Collections : [University of Michigan William L. Clements Library]

The Yetter family photograph album contains 20 studio portraits including members of the Yetter family of Pennsylvania.

The Yetter family photograph album contains 20 studio portraits including members of the Yetter family of Pennsylvania. The album (10 x 13.5 cm) is in relatively poor condition and has a missing album cover. Image formats include carte de visites and tintypes, and most of the album pages contain handwritten captions stating names of subjects. Identified individuals include Jerry Yetter, Emily Smith, Emily Yetter, Sam Engle, Lib Engle, Walter Yetter, Hannah Price, Glen Manchester, Jennie Augustine, Charles Yetter, Ruben Yetter, and Ida Yetter. Sam Engle appears dressed in the uniform of the 3rd Pennsylvania Heavy Artillery Regiment. Also present is a single loose carte de visite studio portrait by Charles Eisenmann of the German circus performer dwarf siblings Augusta and Herman Rice which was likely produced during the late 1880s.

The Woods family papers chronicle the establishment of an important family in western Virginia during the 18th and early 19th centuries. While the bulk of the collection pertains to Archibald Woods' (1764-1846) activities as a surveyor and land speculator in Ohio County, the collection also contains several letters from later generations of the family, and documents relating to military and public affairs, including the War of 1812.

The Woods family papers chronicle the establishment of an important family in western Virginia during the 18th and early 19th centuries. While the bulk of the collection pertains to Archibald Woods' (1764-1846) activities as a surveyor and land speculator in Ohio County, the collection also contains several letters from later generations of the family, and documents relating to military and public affairs. A series of land surveys of the Ohio Valley, prepared by Archibald Woods, has been arranged and placed at the end of the collection, and two land documents relating to Woods property are also present in Oversize Manuscripts, a 1774 deed signed by Dunmore granting lands in Botetourt County and an 1820 grant signed by James Monroe for lands in Ohio.

The collection includes a petition relating to the Alien and Sedition Act of 1798. Addressed to the Senate and House of Representatives of Virginia from the citizens of Ohio County, the petition includes thirty nine signatures protesting the Acts. The signers expressed their concern regarding what they saw as a violation of the Constitution, and asserted that the acts were a "serious cause of alarm" for the citizens of Ohio County, whom, they noted, continued to adhere to the Democratic principles of the American Revolution.

During the time that Andrew Woods served as sheriff of Botetourt County, 1777-1780, he kept a small, deerskin-bound notebook of his activities including receipts and notes on the collection of taxes and fees. There are also sporadic family business records. Included are an agreement for disposition of property including land, livestock, and enslaved persons (named Herod [Bin?], Sip, Ceasar, and Nanas). A copy of a contract between siblings Andrew, Martha, and Archibald (likely Andrew Woods' children) for the care of Martha Poage Woods and arrangements for the purchase of an enslaved person for Elijah Woods is also present. The contract provided for clothing, food, and shelter and, if Martha chose "to go back over the mountains," to provide an enslaved person to care for her.

Over fifty surveys and treasury warrants document Archibald Woods' importance as a surveyor and land speculator in the Ohio River Valley. Many of these can be positively traced to land that today lies in the state of West Virginia, mostly in the panhandle, but, Woods owned property throughout Ohio County, which then included parts of Ohio and a corner of Pennsylvania. A contemporary range and township map assists in situating Woods' land holdings.

Seven printed orders, each unique, or nearly unique, include information about troop recruitment and deployment during the War of 1812, and about demobilization at the end of the war. Among other documents in the collection are Archibald Woods' commissions and resignations.

There is little true correspondence in the Woods family papers, although one item, a letter from Joe Woods, is of some interest. In this letter written to his mother, Woods summarizes his reasons for transferring to Princeton, assuring her of his sound character and his decision. William Woods' ledger and daybook from 1828 and Hamilton Woods' cypher book from ca. 1820s are also present in the collection. The collection contains a photograph album with cartes-de-visite, cabinet cards, and other photos from around the 1870s and 1880s, as well as approximately 0.5 linear feet of photographs of Woods family members, particularly Ruth Woods and Charles Moss from the early 20th century, and the Woods family homestead.

Finally, the collection contains useful information about the Woods family estate, Woodsdale. Three documents from 1815-1816 provide floor plans and a record of construction costs, and there are two copy photographs of the house as it stood before its demolition in 1949. In 1976-77, Ruth Moss described the physical layout of the home and grounds as she recalled them, as well as her memories of life at Woodsdale in the early part of the century. An additional 0.25 linear feet of Ruth Moss's genealogical research on the Woods family is also present.

The Williamson family collection is made up of 9 bound volumes pertaining to Clara Gurley Williamson, her daughters Ruth and Mary, and other members of the Williamson family of New Brunswick, New Jersey. The items include diaries, financial records, a newspaper clipping scrapbook, and a photograph album.

The Williamson family collection is made up of 9 bound volumes pertaining to Clara Gurley Williamson, her daughters Ruth and Mary, and other members of the Williamson family.

The D. Abeel Williamson Diary, composed in a pre-printed pocket diary, contains David Abeel Williamson's daily entries about his life in New Brunswick, New Jersey, from January 1, 1862-May 25, 1862, and about his experiences with the 7th New York Militia Regiment from May 26, 1862-August 27, 1862. His early entries mainly record the weather and his social activities; he mentioned his admission to the bar in his entries of May 21, 1862, and May 22, 1862. A newspaper clipping about the surrender of Fort Donelson is pasted into the entries for February 16, 1862, and February 17, 1862. During his time in the army, Williamson noted the hot weather near Washington, D.C., and Baltimore, Maryland, and mentioned other aspects of military service, such as guard duty, marching, and reviews. A commuter's ticket for the "New Jersey Rail Road" is laid into the volume's pocket.

The Hattie S. Williamson Memorandum Book contains financial records of collections that the Second Reformed Dutch Church Sunday School of New Brunswick, New Jersey, received from November 26, 1865-June 16, 1867. The amount of each donation is recorded next to the donor's name. Other records pertain to the Sunday school's accounts with the Novelty Rubber Company and the church's efforts to raise money for an organ.

The Clara Gurley Account Book, kept from July 9, [1875]-April 16, 1880, contains accounts for Gurley's purchases of items such as books, ribbon, fabrics, and buttons. A piece of fabric is pinned onto the book's final page.

The first Clara Gurley Williamson Diary, written in a pre-printed Excelsior volume, covers the year 1905. Williamson began writing in Dresden, Germany, where she had lived with her children since late 1903, and recounted her daily activities and news of acquaintances. In April, she and her children took an extended tour of Europe, including Austria, Switzerland, Italy, France, and Holland, where Williamson remarked on visits to museums and other points of interest. The entries from August concern the family's return to the United States on the Holland-American Line steamer Ryndam and their first months back in New Brunswick, New Jersey, and Indianapolis, Indiana. Williamson kept a record of letters written and received and acquaintances' addresses in the volume's memoranda section. She laid newspaper clippings, a letter, calling cards, small photographs, stamps, and other items in the volume. The final page of the diary contains a newspaper clipping about the Williamsons' return to the United States and intention to relocate to Indianapolis.

The Mary Williamson Diary recounts the author's travels through Europe from April 10, 1905-August 11, 1905. Williamson described her daily activities and sightseeing in cities such as Prague, Munich, Venice, Rome, and Paris, as she visited museums and places of historical importance with her mother and sister. The diary includes a list of books Williamson read from 1907-1908 and a list of addresses of European hotels.

The Ruth A. Williamson Diary pertains to the author's experiences and travels in England from June 7, 1909-September 3, 1909. She spent most of her time in London; some later entries mention travels around southern England and to Edinburgh, Scotland. Williamson most frequently wrote about sightseeing and visiting famous landmarks, but also commented on other activities, such as shopping. Ruth A. Williamson's calling card is laid into the volume.

The second Clara Gurley Williamson Diary, also in a pre-printed Excelsior volume, contains daily entries about Williamson's life in Indianapolis, Indiana, from January 1, 1918-April 2, 1918. Williamson commented on her social activities, her health, and news of her friends and family members, especially her children. She occasionally mentioned news of the war, such as the signing of the Treaty of Brest-Litovsk (February 22, 1918). Financial records and instructions for knitting a "Kitchener sock" are written in the back of the volume. Items laid in include a calling card for Charles G. Williamson containing his military address, a cloth United States flag mounted on a small wooden dowel, and clippings about the deaths of Henry Janeway Hardenburgh and Douw D. Williamson. A postcard with a painting of Waikite Geyser in New Zealand, addressed to A. Parsons in London, England, is also laid into the diary.

The Scrapbook (1860s-1880s) is comprised of newspaper clippings about numerous topics, including biographies of William Gurley and biographical notices about other members of the Gurley family, such as Clara Gurley Williamson and Esther Gurley Cook. Some clippings feature prominent individuals such as Ulysses S. Grant, Charles Dickens, and Louisa May Alcott. Items report national news, news from Troy, New York, and stories about Emma Willard and the Troy Female Seminary. Additional topics include poetry, international travel, and stamp collecting.

A Photograph Album contains 42 carte-de-visite photographs, 2 lithographs, and 1 tintype print. Most of the photographs are studio portraits of men, women, and children, including many members of the Gurley family and related families. Most of the pictures are dated 1866-1880, though the album includes a 1902 photograph of Charles G. Williamson in a military uniform.

The Florence Romaine collection is comprised of correspondence, documents, genealogies, photographs, scrapbooks, and newspaper clippings related to the Brossard, Draper, and Smith families throughout the 19th and 20th centuries and to the acting career of Florence Smith Romaine.

The Florence Romaine collection (1 linear foot) is comprised of correspondence, documents, genealogies, photographs, scrapbooks, and newspaper clippings related to the Brossard, Draper, and Smith families throughout the 19th and 20th centuries and to the acting career of Florence Smith Romaine.

The Correspondence series (59 items) contains personal letters between members of the Brossard, Draper, and Smith families; many are written in French. Most of the material is dated from 1843-1907; the collection also includes 3 early letters to members of the Brossard family, as well as postcards that Florence Smith Romaine wrote to Grace Maxwell from 1962-1963. The series includes letters to Claude Ferdinand de Brossard from various correspondents; to Ferdinand de Brossard and Jenny de Brossard Draper from their mother, Elizabeth de Brossard; to Elizabeth Brossard from her sister-in-law, Julie de Brossard; to Jenny de Brossard Draper from Seth Enos Smith; and to Florence Smith Romaine from her mother, Jenny Draper Smith, and grandmother, Jenny de Brossard Draper. Other items include 6 letters to C. C. Randall.

The Writings series consists of 3 items by Florence Smith Romaine: a rumination on night written around 1905, a play entitled "The Silver Bell of Hat-Shep-Sut's Cat," and Whistling Bill, a children's book published in 1937.

Documents are divided into three subseries: Legal Documents (7 items), Business Documents (3 items), and Awards and Diplomas (2 items). Legal documents include birth certificates, marriage certificates, and passports related to Claude and Elisabeth Brossard and their descendants, as well as a copy of Florence Smith Romaine's will. Business documents are related to Brossard family accounts. The award and diploma concern Jenny Draper's academic achievements at the Chegaray Institute and a Brossard family member's receipt of the Fleur de Lys.

The Photographs series has two subseries: Photograph Album and Loose Photographs. The photograph album (26 pages) contains 104 cartes-de-visite and tintype studio portraits, including portraits of members of the Brossard, Draper, and Smith families. Two pages from a photograph album of the Romaine family are housed separately. Loose photographs (32 items), including 2 cased items (one housed in the Graphics Division), mostly show Florence Romaine in theatrical costumes; several photographs show members of the Smith and Draper families.

Two Scrapbooks contain newspaper clippings, programs, notes, and other items regarding Florence Romaine's acting career, as well as articles, children's stories, and puzzles that she wrote for The Christian Science Monitor in 1924 and 1925. The Newspaper Clippings (3 items) concern the career of Worthington L. Romaine and the deaths of Seth and Seth E. Smith.

Genealogies and Family Histories consist of a pamphlet about the descendants of Henry and Elizabeth Smith, including Seth Enos Smith and Florence Smith Romaine; manuscript and typed notes pertaining to the Draper and Stull families and to the life of Florence Romaine; and pages from Thomas Waln-Morgan Draper's 1892 genealogy The Drapers in America.

Miscellaneous Items and Fragments (17 items) include notes and poetry (in French), 2 invitations, a copy of a recommendation letter for Father Marie-Joseph de Geramb to the governor of Cairo, and a promotional pamphlet for "Florence May Smith."

This collection consists of photographs of Boston, Massachusetts, and other New England towns, taken around the turn of the 20th century. The collection includes pictures of commercial and municipal buildings, battleships, and city landmarks.

This collection consists of photographs of Boston, Massachusetts, and other New England towns, taken around the turn of the 20th century. The collection includes pictures of commercial and municipal buildings, battleships, and city landmarks.

Large format photographs show a variety of Boston scenes, including commercial streets and buildings, harbor views, waterfront parks, the USS Hartford and USS New York, a streetcar station and tracks, a horse-drawn firefighting ladder truck, and a crowd waching the launch of an unrigged yacht in Boston Harbor. Buildings depicted include Faneuil Hall, the Jordan Marsh department store, and the U.S. Customhouse. A scene on the Boston Common shows the statue of George Washington being decorated, with a crowd of pedestrians including a Civil War veteran wearing a uniform with medals. Also included is a photograph of the Witch House in Salem, Mass., former residence of Joseph Corwin, a judge at the Salem witch trials; and a collision of two locomotives with a photographer on the scene, possibly staged. The first image (10cm x 14.5cm), an overhead view of Charlestown and the Bunker Hill Monument, is affixed to a wall calendar for the year 1884; all of its removable monthly pages are still intact. The calendar was presented with "Compliments of Annie T. Smith."

The papers of the Whittemore, Low, Peck, Parmelee, and Bonticou, families, primarily of Massachusetts, Connecticut, and Rhode Island. The collection concerns the families' military service, genealogy, travel, and social activities.

The Correspondence series contains approximately 1.5 linear feet of letters, spanning 1776-1939, with the bulk concentrated around 1840-1939. It documents many branches of the family.

William Whittemore (b. 1761) of Boston, Massachusetts, wrote several of the earliest letters to his brother Amos in London, England, in the late 1790s. These letters primarily pertain to their business producing wool and cotton cards, and address such topics as business difficulties and market conditions in Massachusetts. Other items mention family matters and news, such as the death of their father, Thomas Whittemore (October 10, 1799). Also present are several letters concerning the Hubbard family of New Haven, Connecticut. In a letter to his parents, Thomas Hubbard shared his impressions of Georgetown, South Carolina, which he called a "wicked part" of the world (December 9, 1798). He described his living situation in a "bachelor hall," and referenced his wish to "make a fortune" in the South.

In the late 1830s, the focus of the correspondence series shifts to William Whittemore Low (1823-1877), the grandson of William Whittemore. The series, which includes both incoming and outgoing letters, documents many aspects of Low's career with the navy. In several early letters, his relatives strongly discouraged him from enlisting: His mother requested that he remain near her (August 9, 1839), and his grandfather wrote, "You will rue the day, should you enter either the Navy or Merchant Service," recommending instead that he become a shopkeeper or lawyer (December 1, 1839). Accompanying these are several recommendations from friends of Low's character and fitness for service. For the period of the 1840s and 1850s, many of the items are orders transferring Low between ships or addressing the logistics of his service. Included is a response to Low's request for detachment from the schooner Graham, signed by Jefferson Davis in his role as U.S. Secretary of War (June 8, 1853).

Of particular interest are the letters that Low wrote during his Civil War service as commander of the gunboat Octorara from September 1863 to the end of the war. They include a large number of long letters home, some giving excellent descriptions of Low's activities in the West Gulf Blockading Squadron. In a letter dated October 30, 1863, written to his brother Henry, Low anticipated his duties at Mobile but worried, "I am very much afraid that we shall break down before operations commence." In a letter to his father several days later, he gave a good description of the features of the Octorara and noted the repairs made on it (November 11, 1863).

A few letters during the Civil War period describe engagements and dangers faced onboard the Octorara. These include an account of an engagement on Mobile Bay on the morning of August 5, 1864, in which the Octorara fired on a Confederate ship "at anchor on the West side of the Bay in 2 fathoms water" (August 29, 1864). In an additional letter, Low described an incident in which he and his men mistook a ship for the CSS Nashville but quickly realized their error (September 14, 1864). Incoming letters to Low also shed light on the naval threat of the Confederacy. They include a copy of a letter by Edward La Croix, warning that a torpedo boat "propelled by a small engine" had just been built by Confederates at Selma, Alabama (November 20, 1864), and two letters by naval officer Edward Simpson, conveying intelligence concerning the blockade runner Heroine (March 23, 1865) and discussing the aftermath of the torpedoing of the USS Osage (March 29, 1865). In the latter, Simpson wrote, "I feel deeply for those poor fellows from the Osage and had already resolved on appropriating…one of the tin clads for hospital purposes." He also expressed hope that surgeons could transport the injured without inflicting further harm on them.

• A letter from James M. Dabney, in which he explained, "I am the owner of the Plantation nearest your present anchorage," and inquired whether he and his neighbors could return to their "homes & families, unmolested." (April 17, 1865)
• A letter from Ben Lane Posey, captain in the 38th Alabama Regiment, in which he admitted to being a Confederate States Army officer, but claimed, "I have had no connection with the army since Oct 6 1864." He also offered to surrender and requested to be returned to Mobile (April 20, 1864).
• A letter from J.B. Mendenhall of Buford's Landing, Alabama, which notes that a neighboring woman, "Mrs. Cleland," wishes to take an oath of allegiance to the United States. The letter also describes the response of slaves to the end of the war: "Her negroes have become defiant insulting, and she thinks dangerous….It is believed by some of the neighbours that their intention is to rob and plunder us perhaps murder before they leave. I know that mine are preparing to leave & wish they were gone." Mendenhall also expressed worry that his slaves would bring their friends and return to plunder his plantation (April 20, 1865).

A few letters also discuss the logistics of administering oaths of allegiance to southerners.

Also addressed in Low's Civil War correspondence are fairly routine matters, such as leaves of absences (July 2, 1864), complaints about the system of promotions (July 30, 1864), and a letter relating to the court martial of John Kennedy of the USS Oneida, who was found guilty of treating a superior officer with contempt (June 16, 1864). The series also includes official navy correspondence. Circular letters and orders address such topics as the use of alcohol onboard ships (September 16, 1862), appropriate actions in neutral waters (June 20, 1863), and the retrieval of supplies from Key West, Florida (September 11, 1863). Letters concerning Low's postwar career are much scarcer, but of particular interest is an 11-page description by Fred Patter of the capture of the pirate ship Forward (June 19, 1870).

From the 1870s on, the focus of the collection shifts to William W. Low's daughter, Grace Bonticou Low, and several other family members. Incoming letters to Grace Low begin in 1873, and her uncle, Henry Whittemore Low, and mother, Evelina P. Low, wrote much of the earliest correspondence of this period. Grace’s outgoing correspondence began in 1880 with letters to her family in New Haven about her time in Washington, D.C., where she attended a co-educational school and participated in ice skating, a tour and reception at the White House (Jan. 4, 1881), a reception of the First Lady Lucy Webb Hayes (Jan. 15, 1881), and visits to the Smithsonian Institution. Among her female acquaintances was Frances ("Fanny") Hayes, the daughter of President and Mrs. Hayes. In the mid-1880s, Low attended school in Watervliet, New York, and wrote of her social life and classes there. Her outgoing correspondence ends in 1891. Approximately 100 letters to Grace Low from her brother, Theodore H. Low, date from the mid-1890s to 1939. These regard his time at various naval hospitals in South Carolina, Rhode Island, and Washington D.C. Grace also received around 20 letters from another brother, William Low (1912-1916). Also of interest are letters written to Henry Low, mostly by his nephews, William and Theodore Low. Their correspondence with him includes accounts of their service with the Marines during the Boxer rebellion, Philippine insurrection, and the invasion of several Caribbean countries in 1907-1908. Theodore's later letters provide details of his work as an inventor, including applying for and receiving a patent for a bottle opener.

Several additional sets of letters provide insights into various female members of the Whittemore, Low, and Parmelee families. Geraldine Whittemore Low wrote a handful of letters to her uncle, Henry W. Low, from New Haven about her recreational activities and social gatherings with friends during the 1880s. They concern Valentine’s Day, her whist club, weddings, balls, and other social events. A set of 30 letters from Julie Parmelee Marston and Mary Parmelee Low, the widow of William Whittemore Low, Jr., to their cousin, Mary E. Redfield in New Haven, relate to their trip to Switzerland between September 1923 and August, 1926. They traveled on the American Line, SS Mongolia, and after their arrival, explored Switzerland, France, and Italy. Both Mary and Julie described their surroundings, cultural events they attended, and the people that they met in Europe. Mary also wrote about her two children, Charlotte and Billy; the expenses of the trip; and several aspects of the children’s education while in Switzerland.

The Letter Books series contains four letter books by William Whittemore Low, Sr., between 1840 and 1875, and two kept by Elisha Peck, 1843-1863. The earliest William W. Low letter book spans July 25, 1840-March 19, 1867 and contains 415 letters in its 466 pages. It comprises copies and originals of both incoming and outgoing letters that document much of Low's naval career. Early letters shed light on Low's time onboard the Missouri and the Saratoga and his education at the U.S. Naval Academy in Annapolis, Maryland. Many pertain to transfers, ship inventories, orders, and the enlistment of crews. Of particular interest are letters from the period of Low's service with the Union Navy during the Civil War onboard the St. Louis, Constellation, andOctorara. Both official and personal in nature, they shed light on naval policies, personnel, and Low's wartime experiences.

• A navy circular signed by Secretary of the Navy Gideon Welles concerning the blockade and capture of Confederate vessels (August 18, 1862)
• A printed note containing intelligence that "the Oreto Gunboat is intended for the Southern Confederacy" (February 27, 1862)
• Low's orders to proceed to New Orleans and join the Octorara (September 22, 1863)
• A substantial amount of correspondence related to the Battle of Mobile Bay in early August 1864
• Numerous manuscript orders by Admiral Henry K. Thatcher tipped into the volume. They include one from March 31, 1865: "Open fire on the fort. Aim well to the left."

A significant part of the postwar correspondence relates to a bureaucratic error which resulted in the delay of a promotion for Low from the Board of Admirals. An index appears at the end of the volume.

The second William W. Low, Sr., letter book spans 1865-1875, and contains 212 pages of copied incoming and outgoing letters as well as copied passages from books concerning military science and ordnance, and copies of general orders. The materials pertain to the transportation of supplies, Low's knowledge of ordnance, a proposed article concerning Low for the Army & Navy Journal, Low's recommendations for various navy colleagues, and other subjects.

The third William W. Low, Sr., letter book spans 1870-1871, and consists of 335 letters within 263 pages. It comprises writer-retained copies of outgoing letters to correspondents in the U.S. Navy. Low wrote the letters while onboard the steam sloop-of-war USS Mohican. His primary correspondents were Rear Admiral John A. Winslow, S.W. Gordon, Rear Admiral Thomas Turner, Commodore William Rogers Taylor, and George M. Robeson. Topics of the correspondence include health and sanitation, supplies, the condition of the ship, the ventilation of the berth deck, and navy financial matters. Low also included in his letters summaries of courts martial for theft, intoxication, and the escape of prisoners, as well as information on casualties, training, and transfers. A series of significant letters in June 1870 record a conflict between San Salvador and Mexico, as well as the capture of the pirate ship Forward.

Also included is a volume of compiled circular letters from the U.S. Navy Department, 1870-1875. Likely kept by William W. Low, Sr., the item contains printed and manuscript letters concerning such topics as courts martial, recordkeeping, uniform regulations, and rank. The book also includes an index of topics in the front.

The first Elisha Peck letter book covers 1843-1863 and contains 30 letters by Peck, most of which he wrote to his wife Grace and children, Evelina ("Eva"), Henry, and Joanna ("Anna"). Peck wrote 11 of the letters while onboard the U.S. sloop of war Portsmouth from 1849-1851; during this time, Peck commanded the ship as part of an effort to stop the illicit slave trade from West Africa. In his letters home, he described terrain that he saw from the ship, expressed his sorrow over being separated from his family, and gave accounts of his experiences. On January 1, 1850, he wrote a letter from Cape Verde, noting that most American and British ships of war took "on board 20 or 30 African Negroes" to row in the "extreme heat of the African sun." He also gave details on the evasive movements of slave traders. In other letters, Low discussed Ghezo, the King of Dahomey and the kingdom's corps of female soldiers (April 20, 1850); the transportation of beeswax and ivory to the coast of present-day Angola (September 1, 1850); and drinking 100-year old wine on Christmas Day (January 2, 1851). Peck wrote most of the remainder of the letters while onboard the Carolina off the Brooklyn Navy Yard, discussing naval happenings and social visits and expressing affection for his children.

The second Elisha Peck letter book contains writer-retained copies of official naval correspondence written by Peck to various correspondents. The volume spans June 12, 1849-September 1, 1851, and covers the period of Peck's service with the Portsmouth. Letters concern personnel matters, the compiling of returns, disciplinary matters, and other topics. Major recipients include Francis Gregory, William B. Preston, William Craig, and William A. Graham.

Note: Two additional letter books by Thomas J. Whittemore are located in the Genealogy series because they contain correspondence related only to family research.

The Reminiscences, Essays, and Miscellaneous Writings series contains various materials written by members of the Whittemore-Low family, including poems; accounts of the military service of William W. Low, Sr., and Theodore Low; short fiction; religious writings; and fragments. Much of the writing is undated and unsigned, but several pieces concerning military duties in China and at the U.S. Naval Academy are attributed to Theodore Low.

The Diaries, Commonplace Books, and Logbook series contains 12 volumes kept by various family members between 1820 and 1886. The series consists of two volumes by Grace Bonticou Peck (1820 and 1827), two by William W. Low, Sr. (1844-1845 and [1848-1849]), one by Evelina Peck (1852-1853), one by Henry S. Parmelee (1865), one by Grace B. Low (1886), and five unattributed volumes.

