Collections : [University of Michigan William L. Clements Library]

The Charles Snyder papers contain correspondence between Snyder, a soldier in the 50th New York Engineers, his future wife, and other family members, concerning soldiers' duties and attitudes, religious activities, and other topics.

The Charles Snyder papers contain 182 letters to and from Snyder, 1857-1866, and one carte-de-visite photograph of him in uniform. Charles wrote 67 letters; his future wife, Hannah Wright, wrote 77; his sister Lizzie wrote 10; and his brother Steve wrote 8. Miscellaneous friends and family contributed an additional 20 letters.

The 14 letters predating Snyder's enlistment concern his teaching career, study at the University of Albany, religious activities, and family news from several of his sisters. After the outbreak of the Civil War, Snyder commented regularly on the conflict; he stated that the "strongest moral power" would be needed by soldiers in order to resist the temptations of camp life (September 17, 1861) and described a visit to the barracks of his brother William, a soldier in the 97th New York Infantry (January 25, 1861).

Between Snyder's enlistment in August 1862 and the end of the war, almost all of the correspondence is between Charles Snyder and his future wife, Hannah ("Nannie") Wright. In his letters, Snyder gave his frank opinions of various aspects of the war, often influenced by his strong religious convictions. Snyder initially felt that a recruiter had deceived him about the character of the regiment he had joined, particularly objecting to the men's swearing and drinking, and in several early letters, expressed his disillusionment with their behavior, as well as with the Union's mounting defeats. In other letters, he described his duties with the 50th Engineers, including building and destroying roads and bridges, constructing rafts, unloading trains, clearing brush, filling ditches, and moving boats, but wrote "that our country is receiving the full benefit of our sacrifices is not so clear to me" (November 27, 1862).

Snyder's letters provide many rich details of his experiences, such as the taunting by Confederates wielding a sign reading "Burnside stuck in the mud" (January 25, 1863), the universal dislike of the strict pass system instituted by the army (August 30, 1863), and the eating of a Thanksgiving turkey that he and his friends named "Jeff Davis" (November 28, 1863). On several occasions, he wrote to Hannah regarding the morale of the Army of the Potomac, discussing their "unabated" confidence in General Joseph Hooker (May 7, 1863) and stating that they did not consider Chancellorsville a total defeat, especially with the death of Stonewall Jackson, which he considered "equivalent to the loss of many thousand men" (May 20, 1863). Many of Snyder's 1865 letters relate to his promotion to first lieutenant and his desire to return home to Hannah, whom he intended to marry.

In her letters, Hannah Wright discussed religious activities (including involvement with the Tract Society), teaching, and family news, and she also expressed concern and affection for Charles. Later correspondence indicated her increasing involvement in the Union cause, including going to meetings of the U.S. Sanitary Commission (December 21, 1864), and knitting for soldiers. Wright shared Snyder's religious devotion and strict moral code. She reacted strongly to his news that Mary Todd Lincoln had worn makeup to a reception held for soldiers by President Lincoln, writing "It is a sad pity Mrs. Lincoln isn't a true woman" and calling it a "sin" (February 19, 1864). Letters from Snyder's brother Steve and sister Lizzie are primarily personal, regarding health, social visits, and news about other enlisted friends and neighbors.

The Kate Pierce papers consist of letters sent to Pierce by several writers, including her brother, Franklin, a soldier in the 15th New York Engineers; Edward Brady, of the 13th U.S. Infantry; and several female friends. Also included are several school exercises.

The Kate Pierce papers consist of 36 letters written to Kate, 4 school exercises, and 3 photographs, spanning 1859-1873. Kate Pierce's brother, Franklin, wrote 14 letters in the collection, describing his experiences with the 15th New York Engineers in 1864-1865. In several of these, he described his duties: on October 12, 1864, he wrote, "…our folks tore down brick houses belonging to the rebels in side of the works that we are building. You can see the avenues leading up to the cellars still remaining[.] Shrubs and bushes graveled walks all denoting that wealthy planters owned them…". He also noted his gratitude for the U.S. Christian Commission (December 24, 1864), and described a prolonged stay in the hospital, which was "warm" and a "good place to sleep" (January 12, 1865). In many letters, he requested family news and expressed pride in having a number of female penpals.

