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The Edward Williams Clay watercolors, scrapbook fragments and silhouettes consist of 28 original watercolor drawings created by Edward Williams Clay, a drawing book with art by Clay and James Pemberton Morris, 37 fragments of a scrapbook believed to have been compiled by Clay, and 11 cut paper silhouettes. The bulk of materials are watercolors by Clay of Europeans and Americans abroad from 1825-1828, and satirical, genre, and theatrical prints by Clay and others.

The Edward Williams Clay watercolors, scrapbook fragments and silhouettes consist of 28 original watercolor drawings created by Edward Williams Clay, a drawing book with art by Clay and James Pemberton Morris, 37 fragments of a scrapbook believed to have been compiled by Clay, and 11 cut paper silhouettes. The bulk of materials are watercolors by Clay of Europeans and Americans abroad from 1825-1828, and satirical, genre, and theatrical prints by Clay and others.

In 2002, the Clements Library became aware of a scrapbook containing an extensive collection of Edward Williams Clay prints and artwork in possession of a Virginia antique dealer. After most of the individual pages were separately sold on eBay, it became apparent that the source, John Duncan Marsh (1931-2021) of Purcellville, Virginia, was a direct descendent of Clay's sister, Mary Ann Clay Bolton (1801-1818), and the scrapbook was likely compiled by the artist himself. Given that the contents of this collection were created after the death of Mary Ann, it is presumed that they were in the custody of one of her children, although the relationship between Clay and his nephews, James Robert Bolton (1817-1890) and Edward Clay Bolton (1818-1892), is unknown. The remaining remnants of the scrapbook were purchased by the Clements Library at auction along with the watercolor sketches and family silhouettes. All of the materials present were consigned to auction from the same source except for the drawing book, which had earlier been acquired by the Clements Library from a Philadelphia book dealer.

Series I - Watercolors

The collection contains 28 original watercolor works by Edward Williams Clay. A subset within this series represents Clay's journey from the Eastern United States to France between 1826 and 1828. Several works include inscribed titles, locations, and dates. A number of sketches also bear evidence of having been previously cropped, mounted, and framed.

Of particular note is one sketch from December 1825 showing two women and a man dressed in comically large winter clothing captioned "Life in Philadelphia - (going home from a tea-fight)." This unpublished satire is the earliest appearance of content later found in Clay's notorious series Life in Philadelphia.

• A portrait of a well-dressed man wearing a top hat while holding spectacles and a cane with a verso caption reading "Steam boat Bellona from Brunswick to New York April 1826"
• Two portraits of well-dressed men in top hats captioned "Thayer - on board the ship Edward [Quesnel at sea July 1826]" and "Constancio - On board the ship Edward Quesnel at sea July 1826"
• A portrait of a sailor wearing a brimmed hat and smoking a pipe with a caption on the verso reading "[French?] Pilot - [Edward] Quesnel, off the coast of France 18 July [1826?]

Note: The steamer Bellona ran from Brunswick, New Jersey, to New York City, while the Edward Quesnel is recorded as regularly running between New York City and Marseilles, France.

Other scenes illustrate aspects of European society and street life from Clay's visit to Europe between 1826 and 1828. Many of these works depict men's and women's fashions in fine detail. As several subjects are identified by name, it is presumed that some of these depictions were likely based on real people observed by Clay.

• A portrait of two French priests captioned “Les Curés - Paris 1827”
• A street scene captioned "Postellers & Conductors - Paris 1827" showing several uniformed drivers (including individuals wearing heavy duty protective knee-high boots insulated with straw)
• A street scene showing five well-dressed men including man identified in a partially cutoff caption as "Count Dep..."
• A scene depicting a masked ball with a large man at center identified as "Prince Borghese"
• A scene showing a man in Artois bathing and reading Le Constitutionnel while being attended to by a servant
• An equestrian scene showing riders in a park including an Arabian horse-drawn cart carrying the driver and a Mamluk groom wearing a turban
• Two ballroom dancing scenes with couples wearing formal dress
• A wedding portrait showing a couple identified as "Hercule de B. s." and "Mde Leverd"
• A formal dinner scene showing a number of couples entering a dining room attended by servants
• A comical scene showing a young woman identified as "Josphine" being introduced by an older French-speaking woman to two men, an unidentified English speaker and an apparently German individual identified as "Becker"
• A scene showing a couple of street minstrels performing outside of an inn
• Two portraits of unidentified well-dressed men

Items that may represent American content include sketches of a young couple dancing and a restaurant dining scene showing patrons and staff.

