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The Germany, Austria, France travel photograph album contains approximately 146 photographs documenting a trip to Europe.

The Germany, Austria, France travel photograph album contains approximately 146 photographs documenting a trip to Europe.

The album (27 x 37 cm) is book bound and an inscription on the spine reads "Germany, Austria, France 1888 Daniel." Images begin with scenes in Germany including views of Cologne, castles on the Rhine, Leipzig, and Berlin and the City Palace. Also present are images of the Sanssouci in Potsdam, the cities of Dresden and Carlsbad and Vienna, Austria, as well as photographs of works of art, Munich, and Baden-Baden. The album finishes with a series of images of French scenes including views of Strasbourg, Montecarlo, Monaco, Cannes, and Marseilles.

The Liberty Bell Tour photograph album contains approximately 580 photographs depicting the journey of the Liberty Bell from Philadelphia, Pennsylvania, to the Panama-Pacific International Exposition in San Francisco, California, and back again in 1915.

The Liberty Bell Tour photograph album contains approximately 580 photographs depicting the journey of the Liberty Bell from Philadelphia, Pennsylvania, to the Panama-Pacific International Exposition in San Francisco, California, and back again in 1915.

The album (40 x 28 cm) has black paper covers and 305 pages, 14 of which do not contain any photographs. The photographs are generally arranged in chronological sequence and depict loading the Liberty Bell onto parade floats and train cars, celebratory parades, gathered crowds, and individuals and groups posing with the Liberty Bell. Numerous pictures include captions referencing the locations in which they were taken. The album also contains two small maps, each showing one of the routes of the cross-county trips that the Liberty Bell took, as well as landscape photographs of scenes in the western United States. Notable persons photographed with the Liberty Bell include Thomas Edison, members of the Daughters of the American Revolution, and groups of Native Americans in Cayuse, Oregon. Landscapes pictured include views of Wyoming, Pulpit Rock, Bear River Canyon, Mount Shasta, Shasta Springs, Horseshoe Curve, Royal Gorge, the Rockies, Salt Lake, and Feather River Canyon.

The New England, Boston, bridge engineering collection consists of 56 photographs including scenes in New England and New York and a railroad drawbridge under construction as well as a series of 11 half-tone images of Boston landmarks.

The New England, Boston, bridge engineering collection consists of 56 photographs including scenes in New England and New York and a railroad drawbridge under construction as well as a series of 11 half-tone images of Boston landmarks.

The photographer/compiler of the collection has not been identified. Photographs are included on loose pages that appear to have once been bound together. The initial grouping of photographs includes major landmarks such as Grant’s Tomb, scenes of action on city streets, and serene views of rocky shorelines. Automobiles only appear in a couple of photos. The steel railroad drawbridge documented in the second section can definitively be dated to 1908 when the Pennsylvania Steel Company built Bridge Number 3.40, better known as the “Bronx River Bascules,” for the New York, New Haven and Hartford Railroad.

The final grouping of half-tones shows Boston as a modern, progressive city. Most of the images are derived from photographs, but the image of the new opera house was rendered from an illustration.

The Norwalk, Ohio family photograph albums consist of two volumes containing approximately 560 photographs that depict an unidentified family, their homes, vacations, and construction of a house.

Volume 1: This album (29 x 36 cm) has black leather covers and black paper pages. Images include many affectionate pictures of children and pets as well as photographs of family vacations, homes, and the construction of a large house. At the end of the album, several photographs of children that appear earlier are replicated in larger formats.

Volume 2: This volume (35.5 x 43 cm) is a leather portfolio bearing an elaborate embossed elephant design on the front cover. Contained within is a series of thirty large format mounted photographs of the same house that is pictured while under construction in Volume 1. Photographs include views of surrounding natural scenery and gardens, exterior shots of the house, and images showing the porch and sunroom.

