Collections

The Dai Tōa Sensō hōdō Shashinroku [Photographic News Record of the Great East Asia War Album] contains 40 mounted photographs depicting events from the Pacific theater during World War II up to circa 1942. With Japanese letterpress titles and descriptions. Includes images of Pearl Harbor, the advance on the Malayan peninsula, the fall of Singapore, the Philippines, the island of Corregidor, and portraits of Japanese military commanders.

The Dai Tōa Sensō hōdō Shashinroku [Photographic News Record of the Great East Asia War Album] (20 x 15 cm) contains 40 mounted photographs depicting events from the Pacific theater during World War II up to circa 1942. With Japanese letterpress titles and descriptions. Includes images of Pearl Harbor, the advance on the Malayan peninsula, the fall of Singapore, the Philippines, the island of Corregidor, and portraits of Japanese military commanders.

The photos are mounted on unbound cards. The album has a faded navy blue cloth cover with gold embossed printing, and is housed in a gray wrapper with green cloth spine.

The Yetter family photograph album contains 20 studio portraits including members of the Yetter family of Pennsylvania.

The Yetter family photograph album contains 20 studio portraits including members of the Yetter family of Pennsylvania. The album (10 x 13.5 cm) is in relatively poor condition and has a missing album cover. Image formats include carte de visites and tintypes, and most of the album pages contain handwritten captions stating names of subjects. Identified individuals include Jerry Yetter, Emily Smith, Emily Yetter, Sam Engle, Lib Engle, Walter Yetter, Hannah Price, Glen Manchester, Jennie Augustine, Charles Yetter, Ruben Yetter, and Ida Yetter. Sam Engle appears dressed in the uniform of the 3rd Pennsylvania Heavy Artillery Regiment. Also present is a single loose carte de visite studio portrait by Charles Eisenmann of the German circus performer dwarf siblings Augusta and Herman Rice which was likely produced during the late 1880s.

The Wolf family photograph albums contain cabinet card and carte-de-visite portraits of numerous men, women, and children. Most of the photographs were taken in Indianapolis and various small towns in central Indiana.

Together, the Wolf family photograph albums contain 61 portraits taken in Indianapolis, Indiana, and other central Indiana locales around the late 19th century. Volume 1 (26cm x 21cm) contains 45 items in sleeves and 6 loose items; Volume 2 (20cm x 15cm) contains 7 items in sleeves and 3 loose items, as well as three paper cutouts in the shape of hatchets related to the annual celebration of George Washington's birthday. Most items are cartes-de-visite and cabinet cards, though tintypes, other card photographs, and unmounted prints are also present. The first volume also has a small plate containing the names of George McGaughey, Sallie McGaughey, Jesse McGaughey, and Mrs. Minnie Wolf.

The majority of the photographs are studio portraits of men, women, and children. Some members of the Hill, Wolf, and McGaughey families are identified by captions written on the album pages or directly on the photographs. A picture of Jacob Grove Wolf is accompanied by part of a newspaper obituary regarding his death. Henry G. Wolf, Jr., posed near a large waterfall, possibly at Niagara Falls. Volume 1 has a hard leather cover with a slightly raised decorative design, including a small rope culminating in a tassel. Volume 2 has a hard white cover with a raised, painted floral design.

This collection is made up of three albums with cabinet card photographs of prominent actors and actresses from the late 19th century, often in costume.

This collection is made up of three albums with cabinet card photographs of prominent actors and actresses from the late 19th century, often in costume. Volume 1 (28cm x 19cm), bound in black cloth with the title "Photographs" on the front, has 48 photographs in windows and one loose item laid in. Volume 2 (23cm x 30cm), bound in thick padded boards covered in dark leather, has 72 photographs in windows and four loose items laid in. This album has a brass clasp with a wheel that increases or decreases the tension of the clasp. Volume 3 (40cm x 30cm), bound in thick padded boards covered in brown leather with two brass clasps, has 99 photographs in windows. At least one card is a lithograph and two cards are hand-colored.

Each of the albums contains portraits of well-known actors and actresses, including both studio portraits and pictures taken in costume in front of painted scenery, sometimes with props. Pictures of men, women, and children are present, with portraits taken both facing the camera and in profile, and some subjects are represented by more than one image. Many types of costume are depicted, such as contemporary and historic formal dress, military dress, Middle Eastern dress, and Elizabethan dress. Some of the photographs show gender cross dressing. Props are most often swords or canes, though some subjects posed with musical instruments such as violins, a piano, and a lute. The majority of the actors and actresses across all three volumes are identified either on the backs of cards, on the albums' pages, or in inventories (housed with the first two volumes).

This collection consists of photographs of Boston, Massachusetts, and other New England towns, taken around the turn of the 20th century. The collection includes pictures of commercial and municipal buildings, battleships, and city landmarks.

This collection consists of photographs of Boston, Massachusetts, and other New England towns, taken around the turn of the 20th century. The collection includes pictures of commercial and municipal buildings, battleships, and city landmarks.

Large format photographs show a variety of Boston scenes, including commercial streets and buildings, harbor views, waterfront parks, the USS Hartford and USS New York, a streetcar station and tracks, a horse-drawn firefighting ladder truck, and a crowd waching the launch of an unrigged yacht in Boston Harbor. Buildings depicted include Faneuil Hall, the Jordan Marsh department store, and the U.S. Customhouse. A scene on the Boston Common shows the statue of George Washington being decorated, with a crowd of pedestrians including a Civil War veteran wearing a uniform with medals. Also included is a photograph of the Witch House in Salem, Mass., former residence of Joseph Corwin, a judge at the Salem witch trials; and a collision of two locomotives with a photographer on the scene, possibly staged. The first image (10cm x 14.5cm), an overhead view of Charlestown and the Bunker Hill Monument, is affixed to a wall calendar for the year 1884; all of its removable monthly pages are still intact. The calendar was presented with "Compliments of Annie T. Smith."

Edward E. Wilcox, a native of Franklin County, New York, wrote narrative recollections of hunting trips, painted watercolors, created sketches and drawings, and pasted photographs and newspaper clippings in this volume around the 1890s. Most of the material concerns hunting and fishing excursions in northern New York and southern Québec.

