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Unknown Photographers
16 Entries

Summer Wanderings & Roadside Wonders

Jun 2024 | Documentary Photography, Unknown Photographers

“Waving from the Eye of Lucy the Elephant, Margate New Jersey”: Unknown American photographer, ca. 1915-25: gelatin silver snapshot pasted on larger album leaf of nine photos: 10.2 x 6.5 cm. Lucy’s head is 16 feet long and 48 feet in circumference; her neck is six feet long and 48 feet in circumference. The snapshot was included in an album of creative photographs (1890-1930) found in a Long Island, N.Y. thrift store. With additional Margate or shoreline New Jersey locales depicted along with many unknown portrait subjects, the eclectic album features rare photos of American silent era film actress Marjorie Daw (1902-1979) from 1920 and even a photograph of a man resembling Russian Ballet dancer Vaslav Nijinsky (1889-1950) dressed in the role of “Afternoon of a Faun”. From: PhotoSeed Archive

I’ll admit I’m a sucker for roadside oddities of the purely Americana kind. As a working photojournalist I chronicled the handiwork of numerous “folk artists” and passionate creators who left their mark on the land. These often took the form of oddities sculpted in wood and other materials, like fiberglass. To wit, check out my photograph of “Pinky” the elephant hoisting a martini while making her way through a Midwestern snowstorm later in this post.

In addition, I’ve long been a fan of created environments such as those by visionary artists including the late Howard Finster of Summerville, GA whose Paradise Garden can still be visited today. In Florida, I remember a giant alligator the size of a city bus beckoning tourists heading to the Disney resorts as well as a colossal Paul Bunyon and his faithful blue ox Babe in Klamath, CA: a roadside diversion my future wife and I visited while in route to Seattle.

The one oddity I have not visited yet, and the subject of this scribbling, is the famed Lucy the Elephant roadside attraction in Margate City, New Jersey. Six stories tall and originally built and named the Elephant Bazaar by Philadelphia resident James Lafferty in 1881, she was later moved in 1970 to her present location in Margate’s Josephine Harron Park to escape demolition. Completely refurbished by 2000, Lucy had already been deemed worthy, in 1976, to be listed on the U.S. National Park Registry of Historical Landmarks. The fascinating history of Lucy can be found on her official website, which includes a merch store to support ongoing preservation.

 

“Profile View of Lucy the Elephant with Clothesline and Automobiles, Margate New Jersey”: Unknown American photographer, ca. 1915-25: loose, gelatin silver snapshot : 5.1 x 7.4 cm. Purchased for this archive in 2019 from an Arkansas based seller, this snapshot may date to the years when a building on the grounds adjacent to Lucy known as the Mansion House- a speakeasy- was converted to a rooming house after 1920: the year the US Volstead Act outlawed the sale of alcohol- thus the domestic details of clothes hanging on a line seen at far left of image. Lucy is six stories tall and covered in tin metal. From: PhotoSeed Archive

For some reason, the subject of elephants keeps cropping up in this site’s collection efforts. Jumbo the elephant- or at the least the stuffed version- was the subject of a March, 2015 blog post on PhotoSeed, and in keeping with that spirit, a small collection of historical snapshots of Lucy the Elephant from Margate, New Jersey that are believed to date from the late 1910’s into the 20’s makes up this present gallery post.

Not Summer but Winter: Photographed through my windshield while on assignment for the State Journal-Register newspaper in Springfield, IL, I captured Pinky the elephant-wearing her sunglasses and hoisting a martini while being transported on a trailer as a snowplow drives past during a 1990 Midwestern snowstorm in Riverton, IL. Owned by the Kent Family, Pinky is now 45 years old in 2024 and still a presence and delight to those in Central Illinois. Photo by David Spencer

In anticipation of summer travels, in May of this year, the newspaper USA Today released the results of their annual readers choice for the Best Roadside Attraction of 2024, and you guessed it, Lucy was voted the number one attraction. Enjoy this roadtrip down memory lane.

