Unidentified bandsman with cornet, c. late 1890s
Cabinet portrait by J.J. Gascoigne of Mosborough
Image © and courtesy of Brett Payne
In the 1890s and early 1900s, when this portrait was probably taken, Mosborough was a small hamlet a mile north of Eckington church, south-east of Sheffield. I thought his uniform might suggest that he was a member of a military band, perhaps even a local militia, but a knowledgeable member of the Victorian Wars Forum has suggested that he was more likely to have been a civilian bandsman. The instrument appears to my untrained eye to be a cornet, but perhaps a sharp-eyed and more musically minded reader will provide the chapter and verse on this. Nor can I offer much in the way of useful comments on the rather large sheepskin or the small dog seated very obediently at the bandsman's feet.
Image © and courtesy of Brett Payne
The painted backdrop is rather crude, suggesting a somewhat earlier time period than the rest of the portrait's attributes, in particular the card mount, which is a typical generic "flowers and cherub" design popularised in the mid-1890s. The photographer's name is only printed on the front of the card mount, and has been partly worn off, but reference to my index of Derbyshire photographers shows him to be J.J. Gascoigne (or Gascoyne) of Mosborough, near Sheffield.
John Joseph Gascoigne was born at Bolsover, Derbyshire in 1875, son of a chimney sweep Enoch Gascoigne (1838-1916) and his wife Matilda Godfrey (1843-1916). He married his first cousin Matilda Esther Godfrey (1873-1969) in 1896, and they had at least four sons. John Gascoigne was described only as a chimney sweep, like his father, in the 1901 and 1911 censuses, but trade directories reveal that he practised as a photographer from his home in South Street, Mosborough from at least 1908 until 1912.
Although I haven't had the opportunity to devote as much time as usual to this week's Sepia Saturday theme, I think it does still qualify as a themer. Hopefully a lot more will be forthcoming for the centenary celebration next week.
It’s enough that you post such an interesting picture Brett. I’m sure Mike and others will enlighten us about the instrument, but for me that little dog just adds to its charm.
ReplyDeleteI don't think that the dog would need much encouragement to pick the softest place to sit. I have vague recollections of mounted bandsmen with sheep fleeces on their horses - but not this one I think near Sheffield.
ReplyDeleteAnother interesting photo. He looks like a cousins husband.
ReplyDeleteMaybe the bandsman is a sheepherder and the dog is his helper.
ReplyDeleteIntriguing photograph. It makes me curious about the use of pets in photography. While you might be able to make a dog lie down, I can hardly imagine them being pinned to supports!
ReplyDeleteThe sheepskin was really something - I can't help but think that there is a story behind it.
Your posts are always interesting and educational! Thank you.
Love the poses in that old photo. Great post. Thanks for visiting my crazy blog!
ReplyDeleteI agree that the sheepskin is probably significant, it looks to odd to be a normal prop.
ReplyDeleteA fine image, and it is indeed a cornet and what looks like a Jack Russell/Fox terrier mix. A civilian musician too, but the sleeve chevrons may have a uniquely British quasi military purpose. Maybe salvation army. Principal bandsman?
ReplyDeleteThe sheepskin is an odd addition, that is common in so many photos of this period, British and American. It was such a strange fashion that I've always been curious to learn its roots. This one is likely covering up a studio papier-mache stump or pillar, but why? Perhaps anytime a dog was in the picture the rug came out.
Actually, in my experience the sheepskin was most used in portraits of small children. I suspect it was used to settle them down.
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