Search

The Fox Island Lighthouse Association is a non-profit organization founded to preserve the South Fox Island light station in northern Lake Michigan. The collection contains both paper and digital records, and consists of materials created or collected by the association as part of their efforts to preserve the light station.

The collection contains both paper and digital records and consists of materials created or collected by the Fox Island Lighthouse Association as part of their efforts to preserve the South Fox Island light station. Collected material includes copies of U.S. Lighthouse Service and Coast Guard records from the National Archives, including photographs. The collection also includes the association's newsletters, newspaper articles about the association or the light station, a historic structures report developed for the association by U.P. Engineers & Architects, and a series of oral history interviews of former lighthouse personnel, conducted by association members.

The Fox Island Lighthouse Association records are organized into four series: Organizational Records, Collected Research Materials, Oral Histories, and Visual Materials. All but the Visual Materials series contain both print and digital records, and some documents exist in both formats.

Collection of Huntington's personal papers, including Serbian correspondence with her husband's relatives in Yugoslavia, and discussion of race relations in Detroit, other related family papers, including materials relating to Maj. Gen. Joseph Hooker and his sister, Mary; her professional papers as an engineer and businesswoman. An interesting letter of July 29, 1967 describes the Detroit Race Riots results and what Frances believes were the contributing factors. Also, there is a thank you note from Grace H. Hemingway.

About 2.5 cubic ft. (4 and one-third of the boxes) of the collection specifically documents Frances D. Huntington’s personal and professional life. The rest of the collection documents her immediate family and ancestors.

Frances’ Personal Papers (approximately .5 cubic foot) consist mainly of her Personal Correspondence with family and friends. The series is divided by 1) those people she only received correspondence from, 2) those people and issues she had correspondence about, and 3) those to which she sent correspondence. Each subseries is in alphabetical order by surname of the correspondent. Of special interest here are her correspondence to her immediate family while she was in California at a finishing school, 1918-1919; her correspondence with her Smith College friend, Helen “Greenie” Bacon, 1927-1981, and undated, which mentions the Bacons’ experiences in Communist China and Lee Bacon attending the Nuremburg trials, as well as more general news of their travels, jobs, mutual friends, Smith College, and family; and warm, extensive correspondence with Frances’ nieces Barbara and Cynthia Huntington and their maternal Grandmother, Mrs. Buckley, 1958-1981, in San Francisco (California), which covers a wide variety of topics relating to the girls and includes examples of the girls’ homework. Frances’ correspondence with Mary’s doctor, Dr. J. Clark Maloney, provides sad documentation of Mary’s downward spiral into progressively worsening mental illness and its impact on various family members.

Additional correspondence was labeled by Frances as “Serbian Correspondence”, so the separate subseries were maintained here. This includes letters between Frances, Mio and his brothers, their families, and other Serbian relatives. The letters and cards are written or typed in English and Serbian, many of the latter having English translations written on the accompanying envelops or on scrap paper, and a few photographs, 1965-1988, and undated (.75 cubic ft.). The letters note family news, vacations, illness, death, travels, the differences between life and customs (burial of a relative) in the U.S. and Serbia, and money and gifts they sent to each other. Of particular interest is Frances’ letter to Zorica, dated July 29, 1967, in which she discusses the 1967 Detroit race riot and resulting damages, as well as what she believed were the contributing factors, namely poverty, lack of education, lack of affordable housing, lack of jobs for the uneducated, and the “indifference of Negro parents.”

Other Personal Papers which provide biographical information include: Biographical Materials, including Frances’ obituary, 1991; her brief Diaries, 1962-1963, the Huntington Family History, 1983; a List of Wedding Guests for Frances and Mio’s wedding, 1962; Family Photographs, 1880-1903, and undated; Legal Papers, 1953-1976; and other materials.

Frances’ Professional Papers (approximately 1 cubic ft.) mainly document her activities in the American Society for Quality Control (ASQC), Inc.-Greater Detroit Section. ASQC materials include Executive Committee and other meeting minutes, agendas, correspondence, membership lists, photographs, and other materials.

