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The Edwin Davenport papers contain 29 letters that he wrote to his family (parents, brothers, and sister) while he traveled west to Pennsylvania, Wisconsin, and Illinois, and during his time as a Union soldier the Civil War. Davenport served as private and corporal with the Massachusetts 52nd Infantry, Co. B. before dying of a fever 1865.

The Edwin Davenport papers contain 29 letters that he wrote to his family (parents, brothers, and sister) just before and during the Civil War. The first letter recalls his trip west in the spring of 1861. He travelled by stage to the base of Mt. Greylock and continued on foot to North Adams, Massachusetts. Davenport travelled by train ("car") through Troy, Utica, Rome, and Buffalo, New York, and walked south to Ellington to stay with his uncle. He reported changes in terrain and climate and mentioned attending a Methodist spiritual meeting. In other early letters, from Oil Creek and Titusville, Pennsylvania, Davenport described the oil boom and the growth of towns and cities in the area, and commented on the difference between living in, what was then, the West and the East. One letter, for instance, referred to two men who had recently died from rattlesnake bites. In his letters from Wisconsin and Illinois, he continued to update his family on his experiences. By August of 1862, he was considering joining the Union army and wrote passionately about the crisis.

After entering the war, Davenport wrote detailed descriptions of his regiment's movements and the notable activities of the forces, Confederate and Union, around him. While he carefully reported on his orders, he also observed interesting details about the south and about the events that had taken place around him. In one undated letter, Davenport described an encounter with a runaway slave, for whom he found clothes and work for wages.

In a letter from March 25, 1863, Davenport described the destruction of the rebel gunboat Mississippi:

At 2 o'clock at night a bright light was seen in the direction of the fort: Firing immediately ceased, the light moved down the River, explosions frequently came from it. Thus for two hours it moved when a flash that lit the heavens and an explosion that shook the ground like an earthquake and the light disappeared: Sunday morning dawned all quiet. Soon we heard that the big gunboat "Mississippi" had been set on fire and blown up.

The last dated letter in the collection is from Thomas Parrish, Head Nurse at the Brashear City Hospital, who wrote the Davenport family about Edwin's death.

Davenport occasionally drew pictures on his letters. The letter from May 5, 1861, contains a sketch of an oil derrick, and the letter from September 12, 1861, contains drawings of a man stepping on a snake and a man hunting squirrels. His letters from Madison, Wisconsin, have large engraved letterheads picturing a view of the lake.

This collection also contains Davenport's corporal stripes.

This collection is made up of manuscript essays and writings, original artwork, and printed proof sheets by Edwin Whitefield, an artist who specialized in bird's-eye views and landscapes in North America. The manuscripts largely concern Whitefield's travels in Minnesota, Wisconsin, and the Dakota Territory, as well as Whitefield's interest in the Bible.

This collection (approximately 200 items) contains 24 manuscript essays and writings, original artwork (approximately 40 items), and around 140 printed proof sheets by artist Edwin Whitefield between the 1840s and 1880s. The collection also includes 2 autograph albums that Mabel Whitefield kept between 1876 and 1883.

The Manuscripts series (24 items) contains essays, charts, notes, and fragments; a draft of Edwin Whitefield's The Bible Its Own Interpreter; and 2 autograph albums kept by Mabel Whitefield. The essays mainly relate to Whitefield's travels in Wisconsin, Minnesota, and the Dakota Territory in the 1840s and 1850s; Whitefield described landscapes, and some of his writings refer to specific drawings. A series of essays concerns immigration to Minnesota, including several short pieces about opportunities for settlers. Whitefield's other writings include an argument for increasing workers' wages; a letter about his son's conduct; notes about the Bible; 2 manuscript tables of the populations of major U.S. cities at each national census between 1790 and 1890; and a copied extract from the Encyclopedia Britannica about Moses.

Edwin Whitefield's The Bible Its Own Interpreter manuscript (approximately 220 pages) is made up of notes and clippings about passages from scripture and Biblical subjects. The volume contains a preface, index, and printed title page. Mabel Whitefield kept her 2 autograph albums, which contain inscriptions and poetry from family and friends, between 1876 and 1883.

