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This volume was produced by Peter McGivney as a gift for his sister, Julia A. McGivney. Its entries are largely copies of popular song lyrics and some poetry. Many focus on sentimental themes like remembrance, familial relationships, love, death, and religion. A few patriotic titles were included. Peter McGivney elaborately decorated and illustrated the volume with paintings, pencil drawings, pen-and-ink embellishments, printed scrapbook die-cuts, and calligraphic titles and borders. He drew numerous patriotic images, including American flags, shields, eagles, Union soldiers, and a portrait of George Washington. Flowers, leaves, birds, and landscapes feature prominently, along with depictions of women. He drew several illustrations of hands holding calling/visiting cards filled out with the names of friends and family members. One watercolor illustration of an African American man accompanies the lyrics of a minstrel song.

This volume was produced by Peter McGivney as a gift for his sister, Julia A. McGivney. Its entries are primarily copies of popular song lyrics and some poetry. Many focus on sentimental themes like remembrance, familial relationships, love, death, and religion. Some patriotic titles are also included. Titles like "Little Low Cabin" and "Half Way Doings" were likely minstrel songs, and include racist dialect. One is accompanied by a watercolor painting of an African American man in striped pants and a blue overcoat standing at a table with a Bible on it and a whitewash bucket on the floor.

Peter McGivney elaborately decorated and illustrated the volume with paintings, pencil drawings, pen-and-ink embellishments, printed scrapbook die-cuts, and calligraphic titles and borders. He drew numerous patriotic images, including American flags, shields, eagles, Union soldiers, and a portrait of George Washington. Flowers, leaves, birds, and landscapes feature prominently, along with depictions of women. He drew several illustrations of hands holding calling/visiting cards filled out with the names of friends and family members.

• "The Lady’s Yes," by Elizabeth Barrett Browning
• "Write Me a Letter [from] Home," by Will S. Hays
• "[Darling] Minnie Lee," by Dexter Smith
• "Ella Ree," by Charles E. Stewart
• "God Bless My Boy at Sea," by T. Brigham Bishop
• "Little Robin, Tell Kitty," by Frank Howard
• "Killarney," by E. Falconer
• "Sunny Days," by Edwin Ransford
• "Remember Me," by M. W. Balfe
• "We Parted by the River Side," by Will S. Hays
• "The Last Rose of Summer," by Thomas Moore
• "Lottie Lee," by C. T. Lockwood
• "Kiss the Little Ones," by W. F. Wellman, Jr.
• "Kiss Me Mother E'er I Die," by W. Dexter Smith, Jr.
• "To a Beloved Woman," translated from Sappho
• "Driven from Home," by Will S. Hays
• "Bessy O'er the Lea" [e.g. "Darling Bessie of the Lea"], by George Cooper
• "Our Own," by Margaret Elizabeth Sangster
• "[When] The Corn is Waving, Annie Dear," by Charles Blamphin
• "A Woman's Question," by Adelaide Anne Proctor
• "Daisy O'Lynn," by M. H. McChesney
• "I'll Remember You Love in my Prayers," by Will S. Hayes
• "Don't be Angry With Me, Darling," by W. L. Gardner
• "The Good Bye at the Door," by J. E. Carpenter
• "Love On," by Eliza Cook
• "Sweet Genevieve," by George Cooper
• "When the [Autumn] Leaves are Falling," by J. E. Carpenter
• "Mother, Is the Old Home Lonely," by Arthur W. French
• "The Golden Side," by Mary Ann Kidder
• "Wait Till the Moonlight Falls on the Water," by Sam Bagnall
• "The Bells of Shadow" [e.g. "The Shandon Bells"], by Francis Mahony
• "Annie of the Vale," by G. P. Morris
• "My Pretty Jane," by Edward Fitzball
• "Silver Threads among the Gold," by Eben E. Rexford
• "When I Saw Sweet Nellie Home," by John Fletcher
• "Come Like a Beautiful Dream," by George Cooper
• "What Will I Do Without Thee," by Elmer Ruan Coates
• "Star of the Evening," by James M. Sayles
• "The Good Bye at the Door," by J. E. Carpenter
• "Memory Bells," by Henry Tucker
• "I Love the Merry Sunshine," by J. W. Lake
• "Every Home has Lost a Darling," by George Cooper
• "Wilt thou say Farewell Love," by Thomas Moore
• "A Sweet Face at the Window," by W. C. Baker
• "Faded Flowers," by I. H. Brown
• "The Blind Girl," by Joshua Swan
• "What Will I Do Without Thee," by Elmer Ruan Coates
• "Why Was I Looking Out," by Claribel
• "God Save the Flag," by Oliver Wendell Holmes