The F. D. Huntington Company is documented by business correspondence, 1961-1976, publications, financial records, manuals, photographs of equipment, etc.

Program books, 1960-1973 (Scattered), of the Society of Women Engineers, both the national and Detroit section, document Frances’ membership in the organization.

The rest of the collection consists of the Family Papers, which totals approximately 2 cubic feet (4 and 2/3 boxes), and consists of the papers and materials of Frances’ parents, siblings, grandparents, great-grandparents, and other relatives, including Maj. Gen. Joseph Hooker. A few general materials are filed first. Then, materials of individuals filed in alphabetical order by the surname, and then the first name, of each relative.

Materials relating to Maj. Gen. Joseph Hooker are found in the Correspondence and Legal Papers of his sister, Mary S. (Hooker) Brainard, who was the administrator of his estate, 1863-1891; in the Correspondence and Accounts of Joseph Hooker, 1863, 1877-1878, and undated; related Newspaper Clippings (copies) re: the painting, 1903, 1986, and undated; and some of the Correspondence, 1882, of John H. Treadwell and those of his wife, Mary S. (Brainard) Treadwell, 1891, and undated, all of which relate to the painting Joseph Hooker owned entitled “The Battle of Lookout Mountain”. Hooker paid the artist, James Walker, $20,000 himself, although Congress had commissioned the painting on April 30, 1875. The sheer size of the painting, which measures 13x30 feet, was such that finding a public building in which to hang it permanently was a long process. Mary S. (Brainard) Treadwell assumed the responsibility of the painting when her brother died until her death in 1894. Then, her son-in-law and daughter, John H. and Mary S. Treadwell, took responsibility for the painting until he died in 1967. After two restorations and a long period in storage, the painting was finally installed at the Lookout Mountain Visitor Center at the Point Park Unit of the Chickamauga and Chattanooga National Military Park on August 19, 1986.

Papers of Frances’ immediate family (approximately 1.5 cubic feet) include those of her siblings and parents.

Danforth Huntington ‘s papers include Biographical Materials, World War II Naval Citations, Correspondence, Orders, Personal Correspondence, Photographs, and Newspaper Clippings (copies), 1934-1959.

George D. Huntington Papers include a few Business and Personal Correspondence, 1915, 1938 (Scattered), and undated.

The papers of Helen I. (Treadwell) Huntington consists mostly of extensive Personal Correspondence with her immediate family and friends, 1918, 1930-1956, and undated. Of interest (for fun) is the 1918 correspondence from her son John, then twelve-years-old, at Camp Nissokone in Oscoda (Michigan), in which he begs hysterically and repeatedly for her to send more candy. Also there is correspondence with Walter H. Hebert about a book on Joseph Hooker that Hebert was writing.

John T. Huntington ‘s papers consist mostly of Correspondence from his sister, Frances, and Helen “Kinkie” King, when the ladies attended Smith College, and Newspaper Clippings (copies) of his wedding to Anita Pierce on February 24, 1938.

Mary L. (Huntington) Kerr papers consist mostly of Personal Correspondence from friends, including numerous Sardoc invitations and notes with other members in her 1920s correspondence, and with her future husband, 1932-1934.

The papers of Frances’ Great-grandparents, Martha D. (Mygatt) Treadwell of New Milford (Connecticut) and Henry R. Treadwell consists mostly of the extensive Personal Correspondence between them, which spans their courtship, his traveling job and long periods of time spent in New York (New York), and their married life, 1840-1850, and undated. The letters are very affectionate, detailed, and demonstrate that both were well educated and had neat penmanship.

Their son, John H. Treadwell’s papers consist mostly of his Correspondence to his Father, Step-mother, sisters, Mary and Kitty, and later his wife, Mary [S. Brainard], and his “dear baby” Helen (Frances’ Mother), detailing his travels and adventures. Several Travel Journals, 1861 and 1865, as well as several additional volumes of his Essays and Poetry, 1868-1869, some of which he noted were published locally in newspapers, are also included.

