Collecting area: Massachusetts

Perched at the western boundary of Plymouth County, Bridgewater, Massachusetts, grew rapidly during the antebellum period, spurred by the growth of its industry. During the mid-nineteenth century, the town’s most valuable products revolved around the local iron industry, with large manufacturers like Lazell, Perkins, and Co. producing iron and heavy machinery as early as 1810.

The daybook of this unidentified trader and merchant in Bridgewater, Mass., reveals the quickening pace of economic activity connected to the burgeoning Plymouth County iron industry. While many of the transactions at the store are small purchases of consumable goods such as flour, fabric, sugar, tobacco, meats, and molasses, more substantial purchases ae interspersed throughout for bar iron, nails, metal plates, and other manufactured metal items.

In 1982, Eloise A. Brière received a grant from the Massachusetts Foundation for Humanities to conduct a series of oral histories with French Americans in Massachusetts. A noted scholar of Francophone communities, Brière interviewed 44 first- and second-generation immigrants of varied background, ranging from parish priests and nuns to former textile workers, activists in language preservation, and the Mayor of Holyoke.

The interviews in this collection, conducted mostly in French between August 8, 1982, and Jan. 18, 1983, document the lives and experiences of forty-four Franco-American residents of Massachusetts, concentrated in the areas around Easthampton and Lowell.

Ship’s captain and cobbler from Scituate, Massachusetts. Includes list of ship expenses (harbor master’s fees, wages, wharf fees, provisions, carpenter and blacksmith bills, and bills for loading labor, rigging, and mending the sails), debt accounts with individuals, and accounts for making and mending shoes and boots.

A prosperous family of merchants and landowners, the Brinleys were well ensconced among the social and political elite of colonial New England. Connected by marriage to other elite families in Rhode Island and Massachusetts — the Auchmutys, Craddocks, and Tyngs among them — the Brinleys were refined, highly educated, public spirited, and most often business-minded. Although many members of the family remained loyal to the British cause during the Revolution, the family retained their high social standing in the years following.

The Brinley collection includes business letters, legal and business records, wills, a fragment of a diary, documents relating to slaves, newspaper clippings, and a small number of paintings and artifacts. A descendent, Nancy Brinley, contributed a quantity of genealogical research notes and photocopies of Brinley family documents from other repositories. Of particular note in the collection is a fine nineteenth century copy of a John Smibert portrait of Deborah Brinley (1719), an elegant silver tray passed through the generations, and is a 1713 list of the library of Francis Brinley, which offers a foreshadowing of the remarkable book collection put together in the later nineteenth century by his descendant George Brinley.

When The Broadside first appeared in March 1962, it immediately became a key resource for folk musicians and fans in New England. Written by and for members of the burgeoning scene, The Broadside was a central resource for information on folk performances and venues and throughout the region, covering coffeehouses, concert halls, festivals, and radio and television appearances.

Assembled by Folk New England, the collection contains a complete run of the Boston- and Cambridge-based folk music periodical, The Broadside, with the exception of the first issue, which has been supplied in photocopy.

Settled in 1660 and incorporated in 1718, the town of Brookfield (Worcester County) straddles the Boston Post Road, one of the major arteries during the colonial period connecting Boston with the towns of the Connecticut River Valley and New York.

This assemblage of documents from the town of Brookfield consists primarily of warrants for town meetings, many with agendas, issued through the local constable. Concentrated in the 1770s, these warrants provide relatively detailed information on matters of local importance, including town finances, tax assessments, contributions to the poor house, roadways, and property disputes. During the Revolutionary and post-Revolutionary years, however, issues of interest to the town were often wrapped up in regional or national political issues. Town freeholders, for example, were called to consider requests to “come into any Vote or Resolve Respecting the East India Company Tea,” the encouragement of manufacture of firearms, smallpox inoculation, and pay for the town’s Minute Men.

In 1922, the Commonwealth of Massachusetts appropriated $15,000 for the Massachusetts Agricultural College to purchase sixty acres of land lying immediately north of the existing Experiment Station. Known as the William P. Brooks Experimental Farm, the property was intended as a site for experimental work devoted to the dominant crops of the Connecticut Valley, tobacco and onions.

This small homemade photograph album documents a picnic and group outing at the Brooke (i.e. Brooks) Farm at Massachusetts Agricultural College in September 1922. Although the participants — over thirty of them — are unidentified, they took part in standard picnic activities, including a tug of war, three legged race, and rope jumping. The album contains labeled snapshots pasted onto thick brown paper, tied with a brown ribbon, and includes images of haying on the farm (with Stockbridge Hall in the background) and the homes of William P. Brooks and Prof. Arthur N. Julian.

The artist Burt Vernon Brooks was one of the outstanding chroniclers of daily life in the Swift River Valley before it was inundated to create the Quabbin Reservoir. Born in Brimfield, Mass., in 1849 and raised in Monson, Brooks moved to Greenwich with his family in the 1870s, where he worked on the family farm. At some unclear point before he turned 40, Brooks became active as an artist, painting local homes and scenery and taking photographs of the landscape, residents, and daily life in the Quabbin region. A prolific photographer, he was, in the words of historian Donald W. Howe, “hardly ever seen without his camera strapped to his back,” remaining active for decades. Three years after following his second wife to the west, Brooks died in Los Angeles in 1934.

The great majority of the 92 photographs in this collection are 5×7″ dry plate glass negatives taken by Brooks in the earliest years of the twentieth century, documenting the houses and people of Greenwich. Brooks’ work includes landscapes, houses, and a significant series of images of the Hillside School, but some of his best works are studio portraits, images of people at home or with their carriages, and posed scenes of children at play or at work. The collection also includes eight images by Brooks at Enfield, Greenwich, and Dana that are the property of the Swift River Valley Historical Society, and six images taken by Chetwynd and Pike in the Quabbin region to document properties slated for removal.

Freight haulers from Dana, Massachusetts. Includes information about products that were hauled (such as palm leaf hats, mats, lumber, railroad ties, and waste) and the companies for which they were carried. Also contains information about how Brown was paid (cash, barter, manure, chopped wood, stone) and the names of many people and places with whom Brown and Brothers conducted business.

Having joined the the Brotherhood of the Spirit commune in 1973, Dan Brown remained a member for a decade as it evolved first into Metelica’s Aquarian Concept and then into the Renaissance Community. Throughout his time as a member, he photographed his fellow communards as they moved through a variety of localities, including Turner’s Falls, Gill, and Warwick, Mass. Since leaving the community in 1983, he has written and lectured regularly on its history for audiences throughout the region.

One of the principle photographers of the Brotherhood and Renaissance Community during the period 1973-1983, Brown preserved an archive of approximately 450 photographs documenting the commune from its founding in 1968 through the time of Michael Metelica’s death in 2003. In addition to his own work, he collected and preserved images of many other photographers, most notably Gary Cohen.