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The Jack Keenan World War II Sketches are a collection of over 150 pieces of original art, in the mediums of pencil, pen and watercolor, created by John “Jack” Keenan during his service with the Seventh Armored Division, Third Army, under General George C. Patton. The collection contains scenes from the daily lives of soldiers in this division and chronicles Keenan’s experiences from the beginning of his training at Camp Polk in Louisiana, through his service in Europe and finally his trip back to the United States following the Allied victory.

The contents of this collection correspond with John “Jack” Keenan’s service in the Seventh Armored Division, Third Army, during World War II, from 1941 to 1945. Included are sketches of military personnel, living quarters, landscape vistas, battlefields, weaponry, military transportation, urban scenes, ruins, civilians, prisoners of war, and other topics. Specific locations depicted in these sketches include the states of Louisiana, California, Arizona, Georgia and the countries of England, France, Belgium, Germany, Poland and Scotland.

This nineteenth-century album contains 46 once-bound pen-and-ink caricatures on heavy card stock, each card with or formerly with metal eyelets on one short edge. A pencil inscription at the back of the volume reads, "Mr. Albert L. Briggs, Providence, RI," and internal references to Providence, Rhode Island, further suggests that either Briggs or another local resident may have produced the artwork. The figures represented in the volume vary widely and some are more sympathetic or more disparaging than others. The illustrator relied heavily on exaggerated features, stereotypes, and jokes directed at people's physical appearance to provide social commentary especially on race, ethnicity, gender, and class.

This nineteenth-century album contains 46 once-bound pen-and-ink caricatures on heavy card stock, each card with or formerly with metal eyelets on one short edge. A pencil inscription at the back of the volume reads, "Mr. Albert L. Briggs, Providence, RI," and internal references to Providence, Rhode Island, further suggests that either Briggs or another local resident may have produced the artwork. The figures represented in the volume vary widely and some are more sympathetic or more disparaging than others. The illustrator relied heavily on exaggerated features, stereotypes, and jokes directed at people's physical appearance to provide especially social commentary on race, ethnicity, gender, and class.

At least seven of the illustrations relate to women, including drawings referring to women's rights and various women's roles as mothers, performers, physicians, and cooks. One, labelled "What is home without a mother," may be a reference to a song by the same name published in 1854, and it features a woman with a monstrous face. Another titled "HANNAH LONG" depicts a woman peddling "Quaker Bitters" (probably the Providence, Rhode Island, patent medicine by that name) and may be referring to Hannah Longshore (1819-1901), who graduated from the first class of the Women's Medical College of Pennsylvania in 1851.

Many of the caricatures focus on impoverished or working class people, showing individuals in tattered clothing or in lower-paying professions such as a farmer, a shoeshine, and a seeming gravedigger. A number of illustrations depict men in various stages of intoxication or alcoholism. Forms of social disorder are highlighted in caricatures of a convict and of a knife-wielding murderer labelled "THE MAN THAT KILLED JOHN GILPIN." Commentary on physical and mental disability are also represented, in drawings of a mentally ill man labelled "Luny" and a man with unaligned eyes and feet labelled "On exhibition."

Other caricatures reflect racial, ethnic, and religious stereotypes. Two racist caricatures depict African Americans, including one of a Black Congressman and one of an Uncle Remus character. Another caricature depicts a recent immigrant, while two are anti-Semitic (those labeled "The Torturer" and "NAME IT"). Two figures depict high religious figures, from Catholic or Orthodox Christian churches; one wears a robe, a fur-brimmed mitre, and snowshoes. The word "KAMSCHASA" is written near the bottom of the robe, likely referring to the Kamchatka peninsula in Russia.

Other caricatures highlight people based on their height, weight, profession (such as a king, a knight, an editor, a lecturer), or social posturing. For example, attitudes like dignity, contentment, nosiness, and bashfulness are spotlighted. Others appear more innocuous, such as illustrations of someone reading the morning newspaper and another of someone taking "Rush's Pills," but underlying subtexts for many of the images likely have additional meaning.

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

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

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

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

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

The Auguste Hervieu watercolors consist of seven watercolor illustrations attributed to French painter and book illustrator Auguste Hervieu.

The Auguste Hervieu watercolors consist of seven watercolor illustrations attributed to French painter and book illustrator Auguste Hervieu. These illustrations are not known to have been used in any publication(s), and while it is unclear what publication(s) they were originally associated with it is possible that many were produced in relation to Hervieu’s collaboration with Frances M. Trollope during their travels together in the United States of America in the late 1820s. A number of items feature inscribed titles in an unidentified hand.

• [Boy with hogs] - a young barefoot boy wearing tattered clothing wields a stick while opening the door to a hog corral.
• “Love among the Quakers” - a Quaker man and woman stoically sit near each other while cupid is sat between them. Both the woman and cupid have their eyes closed while the man looks straight ahead.
• [Fourth of July event] - a tough looking well-dressed young man who has taken his hat off while extending a hand (possibly signifying that he is a ticket-taker) poses near an open stone archway leading to a courtyard occupied by soldiers in uniform listening to a man giving a speech. The stone wall next to the young man bears several inscriptions including “Order of Celebration of the 4th July,” “502 Hog,” “Declaration of Independence,” and a partially illegible inscription reading “Tales ? ? Slaves’.”
• “The Village Politicians” - two men and one woman holding a child observe a sign that reads “Reportie - Black List.”
• “Love among the Negroes” - a well-dressed African American couple sit closely next to each other on a park bench while cupid covertly observes their romantic interaction with a smile. The man can be seen using a monocle to intimately examine a miniature portrait kept in the woman’s locket while she uses a fan to partially cover her face. A white waiter carrying a wine bottle and wine glasses also looks on from the background.
• “A Philadelphia Exquisite” - a well-dressed African American man stands carrying a hat in one hand while holding a stick monocle to his eye in the other.
• “The sad reality on arrival” - view showing the interior of a house with a group of people (possibly the Trollope family). At the center of the room there is a comically large fire that appears to have been fueled by furniture that was hewn in desperation while several leaks are shown pouring through the roof. The woman at left can be seen holding an umbrella.

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

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

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

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

1912 graduate of the University of Michigan Law School. Consists of caricatures of fellow law students and unidentified photographs.

The collection consists of caricatures of fellow law students and unidentified photographs.