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This volume contains D. Coffin's daily account of the first leg of a sea voyage from New York City to California, covering the progress of the clipper ship Grecian between New York and Cape Horn in early 1852. The journal also includes drawings of scenery made during the voyage, newspaper clippings, penmanship exercises, and children's sketches.

This volume contains a 20-page daily account of the first leg of D. Coffin's voyage from New York City to California, covering the progress of the clipper ship Grecian between New York and Cape Horn in early 1852. The journal also includes 18 coastal profiles drawn in pencil during the voyage. A newspaper clipping at the beginning of the volume concerns the clipper ship Grecian's arrival in San Francisco. It provides names of passengers, names of three people who died during the voyage, a list of goods shipped onboard, and names of consignees.

The journal begins on February 19, 1852. The following day, Coffin arrived in New York, where he purchased a ticket for the ship Grecian, which set sail on March 2. In his first entry, he detailed the ship's specifications, including its size and number of passengers. He kept a daily record of weather and events onboard and frequently mentioned his negative opinion of "immoral" passengers who enjoyed alcohol and gambling. Several of the entries concern medical problems, such as the death of passenger John Morrison from smallpox on March 12, the author's own bout with side and bowel pain, and several other cases of smallpox reported by the ship's doctor on March 21. Though many passengers suffered from illness, they were allowed to go onshore after the ship's arrival at Rio de Janeiro on April 12. Coffin wrote lengthy descriptions of the fort and the city, including its geographical surroundings and a visit by the emperor. On April 15, he reported on local markets and made brief observations about slaves. The Grecian departed Rio de Janeiro on April 19 and Coffin's continued to make daily entries until April 24.

Newspaper clippings, penmanship exercises, and children's sketches make up the rest of the volume. The first 42 pages have pasted-in newspaper clippings of proverbs, humorous anecdotes, informational articles, news articles, and poetry. The creator pasted the clippings over earlier, mostly inaccessible pen writing. Some of the clippings relate to farming, housekeeping, nature, and recent gold discoveries. Two of the articles are a report on a lecture given by Lucy Stone on women's rights, and a brief feature on an "Emancipation Movement in Virginia."

Penmanship exercises and notes (two dated 1862 & 1888), signatures, and children's sketches (three associated with Edna Jane Coffin) are scattered throughout the volume. A pencil sketch of a three-masted sailing ship was signed by Mathew Doyle.

This collection contains one letter, one circular advertisement, and three sketches related to James H. McFarlane's desire to have the St. Louis artistic firm Collins & Chambers design promotional posters for Cassie and Victoria Foster, the "Fairy Sisters."

This collection contains one letter, one circular advertisement, and three sketches related to James H. McFarlane's desire to have the St. Louis artistic firm Collins & Chambers design promotional posters for Cassie and Victoria Foster, the "Fairy Sisters." A printed advertising circular and manuscript letter, both dated October 16, 1872, provide the firm's credentials for creating "Show Paintings," including a list of similar performers recently depicted and the rates charged for various poster sizes. These are accompanied by three undated pencil drawings of possible poster designs; two claim that the sisters are the smallest people in the world, and other simply refers to them as part of "The Wonders of the World." Though one design is particularly heavy on text, all three depict the sisters, with two using normal-sized adults for comparative purposes, and seem to be located in an idyllic environment, possibly near a pond. Text on two of the posters gives the girls' ages as 10 and 3, and their weight as 12 pounds and 6 pounds, respectively.

Private Edgar H. Klemroth drew this collection of "Very Rough Sketches" while serving in the 6th Pennsylvania Cavalry Regiment near Winchester, Virginia, during the winter of 1864-1865. The sketches depict soldiers, horses, army camps and headquarters, equipment, African Americans, and winter scenes.