• "Fair Maid of Perth"
• "Arabella Dolora"
• "A little Puss"
• "Rebecca at the Well"
• "E Pluribus Unum"
• "Excelsior"
• "The French Iron Clad Solferino"
• "Volcano of Turrialba (Mexico)."
• "View of Paknam on the Memam. Farther - India"
• "The Rose of Orleans"
• "The Queen of Flowers"
• "Marriot's Aerial Steam Carriage. 'Avitor.'"
• "Love in Winter"
• "Dressing for the Masquerade"
• "William Penn first Settler of Pennsylvania 1675"
• "The Tambourine Player"
• "Love in Summer"

This collection contains 4 letters that Phebe Jane and Marquis L. Knapp wrote to Benjamin Jaquith about their lives in Black Hawk County, Iowa, around 1850. They discussed the process of claiming land, local flora and fauna, a dental procedure, and other topics.

This collection contains 4 letters that Phebe Jane and Marquis L. Knapp wrote to Benjamin Jaquith about their lives in Black Hawk County, Iowa, around 1850. They discussed the process of claiming land, local flora and fauna, a dental procedure, and other topics.

Phebe Jane Knapp wrote 2 letters, Marquis L. Knapp wrote 1 letter, and they co-authored a fourth letter. Both Phebe and Marquis Knapp addressed Benjamin F. Knapp as "brother," and both referred to family members and mutual acquaintances. The first three letters concern aspects of life on the Iowa frontier, such as the process of claiming and acquiring land along the Cedar River, local fishing, trees, farm crops, and prices of wheat and potatoes. Phebe and Marquis Knapp also discussed the local population, and anticipated a rapid influx of families, expected to arrive in the spring of 1851. In one undated letter, Phebe Jane Knapp described a tooth extraction and the resulting pain, which lasted for several days.

Eliza "Phebe" Whitford kept her diary between January 1 and December 31, 1862, recording her itinerant life away from home with various relatives in Cattaraugus County, New York, and reflecting on her psychological and religious inner life. She recorded her diary entries in the regular blank pages of a small (3.25 x 2.5") printed volume, "Daily Texts, with Verses of Hymns: Adapted for General Use" (N.Y.: American Tract Society, n.d.). Phebe Whitford was a Seventh Day Baptist and attended regular services and meetings. She ruminated on her faith and on her anxious and nervous state, noting that when disappointed she was apt to distrust God. She remarked on hearing Elder [Julius M.?] Todd (passim) and Silas Burdick (March 22) preach, friends going off to fight in the Civil War (June 30), attendance at a Gerrit Smith meeting (July 20), the arrival of a "real smart" fugitive slave in town (August 8), and the presence of an African American man named West at their meeting (August 10). She also attended singing school and practiced on the melodeon.

Eliza "Phebe" Whitford kept her diary between January 1 and December 31, 1862, recording her itinerant life away from home with various relatives in Cattaraugus County, New York, and reflecting on her psychological and religious inner life. She recorded her diary entries in the regular blank pages of a small (3.25 x 2.5") printed volume, "Daily Texts, with Verses of Hymns: Adapted for General Use" (N.Y.: American Tract Society, n.d.).

Phebe Whitford was a Seventh Day Baptist and attended regular services and meetings. She ruminated on her faith and on her anxious and nervous state, noting that when disappointed she was apt to distrust God. She remarked on hearing Elder [Julis M.?] Todd (passim) and Silas Burdick (March 22) preach, friends going off to fight in the Civil War (June 30), attendance at a Gerrit Smith meeting (July 20), the arrival of a "real smart" fugitive slave in town (August 8), and the presence of an African American man named West at their meeting (August 10). She also attended singing school and practiced on the melodeon.

The collection consists of Phi Alpha Theta. Omicron Omega (Central Michigan University) Organizational Records, 1971-2007, and undated.

The collection of organizational records, 1969, 2007, and undated, includes original bylaws, letters from Central Michigan University Presidents Harold Abel and Edward B. Jakubauakas congratulating the organization for obtaining awards, annual reports, awards, a constitution, fliers, initiation information, meeting minutes, membership lists, photographs, and scrapbook pages of Phi Alpha Theta, 1971 – 2007, undated. The collection is organized alphabetically and chronologically.

Processing Note: Approximately 2 cubic foot of applications, duplicates, financials, and other related materials were withdrawn from the collection during processing.

A set of six wooden medallions, in original box, commemorating the 1876 International Exhibition held at Fairmont Park, Philadelphia. The underside of the box lid is a lithograph showing the exhibition grounds and buildings.

