View allAll Photos Tagged postmortem
"M. Melgarejo, Fotografo, Buenos Aires."
This lovely woman is most probably the widow of the man whose photo brooch she wears. I must note that it also possible is not a widow, but is simply wearing a sentimental brooch.
"D.W. Boss, Main St., opposite the Post Office, Mechanicsburg, Pa."
Written in script on reverse: "Sarah Barnhill". She is probably the Sarah Zeamer Barnhill (Birth: Sep. 10, 1845-Death: Apr. 14, 1877) buried in Longsdorf Cemetery, New Kingstown, Cumberland County, Pennsylvania, USA, wife of Jacob Barnhill (1839 - 1875).
Título: Emilia López Ruiz
Fotógrafo: Desconocido
Fecha: 29 de enero de 1963
Medidas: 102 x 72 mm
Material: papel fotográfico
Signatura: 200000VCBA
© Ann Longmore-Etheridge Collection
This image indicates to me a woman coming out of mourning. Her dress appears to be black, as do the gloves she wears, however she sports a pretty white collar and crossed scarf that is held with a large and very recognizable hair mourning brooch rimmed with black enamel. It is indeed possible that her dress is not black--it may be cherry red, for example--however, the gloves and the indisputable mourning brooch makes me believe that this is a case of the slow return to color and normalcy that occurred as a woman moved into the later stage of mourning.
The plate is hallmarked "Gaudin Double 40." This mark tends to place a daguerreotype later in the 1850s, but this woman's fashions are absolutely indicative of the years 1849-1851.
Written on front, "Hon. Mrs. Ludlow." On Reverse: "Judge Ludlow's wife, Phil. Penn"
Henrietta Frances Lorett, born in about 1827 in New York, was the daughter of Harriet L. Draper and Javez Lorett. ("The Drapers in America: being a history and genealogy of those of that name" By Thomas Waln-Morgan Draper, page 88). She was the wife of James Reilly Ludlow, a noted Philadelphia judge, and mother of Anna Cathleen, Clarissa Draper (married Charles Gibbons, Jr., of Philadelphia), Harriet Louisa (married Dr. Joseph S. Neff), Elizabeth Fisher (married Jacob L. van Dewenter of Netherwood, NJ), Amy, and William Henry Ludlow. Henrietta is not in mourning for her husband in this picture, as he did not die until some 20 years after this image was taken. Her daughter, Anna, died on 19 January 1871 at age 20, but that is also too late a date to square with her fashions here.
Ludlow's professional biography, included in the 1887 "Proceedings of the American Philosophical Society held at Philadelphia for promoting useful knowledge":
"On the 3rd of May, 1825, in the City of Albany, in the State of New York, James R. Ludlow was born. His father, the Rev. Dr. John Ludlow, was a minister of the Old Dutch Reformed Church. This venerable Society had an historical character. Its influence in the earlier days of New York was marked, and much yet remains. The Dutch settlers of that Province were earnest, sincere, sluggish, but patriotic people. The Patroons were noted men in their time. The Van Rensselaer Manor was historical. The Patroons, Van Rensselaer, even to a late period were esteemed and respected in social circles.
"The anti-rent excitement half a century ago, was evolved out of the relations between these manors and the tenants.
"The Rev. Dr. Ludlow was an educated, cultivated gentleman. He was professor of languages in the Theological Department of the New Brunswick, New Jersey, School of the Dutch Reformed Church. In the year 1834 Dr. Ludlow came to Philadelphia and was elected Provost of the University of Pennsylvania, in which post he served for nearly twenty years.
"When Dr. Ludlow came to this city, his son James entered the University of Pennsylvania and graduated with distinction in July, 1843. He then became a student of law with the Hon. Wm. M. Meredith. It may not be out of place to say of Mr. Meredith that he was one of the ablest lawyers of this country. On the admission of James R. Ludlow to the bar on July 34, 1846, he entered on the practice of his profession in this city. Earnest, faithful, industrious, he began to establish a professional character that promised success.
"In 1850 he was appointed Assistant District Attorney of the United States and earned high repute for his conduct of some of the Government cases. He learned rapidly the science of the law, and mastered its practical details. In 1856 he was named as a candidate for the District Attorneyship of Philadelphia. His reputation had grown, his professional standing was assured.
"In 1857 he was nominated for Judge of the Court of Common Pleas, Philadelphia County, and elected, and in November, 1857, took his seat on the Bench. His term of ten years expired in 1867, and he was reelected.
