Collections : [University of Michigan William L. Clements Library]

The Al Parker collection includes three envelopes of photographs, sheet music, and newspaper clippings as well as a scrapbook relating to the professional and personal life of Philadelphia-based photographer and photographic supplies salesman Alfred Parker.

The Al Parker collection includes three envelopes of photographs, sheet music, and newspaper clippings as well as a scrapbook relating to the professional and personal life of Philadelphia-based photographer and photographic supplies salesman Alfred Parker.

Envelope A (photographs): includes unmounted oval portraits of Parker’s children Eda and Ray from the early 1900s; studio portraits of Eda and his wife Alice from the 1910s, two of them from the Philadelphia studio of Gilbert and Bacon; an mounted school class photo (ca. 1890s?)

Envelope B (sheet music): includes three examples of World War I songs from the Eagle Publishing Company of Philadelphia with "music by Geo. L. Robertson and lyrics by Al. Parker."

Envelope C (letters, clippings, etc.): includes a letter appointing Dr. Ray Parker head of plastic surgery at a hospital in Johnstown, PA; a magazine article on “Flood Free Johnstown”; letters and clippings about Dr. Ray Parker; article on World War II factory workers; newspaper article on Theodore Roosevelt urging U.S. entry into World War I; and a note from Christmas 1926 from Parker’s grandson Donald addressed to “Ganco."

Scrapbook: The volume (37 x 28) is cloth-bound and has 66 pages total. Materials are not arranged in any chronological or thematic order and so unrelated items often appear together on the same page.

The album begins with photographs of Parker’s family members while the next few pages focus on scenes from his professional life, including a magazine cover from April 1900 and documentation of his break with Willis & Clements in 1910. Portraits of Parker at every stage of his life appear throughout the scrapbook, though not in any chronological order. The earliest is a tintype from the 1850s that shows him as a young boy with his brothers. Many portraits and casual snapshots of Parker's daughter Eda and son Ray from their early childhood into adulthood are included, while a collection of clippings reflects Parker’s pride in Ray's success as a doctor. His delight in playing the doting grandfather is clear from the drawings Parker made for Eda’s son Donald and in the notes that Donald wrote to Parker using the nickname “Ganco.”

A handful of portraits that were taken by Parker show that he was a capable studio photographer in addition to being a successful promoter of platinum photography products while working for Willis & Clements. Requests for his opinions from Eastman Kodak Company, Photo Era magazine, and the Photographers’ Association of New England testify to his recognized expertise. Numerous portraits of Parker in the company of other well-regarded photographers of the day confirm his acceptance in that professional circle.

Many ephemeral items also help illuminate the arc of Parker's career including programs from his minstrel show days; an advertisement for his Australian window blind company; the initial offer of employment from Willis and Clements; business cards from various stages of his career; and an ad for a new camera shutter he invented. Interspersed amongst these items are letters and photographs from various colleagues and employers along with miscellaneous poems, cartoons, programs, drawings, song lyrics, newspaper clippings, and so on.

The C. Earle Beckwith photograph album contains images of rural living and farming activities, possibly in Michigan.

The C. Earle Beckwith photograph album (17 x 22 cm) contains 18 photographic prints of rural living, possibly in Michigan. Includes two views of a mill; a photograph of two women in a boat; a photograph of a crowded event at a rural residence; a group shot of a brass band; two men and a boy holding farm implements; two images of a railroad track and water tower; and candid photographs of family at home. Also included are several photographs relating to farming activities; one is of a roadside display of vegetables after the harvest.

The album's brown cloth cover has an embossed title "Photographs." The album is inscribed "C. Earle Beckwith, Merry Christmas" and is housed in a light blue box.

The Corning-Southwick photograph album contains cartes-de-visite and tintypes of infants and young children. Several people pictured were members of the Corning and Southwick families.

The Corning-Southwick photograph album (13cm x 9cm) contains 15 cartes-de-visite and 3 tintype photographs, primarily of babies and young children. Many of the children pictured were members of the Martin, Corning, Gardner, and Southwick families. Two lithographs of a young girl putting on a boot and a young boy posing by a basket full of apples are also present. Included is a carte-de-visite showing the wedding of Charles Sherwood and Lavina Warren Stratton (Mr. and Mrs. Tom Thumb). The album has a decorative hard cover and a metal clasp.

The Cross-Country photograph album contains photographs taken in various locations throughout the United States, including travel photographs of scenery and buildings in Washington, Colorado, Louisiana, and Massachusetts, among other states, and family photographs taken in New Hampshire, Massachusetts, and elsewhere.

The Cross-Country photograph album (26cm x 32cm, 59 pages) contains around 340 photographs taken throughout the United States between 1896 and 1907, including 15 cyanotypes and 10 panoramas. The items represent numerous printing processes in a variety of sizes. Some have captions, often providing information about the place and the date. Several reference the Gill family. The album has the title "Photographs" printed in gold on its front cover and its pages are bound with a thick string.

Many of the photographs are casual group portraits of men, women, children, and family dogs taken outdoors, often in front of large houses and cottages; some of the same individuals are present in multiple pictures. Included are a portrait of an African American woman holding a Caucasian infant (p. 1), two young boys in dress military uniforms with a collection of toy soldiers (p. 3), and a wedding party (p. 46). Some men and women are pictured golfing at Bass Rocks in Gloucester, Massachusetts. Most of the remaining images are views of landscapes, city streets, buildings, and natural scenery in locations such as Spokane, Washington; Tacoma, Washington; Lake Coeur d'Alene, Idaho; Pikes Peak, Colorado; New Orleans, Louisiana; Hampton, New Hampshire; Boston, Massachusetts; Gloucester, Massachusetts; Beacon Falls, Connecticut; and Washington, D.C. Included are a small number of commercial photographs of the area around Pikes Peak in Colorado including views by William H. Jackson. City views often feature prominent buildings and other landmarks. Other photographs show the rocky coast of New England, harbors, sailing vessels of various sizes, and large homes. Of note are a group portrait of Spokane Native Americans (p.14); views of the Tacoma waterfront (p.15); the New England coast, with aspects of the Gloucester fishing industry including a view of salted cod laid out to dry (p.24-29); pictures of Victorian home interiors (p. 20, 34, 47, 55, 56); and panoramic landscape views taken near Spokane (p. 47, 48). The album includes one print and a hand-colored collotype of the home of Senator George Turner in Spokane, Washington (inside front cover).

Eliza O. Perkins Burke's letters and papers document the life of a military officer's wife before and during the Civil War, and her friendships with fellow military wives.

Most of these letters are addressed to Eliza Perkins Burke, excepting a handful written to Mary, an invitation to Capt. Perkins to play billiards, and a certificate of merit presented to Edward while he was at St. Louis University. This is a scattered, spotty correspondence, but there are a couple cohering elements. Many of the women writing to Eliza were also married to military men. They had become friends on Sullivan's Island, while their husbands, many of whom were in the 3rd Artillery, were stationed at Fort Moultrie in the 1830s and early 1840s. The Civil War is another theme around which several of these letters cluster, although only one letter is from an actual soldier. The other coherent grouping is a series of six letters from Rosalie Smith, who was trying to obtain a divorce and chafing under the necessity of depending on her sister's husband for financial support.

