Showing posts with label family groups. Show all posts
Showing posts with label family groups. Show all posts

Friday, 2 September 2011

Which sibling is it? The importance of a detailed date

Image © and courtesy of Barbara EllisonImage © and courtesy of Barbara Ellison
Portrait A - Carte de visite, Burnley-Leigh-Peterboro-Derby, #15008

Probably the most common problem I'm asked to solve by clients is to identify which of several family members the subject of a photograph could be. Is it the father or the son, the mother or the daughter, or which of several brothers or sisters could it be? Sometimes it's as easy as estimating the approximate age of the subject and which decade he or she visited the studio.

Image © and courtesy of Barbara EllisonImage © and courtesy of Barbara Ellison
Portrait B - Cabinet card, Derby-Burnley-Peterboro-Leigh, #15008

All too often though, and particularly in the case of sibling identification, a more accurate date and a firmer handle on the age are required. Age evaluation is a subjective process, and I usually leave open the widest possible margins for error. When the subjects are younger, I usually ask my own teenage children what they think - they seem to have a better idea than I do, probably because they are closer to the ages of the subjects. I very rarely offer an opinion when asked about potential similarity of facial characteristics between family members - that's a minefield best left to the family themselves to ponder on.

Image © and courtesy of Barbara EllisonImage © and courtesy of Barbara Ellison
Portrait C - Carte de visite, Burnley-Leigh-Peterboro-Derby, #16706

There are many aspects of a portrait which can be used to estimate an approximate date, but I concentrate here on one which can often provide the most accurate dates of all. A good understanding of photograph types and formats, together with a knowledge of clothing styles and hair fashions, will usually get you to the right decade, perhaps even down to a five-year period or so. Detailed documentation of a photographer's career, including the addresses of his various studios and any negative numbers he may have used during that time, can in some cases be used to narrow the time frame right down to a year or two. A word of warning, though - it's usually the most time consuming of all the techniques available, and it doesn't always yield satisfactory results.

Image © and courtesy of Barbara EllisonImage © and courtesy of Barbara Ellison
Portrait D - Cabinet card, Derby-Leigh, no negative #

Anyway, I thought I'd give readers an example of how this can work well. I recently completed a detailed study of Derby photographer Pollard Graham, culminating in the compilation of a new profile and gallery, including several dozen new images that have been sent to me by visitors to my Derbyshire Photographers web site over the last three years.

Image © and courtesy of Barbara EllisonImage © and courtesy of Barbara Ellison
Portrait E - Cabinet card, Derby-Burnley-Peterboro-Leigh, #16790

This analysis resulted in the identification of at least 38 distinct card mount designs and photograph formats used during a career which spanned five decades. I've put forward a provisional sequence in which these card designs and photo formats were used, together with a dating guide, although the paucity of accurately dated portraits with which to anchor the sequence means that it must be considered, at best, tentative.

Image © and courtesy of Barbara EllisonImage © and courtesy of Barbara Ellison
Portrait F - Carte de visite, Burnley-Leigh-Peterboro-Derby, #18359

The six Pollard Graham portraits that accompany this text are from my aunt's collection. As can be seen from the annotations on the reverse of the card mounts, there is some confusion in the identification of the subjects. However, it is almost certain that they are one or more of the daughters of Henry Payne (1842-1907) and Henrietta Christina Benfield (c1842-1912). I left them out of my analysis inadvertently, but can now use this to some advantage, by comparing them with the dating study to see whether (a) they fit well into the proposed sequence, (b) approximate dates can be estimated, and (c) the subjects can be identified with any greater certainty.

Image © and courtesy of Barbara EllisonImage © and courtesy of Barbara Ellison
Portraits A & B - #15008 - Taken c. early 1906

The first pair of portraits, a carte de visite and a cabinet card with the same negative number, are from the same negative. The mounts used are Types 14 and 15 in my Pollard Graham classification, probably used between 1905 and 1908. The hat appears to be somewhere between the cartwheel amd merry widow hats described by Geoff Caulton in his excellent guide to Edwardian and later fashions, Photo Detective, confirming a date of between 1905 and 1908. I think this is Helen Payne (aka Nellie), who was born on 18 October 1883 and would have been in her early 20s at the time.