Grace B. Peck's two volumes contain poems and quotations selected for or dedicated to her by various friends. The entries address subjects such as religion, hope, death, friendship, love, solitude, and the qualities of women. Most of the entries are signed, although few are dated or indicate location. The books kept by William W. Low, Sr., include an early commonplace book and a logbook for the USS Mohican. The latter volume comprises daily entries recording weather, barometer readings, sails set, the use of steam power, and the ship's longitude and latitude. The entries also contain records of minor transgressions, desertions, courts martial, and punishments. Detailed descriptions of the geography of Mazatlan, Altata, Pichilingue Bay, and San Blas, Mexico, are present on pages 35-41. The logbook also records the arrivals and departures of foreign ships and shore parties, the receipt of food and supplies, and the transfer of sailors between ships and to hospitals. Of particular interest is the description of the Mohican's engagement with the pirate ship Forward on June 16-19, 1870 (pages 58-61). The Evelina Peck volume is an album of messages from various friends and acquaintances, including quotations and several original poems. Most of the entries are reminiscences about friendship or expressions of sorrow over an imminent departure. The majority of entries are signed and dated; many mark "New Haven" as their location. The last entry is an ink drawing of a harp and pipe with no date or signature. The entries are in no particular order. Henry S. Parmelee's diary records very brief entries for eight days of Civil War service with the 1st Connecticut Cavalry Regiment in March and April 1865. Grace Bonticou Low’s diary dates from January to June 1886, and describes her life as a 21-year old woman staying with her aunt Anna and uncle James in Washington, D.C. Her entries reflect almost entirely on social events, dances, masquerades, visits, theater performances, and church attendance. She often wrote of particular female friends and of the military men she encountered in Washington.

The Documents and Receipts series contains several subseries based on the original bundles in which the family papers arrived. The subseries are as follows: Elisha Peck Bundle, which spans 1831-1875; Bonticou Bundle (1778-1837); Low Bundle (1895; undated); Washington, D.C. Property Bundle (1880-1883); Property and Pension Bundle (1880-1909); Theodore Low Naval Bundle (1906-1907); Other Documents and Receipts (1729-19[02?]). The bundles contain a wide variety of document types, including military and legal documents, wills, land indentures, pension papers, receipts, and petitions. These shed light on the careers, finances, and transactions of many members of the Whittemore-Low family.

The Graphics series contains 10 photograph albums, 2 scrapbooks, and approximately 100 cased and paper photographs, totaling approximately 1000 photographs of various kinds. The albums and scrapbooks date from the late-19th and early-20th centuries.

• Asian Travel photograph album, 1875-1877: The album contains albumen print views and portraits from Aden; Nagasaki, Kyoto and Hakodate, Japan; and Singapore. In addition to images of ports and group portraits of Japanese women, the album has several early photographs of the Ainu that offer an impression of their mode of dress and style of living. The series of photographs taken in Singapore show native theatre and homes, as well as a Hindu temple and a European style church under construction (in the background of one image). The album also includes a portrait of the King of Siam (Chulalongkorn or Rama V).
• Friendship album, 1879-1883: The album contains signatures, quotations, and eight chromolithographs of floral images. The creator of the album is unknown.
• Parmelee family album, ca. 1890: The album contains 137 silver gelatin photoprints showing the Parmelee family yachting, relaxing on the beach, and socializing at home.
• Henry S. Parmelee family Newport and Yale photograph album, 1901: The album contains gelatin silver prints of the Parmelee family and friends in a series of outdoor activities throughout southern New England. A series of photographs taken in the harbor of Newport, Rhode Island, features the yacht Speranza with women, children, and a dog among its passengers, as well as a number of candid portraits of a swimming party in Newport. Photographs taken in New Haven show an outing to the New Haven Country Club, as well as an image of decorations for the Yale Bicentennial. Also present are some faint but interesting images of tobogganing.
• Parmelee family Schooner Alert and Nassau photograph album, 1902: This album, which contains 92 gelatin silver prints, documents the Parmelee family vacationing and yachting in the Bahamas. The images are a combination of professional souvenir and amateur candid photographs. Many photographs show Nassau's Colonial Hotel: its exterior, interiors, tennis courts, and swimming pool. Other images from Nassau show natives near their homes, at market, and diving. Several photographs feature varied foliage, such as palms, banana plants, ciba trees, and cacti. Nearly half of the album focuses on Henry S. Parmelee's Schooner Alert, including numerous group photographs of the men and women on board, as well as several images of people reading and resting on deck.
• Julie F. Parmelee obituary scrapbook, 1902: The scrapbook contains newspaper clippings and articles on the death of Henry S. Parmelee and his wife, Mary F. Parmelee. Also included is a clipping on the death of William Whittemore, Jr., and an article on the reception hosted by the Parmelee family. The compiler of the scrapbook is Julie F. Parmelee, daughter of Henry and Mary Parmelee.
• William W. Low, Jr., Puerto Rico and Hawaii photograph album, ca. 1901-1902: The album contains photographs of Hawaii and of Puerto Rico after the Spanish-American War. Images depict navy officers as well as navy vessels, including the Arethusa. Several photographs document bridge-building and the Puerto Rican countryside. Also included are a fine early view of Honolulu, an image of a polo game, and portraits of an Asian child and an Asian woman.
• William W. Low, Jr., Puerto Rico photograph album, ca. 1902: The album contains 28 silver developing-out prints of Puerto Rico after the Spanish-American War. Several images show men in military uniform (mostly American army and navy, but also some Spanish or local militia). Additional images feature groups of American men and women and local women and children, along with several views of architecture.
• [William W. Low, Jr.] Travel photograph album, 1897-1909: The album contains 121 silver gelatin photoprints of Connecticut, Hawaii, and Puerto Rico. It includes a series of images of navy officers and vessels such as the New York and Columbia, as well as numerous images of family and friends aboard a sailboat. Also present are a handful of photographs of East Rock Park in New Haven, Connecticut, in the winter.
• [William W. Low, Jr.] Puerto Rico, U.S., and Hawaii photograph album, 1911: The album contains 268 silver gelatin photoprints of locations in Puerto Rico, Hawaii, Connecticut, and South Carolina. Images of Puerto Rico include various buildings, dwellings, harbors, a naval station, and views of the countryside. In addition are images of street scenes with Puerto Ricans, many of them children. Several photographs of the Lows on vacation in Charleston, South Carolina, are also present, as are several images of the Low home in Connecticut.
• Charlotte Low Baby photograph album, 1910-1922: The album contains 94 albumen prints and silver gelatin photoprints of Charlotte Low as an infant and young child. It includes numerous portraits of Charlotte posed with toys, other children, and family members.
• Charlotte Low photograph album, 1921-1922: The album contains 110 silver gelatin photoprints of Charlotte Low and friends at home in New Haven, Connecticut, and at Camp Broadview for girls. It includes amateur portraits as well as photographs depicting girls engaged in swimming, canoeing, and hiking. Also present are several photographs of family pets and of Charlotte Low riding a bicycle.

The individual photographs date from the 1840s to the 1890s and depict members of the Low, Whittemore, and Parmelee families, in groups and individually. Subjects of portraits include Theodore Low, Geraldine Low, Henry Wentworth Low, Evelina (Peck) Low, William W. Low, Sr., Mary Frances Parmelee, Eliza Parmelee, Lewis C. Parmelee, Henry Parmelee, Elizabeth Parmelee, Fanny Whittemore, Anna Whittemore, and James M. Whittemore. A wide array of formats, such as daguerreotypes, ambrotypes, crystoleums, and cabinet cards, are present.

The Ephemera and Realia series contains a variety of items, including invitations, calling cards, fliers, locks of hair from various family members, cloth, and the artificial orange blossoms used to decorate Evelina Peck Low's wedding dress. The items mainly date to the mid- to-late-19th century.

The Genealogical Materials series contains approximately two linear feet of materials related to the history of the Whittemore-Low family. Items pertain to various lines of the family, including the Whittemores, Lows, Pecks, Bonticous, and Parmelees. Included are newspaper clippings, pamphlets, manuscript records of birth and death dates for various family members, and miscellaneous material giving biographical information. Also present are two letterbooks kept by Thomas J. Whittemore on genealogical matters and inquiries.

The Miscellaneous series contains a few scattered notes and envelopes from the late-19th and early 20th-centuries.

The Henry M. Wheeler photoprint collection consists of approximately 719 images of colonial architecture and historical locations in Massachusetts from ca. 1889 to 1915.

The Henry M. Wheeler photoprint collection consists of approximately 719 images of colonial architecture and historical locations in Massachusetts from ca. 1889 to 1915. The collection is mainly composed of 10 x 15 cm silver platinum, platinotype, and gelatin silver prints as well as 15 x 20.5 cm cyanotypes. A couple of manuscript notes are also present. Much of the focus is on eastern Massachusetts, centering on Wheeler’s hometown of Worcester. Photographs show residential architecture from the 17th century, unidentified colonial homes, and contemporary architecture from Wheeler's day and age. Many of the historical structures documented here were in danger of vanishing during Wheeler's lifetime, and many have long since been destroyed. Other photographs show natural landscapes, noteworthy trees, country roads, parks, public and educational buildings, farms, monuments, bridges, milestones, and gravestones as well as images of famous paintings, engravings, and lithographs. Also included are a small number of images related to Washington, D.C., Maine, and New Hampshire. Wheeler likely took the vast majority of these photographs, though there are several instances where he credited the original sources of certain images. The collection materials were removed from the original album volumes they were stored in and have been rehoused in three 3-ring binder albums and three flat boxes. Most photographs also have original reference numbers that were used by Wheeler to organize the collection.

In addition to this finding aid, the Clements Library has created the Henry M. Wheeler Photoprint Collection Inventory. This inventory lists items according to volume/box location and includes references to specific page/mat numbers, image descriptions (most of which are derived from captions originally inscribed by Wheeler on photograph versos), and photographic formats.

The Piñon Lodge, Crystal, New Mexico photograph album contains 49 photographs of log buildings and other structures of Piñon Lodge in Crystal, New Mexico, and picturesque views of the surrounding area.

The Piñon Lodge, Crystal, New Mexico photograph album contains 49 photographs of log buildings and other structures of Piñon Lodge in Crystal, New Mexico, and picturesque views of the surrounding area. The album (18.5 x 29 cm) has string-bound black leather covers and is partially disbound. Individual photographs are affixed to black paper leaves, with sketches of desert scenes and captions drawn in the margins with white ink; on the verso of the front cover is a sketch of a man in Western wear on horseback, signed by W. E. Wells.

Images of include views from locations such as Bridge Canyon, Bonito Canyon, Canyon de Chelly, Canyon del Muerto, ruins in Chaco Canyon, Coal Canyon, the Four Corners Region, the Grand Canyon, Inscription Rock at El Morro (with a photograph of the Spanish inscription from 1620), the Arizona village of Kayenta, Monument Valley, Painted Desert, petrified forests, Rainbow Bridge, and the Venus Needle near Crystal. Pictures of Native Americans, mainly focusing on the Navajo, include views of Navajo hogans, a loom, and women on the steps of Piñon Lodge; the Hopi settlement of Hotevilla, with corn drying on the rooftops of pueblo dwellings; and a Zuni pueblo with Thunder Mountain in the distance. Opposite several photographs are pasted typescript copies of a Piñon Lodge advertisement which includes a sample trip itinerary and describes the region's attractions for camping and hiking.

The Weld-Grimké family papers consist of correspondence, diaries, notebooks, autobiographical documents, printed materials, photographs, realia, and newspaper clippings. The collection addresses such subjects as abolition, women's rights, temperance, religion, education, and the lives of members of the Weld-Grimké family, including Sarah and Angelina Grimké and Theodore Weld. In addition to this finding aid, the Clements Library has created a comprehensive writer index, which identifies letters acquired by the Clements Library in 2012 and letters published in Barnes and Dumond: Weld-Grimké Family Papers Writer Index.

The Weld-Grimké family papers contain approximately 3,200 items spanning 1740 to 1930, with the bulk concentrated between 1825 and 1899 (14 linear feet total). They form a record of the lives of abolitionists Sarah Moore Grimké, Angelina Emily Grimké Weld, and Theodore Dwight Weld, and they offer insight into the lives of the Welds' children: Charles Stuart Faucheraud Weld, Theodore Grimké Weld, and Sarah Grimké Weld. The collection includes 2,889 letters, nearly 200 newspaper clippings, 16 diaries, 39 notebooks and other writings, a manuscript biography of Theodore Weld, 37 loose photographs, 2 photograph albums, 17 valentines, and 13 objects and ephemeral items. The papers are a valuable source of information on the major reform and political issues of the 19th century, and they provide extensive documentation on the personal lives and activities of the Weld and Grimké families. Although anti-slavery movements and abolitionism are central themes in the papers, the collection includes material on women's rights, the American Colonization Society, temperance, political philosophy, religious introspection and commentary, education, literature, health and dietary reform efforts, spiritualism, and a wide array of other subjects.

In June 2012, descendants of the Weld family donated 961 hitherto unresearched letters to the Library, which focus on Sarah M. Grimké, Angelina and Theodore Weld, and the Weld children and grandchildren between 1853 and 1900 (these letters are included in the quantities of items listed above). The 2012 acquisition has an emphasis on the legacy of the anti-slavery activists, women's rights activism, temperance, family dynamics and activities, physical and mental health, and education.

The Correspondence series spans 1740-1930 (bulk 1819-1900) and contains 2,985 items (seven linear feet). The correspondence is physically arranged in one chronological sequence, although the following summary is divided into two components: Letters acquired by the Clements Library before 2012 (1) and letters acquired as part of the 2012 addition (2).

1. Weld-Grimké family correspondence acquired by the Clements Library before 2012

Prior to 2012, the Weld-Grimké family papers included 2,024 letters, dating mostly between 1819 and 1900, and relating predominantly to the lives and activities of Theodore Dwight Weld, Angelina E. Grimké, Sarah M. Grimké, and their network of correspondents.

Theodore Weld received letters from an array of prominent anti-slavery activists, including the Grimké sisters, Lewis Tappan, Gerrit Smith, Elizur Wright, Jr., Beriah Green, James Armstrong Thome, Sarah Mapps Douglass, Lydia Maria Child, Elizabeth Cady Stanton, Lucy Stone, Charles G. Finney, James Birney, Wendell Phillips, William Lloyd Garrison, Henry B. Stanton, Sereno Wright Streeter, Theodore Erastus Clarke, Dioclesian Lewis, and Samuel Dorrance. Many letters document Weld's friendship and working relationship with Charles Stuart. Letters of Theodore's parents, siblings, and other family members are also present.

From approximately 1821 to 1836, letters pertaining to Weld refer to his early pursuit of a career in the ministry, his association with temperance, and his early anti-slavery activities. Weld and his correspondents discussed the Colonization Society, Weld's near drowning accident in the Alum River in 1832, and his attendance at the Oneida Institute, Lane Theological Seminary, and Oberlin College. In addition to his work as an itinerant speaker on behalf of the American Anti-Slavery Society (AASS), incoming letters show that he received numerous requests to lecture at anti-slavery and temperance societies. His correspondence refers to threats of violence against abolitionists and sheds light on the activities of the AASS.

Weld's correspondence with the Grimké sisters began in 1837. His letters to and from the sisters, especially Angelina, primarily concern women's rights and abolition. Weld's attitude was frequently didactic, and his letters convey much advice to the sisters on becoming political activists. On February 8, 1838, Weld wrote a letter to Angelina declaring his love for her; most of the correspondence between this time and May 1838 revolves around their courtship and wedding. Their wedding certificate, dated May 14, 1838, is present in the collection's series of documents.

Correspondence from 1839 to 1844 is mainly concerned with Weld's publications, American Slavery As It Is andThe Anti-Slavery Almanack , as well as the Amistad court case in 1841. Correspondence with Angelina and Sarah during Weld's brief tenure in Washington, D.C, highlights his work with John Quincy Adams, Joshua Reed Giddings, and others in keeping the slavery question a subject of debate in Congress. The Welds' adoption of the "Graham diet" is discussed in letters of this period.

The years between 1845 and 1853 marked a time of transition for Weld as he began his career as a schoolmaster. Charles Stuart's letters to Weld indicate an increasingly strained friendship, and although Weld still corresponded with other abolitionists, fewer letters address the issue of slavery during the late 1840s and early 1850s. From 1854 to 1867, Weld corresponded mostly with his children. He also received many letters from former pupils, many of whom referenced their educations at Eagleswood. Letters from 1868 to 1895 revolve around the legacy of the abolition movement and family life. Weld began to receive letters from fellow aging abolitionists and their children, especially to offer condolences after the deaths of Sarah and Angelina.

Prior to the Clements Library's 2012 addition, the papers included over 500 letters by and over 250 letters to Sarah and Angelina Grimké. The sisters were introspective writers and typically sent detailed and lengthy letters to their friends and family members. This correspondence provides insight into major events in their lives, such as their struggles with religious identity, their speaking tour throughout Massachusetts in 1837, and the births of Angelina's children. They often discussed books they had read, such as Woman and Her Era by Eliza Wood Farnham, or public talks they had attended. Among their correspondents were Sarah M. Douglass, Jane Smith, Julia A. Tappan, Rachel and Mira Orum, Elizabeth Pease, Elizabeth Cady Stanton, Elizabeth Smith Miller, Susan Wattles, Sarah Wattles, Augustus Wattles, Harriot Kezia Hunt, their brother Frederick Grimké, and others.

From 1825 to 1830, the sisters discussed and reflected extensively on religion. Letters during this period are especially pertinent to Angelina's religious conversions, first to the Presbyterian faith and later to Quakerism. Correspondence between 1831 and 1835 includes content on Society of Friends meetings and Angelina's encounters with Catherine Beecher. Thomas Smith Grimké and Hester Snowdon, a slave whom Angelina had known in Charleston, also wrote letters in the later 1820s.

Between 1835 and 1837, the Grimké correspondence documents the beginnings of the sisters' involvement in the anti-slavery movement. Several items refer to Angelina's published letter to William Lloyd Garrison and others pertain to her bookAppeal to the Christian Women of the South . The majority of letters written in 1837 and 1838 concern abolitionism and women's rights issues, highlighting the difficulties Angelina and Sarah encountered as female abolitionists and public figures. Some of the correspondents with whom the sisters discussed these issues include Sarah L. Forten, Sarah M. Douglass, Henrietta Sargent, Theodore Weld, Jane Smith, and Elizabeth Pease. One letter dated March 30, 1838, was written by Nancy Adams, a formerly enslaved woman living in Uxbridge, Massachusetts, recounting her life story and escape from slavery.

Angelina and Sarah received 16 letters from their mother, Mary Smith Grimké, in 1838 and up to her death in 1839. The letters reveal the sisters' continued involvement in abolition, especially the time they spent conducting research forAmerican Slavery As It Is . Motherhood, domesticity, and Angelina's children were frequent topics of discussion, especially from 1839 to 1847. Between 1848 and 1863, Sarah exchanged two dozen letters with physician and women's rights advocate Harriot Kezia Hunt; Frederick Grimké; and Augustus, Susan, and Sarah Wattles. In addition to discussing abolition and women's rights issues, they also wrote about spiritualism, religion, politics, and other intellectual topics.

2. 2012 Addition to the Weld-Grimké Family Papers correspondence

The 961 letters from the Clements Library's 2012 acquisition span 1853 to 1899, with the bulk dating between 1862 and 1899. The addition is comprised primarily of the incoming correspondence of Angelina and Theodore Weld's daughter Sarah Grimké Hamilton (neé Weld) and her daughter, Angelina Grimké Hamilton, in whose wooden trunk the papers were preserved. At least 75 different writers contributed to the newly discovered body of letters; the most prolific correspondents include Theodore Dwight Weld, Angelina Grimké Weld, Sarah Moore Grimké, William Hamilton, Charles Stuart Weld, and Anna Harvell Weld. The Weld children also corresponded with their parents' associates, including Lucy Stone, James Armstrong Thome, and Henry B. Blackwell. This correspondence is largely family-focused, with content on race relations, women's rights, temperance, and the legacy of the anti-slavery activists and movements. Please note that the following numbers of letters attributed to individuals in this section only include those from the collection's 2012 acquisition.

Theodore Dwight Weld wrote approximately 180 letters between 1857 and 1893. He wrote to his daughter Sarah and granddaughter Angelina Hamilton extensively, offering advice on education, reassurance about Sarah's intellectual development, news about his activities and current events, family and financial matters, and recollections of his younger days. He referenced major sociopolitical issues of the time, such as women's suffrage and temperance (with content on the Woman's Christian Temperance Union). Weld wrote about and provided updates on many family members and friends, including the Shepards, the Birneys, Archibald Grimké, Francis Grimké, Charles Stuart Weld, Anna Harvell Weld, William Hamilton, Angelina Hamilton, and Angelina Grimké Weld.

Notable letters include:

• Series of five letters related to his 1862-1863 lecture tour, including a November 23 letter respecting his speech at Boston's Music Hall. Following the lecture, Senator Charles Sumner thanked Weld profusely for his The Power of Congress Over the District of Columbia (1838) and remarked on recent interviews with President Lincoln over the subject of emancipation. His letter to Sarah Weld dated [November] 24, 1862, contains remarks on a visit with John Greenleaf Whittier.
• May 20, 1863: Mentions a combat injury sustained by James G. Birney's son David Bell Birney ("All the Birneys were in the thick of the fight at Chancellorsville").
• His letters addressed the ill-will that developed between Sarah and her sister-in-law, Anna Harvell Weld. Theodore Weld's remarks on the relationship and his efforts to understand the tension may be found especially in his letters of April 30, 1877; February 23, 1883; and July 12, 1890.
• January 26, 1880: Discusses his lectures on women's suffrage.
• January 6, 1883: Reflects on the death of Mary Anna, with remarks on the emancipation of "Aunty Betsey Dawson" in the 1820s and on Mary Anna's moral courage and self-sacrifice.
• July 25, 1885: Reassures his pregnant daughter, who had expressed fears about dying in childbirth.

Angelina E. Grimké Weld's approximately 260 letters date from 1857 to 1878 (over 170 of them undated). She sent the majority of them to her daughter Sarah or granddaughter Angelina ("Nina"). The primary topics of conversation included food, housekeeping and home renovations, visiting lecturers, financial matters, health concerns, and politics. She also supplied news about Samuel Chace, Archibald Grimké, William Hamilton, Angelina Hamilton, Anna Harvell, the Haskells, the Mosleys, Gerrit Smith's family, the Philbricks, Charles Stuart Weld, Theodore Dwight Weld, and Theodore Grimké Weld.

Angelina Weld provided her daughter with motherly support, shown, for example, by an undated letter (January 20). In it, she addressed Sarah Weld Hamilton's concerns that "little Nina" showed preference to her father William Hamilton, by describing the jealousy she [Angelina] sometimes felt toward her sister Sarah M. Grimké, whom she recognized as having a closer relationship with Angelina Weld's children than they had with their mother. Angelina assured her daughter that she understood her feelings--and that Angelina felt relief when Sarah Moore Grimké moved out of their household.

Angelina Weld wrote multiple letters about the presidential election of 1876, including a compelling discussion of President Hayes' Cabinet and the appointment of Frederick Douglass as Marshall of the District of Columbia. On the latter, she remarked that it must have been hard "for the Democrats to swallow this, and yet I suppose as politicians the hope of the Colored vote to help them into office in future" was a factor in Douglass' confirmation. She believed that the strife of party politics would ultimately work to resolve "the most difficult problem of our day," the reconciliation of the black and white races (March 18, [1877]).

Sarah Moore Grimké's letters to her niece Sarah Weld (later Hamilton), number roughly 100 and span 1853 to 1869 (bulk 1862-1869). Her letters to Sarah offer a glimpse into their relationship, in which Aunt Sarah demonstrated a deep interest in her niece's life, offering educational advice (see for example her undated letter in which she encouraged her niece to pursue courses that would lead to a diploma), expressing concern for Sarah's physical and mental well-being, and discussing her niece's financial concerns/school expenses. Sarah M. Grimké also kept her niece abreast of family news, including details about the mental health struggles of "Sodie"/"Sody" (Theodore Grimké Weld) and the family's efforts to "cure" him (see especially June 10, 1863, and August 22, 1875). She also discussed literature (including Les Miserables in three letters in 1862 and 1863) and politics. Sarah M. Grimké provided updates on and news about Theodore Grimké Weld, the Birneys, Gerritt Smith, Lucy McKim Garrison, Charles Stuart Weld, and Julia Tappan.

Sarah Moore Grimké sent two letters to her niece and nephews while in Washington, D.C., 1853-1854:

• [December 26, 1853 or January 2, 1854?], to Sarah, Charles, and Theodore G. Weld: Offers vivid descriptions of the Capitol building, the Senate and House chambers, and the U.S. Supreme Court. She informed her niece and nephews that she sat in the Chief Justice's chair and proclaimed that perhaps a woman would someday occupy the seat--an act that "amused" her companions. She described the John Trumbull paintings in the Capitol rotunda and noted that the empty alcove would be suitable for another once the slaves were emancipated.
• [March 3, 1854?], to Sarah Weld: Comments that she will be leaving the city soon, but has not yet visited Mount Vernon. She reconciles herself by noting that "although [George] Washington may have done right in his day, yet his achievements in the cause of liberty are connected with cruelty & slaughter, and fail to inspire the mind with that sacred feeling of reverence, which we experience in contemplating the characters of Howard & Fry, of Oberlin and Chisolm." She then describes an incident in which a tall, stalwart, and fiercely angry white man dragged a young African American boy onto the Capitol yard in order to beat him for an alleged verbal slight. Following Sarah Grimké's intervention, which prevented the battery, she followed the aggressor long enough to witness him greeting a young child with great tenderness and affection. The lesson of the experience, she informed her niece and nephews, was that "we are two beings just as the evil or the good spirit has possession of us...let us try to be always under the influence of the good."

Sarah Weld Hamilton's letters, about 120 in total, address women's rights and writing submissions to serials including the Independent (1869-early 1870s), her relationship with William Hamilton and her parents' disapproval of him (see especially October 28, 1869, and June 13, 1871), religion, and temperance. She later wrote about child rearing, family matters, visits to Cambridge and Boston (see especially October 21, 1891, in which she reminisces at length about her youth). Sarah included updates on and anecdotes about the Badger family, William Hamilton, Mary Livermore, the Blackwell family, her parents, Julia Ward Howe and her daughter Laura, "Lizzie" [Elizabeth A. L. Cram], Lucy Shepard, Thomas Hill, and Lucy Stone. Selected examples include:

• November 29, 1869, to William Hamilton: Explanation of her views on women's roles, firmly stating her belief that women should be able to support themselves and not be dependent upon their husbands.
• January 16, 1870, to William Hamilton: Description of Sarah Weld's responsibilities and fellow workers at the Woman's Journal office.
• March 6, 1870, to William Hamilton: Mention of an "octogenarian Grimké" at a women's meeting and a reevaluation of her initial impressions of Julia Ward Howe.
• March 13, 1870, to William Hamilton: Description of voting at Hyde Park with a group of women and the reactions of the men present. In her subsequent letters to William Hamilton, she remarks that he probably views the act as "play-voting," and offers her perspectives on the women's rights movement.
• October 6-31, 1891, to Angelina Hamilton: Eight letters to her daughter while visiting Cambridge, Boston, and Hyde Park, with her father Theodore D. Weld. She offered lengthy recollections of her youth and discussed meetings with children and grandchildren of her parents' friends (Smiths, Wrights, Badgers, Garrisons, et al.), and provided explanations to help her daughter contextualize the information.

