Staffordshire Photographers: Charles Moscrop of Mayfield

Unidentified young man, Silver gelatin print mounted on cabinet card
by C. Moscrop, Mayfield nr. Ashbourne, c. 1900-1910
Image © and courtesy of John Bradley
Charles Moscrop (1872-1939) spent pretty much all of his 67 years in the town of Mayfield in North Staffordshire, close to Ashbourne and the border with Derbyshire. Born in 1871, he was the eldest of three children of a cotton warper (from Bolton, Lancashire) Henry Moscrop (1850-1913) and his wife Sarah Allsopp (1850-1925). In his twenties Charles also worked in the cotton manufacturing industry as a warper. However, it is clear from the existence of a cabinet card portrait, tentatively dated as from between 1900 and 1910, that he must have operated for at least a short period as a photographer.


Generic art nouveau card mount, c.1900-1910
Image © and courtesy of John Bradley
Gillian Jones, in her Professional Photographers in North Staffordshire 1850-1940 (The PhotoHistorian, No 103, Winter 1994, publ. RPS Historical Group) lists Moscrop at Holmbank, Mayfield in 1918. The decorative art nouveau design on the reverse of the card mount is a generic one, with no photographer's name or location shown.

He married Emily Fletcher (1871-1964) at Ashbourne in 1907, but it is not known whether they had any children.

Any further images or information about this photographer would be appreciated. Many thanks to John Bradley for the images.

Skarb z Pchli Targ

I'm back blogging again, after a lengthy layoff while I dealt with a thesis, the summer holidays and general torpitude. With that now all out of the way I'm hoping to get back into a regular - and frequent - blogging schedule with a lot of interesting new projects and ideas, but more about that later. I'd also like to offer a rather belated welcome to those who've joined the list of "blog followers" since I last posted, and apologise for the lack of activity since July last year. I hope I can make amends.


For the moment, I'd like to share this postcard portrait of a well dressed Polish family in a well appointed studio setting (Apologies to those who attended Miriam's Scanfest on Sunday - you've already had a preview). It was sent to me by fellow photo-sleuth Nigel, who picked it up in a pchli targ in Kraków while on a flying visit there in January. Knowing how much I enjoy receiving postcards from around the world, he struggled at first to find something suitable, but this excellent find from a street market very near to the old Jewish ghetto he sent under separate cover, and it certainly hits the mark. The only trouble is, I can't bluetack it up in the kitchen with all the others, or it would be ruined. By the way, if you haven't worked out the meaning of "Skarb z Pchli Targ" yet, I suggest you try Google Translate.

It is tempting to think of the family as Jewish, but of course there is no evidence that they were. From the type of postcard and the style of both the studio setting and the subjects' clothing, I estimate that it was taken around 1908-1912, at which time Krakow was part of Austrian Galicia. The side table looks to me a stylish example of Art Nouveau furniture, but more than that I'm afraid I'll have to leave for the experts.


The reverse of the postcard provides few clues. Apart from the vertical dividing line and lines for the address, there is no photographer's name, only what may be a street address, written in pencil: "Rochim a 281." This could mean Rochim aleja 281 or 281 Rochim Avenue. Alternatively Rochim could be a surname.

I wonder if any readers - at least those who've hung on this long - can offer any further comments on this delightful postcard portrait? Oh, and thank you, Nigel.

Musing in Manhattan

Chrysler Building, New York City, 1931
Platinum print by Margaret Bourke-White
Image © Time-Life & courtesy of Gallery M
Motivated - perhaps inspired would be a better word - by Colleen Fitzpatrick's Forensic Genealogy mystery photo contest this week (Contest #226), I've been thinking art deco (or should that be Art Deco). I hope I'm not giving too much of the game away to say that I've always thought of New York's Chrysler Building as one of the more breathtakingly spectacular and visually effective examples, perhaps even the epitome, of this style of architecture. Although I've never visited New York, if I do one day, this will be one of the places that I'll be sure to visit, and not merely for the earthy marble walls and fittingly decorated lift doors on the ground floor.