“Women Pose in front of Lucy the Elephant, Margate New Jersey”: Unknown American photographer, ca. 1915-25: gelatin silver snapshot pasted on larger album leaf of nine photos: 6.2 x 5.0 cm. In background at right, several of the onion-shaped domes of the former Turkish Pavilion, originally constructed in 1876 for the Centennial Exhibition in Philadelphia’s West Fairmount Park, can be seen. The structure became a popular nightclub for many years after it was disassembled piece by piece at the conclusion of the fair and erected behind Lucy by owners the Gertzen family at an unknown date. Visitors were charged 10 cents to tour the furnished interior of the Elephant building and climb the 130 stair spiral stairway to the howdah or observatory on its back. From: PhotoSeed Archive

 

“Woman waves alongside Companion next to Lucy the Elephant, Margate New Jersey”: Unknown American photographer, ca. 1915-25: gelatin silver snapshot pasted on larger album leaf of nine photos: 7.6 x 10.1 cm. Power lines can be seen just above the window at left located in one of Lucy’s rear feet. A few more statistics from Lucy’s official website: “Entrance stairs lead to a reception room, which is 18 by 18 feet. Other rooms are off this main one. There are 22 windows. In the construction of this monster, made of wood and metal, it is said that a million pieces of timber and 8,560 ribs or arches, 200 kegs of nails, and four tons of bolts and bars were used. It required 12,000 square feet of tin to cover the structure.” From: PhotoSeed Archive

 

“Profile View of Lucy the Elephant from Beach Side, Margate New Jersey”: Unknown American photographer, ca. 1915-25: loose, gelatin silver snapshot : 5.1 x 7.4 cm. This image was purchased for this archive in 2019 from an Arkansas based seller and the snapshot may date to the years when a building on the grounds adjacent to Lucy known as the Mansion House- a speakeasy- was converted to a rooming house after 1920: the year the US Volstead Act outlawed the sale of alcohol. From: PhotoSeed Archive

 

“Two Women Pose in front of Lucy the Elephant, Margate New Jersey”: Unknown American photographer, ca. 1915-25: gelatin silver snapshot pasted on larger album leaf of nine photos: 7.6 x 10.2 cm. The painted sign on the sand at center states “Don’t Fail to visit the Elephant”. Some additional statistics from Lucy’s official website: “The body is 38 feet long and 80 feet in circumference; the head is 16 feet long and 48 feet in circumference. Lucy’s neck is six feet long and 48 feet in circumference; legs are 22 feet long and 10 feet in diameter. The ears are 17 feet long and 10 feet wide. It is estimated that each weighs 2,000 pounds. Lucy’s tusks are 22 feet long; tail 26 feet and eyes 18 inches in diameter. The latter are made of glass. It is estimated that Lucy can be seen (without use of binoculars) up to eight miles. “ From: PhotoSeed Archive

New Year Hope

Jan 2024 | Alternate Processes, New Additions, Scientific Photography, Unknown Photographers

“Scrapbook album page of 4 plant photograms”: Unknown British photographer, c. 1871-1872. Grouping of Albumen silver prints pasted to secondary mount with hand-applied, printed red-ruled borders & pasted paper butterfly. Overall page: 27.4 x 23.5 cm; prints: +/- 9.5 x 6.0 cm. Clockwise from top left: Selaginella- unknown “spike moss”, Maidenhair fern, unknown fern x 2. This unusual grouping was a gift dated April 9, 1872 to Arthur Francis Elliot Norton (1854–1922) of New South Wales, Australia. (“This for my dear Grandson & Godson” Provenance: NSW collection. From: PhotoSeed Archive

Have Faith

Dec 2020 | Documentary Photography, New Additions, Unknown Photographers

A Christmas Wish

“The Vendors & the Faithful”: Manuel Arellano: Filipino, b. 1885. Vintage bromide print ca. 1920-30: 34.5 x 27.2 | 38.1 x 30.4 | 45.8 x 35.8 cm. Wearing a traditional short-sleeved Camisa blouse, a woman devout in her faith kneels and prays inside a church while vendors stand behind her with wares for sale. These would most likely include rosaries, religious pamphlets and small religious icons such as the Black Nazarene, should the location of the photograph be the Minor Basilica of the Black Nazarene (Quiapo Church) fronting Plaza Miranda in Manila, perhaps the most important symbol of Roman Catholicism in the Philippines. Further research for the location of this photograph may be the former Antipolo Church, now Antipolo Cathedral-rebuilt after the church was destroyed in World War II. From: PhotoSeed Archive