William Hamilton wrote about 40 letters between 1870 and 1899, primarily about his health, his wife Sarah's health and death, his daughter Angelina, and his work in various educational and occupational endeavors (ministry, law, trade, and lumbering). Of particular note are his letters to Sarah written while conducting business both in and around Washington D.C. A few examples include:

• July 14, 1870 to Sarah Hamilton: discusses his recurring/continual health problems, which the doctor diagnosed as a disease "of a nervous character."
• August 10, 1872-September 13, 1872, to Sarah Weld Hamilton: Twelve letters to his wife respecting travel and a visit to Washington, D.C., and his return trip to Boston. He described the city in detail, discussing government buildings, the city layout, and General Lee's house. He provided commentary on the presidential contest between Horace Greeley and incumbent president Ulysses S. Grant. On August 29, he noted: "the little I am able to gather about politics here, is that the Negroes are very nearly a unit for Grant--that the old Virginians are all nearly for Greeley and that more recent inhabitants are variously disposed."
• November 6, 1898, to Angelina Hamilton: Discusses Angelina's ethical and spiritual concerns as they relate to practicing as a physician. Offers advice about the dangers of professional rivals, citing Dr. Luella Day as an example.
• January 28, 1899-February 3, 1899, to Angelina Hamilton: Four letters respecting the final sickness ("brain hemorrhage" followed by a coma), death, and funeral of her mother.

Charles Stuart Faucheraud Weld's 10 letters date from 1868 to 1895 and primarily revolve around his duties/role as a son and brother. He wrote about US-European finance, Unitarianism and Dwight L. Moody, his aging parents' health, his efforts to help his brother Theodore engage with others, the death of Theodore D. Weld, and current writing. Charles Weld's wife Anna Harvell Weld sent approximately 50 letters between 1877 and 1895, and was a main source of news for Sarah Hamilton regarding the well-being of Sarah's father, Theodore Dwight Weld, and brother, Theodore G. Weld. Her correspondence also reflects the growing tension that existed between Sarah and herself. A later source of conflict was Sarah Weld Hamilton's desire to write a book about her father's life and her accompanying quest for supporting materials. Anna Harvell Weld also discussed Francis Grimké, Archibald Grimké, Theodore Dwight Weld, Theodore Grimké Weld, and Charles Stuart Weld. Examples of Anna Weld's letters include:

• July 27, 1889, to William Hamilton: Asking for his assistance in stopping Sarah from writing a book about Theodore D. Weld.
• February 12, 1890, to Sarah Hamilton: Anna tells Sarah that Theodore Dwight Weld does not want a book written about him.
• February 16, 1892, to Sarah Hamilton: If someone is going to write about Theodore D. Weld, it should be his nephew, Archibald.
• [postmarked February 3, 1894] to William Hamilton: Discussing Sody's living arrangements. Anna remarks that since Angelina Weld's death, no one has had control over Sody. She doesn't fully agree with sending him to an asylum and had hoped that William and Sarah Hamilton would take him. She refers to Sarah's claim that Sody had made an inappropriate advance towards Sarah, which Anna believes is either a misinterpretation or a faulty memory.

Angelina Grimké Hamilton wrote approximately 30 letters between 1878 and 1899, offering insight into her education and work towards becoming a physician. Her letters pertain to childhood activities, food, family, medical duties/work, and school. Of particular note are the letters she sent between December 9, 1892, and December 16, 1896, to Sarah, William, and Nettie Hamilton. In them, Angelina wrote about her time at Hahnemann Medical College and subsequent internship. She discussed her classes and clinical work, which included dressing a scalded arm, giving children vaccinations, and tending to a sprained ankle. She briefly mentioned visits to the Art Institute (March 5, 1893) and the Columbian Exhibition (February 19, 1893).

In 1868, the Grimké sisters discovered that they had nephews living in Washington, D.C. Although the Weld-Grimké Family Papers do not contain any letters by Archibald, and only two by Francis Grimké (October 31, 1879; November 6, [1879]), the correspondence does include many references to their education, activities, careers, and families. A few examples include:

• July 31, 1868, Sarah Moore Grimké to Sarah Weld: Reference to her "newly found" nephews.
• January 12, 1876, Theodore D. Weld to William and Sarah Hamilton: Brief remarks on Archibald Grimké's admission to the bar: "Mr. B. prophesies that A. will soon attain a position that few lawyers secure when so young. When he was admitted to the bar of the Supreme Court on motion of Mr. Sewall, he was warmly welcomed. One of the prominent lawyers, Mr. Shattuck took him by the hand and said 'Mr. Grimke welcome to our fraternity. From what I hear of you, I doubt not that you will be an honor to the Boston bar.'"
• March 28, 1880, and May 1, 1880, Theodore D. Weld to Sarah Weld Hamilton: Remarks on the birth of Angelina Weld Grimké (NB: who would become a prominent writer, poet, and activist for African American rights in the 20th century).
• February 23, 1883, Theodore D. Weld to Sarah Hamilton: Lengthy description of Francis Grimke's recent week-long visit, his sermon at the Orthodox Church, his Presbyterian congregation in Washington, D.C., and other subjects.
• April 26, 1885, Theodore D. Weld to Sarah Hamilton: Theodore is the only person that has complete information about the departure of Archibald Grimké's wife Sarah Stanley and their daughter Angelina, outside the parties directly involved. While not at liberty to reveal much detail, Theodore provides Sarah with his perspectives on the separation.

The Diaries series contains 16 diaries: Nine by Sarah Grimké, seven by Angelina Grimké, and one by Louis Weld. Sarah's diaries date from 1819 to 1836 and they contain poetry, copies of Bible passages, and her thoughts on religion and marriage. She also reflected on women's issues, on her experiences as a Quaker, and about her daily experiences. Angelina's diaries date from 1828 to approximately 1835 and record her struggles with her transition between the Presbyterian and Quaker faiths, her relationship with Sarah, and her reasons for opposing slavery. The "Angelina Grimké Manuscript, 1832-1833" (beginning, "I think I have sincerely desired to receive a right qualification...") relates to her courtship with Edward Bettle, who died of cholera in 1832.

The Notebooks and Writings series consists of essays, lecture notes, and 39 notebooks kept by various members of the Weld-Grimké family. Theodore Weld's essays cover a diversity of subjects, including the oppression of women, Shakespeare's works, William Lloyd Garrison, abolition, and subjects related to political philosophy. Approximately eight notebooks belonging to Sarah are also in the collection; these include essays on women's political rights, the education of women, and the status of women in society. Her essays, "Sisters of Charity" and "The Condition of Woman" are some of the notebooks with titles. The series also includes Angelina's lecture notes and several undated autobiographical essays by Weld and his children. Of particular note is a biography of Weld written on 22 notepads by his daughter Sarah Grimké Weld Hamilton.

The Photographs series contains loose images in multiple photographic formats, including 18 cartes de visite, 17 cabinet cards, 5 developing out prints, 1 card mounted photograph, and 1 quarter-plate daguerreotype of the Weld-Grimké family by Greenleaf Weld. Also present are a Weld family album of cartes de visite and a photo album related to Eagleswood Academy, containing cartes de visite and tintypes.

The Printed Items series is made up of nearly 200 newspaper clippings, pamphlets, broadsides, and cards. The clippings mainly pertain to the topics of slavery and the abolition movement, although some also concern women's rights and the legacies of Theodore Weld and the Grimké sisters. Also included are family members' obituaries, including those of Sarah Moore Grimké. Nine family Bibles and Books of Common Prayer are also included, dating from 1740 to ca. 1921.

The Realia and Ephemera series contains several linear feet of three-dimensional objects associated with the Weld-Grimké family, including hair, Chinese ivory sewing box (gift of Benjamin Grimké), a cameo brooch, Angelina's eyeglasses and case, a silver Addison watch, a quilt presented by Eagleswood students, and a pocketknife belonging to Theodore Weld, a Chinese fan, a silhouette of Angelina G. Weld, and 17 elegant hand-cut valentines. Most of the items date to the mid-19th century.

In addition to this finding aid, the Clements Library has created a comprehensive writer index, which identifies letters acquired by the Clements Library in 2012 and letters published in Barnes and Dumond: Weld-Grimké Family Papers Writer Index.

The Marguerite H. Voll photograph album includes 87 photographs documenting family activities and various events in Plymouth, Wisconsin, as well as Chicago, Illinois.

The Marguerite H. Voll photograph album includes 87 photographs documenting family activities and various events in Plymouth, Wisconsin, as well as Chicago, Illinois.

The album (28.5 x 35 cm) has black cloth with “Photographs” stamped in gold on the front cover. Images include portraits of the Bade, Schram, and Fiedler families as well as views of parades in Chicago (including a Barnum & Bailey Circus parade), group portraits of the Plymouth Hook and Ladder bicycle team, the Sheboygan County Fair, natural landscape scenes, cars, trains, farming, and photographic reproductions of sentimental art. Of particular note is a portrait of Marguerite Bade riding a floor sweeper as an infant in 1909.

Seven Mile Funeral Cortège of Genl. Grant in New York August 8, 1885, contains 79 photographs documenting the death and funeral of Ulysses S. Grant.

Seven Mile Funeral Cortège of Genl. Grant in New York August 8, 1885, contains 79 photographs documenting the death and funeral of Ulysses S. Grant.

The album (38 x 47 cm) is bound in brown leather with “Seven Mile Funeral Cortege of Genl. Grant in New York August 8, 1885” stamped in gold on the front cover. The album was published by the U.S. Instantaneous Photographic Co. in Boston, Massachusetts, in 1886. The album begins with portraits of Grant and various family members before delving into scenes from “General Grant’s Last Days” at Mount McGregor, New York, and subsequent funeral preparations. Numerous images show scenes from the day of Grant’s funeral including views of the catafalque and funeral parade through New York City. Many images exhibit signs of extensive manipulation through retouching and montage work. Also of interest is a page in the middle of the album explaining how the U.S. Instantaneous Photographic Company would be placing albums at several hotels around New England “for free inspection of the public” while admitting “first-class advertisements” at premium costs.

The Pictorial Record of the United States Army Air Forces 90th Bombardment Group consists of two volumes containing 1 manuscript item and approximately 412 photographs documenting the activities of the USAAF 90th Bombardment Group during the New Guinea campaign of War World II.

Materials are housed in plastic sleeves contained in two green-colored 3-ring binders (30 x 33 cm). All photographs are gelatin silver developing-out prints and for the most part measure between 10 x 12 cm and 26 x 20 cm in size. Numerous images bear stamps that state “Passed by U.S. Army Examiners.” Most images do not have captions, though a small number do have typescript captions on their versos.

Volume A:

Volume A contains approximately 186 photographs as well as 1 manuscript item. The volume begins with a one-page typescript document issued ca. 1944 that is addressed to the 400th Bomb Squadron 90th Bomb Group, stating the photographs are intended to be “the Pictorial Record of Our Unit.” The letter is signed by Maj. C. Vernon Ekstrand of the U.S. Army Air Corps. Photographs include a composite portrait of the 90th Bomb Group members, individual and group portraits of 90th Bomb Group members, a group portrait of Japanese military personnel, images of Allied military facilities, Japanese warships being bombed, military aircraft shown both midair as well as on the ground, what appears to be an abandoned Japanese tank, and numerous landscape views. Also present are several images showing aircraft nose art. Of particular interest are various pictures documenting interactions with native Papuan people including individual and group portraits as well as photographs of Papuan settlements and structures (including churches).

Volume B:

Volume B contains approximately 226 photographs. This volume includes a substantial number of pictures of indigenous Papuan individuals, children, and families, including several portraits of nude women (including mothers breastfeeding), as well as images showing traditional Papuan body modifications and tattoos. Of particular note are images that appear to document a Papuan ceremony that showcases elements of traditional Papuan clothing, music, and ritual dance, as well as a photograph of a Papuan trumpet player. Other items of interest include numerous images documenting USO performers (including Bob Hope and Patty Thomas) and a series of aircraft nose art photographs that include several works signed by Cpl. Al G. Merkling. Images of airborne planes and landscape views also feature prominently in this volume.

The Tyler-Montgomery-Scott family album chronicles multiple generations of the Tyler, Montgomery, and Scott families of the Philadelphia area from the 1860s through the 1930s. It includes approximately 275 items including studio portrait photographs, informal snapshots, newspaper clippings, postcards, letters, and other ephemera.

The Tyler-Montgomery-Scott family album chronicles multiple generations of the Tyler, Montgomery, and Scott families of the Philadelphia area from the 1860s through the 1930s. It includes approximately 275 items including studio portrait photographs, informal snapshots, newspaper clippings, postcards, letters, and other ephemera.

The album (33 x 25.5 cm) is string-bound with grey cloth covers. Most photographs in the album have detailed handwritten captions identifying people, often with their middle or maiden names as well as the location and date. The presentation of the album is not strictly chronological, especially in the latter half. The early generations of Tylers are represented in photographic formats such as cartes-de-visite, tintypes and cabinet cards, while later generations are represented in snapshots and postcards. When the album reaches the mid-twentieth century, it begins to resemble the modern family album with various forms of ephemera (newspaper clippings, drawings, letters, Christmas cards, etc.) supplementing the photographs of family and friends.

The album begins with a portrait of Frederick Tyler, his daughter Sarah Sophia Cowen, granddaughter Kate “Gwen” Cowen Pratt, and great-granddaughter Kate Pratt. George F. and Louisa R. Tyler as well as their children (including Sidney F. and Helen Beach Tyler) are also featured in the initial section of the album, along with many extended family members, friends, nurses, and pets. Among the family friends pictured are painter Frederick Church, writer Bret Harte, Leonor Ruiz de Apodaca y Garcia-Tienza, Gen. William Buel Franklin, patent lawyer and historian Woodbury Lowery, and the Duke and Duchess of Arcos (Jose Ambrosio Brunetti and Virginia Woodbury Lowery Brunetti). Several interior views of rooms in George F. and Louisa R. Tyler’s home on 201 South 15th St. taken in 1896 are also present, including a photograph of the “Children’s play room” that features their granddaughter Hope Binney Tyler Montgomery holding a doll. Hope, her parents Mary W. and Sidney F. Tyler, her husband Robert “Bob” L. Montgomery, and their children Mary, Ives, and Alexander are well-represented in the album.

Of particular interest are a number of photographs in different sections of the album that depict Theodore Roosevelt and his family. Some of these images are formal studio portraits, while others are more candid snapshots of Roosevelt with other people. One snapshot shows the family at play on the grounds of Sagamore Hill in 1897. Two photos taken at the White House including Helen Beach Tyler, daughter of George F. and Louisa R. Tyler and second cousin to Edith Kermit Carow Roosevelt, are labelled “taken by Ted Roosevelt,” possibly referring to President Roosevelt’s son Theodore Roosevelt III. Helen Beach Tyler may be the “Nellie” who was the recipient of a partial letter included in the album which describes conditions at a wartime hospital (most likely in Italy) in 1915. Only the first two pages of this letter are included, and there is no indication of the identity of the writer. Helen Beach Tyler may also have been the principal compiler of this album. Supporting this possibility is the presence of an interior view of a bedroom at 201 South 15th St. (George F. and Louisa R. Tyler’s home) captioned as “Mother’s bedroom,” a signed portrait of Englishman Lytton Sothern captioned “Given to me by Mr. Sothern June 1872. Mr. Edward Sothern & his son Lytton Sothern sat at our table on ‘Oceanic’ my first trip to Europe,” and a portrait of Sara Schott von Schottenstein, Baronin von Prittwitz-Gaffron, bearing the inscription “to her friend Helen Tyler 1880.”

Other items of interest include portraits of Col. August Cleveland Tyler; several portraits of Brig. Gen. Robert Ogden Tyler; a portrait of French pianist Antoine Marmontel captioned “Mr. Marmontel Professor au Conservatoire gave us music lessons in Paris 1873-74”; a group portrait of Helen Beach Tyler, Mary L. Tyler, Alice Seward, Kitty Seward, and Ida Vinton posing with a silhouette of Sidney F. Tyler; photographs of painted portraits of George F. Tyler and Hope Binney Tyler Montgomery; a series of photos taken at the Spanish Embassy in Mexico City, some of which include the Duke and Duchess of Arcos, Woodbury Lowery, and Archibald Lowery; portraits of the Prittwitz-Gaffron family in Germany; photos taken around the world in various locations including Egypt, India, Germany, and Italy; images taken during an exhibition of sculpture by Stella Elkins Tyler (wife of George Frederick Tyler, Jr.), as well as a program from the event; and photos showing the family of Helen Hope and Edgar Scott.

This collection contains a journal and recipe book, family photographs, and other material related to Elizabeth Coffin Tuttle of Newburyport, Massachusetts, and Lancaster, New Hampshire.

This collection (23 items) contains a journal and recipe book, family photographs, and other material related to Elizabeth Coffin Tuttle of Newburyport, Massachusetts, and Lancaster, New Hampshire. Tuttle kept a Journal and Recipe Book (44 pages) between around 1875 and 1882. From January 11, 1875-July 16, 1875, she regularly wrote brief diary entries about food purchases, weather, and other topics. Though Tuttle continued to make brief notes about cattle prices and other financial transactions as late as 1882, the remaining pages are largely comprised of manuscript recipes giving instructions for making cakes, pies, puddings, other desserts, and a cure for smallpox. Two newspaper clippings are pinned into the volume: a recipe for "pop corn candy" and an obituary for Henry Lunt. Two late pages contain knitting instructions, and two additional small clippings are pasted into the volume's back cover.

Elizabeth Coffin wrote a 2-page Essay entitled "Account of a Freshet" on October 15, 1857. The manuscript is about a flash flood in northern New Hampshire following heavy rains.

The Photographs series (19 items) contains several types of materials. The photograph album holds 12 black-and-white photographs of Tuttle family members, such as "Mama Tuttle," in an informal outside setting; one shows a horse-drawn carriage. Of the 5 tintypes, 3 are housed in stamped metal frames, one with pictures of a drum and cannon and the words "The Union Now and Forever." The other 2 tintypes are pictures of a young boy and a young girl. The 11 card photographs show Winifred, Bert, and Edith Tuttle in 1888; a group of young women; a group of schoolchildren; the Atlantic Ocean; a farmhouse in Amesbury, Massachusetts; 3 structures in Newburyport, Massachusetts; a carriage parade; and 4th of July celebrations in Lancaster, New Hampshire. Two 20th-century color snapshots are pictures of the Theodore Atkinson Coffin house in Newburyport, Massachusetts, and another residence.

The Printed Items series is comprised of the following two items: a newspaper clipping about the death of Robert Tuttle and a pamphlet by Edward Melcher entitled A Sketch of the Destruction of the Willey Family by the White Mountain Slide, on the Night of August 28, 1826 (1879).

The New Jersey and New York City Region photograph album (18.5 x 26 cm) contains 45 photographs of landmarks and city and countryside views of the New York City Region.

New Jersey and New York City Region photograph album (18.5 x 26 cm) contains 45 photographs of landmarks and city and countryside views of the New York City Region. Included are 8 views of the Palisade rock formations near Weehawken, New Jersey, one view including sculptor Karl Bitter's clifftop studio. Other nature views include the Delaware River, South River, Newark Bay, and Mountain Lakes, N.J. City views are mainly of Newark, N.J. streets and buildings, and New York City attractions including Herald Square, the Washington Arch, Trinity Church, Broadway and the Hippodrome. Additional photographs show the boardwalk at Ocean Grove, and pavilion at Asbury Park on the Jersey Shore, an elevated streetcar at Bay Ridge, N.Y., battery at Fort Griswold, Ct., a train on the Lackawanna railroad bridge in East Orange, N.J., and interiors of the Essex County court room and Newark Public Library in Newark, N.J. Photographs include typed captions; paper label inside front album cover: F.H. Tucker, Artistic and Commercial Photographer.

The album has alligator-print cloth covers. Stored in a three-part wrapper with green cloth spine.

The New Jersey, New York, Connecticut and Vermont photograph album (18.5 x 26 cm) contains 70 photographics of parks, monuments, bridges, river scenes, lighthouses, waterfalls, and steamboats, in New York, Connecticut, New Jersey, and Vermont.

The New Jersey, New York, Connecticut and Vermont photograph album (18.5 x 26 cm) contains 70 photographics of parks, monuments, bridges, river scenes, lighthouses, waterfalls, and steamboats, in New York, Connecticut, New Jersey, and Vermont. Images of ships include photographs of the steamboats Naugatuck, Hendrick Hudson, and Robert Fulton, as well as the prison ship Success. The few city scenes present include two views of the State Capitol in Albany (one with election banners for the 1908 presidential election, the second with election banner for 1912 gubernatorial election), and views from the river of Tarrytown, N.Y., St. Johnsbury, Vt., and the New York City skyline. Also included are multiple views of Ethan Allen Park and Battery Park in Burlington, Vermont. Photographs include typed captions; paper label inside from cover: F.H. Tucker, Artistic and Commercial Photographer.

The album has a black pebbled leather cover which has been partially disbound. Stored in a three-part wrapper with green cloth spine.

The Lyman Trumbull family papers contain personal correspondence of United States Senator Lyman Trumbull and of the family of his second wife, Mary Ingraham Trumbull. Letters primarily pertain to personal matters and family life during the 19th century, with a focus on Chicago, Illinois, during the Civil War, and Saybrook, Connecticut, home of the Ingraham family. The collection also contains a number of school notebooks, legal and financial documents, two watercolor paintings, photographs, and ephemera.

• Trumbull Family Letters
  • Lyman Trumbull Miscellaneous letters (1838-1895)
  • Lyman Trumbull to Julia Trumbull (1844-1855)
  • Julia Trumbull to Lyman Trumbull (1860-1866)
  • Lyman Trumbull to Mary Ingraham Trumbull (1869-1884)
  • Letters to Mary Ingraham Trumbull (1859-1914)
  • Miscellaneous Trumbull family letters (1850-1903)
• Ingraham-Rankin Family Letters
  • Julia Ingraham and George Rankin letters (1868-1899)
  • Miscellaneous Ingraham family letters (1824-1913)
• Letters to J. F. Uhlhorn (1860-1869)
• Mather Family Letters (1837-1893)
• Miscellaneous Letters (1834-1908)

The Trumbull Family Letters subseries contain the letters of Lyman Trumbull, Julia Trumbull, Mary Ingraham Trumbull, and various other family members.

The Lyman Trumbull Miscellaneous letters (1838-1895) contain personal correspondence, both written and received, by Lyman Trumbull. Among the items written by Trumbull are a letter describing a trip to the Minnesota wilderness, and a draft of a telegram congratulating president-elect Benjamin Harrison. Incoming correspondence includes letters from his siblings and cousins, as well as copies of letters from Abraham Lincoln and J. F. Buchanan. General Nelson Miles sent an invitation to Lyman and Robert Lincoln wrote a lengthy letter regarding the financial history of his late mother, Mary Todd Lincoln.

The Lyman Trumbull to Julia Trumbull letters (1844-1855) contains 12 letters written by Lyman to his first wife. The letters primarily discuss his health and occasionally refer to his social life.

The Julia Trumbull to Lyman Trumbull letters (1860-1866) consist of Civil War-era letters from Julia to her husband regarding her life in Chicago, where she remained while Lyman served in the United States Senate. Most of the letters focus on local social life and on the couple's children. Though some of these letters contain brief remarks on political matters, the focus on family is maintained throughout.

The Lyman Trumbull to Mary Ingraham Trumbull letters (1869-1884) are primarily personal, and include letters written both before and after Lyman's marriage to his cousin, Mary Jane Ingraham. Prior to their courtship and marriage, Lyman's letters show a certain degree of affection, and he often mentioned sending photographs and gave Mary updates about his life in Chicago. Lyman's letters following his wedding recount life in Chicago, while Mary was away visiting her family in Saybrook, Connecticut; he often asked when she planned to return to Illinois. Of particular interest is his letter of February 1, 1881, in which Lyman described the decline and death of "brother John" near Jackson, Michigan.

The Letters to Mary Ingraham Trumbull (1859-1914) comprises the largest unit of correspondence in the collection, containing approximately 290 items. It consists primarily of family letters written to Mary Ingraham (later Trumbull) throughout her life; frequent correspondents included her mother Almira, and sisters Annie and Julia. The center of the Ingraham family was Saybrook, Connecticut, where most of the letters originated. After the 1880s, friends and acquaintances wrote more letters than family members, including a letter of condolence sent on the death of Lyman Trumbull. A letter of May 8, 1910, from Emma Sickles of the Domestic Science Association includes a description and typed copy of a bill to fund educational programs for housewives, a bill the organization attempted to push through the United States Congress. The large volume of letters provides a rich family chronicle.

The Miscellaneous Trumbull family letters (1850-1903) contain correspondence of various Trumbull family members, particularly the children of Lyman Trumbull and Julia Jayne. Several letters are from the couple's sons Perry and Walter, who described various occurrences and interests. Of note are a letter from Julia to her father describing a dinner she had with Secretary of War Edwin Stanton, and a lengthy letter regarding economics from W. H. White, who had recently read Coin's Financial School.

The Ingraham-Rankin Family Letters subseries contains the letters of Julia Ingraham, George Rankin, and various other Ingraham family members.

The Julia Ingraham and George Rankin letters (1868-1899) are the correspondence of Lyman Trumbull's cousin and sister-in-law Julia Ingraham and her husband, George Rankin. The majority of letters date from the 1880s or later, and include a letter describing a family visit to the Trumbulls in Chicago in the summer of 1889. Though most of the letters are between Julia and George, the couple's children as well as George's mother and a cousin also corresponded.

The Miscellaneous Ingraham family letters (1824-1913) contains correspondence of the Ingraham family of Saybrook, Connecticut. Two of the Ingraham daughters, Mary (m. Lyman Trumbull) and Julia (m. George Rankin), are represented extensively elsewhere in the collection, and many of these letters relate to their father, John D. Ingraham, and brother, John D. Ingraham, Jr. John D. Ingraham wrote one letter, dated 1856, to Lyman Trumbull, and various nieces and nephews also sent letters. Much of the correspondence relates to family news and social life during the Civil War. Of particular interest is an envelope dated June 27, 1865, which contains "Folwers [sic] bought the day of Annie's funeral."

