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This collection consists one bound volume including both financial receipts and sketches. The first part the volume contains 38 pages of receipts of payments from John Sunnocks to various people he had transacted business with in the late 18th century. The rest of the volume contains sketches circa 1880, attributed to Newbold Hough Trotter, an American artist known for his work illustrating natural landscapes and animals.

This single bound volume includes both financial receipts and sketches. The first part the volume contains 38 pages of receipts of payments from John Sunnocks to various people he transacted business with in late 18th century Philadelphia. The next approximately 150 pages contain sketches attributed to Newbold Hough Trotter, an American artist known for his work illustrating natural landscapes and animals. The second half of the volume is unused.

It is likely Newbold came into possession of the book through his wife, Ann Trotter. Ann's great-grandfather, William Dawson, was named executor of John Sunnock's estate at the time of his death in 1793. This is noted in some of the last receipts in the volume.

The receipts date from June 20, 1792 to January 31, 1801 and are written by the individual receiving the payment or by John Sunnocks, or someone on behalf of John Sunnocks, and signed by the individual receiving payment. The currency shifts between pounds and dollars, and some receipts are exchanges of said currencies. The receipts vary in specificity. Many relate to his business as a trunk maker, for goods and services such as animal skins, lumber, and freight. Other expenses shown are taxes, rent, and military fines. Some of the more recurring businesses and individuals found in these receipts are as follows: Moses Levy (attorney), John Field & Son (merchants), Andrew Tybout (merchant), Roberts & Twamley (ironmongers), Abbot & Barnes (curriers), David Moffat (sea captain), Daniel Drinker (merchant), and William Watson (sea captain).

The sketches are in pencil and undated. They mostly depict animals, including many images of lions. Other drawings/scenes include profile portraits of men and women, a man hunting, a ship at sea, and a man presenting artwork. A few drawings appear to have been done by a child.

The King's Own Borderers photograph album is a 54 page, 23.4 x 15.5 cm embossed leather bound album containing portrait photographs of individuals and groups associated with the Stoney family and the British army's 25th Regiment of Foot known as The King's Own Borderers. The images are cartes de visite, with some larger albumen prints and tintypes interspersed. The album contains a wide variety of other visual materials including photographic prints of artwork, pen and ink drawings, calligraphy, newspaper clippings, printed cartoons, and greeting cards. The cover of the album is inscribed "G. Ormond Stoney/King's Own Borderers/5th July 1864." The album appears to have evolved over time in several different stages.

The King's Own Borderers photograph album is a 54 page, 23.4 x 15.5 cm embossed leather bound album containing portrait photographs of individuals and groups associated with the Stoney family and the British Army's 25th Regiment of Foot known as The King's Own Borderers. The images are largely cartes de visite, with albumen prints and tintypes interspersed. The cover of the album is inscribed "G. Ormond Stoney/King's Own Borderers/5th July 1864." The album contains a wide variety of other visual materials including photographic prints of artwork, pen and ink drawings, calligraphy, newspaper clippings, printed cartoons, and greeting cards. The album appears to have had at least three different stages of construction. The first as a traditional 1860s carte de visite photograph album kept by its namesake G. Ormond Stoney (hereafter referred to as Ormond) comprised of photographs of family members interspersed with related newspaper clippings.

The album appears to have been revised with significant additions in the 1870s-1880s, including more photographs of family members as well as commercial photographic prints. The majority of those represented were army officers, with Anglican priests and politicians; many being contemporaries and associates of Ormond's father, George Butler Stoney (1819-1899). Clipped autographs of many are included beneath the photos and appear to be from correspondence to George Butler Stoney.

