A Widower’s Search for Solace

“Some of my best friends have told me that I need not expect to be happy anymore unless I would marry again and have advised me to do so.”

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Letter from Joseph Brown to Emeline Hoffman, page one. Ann Longmore-Etheridge Collection.

Myersville, July 10th, 1852

Dear Emeline,

I hope you will not think hard of me for thus approaching you so unexpectedly, as my mind has bin [sic] for some time a good deal taken up with you in regard to coming to see you in order to have some private conversations with you, not knowing at all whether my company would be agreeable or not, but take this plan of ascertaining something about the state of your mind.

Dear Emma, you are well acquainted with me and know all about my situation. You know that I have bin unfortunate in the loss of a very dear and kind companion, one in who my whole soul delighted to honor and respect. But she has gone I trust from a world of trouble and sorrow to one of happiness and joy, and I can have no more comfort nor consolation from her anymore, only with a firm hope and expectation of meeting her again in those blissful regions where parting shall be no more. I can do no more than to respect her memory, which I will ever do.

We read in the Bible that it is not good for man to be alone. I have realized that to be a very true saying indeed. I was once as happy as any person could be in the enjoyment in the company of my much-lamented Mary, but how different my case. With all I have I have no enjoyment & some of my best friends have told me that I need not expect to be happy anymore unless I would marry again and have advised me to do so, although I do not wish to do so for some time yet. But I have come to the conclusion to do so providing I can suit myself. I now feel like a lost sheep, lonely and without anyone to cheer me or comfort me, and if it was not for the comforts and the consolations of religion, I would often times have to despair in sorrow. But thanks be to God that he still comforts and consoles me. I find that I can never be happy again in this world without fixing my affection on one again in who I am satisfied will be a kind companion to me, and dear Emeline, you appear to the only one I can have any idea of going to see at the present and of fixing my affection upon.

Continue reading “A Widower’s Search for Solace”

Preternaturally Lovely: Britain’s Queen Alexandra of Denmark

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Albumen carte de visite (CDV) of future Queen Alexandra when Princess of Wales, taken at Sandringham in 1863. This image was marketed by the London Stereoscopic & Photographic Company, 54 Cheapside and 110 Regent Street. There is also a sticker on CDV’s reverse: “Juvenile Book Depot and Passport Agency, C. Goodman, bookseller and stationer, 407 Strand.” Ann Longmore-Etheridge Collection.
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Princess Alexandra Caroline Marie Charlotte Louise Julia of Denmark as a young woman, circa 1860. She was born 1 December, 1844, in the Yellow Palace in Copenhagen, the daughter of Prince Christian of Schleswig-Holstein-Sonderburg-Glücksburg (later King Christian IX of Denmark) and Princess Louise of Hesse-Kassel. Her upbringing was not extravagant and she remained close to her parents and siblings, even after marrying Albert Edward, Prince of Wales, eldest son of Queen Victoria and Prince Albert, and taking up her new life in Great Britain. Library of Congress.
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September 1862: A group photograph to mark the engagement between the Prince of Wales and Princess Alexandra. Included are members of the Princess’s family including Prince Christian of Denmark, later King Christian IX; Princess Louise, later Queen of Denmark; Leopold, Duke of Brabant; Marie Henriette, Duchess of Brabant; and Princess Dagmar of Denmark. According to an 1879 issue of the magazine Harpers Bazaar, “A younger generation are fond of recalling the April morning when the young Princess of Wales reached England. The boat touched the shore, and the multitude crowding the quay saw a mere slip of a girl nervously clinging to the railing on the deck, and looking with a pale, pretty face at the new country, her dress plain almost to shabbiness, and her bonnet of so old-fashioned a make that a London milliner was hurriedly telegraphed to for a more lilting head-gear for the future queen’s entry into London. A wave of applause and cheers went up as the Prince of Wales embraced his betrothed and conducted her to the shores of her new home. The same day she was driven through London in great state, and a lady near enough socially to be good authority has told us of her pretty, girlish timidity when the crowd stared at her, with cheers and wild demonstrations of delight.” Courtesy Royal Collection.

Continue reading “Preternaturally Lovely: Britain’s Queen Alexandra of Denmark”

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

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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”

The Patriot’s In-Law: Eliza Schuyler Kuypers

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Eliza Schuyler Kuypers, Mrs. Ethan Allen, Unmarked albumen carte de visite (CDV), circa 1864. Ann Longmore-Etheridge Collection.

The subject of this CDV is Eliza Schuyler Kuypers, wife of Ethan Alphonso Allen (8 February, 1818-27 November, 1889). Eliza’s husband was the grandson of the American patriot, farmer, philosopher, deist, and writer Ethan Allen (1737-1789) and his second wife Frances Montressor (1770-1834), through their son Ethan Voltaire Allen (1789-1845) and wife Mary Susanna Johnson (26 Sept., 1797-1 November, 1818).

