Search

The Gerald T. and Charlotte B. Maxson printed ephemera collection contains over 5,000 pieces of assorted ephemera, the majority of which were commercially printed in the United States during the mid to late 19th-century.

The Gerald T. and Charlotte B. Maxson printed ephemera collection contains over 5,000 pieces of assorted ephemera, the majority of which were commercially printed in the United States during the mid to late 19th-century.

The Maxson collection provides a valuable resource for the study of 19th-century visual culture, commercial advertising, and humor in addition to the role of gender, ethnicity, and race in advertising. American businesses are the predominant focus of the collection, though many international businesses are also represented. While trade cards are by far the most prevalent type of ephemera found in this collection, an extensive array of genres are present including die cut scrapbook pieces, photographs, engravings, maps, serials, and manuscript materials.

The 23 binders that house the Maxson collection were arranged by the collectors themselves. Items are organized somewhat randomly in terms of topical arrangement. While pockets of related materials can be found here and there (for instance, the entirety of Volume 16 contains circus-related items while Volume 11 contains an extensive number of Shaker-related materials), for the most part any given subject may appear in any given volume. In some cases, items are clustered as a result of having been acquired together or due to a documented common provenance. Occasional typed annotations written by the Maxsons help provide additional context for certain items.

The Maxson Collection Subject Index serves as a volume-level subject index for materials found throughout the binders. The subjects indexed here are generally representative of both visual and commercial content. In addition to more general subjects, many names of specific people, places, buildings, events, and organizations that appear in the materials have also been listed. Researchers engaging with this collection should be aware that they will encounter numerous examples of racist caricatures, especially ones depicting African American, Native American, Irish, and Chinese people.

Marion Shipley compiled this volume while a pre-adolescent and teenager in Portsmouth, New Hampshire. She made collages and colored pencil drawings of domestic scenes, exteriors of residences and gardens, animals, and more. The volume also includes diary entries relating to her social life, humor, and experiences at a school at or near the Naval Academy in Portsmouth. She wrote about getting in trouble in class, passing notes, and flirtatious or romantic relationships. Shipley also pasted and laid in correspondence sent to her by young men courting her, and she added brief comments in the volume speaking to her current romantic interests. Several newspaper clippings also feature male actors and royalty, providing additional information about teenage romantic exploration.

Marion Shipley compiled this volume while a pre-adolescent and teenager in Portsmouth, New Hampshire. She made collages and colored pencil drawings of domestic scenes, exteriors of residences and gardens, animals, and more. The volume also includes diary entries relating to her social life, humor, and experiences at a school at or near the Naval Academy in Portsmouth. She wrote about getting in trouble in class, passing notes, and flirtatious or romantic relationships. Shipley also pasted and laid in correspondence sent to her by young men courting her, and she added brief comments in the volume speaking to her current romantic interests. Several newspaper clippings also feature male actors and royalty, providing additional information about teenage romantic exploration.

The first page is inscribed "Marion Shipley's Picture Book. Naval Academy, November 1898," and is followed by a section of drawings and collaged scenes. The collages include colored pencil drawings of the exterior of residences and gardens; a river scene with boats, bridges, and monuments; a church; a tent (an exhibition tent?); a circus; a kitchen; and living rooms. These have printed clippings of animals, furniture, boats, women and children, crowds, circus entertainers, cars and wagons, and vegetation pasted in. One loose page tipped into the volume is titled "THE FAMILY NEXT DOOR!!!" and features clippings of young children crying, swearing, and being spanked, with added pencil annotations. Other pages are filled with colored pencil drawings of birds and animals, a fishing boat, a horse-drawn vehicle, buildings, a decorated tree, and faces.

Shipley also documented the social life of adolescent boys and girls in her circle, in particular their play at school and their emerging romantic interests. Page 35 is dated June 1, 1907, and is labelled "PRIVET. NO TRESPASSING. ALL RIGHTS RESERED [sic]. For Spelling & Writing." It is followed by a diary entry dated June 7, 1907, describing Shipley's day at school, where she commented on having a substitute teacher, getting in trouble, disliking spelling, and drawing pictures of each other's backs and passing it in the class. The passed note is laid into the volume, featuring six pencil drawings of the back of girls' heads to show their hairstyles, each identified by the girl's names and age. One is of Shipley. She used rebus drawings and numerical substitutes to replace foul language (e.g. "7734" for "Hell"). On page 39, Shipley recorded her favorite expression of 1907, "23 SKIDOO & STUNG," and noted students in her school passing slips pairing boys and girls who apparently liked each other. She claimed to not "like any of the boys in the whole school" of about 400 students. This is followed by two columns of names, one for boys and the other for girls.

Shipley included a number of love letters sent to her. On pages 37 and 38 she affixed five letters (by pasting in the envelopes) from Ralph Dana, sent during his stay at the Hawthorne Inn of Gloucester, Massachusetts, from July to September, 1906. He wrote of local entertainments, engagements with friends, his romantic interest in her, guarded concerns about her activities and who she was spending time with, and his suspicion that she did not reciprocate his feelings. Shipley wrote beneath the letters: "These are some letters I got from who was my best fellow. He is not now. My letter were just as bad to his as his were to me. Now I just love H. S. C. (His picture is in the back of my watch) & have every since June of 1907 & this is Jan. 1908." Shipley also laid in nine pieces of correspondence from a suitor named John, mostly dated from early February 1908. They profess his love for her, ask if she loves him, and request kisses. One is on a piece of paper cut in the shape of a heart, and three others include hearts and arrows painted in gold metallic paint. One letter signed "Fred" is addressed to "K," expressing excitement about her upcoming visit and requesting a photo of a beautiful girl. A doily and a page from a calendar with a quote from the Merchant of Venice is also tipped into the volume.

