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The Lars Gustaf Sellstedt family collection is made up of correspondence, poetry, ephemera, and other materials related to Sellstedt and his descendants, particularly his daughter Eva and her husband, Frank H. Potter. The papers pertain to Sellstedt's religious beliefs, his travels in the Caribbean, his interest in fine art, and his influence and legacy in Buffalo, New York. Other items pertain to Frank Potter's life in Berlin, Germany, in the mid-1880s and to the genealogy of the Younglove family.

The Lars Gustaf Sellstedt family collection (0.75 linear feet) is made up of correspondence, poetry, ephemera, and other material related to Sellstedt and his descendants, particularly his daughter Eva and her husband, Frank H. Potter. The papers pertain to Sellstedt's religious beliefs, his travels in the Caribbean, his interest in fine art, and his influence and legacy in Buffalo, New York. Other items pertain to Frank Potter's life in Berlin, Germany, in the mid-1880s and to the genealogy of the Younglove family.

The Correspondence series (109 items) contains letters related to the Sellstedt, Potter, and Younglove families. In the mid-1840s, Sellstedt exchanged letters with his future wife, Louise Lovejoy; some of his other early correspondence concerns religion, art, and travel to the Caribbean in late 1848 and early 1849. In the early 20th century, he received letters from acquaintances and admirers about his books From Forecastle to Academy and Art in Buffalo.

Many items from the late 19th century pertain to Sellstedt's daughter Eva and her husband, Frank Hamilton Potter, including a series of letters that Potter wrote to his parents about his life in Berlin, Germany, in the mid-1880s. Frank and Eva Potter's son, Lars Sellstedt Potter, occasionally wrote to his mother as a child. The series also contains mid-19th century letters between William K. Scott and his cousin Moses C. Younglove, mid-20th century letters about an art exhibit commemorating Lars G. Sellstedt, and an undated letter from "Santa Claus" to a group of children. The series includes 2 print narratives by Samuel Younglove, entitled "Battle of Oriskany" and "The Battle of Bennington" (June 12, 1897).

The Writings series (113 items) contains 23 essays and 90 poems. Longer essays pertain to "Architecture and Sculpture" (58 pages) and to the history of art in Buffalo, New York (2 items, 99 pages and 47 pages); at least one of the essays about Buffalo was incorporated into Sellstedt's book Art in Buffalo. Other items pertain to the politician James Osborn Putnam, an acquaintance of Sellstedt's. The poetry (90 items), much of which was written by Sellstedt, concerns love, friendship, nature, and religious subjects; at least one poem is a friend's tribute to Sellstedt. The series includes 8 published items, housed together.

The Watercolors and Sketches (5 items), attributed to various persons, depict infant children, a Roman soldier, a woman, and a home. The Photographs (19 items), comprised of card photographs and photographic prints, mostly show members of the Sellstedt family, including Lars G. Sellstedt, Caroline Scott Sellstedt, and Eva Thorén Sellstedt. The pictures are studio portraits, outdoor portraits, and snapshots taken during a fishing trip. The series contains 3 copies of a memorial poem dedicated to William Scott Sellstedt ("Willie"), each illustrated with a photograph of him.

The Albright-Knox Art Gallery Exhibit Materials (around 20 unique items) include documents, promotional materials, and captions, which are related to an exhibit and reception held in honor of Lars Sellstedt in September 1972.

Newspaper Clippings (66 items) pertain to the life of Lars G. Sellstedt, including retrospectives about his life and obituaries. Some clippings concern the Albright-Knox Gallery's 1972 Sellstedt exhibit.

The Invitations, Cards, Documents, and Realia series (11 items) includes printed and manuscript invitations, a calling card, an embroidered piece of fabric, and a stock certificate for the Buffalo Cremation Company.

The Genealogy series (9 items) contains histories of the Younglove family, written by and addressed to Moses Younglove, as well as items related to the Gay family and to the life of Lars G. Sellstedt.

The Latin America and Caribbean travel photograph album (17.25 x 21 cm) contains 36 captioned views of Jamaica, Panama, Peru, and Chile taken by an unidentified photographer. The majority of the photographs are of landscapes but local people are also depicted.

The Latin America and Caribbean travel photograph album (17.25 x 21 cm) contains 36 captioned views of Jamaica, Panama, Peru, and Chile taken by an unidentified photographer. The majority of the photographs are of landscapes but local people are also depicted. A photograph of the S.S. Limari is present in the album. Of note are a series of photographs documenting a trip on the Peruvian Central Railway, including a view of Infiernillo Bridge.

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 Leonidas, Michigan photograph album (14.5 x 17.75 cm) contains fifteen snapshot views of Leonidas, a settlement in St. Joseph County, Michigan. The photographs focus on streets, buildings, and roads.

