Collections

This collection is made up of legal documents and memorandums pertaining to the chain of ownership of a 2,000 acre property. The tract was a part of the land allegedly granted to Jonathan Carver from the Naudowessie Indians during his 1766-1768 journey to present-day Wisconsin and Minnesota.

This collection (6 items) consists of legal documents and memorandums pertaining to the chain of ownership of a 2,000 acre property. The tract was a part of the land allegedly granted to Jonathan Carver from the Naudowessie Indians during his 1766-1768 journey to present-day Wisconsin and Minnesota.

The first 2 partially printed documents, numbered 188 and 189 and signed by John C. Fox, Simeon Avery, and Ezekiel Webb, each grant 1,000 acres of the Carver land to the bearer (February 6, 1796). The third item is an indenture to transfer the land from Benoni Adams to James W. Howard, both of New York City (September 12, 1796). In a document dated November 8, 1836, Seth Whalen of Milton, New York, granted Isaac Nash power of attorney for dealing with the same property. The final 2 items are manuscript memorandums listing the chain of ownership of these 2,000 acres and binding a group of Vermont residents to the Carver heirs for the sum of $200,000. The first memorandum includes small drawings of the tortoise and snake totems of the Naudowessie chiefs who allegedly granted the lands to Jonathan Carver.

The City and country life photograph album contains approximately 70 photographs primarily showing the city and country residences of an unidentified wealthy family.

The City and country life photograph album contains approximately 70 photographs primarily showing the city and country residences of an unidentified wealthy family.

The album (21 x 27 cm) is half bound in black leather and has a detached front cover.

City scenes include views of townhouses on a city block in winter; a woman entering a carriage beyond a decorative wrought iron fence; a well-dressed couple in a two-wheeled carriage; an infant in a wicker baby buggy; a housekeeper or servant standing at a side door; and women and a young girl standing on a city street in elegant winter capes, muffs and hats. One woman stands on a snowy sidewalk holding a Kodak Brownie camera in her gloved hands. Five photographs show well-furnished formal interiors.

Rural scenes include views of a log house on a wooded lake whose well-furnished interior includes bookshelves, Native American baskets and textiles, snowshoes, a wolfskin rug, a desk, a chaise, and a piano. Men and women are shown with guns and gamebirds, fishing from a dock and in a rowboat, and partaking in an elaborate outdoor tea party. One photograph shows a Native American man sitting on the cabin steps. Nature views include images of logs in a flooded river, streams, a small wooded island, and a spotted fawn.

The Cross-Country photograph album contains photographs taken in various locations throughout the United States, including travel photographs of scenery and buildings in Washington, Colorado, Louisiana, and Massachusetts, among other states, and family photographs taken in New Hampshire, Massachusetts, and elsewhere.

The Cross-Country photograph album (26cm x 32cm, 59 pages) contains around 340 photographs taken throughout the United States between 1896 and 1907, including 15 cyanotypes and 10 panoramas. The items represent numerous printing processes in a variety of sizes. Some have captions, often providing information about the place and the date. Several reference the Gill family. The album has the title "Photographs" printed in gold on its front cover and its pages are bound with a thick string.

Many of the photographs are casual group portraits of men, women, children, and family dogs taken outdoors, often in front of large houses and cottages; some of the same individuals are present in multiple pictures. Included are a portrait of an African American woman holding a Caucasian infant (p. 1), two young boys in dress military uniforms with a collection of toy soldiers (p. 3), and a wedding party (p. 46). Some men and women are pictured golfing at Bass Rocks in Gloucester, Massachusetts. Most of the remaining images are views of landscapes, city streets, buildings, and natural scenery in locations such as Spokane, Washington; Tacoma, Washington; Lake Coeur d'Alene, Idaho; Pikes Peak, Colorado; New Orleans, Louisiana; Hampton, New Hampshire; Boston, Massachusetts; Gloucester, Massachusetts; Beacon Falls, Connecticut; and Washington, D.C. Included are a small number of commercial photographs of the area around Pikes Peak in Colorado including views by William H. Jackson. City views often feature prominent buildings and other landmarks. Other photographs show the rocky coast of New England, harbors, sailing vessels of various sizes, and large homes. Of note are a group portrait of Spokane Native Americans (p.14); views of the Tacoma waterfront (p.15); the New England coast, with aspects of the Gloucester fishing industry including a view of salted cod laid out to dry (p.24-29); pictures of Victorian home interiors (p. 20, 34, 47, 55, 56); and panoramic landscape views taken near Spokane (p. 47, 48). The album includes one print and a hand-colored collotype of the home of Senator George Turner in Spokane, Washington (inside front cover).