The Letters to J. F. Uhlhorn subseries (1860-1869) contains letters between James Uhlhorn; Lyman Trumbull's nephew, John Frederick Uhlhorn; and a woman, Maria, addressed as "sister." John's letters date from the early Civil War period and discuss business matters and his frequent related visits to Washington. Maria, writing from New York after 1862, discussed the declining health of their mother and other family-related news.

The Mather Family Letters subseries (1837-1893) consists primarily of letters written and received by Almira Mather Ingraham, wife of John D. Ingraham and mother-in-law of Lyman Trumbull. Her brother, Samuel Rogers Selden Mather, was one correspondent; he provided family and social news from New York. Almira wrote a letter to her brother and sister-in-law that contains a short description of proceedings surrounding a nearby execution (January 10, 1843). One item is a printed advertisement for an upcoming publication of the genealogy of the Mather family.

The Miscellaneous letters subseries (1834-1908) contains letters that are difficult to attribute, and include several unsigned items. The letters of identified authors are from John Bond to his uncle, from Charlie to a grandmother (one mentioning a death within the Ingraham family), and from M. J. Rankin to an "Aunt Mary." The collection also includes a short poem entitled "A Memory."

The Letter Book series consists of four small notebooks containing manuscript copies of official letters written by Lyman Trumbull, and copied by his second wife, Mary Ingraham Trumbull (1837-1903). Each book is only partially filled, and the volumes have additional writing that does not appear to originate with Trumbull. Several brief thoughts and sayings appear in one volume, as well as a small number of personal financial accounts. Childlike pencil drawings of houses with a few correspondence copies and a short poem are in another. The correspondence in these volumes is not duplicated elsewhere in the collection.

• The Annie Ingraham school report book (1860-1864) of various reports from the author's time at school, with a number of personal inscriptions and reminiscences in the back.
• The John D. and Annie Ingraham journal (1853; 1859) is 2 pages of journal writing from John D. Ingraham and one page of journal writing by his daughter Annie.
• The Mrs. John D. Ingraham diary (1900) has entries for the first half of 1900, which focus primarily on family visits and daily life in Saybrook, Connecticut. The diary also includes a page of accounts, several loose pages of additional entries, and letters addressed to the author.
• The Julia Ingraham autograph book (1866-1892) contains autographs from various acquaintances around Saybrook Sound, Connecticut.
• The Julia Ingraham Rankin journal and commonplace book (1883-1890) primarily documents family life in Saybrook, Connecticut, and includes entries on poetry, copied excerpts, and inserted clippings.
• The Mary J. Trumbull diary (1887-1890) documents daily life and has approximately 17 items inserted, including several letters, newspaper clippings, and ephemera.
• The Julia Ingraham Rankin notes on Shakespeare (1892) consists of various personal notes and thoughts compiled from various works of Shakespeare, including some of his most famous plays, such as "Romeo and Juliet."
• The [Julia Rankin] notebook (1911-1914) contents primarily consist of academic essays on a variety of topics, readings, and lectures. Laid in the book were a large number of manuscript poems, many attributed to other authors, and four newspaper clippings. One clipping contains a poem dedicated to "La Grippe," written by John Howard, M. D.

The Documents series (1799-1897) is a selection of items related to the career of Lyman Trumbull, including list of candidate endorsements he made, as well as various certificates. Other documents are powers of attorney, a manuscript copy of "The Whole Finance Bill," and a school report for Julia Ingraham.

The Financial papers series (1838-1913) covers a variety of topics, some of which concern the Ingraham family's involvement in shipping. A handful of documents regard the sloop Connecticut, though the majority consists of various receipts and invoices, many addressed to Mary Ingraham Trumbull after the death of her husband Lyman. Other items of interest are an inventory of Lyman's estate (February 1, 1882) and a cure "For Ivy Poisoning," written on the back of a document dated May 24, 1902.

The collection's Photographs (8 items) include a tintype, a cabinet card, and 5 photographic prints, most of which are informal pictures and studio portraits of unidentified women and children. The cabinet card photograph shows a group of men posing outside of a hardware store.

• Several people in front of Vose & Co. Hardware Store
• A portrait of two girls
• Two small, individual photographs of babies
• Three children waving American flags
• A woman in a garden
• A woman accompanied by a dog
• William W. Patton photograph album

The final item, a carte-de-visite album belonging to William W. Patton, contains 159 captioned photographs and prints, including studio portraits, pictures of Renaissance statues, reproductions of religious paintings, and illustrated views of the Alps and Switzerland; captions are also present for items that are no longer extant. Groups of studio portraits show famous persons such as John Ruskin, Thomas Carlyle, and Charles Dickens; residents of Edinburgh, Constantinople, and Cairo in native dress; and members of Patton's traveling party during an 1866 visit to Palestine. Also present are 3 images of Venetians with vibrant artificial coloring and a picture of a "Chinese Convert, Ah Ting, San Francisco." Pictured works of art include statues and paintings from collections in Venice, Florence, Rome, and the Vatican, including items by Raphael and Michelangelo; one carte-de-visite shows an early version of Thomas Ball's Emancipation Memorial statue, differing slightly from the version erected in Washington, D.C. The remaining items consist of groups of photographs and artificial illustrations of Alpine mountains and Swiss scenery; some of the Swiss scenes are colored. Additional items include a carte-de-visite collage of several landmarks within the Giant's Causeway (Ireland), a photograph of Cairo, photographs of monuments in Alexandria, and a print labeled "Procession over human bodies in Egypt."

The Watercolors series (2 items) is comprised of two paintings of pastoral scenes.

The Ephemera, Cards, and Invitations series (13 items) contains four invitations and wedding announcements (1874, 1893, 1909, and undated), two greeting cards (1900 and undated), a 1912 postcard, five calling cards (1879 and undated), and a cooking pamphlet entitled "One Master Recipe for Ten Delicacies, with many serving suggestions," by "the Lady with an Apron."

The Miscellaneous series consists of printed materials, writings, and billfolds. The printed materials (1858-1924) are newspaper clippings, a printed copy of a petition, four speeches made by Lyman Trumbull, advertisements for the Mediterranean Express Line and "The Ormond," an astrological booklet called "Were You Born in September?" (1909), reports and a constitution of the Washington Union Brotherhood, a recipe book, and a 1924 recipe card with various recipes for gelatin desserts. Several of the writings are related to Lyman Trumbull, the Ingraham family, and housekeeping. Of note are an account of the brief life of Alma Ingraham Trumbull, daughter of Lyman Trumbull and Mary Ingraham; a set of knitting instructions; several poems, including a child's work entitled "The Cake Shop Romance;" and an astrological chart. Also present is a leather Billfold with metal adornments that contains a small newspaper clipping and a calling card for Mrs. Lyman Trumbull.

The New Bedford photograph albums consist of 155 cyanotype photographs contained in two albums that show scenes from New Bedford, Massachusetts and surrounding areas during the 1890s.

The New Bedford photograph albums consist of 155 cyanotype photographs contained in two albums that show scenes from New Bedford, Massachusetts and surrounding areas during the 1890s.

Volume 1 (18 x 25.5 cm) has a pebbled red leather cover and contains 101 cyanotypes, while Volume 2 (18.5 x 23.5) has a beige cloth cover with "Kodak Views" embroidered on the front and contains 54 cyanotypes. Both volumes are in fair condition. Together, these albums provide a wide-ranging, informal, town-and-country portrait of New Bedford in the last decade of the 19th-century. Most locations are unidentified, but they include city streets, commercial buildings, residential neighborhoods, churches, farms, woodland paths, Civil War fortifications, bridges, waterfront scenes, and views of the local shoreline. Also present are several bird's-eye views, two photographs of artwork, and pictures of ships of various kinds. Particular attention is given to the classic whaling vessels that still resided at New Bedford's harbor at the time these albums were produced. The booming textile industry of the time, on the other hand, is hardly represented: a solitary image shows a mill with a smokestack and workers’ housing. A few captions are included in Volume 2 as well as on the backs of some photographs, but for the most part the things and places pictured are not identified.

Although there is no official attribution to a photographer in either album, several of the exact same images appear in the souvenir booklet of the New Bedford Semi-Centennial and Industrial Exhibition (1897) and are credited to “R. R. Topham.” Robert R. Topham was a longtime New Bedford resident who at the time these albums were produced worked as a clerk in the city assessor's office.

The E. L. Tobias automobile touring photograph album contains 25 photographs showing friends and relatives (often in the company of automobiles) of Huntington, Indiana-based professional photographer E. L. Tobias.

The E. L. Tobias automobile touring photograph album contains 25 photographs showing friends and relatives (often in the company of autombolies) of Huntington, Indiana-based professional photographer E. L. Tobias. The album (19 x 25 cm) is bound in black cloth, there is one loose photograph. Images include views of cars and occupants shown in various settings: beside an oil field, on a country road, in front of a barn, and on the street near the E. L. Tobias residence. One photograph shows a group pushing a car uphill, while a young boy steers the wheel; in another image, the passengers lean forward to urge the car uphill. One of the automobile models featured is likely the 1905 Michigan Tonneau, manufactured by the Michigan Automobile Co. in Kalamazoo, Michigan. In addition to the automobile-related photographs are outdoor group portraits showing people posing in a daisy field, a gliding swing, and gathered at a table for a picnic. One group portrait showing people beside a street car is captioned, "My special car working along Northern Indiana R.R., this in Fort Wayne, 1903." Other identified locations represented in this album include Huntington, Indiana; Auburn, Indiana; and Osceola County, Michigan.

The William Tipton sample photograph album contains 121 photographs taken by William H. Tipton at Gettysburg, Pennsylvania from circa 1884 to 1889. The images are group shots of former Civil War regiments, veterans, prominent politicians, and others, mainly taken at the Gettysburg battlefield and newly-erected monuments.

The William Tipton sample photograph album contains 121 photographs, originally mounted in an album. For preservation purposes, the photographs were removed from the album and mounted on archival cardstock (34 x 43 cm). Each photograph has been assigned a number corresponding to the original page number. Most pages displayed only one large photograph, but several had multiple smaller images, each of which has been assigned a letter following the page number. In six instances, photographs were originally mounted over other photographs, suggesting that the album was revised over time. Five of these photographs have a large "X" drawn through the image. These images are labeled as "under" + page number. In addition, four loose photographs were tucked between pages, and they are labeled with the page numbers they were between.

The album has a quarter-bound, black leather cover, and the leather spine is missing. The gilt title, though partially illegible, presumambly once read "Photographs, Gettysburg Groups."

The photographs were taken by William H. Tipton on the Gettysburg Battlefield from 1884 to 1889. Some of the pages are stamped with "W.H. Tipton, The Battlefield Photographer, Gettysburg, Pa." The majority of images have captions, either hand-written on the album page or directly on the photographic print, identifying groups and individuals. This album was one of several sample albums showing photographs available for purchase at W.H. Tipton's photo gallery. Original prices are included next to many of the images.

All of the photos in the album are group shots of men, women, and children, ranging from five to over one hundred people. In the majority of images, the men are wearing suits and have ribbons pinned to their chest; however, in some images, the men are dressed in military uniforms. The majority of images are of a particular regiment posing with their unit's monument, often taken at the dedication ceremony. The regiments represented are from many Union states including Connecticut, Indiana, Maine, Massachusetts, Michigan, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, Rhode Island, Vermont, and Wisconsin, with Pennsylvania, Massachusetts, and New York regiments appearing most frequently. Although the majority of the images are of veterans and politicians from the Union side of the Civil War, some images include Confederate veterans. The 25th anniversary of the battle was commemorated with a three day reunion in July, 1888 that featured both Union and Confederate veterans. Photos 53-59B depict this reunion on the battlefield and feature Confederate Generals Wade Hampton and James Longstreet, in addition to Union generals, including Warner Miller, Daniel Butterfield, John Hartranft, Joseph Carr, Henry Slocum, Joshua Chamberlain, and Daniel Sickles. Sickles rests on crutches, as he lost his leg while fighting at Gettysburg.

Many of images were taken in either wooded areas or fields, with farms occasionally noticeable in the background. In photo 71, Pennsylvania College (now Gettysburg College) and its observatory are visible in the background.

Politicians appearing in photos include President Grover Cleveland and Vice President Thomas A. Hendricks (57A), and Vice President Hannibal Hamlin (85). The photos also depict governors and former governors, including Ebenezer J. Ormsbee (Vermont), Elihu E. Jackson (Maryland), Joshua L. Chamberlain (Maine), Joseph R. Bodwell (Maine), James A. Beaver (Pennsylvania), Robert E. Pattison (Pennsylvania), Robert S. Green (New Jersey), Joseph B. Foraker (Ohio), Jeremiah M. Rusk (Wisconsin), Cyrus G. Luce (Michigan), Samuel J. Tilden (New York), John F. Hartranft (Pennsylvania), Wade Hampton (South Carolina), and Lucius Fairchild (Wisconsin). Many of these governors were former generals.

Fraternal organizations are also depicted in the album. Photo 36 is a group shot of the Improved Order of Red Men, specifically the Tonguwa Tribe; members of The Grand Army of the Republic appear in photo 38, and individual members may be present in other images as well.

As there were no African American units or "Colored Troops" at the Battle of Gettysburg, there are very few African Americans appearing in these photos. Photo Under 48 depicts an African American soldier standing next to a group of white soldiers. Photo 46 depicts a group of identified teachers, Native American students, and parents from the Carlisle Indian Industrial School in Carlisle, Pennsylvania. The majority of Native Americans in this photo are wearing western clothing, with two men wearing traditional Native American dress.

The David V. Tinder Collection of Michigan Photography consists of over 100,000 images in a variety of formats including daguerreotypes, ambrotypes, tintypes, cartes de visite, cabinet photographs, real photo postcards, stereographs, and mounted and unmounted paper prints. The collection is primarily made up of vernacular photographs of everyday life in Michigan taken by both professional and amateur photographers from the 1840s into the mid-twentieth century. In addition to supporting local history research, the collection has resources for the study of specific events and subjects. Included are images related to lumbering, mining, suburbanization; the industrialization of cities; travel and transportation; the impact of the automobile; the rise of middle-class leisure society; fashion and dress; ethnicity and race; the role of fraternal organizations in society; and the participation of photographers in business, domestic, and social life. The collection is only partially open for research.

The subject contents of different photographic format series within the Tinder collection vary, depending in part upon how each format was historically used, and the date range of that format's popularity. For example, cartes de visite and cased images are most often formal studio portraits, while stereographs are likely to be outdoor views. Cabinet photographs are frequently portraits, but often composed with less formality than the cartes de visite and cased images. The postcards and the mounted prints contain very diverse subjects. The photographers' file contains many important and rare images of photographers, their galleries, promotional images, and the activities of photographers in the field. See individual series descriptions in the Contents List below for more specific details.

Included throughout are images by both professional and amateur photographers, although those by professionals are extant in far greater numbers.

The Augustus J. J. Thibaudeau family photograph album contains approximately 308 photographs and 4 manuscript items related to the family and friends of Augustus J. J. Thibaudeau, a prominent lawyer based in Niagara Falls, New York, and a representative of the Photo-Pictorialist movement in photography.

The Augustus J. J. Thibaudeau family photograph album contains approximately 308 photographs and 4 manuscript items related to the family and friends of Augustus J. J. Thibaudeau, a prominent lawyer based in Niagara Falls, New York, and a representative of the Photo-Pictorialist movement in photography.

The album (26 x 31 cm) has black cloth covers with “Snap Shots” embossed in silver on the front. The 4 loose manuscript items are contained in a Mylar enclosure at the beginning of the album and include two letters from Marie Thibaudeau written to her mother and father while abroad in England in 1923; a booklet made of faux-bark paper containing a watercolor illustration and poem about fishing titled “Stower’s Fish”; and a hand-written recipe booklet containing 18 recipes for various dishes.

Around 111 loose photographs of various sizes and formats are also contained in a Mylar enclosure and mostly include individual and group portraits (both indoors and outdoors), natural landscape views, and images of homes. A small percentage of these photographs have captions on their versos, including some that identify subjects. Of the loose photographs, images of interest include a group portrait of young women at Wellesley College in 1918 during their freshman year; portraits of Marie Thibaudeau, including several showing her posing with her beloved dog Sam-Sam; snapshots taken during a trip to Rome in 1932; and numerous images showing exterior views of houses as well as swimming, fishing, boating, and other outdoor activities taking place near the Thibaudeau family cottage on the Georgian Bay in Ontario.

Approximately 197 photographs are pasted into the album proper. A number of these photographs are partially unglued and in some cases writing on their versos is accessible. The album has many photographs showing waterfront summer vacation scenes from what appears to be different trips to the family cottage over a span of several years; some of these images in the front end of the album have inscriptions on their versos which indicate those photographs were taken in August 1910 by “D.B.” Other images of note include a picture showing a group of young women in a large sleigh with the verso caption reading “Marie Thibaudeau ΖΣΕ Jan, 24, 1912”; a pair of photographs showing siblings Kenneth Fraser Allan and Dorothy Elizabeth Allan when aged 3 and 6 respectively; two group portraits of young men in military uniforms standing in formation; photographs taken at Wellesley College showing buildings, students, campus scenes, large group activities, and a commencement ceremony; two photographs of a biplane mid-flight; and a series of interior views of an unidentified home that appears to have a menorah above the fireplace.

The Dennis K. Sullivan photograph album contains 28 images compiled by Detroit, Michigan-based detective Dennis K. Sullivan, including 27 portraits primarily of men and women accused of various crimes, the majority of whom are identified through inscriptions.

The Dennis K. Sullivan photograph album contains 28 images compiled by Detroit, Michigan-based detective Dennis K. Sullivan, including 27 portraits primarily of men and women accused of various crimes, the majority of whom are identified through inscriptions.

The album (15 x 11.5 cm) is a cartes de visite album with embossed brown leather covers, an ornate metal clasp, and gilt-edged pages.

• Tintype portrait of a bearded white man captioned "Dennis K. Sullivan Detroit Mich Detective"
• Carte de visite portrait of a white man with a mustache captioned "Yours Truly, P. W. Herriet (Zeb Crummet)"
• Tintype portrait of a white man captioned "George Lowle suspected of setting fire to the Punchard School House at Andover"
• Carte de visite portrait of an unidentified bearded white man; inscription on verso reads "Wanted in Chicago"
• Carte de visite portrait of a bearded white man taken by Fisher Bros. of Boston; inscription on verso reads "Geo. F. Hartwell of Sandwich Mass left there on the afternoon of Dec. 18 1867 and that was the last was seen of him. He was agoing to Boston and had $1000 in his pocket to pay some bills"
• Photographic reproduction of a photographic portrait of a white man captioned "Bryant T. Henry Defaulter from the Shawmut Bank of 63,000 in money he went to Cuba and was found there by two of the Directors and they settled with him and took 24,000 of the money and let him off"
• Photographic reproduction of a carte de visite portrait of a bearded white man captioned "Dr. Miller 1742"; inscription on verso reads "Rec’d from Chief of Police of San Francisco Cali."; Printed photographer credits of "E. P. Dunshee 2 Tremont Row, Boston" crossed out on verso
• Carte de visite portrait of a white man with a moustache taken by G. H. Loomis of Boston; inscription on verso reads "Thomas the absconding Forger from Hanover st his business was the Hope Envelope Company"
• Carte de visite portrait of a white man taken by Wm. H. Wardwell of Boston captioned "Henry Goodrich"; inscription on verso reads "Missing since April 29th Henry Goodrich Age 29 yrs, 5 ft. 9 Weight 150 lb. light complexion supposed to be temporary insane. Resides 72 West Canton Street Boston"
• Carte de visite portrait of a white woman taken by Wyman & Co. of Boston; inscription on verso reads "Mrs. Coolidge Hotel Beat Sneak Thief Swindler and female Confidence Woman"
• Carte de visite portrait of a white child taken by Wyman & Co. of Boston; inscription on verso reads "Mrs. Coolidge Boy"
• Carte de visite portrait of an unidentified white woman (likely "Mrs. Coolidge") taken by R. B. Lewis of Hudson, Massachusetts
• Carte de visite group portrait of two white women taken by Wyman & Co. of Boston; inscription on verso reads "With tie Bonnet on is Mrs. Coolidge"
• Tintype portrait of a white woman captioned "Lizzie Smith, Larceny of 2 Dreses front Jassie Brigham"
• Tintype portrait of a white woman; inscription on verso reads "Fannie Thompson alias Gallager - 24 Gonch st Care of M. A. Davis. Fannie used to live corner of Crosby & Prince Sts. N. York March 18. 1869 20 yrs old this date"
• Carte de visite portrait of a white man with a moustache taken by Dunshee’s New Photograph Parlor of Boston; inscription on verso reads "Josiah D. Hunt, alias J. H. Dexter absconded from Providence R.I. with $50,00.00 liabilities case Parker & Caldwell Boston Mass."
• Second copy of carte de visite portrait of Josiah D. Hunt
• Third copy of carte de visite portrait of Josiah D. Hunt
• Carte de visite portrait of a white man with a moustache; inscription on verso reads "James Whitney - Singer, Sedused the Wife of Williard the Artist"
• Gem tintype portrait of a white man with a moustache captioned "Daniels Foxboro"; inscription on verso reads "Daniels of Foxboro Mass About 25 years old 5 ft 11 high Well built, light Complexion Auburn hair, redish moustach piped him for his brother"
• Carte de visite portrait of a white man taken by Black & Case of Boston captioned "Daniel Brown"; inscription on verso reads "Daniel Brown Wanted by Thomas D. Kendrick for Forgery $20,00"; revenue stamp dated Jan 16 1865 on verso
• Carte de visite portrait of a white man with a moustache taken by C. L. Howe of Brattleboro, Vermont captioned "Tom Maguire"; inscription on verso reads "Thos. Maguire Tom Mcguire Reporter"; album page includes piece of scrap paper with inscription reading "Ring Thief"
• Gem tintype portrait of a bearded white man attached to business card of Boston grocers Carr, Chase & Raymond; inscription on verso reads "Policeman Barry & Son stole $1000 from Hayley New? & Boyden, got 18 months"
• Gem tintype portrait of a white man with a moustache captioned "Cheeney’s picture"
• Carte de visite group portrait of two white men taken by J. U. P. Burnham of Portland, Maine; inscription on verso reads "Charles Brown & James R. Rickett"
• Carte de visite portrait of a white woman taken by Geo. F. Parlow of New Bedford, Massachusetts captioned "Mary M. Heller"; inscription on verso reads "Picture of Mary M. Heller Newbedford Mass. Address J. H. Briggs Box 62 Newtonville Mass. or Mrs. Russell No 1 Rickerson court Newbedford Mass."
• Carte de visite portrait of a white man with a moustache taken by B. P. Browne of Boston; inscription on verso reads "Edward Sweetler, alias Professor Maurice, " " Rupert"
• Carte de visite portrait of a white woman taken by Gilchrest of Lowell, Massachusetts; inscriptions on verso read "Hattie W. Blanchard about 30, light compl, blue eyes, medium hight" and "She had a Fancy Man by the Name of Williams She lives at 105 Plesant St"

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 Camp Funston, Kansas, and Camp Lee, Virginia, photograph album contains approximately 100 photographs related to World War I army training activities and facilities at Camp Funston, Kansas (later Fort Riley); Camp Lee, Virginia; and Fort Myer, Virginia.

The Camp Funston, Kansas, and Camp Lee, Virginia, photograph album contains approximately 100 photographs related to World War I army training activities and facilities at Camp Funston, Kansas (later Fort Riley); Camp Lee, Virginia; and Fort Myer, Virginia. The album (21 x 28 cm) has brown suede covers stamped with a U.S. Army design and is bound with string. Most photographs include manuscript captions on versos. Images include photographs of training activities including bayonet drills, hand-to-hand combat, digging trenches, and practicing maneuvers; Basil M. Stevens standing at the front of African American guard troops; and individual portraits of officers in uniform, autographed and inscribed to Basil M. Stevens. Additional photographs taken in Washington, D.C., show Stevens with military officers and his wife, Helen.

The Olga and Jesse Smith collection is made up of photographs, correspondence, and other materials revolving around this couple's work at the Ironwood and Ponca Schools for Native Americans, in South Dakota and Oklahoma, respectively.

The Olga and Jesse Smith collection is made up of photographs, correspondence, and other materials revolving around this couple's work at the Ironwood and Ponca Schools for Native Americans, in South Dakota and Oklahoma, respectively. The largest portion of the collection dates during their time at Ironwood School, 1909-1912, and the Ponca School, 1912-1914.

The centerpiece of the Smith collection is a photograph album, apparently kept by Olga Smith. Consisting of 304 mounted snapshots, this album is divided roughly into two parts: photos from South Dakota and photos from Oklahoma. The first images were taken in and around the Rosebud Reservation in South Dakota. Their subjects include the Ironwood and Upper Cut Meat Day Schools, portraits of school children and other male and female members of the Lakota tribe, Native Americans in tribal costumes and on horseback, an excursion to the Badlands, and other subjects. Photographs taken in Oklahoma include views of the Ponca School and its school children, and other portraits.

This photograph album is valuable in its entirety, and for many of its outstanding individual images. Some of the most impressive photographs are casual portraits of Native Americans, snapshots of a Catholic "Indian Funeral," views of school buildings and grounds, and Native American rituals and encampments. The album also provides insight into what the Smiths deemed important enough to photograph and retain.

The collection also contains 39 loose photographs and images, including tintypes, real photo postcards, picture postcards, a cyanotype, studio portraits, and other miscellaneous photographs. These include family photographs, portraits of Native Americans (some in full regalia), Ponca and Ironwood schools and schoolchildren, images of Native American women cooking out-of-doors, a Rosebud Reservation hotel, a cemetery at the St. Francis Mission, and a several commercial picture postcards of locations on reservations in Oklahoma and North Dakota. See the Additional Descriptive Data for a more thorough list of subjects and names represented in the photograph album and loose photographs.

A small group of 10 letters accompanies the Smith collection. These include six letters and postcards from Olga to her parents and sister at Anderson and Graysville, Indiana, 1909-1910. Two of Olga's letters provide extensive details on life in Cut Meat on the Rosebud Reservation in February 1909. These letters describe the surrounding area, the school, the responsibilities of the Smiths' students, interactions with Native Americans, language barriers, the daily routine, and carriage and train travel. One of these two letters was printed in an Indiana newspaper. In the remaining four letters, Olga provides further insight into life on the reservation, pleads with her parents to visit, and offers advice on how to smuggle a child onboard a train without paying their fare. Smiths' daughter Mildred wrote a letter to her grandparents, in which she discusses her pets and expresses hope that they will come to visit (dated June 1909). Finally, two 1912 letters from Ironwood students to Jesse Smith in January 1912 discuss their chores and school attendance, and a single telegram to Jesse Smith in October 1914 regards his transfer to "Kiowa Schools," Oklahoma, to serve as supervising principal.

