Collections

The Wilbur Wright Airfield photograph album contains 250 images taken by Corporal J. O. McDonnell that mainly document military activities at Wilbur Wright Airfield in Ohio during World War I.

The album (18 x 28.5 cm) is string-bound and has black leather covers with "Photographs" stamped in gold on the front and black paper pages. Images are sequentially numbered in white pencil. Contents primarily cover a range of aviation training activities and other operational aspects of Wilbur Wright Airfield. Various training aircraft are documented in detail; the majority were Curtiss JN-4s, known as “Jennys,” but the base also had some DeHaviland DH-4s. Numerous views of planes are included, showing them on the ground, in the air, and operating in all seasonal conditions. Several crash landings are also documented, with most of the wrecks appearing to be “nose-overs” (planes flipping forward upon landing) rather than high-speed crashes into the ground.

In addition to pilot training, Cpl. McDonnell also documented aspects of daily life at the base including hangars, mechanics shops, fabrication areas, and barracks. Photographs include shots of military personnel working on planes, lounging in barracks, and searching for wreckage. Also present are photographs of visitors to the base (including actress Pearl White and possibly other cast members of Pearl of the Army), the New York Times airplane, experimental plane designs (such as a dual engine biplane and innovative wing shapes), and two images showcasing the newly developed Brock Automatic Aeroplane Camera designed for aerial surveillance. Cpl. McDonnell himself may possibly appear in photograph no. 69 posing with a young woman in front of an airplane.

Other locations besides Wilbur Wright Airfield are represented in the album, including storefront views and street scenes in Mineola, New York, which may possibly have been McDonnell’s hometown. Also present are four portraits of Theodore Roosevelt giving a speech in 1917 at a racetrack in Mineola, seven images of Washington, D.C., landmarks (including four directional views taken from the top of the Washington Monument), a view of the Tijuana Fair, the Horton Plaza fountain at the Panama-California Exposition in San Diego, and six aerial photographs showing an unidentified coastal city (likely San Diego) and several ships.

Other photographs produced by Cpl. McDonnell for official U.S. Army purposes differ from those found in this album in terms of their size, content, quality of composition, and attention to staging. It is likely that he took photographs for official (and sometimes classified) purposes in his role as base photographer while also taking his own personal snapshots, the latter of which are what appears to be compiled in this album.

The Pennsylvania National Guard album contains approximately 250 images pertaining to an unidentified man’s service with the Pennsylvania National Guard Cavalry and his civilian life from circa 1916 to 1918. The vast majority of the photographs are snapshots primarily taken in Pennsylvania, Texas, and New Mexico.

The Pennsylvania National Guard album contains approximately 250 images pertaining to an unidentified man’s service with the Pennsylvania National Guard Cavalry and his civilian life from circa 1916 to 1918. The vast majority of the photographs are snapshots primarily taken in Pennsylvania, Texas, and New Mexico.

A carte de visite and postcard are loose in the front of the album. The carte de visite of an unidentified man photographed in Pottstown, Pennsylvania. The postcard depicts the Basilica of Sainte-Anne-de-Beaupré, Quebec.

The first few pages of photographs depict Mount Gretna, Pennsylvania and show the Pennsylvania National Guard’s encampment, a river (possibly the Susquehanna River), and three men identified as Captain Arthur C. Colahan, Lieutenant Edward Hoopes, and Lieutenant William P. Wattles. Only the first two pages include captions.

The next series of photos likely show the Pennsylvania National Guard's encampment near El Paso, Texas, which they occupied until early 1917. These photos show border patrol, artillery training, drills, supply wagon trains, a polo team, game of baseball, a dust devil, reconnaissance aircraft, cavalry maneuvers, and a cavalry charge.

Interspersed throughout are photographs of civilian and family life. These images include a woman and newborn child, likely the unidentified compiler's wife and child. Some of these photos show picnics, a bullfight, racehorse track, a ranch, and scenic landscapes. Many show small towns and vernacular architecture, specifically mission style which was common to the area. Of particular note is a parade with a large sign, "We're from El Paso Tex/ Berlin or Bust."

The remaining portion of the album contains images of Texas, showing scenes at a park, the Capitol Building, and more family photos. Other identifiable locations include the Alamo, Kern Place, Hotel Sheldon (El Paso, Texas), and Elephant Butte Dam and Reservoir.

