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William Edward Wise was a student at the University of Michigan and graduated from the College of Architecture in 1951. He was a photographer for the Michiganensian yearbook and the collection documents football games and other campus events, 1948-1955.

The William Edward Wise collection documents the University of Michigan campus and events, 1948-1955 and consists of two series, Negatives and Prints. The Negatives series consists of 29 envelopes of 4x5 black and white negatives arranged in two subseries, Football, 1948-1951 and Other campus photographs, 1948-1955. The Football subseries consists of ten envelopes of negatives, four of which pertain to the 1951 Rose Bowl. The Other campus photographs subseries contains images of student groups, dances, campus landscapes and buildings, and other campus events during Wise's tenure as a student from 1948-1951. One additional envelope depicts the University of Michigan's North Campus in 1955. The Prints series contain four folders of prints relating to campus buildings, groups shots, sports and student life. Many of the prints appear to have been developed from the negatives in the collection.

The Hilary Whittaker papers contains correspondence from her time as Peace Corps volunteer and administrator in India and her time with the Red Cross in Morocco and France.

The Hilary Whittaker papers includes the correspondence Whittaker had with her family during her time in both Morocco and France with the Peace Corps as well as her time in India with the Peace Corps. The sound recording consists of her description of an earthquake in Morocco in 1960.

Papers of the Upjohn family of Hastings and Kalamazoo, Michigan, collected by Dr. E. Gifford Upjohn. Papers and genealogical materials of Upjohn and related families, especially the Mills family, Kirby family, and Clough family; include materials concerning family activities, medical practice, and daily life; also papers concerning the work of Clough family members as missionaries to southern India; and selected Upjohn Pharmaceutical Company historical records; and photographs.

The Upjohn family papers, collected and preserved by Dr. E. Gifford Upjohn, consist of materials brought together by various family members primarily for genealogical purposes. More than a "family archive" because of the importance of the Upjohns as founders of the Upjohn Pharmaceutical Company in Kalamazoo, the collection includes material spanning the period from the early 1800s to the present. The Upjohn Collection consists of three feet of manuscripts, two feet of family related books and bound manuscripts, and two feet of photographs.

Because of its diversity, the collection has been divided into five series of papers: Upjohn family; Families related to the Upjohns; Upjohn Company; Printed Materials; and Photographs.

The Southeast Asian Art Archive is composed of seven collections, including the Southeast Asia Art Foundation Archive (SAAF), the Breezewood Collection, the Ajanta Caves Collection, the Walter Spink Indian Caves Collection, the Walter Spink Collection, the Borobudur Collection, and the American Council for Southeast Asian Art (ACSAA) Collection. The collection contains photographs and slides of Southeast Asian monuments, sculptures, Indian rock-cut architecture, and more.

The Southeast Asian Art Archive is composed of seven smaller collections, including the Southeast Asia Art Foundation Archive, the Breezewood Collection, the Ajanta Caves Collection, the Walter Spink Indian Caves Collection, the Walter Spink Collection, the Borobudur Collection, and the American Council for Southeast Asian Art Collection (ACSAA). The Southeast Asia Art Foundation Archive contains photographs, collected by John Adams Thierry, that document sculptures, monuments, and archaeological sites in Cambodia, Java, and Thailand. Many of these sculptures and monuments were vandalized, damaged, insensitively restored, or destroyed. The Breezewood Collection focuses on the art and architecture of Thailand, but also includes examples of sculptures, decorative arts, ceramics, and paintings from Burma, Cambodia, India, and Indonesia. The Ajanta Caves Collection contains the research work of Walter Spink and photographically documents 29 of the 31 rock-cut caves. The photographs range from panoramic views of the Ajanta complex to detailed photographs of the façades, porches, courts, shrines, and interiors. The Walter Spink Indian Caves Collection further documents the research of Walter Spink by looking at rock-cut architecture of other caves throughout India, including Aurangabad, Badami, Bagh, Bedse, Bhaja, Elephanta, Ellora, Kanheri, and others. The Walter Spink Collection contains additional research of the rock-cut architecture of temples, shrines, and monuments throughout India. The Borobudur Collection documents the Buddhist monument of Borobudur, found in Central Java, in detail. The last collection is the American Council for Southern Asian Art (ACSAA) Slide Distribution Collection. This collection contains a wide array of materials depicting Southern Asian art and architecture.

