Political cartoon of a memorial of man in uniform riding on top of a woman like a horse. The text on the memorial reads, "Memorial to the Women of the Armed Services".

A bed sheet with text and/or artwork used as a visual aid to a preacher's sermon. In this particular sermon chart, the preacher demonstrates, in a parallel fashion (from Romans 6:1-18) that in baptism one obeys the gospel. Baptism in this way reflects back upon Christ's death, burial and resurrection. The results of baptism are "free[dom] from sin."

A bed sheet with text and/or artwork used as a visual aid to a preacher's sermon. This particular sermon chart uses the metaphor of the cross as a hinge, and allows the preacher to move from the "dawn" of time to its "end." In this sweeping description of the essence of time and God's work in it, the preacher discuss what "lead[s] to Christ" and from the cross what "lead[s] to God" until the end. The cross therefore is a pivotal moment in the center of time; it functions as a center of gravity tying the narrative into coherence. It is not clearly apparent if there is a direct correlation between the pairs of planks to the left and right of the cross. "God's love," however, runs throughout the narrative. This chart derives from Dillard Thurman, "Hinged on a Cross" [chart with article] The Vindicator 30 (October 1963), 1-4.

A bed sheet with text and/or artwork used as a visual aid to a preacher's sermon. The thrust of this particular sermon engages the question of how the Holy Spirit operates and communicates to persons today. Citing examples of the Spirit's "direct operation" through prophets, Christ and the apostles, in the past the preacher ultimately moves to the Bible as the source of guidance and the location of the Holy Spirit's on-going work today.

A bed sheet with text and/or artwork used as a visual aid to a preacher's sermon. The key text for this sermon chart appears at the foot of the cross, Romans 10;17. Two figures flank the cross, Noah to the left and Naaman to the right. Both are biblical figures and both are accompanied with appropriate textual citations. On the cross is a serpent, citing Number 21:6-9, representing the salvation of Israel in the time of Moses. The question put before the hearers of the sermon is, will you obey God like Noah, Naaman and Israel did?

A bed sheet with text and/or artwork used as a visual aid to a preacher's sermon. The narrative flow of this sermon chart proceeds from the tree of life in the Biblical Garden of Eden (left) to the tree of life in heaven at the end of time (right). The tree has been "transplant[ed]." In the mean time, there is a play off of truth and falsehood, again drawing from the account of Eve's believing a lie in the Garden of Eden and applied to modern times by way of citation from 2 Thessalonians. The alternative to persisting in lies is to "purify [one's] soul by obeying the truth." Just as one can hear, believe and obey a lie (and be "lost in sin"), so can one hear, believe and obey the truth (and be saved from sin). Such constitutes the sermon's central exhortation.

A bed sheet with text and/or artwork used as a visual aid to a preacher's sermon. This particular sermon chart contrasts the Levitical priesthood (figure on the left) with "every Christian" on the right, citing ten Biblical passages. The major point of the sermon is to demonstrate that every Christian is a priest before God and that the elements of the Levitical priesthood (cited specifically is "animal sacrifice") are no longer in effect for "every Christian."

Print of a Consolidated Vultee "Valiant" airplane with the number 107 on the side of it flying with clouds in the background.

Print of a Lockhead P-38 Lightning Twin Engine Fighter airplane with "AH" on the side of it flying with clouds in the background.

Print of a North American AT-6A "Texan" airplane with the number 807 on the side of it flying with clouds in the background.

Print of a North American P-51 Mustang USAF-USAAF Fighter plane flying with clouds in the background.

Print of a Republic P-47 Thunderbolt USAF-USAAF Fighter-Bomber with the letters "LH" on the side of it flying with clouds in the background.

A collection of human anatomy and architectural sketches, each dated and signed by the artist.

A collection of cartoons and caricatures depicting various social themes in colleges and universities, including clubs, athletics, exams, and alumni.

Ink drawings of male figures, mostly naked or wearing loincloths, depicting action in the human form. There are handwritten notes in pencil around the drawings, with arrows pointing to different parts of each drawing.

Cartoons drawn by Roy Crane, Jr., depicting a farm scene, a street scene, and a scene inside a small house, with notes and criticisms handwritten around the drawings.

Cartoon drawings of people in action - some drawn by Roy Crane, Jr., and some drawn by Charles N. Landon - with notes and criticisms handwritten around the drawings.

Tablet with drawings of trains, maps, and ships and a few brief writings. The tablet has a picture of a small boy in a wooden barrel on the front.

Compilation of political and advertising cartoons, depicting caricatures of angels, African-Americans, and Nazis. The compilation also includes non-caricature sketches of men, women, automobiles, and a small, one-story house.

A collection of political and social comics drawn in ink, with extra marks in pencil, including a drawing on the back of one of the illustrations

Collection of ink-drawn comics labeled, "Timely Cartoons," and signed by Roy Crane. There are also notes and criticisms handwritten in pencil on and around the drawings.

Collection of comic strips dealing with social themes, including the beach and a track meet, signed by Roy Crane.

Sports-themed comics drawn by Roy Crane, Jr., with criticisms handwritten on and around the drawings.

Caricature drawings of various humanoid figures drawn by Roy Crane, Jr., including a giant grim reaper skeleton following behind an automobile driving down a mountainside, with notes handwritten on and around the drawings.