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- Description:
- Typewritten letter sent to the Clark Electrical Engineering Company from Captain George Sabin Gibbs, of the Signal Corps on June 6, 1906. The message is in regard to order no. 5374 for "six sets of wireless telegraph instruments." Gibbs instructs that the sets should be shipped to the Signal Corps Storeroom in New York City. He adds that the army Quartermaster nearest to Detroit will follow up with specifications regarding shipping. Gibbs closes with his signature. The letter is printed on War Department, Office of the Chief Signal Officer letterhead.
- Date Issued:
- 1906-01-01T00:00:00Z
- Data Provider:
- Detroit Historical Society
192. The Stage in Detroit
- Description:
- 12-page letter handwritten in black ink on slightly yellowed paper by Bertram C. Whitney (son of Clark J. Whitney), manager of the Detroit Opera House. The paper is printed with light blue lines and has a faint embossed mark in the upper left corner that shows "Island City." The text of the letter has been transcribed as follows: "The Stage in Detroit I, Bertram C. Whitney, Manager of the Detroit Opera House, and son of C. J. Whitney, one of the oldest theatrical managers in this country, have been requested by our Mayor, Hon. Wm. C. Maybury, on this, the thirty-first day of December, 1900, to tell of the 'Stage' in our city, Detroit. It gives me great pleasure to compile the following facts to enlighten posterity. The theatre in Detroit seems to have been an American institution, for no record of any theatricals is found until after the coming of the United States troops. In 1798, military and civic entertainment were common and generally given in the old Council House. In 1816, a theatre was fitted up in the upper part of the large brick store-house at the foot of Wayne Street. The soldiers made the scenery and the officers' wives painted it. This was in 1830. The same year a theatrical entertainment was given in a barn belonging to the Steamboat Hotel. In 1834 a theatre was fitted up in the second story of the Smart Block, on the northwest corner of Jefferson and Woodward Avenues. the same year, the brick building on the southeast corner of Gratiot and Farrar Streets, built for a Methodist church, but never dedicated, was purchased and fitted for a theatre. In 1836 and 1837 a wooden building on the opposite side of Gratiot Street was used for a like purpose as was also the Museum at the corner of Jefferson Ave. and Griswold St. In 1848, theatricals were given at the City Hall. In 1849 the Metropolitan Theatre on Jefferson Ave., opposite the Biddle House, was opened; later it was called 'The Varieties' and then the 'Theatre Comiqul.' It was burned and rebuilt in 1883 and turned into a livery stable, In 1864 and old church on the corner of Randolph and congress Streets was converted into a theatre called the Athenaeum and used for several years. The old Baptist church on the corner of Fort and Griswold Streets was also at one time used as a theatre. The Park Theatre, on Michigan Ave. opposite the City Hall, was built in 1878 and rebuilt in 1881. The opening of the Detroit Opera House, March 29, 1869, was the event of the season, as it was then considered one of the finest opera houses in the west. Mortimer L. Smith of Detroit was the architect and successfully carried out the Renaissance style of design; the front being modeled after the pavilions surrounding the Louvre in Paris. Manager Garry Hough secured the first lease of the house, and a regular stock company was organized. The opening night, a brilliant gathering gladdened the managers heart to the extent of $1,475.00 receipts which were fabulous at that time. The drop curtain painted by Robert Hopkins was considered the handsomest in the country. At the time Mr. C. J. Whitney took the house in 1885, the ground floor was used for stores, but through his efforts, the owners were persuaded to remodel it, making a ground floor theatre. On Sept. 13th, 1875, was opened the Grand Opera House, built and owned by C. J. Whitney. It was located on the northwest corner of Fort and Shelby Sts. At the time, it was considered one of the finest theatres in America, and offered only high classed attractions. In the year [?] the property was sold to the Government and today our New Post Office stands on the site of the 'Whitney Grand.' 