The Tracy family papers consist of letters written by members of a large family from Norwich, Connecticut while living away from home, including two letters from a missionary in India.

This collection is somewhat of a hodgepodge; a few curious lives come to light, but there are not enough letters to entirely flesh out the various writers, or connect the lives of what must have been a large, tight-knit family group. There are 4 letters written by Charles, shortly before his death, 6 letters from William, while he was in Philadelphia, 2 excellent letters from his wife Emily, written from India, 5 written by George, who went down to Mobile, 5 other family letters, 4 letters written by friends, including a female schoolteacher, and 8 letters written much later to Louise and Antoinette Tracy, who were trying to gather genealogical material.

The two most fascinating letters are from Emily, who described the Indians and their ways, as well as the missionary work that brought the Tracys to Southern India. Predictably, she was rather negative about the people she was there to convert. The combination of what she viewed as laziness and lying left her with little respect for the Indians. "I know of nothing in America, which is so universal, as falsehood is among this people, they have a proverb, 'that where the mouth opens a lie comes out,' and this seems to be litterally the case," she fulminated (1838 November 16).

After overpaying a couple times, she pronounced that "their great aim is to get all the money they can, and do as little as possible in return." To Emily, itinerant beggars were the embodiment of this aim, so distasteful to her Protestant work ethic: "You would be surprised to know what a quantity of persons there are in this country, whose business it is to go from village to village begging . . . some time ago one of these beggars came to me, and I said I cannot give you anything, you are a strong stout man, if you will do this work, I will pay you for it but I cannot encourage any body in idleness, who is able to work as you are, said he, 'it is not my custom to work, I am a beggar,' well then, said I, you can go, it is not my custom to support people who can work, but who are too lazy to do so."

Rats and mosquitoes disrupted their sleep, but an even greater trial of missionary life was the difficulty of remaining connected to the loved ones back in America. Writing to the Tracys, Emily asked if they knew why she had not heard from her own parents. After writing thirty letters and receiving no response, she had stopped writing, but not worrying (1839 February 13).

Emily's main preoccupation, however, remained the Tamil people, and she lamented, "Oh how easily are this people led captive by Satan at his will." Witnessing people unselfconsciously bathing in public, and married women performing a fertility ceremony "in the presence of multitudes of people without the least thought that their was any indelicacy in it" seemed to intensify her desire to "guide them to the Lamb of God, who taketh away the sins of the world."

While she was talking to some "deluded pagans" after they had completed their ceremonies, Emily was asked, "Where did you, a woman, get so much wisdom'"? She was struck that "this people seem not to get the idea, that a woman could know how to do anything else beside cook rice, carry burdens, and gather cow dung for fuel." Emily thought some of the women she spoke to were bright, and "looked as though they might have made smart intelligent women had they been properly educated, whereas now they seem scarcely to have a thought above their food and dress. O when will the time come when the blindness be taken from their eyes"?

Norwich was the home base of the Tracy family, and several of the daughters seem to have never left it, or each other. They probably all worked to earn their keep. William wrote to his sister Mary Ann, "I am glad to hear you have steady work some where or other as father will not have to work so hard as he did before you knew the trade" (1821 June 24). The sons, on the other hand, moved to other places to make a living, either because they wanted to see the world, or there was no future for them in Norwich. This collection of letters written to the women back home documents the men's struggles to get accustomed to being apart from those they were supposed to support, and be supported by. A New Year's greeting filled with religious exhortations is the only "out going" letter from Norwich, written by Susan to her brother Charles (1815 December 31). This intimates that the sisters provided their wandering brothers with religious and moral guidance, as well as keeping them apprised of local news.

