Collections

The Boston Mob Pennsylvania Tour and Cross-Country Tour photograph albums contain pictures taken during travels in the Mid-Atlantic States, the northern Midwest, Colorado, and California in the early 1890s. The photographs show city scenes and buildings, natural scenery, and travelers.

The Boston Mob Pennsylvania Tour and Cross-Country Tour photograph albums contain 213 pictures taken during travels in the Mid-Atlantic States, the northern Midwest, Colorado, and California in the early 1890s. Each album is 29cm x 35cm with titles stamped in gold on the front covers. Most photographs are captioned.

The first volume, "Pennsylvania Tour 1891," contains 77 items, comprised of 15.5cm x 20cm prints pasted one to a page and 9cm x 12cm prints pasted three or four to a page. The first 7 pictures and the final picture were taken at Gettysburg, Pennsylvania, including views of battlefield monuments and a military cemetery. The photographer also traveled to Luray, Virginia; Baltimore, Maryland; Washington, D.C.; and Richmond, Virginia. A few shots are group portraits of male and female tourists, who posed once in a railroad car by a banner reading "Boston Mob," and many others are images of city streets and natural scenery, including a series taken in and around a natural bridge and Cedar Creek in Virginia. While visiting Washington, D.C., the compiler photographed landmarks such as the Washington Monument, United States Treasury, White House, and State, War, and Navy Building. Ferries, horse-drawn trolleys (running on tracks), trains, bridges, and railroad depots are visible in many photographs. Of note is an aerial photograph of the White House and surrounding buildings taken from the top of the Washington Monument and a group of 5 items showing African American children playing on a street in Luray, Virginia.

The second volume, "Across the Continent 1892," contains 136 photographs (9cm x 12cm each), usually pasted four to a page. Most items are views of buildings and natural scenery in locations such as Niagara Falls; Sioux City, Iowa; Denver, Colorado; San Francisco, California; Los Angeles, California; Seattle, Washington; and Duluth, Minnesota, as well as other towns in Colorado and California. The pictures show donkeys, town and city buildings, a cattle ranch, and rock formations, particularly in the Garden of the Gods; the photographer visited Seattle during a snowy winter. A number of photographs show a smelter in Denver, Colorado. One group of California photographs features orange trees. Other items of note are a "Spirit Picture" of two overlapped city scenes and a shot of Grover Cleveland's inauguration on March 4, 1893.

The Brown family photograph album contains approximately 100 photographs (mostly cyanotypes) showing the home, neighborhood, family members, and friends of Phildelphia textile manufacturer Crosby M. Brown (1857-1906) and his wife Addie O. Brown (1857-?).

The Brown family photograph album contains approximately 100 photographs (mostly cyanotypes) showing the home, neighborhood, family members, and friends of Phildelphia textile manufacturer Crosby M. Brown (1857-1906) and his wife Addie O. Brown (1857-?).

The album (31 x 26 cm) begins with the birth of May Marguerite Brown in October or November, 1888, and focuses on the subsequent visits of relatives and neighbors, including the Mayers, Crosby M. Wright, and Aunt Ellen Smedley. Images include family group portraits, exterior and interior views of the large family home at 63rd and Median Streets, winter scenes at nearby parks, and views of the neighboring homes of John Bell, Mr. Hess, and Jacob Jones. Other photographs depict Brown family visits to Ellen Smedley at "Bala" in Bryn Mawr (Pennsylvania), to Norwalk (Ohio), and a fishing trip to Waterville (New Hampshire). Also included are views of mill clerk F. A. Reinstein in his office, and industrial buildings from 33rd and Walnut Streets in Philadelphia (possibly the family textile mills).

This volume (22 pages) is a typewritten biography of Elias Durand, a French immigrant who became a notable pharmacist and botanist in Philadelphia, Pennsylvania, in the mid-19th century. The biography, written by a former apprentice, concentrates on Durand's final years in France and on his pharmaceutical career in the United States.

This volume (22 pages) is a typewritten biography of Elias Durand, a French immigrant who became a notable pharmacist and botanist in Philadelphia, Pennsylvania, in the mid-19th century. The biography, written by a former apprentice, concentrates on Durand's final years in France and on his pharmaceutical career in the United States.

Durand's final apprentice wrote this biography, entitled Some Recollections of an Old Corner, in 1886. Two images are pasted into the book's opening pages: an illustration of Durand's pharmacy and a photograph of Elias Durand. The biography begins with a brief history of Durand's studies in France, as well as a description of his service as an assistant pharmacist in Napoleon's Army. The bulk of the narrative concerns Durand's experiences in the United States, first in Boston and Baltimore and then as a pharmacy owner in Philadelphia.

