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This collection contains correspondence between Antonio C. Maden of Cárdenas, Cuba, and Saratoga Springs, New York, and his wife, Kathleen Duryea of Bensonhurst, Brooklyn, New York. The couple exchanged letters about their lives in Cuba and New York in the late 19th and early 20th centuries.

This collection (1.5 linear feet) contains correspondence between Antonio C. Maden of Cárdenas, Cuba, and Saratoga Springs, New York, and his wife, Kathleen Duryea of Bensonhurst, Brooklyn, New York. The couple exchanged letters about their lives in Cuba and New York in the late 19th and early 20th centuries.

The Correspondence series (around 350 items) mainly contains personal letters that Maden and Duryea exchanged from 1895-1912, before and during their marriage. In 1895 and 1896, Maden reported on life in Cárdenas and Varadero, Cuba, during the Cuban War of Independence, commenting on military developments, political issues, and his plans to travel to New York. In his letter of October 13, 1895, he enclosed a chart from the New York & Cuba Mail Steamship Co., including his notes about the journey to Cuba. Duryea wrote about her social life, friends, and family in Bensonhurst, and both frequently enclosed newspaper clippings containing quips, verses, and cartoons about relationships between men and women. In 1897, Maden moved to Tampa, Florida, and periodically visited Saratoga Springs, New York, while Duryea remained in Bensonhurst. In 1899, Maden wrote about his return to Cárdenas and his hemp plantation. After the couple's marriage, Duryea's siblings Robert, Edna, and Florence occasionally sent letters to the Madens in Saratoga Springs and Cárdenas. In one letter, Robert Dureya told his sister of their father's death (January 17, 1904). During Duryea's visits to Brooklyn, Maden provided her with updates about the plantation's production and about finances; one later series of letters concerns her poor health. Items dated after 1912, several of which are written in Spanish, include personal letters, newspaper clippings, prayer cards for Rosa Maden Samson, and a late letter to Kathleen Maden regarding a tax payment.

Documents and Financial Papers series (10 items) includes lists of the Maden family's expenses in Cuba, as well as receipts, accounts regarding the Madens' hemp plantation, and a Catholic Church document (in Latin).

The Photograph and Newspaper Clipping series (2 items) contains a black-and-white photograph of the Havana Cathedral and a clipping titled "Whining and Complaining Wives Often Drive Husbands from Home."

As a youth, Cletus Setley of Reading, Pennsylvania, kept this 31-page sketchbook around the period of the American Civil War. He created pencil doodles, pencil sketches, and pencil and watercolor illustrations of people, ships, caricatures (including anthropomorphic creatures), and a possible story narrative. One page is headed "1864 Members of Company," including Cletus Setley and other names organized by military rank. The volume has brown leather wrappers, and the cover reads, "No. 1 Meredith Henderson & Co."

As a youth, Cletus Setley of Reading, Pennsylvania, kept this 31-page sketchbook around the period of the American Civil War. He created pencil doodles, pencil sketches, and pencil and watercolor illustrations of people, ships, caricatures (including anthropomorphic creatures), and a possible story narrative. One page is headed "1864 Members of Company," including Cletus Setley and other names organized by military rank. The volume has brown leather wrappers, and the cover reads, "No. 1 Meredith Henderson & Co."

• Woman doing laundry/ holding washtub
• A person on horseback
• A building [bearing a similarity to John Setley's storefront]
• Woman holding a key next to a door marked "East," beside a small anthropomorphized quadruped
• Male performer or dandy
• Red and blue block text, "UNION"
• Ships in the shape of a horse, with men holding spears and shields
• Hunter aiming a gun at a stag
• Hunters shooting at elephants
• American sailing ships
• People and anthropomorphic creatures
• Man fleeing from dark-skinned persons armed with spears and other weapons
• Shipwrecks
• A lifeboat
• A storefront with a sign reading "JOHN SETLEY" listing flour, seed, and other dry goods
• Sidewheel steamboat
• One page of caricatures, anthropomorphic beings, women, witches, and devils
• Self-portrait, "The names of my valentines Squirt irish women & the Laundry women & to a Zouvave [Zouave] stingy man & the gallent [?]ing the [queshten?] grocer & long shanks"
• Self-portrait and building
• Sketch of a woman with a pipe in her teeth, labelled "IRISH WOMAN". On the same page is a pencil sketch of what may be a quilt block design.
• Performers, possibly for a circus or side-show

A few of the pencil and watercolor illustrations appear to relate to a story of hunters, possibly in Africa, their encounters with indigenous peoples, and a subsequent shipwreck.

This nineteenth-century album contains 46 once-bound pen-and-ink caricatures on heavy card stock, each card with or formerly with metal eyelets on one short edge. A pencil inscription at the back of the volume reads, "Mr. Albert L. Briggs, Providence, RI," and internal references to Providence, Rhode Island, further suggests that either Briggs or another local resident may have produced the artwork. The figures represented in the volume vary widely and some are more sympathetic or more disparaging than others. The illustrator relied heavily on exaggerated features, stereotypes, and jokes directed at people's physical appearance to provide social commentary especially on race, ethnicity, gender, and class.

This nineteenth-century album contains 46 once-bound pen-and-ink caricatures on heavy card stock, each card with or formerly with metal eyelets on one short edge. A pencil inscription at the back of the volume reads, "Mr. Albert L. Briggs, Providence, RI," and internal references to Providence, Rhode Island, further suggests that either Briggs or another local resident may have produced the artwork. The figures represented in the volume vary widely and some are more sympathetic or more disparaging than others. The illustrator relied heavily on exaggerated features, stereotypes, and jokes directed at people's physical appearance to provide especially social commentary on race, ethnicity, gender, and class.

At least seven of the illustrations relate to women, including drawings referring to women's rights and various women's roles as mothers, performers, physicians, and cooks. One, labelled "What is home without a mother," may be a reference to a song by the same name published in 1854, and it features a woman with a monstrous face. Another titled "HANNAH LONG" depicts a woman peddling "Quaker Bitters" (probably the Providence, Rhode Island, patent medicine by that name) and may be referring to Hannah Longshore (1819-1901), who graduated from the first class of the Women's Medical College of Pennsylvania in 1851.

Many of the caricatures focus on impoverished or working class people, showing individuals in tattered clothing or in lower-paying professions such as a farmer, a shoeshine, and a seeming gravedigger. A number of illustrations depict men in various stages of intoxication or alcoholism. Forms of social disorder are highlighted in caricatures of a convict and of a knife-wielding murderer labelled "THE MAN THAT KILLED JOHN GILPIN." Commentary on physical and mental disability are also represented, in drawings of a mentally ill man labelled "Luny" and a man with unaligned eyes and feet labelled "On exhibition."

Other caricatures reflect racial, ethnic, and religious stereotypes. Two racist caricatures depict African Americans, including one of a Black Congressman and one of an Uncle Remus character. Another caricature depicts a recent immigrant, while two are anti-Semitic (those labeled "The Torturer" and "NAME IT"). Two figures depict high religious figures, from Catholic or Orthodox Christian churches; one wears a robe, a fur-brimmed mitre, and snowshoes. The word "KAMSCHASA" is written near the bottom of the robe, likely referring to the Kamchatka peninsula in Russia.

Other caricatures highlight people based on their height, weight, profession (such as a king, a knight, an editor, a lecturer), or social posturing. For example, attitudes like dignity, contentment, nosiness, and bashfulness are spotlighted. Others appear more innocuous, such as illustrations of someone reading the morning newspaper and another of someone taking "Rush's Pills," but underlying subtexts for many of the images likely have additional meaning.