'Whites' Grand Theatre, formerly a music hall, on Randolph Street, corner of Croghan and Lafayette Sts. was erected in 1880. It seated 3,000 people, and was then the largest hall in the city. This structure was destroyed in the great fire of 1886, known as the 'Ferry Seed Fire.' I must not fail to record several old buildings used for theatricals which afforded Detroiters an opportunity of being entertained before our first regular theatre. Concordia Hall, on the east side of Rivard St. near Lafayette was used for German theatricals; but the first German theatre was located on the east side of St. Antoine near Gratiot Ave. The state Capitol was used for exhibitions of various kinds. In 1850, Young Men's Hall was dedicated. It seated 500 people and was the wonder and pride of the city for many years. Other buildings that figured in our early theatrical history were: Firemen's Hall on Jefferson Ave., Merrill Hall in the Merrill Block, corner of Woodward and Jefferson Avenues, Young Men's Hall in the Biddle House Block, Arbeiter Hall owned by the German Working Men's Aid Society, and St. Andrew's Hall, formerly the Woodward Ave. M.E. Church. This brings us up to the present day, and the theatres now being used in this city. On the site of the old 'White's' Theatre, there was built, in 1886, the Lyceum Theatre, a large beautiful house seating 2,400 people. It is what is called a 'Family Theatre,' the prices ranging from fifteen cents in the top gallery to seventy-five cents on the ground floor. The class of attractions offered to the public are clean comedy, interesting melodrama, and inexpensive, but good, light opera. Performances are given every night in the week, including Sunday, and matinees on Wednesdays and Saturdays. This house is very popular and is well patronized. In the year 1887, Mr. C. J. Whitney built the 'Whitney Grand Opera House' and Block on Griswold Street between Michigan Ave. and State St. This Block was eight stories high and was then the first and only 'skyscraper' in Michigan. Realizing that the poorer classes needed good clean entertainment at reasonable rates the prices were fixed at ten cents in the top gallery, twenty cents in the balcony, and thirty and fifty cents on the ground floor. This proved to be what the working classes wanted for the 1650 seats are generally filled at the six matinees a week and the house is packed every evening in the week. Good farce comedy and melodrama is given by inexpensive companies. In 1887, Stanley's Livery Stable, on Lafayette Ave between Griswold and Shelby Sts. was remodeled, and turned into a theatre. Its seating capacity is 1,500, but has never been a financial success. All classes of attractions have been given here, but to no avail. It is closed now and opened only for a lecture, local entertainment, or some related company unable to be taken care of at our other theatres. After roller skating had become a thing of the past, the rink on Griswold Street between Grand River Ave. and State St., was converted into a theatre, 1887, and is now used for burlesque and is called the Capitol Square. It caters to a strictly male audience, the prices ranging from twenty-five cents to $1.00, and performances are given every night and three matinees a week. This is a place we are not proud of, but it is to be found in every large city. The Merrill Hall, before spoken of, has been used for some years as a vaudeville and variety theatre, exhibiting animals, 'freaks,' and curiosities of all kinds. It proved such a success, that in 1899, the management built a new 'Wonderland Theatre' on the west side of Monroe Ave., facing the Soldiers Monument. There is a general ten cent admission to the three floors of curiosities, and also admits one to the top gallery of the theatre proper. For and additional ten cents, you are entitled to a seat in the balcony, and for twenty cents extra, you get a seat on the ground floor. The class of performances given in the theatre is variety in nature, consisting of six good specialties and generally one little skit or short play in one act. Four performances, lasting one hour and three quarters each, are given daily, two in the afternoon and two at night. The audience is allowed to remain for a second performance, but it is not the custom. The theatre is strictly fire-proof, no wood being used, and is tastefully decorated without any gaudy display. It is described as 'being a little gem' and has coined money for the owners. the profits are said to exceed $1,500 per week and although it seats 1,400 people, the manager is contemplating enlarging it next summer to accommodate 500 more. In 1897 the Old Detroit Opera House was destroyed by fire, and the following September, eleven months later, the New Detroit Opera House was opened. an expert in theatrical architecture, Col. Wood, of Chicago, who had erected over 85 theatres had been chosen as consulting architect with