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The English carte de visite album (14.5 x 20.5cm) is a 50 page leather album containing portrait photographs of individuals and couples as well as two Italian views. Many of the images in the album were taken by well-known photographers such as André-Adolphe-Eugène Disdéri, Napoleon Sarony, and Félix Nadar.

The English carte de visite album (14.5 x 20.5cm) is a 50 page leather album containing portrait photographs of individuals and couples as well as two Italian views. Many of the images in the album were taken by well-known photographers such as André-Adolphe-Eugène Disdéri, Napoleon Sarony, and Félix Nadar. The photographer's logo of each photograph is visible on the opposite side of the page, and some of the photographs contain hand-written biographical notes on the back.

Individual portraits in the album include those of Dr. Thomas Hodgkins (1798-1866) and his wife Sarah Frances Hodgkins (1804-1875), as well as of Charles Ferdinand, Prince of Capua (1811-1862) and his wife Penelope Smyth, Countess of Mascali (1815-1882). Of note is a portrait of a man taken by Sarony that has on its verso the manuscript inscription "Timothy Harrison/ Richmond/ Indiana." There is a Timothy Harrison, orginally from England, who was buried in Earlham Cemetery in Richmond, Indiana in 1881 at the age of 48. This is presumed to be the man depicted in the portrait.

The Episcopal bishops carte de visite album contains 35 carte de visite photographs of American episcopal bishops and reverends. The cartes de visite date from ca. 1860 to 1870. Most images include handwritten inscriptions stating the name of the subject.

The Episcopal bishops carte de visite album contains 35 carte de visite photographs of episcopal bishops and reverends from throughout the United States during the 1800s. The carte de visites date from ca. 1860 to 1870. Most images include handwritten inscriptions stating the name of the subject.

The album is 12.5 x 16 with brown leather covers.

This journal recounts the author's travels in Europe between December 1863 and September 1865. He visited England, France, Italy, Switzerland, and Germany, though he spent most of his time in Paris, France; Rome and Elba, Italy; and Heidelberg, Germany. The journal records the author's impressions of local people and customs, his efforts to learn various European languages, and the friends he met while abroad.

This journal recounts the author's travels in Europe between December 1863 and September 1865. His first entry, in December 1863, documents his recent transatlantic voyage from New York to Liverpool, including rough weather while on the Atlantic Ocean. He composed entries sporadically through September 1865, recording his impressions of cities and people he encountered while traveling. After spending a few days sightseeing in London, he left for Paris, where he remained until March 1864. While in Paris, he attempted to learn French, saw numerous famous buildings and other sights, attended balls, and befriended local students.

He stayed in Italy from March to April, during which time he climbed Mount Vesuvius, visited Pompeii, and became acquainted with a pastor, with whom he traveled to Elba for a visit of about a month. He remained in the country after leaving Elba and provided descriptions of prominent Italian cities he encountered on his way to Geneva, Switzerland, such as Leghorn and Florence. After his stay in Geneva, he left his journal and most of his possessions behind as he traveled throughout Switzerland and northern Italy with only a knapsack, an experience he wrote about after his arrival in Heidelberg, Germany, which he reached before August 14. Once in Heidelberg, he recorded his thoughts about the local culture, the influence of university students, and visits to a local castle. Though his entries became more sporadic after August 1864, the journal reflects his subsequent travels to Bavaria and throughout Germany, northern Italy, and Austria, with detailed descriptions of scenery and of his experiences. While in Germany, he occasionally commented on Gothic architecture, and one late entry relates his experiences on a recent deer hunting trip. The final entry was composed around mid-September 1865.

This collection contains correspondence related to the Fellows family of Richland, New York (30 items), as well as letters addressed to Walter Hollister of Mexico, New York, and other recipients (16 items). Charles A. Fellows wrote to his family in Richland after moving to the Midwest in the 1840s; Walter Hollister received letters from friends and family in New York and Iowa.

This collection contains correspondence related to the Fellows family of Richland, New York (30 items), as well as letters addressed to Walter Hollister of Mexico, New York, and other recipients (16 items). Charles A. Fellows wrote to his family in Richland after moving to the Midwest in the 1840s; Walter Hollister received letters from friends and family in New York and Iowa.

Charles A. Fellows wrote a series of letters to his parents, Amos and Lovina Fellows, and his brother, Ira G. Fellows, after moving to the Midwest around 1843. Fellows reported on life in Racine, Wisconsin, and Ottawa and Pontiac, Illinois. Fellows urged his parents to join him on the frontier, described local scenery, and occasionally commented on crop prices. He received letters from family members in New York, who reported on news from Richland, including epidemics, family health, and local deaths; Fellows's sister Louisa also provided updates from Pulaski, New York. During the late 1840s, Ira Fellows received letters from Albert West in Troy, New York, in which West reported on his social life and visits to the local museum. A letter to Amos Fellows dated August 27, 1849, pertains to Charles's death.

