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Rescued: Dorothy Tucker: For the Love of a Daughter

Jun 2025 | Childhood Photography, Documentary Photography, Hand Cameras, New Additions

“Dorothy Tucker with father Charles Rollins Tucker”, ca. 1902. Mounted platinum print by American commercial photographers Allan Berne-Allen & Co., Stapleton, N.Y. 13.8 x 9.7 cm on card mount 25.4 x 20.3 cm. This is the only photograph from this series not believed taken by the artist. From: PhotoSeed Archive

This is the second of a two-part blog post: Rescued: Dorothy Tucker: For the Love of a Daughter, showing an intimate progression in photographs of the early life of Staten Island, N.Y. resident Dorothy Frances Tucker (1899-1986) taken by her father, Charles Rollins Tucker, 1868-1956.  The post concludes with a brief historical timeline of Dorothy’s life and an afterword/remembrance from present-day family members.

Photography and fatherhood go hand in hand. With George Eastman’s introduction of the Kodak No. 1 roll-film camera in 1888, childhood would never be the same again. Moments: baby’s first steps as well as birthdays and major holidays like Christmas morning were always dutifully recorded for posterity, with the goal of compiling a heartfelt family photographic history meant to survive for eternity.

Left: “Her Wedding Dress”, unmounted POP print, ca. 1898, 11.0 x 9.9 cm; Right: “Mother in Stoughton”, ca. 1899, mounted POP print, 8.5 x 6.3 | 10.6 x 7.7 cm, both: C.R. Tucker, American 1868-1956. The subject is Dorothy’s mother, Mary Carruthers Tucker, born in Salt Lake City, UT. 1877-1940. Mary Carruthers was married in Manhattan, New York City on July 29, 1898 and at right can be seen in her maternity dress in Stoughton, MA, where Dorothy was born on August 27, 1899. Both: PhotoSeed Archive

 

Sadly, the reality of most of those family histories- at least the older physical snapshot albums making them up- rarely survive more than perhaps three or four generations before being discarded. History may be paved with good intentions, but photographs- even now for the trillions of images populating our ever expanding and ubiquitous digital hard drives-won’t survive.

“Newborn: Dorothy Tucker”, 1899, C.R. Tucker, American 1868-1956. Unmounted gelatin silver print, 8.7 x 12.6 cm. Dorothy Tucker and her mother and father lived at 73 Clifton Place in Brooklyn, N.Y. as enumerated in the 1900 U.S. Census, but would soon move to Staten Island. Dorothy lies on a pillow and mattress placed on the floor, with several of her dolls placed at her side. From: PhotoSeed Archive

“Dorothy & her Mother”, 1899, C.R. Tucker, American 1868-1956. Platinum print mounted to heavy card, 15.4 x 10.3 | 25.1 x 20.0 cm. In this contemplative home portrait, Mary Tucker gently holds daughter Dorothy in place on her lap. This photograph must have been a favorite of the young Tucker family, as the original cloth and metal hanger is still in place on the verso of the heavy card mount. From: PhotoSeed Archive

“Cyanotype: Dorothy & Mother”, 1899, C.R. Tucker, American 1868-1956. Cyanotype in original glass mount, 7.0 x 5.4 | 10.8 x 8.4 cm. This keepsake of Dorothy Tucker held by her mother is shown in its original glass and paper mount, with the loss remnants of an original cloth and metal hanger visible on the verso. Several surviving cyanotypes of Dorothy by C.R. Tucker are held by this archive. From: PhotoSeed Archive

“Dorothy Tucker holding onto Boat Prow”, ca. 1900, C.R. Tucker, American 1868-1956. Mounted platinum print, 8.1 x 6.7 | 27.0 x 17.5 cm. Dorothy Tucker would appear to be less than one year old in this photograph, believed to have been taken at their summer vacation camp at Point O’ Woods on Long Island Sound. Writing anonymously in the June, 1903 issue of The American Amateur Photographer magazine illustrated by his own photographs,Tucker wrote the following thoughts as part of his article: “Our Summer Home By The Sea”: …“we have no doubt whatever that for us the most beneficial summer home has been Point o’Woods, the growth of which we have watched since July, 1894, when the bulk of the visitors were sheltered in tents on the dunes, till this year there are some seventy cottages”…From: PhotoSeed Archive

But sometimes, the detritus of a dump run gets interrupted by those with a penchant for digging up the past. Fifteen years ago, I had the pleasure of making online contact with Pennsylvania resident Pam Hegedus. Pam, known as “Lady Digger”, said her “biggest passion in life was bottle digging and metal detecting”, a hobby she had pursued since she was ten years old, and one that lasted for well over 50 years.

“Home Portraits of Dorothy Tucker, about One year Old”, ca. 1900, C.R. Tucker, American 1868-1956. Unmounted platinum prints, each around 8.7 x 6.3 cm. C.R. Tucker trained his amateur camera with great joy at his newborn daughter, with these home portraits done with natural light. An adult hand steadies Dorothy at upper left while she looks a bit tuckered out (no pun intended) at lower left; a profile angle completing this triptych. From: PhotoSeed Archive

“Dorothy Tucker wearing Plumed Chapeau”, 1900, C.R. Tucker, American 1868-1956. Platinum print affixed to beveled mount, 7.0 x 5.0 | 18.1 x 13.1 cm. A bit of effort was put in to create this more stylized home portrait of Dorothy. The artist surname appears on the mount at lower right and is dated 1900 on the mount verso, along with print type and name of subject in graphite: “Dorothy T.” From: PhotoSeed Archive

“Dorothy Tucker at Point O’ Woods Beach Camp”, ca. 1900-01, C.R. Tucker, American 1868-1956. Unmounted cyanotype print, shown cropped, 11.5 x 17.5 cm. Dorothy Tucker, who appears no older than two years old in this photograph, stands at the entrance to a large canvas tent with American flag flying overhead on the beach at Point O’ Woods on Long Island Sound. This photograph was published in the June, 1903 issue of The American Amateur Photographer magazine. Dorothy’s father, writing anonymously, compiled his thoughts for the article: “Our Summer Home By The Sea”, in which he outlined the growth of the summer vacation colony retreat since its founding in 1894. Wikipedia notes the private retreat Point O’Woods -even today-“ may have been the first settlement on Fire Island in Long Island Sound, and was originally organized in 1894 for religious retreats, including some from the Chautauqua assemblies before ownership passed to the present-day Point O’ Woods Association in 1898 after the first group went bankrupt.” From: PhotoSeed Archive

And that’s where this lovely story of fatherhood and photography collided. Because of Pam’s realization someone might be interested in them, the photographs you see here of “Dorothy” were saved by her and then purchased for this archive.

Left: “Dorothy: Chair Study Printed in Cyanotype”, Right: “Dorothy: Chair Study Printed in Platinum”, ca. 1900-01, C.R. Tucker, American 1868-1956. (L.) 12.2 x 8.7 cm & (R.)10.5 x 7.3 cm. Dorothy wears a fur-lined outer jacket over a long white dress while holding onto and standing on a ladderback chair: a home portrait done with natural light. From: PhotoSeed Archive

Center: Detail from Exhibition Catalogue: “A Loan Collection of Photographs Exhibited by Davis & Banister”, which took place in Worcester, MA from April 23rd to 30th, 1906, & which C.R. Tucker was an exhibitor. Left: “Dorothy”, ca. 1903-04. C.R. Tucker, American 1868-1956. 9.4 x 6.9 | 26.3 x 17.9 cm. Mounted exhibition print by Tucker, #76, included; Far Right: “Interested”, ca. 1903-04. 9.6 x 7.2 | 11.2 x 8.7 | 25.3 x 18.8 cm. Mounted exhibition print by Tucker, #77, included. These exhibition prints featuring Dorothy are rare survivors of an early American photographic exhibition organized by Dwight A. Davis, Worcester’s most notable pictorialist photographer of the early 20th Century.From: PhotoSeed Archive

“Dorothy Tucker Mounting Photographs”, mounted cyanotype print, ca. 1903-04. C.R. Tucker, American 1868-1956. 11.3 x 8.6 | 15.0 x 12.6 cm. Seated on a stool, Dorothy Tucker uses an  E. & H.T. Anthony brand Print Mounter to mount a photograph on a work table. Possibly taken for one of the yearly amateur Kodak advertising contests, the work space shows a Kodak Brownie camera at right rear, loose photographs, an album and jar of what is most likely Daisy brand mounting paste with a brush next to it. Gripping the top of the mounter, Dorothy prepares to slide the mounter with its two rollers over a print seen just to the right of it. From: PhotoSeed Archive

Sadly, life intervened, as it does for all of us, and I never followed up with a personal visit to meet Dorothy’s savior, as I just recently found out Pam died a number of years ago. “By all means, keep in touch and come by anytime you are in the area. I’d like that” Pam wrote me in October, 2010.

“Dorothy Tucker photographs her Dolly”, mounted platinum print, ca. 1904-05. C.R. Tucker, American 1868-1956. 11.0 x 13.6 | 31.6 x 26.6 cm. The hobby of amateur photography was a constant in the early life of Dorothy, as practiced by her father, but was also taken up by herself before she was a teenager. Here, Dorothy prepares to squeeze a bulb shutter while photographing her dolly. This photograph or variant was likely entered in one of the annual “Kodak Competitions” from the period, as it features the company’s products, including a tripod-mounted plate camera. (undetermined model) A camera and tripod case can be seen on floor along with a single plate holder and dark cloth. Dorothy holds the dark slide for the camera in her left hand while making the exposure. Inset: Published in 1907, this original advertisement shows Dorothy holding a cat & appeared on behalf of Bausch and Lomb-Zeiss Tessar lenses “Home Portraits” in Camera Work XVII for January. The ad was also published in other contemporary mass-market photographic journals. Mounted photo: From PhotoSeed Archive

Left: “Dorothy Plays a Game of Guess Who? with her Mother”, mounted bromide or gelatin silver print, ca. 1904-05. C.R. Tucker, American 1868-1956. 16.5 x 10.6 | 30.5 x 25.5 cm. In another home portrait, Dorothy clasps her hands around her mother Mary’s eyes while seemingly playing a game of Guess Who?. Right: “Dorothy with Microscope”, mounted gelatin silver print, ca. 1905. C.R. Tucker, American 1868-1956. 17.0 x 11.4 | 23.4 x 18.5 cm. Seated on a stool placed on a chair, Dorothy examines something placed under a microscope, which her father may have owned or borrowed from Curtis High School in Staten Island, where he taught physics, among other courses. From PhotoSeed Archive

The story of Dorothy Tucker’s resurrection, so to speak, did not come from the many holes in the ground dug by Pam in search of bottles and valuable metal objects but of her other penchant for treasure hunting in dilapidated buildings. From what I have been able to piece together with my online correspondence, she had come across a condemned home in her neck of the woods, several miles from her own home. “The old place is about fallen down now with caved in floors–sad, as the outside looks so nice. I will return next week and go through more things before they actually tear it down” she told me in one email from 2010.

Left: “Dorothy: Head Study”, Right: “Dorothy: Profile Study”, ca. 1904-05, both: unmounted gelatin silver prints. C.R. Tucker, American 1868-1956. L: 10.0 x 7.9 cm | R: 10.9 x 7.8 cm. From: PhotoSeed Archive

Left: “Watching for Papa”, Right: “Dorothy Looking Down at Doll”, ca. 1905, Left: mounted platinum print; R: unmounted platinum print, C.R. Tucker, American 1868-1956. L: 11.1 x 6.8 | 12.5 x 7.2 | 24.3 x 16.6 cm | R: 10.0 x 6.0 cm. From: PhotoSeed Archive

“May I be your Valentine? For Cousin Katharine with Dorothy’s Love”, ca. 1905-06, mounted platinum print, C.R. Tucker, American 1868-1956. 11.6 x 8.9 | 19.9 x 16.6 cm. Photographic greeting cards were a relatively new outlet for ambitious amateurs like Dorothy’s father, with this rich brown platinum print set off against a brown art paper mount complimentary to the hand-drawn sentiment along bottom margin. The recipient, Dorothy’s cousin Katharine, was penned on the card’s verso. From: PhotoSeed Archive

Even now, I admit to spending way too much time online in search of photographic treasure, but the collector in me knew that what Pam was posting for sale was a truly significant and unusual archive : the story of one girls’ life: “Dorothy”, from infancy to well past her teenage years. The single thing keeping it all together for me? The name “Dorothy” penciled onto the verso of the majority of photographs making up this hoard.