Image © and courtesy of Barbara EllisonImage © and courtesy of Barbara Ellison
Portraits C & D - #16706 - Taken July 1906

The next pair, likewise a cdv and cabinet, are also clearly from a single negative, even though one of them is unnumbered. The mounts used are Types 15 and 16, from c.1905-1908 and c.1908 respectively. I note that this negative number is immediately adjacent to that on a portrait of Sarah Emma Payne née Parker, sister-in-law of the Payne girls (see pgraham38), suggesting that the subject may have visited the studio together with Sarah. That photograph is dated July 1906, so we have known point around which to anchor the negative number sequence - the previous sitting was possibly earlier in 1906, or late the previous year.

This young woman looks a little older than Helen, and her clothing is perhaps a little more mature, fashion-wise. The straw boater is typical of the Edwardian era, but not as wide-brimmed as they would become later in the decade. I think the caption on the reverse correctly identifies her as Lucy Mary, otherwise known as Maggie. She was born on 29 November 1876, therefore 29 years old when she visited the studio, and would marry Robert Nathan Chadwick in February the following year.

Image © and courtesy of Barbara EllisonImage © and courtesy of Barbara Ellison
Portrait E - #16790 - Taken c. late 1906
Portrait F - #18359 - Taken c. 1907

The fourth and fifth portraits in the sequence have negative numbers suggesting they were taken slightly later in 1906 and in 1907, respectively. Both hats are closer to the typical merry widow hat, although lacking in extravagant ostrich feathers usually seen with that style, so perhaps tending towards a swaithed hat, which became popular around 1910. The subject looks like Helen again. There is a possibility that it is Lily, who was only 19 months older than Helen, but in the only other photograph that I have of Lily from that period, she looks more like Maggie than like her younger sister.

Image © Brett Payne
Pollard Graham's Negative Number Sequence, 1905-1922

Pollard Graham only started annotating the card mounts of his portraits with negative numbers when he opened his branch studio in Burton-upon-Trent around 1895. He appears to have used this same sequence more or less continuously from then until around 1922, after which a new sequence may have been started. The lowest and highest negative numbers in the sequence found thus far are 34 and 92985 respectively. This suggests an average rate of roughly 3400 and 3500 sittings per year, or just under 300 sittings a month.

Due to the paucity of accurately dated examples from this photographer, it is difficult to gain an accurate picture of how the "production rate" varied over time. That there was some variation, I have little doubt. The business brought in during the pre-War heyday from 1906 to 1914, when they had eight branches operating simultaneously, for example, would have been drastically reduced during the war. This hiatus appears to be reflected in a flattening out of the "curve" around 1914-1917 in the provisional chart above.

Image © and courtesy of Barbara Ellison
Payne family members and friends, Derby, c.1900-1903

Plotting the negative numbers of the above six portraits on this chart confirms that they were probably all taken within a short period of time, between 1905 and 1907. I can therefore make tentative identifications of the subjects with a much greater confidence, knowing how old the three Payne sisters would have been at the time. Unfortunately the only photograph that I know of which shows all three sisters in the same portrait is the out-of-focus, probably amateur, group portrait of Payne family members and friends taken a few years earlier, around 1900 to 1903, in the garden of 83 St James' Road (New Normanton, Derby).

Image © and courtesy of Barbara Ellison
Detail of group portrait showing, from left to right, Lily, Helen, Aunt Sarah, Lucy Mary and my grandfather Leslie (aged about 8-11 yrs)

The facial similarities between Lily and Lucy Mary are evident in here, although all three understandably look very alike.

The ability to narrow down the dating of a portrait to under a year depends on many factors, not the least of which is a good knowledge of the photographic studio's history. Of course only a tiny proportion of individual photographers have been studied in much detail. Apart from my own work on Derbyshire photographers, there are several other online works in progress, such as David Simkin's Brighton Photographers and Sussex PhotoHistory, Peter Stubbs' EdinPhoto, the photoLondon database, and several ongoing projects by Ron Cosens, including a Photo Dating Wizard.

However, lists have been prepared of photographers/premises/dates for most areas of the United Kingdom, for example, by the Royal Photographic Society Historical Group, as supplements to their quarterly publication, The PhotoHistorian. These supplements are available from the RPS - a full list and contact details are provided here. They, and many other studies of photographers worldwide, are also listed in Richard Rudisill and Peter E. Palmquist's annotated bibliography, Photographers: A Sourcebook for Historical Research.