The Wisconsin and Minnesota friendship photograph album contains approximately 245 photographs documenting a friend group of young women.

The Wisconsin and Minnesota friendship photograph album contains approximately 245 photographs documenting a friend group of young women.

The album (18 x 29.5 cm) has black cloth covers and black paper pages. Contents generally progress chronologically starting from the 1910s while the friend group appears to be in college before documenting their lives once they get married and start having families. Numerous images have witty captions, likely referencing inside jokes. Photographs primarily consist of individual and group portraits showing the women partaking in various activities including striking comical poses together, attending costume and fraternity parties, holding picnics, and going on various other adventures. Also present are views of the University of Wisconsin-Stout in Menominee, Wisconsin, Hamline University in Saint Paul, Minnesota, and Loring Park in Minneapolis, Minnesota. Halfway through the album begins to document members of the friend group getting married and starting families of their own, with photographs mainly depicting young children, homes, and group vacations including a trip to Salt Lake City, Utah. The last few pages also include images of a World War I-era soldier and nurses with facemasks (possibly indicating involvement with treating Spanish influenza victims).

Photographs showing instances of blackface and other racially insensitive costumes are present.

The George E. Boggs collection contains one photograph album, one letter, and one box of ephemera. These materials document the First World War service of George E. Boggs and to a lesser extent his brother Hamilton Irwin Boggs. Also included are numerous photographs of the Boggs family both prior to and after the war.

The George E. Boggs collection contains one photograph album, one letter, and one box of ephemera. These materials document the First World War service of George E. Boggs, and to a lesser extent his brother Hamilton Irwin Boggs. Also included are numerous photographs of the Boggs family both prior to and after the war.

The album does not have a strict order; many photographs from Boggs’ time in France are interspersed with images of family and at training camps in the United States prior to going to France. Captions are apparently written by both George Boggs and his mother Caroline. The majority of the images from France are of Châtillon-sur-Seine but other places are also represented. Please see the Subject Terms for a more complete list of locations.

• George and Hamilton Irwin Boggs in uniform with their Great-Uncle James P. Boggs, Civil War veteran who was wounded at Second Battle of Bull Run (loose photo in front of scrapbook, duplicate copy on page 46)
• General Pershing awarding the Distinguished Service Cross to members of the 81st Division. (page 18)

The letter, written in France on December 28, 1918, is from Hamilton Irwin Boggs to an "Uncle Jim" (possibly his great-uncle James P. Boggs). In the letter, Hamilton Boggs gives a summary of his service in the army, and mentions George Boggs’ service.

The ephemera includes George E. Boggs' dog tags, an embroidered souvenir French handkerchief, an United States Army Air Service insignia pin, and a piece of "trench art" made from a French 75mm shell casing. Also present are eleven track and field ribbons and two medals, all from 1913-14.

The Lantern slides and glass plate negatives collection consists of approximately 1,260 magic lantern slides, glass plate negatives, and glass plate transparencies from commercial and non-commercial sources documenting a wide range of subjects.

The Lantern slides and glass plate negatives collection consists of approximately 1,260 magic lantern slides, glass plate negatives, and glass plate transparencies from commercial and non-commercial sources documenting a wide range of subjects.

The collection contains a total of 33 boxes and is loosely organized by topical groupings. The following list references individual boxes and the general nature of their contents.

• 10 x 12.5 cm glass negatives of views of Ann Arbor, Michigan, ca. early 1900s taken by an unidentified photographer. Includes views of several University of Michigan buildings, hospitals, fraternity houses, and private residences.

• Sixteen 8 x 10 cm cardboard-mounted slides showing posters for upcoming films and local product advertisements intended for use in movie theater intermissions. Producers include Excelsior Illustrating Co., Inc. and Photo Repro Co., Inc. Identified films include High Steppers (1926); The Blind Goddess (1926); Without Mercy (1926); Chickie (1925); Stop, Look and Listen (1926); West Point (1927); Pals First (1926); Ella Cinders (1926); Paying the Price (1927); The Avalanche (1919); and Turn to the Right (1922).
• Ten 7.5 x 7.5 cm slides documenting damage caused by the 1906 San Francisco earthquake (two of the slides are broken).

