Collections : [University of Michigan William L. Clements Library]

Adam Ludewig, an Alpena, Michigan, bookseller's clerk in his early 20s, recorded information about his activities, interactions, and the weather in this pre-printed daily Excelsior diary. He provided very brief notes on his work in the store; documentation of church and Sunday school attendance; remarks on letters, notes, and visits by young women; the books he read; painting lessons; and other subjects. He frequently abbreviated names and other words, occasionally wrote sentences with old German script, and sometimes encoded words with pigpen cyphers.

Adam Ludewig, an Alpena, Michigan, bookseller's clerk in his early 20s, recorded information about his activities, interactions, and the weather in this pre-printed daily Excelsior diary. He provided very brief notes on his work in the store ("All well / Busy in Store"); documentation of church and Sunday school attendance; and mentions of letters, notes, and visits by young women—with occasional afterthoughts such as "poor girl is to have a tooth pulled this morning" or "I do not know what to do. Time will be my best support." He noted the books he read, from "Titcomb's Letters to Young People, Single and Married" to Goethe's "The Sorrow of Young Werther." He painted and studied French. Ludewig frequently abbreviated names and other words, occasionally wrote sentences with old German script, and sometimes encoded words with pigpen cyphers. Seven small pen and ink drawings are scattered within the volume.

Civic and other organizational work mentioned in the diary include financial support for the German Aid Society and the Arbeiterverein, and attendance at evening Masonic Lodge meetings (identified in the diary only as drawings of oblong squares in quotation marks). He became Secretary and noted that he paid $1.00 for life insurance from the Masons (for $1,500 coverage).

The Agent’s sample book from Crown Card Co., Columbus, Ohio, contains 34 samples of visiting cards accompanied by prices, design names, and instructions for ordering.

The Agent’s sample book from Crown Card Co., Columbus, Ohio, contains 34 samples of visiting cards accompanied by prices, design names, and instructions for ordering. The volume (12.5 x 18 cm) is bound with blue paper and staples. Sample styles range from simple to intricate, with some including beveling, embossing, or silk borders. Most feature chromolithographic color, floral imagery, and animals. Different type settings available to a customer are also advertised.

This slim volume contains a partial account of a trip from New York City to Niagara Falls in August 1825, with entries cutting off abruptly at Lockport, New York. The currently unidentified writer traveled on the incomplete Erie Canal aboard the safety barge Lady Clinton and by road on the last leg of their journey. The author included descriptions of scenery, geographic features, towns, and canal systems they passed. Within the volume are calligraphic headings, pressed leaves, and a color illustration of two birds and flowers.

This slim volume contains a partial account of a trip from New York City to Niagara Falls in August 1825, with entries cutting off abruptly at Lockport, New York. The currently unidentified writer traveled on the incomplete Erie Canal aboard the safety barge Lady Clinton and by road on the last leg of their journey. The author included descriptions of scenery, geographic features, towns, and canal systems they passed. Within the volume are calligraphic headings, pressed leaves, and a color illustration of two birds and flowers.

Major points of the route serve as headings within the volume, being visually differentiated from the main text by calligraphic headings. Observations on town layouts and architecture—including rough estimations of population count—provide a developmental snapshot of the region as perceived by the writer. Also mentioned is the construction on the Mt. Pleasant Prison at Sing Sing [Sing Sing Prison, Ossining, New York] and the quarry of white marble used by the builders.

The writer's travel by road was apparently not as easy as their travel by canal. After turning off the Ridge Road at Hartland, New York, descriptions of the woodland seem to indicate a host of obstructions in the form of mudholes, ruts, and stumps (p. 22). Apart from the entries on towns and landscapes, the writer noted a hotel landlord in Victor, New York, who kept two wolves, two small deer, and a fox in his yard (p. 16).

Yellowed imprints of larger leaves placed into the volume can be found on later pages, but only the smallest have lasted to the present day.

This volume, which may have belonged to a Scottish teacher, contains pencil drawings of everyday objects and notes related to instruction in art and geography.

This volume, which may have belonged to a Scottish teacher, has pebbled covers, with the title "Sketch Book" stamped in gold on the front. The first section, "Specimen course for Second Year Higher Grade," contains 6 pages of pencil drawings. The subjects include books, plants, household items, a shoe, a water tank, an umbrella, a broom, a basket, and a hand. The final page of drawings includes the note: "Complete course with interiors & outdoor work."

The second part of the volume is a 2-page chart titled "Geography. Scheme of Work," with tables of geographical subjects for students at various levels. Each month's course included the study of a country or geographical region, a "practical" subject, and a "physical" subject. The areas represented are primarily European nations; British colonies such as South Africa, Australia, New Zealand, Canada, and India; North and South America; Asia, and Pacific islands. The teacher offered practical instruction in navigational concepts, the use and creation of maps, and surveying, and offered instruction on various geological topics such as the Earth's atmosphere, climate, and physical features such as volcanoes and glaciers.

