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Edward E. Wilcox, a native of Franklin County, New York, wrote narrative recollections of hunting trips, painted watercolors, created sketches and drawings, and pasted photographs and newspaper clippings in this volume around the 1890s. Most of the material concerns hunting and fishing excursions in northern New York and southern Québec.

Edward E. Wilcox, a native of Franklin County, New York, wrote narrative recollections of hunting trips, painted watercolors, created sketches and drawings, and pasted photographs and newspaper clippings in this journal from approximately 1893-1896. Most of the material concerns hunting and fishing excursions in northern New York and southern Québec. The volume contains 200 pages, not all of which are used.

Wilcox wrote a 2-page introduction on June 2, 1893, intending to record details of his life for friends and family to discover after his death. In approximately 43 additional pages of prose, he wrote about his courtship with and wedding to Clara Stuart, his early years in New York City, numerous hunting and fishing trips in northern New York, and a summer vacation in New Hampshire and Québec. Two of the accounts describe a salmon run and an encounter with bears, and one pertains to a youthful prank. Some of the journal's watercolors, drawings, and sketches illustrate aspects of Wilcox's travel stories; most depict hunters, fishers, fish, rowboats, cabins, and woodland scenery. One pencil drawing utilizes shading to create the illusion of a nighttime view and appropriate shadows. Photographs include a picture of a man in a military uniform posing by a paper globe and paper cannonballs (possibly taken around 1917), studio portraits of an unidentified man and woman, a studio portrait of a man in his underwear, views of steamboats in a canal or lock, pictures of cacti in a desert, and a picture of hunters in a wooded area. Also present are interior shots of a shipping or similar commercial office and a man working in an enclosed office space, as well as street scenes. Two newspaper clippings concern E. E. Wilcox's use of shed human skin as a painting canvas and a painting he made as a young man.

This collection contains correspondence related to the family of Elizabeth Ellery Sedgwick Child, granddaughter of politician Theodore Sedgwick and wife of Harvard professor Francis James Child. The collection also includes several photographs and printed items.

This collection (1 linear foot) contains correspondence related to the family of Elizabeth Ellery Sedgwick Child, granddaughter of politician Theodore Sedgwick and wife of Harvard professor Francis James Child. The collection also includes several photographs and printed items.

The Correspondence series, which comprises the bulk of the collection, contains letters the Sedgwick family wrote to and received from family members and friends, as well as several poems. From 1826-1842, Robert Sedgwick, his wife Elizabeth, and their daughter Elizabeth ("Lizzie") corresponded with family members including Catherine Maria Sedgwick of Stockbridge and Lenox, Massachusetts, and Jane Minot Sedgwick of New York City. Most of the early correspondence pertains to the writers' social lives and family news, and to travel around New York, Massachusetts, and Pennsylvania. Catharine Maria Sedgwick also reported on acquaintances such as the actress and writer Fanny Kemble, whom she deemed "fated to suffer" (May 27, 1834), and the writer and social theorist Harriet Martineau (November 2, 1834).

The bulk of the remaining correspondence is dated 1855-1885 and pertains to the relationship between Lizzie Sedgwick and her husband, Frank James Child. Child wrote to Sedgwick from Cambridge, Massachusetts, and Paris, France, and received letters from Sedgwick and others. The couple's other correspondents included at least one writer in Italy who commented on their relationship and health, family news, and the Civil War. Postwar correspondence includes letters to Susan Ridley Sedgwick Butler. Three late postcards to Mrs. G. A. Stanger of Springfield, Massachusetts, concern her son Herb's experiences in Georgia while serving in the armed forces during World War I.

The Photographs series (5 items) contains 3 photographs of Helen Child (later Sargent), a photographic print of Elizabeth Sedgwick Child, and a photograph of the Child family's home in Cambridge, Massachusetts.

