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The Terry family papers contain correspondence, documents, and other items pertaining to the family of James Terry, Jr., who was curator of the Department of Archaeology and Ethnology at the American Museum of Natural History in the early 1890s. The materials concern Terry's lawsuit against the museum regarding his private collections, his archaeological career, and life on the Terry family farm in the 1830s.

The Terry family papers (0.75 linear feet) contain correspondence, documents, and other items pertaining to pertaining to the family of James Terry, Jr., who was curator of the Department of Archaeology and Ethnology at the American Museum of Natural History in the early 1890s.

The James Terry, Sr., Diary contains 27 pages of daily entries about Terry's farm and the progress of his crops between July 17, 1838, and September 16, 1838. The diary entries are followed by 7 pages of notes about the 1838 hay, rye, and turnip harvests, with additional references to wheat and corn. One note refers to crops planted the following spring (March 21, 1839).

Items pertaining to James Terry, Jr. , are divided into 5 subseries. The Correspondence and Documents subseries (235 items) contains letters, legal documents, and financial records related to James Terry's archaeological career, as well as drafts of letters written by Terry. From 1879 to 1891, Terry received letters from archaeologists and other professionals, such as Albert S. Bickmore and R. P. Whitefield of the American Museum of Natural History, about his work and personal collections. Correspondents also shared news related to the American Museum of Natural History and to archaeological discoveries. Receipts pertain to items shipped to the museum.

Items dated after 1891 relate to Terry's work at the American Museum of Natural History, including an agreement regarding the museum's acquisition of, and payment for, Terry's personal collection of artifacts (June 5, 1891). Correspondence from Terry's time as a curator at the museum (1891-1894) concerns the museum's internal affairs and relationships between Terry and members of the Board of Trustees; one group of letters pertains to the World's Columbian Exposition in 1893 (July-August 1893). Terry received notice of his dismissal on March 21, 1894. From 1897-1898, Terry was involved in a lawsuit against the museum, and the collection contains court documents, correspondence, and financial records related to the case; the suit was settled on June 22, 1898, when the museum paid Terry $18,000. Five receipts dated 1906-1908 concern Elmira's Terry's purchases of household items. Some items were once collected in a letter book; a partial table of contents is housed in Oversize Manuscripts.

The James Terry, Jr., Diary contains 86 pages of entries from June 2, 1891-January 26, 1894, concerning Terry's work at the American Museum of Natural History. Pages 4-8 have a list of items "liable to moth destruction," including each artifact's catalog number and a brief note about their condition. The final pages contain notes related to Terry's curatorship and a copied letter from Terry to the archaeologist Marshall H. Saville (December 9, 1893). Terry's Datebook (January 1, 1883-December 31, 1833) contains notes about his daily activities. The final pages hold records of Terry's expenses.

Drafts and Reports (14 items) relate to Terry's work at the American Natural History Museum, the museum's history and collections, archaeological expeditions, and the early history of Santa Barbara, California. The series contains formal and draft reports, as well as notes.

Newspaper Clippings (50 items) include groups of items related to a scandal involving the pastor of a Congregational church in Terryville, Connecticut; to a controversy raised by German archaeologist Max Ohnefalsch-Richter about the integrity of Luigi Palma di Cesnola's collection of Cypriot artifacts at the Metropolitan Museum of Art in New York City; to controversial behavior by Columbia University president Seth Low; to a meteorite that Lieutenant Robert E. Peary transported from the Greenland to New York in October 1897; and to novelist John R. Musick's alleged plagiarism. Individual clippings concern topics such as Yale College, a dispute between Harvard and Princeton constituents (related to a poem by Oliver Wendell Holmes), and religion in New England.

The James Terry, Jr., Ephemera and Realia subseries (14 items) contains business and calling cards, promotional material for the American Natural History Museum, a black-and-white reproduction of a painting of African-American agricultural laborers, metal nameplates and decorative plates, and an engraving of the Worcester Town Hall pasted onto a block of wood.

