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This commonplace book, journal, and recipe book was kept by Adeline Doty Connor from 1858-1865 while living in Detroit, Michigan. Connor copied passages on history, religion, and science, noted the Civil War service of her sons, and included medicinal and culinary recipes. The volume contains pasted or tipped in newspaper clippings.

Connor occasionally referenced national events, such as the discovery of the Fraser River passage and the admittance of states into the Union. Examples of recipes include pumpkin pudding, rhubarb wine, tomato catsup, preserved watermelon rinds, economical perfumes, "an excellent furniture polish," a balm for chapped hands, and more.

The volume's pastedown bears the text: "Adeline D. Connor / Detroit, 1854" and "Every moment of time is a monument of mercy / Few things are impossible to industry and skill / 1858 April 24th."

These photograph albums contain pictures of scenery, people, and buildings in the Adirondack Region of northern New York and in Washington, D.C.

These photograph albums (19cm x 30cm) contain 49 pictures of scenery, people, and buildings in the Adirondack Region of northern New York. Labeled photographs show buildings, animals, and scenery in and around Ilion, New York; Clifton, New York; Oxbow, New York; Chippewa Bay, New York; the Grass River; the Oswegatchie River; and Washington, D.C. Houses and other buildings shown include a home on "Preston Isle" in Chippewa Bay, the "Old Morris House" (a colonial stone house), an abandoned iron furnace, the White House, and the United States Capitol. Photographs of construction equipment are also present. Of the individuals and groups pictured, only Jack Moffett, a young boy, is identified. Photographs of note include pictures of an encampment, the exterior of a log cabin decorated with pine boughs, game and fish, and replicas of the ships Niña, Pinta, and Santa Maria. Two photographs indicate the photographer's interest in capturing motion: one shows the Empire State Express at full speed and another shows a woman throwing water, captured at a shutter speed of 1/50 second. The albums have black or blue binding with "Photographs" embossed in gold on the covers.

The Agent’s sample book from Crown Card Co., Columbus, Ohio, contains 34 samples of visiting cards accompanied by prices, design names, and instructions for ordering.

The Agent’s sample book from Crown Card Co., Columbus, Ohio, contains 34 samples of visiting cards accompanied by prices, design names, and instructions for ordering. The volume (12.5 x 18 cm) is bound with blue paper and staples. Sample styles range from simple to intricate, with some including beveling, embossing, or silk borders. Most feature chromolithographic color, floral imagery, and animals. Different type settings available to a customer are also advertised.

Agnes B. Laidlaw described her daily activities in New York City from February 11, 1896, to June 20, 1896, in her diary. She frequently discussed her love of painting, social life, and thoughts about romantic love.

In her diary (125 pages), Agnes B. Laidlaw described her daily activities in New York City from February 11, 1896, to June 20, 1896. She composed daily entries between February 11 and June 7, and one additional entry on June 20. Laidlaw lived in Manhattan's Upper West Side, where she attended dinner parties, dances, and other events. She commented on her acquaintances, which included both men and women, and recorded her thoughts about romantic relationships and love (such as her discomfort with second marriages, June 6, 1896, pp. 121-122). On March 9, she recalled meeting a man on a streetcar, to whom she found herself instantly attracted (pp. 30-31). Laidlaw wrote about her fondness for painting and her attendance at French classes. Her social activities included visits to restaurants, concerts, and other performances. On one occasion, she hosted a dinner party, and her diary includes a diagram of attendees' positions at a table (May 14, pp. 87-89). The first 2 pages contain reminiscences about Laidlaw's childhood.

The author of this journal, entitled "Journal de mon Voyage dans les Etats Unis D'Amerique" (34 pages), recorded his or her experiences while traveling from Montréal, Québec, to the eastern United States in the summer of 1816. The journey included visits to New York, Philadelphia, Baltimore, and Washington, D.C.

The author of this journal, entitled Journal de mon Voyage dans les Etats Unis D'Amerique (34 pages), recorded his or her experiences while traveling from Montréal, Québec, to the eastern United States in the summer of 1816. The author left Montréal on June 28, 1816, and boarded a steamboat on the Richelieu River the following morning. After traveling through New York, Pennsylvania, and Maryland by steamboat and stagecoach until mid-July, the writer reached Washington, D.C. The journal records a visit to Samuel Hughes at his Mount Pleasant estate near Havre de Grace, Maryland, on July 11, 1816 (pp. 24-25), as well as the author's experiences in and architectural observations about Albany, New York; New York, New York; Philadelphia, Pennsylvania; Baltimore, Maryland; and Washington, D.C. From July 24, 1816-August 5, 1816, the author made brief entries about the return voyage to Canada. The final 2 pages include additional manuscript notes.

The Rudolph papers include scripts, articles and clippings, publicity and press materials, books, photographs, artifacts/realia, audio and moving image materials, posters, awards, and branded crew garments and caps from many of Alan Rudolph's projects. Photographer Joyce Rudolph is represented by hundreds of professional and personal slides and photographs, including many candid on-set shots.

The collection consists of professional and personal correspondence, assorted clippings, film festival awards and memorabilia, and scripts and production documents related to Alan Rudolph's filmmaking career, spanning his early work in Riot (1969), through 2002's The Secret Lives of Dentists. Also included are a plethora of documents from various unproduced projects. In the Artifacts and Graphics series are a small selection of props from Rudolph's films, most notably The Moderns, along with an assortment of film cast and crew branded gear, including caps, shirts, and jackets, movie posters, and a representation of some of the numerous awards won by the Rudolphs.

