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The Gerald T. and Charlotte B. Maxson printed ephemera collection contains over 5,000 pieces of assorted ephemera, the majority of which were commercially printed in the United States during the mid to late 19th-century.

The Gerald T. and Charlotte B. Maxson printed ephemera collection contains over 5,000 pieces of assorted ephemera, the majority of which were commercially printed in the United States during the mid to late 19th-century.

The Maxson collection provides a valuable resource for the study of 19th-century visual culture, commercial advertising, and humor in addition to the role of gender, ethnicity, and race in advertising. American businesses are the predominant focus of the collection, though many international businesses are also represented. While trade cards are by far the most prevalent type of ephemera found in this collection, an extensive array of genres are present including die cut scrapbook pieces, photographs, engravings, maps, serials, and manuscript materials.

The 23 binders that house the Maxson collection were arranged by the collectors themselves. Items are organized somewhat randomly in terms of topical arrangement. While pockets of related materials can be found here and there (for instance, the entirety of Volume 16 contains circus-related items while Volume 11 contains an extensive number of Shaker-related materials), for the most part any given subject may appear in any given volume. In some cases, items are clustered as a result of having been acquired together or due to a documented common provenance. Occasional typed annotations written by the Maxsons help provide additional context for certain items.

The Maxson Collection Subject Index serves as a volume-level subject index for materials found throughout the binders. The subjects indexed here are generally representative of both visual and commercial content. In addition to more general subjects, many names of specific people, places, buildings, events, and organizations that appear in the materials have also been listed. Researchers engaging with this collection should be aware that they will encounter numerous examples of racist caricatures, especially ones depicting African American, Native American, Irish, and Chinese people.

The Hubble family scrapbooks consist of two volumes containing trade cards, clipped engravings, and other scrapbook materials compiled by members of the Hubble family of Monroe, Michigan.

The Hubble family scrapbooks consist of two volumes containing trade cards, clipped engravings, and other scrapbook materials compiled by members of the Hubble family of Monroe, Michigan.

Volume 1: The first volume (35 x 25.5 cm) was originally a copy of the 1876-77 Autumn and Winter edition of Mme. Demorest’s Illustrated Portfolio of the Fashions and has red cloth covers and gilt embossing work on the front and back. “Monroe Hubble” is inscribed on the volume’s first page, while “Willie Hubble” is written on the inside of the back cover; both inscriptions appear to be written in a child’s hand. Two engravings by Kimmel & Voigt made for Demorest’s Monthly Magazine appear towards the front and were part of the original volume. Subsequent pages also reveal numerous illustrations and descriptions of various articles of clothing listed in Demorest’s fashion catalog, though much of this has been obscured by scrapbook items that were pasted in. Compiled materials mainly include various trade cards and scrapbook decorations, but also include several engravings showing scenic and rural landscapes, women’s fashions, portraits, and performance artists (including Smith’s Swiss Bell Ringers). Of particular note are Uncle Tom’s Cabin-related illustrations and cartoons involving racial caricatures of an African American regiment called “The South 5th Rangers.”

Volume 2: The second volume (25 x 20 cm) has red paper covers with “Scrapbook” and decorative designs embossed in gold on the front. A photomechanical reproduction of a portrait of N. B. Hubble as an adult appears on the inside of the front cover. Subsequent materials mostly include trade cards and scrapbook decorations, several of which also appear in the first volume. Many of the trade cards were produced by the Calvert Lithograph Co. of Detroit. Items of note include Shakespeare-related cartoons; an ad for “Mme. Fontaine’s Bosom Beautifier” that incorporates a portrait of Oscar Wilde; a photographic portrait of a baby made to look like a stamp; and scrapbook cutouts including one of a black man (likely supposed to be a Haitian soldier) wearing one boot and components of a French Army uniform as well as one of two women embracing and kissing.

The Rewards of merit collection consists of approximately 800 hand-illustrated and printed rewards of merit originating in the United States during the 19th and early 20th centuries.

The Rewards of merit collection consists of approximately 800 hand-illustrated and printed rewards of merit originating in the United States during the 19th and early 20th centuries.

The collection includes rewards of merit decorated with ink, watercolor, and fraktur art as well as lithographic and chromolithographic rewards. The bulk of materials are dated between 1830 and 1900.

Series I of the collecton contains approximately 200 rewards of merit that are primarily grouped around specific students and teachers. Also present is a group 100 examples of early 19th century rewards acquired from dealer Alfred P. Malpa Ephemera.

