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

This collection consists of 7 documents and printed items relating to the steamship City of Glasgow and its voyages between Liverpool and Philadelphia between 1850 and 1852, including advertising materials, receipts, and a passenger manifest.

This collection consists of seven documents and printed items relating to the steamship City of Glasgow and its voyages between Liverpool and Philadelphia between 1850 and 1852, including advertising materials, receipts, and a passenger manifest.

The documents in the collection include three partially printed receipts signed by the Philadelphia agent Thomas Richardson for freight payments. There is also a manifest of the passengers who sailed on the ship in August 1852, listing their names, age, sex, occupation, country of origin and "Country of which it is their intention to become inhabitants," number of packages or baggage, and number of passengers who died during the voyage. The passengers are separated into those sailing via cabin or steerage, and they range in age from infants to 70 years old. Countries of origin include Ireland, England, the United States, France, Germany, Scotland, Switzerland, and Belgium. Final destinations for immigrants include the United States, Canada, and Peru. A variety of occupations are represented, such as farmers, merchants and shipping agents, engineers, weavers, millwrights, and skilled tradesmen like a glass cutter, blacksmith, jeweler, galvanizer, and more. A British vocalist, Thomas Bishop, and Boston artist John Pope (1821-1880) are listed as cabin passengers.

Advertising materials include a November [1850] printed circular sent to William D. Lewis for an upcoming event to "celebrate the arrival of the Steamer 'City of Glasgow,' the first of the new line of Steamships established to ply between this port and Liverpool." There is also an illustrated printed broadside produced by the Richardson Brothers & Co. in 1851 to advertise the Liverpool and Philadelphia Steam Ship Company and the Pennsylvania Steam Ship Company's "Steam Communication Monthly from Liverpool to New York, Baltimore, Pittsburg, Cincinnati, Charleston, Havana, &c., By Way of Philadelphia." The City of Glasgow is listed as one of their four ships, with notes about ship tonnage, departure dates, rates of passage, rates of freight, and additional information about securing railroad tickets to American cities. Printed on yellow paper, the broadside features a decorative border and an engraving of a steamship.

A colored engraving of the City of Glasgow sailing down the Delaware River, clipped from Gleason's Pictorial Drawing Room Companion, is also present.

This collection is made up of three items (8 pages) relating to the investigation into the death of 17-year-old Etna Bittenbender, who was raped and murdered in Sciota, Hamilton Township, Pennsylvania on October 31, 1880. The contents include statements by Samuel Harvey, Samuel A. Singer, and four members of the Marsh family who employed Etna as a housekeeper. They attested to their personal backgrounds and lives, their locations at the time of the murder, and what they witnessed.

This collection contains the journal of Helen Curtis Annan, which records notes on Presbyterian sermons and religious studies, as well as personal journal entries regarding the writer's travels and religious musings.

Helen used this volume as religious text book, journal, copy book, travel journal, and book list, and the result is a hodge podge of scattered entries. Chronic "indisposition and unsettled habits" add to the discontinuity of the volume as a whole, but there are still a few excellent parts; namely her record of Presbyterian sermons during and after the separation, her journal entries recording her struggles with religion, and a small travel journal recording her tour up the Mississippi to view the "natural" world and its "natural" inhabitants in the summer of 1845.

Initially, Helen used the volume to record outlines of the sermons and other religious addresses she heard at lectures, prayer meetings and bible classes. Typically she identified the pastor and the text on which the address was based. Often she also outlined the argument, and very occasionally she included her own opinions about the speaker's success, or some indication of her own state of mind -- "Attended church in the morning but my deep depression & intense anxiety prevented my retaining even the text" -- without any explanation. Helen kept this text book up on a fairly regular basis for over a decade.

Helen considered her textbook and her journal separate things, and she wrote journal entries throughout the rest of the volume without much regard for chronological order. Unfortunately she later cut out four pages on which she had apparently recorded her "disquietude" about something that at the time, had deeply affected her. In the next entry she wrote, "in reviewing what is there written I can't but wonder at the state of mind I then was in -- strange excitable being that I am" (1843 September 18). Many of Helen's entries deal with her constant personal strivings to be closer to God, and how this closeness often proved to be frustratingly elusive. Helen rarely even alluded to her husband, family or friends, and her primary emotional and intellectual relationship, at least as viewed through this volume, appears to have been with God.

