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This collection contains the incoming and outgoing correspondence of Charlotte and Martha Wray, sisters who lived in Washington County, New York; Detroit, Michigan; and Iowa in the 19th century. The letters span Martha's time as a schoolteacher in Detroit, Michigan; Charlotte's work as a teacher in Albany, New York; and Charlotte's experiences in Iowa prior to the Civil War.

This collection contains approximately 110 letters, of which Charlotte Wray wrote about 90 to her sister Martha. Additionally, Martha and Mary Jane Wray each wrote 1 letter, and Charlotte and Martha Wray received about 18 letters from cousins and other family members. Charlotte's letters discuss her experience as a schoolteacher and her life in Albany, New York, and in Iowa, where she lived after the late 1840s. Charlotte's letters also include content on the arrival of new immigrants, her declining health, and her husband's medical practice during the Civil War.

The earliest items in the collection include a 1-page essay by Mary Jane Wray, Charlotte and Martha's sister, titled "of Solitude" and dated September 18, 1839, and a poem Charlotte wrote about her sister. The correspondence begins on May [15], 1842, with a letter from Martha about her arrival and teaching in Detroit. When Mary Jane traveled to Detroit in 1844, she wrote home about the birth and first weeks of her son Van (August 25, 1844).

Charlotte wrote approximately 20 letters to Martha after moving to Albany, New York, around October 1845, where she taught school. She gave news about her life and friends in Albany, such as her intent to turn down a marriage proposal (January 19, 1846) and student expenses at the New York State Normal School (March 15, 1846). In a later letter from Albany, written around the summer of 1846, she explained her reasons for leaving the school, based on the belief that she could earn more money sewing.

After June 22, 1847, Charlotte wrote approximately 70 letters to Martha describing her married life with Thomas. They moved to Garnavillo, Iowa, in the summer of 1847. She informed her sister about life in Iowa, including her travels, the experiences of other new immigrants, and her homes in Garnavillo, Farmersburg, and Monona. Charlotte also discussed married life and her husband's medical practice. She reflected on the Civil War in two letters, mentioning the draft, financial aspects of the war, and her husband's wartime medical practice (August 21, 1862, and February 1863). Following Charlotte's death around March 1863, Martha received 7 letters from her brother-in-law, who described Charlotte’s final sickness and death (March 31, 1863) and the devastating impact on the family.

This combination sketchbook and scrapbook belonged to J. F. Beyer, an immigrant from Germany who moved to Worcester, Massachusetts, sometime in the 19th century. The volume contains pencil sketches, pasted-in newspaper and other types of clippings, autographs and friendship-album-like entries in German (Kurrentschrift), French, and English.

This combination sketchbook and scrapbook belonged to J. F. Beyer, an immigrant from Germany who moved to Worcester, Massachusetts, sometime in the 19th century. The volume contains pencil sketches, pasted-in newspaper and other types of clippings, autographs and friendship-album like entries in German (Kurrentschrift), French, and English.

The newspaper clippings appear to be mostly from Worcester, Massachusetts, and contain a variety of topics ranging from social events to poetry, local news, and more. A clipping dated December 18, 1882, celebrates the Turn Verein Society's new hall, and another undated clipping describes a hot air balloon basket being woven by J. F. Byer for an upcoming marriage.

Much of the artwork within the volume is signed, and many signatures also feature the word "Basel." Of the two Stevengraph woven pieces, one is of the Pope (dated 1846) and one features a woman with the name "Halle.Hoffmann.Basel" at the bottom. Many of the sketches are of houses with trees or flowers nearby, and some are more pastoral in nature.

This combination sketchbook and scrapbook belonged to J. F. Beyer, an immigrant from Germany who moved to Worcester, Massachusetts, sometime in the 19th century. The volume contains pencil sketches, pasted-in newspaper and other types of clippings, autographs and friendship-album-like entries in German (Kurrentschrift), French, and English.

This combination sketchbook and scrapbook belonged to J. F. Beyer, an immigrant from Germany who moved to Worcester, Massachusetts, sometime in the 19th century. The volume contains pencil sketches, pasted-in newspaper and other types of clippings, autographs and friendship-album like entries in German (Kurrentschrift), French, and English.