A selection of miscellaneous materials completes the Olga and Jesse Smith collection. Six of these nine items relate to the Smiths' school administration and their own efforts to learn and retain Sioux names and vocabulary. These include pages of typed names, titled "Indian Names That is Good for the Soul and Body," and "Sioux Indian Words from Memory"; two pages hung in the Ironwood school by Olga Smith, which list the female students cleaning and sewing responsibilities for two weeks; and a 55-page typed list of Native American names (possibly students). This last item contains approximately 1,450 names. Other miscellaneous materials include a commencement program for Olga Byrkett's graduation, 1898; a card with a hand-drawn teepee and tent which advertises a Progressive Dinner Party given by the Mission Ladies at Colony, Oklahoma, December 1916; and a Grand Secretary's Certificate for Jesse W. Smith, Master Mason, Ponca, Lodge No. 83, December 1924.

The Emmett M. Smith photograph album contains approximately 790 photographs and 6 pieces of ephemera related to the experiences of American soldier and engineer Cpl. Emmett Merle Smith while he served with the United States Army Air Service’s 800th Aero Repair Squadron in France during World War I.

The Emmett M. Smith photograph album contains approximately 790 photographs and 6 pieces of ephemera related to the experiences of American soldier and engineer Cpl. Emmett Merle Smith while he served with the United States Army Air Service’s 800th Aero Repair Squadron in France during World War I.

The album (28 x 37 cm) has black cloth covers with “Postal Souvenirs” stamped on the front; the covers and spine are in poor condition, as are a relatively small number photographs (some of which bear signs of insect damage).

On the inside of the front cover is a tipped-in copy of A History of the 800th Aero Repair Squadron, an official unit history account of the squadron published by its members in 1919. A small group of 10 loose photos and 6 pieces of ephemera are also present, including postcards, snapshots, YMCA guides to Paris and Marseilles, and two programs related to jointly held French and American Mother’s Day celebrations in Paris in May 1919 that were organized by L’Association des French Homes.

The first pasted-in photographs in the album are a series of 24 panoramic views showing Parisian scenery and famous landmarks. This section ends with another YMCA guide to Paris and a matriculation card for the Université de Paris Faculte des Sciences 1918-1919 for Emmett M. Smith that includes a portrait. Smith appears to likely have been the compiler of this album as he appears in numerous other photographs throughout. He was a member of the 800th Aero Repair Squadron’s Flight A, who were stationed at Camp de Souge near Bordeaux.

From pg. 15 through to the end of the album photographs are individually numbered from 1 to 781. While a typescript index describes photographs #25-28, there is no overarching index for the entire series. Numerous photos have captions (including manuscript captions), though the majority do not. Images come in a range of sizes and appear to have originated from numerous sources including German and French photographers as well as snapshots possibly taken by Smith himself. “AR” also appears on several photographs, possibly indicating that these images were taken by 800th Aero Repair Squadron photographers. However, by and large photographers are not identified for specific images.

In general, this album contains frontline scenes of battlefields, dead soldiers and animals, trench views, and ruined structures as well as images documenting camp life, military bases, and aerial reconnaissance views. Numerous photographs of military equipment, weaponry, airplanes, tanks, warships, soldiers, and street scenes showing cities/towns and civilians are also present. Post-war scenes include documented stays in Paris, southern France, Italy, and Spain.

• #3 (image showing charging soldiers, some in gas masks, with one man appearing to be clutch his throat while falling; captioned “Actual photo of action at Verdune”)
• #7, 651 (800th Aero Repair Squadron group portraits)
• #12 (shot of Kaiser Wilhelm talking with German officers)
• #15, 17 (aerial views of Albert, France, in November 1916)
• #48, 70.1 (pictures of German tanks)
• #73, 76 (view of citadel with German signage and view showing street signage by ruins; amongst other views that appear to be in Belgium)
• #109 ("Toul - French plane ready for a flight")
• #110, 111 (images showing the French and American sections of the 1918 panoramic painting Panthéon de la Guerre)
• #142, 143 (two images of a train wreck by “Chiljian,” possibly Armenian American photographer Pvt. Henry B. Chiljian)
• #146, 148 (two images showing plane crash wreckage)
• #167 (French observation balloon being inflated)
• #209 (Georges Clemenceau visiting aviation field)
• #219 (clipping showing aftermath of the Halifax explosion with inscription reading “Spent 10 day aboard ship here right after explosion was supposed to have been here just before explosion but was delayed”)
• #374 (post-war image captioned “U.S.A. bound” which precedes series of naval voyage images)
• #451+ (images from Italy and Southern France)
• #525 (railroad scene with “Chicago Opera Association” sign in view)
• #631 (view of three men at typewriters working in an office with maps and aerial photographs pinned to the wall)
• #638 (aerial view captioned “My aviation camp. Camp de Souge - North of Bordeaux from the 2nd Artillery Aerial Observation Island 1917-1918-1919”)
• #649 (view showing surgery being performed on a man in operating room captioned “Hell - without [anesthesia]”)
• #699 (view showing a queue outside of a YMCA in Bangor, Maine)
• #712, 715 (two portraits of young women captioned “My Italian fiancée” and “My Spanish fiancée”)

The Nathan Smilie Tupper Lake Adirondacks photograph album (13 x 20.75 cm) is a snapshot album with 37 photographs of the Adirondacks region of New York and groups of men boating, camping, and hunting. The album includes many night photographs taken with a flash. This album belonged to Dr. Nathan Smilie of Philadelphia.

The Nathan Smilie Tupper Lake Adirondacks photograph album (13 x 20.75 cm) is a 32 page album with 37 snapshots of the Adirondacks, groups of men, hunting, campsites, and cottages. Throughout the album are night photographs of deer taken with a flash.

Of note on the first page is a picture of Smilie and his guide, Jim Eccles, in a small boat entitled "Madawaska Sept 2-1901/Flash Light Outfit. 'The Oregon.'" Inside the boat is the equipment used to take flash photographs.

The William H. Sherzer Hawaii photograph album contains approximately 320 images documenting a cross-country car camping trip beginning at Michigan State Normal College professor William H. Sherzer's home in Ypsilanti, Michigan, to California, and then by ship to Hawaii.

The William H. Sherzer Hawaii photograph album contains approximately 320 images documenting a cross-country car camping trip beginning at Michigan State Normal College professor William H. Sherzer's home in Ypsilanti, Michigan, to California, and then by ship to Hawaii. The album (29 x 20 cm) has woven grass covers, black paper pages, and includes numerous handwritten captions. Photographs of the American Southwest and California include views of natural features and rock formations in New Mexico, Arizona (including cliff dwellings near Roosevelt), and the Mojave Desert; the Grand Canyon; and Lick Observatory. The traveling party appear to have had their vehicle shipped to Hawaii along with them. Hawaii-related images include views of buildings and streets in Waikiki and Honolulu; the interior of a cottage; rice harvesting; scenic views of Kauai, Waimea, Mo'okini Heiau, Puna, Kohala, and the lava fields of volcanic regions; the steamships Wilhelmina and Matsonia; and a photograph of Elizabeth Lahilahi Webb outside the Bishop Museum in Honolulu. Additional images include scenes from a trip to Alexandria, Arlington, and Mount Vernon in Virginia as well as Washington, D.C., mainly consisting of views of tourist attractions as well as a visit to Sherzer's sister Dr. Jane Sherzer.

The Russell C. Shaul photograph album contains images and ephemera related to the life and career of photographer Russell Clifford Shaul, who owned a studio in Chicago in the 1930s and 1940s.

The Russell C. Shaul photograph album contains images and ephemera related to the life and career of photographer Russell Clifford Shaul, who owned a studio in Chicago in the 1930s and 1940s.

The album (36.5 x 28 cm) has string-bound brown covers with the words "Scrap Book" and a depiction of a boy and girl wearing wooden clogs embossed on the front; the covers and pages are in poor condition. The structure of the album is roughly chronological, with material from the 1920s appearing towards the beginning and material from the 1940s appearing towards the end. However, candid snapshots and studio portraits made in Milwaukee, Wisconsin, in the early 1930s are scattered throughout and mixed in with photos from other periods. At least one page includes dated photos from the early 1930s and late 1940s that appear side by side. Certain names and people reappear often, but exactly how they relate to one another is not entirely clear. Many photographs document people drinking as well as posing in a humorous manner.

Photographer Russell Clifford Shaul appears to have been the compiler of this album. Shaul’s name appears on numerous images as the credited photographer, including portraits taken in Milwaukee in the early 1930s and a Chicago cityscape view from the mid-1940s. Several photos are also inscribed with messages to “Russell,” while snapshots arranged on a page captioned “The Shauls” show him and his third wife Sarah visiting various U. S. tourist destinations between 1944 and 1949. At some point during the 1930s it appears that Shaul relocated from Milwaukee to Chicago and set up a new photography business. Several pages in the album suggest that Shaul and his colleagues practiced door-to-door operations.

Two pages document a man’s World War II service. He is pictured driving a Jeep and wearing a uniform bearing an “Official U.S. War Photographer” patch, training on a shooting range, interacting with people on the streets “In India,” and taking photographs with both still and motion picture cameras. This man appears throughout the album (identified elsewhere as “Carl”), including in the earliest Milwaukee shots in 1927. He may have been Shaul’s friend and/or business partner.

Items placed toward the end of the album include some scrapbook materials including letterheads advertising a company called Chicago Thrill Tours and Chicago-based radio host called “The Nitehawk,” as well as business cards identifying a fellow photographer in Chicago named Charles Lonk and a trailer park in Eau Gallie, Florida.

In addition to the album there is also an envelope containing several loose photographs and ephemeral items including portraits of various people and groups; pictures of people drinking at bars; photographs of the man elsewhere identified as Carl drinking at a Milwaukee bar in 1927 as well as posing in a bathtub while another man bathes him; an image of a photo supply storefront with a cutout of an unidentified man pasted over the front door (possibly shop owner I. Dobkin); photography-related clippings; aerial images of Baton Rouge, Louisiana, taken in 1938; and a portrait by Acme Newspictures of a man in the radio studio of “The Nitehawk - WBBM” captioned “J. W. Clark.” Also present is an enveloped typed letter signed by “The Nitehawk” written to Shaul in 1948 asking him to be on the lookout for early copies of Reader’s Digest.

Portraits of noted horses (35 x 27 cm) consists of 50 albumen print photographic portraits of horses on card mounts, each mount with printed text including physical description, pedigree, and current owner. All photographs have inscribed copyright statement, dated 1873 or 1874.

The album is half bound with morocco leather with a gilt title on cover and spind. Housed in a blue box.

The Mary Schluchter postcard album contains 60 postcards in a souvenir album. A majority of the postcards were sent to Mary Schluchter of Pigeon, Michigan from both friends and family between 1906 to 1914.

The Mary Schluchter postcard album contains 60 postcards in a souvenir album. A majority of the postcards were sent to Mary Schluchter of Pigeon, Michigan from both friends and family between 1906 to 1914. Much of the content consists of statements of arrivals, wellbeing, and letters to come. A few postcards consist of gossip among friends. The three most frequent senders are Harvey Schluchter (Mary Schluchter's eldest brother), Anna (referred to as a cousin), and Lillian (relation to Mary Schluchter unknown). The postcards were primarily sent from cities throughout Michigan, including Detroit, Saginaw, and Ann Arbor. Other postcards originate from New York, Ontario, Ohio, Illinois, and Minnesota. The postcard images show monuments, nature, and cityscapes from these locations.

The album is 21 x 14 cm with black cloth covers. "Souvenir Cards" is stamped on the front cover in gold.

The Salomon family photograph album contains 55 photographs of friends, family members, and religious and political figures compiled by the family of Haitian President Lysius Salomon.

The Salomon family photograph album contains 55 photographs of friends, family members, and religious and political figures compiled by the family of Haitian President Lysius Salomon.

The album (30 x 22.5 cm) has embossed brown leather covers, gilt edges, and a metal clasp; it was produced and copyrighted by English firm T. J. Smith, Son, & Co. under the product name “Album Arbora.” A gilt-print index accompanied by a quote from Henry Wadsworth Longfellow on pg. 2 lists the locations of 13 decorative illustrations of various “Flowering Shrubs” found within the album.

Photographs mainly consist of carte de visite and cabinet card studio portrait photographs of various men, women, and children taken between the 1860s and 1880s. Also present is a souvenir from the funeral of a young Frenchman named Pierre Bertagne who passed away in 1925 at the age of 25 (between pgs. 2 & 3; includes a portrait of the deceased). Works of Haitian, French, English, German, Jamaican, Italian, Curaçaoan, Puerto Rican, and American photographers are represented. Black, white, and mixed subjects are included, and most individuals are unidentified. Eight portraits of President Salomon appear throughout the album; also present are photographic reproductions of illustrated portraits of Pope Pius IX (pg. 3), Italian statesman Giuseppe Garibaldi (pg. 7) and Prime Minister of Madagascar Rainilaiarivony (pg. 9) as well as a photographic portrait of Victor Emmanuel II, King of Italy (pg. 10). Numerous portraits of Catholic priests are also included.

Besides Lysius Salomon, other members of the Salomon family that may possibly be represented in the album include his second wife Florentine Salomon (pgs. 11, 15, and loose image between pgs. 40 & 41), daughter Ida Salomon Faubert (loose image between pgs. 40 & 41 and loose cabinet card between pgs. 42 & 43), and grandson Raoul Faubert (ca. 1920s real photo postcard, loose between pgs. 24 & 25).

Several photographs include inscriptions in French. Many of these inscriptions indicate that a photograph was given as a souvenir to either President Salomon himself or to Mrs. Salomon (presumably Florentine Salomon). For instance, on pg. 19 a portrait made in 1882 of a French priest of “Abbé de Aldrovandy” in Paris bears an inscription addressed to “Monsieur le General Salomon, President de la Republique D'Haiti,” indicating that the subject desired to have a fellow priest named Mathieu send this photograph to Salomon upon his death; a second inscription (presumably written by Mathieu) states the gentleman pictured has passed away and that his wish is being fulfilled by the portrait being sent to Salomon. Pg. 21 includes portraits of two women with inscriptions made out to “Mme La Presidant” and “Mde. Salomon” respectively, as well as a portrait of a young black man bearing an inscription in French that translates to: “Gratitude to our respectful and revered Father Le Duc de Saint Lous du Sud, President of the Republic of Haiti.” Also present on pg. 31 is a cabinet card portrait of the President of the Dominican Republic Fernando Arturo de Meriño with a verso inscription in Spanish that translates to: “To his Excellency General Salomon, President of the Republic of Haiti, his loyal friend Fernand A. de Merino Puerto Plata, February 5 1882.”

For conservation and preservation purposes, facsimile reproductions of each photograph have been put in place of the original photographs to replicate the arrangement of the album as it appeared when received. The original photographs are housed separately within the album container.

The Victor Leroy Rushfeldt, Jr., collection contains an assortment of materials including a diary, photograph album, paper files, and a VHS tape, all of which pertain to U.S. Army Air Corp pilot 1st Lt. Victory Leroy Rushfeldt, Jr.’s service in the 20th Combat Mapping Squadron during World War II.

The Victor Leroy Rushfeldt, Jr., collection contains an assortment of materials including a diary, photograph album, paper files, and a VHS tape, all of which pertain to U.S. Army Air Corp pilot 1st Lt. Victory Leroy Rushfeldt, Jr.’s service in the 20th Combat Mapping Squadron during World War II.

The diary (15 x 8.5 cm) contains entries written by Rushfeldt, Jr., during the year of 1941. In the first entry on New Year’s Day, Rushfeldt, Jr., expressed a desire to join either the United States Army or Navy as a pilot and wondered “where I will be next New Years?” After failing his physical service exam with the Navy due to “crooked teeth,” he decided to first finish securing his private pilot’s license before sending applications to the Army Air Corps on January 31. On March 8 1941, Rushfeldt, Jr., attended a physical exam for flying cadets at Fort Snelling where again he was told that they would not “O.K. my teeth” but was instructed to send a plaster dental cast to Washington, D.C. On March 21, he traveled to Abilene, Texas, before heading for San Diego, California by car on March 25. After hitchhiking to Los Angeles on April 4 he subsequently sought job opportunities in the area while staying at the home of a local couple, including applying for a position at the Lockheed Aircraft Co. and interviewing with the Vega Airplane Co., the latter of whom he felt he could’ve obtained employment with “except for the fact that I will probably be drafted soon.” On April 20, Rushfeldt, Jr., began hitchhiking back to Albert Lea, noting stops in Nevada, Colorado, Nebraska, and Iowa before arriving home April 27. On August 12, he recorded having completed his U.S. Army Air Corps physical exam while on August 15 he took his flight test for “Stage C of the secondary C.P.T.” Towards the back of the diary there are several phone numbers and addresses listed for friends and acquaintances as well as a “Brief History of My Flying Course” listing the duration and type (dual or solo) of Rushfeldt, Jr.’s training flights in Albert Lea from October 8 1940 to February 20 1941. Also of note are numerous entries involving women that Rushfeldt, Jr., was dating.

The photograph album (26 x 34 cm) contains approximately 114 images and is string-bound with brown covers. The album begins with a series of photos showing various young women, American servicemen in uniform, and older adults interacting at what appears to be a wedding reception. Subsequent photographs of interest include a portrait of fellow pilot Jerry Smith holding a large camera; images of various aircraft; portraits of various officers identified by pen inscriptions including “Lt. Connely,” “Lt. Everhardt,” “FO Luther,” “Lt. Raymer,” “Lt. Gireau,” “Capt. Lake,” “Lt. Thye,” “Lt. Riddle,” “FO Stone,” “Charles Enoch,” “Lt. Smith,” “Lt. Glenn Jensen,” and numerous photos (including group portraits) of Victor Rushfeldt, Jr.; images of campsites, barracks, and other buildings possibly in Nadzab, New Guinea; several images documenting the wreck of an F-7B aircraft nicknamed “Idle Curiosity” which crash landed on the Biak Island airstrip while Rushfeldt, Jr., was onboard; and several photographs of indigenous Papuans (including pictures of nude women and women breastfeeding animals). Also present are twenty-one images showing painted illustrations on the sides of various aircraft, many of which were designed Cpl. Al G. Merkling. Numerous illustrations involve nude or scantily clad women posing suggestively. Nicknames of documented planes include “The Wango Wango Bird,” “Photo Queen,” “Cherokee Strip,” “TS Sympathy Remembrance,” “I’ll Be Around,” “American Beauty,” “Hangover Haven,” “Little Joe,” “Round Trip,” “Liberty Belle,” “Patched Up Piece,” “Ready Willing and Able,” “Idle Curiosity,” “Pappy’s Passion,” “Sweet Sixteen,” “St. Louis Blues,” “V…-Sure Pop,” “The Rip Snorter,” “Bourbon Boxcar,” “Ole’ Tomato,” “Mission Belle,” and “Tail Wind.”

The paper files include an envelope of informational materials from the “Reunion Project Office b-24/50th Anniversary” related to the planning of a 1989 reunion event; an overseas document file case containing three souvenir buttons from the first and second 20th Combat Mapping Squadron reunion events in 1982 and 1984, several empty letter envelopes addressed to Rushfeldt, Jr., a register of Rushfeldt, Jr.’s vaccinations and other medical data from December 28 1941 to Jan 27 1945, and an official notice from March 7 1943 declaring that Rushfeldt, Jr., qualified as “Marksman” with a .45 caliber pistol after achieving a score of 106; and a vertical file containing numerous materials related to 20th Combat Mapping Squadron reunions, events, newsletters, and other documents, including a draft of “A Pictorial History of the 20th Combat Mapping Squadron, 6th Photo Group that Served so Honorably in the Southwest Pacific Area During WW II” consisting of photocopies of images donated by former squadron members and compiled by Maj. Lawrence E. Thibault, Sr.

The VHS tape purportedly contains footage of the "Idle Curiosity" crash on the Biak Island airstrip. Rushfeldt, Jr., was aboard this aircraft at the time of the crash.

The Robson family photograph album (14.25 x 19.25 cm) contains 29 snapshots of men and women related to the Robson family in the Missoula, Montana area and Illinois.

The Robson family photograph album (14.25 x 19.25 cm) contains 29 snapshots of men and women related to the Robson family in Illinois and the Missoula, Montana area.

Most of the photographs have inscriptions underneath. 3 loose photographs are tucked in the back pages and do not include inscriptions. An inscription inside the front cover indicates the album was a Christmas gift from Isabelle Cockburn Robson to her nephew, George McPherson, in 1911. Greenough Park in Missoula is featured throughout the album.

Of note are two photographs, one on page 22 of Native Americans standing on a street, and one on page 23 of a crowd listening to former President Theodore Roosevelt give a speech in Missoula.

This collection is made up of correspondence, diaries, financial records, legal documents, photographs, speeches, and ephemera related to Ziba Roberts of Shelby, New York, and his family. Much of the material concerns his service in the 28th New York Infantry Regiment during the Civil War, veterans' pensions, reunions, genealogy, and estate administration.

This collection is made up of correspondence, diaries, financial papers, legal documents, photographs, speeches, printed items, and ephemera related to Ziba Roberts of Shelby, New York, and his family. Much of the material concerns his service in the 28th New York Infantry Regiment during the Civil War, veterans' pensions, reunions, genealogy, and estate administration.

The Correspondence series (approximately 110 items) includes a group of 17 items (1826-1852) related to the family of James Harland, an ancestor of Cynthia Dewey Roberts. Harland, who lived in Manchester, New York, received letters from his son William, who moved to Clarksfield, Ohio, around 1839. Shortly after his arrival, William described local marshes and discussed his land and the prices of various crops. His later letters concern his financial difficulties and his Christian faith. A letter of September 3, 1841, includes a small manuscript map of property lines.

The remaining correspondence pertains to Ziba Roberts and, to a lesser extent, his wife and children. The first item is a letter from his sister Henrietta dated March 14, 1858. Roberts regularly corresponded with family members and friends while serving in the 28th New York Infantry Regiment between January 1862 and April 1863. In his letters home (around 20 items), he described aspects of military and camp life, including food, hygiene, illness, long marches, and general boredom; several items concern his experiences in occupied Winchester, Virginia, in the spring of 1862 and his treatment after his release from Confederate prison. He sometimes commented on news of the war, expressing confidence in a Union victory. During this period, Roberts occasionally received letters from family members at home, who discussed farming, religion, and family news (5 items).

The Roberts correspondence resumes in 1886 and continues as late as 1937; most date between 1889 and 1912. Roberts received a series of letters from William W. Eastman in South Dakota, who wrote at length about his financial difficulties. Most of his late correspondence concerns Civil War veterans' affairs, particularly related to pensions and reunions. Some writers complained about the difficulty of receiving a pension, the health issues that affected former soldiers, and Roberts's own disability claim. One printed circular contains reminiscences by members of the 28th New York Infantry Regiment (printed and distributed in May 1892). In 1912, Ziba Roberts received letters from fellow veterans regarding the 28th Regiment's annual reunion; most expressed or implied a lasting sense of comradeship with their fellow veterans, though many declined the invitation on account of poor health or other circumstances (with some reflecting on whether deaths would put future reunions in jeopardy).

The latest correspondence, written in the 1920s and 1930s, concerns the Grand Army of the Republic, insurance policies, and Roberts and Sanborn family genealogy. One correspondent returned an essay written by Ziba Roberts in December 1916: "A Brief History of the Methodist Episcopal Church at East Shelby" (enclosed with letter dated February 27, 1924). Minutes of the 28th Regiment's 68th reunion, held in May 1929, note the death of Ziba Roberts and other soldiers.

Ziba Roberts wrote two Diaries between November 14, 1861, and December 31, 1862. His daily entries concern aspects of his service with the 28th New York Infantry Regiment in Maryland and Virginia, including his imprisonment in 1862. He wrote about marches, guard duty, drills, health, and rations.

The Documents and Financial Papers series (74 items) includes legal documents and financial papers dated 1864 to 1940. Correspondence, indentures, and mortgages pertain to land ownership, management of decedents' estates, and a legal dispute between William W. Dewey and Seneca Sprout in the 1890s. Four items are Grand Army of the Republic commissions for Ziba Roberts, dated between 1918 and 1922. One group of tax receipts pertains to payments made by Ziba and Cynthia Roberts as late as 1940.

The collection's account book originally belonged to Ziba Roberts in the late 19th century. Roberts recorded around 35 pages of accounts between around 1884 and 1919, including records related to everyday purchases of food and other goods, a female domestic worker's wages, road construction, and estates. A later owner recorded tax payments for the years 1922-1944.

The Photographs series consists of 2 photograph albums and 8 loose items. Together, the photograph albums contain around 120 cartes-de-visite, tintypes, and cabinet cards. These items consist of studio portraits of members of the Roberts, Dewey, Wolcott, and Sanborn families, as well as additional friends and family members. Most of the pictures, which feature men, women, children, and infants, were taken in New York.

The loose items are made up of photographs of Ziba Roberts, including a heavily retouched portrait and a corresponding print of the original image; portraits of soldiers in the 28th New York Infantry Regiment; pictures of Colonel Dudley Donnelly's tomb; and a group of soldiers posing by the High Water Mark of the Rebellion Monument at Gettysburg. Additional items show a group posing for a souvenir photograph after a "balloon route trolley trip" in Los Angeles, California, and members of the Sprout family standing in front of their home.

The Speeches, Printed Items, and Ephemera series (30 items) includes Civil War materials, such as scores for the songs "We're Marching on to Richmond," "The Passing of the Veteran," "We Old Boys," and "Have You Got the Countersign"; and a printed booklet of war songs issued by the Grand Army of the Republic and related veterans' societies. Other items pertain to veterans' reunions and reminiscences. The series also includes two typed carbon copies of postwar speeches given by Ziba Roberts, "Seeing Lincoln" and "Lecture on Army Prison Life."

Additional pamphlets and ephemeral items concern New York political reforms, cholera, and a meeting of the descendants of Henry Wolcott. One newspaper clipping describes the career of William Ziba Roberts. The series includes a biography of George Dewey and history of the Dewey family (Adelbert M. Dewey, 1898). The final items are World War II-era ration books, with many stamps still attached.

The Genealogy series (21 items) is comprised of records related to the Roberts and Dewey families, and to the ancestors and descendants of Ziba and Cynthia Dewey Roberts. A manuscript volume contains approximately 35 pages of family trees; registers of births, marriages, and deaths; and the military service of Daniel Roberts (Revolutionary War) and Ziba Roberts (Civil War). Other items include additional registers, death notices, and notes.

