Collections

The Allen family photograph album contains carte-de-visite and tintype portraits of various individuals, including members of the Allen family of Mayville, Michigan.

The Allen family photograph album (13cm x 10cm) contains 22 cartes-de-visite, 13 tintypes, one lithograph, and one printed card. The cartes-de-visite and tintypes are studio portraits of men, women, and children. Most items show a single person, though some, such as a woman and a young baby, were photographed in pairs. The lithograph depicts a young girl holding a dog. An educational card, one of a series of "Little People Lesson Pictures" issued by the American Sunday-School Union (volume IV, number 1, part 5), is laid into the volume. The card has a colored print of a Biblical scene entitled "Beginning of the Hebrew Nation," and the reverse side has questions and answers about Abraham's journey to Canaan. The cartes-de-visite were made by photographers in locations such as Imlay City, Michigan; Owosso, Michigan; and Peterborough, Ontario. The volume's covers are leather, with a Maltese gold-embossed cross stamped in relief on each side.

The Same-sex affection and gender studies photograph collection contains approximately 150 examples of photographs that illustrate closeness between subjects of the same sex as well as aspects of non-traditional gender presentation.

The collection includes photographic examples in multiple formats with real photo postcards, tintypes, cabinet cards, cartes de visite, and small format mounted photos being the most numerous. 145 images are contained in Box 1 of the collection while an additional 5 photographs on larger format card mounts are stored in Box 2. Images mainly consist of portraits of men posing familiarly with other men, women posing familiarly with other women, and portraits of groups and individuals engaged in cross-dressing. Due to the subjective nature of assessing these images combined with historical differences in what was considered socially acceptable displays of affection and the general lack of verifiable context, many of these photographs remain open to a variety of interpretations.

Numerous photographs show same-sex duos and larger groups holding hands, placing their hands on each other, leaning on each other, or demonstrating affection in some other observable way. Most subjects are unidentified, though occasionally individuals have been identified through the presence of inscriptions. In some cases, individuals pictured together have been confirmed to be relatives.

Numerous photographs of male and female individuals and groups engaged in cross-dressing are also present. In many instances, the cross-dressing most likely occurred for humorous reasons.

• Postcard showing two men embracing with the printed caption "We're looking for girls at Lansing, Mich."
• Real photo postcard bearing a studio group portrait of two men, one of whom appears to have an unbuckled belt.
• Cabinet card studio group portrait by Beardsley of Charlotte, Michigan, showing two men, one of whom holds a guitar, whose arms appear to align behind them in a manner that suggests they may have been holding hands.
• Two different group portraits of the same female couple identified through inscriptions as "Agnes Davis" and "Anna Wickerham."
• 1940s group portrait of four men included in a souvenir packet for “Swing Rendezvous,” a New York City-based lesbian/gay bar.
• Real photo postcard bearing a portrait of an unidentified man wearing women's clothing, including a dress, flower-laden hat, and beaded necklace.
• Postcard showing a man wearing women's clothing sat on a bench with the printed caption "The Male is late!"
• Outdoor portrait of two women dressed in men's clothing captioned "A pair of Peaches."
• Real photo postcard captioned "Four of a kind" showing two cross-dressed male-female couples sitting together, with the women sat in the men's laps.
• Series of four images showing a woman posing in World War I-era soldier's uniform.

The Mark A. Anderson collection of post-mortem photography contains approximately 1068 items including photographs, ephemeral items, documents, manuscripts, printed items, and realia pertaining to the visual history of death and bereavement between the 1840s and the 1970s. Photographs make up the bulk of the collection.

The Mark A. Anderson collection of post-mortem photography contains approximately 1068 photographs, ephemeral items, documents, manuscripts, printed items, and realia pertaining to the visual history of death and bereavement between the 1840s and the 1970s. Photographs make up the bulk of the collection. Mr. Anderson assembled this collection from dealers, antique shops, and individuals. His motivation stemmed from a desire to document and to provide historical perspective on various end-of-life practices which, in the 20th century, fell into taboo and disfavor.

The majority portion of the photographic items in the collection are neither dated, nor attributed, although approximate dates can often be determined by when particular photographic formats were in use (see timeline at www.graphicatlas.org.). Consequently, the materials have been organized first to accommodate their sizes, formats, and preservation needs, and second to reflect major subject themes present, though scattered, throughout the entire collection. These non-mutually exclusive subjects are as follows:

• Post-mortem portraits
• Post-mortem scenes
• Funeral tableaux
• Funerals and funeral processions
• Floral arrangements and displays
• Memorial cards and sentimental imagery
• Cemeteries and monuments
• Funeral industry
• Mourning attire
• Unnatural death

The first three subjects - post-mortem portraits, scenes, and funeral tableaux - all depict the recently deceased, and so fall into the narrowest definition of a post-mortem photograph. Their distinction into three separate subjects is a partly arbitrary decision, made to break up what would otherwise be a large and unwieldy grouping of photos, but also to roughly shape the order of the collection (post-mortem portraits without décor tended to date earlier chronologically than broader, beautifying scenes).

Post-mortem portraits:

The post-mortem portrait photographs, comprising 251 items in the collection, depict the bodies of dead family members and friends. These images show the deceased, sometimes posed with living family members, and for the most part do not include elements of a larger scene, such as floral arrangements, banners, or other décor.

These portraits include the earliest photographic images in the collection, including 28 cased daguerreotypes, ambrotypes, and tintypes. 78 cabinet card photographs date from the late 1860s to around the turn of the century. Among many notable cabinet cards are two images of Frances Radke, taken and retouched by R. C. Houser, showing her image before and after Houser's post-capture work (3.1 and 3.2). Also of note is a framed crayon enlargement of infant Adelaide Banks by photographer/artist Edward Stuart Tray (26) and a post-mortem carte de visite of an unidentified African American infant taken by photographer S. P. Davis of Danielsonville, Connecticut (4.282u).

