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The Aronson-Grant papers contain correspondence, financial records, photographs, and ephemera related to Calvin Aronson and his wife, Pearl Goldblatt (later Grant) Aronson.

The Aronson-Grant papers contain correspondence, financial records, photographs, and ephemera related to Calvin Aronson and his wife, Pearl Goldblatt (later Grant) Aronson.

The Correspondence series, which comprises the bulk of the collection, mostly consists of letters addressed to Pearl Goldblatt between 1921 and 1934, as well as some letters that she wrote to her husband. The letters reveal much about the couple's personal life and relationship, including Aronson's joyful reaction after hearing that Goldblatt had accepted his marriage proposal (February 14, 1924). Pearl Goldblatt Aronson tended to use her adopted surname, "Grant," in her later letters. In contrast to the couple's courtship correspondence, many letters by Grant's friends hint at marital difficulties between Aronson and Grant, including a brief threat of divorce. Some items have enclosures such as drawings and the couple's wedding certificate (February 26, 1927), and one letter is on stationery with the caption "Shh- Mr. Aronson is in deep thought" (April 6, 1926). Three letters enclose photographs (July 16, 1924; August 3, 1924; and May 14, 1929). Many of the postcards within the series have pictures of scenes in Europe.

The Business and Financial Papers series (57 items) contains receipts, bills, cancelled checks, and other items pertaining to the Aronsons' fiscal affairs, including their accounts with the Mechanics' Bank in Brooklyn, New York.

Most of the Photographs (61 items) show scenes around Como, Italy, and several are pictures of young women posing near water and in rowboats.

The Printed Items and Ephemera series contains greeting cards, newspaper clippings, invitations, calling cards, programs, and other items. The newspaper clippings concern politics, playwrights, and human interest stories. Other items include a printed map of the "Harbour of Nassau" and Act IV of Will Shakespeare, a play by Clemence Dane.

The Arthur Bruhus papers primarily contain incoming and outgoing letters and greeting cards that Sergeant Bruhus wrote and received while serving in the United States Army during World War II. Bruhus described his everyday life at military camps in Maryland and Texas between January 1943 and April 1945 and his service in France between April 1945 and September 1945.

This Arthur Bruhus papers contain over 200 incoming and outgoing letters and greeting cards that Sergeant Arthur Bruhus wrote and received while serving in the United States Army during World War II. Bruhus described his everyday life at military camps in Maryland and Texas between January 1943 and April 1945 and his service in France between April 1945 and September 1945. The collection also includes negatives for 24 photographs and 13 printed and ephemeral items.

The Correspondence series is comprised of letters, greeting cards, V-mail, and postcards. Arthur Bruhus wrote approximately 175 letters to his mother, Anna Bruhus of Palatine, Illinois, during his time in the military. Bruhus served at several domestic military bases throughout the war, and frequently described his travel between camps and during furloughs, his first impressions upon arrival, the surrounding scenery, and nearby cities (particularly in Texas). While stationed at Fort Bliss, Texas, he occasionally visited Ciudad Juárez, Mexico. Bruhus also discussed camp life and, to a lesser extent, his military assignments. After undergoing radio training at Fort Knox, Kentucky, in June 1943, he worked with radio-controlled planes used for target practice. In November 1943, he noted Camp Barkeley's use of German prisoners of war for manual labor (November 12, 1943). Bruhus was deployed to France in April 1945 and served at Épernay until his return to the United States in 1945. While in France, he commented on the scenery and everyday activities. In one letter he recounted his experiences on V-E Day (May 25, 1945). He enclosed church programs in two letters. His final letter to his mother is dated September 4, 1915.

Bruhus also corresponded with his sisters, nieces and nephews, and acquaintances (about 25 incoming and outgoing letters). Anna Bruhus received several letters from her grandchildren.

The Photographic negatives series is made up film negatives for 24 photographs of unidentified military barracks, soldiers, camouflaged tents, and group exercises.

The 13 items in the Printed items and ephemera series include advertisements, programs, and an issue of the Camp Barkeley News (May 12, 1944).

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.

The Gerald T. and Charlotte B. Maxson printed ephemera collection contains over 5,000 pieces of assorted ephemera, the majority of which were commercially printed in the United States during the mid to late 19th-century.

The Gerald T. and Charlotte B. Maxson printed ephemera collection contains over 5,000 pieces of assorted ephemera, the majority of which were commercially printed in the United States during the mid to late 19th-century.