• 1.1: Early 19th century rewards of merit, 100 items
• 1.2: Abbott, Carrie M. (student), 3 items
• 1.3: Adams, Priscilla (teacher), 4 items
• 1.4: Corbette, Edith (student), 4 items
• 1.5: Garretson family (students) and Smiley family (teachers), 13 items
• 1.6: Jones family (students), 6 items
• 1.7: Roberts, Charlie (student), 13 items
• 1.8: Shackford, Mabel (student) and Riley, Mary L. (teacher), 3 items
• 1.9: Sturtevant, Florence (student) and Lamb, Clara (teacher), 8 items
• 1.10: Thompson, Susan A. (student), 3 items
• 1.11: Thurley, Gertie (student), 4 items
• 1.12: Thurston family (students & teacher), 5 items

Series II contains approximately 600 19th century rewards of merit. Materials are organized roughly by size and include "small" and "large" groupings. Also present are two instructional cards for a rewards of merit system and blank uncut printed rewards of merit sheets.

• 2.1: Small miscellaneous rewards of merit
• 2.2: Large miscellaneous rewards of merit
• 2.3: Uncut rewards of merit

Also of note is a cylindrically-shaped paper reward of merit that is housed in its own separate box.

Other students and teachers represented in the collection include the following: O. C. E. Baker, Minnie Bates, Edgar Blanchard, Sarah Bods, Hiram Bradley, Lydia P. Burnham, Sallie Burnham, Eliza W. Burrage, Amelia Burt, Joseph Busk, Frances M. Caulkins, Anna Chamberlain, Eddie Clock, William Duncan, Annie Earle, Della L. Farwell, Leva Ferro, Frances F. Fitch, Abraham E. Fox, Clarissa French, Lillie Gerz, Aletta Green, Isaac Goodchild, Henry S. Gouver, Celia Griswold, L. Hasbrouck, Jane Hayden, Joseph Heaton, Flora Hemmings, George Hibbs, Janell M. Hopkins, Frank Houghton, Katie Houghton, Lydia C. Huntington, Chelsey Hutching, Ellen K. Kanchett, Sidney Keith, Lucy Kendall, Henry Kimball, Edith Konter, Lizzie Kraybill, Euphema J. Lament, Grace Laverny, Walter Leonard, Della Lewis, Bertha Lockwood, Bessie C. Lord, Lilly McDonnell, Maggie S. Mitchell, Lizzie Morse, Llewallyn Moulton, Jennie C. Perry, Hallie A. Purinton, Amanda Reed, John Reed, Mary E. Richardson, Eva H. Roberts, Abbie F. Rupell, W. H. Rutherford, Andy Salisbury, Adolphus Sayre, Ella Sherman, Mary E. Shipman, Emogene F. Spakin, Sophia Strong, Edward Van Soligen, Lizzie P. Whillemore, Cira B. Whitney, Emma Yeaton, Georgie Young, and James Young.

Educational institutions represented include Belknap School, Bennington (Vt.) Graded School District, D.C. Academy, Excelsior School System, Hartford Centre School, Kingston Grammar School, Marblehead Academy, Miss Sanders' Seminary, Mrs. Cranch's Academy, Pollsville Institute, and "Town School No. 12."

The Robert M. Vogel collection of historic images of engineering & industry contains approximately 22,890 photographs (including 18,500 stereographs), 1220 prints, 13 photograph albums, 11 books, 117 pieces of ephemera, and 15 pieces of realia documenting a wide range of subjects primarily related to 19th-century civil engineering, industrial processes, and mechanization.

The Robert M. Vogel collection of historic images of engineering & industry contains approximately 22,890 photographs (including 18,500 stereographs), 1220 prints, 13 photograph albums, 11 books, 117 pieces of ephemera, and 15 pieces of realia documenting a wide range of subjects primarily related to 19th-century civil engineering, industrial processes, and mechanization.