Old New York Strong

Apr 2020 | Documentary Photography, New Additions, Significant Photographers, Unknown Photographers

As New York City takes center stage for the role of viral epicenter it did not ask for, it has revealed a longstanding tenacity of spirit and resilience baked in- her very landmarks, monuments and memorials infused with the history of the shared past now standing silently yet propelling it ever forward. Combined with those higher graces of social inclusion and togetherness representing an ideal for American Democracy, these places and symbols will continue to forge and unite the connections between cultures, commerce and diasporas for the common good- in the days ahead and for the future.   -David Spencer

“Brooklyn Bridge”: Adolph A. Wittemann, American (1845-1938). Vintage Japan-tissue photogravure: 1889: printed ca. 1897-1900: Photogravure and Color Co. (New York): 8.8 x 17.1 | 12.6 x 19.7 cm | supports: 20.6 x 28.0 | 22.2 x 29.1 cm. Ferries and other marine craft navigate the East River in this pictorial view emphasizing the span of the famous bridge by Wittemann. Conversely, in a gelatin silver variant held by the Museum of the City of New York: “Looking over New York toward the Brooklyn Bridge”, (x2010.11.3891) the foreground frame shows a greater concentration of buildings and less river activity. In 1890,The Getty Research Institute’s Art & Architecture Thesaurus notes, Adolph Wittemann and his brother Herman would found The Albertype Company, a Brooklyn-based publisher employing the collotype (or albertype) photographic process. “The company operated from 1890 to 1952 and produced over 25,000 prints. The Albertype Company both produced their own photographs (Adolph was a photographer), as well as reproduced photographic images produced by other companies or individual photographers. Using the prints, the company published postcards and viewbooks. Viewbooks, also known as souvenir albums or view albums, are books that contain commercially published groups of photographs depicting a place, activity, or event.” From: PhotoSeed Archive

Detail: “Union Square”: unknown American photographer. Vintage Japan-tissue photogravure: ca. 1880-1900: printed ca. 1897-1900: Photogravure and Color Co. (New York): 10.8 x 16.4 | 14.5 x 18.8 cm | supports: 19.1 x 24.5 | 22.2 x 29.1 cm. Soldiers, possibly Cadets from the U.S. Military Academy at West Point, assemble in parade formation (Washington’s Birthday?) two abreast on the north side of Union Square in New York City. Everett House, a fine residential hotel that opened in 1853 at background center of photograph can be seen, and other clues might help a modern viewer more accurately date this view. They include an American flag flying at center, horse-drawn carriages at foreground left, a telegraph pole at foreground right and intact signs (upon close-magnification) on the building at far background left, directly behind the head of the line of soldiers. Located at 29 East 17th Street, it was the warehouse and shop for L. Marcotte & Co., a manufacturer and importer of fine carpets, furniture, and “looking glass plates, frames, gas fixtures, bronzes, and all articles of art”, according to an 1876 sales invoice, and is believed to have been at this location as early as 1860. From: PhotoSeed Archive