Messrs. Mason and Rice. Mr. Alpheus W. Chittenden, son of one our most prominent citizens, although a young man, not yet thirty designed all the interior decorations, and although the spirit of Francis I style was carried out, the exquisite color combinations, designs, decorative effect[s] were strictly original. the lobby, foyer, boxes, proscenium arch, and the splendid ceiling vie with each other in beauty and attractiveness. The auditorium is in brilliant red, with tapestried chairs, in contrast to the asbestos curtain of plain French grey with red fleur de lis. With the exception of the stage, every inch of flooring is solid concrete; steel lath is used in all parts of the house and sheet iron takes the place of boards. All scenes are painted in water color, not in oils, hard to burn. Seventeen fine dressing rooms with heating, lighting, and good ventilation in each are a special feature. the stage is equipped with every modern improvement and appliance for comfort, safety, and facility in handling stage properties. The house seats [?] and has an upper balcony, middle balcony, and ground floor, and eight large boxes. This theatre is not opened Sunday evening except for music or lectures. The class of attractions is the best on the world's stage today. All the great artists of this and every other country come to this theatre, in opera, drama, tragedy, and comedy. The regular scale of prices is from $1.50 downstairs to 25 cents in the gallery. For large productions, $2.00, $2.50, and as high as $5.00. Although this, our first theatre, is not as large, nor as expensive as many others in this country, none surpass it in beauty, originality, comfort, and completeness. Before closing this resume of our theatrical history of the closing century, I should like to tell you of the great people who have visited our city and charmed our Detroit public. But time and space does not permit of it. But if these poor pages survive the ravages of 'moth and dust,' for a century, and are still readable, when brought to the critical man of the twenty-first century, I trust it will inspire some few to trace back the early history of this century and give credit to the Detroiters of today for the zeal and good faith in which they have planted the landmarks of the future. Between 1849 and 1882, the following artists visited us: Julia Dean, Charlotte Cushman, Ristori Modjeska, Janau Schek, Mary Anderson, Edward A. Southern, Joseph Jefferson, Edwin Booth, Lawrence Barrett, Edwin Forrest, Adalina Patti, Christine and Adalaide Neilson, Clara Louise Kellog, Sign. Campanini, and many others of world wide fame. From 1882 up to the present day, a few of the great actors and actresses who have played here are: Sarah Bernhardt, Henry Irving, Wm. J. Florence, and Mrs. Florence, Mrs. John Drew, Maud Adams, John Drew, E. H. Southern, Olga Nethersole, Rhea, Fanny Davenport, Mrs. Scott Siddons, Wm. Warde, J. K. Emmet, Nat C. Goodwin, John T. Raymond, Frank Mayo, Tommaso Salsini, Margaret Mather, John McCullough, Clara Morris, Kate Claxton, Richard Mausfield, Denman Thompson, Mr. and Mrs. W. H. Kendal, Ed S. Willard, Sol Smith Russell, Lilly Langtry, Charles Windhamm, Dion Boucicault, Wilson Barrett, Ellen Terry, Ada Rehau, Julia Marlow, Rosina Volkeston, W. Keene, and W. H. Crane. Among the great opera singers are: Emma Calve, Melba, Nordika, Scalchi, Albani, LaSalle, Plaucon, Emma Juch, Sembrick, Minnie Hauk, Emma Nevada, Edward Floyd, Edouard and Jean De Reszke, Sign. Brignoli, Max Alvary, and Myron W. Whitney. Among the great conductors are: Walter Damrosch, Theo. Thomas, John P. Sousa, and Strauss."
- Date Issued:
- 1900-01-01T00:00:00Z
- Data Provider:
- Detroit Historical Society
- Description:
- Typewritten letter from Foote, Pierson and Company of New York to Thomas E. Clark, the general manager of Electric Service and Appliance Company, dated May 10, 1902. It contains a brief message asking when Clark would be able to go to Washington. It is printed on Foote, Pierson and Company letterhead. An illegible signature or set of initials is just below the closing.
- Date Issued:
- 1902-01-01T00:00:00Z
- Data Provider:
- Detroit Historical Society
- Description:
- Letter from General William Hall requesting Major James Witherell in Detroit to send a man to the quarters of General Hull dated 20th July 1812. The text reads, "I wish you to send a man immediately to my quarters, who is acquainted with the farm I purchased of Mr. Meldrum on the River Rouge-- he will not return to Detroit until this evening. I am respectfully, Mr. Wm Hull." On the reverse side is the address to Major Witherell at Detroit, From General Hull.
