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E. Merritt Cole of Colorado created these 55 manuscript poems and fine-line ink drawings of flowers and plants around the turn of the 19th-20th century. The artist used calligraphic lettering for their poetry, including tree-shaped characters. A few groups of illustrations are bound with ribbon and appear to have been created as gifts or gift books. Many of the works include multiple stages in the process of creating a final version.

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.

A member of the Sager family of Canada and Vermont created this handmade volume registering the births of children to Frederick and Lydia Sager, along with other family events. While undated, the volume includes content ranging from 1814 to 1840, suggesting it was produced within that timeframe. Most entries list individuals' names and birthdates, written within pen-and-ink heart frames along with geometric patterns and other embellishments. The entry for an unnamed infant who died the same day it was born includes an illustration of a coffin, while other entries include drawings of objects like a quill, manicules, and flowers. The volume concludes with copies of two Biblical hymns, one carefully written to look like printed type.

A member of the Sager family of Canada and Vermont created this handmade volume registering the births of children to Frederick and Lydia Sager, along with other family events. While undated, the volume includes content ranging from 1814 to 1840, suggesting it was produced within that timeframe. Most entries list individuals' names and birthdates, written within pen-and-ink heart frames along with geometric patterns and other embellishments. The entry for an unnamed infant who died the same day it was born includes an illustration of a coffin, while other entries include drawings of objects like a quill, manicules, and flowers.

• Andrew Alonzo Sager, b. July 19, 1814
• Thomas Jetson Sager, b. August 15, 1816
• Horatio Nelson Sager, b. July 2, 1819
• Adam Sager, b. September 5, 1821
• Eve Sager, b. May 5, 1824
• An unnamed infant, born and died December 14, 1827
• Urane Mary Melissa Sager, b. March 22, 1830

• An unnamed infant, born and died August 4, 1832
• Zeri Saterns Sager, b. May 4, 1838
• Frederick Sager's marriage to Lydia Leffingwell Hawley, May 26, 1813
• Lydia Leffingwell Sager's death, April 4, 1840
• As well as incomplete records for Adam Sager (b. April 3, 1771) and Eve Sager

The volume concludes with copies of two Biblical hymns, one carefully written to look like printed type.

The volume has later covers made from an 1896 advertising board for a New York newspaper.