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The Admiral William Mead photograph album contains approximately 250 photographs related to the family and career of U.S. Navy Rear Admiral William Whitman Mead.

The Admiral William Mead photograph album contains approximately 250 photographs related to the family and career of U.S. Navy Rear Admiral William Whitman Mead.

The album (35.5 x 29 cm) has pebbled covers with partial leather bindings and "Photographs" stamped on the front cover and contains around 250 photographs of various sizes and formats, including collodion, gelatin silver, platinum, silver platinum and albumen prints, cyanotypes, and snapshots. The spine and edges show considerable wear. The photographs chronicle three periods in Admiral Mead's naval career: his time as lighthouse inspector in the Great Lakes, and his assignments as commandant of the Newport, Rhode Island naval base and Portsmouth Naval Shipyard in Kittery, Maine. Additionally, there is at least one photograph towards the front of the album from the Lomaland School in San Diego as well as a series of others mostly located towards the back of the album that were taken in an unidentified tropical location (possibly Florida).

Some of the album’s captions, primarily in beginning and the lighthouse section, appear to have been first added when it was originally assembled and many are partially erased. The majority of captions, however, were contributed at a later date by Admiral Mead’s niece, Annie Adelia Mead Ferguson. Annie appears to have come into possession of the album at some point and added her own annotations identifying people and places she recognized in the photographs. She also added a handwritten note to the inside of the album’s front cover in 1970 indicating that the album had once “belonged to William Whitman Mead” before explaining that she captioned certain images herself and speculating on which of her children might want to inherit the album. It is unclear who originally took many of the photographs, though there are indications that Annie's mother Unadilla Gazlay Mead may have contributed some material. One photograph on pg. 32 shows Unadilla and her husband Omar C. Mead, Admiral Mead’s brother, posing together on a dock in either Portsmouth or Newport while the former can be seen holding a camera in her hands, while on pg. 44 there is a self-portrait taken in a mirror of a woman with a camera that appears to be Unadilla.

The album provides extensive documentation of lighthouses along the shores of Lakes Superior and Huron in the mid-1890s, as well as views from Great Lakes locations such as Duluth, Copper Harbor, and the locks at Sault Ste. Marie. Specific lighthouses represented include Seul Choix Light, Old Mackinac Point Lighthouse, Sand Island Lighthouse, Huron Island Lighthouse, Isle Royale Light, an abandoned lighthouse on Isle Royale, a pair of unidentified lighthouses possibly located in the Keweenaw Peninsula, Windmill Point, a lighthouse in St. Clair Flats, Gull Rock, Stannard’s Rock, Rock Harbor Light, and other unidentified structures. Images related to Admiral Mead’s time at the Newport naval base include portraits of Mead both in and out of uniform, portraits of family members such as Julia Mead, a collotype postcard of Trinity Church, and various buildings and street scenes. Images related to Admiral Mead’s time at Portsmouth Naval Shipyard include views of the Commandant’s house, “The Admiral’s Yacht,” and portraits of various individuals including John W. Yerkes, Elizabeth O. Yerkes, Amelia R. Yerkes, Annie Meade Matthews, Omar C. Mead, and Annie Adelia Meade as a young child. Of particular interest are a number of candid shots of locations and participants in the Portsmouth peace talks that ended the Russo-Japanese War in 1905 (including several photographs of three unidentified Japanese men described as “servants” in one caption) that are present on pgs. 30, 36, 37, and 39. While most of the ships that appear in the album are unidentified, identified vessels include the passenger steamer North Land on pg. 16 and the lighthouse tender Marigold on pg. 23. Other individuals identified by caption include Robert A. Watts (Admiral Mead’s brother-in-law) and Margaret A. Watts (Admiral Mead’s mother-in-law). Also present are three outdoor portraits of unidentified African American men and women on pg. 21 captioned “Those good ole’ days!!” and “Same good ole days!” as well as a cyanotype of an unidentified African American girl on pg. 48.

The Charles Morris papers contain letters and documents relating to the naval career of Commodore Charles Morris, during the War of 1812 and his subsequent commands at the Portsmouth and Charlestown Navy Yards, and as a member of the Board of Navy Commissioners.

The Charles Morris papers contain 66 letters, 2 documents, and an engraved portrait, spanning 1801-1861. The collection relates primarily to Commodore Charles Morris' naval activities and career. A few materials represent Morris' involvement in the War of 1812, but the papers primarily document his command at Portsmouth and Boston Navy Yards and his tenure as a navy commissioner.

The Correspondence series spans 1801 to 1851. Early letters to Morris contain routine orders and requests, frequently from various secretaries of the Navy, including several items written by Secretary Paul Hamilton. Included is an order assigning Morris to the USS Constitution, dated June 22, 1812, as well as another order instructing him not to intercept any unarmed British ships bound for Sable Island (November 11, 1812). Other War of 1812 items pertain to furloughs, promotions, and strategy. Also included are several letters by Morris to colleagues such as Henry Dearborn and John Orde Creighton, concerning mutual acquaintances, appointments, and naval activities.

A particularly important item in the collection is a 20-page letter of May 20, 1819, written by John Quincy Adams to Smith Thompson, secretary of the navy. In the letter, Adams provided instructions and objectives for a diplomatic mission to Venezuela and Argentina, led by Oliver Hazard Perry. He also discussed such topics as restitution for several American ships seized during the Venezuelan Revolution, Venezuelan piracy off the coast of Florida, and the involvement of Spain and other European powers in South American politics. The letter likely came into the possession of Morris after the death of Perry from yellow fever in August 1819; Morris took over for Perry as leader of the naval expedition soon after. Also pertaining to the Venezuelan expedition is a letter from Thompson to Perry, further explaining the goals of the mission, and providing instructions to Perry in regards to pirate and slave ships (June 1, 1819).

Another segment of the correspondence, 1828-1829, concerns the presentation of an urn to General Lafayette by the midshipman of the Brandywine. Included is a manuscript copy of a letter from Lafayette, thanking the men of the Brandywine and praising their patriotism (December 25, 1828). Later correspondence relates to naval business, such as appointments, courts martial, and invitations to events. In an additional letter dated July 17, 1834, John Quincy Adams expressed hope that Morris would find a position in the navy for a relative, Joseph Adams. The latest correspondence in the series pertains to the activities of Morris' children, particularly George A. Morris, and contains comments on foreign relations and routine naval matters.

The Memoir, Documents and Portrait series contains four items. A seven-page memoir written by Charles or Harriet Morris in 1847 provides an account of the life and naval service of their son, Charles W. Morris. In the first document, dated August 29, 1815, Attorney General Richard Rush recorded the trials of alleged pirates. The second document is undated and relates to a silver medal awarded to Charles Morris. Finally, the series contains an 1861 engraved portrait of John Quincy Adams. Published by Johnson & Fry of New York, the image was engraved from a painting by Alonzo Chappel.