The Grenfell, Saskatchewan snapshot album (22.25 x 15.25 cm) contains 26 unidentified snapshot photographs and 1 index sheet. The contents are of landscapes, First Nations people and their campsites, village buildings, livestock, townspeople, and a locomotive.

The Grenfell, Saskatchewan snapshot album (22.25 x 15.25 cm) contains 26 snapshots and 1 index sheet. The title printed on the front cover reads "Scenes by the Way." The contents are of landscapes, First Nations people and their campsites, village buildings, livestock, townspeople, and a locomotive. A note written on the inside front cover indicates that this was a Christmas gift to a cousin, and a note below this includes information about the Grenfell railroad station. An index of captions is loose in an envelope within the album. The identified subjects in the album are referred to by their first names.

This scrapbook includes clipped articles and images, original drawings, and written entries within the pages of a 1850s blankbook of receipts. Contextual clues indicate that individual(s) added to the volume at later dates, pasting clippings over used pages, and internal evidence suggests at least one compiler may have lived in Maine. Original drawings primarily center on themes of violent encounters between scouts and Native Americans, romantic entanglements, and conflict. Sometimes illustrated newspaper and magazine clippings are pasted throughout the volume, many relating to themes of marriage, love, women, family, and memory. Several pages were used to copy a portion of an undated letter, an essay, and a manuscript poem.

The individual(s) who created this scrapbook pasted items, drew scenes, and wrote entries within the pages of a 1850s blankbook of receipts, seemingly created for use by a Boston shipping or exportation company. Contextual clues indicate that persons added to the volume at later dates, pasting clippings over used pages, and internal evidence suggests at least one compiler may have lived in Maine.

Penmanship exercises and short notes are written on many of the pages, either where no additional content has been added or where clippings have been pasted on top. The names James Randall Reeves and Orren Cunningham appear on some of these pages, as well as place names of Bennington and Windsor, Maine, possibly indicating one of the early owners of the volume. The handwriting appears to match the text that accompanies the original illustrations.

Original drawings made using pencil, colored pencil, and ink can be found throughout the volume, sometimes with dates added, ranging from 1863 to 1869. Remnants of clippings that had previously been affixed to the page indicate that an owner of the volume must have pasted items into the scrapbook at a later date than the drawings were originally produced. Many of the images depict scenes of conflict or relate to two fictional characters, Hezekiah and Ezekiel. The two men appear to be scouts, and the images depict their encounters with villains, Native Americans, and a love interest, Flora. Violence, unrequited love, and emotional disappointment are central themes, and the concept of a "gas of hope" that spontaneously streams from Ezekial's head appears several times when the character experiences excitement or distress.