Two portraits of Dorothy outside her family home, then at 90 Third Street in the New Dorp section of Staten Island: Left: “Dorothy with Teddy Bear”; Right: “Dorothy with Kittens”, ca. 1906-07, unmounted POP and gelatin silver print- rppc stock, C.R. Tucker, American 1868-1956. Left: 26.6 x 15.0 cm, Right: 13.0 x 8.4 cm. The innovative home, believed to have built ca. 1904-05, nearly entirely of concrete, was radical for the era and unintentionally provided clean backgrounds for a series of portraits of Dorothy by her father. From: PhotoSeed Archive

Left: Dorothy laughs and strikes a pose while placing her hands behind her head, ca. 1907-08, mounted platinum print, 14.8 x 10.0 | 28.5 x 17.9 cm. Right: “Dorothy Reaching for Grapevine outside Family Home”, 1909, mounted platinum print, 20.0 x 14.7 | 33.7 x 22.3 cm. Both: C.R. Tucker, American 1868-1956. The Tucker family home, then located at 90 Third Street in the New Dorp section of Staten Island, was nearly new (they are believed to have been the second owners after W.J. Steel) when the family moved in by 1906. The home itself was the subject of an extensive article illustrated with photographs (several showing Dorothy seated outside) in the August, 1906 issue of American Homes and Gardens magazine. A nearly fireproof structure, the article stated: “With walls and partitions of hollow concrete blocks, floors and roof of reinforced concrete, it was the first building of this character to be constructed in New York City.” The grapes are seen growing against the concrete block work wall in photo at right. From: PhotoSeed Archive

Exterior photographs show Dorothy posing and playing at the family home, then at 90 Third Street in the New Dorp section of Staten Island. No longer standing, it was believed built ca. 1904-1905 and designed by Robert Waterman Gardner, 1866-1937, president of the New York Society of Craftsmen and an architect who pioneered using reinforced concrete in residential construction. The Tucker family were believed to be the second owners after the first, W.J. Steel. Left: “Dorothy with Ice skates in Home Entranceway”; Middle: “Dorothy on Swing in Pergola”; Right: “Dorothy in Home Entranceway”, all: ca. 1908-09: unmounted POP prints and right: textured platinum print, C.R. Tucker, American 1868-1956. L: 16.8 x 11.8 cm; M: 17.1 x 11.8 cm; R: 16.5 x 11.5 cm. The house number, #90, can be seen above the inset, leaded beveled glass front wood entry door. The 1906 American Homes and Gardens magazine article further describes the front entrance as: “covered with a hood built entirely of concrete, the brackets and roof being reinforced with plain round rods”. And the pergola: “the columns of which are built up square, with girders of reinforced concrete carrying rafters of small poles left with the bark on.” From: PhotoSeed Archive

And what a hoard. To my eye, these photographs were done by a master amateur photographer. At first, I did not know the identify of Dorothy’s photographer, or even who she was. It took me over a year of doing genealogy to finally nail things down, and keen observers of this website may remember several examples of “Dorothy” photographs posted. To be realistic, not every photograph can or should be saved, but when someone as talented as Dorothy’s photographer emerges from the shadows, it’s worth at least a little effort to intervene.

Another series of Dorothy Tucker posing outside the family home, then at 90 Third Street in the New Dorp section of Staten Island. Left: “Dorothy Reading on the Veranda”, Middle: “Portrait of Dorothy”, Right: “Profile of Dorothy”, all: ca. 1908-09, rough, unmounted platinum paper prints, C.R. Tucker, American 1868-1956. L: 17.6 x 11.4 cm; M: 16.8 x 11.5 cm; R: 18.3 x 12.0 cm. These high-key prints may have been deliberate in the printing process or test prints, as one other known example from this sitting not held by this archive is much darker. From: PhotoSeed Archive

“Dorothy, with Eyes Shut”, ca. 1909-10, unmounted gelatin silver print, C.R. Tucker, American 1868-1956. 16.7 x 12.0 | 17.2 x 12.9 cm. A misfortunate, yet aesthetically fortunate result. With a “blizzard” of spots surrounding her, Dorothy Tucker (1899-1986) seems to retain an inner peace as an artificial maelstrom is kept at bay outside the world of her closed eyes. These heightened effects on this finished print were most likely caused by, but not limited to: improper fixing, toning and prolonged exposure to adverse elements in storage. Combined, they introduce added mystery to an already dramatically-lit, three-quarters profile portrait of a young woman embarking on her teenage years. From: PhotoSeed Archive

Exploring Nature. Left: “Dorothy Tucker Gathering Ferns”, Right: “Dorothy Leaning over Boulder while Touching Stream”, both: ca. 1910-12, mounted platinum prints, C.R. Tucker, American 1868-1956. Like her father-photographer, who was a member of the Staten Island Institute of Arts and Sciences as well as the Natural Science Association of Staten Island since 1903, Dorothy, through the evidence of multiple photographs held by this archive, seemed interested in nature. At left, she clutches a spray of freshly-picked ferns while investigating the edge of a stream in the woods. At right, she leans over a boulder while placing her fingers in a stream in the woods, the clutch of ferns she had gathered earlier placed on the boulder in foreground. From: PhotoSeed Archive

Dorothy as Photographer: Given the attention she received on the receiving end of her father’s amateur photography, it’s not surprising Dorothy also took up the camera. The center photograph of C.R. Tucker, taken in VT, was mailed as a photographic postcard to Dorothy’s grandmother Myra Frances Talbot (Tucker) 1846-1927, ca. 1911. It’s addressed to her as Mrs. G.L. Tucker, 76 Morton St. Stoughton, MA with writing by Dorothy: “Dear Grandma:- Here is a picture of father that I took when he didn’t know it. He is picking raspberries and just putting one in his mouth. He says it was the only one he ate all the time he was picking, but I saw him eat three. Lovingly, Dorothy”, gelatin silver rppc, 8.8 x 12.4 cm. Two other additional views of Dorothy’s parents were also believed taken by her. These were done ca. 1910-15 outside the family home at 90 Third St. in New Dorp, Staten Island, N.Y. Left: “Mary Carruthers Tucker, 1877-1940 Next to Pergola”, 7.9 x 5.4 | 12.7 x 8.0 cm, Right: “Charles Rollins Tucker mows Grass next to Pergola”, 7.9 x 5.4 | 12.4 x 7.0 cm. From: PhotoSeed Archive

Not all of the Dorothy photographs became degraded by the elements. But for many, moisture damage, mildew, and other impacts of improper storage by their former caretaker: Dorothy’s kid brother Stephen “Jerry” Tucker- who had been renting that now long demolished home- piled on for about ten years or so after he died in late 2001. But for those fascinated by an artistic, comprehensive record of a young girl growing up at the turn of the 20th Century, a generous thank you is in order for his care of the photos before Pam’s rescue efforts.

“Luncheon”, ca. 1910-12, unmounted gelatin silver print, C.R. Tucker, American 1868-1956. 26.6 x 21.5 cm. Dorothy, perhaps a very young teenager at this point, sits on the rear concrete steps to the Tucker family home at 90 Third Street in New Dorp, Staten Island and uses a spoon to eat from a bowl set on her lap. The Tucker family were believed to be the second owners of the home, now demolished, and originally built for “Mr. W.J. Steel” as described as part of the article “Some Modern Concrete Country Houses” in the August, 1906 issue of American Homes and Gardens. From: PhotoSeed Archive

A playful and performative side of Dorothy emerges in young adulthood. Two photographs believed not taken by C.R. Tucker but by an acquaintance: with handwritten initials “F.L.C.” and date May 18 1912 written on cyanotype folder, show Dorothy inside the Tucker family dining room at 90 Third Street in New Dorp. Not quite 13 years old, she strikes several poses using a fan-perhaps as part of a school play performance she would later take part in. Left & Right: “Dorothy Tucker with Fan”, 1912, unmounted gelatin silver and mounted cyanotype prints: 18.1 x 10.7 | 27.7 x 15.5 cm; 16.5 x 8.6 | 22.0 x 11.3 | 22.6 x 12.3 cm. From: PhotoSeed Archive

Dorothy plays the grown-up: “Dorothy Tucker holds brother John Robert Tucker”, 1914, gelatin silver rppc stock, C.R. Tucker, American 1868-1956. 12.4 x 7.8 cm. Notation indicating John Robert on postcard verso states he was one month old when this photograph was taken. Born March 3, John Robert Tucker: 1914-1991, became an electrical engineer, and was listed as working for the U.S. Testing Company of New York City on his 1941 marriage certificate. From: PhotoSeed Archive

“Dorothy plays Mandolin on Veranda”, ca. 1914-15, unmounted rough platinum or bromide print, C.R. Tucker, American 1868-1956. 20.9 x 15.7 cm. Now with short hair, Dorothy plays a mandolin on a swing set up in the veranda of the Tucker family home at 90 Third street in New Dorp, Staten Island. From: PhotoSeed Archive

The icing on the cake? “Jerry” was safeguarding a lot more than these Dorothy photographs. As it turned out, he was preserving the early photographic legacy of his father: Charles Rollins Tucker, and a trove of his amateur images dating back to the late 1880’s. One of these, from 1889, mounted on a cabinet card, was of the famed elephant Jumbo, now stuffed, and standing on a platform before being installed in a new museum of natural history erected by P.T. Barnum on the campus of the present day Tufts University outside Boston.

Upper left: “Dorothy, 16 Years Old”; U.R.: “Dorothy with Pony & Trap”; Bottom: “Dorothy with Pony”, all: ca. 1916-17, unmounted gelatin silver prints, C.R. Tucker, American 1868-1956. U.L.: 18.5 x 13.2 cm; U.R.: 6.9 x 8.6 cm; Bottom: 5.5 x 7.7 cm. Dorothy wears a headband, fashionable for young women during this period. Most likely on the 125 acre family farm located in Randolph, VT, Dorothy guides her pony and trap while going for a ride. The two children with her may be her younger siblings, brothers John Robert, b. 1914 and Stephen Jeremiah, b. 1915. Below, Dorothy kneels and nuzzles with her pony, also most likely taken at the Randolph farm. From: PhotoSeed Archive

Probably High School Graduation Portraits: All: “Dorothy Tucker Poses near Pergola at New Dorp Home”, ca. 1917, unmounted rough, gelatin silver prints, C.R. Tucker, American 1868-1956. Most being 9.5 x 7.1 cm or slightly larger. One of the concrete block columns for the pergola at the New Dorp home can be seen at background left in several of these portraits, perhaps some of the last taken of Dorothy before she headed off for Tufts College in pursuit of her AB degree in the Fall of 1917. From: PhotoSeed Archive

Most likely a college student. Left: “Dorothy Seated with Umbrella”, Right: “Dorothy Standing with Umbrella”, ca. 1917-18, unmounted gelatin silver prints, C.R. Tucker, American 1868-1956. L: 18.9 x 12.8 cm; R: 24.8 x 19.2 cm. In late 1917, Dorothy had matriculated at Jackson College for Women at Tufts College in pursuit of her AB degree, and later the same year her parents sold the New Dorp house, with the 1920 US Census showing her living at the Randolph, VT farm along with her mother and two brothers. (Her father continued to teach in the New York Public school system and its assumed he commuted to VT on weekends, etc.) From: PhotoSeed Archive

But wait, there’s more: the trove also included mounted exhibition and “postal photographic club” images done in platinum, bromide, gelatin silver, carbon, cyanotype, and other processes by C.R. Tucker and his many fellow amateurs and professionals. Besides New England based photographers and the New York residence of Tucker himself, work by gifted amateurs from as far away as Illinois and North Carolina– some of the only known extant examples of these mostly unknown amateurs were saved.

College graduate: “Dorothy Tucker standing in Graduation Gown on Randolph, VT Farm Porch”, ca. 1920, unmounted gelatin silver prints, C.R. Tucker, American 1868-1956. L: 4.7 x 4.0 cm; M: 5.6 x 4.5 cm; R: 4.7 x 3.4 cm. Dorothy received her Bachelor of Arts degree as a member of the Jackson College for Women at Tufts College during commencement on June 21, 1920. Here she poses in her graduation gown on the family farmhouse porch in Randolph, VT. It would have been a prideful moment for Dorothy’s father, as he had received his bachelors and masters degrees from Tufts in 1891 and 1894. From: PhotoSeed Archive

1920’s: Although undated, these two portraits of Dorothy Tucker were most likely taken when she was in her early 20’s, like the example at left, and perhaps in the later 1920’s at right. Left: the three quarters length photo (bromide print- 8.2 x 5.7 cm) of her was hand-printed by C.R. Tucker, while the photo at right (bromide: 10.0 x 7.4 | 10.7 x 8.2 cm) is commercially printed, but also believed to be taken by him. At some point after Dorothy graduated from Tufts in 1920, she would move to Cambridge, MA to be closer to her job working within the Harvard University Libraries system. Now, with the reality of being grown up and on her own, the days of Dorothy willingly being her father’s photographic subject at a moments notice were curtailed but certainly not stopped, as it’s known C.R. Tucker loved taking pictures well into the 1940’s. From: PhotoSeed Archive

Enjoy this fascinating progressive “snapshot” of Dorothy’s early life. With most mounts lacking written dates, I’ve tried to give reasonable date estimates based on her appearance in the individual series of photos.

Many years ago, as a working professional but wearing my own “dad-photog” hat, I took a once-a-year birthday portrait of my own daughter seated on the same dining room chair for the first 18 years of her life. Capturing a deliberate progression in photographs of someone’s early life can be inspiring. In that spirit and with the evidence here of Dorothy’s “rescued” life, will you not also take up the challenge?

Series: “Dorothy Tucker with Kodak Cameras”, ca. 1908-10, mounted platinum prints, C.R. Tucker, American 1868-1956. UL: 22.4 x 14.1 | 33.9 x 24.9 cm; LL: 22.0 x 14.0 | 33.9 x 24.9 cm; Center: 22.9 x 13.2 | 33.5 x 23.6 cm; UR: 22.8 x 14.0 | 33.6 x 24.1 cm; LR: 20.8 x 12.6 | 34.1 x 23.8 cm. Precedent had been set employing Dorothy as a model for photographic equipment. In 1907, Charles Rollins Tucker’s photograph of his daughter holding a cat was published as an advertisement in Camera Work and other photographic journals. This was for Bausch and Lomb-Zeiss Tessar lenses. This series of portraits were taken later however. With the verso of the mounts all including the designation “621-B” in blue editor’s pencil, for entrant # and category, they are believed to have been entries for one of Kodak’s annual advertising contests, open to amateurs nationwide. Wearing different outfits, including two different hats as well as a sailor-type dress with scarf and another outer jacket, Dorothy nuzzles up to and displays a Kodak camera, probably the 3A model, in the closed position in the four corner photographs. With the bellows extended and camera open at center, Dorothy holds steady, her hand grasping a rubber bulb shutter to make the exposure while looking down and framing the shot through the viewfinder. The background shows she stood outside the family home at 90 Third street in the New Dorp section of Staten Island but it’s unknown if any of these resulting photographs became prizewinners. All: PhotoSeed Archive

 

Timeline: Dorothy Frances Tucker: 1899-1986

1899: Born in Stoughton, MA on August 27th.

