Collections : [University of Michigan William L. Clements Library]

The Agent’s sample book from Crown Card Co., Columbus, Ohio, contains 34 samples of visiting cards accompanied by prices, design names, and instructions for ordering.

The Agent’s sample book from Crown Card Co., Columbus, Ohio, contains 34 samples of visiting cards accompanied by prices, design names, and instructions for ordering. The volume (12.5 x 18 cm) is bound with blue paper and staples. Sample styles range from simple to intricate, with some including beveling, embossing, or silk borders. Most feature chromolithographic color, floral imagery, and animals. Different type settings available to a customer are also advertised.

The Andrews' Raid scrapbook and telegraph ledger contains newspaper clippings dating from 1887 that recount the story of Andrews' Raid written by William Pittenger. Other clippings, almost all of which focus on the United States Army, are also included in the scrapbook. The majority of these clippings are glued onto the page, but some are loose. This scrapbook, whose compiler is unknown, was originally used as a telegraph ledger book for the Baltimore and Ohio Railroad, and more than half of the volume still has these records visible.

The Andrews' Raid scrapbook and telegraph ledger contains newspaper clippings dating from 1887 that recount the story of Andrews' Raid written by William Pittenger, a Union soldier who survived the raid and was awarded the Medal of Honor. Other clippings, almost all of which focus on the United States Army, are also included in the scrapbook. Most of these are Civil War related but they include some Indian Wars material as well, including an account of Sitting Bull and Running Bear's raid on Fort Buford on August 20, 1868. The majority of these clippings are glued onto the page, but some are loose. This scrapbook, whose compiler is unknown, was originally used as a telegraph ledger book for the Baltimore and Ohio Railroad, and more than half of the volume still has these records visible.

The Auguste Hervieu watercolors consist of seven watercolor illustrations attributed to French painter and book illustrator Auguste Hervieu.

The Auguste Hervieu watercolors consist of seven watercolor illustrations attributed to French painter and book illustrator Auguste Hervieu. These illustrations are not known to have been used in any publication(s), and while it is unclear what publication(s) they were originally associated with it is possible that many were produced in relation to Hervieu’s collaboration with Frances M. Trollope during their travels together in the United States of America in the late 1820s. A number of items feature inscribed titles in an unidentified hand.

• [Boy with hogs] - a young barefoot boy wearing tattered clothing wields a stick while opening the door to a hog corral.
• “Love among the Quakers” - a Quaker man and woman stoically sit near each other while cupid is sat between them. Both the woman and cupid have their eyes closed while the man looks straight ahead.
• [Fourth of July event] - a tough looking well-dressed young man who has taken his hat off while extending a hand (possibly signifying that he is a ticket-taker) poses near an open stone archway leading to a courtyard occupied by soldiers in uniform listening to a man giving a speech. The stone wall next to the young man bears several inscriptions including “Order of Celebration of the 4th July,” “502 Hog,” “Declaration of Independence,” and a partially illegible inscription reading “Tales ? ? Slaves’.”
• “The Village Politicians” - two men and one woman holding a child observe a sign that reads “Reportie - Black List.”
• “Love among the Negroes” - a well-dressed African American couple sit closely next to each other on a park bench while cupid covertly observes their romantic interaction with a smile. The man can be seen using a monocle to intimately examine a miniature portrait kept in the woman’s locket while she uses a fan to partially cover her face. A white waiter carrying a wine bottle and wine glasses also looks on from the background.
• “A Philadelphia Exquisite” - a well-dressed African American man stands carrying a hat in one hand while holding a stick monocle to his eye in the other.
• “The sad reality on arrival” - view showing the interior of a house with a group of people (possibly the Trollope family). At the center of the room there is a comically large fire that appears to have been fueled by furniture that was hewn in desperation while several leaks are shown pouring through the roof. The woman at left can be seen holding an umbrella.

The Benjamin Latrobe watercolors collection is made up of seven small watercolor sketches of tropical landscapes and one facsimile of a watercolor sketch of Dickinson College; all eight visuals are attributed to the British neoclassical architect Benjamin Latrobe.

The collection is made up of a single tray case containing eight items: seven water colors, each encapsulated, along with a facsimile of a watercolor.

The collection consists of tropical landscape views attributed to Benjamin Latrobe, possibly in Central America or southern United States, including a sugar mill and huts that are likely slave quarters. The facsimile in the collection is a rendition of the building "Old West" at Dickinson College in Carlisle, Pennsylvania, designed by Latrobe in 1803 and built in 1822.

The Celebrity portraits scrapbook contains numerous clipped engraved portraits of actors, actresses, singers, musicians, entertainers, politicians, writers, and other famous individuals that were compiled by an aunt of Florence C. Everett (wife of Norwood, Massachusetts-based journalist William Winthrop Everett) during the 1880s.

The Celebrity portraits scrapbook contains numerous clipped engraved portraits of actors, actresses, singers, musicians, entertainers, politicians, writers, and other famous individuals that were compiled by an aunt of Florence C. Everett (wife of Norwood, Massachusetts-based journalist William Winthrop Everett) during the 1880s.

The volume (32 x 19 cm) has brown leather covers (front cover detached) and contains 176 pages, all of which bear pasted-in engravings that were clipped from various newspapers, magazines, journals, advertisements, etc. Two inscriptions are present on the inside of the front cover; one states “This book is the property of W. W. Everett - 76 Winter St. Norwood, Mass.” while the other reads “The book was made by Mrs. W. W. Everett’s aunt Helen, probably in the 1880s. WWE.” The volume appears to have originally served as some type of accounting ledger before being repurposed.

Notable individuals represented within the volume include Joseph Jefferson, Sarah Bernhardt, P. T. Barnum, Lillie Langtry, Genevieve Ward, J. H. Haverly, E. A. Sothern, Sol Smith Russell, Ada Gilman, James H. Wallick, Adelaide Neilson, Buffalo Bill, Mittens Willett, Henry Clay, Susan B. Anthony, Wendell Phillips, Henry Wadsworth Longfellow, Elizabeth Cady Stanton, and Louis Pasteur.

The Charles Forrest watercolors consist of five topographical watercolors of the island of St. Lucia produced by Lieutenant Charles Forrest of the 90th Regiment of Foot while stationed there in 1780 to 1781.

The Charles Forrest watercolors consist of five topographical watercolors of the island of St. Lucia produced by Lieutenant Charles Forrest of the 90th Regiment of Foot while stationed there in 1780 to 1781.

Three of Forrest's views focus on Carenage Bay on St. Lucia's west coast, and include notes on the fighting between the British and French on the island in December 1778. The other two views depict the anchorage of Gros Islet Bay in June 1781, drawn while Forrest was onboard the HMS Lizard.

While the Clements only has five of Forrest's St. Lucia watercolors, he is known to have produced at least seven more. Between 1783 and 1786, twelve of Forrest's views, including the five in this collection, were published as engravings in London.

The Crime clippings scrapbook contains newspaper clippings compiled between 1891 and 1893 that are related to various criminals, court proceedings, and executions.

The Crime clippings scrapbook contains newspaper clippings compiled between 1891 and 1893 that are related to various criminals, court proceedings, and executions.

The volume (23 x 15 cm) has brown paper covers and appears to have originally been a copy of Joseph Emerson Worcester’s A Pronouncing, Explanatory, and Synonymous Dictionary of the English Language. Containing 210 pages total, the volume begins with a clipped engraving of New York City Police Department Superintendent Thomas F. Byrnes pasted on the inside of the front cover. Byrnes’ portrait is accompanied by an inscribed caption reading “of New York City April 22 1892.” An additional inscription states that the volume was “Presented to the officers and Men of the 13th street Police station - Chicago Ills. by Wm. H. [Benton?] - 126 Fleming St., Aug 22d 1903.”

Subsequent clippings highlight numerous criminals, trials, and executions, many of which were highly publicized incidents involving crimes such as murder, robbery, swindling, and kidnapping. Many of the clippings include engravings that depict portraits of criminals, courtroom scenes, and crime scenes. Stories of crime and punishment in the eastern United States are most frequent, but transnational and international stories are also included.

Clippings are arranged in a chronological sequence with the first dated December 7th 1891 and the last dated September 4th 1893; as a result, many clippings that pertain to certain long-running criminal trials appear in multiple places throughout the volume.

