I’ve Almost Got You

These people are identified by inscriptions, yet their stories remain stubbornly untold—at least for now.

14176709780_5a53019b94_z
Mother and child, possibly Elise Briggs and her daughter Elise Von Rodenstein, albumen carte de visite, circa 1865, by the studio of Thomas Rodger, St. Andrews, Fife, Scotland. Ann Longmore-Etheridge Collection.

This beautiful carte de visite (CDV) is identified on the reverse as “Elise Von Rodenstein.” When I purchased it, I had great hopes of uncovering a full biography, but this has not yet happened. The first problem I encountered was not knowing whether the snood-wearing, polka dot-dressed mother or the equally polka-dotted child was Elise. If the infant, she may have been the Elise Von Rodenstein born in 1865 or 1866 in Fort Washington, New York, United States, to German immigrant Charles Von Rodenstein and his American wife, Elise Briggs. I am skeptical of this, however, as I can find no connection to Scotland.

Elise von Rodenstein’s potential mother, Elise Briggs, was enumerated on the 1881 Census of Kingston City, Ontario, Canada, with her six Von Rodenstein children. (Interestingly, half of the children were Catholics and the other half adherents of the Church of England.) The census said that Elise Briggs was born about 1833 in New Orleans, Louisiana, United States. In 1890, Elise and her children’s enumeration escaped the conflagration that destroyed most of the decade’s U.S. Census.  In that year, Elise Briggs lived in Washington, D.C., with one of her other daughters. She was also likely the same woman who died in Manhattan, New York City, 28 October, 1920, aged 88.

thomas_rodger
Thomas Rodger in the mid-1860s.

Elise Von Rodenstein became a nun. In 1910, she was at the Sacred Heart Convent and Loretta Sisters Schools in St. Charles, Missouri, working as a teacher, By 1915, she taught at the Academy of the Sacred Heart at University Avenue and 174th Street, New York City. Between 1920 and 1930, Elise was a nun at the Convent and Academy of the Sacred Heart in Rochester, New York. She eventually became Mother Superior of a Philadelphia convent and died there of acute coronary occlusion on 9 March, 1961.

The photographer of this CDV is quite well known. Thomas Rodger (1832-1883) studied at St. Andrews University, learned to produce the silver iodide-coated paper calotypes introduced in 1841, and became an assistant at Lord Kinnaird’s studio in Rossie Priory.

During the 1850s, Rodger won multiple awards for his photographic achievements, and in 1877 he was given the International Photographic Exhibition Medal.

4948363367_437ea0a14b_z
The Brown family, 1/4th-plate daguerreotype, circa 1852. Ann Longmore-Etheridge Collection.

Written inside the case of this delightful daguerreotype is “W. K. Brown, 45 yrs old; Wife, 41 years old; Minnie, 2 years old.”

Every time I look at baby Minnie’s grumpy face I can imagine her thoughts: “I hate my dress! I hate my boots! I hate my spit curls! And you behind that big box on sticks—I. Hate. You. Too!”

4948363367_437ea0a14b_z-version-3
No doubt but that her parents had the patience of saints.

I’ve looked to no avail for a Minnie Brown born between about 1848 and 1855. There are a few W. K. Browns and hundreds of W. Browns—William Browns, Wilhelm Browns, Walter Browns, Wilfred Browns, Wesley Browns—but none with a daughter named Minnie. If Mrs. Brown’s first name had been part of the inscription, I might have been able to suss out the family’s traces. Doing so may still be possible as more records come online. Until then, at least I can smile at eternally cranky Miss Minnie.

18713140102_42ca4849eb_z
Unmarked carte de visite of a woman in deep mourning, circa 1863. Ann Longmore-Etheridge Collection.

“Wife of Hugh Holmes” is written on reverse of this melancholy CDV. Assuming the heartbroken subject wore mourning for her spouse, I have looked into records of a number of men. The most promising was Hugh P. Holmes of Maine, who was born in 1833 and who died of Typhoid in August 1861, one month into his service with the 7th Regiment, Maine Volunteer Infantry. However, I can find no record of a marriage for this man. Hugh Holmes’s father filed a pension claim on his son many years later, but no widow is listed in the paperwork.

