Indelible Memories: Mid-Maryland Children and the Civil War

4916779502_21a3752910_o.jpg
Handpainted carte de visite of “Little Willie, Uncle George and Aunt Emma’s son,” likely taken between 1860-1863. Many Mid-Maryland children of this generation witnessed the war and carried these memories well into the 20th Century. Ann Longmore-Etheridge Collection.

When James Hard died on 12 March, 1953, in Rochester, New York, the final firsthand battle memories from U.S. Civil War were forever lost. Hard was the last verified soldier on either side of the conflict who actively fought—in his case, as a teenaged infantryman in the 37th New York Volunteer Infantry Regiment—at First Bull Run, Antietam, Chancellorsville, and Fredericksburg.

There were others still alive, however, such as John Caleb Leatherman, who were children and teens during the war years. In Maryland’s Frederick and Washington Counties, and just across the Potomac in West Virginia’s Shepherdstown, these elders possessed indelible memories of South Mountain, Antietam, or Monocacy lain down through civilian, juvenile lenses.

william-black.soldier
Twelve-year-old Edward Black (1853–1872) had his hand and arm shattered by an exploding shell whilst serving as a Union drummer boy. Courtesy Library of Congress.

One example was Jacob E. Eavey. On 15 August, 1948, he died in the Guildford Nursing Home in Boonsboro at age 97 after a professional life spent running a grocery shop at 29 North Main Street, Keedysville. Eavey was the son of Samuel Eavey (1828-1911) and Catherine Ecker (1828-1868) and was born in Porterstown on 21 October, 1850. He would marry Clementine Eugenia Keedy (1850-1929) and father five daughters and one son.

Like John Leatherman, Eavey kept vivid memories of 16 September, 1862. Whilst John spent the 16th in Middletown, helping his mother nurse wounded soldiers from the previous day’s fighting, 12-year-old Jacob spent it “sitting on a fence beside the road, watching the soldiers striding down South Mountain” on their way to meet their individual destinies at the Battle of Antietam, reported the Hagerstown Daily Herald of 16 August, 1948When fighting kicked off at Sharpsburg on the 17th, Eavey stood near his parent’s smokehouse in Porterstown, just to the east of Sharpsburg, as a Rebel shell tore through and wrecked the building but spared his life.

Continue reading “Indelible Memories: Mid-Maryland Children and the Civil War”

Apparitions of the Aperture

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.

SpiritChildTin
Cased tintype spirit image by an unknown photographer, circa 1868. Jack and Beverly Wilgus Collection. (Unless otherwise noted, all images in this article are courtesy Jack and Beverly Wilgus.)

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.

BrewsterStereo
This English stereoview card from the early 1860s titled “The Ghost in the Stereoscope” noted that it was “kindly suggested by Sir David Brewster.”

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.

Continue reading “Apparitions of the Aperture”

This is His Orphan: What it Shows and What it Doesn’t

daga1IMG
Widow and Orphan, Albumen Carte de Visite, Circa 1868. Ann Longmore-Etheridge Collection.

This English carte de visite (CDV) is one of the most popular in my collection, if Flickr views and Pinterest re-pins equate to evidence, that is. It shows a young British widow—identifiable as such by the white ruching on her black bonnet—squatting in the background, having just propelled her black-clad daughter toward the photographer. The widow stares forward forlornly, her hand over her mouth, indicating without words her shock and concern for their future. It is a candid, painfully honest pose, and one rarely seen in types of images. She is no “Hidden Mother,” but a vital element of a tableau meant to convey the message, “This is his orphan.”

The reverse stamp on the CDV reads “T. Bennett, Photographer, 46 Foregate Street and Church Street, Malvern.” According to research conducted by the creator of Photographers of Great Britain and Ireland, 1840-1940, Thomas Bennett “opened his first studio in Worcester in 1856. At different times, he operated at five studios in Worcester and three in Malvern under his own name and the business continued under the name of Bennett & Son and Bennett & Sons until at least 1916.”

“The 1861 census records the [Bennett] family living at his shop at 46 Foregate, Worcester, where he is described as a Lay Clerk (of the church) and photographer. His firm Thomas Bennett and Son is thought to have been established about 1856. His branch in Great Malvern was possibly the second photographic studio” in that town—this information gleaned from the Malvern Records Office. Bennett threw open the doors of his Malvern studio in 1868 and the CDV of mother and daughter could not have been taken long afterward.