The letters from fellow military wives show how close the women had become while together on the island, and there is a sense, especially during and after the Civil War, that these friendships were doubly valuable because they reminded the women of better times. Many of the wives did not see each other again after leaving Fort Moultrie, or only enjoyed infrequent visits. Although they only wrote to each other occasionally, they expressed great nostalgia for the time shared on Sullivan's Island. Often a milestone -- birth, death, or wedding -- prompted the letter, and the author often described her children's progress.

Judith Chiffelle, who had probably been on Sullivan's Island with her brother Thomas, was an anomaly. While the rest of the women were married to military men, Judith was single. She taught school in Baltimore and was raising her dead sister's children while their father ran his business in St. Louis. She wrote, "this I know will astonish you. I like to be an independent old maid, I will never marry. I have taken an oath to live single for my dear childrens' sake" (1854 December 17). Two years later her tone is less triumphant: "what a change a few years make in our life -- I struggling along trying to make a living hard work & keeping school " (1857 February 2). She admits that she would "long ago have laid down this weary head" had it not been for the children.

The Civil War era letters include one from Caroline Carson, a southern woman who suffered multiple hardships. Her husband died, "the plantation was sold according to his directions," and then her father's house, where she had stored her possessions, was burned: "Everything I had in the world was burnt up -- Books and pictures, china, glass linen all my little effects which I valued, and hoped someday to get around me again" (1862 February 4). "I hope in this horrid war no thing of the kind will happen to you," she continued. Another letter, from a northern lady, shows the less direct effect the war had on women who were not in the midst of the fighting. Rather than wondering where to live, Annie Eustace pondered what to wear: "in this time of our country's great troubles, we should think of something else, beside dress and party giving . . . I spend very little time and thought about fine dress, and making a show; I have lost all taste for such things (1862 May 6). There is also one letter from Eliza's soldiering nephew David P. Hancock while he was at Fort Ontario in Oswego, New York, recovering from a wound and anxious to get back to the field (1862 May 12).

The other clutch of letters is certainly the most intriguing one. Rosalie Smith was living, along with her mother, at her sister Ann Eustace's house in Dixon, Illinois. Rosalie bridled at having to depend on Judge Eustace, whose wealth had been severely reduced by the depression of 1857, but she saw no alternative until her brother Joe returned from Mexico with funds. In response to Eliza's suggestion that she get married, Rosalie wrote, rather obliquely, "this would be a long story and probably uninteresting on paper, but should I ever see you, I will give you some of my reasons for remaining in 'meditation free'" (1859 November 30). By the next year, Rosalie's reasons for resisting her reliance on her brother-in-law had increased: "Judge Eustace's relatives have always annoyed me by reports of our entire dependence on him, making things at times, very disagreeable to all" (1860 October 27). This letter also alludes to a Mr. Sheridan, who was apparently Rosalie's husband, whom she now wished to divorce. She was worried that he would "use every effort to annoy, and keep me bound; money only, will be the great lever by which it can be accomplished." She moved to Chicago with her sister's family, and she happily discovered that "a residence of two years, will grant me a divorce, provided Sheridan does not make application to live with or support me; so on this account too, I am anxious to keep quiet, that he may not know where I am, to molest me" (1860 December 3).

This collection consists of two penmanship copybooks Frederick Fisher, possibly of Easton, Pennsylvania, kept in 1861 and 1863. The volumes contain examples of penmanship exercises, mostly sentences and phrases organized alphabetically by the first letter of the sentence or words. Themes relate to duty and honor, good manners, productivity, geography, education, Andrew Jackson and George Washington, and vanity, among others.

This collection consists of two penmanship copybooks Frederick Fisher, possibly of Easton, Pennsylvania, kept in 1861 and 1863. The volumes contain examples of penmanship exercises, mostly sentences and phrases organized alphabetically by the first letter of the sentence or words. Themes relate to duty and honor, good manners, productivity, geography, education, Andrew Jackson and George Washington, and vanity, among others.

The 1861 copybook was sold by William Maxwell of Easton, Pennsylvania, and features an illustrated front cover showing three female figures, including one with dark skin, seated at a wharf, likely allegories representing industry and commerce. Fisher added pen-and-ink drawings of quills on the front cover and inside front cover.

The 1863 copybook was produced by Kiggins & Kellogg, booksellers and stationers in New York. It has printed covers bearing illustrations of children outside of a public school and a multiplication table.

This collection consists of two penmanship copybooks Frederick Fisher, possibly of Easton, Pennsylvania, kept in 1861 and 1863. The volumes contain examples of penmanship exercises, mostly sentences and phrases organized alphabetically by the first letter of the sentence or words. Themes relate to duty and honor, good manners, productivity, geography, education, Andrew Jackson and George Washington, and vanity, among others.

This collection consists of two penmanship copybooks Frederick Fisher, possibly of Easton, Pennsylvania, kept in 1861 and 1863. The volumes contain examples of penmanship exercises, mostly sentences and phrases organized alphabetically by the first letter of the sentence or words. Themes relate to duty and honor, good manners, productivity, geography, education, Andrew Jackson and George Washington, and vanity, among others.

The 1861 copybook was sold by William Maxwell of Easton, Pennsylvania, and features an illustrated front cover showing three female figures, including one with dark skin, seated at a wharf, likely allegories representing industry and commerce. Fisher added pen-and-ink drawings of quills on the front cover and inside front cover.

The 1863 copybook was produced by Kiggins & Kellogg, booksellers and stationers in New York. It has printed covers bearing illustrations of children outside of a public school and a multiplication table.

The Clements Library's collection of individual friendship and autograph albums (the ones that are not part of larger bodies of family papers) dates primarily from the second half of the 19th century. The creators of these albums sought out friends, family, schoolmates, public persons, and others to write signatures, sentiments, poetry, extracts from books and serials, personal sentiments, and more. Contributions often emphasize ties of friendship, exhortations to seek love, happiness, or Christian religious salvation. Most of the volumes in this collection were compiled in the Northeast United States and areas in the Midwest, with urban and rural areas represented. The greater number of the albums were kept by young women and the bulk of the signers were also female. Contributors occasionally illustrated pages with calligraphic designs, trompe l'oeil visiting cards, animals, flowers, and themes that had particular significance to their relationship with the keeper of the album. The volumes in this collection are largely decorative blank books adorned with tooled covers, sometimes containing interspersed engravings of religious, literary, historical, and landscape themes. Some include pasted-in photographs, die-cuts, or stickers.

The Clements Library's collection of individual friendship and autograph albums (the ones that are not part of larger bodies of family papers) dates primarily from the second half of the 19th century. The creators of these albums sought out friends, family, schoolmates, public persons, and others to write signatures, sentiments, poetry, extracts from books and serials, personal sentiments, and more. Contributions often emphasize ties of friendship, exhortations to seek love, happiness, or Christian religious salvation. Most of the volumes in this collection were compiled in the Northeast United States and areas in the Midwest, with urban and rural areas represented. The greater number of the albums were kept by young women and the bulk of the signers were also female. At least one volume was kept by an African American man, Lewis G. Mosebay. Contributors occasionally illustrated pages with calligraphic designs, trompe l'oeil visiting cards, animals, flowers, and themes that had particular significance to their relationship with the keeper of the album. The volumes in this collection are largely decorative blank books adorned with tooled covers, sometimes containing interspersed engravings of religious, literary, historical, and landscape themes. Some include pasted-in photographs, die-cuts, or stickers.