"By the Constitution of the State of Pennsylvania, which was amended in the year 1873, the Courts of the County of Philadelphia were reorganized. By this organic law, four Courts of Common Pleas were established. Each had a President Judge and two Associates. Judge Ludlow became President Judge of Court of Common Pleas, No. 3.
"In 1877 Judge Ludlow was again elected without opposition. He held that position until his death. His judicial life began in 1857, and ended, by his death, in 1886. Thirty years of judicial labor was the training he received. He gained the respect and confidence of his fellow-citizens. They appreciated his honesty, impartiality, his courage and his learning.
"As a judge, his reputation was substantial. In the law and equity sides of the Court he was admittedly a safe and conservative administrator of the high trust conferred on him. His conscientiousness was proverbial. He possessed and developed the highest courage in the impartiality with which he adjudged the questions he was called upon to determine. It may be said he died the victim of continuous, conscientious labors. He investigated and examined, and came to his conclusions after patient study of the law involved in the decisions of those cases, the importance of which made severe demands on his time. He took nothing for granted. He believed his duty required his best efforts, and was not satisfied that errors inconsiderately made might be possibly corrected in a court of review.
"It may be said of Judge Ludlow, that in dealing with the science of the criminal law he became an authority in this country. His tastes led him to study physiology and psychology. To facilitate his labor he attended the lectures in the medical school of the University of Pennsylvania. He therefore became well informed in medical science. In administering the criminal law, his opinions were regarded as a settlement of those principles in which a knowledge of these sciences was necessarily involved....
"This enlightened and learned Judge, worn out by judicial labor, ended his days on the 20th day of September, 1886, in the 62d year of his age, with a high reputation, gained and earned in the thirty years of devotion to the conscientious discharge of his high trust."
Part of Ludlow's will, which mentions Henrietta, can be found in "The Albany Law Journal, Volume 34: "...A singular Will, written January 18, 1867, admitted to probate on Monday in Philadelphia. It is short, cover but half a page of foolscap, and is in the handwriting of the decedent, Judge James R. Ludlow, one of the foremost jurists in Pennsylvania. He wrote: 'I request my executors to incur at my funeral no expense not absolutely required. My estate is small, and my wife and children ought to have every dollar for their support. Let no false pride dictate ostentatious display, for after the soul departs from the body, it matters little what becomes of that body, so that it is decently buried. God will protect the dust and on resurrection day gather all together and reconstruct it according to his sovereign rite.' He then devises his entire estate to his wife, Henrietta F. Ludlow, and appoints her guardian of their children and executrix."
Mort du Prince Jérôme Napoléon : le 1er juillet 1860 : Chapelle Ardente au Palais Royal
/////////////////////////////
ADDITIF 02/23
.A.LEFORT
S: henri-lefort-the-ultimate-entertainer-full-pdf
Free, Denis Pellerin.
"Shortly after the funeral was over. Lefort published a stereoscopic card bearing on a back label
the following caption: Mort du Prince Jerome Napoleon. Le ler Juillet 1860. Chapelle
arderae au Palais-Royal (Death of Prince Jerome Napoleon. July li!, 1860. Morturay Chapel
at the Palais-Royal). It clearly shows the bod}" of the Prince lying in state, nuns praying at the
foot of the bed, twelve candles on the sides of the latter and an altar on the right, as well as a
soldier and an officer keeping watch. Or does it ? Although the caption even gives the date
when the photo was supposedly made, taking photographs in a dark mortuary chapel, only lit
by twelve candles, would have been technically impossible at the time. Furthermore, despite
the taste for postmortem images, no photographers would then have been allowed next to the
dead body of the prince. What Lefort did - and Georges Melies did exactly the same in 1902
when King Edward \U was crowned and all cameras were banned from the interior of
Westminster Abbey - was to stage the whole scene in his studio, using props that were as
close to the originals as could be found or made. It is even possible Lefort or another person
in his employment went to pay their respects to the mortal remains of Prince Jerome and
noted down every particular of the room and of what and who was there. It is important to
underline this had never been done before and that, around the same time, one of Lefort's
colleagues, who may not have access to props or to models, sold a stereoscopic image with
very good depth and showing a very similar scene but in which everything was made of clay.