“Central Park” (Bethesda Terrace Steps): unknown American photographer. Vintage Japan-tissue photogravure: ca. 1885-1888: printed ca. 1897-1900: Photogravure and Color Co. (New York): 11.2 x 16.5 | 14.7 x 19.3 cm | supports: 19.8 x 25.3 | 22.2 x 29.1 cm. The Central Park Conservancy considers Bethesda Terrace- “the heart of Central Park and is, by design, its singular formal feature. Overlooking the Lake, it stands at the end of the Park’s long, tree-lined promenade known as the Mall. A grand staircase descends into the subterranean Arcade, which offers a welcome respite from rain and heat.” Shown in this photograph are the two flanking grand staircases for the terrace, designed by park architects Calvert Vaux with sculptural details by Jacob Wrey Mould. Although American commercial photographer John S. Johnston (c.1839-1899) was known to have documented features in Central Park in 1893-94, albeit with people in his views, this photograph, titled “Central Park-The Terrace and Grand Stairway”, first appeared in 1888 in the volume The Empire State: Its Industries and Wealth. (p.45) Later, it was included as part of a series of four architectural studies of Central Park bridges in the 1896 volume The Engineering Magazine, Vol. 11. (“The Terrace”: p. 863) The work was further published as “Terrace Steps, Central Park”- an offset color lithograph print souvenir inserted within the pages of The New York Recorder newspaper between 1891-96: see New York Public Library catalog ID (B-number): b17094307. From: PhotoSeed Archive

“City Hall Park, New York, March 2, 1896”: William H. Cooper, American. Vintage hand-pulled photogravure by the N.Y. Photogravure Co.: 18.0 x 22.9 | 27.6 x 34.8 cm. Plate issued with the March, 1896 Whole # 91 monthly issue of “Sun and Shade, An Artistic Periodical”. Snow from a late Winter storm coats trees and nearly everything else in New York City’s City Hall Park. From Wikipedia: “City Hall Park is a public park surrounding New York City Hall in the Civic Center of Manhattan. It was the town commons of the nascent city of New York… During the pre-Revolutionary and Revolutionary eras, City Hall Park was the site of many rallies and movements.” Photographer William H. Cooper was the President of the Department of Photography at the Brooklyn Institute of Arts and Science when this photograph was published. The editors of Sun and Shade commented on this work: “The present picture, taken it may be noted for technical readers, by a 2A Zeiss lens, is, without exception, one of the most remarkable productions, so far, which photography has produced. Every one who has seen the strange and peculiar aspect of leafless trees, when showered with fleecy snow, has longed to carry in his mind the memory of the pretty sight: but, until now, it is doubtful if such a weird aspect has ever been perpetuated; certainly not by the hand of a painter, for it would be far and away beyond any artist’s powers.” From: PhotoSeed Archive

“Statue of Liberty”: Edward H. Hart, American photographer. Vintage Japan-tissue photogravure: 1886: printed ca. 1897-1900: Photogravure and Color Co. (New York): 17.2 x 10.1 | 20.9 x 12.5 cm | supports: 23.5 x 20.0 | 29.0 x 22.2 cm. This rare view of the Statue of Liberty (Liberty Enlightening the World) in New York Harbor was taken in the year it was officially dedicated, which took place October 28, 1886. E.H. Hart was a New York City based photographer with a studio at 1162 Broadway when contracted by the Photo-Gravure Co. of New York in 1886 to make several views of the statue. The company copyrighted one of these that year, titling it “Liberty”. A surviving example in the form of a mounted woodburytype process photograph is held by the National Archives at College Park in the U.S. state of Maryland. (Identifier: 45701938) This variant view by Hart includes the intriguing presence of six people who appear as “ghosts” at the base of the pedestal to the statue, their likeness due to movement during the long time-exposure required. The photographer billed himself an official U.S. Naval photographer, although it’s unclear if he was actually an employee of the Federal Government. A contract photographer for the Detroit Publishing Company in the late 19th Century, he was the author and publisher of the 1898 volume “The Authentic Photographic Views of the United States Navy”. From: PhotoSeed Archive

