Search

The Same-sex affection and gender studies photograph collection contains approximately 150 examples of photographs that illustrate closeness between subjects of the same sex as well as aspects of non-traditional gender presentation.

The collection includes photographic examples in multiple formats with real photo postcards, tintypes, cabinet cards, cartes de visite, and small format mounted photos being the most numerous. 145 images are contained in Box 1 of the collection while an additional 5 photographs on larger format card mounts are stored in Box 2. Images mainly consist of portraits of men posing familiarly with other men, women posing familiarly with other women, and portraits of groups and individuals engaged in cross-dressing. Due to the subjective nature of assessing these images combined with historical differences in what was considered socially acceptable displays of affection and the general lack of verifiable context, many of these photographs remain open to a variety of interpretations.

Numerous photographs show same-sex duos and larger groups holding hands, placing their hands on each other, leaning on each other, or demonstrating affection in some other observable way. Most subjects are unidentified, though occasionally individuals have been identified through the presence of inscriptions. In some cases, individuals pictured together have been confirmed to be relatives.

Numerous photographs of male and female individuals and groups engaged in cross-dressing are also present. In many instances, the cross-dressing most likely occurred for humorous reasons.

• Postcard showing two men embracing with the printed caption "We're looking for girls at Lansing, Mich."
• Real photo postcard bearing a studio group portrait of two men, one of whom appears to have an unbuckled belt.
• Cabinet card studio group portrait by Beardsley of Charlotte, Michigan, showing two men, one of whom holds a guitar, whose arms appear to align behind them in a manner that suggests they may have been holding hands.
• Two different group portraits of the same female couple identified through inscriptions as "Agnes Davis" and "Anna Wickerham."
• 1940s group portrait of four men included in a souvenir packet for “Swing Rendezvous,” a New York City-based lesbian/gay bar.
• Real photo postcard bearing a portrait of an unidentified man wearing women's clothing, including a dress, flower-laden hat, and beaded necklace.
• Postcard showing a man wearing women's clothing sat on a bench with the printed caption "The Male is late!"
• Outdoor portrait of two women dressed in men's clothing captioned "A pair of Peaches."
• Real photo postcard captioned "Four of a kind" showing two cross-dressed male-female couples sitting together, with the women sat in the men's laps.
• Series of four images showing a woman posing in World War I-era soldier's uniform.

The Schafer Brothers Logging Company photograph collection consists of 18 images related to the business’s logging operations in western Washington State from the mid-1890s to 1940.

The photographs are stored in plastic sleeves and kept in a black vinyl-covered ringed notebook (38.5 x 32 cm). Five of the images are 30 x 35.5 cm while the other thirteen are 20.5 x 25.5 cm. The photographs in this collection detail important aspects of the Schafer Brothers Logging Company’s development as an enterprise. At least four of the photographs were taken by Clark Kinsey. Other attributed photographers include Anderson Photo., Jones Co., H. C. Nelson, E. A. Smith, K. S. Brown, and Stan Spiegle. Certain photographs bearing the stamp of K. S. Brown appear to possibly be copies of other photographers’ work that was reproduced at a later date.

The 30 x 35.5 cm images include the following:

1) Outdoor group portrait of seven men working in the woods in Brady, Washington; photograph by Clark Kinsey, No. 44 (ink signature on verso: Carl A. Schafer)

2) Outdoor group portrait of numerous company employees including many Native American men from the Quinault Reservation; “No. 1 Schafer Lumber Co.”; (ink signature on verso: Carl A. Schafer)

3) Outdoor group portrait of numerous company employees at a company picnic observing logrolling contest; “Schafer Bros. Annual picnic Aug 14 / 27”; photograph by Clark Kinsey, No. 51 (ink signature on verso: Carl A. Schafer)

4) Outdoor view of a 41-ton Heisler geared steam locomotive, the company’s first locomotive, with crew; “Schafer Bros. Logging Co. Brady, Wn.”; photograph by Clark Kinsey, No. 48; (ink signature on verso: Albert Schafer)