The collection also includes eight letters to Kate from Edward Brady, a musician in Company F, 13th U.S. Infantry, stationed at Fort Bridger, Wyoming. Shortly after Brady placed an advertisement requesting a penpal in a newspaper, they began corresponding. In his first letter to her (March 5, 1871), he thanked her for her "kindness in noticing my poor Advertisement (and especially from a soldier).” In his letters, Brady discussed the difficulty of educating oneself while in the army (March 5, 1871: "if one's Comrades see one improving his time by study…they would never leave off plaguing him and playing him tricks until he should quit in disgust…"). He also discussed his motivations for joining the military (March 25, 1871), described the country surrounding Fort Bridger (April 15, 1871), and recounted desertions (May 29, 1871). In his letter of July 29, 1871, Brady included two carte-de-visite photographs of himself and described a confrontation with "an Organization formed, among the Mormons for the avowed purpose of fighting against the United States in case the Law against some of there [sic] so called privileges was enforced." Correspondence from Brady ended abruptly after he asked Kate if he could write to her "as though to a sister" (December 15, 1871).

Also present in the collection are four brief compositions written by Kate Pierce: "Order of Exercise," "Imagination," "Sleigh Ride," and an untitled piece beginning "There are 'dark hours' in everyones [sic] lifetime mingled with pain and despair." All appear to date from the 1860s.

The Williamson family collection is made up of 9 bound volumes pertaining to Clara Gurley Williamson, her daughters Ruth and Mary, and other members of the Williamson family of New Brunswick, New Jersey. The items include diaries, financial records, a newspaper clipping scrapbook, and a photograph album.

The Williamson family collection is made up of 9 bound volumes pertaining to Clara Gurley Williamson, her daughters Ruth and Mary, and other members of the Williamson family.

The D. Abeel Williamson Diary, composed in a pre-printed pocket diary, contains David Abeel Williamson's daily entries about his life in New Brunswick, New Jersey, from January 1, 1862-May 25, 1862, and about his experiences with the 7th New York Militia Regiment from May 26, 1862-August 27, 1862. His early entries mainly record the weather and his social activities; he mentioned his admission to the bar in his entries of May 21, 1862, and May 22, 1862. A newspaper clipping about the surrender of Fort Donelson is pasted into the entries for February 16, 1862, and February 17, 1862. During his time in the army, Williamson noted the hot weather near Washington, D.C., and Baltimore, Maryland, and mentioned other aspects of military service, such as guard duty, marching, and reviews. A commuter's ticket for the "New Jersey Rail Road" is laid into the volume's pocket.

The Hattie S. Williamson Memorandum Book contains financial records of collections that the Second Reformed Dutch Church Sunday School of New Brunswick, New Jersey, received from November 26, 1865-June 16, 1867. The amount of each donation is recorded next to the donor's name. Other records pertain to the Sunday school's accounts with the Novelty Rubber Company and the church's efforts to raise money for an organ.

The Clara Gurley Account Book, kept from July 9, [1875]-April 16, 1880, contains accounts for Gurley's purchases of items such as books, ribbon, fabrics, and buttons. A piece of fabric is pinned onto the book's final page.

The first Clara Gurley Williamson Diary, written in a pre-printed Excelsior volume, covers the year 1905. Williamson began writing in Dresden, Germany, where she had lived with her children since late 1903, and recounted her daily activities and news of acquaintances. In April, she and her children took an extended tour of Europe, including Austria, Switzerland, Italy, France, and Holland, where Williamson remarked on visits to museums and other points of interest. The entries from August concern the family's return to the United States on the Holland-American Line steamer Ryndam and their first months back in New Brunswick, New Jersey, and Indianapolis, Indiana. Williamson kept a record of letters written and received and acquaintances' addresses in the volume's memoranda section. She laid newspaper clippings, a letter, calling cards, small photographs, stamps, and other items in the volume. The final page of the diary contains a newspaper clipping about the Williamsons' return to the United States and intention to relocate to Indianapolis.

The Mary Williamson Diary recounts the author's travels through Europe from April 10, 1905-August 11, 1905. Williamson described her daily activities and sightseeing in cities such as Prague, Munich, Venice, Rome, and Paris, as she visited museums and places of historical importance with her mother and sister. The diary includes a list of books Williamson read from 1907-1908 and a list of addresses of European hotels.

The Ruth A. Williamson Diary pertains to the author's experiences and travels in England from June 7, 1909-September 3, 1909. She spent most of her time in London; some later entries mention travels around southern England and to Edinburgh, Scotland. Williamson most frequently wrote about sightseeing and visiting famous landmarks, but also commented on other activities, such as shopping. Ruth A. Williamson's calling card is laid into the volume.

