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The Lancisco Hill collection consists of one full-length studio portrait of Pima Indian Lancisco Hill as well as three letters sent by Hill to a white American woman named Frances W. Anderson Gillette between April 1908 and July 1911.

The Lancisco Hill collection consists of one full length studio portrait of Pima Indian Lancisco Hill as well as three letters sent by Hill to a white American woman named Frances W. Anderson Gillette between April 1908 and July 1911.

The studio portrait is a gelatin silver print on a near cabinet card size mount (14.5 x 10.5 cm). Hill can be seen wearing traditional Plains Native American clothing while holding a tomahawk. The clothing and tomahawk were possibly studio props supplied by the unidentified photographer. A contemporary ink inscription on the verso reads "To Mrs. Wm. H. Anderson from Lancisco Hill 12/23th/05."

The first letter (ALS, 4 pages) is dated April 24, 1908, and is addressed to "Mrs. Frances W. Anderson, #254 N. Soto Street Los Angeles, California c/o Mrs. Ward Chapman." Hill asks Anderson if she would be able to locate the C. G. Conn's store and procure three baritone springs for him while she is in Los Angeles. Hill also describes recent weather and indicates that Anderson's horses (including "Joe" and "Alice") are doing well, that he purchased a new bag of hen feed, and that a former neighbor stopped by and will soon be calling on Anderson when they visit Los Angeles.

The second letter (ALS, 3 pages) is dated May 2, 1908, and is also addressed to "Mrs. Frances W. Anderson, #254 N. Soto Street Los Angeles, California c/o Mrs. Ward Chapman." In this letter, Hill lists several chores he has recently completed at Anderson's estate, including taking a book to an unnamed woman, shoeing horses, and letting the hens out. Hill also thanks Anderson for sending him lyrics for a song and states that he thinks he can "sing it for you now at any time we get some one to play for me. I go to the Arizona School of Music now and I know I am learning it right."

The third letter (ALS, 6 pages) is dated July 24, 1911, and is addressed to "Mrs. E. G. Gillette, #414 Andover Street, Lowell, Mass." Hill discusses goings on at the Phoenix estate including recent rainy weather, the birth of a bull calf, the cats being in good health, repair work that needed to be done following a storm, and his inviting a woman named "Ms. Howsel" over for meals regularly since she is "not very busy this summer." Hill also touches on how he borrowed a total of $100 from "Ida Larson" and "Walter" to pay for a musical instrument he named "Comet," and that he would appreciate it if Frances and her husband could assist him in clearing this debt.

The Lantern slides and glass plate negatives collection consists of approximately 1,260 magic lantern slides, glass plate negatives, and glass plate transparencies from commercial and non-commercial sources documenting a wide range of subjects.

The Lantern slides and glass plate negatives collection consists of approximately 1,260 magic lantern slides, glass plate negatives, and glass plate transparencies from commercial and non-commercial sources documenting a wide range of subjects.

The collection contains a total of 33 boxes and is loosely organized by topical groupings. The following list references individual boxes and the general nature of their contents.

• 10 x 12.5 cm glass negatives of views of Ann Arbor, Michigan, ca. early 1900s taken by an unidentified photographer. Includes views of several University of Michigan buildings, hospitals, fraternity houses, and private residences.

• Sixteen 8 x 10 cm cardboard-mounted slides showing posters for upcoming films and local product advertisements intended for use in movie theater intermissions. Producers include Excelsior Illustrating Co., Inc. and Photo Repro Co., Inc. Identified films include High Steppers (1926); The Blind Goddess (1926); Without Mercy (1926); Chickie (1925); Stop, Look and Listen (1926); West Point (1927); Pals First (1926); Ella Cinders (1926); Paying the Price (1927); The Avalanche (1919); and Turn to the Right (1922).
• Ten 7.5 x 7.5 cm slides documenting damage caused by the 1906 San Francisco earthquake (two of the slides are broken).

• 10 x 12.5 cm glass negatives including scenic views of fields, woods and towns, Canterbury Cathedral, ships in harbor, New York City streets, Coney Island beaches, street merchants, and children interacting with dogs (often humorously). All or some the images were produced by photographer William S. Pearsall in 1906 or earlier.