Various clues to point to Ormond Stoney's sister Jane (Janie) Stoney Smith as a contributor to the album. Not only is she frequently represented in the album, but the album has several pictures of her husband Arthur Smith and his family--many more so than any other family that married into the Stoney family. Arthur and Janie married on September 19, 1867--the same date on the autograph posted under Arthur's picture. Arthur died in 1870 leaving Janie a pregnant widow with a young son, Herbert (see p.24 for his portrait), and an even younger daughter, Ethel Maud. Newspaper clippings around the portrait of Arthur on p.13 mention his death as well as the birth of Herbert and Ethel, though not of Florence, the youngest daughter. Although Jane's two daughters are not represented in the album, on page 44 it appears that at one point a photograph of both of her daughters was extant.

While Jane's younger sister Wilhelmina married Colin McKenzie Smith, another son of William Smith, she did not do so until 1889. The focus on Janie's husband Arthur and their children, suggests Jane rather than Wilhelmina as a significant contributor to the album.

George Ormond's wife Meylia has not been identified in the album and may not be present, however, her father, Sinclair Laing is represented. Laing appears to have been a correspondent with George Butler Stoney.

At some later date, likely in the late 19th century, decorative gold painted borders were added, along with chromolithograph stickers, known as "scraps." These include a series illustrating Robinson Crusoe. Unlike the earlier additions which point to Janie Smith, these later additions might have been the work of a child playing with what would have been a 30 year old album. The gold paint overlapping earlier items (see p. 28 for example) suggests a later date, as do the "scraps" made popular after 1880. The seemingly random nature of the placement of the "scraps" is quite the opposite of the carefully placed and planned addition probably done by Janie Smith.

Of the children represented in the album, three of them would be killed in World War One: Thomas Ramsay Stoney (1882-1918), George Butler Stoney (1877-1915), and Herbert Stoney Smith (1868-1915).

• Two group portraits of young men in military uniform, presumably with George Ormond present in both photographs (p.2, and back inside cover).
• A portrait of a dog that if viewed from another angle appears to be an individual with a disfigured face (p.7).
• A commercial carte de visite of a Zulu warrior identified as King Cetewayo (likely incorrect, the chief of the Matabele) (p.41).
• A portrait of Napoleon, Prince Imperial, in his military uniform ca. 1879 before he died in the service of the British Army during the Anglo-Zulu War (p.40).
• A print of Rosturk Castle in County Mayo, Ireland (p.47).
• A retouched portrait of a dog posed with a military hat, cane and pipe. (p.23).
• An 1873 program for an "evening reading" of two different farces, "Little Toddlekins," and "The Dead Shot," done to raise money for Mrs. Palmer, the retiring battalion nurse (p.53). On the outside of the program is a print of Portland House, a manor owned by members of the Stoney family.

The Laidley family papers consist of letters written by members of the Laidley family regarding family news, politics, and life in the military. The collection also contains fiction written by William Sydney Laidley, a travel journal, legal documents, photographs, and genealogical materials.

The Laidley family papers are comprised of letters, a travel diary, miscellaneous documents, creative writing, genealogical materials, business cards, newspaper clippings, and photographs.

Correspondence: The bulk of the letters are from Theodore T.S. Laidley to his father, John Osborne Laidley, between 1838 and 1861. The collection also contains letters from Theodore to his brother William Sydney Laidley, and letters from various friends and family members, including Amacetta Laidley and George W. Summers, to John Osborne Laidley.

Theodore's early letters describe his life at the United States Military Academy at West Point. After graduating from West Point, Theodore spent time at the Watervliet Arsenal near Troy, New York. He wrote to his father monthly about military life, his enjoyment of New York State, and his health. Theodore took an interest in politics, and was very much concerned about bills, policies, and appointments that he felt were detrimental to the future of the army.

Letters from Theodore contain news about his family, his wife's family, and their health. He also wrote to his father with advice about his siblings. Fewer letters exist from the other Laidley children, and Theodore refers to them being infrequent correspondents. Amacetta did write her father from Washington, recounting politicians and writers she had met. Amacetta's husband, George W. Summers, wrote to John Osborne Laidley about legal matters and his future in politics. Laidley's friends and children wrote frequently about faith and church matters. Following John Osborne Laidley's death in 1863, the bulk of the letters are from Theodore Laidley to his brother, William Sydney Laidley.