The Original Artwork series is made up of Edwin Whitefield works, including 2 oil paintings; approximately 35 graphite, ink, and watercolor sketches; and 2 sketchbooks. One oil painting (1885, 20"x16") is a country landscape with a man herding cows over a bridge. The other painting (undated, 30"x20") is a mountain landscape, with a man and cows resting beside a river or lake. Approximately 35 individual graphite, ink, and watercolor sketches depict houses, bridges, landscapes, and buildings. Whitefield identified many of the views as locations in Massachusetts and New Hampshire. Edwin Whitefield's 2 sketchbooks contain illustrations of buildings, persons, and bird's eye views of cities and landscapes.

The Printed Items series includes proof sheets from the 1880, 1882, and 1889 editions of The Homes of Our Forefathers (approximately 75 colored or tinted lithographs), approximately 65 colored lithographs of botanical specimens by Whitefield, and one printed view of Newburyport, Massachusetts.

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.

The Ephraim George Squier papers encompass both family and business matters, the latter being mostly diplomatic in nature and covering the period of Squier's life when he was United States Commissioner to Peru (1863-1865) and Consul-General of Honduras (1868-1873).

Of the 43 documents in this collection, which date from February 23, 1818 to October 20, 1886, Squier is the author of eight. The remaining items consist of incoming correspondence (not always to Squier), which cover Squier's career as a writer, his involvement in politics, and his diplomatic appointments in Central and South America. Although he is best known for his contributions to the field of anthropology, the letters do not provide substantial information on this phase of his life.

Seven letters in the collection pertain exclusively to family correspondence. Of these, Squier's father, Joel Squier, wrote four, and his uncle, Ethan Squier, wrote two. These letters make reference to Squier's position as editor of the Scioto Gazette and his election as House Clerk by the Ohio House of Representatives.

Most diplomatic correspondence represented in the collection was written between 1851 and 1886, and are in English or Spanish. The letters primarily concern relations between the United States and the countries of Honduras, Nicaragua, and, to a lesser extent, Peru. Two letters are from members of the United States and Central American Exploring and Mining Company (September 11, 1851), and the American Geographical and Statistical Society of the State of New York (August 18, 1862) to the government of Honduras, asking for permission to live and work in the country. Also of note are six letters, exchanged between Secretary of State William H. Seward and Luis Molina, Honduran Minister to the United States, in which Seward informs Molina of a blockade of ports in many southern states (April 27, 1862) and Abraham Lincoln's proclamation of the draft (May 9, 1863), among other matters.

Letters written to Squier during this period consist of correspondence from Secretary of State Hamilton Fish, President of the Republic of Honduras Jose Maria Medina, Minister of Foreign Affairs for the Republic of Honduras Ponciano Leira, and Minister Plenipotentiary of the Republic of Honduras Ignacio Gomez. They primarily discuss Squier's appointment as Consul-General of the Republic of Honduras, the Interoceanic Railway Project, etc. Squier wrote one letter to Senator Charles Sumner (February 7, 1869).

Squier's sole mention of anthropology is in a letter he wrote in 1874, in which he refers to the Anthropological Institute of New York. Formerly known as the American Ethnological Society, the Institute was founded by Squier and others who wanted to form an organization modeled after anthropological societies in Europe. Squier writes, "…Our Anthropological Inst. hangs fire. There are few here who can be enlisted in promoting it…I fear my days of hard work are pretty much over…" (April 26, 1874).

Also in the collection are 15 items, housed in the Graphics Division. These include a photograph of "Hacienda of 'Coltos'," and several watercolors and pencil sketches depicting villages and people in Central America, as well as some miscellaneous items. The sketches and watercolors bear Squier's name, so it is plausible that he is indeed the artist.

The Ephraim George Squier papers thus provide substantial information on diplomatic relations between the United States and Central America as well as on Squier's role in these relations. While not representative of his career as an anthropologist, the collection does hint at the final days of a man whose inquisitiveness is still evident.

This collection is made up of letters that Evelyn and Jan Thompson wrote to their parents in Brookline, Massachusetts, from 1930-1936. The bulk of the correspondence consists of Evelyn's letters about her education in Paris, France, and at Bryn Mawr College, and about her life and editorial work in Washington, D.C. Evelyn's sister Jan wrote 4 illustrated letters from Bermuda in the fall of 1935.