The newspaper clippings appear to be mostly from Worcester, Massachusetts, and contain a variety of topics ranging from social events to poetry, local news, and more. A clipping dated December 18, 1882, celebrates the Turn Verein Society's new hall, and another undated clipping describes a hot air balloon basket being woven by J. F. Byer for an upcoming marriage.

Much of the artwork within the volume is signed, and many signatures also feature the word "Basel." Of the two Stevengraph woven pieces, one is of the Pope (dated 1846) and one features a woman with the name "Halle.Hoffmann.Basel" at the bottom. Many of the sketches are of houses with trees or flowers nearby, and some are more pastoral in nature.

These two volumes contain records of job seekers that hired the Keystone Employment Bureau of Philadelphia to connect them with opportunities. Proprietor Charles Bradley kept this documentation. Each entry contains one or more of the following types of information: source of the client, address or contact information, age, rudimentary physical description, personality, impression, job experience, type of requested work, type of work not wanted by individuals, desired wage, race, ethnicity, nationality, Christian affiliation, desired geographical location of the job, whether or not the client paid, and other remarks.

These two volumes contain records of job seekers that hired the Keystone Employment Bureau of Philadelphia to connect them with opportunities. Proprietor Charles Bradley kept this documentation. Each entry contains one or more of the following types of information: source of the client, address or contact information, age, rudimentary physical description, personality, impression, job experience, type of requested work, type of work not wanted by individuals, desired wage, race, ethnicity, nationality, Christian affiliation, desired geographical location of the job, whether or not the client paid, and other remarks.

Source of Client: Rarely, Bradley would note the names of persons or institutions (like the Christian Association) who referred the job seeker to him or whether they saw his advertising. Some women appear to have been homeless and others specifically noted that they came from foster homes. Each entry includes an address or means of contacting the client.

Women's Age, Physical Descriptions, Personality/Impressions: Terms used by Bradley include young, not young, middle age, oldish, steady, splendid, nice looking, fair haired, tall, settled, green horn, experienced, competent, reliable, willing, good, extra good, affable, strong, stout, neat, tidy, and more.

Men's Age, Physical Descriptions, Personality/Impressions: Terms used by Bradley include young, neat, strong, tall, athletic, willing, honest looking, smooth faced, and others.

Job Experience: Bradley would add "exper" (experienced) to many entries, but occasionally specified the individual's type of work background. Some examples include florist, farmer, cook, "can cook anything that ever was cooked," hotel, dressmaker, gardener, horse tending, mill worker, "handy with tools," cafe, one "Fresco Painter," and others. At times, he also noted if the job seeker had references.

Women's Types of Work Requested: "G.H.W." (general housework), cook, kitchen helper, waitress, chambermaid, "anything useful," "work of any kind," "Institution work," child's nurse or attendant, renting rooms, hotel, linen rooms, laundry, washing, ironing, milk dealer employee, restaurant, "1st class place," "housekeeping for a widower," shoe store, and others.

Men's Types of Work Requested: Bartender, "waiterman," "elevator," coachman, watchman, and gate tender.

Types of Work Not Wanted by Individuals: Examples include "no washing," "not too heavy work," "housework where there is no washing or ironing," "anything but head cook," and "anything except waiterman cooking or milking."

Wages: Rarely, applicants stated the wages they hoped to receive. For women, the ranges mentioned were between $2.00 and $5.00 per week; for men, the ranges were $7.00 to $10.00 per week.

Race, Ethnicity, Nationality: Terms used by Bradley include colored/col'd, German, Pennsylvania Dutch, Irish, Swedish, Polish, Scotch, English, and "American."

Christian Affiliation: Bradley frequently noted "Prot" (Protestant) or "Cath" (Catholic) as part of the descriptions of persons seeking employment.

Desired Geographical Situations: The various locations desired by clients included country, city, seashore, mountains, Atlantic City, "prefer city," "would go out on a farm," "no objection to country," "small farm," "not out of town," and others.

Additional Notes: Other qualifications, desires, and remarks include notes such as "speaks good English," "speaks German," wants to be able to go home at night, wants Sunday's off, "has sore finger," "deaf" (May 27, 1898), wants to work for "American women," marital status, child dependents, one married woman with her husband out of work, and more.

