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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 John D. Bagley photograph albums consist of three photograph albums created by John DuCharme Bagley IV of the Bagley family of Detroit, Michigan.

The John D. Bagley photograph albums consist of three photograph albums belonging to John DuCharme Bagley IV of the Bagley family of Detroit, Michigan.

The photograph albums document the life of John DuCharme Bagley IV over a period of twenty years or so. Bagley IV was clearly an enthusiastic amateur photographer who enjoyed documenting his family and friends. The photos in all three albums are snapshot-sized and mostly taken outdoors. While the earliest album (Volume I) is extensively captioned, the other two are not.

Volume 1:

The first volume (14 x 30 cm) includes images taken between 1903 and 1905, including numerous photographs taken during a Bagley family trip to Europe. Bagley IV was a teenager at the time. Identified family members documented in this album include his older sister Frances, younger brother Phil, parents John N. and Esther, and an “Aunt Frankie” who was likely Esther’s sister. This trip appears to have lasted several months, perhaps the better part of an entire year. Locations visited included the German Alps, Naples, Rome, Pompeii, Lake Lucerne, Amsterdam, and London. The family’s return to New York by steamship is also represented. The remainder of this album documents experiences on Woodcote Farm in Ionia, Michigan, as well as family life in Detroit and outdoor summer activities at Long Lake in Grand Traverse County, Michigan.

Volume 2:

The second volume (20.5 x 30.5 cm) contains material compiled during World War I and afterwards. Views of the U.S. Naval Academy and of Washington D.C. are included, and Bagley IV is shown in many images wearing a naval uniform. Several warships (including what appears to be the USS Pennsylvania, commissioned in 1916) are pictured from afar throughout the album. One series of snapshots shows an Armistice celebration taking place at an unidentified location. Several pages showcase scenic views taken during a train journey through an unidentified mountainous region. The bulk of the remaining pictures in this album consist of portraits of family and friends posing informally in urban, domestic, and rural settings. Bagley IV appears regularly, usually in a business suit, and in a couple of cases he can be seen standing next to a Bagley & Co. company vehicle. Also present is a large loose photo that shows John J. Bagley’s birthplace in Medina, New York, which was photographed in 1895.

Volume 3:

The third volume (20.5 x 30.5 cm) contains numerous photographs taken during visits to New Mexico and Colorado in 1908 as well as Oregon in 1909. Images in the New Mexico section highlight operations and personnel of the Maxwell Irrigated Land Company. Bagley IV’s younger brother Phil may have been involved with this company. While it is not entirely clear which photos were taken in Colorado, numerous images of logging operations and logging camps were most likely taken in Oregon. Also present are personal photos showing Bagley IV and his wife Mary visiting forests and beaches. The final section of the album includes photos of Bagley IV in a navy uniform and views of the U.S. Naval Academy at Annapolis, Maryland.

John Harris Forster was a geologist, engineer, surveyor, farmer, and chronicler of life in the Americas in the mid-19th century. As he traveled about North and South America, surveying boundaries, inspecting copper mines, mining gold with the California Forty-Niners, or raising hogs, Forster wrote of his experiences in his journals and used them and his acute memory to describe his travels to family, friends, and an interested public. His journals, correspondence, and speeches are a rich source of social history and geographical and architectural information on life in the areas in which he traveled, including the Great Lakes (Michigan and Wisconsin), Far West, and Central and South America. Forster's papers are of considerable interest for their detailed descriptions of the culture and lifestyle of the native populations he encountered, the terrain and climate of the areas in which he camped and surveyed, and the hardships of life in unsettled or recently settled areas.

The John Harris Forster papers are arranged in seven series. Correspondence primarily contains letters written by Forster to various family members, and is arranged chronologically by year. The Thomas Forster series contains materials of John's father, chiefly correspondence and documents pertaining to family and financial matters. Journals and Manuscripts is arranged by year, with titles provided on the contents list. Scrapbook Materials consist of clippings from various newspapers (most of which are unidentified). Forster evidently was a journalist correspondent for these papers, and his columns seem to be excerpts from his journals, with slight modification. His Speeches and Addresses to various Michigan organizations also are based to a large extent on his journals, but there are exceptions, such as the very interesting one detailing life as a Swine-herd in California. Miscellaneous consists mostly of biographical materials and financial documents. Photographs includes portraits and view of the family farm near Williamston, Michigan. For related materials on Forster, including biographical clippings, correspondence to his wife, family documents, and other Forster writings, the researcher should consult the Mullett Family Papers.

