It Doesn't Get Much Better ...

This cabinet print by photographer F. Gutekunst of Philadelphia, is a stellar example of studio work for more than one reason: the composition rivals that of the best portrait painters; it is a pleasantly successful mother/son portrait in every way; the painted backdrop with the addition of expertly positioned furniture, carpet and drapery puts it in the best class of that genre; the clothing is of particular fashion interest for the period, and the condition of the print was so good that it took all of five minutes to prepare it for this post. Even the tip of her shoe peeking from her skirt hem adds charm rather than being seen as a flaw.

Focusing on the spectacular but tasteful dress, for the benefit of those who have a historical interest in period fashions (imperative for purposes of dating collected photographs even if you have little interest in its aesthetic value): the skirt, pleated bodice and standing collar are of a loomed stripe pattern while the full length, long-sleeved jacket matches the solid stripe; the dress material is used for the covered buttons and turned back lapels; the jacket may be completely lined with the dress fabric. The effect makes one glad that the image has survived – considering that it may well have been a unique item – and wishful that the garment had also survived for historical study. I would give something to know the colors! The dress makes such a lovely statement that the wearer forgoes any jewelry whatsoever. I have never seen anything quite like it in the costume literature but I am positing 1890s either just before or after the rage for the mutton leg sleeves. I feel fortunate to have it.

4 - 4 - 0 Steam Locomotive 1898

This old cabinet photo has written on its back "Junction of Wilkes-Barre and Scranton, 1898", so it is likely the Wilkes-Barre & Eastern Railroad which was established in 1893 by the New York, Susquehanna & Western Railroad primarily to haul Pennsylvania coal to its northern markets, but it also moved ice from Pocono lakes and served passengers from northwestern Monroe County to Scranton, Wilkes-Barre, Stroudsburg and to connections to New York City. This short passenger combination, pulled by a 4-4-0 engine of earlier vintage, has no route identification anywhere on the locomotive, tender or cars, only the number 7. If you are a rail enthusiast, you may find yourself wishing that more such ornamented locomotives from this era had not gone to the scrapyard, but then you think of the many formerly fine engines that are rusting away in parks and museums from lack of funds for upkeep or restoration. The W-B&E was the shortest line of its region, and its existence was also short – ceasing to operate in 1939. 

Also identified in pencil: S. Cobb, engineer, James Lewsley, fireman, James Nickle, baggageman, Lewis Cook, conductor, Bryon P_____?, fireman. If that identification is left-to-right, the fellow with the shovel doesn't rate a name. It is always interesting, and often amusing, to note curious onlookers – unrelated to the photo being taken – standing far in the background facing the camera directly, obviously aware of what is taking place; in this case the man on the far right may be waiting for the train to move away from what appears to be the vehicle crossing.

I have attached the original state of this image below – not just a victim of age but also of a seller who shoved it into a shipping envelope with no cardboard protection whatsoever (adding extra hours to the restoration process)!

Bearded Patriarch

Here is a well-executed studio portrait of an elderly gentleman, dramatically lit with attention to avoiding strong shadows on the subtle and seamless backdrop. I particularly like the immediacy of his expression – lips slightly parted as if he is about to speak to someone on his right, his eyes penetrating and alive, so unlike many portraits where the sitter is self conscious or merely waiting for the exposure to be accomplished.

I am partial to full beards: every man in my own immediate family has worn one without interruption, my father for the last 30 years of his life, I since I was 21, my son since his high school days. Fashion be hanged, we like the look and have foregone the daily shaving ritual. Of the seven generations for which we have photographic portraits, we three share it with only one other, more than a 100 year gap. (None of the women sport beards, which is just as well.)

Call Me Inscrutable

I collected this image because it intrigued and amused me. The young woman appears to avoid looking into the camera quite purposefully, as if she may be reluctant about having this photo taken. It isn't precisely that she is shy in any obvious way. There is no hint of a smile or a frown, no coquettishness, no shallow petulance, simply no pleasure in this moment. Her arms are crossed firmly behind her. There is a certain sadness that in no way undermines her self-possession or reveals distress. Pensive may be the best descriptor. The viewer senses that this may not be the right time or circumstance – all the more surprising that the photo has been printed and kept. Perhaps this image never belonged to the woman pictured in it.

Her build is slight but she may be of average height; her dress is simply cut with the stripes horizontal on the sleeves but vertical on the bodice and straight skirt; there is a bar pin on the plain collar and a chain around her neck which barely shows; the clustering of ribbons is unusual; the large bow and loosely arranged hair suggest the early years of the 20th century but the braids are also an unusual touch.

This is a small, unmounted print that has no sharp focus whatsoever and it is hard to say if that was intentional on the part of the photographer. It is virtually impossible to draw any conclusions about her position in life except that she could be solid middle class or she could be a shop girl or domestic servant, but she is both neat and modest in appearance.

Portrait Of A Black Woman, c. 1865

This tintype is unusual in at least two particulars, the most obvious being that it is the portrait of a black woman, the other being that it is likely an outdoor location (ivy as a backdrop is my guess) suggesting that it was taken by a traveling photographer.

Dating this image is difficult for a number of reasons: the books on fashions do not in any way represent people of modest circumstances no matter what their position in society; the means to have stylish, up-to-date clothes of excessive yardage or ornamentation was not often possible for a majority of citizens, nor would it have been socially acceptable; the economic and social circumstances of most black Americans was greatly depressed well into the 20th century, so few would have had the opportunity to be photographed in the first four decades after the invention.

My impression of this woman’s dress leads me to think it may well be between 1857 and 1870, but I cannot declare that for certain because there is so little published or in the photographic literature. It is possible that she was a slave, or even if taken after 1865, based on her dress and the probabilities, she was most likely a servant in a household. Occasionally one sees portraits of black women servants with white children in their care, but they are quite rare. We will never know if she had this portrait taken of herself.

The image is a little above average in size for a tintype; it does not have sharp focus anywhere and is not even average in quality for a tintype; the woman moved her hands during the exposure. As is my approach with tintypes, I have opened up the tonal range somewhat. This is one of the first photographs I ever collected.