Margaret Bourke-White, Chrysler Building, New York City, 1931
Unidentified photographer
Image © & courtesy of Time-Life Pictures
The photographer of the well known Chrysler Building image was photo-journalist extraordinaire Margaret Bourke-White (1904-1971), whose autobiography (Portrait of Myself, published in 1963) featured a photograph (above) on its front cover showing her with camera in action astride one of the huge metallic gargoyle-like protruberances from the Chrysler Building. This photo, in turn, neatly echoes that which forms the subject of Colleen's photo contest.


Unidentified young woman, c. late 1910s to early 1920s
Mounted portrait by Sol. Young Studio
Image © & courtesy of Deena Mitsin
Quite by coincidence, this week I received an email from someone who had found my brief profile of photographer Sol. Young of New York, compiled some four years ago while researching a collection of photographs sent to me by Irene Savory. My correspondent wondered whether I might be able to tell her more about a mounted portrait photograph, illustrated above, of a young woman that she had discovered while cleaning out her attic. It's difficult for me to tell from her email whether the photograph has any family connection, so I can't really comment on the provenance. Merely from the hairstyle and clothing - and I'm not claiming any great expertise in dating fashions from this era - I estimate a rough date of perhaps the early 1920s. The young woman looks to me to be in her mid- to late twenties, which gives a birth date of around or just before the turn of the century.


Unidentified young man, c.1920s
Photo (107 x 151.5 mm) in embossed and printed pale brown card frame (153 x 229.5 mm) with oval aperture (92 x 133.5 mm), in embossed brown "leather-look" card folder (160 x 236 mm)
Image © & collection of Brett Payne, Courtesy of Irene Savory

Solomon Young was born in Kraków, Poland - then part of Galizien Kroenlande (Galicia Crownland), Austrian Bohemia - on 7 April 1865, son of Isaac L. Young and Lena Wachsmann. He emigrated to the United States in June 1882 (or 1883) at the age of 17, where he settled in New York and became a naturalised citizen some five years later on 1 August 1888. By this time several other members of his family, including his widowed mother and married sister, had also arrived in New York. He appears to have set up as a publisher and book seller from premises in Norfolk Street, in what is now the Lower East Side, until about 1891-1892.


Unidentified teenage girl, c.1905-1910
Mounted print (trimmed) by Sol. Young Studios, N.Y. Brooklyn, N.J.
Image © and courtesy of Etsy
Sol married Minnie Marx on Boxing Day 1892 in Manhattan, New York, and opened his first photographic premises near Union Square the following year. He continued to operate a studio at 17 Union Square West, with a home at 152 East 116th Street (East Harlem) until at least 1899. The trade directories list only his name, but since Sol and Minnie never had any children I presume that she too worked in the studio. One could easily imagine Minnie tending to customers at the front desk in the shop, while Sol. took portraits in the studio.


Unidentified young woman, Dated 1916
Mounted print (4" x 6") on matt (6¾" x 9¾") by Sol. Young
Image © and courtesy of ArtFire
The decade from 1900 until 1910 is something of a mystery, as no records have been found, although it is clear that Sol must have thrived and operated a successful photographic business partnership with his wife during this period. The 1910 Census shows him and Minnie living with his mother at Number 210, 107th Street (Riverside Park).


Augusta, c.1910-1915
Mounted print by Sol. Young, New York
Image © and courtesy of Rick Raven
Five years later, 1915 New York city directory listings show him with seven branches in New York, and a further studio in Bridgeport (Connecticut) which had been opened two years earlier.

Young Sol photo 40 W34th, 1807 Amsdm av, 1204 Bway 985 Lex av 142 W23d 109 W125th & 474 E Tremont av h600 W 116th
Young Sol, photographer, 129 Wall (Bridgeport, Conn.)

List of branch studios, c.1910-1915
Reverse of mounted print by Sol. Young, New York
Image © and courtesy of Rick Raven
However, a listing of branches on the reverse of a card mount from around 1910-1915 (shown above) suggests an even greater early expansion of the business, with at least twelve branches in existence across New York, the Bronx, Brooklyn, Jersey City and Newark by the time this portrait was taken. The device of a lion brandishing a sword was already well established as the studio's "mark" by this time.