5) Outdoor group portrait of 17 log foremen; “Schafer Bros. Log Foreman [sic] # 91”; photograph by Clark Kinsey, No. 91; (ink signature on verso: John D. Schafer)

The 20.5 x 25.5 cm images include the following:

6) Ca. 1899 view of the Schafer family home built in 1895 showing members of the Schafer and Mueller families (related through Anna Schafer’s first marriage) [includes touchups made directly onto the photograph with a marker]; (photographer’s stamp on verso: Copy Negative No. 7470 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

7) Outdoor group portrait of several members of the Schafer, Mueller, and Comfort families with horse-drawn carts, dogs, and homestead visible in background [includes touchups made directly onto the photograph with a marker]; “Old Homestead”; (stamp on verso: Copy Negative No. 7473 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

8) Outdoor group portrait of several men including the Schafer brothers with crew members, two of which are entirely illustrated through negative retouching, and a team of oxen while posing with tools near noteworthy logging harvest; “Aug 21-1901 30 x 84 = 7000 Schafer Bros. Logging Co.”; (stamp on verso: Copy Negative No. 7543 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

9) Outdoor view showing team of oxen hauling trees to the river with Peter Schafer (at right holding goad stick), Roy Gill (at center riding bull), and another individual [includes touchups made directly onto the photograph with a marker]; (stamp on verso: No. 14647 The Jones Photo Co. Aberdeen, Washington)

10) LOCATED BEHIND #9; Outdoor view showing team of oxen hauling trees to the river with Peter Schafer (at right holding goad stick), Roy Gill (at center riding bull), and another individual; “Preacher Slough Sep 6 - 1897 Peter Schafer”; (stamp on verso: Copy Negative No. 7466 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

11) Outdoor view showing August Maas, Peter Schafer, and Hubert Schafer operating one of the company’s first steam donkeys [includes touchups made directly onto the photograph with a marker]; “Schafer Bros. Log Co. on Satsop”; photograph by E. A. Smith; (stamp on verso: Copy Negative No. 7475 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

12) Outdoor view showing a steam donkey railroad operation hoisting and loading logs; (stamp on verso: No. 17371 The Jones Photo Co. Aberdeen, Washington Jun 27 1940)

13) Outdoor group portrait showing in order of appearance from left to right: Hyasman (first name possibly George; Native American), Hubert Schafer, Albert Schafer, Ed Kesterson, Herman Mueller, Ben Kesterson, and John Minkler standing on a logjam in the Satsop River in 1898 [includes touchups made directly onto the photograph with a marker]; (stamp on verso: Copy Negative No. 7474 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

14) Outdoor view showing an enormous logjam on the Satsop River ca. 1907 with a group of workers posing in foreground [includes touchups made directly onto the photograph with a marker]; “Schafer Bros. 3000000 ft. in the River”; photograph by H. C. Nelson; (stamp on verso: Copy Negative No. 7471 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

15) Outdoor view showing lumber staging area on water; “140 Fir Peeler logs selected for wide Veneer or Plywood stock. Schafer Brothers Logging Co. Montesano, Wash.”; photograph by Anderson Photo. ; (stamp on verso: Anderson Photo 119 E. Heron St. Aberdeen, Wash.) (ink signature on verso: Paul A. Schafer)

16) Outdoor view showing large group of people gathered for company picnic; “Schafer Bros. Picnic Everybody Eat”; photograph by Anderson Photo. ; (stamp on verso: Anderson Photo 119 E. Heron St. Aberdeen, Wash.) (ink signature on verso: Paul A. Schafer)

17) Outdoor view of stone monument at entrance to Schafer State Park with large metal plaque that reads: Honoring the Memory of John D. & Anna Schafer Pioneers of 1871 This Park is Dedicated by Their Sons Peter, Hubert and Albert in 1924; “#14”; (stamp on verso: No. 15774 The Jones Photo Co. Aberdeen, Washington Jul 1938)

18) Outdoor view showing a man standing on a dirt path in the woods staring up at the trees; (stamp on verso: Reproduction Rights Reserved by Stan Spiegle Aberdeen, Washington)

The Schlegelmilch family cottage photograph album contains 107 photographs related to the Schlegelmilch family vacation home on a wooded island or point (likely on a lake in Wisconsin) including views of natural scenery, Schlegelmilch family members and cottage guests, and various recreational activities taken during the late 1890s to 1920.

