Sepia Saturday 286: The Importance of Deciphering a Hasty Scrawl

I spend lot of time trying to decipher almost illegible scrawls inscribed on the back of old photographs, often the only clue to the subject matter of the image on the front. Quite frequently, it comes down to whether a flick of the pen was the start of a new letter or part of the previous one. There's not much point in dwelling on the matter of whether a little more care could have been taken at the time. You just get on with it and work with what you have.


Six years ago a tattered and threadbare velvet-covered album of family photographs came into my possession, having originally been purchased at a yard sale in eastern Pennsylvania. Jack Armstrong had intended to research it himself, but after several years the almost total lack of any clues left its origins as mysterious as when he bought it.

A number of the portraits in the album had been taken by studios in Derbyshire (England) - hence my interest - but all provenance had been lost, and clues to the identity of the subjects were almost completely non-existent. I subsequently used the album as a photo-archival exercise, with several articles published here on the standard photographing, scanning and documentation procedures that I use for such projects (here, here and here). I also used a photograph from the album as the introductory image for a Sepia Saturday article (SS 170) that I wrote about gamekeepers.


Geographical distribution of photographs (click image to enlarge)
In addition to scanning and documenting the collection, I also did some geographical analysis of the studios at which the portraits were taken. As shown in the pie chart above most of the 55 portraits were taken in the United Kingdom, and of those the majority came from Derbyshire (10) and Staffordshire (9). In the United States the bulk of the portraits were taken in Cleveland, Ohio (8).

My initial analysis suggested, therefore, that the family which owned the album may have emigrated from one of several locations in Staffordshire or Derbyshire to Cleveland, Ohio at some time within the date range of the portraits in the album.


Dates of portrait sittings (click image to enlarge)
N.B. 5-yr moving average of mid-points of date estimates
I then constructed a graph showing the frequency of portrait sittings over time, using five year moving averages of the mid-points of the estimated date ranges. I realise that the logic and methodology of using five-year moving averages to represent date range estimates is a bit dodgy, to say the least, and I have since revised my date estimates for several photos, but I hoped that this would smooth out the graphs and at least give an an overall visual impression of the main periods that the images were taken, which it does fairly well.

The graph (or chart, if you prefer) demonstrates that the US photos start to appear in the early 1880s, while from the early 1890s onwards, the preponderance of UK photos diminishes markedly. To me this suggests an immigration date range from the early 1880s to the early 1890s. It is conceivable that one part of the family immigrated to the US in the early 1880s, while a second part arrived in the early 1890s. This could have been a husband and wife's family arriving at different times, or indeed something far more complicated.


Cabinet portrait of unidentified group of women, c.1889-1893
Image © and collection of Brett Payne
There are very few inscriptions on the photographs, and none at all on the album pages. The only one that appears to offer any immediate clues to the identity of the subjects is on the back of a cabinet portrait of a large group of ten women taken in the very late 1880s or early 1890s by a professional, if somewhat hastily put together, studio. It has been mounted onto a standard cabinet card mount with no photographer's name, although the presence of a royal seal in the scroll work design strongly implies a United Kingdom origin.


Inscription on reverse of cabinet card mount
The text, handwritten in pencil, appears to read as follows:

H.H. Henschel
1223 E 111th St
10 x 12 Sep vig

The first line is almost certainly a name, H.H. Henschel or conceivably "Herschel," and is probably the client's name, not necessarily that of the subject. The second line, I think, comprises an address, (number) 1223 East 111th Street, while the third I have deciphered as instructions for a copy enlargement of the portrait to be made, 10" x 12" Sepia vignette. At the edge of the front of the card mount is a small arrow marked in pen or pencil indicating that the central figure is the one which is to be enlarged.

The surname appears to be of Germanic origin, and the address is in a style more likely to have originated in the United States than in the United Kingdom. I came to the conclusion, therefore, that although the original portrait had been taken somewhere in the UK, the vignetted portrait enlargement was requested by someone who no longer had access to the original studio negatives. In other words, it may have been written, and therefore the enlargement made, some years after the original portrait had been taken. It could have been a simple framed vignette or a much more elaborate glazed and framed, colourised portrait, examples of which I have posted here and, with my Tauranga Historical Society hat on, here.


