I collect photographs dating from the 1840s to the 1940s. I am drawn to these images as irreplaceable and almost magical glimpses into our collective history, time capsules of past moments preserved only on fragile glass and paper. These are not for sale. I’ve digitally imaged them here to increase the chance of their survival and to share them with others who may enjoy them as well. I’m not an expert, but I’ve identified people, places, and ages of the images to the best of my ability based on occasional notes on the backs, paper and printing, and on the contents of the images.

- Robert Beauford

 

1890 to 1900 Photographs

Cabinet card photograph (1891-1894) of a young couple in a portrait studio setting. The woman is wearing a very characteristic 1890s dress and jacket with moderately puffed leg of mutton shoulders and a more relaxed bodice than one generally sees i

Cabinet card photograph (1891-1894) of a young couple in a portrait studio setting. The woman is wearing a very characteristic 1890s dress and jacket with moderately puffed leg of mutton shoulders and a more relaxed bodice than one generally sees in the previous decade. She wears 2 rings on the first and third fingers of her left hand, and holds a rose corsage in her right. The edge of a ring is just barely visible with magnification on the man's left hand as well. The couple are also wearing matching small corsages, suggesting this could be a wedding photograph. The photo is mounted on a pastel yellow card, a style generally popular in the 1870s and 1880s. The uneven scalloped edge of the card suggests the period from 1887 to 1894. The photographer imprint indicates Charles Klotter, a known photographer that worked in St. Louis from 1881 to 1898, and at 2709 N. 14th Street in St. Louis from 1891-1895. This combination suggests this photograph originated between 1891 and 1894.

1892-1910 albumen print photograph in 4" by 5 1/2" inch horizontal format showing the Pecos Viaduct bridge in use by a steam locomotive. The bridge is more often called the Pecos High Bridge. The Pecos High Bridge was completed in 1892, and was at th

1892-1910 albumen print photograph in 4" by 5 1/2" inch horizontal format showing the Pecos Viaduct bridge in use by a steam locomotive. The bridge is more often called the Pecos High Bridge. The Pecos High Bridge was completed in 1892, and was at that time the highest bridge in the US and the 3rd highest in the world. It was 322' 10 3/4" tall, and served the Galveston, Harrisburg and San Antonio Railway on the Sunset Route, the first southern transcontinental connection. It is quite a famous landmark, and there are many images of it in existence, many from the same angle as this photo. The spot is now a Texas scenic roadside park. Not only are there many pictures from the same spot, there are at least a number of existing copies of what appear to be this same photo, printed from the same negative. A stamp on the back of the image says "Pecos High Bridge 321 Feet High 2180 Feet Long." The image may have been sold to train passengers as a memento or by a regional photographer. The bridge was reinforced in 1910 and several times after, altering the appearance in each instance. This photo reflects the first (1892-1910) design. The albumin print is mounted to a simple 8x10 card (in very poor condition) with dark grey tint to the front and no tint on the back. The edges are beveled. The photo cannot pre-date 1892. The albumin print and simple mount would be very atypical after about 1900, though it is not impossible within the first few years of the new century. It would have been much more common in the 1890s, however, suggesting the image probably dates within the range 1893 to 1900.

Cabinet card (circa 1890 to 1896) gelatin or collodion photograph of an African American lady showing only her bust and head. Her dress is unusual. Both of her ears are pierced, and it looks like the left one may be pierced twice. She's wearing an

Cabinet card (circa 1890 to 1896) gelatin or collodion photograph of an African American lady showing only her bust and head. Her dress is unusual. Both of her ears are pierced, and it looks like the left one may be pierced twice. She's wearing an ornate, twisting earring in the right lobe, and what looks like both a small stud and small loop in the left, as well as an ornament in her hair. The metallic gold foil of the photographer's stamp strongly suggests the early to mid 1890s, and other clues are consistent with this. The photographer's imprint indicates the Montgomery family of photographers, who worked in Yoakum, Victoria, Weimar, and Eagle Lake, Texas, from the 1890s to early 1900s. The Montgomery brothers included, at least, Joe (H?) Montgomery, J. F. (James Frank?) Montgomery, and Thad Montgomery. Some cards show 'Victoria and Yoakum,' and others show 'Yoakum and Eagle Lake.' A trace of a sign on the second floor of a building at 118 W. Grand Avenue in Yoakum says "Montgomery the Photographer."

Cabinet card photograph (1895-1899) of 3 young adults in a studio setting. The 2 young ladies wear dresses in the distinctive fashion of the 1890s, with pronounced mutton shoulders. The woman on the right has a ring on the 3rd finger of her left ha

Cabinet card photograph (1895-1899) of 3 young adults in a studio setting. The 2 young ladies wear dresses in the distinctive fashion of the 1890s, with pronounced mutton shoulders. The woman on the right has a ring on the 3rd finger of her left hand. The young man wears a tie tack through the knot of this tie, a habit of the 1880s and 1890s. It is decorated with the letter S. A watch fob is also visible attached to his top vest button. He is holding a book, which is probably a studio prop. There are a number of photographs on the table in front of the group. The photo is mounted on a 'pearl' (off white) front coated card with an uncoated back. The edges are evenly scalloped, which is most common from about 1895 to 1900. There is no imprint on the back of the card. The photographer imprint at the bottom front says 'Huff Sisters Stockton Mo.' Linnie Jane Huff and Nettie Huff operated a studio in Stockton, Missouri, for 54 years, from 1893 to 1947.