The Schlegelmilch family cottage photograph album contains 107 photographs related to the Schlegelmilch family vacation home on a wooded island or point (likely on a lake in Wisconsin) including views of natural scenery, Schlegelmilch family members and cottage guests, and various recreational activities taken during the late 1890s to 1920. The album (18 x 27 cm) is half bound in tan leather with four rivets along the edge. Images of interest include scenic views of the lake, cottage exterior, and surrounding forested area; views of cottage visitors boating, gathering on the veranda and indoors for meals, swimming, using rifles for target practice, fishing, picnicking, and taking part in outdoor excursions; a posed portrait of people holding musical instruments, a fishing net, and a megaphone; photographs of boats including small steamboats or lake ferries, a sailboat, and a large canoe holding 13 passengers; interior views of the cottage during winter; and two photographs of Native Americans including a family sitting outside of a wigwam shelter and a group portrait dated 1901 showing two people sitting in a wallpapered interior with a beaded bandolier bag hanging from the wall behind and a small animal pelt on the shelf.

Cottage visitors identified by handwritten captions include: Agnes Barland, Mable Welke, Isabel Rutherford, Gordon Barland, H. F. Schlegelmilch, L. Schlegelmilch, Jennie Dunnigan, and Lillian Dunnigan.

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.

This collection is primarily made up of letters that brothers Charles B. and Clarence F. ("Freeman") Shaw wrote to their mother, Hattie C. Shaw of Swampscott, Massachusetts. Charles discussed his life in Schenectady, New York, prior to World War I and his life in Washington, D.C., in the early 1920s, when he was a clerk for General John J. Pershing. Freeman Shaw wrote to his mother about his experiences with the United States Army's 103rd Aero Squadron in the United States and France during World War I.

This collection (1.75 linear feet) contains correspondence and other items related to Hattie C. Shaw of Swampscott, Massachusetts, and her two eldest sons, Clarence F. ("Freeman") and Charles B. Shaw.

The Correspondence series (approximately 400 letters) comprises the bulk of the collection. The earliest items are personal letters to Hattie C. Shaw from her son Charles and from other correspondents, between 1905 and 1911. Charles B. Shaw began writing regularly to his mother after he moved to Schenectady, New York, in July 1915. He wrote about his daily life, including initial homesickness and leisure activities, such as attending dances, attending sporting events, and participating in bowling leagues. He described public gatherings such as parades and pro-war rallies, Union College events, and festivals, and mentioned local efforts to enlist volunteers after the country's entry into World War I in April 1917. A few letters briefly reference a large workers' strike in October 1915 and the presidential election of 1916. Shaw's final letters from this period concern his intention to accept employment in Washington, D.C., which he did just before joining the United States Army. Enclosures in these letters include a printed advertisement, newspaper clippings, and a certificate authorizing Charles B. Shaw to work as a stenographer for the state of Massachusetts (June 16, 1915).

The bulk of the letters written during World War I consist of Freeman Shaw's letters to his mother pertaining to his experiences in the United States Army. His letter of December 2, 1918, provides details about his service history, including the names of the towns and bases where he was stationed. Shaw wrote a few letters from Fort Slocum, New York, in August 1917 before joining the 103rd Aero Squadron at Kelly Field in San Antonio, Texas. While in training, he shared details of camp life and conditions, often commenting about his uniform. After his arrival in Europe around December 1917, Shaw was briefly stationed in England before traveling to France. He commented on the scenery and the warm reception his squadron received from local citizens. His letters refer to his work digging trenches and performing guard duty, and his preference for working with the French army rather than the American army. By April 1919, he returned to the United States, where he awaited a discharge.

