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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.

Images of the interior of University Hall at the University of Michigan, the Frieze Memorial Organ, and an unidentified house, probably in Ann Arbor, Mich.

Two circular negatives, 1.1 inches in diameter (with modern prints). One photo shows the interior of University Hall at the University of Michigan, taken from floor level and showing the Frieze Memorial Organ, the other shows an unidentified house, probably in Ann Arbor.

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 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).

Battle Creek, Michigan, resident; glass negatives of houses and house interiors, of children, women, boating scenes, and a railroad car, possibly taken in the Battle Creek, Michigan area.

The collection is arranged into a single series of glass negative with two subseries for different sizes (4"x5" and5"x8"). The negatives are unidentified, but they are probably of a Battle Creek area family or families, perhaps the family of Burns's wife, Betty Hoyt.

Ypsilanti and Ann Arbor, Michigan, area family; correspondence, diaries, and other family materials.

The Campbell family collection includes correspondence and other family materials. Items of interest include Civil War correspondence of Gabriel Campbell and John S. Farnill; correspondence, diaries, and teaching materials of William Campbell; personal correspondence of Mary and Sarah (Sadie) Campbell concerning farming, local Republican politics, and school affairs; and printed materials concerning the Free Silver question and the election of 1896. The papers of Robert C. Campbell include diaries and University of Michigan student notebooks. Of interest are the notes he took from the lectures of John Dewey in philosophy, Henry Carter Adams in political economy, Burke A. Hinsdale in pedagogy, Joseph B. Steere in zoology, and A.A. Stanley in music, among other professors. The collection also includes high school notebooks of Carrie Read and E. Mabel Read.

Professor of English history at University of Michigan. Correspondence with European and American historians, publishing houses, editors of learned journals, members of his family, and friends; also manuscripts of books and articles, lecture notes, student records, business papers, personal account books, diaries, 1938-1940, with comments on world events, and miscellaneous papers; and photographs.

The Cross papers are divided into the following series: Correspondence; Miscellaneous and undated papers; Personal/Biographical; University of Michigan; Publications, articles, and related; Research and lecture materials, and Photographs.

Resident of Santa Cruz, California. Includes portraits of Heber D. Curtis and his family. Also included is a photograph of the Lick Observatory at Mount Hamilton, California, and the house where Curtis lived during an astronomical expedition, 1906-1910.

The collection includes portraits of Heber D. Curtis and his family. Also included is a photograph of the Lick Observatory at Mount Hamilton, California, and the house where Curtis lived during an astronomical expedition, 1906-1910.

Executive director of the Detroit Urban League. Correspondence, scrapbook, photographs, and miscellanea concerning personal matters, the work of the Urban League, and the concerns of the black community of Detroit.

The collection consists of personal correspondence, a scrapbook documenting in part his career as executive director of the Detroit Urban League, and scattered photographs. There is also the transcript of an oral history interview of John Dancy made in 1964.

The Fenno-Hoffman papers contain the personal correspondence of three generations of the Fenno and Hoffman families of New York City. Correspondence from, to, and between the family members of Maria Fenno Hoffman, daughter of John and Mary (Curtis) Fenno of Boston and Philadelphia, and wife of Josiah Ogden Hoffman of New York.

The Fenno-Hoffman papers contain the personal correspondence of three generations of the Fenno and Hoffman families of New York City. It appears that the collection was initially assembled by Maria Fenno Hoffman, who was the bridge linking the Fennos and Hoffmans, or one of her children. The majority of the letters in the collection are addressed to Maria, and those written following her death are mainly from her three children. As a whole, the collection forms a diverse and uniformly interesting resource for the study of family life, politics, and literary culture in the early Republic. The Fennos and Hoffmans seem all to have been blessed with literary talent and excellent educations, enjoying interests ranging from politics and commerce to publishing and writing, but cursed with short lives and disastrous fortune. Their correspondence creates a vivid impression of a once-wealthy family struggling with adversity and personal loss. Yet despite all of their connections to the centers of political and social power, and despite all the setbacks they encountered, the overriding impression gleaned from the Fenno-Hoffman correspondence is of the centrality of family in their emotional and social lives.