1900: U.S. Census shows her living with her mother (Mary Carruthers Tucker) and father C.R. Tucker at 73 Clifton Place in Brooklyn, N.Y. The family would soon move to 4 Wall Street in New Brighton on Staten Island.

1907: Portrait of Dorothy holding a cat appears as part of an advertisement for Bausch and Lomb-Zeiss Tessar lenses “Home Portraits” in Camera Work XVII for January.

1910: U.S. Census shows Dorothy living with her mother and father at 90 Third St. in the borough of Richmond, N.Y. (Staten Island)

1914: Dorothy’s first brother, John Robert Tucker, (1914-1991) is born on March 3 in Staten Island.

1915: Dorothy’s second brother, Stephen Jeremiah “Jerry” Tucker, (1915-2001) is born on April 24th in Vermont.

1917: Dorothy Frances Tucker listed in Tufts College Jumbo Yearbook as matriculated. Pursuing her AB degree. Lists being from New Dorp (Staten Island) and graduate of Curtis High School.

1920: Dorothy receives her Bachelor of Arts degree as a member of the Jackson College for Women at Tufts College on June 21st  as part of the 64th Annual Commencement. (Catalogue of Tufts College 1919-1920) 

– U.S. Census lists Dorothy living in Orange County, VT with her mother and two brothers. Her mother listed as head of family. Her father was still working in New York City and may be reason he is not listed on Census. The family would eventually purchase a 125 acre farm in Randolph, VT, which they were most likely already living at in 1920.

1920-30: At some point during this decade, Dorothy was working professionally within the Harvard University Libraries system, living in Cambridge, MA.

1924: Still living in Randolph, VT, Dorothy is listed as attending the Summer session in the English school at Middlebury College. Middlebury, VT.

1925: On the New York State Census, Dorothy’s occupation is listed as teacher. She lives at 13 Greene Ave. in Brooklyn along with her father, also a teacher, and two younger brothers.

1930: At the time living in Cambridge, MA, Dorothy marries Charles Roland Tinkham in Randolph, VT on March 16. (Charles Roland Tinkham: 1886-1963) It was the second marriage for Tinkham, and Dorothy now had a stepson and stepdaughter: Roland Charles Tinkham: 1914-1994 & Edith Katharine Tinkham Costa: 1920-2003.

1931: Approximately. Dorothy retires from Harvard University library work to be a wife and mother on a Middleboro, Mass. farm.

1932: Daughter Priscilla Barbara Tinkham born.  Priscilla Barbara (Tinkham) Marshall: 1932-2010

1934: Son Henry Tinkham born.  Henry Tinkham: 1934-2019

1940: Her mother Mary (Carruthers) Tucker dies in Boston.  Mary Carruthers Tucker: 1877-1940

– U.S. Census: Dorothy’s family living at 142 Highland St., Middleborough, MA.

1956: Her father Charles Rollins Tucker passes away near Middleboro, Mass., on May 28.

1963: Her husband Charles Roland Tinkham (1886-1963) dies in May. Source: Middleboro Gazette Index: Tinkham, Charles Roland Obituary, 05/02/1963:5

1986: Dorothy passes away in Middleboro, MA on July 19th. Obituary in Middeboro Gazette:

Mrs. Charles R. Tinkham

Stoughton native

MIDDLEBORO – Dorothy F. (Tucker) Tinkham, 86, of 94 Everett St. died July 19 at St. Luke’s Hospital. She was the wife of the late Charles R. Tinkham.

A native of Stoughton, she was the daughter of Charles R. and Mary (Carruthers) Tucker. Mrs. Tinkham was graduated from Tufts University with a degree in library science and was a member of Tufts University Alumni Association.

Prior to her retirement, she had been employed as a bookkeeper at H. Tinkham and Sons Garage and Maxim Motors.

She is survived by two sons, Henry Tinkham of Middleboro, and Roland C. Tinkham of Sanbornville, N.H.; two daughters, Priscilla B. Marshall

of Raynham and Edith K. Costa of Lakeville; two brothers, Stephen Tucker of Pennsylvania and Robert Tucker of New Jersey; 10 grand-children, five great-grandchildren and one great-great-grandchild.

Graveside services were held Monday at Hope Rest Cemetery.

Donations may be made in her memory to the American Heart Association, 1105 West Chestnut St., Brockton, MA 02401.

                        

Afterword: Remembrance

The following loving remembrance of Dorothy from her later years is courtesy of Shannon Lacombe, her great granddaughter, as recounted by Judith Gibbs, Dorothy’s step-granddaughter:

“Another thing about your great-grandmother: she was a totally different woman when it came to her own children & grandchildren. You could see the Sun rose & set on them. Remember, I wasn’t her blood, but she was very kind & made me happy to be at the farm. She was very smart, my mother told me about her being highly educated & the head & first female librarian at Tufts in Boston? (or something equivalent to that.)

She was artistic, she made the most beautiful greeting cards for me all by hand, used dried flowers, even hay, anything from the farm, from nature, they were exquisite! I wish I had saved even one of them.

Sewing! My doll was the best dressed in the whole town. She could sew, wow, could she sew, I had the only doll with a mink coat! Actually it was rabbit: they were poor, so grandpa & the male cousins had to help hunt for meat, and she took the fur and made a coat and hat for my doll. She had a large flower garden in front of the house. She also had a way with flowers, and the front yard was like a gardener’s magazine!

I know most people at that time did canning, but grandma’s jams, whole fruits, anything & everything you could can she did & it always tasted so much better than anyone else’s. Her baked goods and pastry were to die for. I know most grandchildren say that about their grandmothers, but ours had to use a wood stove to cook on, with no running water in the house. Try cleaning up your kitchen with no running water, but she did and she did it so much better than those with running water you could eat off her floors. She was amazing.”   (lightly edited)

Left: “Mother in her Garden”, probably ca. 1950’s by unknown Tucker family photographer, unmounted gelatin silver print, 5.4 x 8.0 | 17.7 x 12.8 cm. Dorothy Tucker Tinkham holds a basket while working in her Middleboro, MA home garden. From: PhotoSeed Archive. Right: In a photograph taken near the end of her life, Dorothy is shown seated at front along with her two children Priscilla and son Henry, and stepdaughter Edith at right. Photo courtesy Stanley Miller via Shannon Lacombe

Shannon Lacombe also noted Dorothy’s legacy continues to nurture an artistic bent running within her own family:

“It was definitely amazing to hear that she (Dorothy) was so artistic, which she passed on to her daughter Priscilla. And though my father did not know anything about them, he is also rather artistic…which I have inherited as well.”

Revealed: C.R. Tucker: Restless Wanderer with a Camera

Jun 2025 | Archive Highlights, Childhood Photography, Documentary Photography, New Additions, Unknown Photographers

“Portrait of Charles Rollins Tucker”, Chester Moulton Whitney, American: 1873-1949, Bromide print mounted within folder, ca. 1910, 18.9 x 13.9 | 29.6 x 22.7 cm | 31.1 x 47.4 cm-opened. This formal portrait of C.R. Tucker was taken during the time he was teaching physics at Curtis High School on Staten Island. In addition to sharing a love for amateur photography, Whitney and Tucker were good friends and their family socialized together. Several surviving photos show Whitney’s young son playing with Tucker’s daughter Dorothy at the Tucker home in New Dorp. Both natives of MA and public school teachers, the Alden Letter from 1949 mentioned Tucker had spent a week with “Mr. Whitney” at his summer home in Boothbay Harbor, ME in August of that year, the same year Whitney passed. From: PhotoSeed Archive

This is the first of a two-part blog post: Revealed: C.R. Tucker: Restless Wanderer with a Camera. It uncovers a life once lost to history: the fascinating story of public school educator and amateur photographer Charles Rollins Tucker, 1868-1956. Our post concludes with an in-depth historical timeline of Tucker’s life. For fifteen years, since acquiring an archive of his work, I’ve been wanting to do a deep-dive into the life of American amateur photographer C.R. Tucker. Perhaps the most important role of this website is to uncover the past lives of anonymous photographers, whose life details have been entirely lost to history. It’s not that he was some lost genius behind the camera, say in the mold of the acknowledged masters of the medium: those have already been, and continue to be, documented and celebrated in the historical canon. In this vein, and to its credit as a medium that continually fascinates by revealing secrets with a bit of digging, Tucker’s photographic life story- began around the time he graduated high school in 1887- can give all of us a relatable way to see how a hobby born 138 years ago can be a life-long journey of exploration rather than a short term dalliance.

New & Old. Top: “My Old Log House in WI”, ca. 1908, gelatin silver rppc post card, photo credit to C.R. Tucker’s mother Myra Tucker on verso, 8.3 x 13.4 cm. Amateur photographer C.R. Tucker lived in this Wisconsin log cabin for five years, from about 1873-1878 before going back to New England at 10 years of age to complete his schooling. Bottom: “Fairbanks House”, C.R. Tucker, American: 1868-1956, albumen print on card, ca. 1885-1890, 8.8 x 10.9 | 10.0 x 15.1 cm. Dating to 1641, this is the oldest surviving timber-frame house still standing in North America. From: PhotoSeed Archive

The fact that so much photographic history has been lost, an area I expound upon in the second part of this post, makes the rare opportunity to examine but one of these early lives in greater detail based on the remains of that photographic record- water staining, mildew and the effects of improper storage on some of these images seen here being besides the point- an anomaly I wanted to celebrate.

What drove my interest further in discovering and piecing together C.R. Tucker’s life story was that his own career of someone who made his living- not in photography- but as a public school educator for about 45 years- is a realistic example of what dedicated amateurs faced in the early years of the medium, particularly during the Pictorial era of artistic photography.

“Stoughton, MA High School Students”, 1887, silver albumen print- 11.0 x 19.4 | 20.4 x 25.4 cm on card mount.This group photograph, thought to have been taken by C.R. Tucker, (American: 1868-1956) includes several classes, as the 1887 graduating class was only 15 students. Based on a guess, this archive thinks Charles Tucker is shown in the front row, third from left. Another possibility? The student seated on a chair leaning against the tree to the left of the teacher standing at back row right. In September, 1887, Tucker would matriculate at Tufts College, in the “Philosophical course”. From: PhotoSeed Archive

This main hurdle of course, was cost. Beyond the simplified “you press the button, we do the rest” mantra, which of course revolutionized the massive participation in making photography a popular hobby, required a good bit of money. Think: home dark rooms, a more expensive plate camera, mounting supplies, postage fees for entering competitions, subscriptions to photographic magazines, etc. etc. And this of course did not include the most valuable component: the cost of someone’s free time to be deliberate and open to learning about photographic process and technique needing plenty of time to perfect and master.

“Moving Jumbo into Barnum Museum, 1889” (title assigned by Tufts University Archives- see variant: ID: tufts: UA136.002.DO.00823 ): Attributed photographer: Charles Rollins Tucker, American, 1868-1956, 1889: mounted brown-toned gelatin silver print on cabinet card: 8.3 x 11.0 cm | 10.8 x 13.2 cm. This rare photograph taken on April, 3 1889 shows the famed circus elephant Jumbo, (died 1885) once owned by circus showman P.T. Barnum. The taxidermied pachyderm was in the process of being moved inside the brand new Barnum Museum of Natural History on the Tufts College campus in Medford, MA, where it was placed on display. From: PhotoSeed Archive.

Fortunately, C.R. Tucker had the perfect mind and circumstance to take this all on, and his love for history made him an ideal vessel to create historical documents that are the very definition of photographs themselves. That mind? He was a scientist in practical terms but historian at heart. Born in Canton, MA in 1868, and one of only two to graduate from his small town Massachusetts high school in 1887, he went on to receive both his bachelors and masters degrees from Tufts College outside of Boston. These were entirely complimentary for an advanced amateur photographer for that era: in 1891, a bachelors in the speciality of chemistry and physics and in 1894, a master of arts degree.

Early School Days: UL: “West Boylston High School”, ca. 1895, mounted gelatin silver print, 7.9 x 10.7 cm. LL: “Quincy High School” 1896, cyanotype print on cabinet card: 9.4 x 11.9 cm | 12.7 x 15.3 cm. Far Right: “Pratt Institute Girl”, ca. 1898-1900, mounted gelatin silver print, 6.9 x 5.0 | 18.1 x 13.1 cm. All: C.R. Tucker, American: 1868-1956. Center: “Cabinet Card of C.R. Tucker”, Studio of J.F. Suddard, Fall River, MA, ca. 1890-1895, mounted albumen print, 13.8 x 9.8 | 16.6 x 10.7 cm. Some of early school assignments for Tucker were as principal at West Boylston High School, submaster at Quincy High School and as an assistant instructor in physics at Pratt Institute, where this mounted student portrait was an early effort at photographing students. All: PhotoSeed Archive

These degrees and his love of people-especially children- would serve him well in a fruitful career as a teacher in public education for the next 45 years.

Through many fits and starts since acquiring the “C.R. Tucker Trove” of photographs,  I’ve been able to piece together a truly fascinating life: a quintessentially American life at that- glued together by the love of his family and fueled by his own expansive, inquisitive mind.

Beginnings, Wanderings & Jumbo the Elephant

C.R. Tucker’s father George was a farmer and his mother Myra a homemaker. Although its assumed the Tucker family did not possess generational wealth based on the occupation of his father, pastures back then seemed greener in the American West, literally: especially for a farmer. With this in mind, when Charles was only four years old, he and his family traveled in a “prairie schooner”, better known as a covered wagon, in search of fortune to Missouri. That dream got detoured however, and the family pivoted north, to the state of Wisconsin. There, Charles found himself living in a log cabin for five years in the mid 1870s. Miraculously, a photograph of that log cabin survives to this day, and can be seen with this post. How many family’s in the 21st century can say their forebears grew up in a log cabin along with an actual picture to prove it?!