Post-mortem scenes:

The post-mortem scene photographs, numbering 155 items in total, are similar to the portraits described above, except that they show the deceased as part of a larger environment, whether in a private home, a funeral home, or out-of-doors. Most of these views are mounted photographic prints from the 1880s to the early decades of the 20th century, frequently centering on the corpse, lying in a casket or coffin, amidst an abundance of floral arrangements, banners or flags, family members or friends, and/or personal belongings. Their caskets are often lined with white cloth.

Many of these images have unique qualities; several examples illustrate the variety of postmortem scenes in the collection. Six photographs by W. Jakubowski and Co. and Jos. Ziawinski, of Detroit, Michigan, include five wedding photographs (of the bride and groom, bridesmaids, and family members) and one post-mortem scene of the wife. She appears to have died within a short time following the marriage; the funeral home scene image contains one of the wedding photographs and a banner marked "Dearest Wife" (18.5-18.10). One mounted photograph depicts a dog, laid on linen, in a homemade casket (14:17). The collection also contains examples of different persons on display in the same funeral home/parlor (e.g. 18.1-18.4). A set of two cabinet card photos of a child in a buggy is accompanied by one of the buggy's metal lanterns (23.1-23.3). Also of note is a photogravure of the 1888 painting "Requiescat" by British artist Briton Rivière showing a dog seated next to its deceased owner (25.2).

Funeral tableaux:

The collection's 35 funeral tableaux photographs show the deceased in an open casket or coffin, typically in front of a church or homestead, with a posed assembly of funeral attendees or mourners. They often show a large group of family and friends, and so are frequently large format prints. Group portraits of this sort were occasionally framed and displayed in the home. Most of the examples in this collection are large prints (many of them mounted), with smaller examples, including a real photo postcard, two snapshots, and one cabinet card. Particular items of note include a framed tableau on the steps of the Church of The Descent of The Holy Ghost in Detroit by Thomas Hoffman (27), a photomontage image of a nun's funeral (28), two tableaux scenes by F. A. Drukteinis taken outside of the same church in Detroit during different seasons and involving the same family (20.12 and 20.15), and three related tableaux scenes (two mounted and one unmounted) involving a presumably Hungarian family that were taken outside of what appears to be a Catholic church in Cleveland, Ohio, during three different funerals (20.16a-20.16c).

Funerals and funeral processions:

The 70 items depicting or pertaining to funeral gatherings show various aspects of the movement of the deceased from the home or funeral home to the cemetery and funeral and burial ceremonies. This group is comprised of real photo postcards (22 items), snapshots (13 items), and a variety of other formats. Examples include an albumen print depicting the Plymouth Church decorated for Henry Ward Beecher's funeral in 1887, and snapshot and postcard photographs of a burial at sea.

Floral arrangements and displays:

Additional documentation of funeral decoration may be found in the collection's 176 still life portraits of floral arrangements and other decorations. A portion of the floral display photographs include pre- or post-mortem photos of the deceased either incorporated into the display or added to the image after printing. One particularly fine example is a large format photograph of a floral arrangement for the funeral of Joshua Turner Mulls; the display included a cabinet card photo of Mr. Mulls and a modified enlargement of the cabinet card. Accompanying the floral arrangement photograph is the cabinet card depicted in the display, with artist's instructions for coloring the enlargement (22.1-22.2).

Memorial cards and sentimental imagery:

The collection includes 105 memorial cards and ephemeral items bearing sentimental imagery. Memorial cards were created as tributes, often displaying birth dates, death dates, and other information about the deceased. Many of these cards include border designs and some bear photographs of the departed. Black-fronted memorial cards gained popularity from 1880 to 1905. Of many interesting examples, the collection includes two examples of memorial cards which haven't yet been personalized (4.306-4.307) and two reflecting World War I-related deaths (4.316 and 4.317). Materials with sentimental imagery include items such as a photograph of an illustration entitled "Momma is in Heaven," a memorial book dedicated to Olive C. Partridge in 1897, and other items.

Note: an advertisement for the Memorial Card Company of Philadelphia is located in the 'Funeral Industry' section of the collection (14.35).

Cemeteries and monuments:

61 photographs, printed items, and realia explicitly pertain to cemeteries, burial markers, or monuments. Some of the cemeteries and monuments are identified, such as the Garfield Memorial at Lakeview Cemetery in Cleveland, Ohio (4.1-4.3). The collection includes examples of cemetery-related realia, including an ovular, porcelain headstone photograph (pre-mortem) of the deceased.

Note: cemeteries may be seen as background for many photographs throughout the collection.

The funeral industry:

The Mark A. Anderson collection of post-mortem photography holds a diverse selection of photographs, ephemera, and printed materials related to the business aspects of death, dying, and bereavement. This group contains around 153 items overall, including receipts (1896-1956); various types of advertising materials (including an undertaker's advertising card, a cabinet photograph of the Arbenz & Co. storefront advertising undertaking as a service, fans from a church and the A. C. Cheney funeral home, a thermometer, and other items); and 118 coffin sales photographs (illustrating a massive selection of different casket models offered by the Boyertown Burial Casket Company of Pennsylvania).

Two photograph albums, that of Clarence E. Mapes' furniture store and funeral home and that of the Algoe-Gundry Company funeral home, provide visual documentation of a rural and an urban funeral home (respectively) in Michigan in the first half of the 20th century:

The photo album and scrapbook of Clarence E. Mapes' furniture store and funeral home in Durand, Michigan, dating from ca. 1903-1930, contains interior and exterior photographs of the furniture and undertaker portions of the shop. The album includes photographs of casket showroom display mechanisms; an example of a "burglar proof" metallic vault; a posed photo of the embalmer standing over a man on the embalming table; images of carriage and motorized hearses; business-related newspaper clippings; and various family and vacation photographs. Several prints, dated August 1903, appear to depict the aftermath of the Wallace Brothers Circus train wreck on the Grand Trunk railroad at Durand. Among these photographs are carriage hearses, a horse-drawn cart carrying ten or more oblong boxes (for transportation and perhaps burial of victims of the wreck), a man standing in an alleyway near three stacked boxes, and a large group of persons standing in a largely unearthed section of a cemetery. The Mapes album is accompanied by a C. E. Mapes Furniture advertising fly-swatter.

