Crittenden County, KY Historical Society Album 2

 

 

Crittenden County, KY Historical Society - Album No. 2

 

The Album

     This album is the second of two that reside in the Crittenden Co., KY Historical Society collection.  I was kindly allowed to use a laptop and a scanner to copy the photos. 

     The original owner of the album is not known.  It almost goes without saying that the original album owner was female.  Males generally did not and generally still do not collect mementos of their youth or even keep up previous or youthful friendships, as these photographs represent.

      The album is found to contain the photographs of Florence (Pierce) Yandell, her husband (or husband-to-be) William B. Yandell, her father James Perry Pierce, her mother Emeline (Rolston) Pierce, and her brother Ira Tilden Pierce.  But the album does not appear to have been kept by Florence herself, since her photos are marked with her name and the name of her husband, as if she was an acquaintance of the album owner, but not in the immediate family of the album owner.  Florence kept a large number of photographs loose rather than in an album.

     The presence of such a large number of Pierce and Yandell photos does indicate that the album owner was someone close to the family, as mentioned, not in the Florence (Yandell) Pierce's immediate family, but perhaps a cousin or other distant relative.  The large number of photographs from the Douglass studio, Evansville, Indiana suggests that the album owner lived in or near Evansville, Indiana or its near neighbor across the Ohio River, Marion, Kentucky, where, apparently, either Douglass had a branch or people traveled to Evansville for their photos.

     The large number of photos of teenagers from the W.S. Lively studio in McMinnville, Tennessee implies that the album owner probably attended the girls' school in McMinnville.

 

Numbering

     The photographs within this album comprise part of three collections of photographs from Crittenden Co., KY and associated with Florence (Pierce) Yandell or her family, referred to as:
     1) FPY Loose Photos - a collection of loose photographs originally belonging to Florence (Pierce) Yandell (1861-1938), which were found in the attic of the house she formerly occupied,
     2) Crittenden County Historical Society (CCHS) Album No. 1, an album in the collection of the Crittenden Co., KY Historical Society, and
     3) Crittenden County Historical Society (CCHS) Album No. 2, another album at the Crittenden Co., KY Historical Society.

     Within this the overall collection, photos from the Florence (Pierce) Yandell loose photos are numbered FPY 001 through FPY 192; photographs from the Crittenden County, Kentucky Historical Society Album No. 1 are numbered CCHS 197 through CCHS 248; photographs from the Crittenden County, Kentucky Historical Society Album No. 2 are numbered CCHS 249 through CCHS 279.

 

Order of the Photographs

     The order of numbering of the CCHS photographs in the two albums was as they appeared front to back in the album.  In this case, some photos might have been mounted  adjacent to each other,, e.g.,,a husband and wife facing each other in sequential pages. or children next to parents.  Therefore, the order of CCHS photographs may have significance, and should be kept in mind during identification.a husband and wife facing each other in sequential pages. or children next to parents.  Therefore, the order of CCHS photographs may have significance, and should be kept in mind during identification.

     The FPY photographs were loose and not apparently arranged in any kind of order.  They were first reviewed in the order received.  Later, some photos were pulled out and grouped with other photos, using one of the following criteria: photos containing similar-appearing or the same person, photos having the same type of mount, or photographs of a similar era, e.g., CDVs.  Finally, all photos not pulled into a grouping were placed at the end, according to age - CDVs, then cabinet cards, then later mounted cards, and last, unmounted photos.  For this reason, the order of the FPY photographs has no significance, and should be ignored.

 

Identification

     Most of the photos are not identified, but a few were either marked on the back or by inscriptions on the album page. 

     The filename of each photograph is given to the right in order to keep the notes associated with the correct photo.  These filenames may have names and appear to identify the subject, but they were tentative guesses made at the time of scanning and may be completely wrong.  Please pay attention to the notes below the filenames, which represent the most recent identification and reason/logic for the identification.

     Where such a back or album inscriptions was present, it is described in the notes to the right of the thumbnail.  Since a photograph is not generally removed from its place in the album (which tends to rip the album), such back inscriptions are assumed to have been written by the original album owner and written contemporaneously with the photography.  Therefore, back inscriptions are assumed to be correct unless overwhelming evidence shows them not to be.

     Where there is an inscription on the album page, it was usually added by a member of the historical society.  Such an inscription would have been added much later than the year when the photograph was taken.  The inscribing person might be basing the identification on knowing the person during their lifetime and recognizing them at a younger age, or basing the identification on having seen a copy of the same photograph or other photographs of the subject that had been already identified.  Album inscription are therefore dependent on the memory of a local person, and tend to be correct, but not necessarily so.

     When a photographer's logo or name is present on the photo mount, it is also quoted in the notes; the location in which a photo was taken often provides an important clue as to the identity of the subject, as well as a probable important location in the life of the subject, such as a school location.