Census enumeration for 1221 E 111th St, Cleveland City, 23 Apr 1910
Image © The National Archives & courtesy of Ancestry.com
Given that Cleveland, Ohio features so prominently in the US portraits, I searched for the surname "Henschel" in census records for that city. Almost immediately I came up with the following spectacular discovery at 1221 East 111th Street, Cleveland in 1910:

Gifford Frederick / Head / 48 / Widr / b Eng / Imm 1892 / China Artist
Gifford Frederick J / Son / 10 / S / b OH
Henschel Herbert / SoninLaw / 23 / M 2y / b OH / Auto Co. Electrician
Henschel Agnes H / Dau / 22 / M 2y / b Eng
Henschel Herbert G / GdSon / 11m / S / b OH

Here was a family that fitted the bill, having arrived in the United States in 1892, settled in Cleveland, with a daughter who married Herbert Henschel in about 1908, and were living at in East 111th Street in 1910 - although at number 1221 instead of 1223. It seemed almost too good to be true but, as I investigated the family further through census records and the discovery of online family trees, pieces continued to fall into place.


The Henschel family arrived on S.S. Cimbria in 1881
Image courtesy of Ancestry.com
Wilhelm (William) Henschel and his family emigrated from Berlin, Prussia in 1881. After a fifteen day voyage across the North Atlantic on board the Hamburg America Line steamship Cimbria, his wife Wilhelmina (Minnie) and three children arrived in New York on 6 October and joined William in Cleveland, Ohio.


Garfield Monument, Cleveland, Ohio, taken c. May 1890
Cabinet card by unknown photographer
Image © and collection of Brett Payne
Having arrived in the United States only a few weeks after the assassination of President Garfield, whose home town was Cleveland, it was natural that when a monument to him was unveiled at the Lake View Cemetery in Cleveland and dedicated in May 1890, the Henschel family should preserve a keepsake of such an historic occasion in their family album.


Unidentified child in christening gown, c.1889-1892
Cabinet card by J.M. Tuttle, 1672 St Clair St, Cleveland, Ohio
Image © and collection of Brett Payne
In the mean time, the Henschel family had grown. A fourth son William was born in September 1884 and a fifth Herbert Henry Henschel on 24 June 1888, nearly seven years after settling in Cleveland. Their only daughter Mamie arrived in July 1891. This baby in a christening gown could be either Herbert Henry or Mamie.


Unidentified woman, taken c.1891-1892 (click images to enlarge)
Cabinet cards by Rynald H. Krumhar, 225 Superior St, Cleveland, Ohio
Image © and collection of Brett Payne
The two portraits of a middle-aged woman with a very close-fitting hair style and almost as severe an expression were taken by Rynald H. Krumhar who, according to Artists in Ohio, 1787-1900: A Biographical Dictionary, operated a studio in Cleveland on his own in 1891 and 1892 before teaming up with his brother Robert F. Krumhar between 1892 and 1895. Minnie Henschel (1848-) was in her early forties at the time these two portaits were taken, and I believe must be the prime candidate.


Unidentified man, taken c. 1887-1892
Cabinet card by Copeland, 588 Pearl Street, Cleveland, Ohio
Image © and collection of Brett Payne
A head and shoulders vignetted portrait of a similarly aged gentleman with a luxuriant moustache and goatee may have been taken slightly earlier. I don't have dates of operation of the Cleveland photographer Copeland, but from the style of mount, portrait and clothing I suspect it dates to the late 1880s or early 1890s. William Henschel Sr. (1850-) is the obvious choice here, as he too would have been about 40 years old.


Unidentified young man, taken c. 1894-1897
Cabinet card by Pifer & Becker Photo-Palace, Wilshire Building, 94-100 Superior St, Cleveland, Ohio
Image © and collection of Brett Payne
This young man appears to be aged in his late teens, and probably visited Pifer & Becker's Photo-Palace studio in the mid-1890s. I suspect that it is one of Herbert's older brothers, Max, Hugo or Fred, all of whom were born in Germany.



Passenger manifest for S.S. Etruria, arr. New York 27 Feb 1893
On 27 February 1893 Frederick Thomas Gifford (1862-1932) and his wife Ellen arrived at Ellis Island, New York on board the SS Etruria from Liverpool, England with their four year old daughter Agnes Hammersley Gifford (1888-1967), giving Cleveland, Ohio as their destination on the ship's manifest.


Vignette of unidentified woman marked on cabinet card
Frederick Thomas and Ellen Gifford had a son, also named Frederick, born in Cleveland in July 1899. Their daughter Agnes married Herbert Henschel in Hutchinson, Kansas in February 1907. Ellen Gifford died in April 1908 at 1221 East 111st Street, Cleveland, and was buried at Lakeview Cemetery. It was to this same address that the vignetted portrait enlargement - perhaps looking something like the image I created in Photoshop, above - was sent.

