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Christian Hoffman, of Cincinnati, Ohio, and Newport, Kentucky, compiled this 201-page book of poetry, largely in the German language, with eight poems in English. Hoffman's selections include poems or poem fragments by Henry Kirke White, Lord Byron, Agnes Franz, Friedrich Rückert, Christian Hoffmann von Hoffmannswaldau, Friedrich von Sallet, August Henrich Hoffmann, and others. Christian Hoffmann apparently included several original spiritual poems, such as "Des Kinder schwingender Geist" (pages 18-24) and "Die Absched des Prindes Gottes" (pages 169-170). Several blackletter script titles, decorative initials, and illustrations are present. The three illustrations include an urn with flowers (page 69), an angel with a harp (page 168), and a vignette of three maidens holding a banner with the words "O laube", "Liebe und" and "Hoffman" (page 76).

Christian Hoffman, of Cincinnati, Ohio, and Newport, Kentucky, compiled this 201-page book of poetry, largely in the German language, with eight poems in English. Hoffman's selections include poems or poem fragments by Henry Kirke White, Lord Byron, Agnes Franz, Friedrich Rückert, Christian Hoffmann von Hoffmannswaldau, Friedrich von Sallet, August Henrich Hoffmann, and others. Christian Hoffmann apparently included several original spiritual poems, such as "Des Kinder schwingender Geist" (pages 18-24) and "Die Absched des Prindes Gottes" (pages 169-170). Several blackletter script titles, decorative initials, and illustrations are present. The three illustrations include an urn with flowers (page 69), an angel with a harp (page 168), and a vignette of three maidens holding a banner with the words "O laube", "Liebe und" and "Hoffman" (page 76).

This collection consists of a commonplace book (approximately 50 pages) compiled by Ann Greene after 1790, and an account of a 44-day voyage John Grew and his family took from Liverpool to Boston in the summer of 1795. The 22-page travel diary also includes an 8-page copy of a letter Mary Grew, John Grew's mother, wrote to her family in England upon her arrival in Boston.

This collection consists of a commonplace book (approximately 50 pages) compiled by Ann Greene after 1790, and an account of a 44-day voyage John Grew and his family took from Liverpool to Boston in the summer of 1795. The 22-page travel diary also includes an 8-page copy of a letter Mary Grew, John Grew's mother, wrote to her family in England upon her arrival in Boston.

Ann Greene's commonplace book has two parts: 33 pages of transcribed poetry (24 poems) begin at the front cover, and 15 additional pages of personal reflections and letter drafts begin at the back cover. Much of the poetry was originally written by British authors whose work circulated widely in the eighteenth century, such as James Boswell, James Thomson, William Cowper, and Elizabeth Singer Rowe. Greene occasionally recorded the volume and page from which she transcribed poems. The other portion of the volume contains personal resolutions about making good use of one's time, interspersed with light-hearted notes about beaux or friends.

The travel diary records the Grew family's emigration from Birmingham England, to Boston, Massachusetts, in 1795. Daily entries, written between May 23 and July 8, 1795, detail several aspects of the voyage, such as the weather, passing ships, maritime wildlife, and the ship's progress. The diarist also mentioned an instance when another vessel mistook their ship for a French privateer, and the effects of a tumultuous storm.

The final 8 pages contain a copy of a letter Mary Coltman Grew (1756-1834) wrote to her mother in England from Boston, Massachusetts (July 24, 1795). She detailed her initial impressions of the city and of local customs. Among other topics, she reflected on the climate, housing, servants, dress, food, and religious customs. She also related an anecdote about Benjamin Franklin, who reportedly distributed printed cards to strangers in order to preempt any inquiries about him.

The Harriet Hodges commonplace book, created at an unknown location sometime in the 19th century, contains 25 pages of copied poetry, apparently from serial publications, including multiple entries titled "For an Album" and "From an Album." Other poems include "The Daughter's Dream," "Wee Willie," "The Legend of the Crossbill," "Address to Columbus dying," "Death of Napoleon," "The Bridal Day," and several fragments. Flipping the volume over, Harriet wrote eight pages of a story titled "Imogene Howard, or Self Conceit." The commonplace book is bound with a plaid cover.

The Harriet Hodges commonplace book, created at an unknown location sometime in the 19th century, contains 25 pages of copied poetry, apparently from serial publications, including multiple entries titled "For an Album" and "From an Album." Other poems include "The Daughter's Dream," "Wee Willie," "The Legend of the Crossbill," "Address to Columbus dying," "Death of Napoleon," "The Bridal Day," and several fragments. Flipping the volume over, Harriet wrote eight pages of a story titled "Imogene Howard, or Self Conceit." The commonplace book is bound with a plaid cover.