Another possibility is that Mrs. Holmes was not in mourning for her spouse, but for another close family member. This may indeed be more likely because Mrs. Holmes’s bonnet does not include white inner ruching signifying a widow. However, this practice was less common in the United States than in Great Britain. If this Mrs. Holmes did not mourn a spouse, it will be nearly impossible to identify her. Ω


de5d8411c72027d6862965e2124a112a

A happy New Year, Gentle Readers. May 2017 be kind to all your clan!

Should auld acquaintance be forgot,
And never brought to mind?
Should auld acquaintance be forgot,
And days of auld lang syne?

And days of auld lang syne, my dear,
And days of auld lang syne.
Should auld acquaintance be forgot,
And days of auld lang syne?

We twa hae run about the braes,
and pou’d the gowans fine;
But we’ve wander’d mony a weary fit,
sin’ auld lang syne.

And days of auld lang syne, my dear,
And days of auld lang syne.
Should auld acquaintance be forgot,
And days of auld lang syne?

We twa hae paidl’d in the burn,
frae morning sun till dine;
But seas between us braid hae roar’d
sin’ auld lang syne.

And days of auld lang syne, my dear,
And days of auld lang syne.
Should auld acquaintance be forgot,
And days of auld lang syne?

And there’s a hand, my trusty fiere!
and gie’s a hand o’ thine!
And we’ll tak’ a right gude-willie waught,
for auld lang syne.

—1788 poem by Robert Burns set to the tune of a traditional folk song.

Susan Sawin: Lost to the White Death

It is clear this portrait was taken before Susan slipped into the final downward spiral of Tuberculosis.

7473474866_064a705fae_z
Susan F. Kimball Sawin. Albumen carte de visite by the studio of A. B. Eaton, Manchester, New Hampshire. Ann Longmore-Etheridge Collection.

Written on the reverse of this carte de visite, of which above is a closeup, is “Mrs. Susan F. Sawin, Died April 23rd 1863 aged 29 yrs 10 mos 23 days.” Susan, née Kimball, born 31 May, 1833, was the daughter of farmer Ruben Kimball and Abigail Spaulding. A native of Manchester, New Hampshire, she died of consumption—Tuberculosis (TB)—in Townsend, Massachusetts, only a little more than a year after her marriage.

In the United States, TB was the leading cause of death during the 19th and early 20th centuries. The University of Virginia notes, “It was estimated that at the turn of the [20th] century 450 Americans died of tuberculosis every day, most between ages 15 and 44.” Susan Kimball Sawin was just one of these. Her simple life as a New England housewife was lived long ago and cut off in its prime, but her memory—and the memories of all the White Death’s victims—should be honored.

Susan was the third of four spouses of Elisha Dana Sawin. He was 5  born January, 1824, in Sherborn, Middlesex County, Massachusetts, and was the son of Bela Sawin (1789-1858) and his wife Rebecca Barber (1789-1827).

Elisha, who was as a cooper—a maker of casks and barrels—had taken as his first wife Hannah Campbell, daughter of farmer Daniel Campbell (1792-1873) and Susanna Colburn (1787-1859). Hannah was born 6 November, 1821, in Townsend. The couple married 12 November 1846—he a “bachelor” and she a “maid”—but the marriage lasted less than a year. Hannah died 12 August, 1847, in Milbury, Worcester County, Massachusetts, of an inflammation of the bowels.

Sawin’s second wife was Elmira Bartlett, born 21 May, 1826, in Townsend. Elmira was the daughter of Martin Bartlett (1786-1849) and Elmira Graham (1797-1882). The couple had a daughter, Ella F., who arrived in 1851. A second daughter, Anna M., was born in 27 August, 1853, but died of the croup aged 4 months and 9 days. It was a staggering loss, but worse was to come. As the decade waned, it became clear that Elmira had contracted the White Death and that she was waning, too.

“It is arterial blood. I cannot be deceived. That drop of blood is my death warrant. I must die.”

When, in 1820, the poet John Keats (who was schooled in medicine) coughed a spot of bright red blood, he told a friend, “It is arterial blood. I cannot be deceived. That drop of blood is my death warrant. I must die.” Within a year, aged 25, he did just that.

