Collections

The Laurence Barrett family papers consist primarily of 113 letters written between Laurence Nexsen Barrett, his siblings, and his parents during World War II, while Laurence Barrett served in the United States Navy aboard the submarine chaser USS PC-1176. Barrent wrote about his work as a mail censor, family news, financial matters, fellow sailors, shipboard life, reflections on the U.S. Navy and the war, visits to French and English towns, and other subjects. The collection contains 18 editions of The Hillcote Herald, a newsletter named after the Barrett family home at Katonah, New York, contains poetry, news on local sports, family updates, and other content. Eighty five snapshot photographs and other images, along with 13 printed items complete the papers.

The Laurence Barrett family papers consist primarily of 113 letters written between Laurence Nexsen Barrett, his siblings, and his parents during World War II, while Laurence Barrett served in the United States Navy aboard the submarine chaser USS PC-1176. Barrent wrote about his work as a mail censor, family news, financial matters, fellow sailors, shipboard life, reflections on the U.S. Navy and the war, visits to French and English towns, and other subjects. The collection contains 18 editions of The Hillcote Herald, a newsletter named after the Barrett family home at Katonah, New York, contains poetry, news on local sports, family updates, and other content. Eighty five snapshot photographs and other images, along with 13 printed items complete the papers.

Correspondence: Though most of the material originated from members of the Barrett family, Laurence received mail from several acquaintances from his prewar educational endeavors. The letters of the 1930s through 1941 are largely incoming letters to Laurence N. Barrett regarding his empoyment at the Berkshire School (Sheffield, Massachusetts), his 1939 trip to Great Britain on board the SS Transylvania, family updates from their Hillcote home in Katonah, New York, the marriage of his brother Roberston to Margaret B. Sloat, and other matters. The papers contain 35 pages of largely undated courtship letters from the 1930s/1940s between Laurence Barrett and Ruth DeYoe, while the former taught at Middlebury College and the latter finished her studies at Connecticut College in New Haven. One letter from Heidi (i.e. Adelaide Barrett) dated June 29, 1939, contains drawings of a bicyclist in Ireland and a thatch-roofed house.

Captain, later Lieutenant, Laurence "Larry" Barrett's outgoing letters to his parents and sister begin with a July 4, 1943, missive written while aboard the USS SC-1003 while patroling for Japanese submarines. By fall, he sent correspondence from the Navy Section Base near New Orleans, Louisiana. He wrote both newsy and practical letters, discussing finances and sending money to his sister, his insurance policy, U.S. Navy discipline, life in the service, and gunnery training at Shell Beach (Southeast of New Orleans). December 27, 1943, he sent his first letter from aboard the newly-commissioned USS PC 1176 and provided his thoughts on the mood of the ship's officers and crew. One of the jobs assigned to Barrett was censoring outgoing mail and he found reading through other sailors' personal matters to be educational. He told his parents that through them he learned "what remarkable insights into human beings there are to be had in the letters they write their wives and sons and creditors and the girls they are traying to seduce. It is an almost Olympian view you get of the poor hunted, hunting race, and at times it makes you feel presumptious -- would even make you feel guilty, if there were not all the sheaves of naval regulations insisting upon it to salve the conscience (January 16, 1944). He provided a couple anecdotes about fellow sailors' relationships. The ship traveled across the Atlantic and stayed in port at England. Barrett wrote home during the spring of 1944 about interactions with and perceptions of English people and their suffering on account of the war. Though the PC 1176 participated in the Normandy invasion, it is not mentioned in the Barrett's letters (except one letter of February 13, 1945, in which he explains his reasons for not writing about D-Day or other "war stuff"). As the ship entered duty around Cherbourg and LeHavre in the fall of 1944, he sent his family letters about investments, fellow sailors, courts martial, shipboard activities, the Presidential Election of 1944, his communications with a woman named Courtney, reflections on U.S. Navy service and the war, visits to French towns, speculation about when he will be able to return home, .