George "Highpockets" Kelly, baseball player, c.1915-1920
Mounted print by Sol. Young Studios
Image © and courtesy of Vintage Ball
At about this time he and Minnie also moved their home to 600 West 116th Street, between Columbia University and the Hudson River. Sol and Minnie had been industrious, and it was obviously paying off. Between July and September 1914 they were able to take a long holiday with a trip to Europe, travelling to Germany, Austria and Holland, and presumably leaving their studios in the capable hands of their managers and employees.


Unidentified religious Jew, Brooklyn, c.1915-1920
Photograph by Sol. Young Studios
in Jews of Brooklyn by Ilana Abramovitch & Seán Galvin
Image © The Archives of the YIVO Institute for Jewish Research
& courtesy of Google Books
It seems likely that they had intended to visit family in Krakow but their timing was not the best. The outbreak of war throughout Europe in late July was perhaps unexpected, in spite of the build up in tensions between the Eurpean nations for some years. News of the Russian attacks on East Prussia in late August (Battle of Tannenberg), although well to the north of Sol's homeland in Bohemia, seems likely to have rapidly precipitated an early homeward departure.


Maria Charlotta Svahn Belin (1872-1927)
Photograph by Sol. Young Studios, taken c. late 1910s
Image © Michael-Ann Belin & courtesy of Flickr
The swift German invasion through Belgium and into north-western France in late August and early September, culminating in the First Battle of the Marne, may have disrupted the plans for their journey home considerably. In the event, they must have travelled with some trepidation across the German state which was now at war on several fronts, vying for space on trains full of Imperial troops mobilising for the front. They departed from the neutral Dutch port of Rotterdam on 12 September 1914 aboard the S.S. Nieuw Amsterdam, and arrived back home in New York nine days later, somewhat relieved, I feel sure.



Some time between 1910 and 1915, they had moved their primary premises from Union Square to 40 West 34th Street and it appears to have remained the main branch for many years. On Friday 23 September 1921, however, Solomon Young died, aged only 56.

New York Times, 24 Sep 1921
Sol Young, founder of a chain of eighteen photographic studios, died yesterday at his home, 600 West 116th Street, at the age of 56. He was one of the pioneers in the pastel and crayon industry, opening his first studio in Union Square in 1893.

The brief newspaper obituary states that eighteen branches were operating at that time. Minnie Young was clearly quite capable because she continued to operate many of these branches for some years with a posse of managers and assistants. They must have earned her a decent income, as she employed a chauffeur in 1922 and made an extensive trip to mainland Europe in the summer of 1923, visiting Germany, Czechoslovakia, Belgium, Switzerland and France. In March 1931 Minnie travelled abroad again, paying a brief visit to London, England.


Unidentified young girl
Photograph by Sol. Young Studios, taken c.1920s
Image © Michael-Ann Belin & courtesy of Flickr
The charming portrait of an - as yet - unidentified young girl (shown above) is, sadly, undated, although Michael-Ann Belin is currently investigating who it might be. I suspect that it was taken in the early to mid-1920s.


Design on card folder from Sol. Young Studios, taken c.1920s
Image © Michael-Ann Belin & courtesy of Flickr
The portrait was sold in an elaborately decorated printed and embossed card folder, of a type which became very popular in the United States during the post-Great War years, particularly the 1920s and early 1930s. The front of the folder has a new emblem, somewhat more stylish than Sol's original lion & sword logo. The reverse of the folder has a large number of studio premises listed. They were situated throughout New York (Bronx, Brooklyn, Rochester), New Jersey (Jersey City, Newark, Trenton, Paterson, Union City), Connecticut (Bridgeport) and Pennsylvania (Philadelphia).


Unidentified mother and daughter
Photograph by Sol. Young Studios, taken c.1920s
Image © Michael-Ann Belin & courtesy of Flickr
The business flourished throughout the 1920s and into the early 1930s. By 1933 Minnie Young appeared to be in the process of handing over the reins of the business to her husband's nephew, Arthur Lewis Pawliger (1891-1970), who is shown as president and treasurer of Sol. Young Photographer Inc. in a directory of that year. Two years later, at the age of 63, Minnie Young died.