We also know that the widowed Fred Gifford, his son and the Henschel family were living there in 1910. By February 1913, when Herbert and Agnes' second child was born, the Henschels had moved to Indiana. It seems a distinct possibility, therefore, that the enlargement is of Agnes's mother Ellen Gifford (1866-1908), and that it was commissioned some time in the five years between her death in April 1908 and their arrival in Indiana in February 1913.


Unidentified child, taken c. 1892-1895
Carte de visite by Krumhar Bros., 225 Superior St, Cleveland, Ohio
Image © and collection of Brett Payne
When this warmly dressed child visited the Krumhar studio on Cleveland's Superior Street both of the Krumhar brothers were in attendance, dating it to between 1892 and 1895. Probably aged between 7 and 9 years old, and I'm guessing a girl because a boy is unlikely to be in a dress at that age, my estimate is that she would have been born circa 1883-1888. I believe this could be be Agnes H. Gifford.


Unidentified group of 2 women & 2 children, taken c. 1892-1895
Sixth-plate tintype (63 x 84mm) by unidentified photographer
Image © and collection of Brett Payne
Inserted within the album are three loose, roughly trimmed sixth-plate tintypes, all taken in studio settings but without any indication of location. The clothing worn by the two women in this group portrait suggests they were taken in the early to mid-1890s, a time when the tintype was far more popular in North America than in England. The woman from the vignette appears seated on the right, wearing a broad-brimmed light-coloured hat, while the child from the Krumhar Bros. portrait is seated at left, also with a very flat hat. Are these two Ellen Gifford and her daughter Agnes? I think so, but then who might the other woman and younger child be?


The Gifford family at 125 Becker Av, Cleveland City, 13 June 1900
The answer to the identity of the other child may lie in the 1900 Census record, which shows the Gifford family living at 125 Becker Avenue, Cleveland. In addition to (Frederick) Thomas, Ellen and Agnes, their ten month-old son Frederick J. is shown as having born in July 1899, probably too late to be the younger child in the tintype portrait. However, from the figures in the columns to the right of her age (Married for 13 years, Mother of 4 children, of which 2 living), we can infer that Ellen had two further children who died young. The younger child could be one of those who died, or alternatively belongs to the other woman who is standing at the back.


Unidentified young man, taken c. 1915-1925
Cabinet card (Carbonette) by Wendel Studio, 13 Avenue A, New York
Image © and collection of Brett Payne
This very smartly dressed young man with a bowtie, fedora and a rose in his buttonhole probably visited the Wendel Studio in New York for a portrait in the late 1920s or early 1920s. He looks to me to be in his late teens, perhaps between 17 and 20 years old, so I estimate that he was born c.1895-1908. The birth date of Frederick J. Gifford (1899-1959) lies well within this range; he married in 1930 and died at Jamestown, New York in November 1959. His father had also died at Jamestown in 1932.


Card mount (114 x 182mm) with no photograph, c.1910-1925
By the Globe Photo Co., 309 Main St., Jamestown, N.Y.
Image © and collection of Brett Payne
My last image for the moment is, in fact, not a photograph at all. This card mount from the Globe Photo Co. studio in Jamestown, New York has lost its contents, so we may never know whose face was framed within it. However I believe that it probably originally contained a postcard format portrait, and the style of mount suggests to me a date of perhaps the 1910s or early 1920s. I found several postcard format portraits from this studio on the web, and they come from a similar era.


I have no doubt that at this point several readers will be thinking that I have amassed a good deal of circumstantial evidence, and may even have indulged in a fair amount of speculation, but have presented little in the way of proof except for the single inscription. To my mind that inscription, and more specifically the juxtaposition of name and address, establishes the connection between that particular portrait and the Henschel-Gifford family without a doubt.

From that point, I agree that I'm on much more shaky ground, but I hope you'll bear with me as I continue to build up a family tree, and attempt to link portraits to individuals within that tree. Part of the difficulty is that one has to not only populate the family tree, but also show that individuals were in the right place at the right time to have their portraits taken. It's a lengthy and time consuming exercise to unravel the complex family relationships, which I'll have to spread over several articles in due course. Next week I'll turn to the English side of the family and look at portraits from Derbyshire and Staffordshire.

Back to Canada on the ‘Old Reliable’

Almost a fortnight ago, in Hospital Blues, I wrote about my grandfather’s wounding at the Battle of Arras in August 1918, his subsequent recuperation back in England, and the desolating loss of his bride of one year, within days of his arriving home from the hospital.