Thursday, 9 June 2011

Sepia Saturday 78: Byron of New York

Image © and courtesy of Ron Cosens

People change their names for many reasons. One might speculate at length as to why basketmaker James Byron Clayton (1826-1880) abandoned his family name when opening a photographic studio in Nottingham in 1857. The simplest argument, and probably the closest to the truth, is that described by Bernard and Pauline Heathcote in their booklet, Pioneers of Photography in Nottinghamshire [1].

His younger brother Walter Clayton (1833-1893) had already upstaged him by opening a studio in Greyhound Street, Nottingham a year earlier. Perhaps it was to distinguish himself in a rapidly growing market with numerous competitors, and his baptismal middle name, Byron, seemed to have a little more cachet. Whatever the purpose, he dropped the Clayton and simply became James Byron, photographer of Ram Yard, Long Row East.

Image © and collection of Brett Payne

When his son Joseph Clayton (1847-1923), in turn, entered the profession in 1867, taking over a studio in Blackfriars Street, London, he too styled himself in the fashion of an artist photographer. With lofty ambitions, his first carte de visite mounts were ordered from the printers with the name Byron Clayton, supplemented by the description, "Parliamentary & Portrait Photographer," perhaps more aspirational than by actual appointment.

Image courtesy of Heathcote & Heathcote (2001)
Joseph Byron Clayton, c.1875-1876
Image courtesy of Heathcote & Heathcote (2001) [1]

Sadly, Joseph's sojourn in London was short one. After a run-in with the constabulary and a brief spell of incarceration, he returned to Nottingham and entered business with his father around 1870, an arrangement which continued until the latter's retirement in 1876. In 1873 and 1874 Joseph also operated the oddly named Magnet Studio in Leicester jointly with his uncle Walter, although the partnership did not last for long.

Image © and collection of Brett Payne

James Byron Clayton died in 1880, shortly after which Joseph opened a new Nottingham studio in Bridlesmith Gate. He must have done sufficient business to be able to order a sequence of fresh card mount designs, such as the one displayed above with a Georgian flavour. By early 1886, however, the business was in significant financial difficulty, and a further move to Smithy Row was insufficient to stave off bankruptcy proceedings.

Image © and courtesy of the Museum of the City of New York
The Byron family, Nottingham, 1888
Gelatin silver print by J. Byron, Ref. 93.1.4.1 [2]

In the summer of 1888 Joseph Byron decided to make a new start. He, his wife Julia (née Lewin) and their eldest daughter travelled to New York in September, with their remaining four children following a month later, accompanied by Julia's mother.

Image © and courtesy of the Museum of the City of New York
A scene from Fred R. Hamlin's production of "The Wizard of Oz" at the Majestic Theatre, 1903
Gelatin silver print by J. Byron, Ref. 41.420.748 [2]

Initially Joseph Byron practised as a freelance press photographer for the Illustrated American and other clients, but in 1889 he made a foray into theatrical photography. According to David Shields [4]:
Sarony studio's control of the theatrical portrait trade prompted Byron to make sittings a secondary concern, concentrating instead on production stills. He was one of the pioneers in the creation of stage images that could be used in programs, memorial brochures, and magazines ... The most artistic of the early 'stage picture' photographers, Joseph Byron attempted to capture the dynamic of stage action from unusual angles at moments of acute emotional impact.

Image © and courtesy of the Museum of the City of New York
Portrait, Ethel Barrymore, c.1902 - "More regal than royalty."
Gelatin silver print by J. Byron, Ref. 93.1.1.8603 [2]

He was not averse to taking formal portraits at sittings when the opportunity arose, such as this drawing room sitting of Ethel Barrymore taken at around the time she gave out what would become her most famous line, "That's all there is, there isn't any more."

Image © and courtesy of the Museum of the City of New York
The New York Times Building under construction
1 Times Square, c.1903
Gelatin silver print by J. Byron, Ref. 93.1.1.16687 [2]

Eventually his wife Julia and several of their children, including son Percy, all became involved in the photographic business. The Museum of the City of New York has an extensive collection of prints and glass plate negatives by the Byron Company, with over 24,000 images online [2]. The breadth of Byron's prolific output in the 1890s and early 1900s demonstrates his willingness to search for clients and subjects in all parts of the metropolis. This photograph, typical of his many architectural views, provides an unusual early view of the Times Building under construction in Times Square.

Image © and courtesy of the Museum of the City of New York
Children, Playing on streets, 1908
Gelatin silver print by J. Byron, Ref. 93.1.1.3171 [2]

His street views were a little more lively, and he might just as easily capture a gaggle of kids playing on a street corner in a run-down neighbourhood (image above), as a party of friends out for a thrill on the pleasure rides at Coney Island.