• Martin D. Loppy [murderer; executed by electric chair] (pgs. 1-3)
• Darwin J. Messerole [murderer] (pg. 3)
• Isaac B. Sawtelle [murderer] (pg. 4)
• Henry L. Norcross [blackmailer, attempted murderer] (pgs. 5-9)
• Carlyle W. Harris [murderer; condemned to execution by electric chair] (pgs. 12-15, 22, 25, 30-35, 40, 54-58)
• Charles E. Waterbury [kidnapper] (pgs. 17-21, 26-29, 37-40)
• August Lentz [murderer] (pgs. 11, 12, 21, 24, 35, 36)
• Alfred Parkes [murderer] (pg. 23)
• Nicola Trezza and Charles McElvaine [murderers; latter executed by electric chair] (pgs. 23, 24, 40)
• Edward W. Hallinger [African American man; murderer] (pgs. 35, 145)
• Alice Jessie Mitchell [lesbian woman; murderer] (pgs. 35, 41, 147, 158)
• Thomas “Buncoer” O’Brien [conman] (pg. 37, 105-107, 125, 126, 129-131, 133-136, 139)
• Maurice Curtis aka Maurice B. Strelinger [accused murderer; acquitted] (pgs. 41, 42)
• Oliver Curtis Perry [train robber] (pgs. 42-53, 126-129)
• Burton C. Webster [accused murderer; hung jury] (pgs. 47, 58-83)
• John Francis [Native American man; murderer] (pgs. 53, 54)
• Louis Harriot [murderer; hanged] (pgs. 81, 82, 101-104)
• Jim Lyons and Mickey Sliney [murderers] (pgs. 84, 86, 87, 124, 125)
• Death of George C. Searing (pgs. 84, 85)
• F. B. Deeming [murderer and one-time Jack the Ripper suspect; hanged] (pgs. 87, 88-93, 114, 115, 131-133, 140, 141, 145, 146, 151-153)
• Jack the Ripper, “The Nine Bad Jacks” (pgs. 89-93)
• Jeremiah Cotto [murderer; executed by electric chair] (pgs. 93-95)
• Frank C. Almy aka George Abbott [murderer] (pgs. 95, 96, 120, 121, 206-208)
• James Alexander Farmer [accused murderer] (pg. 95, 96)
• William Myer [murderer] (pg. 97)
• “Origin of Lynch Law” (pgs. 97-99)
• John Lewis Osmond [murderer] (pgs. 99-101)
• Annie Walden [murderer] (pgs. 107-114, 136, 139, 153-155)
• Fred McGuire [murderer; executed by electric chair] (pgs. 116-119)
• Ferdinand Ward [Banker/Ponzi scheme runner] (pgs. 121-123, 141-145)
• Henry W. Jaehne [corrupt politician] (pgs. 121-123)
• Lieut. James Henry Hetherington [U.S. Navy officer; murderer] (pgs. 136-139)
• Charles Reilly [murderer] (pg. 139)
• Murder of Lizzie Farrell [African American man falsely implicated] (pgs. 139, 140, 143, 144)
• Capt. Chris Rath [recounting of execution of Lincoln’s assassins] (pgs. 146, 147)
• “The Murderer’s Hand” [story regarding supposedly distinct features of hands of killers] (pg. 148)
• Guillotine history and contemporary usage (pgs. 148-151, 155-158)
• Col. H. Clay King [murderer] (pgs. 158, 159, 161)
• Lizzie Borden [accused murderer; acquitted] (pgs. 158-170, 172-180, 187-189, 191-205)
• Dr. T. Thatcher Graves [accused murderer; hanged himself while incarcerated] (pg. 159, 191, 208-210)
• Murder of Luigi Barri (pgs. 167, 168)
• Frank Glowinski [murderer] (pgs. 168-171)
• James Nolan [murderer] (pgs. 171, 172)
• J. M. Brown shootout (pgs. 180-187)
• George Craig [murderer] (pgs. 190, 191)

Private Edgar H. Klemroth drew this collection of "Very Rough Sketches" while serving in the 6th Pennsylvania Cavalry Regiment near Winchester, Virginia, during the winter of 1864-1865. The sketches depict soldiers, horses, army camps and headquarters, equipment, African Americans, and winter scenes.

Private Edgar H. Klemroth drew these "Very Rough Sketches" (45 pages) while serving in the 6th Pennsylvania Cavalry Regiment during General Philip Henry Sheridan's campaign in Shenandoah from August 1864 to March 1865. Klemroth later presented them to Captain Rudulph Ellis of the 6th Pennsylvania Cavalry. The materials include pencil sketches, ink drawings, and wash drawings; a few of the pages contain more than one image. The original black leather binding (15.2 x 24.5 cm) is included in the back of Volume 3. Underneath some of the sketches are faint, hand-written lines of poetry pulled from works of various poets. Klemroth's illustrations show a variety of military scenes, including army camps, winter headquarters near Winchester, and wagons and supply trains in the Virginia countryside. Many sketches highlight the hardships of camp life. Soldiers are shown on horseback and at leisure, sometimes eating, talking, or watching equestrian and mule races. Images 26 and 27 feature soldiers firing during a skirmish, and another (image 10) shows a dog mourning over its dead Confederate owner's body. African Americans, including a young boy and men racing on mules, appear in a few of the drawings. Portraits of General Philip Henry Sheridan, General George Custer, Captain Rudulph Ellis, Brigadier General David Allen Russell, First Lieutenant John Spreadbury, and men in Klemroth's regiment (including scouts) are also present. Some of the items are dated November 1864 or December 1864, and some have descriptions of images written on the back.

The Edward Fanshawe lithographs are a collection of lithographs with one original sketch by Lieutenant General Edward Fanshawe, created during his service with the Corps of Royal Engineers (1801-1850). This collection contains 41 highly-detailed images depicting topography, fortifications and settlements in the West Indies, United States and Canada.

The collection is housed in a 41 page album half bound, grey-green with gilt trim on spine and front cover. In correspondence with Edward Fanshawe’s service with the Corps of Royal Engineers from 1821 to 1828, the contents of this collection are 41 landscape vistas of various islands and fortresses in the Caribbean as well as several views of locations in the United States and Canada. The first image in the album is a pen and ink drawing of Saint Lucia viewed from Morne Fortune with penciled notes in the lower margin, the rest of the views are lithographs, some of which (pages 11, 16, and 29) contain penciled notes. Page 15 contains the lithograph version of the pen and ink drawing of Saint Lucia from Morne Fortune.

This collection comprises of two volumes of original graphite pencil on paper illustrations by Edward H. Suydam for Arthur Pound's Detroit: Dynamic City. The 35 illustrations (37 x 29.5 cm) detail various monuments, parks, streets, and squares throughout Detroit circa 1940.

This collection comprises of two volumes of original graphite pencil on paper illustrations by Edward H. Suydam for Arthur Pound's Detroit: Dynamic City. The 35 illustrations (37 x 29.5 cm) detail various monuments, parks, streets, and squares throughout Detroit circa 1940.

This collection not only contains all the original illustrations for Detroit: Dynamic City, but two additional illustrations never published. The headpiece illustrations are not included in this collection, only the plate illustrations.

All illustrations are in pencil. The frontispiece, "Cadillac Square," also has colored pencil. The first volume contains 17 illustrations and two reproductions found with the originals. The illustrations as titled in Detroit: Dynamic City or on the illustration itself include "Grand Circus Park" (not included in published book), "The Eastern Market," "The Grosse Point Yacht Club," "Capitol Square," "Detroit Skyscrapers," "River Rouge Ford Plant," "The Court House," "The New Library," "Harmonie Square," "Cadillac Square," "Times Square," "The Financial Center-Down Fort Street," "Washington Boulevard," "The Detroit River: The Boat Racecourse," " Detroit Athletic Club," "Industry on the Detroit River: Ambassador Bridge," and "The Casino on Belle Isle."

The second volume contains 18 illustrations and three small copies of illustrations housed at the back. The illustrations as titled in Detroit: Dynamic City or on the illustration itself include "The Detroit Club," "St. Mary's Church," "Fox Creek," "Hulbert Memorial Gate, Old City Waterworks and Park" (correct spelling is Hurlbut), "Down Jefferson Ave," "Cadillac Square" (not included in published book), "The University of Detroit," "Fort Street Church and Union Station," "Automobile Factories on Jefferson Ave," "Grand Boulevard and the General Motors and Fisher Buildings," "Library Square," "The City Hall," "The New Art Museum," "Negro Tenements and Trees of Heaven," "St. Joseph's Church," "Griswold Street and Alley," "The Ambassador Bridge," and "Looking Down Woodward Avenue from Grand Circus Park."

Detroit: Dynamic City was just one of many volumes in a series by D. Appleton-Century Company, titled "Century City Series," covering major U.S. cities. Most, if not all, were illustrated by Edward H. Suydam.

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 Sewing designs sample book contains 47 hand-stitched design samples made of thread on paper.

The Sewing designs sample book contains 47 hand-stitched design samples made of thread on paper. Designs range from simple to complicated shapes and patterns to fruit, a circular shell, and Native American-inspired objects such as a bow and arrow, a moccasin, a snowshoe, and a canoe. Multiple colors of thread are utilized. The sample book (24 x 28.5 cm) is closed with a string tie.

The George Edward Burr scrapbook contains over 130 labels for various alcoholic products, assorted clippings mainly related to facets of the alcohol industry, handwritten notes including recipes for alcoholic beverages, and several patent designs by Burr.

The George Edward Burr scrapbook contains over 130 labels for various alcoholic products, assorted clippings mainly related to facets of the alcohol industry, handwritten notes including recipes for alcoholic beverages, and several patent designs by Burr.

The scrapbook (33.5 x 21 cm) has marbled paper covers with "Spiritual Guide No. 1" written on the front and contains approximately 100 pages. Labels for an extensive array of different alcoholic products can be found pasted in between pgs. 1 and 52. The majority of labels are for various French wines and brandies, though other alcoholic products (predominately spirits) from the Netherlands, Spain, Germany, England, Italy, Jamaica, Switzerland, Mexico, and the United States are also represented. Of particular note are a number of labels for products imported by George Edward Burr into Mexico. While it remains unconfirmed, this may have been the same George Edward Burr who was involved with the management of the Pedrigal Mining Company in Mexico.

