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

The Nelson Miles European travel photograph album contains approximately 127 photographs documenting a trip to southern Europe undertaken by U.S. Army officer Lieutenant-General Nelson Appleton Miles and John Brooks Henderson, Jr., primarily in order to observe the Greco-Turkish War of 1897.

The Nelson Miles European travel photograph album contains approximately 127 photographs documenting a trip to southern Europe undertaken by U.S. Army officer Lieutenant-General Nelson Appleton Miles and John Brooks Henderson, Jr., primarily in order to observe the Greco-Turkish War of 1897.

The album (28 x 37 cm) has green cloth covers with the word "Photographs" stamped on the front. The inside of the front cover bears the inscription "Personal Travel Album of General Nelson Miles" as well as a loose color print from 1888 depicting Lt. Gen. Miles in full campaign dress. Contents consist of images of Athens and Lamia in Greece, a shot of Lt. Gen. Miles and other officers at rest, a series of photographs that appear to have been taken through binoculars, and views of Castle Angelo and the Coliseum in Rome, Pompeii, an excavation site, the Doge’s Palace and San Marco Square in Venice, Vienna, and Corfu.

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.

This volume contains notes Kate Brown Barlow kept between 1886 and 1887 relating to the cases handled by the Newsboys and Children's Aid Society of Washington, D.C. Typically the notes record the child's name, their race, family and financial circumstances, conditions at the place of residence, physical appearance and state of clothing, indications of hardship, and any details about job or housing placements.

During the course of her work, Barlow occasionally documented going on house visits. She described the conditions the children lived in, noting the alleys and regions of the city where they resided. At times she inquired about their behavior and asked for character references, often in relation to trying to secure job or housing placements for the children. Her notes indicate boys were placed to work in sites like a coach factory, a drug store, a coal yard, and a restaurant scullery, and that she was coordinating with other aid organizations like the Orphan's Asylum, the Industrial Home School, the House of Mercy, and the Foundling Society to provide housing. Barlow indicated other programs assisted with food deliveries to families or provided free legal services. Several incidences recorded in the volume reflect racial prejudice, such as refusals to house or employ African American children (August 16, 1886; March 1, 1887; April 5, 1887). Barlow also commented on interracial households, suggesting they were notable.

The case notes provide insight in the children's difficult circumstances, with reports of violence, child prostitution and sexual grooming, lack of access to education, and malnutrition and hunger. The volume includes a note written by a 23-year-old man to a 14-year-old girl pasted into the back of the volume, which the case notes from October 18, 1886, reference. Barlow recorded when mental illness or alcohol and drug use factored into the case. At times she noted children running away from their families or from work or alternate housing arrangements. She also commented on mixed reactions by the families, with some offering gratitude while others were mistrustful of Barlow's intentions and refused their children's work or housing placements. Barlow acknowledged the frustration the cases sometimes generated as well as her emotional exhaustion.

Barlow was in communication with the police station, using them as a last resort if housing could not be secured or if she received reports of child neglect or physical and sexual abuse that required immediate intervention. When children under her care were in conflict with the law, Barlow also got involved. She noted talking to police about newsboys who were arrested for gambling (February 19, 1887) and attempting to remove a boy from the workhouse. The volume includes several newspaper clippings, including a New York Times article, "The Percentage of Arrest in Leading Cities," focusing on juvenile reform; one entitled "Crime in Washington;" and another, "Shooting to Kill. Unprovoked murder of George Rawlett, a Young White Man, by a Drunken Negro," with additional manuscript notes about the incident.

Barlow recorded visits from the Newsboy's Home from Columbus, Ohio on September 16, 1886, to compare their practices, and a visit from the Children's Aid Society of Newark, New Jersey, on January 13, 1887.

Night Photos Taken Before and After the Earthquake and Fire is a photograph album containing 25 nighttime photographs of buildings and streets with electrical lighting in San Francisco, California, from 1901 to 1909.

Night Photos Taken Before and After the Earthquake and Fire is a photograph album containing 25 nighttime photographs of buildings and streets with electrical lighting in San Francisco, California, from 1901 to 1909.