Private Edgar H. Klemroth drew these "Very Rough Sketches" (45 pages) while serving in the 6th Pennsylvania Cavalry Regiment during General Philip Henry Sheridan's campaign in Shenandoah from August 1864 to March 1865. Klemroth later presented them to Captain Rudulph Ellis of the 6th Pennsylvania Cavalry. The materials include pencil sketches, ink drawings, and wash drawings; a few of the pages contain more than one image. The original black leather binding (15.2 x 24.5 cm) is included in the back of Volume 3. Underneath some of the sketches are faint, hand-written lines of poetry pulled from works of various poets. Klemroth's illustrations show a variety of military scenes, including army camps, winter headquarters near Winchester, and wagons and supply trains in the Virginia countryside. Many sketches highlight the hardships of camp life. Soldiers are shown on horseback and at leisure, sometimes eating, talking, or watching equestrian and mule races. Images 26 and 27 feature soldiers firing during a skirmish, and another (image 10) shows a dog mourning over its dead Confederate owner's body. African Americans, including a young boy and men racing on mules, appear in a few of the drawings. Portraits of General Philip Henry Sheridan, General George Custer, Captain Rudulph Ellis, Brigadier General David Allen Russell, First Lieutenant John Spreadbury, and men in Klemroth's regiment (including scouts) are also present. Some of the items are dated November 1864 or December 1864, and some have descriptions of images written on the back.

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 7 letters that Helen Eastman received in 1943 from Lee Blanchard, Therald Eastman, and H. W. Woodward, as well as 1 undated letter, 1 printed poem, and 1 pencil sketch. The men discussed their service in the United States Army and Navy; Blanchard described his experiences in North Africa and Italy.

This collection contains 7 letters that Helen Eastman received in 1943 from Lee Blanchard, Therald Eastman, and H. W. Woodward, as well as 1 undated letter, 1 printed poem and 1 pencil sketch.

Private First Class Lee Blanchard wrote 5 letters to Helen Eastman between June 27, 1943, and November 25, 1943, while serving with the 10th Field Hospital in North Africa, Sicily, and Italy. He described the scenery from his travels and responded to news she sent from home. While in Sicily, he visited catacombs; he also remarked on ancient Greek and Roman ruins in Italy and in Constantinople.

On July 15, 1943, Seaman Second Class H. W. Woodward ("Willis") wrote to Helen Eastman from the United States Naval Training Station in Newport, Rhode Island, where he attended storekeeper's school. He related news of family and friends, and reported that he planned to graduate in August. Helen's cousin Therald Eastman wrote to the Eastman family on December 16, 1943, thanking them for a Christmas gift and reporting on his courses at the Field Artillery Replacement Training Center at Fort Bragg, North Carolina. The final letter to Helen Eastman, an undated item signed by "Maurice," pertains to the Christmas season and provides family news.

The collection also contains a printed fragment of a poem entitled "Two Opinions," which presents a boy's opinion on the opposite sex, and a pencil drawing of a person in a high-collared uniform.

The James Silver papers consist of 12 letters, each of which is several pages long, composed by Silver during his 1872 visit to New Orleans, Louisiana, recounting his journey from New York, where his family resided, to Louisiana, as well as his time spent in and around New Orleans. Silver included 39 ink sketches of people and scenery throughout his letters.

The James Silver papers consist of 12 letters, each of which is several pages long, composed by Silver during his 1872 visit to New Orleans, Louisiana, recounting his journey from New York, where his family resided, to Louisiana, as well as his time spent in and around New Orleans. Silver included 39 ink sketches of people and scenery throughout his letters. The rough voyage took him past Havana, Cuba, before he entered the Gulf of Mexico and the Mississippi River Delta. In New Orleans, Silver wrote about the sights and sounds in detail, paying particular attention to the peculiarity of hearing French in the French Quarter, of taking a train ride to Lake Pontchartrain, and of seeing the Mardi Gras celebrations. The young traveler frequently mentioned African Americans, and included some ink sketches of them in his letters. Also of interest is Silver's discussion of the city's unique burial practices and the social implications of them (February 7). The 39 sketches, interspersed throughout his letters, show buildings, farms, the streets of New Orleans during Mari Gras, and beaches along the Gulf Coast, as well as portraits. Along with the natural and man-made scenery, Silver drew scenes involving local people of all races, including trips to the market, families, fellow passengers on his railroad journeys, and couples dining in restaurants. Additionally, he sketched different events he witnessed during his travels, such as a man with a gun approaching him, a production of Hamlet that included a severed head, a drunkard being arrested by an African American police officer, a bowler hitting him with a ball, and a cluster of "hackmen" arguing about the price of a ride.