Edward E. Wilcox, a native of Franklin County, New York, wrote narrative recollections of hunting trips, painted watercolors, created sketches and drawings, and pasted photographs and newspaper clippings in this journal from approximately 1893-1896. Most of the material concerns hunting and fishing excursions in northern New York and southern Québec. The volume contains 200 pages, not all of which are used.

Wilcox wrote a 2-page introduction on June 2, 1893, intending to record details of his life for friends and family to discover after his death. In approximately 43 additional pages of prose, he wrote about his courtship with and wedding to Clara Stuart, his early years in New York City, numerous hunting and fishing trips in northern New York, and a summer vacation in New Hampshire and Québec. Two of the accounts describe a salmon run and an encounter with bears, and one pertains to a youthful prank. Some of the journal's watercolors, drawings, and sketches illustrate aspects of Wilcox's travel stories; most depict hunters, fishers, fish, rowboats, cabins, and woodland scenery. One pencil drawing utilizes shading to create the illusion of a nighttime view and appropriate shadows. Photographs include a picture of a man in a military uniform posing by a paper globe and paper cannonballs (possibly taken around 1917), studio portraits of an unidentified man and woman, a studio portrait of a man in his underwear, views of steamboats in a canal or lock, pictures of cacti in a desert, and a picture of hunters in a wooded area. Also present are interior shots of a shipping or similar commercial office and a man working in an enclosed office space, as well as street scenes. Two newspaper clippings concern E. E. Wilcox's use of shed human skin as a painting canvas and a painting he made as a young man.

The Henry M. Wheeler photoprint collection consists of approximately 719 images of colonial architecture and historical locations in Massachusetts from ca. 1889 to 1915.

The Henry M. Wheeler photoprint collection consists of approximately 719 images of colonial architecture and historical locations in Massachusetts from ca. 1889 to 1915. The collection is mainly composed of 10 x 15 cm silver platinum, platinotype, and gelatin silver prints as well as 15 x 20.5 cm cyanotypes. A couple of manuscript notes are also present. Much of the focus is on eastern Massachusetts, centering on Wheeler’s hometown of Worcester. Photographs show residential architecture from the 17th century, unidentified colonial homes, and contemporary architecture from Wheeler's day and age. Many of the historical structures documented here were in danger of vanishing during Wheeler's lifetime, and many have long since been destroyed. Other photographs show natural landscapes, noteworthy trees, country roads, parks, public and educational buildings, farms, monuments, bridges, milestones, and gravestones as well as images of famous paintings, engravings, and lithographs. Also included are a small number of images related to Washington, D.C., Maine, and New Hampshire. Wheeler likely took the vast majority of these photographs, though there are several instances where he credited the original sources of certain images. The collection materials were removed from the original album volumes they were stored in and have been rehoused in three 3-ring binder albums and three flat boxes. Most photographs also have original reference numbers that were used by Wheeler to organize the collection.

In addition to this finding aid, the Clements Library has created the Henry M. Wheeler Photoprint Collection Inventory. This inventory lists items according to volume/box location and includes references to specific page/mat numbers, image descriptions (most of which are derived from captions originally inscribed by Wheeler on photograph versos), and photographic formats.

The Piñon Lodge, Crystal, New Mexico photograph album contains 49 photographs of log buildings and other structures of Piñon Lodge in Crystal, New Mexico, and picturesque views of the surrounding area.

The Piñon Lodge, Crystal, New Mexico photograph album contains 49 photographs of log buildings and other structures of Piñon Lodge in Crystal, New Mexico, and picturesque views of the surrounding area. The album (18.5 x 29 cm) has string-bound black leather covers and is partially disbound. Individual photographs are affixed to black paper leaves, with sketches of desert scenes and captions drawn in the margins with white ink; on the verso of the front cover is a sketch of a man in Western wear on horseback, signed by W. E. Wells.

Images of include views from locations such as Bridge Canyon, Bonito Canyon, Canyon de Chelly, Canyon del Muerto, ruins in Chaco Canyon, Coal Canyon, the Four Corners Region, the Grand Canyon, Inscription Rock at El Morro (with a photograph of the Spanish inscription from 1620), the Arizona village of Kayenta, Monument Valley, Painted Desert, petrified forests, Rainbow Bridge, and the Venus Needle near Crystal. Pictures of Native Americans, mainly focusing on the Navajo, include views of Navajo hogans, a loom, and women on the steps of Piñon Lodge; the Hopi settlement of Hotevilla, with corn drying on the rooftops of pueblo dwellings; and a Zuni pueblo with Thunder Mountain in the distance. Opposite several photographs are pasted typescript copies of a Piñon Lodge advertisement which includes a sample trip itinerary and describes the region's attractions for camping and hiking.

The Weld-Grimké family album is a 12.5 x 16 cm bound cartes de visite photograph album with some tintypes and gem tintypes interspersed. The album has a brown leather cover with gilt clasps. The photographs all appear to date from the 1860s to the 1870s but there is no precise date for individual photographs listed. The album has a printed title page that reads "Photographs/Boston/Roberts Brothers." The album is 50 pages with each page containing a single slot for a photograph, though some pages have multiple photographs tucked into the same slot. The photographs are almost all studio portraiture. While some of the individuals in the album have been identified (including Theodore D. Weld) the vast majority are unidentified.

The Weld-Grimké Family Album is a 12.5 x 16 cm bound cartes de visite photograph album with some tintypes and gem tintypes interspersed. The album has a brown leather cover with gilt clasps. The photographs all appear to date from the 1860s to the 1870s but there is no precise date for individual photographs listed. The album has a printed title page that reads "Photographs/Boston/Roberts Brothers." The album is 50 pages with each page containing a single slot for a photograph, though some pages have multiple photographs tucked into the same slot. There are 52 photographs in the album, 46 of which are cartes de visite. There are also 6 tintypes, 2 of which are gem tintypes. The photographs are almost all studio portraiture of individuals ranging from infanthood to old age. One exception to this is a photograph of a satirical drawing of an unidentified individual playing some sort of instrument (loose photograph on page 49). Some of the individuals in the album have been tentatively identified with the majority unidentified. One photograph (on page 24) has been speculated to be a portrait of Charlotte Brown, an African-American servant of the Weld-Grimké family, but this has not been confirmed.