The Maxson collection provides a valuable resource for the study of 19th-century visual culture, commercial advertising, and humor in addition to the role of gender, ethnicity, and race in advertising. American businesses are the predominant focus of the collection, though many international businesses are also represented. While trade cards are by far the most prevalent type of ephemera found in this collection, an extensive array of genres are present including die cut scrapbook pieces, photographs, engravings, maps, serials, and manuscript materials.

The 23 binders that house the Maxson collection were arranged by the collectors themselves. Items are organized somewhat randomly in terms of topical arrangement. While pockets of related materials can be found here and there (for instance, the entirety of Volume 16 contains circus-related items while Volume 11 contains an extensive number of Shaker-related materials), for the most part any given subject may appear in any given volume. In some cases, items are clustered as a result of having been acquired together or due to a documented common provenance. Occasional typed annotations written by the Maxsons help provide additional context for certain items.

The Maxson Collection Subject Index serves as a volume-level subject index for materials found throughout the binders. The subjects indexed here are generally representative of both visual and commercial content. In addition to more general subjects, many names of specific people, places, buildings, events, and organizations that appear in the materials have also been listed. Researchers engaging with this collection should be aware that they will encounter numerous examples of racist caricatures, especially ones depicting African American, Native American, Irish, and Chinese people.

This collection is made up of the incoming and outgoing World War II-era correspondence of John T. McHale, Jr., of Washington, D.C., and his wife, Betty Jane Henery of Zanesville, Ohio. John wrote to Betty while serving in the United States Army Air Forces, and the couple received letters from family members, servicemen, and Betty's female acquaintances.

This collection is made up of the incoming and outgoing World War II-era correspondence of John T. McHale, Jr., of Washington, D.C., and his wife, Betty Jane Henery of Zanesville, Ohio. John wrote around 220 letters to Betty while serving in the United States Army Air Forces, and Betty wrote about 50 letters to John about her experiences while he was away. The couple also received letters from family members, servicemen, and Betty's female acquaintances.

The bulk of the collection is comprised of Correspondence, particularly the letters that John T. and Betty McHale exchanged during the war. Their letters document several aspects of their relationship, including the effects of lengthy periods of separation. In his early letters (April 1943-September 1943), John T. McHale commented on aspects of military life and training at various stations in the United States, and Betty initially wrote about her experiences in Albuquerque, New Mexico, where she was a member of an orchestra. From October 1944-October 1945, McHale wrote from Hawaii, New Guinea, and the Dutch East Indies (now Indonesia), where he was a pilot with the 7th Combat Cargo Squadron, Fifth Air Force. He mentioned the "Tokyo Rose" radio broadcasts and frequent bombing raids by Japanese planes. In March 1945, his squadron celebrated the birth of his son. By the summer of 1945, McHale was stationed in the Philippines, where he noticed the destructive effects of the war on Manila, and he was later based in Okinawa and at the Yokota Army Airfield near Tokyo. In October 1945, he anticipated his return to the United States.

John T. and Betty McHale received letters from many correspondents during the war, particularly from their parents and from Betty's female friends from her time in Albuquerque. Marvel Goodman and others commented on their lives after their orchestra dispersed in 1943. Infrequent postwar letters from acquaintances are dated as late as 1948, and Andrew H. Henery sent a birth announcement for his son in 1952.

Receipts and Ephemera include greeting cards, a church program, birth announcements for John T. McHale III, receipts, a financial voucher, and a list of postwar addresses for a group of military officers.

This collection is made up of Robert Preston's letters to his parents about his service in the United States Navy during World War II. Preston repaired aircraft and supervised metal shops at the Norfolk Air Station and on Chincoteague Island, Virginia.

This collection (87 items) contains 83 letters, 1 postcard, and 1 telegram that Robert Preston sent to his mother and stepfather, Eva and Frank Lakewitz of Baltimore, Maryland, from March 5, 1942-April 20, 1943, while serving in the United States Navy, as well as 1 letter from his wife Dotty (April 24, 1942). The final item is a photographic greeting card with an informal portrait of a man and woman (January 10, 1945).

Robert Preston wrote about his arrival at Norfolk, Virginia; his work repairing airplanes and supervising metal shops at Norfolk Air Station and Chincoteague Island, Virginia; and other aspects of his daily life. He sometimes mentioned his wife and their young daughter Mary Jane. In his letter of September 5, 1942, he noted that some money had been stolen out of his wallet, and, on September 19, 1942, he reported that the culprit had been dishonorably discharged and sentenced to 5 years in prison. Preston occasionally flew in military aircraft. He described fatal crashes in his letters of November 15, 1942; February 21, 1943; and April 4, 1943.