The Algoe-Gundry Company album dates from ca. 1924 to 1960 and contains (almost exclusively) 8"x10" photographs of this Flint, Michigan, funeral business. The album includes images of the exterior and interior of Algoe-Gundry buildings, hearses, ambulances, and billboard advertisements.

One album was produced ca. 1939 by the Central Metallic Casket Co. of Chicago, Illinois. Titled "Caskets of Character," the album contains images of patented (or soon to be patented) casket designs as well as a printed cross-sectional view detailing the company's "Leak-Proof" Separate Inner Sealer.

Also of interest is funeral director's license granted by the Michigan State Board of Embalmers and Funeral Directors to Vincent J. George of Fowler, Michigan, in 1938. (25.1)

Mourning attire:

In America, mourning attire tended to follow trends set in Europe. The bereaved wore mourning clothing according to current fashion trends and societal expectations. Mourning clothing styles, often dark-colored and somber, depended on how close the mourner was to the deceased and local societal expectations. Seventeen portrait photographs show men and women wearing mourning attire without the deceased present. This group includes cabinet cards, a 1/9 plate ambrotype of an adult woman, two tintypes, and one carte-de-visite.

Note: persons wearing mourning attire may also be found scattered throughout the other sections of the Mark A. Anderson collection. While most are concentrated in the funeral photographs, mourners are also present in postmortem portraits, postmortem scenes, and cemetery photos.

Unnatural death:

43 photographs (mostly snapshots) depict "unnatural deaths," deaths not caused by age or naturally occurring disease, such as suicides, accidents, murders, and war. The larger portions of the snapshots are mid-20th century police photographs of crime or accident scenes.

Nine Indiana State Police photographs show a train-automobile accident; a group of eight unmarked photos depict the body of woman, apparently violently murdered, at the location of her death and in a morgue; 14 are of a man struck down, beneath a train; two are of a rifle suicide; and the others are of varying accidents. One World War I-era real photo postcard appears to show a man who was shot dead in a foxhole. A stereoscopic card by photographer B. W. Kilburn shows the burial of Filipino soldiers after the Battle of Malolos, Philippine Islands [ca. 1899].

Note: The photograph album/scrapbook of the Clarence E. Mapes furniture and undertakers shop contains several photographs of what appear to be the aftermath of the Wallace Brothers Circus train wreck, Durand, Michigan 1903 (see above description in the 'Funeral Industry' section of this scope and content note).

The World War I surgeon's photograph album, Base Hospital 29, contains approximately 90 photographs and 4 ephemeral items documenting a U.S. Army surgeon's training in the United States and service overseas during World War I.

The World War I surgeon's photograph album, Base Hospital 29, contains approximately 90 photographs and 4 ephemeral items documenting a U.S. Army surgeon's training in the United States and service overseas during World War I. The album (18 x 29 cm) was possibly compiled by Lieutenant H. O. Wernicke. Nine photographs show military personnel and barracks at the Medical Officer Training Center at Fort Riley, Kansas, in 1918. Following a voyage to Liverpool on July 6 1918 aboard the RMS Empress of Russia, subsequent photographs depict Base Hospital 29 in Tottenham, London, including medical staff, facilities, wards, an operating theater, and casualties. One photograph shows medical staff and patients singing from songbooks while a nurse plays the piano and a patient sits up in bed playing the violin. A possible transfer to France is indicated by 6 postcard views of a town and hospital with the caption, "Base Hospital 9 at Chateauroux."

Ephemeral items include a seating chart for the Candlewick Ward Club dinner held Monday, July 29 1918 attended by U.S. service members as well as a fold-out schematic of the RMS Olympic.

The California travel photograph album (17.5 x 14 cm) contains twelve gelatin silver print views of various travel destinations in California in 1898.

The California travel photograph album (17.5 x 14 cm) contains twelve gelatin silver print photographs of various travel destinations in California in 1898. Captions are written below each photograph.

The Midwest family travel album contains approximately 150 photographs showing travel and leisure activities in Virginia, New York, Vermont, Iowa, Michigan, Minnesota, and Georgia that were likely compiled by a friend or relative of lumber executive and one-time mayor of Manistee, Michigan, Charles J. Canfield.

The Midwest family travel album contains approximately 150 photographs showing travel and leisure activities in New York, Vermont, Iowa, Michigan, Minnesota, and Georgia that were likely compiled by a friend or relative of lumber executive and one-time mayor of Manistee, Michigan, Charles J. Canfield.

The album (26 x 35 cm) has a black cloth binding. Photographs of interest taken in Vermont and New York include rural views, country roads, a woman bicycling, and a group relaxing beside the Batten Kill River in Eagleville, New York. Images from Sioux City, Iowa, include views of public buildings, a golf tournament between Sioux City and Le Mars, a football game between Sioux City and Council Bluffs, an interior view of a woman working at a desk, a high school group on stage in blackface, a shooting expedition, and group portraits of young people at the Sioux City High School and in costume at a "hobo party." Michigan-related photographs include views of Charles Canfield's cottage in Onekama, Michigan, Canfield's yacht "Uvira," views of forests in Manistee, and a lumber camp scene captioned "Camp 4 near Luther, Mich." Photographs from unidentified locations include views of a sawmill, flum, and lumber camp, several home interiors, mountains, and giant trees likely indicative of the West Coast. Two photographs also show a canoe with a Native American family on a lake in Northern Minnesota.

The World's Columbian Exposition photograph album contains approximately 284 images related to the World's Columbian Exposition of 1893 held in Chicago, Illinois.

The World's Columbian Exposition photograph album contains approximately 284 images related to the World's Columbian Exposition of 1893 held in Chicago, Illinois.

The album (29 x 40 cm) has black cloth and leather covers bound by two metal rods. The original covers were replaced in March 2012 by conservator James W. Craven. Most of the album's 70 pages contain 4 photographs per page. Images include photographs of exteriors and interiors of various exhibition buildings, large crowds of people, numerous sculptures and statues, various historic and modern marine vessels, and bird's-eye views of the fair complex. Also of note are several photographs showing attendees in wheelchairs, images of various ethnic group exhibit buildings (including the Japanese Bazaar, Persian Palace, Irish Village, Oahomey Village of Benin, Egyptian Temple of Luksor, Alaskan Indian Village, and NY Iroquois Exhibit), and a group portrait of women sculptors including Helen F. Mears and Jean Pond Miner.

