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The C. Wallace Bell photograph album (40 x 31 cm) contains 34 photographs including images of paintings of ships and other maritime subjects, views of the Central Pacific Railroad in the United States, and views of coastal regions of Cornwall (England) and Snowdonia (Wales) from ca. 1880.

The C. Wallace Bell photograph album contains 34 photographs including images of paintings of ships and other maritime subjects, views of the Central Pacific Railroad in the United States, and views of coastal regions of Cornwall (England) and Snowdonia (Wales) from ca. 1880. Each photograph is surrounded by a hand-drawn pen and ink border loosely related to the content of the image. Below each image and within the bounds of the illustrated borders there are titles/captions detailing the location and subject. The photographs are housed in a burgundy leather album (40 x 31 cm) with “C. Wallace Bell” stamped in gold on the front cover.

The first four photographs are of the Central Pacific Railroad. These photographs show the railway traversing through canyons, along rivers, and upon cliffsides throughout California, Nevada, and Utah, and were likely produced by Alfred A. Hart. The next six photographs were likely all taken by Danish photographer Anton Melbye and are all images of paintings that illustrate various historical maritime subjects including Eddystone Lighthouse, ships near Constantinople and on the Bosphorus, a Danish corvette, and the “Sinking of the Scotch Frigate 'Bothwell' by the Danish Frigate off the Western Island, A.D. 1567.” The remaining 24 photographs appear to have been produced by English photographer Francis Frith, as the blind stamp "Frith's Series" appears on several images. These images primarily show coastal regions and natural landscapes in Cornwall and Wales. Specific locations represented include Land’s End, Kynance Cove, a fairy glen in Betws-y-Coed, Cadair Idris, Barmouth, Afon Mawddach, Llyn Cwm Bychan, Moel Siabod, Bembridge Point, Llanberis Pass, Clovelly Beach, Tal-y-llyn, Bedruthan Steps, Criccieth Castle, Scratchell’s Bay, and Gurnard’s Head among others. Many of these sites are well-known lookouts, rock formations, and hiking trails.

This collection consists of six pages of pencil and ink sketches dated from 1861 to 1863 and signed J.M.S. The sketches depict various scenes of the American Civil War from the Union perspective including barracks, soldiers, and steamships related to the blockade of the Confederacy.

This collection consists of six pages of pencil and ink sketches dated from 1861 to 1863 and signed J.M.S. The sketches depict various scenes of the American Civil War from the Union perspective including barracks, soldiers, and steamships related to the blockade of the Confederacy. Two sketches contain page numbers, suggesting they had previously been bound together. Not all sketches include the signature "J.M.S." J.M.S. has yet to be identified.

Sketch 1 includes the notation, "Page 6 Company F passing Marine Barracks Sunday morning / J.M.S. 1861."

Sketch 2 is a portrait of an unidentified young man, "The Corporal, Company F."

Sketch 3 shows "The 1st Corporal and his havelock / Page 3 / J.M.S. 1861."

Sketch 4 contains "U.S. Stmr Nansemond off Hatteras / J.M.S. 1863." This sketch could be a scene from the USS Nansemond's chase of blockade runner CSS Douro in October of 1863 near New Inlet off the coast of North Carolina. Douro was run ashore and captured, with both ship and cargo destroyed.

Sketch 5a depicts a "North Carolina Reserve" soldier armed with a rifle and bayonet.

Sketch 5b displays the demise of Revenue Cutter Caleb Cushing during the Battle of Portland Harbor on June 27, 1863, with the caption "Rev Cutter Caleb Cushing becalmed then blown up." In this sketch, Lieutenant Charles W. Read of the Confederate Navy and his men can be seen abandoning Caleb Cushing on a lifeboat and then in another scene the ship exploding. On the back of page 5 is a pencil sketch of a soldier.

Sketch 6 shows a "Blockade Runner" steamship.

The John Hendrickson Yale class album contains numerous engraved and lithographed portraits of members of the Yale College Class of 1852, professors, and administrators.

The John Hendrickson Yale class album contains numerous engraved and lithographed portraits of members of the Yale College Class of 1852, professors, and administrators.

The album (25.5 x 19.75 cm) has green leather covers with “John B. Hendrickson’” stamped on the front in gold. Contents begin with four engraved views of New Haven, Connecticut, before progressing to engraved portraits of Yale College professors and administrators. Subsequent images are primarily lithographic portraits of members of the class of 1852, many of which are inscribed with sentimental notes, birthdays, and hometowns. Numerous signatures belong to men who went on to fight in the Civil War. Other signatures of note include those of Daniel Colt Gilman, William Preston Johnston, and Homer Baxter Sprague. The portraits of the students were produced by F. Michelin and George E. Leefe of New York City.

The Richard P. Mallory sketchbook contains 80 pages of complete and incomplete sketches of various landscapes and buildings in Vermont and New York, drawn between 1855 and 1857.

