Sometimes we wonder Why we keep calling the same number When the telephone rings Until we return the phone to the receiver Maybe someday Our Father will answer And laugh as He says “I’ve been waiting for your call all week”
I recognize that “Until we return the phone to the receiver” calls out my age and the year this poem was written.
I cannot pretend to know or understand what your experiences have been. If you connected with this poem, the comments section is for you to share your thoughts and/or experiences.I am grateful to anyone that chooses to share – I make that space for you.Thank you for taking the time to read this poem today.
“Hattie” Reams Vande Riet sat still in an ornate wicker chair at New York Art Gallery at 305 E. Broad St. in Richmond VA approximately one hundred years ago. This posed cabinet card captured her green, light hazel, or dark blue eyes and brown hair rolled into an ornate nest Gibson Girl above her head. Her neck scarf collar and broach with necklace and pinky ring are all carefully selected indications of her class. She was stunning and when I found her at Luxor in 2010 and fell in love.
What I know so far is that Hattie is a nickname for Harriet, Henrietta, Henriette, Helen, or many other traditional female names. Based on the type of cabinet card, photography chemicals used (gelatin bromide over Baryta I think – cannot confirm without damaging the photograph), and the style of attire, the photograph is from the 1890s – 1910s. Hattie appears to be at least 16, placing her year of birth to be in the 1880s – 1900s if she is exceptionally young looking and in her 20s. Given her lack of pierced ears, her jewelry, and her ring placement, she is educated and affluent or hoping to appear as such. It is unclear whether the photograph is pre or during World War I given the hairstyle, though the Gibson Girl fell out of fashion after World War I and during the Influenza Epidemic placing the photograph as no later than the 1910s.
One possible option I tracked down is here. There is some conflicting information between the name on the card and the name listed here. The cursive on the back of the card lacks the spaces and capitalization. So far this is my best lead, but unfortunately, all of the relatives listed on this family tree are deceased.
Do any of those names look familiar to you? Are they your parents, great grandparents, or great great grandparents? Is Hattie your family member?
I collect cabinet cards, but Hattie is special. Whenever I obtain a cabinet card with more information than a face, I can’t help but try to find out who these pictures captured. Early photography was a synergistic art form between timing, chemistry, and the capturing of minutes as opposed to hours in time in a way that was lifelike and included human flaws, and thus souls in the opinions of some, unlike portrait painting where commissioned manipulations by the upper-classes were more common (a study of the portraits of Queen Elizabeth I is one of the most famous on this topic).
At the time I purchased her photograph, I also found one of an unnamed blond-haired post-mortem (the 1860s – 1880s based on photography method) toddler boy forever alone in his Christening clothes and forgotten by the family that knew him so briefly. I find it important that he never be alone again. I will never digitize his photo for ethical reasons. (I have a love of Hidden Mother Photography and other early child portrait methods. They fill me with warm fuzzies. I will go into these in another post dedicated to early child portrait photography.)
The Cabinet Card Descendants Project
The first cabinet card that is part of this project is Hattie. She was the first cabinet card I purchased with this level of detailed information and therefore I will focus on her first.
Very few cabinet cards have enough information to connect them with their families once they’re separated. My mom’s family is lucky enough that every cabinet card we’ve ever had taken is still in our family’s possession (that we know of) – including the (sometimes broken) glass negatives. Photography became related to spirituality in the South, particularly in the late 19th and early 20th centuries as family members died farther and farther away from home without the constant love and contact they once had. Families dispersed across the United States, mailing cabinet cards through the United States Postal Service to loved ones back home with the superstition that each one of these cards contained a small piece of their soul – a gift to be cherished. This bit of superstition was one relayed to me through family legend and is not one I can put much stock in (hope you enjoy the pun there), but many did at the time the photos were created.
I do not fault families for giving these away. Superstitions die over time and are entirely relative to where you are from. The belief in a soul and the afterlife is questionable in the face of modern skepticism. That said, I am making an effort to digitize every cabinet card I get that has names associated with the faces. I will then provide research to attempt to reconnect to the original portrait studios to see if I can start adding names to the other cabinet cards. This way they can be digitized and added to other genealogy websites.
A Note On Cultural Differences
For readers in the UK, please note there are cultural and chemical differences in cabinet card photography between our continents. I have run into the issue previously with discussing old photographs where readers from the UK (and for some reason only the UK) try to impose assumptions on antique photographs from the US based on cultural history and expectations associated with the Edwardian and Victorian eras elsewhere in the world and argue this without doing their research and fact checking. Please do not do this. This is not how history works. At all. Seriously.
The United States experienced a massive social upheaval from the 1840s through the 1940s in a very different way than that of the UK and rest of the world. Every culture and even subgroup has its unique history that can be contributed and needs to be exposed as opposed to erased. This project is about exposing what is objective. I cannot work based on incorrect cultural assumptions here and I need to be able to make corrections so I can reconnect individuals. Some of the unique experiences in the United States had to do with the size of our country and how its population spread out with the rise of the railroad and westward expansion. The rise of the Spiritualism movement (very different from Spiritualism in the UK) also had a role to play in photography at the time, but likely had to less to do with this particular photograph.
How You Can Help
If you have information that can help track down Hattie’s living family members, either by knowing someone that shares a name or if you recognize her face as a relative of yours, please feel free to share any leads you may have. I will take my time to check out each one and provide updates on this website. If anyone wants, I may even start a YouTube series dedicated to this project and tracking down the descendants so they can meet their long lost great grandparents through photographs.
You can send tips to lopotterwrites at gmail dot com. You can also help by liking, sharing, and talking about Hattie! Let’s help find Hattie together.
Thank you so much for taking the time to read this today.I look forward to helping Hattie find her family and moving on to the next cabinet card in my collection with information and will continue to post information on cabinet cards and the history of portrait photography and how it relates to superstition and spirituality in the United States in the 19th and early 20th centuries.