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

This album contains autographs of the acquaintances of Adelaide Harris Davis of Cambridge, Massachusetts, collected between 1859 and 1864. Adelaide was a student at Elizabeth Cabot Cary Agassiz's day school, and received autographs from Elizabeth Cabot Cary Agassiz, Louis Agassiz, and Alexander Agassiz, who taught at the school, as well as friends, primarily female. The volume also has several black-and-white engravings. A circular letter is laid in and a tuition receipt is housed separately.

This album (101 pages) contains autographs of the acquaintances of Adelaide Harris Davis of Cambridge, Massachusetts, collected between 1859 and 1864. The front and back covers are decorated with imprinted artistic details and text reading "Album of Remembrance;" the album was printed by Leavitt & Allen of New York. Charles F. D. wrote a note on the first page celebrating many of Adelaide's virtues and recording his presentation of the album to her on February 22, 1859. Most of the acquaintances who signed the album were female, and some noted their locations or the date. Adelaide collected a majority of the signatures between 1859 and 1861 and one in 1864. Most signers were from Cambridge, Massachusetts, but contributors also came from New York, Vermont, and Iowa, as well as other towns in Massachusetts. Some included short mottos, such as Augusta M. Stevens, who inscribed a Shakespeare quotation (p. 55).

• [Miel] E. Berlancourt (poem in French) (p. 19)
• Alice C. Gates (p. 23)
• Francena Danforth ("Sweet be her dreams, the fair, the young," by Barry Cornwall) (p. 47)
• Lizzie Howe ("Watch and pray! The world deceiving…," by M. A. Dodd) (p. 57)
• "Belle" (p. 61)
• Sarah A. Manoun (p. 63)
• Sarah C. Fisher (p. 67)
• Carrie L. Fisher (p. 75)

• L. E. Agassiz (p. 79)
• E[lizabeth] C[abot Cary] Agassiz (p. 79)
• A[lexander] Agassiz (p. 83)
• Li. Agassiz (p. 93)

Several black-and-white engravings depict women at leisure and other scenes. An undated circular letter laid into the volume appeals to former students of the Agassiz day school to contribute to a gift prior to the school's having to close on June 26, 1862, because of the Civil War. A receipt, housed separately, records Eliphalet Davis's payment of $37.50 for one quarter's tuition at the Agassiz school (June 27, 1861).

The Allen family photograph album contains carte-de-visite and tintype portraits of various individuals, including members of the Allen family of Mayville, Michigan.

The Allen family photograph album (13cm x 10cm) contains 22 cartes-de-visite, 13 tintypes, one lithograph, and one printed card. The cartes-de-visite and tintypes are studio portraits of men, women, and children. Most items show a single person, though some, such as a woman and a young baby, were photographed in pairs. The lithograph depicts a young girl holding a dog. An educational card, one of a series of "Little People Lesson Pictures" issued by the American Sunday-School Union (volume IV, number 1, part 5), is laid into the volume. The card has a colored print of a Biblical scene entitled "Beginning of the Hebrew Nation," and the reverse side has questions and answers about Abraham's journey to Canaan. The cartes-de-visite were made by photographers in locations such as Imlay City, Michigan; Owosso, Michigan; and Peterborough, Ontario. The volume's covers are leather, with a Maltese gold-embossed cross stamped in relief on each side.

This collection is made up of correspondence and legal documents pertaining to Martha Bradstreet of northern New York State. Much of the material pertains to Bradstreet's efforts to recover titles to her inherited land along the Mohawk River. The collection also contains materials related to Samuel Bradstreet and a group of Civil War letters from Silas E. Crandall to Phoebe Bradstreet.

This collection is made up of correspondence and legal documents pertaining to Martha Bradstreet of northern New York State. Much of the material pertains to Bradstreet's efforts to recover titles to her inherited land along the Mohawk River. The collection also contains materials related to Samuel Bradstreet and a group of Civil War letters from Silas E. Crandall to Phoebe Bradstreet.

The Martha Bradstreet Papers are divided into subseries of Martha Bradstreet Correspondence (126 items) and Martha Bradstreet Documents (25 items). The correspondence, including letters by and to Martha Bradstreet, largely pertains to her legal and financial affairs. Many items concern disputes over the land she inherited in upstate New York. Bradstreet's personal correspondence includes letters that she received from her children while traveling and letters to her children and others about their personal activities, such as her daughter Sarah's return to an abusive husband (November 26, 1840). Bradstreet's children wrote to one another about their personal lives, their mother's legal difficulties, and finances. The series' legal documents concern Bradstreet's New York property disputes, the will of Elizabeth Livius, and a civil suit between Elizabeth C. Bennett and Washington Garlock. A map of Mary Bradstreet's land along the Mohawk River is housed in the Map Division.