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”

Photographs (positive and negative), slides, and transparencies taken by the company's photographers to document company activities, products, services, employees at work and at leisure, company exhibits and commemorations, and the response of the company to natural disasters and civil disturbances.

In 1993, Michigan Bell as a corporate entity was subsumed within the Ameritech Corporation. As a by-product of this reorganization and the downsizing resulting from it, the company agreed to deposit with the Bentley Historical Library its extensive archive of photographic images. Totalling approximately one million images, the Michigan Bell Telephone Company photo archive consists of negatives, copy prints, and color transparencies taken in the period since World War II (the bulk beginning in 1949). The collection does not include photos taken since 1983; interspersed throughout, however, are numerous images from before 1949.

The collection has been maintained in the order received with two principal series: Positives and Negatives.

The content of the photographs in the two series varies considerably. Naturally the collection documents the products of the company (phones and other communication devices) and the services provided (e.g. employees at work or the company reacting to a specific customer need). These photos were taken both to inform the general public as accompaniment to press notices and advertising copy and as a communications vehicle within the company, informing employees through the company news publication, Tielines, of activities going on in other divisions of the company or among the various regional Bell offices.

More importantly perhaps, the collection has value for its documentation of events and activities that are common to all large companies. These include images relating to: 1. The activities of employees within the corporation at their work (office workers, repairmen, operators, various support personnel, managers, etc.); 2. The activities of employees outside their work routine as members of corporate social groups (i.e., the company baseball or ice hockey team), at home engaged in leisure time activities, or involved in company-sponsored charitable or public service functions; and 3. Commemorations of specific milestones or events (company parade floats, area office open houses, corporate displays at public events such as fairs, etc.).

In addition, the collection documents the extraordinary and unforeseen as the phone company reacts to events and emergencies not within its control (floods, tornadoes, fires, the 1967 Detroit riot, strikes, and the like) or as a participant in history-making events (the announcement in Ann Arbor of the success of the Salk polio vaccine or the preparation involved in the 1980 Republican National Convention that convened in Detroit).

The Michigan Historical Collections Topical Photograph Collection offer a broad and varied glimpse into nearly one hundred years of Michigan history, from the 1860s into the 1950s. The provenance of most of the photographs has been lost and therefore these images have been grouped together by subject into an artificial accumulation. Subjects depicted range from industry and transportation to clothing styles and social customs.

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.

Palmer Werner (1911-2002) was a Redford, Michigan photographer and World War II veteran. The collection consists of color photographs of mills, bridges, and other structures throughout southern Michigan.

The collection consists of color photographs of mills, bridges, and other structures throughout southern Michigan.

The Frederickson collection includes materials primarily relating to the Norwegian Lutheran settlement in the Northport, Michigan, area. The bulk of the collection consists of letters of the Holden family in Norway to their daughter Elisabeth Holden Talgø. There is also a history of the Garthe-Bahle family. The photographs in the collection are of lumbering activities on North Manitou Island and of schools and road building in Northport, Michigan. Photos and portraits of the Garthe-Bahle-Talgo families are included.

Photographs collected by Sam Sturgis and Hazel Proctor of Ann Arbor, Michigan; including businesses, street scenes, buildings, people, and activities in Ann Arbor, Brighton, Chelsea, Dexter, Dixboro, Manchester, Saline, and Ypsilanti, Michigan. (Copy negatives and copy prints.)

The Sam Sturgis collection consists of photographic prints and copy negatives of Washtenaw and Livingston County life from the 1860s through the 1970s. Collected by Ann Arbor photographer Sam Sturgis and Ypsilanti banker Hazel Proctor from a variety of known and unknown sources, the collection represents many aspects of life in Ann Arbor, Brighton, Chelsea, Dexter, Dixboro, Manchester, Saline and Ypsilanti. Main subject categories include churches, schools, businesses, buildings, University of Michigan buildings, staff, students and campus life, streets, panoramic views, rivers, recreation and family life, including residences, men, women, and children. Evolving modes of transportation, such as railroads, interurban streetcars, automobiles, and airplanes are also depicted.