• Page 1: "Back Villains for your lives, says Peter, or you shall all die at the break of day by Cats." At the base of the page: "Indifference.". The illustration shows a man carrying a revolver in one hand while a woman holds his other arm. She extends an arm out behind her towards two men following them, one with a darker complexion and a machete raised over his head and the other pointing a musket at them.
• Page 3: "As the Villains again leaped against the door, an arm was thrust through the broken hand, and a voice cried out." The illustration is a nighttime scene with three men with a battering ram striking at a closed door of a house, where a man points a pistol out of an opening at them.
• Page 6: "Rescued from fire..." (the text is partially obscured by remnants of a newspaper clipping). The drawing depicts a firefighter descending a ladder from second story that is ablaze, holding a woman in his arm.
• Page 8: "...burly scout. A Sioux Chief captured" (the text is largely obscured by affixed clippings). The drawing shows a mustachioed man in military garb, a fur hat, and a cape who is holding a knife covered in blood. He is grabbing the arm of a Native American man who has dropped his knife and who is bleeding from a wound in his arm. Two ink drawings of insects (a beetle and a dragonfly) are pasted on the page.
• Page 10: "Perrilous adventure of Hezekiah the Scout, under cover of the darkness at the haunted schoolhouse." The image is a nighttime scene of a small building with a man climbing through a window. Another man runs behind him saying, "stop villain stop."
• Page 12: "The fate of Hezekiahs beaver is inevitable" and "Wonderful adventure of the Scout, Hezekiah cries out with a loud voice Ezekiel come here, help me bind these knaves." The drawing is of a bare-chested man in a green hat, holding two Native American men by the throat, one in each hand. A pencil marking indicates the year 1865.
• Page 16: "...The robber of the Rhine" (at least one additional word is partially obscured). The drawing depicts a balding man smoking a long pipe, wearing a musket on his back, and holding a bloody sword in front of him. A pencil marking indicates the year 1866.
• Page 18: "Death of Heavy [?]" and "Desperate adventure of Hezekiah, Slatt down in Kintuck..." The image is of a shirtless man (with a green hat) facing off with a Native American man, the former wielding his musket overhead and the latter his tomahawk each to strike the other. They stand over three dead or dying Native American men.
• Page 21: "Ezekial, & he knows who, on sunday eve, at the schoolhouse coming from meeting, by cats." The drawing depicts a man kneeling beside a seated woman who is holding a handkerchief or piece of cloth. One of his hands is on her shoulder, the other holds one of her hands. Another man lies face down in the corner.
• Page 24: "Weep stricken one your sorrows will have an end." Text at the bottom of the page is largely obscured by clippings, but "Ezekiel" and "Flora" are both visible. The drawing shows an upset man with mussed hair and arms akimbo, holding a handkerchief. One of the clippings over the man's head is "FIRST LOVE." A pencil marking indicates the year 1866.
• Page 26: "A streak of hope for Ezekial." The drawing shows a smiling man wearing a yellow hat that is releasing a stream of green gas, labelled "gas of hope."
• Page 27: "weep on str[i]cken one thy sorrows shall never end." The image depicts two men standing before a small grave with headstone reading "Dead Hope." Ezekiel, wearing a yellow hat from which "gas" spews, points down to the grave, saying, "What Have You Buried There Hezekiah." Hezekiah, barefoot, wearing a green hat and ragged pants, and holding a shovel, replies, "A. Dead Hope. I. Thought. She. Loved Me. But. She Did. Not Oh. Dear. What. Shall. I. Do Boo Hoo Boo Hoo." The illustration is marked in ink: "Drawn by Ezekiel himself in 1867."
• Page 30: "N.E. View of the royal oak of Shag Town, May 2d 1867." The drawing is a landscape featuring a large barren tree with a wooden plank/case/contraption and musket leaning against it. A sun smiles in the sky.
• Page 32: "View of Mud Pond, & Poccihog Hill, Sketched on the eastern rock, At half past three O'Clock." A landscape drawing shows a lake and a heavily wooded hillside. A smiling sun is in the sky and a person rows a boat on the lake.
• Page 36: Portrait of a bearded man in military uniform, with blue and gold epaulettes.
• Page 38: "A sorrowful meeting of the two scouts, Dialogue. Ezekial - 'Oh the letter, the letter, she loves me not.' Hezekiah - "Weep not Bro Scout, I pronounce it a forgery, by cats." The image is of two men wearing hats, muskets, and powder horns. One holds a slain animal in his hand, and the other cries while holding a letter and gas spews from his hat.
• Page 40: "Tallow plenty, or courting by candle-light, Stebbins telling Flora about his farm, out west." The drawing is an interior scene of a room with wallpaper, curtains, chairs, and a table. A man and woman embrace while holding candles, and additional candles are located on the table, chair, and floor.
• Page 44: Text at the top of the page is partially obscured but reads in part, "Bachelor . . . the famous scout," while additional text at the bottom reads "The inocent subject of my contempt by day, and my dreams by night." The drawing is a portrait of a man in a rumpled green hat, shirt, and suspenders, likely representing Hezekiah. A printed, pasted-on caption reads "THE GHOST OF OAK GROVE."
• Page 46: The letters "P.L.L." appear at the top of the page, and the note "Signed in the first degree, P.L.L." appears beside a highly stereotyped pencil portrait of an African American man.
• Page 48: Portrait of a bearded man.
• Page 50: Portrait of a man with moustache and goatee, with the text, "Art. Miller, California" written beside him.
• Page 52: "Poor old maniac, but once powerful scout, now dwindled away with sorrow for the lost Flora." The image shows Ezekial holding a wooden cane and a large "grief bag" on his back that has a vent spewing gas. On the bag is a printed, pasted-on caption reading "THE HAND OF FATE". He is wearing ragged pants and his hat spews green gas. Hezekiah wears his green hat and proffers something to Ezekial, saying, "Poor old fellow you must be hungry. Can I do anything for you, you seem to be weary of life. I guess I take you to a place of safety at once." Ezekial: "Answers with great vigor. I'm not hungry it is grief that gnaws like hunger at my very vitals. No never. You are the man that ruined me, if I was a smart man as I [...] I would kill you."
• Page 54: "Ezekial goes home with -- gets near home when the old scout jumps through the gateway inclosed in a sheet, See the consequences, of his rush act." The image shows a man draped in a white sheet standing in the doorway of a round stone structure. A well-dressed man and woman run apart from each other, leaving their hats on the ground. On the opposite page, several notes are written: "The identical hat worn by Hezekiah at the siege of Tattletown"; "The hat worn by Hezekiah at the destruction of Troy"; and "The sad effects of first love."
• Page 56: A man wearing a feathered hat and cape brandishes a sword while standing with one foot on the back of a slain man who has dropped his sword. He continues to fight with a man in a robe with a cross on it. A woman sits on the ground with a hand to her head. A printed, pasted-on caption reads "WHO''S TO WIN." A pencil marking indicates the year 1869.
• Page 58: "The burly scout, the stabbed scout, & Frankrifle, outscouted, by the bank scout at the old barn . . . gets valuable information concerning the conspiracy, by cats." The image shows four men in a hayloft, one, likely Ezekial, wears a yellow hat that is expelling gas. A printed, pasted-on caption reads "HUNTED DOWN."
• Page 60: "In dishabille," and at the bottom of the page: "Stebbins - 'Get out of my bed, Oh get out of my bed!" The drawing is of a woman wearing a shift and draped with a blanket reclining in a bed. A man in a nightshirt is seated on floor gesticulating at her.
• Page 62: "Who's Been here?" The drawing shows a woman looking out the window, while a man in a nightshirt, carrying the rest of his clothes, flees from the open door. A nicely dressed man with cane approaches him. A printed, pasted-on caption reads "TAUGHT BY EXPERIENCE."
• Page 64: "My idea of domestic bliss. or High life in the Lowlands." Text at the bottom of the page reads, "Stebbins about played out. 20 years hence." The drawing shows a man holding a hatchet in one hand, while wearing ragged clothing and a green hat spewing gas. A woman hits him over the head with a broom, while many small children are strewn about the floor and pull on the adults. A pencil marking indicates the year 1864.
• Page 66: A flying lizard/dragon with a shouting sun.
• Page 90: A checkerboard.