The final diary entry is written on page 41, where Shipley notes attending Hamlet, which she mentioned liking almost as much as Peter Pan. Elsewhere in the volume, Shipley tipped in newspaper clippings of the actor E. H. Sothern and Dom Manuel II, King of Portugal.

Photographs (positive and negative), slides, and transparencies taken by the company's photographers to document company activities, products, services, employees at work and at leisure, company exhibits and commemorations, and the response of the company to natural disasters and civil disturbances.

In 1993, Michigan Bell as a corporate entity was subsumed within the Ameritech Corporation. As a by-product of this reorganization and the downsizing resulting from it, the company agreed to deposit with the Bentley Historical Library its extensive archive of photographic images. Totalling approximately one million images, the Michigan Bell Telephone Company photo archive consists of negatives, copy prints, and color transparencies taken in the period since World War II (the bulk beginning in 1949). The collection does not include photos taken since 1983; interspersed throughout, however, are numerous images from before 1949.

The collection has been maintained in the order received with two principal series: Positives and Negatives.

The content of the photographs in the two series varies considerably. Naturally the collection documents the products of the company (phones and other communication devices) and the services provided (e.g. employees at work or the company reacting to a specific customer need). These photos were taken both to inform the general public as accompaniment to press notices and advertising copy and as a communications vehicle within the company, informing employees through the company news publication, Tielines, of activities going on in other divisions of the company or among the various regional Bell offices.

More importantly perhaps, the collection has value for its documentation of events and activities that are common to all large companies. These include images relating to: 1. The activities of employees within the corporation at their work (office workers, repairmen, operators, various support personnel, managers, etc.); 2. The activities of employees outside their work routine as members of corporate social groups (i.e., the company baseball or ice hockey team), at home engaged in leisure time activities, or involved in company-sponsored charitable or public service functions; and 3. Commemorations of specific milestones or events (company parade floats, area office open houses, corporate displays at public events such as fairs, etc.).

In addition, the collection documents the extraordinary and unforeseen as the phone company reacts to events and emergencies not within its control (floods, tornadoes, fires, the 1967 Detroit riot, strikes, and the like) or as a participant in history-making events (the announcement in Ann Arbor of the success of the Salk polio vaccine or the preparation involved in the 1980 Republican National Convention that convened in Detroit).

The collection consists of hand-made sketchbooks and loose sheets of paper featuring drawings likely made by children Edith, Jennie, and Theodore Pond while residing in Syria (present-day Lebanon) with their missionary parents, Theodore S. Pond and Julia Pond. Prominent imagery depicted includes domestic scenes, women and children at work and play, and women tending to the sick. The Ponds rarely specified locations in their drawings, and while they may have been generic or imagined scenes some may have been made to reflect the Pond family's residence or experience while in Syria (present-day Lebanon).

The collection consists of hand-made sketchbooks and loose sheets of paper featuring drawings likely made by children Edith, Jennie, and Theodore Pond while residing in Syria (present-day Lebanon) with their missionary parents, Theodore S. Pond and Julia Pond. Prominent imagery depicted includes domestic scenes, women and children at work and play, and women tending to the sick. The Ponds rarely specified locations in their drawings, and while they may have been generic or imagined scenes some may have been made to reflect the Pond family's residence or experience while in Syria (present-day Lebanon).

The bulk of the drawings were done in pencil, but several were made using pen and ink, pen and wash, and pastels. A large portion of the images depict interior domestic scenes of women and young girls reading, sewing, dining, visiting, sleeping, and at play with toys in parlors, living rooms, and bedrooms. These drawings include details like clothing, accessories, furniture, and decorations. Several show women wearing the Christian cross as jewelry, head coverings or veils, and chopines (a platformed shoe), possibly representing adherents of the Eastern Orthodox Church. Several of the drawings feature women at work doing tasks like cooking, sewing, washing dishes or floors, sweeping, gardening, tending to the ill, or bathing children. Older women are represented alongside middle-aged women, young girls, and infants. Adult men and young boys appear occasionally in the scenes.

Several illustrations appear to show women laboring as domestic servants, and at least four of these images represent dark-skinned women. One additional drawing shows a family scene with three dark-skinned women knitting or resting in a hammock.

Outdoor scenes are also represented, showing women and children walking and travelling in the streets, playing games, visiting the beach, riding horses, shopping, sleighing, or picking fruit. One drawing depicts a family standing beside a sphinx with pyramids in the background. Other locales outside of the home are also featured, including a store, a church, a theater, a photographer's studio, and possibly a school.

Miscellaneous other topics were drawn, such as angels, Grecian women, a dream, a centaur statue, a shield with an American crest, and two singing girls who appear to be impoverished.

Only two of the drawings were signed, both landscapes by Theodore H. Pond, one dated 1882 shows a building in the countryside and the other depicts a village street scene leading towards a church. Two other unsigned landscapes are also present, one labelled "St. Augustines Canterbury." Two other illustrations -- one a portrait of a young woman and the other an interior scene with four children blowing bubbles-- have the name "Edith" inscribed with ink on the verso. Several of the drawings were labelled by a child in block letters. One of the drawings was made on a sheet of paper that had previously been used to write notes on the Letters of Paul.

The drawings were enclosed in an Upsala College envelope labeled: "'Drawings of Edith & Elsie Pond when they were little girls in Syria.' (Be Sure To Save These)"