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This collection is made up of manuscript essays and writings, original artwork, and printed proof sheets by Edwin Whitefield, an artist who specialized in bird's-eye views and landscapes in North America. The manuscripts largely concern Whitefield's travels in Minnesota, Wisconsin, and the Dakota Territory, as well as Whitefield's interest in the Bible.

This collection (approximately 200 items) contains 24 manuscript essays and writings, original artwork (approximately 40 items), and around 140 printed proof sheets by artist Edwin Whitefield between the 1840s and 1880s. The collection also includes 2 autograph albums that Mabel Whitefield kept between 1876 and 1883.

The Manuscripts series (24 items) contains essays, charts, notes, and fragments; a draft of Edwin Whitefield's The Bible Its Own Interpreter; and 2 autograph albums kept by Mabel Whitefield. The essays mainly relate to Whitefield's travels in Wisconsin, Minnesota, and the Dakota Territory in the 1840s and 1850s; Whitefield described landscapes, and some of his writings refer to specific drawings. A series of essays concerns immigration to Minnesota, including several short pieces about opportunities for settlers. Whitefield's other writings include an argument for increasing workers' wages; a letter about his son's conduct; notes about the Bible; 2 manuscript tables of the populations of major U.S. cities at each national census between 1790 and 1890; and a copied extract from the Encyclopedia Britannica about Moses.

Edwin Whitefield's The Bible Its Own Interpreter manuscript (approximately 220 pages) is made up of notes and clippings about passages from scripture and Biblical subjects. The volume contains a preface, index, and printed title page. Mabel Whitefield kept her 2 autograph albums, which contain inscriptions and poetry from family and friends, between 1876 and 1883.

The Original Artwork series is made up of Edwin Whitefield works, including 2 oil paintings; approximately 35 graphite, ink, and watercolor sketches; and 2 sketchbooks. One oil painting (1885, 20"x16") is a country landscape with a man herding cows over a bridge. The other painting (undated, 30"x20") is a mountain landscape, with a man and cows resting beside a river or lake. Approximately 35 individual graphite, ink, and watercolor sketches depict houses, bridges, landscapes, and buildings. Whitefield identified many of the views as locations in Massachusetts and New Hampshire. Edwin Whitefield's 2 sketchbooks contain illustrations of buildings, persons, and bird's eye views of cities and landscapes.

The Printed Items series includes proof sheets from the 1880, 1882, and 1889 editions of The Homes of Our Forefathers (approximately 75 colored or tinted lithographs), approximately 65 colored lithographs of botanical specimens by Whitefield, and one printed view of Newburyport, Massachusetts.

This collection consists of four letters addressed to Hudson River School artist Jasper F. Cropsey from art collector L. Warrington Gillet and O. A. Gill [likely Owen A. Gill] of Baltimore, dated January 24, 1845, to February 4, 1846. The letters are accompanied by one annotated envelope, postmarked May 6, 1859.

This collection consists of four letters addressed to Hudson River School artist Jasper F. Cropsey from art collector L. Warrington Gillet and O. A. Gill [likely Owen Gill] of Baltimore, dated January 24, 1845, to February 4, 1846. The letters are accompanied by one annotated envelope, postmarked May 6, 1859.

Gillett asked whether or not Cropsey ever painted the "little picture" he ordered following Gillet's purchase of "Evening" (January 24, 1845). Three letters from O. A. Gill [probably Owen Gill], January 5-February 4, 1846, respect the purchase, shipment, and receipt of paintings. In his letter of January 5th, Gill informed Cropsey that "The old place looks pretty much the same as ever. The only improvement I'm making is cleaning out briars, stumps, under wood &c.--The very thing which you, as an artist would put your bets in at once--All these things look very well in a picture, but when you see them in nature youre always disposed to imagine them the hiding places of Snakes, lizzards & such 'Varmints'."

This collection contains correspondence, financial documents, and engravings related to American painter John Trumbull. Among other topics, Trumbull's outgoing letters concern prints of his painting The Declaration of Independence.

This collection contains 13 drafts and letters; 11 accounts, receipts, and checks; 1 document; and 2 engravings related to American painter John Trumbull. Among other topics, Trumbull's outgoing letters concern prints of his painting The Declaration of Independence.

John Trumbull composed 12 drafts and letters between 1776 and 1825. He wrote twice to his father, about his army commission (September 2, 1776) and about European opinions on the Revolution (July 8, 1781). Most of the remaining outgoing correspondence pertains to prints of Trumbull's paintings, especially The Declaration of Independence. One letter, from Mathew Carey to Trumbull, December 16, 1825, relates to a book that Carey believed Trumbull inadvertently "pocketed."