Newspaper and magazine clippings are pasted throughout the volume. While content varies, many relate to themes of marriage, love, women, family, and memory. Poetry is heavily represented. A fair number of the clippings include jokes, humor, and wordplay. Several are directions for household maintenance or preventing pests, and a number of others relate to scientific topics.

In addition to articles and written text, the compiler also pasted in clipped illustrations from newspapers and magazines. Several feature Union Army officers, most of whom appear to have a connection to New York State. Landscapes of New York City and the Amazon River are also included, as well as several satirical illustrations and animals.

A number of the printed images relate to women, including Tennie C. Claflin, Victoria C. Woodhull, and Elizabeth R. Tilton. Rev. Henry Ward Beecher's image appears twice in the volume, including once where he is placed facing Elizabeth R. Tilton and a chain connecting the figures by the nose has been added in by pen (page 14). A short poem written in ink appears below it, reading:

Henry W. B., so buoyant with glee,

And Lizzie R. T., so innocent and free,

As happy as bees in the sweet apple trees

Raised a slight (?) breeze and made the whole world sneeze!

Several pages appear to have been used to copy a portion of an undated letter, which referenced a trip from Portland to Augusta, Maine, on the Maine Central Railroad, attitudes towards funerals, the teaching profession, arguments, and placebos (beginning page 57). Another passage appears to be an essay entitled, "to old Bachelors & maids" (pages 86-88) and a manuscript poem is written on the back inside cover that seems related to scouts and Native Americans.