Image © and courtesy of the Museum of the City of New York
Miss Jackson, Bath Beach, New York, 1898
Gelatin silver print by J. Byron, Ref. 93.1.1.1311 [2]

It seems likely that some of his work consisted of on the spot commissions, such as this delightful shot of a Miss Jackson trying out an early bathing costume at Bath Beach, for which one assumes he must have entered the water himself.

Image © and courtesy of the Museum of the City of New York
Thomas A. Edison, 1904
Gelatin silver print by J. Byron, Ref. 93.1.1.8765 [2]

Although he is perhaps best remembered for his New York cityscape views and theatrical compositions, his business was incredibly varied. He was apparently just as happy to visit Thomas Alva Edison's laboratory (above) as he was to stand in the street outside Lazarus Levy's clothing store on East Broadway (below).

Image © and courtesy of the Museum of the City of New York
30 East Broadway. A crowd of children in front of L. Levy, Manufacturer of Clothing, 1898
Gelatin silver print by J. Byron, Ref. 93.1.1.17141 [2]

His son Percy Byron followed him into the practice, but in 1906 moved to Edmonton, Alberta where he established a photographic business with his brother-in-law Gustave May. The Byron-May partnership experienced a significant downturn in business during the Great War, and Percy returned to New York. He rejoined his father, and spearheaded a new specialisation into ship photography.

Image © and courtesy of the Museum of the City of New York
Joseph and Julia Byron, 1904
Gelatin silver print by the Byron Company, Ref. 93.1.4.7 [2]

Joseph Byron died in 1923, after which Percy took over the Byron Company and continued to run it successfully until the middle of the Second World War, when business once again declined, and the company was finally wound up in October 1942 [3]. Percy Byron died on 10 June 1959.

My profile of the Byron-Clayton family in Nottingham and London, prior to Joseph's emigration to New York, is supplemented with a gallery containing numerous examples of their portrait work.

This article is a submission to Sepia Saturday 78. For further serendipitous finds from the sepia archives, it's well worth a visit.

References

[1] Heathcote, Bernard & Pauline (2001) Pioneers of Photography in Nottingham, 1841-1910, Nottinghamshire County Council, 62p.

[2] Byron Company Collection, Museum of the City of New York web site.

[3] Simmons, Peter (1999) Gotham Comes of Age: New York Through the Lens of the Byron Company, 1892 - 1942, Pomegranate Communications, 216p. ISBN 0764909061. Partially available online from Google Books.

[4] Joseph Byron, on Broadway Photographs: Art Photography and the American Stage, 1900-1930.

[5] Payne, Brett (2011) James Byron Clayton (1826-1880) & Joseph Byron Clayton (1847-1923) of Nottingham.

Sunday, 6 March 2011

Fearless femmes: great-grandmother Amy

Image © and collection of Brett Payne
1894-1895 at Derby [1]

She is as impenitent and self-possessed a young lady as one would desire to see among the best behaved of her sex. Her small head and tiny resolute mouth and chin; her haughty crispness of speech and trimness of carriage; the ruthless elegance of her equipment, which includes a very smart hat with a dead bird in it, mark a personality which is as formidable as it is exquisitely pretty. She is not a siren, like Ann: admiration comes to her without any compulsion or even interest on her part; besides, there is some fun in Ann, but in this woman none, perhaps no mercy either: if anything restrains her, it is intelligence and pride, not compassion. Her voice might be the voice of a school-mistress addressing a class of girls who had disgraced themselves, as she proceeds with complete composure and some disgust to say what she has come to say.

Man and Superman, George Bernard Shaw, 1903 [2]

These words could only have written by a man, I suppose, and the language and sentiment are clearly a product of the late Victorian times, but when I read them I thought immediately of this photograph of my great-grandmother Amy Payne née Robinson (1867-1932). The cabinet portrait shown above, pictures her with husband and son (my grandfather Leslie), probably in the garden of their home at 83 St James' Road, Normanton in late 1894 or early 1895.

The historical record, particularly prior to the 20th Century, often left far fewer clues to the details of our female ancestors' lives than for their menfolk, and this is certainly the case with Amy. I've written previously of my great-grandfather Charles Vincent Payne (1868-1941) on Photo-Sleuth, including a piece about his musical abilities, but I've hardly mentioned his wife Amy and should remedy that.