Charles B. Shaw wrote infrequently to his mother while serving at the American Expeditionary Forces' headquarters during the war, focusing mostly on his leisure activities, including concerts and sporting events held at the YMCA. From May-July 1919, he received a group of letters from the War Department Zone Finance Office, concerning the payment of his Liberty Loan bonds. Many of these letters enclose blank affidavits and similar forms.

From 1920-1925, Charles B. Shaw wrote weekly letters to his mother about his life in Washington, D.C., where he was a clerk in the office of John J. Pershing. He often used stationery of the American Expeditionary Forces' General Headquarters and the office of the General of the Armies. Shaw reported on Pershing's travels, the gradual downsizing of his office, and the general's retirement. Despite fears that he would lose his job, he remained employed until at least August 1925. Shaw also discussed his leisure activities, including bowling, playing tennis, going to the racetrack, and attending football and baseball games (including at least one contest that featured Babe Ruth). He occasionally wrote about his automobile. In his later letters, he referred to a female acquaintance named Mary, possibly his future wife.

The collection's Writings (2 items) are a typed copy of a speech by Chauncey Depew entitled "The Problem of Self-government," delivered by Charles B. Shaw in a prize speaking contest on May 26, 1911, and a brief essay regarding the "Fortification of the Panama Canal."

Five Financial Documents include a receipt to Charles Shaw for dental work (December 3, 1910), receipts for dues paid to the Swampscott Club (July 1, 1917) and the Supreme Temple of Pythian Sisters (February 8, 1922), and receipts related to Charles B. Shaw's policies with the New England Mutual Life Insurance Company (December 1, 1921, and undated).

The Photographs series (22 items) contains snapshots of unidentified men, women, children, and a cat at leisure outdoors. Four items show young men wearing sweaters with a large letter S sewn on the fronts.

The Printed Items and Ephemera series (4 items) is made up of a newspaper clipping with photographs of Russians in a queue and barracks in France, a social invitation for Charles B. Shaw, a wedding invitation, and a monogrammed napkin.

This collection is made up of correspondence, documents, photographs, printed items, and ephemera related to the ancestors, descendants, and extended family of Merwin P. Snell and his first wife, Minnie Gilbert Andrews Sprague. The bulk of the materials pertain to the Snell, Andrews, Hallock, McLaughlin, and Barney families.

This collection is made up of correspondence, documents, photographs, printed items, and ephemera related to the ancestors, descendants, and extended family of Merwin P. Snell and his first wife, Minnie Gilbert Andrews Sprague.

The Correspondence series (106 items) contains personal letters addressed to members of the Snell family. The earliest materials pertain to Merwin Porter Snell and his first wife, Minnie Sprague Snell. In the late 19th and early 20th centuries Merwin P. Snell exchanged letters with his cousins. He sent a lengthy letter about comparative religion to Reverend O'Connell of the Catholic University of America on May 25, 1903. Additional family letters are scattered throughout the series.

The bulk of the correspondence relates to Merwin P. Snell; his second wife, Minnie Louise Snell; and their daughters Margaret and Priscilla. From around 1910 to the early 1920s, Merwin and Minnie exchanged letters with their daughters, who sometimes commented on their studies at St. Joseph's Academy in Adrian, Michigan. Some of the family's letters contain illustrations, including drawings that Margaret and Priscilla made as young children. On May 31, 1929, Priscilla Snell wrote to Charles E. Stimming of Loyola University Chicago about women's personal engagement with religion and the necessity of educating women.

In the summer of 1937, Minnie L. Snell visited San Francisco, California. While there, she frequently exchanged letters with her daughters, who lived with Margaret's husband, Leslie Drew Barney, in Detroit, Michigan. Margaret and Priscilla Snell shared news of their life in Detroit, while their mother described her experiences in California (often related to social outings). The series includes several picture postcards depicting San Francisco scenery. In 1947 and 1948, Priscilla Snell, who had taken holy orders under the name Sister Marie Virginia, described her life in Puerto Rico, where she joined a convent. She wrote about her fellow nuns, religious life, travels within Puerto Rico, and leisure activities. Priscilla enclosed a newsletter titled The Barry Bulletin in her letter of August 4, 1957.