“Country Lane”, ca. 1905-1910: printed 1916, mounted bromide print, C.R. Tucker, American 1869-1956. 23.1 x 29.3 | 35.5 x 43.2 cm. Tucker enjoyed landscape photography, and this view of a dirt road with river or pond at left and buildings obscured in background may have been taken on Staten Island, N.Y., a locale where farms and open space were the norm versus the heavy populated landscape it is in the 21st Century. This mounted print is from a series of photographs bearing the artists signature and date 1916 at lower right corner that are believed to be from earlier negatives. The uniformity of the brown cardstock mounts indicates they were intended as exhibition prints. From: PhotoSeed Archive

 

Personal history obviously made quite an impression on Charles. In keeping with the idea of “home”, an early cabinet card believed taken by him in the late 1880’s, when he was still in high school or early in college, shows the oldest known American home- then or now- in existence: the Fairbanks House in Dedham, MA. Even then, as an impressionable newcomer to photography, he must have known of its significance, one worthy of his early efforts behind the camera. In contrast to his old childhood log cabin, the Fairbanks house, dating to 1641, is the oldest surviving timber-frame house in North America.

The Old Mill”, ca. 1906, mounted platinum print, C.R. Tucker, American 1869-1956. 16.4 x 9.7 | 18.6 x 11.4 | 29.3 x 22.9 cm. This is a variant, with orientation reversed, of a bucolic waterscape study titled “The Mill” by the artist & published in the June, 1906 issue of the Photo-Era. At the time, Tucker was a member of The Postal Photographic Club of the United States. The location of the photo is the Old Mill on Crescent Street in West Bridgewater, MA. A later photograph of this mill, now believed lost and taken around 1915 can be seen here. From: PhotoSeed Archive

In the Spring of his sophomore year at Tufts, April, 3, 1889, an opportunity featuring a different kind of home crossed paths with Tucker’s amateur photography skills. This took the form of the the newly built Barnum Museum of Natural History on campus. For the future secretary of the brand new Tufts Camera Club, Charles Tucker got to record history in photographing a unique specimen of the circus impresario Barnum: his former colossus, the now stuffed Jumbo the Elephant.  Mounted on a platform before being moved and placed on exhibit inside the new museum, Several of Tucker’s photographs, including the one with this post, were quickly turned into crude woodcuts: used to illustrate an article written by Tufts graduate and Boston Daily Globe reporter Julien C. Edgerly for the April 4, 1889 edition. In March, 2015, I used this original brown-toned, gelatin silver print of Jumbo mounted as a cabinet card to illustrate a news story on how Ringling Bros. and Barnum & Bailey Circus was going to retire their performing pachyderms. Alas, other than a small photo not held by this archive of the artist’s dorm room, no other currently identified photographs taken by the college student-in the capacity of his camera club membership or otherwise- are known to survive.

Top: First home owned by Tucker Family: “90 Third St. New Dorp, Staten Island”, ca. 1910, probably C.R. Tucker, American, 1868-1956, unmailed, divided back CYKO gelatin silver rppc, 8.6 x 13.7 cm, from: PhotoSeed Archive. LL: “The Window”, 1906, mounted platinum print, C.R. Tucker, American, 1868-1956, 9.9 x 6.6 | 31.4 x 16.5 cm. From: PhotoSeed Archive. LR: “Dorothy Tucker seated on Veranda”, 1906, halftone published as illustration: “Some Modern Concrete Country Houses” in August, 1906 American Homes and Gardens magazine. The artist’s wife, Mary Carruthers Tucker, peers out the first floor dining room window the same year the family moved in, the concrete home’s second owners. Built ca. 1904-05, the revolutionary structure, now demolished, was designed by important American architect Robert Waterman Gardner, who pioneered reinforced concrete in residential construction.

The artist’s work adorns the walls: “Living Room: 90 Third St. New Dorp, Staten Island”, ca. 1906-10, unmounted gelatin silver print, shown slightly cropped, C.R. Tucker, American, 1868-1956, 20.0 x 20.0 cm. This interior study shows the decorated Tucker family living room of their revolutionary concrete home. Photographs by the artist are on far wall, including original prints now held by this archive. Far left: “Cathedral Ledge and Echo Lake, North Conway, NH”; center, perched on fireplace mantle: framed photo of artist’s daughter Dorothy; either side of this on wall: framed profile portraits of Curtis High School students; far right, perched on mantle: “At Point O’ Woods Long Island”, from 1899. From: PhotoSeed Archive

But what of another future home, this time for the family residence of an older C.R. Tucker? A futuristic one of course, the perfect manifestation for someone who then made his living as a high school physics teacher. A revolutionary structure built ca. 1904-05, this abode was built entirely of concrete, owned by Tucker and his wife Mary as its second owners when purchased with the aid of a mortgage in 1906.

Designed by the important American architect Robert Waterman Gardner, who pioneered using reinforced concrete in residential construction, the home brought me down more than one rabbit hole in my research. Recently, with the evidence of several interior photographs of the home I purchased included with the Tucker “trove”, a wonderful discovery was made. This was an August, 1906 article (begins: p. 88) showcasing the residence in American Homes and Gardens magazine. Delightfully, who would show up in several of the uncredited halftone photographs published with this article? Tucker’s daughter Dorothy, a little over six years old, sitting by herself, unidentified, perched on the edge of the ground level veranda.

“Cathedral Ledge and Echo Lake, North Conway, NH”, ca. 1900-05, tipped platinum print to card mount, C.R. Tucker, American, 1868-1956, 15.2 x 19.1 | 25.3 x 30.4 cm. A large rowboat with protruding oar frames this serene lakeside study. This archive is fairly confident the view shows the rock outcropping of Cathedral Ledge overlooking Echo Lake in New Hampshire. A framed example, perhaps this print, hung on the dining room wall of the artist’s concrete Staten Island home- seen in previous photo above. From: PhotoSeed Archive

Left: “Curtis High School Girl”; Right: “Girl with Braids”, both ca. 1905-1910: printed 1916, mounted bromide prints, C.R. Tucker, American 1869-1956. Left: 27.2 x 21.3 | 43.2 x 35.5 cm, Right: 26.7 x 17.6 | 43.2 x 28.4 cm. These prints are from a series of photographs bearing the artists signature and date 1916 at lower right corner, and are believed to be from earlier negatives. The uniformity of the brown cardstock mounts indicates they were intended as exhibition prints. Another extant unmounted print of “Curtis High School Girl” seen here includes the name Eloise Poulin (?) crossed out-perhaps the name of the subject. This particular portrait was displayed with others over the fireplace mantle of the artist’s New Dorp home: From: PhotoSeed Archive

Located in the New Dorp area of Staten Island, N.Y. but unfortunately now demolished, the magazine lay claim at the time of publication that it was “the first building of this character to be constructed in New York City.” Historians of early concrete homes will find new things to ponder, and the article and published floor plans gave me further insight into the location and backdrop for many of the Dorothy and Tucker family photographs included in the larger archive.

Author and Practitioner: Left: “The Pleasures of Winter Photography by C.R. Tucker”, in: Suburban Life, December, 1907. Excerpt: from first page of article: “Snow landscapes, if well made, are always a delight; but don’t try to include too much in your picture. A fence and a few snow-covered trees, a winding path, or a bit of a brook, will be better than the whole hillside.” Two halftones, believed to show the photographer’s daughter at left and wife Mary, are shown. The four-page spread included at least one other photo by the author. Examples of the aforementioned brook and path: Right: “A Winter Brook”, Bottom: “Snowy Path”, both ca. 1905-10, C.R. Tucker, American 1869-1956. Brook: mounted POP print: 11.8 x 16.8 | 31.0 x 24.5 cm; Path- signed and dated 1915: mounted bromide print, 29.5 x 22.9 | 43.2 x 35.5 cm. From: PhotoSeed Archive

 

A Public School Teaching Career Informed from the Age of 10

There he matriculated in an old red school house – Seems to have garnered a good deal out of it, too- 1949

…but wherever Charles Tucker is his heart and his camera capture children. Wherever he is he is the sun to which the children, like sunflowers, turn.  -The Alden Letter, 1950

Children & Students- a Favorite Subject: Top: detail: “Sunday School Picnic, Spencer Wisconsin”, 1908, Bottom: “Young Women Exercise at Curtis High School”, ca. 1910, both: unmounted gelatin silver prints, C.R. Tucker, American 1869-1956. Top: 9.8 x 14.0 cm, Bottom: 5.0 x 25.2 | 7.4 x 33.2 cm, Top: water reflections of a group of Sunday school students lined up on a log give this photo an extra dimension: the photographer and his wife traveled to WI during summer months to visit relatives. Bottom: Curtis students wearing “romper” style gym outfits exercise on a field at the Staten Island school. “Bloomers”, “Middy” blouses and loose scarves made up the uniforms. Both: PhotoSeed Archive

Principal of Procter Academy, Provo, Utah, for one year; Principal of West Boylston, MA, High School; Submaster in Quincy, MA High School; Working in the Educational Department at the YMCA (Springfield, MA Training School); Assistant instructor in physics at Pratt Institute, Brooklyn, N.Y.; Physics teacher at Stapleton High School in New Brighton on Staten Island; Physics teacher at the brand-new Curtis High School on Staten Island; long-time professor of physics at Manual Training High School in Brooklyn, N.Y. These teaching assignments made up the bulk of C.R. Tucker’s 45-year public teaching career, and could be looked on as a testament to his being a pragmatist in what surely were the fickle ministrations over the decades of an ever changing series of administrations.  But what can be assumed through it all, as evidenced by the above 1950 quote, is that the children and young adults he taught made it all worthwhile for him.

Female Studies: Left: “A Head”, 16.8 x 13.1 cm | 33.2 x 25.5 cm, Right: “Curtis High School Girl”, 18.2 x 21.2 cm, 1909 at left; ca. 1905-10 at right, mounted and unmounted platinum prints, C.R. Tucker, American 1869-1956. The profile portrait at left of an unknown, older female subject retains a portion of its original Postal Camera Club label on verso, indicating author, title and sequence- #1, for August, 1909 club’s portfolio. Right: This pleasing study of an unknown young woman resting before a lake is a warm brown platinum print: the photographer additionally printed it as a bromide print in 1916, probably for exhibition. Both: PhotoSeed Archive

Reportedly warm in personality: a proven public speaker with the capacity for humor in telling a good story, he cuts a dashing figure in surviving photographs. Wearing an ever-present silk cravat but with the contradiction of tousled hair in throwing off the look in several surviving photographs, Tucker at the end of the day was a realist. To wit, in his 1956 obituary, his good friend E. Huling Woodworth, the deputy governor general of the General Society of Mayflower Descendants, quoted Tucker that he went to New York City in the promotion of his teaching career: “simply because they paid me more money”. Around 1920, the amateur photographer seemed to have had enough however. Looking back much later in life, he said: I tried teaching for 45 years; decided I couldn’t do it, and when they told me they would rather pay me than have me around, I bought a Vermont farm, but I kept on teaching, to try to pay farm expenses; I am now living on the interest of what I lost, trying to be a farmer”.

Mother & Son: Top: “Royalton, Wisconsin Family Group”, Bottom: “Wisconsin Sunday School Outing”, 1908 (top) and ca. 1908, printed 1910?, both: rppc gelatin silver postcard & bottom: unmounted gelatin silver print: Top: 8.4 x 13.1 cm, Bottom: 6.6 x 15.7 cm, C.R. Tucker, American 1869-1956. The photographer, seated at center, and mother, Myra F. Tucker: 1848-1927, seated at right, look towards each other. Myra’s sister, Susan A. Talbot Phillips, 1848-1922 sits behind them, along with her husband Sewall A. Phillips: 1839-1912, at far left. Sewall had been a member of the WI State Assembly and worked as a teacher. Bottom: three large horse-drawn wagons ferry a large group of children and adults during what is believed to be a Sunday school outing, possibly in Spencer, WI. The print is signed and dated at lower right corner. Both: PhotoSeed Archive

Curtis High School: Top: “Class of 1910: Curtis High School”, Bottom left: “Portrait of Charles Rollins Tucker”, Bottom right: “Around Staten Island”, all: ca. 1910, unmounted and mounted gelatin silver prints, probably C.R. Tucker, American 1869-1956. 18.7 x 24.1 cm, portrait: 13.2 x 9.8 | 14.7 x 10.4 cm, boats: 6.0 cm roundel on 9.3 x 7.2 cm photographic paper. Note student seated in front row at far left holding #10 sign. This signifies these are Curtis High School students, class of 1910. A vibrant community school in the 21st Century, it first opened in 1904, with Tucker teaching here until 1914, when he was put in charge of the Tottenville Annex. A formal, tousled-hair (self-portrait?) portrait shows the artist with his ever-present silk cravat. The dates 1910-1915? are written in unknown hand on mount verso. Small, open steam launches, with boat at foreground flying an American flag, make their way in the waters around Staten Island in a student outing, taken about 1910. All: PhotoSeed Archive

And all the while, the photographic evidence taken in promotion of his hobby, both inside and outside that teaching career, was most important to him. He used his amateur camera to photograph some of his students, even going as far as displaying mounted examples in his own home, and became, in effect, an in-house yearbook style photographer. For Curtis High School especially, Tucker photographed students and teachers alike. He also recorded events, like a class boat trip and sporting scenes: a panoramic showing a a long line of young women exulting in exercise- part of an outdoor gym class.