- Date Issued:
- 1812-01-01T00:00:00Z
- Data Provider:
- Detroit Historical Society
- Description:
- Half-folded handwritten letter from Sarah A. Sibley to her brother Alexander Hamilton Sibley in California, dated July 8, 1850, thanking him for gifts, including two shawls (1949.272.015 and 1949.272.016), and relating news about friends and family in Detroit. The letter reads: July 8th, 1850 My Dear Alexander, I intended to have written to you by the last steamer but the time for me to write passed by without my knowing it so I was obliged to defer my letter for a couple of weeks. I can hardly express to you our delight at the beautiful presents you sent us by the Brady. They arrived quite safely and the taste you have shows in selecting the shawls for us all is quite wonderful. I had no idea that you knew so well what color to select as appropriate. Miss Trowbridge has carried her shawl from one end of the avenue to the other to exhibit it as she said it was so warm that she could no wear it at present, and she could not wait she was so anxious to show it, so every friend & acquaintance she has, has had a peep at it. She is as tickled as a child with a new plaything. The color of mine is exquisite, and so is the embroidery and the crimson ones you sent the children are perfectly gorgeous. I never saw anything more beautiful. They are enchanted with them. The nice paintings are very beautiful also. You was not wrong in supposing that I would appreciate them, for they have been quite a study for me ever since I received them. All of us unite in thanking you most sincerely. I think Mama likes the Daguerreotype as well as anything you sent, it is so excellent. I do not think you look any older, for we heard that the war and tear of California life has made you prematurely gray. Still my dear Alexander, we are dreadfully disappointed in hearing from you, that you would certainly stay a year longer in California. Mr. Beady has tried to persuade us it is all for the best, but it is a very, very long time to look forward to. Mama gets very impatient and lonesome sometimes, in thinking of the long distance that intervenes between her and her absent sons. She misses poor Fred sadly. She had a long letter from him yesterday. He finds it very lonesome there, and Henry and his wife have not yet returned. He likes the country very much, but the state I think if he could either take the quarry or enter into any good business here, he would be quite willing to return. Devereux Williams has gone to add to the list of Detroiters in California. He came to see if we had any letters or any package to send, but we could not think of any thing we could send, which you had not already in California, and you have so often told us not to write by private hand that we never think of doing so. I suppose you have heard of the marriage of your friend Mary Steward. She was married in May in Washington. She had a grand wedding according to Mrs. Steward's notions, and she and William Gray are now in Ireland. They took out letters of introduction to a great many grant people in England and France, and expect to enjoy their trip much. They will return in September. Mr. Gray has engaged a house opposite to Mr. Trowbridge's so Kate will enjoy herself much when they return. Mr. Macomb and Nannie are settled down quietly at housekeeping in her[?] M's house on Congress Street, next to Dr. Pitcher's. I think Nannie will make a very nice housekeeper. What is William Rodgers doing now? Is he in San Francisco? If you see or hear of him let us know occasionally, for Nannie always asks us when we receive a letter from you. Detroit has been unusually gay this summer. There have been a number of strangers here already, and many more are expected. Mrs. Elbert's mother and their sisters are here spending the summer. I do note think Emily is as pretty as she was, her sister Mary looks exceedingly well, not a day older than when she was here last. Not one of them is so pretty as Mrs. Coxe[?]. I suppose you have heard of John Stuart's marriage top a niece of Mr. Jo. Clarke, who spent the winter with them. She is not all pretty, but is quite intelligent and agreeable. The worst of it is that John was ordered off to the West Indies only a month after his marriage. Of Course she feels dolefully enough. Mr. Tillman is married again to a Miss Conant of Monroe. Henry Rucker has been married these two months to Miss Curtis, Col. Whistler's niece. Miss Louise Whistler flourished about here as usual. She is not much admired or respected however. No other marriages have taken place that I can remember. Simon Mandelbaum is here now, he arrived yesterday and will return immediately to Lake Superior. I have not seen him. I suppose you will receive letters from him by this steamer. Miss. Benson has been here for a month or six weeks. Report says that she and Alpheus Williams will make a match, but I do not know. He must hurry if he wants her, for she intends returning to New York in a week or so. Mary sends her love to you, and says she will not write to thank you for her shawl by this steamer as some letters should be reserved for the next as you will probably receive several at the same time with this, I know you hate crossed letters so it does[?] not go on, or I could write for some time yet. I have told you all the news however so you will not miss much. I hope you will continue as good a correspondent as you have been herefore. We look forward very anxiously to the arrival of each steamer. You must make haste and get rich, so as to be able to come home and get married. You are getting quite old enough, and we do not want you to marry in California as there can't be much choice. All the family are well and send their love. Mama cont[...] about as well as usual. Your affectionate Sister Sarah A. Sibley.