Diary: The travel diary is the record of an unidentified family member's journey from Charleston, West Virginia, to Cincinnati, Ohio, in 1879. It contains several pencil drawings including sketches of bridges, a ship, the Chesapeake Bay, and a chandelier.

Documents: The miscellaneous documents consist of receipts, a bill of sale, and a deed.

Creative Writing: The creative writing series contains two poems and a short novel of the Civil War written by William Sydney Laidley.

Personal and Genealogical Materials: The personal and genealogical materials consist of Thomas Laidley's report cards, including some from West Point, a large family tree, information about individual family members, and records of births, deaths, and marriages.

Business Cards: The business card series is made up of the business cards of Theodore Laidley and William Sydney Laidley. William Sydney Laidley's business card features a pencil drawing of an infant on the reverse.

Newspaper Clippings: The collection includes two newspaper clippings. The first is a report of the sinking of the steamer Sultan and the death of Sarah Laidley Poage. The second is a report of a trip to Europe by a member of the Laidley family.

Photographs: The photographs series is composed of three photographs, including two of William Sydney Laidley and one of an unidentified member of the Laidley family.

This collection is made up of 2 volumes that Marianna Chandler Lanman composed while studying at Mrs. Rowson's Academy for Young Ladies in Boston, Massachusetts, around 1814. One concerns arithmetic, focusing on practical applications in bookkeeping, conversion, and monetary transactions; the other contains copied poems, calligraphic alphabets, and graphic illustrations.

This collection is made up of 2 volumes that Marianna Chandler Lanman composed while studying at Mrs. Rowson's Academy for Young Ladies in Boston, Massachusetts, around 1814. One concerns arithmetic, focusing on practical applications in bookkeeping, conversion, and monetary transactions; the other contains copied poems, calligraphic alphabets, and graphic illustrations. Lanman dedicated both volumes to her parents.

Lanman composed the first volume, entitled "Practical Arithmetic[:] Comprising All the Rules for Transacting Business" (10"x16", 60 pages), at Mrs. Rawson's Academy in 1814. Its sections, each labeled in calligraphy, concern mathematical operations, rules and theorems; weights and measures; and practical applications of mathematical principles. Many of the later pages concern subjects such as the calculation of simple and compound interest, the value of "federal money" against "lawful money" (state currencies), commission charges, and bookkeeping. The explanatory text is accompanied by finished exercises and problems. The volume also includes tables of weights and measures and an index.

The second volume, "Specimens of Penmanship" (16"x10", 23 pages), is undated. Lanman copied poetry and proverbs on the book's odd-numbered pages; most concern subjects such as happiness, rural living, and gratitude. The title of a poem on the "Pleasures of retired Life" is written on a drawing of a ribbon (p. 19). One poem, entitled "Virtue's Tears Embalm the Brave," is dedicated to the memory of American casualties of the War of 1812 (p. 21). The volume contains several drawings: a hermit in his home (p. 3), a bald eagle among patriotic decorations (p. 21), a sailing ship (p. 21), and a line drawing of a bird with the word "industry" in its feathers (p. 23). The volume also includes examples of cursive, German, and Old English alphabets.

The Paul A. Meunier photograph albums consist of three large volumes documenting the experiences of the U.S. Army 941st Engineering Aviation Topographical Battalion during World War II including basic training in the United States in 1942, assignments in Tunisia and Italy, and the journey home via the Pacific following the conclusion of the war.

The Paul A. Meunier photograph albums consist of three large volumes documenting the experiences of the U.S. Army 941st Engineering Aviation Topographical Battalion during World War II including basic training in the United States in 1942, assignments in Tunisia and Italy, and the journey home via the Pacific following the conclusion of the war.