• A portrait of a woman holding a qanon titled "A Turkish female slave playing on the Kanoon" dated to December 1827
• A portrait of the Greek goddess Iris dated January 21 1828
• A portrait of a woman captioned "A Greek Lady in her walking dress" dated to December 1827

One satirical scene titled “Compliments of the Season 1829” shows a young boy wishing merry Christmas while handing a bill from a “Mr. Smith” (presumably an American) to an irate French musician wearing a robe who appears to have been in the middle of having his face shaven by an amused servant. This scene corresponds to an 1830 lithograph published by Clay which is in the collection of the American Antiquarian Society.

• A portrait of a carriage driver wearing a heavy fur-trimmed coat
• A street scene showing two boys in patched-up clothing and wooden shoes in possession of a crank-organ and a performing monkey
• A street scene showing a wealthy man visiting a dog grooming business

Series II - Drawing Book

The drawing book bears a retail label from a Parisian shop and an ownership inscription dated 1816 from James Pemberton Morris (1795-1834), a member of a prominent Quaker family who resided at Bolton Farm in Buck County, Pennsylvania (note: Bolton Farm is not related in any way to the family of James McLean Bolton). 1816 is also the year in which Morris was married to his wife Rosa Gardiner (?-1828) in a ceremony in Edinburgh, Scotland. Drawings of note include a sketch of a “Judge Duncan;” multiple pencil sketches of women; a watercolor drawing of a maritime scene; and rough sketches of various cartoons. Clay's signature is attached to some of the works (including a sketch of Rosa Gardiner Morris), while others are initialled "JPM." Handwriting in the drawing book matches writing on many watercolors attributed to and signed by Clay. The nature of the relationship between Morris and Clay remains unclear.

Series III - Scrapbook fragments

The collection’s 37 scrapbook fragments are the remains of a personal scrapbook that likely once belonged to Edward W. Clay. Based on conversations with the dealer John Palmer, this scrapbook had contained a significant set of over 60 prints by Clay prior to being disassembled. A majority of the remaining fragments are satirical, genre, and theatrical prints produced by other artists, some of which may have been collected by Clay during his European travels.

• Five lithographs by Charles Motte representing scenes from various works by Charles Perrault (Griseledis, L’Adroite Princesse, Cendrillon, Riquet a La Houppe, and Le Petit Chaperon Rouge)
• Multiple works depicting character costumes from various theatrical productions including The Prophet, The Queen of Cyprus, Tsar and Carpenter, and The Star of Sevilla
• Engraved depictions of a French “Infanterie de Ligne” and a Scottish “Tambour du 42e Regiment D’Highlanders,” both by Edouard Detaille
• An engraved portrait of George Washington by H. S. Sadd
• Two lithographs by Charles Motte of scenes involving children titled “Les Belles Dames. The Fine Ladies” and “A Fishing Party”
• Engravings of “Bolton Abbey in the Olden Time” by Schuler and “Weehawken, From the Elysean Fields. Hoboken” by Archibald L. Dick

• “Soubrette” by Paul Gavarni
• “Modes de Paris Petit Courrier des Dames”
• “Vous ne direz plus que la mode est indécente!!”
• “Mde De Nouveautés” by Charles Philippon
• “Déclaration d’un Maître de Cham” by Frederic Bouchot

• Drawings of various men, women, children (some of whom are identified)
• A pencil drawing of a ship captioned “Brigantine New Castle April 8th 1853”
• Six lithographic portraits of French generals Charles Nicholas Fabvier, Pierre Claude Pajol, Étienne Maurice Gérard, Horace Sébastiani, Maximilien Sébastien Foy, and the Marquis de Lafayette

Of particular note are two caricature lithographs depicting African Americans that are attributed to Clay, including one print published in 1830 titled "Back to Back" that depicts an African American couple dancing in fine clothing with the caption reading: "I reckon I've cotcht de figure now!". The other print (which is mounted on a scrapbook page) titled "A Black Cut" dates to 1839 and depicts an African American chimney sweeper being shunned by a wealthier mixed-race couple.

Series IV - Silhouettes

This series includes 11 cut paper silhouette portraits, nine of which bear the stamp of the Peale Museum in Philadelphia, Pennsylvania. Several include subject identifications and dates of creation. Eight of these items were originally mounted in 20th-century frames prior to being rehoused in archival mats by the Clements Library. The framed items carried the following notation in reverse at the top: "Property of / Miss Mary Clay Bolton / Mechanics and Metals Bank / 204 Fifth Avenue, New York City;" and at the bottom "Theodore Bolton," along with the frame shop label of S. Friedman, E. 9th St., New York, N.Y.

