You’re A Grand Old Flag

Early images of the Stars and Stripes from the Jack and Beverly Wilgus Collection.

By Beverly Wilgus

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The earliest flag image in our collection is this ambrotype of a young Civil War soldier standing before a painted military backdrop of tents and an American flag. By necessity, it dates from the years of the conflict, between 1861 and 1864. He wears an enlisted man’s trousers, a blue-tinted cape coat, and a regulation enlisted man’s dress Hardee hat bearing the insignia “H” and “81” inside a brass infantry bugle. Five states had an 81st Infantry: Indiana, Illinois, Pennsylvania, Ohio, and New York. This fierce and determined Union soldier joined up from one of them. 
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This albumen stereoview card is from the 1871 “Kitty At Play” series by John P. Soule of Boston.
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Two girls stand before a large American Flag with a circular pattern of stars in this 19th Century albumen cabinet card. The girl on the left wears a flag dress and touches another flag held by her companion. There is no photographer’s imprint or location on the card. I speculate, but cannot be certain, that this dates from the Centennial celebration of 1876.
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The negative of this 1880s-era cabinet card by Swords Brothers of York, Pennsylvania, is marked “Baby Sutton.” The adorable little girl wears a dress that appears made from actual American flags. She may be a member of a theatrical family, but I have so far uncovered no performers of that name from this period.
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This tintype may portray an elderly couple and their middle-aged daughter at Baerena Park, which operated on an island in the Hudson River, 12 miles south of Albany. The number of stars suggest the image was made circa 1912. Tintypes were made at public entertainment and tourism venues of this type many decades after being supplanted by other photographic technologies.
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This undated tintype captures a little blond girl and an American flag draped over the back of a bench. It is most likely from an amusement park photo arcade during the 1910s.
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This real photo postcard of E. L. Orr shows the young man in uniform standing in front of a large American Flag. The postcard was mailed in November 1918 after the end of World War I. Orr writes on the reverse that he intends to stay in the army until spring to help in the demobilization.
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Rosemary Yacmett, the daughter of the Ohio photographer Fred Yacmett, is pictured in this real photo postcard in front of a large flag. Public records show that Rosemary was born in 1911, so it seems likely that this image celebrates the end of World War I in 1918.

Photo-Multigraphs: The Mirror and the Camera

“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

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A photo-multigraph cabinet card by A. M. Lease of Lancaster, Pennsylvania, circa 1895.

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.

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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.

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Also from the book is the illustration above: “Diagram Showing The Method Of Production Of Five Views of One Subject By Multiphotography.”

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This drawing from Photographic Amusements shows a photographer’s gallery arranged for multiphotography.

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This image from the book illustrates the multiphotographing of a full-length figure. In the 1970s, when we started to build our photographic collection, we found a number of photo-multigraph real photo postcards from the early 20th century, but we knew that the style dated from the late 19th Century, so set out to find earlier examples. Within the last year, we have obtained six cabinet-card photo-multigraphs and one tintype. We are now hunting for an example of a standing model, as is shown in the illustration above. We also hope to find an example where the subject is facing the camera rather than the mirrors.

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Photo-multigraph cabinet card by B. D. Jackson of Grand Rapids, Michigan, circa 1900.

We now own a photo-multigraph tintype that is especially interesting because it shows some the studio wherein the image was taken, including a raised platform and large mirrors that would certainly be capable of showing a standing subject. This gives us hope of finding a full-length photo-multigraph in the future.

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A 3-1/2″ X 5″ tintype photo-multigraph of a seated women, photographer unknown, circa 1900.

The majority of photo-multigraphs we have collected or seen are real photo postcards dating from the first three decades of the 20th Century. Identified galleries were most often in Atlantic City and New York City, although there are other cities represented and a number of images with no gallery identified.

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A photo-multigraph real photo postcard of a man playing cards with himself by Myers-Cope Company, Atlantic City, New Jersey, circa 1910.
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Photo-Multigraph Real Photo Postcard of a man posing with a small dog, unidentified studio, probably from the 1930s.
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A photo-multigraph real photo postcard by Dittrich Studios, Atlantic City, circa 1915. The sitter is identified as Grace Schultz Myer.
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This image, also by Dittrich Studios, shows a woman who is likely the mother of Grace Myers, circa 1915.
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A photo-multigraph Real Photo Postcard of a young boy with the reflection of the unidentified photographer at right edge, circa 1920.
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A photo-multigraph real photo postcard by Dobkin Studio, Atlantic City, of a woman wearing a fur-trimmed coat, circa 1930.

