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Edith A. Moore Frost's commonplace book includes material dating from 1860 to 1893, with signatures, poetry, and comments predominantly written by her classmates and teachers from Ashland High School in Ashland, Massachusetts, and the Massachusetts State Normal School in Framingham, Massachusetts. Acquaintances in Kansas wrote additional entries in the 1880s. Thirty-two photographs of signatories are pasted or tipped into the volume, along with other materials like a fabric swatch with a hair clipping attached, embellished paper, and a pressed leaf.

Edith A. Moore Frost's commonplace book includes material dating from 1860 to 1893, with signatures, poetry, and comments predominantly written by her classmates and teachers from Ashland High School in Ashland, Massachusetts, and the Massachusetts State Normal School in Framingham, Massachusetts. Some entries include notations written in another hand, primarily indicating if someone was a teacher. Acquaintances in Kansas contributed additional entries in the 1880s.

Many persons signing the album added elements to their entries, such as poems, proverbs, comments, and drawings. Twenty-seven photographs of women were pasted into the volume alongside their signatures, with an additional five photographs enclosed in a letter written by Mrs. E. A. Husey to Mrs. F. W. Frost in 1893 (concerning classmates from the State Normal School). The volume includes various other materials tipped or pasted in, such as a fabric swatch with an attached hair clipping, embellished paper, and a pressed leaf.

Edith A. Moore Frost first inscribed the volume on December 25, 1860, indicating this "Forget Me Not Album," which features engraved illustrations of women, may have been given to her as a Christmas gift. She later wrote, beneath a photograph of herself, "Edith A. Frost. Class of 1868. Mass. State Normal School. Framingham Mass. Pictures of graduating Class 1868."

Laura L. Earl's friendship album includes material dating from 1860 to 1932, documenting her relationships across several geographic regions. Entries include poems, signatures, quotations, brief comments, and drawings of calling cards with signatures added. The volume includes engraved illustrations, several entries that feature artistic elements, and miscellaneous tipped in materials.

Laura L. Earl's friendship album includes material dating from 1860 to 1932, documenting her relationships across several geographic regions. Entries include poems, signatures, quotations, brief comments, and drawings of calling cards with signatures added. Additional visual materials include a negative image of a leaf made by splattering ink, a watercolor painting of flowers, and a calligraphic rendering of Laura Earl's name. Places linked to writers include states such as Wisconsin, Iowa, Minnesota, Colorado, Missouri, New York, Illinois, Ohio, Kansas, Nebraska, Massachusetts, and Oklahoma. Later entries refer to Laura by her married name, Laura E. Nethers.

Laura L. Earl pasted or tipped in various materials to the volume, including printed poems, calling cards, newspaper clippings, leaves, a scrap of fabric, an advertising blotter, a printed set of four images with Biblical passages, a notice for Mrs. D. E. Denman's funeral services in 1928, and Laura (Earl) Nethers' newspaper obituary from 1932. One calling card is from Laura L. Earl, and includes a photograph of her affixed to it. One clipped newspaper or magazine image shows two white men seated at a table with an African American man serving beverages.

"Pensez A Moi" is printed on the front cover. "Laura L. Earl" is stamped on the front flyleaf, as well as a pencil inscription, "1860. A Christmas Gift from my father, Covington, Ky."

• Modesty and Vanity
• Pensez A Moi
• The Departure
• Fatal Signal
• The Balsille. Eng'd for this Work
• Little Rogues in Trouble

Between 1850 and 1853 Maria Marsh collected over one hundred hair samples from friends and family. She affixed them to the pages of this handmade album with pieces of fabric or paper, including decorative papers with metallic finishes, some cut into the shapes of hearts. The hair samples are predominantly identified with a number, the name of the individual, and the place of their residence. While the bulk of the entries are from people living in various places in New York state, several from Pennsylvania, Massachusetts, New Jersey, and Michigan are also present. Most of the hair samples are arranged in simple loops, but some are shaped in ornamental hairwork styles. Various shades of hair color are represented, include blonde, brunette, and one red. One entry is for an unnamed infant who died at four months old, and whose hair was too short to be able to loop or work. Some entries include brief lines of verse relating to remembrance.