• Clippings mainly related to various aspects of alcohol production such as the manufacture of syrups, vinegars, acids, the use of yeast, etc.; use of essential oils, extracts, bitters, sweeteners, etc.; clarifying, bottling, and barreling processes; and descriptions of various types of spirits such as Tuscaloosa whiskey, apple brandy, New York gin, Jamaica Rum, etc.
• A set of clipped engravings illustrating the stages of bottling champagne
• Handwritten recipes (including several credited to other individuals including B. A. Auger of New Orleans) for various alcoholic products including absinthe, Jamaica rum, Scotch whiskey, Curacao, pale ale, stout, Eau de Noix, and more. Recipes for non-alcoholic products such as colored inks, sealing waxes, salted meat, Duffield hams, toilet soap, candles, etc. are also included
• Handwritten descriptions in English and Spanish for various patent designs by Burr including cylindrical candles, white wax, and yellow wax. The candle descriptions also contain illustrations
• A hand-drawn diagram of a 150 gallon still
• A tipped-in advertisement from 1856 for Dr. H. James's tincture made from cannabis indica that includes a recipe, description, and testimonials
• Clippings and labels related to various patent medicines

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.

The Hair documents, ephemera, and prints collection is comprised of 103 items, mostly printed materials related to hair, shaving, and wigs. Included are ephemeral advertisements, trade cards and price lists, government acts relating to hair and wigs, manuscript letters and indentures, caricatures and cartoons, broadsides, sheet music, other miscellaneous prints, and one braided lock of hair.

The Hair Documents, Ephemera, and Prints collection is comprised of 103 items, mostly printed materials related to hair, shaving, and wigs. Included are ephemeral advertisements, trade cards and price lists, government acts from British monarchs George II and George III relating to hair and wigs, manuscript letters and indentures, caricatures and cartoons, broadsides, sheet music, other miscellaneous prints, and one braided lock of hair. The material spans from 1717 to the late 1980s, with the bulk of materials dating from the late eighteenth century to the end of the nineteenth century. A majority of the materials are from England, although some are from Belgium, France, Switzerland, and Scotland. Many of the items are satirical and are commentary on fashion and the idea that the local barber was the "jack of all trades." Two similar items, a comical manuscript resume of "Isaac Morgan" and a fictitious advertisement for the varied services of "Isaac Factotum" offer exaggerated illustrations of how a barber did more than cut hair. Of interest is a series of mid-nineteenth century Valentines which center around the love-lives of barbers. Also included is a letter from Alex Campbell to his relative John Campbell, the Cashier of the Royal Bank of Scotland during the Jacobite rising of 1745. There is also sheet music from the composer (Franz) Joseph Haydn (1732-1809), A Pastoral Song, better known as My Mother bids me bind my hair. Of note are prints by British satirists William Hogarth, Isaac and George Cruikshank, and Thomas Rowlandson.

Helen Pumphrey's sketchbook contains fourteen pages of calligraphy, illuminated writing, and drawings. Included are poems, hymns, and botanical lists in English, German, and French. Also two pencil sketches of outdoor scenes, and sketches of parts of plants. One drawing is of five styles of architectural columns. The sketchbook contains a bookbinder’s ticket on the front paste-down.

Helen Pumphrey's sketchbook (28 x 44 cm) contains fourteen pages of calligraphy, illuminated writing, and drawings. Included are poems, hymns, and botanical lists in English, German, and French. Also two pencil sketches of outdoor scenes, and sketches of parts of plants. One drawing is of five styles of architectural columns. The sketchbook contains a bookbinder’s ticket on front paste-down.

The Hubble family scrapbooks consist of two volumes containing trade cards, clipped engravings, and other scrapbook materials compiled by members of the Hubble family of Monroe, Michigan.

The Hubble family scrapbooks consist of two volumes containing trade cards, clipped engravings, and other scrapbook materials compiled by members of the Hubble family of Monroe, Michigan.

Volume 1: The first volume (35 x 25.5 cm) was originally a copy of the 1876-77 Autumn and Winter edition of Mme. Demorest’s Illustrated Portfolio of the Fashions and has red cloth covers and gilt embossing work on the front and back. “Monroe Hubble” is inscribed on the volume’s first page, while “Willie Hubble” is written on the inside of the back cover; both inscriptions appear to be written in a child’s hand. Two engravings by Kimmel & Voigt made for Demorest’s Monthly Magazine appear towards the front and were part of the original volume. Subsequent pages also reveal numerous illustrations and descriptions of various articles of clothing listed in Demorest’s fashion catalog, though much of this has been obscured by scrapbook items that were pasted in. Compiled materials mainly include various trade cards and scrapbook decorations, but also include several engravings showing scenic and rural landscapes, women’s fashions, portraits, and performance artists (including Smith’s Swiss Bell Ringers). Of particular note are Uncle Tom’s Cabin-related illustrations and cartoons involving racial caricatures of an African American regiment called “The South 5th Rangers.”

Volume 2: The second volume (25 x 20 cm) has red paper covers with “Scrapbook” and decorative designs embossed in gold on the front. A photomechanical reproduction of a portrait of N. B. Hubble as an adult appears on the inside of the front cover. Subsequent materials mostly include trade cards and scrapbook decorations, several of which also appear in the first volume. Many of the trade cards were produced by the Calvert Lithograph Co. of Detroit. Items of note include Shakespeare-related cartoons; an ad for “Mme. Fontaine’s Bosom Beautifier” that incorporates a portrait of Oscar Wilde; a photographic portrait of a baby made to look like a stamp; and scrapbook cutouts including one of a black man (likely supposed to be a Haitian soldier) wearing one boot and components of a French Army uniform as well as one of two women embracing and kissing.

This collection consists of six pages of pencil and ink sketches dated from 1861 to 1863 and signed J.M.S. The sketches depict various scenes of the American Civil War from the Union perspective including barracks, soldiers, and steamships related to the blockade of the Confederacy.

This collection consists of six pages of pencil and ink sketches dated from 1861 to 1863 and signed J.M.S. The sketches depict various scenes of the American Civil War from the Union perspective including barracks, soldiers, and steamships related to the blockade of the Confederacy. Two sketches contain page numbers, suggesting they had previously been bound together. Not all sketches include the signature "J.M.S." J.M.S. has yet to be identified.

Sketch 1 includes the notation, "Page 6 Company F passing Marine Barracks Sunday morning / J.M.S. 1861."

Sketch 2 is a portrait of an unidentified young man, "The Corporal, Company F."

Sketch 3 shows "The 1st Corporal and his havelock / Page 3 / J.M.S. 1861."

Sketch 4 contains "U.S. Stmr Nansemond off Hatteras / J.M.S. 1863." This sketch could be a scene from the USS Nansemond's chase of blockade runner CSS Douro in October of 1863 near New Inlet off the coast of North Carolina. Douro was run ashore and captured, with both ship and cargo destroyed.

Sketch 5a depicts a "North Carolina Reserve" soldier armed with a rifle and bayonet.

Sketch 5b displays the demise of Revenue Cutter Caleb Cushing during the Battle of Portland Harbor on June 27, 1863, with the caption "Rev Cutter Caleb Cushing becalmed then blown up." In this sketch, Lieutenant Charles W. Read of the Confederate Navy and his men can be seen abandoning Caleb Cushing on a lifeboat and then in another scene the ship exploding. On the back of page 5 is a pencil sketch of a soldier.

Sketch 6 shows a "Blockade Runner" steamship.

The John Doggett & Co. subscription books contain the signatures of 92 subscribers to The American Kings lithograph set. Also included are several sketches produced by John Doggett Cobb circa 1906; an 1825 contract between Jonathan Cobb and John Doggett & Co. for the sale of the lithograph set; and notes and clippings from Edward Morrill, the rare book dealer who purchased the subscription books in 1944.

The John Doggett & Co. subscription books are two volumes containing the signatures of 92 subscribers to The American Kings lithograph set. A folded broadside advertisement for the print series is on the inside front cover of each volume. Also included are several sketches mainly produced by John Doggett Cobb; an 1825 contract between Jonathan Cobb and John Doggett & Co. for the sale of the lithograph set; and notes and clippings from Edward Morrill, the rare book dealer who purchased the subscription books in 1944.

The two volumes contain the signatures of 92 men mostly from eastern Massachusetts. There are a total of 174 signatures between the two volumes, 80 of these signatures appear in both volumes.

In each volume the first set of pages is divided into two columns. In volume one signatures are present in both columns, whereas in volume two the second column lists the city names where the signatories lived. For a full list of signatories, please see our Signatories index.

In addition to the subscription signatures both volumes also contain numerous sketches, including charcoal, colored pencil and watercolor illustrations. The sketches present in volume one are attributed to John Doggett Cobb circa 1906 and include charcoal drawings of medieval English abbeys such as Fountains Abby, St. Joseph’s Chapel, Glastonbury Abbey, Netly Abbey, Whitby Abbey and Lindisfarne Prior. All of these sketches appear to have been based on stereographic images. There are several more charcoal drawings that may have also been produced by Cobb of Wallingford Bridge, Roundham Bridge, the Bablock Hythe Ferry, Folly Bridge, Newbridge, Nuneham Park, Clifton Hampden and Mapledurham Woods. Most of these drawings contain notations for where to add specific colors in future depictions. Both the Wallingford Bridge and Mapledurham Woods sketches have been colored with pencil. There are also several watercolor and charcoal illustrations of unconfirmed authorship that are present in volume two, including drawings of natural scenery, a castle, a wagon train, a campfire overlooking a town, and what appears to be a busy seaport.

This collection also includes a handwritten agreement dated November 1, 1825, regarding the production of the prints arranged between John Doggett & Co. and Johnathon Holmes Cobb. The contract states that Doggett would provide Cobb with 1000 sets of The American Kings while Cobb would garner the subscriptions and gain all of the profits after paying Doggett $5,000. There is also a clause outlining what would happen if too few sets were sold.