This collection is made up of letters that Evelyn and Jan Thompson wrote to their family in Brookline, Massachusetts, from 1930-1936. Evelyn's letters comprise the bulk of the collection. From September 1930-July 1931, she described her travels in England, Belgium, and the Netherlands, and discussed her life in Paris, France, where she attended school. Evelyn also wrote about her experiences at Bryn Mawr College in Bryn Mawr, Pennsylvania, from November 1931-May 1935, and about her daily life in Washington, D.C., from November 1935-May 1936. While in Pennsylvania and Washington, D.C., Evelyn shared news of her studies, her social activities, and her work for the United States Department of Agriculture. She mentioned her intent to marry David Riesman, and some of her later correspondence contains brief references to politics, communism, and current events. Evelyn also wrote while traveling in New England and Arizona; her letter of July 8, 1935, encloses several small snapshot photographs of buildings in Rouen, France.

Jan Thompson wrote 4 letters while visiting Bermuda in the fall of 1935. She described many aspects of her travels, including a meal featuring "strange slabs of meat. hippopotamus or elephant probably" (September 20, [1935]). Her letters include ink sketches of bathers on beaches, Bermuda scenery, horse-drawn carriages, and a woman attempting to remove a large spider from a window curtain. Additional correspondence from Jan to her parents is scattered throughout the collection. The Thompson letters include postcards, official correspondence from Bryn Mawr officials, and telegrams.

The Francis Edmonds papers document the art and business world of the early 19th century and the interrelationship between business and the arts. The correspondence reveals both the practical and aesthetic concerns of artists, and the interest of business men in art as a symbol of personal and national "culture."

The Francis Edmonds papers are about evenly divided between the banking and art scene. The collection is valuable in depicting the interrelationship between business and the arts in mid-nineteenth century New York, where a small group of men dominated art promotion and patronage. Edmonds, a man with one foot in both worlds, naturally occupied a prominent position, and his correspondence reveals both the practical and aesthetic concerns of artists, and the interest of business men in art as a symbol of personal and national "culture."

There are 70 different correspondents represented in this small collection, so its story must be pieced together from multiple fragments. Luckily, there are two published biographies of Edmonds which help to make sense of this scattered correspondence by placing it in context. Roughly, the letters can be divided into those from artists, those from business contacts, and those to or from family members. Their subject matter, however, is not so neatly separated -- and that is what makes the Edmonds Papers so interesting, for bankers talk of art in addition to business, artists of finances as well as aesthetics, and Edmonds may have been the only man to whom these combined interests were communicated.

The largest set of correspondence consists of letters from Francis Edmonds to elder brother John Worth Edmonds, who became prominent as a judge, politician, and writer on spiritualism. Letters written between 1823 and 1829 show the young man to have been much inclined toward personal improvement, and to have looked upon his elder brother as a worthy critic and role model. He self-consciously uses their correspondence as a means to improve his writing style and intellectual development, and mentions writing projects he is at work on. An 1829 letter refers to progress in art work: "About my neighborhood I am getting to be a little known as a painter however I am not at all intoxicated with success as yet."

Edmonds' letters to his brother reveal little of marriage or home life, but are good barometers of his psychological state and his views on life. Clearly he had no illusions about the business and political world, commenting in a March 31, 1829 letter that the Edmonds family had been "to [sic] kind in this world, too much trusting to the good will of mankind and they have suffered for their generosity. It is time we changed their nature's [sic]. ... if two hands are offered you spit in the worst & shake the best." Perhaps this attitude sustained him later on when he lost his prominent banking position, for he comments to his brother in October 1856 that "the sensitive feeling which has so influenced my conduct in going into the world is rapidly wearing away," which he knew would happen with time. In August, 1859, he writes that he is unhappy with his new position at the American Bank Note Company, and has to take the "bile" of those who are jealous and competitive of one another. It appears that he may have had an opportunity to regain his old bank job, but writes to John in 1861 that he has no interest in it, as his old boss would feel threatened by him.