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All images from the Jack and Beverly Wilgus Collection.

On Top of the Moon

A selection of paper-moon real photo postcards from the collection of Jack and Beverly Wilgus. All date from the second decade of the 20th Century.

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A mother and her daughters sit happily on a plain, but elegant, sliver of moon.
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Beverly writes, “I like the smile and relaxed air of this young man who holds the nose of the man in the moon. I wonder why the paint on the nose of the man in the moon is not worn off, since so many of my cards show the sitter holding the nose.”
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A delightfully saucy real photo postcard by the Electric Post Gallery, Fort Worth, Texas.
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A flirty moon tries to chat up a pretty gal.
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A fashionable young lady poses on a friendly moon surrounded by stars and a sky-skimming biplane.

Ω


All of Jack and Beverly’s paper moon images can be seen here

Do you have a vintage image or artifact that might educate and entertain? If so, I would be delighted to hear from you.

 

Postcards: Email by Any Other Name Would Smell as Sweet

“Thank you dear for the nice letter you sent us and all the kisses. Hope you are a good boy. Did you throw Herbert out of bed Sunday morning?”

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Ann Longmore-Etheridge Collection.

Today’s postcards convey “Wish you were here!” almost exclusively, but in the first decades of the 20th Century this method regularly moved information to friends and family who resided even just a few miles away. The short messages often read much like modern email, and when in combination with the photos on the front, can seem like old-school versions of modern Facebook posts.

On 4 March, 1914, this cheerful, beautifully colored postcard of Hagerstown, Maryland’s Broadway (above) was sent to Mrs. C. L. Pennison, Newton, Massachusetts, care of Peckitts on Sugar Hill. The message reads, “Dear Catherine, I was pleased to get your card on Monday while at home. But surprised to hear you are in the White Mountains. I hope you will soon recover your health up there. We were in the midst of a blizzard Monday but are enjoying pleasant weather now. I am well and enjoy my work. Yours, B.”

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Ann Longmore-Collection.

This postcard of the Washington Street Bridge, Monticello, Indiana, was addressed to Miss Ruthie Brown of Modesto, Illinois, and mailed 4 July, 1913. The reverse reads, “Dear Ruth: This is where I am spending the day. This morning our car struck a buggy just as we were going up the hill beyond this bridge. I hope you are having a lovely vacation. Would like to hear from you very much. Grace Mc. 1 Danville, Ind.”

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Courtesy Jack and Beverly Wilgus Collection.

Beverly Wilgus, the owner of this example, writes, “This postcard was mailed by a grandfather to his granddaughter in November, 1912. The caption ‘Tommy’s first and Turkey’s last picture” [has an] unpleasant edge. The image is embossed and gives the figures a slight 3D effect. It was sent to Dorothy Flower in North Uxbridge, Massachusetts, by Grandpa Midley.”

The message reads, “Dear Dorothy: How would you like to have your picture taken this way? I suppose you would rather have some of the turkey to eat. Hope you will have some for your Thanksgiving dinner. Am going to try to get to No. Uxbridge to see you soon.”

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Courtesy James Morley Collection.

Margaret Ripley was a nurse in France during World War I. The above is one of a series of postcards she sent to her sister back in Surrey, England. “Had 2 nice days here unfortunately Louvre & all museums shut but seen as much as possible. Off to Dunkirk tomorrow to typhoid hospital—so glad to feel we may at last get real work in connection with war. Have enjoyed our week’s holiday very much & were hoping to stay on here a few more days. Love to E & children. Hope they are well again. Mar.”

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Ann Longmore-Etheridge Collection.

Although the photographic image is from a decade previous, this postcard’s stamp was cancelled 24 December, 1922. Addressed to Mr. S. Schmall, 4549 Calumet St., Chicago, Illinois, the delightful message reads: “Thank you dear for the nice letter you sent us and all the kisses. Hope you are a good boy. Did you throw Herbert out of bed Sunday morning? Love to you & all. Aunt Alice.”

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Ann Longmore-Etheridge Collection

Postmarked 30 October, 1917, this postcard was sent by the United Brethren Sunday School of Myersville, Maryland, to Helen Keller and family. “U B ready for the U.B. Rally. We need you on Rally Day. Remember the date: Nov. 11th. Do not disappoint us. Help us make this our best Rally Day.” (If there was a smiling emoticon after “Do not disappoint us,” I would feel less creeped out.)