The collection can be roughly divided into two, interrelated series: the letters of the Fenno family, and the somewhat later letters of the Hoffmans. Within the Fenno series are 25 letters from John Fenno to his wife, Mary, and six from Mary to John, written primarily during two periods of separation, in the spring of 1789, and summer, 1798. This correspondence conveys a sense of the passionate attachment these two held for each other, expressed with their exceptional literary gifts. John discusses the founding of the United States Gazette in 1789, including a visit with Benjamin Franklin in Philadelphia where he had gone to purchase type. His letters are full of political commentary relating to the establishment of the federal government in 1789 and the young nation's Quasi-War with France, 1798. Although Fenno's letters to his wife are filled with political opinions, he urged her not to get involved in political controversies herself, nor to form opinions of her own. Mary apparently felt free to express herself to her husband, but significantly, her letters tend to mirror his staunchly Federalist political sympathies. The collection also contains four letters from John Fenno to his children, in which he discusses the French Revolution (1794) and general political news (1797-98), while doling out some fairly standard fatherly advice.

All nine of the Fenno children who survived infancy are represented as writers in the Fenno-Hoffman Papers, each one of whom seems to have been blessed with literary talent. The most frequent correspondents among the Fennos -- Maria, Charles J., and Edward -- display an intense interest in the affairs of their family, and express a powerful attachment for one another.

The collection contains twenty letters from Maria Fenno Hoffman (1781-1823), wife of lawyer and judge Josiah Ogden Hoffman (1766-1837), and most of the other letters in the collection were addressed to her. The letters written by Maria were nearly all addressed to her children and contain information on the family, laden with large doses of motherly advice. Among her most notable letters is one addressed to Washington Irving, whose fiancée, Matilda Hoffman, Maria's step-daughter, had died shortly before their wedding day.

The young British Navy officer, Charles J. Fenno, wrote thirty-nine letters, all to his siblings, and the collection also includes one letter to Charles from British Navy officer Charles Williamson (1757-1808), advising him to take an appointment in the West Indies. Fenno's letters include detailed descriptions of his attempts to cope with the debts incurred by his brother, John Ward Fenno, his part in the Tripolitan War and the turmoil in Haiti in 1802-3, naval sparring between French and English on the high seas, and family matters. With the typical Fenno style, Charles' letters provide an excellent view of these conflicts from the perspective of a young junior officer. His last letter was written while on vacation at Coldenham, N.Y., five weeks before his death.

Charles' younger brother, Edward, wrote 69 letters to his sister and surrogate mother, Maria, and 31 to his brother, James, along with a few miscellaneous letters. As lengthy as they are literate, Edward's letters provide an engrossing, running commentary on all facets of life in New Orleans during the 1820s and 30s, when it was still more a French city than American. His interests range from politics to business, high society to love affairs (his own, as well as others'), the annual yellow fever season, death and dying, race relations, piracy, and military exploits. They offer an intimate and detailed view of Louisiana during the years in which it was undergoing a rapid Americanization, and Edward's membership in the American militia, and his keen observational abilities provide a memorable account of the changes. His last letter to Maria, written a month before her death, discusses the necessity of family loyalty.

