Letters, Documents, & Other Manuscripts, Duane Norman Diedrich collection, 1595-2007 (majority within 1719-1945)
3.5 linear feet
The Letters, Documents, and Other Manuscripts of the Duane Norman Diedrich Collection is a selection of individual items compiled by manuscript collector Duane Norman Diedrich (1935-2018) and the William L. Clements Library. The content of these materials reflect the life and interests of D. N. Diedrich, most prominently subjects pertinent to intellectual, artistic, and social history, education, speech and elocution, the securing of speakers for events, advice from elders to younger persons, and many others.
For an item-level description of the collection, with information about each manuscript, please see the box and folder listing below.
The inscription on page one indicates that Jane Rugg Bandfield of Chard, England, gave this photograph album to her son, Thomas John Bandfield, in London, England, in April 1870, before his departure for the United States. The volume (16cm x 14cm) contains 42 carte-de-visite portraits of Bandfield family members and acquaintances, both men and women. A later photographic print with a picture of an unidentified man, possibly Thomas J. Bandfield, is laid into the volume, as is an envelope addressed to Edna Bandfield of Portland, Michigan, Thomas Bandfield's daughter. The envelope has captions for most of the album's cartes-de-visite. A few individuals posed with children. One carte-de-visite has a photograph of a painted silhouette, and another shows "Four old Englishmen," otherwise unidentified. The subjects were photographed in studios in England. Some subjects may appear more than once.
The New Hampshire carte-de-visite album (15cm x 12cm) contains 20 studio portraits of unidentified individuals and 8 lithographs of famous individuals. The photographs show men, women, children, and infants -- one, Louize M. Rollins [sic], is identified. The lithographs are portraits of Union officers Elmer Ellsworth (2 items), William Rosecrans, Samuel Francis Du Pont, Ulysses S. Grant, and George Meade, and of Abraham and Mary Todd Lincoln. The volume's brown leather cover has a geometric design in relief, with additional floral designs stamped in gold, and two metal clasps.
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.
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.
0.5 linear feet
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.
0.5 linear feet
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.
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.
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).
-visite photograph of Coppernall and a framed photograph of two Union cavalry officers, with the message
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.
photographs tucked into the pages along with some gem tintypes, one of which is encased. The album contains