Particularly well-represented topics within the Vogel collection include images of different types of civil infrastructure such as bridges, canals, roads, dams, and tunnels as well as images showing construction projects, various types of machinery, modes of transportation (such as railroads, steamboats, automobiles, etc.), agricultural pursuits, natural resource extraction (including oil drilling, quarrying, mining, and lumbering), textile operations, electrical and hydraulic power generation, manufacturing, metal working, machine shops, and various industrial factory scenes. Many images of important and iconic structures are included such as the Brooklyn Bridge, Panama Canal, Hoosac Tunnel, and SS Great Eastern. Other represented topics include general architectural views, scenes of disasters/accidents, and portraits of notable individuals (such as Thomas Edison, Isambard Kingdom Brunel, and Robert Stephenson). While predominately United States-focused, the materials are international in scope overall and especially include many images of industrial sites and civil infrastructure in Great Britain. The order of the collection's original arrangement has largely been kept intact.

Examples of items of particular interest include salt prints possibly taken by civil engineer Montgomery C. Meigs documenting the construction of the U.S. Capitol and Washington Aqueduct in Washington, D.C.; a series of portraits of early Baldwin Locomotive Works locomotives; images documenting the SS Great Eastern and USS Niagara steamships; a group of 4 colored stereoviews on glass produced by Frederick Langenheim showing the Niagara Falls Suspension Bridge ca. 1850s; images related to specific railroads including the Baltimore & Ohio Railroad, Mauch Chunk, Mount Washington Cog Railway, and New York City elevated railroad; and half-frame proof prints of stereographs produced by Underwood & Underwood as well as H. C. White & Co.

The following list represents the general subject categories found across the Vogel collection along with relevant box and folder numbers:

• Box 07.2
• Box 14.1
• Box 14.2
• Box 14.3
• Box 31.2
• Box 52
• Box 56
• Folder 2.10
• Folder 3.08

• Box 06.2
• Box 06.3
• Folder 1.08
• Folder 2.15

• Box 01.1
• Box 03.3
• Box 06.3
• Box 07.1
• Box 28.2
• Box 28.3
• Box 46.2
• Box 57
• Box 58
• Box 59
• Box 61
• Box 63.10
• Folder 1.04
• Folder 2.04
• Folder 2.09
• Folder 2.14
• Folder 2.15
• Folder 2.16
• Folder 3.08

• Box 06.1
• Box 06.2
• Folder 2.06

• Box 03.1
• Box 03.2
• Folder 2.17
• Folder 3.08

• Box 03.3
• Box 04.1
• Box 04.2
• Box 04.3
• Box 05.3
• Box 05.4
• Box 06.1
• Folder 3.08

• Box 05.1

• Box 01.1
• Box 01.2
• Box 01.3
• Box 02.1
• Box 02.2
• Box 28.3
• Box 43.2
• Folder 3.02
• Folder 3.08
• Folder 3.10

• Box 02.3
• Box 05.2
• Box 06.1
• Box 49.1
• Box 49.2

• Box 09.1
• Box 09.2
• Box 36.1
• Box 36.2
• Box 39.1

• Box 08.2
• Box 08.3
• Box 18.4
• Box 28.1
• Box 28.3
• Box 46.1
• Box 53.2
• Box 58
• Box 61
• Box 63.08
• Box 63.11
• Folder 1.03
• Folder 2.16
• Folder 2.17

• Box 06.3
• Box 17.3
• Box 20.1
• Box 24.3
• Box 25.1
• Box 28.1
• Box 41.1
• Box 54
• Box 57
• Folder 1.07
• Folder 2.16

• Box 11.2
• Box 45.2

• Box 27.1
• Box 27.2
• Box 27.3
• Box 39.2
• Box 46.1
• Box 46.2
• Box 56
• Box 57
• Box 58
• Box 59
• Box 63.02
• Box 63.03
• Box 64.1
• Folder 1.05
• Folder 1.11
• Folder 1.13
• Folder 2.04
• Folder 2.11
• Folder 2.17
• Folder 3.08

• Box 07.2
• Box 07.3
• Box 08.1
• Box 08.2
• Box 28.1
• Box 28.2
• Box 43.2
• Box 46.3
• Box 52
• Box 54
• Box 56
• Box 57
• Box 59
• Box 63.04
• Box 64.2
• Box 64.4
• Folder 1.09
• Folder 2.05
• Folder 2.10
• Folder 2.12
• Folder 2.17
• Folder 3.08