This album contains gem tintype photographs of men and women of various ages, including young adults and children. One tintype shows a dog sitting on a chair.

This album (8.5cm x 8.5cm) contains 69 tinted gem tintype photographs of men and women of various ages, plus an image of a dog sitting on a chair. Each tintype is placed four to a page, in oval windows about 2.2cm high and 1.7cm across. A few of the people pictured wore accessories such as scarves and hats, and the men, who outnumber the women, appear with facial hair in numerous styles. The album's red leather cover has a raised geometric design on the front and back and previously included a metal clasp.

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.

Three young girls named Lillian Holmes Keyes, "Mildred," and "Edith" wrote these 6 letters to their grandparents in the summer of 1896. Edith's letters were penciled by her mother, Fannie. The girls wrote on illustrated children's stationery and commented on scenery, wildlife, health, and family news. Mildred addressed one of her letters from East Tilton, New Hampshire.

Three young girls named Lillian Holmes Keyes, "Mildred," and "Edith" wrote these 6 letters to their grandparents in the summer of 1896. Edith's letters were penciled by her mother, Fannie. The girls wrote on illustrated children's stationery and commented on scenery, wildlife, health, and family news. Mildred addressed one of her letters from East Tilton, New Hampshire.

Lillian Holmes Keyes wrote 2 letters to her grandparents on July 19 and 22, 1896, about her ongoing recovery from scarlet fever. Though she could not interact with other children, she did enjoy a trip to a nearby lake with her Aunt Alice. "Mildred" sent 2 letters (July 9, 1896, and undated), describing a picnic and other outdoor activities such as swimming. She also thanked her grandmother for throwing her a 7th birthday party. The final 2 letters are attributed to a child named Edith, though they are written by her mother, Fannie. The first letter reports family news, such as the recent sale of their store and an anticipated August vacation. The second offers greetings to various family members and bears scribbled drawings by a young child (possibly Edith).

Each letter is written on illustrated children's stationery with images of children writing, accepting a letter from a dog, riding in a cart, and repairing a doll.

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 combination sketchbook and scrapbook belonged to J. F. Beyer, an immigrant from Germany who moved to Worcester, Massachusetts, sometime in the 19th century. The volume contains pencil sketches, pasted-in newspaper and other types of clippings, autographs and friendship-album-like entries in German (Kurrentschrift), French, and English.

This combination sketchbook and scrapbook belonged to J. F. Beyer, an immigrant from Germany who moved to Worcester, Massachusetts, sometime in the 19th century. The volume contains pencil sketches, pasted-in newspaper and other types of clippings, autographs and friendship-album like entries in German (Kurrentschrift), French, and English.

The newspaper clippings appear to be mostly from Worcester, Massachusetts, and contain a variety of topics ranging from social events to poetry, local news, and more. A clipping dated December 18, 1882, celebrates the Turn Verein Society's new hall, and another undated clipping describes a hot air balloon basket being woven by J. F. Byer for an upcoming marriage.

Much of the artwork within the volume is signed, and many signatures also feature the word "Basel." Of the two Stevengraph woven pieces, one is of the Pope (dated 1846) and one features a woman with the name "Halle.Hoffmann.Basel" at the bottom. Many of the sketches are of houses with trees or flowers nearby, and some are more pastoral in nature.

This combination sketchbook and scrapbook belonged to J. F. Beyer, an immigrant from Germany who moved to Worcester, Massachusetts, sometime in the 19th century. The volume contains pencil sketches, pasted-in newspaper and other types of clippings, autographs and friendship-album-like entries in German (Kurrentschrift), French, and English.

This combination sketchbook and scrapbook belonged to J. F. Beyer, an immigrant from Germany who moved to Worcester, Massachusetts, sometime in the 19th century. The volume contains pencil sketches, pasted-in newspaper and other types of clippings, autographs and friendship-album like entries in German (Kurrentschrift), French, and English.

The newspaper clippings appear to be mostly from Worcester, Massachusetts, and contain a variety of topics ranging from social events to poetry, local news, and more. A clipping dated December 18, 1882, celebrates the Turn Verein Society's new hall, and another undated clipping describes a hot air balloon basket being woven by J. F. Byer for an upcoming marriage.

Much of the artwork within the volume is signed, and many signatures also feature the word "Basel." Of the two Stevengraph woven pieces, one is of the Pope (dated 1846) and one features a woman with the name "Halle.Hoffmann.Basel" at the bottom. Many of the sketches are of houses with trees or flowers nearby, and some are more pastoral in nature.

The Lantern slides and glass plate negatives collection consists of approximately 1,260 magic lantern slides, glass plate negatives, and glass plate transparencies from commercial and non-commercial sources documenting a wide range of subjects.

The Lantern slides and glass plate negatives collection consists of approximately 1,260 magic lantern slides, glass plate negatives, and glass plate transparencies from commercial and non-commercial sources documenting a wide range of subjects.

The collection contains a total of 33 boxes and is loosely organized by topical groupings. The following list references individual boxes and the general nature of their contents.

• 10 x 12.5 cm glass negatives of views of Ann Arbor, Michigan, ca. early 1900s taken by an unidentified photographer. Includes views of several University of Michigan buildings, hospitals, fraternity houses, and private residences.

• Sixteen 8 x 10 cm cardboard-mounted slides showing posters for upcoming films and local product advertisements intended for use in movie theater intermissions. Producers include Excelsior Illustrating Co., Inc. and Photo Repro Co., Inc. Identified films include High Steppers (1926); The Blind Goddess (1926); Without Mercy (1926); Chickie (1925); Stop, Look and Listen (1926); West Point (1927); Pals First (1926); Ella Cinders (1926); Paying the Price (1927); The Avalanche (1919); and Turn to the Right (1922).
• Ten 7.5 x 7.5 cm slides documenting damage caused by the 1906 San Francisco earthquake (two of the slides are broken).

• 10 x 12.5 cm glass negatives including scenic views of fields, woods and towns, Canterbury Cathedral, ships in harbor, New York City streets, Coney Island beaches, street merchants, and children interacting with dogs (often humorously). All or some the images were produced by photographer William S. Pearsall in 1906 or earlier.

• Twenty-two 8 x 10 cm cardboard-mounted slides (some damaged) showing motion picture posters intended for display during movie theater intermissions with play dates handwritten in space at bottom. Dates listed range from 1918 to 1929. Identified films include The Devils Circus (1926); The Love of Sunya (1927); The Bridge of San Luis Rey (1929); Mademoiselle Modiste (1926); Classified (1925); Chang (1927); The Demi-Bride (1927); The Swell-Head (1927); Steele of the Royal Mounted (1925); The Voice of the City (1929); His Supreme Moment (1925); Monte Carlo (1926); An Old Fashioned Boy (1920); Lovers in Quarantine (1925); Riders of the Dawn (1920); Paid Back (1922); The Breaking Point (1921); and Gypsy Blood (also named Carmen - 1918 in Germany, 1921 in U.S.A.)
• Seven 8 x 10 cm hand-colored slides showing scenes from the popular book The Bad Boy and His Pa by George W. Peck produced by the Chicago Projecting Co. in 1904. Tableaux are carefully staged and elaborately tinted.

