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The Edward Williams Clay watercolors, scrapbook fragments and silhouettes consist of 28 original watercolor drawings created by Edward Williams Clay, a drawing book with art by Clay and James Pemberton Morris, 37 fragments of a scrapbook believed to have been compiled by Clay, and 11 cut paper silhouettes. The bulk of materials are watercolors by Clay of Europeans and Americans abroad from 1825-1828, and satirical, genre, and theatrical prints by Clay and others.

The Edward Williams Clay watercolors, scrapbook fragments and silhouettes consist of 28 original watercolor drawings created by Edward Williams Clay, a drawing book with art by Clay and James Pemberton Morris, 37 fragments of a scrapbook believed to have been compiled by Clay, and 11 cut paper silhouettes. The bulk of materials are watercolors by Clay of Europeans and Americans abroad from 1825-1828, and satirical, genre, and theatrical prints by Clay and others.

In 2002, the Clements Library became aware of a scrapbook containing an extensive collection of Edward Williams Clay prints and artwork in possession of a Virginia antique dealer. After most of the individual pages were separately sold on eBay, it became apparent that the source, John Duncan Marsh (1931-2021) of Purcellville, Virginia, was a direct descendent of Clay's sister, Mary Ann Clay Bolton (1801-1818), and the scrapbook was likely compiled by the artist himself. Given that the contents of this collection were created after the death of Mary Ann, it is presumed that they were in the custody of one of her children, although the relationship between Clay and his nephews, James Robert Bolton (1817-1890) and Edward Clay Bolton (1818-1892), is unknown. The remaining remnants of the scrapbook were purchased by the Clements Library at auction along with the watercolor sketches and family silhouettes. All of the materials present were consigned to auction from the same source except for the drawing book, which had earlier been acquired by the Clements Library from a Philadelphia book dealer.

Series I - Watercolors

The collection contains 28 original watercolor works by Edward Williams Clay. A subset within this series represents Clay's journey from the Eastern United States to France between 1826 and 1828. Several works include inscribed titles, locations, and dates. A number of sketches also bear evidence of having been previously cropped, mounted, and framed.

Of particular note is one sketch from December 1825 showing two women and a man dressed in comically large winter clothing captioned "Life in Philadelphia - (going home from a tea-fight)." This unpublished satire is the earliest appearance of content later found in Clay's notorious series Life in Philadelphia.

• A portrait of a well-dressed man wearing a top hat while holding spectacles and a cane with a verso caption reading "Steam boat Bellona from Brunswick to New York April 1826"
• Two portraits of well-dressed men in top hats captioned "Thayer - on board the ship Edward [Quesnel at sea July 1826]" and "Constancio - On board the ship Edward Quesnel at sea July 1826"
• A portrait of a sailor wearing a brimmed hat and smoking a pipe with a caption on the verso reading "[French?] Pilot - [Edward] Quesnel, off the coast of France 18 July [1826?]

Note: The steamer Bellona ran from Brunswick, New Jersey, to New York City, while the Edward Quesnel is recorded as regularly running between New York City and Marseilles, France.

Other scenes illustrate aspects of European society and street life from Clay's visit to Europe between 1826 and 1828. Many of these works depict men's and women's fashions in fine detail. As several subjects are identified by name, it is presumed that some of these depictions were likely based on real people observed by Clay.

• A portrait of two French priests captioned “Les Curés - Paris 1827”
• A street scene captioned "Postellers & Conductors - Paris 1827" showing several uniformed drivers (including individuals wearing heavy duty protective knee-high boots insulated with straw)
• A street scene showing five well-dressed men including man identified in a partially cutoff caption as "Count Dep..."
• A scene depicting a masked ball with a large man at center identified as "Prince Borghese"
• A scene showing a man in Artois bathing and reading Le Constitutionnel while being attended to by a servant
• An equestrian scene showing riders in a park including an Arabian horse-drawn cart carrying the driver and a Mamluk groom wearing a turban
• Two ballroom dancing scenes with couples wearing formal dress
• A wedding portrait showing a couple identified as "Hercule de B. s." and "Mde Leverd"
• A formal dinner scene showing a number of couples entering a dining room attended by servants
• A comical scene showing a young woman identified as "Josphine" being introduced by an older French-speaking woman to two men, an unidentified English speaker and an apparently German individual identified as "Becker"
• A scene showing a couple of street minstrels performing outside of an inn
• Two portraits of unidentified well-dressed men

Items that may represent American content include sketches of a young couple dancing and a restaurant dining scene showing patrons and staff.