• Box 07.1
• Box 07.2
• Box 13.2
• Box 13.3
• Box 14.1
• Box 27.2
• Box 27.3
• Box 31.2
• Box 32
• Box 33.1
• Box 33.2
• Box 34
• Box 35
• Box 36.1
• Box 37
• Box 39.2
• Box 40
• Box 41.2
• Box 42
• Box 43.1
• Box 43.2
• Box 46.2
• Box 53.1
• Box 53.2
• Box 60.1
• Box 61
• Box 63.01
• Box 63.03
• Box 64.1
• Box 64.3
• Folder 1.03
• Folder 1.07
• Folder 2.05
• Folder 2.06
• Folder 2.11
• Folder 2.15
• Folder 3.03
• Folder 3.08
• Folder 3.09
• Folder 3.12

• Box 15.1
• Box 43.2
• Box 44
• Box 55.1
• Box 55.2
• Box 60.1
• Box 60.2
• Box 62
• Folder 1.01
• Folder 1.02
• Folder 1.12
• Folder 3.07

• Box 11.2
• Box 11.3
• Box 12.1
• Box 12.2
• Box 13.2
• Box 23.1
• Box 61
• Folder 2.05

• Box 11.2
• Box 12.2
• Box 14.2
• Box 63.07

• Box 12.2
• Box 12.3
• Box 12.4
• Box 13.1
• Box 13.2
• Box 37
• Box 46.2
• Box 57
• Box 58

• Box 21.3
• Box 22.1
• Box 22.2
• Box 22.3
• Box 28.1
• Box 39.2
• Box 61
• Folder 2.14
• Folder 2.15
• Folder 3.08

• Box 23.1
• Box 23.2
• Box 23.3
• Box 24.1
• Box 24.2
• Box 40
• Box 41.2
• Box 50.1
• Box 50.2
• Box 51
• Box 52
• Box 55.1
• Box 55.2
• Box 61
• Folder 1.03
• Folder 2.02
• Folder 2.05
• Folder 2.14
• Folder 3.02
• Folder 3.10

• Box 29.1
• Box 29.2
• Box 30
• Box 46.1
• Box 57
• Folder 1.07

• Box 24.3
• Box 25.1
• Box 25.2
• Box 25.3
• Box 26.1
• Box 26.2
• Box 26.3
• Box 27.1
• Box 27.3
• Box 37
• Box 38
• Box 39.2
• Box 40
• Box 41.1
• Box 42
• Box 46.3
• Box 64.1
• Folder 3.06

• Box 10.3
• Box 11.1
• Box 11.2
• Box 41.2
• Folder 3.05
• Folder 3.12

• Box 01.1
• Box 10.3
• Box 28.3
• Box 39.1
• Box 46.3
• Box 56
• Box 64.2
• Box 64.3
• Folder 2.15
• Folder 3.06
• Folder 3.07

• Box 08.1
• Box 28.1
• Box 46.3
• Box 64.2

• Box 09.3
• Box 10.1
• Box 10.2
• Box 10.3

• Box 39.1

• Box 34
• Box 42
• Box 56
• Box 63.07
• Folder 2.16

• Box 15.1
• Box 28.2
• Box 31.2
• Box 33.2
• Box 36.2
• Box 54
• Box 58
• Box 64.3
• Folder 2.16
• Folder 3.04

• Box 19.1
• Box 19.2
• Box 19.3
• Box 20.1
• Box 20.2
• Box 20.3
• Box 21.1
• Box 21.2
• Box 21.3
• Box 28.2
• Box 45.2
• Box 46.3
• Box 57
• Box 59
• Box 63.09
• Folder 2.08
• Folder 2.11
• Folder 2.14
• Folder 3.05
• Folder 3.07
• Folder 3.08

• Box 15.1
• Box 15.2
• Box 15.3
• Box 16.1
• Box 16.2
• Box 16.3
• Box 16.4
• Box 17.1
• Box 17.2
• Box 17.3
• Box 18.1
• Box 18.2
• Box 18.3
• Box 18.4
• Box 28.1
• Box 28.2
• Box 31.1
• Box 35
• Box 46.2
• Box 47
• Box 48.1
• Box 48.2
• Box 49.1
• Box 56
• Box 57
• Box 58
• Box 59
• Box 61
• Box 63.05
• Box 63.06
• Folder 1.06
• Folder 1.10
• Folder 2.01
• Folder 2.03
• Folder 2.04
• Folder 2.06
• Folder 2.07
• Folder 2.10
• Folder 2.13
• Folder 2.16
• Folder 3.04
• Folder 3.07
• Folder 3.10
• Folder 3.11
• Folder 3.12