“Grant Memorial”: John S. Johnston, American photographer, born England or Ireland. (c.1839-1899). Vintage Japan-tissue photogravure: 1897: printed ca. 1897-1900: Photogravure and Color Co. (New York): 10.6 x 14.8 | 14.5 x 17.4 cm | supports: 19.5 x 24.5 | 22.2 x 29.0 cm. Taken in early 1897, this New York City view shows bicyclists on Riverside Drive with the soon to be opened General Grant National Memorial in the background. Known more commonly as Grant’s Tomb, it is located in the Morningside Heights neighborhood of Upper Manhattan. The massive domed mausoleum in the Neoclassical style is the final resting place for American Civil War General and 18th President of the United States Ulysses S. Grant. (1822-1885) Grant led the Union Army as Commanding General of the United States Army in winning the American Civil War. A close inspection of this photograph reveals ongoing work to the front stairwell area to the memorial, with large boards erected lengthwise against the base of the large columns. It was dedicated on April 27, 1897, the 75th-anniversary ceremony of Grant’s birth on April 27, 1822. A known variant giving credit to Johnston is held privately, along with another more frontal view of the memorial and one example believed to be this very image at The Library of Congress. The library holds approximately 750 dry plate glass negatives of yachts and other marine craft views taken by Johnston when he was a contract photographer for the Detroit Publishing Company. A New York Times obituary for the photographer noted he “made a specialty of scenic photography. He photographed most of the United States warships during the war with Spain. He also photographed all of the international yacht races during the past ten years.” From: PhotoSeed Archive

March Madness: Old School

Mar 2020 | Alternate Processes, Documentary Photography, Sports Photography, Unknown Photographers

March Madness, the fanciful right of passage in the U.S. crowning a men’s and women’s national collegiate basketball champion, got cancelled this year. Instead, this aforesaid Madness has become a perfect descriptor for a reality that is the ongoing global pandemic caused by the COVID-19 coronavirus. Obviously, what little PhotoSeed contributes during this time of uncertainty are mere diversions, yet ones curated with the intent of promoting positivity for our shared love of the universal language that is Photography.

Detail: “Freshman Basket ball Team” (Smith College) Unknown American commercial photographer (possibly Amand Joseph “A.J. Schillare: 1856-1917 of Northampton who advertised “groups and dramatics a specialty” in the 1899 Class Book): Gelatin Silver print: ca. 1897 (15.9 x 21.1 cm | 18.2 x 27.5 cm loosely inserted within thin, manilla album leaf) These ten young women made up the Smith College Basket Ball Team for the 1900 graduating class. The photograph was taken approximately 4 years earlier, when they would have been freshmen. At center holding the ball is team captain Julia Carolyn Weston, (1877-1937) whose future daughter, Julia Child, (1912-2004: Smith College, class of 1934) became the legendary chef and famed American television personality. Known by her nickname “Caro”, Julia Weston was “known for her red hair, outspoken opinions, and sense of humor.” (source: Julia Child: My Life in France) This unique photograph is further annotated on the verso in graphite by team members in their own hand. Players left to right: Mary Tate Lord, Elizabeth Keniston, Frances Cruft Howe, Alida King Leese, Alma Hoegh, Carolyn Weston, Dorcas Floyd Leese, Agnes Patton, Helen Potter, Alice Morton. From: PhotoSeed Archive

Today’s post concerns the early history of women’s basketball, a game commonly spelled in the late 19th and early 20th centuries as two words: “basket ball”. What follows are a series of vintage photographs   from the PhotoSeed archive showcasing the origins of the collegiate game as it evolved on the campus of Smith College in Northampton, Massachusetts.

It was here, in 1892, less than one year after James Naismith invented the game in nearby Springfield, that newly appointed Smith College school gymnastics instructor Senda Berenson Abbott (1868-1954) would adapt the rules of the new game for women. By 1893, she had organized the first college game in history, between players from the sophomore class of 1895 and the freshman class of 1896. In so doing, Berenson changed history, and forever became known as the “Mother of Women’s Basketball”. A wonderful video on the dawn of the game at Smith featuring Senda’s accomplishments was written and produced by Kate Lee and can be found here on YouTube. Another link shows the earliest known film footage of the game played at Missouri Valley College in 1904. Enjoy our gallery!  -David Spencer

“Miss Berenson” (Senda Berenson Abbott: 1868-1954) Unknown American photographer: cyanotype: ca. 1897-99 (11.5 x 9.0 cm | 18.2 x 27.5 cm loosely inserted within thin, manilla album leaf) Known as the ‘’Mother of Women’s Basketball” Berenson was first hired as a gymnastics instructor at Smith College before becoming the Director of the Gymnasium and Instructor of Physical Culture there, adapting the first rules of women’s basketball in 1892. The game had been invented less than a year earlier by James Naismith in nearby Springfield, Mass. By 1899, Berenson had codified her rules for the women’s game, and in 1901, they were published in the volume “Basket Ball for Women” by Spalding’s Athletic Library. From: PhotoSeed Archive