- Date Issued:
- 1850-01-01T00:00:00Z
- Data Provider:
- Detroit Historical Society
- Description:
- Handwritten Letter to John J. Bagley from Thomas Nast, dated June 1st, 1885, regarding a portrait Nast did of Bagley: Morristown, N.J. June 1st, 1885 Mr. John H. Bagley Dear Sir, I sent with the etchings for you, a duplicate set for your mother. At least, I meant to, or have I made a mistake? Your letter which I have just received after an absence of two weeks, has reminded me, that I have not heard from hers, and so I write to ask. Yours very truly Th: Nast."
- Date Issued:
- 1885-01-01T00:00:00Z
- Data Provider:
- Detroit Historical Society
- Description:
- One letter from the Baugh Steam Forge Company of Detroit to Ruhle Brothers of Philadelphia, dated February 9, 1878. The letterhead is printed in black script on white paper with a watermark that shows "Calvert Lith. Co., Detroit." The letter message is handwritten in black ink as follows: "Mssrs. Ruhle Brothers, Philadelphia. Dear Sirs. In reply to yours of the 6th. Your price is now so much in advance of other standard manufacturers that we felt obliged to place our orders elsewhere. Perhaps we may be able to do something with you at some future time, at present we are supplied. Yours truly, Baugh Steam Forge Co. Fil'd."
- Date Issued:
- 1878-01-01T00:00:00Z
- Data Provider:
- Detroit Historical Society
- Description:
- Handwritten letter dated March 2, 1874, from Peninsular Iron Co. of Detroit, Michigan, to Eaton & Son concerning stock certificates and dividends. The paper is printed with light blue lines and the company letterhead.
- Date Issued:
- 1874-01-01T00:00:00Z
- Data Provider:
- Detroit Historical Society
- Description:
- A letter from Ralph Emery, a clerk working for the Detroit Stove Works, to his father, Robert T. Emery, in Belfast, Maine, dated September 28, 1886. The letter is written on Detroit Stove Works letterhead, which features a lithograph, credited to the Calvert Lithograph Company, depicting the Detroit Stove Works offices in Detroit and Chicago as well as the company's foundry in Hamtramck, Michigan. The letter reads: My dear Father, Was glad to receive your last letter + to learn you intended to take a trip to Boston, it will do you much good, when you return I hope Mother will go as she needs a rest + she will enjoy the tip very much. Please remember me to Dr Emery, the Crowninshields, + any others whom you see that I know. Am glad you were successful in getting something out of the Alabama claims. is the $955 - net, that is, free from commissions. Was much surprised to learn of [W?].E. Goulds defalcation, he was the last man I ever expected of such a thing. I used to know him quite well + see him often in Portland + Boston. His daughter is a great friend of [Sue?] Ross. If you have any papers at the Club or Press Office that vies full account of the affairs wish you would cut the articles and send them. If you have the Portland Press at the Office it would give probably fullest accounts - Like the "City Press" very much - You did not write me how you were succeeding in getting subscribers - Think it cannot help bring answers. Weather here quite cold + rather unpleasant for the last week - Give my fondest regards to all Hoping you will have a pleasant trip to Boston. Your affec. Son, Ralph Emery
- Date Issued:
- 1886-01-01T00:00:00Z
- Data Provider:
- Detroit Historical Society
- Description:
- Cover page with a 12-page letter handwritten in black ink on slightly yellowed paper by Mrs. John Vallée Moran (née Emma Etheridge). The text of the letter has been transcribed as follows: "To Hon. Wm. C. Maybury Mayor of Detroit. A few reflections on the American Mother in Detroit. Compliments Mrs. John Vallée Moran née (Emma Etheridge) 1 The American Mother in Detroit. The divinely instituted order of Motherhood, into which so many of us have been initiated, imposes upon its members an obligation so serious, and withal so sweet, that one hesitates to enter upon a discussion of its real status, and influence, upon the social fabric of our city, at the close of this wondrous century, realizing as one must, that upon the mothers of our day rests 2 the destiny of many in the years to come. The pen of an angel or a sage might be worthily employed to predict from present conditions how far maternal influence is to determine the fate of millions, in the mysterious gloom of futurity; a power of prophecy to tell what will be the effect of our present mothers upon the children of the new year. The honorable Mayor has asked for a brief expression of opinion on the "American Mother in Detroit" as she stands 3 today; the task is interesting, but not easy, especially in the limited hours allowed to a subject so far reaching, reaching indeed to eternity and which deserves profound reflection; to group facts and properly draw conclusions is impossible, but