Continue reading “This is His Orphan: What it Shows and What it Doesn’t”

On This Day for Mothers

“Mothers, I believe, intoxicate us. We idolize them and take them for granted. We hate them and blame them and exalt them more thoroughly than anyone else in our lives. We sift through the evidence of their love, reassure ourselves of their affection and its biological genesis. We can steal and lie and leave and they will love us.”—Megan Mayhew Bergman

4715860088_170bbac360_o
From left, my grandmother, Lillian Marie Fox; my great-grandmother, Rebecca Murdock Fox; and my great aunt, Rebecca Fox, posed for this tintype in about 1901. Ann Longmore-Etheridge Collection.
11178332634_3e9d60169a_o
This tintype’s sitters were a beautiful turn-of-the-century mother and daughter who appear to be African-American. Courtesy Jack and Beverley Wilgus Collection.
5099229059_1a590a3bd5_o
An American mother sat outside with her children for this ambrotype taken on a clear day in about 1880. Ann Longmore-Etheridge Collection.
3360043331_837fa3d3cd_o
An adoring, late-Victorian mother and delighted child were the subjects of this albumen print on cardboard. Photo Courtesy Price and Zimmer Collection.
15981569687_60f65482d1_k
An unknown lady tenderly holds her baby in this circa-1875 carte de visite by Hills & Saunders, Oxford, England. Courtesy James Morley Collection.

Ω


I wish all mothers a happy day of love and peace. For all you have done and will do, you are saluted.

Mommy and Me

“Because I feel that in the heavens above
The angels, whispering one to another,
Can find among their burning tears of love,
None so devotional as that of ‘Mother,’
Therefore, by that dear name I have long called you,
You who are more than mother unto me.” — Edgar Allan Poe

8673431850_5ae172a421_h
A proud mother and her adorable daughter pose in this 1/6-plate daguerreotype, circa 1850. The mother wears a fashionable “Jennie Lind” collar, made popular by the soprano Jennie Lind, the “Swedish Nightingale,” who toured North America from 1850 to 1852 under the relentless promotion of showman P. T. Barnum. Ann Longmore-Etheridge Collection.
8754664382_17b1ed2681_o
This mid-1870s tintype from the Jack and Beverly Wilgus Collection includes a shy “hidden mother” who is revealed with the removal of the decorative paper mat.
5265855274_ecf823dfb1_b
A nicely dressed English mother and son photographed in about 1862. Her smoothed and center-parted hair, pagoda sleeves, full hoop, and applied decorative trim was at the height of fashion. Her boy’s checkered, belted, one-piece dress was perhaps in shades of red and tan, similar to the fabric used in this earlier example. This albumen carte de visite is from the Caroline Leech Collection, originally photographed by G. J. Tear, Clapham Road, London.
11131720303_bcd7c86041_b
A mother, son, and baby in a pram enjoying a sunny day in England during the late 1920s. Scanned film negative from the James Morley Collection.
9860148255_605fce91a3_h
An American mother and two daughters pose for an adorable 1/6th-plate Gaudin daguerreotype, circa 1852. The plate is marked “Double, A. Gaudin, 40,” the hallmark of Antoine Gaudin & Bro., 9 Rue de la Perle, Paris, a French company whose products were widely used by daguerreians throughout America. The older daughter is wearing a “protective” coral necklace. Coral was thought to have special efficacious properties to safeguard children. Ann Longmore-Etheridge Collection.

Ω


A quick note: I will be having surgery on Tuesday, 4 April, and will be taking at least a four- or five-day hiatus to recover. I will return as soon as possible. Promise.

Blue-Eyed Widow

“A certain vivid face, looking out at you, with its voice just a breath from speaking, can sometimes stop your heart.”

6922571710_a227d052df_h
Albumen carte de visite of an unknown Illinois woman wearing mourning dress and jewelry, photographed by Candace McCormick Reed, circa 1861. Ann Longmore-Etheridge Collection.

This carte de visite (CDV) is both visually stunning as well as a lovely example of mourning jewelry as it was worn in the Victorian era. And no, this woman was not Reptilian. Individuals with blue eyes merely looked like space lizards when pictured by early photographic technologies.

This is what daguerreotypist Albert Sands Southworth told his female customers in an 1854 Lady’s Almanac article titled “Suggestions for Ladies Who Sit for Daguerreotypes”: “Remember that positive red, orange, yellow or green are the same as black, or nearly so; and violet, purple and blue are nearly the same as white; and arrange your costume accordingly.”