The Terry Family series is made up of 2 subseries. The Terry Family Account Book contains 11 pages of financial records related to the estate of George Terry (April 9, 1889-June 7, 1890). An additional page of accounts is laid into the volume, and 3 newspaper obituaries for Terry are pasted into the front cover. A tax bill is affixed to the final page of accounts.

The Terry Family Photographs (90 items) include formal and informal portraits and photographs of scenery. One photograph of a summer home called "Rocklawn" is mounted onto a card with a calendar for the year 1899. Another photograph shows the post exchange at Thule (now Qaanaaq), Greenland, in September 1953.

The Jerome, Arizona mining photographs consist of 56 photographs (including 33 real photograph postcards) related to mining operations, anti-labor vigilantism, and Arizona scenery.

Most of these images appear to have been taken by an anonymous photographer who referred to himself as "Bob" and who may have been associated with a Philadelphia-based contracting firm, Charles A. Sims & Co., that was hired by the United Verde Mine. Many of the photographs have handwritten captions and bear evidence of having previously been mounted in a scrapbook; many captions have been rendered partially illegible after being affected during the removal process. The captions directly refer to details within the photographs, particularly related to mining operations.

A total of 33 real photo postcards are present, including 14 locally produced images by The Fotoplace and Areldson Studio. Several real photo postcards bear correspondence, and "Bob" appears to have sent some of these images to a woman named "Kitty."

Items of particular interest include at least two photographs depicting J. E. O'Rourke (the superintendent of the United Verde Mine); multiple views of Jerome, Arizona, including street and bird’s-eye views; multiple views of mining facilities and encampments; three images of Native Americans (likely Yavapai); two views of the Montezuma Castle cliff dwellings; a view of stalactites taken from the inside of a cavern; and eight images documenting the expulsion of I.W.W. strikers in Jerome in July 1917 by local citizens who were organized into a vigilance committee. Also present are at least five images taken near present-day Tonto Basin, Arizona, north of the Theodore Roosevelt Dam, which may be associated with another project on which the Charles A. Sims & Co. firm was contracted. While the dam itself does not appear in any of these images, the photographer wrote that the area depicted was to be inundated. Since the dam was constructed by the U.S. Reclamation Service between 1903 and 1911, these images are likely older than those taken in Jerome.

For a complete list of the collection’s contents, see the Detailed Box and Folder Listing section below.

The Jersey Shore, Pennsylvania, Boston, and Canada travel photograph album contains approximately 240 photographs of a trip to several locations around the eastern United States and Canada.

The Jersey Shore, Pennsylvania, Boston, and Canada travel photograph album contains approximately 240 photographs documenting a trip to several locations around the eastern United States and Canada.

The album (25.5 x 31.75 cm) is a "Ward's Album for Unmounted Photographs" with green cloth covers. Images of interest include views of a beachside town with palm trees in what appears to be New Jersey; the Elephantine Colossus at Coney Island, New York; a railroad likely near the Delaware Water Gap; John Bartram's House and various other buildings in Philadelphia; the railroad depot at Landsdowne, Pennsylvania; the Longfellow House and Trinity Church in Boston; as well as the interior of what appears to be a summer cabin. Also present are images of Baltimore, Maryland, including views of the Basilica of the National Shrine of the Assumption of the Blessed Virgin Mary; and images from Canadian locations including the Ontario Provincial Legislation Building in Toronto as well as the Château de Ramezay and Market Day at Place Jacques-Cartier in Montreal.

The Lars Gustaf Sellstedt family collection is made up of correspondence, poetry, ephemera, and other materials related to Sellstedt and his descendants, particularly his daughter Eva and her husband, Frank H. Potter. The papers pertain to Sellstedt's religious beliefs, his travels in the Caribbean, his interest in fine art, and his influence and legacy in Buffalo, New York. Other items pertain to Frank Potter's life in Berlin, Germany, in the mid-1880s and to the genealogy of the Younglove family.