• Includes 8 x 10 cm slides showing scenes from The Bad Boy and His Pa by the Chicago Projecting Co. Other identified films include Babe Comes Home (1927); Figures Don't Lie (1927); and The Danger Girl (1916).

• Twenty-six 8 x 10 cm cardboard-mounted movie theater slides related to coming attractions or local products. One item of particular note includes a notice to female patrons that they do not need to remove their hats if they are seated in the women’s section. Identified films include The Taxi Dancer (1927); Square Crooks (1928); The City Gone Wild (1927); Too Much Money (1926); The First Night (1927); Broadway Nights (1927); Rainbow Riley (1926); The Wizard (1927); Vamping Venus (1928); The People vs. Nancy Preston (1925); Lovely Mary (1926); Rookies (1927); The Swan (1925); The Cohens and Kellys (1926); His People (1925); and My Official Wife (1926).

• Twenty-three 8 x 10 cm cardboard-mounted movie theater slides related to coming attractions or local products. Identified films include The Phantom Police (1926); The Testing Block (1920); The Brute Master (1920); The Cowboy Ace (1921); The Song and Dance Man (1926); His Brother's Keeper (1921); Private Izzy Murphy (1926); The Wanderer (1925); Eve's Leaves (1926); Good and Naughty (1926); It's The Old Army Game (1926); Vanishing Trails (serial, 1920); Don't Shoot (1922); The Whirlwhind of Youth (1927); The Shield of Honor (1927); Across to Singapore (1928); Naughty But Nice (1927); The Barrier (1926); For The Love of Mike (1927); The Dark Angel (1925); Keeping Up With Lizzie (1921); and Top O' The Morning (1922).
• Seven 8 x 10 cm slides (mostly duplicates) related to the Yale “Pageant of America” series showing damage in the aftermath of World War I.
• One 8 x 10 cm slide showing an ancient Egyptian tablet depicting battle.

• Twenty 8 x 10 cm slides documenting various activities in the town of Fitchburg, Massachusetts, around the turn of the 20th-century, including a hot-air balloon excursion and a fire engine race, along with other local scenes.
• Thirty-nine 8 x 10 cm slides showing scenic views (some hand-colored) in New Jersey and New York between 1896 and 1907. Most are attributed to Dr. J. T. Morehouse, but other noted contributors include the Charles Beseler Co., Dr. Ferdinand G. Kneer, William Archibald, and George W. Lamoreux. Items of particular interest include an aerial view of lower Manhattan; a map of New Jersey showing holdings of Esso; and a hand-colored view of a high railroad bridge in Portage, New York.

• Twenty 8 x 10 cm slides by Ann Arbor photographer George R. Swain documenting select manuscripts and maps from the William L. Clements Library.
• One 10 x 12.5 cm glass negative view of the Clements Library exterior.
• Seven 8 x 10 cm slides of outdoor scenes in Alaska and California from around 1900.
• Two 8 x 10 cm copy negatives of elaborate unidentified interiors.

• Six 8 x 10 cm slides of scenes in California and British Columbia. Includes view of a redwood logging train.
• Ten 8 x 10 cm glass negatives of scenes in British Columbia, mountain views, and photos of maps.
• Four 8 x 10 cm slides by Ann Arbor photographer George R. Swain of items from the William L. Clements Library.
• Nine 8 x 10 cm slides showing people and places (notably Firle Place) in the United Kingdom during the 1920s.

• Six 8 x 10 cm slides by Ann Arbor photographer George R. Swain showing exterior and interior views of the William L. Clements Library in the 1940s.
• Twenty-four 8 x 10 cm slides by Ann Arbor photographer George R. Swain of items from the William L. Clements Library. Includes an image of materials from the Thomas Gage papers stored in one their original document chests.

• Five 8 x 10 cm slides showing unidentified locations (possibly in Alaska) produced by the Seattle, Washington studio of Asahel Curtis.
• Four 8 x 10 cm slide reproductions of paintings.
• Three 8 x 10 cm slides of miscellaneous content.

• 8 x 10 cm glass negatives documenting a 1728 French translation of an earlier memoir by Jerome Lobo regarding attempts to convert Ethiopians to Christianity. An enclosed note says slides were for “a Prestor [sic] John talk.”

• 8 x 10 cm slides from an extensive educational series on lumbering processes and techniques produced ca. 1910. Images detail the production of railroad ties, including loggers’ methods of shaping each piece with their axes, and the proper method of stacking ties. Most of these views appear to be from Michigan’s lower peninsula, but one slide is from Wyoming in 1910.

• 8 x 10 cm slides showing various stages in logging operations and mill processes in states from Maine to California. Includes one hand-colored view of a mill pond in Virginia and a map of the U.S. that renders the size of each state relative to its timber resources.

• 8 x 10 cm slides showing production stages for treenails and stulls. Also includes images of various types of mill saws in marketing photos as well as working mills.

• 8 x 10 cm slides primarily related to pulp production with views showing logging sites, stages of the milling process, and specific machinery used. Includes images showing both ox-drawn and wooden-wheeled logging wagons.

• 8 x 10 cm slides showing portable mills set up near logging sites and log flumes in various stages of construction and operation. Several images of elaborate flume constructions are present.

• 8 x 10 cm slides related to fir logging, possibly in Sitka, Alaska. Also present are a couple views showing treenail production.

• 8 x 10 cm slides showing locust logging, log loaders, and lumber yards.

• 8 x 10 cm slides showing different types of log loaders as well as maps of the U.S. highlighting population and timber resources.

• 8 x 10 cm slides related to the Lidgerwood (written as “Ledgerwood” on slide labels) logging system which made extensive use of winches and pulleys. The Lidgerwood Company was instrumental in building the Panama Canal and later developed machinery for the logging industry. Also present are more images of log loaders and diagrams/photos of mill machinery.

• 8 x 10 cm slides related to the Lidgerwood system as well as views of logging and mill operations in several states.

• 8 x 10 cm slides showing pull boats towing log rafts and various logging and milling operations.

• 8 x 10 cm slides showing finished lumber products being shipped by boat, rail, and wagon as well as images related to shingle production.

• 8 x 10 cm slides showing steps in the production of shingles, stulls, and poles as well as steps in paper production, including micro views of linen and cotton paper fibers.

• Twenty-eight 8 x 10 cm slides showing stages in paper production as well as views of portable mills and flumes, especially flume dumps.
• Ten 10 x 12.5 cm glass negatives by unidentified photographer ca. 1902 related to estate in Berlin, Maryland nicknamed “Anchuha.” Includes snapshots of house and family members.

• Despite the separate accession number, these lumbering slides appear to be from the same educational series contained in other boxes. The topics covered by the 8 x 10 cm slides in this box include agricultural use of logged spaces, large mill operations, redwood logging, steam tractors, splash dams and charcoal kilns.

• 8 x 10 cm slides covering log jams, barrel staves and cooperage, flumes, big tree logging, and maps of national forests. Non-Michigan locations also represented. Includes color slide by Asahel Curtis showing Douglas fir timbers on railroad car.

• 8 x 10 cm slides showing pole roads, agricultural use of logged land, large mills, machinery used in distillation and cooperage, logging of wide range of individual tree species. Non-Michigan locations also represented.

• 8 x 10 cm slides showing tramways, pull boats, portable mills, geared locomotives, and skidways as well as a graph comparing regional production. Nine shattered slides are present.