The Jayne papers contain letters from Samuel Ferguson Jayne, during his service as a relief agent with the U.S. Sanitary Commission, to his fiancée Charlotte Elizabeth Jayne in the summer of 1864. He described his work at the U.S. Colored Hospital at City Point, Virginia, treating wounded soldiers from the battles at Spotsylvania, Cold Harbor, and the Battle of the Crater (Petersburg).

The Jayne papers consist of 17 letters from Samuel Ferguson Jayne, during his service as a relief agent with the U.S. Sanitary Commission, to his fiancée Charlotte Elizabeth Jayne in the summer of 1864. The letters, dated May 22-August 19, 1864, track his travels on the Mary Rapley steamboat and document his efforts at the U.S. Colored Hospital at City Point, Virginia. They discuss the numerous wounded soldiers coming from battles at Spotsylvania, Cold Harbor, and the Battle of the Crater (Petersburg), and include vivid details on the treatment of the men and the facilities of the hospitals. Jayne often notes the difficulties of getting the Union doctors to treat black troops. He wrote, "We have had to almost fight the doctors to get them to treat the colored men decently and to find them proper attention. When we came here most of the men were without beds. Now we have them upon, not only beds, but every man has also an iron bedstead, entirely covered by mosquito netting" (July 12). On August 9th, Jayne wrote that "There are very few agents here, who are adapted to such 'low' work as that of taking care of sick negroes" (August 9).

Jayne described in depth the types of wounds and afflictions the solders suffered. On August 4, he wrote "we are overcome with sick and wounded...I have found many who fought hand to hand with rebels, as their wounds are those made by the butts of muskets or clubs...We have twelve men digging graves today for our hospital alone." In a letter dated April 9th, he described a "terrible explosion" of an ammunition boat at City Point, Virginia, and its aftermath. Though the letters contain many details on his work managing the sick in the hospitals, they also include expressions of love for Charlotte, who Samuel was "compelled to write" in order "to keep [his] wits straight" (August 9, 1864). Jayne also commented on political and ethical issues of the war. For example, in the letter from August 19, 1864, he questioned the morality of paying black soldiers to fight in place of a drafted white soldier:

"I do not think it would be exactly fair to obtain a negro for a substitute. In the first place, in all modesty, they do not make as good soldiers as the whites, and at the present crisis of affairs, from all that I can learn from observation and report, one white man, even as insignificant as myself, is equal to two negroes for war purposes. Then, the negro fights under great disadvantages. If taken prisoner he is either murdered or sold into slavery--and I think that a government that permits its soldiers to be thus dealt with, without retaliating upon the enemy ought to go to perdition, or at least to a strongly seasoned purgatory. I would not ask a man to go as my substitute who would be murdered in cold blood because he was not of my race and color. Until we can procure the African some rights of civilized warfare, let the Anglo Saxon fight his own battles."

Jayne drew several sketches and commented on them. Of note is a picture of a ground plan of the U.S. Colored hospital, City Point, Virginia camp, annotated with the functions of many individual tents. It includes the positions of hospitals for the 5th, 6th, and 9th Corps. This plan accompanies the letter from July 15, 1864, in which Jayne provided additional details of the hospital camp.

