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The collection includes two journals kept by Isaac Robson while traveling as a Quaker minister. One records his observations while touring France and Italy in 1864 to visit Quakers, Vaudois, and Protestants, and the other documents his trip to Canada and the United States from 1870 to 1871 to attend Quaker meetings. Seven letters, principally written by Isaac Robson to his wife Sarah while he was in America, are at the end of the collection.

The collection includes two journals kept by Isaac Robson while traveling as a Quaker minister. One records his observations while touring France and Italy in 1864 to visit with Quakers, Vaudois, and Protestants, and the other documents his trip to Canada and the United States from 1870 to 1871 to attend Quaker meetings. Seven letters, principally written by Isaac Robson to his wife Sarah while he was in America, are at the end of the collection.

The journal Isaac Robson kept while in France and Italy spans from August 20, 1864, to November 11, 1864. Robson traveled through Southern France and Italy as a Quaker minister with his colleague Charles Fox of Falmouth, visiting Quakers and attending to Vaudois (Waldenses) and Protestant congregations. Robson commented on Catholics, priests, Protestants and anti-Protestant prejudice, and general religious practice and feeling throughout the region. He distributed religious tracts and observed local customs, reflecting on labor, education, and good will engendered by the prior visit of Quaker minister William Forster. This journal includes both original manuscript writings and carbon copies in different hands, with some variance in content.

Robson's American journal is a carbon copy, beginning as he boarded the Java in May 1870, headed to New York for a tour of Canadian and American Quaker meetings, and ending upon his arrival in Philadelphia at the end of March 1871. Robson's itinerary took him through New England, portions of Southern Canada, several mid-Western states, including Ohio, Indiana, and Iowa, and the border states of Maryland, Virginia, North Carolina, Tennessee, and Arkansas. Robson's principal object was to visit Quaker meetings, attending both isolated local meetings and larger Yearly Meetings. He frequently visited Friends' schools and commented extensively on local Quakers' lifestyles, labor, and religious practices. Robson visited with Wilburite and Hicksite meetings and reflected on the persisting schisms in American Quakerism.

While passing through Canada, Robson described frontier communities, Canadian attitudes toward England and the United States, and social and religious practices. He included three small drawings of a "shanty," a "Log house," and a "Frame house" to illustrate dwellings in southern Ontario (page 33). In the United States, Robson's interest in social matters drew his attention to African Americans, Native Americans, women, religious revivalism, schools, and penitentiary systems.

Robson commented on his encounters with African Americans and Quakers' interactions with them throughout his tour. He regularly wrote about African American religion, education, labor, and changing relationships in the South between planters and those they formerly enslaved. While in Arkansas, he visited with Friends Calvin and Alida Clark, and he discussed their work with African Americans at the Southland College and the white community's hostile reactions to them (pages 119-122). Throughout his journal Robson also noted the lasting physical, social, and economic impacts of the Civil War.

Robson mentioned information about the Quaker's Indian Affairs Committee and other Quaker involvement with Native Americans (pages 89 and 22), and he also wrote passing details relating to North American Indians in general. He included a sketch of Pilot Mountain, North Carolina, "so called from its having been used as a guiding mark by the Indians" (page 100). While in Iowa, Robson visited Lawrie Tatum (1822-1900), a Quaker Indian agent to the Kiowa and Comanche at Fort Sill, and he recorded some of Tatum's reflections on Native American civilization, religion, and morality (pages 55, 129, 131).

Other notable figures encountered or discussed by Robson include: Clinton B. Fisk (1828-1890) of the Freedmen's Bureau (page 6); John Parker Hale (1806-1873), U.S. minister to Spain (page 7); Joseph Gould (1808-1886), Canadian political figure (page 39); Anna Dickinson (1842-1932), orator, abolitionist, and women's rights advocate (page 157); William Forster (1784-1854), British Quaker abolitionist buried in Tennessee (pages 79, 112, 117, 140); George Dixon and Alfred Jones, superintendents of a Freedmen school in Danville, Virginia (pages 96, 98); Yardley Warner (1815-1885), Quaker who founded Warnersville, a free black community (pages 98, 113); and Daniel Drew, a former slave who attended the Southland Institute and became a Quaker minister in Arkansas (pages 119-121).

The loose correspondence consists of seven letters, six written from Isaac Robson to his wife Sarah Robson during his American tour, 1870-1871, with reflections on Reconstruction, Quaker meetings, prisons, and other topics. One letter from William Harvey to Joshua Wheeler Robson written from Leeds, England, in 1885 mentions financial charity for immigrant Mennonites.

The Parrish family photograph album contains 110 photographs assembled by the Parrish family of Philadelphia, Pennsylvania, including images of family and friends, political figures, celebrities, and popular illustrations as well as photographs related to Union efforts to educate freed slaves during the Civil War in the Port Royal Experiment.