Tucker Family in New Dorp: Left: “Charles, Mary & Robert Tucker on Porch”, Right: “C.R. Tucker with son John Robert on Swing”, bottom right: “”Giggle Jerry!”, porch: 1914, swing: 1914, Jerry: ca. 1915-16; unmounted gelatin silver prints and cyanotype rppc, all: attributed to C.R. Tucker, American 1869-1956, and daughter Dorothy Tucker. L: 13.0 x 13.9 cm, swing: 9.5 x 6.8 cm, Jerry: 6.3 roundel on 13.7 x 8.2 cm card. The Tucker family home at 90 Third St. in the New Dorp section of Staten Island welcomed the second born, John Robert Tucker, 1914-1991, in March, 1914. The newborn lies in a hammock on the porch while the photographer and his wife, holding a cat, fawn over him. At right, Tucker goes for a swing with son John Robert (?) on his lap while his third child, Stephen Jeremiah “Jerry” Tucker, 1915-2001, plays with his rocking horse at bottom right. A second cyanotype rppc of this image gives title as Giggle Jerry! on recto and photo credit to his sister Dorothy on verso. All: PhotoSeed Archive

Preserved decades later by his son Stephen “Jerry” Tucker, and subsequently purchased by this archive many years after his passing, these mounted and unmounted photographs-some printed in platinum- are beautiful pictorialist records of early 20th Century American High School life. Some of the hand-written titles on the versos of just some of these mounted and unmounted photographs: “Curtis High School Girl”;  Curtis High School Girl in Costume of a Play”; “Apple Blossoms”: a genre photograph celebrating Spring featuring a student wearing a long dress ornamented by sunflowers; “Curtis HS Elocution Teacher”, and many others.

Exploring Native-American Cultures: Top: “Man Photographing Seated Children”, LL: “Native-American Man”, LR: “Native Family Group”, all: ca. 1910-15, unmounted gelatin silver prints, attributed: C.R. Tucker, American 1869-1956. Top-LL-LR: 10.9 x 15.9 cm, 9.9 x 4.9 cm, 10.2 x 6.8 cm. Tucker was known to give public lectures on Pictorial Photography in 1908 and, pertaining to this grouping of photographs in 1916: an illustrated lecture for children described as “A Visit to the Wisconsin Indians”. Although degraded by the elements and digitally cleaned up here, these were found with the larger Tucker archive: photos he is thought to have made during  frequent visits to Wisconsin to visit in-laws. Given the sad history of forced assimilation by the US Government by which Native-American children were placed in American Indian boarding schools throughout WI (and the greater US) it cannot be ruled out the top photograph may have been taken at such a school: the subjects in the other photographs not so much because they wear native clothing. Other photographs not shown depict a sweat lodge. All: PhotoSeed Archive

Mayflower Descendant & Later Life

“I had a lot of fun tracing ancestry back to counts and no-accounts, especially the early American families. I found 6 Mayflower ancestors (John Alden was one) 11 Revolutionary ancestors, one Indian, one witch (hanged in Salem, 1692). The Ball and Adams families (whence President Washington and the Adams)”. –Charles Rollins Tucker

 

In the late 1930’s and through the early 1950’s, Tucker was living in Brooklyn and active as the Vice-President of The Alden Kindred of New York City and Vicinity. As a long-descended related “cousin” of Mayflower passenger John Alden, the Alden Kindred was then, and is still today, an active Mayflower descendant society named after English pilgrims John and Priscilla Mullins Alden. Before the untimely passing of the photographer’s wife Mary in 1940, Tucker and his wife would host chapter meetings in their home. Later, in the pages of the Alden Kindred “Gossip”, a newsletter reporting on the happenings of the society as well as the private accomplishments of its members, the musings regarding “cousin” Tucker were duly reported.

American History Preserved: “Conference House: Tottenville, Staten Island”, ca. 1905-10, mounted platinum print for 1916 calendar, C.R. Tucker, American 1869-1956. 4.4 x 6.7 | 13.9 x 8.8 cm. A Staten Island resident with a passion for American History, it’s not surprising Tucker would photograph one of the oldest buildings on the island. Also known as the Billopp House, it was here on September 11, 1776 that a meeting was held by Benjamin Franklin, John Adams, Edward Rutledge and others with Lord Howe, commander in chief of British forces in America, in an unsuccessful attempt to halt the American Revolution. A landmark and museum today, the home is shown in the early 20th Century when columns supported a long front porch- no longer present. Signed on the mount by the artist, the 1916 calendar may have been a promotion for the South Shore Savings and Loan Association, of which the photographer was president of that year. From: PhotoSeed Archive

Farming Home in Vermont: Top: “Tucker Farmstead, Randolph, Vermont”, LL: “Charles & Mary Tucker with Buckets on Farmstead”, LR: “When the Mists have Rolled Away”, all: 1920’s, unmounted gelatin silver prints, attributed: C.R. Tucker, American 1869-1956. Top-LL-LR: 16.6 x 25.9 cm, 6.7 x 4.8 & 5.7 x 4.2 cm, 6.6 x 8.8 cm. The Tuckers are believed to have purchased this 125-acre farm, (seen at top photo) located in Randolph, VT, before 1920. The Farmhouse at upper right was enlarged, based on another photo, with a large covered porch. Two fun photos show Charles and his wife Mary, probably holding galvanized metal maple sugar buckets, both coming and going. This pleasing scenic view is believed to be from VT and may be a view from the farm- the title written on the print verso most likely referring to the 1874 composition of the same name by composer James Gowdy Clark. Due to his own retirement from public teaching around 1939, the damaging effects of the 1938 hurricane and the passing of his wife in 1940, Tucker sold the farm in the early 1940’s. All: PhotoSeed Archive

Here’s one example, from a 1949 “Gossip” article with the headline: Charles Rollins Tucker, (Expert with the Camera) showing that even at 80 years of age, the photographer was still passionate for a hobby believed to have begun in his high school years:

The Latest Technology: “Manual Training High School Students Show off Radio”, ca. 1930, unmounted gelatin silver print, unknown photographer, but perhaps C.R. Tucker, American 1868-1956. 25.5 x 33.1 | 27.9 x 35.6 cm. The photographer spent many years teaching at this Brooklyn school, from about 1917-1939. Here he stands in third row at far left looking away from the camera. The group may have been a radio club at the school, and the students display at front right an early radio stamped “Duval Energee” above center of large disc. Duval Radio Products Corp. marketed “radio electron tubes and batteries” under the Duval Energee name beginning around 1927. From: PhotoSeed Archive

Now C.R.T’s. color photographs have carried his reputation along the eastern coast from Key West through Maine. He estimates that he has 3,000 slides. He is expert in catching the significant moods of flowering plants and of little children in their own habitat. His slides in Art League exhibits “steal the show”.

Later Years: Top Left: “C.R. Tucker Dinner Invitation”, ca. 1945-50, Right: “Portrait of C.R. Tucker”, ca. 1935-40, both: POP and gelatin silver print, attributed: C.R. Tucker, American 1868-1956. Bottom: Detail: “Alden Kindred Gossip Newsletter”, Dec. 1934. Invite: 5.6 x 7.9 | 15.2 x 10.0 cm, portrait: 8.6 x 4.5 cm. After retirement and the early passing of his wife, Tucker typically spent the months of May and October in this mountain cabin at Aldenwood in western North Carolina in route to wintering in Mt. Dora, Florida. The owner, E. Huling Woodworth, was a good friend and  deputy governor general of the General Society of Mayflower Descendants, whom Tucker met through his role as Vice-President of The Alden Kindred of New York City and Vicinity. The photographer claimed he had “found 6 Mayflower ancestors (John Alden was one) 11 Revolutionary ancestors, one Indian, one witch (hanged in Salem, 1692). The Ball and Adams families (whence President Washington and the Adams)”. Here, a detail of the Gossip, the newsletter of The Alden Kindred, lists him as Vice-President, which he held from around 1933-50. Photos: PhotoSeed Archive, newsletter: Wisconsin Historical Library Archives, Madison, WI.

Finis: “Dad in Living Room at New Dorp”, (sic) ca. 1906, unmounted platinum print, C.R. Tucker, American 1868-1956. 19.7 x 14.7 cm. The artist smiles at the viewer while reading from a favorite dining room chair, taken around the same time he and wife Mary and first-born Dorothy moved into their modern Staten Island concrete home in 1906. Charles Rollins Tucker’s life was a series of wanderings- a game of musical chairs in which he wore many hats, made many friends, taught many children, and fortunately for us, made a photographic record throughout. A description in his 1956 obituary seems appropriate with this last photograph of the artist, in the sense he would pass on much later in one of those chairs, albeit figuratively, something his known demeanor of “lovableness and gentle humor” might have allowed him a chance to wink back at us from the future, as he “went to sleep in his chair, in his tiny little home” the last time. From: PhotoSeed Archive

From the same article, the invocation of Shakespeare as poet ultimately defined him, his optimistic view of life made relevant from all its ordinary moments, and here, with photographic evidence for the ages:

Mr. Tucker loves people, but does not need them to keep himself happy and busy.- Shakespere climaxes him as “seeing good in everything”.

 

Historical Timeline: Charles Rollins Tucker: 1868-1956

1868: Born in Canton, MA on December 18. (source: Tufts College Yearbook) A major discrepancy exists: his headstone indicates 1869, and his 1956 obituary details in the Middleborough Gazette stated he died at 87 years old.

1880: Charles, 11, living with family in Hubbardston, Worcester, MA. His father George is a farmer and mother Myra a housekeeper. (George Lewis Tucker: Jan. 16, 1843-May 19, 1907) (Myra F. Tucker: 1848-1927)

1887: Graduates from Stoughton High School, Stoughton, MA. In his class of 15 students, he was one of only two who graduated. In 1892, his younger brother Lewis L. Tucker, would not graduate.

– Matriculates at Tufts College, Medford, MA in September, in the “Philosophical course”.

1889-90: At Tufts, he is Secretary of the Camera Club in his junior year and member in his senior year; Secretary and treasurer of Reading-Room Association, 1889-90; member of the Sketch Club as a sophomore; member of the tennis club earlier.

1890: He’s the Vice-President of the 1891 Junior class at Tufts; self-quotation listed in yearbook: “He has a lean and hungry look; such men are dangerous. -Shakspere“. As a junior, during the annual Prize Speaking and Reading ceremony at College Hall on June 10, he gives the speech: “Plea for the Old South Church”, by Phillips. First delivered in 1876 by Wendall Phillips, the speech saved the Boston landmark church from destruction, affirmingTucker’s interest in preserving and advocating for American history.

1891: Graduates Tufts with bachelors degree, Ph.B. in chemistry and physics.

– As principal of Somerset, MA High School, he began teaching pupils in 15 subjects, in the one-room school located on Pierce’s Bluff off of South Street.

1892: Principal of Procter Academy, Provo, Utah, for one year.

1894: Receives his Master of Arts from Tufts College.

1895: Principal of West Boylston, MA, High School.

1896: Submaster in Quincy, MA High School.

1897: Working in the Educational Department at the YMCA (Springfield, MA Training School)

1898: In September, becomes an assistant instructor in physics at Pratt Institute, Brooklyn, N.Y. 

– Marriage to Mary Carruthers on July 29 in Manhattan, New York.

1899: Daughter Dorothy born in Stoughton, MA on August 27.

1900: US Census: living with wife Mary and daughter Dorothy at 73 Clifton Place in Brooklyn.

– Family moves to 4 Wall Street in New Brighton on Staten Island.

1903: Tucker listed as a teacher in the High School Department at Public School 14 located at Broad and Brook Streets in Stapleton, Borough of Richmond, Staten Island. He most likely had been teaching here before 1903. (source: Directory of Teachers in the Public Schools 1903)

– Becomes a member of the Staten Island Institute of Arts and Sciences as well as the Natural Science Association of Staten Island.

1904: Transfers, from PS 14, to the brand new (George William) Curtis High School, where he continued teaching physics. Opened in February, Curtis was the first high school built on Staten Island. (source: notice: School: Devoted to the Public Schools and Educational Interests”, issue for December 25, 1903)

1905: His name appears on the Curtis High School teaching roster published in The Journal of the Board of Education of the City of New York. His yearly salary in 1905 is $1960.00, with a proposed increase for 1906 to $2042.50. His address continues to be 4 Wall Street in New Brighton.

Receives an honorable mention in the Photo Era Portrait Competition.

1906: In October, Tucker and his wife take out a mortgage for a revolutionary home made entirely of concrete in New Dorp, Staten Island at 90 Third Street from Eleanor Gardner, believed to be the lender. Built ca. 1904-1905, it was designed by Robert Waterman Gardner, 1866-1937, president of the New York Society of Craftsmen, an architect who pioneered using reinforced concrete in residential construction. The Tucker’s were the second owners of the home after the first, W.J. Steel. 

His photograph “The Mill”, taken in West Bridgewater, MA, is published in the June issue of the Photo-Era. It showed he was a member of The Postal Photographic Club of the United States. The accompanying article outlined the club was founded in early 1885, with membership strictly limited to 40 all residing east of the Ohio River.

1907: In January, a portrait of his daughter Dorothy holding a cat appears as part of an advertisement for Bausch and Lomb-Zeiss Tessar lenses “Home Portraits” in Camera Work XVII.

– Tucker now listed as member of the Postal Camera Club, with a history first dating to 1900 and a roster from around the country, including California.  One of his award-winning photographs for the club,  Day Dreams”, held by this archive, was widely discussed and published in 1907.

– Writes article: The Pleasures of Winter Photography”, for the December issue of Suburban Life Magazine.

1908: Gives a New York City public schools lecture: “Pictorial Photography” in November and December at Public Schools 62 and 63.

1910: American Photography magazine reports C.R. Tucker is a member of: “A New portfolio club has been organized among the advanced workers in the territory east of the Ohio River and north of Washington, D. C.” (other members include: W. H. Zerbe, C. F. Clarke, S. B. Phillips, Miss Katherine Bingham, H. W. Schonewolf and others) “Membership is by election after circulation of samples of work, and only those of marked ability are desired.”