1. Sergeant Leslie Payne (at left) and another, unidentified CEF sergeant aboard the HMT Olympic, January 1919 [1]
Among my aunt’s collection of family photos inherited from her father are a group of loose prints which include a series of eight snapshots taken on board a ship, some including soldiers in Canadian Expeditionary Force (CEF) uniforms. That they relate to my grandfather is clear since he appears in one of them, garbed in standard issue greatcoat and cap, similar to how he was in the image used in my previous article, standing in the snow, one hand in his pocket. The other soldier, also a sergent, is unidentified, but he looks vaguely familiar, so it may be that I've seen him previously in another of my grandfather's photos.


It is clear that the remainder of the images form a series taken on the same journey from the purple batch number "5 9" stamped on the back of the prints. I have assumed for some time that they were taken by Leslie or a friend on the journey back across the Atlantic to Canada immediately prior to his demobilisation in early 1919.


Leslie Payne's CEF Active Service Form, B.103
from The CEF Paper Trail
Upon returning to the Canadian Machine Gun Depot (CMGD) at Seaford in Sussex in late October, and with the war ending a couple of weeks later, duties must have been light. After another month there, Leslie was transferred to Kinmel Park, near Rhyl in North Wales – as shown by the final entry on his Active Service Form above - in advance of his repatriation to Canada.


Camp at Kinmel Park, early 1919
Marc Leroux, on his excellent Canadian Great War Project web site, described the conditions at Kinmel Park.

For the 17,400 troops at Kinmel Park, conditions were far from ideal. The days were filled with exercises that they thought meaningless, medical examinations, route marches and military discipline and training. For them the war was over and they didn’t see the need. They were anxious to return to Canada, not just to their families, but they also realized that the first soldiers home would have the pick of the available jobs, and no one wanted to come home from the war and be unemployed. At Kinmel Park, there was the military bureaucracy to overcome. Troops awaiting transport had to fill in some 30 different forms with approximately 360 questions. The food they were fed was bad; it had been compared to “pigswill”. At night, the troops had access to “Tin Town” a nearby group of shops and pubs that had inflated their prices to take advantage of the, comparatively, well paid Canadian soldier. After a month of these rates, many soldiers were broke.

HMT Olympic, c. 1919
Image courtesy of Library and Archives Canada
Leslie was one of the fortunate ones. Not long after New Year he was one of a large contingent who entrained for Southampton, where they boarded the HMT Olympic, sister ship of the ill-fated Titanic, according to his service records, around the 9th to 11th January 1919. Originally launched in 1911 and described at the time as the "largest vessel in the world," the Olympic had been commandeered by the British Admiralty and extensively refitted at the Harland & Wolff shipyard in Belfast to carry 6000 troops. The image above shows the "Old Reliable" as she became known during her wartime service, displaying a "dazzle" paint scheme and with soldiers lining the railings [2].


2.

3. On board the HMT Olympic, January 1919
The two images above, from my grandfather's set, show what appears to be the foredeck of the ship with soldiers standing around and lined up at the railings. To the right, in the second photo, are some buildings which demonstrate that the ship is berthed in port somewhere.


RMS Olympic berthed in New York, undated
This image shows the foredeck of the Olympic, when berthed in New York a few years earlier, probably prior to her being pressed into service for the war effort. The similarities are striking.


Wounded Canadians on Olympic entering Halifax, October 1916 [2]
This view is from David Gray's comprehensive study of the Olympic's service during the war, well worth a read if just for the first-hand accounts of living conditions aboard [2].


Canadian Troops Embarking for Canada on HMT Olympic

The still above is from a YouTube version of a clip from the Canadian film archive, Images of a Forgotten War, the original of which can be viewed here. About 45 seconds into the clip, the camera pans across the exact view of the Olympic's foredeck shown in Leslie's two photos, leaving me in no doubt that Leslie and friends were on the Olympic.


4. On board the HMT Olympic, January 1919 [1]
In these two photos from my grandfather's trip, possibly taken in opposing directions, four funnels and some of the lifeboats can be seen. Following the disastrous sinking of her sister ship the Titanic in 1912, and the public outrage at there not being enough lifeboats for all of the passengers and crew, the Olympic had been extensively rebuilt and lifeboats were now available for all. Presumably the later 1914-1915 refit, which included the addition of "a 4.7-inch gun at the bow and a 3-inch gun at the stern" also supplemented the number of lifeboats on board. The large gun seen in the photo at the head of this article must be one of the six 6-inch guns which were installed as added protection in early 1917.