The forty numbered penciled pages recording a quick trip up the Mississippi and back down again show that when she chose to be, Helen was as adept an observer of the physical world as she was of her spiritual condition. This travel journal also provides a fascinatingly detailed account of an early tourist jaunt to St. Anthony's Falls and Indian lands. Sadly, Helen wrote notes about English history over the first few pages, rendering the pencil illegible, but we catch up with her before she has gone too far up river. The steamboat's speed impressed the traveler, who commented, "I find it hard to keep pace with all the interesting scenes that crowd upon me" (pp. 12-13). She passed judgment on towns, houses, and islands as she passed them by, and described quick side trips on land and shipboard activities.

When the boat passed the Wisconsin border, things started to get real interesting: "we found ourselves beyond the reaches of civilization surrounded on both sides by the hunting grounds of the Indians" and fierce "moschettoes" [mosquitoes] (p. 15). First they came across Cassville, a white settlement already becoming a ghost town, and an Indian burial ground, which they investigated closely -- some too closely: "they must have been buried very shallow as several of the ladies whose curiosity led them to pry rather closely discovered an unpleasant effluvia" (p. 16). Each view from the river seemed more wild and beautiful than the last, and added to the scenery were a variety of Indian encampments, which the travelers visited as if they were living exhibits. At the first encampment, for instance, she wrote, "after satisfying our curiosity here were walked on & soon joined a more interesting group" (p. 21).

This first visit was to three tents occupied by Winnebagoes, who "presented a specimen of filth & poverty & degradation greater than I could imagine" (p. 19). Helen also observed great "delicacy of feeling" and many similarities with "civilized" people. A hand bag that caught one squaw's eye was passed among the Indians, while the visitors "stood grouped around them enjoying their evident pleasure" (p.22). Meanwhile, a drunken Indian had climbed a bluff and was prepared to hurl a log down on the intruders: "quick as thought the young [Winnebago] man darted up the hill and arrested his arm -- two of them held him to prevent his throwing at the same time making signs to us to withdraw -- we soon took the hint and made good our retreat" (p. 22).

When the boat arrived at Fort Snelling all of the public conveyances, needed to take them to the falls, were in use, so the party improved the time by touring the prison. They shook hands with some Sioux, "rigged out with eagle feathers & embroidered robes beads medals & painted faces," who had been accused of murdering a party of cattle drovers, but would probably be acquitted due to a lack of evidence (p.26). Helen was more deeply moved by the sight of these men than anything she had yet witnessed and "could not refrain from sheddings of deep commiseration for their vices and their degradation -- Far less guilty are they than their more enlightened oppressors" (p.27). Also in the prison were two Chippeways, being held (safely) hostage until the Chippeway who murdered a Sioux was produced and handed over to the dead man's tribe for trial -- possibly, Helen feared, to be "torn in pieces" ( p. 27).

The visit the falls of St. Anthony was not quite The Moment Helen had been anticipating -- being "surrounded by so much mirth and gaiety tending to check the feelings of sublime adoration and praise which the whole scene was calculated to awaken" -- but she soaked up as much sublimity as she could ( p. 30). Soon after, when she heard the Sabbath sermon dryly delivered, Helen was disappointed that the scenery had not "elevated the mind and fired the imagination" of the preacher (p. 35).

The passengers started to get irritated with Captain Backus for constantly hurrying them along, and were peeved when he broke his promise and turned around in the night, instead of taking the St. Croix River up to Lake Superior. Helen mentioned that they took tobacco in on one of the return stops, suggesting that the steamboat was transporting goods as well as forty-odd passengers, and that the commercial timetable was more compelling to the captain than the tourists' desires.

Victimized by the quicker homeward pace, the passengers only got half an hour to visit the Crow village of the Sioux. Helen was enchanted by a group of young women she met, and wanted very badly to take a young Sioux girl home with her, even though her shipmates "pronounced it a romantic whim and wondered at my taste" (p. 34). The steamboat speeded on toward St. Louis with few additional stops, and Helen was back home a mere ten days after departing, having traveled about 1700 miles.

Joel W. Andrews of Albany, New York, compiled meteorological records in this volume from December 1858-December 1868. He recorded barometric readings, temperatures, and remarks about weather conditions.

This volume (around 440 pages), titled Meteorological Observations, contains meteorological records that Joel W. Andrews of Albany, New York, compiled from December 1, 1858-December 31, 1868. Andrews took barometric and thermometer readings 3 or 4 times daily, noted the wind direction, reported the day's maximum and minimum temperature, made remarks about weather conditions, and recorded monthly precipitation totals. Andrews made some observations while traveling in northern New York State and in Vermont; many entries mention the offices of Albany newspaper Atlas & Argus.