At the time of Keats, Elmira, and Susan’s deaths, TB was believed to be hereditary or arose spontaneously. By 1868, a french doctor, Jean-Antoine Villemin, ascertained that the disease was spread from one victim to another by a microorganism.

“In 1882, Robert Koch discovered a staining technique that enabled him to see Mycobacterium tuberculosis. What excited the world was not so much the scientific brilliance of Koch’s discovery, but the accompanying certainty that now the fight against humanity’s deadliest enemy could really begin,” states Rutgers Global Tuberculosis Institute at the New Jersey Medical School.

Meanwhile, the variable course of TB only served to make it more baffling and terrifying. Physicians could not easily predict whether a consumptive patient would succumb within months, linger for years, or somehow manage to overcome the disease altogether.

6832254567_3bfa7c3bc5_z
A “premortem” tintype of a woman dying of consumption taken about 1870. Like postmortem images, premortems were often made to mark the moment, especially if the individual had never been photographed before. Ann Longmore-Etheridge Collection.

According to the 19th century American physician Dr. William Sweetser, the first stage of consumption was marked by a dry, persistent cough, pains in the chest, and some difficulty breathing, any of which could be symptoms of less dire illnesses. The second stage brought a cough described by Sweetser as “severe, frequent, and harassing” as well as a twice-daily “hectic fever,” an accelerated pulse, and a deceptively healthy ruddy complexion.

In the final, fatal stage, wrote the doctor, “The emaciation is frightful and the most mournful change is witnessed… the cheeks are hollow… rendering the expression harsh and painful. The eyes are commonly sunken in their sockets… and often look morbidly bright and staring.” At this point, throat ulcers made eating difficult and speech was limited to a hoarse whisper. Once the distinctive “graveyard cough” began, the diagnosis was certain and death was inevitable. Rarely, wrote Sweetser, “life, wasted to the most feeble spark, goes out almost insensibly.” More typically, severe stomach cramps, excessive sweating, a choking sensation, and vomiting of blood preceded the victim’s demise.

Elmira Sawin rasped her last breath on 21 August, 1860, when her daughter Ella was only four years old. The widower took almost two years to court the little girl’s new mother.

Pretty Susan Kimball, aged 27, became Ella’s stepmother on 10 June, 1862. Sadly, in short order, Susan began to exhibit the telltale signs of TB. Her fight was brief, and with the greening of Spring 1863 she joined Elisha’s previous spouses at Townsend’s Hillside Cemetery. However, unlike Hannah’s and Elmira’s graves, today Susan’s is unmarked. It is uncertain whether there was a headstone that has now vanished or whether Elisha Sawin chose not to have one made.

Elisha, now aged 40, waited only until Autumn to take as his fourth wife, Mary Jane Gilson. Born 19 May, 1830, in Brookline, she was the daughter of William Gilson (1802-1887) and Eliza Ames (1806-1841). The couple married 26 October, 1863, in Townsend. Elisha, Mary Jane, and Ella appear together on the 1865 Massachusetts State Census and the 1870 Federal Census.

img
Obituary of Eliel S. Ball, Fitchburg Sentinel, 2 January, 1892.

On 4 August, 1875, Ella Sawin married the superintendent of schools in Westerly, Rhode Island, Eliel Shumway Ball (1848-1892), whose obituary (above) details his life. Together they had four children: Rose Julia Ball was born in 1876, but died in 1880 at age four; Arthur Watson Ball was born in 1878 and lived only two years; Laurence Sawin Ball was born in 1882 and Alfred Tenney Ball in 1886. The two youngest sons lived to adulthood.

After her husband’s death from acute Bright’s disease on New Year’s Day 1892, Ella lived on as a widow for another 36 years. She died 3 February, 1918, and is buried at Hillside Cemetery.

The union of Elisha and Mary Jane produced no children of its own but appears to have been a busy and happy one. By the enumeration of the 1880 Census, Elisha Sawin was no longer a cooper, but had become a peddler in Townsend. He was also deacon of the Townsend Congregational Church and his wife was involved with its mission, too. The 17 July, 1890, Fitchburg Sentinel notes that Mary Jane, in the company of other Townsend ladies, was “gone to Framingham to attend the Chautauqua meetings there.”

