Portraits from the first 100 years of photography
The woman in this carte-de-visite portrait isn't identified anywhere on the photo. When I bought it last year, I never expected to learn her identity. Three weeks ago, while browsing the website of Britain's Royal Collection Trust, I noticed a woman who looked very familiar. The first thing that drew my attention was her shawl,... Continue Reading →
The man above is Henry Lenthall (1819-1897), a photographer who operated a studio at 222 Regent Street, London, where the photo was printed. The studio had been established in 1856 by pioneering daguerreotypist William Edward Kilburn (1818-1891), when Kilburn moved there from his original (smaller) studio at 234 Regent Street. In 1862 Kilburn retired from... Continue Reading →
This cabinet card came to me from Bath, England, but it has nothing written on it to give us a clue as to its origins. Two women stand protectively behind a third, who is seated in a wheelchair. The three resemble each other so closely that they must be sisters. Posed in a triangle, they... Continue Reading →
Update, November 8, 2018: Thanks to the research efforts of my brilliant readers, I'm able to update this post with information about the group above. The following quotes in italics are from a web page, Friends War Victims Relief Committee in the Franco-Prussian War, on the site quakersintheworld.org: The first official Friends War Victims Relief... Continue Reading →
This cabinet card was listed for sale in England without any information, and only after receiving it did I see "F DOWNER WATFORD" in the lower right corner of the image. Frederick Downer (1840-1919) was the first commercial photographer in Watford, which is 15 miles (24 km) northwest of central London. Mandolin ensembles and orchestras arose... Continue Reading →
These college-age women have a determined air about them, as if they're on a mission. They've arranged themselves around a pedestal with a Union Jack flag draped over it, adding a patriotic aspect to the portrait and perhaps suggesting political activism. Were they participants in the women's suffrage movement? What does the ribbon on the... Continue Reading →
This photograph came from a dealer in Llangefni, Wales, who didn't know where it had originated. It appears to be a gelatin silver print, mounted on heavy cardboard, and I'd guess it was made around 1900. Although the photo isn't particularly old, the image has a timeless quality. Nothing about it looks modern or industrial.... Continue Reading →
If you've already looked at the previous post, Jeanne Fouillon and her beautiful harp, then you've already seen the portrait above. When I put that post together last week, I hadn't yet tried to identify the dignified gentleman with the harp. It seemed like a long shot, but one that might be worth a try. ... Continue Reading →
Is there any instrument as angelic to the ear and eye as the harp? I had hoped to find a reference to Jeanne Fouillon online, but haven't succeeded so far. Her harp is certainly very graceful and beautiful to the eye. The carte-de-visite was made by Augustin Michel in Grenoble, France, around 1890. Jeanne's... Continue Reading →
This couple has flair! Her dress is decorated with intricate beadwork, ribbons and flowers. Could it be a wedding dress? What do you think? The cabinet card was made by the studio of William James Wellsted & Son. The back is dark green (blank).
This small snapshot came from England, but with no information about who's in it or where it was taken. Notice the can of Shell gas on the running board below. These gals were prepared. The camper (called a caravan in the UK) is a Car Cruiser model from the 1920s. You can see a... Continue Reading →
A note on the back of this studio portrait says either "Harold Winnie" or "Harold & Winnie." While Winnie could be a last name, it's more likely the first name of the girl on the left, who must be Harold's sister. The studio is identified on the mat just below the image: Gordon & Blees. ... Continue Reading →
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