The Lars Gustaf Sellstedt family collection (0.75 linear feet) is made up of correspondence, poetry, ephemera, and other material related to Sellstedt and his descendants, particularly his daughter Eva and her husband, Frank H. Potter. The papers pertain to Sellstedt's religious beliefs, his travels in the Caribbean, his interest in fine art, and his influence and legacy in Buffalo, New York. Other items pertain to Frank Potter's life in Berlin, Germany, in the mid-1880s and to the genealogy of the Younglove family.

The Correspondence series (109 items) contains letters related to the Sellstedt, Potter, and Younglove families. In the mid-1840s, Sellstedt exchanged letters with his future wife, Louise Lovejoy; some of his other early correspondence concerns religion, art, and travel to the Caribbean in late 1848 and early 1849. In the early 20th century, he received letters from acquaintances and admirers about his books From Forecastle to Academy and Art in Buffalo.

Many items from the late 19th century pertain to Sellstedt's daughter Eva and her husband, Frank Hamilton Potter, including a series of letters that Potter wrote to his parents about his life in Berlin, Germany, in the mid-1880s. Frank and Eva Potter's son, Lars Sellstedt Potter, occasionally wrote to his mother as a child. The series also contains mid-19th century letters between William K. Scott and his cousin Moses C. Younglove, mid-20th century letters about an art exhibit commemorating Lars G. Sellstedt, and an undated letter from "Santa Claus" to a group of children. The series includes 2 print narratives by Samuel Younglove, entitled "Battle of Oriskany" and "The Battle of Bennington" (June 12, 1897).

The Writings series (113 items) contains 23 essays and 90 poems. Longer essays pertain to "Architecture and Sculpture" (58 pages) and to the history of art in Buffalo, New York (2 items, 99 pages and 47 pages); at least one of the essays about Buffalo was incorporated into Sellstedt's book Art in Buffalo. Other items pertain to the politician James Osborn Putnam, an acquaintance of Sellstedt's. The poetry (90 items), much of which was written by Sellstedt, concerns love, friendship, nature, and religious subjects; at least one poem is a friend's tribute to Sellstedt. The series includes 8 published items, housed together.

The Watercolors and Sketches (5 items), attributed to various persons, depict infant children, a Roman soldier, a woman, and a home. The Photographs (19 items), comprised of card photographs and photographic prints, mostly show members of the Sellstedt family, including Lars G. Sellstedt, Caroline Scott Sellstedt, and Eva Thorén Sellstedt. The pictures are studio portraits, outdoor portraits, and snapshots taken during a fishing trip. The series contains 3 copies of a memorial poem dedicated to William Scott Sellstedt ("Willie"), each illustrated with a photograph of him.

The Albright-Knox Art Gallery Exhibit Materials (around 20 unique items) include documents, promotional materials, and captions, which are related to an exhibit and reception held in honor of Lars Sellstedt in September 1972.

Newspaper Clippings (66 items) pertain to the life of Lars G. Sellstedt, including retrospectives about his life and obituaries. Some clippings concern the Albright-Knox Gallery's 1972 Sellstedt exhibit.

The Invitations, Cards, Documents, and Realia series (11 items) includes printed and manuscript invitations, a calling card, an embroidered piece of fabric, and a stock certificate for the Buffalo Cremation Company.

The Genealogy series (9 items) contains histories of the Younglove family, written by and addressed to Moses Younglove, as well as items related to the Gay family and to the life of Lars G. Sellstedt.

The Latin America and Caribbean travel photograph album (17.25 x 21 cm) contains 36 captioned views of Jamaica, Panama, Peru, and Chile taken by an unidentified photographer. The majority of the photographs are of landscapes but local people are also depicted.