The Philadelphia Ornamental Wood Co. Medals, 1786 collection is a set of six wooden medallions, in original box, commemorating the 1876 International Exhibition held at Fairmont Park, Philadelphia. Four of the medals measure 2.5 inches in diameter. The other two are 3 inches in diameter. The reverse of the smaller medals contains the inscription "The 100TH Anniversary of American Independence; Great International Exhibition; Fairmont park; Philadelphia; 4th of July; 1876." The reverse of the two larger medals reads "The 100th Anniversary of American Independence; 4th of July 1876; Exhibition Open from May 10 to Nov 10 1876; Fairmont Park; Philadelphia; U.S. America."

The underside of the box lid is a lithograph of the view of the exhibition grounds and buildings. The lithograph, published by Breuker & Kessler of Philadelphia, is titled "Birds Eye View of the International Exhibition Buildings 1876." Also written on the lithograph is the inscription, "Manufactured by the Ornamental Wood Co., Phila." The box also is inscribed: "Manufactured by the Philadelphia Ornamental Wood Co. 1129 Cherry Street."

The collection mainly documents people and buildings of Fremont, Michigan, with a few images of Whitecloud, Hesperia, Holland, and Walkerville, Michigan.

A woman photographer’s collection is rare, much less one from Michigan. The collection consists mostly of 8 x 10 inch glass plate negatives, one film negative, and a copper engraving plates (in the last box). Each negative is in a folder instead of a folder. Most of the images are of women, children, babies, and families, although there are a few images of men, often in World War I uniforms, stores, wedding parties, a dog, a choir, and some sports teams (basketball and football), and school groups or graduating classes. Many of the images are identified. Only a few images are dated, 1920-1924. Many of the images of the children are charming.

Most of the images are of people or buildings in Fremont, although a few images are identified as groups or people from Hesperia, Holland, Whitecloud, and Walkerville, Michigan. Schools noted in the collection include Fremont High School, Brookside School, and Christian School. School basketball and/or football teams and class photographs include those from Whitecloud, Hesperia, Holland, and Fremont, Michigan.

Processing Note: By the time the collection was donated to the Clarke, many of the negatives were cracked or broken in pieces, while others had emulsions separating or separated from the glass. Those with images lost or badly deteriorated were returned to the donor as requested, which constituted about half of the original collection. Thus, researchers will find many numbers missing in the numerical sequences.

This volume is a published collection of photographic prints of battlegrounds, ruins, works, and other scenes from the America Civil War in Tennessee, Georgia, and South Carolina. The photographs were taken between the spring of 1864 and the spring of 1866. Along with the published photographs of Mathew Brady, and Alexander Gardner's Photographic sketchbook, Barnard's Views of Sherman's campaign is one of the main photographic monuments of the Civil War, containing some of the most famous images of the war's destruction.

Photographic Views of the Sherman Campaign (41cm x 51cm) is a collection of 57 photographic prints published in New York by Wynkoop & Hallenbeck in 1866. An abbreviated title is stamped in gold on the album's brown leather cover and the full title is printed on the first page. Clements Library's copy is imperfect: four plates lacking; one missing plate, acquired separately, is shelved at: Photo Div F.20.1. Inscriptions indicate that this copy was presented by Edward Hoffmire to John M. Hoffmire, his brother, in 1868, and John M. Hoffmire later gave it to his daughter Emma on April 15, 1916.

Each print is labeled with the location of the photograph, often including the names of natural and manmade landmarks. Some areas are represented in multiple images, though each item provides a unique view of landscapes and urbanized areas in Tennessee, Georgia, and South Carolina. Many show evidence of military activity, including soldiers, tents and camps, earthworks and trenches, blasted trees, destroyed railroads and buildings. One item is a group portrait of William Tecumseh Sherman and seven other Union generals. See the list of photographs in Additional Descriptive Data for more information about specific locales pictured.

A young physician wrote most of this diary while a passenger on a voyage from Alexandria, Virginia, to Boston, Massachusetts, in 1846. Content includes humorous accounts of sailing by river and ocean, observations of sailors' superstitions (i.e., Mother Carey's Chickens, also known as Storm Petrels, St. Elmo's fire, etc.), weather and storm patterns, personal health, and patient treatment.

A young physician wrote most of this diary while a passenger on a voyage from Alexandria, Virginia, to Boston, Massachusetts, in 1846. Content includes humorous accounts of sailing by river and ocean, sailors' superstitions (i.e., Mother Carey's Chickens, also known as Storm Petrels, St. Elmo's Fire, etc.), weather and storm patterns, personal health, and patient treatment.