According to Holidays, Festivals, and Celebrations of the World Dictionary, “In liturgical Protestant churches, Rally Day marks the beginning of the church calendar year. It typically occurs at the end of September or the beginning of October. Although not all Protestant churches observe this day, the customs associated with it include giving Bibles to children, promoting children from one Sunday school grade to the next, welcoming new members into the church, and making a formal presentation of church goals for the coming year.”

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Courtesy Jack and Beverly Wilgus Collection.

Beverly Wilgus writes, “This multiple-print, real photo postcard shows two soldiers in a studio prop biplane flying over a real San Antonio streetscape. A banner reading ‘San Antonio 1911’ flies from the wing. Even though the plane is obviously phony, the two airmen appear to be real pilots since the message on the back reads, ‘Our first lesson what do you think of it? Geo.’”

I’m thinking Photoshop, version 1.911. Ω

Edith’s Bitter Valentine

“If my Valentine you won’t be,
I’ll hang myself on your Christmas tree.” —Ernest Hemingway

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Postcard valentine, 1910. Ann Longmore-Etheridge Collection.

This tart little valentine was sent from Battle Creek, Michigan, 8 February, 1910, to Mr. Barhite, Bellevue, Michigan, RFD No. 1. The message reads: “Well Mr. Barhite I have not heard from you in a long time and so I don’t know whether you are dead or alive. I hope you are the latter and well write. Edith Mathews.”

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Edith’s valentine, reverse.

The addressee was Gordon Lyman Barhite, born 10 June, 1883, in Michigan, son of Everon Barhite (1837-1923) and Delia F. Root (b.1846).  Gordon Barhite appeared on the 1900 census of Bellevue as a boarder on the farm of Theodore Davis, probably acting as a farm hand. By 1910, he was in Fredonia, Michigan, working the farm of Frederic Lee.

Barhite’s 1918 World War I draft registration card notes that he was of medium height, medium build, and had blue eyes and brown hair—and if the childhood picture below is any evidence, he may well have grown into a looker. The address to which bitter Edith sent this postcard was that of Gordon’s mother Delia, who was also listed on the draft registration card as his wonderfully misspelled next-of-kin “Deilicia Barhite.”

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Gordon Barhite, back row, second from right, with his family, circa 1898. The 17 June, 1898 Marshall News ran an item that read, “Master Gordon Barhite gave a birthday party to his young friends Friday night, June 10. The youngsters had a jolly time remaining until a late hour.”

The 1920 census appears to tell the outcome of the valentine’s tale: Gordon Barhite then lived in Convis, Michigan, with his wife Edith (b. 11 June 1888). Also enumerated with Gordon and Edith were three children with the surname Patchett: Loren (1907-1925), Wayne (1910-2001), and Bernadine (b. 1912), as well as mother-in-law Frances Coutz (1847-1920).

Frances’s presence provided a vital clue: twenty years earlier, the 1900 Amboy, Michigan, census detailed the household of farmer Joseph Coutz, Jr. (1843-1911), and his wife Frances E. Oldfield Coutz, as well as their daughter Margery Edith.

On 15 January, 1905, Margery Edith Coutz married Frederick William Patchett, who was born 13 April, 1882, in Salford, Lancashire, England, and came to America in 1879. Before 1919, however, the Patchett marriage ended badly. The 1 May Battle Creek Enquirer announced that Gordon Barhite and Edith Patchett obtained a marriage license—they had actually married the day before—and the later 1930 Census placed Frederick Patchett in Hillsdale as a lodger and a divorced mill worker. He later married Edith Mackey (1889-1972). The appearance of this Edith confused me and before I realized that she was indeed a new individual, I believed for a time that Edith Barhite had returned to her first husband.

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A 2 July, 1925, Battle Creek Enquirer article about the death of Loren Patchett.

Edith’s son Loren Patchett, unmarried and working as an electrical lineman, died aged 19 on 29 June, 1925, in Battle Creek, of electrocution caused by the failure to wear protective gloves. “Without the gloves, He climbed a transformer pole on Freemont Street. While in contact with a live wire containing 5,000 volts, he forgot and took hold of another wire which a fellow workman was attempting to sever…. The result was a short circuit which went from hand to hand.” Loren was buried in Riverside Cemetery, Bellevue.

The 1930 census placed Gordon and Edith Barhite in Pennfield. Gordon was a farm laborer and stepdaughter Bernadine worked in a factory. The couple also had a daughter, Helen, born in 1923. Edith acted in a local play put on by the Willing Workers of the Base Line Church in may 1934. In December, 1939, a local newspaper article mentioned that Gordon Barhite and his family were exchanging houses with a Mr. and Mrs. Inman. The Battle Creek Enquirer of 14 March, 1941, noted that “Mr. and Mrs. Gordon Barhite have moved from the Gates apartment house on South Clark to a farm near Climax.” These are the last traces I can find of the family.