Letters to Edmonds from John Gourlie, Charles Leupp, Jonathan Sturges, and Fanning Tucker, primarily dating from the 1840's, depict the interest in art held by some in the business world. These men, all of whom knew Edmonds in a business setting, also associated with him in societies for the promotion of art, bought and commented upon his paintings and those of other artists, and looked to him for advice when acquiring art for themselves. Many of the letters discuss both banking and art. A particularly interesting one, from Gourlie on June 15, 1841, criticizes artists' refusal to be business-like. Commenting upon rivalry between the Apollo Association and the N.A.D., he remarks that artists "are a queer set. ... So sensitive and at the same time so blind to their own interests." He believes popularization of art, as the Apollo does with its subscriptions for pictures or engravings, is the key to supporting artists, for "[a]ssociations in this country are what the aristocracy is in Europe." Gourlie asserts that rivalry between the Academy and Apollo is a good thing, for "rivalry is the life of all business and pictures may be made business matters as well as cotton or cocoa.!"

Yet correspondence to Edmonds from fellow-artists show them to have been aware that their work was a commodity. An 1841 January 30 letter from Daniel Huntington to Edmonds in Paris comments on hard times in New York, remarking that the arts are now "stagnant," as "[t]he mass of painters are I believe lasily waiting with hands in empty pockets for the revival of Commerce & the increase of orders for portraits." Huntington has sold a sketch he began in Rome of "one of those ragged and flea-inhabited beggar boys" for $100, and sold two heads painted at Florence for $150 each. He must be concerned with what will sell well "in these starving times." Artists Joseph Adams, Thomas Cole, and John Kensett also write of both art and money. They seem to have used Edmonds as a combination personal banker and agent, asking him to sell paintings for them, choose and execute stock transactions, or make loans with paintings offered as collateral. Because of his contacts he was also able to secure artists commissions, contracting with Cole for a painting, employing Asher Durand to copy a picture for engraving, hiring engravers to work from paintings to prepare Apollo Association and Art-Union premium offerings.

The artists' letters are highly interesting for their gossip and commentary on the art scene, both in New York and abroad. They describe work in progress, discuss the merits of major exhibitions, comment on the activities of the N.A.D., and chronicle the life of the expatriate artist as he moves from place to place in season, sending work home for display and (hopefully) sale, scrambling for funds to finance work abroad. It seems to have been a small and convivial "old boys' network" who worked and traveled together and critiqued each other's painting. Edmonds enjoyed seven months of the artist's life in 1840-41, and perhaps this cemented his position as an insider with other artists.

In two important letters of 1840 November 7 and 1842 December 14 Thomas Cole agrees to do a painting of Mt. Etna on commission and describes the finished product. He explains the location and elements of the picture in detail, noting that he may be accused of having "scattered the flowers with too profuse a hand. This is not possible. Sicily is truly the land of flowers..." He hopes the picture "will come to the lot of some one whom we would choose," or that "some good New Yorker will purchase it. I myself will give a hundred dollars & the View of Lake Schroon in Mr. Ridner's room for it." In April 1843 John Kensett writes extensively of the Paris art scene, describing specific works he has seen and including a small pencil sketch of one by Jules Louis Coignet.

Also of particular interest are three 1844 London letters from publisher and bookseller George Putnam, who worked to raise awareness of American art abroad. One solicits articles on American art from Edmonds, assuring him that despite prejudice there are many in England who would be interested in "a little information about American doings in some other arts than the art of raising the wind." In December, reporting on the disappointing reaction of a major critic to three American paintings Edmonds sent for display, he ruefully remarks that the criticism typified English ignorance of America. Putnam was advised to "'tell them to paint some American subject (!) Something of the Indian life.' He was rather incredulous when I suggested that Indians were as great a novelty, nearly, in New York as in London." Still, he wrote, hundreds had viewed and appreciated the paintings, so they had served a good purpose.

One letter in the collection involves neither art nor banking, but Civil War service in Virginia. It is from an old friend of Edmonds, William Fenton, who went to war along with his two sons and served as a colonel in the 8th Michigan regiment. Fenton describes a massive camp along the Rappahannock in detail and indignantly decries the "slaughter" at Fredericksburg as "almost unjustifiable," and due to "old fogeyism" in military strategy. "What was good strategy in the time of Napoleon may not be now." He criticizes political meddling in war and the advancement of "pets." Fenton encourages Edmonds to visit camp, for "[s]uch sights will never again be seen on this continent."