The correspondence also includes a few later letters to Margaret Snell Barney from a cousin regarding their shared genealogy, picture postcards of Detroit scenes, and personal letters from friends and family members.

The Documents series consists of two subseries. Legal and Financial Documents (10 items, 1910-1980) include birth, death, and marriage certificates, a will, and other items related to Merwin P. Snell, Minnie L. Snell, and Margaret Snell; some of these items are later or replacement copies. Two receipts concern expenses related to Merwin P. Snell's funeral in September 1921. A subseries of 6 St. Joseph's Academy Report Cards pertains to the academic progress of Priscilla and Margaret Snell in the 1920s.

The Writings, Notes, and Drawings series contains a narrative essay, three groups of poems, drawings of children and a moose, a watercolor painting of a castle tower, a cutout of a bird pasted onto a black, and plot notes for a one-act play.

The first item is a typed copy of "Thrilling Adventures of a Sailor Boy," an essay about E. Watson Andrews (7 pages, January 12, 1859). On April 2, 1858, Andrews boarded the ship Courser for a voyage from China to the United States. The ship was destroyed soon after its departure. Andrews and others boarded a lifeboat, which soon met with a fleet of Chinese pirates. After a violent encounter with the pirates and their subsequent rescue, Andrews and other survivors safely made it to Hong Kong, where Andrews complained of harsh treatment by the United States consul.

The poetry includes manuscript and published verses by Marie LeBaron (15 items), Minnie Sprague Snell (10 items), and various members of the Snell, Long, and Andrews families (13 items). The poems concern topics such as nature, religion, the Civil War, and family. Some items are printed on newspaper clippings.

The Photographs series (approximately 230 items) documents multiple generations of the Snell, Andrews, Hallock, McLaughlin, Wellington, Barney, Snetsinger, and Hames families from around 1861 to 1978. The images, some of which are framed, include black-and-white and color prints, cartes-de-visite, cabinet cards and other card photographs, tintypes, photographic postcards, newspaper clippings, and photo-illustrated Christmas cards. The pictures include formal individual and group portraits, schoolchildren, and a wedding party. Several items depict Priscilla Snell in a nun's habit, and a few show Spanish-American War-era and early 20th century soldiers in uniform. A small number show the interior of an office or residence. Many of the photographs were taken in cities in Connecticut, Michigan, and Ohio.

The Scrapbook is a repurposed account book, with newspaper clippings pasted in over most of the original financial records. Pages 1-35 contain scrapbook material, and pages 36-66 contain financial records dated 1875-1877. Most of the clippings are poems and articles written by Marie LeBaron (or Le Baron) in the 1870s, including articles about Washington, D.C., and Congressional politics. Visual materials include a painting of a flower against a colored background resembling stained glass, a painting of a pear, an illustrated poem, and a group of faces (drawn into the back cover). One article concerns LeBaron's interest in theosophy. Two articles concern the 1980 Nobel Prize in Physiology or Medicine, awarded to George D. Snell.

The Printed Items and Ephemera series (53 items) is made up of newspaper clippings, published volumes, and other items. Twenty-seven newspaper clippings and obituaries relate to relatives and friends of the Snell family. Some articles concern marriages and other social news. Two articles concern the longevity and early recollections of Diana McLaughlin and Minnie L. Snell; the article about Snell largely concerns her father's work as a lumberman in northern Michigan.

