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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.

The Olney family photograph albums consist of a four-volume set containing approximately 222 photographs depicting family, friends, and neighbors of Clyde Charles Olney, a photographer and bookkeeper based in Columbiaville, Michigan, and Chicago, Illinois.

The Olney family photograph albums consist of a four-volume set containing approximately 222 photographs depicting family, friends, and neighbors of Clyde Charles Olney, a photographer and bookkeeper based in Columbiaville, Michigan, and Chicago, Illinois.

Volume one (14.5 x 20 cm) has black cloth covers and contains 30 snapshots. Images of note include views of the Tug River Coal & Coke Co. in West Virginia, the Columbiaville Band in uniform, the interior of a men’s winter camp, and two women dressed as men.

Volume two (15 x 21 cm) has black cloth covers and contains 94 snapshots. Images of note include views of a parade in Neenah, Wisconsin, a farm and hotel in Columbiaville, the interior of a house in Chicago, and a humorous staged scene of two men waking up in a brass bed together. Several family members on both the Raymond and the Olney sides are identified in a number of photographs, including one of Clyde Olney’s mother Belle. Also present are pictures of "High Steppin' Hallie" dancing in a plaid dress, Clyde Olney playing what appears to be a banjo, and "Dad" Charles Olney.

Volume three (14.5 x 19 cm) has black cloth covers and contains 45 snapshots. Images mainly show Olney’s wife Augustha (aka “Muddy”) and their daughter Mary as an infant in Chicago. Several pictures of Clyde, Muddy, and Mary together are included as well as some that show "Grandma" and Daisy Olney. The album ends with photographs of "Grandpa, Grandma Olney, Mary and Muddy" as well as Hallie Olney in Ann Arbor, Michigan.

Volume four (14.5 x 19.5 cm) has black cloth covers and contains 53 snapshots. Images of interest include pictures of Daisy and Hallie Olney in front of a piano around 1895, an older looking Daisy in front of a different piano, a Columbiaville-based photographer named William J. Leisaw eating watermelon, and another photograph of the Columbiaville Band in which each person is identified and labeled (including Charles Vermilya, younger brother of Clyde’s mentor photographer Albert L. Vermilya.)

The Pageant of the Dunes photograph album contains 92 photographs including snapshots of scenery in and around the vicinity of Chicago, Illinois, as well as images of the “Pageant of the Dunes” event held in Port Chester, Indiana, in 1917.

The Pageant of the Dunes photograph album contains 92 photographs including snapshots of scenery in and around the vicinity of Chicago, Illinois, as well as images of the “Pageant of the Dunes” event held in Port Chester, Indiana, in 1917.

The album (19 x 29 cm) is string-bound and has black paper covers and pages. Contents begin with images of Chicago scenery including views of Navy Pier, Edgebrook, and the Chicago River while the following section features several images showing statues of World War I soldiers in the display window of Marshall Field's department store. Photographs in the section captioned “Pageant of the Dunes, 1917” consist of images of crowds as well as actors and actresses, including some dressed as Native Americans. Three photographs dated to 1918 are also present.

The Painted Bulletin Advertising Association book was assembled in 1924 by the Detroit-based Painted Bulletin Advertising Association and contains 70 photographs of a wide range of commercial and public service billboards as well as typescript text regarding strategies for increasing sales with billboard advertising.

The Painted Bulletin Advertising Association book was assembled in 1924 by the Detroit-based Painted Bulletin Advertising Association and contains 70 photographs of a wide range of commercial and public service billboards as well as typescript text regarding strategies for increasing sales with billboard advertising.

The volume (28.5 x 25 cm) has black leather covers and serves as a comprehensive primer on the advantages of using "painted bulletins" to increase sales for companies with products as diverse as building supplies, dairy products, furniture sales, and men's clothing. Likely distributed to advertising agencies across the country to bolster the Painted Bulletin Advertising Association’s efforts in increasing the use of billboards by local businesses, the volume provides case studies and testimonials as well as detailed analyses drawing on the latest census data and consumer psychology. Specific talking points and strategies are offered to convince business owners that billboard advertising will increase their sales. A brief section is also included describing how billboards can be employed for drawing attention to important community issues.

All 70 photographs included in the volume are canvas-backed, stamped "Smith Brothers, Commercial Photographers, …Detroit, Mich.," and depict billboard designs or actual billboards in situ. Several images provide detailed descriptions of the colors used in various elements of each design, and many are mounted on cloth backing.