The CDV’s subject was probably a widow in a later stage of mourning. Her headgear seems to be a snood made of woven ribbons with fancy bows and by the ears and at the crown as well as black-and-white lace that is perhaps loosely ruched around the lower part of the hairnet. In her monumental book Dressed for the Photographer, Joan Severa writes of a slightly fancier gown of an identical cut, “This well-fitted frock shows the fashionable puffed sleeve at its height in the early sixties…. The dart-fitted, short-waisted bodice and gathered straight lengths of skirt, plus the extreme width of the hoop, are clear evidence of the early date as well. Also seen here are the effects of the new corset in ordinary use: the breasts are full, separated, and well-defined, and the rib cage is tapered firmly to the small waist measurement (the corset being very short below the waist) [where a belt] cinches the garment properly.”

joan-severa-lo-res-180
The late Joan Severa: “When my soul is free at last, it will run, flying lithe and barefoot.”

And now I must praise her like I should.

Joan Severa passed away in March 2015, aged 89. Although I never met Joan, I consider her a mentor and will be forever grateful for her research that taught me to date 19th Century photographs by fashions worn within a two-to-four year span, and for her writing that immeasurably enriched my understanding of the Victorian era.

Born 7 August, 1925, in Spring Green, Wisconsin, Joan was long with that state’s historical society, ultimately serving as curator of costume, textiles, and decorative arts. Dressed for the Photographer won the CSA Millia Davenport Award in 1996, and prizes from the Society for the Preservation of New England Antiquities, the Victorian Society in America, Wisconsin Library Association, and the Golden Pen Writing Award from the United States Institute for Theater Technicians. Her followup My Likeness Taken: Daguerreian Portraits in America contains four daguerreotypes now in my collection.

In the introduction to this book, Joan wrote of the photographic traces of lives gone by, “We experience inescapable emotions when viewing these images. A certain vivid face, looking out at you, with its voice just a breath from speaking, can sometimes stop your heart.” When I read these words I was more than convinced Joan and I were kindred spirits. I’m sure that when first glimpsing the beautiful and hauntingly powerful subject of the CDV above, you may have felt the same sudden forceful hearbeats, the in-rush of air pulled sharply through your nose, and knew that when Joan wrote that last quote, she wrote it for you, too.

Leading us yet along a female pathway, the reverse of the above CDV is marked “Mrs. W. A. Reed, Artist, No. 81 1/2 Hampshire Street, Quincy, ILL.”

According to the Illinois Women Artists Project, “Candace McCormick Reed was born in Crab Orchard, Tennessee, on June 17, 1818, and moved to St. Louis as a young girl. She married Warren Reed in 1842 in St. Louis. Leaving Missouri for Quincy, Illinois, the Reeds opened a daguerreotype gallery in 1848 on the southeast corner of the downtown square, now Washington Park. When her husband died ten years later in April of 1858, Candace Reed became the gallery owner and used her acquired expertise as a daguerreotypist, ambrotypist, and photographer to support herself, two young sons, and her mother-in-law.”

Reed opened the Excelsior Gallery at 103 Hampshire Street in Quincy and took as an assistant her sister Celina McCormick. “Typically working under the name Mrs. W. A. Reed or Mrs. Warren Reed, she advertised in the Quincy Whig & Republican (January 4, 1862) promoting her new stock of camera equipment ‘to surpass everything in the line of her art,’” the Women Artist Project noted, and indeed, her career was a garden of unforgettable images.

Candace Reed died in Quincy 7 April, 1900, and despite an 1878 fire in her studio, “Numerous carte de visite portraits, family photographs and photographs of soldiers during the war survive. These photos, along with city street scenes, record events and provide an enhanced view of local 19th Century culture. Her legacy of photographic work adds immensely to community historical perspectives,” the site states. I am glad that my CVD is one of those that can yet cause a breath to draw and a heart to flutter.

31408141733_9ea0d74a9d_z
Detail  of Candace Reed’s photograph showing the black enamel mourning brooch with hair compartment.

In my collection I do not have an truly similar brooch to the one worn by this CDV’s subject—and this is surprising, as mourning  jewelry was produced en masse and brooch bodies, ring and stick pin types, and more were commonly advertised for selection by the jewelers of grieving families. I own identical or extremely similar versions of many of the major styles. The closest match from my collection is probably the one below, made to commemorate the death of an English child only a year or so before Candice Reed photographed the blue-eyed widow above. Ω

4749797347_095c946163_b
Pinchbeck and black enamel mourning brooch for Ibbotson W. Posgate, 1859-1860. Ann Longmore-Etheridge Collection.
4750439238_8b527d23f3_b
Posgate mourning brooch reverse. “Ibbotson W. Posgate, who Died Feb. 19th 1859, Aged 31/2 Years.”