The collection includes 18 issues of The Hillcote Herald, a typed newsletter containing poetry, family news, local sports, and other subjects. At one point, the Herald specifies that its readership includes three persons. While generally lighthearted, the December 7, 1941, issue included a remark on the attack on Pearl Harbor, "This is, we suppose IT. IT being the thing that a great many millions of Americans have been hoping might someday be prevented from taking place. That it will affect us all, and very directly, cannot be doubted. Whether or not it could have been avoided is probably no longer worth debating or wonderfing about--or praying over, maybe." The collection includes the following issues:

• 1939 July 24, v. IV, no. ?
• 1941 September 21, v. VI, no. 1.
• 1941 September 28, v. VI, no. 2.
• 1941 October 5, v. VI, no. 3.
• 1941 October 12, v. VI, no. 4.
• 1941 October 26, v. VI, no. 5.
• 1941 November 2, v. VI, no. 7.
• 1941 November 9, v. VI, no. 9.
• 1941 November 16, v. VI, no. 11.
• 1941 November 30, v. VI, no. 11 (located in the Correspondence Series under this date).
• 1941 December 7, v. VI, no. 21.
• 1943 July 4, v. VII, no. 17 (supposedly).
• 1943 July 25, v. VII, no. 18.
• 1943 August 1, v. VII, no. 20.
• 1943 August 7, v. VII, no. 21.
• 1943 August 15, v. VII, no. 21.
• 1943 August 22, v. VII, no. 22.
• 1943 October 3, v. VII, no. 23.

The collection's Photographs include 85 snapshots taken during Laurence N. Barrett's 1937 visit to Ireland, as well as images of sporting events, skiers, buildings, an exposition of glass products, a dog, and a variety of unidentified individuals. The photographs also include two real photo postcards of unidentified exterior locations, one photograph of an unidentified woman, and a modern copy of a photograph of Laurence Barrett's ship USS PC-1176.

The Printed Items include several pamphlets regarding Welsh government and politics, two book sales pamphlets, and Great Britain travel literature. A complete list includes:

• [Copy of Laurence Nexsen Barrett's Power of Attorney, December 4, 1944].
• [Copy of Barrett Family Tree, K. Barrett Kelly, rev. February 20, 2004].
• [Newspaper Clippings, 1942 (2 items).
• Davies, David James. The Economics of Welsh Self-Government. Swyddfa'r Blaid Genedlaethol: Caernarfon, 1931.
• Everyman's Library : 955 of the World's Great Books at 90¢ Each. s.l.: s.n., n.d. [Catalog of titles specifically marketed at the Princeton University Store].
• Herbert, Will; Wilber G. Katz; et al. Religious Perspectives in American Culture. Princeton, N.J.: Princeton University Press, 1961.
• Jones, J. Gwilyn; Plaid Cymru. The New Wales : Synopsis of the Policy of the Welsh Nationalist Party. Swyddf'r Blaid: Caernarfon, [19--].
• Lewis, Saunders. Local Authorities and Welsh Industry. Swyddfa'r Blaid Genedlaethol: Caernarfon, [1934].
• The Modern Library : 278 of the World's Greatest Books. s.l.: s.n., [1941]. [Catalog of titles specifically marketed at the Princeton University Store].
• Peers, Sir Charles. Caernarvon Castle Caernarvonshire. London: His Majesty's Stationery Office, 1936.
• Peers, Sir Charles. Harlech Castle. London: His Majesty's Stationery Office, 1937.
• Road Atlas and Route Guide of Northern Ireland and Eire. s.l: s.n., n.d. [Printed map and outer cover include illustrated advertisements for Joseph H. Gass, Belfast, a bicycle seller].

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

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

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

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

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

Post-mortem portraits:

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

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

Post-mortem scenes:

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

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

Funeral tableaux:

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

Funerals and funeral processions:

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

Floral arrangements and displays:

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

Memorial cards and sentimental imagery:

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

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

Cemeteries and monuments:

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

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

The funeral industry:

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

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

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

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

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

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

Mourning attire:

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

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

Unnatural death:

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

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

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

This collection consists primarily of letters that Lieutenant Colonel Melvin Brown wrote to his wife Louise while serving at the Supreme Headquarters of the Allied Expeditionary Forces during World War II. The letters, which most frequently discuss the couple's two sons and Brown's desire to return home, also offer insight into his views on the role of the United States military following the war.

This collection consists primarily of 17 letters that Lieutenant Colonel Melvin Brown wrote to his wife Louise while serving at the Supreme Headquarters of the Allied Expeditionary Forces during World War II. The letters, which most frequently discuss the couple's two sons and Brown's desire to return home, also offer insight into his views on the role of the United States military following the war. The collection also has a letter to Melvin Brown from the Prudential Insurance Company.