In the United States, March is National Women's History Month, and to celebrate this, Lisa Alzo (The Accidental Genealogist) has reprised her month's worth of blogging prompts, Fearless Females. It's a good opportunity not only to write about female ancestors, fearless or not, but to think about what records, memories and, in particular, photographs remain to provide the clues which can tell us something about their lives.


1926 at Derby [3]

In my family photos there are at least a dozen images which include Charles Vincent, but only four in which his wife Amy appear, and I suspect this three-to-one male to female imbalance would not be unusual in other collections from that era. The small print shown above (109 x 69 mm or 4¼" x 2¾") is the only one showing her as an older woman, pictured seated at front left on the occasion of my grandparents' wedding in 1926. She died only six years later, at the age of sixty-five, when my Dad and his sister were four years and eight months old, respectively. As a result, neither of them had or have any memory of her at all. However, my Dad did tell me that his father was very fond of his mother Amy and, after her second son Harold Victor died in May 1921, he abandoned his job as a clerk at Eaton's Department store in Winnipeg, returning home from Canada to be a comfort to her [4].


9 Lower Forester Street, Derby [5]

Amy Robinson was born at 42 William Street, in the parish of St Alkmund, Derby, on 28 February 1867, where her father Daniel was a police constable [6]. She was baptised at the parish church a few weeks later on 7 April [7]. By 1871 they had moved to 9 Lower Forester Street, in St Werburgh's parish [8], and between 1876 and 1879 they moved again to 74 Fleet Street, Litchurch [9].

Image © and collection of Brett Payne
c.1885-1888 at Derby [10]

I don't know where Amy went to school, but she must have been bright. By the time of the census in April 1891, she was 24 years old and working as a commercial clerk [11]. I believe she must have been the first female member of her family to work in a profession heretofore normally reserved for men.

Image © and collection of Brett Payne
c.1887-1889 at Skegness [12]

She certainly looked a self assured young woman when she was in her late teens and early twenties, whether visiting a Derby photographic studio [10] or promenading with a stylish parasol and high velvet round hat with a huge bow in Skegness [12].

Image © and collection of Brett Payne
On the ocean steamship landing, Liverpool [13]

On the 18th May she married Charles Vincent Payne at the parish church of St Thomas [14], and a week later they departed from Liverpool aboard the S.S. Nova Scotian for Baltimore [15]. With her predilection for headgear, she would not have been out of place amongst these fashionable ladies on the Landing Stage at Liverpool. Accompanying the newly married couple were Charles' younger brother Frank who, although only 17, had been working as a junior clerk at the Derby Union Poor Law Offices. Their intention was to join another brother Charles Hallam in Chicago. He had been working for the Pullman Car Company for some months and presumably Charles Vincent hoped to take advantage of his experience as a joiner [16] and carriage finisher [17]. Things did not quite go according to plan, and it may be that Mr. Pullman was not quite the employer Hallam had thought he was ... the story that Uncle Hallam told about their escapades is recounted in a previous Photo-Sleuth article, Whistling Bird, the Arizona Cowboy & the Disappearing Lady [18].

Image © and courtesy of Illinois Digital Archives
East 111th Street & Curtis Avenue, Roseland, Chicago [19]

Amy is hardly mentioned and I have no idea whether she managed to find a job, although it seems unlikely. Not long after their arrival she, as might be expected, fell pregnant, and on 9th April 1892 gave birth to my grandfather Charles Leslie Lionel at 10810 Curtis Avenue, Roseland, Chicago [20]. Curtis Avenue subsequently became South Edbrooke Avenue, and Google Maps' Street View shows a neighbourhood that has, sadly, seen better days (check out this boy doing a handstand for the Street View camera) [21]. In the 1890s and early 1900s, however, with the jobs and affluence created by the nearby Pullman works, it was a good deal more salubrious, as the view by Roseland photographer H.R. Koopman above demonstrates [19]. All three of the men eventually found jobs as carpenters at the site of the Chicago World's Fair, or to give it it's proper name, The World's Columbian Exposition, where they worked in the construction of the dome of the Horticultural Building [22,23].