“In the Gym” (Smith College: Northampton, Mass.) Unknown American photographer(s): cyanotypes: ca. 1897-99 (L: 11.9 x 9.1 cm | M: 9.3 x 3.5 cm | R: Detail: 7.3 x 9.7 cm) (18.2 x 27.5 cm loosely inserted within thin, manilla album leaf) Smith College students using the exercise and gymnastics equipment in Alumnae Gymnasium on campus are shown. Physical education for women was an important component of a collegiate education at Smith, especially after the college had built this new facility in 1890, one of the finest of its’ type in the country. Public sentiment however, beginning from Senda Berenson’s early tenure at Smith in the early 1890’s, was something she pushed back against- with obvious success. From her Wikipedia page: “Although the physical facilities were in fine shape, the notion that women should engage in physical exercise, much less be required to do so, was not then well-established. The prevailing atmosphere did not support the notion that women should engage in physical activity. Berenson would write, in 1894: “Until recent years, the so-called ideal woman was a small waisted, small footed, small brained damsel, who prided herself on her delicate health, who thought fainting interesting, and hysterics fascinating.” From: PhotoSeed Archive

Detail: “The Alumnae Gymnasium” (Smith College: Northampton, Mass.) Unknown American photographer: cyanotype: ca. 1897-1900 (9.3 x 12.0 cm | 18.2 x 27.5 cm loosely inserted within thin, manilla album leaf) It was in this building that the first women’s college basketball game in history took place on March 22, 1893 between players from the Smith College sophomore class of 1895 and the freshman class of 1896. The sophomores won, 5-4, during two, 15-minute halves under Naismith rules. The Late Gothic style building was built from red brick with brownstone trim and designed by architect William C. Brocklesby of Hartford, CT. Today it houses the Smith College Archives, and was saved from demolition in 1977 when it was moved 200’ from its original location in order to comply with a campus expansion. From: PhotoSeed Archive

“Basket Ball Day – Waiting for the Doors to be Opened” (Smith College: Northampton, Mass.) Unknown American photographer: cyanotype: ca. 1897-1900 (9.4 x 12.3 cm | 18.2 x 27.5 cm loosely inserted within thin, manilla album leaf) With some students holding class pennants used to cheer their team on, a long line of Smith women’s basketball fans wait two and three deep for the doors to be opened at Alumnae Gymnasium at far left. At far right is the former gym, a much smaller wooden structure, which originally opened in 1879 soon after the school opened. From: PhotoSeed Archive

“The Gym, decorated for the Basket Ball Game” (Smith College: Northampton, Mass.) Unknown American commercial photographer: cyanotype: ca. 1898 (17.4 x 24.4 cm found loose within disassembled album with leaves each measuring 18.2 x 27.5 cm) Alumnae Gymnasium, opened in 1890, is shown decorated with bunting above the second level at left and at far right with the different class years represented: 98’, 99’, 1900, 1901. The occasion is believed to be a game between teams from the 1900 and 1901 classes, which took place on March 26, 1898. (1900 team won, 30-11) In the early years when this photograph was taken around 1898, basketball as a women’s sport was played on the intramural level, with the various class years from the same college playing against each other. Wikipedia states Senda “Berenson herself opposed intercollegiate play for women, and prioritized the health and fitness benefits for a larger goal”. From: PhotoSeed Archive

Detail: “The Gym, decorated for the Basket Ball Game” (Smith College: Northampton, Mass.) Unknown American commercial photographer: cyanotype: ca. 1898 (17.4 x 24.4 cm found loose within disassembled album with leaves each measuring 18.2 x 27.5 cm) Seated along a second level railing in Alumnae Gymnasium with their legs dangling over the side of the court are a group of women with one having a strong resemblance to Senda Berenson (third from right with 01 usher standing behind her) along with upperclassmen and most likely several teachers. From: PhotoSeed Archive