Additional items include memorial cards for Merwin P. Snell, Minnie L. Snell, Leslie Drew Barney, and Marie L. Wellington; a reward of merit; a photographic postcard of Detroit and a painting of "Mrs. Andrews"; a musical score for "Brotherhood Song" by Joseph Mansfield Long, signed by the composer; and invitations for commencements at St. Joseph's Academy (1931) and the Catholic University of America ([1947?]). Personal ephemera items include a silk pouch made by Eliza Allen's mother in 1805, containing small paintings by Eliza's friend, Caroline Mayhew (1818), and a carte-de-visite portrait of Eliza Hallock (née Allen) taken in 1864; a baby book with notes about the first months of Margaret LeBaron Snell (1911); Marie LeBaron Barney's diploma from Saint Theresa High School in Detroit, Michigan, with a tassel and 3 photographs (June 7, 1953); and two pieces of embroidery with floral designs, done with thin yarn (undated).

• Le Baron, Marie. The Villa Bohemia (1882, housed in the Book Division)
• The New Testament of Our Lord and Saviour Jesus Christ: Translated Out of the Original Greek and with the Former Translations Diligently Compared and Revised (New York: American Bible Society, 1889)
• The New Testament of Our Lord and Saviour Jesus Christ (Combination Self-Pronouncing Edition, 1897)
• Hallock, Charles. Hallock Ancestry, 1640-1906 (1906)
• The Guide to Nature magazine (July 1910 and October 1921)

The Genealogy series (11 items) is made up of notes and a family tree related to the Snell, Long, LeBaron, and McLaughlin families, as well as a memorandum printed in memory of Gerard Hallock Snell.

The Sophie Toclanny Photograph Collection consists of 25 postcards (including 15 real photo postcards and 10 color printed cards) and 2 photographic prints, most of which were sent by Chiricahua Apache woman Sophie Toclanny to a white American family living in Pennsylvania in the early twentieth century.

The Sophie Toclanny Photograph Collection consists of 25 postcards (including 15 real photo postcards and 10 color printed cards) and 2 photographic prints, the majority of which were sent by Chiricahua Apache woman Sophie Toclanny to a white American family living in Pennsylvania in the early twentieth century.

The collection contains postcards and photographs sent by Sophie to the family of George K. (1870-1937) and Susan E. Geiser (1871-1939) living at 731 Moss St., Reading, Pennsylvania. It is unclear how Sophie came to know the Geiser family; it is possible that she made their acquaintance through either of her first two husbands, both of whom graduated from the Carlisle Indian Industrial School in Carlisle, Pennsylvania. Her messages to the Geiser family indicate that she had a close, ongoing relationship with them. Sophie inquires about Geiser family members including their son William “Bill” G. Geiser (1891-1924), refers to gifts she is sending them such as a traditional Apache cradleboard, and expresses dismay that they are not writing her as often as she would like. One undated real photo postcard bears an image originally taken by Edward Bates of an unidentified Comanche woman carrying a child in a cradleboard; Sophie's message states that “They [the Comanche] dress all to gather [sic] different from the way we dress. I am sending you one of my self in Indian dress too.” In another undated real photo postcard showing another Bates photo captioned “Apache Babe and Cradle”, Sophie writes that she is “sending you a cradle like the Apache make for their babies. On this card a real one. This was taken out in their hay camp. I am so sorry that I was so long in sending it. But hope you will like it.” A number of postcards show wear or damage on the corners, suggesting that they were likely kept in an album for some period of time.

Sophie identifies herself and other family members in several of the real photo postcards. In one photograph showing six people posing on rocks near a dam waterfall on the Mescalero Reservation, Sophie identifies herself as the individual at left “sitting down by my little sister.” The young girl in this photograph is likely Sophie’s younger sister Edith, while the “married sister” standing at right is likely Emma. Both Edith and Emma appear in multiple photographs. Unidentified individuals in the family photos include an uncle, a cousin, the husband of said cousin, and a white woman who apparently married another one of Sophie’s uncles.