The couple, however, entered into serious decline in the last months of 1899. On 20 October, the Sentinel reported, “E. D. Sawin, who has been ill several weeks, was able to be out Saturday last, but has since had a relapse and is now again confined to his bed.” His sickness was almost certainly chronic cystitis, a bacterial infection of the bladder by Escherichia coli. The illness plagued him throughout the remainder of his life. On 17 November, Mary Jane Sawin died from pneumonia. Elisha outlived her by not much above a year, dying of chronic cystitis, age 77, on 7 January, 1901.

Susan Sawin’s photograph was probably trimmed for insertion into a mourning brooch.

My CDV of Susan Sawin is likely a copy of an original ambrotype or daguerreotype, as the fashions Susan wears could date to as early as about 1853, when she was about 19, or may be late in the same decade. Without seeing more of her clothing, it is hard to pinpoint, but it is clear that this portrait was taken before Susan slipped into the final downward spiral of Tuberculosis.

Susan’s albumen paper image was cut into a small circle probably meant for insertion into a mourning brooch. Multiple copies may have been made for several mourning pieces, and mine was a spare glued onto a CDV card. Ω

IMG_6326
The image of Susan Sawin may have been meant for a similar mourning brooch. The hand-tinted image is trimmed from a CDV dating to the early 1860s. Ann Longmore-Etheridge Collection.

Happy Christmas from Four Generations of My Family

I’m dreaming of a white Christmas
Just like the ones I used to know
May your days be merry and bright
And may all your Christmases be white….

20225250582_fc89a4763f_k
My maternal grandparents decorate the Christmas tree, Robin Road, Silver Spring, Maryland, circa 1952. My grandfather was a Kidderminster, Worcestershire native, and his fourth wife Lillian Marie Fox, was in all likelihood the great-great granddaughter of British Prime Minister Charles James Fox through an illegitimate line. I cannot prove it, but the evidence supports this story.
27676552685_8f05bf3ffc_z
It’s Christmas 1954. My grandfather has now passed on and my parents, James Arthur Longmore and Elaine Garnand (“Sally”) have wed. Pictured with them are my grandmother and a friend called Harriet.
5048808505_546cb492bb_z
December 25, 1963: I have arrived and chaos ensues as the universe becomes mine. Robin Road, Silver Spring, Maryland.
26938362752_25c41f66a6_z
Christmas 1965 in our new home in Linette Lane, Annandale, Virginia.
29791317172_239e727743_z
It’s Christmas day 1968. I now have a sister, Alice, with whom I must graciously share the Yuletide spoils. Linette Lane, Annandale, Virginia.
img_1404
The newest generation, Nicholas and Emily Etheridge, with their grandfather James Longmore, in our home in Myersville, Maryland.

Ω

Let it Snow, Let it Snow, Let it Snow!

31433991460_3d647fc9f6_b
Snow banks on U.S. Route 40 at Keysers Ridge, Garrett County, Maryland, circa 1925. Real photo postcard.

“Oh the weather outside is frightful
But the fire is so delightful
And since we’ve no place to go
Let it snow! Let it snow! Let it snow!”

s-l1600-4
Electric trollies navigate the snow-jammed streets of a U.S. city, probably Seattle, Washington, during the enormous snows of 1916. Real photo postcard.

“It doesn’t show signs of stopping
And I’ve bought some corn for popping
The lights are turned way down low
Let it snow! Let It snow! Let it snow!”

19610851234_df01bbae89_k
My paternal grandfather James Albert Longmore shovels out after a winter storm in Camden, New Jersey, during the late 1930s.

“When we finally kiss good night
How I’ll hate going out in the storm!
But if you’ll really hold me tight
All the way home I’ll be warm…”

2016-09-28-0002
My mother Sally Garnand Longmore outside our home in  Linette Lane, Annandale, Virginia, circa 1980.

“The fire is slowly dying
And, my dear, we’re still goodbying
But as long as you love me so
Let it snow! Let it snow! Let it snow!” Ω

s-l1600-1
Snow-covered trees somewhere in the Western United States. Postcard by William P. Sanborn, circa 1940.

Words: Sammy Cahn; Images: Ann Longmore-Etheridge Collection.

