Collecting area: Massachusetts

Stage coach line that carried passengers and mail from Berlin, Bolton, and Feltonville (Hudson) to the Boston area. Includes account book documenting expenses of running the line, with passenger fares recorded elsewhere. Last several pages contain an individual’s accounts, as well as photocopies of passages about the stage coach line and a poem written when the company folded. Amos Sawyer, Jr., and his son-in-law Lorren Arnold ran the business.

Alex Beron, Jr., was a member of the Association for Gravestone Studies and a photographer of New England gravestones.

The Beron collection consists of a many hundred color photographic prints of gravestones in Massachusetts and Connecticut, arranged town by town, and taken primarily in the late 1980s and early 1990s.

Lambert Bigelow (1821-1869) was proprietor of one of the most profitable general stores in Marlborough, Mass. Entering into partnership with his brother Levi in 1822, Bigelow grew to significant wealth, eventually joining with a friend and neighbor to establish the long-lasting firm, Morse, Bigelow, and Co. He died in 1869, survived by his wife and seven of eight children.

An early daybook maintained by the Lambert Bigelow’s newly established firm, and perhaps the first, this volume covers just over half a year of transactions (169 pages) typical of a New England country store of the 1820s. Bigelow’s customers purchased small quantities of goods ranging from molasses and rice to cotton and muslin, flour, sugar, tobacco, rum, “Holland gin,” and (rarely) brandy. Occasionally, Lambert dealt in daintier products such as cinnamon, raisins, and “cake chocolate,” or in specialty items like pudding pans, pitchers, and a black bean pot.

A native of Rockland, Maine, Alton H. “Blackie” Blackington (1893-1963) was a writer, photojournalist, and radio personality associated with New England “lore and legend.” After returning from naval service in the First World War, Blackington joined the staff of the Boston Herald, covering a range of current events, but becoming well known for his human interest features on New England people and customs. He was successful enough by the mid-1920s to establish his own photo service, and although his work remained centered on New England and was based in Boston, he photographed and handled images from across the country. Capitalizing on the trove of New England stories he accumulated as a photojournalist, Blackington became a popular lecturer and from 1933-1953, a radio and later television host on the NBC network, Yankee Yarns, which yielded the books Yankee Yarns (1954) and More Yankee Yarns (1956).

This collection of glass plate negatives was purchased by Robb Sagendorf of Yankee Publishing around the time of Blackington’s death. Reflecting Blackington’s photojournalistic interests, the collection covers a terrain stretching from news of public officials and civic events to local personalities, but the heart of the collection is the dozens of images of typically eccentric New England characters and human interest stories. Most of the images were taken by Blackington on 4×5″ dry plate negatives, however many of the later images are made on flexible acetate stock and the collection includes several images by other (unidentified) photographers distributed by the Blackington News Service.

Ella Dot Martin was born in Waterloo, Quebec, on Dec. 22, 1889, the daughter of Carmi Arad Martin and Candace Amelia (Beach). In about 1912, she married a local farmer, Sydney Thomas Blake, in an Anglican ceremony, and together they raised two sons. For several years after the turn of the twentieth century, Carmi Martin worked as a painter in Woonsocket, though he returned to Waterloo in about 1909, and Ella and Sydney followed in about 1927, settling in Blackstone, Worcester County, Mass., where Sydney worked at different points as a painter and farmer. Sydney died in 1955 and Ella in Milton Village, Mass., in 1987.

The collection consists of Blake’s diaries and two cookbooks along with dozens of recipe clippings. Related collection is the Ella Dot Martin Blake Sheet Music Collection.

Temporarily stored offsite; contact SCUA to request materials from this collection.

The seat of seven generations of the Blanchard and Means families, Elm Hill Farm was established prior to 1797, when the joiner Amasa Blanchard began acquiring property in Brookfield, Mass., as he looked forward to his marriage. The success he enjoyed in farming was a spark for his family’s prosperity. Amasa’s son Albert Cheney Blanchard left Brookfield in the 1830s to pursue commercial opportunities out west as a partner in the Richmond Trading Co., in Richmond, Ind., and by the time he returned home to take over operations after his father’s death in 1857, Albert had earned a fortune. In the years after the Civil War, Elm Hill grew to 1,300 acres crowned by a mansion built in 1870 that became the center of a compound of eight buildings. Each subsequent generation at Elm Hill has left its own distinctive mark. Albert’s son Charles P. Blanchard, a minister and talented amateur photographer, developed a renowned herd of Morgan horses, and Charles’ daughter Abby and her husband, the minister Oliver W. Means, added a herd of Jersey cattle that included a prize-winning bull, Xenia’s Sultan, imported in 1923, and the cow, You’ll Do Lobelia, better known as the original, real-life Elsie the Cow. Abby’s daughter-in-law, Louise Rich Means, laid acres of spectacular gardens on the estate. Following Louise’s death in 2009, Elm Hill left family ownership.