The album (15.5 x 24 cm) has embossed brown leather covers and two metal clasps. 63 loose photographs are stored in Mylar sleeves and many appear to have been separated from the album over time. In some cases, it is possible to match loose images with a specific page slot through pairing inscriptions on the photograph with annotations present in the album. However, many loose images do not contain any identifying information, so it is unclear where some may have been located within the album or if they were ever associated with the album in the first place. It is possible that a small portion of the loose images were never originally included in the album since there are more photographs present in the collection than there are available photo slots in the album. At least two portraits from the 1890s do not appear to have belonged to the original family collection.

Compilation of the album may have first begun in the 1860s, but it was most likely completed during in the 1870s with photographs that the Parrish family had acquired over time. Sarah H. Parrish, née Wilson (1836-1892), the wife of Joseph Parrish’s grandson John Cox Parrish (1836-1921), may have been one of the primary creators of the album. She and John had a daughter named Caroline L. Parrish (1863-1915), who may be the “Carrie” whose name is written on the back of some of the photographs. Overall, there appear to be three different styles of handwriting present in the album. Captions for several of the album’s portraits were made in pencil in a flowing cursive while other names appear in a more juvenile-looking cursive hand, and a distinctive third hand also appears sporadically. The two cursive hands may well have been Sarah’s and Carrie’s as mother and daughter worked on the album together in the mid to late-1870s, with an occasional contribution (the third hand) possibly made by one of Carrie’s three younger brothers. One other detail supports this hypothesis: a portrait labelled “Fred” with “Mrs. Parrish, with love of Fred” inscribed on the verso. The individual photographed here was most likely Sarah’s cousin, Frederick Cleveland Homes (1844-1915). Additionally, the portrait on the page next to Fred’s portrait is of a young child identified as “Charlie Homes,” and it is likely that this is Fred’s son Charles Ives Homes (1872-1939).

Parrish family members are well represented in this album, while other unidentified family members may also be portrayed in some of the loose photographs without captions. Likely family friends or acquaintances of the Parrishes whose portraits are present include George and Catherine Truman, James and Lucretia Mott, the Rev. Richard Newton, and Phillip Brooks, all of whom were active in the same abolitionist organizations as the Parrishes. The album also contains many images of admired religious, political, and cultural figures, including Quaker heroes George Fox and Elizabeth Fry; Civil War leaders Abraham Lincoln and Ulysses Grant; George and Martha Washington; social reformers Dorothea Dix and Anna E. Dickinson; actor Edwin Booth; and Queen Victoria and Prince Albert. A number of these images are photographic reproductions of painted, engraved, or lithographic portraits. Also present are four hand-colored photographs of Dutch women in traditional dress as well as photographic reproductions of popular sentimental genre scenes such as “The Unconvanience of Single Life.”

Of particular note are a series of photographs related to the Port Royal Experiment, an ambitious effort to provide education for freed slaves following the capture of islands off the coast of South Carolina by Union troops in 1861. Relief committees in the North raised money and sent volunteers to set up schools and other institutions. Among the most successful was the Penn School, established by Laura Matilda Towne with support from the Philadelphia Freedmen’s organization in which the Parrish family was actively involved. People and places are identified with ink captions on the photographs themselves in a hand that differs from other inscriptions in the album. Towne may possibly have compiled these images herself and sent them to supporters back home. This series of photographs includes seven images of Beaufort, South Carolina, (four of which were produced by Sam A. Cooley, photographer to the Tenth Army Corps) captioned “Beaufort Soldiers’ Chapel and Reading Room,” “Path to the river of Smith’s Plantation,” “Beaufort House / Where we Stopped, showing the Beaufort Hotel and nextdoor office of the Adams Express Company,” “Soldiers’ Graves,” “Gen. Saxton’s Headquarters,” “Father French’s House,” and “Our House.” Three cartes de visite produced by Hubbard & Mix show instructors Towne, Ellen Murray, and Harriet Murray respectively posing with freed black children. The photograph with Ellen Murray bears inscriptions identifying her students as “Peg Aiken” and “Little Gracie Chapin (one of Miss Murray’s brightest pupils).” A fourth Hubbard & Mix image captioned “I’m a freeman” shows an African-American man dressed in clothing made from rags and includes an album page inscription that reads: “Young Roslin says, ‘Now I’m free, I go to bed/ when I please I’se gits up/ when I please. In olden times/ I’se help gits de breakfast/ but no’se time to eats it myself/ Ha-ha-I’se happy boy now.” Also present are three cartes de visite produced by photographers based in Nashville, Tennessee, including one portrait by T. M. Schleier of an African-American woman with two children (one of whom has a much lighter complexion than the other) with the recto caption “Lights & Shadows of Southern Life” and verso caption “Aunt Martha and children/ Slaves/ Nashville, Tenn.,” as well as two other images by Morse’s Gallery of the Cumberland that show the same young African-American boy looking sad “Before the Proclamation” and then grinning broadly “After the Proclamation.”