During the years of the Depression, the firm came up with a marketing plan to keep the once successful business afloat. They reputedly sent photographers out on the streets of large cities with ponies, hoping to entice customers with children to have "studio quality" portraits taken with the animals.

I haven't yet been able to determine how long it remained in business, but it seems unlikely to have survived much beyond the onset of the Second World War. In their time, however, they operated from a huge number of different addresses. I have attempted to provide an interim list of these, together with some dates of known operation.

35 University Place - 1893
840 Broadway - 1894
1204 Broadway - c.1900s, 1915
850-852 Broadway, Brooklyn - c.1910s, c.1920s
5606-5th Avenue, Brooklyn - c.1920s
17 Union Square West - 1895, 1896, 1897, 1898, 1899, c1910s
40 West 34th Street, N.Y. - 1915, 1916, 1917, 1920, 1922, 1925
38 West 34th Street (3d fl) - 1933
1807 Amsterdam Avenue - 1915, 1916, 1917, 1920
985 Lexington Avenue - c.1910s, 1915, 1916, 1917, 1920, 1922, 1925
970 Lexington Avenue, N.Y. - 1922, 1933
142 West 23rd Street - c.1910s, 1915
107-109 West 125th Street, N.Y. - 1915, 1916, 1920, 1922, 1925
111-113 West 125th Street, N.Y. - c.1910s
112 West 125th Street - 1933
474 East Tremont Avenue, Bronx - c1910s, 1915, 1916, 1917, 1920, 1922
414 East Tremont Avenue - 1933
298 Willis Avenue - 1916
23 Flatbush Avenue, Brooklyn - c.1910s, c.1920s
24 Arlington Place, Brooklyn - c.1910s
129 Wall Street, Bridgeport, Conn. - 1913
129 Wall rms, Bridgeport, Conn. - 1918, 1923
207 Golden Hill, Bridgeport, Conn. - 1918
803 (6) Chapel Street, New Haven, Conn. - 1918, 1921, 1922, 1927, 1928
157 Newark Avenue, Jersey City, N.J. - c.1910s, c.1920s
923 Broad Street, Newark, N.J. - c.1910s, c.1920s
116 Springfield Avenue, Newark,N.J. - c.1910s
1622 Chestnut Street, Philadelphia, Penn. - c.1920s
31 Elm Street, Rochester, New York - c.1920s
2 North Broad Street, Trenton, N.J. - c.1920s
197 Market Street, Peterson, N.J. - c.1920s
700 Bergenline Avenue, Union City, N.J. - c.1920s

I welcome any additions to this list, in the form of new addresses or dates. If any readers are able to provide further information, please email me.


Site of Sol. Young's flagship studio, c.1915-1933
38-40 West 34th Street, Manhattan, New York
Image © & courtesy of GoogleMaps
Finally, I would like to focus on the premises from which Sol. and Minnie Young ran their chain of photographic studios: 38-40 West 34th Street, Manhattan, New York. At the time that Google Maps' StreetView camera car drove past a few years ago, this address was occupied by Porta Bella Fine Menswear & Shoes [although a June 2008 report suggests the store has since been remodelled.] To conclude this article, click on the image above to open the GoogleMaps Street View for this address, then pan upwards and to the left to see the building from which Colleen Fitzpatrick's Quiz #266 photo was taken, and which started this journey of discovery for me.

References

Abramovitch, Ilana & Galvin, Seán (2001) Jews of Brooklyn. Brandeis series in American Jewish history, culture, and life. Hanover, New Hampshire: University Press of New England. 355p. ISBN 1584650036.