• Theodore Dwight Weld (page 1, page 20)
• William Hamilton (page 4)
• Sarah Weld Hamilton (page 5)
• Angelina G. Hamilton (page 6)
• William Hamilton Jr. (page 7)
• Llewellyn Haskell (page 9)
• Llewellyn Thomas Haskell (page 12)
• Louis Olcott Haskell (page 13)
• Elizabeth "Lizzie" Cram (page 21)
• William James Rolfe (page 22)
• Theodore Weld Parmele (page 27, page 34)
• Elizabeth Smith Miller (page 28)
• Ann Carroll Fitzhugh (page 29)
• George Walker Weld (page 30)
• Gerrit Smith Miller (page 35)
• Ruth C. Bodwell (page 36)
• Rena Louise Twiss (page 45)

• A photograph of a painting of the Empress Eugenie. (page 33)
• A portrait of Rebecca an escaped slave from New Orleans. (page 38)
• A photograph of a painting of Beatrice Cenci. (loose item on page 41)
• A portrait of actor Edwin Booth (page 40) brother of John Wilkes Booth.
• A photograph of a painting of "Little Samuel" based on the etching done by Samuel Cousins. (page 43)

In addition to this finding aid, the Clement Library has created a Photographer Index for the album, containing the names of all the photographers in the order that they appear in the album. This index also records any handwritten inscriptions that were found on the photographs.

The Eagleswood Academy album is a 50 page cartes de visite album given to Theodore Weld by his former students at Eagleswood Academy in Perth Amboy, New Jersey on November 23, 1863. The 24 x 31 cm album has a brown leather cover, entitled "Theodore D. Weld" in gilt inlay. The album contains 194 photographs the majority of which are cartes de visite with some tintypes and gem tintypes interspersed. All of the photographs in the album are studio portraits. Most are presumably former students of Eagleswood Academy. Many of the individuals in the album are unidentified. Four loose items are also present in the album: an 1895 lithograph portrait of John Adams; a calling card for Mrs. Silas F. Overton; a calling card for a Miss Moseley; and a list of names, presumably of people within the album, that seems to have been created at a later date, presumably by Weld's daughter Sarah Grimké Weld Hamilton.

The Eagleswood Academy photograph album consists of a single bound volume of carte de visite photographs tucked into the pages along with some gem tintypes, one of which is encased. The album contains slots for four different photographs on each page. There are 169 cartes de visite in the album, all of them studio portraits of either individuals or small groups. There are also a few instances where gem tintypes are placed within the same slot as a carte de visite.

The album appears to have been gifted to Theodore Weld in 1863 from his former students. While many of the photographs were likely present in the album at that time, it appears that other photographs were added through the 1870s and possibly later. The photographs are mostly of Weld's former students, though some are individuals who appear to have no explicit connection with the school.

Enclosed in the album is a folded sheet of paper containing a list of names. Individuals on this list partially correspond to the physical order within the album. The list appears to have been created during the late 1860's and amended up until approximately 1877. Asterisks seem to indicate that the person had passed away, though in some cases the individuals without asterisks on the list had been dead for years prior. It appears that no new entries were added after 1877. The authorship of the list is uncertain, but appears to have been Sarah Grimké Weld Hamilton.

In 1886 Theodore Weld began reaching out to former students for additional photographs to put together in an album. Some of the photographs in this album may come from this period. A January 1, 1899 letter from Sarah Hamilton to her daughter mentions that she received her father's old school album with many pictures of her old classmates and their spouses and children. From this statement it appears that not all the people in the album necessarily went to or taught at Eagleswood.

Three other loose items are also present in the album: an 1895 lithograph portrait of John Adams, a calling card for Mrs. Silas F. Overton, and a calling card for a Miss Moseley.

Some of the photographs within the album have names written on the back, while others offer no clues as to who the person is. Through other sources some of the unnamed individuals in the album have been tentatively identified.

One interesting item of note is the photograph in slot #196 of the album, which has portraits taken many years apart of the same (unidentified) individual on both the front and back of the paper mount.

• A portrait of Charles Burleigh Purvis, African-American doctor and cofounder of Howard Medical School. (slot #53)
• A portrait of Bayard Wilkeson in Civil War uniform. Wilkeson died aged 19 at Gettysburg on July 1, 1863. (slot #85)
• A portrait of Ellen Wright Garrison, daughter of Martha Coffin Wright and niece of Lucretia Coffin Mott, the famed women's-rights activists who organized the 1848 Women's Rights Convention at Seneca Falls, NY. (slot #32)

The Eagleswood album contains penciled inscriptions beneath the various photographs, often times recording the name of the photographer as well as any other information written on the back of the paper mount of the photograph. Researchers should be aware that this information was added by a former member of staff and numerous errors are present. For conservation reasons these inscriptions have not been erased.

• Photographer Index, containing the names of all the photographers in the album as well as any inscriptions handwritten on the photographs.
• Individuals Index, containing the names of all the identified, and tentatively identified individuals who have portraits present in the album.

The Frederick L. Webb carte-de-visite album contains portraits of 12 non-commissioned officers who served in the 10th New York Cavalry Regiment during the Civil War.

The Frederick L. Webb carte-de-visite album (13.5cm x 10cm), entitled "Non-Commissioned Staff, 10th N. Y. Cavalry," contains formal studio portraits of 12 non-commissioned officers who served in the 10th New York Cavalry Regiment during the Civil War. Each man posed in uniform with a sword and two also posed with bugles. The officers are identified as master sergeants, quartermaster sergeants, commissary sergeants, saddler sergeants, chief buglers, a veterinary sergeant, and a hospital steward. The album's title is printed on a small piece of paper pasted into the book before the portraits; the text is framed by a decorative border. The volume's red leather cover has a tooled geometric design, and its small clasp is shaped like a lyre.