• Twenty-two 8 x 10 cm cardboard-mounted slides (some damaged) showing motion picture posters intended for display during movie theater intermissions with play dates handwritten in space at bottom. Dates listed range from 1918 to 1929. Identified films include The Devils Circus (1926); The Love of Sunya (1927); The Bridge of San Luis Rey (1929); Mademoiselle Modiste (1926); Classified (1925); Chang (1927); The Demi-Bride (1927); The Swell-Head (1927); Steele of the Royal Mounted (1925); The Voice of the City (1929); His Supreme Moment (1925); Monte Carlo (1926); An Old Fashioned Boy (1920); Lovers in Quarantine (1925); Riders of the Dawn (1920); Paid Back (1922); The Breaking Point (1921); and Gypsy Blood (also named Carmen - 1918 in Germany, 1921 in U.S.A.)
• Seven 8 x 10 cm hand-colored slides showing scenes from the popular book The Bad Boy and His Pa by George W. Peck produced by the Chicago Projecting Co. in 1904. Tableaux are carefully staged and elaborately tinted.

• Includes 8 x 10 cm slides showing scenes from The Bad Boy and His Pa by the Chicago Projecting Co. Other identified films include Babe Comes Home (1927); Figures Don't Lie (1927); and The Danger Girl (1916).

• Twenty-six 8 x 10 cm cardboard-mounted movie theater slides related to coming attractions or local products. One item of particular note includes a notice to female patrons that they do not need to remove their hats if they are seated in the women’s section. Identified films include The Taxi Dancer (1927); Square Crooks (1928); The City Gone Wild (1927); Too Much Money (1926); The First Night (1927); Broadway Nights (1927); Rainbow Riley (1926); The Wizard (1927); Vamping Venus (1928); The People vs. Nancy Preston (1925); Lovely Mary (1926); Rookies (1927); The Swan (1925); The Cohens and Kellys (1926); His People (1925); and My Official Wife (1926).

• Twenty-three 8 x 10 cm cardboard-mounted movie theater slides related to coming attractions or local products. Identified films include The Phantom Police (1926); The Testing Block (1920); The Brute Master (1920); The Cowboy Ace (1921); The Song and Dance Man (1926); His Brother's Keeper (1921); Private Izzy Murphy (1926); The Wanderer (1925); Eve's Leaves (1926); Good and Naughty (1926); It's The Old Army Game (1926); Vanishing Trails (serial, 1920); Don't Shoot (1922); The Whirlwhind of Youth (1927); The Shield of Honor (1927); Across to Singapore (1928); Naughty But Nice (1927); The Barrier (1926); For The Love of Mike (1927); The Dark Angel (1925); Keeping Up With Lizzie (1921); and Top O' The Morning (1922).
• Seven 8 x 10 cm slides (mostly duplicates) related to the Yale “Pageant of America” series showing damage in the aftermath of World War I.
• One 8 x 10 cm slide showing an ancient Egyptian tablet depicting battle.

• Twenty 8 x 10 cm slides documenting various activities in the town of Fitchburg, Massachusetts, around the turn of the 20th-century, including a hot-air balloon excursion and a fire engine race, along with other local scenes.
• Thirty-nine 8 x 10 cm slides showing scenic views (some hand-colored) in New Jersey and New York between 1896 and 1907. Most are attributed to Dr. J. T. Morehouse, but other noted contributors include the Charles Beseler Co., Dr. Ferdinand G. Kneer, William Archibald, and George W. Lamoreux. Items of particular interest include an aerial view of lower Manhattan; a map of New Jersey showing holdings of Esso; and a hand-colored view of a high railroad bridge in Portage, New York.

• Twenty 8 x 10 cm slides by Ann Arbor photographer George R. Swain documenting select manuscripts and maps from the William L. Clements Library.
• One 10 x 12.5 cm glass negative view of the Clements Library exterior.
• Seven 8 x 10 cm slides of outdoor scenes in Alaska and California from around 1900.
• Two 8 x 10 cm copy negatives of elaborate unidentified interiors.