Also contained in the collection is a note written on an envelope from the Hotel Lexington in New York City discussing the purchase price of the subscription books and the rarity of the broadsides; a description of the collection and its provenance written on the front of a mailing envelope addressed to Edward Morrill from the New York Public Library; a 1934 exhibition guide of the First National Bank of Boston highlighting The American Kings painted portrait series; a newspaper clipping ca. 1863 regarding Marquis de Lafayette’s departure from the United States in 1825; and a 1930 Boston Evening Transcript article about The American Kings portraits on view at the Old Colony Trust in Boston.

This collection consists one bound volume including both financial receipts and sketches. The first part the volume contains 38 pages of receipts of payments from John Sunnocks to various people he had transacted business with in the late 18th century. The rest of the volume contains sketches circa 1880, attributed to Newbold Hough Trotter, an American artist known for his work illustrating natural landscapes and animals.

This single bound volume includes both financial receipts and sketches. The first part the volume contains 38 pages of receipts of payments from John Sunnocks to various people he transacted business with in late 18th century Philadelphia. The next approximately 150 pages contain sketches attributed to Newbold Hough Trotter, an American artist known for his work illustrating natural landscapes and animals. The second half of the volume is unused.

It is likely Newbold came into possession of the book through his wife, Ann Trotter. Ann's great-grandfather, William Dawson, was named executor of John Sunnock's estate at the time of his death in 1793. This is noted in some of the last receipts in the volume.

The receipts date from June 20, 1792 to January 31, 1801 and are written by the individual receiving the payment or by John Sunnocks, or someone on behalf of John Sunnocks, and signed by the individual receiving payment. The currency shifts between pounds and dollars, and some receipts are exchanges of said currencies. The receipts vary in specificity. Many relate to his business as a trunk maker, for goods and services such as animal skins, lumber, and freight. Other expenses shown are taxes, rent, and military fines. Some of the more recurring businesses and individuals found in these receipts are as follows: Moses Levy (attorney), John Field & Son (merchants), Andrew Tybout (merchant), Roberts & Twamley (ironmongers), Abbot & Barnes (curriers), David Moffat (sea captain), Daniel Drinker (merchant), and William Watson (sea captain).

The sketches are in pencil and undated. They mostly depict animals, including many images of lions. Other drawings/scenes include profile portraits of men and women, a man hunting, a ship at sea, and a man presenting artwork. A few drawings appear to have been done by a child.

Lake Superior Scenery consists of 26 watercolor sketches produced by artist Albert L. Rawson during a steamboat tour of the Great Lakes (primarily Lake Superior) in 1865. The sketches were compiled into a presentation album gifted to Louise C. Ely, a fellow traveler befriended by Rawson during the tour.

Lake Superior Scenery consists of 26 watercolor sketches produced by artist Albert L. Rawson during a steamboat tour of the Great Lakes (primarily Lake Superior) in 1865. The sketches were compiled into a presentation album gifted to Louise C. Ely, a fellow traveler befriended by Rawson during the tour.

The album (27 x 35.5 cm) has full pebbled burgundy Morocco leather covers replete with gilt decoration and blind-stamped ornamentations. The words “Presented to Mrs. Louise C. Ely By ***** ***** A Lake Superior friend,” “Album,” and “Lake Superior Scenery” are gold stamped on the front cover, spine, and back cover respectively. The binder’s ticket of “Dean Smeal & Hoffman Blank Book Manufacturers and Book Binders 148 Lake Street up stairs, Chicago” appears on the inside of the front cover, likely indicating that Rawson traveled through Chicago at some point during the 1865 steamboat tour. A calling card of “Mrs. C. Arthur Ely” is also tipped-in and includes an inscription reading “Elyria, Lake Superior Views in Water Colors.”

• No. 1 Grand Portal Pictured Rocks.
• 2 Grand Portal, Interior.
• 3 Miners Castle.
• 4 Cascade.
• 5 Cliff, where Steamer Superior was wrecked 1859.
• 6 Sail Rock and Profile.
• 7 Wrecker’s Hut.
• 8 Stranded Fleet.
• 9 Carp River. Near Marquette.
• 10 Cascade near Miner’s Castle.
• 11 [blank] (untitled scene showing railroad tracks, a train with smoke billowing, a river, and a colorful sky)
• 12 Lake Michigumi. Round Islands.
• 13 Chapel. From the Water.
• 14 Chapel and Fall, East.
• 15 Dead River, near White’s Burnt Mill.
• 16 Grand Island Harbor.
• 17 Superior Iron Mine.
• 18 In the Woods near Chocolat.
• 19 Fort Mackinac.
• 20 Washington Harbor - Lake Michigan.
• 21 Lake Michigami.
• 22 Marquette from Chocolat.
• 23 Marquette from the Water.
• 24 Picnic Point, near Presque Isle.
• 25 View near Marquette. Partridge Isle, Picnic Point Presque Isle and grand Island in the distance.
• 26 Chapel, West.

The table of contents accurately lists the relative position of each watercolor within the album except for the first two items (“Grand Portal Pictured Rocks” appears to be located on pg. 2 while “Grand Portal, Interior” is located on pg. 1).

• Eight views depicting various formations of The Pictured Rocks such as the Grand Portal, Miners Castle, Sail Rock, Stranded Fleet, and the Chapel.
• The view titled “The Wrecker’s Hut” (No. 7) showing a man sat near a birch-bark hut erected on Chapel Beach close to the site where the steamer Superior was wrecked in 1856. The view titled “Cliff where Steamer Superior was wrecked 1859” (No. 5) appears to have gotten the year of the wreck wrong.
• The view titled “Cascade Near Miner’s Castle” (No. 10) showing the steamboat Comet (built 1857 as a cargo vessel before being converted to hold passengers; she sank in 1875 while carrying seventy tons of Montana silver ore, making her the one and only treasure ship of Lake Superior)
• Several views of scenes near Marquette, Grand Island, and Lake Michigamme.
• The view titled “Superior Iron Mine” (No. 17) showing a group of miners at work with sledgehammers and horse-drawn carts.
• The view titled “Washington Harbor, Lake Michigan” (No. 20) showing a docked steamer at Washington Island, Wisconsin.

11 pages of watercolors housed in soft cover sketchbook from ca. 1830 drawn by Master William Carr of the Royal Navy. Watercolors depict topographic views of islands and shorelines in the Atlantic Ocean. Almost all views are of rocky island outlines. A few sketches have man-made structures in the scene.

The collection is made up of a soft cover sketchbook containing 11 pages of watercolor topographic views of islands and shorelines in the Atlantic Ocean. Almost all views are of rocky island outlines. A few sketches have man-made structures in the scene. Most sketches have headings for the page and then descriptive sentences about the various views. Cover of sketchbook reads "Landmarks N & S Atlantic by Mr. Wm Carr, Master R.N." Written on the back cover of sketchbook is the London address of a Capt. B.C. Doyle. On the back of two pages are small pencil sketches: one sketch on the back of Page 10 is of a chronometer or watch and the other sketch on the back of Page 11 is of a ship moored in "springs." The last few pages of the journal contain recordings of the latitude and longitude of various places, presumably visited by William Carr while in the service of the Royal Navy.

An album of pressed flowers collected by Lily Frémont in 1859.

The Lily Frémont fllower album is an album of pressed flowers and drawings made by Elizabeth Benton (Lily) Frémont (1842-1919). The album has a brown leather cover with "Album" written in gilt lettering. Frémont made the album in 1859 when her family was living in California at their estate in Mariposa and their home on San Francisco Bay. The first two pages of the album hold drawings, one of a small house surrounded by trees with a large hill behind it, possibly the Frémont home in Mariposa, the other showing a small group of buildings and a smokestack below a large hill, possible a silver mine. The rest of album contains pressed flowers and plants, each is numbered with a written description. Frémont provides the names to some flowers though many are unidentified. She also gives the date and location where each flower was found, and often describes its soil conditions, growing patterns, seasonality, color and odor. There are 80 total specimens in the album.

The Louis Miller WWI exhibit materials collection is comprised of visual materials and realia displayed in an exhibit to mark the centennial of the Armistice in the autumn of 2018. The bulk of the materials pertain to the American Expeditionary Forces in the First World War.

The Louis Miller WWI exhibit materials collection contains visual materials and realia displayed in an exhibit to mark the centennial of the Armistice in the autumn of 2018. The bulk of the materials pertain to the American Expeditionary Forces in the First World War.

The largest part of the collection is postcards and ephemera belonging to Ole Reppe, a Wisconsin soldier who served in the 32nd Division. There are fifty-six postcards, four typewritten pages, and one ticket stub. The postcards date from 1917-1919, and follow Reppe's service in the Wisconsin National Guard and American Expeditionary Forces.

Eight postcards show scenes from Camp Douglas, Wisconsin. Two of these have inscriptions written by Reppe from August 1917 that describe the images. Two more date from 1920, with messages from his future wife Clara, and his mother. Both of these are written in Norwegian. Two postcards depict Janesville, Wisconsin.

Thirteen postcards show military training at an unidentified location. Six postcards date from Reppe's time in Texas in 1917, including a real photo postcard of an unidentified couple with a handwritten caption by Reppe that reveals he found this photograph on the street. This seems to reveal that unlike other WWI soldiers who took home postcards from France as souvenirs, Reppe was already collector before going overseas.

Five postcards date from Reppe's time in France, including one real photo postcard of German soldiers and women. Reppe notes that he found two of these postcards on the battlefield in October 1918, and German soldiers originally owned them. The remaining twenty-two postcards contain images of Koblenz (Coblenz), presumably purchased by Reppe while in the Army of Occupation in 1919.