Printed Items (9 items) include a certificate regarding Francis Child's qualifications as an instructor of Greek at Harvard University (September 22, 1846), 2 illustrated Christmas cards (1881 and undated), a copy of the Boston Daily Advertiser (August 1, 1884), an obituary for Francis Child from The Nation (September 17, 1896), and copies of the poems "From My Arm-Chair" by Henry Wadsworth Longfellow and "The City of the Living" by Elizabeth Akers Allen. The series also includes a biography of Oliver Wendell Holmes that George B. Merrill presented to the Harvard Club of San Francisco on October 18, 1894, and an advertisement for the Massachusetts Association Opposed to the Further Extension of Suffrage to Women.

This collection is made up of correspondence, legal and financial documents, and other items concerning several generations of the Lee family of New York and New Jersey from the early 18th century to the late 19th century.

This collection is made up of correspondence, legal and financial documents, and other items concerning several generations of the Lee family of New York and New Jersey from the early 18th century to the late 19th century.

The earliest items (1701-1840) largely consist of legal and financial documents, receipts, accounts, and other financial records related to Thomas Lee, his nephew Thomas (ca. 1728-1804), his grandnephew William (1763-1839), and, to a lesser extent, other members of the Lee family. Many pertain to land ownership in New York and New Jersey. Some legal documents, such as Thomas Lee's will (May 16, 1767), concern decedents' estates. In the 1820s and 1830s, the Lee siblings, including Henry, William, Cyrus, and Phebe, began writing personal letters to one another. Cyrus Lee and his wife Emily Fisher received letters from her mother, E. Fisher of Humphreysville, Connecticut. One letter contains teacher Samuel Squier's response to accusations of drunkenness and inappropriate behavior (February 25, 1774). Additional early materials include a contract related to the establishment of a singing school in Boston, Massachusetts (ca. 1745), medicinal recipes (October 31, 1789), poetry (undated), articles of apprenticeship (February 25, 1796), a daybook reflecting construction costs for a school house in Littleton, New Jersey (October 2, 1797-May 1, 1799), records of William and Isaac Lee's labor at a forge (September 5, 1809-October 24, 1914), and a manuscript copy of an act to incorporate part of Derby, Connecticut, as Humphreysville (May [4], 1836).

After 1840, the bulk of the collection is made up of personal letters between members of the Lee family. Incoming correspondence to Cyrus and Emily Fisher Lee makes up the largest portion of these letters. Emily's mother wrote about life in Humphreysville, Connecticut, frequently discussing her health and that of other family members. Emily's sister Elizabeth discussed her travels in Indiana and Ohio and her life in Ogden, Indiana. After the mid-1850s, many of the letters pertain to Cyrus and Emily's son Robert. He received letters from his grandmother, aunt, and cousins. He sent letters to his sister Emily while he lived in Ogden, Indiana, in the late 1850s and early 1860s. A cousin, also named Emily, wrote to Robert about African-American and white churches in Princeton, New Jersey, and her work as a schoolteacher (February 15, 1858).

Robert Lee wrote one letter about camp life and his poor dental health while serving in the 3rd Indiana Cavalry Regiment (October 3, 1861), and Emily shared news of Littleton, New Jersey, while he was away. Cyrus's sister Phebe wrote to her brother's family during this period. After the war, Cyrus and Emily Fisher Lee continued to receive letters from Emily's mother and sister. Elizabeth Benjamin, living in Lecompton, Kansas, sent letters on January 22, 1871, and March 13, 1871, discussing the death of her son Theodore, who died of a gunshot wound. The final letters, dated as late as 1903, are addressed to Elizabeth M. Lee, likely Cyrus and Emily's daughter. Later items also include a calling cards and a lock of hair.

The collection includes five photographs of unidentified individuals, including cased tintypes of a man and a young child, each with an ornate oval matte and preserver, as well as a third similar tintype portrait of a young boy which no longer has a case. A photograph of a United States soldier is housed in a hard metal frame that includes a fold-out stand; the frame bears the insignia of the United States Army infantry. The final item is a photographic print of a man, woman, and young child posing beside a house.

