7/8-inch round, post-back clothing button with black and white portrait of William McKinley and Garret Hobart with the American flag in the background. Button has engraving on reverse side for Baldwin & Gleason Company.
Yellow ribbon with black text reading "McKinley and Hobart and the whole Republican Ticket." Beneath this is a portrait of congressional candidate Thomas S. Butler. The bottom of the ribbon reads "Thomas S. Butler and Better Times."
16-inch by 13-inch oval tin tray with a ¾ view, chromolithograph portrait of William McKinley. The portrait is framed by a repeating leaf and arch motif at the border of the tray. Below the portrait is an image of a nameplate with McKinley’s signature “W. McKinley”.
American flag button with a circular photographic portrait of presidential candidate William McKinley. The black text around the portrait reads "Protection 96".
Letter from miner Samuel McCleave to his wife Emma, written from Hot Springs, Arkansas in May of 1894. McCleave describes his extreme anxiety about Emma's lack of communication.
2894, or The Fossil Man (A Midwinter Night's Dream) is part of the Utopia Collection. The novel specifically belongs to the subgenre of feminist utopias; the story reverses traditional gender roles and inserts the protagonist, Lord Ammonite, into a society of "dominant women and submissive men."
---
From "The Bookseller and Newsman, Volume 11" (1894):
"2894" or THE FOSSIL MAN, by Walter Browne; G. W. Dillingham publishers, New York; paper, 50cts. 12mo. 298 pages.
The adventures that befall this dreamer, when, as a fossil man he is brought to life in the Utopia of A. D. 2894; form most amusing reading. Mr. Browne seems to have absorbed the imaginative styles of Rider Haggard and Jules Verne. He seriously accounts for his many marvels with a plausibility which is almost convincing; and at the same time his lines bristle with a sly undercurrent of wit, which is worthy of "Pinafore" Gilbert. A light love story gives a zest to the book; but the ludicrous incidents arising from the loss of the fossil's right hand; which is broken off before his revivificiation; and the many escapades of the man to-day, forms the bulk of the book.
---
This novel is a particularly rare work of the English language, and this is currently the only known copy held in a publicly accessible institution. The book was digitized in 2018 as part of an effort to increase accessibility and preserve the work.
Please direct all inquires regarding this and other rare books in the Saint Louis Mercantile Library collection to the library's Reference Services: http://www.umsl.edu/mercantile/research/research-request.html
Booklet showing industrial sites in communities served by the St. Louis & San Francisco, Chicago, Rock Island and Pacific and Chicago and Eastern Illinois Railroads produced when those lines were controlled by the Reed-Moore Syndicate after the Panic of 1893.
Letter from miner Samuel McCleave to his wife Emma, written from Virginia City, Nevada in October of 1893. McCleave discusses his struggle to remain in contact with his wife and the worsening conditions at the mine.
Map of the following subdivisions: Shield's, Yeddo Park, Bright Side, Reavis Estate Subdiv., Smith's Subd. of Heights, Shady Side; and the following roads: Big Bend, Sutton, Glendale, Gray, Elm, Rock Hill and Central Avenue. Also, the St. Louis and San Francisco Railroad.
Letters written by miner Samuel McCleave (1854-?) to his wife, Emma (1871-?). The letters, written in 1893 and 1894, reveal McCleave’s discontent with his situation as a wandering miner, which he describes as “getting worse every day.” They also reveal his desperation to remain in contact with his wife, telling her “I have been fretting so much about you that I could not eat nor sleep”. The letters provide insight into McCleave’s struggles as a miner looking for work.
Emil Boehl was a St. Louis photographer who primarily focused his camera on St. Louis streets, buildings, and locales. Born in Calvoerde, Germany, in 1839, Boehl immigrated to St. Louis in 1854. After serving in the Union Army during the Civil War, Boehl returned to St. Louis in 1864 and opened a photography studio with Lawrence Koenig that spring. With Koenig focusing on portraiture, Boehl became one of the most prolific St. Louis scenic photographers active in the latter half of the 19th Century. The Boehl/Koenig partnership lasted until 1897. Boehl retired from photography in 1919 and died later that year on the 12th of December.
The Emil Boehl Collection consists of three series. The collection contains images dating from 1850 to ca. 1906. The collection’s archival materials include photographic prints and negatives. According to historians Peter E. Palmquist and Thomas R. Kailbourn, Boehl’s career was from 1864 to 1919, and he was known to sell prints of Thomas Easterly’s daguerreotypes. In light of those facts, some dates in the Boehl Collection may be labelled incorrectly and/or some images may not be Boehl’s.