Prints and negatives are divided into two parallel series, with negative use restricted to Bentley staff for preservation and security purposes. Each series is arranged alphabetically by city or town and, within each geographical grouping, in the order in which Sturgis collected the items. Sturgis began donating his collection to the Bentley in 1966, and, as items continue to be received, numbering is continued within each geographical grouping, in the original collecting and numbering order established by Sturgis. While some numbers were originally intended by Sturgis to designate the origins of the item, if known, this information has also been added to the item description under the heading "source" to facilitate patron and staff use. The Bentley does not hold a complete set of prints and negatives. Information on the current availability of both prints and negatives is included in each item listing.

Each photograph has a unique identifying number. The "Sturgis Number" consists of a one or two-letter series code, followed by a numerical number with decimal or alphanumeric number, such as AA 267.21 or AA 35A. the collection is arranged by city as follows

City	Sturgis Code	Number of Images
Ann Arbor	AA	ca. 1500
Brighton	BB	148
Chelsea	C	156
Chelsea-Manchester	CM	119
Dexter	D	124
Dixboro	DI	45
Manchester	M	123
Saline	S	57
Ypsilanti	Y	150

An item list of all photographs with description, date (if known), source and photographer, if known, follows the summary contents list on page three of the introduction.

Information on whether the photograph has been published and therefore has further information provided elsewhere is also included in each item description. Unless otherwise noted, all photographs listed as "published" have been published in a series by the Ann Arbor Federal Savings Bank (AAFSB), with editorial supervision by Sam Sturgis and Hazel Proctor. Availability of the respective print and negative concludes each item entry.

The following books, published by the AAFSB in the early 1970s, are annotated with Sturgis' photograph numbers and may be used as a partial guide to the collection. While two copies of each publication are available for consultation in the reading room, only one of each set has annotations. Descriptive captions in these publications as well as the annotated numbers may differ from actual photograph numbers and other information about the photographs. Any reference to these annotations should be verified with the item lists and vice versa to assure accuracy because of occasional inconsistencies. The AAFSB publications with Bentley call numbers are listed as follows:

1. Proctor, Hazel. Old Ann Arbor Town. 1974. Copy 1 annotated. EC 2 A216.5 P964
2. Sam Sturgis. Memories of Old Ann Arbor Town, 1967. Copies 1 and 2 annotated. EC 2 A613.5 S935
3. Proctor, Hazel. Old Brighton Village. 1974. Copy 1 annotated. EC 2 B856.3 P964
4. Proctor, Hazel. Old Chelsea Village. 1972. Copy 2 annotated. EC2 C516.5 P964
5. Proctor, Hazel. Old Dexter Village. 1973. Copy 1 annotated. EC 2 D526.5 P964
6. Proctor, Hazel. Old Manchester Village. 1974. Copy 2 annotated. EC 2 M268.5 P964
7. Proctor, Hazel. Old Saline Village. 1975. Copy 1 annotated. EC 2 S165.5 P964
8. Proctor, Hazel. Old Ypsilanti Town. 1974. Copy 2 annotated. EC 2 Y86.5 P964

Detroit, Michigan businessman and civic leader. Business correspondence relating to Weber's activities as a dealer in timber lands, his role as a member of the Art Commission in the development of Detroit, Michigan's Cultural Center, his involvement in the construction of the Detroit-Windsor bridge and tunnel and his activities during World War I; and correspondence and class notes of his sons, Harry B. and Erwin W. Weber, while attending University of Michigan; also photographs, including family portraits, aerial views of Windsor, Ontario, and Detroit, photographs of the construction of the Detroit-Windsor Tunnel and Ambassador Bridge, and glass negatives of family vacations in Upper Michigan, Ontario, and Quebec; and maps of land and timber holdings

The William C. Weber papers cover 28 linear feet (30 boxes), outsize folders, and 15 outsize volumes. Besides information on timber and mineral lands in Michigan, the important aspects of the Weber papers include information on the development of the Cultural Center of Detroit and Weber's very controversial role in it, items on the Detroit-Windsor bridge and tunnel and the development of the Border Cities, and the papers of his two sons, especially the letters they wrote as students at the University of Michigan and their class notes and examinations.

There is one foot of materials related to the Cultural Center (Box 19 and outsize folders) and another of the Detroit-Windsor Tunnel and Ambassador Bridge (Box 20 and outsize folders).

Architectural site plans and property maps of the Detroit Cultural Center are also found in the outsize unbound material.

The collection includes maps relating to Weber's his land holdings in northern Michigan and Windsor, Ontario, including maps of land survey, of timber estimates, and tax and title status for Michigan lands, maps of Windsor subdivisions, maps of coal mining region around Caryville, Tennessee and property maps of the Detroit Cultural Center.