts for additional manual laborers, such as carpenters. The title page of volume 2 contains a pencil sketch of part of a spinning mule, manufactured by the Matteawan Company.
27 items
This collection (27 items) contains a diary, a 4-volume manuscript autobiography, 8 newspaper clippings, 2 court documents, and 15 photographs related to the life of William Flick, a manual laborer.
Between November 2, 1916, and January 30, 1917, William Flick kept a Diary detailing his travels on an Illinois canal, his hunting expeditions, and his work as a clam digger. He wrote about traveling with his brother, Albert, and working on his boat.
William Flick's Autobiography, composed in 4 spiral-bound notebooks in 1958, begins with his birth in 1872 and documents his work and movements throughout his teenage and adult years. In his narrative, which he claimed to have written "because I don't think any one [sic] around here has made a success of as many ocupations [sic] as I have," Flick reminisced about his family, jobs, and acquaintances in Illinois, Oregon, and Idaho, and shared observations about his life. The final volume of the autobiography contains Flick's reflections on some of the technological and social changes he witnessed during his lifetime.
The Documents and Newspaper Clippings series (10 items) contains a summons and a deposition from Ogle County, Illinois, related to Albert Flick, as well as 8 newspaper clippings related to William Flick and his family. The clippings document family news and deaths, including the accidental death of Flick's daughter Flossie.
Fifteen Photographs depict William Flick and his family, including several taken during Flick's time as a logger in Creswell, Oregon, and as a clam digger in Illinois, as well as one taken in front of a carpenter's shop in Chicago, Illinois. One portrait shows Marlow Flick in his Navy uniform. Four items are photographic postcards.
1 volume
This volume is a 14-page diary of Zachary Taylor Cooper of East Montville, Maine, which he kept between May 1 and June 26 of 1875, documenting his work as a beekeeper. He bought and sold bees, built and painted beehives, discussed bees working and swarming, drove sheep, and engaged in other farm work. On June 3, he mentioned that a freeze killed most of the bees in the area. The remainder of the volume contains around 65 pages of farm accounts by an earlier owner in or around Bridgewater and Canton, Massachusetts, 1836-1874. Accounts include entries for shoes, oxen, hay, cattle, potatoes, wheat/grain, apples, sugar, molasses, butter, milk, and labor.