The volume includes the following sections:

• "Building Boom" - Eight pages on successful outdoor advertising by construction companies with examples from around the country.
• 18 pages of photographs with detailed description of colors used in billboard designs for various products.
• "Promotion Literature on Furniture Accounts" – 12-page case study of advertising strategies of 15 companies with 13 photographs of billboard designs.
• Two-page October 1923 association newsletter with a case study of a department store's use of billboards.
• "Dairy Products" – 12 pages of case studies on dairy companies' use of billboards including 13 photographs.
• "How the Painted Bulletin Can Serve the Community" – Five pages (and five photographs) on how billboards can be used to highlight local issues.
• "Economy of Outdoor Advertising" – One-page testimonial letter from the head of a New York advertising firm.
• "Information and Data on Painted Bulletin Advertising Campaigns by Manufacturers of Building Materials" – 10-page comparative study of various companies plus 10 photographs.
• "Outdoor Advertising Campaigns" – Eight pages of examples of usage by department stores around the country with six photographs.

The Paul A. Meunier photograph albums consist of three large volumes documenting the experiences of the U.S. Army 941st Engineering Aviation Topographical Battalion during World War II including basic training in the United States in 1942, assignments in Tunisia and Italy, and the journey home via the Pacific following the conclusion of the war.

The Paul A. Meunier photograph albums consist of three large volumes documenting the experiences of the U.S. Army 941st Engineering Aviation Topographical Battalion during World War II including basic training in the United States in 1942, assignments in Tunisia and Italy, and the journey home via the Pacific following the conclusion of the war.

All three albums in the collection are 46 x 57 cm in size and have black covers and black paper pages. Each album contains approximately 1,000 photographs. Being a professional artist, Meunier’s attention to detail and exactness is evidenced by the presence of faint framing lines an inch from page margins, with photos carefully arranged within the frames. Numerous captions are present in white ink and neatly printed in appropriate size. Since the three albums present in this collection are titled “Volume 3,” “Volume 4,” and “Volume 5,” it is presumed that Meunier likely produced at least five albums total. Both official photographs as well as personal snapshots taken by Meunier himself are included.

Album A ("Volume 3"): This album documents Meunier’s military service starting from June 1942 when he departed Cleveland for basic training, initial U.S. deployments, his assignment to Tunisia, and his unit’s journey across the Mediterranean Sea to Italy in December 1943. Many snapshot views of street scenes in Tunis and other places in North African Meunier explored while on leave as well as copies of official U.S. Army photographs recording visits to Tunis in 1943 by high-ranking U.S. officials (including Secretary of War Henry Stimson and Generals Eisenhower and Spaatz) are present.

Album B ("Volume 4"): This album documents the transfer of Meunier’s unit to San Severo, Italy. Images of particular interest show the unit working on the production of large-scale lithographically produced bird’s-eye view maps with designated bombing targets charted out. Visits while on leave to Naples, Capri, and Amalfi are also thoroughly represented. Also present is a hand-drawn map of the streets of San Severo and an annotated aerial view of Capri.

Album C ("Volume 5"): This album includes official photos of airborne fighter planes and bombers, aerial views of target sites, and artwork by a fellow soldier. Meunier’s snapshots show soldiers at work as well as on tourist visits to famous Italian sites such as Rome, Florence, Pisa, and Pompeii. Although materials are not arranged in strict chronological order, this volume covers a period of time from when Meunier’s company was headquartered in Bari in mid-1944 to his journey home by ship through the Panama Canal in mid-1945. Also present are a handful of views of the eruption of Mt. Vesuvius in 1944.

The Railroad building in Québec photograph album contains 154 photographs that document a survey team operating in various remote locations in the Canadian province of Québec from May 1906 to September 1909 during the construction of the National Transcontinental Railway.

The Railroad building in Québec photograph album contains 154 photographs that document a survey team operating in various remote locations in the Canadian province of Québec from May 1906 to September 1909 during the construction of the National Transcontinental Railway.

The album (18 x 29.5 cm) has brown leather covers with "Photographs" stamped in gold on the front. Most images are dated and are arranged in roughly chronological order from May 1906 to September 1909, but there is no identification of people or places. The presence of surveying equipment in several images and the coverage of many different places on the railway’s route indicate a traveling survey team as the likely source of the photographs. The group seems to have been present at all stages of the project, from clearing the land to laying the track bed to building overpasses.

Contents consist of images of worker encampments and log cabin villages, landscapes, scenes from Québec City’s tricentennial in July 1908, railway workers and women in camp, trestle construction, unidentified towns in various stages of development, and two portraits of Native Americans. Also of interest are numerous images featuring surveying tools and equipment as well as cameras.