• 8 x 10 cm slides showing gasoline and steam skidders, lumber yards, motor trucks, and Arizona tree species. One image of particular interest shows an early Kelly truck with a full load of logs and an African American driver.

• Eight 8 x 10 cm glass negative copies of photos showing scenes in Alaska, including the Muir Glacier.
• Four 8 x 10 cm slide views of British Columbia, possibly from a Canadian Pacific Railroad car.
• Three 12.5 x 18 cm glass negative self-portraits by Charles P. Steinmetz, ca. 1904/5.
• One 12.5 x 18 cm glass negative titled “Girl on Bicycle”

The Blandina Diedrich Collection is a selection of manuscript items compiled by her son Duane Norman Diedrich and dedicated to her memory. The content of these letters, sermons, documents, and other materials reflect the life and interests of Blandina Diedrich (1903-1996), most prominently subjects pertinent to Christianity, home, and the family.

The Blandina Diedrich Collection is a selection of manuscript items compiled by her son Duane Norman Diedrich and dedicated to her memory. The manuscripts reflect the life and interests of Blandina Diedrich, most prominently Christianity, home, and the family. Items include sermons from prominent ministers or preachers of different Protestant denominations, documents related to church operations and discipline, letters by prominent and everyday persons respecting their faith and beliefs, correspondence of missionaries, and reflections on religion's role in all manner of human endeavor.

The collection is comprised of over 260 letters, manuscript sermons and hymns, documents, and other items. For a comprehensive inventory and details about each item in the collection, please see the box and folder listing below.

Marion Shipley compiled this volume while a pre-adolescent and teenager in Portsmouth, New Hampshire. She made collages and colored pencil drawings of domestic scenes, exteriors of residences and gardens, animals, and more. The volume also includes diary entries relating to her social life, humor, and experiences at a school at or near the Naval Academy in Portsmouth. She wrote about getting in trouble in class, passing notes, and flirtatious or romantic relationships. Shipley also pasted and laid in correspondence sent to her by young men courting her, and she added brief comments in the volume speaking to her current romantic interests. Several newspaper clippings also feature male actors and royalty, providing additional information about teenage romantic exploration.

Marion Shipley compiled this volume while a pre-adolescent and teenager in Portsmouth, New Hampshire. She made collages and colored pencil drawings of domestic scenes, exteriors of residences and gardens, animals, and more. The volume also includes diary entries relating to her social life, humor, and experiences at a school at or near the Naval Academy in Portsmouth. She wrote about getting in trouble in class, passing notes, and flirtatious or romantic relationships. Shipley also pasted and laid in correspondence sent to her by young men courting her, and she added brief comments in the volume speaking to her current romantic interests. Several newspaper clippings also feature male actors and royalty, providing additional information about teenage romantic exploration.

The first page is inscribed "Marion Shipley's Picture Book. Naval Academy, November 1898," and is followed by a section of drawings and collaged scenes. The collages include colored pencil drawings of the exterior of residences and gardens; a river scene with boats, bridges, and monuments; a church; a tent (an exhibition tent?); a circus; a kitchen; and living rooms. These have printed clippings of animals, furniture, boats, women and children, crowds, circus entertainers, cars and wagons, and vegetation pasted in. One loose page tipped into the volume is titled "THE FAMILY NEXT DOOR!!!" and features clippings of young children crying, swearing, and being spanked, with added pencil annotations. Other pages are filled with colored pencil drawings of birds and animals, a fishing boat, a horse-drawn vehicle, buildings, a decorated tree, and faces.

Shipley also documented the social life of adolescent boys and girls in her circle, in particular their play at school and their emerging romantic interests. Page 35 is dated June 1, 1907, and is labelled "PRIVET. NO TRESPASSING. ALL RIGHTS RESERED [sic]. For Spelling & Writing." It is followed by a diary entry dated June 7, 1907, describing Shipley's day at school, where she commented on having a substitute teacher, getting in trouble, disliking spelling, and drawing pictures of each other's backs and passing it in the class. The passed note is laid into the volume, featuring six pencil drawings of the back of girls' heads to show their hairstyles, each identified by the girl's names and age. One is of Shipley. She used rebus drawings and numerical substitutes to replace foul language (e.g. "7734" for "Hell"). On page 39, Shipley recorded her favorite expression of 1907, "23 SKIDOO & STUNG," and noted students in her school passing slips pairing boys and girls who apparently liked each other. She claimed to not "like any of the boys in the whole school" of about 400 students. This is followed by two columns of names, one for boys and the other for girls.

Shipley included a number of love letters sent to her. On pages 37 and 38 she affixed five letters (by pasting in the envelopes) from Ralph Dana, sent during his stay at the Hawthorne Inn of Gloucester, Massachusetts, from July to September, 1906. He wrote of local entertainments, engagements with friends, his romantic interest in her, guarded concerns about her activities and who she was spending time with, and his suspicion that she did not reciprocate his feelings. Shipley wrote beneath the letters: "These are some letters I got from who was my best fellow. He is not now. My letter were just as bad to his as his were to me. Now I just love H. S. C. (His picture is in the back of my watch) & have every since June of 1907 & this is Jan. 1908." Shipley also laid in nine pieces of correspondence from a suitor named John, mostly dated from early February 1908. They profess his love for her, ask if she loves him, and request kisses. One is on a piece of paper cut in the shape of a heart, and three others include hearts and arrows painted in gold metallic paint. One letter signed "Fred" is addressed to "K," expressing excitement about her upcoming visit and requesting a photo of a beautiful girl. A doily and a page from a calendar with a quote from the Merchant of Venice is also tipped into the volume.

The final diary entry is written on page 41, where Shipley notes attending Hamlet, which she mentioned liking almost as much as Peter Pan. Elsewhere in the volume, Shipley tipped in newspaper clippings of the actor E. H. Sothern and Dom Manuel II, King of Portugal.

This composition book was kept by 8–10-year-old Mildred Wood and Mary Wood while living in Illinois and Missouri. The volumes include copied song lyrics and poems, and pencil and crayon drawings. A number of pressed flowers and leaves are laid into the volume.

This composition book was kept by 8–10-year-old Mildred Wood and Mary Wood while living in Illinois and Missouri. The volumes include copied song lyrics and poems, and pencil and crayon drawings. A number of pressed flowers and leaves are laid into the volume.

The song lyrics and poems focus on themes relating to nature, love, and friendship, and include titles such as "Missouri School Song," "The Yellow Rose of Texas," and "Illinois." The drawings feature flowers, houses, and a portrait of Henry Wadsworth Longfellow. One outdoor scene shows two girls playing in front of a house, labelled "Living on the farm." Two pencil and crayon drawings done on tracing paper are laid into the volume: one of a ladies' boot with the name "Hamilton Brown shoe Co." on it, and another of a valentine with Cupid holding a bow and arrow.

Several entries are suggestive of schoolwork, such as sentence diagrams, a list of courts, a passage about U.S. history, a list of teachers in the Venice Public School and the average grades in their classes, and a list of the "Names of the Teachers I have had at Differ[e]nt Schools." Another passage is titled "The Japanese Fan."

Later entries were written in a different hand and consist mostly of quotations and proverbs. The word "Graduate" is printed on the cover of the volume.