The author traces Durand's first jobs in America, including descriptions of Durand's encounter with a group of Native Americans outside of Baltimore (pp. 7-8) and his establishment of his own business, which he operated between 1824 and 1852. The biography frequently discusses Durand's role in the professionalization of the American pharmaceutical industry and mentions many of his accomplishments, such as his invention of an apparatus for making "carbonic acid water" (p. 10), his use of French literature and research to further American pharmacy expertise (pp. 11-12), his soda water and fruit juice concoctions (pp. 13-14), and his work bottling mineral water (p. 18). The author credits Durand with the creation of several medicines and notes the pharmacist's association with prominent Philadelphia doctors including Charles Meigs and Samuel Jackson. The biography also briefly mentions Durand's later botanical career and his personal life.

The Liberty Bell Tour photograph album contains approximately 580 photographs depicting the journey of the Liberty Bell from Philadelphia, Pennsylvania, to the Panama-Pacific International Exposition in San Francisco, California, and back again in 1915.

The Liberty Bell Tour photograph album contains approximately 580 photographs depicting the journey of the Liberty Bell from Philadelphia, Pennsylvania, to the Panama-Pacific International Exposition in San Francisco, California, and back again in 1915.

The album (40 x 28 cm) has black paper covers and 305 pages, 14 of which do not contain any photographs. The photographs are generally arranged in chronological sequence and depict loading the Liberty Bell onto parade floats and train cars, celebratory parades, gathered crowds, and individuals and groups posing with the Liberty Bell. Numerous pictures include captions referencing the locations in which they were taken. The album also contains two small maps, each showing one of the routes of the cross-county trips that the Liberty Bell took, as well as landscape photographs of scenes in the western United States. Notable persons photographed with the Liberty Bell include Thomas Edison, members of the Daughters of the American Revolution, and groups of Native Americans in Cayuse, Oregon. Landscapes pictured include views of Wyoming, Pulpit Rock, Bear River Canyon, Mount Shasta, Shasta Springs, Horseshoe Curve, Royal Gorge, the Rockies, Salt Lake, and Feather River Canyon.

The Lippincott family carte-de-visite albums contain formal carte-de-visite portraits of members of the Lippincott, Thorne, and Taylor families of Philadelphia, Pennsylvania, many in the traditional dress of Quakers. Two photographs show men in military uniform.

The two Lippincott family carte-de-visite albums (both 14cm x 11cm) contain portraits of members of the Lippincott, Thorne, and Taylor families of Philadelphia, Pennsylvania. Volume 1 has 18 cartes-de-visite and 1 tintype, and Volume 2 has 24 cartes-de-visite and 1 lithographic card. Most photographs are formal studio portraits taken by Philadelphia photographers of men, women, children and elderly women. Many are in the traditional dress of Quakers. Civil War soldiers Joshua and Powell Thorne appear in military uniforms. Several photos have revenue tax stamps. A portrait of activist Lucretia Mott by H.C. Phillips is included. Each of the volumes has a brown leather cover decorated with geometric designs. Both albums had two metal clasps; the first is missing one of two clasps and the second has both clasps intact.

This collection contains the text of two sermons given by Quaker minister Priscilla Hunt Cadwallader in 1824 and 1831, along with two copies of notes on a sermon given by Cadwallader at Philadelphia in the early 19th century.

This collection contains the text of two sermons given by Quaker minister Priscilla Hunt Cadwallader in 1824 and 1831, along with two copies of notes on a sermon given by her at Philadelphia in the early 19th century. The first item is the 4-page text of "A Sermon Delivered by Priscilla Hunt at New Bedford," dated April 15, 1824, about religious judgment, and turning to God and to the Christian faith. In a second sermon, entitled "A Sermon by Priscilla Cadwalader at Concord Quartly Meeting, held at Darby" (November 15, 1831), she discussed a range of religious topics; the 9-page document is particularly notable for its emphasis on the judgment of God and for Cadwallader's prophetic vision of the coming Civil War. She said, "I have seen Africa's sons … distinctly heard the … roar of cannons, those thunders of war approaching North America[,] raging and ransacking through the United States, with glittering clashing swords … Hath not my spiritual eye beheld brother's sword bathed in a brother's blood. Ah! My friends the clouds are rising, the tempest will come, and a more tremendous storm never beat on American Shores." The final two items in the collection are copies of identical notes, entitled "Priscilla Hunt's Exercise in Philadelphia." These notes allude to internal strife within the Society of Friends; as the author explained, " … the Trump of the everlasting Gospel would be laid down in this City because says she you have erred against the true gospel."