Andrews's notes occasionally concern astronomical phenomena such as the aurora borealis and meteor showers, and he pasted in newspaper clippings about a severe storm (May 1859) and a record high barometric reading (January 1866). On at least one occasion, his daughter Ada wrote in the volume in his place.

The James Henry Andrews collection is made up of three volumes, dating between 1862 and 1870, kept largely while Andrews attended Madison University (grad. 1868) and Hamilton Theological Seminary (grad. 1870). The volumes begin with 34 pages of minutes of The Senate of Brooklyn, a society in which the members donned the roles of U.S. Senators and debated current issues, such as the emancipation of slaves in Washington, D.C., and policies related to the Civil War. The minutes date from March to May 1862. The remainder of the volumes is comprised of original theological and religious poetry and writings by James Henry Andrews, 1866-1870, and Andrews’ extensive notes on Ebenezer Dodge’s theological lectures at Hamilton Theological Seminary, 1869-1870.

The James Henry Andrews collection is made up of three volumes, dating between 1862 and 1870, largely kept while Andrews attended Madison University (grad. 1868) and Hamilton Theological Seminary (grad. 1870). The volumes begin with 34 pages of minutes of The Senate of Brooklyn, a society in which the members donned the roles of U.S. Senators and debated current issues, such as the emancipation of slaves in Washington, D.C., and policies related to the Civil War. The minutes date from March to May 1862. The remainder of the volumes is comprised of original theological and religious poetry and writings by James Henry Andrews, 1866-1870, and Andrews’ extensive notes on Ebenezer Dodge’s theological lectures at Hamilton Theological Seminary, 1869-1870.

• Minutes of The Senate of Brooklyn (34 pages)
• “Phases of Life,” delivered before Athenaeum Society of Madison University, Friday evening March 11th 1864 (4 pages)
• [Essays and poems by James Henry Andrews], 1866-1870 (39 pages)

• Introduction (p. 13)
• Theology, or the Doctrine of God (p. 32)
• The Nature of God (p. 50)
• "Part II": Anthropology (p. 115)
• "Part III": Soteriology (p. 171)

• The Work of Christ (p. 17)
• The Atonement (p. 19)
• The Theory of the Atonement (p. 50)
• History of the Doctrine of Atonement (p. 88)
• Pneumatology or The Doctrine of the Spirit (p. 95)
• The Continuance of a Divine Life (p. 121)
• The Divinity of Manifestation (p. 171)
• "Part the Fifth": Eschatology (p. 174)
• Pastoral Theology (p. 226)
• "Sec III": The Ch. Its internal organization (p. 234)

The Dorothy Andrew letters consist of 16 letters addressed to her by five of her nephews during their military service in the European and Pacific theaters during the last year of the Second World War.

The Dorothy Andrew letters consist of 16 letters addressed to her by five of her nephews during their military service in the Second World War. Her nephew Francis Earl Smith, a frequent correspondent, reported on his life in Belgium and England in 1944 and 1945. His letters reflect an interest in local currency; when he was in Belgium, he enclosed two local coins in a letter; one was Belgian money and the other was German invasion money (January 12, 1944). In the same letter, he remarked that even though he saw only a "fraction of what is happening," he found no glory in war. In England during the June 1944 "invasion of Hitler's Fortress [Europe]" (June 9, 1944), he expressed his hopes for a quick end to the war and, later, told her of his life in Germany in the early days of the occupation (August 14, 1945). He shared his fear of the atomic bomb following the conclusion of the war in the Pacific: "That new bomb makes one realize how quickly this world could be destroyed. Let's hope they put it to good use instead of destructive power for another war." (Germany, August 14, 1945)

Dorothy's other nephews related similar aspects of military life, including a dislike of the tedium of the army. Richard frequently complained of the swamps near the air base in Alexandria, Virginia, and Dale K. Smith mentioned the weather in the central Pacific. Several of the letters referred to another relation, Dewey; Dale encouraged him to stay out of the army, but Robert (Bob) wanted to know, "what the hell are you waiting for?" (March 23, 1945). Bob described his impression of Indians' opinions of America in his December 1944 letter, written from "somewhere in India," and in a later letter enclosed Chinese money and Japanese invasion money as souvenirs (March 23, 1945).