This collection is made up of autobiographical manuscripts, correspondence, documents, and family photograph albums related to James B. Pond, Sr. and Jr. Some of the items pertain to Pond's service during the Civil War and both father and son's lecture business.

This collection is made up of autobiographical manuscripts, correspondence, documents, and family photograph albums related to James B. Pond, Sr. and Jr. Some of the items pertain to Pond Sr.'s service during the Civil War and both father and son's lecture business.

The Pond Family Papers series includes one box containing miscellaneous correspondence ranging in date from 1896-1932, Civil War related material, autobiographical sketches, family photographs, and personal photograph albums.

The Civil War related material includes a few items relating to James Pond's Civil War service in the 3rd Wisconsin Cavalry, among which are a typescript of official reports relating to the massacre at Baxter Springs, Kansas, a printed poem on the massacre, and a printed notice of the death in the 1880s of William T. Brayton of the 3rd Cavalry. Pond also collected other reminiscences of the war, including an autobiographical account of Mrs. Horn, wife of a Missouri surgeon, which includes a description of Quantrill's raiders pillaging town and taking her husband prisoner, and a memoir of Edward P. Bridgman, a soldier in the 37th Massachusetts Infantry who served with John Brown in 1856, and may have known Pond.

More than half of this series consists of autobiographical manuscripts, parts of which, at least, were published as magazine articles. Most of these focus on his early years (prior to 1861) when he and his family were living a marginal existence in frontier Wisconsin and when he was a young man in search of a livelihood. The collection includes three major manuscripts, each present in several copies or versions, all of which are related to each other - "A Pioneer Boyhood," "The American Pioneer: My Life as a Boy," and "Pioneer Days" - plus there are less polished manuscripts of childhood and Civil War reminiscences. All appear to have been written initially in 1890, though some copies were apparently made several years later. In addition, there is an autobiographical sketch "How I got started in the Lecture Business" in which he describes his part in Anna Eliza Young's "apostatizing" and entering onto the lecture circuit.

The collection also contains 5 photograph albums. These volumes contain over 800 personal photographs taken between 1896 and 1902, including many pictures of family members at leisure both indoors and outdoors and Pond's business acquaintances from his lecture agency. Travel photographs include views of Colorado Springs, Colorado, and Winnipeg, Manitoba, as well as a group of pictures taken during a visit to England, Switzerland, and Germany in 1901. European items include a series of colored prints, located in Volume 4. The albums contain images of locomotives, railroad cars, and steamships. Volume 1 contains images of the inauguration of William McKinley and Volume 2 contains images of crowds gathered for a GAR parade in Buffalo, New York. Throughout the albums are glimpses of various lecture tours and clients including John Watson (Ian Maclaren) and Anthony Hope in Volume 2 and Francis Marion Crawford in Volume 3. Other notable figures include Sam Walter Foss and William Dean Howells in Volume 1, Charles W. Blair and Edward William Bok in Volume 3, and Sir Henry Morton Stanley, Charles William Stubbs, Robert Stawell Ball, Horace Porter, Frank Thomas Bullen, and Israel Zangwill in Volume 4. In addition to the albums, there are loose photographs of family, James B. Pond Jr., and the Adventurers' Club of New York. Oversized photographs are housed in Box 3.

The Pond Lecture Bureau Papers series consists of one box containing client files (arranged chronologically), loose photographs, and ephemera. Much of the content consists of correspondence between clients/prospective clients and photographs of clients (likely for promotional material). This series spans from 1877 to the 1940s covering periods of ownership from both James B. Pond, Sr. and Jr. Some of these clients are as follows: Henry Ward Beecher, Reverend Joseph Parker, Thomas DeWitt Talmage, Leon Pierre Blouet, Reverend John Watson (Ian Maclaren), William Winter, Edward Rickenbacker, Harry A. Franck, Gunnar Horn, Maurice Brown, and Major Radclyffe Dugmore. Unidentified oversized photographs and a scrapbook are housed in Box 3.

The Richard Pohrt, Jr. Collection of Native American photography contains approximately 1,470 photographs pertaining to Native Americans and Native American history from the 1850s into the 1920s. The majority of photographs are individual and group portraits of people from tribes west of the Mississippi, with the Apache, Cheyenne, Crow, and Lakota/Dakota being particularly well represented. The collection contains both studio and outdoor photographs and reflects the dramatic upheavals in Native American life that occurred as a result of the expansion of the United States of America.

The Richard Pohrt, Jr. Collection of Native American photography contains approximately 1,470 images pertaining to Native Americans and Native American history taken between the 1850s and 1940s. The majority of photographs are individual and group portraits of people from tribes west of the Mississippi, with the Apache, Cheyenne, Crow, and Lakota/Dakota being particularly well represented. The collection contains both studio and outdoor photographs and reflects the dramatic upheavals in Native American life that occurred as a result of the expansion of the United States of America.

For clarity, in this finding aid the most widely-used Anglicized naming conventions have been used for most Native American tribes and individuals. Individual catalog records address the full complexities of these issues and include the most commonly used Anglicized and indigenous names and their variants.

After consulting a number of Native American representatives and scholars, it was determined that select images within the collection will not be digitized on account of the culturally sensitive nature of their content. However, culturally sensitive images have still been cataloged and are available for researchers in the reading room along with the rest of the collection.

Overall, upwards of 70 Native American tribes and subtribes (primarily those west of the Mississippi and in the Midwest) are represented throughout the collection. The amount of material pertaining to each tribe varies considerably. For example, approximately 235 photographs relate to the Lakota and Dakota, while the Hopi and Kootenai tribes are each represented in just one photograph respectively.

All of the individual photographs, albums, and portfolios have been cataloged individually. For more detailed information on specific images, please use the UM Library Search.

With the exception of items deemed to contain culturally sensitive content, all materials in the Pohrt Collection have been digitized and can be accessed online through the Pohrt digital collection platform.

In addition, the Clements Library has also created a Richard Pohrt, Jr. Collection - Partial Subject Index and a Richard Pohrt, Jr. Collection - Contributor Index to help navigate the collection.

The following list provides information on photographs (including select call numbers) pertaining to the 13 most well-represented Native American tribes in the collection as well as other items of interest. For a complete list of all tribes represented in the collection, see the Additional Descriptive Data section.

Algonquian Blackfeet

Approximately 28 photographs pertain to the three affiliated Algonquian Blackfeet tribes (Kainah, Siksika and Piegan) present in the collection. Items of particular interest include 18 studio portraits of Algonquian Blackfoot chiefs made by Tomar J. Hileman in the late-1920s (LARGE Hil.001 - LARGE Hil.018) which serve as prime examples of romanticized depictions of Indians produced in the early 20th century. Other images of note include two studio portraits of Piegan chief Three Calves taken by Mabelle Haney in 1920 (OVERSIZE Han.001 & OVERSIZE Han.002); two photographs likely taken by Thomas B. Magee in the late 1890s showing an Algonquian Blackfoot medicine man named Calf Shirt performing a ritual ceremony involving a live rattlesnake (LARGE Mag.001 & LARGE Mag.002); and two more outdoor portraits by Magee showing construction of a medicine lodge and ceremonial dancers standing before the finished lodge (BOU Mag.001 & BOU Mag.002).

Anishinaabe (Odawa, Ojibwa, and Potawatomi)

Approximately 168 photographs in the collection pertain to the Anishinaabe.

The majority of the Anishinaabe-related images in the collection (approximately 115 photos) were taken by Grace Chandler Horn between 1899 and 1912 near Petoskey, Michigan (GCH.004 - GCH.043 & GCH.050 - GCH.118). The photography shop operated by Horn in Petoskey was a major tourist attraction built around the annual "Hiawatha Pageant" performed by local Odawa actors as well as Ojibwa actors from the Garden River First Nation in Canada. Her portraits of actors and actresses involved in the Hiawatha shows are heavily represented in the collection. These images are considered prime examples of the romanticized depictions of Indians of the period and document a major Michigan tourist attraction of the time. The actors and actresses depicted in these photographs have not been identified, therefore their specific tribal affiliations have been assumed to be either Odawa or Garden River Ojibwa. The Grace Chandler Horn materials also include four photos of Odawa woman Sophia Assinaway at her home garden in Middle Village, Michigan (GCH.022 - GCH.025). Two printed items related to Grace Chandler Horn (a sample booklet of her photography and a Hiawatha Pageant libretto illustrated with Horn photographs) are also contained in Box 21.

In addition to the Grace Chandler Horn photographs, approximately 48 photos relate to the Ojibwa. Items of particular interest include portraits of Ojibwa men involved in the Dakota War of 1862 taken by Minnesota photographer Joel E. Whitney (CDV WhiJ.017 - CDV WhiJ.028, CDV WhiJ.036 & CDV WhiJ.037); stereographs by Whitney and assistant Charles Zimmerman showing Ojibwa wigwams (STE Whi-Zim.001), canoe-building (STE Whi-Zim.002 & STE Whi-Zim.002); Leech Lake Ojibwa during a payment transaction (STE Whi-Zim.004); and a studio portrait of White Cloud (STE Whi-Zim.005). Also present are photos by Zimmerman showing an Ojibwa deer hunt (STE Zim.002), Sky Down to the Earth (STE Zim.003) and To Keep the Net Up (STE Zim.004).

Other images of note include an outdoor portrait of the "Rapids Pilot" John Boucher seated in his canoe by B. F. Childs (STE Chi.002); three studio portraits of Buhkwujjenene by Thomas Charles Turner and Sydney Victor White taken during a trip to England in 1872 with Rev. Edward Francis Wilson in order to raise funds for the Shingwauk Indian Residential School (CDV Tur.001, CDV Tur.002 & CDV Whi-Whi.001); three studio portraits of Saginaw Band Ojibwa leader David Shoppenagon by Armstrong & Rudd and George H. Bonnell (CAB Arm-Rud.002, CAB Bonn.001 & CAB Bonn.002); an outdoor group portrait by Hoard & Tenney of five unidentified Ojibwa men at White Earth Indian Reservation in Minnesota (STE Hoa-Ten.001); views by T.W. Ingersoll showing Ojibwa women tanning buckskins and crafting birch canoes (STE Ing.001 & MEDIUM Ing.001); a Leech Lake Ojibwa family posing outside their wigwam (MEDIUM Bro.001); and an outdoor group portrait taken by Dan Dutro in the mid-1910s of several Cree and/or Ojibwa men partaking in a dance ceremony at Rocky Boy's Indian Reservation, Montana (BOU Dut.002).

The approximately 13 Potawatomi-related photographs in the collection mostly pertain to the Prairie Band Potawatomi Nation in Kansas. Items of particular interest include studio individual and group portraits such as Shipshewana & Madeline Lasely (CAB Uni.017); Shob-ne-kak-kak with unidentified wife by Oaks & Ireland (CAB Oak-Ire.001); a studio group portrait by W. M. Oaks of two unidentified Prairie Band Potawatomi women posing with a photograph of what may be a deceased relative (CAB Oak.001); and two portraits of Nancy Weeg-was alone and with husband Weeg-was (CAB Uni.015 & CAB Oak.002). Other materials include a group portrait of Potawatomi and white American individuals posing outside of a storefront on the Prairie Band Potawatomi Reservation in Kansas (MEDIUM Uni.004) and an image captioned "The Reserve Dudes" depicting a group of nine Prairie Band Potawatomi men who performed at Wild West Shows (LARGE Uni.003).

Apache

Approximately 68 Apache-related photographs are present. Specific Apache tribes represented include the Chiricahua, Jicarilla, Kiowa Apache, Mescalero, Mimbreño, and White Mountain Apache. Of particular note are eight boudoir photographs and one framed group portrait by C. S. Fly (BOU Fly.001 - BOU Fly.008 & FRAMED 10), the majority of which relate to the apprehension of Geronimo and his followers in 1886. Other photographs of interest include a series by Andrew Miller depicting daily life on the San Carlos and Fort Apache reservations in the 1880s (CAB MilA.001, CAB MilA.002 & BOU MilA.001 - BOU MilA.009); portraits of Apache women and scouts such as Nan-tag-a-ra, Dandy Jim and Santiago by Henry Buehman (CAB Bue.002 & STE Bue.001 - STE Bue.007); and outdoor group portraits of Chiricahua prisoners of war including Naiche and Geronimo being held at Fort Sam Houston taken by Frank Hardesty (BOU Har.001 & BOU Har.002).

Studio portraits include photographs by A. Frank Randall of Geronimo, Bonito, Dutche, husband and wife Ze-le & Tzes-Tone, Something-at-the-campfire-already-cooked (wife of Cochise), Old Nana, and Mescalero chief San Juan (BOU Ran.001 - BOU Ran.013). Also present are studio portraits of Apache chiefs and scouts such as Bonito, Chatto, Nalte, and Peaches by Ben Wittick (BOU Wit.001 & BOU Wit.003 - BOU Wit.005); Geronimo while prisoner of war at Fort Sill taken by William E. Irwin (BOU Irw.010, BOU Irw.011 & BOU Irw.024); and a Lenny & Sawyers photograph of a Kiowa-Apache man identified as "Apache Jim" (BOU Len-Saw.005).

Of further interest are photographs of Apache scouts with German-American chief of scouts Al Sieber taken by J. C. Burge (STE Bur.001 & STE Bur.002); group portraits of Apache scouts including Mickey Free, a Mexican-born Apache scout kidnapped by the Pinal Apache as a child and adopted into the tribe (STE WilW.001 & STE Bue.006); an outdoor group portrait by C. S. Fly showing Jimmy "Santiago" McKinn, a white American settler kidnapped as a child by Geronimo's band (BOU Fly.001); and several images of Apache individuals encountered during the Wheeler Expedition taken by Timothy O'Sullivan (STE Wheeler.031 - STE Wheeler.033, STE Wheeler.041, STE Wheeler.042, STE Wheeler.051 & STE Wheeler.052).

Cheyenne

Approximately 53 Cheyenne-related photographs are present in the collection, including photographs of both Northern and Southern Cheyenne, the latter of which are now part of the Cheyenne and Arapaho Tribes of Oklahoma.

Between 1875 and 1878, several dozen Southern Cheyenne, Southern Arapaho, Comanche, and Kiowa Indians as well as one lone individual from the Caddo tribe were imprisoned at Fort Marion in Saint Augustine, Florida, for their roles in the Red River War. While imprisoned, these chiefs, warriors and their families became a major tourist attraction. The Pohrt Collection contains numerous images of the Fort Marion prisoners taken by photographers such as J. N. Wilson, O. Pierre Havens, and George Pierron; of particular note are stereograph portraits of Southern Cheyenne chiefs Howling Wolf (STE Hav.001 -STE Hav.003), Medicine Water (STE Hav.005 & STE Hav.006), Mochi (STE Hav.006) and a tintype of Making Medicine made by an unidentified photographer (CASED Uni.006).

Other photographs include images purportedly related to a Southern Cheyenne & Arapaho Ghost Dance ceremony taken by C. C. Stotz in 1890 (BOU Sto.001 & BOU Sto.002); a group portrait of prisoners from Dull Knife's band taken by J. R. Riddle in 1879 (STE Rid.001); a studio portrait of two-spirit person Glad Road by Cosand & Mosser (CDV Cos-Mos.001); outdoor portraits by John K. Hillers of Cheyenne chiefs that attended the Grand Council in Okmulgee in 1875 (STE Hil.001 – STE Hil.003); a studio portrait of White Buffalo taken around the time of his arrival at the United States Indian Industrial School in Carlisle, Pennsylvania (BOU Cho.001); a studio portrait by William E. Irwin of Gertrude Threefinger wearing an elk-tooth dress (BOU Irw.003); and two panoramic views by Henry C. Chaufty depicting a supposed Southern Cheyenne Sun Dance gathering in 1909 as well as a Southern Cheyenne & Arapaho fair at Watonga, Oklahoma, in September of 1912 (FRAMED 1 & FRAMED 4).

Crow (Apsáalooke)

Approximately 94 Crow-related photographs are in the collection. On account of their historical enmity with neighboring tribes such as the Lakota/Dakota, Arapaho, and Cheyenne, the Crow firmly allied themselves with the United States and provided numerous scouts for many U.S. military expeditions in the second half of the 19th century. Several portraits of Crow scouts are present in the collection, including photographs of Curley (CAB BarD.019, MEDIUM BarD.003, STE Rin.006 & PORTFOLIO 1B) and White Swan (BOU MilF.001 & BOU MilF.002), both of whom were present at the Battle of the Little Bighorn.

Other images of note include a series of 56 stereographs by Frank A. Rinehart at Crow Indian Reservation in Montana at the turn of the 20th century (STE Rin.001 - STE Rin.056) consisting of views showing daily reservation life, ceremonies and dances, as well as individual, group, and family portraits, including one photograph of chief Plenty Coups speaking to a crowd about counting coup.

Also of interest are three images showing Plenty Coups and others present at the unveiling ceremony for the Tomb of the Unknown Soldier (FRAMED 11 - FRAMED 13); photos by O. S. Goff of Crow scouts including Bear Don't Walk and members of "L" Troop, 1st Cavalry (BOU Gof.001, BOU Gof.002, & MEDIUM Gof.003); portraits of Crow chiefs and men including Hoop on Forehead, Bear in a Cloud, and Spotted Rabbit, as well as scenes from Crow Indian Reservation by Fred E. Miller (BOU MilF.003, BOU MilF.004, LARGE MilF.001, LARGE MilF.002 & MEDIUM MilF.001 - MEDIUM MilF.005); portraits of Crow chiefs including Grey Bear, Old Coyote, Hoop on Forehead, Spies on Enemies, Big Medicine Man, Chief Little Head and Old Coyote by F. Jay Haynes (STE Hay.001 & CAB Hay.001 - CAB Hay.009); and a group portrait by an unidentified photographer of Crow prisoners of war including Crazy Head and Coups Well Known being held at Crow Indian Agency following the Crow War of 1887 (LARGE Uni.018).

Ho Chunk (Winnebago)

22 Ho Chunk-related photographs are in the collection. Items of particular interest include stereographs by H. H. Bennett of Yellow Thunder purportedly at the age of 120 (STE Ben.002), a Ho Chunk woman tanning a deerskin (STE Ben.001), a studio portrait of Big Bear (STE Ben.004) and a group of Ho Chunk men playing "Wah-koo-chad-ah" or the Moccasin Game (STE Ben.003).

Other items of note include a group portrait by Charles Van Schaik of Clara Blackhawk and her infant son Andrew (CAB Van.002); another Van Schaik portrait of Little Soldier and wife Bettie (CAB Van.001); a studio portrait by Joel E. Whitney of Chief Little Hill (CDV WhiJ.030); a studio group portrait by W. H. Illingworth of Walk in the Evening and Bear Skin (STE Ill.003); studio portraits of Chief Big Hawk and son David Big Hawk (CAB Uni.020 & CAB Uni.021); a studio group portrait by Brown & Wait of several Ho Chunk men including one individual who appears to possibly have smallpox scars (CAB Bro-Wai.001); a studio group portrait of an unidentified Ho Chunk man from Nebraska posing with Fox chiefs Wa-Wa-Ta-Sah and Ma-Tau-E-Qua (MEDIUM Uni.003); and two outdoor group portraits of Ho Chunk Indians in Wisconsin partaking in a church ceremony (BOU Uni.005 & BOU Uni.006).

Two tintypes, one of an unidentified Ho Chunk father and son (CASED Uni.001) and the other a group portrait of several children (CASED Uni.002), are also present.

Kiowa

Approximately 40 Kiowa-related photographs are present in the collection. Items of particular interest include 19 studio and outdoor individual and group portraits taken by William E. Irwin of Kiowa men, women and girls including Daisy Waterman (BOU Irw.008), Anne "Kiowa Annie" Berry (BOU Irw.004 - BOU Irw.006), Millie Oytant and "Cora" (BOU Irw.007), Joe Goombi with two daughters (BOU Irw.009), Lone Wolf the Younger (BOU Irw.013 & BOU Irw.023), Lone Wolf the Younger's mother Big Black Hair (BOU Irw.014), Poor Buffalo (BOU Irw.017), Kiowa and Comanche scouts near Anadarko(BOU Irw.018 & BOU Irw.019), and Ahpeatone (MED Irw.001).

Also present are five group portraits showing Kiowa prisoners of war at Fort Marion (STE Hav.004, STE Pie.001, STE Pie.002, STE Wil-Hav.001, STE Uni.004 & STE Uni.009); studio portraits of Kiowa girls and children by Lenny & Sawyers (BOU Len-Saw.001, BOU Len-Saw.009 & BOU Len-Saw.013); a studio portrait of Ahpeatone by Trager and Kuhn misidentified as Oglala Lakota chief Young Man Afraid of His Horses (CAB Tra-Kuh.001); a studio group portrait by W. P. Bliss of Gotebo with an unidentified individual (CAB Bli.002); a studio portrait of a Kiowa girl identified as "Ka-o-ta" produced by George W. Bretz (CAB Bre.003); and a group portrait of three unidentified Kiowa girls wearing elk-tooth dresses by C. C. Stotz (CAB Stot.001).

Modoc

The 19 Modoc-related images in the collection include a series of stereographs created by Eadweard Muybridge during the Modoc War of 1872-73 (STE Muy.001 - STE Muy.011). They depict the lava bed landscape, the U.S. army camp near Tule Lake, army scouts from the nearby Warm Springs Indian reservation led by Donald McKay, and the camp of the Modoc warrior Shok-Nos-Ta. Two of the photos depict Modoc women involved in the conflict, including interpreter Toby Riddle as well as a group of Modoc women taken as prisoners of war.

Other items of interest include four studio portraits by Louis Herman Heller of Modoc prisoners of war in 1873 such as the family of Captain Jack (CAB Hel.001), the "Lost River Murderers" (CAB Hel.002), Schonchin (CAB Hel.003), and Bogus Charley (CAB Hel.004), as well as four studio portraits by David C. Herrin produced in the late 1890s showing Klamath men described as having assisted the United States during the Modoc War (CAB Herr.001 - CAB Herr.004).

Nez Percé (Nimiipuu)

13 photographs in the collection have content pertaining to the Nez Percé. Items of particular interest include individual portraits of Chief Joseph (MEDIUM BarD.004, MEDIUM Bow.001, PORTFOLIO 1C); a tintype by an unknown photographer of an unidentified Nez Percé warrior (CASED Uni.003); a studio portrait of Chief Yellow Bull by C. M. Bell in Washington D.C. (OVERSIZE Bel.001); three images produced by W. H. Partridge showing Nez Percé families and homesteads in Oregon including visuals of tipis and a horse corral (BOU Par.001 - BOU Par.003); two studio portraits of "Steps", a Native American man adopted into the Nez Percé tribe (CAB Bai-Dix.002 & CAB BarD.020); and a group portrait by Ebenezer E. Henry showing Chief Joseph, Yellow Bull, Charles Moses, and another unidentified Nez Percé chief while being held as prisoners of war at Fort Leavenworth in 1877 following the cessation of the Nez Percé War (BOU Hen.001).

Oto

21 photographs in the collection relate to the Oto and Otoe-Missouria. Images of particular note include studio portraits of White Horse by Thomas Croft (CAB Cro.001 & CAB Cro.002); studio group and individual portraits of Oto chiefs including William Faw Faw, White Horse, Huma, Opanomnina and Parthayne by Lenny & Sawyers (BOU Len-Saw.004, BOU Len-Saw.006, BOU Len-Saw.007 & BOU Len-Saw.011); a studio portrait of Standing Eating by John K. Hillers in Washington D.C. (CAB Hil.001); an outdoor group portrait of an unidentified Oto family in Indian Territory posing in front of their home (MEDIUM Uni.014); an individual and group studio portrait showing Chief George Dailey (CAB Uni.008 & CAB Uni.009); three photos by William S. Prettyman including two studio portraits of unidentified Oto groups as well as an outdoor group portrait of the family of Baptiste DeRoin(CAB Pre.001, BOU Pre.001 & BOU Pre.002).

Sac & Fox

21 photographs relate to the Sac & Fox tribes, predominately consisting of images related to the Sac & Fox tribes of Iowa, Oklahoma, and to a lesser extent Kansas. Items of particular interest include several studio portraits of Iowa-based Sac & Fox individuals (known today as the Sac and Fox of the Mississippi in Iowa) taken by photographers H. C. Eberhart, J. L. Hudson, and J. S. Moore during the 1880s (CDV Eber.001, CAB Hud.001, CDV Hud.001, CDV Hud.002 & CAB Moo.002 - CAB Moo.008); a group portrait by Oakes & Ireland of a Kansas-based Sac and Fox ceremonial dancer with his son (CAB Oak-Ire.002); an outdoor group portrait taken by William S. Prettyman around 1895 showing a group of people from the Sac & Fox Mokohoko band including Chief Paw-She-Paw-Ho (LARGE Pre.001); a studio portrait of Walter Battice by John K. Hillers taken sometime during the early 1920s before Hillers' death in 1925 (BOU Hil.001); a group portrait of a Sac & Fox Nation of Oklahoma man at home with his wife and sleeping infant child (STE Key.001); two studio portraits of Sac & Fox chiefs taken by C. M. Bell in Washington D.C. (OVERSIZE Bel.002 & OVERSIZE Bel.003); a studio group portrait of an unidentified Ho Chunk man from Nebraska posing with Fox chiefs Wa-Wa-Ta-Sah and Ma-Tau-E-Qua (MEDIUM Uni.003); a studio group portrait by J. L. Hudson of Charles Keokuk and an unidentified Sac & Fox Tribe of the Mississippi in Iowa chief (CDV Hud.002); as well as a studio portrait of a Sac & Fox chief claimed by the unidentified photographer to be a grandson of Black Hawk (CDV Uni.003).

Lakota and Dakota

Over 240 photographs pertain to the Lakota and Dakota (also commonly referred to collectively as the Sioux, a term that has pejorative origins). The Dakota consist of three sub-tribes (the Santee, Yankton, and Yanktonai) while the Lakota consist of seven sub-tribes; the Sicangu (Brulé), Oglala, Miniconjou, Hunkpapa, Itázipco (Sans Arc), Sihasapa, and Oóhenunpa. The Pohrt Collection contains photos related to all three Dakota sub-tribes as well as photos related to every Lakota sub-tribe except for the Oóhenunpa.