• 10 x 12.5 cm glass negatives including scenic views of fields, woods and towns, Canterbury Cathedral, ships in harbor, New York City streets, Coney Island beaches, street merchants, and children interacting with dogs (often humorously). All or some the images were produced by photographer William S. Pearsall in 1906 or earlier.

• Twenty-two 8 x 10 cm cardboard-mounted slides (some damaged) showing motion picture posters intended for display during movie theater intermissions with play dates handwritten in space at bottom. Dates listed range from 1918 to 1929. Identified films include The Devils Circus (1926); The Love of Sunya (1927); The Bridge of San Luis Rey (1929); Mademoiselle Modiste (1926); Classified (1925); Chang (1927); The Demi-Bride (1927); The Swell-Head (1927); Steele of the Royal Mounted (1925); The Voice of the City (1929); His Supreme Moment (1925); Monte Carlo (1926); An Old Fashioned Boy (1920); Lovers in Quarantine (1925); Riders of the Dawn (1920); Paid Back (1922); The Breaking Point (1921); and Gypsy Blood (also named Carmen - 1918 in Germany, 1921 in U.S.A.)
• Seven 8 x 10 cm hand-colored slides showing scenes from the popular book The Bad Boy and His Pa by George W. Peck produced by the Chicago Projecting Co. in 1904. Tableaux are carefully staged and elaborately tinted.

• Includes 8 x 10 cm slides showing scenes from The Bad Boy and His Pa by the Chicago Projecting Co. Other identified films include Babe Comes Home (1927); Figures Don't Lie (1927); and The Danger Girl (1916).

• Twenty-six 8 x 10 cm cardboard-mounted movie theater slides related to coming attractions or local products. One item of particular note includes a notice to female patrons that they do not need to remove their hats if they are seated in the women’s section. Identified films include The Taxi Dancer (1927); Square Crooks (1928); The City Gone Wild (1927); Too Much Money (1926); The First Night (1927); Broadway Nights (1927); Rainbow Riley (1926); The Wizard (1927); Vamping Venus (1928); The People vs. Nancy Preston (1925); Lovely Mary (1926); Rookies (1927); The Swan (1925); The Cohens and Kellys (1926); His People (1925); and My Official Wife (1926).

• Twenty-three 8 x 10 cm cardboard-mounted movie theater slides related to coming attractions or local products. Identified films include The Phantom Police (1926); The Testing Block (1920); The Brute Master (1920); The Cowboy Ace (1921); The Song and Dance Man (1926); His Brother's Keeper (1921); Private Izzy Murphy (1926); The Wanderer (1925); Eve's Leaves (1926); Good and Naughty (1926); It's The Old Army Game (1926); Vanishing Trails (serial, 1920); Don't Shoot (1922); The Whirlwhind of Youth (1927); The Shield of Honor (1927); Across to Singapore (1928); Naughty But Nice (1927); The Barrier (1926); For The Love of Mike (1927); The Dark Angel (1925); Keeping Up With Lizzie (1921); and Top O' The Morning (1922).
• Seven 8 x 10 cm slides (mostly duplicates) related to the Yale “Pageant of America” series showing damage in the aftermath of World War I.
• One 8 x 10 cm slide showing an ancient Egyptian tablet depicting battle.

• Twenty 8 x 10 cm slides documenting various activities in the town of Fitchburg, Massachusetts, around the turn of the 20th-century, including a hot-air balloon excursion and a fire engine race, along with other local scenes.
• Thirty-nine 8 x 10 cm slides showing scenic views (some hand-colored) in New Jersey and New York between 1896 and 1907. Most are attributed to Dr. J. T. Morehouse, but other noted contributors include the Charles Beseler Co., Dr. Ferdinand G. Kneer, William Archibald, and George W. Lamoreux. Items of particular interest include an aerial view of lower Manhattan; a map of New Jersey showing holdings of Esso; and a hand-colored view of a high railroad bridge in Portage, New York.

• Twenty 8 x 10 cm slides by Ann Arbor photographer George R. Swain documenting select manuscripts and maps from the William L. Clements Library.
• One 10 x 12.5 cm glass negative view of the Clements Library exterior.
• Seven 8 x 10 cm slides of outdoor scenes in Alaska and California from around 1900.
• Two 8 x 10 cm copy negatives of elaborate unidentified interiors.