Processing Notes: Check stubs, cancelled checks, receipts, bills, tax information, miscellaneous notes, generic personal and business correspondence, purchase orders, and general reading materials (approximately 12 cubic ft.) were withdrawn from the collection. The newsletters and publications of organizations and institutions based in Detroit or Grosse Pointe were transferred to the Burton Historical Library. A folder of Michigan Nature Association publications was transferred to the Bentley Historical Library, where a large collection of the MNA is housed. Lastly, a printing block and biographical information on Virginia Traphaghan (Smith College 1927 graduate) and other Smith college publications were transferred to Smith College.

The collection consists of family photographs, correspondence, drafts of her children's stories, correspondence, and accounts.

The collection documents the life, research, and writing career of Frances Margaret “Madge” Fox. The collection only lacks copies of her outgoing correspondence to friends and business colleagues.

Physically, the collection is in very good condition. Items that were very fragile or acidic have been photocopied and the originals removed from the collection. Except for Box 53 which has legal-size materials in it, the collection consists of letter-sized or smaller materials.

The collection is divided into the following series: Biographical Materials, 1886-2008 (Scattered) and undated, 1 box (.5 cubic feet). This includes originals and photocopies of census records, newspaper articles and magazine clippings, library cards, and printouts of e-photographs, documenting Madge’s life, literary career, death, education, research, and homes. Art by Walt Harris, the illustrator of Little Bear is also found here.

Photographs, 1877-1953 (Scattered), and undated, 3 boxes (1.5 cubic feet), consists of one folder of negatives, the rest all being various pre-1960 forms of photographs including a stereographic view, tintypes, cartes-de-visites, and snapshots, all black and white, in various shapes and sizes. Many of the images are unidentified and undated. Identified photographs are filed alphabetically by the name of the person, and by topics and date when possible. There are photographs of Marge, her family and friends, animals, birds, and various research topics.

Business Correspondence, 1899-1953, 1955, and 1958, and undated, 6 boxes (3 cubic feet). Most of the Business Correspondence consists of communications from editors, thank you notes, rejection letters, commentary and suggestions, as well as royalty checks. This is filed chronologically. Of particular note in this series are decorative notes with art from Walt Harris, who sketched a bear and porridge on his note of October 2, 1923. He was the artist of Little Bear. Additional art by Harris is in the Biographical Materials box.

The vast majority of Personal Correspondence is letters and postcards from her friends and relatives to her. Correspondence with her closest relatives and friends, 1912-1952, and undated, composes 3 boxes (1.5 cubic feet). It is filed alphabetically by surname. These are the people with whom she corresponded often and regularly. Here are letters from her Aunt Annie, distant relatives of her father’s, and many friends from Washington, D.C. and Mackinaw, as well as the Joslyns. There are a number of letters from associates in the publishing business, notably Madge’s friend Mrs. Jessica Mannon of Bobbs-Merril Company’s Editorial Board. These letters discuss health issues, their shared history, family news, her publications, travel plans, and research ideas, as well as the last and next time Madge and the letter writer met or will meet, and friends and relatives common to both. There is also one folder of correspondence from Madge Fox to various people, 1883-1952, and one folder about damage and repairs to her home, 1926.

More generic letters from a wider span of friends, fans, and children with whom Madge corresponded more rarely, or perhaps once or twice, compose the remaining personal correspondence. Some of these letters are as simple as Dear Miss Fox, I love your books. When possible, correspondence is filed alphabetically by surname, 1920-1950s. There are also folders for people who signed only with their first names or initials that could not be matched to or with any of the other correspondence. This section of the correspondence totals 2 boxes (1 cubic foot).

Research Notes, 1901-1943 and undated, 1 box (.5 cubic feet). This includes a bibliography, reference and photographic material organized alphabetically by topics.