1911: In what was probably a recalibration of the earlier 1910 portfolio club, The Photo Era announces the formation of: The New Postal Photographic Club: C.R. Tucker of New Dorp is a member: “A New pictorial Photographic Album Club has just been started. It has not yet been christened, but a vote is now being taken to determine its title.”

The album is making its first round and the prints contained therein show most painstaking efforts to put it on a parity with any similar club of the country, and when we take into consideration the active and pictorial workers of this club, we feel justified in predicting its success.”

1914: Tucker’s first son,  John Robert Tucker, (1914-1991) is born on March 3 on Staten Island.

– Listed as being in charge of the Tottenville Annex of Curtis High School, and an assistant teacher of physics. Continues to live at 90 Third St., New Dorp, S.I. with the telephone # 922-J Tottenville (Ext. of P.S. 1)

1915: His second son, Stephen Jeremiah “Jerry” Tucker, (1915-2001) is born on April 24th in Vermont.

– At the Tottenville Annex, Tucker heads up the Junior Audubon (Society) Class. An article published by the Macmillan Co. states: “This class has no stated meetings, we are informed by Charles H. Tucker, (sic) the leader, but makes the study of birds a part of the regular work in biology, using the Educational Leaflets as a text-book, and paying especial attention to the economic value of the birds studies.”

1916: The January issue of The Museum Bulletin of the Staten Island Association of Arts and Sciences lists a free illustrated lecture for children by Tucker: “A Visit to the Wisconsin Indians.” A later issue stated 100 people attended.

– While continuing to teach public school, Tucker is listed as President of the South Shore Savings and Loan Association, at No. 11 Sixth Street in New Dorp, Staten Island. The bank commenced business in 1915. The presidency of the bank was taken over by A.J. Grout in 1917, and he assumed that position through at least 1928.

1917: Charles and Mary Tucker sell house at 90 Third St. in April to Dr. Abel Joel and Grace Grout. The home was later purchased in 1922 by the Catholic Diocese for use as Our Lady Queen of Peace Rectory. The present rectory building was built in 1951 and is red brick. It’s assumed the Tucker’s concrete block home was leveled to build the present structure. From the history of the rectory: “Instead, he negotiated with Doctor Grout whose home was situated on Cloister Place and Third Street, but whose property flowed around the corner onto New Dorp Lane. The Grout Home was to become the rectory and the wooded land became the site of the church and school.

– Dorothy Frances Tucker listed in Tufts College Jumbo Yearbook as matriculated and pursuing her AB degree. Lists being from New Dorp (Staten Island) and graduate of Curtis High School.

– Its believed around this time Tucker joined the faculty of Manual Training High School in Brooklyn, N.Y. as professor of physics, with his 1956 obituary stating he retired from the school about 1939.

1920: Dorothy receives her Bachelor of Arts degree as a member of the Jackson College for Women at Tufts College on June 21 at the 64th Annual Commencement.

1925: On the New York State Census, Charles occupation is listed as teacher. He lives at 13 Greene Ave. in Brooklyn along with daughter Dorothy, also a teacher, and two younger sons.

1929: Mentioned in Alden KindredGossip” that he was teaching at the Manuel Training High School of Brooklyn, N.Y. At the time, The Gossip was a publication of  The Alden Kindred of America, a Mayflower descendant society named after pilgrims John and Priscilla Mullins Alden.

– Additionally mentioned in the “Gossip” this year- pertaining to his photo skills:  The Green Mountain Club has awarded a second prize in a photographic contest to our Cousin C. R. Tucker of Brooklyn and Randolph, Vt. The scene is a delightful section of Lake Mansfield and Nebraska Notch with a cross section of mountain region which is almost impossible to catch with a camera and keep the picture clear in perspective. Both in composition and development very careful thought had been given and the prize was well deserved.”

1932: Writes poem:

Freedom  

When the city’s narrow street

Meets the broad highway and gives

Glimpse of space and sky and cloud

Beyond the noisy throngs that crowd,

That is momentary joy.

But when at last my sentence here shall end

Free from this ceaseless shirl of work

and care

(Another waits to better fill my place)

I can forever leave this noisy race,

That will be lasting joy.

1933: Living at 13 Greene Ave. Brooklyn. During this time and much later, Tucker was the Vice-President of The Alden Kindred of New York City and Vicinity.

1934: Charles and Mary Tucker living at 108 South Elliott Place, Brooklyn.

1935: Notice in the Alden Kindred Gossip that Charles Tucker had retired from his teaching job in New York City: “Extra! Extra! Charles Rollins Tucker has retired and does not expect to teach in New York City any longer. The family is moving to Vermont immediately, where their address is “Route 2, Randolph”. Mr. Tucker writes that they will miss the Alden meetings and often think of us on the first Saturday of the month, and shall look eagerly for “GOSSIP”.  Bon voyage; bon repose.” (note: his obituary stated he worked until around 1939)

1936:  From the “Gossip”: In August, Mr. and Mrs. Charles Rollins Tucker drove to Ann Arbor, Mich.,via Saratoga, Howes Caverns, Niagara Falls, through Ontario to Detroit, and back by way of Toledo, the Cleveland Fair, Adirondacks, Ticonderoga, Brandon Pass, & c. Son Bob enrolled at the University of Michigan as a senior. The Tuckers will live In Ann Arbor during the Winter, leaving Randolph September 15th. Before going, they were to visit their daughter, Dorothy Tinkham, mother of 2 children, at Rock, Mass.” (Rock Village was located in the town of Middleborough)

1939: Is reported from obituary to have retired from his public school teaching career.

1940: US Census: Tucker living with wife Mary and son Jerry in Randolph, VT

Mary Carruthers Tucker dies in Boston.

1943: (approx.) Starts Wintering in Mt. Dora, Florida. (one address printed in the Gossip was 916 Grandview Ave.)

1949: The following overview of the life of Tucker appeared in the May issue of The Alden Letter, No. 47:

CHARLES ROLLINS TUCKER, (EXPERT WITH THE CAMERA.)

In the 28 April, 1949 issue of Mount Dora Topic ( Mount Dora, Lake Co., Fla.) Mabel Norris Reese has expressed something of the lovableness and gentle humor which characterize our Alden Kindred official member, Charles Rollins Tucker.

The author quotes from Mr. Tucker: “I tried teaching for 45 years; decided I couldn’t do it, and when they told me they would rather pay me than have me around, I bought a Vermont farm, but I kept on teaching, to try to pay farm expenses; I am now living on the interest of what I lost, trying to be a farmer”.

It was like Charles Tucker to say nothing of the heartbreak when Death took his companionable wife, while they were still Vermonters. Nor is there mention of the 1938 hurricane which crashed through their precious capital, in sugar maple groves.

Nothing of the anxious loneliness while World War II held son, Jerry, for 4 years in the Pacific.

Miss Reese notes that Charles was born in Canton, Mass.; at 4 years, with his family traveled in a prairie schooner to Missouri; shortly afterward moved on to Wisconsin for 5 years in a log cabin; at 10 returned with the rest of the Tuckers to Massachusetts.

There he matriculated in an old red school house – Seems to have garnered a good deal out of it, too- He went to Tufts College and a bachelor degree in 1891. But “not satisfied with being a bachelor, I took another college year to be a Master.”

Charles began teaching pupils in 15 subjects, in a one-room Mass. school; continued teaching as principal of an academy In Utah; went to New York City – “simply because they paid me more money”: stayed there for the rest of his teaching life, as a high school instructor.

As to Charles Tucker’s avocations, he says regarding genealogy: “I had a lot of fun tracing ancestry back to counts and no-accounts, especially the early American families. I found 6 Mayflower ancestors (John Alden was one) 11 Revolutionary ancestors, one Indian, one witch (hanged in Salem, 1692). The Ball and Adams families (whence President Washington and the Adams)”.

Now C.R.T’s. color photographs have carried his reputation along the eastern coast from Key West through Maine. He estimates that he has 3,000 slides.

He is expert in catching the significant moods of flowering plants and of little children in their own habitat. His slides in Art League exhibits “steal the show”.

Mr. Tucker loves people, but does not need them to keep himself happy and busy.- Shakespere climaxes him as “seeing good in everything”.

He spent last October alone in Aldenwood, N.C. a mountain cabin – in a wide spread community of 14 houses, 90 souls and 5 surnames: McCall, Anderson, Devore, Hogshed, Owen. They were 17 miles from a grocery store, 25 miles from a movie – One day the community jammed a mountain schoolhouse to see for the first time an outside world interpreted to them by Chas. Tucker.

For 6 years Mr. Tucker has spent his winters in Florida. Last Dec. 18 he was quietly reading away his 80 anniversary when he heard whispers and stifled giggles: The door flew open, and there a host of children were shouting, “Нарру Birthday, Mr. Tucker!” The head ones were bearing a table radio, which the younglings had “chipped in” to get for their most beloved friend. When Mr. Tucker centers a group of little people, one is minded of a scene in Galilee 2,000 years ago.

Mr. Tucker generally comes back to Middleboro, Mass. in a leisurely trip – This year he is trying to reach Aldenwood, N.C. while the shrubbery, delayed by unseasonable cold spells is in top bloom. Two years ago he and son Jerry took 2300 miles of mountain and valley loveliness into their trailer home of 21 days – Throngs of people have gone along with them.

The children of C.R. and Mrs. Tucker could not but be fine also- S. Jerry, after his 4 years of Pacific war service is with the N.H. Cattle Breeding Ass’n, John Robert is in U.S. Testing Co., Hoboken, N.J., Dorothy, the oldest, retired from Harvard U. library work to be a wife and mother on a Middleboro, Mass. farm. At an annual meeting of Alden Kindred in Duxbury a few years ago we heard this proudest grandfather ever, presenting a lovely first grandbaby as “Miss Priscilla Alden, Barbara Standish” – I think her real name is Barbara Tinkham – and that now other grandchildren have carried on the Alden Standish lines.  (pp. 295-7)

1951: Attends 60th reunion of his class at Tufts College, renamed Tufts University in 1955.

1956: Charles Rollins Tucker passes away near Middleboro, Mass., on Monday, May 28.

Obituary: The Alden Letter: No. 132, June, 1956

CHARLES ROLLINS TUCKER, former Vice-President of the Alden Kindred of New York City and Vicinity, went to sleep in his chair, in his tiny little home near Middleboro, Mass., on Monday, May 28 1956, and never woke up. His funeral service was conducted by a Congregational minister the following Thursday, and Burial was in Maplewood Cemetery, Stoughton, Mass. Survivors include a daughter, Mrs. Roland Tinkham of Middleboro, two sons, Jerry Tucker of Susquehanna, Pa. and Robert Tucker of Teaneck, N.J., three grandchildren and at least one great-grandchild. His wife, the late Mary (Carruthers) Tucker, died in 1940.

Mr. Tucker would have been 88 in December and was born at Canton, Mass. He graduated from Tufts College in 1891 and attended the 60th reunion of his class in 1951. He held the degree of Bachelor of Arts and also Master of Arts.

After teaching in Utah some years, he returned East and was in YMCA work for a short time and taught at Pratt Institute in Brooklyn, N.Y. He then entered the New York City public school system and served as teacher and principal on Staten Island. But the major portion of his teaching career was as professor of physics at Manual Training High School in Brooklyn, N.Y. He retired about 1939.

For many years, he retained a summer home on a 125-acre farm at Randolph, Vermont, where several of the New York Kindred visited him. He was an ardent hiker and had several times hiked the entire Long Trail of Vermont, from Massachusetts to Canada. After retirement, he gave up the Vermont farm and he and Mrs. Tucker went to live with their daughter at Middleboro. Mrs. Tucker soon died, and Mr. Tucker established a little summer home near his daughter’s house. He spent his winters in Florida, except for one winter sojourn in Phoenix, Arizona, and the last two winters when he stayed in Massachusetts. For several years, in going to and from Florida, he spent the months of May and October at ALDENWOOD, the mountain cabin of the Huling Woodworths in western North Carolina. He took thousands of color photographs and gave slide showings in Florida, Arizona, South Carolina, Georgia, North Carolina, Pennsylvania, New Jersey, New York, Vermont, New Hampshire, and Massachusetts. Many people have had many hours of enjoyment from his beautiful slides and the sweet whimsicality of his accompanying comments. He will be sorely missed by many.

Alden Letter is indebted to Huling Woodworth, his host at Aldenwood, for the outline of Mr. Tucker’s life quoted above. June 8, ’56.  E.A.P.  (Eudora Alden Philip-editor) note: E. Huling Woodworth was the deputy governor general of the General Society of Mayflower Descendants who compiled the “Mayflower Register” of descendants. He died in 1964.

Listening to Ukraine

Feb 2022 | Childhood Photography

Like others around the world, our hearts are broken for the beautiful citizens of Ukraine. Their determination in the present war is just, and it is our belief their future will reaffirm what is rightly theirs: a democratic country they can always call home; a place where living in peace and harmony with neighbors is a given; and one where their children will always be safe in knowing the love of parents and dreams of listening to a just future are always close by and achievable.

Please consider a donation to the Save the Children Ukraine Crisis Relief Fund.

Detail: “Listening to the Birds”. John E. Dumont, American (1856-1944) 1892 signed print (Copyright 1885) : Photogravure: Chine-collé: 33.5 x 25.1 | 40.7 x 34.0 cm. This fine genre study by Dumont of eight children shows them gathered outdoors near a fence and gazing skyward while listening and gazing at birds nesting or flying overhead. The photograph went on to win multiple prizes and medals, including a prize at the prestigious and groundbreaking 1891 Vienna Salon, the first international exhibition where photographs were accepted and judged solely on artistic merit. From: PhotoSeed Archive

The New Decade Roars In

Jan 2020 | Childhood Photography, Painters|Photographers, Photography

Summer Streams Wide & Small

Jun 2019 | Alternate Processes, Childhood Photography, Color Photography, Documentary Photography, Journals, New Additions, Painters|Photographers, Scientific Photography, Significant Photographers, Significant Photographs, Unknown Photographers

Herein a summer interlude, if you will, of still, trickling and gushing streams from years past. And if they inspire and beckon for the present, find your own peace or wonderment in the mountains, valleys or pastures of summer wherever your own stream flows.