The second Clara Gurley Williamson Diary, also in a pre-printed Excelsior volume, contains daily entries about Williamson's life in Indianapolis, Indiana, from January 1, 1918-April 2, 1918. Williamson commented on her social activities, her health, and news of her friends and family members, especially her children. She occasionally mentioned news of the war, such as the signing of the Treaty of Brest-Litovsk (February 22, 1918). Financial records and instructions for knitting a "Kitchener sock" are written in the back of the volume. Items laid in include a calling card for Charles G. Williamson containing his military address, a cloth United States flag mounted on a small wooden dowel, and clippings about the deaths of Henry Janeway Hardenburgh and Douw D. Williamson. A postcard with a painting of Waikite Geyser in New Zealand, addressed to A. Parsons in London, England, is also laid into the diary.

The Scrapbook (1860s-1880s) is comprised of newspaper clippings about numerous topics, including biographies of William Gurley and biographical notices about other members of the Gurley family, such as Clara Gurley Williamson and Esther Gurley Cook. Some clippings feature prominent individuals such as Ulysses S. Grant, Charles Dickens, and Louisa May Alcott. Items report national news, news from Troy, New York, and stories about Emma Willard and the Troy Female Seminary. Additional topics include poetry, international travel, and stamp collecting.

A Photograph Album contains 42 carte-de-visite photographs, 2 lithographs, and 1 tintype print. Most of the photographs are studio portraits of men, women, and children, including many members of the Gurley family and related families. Most of the pictures are dated 1866-1880, though the album includes a 1902 photograph of Charles G. Williamson in a military uniform.

The Eagleswood Academy album is a 50 page cartes de visite album given to Theodore Weld by his former students at Eagleswood Academy in Perth Amboy, New Jersey on November 23, 1863. The 24 x 31 cm album has a brown leather cover, entitled "Theodore D. Weld" in gilt inlay. The album contains 194 photographs the majority of which are cartes de visite with some tintypes and gem tintypes interspersed. All of the photographs in the album are studio portraits. Most are presumably former students of Eagleswood Academy. Many of the individuals in the album are unidentified. Four loose items are also present in the album: an 1895 lithograph portrait of John Adams; a calling card for Mrs. Silas F. Overton; a calling card for a Miss Moseley; and a list of names, presumably of people within the album, that seems to have been created at a later date, presumably by Weld's daughter Sarah Grimké Weld Hamilton.

The Eagleswood Academy photograph album consists of a single bound volume of carte de visite photographs tucked into the pages along with some gem tintypes, one of which is encased. The album contains slots for four different photographs on each page. There are 169 cartes de visite in the album, all of them studio portraits of either individuals or small groups. There are also a few instances where gem tintypes are placed within the same slot as a carte de visite.

The album appears to have been gifted to Theodore Weld in 1863 from his former students. While many of the photographs were likely present in the album at that time, it appears that other photographs were added through the 1870s and possibly later. The photographs are mostly of Weld's former students, though some are individuals who appear to have no explicit connection with the school.

Enclosed in the album is a folded sheet of paper containing a list of names. Individuals on this list partially correspond to the physical order within the album. The list appears to have been created during the late 1860's and amended up until approximately 1877. Asterisks seem to indicate that the person had passed away, though in some cases the individuals without asterisks on the list had been dead for years prior. It appears that no new entries were added after 1877. The authorship of the list is uncertain, but appears to have been Sarah Grimké Weld Hamilton.

In 1886 Theodore Weld began reaching out to former students for additional photographs to put together in an album. Some of the photographs in this album may come from this period. A January 1, 1899 letter from Sarah Hamilton to her daughter mentions that she received her father's old school album with many pictures of her old classmates and their spouses and children. From this statement it appears that not all the people in the album necessarily went to or taught at Eagleswood.

Three other loose items are also present in the album: an 1895 lithograph portrait of John Adams, a calling card for Mrs. Silas F. Overton, and a calling card for a Miss Moseley.

Some of the photographs within the album have names written on the back, while others offer no clues as to who the person is. Through other sources some of the unnamed individuals in the album have been tentatively identified.

One interesting item of note is the photograph in slot #196 of the album, which has portraits taken many years apart of the same (unidentified) individual on both the front and back of the paper mount.

