Collections : [University of Michigan William L. Clements Library]

The Boardman papers are made up of correspondence and business documents of the Connecticut merchant and senator, Elijah Boardman. The collection also holds the research notes and draft of a biography of Boardman written by Walter G. Drogue, and an 1849 memoir of Boardman's wife, Mary Anna Boardman.

The Correspondence series consists of 167 personal and business letters of Elijah Boardman and his family. Many of the letters are copies sent to Eli Baldwin, who managed Boardman's property in Ohio. Oliver Wolcott, from the Connecticut Council Chamber, sent multiple letters (1818, 1820) informing Boardman of his elections to state office. The collection also contains letters between friends and family members, including a number of items between Elijah and his son William, who was studying at Harvard College in Massachusetts, and letters to and from William's brother George and his mother Mary ("Mama"). In addition to the Boardman material is a small set of fifteen 20th century letters pertaining to Walter G. Drogue, comprising.

The Documents series contains 10 items, mostly inventories of Boardman's estate and property, along with his last will and testament.

The Business and Financial Papers series of 163 items consists of promissory notes, tuition receipts from Harvard and Yale, correspondence on orders and shipments from Villee and Burrail, and miscellaneous receipts and financial accounts.

The Miscellaneous: Political and Other series holds 30 items, both related to Boardman's public work as well as some truly miscellaneous items, such as a poem titled Oh Unfortunate, and a printed list of prices for produce in New York. Two items of note are a booklet with a list of names of "Freemen Republicans" and "Freemen Federal," and Boardman's Political Notebook from 1803.

The Drafts, Research, and Notes and series contains an undated manuscript draft of Walter Gerald Drogue biography of Elijah Boardman and the the materials he used to write the history. This series is comprised of 1,848 dated and undated items such as letters from libraries and special collections detailing their related holdings, and note cards with citations from primary and secondary sources.

The Books series contains two volumes: William Boardman's "Commonplace Book," which mentions topics such as philosophy, astronomy, and poetry; and the published Memoir of the Life and Character of Mrs. Mary Anna Boardman, with a Historical Account of Her Forefathers, and Biographical and Genealogical Notices of Many of Her Kindred and Relatives, by John Frederick Schroeder, published in New Haven, in 1849.

The Hurley collection is primarily made up of the letters of James J. Hurley, an Irish Catholic working class man from Troy, New York. He and his family moved to Oneonta, New York after the Delaware & Hudson railroad shops were transferred there. Several photographs are also included in this collection.

The Hurley papers document the life of a blue collar worker, an underrepresented figure in historical manuscript collections. James Hurley proudly defined himself as a father, husband, an Irish Catholic, and a member of the working class. In reply to a letter from a relative which he regarded as insulting, Hurley asserts that "a workingman has as much pride and spirit about him as any rich man." Referring to an Oneonta landlady who discovered that he was Catholic, he writes "I found she was liberal in her yankee views as such people are and you should have heard me trim those bigots. She found out after I got through that the Catholics are not people that have horns on them, she thinks I am a perfect gentleman, the mighty dollar catches those people out here."

Hurley wrote home frequently while away at work during 1904-1906, and the letters make it clear that he placed family above all else in his life, taking an active part in child-raising, worrying about Jennie's health, recognizing the stress and overwork she had to endure in caring for the children while he lived apart from them. He understood why she had no time to write, "as you are just about worked off your feet" having to be "both father and mother to them until this thing is settled..." In a February, 1904, letter he asks Leo to wait up for him on Saturday, to do as Mamma says, and to be "a perfect little gentleman," addressing the letter to him "to make him feel big and proud." In September, as Leo starts school, his father writes that "a great many things" are now expected of him, for he is not a baby anymore. He asks his son to keep this letter so that he will have it "to look at in after years and see if you have fulfilled the expectations of a loving Father and Mother."

The Delaware & Hudson workers hoped that the Oneonta move would be temporary, that the company would eventually decide not to build new shops in this "dismal hole," so different from urban, ethnic, and religiously diverse Troy. Hurley hated to bring his family to a place with such bad winter weather, questionable attitudes toward Catholics, and lack of school and work opportunities for the children. But the company stuck by its decision, and the Hurleys finally moved to Oneonta in the fall of 1906. The decision was probably prompted by the strain of the separation on Jennie Hurley, for her husband makes frequent references to his concern about her "nervousness" and ill health.

We learn little of Jennie's life except through her husband's letters. Her stressful life as a single parent evidently caused such depression and anxiety that her health deteriorated. Even after the family was reunited in Oneonta, Jennie seemingly did not do well, and James wrote to a cousin in May 1908 that his wife "does not enjoy good health at all I think that she is lonesome out here because it is not like good ol Troy." The one letter in the collection written by her seems to indicate that she was less well-educated and articulate than her husband, but the fact that it was written in a condition of extreme emotional distress should be taken into account. In 1906 a boarder renting part of their Troy house evidently made advances toward her, accused her of drinking and said the two of them would drink whiskey together. She ordered him out, he returned, she screamed, then threatened to break a bottle of whiskey in his face. "Jim I am not able too do my work I am all broke up and jest as nervis as I can be," she writes, signing her letter "from a hart broken wife." Hurley fumed at the "yellow cur of a loafer and scoundrel of a liar" who had abused her, telling her he is sure "the poor mean miserable God forsaken wretch" will end up in a poor house. The situation ended when the boarder and his family moved out -- Hurley expressing his hopes that they were relocating to the "wrong side of the tracks." This incident probably contributed to the final decision to move his family to Oneonta.

The papers document Hurley's work life to some extent, specifying piece-work rates for the jobs within the upholstery department, giving some sense of the kinds of materials which were routinely used, the range of tasks performed. They also reveal that Hurley took his responsibility as foreman seriously, while disliking the stress involved with that responsibility. Even though it was evidently not his nature to speak up to authority, in March 1905 he went to bat for his men concerning wage rates when he felt they were being unfairly treated. He argued against cutting piece-work rates, defending the workers as diligent and skilled tradesmen who had to work in "filth dirt and all kinds of diseases that is in this branch of business," and asking to see comparison with other companies' wages for the same sort of work.

The collection contains 16 letters to Hurley from men who formerly worked with him, thanking him for help in finding jobs elsewhere or telling him about their new circumstances. Included are 10 from John Carlon, dating from 1907-1910, which tell an interesting tale -- although in frustratingly little detail -- of a man who deserted his supposedly unfaithful wife and unsupportive family, moved to Boston to begin a new life, and managed to keep his location secret from them. Carlon repeatedly, in barely literate language, expresses his anger and resentment toward his wife, whom he insists he would not have back, "not if all the Priests in whole world and the Pope came with." A lengthy July 28, 1908, letter from W. J. Blake describes travel from New York City through Panama to the mines of Ecuador, and includes extensive commentary on construction of the Panama Canal and the startling amount of valuable machinery abandoned by the French.

The letters in the Hurley Papers hint at blue collar/white collar distinctions which are effectively portrayed in 9 fine photographs made of Delaware & Hudson employees ca. 1900-1905. Differences in setting, attire, and body language are striking, and these images, although not individually identified, bring the men and workplace depicted in letters to life. This small collection is not rich in detail on either home or shop, but it presents a rough sketch of working class life at the turn of the century, focusing on a segment of society which all too often remains historically anonymous.

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).