The collection contains a group of 13 printed and ephemeral items, including sections of the New-Jersey Journal and Political Intelligencer (April 21, 1790), True Democratic Banner (October 9, 1850), and New York Sun (May 9, 1936). Other items of note are a colored drawing of a house (1861 or 1867), printed poems ("Napoleon Is Coming" and "The Lass of Richmond Hill," undated), a price list for the works of Emanuel Swedenborg, a Hungarian Fund bond, and an advertisement for men's shirts and shorts with attached fabric samples. Three additional items pertain to births, deaths, and marriages in the Lee family.

The Mark A. Anderson collection of post-mortem photography contains approximately 1068 items including photographs, ephemeral items, documents, manuscripts, printed items, and realia pertaining to the visual history of death and bereavement between the 1840s and the 1970s. Photographs make up the bulk of the collection.

The Mark A. Anderson collection of post-mortem photography contains approximately 1068 photographs, ephemeral items, documents, manuscripts, printed items, and realia pertaining to the visual history of death and bereavement between the 1840s and the 1970s. Photographs make up the bulk of the collection. Mr. Anderson assembled this collection from dealers, antique shops, and individuals. His motivation stemmed from a desire to document and to provide historical perspective on various end-of-life practices which, in the 20th century, fell into taboo and disfavor.

The majority portion of the photographic items in the collection are neither dated, nor attributed, although approximate dates can often be determined by when particular photographic formats were in use (see timeline at www.graphicatlas.org.). Consequently, the materials have been organized first to accommodate their sizes, formats, and preservation needs, and second to reflect major subject themes present, though scattered, throughout the entire collection. These non-mutually exclusive subjects are as follows:

• Post-mortem portraits
• Post-mortem scenes
• Funeral tableaux
• Funerals and funeral processions
• Floral arrangements and displays
• Memorial cards and sentimental imagery
• Cemeteries and monuments
• Funeral industry
• Mourning attire
• Unnatural death

The first three subjects - post-mortem portraits, scenes, and funeral tableaux - all depict the recently deceased, and so fall into the narrowest definition of a post-mortem photograph. Their distinction into three separate subjects is a partly arbitrary decision, made to break up what would otherwise be a large and unwieldy grouping of photos, but also to roughly shape the order of the collection (post-mortem portraits without décor tended to date earlier chronologically than broader, beautifying scenes).

Post-mortem portraits:

The post-mortem portrait photographs, comprising 251 items in the collection, depict the bodies of dead family members and friends. These images show the deceased, sometimes posed with living family members, and for the most part do not include elements of a larger scene, such as floral arrangements, banners, or other décor.

These portraits include the earliest photographic images in the collection, including 28 cased daguerreotypes, ambrotypes, and tintypes. 78 cabinet card photographs date from the late 1860s to around the turn of the century. Among many notable cabinet cards are two images of Frances Radke, taken and retouched by R. C. Houser, showing her image before and after Houser's post-capture work (3.1 and 3.2). Also of note is a framed crayon enlargement of infant Adelaide Banks by photographer/artist Edward Stuart Tray (26) and a post-mortem carte de visite of an unidentified African American infant taken by photographer S. P. Davis of Danielsonville, Connecticut (4.282u).

Post-mortem scenes:

The post-mortem scene photographs, numbering 155 items in total, are similar to the portraits described above, except that they show the deceased as part of a larger environment, whether in a private home, a funeral home, or out-of-doors. Most of these views are mounted photographic prints from the 1880s to the early decades of the 20th century, frequently centering on the corpse, lying in a casket or coffin, amidst an abundance of floral arrangements, banners or flags, family members or friends, and/or personal belongings. Their caskets are often lined with white cloth.

Many of these images have unique qualities; several examples illustrate the variety of postmortem scenes in the collection. Six photographs by W. Jakubowski and Co. and Jos. Ziawinski, of Detroit, Michigan, include five wedding photographs (of the bride and groom, bridesmaids, and family members) and one post-mortem scene of the wife. She appears to have died within a short time following the marriage; the funeral home scene image contains one of the wedding photographs and a banner marked "Dearest Wife" (18.5-18.10). One mounted photograph depicts a dog, laid on linen, in a homemade casket (14:17). The collection also contains examples of different persons on display in the same funeral home/parlor (e.g. 18.1-18.4). A set of two cabinet card photos of a child in a buggy is accompanied by one of the buggy's metal lanterns (23.1-23.3). Also of note is a photogravure of the 1888 painting "Requiescat" by British artist Briton Rivière showing a dog seated next to its deceased owner (25.2).