• A portrait of Charles Burleigh Purvis, African-American doctor and cofounder of Howard Medical School. (slot #53)
• A portrait of Bayard Wilkeson in Civil War uniform. Wilkeson died aged 19 at Gettysburg on July 1, 1863. (slot #85)
• A portrait of Ellen Wright Garrison, daughter of Martha Coffin Wright and niece of Lucretia Coffin Mott, the famed women's-rights activists who organized the 1848 Women's Rights Convention at Seneca Falls, NY. (slot #32)

The Eagleswood album contains penciled inscriptions beneath the various photographs, often times recording the name of the photographer as well as any other information written on the back of the paper mount of the photograph. Researchers should be aware that this information was added by a former member of staff and numerous errors are present. For conservation reasons these inscriptions have not been erased.

• Photographer Index, containing the names of all the photographers in the album as well as any inscriptions handwritten on the photographs.
• Individuals Index, containing the names of all the identified, and tentatively identified individuals who have portraits present in the album.

This collection contains a diary chronicling Hiram W. Coppernall's service in the 24th New York Cavalry Regiment throughout 1864, as well as a photograph. Coppernall recorded his daily movements and activities with the regiment, which saw action at the Battle of Petersburg.

The Hiram W. Coppernall collection pertains to his service in the 24th New York Cavalry Regiment, Company H, during the Civil War. Throughout 1864, he kept a diary (120 pages), which concerns his military training, his unit's marches through Virginia, his participation in the Battle of Petersburg, and his affliction with severe sunstroke. He began writing shortly after his enlistment, and a woman named "Eliza" contributed some early entries in which she apologized for intruding and encouraged Coppernall to remember and write to her. After training and performing police duty in Washington, D.C., the regiment left for Virginia in late April. On May 7, they constructed a breastwork, and on May 18-19 they traveled to Spotsylvania Court House. Coppernall occasionally reported on military engagements that often ended in Union defeats. On June 18, he participated in an assault on Petersburg, Virginia, and on July 30 he mentioned a tunnel explosion and the resulting Battle of the Crater. He wrote less frequently after August 6, when he suffered from severe sunstroke, and he spent much of the rest of the year recuperating and on furlough in New York. He rejoined his regiment in December. In addition to Coppernall's diary entries, the volume has a list of men in his regiment and financial accounts, which include a list of the clothing he received from the United States government for his military service. The diary is accompanied by a carte-de-visite photograph of Coppernall and a framed photograph of two Union cavalry officers, with the message "Same here" (1864).

The King's Own Borderers photograph album is a 54 page, 23.4 x 15.5 cm embossed leather bound album containing portrait photographs of individuals and groups associated with the Stoney family and the British army's 25th Regiment of Foot known as The King's Own Borderers. The images are cartes de visite, with some larger albumen prints and tintypes interspersed. The album contains a wide variety of other visual materials including photographic prints of artwork, pen and ink drawings, calligraphy, newspaper clippings, printed cartoons, and greeting cards. The cover of the album is inscribed "G. Ormond Stoney/King's Own Borderers/5th July 1864." The album appears to have evolved over time in several different stages.

The King's Own Borderers photograph album is a 54 page, 23.4 x 15.5 cm embossed leather bound album containing portrait photographs of individuals and groups associated with the Stoney family and the British Army's 25th Regiment of Foot known as The King's Own Borderers. The images are largely cartes de visite, with albumen prints and tintypes interspersed. The cover of the album is inscribed "G. Ormond Stoney/King's Own Borderers/5th July 1864." The album contains a wide variety of other visual materials including photographic prints of artwork, pen and ink drawings, calligraphy, newspaper clippings, printed cartoons, and greeting cards. The album appears to have had at least three different stages of construction. The first as a traditional 1860s carte de visite photograph album kept by its namesake G. Ormond Stoney (hereafter referred to as Ormond) comprised of photographs of family members interspersed with related newspaper clippings.

The album appears to have been revised with significant additions in the 1870s-1880s, including more photographs of family members as well as commercial photographic prints. The majority of those represented were army officers, with Anglican priests and politicians; many being contemporaries and associates of Ormond's father, George Butler Stoney (1819-1899). Clipped autographs of many are included beneath the photos and appear to be from correspondence to George Butler Stoney.

