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This collection is made up of correspondence between Benedict Law of Erie County, New York, his wife Docia, and members of his extended family. Law wrote to his wife and children about his work along the Wyoming-Colorado border from 1897-1902 and in the later years of the decade. Other family members and acquaintances corresponded about their lives in Texas, New York, and New Jersey.

This collection is made up of correspondence between Benedict Law of Erie County, New York, his wife Docia, and members of his extended family.

In letters to his wife and sons, Benedict W. Law discussed his life and work on mining projects in Wyoming and Colorado, particularly in the area around Dixon, Wyoming, and Fourmile, Colorado. He described the scenery around the border area and discussed aspects of camp life and his work, which involved dredging and digging ditches. In 1898, he shared local news and occasionally commented on the progress of the Spanish-American War, though he also mentioned the general scarcity of news in the area where he lived. His letters to Docia often concern the couple's finances and sometimes contain news about her sister, Grace Graley, who lived in Fourmile, Colorado. Law wrote at least one letter to his son Lito in Spanish (May 24, 1899). Law wrote from Routt County, Colorado, in 1902.

From 1897-1901, Benedict W. Law received letters related to his personal life, his travels, and the western mining work that continued after his temporary return to New York in 1901. A few items from this period pertain to Docia Law. After 1906, Grace Graley wrote to her mother about life in Queen City, Texas, and about her children. After 1909, Benedict Law resumed his correspondence with his wife, who also received late letters from her sister and mother

Letters from relatives in New York, New Jersey and Iowa discussing in part plans to migrate westward; letter, 1852, recounting missionary life in India; Civil War letters from Townsend M. Luce (Co. F., Third Michigan Infantry), Rufus Cheney (Co. D, 2nd Michigan Cavalry), Charles O. Reed (probably Co. A, 4th Michigan Cavalry), Philip Segur (Co. A, 7th Michigan Cavalry), and one tentatively identified as Albert H. Freeman (Battery B, 1st Michigan Light Artillery); and miscellanea.

The Lantern slides and glass plate negatives collection consists of approximately 1,260 magic lantern slides, glass plate negatives, and glass plate transparencies from commercial and non-commercial sources documenting a wide range of subjects.

The Lantern slides and glass plate negatives collection consists of approximately 1,260 magic lantern slides, glass plate negatives, and glass plate transparencies from commercial and non-commercial sources documenting a wide range of subjects.

The collection contains a total of 33 boxes and is loosely organized by topical groupings. The following list references individual boxes and the general nature of their contents.

• 10 x 12.5 cm glass negatives of views of Ann Arbor, Michigan, ca. early 1900s taken by an unidentified photographer. Includes views of several University of Michigan buildings, hospitals, fraternity houses, and private residences.

• Sixteen 8 x 10 cm cardboard-mounted slides showing posters for upcoming films and local product advertisements intended for use in movie theater intermissions. Producers include Excelsior Illustrating Co., Inc. and Photo Repro Co., Inc. Identified films include High Steppers (1926); The Blind Goddess (1926); Without Mercy (1926); Chickie (1925); Stop, Look and Listen (1926); West Point (1927); Pals First (1926); Ella Cinders (1926); Paying the Price (1927); The Avalanche (1919); and Turn to the Right (1922).
• Ten 7.5 x 7.5 cm slides documenting damage caused by the 1906 San Francisco earthquake (two of the slides are broken).

• 10 x 12.5 cm glass negatives including scenic views of fields, woods and towns, Canterbury Cathedral, ships in harbor, New York City streets, Coney Island beaches, street merchants, and children interacting with dogs (often humorously). All or some the images were produced by photographer William S. Pearsall in 1906 or earlier.

• Twenty-two 8 x 10 cm cardboard-mounted slides (some damaged) showing motion picture posters intended for display during movie theater intermissions with play dates handwritten in space at bottom. Dates listed range from 1918 to 1929. Identified films include The Devils Circus (1926); The Love of Sunya (1927); The Bridge of San Luis Rey (1929); Mademoiselle Modiste (1926); Classified (1925); Chang (1927); The Demi-Bride (1927); The Swell-Head (1927); Steele of the Royal Mounted (1925); The Voice of the City (1929); His Supreme Moment (1925); Monte Carlo (1926); An Old Fashioned Boy (1920); Lovers in Quarantine (1925); Riders of the Dawn (1920); Paid Back (1922); The Breaking Point (1921); and Gypsy Blood (also named Carmen - 1918 in Germany, 1921 in U.S.A.)
• Seven 8 x 10 cm hand-colored slides showing scenes from the popular book The Bad Boy and His Pa by George W. Peck produced by the Chicago Projecting Co. in 1904. Tableaux are carefully staged and elaborately tinted.