The Great Lakes Region cities and rivers photograph album contains approximately 125 photographs of Detroit, Grand Rapids, Chatham, Minneapolis, and Saginaw from 1916 to 1919.

The Great Lakes Region cities and rivers photograph album contains approximately 125 photographs of Detroit, Grand Rapids, Chatham, Minneapolis, and Saginaw from 1916 to 1919. The images show many of the same people canoeing, skiing, and fishing. Most album pages include handwritten captions with date, location, and names, and some photographs have handwritten notations on the back. Individuals referred to as John, Mother, Wahnita, and Aunt Anna appear most frequently. Also included are images of a Peace Day and Armistice Day parade in 1918 and a Standard Oil fire in July, 1919. A few images show scenes from the Panama Canal Zone.

The album is 21.75 x 13.5 cm with dark brown cloth covers.

The California, Colorado, and Long Island vacation photograph album consists of 65 snapshot photographs from 1904 to 1906.

The California, Colorado, and Long Island vacation photograph album consists of 65 snapshot photographs from 1904 to 1906. The album begins with scenes of Colorado. These images show views from a railway through the Rocky Mountains and a trip to Garden of the Gods in Colorado Springs.

A majority of the photographs were taken in San Francisco, California. These photos date from May, 1906, just after the San Francisco earthquake and fire. Many of the images show refugee camps and temporary housing, displaced businesses, and damage on Van Ness Ave, which was used as a firebreak by the United States Army. The McKinley Parade, also known as Fiesta de Los Angeles is photographed as well. Other California scenes include Cliff House in San Francisco, an ostrich farm in Pasadena, vineyards, and orchards of olive trees, palm trees, and lemon trees.

The last portion of the album is of Long Island, New York State. These scenes include people on a boat in the water near Westhampton, people swimming in Jamaica Bay, and Apacuck Point.

The album is 18.5 x 14 cm with red cloth covers.

The Historical views of Malden album contains approximately 200 items including photographs, reproductions, prints, newspaper clippings, and maps related to the history of Malden, Massachusetts.

The Historical views of Malden album contains approximately 200 items including photographs, reproductions, prints, newspaper clippings, and maps related to the history of Malden, Massachusetts. The album (26 x 31 cm) is largely disbound with black cloth covers. Many items are loose.

Items of interest include images of street scenes, commercial buildings, schools, houses, gravestones, plaques, monuments relating to the history of Malden (with particular attention paid to the homes of the Winship, Sprague, and Waite families), and several group portraits of Malden students including "Malden High School Cadets" in uniform holding bayoneted rifles and the Centre Grammar School graduating class of 1883 at their school desks. Also present are images of interior and exterior views of city hall (festooned for the 250th anniversary in 1899), and Massachusetts Governor Curtis Guild dedicating Bell Rock around 1905.

Two maps showing Malden in 1852 and 1856 as well as a laid-in negative photostat showing "Sales at auction of the pews in Malden Meeting House, January 13th, 1803" replete with names and prices are also included

The Abraham Lincoln assassination book illustrations collection consists of 300 photographic reproductions likely produced during the 1960s of various 19th-century photographs, paintings, illustrations, maps, diagrams, posters, and ephemera related to the assassination of Abraham Lincoln.

The Abraham Lincoln assassination book illustrations collection consists of 300 photographic reproductions likely produced during the 1960s of various 19th-century photographs, paintings, illustrations, maps, diagrams, posters, and ephemera related to the assassination of Abraham Lincoln.

The collection provides a thorough pictorial history of Lincoln's assassination and its aftermath using photographic reproductions of select period sources. The reproductions are contained in three volumes that have been grouped into five thematic sections: "Assassination" and "Flight and Capture" (Volume 1); "Trial and Execution" and "The Funeral" (Volume 2); and "Funeral at Springfield" (Volume 3). Each thematic section is introduced with a typed index that identifies images and their original sources, which are often listed in abbreviated forms. Image sources that are cited include the Library of Congress (LC), National Park Service (NPS), Chicago Historical Society (CHS), National Archives (NA), New-York Historical Society (NYHS), Lincoln National Life Foundation (LNLF), Illinois State Historical Library (ISHS), Leslie's Illustrated, Harper's Weekly, Claude Simmons (C.S.), and more. While the subject and source of each image are noted, but there is no accompanying text or narrative concerning the events. This collection appears to have been assembled in relation to the prospective publication of an illustrated book on the topic, possibly during the 1960s as a centennial piece. Many of the photographs have chapter and page notations on the back, though there are no specific references to the author or the intended title of the prospective book.

The indexes for each thematic section are as follows:

• Second Inauguration - LC
• Mary Lincoln - LC
• Abraham Lincoln - LC
• Major Henry Rathbone - NPS
• Clara Harris - LC
• Lincoln Closed Coach - CHS
• Points in Downtown Washington - LC
• Ford's Theater from the South - ISHL
• Ford's from the North - ISHL
• Star Saloon Next to Ford's - NPS
• Simulated Night View
• Playbill April 14, 1865 - NPS
• Laura Keene - LC
• Dress Circle - NPS
• Orchestra and Parquette - NPS
• Interior Plan - NPS
• Box 7 and 8 - US Signal Corps
• Box, Orchestra, Dress and Family Circles - ISHL
• Stage and Box - Ford Museum
• Full Stage - NPS
• Diagram of Stage - From Pitman
• Stage with Explanatory Key
• Setee Used in Box - NPS
• Chair in Which Lincoln Sat - NPS
• Plan of Box - From Harper's Weekly, 4-29-65
• Doors Leading to Box - F. Leslie's Ill. News. 5-13-65
• Stick Used to Bar Door - NPS
• Seating Arrangement in Box - NPS
• Booth's Knife and Dagger - NPS
• John Wilkes Booth - NA
• The Deringer - NPS
• Berghaus Sketch from F. Leslie's I.N. 4-29-65
• Treasury Guards Flag - NPS
• Berghaus Sketch - F. Leslie's I.N. 5-6-65
• Booth's Spur - NPS
• Booth's Boot - NPS
• Berghaus Sketch - F. Leslie's I.N. 5-20-65
• Dr. Charles Leale - LC
• "Borne by Loving Hands" Bersch Painting - NPS
• Simulated Night View of Petersen House
• Room Where the President Died - NPS
• Front Parlor - NPS
• Back Parlor - NPS
• Plan of the Petersen House
• Plan with Key
• Contemporary Sketch - F. Leslie's I.N. 5-20-65
• The Alexander Ritchie Painting - LC
• Contemporary Sketch - F. Leslie's I.N. 4-29-65
• Enlargement from the Bachelder Painting - Brown U.
• Diagram of the Wound - from Eisenschiml
• Seringer with Probe, Bone and Ball - NPS
• The William Seward House - NPS
• Attack on Seward by Paine - from Hawley
• Secretary of State William Seward - LC
• Lewis Paine (Powell) - LC
• Frederick H. Seward - NA
• Paine's Revolver and Dagger - NPS
• Paine (LC) and Sketch from Harper's Weekly
• House Where Lincoln Died Present Day - NPS
• Ford's Theater Years Later - NPS
• William Clark, Occupant of the Rear Bedroom - NPS
• Corp. James Tanner - NYHS
• Secretary of the Navy Gideon Welles - NPS
• Secretary of [W]ar Edwin M. Stanton - LC
• The Rev. P. D. Gurley - LC
• Surgeon General J. K. Barnes - NA
• Journalist friend Noah Brooks - ISHL
• Close Friend Dr. Alonzo Henry - ISHL
• Robert Lincoln - ISHL
• Edwin Booth - NA
• John T. Ford - NPS
• Dr. Charles A. Leale - Nat. Lib. Medicine
• Kirkwood House - C.S.
• John Nicolay, Lincoln, John Hay - NPS
• The Fatal Deringer - NPS

• Rear of Ford's - NPS
• Escape from Theatre - NPS
• Area Behind Ford's - NPS
• Assumed Flight Through City - NPS
• Anacostia Bridge - NPS
• Distant View - LC
• Flight to Garrett's Farm - NPS
• Surratt House, Surrattsville - NPS
• Road from Surrattsville - NPS
• Dr. Mudd's House - NPS
• Bedroom at Dr. Mudd's, Dr. Mudd
• Path to Zekiah Swamp - C.S.
• St. Mary's Bryantown - C.S.
• Samuel Cox Residence - NPS
• Bryantown Hotel - NPS
• Thomas Jones - NPS
• Thomas Jones House - NPS
• Old Brawner House, Pt. Tobacco - NPS
• Pages from Booth's Diary - NPS
• Believed Departure Place Potomac - C.S.
• Dents Meadow - NPS
• Crossing the Potomac - Baker's Book
• Mrs. Quesenberry's House - NPS
• Dr. Stewart's Home - C.S.
• Remains of Dock, Port Conway - C.S.
• The William Lucas Cabin - NPS
• Historical Marker - C.S.
• A Controversial Poster - NPS
• Col. Baker, Lt. Baker, L. C. Conger - NYHS
• Lt. E. P. Doherty - NPS
• Col. Lafayette Baker - NA
• Boston Corbett, Lt. Doherty - NA
• Boston Corbett - LC
• Garrett's House - NPS
• Goldman Inn, Bowling Green - C.S.
• Highly Imaginative Sketch
• Contemporary Sketch - NPS
• Plan of Garrett's Yard - NPS
• Removal of Booth from Barn - CHS
• As above - from Frank Leslie's Ill. Mag.
• Booth's Death - from Baker's Book
• Booth's Guns Found in Barn - NPS
• Booth's Revolver - NPS
• Booth's Compass - NPS
• Keys Found on His Body - NPS
• Pictures on His Body - NPS
• " " " "
• " " " "
• Returning With Booth's Body - NPS
• Post-mortem on the Montauk - NPS
• Surious Burial - from F. Leslies Ill. Mag
• Burial of Booth - from Baker's Book
• Paine's Pickaxe - NPS
• Arrest of Paine at Mrs. Surratt's - NPS
• Boston Corbett - Boston U.

• Old Capitol Prison - NPS
• Monitor "Saugus" - NA
• Transferring the Prisoners - F. Leslie's I.N. 5-26-65
• Arrival at the Old Penitentiary - NPS
• Cell Block - Harper's Weekly 7-8-65
• Paine Hooded - F. Leslie's 5-27-65
• Lewis Paine - LC
• George Atzerodt - LC
• David Herold - LC
• Sam Arnold - LC
• Michael O'Luaghlin - LC
• Edmond Spangler - LC
• Dr. Samuel Mudd - NPS
• Mary Surratt - LC
• Sketch Surratt House - NPS
• Mrs. Surratt's House - LC
• Floor Plan Courtroom - from Pitman
• The Conspirators - LC
• Scene at the Trial - Harpers W. 6-10-65
• The Courtroom - LC
• The Military Commission - LC
• The Commission sketch - NPS
• Some Members of the Commission - NA
• " " " - NA
• " " " - NA
• Judge Joseph Holt - NA
• Reverdy Johnson - NA
• Maj. Gen. Thomas Ewing, Jr. - LC
• Attorneys John Clampitt, William E. Doster
• Benn Pitman - LC
• Louis Wiechmann - NPS
• Booth's Note for Andrew Johnson - NPS
• Spangler's Rope - NPS
• Howard's Livery Stable - LC
• Incriminating Picture from Surratt House - NPS
• Senator James Lane - NA
• Senator Preston King - NA
• President Andrew Johnson - NA
• Anna Surratt - NA
• Remodeled Old Penetentiary - C.S.
• Father Jacob A. Walter - NA
• Prison Scenes from Old Print
• Before the Execution - LC
• The Graves - LC
• Awaiting the Prisoners - LC
• Reading the Orders - LC
• Adjusting the Nooses - LC
• Final Scene - LC
• Mary Surratt Plaque - from Confederate Museum
• Mary Surratt's Grave - C.S.
• Fort Jefferson Dry Tortugas - NA
• Tunnel at Fort Jefferson - NPS
• Dr. Mudd Plaque at Fort Jefferson - NPS
• Old and New Gravestones for Dr. Mudd - C.S.
• Spangler's Grave at St. Peter's - C.S.
• Booth's Grave, Greenmount Cemetery, Baltimore
• John Wilkes Booth - Mus. City of New York
• John Surratt as a Papal Guard - LC
• Joh[n] Surratt - LC
• Returning John Surratt for Trial - Harper's W. 2-19-67
• David Herold. an early photo - NA