Four typewritten military documents are in the collection, and date from August 27, 1917 to May 23, 1919. Two of these are leave passes, one is a list of men on guard duty, and one is a memorandum about sanitation at Camp Douglas. These items were all mounted on scrapbook paper, and it appears that Reppe kept these and some of his postcards in a now disbound scrapbook.

There is also a train ticket from 1917 from Stanley, Wisconsin to Chippewa Falls, Wisconsin.

Also included in the collection is a British Lusitania Medal from 1916, with its original box and a paper fragment providing context to the medal. The sinking of the Lusitania by a German U-boat on May 7, 1915, caused the deaths of 1,198 passengers and crew, including 128 Americans. Although Germany protested it had every right to treat the Lusitania as an enemy vessel, the incident led to outrage in the United States and Britain. The medal in the collection is a British copy of a German medal made by the artist Karl Goetz after the incident. Though Goetz had intended his medal as a satire of British outrage over the Lusitania, the British disseminated over 300,000 translated copies of Goetz's work for English-speaking audiences. In spite of the misleading British description of the medal, the damage done by this piece of propaganda led to German authorities confiscating all known copies of the original medal. The German policy of unrestricted submarine warfare, which ended in September 1915 in response to American outrage over the Lusitania, started back up in early 1917 and became a major factor in America's entry into the war.

A 2018 restrike of Kerr Eby's "A Southern Unit" print from the original copper plate is also present. Canadian-American artist Kerr Eby created this powerful image representing the downtrodden state of African-American soldiers in France. Eby's service in the AEF turned him into an ardent pacifist. When America again entered a global conflict in 1941, Eby served in the combat artists program, mainly in the Pacific. He died in 1946 at his home in Norwalk, Connecticut, from a tropical disease contracted while covering the Second World War.

The collection has a photograph of Rosa Heidler Lorenz at the grave of her son Joseph Lorenz, at Suresnes, France, on May 18, 1930. In 1929, after a decade of political debate, President Calvin Coolidge signed a bill allocating five million dollars to subsidize pilgrimages to Europe for the mothers of deceased American soldiers buried overseas. In all, some 6,000 women chose to take the two-week trip to visit their sons' graves. These trips are known as the Gold Star Mothers Pilgrimages, and took place between 1930-1933. In a sad echo of the discrimination African-American soldiers faced more than a decade earlier, African-American mothers were segregated from their white counterparts during their pilgrimages. A significant number of mothers who went overseas were foreign-born and included many Germans. Rosa Heidler Lorenz was one such German immigrant. Her son, Private First Class Joseph Lorenz, was wounded in late July while fighting with the 42nd Division before dying of his wounds at a base hospital on November 21, 1918. In late May 1930, newspapers across the country published this moving image of Lorenz weeping at the grave of her son.

The collection contains a wooden clog painted with an American and French flag, with the inscription, "Souvenir de France." These clogs were a popular type of souvenir that soldiers often sent home to their families. Also included is a printed piece of sheet music from 1917 for the song "Hail! Hail! The Gang's All Here" and a copy of the printed exhibit bulletin from 2018.

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.

This collection contains 11 pencil sketches of the Missouri and Ohio Rivers and their surrounding cities. The sketches depict cityscapes, scenic and street views.

This collection contains 11 pencil sketches of the Missouri and Ohio Rivers and their surrounding cities. Each 11.5 x 18.5 cm sketch includes a brief handwritten caption denoting location. The sketches illustrate cityscapes, scenic and street views. Cities shown include Omaha, Nebraska; Saint Joseph, Missouri; St. Louis, Missouri; Louisville, Kentucky; and Cincinnati, Ohio. Specific locations depicted include Lafayette Park and Shaw’s Botanical Garden (Missouri Botanical Garden) in St. Louis, Missouri, and Lane Seminary in Cincinnati, Ohio.

This collection of small paintings is housed in an embossed leather carte-de-visite album with a single metal clasp. Within are 12 landscape oil paintings of Lake Champlain, Lake George, and the Glens Falls area. Each image includes a caption denoting location.

This collection of small paintings is housed in an embossed leather carte-de-visite album with a single metal clasp. Within are 12 landscape oil paintings of Lake Champlain, Lake George, and the Glens Falls area. Each oil painting includes a handwritten caption denoting location.

Our National Ball Game is a foldable game board with two dice, eight counters, and instructions on how to play this board game version of baseball.

Our National Ball Game is a foldable game board with two dice, eight counters, and instructions on how to play this board game version of baseball. Printed on the board is a colored sketch of two teams playing baseball in a stadium and an advertisement that the game is "a delightful entertainment for Old & Young." Two teams take turns rolling the dice, and the numbers on the dice correspond with various baseball plays. Like the game of baseball, after nine rounds, the team with the most runs wins the game.

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 Richard P. Mallory sketchbook contains 80 pages of complete and incomplete sketches of various landscapes and buildings in Vermont and New York, drawn between 1855 and 1857.

The Richard P. Mallory sketchbook contains 80 pages of sketches of various landscapes and buildings in Vermont and New York, drawn between 1855 and 1857. Manuscript inscriptions on the inside cover indicate that the sketchbook belonged to R.P. Mallory and was rebound in 1888. A brief index is included in the front with the locations of many of the subjects in the sketches. The pages are inconsistently numbered, and not all pages contain drawings. Many of the drawings are incomplete. Captions and dates are included with most of the sketches, many containing the location of the subject in the drawing. These subjects are from various villages and cities in Vermont, including Burlington, Fairfield, Saint Albans, and Winooski. New York views include Dannemora, Keeseville, Malone, Ogdensburg, Plattsburg, Redford, and Rouses Point.

There are many detailed sketches of buildings: churches, schools, homes, hotels, banks, court houses, and train depots. There are also many landscape sketches, depicting farms, lakes, rivers, trees, mountains, and waterfalls. Of note are sketches of the Ausable River, including the Ausable Falls and Devil's Oven, on pages 74 to 87. Two ports are also depicted, Port Kent in Burlington and Port Jackson in New York.

Pages 30 to 44 are devoted to the Franklin sawmill in Plattsburgh, noted as the "largest mill in the state of New York." Included are views of the interior and exterior, and an introductory page with a history and details of the mill. Great attention is also given to the Clinton Prison and its related mining operations in Dannemora, New York, spanning pages 96 to 103. Of note are an overview of the prison facility and striking views of underground mining operations.

The style of the drawings throughout the sketchbook suggests the occasional use of an optical device such as a camera obscura.

The Rowland Stephenson scrapbook contains numerous clippings, engravings, illustrations, notes, and ephemera primarily related to British banking and finance, the Royal Family, and prominent political and historical figures.

The Rowland Stephenson scrapbook contains numerous clippings, engravings, illustrations, notes, and ephemera primarily related to British banking and finance, the Royal Family, and prominent political and historical figures.

The scrapbook (23 x 18 cm) has brown board covers, is lacking a spine, and contains 184 pages in total. While it is unlikely that Stephenson himself created the scrapbook, it does appear that it may have been compiled by a close associate or relative of Stephenson's. Dated contents range from ca. 1767 to 1840 and generally speaking include numerous engraved portraits of various individuals (mainly royal personages, aristocrats, politicians, military and religious leaders, writers, artists, doctors, scientists, athletes, eccentrics, criminals, and historic figures), engravings and illustrations of buildings and other scenes, handwritten notes and ephemeral materials related to various subjects including royal finances and banking, multiple pasted in signatures, and newspaper clippings regarding various subjects including a reward notice for information on Stephenson's whereabouts after his disappearance following his embezzlement scandal. A number of engravings appear to have been clipped from European Magazine as well as R. S. Kirby’s Wonderful and Eccentric Museum; Or, Magazine of Remarkable Characters. Many undated engravings of pre-18th century historic figures were likely produced prior to 1767.