The Rehoboth Beach, Mountain Island, Norfolk photograph album contains 56 cyanotypes, 70 snapshots, and 1 lithograph depicting people and various locations along the eastern coast of the United States.

The Rehoboth Beach, Mountain Island, Norfolk photograph album contains 56 cyanotypes, 70 snapshots, and 1 lithograph depicting people and various locations along the eastern coast of the United States.

The album (14.5 x 18 cm) has brown cloth covers with “Photographs” embossed on the front. Images of note include numerous outdoor shots and studio portraits of women and children, a cyanotype of three women sitting on a set of carriage wheels captioned "I like Ruth best of all," a cyanotype of two women sitting on a dock with the inscription "Yacht. Rare. ‘Island Heights’ July 27th 1901," an African American man with a horse, and a trip to Rehoboth Beach, Delaware, in the summer of 1900. Other photographs of interest include pictures of the Lewes family who were the owners of Rehoboth Beach, the Norfolk Conservatory in the City Park, an 1899 trip by four women to Mountain Island, North Carolina, La Fayette Square in Baltimore, and a picture of a young man and woman with a caption suggesting they had recently been engaged.

The Richard Crossley Civilian Conservation Corps photograph album contains two documents and approximately 90 snapshot views of Civilian Conservation Corps Camps in Ravenna and Broken Bow, Nebraska, as well as Fort Scott, Kansas.

The Richard Crossley Civilian Conservation Corps photograph album contains two documents and approximately 90 snapshot views of Civilian Conservation Corps Camps in Ravenna and Broken Bow, Nebraska, as well as Fort Scott, Kansas.

The album (19 x 25.5 cm) has blue felt covers with orange felt bear skin spelling "C.C.C/Civilian Corps" sewn on to the front. Images include views of young men in uniform, a CCC camp, and an airbase, as well as photographs of a man (likely Richard Crossley at Fort Scott) dressed in full uniform and the same man holding aloft an Air Corps Technical School diploma. Also present are two documents are present including a membership card for CCC Company 2732 as well as honorable discharge papers.

The Robert M. Vogel collection of historic images of engineering & industry contains approximately 22,890 photographs (including 18,500 stereographs), 1220 prints, 13 photograph albums, 11 books, 117 pieces of ephemera, and 15 pieces of realia documenting a wide range of subjects primarily related to 19th-century civil engineering, industrial processes, and mechanization.

The Robert M. Vogel collection of historic images of engineering & industry contains approximately 22,890 photographs (including 18,500 stereographs), 1220 prints, 13 photograph albums, 11 books, 117 pieces of ephemera, and 15 pieces of realia documenting a wide range of subjects primarily related to 19th-century civil engineering, industrial processes, and mechanization.

Particularly well-represented topics within the Vogel collection include images of different types of civil infrastructure such as bridges, canals, roads, dams, and tunnels as well as images showing construction projects, various types of machinery, modes of transportation (such as railroads, steamboats, automobiles, etc.), agricultural pursuits, natural resource extraction (including oil drilling, quarrying, mining, and lumbering), textile operations, electrical and hydraulic power generation, manufacturing, metal working, machine shops, and various industrial factory scenes. Many images of important and iconic structures are included such as the Brooklyn Bridge, Panama Canal, Hoosac Tunnel, and SS Great Eastern. Other represented topics include general architectural views, scenes of disasters/accidents, and portraits of notable individuals (such as Thomas Edison, Isambard Kingdom Brunel, and Robert Stephenson). While predominately United States-focused, the materials are international in scope overall and especially include many images of industrial sites and civil infrastructure in Great Britain. The order of the collection's original arrangement has largely been kept intact.

Examples of items of particular interest include salt prints possibly taken by civil engineer Montgomery C. Meigs documenting the construction of the U.S. Capitol and Washington Aqueduct in Washington, D.C.; a series of portraits of early Baldwin Locomotive Works locomotives; images documenting the SS Great Eastern and USS Niagara steamships; a group of 4 colored stereoviews on glass produced by Frederick Langenheim showing the Niagara Falls Suspension Bridge ca. 1850s; images related to specific railroads including the Baltimore & Ohio Railroad, Mauch Chunk, Mount Washington Cog Railway, and New York City elevated railroad; and half-frame proof prints of stereographs produced by Underwood & Underwood as well as H. C. White & Co.