All three albums in the collection are 46 x 57 cm in size and have black covers and black paper pages. Each album contains approximately 1,000 photographs. Being a professional artist, Meunier’s attention to detail and exactness is evidenced by the presence of faint framing lines an inch from page margins, with photos carefully arranged within the frames. Numerous captions are present in white ink and neatly printed in appropriate size. Since the three albums present in this collection are titled “Volume 3,” “Volume 4,” and “Volume 5,” it is presumed that Meunier likely produced at least five albums total. Both official photographs as well as personal snapshots taken by Meunier himself are included.

Album A ("Volume 3"): This album documents Meunier’s military service starting from June 1942 when he departed Cleveland for basic training, initial U.S. deployments, his assignment to Tunisia, and his unit’s journey across the Mediterranean Sea to Italy in December 1943. Many snapshot views of street scenes in Tunis and other places in North African Meunier explored while on leave as well as copies of official U.S. Army photographs recording visits to Tunis in 1943 by high-ranking U.S. officials (including Secretary of War Henry Stimson and Generals Eisenhower and Spaatz) are present.

Album B ("Volume 4"): This album documents the transfer of Meunier’s unit to San Severo, Italy. Images of particular interest show the unit working on the production of large-scale lithographically produced bird’s-eye view maps with designated bombing targets charted out. Visits while on leave to Naples, Capri, and Amalfi are also thoroughly represented. Also present is a hand-drawn map of the streets of San Severo and an annotated aerial view of Capri.

Album C ("Volume 5"): This album includes official photos of airborne fighter planes and bombers, aerial views of target sites, and artwork by a fellow soldier. Meunier’s snapshots show soldiers at work as well as on tourist visits to famous Italian sites such as Rome, Florence, Pisa, and Pompeii. Although materials are not arranged in strict chronological order, this volume covers a period of time from when Meunier’s company was headquartered in Bari in mid-1944 to his journey home by ship through the Panama Canal in mid-1945. Also present are a handful of views of the eruption of Mt. Vesuvius in 1944.

The Seth Eastman watercolors consist of 12 sketches produced by U.S. Army officer Seth Eastman.

The Seth Eastman watercolors consist of 12 sketches produced by U.S. Army officer Seth Eastman. Most of these works were likely created by Eastman between approximately 1849 and 1858, including many that were executed in relation to his work as illustrator for Henry Rowe Schoolcraft’s six-volume ethnographic survey Information respecting the history, condition and prospects of the Indian tribes of the United States, published between 1851 and 1857. Individual items measure up to 18 by 25 cm.

The following list includes titles (supplied titles appearing in brackets), content descriptions, and citations for engraved versions that appear in Schoolcraft’s survey:

• Watercolor scene showing a naked Native American girl being tortured in front of a large group of Skiri Pawnee men, women, and children. This depiction is thought to have been based on accounts cited by Schoolcraft of the last known instance of the Skiri Pawnee Morning Star sacrificial ritual, ca. 1837/1838.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 6, Plate 6 (across from pg. 78)

• Watercolor scene showing several Comanche warriors on horseback attacking a wagon train circle defended by men with rifles.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 2, Plate 33 (across from pg. 132)

• Watercolor scene showing several Native American warriors (likely meant to be Comanche) on horseback outside of San José Mission Church.
• Based on 1849 sketch by Eastman held by the Peabody Museum, Harvard University.

• Watercolor view showing a Native American man smoking a pipe seated on the Oneida Stone overlooking terrain with Oneida Lake in the distance.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 5, Plate 23 (after pg. 152)

• Sepia ink wash view showing two Native Americans on rocks in foreground looking out over the Hudson River.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 3, Plate 19 (after pg. 74)

• Sepia ink wash view of Humboldt, California, ca. 1851 showing several buildings viewed from across a harbor. Copied by Eastman from original drawing by George Gibbs.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 3, Plate 43 (across from pg. 130)

• Ink wash view of structures at Fort Pitt, Pennsylvania, ca. 1790. Copied by Eastman in 1851 from original drawing by Lewis Brantz, then in the possession of Brantz Mayer.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 3, Plate 32 (across from pg. 336)