• Pressed plant life remnants of a “Willow from the grave of Buonaparte at St. Helena. 1838” (pg. 1)
• Engraved portraits of King George III, Aleksandr Suvorov, and the Duke of Wellington (pgs. 2-4)
• Handwritten list of debts held by Prince Regent George IV coupled with a newspaper clipping expressing caution about how to deal with being in debt (pg. 7)
• Engraved portrait of Prince Regent George IV with handwritten notes summarizing "Debts of this King paid by Parliament"; includes juxtaposed clipped engraving of a man with hand-drawn sight lines drawing attention to the total debt amount of £3,113,061 (pg. 8)
• Handwritten list of expenses for the coronation of King George IV, July 19, 1821 (pg. 9)
• Invitation to the coronation of King George IV (pg. 10)
• Printed poem about death of Princess Charlotte of Wales, November 6, 1817 (pg. 13)
• Handwritten list detailing pensions paid to certain dukes, duchesses, princes, and princesses (pg. 15)
• Two engravings showing portraits of Queen Victoria (ca. 1837) and the 1st Earl of Munster (ca. 1834) encircled by statistical references regarding “The Population of the British Empire according to the last census” (pgs. 16 & 48)
• Handwritten list showing stats related to the “Total personal charge of a King of England, on the scale of the reign of George the Third” (pg. 17)
• Engraved portrait of surgeon Charles Aldis (pg. 19)
• Engraved view of the comet of 1811 (between pgs. 19 and 20)
• Clipped handwritten cookery list dated December 29, 1767 (pg. 20)
• Engraved portrait of “Her late Most Excellent Majesty Sophia Charlotte, Queen of Great Britain,” dated December 1818 (pg. 23)
• Engraved view of “Frogmore, the favorite residence of Her late Majesty” coupled with smaller engraving of people ice skating (pg. 24)
• Handwritten notes detailing the history and operations of the Bank of England (pgs. 25, 27, 29, & 31)
• Three Bank of England checks dated February 14, 1826, Dec 10, 1818, and March 6, 1818, all marked with “Forged” stamps, accompanied by handwritten notes (pgs. 26, 28, & 30)
• Two unfilled stock certificates for £1 and £10 from the Hibernian Bank, Dublin, illustrated with vignettes (pg. 32)
• Handwritten statement detailing the Bank of England’s net profits from 1797 to 1816; includes tipped-in engraved portrait from 1803 of Abraham Newland, Chief Cashier for the Bank of England (pgs. 33-35)
• Handwritten note about scented “love letter paper” made in New Jersey alongside an engraved portrait of Raphael (pg. 37)
• Engravings including depictions of four honorary medals and views of “The Car on which the Remains of Lord Nelson were conveyed to St. Paul’s Jany. 9, 1806,” the "Palaquin presented by the Marquis Cornwall to Prince Abdul Calic, Eldest Son of Tippoo Sultaun…Sepr. 1796," and "A West View of the Iron Bridge over the Wear near Sunderland" (pgs. 39-41)
• Handwritten notes detailing the history of the Rothschild Family (pgs. 43 & 44)
• Engravings of Thomas Coram and the Foundling Hospital as well as a funding solicitation notice seeking contributions for the Foundling Hospital (pgs. 45 & 46)
• Tickets and other ephemera related to various lotteries (pgs. 49, 50, 52, 54, 55, 56, & 58)
• Engraved view of the Globe Theater (pg. 53)
• Clipping regarding election anecdote related to Lord Chief Justice John Holt accompanied by a tipped-in engraved portrait of Holt (pg. 62)
• Handwritten notes on the "Character of a Good Woman" (pg. 63)
• Handwritten notes on Freemasonry (pg. 64)
• Hand-drawn view of the comet of 1811 (pg. 65)
• Engraved portraits of Benjamin Thompson, the Count Rumford; John Elwes; Joanna Southcott; Thomas Paine; Rev. Thomas Raffles; Richard Carlile; Sir Richard "Dick" Wittington and his cat; Joseph Priestley; Prince Albert; engraver John Rowe; and London eccentric Ann Siggs (pgs. 74-85)
• Engraved depiction of a sleeping woman named Elizabeth Perkins of Morley, Norfolk, accompanied by handwritten notes detailing her sudden and mysterious entrance into a coma in 1788 (pg. 86)
• Ca. 1839 advertisement for a showing of Brother Jonathan, the mammoth ox from America (pg. 87)
• Engraved portraits of boxer James Belcher, eccentric dentist Martin van Butchell, and Madame de Staël Anne-Louise-Germaine Necker (pgs. 88-90)
• Plan of the King’s Theatre (pg. 94)
• Engraving showing the three defendants in the 1823 Radlett Murder: John Thurtell, Joseph Hunt, and William Probert (pg. 101)
• Handwritten copy of a letter sent from Rotterdam, Netherlands, dated August 18, 1817, instructing Stephenson’s firm to pay £100 to someone who was purpsoefully injured by one of their clients (pg. 103)
• Engraved portraits of Thomas Hobson accompanied by a printed poem, Henry Jenkins of Ellerton in Yorkshire “who lived to the Surpizing Age of 169,” and Thomas “Old Tom” Parr (pgs. 110-112)
• Engraved view of London and the observatory erected over the cross of St. Paul's Cathedral that was used by Thomas Hornor to create his panoramic view of London accompanied by a handwritten note about an individual nearly falling to their death after slipping on top of the cathedral's dome (pgs. 115 & 116)
• Engraved portraits of Lady Morgan Sydney Owenson and Charlemagne (pg. 117)
• Ca. 1840 advertisement for London-based rubbish collector John Allford attached to French cologne advertisement (between pgs. 117 & 118)
• Clipping regarding Edmund Burke's description of the Bible, an engraved portrait of Burke and an engraving of two Biblical-era priests preparing sacrifices (pgs. 123 & 124)
• Engraved portraits of Rev. Rowland Hill and George Savile, Marquis of Halifax (pgs. 125 & 128)
• Cut and pasted signatures of various individuals (pgs. 129-168)
• Engraved portraits of Governor Joseph Wall, Sir Francis Burdett, Lord Brougham and Vaux, Lord Durham, John Bellingham, T. S. Duncombe, Colonel George De Lacy Evans, Lord Thomas Erskine, George Canning, Granville Sharp, Henry Hunt, Richard Watson, Joseph Hume, William Cobbett, Daniel O'Connell, Charles Lennox the Duke of Richmond, Lord Palmerston, Thomas Spring-Rice, William Henry the Duke of Portland, Sir James Shaw, Lord Bexley Nicholas Vansittart, Sir Matthew Wood, Robert Waithman, W. T. Raynal, Sir Richard Birnie, Joliot de Crebillon, John Gully, Sir John Oglander, John Soane, Sir Nicholas Conyngham Tindal, Hippocrates, Josiah Ricraft, Dr. Herman Boerhaave, Henry Hastings, Marie and Catherine de Médicis, James Cook, Rev. Obadiah Sedgwick, Lord Burghley, King William IV, and Queen Victoria (pgs. 133-183)
• Hand-colored engraved portrait of Stephenson accompanied by his own clipped signature as well as a newspaper clipping of a reward notice offering £1000 pounds for Stephenson's apprehension following his alleged embezzlement and flight from London (pg. 171)
• Four tipped-in manuscript items including an undated note from Stephenson quoting "Lev: 12: Blair" about choosing one's path in life; a letter dated January 9, 1804, from B. Pratt to Stephenson regarding the importance of being careful with money; a letter dated August 29, 1827, from “Rody Moroney” to Stephenson thanking the latter for favors; and a letter dated March 23, 1822, from "the Independent Inhabitation of West Looe" to innkeeper Robert Reath inquiring about the whereabouts of Stephenson's friends and remarking on business matters impacted in the wake of a contested election (between pgs. 171 & 172)
• Clipping of a poem dated January 10, 1829, regarding Stephenson's alleged embezzlement and lamenting the volume of negative newspaper coverage devoted to Stephenson as well as to the Duke of Wellington (pg. 173)
• Loose letter dated March 19, 1828, from Michael Meredith to Stephenson expressing the former's willingness to work for Stephenson again in Leominster "if it should happen that your Honour should call on me again at any future Election" (between pgs. 173 & 174)
• Handwritten notes regarding the "Expenses of the Coronation of Queen Victoria" accompanied by a clipping that details the approximate value of the jewels found in Her Majesty's Crown (pg. 184)
• Engraved view of the passenger steamboat SS British Queen (pasted inside back cover)

The Seth Eastman watercolors consist of 12 sketches produced by U.S. Army officer Seth Eastman.

The Seth Eastman watercolors consist of 12 sketches produced by U.S. Army officer Seth Eastman. Most of these works were likely created by Eastman between approximately 1849 and 1858, including many that were executed in relation to his work as illustrator for Henry Rowe Schoolcraft’s six-volume ethnographic survey Information respecting the history, condition and prospects of the Indian tribes of the United States, published between 1851 and 1857. Individual items measure up to 18 by 25 cm.

The following list includes titles (supplied titles appearing in brackets), content descriptions, and citations for engraved versions that appear in Schoolcraft’s survey:

• Watercolor scene showing a naked Native American girl being tortured in front of a large group of Skiri Pawnee men, women, and children. This depiction is thought to have been based on accounts cited by Schoolcraft of the last known instance of the Skiri Pawnee Morning Star sacrificial ritual, ca. 1837/1838.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 6, Plate 6 (across from pg. 78)

• Watercolor scene showing several Comanche warriors on horseback attacking a wagon train circle defended by men with rifles.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 2, Plate 33 (across from pg. 132)

• Watercolor scene showing several Native American warriors (likely meant to be Comanche) on horseback outside of San José Mission Church.
• Based on 1849 sketch by Eastman held by the Peabody Museum, Harvard University.

• Watercolor view showing a Native American man smoking a pipe seated on the Oneida Stone overlooking terrain with Oneida Lake in the distance.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 5, Plate 23 (after pg. 152)

• Sepia ink wash view showing two Native Americans on rocks in foreground looking out over the Hudson River.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 3, Plate 19 (after pg. 74)

• Sepia ink wash view of Humboldt, California, ca. 1851 showing several buildings viewed from across a harbor. Copied by Eastman from original drawing by George Gibbs.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 3, Plate 43 (across from pg. 130)

• Ink wash view of structures at Fort Pitt, Pennsylvania, ca. 1790. Copied by Eastman in 1851 from original drawing by Lewis Brantz, then in the possession of Brantz Mayer.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 3, Plate 32 (across from pg. 336)

• Sepia ink wash depiction of seven indigenous Mexican cultural artifacts. Drawn after engravings based on drawings by Brantz Mayer.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 6, Plate 40 (after pg. 590)

• Sepia ink wash depiction of ten indigenous Mexican cultural artifacts. Eastman drew these objects direct from observation of materials held in the collection of Brantz Mayer.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 6, Plate 39 (after pg. 590)

• Pen and ink drawing showing written names and totems of sixteen Ojibwa individuals including “Kimi-Ki-Chawgan,” “Kitche-pus-quegegan,” “Siginac,” “Apeche-caw-boway or Grand Blanc,” “Maw-manche-Cawtence,” Skaw-O-mut or Black Chief,” “Mieray or Walk in the Waters,” “Ray-y-Aron,” “Ane-me-quinee,” “Puck-e-Nence,” “Que-baw-que-gun,” “Puck-qua-Cawboway,” “Seken-ge-win,” “Many-to-quajick or Little Cedar,” “So-wa-quet,” “Macconce or Little Bear.” These signatures were claimed by Schoolcraft to have been copied from an invoice of Indian goods disbursed by General William Hull at Fort Detroit in 1809.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 2, Plate 56 (across from pg. 226)

• Watercolor view depicting American troops at Fort Shelby, Wisconsin, surrendering to the British on July 20th, 1814, during the War of 1812; likely executed by Eastman ca. 1846-1848.
• Eastman was stationed at Fort Crawford (successor to Fort Shelby, which was destroyed by the British in May of 1815) after graduating from West Point in 1829 and possibly interacted with individuals who witnessed the surrender first-hand.

