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This collection is largely comprised of letters from Flora F. Lowe to her friend Annie Wood, while working as a teacher for the Fairlawn School (for African Americans) in Savannah, Georgia, 1877-1880; for the Carlisle Indian Industrial School, 1888; and for the newly formed Oakland Institute for Presbyterian Learning in Asheville, North Carolina, 1890.

This collection is largely comprised of letters from Flora F. Lowe to her friend Annie Wood, while working as a teacher for the Fairlawn School (for African Americans) in Savannah, Georgia, 1877-1880; for the Carlisle Indian Industrial School, 1888; and for the newly formed Oakland Institute for Presbyterian Learning in Asheville, North Carolina, 1890.

Flora F. Lowe wrote the first eight letters in the collection while teaching at the Fairlawn School for African Americans on East Broad Street in Savannah, Georgia, 1877-1880. In these letters she discussed her god-child Amanda Curley's and Addie's progress at an Episcopal school in Baltimore, remarking on Addie's clothing, Amanda's unhappiness about learning washing and needlework ("I am very glad the girls are taught such things, for to have them brought up useless 'fine ladies' is far from my desire," November 5, 1877), and dangers of Catholic indoctrination. She also described local African American religion, society, and scholarship. She praised, for example, the educational successes of Fannie Reynolds, while writing disparagingly about local religious activities/beliefs, discussing young women's prayers, stories told to her by an older black woman, the "shout" (a dance and singing of a "negro melody"), and baptisms. She also commented on matriarchal family dynamics (November 5, 1877). Lowe's goal was to send as many of her students as possible to Northern schools, where she believed they would be trained in Northern churches to improve their morals and, hopefully, return to South to help educate "people of their own color." She particularly praised (and described) her students Nettie Ingliss, Claudia Dereaux, Susie Brown, James Erwin, Mack King, Amanda Curley, Fannie Reynolds, and Susie Brown (December 5, 1877). On February 27, 1878, she described the Bowen Mansion, hired for use by the school board, and the death of a friend and fellow teacher. Flora's letters of 1879 and 1880 include discussions of Addie's desire to return to her family in Savannah and her progress in school, a shipboard injury sustained by Flora's father, oppressive heat in Savannah, the death of student Lynch Ingliss, teachers' wages, a Centennial Day celebration, class issues, and the health and sickness of Professor Cole's children.

Flora Lowe sent two letters from the Carlisle Indian School in the spring of 1888. In them, she wrote of the death of Basil, a 13-year old Apache boy, a visit by a band of San Carlos Apache chiefs, her exasperation with rebellious and "incorrigible" students, and an upcoming trip to England for her health. Two letters from 1890 describe work at the Oakland Institute for Presbyterian Learning, the unhelpful 23-year old matron, the music teacher who insists on teaching in her quarters rather than the music rooms, the sewing teacher who "murders the King's English," and health issues. Two of the remaining letters pertain to the Hampton Institute in Hampton, Virginia, and the remainder are personal letters from New England.

The Louise Gilman papers consist of letters written by Louise Gilman while serving as a teacher at the Hampton Institute in Hampton, Viriginia, a school set up to educate freed slaves. The letters describe Gilman's activities as a teacher and her thoughts about the black students.

The Louise Gilman papers consist of 21 letters written by Louise Gilman to her elder sisters Molly and Emily, one to her brother, Edward, and four letters to Lizzie (probably Elizabeth Dwight Woolsey Gilman, ca. 1839-1910) or Hattie, who may either be friends or relatives. The collection also includes five letters from Molly Gilman to Lizzie, and a copy of one letter from Samuel C. Armstrong to one of the Miss Woolseys (probably Georgeanna).

Gilman's letters to her sisters include several fine descriptions of the still unfinished grounds of the Hampton Institute and portray an interesting, though not highly detailed picture of the life of a freedmen's teacher. The eagerness of many of the students to learn to read and the enthusiasm for education, at least among some of them, comes through strongly in these letters. One letter in particular provides an outstanding description of the Institute, the teachers' rooms and the daily routine, along with a long description of a visit to a Freedman's Church and Sunday School (1869 February 21). Gilman's final lines in her description of the Sunday School capture some of the complexity of her feelings about her experience: "I have spun out a long story of all this - but how else can I give you an idea of the mixture of free-ness & pomposity, of rudeness & simple decorum in all the exercises - I wish I could give you a picture of the whole scene! Such bonnets! Such hoops!!"

A running tension in the Gilman correspondence is the mixture of admiration and respect that Gilman musters for her pupils, leavened with an air of condescension and occasional scorn. At times, it can be difficult to discern her true feelings, as when she implies that books found in the Slabtown Sunday School might have been stolen, or when she suggests that she might bring home an 18 year old African-American girl whose health and well-being might improve at the north. Gilman adds, revealingly, "'Nothing offensive or niggery about her' says Rebecca [Bacon] -- 'She don't smell bad.' She has never received wages -- & I have not doubt would be satisfied with very small wages at least till the expenses of her journey are paid" (1869 April 27).

The Smith College, Hampton, Va., area and Connecticut photographs consist of approximately 300 photographs in 1 album and 1 folder. Images include photographs of Smith College as well as scenes from Connecticut and southeastern Virginia.