Preston wrote 2 early letters on stationery with printed paintings of navy vessels and aircraft and sent his mother an illustrated Mother's Day telegram from Western Union (undated). Some of his letters and envelopes have cartoonish drawings of sailors or other men (December 29, 1942, et al.). He drew a diagram of part of a car (October 22, 1942) and a picture of an airplane instrument he built (October 26, 1942).

The Simonetti family papers contain correspondence, documents, photographs, printed material, and ephemera related to the family, who emigrated from Italy to the United States in 1920. The bulk of the material relates to Pius (Pio) and Gaetano (Nino) Simonetti and their service in the United States Army during the Second World War.

The Simonetti family papers contain correspondence, documents, photographs, printed material, and ephemera related to the family, who emigrated from Italy to the United States in 1920. The bulk of the material relates to Pius (Pio) and Gaetano (Nino) Simonetti and their service in the United States Army during the Second World War.

The Correspondence series , which comprises the bulk of the collection, covers the years 1909-1921 and 1942-1945 and includes approximately 1,000 letters and pieces of V-mail; Letters, V-mail, and Telegrams are housed in separate subseries. Roughly two-thirds of the correspondence is written in Italian, with the remainder of the material in English and a handful of items in French. Alberto Simonetti wrote the earliest items in the Letters subseries to his wife Angelica, and his letters often contain pressed flowers; these letters are in Italian. The later run of correspondence, including the V-mail subseries, consists of letters composed by and addressed to Pio Simonetti during his World War II service in Algeria, Italy, and France; these are written in both Italian and English. In his letters to his son, Alberto reported family news, and often discussed rationing as well as his personal opinions of the United States government and of the war. His son sent home news of friends and relatives, and often described his leisure activities and military life, though he seldom mentioned combat. During 1945, he frequently wrote of his upcoming marriage and of his efforts to secure a visa for his new wife. By 1945, Pio expressed his frustration at remaining in Europe despite the official conclusion of combat operations. The Telegrams subseries primarily consists of messages sent between Alberto and Angelica Simonetti in the 1940s.

The Photographs and Negatives series has 41 photographs and 10 negatives. Pio Simonetti took the majority of the photographs, which depict army life in France and Italy during World War II and include several pictures of Pio and his friends. Other material in the collection belonged to Alberto Simonetti during World War I or to friends of Pio and Nino.

The Receipts series contains 9 items, the majority of which are related to goods ordered by and sent to Pio Simonetti during his European tour of duty. One item, dated 1934, is in Italian.

The Army Informational Materials series features material owned by Pio Simonetti during his World War II service. Pio collected his notes, quizzes, and exercises in Italian and English, and wrote English-language notes in a spiral notebook during training. He also saved GI pamphlets on banking, real estate, and sexual health. Other materials relate to interrogation tactics and the treatment of prisoners of war.

The Maps series consists of maps of Gettysburg, Pennsylvania, and Picardy Region, France ("Triville"), which Pio Simonetti acquired during his military intelligence training. The series contains additional map overlays, as well as two maps of Palermo, Sicily.

Printed material includes newspaper clippings in English, French, and Italian; the English and French clippings date from World War II and the Italian clippings from 1918. Among the later materials are several satirical cartoons by William Henry Mauldin ("Bill"). In addition to these, the series also holds two pamphlets, A Total Moral Defense (1941) and a Pocket Guide to France (undated), as well as a book, P. C. Wren's The Wages of Virtue (undated).

The Ephemera series incorporates a variety of materials collected by Pio Simonetti during World War II, including holiday greeting cards, postcards, prayer cards, schedules, programs, stamps, and Italian and French currency.

The Roberta Keniston Postcard Collection contains six boxes of postcards and other visual ephemera from the 20th century. The collection focuses mostly in European architecture and painting. The majority of the postcards are blank, but some do include correspondence.

The Roberta Keniston Postcard Collection contains six boxes of postcards and other visual ephemera from the 20th century. The boxes are first organized by donor, and then very broadly divided by the type of architecture or artwork depicted on the postcards. These subdivisions are arranged by geographic region, media, and/or subject of the work shown on the postcard.

The majority of items in this collection are postcards dating from 1900-1918, which was during the “golden age” of postcard collecting, lasting from about 1895 to 1915. Other items, including photographs, souvenir photo books, greeting cards, and exhibition announcements in this collection were published throughout the 20th century. Correspondence to and from History of Art faculty and staff appear on some of the postcards.