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Thomas J. Bandfield, a native of England, compiled carte-de-visite photographs of friends and family members in this album before moving to the United States in 1870.

The inscription on page one indicates that Jane Rugg Bandfield of Chard, England, gave this photograph album to her son, Thomas John Bandfield, in London, England, in April 1870, before his departure for the United States. The volume (16cm x 14cm) contains 42 carte-de-visite portraits of Bandfield family members and acquaintances, both men and women. A later photographic print with a picture of an unidentified man, possibly Thomas J. Bandfield, is laid into the volume, as is an envelope addressed to Edna Bandfield of Portland, Michigan, Thomas Bandfield's daughter. The envelope has captions for most of the album's cartes-de-visite. A few individuals posed with children. One carte-de-visite has a photograph of a painted silhouette, and another shows "Four old Englishmen," otherwise unidentified. The subjects were photographed in studios in England. Some subjects may appear more than once.

The Corning-Southwick photograph album contains cartes-de-visite and tintypes of infants and young children. Several people pictured were members of the Corning and Southwick families.

The Corning-Southwick photograph album (13cm x 9cm) contains 15 cartes-de-visite and 3 tintype photographs, primarily of babies and young children. Many of the children pictured were members of the Martin, Corning, Gardner, and Southwick families. Two lithographs of a young girl putting on a boot and a young boy posing by a basket full of apples are also present. Included is a carte-de-visite showing the wedding of Charles Sherwood and Lavina Warren Stratton (Mr. and Mrs. Tom Thumb). The album has a decorative hard cover and a metal clasp.

The Cornwell family carte-de-visite album contains studio portraits of members of the Cornwell, Otis, and Harroun families, who were related by marriage. Members of the various families lived in Minnesota and New York in the late 19th century.

The Cornwell family carte-de-visite album (13cm x 10cm) contains 46 formal studio portraits of members of the Cornwell, Otis, and Harroun families, including 40 cartes-de-visite, 6 tintypes, plus 2 lithographs. Most portraits are of young adults and grown men and women, though pictures of younger children and an infant are also present. One picture shows a woman holding an open book, and another shows a group of women knitting. The lithographs depict a woman tucking a child into bed while thinking of a soldier and Mary with the infant Jesus. The volume's red leather cover has a tooled geometric design and a floral design is carved into the sides of its pages.

The Crum-Ely family photograph album contains studio portrait photographs of individuals and groups living in Ohio. There are 28 cabinet photographs and 14 cartes de visite, and many pages include hand-written identifications of the subjects in the photographs.

The Crum-Ely family album (27.25 x 21.5cm) is a 34 page maroon plush velvet album containing 42 studio portrait photographs of individuals and groups living in Ohio and other Midwestern states. The people featured include members of the Crum, Ely, Folck, Matthias, Greer, Gilbert, and Riddle families. There are 28 cabinet photographs and 14 cartes de visite, and many pages include hand-written identifications of the subjects in the photographs.

The photographs were taken in West Unity, Bryan, Wauseon and Fayette, Ohio. There are also portraits from Osage Mission, Kansas and Bowman, Missouri.

Of note is the portrait of two women and a dark skinned man serving them.

There is a humorous occupational portrait of "Ed and Griffin" as tailors.

The Dolph family carte-de-visite album contains formal studio portraits, many taken by the Dolph Brothers of Erie, Pennsylvania, around the 1860s-1870s. The photographs show both men and women, and two are artistically posed scenes.

The Dolph family carte-de-visite album (16cm x 13cm) contains formal studio portraits, many taken by the Dolph Brothers of Erie, Pennsylvania, around the 1860s-1870s. This album may have been compiled from loose photos acquired at an estate sale by collector and donor Frederick P. Currier. The photographs, comprised of 42 albumen print cartes-de-visite and 5 tintypes, mostly depict men and women, though a few include children. Some items are hand-colored. Many of the subjects are identified by name, and several are labeled on the back "Dolph home," possibly by the collector and donor. Dolph family members include Albert W. Dolph in a military officer's uniform, Mr. and Mrs. J.H. Dolph, and James or Joseph Dolph. A photograph of two men in close conversation, one with a straw hat, pipe and large book in his lap, the other in a top hat and cane, may be of the Dolph brothers themselves; a man beside a mirror that shows his reflection may be a portrait of Jas. Dolph. Also of note is a double portrait of unidentified albino twins. The album's brown leather cover has a geometric design in relief and is closed with two metal clasps.