The Samuel Bradstreet Correspondence (138 items), dated 1800-1866, reflects the contentious relationship between Martha Bradstreet, her brother Samuel, and her husband, Matthew Codd, particularly with regard to real property and inheritance. The series includes several items written by Samuel's sons and grandsons.

The S. E. Crandall and Phoebe Bradstreet Correspondence (12 items) largely consists of letters that S. E. Crandall sent to Phoebe Bradstreet, whom he addressed as "Mother," while serving in the 17th Army Corps during the Civil War. He discussed his experiences in and around Atlanta, Georgia. He also sent letters before and after his military service about his life in Minnesota and about possible conflicts with the Sioux Indians (June 6, 1863).

The Photograph is a large portrait of a woman, mounted in a card frame.

The Buffalo Soldiers carte-de-visite album contains cartes-de-visite and tintype photographs of African American soldiers, civilian men and women. Some of the photographs were taken in Webster, Dakota Territory (now South Dakota).

The Buffalo Soldiers carte-de-visite album contains 16 cartes-de-visite and 7 tintype photographs taken circa 1870s and 1880s, now housed separately. Included are formal studio portraits of unidentified African American and Caucasian civilians and soldiers. Some individuals posed in pairs or groups. Many of the photographs, including some of the cartes-de-visite of African American soldiers, were taken in the Dakota Territory. The original album (12cm x 15cm) has covers bound in blue cloth; a metal shield is attached to the front cover.

This collection consists of the incoming correspondence of Catherine M. Barker of Guilford, Connecticut, who received letters from family members and acquaintances during the mid-19th century. Her sister Mary wrote of her search for work in New Haven, Connecticut, and other correspondents commented on their social lives in Connecticut and New York.

This collection consists of 34 incoming letters addressed to Catherine M. Barker of Guilford, Connecticut, who received correspondence from female family members and acquaintances during the mid-19th century. Her sister, Mary A. Barker, wrote the first 8 letters while seeking work in New Haven, Connecticut, between 1856 and 1863. She occasionally discussed her experiences as a laborer in a garment factory and provided news of her social life. She described the boarding house where she lived and a visit to a performance hall, where she saw a show by French acrobat Charles Blondin (March 23, 1861). At the outbreak of the Civil War, Mary mentioned the local scramble for news, and lamented that war seemed to be the sole topic of conversation.

The letters Catherine received after 1869 originated from multiple acquaintances, primarily female, who discussed their social lives in Connecticut and New York. Emma Scranton (later Leete) wrote 6 letters to Catherine, commenting on a visit to P. T. Barnum's circus (January 8, 1873), urging Catherine not to marry her beau, Edgar (undated), and offering updates on her social life. Other correspondents planned upcoming visits with Catherine, and one friend, Ruthie, described her shock upon hearing that a friend's wife had left him.

The C. E. DuBois photograph album contains photographic prints taken in and around Hoboken, New Jersey, circa 1870s. Many of the pictures are group portraits and views of building exteriors, including firefighters posed with a hose carriage, and the Hoboken Yacht Club.

Collection Scope and Content Note:

The C. E. DuBois photograph album (27cm x 34cm) contains 42 photographic prints taken in and around Hoboken, New Jersey, circa 1870s. The prints range in size from about 5.5cm x 6.5cm to 21cm x 13cm. Many are framed with hand-drawn, colored borders, sometimes with decorative or floral designs; one border has small drawings of an anchor and United States flag and one has small drawings of firefighters' equipment. Four items' borders include captions: "A Votre Santé" (a group of men sitting around a table with drinks), "H.Y.C." (Hoboken Yacht Club), "Oceana Hose" (horse-drawn firefighters' hose carriage), and "Martha Institute." The album's green cloth cover has a plate with the name "C. E. Dubois" in block letters.

The majority of photographs show individuals or groups of people and building exteriors, including urban residential and commercial buildings. The first seven pictures are studio portraits of unidentified individuals, and the album contains 13 additional photographs of two or more people on a porch and in gardens. Images include two men playing a game of chess on a porch, a group of men relaxing and drinking on the same porch, and a group standing on the dock at the Hoboken Yacht Club. The remaining pictures focus primarily on other subjects. Fifteen are images of homes, commercial buildings, gardens, a gazebo, and a view of the Cranford (New Jersey?) train station, and the Martha Institute of Hoboken. The album contains four views of the Hoboken Yacht Club in which ships' masts are sometimes visible. The final two photographs are related to the "Oceana Hose" firefighting company a picture of a horse-drawn hose carriage and a view of the firehouses for "Oceana" and "Excelsor" alongside a saloon and another business. Firefighters in top hats appear in both of these photographs. Also of note is a photograph of a group of women on a porch viewing a photograph album.