• Six 8 x 10 cm slides of scenes in California and British Columbia. Includes view of a redwood logging train.
• Ten 8 x 10 cm glass negatives of scenes in British Columbia, mountain views, and photos of maps.
• Four 8 x 10 cm slides by Ann Arbor photographer George R. Swain of items from the William L. Clements Library.
• Nine 8 x 10 cm slides showing people and places (notably Firle Place) in the United Kingdom during the 1920s.

• Six 8 x 10 cm slides by Ann Arbor photographer George R. Swain showing exterior and interior views of the William L. Clements Library in the 1940s.
• Twenty-four 8 x 10 cm slides by Ann Arbor photographer George R. Swain of items from the William L. Clements Library. Includes an image of materials from the Thomas Gage papers stored in one their original document chests.

• Five 8 x 10 cm slides showing unidentified locations (possibly in Alaska) produced by the Seattle, Washington studio of Asahel Curtis.
• Four 8 x 10 cm slide reproductions of paintings.
• Three 8 x 10 cm slides of miscellaneous content.

• 8 x 10 cm glass negatives documenting a 1728 French translation of an earlier memoir by Jerome Lobo regarding attempts to convert Ethiopians to Christianity. An enclosed note says slides were for “a Prestor [sic] John talk.”

• 8 x 10 cm slides from an extensive educational series on lumbering processes and techniques produced ca. 1910. Images detail the production of railroad ties, including loggers’ methods of shaping each piece with their axes, and the proper method of stacking ties. Most of these views appear to be from Michigan’s lower peninsula, but one slide is from Wyoming in 1910.

• 8 x 10 cm slides showing various stages in logging operations and mill processes in states from Maine to California. Includes one hand-colored view of a mill pond in Virginia and a map of the U.S. that renders the size of each state relative to its timber resources.

• 8 x 10 cm slides showing production stages for treenails and stulls. Also includes images of various types of mill saws in marketing photos as well as working mills.

• 8 x 10 cm slides primarily related to pulp production with views showing logging sites, stages of the milling process, and specific machinery used. Includes images showing both ox-drawn and wooden-wheeled logging wagons.

• 8 x 10 cm slides showing portable mills set up near logging sites and log flumes in various stages of construction and operation. Several images of elaborate flume constructions are present.

• 8 x 10 cm slides related to fir logging, possibly in Sitka, Alaska. Also present are a couple views showing treenail production.

• 8 x 10 cm slides showing locust logging, log loaders, and lumber yards.

• 8 x 10 cm slides showing different types of log loaders as well as maps of the U.S. highlighting population and timber resources.

• 8 x 10 cm slides related to the Lidgerwood (written as “Ledgerwood” on slide labels) logging system which made extensive use of winches and pulleys. The Lidgerwood Company was instrumental in building the Panama Canal and later developed machinery for the logging industry. Also present are more images of log loaders and diagrams/photos of mill machinery.

• 8 x 10 cm slides related to the Lidgerwood system as well as views of logging and mill operations in several states.

• 8 x 10 cm slides showing pull boats towing log rafts and various logging and milling operations.

• 8 x 10 cm slides showing finished lumber products being shipped by boat, rail, and wagon as well as images related to shingle production.

• 8 x 10 cm slides showing steps in the production of shingles, stulls, and poles as well as steps in paper production, including micro views of linen and cotton paper fibers.

• Twenty-eight 8 x 10 cm slides showing stages in paper production as well as views of portable mills and flumes, especially flume dumps.
• Ten 10 x 12.5 cm glass negatives by unidentified photographer ca. 1902 related to estate in Berlin, Maryland nicknamed “Anchuha.” Includes snapshots of house and family members.

• Despite the separate accession number, these lumbering slides appear to be from the same educational series contained in other boxes. The topics covered by the 8 x 10 cm slides in this box include agricultural use of logged spaces, large mill operations, redwood logging, steam tractors, splash dams and charcoal kilns.

• 8 x 10 cm slides covering log jams, barrel staves and cooperage, flumes, big tree logging, and maps of national forests. Non-Michigan locations also represented. Includes color slide by Asahel Curtis showing Douglas fir timbers on railroad car.

• 8 x 10 cm slides showing pole roads, agricultural use of logged land, large mills, machinery used in distillation and cooperage, logging of wide range of individual tree species. Non-Michigan locations also represented.