Melvin Brown wrote 17 letters to his wife in September 1944 and between April and September 1945. He addressed his letters to "Louise and Sonnies" and signed himself "Daddy B." In his letters, Brown expressed his affection for his family, shared his amusement after hearing stories of the boys' games, and discussed his regret at being absent for his sons' early years. He also commented on finances and the possibility of purchasing an insurance policy to fund his sons' education.

Brown was stationed in Paris after the conclusion of hostilities in Europe and often visited the nearby countryside, where he saw the effects of the war (April 17, 1945). His letter of August 6, 1945, encloses 5 photographs of a picnic held at a château. Occasionally, Brown mentioned his political opinions and his thoughts about the end of the war and the "strange peace proceedings in the Pacific" (August 19, 1945). On August 26, 1945, he wrote about the atomic bomb, suggesting that it might fulfill the apocalyptic stories of H. G. Wells, and expressed his hope that the United States would not return to isolationist politics after the war. One printed letter, addressed to Melvin C. Brown by the Prudential Insurance Company, relates to an insurance check sent directly to Louise Brown (April 3, 1945).

This collection contains around 150 incoming letters that Miriam Kline of New York City received from men serving in the United States Armed Forces throughout World War II. They described their experiences and exercises at army training camps and other military bases within the United States.

This collection contains around 150 incoming letters that Miriam Kline of New York City received from men serving in the United States Armed Forces throughout World War II. They described their experiences and exercises at army training camps and other military bases within the United States. She also wrote 2 letters and sent 2 Christmas cards to soldiers.

Sergeant Walter C. Jessel and Private David W. Hoefer wrote most of the earlier letters between July 1941 and June 1942. Jessel, a friend, shared his experiences in the army both before and shortly after the Pearl Harbor attacks, and Hoefer often wrote Miriam about his life in the army and about his affection for her, though he wrote less frequently after she declined his romantic advances in mid-June 1942. Throughout the war, Kline continued to receive letters from Jessel, Hoefer, and 14 other servicemen, primarily from bases in the United States. They described many aspects of everyday life in the army, army air forces, and coast guard.

Enclosures include 3 photographs of Walter C. Jessel in uniform, newspaper clippings, and humorous cartoons. Jessel drew a picture of his transport train in his letter postmarked October 13, 1941. Later items include letters that Miriam wrote to Jessel and to Lieutenant R. H. Davis in 1945, as well as Christmas cards she sent to Davis and to Allan Isakson.

This collection is made up of the World War II-era correspondence of Norma Greiner, her husband William R. Kent, and the Greiner family. The papers include letters that Norma Greiner wrote to her family while serving as a United States Navy nurse in San Francisco, California, in 1943; letters that William R. Kent wrote to his wife Norma while serving onboard the USS Cape Esperance in the South Pacific from August 1944-November 1944; letters that the Greiner family received from various servicemen during the war; and letters that Norma Greiner Kent received from her mother- and sister-in-law.

This collection (79 items) contains the World War II-era correspondence of Norma Greiner of La Grande, Oregon; her husband, William R. Kent; and the Greiner family. One receipt pertains to a small payment from Mrs. R. C. Greiner to C. E. Branner (July 9, 1942).

Norma Greiner wrote 38 letters to her parents while working as a United States Navy nurse at Treasure Island, San Francisco, California, in 1943. She described her experiences treating wounded servicemen and sometimes provided details about specific patients. In one letter, she discussed a set of photographs shown to her by an officer returning from Guadalcanal (February 13, 1943, mailed with letter dated February 11, 1943), and in another, she described her wedding (August 3, 1943). Some letters refer to Greiner's dating life and several from late July and early August concern her marriage to William R. Kent. Her final letter, dated February 19, 1945, pertains to life in San Diego, California. Three of her letters have enclosures: a newspaper clipping about nurses (March 15, 1943), 4 snapshots of natives in an unidentified location (May 27, 1943), and bicycle licenses for Norma Grider [sic] and Wanda Tucker (June 4, 1942). One item is an illustrated printed form letter 2'8" long, including grains of sand glued to one page, that Norma sent to her brother Lawrence (March 27, 1943).