“Dorothy Tucker Gathering Ferns”: Charles Rollins Tucker, American (b. 1868): ca. 1910: mounted brown-toned platinum print: 9.4 x 7.7 cm | 31.2 x 16.0 cm. Born in August, 1899, Dorothy Tucker, a constant photographic subject for her father, then a high school physics teacher at Curtis High School on Staten Island, New York state, holds a spray of freshly-picked ferns while investigating the edge of a stream in the woods. From: PhotoSeed Archive

“Stream or Pond at Prospect Park”(Brooklyn, New York): ca. 1910-20: Unknown Brooklyn photographer: hand-colored gelatin silver print: 11.7 x 8.9 cm | 12.4 x 9.3 cm: From: PhotoSeed Archive

“Before Retiring”: ca. 1910-20: Margaret Bauks, British- (possibly Margaret Florence Bauks: b. 1872?) : hand-colored gelatin silver print: 11.6 x 15.9 cm | 27.8 x 22.8 cm: From: PhotoSeed Archive

“A Stream of Savoy”: ca. 1927: this print exhibited 1935: Frank Roy Fraprie, American (1874-1951): vintage Bromide print: 24.0 x 18.6 cm | 30.5 x 25.4 cm: As noted in the 1946 American Annual of Photography, (p. 170) Fraprie had been taking photographs in June of 1926 in Eastern France. The area, located in the Haute-Savoie, or Upper Savoy, is a mountainous region of spectacular beauty which includes Lake Annecy, one of France’s largest freshwater lakes.  Photographic historian Christian Peterson’s biography of Fraprie gives some background on this important photographer and editor: “Fraprie was the most influential author/publisher of American pictorial photography during the period following the Photo-Secession. From the 1910s to the 1940s, he wrote books and countless articles on all aspects of pictorialism. He edited photographic monthlies and annuals for nearly the entire first half of the twentieth century. In addition, he created his own highly successful pictorial photographs and exhibited them extensively.” From: PhotoSeed Archive

Detail: “Les Fleurs Dans Le Bois” : Léopold-Émile Reutlinger: French (1863-1937): vintage Bromide photograph, ca. 1905. 22.3 x 14.1 | 34.0 x 24.2 cm. Featuring a painted backdrop and wood board placed over a “stream”, this studio photograph features a white rabbit investigating the Belle Epoque era model identified from other variants as “Miss Doll”.(proper identification of this model would be of interest as she has remained a popular subject seen in countless vintage postcards, many hand-tinted) This example was printed by the Milan atelier Maison Tensi and included as a full-page plate in the February, 1905 issue of “La Fotographia Artistica”, a French/Italian photographic journal. From: PhotoSeed Archive

“A Rocky Brook” (New England?) : ca. 1906: Unknown American photographer: vintage cyanotype rppc: 8.9 x 13.8 cm. This idyllic cascading waterfall may depict the Minnewawa Glen in Marlborough, New Hampshire. Signed on the recto: “Lovingly Helen” in the lower left corner, it’s postmarked November 15, 1906 from Marlboro, N.H. addressed to Miss Nettie A. Hastings of East Sullivan, N.H. From: PhotoSeed Archive

“John Robert Tucker Skinny Dipping”: Charles Rollins Tucker, American (b. 1868): ca. 1915: unmounted platinum print: 3.8 x 5.2 cm. Born in March, 1914, John Robert Tucker, was the second of three children born to the former Mary Carruthers and photographer Charles R. Tucker. Here, the young boy plays in a woodland stream, with the photograph most likely taken in New England. John, according to his 1941 marriage certificate, was an electrical engineer by training. He died in 1991 in La Habra, Orange County, CA. From: PhotoSeed Archive

“Brume après la Pluie”: (1906) 1908: Gustave Marissiaux, Belgian (1872-1929) Photogravure on Van Gelder Zonen laid paper: 13.4 x 17.6 | 28.4 x 39.9 cm. Plate XXVI from Marissiaux’s tour-de-force gravure folio “Visions D’Artiste” comprised of 30 plates dating 1899-1908. Translating to “Mist after the Rain”, two figures in the distance stand looking out over an enlarged pond or stream located in “La Terre Wallonne” as identified in the portfolio index: more commonly known today as Wallonia- the southern region of Belgium. From: PhotoSeed Archive

Detail: “Moonlight”: James C. Stodder, American: (1838-1917). 1890. Hand-pulled photogravure published in periodical “Sun & Shade”, New York: November, 1890: whole #27: N.Y. Photogravure Co.: 18.3 x 11.9 | 35.0 x 27.4 cm. A crescent moon rises above a wooded landscape at dusk while a gentleman fishes from the banks of a pond or stream. Stodder graduated from Rensselaer Polytechnic Institute in 1859 and moved to Bangor, Maine, where he first learned the wet-plate process of photography. A lawyer, he was son of a Boston jeweler, (obit) and financially well off. In 1876, he accompanied famed Hudson River School painter Frederic E. Church to the Mount Katahdin region of Maine. From: PhotoSeed Archive

“A Doe and Twin Fawns” (taken 1896) 1916: George Shiras 3rd, American (1859-1942) Vintage photogravure published by the National Geographic Society, Washington, D.C. : 21.2 x 30.3 | 40.5 x 50.8 cm. A pioneer of using flashlight photography to record wildlife in their natural environments at night, Shiras used the method of “Jacklighting”, a form of hunting using a fixed continuous light source mounted in the bow of a canoe to draw the attention of wildlife: in this case three deer, while then utilizing magnesium flash-powder to freeze the scene in-camera. His series of twelve midnight views, including “A Doe and Twin Fawns”-also known as “Innocents Abroad” would earn Shiras international acclaim and many important awards. A one-term Congressman for the state of Michigan, (his father George Shiras Sr. was a former Justice of the U.S. Supreme Court) he was also an important naturalist who helped placed migratory birds and fish under Federal control. (The eventual 1918 Migratory Bird Treaty Act had groundings in legislation Shiras introduced to Congress in 1903 as the first comprehensive migratory bird law not voted on.) For additional background, see article by Matthew Brower in the journal History of Photography, Summer,2008: “George Shiras and the Circulation of Wildlife Photography”. From: PhotoSeed Archive

Detail: “A Corn Roast” Oliver Patterson Watts, American: (1865-1953). 1892. Hand-pulled photogravure published in periodical “Sun & Shade”, New York: June, 1892: whole #46: N.Y. Photogravure Co.: 14.7 x 23.2 | 34.6 x 27.4 cm. The index for the issue of Sun & Shade in which this photograph appears states: “Mr. Watts writes us that while wandering with his camera along “The Green,” a favorite picnic ground near Thomastown,(sic) Maine, he came upon this group of boys roasting corn and potatoes. At the sight of the camera they immediately grouped themselves, anxious to be “took.” The negative was made with a Scovill Favorite Camera, Waterbury lens, with an exposure of five seconds on a seed plate. It was developed with Pyro and Sodium Carbonate.” Dr. Oliver Patterson Watts was born in Thomaston, Maine, and graduated from Bowdoin College in 1889. Interestingly, in 1890, Potts and Dr. Julius Stieglitz, the brother of Alfred Stieglitz, were fellow scholars in chemistry at the newly opened Clark University in Worcester, MA. He later entered the University of Wisconsin in 1905 and took charge of the Carnegie Research on Electrolytic Iron under Dr. Charles F. Burgess. According to an Oct. 2009 article on Potts for the online resource Plating & Surface Finishing, the most important of his fifty-nine papers on plating and corrosion is probably “Rapid Nickel Plating,” presented before the Electrochemical Society in 1915. From: PhotoSeed Archive

“Mutu Bridge”: Donald Mennie, Scottish (1875-1944) 1922: Vintage unmounted bromide print: 24.2 x 34.6 cm. This picturesque Chinese river scene first appeared as a full-page plate variant in the 1914 volume “My Lady of the Chinese Courtyard” (between pp. 254-5) by author Elizabeth Cooper and then as Plate #7 “Mutu Bridge” in the photographer’s ca. 1914 work “Picturesque China: A Series of Vandyck Photogravures illustrating Chinese Life and Surroundings”. From: PhotoSeed Archive

Detail: “Stepping Stones” George Bacon Wood Jr., American: (1832-1909). 1894. Hand-pulled photogravure published in periodical “Sun & Shade”, New York: January, 1894: whole #65: N.Y. Photogravure Co.: 20.5 x 11.7 | 34.9 x 27.5 cm. The index for the issue of Sun & Shade in which this photograph appears states: “To the meditative woman crossing the brook with careful steps upon the projecting stones, Oliver Wendell Holmes’ words, in his “Professor at the Breakfast Table,” can be appropriately applied: “The wisest woman you talk with is ignorant of something that you know, but an elegant woman never forgets her elegance.” With no eye to see her, as she crosses the woodland stream, the figure in the picture appears reposeful, full of thought, and unconsciously elegant in pose. This is a charming photograph from nature, simple, truthful and artistic.” From: PhotoSeed Archive

“Derniers Rayons Dans la Forêt”: Guglielmo Oliaro, Italian: (1874 -1936) vintage Bromide photograph, ca. 1900? 1907: 16.6 x 22.5 | 23.5 x 32.7 cm. Translating to “Last Rays In The Forest”, this bucolic scene at dusk features a rushing stream and footbridge bisecting a a silhouetted line of Pollarded Willow trees. From Turin, amateur photographer Dr. Guglielmo Oliaro was very interested in the arts, founding a medical publishing house that survives to this day: From the InterFairs online resource: “Minerva Medica was the brainchild of a Turin GP (General Practitioner -ed.) Dr. Guglielmo Oliaro, a scientist with a passion for literature, art and music. It was on December 8 1925 that Dr. Oliaro got together with a small group of partners to set up the original company, Tipografia Editrice Minerva based in Turin. The creation of that company was a response to the growing success both in Italy and abroad, of Minerva Medica, a weekly journal for the general practitioner that first came out in 1909. Edizioni Minerva Medica S.p.A. was set up as a limited company by Dr. Guglielmo Oliaro on June 9 1934, for the purpose of supplying the Italian medical profession with text-books and scientific journals.” This example of Oliaro’s work was printed by the Milan atelier Maison Tensi and included as a full-page plate in the April, 1907 issue of “La Fotographia Artistica”, a French/Italian photographic journal. From: PhotoSeed Archive

“Baptismal Scene” : Doris Ulmann, American: (1882 –1934) 1933: Signed, hand-pulled photogravure included as additional loose plate from deluxe edition of “Roll, Jordan, Roll”: 21.3 x 16.4 | 28.3 x 20.7 cm. In a rather interesting coincidence, this particular example of a summer stream showing a well-known river baptism by Ulmann has been partially immersed by moisture along the lower margin. From p. 116 of the volume: “A candidate for admission into the church must first be baptized. The Methodists have water sprinkled on their heads, but Baptists must be publicly immersed. These “baptisms” attract large crowds of onlookers. The candidates all arrive at the “pool” dressed in long white robes, which are carefully put away after the ceremony to serve as their shrouds some day. When they are assembled, the preacher and the leader, also dressed in white robes, lead the first candidate down into the water, where he is dipped three times, once in the name of the Father, once in the name of the Son, and once in the name of the Holy Ghost. As he is lead up out of the water, all his sins are left behind, drowned and buried in a watery grave. His soul is cleansed white as snow and he is ready to be received into full church membership. Unless he “falls” into sin and gets “turned out” of the church, he will some day be received into fellowship with God’s holy angels up in heaven.” The following review of Roll, Jordon, Roll comes from Steve Watson and was included on the Amon Carter Museum of American Art website, first published in 2016: Photographer Doris Ulmann came from an affluent white New York City family. She took teacher training with photographer Lewis Hine at the Ethical Culture School and subsequently studied psychology and law at Columbia University. She also studied photography with Clarence H. White, a founding member of the Photo-Secession movement known for teaching the Pictorialist style. Ulmann collaborated with novelist Julia Peterkin on a book project titled Roll, Jordan, Roll(New York: R.O. Ballou, 1933). The book focuses on the lives of former slaves and their descendants on a plantation in the Gullah coastal region of South Carolina. Peterkin, who won the Pulitzer Prize for her novel Scarlet Sister Mary (Indianapolis: Bobbs-Merrill, 1928), was born in South Carolina and raised by a black nursemaid who taught her the Gullah dialect. She married the heir to Lang Syne, a 2,000-acre cotton plantation, which became the setting for Roll, Jordan, Roll. Ulmann began photographing there in 1929. Roll, Jordan, Roll is titled after the spiritual written by English Methodist leader Charles Wesley in the 18th century which became well-known among slaves in the United States during the 19th century. Appropriated as a coded message for escape, by the end of the American Civil War it had become known through much of the eastern United States. In the 20th century it helped inspire the blues, and it remains a staple in gospel music. Roll, Jordan, Roll was illustrated with 90 photogravure plates made from Ulmann’s large-format negatives. Although they comprise an amazing ethnographic study, today Ulmann’s Pictorialist aesthetic seems a strange choice for making documentary images. The hazy, soft-focus photographs lend a sentimental, nostalgic impression that belies the underlying exploitative history of her subjects. From: PhotoSeed Archive

“Niagara Falls”: attributed to Arthur Hammond, American: born England: 1880-1962: hand-colored gelatin silver print mounted to album leaf, ca. 1930-1940: 19.2 x 24.2 | 25.0 x 32.7 cm. To conclude our post is a view of the ultimate Summer Stream: a view showing the Niagara River’s Horseshoe Falls from the Canadian side. From a personal album of nearly 100 photographs attributed to Hammond dating from around 1910-1940. Born in London, photographer Arthur Hammond arrived in America at Ellis Island in New York Harbor on July 31, 1909 and established himself with his own studio in Natick, MA outside Boston by 1912. In 1920, he authored the foundational book “Pictorial Composition in Photography” and became a leading voice for pictorialism in America through his position as associate editor of American Photography magazine that lasted 30 years from 1918-1949. From: PhotoSeed Archive

By the Stream

Paul Laurence Dunbar (1872-1906)

By the stream I dream in calm delight, and watch as in a glass,
How the clouds like crowds of snowy-hued and white-robed
maidens pass,

And the water into ripples breaks and sparkles as it spreads,
Like a host of armored knights with silver helmets on their heads.