• A portrait of a woman holding a qanon titled "A Turkish female slave playing on the Kanoon" dated to December 1827
• A portrait of the Greek goddess Iris dated January 21 1828
• A portrait of a woman captioned "A Greek Lady in her walking dress" dated to December 1827

One satirical scene titled “Compliments of the Season 1829” shows a young boy wishing merry Christmas while handing a bill from a “Mr. Smith” (presumably an American) to an irate French musician wearing a robe who appears to have been in the middle of having his face shaven by an amused servant. This scene corresponds to an 1830 lithograph published by Clay which is in the collection of the American Antiquarian Society.

• A portrait of a carriage driver wearing a heavy fur-trimmed coat
• A street scene showing two boys in patched-up clothing and wooden shoes in possession of a crank-organ and a performing monkey
• A street scene showing a wealthy man visiting a dog grooming business

Series II - Drawing Book

The drawing book bears a retail label from a Parisian shop and an ownership inscription dated 1816 from James Pemberton Morris (1795-1834), a member of a prominent Quaker family who resided at Bolton Farm in Buck County, Pennsylvania (note: Bolton Farm is not related in any way to the family of James McLean Bolton). 1816 is also the year in which Morris was married to his wife Rosa Gardiner (?-1828) in a ceremony in Edinburgh, Scotland. Drawings of note include a sketch of a “Judge Duncan;” multiple pencil sketches of women; a watercolor drawing of a maritime scene; and rough sketches of various cartoons. Clay's signature is attached to some of the works (including a sketch of Rosa Gardiner Morris), while others are initialled "JPM." Handwriting in the drawing book matches writing on many watercolors attributed to and signed by Clay. The nature of the relationship between Morris and Clay remains unclear.

Series III - Scrapbook fragments

The collection’s 37 scrapbook fragments are the remains of a personal scrapbook that likely once belonged to Edward W. Clay. Based on conversations with the dealer John Palmer, this scrapbook had contained a significant set of over 60 prints by Clay prior to being disassembled. A majority of the remaining fragments are satirical, genre, and theatrical prints produced by other artists, some of which may have been collected by Clay during his European travels.

• Five lithographs by Charles Motte representing scenes from various works by Charles Perrault (Griseledis, L’Adroite Princesse, Cendrillon, Riquet a La Houppe, and Le Petit Chaperon Rouge)
• Multiple works depicting character costumes from various theatrical productions including The Prophet, The Queen of Cyprus, Tsar and Carpenter, and The Star of Sevilla
• Engraved depictions of a French “Infanterie de Ligne” and a Scottish “Tambour du 42e Regiment D’Highlanders,” both by Edouard Detaille
• An engraved portrait of George Washington by H. S. Sadd
• Two lithographs by Charles Motte of scenes involving children titled “Les Belles Dames. The Fine Ladies” and “A Fishing Party”
• Engravings of “Bolton Abbey in the Olden Time” by Schuler and “Weehawken, From the Elysean Fields. Hoboken” by Archibald L. Dick

• “Soubrette” by Paul Gavarni
• “Modes de Paris Petit Courrier des Dames”
• “Vous ne direz plus que la mode est indécente!!”
• “Mde De Nouveautés” by Charles Philippon
• “Déclaration d’un Maître de Cham” by Frederic Bouchot

• Drawings of various men, women, children (some of whom are identified)
• A pencil drawing of a ship captioned “Brigantine New Castle April 8th 1853”
• Six lithographic portraits of French generals Charles Nicholas Fabvier, Pierre Claude Pajol, Étienne Maurice Gérard, Horace Sébastiani, Maximilien Sébastien Foy, and the Marquis de Lafayette

Of particular note are two caricature lithographs depicting African Americans that are attributed to Clay, including one print published in 1830 titled "Back to Back" that depicts an African American couple dancing in fine clothing with the caption reading: "I reckon I've cotcht de figure now!". The other print (which is mounted on a scrapbook page) titled "A Black Cut" dates to 1839 and depicts an African American chimney sweeper being shunned by a wealthier mixed-race couple.