The second group of correspondence (14 items) contains letters that Walter Hollister of Mexico, New York, received from family and friends in New York, Illinois, and Iowa between 1856 and 1884. The collection also contains 2 letters Darius C. Broughton received from his wife, Bedee Broughton, in 1863, and a Christmas greeting Broughton received from his mother while serving with the 147th New York Infantry Regiment in 1892.

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 album contains gem tintype photographs of men and women of various ages, including young adults and children. One tintype shows a dog sitting on a chair.

This album (8.5cm x 8.5cm) contains 69 tinted gem tintype photographs of men and women of various ages, plus an image of a dog sitting on a chair. Each tintype is placed four to a page, in oval windows about 2.2cm high and 1.7cm across. A few of the people pictured wore accessories such as scarves and hats, and the men, who outnumber the women, appear with facial hair in numerous styles. The album's red leather cover has a raised geometric design on the front and back and previously included a metal clasp.

The Grisson family photograph album contains 31 portraits of men, women, and children taken in Michigan.

The Grisson family photograph album contains 31 portraits of men, women, and children taken in Michigan.

The album (28 x 22 cm) has an ornate design with faux wood paper pages. The first page states "Return to M. L. Grisson Grand Ledge, Mich.," indicating that the album may possibly have belonged to Maybel L. Grisson (1876-1954). Images of note include portraits of a family holding a card photograph and a family posing in front of a house.

The Hair documents, ephemera, and prints collection is comprised of 103 items, mostly printed materials related to hair, shaving, and wigs. Included are ephemeral advertisements, trade cards and price lists, government acts relating to hair and wigs, manuscript letters and indentures, caricatures and cartoons, broadsides, sheet music, other miscellaneous prints, and one braided lock of hair.

The Hair Documents, Ephemera, and Prints collection is comprised of 103 items, mostly printed materials related to hair, shaving, and wigs. Included are ephemeral advertisements, trade cards and price lists, government acts from British monarchs George II and George III relating to hair and wigs, manuscript letters and indentures, caricatures and cartoons, broadsides, sheet music, other miscellaneous prints, and one braided lock of hair. The material spans from 1717 to the late 1980s, with the bulk of materials dating from the late eighteenth century to the end of the nineteenth century. A majority of the materials are from England, although some are from Belgium, France, Switzerland, and Scotland. Many of the items are satirical and are commentary on fashion and the idea that the local barber was the "jack of all trades." Two similar items, a comical manuscript resume of "Isaac Morgan" and a fictitious advertisement for the varied services of "Isaac Factotum" offer exaggerated illustrations of how a barber did more than cut hair. Of interest is a series of mid-nineteenth century Valentines which center around the love-lives of barbers. Also included is a letter from Alex Campbell to his relative John Campbell, the Cashier of the Royal Bank of Scotland during the Jacobite rising of 1745. There is also sheet music from the composer (Franz) Joseph Haydn (1732-1809), A Pastoral Song, better known as My Mother bids me bind my hair. Of note are prints by British satirists William Hogarth, Isaac and George Cruikshank, and Thomas Rowlandson.

The Historical views of Malden album contains approximately 200 items including photographs, reproductions, prints, newspaper clippings, and maps related to the history of Malden, Massachusetts.

The Historical views of Malden album contains approximately 200 items including photographs, reproductions, prints, newspaper clippings, and maps related to the history of Malden, Massachusetts. The album (26 x 31 cm) is largely disbound with black cloth covers. Many items are loose.

Items of interest include images of street scenes, commercial buildings, schools, houses, gravestones, plaques, monuments relating to the history of Malden (with particular attention paid to the homes of the Winship, Sprague, and Waite families), and several group portraits of Malden students including "Malden High School Cadets" in uniform holding bayoneted rifles and the Centre Grammar School graduating class of 1883 at their school desks. Also present are images of interior and exterior views of city hall (festooned for the 250th anniversary in 1899), and Massachusetts Governor Curtis Guild dedicating Bell Rock around 1905.

Two maps showing Malden in 1852 and 1856 as well as a laid-in negative photostat showing "Sales at auction of the pews in Malden Meeting House, January 13th, 1803" replete with names and prices are also included

This photograph album contains portraits of direct descendants of Elijah Hubbell and Hannah Fields of Danbury, Connecticut, as well as members of associated families, including the Van Allen family of Janesville, Wisconsin, and the Lynes family of Otsego County, New York.

This album (16cm x 12cm) contains 36 carte-de-visite and two tintype portraits of members of the Hubbell family, Van Allen family, Lynes family, and others. The Hubbell and Lynes families lived in northern and central New York, and the Van Allen family lived in Janesville, Wisconsin. Formal studio portraits show men, women, and children of various ages, and some individuals are pictured more than once. Most of the photographs are labeled, and labels exist for some items that are no longer present. The covers are bound in green cloth, with a decorative design in relief.