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The Clements Library's collection of individual friendship and autograph albums (the ones that are not part of larger bodies of family papers) dates primarily from the second half of the 19th century. The creators of these albums sought out friends, family, schoolmates, public persons, and others to write signatures, sentiments, poetry, extracts from books and serials, personal sentiments, and more. Contributions often emphasize ties of friendship, exhortations to seek love, happiness, or Christian religious salvation. Most of the volumes in this collection were compiled in the Northeast United States and areas in the Midwest, with urban and rural areas represented. The greater number of the albums were kept by young women and the bulk of the signers were also female. Contributors occasionally illustrated pages with calligraphic designs, trompe l'oeil visiting cards, animals, flowers, and themes that had particular significance to their relationship with the keeper of the album. The volumes in this collection are largely decorative blank books adorned with tooled covers, sometimes containing interspersed engravings of religious, literary, historical, and landscape themes. Some include pasted-in photographs, die-cuts, or stickers.

The Clements Library's collection of individual friendship and autograph albums (the ones that are not part of larger bodies of family papers) dates primarily from the second half of the 19th century. The creators of these albums sought out friends, family, schoolmates, public persons, and others to write signatures, sentiments, poetry, extracts from books and serials, personal sentiments, and more. Contributions often emphasize ties of friendship, exhortations to seek love, happiness, or Christian religious salvation. Most of the volumes in this collection were compiled in the Northeast United States and areas in the Midwest, with urban and rural areas represented. The greater number of the albums were kept by young women and the bulk of the signers were also female. At least one volume was kept by an African American man, Lewis G. Mosebay. Contributors occasionally illustrated pages with calligraphic designs, trompe l'oeil visiting cards, animals, flowers, and themes that had particular significance to their relationship with the keeper of the album. The volumes in this collection are largely decorative blank books adorned with tooled covers, sometimes containing interspersed engravings of religious, literary, historical, and landscape themes. Some include pasted-in photographs, die-cuts, or stickers.

James Chaney used this account book to record financial transactions with patrons of his general store in Salem, Massachusetts, from 1820 to 1823, with one account dating into 1826. The account book records credits, debts, and the items sold or exchanged with patrons. Chaney sold foodstuffs, household goods, and alcoholic beverages, and several accounts include lines of credit for exchanges in goods and services beyond cash payments, indicating a form of bartering may have been occurring. At least five women held accounts with Chaney.

James Chaney used this account book to record financial transactions with patrons of his general store in Salem, Massachusetts, from 1820 to 1823, with one account dating into 1826. The account book records credits, debts, and the items sold or exchanged with patrons. Chaney sold alcoholic beverages, such as rum, brandy, cider, ale and beer, as well as foodstuffs like flour, eggs, raisins, spices, sugar and molasses, meat, crackers, cheese, tea and coffee, butter, and more. He also sold various household goods like pitchers, buckets, brooms, thread, soap, and other products. Several accounts appear to be with other merchants or tradespeople in the area, including documentation of the purchase of tobacco, snuff, and cigars from Converse Tilden and various baked goods like bread, gingerbread, and crackers from John N. Freye. Some of the accounts include lines of credit for exchanges in goods and services beyond cash payments, indicating a form of bartering may have been occurring. At least five women held accounts with Chaney. Several exchanged labor such as washing and sewing, and Mrs. Yells appears to have been offering Chaney board to cover portions of her account. One account for Hannah Chaney may have been with his sister or mother.

The front cover bears a woodcut engraving of a ship and a "Property of" section to fill in, while the back cover features multiplication and numeration tables, lists of the months and days of the week, and two poems. One blotter sheet is laid into the volume.

Laura L. Earl's friendship album includes material dating from 1860 to 1932, documenting her relationships across several geographic regions. Entries include poems, signatures, quotations, brief comments, and drawings of calling cards with signatures added. The volume includes engraved illustrations, several entries that feature artistic elements, and miscellaneous tipped in materials.

Laura L. Earl's friendship album includes material dating from 1860 to 1932, documenting her relationships across several geographic regions. Entries include poems, signatures, quotations, brief comments, and drawings of calling cards with signatures added. Additional visual materials include a negative image of a leaf made by splattering ink, a watercolor painting of flowers, and a calligraphic rendering of Laura Earl's name. Places linked to writers include states such as Wisconsin, Iowa, Minnesota, Colorado, Missouri, New York, Illinois, Ohio, Kansas, Nebraska, Massachusetts, and Oklahoma. Later entries refer to Laura by her married name, Laura E. Nethers.

Laura L. Earl pasted or tipped in various materials to the volume, including printed poems, calling cards, newspaper clippings, leaves, a scrap of fabric, an advertising blotter, a printed set of four images with Biblical passages, a notice for Mrs. D. E. Denman's funeral services in 1928, and Laura (Earl) Nethers' newspaper obituary from 1932. One calling card is from Laura L. Earl, and includes a photograph of her affixed to it. One clipped newspaper or magazine image shows two white men seated at a table with an African American man serving beverages.

"Pensez A Moi" is printed on the front cover. "Laura L. Earl" is stamped on the front flyleaf, as well as a pencil inscription, "1860. A Christmas Gift from my father, Covington, Ky."

• Modesty and Vanity
• Pensez A Moi
• The Departure
• Fatal Signal
• The Balsille. Eng'd for this Work
• Little Rogues in Trouble