His humor often took the form of comical comparisons and exaggerations or plays on dialect. To entertain himself, he brought several books: Blackstone's Commentaries on the Laws of England, by William Blackstone, the Bible, and a pocket Shakespeare. He attached varying levels of reading intensity to each, as well as the applicable situation in which he might read them—Blackstone's Commentaries, for example, was "suitable for a listless, languid frame of mind" (page 6).

He brought with him two Bologna sausages, which he jokingly and emphatically mistook for a woman's bustle in an expression of his apparent hatred for the garment (pages 6-7). When he had to throw the spoiled sausages overboard several days later, he lamented that he couldn't do the same with every bustle in the land (pages 23-24).

The author and several others (the captain, a skipper, and officers from a nearby revenue cutter) briefly disembarked to visit a family's farm in Virginia while waiting for better winds to sail. He included racial epithets that the family used when he quoted their complaints about the labor involved in caring for their farm without enslaved workers (page 22). The skipper revealed that the author was a physician, whereupon he was entreated to care for several members of the family. The mother's eye had been "eaten out by cancer" and the young daughter had a hard lump on her nose that the family felt sure would turn into cancer. The author treated the daughter's nose by excising the lump.

At some point between Washington, D.C., and Alexandria, the author wrote of being "assaulted, battered, and robbed" by bedbugs, which led him to construct a makeshift bed of camp stools to sleep on to avoid being bitten at night (page 11). His rheumatism also caused significant discomfort during the trip, and a self-administered treatment of liniment did little to ease his symptoms (page 34). Although the physician questioned whether or not he would become seasick at some point during the voyage, he narrowly avoided it—he did, however, treat a fellow passenger with a course of "consolation [and] pills" (page 30) after the man became seasick and vomited over the fresh paint sailors were applying to the bulwarks and rigging.

The entries from page 46 onwards were most likely written after the author landed in Boston. He wrote about his plans to attend a series of lectures given by Prof. Agassiz [Louis Agassiz] on animal classification.

The Piñon Lodge, Crystal, New Mexico photograph album contains 49 photographs of log buildings and other structures of Piñon Lodge in Crystal, New Mexico, and picturesque views of the surrounding area.

The Piñon Lodge, Crystal, New Mexico photograph album contains 49 photographs of log buildings and other structures of Piñon Lodge in Crystal, New Mexico, and picturesque views of the surrounding area. The album (18.5 x 29 cm) has string-bound black leather covers and is partially disbound. Individual photographs are affixed to black paper leaves, with sketches of desert scenes and captions drawn in the margins with white ink; on the verso of the front cover is a sketch of a man in Western wear on horseback, signed by W. E. Wells.

Images of include views from locations such as Bridge Canyon, Bonito Canyon, Canyon de Chelly, Canyon del Muerto, ruins in Chaco Canyon, Coal Canyon, the Four Corners Region, the Grand Canyon, Inscription Rock at El Morro (with a photograph of the Spanish inscription from 1620), the Arizona village of Kayenta, Monument Valley, Painted Desert, petrified forests, Rainbow Bridge, and the Venus Needle near Crystal. Pictures of Native Americans, mainly focusing on the Navajo, include views of Navajo hogans, a loom, and women on the steps of Piñon Lodge; the Hopi settlement of Hotevilla, with corn drying on the rooftops of pueblo dwellings; and a Zuni pueblo with Thunder Mountain in the distance. Opposite several photographs are pasted typescript copies of a Piñon Lodge advertisement which includes a sample trip itinerary and describes the region's attractions for camping and hiking.

This impassioned speech about the dangers of intemperance, licentiousness, and infidelity was given at Polkville, New York, in May 1848. The currently unidentified orator warned against travelling exhibitions, theatre, sleight of hand, "modern ball room influence," and public singing.

This impassioned speech about the dangers of intemperance, licentiousness, and infidelity was given at Polkville, New York, in May 1848. The currently unidentified orator warned against travelling exhibitions, theatre, sleight of hand, "modern ball room influence," and public singing. They also make what may or may not be a reference to Dr. R. H. Collyer's "Model Artists" (pertinent to animal magnetism/mesmerism).

The author discussed the monetary profits of tavernkeepers, landlords, and rum-sellers, and also condemned those who indirectly supported liquor dealers through the support of balls, or dinners with oysters and cigars. The people who attended such gatherings were labelled as aiders and abettors. Within the speech is the motto "To the rescue of the World from the reign of King Alcohol."

The orator argued that the decline, crime, mutiny, and subsequent execution Philip Spencer (1823-1842) was the result of intemperance influenced by "The Pirate's Own Book." Other subjects mentioned include college life, party politics, and the need for all temperance supporters and societies to work together despite political and social differences.