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The Clements Library's collection of individual friendship and autograph albums (the ones that are not part of larger bodies of family papers) dates primarily from the second half of the 19th century. The creators of these albums sought out friends, family, schoolmates, public persons, and others to write signatures, sentiments, poetry, extracts from books and serials, personal sentiments, and more. Contributions often emphasize ties of friendship, exhortations to seek love, happiness, or Christian religious salvation. Most of the volumes in this collection were compiled in the Northeast United States and areas in the Midwest, with urban and rural areas represented. The greater number of the albums were kept by young women and the bulk of the signers were also female. Contributors occasionally illustrated pages with calligraphic designs, trompe l'oeil visiting cards, animals, flowers, and themes that had particular significance to their relationship with the keeper of the album. The volumes in this collection are largely decorative blank books adorned with tooled covers, sometimes containing interspersed engravings of religious, literary, historical, and landscape themes. Some include pasted-in photographs, die-cuts, or stickers.

The Clements Library's collection of individual friendship and autograph albums (the ones that are not part of larger bodies of family papers) dates primarily from the second half of the 19th century. The creators of these albums sought out friends, family, schoolmates, public persons, and others to write signatures, sentiments, poetry, extracts from books and serials, personal sentiments, and more. Contributions often emphasize ties of friendship, exhortations to seek love, happiness, or Christian religious salvation. Most of the volumes in this collection were compiled in the Northeast United States and areas in the Midwest, with urban and rural areas represented. The greater number of the albums were kept by young women and the bulk of the signers were also female. At least one volume was kept by an African American man, Lewis G. Mosebay. Contributors occasionally illustrated pages with calligraphic designs, trompe l'oeil visiting cards, animals, flowers, and themes that had particular significance to their relationship with the keeper of the album. The volumes in this collection are largely decorative blank books adorned with tooled covers, sometimes containing interspersed engravings of religious, literary, historical, and landscape themes. Some include pasted-in photographs, die-cuts, or stickers.

Laura L. Earl's friendship album includes material dating from 1860 to 1932, documenting her relationships across several geographic regions. Entries include poems, signatures, quotations, brief comments, and drawings of calling cards with signatures added. The volume includes engraved illustrations, several entries that feature artistic elements, and miscellaneous tipped in materials.

Laura L. Earl's friendship album includes material dating from 1860 to 1932, documenting her relationships across several geographic regions. Entries include poems, signatures, quotations, brief comments, and drawings of calling cards with signatures added. Additional visual materials include a negative image of a leaf made by splattering ink, a watercolor painting of flowers, and a calligraphic rendering of Laura Earl's name. Places linked to writers include states such as Wisconsin, Iowa, Minnesota, Colorado, Missouri, New York, Illinois, Ohio, Kansas, Nebraska, Massachusetts, and Oklahoma. Later entries refer to Laura by her married name, Laura E. Nethers.

Laura L. Earl pasted or tipped in various materials to the volume, including printed poems, calling cards, newspaper clippings, leaves, a scrap of fabric, an advertising blotter, a printed set of four images with Biblical passages, a notice for Mrs. D. E. Denman's funeral services in 1928, and Laura (Earl) Nethers' newspaper obituary from 1932. One calling card is from Laura L. Earl, and includes a photograph of her affixed to it. One clipped newspaper or magazine image shows two white men seated at a table with an African American man serving beverages.

"Pensez A Moi" is printed on the front cover. "Laura L. Earl" is stamped on the front flyleaf, as well as a pencil inscription, "1860. A Christmas Gift from my father, Covington, Ky."

• Modesty and Vanity
• Pensez A Moi
• The Departure
• Fatal Signal
• The Balsille. Eng'd for this Work
• Little Rogues in Trouble

This volume was produced by Peter McGivney as a gift for his sister, Julia A. McGivney. Its entries are largely copies of popular song lyrics and some poetry. Many focus on sentimental themes like remembrance, familial relationships, love, death, and religion. A few patriotic titles were included. Peter McGivney elaborately decorated and illustrated the volume with paintings, pencil drawings, pen-and-ink embellishments, printed scrapbook die-cuts, and calligraphic titles and borders. He drew numerous patriotic images, including American flags, shields, eagles, Union soldiers, and a portrait of George Washington. Flowers, leaves, birds, and landscapes feature prominently, along with depictions of women. He drew several illustrations of hands holding calling/visiting cards filled out with the names of friends and family members. One watercolor illustration of an African American man accompanies the lyrics of a minstrel song.

This volume was produced by Peter McGivney as a gift for his sister, Julia A. McGivney. Its entries are primarily copies of popular song lyrics and some poetry. Many focus on sentimental themes like remembrance, familial relationships, love, death, and religion. Some patriotic titles are also included. Titles like "Little Low Cabin" and "Half Way Doings" were likely minstrel songs, and include racist dialect. One is accompanied by a watercolor painting of an African American man in striped pants and a blue overcoat standing at a table with a Bible on it and a whitewash bucket on the floor.