The Richard Clough Anderson papers contain 10 letters from several veterans regarding land in central Ohio and northern Kentucky, granted to them by military warrants.

The Richard Clough Anderson papers contain 10 letters from several veterans regarding land in southwestern Ohio, granted to them by military warrants. The correspondents, writing from a variety of locations in southwestern Ohio, requested Anderson to assist in registering their claims, delineated by military warrants issued by the United States government after their Revolutionary War service. The claims contain specific descriptions of the new property boundaries, often pegged to local geographic features, and one contains a manuscript map of the relevant plots (July 25, 1821). The collection reflects the procedural elements of western settlement in the early 1820s.

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.

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 William H. Anderson Family Papers are made up of 177 letters, one manuscript map, 28 printed items, two photographs, and other materials of this Londonderry, New Hampshire, and Lowell, Massachusetts family. William Anderson wrote around 150 letters to his family and friends while at primary school in Londonderry, New Hampshire; Pembroke Academy in Pembroke, New Hampshire; Phillips Academy in Andover, Massachusetts; Kimball Union Academy in Meriden, New Hampshire; and Yale College in New Haven, Connecticut. Anderson's correspondence includes 12 descriptive letters home from the Sligo cotton plantation near Natchez, Mississippi, where he worked as a teacher from 1859 to 1860, with content on plantation life, the enslaved workers, cotton processing, and educational matters. The remainder of the collection is William Anderson's post-Civil War letters, written while a lawyer in Lowell, and letters of Anderson's aunts Annis Nesmith Davidson and Anna B. Davidson Anderson Holmes from Londonderry and Wyoming County, New York.

The William H. Anderson Family Papers are made up of 177 letters, one manuscript map, 27 printed items, two photographs, and other materials of this Londonderry, New Hampshire, and Lowell, Massachusetts family.

The Correspondence Series. William Anderson wrote around 150 letters to his family and friends while at primary school in Londonderry, New Hampshire (5 letters, 1849-1850); Pembroke Academy at Pembroke, New Hampshire (15 letters, 1852-1853); Phillips Academy at Andover, Massachusetts (3 letters, 1853); Kimball Union Academy at Meriden, New Hampshire (19 letters, 1854-1855); and Yale College at New Haven, Connecticut (60 letters). The letters from Londonderry, Pembroke, Andover, and Meriden are filled with details about his curricula, course work, school uniforms, teachers, boarding houses, school uniforms, secret societies, local politics and political events (Whig and Democratic; he ran into Franklin Pierce on October 25, 1852), updates on friends and family, visits to nearby towns, and more. Anderson helped offset the cost of his education by taking on various farm jobs. Detailed letters to his parents, brother, and friend Mary A. Hine from Yale College similarly include content on curricula, course work, professors, societies, examinations, graduation, finances, and other aspects of being a student in higher education.

Upon graduation from Yale, he began work at the Sligo Plantation near Natchez, Mississippi, where he taught a school comprised of students from Sligo and the nearby Retirement Plantation, from 1859 to 1860. During this time, he wrote 12 letters home to his parents and to his future wife Mary A. Hine. He arrived at Bennett's Retirement Plantation in early September 1859, and shortly thereafter settled in at David P. Williams' Sligo Plantation. He described his relative isolation, loneliness, teaching and wages, corporal punishment, thoughts on slavery and the enslaved men and women on the plantation, games he played with his scholars, travel between the Sligo and Retirement plantations, and leisure activities such as hunting and horseback riding. In late December 1859, he provided a lengthy description of a (largely) steamboat trip to New Orleans with his students for Christmas.

Anderson noted that no poor white people lived between Sligo and Natchez; he was uncomfortable with the aristocratic lifestyle of white people living in the south, and expressed this view on multiple occasions in his correspondence (see especially September 30, [1859]). Although his father appears on list of members of the American Anti-Slavery Society, William H. Anderson did not write with disgust at slavery, but rather used racist epithets, accepted the "servants" who assisted him in various ways, and wrote unmoved about abuse doled out to children (see especially June 9, 1860). In one instance, he wrote about enslaved women who gathered near to the house in the evenings before supper to sing and dance (October 25, 1859). One of the highly detailed letters in the collection is William H. Anderson's description of the use of the cotton gin on the Sligo Plantation, which includes remarks on its history, its functioning, the various jobs performed by enslaved laborers, and the rooms in which the jobs took place. He included calls made by enslaved workers between floors of the "gin house" and the roles of elderly men and women in the grueling labor ([October 1859]). In 1860, Anderson planned to take a summer break in Tennessee and then teach another year, but on the death of his oldest scholar Susie (14 years old) by diphtheria, Williams decided against having a school the next year (July 4, 1860).