Other items of particular interest include postcards with images of Apache camps in Oklahoma and New Mexico; the Apache mission at Fort Sill; the funeral of Comanche chief Quanah Parker; portraits of Indian families (including a group portrait of a Sac & Fox family by W. H. Martin), mothers, and women; and portraits of famous Native American chiefs including Sitting Bull, Geronimo, Eagle Feather, and Red Cloud. The Red Cloud postcard bears the message “From a friend you have forgotten. But she never will forget you. Ft Sill Friend.”, while the Geronimo postcard reads “I received the pretty card to-day. I was glad to get it. So in return I thought I will send you one of Geronimo. I guess you all heard of him. What ever became of William. How is little girl now. From Sophie.” The postcards bearing images of Red Cloud, Eagle Feather, and Sitting Bull are all based on reproductions of original paintings by L. Peterson that were photographed and copyrighted by H. H. Tammen in the early twentieth century. Other color printed postcards include images of Pueblo Indians selling pottery, a Pueblo Indian infant, an Indian camp scene at the 101 Ranch in Bliss, Oklahoma, and an illustrated scene of an Indian woman going over a waterfall in a canoe titled “Red Man’s Fact.”

One color printed postcard bearing a portrait of Mohawk chief Bright Canoe was produced in the 1960s and thus could not have been included by Sophie.

Several real photo postcards include photographs taken by Edward Bates (1858-1941). Based in Lawton, Oklahoma, Bates took numerous portraits of Native Americans living at nearby Fort Sill. Bates is known to have produced at least one portrait of Edith Toclanny, and it is possible that he photographed other members of the Toclanny family.

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.

The Sumner H. Cater collection contains materials related to a University of Illinois student's employment as a stereoview salesman during the summer of 1913.

The Sumner H. Cater collection contains materials related to a University of Illinois student's employment as a stereoview salesman during the summer of 1913.

The collection includes the original salesman case used by Sumner H. Cater which contains 1 stereoviewer, 24 sample stereographs (3 by Keystone View Company and 21 by Underwood & Underwood), and 3 explanation cards that help demonstrate how stereographs work. Photographic content includes 4 foreign views showing "Picking lemons" at an orchard in Sicily, "The Japanese hillside trenches," "A hospitable home in old Ireland," and "Concrete Arches" at the Panama Canal; 4 domestic views showing "A mountain of petrified water" and "'Old Faithful' geyser in action at Yellowstone National Park, the "Famous trotting ostrich 'Oliver W.'" in Jacksonville, Florida, and "Feeding the Chickens" on a New Jersey farm; and 16 views from the Underwood & Underwood "Holy Land" series mainly showing scenes from Jerusalem.