The Latin America and Caribbean travel photograph album (17.25 x 21 cm) contains 36 captioned views of Jamaica, Panama, Peru, and Chile taken by an unidentified photographer. The majority of the photographs are of landscapes but local people are also depicted. A photograph of the S.S. Limari is present in the album. Of note are a series of photographs documenting a trip on the Peruvian Central Railway, including a view of Infiernillo Bridge.

The Leonidas, Michigan photograph album (14.5 x 17.75 cm) contains fifteen snapshot views of Leonidas, a settlement in St. Joseph County, Michigan. The photographs focus on streets, buildings, and roads.

The Leonidas, Michigan photograph album (14.5 x 17.75 cm) contains fifteen snapshot views of Leonidas, a settlement in St. Joseph County, Michigan. The photographs show views of streets, a train depot and train, a paint shop, a cemetery, residences, and a group of four individuals in a carriage drawn by two horses.

The Mark A. Anderson collection of post-mortem photography contains approximately 1068 items including photographs, ephemeral items, documents, manuscripts, printed items, and realia pertaining to the visual history of death and bereavement between the 1840s and the 1970s. Photographs make up the bulk of the collection.

The Mark A. Anderson collection of post-mortem photography contains approximately 1068 photographs, ephemeral items, documents, manuscripts, printed items, and realia pertaining to the visual history of death and bereavement between the 1840s and the 1970s. Photographs make up the bulk of the collection. Mr. Anderson assembled this collection from dealers, antique shops, and individuals. His motivation stemmed from a desire to document and to provide historical perspective on various end-of-life practices which, in the 20th century, fell into taboo and disfavor.

The majority portion of the photographic items in the collection are neither dated, nor attributed, although approximate dates can often be determined by when particular photographic formats were in use (see timeline at www.graphicatlas.org.). Consequently, the materials have been organized first to accommodate their sizes, formats, and preservation needs, and second to reflect major subject themes present, though scattered, throughout the entire collection. These non-mutually exclusive subjects are as follows:

• Post-mortem portraits
• Post-mortem scenes
• Funeral tableaux
• Funerals and funeral processions
• Floral arrangements and displays
• Memorial cards and sentimental imagery
• Cemeteries and monuments
• Funeral industry
• Mourning attire
• Unnatural death

The first three subjects - post-mortem portraits, scenes, and funeral tableaux - all depict the recently deceased, and so fall into the narrowest definition of a post-mortem photograph. Their distinction into three separate subjects is a partly arbitrary decision, made to break up what would otherwise be a large and unwieldy grouping of photos, but also to roughly shape the order of the collection (post-mortem portraits without décor tended to date earlier chronologically than broader, beautifying scenes).

Post-mortem portraits:

The post-mortem portrait photographs, comprising 251 items in the collection, depict the bodies of dead family members and friends. These images show the deceased, sometimes posed with living family members, and for the most part do not include elements of a larger scene, such as floral arrangements, banners, or other décor.

These portraits include the earliest photographic images in the collection, including 28 cased daguerreotypes, ambrotypes, and tintypes. 78 cabinet card photographs date from the late 1860s to around the turn of the century. Among many notable cabinet cards are two images of Frances Radke, taken and retouched by R. C. Houser, showing her image before and after Houser's post-capture work (3.1 and 3.2). Also of note is a framed crayon enlargement of infant Adelaide Banks by photographer/artist Edward Stuart Tray (26) and a post-mortem carte de visite of an unidentified African American infant taken by photographer S. P. Davis of Danielsonville, Connecticut (4.282u).

Post-mortem scenes:

The post-mortem scene photographs, numbering 155 items in total, are similar to the portraits described above, except that they show the deceased as part of a larger environment, whether in a private home, a funeral home, or out-of-doors. Most of these views are mounted photographic prints from the 1880s to the early decades of the 20th century, frequently centering on the corpse, lying in a casket or coffin, amidst an abundance of floral arrangements, banners or flags, family members or friends, and/or personal belongings. Their caskets are often lined with white cloth.