• Abraham Lincoln - LC
• The White House - LC
• The Capitol - LC
• The East Room - NPS
• Services in the East Room - Harper's W. 5-6-65
• Pass Funeral Service Contemporary sketch
• Draped Treasury Building - NYHS
• The Casket - F. Leslie's I.N. 5-13-65
• Washington Hearse - LC
• The Procession - F. Leslie's I.N. 5-6-65
• " "
• The Procession Forming - NPS
• " " - LC
• Turning Into Pennsylvania Ave. - Harper's W. 5-6-65
• The Procession - London Illustrated News
• Route of the Funeral Train - LNLF
• Willie Lincoln - ISHL
• The Funeral Coach - NPS
• Interior of Car - NPS
• At Harrisburg - ISHL
• The State House Harrisburg - CHS
• Train at Harrisburg - LNLF
• The Train at Philadelphia - ISHL
• The Philadelphia Hearse - LNLF
• Independence Hall - from Peterson
• Philadelphia - ISHL
• Philadelphia Scene - ISHL
• The Philadelphia Hearse - CHS
• Scenes at Philadelphia - NA
• " "
• Portion of Train in Railroad Yards - LNLF
• Crossing the Ferry to New York - from Valentine
• Arrival in New York - from Valentine
• The Procession Forming New York - NYHS
• " " " "
• New York City Hall - LNLF
• At the City Hall - LNLF
• The Body at City Hall - ISHL
• New York Procession - ISHL
• " " " "
• The New York Hearse - LC
• Death Certificate - NPS
• Scene at New York - NYHS
• Scenes in New York - from Valentine
• " " " " "
• Notice of Ceremony Lincoln, Illinois - ISHL
• The Arch at Sing Sing - NPS
• After the Procession at Albany - Albany Institute
• Buffalo Hearse - Buffalo & Erie Co. Hist. Soc.
• Procession at Buffalo " " " " "
• " " " " " " " "
• Monument Park Cleveland - CHS
• At Cleveland - CHS
• Scene at Cleveland Contemporary sketch
• Cleveland - LNLF
• Cleveland - LNLF
• Monument Park - LNLF
• At the State House Columbus ISHL
• Procession at Columbus - LNLF
• Funeral Arch Indianapolis - LNLF
• Hearse and Horses Indianapolis - LNLF
• Hearse and Casket Indianapolis - LNLF
• Hearse and Casket Indianapolis - LNLF
• Stop at Michigan City - LNLF
• Typical Smalltown Depot - ISHL
• Train at Chicago Illinois Cent. RR
• Removal of Coffin Chicago Cont. Sketch
• The Chicago Arch - LC
• Chicago Procession - Harper's Weekly 5-27-65
• Entering the City Hall - CHS
• The People at City Hall - CHS
• The Catafalque in City Hall - Harper's W. 5-20-65
• Chicago & Alton Locomotive No. 57. - ISHL
• Railroad Timetable, Chicago to Springfield - ISHL
• Notice of Observance Ilion
• Memorial Paradeat San Francisco - Soc. of Calif. Pioneers
• Memorial Service at Bloomington - CHS
• Services in London, England - London Ill. News May 1865

• The Chicago Delegation - ISHL
• Lincoln Herndon Law Office - Georg Studio
• Illinois State House - ISHL
• The Unused Tomb - ISHL
• Draped Lincoln Home - ISHL
• Draped Lincoln Parlor - ISHL
• Official Pass - ISHL
• Just Completed Catafalque - ISHL
• Second View Catafalque - ISHL
• Filing Into State House - ISHL
• Waiting to Enter - ISHL
• Across from the State House - ISHL
• Filing Past the Catafalque - Harper's Weekly 5-27-65
• Front of Lincoln Home - NPS
• "Old Bob" - ISHL
• Draped House and Horse
• Order of Procession to Oak Ridge - ISHL
• The Borrowed St. Louis Hearse - ISHL
• The Forming Procession - LNLF
• Route of the Procession
• Plan of Oak Ridge - ISHL
• The Gate at Oak Ridge - ISHL
• General View of Oak Ridge - ISHL
• Awaiting the Procession - NYHS
• The Temporary Tomb - ISHL
• The Services - ISHL
• Contemporary Sketch
• Directors of the Monument Association - ISHL
• Closeup of the Vault - ISHL
• Interior of the Temporary Tomb - ISHL
• The Present Tomb - Ill. Inf. Ser.
• Exterior of Present Tomb - Georg Studio
• Mary Todd Lincoln - NPS
• Thomas (Tad) Lincoln - ISHL
• Bishop Simpson - ISHL
• Interior of Catacomb as left by Thieves (From John Carroll Power)
• Funeral Procession Entering Oak Ridge Cemetery - NYHS

The Galveston, Texas photograph album contains 33 photographs, the majority of which depict Galveston, Texas ca. 1908.

The Galveston, Texas photograph album contains 33 photographs, the majority of which depict Galveston, Texas ca. 1908. Included are cyanotypes, albumen prints, and postcard photo prints. Photographs consist of a railroad crossing tower, railroad station, trestle bridge, freight and passenger steamers, downtown street views, family photographs, grandstands, earth embankments, buildings under construction, and Galveston's seawall and grade raising project. Amusement/water parks shown include Electric Park (Galveston, Texas), Chutes Park (Galveston, Texas), and Lake Cliff Park (Dallas, Texas).