This nineteenth-century album contains 46 once-bound pen-and-ink caricatures on heavy card stock, each card with or formerly with metal eyelets on one short edge. A pencil inscription at the back of the volume reads, "Mr. Albert L. Briggs, Providence, RI," and internal references to Providence, Rhode Island, further suggests that either Briggs or another local resident may have produced the artwork. The figures represented in the volume vary widely and some are more sympathetic or more disparaging than others. The illustrator relied heavily on exaggerated features, stereotypes, and jokes directed at people's physical appearance to provide social commentary especially on race, ethnicity, gender, and class.

This nineteenth-century album contains 46 once-bound pen-and-ink caricatures on heavy card stock, each card with or formerly with metal eyelets on one short edge. A pencil inscription at the back of the volume reads, "Mr. Albert L. Briggs, Providence, RI," and internal references to Providence, Rhode Island, further suggests that either Briggs or another local resident may have produced the artwork. The figures represented in the volume vary widely and some are more sympathetic or more disparaging than others. The illustrator relied heavily on exaggerated features, stereotypes, and jokes directed at people's physical appearance to provide especially social commentary on race, ethnicity, gender, and class.

At least seven of the illustrations relate to women, including drawings referring to women's rights and various women's roles as mothers, performers, physicians, and cooks. One, labelled "What is home without a mother," may be a reference to a song by the same name published in 1854, and it features a woman with a monstrous face. Another titled "HANNAH LONG" depicts a woman peddling "Quaker Bitters" (probably the Providence, Rhode Island, patent medicine by that name) and may be referring to Hannah Longshore (1819-1901), who graduated from the first class of the Women's Medical College of Pennsylvania in 1851.

Many of the caricatures focus on impoverished or working class people, showing individuals in tattered clothing or in lower-paying professions such as a farmer, a shoeshine, and a seeming gravedigger. A number of illustrations depict men in various stages of intoxication or alcoholism. Forms of social disorder are highlighted in caricatures of a convict and of a knife-wielding murderer labelled "THE MAN THAT KILLED JOHN GILPIN." Commentary on physical and mental disability are also represented, in drawings of a mentally ill man labelled "Luny" and a man with unaligned eyes and feet labelled "On exhibition."

Other caricatures reflect racial, ethnic, and religious stereotypes. Two racist caricatures depict African Americans, including one of a Black Congressman and one of an Uncle Remus character. Another caricature depicts a recent immigrant, while two are anti-Semitic (those labeled "The Torturer" and "NAME IT"). Two figures depict high religious figures, from Catholic or Orthodox Christian churches; one wears a robe, a fur-brimmed mitre, and snowshoes. The word "KAMSCHASA" is written near the bottom of the robe, likely referring to the Kamchatka peninsula in Russia.

Other caricatures highlight people based on their height, weight, profession (such as a king, a knight, an editor, a lecturer), or social posturing. For example, attitudes like dignity, contentment, nosiness, and bashfulness are spotlighted. Others appear more innocuous, such as illustrations of someone reading the morning newspaper and another of someone taking "Rush's Pills," but underlying subtexts for many of the images likely have additional meaning.

Branch of the YMCA; Annual reports, clippings, correspondence, financial records, minutes of meetings, photographs, press releases, published materials, rosters, and scrapbooks; also includes collected branch records for the Railroad branch, 1877-1890, and the Downtown branch, 1890-1909; and publication, Detroit Young Men, 1911-1922.

The records of the Metropolitan Offices of the YMCA of Metropolitan Detroit consist of annual reports, correspondence, financial materials, minutes (Secretary's records), photographs, published brochures and pamphlets, and scrapbooks. The materials document, somewhat unevenly, the efforts of the YMCA to tend to the spiritual, physical, and social needs of the young men in Detroit. The strengths of this record group are in its minutes (Secretary's records) and photographs, each of which provides detailed and telling insight into the development of Detroit and the YMCA from the nineteenth century to 2006. The scrapbooks created by the YMCA, 1936-1973, are also of interest in that they accurately reflect all newspaper coverage of YMCA events and activities for this decade.

The records have been arranged in four series: Administration, Secretary's Records, Visual Materials, and Scrapbooks.