Various clues to point to Ormond Stoney's sister Jane (Janie) Stoney Smith as a contributor to the album. Not only is she frequently represented in the album, but the album has several pictures of her husband Arthur Smith and his family--many more so than any other family that married into the Stoney family. Arthur and Janie married on September 19, 1867--the same date on the autograph posted under Arthur's picture. Arthur died in 1870 leaving Janie a pregnant widow with a young son, Herbert (see p.24 for his portrait), and an even younger daughter, Ethel Maud. Newspaper clippings around the portrait of Arthur on p.13 mention his death as well as the birth of Herbert and Ethel, though not of Florence, the youngest daughter. Although Jane's two daughters are not represented in the album, on page 44 it appears that at one point a photograph of both of her daughters was extant.

While Jane's younger sister Wilhelmina married Colin McKenzie Smith, another son of William Smith, she did not do so until 1889. The focus on Janie's husband Arthur and their children, suggests Jane rather than Wilhelmina as a significant contributor to the album.

George Ormond's wife Meylia has not been identified in the album and may not be present, however, her father, Sinclair Laing is represented. Laing appears to have been a correspondent with George Butler Stoney.

At some later date, likely in the late 19th century, decorative gold painted borders were added, along with chromolithograph stickers, known as "scraps." These include a series illustrating Robinson Crusoe. Unlike the earlier additions which point to Janie Smith, these later additions might have been the work of a child playing with what would have been a 30 year old album. The gold paint overlapping earlier items (see p. 28 for example) suggests a later date, as do the "scraps" made popular after 1880. The seemingly random nature of the placement of the "scraps" is quite the opposite of the carefully placed and planned addition probably done by Janie Smith.

Of the children represented in the album, three of them would be killed in World War One: Thomas Ramsay Stoney (1882-1918), George Butler Stoney (1877-1915), and Herbert Stoney Smith (1868-1915).

• Two group portraits of young men in military uniform, presumably with George Ormond present in both photographs (p.2, and back inside cover).
• A portrait of a dog that if viewed from another angle appears to be an individual with a disfigured face (p.7).
• A commercial carte de visite of a Zulu warrior identified as King Cetewayo (likely incorrect, the chief of the Matabele) (p.41).
• A portrait of Napoleon, Prince Imperial, in his military uniform ca. 1879 before he died in the service of the British Army during the Anglo-Zulu War (p.40).
• A print of Rosturk Castle in County Mayo, Ireland (p.47).
• A retouched portrait of a dog posed with a military hat, cane and pipe. (p.23).
• An 1873 program for an "evening reading" of two different farces, "Little Toddlekins," and "The Dead Shot," done to raise money for Mrs. Palmer, the retiring battalion nurse (p.53). On the outside of the program is a print of Portland House, a manor owned by members of the Stoney family.

This carte-de-visite album primarily contains formal studio portraits of men, women, and children taken in various locations in northeast North America from the 1860s to 1880s. One photograph shows an artistic rendering of the text of the Lord's Prayer, and a colored cutout is pasted into the volume.

This carte-de-visite album (15cm x 13cm) primarily contains formal studio portraits of men, women, and children taken in various locations in northeast North America from around the mid-1860s to early 1880s. The pictures are comprised of 42 carte-de-visite and 2 tintype portraits, as well as an additional carte-de-visite photograph collage. Two of the items are dated November 3, 1865, and September 3, 1881; few of the people pictured are identified. One woman is shown holding an infant in her lap. One tintype shows a young man dressed in costume wearing a plumed hat. The additional carte-de-visite depicts a printed version of the Lord's Prayer that utilizes several ornate fonts; a picture of Jesus Christ appears amidst the text, which is surrounded by drawn scenes of angels. A cutout pasted into the volume is a colored drawing of a woman standing next to a grazing sheep, framed by three large flowers. The album's brown leather cover has geometric designs stamped in gold and metal clasps; a floral design is carved into the sides of the pages. "Photographs" is stamped in gold on the spine.

This collection contains letters that James Edwin Lough and his wife, Dora A. Bailey, exchanged around the turn of the 20th century. During the year before their marriage, Bailey wrote to Lough about her life in Somerville, Massachusetts; Lough later wrote to Bailey about his life in Oshkosh, Wisconsin, where he was a college professor.

This collection (0.5 linear feet) contains approximately 340 letters that James Edwin Lough and his wife, Dora A. Bailey, exchanged around the turn of the 20th century. During the year before their marriage, Bailey wrote to Lough about her life in Somerville, Massachusetts; Lough later wrote to Bailey about his life and work in Oshkosh, Wisconsin, where he was a college professor.