Maintaining long-distance familial support was a challenge. Writing after Charles' death, David eloquently reassured his mother, "I feel the only legacy he has left writ deeply on my heart, to comfort and be all to you which we both might have been" (1818 May 1). He was relieved that his mother had visited Charles just before he died, and noted that he had "some of the dear boys hair which I mean to have set in something for my sisters." William told his sister Elizabeth why it was better that they did not live together: "I should like to see you, and be with you, but if we were always together, we should lose much of that pleasure which we feel at meeting after a long seperation, and when duty calls us apart we should yield to her voice with contentment" (1825 June 13). At the same time, he asked her to write to him more frequently, even if he had not responded, for "there are many of you, while I am alone," indicating his need for frequent contact with his family.

George had less time to spend thinking about the folks back home: "I have not been able to think of much except cotton -- it has been cotton from before day break, untill late in the evening. Some times it is eleven o'clock before I can leave the office. I have some times thought that there was more cotton in my head than there was in all the cotton factories in New England" (1831 May 29). Although he was unsure if he wanted to stay in Mobile and keep working in the cotton trade, he was still there a few years later -- but still talking of moving on: "My future exertions in business may be differently directed, but as I am not yet determined that it will, or if it is, in what way, I do not speak of it" (1834 March 10).

Lucinda, a properly educated female native of Norwich, did leave her home in order to make her living. Unlike the men, who stressed the flexibility of their business plans -- George in particular -- Lucinda felt trapped in her position. She wrote to Sarah, "I thought if I should leave my school it would be uncertain when or where I could collect one again. This is the way in which I expect to gain my support & it is best for me to keep with my business. Don't you think so?" (1832 April 14). She rhapsodized about the haunts of her childhood home in a rather morose fashion, and blamed her melancholy on being spurned by a friend, whose desertion had left her quite alone with her pupils.

The Southeast Asia Art Foundation (SAAF) Archive is composed of approximately 200,000 photographs of Southeast Asia artwork compiled by John Adams Thierry during the latter half of the 20th century. The photos are drawn from approximately 30 different sources, sculptures, or monuments throughout Southeastern Asia that have since been vandalized, damaged, insensitively stored, or destroyed.

Southeast Asia Art Foundation (SAAF) Archive is composed of about 200,000 photographs drawn from at least 30 different sources, including 10,000 photos from sites in Cambodia, Java, and Thailand, 1,100 aerial photos of unexplored archaeological sites, and approximately 3,000 photos from leading art dealers. The collection is housed in a series of black binders and is broken down into 1149 binders of images of objects from various regions and object types, 114 binders with museums' holdings and dealers’ photographs, 24 binders of aerial photographs, 2 binders that contain microfiche, and 3 boxes of photographs. Many of the photos depict sculptures or monuments that have since been vandalized, damaged, insensitively stored, or destroyed. Some of the sculptures have also been sold into private collections and are no longer accessible to the public. The photographs of Yves Coffin, a former French diplomat to Cambodia, are now considered one of the best collections of Cham and Khmer architecture and sculpture. Most of the aerial photographs of Thailand in the mid-1950's came from William-Hunt. Some of the microfiche in the collection came from the National Research Centre of Archaeology on Indonesia from 1901 to 1956, while more microfiche was contributed by the Kern Institute, University of Leiden. In addition to the approximately 100,000 photographs and slides, materials also came from an expedition to Java, which sent Patrick Young to photograph the Buddhist monument of Borobudur. The Department of the History of Art at the University of Michigan organized the expedition, which was partially funded by Southeast Asia Art Foundation and its trustee, John A. Thierry.

The collection also contains vast documentation about the legacy of the artwork and the archive itself, including work from leading scholars such as Carol Stratton, Sarah M. Bekker, A.B. Griswold, and Miriam McNair Scott. John Adams Thierry's research and additional articles are incorporated in the collection.

The photo archive is part of the Southeast Asia Art Foundation Archive, which is now housed in three locations within the University of Michigan. The University of Michigan-Museum of Art houses Thierry's collection of 19 sculptures, while the University of Michigan Library houses Thierry's personal library of books on Southeast Asian Art, many of which are rare or difficult to find.