Of particular importance is a silhouette of Edward W. Clay inscribed "E.W.C. Ann: ÆTAT 21" (age 21) from the Peale Museum, ca. 1820. This work is believed to be the only known portrait of Clay outside of a painted portrait held by the Marsh family (descendants of Mary Ann Clay Bolton). The additional inscriptions “Cut at Peale’s Museum, Philadelphia” and “Edward Williams Clay, Portrait Painter” appear to have been added later.

Other identified individual silhouettes include Charles Heyward, William Heyward, George Douglass, William Graham, and George Cuthbert. These men were prominent members of South Carolinian society and were all either closely or distantly related. Three of the silhouettes are of Charles Heyward, who owned one of the largest rice plantations in the South and was the grandson of Thomas Heyward, a signer of the Declaration of Independence. The connection between these people and Edward W. Clay and/or Mary Ann Clay Bolton is unknown.

Helen Pumphrey's sketchbook contains fourteen pages of calligraphy, illuminated writing, and drawings. Included are poems, hymns, and botanical lists in English, German, and French. Also two pencil sketches of outdoor scenes, and sketches of parts of plants. One drawing is of five styles of architectural columns. The sketchbook contains a bookbinder’s ticket on the front paste-down.

Helen Pumphrey's sketchbook (28 x 44 cm) contains fourteen pages of calligraphy, illuminated writing, and drawings. Included are poems, hymns, and botanical lists in English, German, and French. Also two pencil sketches of outdoor scenes, and sketches of parts of plants. One drawing is of five styles of architectural columns. The sketchbook contains a bookbinder’s ticket on front paste-down.

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.

An album of pressed flowers collected by Lily Frémont in 1859.

The Lily Frémont fllower album is an album of pressed flowers and drawings made by Elizabeth Benton (Lily) Frémont (1842-1919). The album has a brown leather cover with "Album" written in gilt lettering. Frémont made the album in 1859 when her family was living in California at their estate in Mariposa and their home on San Francisco Bay. The first two pages of the album hold drawings, one of a small house surrounded by trees with a large hill behind it, possibly the Frémont home in Mariposa, the other showing a small group of buildings and a smokestack below a large hill, possible a silver mine. The rest of album contains pressed flowers and plants, each is numbered with a written description. Frémont provides the names to some flowers though many are unidentified. She also gives the date and location where each flower was found, and often describes its soil conditions, growing patterns, seasonality, color and odor. There are 80 total specimens in the album.

This collection contains 11 pencil sketches of the Missouri and Ohio Rivers and their surrounding cities. The sketches depict cityscapes, scenic and street views.

This collection contains 11 pencil sketches of the Missouri and Ohio Rivers and their surrounding cities. Each 11.5 x 18.5 cm sketch includes a brief handwritten caption denoting location. The sketches illustrate cityscapes, scenic and street views. Cities shown include Omaha, Nebraska; Saint Joseph, Missouri; St. Louis, Missouri; Louisville, Kentucky; and Cincinnati, Ohio. Specific locations depicted include Lafayette Park and Shaw’s Botanical Garden (Missouri Botanical Garden) in St. Louis, Missouri, and Lane Seminary in Cincinnati, Ohio.

The Sophia M. Eckley sketchbook contains 22 sketches of various landscapes and cottages in Nahant, Massachusetts.

The Sophia M. Eckley sketchbook contains 22 sketches of various landscapes and cottages. An inscription on the first page indicates that the sketchbook belonged to Sophie M. Eckley, and the sketches are of Nahant, Massachusetts, drawn in July 1853. The inside front cover has an engraved retailers' label from N. D. Cotton of Boston, "importer and dealer in English, French and American stationery, drawing and painting materials." Also written inside the front cover is a list of dry goods.

Of the 22 sketches, 21 were made in pencil, with one in pastel. Many blank pages follow the first 21 sketches, and on the very last page is a sketch of a man's head with the caption, "Peter Parleys Picture Book."

The majority of the sketches include captions and are of various landscapes and cottages on the coast of Nahant. Specific landscapes depicted include Sunken Lodge, Spectacle Beach, Deer Island, Pea Island, Caste Rock, and Swallow Cave.