Eliza, born in 1820, was the great-granddaughter of Elizabeth Schuyler (1771-1801) and her husband Rev. Gerardus Arentz Kuypers of Curacao, Dutch West Indies, who had been born on the island in December 1766 and later came to Hackensack, New Jersey, then to Rhinebeck, New York, to minister to the Dutch community there. Eliza’s grandfather was their son, also named Gerardus Arentz Kuypers (1787-1833), who was educated at Hackensack, and then studied theology under his father. He was licensed to preach in 1787 and served as a collegiate pastor in Paramus, New Jersey. In 1780, he moved to New York City to preach in the Dutch language. In 1791, he earned a Master of Arts degree from the College of New Jersey, as well as a Doctor of Divinity from Rutgers in 1810. It is noted that he suffered from asthma but died of “ossification” of the heart 28 June, 1833.

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Eliza’s grandfather, Gerardus A. Kuypers, D.D.

Eliza was the daughter of his son, Dr. Samuel S. Kuypers (8 March, 1795-10 January, 1870) and Amelia Ann VanZant (1794-1864). Dr. Kuypers was an alumnus of Rutgers and a member of the Medical Society of the County of New York from 1820 until his death.

In the CDV image above, Eliza is most probably wearing mourning after her mother’s death in the penultimate year of the Civil War. Amelia VanZant Kuyper’s demise was announced in the New York Times of 8 January, 1864, as follows: “On Thursday, Jan. 7…in the 70th year of her age. The relatives and friends of the family are respectfully invited to attend the funeral from her late residence, No. 142 2d-av., on Sunday, Jan. 10, at 3 o’clock p.m. without further invitation.”

Continue reading “The Patriot’s In-Law: Eliza Schuyler Kuypers”

Alice Isn’t Dead: A Cautionary Tale, a Family History

Upon receipt of the carte, I scanned, enlarged, and enhanced the image. Immediately I became aware of motion blur caused by the child’s arms moving during the exposure.

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Mary Jane Stayman Culley holding eight-week-old Alice Maud Culley in August 1879. Albumen carte de visite. Ann Longmore-Etheridge Collection.

Within eBay’s vintage and antique photo subcategory, every slightly odd-looking baby is a dead baby. I confess that when I saw the listing for the carte de visite (CDV) above, I thought this was an infant gone, never to grow up, forever to sleep, dressed in angelic white and buried in a tiny coffin so unfairly made-to-fit, her grave topped by a small stone lamb. This was cruel fate; this was a Victorian postmortem. But those who explore the Victorian propensity to mark gut-wrenching loss via photography should take this story as a cautionary tale, not unlike the one I featured last November, “To Be, or Not to Be, a Victorian Postmortem.”

The CDV’s backstamp is that of “John Davies, Portrait & Landscape photographer, BelleVue High Street, Weston-super-Mare. Formerly with the late T. R. Williams, London, Photographer to the Queen and Royal Family.” There is also a handwritten inscription: “Alice Maud Culley, 8 weeks old, Aug. 1879.”

Upon receipt of the carte, I scanned, enlarged, and enhanced the image. Immediately, I was aware of motion blur caused by the child’s arms moving during the exposure. Alice Maud Culley wasn’t dead. I could then plow into the public records because of the fortuitous identification upon the reverse.

Continue reading “Alice Isn’t Dead: A Cautionary Tale, a Family History”

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

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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.
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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.
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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.
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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.
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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.

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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.

Remembering the Fairy Wedding

The wedding of Tom Thumb and Lavinia Warren was so popular that children in wedding attire began to reenact the marriage ceremony.

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A carte de visite of the Thumb-Warren “Fairy Wedding” published by E. & H. T. Anthony, 1863. Original image by Mathew Brady.

By Beverly Wilgus

The highlight of the 1863 New York City social season was the February 10 “Fairy Wedding” at Grace Episcopal Church of two of P. T. Barnum’s “little people,” Charles Sherwood Stratton and Mercy Lavinia Warren Bump. In the theatrical world, they were known as General Tom Thumb and Lavinia Warren—he stood 2’10”; she, 2’6″. There were 2,000 invited guests and Barnum also sold tickets to the reception after the wedding for $75 each. Although 15,000 ticket requests came in, only 5,000 were available. One newspaper, the Cleveland Daily Leader, noted that after the particulars were announced by Barnum, “then followed such a universal toadyism…all for the sake of begging, buying, or stealing invitations to the wedding.”

