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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.

John F. Shepard family; diaries, photographs, recipes and correspondence concerning family matters and nineteenth century farm life; also professional correspondence, student notebooks and lecture notes of John F. Shepard.

Although the Shepard family papers (1807-1934) cover three generations, the bulk of the materials are from John F. Shepard. The earliest correspondence is primarily addressed to his father Arthur, and to his grandfather John from family members and relatives. The letters deal with health, crops, and relatives. There are also letters from John F. Shepard's wife Berenice to her mother Mary Barnes (maiden name Van Valin) and from Berenice's father Charles to her mother. The Barnes and VanValins lived in Marshall, Michigan.

The John F. Shepard papers include professional correspondence from 1911 to 1934, mostly relating to University building plans. There are also minutes (1921-1925) of the Committee of Five on the Comprehensive Building Program, as well as Shepard's student notebooks from philosophy and psychology courses taught by James R. Angell and James H. Tuft at the University of Chicago, and by Alfred H. Lloyd and Walter B. Pillsbury at the University of Michigan.

The photographs are mainly of his wife's family, many from the late nineteenth century.

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.

Student at University of Michigan, 1855-1858, officer in Co. F, 24th Michigan Infantry and correspondent for the Detroit Free Press during the Civil War. Student letters and other correspondence, notes on baseball games played in Detroit, Michigan, in 1867, diary of a trip to Detroit in 1854, diary of daily activities in New Hampshire in 1856, newspaper clippings of war reports, edition of temperance newspaper which he published himself; and drawings.

The Green papers concern his activities at the University of Michigan in the 1850s and his Civil War service. The collection consists of correspondence, diaries, clippings, and miscellaneous. Of interest is a folder of line drawings depicting Civil War scenes.

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.

The Thomas Smith collection includes a disbound sketchbook of eighteen watercolors and six drawings depicting scenes in the northeastern United States and Canada made between 1820-1826 as well as three letters written by Smith between 1820-1822.

The Thomas Smith collection includes a disbound sketchbook of eighteen watercolors and six drawings depicting scenes in the northeastern United States and Canada made approximately between 1820-1826 as well as three letters written by Smith between 1820-1822.

The Visual Materials series contains eighteen watercolors and six drawings from a disbound sketchbook that depict scenes in the Eastern United States and Canada. While the watercolors and drawings themselves contain no exact information on their precise dates of creation, there is one unfinished pencil sketch of Fort Niagara that shows architectural features that were only in place from 1818 to 1823. Additionally, two pages contain watermarks in the paper that read "Turkey Mills J. Whatman 1818," while an inscription on the inside of the detached front cover also reads: "Thomas Smith. American Sketches 1820 to 1826." Smith is known to have made one trip to New York in the late spring and summer of 1820 and also returned from another trip there in the fall of 1821. Although presumably an amateur artist, Smith showed an uncanny eye for accurate detail, a keen ability to depict the scale of landscapes, and a vivid sense of color and light.

• 1) [Unidentified building] (fragment on oval sheet; pen and ink)
• 2) [Portrait of unidentified man] (fragment; pencil)
• 3) Point - Entrance of Chaudiere (pen and ink)
• 4) Palmetto trees East side Sullivan's Isld. South Carol,,a
• 5) Wappoo, Cooper River, S. Carolina
• 6) [Niagara Falls]
• 7) River Delaware. Fort Gaines to the left, to the right Fort Mifflin
• 8) [Presumed to be Delaware River]
• 9) Unfinished
• 10) [Niagara from the American side]
• 11) [Estuary with a Rowing Boat]
• 12) [The Mouth of the Niagara River at Fort George, Ontario] (pencil)
• 13) [Quay on an Estuary]
• 14) [Thousand Islands, Ganaoque (near Kingston), Ontario]
• 15) Cohos Falls, Mohawk River
• 16) [Niagara Gorge from Goat Island]
• 17) [Hudson River landscape]
• 18) Entrance of the Patapsco River into Chesapeake Bay near Baltimore Maryland
• 19) New York Harbor
• 20) [Queenston Heights - looking down the Niagara River towards Lake Ontario]
• 21) [New York Harbor]
• 22) [Town on an Estuary] (pencil)
• 23) [Niagara Falls from below]
• 24) [Landscape with a Waterfall] (pencil)