We Were Happy Here

31434692380_a51e61e101_b
Unknown American hamlet, Real Photo Postcard, circa 1910. Written on the reverse is “To keep.”

“We were happy here
Even in the cold spells
Even with the roads
Like a frozen river
We would keep each other warm
And we were happy here
With the soup on the fire
And the wind in the chimney
And the floors too cold for bare feet…”

30376575364_820d17c118_b
Unknown town, real photo postcard, circa 1905.

“And we were happy here
When the Spring broke the ice
And there were limbs to be cleared
And the melting snow
Let the pines spring back up
Toward the sky…”

18183244516_12e07a093d_b
Unknown Maryland town, real photo postcard, circa 1905.

“But we were happy here
With our simple life
It was our whole life
And we were happy here
Before the news came
That the world was small
And the roar was loud
And not quite so distant after all…”

17984404671_4b87017417_h
Middletown, Maryland, postcard, circa 1940.

“But we were happy here
When the cries of our babies
Were the only cries
And our bad moods
The only bad moods
Which we coaxed and stroked
Just like our own private fires.”

31691650731_d3b9376dcf_b
My mother, Sally Garnand (right), on the farm of her Aunt Edna Newton, King George County, Virginia, circa 1936.

“But we were happy here
Before….” Ω


Words: “Private Fires” by Andreas Vollenweider. Images: Ann Longmore-Etheridge Collection. 

Hermine Roschen: A Baltimore Life

There is good evidence that the marriage was kept a secret for some time.

6009970588_a1d8ecee27_z
West Patrick Street, Frederick, Maryland, circa 1905. Postcard mailed 11 August, 1909. Ann Longmore-Etheridge Collection.

I live not far from Frederick, Maryland, which is a wonderful little city—a real Maryland gem that is more vital now than at any time in its venerable history. Frederick’s old bones have been lovingly preserved beside modern additions such as a river walk, an antiques row, and a theatre district. In fact, Patrick Street, which this postcard depicts, looks much the same today as it did when this was mailed on 11 August, 1909—just less eerie and weird.

Addressed to Mrs. H. Roschen, 838 Edmundson Avenue, Baltimore, Maryland, and mailed from the summer resort community of Braddock Heights, which was only a reasonable trolly ride away, the message reads: “Dear Mamma, I wrote Uncle Henry & Uncle Ernst & grandma a postal. Please send my double heart pin with my other things. It’s in my jewelry box. I am going to see Miss Hartman of the W.H.S. now. Almost finished my hardanger. Nice & cool here. Everyone well save for a toothache. Love to all from Hermine.”

6009976174_70a51c65a3_z
The reverse of the Roschen postcard.

Hermine Joanna Roschen, who wrote this postcard when she was 19, was born in November 1889. No one yet knew it, but she had been married for the better part of a year.

Her father, Henry Roschen, was from Germany, having come to the United States in 1875. An extant passport application states that he was born in Bremen 23 February, 1858, to Hermann Diedrich Roschen and Adelheid Brockwehl, and became a naturalized U.S. citizen in 1887. On this application, he is described as 5’4″, with brown eyes, a straight nose, a medium mouth, a short chin, dark hair, dark complexion, and a round face.

The 1890 Baltimore City Directory listed 838 Edmondson Avenue as the location of Edward A. Prior and Company, fancy goods and toys wholesaler, and Henry Roschen as its proprietor, so perhaps the family home was above the shop of this establishment. The 2 January, 1897 Baltimore Sun contained a notice from Louis Sinsheimer stating that he had sold his wholesale flour business to Henry Roschen and Frank Boehmer, who would operate it under the name of Boehmer & Roschen. This partnership lasted until January 1907 when Henry Roschen likely died. If not then, Roschen was certainly deceased by the enumeration of the 1910 Census.

“The girls were enticing in all that shimmering cloth, bright tinsel and dainty touches of rouge.”

The “Mamma” of this postcard missive was Roschen’s wife, Louise A. Schroeder, who was born in Maryland in November 1863. She wed Henry Roschen in about 1876. Hermine was the couple’s second child. She had an elder sister named Louisa A. (b. Aug 1888) and younger siblings called Henry Herman (b. 17 June 1892-9 April 1958), Elsa (b. June 1895), Adela (b. Oct. 1897), and Ernest Carl Henry (b. Sept. 1899), the last of whom would spend his life in exotic locations throughout the world.

