View allAll Photos Tagged postmortem
Mussorgsky: "Night on Bald Mountain" (Gergiev, BBC symphony orchestra / youtube)
list, explanations for watering plants by my father
Löwenzahn abgerissen weggeschmissen zertrampelt
Part of: "an apple a day keeps the doctor away - An ENSO (Japanese: circle, Japanisch: Kreis) a day .... " Aktion Kreis Tagebuch A circle diary - Start of the 365-days Project: 1. September // postmortem // memento - zeitweilige Entnichtung // spring counterpoint frühling kontrapunkt
panasonic DMC-GH3 - P1030604 - 2015-04-26 - lumix
#rundgang #spaziergang #unterwegs #löwenzahn #spring #frühling #friedhof #dandelion #ink #tinte #liste #list #note #notiz #symmetrie #asymmetrie #balance
Carving on the chest tomb reads: "Near this place rest the remains of Mary Lovell, Widow of Robert Lovell of Bristol, and sister in law of Robert Southey, who died August 10th, 1862, aged 91 years." This photo was taken in the cemetery of St. Kentigern Churchyard, Crosthwaite, Cumbria, England. While the man in the photo appears to be visiting Mary Lovell, he is more likely posing at the tomb of the Poet Laureate Robert Southey, with whom Mary Lovell lived for her entire life after her husband Robert Lovell's death left her a penniless widow.
Here is the restored chest tomb today: www.flickr.com/photos/summonedbyfells/3338634834/. You can also see it here and match it against the surviving tombstones: www.britainunlimited.com/Biogs/Southey.htm. The monument commemorates Southey, his wife Edith, his sister-in-law Mary, and his daughter Katherine.
From "A Passionate Sisterhood: The Sisters, Wives and Daughters of the Lake Poets":
"At the close of the 18th century, the Fricker sisters wed three close friends, two of whom would indelibly shape Romantic literature. Sexy, impulsive Sarah found her match in Samuel Taylor Coleridge ["Rhyme of the Ancient Mariner"] ; Mary, the intellectual one, married Robert Lovell, who left her a widow at 25; and self-effacing Edith, given to depression, won Robert Southey [poet laureate of England 1813-1843, and author of the children's story "The Three Bears"] despite his family's disapproval....
"Young Robert Lovell received an excellent education, first at the 'Blue-Coat School', or Christ's Hospital School an llater at Balliol College, Oxford University. Mary Fricker, through her work in the theatre, had met Robert Lovell, the twenty-two-year-old son of a wealthy Bristol Quaker. He led the life of a wealthy gentleman's son; like many young bucks of the day, he was interested in pugilism and blood sports and, on the face of it, had little in common with Southey. But he had similar democratic sympathies and poetic ambitions and when the Fricker sisters introduced the two men, they were instantly attracted to each other and became great friends. Four years older than Southey, Lovell too had been to Balliol, where a brilliant career had been predicted. His relationship with Mary met with considerable disapproval. She had no money, she was an actress, and she was not a Quaker: she was thus totally ineligible. Lovell, a `birthright' Quaker who was expected to marry within the faith, was warned that his family would disinherit him if he married Mary Fricker."
"Mary and Robert met when he was a young Quaker residing at Bath and the first volume of his poetry was published out of Bath. On 20 January Mary married Robert Lovell, whose family promptly threw him out and withdrew their financial support."
"On 3 May, 1796, Robert Lovell died, from 'fever'. He had been taken ill at Salisbury but had insisted on continuing his journey home despite bad weather. His death left Mary a widow at twenty-five with a baby son and no money. Coleridge helped to nurse his friend through his illness, being with him when he died. . . . Robert Lovell's sufferings were so terrible Mary could not bear to stay in the same room with him. 'All Monday night I sate up with her -- she was removed to the kitchen, the furthest room in the House from her Husband's Bed-chamber . . . It was, you know, a very windy night -- but his loud, deep, unintermitted groans mingled audibley with the wind, whenever the wind dropped, they were very horrible to hear, and drove my poor young Sister-in-law frantic . . . At one o'clock the Clock in the Kitchen went down. "Ah! (said She) it is stopt . . .(A long pause) O God! O God!" (A Passionate Sisterhood, Kathleen Jones, p. 51.)
"Mr. Lovell...fell ill of fever, died, and left his widow and child without the slightest provision." (The International Magazine of Literature, Art and Science, Volume 4, Issue 2, September 1851)
"The death of (Southey's) brother-in-law and brother-poet, Lovell, occurred during his absence abroad, and Southey on his return set about raising something for his young friend's widow. She afterward found a home with Southey--one of the many generous and affectionate acts of his busy life."
According to Wikipedia: "Lovell's father refused all help to his daughter-in-law Mary on the grounds of her having been an actress, and she and her infant son turned to Southey for support. She lived in his family during his life, and afterwards with his daughter Kate until her death at the age of ninety. The son, Robert Lovell the younger, settled in London as a printer in 1824. Some years afterwards he went to Italy and then disappeared. Henry Nelson Coleridge journeyed in quest of him, but no trace was discovered."