Many of these images have unique qualities; several examples illustrate the variety of postmortem scenes in the collection. Six photographs by W. Jakubowski and Co. and Jos. Ziawinski, of Detroit, Michigan, include five wedding photographs (of the bride and groom, bridesmaids, and family members) and one post-mortem scene of the wife. She appears to have died within a short time following the marriage; the funeral home scene image contains one of the wedding photographs and a banner marked "Dearest Wife" (18.5-18.10). One mounted photograph depicts a dog, laid on linen, in a homemade casket (14:17). The collection also contains examples of different persons on display in the same funeral home/parlor (e.g. 18.1-18.4). A set of two cabinet card photos of a child in a buggy is accompanied by one of the buggy's metal lanterns (23.1-23.3). Also of note is a photogravure of the 1888 painting "Requiescat" by British artist Briton Rivière showing a dog seated next to its deceased owner (25.2).

Funeral tableaux:

The collection's 35 funeral tableaux photographs show the deceased in an open casket or coffin, typically in front of a church or homestead, with a posed assembly of funeral attendees or mourners. They often show a large group of family and friends, and so are frequently large format prints. Group portraits of this sort were occasionally framed and displayed in the home. Most of the examples in this collection are large prints (many of them mounted), with smaller examples, including a real photo postcard, two snapshots, and one cabinet card. Particular items of note include a framed tableau on the steps of the Church of The Descent of The Holy Ghost in Detroit by Thomas Hoffman (27), a photomontage image of a nun's funeral (28), two tableaux scenes by F. A. Drukteinis taken outside of the same church in Detroit during different seasons and involving the same family (20.12 and 20.15), and three related tableaux scenes (two mounted and one unmounted) involving a presumably Hungarian family that were taken outside of what appears to be a Catholic church in Cleveland, Ohio, during three different funerals (20.16a-20.16c).

Funerals and funeral processions:

The 70 items depicting or pertaining to funeral gatherings show various aspects of the movement of the deceased from the home or funeral home to the cemetery and funeral and burial ceremonies. This group is comprised of real photo postcards (22 items), snapshots (13 items), and a variety of other formats. Examples include an albumen print depicting the Plymouth Church decorated for Henry Ward Beecher's funeral in 1887, and snapshot and postcard photographs of a burial at sea.

Floral arrangements and displays:

Additional documentation of funeral decoration may be found in the collection's 176 still life portraits of floral arrangements and other decorations. A portion of the floral display photographs include pre- or post-mortem photos of the deceased either incorporated into the display or added to the image after printing. One particularly fine example is a large format photograph of a floral arrangement for the funeral of Joshua Turner Mulls; the display included a cabinet card photo of Mr. Mulls and a modified enlargement of the cabinet card. Accompanying the floral arrangement photograph is the cabinet card depicted in the display, with artist's instructions for coloring the enlargement (22.1-22.2).

Memorial cards and sentimental imagery:

The collection includes 105 memorial cards and ephemeral items bearing sentimental imagery. Memorial cards were created as tributes, often displaying birth dates, death dates, and other information about the deceased. Many of these cards include border designs and some bear photographs of the departed. Black-fronted memorial cards gained popularity from 1880 to 1905. Of many interesting examples, the collection includes two examples of memorial cards which haven't yet been personalized (4.306-4.307) and two reflecting World War I-related deaths (4.316 and 4.317). Materials with sentimental imagery include items such as a photograph of an illustration entitled "Momma is in Heaven," a memorial book dedicated to Olive C. Partridge in 1897, and other items.

Note: an advertisement for the Memorial Card Company of Philadelphia is located in the 'Funeral Industry' section of the collection (14.35).

Cemeteries and monuments:

61 photographs, printed items, and realia explicitly pertain to cemeteries, burial markers, or monuments. Some of the cemeteries and monuments are identified, such as the Garfield Memorial at Lakeview Cemetery in Cleveland, Ohio (4.1-4.3). The collection includes examples of cemetery-related realia, including an ovular, porcelain headstone photograph (pre-mortem) of the deceased.