Stories, include the actual story, drafts, they may by typed, handwritten, or published, and may include related materials such as notes, drawings, photographs, letters of rejection from an editor, an index to a book, or a cover page. The stories, which cover a plethora of topics in each subseries, are arranged alphabetically by title. Sometimes the title varies on different items in the folder. If so, square brackets are used on the folder heading. In one case, there is no title, so I created a title based on the topic and put it in square brackets. Many of the stories are based on factual documentation. The stories, particularly the drafts, show the development of her stories and are the core of the collection.

The Stories are subdivided into the following subseries: Handwritten Stories, 1921-1943, and undated, 5 boxes (2.5 cubic feet); Published Stories, 1899-1952, and undated, 2 boxes (1 cubic foot), includes advertisements, lists of her published stories, and the stories themselves. Typed Stories, which are subdivided into the following subjects:

Activities, Greeting Card Suggestions, Plays, and Poems, also includes models for paper dolls and other easily made toys and games for small children, 1934, 1944 (Scattered), and undated, 1 box (.5 cubic feet). Madge wrote ideas for babies and small children’s games, activities, paper dolls, as well as various plays for children to act in, poems for children, and a few ideas for greeting cards.

Animal Stories, includes animals, insects, and Uncle Sam’s Birds book, 1917-1948, and undated, 6 boxes (3 cubic feet), includes a list of all the stories, and then the stories. There are many stories regarding a wide array of animals, notably bears, birds, U.S. Army mules, cats, and dogs, including Owney, the well traveled U.S. mail dog, and Balto who delivered diphtheria serum to Nome, Alaska, during an epidemic of the disease, among others.

Buildings, Countries, Events, and Places Stories, 1912-1947, and undated, 3 boxes (1.5 cubic feet). The United States, England, Bermuda, and other countries are documented here.

Famous People Stories, 1923-1952, and undated, 3 boxes (1.5 cubic feet) includes stories of royalty, politicians, inventors, explorers, soldiers, American heroes, but not Indians nor saints.

Indian Tales, Famous Indians, and Captivity Stories, 1928-1950, and undated, 2 boxes (1 cubic foot) documents famous leaders, incidents, tales, and captivity stories.

Michigan Stories, 1914-1945, and undated, 1 box (.5 cubic foot), includes stories of important and common Michigan people and events, based mainly in and around Mackinaw City. Here are a number of stories and experiences of some of Madge’s Michigan friends.

Miscellaneous Stories, 1910-1952, and undated, 6 boxes (3 cubic feet) covers a plethora of topics, including American and foreign, current and historic trees, plants, statues, art, inventions such as sewing machines and fly paper, and common everyday items such as bells and beads.

Religious, Holidays, Saints, Christmas Stories, 1917-1946, and undated, 2 boxes (1 cubic foot) includes information on a variety of Catholic saints, many Quakers, history of many holidays and holy days, and many religious themes, as well as Christmas stories.

Volumes, 4 boxes (2 cubic feet) include: Accounts, 1901-1947 (27 v.); Address books, 1919, 1931, 1940 (3 v.), Diaries, 1917-1952 (14 v.), Quotations, 1898, 1943 (1 v.), and Story Notes, 1915-1949, and undated (34 v.). Her Accounts note which stories Madge sent to publishers, which were published, and what she was paid for them. Her Diaries consist of brief, sometimes intermittent notes, mainly about health, travel and social plans and events, and her research and writing work. They vary in detail and completeness. All the volumes vary in size and shape.

Legal-size Materials, 1 box (.5 cubic feet) consists of her Publishing Contracts, 1902-1951, some partial Research Notes on Paw Paw (Mich.), undated; and a Scrapbook, 1897, 1945, made in a Beckman and Mechelson, Inc., Bay City (Mich.) Stock Certificate Book.