The Baltimore Sun of 11 February, 1908, offered a glimpse of Hermine at Baltimore’s Lyric Theatre during a masked ball by the Germania Mænnerchor, a German male choral society. “The girls were entrancing, in all that shimmering cloth, bright tinsel and dainty touches of rouge,” salivated the Sun. The men, however, fell short in the newspaper’s eyes, being “as ludicrous and misshapen as they could possibly be while temporarily hiding their masculine grace in masks, flat shoes, and lurid colors.”

The Germania Mænnerchor ball included a tableau, a ballet of small girls, and general revelry. Prizes were given, one of which Hermine, her sister Louisa, and several other young ladies won for a performance titled “School Days.” Later that year, Hermine would experience the last of her own school days when she graduated from Baltimore’s Western High school.

caruso-portrait
Hermine saw operatic tenor Caruso perform in March 1909.

On 26 January, 1909, Hermine married Irvin Henry Hahn, son of Joseph Henry Ferdinand and Clara M. Hahn. I can ascertain nothing of where or how they met, but there is good evidence that the marriage was kept a secret for some time. For example, the 9 March, 1909 issue of the Sun noted that Miss Hermine Roschen—not Mrs. Irvin Hahn—had been at the Lyric again to hear the Metropolitan Opera Company with the world-renown operatic tenor Enrico Caruso. We already know from her postcard that in August 1909 Hermine was summering in Braddock Heights under her maiden name, and when the 1910 census was taken, Hermine and her siblings lived with Hermine J. Shroeder, their 71-year-old  maternal grandmother, who had emigrated from Germany in 1862 with her husband Henry Schroeder, an artist born in Prussia in about 1839.

Whatever caused the delay in announcing their marriage, it was in the open by 5 June, 1917, when Irvin Hahn filled out a World War I draft registration stating that he was born 8 May, 1887, in Baltimore, and was living with his wife and child at 1957 Edmonton Avenue—just down the road from the houses of Hermine’s mother and grandmother. Hahn noted that he worked for his father, a manufacturer of metal goods for the military who led a company that was established in 1898. Irvin was noted to be of medium height and slender, with blue eyes and brown hair.

img-3
The Baltimore Sun of 21 October, 1925, ran this delightful article on the return of Dr. Joseph Singewald and Hermine’s brother Ernest from a visit to several tribes of South American headhunters.

In 1920, the Hahns lived in White Street, Baltimore, with their two-year-old son Irvin Henry Ferdinand, born 6 May, 1917, who went by his third name or the nickname “Ferdie.” Their situation was unchanged a decade later, save that the family moved to 708 Reisterstown Road, Pikesville, a Baltimore suburb. Hahn listed his occupation as a manufacturer of metal goods. Finally, the 1940 Census placed all three family members together at the same address.

In 1942, Hahn registered for the WWII draft. Hahn was now the owner of his own business—the Irvin H. Hahn Company of 326 S. Hanover Street, Baltimore, which had been set up in direct rivalry with his father’s. (Incredibly, the company still exists today as a manufacturer of police badges and other insignias.) Hahn was described as 5’8″ with a light complexion, brown hair and brown eyes, and had a scar on his left thumb.

Ferdinand attended Reisterstown’s Franklin High School. This couplet was written about him in the 1933 yearbook: “Fun-loving, quick-tempered, white-haired Ferdie, his classmates’ joy and his teachers’ worry.” (Who else sees Draco Malfoy?) In the school’s 1946 yearbook, Hermine and Irvin were listed as boosters. This is the last trace I have found of her. She died 5 November, 1949.

After Hermine’s death, her husband took a solo journey to what was the Canal Zone, now Panama, in 1951. Two years later, he sailed from the port of New York to spend 3 months in Angola, presumably visiting his brother-in-law Ernest who lived in Loanda with his wife Augusta Fredericka Cranford.