Funeral tableaux:

The collection's 35 funeral tableaux photographs show the deceased in an open casket or coffin, typically in front of a church or homestead, with a posed assembly of funeral attendees or mourners. They often show a large group of family and friends, and so are frequently large format prints. Group portraits of this sort were occasionally framed and displayed in the home. Most of the examples in this collection are large prints (many of them mounted), with smaller examples, including a real photo postcard, two snapshots, and one cabinet card. Particular items of note include a framed tableau on the steps of the Church of The Descent of The Holy Ghost in Detroit by Thomas Hoffman (27), a photomontage image of a nun's funeral (28), two tableaux scenes by F. A. Drukteinis taken outside of the same church in Detroit during different seasons and involving the same family (20.12 and 20.15), and three related tableaux scenes (two mounted and one unmounted) involving a presumably Hungarian family that were taken outside of what appears to be a Catholic church in Cleveland, Ohio, during three different funerals (20.16a-20.16c).

Funerals and funeral processions:

The 70 items depicting or pertaining to funeral gatherings show various aspects of the movement of the deceased from the home or funeral home to the cemetery and funeral and burial ceremonies. This group is comprised of real photo postcards (22 items), snapshots (13 items), and a variety of other formats. Examples include an albumen print depicting the Plymouth Church decorated for Henry Ward Beecher's funeral in 1887, and snapshot and postcard photographs of a burial at sea.

Floral arrangements and displays:

Additional documentation of funeral decoration may be found in the collection's 176 still life portraits of floral arrangements and other decorations. A portion of the floral display photographs include pre- or post-mortem photos of the deceased either incorporated into the display or added to the image after printing. One particularly fine example is a large format photograph of a floral arrangement for the funeral of Joshua Turner Mulls; the display included a cabinet card photo of Mr. Mulls and a modified enlargement of the cabinet card. Accompanying the floral arrangement photograph is the cabinet card depicted in the display, with artist's instructions for coloring the enlargement (22.1-22.2).

Memorial cards and sentimental imagery:

The collection includes 105 memorial cards and ephemeral items bearing sentimental imagery. Memorial cards were created as tributes, often displaying birth dates, death dates, and other information about the deceased. Many of these cards include border designs and some bear photographs of the departed. Black-fronted memorial cards gained popularity from 1880 to 1905. Of many interesting examples, the collection includes two examples of memorial cards which haven't yet been personalized (4.306-4.307) and two reflecting World War I-related deaths (4.316 and 4.317). Materials with sentimental imagery include items such as a photograph of an illustration entitled "Momma is in Heaven," a memorial book dedicated to Olive C. Partridge in 1897, and other items.

Note: an advertisement for the Memorial Card Company of Philadelphia is located in the 'Funeral Industry' section of the collection (14.35).

Cemeteries and monuments:

61 photographs, printed items, and realia explicitly pertain to cemeteries, burial markers, or monuments. Some of the cemeteries and monuments are identified, such as the Garfield Memorial at Lakeview Cemetery in Cleveland, Ohio (4.1-4.3). The collection includes examples of cemetery-related realia, including an ovular, porcelain headstone photograph (pre-mortem) of the deceased.

Note: cemeteries may be seen as background for many photographs throughout the collection.

The funeral industry:

The Mark A. Anderson collection of post-mortem photography holds a diverse selection of photographs, ephemera, and printed materials related to the business aspects of death, dying, and bereavement. This group contains around 153 items overall, including receipts (1896-1956); various types of advertising materials (including an undertaker's advertising card, a cabinet photograph of the Arbenz & Co. storefront advertising undertaking as a service, fans from a church and the A. C. Cheney funeral home, a thermometer, and other items); and 118 coffin sales photographs (illustrating a massive selection of different casket models offered by the Boyertown Burial Casket Company of Pennsylvania).