An unnamed parent or caregiver kept notes about children in a partially used Teachers' Institute Note Book, 1886. The volume was printed in Chicago and Maquoketa, Iowa, by Donohue & Henneberry and W. M. Welch, respectively, and includes advertisements on the inside covers for educational texts and forms. Two pages of manuscript notes define musical intervals. An additional nine pages of text sporadically document the words and actions of at least two children, Harry and Inez, between the ages of 1.5 and 5.5 years old. The writer notes the ages at which children were singing, the type of art they created, the humorous questions, observations, and comments they made, and religious thoughts they vocalized.

An unnamed parent or caregiver kept notes about children in a partially used Teachers' Institute Note Book, 1886. The volume was printed in Chicago and Maquoketa, Iowa, by Donohue & Henneberry and W. M. Welch, respectively, and includes advertisements on the inside covers for educational texts and forms. Two pages of manuscript notes define musical intervals. An additional nine pages of text sporadically document the words and actions of at least two children, Harry and Inez, between the ages of 1.5 and 5.5 years old. The writer notes the ages at which children were singing, the type of art they created, the humorous questions, observations, and comments they made, and religious thoughts they vocalized.

The childhood observations about death, spirits, and God reflect a religious upbringing and household, including one entry about how Harry "was drawing a picture of a deathbed scene where angels were coming to carry the man's spirit to God in accordance with what he had been told on the subject. He said 'Mama I guess one angel holds the man's mouth open while the other takes his spirit out of him.' " Comments about dogs, toys, and imaginative games speak to youthful entertainment and play, and others are more suggestive about the conditions in the children's environment that caught their attention. Questions like "what color is the moon on the other side," or observations that a dead mouse "is kind of wilted isn't it," provide insights into what the children were seeing and wondering about.

One entry at the back of the volume reads, "J. D. McAuliff (Heals by rubbing) St. Louis, Mo."

In 1899 an unidentified artist created 21 pages of watercolor paintings of different North American birds accompanied by manuscript descriptions detailing the birds' habitat, size, coloration, distinctions between males and females, and the scale used to render the image. An additional two pages consist of a numbered diagram of a bird identifying various physiological components, with a close-up view of the beak.

In 1899 an unidentified artist created 21 pages of watercolor paintings of different North American birds accompanied by manuscript descriptions detailing the birds' habitat, size, coloration, distinctions between males and females, and the scale used to render the image. An additional two pages consist of a numbered diagram of a bird identifying various physiological components, with a close-up view of the beak.

• Horned Grebe
• Partridges
• Screech Owls
• Bee or King Birds
• Red Bird or Bobolink
• Red-Winged Blackbird
• Baltimore Oriole or Hang-Nest
• Crimson or Purple Finch
• Goldfinch or Salad Bird
• Chipping Sparrow
• Song Sparrow
• Vesper Sparrow
• Yellow Winged Sparrow
• English Sparrow
• Snow Bird
• Cardinal Bird
• Rose Breasted Grosbeak
• Indigo Bunting
• Scarlet Tanager
• Cedar Bird
• American Redstart
• Common Blue Bird
• Maryland Yellow Warbler
• Blue Jay

The pages were previously bound into a volume and most contain page numbers in the top left corner, revealing the loss of a number of pages.

This 18-page volume has a wallpaper cover, and it contains a variety of practical, household, and medicinal recipes. The entries pertain to printing on fabric, sheet music engraving, improvements in photography, several types of matches, adhesives, different kinds and colors of ink, hair removal, removal of freckles, soaps, pomatum and hair oil, wart salve, rouge, prevention of hair falling out, a pimple cure, blacking, white gunpowder, and more. The currently unidentified compiler drew a few entries from 1840s to 1860s published books and serials, such as Scientific American, James Booth's Encyclopedia of Chemistry, The Homestead, The Golden Rule, The Dollar Newspaper, and others. While the purpose of the volume is not explicitly clear, a few entries are for large quantities and others have notes on the difference between costs of raw materials versus sales revenue, suggesting that the compiler may (or may not) have been a huckster, peddler, or perhaps a manufacturer or wholesaler of these products.

