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His photos provide the best visual documentation from the 1860s to the 1890s of the successive transitions Amherst made from an agricultural town, to an industrial one, and finally, to a town known chiefly for its educational institutions. Moreover, Lovellâ€™s images provide the best visual available documentation of Emily Dickinsonâ€™s community. Early images of the Dickinson houses, the streets, shops, and businesses the family knew intimately â€“ all are found within this very important collection.&#13;
&#13;
John L. Lovell Collection (ca. 1860s â€“ ca. 1890s) can be seen in its entirety at the Jones Library. It includes negatives; 59 stereopticon views of Amherst; 40 cartes de visite; and 1200 prints. The collection includes the first surviving photos of Amherst. Subjects include Amherst and the Connecticut Valley, especially architecture, businesses, construction, etc. Biographical reviews in local newspapers of the day; advertisements for his business and other materials accompany the photographs. The cartes de visite are significant because of extensive collateral material in the manuscript collection.</text>
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                  <text>John L. Lovell (1825-1903) was a professional photographer. He came to Amherst in 1856 and established the Amherst Picture Gallery, the first photographic studio in Western Massachusetts. In addition to studio work, Lovell was interested in scientific photography, accompanying an Amherst College astronomical team to California in 1882, as well as photographing Connecticut Valley geological features.&#13;
&#13;
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&#13;
John L. Lovell Collection (ca. 1860s â€“ ca. 1890s) can be seen in its entirety at the Jones Library. It includes negatives; 59 stereopticon views of Amherst; 40 cartes de visite; and 1200 prints. The collection includes the first surviving photos of Amherst. Subjects include Amherst and the Connecticut Valley, especially architecture, businesses, construction, etc. Biographical reviews in local newspapers of the day; advertisements for his business and other materials accompany the photographs. The cartes de visite are significant because of extensive collateral material in the manuscript collection.</text>
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                <text>View of the house the Henry Hill Goodell lived in when he was president of Massachusetts Agricultural College. Robert Frost later bought and lived in this house from 1932 to 1938. </text>
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                <text>A two-story wooden house with the first floor planks painted white and the second story painted brown. A chair and a stool stand on a step leading up to the open door on the side with a stone wall in front of a one-story addition. Plants grow up the front of the house and a white two story attachment is on the right side of the house, in the back of the photograph.</text>
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&#13;
His photos provide the best visual documentation from the 1860s to the 1890s of the successive transitions Amherst made from an agricultural town, to an industrial one, and finally, to a town known chiefly for its educational institutions. Moreover, Lovellâ€™s images provide the best visual available documentation of Emily Dickinsonâ€™s community. Early images of the Dickinson houses, the streets, shops, and businesses the family knew intimately â€“ all are found within this very important collection.&#13;
&#13;
John L. Lovell Collection (ca. 1860s â€“ ca. 1890s) can be seen in its entirety at the Jones Library. It includes negatives; 59 stereopticon views of Amherst; 40 cartes de visite; and 1200 prints. The collection includes the first surviving photos of Amherst. Subjects include Amherst and the Connecticut Valley, especially architecture, businesses, construction, etc. Biographical reviews in local newspapers of the day; advertisements for his business and other materials accompany the photographs. The cartes de visite are significant because of extensive collateral material in the manuscript collection.</text>
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&#13;
His photos provide the best visual documentation from the 1860s to the 1890s of the successive transitions Amherst made from an agricultural town, to an industrial one, and finally, to a town known chiefly for its educational institutions. Moreover, Lovellâ€™s images provide the best visual available documentation of Emily Dickinsonâ€™s community. Early images of the Dickinson houses, the streets, shops, and businesses the family knew intimately â€“ all are found within this very important collection.&#13;
&#13;
John L. Lovell Collection (ca. 1860s â€“ ca. 1890s) can be seen in its entirety at the Jones Library. It includes negatives; 59 stereopticon views of Amherst; 40 cartes de visite; and 1200 prints. The collection includes the first surviving photos of Amherst. Subjects include Amherst and the Connecticut Valley, especially architecture, businesses, construction, etc. Biographical reviews in local newspapers of the day; advertisements for his business and other materials accompany the photographs. The cartes de visite are significant because of extensive collateral material in the manuscript collection.</text>
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                <text>View of a house with people, horses, and oxen in the yard. According to a copy of a hand-written note accompanying this photograph, this house was owned by Charles R. Dickinson who later sold it to Enoch Clark. The Ferry family acquired it in 1929. Also stated in the note, "Mr. Dickinson is standing in the rear by the horse block. Mr. James McKee is standing by the oxen. One of the children is Maude Davis Brown." There is more information in the note.</text>
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                <text>This digital file may be used for educational purposes, as long as it is not altered in any way. Prior written permission is required for any other use of the digital files from the Jones Library.</text>
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                  <text>Clifton Johnson (1865-1940) of Hadley, Massachusetts was an accomplished literary figure with some 125 published books and countless magazine and newspaper articles to his credit. A friend of William Dean Howells and John Burroughs, he was an acquaintance of many other late 19th and early 20th century authors and editors. Johnson was a self-styled folklorist, an illustrator, photographer, author, and editor.</text>
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                <text>This digital file may be used for educational uses, as long as it is not altered in any way. Prior written permission is required for any other use of the digital files from the Jones Library.</text>
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                <text>View of a house beside a large elm tree and with adults and children posed outside. Written on back of photograph, "House on farm of C. G. Morehouse, Shays Street near Mill Valley. Left to right: Rev. Charles S. Walker, Alice Morehouse Walker, Charles Fred Morehouse, Myra C. Morehouse, Claude Fredric Walker, Charles Morehouse Walker."</text>
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            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
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                <text>This digital file may be used for educational purposes, as long as it is not altered in any way. Prior written permission is required for any other use of the digital files from the Jones Library.</text>
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            <description>The topic of the resource</description>
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            <name>Type</name>
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        <name>Houses</name>
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