Two photograph albums, that of Clarence E. Mapes' furniture store and funeral home and that of the Algoe-Gundry Company funeral home, provide visual documentation of a rural and an urban funeral home (respectively) in Michigan in the first half of the 20th century:

The photo album and scrapbook of Clarence E. Mapes' furniture store and funeral home in Durand, Michigan, dating from ca. 1903-1930, contains interior and exterior photographs of the furniture and undertaker portions of the shop. The album includes photographs of casket showroom display mechanisms; an example of a "burglar proof" metallic vault; a posed photo of the embalmer standing over a man on the embalming table; images of carriage and motorized hearses; business-related newspaper clippings; and various family and vacation photographs. Several prints, dated August 1903, appear to depict the aftermath of the Wallace Brothers Circus train wreck on the Grand Trunk railroad at Durand. Among these photographs are carriage hearses, a horse-drawn cart carrying ten or more oblong boxes (for transportation and perhaps burial of victims of the wreck), a man standing in an alleyway near three stacked boxes, and a large group of persons standing in a largely unearthed section of a cemetery. The Mapes album is accompanied by a C. E. Mapes Furniture advertising fly-swatter.

The Algoe-Gundry Company album dates from ca. 1924 to 1960 and contains (almost exclusively) 8"x10" photographs of this Flint, Michigan, funeral business. The album includes images of the exterior and interior of Algoe-Gundry buildings, hearses, ambulances, and billboard advertisements.

One album was produced ca. 1939 by the Central Metallic Casket Co. of Chicago, Illinois. Titled "Caskets of Character," the album contains images of patented (or soon to be patented) casket designs as well as a printed cross-sectional view detailing the company's "Leak-Proof" Separate Inner Sealer.

Also of interest is funeral director's license granted by the Michigan State Board of Embalmers and Funeral Directors to Vincent J. George of Fowler, Michigan, in 1938. (25.1)

Mourning attire:

In America, mourning attire tended to follow trends set in Europe. The bereaved wore mourning clothing according to current fashion trends and societal expectations. Mourning clothing styles, often dark-colored and somber, depended on how close the mourner was to the deceased and local societal expectations. Seventeen portrait photographs show men and women wearing mourning attire without the deceased present. This group includes cabinet cards, a 1/9 plate ambrotype of an adult woman, two tintypes, and one carte-de-visite.

Note: persons wearing mourning attire may also be found scattered throughout the other sections of the Mark A. Anderson collection. While most are concentrated in the funeral photographs, mourners are also present in postmortem portraits, postmortem scenes, and cemetery photos.

Unnatural death:

43 photographs (mostly snapshots) depict "unnatural deaths," deaths not caused by age or naturally occurring disease, such as suicides, accidents, murders, and war. The larger portions of the snapshots are mid-20th century police photographs of crime or accident scenes.

Nine Indiana State Police photographs show a train-automobile accident; a group of eight unmarked photos depict the body of woman, apparently violently murdered, at the location of her death and in a morgue; 14 are of a man struck down, beneath a train; two are of a rifle suicide; and the others are of varying accidents. One World War I-era real photo postcard appears to show a man who was shot dead in a foxhole. A stereoscopic card by photographer B. W. Kilburn shows the burial of Filipino soldiers after the Battle of Malolos, Philippine Islands [ca. 1899].

Note: The photograph album/scrapbook of the Clarence E. Mapes furniture and undertakers shop contains several photographs of what appear to be the aftermath of the Wallace Brothers Circus train wreck, Durand, Michigan 1903 (see above description in the 'Funeral Industry' section of this scope and content note).

This collection is made up of correspondence, military documents, financial records, and other items related to the Van Vechten (also Van Veghten) family of Albany and Catskill, New York, and Detroit, Michigan. Most of the material dates from the mid-1700s to the late 1800s.