even in these last quivering moments of the closing year, a few distinct impressions may be noted, and they need not go very deeply into detail. In the first place, our Detroit mother may be declared a very fair product of her age 4 - an age however that has done more for the development of woman - per se - than for woman as mother; and the closing century finds her along with her sisters of the United States, a center of influence - social, intellectual, patriotic, philanthropic - if not strictly spiritual (the latter quality cannot always be denied her however, for we discover in our midst matrons who are examples of deep religious fervor that cannot fail to influence the child's mind.) The theatre of action for this modern nineteenth century mother is 5 not confined to the limits of home, she is recognized in the great world of activity and denied entrance to very few of its fields of advancement, where she plunges with intense zeal into the current of affairs, and readily becomes a devoted follower of the various cults - fads - and philosophies that distract our minds and destroy the serenity of existence. But in spite of these seeming inconsistencies, this same American mother carries in her heart a warm strain of devotion to 6 her children, ambitious earnestness in their behalf, and a fervid desire for their advancement, that taken all in all , has not been surpassed by the mothers of any age, even unequaled in many respects. If she be somewhat lacking in feminine virtues or the full measure of gentle composure, so needed to make her a perfect receptacle of childish confidence, she atones for it in the enthusiasm and tireless energy with which she assumes control in all that pertains to the health, comfort or mental development of her children, making herself their guide and directress from the cradle and kindergarten to the threshold 7 of social, business or professional life; and even further, she may follow as counsellor, and assistant in occupations which were closed to her in the early days of the century. Our fin de siecle mother does not cling to the traditions of those early days, but following the strong bent of her own convictions, is more frequently intense and earnest, than concentrated and composed - surprising the world by the multitude of her interests - she stops at nothing that to her seems worthy of human endeavor, and living as it were upon her nerves, finally exhausts them in the activity of her aims. 8 Stopping at nothing, she finally and naturally wearies of everything. It must follow that the care of a household - and the rearing of children to this product of a trying age, while nearest to her heart, and uppermost in her mind, must often become a burthen to the mother where interests cover so wide an area - and the boasted liberty of our great century [country?] - the liberty that has struck fetters from slaves in every land - unbound the realms of human thought and professed to emancipate woman and place her on an equal footing with man, 9 has really made of her a slave to its conflicting theories. Until our women have checked this tendency to substitute new for old methods, they have not learned the best lessons of the century. Reviewing the past we find that it is the domestic woman, the serene and motherly whose image we love to resemble because we loved her, and the enlightenment that deprives this sweet concentration of gentle forbearance, self control and pines to guide without egotism or excitement of a single 10 element of feminine charm, [?] us of the mother we need, and the nineteenth century must be responsible for some falling off in these qualities. Family life today is certainly less limited than in the old old times, where our fathers watched the yule log play its wondrous light upon the loving group that gathered round the warm hearthstone. But human hearts are all aglow with quickening love and sympathy and in this hurried greeting to the mothers of a new century, there goes a hope that its close may 11 find them as proud and happy in the kingdom of home as we are today - for whatever complex questions arise to vex the maternal mind, our "American Mother" sits enthroned upon a pedestal that is upheld by the loyalty and devotion of millions of sons - husbands - fathers, and her generation will bring her forth victorious from every trying ordeal of a brilliant and bewildering age - May God be with her in her mission and lead her gloriously through the 12 battles and scars and triumphs of the centuries! This is the wish of her sisters who send this greeting and benediction to her in the dying moments of a mighty age; this great nineteenth century that at this moment breathes its dying sigh and fades into eternity! Emma Etheridge Moran Detroit, Michigan December 31st 1900 Midnight."
- Date Issued:
- 1900-01-01T00:00:00Z
- Data Provider:
- Detroit Historical Society