     The firmest identifications of unmarked photographs are those involving the James Perry Pierce extended family, for which there exist a large number of other photographs that were identified and mounted by a member of the family shortly after the photographs were taken.

     When the identity of the subject of a photograph is uncertain based on other photographs that are already identified, a primitive facial recognition method is used, in which the photo to be identified is 1) cropped so that the eyes are exactly horizontal, 2) sized so that the head top to chin distance is the same as an identified photograph to which it is to be compared, 3) copied and pasted to a photoshop file containing the identified photograph, and finally, 4) comparing the width of the eyes, the width of the cheekbones, the position of the nose, the position of the mouth, and the presence of any other facial features, such as a cleft chin, freckles, moles, etc. 

     Leaps of logic, tenuous connections, and similar guess have been liberally used.  All identifications are to used with a grain of salt.

 If I have made errors, and you have correct or additional identification/information, please contact me (mathew_brady@msn.com and allow me to correct the errors.

 

Cast of Characters:

     This album contains photographs mainly from the children and extended family, and perhaps friends and acquaintances of Florence (Pierce) Yandell (1861-1938) and her husband, William Bennett Yandell (1857-abt. 1930) :

 

 

 

 

  249

 


CCHS 249:
  Cabinet card (4x6" photo), marked on back: "Norval Lee Pierce Jan. 28, 1888 Age 16".

Photographer:  On the front: "Douglas, Evansville, Ind."
     CCHS 249 is printed in brown ink on buff background, the "Douglas" simulates a signature; the remainder is printed in all caps.  CCHS 257 has the exact same design and font except that it is gold ink on black background.

Subject:  Norval Lee Pierce (1871-1951), son of James Perry Pierce (1841-1916) and Emeline F. (Rolston) Pierce (1840-1895), and husband of Margaret Ramey (Bond) Pierce (1874-1970).

Date:  c. 1887.

Lower Image:
      Comparison of images known or suspected of being of Norval Lee Pierce (1871-1951), in order of increasing age from left to right.
      The source of the images (e.g., CCHS 209) are overlain on the images.  They are (left to right): ALBUM 4 PT1 0057, CCHS 214, ALBUM 4 PT1 0058, CCHS 249, ALBUM 4 PT1 0067, FPY 021, FPY 155, FPY 022, ALBUM 2 0059, and ALBUM 2 0058.
250 



CCHS 250:  Cabinet card (4x6" photo); unmarked as to subject or date.

Photographer:  "Klauber, Photo. Louisville", printed on the front bottom of the card.  There are three Klauber cards in this collection: CCHS 214 Norval Lee Pierce (1871-1951), CCHS 227 Cora A. Pierce (1869-1915), and CCHS 250 Florence Emeline Pierce (1861-1938).  CCHS 214 and CHS 227 are both CDVs, having an identical light green card; CCHS 250 is a cabinet card having a pink card.

Subject:  Florence Emeline Pierce (1861-1938), identification from comparison to identified photographs.

Date:  She appears to be in her early 20's, consistent with c.1884, the estimate for the other two Klauber photos.

Lower Image:
     The tentative identification comes from a comparison of all known or suspected images of Florence, in approximate order of age, which is shown in the lower image.
     The source of the images (e.g., CCHS 217) are overlain on the images.  They are (left to right): FPY 054, CCHS 268, CCHS 250, FPY 092, CCHS 217, CCHS 216, FPY 008, CCHS 224, CCHS 225, and ALBUM 3 PT1 0019.
 251
CCHS 251:  Cabinet card (4x6" photo), unmarked as to subject or date.

Photographer:  Wybrant, 329 W. Walnut St., Louisville, Ky.

Subject:  This photograph is clearly the same man is Image FPY 088

He is one of the eight sons of Jacob Ayhart Pierce (1842-1930) and Elvira (Oliver) Pierce (1845-1929).

The sons can be distinguished using two images that unambiguously identify the eight brothers: Miscellaneous Image 003 and Miscellaneous Image 004.

These show that this photo is of Richard Miles Pierce (1874-1959).  He was a farmer in Livingston Co., KY until his 50's, when he and his family moved to Detroit, MI.  In 1930, He and wife Jessie are listed as  performing janitorial duties in the Union Trust Bldg.

He is the subject of three cabinet cards in this collection: Image FPY 088, Image CCHS 204 and Image CCHS 251 (which is another copy of the same photo as FPY 088). 