The remaining letters by William H. Anderson, dated 1861-1887, contain scattered information on family matters, such as visits and health. He wrote little of his law practice or his life in Lowell, Massachusetts. Anderson's correspondence includes a variety of printed letterheads and one inset map: a rough floorplan of the Brother's Society Hall (January 14, 1856); the printed letterhead "INGENIUM LABORE PERFECTUM" "YALE" of Sigma Delta (ca. August/September 1856 and July 10, 1858); a partially printed letter sheet beginning "IN order to secure the regular attendance...", respecting Anderson's discipline (July 20, 1857); and the printed letterhead "STEVENS & ANDERSON, Attorneys and Counsellors at Law" Lowell, Massachusetts (August 16 and September 27, 1872).

The collection includes around 25 letters by William Anderson's aunts Annis Nesmith Davidson (1801-1877) and Anna B. Davidson Anderson Holmes (1798-1875). Anna wrote alternately to her sister Jane Davidson Anderson and her sister-in-law Annis Davidson, from Londonderry, New Hampshire; Pike, New York; and Genesee Falls, New York, between 1828 and 1874. Her letters pertain largely to domestic life, boarders, troubles keeping hired girls (including Irish girls) to help with housework, news of family births, marriages, and deaths, local ministers, and her children's schooling. The few letters by Annis Davidson from Pike and Genesee Falls, New York, regard family updates and visiting.

The collection's Map, Receipt, and Photographs include a partially printed receipt for William Anderson's tuition and fees for the term ending April 14, 1857. The pencil map identifies particular buildings in New Haven, Connecticut, around where College, Temple, Church, Orange, and State streets intersect with Chapel and Crown streets. The photographs are cartes-de-visite of William Henry Anderson and "Annis Davidson Anderson Holmes" [most likely Anna B. Davidson Anderson Holmes].

The Printed Items are made up of materials largely pertaining to William Anderson's time at Yale College. These include:

• BROTHERS IN UNITY. Prize Debate in the Class of 1859, January 12, 1856. William H. Anderson listed as a participant.
• JUNIOR EXHIBITION. Class of 1859, April 6, 1858, invitation to Mary Hine, with William H. Anderson listed as a speaker.
• JUNIOR EXHIBITION. YALE COLLEGE, April 6, 1858 (E. Hayes, printer), program.
• INITIATION, June 11, 1858, program, with manuscript annotations identifying an oration delivered by W. H. Anderson.
• James Robinson & Co. (Boston, Mass.) printed letter requesting information about academies, [1858].
• FIFTY-NINE. 'Oυ δοκέιν αλλ' είναι. Presentation Songs, June 15, 1859 (Morehouse & Taylor, printers).
• YALE COLLEGE. PRESENTATION OF THE CLASS OF 1859, June 15, 1859 (Morehouse & Taylor, steam printers).
• "Esto Perpetua." '62. Pow-wow OF THE CLASS OF '62, June 15, 1859 (Morehouse & Taylor, printers).
• '59. OWLS FROM THE NORTH!, July 17, 1859, flier/advertisement.
• DE FOREST ORATIONS, June 17, 1859, flier.
• CATALOGUE OF THE OFFICERS AND STUDENTS IN YALE COLLEGE . . . 1859-60. New Haven: E. Hayes, 1859.
• JUNIOR EXHIBITION, April 3, 1860, order of exercises. New Haven: E. Hayes, 1860.
• '61's INITIATION OF '62, pink heavy-stock card with a printed image of two anthropomorphic donkeys boxing.
• CLASS CIRCULAR, March 20, 1862, seeking feedback from 1859 graduates in anticipation of their triennial meeting.
• Class '63 Day, June 19, 1863, heavy-stock card invitation.
• SONGS FOR THE THIRD ANNUAL SUPPER OF THE Yale Alumni Association, January 27, 1868.
• "INGENIUM LABORE PERFECTUM" Sigma Delta symbol of a wreath surrounding a crown.
• Annis Davidson visiting card.

The remaining printed items include four copies of an engraved portrait of William H. Anderson by W. T. Bather of N.Y. and published by The Lewis Publishing Co., and five newspaper clippings.