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An anonymous author dedicated this 44cm x 29cm volume, "A Missionary's Fate. A Prophecy," to Miss Minnie Jenks, in or after 1868. It includes seven pages of neatly written, rhyming, narrative poetry accompanied by five ink and watercolor illustrations. This xenophobic cautionary poem and illustrations trace a young woman's fatal transatlantic Christian missionary expedition. She departs the United States intending to convert and teach Assamese people, but she is instead transported to Africa where her solitary missionary efforts result in her murder and cannibalization. The illustrations include her seaside departure, the missionary standing on a stump and singing to (racist caricatures of) African men, cannibalism, African men trying on the woman's clothing, and a scene of grief back in the United States.

An anonymous author dedicated this 44cm x 29cm volume, "A Missionary's Fate. A Prophecy," to Miss Minnie Jenks, in or after 1868. It includes seven pages of neatly written, rhyming, narrative poetry accompanied by five ink and watercolor illustrations. This xenophobic cautionary poem and illustrations trace a young woman's fatal transatlantic Christian missionary expedition. She departs the United States intending to convert and teach Assamese people, but she is instead transported to Africa where her solitary missionary efforts result in her murder and cannibalization. The poem ends with her grief-stricken family members weeping and fainting back home, and a concluding moral.

The illustrations include a dock scene, with passengers boarding a ship, persons on the dock waving farewell, and sailors at work on deck. Another shows the missionary woman standing on a stump with a hymn book (sheet music for "In the Sweet Bye and Bye" visible) and singing to a group of African men. The artist portrayed them as racist caricatures, and the men are holding knives, testing their edges, and sharpening teeth with an iron file. The following image depicts the woman on the ground with the men eating or carrying off her bones and severed parts of her body. Next, the men are trying on the woman's clothing; a chief is wearing her bonnet and carrying her parasol and purse/bag, another man is putting on her shoes, and another wears her skirt. The concluding artwork is a parlor scene back in the United States, wherein family and friends received a postal parcel containing a piece of the missionary's dress, her hymn book, a lock of her hair, and a shoestring. The people are shown weeping into handkerchiefs, one of them fainted and one holding the lock of hair.

A transcription of the seventh, final page of the poem--and the moral of the tale--is: "Oh gentle maid, on good intent, / Who would in 'Missions' lead the van, / Take warning from this maid, who went / Afar to free from Ignorance' ban. / Do all the good that here you can / Where you may have a little ease; / 'Home Missions' try on some one man - / Or two or more, if so you please, - / But do not try the Asamese."

Athlete and football coach at the University of Michigan. Correspondence, scrapbooks, photographs, and other materials relating to University athletics, especially football.

The Bennie G. Oosterbaan collection documents his career as athlete and coach at the University of Michigan, especially his time as head football coach. The collection is comprised of the following series: Correspondence; Papers collected from different period of his career; Miscellaneous; Scrapbooks; and Photographs. The collection relates to his career at the University of Michigan, especially as football coach.

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)"