The album (18.5. x 14.5 cm) has black cloth covers with “Photographs” gilt-stamped on front and black paper pages. An inscription on the inside of the front cover reads “Night Photos Taken Before and After The Earthquake and Fire by Cecil C. Cline S.F.” The photographer may possibly have been Cecil Cephas Cline (1884-1949), a San Francisco-based electrician. Buildings pictured include the Ferry Building, the Old Union Trust Building, the Old City Hall, the Tivoli Opera House, and more. While most photographs are exterior views, interior shots of the Ferry Building and Tivoli Opera House are also present.

Towards the back of the album one page is captioned “After the Earthquake and Fire.” Seven photographs are present in this section of the album including several images documenting the Portola Festival held in October, 1909, which was the first city-wide public event held in San Francisco after the 1906 earthquake.

The Noah Scovell collection contains 12 letters and documents related to Captain Noah Scovell, a merchant and shipbuilder in Saybrook, Connecticut. The material concerns shipping, finances, and Scovell's acquaintances.

The Noah Scovell collection contains 12 letters and documents related to Captain Noah Scovell, a merchant and shipbuilder in Saybrook, Connecticut. Scovell received personal and professional correspondence pertaining to subjects such as finances, U.S. citizenship proceedings, shipping, and business in New York. See the Detailed Box and Folder Listing for more information.

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."

The Oberlin, Ohio photograph album contains 11 studio portrait photographs, including several images of family members and friends apparently related to a biracial family based in Oberlin, Ohio.

The Oberlin, Ohio photograph album contains 11 studio portrait photographs, including several images of family members and friends apparently related to a biracial family based in Oberlin, Ohio.

The album (13.5 x 10 cm) has embossed leather covers and a broken metal clasp. The album spine has completely deteriorated and all pages are completely detached from one another. For conservation and preservation purposes, all original photographs have been removed from their album page slots and replaced with facsimile copies. The original photographs are stored in a separate container along with the album.

Most of the individuals represented in this album have been tentatively identified through the presence of inscriptions made on album pages; all or most of the subjects appear to have been biracial/African American. Many page captions appear to be associated with friends and family members of the Vaughn family (alternatively spelled “Vaughan”) of Oberlin, Ohio. One group portrait of two boys present in the page captioned “John & Louis Vaughn” may depict brothers John Sewell Vaughn and Wendal Louis Vaughn, the latter of whom went on to become a professional photographer. While it remains unclear who the original compiler of the album was, it is possible that it was assembled by either a member or close friend of the Vaughn family.

The following list includes inscriptions present on album pages (in order of appearance) and/or descriptions of the portraits associated with each inscription:

• “Oscar Viney Dolph Viney’s father”: Carte de visite portrait of a bearded man with a hat. Possibly Oscar F. Viney (approximately 1830-1904) of Gallipolis, Ohio, who had a son named Adolphus E. Viney (1873-1947)
• “Aunt America Vaughn Clark”: Tintype portrait of a young woman. Possibly America Vaughn Clark (approximately 1845-?) of Gallipolis, Ohio. Includes revenue tax stamps on verso dated January 16 1866 as well as pasted-on clipped newspaper obituary for a woman named Maude Cooper Horton (1880-1903). The obituary mentions a surviving three-year-old daughter by the name of Louise; a Columbus, Ohio, death certificate for a Louise Horton (1900-1918) with parents listed as “Maud Cooper” and “William Horton” indicates that this family was "colored."
• “Will Vaughn”: Carte de visite portrait of a man with a large mustache by H. M. Platt of Oberlin, Ohio. Possibly William Craddock Vaughn (approximately 1835-1912)
• “John & Louis Vaughn”: Carte de visite group portrait of two boys by H. M. Platt. Possibly John Sewell Vaughn (1857-1931) and Wendel Louis Vaughn (approximately 1860-1918).
• “John Vaughn": Carte de visite portrait of a young man by H. M. Platt. Possibly John Sewell Vaughn, though also appears to possibly resemble older version of Wendel Louis Vaughn when compared to preceding group portrait.
• “Aunt Margaret”: Carte de visite portrait of a woman with curly hair.
• “Aunt Margaret”: Tintype portrait of a woman with curly hair. Same woman photographed in preceding image.
• “Thresa Madey”: Carte de visite portrait of a woman by C. W. Howland of Cincinnati, Ohio.
• “? Cooper”: No photograph in page slot.
• “Mary Hamilton”: Tintype portrait of a young African American woman.
• [Unidentified African American infant]: Carte de visite portrait of an unidentified infant by an unidentified photographer of St. Louis, Missouri.

