Orville Z. Frazier photograph album., Circa 1880-1910
1 volume
Photographs, mostly unidentified, of members of the Frazier and Burden families, their homes, and a diverse range of friends and acquaintances.
1 volume
Photographs, mostly unidentified, of members of the Frazier and Burden families, their homes, and a diverse range of friends and acquaintances.
1 envelope
The collection consists of group and individual portraits of Ojibwa (also referred to as Ojibwe, Chippewa, or Anishinabe) residents of Nahma, Michigan. Materials are copy prints.
0.5 linear feet (in 2 boxes) — 1 oversize box
The photographs in this collection were received from various sources. Subjects include carriages, automobiles, Great Lakes shipping, railroads, and mass transit, especially street railroads. There are also images documenting activities within the mining, forestry, and lumber industries, mostly in the Upper Peninsula of Michigan. Also included are photographs of various ethnic groups and their societies, notably of Native Americans (1870s-1930s) of the Manistee and Ludington, Michigan, areas. Some of the images are street views and private residences in various Michigan towns and cities. Of interest are photographs of Michigan units taking part in the Spanish-American War and the "Polar Bear Expedition" of World War I. There is also a series of bookplates, [acquired from?] William H. Bicknell, many of which relate to the University of Michigan.
2.3 linear feet
The collection includes correspondence, student papers, sermon outlines, newspaper clippings, and religious and inspirational writings by Mrs. Teed, Ralph W. Sockman, Seth C. and Paul S. Rees, Joseph H. Smith, and others relating to preaching, the role and activities of women in the church, the holiness movement within Methodism, and personal affairs. There is also information concerning the Women's Society of Christian Service of the Methodist Church, the American Association of Women Ministers, the Detroit Holiness Tabernacle, and the Michigan Association for the Promotion of Holiness. The photographs consist of one ambrotype and four daguerreotypes of Schleicher family children, ca. 1860-1890.
1 envelope
The collection includes portraits of Northrup, his family, and his descendents as well as a photograph of the Northrup home in Flint, Michigan.
5.3 linear feet — 1 oversize folder
This collection was accumulated by Hazel Littlefield Smith and consists of materials concerning her career and interests and those of her family, specifically her husband, Dr. Dennis Smith, and her father, Josiah Littlefield (1845-1935), a pioneer lumberman and businessman in Farwell, Michigan.
The collection is particularly valuable for three topics: early days (late nineteenth and early twentieth centuries) in Farwell, Michigan; missionary life in China in the period ca. 1915-1928; and the travels and writings of Hazel Littlefield Smith. The materials include correspondence, compositions and business-related materials of Josiah Littlefield; correspondence and other materials of Dr. Dennis Smith, Hazel Littlefield Smith (and Josiah Littlefield) concerning conditions in early republican China; and correspondence and other materials of Hazel Littlefield Smith concerning her travels in Europe (1920s-1950s), her management of the family farm near Farwell, Michigan (1940s), and her essays, poetry and other publications, including Lord Dunsany: King of Dreams.
The three principal figures in the collection--Hazel Littlefield Smith, Dennis Smith and Josiah Littlefield--were highly perceptive observers of persons and events. Their letters are rich in detail, whether describing travel experiences or everyday life in rural northern Michigan.
The collection is arranged into six series: Littlefield Family, China-related materials, Hazel Littlefield Smith, Miscellanea, Dr. Dennis V. Smith, and Visual Materials.
approximately 136 images in 1 album
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.
approximately 1,260 items in 33 boxes
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.
1 volume
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.
0.25 linear feet
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)"