Collections : [University of Michigan William L. Clements Library]

The Clarence E. Burt papers primarily consist of letters that Burt wrote to his aunt and uncle, Addie and Charles H. Mosher of New Bedford, Massachusetts, while serving with the United States Army in France during the World War I. Burt described the scenery and aspects of life near the front lines.

The Clarence E. Burt papers contain 18 letters and postcards and 2 ephemera items pertaining to Burt's service in the United States Army during World War I. He wrote to his aunt and uncle, Addie and Charles H. Mosher of New Bedford, Massachusetts, about his experiences in France in 1918.

The Correspondence series comprises the bulk of the collection. Burt's letters and postcards pertain to his military service between June 1918 and December 1918. He discussed his voyage to France, expressed his love for Paris, and recorded his impressions of local towns, which were almost devoid of able-bodied men of fighting age. In August 1918, Burt spent roughly two weeks in a hospital devoted to bone and joint injuries after spraining his ankle in a shell hole. After returning to his surgical work on the front lines, he described conditions in his dugout, which had been taken from the Germans only days before: rats and lice kept him company in the "underworld cage" and he watched as men marched past him "to certain death" (October 20, 1918). Burt also reported the constant bombardment and seeing French villages destroyed by war. Pleased by Germany's capitulation, he hoped the peace terms would "wipe Germany off the map," and mentioned German atrocities and rotting horse carcasses (November 24, 1918). Despite his negative experiences, his letter of November 24, 1918, reveals his satisfaction with his ability to "do my share" by lessening the pain of injured soldiers.

The Ephemera series contains a printed program for a Thanksgiving Day Matinée for wounded soldiers, presented by the Red Cross (November 28, 1918), and an undated French pamphlet advertising Monte Carlo (undated).

This volume contains autographs and notes that Clement Stewart collected from fellow students at the College of New Jersey (now Princeton University) in March 1864.

This volume contains autographs and notes that Clement Stewart collected from fellow students at the College of New Jersey (now Princeton University) in March 1864. The front cover bears a gold-tooled illustration of a book of "Autographs," lying on a table beside a quill pen and inkwell; both covers have additional decorative tooling.

Stewart wrote the names of those he wished to contribute on blank pages of the volume before approaching his friends for their remarks, and many commented on the number of sheets he had assigned for them. Most wrote in letter format and gave their campus addresses with their signatures. They reminisced about college, referring to Stewart's "Moral Show"; "class politics" (related to the college); social activities; the first time they met Stewart; and aspects of Stewart's character. Some offered advice. Auxenicus Mari Piña Venezuela Hildreth Dickeson's note is a pun about the military draft ("Well, may you prosper in life & also in getting out of the draft for you might catch a cold."). The majority of these friends graduated with Stewart in 1864, though some underclassmen also contributed to the album.

As a youth, Cletus Setley of Reading, Pennsylvania, kept this 31-page sketchbook around the period of the American Civil War. He created pencil doodles, pencil sketches, and pencil and watercolor illustrations of people, ships, caricatures (including anthropomorphic creatures), and a possible story narrative. One page is headed "1864 Members of Company," including Cletus Setley and other names organized by military rank. The volume has brown leather wrappers, and the cover reads, "No. 1 Meredith Henderson & Co."

As a youth, Cletus Setley of Reading, Pennsylvania, kept this 31-page sketchbook around the period of the American Civil War. He created pencil doodles, pencil sketches, and pencil and watercolor illustrations of people, ships, caricatures (including anthropomorphic creatures), and a possible story narrative. One page is headed "1864 Members of Company," including Cletus Setley and other names organized by military rank. The volume has brown leather wrappers, and the cover reads, "No. 1 Meredith Henderson & Co."

• Woman doing laundry/ holding washtub
• A person on horseback
• A building [bearing a similarity to John Setley's storefront]
• Woman holding a key next to a door marked "East," beside a small anthropomorphized quadruped
• Male performer or dandy
• Red and blue block text, "UNION"
• Ships in the shape of a horse, with men holding spears and shields
• Hunter aiming a gun at a stag
• Hunters shooting at elephants
• American sailing ships
• People and anthropomorphic creatures
• Man fleeing from dark-skinned persons armed with spears and other weapons
• Shipwrecks
• A lifeboat
• A storefront with a sign reading "JOHN SETLEY" listing flour, seed, and other dry goods
• Sidewheel steamboat
• One page of caricatures, anthropomorphic beings, women, witches, and devils
• Self-portrait, "The names of my valentines Squirt irish women & the Laundry women & to a Zouvave [Zouave] stingy man & the gallent [?]ing the [queshten?] grocer & long shanks"
• Self-portrait and building
• Sketch of a woman with a pipe in her teeth, labelled "IRISH WOMAN". On the same page is a pencil sketch of what may be a quilt block design.
• Performers, possibly for a circus or side-show

A few of the pencil and watercolor illustrations appear to relate to a story of hunters, possibly in Africa, their encounters with indigenous peoples, and a subsequent shipwreck.

This 838-page volume contains twelve manuscript issues of the Club Room Gazette, a literary magazine produced by the Everett Literary Association's Committee on Literary Exercises. The magazine appeared monthly and this volume, containing the twelve issues of Volume 6, covers the calendar year of 1861. A complete table of contents may be found here: Club Room Gazette Manuscript Magazine Table of Contents.

This 838-page volume contains twelve manuscript issues of the Club Room Gazette, a literary magazine produced by the Everett Literary Association's Committee on Literary Exercises. The magazine appeared monthly and this volume, containing the twelve issues of Volume 6, covers the calendar year of 1861.