Index Cards to Madge’s personal and business correspondence, 4 boxes, 1899-1944, complete the collection. Noted on the index cards is the name of the writer, recipient, date, address, and number of pages. The cards are arranged chronologically. [Note: the cards existed prior to Marian processing the collection. It is unknown if Madge or earlier Clarke staff created the index cards.]

The Sturtevant papers are made up of letters written by Francis Crayton Sturtevant, a musician in the 5th Connecticut Infantry Regiment, to his family during and following the Civil War. The collection also includes Francis' incoming correspondence after the war.

The Sturtevant papers contain 29 Civil War-date letters written by Francis Crayton Sturtevant to his mother (Mrs. C.F. Sturtevant), his sisters Ann or Eveline, or generally to his family. The collection also contains 9 post-war letters written to Hattie Ellis, Crayton's fiancé/wife; 5 letters from Hattie to Crayton; 8 letters from members of the Sturtevant family to Crayton; and 10 miscellaneous items relating to Sturtevant's sons, Harry, Albert, and Francis.

The Civil War letters reflect Sturtevant's perceptiveness and talent as a writer, as well as his strong ideological commitment to the war. Although his reasons for enlistment are somewhat obscure and his early departure from the war stands out, Sturtevant never displayed any doubt that his service was his patriotic duty. His letters are valuable for reconstructing life in the defenses of Harpers' Ferry in the fall and winter months of 1861-62, as well as the events of the Shenandoah Valley Campaign of 1862. His letters are of added value in being written from the unusual perspective of a musician, and are filled with depictions of the lives of musicians, who were not always subject to the same level of hardship or the same rigors of average soldiers. Sturtevant's letters provide several descriptions of practicing, playing, working on musical formations, and competing with other bands, and they also give an idea of the effect that the music had on his audience of soldiers and civilians.

Sturtevant was also a soldier, and his letters contain fine descriptions of hard marches and battles, particularly leading up and during the Shenandoah Valley Campaign of 1862. The accounts of Jackson's assault on Hancock, and of the battles of Kernstown and Winchester stand out as among the best letters in the collection.

The post-war material includes an eloquent letter addressed to Sturtevant's future mother-in-law, in which he defends his impending marriage to Hattie against his in-laws' opposition. Sturtevant argued that there can be no loss to Hattie or her family by the union, but only gain due to the genuineness of their love for each other. Also included is a powerful letter, grieving over the loss of his mother, who had died in his arms (1874 September 22).

The Francis Edmonds papers document the art and business world of the early 19th century and the interrelationship between business and the arts. The correspondence reveals both the practical and aesthetic concerns of artists, and the interest of business men in art as a symbol of personal and national "culture."

The Francis Edmonds papers are about evenly divided between the banking and art scene. The collection is valuable in depicting the interrelationship between business and the arts in mid-nineteenth century New York, where a small group of men dominated art promotion and patronage. Edmonds, a man with one foot in both worlds, naturally occupied a prominent position, and his correspondence reveals both the practical and aesthetic concerns of artists, and the interest of business men in art as a symbol of personal and national "culture."

There are 70 different correspondents represented in this small collection, so its story must be pieced together from multiple fragments. Luckily, there are two published biographies of Edmonds which help to make sense of this scattered correspondence by placing it in context. Roughly, the letters can be divided into those from artists, those from business contacts, and those to or from family members. Their subject matter, however, is not so neatly separated -- and that is what makes the Edmonds Papers so interesting, for bankers talk of art in addition to business, artists of finances as well as aesthetics, and Edmonds may have been the only man to whom these combined interests were communicated.

The largest set of correspondence consists of letters from Francis Edmonds to elder brother John Worth Edmonds, who became prominent as a judge, politician, and writer on spiritualism. Letters written between 1823 and 1829 show the young man to have been much inclined toward personal improvement, and to have looked upon his elder brother as a worthy critic and role model. He self-consciously uses their correspondence as a means to improve his writing style and intellectual development, and mentions writing projects he is at work on. An 1829 letter refers to progress in art work: "About my neighborhood I am getting to be a little known as a painter however I am not at all intoxicated with success as yet."