Series IV - Silhouettes

This series includes 11 cut paper silhouette portraits, nine of which bear the stamp of the Peale Museum in Philadelphia, Pennsylvania. Several include subject identifications and dates of creation. Eight of these items were originally mounted in 20th-century frames prior to being rehoused in archival mats by the Clements Library. The framed items carried the following notation in reverse at the top: "Property of / Miss Mary Clay Bolton / Mechanics and Metals Bank / 204 Fifth Avenue, New York City;" and at the bottom "Theodore Bolton," along with the frame shop label of S. Friedman, E. 9th St., New York, N.Y.

Of particular importance is a silhouette of Edward W. Clay inscribed "E.W.C. Ann: ÆTAT 21" (age 21) from the Peale Museum, ca. 1820. This work is believed to be the only known portrait of Clay outside of a painted portrait held by the Marsh family (descendants of Mary Ann Clay Bolton). The additional inscriptions “Cut at Peale’s Museum, Philadelphia” and “Edward Williams Clay, Portrait Painter” appear to have been added later.

Other identified individual silhouettes include Charles Heyward, William Heyward, George Douglass, William Graham, and George Cuthbert. These men were prominent members of South Carolinian society and were all either closely or distantly related. Three of the silhouettes are of Charles Heyward, who owned one of the largest rice plantations in the South and was the grandson of Thomas Heyward, a signer of the Declaration of Independence. The connection between these people and Edward W. Clay and/or Mary Ann Clay Bolton is unknown.

The Emil Smith sketchbook, titled "Specimens of Designs for Carving in Ivory," contains pencil drawings of decorative picture frames, canes, swords, and hand-mirrors, as well as deer, dogs, and scenes of Civil War camps and soldiers. Included in the sketchbook are lithographs of various cities and buildings in Germany.

The Emil Smith sketchbook contains 38 pages filled with pencil drawings and pasted lithographs. The inside cover includes a modern reprint of a carte-de-visite of a soldier holding a bugle, identified as Lou Smith. The first page indicates that the sketchbook belonged to Emil Smith, which he titled, "Specimens of Designs for Carving in Ivory." This page also includes an image of Lady Columbia about to stab a cougar, along with a note that Emil Smith was a member of Company G of the 39th Ohio Volunteer Infantry.

Many of the sketches are of deer and dogs and decorative frames with leaves and vines. There are also sketches of a woman wearing gold jewelry, anatomical sketches of arms and legs, an angel in a cup, female hair pieces, and the handles of swords and canes. Of note are multiple sketches depicting various scenes of the Civil War, including a bird's-eye view of Camp Dennison near Cincinnati, Ohio, unidentified barracks, a scene of camp life titled "Fair Ground Near Memphis," and a sketch of an African American soldier. The sketch of the soldier is based on an illustration from Harper's Weekly from July 2, 1862. The article accompanying the illustration, "The Escaped Slave and the Union Soldier," describes the life of an escaped slave from Montgomery, Alabama who joined the Union Army. The soldier's name was not mentioned in the article, however, the soldier has later been identified as Hubbard Pryor.

Also included in the sketchbook are many lithographs of water scenes, city buildings, castles, and cathedrals in various locations in Germany, including Andernach, Bacharach, Koblenz, Mainz, Nonnenwerth, Wiesbaden, and Worms.

The Gerald T. and Charlotte B. Maxson printed ephemera collection contains over 5,000 pieces of assorted ephemera, the majority of which were commercially printed in the United States during the mid to late 19th-century.

The Gerald T. and Charlotte B. Maxson printed ephemera collection contains over 5,000 pieces of assorted ephemera, the majority of which were commercially printed in the United States during the mid to late 19th-century.