“The Match Game ’99 vs 1900” (Smith College: Northampton, Mass.) Unknown American photographer: cyanotype: ca. 1897 (9.6 x 12.2 cm | 18.2 x 27.5 cm loosely inserted within thin, manilla album leaf) This basketball game is believed to have been played on Saturday, March 27, 1897. This blurred view shows members of the Smith College class of 1899 and 1900 teams playing each other on the floor of Alumnae Gymnasium. The following description of some of the game rules were included in the article “Basket-Ball at Smith College” by Elizabeth Fisher Read published in The Outlook on September 26, 1896: “During the winter the games are played in the Alumnae Gymnasium. The floor of the gymnasium is marked off into three divisions, each of which forms the territory of a certain number of the players on each side. In each of the end divisions is a goal—an eighteen-inch cylinder or basket, the mouth of which is ten feet from the floor. The object of the game is to get the ball into the basket. At Smith a regulation Rugby football is used. Each basket is protected by three “homes”—players on the side to which that goal belongs, whose object is to get the ball into the basket. In the same territory stand three “guards,” players on the other side, who try to prevent their opponents from scoring. In the middle division the “centers,” four in number, play. The center players on each side try to get the ball when the referee puts it into play by tossing it out among them, and to pass it along from one member of the team to another, until it reaches the homes, and a goal is scored. The side scoring the most goals in forty minutes wins the game. The game is played in two halves of twenty minutes each, with ten minutes’ intermission.” (p 557) From: PhotoSeed Archive

Left: “1900 Mascot” Right: “Margery Ferriss Captain of 1902 Team (along with) 1902 Mascot & 1902 Ushers” (Smith College: Northampton, Mass.) Unknown American photographer(s): cyanotype: ca. 1897-1899 (Left: 8.4 x 6.6 cm Right: 11.9 x 8.4 cm | 18.2 x 27.5 cm loosely inserted within thin, manilla album leaf) Team spirit for the new game of Basket Ball at Smith was ever present, with fans and students wearing distinctive colors on the big day. Each class even had their own “Mascot” : a young child dressed up for the occasion. At left, the 1900 class mascot wears a fancy child’s dress while holding a banner. By 1902, team captain Margery Ferriss, standing in front of Alumnae Gym, holds the hand of the class year Mascot, sporting a miniature version of the team outfit that she herself wears. The following description of game spirit at Smith was included in the article “Basket-Ball at Smith College” by Elizabeth Fisher Read published in The Outlook on September 26, 1896: “While waiting for the teams to come out, the students while away the time by singing songs gotten up for the occasion. These songs consist of lines appropriate to the situation, in praise of the class or the team, set to some popular melody. From time to time both sides join in singing some song of general interest. As each member of the Faculty comes in, he is greeted with cheers and with his verse of the “Faculty song.” During the actual playing no singing is permitted, but in the intermission it is renewed with increased vigor, the winning side trying to express their approval and pleasure, the losers trying to cheer up their team to greater efforts. After the game cheers, songs, and a triumphal parade end the contest.” (p. 558) From: PhotoSeed Archive

“1902 Freshman Basket-Ball Team” (Smith College: Northampton, Mass.) Unknown American commercial photographer (possibly Amand Joseph “A.J.” Schillare: 1856-1917 of Northampton who advertised “groups and dramatics a specialty” in the 1899 Class Book): cyanotype presented as triptych within album leaf : ca. 1898 (Left: 13.2 x 3.6 cm Middle: 13.1 x 3.4 cm | Right: 12.6 x 6.0 cm | 18.2 x 27.5 cm thin, manilla album leaf) In this unusual variant from one published featuring 11 players in the 1902 Smith Class Book, only six players are shown. At far left, team captain Margery Ferriss holds the Smith pennant. Margery May Ferriss Semple (1880-1950) was originally from St. Louis, MO. 1902 team members were: Homes: Juliet Patten, Constance Patton, Helen Walbridge; Guards: Margery Ferriss, Harriet Emmons, Louise Vanderbilt; Centres: Eda Bruné, Agnes Inglis, Mary Glover, Katherine Harter. From: PhotoSeed Archive

