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The Cornwell family carte-de-visite album contains studio portraits of members of the Cornwell, Otis, and Harroun families, who were related by marriage. Members of the various families lived in Minnesota and New York in the late 19th century.

The Cornwell family carte-de-visite album (13cm x 10cm) contains 46 formal studio portraits of members of the Cornwell, Otis, and Harroun families, including 40 cartes-de-visite, 6 tintypes, plus 2 lithographs. Most portraits are of young adults and grown men and women, though pictures of younger children and an infant are also present. One picture shows a woman holding an open book, and another shows a group of women knitting. The lithographs depict a woman tucking a child into bed while thinking of a soldier and Mary with the infant Jesus. The volume's red leather cover has a tooled geometric design and a floral design is carved into the sides of its pages.

The English carte de visite album (14.5 x 20.5cm) is a 50 page leather album containing portrait photographs of individuals and couples as well as two Italian views. Many of the images in the album were taken by well-known photographers such as André-Adolphe-Eugène Disdéri, Napoleon Sarony, and Félix Nadar.

The English carte de visite album (14.5 x 20.5cm) is a 50 page leather album containing portrait photographs of individuals and couples as well as two Italian views. Many of the images in the album were taken by well-known photographers such as André-Adolphe-Eugène Disdéri, Napoleon Sarony, and Félix Nadar. The photographer's logo of each photograph is visible on the opposite side of the page, and some of the photographs contain hand-written biographical notes on the back.

Individual portraits in the album include those of Dr. Thomas Hodgkins (1798-1866) and his wife Sarah Frances Hodgkins (1804-1875), as well as of Charles Ferdinand, Prince of Capua (1811-1862) and his wife Penelope Smyth, Countess of Mascali (1815-1882). Of note is a portrait of a man taken by Sarony that has on its verso the manuscript inscription "Timothy Harrison/ Richmond/ Indiana." There is a Timothy Harrison, orginally from England, who was buried in Earlham Cemetery in Richmond, Indiana in 1881 at the age of 48. This is presumed to be the man depicted in the portrait.

This photograph album contains portraits of direct descendants of Elijah Hubbell and Hannah Fields of Danbury, Connecticut, as well as members of associated families, including the Van Allen family of Janesville, Wisconsin, and the Lynes family of Otsego County, New York.

This album (16cm x 12cm) contains 36 carte-de-visite and two tintype portraits of members of the Hubbell family, Van Allen family, Lynes family, and others. The Hubbell and Lynes families lived in northern and central New York, and the Van Allen family lived in Janesville, Wisconsin. Formal studio portraits show men, women, and children of various ages, and some individuals are pictured more than once. Most of the photographs are labeled, and labels exist for some items that are no longer present. The covers are bound in green cloth, with a decorative design in relief.

The New Jersey carte-de-visite album contains studio portraits of men, women, and children taken in New York and New Jersey in the late 19th century, as well as three chromolithograph "scraps" mounted on visiting cards.

The New Jersey carte-de-visite album (17cm x 13cm) contains 36 cartes-de-visite, 10 tintypes, and 3 chromolithograph "scraps" mounted on visiting cards. The cartes-de-visite and tintypes are studio portraits of men, women, and children taken in New York and New Jersey in the late 19th century. A small number have hand coloring. Most items show adult men and women photographed individually, with one picture of an adult couple, two pictures of young children, and one picture of an infant sitting in a chair. Eight mounted gem tintypes are included. Three lithograph "scraps" depict a young girl pictured with a friendship album, an open envelope, and an artist's palette with the captions "Friendship," "Devotion," and "Forget Me Not." Each scrap is mounted on a visiting card with a raised decorated border and the names "Mrs. George Carmers" and "Morriss Algoe" printed in script. The volume's brown cover has a raised geometric design, and it has two enameled metal clasps.

This carte-de-visite album primarily contains formal studio portraits of men, women, and children taken in various locations in northeast North America from the 1860s to 1880s. One photograph shows an artistic rendering of the text of the Lord's Prayer, and a colored cutout is pasted into the volume.

This carte-de-visite album (15cm x 13cm) primarily contains formal studio portraits of men, women, and children taken in various locations in northeast North America from around the mid-1860s to early 1880s. The pictures are comprised of 42 carte-de-visite and 2 tintype portraits, as well as an additional carte-de-visite photograph collage. Two of the items are dated November 3, 1865, and September 3, 1881; few of the people pictured are identified. One woman is shown holding an infant in her lap. One tintype shows a young man dressed in costume wearing a plumed hat. The additional carte-de-visite depicts a printed version of the Lord's Prayer that utilizes several ornate fonts; a picture of Jesus Christ appears amidst the text, which is surrounded by drawn scenes of angels. A cutout pasted into the volume is a colored drawing of a woman standing next to a grazing sheep, framed by three large flowers. The album's brown leather cover has geometric designs stamped in gold and metal clasps; a floral design is carved into the sides of the pages. "Photographs" is stamped in gold on the spine.