In spite of the event’s commercial nature, Tom and Lavinia’s marriage was a true love match. (Barnum, however, thought Lavinia was too tall for Tom and that her smaller sister Minnie would have been a better choice of a bride.) Lavinia had also been romantically pursued by Thumb’s rival performer, George Washington Morrison Nutt, whose stage name was Commodore Nutt, but Lavinia’s heart belonged to the Little General from the start. After their marriage, the couple lived in domestic harmony for twenty years until Tom’s death on July 15, 1883.

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A stereoview published by E. & H. T. Anthony of a reenactment of the “Fairy Wedding” in a photographer’s studio. Left to right: Best Man Commodore Nutt; Groom General Tom Thumb; Bride Lavinia Warren; and Bridesmaid Minnie Bump, Lavinia’s sister, who was also known as Minnie Warren. The minister behind them was either Reverend Mr. Wiley, who read the service, or the Reverend Dr. Taylor, who read the benediction, or possibly a costumed stand-in.

The Leader, which was only one of scores of newspapers around the world that covered Tom and Lavinia’s nuptials, explained to its readers, “Tom Thumb was born in Bridgeport, Connecticut, in 1838. He weighed nine pounds and a-half when born, but stopped growing at eighteen months old. Barnum took him in at ten years old and he has been a public character ever since. Miss Lavinia Bump was born in Middleboro, Mass., in 1842. She grew until one year old and then stopped… She and the General met a few months ago at Boston and a ‘mutual understanding’ developed.”

On the day of the wedding, the bride wore “plain white satin, the skirt en traine, being decorated with a flounce of costly point lace, headed by tulle puffings; the berthe to match. Her…hair, slightly waved, was rolled a la Eugenie…. Natural orange blossoms breathed their perfume above her brow and mingled their fragrance with soft sighs of her gentle bosom,” all-but moaned the Leader. Thumb was resplendent in a black dress coat and a vest of white silk, “his appearance that of a little old man in whom the juices of life were yet rich and whose jolly days were not done.”

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Another E. & H. T. Anthony stereoview of the “Fairy Wedding Party,” from an original by Mathew Brady. The Anthonys were advertising their exclusive arrangement to sell card photographs from the Fairy Wedding as early as February 25, 1863.

After the wedding, the couple greeted reception guests from atop a piano amidst a mountain of gifts. At the end of the evening, Thumb ardently and grandiloquently thanked their guests and he and his wife withdrew, shortly thereafter to begin a European honeymoon. From start to finish, stated the Irish Meath People and Cavan and Westmeath Chronicle, Barnum had arranged the Fairy Wedding “with a true eye to business.”

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A circa 1880 stereoview by J. W. & J. S. Moulton, New Series, American Groups, titled “Tom Thumb Wedding.”

Following the wild popularity of the wedding, a rather strange practice developed and has continued until today. Plays based on the event became popular, with children in wedding attire reenacting the marriage ceremony. My husband and I collect photographs of the original couple but also have a collection of photographs of children engaged in this activity from the 19th Century through 1950. The weddings were indeed so popular during the century after the actual event that there were professional Fairy Wedding planners who advised on the faux nuptials and rented out costumes.

Many Fairy Weddings were staged as fundraisers by churches and schools. For example, Pennsylvania’s Harrisburg Telegraph of November 30, 1888, noted that a Tom Thumb Wedding was held on Thanksgiving evening at Wesley Union Church. It included the mock bride and groom, maids of honor and groomsmen, and the bride and groom’s family. “The couples were appropriately and beautifully attired and of such costly material, fitting splendidly the little bodies and producing much excitement even among the men and women,” the newspaper stated. The children performed with “great propriety and dignity, and won high praise.”

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An early 20th Century, 5’x7′ card-mounted photograph taken on the steps of a church showing a large Tom Thumb wedding party and guests.

In 1893, the Mount Carmel, Pennsylvania, Daily News, reported a Tom Thumb Wedding held at the G. A. R. Opera House on May 12. “The youthful participants enacted their parts well and the quaint costumes created no end of amusement for the audience.” And the North Carolina Wilmington Messenger of February 28, 1894, published that “all the little boys and girls who took part in the ‘Tom Thumb Wedding’ at the Grace Church entertainment last night are requested to meet at city hall this afternoon [in their costumes] to be photographed.”

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This real photo postcard, circa 1920, shows how long the mock weddings continued to take place as well as how to misspell thumb.
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A mounted, real photo postcard of a Fairy Wedding bride and groom taken during the second decade of the 20th Century.

We possess a clipping from 1950 of my husband, Jack, acting as best man in a Tom Thumb Wedding at his family’s church. And if the term “Tom Thumb Wedding” is entered into Google,  one will find many posts about churches, schools, and private birthday parties performing these weddings as late as just a few years ago. Ω

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All images courtesy of the Jack and Beverly Wilgus Collection.