• 8 x 10 cm slides showing tramways, pull boats, portable mills, geared locomotives, and skidways as well as a graph comparing regional production. Nine shattered slides are present.

• 8 x 10 cm slides showing gasoline and steam skidders, lumber yards, motor trucks, and Arizona tree species. One image of particular interest shows an early Kelly truck with a full load of logs and an African American driver.

• Eight 8 x 10 cm glass negative copies of photos showing scenes in Alaska, including the Muir Glacier.
• Four 8 x 10 cm slide views of British Columbia, possibly from a Canadian Pacific Railroad car.
• Three 12.5 x 18 cm glass negative self-portraits by Charles P. Steinmetz, ca. 1904/5.
• One 12.5 x 18 cm glass negative titled “Girl on Bicycle”

The Latin America and Caribbean travel photograph album (17.25 x 21 cm) contains 36 captioned views of Jamaica, Panama, Peru, and Chile taken by an unidentified photographer. The majority of the photographs are of landscapes but local people are also depicted.

The Latin America and Caribbean travel photograph album (17.25 x 21 cm) contains 36 captioned views of Jamaica, Panama, Peru, and Chile taken by an unidentified photographer. The majority of the photographs are of landscapes but local people are also depicted. A photograph of the S.S. Limari is present in the album. Of note are a series of photographs documenting a trip on the Peruvian Central Railway, including a view of Infiernillo Bridge.

The Laura Page Butcher photograph album contains photographs, newspaper clippings, and ephemera pertaining to Butcher's leisure activities and travels in the United States, Europe, and North Africa in the late 19th and early 20th centuries.

The Laura Page Butcher photograph album (27cm x 37cm) contains around 350 photographs with newspaper clippings and printed ephemera pertaining to Butcher's career as an artist, her leisure activities, and her travels in the United States, Europe, and North Africa from June 1897-June 1903. The photographs include single prints, cyanotypes, and individual prints assembled into panoramas. Most of the photographs are original snapshots, with professionally portraits and some commercially produced views included. The album has been reconstructed and re-bound; the original cover, with the title "Photographs" printed on the front, is housed separately. Some quotations and captions, usually providing a location and date, are written directly onto the album pages or onto photographs.

Most photographs are informal and studio portraits of men and women, pictures of women enjoying leisure activities, exterior and interior shots of mansions and hotels, and views of natural and urban scenery from Butcher's vacations and international travels. Portrait subjects include Laura Page Butcher, her traveling companions, artist friends, and a large formal wedding party. Groups of women are shown painting, riding horses, driving carriages, swimming in an indoor pool, and golfing. Butcher's travel photographs from Paris, France; Funchal, Madeira; Granada, Spain; Algiers, Algeria; and Alexandria and Cairo, Egypt, focus on urban scenery, landmarks, and local populations. Included are the Eiffel Tower, Alhambra, the Great Sphinx, and Giza pyramids. Timeless examples of tourists photographed at Giza in Egypt appear. Photographs of Paris include the Exposition Universelle of 1900. Butcher's return to the United States on the steamship St. Louis is documented with several dramatic seascapes. Many images of leisure activities taken along the eastern shore of the United States. Other images of note show the parade for the dedication of the Fairmount Park, Philadelphia Washington Monument in 1897, an American soldier in uniform taken in Manila, Philippines; one colored photomechanical print shows a group of people in Algiers surrounding a ritual activity or performance. Also of note is a panorama of a bull fight given by Spanish prisoners of war held on Seavy's Island, Maine, with William Jean Howells identified as a spectator.

The album also includes newspaper clippings and ephemera items. The clippings are primarily society page items about the activities of Laura Page Butcher and her siblings, such as the family's vacations in West Virginia, Laura's winter in France, and Alice Tyson Butcher's wedding. Quotations often pertain to art, among other subjects.