The Schafer Brothers Logging Company photograph collection consists of 18 images related to the business’s logging operations in western Washington State from the mid-1890s to 1940.

The photographs are stored in plastic sleeves and kept in a black vinyl-covered ringed notebook (38.5 x 32 cm). Five of the images are 30 x 35.5 cm while the other thirteen are 20.5 x 25.5 cm. The photographs in this collection detail important aspects of the Schafer Brothers Logging Company’s development as an enterprise. At least four of the photographs were taken by Clark Kinsey. Other attributed photographers include Anderson Photo., Jones Co., H. C. Nelson, E. A. Smith, K. S. Brown, and Stan Spiegle. Certain photographs bearing the stamp of K. S. Brown appear to possibly be copies of other photographers’ work that was reproduced at a later date.

The 30 x 35.5 cm images include the following:

1) Outdoor group portrait of seven men working in the woods in Brady, Washington; photograph by Clark Kinsey, No. 44 (ink signature on verso: Carl A. Schafer)

2) Outdoor group portrait of numerous company employees including many Native American men from the Quinault Reservation; “No. 1 Schafer Lumber Co.”; (ink signature on verso: Carl A. Schafer)

3) Outdoor group portrait of numerous company employees at a company picnic observing logrolling contest; “Schafer Bros. Annual picnic Aug 14 / 27”; photograph by Clark Kinsey, No. 51 (ink signature on verso: Carl A. Schafer)

4) Outdoor view of a 41-ton Heisler geared steam locomotive, the company’s first locomotive, with crew; “Schafer Bros. Logging Co. Brady, Wn.”; photograph by Clark Kinsey, No. 48; (ink signature on verso: Albert Schafer)

5) Outdoor group portrait of 17 log foremen; “Schafer Bros. Log Foreman [sic] # 91”; photograph by Clark Kinsey, No. 91; (ink signature on verso: John D. Schafer)

The 20.5 x 25.5 cm images include the following:

6) Ca. 1899 view of the Schafer family home built in 1895 showing members of the Schafer and Mueller families (related through Anna Schafer’s first marriage) [includes touchups made directly onto the photograph with a marker]; (photographer’s stamp on verso: Copy Negative No. 7470 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

7) Outdoor group portrait of several members of the Schafer, Mueller, and Comfort families with horse-drawn carts, dogs, and homestead visible in background [includes touchups made directly onto the photograph with a marker]; “Old Homestead”; (stamp on verso: Copy Negative No. 7473 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

8) Outdoor group portrait of several men including the Schafer brothers with crew members, two of which are entirely illustrated through negative retouching, and a team of oxen while posing with tools near noteworthy logging harvest; “Aug 21-1901 30 x 84 = 7000 Schafer Bros. Logging Co.”; (stamp on verso: Copy Negative No. 7543 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

9) Outdoor view showing team of oxen hauling trees to the river with Peter Schafer (at right holding goad stick), Roy Gill (at center riding bull), and another individual [includes touchups made directly onto the photograph with a marker]; (stamp on verso: No. 14647 The Jones Photo Co. Aberdeen, Washington)

10) LOCATED BEHIND #9; Outdoor view showing team of oxen hauling trees to the river with Peter Schafer (at right holding goad stick), Roy Gill (at center riding bull), and another individual; “Preacher Slough Sep 6 - 1897 Peter Schafer”; (stamp on verso: Copy Negative No. 7466 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

11) Outdoor view showing August Maas, Peter Schafer, and Hubert Schafer operating one of the company’s first steam donkeys [includes touchups made directly onto the photograph with a marker]; “Schafer Bros. Log Co. on Satsop”; photograph by E. A. Smith; (stamp on verso: Copy Negative No. 7475 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

12) Outdoor view showing a steam donkey railroad operation hoisting and loading logs; (stamp on verso: No. 17371 The Jones Photo Co. Aberdeen, Washington Jun 27 1940)

13) Outdoor group portrait showing in order of appearance from left to right: Hyasman (first name possibly George; Native American), Hubert Schafer, Albert Schafer, Ed Kesterson, Herman Mueller, Ben Kesterson, and John Minkler standing on a logjam in the Satsop River in 1898 [includes touchups made directly onto the photograph with a marker]; (stamp on verso: Copy Negative No. 7474 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

14) Outdoor view showing an enormous logjam on the Satsop River ca. 1907 with a group of workers posing in foreground [includes touchups made directly onto the photograph with a marker]; “Schafer Bros. 3000000 ft. in the River”; photograph by H. C. Nelson; (stamp on verso: Copy Negative No. 7471 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

15) Outdoor view showing lumber staging area on water; “140 Fir Peeler logs selected for wide Veneer or Plywood stock. Schafer Brothers Logging Co. Montesano, Wash.”; photograph by Anderson Photo. ; (stamp on verso: Anderson Photo 119 E. Heron St. Aberdeen, Wash.) (ink signature on verso: Paul A. Schafer)

16) Outdoor view showing large group of people gathered for company picnic; “Schafer Bros. Picnic Everybody Eat”; photograph by Anderson Photo. ; (stamp on verso: Anderson Photo 119 E. Heron St. Aberdeen, Wash.) (ink signature on verso: Paul A. Schafer)

17) Outdoor view of stone monument at entrance to Schafer State Park with large metal plaque that reads: Honoring the Memory of John D. & Anna Schafer Pioneers of 1871 This Park is Dedicated by Their Sons Peter, Hubert and Albert in 1924; “#14”; (stamp on verso: No. 15774 The Jones Photo Co. Aberdeen, Washington Jul 1938)

18) Outdoor view showing a man standing on a dirt path in the woods staring up at the trees; (stamp on verso: Reproduction Rights Reserved by Stan Spiegle Aberdeen, Washington)

The Marguerite H. Voll photograph album includes 87 photographs documenting family activities and various events in Plymouth, Wisconsin, as well as Chicago, Illinois.

The Marguerite H. Voll photograph album includes 87 photographs documenting family activities and various events in Plymouth, Wisconsin, as well as Chicago, Illinois.