• Watercolor view of Fort Pembina, Dakota Territory, during winter showing buildings, tipis, and a dog sled.
• Work is unsigned but bears clear similarities to other landscape scenes by Eastman.

"Snook's Lives of Celebrated Men: Flobby MacSquelsh" are sketches narrating the life of the fictional profligate son of a Barbados planter. The story satirizes the plantation culture of nineteenth-century Barbados.

"Snook's Lives of Celebrated Men: Flobby MacSquelsh" are sketches narrating the life of Flobby Macsquelsh, the fictional profligate son of a Barbados planter. The story is told on 10 pages (22 x 32 cm) and divided into 11 parts, each part consisting of an ink sketch and a paragraph of text.

MacSquelsh is referred to as the "hero" in the story. He is depicted as a fat man known for his "intense gluttony." As a child, witnessing the whipping of a slave brings Flobby "intense delight." As an adult, he visits Europe and is placed in the distinguished 179th Highland Rifles corps. He engages in heavy drinking, attends balls, and meets a woman but later has "deserted and undid her." He is unfit for hunting, as he loses control of his horse, kills two hunting hounds, and even loses his umbrella. The story ends with Flobby returning to Barbados, where he successfully proposes marriage to a "Lady of Colour" and inherits his father's plantation property. This satirical story is likely a commentary of the behaviors of the planter elite in the West Indies after the abolition of slavery.

The Society for the Prevention of Cruelty to Disabled Hats is a humorous handwritten and illustrated booklet related to a fictional organization dedicated to the protection of various styles of hats.

The Society for the Prevention of Cruelty to Disabled Hats is a humorous handwritten and illustrated booklet related to a fictional organization dedicated to the protection of various styles of hats.

The volume (11 x 7 cm) is a small notebook with a sticker on the front cover of an American top hat. Inside of the front cover the name and originating date of the society are presented. The following pages display a declaration from the society’s “board” before delving into 60 watercolor and ink illustrations of different types of hats, each of which is provided a name. The inside of the back cover contains lists of the society's “board members” and “inspectors.” Also of note is an illustration of a firefighting wagon.

The Sophia M. Eckley sketchbook contains 22 sketches of various landscapes and cottages in Nahant, Massachusetts.

The Sophia M. Eckley sketchbook contains 22 sketches of various landscapes and cottages. An inscription on the first page indicates that the sketchbook belonged to Sophie M. Eckley, and the sketches are of Nahant, Massachusetts, drawn in July 1853. The inside front cover has an engraved retailers' label from N. D. Cotton of Boston, "importer and dealer in English, French and American stationery, drawing and painting materials." Also written inside the front cover is a list of dry goods.

Of the 22 sketches, 21 were made in pencil, with one in pastel. Many blank pages follow the first 21 sketches, and on the very last page is a sketch of a man's head with the caption, "Peter Parleys Picture Book."

The majority of the sketches include captions and are of various landscapes and cottages on the coast of Nahant. Specific landscapes depicted include Sunken Lodge, Spectacle Beach, Deer Island, Pea Island, Caste Rock, and Swallow Cave.

The Stanton P. Allen scrapbook contains clippings, engravings, maps, and drawings related to a recurring newspaper column titled Down in Dixie written by Allen for the Troy Daily Times in which he recounted his experiences serving with the 1st Massachusetts Cavalry during the Civil War.

The Stanton P. Allen scrapbook contains clippings, engravings, maps, and drawings related to a recurring newspaper column titled Down in Dixie written by Allen for the Troy Daily Times in which he recounted his experiences serving with the 1st Massachusetts Cavalry during the Civil War.

The volume (23 x 14 cm) contains approximately 101 pages and has blue cloth covers with the words "Manual and Report, Board of School Commissioners Troy, N. Y., 1883" stamped in gold on the front. The first item to appear is a pasted in sheet on pg. 5 with the words "Down in Dixie, by Stanton Perrie Allen" printed and "Volume IV" handwritten. The first clipping of Down in Dixie appears on pg. 9 and is marked "34," which coupled with the presence of "Vol IV" on pg. 5 would seem to suggest that Allen created multiple volumes in which the columns were sequentially ordered. These volumes were likely used by Allen to finetune his ideas for how he envisioned publishing his account in book form.

The Down in Dixie clippings are given a visual dimension through the inclusion of numerous clipped engravings that directly relate to people, places, and events referenced in the narrative. Engravings include portraits of leading military figures from both the Union and Confederacy as well as numerous depictions of soldiers, battles, camp life, fortifications, buildings, prisoners of war, casualties, mass burials, etc. Also present are several engravings depicting African Americans (pgs. 52, 54, 58-60, 92, 95, & 97) and Apache Indians (pgs. 10 & 11). Two clipped maps are also included, with one showing a general overview of Virginia, Maryland, Delaware, and New Jersey (pg. 9) and the other showing a detailed view of the roads, landmarks, and natural features east of Richmond, Virginia (pg. 77). Only one photograph is present, an unmounted studio portrait of Allen's mother Celia juxtaposed with an anecdotal passage about a Confederate and Union soldier bonding over their deceased mothers (pg. 51).

Of particular note are six original drawings signed by Allen. The first, a pen and ink drawing captioned "Down in Dixie Turning Out For Stables," shows a Union cavalryman (presumably Allen) at camp laden with horse care equipment (pg. 20); the second, a watercolor captioned "Down in Dixie. 'How Is That For Beef?' From Memory 1889," shows three Union cavalrymen eating a meal at camp (pg. 25); the third, a watercolor captioned "A Stag Dance. Four Hands Round," shows a group of four Union cavalrymen dancing while another plays the fiddle as two others (including an African American cavalryman) look on (pg. 26); the fourth, a pen and ink drawing captioned "The Sutlers Whisky Barrel Tapped At Both Ends. Down in Dixie," shows a large group of Union cavalrymen getting drunk on whisky after secretly tapping into the sutler's barrel from the outside of his tent (pg. 27); the fifth, a pen and ink drawing captioned "'The Tables Turned.' - Beaver Dam, Va., May, 1864," depicts the anecdotal interaction between a Union soldier and Confederate prisoner who realize they had both stolen rings from each other that had belonged to their deceased mothers (pg. 49); the sixth, a watercolor captioned "Sheridan's Raid - 1864. - Walking to Rest the Horse. - From Memory - 1889," shows a Union cavalryman leading his horse.

A loose two-page typescript draft of a consolation letter dated June 20, 1897, written by Allen to Charles S. Francis after the death of the latter's father John M. Francis can also be found tucked inside the back cover. Allen knew both John and Charles from having worked for the Troy Daily Times, which was founded by John in 1851.

The Thomas Caldwell Moore sketchbook is made up of twenty-two images on nineteen loose, encapsulated pages as well as the original cover boards and binding. The back of the original front cover board of the sketchbook includes the penciled inscription: "Sketch Book, New York -1865, T.C. Moore of Allegheny Arsenal Pittsburg, Pa." Three pages have images on both sides. The creator of the sketchbook has been identified as Thomas Caldwell Moore (1825-1886). The sketchbook contains pencil and watercolor landscape views of rivers, shorelines and towns from ca. 1865. Locations represented include the Shenandoah Valley, the Allegheny River, and New York City. One sketch (image #2), titled "U.S Rifle Factory on the Shennandoah" is likely to be Harpers Ferry Armory.

The Thomas Caldwell Moore sketchbook, housed in a blue tray case with gilt lettering on the spine, is made up of twenty-two images on nineteen loose, encapsulated, pages as well as the original cover boards and binding. Three pages have drawings on both sides. The back of the original front cover board of the sketchbook includes the penciled inscription: "Sketch Book, New York -1865, T.C. Moore of Allegheny Arsenal Pittsburg, Pa." The creator of the sketchbook has been identified as Thomas Caldwell Moore (1825-1886). While only two of the drawings are individually dated (both 1865), given that the date on the inside of the front cover matches the two dated sketches it can be assumed that the sketchbook contains pencil and watercolor landscape views of rivers, shorelines and towns from ca. 1865. Nine of the images include titles, many of which are in ink written over pencil, indicating the location the sketch depicts. Locations represented include the Shenandoah Valley, the Allegheny River, and New York City. One sketch (image #2), titled "U.S Rifle Factory on the Shennandoah," is likely to be Harpers Ferry Armory.

The Thomas Smith collection includes a disbound sketchbook of eighteen watercolors and six drawings depicting scenes in the northeastern United States and Canada made between 1820-1826 as well as three letters written by Smith between 1820-1822.