Dorothy Albonetta Bailey ("Dora") wrote around 280 letters to James Edwin Lough ("Ed") between September 1899 and June 1900. She commented on her life and social activities in Somerville, Massachusetts; shared her feelings for Lough; and discussed their upcoming marriage. James Lough also received letters from other correspondents, including cousins and acquaintances; his father wrote him a letter about marriage on June 22, 1900. Most items dated after June 1900 are Lough's letters to his wife from Oshkosh, Wisconsin, and New York City, where he was a college professor. Lough discussed travel between Wisconsin and the East Coast, and occasionally referred to his teaching; he sometimes enclosed newspaper clippings. In a series of letters from 1905, Dora Bailey Lough provided news of their young son. Additional items include a carte-de-visite photograph of a child, made by J. W. Black & Co., a metal nameplate for James Edwin Lough, a list of addresses, and a page of the Boston Herald from October 1, 1899.

The Episcopal bishops carte de visite album contains 35 carte de visite photographs of American episcopal bishops and reverends. The cartes de visite date from ca. 1860 to 1870. Most images include handwritten inscriptions stating the name of the subject.

The Episcopal bishops carte de visite album contains 35 carte de visite photographs of episcopal bishops and reverends from throughout the United States during the 1800s. The carte de visites date from ca. 1860 to 1870. Most images include handwritten inscriptions stating the name of the subject.

The album is 12.5 x 16 with brown leather covers.

The Weld-Grimké family album is a 12.5 x 16 cm bound cartes de visite photograph album with some tintypes and gem tintypes interspersed. The album has a brown leather cover with gilt clasps. The photographs all appear to date from the 1860s to the 1870s but there is no precise date for individual photographs listed. The album has a printed title page that reads "Photographs/Boston/Roberts Brothers." The album is 50 pages with each page containing a single slot for a photograph, though some pages have multiple photographs tucked into the same slot. The photographs are almost all studio portraiture. While some of the individuals in the album have been identified (including Theodore D. Weld) the vast majority are unidentified.

The Weld-Grimké Family Album is a 12.5 x 16 cm bound cartes de visite photograph album with some tintypes and gem tintypes interspersed. The album has a brown leather cover with gilt clasps. The photographs all appear to date from the 1860s to the 1870s but there is no precise date for individual photographs listed. The album has a printed title page that reads "Photographs/Boston/Roberts Brothers." The album is 50 pages with each page containing a single slot for a photograph, though some pages have multiple photographs tucked into the same slot. There are 52 photographs in the album, 46 of which are cartes de visite. There are also 6 tintypes, 2 of which are gem tintypes. The photographs are almost all studio portraiture of individuals ranging from infanthood to old age. One exception to this is a photograph of a satirical drawing of an unidentified individual playing some sort of instrument (loose photograph on page 49). Some of the individuals in the album have been tentatively identified with the majority unidentified. One photograph (on page 24) has been speculated to be a portrait of Charlotte Brown, an African-American servant of the Weld-Grimké family, but this has not been confirmed.

• Theodore Dwight Weld (page 1, page 20)
• William Hamilton (page 4)
• Sarah Weld Hamilton (page 5)
• Angelina G. Hamilton (page 6)
• William Hamilton Jr. (page 7)
• Llewellyn Haskell (page 9)
• Llewellyn Thomas Haskell (page 12)
• Louis Olcott Haskell (page 13)
• Elizabeth "Lizzie" Cram (page 21)
• William James Rolfe (page 22)
• Theodore Weld Parmele (page 27, page 34)
• Elizabeth Smith Miller (page 28)
• Ann Carroll Fitzhugh (page 29)
• George Walker Weld (page 30)
• Gerrit Smith Miller (page 35)
• Ruth C. Bodwell (page 36)
• Rena Louise Twiss (page 45)

• A photograph of a painting of the Empress Eugenie. (page 33)
• A portrait of Rebecca an escaped slave from New Orleans. (page 38)
• A photograph of a painting of Beatrice Cenci. (loose item on page 41)
• A portrait of actor Edwin Booth (page 40) brother of John Wilkes Booth.
• A photograph of a painting of "Little Samuel" based on the etching done by Samuel Cousins. (page 43)

In addition to this finding aid, the Clement Library has created a Photographer Index for the album, containing the names of all the photographers in the order that they appear in the album. This index also records any handwritten inscriptions that were found on the photographs.