The English carte de visite album (14.5 x 20.5cm) is a 50 page leather album containing portrait photographs of individuals and couples as well as two Italian views. Many of the images in the album were taken by well-known photographers such as André-Adolphe-Eugène Disdéri, Napoleon Sarony, and Félix Nadar.

The English carte de visite album (14.5 x 20.5cm) is a 50 page leather album containing portrait photographs of individuals and couples as well as two Italian views. Many of the images in the album were taken by well-known photographers such as André-Adolphe-Eugène Disdéri, Napoleon Sarony, and Félix Nadar. The photographer's logo of each photograph is visible on the opposite side of the page, and some of the photographs contain hand-written biographical notes on the back.

Individual portraits in the album include those of Dr. Thomas Hodgkins (1798-1866) and his wife Sarah Frances Hodgkins (1804-1875), as well as of Charles Ferdinand, Prince of Capua (1811-1862) and his wife Penelope Smyth, Countess of Mascali (1815-1882). Of note is a portrait of a man taken by Sarony that has on its verso the manuscript inscription "Timothy Harrison/ Richmond/ Indiana." There is a Timothy Harrison, orginally from England, who was buried in Earlham Cemetery in Richmond, Indiana in 1881 at the age of 48. This is presumed to be the man depicted in the portrait.

The Geneseo, Illinois family photograph album (28 x 21 cm) contains 32 formal studio portraits of men, women, and children taken in Geneseo, Illinois and Davenport, Iowa from the 1870s to 1890s.

The Geneseo, Illinois family photograph album is a 34 page card album (28 x 21 cm) containing 32 formal studio portraits of men, women, and children taken in Geneseo, Illinois and Davenport, Iowa from the 1870s to 1890s. There are 27 cabinet cards, 3 cartes de visite and 2 tin types. An envelope in the front contains two loose photographs. There are three graduation portraits of young women, indicated by the presence of their diplomas. Of note is a photograph of a man wearing a Knights Templar uniform.

The Gerta Gage family photograph album contains cabinet card portraits of men, women, and children taken in various Michigan cities around the mid-1880s to mid-1890s. Some of the pictured individuals posed in groups or with animals, and two men wore Shriners uniforms. The album likely belonged to Gerta Gage, of Big Rapids, Michigan.

The Gerta Gage family photograph album (22cm x 29cm) contains 80 cabinet card photographs of men, women, and children, few of whom are identified. The studio portraits were taken in Michigan towns and cities such as Muskegon, Big Rapids, Petoskey, Jackson, Allegan, Ovid, and Traverse City, as well as in other locales such as Milwaukee, Wisconsin; Decatur, Illinois; and Chicago, Illinois. Two men posed in Shriners hats, a few posed with dogs, and one man, photographed by A. S. Green of St. Thomas, Ontario, blew cigar smoke while having his picture taken. Though most items are individual portraits, some subjects posed in groups of two to four; one image is a group portrait of seven men. The volume's padded covers are bound in blue and yellow cloth. "Gerta Gage" and "Gerta Gage Big Rapids Michigan" are engraved on the album's large metal clasp. The pages of the album are decorated to resemble wood.

The Howell family photograph album contains tintype and carte-de-visite portraits of the relatives of Clarissa Cutler Howell, who lived in Waltz Township, Indiana, in the mid- to late 19th century. Pictures of her children, parents, and siblings are included.

The Howell family photograph album (13cm x 10cm) contains 34 photographs of the relatives of Clarissa Cutler Howell, who lived in Waltz Township, Indiana, in the mid- to late 19th century. Included are 26 tintypes, seven cartes-de-visite, and one silver gelatin print, which shows Clarissa Cutler Howell at an advanced age. A lithograph entitled "Love at the Gate" is tucked into a sleeve behind this print. With the exception of the later print, the photographs are formal studio portraits of Clarissa Cutler Howell and her parents, siblings, children, and other family members. The album's blue leather cover has a geometric relief design.

This photograph album contains portraits of direct descendants of Elijah Hubbell and Hannah Fields of Danbury, Connecticut, as well as members of associated families, including the Van Allen family of Janesville, Wisconsin, and the Lynes family of Otsego County, New York.