The Richard P. Mallory sketchbook contains 80 pages of sketches of various landscapes and buildings in Vermont and New York, drawn between 1855 and 1857. Manuscript inscriptions on the inside cover indicate that the sketchbook belonged to R.P. Mallory and was rebound in 1888. A brief index is included in the front with the locations of many of the subjects in the sketches. The pages are inconsistently numbered, and not all pages contain drawings. Many of the drawings are incomplete. Captions and dates are included with most of the sketches, many containing the location of the subject in the drawing. These subjects are from various villages and cities in Vermont, including Burlington, Fairfield, Saint Albans, and Winooski. New York views include Dannemora, Keeseville, Malone, Ogdensburg, Plattsburg, Redford, and Rouses Point.

There are many detailed sketches of buildings: churches, schools, homes, hotels, banks, court houses, and train depots. There are also many landscape sketches, depicting farms, lakes, rivers, trees, mountains, and waterfalls. Of note are sketches of the Ausable River, including the Ausable Falls and Devil's Oven, on pages 74 to 87. Two ports are also depicted, Port Kent in Burlington and Port Jackson in New York.

Pages 30 to 44 are devoted to the Franklin sawmill in Plattsburgh, noted as the "largest mill in the state of New York." Included are views of the interior and exterior, and an introductory page with a history and details of the mill. Great attention is also given to the Clinton Prison and its related mining operations in Dannemora, New York, spanning pages 96 to 103. Of note are an overview of the prison facility and striking views of underground mining operations.

The style of the drawings throughout the sketchbook suggests the occasional use of an optical device such as a camera obscura.

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 Stanton P. Allen scrapbook contains clippings, engravings, maps, and drawings related to a recurring newspaper column titled Down in Dixie written by Allen for the Troy Daily Times in which he recounted his experiences serving with the 1st Massachusetts Cavalry during the Civil War.

The Stanton P. Allen scrapbook contains clippings, engravings, maps, and drawings related to a recurring newspaper column titled Down in Dixie written by Allen for the Troy Daily Times in which he recounted his experiences serving with the 1st Massachusetts Cavalry during the Civil War.

The volume (23 x 14 cm) contains approximately 101 pages and has blue cloth covers with the words "Manual and Report, Board of School Commissioners Troy, N. Y., 1883" stamped in gold on the front. The first item to appear is a pasted in sheet on pg. 5 with the words "Down in Dixie, by Stanton Perrie Allen" printed and "Volume IV" handwritten. The first clipping of Down in Dixie appears on pg. 9 and is marked "34," which coupled with the presence of "Vol IV" on pg. 5 would seem to suggest that Allen created multiple volumes in which the columns were sequentially ordered. These volumes were likely used by Allen to finetune his ideas for how he envisioned publishing his account in book form.

The Down in Dixie clippings are given a visual dimension through the inclusion of numerous clipped engravings that directly relate to people, places, and events referenced in the narrative. Engravings include portraits of leading military figures from both the Union and Confederacy as well as numerous depictions of soldiers, battles, camp life, fortifications, buildings, prisoners of war, casualties, mass burials, etc. Also present are several engravings depicting African Americans (pgs. 52, 54, 58-60, 92, 95, & 97) and Apache Indians (pgs. 10 & 11). Two clipped maps are also included, with one showing a general overview of Virginia, Maryland, Delaware, and New Jersey (pg. 9) and the other showing a detailed view of the roads, landmarks, and natural features east of Richmond, Virginia (pg. 77). Only one photograph is present, an unmounted studio portrait of Allen's mother Celia juxtaposed with an anecdotal passage about a Confederate and Union soldier bonding over their deceased mothers (pg. 51).

Of particular note are six original drawings signed by Allen. The first, a pen and ink drawing captioned "Down in Dixie Turning Out For Stables," shows a Union cavalryman (presumably Allen) at camp laden with horse care equipment (pg. 20); the second, a watercolor captioned "Down in Dixie. 'How Is That For Beef?' From Memory 1889," shows three Union cavalrymen eating a meal at camp (pg. 25); the third, a watercolor captioned "A Stag Dance. Four Hands Round," shows a group of four Union cavalrymen dancing while another plays the fiddle as two others (including an African American cavalryman) look on (pg. 26); the fourth, a pen and ink drawing captioned "The Sutlers Whisky Barrel Tapped At Both Ends. Down in Dixie," shows a large group of Union cavalrymen getting drunk on whisky after secretly tapping into the sutler's barrel from the outside of his tent (pg. 27); the fifth, a pen and ink drawing captioned "'The Tables Turned.' - Beaver Dam, Va., May, 1864," depicts the anecdotal interaction between a Union soldier and Confederate prisoner who realize they had both stolen rings from each other that had belonged to their deceased mothers (pg. 49); the sixth, a watercolor captioned "Sheridan's Raid - 1864. - Walking to Rest the Horse. - From Memory - 1889," shows a Union cavalryman leading his horse.

A loose two-page typescript draft of a consolation letter dated June 20, 1897, written by Allen to Charles S. Francis after the death of the latter's father John M. Francis can also be found tucked inside the back cover. Allen knew both John and Charles from having worked for the Troy Daily Times, which was founded by John in 1851.