The album (28.5 x 35 cm) has black cloth with “Photographs” stamped in gold on the front cover. Images include portraits of the Bade, Schram, and Fiedler families as well as views of parades in Chicago (including a Barnum & Bailey Circus parade), group portraits of the Plymouth Hook and Ladder bicycle team, the Sheboygan County Fair, natural landscape scenes, cars, trains, farming, and photographic reproductions of sentimental art. Of particular note is a portrait of Marguerite Bade riding a floor sweeper as an infant in 1909.

Seven Mile Funeral Cortège of Genl. Grant in New York August 8, 1885, contains 79 photographs documenting the death and funeral of Ulysses S. Grant.

Seven Mile Funeral Cortège of Genl. Grant in New York August 8, 1885, contains 79 photographs documenting the death and funeral of Ulysses S. Grant.

The album (38 x 47 cm) is bound in brown leather with “Seven Mile Funeral Cortege of Genl. Grant in New York August 8, 1885” stamped in gold on the front cover. The album was published by the U.S. Instantaneous Photographic Co. in Boston, Massachusetts, in 1886. The album begins with portraits of Grant and various family members before delving into scenes from “General Grant’s Last Days” at Mount McGregor, New York, and subsequent funeral preparations. Numerous images show scenes from the day of Grant’s funeral including views of the catafalque and funeral parade through New York City. Many images exhibit signs of extensive manipulation through retouching and montage work. Also of interest is a page in the middle of the album explaining how the U.S. Instantaneous Photographic Company would be placing albums at several hotels around New England “for free inspection of the public” while admitting “first-class advertisements” at premium costs.

The Pictorial Record of the United States Army Air Forces 90th Bombardment Group consists of two volumes containing 1 manuscript item and approximately 412 photographs documenting the activities of the USAAF 90th Bombardment Group during the New Guinea campaign of War World II.

Materials are housed in plastic sleeves contained in two green-colored 3-ring binders (30 x 33 cm). All photographs are gelatin silver developing-out prints and for the most part measure between 10 x 12 cm and 26 x 20 cm in size. Numerous images bear stamps that state “Passed by U.S. Army Examiners.” Most images do not have captions, though a small number do have typescript captions on their versos.

Volume A:

Volume A contains approximately 186 photographs as well as 1 manuscript item. The volume begins with a one-page typescript document issued ca. 1944 that is addressed to the 400th Bomb Squadron 90th Bomb Group, stating the photographs are intended to be “the Pictorial Record of Our Unit.” The letter is signed by Maj. C. Vernon Ekstrand of the U.S. Army Air Corps. Photographs include a composite portrait of the 90th Bomb Group members, individual and group portraits of 90th Bomb Group members, a group portrait of Japanese military personnel, images of Allied military facilities, Japanese warships being bombed, military aircraft shown both midair as well as on the ground, what appears to be an abandoned Japanese tank, and numerous landscape views. Also present are several images showing aircraft nose art. Of particular interest are various pictures documenting interactions with native Papuan people including individual and group portraits as well as photographs of Papuan settlements and structures (including churches).

Volume B:

Volume B contains approximately 226 photographs. This volume includes a substantial number of pictures of indigenous Papuan individuals, children, and families, including several portraits of nude women (including mothers breastfeeding), as well as images showing traditional Papuan body modifications and tattoos. Of particular note are images that appear to document a Papuan ceremony that showcases elements of traditional Papuan clothing, music, and ritual dance, as well as a photograph of a Papuan trumpet player. Other items of interest include numerous images documenting USO performers (including Bob Hope and Patty Thomas) and a series of aircraft nose art photographs that include several works signed by Cpl. Al G. Merkling. Images of airborne planes and landscape views also feature prominently in this volume.

The Charles R. Underhill, Jr. collection consists of approximately 103 photographs, 3 letters, and 10 items of miscellaneous documentation and ephemera related to Charles R. Underhill, Jr.’s employment with RCA Photophone, which saw him travel around the country installing motion picture theater projector equipment.

The Charles R. Underhill, Jr. collection consists of approximately 103 photographs, 3 letters, and 10 items of miscellaneous documentation and ephemera related to Charles R. Underhill, Jr.’s employment with RCA Photophone, which saw him travel around the country installing motion picture theater projector equipment.

Many of the photographs present in this collection appear to have once been part of an album or scrapbook which may have been compiled and captioned by Underhill, Jr.’s sister, Marguerite Allare Underhill Goetz (1895-1970). Images of interest include views of numerous movie theaters, street scenes, and landscapes in various locations in Pennsylvania, Kentucky, North Carolina, Tennessee, Maryland, Virginia, West Virginia, and Washington, D.C; photos of P-2 projector equipment manufactured for RCA by General Electric; snapshots of Underhill, Jr. and family members including his parents, wife, and daughter taken in various locations during work-related travels; photos of movie theater managers John M. Bernardi (Roxy Theatre, Williamsport, Pennsylvania) and Paul O. Klingler (Rialto Theatre, Lewiston, Pennsylvania); a portrait of Harold Graffius, projectionist for the Rowland Theatre in Phillipsburg, Pennsylvania; and pictures of several theatre organists.

Additional items include Underhill, Jr.’s projected service schedule beginning June 1, 1935; his service schedule for the month of July 1931; a list of films reviewed by Box Office for the year 1933; an undated letter from Rialto Theatre manager Paul O. Klingler regarding an unknown article that had originally been attached; a letter from Ike Benny of Pastime Theatre in Lewiston requesting Underhill, Jr.’s help regarding equipment issues dated October 9 1930; a letter from W. K. Glodfelter regarding an upcoming local meeting of the International Alliance of Theatrical Stage Employees dated November 9 1931; and a broadside advertising the Rivoli Theatre of Johnstown, Pennsylvania ; posters advertising the McVeytown Theatre in McVeytown, Pennsylvania; an issue of the Charleroi Mail advertising the opening of the 1935 fall film season at the Menlo Theatre in Charleroi, Pennsylvania.