This album (16cm x 12cm) contains 36 carte-de-visite and two tintype portraits of members of the Hubbell family, Van Allen family, Lynes family, and others. The Hubbell and Lynes families lived in northern and central New York, and the Van Allen family lived in Janesville, Wisconsin. Formal studio portraits show men, women, and children of various ages, and some individuals are pictured more than once. Most of the photographs are labeled, and labels exist for some items that are no longer present. The covers are bound in green cloth, with a decorative design in relief.

The International royal portraits album is a 76 page (24.75 x 20 cm) embossed leather album containing portrait photographs of royal families and statesmen from around the world, with a particular focus on western Europe. The album was compiled by Sarah T. Emmons beginning in 1870 and presented to her daughter, Clara G. Collins in 1885.

The International royal portraits album is a 76 page (24.75 x 20 cm) embossed leather album containing portrait photographs of royal families and statesmen from around the world, with a particular focus on western Europe. Most of the portraits are of contemporary rulers but there are also portraits of historical figures such as Mary Queen of Scots. Also present are photographs of statuary and other art. The inscription on the first page identifies Sarah Emmons as the compiler of the album, starting in 1870, which was then presented to her daughter Clara G. Collins in 1885. Many of the prints were added after 1870, for example one loose photograph of Stirling Castle has a note on the back indicating that it was purchased in 1874, whereas a photograph by Alexander Bassano of Alexandra of Denmark, wife of Edward VII, was not taken until 1881. Most of the portraits have captions written underneath identifying the subject. Researchers should be aware that not all of Sarah Emmons' identifications are correct.

Of note is the photograph on page 51 of Confederate President Jefferson Davis' children. The inscription underneath notes that the picture was "taken in Montreal, while they were fugitives there during the Civil War." At the request of his friend Jacob Thompson, Halmor Emmons dined with Davis while in Montreal on business in 1866. Supposedly Emmons and Davis spent the visit debating the justifications and causes of southern secession.

The back of the album contains loose photographs as well as newspaper clippings, mostly of poetry, inserted in the album presumably by Clara Collins. The latest of these clippings date to 1921.

Resarchers should be aware that the Library of Congress Subject Headings do not have authorized terms for all the individuals depicted in the album (for example, the Queen of Madagascar, Rasoherina, does not have an authority term). The subject list in this finding aid should therefore not be taken as all-encompassing.

The Kellogg family photograph album contains formal carte-de-visite and tintype portraits of men, women, and children taken mostly in Morenci, Michigan, and Wauseon, Ohio, around the mid-1860s.

The Kellogg family photograph album (14cm x 21cm) contains formal studio portraits of men, women, and children taken mostly in Morenci, Michigan, and Wauseon, Ohio, around the mid-1860s. The photographs, comprised of 41 cartes-de-visite and 4 tintypes, show men, women, and children, sometimes photographed in pairs or groups. Some photographers are identified, such as "traveling artist" W. H. Cunningham. Mary McKenzie Stranahan presented the album to Mrs. Reba Kellogg, her daughter, in Wauseon, Ohio, on June 5, 1865. The brown leather cover has a tooled geometric design, and the title "Album" is stamped in gold on the spine.

The King's Own Borderers photograph album is a 54 page, 23.4 x 15.5 cm embossed leather bound album containing portrait photographs of individuals and groups associated with the Stoney family and the British army's 25th Regiment of Foot known as The King's Own Borderers. The images are cartes de visite, with some larger albumen prints and tintypes interspersed. The album contains a wide variety of other visual materials including photographic prints of artwork, pen and ink drawings, calligraphy, newspaper clippings, printed cartoons, and greeting cards. The cover of the album is inscribed "G. Ormond Stoney/King's Own Borderers/5th July 1864." The album appears to have evolved over time in several different stages.

The King's Own Borderers photograph album is a 54 page, 23.4 x 15.5 cm embossed leather bound album containing portrait photographs of individuals and groups associated with the Stoney family and the British Army's 25th Regiment of Foot known as The King's Own Borderers. The images are largely cartes de visite, with albumen prints and tintypes interspersed. The cover of the album is inscribed "G. Ormond Stoney/King's Own Borderers/5th July 1864." The album contains a wide variety of other visual materials including photographic prints of artwork, pen and ink drawings, calligraphy, newspaper clippings, printed cartoons, and greeting cards. The album appears to have had at least three different stages of construction. The first as a traditional 1860s carte de visite photograph album kept by its namesake G. Ormond Stoney (hereafter referred to as Ormond) comprised of photographs of family members interspersed with related newspaper clippings.