The following list represents the general subject categories found across the Vogel collection along with relevant box and folder numbers:

• Box 07.2
• Box 14.1
• Box 14.2
• Box 14.3
• Box 31.2
• Box 52
• Box 56
• Folder 2.10
• Folder 3.08

• Box 06.2
• Box 06.3
• Folder 1.08
• Folder 2.15

• Box 01.1
• Box 03.3
• Box 06.3
• Box 07.1
• Box 28.2
• Box 28.3
• Box 46.2
• Box 57
• Box 58
• Box 59
• Box 61
• Box 63.10
• Folder 1.04
• Folder 2.04
• Folder 2.09
• Folder 2.14
• Folder 2.15
• Folder 2.16
• Folder 3.08

• Box 06.1
• Box 06.2
• Folder 2.06

• Box 03.1
• Box 03.2
• Folder 2.17
• Folder 3.08

• Box 03.3
• Box 04.1
• Box 04.2
• Box 04.3
• Box 05.3
• Box 05.4
• Box 06.1
• Folder 3.08

• Box 05.1

• Box 01.1
• Box 01.2
• Box 01.3
• Box 02.1
• Box 02.2
• Box 28.3
• Box 43.2
• Folder 3.02
• Folder 3.08
• Folder 3.10

• Box 02.3
• Box 05.2
• Box 06.1
• Box 49.1
• Box 49.2

• Box 09.1
• Box 09.2
• Box 36.1
• Box 36.2
• Box 39.1

• Box 08.2
• Box 08.3
• Box 18.4
• Box 28.1
• Box 28.3
• Box 46.1
• Box 53.2
• Box 58
• Box 61
• Box 63.08
• Box 63.11
• Folder 1.03
• Folder 2.16
• Folder 2.17

• Box 06.3
• Box 17.3
• Box 20.1
• Box 24.3
• Box 25.1
• Box 28.1
• Box 41.1
• Box 54
• Box 57
• Folder 1.07
• Folder 2.16

• Box 11.2
• Box 45.2

• Box 27.1
• Box 27.2
• Box 27.3
• Box 39.2
• Box 46.1
• Box 46.2
• Box 56
• Box 57
• Box 58
• Box 59
• Box 63.02
• Box 63.03
• Box 64.1
• Folder 1.05
• Folder 1.11
• Folder 1.13
• Folder 2.04
• Folder 2.11
• Folder 2.17
• Folder 3.08

• Box 07.2
• Box 07.3
• Box 08.1
• Box 08.2
• Box 28.1
• Box 28.2
• Box 43.2
• Box 46.3
• Box 52
• Box 54
• Box 56
• Box 57
• Box 59
• Box 63.04
• Box 64.2
• Box 64.4
• Folder 1.09
• Folder 2.05
• Folder 2.10
• Folder 2.12
• Folder 2.17
• Folder 3.08

• Box 07.1
• Box 07.2
• Box 13.2
• Box 13.3
• Box 14.1
• Box 27.2
• Box 27.3
• Box 31.2
• Box 32
• Box 33.1
• Box 33.2
• Box 34
• Box 35
• Box 36.1
• Box 37
• Box 39.2
• Box 40
• Box 41.2
• Box 42
• Box 43.1
• Box 43.2
• Box 46.2
• Box 53.1
• Box 53.2
• Box 60.1
• Box 61
• Box 63.01
• Box 63.03
• Box 64.1
• Box 64.3
• Folder 1.03
• Folder 1.07
• Folder 2.05
• Folder 2.06
• Folder 2.11
• Folder 2.15
• Folder 3.03
• Folder 3.08
• Folder 3.09
• Folder 3.12

• Box 15.1
• Box 43.2
• Box 44
• Box 55.1
• Box 55.2
• Box 60.1
• Box 60.2
• Box 62
• Folder 1.01
• Folder 1.02
• Folder 1.12
• Folder 3.07

• Box 11.2
• Box 11.3
• Box 12.1
• Box 12.2
• Box 13.2
• Box 23.1
• Box 61
• Folder 2.05

• Box 11.2
• Box 12.2
• Box 14.2
• Box 63.07

• Box 12.2
• Box 12.3
• Box 12.4
• Box 13.1
• Box 13.2
• Box 37
• Box 46.2
• Box 57
• Box 58

• Box 21.3
• Box 22.1
• Box 22.2
• Box 22.3
• Box 28.1
• Box 39.2
• Box 61
• Folder 2.14
• Folder 2.15
• Folder 3.08

• Box 23.1
• Box 23.2
• Box 23.3
• Box 24.1
• Box 24.2
• Box 40
• Box 41.2
• Box 50.1
• Box 50.2
• Box 51
• Box 52
• Box 55.1
• Box 55.2
• Box 61
• Folder 1.03
• Folder 2.02
• Folder 2.05
• Folder 2.14
• Folder 3.02
• Folder 3.10