The Tyler-Montgomery-Scott family album chronicles multiple generations of the Tyler, Montgomery, and Scott families of the Philadelphia area from the 1860s through the 1930s. It includes approximately 275 items including studio portrait photographs, informal snapshots, newspaper clippings, postcards, letters, and other ephemera.

The Tyler-Montgomery-Scott family album chronicles multiple generations of the Tyler, Montgomery, and Scott families of the Philadelphia area from the 1860s through the 1930s. It includes approximately 275 items including studio portrait photographs, informal snapshots, newspaper clippings, postcards, letters, and other ephemera.

The album (33 x 25.5 cm) is string-bound with grey cloth covers. Most photographs in the album have detailed handwritten captions identifying people, often with their middle or maiden names as well as the location and date. The presentation of the album is not strictly chronological, especially in the latter half. The early generations of Tylers are represented in photographic formats such as cartes-de-visite, tintypes and cabinet cards, while later generations are represented in snapshots and postcards. When the album reaches the mid-twentieth century, it begins to resemble the modern family album with various forms of ephemera (newspaper clippings, drawings, letters, Christmas cards, etc.) supplementing the photographs of family and friends.

The album begins with a portrait of Frederick Tyler, his daughter Sarah Sophia Cowen, granddaughter Kate “Gwen” Cowen Pratt, and great-granddaughter Kate Pratt. George F. and Louisa R. Tyler as well as their children (including Sidney F. and Helen Beach Tyler) are also featured in the initial section of the album, along with many extended family members, friends, nurses, and pets. Among the family friends pictured are painter Frederick Church, writer Bret Harte, Leonor Ruiz de Apodaca y Garcia-Tienza, Gen. William Buel Franklin, patent lawyer and historian Woodbury Lowery, and the Duke and Duchess of Arcos (Jose Ambrosio Brunetti and Virginia Woodbury Lowery Brunetti). Several interior views of rooms in George F. and Louisa R. Tyler’s home on 201 South 15th St. taken in 1896 are also present, including a photograph of the “Children’s play room” that features their granddaughter Hope Binney Tyler Montgomery holding a doll. Hope, her parents Mary W. and Sidney F. Tyler, her husband Robert “Bob” L. Montgomery, and their children Mary, Ives, and Alexander are well-represented in the album.

Of particular interest are a number of photographs in different sections of the album that depict Theodore Roosevelt and his family. Some of these images are formal studio portraits, while others are more candid snapshots of Roosevelt with other people. One snapshot shows the family at play on the grounds of Sagamore Hill in 1897. Two photos taken at the White House including Helen Beach Tyler, daughter of George F. and Louisa R. Tyler and second cousin to Edith Kermit Carow Roosevelt, are labelled “taken by Ted Roosevelt,” possibly referring to President Roosevelt’s son Theodore Roosevelt III. Helen Beach Tyler may be the “Nellie” who was the recipient of a partial letter included in the album which describes conditions at a wartime hospital (most likely in Italy) in 1915. Only the first two pages of this letter are included, and there is no indication of the identity of the writer. Helen Beach Tyler may also have been the principal compiler of this album. Supporting this possibility is the presence of an interior view of a bedroom at 201 South 15th St. (George F. and Louisa R. Tyler’s home) captioned as “Mother’s bedroom,” a signed portrait of Englishman Lytton Sothern captioned “Given to me by Mr. Sothern June 1872. Mr. Edward Sothern & his son Lytton Sothern sat at our table on ‘Oceanic’ my first trip to Europe,” and a portrait of Sara Schott von Schottenstein, Baronin von Prittwitz-Gaffron, bearing the inscription “to her friend Helen Tyler 1880.”

Other items of interest include portraits of Col. August Cleveland Tyler; several portraits of Brig. Gen. Robert Ogden Tyler; a portrait of French pianist Antoine Marmontel captioned “Mr. Marmontel Professor au Conservatoire gave us music lessons in Paris 1873-74”; a group portrait of Helen Beach Tyler, Mary L. Tyler, Alice Seward, Kitty Seward, and Ida Vinton posing with a silhouette of Sidney F. Tyler; photographs of painted portraits of George F. Tyler and Hope Binney Tyler Montgomery; a series of photos taken at the Spanish Embassy in Mexico City, some of which include the Duke and Duchess of Arcos, Woodbury Lowery, and Archibald Lowery; portraits of the Prittwitz-Gaffron family in Germany; photos taken around the world in various locations including Egypt, India, Germany, and Italy; images taken during an exhibition of sculpture by Stella Elkins Tyler (wife of George Frederick Tyler, Jr.), as well as a program from the event; and photos showing the family of Helen Hope and Edgar Scott.

The New Jersey and New York City Region photograph album (18.5 x 26 cm) contains 45 photographs of landmarks and city and countryside views of the New York City Region.

New Jersey and New York City Region photograph album (18.5 x 26 cm) contains 45 photographs of landmarks and city and countryside views of the New York City Region. Included are 8 views of the Palisade rock formations near Weehawken, New Jersey, one view including sculptor Karl Bitter's clifftop studio. Other nature views include the Delaware River, South River, Newark Bay, and Mountain Lakes, N.J. City views are mainly of Newark, N.J. streets and buildings, and New York City attractions including Herald Square, the Washington Arch, Trinity Church, Broadway and the Hippodrome. Additional photographs show the boardwalk at Ocean Grove, and pavilion at Asbury Park on the Jersey Shore, an elevated streetcar at Bay Ridge, N.Y., battery at Fort Griswold, Ct., a train on the Lackawanna railroad bridge in East Orange, N.J., and interiors of the Essex County court room and Newark Public Library in Newark, N.J. Photographs include typed captions; paper label inside front album cover: F.H. Tucker, Artistic and Commercial Photographer.

The album has alligator-print cloth covers. Stored in a three-part wrapper with green cloth spine.

The New Jersey, New York, Connecticut and Vermont photograph album (18.5 x 26 cm) contains 70 photographics of parks, monuments, bridges, river scenes, lighthouses, waterfalls, and steamboats, in New York, Connecticut, New Jersey, and Vermont.