The Leonidas, Michigan photograph album (14.5 x 17.75 cm) contains fifteen snapshot views of Leonidas, a settlement in St. Joseph County, Michigan. The photographs show views of streets, a train depot and train, a paint shop, a cemetery, residences, and a group of four individuals in a carriage drawn by two horses.

The L. L. Flower family photograph album consists of 37 photographs depicting family, friends, lumber business, and leisure activities of Lucius Leonard Flower, Jr., of Mann Creek, Pennsylvania, and Corning, New York.

The L. L. Flower family photograph album consists of 37 photographs depicting family, friends, lumber business, and leisure activities of Lucius Leonard Flower, Jr., of Mann Creek, Pennsylvania, and Corning, New York. Lumber-related photographs include sawmills in Mann Creek (near Mansfield) and Corning, a group of sawmill employees, and logs loaded onto the railroad cars of the Fall Brook Railway. Other images show Flower's family and friends relaxing outdoors, posing on a bridge over the Tioga River, and sitting on front porch steps with bicycles. Several photographs show a trip down the Tioga River on the houseboat, "City of Rome," co-owned with Flower's partner in the Fralic & Flower lumber business, Daniel Fralic. Also included are photographs of the interior of Flower's home in Mann Creek, a self-portrait of Flower reading, Flower's son Thomas Albert Flower, and his daughter, Dr. Edith Flower Wheeler. Additional photographs show crowds at the Tioga County Fair watching a man on a high wire, views of the Niagara River and falls, and the buildings of Mansfield, Pennsylvania. Photographs include handwritten captions. The album is approximately 19 x 26 cm.

Also included are two manuscript sheets describing the houseboat trip on the Tioga River in August, 1892.

The Maples family photograph album contains 44 photographs and 18 clippings related to a group of families most likely from Michigan.

The Maples family photograph album contains 44 photographs and 18 clippings related to a group of families most likely from Michigan.

The album (26.25 x 20 cm) has embossed leather covers and contains 15 tintypes, 13 cartes de visite, and 16 snapshots overall as well as 18 clippings. The majority of the photographs are studio portraits of men, women, and children while the clippings range in substance from poetry and professional updates to obituaries. The people represented in this album may possibly be members of the Maples-Keller-McFarlane families.

The Marguerite H. Voll photograph album includes 87 photographs documenting family activities and various events in Plymouth, Wisconsin, as well as Chicago, Illinois.

The Marguerite H. Voll photograph album includes 87 photographs documenting family activities and various events in Plymouth, Wisconsin, as well as Chicago, Illinois.

The album (28.5 x 35 cm) has black cloth with “Photographs” stamped in gold on the front cover. Images include portraits of the Bade, Schram, and Fiedler families as well as views of parades in Chicago (including a Barnum & Bailey Circus parade), group portraits of the Plymouth Hook and Ladder bicycle team, the Sheboygan County Fair, natural landscape scenes, cars, trains, farming, and photographic reproductions of sentimental art. Of particular note is a portrait of Marguerite Bade riding a floor sweeper as an infant in 1909.

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).

The Matthilde Ittel photograph album contains 122 photographs, 19 postcards, and 26 pieces of ephemera and mainly includes snapshots of people, landscapes, and buildings in Pennsylvania, New York, and Ontario.

The Matthilde Ittel photograph album contains 122 photographs, 19 postcards, and 26 pieces of ephemera and mainly includes snapshots of people, landscapes, and buildings in Pennsylvania, New York, and Ontario.

The album (18 x 27 cm) has black cloth covers with "Photographs" stamped on the front. Many of album compiler Matthilde Ittel’s family, friends, and colleagues are mentioned and pictured in this album, including William Baldwin Clipsham, Nettie E. Geyer, Freda Cloud, Mary Rieger Ittel, and Jessie Evelyn Ittel Kiel as well as staff of the W. E. Terhune Lumber Company. Numerous portraits are present throughout the album, many of which have been altered through cutting. Two images show a woman whose face has been entirely cut out, while many other images are cut along the lines of a person’s figure. Several images have had color added. The postcards primarily consist of images of destinations that the album creator visited such as the Bowery in New York City and the Liberty Bell in Philadelphia, Pennsylvania, while the ephemeral items include a hotel card, a small wooden oar, and typed notes containing humorous writings and social commentaries.

Images of note include pictures of Ittel wearing a Gibson Girl hairstyle coupled with a quote regarding the advantage of women not having to wear trousers, portraits of Ittel’s mother Mary and sister Jessie, two real photograph postcards of cats, a postcard of the merchant ship Tillie Covert, postcards and notes from a trip to Ontario in 1908, photographs and postcards relating to a 1909 trip from Rochester to Montreal and West Point, several photographs of a 1911 trip to Philadelphia and the Delaware Water Gap, and a staged photograph located on the back inside cover captioned "An Actual Operation For Appendicitis.”

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).