Lydia Brown compiled this notebook of copied poems, principally religious and moral in nature, sometime in the early nineteenth century. She often drew calligraphic titles and other embellishments, including borders, flowers, and leaves. Several times throughout the volume, Lydia Brown includes included "A E 12" after her name, possibly an abbreviation for the Latin phrase "aetatis," indicating she may have been 12 at the time of writing and the volume could have served as an educational exercise for learning penmanship.

Lydia Brown compiled this notebook of copied poems, principally religious and moral in nature, sometime in the early nineteenth century. She often drew calligraphic titles and other embellishments, including borders, flowers, and leaves. Several times throughout the volume, Lydia Brown included "A E 12" after her name, possibly an abbreviation for the Latin phrase "aetatis," indicating she may have been 12 at the time of writing and the volume could have served as an educational exercise for learning penmanship. A test sheet at the end of the volume includes several practice penmanship elements, and pencil lines throughout indicate how Lydia Brown was keeping her writing straight.

• To Hope
• A Paraphrase of the Lord's Prayer
• Charity
• Safety in Christ
• Say Why!
• Childhood
• Life
• Content
• Faith
• Hope
• Charity
• Humility
• Friendship
• Fortitude
• Modesty
• Patience
• Inscription on a Clock
• Friendship
• Sunset and Sunrise
• Reputation
• A Request
• Hope
• The Rose
• Friendship
• Time
• Repentance
• Prayer
• Religion
• The Happy Cottage
• A Thought
• Evening Cloud
• Extract
• An Epitaph
• Time
• Modesty
• Extract
• Repentance
• Life
• Prayer
• The Tear
• Sympathy

This anonymous commonplace book, written in French, contains quotations on moral topics from widely read French authors of the later 18th century.

The unidentified author of this commonplace book extracted quotations on moral topics from some of the most popular, widely read French authors of the later 18th century, including Voltaire, Corneille, Rousseau, LaFontaine, Sédaine, and Béranger. While there is no indication of when the book was assembled, the handwriting appears consistent with a late 18th century origin, though the inclusion of a work by Béranger (1780-1857) and a work by Chemin-Dupontès published in 1798 suggests that it must have been at the very end of the period.

An unusually elegant piece, great care was lavished on the preparation of this commonplace book, suggesting that it was valued as an object, as much as for its literary worth. Bound in leather with gold tooling at the edges, 16mo, the book is written in a meticulous hand, with red borders around the text on each page, presenting a highly attractive, even impressive appearance.

The first section, the longest devoted to a single writer, is taken from Jean-Baptiste Chemin-Dupontès' Morale des sages de tous les pays et de tous les siècles, ou collection épurée des moralistes anciens et modernes (Paris, 1798). This is followed by selections of poetry in various genres, songs, and a section of riddle-like word games.

The William Eighinger ledger contains two sections: a ledger kept by a Baltimore shipping merchant between 1798 and 1801 and math problems and copied compositions compiled by George Eighinger in 1850. The accounts pertain to the shipment of goods between North America, the Caribbean, and Germany, and the copied material includes a narrative told from the point of view of a slave.

This volume contains 2 sections: a ledger kept by a Baltimore shipping merchant between 1798 and 1801 (about 105 pages) and math problems and copied compositions compiled by George Eighinger in 1850 (5 pages).

The financial records intermittently cover the period from October 1, 1798, to June 24, 1801, on pages numbered 47-144 and 188-211; some pages have been torn from the book. The accounts concern the affairs of a Baltimore shipping merchant who imported linens and other items from Europe while exporting coffee, tobacco, sugar, and other goods to Bremen, Hamburg, and other German ports. Each entry reflects a transaction with a merchant, and the ledger often records the names of the ships carrying the cargo, as well as inventories, prices, the names of shipmasters, and consignment agents' marks. The ledger occasionally includes costs of storage or insurance. On December 31, 1799, the bookkeeper recorded "postage of 1798 & 1799" (pp. 131-133). Cartoonish drawings illustrate a few pages throughout the accounts (e.g. pages 93 and 239).

The pages numbered 235-239 contain arithmetic problems, copied prose, and cartoons by George Eighinger, who received the book from Nash G. Camp on March 4, 1850. The pages, which are labeled "Compound Subtraction" and "Compound Addition," include a narrative told from the point of view of a slave (p. 235).