The album is 19 x 14.5 cm with brown paper covers. A cyanotype of an unidentified building is pasted to the front cover.

The Yacht Vergana photograph album contains approximately 190 photographs related to the lifestyle and friends of a New York-based yacht owner.

The Yacht Vergana photograph album contains approximately 190 photographs related to the lifestyle and friends of a New York-based yacht owner. The album (18 x 26 cm) is fully bound in brown leather. Images of interest include views taken in and around Long Island Sound, including the torpedo boat Ericsson at the Greenport dock; shell races at Poughkeepsie, with spectators aboard the steamboat Chester W. Chapin; Luna Park on Coney Island; various sailing and steam vessels on Long Island Sound; Prospect Park in Brooklyn; the racing yacht Flint's Arrow; a group of nurses from the Flower Free Hospital on a shipboard outing; buildings in Greenport; Sir Thomas Lipton's yacht, Erin; cadets at West Point; the steamboat Orient and her crew; the yacht Vergana; Long Island Railroad snow plows; and an automobile race at the Riverhead Fair (according to laid-in caption). Other photographs include beach scenes, fishing boats, family and friends onboard the Vergana and other vessels, and unidentified street views possibly taken on Long Island. A number of photographs include manuscript captions.

The Montana photographs are comprised of card photographs, loose pages from a photograph album, snapshots, and various photographic prints. The pictures show groups of men and women, scenes inside and around a mine and mining camps, landscapes, city views, and street scenes.

The Montana photographs (120 items) are comprised of 38 loose photographic prints, 7 card photographs, and 13 loose pages from a photograph album (with 75 photographs). One of the card photographs shows an illustration of the Montana State Capitol, designed by John H. Kent; a posed photo shows George W. Shaw demonstrating a piece from a sewing machine (Philadelphia, 1876), and two mounted images show his booths promoting Shaw's pancake flour at the Montana State Fairs of 1900 and 1901. The unmounted prints, which include cyanotypes and Kodak snapshots, are pictures of mountainous landscapes, tent and log cabin camps, and men at work. Two group portraits are present, as are pictures of a mining camp in Arizona and the interior of a bedroom. The album pages contain informal portraits of members of the Daniels and Powers families, street scenes from Butte taken during a large conflagration, and several of a mining operation. Of note are images of mine workers inside the mine, mine-related buildings, underground railroad tracks, and an electric hoist. A large group photo shows men gathered around a table in a rough-shod office studying documents or maps. Automobiles are visible in some of the images. Many of the album photographs have captions written directly on them in pencil. Interior and exterior views of offices and homes.

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 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 United States Signal Corps Photographic Collection contains approximately 1,630 photographs of the American Expeditionary Forces taken by the Signal Corps during WWI throughout the Western Front. The collection is divided into three volumes and one box, all loosely arranged by topic. General topics include destruction, battlefields and trenches, artillery, monuments, and postwar celebrations.

The United States Signal Corps photographic collection contains approximately 1,630 photos (many of which are duplicates) of the AEF taken by the Signal Corps during WWI throughout the Western Front. The collection is divided into three volumes and one box, all loosely arranged by topic. General topics include the AEF, warfare destruction, battlefields and trenches, artillery, monuments, and postwar celebrations.

Numerous photographs have handwritten and typewriter captions on the back, often stating location and subject matter. Also found on the back are different stamped inscriptions, including "Passed as Censored."

Many photos have an alpha-numeric code handwritten on verso that corresponds to the Catalogue of official A.E.F. Photographs. Washington, D.C.: Government Printing Office, 1919, which can be found online through the Internet Archive.

Volume 1 contains approximately 270 photographs taken in France, Germany, Belgium, and the U.S. The bulk of these photos are of monuments in Paris, the Palace of Versailles, Rhineland-Palatinate, and unidentified rural areas depicting farmland and civilian life.

• Paris, France
• Washington, D.C.
• Château-Thierry, France
• Bacharach, Germany
• Vincennes, France
• Fontainebleau, France
• Dordogne, France
• Pierrefonds, France
• Bad Neuenahr-Ahrweiler, Germany
• Bendorf, Germany
• Bernkastel-Kues, Germany
• Andernach, Germany
• Altenahr, Germany
• Pont-à-Mousson, France
• Saint-Léger, Belgium
• Humes-Jorquenay, France
• Montsec, France
• Varennes-en-Argonne, France
• Joué-lès-Tours, France
• Soissons, France
• Brieulles-sur-Meuse, France
• Vaux-lès-Palameix, France

Volume 2 contains approximately 270 photographs taken in France, Germany, and Belgium. Much of these photos relate to the Meuse-Argonne Offensive, destruction (both urban and rural), casualties, battlefields and trenches, artillery, cemeteries, various AEF training schools, naval operations, and prisoners.

• La Ferté-sous-Jouarre, France
• Mayschoß, Germany
• Forest of Argonne, France
• Brieulles-sur-Bar, France
• Les Petites-Armoises, France
• Varennes-en-Argonne, France
• Exermont, France
• Chatel-Chéhéry, France
• Étraye, France
• Grandpré, France
• Cochem, Germany
• Pinon, France
• Saint-Remy-la-Calonne, France
• Montfaucon-d'Argonne, France
• Berzy-le-Sec, France
• Dannevoux, France
• Romagne-sous-Montfaucon, France
• Saint-Quentin, France
• Soissons, France
• Ypres, France
• Hooglede, France
• Mouzon, Ardennes, France
• Château-Thierry, France
• Verdun, France
• Metz, France
• Rémonville, France
• Juvigny, France
• Péronne, France
• Chaudun, France
• Chavignon, France
• Moirey-Flabas-Crépion, France
• Reims, France
• Cambrai, France
• Neuvilly, France
• Vaux-Champagne, France
• Haudiomont, France
• Paris, France
• Koblenz (Coblenz), Germany
• Oberwinter, Germany
• Mont-Saint-Michel, France
• Chamonix, France
• Nanteuil-lès-Meaux, France
• Lucy, France
• Thiaucourt-Regniéville, France
• Seicheprey, France
• Nonsard-Lamarche, France
• Colombey-les-Belles, France
• Épieds, France
• Boureuilles, France
• Beaumont, France
• Dormiers, France
• Bertricamp, France
• Bois de Hesse, France
• Gondrecourt-le-Château, France
• Langres, France
• Le Charmel, France
• Villers-Bretonneux, France
• Saint-Aignan, France
• Landreville (Ardennes), France
• Imécourt, France
• Nantillois, France
• Stenay, France
• Butgnéville, France
• Le Mort Homme, France
• Saint-Maur-des-Fossés, France
• Gland, France
• Herbeville, France
• Vacherauville, France
• Baleycourt, France
• Marseilles, France
• Vaux-Andigny, France
• Saint-Juvin, France
• Brieulles-sur-Meuse, France
• Bohain-en-Vermandois, France
• Mézy-sur-Seine, France
• Badonviller, France
• Bois de Belleau, France
• Bazoches, France
• Châteauvillain, France
• Ploisy, France
• Suresnes, France