The Club Room Gazette consists primarily of manuscript documents organized into 12 issues and bound into a single volume. It includes essays, short stories, serials, travel accounts, articles, editorials, letters, poems, songs, jokes, club administrative reports, and a single obituary. In addition, the issues contain numerous hand-drawn illustrations and examples of decorative lettering.

Each issue contains varying content, as well as two monthly recurring items: an editorial essay and the ELA "Round Table." The editorial, written by the Gazette editor, reflects on events from the preceding month, the state of the Gazette, and general thoughts from the editor. The Round Table contains a combination of club news, accounts of club events, and jokes submitted by members.

While the Club Room Gazette was not, in general, a political publication, it does include some pieces relating to contemporary politics. Notably, a number of pieces discuss the outbreak of the American Civil War, slavery, and wartime military operations and preparations.

A complete table of contents may be found here: Club Room Gazette Manuscript Magazine Table of Contents.

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

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

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

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

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

During the mid-19th century, A. A. Coleman was a judge and well-respected planter in the black belt of west-central Alabama. W. S. Stuart, possibly a son-in-law to Coleman, was a physician, planter, and slave holder living in Monticello, Miss., southeast of Vicksburg. After the Civil War, both he and Coleman returned to farming, and Coleman may have engaged in a mercantile partnership. The Coleman-Stuart Papers consists of twenty-nine items, mostly bits of correspondence and other manuscripts of A.A. Coleman and W.S. Stuart.

The Coleman-Stuart Papers consists of twenty-nine items, mostly bits of correspondence and other manuscripts of A.A. Coleman and W.S. Stuart. The public addresses in the collection, probably written by Coleman, reflect the local prominence of the speaker, as does his Colonel's commission in the 40th Alabama Infantry.

The items in the collection span half a century, and although there is little continuity in the correspondence, many individual items are of interest. Stuart discusses crop values, arrangements for selling slaves, and the Locofocos (#2), and in the post-war period, he discusses the difficulties of adjusting to free labor in Louisiana (#23). Coleman's correspondence includes a letter written by Eli Shorter, brother of the Alabama governor, discussing state politics in 1861 (#11) and another letter asking Coleman to discharge a young soldier (#12). A letter written by E. Simpson provides a lengthy and imaginative attack on the "Black Republicans" (#7), and there are important resolutions of support for the Nashville Convention favoring the extension of slavery into the territories (#6) and what appears to be a Democratic Party address lambasting abolitionism, while supporting the Union (#8).

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

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

The Colombia photograph album contains approximately 110 photographs showing scenes from Cartagena, Turbaco, and Barranquilla in Colombia.

The Colombia photograph album contains approximately 110 photographs showing scenes from Cartagena, Turbaco, and Barranquilla in Colombia. The album (18 x 28 cm) is half bound in black leather. Images of particular interest include photographs related to diplomatic functions, such as views of the British and Spanish consulates, interiors of the American consulates in Barranquilla and Cartagena, two portraits of the British Consul and family, and a series of portraits of the large family of the Spanish Consul, "Familia Zubiria Stevenson." Other images of note include photographs of a bullfight, the tomb and former home of Rafael Núñez, street and architectural views, churches, thatched huts, local inhabitants including mule drivers and cemetery workers, guns at the Baluarte de San Javier, soldiers in formation, and harbor views including views of passanger sternwheel ferry Alicia and a clipper ship. Some photographs have handwritten captions in Spanish.

The Colorado photograph album contains photographic prints of towns, mines, scenery, and people in southwest Colorado, taken during the late 19th century.

This photograph album (21cm x 29cm) contains 25 photographic prints of towns, mines, scenery, and people in southwest Colorado. The first 18 photographs are identified on a printed list of captions enclosed in the volume, and the final seven, which are attributed to W. J. Carpenter of Telluride, Colorado, have captions and negative numbers handwritten on the negatives. The book's covers are wooden boards covered with a soft mohair-like padding; a deteriorated leather cover, now detached, is stamped with the title "Art Album." Each of the photographs shows a scene from southwest Colorado, including street-level and higher-vantage views of Telluride, Ouray, Silverton, the Sheridan Mine entrance, Marshall Basin, the San Miguel River, and numerous mountains. Burros, miners, and a group of Ute Indians are pictured, as well as a group of men in the process of branding cattle, a group of tourists (including women) on horseback, a group of men labeled "Dry Creek Cow Boys at Dinner," and the "highest suspension bridge in the world."

This volume (12 pages) contains detailed descriptions of the 1893 World's Columbian Exposition in Chicago, Illinois. The author commented on exhibits, provided personal reactions to them, and reflected generally on the fair. Brief discussions of crowds, childcare, and women's involvement are also included.

This volume (12 pages) contains detailed descriptions of the 1893 World's Columbian Exposition in Chicago, Illinois. The author commented on exhibits, provided personal reactions to them, and reflected generally on the fair. Brief discussions of crowds, childcare, and women's involvement are also included. Some of the attractions mentioned include:

• Manufactures and Liberal Arts Building, in particular exhibits on Japan, Italy, France, Russia, Germany, and Austria
• United States Government Building
• Fisheries Building
• Children's Building
• Art Galleries
• Horticultural Building
• Agricultural Building
• Dairy Building
• Machinery Hall, with a brief aside about "industrial education" for African Americans
• Krupp Gun Pavilion
• Electricity Building
• Forestry Building
• Shoe and Leather Building
• Anthropology Building
• Administration Building
• Transportation Building
• Choral Hall
• Music Hall
• Woman's Building
• Convent of La Rábida
• Columbus' Caravel
• Foreign Government Buildings