That's what most photographers and publishers usually did then. \VTienever they wanted to
show something that could not be photographed {the assassination of Archbishop Sibour in
January 1857, the discovery of the dead bodies of the victims of Jean-Baptiste Troppman in
1869. the execution of the hostages at La Roquette prison in May 1871, or simply scenes from
the operas and plays that were performed on the Parisian stage), the}" had the tableaux
modelled in clay and photographed for the stereoscope. Not so Lefort, who was up to any
kind of challenge, however difficult, and preferred to restage things in his studio."
stereoscopy.blog/2022/06/21/exclusive-free-online-publica...
//////////////////////////////////////////////////
Il existe deux versions indépendamment de la mienne.
Sur une, le grognard est de face, les mains sur les hanches, la première bonne sœur est en prière, la curée au fond lui a fini et relève la tète. Sur l'autre version, le curé semble quitter la pièce, le militaire assis à changer le croisement de ces jambes, la tête relevée et droite, le corps redressé avec une meilleure position dans l'assise du fauteuil.( Docs)
Ce diorama est probablement fait sur un papier albuminé colorer en rouge, visible suivant l'intensité de la source lumineuse
Le diorama est rehaussé au dos en noir au niveau du grognard et du gradé assis. Les perçages sont propres et nombreux avec toutes ces bougies.
Soit un résultat colorimétrique ou du sol au plafond, le lit et les bonnes sœurs ressortent cyan bleu avec quelques touches de jaune et de blanc et un gris marron.( Docs)
J'ai essayé de faire un mix entre les deux versions, si le rouge a été prévu autant le faire apparaître. Première fois que j'ai dû utiliser un appareille photo et non un scanner pour le résultat voulu !
Quant au Prince Jérôme Napoléon, allez sur le net pour y trouver son histoire atypique,un anticlérical qui toute sa vie fut écarté de la cour parisienne et envoyé dans toutes les colonies françaises.
« Mort du Prince Jérôme Napoléon : le 1er juillet 1860 : Chapelle Ardente au Palais Royal .
Date 1860
Tissue view of the catafalque of Prince Jerome (brother of Napoleon I and former King of Westphalia). Two nuns, a soldier, a military aide, and a priest (in the background) are carefully posed. It is possible that this was not actually photographed in the chapel mentioned in the title »
SLR Shoot....Postmortem Documentary shoot. As part of course back then at NID (National Institute of Design), Ahmedabad
Listen, Pularumo, Rithu
"What defines you isn't how many times you crash, but the number of times you get back on the bike. As long as it's one more. you're all good." ~ Sarah Dessen
This is a post mortem daguerreotype from a group of post mortems that we got at an auction in November. It has a studio address, 59 Fulton St. B_n on the edge of the case so we know it was made by Otis Peters of Brooklyn NY. It can be dated 1851-1852 since he was only at that address for two years.
It appears that the younger woman in this image has gained a college diploma and is marking the moment with her mother, who wears deep mourning. They pose in fake grass in a magical woodland setting. I have no idea what is on the top of the graduate's large hat.
Friede- : umfriedeter (abgegrenzt durch Mauer, Zaun, Hecke,...) Besitz
-mann: althochdeutsch "man" Krieger
Part of "res noscenda" / Letters to the Warrior
Using: AR18_2_13_9_2013 Photo: DMC-G2 - P1500706
#letter #brief #envelope #hülle #enthüllen #cocoon #kokon #kimono #schnittmuster #musterbogen #entfalten #falter #entwurf #chrysalis #chrysalides #chrysalises #pupa #puppe #weave #weben #weaver #teppichweber #teppich #tapestry #carpet #tapisserie
Back from the twice yearly antique show with seven items I really like. I am posting four today and will add the others that need to be photographed with a camera later.
This tintype is both sweet and unbearably sad. A baby lies propped up on a pillow before a patterned hanging. I am sure that it was cherished by the grieving parents and I feel it is my responsibility to take care of it for them.
Original silver gelatin photograph measuring 4 3/4 by 6 3/4 inches mounted on cardboard. Date, location and photographer unknown. Recently given to me by a friend to add to my collection. This is one of the best group photos of a funeral I have seen. Looking at the people gathered, you can clearly see the somber expressions on their faces. Note the child moving in the lower right corner which stands in contrast to the overall stillness present in the image. The group appears to be an immigrant family, possibly eastern European. No identifying information is present on the card. Found in Ohio.