William R. Kent sent 26 letters to his wife Norma Greiner Kent while serving on the USS Cape Esperance in the South Pacific from August 1944-November 1944; these letters form part of a much larger series (not present). Kent discussed navy life, anticipated the birth of their first child, and counted down the days remaining in his enlistment. While stationed on an unidentified island, he described his health difficulties, including a sprained ankle and a diminished appetite, and responded to Norma's news of her hospital work and pregnancy. He mentioned his initiation as a "shell back" after crossing the Equator and encloses a humorous mock subpoena for a related ceremony (August 14-15, 1944). On October 19, 1944, Kent reflected on the death of a friend named Hallowell, enclosing his obituary. Other enclosures include letters and V-mail from the Kent family (September 20, 1944; September 29, 1944; and October 15, 1944); 3 snapshot photographs of an unidentified man with a dog and horse (September 14, 1944); a notice that his subscription to Parents' Magazine would soon expire (September 14, 1944); a cartoon (October 16, 1944); and a list of recommended Bible verses (November 19, 1944). Norma also received letters from her sister-in-law, "Jay" Kent, and from her mother-in-law, Helen Kent.

In addition to Norma's letters, the Greiner family received correspondence from William R. Kent (1 item, March 22, 1945) and other servicemen. Private Dale Greiner, a relative, wrote about his experiences while training with the United States Air Forces in Miami Beach, Florida, and Gulfport, Mississippi; David G. Weathers wrote twice of his love for Norma (April 4, 1943, and July 11, 1943); Norman E. Olson mentioned his participation in naval campaigns near the Philippines on the USS Heywood (February 27, 1945); and Private Chester J. Hoab discussed tank training at Fort Knox, Kentucky (ca. March 25, 1943). Private Bryce E. Miller wrote his letter of March 4, 1943, on stationery bearing printed images of military aircraft.

The Paul A. Meunier photograph albums consist of three large volumes documenting the experiences of the U.S. Army 941st Engineering Aviation Topographical Battalion during World War II including basic training in the United States in 1942, assignments in Tunisia and Italy, and the journey home via the Pacific following the conclusion of the war.

The Paul A. Meunier photograph albums consist of three large volumes documenting the experiences of the U.S. Army 941st Engineering Aviation Topographical Battalion during World War II including basic training in the United States in 1942, assignments in Tunisia and Italy, and the journey home via the Pacific following the conclusion of the war.

All three albums in the collection are 46 x 57 cm in size and have black covers and black paper pages. Each album contains approximately 1,000 photographs. Being a professional artist, Meunier’s attention to detail and exactness is evidenced by the presence of faint framing lines an inch from page margins, with photos carefully arranged within the frames. Numerous captions are present in white ink and neatly printed in appropriate size. Since the three albums present in this collection are titled “Volume 3,” “Volume 4,” and “Volume 5,” it is presumed that Meunier likely produced at least five albums total. Both official photographs as well as personal snapshots taken by Meunier himself are included.

Album A ("Volume 3"): This album documents Meunier’s military service starting from June 1942 when he departed Cleveland for basic training, initial U.S. deployments, his assignment to Tunisia, and his unit’s journey across the Mediterranean Sea to Italy in December 1943. Many snapshot views of street scenes in Tunis and other places in North African Meunier explored while on leave as well as copies of official U.S. Army photographs recording visits to Tunis in 1943 by high-ranking U.S. officials (including Secretary of War Henry Stimson and Generals Eisenhower and Spaatz) are present.

Album B ("Volume 4"): This album documents the transfer of Meunier’s unit to San Severo, Italy. Images of particular interest show the unit working on the production of large-scale lithographically produced bird’s-eye view maps with designated bombing targets charted out. Visits while on leave to Naples, Capri, and Amalfi are also thoroughly represented. Also present is a hand-drawn map of the streets of San Severo and an annotated aerial view of Capri.

Album C ("Volume 5"): This album includes official photos of airborne fighter planes and bombers, aerial views of target sites, and artwork by a fellow soldier. Meunier’s snapshots show soldiers at work as well as on tourist visits to famous Italian sites such as Rome, Florence, Pisa, and Pompeii. Although materials are not arranged in strict chronological order, this volume covers a period of time from when Meunier’s company was headquartered in Bari in mid-1944 to his journey home by ship through the Panama Canal in mid-1945. Also present are a handful of views of the eruption of Mt. Vesuvius in 1944.

The Pictorial Record of the United States Army Air Forces 90th Bombardment Group consists of two volumes containing 1 manuscript item and approximately 412 photographs documenting the activities of the USAAF 90th Bombardment Group during the New Guinea campaign of War World II.