This 18-page volume has a wallpaper cover, and it contains a variety of practical, household, and medicinal recipes. The entries pertain to printing on fabric, sheet music engraving, improvements in photography, several types of matches, adhesives, different kinds and colors of ink, hair removal, removal of freckles, soaps, pomatum and hair oil, wart salve, rouge, prevention of hair falling out, a pimple cure, blacking, white gunpowder, and more. The currently unidentified compiler drew a few entries from 1840s to 1860s published books and serials, such as Scientific American, James Booth's Encyclopedia of Chemistry, The Homestead, The Golden Rule, The Dollar Newspaper, and others.

The purpose of the volume is not explicitly clear, though a few entries are for large quantities and others have notes on the difference between costs of raw materials versus sales revenue, suggesting that the compiler may (or may not) have been a huckster, peddler, or perhaps a manufacturer or wholesaler of these products.

Please see the box and folder listing below for a table of contents for the volume.

This collection consists of two variations of a 1912 yearbook for members of the 1915 co-ed class of Rochester High School in Rochester, Pennsylvania.

This collection consists of two variations of a 1912 yearbook for members of the 1915 co-ed class of Rochester High school in Rochester, Pennsylvania. These yearbooks include pencil and pen-and-ink portraits of students, faculty, and sports teams, as well as caricatures, cartoons, and humorous drawings. Several poems are also included. Their content touches on humor, social affairs, class members' personalities, curriculum, athletics, and gender. The content is very similar between the two volumes, with some variations of student descriptions and introductory matter.

The first volume, titled "The Nightmare," includes an introduction stating that "the only excuse for publishing this book is because the rest of the bunch have one apiece . . . [and] merely aids one in passing some idle hours in school . . . this book is strictly 'Entre Nous,' so don't tell anybody outside of America." One page, headed "Familiar Quotations" quotes Bunny Amos Rex as having said, "Aw fellows let's git together and do some devilment." On the opposite page of the "Quotations" section is a drawing of the Rochester High School with the label "Agony Building." Accompanying the student portraits are humorous descriptions of said students: Armin Barner is described as an elegant musician, politician, electrician and magician of the lowest rank.

The second volume, titled "Freshmen Class Book 1911," includes a preface claiming the book "touches on such topics as Elementary Science, Natural Science, Natural Phylosophy, Orthography, Uranography, Geodasy and Wireless Telegraphy" to emulate "when all writters chiseled out dedications for a book thereby showing their originality." It further states that the class has attempted the same "because of our first class solid ivory domes." Many pages feature illustrations or descriptions of the school's sports teams. It also contains croquet scores for the women's team, who apparently gave the class "the thing we need to brag over," as they "mopped the valley clean" in their season.

The Summer 1894 snapshot album contains 68 outdoor photographs of various scenes including a militia camp, a lake, Central Park, and a sawmill under construction.

The Summer 1894 snapshot album contains 68 outdoor photographs of various scenes including a militia camp, a lake, Central Park, and a sawmill under construction.

The album (18 x 26.5 cm) is lacking covers but the spine remains partially intact. Images of note include views of a militia camp showing men in uniform relaxing and completing drills, the Bethesda Fountain and the John Quincy Adams Ward Seventh Regiment National Guard, State of New York Memorial in Central Park, men in a store selling hosiery, a group of people in front of a series of changing rooms on a dock, the construction of a sawmill, and a trip in the summer of 1894 to an unidentified lake.

This volume, titled "The Conundrum Crop for 1859," is a blank book containing 36 handwritten riddles and their answers. They include references to agriculture, literature and prominent figures (e.g. Lord Byron, Cowper, Louis Napoleon, Victor Emmanuel, Pope Leo, Shakespeare, Ivanhoe, Bunyan, and John G. Saxe), military culture, technology (iron steamers, railroads), race, gender, and geography.

This volume, titled "The Conundrum Crop for 1859," is a blank book containing 36 handwritten riddles and their answers. They include references to agriculture, literature and prominent figures (e.g. Lord Byron, Cowper, Louis Napoleon, Victor Emmanuel, Pope Leo, Shakespeare, Ivanhoe, Bunyan, and John G. Saxe), military culture, technology (iron steamers, railroads), race, gender, and geography.