Besides correspondence, news clippings, some later genealogical material, and a draft excerpt from Edmonds' autobiography (ca.1860), the collection includes several pencil sketches by the artist. Eight rough but skillful sketches on small scraps of paper feature indoor and outdoor scenes of people and animals. One is water-colored. There is also a large preliminary study of Edmonds painting "The Bashful Cousin". It is not identified as such, and background scene and details differ from the finished version, but the two main characters are clearly recognizable.

University of Michigan professor of Greek; Assistant to the President; papers include correspondence, writings, pencil sketches and photographs, topical files.

The papers of Frank Egleston Robbins consist of materials from his work as the assistant to the university president, and his other activities within the university. The series are: Correspondence, Miscellaneous, Writings, Visual Materials and Assistant to the President Topical Files.

Warren F. Perkins, Jr. ("Frank") wrote 36 letters to his parents in Providence, Rhode Island, while traveling and working in Canada, the Midwest, and New York from 1904-1906. He commented on his life and work in Chicago; Saint Louis; Topeka; and Kokomo, Indiana, and also discussed his travels to the 1904 Louisiana Purchase Exposition in St. Louis and his work on a houseboat in and around the state of New York.

Warren F. Perkins, Jr. ("Frank") wrote 36 letters and postcards to his parents in Providence, Rhode Island, while traveling and working in Canada, the Midwest, and New York from February 21, 1904-July 15, 1906. In his first letter, Perkins discussed his attempts to find work in Chicago and the strike-related violence he witnessed there (February 21, 1904). In August and September 1904, he traveled to Toronto and Niagara Falls before settling in Saint Louis, Missouri, where he first stayed at "Camp Lewis," a tent city. While living in Saint Louis, Perkins and his companions occasionally visited the Louisiana Purchase Exposition and traveled to the surrounding area. He complained about inflated prices resulting from the exposition, described his accommodations, and discussed his series of blue-collar jobs. His letter of October 16, 1904, contains a sketch of his boarding house.

In November 1904, Perkins left for Topeka, Kansas, where he considered further travel to Omaha, Nebraska (November 28, 1904). By December, he had returned to Chicago, where he again reported on labor disputes, striking workers, and a contentious mayoral election in early 1905. In May 1905, Perkins wrote to his family from Kokomo, Indiana; he drew a map of Kokomo in his letter of May 30, 1905. A final group of 7 letters pertains to his time working on a houseboat in upstate New York and around New York City in June and July 1906. He described the boat and commented on his experiences on the Erie Canal, on the Hudson River, and in New York City. Perkins reached Connecticut by the time he wrote his final letter on July 15, 1906.

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.

This collection is comprised of a drawing book and an illustrated journal that Helen Lincklaen Seymour Ledyard kept from 1887-1890. She discussed and drew scenes from her daily life in Cazenovia, New York.

This collection is comprised of a drawing book and an illustrated journal that Helen Lincklaen Seymour Ledyard kept from 1887-1890. She discussed and drew scenes from her daily life in Cazenovia, New York.

The first volume is Ledyard's drawing book, entitled "Chronicle's and Chroma's." It contains 43 watercolors, 4 ink drawings, and about 25 pencil sketches. Captions accompany most of the images (dated 1889-1890). Much of the artwork depicts scenes from activities such as dinner parties, balls, picnics, and a wedding. Other pictures show everyday scenes such as carriages, boxers, men and women in formal dress, and buildings. One drawing, labeled "Dynamite Danger," illustrates an explosion, and another represents a production of Gilbert and Sullivan's The Mikado. Ledyard often labeled pictures of herself and several acquaintances.

Helen Ledyard's journal ("Memoirs of Me") is dated December 19, 1887-February 22, 1888, and most pages have ink illustrations. The diary entries span 54 pages, with around 10 pages of additional sketches and notes in the back. In her daily writings, Ledyard discussed her social activities, which included meetings with family and friends and frequent visits to Syracuse, New York. She often participated in winter outdoor leisure activities, such as tobogganing and ice skating. Laid into the volume are a diagram of a football team on-field position ("The Seats of the Mighty"), a small watercolor landscape, and a page of ink sketches.