The New Jersey, New York, Connecticut and Vermont photograph album (18.5 x 26 cm) contains 70 photographics of parks, monuments, bridges, river scenes, lighthouses, waterfalls, and steamboats, in New York, Connecticut, New Jersey, and Vermont. Images of ships include photographs of the steamboats Naugatuck, Hendrick Hudson, and Robert Fulton, as well as the prison ship Success. The few city scenes present include two views of the State Capitol in Albany (one with election banners for the 1908 presidential election, the second with election banner for 1912 gubernatorial election), and views from the river of Tarrytown, N.Y., St. Johnsbury, Vt., and the New York City skyline. Also included are multiple views of Ethan Allen Park and Battery Park in Burlington, Vermont. Photographs include typed captions; paper label inside from cover: F.H. Tucker, Artistic and Commercial Photographer.

The album has a black pebbled leather cover which has been partially disbound. Stored in a three-part wrapper with green cloth spine.

The Grosvenor L. Townsend scrapbooks consist of 7 volumes containing newspaper clippings, photographs, halftone prints, correspondence, ephemera, printed materials, maps, realia, telegrams, and other miscellaneous documents and materials related to the military career of Grosvenor Lowery Townsend.

The Grosvenor L. Townsend scrapbooks consist of 7 volumes containing newspaper clippings, photographs, halftone prints, correspondence, ephemera, printed materials, maps, realia, telegrams, and other miscellaneous documents and materials related to the military career of Grosvenor Lowery Townsend. Newspaper and journal clippings were mainly taken from New York-based publications. Most of the clippings are in extremely fragile condition. Many clippings are coupled with inscriptions indicating the name and date of the publication they were taken from. Numerous photographs also bear inscribed captions. Each volume measures approximately 25 x 19 cm in size and has marbled paper covers.

• This volume contains materials related to Townsend's service in the New York National Guard, 7th Regiment, Company D, between 1893 and 1894. Items of particular interest include a Grand Army of the Republic report regarding the 7th's service record in the Civil War and during various New York City riots (pg. 1); a group portrait of 7th NYNG Co. D soldiers, including Townsend (figure furthest to the right), at an encampment in Peekskill, New York in June 1893 (pg. 5); clippings related to a mock Civil War battle held at Van Cortlandt Park (pg. 11); clippings related to Townsend's promotion from private to lance-corporal (pg. 13); clippings from the New York Herald and New York Tribune regarding the 7th NYNG relocating to the Seventh Regiment Armory (pgs. 42-45); a group portrait of 7th NYNG members at Sea Girt, New Jersey, in July of 1894 during a visit with New Jersey National Guardsmen (pg. 67); and Townsend's Lance Corporal chevrons (pgs. 92, 93).

• This volume contains materials related to Townsend's service in the New York National Guard, 7th Regiment, Company D, during 1896. Items of particular interest include an engraving depicting Company D winning a chariot race at the 7th Regiment games (pgs. 28, 29); a New York Herald clipping from May 31st 1896 regarding the 7th NYNG's victory over West Point in a baseball match (pg. 39); an American Lithographic Co. halftone reproduction of a Jay Hambidge painting showing the 7th NYNG marching in uniform titled "For Love or War?" (pg. 43); clippings regarding the new regimental clubhouse at the Creedmoor Rifle Range (pg. 45); a private circular for NCOs regarding a regimental parade in honor of Chinese viceroy Li Hongzhang as well as a halftone portrait of Li (pgs. 46, 47); and cartoons from the 7th Regiment Gazette of December 1896 comically depicting track and field events (pg. 61).

• This volume contains materials related to Townsend's service in the New York National Guard, 7th Regiment, Company D, from 1897 to May of 1898. Items of particular interest include a photographs of 7th NYNG officers and NCOs (pgs. 2, 3); halftone images from a 7th NYNG camp (pg. 7); a New York Sun clipping from October 10th 1897 regarding a mock battle at Van Cortlandt Park replete with a topographical map of the park (pg. 11); a New York Herald clipping from October 10th 1897 showing engravings related to "The Battle of Van Cortlandt Park." (pgs. 12, 13); a Harper's Weekly clipping from October 1897 showing halftone reproductions of paintings related to the mock battle at Van Cortlandt Park (pgs. 14, 15); camp scene photographs from June 1897 including one portrait of Townsend in uniform (pg. 23); halftone images showing interior rooms of the Seventh Regiment Armory (pgs. 25-28); a halftone reproduction of an engraving showing 7th NYNG uniforms from 1802 to 1897 (pg. 33); a halftone reproduction from Harper's Weekly vol. 42 no. 2157 of a painting by T. De Thulstrup showing the 7th NYNG being reviewed by Major General Charles F. Roe at the Seventh Regiment Armory (pgs. 76, 77); and multiple clippings related to the 7th NYNG's decision to refrain from allowing members to individually enlist in the regular US Army at the outset of the Spanish-American War so as not to disintegrate the unit (pgs. 82-91).

• This volume contains materials related to Townsend's service in the 201st Infantry Regiment of New York Volunteers as well as in the US Army 1st Infantry Regiment covering the period from March of 1899 to February of 1900. Items of particular interest include clippings related to Townsend's promotion from Captain of Company M 201st NY Volunteer Infantry Regiment to Second Lieutenant in the US regular army (pg. 5); letters from Townsend to his parents regarding exams he must take at Fort Monroe, Virginia, in order to achieve his promotion (pgs. 8, 9); a picture book containing halftone images from around Fort Monroe (pg. 11); a photograph showing a Fort Monroe examination room black board coupled with text of the example question present on the board (pg. 17); a copy of Townsend's commission as Second Lieutenant (pgs. 22, 23); clippings related to the naval transportation of American troops to Cuba (pg. 33); photographs of various Cuban scenes including an ossuary outside of Havana, Cuban huts and houses, Cuban soldiers being paid, American camps and barracks, a Cuban funeral, Afro-Cubans, underbrush near the mountains, a general view of Pinar del Rio, American military officers and their wives, and American troops in formation (pgs. 36-46, 48-55); a memorandum concerning the administrative use of officers' photographic portraits (pg. 59); photographs showing scenes of Guanajay and Pinar del Rio, Company K rifle ranges, American officers including Lt. McCue, Lt. Tebetts, Lt. Reams, Lt. Beacham, Lt. Wilcox, Dr. Dunchie, and Lt. Reeder, child golf caddies (including a Chinese boy named Ah Soy), a Cuban house being constructed out of palm tree materials, American officers and their wives, a Cuban burial party, soldiers on the march and drilling, an American military graveyard, Cuban ox carts, a railroad station, and churches (pgs. 60-66, 68-82); a clipping including an advertisement for "Mahara's Minstrel Carnival" (pg. 84); and more photographs showing American officers and their wives, Chinese-Cubans, a man posing with a white owl, a well-dressed Cuban man named "Mr. Usavraga", 2nd Battalion shelter camps, American barracks at Guanajay, a group of American officers and several women that includes both Townsend and his mother Emma, the fort at Mariel, a Cuban ship named Alphonso XIII sinking in Mariel Harbor, street scenes in San Antonio and Guanajay, and golf links at Guanajay (pgs. 91-115).