The Smith College, Hampton, Va., area and Connecticut photographs consist of approximately 300 photographs in 1 album and 1 folder. Images include photographs of Smith College as well as scenes from Connecticut and southeastern Virginia. Smith College photographs include dorm room interiors, women on campus, and a college basketball game. Connecticut scenes show a Connecticut River ferry, women boating and swimming in Bantam Lake, and St. Margaret's School in Waterbury, Connecticut. Also depicted are buildings at Hampton Institute in Virginia, a variety of boats and warships, likely on the Chesapeake Bay, winter fishing, "oyster canoes" (skipjacks) and men unloading crabs at the factory. Other Virginia photographs show buildings in pre-restoration Williamsburg and rural life, possibly in the Williamsburg area, with rundown shacks, African Americans, ox-drawn carts, and a group of African American school children. Views from unidentified locales include rural scenes, streams and country roads, beaches, dwellings, family life photos with children in a variety of settings, posed Grecian tableaux, and a studio portrait of a man dressed in Native American clothing holding a la crosse ball and stick. Additional photographs include Jamestown church ruins, Deerfield Memorial Hall with several interior views, 7 photographs of interior rooms in an unidentified house, and canal views, possibly of the Dismal Swamp Canal.

Identified individuals include: Grace Collins Lathrop, Sue Boss, Sue Gardner, Alice Bishop, Fanny Coit, Emma Kelsey, Arthur Eggleston, Percy Eggleston, Henrietta Spear, Nellie Spear, Theodate Pope, Ethel Fiefield, and Mary Lewis.

The album is half bound in burgundy leather and is stored in a three part wrap with green cloth spine

The Sophie Toclanny Photograph Collection consists of 25 postcards (including 15 real photo postcards and 10 color printed cards) and 2 photographic prints, most of which were sent by Chiricahua Apache woman Sophie Toclanny to a white American family living in Pennsylvania in the early twentieth century.

The Sophie Toclanny Photograph Collection consists of 25 postcards (including 15 real photo postcards and 10 color printed cards) and 2 photographic prints, the majority of which were sent by Chiricahua Apache woman Sophie Toclanny to a white American family living in Pennsylvania in the early twentieth century.

The collection contains postcards and photographs sent by Sophie to the family of George K. (1870-1937) and Susan E. Geiser (1871-1939) living at 731 Moss St., Reading, Pennsylvania. It is unclear how Sophie came to know the Geiser family; it is possible that she made their acquaintance through either of her first two husbands, both of whom graduated from the Carlisle Indian Industrial School in Carlisle, Pennsylvania. Her messages to the Geiser family indicate that she had a close, ongoing relationship with them. Sophie inquires about Geiser family members including their son William “Bill” G. Geiser (1891-1924), refers to gifts she is sending them such as a traditional Apache cradleboard, and expresses dismay that they are not writing her as often as she would like. One undated real photo postcard bears an image originally taken by Edward Bates of an unidentified Comanche woman carrying a child in a cradleboard; Sophie's message states that “They [the Comanche] dress all to gather [sic] different from the way we dress. I am sending you one of my self in Indian dress too.” In another undated real photo postcard showing another Bates photo captioned “Apache Babe and Cradle”, Sophie writes that she is “sending you a cradle like the Apache make for their babies. On this card a real one. This was taken out in their hay camp. I am so sorry that I was so long in sending it. But hope you will like it.” A number of postcards show wear or damage on the corners, suggesting that they were likely kept in an album for some period of time.

Sophie identifies herself and other family members in several of the real photo postcards. In one photograph showing six people posing on rocks near a dam waterfall on the Mescalero Reservation, Sophie identifies herself as the individual at left “sitting down by my little sister.” The young girl in this photograph is likely Sophie’s younger sister Edith, while the “married sister” standing at right is likely Emma. Both Edith and Emma appear in multiple photographs. Unidentified individuals in the family photos include an uncle, a cousin, the husband of said cousin, and a white woman who apparently married another one of Sophie’s uncles.

Other items of particular interest include postcards with images of Apache camps in Oklahoma and New Mexico; the Apache mission at Fort Sill; the funeral of Comanche chief Quanah Parker; portraits of Indian families (including a group portrait of a Sac & Fox family by W. H. Martin), mothers, and women; and portraits of famous Native American chiefs including Sitting Bull, Geronimo, Eagle Feather, and Red Cloud. The Red Cloud postcard bears the message “From a friend you have forgotten. But she never will forget you. Ft Sill Friend.”, while the Geronimo postcard reads “I received the pretty card to-day. I was glad to get it. So in return I thought I will send you one of Geronimo. I guess you all heard of him. What ever became of William. How is little girl now. From Sophie.” The postcards bearing images of Red Cloud, Eagle Feather, and Sitting Bull are all based on reproductions of original paintings by L. Peterson that were photographed and copyrighted by H. H. Tammen in the early twentieth century. Other color printed postcards include images of Pueblo Indians selling pottery, a Pueblo Indian infant, an Indian camp scene at the 101 Ranch in Bliss, Oklahoma, and an illustrated scene of an Indian woman going over a waterfall in a canoe titled “Red Man’s Fact.”

One color printed postcard bearing a portrait of Mohawk chief Bright Canoe was produced in the 1960s and thus could not have been included by Sophie.

Several real photo postcards include photographs taken by Edward Bates (1858-1941). Based in Lawton, Oklahoma, Bates took numerous portraits of Native Americans living at nearby Fort Sill. Bates is known to have produced at least one portrait of Edith Toclanny, and it is possible that he photographed other members of the Toclanny family.