The Maxson collection provides a valuable resource for the study of 19th-century visual culture, commercial advertising, and humor in addition to the role of gender, ethnicity, and race in advertising. American businesses are the predominant focus of the collection, though many international businesses are also represented. While trade cards are by far the most prevalent type of ephemera found in this collection, an extensive array of genres are present including die cut scrapbook pieces, photographs, engravings, maps, serials, and manuscript materials.

The 23 binders that house the Maxson collection were arranged by the collectors themselves. Items are organized somewhat randomly in terms of topical arrangement. While pockets of related materials can be found here and there (for instance, the entirety of Volume 16 contains circus-related items while Volume 11 contains an extensive number of Shaker-related materials), for the most part any given subject may appear in any given volume. In some cases, items are clustered as a result of having been acquired together or due to a documented common provenance. Occasional typed annotations written by the Maxsons help provide additional context for certain items.

The Maxson Collection Subject Index serves as a volume-level subject index for materials found throughout the binders. The subjects indexed here are generally representative of both visual and commercial content. In addition to more general subjects, many names of specific people, places, buildings, events, and organizations that appear in the materials have also been listed. Researchers engaging with this collection should be aware that they will encounter numerous examples of racist caricatures, especially ones depicting African American, Native American, Irish, and Chinese people.

This collection consists of three miniature moving panoramas from ca. 1868 to 1878. These include two educational toy panoramas by Milton Bradley, "The Historiscope: A Panorama & History of America" and "The Myriopticon: A Historical Panorama of the Rebellion." Also included is a dual scrolling lithograph entitled "Excursion Views of Narragansett Bay and Block Island" by the Excursion View Co.

This collection consists of three miniature moving panoramas from ca. 1868 to 1878.

The Historiscope: A Panorama & History of America. Springfield, Mass.: Milton Bradley & Co., ca. 1868. Comprised of a scrolled hand-colored lithographed panorama on rollers, housed in a cardboard box with window for viewing. The viewing box measures 22 x 14 x 6 cm and the lithograph measures 11cm in height. The viewing window simulates a proscenium with a stage, footlights, and balconies. The subject of the lithograph is the history of America from Columbus through the end of the Revolutionary War. It contains 25 scenes of both iconic moments in early American history and generic images; e.g., Pocahontas saving John Smith's life, Pilgrims landing in Massachusetts, trading with Native Americans, George Washington at Valley Forge, and the surrender of Cornwallis's army at Yorktown. Many of these scenes are based on paintings, prints or photographs that were well known. An example is the scene of the landing of Columbus based off of John Vanderlyn's painting, Landing of Columbus (1846), which also appeared on a15-cent stamp in 1869. The knobs on top used to move the lithograph are not original.

The Myriopticon: A Historical Panorama of the Rebellion. Springfield, Mass.: Milton Bradley & Co., ca. 1868. Similar to the Historiscope except in terms of subject matter and artwork. The Myriopticon picks up where Historiscope left off. It contains 22 scenes representing the Civil War, many of which originate from Harper's Weekly and other magazines or newspapers. The panorama shows various battles and camp scenes; e.g., the battle of Fort Sumter, Winslow Homer's The Army of the Potomac-A Sharpshooter (1862), the battle between ironclads USS Monitor and CSS Virginia, and the burning of Richmond. The knobs on top used to move the lithograph are not original.

Both the Historiscope and Myriopticon were accompanied by a lecture booklet, promotional broadside, and admission tickets (none extant in this collection). They were marketed toward young children around the ages of 7 to 12. To create a more immersive theatrical experience it was suggested to exhibit the panorama in a dark room, backlit with a candle. Once the provided script had been exhausted, children were encouraged to create their own narrative to pair with the panoramas. Milton Bradley's intent when creating these moving panoramas was to serve not only as optical toys, but as interactive visual lessons. They fit into his larger idea of mass-producing aesthetic educational devices.