• Six 8 x 10 cm slides of scenes in California and British Columbia. Includes view of a redwood logging train.
• Ten 8 x 10 cm glass negatives of scenes in British Columbia, mountain views, and photos of maps.
• Four 8 x 10 cm slides by Ann Arbor photographer George R. Swain of items from the William L. Clements Library.
• Nine 8 x 10 cm slides showing people and places (notably Firle Place) in the United Kingdom during the 1920s.

• Six 8 x 10 cm slides by Ann Arbor photographer George R. Swain showing exterior and interior views of the William L. Clements Library in the 1940s.
• Twenty-four 8 x 10 cm slides by Ann Arbor photographer George R. Swain of items from the William L. Clements Library. Includes an image of materials from the Thomas Gage papers stored in one their original document chests.

• Five 8 x 10 cm slides showing unidentified locations (possibly in Alaska) produced by the Seattle, Washington studio of Asahel Curtis.
• Four 8 x 10 cm slide reproductions of paintings.
• Three 8 x 10 cm slides of miscellaneous content.

• 8 x 10 cm glass negatives documenting a 1728 French translation of an earlier memoir by Jerome Lobo regarding attempts to convert Ethiopians to Christianity. An enclosed note says slides were for “a Prestor [sic] John talk.”

• 8 x 10 cm slides from an extensive educational series on lumbering processes and techniques produced ca. 1910. Images detail the production of railroad ties, including loggers’ methods of shaping each piece with their axes, and the proper method of stacking ties. Most of these views appear to be from Michigan’s lower peninsula, but one slide is from Wyoming in 1910.

• 8 x 10 cm slides showing various stages in logging operations and mill processes in states from Maine to California. Includes one hand-colored view of a mill pond in Virginia and a map of the U.S. that renders the size of each state relative to its timber resources.

• 8 x 10 cm slides showing production stages for treenails and stulls. Also includes images of various types of mill saws in marketing photos as well as working mills.

• 8 x 10 cm slides primarily related to pulp production with views showing logging sites, stages of the milling process, and specific machinery used. Includes images showing both ox-drawn and wooden-wheeled logging wagons.

• 8 x 10 cm slides showing portable mills set up near logging sites and log flumes in various stages of construction and operation. Several images of elaborate flume constructions are present.

• 8 x 10 cm slides related to fir logging, possibly in Sitka, Alaska. Also present are a couple views showing treenail production.

• 8 x 10 cm slides showing locust logging, log loaders, and lumber yards.

• 8 x 10 cm slides showing different types of log loaders as well as maps of the U.S. highlighting population and timber resources.

• 8 x 10 cm slides related to the Lidgerwood (written as “Ledgerwood” on slide labels) logging system which made extensive use of winches and pulleys. The Lidgerwood Company was instrumental in building the Panama Canal and later developed machinery for the logging industry. Also present are more images of log loaders and diagrams/photos of mill machinery.

• 8 x 10 cm slides related to the Lidgerwood system as well as views of logging and mill operations in several states.

• 8 x 10 cm slides showing pull boats towing log rafts and various logging and milling operations.

• 8 x 10 cm slides showing finished lumber products being shipped by boat, rail, and wagon as well as images related to shingle production.

• 8 x 10 cm slides showing steps in the production of shingles, stulls, and poles as well as steps in paper production, including micro views of linen and cotton paper fibers.

• Twenty-eight 8 x 10 cm slides showing stages in paper production as well as views of portable mills and flumes, especially flume dumps.
• Ten 10 x 12.5 cm glass negatives by unidentified photographer ca. 1902 related to estate in Berlin, Maryland nicknamed “Anchuha.” Includes snapshots of house and family members.

• Despite the separate accession number, these lumbering slides appear to be from the same educational series contained in other boxes. The topics covered by the 8 x 10 cm slides in this box include agricultural use of logged spaces, large mill operations, redwood logging, steam tractors, splash dams and charcoal kilns.

• 8 x 10 cm slides covering log jams, barrel staves and cooperage, flumes, big tree logging, and maps of national forests. Non-Michigan locations also represented. Includes color slide by Asahel Curtis showing Douglas fir timbers on railroad car.

• 8 x 10 cm slides showing pole roads, agricultural use of logged land, large mills, machinery used in distillation and cooperage, logging of wide range of individual tree species. Non-Michigan locations also represented.