Edmonds' letters to his brother reveal little of marriage or home life, but are good barometers of his psychological state and his views on life. Clearly he had no illusions about the business and political world, commenting in a March 31, 1829 letter that the Edmonds family had been "to [sic] kind in this world, too much trusting to the good will of mankind and they have suffered for their generosity. It is time we changed their nature's [sic]. ... if two hands are offered you spit in the worst & shake the best." Perhaps this attitude sustained him later on when he lost his prominent banking position, for he comments to his brother in October 1856 that "the sensitive feeling which has so influenced my conduct in going into the world is rapidly wearing away," which he knew would happen with time. In August, 1859, he writes that he is unhappy with his new position at the American Bank Note Company, and has to take the "bile" of those who are jealous and competitive of one another. It appears that he may have had an opportunity to regain his old bank job, but writes to John in 1861 that he has no interest in it, as his old boss would feel threatened by him.

Letters to Edmonds from John Gourlie, Charles Leupp, Jonathan Sturges, and Fanning Tucker, primarily dating from the 1840's, depict the interest in art held by some in the business world. These men, all of whom knew Edmonds in a business setting, also associated with him in societies for the promotion of art, bought and commented upon his paintings and those of other artists, and looked to him for advice when acquiring art for themselves. Many of the letters discuss both banking and art. A particularly interesting one, from Gourlie on June 15, 1841, criticizes artists' refusal to be business-like. Commenting upon rivalry between the Apollo Association and the N.A.D., he remarks that artists "are a queer set. ... So sensitive and at the same time so blind to their own interests." He believes popularization of art, as the Apollo does with its subscriptions for pictures or engravings, is the key to supporting artists, for "[a]ssociations in this country are what the aristocracy is in Europe." Gourlie asserts that rivalry between the Academy and Apollo is a good thing, for "rivalry is the life of all business and pictures may be made business matters as well as cotton or cocoa.!"

Yet correspondence to Edmonds from fellow-artists show them to have been aware that their work was a commodity. An 1841 January 30 letter from Daniel Huntington to Edmonds in Paris comments on hard times in New York, remarking that the arts are now "stagnant," as "[t]he mass of painters are I believe lasily waiting with hands in empty pockets for the revival of Commerce & the increase of orders for portraits." Huntington has sold a sketch he began in Rome of "one of those ragged and flea-inhabited beggar boys" for $100, and sold two heads painted at Florence for $150 each. He must be concerned with what will sell well "in these starving times." Artists Joseph Adams, Thomas Cole, and John Kensett also write of both art and money. They seem to have used Edmonds as a combination personal banker and agent, asking him to sell paintings for them, choose and execute stock transactions, or make loans with paintings offered as collateral. Because of his contacts he was also able to secure artists commissions, contracting with Cole for a painting, employing Asher Durand to copy a picture for engraving, hiring engravers to work from paintings to prepare Apollo Association and Art-Union premium offerings.

The artists' letters are highly interesting for their gossip and commentary on the art scene, both in New York and abroad. They describe work in progress, discuss the merits of major exhibitions, comment on the activities of the N.A.D., and chronicle the life of the expatriate artist as he moves from place to place in season, sending work home for display and (hopefully) sale, scrambling for funds to finance work abroad. It seems to have been a small and convivial "old boys' network" who worked and traveled together and critiqued each other's painting. Edmonds enjoyed seven months of the artist's life in 1840-41, and perhaps this cemented his position as an insider with other artists.

In two important letters of 1840 November 7 and 1842 December 14 Thomas Cole agrees to do a painting of Mt. Etna on commission and describes the finished product. He explains the location and elements of the picture in detail, noting that he may be accused of having "scattered the flowers with too profuse a hand. This is not possible. Sicily is truly the land of flowers..." He hopes the picture "will come to the lot of some one whom we would choose," or that "some good New Yorker will purchase it. I myself will give a hundred dollars & the View of Lake Schroon in Mr. Ridner's room for it." In April 1843 John Kensett writes extensively of the Paris art scene, describing specific works he has seen and including a small pencil sketch of one by Jules Louis Coignet.