Excursion Views of Narragansett Bay and Block Island. Providence, RI: Excursion View Co., ca. 1878. Comprised of two chromolithographed panoramas on rollers housed in a wood viewing box with glass panes on two sides. On the bottom is a paper map which lists each point, in order, shown in the panorama. The viewing box measures 34 x 14.5 x 13 cm and the lithographs measure 9.5 cm in height. The first lithograph shows scenes from the eastern shore of Narragansett Bay starting at Fox Point and ending at Brenton's Reef. The second lithograph shows scenes of Block Island, Conanicut Island, and the western shore ending at Sassafras Point. The panoramas also include text marking notable locations and structures. These moving panoramas were created due to the popularity of steamboat excursion tours from Providence (Rhode Island) to Block Island and back. This miniature panorama was likely an expensive souvenir; a way to simulate or relive the experience for the viewers. The knobs on top used to move the lithograph are not original.

A set of six wooden medallions, in original box, commemorating the 1876 International Exhibition held at Fairmont Park, Philadelphia. The underside of the box lid is a lithograph showing the exhibition grounds and buildings.

The Philadelphia Ornamental Wood Co. Medals, 1786 collection is a set of six wooden medallions, in original box, commemorating the 1876 International Exhibition held at Fairmont Park, Philadelphia. Four of the medals measure 2.5 inches in diameter. The other two are 3 inches in diameter. The reverse of the smaller medals contains the inscription "The 100TH Anniversary of American Independence; Great International Exhibition; Fairmont park; Philadelphia; 4th of July; 1876." The reverse of the two larger medals reads "The 100th Anniversary of American Independence; 4th of July 1876; Exhibition Open from May 10 to Nov 10 1876; Fairmont Park; Philadelphia; U.S. America."

The underside of the box lid is a lithograph of the view of the exhibition grounds and buildings. The lithograph, published by Breuker & Kessler of Philadelphia, is titled "Birds Eye View of the International Exhibition Buildings 1876." Also written on the lithograph is the inscription, "Manufactured by the Ornamental Wood Co., Phila." The box also is inscribed: "Manufactured by the Philadelphia Ornamental Wood Co. 1129 Cherry Street."

The Rewards of merit collection consists of approximately 800 hand-illustrated and printed rewards of merit originating in the United States during the 19th and early 20th centuries.

The Rewards of merit collection consists of approximately 800 hand-illustrated and printed rewards of merit originating in the United States during the 19th and early 20th centuries.

The collection includes rewards of merit decorated with ink, watercolor, and fraktur art as well as lithographic and chromolithographic rewards. The bulk of materials are dated between 1830 and 1900.

Series I of the collecton contains approximately 200 rewards of merit that are primarily grouped around specific students and teachers. Also present is a group 100 examples of early 19th century rewards acquired from dealer Alfred P. Malpa Ephemera.

• 1.1: Early 19th century rewards of merit, 100 items
• 1.2: Abbott, Carrie M. (student), 3 items
• 1.3: Adams, Priscilla (teacher), 4 items
• 1.4: Corbette, Edith (student), 4 items
• 1.5: Garretson family (students) and Smiley family (teachers), 13 items
• 1.6: Jones family (students), 6 items
• 1.7: Roberts, Charlie (student), 13 items
• 1.8: Shackford, Mabel (student) and Riley, Mary L. (teacher), 3 items
• 1.9: Sturtevant, Florence (student) and Lamb, Clara (teacher), 8 items
• 1.10: Thompson, Susan A. (student), 3 items
• 1.11: Thurley, Gertie (student), 4 items
• 1.12: Thurston family (students & teacher), 5 items

Series II contains approximately 600 19th century rewards of merit. Materials are organized roughly by size and include "small" and "large" groupings. Also present are two instructional cards for a rewards of merit system and blank uncut printed rewards of merit sheets.

• 2.1: Small miscellaneous rewards of merit
• 2.2: Large miscellaneous rewards of merit
• 2.3: Uncut rewards of merit

Also of note is a cylindrically-shaped paper reward of merit that is housed in its own separate box.