Gordon Barhite died in May 1964 and Edith Barhite died 18 June, 1972, in Hillsdale County, Michigan.

Now, the discrepancy: The woman who sent this valentine signed her name Edith Mathews. Was she really Edith Patchett? In 1910, Edith was 22 years old with two young children and an unhappy marriage. Was she already looking to leave Frederick Patchett and was casting about for a new man to provide for her children? If she was, using a false but previously agreed upon surname may have seemed a wise thing to do.

Conversely, Edith Mathews may really have been Edith Mathews. According to the 1911 Battle Creek City Directory, a woman of that name was a boarder at 16 Shepard Street. She was still there in 1912, with fuller details given: Edith G. Mathews was a packer at the Postum Cereal Company. In 1916, she was a machine operator at B.C. Paper Company. After this, she disappeared from 16 Shepard Street.

Was this Valentine from an unhappy woman looking for a way out of a bad marriage or from a single working girl who’d met a handsome farm hand somewhere, somehow? The answer remains unknown, but I shall leave you with this, from my heart to yours: “Love attracts, connects, builds and frees the beauty of humanity. Happy Valentines Day.”—Euginia Herlihy. Ω

Dashing Through the Snow

Even the fake kind, or the missing altogether….

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Tintype, circa 1870.

Oh my. After this debacle, let’s hope there was snow outside to sled on.

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Austrian unused real photo postcard, circa 1905, stamped “Fotographie L. Strempel, Klosternburg, Stadplaz.”

Okay. Well, at least there is fake snow. And a fake dog.

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Phyllis and Barbara Nute on Christmas Day, Winthrop, Maine, circa 1927. Paper print.

This is more like it: Real snow outside and the girls are rocking those gifts from Santa.

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Edward Miller on his sled, paper print, circa 1915.

A happy boy on his sled the back garden of what seems to be a row house. A woman stands at the end of the wooden-plank walkway, probably his mother. I hope Edward’s father took him to a local park where there were many high hills to fly down.

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Unmarked albumen print on cardboard, circa 1915.

A wistful girl sleds on a snowy day near the family farm. Everything about this image charms me—from the baggy pants, the bottle curls, and mad hat to the upturned, pointed noise of the sled and the low mountain beyond. I wish I knew more about her, but sadly there is no photographer’s impression or inscription. Ω


All images: Ann Longmore-Etheridge Collection.

Generations

The sap of another generation,
fingering through a broken tree
to push fresh branches
towards a further light,
a different identity.
—John Montague, “The Living and The Dead”

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Elder and infant, albumen paper print, Ann Longmore-Etheridge Collection.

This wonderful outdoor image, circa 1910, shows a bonneted babe sitting in a wicker pram on an early spring day in the eastern United States. The child’s pudgy hand appears lightly pinched, rather than held, by the arthritic fingers of his or her grandmother—perhaps great-grandmother. The old woman, who was probably born in the 1830s, is magnificent with her weathered face and carefully coiffed, almost ruched white hair in contrast to her elaborate dark clothing. She seems quite elderly, but sturdy and strong. A house, possibly the family home, can be glimpsed through the leafless trees behind her.

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British albumen carte de visite, circa 1866. Ann Longmore-Etheridge Collection.

The next image is of a multigenerational British family posed on a ground-floor window ledge on a pleasant day during the mid-1860s. Grandmother, who is dressed in black-and-white widow’s clothing, sits in wicker chair, whilst Father and Mother lean into the picture from inside the home. Mum’s hand rests possessively on the shoulder of her youngest son, whilst the eldest brother perches on the sill and the middle son sits cross-legged below him. The daughter of the house, a tween in a jaunty summer dress, looks very much a mini-me of her mother.

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Family in mourning, British albumen carte de visite, circa 1862. Ann Longmore-Etheridge Collection.

The third image, which is marked “J. McCornick, Photographer, 3 The Bridges, Walsall,” is more somber. One subject is a young girl of about 12 years beside an elderly gentleman who is likely her grandfather. The seated female may be the girl’s mother or her grandmother—it is hard to be sure, although they are clearly related.

The members of this family group are dressed in mourning, but nothing more of the nature of their loss can be supposed, except that the mother or grandmother was not mourning for her husband. The prevailing custom for widows’ bonnets was to include a white inset to frame the face.