• Includes 8 x 10 cm slides showing scenes from The Bad Boy and His Pa by the Chicago Projecting Co. Other identified films include Babe Comes Home (1927); Figures Don't Lie (1927); and The Danger Girl (1916).

• Twenty-six 8 x 10 cm cardboard-mounted movie theater slides related to coming attractions or local products. One item of particular note includes a notice to female patrons that they do not need to remove their hats if they are seated in the women’s section. Identified films include The Taxi Dancer (1927); Square Crooks (1928); The City Gone Wild (1927); Too Much Money (1926); The First Night (1927); Broadway Nights (1927); Rainbow Riley (1926); The Wizard (1927); Vamping Venus (1928); The People vs. Nancy Preston (1925); Lovely Mary (1926); Rookies (1927); The Swan (1925); The Cohens and Kellys (1926); His People (1925); and My Official Wife (1926).

• Twenty-three 8 x 10 cm cardboard-mounted movie theater slides related to coming attractions or local products. Identified films include The Phantom Police (1926); The Testing Block (1920); The Brute Master (1920); The Cowboy Ace (1921); The Song and Dance Man (1926); His Brother's Keeper (1921); Private Izzy Murphy (1926); The Wanderer (1925); Eve's Leaves (1926); Good and Naughty (1926); It's The Old Army Game (1926); Vanishing Trails (serial, 1920); Don't Shoot (1922); The Whirlwhind of Youth (1927); The Shield of Honor (1927); Across to Singapore (1928); Naughty But Nice (1927); The Barrier (1926); For The Love of Mike (1927); The Dark Angel (1925); Keeping Up With Lizzie (1921); and Top O' The Morning (1922).
• Seven 8 x 10 cm slides (mostly duplicates) related to the Yale “Pageant of America” series showing damage in the aftermath of World War I.
• One 8 x 10 cm slide showing an ancient Egyptian tablet depicting battle.

• Twenty 8 x 10 cm slides documenting various activities in the town of Fitchburg, Massachusetts, around the turn of the 20th-century, including a hot-air balloon excursion and a fire engine race, along with other local scenes.
• Thirty-nine 8 x 10 cm slides showing scenic views (some hand-colored) in New Jersey and New York between 1896 and 1907. Most are attributed to Dr. J. T. Morehouse, but other noted contributors include the Charles Beseler Co., Dr. Ferdinand G. Kneer, William Archibald, and George W. Lamoreux. Items of particular interest include an aerial view of lower Manhattan; a map of New Jersey showing holdings of Esso; and a hand-colored view of a high railroad bridge in Portage, New York.

• Twenty 8 x 10 cm slides by Ann Arbor photographer George R. Swain documenting select manuscripts and maps from the William L. Clements Library.
• One 10 x 12.5 cm glass negative view of the Clements Library exterior.
• Seven 8 x 10 cm slides of outdoor scenes in Alaska and California from around 1900.
• Two 8 x 10 cm copy negatives of elaborate unidentified interiors.

• Six 8 x 10 cm slides of scenes in California and British Columbia. Includes view of a redwood logging train.
• Ten 8 x 10 cm glass negatives of scenes in British Columbia, mountain views, and photos of maps.
• Four 8 x 10 cm slides by Ann Arbor photographer George R. Swain of items from the William L. Clements Library.
• Nine 8 x 10 cm slides showing people and places (notably Firle Place) in the United Kingdom during the 1920s.

• Six 8 x 10 cm slides by Ann Arbor photographer George R. Swain showing exterior and interior views of the William L. Clements Library in the 1940s.
• Twenty-four 8 x 10 cm slides by Ann Arbor photographer George R. Swain of items from the William L. Clements Library. Includes an image of materials from the Thomas Gage papers stored in one their original document chests.

• Five 8 x 10 cm slides showing unidentified locations (possibly in Alaska) produced by the Seattle, Washington studio of Asahel Curtis.
• Four 8 x 10 cm slide reproductions of paintings.
• Three 8 x 10 cm slides of miscellaneous content.

• 8 x 10 cm glass negatives documenting a 1728 French translation of an earlier memoir by Jerome Lobo regarding attempts to convert Ethiopians to Christianity. An enclosed note says slides were for “a Prestor [sic] John talk.”