The album appears to have been revised with significant additions in the 1870s-1880s, including more photographs of family members as well as commercial photographic prints. The majority of those represented were army officers, with Anglican priests and politicians; many being contemporaries and associates of Ormond's father, George Butler Stoney (1819-1899). Clipped autographs of many are included beneath the photos and appear to be from correspondence to George Butler Stoney.

Various clues to point to Ormond Stoney's sister Jane (Janie) Stoney Smith as a contributor to the album. Not only is she frequently represented in the album, but the album has several pictures of her husband Arthur Smith and his family--many more so than any other family that married into the Stoney family. Arthur and Janie married on September 19, 1867--the same date on the autograph posted under Arthur's picture. Arthur died in 1870 leaving Janie a pregnant widow with a young son, Herbert (see p.24 for his portrait), and an even younger daughter, Ethel Maud. Newspaper clippings around the portrait of Arthur on p.13 mention his death as well as the birth of Herbert and Ethel, though not of Florence, the youngest daughter. Although Jane's two daughters are not represented in the album, on page 44 it appears that at one point a photograph of both of her daughters was extant.

While Jane's younger sister Wilhelmina married Colin McKenzie Smith, another son of William Smith, she did not do so until 1889. The focus on Janie's husband Arthur and their children, suggests Jane rather than Wilhelmina as a significant contributor to the album.

George Ormond's wife Meylia has not been identified in the album and may not be present, however, her father, Sinclair Laing is represented. Laing appears to have been a correspondent with George Butler Stoney.

At some later date, likely in the late 19th century, decorative gold painted borders were added, along with chromolithograph stickers, known as "scraps." These include a series illustrating Robinson Crusoe. Unlike the earlier additions which point to Janie Smith, these later additions might have been the work of a child playing with what would have been a 30 year old album. The gold paint overlapping earlier items (see p. 28 for example) suggests a later date, as do the "scraps" made popular after 1880. The seemingly random nature of the placement of the "scraps" is quite the opposite of the carefully placed and planned addition probably done by Janie Smith.

Of the children represented in the album, three of them would be killed in World War One: Thomas Ramsay Stoney (1882-1918), George Butler Stoney (1877-1915), and Herbert Stoney Smith (1868-1915).

• Two group portraits of young men in military uniform, presumably with George Ormond present in both photographs (p.2, and back inside cover).
• A portrait of a dog that if viewed from another angle appears to be an individual with a disfigured face (p.7).
• A commercial carte de visite of a Zulu warrior identified as King Cetewayo (likely incorrect, the chief of the Matabele) (p.41).
• A portrait of Napoleon, Prince Imperial, in his military uniform ca. 1879 before he died in the service of the British Army during the Anglo-Zulu War (p.40).
• A print of Rosturk Castle in County Mayo, Ireland (p.47).
• A retouched portrait of a dog posed with a military hat, cane and pipe. (p.23).
• An 1873 program for an "evening reading" of two different farces, "Little Toddlekins," and "The Dead Shot," done to raise money for Mrs. Palmer, the retiring battalion nurse (p.53). On the outside of the program is a print of Portland House, a manor owned by members of the Stoney family.

The Ladd family carte-de-visite album contains carte-de-visite and tintype portraits of members of the Ladd and White families, as well as other individuals. The volume belonged to a woman named Annis.

The Ladd family carte-de-visite album (14cm x 12cm) contains formal studio portraits of members of the Ladd and White families, as well as other individuals. The photographs are comprised of 30 cartes-de-visite and 6 tintypes. An index to the photographs is partially filled out, though some items may not remain in their original positions or may have been removed. The volume contains pictures of men, women, and children, sometimes photographed in pairs; one child is shown sitting in a baby carriage. Some items have the photographer's name and studio location printed on the back; many were taken in Sterling, Illinois, and various towns in Michigan. The volume's brown cover has a raised geometric design, and the book has one metal clasp.

This photograph album contains formal portraits of men and women, many of which were taken in Massachusetts around the late 19th century.