Note: cemeteries may be seen as background for many photographs throughout the collection.

The funeral industry:

The Mark A. Anderson collection of post-mortem photography holds a diverse selection of photographs, ephemera, and printed materials related to the business aspects of death, dying, and bereavement. This group contains around 153 items overall, including receipts (1896-1956); various types of advertising materials (including an undertaker's advertising card, a cabinet photograph of the Arbenz & Co. storefront advertising undertaking as a service, fans from a church and the A. C. Cheney funeral home, a thermometer, and other items); and 118 coffin sales photographs (illustrating a massive selection of different casket models offered by the Boyertown Burial Casket Company of Pennsylvania).

Two photograph albums, that of Clarence E. Mapes' furniture store and funeral home and that of the Algoe-Gundry Company funeral home, provide visual documentation of a rural and an urban funeral home (respectively) in Michigan in the first half of the 20th century:

The photo album and scrapbook of Clarence E. Mapes' furniture store and funeral home in Durand, Michigan, dating from ca. 1903-1930, contains interior and exterior photographs of the furniture and undertaker portions of the shop. The album includes photographs of casket showroom display mechanisms; an example of a "burglar proof" metallic vault; a posed photo of the embalmer standing over a man on the embalming table; images of carriage and motorized hearses; business-related newspaper clippings; and various family and vacation photographs. Several prints, dated August 1903, appear to depict the aftermath of the Wallace Brothers Circus train wreck on the Grand Trunk railroad at Durand. Among these photographs are carriage hearses, a horse-drawn cart carrying ten or more oblong boxes (for transportation and perhaps burial of victims of the wreck), a man standing in an alleyway near three stacked boxes, and a large group of persons standing in a largely unearthed section of a cemetery. The Mapes album is accompanied by a C. E. Mapes Furniture advertising fly-swatter.

The Algoe-Gundry Company album dates from ca. 1924 to 1960 and contains (almost exclusively) 8"x10" photographs of this Flint, Michigan, funeral business. The album includes images of the exterior and interior of Algoe-Gundry buildings, hearses, ambulances, and billboard advertisements.

One album was produced ca. 1939 by the Central Metallic Casket Co. of Chicago, Illinois. Titled "Caskets of Character," the album contains images of patented (or soon to be patented) casket designs as well as a printed cross-sectional view detailing the company's "Leak-Proof" Separate Inner Sealer.

Also of interest is funeral director's license granted by the Michigan State Board of Embalmers and Funeral Directors to Vincent J. George of Fowler, Michigan, in 1938. (25.1)

Mourning attire:

In America, mourning attire tended to follow trends set in Europe. The bereaved wore mourning clothing according to current fashion trends and societal expectations. Mourning clothing styles, often dark-colored and somber, depended on how close the mourner was to the deceased and local societal expectations. Seventeen portrait photographs show men and women wearing mourning attire without the deceased present. This group includes cabinet cards, a 1/9 plate ambrotype of an adult woman, two tintypes, and one carte-de-visite.

Note: persons wearing mourning attire may also be found scattered throughout the other sections of the Mark A. Anderson collection. While most are concentrated in the funeral photographs, mourners are also present in postmortem portraits, postmortem scenes, and cemetery photos.

Unnatural death:

43 photographs (mostly snapshots) depict "unnatural deaths," deaths not caused by age or naturally occurring disease, such as suicides, accidents, murders, and war. The larger portions of the snapshots are mid-20th century police photographs of crime or accident scenes.

Nine Indiana State Police photographs show a train-automobile accident; a group of eight unmarked photos depict the body of woman, apparently violently murdered, at the location of her death and in a morgue; 14 are of a man struck down, beneath a train; two are of a rifle suicide; and the others are of varying accidents. One World War I-era real photo postcard appears to show a man who was shot dead in a foxhole. A stereoscopic card by photographer B. W. Kilburn shows the burial of Filipino soldiers after the Battle of Malolos, Philippine Islands [ca. 1899].