Image © and courtesy of Barbara Ellison
Charles Leslie Lionel Payne, c. October 1892, Chicago [24]

It seems likely that Amy took the infant Leslie to Koopman's studio, situated only a few blocks away at 11104 Michigan Avenue (corner of 11th) [25], for this tintype portrait, shortly before they left Chicago in mid-November. Why did they go home after being there only eighteen months? It could have been a paucity of work. Perhaps the bulding work was over, and more jobs were hard to come by? It is possible that there was already some intimation amongst employers of the Panic of 1893 [26], with resulting layoffs. On the other hand, it may be that Amy'd had enough of the big, unfriendly, windy city, and couldn't face another harsh Chicago winter with a small child to look after, and little spare money for the small comforts.

Image © and courtesy of Barbara Ellison
Payne family grocery/off-licence, 83 St James' Road, Normanton [27]

Whatever the reason for their return, they arrived home in England on 30th November 1892 [28]. For the first couple of years they lived at the house where the Payne boys had grown up (Charles Vincent's parents and younger siblings moving into a much large property further up the road), and where they took over the running of the family grocery and off-licence [9,29]. By 1896 Hallam had taken over the grocery, they had moved into a house across the road, and Amy's husband described himself as an estate agent [9,30]. Amy gave birth to her second son Harold Victor at this house (17 Hastings Street) on 4th January 1898.

Image © and courtesy of Google Maps Street View
139 St James' Road, Normanton [31]

Around 1903, with their two boys growing, they moved again to the big house (number 139, also known as "The Hollies") at the end of the road, recently vacated by the Paynes senior, who had semi-retired to Sunny Hill [32]. After Henry Payne died in 1907, however, the Sunny Hill residence was left to Charles Vincent's sister Lucy Mary and her husband, then recently married, while their mother Henrietta moved back into The Hollies [33].

Image © and courtesy of Google Maps Street View
154 Almond Street, Normanton [34]

Amy, her husband and the two boys moved into what must then have been a newly built house nearby at 154 Almond Street, where they were shown living in April 1911 [35] and where they would remain for twenty years. In early September 1912, Amy's elder son Leslie left home for a new life in Canada, intending to work as a storekeeper in Wolseley, Saskatchewan [36,37].

Image © and collection of Brett Payne
Note of marriage date, Amy's handwriting, c.1914-15 [38]

Two years later, after war had broken out, in November 1914 Leslie enlisted in the Canadian Expeditionary Force, and around that time Amy made some notes regarding marriage and birthdates at her brother-in-law Hallam's request. This scrap of paper may be the only example left of Amy's handwriting [38].

Image © and collection of Barbara Ellison
Constance May Hogg, Christmas 1913 [39]

Leslie was at the Front in France by late 1915, and spent most of the war with the Canadian Machine Gun Corps, returning to marry a neighbourhood girl Connie Hogg in November 1917 [40]. By mid-1918 Harold had joined up too with the British Tank Corps [41], but in early September came the news that Leslie had been seriously wounded, with a machine gun bullet lodged in his left shoulder [42]. After an operation to remove the bullet was successful [43], he spent the rest of September and the early part of November recuperating, before being discharged on the 14th October [44]. Leslie arrived at his parents' home during the peak of the Spanish Flu epidemic only to find Connie ill, and a few days later she died [45,46].

Image © and collection of Brett Payne
Postcard written by Harold Victor Payne to Amy [47]

Leslie returned to Canada where he was discharged in February 1919. Harold, even though the war was over, was serving in the British Army of the Rhine (B.A.O.R.) and wrote the following on a postcard sent home to his mother in late November 1919:

Dear Mam,
I am at present in Cologne awaiting demob guess I shan't be long now. I am quite well & hope both you and dad are the same. Must catch this post. Best love & Xs from Harold.
Image © and collection of Barbara Ellison
Harold Victor Payne, wounded soldiers, c.1919 [48]

This photograph, also sent by Harold to his mother, must have caused some worry. It bears the following caption on the reverse: "Woulded soldiers. Ive met 'em, Yes sir." while another in the same sequence states, "I look pretty thin Eh!"

Harold died in May 1921 and, as stated previously, my grandfather returned to Derby shortly after, marrying and producing two grandchildren for Amy before she died on 22nd March 1932.

The course of most of my female ancestors' lives, apart from bare bones of "vital statistics" dates (birth-baptism-census-marriage-children-death), appear from the documentary records to consist largely of what their menfolk were doing. To a great extent, this may be a fairly accurate representation of what their lives were like. In other words, their day-to-day activities were full of the usual household- and child/family-related activities, but the overall course was largely dictated by the careers, movements and interests of their husbands. Sadly, though, this tells me very little of their personalities and, without first hand accounts, writing about them properly remains a very difficult task.