• “Keystone World Tours” by J. Paul Goode, Keystone View Company, Portland, Oregon (1 item)
• “A Pilgrimage Through Palestine,” Keystone View Company, Meadville, Pennsylvania, 1907 (1 item)
• “The Stereoscope, The Stereograph, Sun-Painting” Sun-Sculpture” by Oliver Wendell Holmes, Keystone View Company, Meadville, Pennsylvania, 1910 (1 item)
• “The Underwood Travel System,” Underwood & Underwood, New York, 1913 (1 item)
• “Manual of Instruction,” Underwood & Underwood, New York, 1908 (1 item)
• “Old Mother Earth’s Babies,” Keystone View Company, New York 1907 (1 item)
• “Key to 72 Travel-Tour of the World Through Stereoscope” by J. Paul Goode, Keystone View Company, Meadville, Pennsylvania (1 item)
• “Keystone Cabinets and cases,” Keystone View Company, Meadville, Pennsylvania, 1905 (1 item)
• Underwood & Underwood stereoview listings (2 items)
• Two editions of "The Underwood Travel System Newsletter" listing totals from completed sales by various salesmen as well as best practices regarding sales strategies, announcements, and new photographic subjects in stock (2 items)
• Two editions of "U.T.S. [Underwood Travel System] Selling Aids" (2 items)
• Unused envelopes addressed to Keystone View Company and Prof. Ira O. Baker (5 items)
• Contract between Sumner H. Cater and Keystone View Company agreeing to terms of employment between June 10th and September 10th 1913 (1 item)
• Unused "Salesman's Weekly Report to Keystone View Company" template forms (3 items)
• Letter from Keystone View Company to Sumner H. Cater dated April 2nd 1913 notifying Cater that a duplicate of his contract with Keystone is attached, insisting that Keystone will assist him in making the “largest amount possible from your vacation work,” and urging him to study the products on offer (1 item)
• Letter from Keystone View Company to Sumner H. Cater dated April 19th 1913 notifying Cater that Keystone had received his "Letter of Credit" and that they were sending stereographs his way, with Panama Canal views emphasized as products he should try especially hard to sell during his pending window of employment (1 item)
• Letters from Keystone View Company to Sumner H. Cater (originally addressed to Princeton, Illinois, but remarked for general delivery in Garrison, Iowa) dated June 16th and 17th 1913 notifying Cater that records indicate they have not yet heard from him despite his window of employment having officially begun while also positing to Cater that this summer will prove to be the "best season that Keystone college men have ever known," before listing off names of other salesmen alongside how many hours they have worked and how many orders they have successfully procured (2 items)
• Letter from Underwood & Underwood to Sumner H. Cater dated June 14th 1913 and addressed to Benton, Iowa, notifying Cater that the Benton area has been reserved for himself and "Mr. Hey" and encouraging him to work thoroughly in such a large area (1 item)
• Letter from Underwood & Underwood to Sumner H. Cater dated June 16th 1913 and addressed to Garrison, Iowa, notifying Cater that they have sent him an outfit and a "Canvass and Delivery Instruction" booklet (1 item)
• Letter from the treasurer of the University of Illinois Urbana-Champaign Y.M.C.A. to Sumner H. Cater indicating that while he made a subscription payment of $2.00 the previous fall there was still a remaining unpaid balance of $1.50 (1 item)

The T. E. Hecht California views photograph album contains approximately 234 copies of photographs of Californian scenery originally produced by various photographers between 1856 and 1875 that were reproduced and compiled by photographer Treu Ergeben Hecht between 1890 and 1900.

The T. E. Hecht California views photograph album contains approximately 234 copies of photographs of Californian scenery originally produced by various photographers between 1856 and 1875 that were reproduced and compiled by photographer Treu Ergeben Hecht between 1890 and 1900.

The album (32 x 20 cm) has a leather spine with "Photographs" gilt stamped on the front and marbled paper cover boards. Contents are organized into geographic sections and mainly consist of street scenes, architectural profiles, aerial views, and landscape photographs documenting aspects of several Californian cities including San Francisco, Sacramento, Stockton, San Jose, Santa Cruz, Grass Valley, Nevada City, Copperopolis, Sonora, Knight's Ferry, Lake Tahoe, Cisco, Benicia, Vallejo, and Mare Island. San Francisco-related content is the most prevalent material and includes views of the Express Building, Chinatown, Russian Hill, the Mission District, Woodward's Gardens, Portsmouth Square, Telegraph Hill, Union Square, San Francisco Bay, North Beach, Broadway Wharf, the Stock Exchange, Cliff House, Market Street Railway, the Palace Hotel, and more. This album purportedly once belonged to former mayor of San Francisco James "Sunny Jim" Rolph, Jr.

Many images include handwritten captions identifying places and buildings, and in some cases the original photographer is credited. Original negatives were mainly produced during the 1850s, 1860s, and 1870s. Photographers whose works have been reproduced include George R. Fardon, Lawrence & Houseworth (later Thomas Houseworth & Co.), Eadweard Muybridge, W. M. Stuart, and William J. Shew. Two photographic reproductions of non-photographic materials are also present including a print of San Francisco with several building vignettes as well as a document titled "Proposed Plan for Completing the County Jail." Of particular note are images of people and businesses in Chinatown, the aftermath of the 1868 Hayward earthquake, the airship Avitor Hermes, Jr. prior to takeoff during in 1869, numerous views showing businesses and storefronts (including the photography studios of Silas T. Selleck, Thomas Houseworth & Co., and W. M. Stuart), and pictures of missions across California.