The Lantern slides and glass plate negatives collection consists of approximately 1,260 magic lantern slides, glass plate negatives, and glass plate transparencies from commercial and non-commercial sources documenting a wide range of subjects.

The Lantern slides and glass plate negatives collection consists of approximately 1,260 magic lantern slides, glass plate negatives, and glass plate transparencies from commercial and non-commercial sources documenting a wide range of subjects.

The collection contains a total of 33 boxes and is loosely organized by topical groupings. The following list references individual boxes and the general nature of their contents.

• 10 x 12.5 cm glass negatives of views of Ann Arbor, Michigan, ca. early 1900s taken by an unidentified photographer. Includes views of several University of Michigan buildings, hospitals, fraternity houses, and private residences.

• Sixteen 8 x 10 cm cardboard-mounted slides showing posters for upcoming films and local product advertisements intended for use in movie theater intermissions. Producers include Excelsior Illustrating Co., Inc. and Photo Repro Co., Inc. Identified films include High Steppers (1926); The Blind Goddess (1926); Without Mercy (1926); Chickie (1925); Stop, Look and Listen (1926); West Point (1927); Pals First (1926); Ella Cinders (1926); Paying the Price (1927); The Avalanche (1919); and Turn to the Right (1922).
• Ten 7.5 x 7.5 cm slides documenting damage caused by the 1906 San Francisco earthquake (two of the slides are broken).

• 10 x 12.5 cm glass negatives including scenic views of fields, woods and towns, Canterbury Cathedral, ships in harbor, New York City streets, Coney Island beaches, street merchants, and children interacting with dogs (often humorously). All or some the images were produced by photographer William S. Pearsall in 1906 or earlier.

• Twenty-two 8 x 10 cm cardboard-mounted slides (some damaged) showing motion picture posters intended for display during movie theater intermissions with play dates handwritten in space at bottom. Dates listed range from 1918 to 1929. Identified films include The Devils Circus (1926); The Love of Sunya (1927); The Bridge of San Luis Rey (1929); Mademoiselle Modiste (1926); Classified (1925); Chang (1927); The Demi-Bride (1927); The Swell-Head (1927); Steele of the Royal Mounted (1925); The Voice of the City (1929); His Supreme Moment (1925); Monte Carlo (1926); An Old Fashioned Boy (1920); Lovers in Quarantine (1925); Riders of the Dawn (1920); Paid Back (1922); The Breaking Point (1921); and Gypsy Blood (also named Carmen - 1918 in Germany, 1921 in U.S.A.)
• Seven 8 x 10 cm hand-colored slides showing scenes from the popular book The Bad Boy and His Pa by George W. Peck produced by the Chicago Projecting Co. in 1904. Tableaux are carefully staged and elaborately tinted.

• Includes 8 x 10 cm slides showing scenes from The Bad Boy and His Pa by the Chicago Projecting Co. Other identified films include Babe Comes Home (1927); Figures Don't Lie (1927); and The Danger Girl (1916).

• Twenty-six 8 x 10 cm cardboard-mounted movie theater slides related to coming attractions or local products. One item of particular note includes a notice to female patrons that they do not need to remove their hats if they are seated in the women’s section. Identified films include The Taxi Dancer (1927); Square Crooks (1928); The City Gone Wild (1927); Too Much Money (1926); The First Night (1927); Broadway Nights (1927); Rainbow Riley (1926); The Wizard (1927); Vamping Venus (1928); The People vs. Nancy Preston (1925); Lovely Mary (1926); Rookies (1927); The Swan (1925); The Cohens and Kellys (1926); His People (1925); and My Official Wife (1926).