Image © and collection of Barbara Ellison

Perhaps there's a hoard of personal ephemera of Amy's somewhere which has yet to be revealed, but I think it's very unlikely. The members of my family who've taken on the reponsibility of collecting, preserving and handing down family documents, photographs and ephemera have often been male and, perhaps as a result, the subject matter has been reflected by their views on what was important to keep. For the moment she will remain, at least to me, the "self-possessed young lady ... [wearing] a very smart hat with a dead bird in it."

References

[1] Photographic portrait of Payne family group (Amy Payne née Robinson, Leslie Payne and Charles Vincent Payne), Cabinet card (109 x 165 mm)) by A. & G. Taylor of 63 London Road, Derby, probably taken c. late 1894-early 1895 at 83 St James' Road, Normanton, Derby, Collection of Brett Payne.

[2] Excerpt from "Man and Superman," by Bernard Shaw, Penguin Books, 1946, p.85-86.

[3] Photographic portrait of wedding party (Charles Leslie Lionel Payne, Ethel Brown, and parents), by unknown photographer, Silver gelatin print (109 x 69 mm) on Velox paper, dated (on the reverse) Sept. 20. 1926 and taken in the garden at 121 Crewe Street, Normanton, Derby, Collection of Brett Payne.

[4] Payne, Brett (2003) Fifty Years of Payne Journeys to North America, 1919-1921 : Final Years in Winnipeg.

[5] View of 9 Lower Forester Street, Derby, Courtesy of Google Maps Street View

[6] Certified copy of an Entry of Birth for Amy Robinson, 28 Feb 1867, Extracted 22 May 1914, [Photocopy] Collection of Brett Payne.

[7] Baptism of Amy Robinson, St Alkmund, Derby, 7 April 1867, International Genealogical Index (IGI), Batch No. K055374, LDS Family Search.

[8] 1871 Census of 9 Lower Forester Street, Derby St Werburgh, Derbyshire, England, 2 April 1871, The National Archives Ref. RG10-3572-26-10-57, UK Census Collection, Ancestry.co.uk

[9] Derby Electoral Registers, 1868-1900, Derbyshire County Record Office, Matlock, Derbyshire, Microfilmed by LDS Church, FHL Film Nos. 2081839-41, 2081818-22, 2081961.

[10] Photographic portrait of Amy Payne née Robinson, Carte de visite (presumed, size not recorded) by A. & G. Taylor of 57 London Road, Derby, probably taken c.1885-1888 in the Derby studio, Collection of Brett Payne.

[11] 1891 Census of 74 Fleet Street, Litchurch, Derby, Derbyshire, England, 5 April 1891, The National Archives Ref. RG12-2733-127-18-112, UK Census Collection, Ancestry.com.

[12] Photographic portrait of Amy Payne née Robinson, Carte de visite (presumed, size not recorded) by Charles Smyth, Lumley Studio, Skegness, probably taken c.1887-1890 in the Skegness studio, Collection of Brett Payne.

[13] On the ocean steamship landing, Liverpool, England, Stereocard photograph by Underwood & Underwood, No. 193, Collection of Brett Payne.

[14] Copy of marriage certificate for Charles Vincent Payne & Amy Robinson, 18 May 1891, St Thomas, Derby, [Photocopy] Collection of Brett Payne.

[15] Passenger list for the S.S. Nova Scotian, Departing from Liverpool for Baltimore, 26 May 1891, Passenger Lists Leaving UK 1890-1960, FindMyPast.co.uk

[16] 1891 Census of 1 Pear Tree Street, Litchurch, Derby, Derbyshire, England, 5 April 1891, The National Archives Ref. RG12-2735-67-25-157, UK Census Collection, Ancestry.com.

[17] Passenger list for the S.S. Nova Scotian, Arriving at Baltimore from Liverpool, 10 June 1891, Baltimore Passenger Lists 1820-1948, Ancestry.com

[18] Payne, Brett (2009) Whistling Bird, the Arizona Cowboy & the Disappearing Lady, Photo-Sleuth blog.

[19] East 111th Street & Curtis Avenue, Roseland, Chicago, Postcard by H.R. Koopman, 1906, Collection of Illinois Digital Archives.