This volume contains 12 pages of accounts for the rental of oxen, labor, textiles, and tobacco, 1847-1851; 11 pages of diary entries by Minna R. Harris of Gilford, New Hampshire, November 13, 1880-May 19, [1881?]; 38 pages of pasted-in newspaper clippings and ephemeral items (poetry, visiting cards, rewards of merit, etc.); and miscellaneous notes respecting the Groveland Mills Card Room (Groveland, Mass.) and genealogy, 1884 and undated.

Minna R. Harris's diary entries are brief and they mention visits; attendance and school and church; the receipt of wood, meat, flour, beans, and other goods; Thanksgiving 1880; winter weather; and other subjects, 1880-[1881?]. The pasted-in ephemera includes colored fall leaves, an engraving titled "The Queen of May," a presentation bookmark, cards bearing scripture, rewards of merit for Minna R. Harris, cross-stitch examples, a CDV of an illustration titled "My First Sermon," calling cards including a photo-illustrated card for Mary I. Sommers, illustrated cards for five of the 10 commandments, and others. Printed advertisement cards represent Horsfords Acid Phosphate, F. W. Griswold Watchmaker and Jeweler, Thaxter's Sewing Machine Rooms, and Queen Anne Bouquet manufactured by C. E. Nichols.

The Nathaniel Stacy papers include correspondence, documents, sermons, and other materials which relate to the personal and professional life of Mr. Stacy, a Universalist preacher.

The Nathaniel Stacy papers include eight boxes of material relating to every aspect of the personal and professional life of a Universalist preacher operating in the hot bed of the Second Great Awakening, the Burnt-Over District of New York. Boxes 1 through 4 contain correspondence arranged chronologically, 1803-1867, followed by undated correspondence arranged alphabetically by author. Box 5 contains Stacy's preaching log, listing date, place and text taken for sermons given between 1803 and 1864, sometimes with additional notes concerning funerals or other special occasions. Box 6 contains 30 numbered lectures given by Stacy in Ann Arbor in 1837 and 1838. Only the first of these is specifically dated. They are filed in numerical order with text taken noted on the folder. Boxes 7 and 8 contain material arranged topically, filed alphabetically by folder title. The Box-Folder listing provides detail. Included in these boxes are Stacy's diaries, with an unbroken run from 1835 through 1868 and scattered earlier and undated fragments, and 18 folders of sermons arranged by text. The bulk of the collection centers around Stacy and the members of his immediate family, and includes some materials generated in the late 19th and early 20th centuries by his grandchildren or great-grandchildren, the Smiths of Corry, Pa. The unidentified photographs are probably of these family members.

The Stacy collection is a rich resource for historians of the Universalist Church. Stacy was part of what might be called a second generation of American Universalist preachers, taught by Hosea Ballou and influenced by other members of the General Convention of Universalists of the New England States and Others. He was among the first to preach the doctrine of universal salvation in New York, Pennsylvania, and Michigan, and in each state he founded a number of local societies and regional associations. Stacy's papers vividly document the hardships involved in the life of an itinerant preacher of an unpopular doctrine. The financial difficulties inherent in such a career are reflected in his appeals to various Societies for whom he preached to honor their subscriptions or allow him to leave, and in letters from other struggling preachers bemoaning their meager earnings or looking for a better place; they are implicit in all his financial juggling and in schemes for supplementing his income, ranging from the disastrous reprinting of Marie Hubers's The State of Souls Separated From Their Bodies (1:46) to an ill-fated speculation in cheese (3:91). The individual societies for whom Stacy preached are variously documented in 8:35-39. For example, materials concerning the Society in Hamilton are unfortunately sparse, consisting of one letter of appeal from Stacy and a draft report to the Western Association of Universalists. The Society in Columbus is better documented, with a constitution and list of members dated 1834 and a record of church proceedings from 1834 to 1847 as well as a number of Stacy's accounts and subscription lists. The run of undated sermons (8:18-35) is useful for study of Universalist doctrine, as are the dated occasional sermons which may be found in the card catalog under Stacy's name. Running throughout the correspondence is a considerable debate on the subject of universal salvation versus endless misery, and these debates are echoed and extended in Stacy's diaries and Memoirs.

Stacy's ministry in New York occurred during one of the most volatile periods in the state's history. The collection documents the intense interest in religion in general and the willingness to question established doctrine which characterized the Burnt-Over District during this period. Letters such as one dated January 1, 1819 (1:37) offer moving descriptions of the spiritual hunger and emotional turmoil which stirred many, although a counterbalance is offered in such letters as the one dated January 20, 1828 (2:9) which offers a rationalistic discussion of the illogical nature of such biblical imagery as that of armies of angels in heaven. A number of Stacy's correspondents describe protracted religious meetings and local revivals (indexed under Revivals; and Enthusiasm). Universalist ministers generally disapproved of the techniques of the evangelical churches, and Stacy avidly collected stories of people driven to madness, infanticide, and suicide by Calvinism (1:59; 3:78,92). Yet it is also clear, as one fellow minister pointed out to Stacy, that the Universalist Church benefited both by the interest in religion stirred up by the revivals and by the renewed commitment of the enlightened who found such meeting objectionable (3:11) A letter from a niece turned Mormon requests Stacy to "give me the Names of your Anchestors as far back as you can gain eny knowledge and also give me the Names of your Children that are dead that I may have them to be handed down from generation to generation after me" (4:38). In another interesting series of letters, Stacy acts as advocate for an elderly neighbor, a former Shaker who had been expelled from their community, and who was seeking their support (see subject index under Shakers).

In Michigan and Ann Arbor, Stacy experienced the region's transition from territory to state and the hard times following the Panic of 1837. His correspondence from this period, and in particular his diaries, which he began to keep regularly upon his removal to Michigan, offer a window onto life in a frontier town. Although his daily entries are seldom lengthy, the cumulative effect of the diaries is to provide a rich picture of Stacy's social and economic setting and, as a side benefit, of his very appealing personality.

Those interested in Freemasonry and the Antimasonic excitement which played such an important role in determining Stacy's actions will find materials of interest in the collection. Two examples of Antimasonic rhetoric are found in letters dating from 1829, written by a kinswoman who exhorted Stacy to divest himself of the "vile robes" of the "base ferternity," while listing the ghastly crimes committed by Masons (2:15,17). Clippings concerning his Masonic affiliation and two speeches delivered in lodges are included in 8:14. Also of interest are two series of legal materials: one concerning the estate of David Curtis, founder of Columbus, Pa., for which Stacy acted as executor (7:1), and one concerning the legal separation of Stacy's niece, Rhoda Porter Thompson from her second husband (8:41). Each set of documents includes an inventory of the principal's household goods. Stacy's register of marriages (8:13) and his log of sermons, which often gives some detail about those at whose funerals he preached (5), include useful material for genealogists. The subject index includes topics covered in less detail in the papers, such as Stacy's chaplaincy during the second campaign at Sackett's Harbor in the War of 1812, and his involvement in various Temperance groups.

This self-adhering scrapbook contains a blend of illustrated and non-illustrated clippings from various printed sources (newspapers, periodicals, books, etc.), originating mostly from New England in the 1860s-1890s. Topics include religion, politics (American and British), the assassination of U.S. President James A. Garfield (1831-1881), health and wellness, eulogies, and other articles. The volume is bears the printed manufacturers label "Mark Twain's Scrap Book Registered April 23rd. 1878 . . . Published by Slote, Woodman & Co."