Christian Hoffman, of Cincinnati, Ohio, and Newport, Kentucky, compiled this 201-page book of poetry, largely in the German language, with eight poems in English. Hoffman's selections include poems or poem fragments by Henry Kirke White, Lord Byron, Agnes Franz, Friedrich Rückert, Christian Hoffmann von Hoffmannswaldau, Friedrich von Sallet, August Henrich Hoffmann, and others. Christian Hoffmann apparently included several original spiritual poems, such as "Des Kinder schwingender Geist" (pages 18-24) and "Die Absched des Prindes Gottes" (pages 169-170). Several blackletter script titles, decorative initials, and illustrations are present. The three illustrations include an urn with flowers (page 69), an angel with a harp (page 168), and a vignette of three maidens holding a banner with the words "O laube", "Liebe und" and "Hoffman" (page 76).

Christian Hoffman, of Cincinnati, Ohio, and Newport, Kentucky, compiled this 201-page book of poetry, largely in the German language, with eight poems in English. Hoffman's selections include poems or poem fragments by Henry Kirke White, Lord Byron, Agnes Franz, Friedrich Rückert, Christian Hoffmann von Hoffmannswaldau, Friedrich von Sallet, August Henrich Hoffmann, and others. Christian Hoffmann apparently included several original spiritual poems, such as "Des Kinder schwingender Geist" (pages 18-24) and "Die Absched des Prindes Gottes" (pages 169-170). Several blackletter script titles, decorative initials, and illustrations are present. The three illustrations include an urn with flowers (page 69), an angel with a harp (page 168), and a vignette of three maidens holding a banner with the words "O laube", "Liebe und" and "Hoffman" (page 76).

Lydia Brown compiled this notebook of copied poems, principally religious and moral in nature, sometime in the early nineteenth century. She often drew calligraphic titles and other embellishments, including borders, flowers, and leaves. Several times throughout the volume, Lydia Brown includes included "A E 12" after her name, possibly an abbreviation for the Latin phrase "aetatis," indicating she may have been 12 at the time of writing and the volume could have served as an educational exercise for learning penmanship.

Lydia Brown compiled this notebook of copied poems, principally religious and moral in nature, sometime in the early nineteenth century. She often drew calligraphic titles and other embellishments, including borders, flowers, and leaves. Several times throughout the volume, Lydia Brown included "A E 12" after her name, possibly an abbreviation for the Latin phrase "aetatis," indicating she may have been 12 at the time of writing and the volume could have served as an educational exercise for learning penmanship. A test sheet at the end of the volume includes several practice penmanship elements, and pencil lines throughout indicate how Lydia Brown was keeping her writing straight.

• To Hope
• A Paraphrase of the Lord's Prayer
• Charity
• Safety in Christ
• Say Why!
• Childhood
• Life
• Content
• Faith
• Hope
• Charity
• Humility
• Friendship
• Fortitude
• Modesty
• Patience
• Inscription on a Clock
• Friendship
• Sunset and Sunrise
• Reputation
• A Request
• Hope
• The Rose
• Friendship
• Time
• Repentance
• Prayer
• Religion
• The Happy Cottage
• A Thought
• Evening Cloud
• Extract
• An Epitaph
• Time
• Modesty
• Extract
• Repentance
• Life
• Prayer
• The Tear
• Sympathy

This album, belonging to Martha Louise "Mattie" Day, contains 26 self-portraits drawn by Mattie's "C. H. S." classmates, and includes profile drawings, names, and brief comments relating to a shared experience.

This album, belonging to Martha Louise "Mattie" Day, contains 26 self-portraits drawn by Mattie's "C. H. S." classmates, and includes profile drawings, names, and brief comments relating to a shared experience.

Mattie wrote, "You are requested to draw your picture, with appropriate remarks" on the front paste-down. The bulk of the drawings were done by her female classmates, and their writing often referenced memories involving Mattie. Some made self-deprecating remarks about their appearances. "A. H." wrote, "When this you see/don't forget the eve we played and I beat you all at dominoes." Adilia H. wrote, "The rose is red/the violet blue/sugar is sweet/and so are you Mattie. Ever your friend." Many include the note, "Class '78 C.H.S." One pink ribbon is laid into the volume.

This composition notebook was kept by Merline Patton of Alamogordo, New Mexico, while studying rhetoric at the New Mexico Baptist College (associated with the Southern Baptist Convention) in 1903. The notebook includes essays, reading passages, song lyrics, and notes on English history and literature.

This composition notebook was kept by Merline Patton of Alamogordo, New Mexico, while studying rhetoric at the New Mexico Baptist College (associated with the Southern Baptist Convention) in 1903. The notebook includes essays, reading passages, song lyrics, and notes on English history and literature.

The essays in the notebook include "The Argonautic Expedition" and "Rhetoric." The songs include at least two college/school spirit numbers, though the bulk appear to be popular tunes about love and family, such as "My Girl from Dixie." A section titled "Division of Modern English Lit" contains information related to the Elizabethan Age, the study of Italian language and art, the study of classics translated from Greek and Roman, and more.

The inside cover contains scribbles and mathematics problems, and two small flowers were doodled in the margins.