Other students and teachers represented in the collection include the following: O. C. E. Baker, Minnie Bates, Edgar Blanchard, Sarah Bods, Hiram Bradley, Lydia P. Burnham, Sallie Burnham, Eliza W. Burrage, Amelia Burt, Joseph Busk, Frances M. Caulkins, Anna Chamberlain, Eddie Clock, William Duncan, Annie Earle, Della L. Farwell, Leva Ferro, Frances F. Fitch, Abraham E. Fox, Clarissa French, Lillie Gerz, Aletta Green, Isaac Goodchild, Henry S. Gouver, Celia Griswold, L. Hasbrouck, Jane Hayden, Joseph Heaton, Flora Hemmings, George Hibbs, Janell M. Hopkins, Frank Houghton, Katie Houghton, Lydia C. Huntington, Chelsey Hutching, Ellen K. Kanchett, Sidney Keith, Lucy Kendall, Henry Kimball, Edith Konter, Lizzie Kraybill, Euphema J. Lament, Grace Laverny, Walter Leonard, Della Lewis, Bertha Lockwood, Bessie C. Lord, Lilly McDonnell, Maggie S. Mitchell, Lizzie Morse, Llewallyn Moulton, Jennie C. Perry, Hallie A. Purinton, Amanda Reed, John Reed, Mary E. Richardson, Eva H. Roberts, Abbie F. Rupell, W. H. Rutherford, Andy Salisbury, Adolphus Sayre, Ella Sherman, Mary E. Shipman, Emogene F. Spakin, Sophia Strong, Edward Van Soligen, Lizzie P. Whillemore, Cira B. Whitney, Emma Yeaton, Georgie Young, and James Young.

Educational institutions represented include Belknap School, Bennington (Vt.) Graded School District, D.C. Academy, Excelsior School System, Hartford Centre School, Kingston Grammar School, Marblehead Academy, Miss Sanders' Seminary, Mrs. Cranch's Academy, Pollsville Institute, and "Town School No. 12."

The Robert M. Vogel collection of historic images of engineering & industry contains approximately 22,890 photographs (including 18,500 stereographs), 1220 prints, 13 photograph albums, 11 books, 117 pieces of ephemera, and 15 pieces of realia documenting a wide range of subjects primarily related to 19th-century civil engineering, industrial processes, and mechanization.

The Robert M. Vogel collection of historic images of engineering & industry contains approximately 22,890 photographs (including 18,500 stereographs), 1220 prints, 13 photograph albums, 11 books, 117 pieces of ephemera, and 15 pieces of realia documenting a wide range of subjects primarily related to 19th-century civil engineering, industrial processes, and mechanization.

Particularly well-represented topics within the Vogel collection include images of different types of civil infrastructure such as bridges, canals, roads, dams, and tunnels as well as images showing construction projects, various types of machinery, modes of transportation (such as railroads, steamboats, automobiles, etc.), agricultural pursuits, natural resource extraction (including oil drilling, quarrying, mining, and lumbering), textile operations, electrical and hydraulic power generation, manufacturing, metal working, machine shops, and various industrial factory scenes. Many images of important and iconic structures are included such as the Brooklyn Bridge, Panama Canal, Hoosac Tunnel, and SS Great Eastern. Other represented topics include general architectural views, scenes of disasters/accidents, and portraits of notable individuals (such as Thomas Edison, Isambard Kingdom Brunel, and Robert Stephenson). While predominately United States-focused, the materials are international in scope overall and especially include many images of industrial sites and civil infrastructure in Great Britain. The order of the collection's original arrangement has largely been kept intact.

Examples of items of particular interest include salt prints possibly taken by civil engineer Montgomery C. Meigs documenting the construction of the U.S. Capitol and Washington Aqueduct in Washington, D.C.; a series of portraits of early Baldwin Locomotive Works locomotives; images documenting the SS Great Eastern and USS Niagara steamships; a group of 4 colored stereoviews on glass produced by Frederick Langenheim showing the Niagara Falls Suspension Bridge ca. 1850s; images related to specific railroads including the Baltimore & Ohio Railroad, Mauch Chunk, Mount Washington Cog Railway, and New York City elevated railroad; and half-frame proof prints of stereographs produced by Underwood & Underwood as well as H. C. White & Co.