“Basket Ball on the Back Campus” (Smith College: Northampton, Mass.) Unknown American photographer: cyanotype: ca. 1898-1900 (9.1 x 11.7 cm | 18.2 x 27.5 cm loosely inserted within thin, manilla album leaf) It is unclear if this view shows a basketball game in progress or perhaps a practice, since no goals are seen. The student at front right holds some type of cylinder on top of her head-possibly signifying the placement for where the goal would be located? The following description describes basketball played during the Spring at Smith, included in the article “Basket-Ball at Smith College” by Elizabeth Fisher Read published in The Outlook on September 26, 1896: “In the spring the playing is done on a ground laid out on the campus. The pictures accompanying this article were taken on this out-of-door ground. The gymnasium suit shown in the pictures is the dress worn by all the gymnasium classes. It consists of a blouse with Turkish trousers. These out-of-door games are very popular with the students. The ground is nearly always surrounded by interested spectators when a game is going on.” (p. 558) From: PhotoSeed Archive

“Women’s outdoor Basket Ball Game: New England or Mid-Atlantic States” Unknown American photographer: gelatin silver print: ca. 1905-10 (11.4 x 17.0 cm – photograph enclosed within gummed manilla postal envelope engraved with spot hand-coloring on recto: “Kodak shots and postal cards Of many a pleasant view – Will bring the golden memories back Of happy days to you”) A rare surviving photograph featuring outdoor basketball action between two women’s collegiate teams is shown. Notice the ball aloft just above one of the suspended nets near the center of the composition, featuring an open-style backboard. A throng of fashionably dressed young women (and a lone gentleman) watch and cheer on the sidelines in the background. This game may have taken place as part of popular “Field Day” exercises colleges were known to host in the early Spring. Women’s basketball as a sport that in turn promoted good physical conditioning may have started at Smith in the early 1890’s but soon spread rapidly around the country: “Soon thereafter women at Wellesley, Vassar, Radcliff, and other women’s colleges and “normal schools” in the Northeast took up the sport. It was only a matter of time before basketball was being played by girls and women at high schools and colleges across America-including Montana.” (Source: “The Girls’ Basketball Team from Fort Shaw” by Linda Peavy and Ursula Smith in: Native Athletes in Sport and Society: edited by C. Richard King: University of Nebraska Press, 2005. (p. 44) From: PhotoSeed Archive

  The provenance for these photographs with the exception of the final one taken outdoors were part of a disassembled album that formerly belonged to Mary Ruth Perkins, a 1900 graduate of Smith who was Chairman of the 1900 class yearbook committee. Three students are given credit in the 1900 Class Book as having contributed photographs: Alma Hoegh, Cornelia Amey Kingman, Ora Mabelle Lewis.

A Day for Rainbows

Jul 2019 | Documentary Photography, New Additions, Unknown Photographers

A Happy Fourth of July to All!

“Rainbow Pool Fountain & Washington Monument”(Washington, D.C.) : ca. 1925-30: Unknown Brooklyn photographer: vintage gelatin silver print: 11.4 x 8.9 cm | 17.7 x 12.6 cm. Designed by landscape architect Frederick Law Olmsted, Jr., “the fountain for this pool was designated the “Rainbow Fountain” in October 1924, when during a trial run just before its dedication a rainbow formed above the fountain’s spray. Operating with 124 nozzles arranged in an elliptical pattern near the outer edge of the pool, and with two clusters of nine north and south of the center, the fountain made a “hazy vista”. (source: National Park Service: Cultural Landscape Report-Lincoln Memorial Grounds-undated pdf document-p. 35) Originally situated between the Lincoln Memorial Reflecting Pool (to the west), and 17th Street NW, (to the east) the fountain and reflecting pool was integrated into the National World War II Memorial in 2001. With the original source negative for this photograph taken in daylight, the photographer has manipulated the image-darkening the sky to make the fountain jets stand out against the backdrop of the Washington Monument. From: PhotoSeed Archive

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