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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 log book contains daily reports for a French ship, commanded by M. de Breuille, that sailed between the Caribbean and Europe, and around the Mediterranean in the 1730s.

This log book contains daily reports for a French ship that sailed between the Caribbean and Europe, and around the Mediterranean in the 1730s. The book is preceded by the following statement: "Au nom de dieu soit fait a journal teneu par le St. francois pied noir..."

The bulk of the volume, around 400 pages, consists of daily log entries for voyages between April 1731 and January 1737, written by St. François, "pied noir" [black foot]. Most entries include reports on the weather, winds, and the ship's position. The ship called at Cadiz, Marseille, and St. Malo, among other ports.

The final pages are comprised of additional notes and instructions, such as a list of items sold in Cadiz, an illustrated method for calculating a building's height, and instructions for melting metal and producing gunpowder. An ink drawing of a flower appears on an early page. The volume contains the bookplate of Robert R. Dearden.