Materials are housed in plastic sleeves contained in two green-colored 3-ring binders (30 x 33 cm). All photographs are gelatin silver developing-out prints and for the most part measure between 10 x 12 cm and 26 x 20 cm in size. Numerous images bear stamps that state “Passed by U.S. Army Examiners.” Most images do not have captions, though a small number do have typescript captions on their versos.

Volume A:

Volume A contains approximately 186 photographs as well as 1 manuscript item. The volume begins with a one-page typescript document issued ca. 1944 that is addressed to the 400th Bomb Squadron 90th Bomb Group, stating the photographs are intended to be “the Pictorial Record of Our Unit.” The letter is signed by Maj. C. Vernon Ekstrand of the U.S. Army Air Corps. Photographs include a composite portrait of the 90th Bomb Group members, individual and group portraits of 90th Bomb Group members, a group portrait of Japanese military personnel, images of Allied military facilities, Japanese warships being bombed, military aircraft shown both midair as well as on the ground, what appears to be an abandoned Japanese tank, and numerous landscape views. Also present are several images showing aircraft nose art. Of particular interest are various pictures documenting interactions with native Papuan people including individual and group portraits as well as photographs of Papuan settlements and structures (including churches).

Volume B:

Volume B contains approximately 226 photographs. This volume includes a substantial number of pictures of indigenous Papuan individuals, children, and families, including several portraits of nude women (including mothers breastfeeding), as well as images showing traditional Papuan body modifications and tattoos. Of particular note are images that appear to document a Papuan ceremony that showcases elements of traditional Papuan clothing, music, and ritual dance, as well as a photograph of a Papuan trumpet player. Other items of interest include numerous images documenting USO performers (including Bob Hope and Patty Thomas) and a series of aircraft nose art photographs that include several works signed by Cpl. Al G. Merkling. Images of airborne planes and landscape views also feature prominently in this volume.

This collection primarily consists of around 500 letters that Lieutenant Robert N. Lackhove of Altoona, Pennsylvania, wrote to his girlfriend and future wife, Myrle Hoffman of Camp Hill, Pennsylvania, between 1942 and 1945. Lackhove, a bombardier with the United States Army Air Forces, described his training in Texas, his experiences while stationed in Lavenham, England, and his participation in combat missions.

This collection primarily consists of around 500 letters that Lieutenant Robert N. Lackhove of Altoona, Pennsylvania, wrote to his girlfriend and future wife, Myrle Hoffman of Camp Hill, Pennsylvania, between 1942 and 1945. Lackhove, a bombardier with the United States Army Air Forces, described his training at camps throughout Texas and his experiences while stationed in Lavenham, England, where he flew combat missions.

The Correspondence series comprises the bulk of the collection. Three letters pre-date the war, including one letter from 1915 and two letters that Lackhove wrote to Myrle Hoffman in 1938. The bulk of his correspondence with Hoffman began in January 1942. He occasionally wrote about his work in York, Pennsylvania, until December 1942, when he joined the United States Army Air Forces. Lackhove corresponded regularly with Hoffman throughout his military service, and often wrote once every two or three days. He provided his initial impressions of military life and described his daily routine at the San Antonio Aviation Cadet Center in San Antonio, Texas, which included frequent interactions with upperclassmen, drills, and classroom work. He continued to write after his transfer to Bruce Field in Ballinger, Texas, and during bombardier training in San Angelo, Texas. He participated in practice bombing runs and often mentioned his flying time and other activities. Some of Lackhove's letters from this period include drawings of his uniform, bombing targets, and additional subjects. Lackhove was promoted to second lieutenant in January 1944, and attended a training course in Laredo, Texas, until around March, when he was assigned to Tampa, Florida; Avon Park, Florida; and Georgia, where he awaited overseas deployment.

In July 1944, Lackhove reported his arrival in England, where he was based throughout his time overseas. Though censorship prevented him from sharing many details, he mentioned his participation in bombing runs and recalled hearing German radio propaganda aimed at English speakers. He also provided detailed descriptions of people and occasionally mentioned trips to London. On August 6, 1944, he enclosed Icelandic currency in his letter to Myrle. After flying his required number of missions, he returned to the United States in early 1945.