The Covington family album contains formal studio portraits of members of the Covington family and other individuals taken in Pennsylvania, Delaware, and Maryland around the 1860s. The volume also includes two colored lithographs.

The Covington family carte-de-visite album (13cm x 16cm) contains 25 carte-de-visite and 7 tintype photographs of members of the Covington family and other individuals; an empty paper frame is laid into the volume. The formal studio portraits, which show men, women, and children, were taken in Philadelphia, Pennsylvania; Baltimore, Maryland; Wilmington, Delaware; and other locations around the 1860s. One man is shown with a cigar or similar object in his mouth. Two colored lithographs depict a young girl waking up on "Christmas Morning" and a yellow "Persian Rose." The album's brown leather cover has tooled geometric designs and two metal clasps.

The Dolph family carte-de-visite album contains formal studio portraits, many taken by the Dolph Brothers of Erie, Pennsylvania, around the 1860s-1870s. The photographs show both men and women, and two are artistically posed scenes.

The Dolph family carte-de-visite album (16cm x 13cm) contains formal studio portraits, many taken by the Dolph Brothers of Erie, Pennsylvania, around the 1860s-1870s. This album may have been compiled from loose photos acquired at an estate sale by collector and donor Frederick P. Currier. The photographs, comprised of 42 albumen print cartes-de-visite and 5 tintypes, mostly depict men and women, though a few include children. Some items are hand-colored. Many of the subjects are identified by name, and several are labeled on the back "Dolph home," possibly by the collector and donor. Dolph family members include Albert W. Dolph in a military officer's uniform, Mr. and Mrs. J.H. Dolph, and James or Joseph Dolph. A photograph of two men in close conversation, one with a straw hat, pipe and large book in his lap, the other in a top hat and cane, may be of the Dolph brothers themselves; a man beside a mirror that shows his reflection may be a portrait of Jas. Dolph. Also of note is a double portrait of unidentified albino twins. The album's brown leather cover has a geometric design in relief and is closed with two metal clasps.

The Fiske carte-de-visite album contains formal studio portraits of various men and women, most of whom are unidentified. The photographs were taken in locations such as New York City; New Haven, Connecticut; and Litchfield, Connecticut.

The Fiske carte-de-visite album (13cm x 9cm) contains 9 cartes-de-visite and 3 tintypes, all of which are formal studio portraits of men, women, and a young boy. With the exceptions of a young boy named "Ralph," a woman identified as a daughter of [Sereno] Scranton, and Reverend Samuel A. Fisk, a Civil War officer pictured in his uniform, the subjects are anonymous. Some of the pictures were taken in locations such as New York City; New Haven, Connecticut; and Litchfield, Connecticut. The album, which may have belonged to Albert Mentandon of "Geneva," has a cloth cover with a floral pattern stamped in gold.

This collection contains World War II-era correspondence between Garrison ("Garry") and Jane Dover of Queens, New York, as well as letters that Garrison Dover received from other family members. Jane told Garrison, an army private, about her social activities, her work, and life on the home front; he wrote about his affection for her and his uncertainty about overseas deployment while stationed at the Aberdeen Proving Ground in Maryland and at Camp Beale, California.

This collection (96 items) contains World War II-era correspondence between Garrison ("Garry") and Jane Dover of Queens, New York, as well as letters that Garrison Dover received from other family members.

Jane Dover wrote the majority of the letters, describing her life and social activities on the home front and commenting on her work for a temp agency, finances, and, on one occasion, the effect of the Victory Tax on her paycheck (October 29, 1943); she frequently sent money to her husband. Her letters also reflect Garrison's updates about his training at the Aberdeen Proving Ground from October 1943-March 1944.

Between March 17, 1944, and April 10, 1944, Garrison Dover wrote 12 letters to his wife from Camp Beale, California, where he anticipated being sent overseas. He described his travels to Sacramento on weekend passes and various aspects of camp life. On May 23, 1944, his wife reported that a Ouija game had predicted his return home on April 2, 1945, and she sent him a birthday card in late August. Her letter of September 14, 1944, mentions a hurricane threatening Atlantic City, New Jersey. Jane also wrote about the 1944 presidential election, including her growing distaste for Franklin and Eleanor Roosevelt (September 26, 1944) and a literacy test she underwent as a first-time voter (October 12, 1944). Her final letter to Garrison is dated February 7, 1945, during his recovery at Mason General Hospital in Brentwood, Long Island. The collection also contains a card that Jane wrote to her husband in June 1945, while he lived and worked in Utica, New York, and letters that Garrison Dover received from family members.