Note: The photograph album/scrapbook of the Clarence E. Mapes furniture and undertakers shop contains several photographs of what appear to be the aftermath of the Wallace Brothers Circus train wreck, Durand, Michigan 1903 (see above description in the 'Funeral Industry' section of this scope and content note).

The Matthilde Ittel photograph album contains 122 photographs, 19 postcards, and 26 pieces of ephemera and mainly includes snapshots of people, landscapes, and buildings in Pennsylvania, New York, and Ontario.

The Matthilde Ittel photograph album contains 122 photographs, 19 postcards, and 26 pieces of ephemera and mainly includes snapshots of people, landscapes, and buildings in Pennsylvania, New York, and Ontario.

The album (18 x 27 cm) has black cloth covers with "Photographs" stamped on the front. Many of album compiler Matthilde Ittel’s family, friends, and colleagues are mentioned and pictured in this album, including William Baldwin Clipsham, Nettie E. Geyer, Freda Cloud, Mary Rieger Ittel, and Jessie Evelyn Ittel Kiel as well as staff of the W. E. Terhune Lumber Company. Numerous portraits are present throughout the album, many of which have been altered through cutting. Two images show a woman whose face has been entirely cut out, while many other images are cut along the lines of a person’s figure. Several images have had color added. The postcards primarily consist of images of destinations that the album creator visited such as the Bowery in New York City and the Liberty Bell in Philadelphia, Pennsylvania, while the ephemeral items include a hotel card, a small wooden oar, and typed notes containing humorous writings and social commentaries.

Images of note include pictures of Ittel wearing a Gibson Girl hairstyle coupled with a quote regarding the advantage of women not having to wear trousers, portraits of Ittel’s mother Mary and sister Jessie, two real photograph postcards of cats, a postcard of the merchant ship Tillie Covert, postcards and notes from a trip to Ontario in 1908, photographs and postcards relating to a 1909 trip from Rochester to Montreal and West Point, several photographs of a 1911 trip to Philadelphia and the Delaware Water Gap, and a staged photograph located on the back inside cover captioned "An Actual Operation For Appendicitis.”

The Mills family photograph album consists of approximately 200 images and 6 loose photographs documenting a trip to London, Ontario, as well as the daily life of a well-to-do family in Marysville, Michigan.

The Mills family photograph album consists of approximately 200 images and 6 loose photographs documenting a trip to London, Ontario, as well as the daily life of a well-to-do family in Marysville, Michigan.

The album (28 x 38 cm) has leather covers with the stamped initials “HEM” of the compiler Hannah Elizabeth Mills. Contents include photographs of the Marysville “Lower Mill,” residences belonging to Hannah’s brother Myron, numerous portraits of people including Hannah's youngest sister Hally, two photographs of Hally from when she had diphtheria in 1891, “Hal” in a darkroom likely in the Mills family home, people playing tennis, the Mills family cemetery plot, views of a trip to Stag Island, Ontario, an apparently ill person lying on a cot, and several views documenting a trip to what may be a relative’s home in London, Ontario. Also present are images from a winter "In the Lumber Woods, 1891", an excursion to Niagara Falls in 1894, the town of Pinckney, Michigan, following a tornado, and wedding gifts for Mary Margaret Mills and Walter Jasperson Hopkins.

The Namur, Québec photograph album (24.5 x 18 cm) contains eleven snapshots of people in the countryside around Namur, Québec at the turn of the twentieth century.

The Namur Québec photograph album (24.5 x 18 cm) contains eleven snapshots taken in Namur, Québec. Multiple photographs feature women fishing and riding bicycles. The album has a dark red leather cover with "'The Farm', Namur Que." stamped on the front.