Of particular note are the photographs, notes, and ephemera related to Butcher's art career. Images appear of young women in artists' smocks with palettes, in life classes, sketching outdoors at the Shinnecock School, in a Paris atelier and other unidentified studios. An interest in James McNeill Whistler is revealed by the inscriptions quoting Whistler's "Ten O'Clock" lecture, a copy of the butterfly monograph of Whistler, and comment on Whistler's work transcribed from the periodical "The Trimmed Lamp" appearing on pages five and ten, and Whistler antidotes in clippings elsewhere in the album. Material related to Butcher's participation in the exposition of the Société Nationale des Beaux Arts at the Grand Palais, including her letter of admission, is on page 19.

The Leonidas, Michigan photograph album (14.5 x 17.75 cm) contains fifteen snapshot views of Leonidas, a settlement in St. Joseph County, Michigan. The photographs focus on streets, buildings, and roads.

The Leonidas, Michigan photograph album (14.5 x 17.75 cm) contains fifteen snapshot views of Leonidas, a settlement in St. Joseph County, Michigan. The photographs show views of streets, a train depot and train, a paint shop, a cemetery, residences, and a group of four individuals in a carriage drawn by two horses.

Levy & Cohen's views of the rebel capital and its environs contains 26 photographs of historically significant monuments, locations, and structures in Richmond, Virginia, in 1865 after the conclusion of the Civil War.

Levy & Cohen's views of the rebel capital and its environs contains 26 photographs of historically significant monuments, locations, and structures in Richmond, Virginia, in 1865 after the conclusion of the Civil War.

Most images include typewritten titles and copyright statements as well as captions on their versos which outline the subject's historical significance and relation to the Civil War. Some photographs show duplicate views and/or have repetition of content in their verso descriptions. There is one photograph that measures 17 x 14 cm, ten that measure 13.5 x 19 cm, while the remaining fifteen photos are of standard carte de visite size.

Specific monuments that are represented in this collection include the Tomb of James Monroe in Hollywood Cemetery and Thomas Crawford’s Virginia Washington Monument shown prior to its completion. Specific structures represented include the Virginia Executive Mansion, ruins of Richmond Arsenal (Virginia Manufactory of Arms), ruins of Gallego Flour Mills, Treasury building (Lewis F. Powell Jr. United States Courthouse), Virginia State Capitol building, Virginia State Penitentiary, and Chimborazo Hospital. Other images show scenes of a burnt district, Capitol Square, a shipyard, Drury’s Bluff, Rocket’s Landing, James River, and what remains of Petersburg Railroad Bridge. One particularly noteworthy image is titled “Portico of Executive Mansion,” which shows Governor Francis Harrison Pierpont “in company with Messrs. W. W. Weng, Treasurer of Virginia, W. D. Massey, P. M. of Alexandria, Va., and Colonel Hart of the Governor’s staff." Another image shows Union soldiers outside of their tents with a handwritten notation on the verso stating “Headquarters of First Penna Reserve Artillery, Lt. Col. Brady, Richmond Va. June 1865.”

The Lewis J. Cox photograph album contains 47 photographs of Lewis J. Cox's family and home in Terre Haute, Indiana, taken between approximately 1900 and 1910.

The Lewis J. Cox photograph album contains 47 photographs of Lewis J. Cox's family and home in Terre Haute, Indiana, taken between approximately 1900 and 1910. The exterior of album (14 x 11.5 cm) is in fragile condition.

The Liberty Bell Tour photograph album contains approximately 580 photographs depicting the journey of the Liberty Bell from Philadelphia, Pennsylvania, to the Panama-Pacific International Exposition in San Francisco, California, and back again in 1915.

The Liberty Bell Tour photograph album contains approximately 580 photographs depicting the journey of the Liberty Bell from Philadelphia, Pennsylvania, to the Panama-Pacific International Exposition in San Francisco, California, and back again in 1915.

The album (40 x 28 cm) has black paper covers and 305 pages, 14 of which do not contain any photographs. The photographs are generally arranged in chronological sequence and depict loading the Liberty Bell onto parade floats and train cars, celebratory parades, gathered crowds, and individuals and groups posing with the Liberty Bell. Numerous pictures include captions referencing the locations in which they were taken. The album also contains two small maps, each showing one of the routes of the cross-county trips that the Liberty Bell took, as well as landscape photographs of scenes in the western United States. Notable persons photographed with the Liberty Bell include Thomas Edison, members of the Daughters of the American Revolution, and groups of Native Americans in Cayuse, Oregon. Landscapes pictured include views of Wyoming, Pulpit Rock, Bear River Canyon, Mount Shasta, Shasta Springs, Horseshoe Curve, Royal Gorge, the Rockies, Salt Lake, and Feather River Canyon.