The majority of the approximately 40 images in the collection related to the Santee Dakota were taken around the time of the Dakota War of 1862 in Minnesota, when several bands initially led by Chief Little Crow revolted against federal Indian agents who had regularly failed to supply promised foodstuffs and annuities. After several months of fighting, most of the Santee surrendered and thirty-eight were eventually executed in Mankato, Minnesota, on December 26th 1862 in what remains the largest mass execution in U.S. history. Items of particular interest include four photographs taken by Adrian Ebell prior to and during the outbreak of the conflict (CDV Ebe.001 & STE Ebe.001 - STE Ebe.003); three photographs by B. F. Upton showing Santee prisoners of war at Fort Snelling including Little Crow's sons White Spider and Thomas Wakeman (STE Upt.001, CDV Upt.001 & CDV Upt.002); as well as 21 studio portraits produced by Joel Whitney depicting Santee prisoners of war, many of whom were among the executed at Mankato (STE WhiJ.002, STE WhiJ.003, STE WhiJ.034, CDV WhiJ.001 - CDV WhiJ.010, CDV WhiJ.012 - CDV WhiJ.016 & CDV WhiJ.032 - CDV WhiJ.034). Also present is an outdoor group portrait of Santee men taken by T. W. Ingersoll in the 1890s (MEDIUM Ing.002); a studio portrait of Wabasha III (CAB Lak.001); a Stanley J. Morrow studio portrait of an elderly Santee woman named Sacred Blanket purported to be 133 years old (STE MorS.036); and a studio portrait of Abbie Gardner Sharp, a white American woman who survived being captured by Santee raiders after the Spirit Lake Massacre of 1857 in Iowa in an incident which is generally considered a precursor to the Dakota War (CAB Uni.022).

Other Santee materials include several portraits of physician Dr. Charles Eastman taken by Grace Chandler Horn in the 1910s (GCH.001 - GCH.003 & GCH.044 - GCH.049). Dr. Eastman, grandson of U.S. Army officer and renowned artist Seth Eastman, attended Dartmouth College and then Boston University's medical school, becoming one of the first Native Americans certified as a western-style doctor. He later established the Indian YMCA and helped found the Boy Scouts of America, as well as becoming a national spokesman for Native Americans.

Images of particular interest involving the Yankton Dakota include an outdoor group portrait of Struck-by-the-Ree and Feather Necklace by Stanley J. Morrow (STE MorS.020); a group portrait taken by O. S. Goff of fifteen unidentified Yankton chiefs with an Indian Agent (MEDIUM Gof.001); two photos by W. R. Cross consisting of a studio portrait of an unidentified Yankton man (CDV Cro.005); and a composite photograph showing twelve different photographs of Native Americans from Dakota Territory including an image of a Yankton scaffold burial (BOU Cro.001).

Yanktonai Dakota images of interest include photos by D. F. Barry of Standing Rock Indian Reservation policeman Henry Bull Head who reportedly shot Sitting Bull after having been mortally wounded himself during the arrest (CAB BarD.011); an elevated outdoor group portrait taken during the 1885 census at Standing Rock (MEDIUM BarD.001); a studio portrait of interpreter and scout John Bruguier by George Spencer (CAB Spe.013); two studio portraits of Mad Bear (CAB BarD.017 & CAB Sco.005); stereographs by Stanley J. Morrow showing Yanktonai chiefs Black Eye, Bloody Mouth, Afraid of the Bear (STE MorS.019) and Medicine Bear (STE MorS.003 & STE MorS.004); and a studio portrait of Wolf Necklace by O. S. Goff (STE Gof.008).

• Sitting Bull (CDV Cro.001, CDV Cro.002, BOU Cro.001, CAB Gof.001, CAB Uni.001, CAB Uni.002, CAB Bai-Dix.001, CAB Sco.004, CAB Pal-Jur.001, CAB Pal-Jur.002, LARGE BarD.001, CAB BarD.001, CAB BarD.002, CAB Not.001, LARGE Clo.001, PORTFOLIO 1A & PORTFOLIO 1C)
• Gall (CAB Gof.002, CAB Sco.006, CAB BarD.013, MEDIUM BarD.001, LARGE BarD.002, PORTFOLIO 1A & PORTFOLIO 1C)
• Rain in the Face (CAB BarD.008, CAB BarD.009, CAB Sco.001, CAB Spe.001, CAB Spe.002 & PORTFOLIO 1A)
• Spotted Tail (CDV Cro.003, CDV Gur.001, STE Cur.001, STE MorS.028, MEDIUM Cho.011 & CAB Cho.003)
• Iron Wing (MEDIUM Cho.002 & CAB Cho.003 - CAB Cho.005)
• American Horse (CAB Cho.004, CAB Cho.007, MEDIUM Tru.001, MEDIUM Tru.002 & PORTFOLIO 1A)
• Crow Dog (Albums 1, LARGE Gra.009, BOU Tra-Kuh.022, PORTFOLIO 1A)
• Plenty Horses (STE Gra.001, LARGE Butt.001 & FRAMED 6)
• Big Foot--Miniconjou (STE MorS.023 & BOU Tra-Kuh.013)
• Jack Red Cloud (LARGE Gra.011, BOU Uni.007 & CAB Spe.003)
• Two Strike (CAB Cho.003, BOU Tra-Kuh.001, BOU Tra-Kuh.016, BOU Tra-Kuh.022, BOU Tra-Kuh.023)
• Iron Tail (BOU Uni.003 & LARGE Uni.017)
• Red Cloud (STE Cur.001 & PORTFOLIO 1A)
• Luther Standing Bear (BOU Cho.007 & MEDIUM Cho.010)
• One Bull (CAB Bai-Dix.003 & CAB Pal-Jur.001)
• Louis Roubideaux (CAB Cho.003)
• Charles C. Tackett (CAB Cho.003)

Several photos are related to the Ghost Dance movement on the Lakota reservations and the subsequent buildup to and aftermath of the Wounded Knee Massacre. Specific items of interest regarding the Lakota Ghost Dance movement include a secret photo taken by Sam T. Clover without the subjects' permission of a Ghost Dance feast in which Sitting Bull supposedly stands at center (LARGE Clo.001); a photograph by James E. Meddaugh showing a Ghost Dance being performed by Oglala Lakota men and women at Pine Ridge (CAB Medd.001); an outdoor portrait by George W. Scott of a Lakota woman named Scarlet Woman who had been arrested in November of 1890 for proclaiming to be the "mother of the Messiah" (CAB Sco.003); and several individual and group portraits by Trager & Kuhn of Lakota chiefs both involved with and opposed to the Ghost Dance movement, including Kicking Bear, Stinking Bear, Hollowood, Crazy Bear, Crow Dog, Two Strike, Young Man Afraid of His Horse, Good Lance, Short Bull, High Hawk and Big Talk (BOU Tra-Kuh.009, BOU Tra-Kuh.015, BOU Tra-Kuh.016, BOU Tra-Kuh.022 - BOU Tra-Kuh.025 & BOU Tra-Kuh.027). Also of note are other photographs by Trager & Kuhn including a studio portrait of Kiowa chief Ahpeatone (erroneously identified as Young Man Afraid of His Horses) who had been sent to visit his Lakota relatives on Pine Ridge Indian Reservation in order to learn about their version of the Ghost Dance (CAB Tra-Kuh.001) as well as a "bird's-eye view" of a Ghost Dance at Pine Ridge on November 25th 1890 which may have been originally taken by James E. Meddaugh (BOU Tra-Kuh.031).

Approximately 51 photographs directly pertain to the Wounded Knee Massacre. Materials of note include a view by Clarence G. Morledge of the "Bloody Pocket" valley where the Drexel Mission Fight took place one day after the massacre (BOU Morl.001); a series of studio portraits by George E. Spencer depicting several individuals involved with the Ghost Dance movement who were being held as prisoners of war at Fort Sheridan after Wounded Knee (CAB Spe.004 - CAB Spe.012); and a group portrait by an unidentified photographer in 1902 of Chief Calico with son Frank Calico and wife Good Dog, the latter of whom was purportedly a "great Medicine woman at Wounded Knee in 1890" (LARGE Uni.005).

Photographs from albums compiled by Michigan-based photographer Fannie Hoyt include views of the Wounded Knee battlefield (Albums 4B & Albums 4D) and portraits of individuals known to have survived the massacre such as Joseph Horn Cloud (Albums 4C), Daniel White Lance (Albums 4F) and possibly Dewey Beard (Albums 4C). Graphic photographs by Trager & Kuhn show bodies of victims at the site of Wounded Knee, as well as scenes at Pine Ridge Indian Reservation immediately following the massacre (BOU Tra-Kuh.001, BOU Tra-Kuh.002, BOU Tra-Kuh.004, BOU Tra-Kuh.008 - BOU Tra-Kuh.014, BOU Tra-Kuh.016, BOU Tra-Kuh.020, BOU Tra-Kuh.022 - BOU Tra-Kuh.026, BOU Tra-Kuh.028 - BOU Tra-Kuh.030 & LARGE Tra-Kuh.001 - LARGE Tra-Kuh.004). Photographs by John C. H. Grabill include images of a Grass Dance being performed by Miniconjou dancers four months prior to the massacre (LARGE Gra.001 & LARGE Gra.002); scenes from "hostile" Lakota camps on Pine Ridge Indian Reservation (LARGE Gra.003 & LARGE Gra.004); Gen. Nelson Appleton Miles and staff at Pine Ridge (LARGE Gra.008); negotiations taking place between U.S. Army officers and Lakota leaders at Pine Ridge following the massacre (LARGE Gra.007); individual and group portraits of Lakota individuals including Crow Dog (LARGE Gra.009), Plenty Horses (STE Gra.001 & FRAMED 6), Jack Red Cloud (LARGE Gra.011), a wife and family of American Horse (LARGE Gra.005), and survivors of Big Foot's band (LARGE Gra.006); as well as a group portrait of Brulé and Oglala Lakota men, women, and children, including an infant purported to be one of the two babies known to have been miraculously recovered from the Wounded Knee site three days after the massacre (LARGE Gra.010).

Other photographs of note include a group portrait by Frank Currier showing a Lakota delegation to Washington, D.C., in May of 1875, including chiefs Red Cloud, the Oglala Sitting Bull, Swift Bear, and Spotted Tail as well as Prussian-Jewish interpreter Julius Meyer (STE Cur.001); a view of a Brulé "war dance" at Rosebud Agency (BOU Uni.002); a group portrait of Louis Dewitt and family at Fort Bennett, Dakota Territory (MEDIUM Uni.009); and three views by E. A. Fry of lodges at an Oglala encampment on Pine Ridge Indian Reservation in 1883 including a Medicine Scalp Lodge and Sun Dance Lodge (LARGE Fry.001 - LARGE Fry.003).

Also present are views of Lakota scaffold burials (STE MorS.027, STE MorS.029 & BOU Cro.001); a photo showing a group of Lakota dancers in traditional dress posing outside the home of Emma Sickels with American flags and a Benjamin Harrison flag related to the 1888 presidential election (BOU Tra-Kuh.032); three studio group portraits by Robinson & Roe of the Sioux Treaty Commission of 1889 (CAB Rob-Roe.001 - CAB Rob-Roe.003); portraits including Lakota family members related to American frontiersman John Young Nelson (CAB AndD.001, CAB Ell-Fry.001, CAB Fra.001, & LARGE Gra.010); and a Trager & Kuhn view of Red Cloud's wife Pretty Owl inside the couple's cabin at Pine Ridge (Tra-Kuh.005).

Ute

Approximately 16 photographs in the collection pertain to the Ute tribe. Specific Ute sub-tribes represented in the collection include the Capote, Moache, and Tabeguache. Images of particular note include studio portraits by William H. Jackson of Ute chiefs Ouray (CAB Jac.001) and Colorow (CAB Jac.002), Ouray's sister Shawsheen erroneously captioned as being Ouray's wife Chipeta (CAB Jac.003) and Tushaquinot (CAB Jac.004 & BOU Jac.001); a studio portrait by Charles M. Bell of a member of Ouray's band called "Tom Ute" (OVERSIZE Bel.007); and portraits by C. R. Savage of a Ute family (CDV Sav.001) and a warrior identified as "Indian Charley" (STE Sav.001).

Also present are two portraits made by Timothy O'Sullivan during the Wheeler Expedition of Capote Utes including a woman named "Pah-ge" (STE Wheeler.039) and a group of unidentified Ute warriors (STE Wheeler.040); two studio portraits by Ben E. Hawkins showing a group of Ute chiefs (STE Haw.001) and a chief named "Washington" (BOU Haw.001); a studio portrait by J. N. Choate of an unidentified Native American man (possibly a Ute) erroneously identified as Colorow (MEDIUM Cho.001); and a studio portrait of White River Ute leader Chief Johnson by W. G. Chamberlain in which the subject holds a studio prop staff affixed with a scalp lock (CAB Cha.001).

Photo Albums & Portfolios

12 photograph albums and one three-volume portfolio set are present in the collection.

• Volume 1, "Chiefs of the Sioux Wars and the Battle of the Little Bighorn" contains 14 portraits of Lakota leaders including Red Cloud, Rain in the Face, Crow King, Gall, John Grass, Low Dog, Long Dog, and Sitting Bull, as well as a photo of a "Burial Tree" indicative of how Lakota and Cheyenne casualties were supposedly laid to rest following the Battle of the Little Bighorn.
• Volume 2, "Custer, Prominent Military Structures, and the Men who Fought the Sioux Wars" contains 15 photos of United States Army officers and military forts that were important during the Plains Indian wars, including several portraits of members of Custer's 7th Cavalry.
• Volume 3, "Plains Warriors, Chiefs, Scouts, and Frontier Personalities" contains 15 photos including portraits of prominent Native American chiefs including Chief Joseph, Gall, Sitting Bull, and War Eagle; as well images of Grass Dancers; an unidentified Arikara scout; William F. Cody; and Annie Oakley. Two photos of Standing Rock Reservation in the 1890s are also present, including one image showing a group of Indian reservation police

The John Alvin Anderson album consists of 49 images of scenes from the Rosebud Indian Reservation, South Dakota, in the late 1880s and early 1890s. Photographs depict daily Lakota life on the reservation including landscapes, boarding schools, camp life and homesteads, reservation police, and Fourth of July-related dance ceremonies. Images pertaining to cattle ranching and Native American cowboys are also a prominent theme in the album. Several portraits of Brulé Lakota men are also included, including Hollow Horn Bear, Crow Dog, and Two Strike. Of particular note is a group portrait of several Brulé Lakota men preparing for a "Journey to Eastern Cities".

The Osage Indians photograph album contains 49 images mostly taken by George W. Parsons near Pawhuska, Oklahoma, ca. 1880 to 1900 that for the most part pertain to the Osage tribe. Images of particular interest include photographs of Osage Reservation buildings, boarding schools, portraits of Osage men, women, and children, cattle ranching scenes, and images captioned "Sun Dance" that likely depict Fourth of July celebrations. Also present are 12 photographs likely taken by the unidentified compiler of the album which show street scenes and buildings from Pawhuska, white American sightseers at "Lover's Leap" rock formation, and an Osage lodge flying an inverted American flag.

The Fort Berthold album compiled by an unknown photographer contains 54 images primarily related to the Mandan tribe at Fort Berthold, North Dakota, ca. 1890 to 1910. Images of particular interest from the front two-thirds of the album include landscape views, Fort Berthold Agency buildings and homesteads, reservation police, meat drying, and photographs of Mandan men, women, and children. The final third of the album contains photographs of dead animals, hunting trophies, a taxidermy business, bison farm, and the Northern Pacific railroad bridge in Bismarck, North Dakota. Some of the Native Americans depicted may belong to the Arikara and Hidatsa tribes who also reside at Fort Berthold.

The Fanny Hoyt albums (9 volumes) consist of approximately 287 images taken during visits to the Pine Ridge Indian Reservation in South Dakota from 1900 to 1903. Fanny Hoyt (1868-1949) was a photographer from Wayland, Michigan. Images of interest include numerous portraits of Lakota men, women, and children (many of whom are identified with captions), buildings from around Pine Ridge agency, landscape views including the Badlands, and photographs related to cattle ranching and meat distribution. Of particular note are photographs of the site of the Wounded Knee Massacre, a Catholic Indian Meeting House, giveaway ceremonies, preparation of boiled dog meat, wooden coffins captioned "Indian Graves", the interior of a Lakota church, scenes from Fourth of July celebrations, and group portraits of Lakota pupils at "No. 29 Day School".

Other Items of Note

52 stereographs taken by Timothy O'Sullivan and William H. Bell relate to the survey expeditions led by Lieut. George Wheeler (STE Wheeler.001 - STE Wheeler.052) in the years 1873 and 1874. These images depict not only the natural landscapes explored during the survey, such as Canyon de Chelle and Shoshone Falls, but also the Apache, Navajo, Ute, and Zuni peoples through whose lands the survey passed. Includes original stereograph box.

Approximately 30 photographs primarily taken by J. N. Choate are directly related to the Carlisle Indian Industrial School in Carlisle, Pennsylvania. Founded in 1879 by Captain Richard Henry Pratt of the U.S. Army, Carlisle was the flagship Indian boarding school until its closure in 1918. Over ten thousand Native Americans attended the school, where they were subjected to a strict regimen devised under Pratt's motto of "Kill the Indian, save the man." Arriving students had their hair shorn and their clothes replaced with European-style dress, while students were also forced to take new English names and forbidden to speak their native languages.

• Sharp Nose (MEDIUM Cho.003 & MEDIUM Cho.005)
• Iron (MEDIUM Cho.005)
• White Horse (MEDIUM Cho.005)
• Black Coal (MEDIUM Cho.005)
• Little Wolf (MEDIUM Cho.005)
• Iron Wing (MEDIUM Cho.002 & CAB Cho.003 - CAB Cho.005)
• Poor Wolf (CAB Cho.004, CAB Cho.007 & MEDIUM Cho.009)
• Yellow Bear (MEDIUM Cho.006 & CAB Cho.004)
• Sitting Bear (MEDIUM Cho.008, CAB Cho.004 & CAB Cho.007)
• Man-in-the-Cloud (MEDIUM Cho.007)
• Mad Wolf (MEDIUM Cho.007)
• Spotted Tail (MEDIUM Cho.011 & CAB Cho.003 - CAB Cho.006)
• Black Crow (CAB Cho.003)
• Two Strike (CAB Cho.003)
• White Thunder (CAB Cho.003)
• Brother-to-All (CAB Cho.007)
• Like-the-Bear (CAB Cho.007)
• White Buffalo (BOU Cho.001)
• Luther Standing Bear (BOU Cho.007 & MEDIUM Cho.010)

More items of interest related to the Carlisle School include outdoor group portraits of Dakota boys and girls (BOU Cho.004 & BOU Cho.005); a view of the Boy's Quarters (BOU Cho.009); studio group portraits of Navajo students (BOU Cho.008); Laguna Pueblo students (CAB Cho.001); and Arapaho students (BOU Cho.009).

Of further note is an outdoor group portrait taken by William H. Tipton of nearly thirty Cheyenne and Arapaho parents and Carlisle students visiting the Gettysburg battlefield in 1884 (OVERSIZE Tip.001).

Other noted Indian chiefs, leaders and warriors represented in the collection include Wovoka, the Paiute prophet whose preaching formed the basis for the Ghost Dance movement (CAB Butl.001 & CAB Butl.002); Washakie, chief of the Eastern Shoshones (BOU Bak-Joh.001, BOU Bak-Joh.002, CAB Bak-Joh.001 - CAB Bak-John.003, BOU Hay.001 & MEDIUM Hay.001); Osage chief Bacon Rind (MEDIUM Dix.002); Ponca warrior Big Snake (STE MorS.013); Ponca chief Standing Bear (FRAMED 9); Pawnee chief Young Bull (MEDIUM Dix.001); Pawnee warrior Big Spotted Horse (FRAMED 8); Pawnee chief Petalesharo II (STE Carb.002, STE Carb.003 & STE Carb.007); the last "full-blood" Kansa council including Forrest W. Chouteau, Silas Conn, Little Jim, Jesse Mehojah, Roy Monroe and James Pepper (LARGE Uni.002); Hidatsa chief Hard Horn and son Long Arm (STE Gof.005); Bill Jones of the Gros Ventre (BOU Morr.005, BOU Morr.006 & MEDIUM Mat.001); Mandan chief Wa-Shú-Na-Koo-Rá, the son of Chief Four Bears (STE MorS.006); Enoch Hoag, last traditional chief of the Caddo (BOU Len-Saw.010); Northern Arapaho leader Sherman Sage (BOU Hay.001); and Billy Fewell, a Seminole leader and tribal historian of partial African descent (BOU She.001 & MEDIUM Uni.005).

Many images depict encampments, dwellings, dance lodges, and other architectural constructions made by Native Americans as well as American settlers. Particularly noteworthy items include several views of sod buildings (MEDIUM But.001, MEDIUM Uni.013, BOU Tem.001, CAB Tem.001, Albums 4B & Albums 4C); a view by Winter & Brown of two totem poles outside the home of Stikine Tlingit chief Gush Tlein in Wrangel, Alaska (BOU Win-Bro.001); Hidatsa and Mandan structures in Like-a-Fishhook Village at Fort Berthold Agency taken by Stanley J. Morrow (STE MorS.011, STE MorS.012 & STE MorS.030); stereographs by John Carbutt showing Pawnee mud lodges and drying racks laden with sliced pumpkin rinds (STE Carb.004 & STE Carb.005); views showing Ho Chunk chipotekes (STE Ben.002, STE Ben.003 & BOU Ten.001); and buildings and agricultural works at Zuni Pueblo (STE Wheeler.016 & STE Wheeler.018).

Numerous photographs pertain to dance ceremonies, including images related to the Sun Dance, Ghost Dance, Grass Dance, Fox Dance, "Squaw Dance," and more. Photographs related to Fourth of July ceremonies are also prevalent. After the Religious Crimes Code was first enacted in 1884, traditional Native American customs and dances began to be forbidden on reservations. In response, many tribes started using the Fourth of July (which generally overlapped with the historic timing of Sun Dance festivities) as a means of expressing traditional aspects of their cultures while simultaneously displaying patriotism for the United States of America, something which was actively encouraged by Indian Agents.

Items of particular interest with regards to Native American Fourth of July celebrations include an image of what possibly may be Lakota/Dakota dancers in the middle of a performance (LARGE Uni.004); two Trager & Kuhn photographs of Lakota chiefs involved in Fourth of July celebrations at Pine Ridge Indian Reservation (BOU Tra-Kuh.007 & BOU Tra-Kuh.015); a view of a large Plains Indian encampment gathered for Fourth of July in 1892 (BOU Uni.001); three photographs by White's Studio related to Fourth of July celebrations by the Cheyenne and Arapaho at El Reno, Oklahoma Territory, on July 4th 1898 (LARGE Whi.001 - LARGE Whi.003); a Norman A. Forsyth photograph of a Kootenai "Sun Dance" lodge being assembled in 1904 (STE For.001); a Frank Bennett Fiske photograph showing tipis painted for a Fourth of July gathering at Standing Rock Reservation (OVERSIZE Fis.001); five photographs by Sumner W. Matteson taken during a Fourth of July celebration among the Gros Ventre on Fort Belknap Indian Reservation, Montana (MEDIUM Mat.001 - MEDIUM Mat.005); a panoramic photograph by H. C. Chaufty depicting a "Sun Dance" gathering in 1909 (FRAMED 4); and two photographs related to a Fourth of July parade involving a group of Menominee Indian men, women, boys, and girls (MEDIUM Joh.002 & MEDIUM Joh.003). Three of the Fanny Hoyt albums (Albums 4C, Albums 4D & Albums 4H), the John Alvin Anderson Album (Albums 1) and the Osage Indians Photograph Album (Albums 2) also contain images related to Fourth of July celebrations.

The Pohrt Collection is particularly rich with photographic examples of Native American material culture in part due to the collection creator Richard Pohrt, Jr.'s own personal interest in that subject. Numerous images show various elements of clothing & dress such as shell and bead necklaces, bear claw necklaces, otter fur and cloth turbans, feather and porcupine fur headdresses, breechcloths, buckskins, dresses trimmed with real and/or imitation elk teeth, gorgets, cinder goggles, cloth and fur hair wraps, hats, otter fur and hairpipe breastplates, bow and rifle cases, face and body paint, presidential peace medals, blankets, robes, bandolier bags, moccasins, and articles of clothing embroidered with beadwork, porcupine quillwork, and silk ribbon applique. A number of images also contain examples of traditional weaponry including tomahawks, war clubs, bows and arrows, spears, shields, knives, and coup sticks. Richard Pohrt, Jr. has provided extensive notes regarding elements of material culture that have been incorporated into individual catalog records.

Several photographs present in the collection especially highlight the issues of cultural appropriation and racism with regards to Native Americans. Photographs in which white American subjects appear dressed in "traditional" Native American clothing include an outdoor group portrait by W.E. Vilmer showing a group of white children dressed in Indian costumes (OVERSIZE Vil.001); a studio group portrait by Hans H. Stolze of two white men wearing Indian costumes and holding pistols (CAB Stol.001); and a group portrait showing a room of white men and women dressed in Indian costumes related to an unidentified branch of the Improved Order of Red Men (MEDIUM Uni.011). Also present are two photographs that were used as exhibit pieces by the Western Americana collector Charles Frederick Fish during the Second International Congress of Eugenics Exhibit of Scientific Studies at the American Museum of Natural History in New York City in 1921; the first photograph is a studio group portrait by E.E. Henry of four Nez Percé chiefs including Chief Joseph, Charles Moses, and Yellow Bull while they were being held as prisoners of war at Fort Leavenworth, Kansas (BOU Hen.001); the second photograph is a studio portrait of the Apache chief Bonito by Ben Wittick (BOU Wit.003).

Numerous photographs in the collection contain culturally sensitive content, including images related to sacred ceremonies that were often photographed under duress and/or without explicit permission (such as photographs related to Ghost and Sun Dance ceremonies); images of Native American graves; and images of actual deceased Native American persons, such as the Trager & Kuhn photographs showing the aftermath of the Wounded Knee Massacre. Other culturally sensitive photographs not mentioned elsewhere in this Finding Aid include a staged view by George W. Bretz showing two U.S. Army soldiers and two unidentified Native American men horsing around in a sweat lodge at Fort Sill, Indian Territory, in what appears to be a mock imprisonment scene (CAB Bre.006); a view by Edward De Groff of a Tlingit grave and cremation ground in Juneau, Alaska (BOU Deg.003); an outdoor group portrait by W. H. Partridge of an Aak'w Kwáan Tlingit family that appears to be dressed for a mourning ceremony (BOU Par.004); and a postmortem portrait of a Sarsi woman sitting at the bedside of her deceased daughter (LARGE Uni.001).

Photographs that have been deemed to contain culturally sensitive content will not be made digitally accessible and will only be available for use in the reading room.

See Additional Descriptive Data Section for more comprehensive listing of subject terms, tribal names, personal names, and contributors.

The Ritta S. Murphy, Smith College photograph album contains 86 photographs and 37 pieces of ephemera related to Smith College students, environs, and activities between 1898 and 1900.