The Oberlin College carte-de-visite album contains formal studio portraits of professors and students associated with the college in the middle to late 19th century.

The Oberlin College carte-de-visite album (13cm x 11cm) contains 32 formal studio portraits of men and women who were associated with the college in the middle to late 19th century. The volume includes pictures of students, professors, and two of the college's presidents, Charles Grandison Finney (1851-1865), and James Harris Fairchild (1866-1889). Most individuals pictured are identified in captions, and were associated with the school from the early 1860s to the 1870s. Many photographs were taken by A.C. Platt (1828-1884) in Oberlin, Ohio. The volume's brown leather cover has a geometric design, partially colored gold, and a floral design appears in relief on the edges of the pages. It has two metal clasps.

The Olean (N.Y.) cabinet card and carte de visite album contains 3 cabinet cards from ca. 1880s and 12 cartes de visite from ca. 1860s. The album likely dates to ca. 1880s.

The Olean (N.Y.) cabinet card and carte de visite album contains 3 cabinet cards of women from ca. 1880s and 12 cartes de visite mostly of men, women, and children from ca. 1860s. The album likely dates to ca. 1880s. An inscription on the interior front cover reads "Merry Christmas, Harrington School, Dec. 25, 1903, Daisy May Spencer, Teacher," and does not appear to be related to the material within.

The images take place in a formal studio setting from photographers located in Olean (New York), Rock Island and Chicago (Illinois), Titusville (Pennsylvania), San Francisco (California), and Nashua (New Hampshire). Some photos include handwritten names on the bottom front of the mounts. One photograph of a structure is identified by a handwritten inscription as "Olean Baptist Church."

The album is 19.5 x 25 cm with decorative green celluloid covers.

The Ontario carte-de-visite album contains formal portrait photographs of men, women, and children, including members of the compiler's family. Many of the photographs were taken in southern Ontario cities such as Brantford, Simcoe, and Woodstock.

The Ontario carte-de-visite album (15cm x 11cm) contains 33 carte-de-visite and 9 tintype photographs of numerous men, women, and children, some of whom are identified as members of the compiler's family. The formal studio portraits were taken by photographers in cities such as Brantford, Simcoe, and Woodstock, Ontario, in the mid- to late 1860s. Some family members are identified by their relationship to the owner, including a sibling, a pair of grandparents, and "Grandmother Merrill." Some subjects were photographed in pairs, and some held objects such as hats. A few of the cartes-de-visite and tintypes have hand coloring, and two cartes-de-visite have colored background designs printed directly onto the cards. A gold design is stamped on a raised portion of the album's front and back covers, which are made of pebbled brown leather.

Shadowed Liveries of ye Burning Sun is a carte-de-visite album containing pictures of monuments, buildings, and people in present-day Belgium, Germany, Scotland, Wales, and Ireland.

Shadowed Liveries of ye Burning Sun is a carte-de-visite album (16cm x 12cm) containing 47 pictures of monuments, buildings, and people in various European countries; one additional item is an unidentified silhouette. The volume's red pebbled cover has a metallic gold border and raised geometric designs; the book also has two metal clasps. A formal title, "Shadowed Liveries of ye Burning Sun. Animum Pictura Pascit Inani," is written in red and blue Gothic letters on the first page. With the exception of a silhouette and studio portrait at the back of the album, each photograph is captioned with its location and subject; the captions are written in red Gothic letters.

Most of the photographs show religious buildings, statues and memorials, castles, natural scenery, and street scenes in numerous cities and towns in present-day Germany, Belgium, Scotland, Wales, and Ireland. Some of the pictures were taken in large cities and others in German spa towns. Monuments include statues of prominent German historical figures and memorials at Waterloo. Pictures from Scotland show Lochs Ness and Lomond, as well as several castles, and one view from Frankfurt features the Hauptsynagoge, which has since been destroyed. The album contains six portraits of men and women in Belgium and in Bad Oeynhausen and Minden, Germany, including one of a female lace maker, two of women in "Antwerp costume," and three of boys and girls in "gala costume" posing next to a spinning wheel, with vibrant hand coloring. Two other items show a woman standing next to a milk cart and a man standing next to a bread cart, both pulled by dogs. The subjects of the silhouette and final studio portrait are unidentified. The silhouette is dated January 31, 1890. The studio portrait was taken in a Dublin studio.