• Twenty-three 8 x 10 cm cardboard-mounted movie theater slides related to coming attractions or local products. Identified films include The Phantom Police (1926); The Testing Block (1920); The Brute Master (1920); The Cowboy Ace (1921); The Song and Dance Man (1926); His Brother's Keeper (1921); Private Izzy Murphy (1926); The Wanderer (1925); Eve's Leaves (1926); Good and Naughty (1926); It's The Old Army Game (1926); Vanishing Trails (serial, 1920); Don't Shoot (1922); The Whirlwhind of Youth (1927); The Shield of Honor (1927); Across to Singapore (1928); Naughty But Nice (1927); The Barrier (1926); For The Love of Mike (1927); The Dark Angel (1925); Keeping Up With Lizzie (1921); and Top O' The Morning (1922).
• Seven 8 x 10 cm slides (mostly duplicates) related to the Yale “Pageant of America” series showing damage in the aftermath of World War I.
• One 8 x 10 cm slide showing an ancient Egyptian tablet depicting battle.

• Twenty 8 x 10 cm slides documenting various activities in the town of Fitchburg, Massachusetts, around the turn of the 20th-century, including a hot-air balloon excursion and a fire engine race, along with other local scenes.
• Thirty-nine 8 x 10 cm slides showing scenic views (some hand-colored) in New Jersey and New York between 1896 and 1907. Most are attributed to Dr. J. T. Morehouse, but other noted contributors include the Charles Beseler Co., Dr. Ferdinand G. Kneer, William Archibald, and George W. Lamoreux. Items of particular interest include an aerial view of lower Manhattan; a map of New Jersey showing holdings of Esso; and a hand-colored view of a high railroad bridge in Portage, New York.

• Twenty 8 x 10 cm slides by Ann Arbor photographer George R. Swain documenting select manuscripts and maps from the William L. Clements Library.
• One 10 x 12.5 cm glass negative view of the Clements Library exterior.
• Seven 8 x 10 cm slides of outdoor scenes in Alaska and California from around 1900.
• Two 8 x 10 cm copy negatives of elaborate unidentified interiors.

• Six 8 x 10 cm slides of scenes in California and British Columbia. Includes view of a redwood logging train.
• Ten 8 x 10 cm glass negatives of scenes in British Columbia, mountain views, and photos of maps.
• Four 8 x 10 cm slides by Ann Arbor photographer George R. Swain of items from the William L. Clements Library.
• Nine 8 x 10 cm slides showing people and places (notably Firle Place) in the United Kingdom during the 1920s.

• Six 8 x 10 cm slides by Ann Arbor photographer George R. Swain showing exterior and interior views of the William L. Clements Library in the 1940s.
• Twenty-four 8 x 10 cm slides by Ann Arbor photographer George R. Swain of items from the William L. Clements Library. Includes an image of materials from the Thomas Gage papers stored in one their original document chests.

• Five 8 x 10 cm slides showing unidentified locations (possibly in Alaska) produced by the Seattle, Washington studio of Asahel Curtis.
• Four 8 x 10 cm slide reproductions of paintings.
• Three 8 x 10 cm slides of miscellaneous content.

• 8 x 10 cm glass negatives documenting a 1728 French translation of an earlier memoir by Jerome Lobo regarding attempts to convert Ethiopians to Christianity. An enclosed note says slides were for “a Prestor [sic] John talk.”

• 8 x 10 cm slides from an extensive educational series on lumbering processes and techniques produced ca. 1910. Images detail the production of railroad ties, including loggers’ methods of shaping each piece with their axes, and the proper method of stacking ties. Most of these views appear to be from Michigan’s lower peninsula, but one slide is from Wyoming in 1910.

• 8 x 10 cm slides showing various stages in logging operations and mill processes in states from Maine to California. Includes one hand-colored view of a mill pond in Virginia and a map of the U.S. that renders the size of each state relative to its timber resources.

• 8 x 10 cm slides showing production stages for treenails and stulls. Also includes images of various types of mill saws in marketing photos as well as working mills.

• 8 x 10 cm slides primarily related to pulp production with views showing logging sites, stages of the milling process, and specific machinery used. Includes images showing both ox-drawn and wooden-wheeled logging wagons.

• 8 x 10 cm slides showing portable mills set up near logging sites and log flumes in various stages of construction and operation. Several images of elaborate flume constructions are present.

• 8 x 10 cm slides related to fir logging, possibly in Sitka, Alaska. Also present are a couple views showing treenail production.

• 8 x 10 cm slides showing locust logging, log loaders, and lumber yards.

• 8 x 10 cm slides showing different types of log loaders as well as maps of the U.S. highlighting population and timber resources.