Date:  c.1895
 252 CCHS 252 same photo as 035, probably Joseph Oscar Pierce-500.jpg 
 253 CCHS 253 Clarke photographer, New Orleans [same man as 213]-500.jpg 
 254 CCHS 254-500.jpg 
 255 CCHS 255 'Your Friend - John'-500.jpg 
 256 CCHS 256-500.jpg 
 257 CCHS 257:  Cabinet card (4x6" photo); unmarked as to subject or date. 

Photographer:  On the front: "Douglas, Evansville, Ind."
     CCHS 249 is printed in brown ink on buff background, the "Douglas" simulates a signature; the remainder is printed in all caps.  CCHS 257 has the exact same design and font except that it is gold ink on black background.

Subject:  Unknown

Date:  c.1890.
 258 CCHS 258 Harry Johnson September 2, 1886-500.jpg 
 259 CCHS 259-500.jpg 
 260 CCHS 260-500.jpg 
 261


CCHS 261:  Cabinet card (4x6" photo), unmarked as to subject or date, but noted to be the same man as in CCHS 205.

Photographer:  Poole Art Co., Nashville, Tenn.

Subject:  William Bennett Yandell (1857-1940), husband of Florence Emeline (Pierce) Yandell (1861-1938).  Since the albums and photographs in this collection are associated with Florence Yandell, there are a relatively large number of photographs of her husband.  For identification, see lower image.

Date:  c.1885.

Lower Image:
      Comparison of images of William Bennett Yandell (1857-1940), husband of Florence Emeline (Pierce) Yandell (1861-1938) from various sources in this collection of images.
     The photo on the far right is definitely identified as Yandell, from a written description contemporary with the photo.  The remainder were added working backwards in time comparing photos to the right and left until reaching the photo on the far left, at his youngest.
     The sources of the images (e.g., CCHS 205)  are overlain on the images:  CCHS 205, CCHS 261, CCHS 212, FPY 009, FPY 010, FPY 011, ALBUM 4 PT1 IMG 0065.
 
 262 CCHS 262  copy photo-500.jpg 
 263 CCHS 263 exact same mount as 264 [prob. Thomas M. Ramey]-500.jpg 

Numbering was fouled when filenames were chosen.
The same mount is CCHS 265.

Also, even though this photo resembles him, this is probably not Thomas M. Ramey, since he lived in Carroll Co., KY.
 264 CCHS 264 [Thomas Moses Ramey]-500.jpg 

Even though this photo resembles him, this is probably not Thomas M. Ramey, since he lived in Carroll Co., KY.
 265 CCHS 265 exact same mount as 263 [prob. Louellen (Gould) Ramey]-500.jpg 


Even though this photo resembles her, this is probably not Louellen (Gould) Ramey, since she lived in Carroll Co., KY.
 266 CCHS 266-500.jpg 
 267





CCHS 267: Unmarked cabinet card (4x6" photo).

Photographer:  Willis & Coquilette - a studio photograph using a painted backdrop; location unknown.  The only Willis & Coquilette photographs in this entire collection are FPY 002, CCHS 267, and CCHS 268).

Subject: 
     CCHS 267 and CCHS 268 are two adjacent photos in the album, having identical Willis & Coquilette labels.  They appear to be mother and daughter.  There is only one other Willis & Coquilette photo in all the Crittenden Co. photographs, and that is FPY 002, a photo of James Perry Pierce.  Considering the rarity of the studio here, it is highly likely that these three people visited the photographer together and the photos were taken on the same occasion.  This suggests that the people were in the same family.
     Comparing 267 and 268 to photos of James Perry Pierce's wife Emeline and first daughter, Florence, e.g., FPY 084, it appears that CCHS 267 is indeed Emeline (Rolston) Pierce (1840-1895) and that CCHS 268 is indeed daughter Florence Pierce (1861-1938), probably before her marriage to William B. Yandell.
     I had made a note "mother of 268 and same as in 238".  Sure enough, CCHS 238 is a standing figure of this same woman, Emeline (Rolston) Pierce.
     This image is included in the image strip used to compare known and suspected images of Emeline Pierce (see MISC 013).

Date:  I had previous estimated the date of FPY 002 as c.1880.  Emeline would be 40 in 1880.  Her appearance is consistent with 40 years old.

Lower Image:
     Comparison of images known or suspected of being of Emeline F. (Rolston) Pierce (1840-1895), in order of increasing age from left to right.  See MISC 013.
     The source of the images (e.g., CCHS 209) are overlain on the images.  They are (left to right): FPY 070, CCHS 238, CCHS 267, ALBUM 4 PT1 0055, FPY 004, and CCHS 201.
 268


CCHS 268:  Unmarked cabinet card (4x6" photo).

Photographer:  Willis & Coquilette - a studio photograph using a painted backdrop; location unknown.  Willis & Coquilette are the photographers for FPY 002, CCHS 267, and CCHS 268).  Considering the rarity of the studio here, it is highly likely that these three people visited the photographer together and the photos were taken on the same occasion.  This suggests that the people were in the same family.