[20] Report of Birth for Charles Leslie Lionel Payne, Vital Statistics Department, County Clerk's Office, Cook County, 17 November 1931, Copy taken from microfilm of original record, Family History Library, Salt Lake City (Courtesy of Frank Wattleworth), Collection of Brett Payne.

[21] View of 10810 South Edbrooke Avenue, Roseland, Chicago, Courtesy of Google Maps Street View

[22] Payne, Brett (2003) Fifty Years of Payne Journeys to North America, 1890-1892 : Chicago, Pullman & the Worlds Fair.

[23] World's Columbian Exposition, Wikipedia.

[24] Portrait of Charles Leslie Lionel Payne, c. October 1892, Chicago, Sixthr-plate tintype (64.5 x 90 mm), by unidentified photographer (possibly Henry Ralph Koopman of 11104 Michigan Avenue, Roseland, Chicago)

[25] Chicago Photographers, 1847 through 1900, Chicago Historical Society, 1958.

[26] Panic of 1893, Wikipedia.

[27] Photograph of Payne family grocery/off-licence, 83 St James' Road, Normanton, Paper print (138 x 87.5 mm), taken c.1910 by unknown photographer, Collection of Barbara Ellison.

[28] Passenger list for the S.S. Circassian, Arriving at Liverpool from Montreal, 30 November 1892, UK Incoming Passenger Passenger Lists 1878-1960, Ancestry.co.uk

[29] Kelly's 1895 Directory of Derbyshire, [microfiche] Derbyshire Family History Society.

[30] Kelly's 1899 Directory of Derbyshire, Historical Directories, University of Leicester.

[31] View of 139 St James' Road, Normanton, Derby, Courtesy of Google Maps Street View

[32] Cook's 1903/4 Derby and District Directory, Derby Local Studies Library, Courtesy of Paul Slater.

[33] 1911 Census of The Hollies, 139 St James' Road, Normanton, Derby, Derbyshire, England, 2 April 1891, The National Archives Ref. RG14-20-9-35-20935_0001_03, England & Wales Census Records 1841-1911, FindMyPast.co.uk

[34] View of 154 Almond Street, Normanton, Derby, Courtesy of Google Maps Street View

[35] 1911 Census of 154 Almond Street, Normanton, Derby, Derbyshire, England, 2 April 1891, The National Archives Ref. RG14-20-9-32-20932_0373_03, England & Wales Census Records 1841-1911, FindMyPast.co.uk

[36] Passenger list for the S.S. Virginian, Departing from Liverpool for Quebec, 12 September 1912, Passenger Lists Leaving UK 1890-1960, FindMyPast.co.uk

[37] Passenger list for the S.S. Virginian, Arriving at Quebec from Liverpool, 23 September 1912, Canadian Passenger Lists 1865-1935, Ancestry.ca

[38] Handwritten notes made by Charles Hallam Payne and Amy Payne, c.1914-15, Collection of Brett Payne.

[39] Photograph of Constance May Hogg, Christmas 1913, Postcard format (89 x 140 mm), unidentified photographer, Collection of Barbara Ellison.

[40] Copy of marriage certificate for Charles Leslie Lionel Payne and Constance May Hogg, St Paul, Boughton, Cheshire, 30 November 1917, Collection of Brett Payne.

[41] Medal Roll Index Card for Harold V. Payne 315778, British Army WWI Medal Rolls Index Cards, 1914-1920, Ancestry.co.uk

[42] Casualty Form - Active Service for Sgt Leslie Payne, 1989 (Army Form B.103), CEF Service Records, Library & Archives of Canada.

[43] Medical Case Sheet for Sgt Leslie Payne, 1989 (Army Form I.1237), CEF Service Records, Library & Archives of Canada.

[44] Casualty Report Card for Sgt Leslie Payne, 1989, CEF Service Records, Library & Archives of Canada.

[45] 1918 Flu Pandemic, Wikipedia

[46] Copy of death certificate for Constance May Hogg, 154 Almond Street, New Normanton, Derby, 20 October 1918, Collection of Brett Payne.

[47] Commercial Real Photo Postcard (of two young girls, publisher unknown, 85.5 x 135 mm) sent by Harold Payne (Cologne) to Amy Payne (Derby), dated 22-11-19 & postmarked 23 Nov 19, Collection of Brett Payne.

[48] Photograph of wounded soldiers, including Harold Victor Payne, c.1919, by unidentified photographer (81.5 x 55.5 mm, roughly trimmed), Collection of Barbara Ellison.
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