• Sepia ink wash depiction of seven indigenous Mexican cultural artifacts. Drawn after engravings based on drawings by Brantz Mayer.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 6, Plate 40 (after pg. 590)

• Sepia ink wash depiction of ten indigenous Mexican cultural artifacts. Eastman drew these objects direct from observation of materials held in the collection of Brantz Mayer.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 6, Plate 39 (after pg. 590)

• Pen and ink drawing showing written names and totems of sixteen Ojibwa individuals including “Kimi-Ki-Chawgan,” “Kitche-pus-quegegan,” “Siginac,” “Apeche-caw-boway or Grand Blanc,” “Maw-manche-Cawtence,” Skaw-O-mut or Black Chief,” “Mieray or Walk in the Waters,” “Ray-y-Aron,” “Ane-me-quinee,” “Puck-e-Nence,” “Que-baw-que-gun,” “Puck-qua-Cawboway,” “Seken-ge-win,” “Many-to-quajick or Little Cedar,” “So-wa-quet,” “Macconce or Little Bear.” These signatures were claimed by Schoolcraft to have been copied from an invoice of Indian goods disbursed by General William Hull at Fort Detroit in 1809.
• Information respecting the history, condition and prospects of the Indian tribes of the United States, Vol. 2, Plate 56 (across from pg. 226)

• Watercolor view depicting American troops at Fort Shelby, Wisconsin, surrendering to the British on July 20th, 1814, during the War of 1812; likely executed by Eastman ca. 1846-1848.
• Eastman was stationed at Fort Crawford (successor to Fort Shelby, which was destroyed by the British in May of 1815) after graduating from West Point in 1829 and possibly interacted with individuals who witnessed the surrender first-hand.

• Watercolor view of Fort Pembina, Dakota Territory, during winter showing buildings, tipis, and a dog sled.
• Work is unsigned but bears clear similarities to other landscape scenes by Eastman.

The Society for the Prevention of Cruelty to Disabled Hats is a humorous handwritten and illustrated booklet related to a fictional organization dedicated to the protection of various styles of hats.

The Society for the Prevention of Cruelty to Disabled Hats is a humorous handwritten and illustrated booklet related to a fictional organization dedicated to the protection of various styles of hats.

The volume (11 x 7 cm) is a small notebook with a sticker on the front cover of an American top hat. Inside of the front cover the name and originating date of the society are presented. The following pages display a declaration from the society’s “board” before delving into 60 watercolor and ink illustrations of different types of hats, each of which is provided a name. The inside of the back cover contains lists of the society's “board members” and “inspectors.” Also of note is an illustration of a firefighting wagon.

This collection consists of two letters, a pencil drawing of sarcophagi, a note, a calling card, and an inscribed edition of S. Weir Mitchell, The Wager and Other Poems. The two letters include one written by S. Weir Mitchell to Dr. William C. Hollopeter, clarifying that a mutual acquaintance is residing in a boarding house not the Pennsylvania Hospital for the Insane. The other letter is from Francis Everett, presumably to Dr. Hollopeter, concerning any involvement he may have had in an 1877 abortion malpractice case in Muncy, Pennsylvania.

This collection consists of two letters, a pencil drawing, a note, a calling card, and an inscribed edition of S. Weir Mitchell, The Wager and Other Poems. The two letters include one written by S. Weir Mitchell to Dr. William C. Hollopeter, clarifying that a mutual acquaintance is residing in a boarding house not the Pennsylvania Hospital for the Insane. The other letter is from Francis Everett, presumably to Dr. Hollopeter, concerning any involvement he may have had in an 1877 abortion malpractice case in Muncy, Pennsylvania. Hollopeter reportedly departed Muncy before the death of pregnant Margaret Keller and the subsequent abortion and malpractice case against physician Dr. James Rankin. The pencil drawing depicts stacked coffins including a pair of sarcophagi in an underground room with a small barred window. The note is a thank you from Mitchell to "Gertrude," and the calling card is for Dr. Mitchell's address on Walnut Street. The copy of S. Weir Mitchell's The Wager and Other Poems (New York: Century, 1900) is inscribed to Gertrude.