• 8 x 10 cm slides showing tramways, pull boats, portable mills, geared locomotives, and skidways as well as a graph comparing regional production. Nine shattered slides are present.

• 8 x 10 cm slides showing gasoline and steam skidders, lumber yards, motor trucks, and Arizona tree species. One image of particular interest shows an early Kelly truck with a full load of logs and an African American driver.

• Eight 8 x 10 cm glass negative copies of photos showing scenes in Alaska, including the Muir Glacier.
• Four 8 x 10 cm slide views of British Columbia, possibly from a Canadian Pacific Railroad car.
• Three 12.5 x 18 cm glass negative self-portraits by Charles P. Steinmetz, ca. 1904/5.
• One 12.5 x 18 cm glass negative titled “Girl on Bicycle”

The William A. Lewis photograph collection consists of approximately 1,530 items pertaining to a wide range of visual subjects that are represented across a variety of photographic formats including daguerreotypes, cartes de visite, stereographs (which form the bulk of the collection), and glass plate negatives as well as modern slides, film strips, snapshots, and postcards.

The William A. Lewis photograph collection consists of approximately 1,530 items pertaining to a wide range of visual subjects that are represented across a variety of photographic formats including daguerreotypes, cartes de visite, stereographs (which form the bulk of the collection), and glass plate negatives as well as modern slides, film strips, snapshots, and postcards.

The subject matter of this collection is thematically and chronologically diverse and reflects the broad interests of the collector, with the U.S. Civil War and 19th-century views of American and European cities being particularly well-represented topics. The collection is organized into four main series according to subject matter and is further divided into specific subject groupings within each series. In most cases, multi-item sets have been kept together and placed within the most generally appropriate subject grouping. An extensive number of photographers and publishers are represented throughout the collection including the likes of H. H. Bennett, C. B. Brubaker, John Carbutt, Centennial Photographic Company, B. F. Childs, E. & H. T. Anthony & Company, Alexander Gardner, T. W. Ingersoll, International Stereoscopic View Company, Keystone View Company, William Notman, Timothy O'Sullivan, William Rau, Strohmeyer & Wyman, Underwood & Underwood, and F. G. Weller.

The following list provides a breakdown of every topical subsection of the collection and includes item counts for each grouping:

• Airships (11)
• Bridges (69)
• Civil War I--stereographs (91)
• Civil War II--cartes de visite, Kodachrome slides, negative film strip copies of stereographs held at the Library of Congress, postcards (48)
• Disasters (49)
• Expositions (24)
• Industry & Labor (89)
• Miscellaneous (23)
• Portraits (109)
• Railroads (62)
• Ships (80)
• War (30)

• Alaska (47)
• Arizona (3)
• California (20)
• Colorado (2)
• Dakota (4)
• District of Columbia (50)
• Florida (2)
• Hawaii (1)
• Illinois (17)
• Iowa (2)
• Maine (8)
• Maryland (27)
• Massachusetts (20)
• Michigan (31)
• Missouri (3)
• New Hampshire (10)
• New York (116)
• Ohio (2)
• Oregon (2)
• Pennsylvania (16)
• Tennessee (1)
• Texas (1)
• Vermont (3)
• Utah (3)
• Virginia (6)
• Washington (1)
• West Virginia (1)
• Wisconsin (2)
• Wyoming (2)
• Unidentified locations (35)

• Austria (5)
• Belgium (6)
• Brazil (1)
• Canada (3)
• Cuba (5)
• Czechoslovakia (1)
• Egypt (5)
• England (21)
• France (43)
• Germany (14)
• Greece (1)
• India (2)
• Ireland (4)
• Italy (22)
• Japan (3)
• Mexico (1)
• Miscellaneous (31)
• Monaco (4)
• Netherlands (1)
• Norway (3)
• Palestine (5)
• Panama (41)
• Puerto Rico (3)
• Scotland (10)
• Spain (2)
• Sweden (2)
• Switzerland (9)
• Turkey (1)

• Keystone Alaska and Panama views, set box (1)
• Stereoscope (1)