• 8 x 10 cm slides from an extensive educational series on lumbering processes and techniques produced ca. 1910. Images detail the production of railroad ties, including loggers’ methods of shaping each piece with their axes, and the proper method of stacking ties. Most of these views appear to be from Michigan’s lower peninsula, but one slide is from Wyoming in 1910.

• 8 x 10 cm slides showing various stages in logging operations and mill processes in states from Maine to California. Includes one hand-colored view of a mill pond in Virginia and a map of the U.S. that renders the size of each state relative to its timber resources.

• 8 x 10 cm slides showing production stages for treenails and stulls. Also includes images of various types of mill saws in marketing photos as well as working mills.

• 8 x 10 cm slides primarily related to pulp production with views showing logging sites, stages of the milling process, and specific machinery used. Includes images showing both ox-drawn and wooden-wheeled logging wagons.

• 8 x 10 cm slides showing portable mills set up near logging sites and log flumes in various stages of construction and operation. Several images of elaborate flume constructions are present.

• 8 x 10 cm slides related to fir logging, possibly in Sitka, Alaska. Also present are a couple views showing treenail production.

• 8 x 10 cm slides showing locust logging, log loaders, and lumber yards.

• 8 x 10 cm slides showing different types of log loaders as well as maps of the U.S. highlighting population and timber resources.

• 8 x 10 cm slides related to the Lidgerwood (written as “Ledgerwood” on slide labels) logging system which made extensive use of winches and pulleys. The Lidgerwood Company was instrumental in building the Panama Canal and later developed machinery for the logging industry. Also present are more images of log loaders and diagrams/photos of mill machinery.

• 8 x 10 cm slides related to the Lidgerwood system as well as views of logging and mill operations in several states.

• 8 x 10 cm slides showing pull boats towing log rafts and various logging and milling operations.

• 8 x 10 cm slides showing finished lumber products being shipped by boat, rail, and wagon as well as images related to shingle production.

• 8 x 10 cm slides showing steps in the production of shingles, stulls, and poles as well as steps in paper production, including micro views of linen and cotton paper fibers.

• Twenty-eight 8 x 10 cm slides showing stages in paper production as well as views of portable mills and flumes, especially flume dumps.
• Ten 10 x 12.5 cm glass negatives by unidentified photographer ca. 1902 related to estate in Berlin, Maryland nicknamed “Anchuha.” Includes snapshots of house and family members.

• Despite the separate accession number, these lumbering slides appear to be from the same educational series contained in other boxes. The topics covered by the 8 x 10 cm slides in this box include agricultural use of logged spaces, large mill operations, redwood logging, steam tractors, splash dams and charcoal kilns.

• 8 x 10 cm slides covering log jams, barrel staves and cooperage, flumes, big tree logging, and maps of national forests. Non-Michigan locations also represented. Includes color slide by Asahel Curtis showing Douglas fir timbers on railroad car.

• 8 x 10 cm slides showing pole roads, agricultural use of logged land, large mills, machinery used in distillation and cooperage, logging of wide range of individual tree species. Non-Michigan locations also represented.

• 8 x 10 cm slides showing tramways, pull boats, portable mills, geared locomotives, and skidways as well as a graph comparing regional production. Nine shattered slides are present.

• 8 x 10 cm slides showing gasoline and steam skidders, lumber yards, motor trucks, and Arizona tree species. One image of particular interest shows an early Kelly truck with a full load of logs and an African American driver.

• Eight 8 x 10 cm glass negative copies of photos showing scenes in Alaska, including the Muir Glacier.
• Four 8 x 10 cm slide views of British Columbia, possibly from a Canadian Pacific Railroad car.
• Three 12.5 x 18 cm glass negative self-portraits by Charles P. Steinmetz, ca. 1904/5.
• One 12.5 x 18 cm glass negative titled “Girl on Bicycle”

The New Jersey carte-de-visite album contains studio portraits of men, women, and children taken in New York and New Jersey in the late 19th century, as well as three chromolithograph "scraps" mounted on visiting cards.