Consisting of nearly two centuries of papers that accumulated on the Elm Hill estate, the Blanchard-Means collection stretches from a handful of documents from the late eighteenth century relating to landholdings and Amasa ‘s work Blanchard as a joiner, to a blossoming of correspondence, photographs, ephemera, and realia dating from the nineteenth and twentieth centuries. Well-educated, well-traveled, and well-informed, the Blanchards and Means were prolific letter writers, and their papers provide wonderful insights into the lives of a religiously-devoted family from the New England elite. Among the highlights of the collection are the extensive records from the Richmond Trading Company and from the farm’s livestock and gardening operations (both Morgans and Jerseys) and a remarkable photographic record that document the family, the evolving landscape of Elm Hill, and the town of Brookfield, as well as hundreds of images from C.P. Blanchard’s world tours in the 1890s.

Twenty-four page register kept by unnamed person, possibly from a Quabbin town, listing boarders by name, payment received, and employee accounts. Payments noted in detail from February to October, 1850. Boarders included several doctors and L.S. Hills, possibly Leonard S. Hills of the Amherst, Massachusetts hat factory. Employee accounts list many women with Irish surnames, including Ellen O’Leary, Ellen Callahan, and Margaret Murphy.

A Quaker worship group was formed in Bolton, Mass., in 1763 and grew into a separate monthly meeting in 1799. Always a small outpost, regular worship continued there until 1954, when the meetinghouse was sold to the museum at Old Sturbridge Village. The meeting was formally laid down to Worcester Monthly Meeting in 1972.

The surviving records of Bolton Monthly Meeting include relatively complete minutes from 1799 to 1972, plus records of marriages, births, and deaths into the latter years of the nineteenth century.

Diane Bonder made experimental film and videos, using Super 8 and 16mm. Her poetic semi-narrative and autobiographical films explore themes of identity, landscape, memory and loss. Growing up in Northampton, Massachusetts, she graduated with her BA from UMass Amherst and studied photography at the Photographic Resource Center in Boston. She received her MFA from Rutgers University in 1993. In 1996, Bonder moved to Brooklyn, making it her home. Bonder was an artist in residence at UCross (Wyoming) and Squeaky Wheel (Buffalo, N.Y.) and received grants from NYFA and NYSCA. She maintained a longstanding relationship with Millennium Film Workshop, where she taught herself the optical printing techniques, which became part of her signature visual style. Bonder’s award-winning films have been screened at the Whitney Museum of Art, Brooklyn Museum of Art, Anthology Film Archives, NY, SF Cinematheque, Mix NYC and at many international film festivals, universities and curated screenings. Her work continues to be screened around the world. Retrospective screenings of her work have been held at MOMA, Hallwalls (Buffalo, N.Y.) and Millennium Film Workshop (New York).

The Diana Bonder Papers provides insight into her creative process as a filmmaker and photographer. The collection features film reels, U-Matic, Hi8, VHS, DVDs, and audio, which include Closer to Heaven, You Are Not From Here, The Physics of Love, Dear Mom, Tongue in Chic, Parole, Dangerous When Wet; film notebooks; slides, negatives, contacts sheets, which include portraits, landscapes, family photographs, Rutgers (installation, film, other project studies/prep), “Blood and Veins,” and others; photographic prints; and two large lightboxes and several small lightboxes.

An award-winning photojournalist, Kathy Borchers began a thirty year career with the Providence Journal in the mid-1980s. A native of Dayton, Ohio, she and her twin sister Karen (also a photojournalist) took up photography in high school and refined their technique as undergraduates at Bowling Green State University. After receiving her master’s degree at the Indiana University School of Journalism in 1981, Borchers worked for three years with the Topeka Capital-Journal before landing in Providence. In addition to covering general news and sports, she took on a number of special assignments and longer-form photoessays over the years in southern New England. She retired in 2015.

A rich sampling from a long career in photojournalism, the collection includes photographic negatives and prints along with associated published materials. Centered primarily on her time with the Providence Journal, the collection reflects the breadth of Borchers’ assignments, including general news, sports coverage, and longer-form photoessays, in both black and white and color. The collection also includes five self-made books: three on long-term photographic projects for the Journal and two career retrospectives.