Grandfather, whose hand appears to rest protectively on the small of his granddaughter’s back, holds in his other hand some type of folded document or wallet. The message he conveyed with this prop is now inscrutable, but it would have been understood by the carte de visite’s viewers.

The final image is a four-generation portrait, identified on the reverse as “Elizabeth Stokesbury, age 79 years; Clarissa Stokesbury, age 51 years; Extonetta Book, age 29 years; Esther Cook Book, age 3 years.”

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The sitters were photographed circa 1902 in Chariton, Lucas County, Iowa. Ann Longmore-Etheridge Collection.

At the far left is Elizabeth Clark (11 April 1824-5 Oct. 1910), born in Fayette County, Ohio, to Welsh native Joshua Clark (1795-29 March 1830) and his wife Mary Blaugher (1795-16 March 1879).

Elizabeth Clark married farmer John S. Stokesbury (7 Sept. 1819-12 May 1867), the son of Robert Stokesbury (1790–1839) and Anna Baughman (1794–1870). In 1850, the Stokesburys farmed in Jefferson, Green County, Iowa; by 1860 they had moved to a new farm in the county of Wayne. The couple had eleven children to assist them: Robert (b. abt. 1842); Angeline (b. abt. 1844); Mary Ann (b. abt. 1846); Joseph (b. abt. 1848); Sarah (b. abt. 1850); Clarissa (12 Sept. 1851-8 March 1935); Harvey (b. abt. 1853); John (b. abt. 1859); Elizabeth Ann (28 June 1861-9 Aug 1946); Clark D. (b. abt. 1863); and Launa (1865-1939).

At age 16, Clarissa, second from left, married a cousin, Jesse Bush Stokesbury (24 Jan. 1843-18 Dec. 1918), the son of James Madison Stokesbury (1813–1869) and Phoebe Painter (1819–1902). By 1870, Clarissa and Jesse had migrated to Chariton, Iowa, where, the family farm was enumerated on the 1870 Census. However, their days on the land were ended by 1880, when Jesse was recorded on the census as a laundry man, and on the 1900 Census he was enumerated as a day laborer. His widowed mother-in-law, Elizabeth Stokesbury, was also in residence, along with her youngest children.

Clarissa and John had the following sons and daughters: Bryant W. (b. abt. 1868); Hillary Edwin (13 April 1870-8 Feb. 1950); Theodosia (b. abt 1872); and Extonetta (b. Dec. 1873), second from right in the photograph, who was known as “Nettie.”

On 24 November, 1898, Nettie married harness maker and saddler John Atwater Book (Sept. 1864-17 April 1924), son of Harlan and Emmaline Book. By 1900, the Books and their first child, Esther Cook (far right—and yes, Cook Book) all lived with Jesse and Clarissa Stokesbury. Nettie and John had two more children: Sarah E. (b. 6 Feb. 1902); and Jesse H. (b. 24 Dec. 1903). Sarah married Loren L. Adams on 12 September, 1935; Jesse married Fae Arza Wicks in June 1929. He died in January 1970 in Seymour, Indiana, and was buried at Chariton Cemetery.

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The west side of Chariton’s main square, real photo postcard, circa 1915. Ann Longmore-Etheridge Collection.

Nettie’s brother Edwin Stokesbury, who became a broom maker and married Ollie B. Ritter on 20 February, 1894, had set up house in Chariton by 1900. The couple had four children, but shortly thereafter the marriage failed. Ollie married as her second husband a man named Van Trump and Edwin’s children took their step-father’s surname. By 1920, widowed Clarissa and her son Edwin lived together.

In 1920, Esther Book worked as a bookkeeper in a Chariton store along with sister Sarah. On the 1930 Census, Nettie, Esther, and Sarah were enumerated in one household, with Nettie working as a sales lady in a variety store; Esther worked as a bookkeeper in a bank and Sarah was a tailoress in a dry goods store.

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The Des Moines Register of 25 December, 1935, featured a testimonial advertisement by Nettie in which she was quoted, “I like the simplicity of operating the Colonial Furnace and the way it holds fire. The damper enables one to feed the fire so that no smoke, soot, or gas escapes into the rooms. And I like the draft in the feed door, which can be opened to prevent puffing.”

Extonetta Book died on 8 May, 1962, and was buried in Chariton Cemetery. It appears that her daughter Esther never married. She worked for many years as the secretary  of the Farmers Mutual Insurance Association and died 25 March, 1965, three years after her mother. Esther is also buried in Chariton Cemetery. Ω