The following list represents the general subject categories found across the Vogel collection along with relevant box and folder numbers:

• Box 07.2
• Box 14.1
• Box 14.2
• Box 14.3
• Box 31.2
• Box 52
• Box 56
• Folder 2.10
• Folder 3.08

• Box 06.2
• Box 06.3
• Folder 1.08
• Folder 2.15

• Box 01.1
• Box 03.3
• Box 06.3
• Box 07.1
• Box 28.2
• Box 28.3
• Box 46.2
• Box 57
• Box 58
• Box 59
• Box 61
• Box 63.10
• Folder 1.04
• Folder 2.04
• Folder 2.09
• Folder 2.14
• Folder 2.15
• Folder 2.16
• Folder 3.08

• Box 06.1
• Box 06.2
• Folder 2.06

• Box 03.1
• Box 03.2
• Folder 2.17
• Folder 3.08

• Box 03.3
• Box 04.1
• Box 04.2
• Box 04.3
• Box 05.3
• Box 05.4
• Box 06.1
• Folder 3.08

• Box 05.1

• Box 01.1
• Box 01.2
• Box 01.3
• Box 02.1
• Box 02.2
• Box 28.3
• Box 43.2
• Folder 3.02
• Folder 3.08
• Folder 3.10

• Box 02.3
• Box 05.2
• Box 06.1
• Box 49.1
• Box 49.2

• Box 09.1
• Box 09.2
• Box 36.1
• Box 36.2
• Box 39.1

• Box 08.2
• Box 08.3
• Box 18.4
• Box 28.1
• Box 28.3
• Box 46.1
• Box 53.2
• Box 58
• Box 61
• Box 63.08
• Box 63.11
• Folder 1.03
• Folder 2.16
• Folder 2.17

• Box 06.3
• Box 17.3
• Box 20.1
• Box 24.3
• Box 25.1
• Box 28.1
• Box 41.1
• Box 54
• Box 57
• Folder 1.07
• Folder 2.16

• Box 11.2
• Box 45.2

• Box 27.1
• Box 27.2
• Box 27.3
• Box 39.2
• Box 46.1
• Box 46.2
• Box 56
• Box 57
• Box 58
• Box 59
• Box 63.02
• Box 63.03
• Box 64.1
• Folder 1.05
• Folder 1.11
• Folder 1.13
• Folder 2.04
• Folder 2.11
• Folder 2.17
• Folder 3.08

• Box 07.2
• Box 07.3
• Box 08.1
• Box 08.2
• Box 28.1
• Box 28.2
• Box 43.2
• Box 46.3
• Box 52
• Box 54
• Box 56
• Box 57
• Box 59
• Box 63.04
• Box 64.2
• Box 64.4
• Folder 1.09
• Folder 2.05
• Folder 2.10
• Folder 2.12
• Folder 2.17
• Folder 3.08

• Box 07.1
• Box 07.2
• Box 13.2
• Box 13.3
• Box 14.1
• Box 27.2
• Box 27.3
• Box 31.2
• Box 32
• Box 33.1
• Box 33.2
• Box 34
• Box 35
• Box 36.1
• Box 37
• Box 39.2
• Box 40
• Box 41.2
• Box 42
• Box 43.1
• Box 43.2
• Box 46.2
• Box 53.1
• Box 53.2
• Box 60.1
• Box 61
• Box 63.01
• Box 63.03
• Box 64.1
• Box 64.3
• Folder 1.03
• Folder 1.07
• Folder 2.05
• Folder 2.06
• Folder 2.11
• Folder 2.15
• Folder 3.03
• Folder 3.08
• Folder 3.09
• Folder 3.12

• Box 15.1
• Box 43.2
• Box 44
• Box 55.1
• Box 55.2
• Box 60.1
• Box 60.2
• Box 62
• Folder 1.01
• Folder 1.02
• Folder 1.12
• Folder 3.07

• Box 11.2
• Box 11.3
• Box 12.1
• Box 12.2
• Box 13.2
• Box 23.1
• Box 61
• Folder 2.05

• Box 11.2
• Box 12.2
• Box 14.2
• Box 63.07

• Box 12.2
• Box 12.3
• Box 12.4
• Box 13.1
• Box 13.2
• Box 37
• Box 46.2
• Box 57
• Box 58