Between 1850 and 1853 Maria Marsh collected over one hundred hair samples from friends and family. She affixed them to the pages of this handmade album with pieces of fabric or paper, including decorative papers with metallic finishes, some cut into the shapes of hearts. The hair samples are predominantly identified with a number, the name of the individual, and the place of their residence. Pages sometimes include multiple members of the same family. While the bulk of the entries are from people living in various places in New York state, several from Pennsylvania, Massachusetts, New Jersey, and Michigan are also present. Most frequently named places include Otisco, Beakman, and Williamsburg. Some entries for Otisco specify it as Otisco, Michigan, but it is possible some are also from Otisco, New York.

Most of the hair samples are arranged in simple loops, but some are shaped in ornamental hairwork styles. Various shades of hair color are represented, include blonde, brunette, and one red. One entry is for an unnamed infant who died at four months old, and whose hair was too short to be able to loop or work. Some entries include brief lines of verse relating to remembrance.

The volume's covers were crafted out of Thomas Tillotson Superior Cutlery display boards, with small holes where the tableware was originally affixed.

Between 1850 and 1853 Maria Marsh collected over one hundred hair samples from friends and family. She affixed them to the pages of this handmade album with pieces of fabric or paper, including decorative papers with metallic finishes, some cut into the shapes of hearts. The hair samples are predominantly identified with a number, the name of the individual, and the place of their residence. While the bulk of the entries are from people living in various places in New York state, several from Pennsylvania, Massachusetts, New Jersey, and Michigan are also present. Most of the hair samples are arranged in simple loops, but some are shaped in ornamental hairwork styles. Various shades of hair color are represented, include blonde, brunette, and one red. One entry is for an unnamed infant who died at four months old, and whose hair was too short to be able to loop or work. Some entries include brief lines of verse relating to remembrance.

Between 1850 and 1853 Maria Marsh collected over one hundred hair samples from friends and family. She affixed them to the pages of this handmade album with pieces of fabric or paper, including decorative papers with metallic finishes, some cut into the shapes of hearts. The hair samples are predominantly identified with a number, the name of the individual, and the place of their residence. Pages sometimes include multiple members of the same family. While the bulk of the entries are from people living in various places in New York state, several from Pennsylvania, Massachusetts, New Jersey, and Michigan are also present. Most frequently named places include Otisco, Beakman, and Williamsburg. Some entries for Otisco specify it as Otisco, Michigan, but it is possible some are also from Otisco, New York.

Most of the hair samples are arranged in simple loops, but some are shaped in ornamental hairwork styles. Various shades of hair color are represented, include blonde, brunette, and one red. One entry is for an unnamed infant who died at four months old, and whose hair was too short to be able to loop or work. Some entries include brief lines of verse relating to remembrance.

The volume's covers were crafted out of Thomas Tillotson Superior Cutlery display boards, with small holes where the tableware was originally affixed.

The Polly C. Bishop Mansfield Collection contains poetry and sewing produced by Mansfield while a young woman during the mid-nineteenth century. Four poems entitled "Remembrance," "Nevermore," "Friendship," and "Persevere" are written on both sides of a slim sheet of paper. Mansfield hand-sewed a stuffed fabric fish, drawing scales, gills, and eyes on it with ink. The fish is affixed with thread to a manuscript note that reads, "Sarah Heaton Stiles and Polly Bishop Mansfield had a bet on and Polly was to give Sarah a shad, in payment. And she (Polly) made this shad, perhaps about 1850-2. They were young women."

The Polly C. Bishop Mansfield Collection contains poetry and sewing produced by Mansfield while a young woman during the mid-nineteenth century. Four poems entitled "Remembrance," "Nevermore," "Friendship," and "Persevere" are written on both sides of a slim sheet of paper. Mansfield hand-sewed a stuffed fabric fish, drawing scales, gills, and eyes on it with ink. The fish is affixed with thread to a manuscript note that reads, "Sarah Heaton Stiles and Polly Bishop Mansfield had a bet on and Polly was to give Sarah a shad, in payment. And she (Polly) made this shad, perhaps about 1850-2. They were young women."