Email Correspondence with Michael-Anne Belin, October 2009, and Maria Belin's Autograph Album 1893 on Flickr

Undated Photograph of Young Woman, c.1910-1915, by Sol Young Studios, 543 S. Salina St., Syracuse, New York, on Onondaga County Pictures

Photograph of young woman, 1916, by Sol Young, on Artfire

Photograph of young girl, by Sol.Young Studios, N.Y. Brooklyn, N.J., on Etsy

Photograph of George "Highpockets" Kelly by Sol Young, c.1910s, on Vintage Ball Photogallery

Message from Rob Stieglitz on Rootsweb GENMSC-L Mailing List Archives, 8 Jul 2000, re. portraits from Sol. Young Studios, dated c.1900 & c.1925

Message from "scardiel" on Ancestry WORTH Surname Message Board, 23 Jul 2004, re. 3 portraits from Sol. Young Studio, dated c.1925 & c.1930

Message from Randall McDaniel on Ancestry SANG Surname Message Board, 15 Apr 2007, re. portrait from Solomon Young Studio dated 28 Aug 1914

Message from Judy Cronan on Ancestry McCONVILLE Surname Message Board, 16 Sep 2005, re. portrait from Sol. Young Studio

Message from Shelley Cardiel on Winham Family Genealogy Forum, 4 Jul 2004, re. portrait by Sol. Young Studio, dated c.1914

Sol. Young - NY Photographer, Message thread by various authors (Sep 2002-Dec 2003) on Ancestry Message Board

Notes about photograph dated July 1913 by Sol Young, The Genealogy site of Zigelboim, Krotman and Kamm families

World War I from Wikipedia
- Battle of Tannenberg
- First Battle of the Marne

Keeping the Tradition Alive by Giddy Up Ponies Photo Services

Storecasting: Fossil Discovered in Midtown, by Cynthia Drescher, 27 June 2008, on Racked New York

International Genealogical Index (IGI) from the LDS Church & FamilySearch

US Federal Census Collection 1790-1930 Indexed images from Ancestry.com

Naturalization Index Card - Solomon Young, 1 Aug 1888, New York Petitions for Naturalization from Ancestry.com

Passport Application - Minnie Young, 28 June 1923, U.S. Passport Applications, 1795-1925 from Ancestry.com

New York Passenger Lists, 1820-1957 from Ancestry.com
Passenger List: S.S. Nieuw Amsterdam, sailing from Rotterdam, 12 Sep 1914, arr. New York, 21 Sep 1914
Passenger List: S.S. Olympic, sailing from Cherbourg, 19 Sep 1923, arr. New York 26 Sep 1923
Passenger List: S.S. Statendam, sailing from ?New York, 29 Jan 1930, arr. New York, 23 Feb 1930
Passenger List: S.S. Majestic, sailing from Southampton, 18 Mar 1931, arr. New York 24 Mar 1931

UK Incoming Passenger Lists from Ancestry.co.uk
Passenger List: S.S. Homeric, sailing from New York, Arr. Southampton, 10 Mar 1931

New York Directories from Ancestry.com
Trow's New York City Directory 1888, 1891, 1894, 1895, 1896, 1897, 1898
New York City Directories 1891-92, 1893, 1915, 1916, 1917, 1920, 1922, 1925, 1933
New Haven City Directories 1921, 1922, 1927, 1928
Connecticut City Directories - Bridgeport 1913, 1918, 1923
Connecticut City Directories - New Haven 1918
Connecticut City Directories - Bridgeport 1918

New York Times Article Archive
New York Times, 24 September 1921.
New York Times, 19 June 1922, p. 11.
New York Times, 26 October 1935.

H.O. Seaman of Bristol, Birmingham & Weston-super-Mare

Last month I featured several portraits by the Seaman family of photographers who, although starting the business in Chesterfield in the mid- to late 1870s, eventually operated a number of branches from Blackpool to Brighton.


This cabinet card was an eBay purchase and there is unfortunately no indication as to who the attractive, fashionably dressed and elegantly coiffured young woman might have been. The card mount has square corners and an flowery border in the art nouveau style. These two features, together with the young woman's pose, clothing and hair style, all suggest to me that the photograph was taken in the first decade of the Twentieth Century.