The New Jersey carte-de-visite album (17cm x 13cm) contains 36 cartes-de-visite, 10 tintypes, and 3 chromolithograph "scraps" mounted on visiting cards. The cartes-de-visite and tintypes are studio portraits of men, women, and children taken in New York and New Jersey in the late 19th century. A small number have hand coloring. Most items show adult men and women photographed individually, with one picture of an adult couple, two pictures of young children, and one picture of an infant sitting in a chair. Eight mounted gem tintypes are included. Three lithograph "scraps" depict a young girl pictured with a friendship album, an open envelope, and an artist's palette with the captions "Friendship," "Devotion," and "Forget Me Not." Each scrap is mounted on a visiting card with a raised decorated border and the names "Mrs. George Carmers" and "Morriss Algoe" printed in script. The volume's brown cover has a raised geometric design, and it has two enameled metal clasps.

The Samson Adams papers are the estate and business documents of Adams, a free African American man living and working in Trenton, New Jersey in the late 18th century. Adams worked as a carpenter and laborer, and produced and traded in a variety of items, including soap, milk, corn, and construction materials.

The Samson Adams Papers is comprised of over one hundred items that offer a rare glimpse into the economic and personal life of a free African-American resident of the mid-Atlantic states during the last quarter of the 18th century. The collection is divided into two series, the first consisting mainly of materials dating between 1780 and 1792, with a few earlier items, and the second containing all materials specifically related to the settlement of Adams' estate. The first series is arranged chronologically, but the second is arranged with the intention of representing the progression of the estate settlement, in an attempt to reconstitute the order placed on the materials by the executors.

The first series of Adams' papers (folders 1-11) contains bills and receipts issued by and to Adams for items ranging from milk and soap to building materials. Also included in this series are a work pass for his sister, Violet, and two important and highly unusual subscription letters seeking assistance for Adams in completing the building of his house. The second series (folders 12-30) includes Adams' will, an inventory and a complete breakdown of the distribution of his estate, bills submitted to the estate with numbered receipts showing their payment, and numerous other estate-related items. This series appears to contain nearly complete documentation of the progress of the estate, and the inventories, evaluations, and itemized list of the distribution of the estate offer an extremely detailed portrait of Adams' financial holdings and personal and business relationships

The Stryker family papers consist of letters to and from this religious and reform minded family in New York and New Jersey.

The Stryker papers consists of letters to and from Rev. Peter Stryker and his family, written while he was living in New Jersey and working as a missionary in New York City. Religious issues are the major theme in the collection, but most of the letters are lacking in substance regarding Stryker's missionary work in the city. Instead, most of the letters are comprised of family news, and tend to be descriptive, dealing with a variety of topics.

Illness and death are frequent topics. The coming of the great cholera epidemic is referred to in Sarah Stryker's letter from New York in July, 1832, and one month later, Peter Stryker writes to express his sorrow at the death of Elizabeth Ricord's son, John. In a letter to Elizabeth, Herman B. Stryker provides some details of the last days of Rev. Peter.

Travel is another recurring topic in the collection. In 1837, while Rev. Stryker was living in Elizabeth's home in Geneva, N.Y., he wrote to her describing life at the house. In the process, he gave incidental descriptions of various rooms within her home. In other travels, Rev. Stryker visited Schenectady, N.Y., which he enjoyed so much that he moved there in May, 1841. In a later letter he described a journey by canal boat.

The minute book of the United Sons of Salem Benevolent Society describes the business proceedings of a mid-19th century African American self-help organization. A hybrid of an insurance agency and charitable operation, the United Sons bound together members of the African American community of Salem, New Jersey, providing a social network, a financial safety net, and support in the event of illness or death.

The minute book of the United Sons of Salem Benevolent Society is a rare survival of a mid-19th century African American self-help organization. A hybrid of an insurance agency and charitable operation, the United Sons bound together members of the African American community of Salem, New Jersey, providing a social network, a financial safety net, and support in the event of illness or death. The Society also made small, usually short-term loans to its members to assist in their business endeavors.

The first 18 pages of the minute book contain the constitution of the United Sons, including a preamble and 25 articles, plus the signatures of eighteen founding members. Six of these men appear to have signed, the other twelve making marks. Thereafter, typical entries in the minute book are very brief, including notice that meetings began with "singing and prays," and tersely summarizing the business at hand -- the election of officers, the induction of new members, society discipline, and the disbursement of funds to compensate sickness and death.

The constitution of the Society is of considerable historical value in explicitly laying out the reasons for forming the Society and providing a highly detailed overview of its structure, ideology, and operations. Providing the names of many of its members and their contributions and roles within the organization, the remainder of the book is a valuable key to examining the social and financial relationships among members of the African American community during a critical period of history.