A small sub-series of material devoted to friend and mentor, Robert Altman, consists of articles and reviews, assorted programs, and, most notably, photographs taken by Joyce Rudolph.

Joyce Rudolph is represented by hundreds of her professional and sought-after on-set photographs, company stills, and candid shots, all taken during the filming of projects by Alan Rudolph and a wide variety of other notable filmmakers.

A series of Audio and Moving Image material consists of several VHS tapes, several movie video disks as well as two soundtracks. The Artwork series contains an assortment of drawings and paintings, most likely created by Alan Rudolph, along with two large acrylic paintings used as props in The Moderns.

Newspapers and clippings relating to historical Michigan events and motion pictures.

This photograph album contains photographs of scenery in Alaska, Yellowstone National Park, and the Yosemite Valley in the late 19th century. Several photographs feature tourists or members of the photographer's traveling party, and others were taken onboard the steamer Queen.

This photograph album (25cm x 19cm) contains 87 photographic prints depicting scenes in Alaska, Yellowstone National Park, and the Yosemite Valley in the late 19th century. The photographs, all of which have captions, were taken during visits to four geographic areas: Muir Glacier (21 photographs); Tacoma, Washington, and Helena, Montana (8 items); Yosemite National Park (48 items); and the Yosemite Valley and Arizona (10 items). Most photographs show natural scenery such as mountains, rock formations, waterfalls, and geysers, and some are pictures of hotels. Many show tourists climbing or viewing natural formations and scenery, and some show members of the photographer's party posing for portraits.

The album has two identical prints of a group of amateur photographers holding box cameras onboard the Queen, which is shown in several other photographs. Views of buildings in Sitka, Alaska; Tacoma, Washington; Helena, Montana; and Yosemite National Park are also included. One photograph shows a woman modeling a Chilkat blanket and totem pole cane, and another shows a "Tamed Bear" standing on a raised platform. Also of note is a picture of a train, taken as the photographer's party disbanded near Chicago. The volume is a quarter-bound album with a title stamped on the cover in gold: "Photographs."

This collection consists of Clarice A. Bouton's transcriptions of the Civil War reminiscences of her grandfather, Albert G. Fuller. Fuller, a native of Reading, Michigan, served in the 78th New York Infantry Regiment, Company K, and participated in actions including the Battle of Chancellorsville, the Battle of Gettysburg, and Sherman's March to the Sea.

This collection consists of Clarice A. Bouton's transcriptions (8 pages) of the Civil War reminiscences of her grandfather, Albert G. Fuller. Fuller recounted many incidents from his time in the 78th New York Infantry Regiment, which he joined on March 20, 1862, with three friends from his hometown of Reading, Michigan: Lemuel Wisner, William Herrington, and William Green, all killed during the war. He discussed his regiment's movements and marches, his time in hospitals recuperating from bullet wounds, and his participation in battles, skirmishes, and Sherman's March to the Sea. He described wounded soldiers lying in their tents, nursed by other soldiers; the interruption of his meal immediately prior to the Battle of Peachtree Creek; the harsh treatment and execution of three deserters; and the Union Army's destructive practices while marching from Atlanta to Savannah.

Fuller noted the deaths and disappearances of his hometown friends and recalled his recuperation in hospitals in York, Pennsylvania, after the Battle of Gettysburg, and Savannah, Georgia, in 1864; while in York, he attended a political speech that was disrupted by gunfire, resulting in a panic and further injuries to his wounded leg. Fuller's account ends with his discharge on June 2, 1865, and his return to the family farm on June 20, 1865, where he resumed work immediately upon his arrival.

Diaries of Alexander B. Weeks, photograph of Weeks and wife, Sarah, and biographical materials.

The collection consists of three of Weeks’ diaries, volume 1) January 1, 1851- September 20, 1851, volume 2) September 21, 1851- February 29, 1852, and volume 3) October 2, 1853- December 15, 1857. The collection is organized alphabetically In the first diary, Weeks noted social and family news, visitors, the weather, major newspaper stories, and patrons or “sitters” who sat for “their likenesses.” He also commented several times about his daughters, particularly little Manty who was teething, learning to talk, walk, and was inoculated.

In the end of volume 1 and all of volume 2, Weeks vividly described his voyage to Brazil with Charles Deforest Fredricks, his fellow passengers, weather, other ships seen, seasickness, etc. Once in Brazil, Weeks noted his busy business, social activities, his friends Charles Saturnino Masoni and George Penabert, the natives, landscape, religious and other customs, slavery, and the local political struggles between Rosas, the Provincial Governor of Buenos Aires, and Gen. Urquiza. Similarly, he describes the beginning of his return voyage home and Montevideo, Uruguay, as well as correspondence with his family, and how much he misses them.

The first two diaries have some of Week’s poetry in the rear of the volumes and a few notes and doodles on the inside covers. The name of the printers who created the book in Pernambuco, Brazil, is pasted on the inside front cover of volume 2.

In his third diary Weeks documented his domestic life and business transactions in Toledo, Ohio, and Detroit, covering the same topics as in the first diary, before his voyage. The third diary is missing its front cover. The first page is divided into columns to serve as an account book. The headings of the columns are: Date, Names, Residence, Size, Price, Case, D/P (D/P probably means: Daguerreotype/Photograph).

Biographical Materials include: Week’s business cards from Poughkeepsie, undated (circa 1841?), a bill to an estate for money owed to Sarah Ann Weeks, August 5, 1870, and a photograph (copy) of Sarah and Alexander Weeks.