• Post-WWI Keystone views of German and American zeppelins and one real photo postcard showing pre-WWI aircraft (Series I, Box 1, Airships)
• Numerous views of the Brooklyn Bridge under construction and after completion, and the Niagara Falls suspension bridge (Series I, Box 1, Bridges)
• Views of Civil War battle sites, encampments, and leaders on contemporary mounts as well as numerous reproductions of stereographs showing important battlefield sites and troops (Series I, Boxes 1-2, Civil War)
• Stereographs, real photo postcards, and other images documenting the aftermath of the 1906 San Francisco Earthquake, 1871 Chicago Fire, 1889 Johnstown Flood, 1900 Galveston Hurricane, and other calamities (Series I, Box 3, Disasters)
• Images showing scenes from various American and European events, with an emphasis on the 1876 Centennial Exhibition in Philadelphia (Series I, Box 3, Expositions)
• Images showing mills, factories and people engaged in various occupations, including a boxed set of 50 images related Sears, Roebuck operations produced around 1906 (Series I, Box 3, Industry & Labor)
• Hand-colored early groupings of French theatrical tableaux (Series I, Box 3, Miscellaneous)
• Approximately 109 portrait photographs in different formats of various individuals, including William Jennings Bryan; a boxed set of 50 cartes de visite depicting Danish actors and actresses; cartes de visite of Emperor Napoleon III and the Mikado of Japan; and numerous unidentified subjects represented in real photo postcards (1), tintypes (17), framed/cased ambrotypes, and daguerreotypes (13) (Series I, Box 4, Portraits)
• Approximately 62 images of railroads, mostly in the U.S., including photographs from an 1866 expedition to the 100th meridian on the Union Pacific Railroad while under construction (Series I, Box 5, Railroads)
• Approximately 80 images of ships including warships, freighters, riverboats, passenger ships, shipwrecks (including of the USS Maine), and shipyards mostly in the U.S. with the notable exception of a photo of the 1858 launch of the SS Great Eastern, with Isambard Kingdom Brunel possibly in the crowd. Also of interest are 8 photos and postcards showing ships in World War I-era "dazzle" camouflage (Series I, Box 5, Ships)
• A Keystone View Co. series of images related to World War I (Series I, Box 5, Wars)
• A number of images produced by Keystone View Co. and other stereograph purveyors that focus on major cities such as Boston, New York, Paris, Constantinople, and Jerusalem (throughout Series II & Series III)
• Views from geological expeditions to the American frontier in the 1860s and 1870s (Series II, Unidentified Locations)

The Edward R. Mullin, USS Albany in Asia photograph albums consist of three volumes containing images and ephemera that document an American sailor’s experiences aboard a US Navy ship in the Asiatic Fleet from 1919 to 1920.

The Edward R. Mullin, USS Albany in Asia photograph albums consist of three volumes containing images and ephemera that document an American sailor’s experiences aboard a US Navy ship in the Asiatic Fleet from 1919 to 1920.

Volume A: This album (14.5 x 21 cm) contains photographs of scenes in Panama, Hawaii, Japan, Russia, China, California, and the Philippines that mostly depict the USS Albany, American soldiers and sailors, local citizens, and tourist scenes. Numerous ephemeral items compiled by Edward R. Mullin (the album’s creator) from various foreign places are also present, including tickets, stamps, bank notes, and an Asahi beer label. Of note is a “familiar phrases” card for translating English to Japanese. On the inside back cover of the album a handwritten log lists arrivals and departures of the USS Albany, while a typescript description of a military takeover of Vladivostok, Russia, is also included.

Volume B: This album (18 x 26 cm) contains photographs of scenes in Russia and China. Images show American soldiers and sailors exploring sites and interacting with local citizens as well as natural scenery and architecture. Of note are photographs of the Great Wall and the Forbidden City in China. Some photos have handwritten captions that identify locations and/or persons pictured

Volume C: This album (20.5 x 29 cm) contains photographs of scenes in Russia, the Philippines, Panama, Japan, China, Hawaii, and California. Of note are photographs of the Panama Canal and some images showing the compiler of the album, Edward R. Mullin. Many photos have handwritten captions. Also present are various types of ephemera including a beer label, tickets, and a fabric poppy flower, as well as a photocopy of Mullin’s service record, a large portrait of the USS Albany in Shanghai, China, and a loose photo of the USS Albany in Vladivostok.