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Unitarian minister, anti-imperialist, and advocate of independence for India. Extensive professional and family correspondence, diaries, sermons, manuscripts of books and articles, research notes, topical file on India, printed material, newspaper clippings, and miscellanea; also papers concerning his career first as a Baptist minister, later a Unitarian minister in Ann Arbor, Michigan and elsewhere, including his involvement in the Western Unitarian Conference.

The Sunderland papers are very complete for the early years of his career (1868-1887). The collection is divided into the following thirteen series: Correspondence, undated and 1868-1936, Visual Materials, Student papers and notebooks, Church and Ministerial Activities, Western Unitarian Conference, Diaries, Notebooks, etc., Sermon file, Manuscripts of Books and Articles, Research Notes and Manuscripts, Printed Materials, Topical Files on India, Miscellaneous Papers and Notebooks, Biographical/Autobiographical Material, and Topical File.

Papers of R. R. Stewart, United Presbyterian missionary in India and adjunct research investigator of the University of Michigan Herbarium, and papers of his wife, Hladia Porter Stewart, educator at Kinnaird College in Lahore and later Gordon College in Rawalpindi, Pakistan. Reminiscences and other autobiographical writings, correspondence, diary, articles concerning flora of India and Pakistan, and files relating to teaching and missionary work of R. R. Stewart; also letters, memoirs and poetry of Hladia Porter Stewart; and photographs

The Stewart Family Collection consists of two linear feet of documents and photos relating to the life of Ralph Randles Stewart and one linear foot relating to the life and writings of Hladia Porter Stewart. Both spent most of their lives on the northern Indian subcontinent.

Pacifist, participant in World War I peace movement and later peace activities, member of Fellowship of Reconciliation, Women's International League for Peace and Freedom, and Women Strike for Peace. Papers include Correspondence, newspaper clippings, pamphlets, periodicals, reports, photographs, and other materials relating to the International Congress of Women, 1915, the Ford Peace Ship, the American Neutral Conference Committee, the Emergency Peace Federation, and the People's Council of America.

The papers of Rebecca Shelley (1887-1984) were donated by Shelley in several accessions between 1964 and 1984. The papers make up twenty-one linear feet of materials and cover the years 1890-1984, though only a few photographs and printed items predate 1910. Her anti-war activism, legal battles, writing career, and courtships with Franz Willman and Felix Rathmer are all well-represented. In addition to her personal papers, there are groups of material belonging to Emily Balch, Richard Olsen, Felix Rathmer, Paul Shelly, and William A. Shelly.

Many peace organizations are also documented in these papers through flyers, pamphlets, periodicals, newsletters, and correspondence. These include the American Neutral Conference Committee, Emergency Peace Federation, People's Council of America, Fellowship of Reconciliation, Women's International League for Peace and Freedom, Women Strike for Peace, and many others. As Shelley served as an officer in the Michigan Fellowship of Reconciliation (F.O.R.) through the 1950s and 1960s, many of the organization's official papers came to be in her possession. Therefore, an effort was made to remove most of these official papers to the separate Michigan F.O.R. collection.

The collection is arranged in eleven series: Biographical; Newspaper Clippings; Correspondence; Topical Papers; Miscellaneous Papers; Papers Of Other Individuals; Printed; Periodicals; Diaries And Notebooks; Photographs; and Writings.

Civil servant with Chinese Maritime Customs Service, later professor of Far Eastern art at the University of Michigan. Letters to his mother describing his experiences in China, other related papers, and photographs from his years in China.

The Plumer collection has been arranged into the following series: Letters to his mother from China; Other Materials; and Photographs. The letters to his mother are bound together in seven volumes with occasional descriptive photographs. The letters describe his experiences in Nanking, Manchuria, Shanghai, and Hankow, and his vacation trip to India in 1928. Also included are typescripts of selective letters. The Photographs series consists of people, buildings, and views in China, especially in Nanking and Manchuria. There are also photos of visits to Hong Kong, India, Japan, and the Philippines.