This little girl with one hand under her cheek and her ankles crossed looks so peaceful that I would like to think that the photographer caught her napping on the studio sofa. I fear, however, that this is a carefully arranged tableau to make the child appear asleep and give the parents a sweet remembrance.
We had a dinner party the other night - this guy flew in and caused quite an uproar around the table. Sadly it was not a happy ending for this bee so I memorialized him in this post-mortem portrait :O
More than you probably want to know:
This portrait is a composite of about 10 pictures, each taken 1mm closer, with a camera mounted on a macro focusing rail. I used a 105mm macro lens and full stack of Kenko extension tubes. The decedent was held in position by a jewelers third hand clamp and needle. I used green tissue paper napkin as the background and a 3 IKEA goose-neck LED light setup (one on either side of the bee and one behind the background). The RAW images were corrected in Lightroom and then aligned and 'Focused Stacked' in Photoshop. It was finished off by cloning out the needle and blending in a textured grunge overlay complements of Jerry at Shadowhouse Creations.
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Detail of trove 2. Flügel, wing. Lachmöwe, Larus Ridibundus, Black-headed gull.
Part of the set "postmortem".
DMC-G2 - P1330856 9.4.2012
© Ann Longmore-Etheridge Collection.
Despite the damage, this image has painterly quality, and a softness, that speaks to me.
"Wm. Carroll, Walnut Ridge, Ark."
Photographed by Carroll of Walnut Ridge, Arkansas. Formerly in the collection of Ben Zigler and now in mine, this rare post-mortem image of an African-American woman, who may have begun her life as a slave, was published in the 2004 book "Mourning Jewelry and Art" by Maureen DeLorme, Schiffer Books, page 137.
www.flickr.com/photos/60861613@N00/21663899231/in/datepos...
Accession Number: 1974:0193:0640
Maker: Southworth & Hawes
Title: Postmortem, unidentified woman
Date: ca. 1852
Medium: daguerreotype
Dimensions: sixth plate, 8.2 X 7.0 cm.
George Eastman House Collection
General information about the George Eastman House Photography Collection is available at http://www.eastmanhouse.org/inc/collections/photography.php.
For information on obtaining reproductions go to: www.eastmanhouse.org/flickr/index.php?pid=1974:0193:0640.
This was one of seven northern bottlenose whales to get lost in the Firth of Clyde area. Sadly this and one other juvenile died (the second washed up on the shores of Loch Fyne, being discovered by a yachtsman on Sunday 18 October 2020). The five adults managed to find their way back to deeper waters.
The skeleton will be preserved and placed on display in the National Museum of Scotland, in Edinburgh.
This is another of our New York acquisitions. It is a 1/2 plate ambrotype of a small post mortem boy. It is so sweet and sad that it brings me close to tears.
Before I get a "but it looks like a girl..." I must say that all small children at that time wore dresses, boys hair was parted on the side, and pink was a "boy color" since it was considered a shade of red.
Here is a lovely example of a monotone ensemble that appears black actually being, without doubt, black. If her clothes were not black, the hand-colorist would have surely let us know.
When we look at various types of 19th century photos, there is no reason to believe that what looks like mourning black is actually bright yellow or orange or some other color, just because some photographic processes could make these colors look black. We need to keep in mind that just because it is possible, it is not probable when other contextual clues tell us that garb is indeed black.
Oskar Werner recites "On Wings of Song" "Auf Flügeln des Gesanges" (youtube) Heinrich Heine. Exhibition: Daniel Spoerri at the Museum of Natural History Vienna.
Part of the set "postmortem".
DMC-G2 - P1390641 3.6.2012
This woman is beautifully dressed in what appears to be wool with applied woven trim. At the throat, surrounded by her magnificent crochet collar is a large ambrotype photo brooch of a man, probably her husband.
Part of: Paradiesäpfel - Apples of Paradise Homage to Friedemann der Teppichweber friedemann1 Friedemann Hoflehner
DMC-G2 - P1150777 Erholungsgebiet Steinhofgründe.
© Ann Longmore-Etheridge Collection
The plate bears the hallmark in the upper right corner of the Gaudin brothers: a rosette, lamb (Agnus Dei) between 2 crescent moons.
If there are any medical professionals viewing this, does it appear to you as if the mother might have something wrong with one eye? The eye on the left, as we view her, seems clouded. I'm not sure of this is a cataract or merely reflection of the photographer's light source.
Additionally, I feel confident that this woman is mourning. Her monotone clothing, not even broken by a white collar, makes this almost certain.
This image has been used in the PBS series "Finding Your Roots."
On the reverse is an orange 2-cent tax stamp. No photographer's mark.