The Point Lookout Prison Camp collection includes official correspondence, prisoners' letters, sutlers' receipts, and other documents relating to Confederate prisoners of war held at the Point Lookout Military Prison, Maryland, largely between the summers of 1863 and 1864. Mary Parsons compiled detailed indices for the letters written by Point Lookout's prisoners: Prisoners' Correspondence Indices.

The Point Lookout Prison Camp collection includes official correspondence, prisoners' letters, sutlers' receipts, and other documents relating to Confederate prisoners of war held at the Point Lookout Military Prison, Maryland, largely between the summers of 1863 and 1864. The collection is made up of 770 letters and around 2,200 sutlers' accounts and receipts for goods sold to prisoners.

The Correspondence is comprised of 137 official letters pertaining largely to the disposition of prisoners; 147 letters written by prisoners of war, mostly requesting to take the loyalty oath or to be assigned duty as a non-combatant; and 486 letters by private individuals on behalf of prisoners, many seeking information, relaying information, or requesting goods to be forwarded.

Among the prisoners' letters are several discussing family hardships, bewilderment at arrest (for civilian prisoners), or simple expressions of exhaustion and a desire to find a way out of the war. The sample, of course, is biased, in that the letters in the Point Lookout Collection were all addressed to federal authorities--mostly to commandant, John N. Patterson. While some prisoners expressed an abiding loyalty to the southern cause, others complained of being drafted into the service against their will and principles, or claimed to have been so wrapped up in the emotions of the moment that they did not carefully consider their actions when enlisting. In a few cases, soldiers appeared to be genuinely disillusioned with the Confederacy. Twenty-nine of those who requested the loyalty oath can later be found serving with federal forces.

Within the prisoners' letters, the names of 255 men are mentioned in one way or another. Twelve of the men were civilians, and it was possible to identify the Confederate service unit of all but 23 of the rest of the men. The largest number of men were from Virginia, followed by Louisiana, Kentucky, and North Carolina; with considerably smaller numbers from Tennessee, Maryland, Missouri, and Mississippi; and the fewest men from South Carolina, Georgia, Arkansas, Alabama, and Florida. While most came from Southern states, two men were born in Maine (James O. Goodale and Charles H. Small), two others in Illinois (Brice Holland and Minor Rogers/Rodgers), and at least one man from New York (Lucien A. Rudolph). Foreign-born men included Branilio Soza (Mexico), Paul Francis de Gournay (Cuba or France), Hector De Zevallos ("the West India Islands"), John Etchevery (France), Louis Tessandore/Tessandori (Tuscany, Italy), Frank Nidel/Neidell and George Tiefenbach (Germany), Thomas Larkin and William H. Smith (England), and Luke Baxter, James Fife, Patrick Cooper, Martin Griffin, and Michael Vahey (Ireland).

The prisoners' letters and letters from camp officials provide only very brief glimpses into the conditions of prison life, with very sporadic mention made of illness or crimes committed in camp.

Letters from third parties display a range of attitudes that are broadly similar to those expressed by the prisoners, with an understandable, rather heavier, emphasis on family hardship. Included in this series are numerous letters written by the wives, sisters or mothers of prisoners, but also some from women who may be inferred to have been members of relief organizations for Confederate soldiers.

The largest series of materials in the collection consists of approximately 2,200 sutlers' accounts and receipts for goods sold to prisoners.

Mary Parsons compiled detailed indices for the letters written by Point Lookout's prisoners: Prisoners' Correspondence Indices. Mary Parsons's research notes and copies are available for consultation in the Clements Library's reading room.

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.)