Herbert Oscar Seaman was a son of the firm's founder, Alfred Seaman (1844-1910) by his third wife Martha Ann Else. He was born in Chesterfield in late 1884, at a time when Alfred was establishing a firm reputation in that town. As a young boy he would have seen several of his older half-brothers first working in the main studio in Chesterfield, and then opening and running new branches in Ilkeston, Alfreton, Sheffield and Leeds. In 1901 - at the age of 16 - he, Alfred William and Harold John (the brothers who were closest in age to him) were employed in the High Street studio in Chesterfield as photographer's assistants/apprentices.

By the time he was married at Bristol two years later, in late 1903, he was almost ready to start out on his own, and the first listing of him with his own studio is in Bristol (Somerset) in 1905 with premises at 27 Castle Street (Vaughan). The last entry for him at this address is for 1908, but it is not clear what he did after this date. The reverse of the card mount, shown above, indicates that he also operated a studio at 74 City Arcade in Birmingham (Warwickshire) at some stage. A small gem-type portrait mounted in an easel-back cardmoard frame currently listed on eBay is described as having the following addresses stamped on the reverse:

- 27 Castle St. Bristol;
- 74, City Arcade, and 15 1/2 High Street (Bull Ring), Birmingham;
- and at 3, Macfarlane Buildings, Regent St., Weston-Super-Mare

The large hat worn by the woman in that portrait suggests to me a similar date, i.e. 1905 to 1908.

It is also possible that H.O. Seaman lived in Norwich (Norfolk) from 1912 to 1919, although I don't have evidence that a studio was ever operated there.

References

Bristol Photographers, U.K., 1852-1972, by Roger Vaughan

Jane Wyatt Barnes (1817-1887) of Collycroft, Edlaston

Nigel Aspdin sent me the following image of a photograph and asked me when I thought it had been taken, because he wasn't able to marry up his estimate of the date of the portrait with what he knew about the subject, his ancestor Jane Wyatt Barnes.


It is a 107.5 x 153.5 mm (4¼" x 6") print - possibly a silver gelatin print - mounted on plain thin white card (approx. 126 x 179 mm) with an irregular bevelled and silvered edge, which itself is mounted on more thin white card (approx. 203 x 280 mm) with a slightly irregular finish, and a plain irregular edge, and then mounted into a buff coloured folder (approx. 208 x 286 mm) with a similar rough edge, and with a thinner paper "protector" page. The folder has an oval art noveau-style design (166 x 176 mm) showing a long-haired young woman holding a flower embossed into the front cover. The name of the studio, "R. + R. Bull," has been pencilled into the lower right hand margin of the topmost card mount.


This style of photographic mount first came into use, in its simplest form, in the early 1900s along with the art nouveau movement. At this time a profusion of new formats offered more exciting alternatives to the cabinet card, at the upper end of the market, and the carte de visite, at the lower end. The photographs mounted in folders remained in vogue for many years, becoming more elaborate after the end of the Great War and during the 1920s. I hope to feature other examples of photographic folders from my collection on Photo-Sleuth soon. However, I estimate that this particular example was probably produced in the late 1910s or early 1920s.


The portrait itself, however, is not at all typical of that era. My first impression was that it was from the 1850s or 1860s, but that was largely a guess. After looking at a large range of designs in Victorian Fashions & Costumes from Harper's Bazaar : 1867-1898, by Stella Blum (publ. 1974, Dover Publications, Inc., ISBN 0 486 22990 4), I am a little more knowledgeable, but no nearer an exact date. Bonnets in this broad style appear to have remained in fashion throughout the 1860s and 1870s, particularly when worn by women of more mature years. The lace shawl was an accessory less commonly used by younger women, but was equally long-lived. It may be of relevance that lace running was one of Ashbourne's principal trades in early Victorian times, although by the 1860s, numbers of lace workers had fallen dramatically. [Source: A Portrait Of Ashbourne in the Mid 19th Century, by the Ashbourne Local History Group, edited by Adrian Henstock, 1978]


Click image for reverse of cabinet card
Once I had told Nigel that the photograph was obviously a copy of a photograph taken much earlier, perhaps in the 1860s or 1870s, he had a more detailed look through his collection of family photographs, and found a cabinet card of what appears to be the same, or at least very similar, portrait. The card mount indicates that it was by Robert Bull of Ashbourne, Robert being the uncle of another Robert Bull who joined the business around 1904.