This self-adhering scrapbook contains a blend of illustrated and non-illustrated clippings from various printed sources (newspapers, periodicals, books, etc.), originating mostly from New England in the 1860s-1890s. Topics include religion, politics (American and British), the assassination of U.S. President James A. Garfield (1831-1881), health and wellness, eulogies, and other articles. The volume is bears the printed manufacturers label "Mark Twain's Scrap Book Registered April 23rd. 1878 . . . Published by Slote, Woodman & Co."

• Material relating to religion (primarily Christianity, but also Islam, Mormonism, etc.). Some clippings are derogatory towards non-Christian groups or peoples. Enclosed is an issue of Our Prison Missionary (Vol. II, Dec. 1890, no.2), a publication from the Christian Aid Association "devoted to Christian work in penal institutions." Hymns, religious poetry, baptism, and Martin Luther's will (page 56) are also present.
• Politically related clippings include stories about the U.S. Congress and senators, the British House of Parliament, Queen Victoria, Lincoln's Gettysburg Address, and General Grant's illness. Many of the volume's pages are dedicated to the assassination of President James A Garfield, with updates on the President's health after he was shot (page 33). Additional clippings with messages from world leaders expressing their sympathies, information about Vice President Chester A. Arthur, and the background of President Garfield's assassin Charles J. Guiteau.
• Health and wellness-related content ranges from life advice, the dangers of children eating snow, mental health, vaccination, and more. An issue of the Land of Hope Review includes a brief article warning "juveniles" of the danger of smoking tobacco.
• Eulogies for President Garfield, Henry Wadsworth Longfellow, and other "In Memoriam" articles and hymns are spread throughout the volume. A music sheet of a song called "Rest, Sweetly Rest" (credited to a publication called The Watchword is noted as being suitable for the death of a scholar.

An advertisement for the scrapbook itself includes information and prices about other variations of "Mark Twain's Self Adhering Scrap Book," such as a druggists' prescription book, a child's scrapbook, and a pocket scrapbook.

A currently unidentified shipping merchant operating out of New York, New York, maintained this daybook between 1811 and 1813, recording the daily financial transactions of his firm which was trading with the West Indies, along the Atlantic seaboard, and France, among other ports. Business records document details about traded goods including sugar, rum, and other wares, as well as labor costs and more.

A currently unidentified shipping merchant operating out of New York, New York, maintained this daybook between 1811 and 1813, recording the daily financial transactions of his firm which was trading with the West Indies, along the Atlantic seaboard, and France, among other ports. Main customers included Hoffman & Glass, Francis Markoe, Thomas Masters, David Finlay, Pratt & Kintzing, and William Heyling among others. Several entries relate to transactions with Elizabeth Heyliger, daughter of trader William Heyliger of the West Indies (July 31, 1811; December 31, 1811; September 1, 1812).

The firm was trading in St. Croix sugar and rum as well as shipping "sundries from New York to St. Croix." Other goods traded included sugar from Brazil and Cuba, mahogany, tea, whiskey, wine, tobacco, flour, corn meal, and other foodstuffs, molasses, coffee, cigars, and fabrics. Business expenses were also recorded, such as costs relating to laborers, ship maintenance and hire, advertising, cartage and wharfage, custom duties and port fees, storage, and insurance. One entry for December 5, 1812, notes the capture of the ship Olive Branch en route from Kiel, Germany, to Philadelphia, and dealing with insurance to cover its loss, possibly in relation to War of 1812 privateering. Another entry dated March 30, 1813, refers to proceeds from Madeira wine, sweet almonds, and ship materials "received by the Ship Swift, Howland master from Liverpool which were taken up at sea, from the wreck of the Spanish Brig General Ballesteros from Madeira."

One color printed illustration of a woman and child seated before a birdcage was clipped and pasted in the volume, and another illustration of women was pasted in and later partially removed.

An undated petition from eighteen men requesting admittance to the first parish in Plympton, Massachusetts, appears on the first page of an otherwise empty nineteenth-century blank book produced by Tappan & Whittemore of Boston, "Wholesale dealers in School Books, School Stationery, Drawing, Letter, Writing and Fancy Paper, Envelopes of every description, Slates, Gold and Steel Pens, Ink, Quills, Wafers, etc." It has printed covers with illustrations of Boys and girls fishing, boating, and flying kites on a riverbank, and "Lessons In Drawing" with sixteen various images of fruit, animals, body parts, and a house and boat.

An undated petition from eighteen men requesting admittance to the first parish in Plympton, Massachusetts, appears on the first page of an otherwise empty nineteenth-century blank book produced by Tappan & Whittemore of Boston, "Wholesale dealers in School Books, School Stationery, Drawing, Letter, Writing and Fancy Paper, Envelopes of every description, Slates, Gold and Steel Pens, Ink, Quills, Wafers, &c." It has printed covers with illustrations of Boys and girls fishing, boating, and flying kites on a riverbank, and "Lessons In Drawing" with sixteen various images of fruit, animals, body parts, and a house and boat.

An undated petition from eighteen men requesting admittance to the first parish in Plympton, Massachusetts, appears on the first page of an otherwise empty nineteenth-century blank book produced by Tappan & Whittemore of Boston, "Wholesale dealers in School Books, School Stationery, Drawing, Letter, Writing and Fancy Paper, Envelopes of every description, Slates, Gold and Steel Pens, Ink, Quills, Wafers, etc." It has printed covers with illustrations of Boys and girls fishing, boating, and flying kites on a riverbank, and "Lessons In Drawing" with sixteen various images of fruit, animals, body parts, and a house and boat.

An undated petition from eighteen men requesting admittance to the first parish in Plympton, Massachusetts, appears on the first page of an otherwise empty nineteenth-century blank book produced by Tappan & Whittemore of Boston, "Wholesale dealers in School Books, School Stationery, Drawing, Letter, Writing and Fancy Paper, Envelopes of every description, Slates, Gold and Steel Pens, Ink, Quills, Wafers, &c." It has printed covers with illustrations of Boys and girls fishing, boating, and flying kites on a riverbank, and "Lessons In Drawing" with sixteen various images of fruit, animals, body parts, and a house and boat.

The collection consists of hand-made sketchbooks and loose sheets of paper featuring drawings likely made by children Edith, Jennie, and Theodore Pond while residing in Syria (present-day Lebanon) with their missionary parents, Theodore S. Pond and Julia Pond. Prominent imagery depicted includes domestic scenes, women and children at work and play, and women tending to the sick. The Ponds rarely specified locations in their drawings, and while they may have been generic or imagined scenes some may have been made to reflect the Pond family's residence or experience while in Syria (present-day Lebanon).

The collection consists of hand-made sketchbooks and loose sheets of paper featuring drawings likely made by children Edith, Jennie, and Theodore Pond while residing in Syria (present-day Lebanon) with their missionary parents, Theodore S. Pond and Julia Pond. Prominent imagery depicted includes domestic scenes, women and children at work and play, and women tending to the sick. The Ponds rarely specified locations in their drawings, and while they may have been generic or imagined scenes some may have been made to reflect the Pond family's residence or experience while in Syria (present-day Lebanon).