Financial records (11 items) include accounts, receipts, and checks, most of which are related to Trumbull's advertising and personal financial affairs. The collection also holds a copied deed concerning Jonathan Trumbull's land in East Haddam, Connecticut (January 30, 1768). Two engravings include a portrait of John Trumbull and his The Declaration of Independence.

The Lars Gustaf Sellstedt family collection is made up of correspondence, poetry, ephemera, and other materials related to Sellstedt and his descendants, particularly his daughter Eva and her husband, Frank H. Potter. The papers pertain to Sellstedt's religious beliefs, his travels in the Caribbean, his interest in fine art, and his influence and legacy in Buffalo, New York. Other items pertain to Frank Potter's life in Berlin, Germany, in the mid-1880s and to the genealogy of the Younglove family.

The Lars Gustaf Sellstedt family collection (0.75 linear feet) is made up of correspondence, poetry, ephemera, and other material related to Sellstedt and his descendants, particularly his daughter Eva and her husband, Frank H. Potter. The papers pertain to Sellstedt's religious beliefs, his travels in the Caribbean, his interest in fine art, and his influence and legacy in Buffalo, New York. Other items pertain to Frank Potter's life in Berlin, Germany, in the mid-1880s and to the genealogy of the Younglove family.

The Correspondence series (109 items) contains letters related to the Sellstedt, Potter, and Younglove families. In the mid-1840s, Sellstedt exchanged letters with his future wife, Louise Lovejoy; some of his other early correspondence concerns religion, art, and travel to the Caribbean in late 1848 and early 1849. In the early 20th century, he received letters from acquaintances and admirers about his books From Forecastle to Academy and Art in Buffalo.

Many items from the late 19th century pertain to Sellstedt's daughter Eva and her husband, Frank Hamilton Potter, including a series of letters that Potter wrote to his parents about his life in Berlin, Germany, in the mid-1880s. Frank and Eva Potter's son, Lars Sellstedt Potter, occasionally wrote to his mother as a child. The series also contains mid-19th century letters between William K. Scott and his cousin Moses C. Younglove, mid-20th century letters about an art exhibit commemorating Lars G. Sellstedt, and an undated letter from "Santa Claus" to a group of children. The series includes 2 print narratives by Samuel Younglove, entitled "Battle of Oriskany" and "The Battle of Bennington" (June 12, 1897).

The Writings series (113 items) contains 23 essays and 90 poems. Longer essays pertain to "Architecture and Sculpture" (58 pages) and to the history of art in Buffalo, New York (2 items, 99 pages and 47 pages); at least one of the essays about Buffalo was incorporated into Sellstedt's book Art in Buffalo. Other items pertain to the politician James Osborn Putnam, an acquaintance of Sellstedt's. The poetry (90 items), much of which was written by Sellstedt, concerns love, friendship, nature, and religious subjects; at least one poem is a friend's tribute to Sellstedt. The series includes 8 published items, housed together.

The Watercolors and Sketches (5 items), attributed to various persons, depict infant children, a Roman soldier, a woman, and a home. The Photographs (19 items), comprised of card photographs and photographic prints, mostly show members of the Sellstedt family, including Lars G. Sellstedt, Caroline Scott Sellstedt, and Eva Thorén Sellstedt. The pictures are studio portraits, outdoor portraits, and snapshots taken during a fishing trip. The series contains 3 copies of a memorial poem dedicated to William Scott Sellstedt ("Willie"), each illustrated with a photograph of him.

The Albright-Knox Art Gallery Exhibit Materials (around 20 unique items) include documents, promotional materials, and captions, which are related to an exhibit and reception held in honor of Lars Sellstedt in September 1972.

Newspaper Clippings (66 items) pertain to the life of Lars G. Sellstedt, including retrospectives about his life and obituaries. Some clippings concern the Albright-Knox Gallery's 1972 Sellstedt exhibit.

The Invitations, Cards, Documents, and Realia series (11 items) includes printed and manuscript invitations, a calling card, an embroidered piece of fabric, and a stock certificate for the Buffalo Cremation Company.

The Genealogy series (9 items) contains histories of the Younglove family, written by and addressed to Moses Younglove, as well as items related to the Gay family and to the life of Lars G. Sellstedt.

This collection is made up of 4 letters that author Laura G. Collins wrote to an acquaintance, "Mr. Hill," about her life in Maysville, Kentucky, around the turn of the 20th century. She discussed art, a birthday celebration, her horses, and her correspondence.

This collection is made up of 4 letters that author Laura G. Collins wrote to an acquaintance, "Mr. Hill," about her life in Maysville, Kentucky, around the turn of the 20th century. She discussed art, her 77th birthday celebration, her horses, and her correspondence, among other topics. One letter pertains to a letter Collins received from the wife of painter Dwight Benton (1834-1903) about his demise and death. See the Detailed Box and Folder Listing for more information.