Thomas O. LeRoy's journal contains log entries, diary entries, and drawings that he composed while sailing onboard the merchant ship Natchez from New York to Valparaíso, Chile, and back to New York between September 1841 and May 1842. LeRoy recorded the ship's progress, his observations about seafaring life, the scenery he passed, his travels in Chile, and other topics.

Thomas O. LeRoy's journal contains approximately 85 pages of log and diary entries that he composed while sailing onboard the merchant ship Natchez from New York to Valparaíso, Chile, and back to New York between September 1841 and May 1842. Also included are 9 drawings he made on the voyage, an inventory of the belongings he carried during the trip, and 7 pages of double-entry bookkeeping accounts of Captain Robert Waterman of the brig Konohassett and of Theodore Lewis of the brig Philip Howe.

LeRoy began his journal with a brief entry on August 28, 1841, and the Natchez set sail under Captain Robert Waterman on September 1. Between September 1 and November 11, LeRoy regularly kept detailed log entries documenting the ship's course, winds, and notable onboard occurrences. The log entries were often interspersed with prose accounts of life on the Natchez, in which he mentioned seeing birds and aquatic animals, and described the scenery, particularly after the Natchez reached the Brazilian coast. In early November, LeRoy interrupted his log with detailed descriptions of the scenery around Tierra del Fuego, and he resumed his regular entries until reaching Valparaíso, Chile, on November 15.

LeRoy recorded his impressions of the Chilean people and discussed his travels around the country, which included visits to nearby towns and to Santiago. He noted other ships in the harbor, reconsidered his decision to embark on a seafaring life, and discussed sailors' religious beliefs. The Natchez began its return journey on February 6, 1842, and LeRoy continued to write journal entries about his experiences onboard, sometimes mentioning his eagerness to return to his family. After a brief stop at Pernambuco, Brazil, the ship sailed through the Caribbean and, at a point of about 160 miles from New York, LeRoy composed his final entry, dated May 1, 1842. The journal is followed by an inventory of the belongings LeRoy brought along on his trip. He dedicated the volume to Midshipman Charles Cooper of New York.

LeRoy drew 9 pencil sketches during his time on the Natchez.

• Cape Horn
• Juan Fernandez, "the Island where Robinson Crusoe resided"
• Huasco, Chile
• "Attack on fort Moultrie by the British"
• "Ship Natchez... in a snow squall"
• "View of the Brazil Coast near El Salvador with Negro Fishermans Hut on a small rocky Island"
• Cape St. Augustine, Brazil, and Saint Aleixo Island
• Brazilian coast near Pernambuco, with a view of a "Coca Nut Plantation"
• View of Brazil near Cape São Roque

The volume holds 7 pages of double-entry bookkeeping accounts. These record the finances of Theodore Lewis of the brig Philip Howe and those of Robert Waterman during a trip to Asia onboard the Konohassett.

The Thomas Silver scrapbook contains newspaper clippings, drawings, correspondence, and ephemera related to Silver's steam engine governor, which he patented on July 3, 1855.

The Thomas Silver scrapbook (9.5" x 11.25") contains newspaper clippings, drawings, correspondence, and ephemera related to Silver's steam engine governor, which he patented on July 3, 1855. Early clippings pertain to Silver's other inventions, but the majority of material concerns his steam engine governor. Among the clippings are articles about marine engineering and about competing inventors' designs. Some articles discuss marine disasters and, as a result, call for the implementation of improved equipment. Silver also collected incoming letters, advertisements, and other ephemera items associated with his engine governor. Though Silver was based in Philadelphia, many items originated from France and Great Britain, where his inventions were more widely used than in the United States. Some articles and other items are illustrated with diagrams of steam engine governors, and one ink sketch depicts a boat carrying an oversize engine. Two issues of The Patent Bulletin, both dated 1871, are laid into the volume.