• "Our pet lamb Molly," City Point Virginia, a pencil sketch of a young Black woman sitting in front of shelves of supplies (July 26, 1864).
• "Special Diet," a barefoot black man walking past army tents holding a mug and plate of fish (August 10, 1864).
• "For this are we Doctors," a black soldier with a bloody amputated arm (August 10, 1864).
• "Lizzie," a profile of a black woman sitting on a crate with her hands to her head (August 10, 1864).
• "Hospital bed" on the back: "This is a drawing of our hospital beds, with mosque-to netting. Made by Roberts, S. "(August 19, 1864).

This collection consists one bound volume including both financial receipts and sketches. The first part the volume contains 38 pages of receipts of payments from John Sunnocks to various people he had transacted business with in the late 18th century. The rest of the volume contains sketches circa 1880, attributed to Newbold Hough Trotter, an American artist known for his work illustrating natural landscapes and animals.

This single bound volume includes both financial receipts and sketches. The first part the volume contains 38 pages of receipts of payments from John Sunnocks to various people he transacted business with in late 18th century Philadelphia. The next approximately 150 pages contain sketches attributed to Newbold Hough Trotter, an American artist known for his work illustrating natural landscapes and animals. The second half of the volume is unused.

It is likely Newbold came into possession of the book through his wife, Ann Trotter. Ann's great-grandfather, William Dawson, was named executor of John Sunnock's estate at the time of his death in 1793. This is noted in some of the last receipts in the volume.

The receipts date from June 20, 1792 to January 31, 1801 and are written by the individual receiving the payment or by John Sunnocks, or someone on behalf of John Sunnocks, and signed by the individual receiving payment. The currency shifts between pounds and dollars, and some receipts are exchanges of said currencies. The receipts vary in specificity. Many relate to his business as a trunk maker, for goods and services such as animal skins, lumber, and freight. Other expenses shown are taxes, rent, and military fines. Some of the more recurring businesses and individuals found in these receipts are as follows: Moses Levy (attorney), John Field & Son (merchants), Andrew Tybout (merchant), Roberts & Twamley (ironmongers), Abbot & Barnes (curriers), David Moffat (sea captain), Daniel Drinker (merchant), and William Watson (sea captain).

The sketches are in pencil and undated. They mostly depict animals, including many images of lions. Other drawings/scenes include profile portraits of men and women, a man hunting, a ship at sea, and a man presenting artwork. A few drawings appear to have been done by a child.

The Marguerite Cret manuscript is a romance-adventure novella, written in French, containing watercolors and pencil illustrations.

Marguerite Cret's novella has an engaging, rapidly moving plot line, filled with adventure and a minor dose of romance. The story is enhanced by the inclusion of a series of pencil and watercolor sketches, some of which were never quite completed. Each chapter includes at least one major, full page water color. Its authorship is established tentatively on the basis of an inscription on page 2, "affectueusement á Noël Cortês, Marguerite Cret, 1888."

This memory album was assembled by Mary Hewins Fox (later Mary Hewins Fiske) to document her involvement with theater, music, and poetry in New York City.

Mary Fox apparently assembled and illustrated this memory album of her original work in about 1863. She included song lyrics (some published in a newspaper under a pseudonym, Dan Bryant), 24 watercolor and 6 pencil illustrations, and 5 photographs. Mary Fox's illustrations depicted well-known actors in familiar roles, though two are illustrations of neo-classical sculptures (Powers' Greek Slave and Copland's Ino and Bacchus), and other sketches with classical themes.

Fox's songs are typical of popular songs of the era. The printed songs were published under the name of Dan Bryant. In the book, Mary Fox has crossed out "Dan Bryant" and written her own name: Mrs. C.K. Fox. The printed songs include "Oh, My Love's Gone," "The Female Smuggler," and "My Johnny was a Shoemaker." The hand-written songs include "Lager Beer Song," "The Irish Sutler Girl" (possibly inspired by the Civil War), and "The Gal not Sports."