The Massachusetts family album (15cm x 12cm) has 39 carte-de-visite and 3 tintype portraits of men and women. The photographs are formal studio portraits attributed to photographers in locations such as Boston, Massachusetts; Salem, Massachusetts; and Romeo, Michigan. Many of the photographs depict young men or women, and one photograph shows a couple. The tintypes have some hand-coloring. The album has a decorative red and black stamped leather cover with a metal clasp.

The Meadville (Pa.) and Scandia (Kan.) photograph album contains cabinet cards, cartes-de-visite, and other photographs of men, women, and children taken in Meadville, Pennsylvania, and Scandia, Kansas, in the late 19th century. Pictures of the National Monument to the Forefathers and a grave marker are included, as is a remembrance card for Nancy Anderson.

The Meadville (Pa.) and Scandia (Kan.) photograph album (27cm x 22cm) contains 38 items, including 26 cabinet cards, 8 cartes-de-visite, 1 tintype, and 3 additional photographic prints. The volume's purple-padded covers are bound in cloth, and it has a large metal clasp. A metallic plate shaped as the word "Album" was once affixed to the front cover and is now laid into the volume.

Most of the photographs are studio portraits of individual men, women, and children taken in Meadville, Pennsylvania, and Scandia, Kansas, in the late 19th century; the children pictured are infants and toddlers. Occasionally, the subjects are shown with a drum, a book, a dog, and one man posed on the sill of an artificial window. Two items laid into the volume are outdoor portraits of adults standing in front of a house, with a windmill visible to the side. A piece of tissue paper affixed to one of the cabinet cards has printed line drawings of a girl's face and flowers. The remaining items are a photograph of the National Monument to the Forefathers in Plymouth, Massachusetts; a photograph of a headstone for members of the Smock family; and a black card dedicated to the remembrance of Nancy Anderson (1818-1889), with a brief poem and other details printed in gold.

The Michigan family photograph album contains cabinet cards and cartes-de-visite with portraits of various unidentified men, women, and children taken largely in Howell and Pontiac, Michigan, in the late 19th century.

The Michigan family photograph album (26cm x 20cm) contains 25 cabinet cards and 10 cartes-de-visite with portraits of unidentified men, women, and children taken in Howell and Pontiac, Michigan, in the late 19th century. The album's padded red velvet cover has the title "Album" on an artist's palette. Subjects were photographed individually, in pairs, and, on a few occasions, as families, with as many as four people appearing in one image. Two boys were accompanied by dogs. Some subjects appear in more than one picture, apparently at different ages.

The Michigan School photograph album contains studio portraits of unidentified men, women, and children taken mostly in Central and Southeast Michigan in the late 19th century, as well as two pictures of school buildings, at least one of which is from the campus of Michigan Agricultural College. The album contents are possibly a mixture of students and professors of M.A.C. plus family and friends of the unknown compiler.

The Michigan School photograph album (27cm x 21cm) contains 54 studio portraits of unidentified men, women, and children taken in Michigan cities such as Albion, Ann Arbor, Jackson, and Lansing in the late 19th century. The photographs are comprised of 40 cabinet cards and similarly sized card photographs, 11 cartes-de-visite, and 3 tintypes. Four pages from a different album (containing seven photographs) are laid into the volume, as is a photograph of an infant. Most of the images are individual portraits of adult men and women. Two images by a Lansing Michigan photographer are of school buildings, one identified as Michigan Agricultural College. A floral design is printed directly onto each page, and one cabinet card is designed to look as though the print is peeling off of the mount. A pink ribbon with the letters "Q," "L," and "S" attached to it is laid into the album. The volume's padded covers are wrapped in red cloth with a floral design imprinted on the front. A hard surface with the title "Album" is attached to the front cover.

The Morning family carte-de-visite album contains studio portraits of men, women, and children taken in the latter half of the 19th century. Members of the compiler's family and unidentified persons were photographed individually, in pairs, and in groups of as many as six people.

The Morning family carte-de-visite album (14.5cm x 22cm) contains 88 studio portraits of men, women, and children taken in the latter half of the 19th century. The items are comprised of 53 cartes-de-visite, 34 tintypes, and 1 small albumen print mounted on a rectangular visiting card. A number of gem tintypes are laid sideways into the carte-de-visite-sized windows, with two items visible in each window. The album's padded covers are bound in purple cloth, and an owner's name written onto the first page is faded.

