Mourning images from my collection.
This is a copy of an earlier photo–certainly either an ambrotype or daguerreotype. Photographers Broadbent and Taylor, or whoever owed this image, drew strengthening lines around the woman’s shoulders and head, as well as around her eyes and possibly lips. On the actual cabinet card, these lines are not really noticeable, but when blown up, they become quite evident.
The sitter wears fashions that date the photograph to the 1850s. She wears a mourning brooch at her throat, its hair compartment and black enamel clearly visible. I have a similar brooch in my collection. The otherwise lovely piece below suffers from moisture damage. At some point in the past, water or humidity seeped into the brooch and now the hair is a shade of green, dyed by the metals that surround it. Ω
In the second half of the 19th Century, at the height of the Victorian Age, the union of photography and the supernatural spawned strange and enthralling results.
By Beverly Wilgus and Ann Longmore-Etheridge
Early in the practice of the photography, ghostlike images appeared on daguerreotypes, ambrotypes, and tintypes. The explanation for them was not supernatural: Because of the need for long exposures, in some cases of more than a minute, anything that moved whilst the camera lens was open went either unrecorded or appeared transparent in the final product. In 1856, Sir David Brewster (1781-1868), an important figure in photography’s evolution, described in his book The Stereoscope: Its History, Theory, and Construction the method by which amusing extras could be created in photographs. Brewster advised that sitters should be posed and after the majority of the plate exposure was finished, a new person should move into the scene and stay for the final seconds. This would result in a “spirit” presence.
Whilst Brewster clearly promoted this method for what it was—a trick—others with an interest in the expanding religion of Spiritualism saw ghost images as proof of life after death. It should be noted that the Victorians were not the only folk taken in by the callow exploitation of technology they did not fully understand.
A selection of vintage images from my collection featuring sitters whose identities, sadly, are unknown.
All images copyright the Ann Longmore-Etheridge Collection.
Early images of the Stars and Stripes from the Jack and Beverly Wilgus Collection.
By Beverly Wilgus
“It was the purpose of the author to describe a number of novel and curious effects that can be obtained by the aid of the camera, together with some instructive and interesting photographic experiments.”—F. R. Fraprie, 1922
By Beverly Wilgus
In 1893, H. P. Ranger was granted Patent No. 505,127 for a “Mirror For Use In Photography.” This was a device comprised of two adjustable mirrors set at an angle. When a subject was placed in front of it, his or her image was reflected in each mirror and that reflection was again reflected, resulting in five or more figures—the number of figures determined by the angle of the mirrors.
The above schema is from an article published in Scientific American in the 1890s that was included in the 1896 book Photographic Amusements by Frank R. Fraprie and Walter E. Woodbury. My husband and I own a copy of the 1931 edition that still contains the original illustrations.
Also from the book is the illustration above: “Diagram Showing The Method Of Production Of Five Views of One Subject By Multiphotography.”
This mid-1850s, whole-plate daguerreotype of a woman and three children is from the collection of Beverly Wilgus, another of the antique photo collectors of Flickr who has graciously allowed me to present her images. Of it, she writes, “[W]e have had the glass replaced by a conservator. It is our only whole plate daguerreotype (6 ½” X 8 ½”), which is the largest size that was in common production…. I have been asked why there is not father with the family. While it is possible that the father is deceased, I like to think that the photograph was a gift for him.”
If this image was a gift for Father, it was almost certainly purposefully posed to remind him, or any viewer, of his absence—the blank space in the middle the group screams to be filled. It is reminiscent of the portrait of the Bronte sisters, now known as the “Pillar Portrait,” which hangs in the National Gallery in London.
Painted in 1834 by the sisters’ talented, ego-driven, and alcohol-fueled brother who was then attempting to become a portrait artist, Branwell Bronte chose to eliminate himself and insert a column instead. It has been argued that he felt the composition was too crowded or that it was done in high dudgeon—we may never know which for sure. Charlotte died in 1855, at about the same time as Beverly’s daguerreotype was taken. After the death of Charlotte’s father in 1861, her husband, the Reverend Arthur Bell Nicholls, cut the painting from its frame, folded it up, and took it with him to his native Ireland, where it languished for many years. During that time, the “ghost” of Branwell began to appear through the paint—part spectral bogeyman, part prodigal son.
Another of Beverly’s images—this one an ambrotype also taken in the mid-1850s—again makes use of empty space to convey the message of loss. And in this image, it is indisputably death that has struck twice, leaving two pointed shapes like stab wounds between the three young people. A “reader” of this portrait, and it was yet very much a time of encoded meanings in art and photography, would know immediately that the teenage girls wore mourning gowns: the dark, wide lace collars of their dresses leave no doubt that the entirety of their costume is black. Between them is their younger brother, now the man of the family, reassuringly touching his elder sister’s arm. He seems stoic but unprepared for the task.
This final image used props to fill the void caused by death. Whilst the husband and wife focused on a point stage left (she almost certainly dressed in mourning), between them sat a plant stand covered by what must have been a colorful, almost childish string doily, upon which an elaborate picture frame was placed. It contains an image a girl and possibly a boy. The message can be taken no other way: “These were our children; now they are no more.” Ω