• 8 x 10 cm slides related to the Lidgerwood (written as “Ledgerwood” on slide labels) logging system which made extensive use of winches and pulleys. The Lidgerwood Company was instrumental in building the Panama Canal and later developed machinery for the logging industry. Also present are more images of log loaders and diagrams/photos of mill machinery.

• 8 x 10 cm slides related to the Lidgerwood system as well as views of logging and mill operations in several states.

• 8 x 10 cm slides showing pull boats towing log rafts and various logging and milling operations.

• 8 x 10 cm slides showing finished lumber products being shipped by boat, rail, and wagon as well as images related to shingle production.

• 8 x 10 cm slides showing steps in the production of shingles, stulls, and poles as well as steps in paper production, including micro views of linen and cotton paper fibers.

• Twenty-eight 8 x 10 cm slides showing stages in paper production as well as views of portable mills and flumes, especially flume dumps.
• Ten 10 x 12.5 cm glass negatives by unidentified photographer ca. 1902 related to estate in Berlin, Maryland nicknamed “Anchuha.” Includes snapshots of house and family members.

• Despite the separate accession number, these lumbering slides appear to be from the same educational series contained in other boxes. The topics covered by the 8 x 10 cm slides in this box include agricultural use of logged spaces, large mill operations, redwood logging, steam tractors, splash dams and charcoal kilns.

• 8 x 10 cm slides covering log jams, barrel staves and cooperage, flumes, big tree logging, and maps of national forests. Non-Michigan locations also represented. Includes color slide by Asahel Curtis showing Douglas fir timbers on railroad car.

• 8 x 10 cm slides showing pole roads, agricultural use of logged land, large mills, machinery used in distillation and cooperage, logging of wide range of individual tree species. Non-Michigan locations also represented.

• 8 x 10 cm slides showing tramways, pull boats, portable mills, geared locomotives, and skidways as well as a graph comparing regional production. Nine shattered slides are present.

• 8 x 10 cm slides showing gasoline and steam skidders, lumber yards, motor trucks, and Arizona tree species. One image of particular interest shows an early Kelly truck with a full load of logs and an African American driver.

• Eight 8 x 10 cm glass negative copies of photos showing scenes in Alaska, including the Muir Glacier.
• Four 8 x 10 cm slide views of British Columbia, possibly from a Canadian Pacific Railroad car.
• Three 12.5 x 18 cm glass negative self-portraits by Charles P. Steinmetz, ca. 1904/5.
• One 12.5 x 18 cm glass negative titled “Girl on Bicycle”

This volume primarily contains information on the ancestors of Robert Leet Patterson, who included members of the Williams family, Herron family, Wilson family, and Baird family. Other entries pertain to the establishment of European colonies in North America, United States coinage, and the history of Derry, Ireland.

This volume (with enclosed items) contains information on the ancestors of Robert Leet Patterson, including members of the Williams, Herron, Wilson, and Baird families. Other entries pertain to the establishment of European colonies in North America, United States coinage, and the history of Derry, Ireland. The volume contains 468 numbered pages, but only around 110 are used. See the Detailed Box and Folder Listing for a table of contents.

The notebook includes extracts copied from historical and biographical publications, newspapers, and other sources. Most of the material pertains to family histories, including family trees, genealogical notes, and biographical sketches of members of the Patterson, Stockton, Williams, Herron, Huntington, Head, Wilson, Given, Nicholas, Chestnut, Leet, Anderson, Way, and Baird families. Other items pertain to European exploration and land claims in North America, early relationships between European powers and Native Americans, the history of the New Haven colony, differences between old and new dating systems, and the history and economic output of County Londonderry and the city of Derry, Ireland. One brief note concerns the establishment of Presbyterianism in Philadelphia. The volume also contains a list of the number and type of coins issued by the United States government every year from 1793-1883.

Materials enclosed in the volume include 9 newspaper clippings respecting the Highland Presbyterian Church's 1903 centennial celebrations; "Reports from Florida" in 1879; obituaries for members of the Patterson, Wilson, and Heron families, dated 1900-1909; 6 pages of genealogical notes, one of which is a fragment of a letter; and a draft letter responding to a family member's request for advice about purchasing a grocery store.