Volume 3 contains approximately 270 photographs taken in France, Germany, Italy, England, Ireland, Denmark, Switzerland, and the U.S. The most substantial topics are the Treaty of Versailles, postwar parades and celebrations, Interallied Games, U.S. strategic army maps, drawings of army corps and division insignias, and aircrafts. Notable figures include President Woodrow Wilson, General John J. Pershing, Prime Minister Georges Clemenceau, President Raymond Poincaré, and Marshal Ferdinand Foch.

• Chaumont, France
• Langres, France
• Versailles, France
• Paris, France
• Le Havre, France
• Sainte-Menehould, France
• Gironde, France
• Château-Thierry, France
• New York City, United States
• Hoboken, United States
• Bendorf, Germany
• London, England
• Dublin, Ireland
• Copenhagen, Denmark
• Montreux, Switzerland
• Florence, Italy
• Vinets, France
• Reims, France

Box 1 contains approximately 820 photographs taken in France, Germany, Belgium, Monaco, and the U.S. This box contains all of the aforementioned topics supplemented by French Riviera, Loire Valley, ruins of Reims, Château de Fontainebleau, Pyrenees, Alps, AEF, and personal photographs.

• Ypres, Belgium
• Albert, France
• Dun-sur-Meuse, France
• Reims, France
• Saint-Quentin, France
• Montsec, France
• Cantigny, France
• Château-Thierry, France
• Paris, France
• Koblenz (Coblenz), Germany
• Meaux, France
• Vincennes, France
• Versailles, France
• Fontainebleau, France
• Joinville-le-Pont, France
• Monte Carlo, Monaco
• Lourdes, France
• Menton, France
• Nimes, France
• Roquebrune-Cap-Martin, France
• Saint-Jean-Cap-Ferrat, France
• Mont-Saint-Michel, France
• Saint-Germain-en-Laye, France
• Azay-le-Rideau, France
• Loches, France
• Amboise, France
• Montrésor, France
• Le Lude, France
• Rigny-Ussé, France
• Saumur, France
• Chinon, France
• Langeais, France
• Blois, France
• Saint-Savin, France
• Luz-Saint-Sauveur, France

The Genesee County photograph album contains approximately 121 photographs related to an unidentified family farm in Genesee County, Michigan, ca. 1923.

The Genesee County photograph album contains approximately 121 photographs related to an unidentified family farm in Genesee County, Michigan, ca. 1923. The album (21 x 15 cm) has a string-bound brown cover with "Photographs" stamped in gold on the front. Most of the photographs present in the album were taken on a rural farm. Photographs include individual portraits of various family members as well as images of family gatherings, farm animals, barns and other farm buildings (including pictures documenting building construction), children, camping, automobiles, and pets. Additionally, pg. 26 contains six photos of people dressed in Ku Klux Klan attire while pg. 29 includes a photograph of a World War I monument honoring several fallen alumni of the Lundhill Sunday School in Wombwell, England.

This album contains pressed algae specimens and a photograph of Fort Jefferson, Florida. Possibly compiled and owned by someone named Stuart.

This album (24cm x 24cm) contains 305 algae specimens collected around the mid-1860s, comprised of 294 items pressed onto 10cm x 6cm cards and 11 items pressed onto larger cards. Only one specimen is identified. The smaller cards are mounted six to a page and the larger cards are laid into the volume between pages of specimens. Numerous types of algae are represented, in a multitude of colors. The bottom cards on the first two facing pages spell the name "Stuart," which is also stamped in gilt on the front cover. The album is bound in brown leather and cloth with the title "Algae from Fort Jefferson, 'Tortugas,' Florida" is stamped on the back cover and "Album" stamped on the spine. A photograph of Florida's Fort Jefferson is pasted onto the first page as a frontispiece.

The Alaska Gold Rush photograph album contains approximately 300 photographic prints. Most photographs show scenery, people, and settlements in Alaska around the turn of the 20th century, as well as a small group of scenes from San Francisco, California.

The Alaska Gold Rush photograph album (25cm x 30cm, 92 pages) contains approximately 300 photographic prints. Around 280 prints, including around 270 mounted onto the album's pages and around 10 loose items laid into the volume, show settlements, natural scenery, and people in Alaska from 1898-1902. Settlements such as St. Michael, Dutch Harbor, and Dawson are shown, as are native settlements, tents, and log cabins; a few interior shots are present. Some of the buildings and people pictured were associated with the North American Transportation & Trading Company. Subjects include: United States military personnel, indigenous Alaskans, men and women (sometimes in heavy winter dress), landscape views, glaciers, native animals and other natural scenery, and military and civilian boats.

Most of the photographs are black-and-white prints, though the album also includes a small number of cyanotypes. Items of note include a small panorama (p. 14), a photograph taken at the "dawn of the century" (p. 7), and pictures of a totem pole (p. 77), an early telegraph pole (p. 81), and a hands-free pie-eating contest (p. 85). A partial manuscript list of captions, roughly contemporary with the photographs, is laid into the volume. The final four pages of the album contain small photographic prints of scenes from San Francisco, California, with a focus on missions and other architecture. Penciled captions accompany many of the album's prints, though many are difficult to read. The album has post binding with screw posts.