• Box 29.1
• Box 29.2
• Box 30
• Box 46.1
• Box 57
• Folder 1.07

• Box 24.3
• Box 25.1
• Box 25.2
• Box 25.3
• Box 26.1
• Box 26.2
• Box 26.3
• Box 27.1
• Box 27.3
• Box 37
• Box 38
• Box 39.2
• Box 40
• Box 41.1
• Box 42
• Box 46.3
• Box 64.1
• Folder 3.06

• Box 10.3
• Box 11.1
• Box 11.2
• Box 41.2
• Folder 3.05
• Folder 3.12

• Box 01.1
• Box 10.3
• Box 28.3
• Box 39.1
• Box 46.3
• Box 56
• Box 64.2
• Box 64.3
• Folder 2.15
• Folder 3.06
• Folder 3.07

• Box 08.1
• Box 28.1
• Box 46.3
• Box 64.2

• Box 09.3
• Box 10.1
• Box 10.2
• Box 10.3

• Box 39.1

• Box 34
• Box 42
• Box 56
• Box 63.07
• Folder 2.16

• Box 15.1
• Box 28.2
• Box 31.2
• Box 33.2
• Box 36.2
• Box 54
• Box 58
• Box 64.3
• Folder 2.16
• Folder 3.04

• Box 19.1
• Box 19.2
• Box 19.3
• Box 20.1
• Box 20.2
• Box 20.3
• Box 21.1
• Box 21.2
• Box 21.3
• Box 28.2
• Box 45.2
• Box 46.3
• Box 57
• Box 59
• Box 63.09
• Folder 2.08
• Folder 2.11
• Folder 2.14
• Folder 3.05
• Folder 3.07
• Folder 3.08

• Box 15.1
• Box 15.2
• Box 15.3
• Box 16.1
• Box 16.2
• Box 16.3
• Box 16.4
• Box 17.1
• Box 17.2
• Box 17.3
• Box 18.1
• Box 18.2
• Box 18.3
• Box 18.4
• Box 28.1
• Box 28.2
• Box 31.1
• Box 35
• Box 46.2
• Box 47
• Box 48.1
• Box 48.2
• Box 49.1
• Box 56
• Box 57
• Box 58
• Box 59
• Box 61
• Box 63.05
• Box 63.06
• Folder 1.06
• Folder 1.10
• Folder 2.01
• Folder 2.03
• Folder 2.04
• Folder 2.06
• Folder 2.07
• Folder 2.10
• Folder 2.13
• Folder 2.16
• Folder 3.04
• Folder 3.07
• Folder 3.10
• Folder 3.11
• Folder 3.12

• Box 28.2
• Box 43.1
• Box 43.2
• Box 45.1
• Box 45.2
• Folder 2.06

• Box 08.1
• Box 08.2
• Box 25.1
• Box 28.3
• Box 39.1
• Box 39.2
• Box 46.3
• Box 53.2
• Box 56
• Box 57
• Box 59
• Box 64.2
• Box 64.4
• Folder 1.04
• Folder 2.04
• Folder 2.15
• Folder 2.16

While the Vogel collection general subject categories are generally comprehensive there are still numerous instances of items that could feasibly belong to multiple categories other than the group they are classified under. For instance, there are disaster images found in several groupings other than "Disasters," while bridge construction images can be found in all of the various "Bridges" categories as well as within the "Construction" category. For more detailed descriptions of specific materials, see the box and folder listing in the Contents section below.

The Rogers family trip to China photograph album contains 81 photographs from a visit to Shanghai, China, by a group of Americans.

The Rogers family trip to China photograph album contains 81 photographs from a visit to Shanghai, China, by a group of Americans.

The album (18.5 x 27.5 cm) has green cloth covers with "Album" stamped on the front. No captions are present for any of the images. The inclusion of a White House invitation issued to Allan H. Rogers (Superintendent of Public Works in Garden City, Long Island) in 1957 requesting his participation in a traffic study conference raises the possibility that his parents Caroline and Newton Rogers may have been the original compilers of the album.

Images mainly document the activities of a group of Americans visiting China around 1910, but they also provide a glimpse of the U.S. military presence in Shanghai at a time when protection of American commercial interests in the region (especially on the Yangtze River) was a high priority. Images of people playing tennis, attending social events, riding through Shanghai, naval officers aboard ship, sailors marching on land, and a U.S. Navy destroyer in the harbor are all included. Also present are a relatively small number of snapshots documenting street scenes, rickshaws, and commercial river traffic.