The Ritta S. Murphy, Smith College photograph album contains 86 photographs and 37 pieces of ephemera related to Smith College students, environs, and activities between 1898 and 1900. The album (? x ?) has black cloth covers tied with a red silk cord and a detached back cover and is disbound. Photographs of interest include images of the Ivy Day procession of 1900; President William McKinley and Smith College President L. C. Seelye in a horse-drawn carriage; exteriors and interiors of campus buildings; Smith students on the golf course; a Smith basketball game in the gymnasium; and scenes of Smith students and young men canoeing on "Junior Prom Day, 1900." Ephemera items include programs from musical and theatrical performances, railroad and sporting event ticket stubs, a dance card, golf score cards, and newspaper clippings describing Smith College events and Ritta Murphy's "debut" tea party.

The Parrish family photograph album contains 110 photographs assembled by the Parrish family of Philadelphia, Pennsylvania, including images of family and friends, political figures, celebrities, and popular illustrations as well as photographs related to Union efforts to educate freed slaves during the Civil War in the Port Royal Experiment.

The album (15.5 x 24 cm) has embossed brown leather covers and two metal clasps. 63 loose photographs are stored in Mylar sleeves and many appear to have been separated from the album over time. In some cases, it is possible to match loose images with a specific page slot through pairing inscriptions on the photograph with annotations present in the album. However, many loose images do not contain any identifying information, so it is unclear where some may have been located within the album or if they were ever associated with the album in the first place. It is possible that a small portion of the loose images were never originally included in the album since there are more photographs present in the collection than there are available photo slots in the album. At least two portraits from the 1890s do not appear to have belonged to the original family collection.

Compilation of the album may have first begun in the 1860s, but it was most likely completed during in the 1870s with photographs that the Parrish family had acquired over time. Sarah H. Parrish, née Wilson (1836-1892), the wife of Joseph Parrish’s grandson John Cox Parrish (1836-1921), may have been one of the primary creators of the album. She and John had a daughter named Caroline L. Parrish (1863-1915), who may be the “Carrie” whose name is written on the back of some of the photographs. Overall, there appear to be three different styles of handwriting present in the album. Captions for several of the album’s portraits were made in pencil in a flowing cursive while other names appear in a more juvenile-looking cursive hand, and a distinctive third hand also appears sporadically. The two cursive hands may well have been Sarah’s and Carrie’s as mother and daughter worked on the album together in the mid to late-1870s, with an occasional contribution (the third hand) possibly made by one of Carrie’s three younger brothers. One other detail supports this hypothesis: a portrait labelled “Fred” with “Mrs. Parrish, with love of Fred” inscribed on the verso. The individual photographed here was most likely Sarah’s cousin, Frederick Cleveland Homes (1844-1915). Additionally, the portrait on the page next to Fred’s portrait is of a young child identified as “Charlie Homes,” and it is likely that this is Fred’s son Charles Ives Homes (1872-1939).

Parrish family members are well represented in this album, while other unidentified family members may also be portrayed in some of the loose photographs without captions. Likely family friends or acquaintances of the Parrishes whose portraits are present include George and Catherine Truman, James and Lucretia Mott, the Rev. Richard Newton, and Phillip Brooks, all of whom were active in the same abolitionist organizations as the Parrishes. The album also contains many images of admired religious, political, and cultural figures, including Quaker heroes George Fox and Elizabeth Fry; Civil War leaders Abraham Lincoln and Ulysses Grant; George and Martha Washington; social reformers Dorothea Dix and Anna E. Dickinson; actor Edwin Booth; and Queen Victoria and Prince Albert. A number of these images are photographic reproductions of painted, engraved, or lithographic portraits. Also present are four hand-colored photographs of Dutch women in traditional dress as well as photographic reproductions of popular sentimental genre scenes such as “The Unconvanience of Single Life.”

Of particular note are a series of photographs related to the Port Royal Experiment, an ambitious effort to provide education for freed slaves following the capture of islands off the coast of South Carolina by Union troops in 1861. Relief committees in the North raised money and sent volunteers to set up schools and other institutions. Among the most successful was the Penn School, established by Laura Matilda Towne with support from the Philadelphia Freedmen’s organization in which the Parrish family was actively involved. People and places are identified with ink captions on the photographs themselves in a hand that differs from other inscriptions in the album. Towne may possibly have compiled these images herself and sent them to supporters back home. This series of photographs includes seven images of Beaufort, South Carolina, (four of which were produced by Sam A. Cooley, photographer to the Tenth Army Corps) captioned “Beaufort Soldiers’ Chapel and Reading Room,” “Path to the river of Smith’s Plantation,” “Beaufort House / Where we Stopped, showing the Beaufort Hotel and nextdoor office of the Adams Express Company,” “Soldiers’ Graves,” “Gen. Saxton’s Headquarters,” “Father French’s House,” and “Our House.” Three cartes de visite produced by Hubbard & Mix show instructors Towne, Ellen Murray, and Harriet Murray respectively posing with freed black children. The photograph with Ellen Murray bears inscriptions identifying her students as “Peg Aiken” and “Little Gracie Chapin (one of Miss Murray’s brightest pupils).” A fourth Hubbard & Mix image captioned “I’m a freeman” shows an African-American man dressed in clothing made from rags and includes an album page inscription that reads: “Young Roslin says, ‘Now I’m free, I go to bed/ when I please I’se gits up/ when I please. In olden times/ I’se help gits de breakfast/ but no’se time to eats it myself/ Ha-ha-I’se happy boy now.” Also present are three cartes de visite produced by photographers based in Nashville, Tennessee, including one portrait by T. M. Schleier of an African-American woman with two children (one of whom has a much lighter complexion than the other) with the recto caption “Lights & Shadows of Southern Life” and verso caption “Aunt Martha and children/ Slaves/ Nashville, Tenn.,” as well as two other images by Morse’s Gallery of the Cumberland that show the same young African-American boy looking sad “Before the Proclamation” and then grinning broadly “After the Proclamation.”

The William N. Palmer photograph album contains 78 photographs of William Niles Palmer and friends taken in Massachusetts and Rhode Island from 1915 to 1916.

The William N. Palmer photograph album contains 78 photographs of William Niles Palmer and friends taken in Massachusetts and Rhode Island from 1915 to 1916. The album (16.5 x 11.5 cm) dates to about one year prior to Palmer’s enlistment in the U.S. Army during World War I. During this period Palmer went by Niles W. Palmer; "Niles W. Palmer/Company F 14th Regiment U.S. Railway Engineers/American Expeditionary Forces" is stamped on the front of the red album cover.

The album begins with images taken in Providence, Rhode Island. A group of young people, including Palmer, are documented travelling by train to or from East Douglas, Massachusetts. Members of the group are shown cutting trees, canoeing, shooting, camping, and picnicking among other recreational activities. Four images show the site of a freight train wreck in East Douglas, Massachusetts. Also of note is a humorous double-exposed photograph of Palmer appearing to be inside of a glass bottle. The album concludes with photographs taken in Rumford, Rhode Island. Each photograph in the album includes a typewritten caption indicating individuals, location, and content. Other specific locations that are represented include Arcade Woods, Bad Luck Pond, and Buttonwoods Beach. The most frequently named individuals include Alan W. Watson, Norman S. Watson, William J. Story, Ruth P. Smith, Selma C. Sandbeck, and Edith V. Sandbeck. The captions frequently refer to the group as, "ADOTs." The meaning behind this acronymic reference has not been identified.

The Ost family photograph album (17.8 x 22.8 cm) contains approximately 60 portrait snapshots, including some taken at Belle Isle in Detroit, Michigan. There are several images of people wearing and holding the flag of the United States.

The Ost family photograph album (17.8 x 22.8 cm) contains approximately 60 portrait snapshots. The album is a souvenir from the 1933 Chicago World's Fair with "Gerard Ost" stamped on the front, but the photographs included were not taken at the World's Fair. Many of the photographs appear to have been removed from an earlier album and inserted into this album. The first three pages include photographs taken at Belle Isle in Detroit, Michigan, depicting groups of people, the conservatory, the Detroit Boat Club, beaches, and a seaplane on the Detroit River. Also included are many photographs of women and children with a large American flag. The majority of images are of groups of men, women, and children posing in front of houses.

The Henry Fairfield Osborn collection contains the papers of the noted biologist, paleontologist, and president of the American Museum of Natural History. This includes correspondence, both professional and personal, and two photograph albums from trips to Russia and Colorado.

The Henry Fairfield Osborn papers represent a very small portion of an originally voluminous personal and professional correspondence. They contain five letters from William Berryman Scott to Osborn, 1879-1885, 9 letters from Osborn to his wife, Loulee, dated 1925 (one n.d.), and two extensive photograph albums assembled by Osborn during trips through Central Europe and Russia (1898) and Colorado (1899).

The Scott letters are scattered, but include two important letters written in Heidelberg, 1879 and 1880, when Scott was pursuing research on the embryology of the lamprey, Petromyzon and working toward his dissertation. At the time, Osborn was traveling in England, studying with Thomas Huxley. These letters provide an all too brief glimpse into the life of an American graduate student in Germany at the high point of the German academic tradition, and provide a fascinating insight into the early development of "professional" paleontology in the United States. The other three letters from Scott were written during the field seasons of 1882 and 1885, when he was working in the Great Plains states, excavating mid-Cenozoic mammalian fossils, including discoveries of some of the classic specimens of oreodonts, creodonts and fossil rhinoceroses.

The remaining letters in the collection were written by Osborn during a vacation at Trinchera Ranch, Fort Garland, Colo., in the summer of 1925. They are newsy, personal letters with little content of general interest.

The Henry Fairfield Osborn photograph albums contain pictures taken during a visit to Germany and Russia in 1898 and while camping in Colorado in 1899.

This collection consists of two photograph albums that once belonged to Henry Fairfield Osborn. The first volume (19cm x 26cm), which has the title "Russia 1898" imprinted in gold on the front cover, contains 124 photographs (each 8.5cm square) taken in cities such as Paris, France; Cologne, Dresden, and Munich, Germany; St. Petersburg, and Moscow, Russia; five loose items, including a cyanotype and a view of the Eiffel Tower, are laid into the front cover. The pictures from Russia are mostly scenes of everyday city life, often showing local residents and horse-drawn vehicles. Some of the pictures from Germany show an outdoor market in a city square. One group of images was taken along a lake or river in a mountainous region, and another at a zoo; a man poses next to a hippopotamus's open mouth in two of the images. Visible landmarks include Cologne Cathedral (Cologne), a statue of Friedrich Wilhelm III in Heumarkt Square (Cologne), Kreuzkirche (Dresden), The Bronze Horseman (St. Petersburg), Kazan Cathedral (St. Petersburg), the Cathedral of Christ the Savior (Moscow), the Cathedral of the Annunciation (Moscow), Spasskaya Tower (Moscow), the Kremlin (Moscow), the Isartor (Munich), and the Glyptothek (Munich).

The second volume (29cm x 38cm) has the titles "Photographs" and "Colorado 1899" imprinted on its front cover, the latter in gold. The 269 photographic prints, often mounted five or nine to a page, are scenes from a camping trip showing mountainous and wooded landscapes, camp and campers, and travelers on horseback. One group of photographs features a woman on horseback, and another group shows the head of a buck, complete with antlers. Two images show lightning strikes against a dark background. Henry David Osborn appears in at least one photograph--at the head of a group eating outdoors.

The Kate and Robert Johnson photograph album contains interior and exterior images of the Johnsons' homes and grounds in San Francisco, and Menlo Park, California, as well as portraits of the Johnsons, their family members, and friends photographed at these locations. The pictures, taken by Eadweard Muybridge circa 1880, also include examples of spirit photography.

The Kate and Robert Johnson photograph album (30 x 25 cm) contains 84 images of the Johnsons' homes on O'Farrell Street in San Francisco, California, and "Heartsease" near Menlo Park, California, taken by Eadweard Muybridge circa 1880. The album has a pebbled brown cover with a binder's ticket from Partridge & Cooper, 192 Fleet St. [London].

The first group of 42 images consists of exterior and interior views of their San Francisco mansion, including views of parlors, bedrooms, and children's rooms. A few individual portraits taken on the premises are included. Of particular note are several spirit photographs of Robert and Kate Johnson, both of whom were alive at the time (20, 21, 24, 29). The couple's art collection is often visible including the painting "Elaine" by Toby Rosenthal. Furniture and decorative arts objects appear and reappear in different rooms and positions in the carefully composed images. In one image (37), it is possibly the photographer Muybridge who appears in a mirror reflection. The section ends with a close portrait of Robert C. Johnson.

The remaining 42 photographs are scenes from the Johnsons' "Heartsease" estate near Menlo Park, California. While the San Francisco photographs focus primarily on room interiors, the Menlo Park photographs mostly show the grounds and surroundings. Two images include sporting activities: a girl riding a young pony (70) and a group of men and women playing croquet (60). A photographic title page image for this section includes Muybridge's pseudonym "Helios" (44). Also included is a portrait of one of Kate Johnson's numerous cats, her affinity for which was well-documented (43).

This album showcases Muybridge’s interest in urban architecture and landscape photography, his success in earning commissions from notable men and women, while also touching on San Francisco’s rapidly developing wealth. It highlights the Johnsons' ornate mansion, their expansive art collection, and features both their urban homestead and rural retreat simultaneously. Moreover, with portraits, staged "spirit" photographs, and landscape scenes placed alongside more traditional photographs of the Johnsons' homes, the album speaks to Muybridge’s multiple artistic talents and the nuances of the Johnson’s personalities.

The Edward R. Mullin, USS Albany in Asia photograph albums consist of three volumes containing images and ephemera that document an American sailor’s experiences aboard a US Navy ship in the Asiatic Fleet from 1919 to 1920.

The Edward R. Mullin, USS Albany in Asia photograph albums consist of three volumes containing images and ephemera that document an American sailor’s experiences aboard a US Navy ship in the Asiatic Fleet from 1919 to 1920.

Volume A: This album (14.5 x 21 cm) contains photographs of scenes in Panama, Hawaii, Japan, Russia, China, California, and the Philippines that mostly depict the USS Albany, American soldiers and sailors, local citizens, and tourist scenes. Numerous ephemeral items compiled by Edward R. Mullin (the album’s creator) from various foreign places are also present, including tickets, stamps, bank notes, and an Asahi beer label. Of note is a “familiar phrases” card for translating English to Japanese. On the inside back cover of the album a handwritten log lists arrivals and departures of the USS Albany, while a typescript description of a military takeover of Vladivostok, Russia, is also included.

Volume B: This album (18 x 26 cm) contains photographs of scenes in Russia and China. Images show American soldiers and sailors exploring sites and interacting with local citizens as well as natural scenery and architecture. Of note are photographs of the Great Wall and the Forbidden City in China. Some photos have handwritten captions that identify locations and/or persons pictured

Volume C: This album (20.5 x 29 cm) contains photographs of scenes in Russia, the Philippines, Panama, Japan, China, Hawaii, and California. Of note are photographs of the Panama Canal and some images showing the compiler of the album, Edward R. Mullin. Many photos have handwritten captions. Also present are various types of ephemera including a beer label, tickets, and a fabric poppy flower, as well as a photocopy of Mullin’s service record, a large portrait of the USS Albany in Shanghai, China, and a loose photo of the USS Albany in Vladivostok.

This photograph album contains pictures taken during the World's Columbian Exposition (World's Fair) in Chicago, Illinois, in 1893. The album includes several interior views of the New Jersey educational exhibit in the Liberal Arts Building and exterior views of the exposition's large thematic buildings, individual state pavilions, international cultural exhibits, and statues.

This photograph album (31cm x 23cm) contains 105 pictures taken during the World's Columbian Exposition (World's Fair) in Chicago, Illinois, in 1893. The title Views of the World's Fair is stamped in gold on the front cover, along with an image of the Statue of the Republic. A second title, World's Fair Photographs, Including Views of the New Jersey Educational Exhibit, is printed on the first page. With the exception of two larger prints, items are pasted two to a page, above manuscript captions.

The album includes a group of rare interior views of the displays in the Liberal Arts Building. Featured are the New Jersey educational exhibit, the packing of displays after the fair's closure; views of international cultural exhibits; statues, and artifact displays. The majority of the album is comprised of more common exterior views of the exposition's large thematic and individual state pavilions. Many of the main structures, such as the Administration Building, Liberal Arts Building, Electricity Building, and the Palace of Mechanical Arts, are shown from a variety of perspectives, along with smaller structures representing many U.S. states.

Also shown are views of the nautical vessels displayed at the fair including the replica battleship USS Illinois, a replica of Columbus's Santa Maria, a replica Viking ship, and the fair's gondolas and similar smaller boats. Photographs of the Wooded Island and the Midway Plaisance also appear in the album. Of particular note are the pictures of ethnographic displays including Native American shelters and a group of "Dahomey Villagers." A series of photos taken on "Chicago Day," October 9, 1893, shows the crowds that set the world record for outdoor event attendance.

This collection is made up of correspondence, military documents, photographs, printed items, and ephemera related to Dr. William Jason Mixter, who served in the United States Army during World War I, and his wife Dorothy.

This collection is made up of correspondence, military documents, photographs, printed items, and ephemera related to Dr. William Jason Mixter, who served in the United States Army during World War I, and his wife Dorothy.

The Correspondence series (1.75 linear feet) comprises the bulk of the collection. The first group of correspondence is made up of 48 letters and postcards that William Jason Mixter sent to his wife Dorothy from March 9, 1915-May 21, 1915. He described his voyage to Europe, his brief stay in England, and his experiences working in French hospitals near the war front. His letters include details about his work with specific patients, comments about the sinking of the Lusitania, and other war news.

William Jason and Dorothy Mixter wrote most of the remaining correspondence to each other between May 1917 and April 1918, while William served with Base Hospital No. 6 in France and Base Hospital No. 204 in Hursley, England. He shared anecdotes about his experiences and reported on his medical work. Dorothy provided news of their children and life in Woods Hole, Massachusetts. Their correspondence includes letters, telegrams, and postcards. Other writers include Samuel J. Mixter, Jason's father, who wrote from Boston, Massachusetts, about his daily life and about his work as a medical inspector. Other soldiers, former patients, and acquaintances also wrote to members of the Mixter family.

The collection includes 25 picture postcards depicting French scenes during and after the war; 3 are integrated into the Correspondence series, and the remaining 22 are housed with the Printed Items and Ephemera series.

The Military Papers series is divided into three subseries. Chronological Military Papers (51 items) include memorandums, orders, letters, telegrams, and other items pertaining to William Jason Mixter's military service during World War I, particularly related to his discharge in 1919. The subseries contains a list of personnel who served at Base Hospital No. 6. The Account Book, Diagnosis Book, and Notebooks subseries (4 items) consists of William Jason Mixter's account book from the London City & Midland Bank (June 30, 1918-January 15, 1919), a diagnosis book regarding soldiers' complaints onboard the SS Northland from February 11, 1919-February 17, 1919, and a notebook with brief personal memoranda. William Jason Mixter kept a medical notebook during his time at Hursley Camp Hospital near Winchester, England. He recorded biographical and medical information about his patients, and information about medical treatments. The Hursley Camp Hospital volume enclosed numerous clinical record slips and other manuscript notes.

The American Women's War Hospital Documents (3 items), pertaining to an institution in Paignton, England, are comprised of a photograph of nurses and patients outside of the hospital (December 1914) and two bundles of letter typescripts that a nurse named Mary Dexter wrote to her mother about her work at the hospital (November 22, 1914-January 9, 1915, and January 15, 1915-July 16, [1915]).

The Writings series (10 items) contains 9 typed and manuscript poems, mostly related to American soldiers' experiences during World War I, on topics such as volunteering for the army, traveling overseas, and encountering death. The poems "The Americans" and "Only a Volunteer" are present in manuscript and typescript form, and "The Young Dead" and "The Woman's Burden" are attributed to female authors (Lilian Palmer Powers and Laura E. Richards, respectively). The final item is a typescript of a resolution presented at a social club encouraging its members to proclaim loyalty during the war.

The Photographs series (114 items) is comprised of 113 photographic prints and a 32-page photograph album; some images are repeated. Items include studio portraits of William Jason Mixter in uniform; group portraits of nurses, doctors, and other medical personnel; pictures of wounded and convalescent soldiers during and after operations; interior views of medical facilities; and views of buildings and destruction in France. The photograph album and 80 loose items are housed in the Graphics Division (see Alternate Locations for more information).

The Printed Items and Ephemera series (59 items) consists of 3 unique pamphlets; 18 unique newspapers, newsletters, and newspaper clippings; 28 unique ephemeral items; and 4 books.

The pamphlets include 5 copies of an article by William Jason Mixter entitled "Surgical Experiences in France," originally published in the Boston Medical and Surgical Journal 173.12 (September 16, 1915), pp. 413-418. The other pamphlets are an advertisement for an "Exhibition and Sale of the War Cartoons by Louis Raemaekers" (October 1916), including an introduction and small reproductions of the drawings, and "Welcome Home," a book commemorating the return of the 26th Division in April 1919. Newspaper articles and other publications (including 6 items housed in Oversize Manuscripts) pertain to aspects of the war, particularly concerning medical personnel, civilian relief organizations, and the medical career of Samuel J. Mixter. A copy of The Boston Herald dated November 11, 1918, announces the Armistice.

The 28 ephemeral items include programs and advertising cards pertaining to church services held in honor of Base Hospital No. 6; the collection includes several copies each of 2 programs. Other printed items include a small map of Cambridge and Boston, a circular related to the Boston Society of Psychiatry and Neurology, and a book of stationery with engravings of Belgian scenes. A few personal items relate to the Mixter family, such as visiting cards on which William Jason Mixter wrote personal messages, cards from Mixter's children with sewn pictures, a certificate regarding Dorothy Mixter's service with the American Red Cross canteen, and a small French-language almanac affixed to a card with colored illustrations of the Allied Nations' flags. Three additional items pertain directly to the American Red Cross: the cover of the December 1918 issue of The Red Cross Magazine, a Red Cross service flag for display in a home window, and an American Red Cross canteen worker patch. Other insignia items are a button and ribbon commemorating the 26th Division's return to the United States and two small pins that belonged to William Jason Mixter. Also present is William Jason Mixter's passport, issued on February 6, 1915.

The 4 books include: The History of U.S. Army Base Hospital No. 6 (Boston, Mass.: 1924), given to William Jason Mixter, Jr., by his father; Independence Day in London, 1918 (London: Hodder and Stoughton, 1918); The Old Humanities and the New Science... (London: J. Murray, 1919); and Dere Mable: Love Letters of a Rookie (New York: Frederick A. Stokes Co., 1918).

The Caspar Wistar Miller photograph albums contain approximately 172 photographs stored in two albums that document travels in the western United States, Alaska, and Europe by Philadelphia-area physician Caspar Wistar Miller during the late 19th-century.

Volume 1 (33.5 x 40 cm) has maroon and black leather covers with “Photographs” stamped in gold on the spine and contains 87 photographs related to Miller’s travels in the western United States and Alaska from May to August of 1888. Many images appear to include glass plate negative numbers. Traveling mostly by rail, Miller’s itinerary and layovers can be tracked from the photographs, almost all of which note the date and location. Miller appears to have held an interest in photos of valleys looking first in one direction (“up”) and then the other (“down”), and he also regularly sought out possibilities for bird’s-eye views of towns. The album opens with a photo of a cantilever bridge in Niagara, New York, before documenting Miller’s time in Pullman, Illinois, where he observed the railroad baron George Pullman’s newly built factory town. It is likely that Miller traveled in Pullman railroad cars during this journey. Subsequent images show scenes from Colorado, New Mexico, and California, where Miller spent a month photographing various towns and cities along the Pacific coast before heading into the Northwest. Included are images of the area surrounding the Las Vegas, New Mexico hot springs; street scenes, historic sites, and Native Americans in Santa Fe; and views of buildings, historic sites and natural scenery in Californian locations including Pasadena, Los Angeles, Santa Barbara, Yosemite, Monterrey (including views of the Hotel Del Monte), Santa Cruz, San Francisco, and the Lick Observatory on Mount Hamilton. Images related to the Northwest include a bird’s-eye view of Portland, Oregon, and a series of photographs of acrobats performing in Tacoma, Washington. Also present are a series of images taken in early July 1888 after Miller joined a few dozen other travelers on a three-week Alaskan cruise exploring inlets, harbors, and villages. Alaskan images include a group portrait of Tlingit women and infants; photos showing a grave totem and totem poles at Fort Wrangell; Tlingit men and women selling wares on a wharf in Juneau; views of Juneau and Sitka; a block house in Sitka; the face of Muir Glacier; a Tlingit camp at Pyramid Harbor; a group portrait of officers in command of the sidewheel steamship “Ancon”; and group portraits of fellow travelers posing with various Tinglit items including a chilkat blanket. A newspaper clipping regarding Alaskan totem poles is also included opposite one of the totem pole images. Photographs taken during Miller’s return home include scenes from Port Townsend, Washington; Yellowstone National Park; and Minnehaha Falls in Minnesota.

Volume 2 (28.5 x 39 cm) also has maroon and black leather covers and contains 85 photographs related to Miller’s European travels between May and August of 1892. The vast majority of these images are high-quality commercially-made photographic prints documenting typical tourist attraction subjects such as historic buildings, street scenes, cathedrals and churches, sculptures, and landscape views. Many of these images were likely produced from glass plate negatives that were originally created in the 1870s and 1880s. A small number of half-tone reproduction images clipped from printed sources are also present. Many of the commercially-produced images include captions within the photographs that provide site information and negative or series numbers, while some also contain blind stamps bearing photographer or studio names. The album begins with images of scenes in Le Havre and Paris, France; the two Le Havre-related photographs appear to have possibly been taken by Miller, while the Parisian views were all purchased from the gallery “A Jeanne D’Arc Paris 3, Place Rivoli, 3.” Most, if not all, of the remaining photographs in the album were also purchased by Miller. Subsequent images include views of sites, sculptures, and Alpine scenery in the Swiss locales of Geneva, Vevey, Montreux, La Tour-de-Peilz, Bern, Zurich, Fribourg, Thun, Oberhofen, Interlaken, and Lucerne. Other Swiss-related images include views of the Lauterbrunnen Valley; the Jungfrau; the Lion of Luzern monument; a wall tower and hotel in Zug; a man operating a dog-powered milk cart; and the Rheinfall. Austrian views include scenes from locations such as Innsbruck, Kufstein, and Rattenberg, while German destinations such as Lindau, Munich, Nuremburg, Heidelberg, Frankfurt am Main, Koblenz, and Cologne are also represented. The back-end of the album contains images from Brussels, Belgium, including another photograph of a dog-powered milk cart.

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.