This collection is made up of correspondence, military documents, financial records, and other items related to the Van Vechten (also Van Veghten) family of Albany and Catskill, New York, and Detroit, Michigan. Most of the material dates from the mid-1700s to the late 1800s.

Two loose Correspondence items are a letter from Abraham Van Vechten to Harmanus Bleecker regarding news from Albany, New York, and local politics (January 20, 1813) and a letter that Abraham Van Vechten received from an acquaintance (November 10, 1813).

The Scrapbook (37 pages), currently disbound, contains printed and manuscript documents, notes, and other items from the late 1700s and early 1800s. Military records include muster rolls and related registers concerning Samuel Van Vechten's Continental Army company; a muster roll for John Van Vechten's company of the 66th Regiment of New York militia, pertaining to his service in the War of 1812; and military commissions for Samuel and John Van Vechten, signed by Cadwallader Colden and Daniel D. Tompkins. A Revolutionary War parole claim and several additional documents concern Jonathan, Lucas, and other members of the Elmendorff family. Additional items include a land survey conducted by Samuel Van Vechten in 1773, indentures pertaining to lands in the state of New York, a political broadsheet printed by the Albany Argus (October 12, 1824), and a letter from George Clinton to Christopher Tappen dated July 1, 1768.

The Orderly Book (34 pages) pertains to John Van Vechten's service in the New York Milita in the War of 1812. Orders, dated September 14, 1814-November 29, 1814, concern troop movements, drills and parades, and logistical matters. John's son Peter presented the volume to his own son, James, in 1913.

The Financial Records series contains loose and bound items. The Accounts subseries (7 items) contains brief notes and calculations; an undated document by Philip Phelps of the Albany Comptroller's office is also present.

Two Account Books belonged to members of the Van Vechten family in the 18th century. The first (approximately 310 pages) contains records dated from approximately 1672-1752, some of which were written in Dutch. The second half of this volume is an extensive genealogical record of the Van Vechten family and related families, compiled by Peter Van Vechten in the early to mid-1890s. The second account book (approximately 260 pages), which may have belonged to Teunis Van Vechten (1707-1785), contains records pertaining to individuals customers, dated from approximately 1768 to 1787 (bulk 1770s). Most entries pertain to sales of foodstuffs and related services, such as grinding wheat; at least one customer regularly paid for postage. Many of the individuals referenced in the volume were residents of Catskill, New York, including farmers, blacksmiths, and other laborers.

The Maps series includes 3 Loose Maps and a Survey Book. The individual maps include John Van Vechten's manuscript survey of lands along Batavia Kill; a printed map of the "Hollow Land" in the Netherlands, including the area around Amsterdam, showing city locations, the North Sea, and the Zuiderzee; and a blueprint map of lands belonging to Teunis Van Veghte [sic] in September 26, 1770. Samuel Van Vechten's Survey Book (approximately 40 pages) contains instructions for conducting land surveys, with illustrated examples and problems. Some pages bear small sketches of buildings.

The Photographs series (5 items) includes reproduced 19th-century portraits of Charlotte Scott, Harmon William Van Veghten, and Mary Jane Tigert, as well as a 20th-century portrait of John J. Tigert IV. The final item is a photograph of a house that belonged to the Schuyler family.

The undated Recipe Book contains manuscript instructions for making cakes, puddings, custard, blancmange, whipped cream, and other items. Newspaper clippings pasted into the front page include recipes for numerous types of cakes and puddings.

The Genealogy series (13 items) includes manuscript and typed notes about the Van Veghten (or Van Vechten) and Schuneman families, genealogical charts and trees pertaining to the Vanderpool and Van Vechten families, and reproduced images of manuscript notes about the Van Vechten family. Also included is a reproduced image of the Van Vechten family crest. The notes concern persons born as early as the mid-1600s and as late as the mid-1940s. Additional genealogical material may be found in one of the collection's account books (see above).

Miscelleanous material (5 items) includes fragments and an etching of a man and dog in front of a country home.

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).