The Lippincott family carte-de-visite albums contain formal carte-de-visite portraits of members of the Lippincott, Thorne, and Taylor families of Philadelphia, Pennsylvania, many in the traditional dress of Quakers. Two photographs show men in military uniform.

The two Lippincott family carte-de-visite albums (both 14cm x 11cm) contain portraits of members of the Lippincott, Thorne, and Taylor families of Philadelphia, Pennsylvania. Volume 1 has 18 cartes-de-visite and 1 tintype, and Volume 2 has 24 cartes-de-visite and 1 lithographic card. Most photographs are formal studio portraits taken by Philadelphia photographers of men, women, children and elderly women. Many are in the traditional dress of Quakers. Civil War soldiers Joshua and Powell Thorne appear in military uniforms. Several photos have revenue tax stamps. A portrait of activist Lucretia Mott by H.C. Phillips is included. Each of the volumes has a brown leather cover decorated with geometric designs. Both albums had two metal clasps; the first is missing one of two clasps and the second has both clasps intact.

The Litchfield-Stryker family photograph album contains pictures of Edwin C. Litchfield's "Grace Hill" residence in Brooklyn, New York; pictures of buildings and scenes in New York State, Florida, the Caribbean, and Bermuda; portraits and views of the property of members of the Litchfield, Stryker, and Hubbard families; and pictures taken camping and hunting. This album belonged to Thomas H. Stryker of Rome, New York, a nephew of Edwin C. Litchfield.

The Litchfield-Stryker family photograph album (34cm x 27cm) contains 52 carefully composed photographs, including 1 cyanotype and 51 albumen prints. The album belonged to Thomas H. Stryker of Rome, New York. Stryker was a nephew of Edwin C. Litchfield whose home, designed by Alexander Jackson Davis, is featured in the album. Primarily dated 1878, the album also includes photographs dated 1879; April 11, 1884; and February 1886.

The first page displays portraits posed outdoors at "Grace Hill" of Edward H. and Grace D. Litchfield; Thomas H. Stryker with two women; and an unidentified woman alone. Grace Litchfield appears wearing a fez and holding a small stringed musical instrument, possibly a machete; Edward Litchfield is shown twice, once posed in a military uniform, once seated in civilian dress. The album features "Grace Hill" and other homes with six exterior views of the large, Gothic Revival residence in Prospect Park, Brooklyn, New York (4 items), a view across "Grace Court" from a second home owned by Litchfield in Brooklyn Heights (1 item), and a stable that Litchfield owned in Brooklyn (1 item). A group of 13 pictures relate to hunting trips by Tom Stryker and Ned Litchfield showing scenic forests, lakes, and pictures of their lean-to, possibly in the Adirondack region. One image shows the two men posed and equipped for winter hunting with snow shoes. Two of three pictures labeled "Virginia" appear to show a drilling or mining operation.

The album contains 15 pictures of scenery, people, and buildings in Saint Croix, Bermuda, and in Florida, including "Hubbard's orange grove, Crescent City." Also shown are photographs of John Stryker's residence in Rome, New York (2 items), "Cooper House" in Cooperstown, New York (1 item), "Hubbard Hall" in Utica, New York, (one exterior view and one interior view showing a grandfather clock), and unidentified scenes and buildings (2 items). "Dash No. 1," a pet dog, is posed in two photographs with hunting gear including pistols, rifles, and snowshoes. An image of a brass plate honoring Reverend Bella Hubbard (1739-1812), first rector of Trinity Church in New Haven, Connecticut, is pasted onto the volume's final page.

Of particular note are the exterior views of the impressive "Grace Hill" property, the early camping and hunting photographs, the view of the "Cooper House" hotel and grounds with well-dressed figures in the foreground; street scenes in Santa Cruz; a fine print of the waterfront in Bermuda; and the pictures of Florida orange production. The Virginia drilling/mining photos may be of importance if identified.