The design of the card mount, produced by Fallowfield of London, is very similar to one used by Derby photographer W.W. Winter (see Type XV) between 1883 and 1886. Roger Vaughan's article, "Dating Victorian Photograph Card Printers c.1864 - 1895," has the firm of Fallowfield operating from c.1884 until 1888. I believe, therefore, that the earlier Bull portrait was almost certainly produced in the early to mid-1880s.


A detailed examination of the earlier portrait suggests that it may also be a copy. It is theoretically possible that both prints were produced from the same original negative. However, Robert Bull probably only started working as a photographer around 1876, and then only as a sideline to the newsagent's business, so reproduction from an original negative appears unlikely. I suspect that both prints were copied from an original portrait taken in the 1860s or early 1870s, and that the later copy was subjected to some retouching. It is even conceivable that the portrait was taken as early as the late 1850s, when the subject was about forty - if this is the case, then the original would have been an ambrotype.

It is perhaps worth noting that the subject's hair completely covers her ears - after about 1867, ears began to be more noticeable in portraits!

It may help to give some background to the subject's life. Jane Wyatt Harlow was born on 30 October 1817, a daughter of Ashbourne brass founder and clockmaker Robert Harlow (1779-1828) and his wife Amelia née Wyatt (1783-1853). She married Thomas Barnes (1810-1858), an ironmonger and grocer, at St Oswald's, Ashbourne on 11 Jan 1842. With him she had two sons and five daughters, before her husband died in 1858, at the relatively young age of 58. She continued to run the grocery and ironmonger's businesses until she was about 60. She lived at Collycroft Farm, near Edlaston, from the mid-1860s, died there at the age of 69, and was buried at St. Oswald's, Ashbourne on 4 January 1887 [Source: Ashbourne St Oswald Burials, by Mike Spencer].

Other References:
IGI, FreeBMD, 1841-1901 Census from Ancestry.co.uk, Derbyshire Wills database 1525-1928 by Mike Spencer

Tennyson's "Dream of Fair Women"

I purchased this postcard photo some time ago on eBay because it is from the studio of Frederick J. Boyes (of 22 & 24 Osmaston Road, Derby). However, it is also of interest for the reason that it is from a rather different genre from the usual contributions that I receive. It is a standard postcard format picture. The reverse is of a very ordinary design, with no studio name printed; as was common with Boyes' later postcard portraits, the studio name and details are blind stamped onto the lower right hand corner of the front of the card.


Tennyson's "Dream of Fair Women"
It is inscribed in pen on the reverse, "Tennyson's 'Dream of Fair Women'" - nothing else. I wasn't familiar with this poem, but the full text may be found here. It was an early poem written by Tennyson in 1833, but it was strongly criticized by reviewers, and "made little impression on the Victorian public which had lost its taste for poetry and was devoted mainly to prose fiction." [Source: Modern English Books of Power, by G.H. Fitch, 1912] Millais provided an illustration for an 1857 publication of the work:


Illustration for Tennyson's "A Dream of Fair Women", by John Everett Millais, 1857, engraved by W.J. Linton
The popularity of the work appears to have undergone something of a revival in the Edwardian era. The art noveaux period brought this work in the romantic genre by Emma Florence Harrison, probably from shortly before the Great War. A film of that name was also produced in 1920


"A Dream of Fair Women", by British artist Emma Florence Harrison
Unfortunately, the identity of the cast members of this performance of "A Dream of Fair Women" has not been preserved along with the photo. As I purchased it on eBay, the provenance is also lost. However, there must, somewhere, be records of the poem-play being performed in Derby. I presume it was in Derby, as Boyes was unlikely to have travelled very far afield. It looks as though it has been taken in a suburban garden, but there are few clues as to where. My guess is that it dates from between 1905 and 1925, but it's difficult to be more accurate than that, because the costumes are, after all, costumes.

Perhaps there is a reader out there who can offer some more insights into when and where the performance may have taken place, and who the actors were?