Comparatively speaking, the other Fenno children are represented by only scattered letters. Only two letters survive from the shortest-lived of the adult Fennos, John Ward, both written in 1797. In these, Jack discusses the acute controversy between Benjamin Rush (1745-1813) and the Federalist Gazette of the United States. Three of Harriet Fenno Rodman's letters survive -- containing social news and observations -- along with seven poems, including love poetry to her husband. Harriet's daughter, Anne Eliza Rodman, is represented by 24 letters, mostly addressed to her aunt Maria Hoffman, that include excellent descriptions of politics, society, and race relations in St. Augustine. George Fenno's four letters, also to his sister Maria, reflect the tedium felt by an educated urbanite set down in the countryside. Mary Elizabeth Fenno Verplanck's nine letters describe social life in Philadelphia, Fishkill, and Ballston Springs, and her efforts to mend a serious rift between her fiancée (later husband) and her brother-in-law Josiah. The ill-fated Caroline Fenno apparently had little time to write before dying, leaving only two letters describing life in Albany in 1804. James Bowdoin Fenno's six letters concern the business climate in South Carolina and Georgia and, as with all other Fenno correspondence, underscore the importance of family ties.

The second major series of correspondence in the Fenno-Hoffman Papers is centered on the children of Josiah Ogden Hoffman and his second wife Maria Fenno, Charles Fenno, George Edward, and Julia Hoffman. This series also includes eight letters from Josiah to his wife and sons, consisting principally of advice to his wife on how to run the household and, to his sons, on how to study industriously and become a credit to their "indulgent father." The letters he received in his old age from his children are particularly revealing of Josiah's personality. In these, Josiah appears as a hypochondriac and as a literal-minded businessman obsessed with commerce who had difficulty understanding any mindset other than his own.

As a poet and writer, Charles never ceased to perplex and irritate his father. Charles was a sensitive, observant man and an exceptional literary talent whose ability to express his thoughts and feelings grew as he grew older. His 62 letters to his brother (1826-1834, 1845) and sister (1833-1845) include discussions of many issues close to his heart, from his literary career to the "place" of the artist in society, from the continual rack and ruin of his personal finances to his family relationships, pastimes, politics, and general reflections on life. His letters to George are pun-filled and witty, even when he was in the throes of adversity. Charles wrote nine letters during his famous western trip, 1833-34, some of which were rough drafts intended for publication in the American after his sister Julia edited them. His letter of July 22, 1829 offers a marvelous description of an all-night party, and the single extant letter to his father (April 26, 1834) exhibits an uncharacteristic interest in politics, perhaps to please the elder Hoffman. There are also five excellent letters from a classmate of Charles, written while Charles was recuperating from the loss of his leg in New York. These are enjoyable, but otherwise typical schoolboy letters describing the typical assortment of schoolboy pranks.

The largest run of correspondence in the series of Hoffman letters, and the core of the collection, consists of the 63 letters from Julia to George. Julia's letters (1834-45) relate her experiences in several residences, particularly in the Philadelphia home of Jewish philanthropist, Rebecca Gratz (1781-1869). Julia comments frequently on Charles's literary activities and George's checkered career as a civil engineer. Much of what she writes is commonplace yet her style makes each episode intrinsically interesting. There are no letters from George. Considering that George was Julia's executor in 1861 and was responsible for Charles's well being after being committed to an asylum in 1849, suggests that George may have assembled the collection. The only item in the collection written by George is a love poem written for Phoebe on their first wedding anniversary. He was the recipient of letters from his brother and sister, but also his cousin William J. Verplanck, niece Matilda Whitman, sister-in-law Virginia Hoffman, and nephew Ogden Hoffman, Jr.

There is a single letter from Ogden Hoffman (1794-1856), Josiah's son by his first marriage to Mary Colden, in which he gives friendly advice to his young half-brother Charles. Ogden appears to have been a valued friend to his half-siblings. He was considered the outstanding criminal lawyer of his generation. There are no letters from the servant, Caty, but there are several excellent discussions of her, particularly in Julia Hoffman's letter of February 18, 1837 and James Fenno's letter of December 1, 1821.

Among the few miscellaneous pieces written by non-members of the family are four letters from Rebecca Gratz, a close friend of the family whose name runs throughout the entire collection, particularly in Julia Hoffman's correspondence.