And I deem the stream an emblem fit of human life may go,
For I find a mind may sparkle much and yet but shallows show,

And a soul may glow with myriad lights and wondrous mysteries,
When it only lies a dormant thing and mirrors what it sees.

Goodbye, Sagamore Farm

Oct 2018 | Alternate Processes, Childhood Photography, New Additions, Painters|Photographers, Scientific Photography

I recently trekked to the New Hampshire seacoast to investigate the origins of two cyanotype photogram albums recently posted to this site. There, botanical specimens gathered by Helen Chase Gage when she was a child on her family’s country estate known as “Sagamore Farm” in Rye, New Hampshire were compiled during the summer months of 1929 and 1930.

At Odiorne Point State Park in Rye, New Hampshire, remnants of foundation walls belonging to “Sagamore Farm” can be seen in this view looking west towards the seacoast photographed October 1, 2018. Helen Chase Gage (Miller) 1917-1982 was a schoolgirl when she roamed near here during the summers of 1929 & 1930 collecting botanical specimens used to make two albums of cyanotype photographs. The estate, a grand sixteen-room summer home built in 1892 by Dr. William Duncan McKim, (1855-1935) was purchased by Helen’s parents in 1918 and eventually condemned and demolished by the US Federal Government in 1942 with other homes in order to build Fort Dearborn, which provided a coastal defense for the United States on the Atlantic seaboard during and after the World War II era. Photo by David Spencer for PhotoSeed Archive.

A surviving photograph of “Sagamore Farm” located in Rye New Hampshire, the summer country home where schoolgirl photographer Helen Chase Gage made her cyanotype albums during the summers of 1929-30. A sixteen-room home originally built in 1892 by Dr. William Duncan McKim, (1855-1935) it’s described in the 1994 volume Footprints in Time: A Walk where New Hampshire Began as: “This was a large house with two matching sides separated by a porte cochere (a carriage drive-through) which went through the house to the large barn behind.” Notice the stone wall in front of the home, indicating the presence of farm fields that criss-crossed the future Odiorne Point State Park property. Photo courtesy Seacoast Science Center.

“Sweet Alyssum” (Lobularia maritima) Helen Chase Gage- American: 1917-1982; Cyanotype: 1930: (18.0 x 12.9 | 21.6 x 14.6 cm) Inscribed on opposite album page: Sweet Alyssum Blue Print made August 17, 1930 At Sagamore Farm, N.H. By Helen C. Gage. From: PhotoSeed Archive

Known today as Odiorne Point State Park, Helen’s family summer home was located on land at Frost Point at the mouth of the Piscataqua River and Gulf of Maine. In 1942 during World War II, the US federal government appropriated nearly 265 acres making up the future park boundaries through eminent domain, including the Sagamore Farm estate and other properties owned by 24 families. (11 homes are said to have been demolished) This was done in order to build Fort Dearborn, a coastal outpost manned by large gun emplacements designed to protect the nearby Portsmouth Naval Ship Yard on the Piscataqua.

This ca. 1942 US War Department map shows the future area of Odiorne Point State Park in Rye, New Hampshire. Using the color green, this website has shaded the parcel belonging to photographer Helen Chase Gage’s family- 43.6 acres. The US Government appropriated nearly 265 acres owned by 24 families through eminent domain in order to build Fort Dearborn, which took three years to complete. Graphic courtesy Seacoast Science Center.

Left: Tansy flowers in bloom at Odiorne Point State Park in Rye, New Hampshire photographed October 1, 2018. Photo by David Spencer for PhotoSeed Archive. Right: “Tansy” (Tanacetum vulgare) Helen Chase Gage- American: 1917-1982; Cyanotype: 1929: (17.6 x 12.5 | 30.0 x 22.8 cm) Inscribed on same album page: Tansy: Blue Print made on July 17, 1929 at Sagamore Farm By Helen C. Gage. From: PhotoSeed Archive

This granite marker on the coastline at Odiorne Point State Park marks the location in the Spring of 1623 where English immigrant David Thomson (1593-1628) of Plymouth, England established the first European settlement on land that would become the future American state of New Hampshire. Originally installed in 1899, the marker was eventually moved but re-installed and re-dedicated in its’ original spot in 2007: “Here Landed In the Spring of 1623 The First Band of Englishmen. Pioneers in The Planting of New Hampshire. Consecrating This Soil to The Service of God and Liberty. Photographed on October 1, 2018 by David Spencer for PhotoSeed Archive.

The area is rich in American history: at Odiorne Point within the present-day state park, a large granite marker (installed 1899 |rededicated 2007) marks the location in the Spring of 1623 where English immigrant David Thomson (1593-1628) of Plymouth, England established the first European settlement on land that would become the future American state of New Hampshire.

Left: “Sumack” (Rhus coriaria?) Helen Chase Gage- American: 1917-1982; Cyanotype: 1929: (18.0 x 13.0 cm | 21.6 x 14.6 cm) Inscribed on album page: Sumack: Blue Print made on July 23, 1929 at Sagamore Farm By Helen C. Gage. From: PhotoSeed Archive. Right: Sumac leaves from a shrub showing off their fall colors at Odiorne Point State Park in Rye, New Hampshire photographed October 1, 2018. Photo by David Spencer for PhotoSeed Archive.

Helen Chase Gage hand-drawn calling card inserted within 1930 Blue Print album of botanical specimen photograms: Helen Chase Gage- American: 1917-1982: This hand-made album is shown opened with the front pastedown made from blue art paper extending full width of opened volume. Overall dimensions: 23.0 x 30.0 cm : Calling card: 7.6 x 15.1 cm. Helen Chase Gage spent her early childhood at 2 Avon Road in Bronxville, New York but assembled this album and another in 1929 at Sagamore Farm in Rye, New Hampshire. From: PhotoSeed Archive

“Larkspur” (Scientific name: Delphinium; Family: Ranunculaceae) Helen Chase Gage- American: 1917-1982; Cyanotype: 1930: (17.7 x 12.6 cm | 21.6 x 14.6 cm x2) Inscribed on opposite album page: Larkspur: Blue Print made August 10, 1930 At Sagamore Farm By Helen C. Gage. This representative album spread from Helen’s 1930 collected cyanotypes is unusual because the original collected botanical specimens are featured as part of the volume. Thirty-one individual prints are included within the album closed by means of cloth ties, seen at far right of frame. From: PhotoSeed Archive

“Big Sister, Little Brother” Left: This cropped photograph of Helen Chase Gage Miller accompanied her 1970 wedding announcement in the Bronxville (New York) Review Press and Reporter newspaper. A graduate of Bronxville High School and Pratt Institute in Brooklyn earlier in life, she also attended Ursinus College. Later, the young photographer is known to have worked at Lord and Taylor, a department store in New York City, and was a member of the Reformed Church in Bronxville, the Anne Hutchinson Chapter of the Daughters of the American Revolution and the League for Service. Right: In 1935, Helen’s younger brother Edward Augustus Gage (1919-2007) is shown behind the wheel of a 1918 Model T Ford depot wagon, along with his dog Ski at rear, in a photograph believed to have been taken near the family’s summer property in Rye. The caption for this photograph which appeared in the volume “Footprints in Time” states: “Edward Gage later played an important role in trying to get the government to sell Odiorne land back to its pre-war owners.” His 2007 obituary mentions he was a pilot and flight instructor in World War II and finished in the Naval Reserves at the rank of lieutenant commander. Trained as a lawyer, in 1970 he was appointed to serve as judge of the Exeter District Court in New Hampshire until his retirement in 2003. Photo courtesy Seacoast Science Center.

The pursuit of art was evident for Helen Chase Gage after early childhood. Although it’s not known if she pursued it in any professional capacity later in life, Helen did attend Pratt Institute-School of Fine and Applied Arts in Brooklyn, New York from 1939-40, graduating in June, 1940. Above are several examples of original artwork by Gage used in her Art History course she was enrolled in as part of a series of lessons on painting presented by school Director James C. Boudreau kept in a notebook held by the PhotoSeed Archive. Top left: a tondo (13.8 cm) female form frontal view by Helen Chase Gage as an example of Impasto painting done using tempera paint. Top right: tempera study (5.5 x 9.5 cm) by Helen Chase Gage of the fresco “Pazzi Crucifixion” by Pietro Perugino; bottom: tempera study (8.4 x 15.9 cm) by Helen Chase Gage of Leonardo Da Vinci’s “Last Supper”. Bottom: tempera study (12.9 x 18.1 cm) by Helen Chase Gage of a painting by English artist Joseph Mallord William Turner titled “A Heath Scene” in the Gage notebook. From: PhotoSeed Archive

Jumping to the present day, the focal point of the park is the Seacoast Science Center, a non-profit marine science education organization. When I visited on October 1st recently, I had the pleasure of speaking with the center’s president Jim Chase, who gave me a brief history of the property and was helpful with directions to the area where Sagamore Farm was once located. He told me of the park’s efforts in clearing out some of the invasive plants on the property and about one of Seacoast’s more popular activities- BioBlitz, described as a “daylong species scavenger hunt…..where families explore alongside scientists and field experts to find and record data on as many different species in the Park as possible in one day.”

“Lily of The Valley” (Convallaria majalis) Helen Chase Gage- American: 1917-1982; Cyanotype: 1930: (18.1 x 13.0 cm | 21.6 x 14.6 cm x2) Inscribed on opposite album page: Lily of The Valley: Blue Print made August 17, 1930 At Sagamore Farm By Helen C. Gage. This representative album spread from Helen’s 1930 collected cyanotypes is unusual because the original collected botanical specimens are featured as part of the volume. Thirty-one individual prints are included within the album. From: PhotoSeed Archive

At dusk, waves crash on a rock outcropping at Hampton Beach, New Hampshire on September 30, 2018. Located twelve miles south of the present day Odiorne Point State Park along New Hampshire Route 1A, the popular summer destination spot for tourists is known for its’ scenic beauty on the New Hampshire coastline, which measures in at 18.57 miles, the shortest ocean coastline of any US state. (or 235 miles of “estuarine shoreline!) Attractions and geographical proximity such as this give ample reason for visitors to visit both locales. Photo by David Spencer for PhotoSeed Archive

“I Do Not Know” Helen Chase Gage- American: 1917-1982; Cyanotype: 1929: (18.0 x 12.5 cm | 30.0 x 22.8 cm) Inscribed on same album page: I do not know.: Blue Print made July 8, 1929 At Sagamore Farm By Helen C. Gage. Perhaps one of the most interesting cyanotypes in both albums is this unidentified leaf specimen-endearing because the young artist who collected it was just being honest with her knowledge and told us so. As I’ve mentioned previously with these overall works, a few of the specimens may not be “right” botanically and possibly misidentified in some cases. Your expertise is welcomed! From: PhotoSeed Archive

Feeling like a kid myself, I used my phone to show Jim one of the many fine botanical specimens Helen had made into a cyanotype from the 1930 album and realized she could have been rightly called one of the first BioBlitz scavenger hunters. As I left and walked outside the Seacoast Center, I found confirmation for Helen’s love of place on the New Hampshire seaboard all those years ago: a large group of school children getting ready to set out on their own happy discoveries.

David Spencer- October, 2018

A Special Place Indeed: a poignant reminder of the property where Helen Chase Gage collected her plant specimens in order to make precious blue prints so many summers ago yields some new opportunities in the form of fall leaves and Goldenrod resting on this granite bench dedicated to the memory of the McKim and Gage families inside Rye’s Odiorne Point State Park where “Sagamore Farm” once stood. Photographed October 1, 2018 by David Spencer for PhotoSeed Archive

Afterword

An interesting segment from New Hampshire Public Radio from 2016 reports on how Odiorne Point State Park in New Hampshire was developed in the aftermath of World War II. The voice of Helen’s younger brother Edward Gage, (1919-2007) who went on to become a lawyer and spent decades trying to reclaim his family’s property is included in the report.  To the credit of the park in not glossing over the loss to the Gage family and others-specifically the namesake Odiorne family who had owned property here since the 1660’s, signage outlining this history can be seen inside the Seacoast Science Center:

“In 1942,when the U.S. government took over Odiorne Point, homeowners were given short notice to vacate their beloved vacation homes and, in the case of the Odiornes, a farm that had been in their family almost three hundred years.

After the war, a debated legislative technicality at the federal level prevented Odiorne Point landowners from regaining their property. In ensuing years, discussion over what would become of the land covered the full range of development and preservation schemes.

In the end, thanks to preservation activist Annette Cottrell and the interest of New Hampshire Park Director Russell B. Tobey, the state-owned land became a park. The park is now the site of the Seacoast Science Center.

The story of Odiorne Point continues. Visitors and students from around the world are making new use of the park through the Seacoast Science Center and its educational programs. This little point of land seems destined to make more history.” 

Additional Reading

-Footprints in Time: A Walk where New Hampshire Began. Compiled by Howard S. Crosby, Wendy W. Lull, and Richard T. MacIntyre: Arcardia Publishing, 1994 

-Writer Anna Soper contributes additional scholarship on these albums in her article These Stunning Botanical Images Are Blueprints of the Past  found on the Atlas Obscura website published October 8, 2019.

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