Also of particular interest are three 1844 London letters from publisher and bookseller George Putnam, who worked to raise awareness of American art abroad. One solicits articles on American art from Edmonds, assuring him that despite prejudice there are many in England who would be interested in "a little information about American doings in some other arts than the art of raising the wind." In December, reporting on the disappointing reaction of a major critic to three American paintings Edmonds sent for display, he ruefully remarks that the criticism typified English ignorance of America. Putnam was advised to "'tell them to paint some American subject (!) Something of the Indian life.' He was rather incredulous when I suggested that Indians were as great a novelty, nearly, in New York as in London." Still, he wrote, hundreds had viewed and appreciated the paintings, so they had served a good purpose.

One letter in the collection involves neither art nor banking, but Civil War service in Virginia. It is from an old friend of Edmonds, William Fenton, who went to war along with his two sons and served as a colonel in the 8th Michigan regiment. Fenton describes a massive camp along the Rappahannock in detail and indignantly decries the "slaughter" at Fredericksburg as "almost unjustifiable," and due to "old fogeyism" in military strategy. "What was good strategy in the time of Napoleon may not be now." He criticizes political meddling in war and the advancement of "pets." Fenton encourages Edmonds to visit camp, for "[s]uch sights will never again be seen on this continent."

Besides correspondence, news clippings, some later genealogical material, and a draft excerpt from Edmonds' autobiography (ca.1860), the collection includes several pencil sketches by the artist. Eight rough but skillful sketches on small scraps of paper feature indoor and outdoor scenes of people and animals. One is water-colored. There is also a large preliminary study of Edmonds painting "The Bashful Cousin". It is not identified as such, and background scene and details differ from the finished version, but the two main characters are clearly recognizable.

Professor of Latin and classical studies at the University of Michigan, 1889-1927, led several archaeological expeditions to Antioch, Carthage and Karanis; papers include correspondence, diaries, photographs and other material relating to his career at Michigan and the expeditions.

The Kelsey papers consist of Correspondence, Papers, Diaries, and Photographs relating to his career at the University of Michigan. There is also a small amount of material on Archaeological Forgeries found in Michigan and photographs and other materials of his son, Easton Kelsey. Subjects include the papyri acquisition of the University library, archeological expeditions to the Near East, and the University Musical Society. In his correspondence written while abroad, Kelsey frequently comments on the world scene with mention, for example, of political conditions in Turkey and the controversy surrounding the Lausanne Treaty.

Frank C. Gates was a professor of botany at the University of the Philippines, 1912-1915. He later taught botany and biology at the University of Michigan Biological Station and Kansas State College. His collection includes personal and biographical material, including a biography written by his son, David M. Gates; personal and professional correspondence; journals; academic and research material, such as birding and botany notebooks as well as descriptions and drafts of writings pertaining to Philippine vegetation and travels in the Philippines; and photographic material, including lantern slides, photographs, and photograph albums.

The Frank C. Gates papers are dated from 1871-2010 and include biographical and personal material, such as a biographical monograph authored by his son, David M. Gates; personal and professional correspondence; journals; publications; research notebooks; postcards, photographs, photographic negatives, photograph albums, and lantern slides. In addition to documenting Gates's time spent teaching botany at the University of the Philippines and exploring the vegetation of the Philippines Islands (1912-1915), this collection also documents his personal and professional life, service in World War I, and research interests and efforts.

Collection consists mostly of diaries, papers, and financial accounts of Mrs. Robinson, some papers of Mr. Robinson and their sons, and family photographs and correspondence, mostly about family concerns.

The collection includes mostly diaries, papers, and financial accounts of Mrs. Robinson, some papers of Mr. Robinson and their sons, family photographs, and family correspondence, mostly about family concerns.