This volume was produced by Peter McGivney as a gift for his sister, Julia A. McGivney. Its entries are largely copies of popular song lyrics and some poetry. Many focus on sentimental themes like remembrance, familial relationships, love, death, and religion. A few patriotic titles were included. Peter McGivney elaborately decorated and illustrated the volume with paintings, pencil drawings, pen-and-ink embellishments, printed scrapbook die-cuts, and calligraphic titles and borders. He drew numerous patriotic images, including American flags, shields, eagles, Union soldiers, and a portrait of George Washington. Flowers, leaves, birds, and landscapes feature prominently, along with depictions of women. He drew several illustrations of hands holding calling/visiting cards filled out with the names of friends and family members. One watercolor illustration of an African American man accompanies the lyrics of a minstrel song.

This volume was produced by Peter McGivney as a gift for his sister, Julia A. McGivney. Its entries are primarily copies of popular song lyrics and some poetry. Many focus on sentimental themes like remembrance, familial relationships, love, death, and religion. Some patriotic titles are also included. Titles like "Little Low Cabin" and "Half Way Doings" were likely minstrel songs, and include racist dialect. One is accompanied by a watercolor painting of an African American man in striped pants and a blue overcoat standing at a table with a Bible on it and a whitewash bucket on the floor.

Peter McGivney elaborately decorated and illustrated the volume with paintings, pencil drawings, pen-and-ink embellishments, printed scrapbook die-cuts, and calligraphic titles and borders. He drew numerous patriotic images, including American flags, shields, eagles, Union soldiers, and a portrait of George Washington. Flowers, leaves, birds, and landscapes feature prominently, along with depictions of women. He drew several illustrations of hands holding calling/visiting cards filled out with the names of friends and family members.

• "The Lady’s Yes," by Elizabeth Barrett Browning
• "Write Me a Letter [from] Home," by Will S. Hays
• "[Darling] Minnie Lee," by Dexter Smith
• "Ella Ree," by Charles E. Stewart
• "God Bless My Boy at Sea," by T. Brigham Bishop
• "Little Robin, Tell Kitty," by Frank Howard
• "Killarney," by E. Falconer
• "Sunny Days," by Edwin Ransford
• "Remember Me," by M. W. Balfe
• "We Parted by the River Side," by Will S. Hays
• "The Last Rose of Summer," by Thomas Moore
• "Lottie Lee," by C. T. Lockwood
• "Kiss the Little Ones," by W. F. Wellman, Jr.
• "Kiss Me Mother E'er I Die," by W. Dexter Smith, Jr.
• "To a Beloved Woman," translated from Sappho
• "Driven from Home," by Will S. Hays
• "Bessy O'er the Lea" [e.g. "Darling Bessie of the Lea"], by George Cooper
• "Our Own," by Margaret Elizabeth Sangster
• "[When] The Corn is Waving, Annie Dear," by Charles Blamphin
• "A Woman's Question," by Adelaide Anne Proctor
• "Daisy O'Lynn," by M. H. McChesney
• "I'll Remember You Love in my Prayers," by Will S. Hayes
• "Don't be Angry With Me, Darling," by W. L. Gardner
• "The Good Bye at the Door," by J. E. Carpenter
• "Love On," by Eliza Cook
• "Sweet Genevieve," by George Cooper
• "When the [Autumn] Leaves are Falling," by J. E. Carpenter
• "Mother, Is the Old Home Lonely," by Arthur W. French
• "The Golden Side," by Mary Ann Kidder
• "Wait Till the Moonlight Falls on the Water," by Sam Bagnall
• "The Bells of Shadow" [e.g. "The Shandon Bells"], by Francis Mahony
• "Annie of the Vale," by G. P. Morris
• "My Pretty Jane," by Edward Fitzball
• "Silver Threads among the Gold," by Eben E. Rexford
• "When I Saw Sweet Nellie Home," by John Fletcher
• "Come Like a Beautiful Dream," by George Cooper
• "What Will I Do Without Thee," by Elmer Ruan Coates
• "Star of the Evening," by James M. Sayles
• "The Good Bye at the Door," by J. E. Carpenter
• "Memory Bells," by Henry Tucker
• "I Love the Merry Sunshine," by J. W. Lake
• "Every Home has Lost a Darling," by George Cooper
• "Wilt thou say Farewell Love," by Thomas Moore
• "A Sweet Face at the Window," by W. C. Baker
• "Faded Flowers," by I. H. Brown
• "The Blind Girl," by Joshua Swan
• "What Will I Do Without Thee," by Elmer Ruan Coates
• "Why Was I Looking Out," by Claribel
• "God Save the Flag," by Oliver Wendell Holmes

• "Fair Maid of Perth"
• "Arabella Dolora"
• "A little Puss"
• "Rebecca at the Well"
• "E Pluribus Unum"
• "Excelsior"
• "The French Iron Clad Solferino"
• "Volcano of Turrialba (Mexico)."
• "View of Paknam on the Memam. Farther - India"
• "The Rose of Orleans"
• "The Queen of Flowers"
• "Marriot's Aerial Steam Carriage. 'Avitor.'"
• "Love in Winter"
• "Dressing for the Masquerade"
• "William Penn first Settler of Pennsylvania 1675"
• "The Tambourine Player"
• "Love in Summer"

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.