• This volume contains materials related to Townsend's service in the US Army 1st Infantry Regiment covering the period from April 1900 to December 1901. Items of particular interest include photographs showing 1st Infantry Company K assembled in uniform at Guanajay and the aftermath of a major storm at Guanajay, (pgs. 1, 2); clippings related to the potential ordering of the 1st Infantry from Cuba to China as well as Yellow Fever outbreaks among American soldiers stationed in Cuba (pgs. 4, 5); a fragment of an envelope bearing an official stamp from a US military surgeon indicating that the parcel had been "Disinfected and Passed" (pg. 9); clippings from August 1900 detailing the ordering of troops to Manila, Philippines, instead of China (pgs. 13-17); photographs showing various scenes from around Fort Leavenworth, Kansas, including the US Army Disciplinary Barracks (pg. 19-24); clippings from October 1900 regarding the capture and subsequent rescue of Capt. Devereux Shields (pgs. 28-30); clippings regarding the launch of the Samar Expedition and insurgent fighting tactics (pgs. 31-33, 40); photographs showing buildings occupied by American troops in Catbalogan, US Army officers and headquarters at Tacloban in February 1901 (pgs. 40-42); a clipping showing a map of the "Peaceful Districts in the Philippines" highlighting areas deemed unsafe for Americans to venture (pg. 46); photographs showing street scenes, Filipino villages and villagers, and landscape views (pgs. 50-54); a letter and associated hand-drawn map sent by Townsend to his mother describing an ambush against American forces in southern Samar in April of 1901 during which Townsend came under fire from a rifle he believed to have belonged to an American soldier who had deserted (pgs. 55, 56); a letter from Townsend to his mother in April of 1901 describing the visit of a group of Palauan tribesmen and counterinsurgency operations (pg. 57); photographs taken by Townsend of the Palauan tribesmen (pgs. 58-60); photographs from around Guiuan, including the U.S. Army headquarters, a 200 year old church door, Lt. Downes and Townsend's quarters, and images of a church and locals in Mercedes (pgs. 62, 63); clippings related to the death of Lt. Downes and Lt. McClure (pg. 68); a typescript copy of a letter initially sent by Townsend to Capt. Willard C. Fisk from July 1901, which the latter forwarded to Townsend's parents, describing engagements in Samar including one that led to Townsend being stabbed in the forearm (pg. 70); clippings related to the death of Lt. Downes and the Balangiga Massacre (pgs. 71-76); a letter from Townsend to his mother dated Oct 5 1901 describing the Balangiga Massacre and how his detachment were very nearly sent there (pg. 77); Townsend's Second Lieutenant bars (pg. 78); and a clipping describing innovative traps used by the Moros against American soldiers (pg. 79).

• This volume contains materials related to Townsend's service in the US Army 1st Infantry Regiment covering the period from 1905 to September 1907. Items of particular interest include a group portrait showing Townsend, other U.S. Army officers, and several women (including Cornelia T. Getty) standing in front of a house in Canada with snowshoeing equipment (pg. 3); clippings related to Fort Brady and a roster of troops serving in the Department of the Lakes as of August 15th 1905 (pgs. 5-7); clippings related to renewed unrest in China and the shipment of more U.S. troops to the Philippines (pg. 10, 12); clippings related to the transportation of American troops to the Philippines (pgs. 18, 19); clippings related to the celebration of George Washington's birthday at a ceremony in Gibraltar in February 1906 (pgs. 24, 26); a letter from Townsend to his mother from aboard the USS McClellan near Sri Lanka in April 1906 describing the conditions of the ship and the progress of the journey thus far (pg. 36); a typescript summary of Townsend's military career as of July 1906 (pg. 49); panoramic views of Camp Stotsenburg (pgs. 58, 64); a clipping regarding an earthquake in the Philippines in April 1907 (pg. 69); a typescript copy of a memo from September 1907 titled "Regarding the Government of the Philippine Islands With Special Reference to the Subject of Police Protection" (pg. 80); and photographs by Pedro Casanave of the S.S. Mindoro and of "Calle Gen. Hughes" in Iloilo City (pgs. 87, 88).

• This volume contains materials related to Townsend's service in the US Army 23rd and 1st Infantry Regiments covering the period from August 1909 to August 1910. Items of particular interest include a roster of officers and troops on duty at the Army Service Schools, Fort Leavenworth and the US Military Prison as of November 1909 (pg. 5); a studio portrait of Townsend in uniform taken at Fort Leavenworth (pg. 7); a copy of the September 1910 issue of the Infantry Journal by The United States Infantry Association containing an article written by Townsend titled "The Use and Effect of Flying Machines on Military Operations" (pg. 25); clippings related to practice maneuvers at Pine Camp, New York (pgs. 28-39, 49-58); halftone images showing camp scenes at Pine Camp (pgs. 47, 48); and photographs showing Townsend in uniform, Townsend's parents Malcolm and Emma, and what may have been the Townsend family residence (pg. 59).

In addition to this finding aid, the Clements Library has also created the G. L. Townsend Scrapbook Inventory which serves as an itemized list of the contents of each scrapbook.