5. On board the HMT Olympic, January 1919 [1]
In the background of this shot can be seen the spires of two churches. I wonder if it might be possible to identify these, and therefore decide whether the photographs were taken in Southampton docks, prior to their departure, or in Halifax, after their arrival. My insticts suggest the photos would most likely have been taken soon after their arrival on board, before the novelty of shipboard life had worn off. A postcard of the Olympic and Mauretania berthed in Southampton (here) has a similar church spire in the background, but I'm sure there were church spires in Halifax too.


6.
A further two views show more detail from the deck of the ship, including funnels, cranes, ventilation shafts, railings, lifeboats, benches, cables, pipes and plenty more to delight the naval enthusiast.


7.
This is my favourite photograph from the entire series - a real shipboard shot. Sadly, there are no more in which my grandfather or his friend can be identified.


8.
My guess is that this last photo was taken shortly after they left the Ocean Pier at Southampton Docks, as the Olympic was sailing down Southampton Water towards The Solent, and hence to the Channel, the North Atlantic, and Halifax. An expert in ships of the period might be able to identify the vessel being passed. Coincidentally, Larry Burgus posted a photograph of a very similar ship to this, one in which his father was sent to the war, as a Sepia Saturday article a couple of weeks ago.


Portion of the HMT Olympic's passenger manifest
Southampton-Halifax 18th January 1919
After a trans-Atlantic crossing of about 8 to 10 days, they arrived at Halifax on January 18th at 11.30 am. The passenger manifest (above) includes three other sergeants from the CMGD, both from Winnipeg, and I wonder if one of these could be the soldier pictured with Leslie. They are:
- 440699 Sgt. Valmore Orville Forest, CMGD, enlisted 53rd Bn, Winnipeg
- 859574 Sgt. Charles Murray, CMGD, enlisted 179th Bn, Winnipeg
- 531662 A/Sgt John Mackney Roe, CMGD, enlisted 11th Fld Amb., Winnipeg

Post Script 14 June 2011


Plan of HMT Olympic showing photo locations
(Click image for larger version)
Image © and courtesy of Ralph Currell
This plan of the HMT Olympic, overlaid with the positions and fields of view of my grandfather's photographs, was very kindly sent to me by Ralph Currell, who has an interest in the ship's wartime career.

As might be imagined, due to wartime restrictions on photography there are many areas that are poorly documented, such as the armament, extra life rafts, and so forth. The images on your blog show a number of details that don't often appear in photographs ... they mostly pertain to the armament added to the ship during the war. If you look at my drawing you can see there are six guns (four forward and two on the after part of the ship). Your photos show an interesting stage where the forward guns have been removed (you can barely see one of the deck mountings in cllpayne21.jpg) but the after ones are still in place (as seen in cllpayne20.jpg). The shots of the lifeboats are also instructive. Because of the large numbers of troops carried, the "Olympic" had quite a few collapsible boats and rafts added to her ordinary civilian outfit, and these photos give some clues as to where they were stowed on deck.

You'll notice the second photo (cllpayne21.jpg) is marked as "mirrored". That particular photo is reversed left-to-right -- presumably whoever originally made the print put the negative upside-down ... Most of the photos seem to have been made while the "Olympic" was in port, but cllpayne26.jpg shows the lifeboat davits swung outboard, suggesting the ship is underway.

One curious thing I noticed about the unknown steamer (cllpayne27.jpg) is that the ship is "dressed" with flags running fore and aft via the masthead. I wonder if she was saluting the "Olympic's" arrival, or if it was due to some other festive occasion ... Regarding the photo of the smaller ship, it would probably be difficult to identify. It looks like a fairly typical cargo steamer, of which there would have been many in service. I can't make out any funnel markings that would identify the owners. The landscape in the background might give some clue as to the location though.

Many thanks Ralph, for the interesting information, and the image, which certainly does help to imagine his time on board. It must have been pretty cramped, with all those additional passengers.

References

[1] Eight photographs taken aboard HMT Olympic, January 1919, Loose paper prints, approx. 64 x 42 mm, Collection of Barbara Ellison.

[2] Gray, David R. (2002) Carrying Canadian Troops: The Story of RMS Olympic as a First World War Troopship, in Canadian Military History, Volume 11, Number 1, Winter 2002, pp. 54-70.

[3] RMS Olympic, from Wikipedia.