Irvin died in October 1966. His obituary in the Sun reads: “Irvin H. Hahn is Dead at 79. Opened Metal Trimmings Company in 1928. Services for Irvin H. Hahn, retired president of a firm which produces badges and other metal trimming for uniforms, will be held at 11 a.m., Friday, at the Frank H. Newell funeral establishment, Reisterstown Road and Waldron Avenue, Pikesville.

“Mr. Hahn, 79, died Monday night at his home, 708 Reisterstown Road, Pikesville. Hahn was the president of the Irvin H. Hahn Company from 1928 to 1954…. A native of Baltimore, Mr. Hahn attended public schools here and the University of Maryland…. He opened his own firm in 1928…. His company had headquarters at 207 South Sharp Street until 1942, when the building collapsed in a snowstorm. The organization then moved to S. Hanover street. Mr. Hahn relinquished the presidency of his firm, which has 23 employees, to his son I. H. Ferdinand Hahn, in 1954, but remained as an advisor to the enterprise. He also held the posts of vice president and secretary.

“He was a member of the Masons, the Shriners, the Ames Methodist Church, and the 100 Club of Boumi Temple. Survivors include his son; a brother, Edgar F. Hahn, of Catonsville; and two sisters, Miss C. Viola Hahn and Miss Mildred E. Hahn, both of Baltimore.”

Irvin and Hermine’s son Ferdinand never married and had no children. He died in April 1987. I have not been able to ascertain where Ferdinand or his parents are buried. The intrepid Ernest Roschen died in Orange County, California, 2 August 1992, equally childless. Ω


hardanger_embroideryAs a postscript, let’s return to the postcard’s message, in which Hermine Roschen mentioned a “Hardanger” that was nearly finished. This was a piece of Hardanger embroidery, or “Hardangersøm,” using white thread on white even-weave cloth, sometimes also known as “whitework” embroidery.
Photo by Velvet-Glove at English Wikipedia.

Historical Hotties or “My Imaginary Dead Boyfriends”

The first of an occasional series.

7043139287_2a62f6281f_z
Hoo Boy! 1/6th-plate daguerreotype with tinting and solarization, circa 1846. Ann Longmore-Etheridge Collection.
5604372768_d5973b3b0f_z
Fresh from the cornfield, tintype, circa 1885. Ann Longmore-Etheridge Collection.
4935004532_531307aceb_z
Ol’ Blue Eyes, 1/6th-plate, hand-tinted daguerreotype, circa 1852. Ann Longmore-Etheridge Collection.
4942965365_27d4a80039_z
Handsome fellow, 1/6th-plate Weston daguerreotype with solarization, circa 1852. James P. Weston operated a daguerreotype gallery in New York City between 1842 and 1857. The studio functioned out of 132 Chatham Street from 1852 to 1856.

Ω

Portrait Brooches: Preserving Appearance in a Time Before Photography

This English Regency-era portrait of a pretty brunette with a ruff-like collar and giraffish neck is an example of the type of image available from a local artist.

4928012768_d5873a4f94_z
Portrait brooch of an unknown woman. The painting was made during the second decade of the 1800s, but the body of the brooch is from the 1850s. Ann Longmore-Etheridge Collection.

Before the earliest known photograph was taken in 1826 by the French inventor Joseph Nicéphone Niépce and the first picture of an individual taken in late 1839, miniature painted portraits were treasured by those who could afford them. The first known portrait miniature (and possibly the first self-portrait) was painted in 1450 by the artist Jean Fouquet, and until the late 1500s, portrait miniatures remained the possessions of those at the top of the social pyramid. The kings of both France and England employed court miniaturists whose earliest works are of royal spouses, children, and other close relations. From there, the painting of miniature portraits spread, encompassing the nobility then the gentry, in an expanding ripple. By the 18th Century, every European nation and the North American Colonies boasted both well-established and itinerant artists.

fouquet1
The first known portrait miniature is a self-portrait by Jean Fouquet, painted in 1450. This monochrome gold picture is now in the Louvre.

The English Regency-era portrait above of a pretty brunette with a ruff-like collar and giraffish neck is an example of the type of image available from a local artist. Painted in about 1818, it would have been taken from life, probably by a painter who journeyed to the home of the subject for the number of sittings required to complete the portrait.