Subject: 
     CCHS 267 and CCHS 268 are two adjacent photos in the album, having identical Willis & Coquilette labels.  They appear to be mother and daughter.  There is only one other Willis & Coquilette photo in all the Crittenden Co. photographs, and that is FPY 002, a photo of James Perry Pierce.  Considering the rarity of the studio here, it is highly likely that these three people visited the photographer together and the photos were taken on the same occasion.  This suggests that the people were in the same family.
    Looking at the family in question, it appears that the subject is Florence Emeline Pierce (1861-1938), identification from comparison to identified photographs (see Lower Image).

Date:  c.1880.  This is the date that the other Willis and Coquilette photographs appeared to have been taken.  Florence would have been 19 then, and, indeed, her appearance is consistent with 19 years old.

Lower Image:
     The tentative identification comes from a comparison of all known or suspected images of Florence, in approximate order of age, which is shown in the lower image.
     The source of the images (e.g., CCHS 217) are overlain on the images.  They are (left to right): FPY 054, CCHS 268, CCHS 250, FPY 092, CCHS 217, CCHS 216, FPY 008, CCHS 224, CCHS 225, and ALBUM 3 PT1 0019.

 269 CCHS 269-500.jpg 

This appears to be John T. Franks, the same man (and same pose although he looks younger here) as in CCHS 247.
270 CCHS 270 Geo. H. Simmons-500.jpg  On front of black card: "Kimsey, Henderson, Kentucky".  Henderson is in the metropolitan area of Evansville, Ind.
 271 CCHS 271-500.jpg 
 272


CCHS 272:  Cabinet card (4x6" photo), unmarked as to subject or date.

Photographer:  "Wybrant, 329 W. Walnut St., Louisville, Ky.".  There are only three Wybrant cards in the image collection:  CCHS 211 probably Joseph Oscar Pierce (1872-1950), CCHS 251 Richard Miles Pierce (1874-1959), and CCHS 272 probably John Stanton Pierce (1869-1944).

Subject:  Probably John Stanton Pierce (1869-1944),  the son of Jacob Ayhart Pierce (1842-1930) and Elvira Oliver (1845-1929).
     It was identified by comparison with identified images.  The photo is thought to be one of the eight sons in the Jacob Ayhart Pierce family because the other two Wybrant photos are also of two of the sons.  The three suspected subjects differ in birth date by only 5 years, and one can easily image them hanging around together and dropping into a photography studio together.

Date:  c.1895.

Lower Image:
     The lower image strip is a comparison of all known or suspected images of John Stanton Pierce.

Knowns:

      The extreme left and extreme right (in black & white)  are from half-tone reproductions in a article or book about the Jacob Pierce family written by Jennie Dorothy (Pierce) Chlore (1897-1991), the daughter of Willis Champion Pierce, one of the eight sons.

Unknown:
     The middle image has the downward slanting eyebrows, jaw line, cleft chin, mouth shape, receding hairline and wavy hair of John Stanton Pierce

     The source of the images (e.g., CCHS 209) are overlain on the images.  They are (left to right): MISC 003 , CCHS 272 and MISC 004.
 273 CCHS 273 (separate label 'Chris' but nothing on photo itself)-500.jpg  On front of black card in dark gold ink: "Douglas, Evansville, Ind."
 274 CCHS 274-500.jpg  On front of buff-colored card: "A.G. Roberts, Henderson, Ky".  Henderson is in the metropolitan area of Evansville, Ind., and just across the Ohio River from Evansville.
 275
CCHS 275:  Cabinet card (4x6" photo), unmarked as to subject or date.  Written lightly in pencil on the bottom front: "Ch[innis?] child".

Photographer:  Unmarked.

Subject:  Unknown.  Could be Joseph Oscar Pierce.  Check this with comparisons.
     FPY 165, CCHS 223 and CCHS 275 are of the same man.  In addition to the usual markers, e.g., distance between eyes, distance from nose to lips, distance between lips to chin, fullness of lips, etc., he also has a very peculiarly shape ear, as well as the same wavy hair in the same style with the part in the same place.

Date:  c.1885.
 276 CCHS 276 7 years 10 mo August 1891 (born Nov 1883 could be Nona Crider, d. David E and Martha E.)-500.jpg 
 277 CCHS 277 Jake [Jake M. Lee Minneapolis in 1920 see album 3 img 66]-500.jpg 
 278 CCHS 278-500.jpg 
 279 CCHS 279 [possibly Yandells]-500.jpg 

 

Back to Photograph Albums of the Extended family of James Frank Pierce (1918 - 1973) and Helene Mae Vaubel (1919 - 2003)