The bulk of the drawings were done in pencil, but several were made using pen and ink, pen and wash, and pastels. A large portion of the images depict interior domestic scenes of women and young girls reading, sewing, dining, visiting, sleeping, and at play with toys in parlors, living rooms, and bedrooms. These drawings include details like clothing, accessories, furniture, and decorations. Several show women wearing the Christian cross as jewelry, head coverings or veils, and chopines (a platformed shoe), possibly representing adherents of the Eastern Orthodox Church. Several of the drawings feature women at work doing tasks like cooking, sewing, washing dishes or floors, sweeping, gardening, tending to the ill, or bathing children. Older women are represented alongside middle-aged women, young girls, and infants. Adult men and young boys appear occasionally in the scenes.

Several illustrations appear to show women laboring as domestic servants, and at least four of these images represent dark-skinned women. One additional drawing shows a family scene with three dark-skinned women knitting or resting in a hammock.

Outdoor scenes are also represented, showing women and children walking and travelling in the streets, playing games, visiting the beach, riding horses, shopping, sleighing, or picking fruit. One drawing depicts a family standing beside a sphinx with pyramids in the background. Other locales outside of the home are also featured, including a store, a church, a theater, a photographer's studio, and possibly a school.

Miscellaneous other topics were drawn, such as angels, Grecian women, a dream, a centaur statue, a shield with an American crest, and two singing girls who appear to be impoverished.

Only two of the drawings were signed, both landscapes by Theodore H. Pond, one dated 1882 shows a building in the countryside and the other depicts a village street scene leading towards a church. Two other unsigned landscapes are also present, one labelled "St. Augustines Canterbury." Two other illustrations -- one a portrait of a young woman and the other an interior scene with four children blowing bubbles-- have the name "Edith" inscribed with ink on the verso. Several of the drawings were labelled by a child in block letters. One of the drawings was made on a sheet of paper that had previously been used to write notes on the Letters of Paul.

The drawings were enclosed in an Upsala College envelope labeled: "'Drawings of Edith & Elsie Pond when they were little girls in Syria.' (Be Sure To Save These)"

The Russell C. Shaul photograph album contains images and ephemera related to the life and career of photographer Russell Clifford Shaul, who owned a studio in Chicago in the 1930s and 1940s.

The Russell C. Shaul photograph album contains images and ephemera related to the life and career of photographer Russell Clifford Shaul, who owned a studio in Chicago in the 1930s and 1940s.

The album (36.5 x 28 cm) has string-bound brown covers with the words "Scrap Book" and a depiction of a boy and girl wearing wooden clogs embossed on the front; the covers and pages are in poor condition. The structure of the album is roughly chronological, with material from the 1920s appearing towards the beginning and material from the 1940s appearing towards the end. However, candid snapshots and studio portraits made in Milwaukee, Wisconsin, in the early 1930s are scattered throughout and mixed in with photos from other periods. At least one page includes dated photos from the early 1930s and late 1940s that appear side by side. Certain names and people reappear often, but exactly how they relate to one another is not entirely clear. Many photographs document people drinking as well as posing in a humorous manner.

Photographer Russell Clifford Shaul appears to have been the compiler of this album. Shaul’s name appears on numerous images as the credited photographer, including portraits taken in Milwaukee in the early 1930s and a Chicago cityscape view from the mid-1940s. Several photos are also inscribed with messages to “Russell,” while snapshots arranged on a page captioned “The Shauls” show him and his third wife Sarah visiting various U. S. tourist destinations between 1944 and 1949. At some point during the 1930s it appears that Shaul relocated from Milwaukee to Chicago and set up a new photography business. Several pages in the album suggest that Shaul and his colleagues practiced door-to-door operations.

Two pages document a man’s World War II service. He is pictured driving a Jeep and wearing a uniform bearing an “Official U.S. War Photographer” patch, training on a shooting range, interacting with people on the streets “In India,” and taking photographs with both still and motion picture cameras. This man appears throughout the album (identified elsewhere as “Carl”), including in the earliest Milwaukee shots in 1927. He may have been Shaul’s friend and/or business partner.

Items placed toward the end of the album include some scrapbook materials including letterheads advertising a company called Chicago Thrill Tours and Chicago-based radio host called “The Nitehawk,” as well as business cards identifying a fellow photographer in Chicago named Charles Lonk and a trailer park in Eau Gallie, Florida.

In addition to the album there is also an envelope containing several loose photographs and ephemeral items including portraits of various people and groups; pictures of people drinking at bars; photographs of the man elsewhere identified as Carl drinking at a Milwaukee bar in 1927 as well as posing in a bathtub while another man bathes him; an image of a photo supply storefront with a cutout of an unidentified man pasted over the front door (possibly shop owner I. Dobkin); photography-related clippings; aerial images of Baton Rouge, Louisiana, taken in 1938; and a portrait by Acme Newspictures of a man in the radio studio of “The Nitehawk - WBBM” captioned “J. W. Clark.” Also present is an enveloped typed letter signed by “The Nitehawk” written to Shaul in 1948 asking him to be on the lookout for early copies of Reader’s Digest.

The Stark family papers are comprised largely of the newlywed correspondence of lithographer Eugene R. and Catherine Dehn Stark of Brooklyn, New York, and Springfield, Massachusetts. The couple lived apart during the three years following their 1919 marriage so that Eugene could take a job in Springfield. During that time, the couple wrote deeply affectionate, sometimes sexually explicit letters expressing longing for one another and discussing finances, family updates, and the birth and infancy of their son John Eugene Stark.

The Stark Family Papers are comprised largely of the newlywed correspondence of lithographer Eugene R. and Catherine Dehn Stark of Brooklyn, New York, and Springfield, Massachusetts. The couple lived apart during the three years following their 1919 marriage so that Eugene could take a job in Springfield. During that time, the couple wrote deeply affectionate, sometimes sexually explicit letters expressing longing for one another and discussing finances, family updates, and the birth and infancy of their son John Eugene Stark.

The collection also includes a small number of letters from Eugene Stark's World War I service, letters from Charles Brant of Middle Village, New York, and correspondence with brother Gus, uncle John, and aunt Mamie.

This visiting card specimen book contains 48 printer's sample cards pasted into the volume, including "hidden name" examples with movable die-cut flaps and other devices.

This visiting card specimen book contains 48 printer's sample cards pasted into the volume, including "hidden name" examples with movable die-cut flaps and other devices. Predominant visual themes are flowers, birds, hands, children, and cherubs. Others include a dog holding a guitar, a quill pen, a G.A.R card, and an "Imp Card" showing a devil holding a sign to read "I AM ___ WHO THE [DEVIL] ARE YOU."

A "Gold Escort" card has the text "I beg the blissful felicity of being honored with your gracious condescension to the extent of allowing your humble servant to escort you to your leafy bower this balmy eve. Say yes, fair lady!"

The Women, Gender, and Family collection contains miscellaneous individual items relating to women, gender, and family primarily in America, between 1678 and 1996.

The Women, Gender, and Family collection contains miscellaneous items relating to women, gender, and family between 1678 and 1996. The bulk of the collection ranges in from 1800 to the early 20th century and is geographically focused on the United States of America. Topics include marriage and divorce, childrearing and motherhood, household management, and consensual and coerced sex. Other areas of interest cover women’s various forms of labor, legal restitution for paternity suits and financial support, and education for women and children. While not as heavily represented, multiple items detail women's engagement in politics, slavery and abolition, and women's rights.