“The miniaturist chose a high work surface or placed his easel—a box with an adjustable, slanted lid—on a table. This was moved nearer the window, and the painter sat down—so as not to cover his work painting with the shadow of his hand—then the light fell onto his work from his left. A room facing north had the advantage that the painter was not disturbed by direct or moving sun rays,” notes Bernd Pappe of the Tansey Collection of miniatures, housed in Bomann Museum in Celle, Germany.

At this date, the artist usually painted on a thin tablet of ivory glued onto a supporting card, using paints that either he or she mixed with binder, or—increasingly after 1700—were sold premade.

IMG_5762
Pinchbeck or low-karat gold and black enamel mourning brooch with an amateur portrait painted on a small ivory tablet, probably from the 1830s. Ann Longmore-Etheridge Collection.

The new availability of premixed paints and ivory sheets turned those who could afford to dabble into portrait artists, too. Well-bred children were expected to have accomplishments, and within the family, portrait sketching was a laudable pastime. It was surely a family member or friend who painted the image beneath the crystal of the mourning brooch above. Of gold and black enamel, it dates to about 1820. The brooch is one of several that I own showing the deceased as portrayed by an amateur—clearly not by someone who made their living as a miniaturist. Because it dates from before the availability of a photographic portrait, one is left to wonder whether the portrait was painted before the brooch and was later repurposed after the sitter’s death, or if it was painted from memory later. In either case, the possibility of this being the only likeness of the subject is considerable. Ω

Adorable Moppets

The first of a occasional series.

Tartan and Striped Socks

6690693103_9c696e63f4_b
Tintype, circa 1880. Ann Longmore-Etheridge Collection. His hard-soled, lace-up boots are pretty darned adorbs, too.

Big Brother, Little Sister

14429500943_1da1ae640e_b
1/6th-plate daguerreotype, circa 1849. Ann Longmore-Etheridge Collection. The image is shown here in its open case. Nearly all of the earliest forms of photography were presented in wooden cases.

Worried Will

5159596418_30f60c31cc_b
British 1/9th-plate relievo ambrotype, circa 1858. Ann Longmore-Etheridge Collection. In this version of an ambrotype, created in 1854 by a Scottish photographer named Urie, the background surrounding the sitter is scraped away and replaced with one of a number of options, including a solid color, a vignette mat, or a false background. When I purchased this ambrotype there was nothing behind the boy’s image, so I had to create a backdrop.

Daddy’s Darling

12200181374_2de801d58b_b
1/9th-plate daguerreotype, circa 1850. Ann Longmore-Etheridge Collection. This beautiful little girl, who is literally falling out of her dress, wears a coral necklace (thought to protect children from diseases) but the object in her hand remains a mystery.

Ω

Kissing Cousins?

“Almost certainly a wedding portrait, this is a reasonably well-to-do couple, since they are dressed in formal day wear.”

5178773813_4ce490da7c_b
Unknown couple, 6th-plate daguerreotype, circa 1854. Ann Longmore-Etheridge Collection.

This is another of my daguerreotypes, formerly of the Ralph Bova collection, which was published in Joan Severa’s My Likeness Taken. Severa wrote of the image: “Almost certainly a wedding portrait, this is a reasonably well-to-do couple, since they are dressed in formal day wear.

“The wife has done her hair in the bandeau style, in the longer, deeper roll that was one of the choices at mid-decade. Her hairdo is finished with ribbon ends hanging from a bow at the back of the crown. She wears what is probably a black velvet bodice over a black silk shirt. The fine whitework collar is large, and the white undersleeve cuffs are deeply frilled. The unusually wide silk ribbon is an expensive luxury; it flares prettily from the folds under the collar to spread over the bosom. A gold chain for a pencil hangs at the waistline.

“The young man wears a morning suit: a cutaway coat over striped trousers. His black vest matches the coat, and the high, standing collar of his starched shirt is held by a wide, horizontal necktie.”

When I first uploaded this image to my photostream at Flickr, a number of commentors suggested the sitters were siblings rather than man and wife. I agree there is a definite resemblance. Severna felt strongly that this image had the hallmarks of a wedding photograph and I also agree with her assessment. The two positions may be reconciled if the subjects are married cousins—a common occurrence until the second half of the 20th Century. Ω