Lackhove was briefly stationed in Miami Beach before being transferred to Midland, Texas, where he remained until June 1945, when he moved to Childress, Texas. He continued to attend navigation classes and to comment on daily camp life. His leisure time became more frequent, and he attended movies and played golf with his friends. Lackhove increasingly mentioned his feelings for Myrle, and urged her to make preparations for a wedding; the couple wed during one of his leaves in May 1945. After V-E Day, he began to anticipate his return to Pennsylvania, and after V-J Day he looked forward to a discharge. His final military letter is dated September 11, 1945, and he wrote one additional personal letter to Myrle in July 1946.

Though the vast majority of the correspondence consists of Lackhove's letters to Myrle, occasional letters from other family members and friends are interspersed throughout the series. Lackhove's parents, Louis and Mary, occasionally wrote letters to Myrle, and she also received letters from other acquaintances. Lackhove also enclosed letters from his parents and, on at least one occasion, a friend, in some of his letters to Myrle. A small number of letters that she wrote to Lackhove are also included, particularly after his return to the United States in 1945. She discussed her feelings about their upcoming wedding and her life in Camp Hill.

The Poetry series contains three typed poems relating to love and separation.

The Ephemera series contains 21 greeting cards that Robert Lackhove sent to Myrle Hoffmand and to his parents, celebrating birthdays and other holidays. The series also has an invitation, an announcement, and a thank-you card. Additional items include a photograph of a small girl named Vickie holding a telephone, a document regarding Robert Lackhove's military salary, and stamps.

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.

This collection is mainly comprised of letters that Sergeant Stewart F. Laurent wrote to his wife and other family members while serving in France during World War I. The collection also includes documents, postcards, photographs, and ephemera.

This collection (0.5 linear feet) is mainly comprised of letters that Sergeant Stewart F. Laurent wrote to his wife and other family members while serving in France during World War I. The collection also includes documents, postcards, photographs, and ephemera.

The Correspondence series (67 items) contains 65 letters that Laurent wrote about his service in France from March 10, 1918-May 18, 1919; 1 letter that he wrote on January 10, 1918; and 1 letter by other military personnel confirming Laurent's good record as an automobile driver (April 30, 1918). Laurent most frequently wrote to his wife Alice, discussing their separation and anticipating their life together after the war. In other letters to Alice and to his mother, aunt, uncle, and siblings, he described his travels around the French countryside and reported military rumors, particularly those related to the end of the war. He vacationed at Aix-les-Bains in September 1918 and was stationed in Abainville and Haussimont after the Armistice; he also visited Nice and Paris. On Thanksgiving Day, 1918, after the relaxation of censorship requirements, he recounted his passage to France on the USS President Lincoln and enclosed a dinner menu from the journey. Other enclosures include a photographic postcard; snapshots of Laurent, other soldiers, tanks, and places in France; a booklet celebrating Mother's Day; and a political cartoon of an American soldier awaiting his return home. In 2 letters from March 1919, Laurent drew pictures of artillery shells that had been turned into vases.

The Postcards series (11 items) is divided into 3 groups. Stewart F. Laurent sent 3 postcards to his wife Alice between January 8, 1919, and February 17, 1919, of which 2 show the interior and exterior of the Château de Valençay; the third informs Alice of her husband's reassignment to Haussimont, France. The second group of postcards depicts soldiers and scenes from Paris, France, during World War I. The final group of 4 postcards pertains to the Laurents' candy store in Philadelphia, Pennsylvania, in the 1940s.

Items in the Documents series (9 items) mostly relate to Stewart Laurent's military service, including 4 items about his discharge (May 1919), a Treasury Department document about the War Risk Insurance Act and related financial allotments (undated), and instructions for troops sailing from the United States to France onboard the USS President Lincoln [February 1918]. Three items, 2 of which are dated November 18, 1914, concern the Metropolitan Life Insurance Company.

Printed Items and Ephemera (15 items) pertain to Stewart F. Laurent's military service and personal life. A 1908 program for an event at Glenolden Grammar School and an unidentified photograph from 1907 are enclosed with an invitation to Laurent's wedding. The remaining items are from the World War I era, including 2 newsletters about the French Riviera in the spring of 1919, a group of ticket stubs with a parody song ("Silver Threads Among the Black"), Laurent's pay book, a program for a variety performance in Aix-les-Bains, and 3 booklets: a guide to the French Riviera, a history of and guide to Paris, and a soldier's French phrasebook. This collection also includes 2 realia items: a string of beads and a private's chevron.