The Correspondence series contains three letters written by Thomas Smith to family members. The first letter, dated April 1820, is addressed to Smith's sister Eliza Elizabeth "Betsey" Smith (1802-1876) and bemoans her general lack of communication before discussing differences between American and English women, mentioning acquaintances including a "Mr. Lucas" and a "Mr. and Mrs. Maxwell", and describing events related to the wedding of a "considerable" rice planter and "Miss Lucas...now Mrs. Cordes" that took place in Charleston, South Carolina in March. This was likely the wedding of James Jameison Cordes (1798-1867) and Mary Lucas (1802-1873). Smith also makes reference to a bridesmaid named "Miss McLeod...a lady of large fortune worth as these things are estimated in S Carola: 300 negroes" while stating that "negro servants" accompanied the wedding party on horseback on their way to Middleburgh plantation. The second letter, also dated April 1820, is addressed to Smith's brother Joseph Smith VI (1800-1876) and contains a description of deer hunting conducted in the "American mode" in which several concealed hunting stands were occupied "100 to 150 yards apart" before "the negroes are sent with the hounds to drive the swamps or ponds where the deer generally conceal themselves." Smith elaborates on an unsuccessful hunting trip led by a planter named "Mr. Bryan" in which the party consisted of "Mr. Bryan, Mr. Lucas, Mr. Cordes, Mr. Hume & myself, with 2 negro slaves, all on horseback" during which Smith and Mr. Hume managed to become briefly lost in the woods. Also included are mentions of various wildlife encountered in the countryside, references to regional flora Smith intends to procure seeds of, and a description of typical South Carolinian cuisine had for breakfast, lunch, and dinner during different times of year. The third letter, dated February-March 1822 and partially written from aboard the steamship Robert Fulton while in the Gulf of Mexico, is addressed to Betsey (now "Mrs. Alfred H.") at "Messr: Jos. Hardcastle & Sons London." Betsey married Alfred Hardcastle (1791-1842) in 1821. This letter describes Smith's return to Charleston in Novemeber of 1821 following a trip to New York, spending the Christmas holiday period at Mr. Lucas's plantation, a four-day excursion in Havana, Cuba, made during the present voyage while en route from New Orleans to Charleston, and avoiding a close encounter with a "suspicious looking Schooner" off the Cape of Florida.

The records of the Washtenaw Intermediate School District predate the formal establishment of the District in 1962. Most probably, these materials were transferred from individuals concerned with the history of education and schools in Washtenaw County or from other previous county units responsible for the schools. The records have been arranged into four series: Nineteenth Century records; Manuscript school histories; Annual Statistical Reports; and Maps. The Annual Statistical Reports were for the Washtenaw County Township Clerk. These volumes, dating from school year 1902/03 to 1924/25, provide detailed information about the schools in the townships of the county. Included is the name of child, name of parent or guardian, number of children by sex, attendance records, names of teachers, and budget and salary information.

The Weld-Grimké family album is a 12.5 x 16 cm bound cartes de visite photograph album with some tintypes and gem tintypes interspersed. The album has a brown leather cover with gilt clasps. The photographs all appear to date from the 1860s to the 1870s but there is no precise date for individual photographs listed. The album has a printed title page that reads "Photographs/Boston/Roberts Brothers." The album is 50 pages with each page containing a single slot for a photograph, though some pages have multiple photographs tucked into the same slot. The photographs are almost all studio portraiture. While some of the individuals in the album have been identified (including Theodore D. Weld) the vast majority are unidentified.

The Weld-Grimké Family Album is a 12.5 x 16 cm bound cartes de visite photograph album with some tintypes and gem tintypes interspersed. The album has a brown leather cover with gilt clasps. The photographs all appear to date from the 1860s to the 1870s but there is no precise date for individual photographs listed. The album has a printed title page that reads "Photographs/Boston/Roberts Brothers." The album is 50 pages with each page containing a single slot for a photograph, though some pages have multiple photographs tucked into the same slot. There are 52 photographs in the album, 46 of which are cartes de visite. There are also 6 tintypes, 2 of which are gem tintypes. The photographs are almost all studio portraiture of individuals ranging from infanthood to old age. One exception to this is a photograph of a satirical drawing of an unidentified individual playing some sort of instrument (loose photograph on page 49). Some of the individuals in the album have been tentatively identified with the majority unidentified. One photograph (on page 24) has been speculated to be a portrait of Charlotte Brown, an African-American servant of the Weld-Grimké family, but this has not been confirmed.

• Theodore Dwight Weld (page 1, page 20)
• William Hamilton (page 4)
• Sarah Weld Hamilton (page 5)
• Angelina G. Hamilton (page 6)
• William Hamilton Jr. (page 7)
• Llewellyn Haskell (page 9)
• Llewellyn Thomas Haskell (page 12)
• Louis Olcott Haskell (page 13)
• Elizabeth "Lizzie" Cram (page 21)
• William James Rolfe (page 22)
• Theodore Weld Parmele (page 27, page 34)
• Elizabeth Smith Miller (page 28)
• Ann Carroll Fitzhugh (page 29)
• George Walker Weld (page 30)
• Gerrit Smith Miller (page 35)
• Ruth C. Bodwell (page 36)
• Rena Louise Twiss (page 45)

• A photograph of a painting of the Empress Eugenie. (page 33)
• A portrait of Rebecca an escaped slave from New Orleans. (page 38)
• A photograph of a painting of Beatrice Cenci. (loose item on page 41)
• A portrait of actor Edwin Booth (page 40) brother of John Wilkes Booth.
• A photograph of a painting of "Little Samuel" based on the etching done by Samuel Cousins. (page 43)

In addition to this finding aid, the Clement Library has created a Photographer Index for the album, containing the names of all the photographers in the order that they appear in the album. This index also records any handwritten inscriptions that were found on the photographs.