• Box 21.3
• Box 22.1
• Box 22.2
• Box 22.3
• Box 28.1
• Box 39.2
• Box 61
• Folder 2.14
• Folder 2.15
• Folder 3.08

• Box 23.1
• Box 23.2
• Box 23.3
• Box 24.1
• Box 24.2
• Box 40
• Box 41.2
• Box 50.1
• Box 50.2
• Box 51
• Box 52
• Box 55.1
• Box 55.2
• Box 61
• Folder 1.03
• Folder 2.02
• Folder 2.05
• Folder 2.14
• Folder 3.02
• Folder 3.10

• Box 29.1
• Box 29.2
• Box 30
• Box 46.1
• Box 57
• Folder 1.07

• Box 24.3
• Box 25.1
• Box 25.2
• Box 25.3
• Box 26.1
• Box 26.2
• Box 26.3
• Box 27.1
• Box 27.3
• Box 37
• Box 38
• Box 39.2
• Box 40
• Box 41.1
• Box 42
• Box 46.3
• Box 64.1
• Folder 3.06

• Box 10.3
• Box 11.1
• Box 11.2
• Box 41.2
• Folder 3.05
• Folder 3.12

• Box 01.1
• Box 10.3
• Box 28.3
• Box 39.1
• Box 46.3
• Box 56
• Box 64.2
• Box 64.3
• Folder 2.15
• Folder 3.06
• Folder 3.07

• Box 08.1
• Box 28.1
• Box 46.3
• Box 64.2

• Box 09.3
• Box 10.1
• Box 10.2
• Box 10.3

• Box 39.1

• Box 34
• Box 42
• Box 56
• Box 63.07
• Folder 2.16

• Box 15.1
• Box 28.2
• Box 31.2
• Box 33.2
• Box 36.2
• Box 54
• Box 58
• Box 64.3
• Folder 2.16
• Folder 3.04

• Box 19.1
• Box 19.2
• Box 19.3
• Box 20.1
• Box 20.2
• Box 20.3
• Box 21.1
• Box 21.2
• Box 21.3
• Box 28.2
• Box 45.2
• Box 46.3
• Box 57
• Box 59
• Box 63.09
• Folder 2.08
• Folder 2.11
• Folder 2.14
• Folder 3.05
• Folder 3.07
• Folder 3.08

• Box 15.1
• Box 15.2
• Box 15.3
• Box 16.1
• Box 16.2
• Box 16.3
• Box 16.4
• Box 17.1
• Box 17.2
• Box 17.3
• Box 18.1
• Box 18.2
• Box 18.3
• Box 18.4
• Box 28.1
• Box 28.2
• Box 31.1
• Box 35
• Box 46.2
• Box 47
• Box 48.1
• Box 48.2
• Box 49.1
• Box 56
• Box 57
• Box 58
• Box 59
• Box 61
• Box 63.05
• Box 63.06
• Folder 1.06
• Folder 1.10
• Folder 2.01
• Folder 2.03
• Folder 2.04
• Folder 2.06
• Folder 2.07
• Folder 2.10
• Folder 2.13
• Folder 2.16
• Folder 3.04
• Folder 3.07
• Folder 3.10
• Folder 3.11
• Folder 3.12

• Box 28.2
• Box 43.1
• Box 43.2
• Box 45.1
• Box 45.2
• Folder 2.06

• Box 08.1
• Box 08.2
• Box 25.1
• Box 28.3
• Box 39.1
• Box 39.2
• Box 46.3
• Box 53.2
• Box 56
• Box 57
• Box 59
• Box 64.2
• Box 64.4
• Folder 1.04
• Folder 2.04
• Folder 2.15
• Folder 2.16

While the Vogel collection general subject categories are generally comprehensive there are still numerous instances of items that could feasibly belong to multiple categories other than the group they are classified under. For instance, there are disaster images found in several groupings other than "Disasters," while bridge construction images can be found in all of the various "Bridges" categories as well as within the "Construction" category. For more detailed descriptions of specific materials, see the box and folder listing in the Contents section below.