The photographs are individual and group portraits of men, women, and children, including infants and toddlers; some appear more than once. Two young boys, apparently twins, were dressed identically for their picture, and a woman's hand is visible supporting an infant in another. Two girls wore white dresses and veils, possibly for communion ceremonies, and a priest is shown reading a book. Group portraits include a picture of six young men with canes and a picture of four young adults posing around a chair, shot at an angle. Two of the tintypes have hand coloring on the pictured individuals' cheeks and clothing.

The New Hampshire carte-de-visite album contains photographic portraits of unidentified individuals and lithographic portraits of prominent Union Army officers, and President and Mrs. Abraham Lincoln.

The New Hampshire carte-de-visite album (15cm x 12cm) contains 20 studio portraits of unidentified individuals and 8 lithographs of famous individuals. The photographs show men, women, children, and infants -- one, Louize M. Rollins [sic], is identified. The lithographs are portraits of Union officers Elmer Ellsworth (2 items), William Rosecrans, Samuel Francis Du Pont, Ulysses S. Grant, and George Meade, and of Abraham and Mary Todd Lincoln. The volume's brown leather cover has a geometric design in relief, with additional floral designs stamped in gold, and two metal clasps.

The New Jersey carte-de-visite album contains studio portraits of men, women, and children taken in New York and New Jersey in the late 19th century, as well as three chromolithograph "scraps" mounted on visiting cards.

The New Jersey carte-de-visite album (17cm x 13cm) contains 36 cartes-de-visite, 10 tintypes, and 3 chromolithograph "scraps" mounted on visiting cards. The cartes-de-visite and tintypes are studio portraits of men, women, and children taken in New York and New Jersey in the late 19th century. A small number have hand coloring. Most items show adult men and women photographed individually, with one picture of an adult couple, two pictures of young children, and one picture of an infant sitting in a chair. Eight mounted gem tintypes are included. Three lithograph "scraps" depict a young girl pictured with a friendship album, an open envelope, and an artist's palette with the captions "Friendship," "Devotion," and "Forget Me Not." Each scrap is mounted on a visiting card with a raised decorated border and the names "Mrs. George Carmers" and "Morriss Algoe" printed in script. The volume's brown cover has a raised geometric design, and it has two enameled metal clasps.

The New York and Michigan carte-de-visite album contains photographic portraits of unidentified men, women, and children taken mostly in New York State in the mid- to late 19th century.

The New York and Michigan carte-de-visite album (16cm x 12cm) contains portraits of unidentified men, women, and children taken in New York, Michigan, and Wisconsin in the mid- to late 19th century. The photographs are comprised of 16 cartes-de-visite, 10 tintypes, and 1 small albumen print. Some items have photographers' names printed on the back; one is attributed to "Mr. and Mrs. M. Brown." The pictures include headshots and full-body length portraits of subjects sitting or standing. The album's brown cover has a tooled geometric design, and it has two metal clasps, also with ornate designs. The title "Album" is stamped on the spine in gold.

This carte-de-visite album primarily contains formal studio portraits of men, women, and children taken in various locations in northeast North America from the 1860s to 1880s. One photograph shows an artistic rendering of the text of the Lord's Prayer, and a colored cutout is pasted into the volume.

This carte-de-visite album (15cm x 13cm) primarily contains formal studio portraits of men, women, and children taken in various locations in northeast North America from around the mid-1860s to early 1880s. The pictures are comprised of 42 carte-de-visite and 2 tintype portraits, as well as an additional carte-de-visite photograph collage. Two of the items are dated November 3, 1865, and September 3, 1881; few of the people pictured are identified. One woman is shown holding an infant in her lap. One tintype shows a young man dressed in costume wearing a plumed hat. The additional carte-de-visite depicts a printed version of the Lord's Prayer that utilizes several ornate fonts; a picture of Jesus Christ appears amidst the text, which is surrounded by drawn scenes of angels. A cutout pasted into the volume is a colored drawing of a woman standing next to a grazing sheep, framed by three large flowers. The album's brown leather cover has geometric designs stamped in gold and metal clasps; a floral design is carved into the sides of the pages. "Photographs" is stamped in gold on the spine.

The Oberlin College carte-de-visite album contains formal studio portraits of professors and students associated with the college in the middle to late 19th century.