• Box 28.2
• Box 43.1
• Box 43.2
• Box 45.1
• Box 45.2
• Folder 2.06

• Box 08.1
• Box 08.2
• Box 25.1
• Box 28.3
• Box 39.1
• Box 39.2
• Box 46.3
• Box 53.2
• Box 56
• Box 57
• Box 59
• Box 64.2
• Box 64.4
• Folder 1.04
• Folder 2.04
• Folder 2.15
• Folder 2.16

While the Vogel collection general subject categories are generally comprehensive there are still numerous instances of items that could feasibly belong to multiple categories other than the group they are classified under. For instance, there are disaster images found in several groupings other than "Disasters," while bridge construction images can be found in all of the various "Bridges" categories as well as within the "Construction" category. For more detailed descriptions of specific materials, see the box and folder listing in the Contents section below.

The Stanton P. Allen scrapbook contains clippings, engravings, maps, and drawings related to a recurring newspaper column titled Down in Dixie written by Allen for the Troy Daily Times in which he recounted his experiences serving with the 1st Massachusetts Cavalry during the Civil War.

The Stanton P. Allen scrapbook contains clippings, engravings, maps, and drawings related to a recurring newspaper column titled Down in Dixie written by Allen for the Troy Daily Times in which he recounted his experiences serving with the 1st Massachusetts Cavalry during the Civil War.

The volume (23 x 14 cm) contains approximately 101 pages and has blue cloth covers with the words "Manual and Report, Board of School Commissioners Troy, N. Y., 1883" stamped in gold on the front. The first item to appear is a pasted in sheet on pg. 5 with the words "Down in Dixie, by Stanton Perrie Allen" printed and "Volume IV" handwritten. The first clipping of Down in Dixie appears on pg. 9 and is marked "34," which coupled with the presence of "Vol IV" on pg. 5 would seem to suggest that Allen created multiple volumes in which the columns were sequentially ordered. These volumes were likely used by Allen to finetune his ideas for how he envisioned publishing his account in book form.

The Down in Dixie clippings are given a visual dimension through the inclusion of numerous clipped engravings that directly relate to people, places, and events referenced in the narrative. Engravings include portraits of leading military figures from both the Union and Confederacy as well as numerous depictions of soldiers, battles, camp life, fortifications, buildings, prisoners of war, casualties, mass burials, etc. Also present are several engravings depicting African Americans (pgs. 52, 54, 58-60, 92, 95, & 97) and Apache Indians (pgs. 10 & 11). Two clipped maps are also included, with one showing a general overview of Virginia, Maryland, Delaware, and New Jersey (pg. 9) and the other showing a detailed view of the roads, landmarks, and natural features east of Richmond, Virginia (pg. 77). Only one photograph is present, an unmounted studio portrait of Allen's mother Celia juxtaposed with an anecdotal passage about a Confederate and Union soldier bonding over their deceased mothers (pg. 51).

Of particular note are six original drawings signed by Allen. The first, a pen and ink drawing captioned "Down in Dixie Turning Out For Stables," shows a Union cavalryman (presumably Allen) at camp laden with horse care equipment (pg. 20); the second, a watercolor captioned "Down in Dixie. 'How Is That For Beef?' From Memory 1889," shows three Union cavalrymen eating a meal at camp (pg. 25); the third, a watercolor captioned "A Stag Dance. Four Hands Round," shows a group of four Union cavalrymen dancing while another plays the fiddle as two others (including an African American cavalryman) look on (pg. 26); the fourth, a pen and ink drawing captioned "The Sutlers Whisky Barrel Tapped At Both Ends. Down in Dixie," shows a large group of Union cavalrymen getting drunk on whisky after secretly tapping into the sutler's barrel from the outside of his tent (pg. 27); the fifth, a pen and ink drawing captioned "'The Tables Turned.' - Beaver Dam, Va., May, 1864," depicts the anecdotal interaction between a Union soldier and Confederate prisoner who realize they had both stolen rings from each other that had belonged to their deceased mothers (pg. 49); the sixth, a watercolor captioned "Sheridan's Raid - 1864. - Walking to Rest the Horse. - From Memory - 1889," shows a Union cavalryman leading his horse.

A loose two-page typescript draft of a consolation letter dated June 20, 1897, written by Allen to Charles S. Francis after the death of the latter's father John M. Francis can also be found tucked inside the back cover. Allen knew both John and Charles from having worked for the Troy Daily Times, which was founded by John in 1851.