"L. H. Feyen, Liege, Boulevard de la Sauveniere, 137."
It is hard to imagine the heartbreak. It is too terrible to compass.
This glass slide has no marking other than the handwritten number 39 on a small tag, which seems to indicate that this was part of a set of slides. The identity of this woman is unknown, but there is a chance that she is a public figure of some sort.
1/9th Plate daguerreotype of a young lady who is very pale with dark circles under her eyes. This is one of my favorite 1/9 plates in my collection. Image is well lite and has excellent depth, contrast and reflective quality. The sweet girl does not look like she feels well.
© Ann Longmore-Etheridge Collection
"Hannah McCracken Kelly, our mother, taken after her death."
Hannah B. McCracken was the daughter of John and Mary McCracken (or Mecracken), who farmed in Claysville, Washington County, Pennsylvania, during the early 19th Century. Named after the “Great Compromiser” U.S. Senator Henry Clay (1777-1852), the town is located on the line of the Cumberland Road which forms its Main Street. Claysville is 18 miles east of Wheeling, West Virginia, and 10 miles west of Washington, Pennsylvania. The town was laid out in 1817 and remained unincorporated until 1832.
John McCracken was born about 1795 in Pennsylvania and died 28 December, 1865, in Claysville. His wife, Mary, the daughter of Samuel Caldwell of Buffalo Township, was born in about 1797 and died 4 August, 1878. The couple married in Washington County on 30 December, 1820. They are buried together in the old Purviance Cemetery, Claysville.
A second copy of this daguerreotype exists and was sold on eBay in July 2012. Almost unbelievably, a third copy, located in Australia, was sold on eBay in October 2012. It must be assumed that each of Hannah's children had a copy of this image. Mine appears to be the original and the only one with identifying information enclosed.
To read more about this dag and this family, visit Your Dying Charlotte:
"New York Portrait Co., Geo. G. Utt, Manager, Nos. 1426 and 1428 Franklin Avenue, Saint Louis, MO. The negative of this photographis preserved for future orders and can be reduced to the smallest locket or enlarged up to life-size and finished in Crayon or Water Color."
The folds of her skirt are so crisp that they almost take my breath away.
Cute little fellow was living under our back steps. Unlucky for him, he was caught in a mouse trap. Picture is postmortem.
At the Dagerreian Society trade show we purchased two tintypes and two ambrotypes.
When we first saw this sixth plate post mortem tintype of a small girl in a half case at a photographic sales show I was struck by the poignant care with which she was posed and photographed. The perfect pleats of the little dress and the pillow under her head almost made me cry. We passed her by but, as we usually do, we made several circles of the dealers tables before we decided to buy anything. We came back to her every time and found we could not leave her behind. When I lifted her from the half case I discovered that there was an orange two cent revenue stamp on the back. This dates the photograph to 1864-66 and sets the price at 25¢ or less. I am posting a scan of the back showing the stamp which was used to raise revenue during the civil war.
© Ann Longmore-Etheridge Collection
This poor, sweet baby boy has been photographed laid out with flowers in one hand and a small toy in the other. The loss must have been, for his parents, almost unsupportable.
Recently, I was besieged by a commenter who tried to tell me that no matter how many images or actual surviving pieces I produced (and I can produce a lot), these "exceptions" are trumped by the etiquette and fashion books from the era--some of which command that women should not wear any jewelry but black jet, gutta percha, pressed horn, or bog oak jewelry when in mourning. This photo, however, indisputably shows a woman in first-stage (or deepest) mourning doing just that.
While one exception often proves the rule, a pile of exceptions should lead a reasonable historian to conclude that just because 19th-century fashion and society arbiters proclaimed that all women should behave according to their rules, real women did not actually do so. It would be wrong to assume that all modern women live and die by the dictates of fashion houses, designers, and magazines, or that all slavishly follow what soi-disant social and religious dictators command. It was just as wrong then. No matter how much more restricted women's lives were in the 1800s, the rules of mourning clothing and jewelry were not something commanded by law, and so women followed cultural guidelines as much or as little as they chose or could afford to do.
In this image, we can plainly see that this particular woman is wearing with her mourning attire a gold-bodied brooch that almost certainly contains the hair of the deceased. Why the choice of plain gold over gold and black enamel? Who knows. But it happened by her own personal choice or circumstances. In any case, it is certainly not an outlier and testifies as primary source evidence of good weight. A book--even one from the age--does not carry a higher weight on the evidence scales against copious numbers of actual photos and extant pieces of the jewelry.
Part of the set "postmortem" COLUMBA: Ongoing photographic project started 16.8.2011
DMC-G2 - P1320292 27.3.2012
© Ann Longmore-Etheridge Collection
"T. J. Plank, Canastota, N. Y."
Please visit Your Dying Charlotte, www.dyingcharlotte.com, where I publish long-form articles recapturing lives long lost from research on photos and artifacts.