This photograph album contains 72 photographs of a Shriners International trip to Glacier and Grand Canyon National Parks in 1920.

This photograph album contains 72 photographs of a Shriners International trip to Glacier and Grand Canyon National Parks in 1920. Each page includes handwritten notations stating location. The album begins with images of La Crosse (Wisconsin), Vista House along the Columbia River (Oregon), Grand Canyon, and Garden of the Gods. Following, are views of Glacier National Park including Saint Mary Lake, Many Glacier, Many Glacier Hotel, and Shriner members dancing with "waitresses." Of particular note are images of Shriner members among Blackfeet and Hopi Native Americans. The album ends with two images of San Francisco; a birds-eye view of the city and the Golden Gate strait.

The album is 20.5 x 14.5 cm with brown paper covers. "Shrine Trip 1920" is handwritten on the front cover.

The Smith College, Hampton, Va., area and Connecticut photographs consist of approximately 300 photographs in 1 album and 1 folder. Images include photographs of Smith College as well as scenes from Connecticut and southeastern Virginia.

The Smith College, Hampton, Va., area and Connecticut photographs consist of approximately 300 photographs in 1 album and 1 folder. Images include photographs of Smith College as well as scenes from Connecticut and southeastern Virginia. Smith College photographs include dorm room interiors, women on campus, and a college basketball game. Connecticut scenes show a Connecticut River ferry, women boating and swimming in Bantam Lake, and St. Margaret's School in Waterbury, Connecticut. Also depicted are buildings at Hampton Institute in Virginia, a variety of boats and warships, likely on the Chesapeake Bay, winter fishing, "oyster canoes" (skipjacks) and men unloading crabs at the factory. Other Virginia photographs show buildings in pre-restoration Williamsburg and rural life, possibly in the Williamsburg area, with rundown shacks, African Americans, ox-drawn carts, and a group of African American school children. Views from unidentified locales include rural scenes, streams and country roads, beaches, dwellings, family life photos with children in a variety of settings, posed Grecian tableaux, and a studio portrait of a man dressed in Native American clothing holding a la crosse ball and stick. Additional photographs include Jamestown church ruins, Deerfield Memorial Hall with several interior views, 7 photographs of interior rooms in an unidentified house, and canal views, possibly of the Dismal Swamp Canal.

Identified individuals include: Grace Collins Lathrop, Sue Boss, Sue Gardner, Alice Bishop, Fanny Coit, Emma Kelsey, Arthur Eggleston, Percy Eggleston, Henrietta Spear, Nellie Spear, Theodate Pope, Ethel Fiefield, and Mary Lewis.

The album is half bound in burgundy leather and is stored in a three part wrap with green cloth spine

This travel diary records the daily progress of a team of prospectors exploring possible routes for stagecoach lines in Texas, 1838. The entries primarily document details relevant to stagecoach operations such as terrain, populations, soil types, climate, and distances traveled.

This Texas travel diary records the daily progress of a team of prospectors exploring possible routes for stagecoach lines. The author does not record his personal experiences and includes only details relevant to operating a stagecoach line: terrain; banks and depths of rivers to be forded; costs of oats, corn and hay for feeding horses; the presence of Indians; populations to support mail delivery and transportation over the route; availability of timber for building bridges and ferries; competition from other stage lines; availability of potable water; agricultural potential of the land along the route; and mileages from one place to another.

The team set out from Jefferson City in mule-drawn wagons on January 4, 1838, and traveled southwest into the Indian Territory (later Oklahoma). They crossed into the Oklahoma Cherokee Indian Territory at Neosho on January 18, and then headed south to Fort Gibson, where the author went alone on horseback to Fort Smith on the Arkansas border, and rejoined the group later.

They crossed Texas at Preston on the Red River (North of Dallas) at the end of January and arrived at Franklin (now El Paso) on March 17. On March 21, they set out on the return trip, taking a slightly different route, and returned to Preston on Sunday, April 11.

Of special interest are the descriptions of the terrain diagonally southwest across the Indian Territory (later Oklahoma) and Texas in the early days of United States possession, while Texas was still an independent republic. The author notes the difficulties that would be encountered in establishing a mail and stage coach line through this terrain and comments on the agricultural possibilities of the land. He describes streams and rivers and recommends potential settings for stations.