The Dudley family photograph album (15 x 21 cm) contains approximately 175 photographs of the Rhine Valley in occupied Germany at the end of World War I as well as photographs of U.S. Marine Robert W. Dudley's home and family in Medical Lake and Walla Walla, Washington, after the war and through the Great Depression.

The Dudley family photograph album (15 x 21 cm) contains approximately 175 photographs of the Rhine Valley in occupied Germany at the end of World War I as well as photographs of U.S. Marine Robert W. Dudley's home and family in Medical Lake and Walla Walla, Washington, after the war and through the Great Depression. Images related to the Allied occupation of Germany include candid and portrait photographs of American soldiers; images of Coblenz and street scenes in Neuweid and Rengsdorf; images of an aviation field near Andernach; a postcard from the Jewish Welfare Board with an illustration of the ocean liner S.S. George Washington,; and several photographs of the River Rhine itself, including an image of a pontoon bridge opening to let an excursion boat pass. Post-war images from Washington include views of horse-drawn plows, Medical Lake Firemen, a camping trip, and numerous children. A large number of images have manuscript captions.

The album has a black cloth cover tied with string and is housed in a light blue box.

This collection is made up of letters that Jewish Sergeant Alvin Hoffa wrote to his uncle, Isaac Heidenheimer, and his cousin, Howard Heid, while stationed in France with the United States Army's 325th Infantry Regiment immediately after World War I.

This collection (5 items) is made up of letters that Jewish Sergeant Alvin Hoffa wrote to his uncle, Isaac Heidenheimer (4 items), and to his cousin, Howard Heid (1 item), between December 3, 1918, and March 5, 1919. At the time, Hoffa was stationed in Chambéry and Cerons, France, with the United States Army's 325th Infantry Regiment, Company A. Hoffa described his postwar time in France, where he and other American soldiers were "leading the life of Riley" (March 5, 1919). He mentioned activities such as YMCA-sponsored sightseeing trips, a vaudeville show, daily band concerts, and bike riding. He reported that the army provided soldiers with hotel rooms, free haircuts, and new, clean clothing for the journey home. Though he was "so use to hearing shells & bullets, that I am lost in this quiet little village" (January 18, 1919), Hoffa was content to remain in France while other troops embarked for home. Some of the letters are written on stationery of the Red Cross and the YMCA.

The City of Boston Public Celebration July 4th, 1918, photograph album contains 81 photographs documenting Fourth of July celebrations that took place in Boston, Massachusetts, in 1918.

The City of Boston Public Celebration July 4th, 1918, photograph album contains 81 photographs documenting Fourth of July celebrations that took place in Boston, Massachusetts, in 1918.

The album (39 x 28.5 cm) is sting-bound and has gray cloth covers with "Photographs" stamped in gold on the front and black paper pages. The first page contains a handwritten label that reads "City of Boston July 4th, 1918." Most but not all images include handwritten captions. The album's contents are grouped into three sections marked by handwritten labels: “Patriotic Exercises,” “Sports and Pastimes,” and “The Parade in the Evening."

"Patriotic Exercises" begins on pg. 3 and contains 19 photographs. Images include several views showing Boston mayor Andrew James Peters overseeing flag raising exercises performed by uniformed U.S. Army soldiers on Boston Common; views of a floating stage at Frog Pond; three photographs of speakers at the Old State House including Rabbi Abraham Nowak, Mayor Peters, and Walter A. Whelan; and two photographs related to a speech by Judge Joseph J. Murley at Wood Park Island.

“Sports and Pastimes” begins on pg. 43 and contains 35 photographs. Images include numerous views of swimming and boat races held at the Charles River Basin; views showing a baseball game, brass band performance, and parading Naval Battalion at Wood Island Park; views of the “Italian populace,” “Italian societies,” and others at North End Park; views showing the distribution of ice cream at the Charles River Gym and Prince Street Playground; views of athletic competitions taking place at Boston Common including foot races and tug of war; and a view of bathers at City Point.

"The Parade in the Evening" begins on pg. 115 and contains 27 photographs. All of these images showcase participants in a parade procession and include views of U.S. Army troops and the 10th Massachusetts State Guard, various ethnic groups (including Latvians, Italians, Portuguese, Albanians, Chinese, Greeks, and Armenians), a coordinated group of children in formation as a "living flag," and the Mission Church Band.