This CDV comes from the Isle of Wight, but is otherwise unmarked. Someone rather unhelpfully doodled on this poor lady's face and I have fixed her up as best I can. The baby is almost certainly a boy. Mum wears what looks like a black gutta percha chain.
Despite having a name for this lovely sad lady, I cannot seem to find a suitable candidate on either the United States or British censuses of 1850/51 and 1860/61. Almost every Margaret Handy in the United States of an age that could potentially be this woman appears to be of a social level that could not afford this caliber of mourning clothing or, indeed, the cost of this 1/9th-plate Ambrotype, which is housed in a green leather case with a book-type clasp.
My best guess at the moment--and I am not confident in it--is that she is Margaret Handy, born in about 1817 in Sunderland, Durham, England, who is is listed on the 1851 British Census in Sunderland as a widow living with her 61-year-old seamstress mother or mother-in-law.
This card photograph with an oval image of a baby in a coffin surrounded by flowers is both lovely and heartbreaking. It is from Northwood, Iowa but I can not read the photographer name, perhaps Osminson, but can't find anyone with that name on my first searches.
"H. T. Reed & Co., Photographers, 16 Tottenham Court Road, London."
Both women wear some amazing jet, gutta percha, or pressed horn jewelry. The teenager is dressed in the latest fashions and her hair is intricately styled in the style du jour, while the cut of the 's gown is, by this date, a little fashion retro.
Wing - Found in the abandoned concrete plant.
Part of the set: MORPH.
DMC-G2 - P1360643 28.4.2012 manipulated
"Britton & Sons Photographers, 40 High Street, Barnstaple."
Written on reverse: "In affectionate remembrance of him whom we all mourn."
The combination of image detail and inscription indicates that this English couple were in mourning for a male family member who had died within the previous year. The woman is dressed in deepest mourning and would probably have worn a black bonnet and veil outdoors. Her husband or brother is dressed in what men typically wore for mourning--simply their best black suit. Outdoors, he may have worn a top hat with a crape band, the width of which would indicate the closeness of the deceased--the wider the band, the closer the relation.
The inscription also allows us to infer why so many Victorians sat for photographs while in mourning. Photography, when this image was taken, was only available to the public for about 25 years. The carte de visite, which became wide spread in the early 1860s, was photography's fourth major manifestation after the daguerreotype, the ambrotype, and the tintype--even so, having one's likeness taken was not something that occurred often, and when it did, it was often done to mark a special moment, albeit a grievous one.
Reverse with inscription: www.flickr.com/photos/60861613@N00/9359083941/in/photostr...
Part of the set "postmortem" COLUMBA: Ongoing photographic project started 16.8.2011
DMC-G2 - P1280529 8.2.2012
It’s one thing to detect sites in the genome associated with mental disorders; it’s quite another to discover the biological mechanisms by which these changes in DNA work in the human brain to boost risk. In their first concerted effort to tackle the latter, 15 collaborating research teams of the National Institutes of Health-funded PsychENCODE Consortium leveraged statistical power gained from a large sample of about 2000 postmortem human brains.
Read more: www.nih.gov/news-events/news-releases/2000-human-brains-y...
Credit: Vaccarino Lab, Yale University
Research published in: (Amiri et al., Transcriptome and epigenome landscape of human cortical development modeled in organoids. Science 362,2018)
NIH support from: National Institute of Mental Health (NIMH)
I believe this is a postmortem of a small girl. I almost passed it up in the antique shop until the color of her lower arms and hands caught my attention. The blood will settle in the extremities and cause the blueish effect. The prop in her lap confirmed my suspicion.
This post mortem photograph was taken in the 1890s. Provenance unknown.
"Thanks to high mortality rates and the rampant spread of disease, death was everywhere during the Victorian era. So many people came up with creative ways to remember the dead — including Victorian death photos. While it may sound macabre today, countless families used post-mortem photos to memorialize their lost loved ones." This is from my glass negative collection.
#postmortem #postmortemphotography
"R. Kindelade, Photographic Artist, Geneva, Ill."
One red 1 cent stamp and 1 blue 2 cent stamp are affixed to the reverse. Written in pencil beneath: "2 of this photos."
Today I found this photo at the flea market.
It is clearly a postmortem photo of someone who died over a century ago.
I realised that the man looked very much like Marcel Proust.
I compared it with the known postmortem photo of Marcel Proust and even though there are some differences, I wonder if perhaps this is one as well.