The Thomas Smith collection includes a disbound sketchbook of eighteen watercolors and six drawings depicting scenes in the northeastern United States and Canada made approximately between 1820-1826 as well as three letters written by Smith between 1820-1822.

The Visual Materials series contains eighteen watercolors and six drawings from a disbound sketchbook that depict scenes in the Eastern United States and Canada. While the watercolors and drawings themselves contain no exact information on their precise dates of creation, there is one unfinished pencil sketch of Fort Niagara that shows architectural features that were only in place from 1818 to 1823. Additionally, two pages contain watermarks in the paper that read "Turkey Mills J. Whatman 1818," while an inscription on the inside of the detached front cover also reads: "Thomas Smith. American Sketches 1820 to 1826." Smith is known to have made one trip to New York in the late spring and summer of 1820 and also returned from another trip there in the fall of 1821. Although presumably an amateur artist, Smith showed an uncanny eye for accurate detail, a keen ability to depict the scale of landscapes, and a vivid sense of color and light.

• 1) [Unidentified building] (fragment on oval sheet; pen and ink)
• 2) [Portrait of unidentified man] (fragment; pencil)
• 3) Point - Entrance of Chaudiere (pen and ink)
• 4) Palmetto trees East side Sullivan's Isld. South Carol,,a
• 5) Wappoo, Cooper River, S. Carolina
• 6) [Niagara Falls]
• 7) River Delaware. Fort Gaines to the left, to the right Fort Mifflin
• 8) [Presumed to be Delaware River]
• 9) Unfinished
• 10) [Niagara from the American side]
• 11) [Estuary with a Rowing Boat]
• 12) [The Mouth of the Niagara River at Fort George, Ontario] (pencil)
• 13) [Quay on an Estuary]
• 14) [Thousand Islands, Ganaoque (near Kingston), Ontario]
• 15) Cohos Falls, Mohawk River
• 16) [Niagara Gorge from Goat Island]
• 17) [Hudson River landscape]
• 18) Entrance of the Patapsco River into Chesapeake Bay near Baltimore Maryland
• 19) New York Harbor
• 20) [Queenston Heights - looking down the Niagara River towards Lake Ontario]
• 21) [New York Harbor]
• 22) [Town on an Estuary] (pencil)
• 23) [Niagara Falls from below]
• 24) [Landscape with a Waterfall] (pencil)

The Correspondence series contains three letters written by Thomas Smith to family members. The first letter, dated April 1820, is addressed to Smith's sister Eliza Elizabeth "Betsey" Smith (1802-1876) and bemoans her general lack of communication before discussing differences between American and English women, mentioning acquaintances including a "Mr. Lucas" and a "Mr. and Mrs. Maxwell", and describing events related to the wedding of a "considerable" rice planter and "Miss Lucas...now Mrs. Cordes" that took place in Charleston, South Carolina in March. This was likely the wedding of James Jameison Cordes (1798-1867) and Mary Lucas (1802-1873). Smith also makes reference to a bridesmaid named "Miss McLeod...a lady of large fortune worth as these things are estimated in S Carola: 300 negroes" while stating that "negro servants" accompanied the wedding party on horseback on their way to Middleburgh plantation. The second letter, also dated April 1820, is addressed to Smith's brother Joseph Smith VI (1800-1876) and contains a description of deer hunting conducted in the "American mode" in which several concealed hunting stands were occupied "100 to 150 yards apart" before "the negroes are sent with the hounds to drive the swamps or ponds where the deer generally conceal themselves." Smith elaborates on an unsuccessful hunting trip led by a planter named "Mr. Bryan" in which the party consisted of "Mr. Bryan, Mr. Lucas, Mr. Cordes, Mr. Hume & myself, with 2 negro slaves, all on horseback" during which Smith and Mr. Hume managed to become briefly lost in the woods. Also included are mentions of various wildlife encountered in the countryside, references to regional flora Smith intends to procure seeds of, and a description of typical South Carolinian cuisine had for breakfast, lunch, and dinner during different times of year. The third letter, dated February-March 1822 and partially written from aboard the steamship Robert Fulton while in the Gulf of Mexico, is addressed to Betsey (now "Mrs. Alfred H.") at "Messr: Jos. Hardcastle & Sons London." Betsey married Alfred Hardcastle (1791-1842) in 1821. This letter describes Smith's return to Charleston in Novemeber of 1821 following a trip to New York, spending the Christmas holiday period at Mr. Lucas's plantation, a four-day excursion in Havana, Cuba, made during the present voyage while en route from New Orleans to Charleston, and avoiding a close encounter with a "suspicious looking Schooner" off the Cape of Florida.

The William L. Culbertson, Jr., scrapbook consists of one volume containing numerous newspaper clippings, documents, photographs, hand-drawn maps and illustrations, correspondence, and various ephemeral items related to the career of US Navy officer CDR William Linn Culbertson, Jr., between 1905 and 1918.

The William L. Culbertson, Jr., scrapbook consists of one volume containing numerous newspaper clippings, documents, photographs, hand-drawn maps and illustrations, correspondence, and various ephemeral items related to the career of US Navy officer CDR William Linn Culbertson, Jr., between 1905 and 1918.

The volume (25.5 x 19 cm) has 146 pages and is bound in red marbled paper covers. The covers and spine are in poor condition. Inside of the front cover there is a loose diplomatic passport for Culbertson, Jr., issued by the U.S. Embassy in Paris, France, from August 1916 that contains personal descriptive information as well as a photographic ID portrait. The scrapbook begins with newspaper clippings from ca. 1905 and subsequent materials proceed in chronological order for the most part. Numerous items collected during Culbertson, Jr.’s time abroad contain text in foreign languages including French, Spanish, Italian, Japanese, Chinese, German, Arabic, and Greek.

• Hand-drawn portrait of a man playing cards and smoking a pipe (between pgs. 2 & 3)
• Clipping related to court martial of Iowan midshipman Charles M. James for alleged involvement in hazing (pg. 5)
• Photomechanical image of the U.S.S. Missouri (pg.7)
• 1906 New York herald clipping with full page illustrated article titled "At Sea with the Naval Cadets Annual Cruise of the Boys to Learn Practical Seamanship" (pg. 9)
• An order from Lt. CDR Cleland Davis of the U.S.S. Missouri dated May 24, 1906 instructing Culbertson, Jr., to "take charge of the remains of J. J. Molloy, fireman 1st class" who died from asphyxiation while ashore in New York City (pg. 11)
• A letter received March 27, 1906 while the U.S.S. Missouri was in Guantanamo Bay, Cuba, regarding Culbertson, Jr.'s request to be assigned to a torpedo boat that will "make the trip to the Asiatic Station" (pg. 17)
• Ca. 1906 clipping regarding Culbertson, Sr.'s real estate dealings (pg. 19)
• Typescript copies of the "Plan for the Occupation of St. Marc, Hayti" dated February 1916 (between pgs. 30 & 31)
• Program for the "Memorial Service in memory of the Culbertsons, of 'Culbertson's row' and their descendants who served in the War of the American Revolution" held at Rocky Spring Presbyterian Church, Franklin County, Pennsylvania on September 15, 1907 (pg. 37)
• Pamphlet detailing "Facilities for American Seamen on shore leave in Rio de Janeiro, January, 1908" which includes a map of Rio's commercial district (pg. 41)
• Clippings of an article regarding Surgeon General Presley M. Rixley's opinion that medical officers be placed in command of hospital ships (pg. 44) and a satirical cartoon titled "When the Navy puts doctors in command of the hospital ships" (pg. 45)
• A humorous mock notice issued to Culbertson, Jr., in September 1908 while aboard the U.S.S. South Dakota sent by "Neptune Rex" and undersigned by "Secretary to his Majesty Davy Jones" (pg. 52)
• A manuscript map detailing features of American Samoa (pg. 53)
• Clippings of three cartoons from a series titled "Trials of a First Baby" (pgs. 54-57)
• Letter from oiler J. J. Murphy dated May 23, 1907, requesting permission to purchase his discharge from the U.S. Navy in order to return home to Ireland following the deaths of two brothers; obituary clipping attached (between pgs. 68 & 69)
• Manuscript item in Japanese (pg. 73)
• New York herald clipping giving Culbertson, Jr.'s account of what he saw in the aftermath of the 1907 earthquake in Kingston, Jamaica (pg. 76)
• Manuscript map detailing the valley of the Artibonite River in Haiti, likely ca. 1915/1916 (between pgs. 86 & 87)
• Manuscript map detailing prospective plan of attack on St. Marc, Haiti, relative to the U.S.S. Des Moines, likely ca. 1916 (pg. 99)
• Passport for Culbertson, Jr., issued by the American Consulate in Alexandria, Egypt, on December 31, 1915 (pg. 115)
• Clipping of a humorous joke anecdote about a woman from San Francisco who contacted her deceased husband "John" with help from a spiritualist medium only to find he was much happier being dead than he ever was living with her (pg. 118)
• Memorandum dated October 13, 1915, regarding damages to the U.S.S. Brutus and U.S.S. Des Moines (pg. 129)
• Two French travel permits for Culbertson, Jr., issued by the Departement des Alpes-Maritimes in 1916 (pgs. 136 & 137)
• Numerous playbills, tickets, receipts, stamps, business cards (including cards for foreign naval officers), schedules, menus, advertisements, event invitations, social club notices, and other ephemeral items collected at various ports of call including Rio de Janeiro, Lima, Shanghai, Yokohama, Buenos Aires, San Francisco, New York City, Alexandria, Cyprus, Naples, etc. (passim)
• Numerous clippings related to World War I (passim)