Peter McGivney elaborately decorated and illustrated the volume with paintings, pencil drawings, pen-and-ink embellishments, printed scrapbook die-cuts, and calligraphic titles and borders. He drew numerous patriotic images, including American flags, shields, eagles, Union soldiers, and a portrait of George Washington. Flowers, leaves, birds, and landscapes feature prominently, along with depictions of women. He drew several illustrations of hands holding calling/visiting cards filled out with the names of friends and family members.

• "The Lady’s Yes," by Elizabeth Barrett Browning
• "Write Me a Letter [from] Home," by Will S. Hays
• "[Darling] Minnie Lee," by Dexter Smith
• "Ella Ree," by Charles E. Stewart
• "God Bless My Boy at Sea," by T. Brigham Bishop
• "Little Robin, Tell Kitty," by Frank Howard
• "Killarney," by E. Falconer
• "Sunny Days," by Edwin Ransford
• "Remember Me," by M. W. Balfe
• "We Parted by the River Side," by Will S. Hays
• "The Last Rose of Summer," by Thomas Moore
• "Lottie Lee," by C. T. Lockwood
• "Kiss the Little Ones," by W. F. Wellman, Jr.
• "Kiss Me Mother E'er I Die," by W. Dexter Smith, Jr.
• "To a Beloved Woman," translated from Sappho
• "Driven from Home," by Will S. Hays
• "Bessy O'er the Lea" [e.g. "Darling Bessie of the Lea"], by George Cooper
• "Our Own," by Margaret Elizabeth Sangster
• "[When] The Corn is Waving, Annie Dear," by Charles Blamphin
• "A Woman's Question," by Adelaide Anne Proctor
• "Daisy O'Lynn," by M. H. McChesney
• "I'll Remember You Love in my Prayers," by Will S. Hayes
• "Don't be Angry With Me, Darling," by W. L. Gardner
• "The Good Bye at the Door," by J. E. Carpenter
• "Love On," by Eliza Cook
• "Sweet Genevieve," by George Cooper
• "When the [Autumn] Leaves are Falling," by J. E. Carpenter
• "Mother, Is the Old Home Lonely," by Arthur W. French
• "The Golden Side," by Mary Ann Kidder
• "Wait Till the Moonlight Falls on the Water," by Sam Bagnall
• "The Bells of Shadow" [e.g. "The Shandon Bells"], by Francis Mahony
• "Annie of the Vale," by G. P. Morris
• "My Pretty Jane," by Edward Fitzball
• "Silver Threads among the Gold," by Eben E. Rexford
• "When I Saw Sweet Nellie Home," by John Fletcher
• "Come Like a Beautiful Dream," by George Cooper
• "What Will I Do Without Thee," by Elmer Ruan Coates
• "Star of the Evening," by James M. Sayles
• "The Good Bye at the Door," by J. E. Carpenter
• "Memory Bells," by Henry Tucker
• "I Love the Merry Sunshine," by J. W. Lake
• "Every Home has Lost a Darling," by George Cooper
• "Wilt thou say Farewell Love," by Thomas Moore
• "A Sweet Face at the Window," by W. C. Baker
• "Faded Flowers," by I. H. Brown
• "The Blind Girl," by Joshua Swan
• "What Will I Do Without Thee," by Elmer Ruan Coates
• "Why Was I Looking Out," by Claribel
• "God Save the Flag," by Oliver Wendell Holmes

• "Fair Maid of Perth"
• "Arabella Dolora"
• "A little Puss"
• "Rebecca at the Well"
• "E Pluribus Unum"
• "Excelsior"
• "The French Iron Clad Solferino"
• "Volcano of Turrialba (Mexico)."
• "View of Paknam on the Memam. Farther - India"
• "The Rose of Orleans"
• "The Queen of Flowers"
• "Marriot's Aerial Steam Carriage. 'Avitor.'"
• "Love in Winter"
• "Dressing for the Masquerade"
• "William Penn first Settler of Pennsylvania 1675"
• "The Tambourine Player"
• "Love in Summer"

This visiting card specimen book contains 48 printer's sample cards pasted into the volume, including "hidden name" examples with movable die-cut flaps and other devices.

This visiting card specimen book contains 48 printer's sample cards pasted into the volume, including "hidden name" examples with movable die-cut flaps and other devices. Predominant visual themes are flowers, birds, hands, children, and cherubs. Others include a dog holding a guitar, a quill pen, a G.A.R card, and an "Imp Card" showing a devil holding a sign to read "I AM ___ WHO THE [DEVIL] ARE YOU."

A "Gold Escort" card has the text "I beg the blissful felicity of being honored with your gracious condescension to the extent of allowing your humble servant to escort you to your leafy bower this balmy eve. Say yes, fair lady!"