The buckboard is stopped on the road between Southwest Harbor and Somesville, now Route 102. The view is looking west across Echo Lake to Beach Cliffs.
Description: The buckboard is stopped on the road between Southwest Harbor and Somesville, now Route 102. The view is looking west across Echo Lake to Beach Cliffs.
Notice the elaborate hat worn by the lady in the front seat! The buckboard is stopped on the road between Southwest Harbor and Somesville, now Route 102. The view is looking west across Echo Lake to Beach Cliffs.
Description: Notice the elaborate hat worn by the lady in the front seat! The buckboard is stopped on the road between Southwest Harbor and Somesville, now Route 102. The view is looking west across Echo Lake to Beach Cliffs.
Beatrice stayed with her sister, Nell Rebecca (Carroll) Thornton and her husband, Seth Thornton, while she attended Ricker Classical Institute in Houlton, Maine in 1908. The town of Southwest Harbor paid a small fee for this.
Description: Beatrice stayed with her sister, Nell Rebecca (Carroll) Thornton and her husband, Seth Thornton, while she attended Ricker Classical Institute in Houlton, Maine in 1908. The town of Southwest Harbor paid a small fee for this.
Annie Downs Clark is in the center - just left of doorway. The sign on the building announcing “Beautiful Stereopticon Views” does not refer to stereograph or stereoscopic views, viewed through a viewer held in one’s hand. "Beautiful Stereopticon Views" - "The word "stereopticon" is frequently confused with "stereograph" and "stereoscope," but has nothing to do with either. The "Stereopticon" was a single lensed device to project lantern slides - transparent pictures on glass used for public lectures - we know it as a "slide show" in the Kodachrome era. The powerful light to project the image was generated by the same type of gas as miners used for their lamps. The event being advertised was an educational event probably showing slides of exotic places that most people from Southwest Harbor would never see except in pictures." - Weston J. Naef - August 2008.
Description: Annie Downs Clark is in the center - just left of doorway. The sign on the building announcing “Beautiful Stereopticon Views” does not refer to stereograph or stereoscopic views, viewed through a viewer held in one’s hand. "Beautiful Stereopticon Views" - "The word "stereopticon" is frequently confused with "stereograph" and "stereoscope," but has nothing to do with either. The "Stereopticon" was a single lensed device to project lantern slides - transparent pictures on glass used for public lectures - we know it as a "slide show" in the Kodachrome era. The powerful light to project the image was generated by the same type of gas as miners used for their lamps. The event being advertised was an educational event probably showing slides of exotic places that most people from Southwest Harbor would never see except in pictures." - Weston J. Naef - August 2008. [show more]
Bessie Clark, on the left, was a great-niece of Jacob William Carroll, patriarch of the Carroll clan in Southwest Harbor. Mary Whitmore, "Aunt Mary," on the right, was a sister to Rebecca (Whitmore) Lurvey Carroll, matriarch of the Carroll clan in Southwest Harbor. This relationship is the reason for the photograph of "Aunt Mary and Bessie" in Nell Carroll Thornton's photograph album.
Description: Bessie Clark, on the left, was a great-niece of Jacob William Carroll, patriarch of the Carroll clan in Southwest Harbor. Mary Whitmore, "Aunt Mary," on the right, was a sister to Rebecca (Whitmore) Lurvey Carroll, matriarch of the Carroll clan in Southwest Harbor. This relationship is the reason for the photograph of "Aunt Mary and Bessie" in Nell Carroll Thornton's photograph album.
Description: Mysie's biography is interesting as it illustrates both the later life of this young girl and the social life in Cambridge of which Rand was a part.
"Practically every town in Victorian America boasted a photography studio. The proprietor, whether he knew it or not, was an early chronicler of family life. Newborns, graduates, brides, grooms, and entire families posed for the camera – alongside wicker props. Ornate wicker furniture made its debut in photography studios during the 1870s. Light, airy and noticeably three-dimensional in photographs, wicker props made greater headway in studios during the 1880s and early 1900s. Because it was so inexpensive and easy to store, photographers and the public took wicker to their hearts. In fact, fancy wicker pieces became known as “photographer’s chairs.” Wicker’s popularity in studios created a new market; Heywood Brothers and Wakefield Company featured in their 1898 catalogue an extremely ornate five-legged “posing chair” specifically designed as a photographer’s prop." - "Collector’s Guide to American Wicker Furniture," by Richard Saunders, published by Hearst Books, New York, 1983, p. 43. The following pages contain photographs showing various ornate wicker chairs that were used by photographers. The chair shown in this photograph appears on pages 47 and 57. The same chair, obviously used by Southwest Harbor photographer. J.C. Ralph, appears in other photographs in the library collection.
Description: "Practically every town in Victorian America boasted a photography studio. The proprietor, whether he knew it or not, was an early chronicler of family life. Newborns, graduates, brides, grooms, and entire families posed for the camera – alongside wicker props. Ornate wicker furniture made its debut in photography studios during the 1870s. Light, airy and noticeably three-dimensional in photographs, wicker props made greater headway in studios during the 1880s and early 1900s. Because it was so inexpensive and easy to store, photographers and the public took wicker to their hearts. In fact, fancy wicker pieces became known as “photographer’s chairs.” Wicker’s popularity in studios created a new market; Heywood Brothers and Wakefield Company featured in their 1898 catalogue an extremely ornate five-legged “posing chair” specifically designed as a photographer’s prop." - "Collector’s Guide to American Wicker Furniture," by Richard Saunders, published by Hearst Books, New York, 1983, p. 43. The following pages contain photographs showing various ornate wicker chairs that were used by photographers. The chair shown in this photograph appears on pages 47 and 57. The same chair, obviously used by Southwest Harbor photographer. J.C. Ralph, appears in other photographs in the library collection. [show more]