The Oberlin College carte-de-visite album (13cm x 11cm) contains 32 formal studio portraits of men and women who were associated with the college in the middle to late 19th century. The volume includes pictures of students, professors, and two of the college's presidents, Charles Grandison Finney (1851-1865), and James Harris Fairchild (1866-1889). Most individuals pictured are identified in captions, and were associated with the school from the early 1860s to the 1870s. Many photographs were taken by A.C. Platt (1828-1884) in Oberlin, Ohio. The volume's brown leather cover has a geometric design, partially colored gold, and a floral design appears in relief on the edges of the pages. It has two metal clasps.

The Olean (N.Y.) cabinet card and carte de visite album contains 3 cabinet cards from ca. 1880s and 12 cartes de visite from ca. 1860s. The album likely dates to ca. 1880s.

The Olean (N.Y.) cabinet card and carte de visite album contains 3 cabinet cards of women from ca. 1880s and 12 cartes de visite mostly of men, women, and children from ca. 1860s. The album likely dates to ca. 1880s. An inscription on the interior front cover reads "Merry Christmas, Harrington School, Dec. 25, 1903, Daisy May Spencer, Teacher," and does not appear to be related to the material within.

The images take place in a formal studio setting from photographers located in Olean (New York), Rock Island and Chicago (Illinois), Titusville (Pennsylvania), San Francisco (California), and Nashua (New Hampshire). Some photos include handwritten names on the bottom front of the mounts. One photograph of a structure is identified by a handwritten inscription as "Olean Baptist Church."

The album is 19.5 x 25 cm with decorative green celluloid covers.

The Ontario carte-de-visite album contains formal portrait photographs of men, women, and children, including members of the compiler's family. Many of the photographs were taken in southern Ontario cities such as Brantford, Simcoe, and Woodstock.

The Ontario carte-de-visite album (15cm x 11cm) contains 33 carte-de-visite and 9 tintype photographs of numerous men, women, and children, some of whom are identified as members of the compiler's family. The formal studio portraits were taken by photographers in cities such as Brantford, Simcoe, and Woodstock, Ontario, in the mid- to late 1860s. Some family members are identified by their relationship to the owner, including a sibling, a pair of grandparents, and "Grandmother Merrill." Some subjects were photographed in pairs, and some held objects such as hats. A few of the cartes-de-visite and tintypes have hand coloring, and two cartes-de-visite have colored background designs printed directly onto the cards. A gold design is stamped on a raised portion of the album's front and back covers, which are made of pebbled brown leather.

The Princeton University photograph album consists of approximately 95 cabinet card photographs including portraits of professors and class members of the College of New Jersey (later Princeton University) class of 1883.

The Princeton University photograph album consists of approximately 95 cabinet card photographs including portraits of professors and class members of the College of New Jersey (later Princeton University) class of 1883. The album (21 x 30 cm) is fully bound in brown leather. Images include cabinet card portraits of professors and students, views of campus buildings and the Princeton cannon, a class of 1883 group portrait, group portraits of men and women on the lawn and indoors, and class member James Harlan wearing a football uniform. Of particular note is a photograph of James Johnson (d. 1902), and escaped slave and food vendor on campus and in the Princeton community, with a wheeled cart and basket over his arm.

Additional items include genre works, a reproduction of a print of Franz Josef I of Austria with his family, and a photograph of the SS Furnessia, all in cabinet card format. Inside the front cover there is also a montage of engravings of campus buildings as well as a photographic postcard of the Princeton Inn.

The Robson family photograph album (14.25 x 19.25 cm) contains 29 snapshots of men and women related to the Robson family in the Missoula, Montana area and Illinois.

The Robson family photograph album (14.25 x 19.25 cm) contains 29 snapshots of men and women related to the Robson family in Illinois and the Missoula, Montana area.

Most of the photographs have inscriptions underneath. 3 loose photographs are tucked in the back pages and do not include inscriptions. An inscription inside the front cover indicates the album was a Christmas gift from Isabelle Cockburn Robson to her nephew, George McPherson, in 1911. Greenough Park in Missoula is featured throughout the album.

Of note are two photographs, one on page 22 of Native Americans standing on a street, and one on page 23 of a crowd listening to former President Theodore Roosevelt give a speech in Missoula.

The R. W. Butterfield Princeton College Class of 1866 carte-de-visite album, compiled by Roger W. Butterfield, contains studio portraits of various men, women, and children.

The Princeton College Class of 1866 carte-de-visite album (23.5cm x 18cm), compiled by Roger W. Butterfield, contains 198 cartes-de-visite and 3 tintypes. The brown leather cover has gold floral designs imprinted on a raised portion of its cover; the central, sunken part of the cover has the title "Princeton College Class of '66" and the name "R. W. Butterfield" imprinted in gold. The title "Album" is printed in gold on the spine, and the volume has just one of its two original metal clasps. The book has two pages of biographical information about the members of Princeton College's Class of 1866. The photographs are credited to photographers from both the east and Midwestern states.

The vast majority of items are studio portraits of men and women of varying ages, photographed individually, in pairs, and groups. The album includes four outdoor group photographs of young men, presumably students, posed on a lawn, and in front of buildings. Of note is an outdoor photograph of a posed group with guitar, pipes, canes, and two men in shirt sleeves boxing. Many of the photographs are autographed including those of University of Michigan professors James V. Campbell and Thomas M. Cooley. Several portraits of children include one of a man and boy, the man smoking a pipe, and one of three girls, and a commercially produced image of "Rebecca," the emancipated slave from New Orleans. Other cartes-de-visite are pictures of a painted portrait, a statue, Minehaha Falls, and several grave monuments; one lithograph shows an unidentified religious building. One loose carte-de-visite is laid into the album.

Shadowed Liveries of ye Burning Sun is a carte-de-visite album containing pictures of monuments, buildings, and people in present-day Belgium, Germany, Scotland, Wales, and Ireland.

Shadowed Liveries of ye Burning Sun is a carte-de-visite album (16cm x 12cm) containing 47 pictures of monuments, buildings, and people in various European countries; one additional item is an unidentified silhouette. The volume's red pebbled cover has a metallic gold border and raised geometric designs; the book also has two metal clasps. A formal title, "Shadowed Liveries of ye Burning Sun. Animum Pictura Pascit Inani," is written in red and blue Gothic letters on the first page. With the exception of a silhouette and studio portrait at the back of the album, each photograph is captioned with its location and subject; the captions are written in red Gothic letters.

Most of the photographs show religious buildings, statues and memorials, castles, natural scenery, and street scenes in numerous cities and towns in present-day Germany, Belgium, Scotland, Wales, and Ireland. Some of the pictures were taken in large cities and others in German spa towns. Monuments include statues of prominent German historical figures and memorials at Waterloo. Pictures from Scotland show Lochs Ness and Lomond, as well as several castles, and one view from Frankfurt features the Hauptsynagoge, which has since been destroyed. The album contains six portraits of men and women in Belgium and in Bad Oeynhausen and Minden, Germany, including one of a female lace maker, two of women in "Antwerp costume," and three of boys and girls in "gala costume" posing next to a spinning wheel, with vibrant hand coloring. Two other items show a woman standing next to a milk cart and a man standing next to a bread cart, both pulled by dogs. The subjects of the silhouette and final studio portrait are unidentified. The silhouette is dated January 31, 1890. The studio portrait was taken in a Dublin studio.

The Virginia, Georgia, and Maryland carte-de-visite album contains carte-de-visite and tintype studio portraits of men, women, and children taken around the 1870s-1880s. Most of the tintypes are hand-tinted.

This album (13cm x9cm) contains 16 carte-de-visite and 13 tintype photographs taken in Virginia, Georgia, and Maryland circa 1870s-1880s. Most items are individual portraits, with three exceptions: a carte-de-visite of two women, a tintype of a woman holding an infant, and a tintype family photograph of six people, mostly children. The majority of the tintypes and at least two of the cartes-de-visite have hand coloring. One photograph of an infant is identified as Estelle Simcoe. The volume's brown cover has a raised geometric design, and the title "Album" is stamped in gold on the spine.

The Women Photographers carte-de-visite album contains studio portraits made by female photographers and husband-and-wife teams in the United States and England.

The Women Photographers carte-de-visite album (13.5cm x 10cm) contains 21 studio portraits of men, women, and children made by female photographers and husband-and-wife teams in the United States and England. This album was likely compiled by collector Frederick P. Currier from individual unrelated photos and an empty album

With the exception of one picture of a man and a woman, all of the items are individual portraits. One woman wore a large cross on a necklace, and one infant posed on a chair. The album's dark brown cover has a raised geometric design, and the volume is closed with two metal clasps. A floral design is carved into the sides of the pages. A list of photographers and their locations, when given, is provided below.