Miscellaneous Source Bond-Pierce Photographs

 

 

 

 

 


MISC 001

MISC 001:  Albumen or printing-out paper sepia-toned print.

(Filename includes No. 116 numbering continued from James Andrew Bond album)

Photography: Loose print (printing-out paper), ~5x7"; the back has a stamp about obtaining copies from the M.G. Canwell Co., which implies that this was the proof (often made with printing-out-paper) of a photograph from the studio of M.G. Canwell.

Identification: The photo was mounted in an album of Margaret R. Bond, the daughter of Mattie (Ramey) Bond.  The identification in the album was, left-right: Nathaniel C. Ramey (1848-1892), Martha Jane (Mattie) Ramey (1850-1907), Thomas Moses Ramey (1852-1901), and James Richard Ramey (1858-1921).

Genealogy: Richard Henry Ramey (1824-1859) and his wife, Priscilla Jane Magruder (1824-1873) had children: Nathaniel C. Ramey (1848-1892), Martha Jane Ramey (1850-1907), Thomas Moses Ramey (1852-1901), Curtis Ramey (1854-1855), Walter S. Ramey (1856-bet. 1891-1901), James Richard (1858-1921).  Family tradition says there was another daughter, Annie, but there is no grave in their Eminence, KY plot.
     At the time the photo was taken, all the surviving siblings in the family were present, except for Walter, who died 1891-1901.  Walter may have been excluded from the grouping not because he had died (he probably died after Nathaniel), but more likely because he simply wasn't in nearby Carroll Co., Kentucky, having moved to Tennessee by 1880.

Date:     They appear to be in their late 30's or early 40's, and the photograph had to have been taken before the subject Nathaniel died in 1892, so the photo therefore is likely 1885-1890.
MISC 002 color
MISC 002 b&w
MISC 002 b&w enhanced

MISC 002:  Daguerreotype.

Robert Lewis Bond (1836-1916) and his fox-hounds.  The award-winning Loud is just to his right, lying down.  The original was a Daguerreotype.  He appears to be about 19 years old, so the photograph was taken about 1855.

The top rendition is as is in color.

The middle rendition is with color removed.

The bottom rendition is with color removed, contrast enhanced, and digitally cleaned.
MISC 002 back
MISC 002 enhanced
MISC 002:  inside of the back of the MISC 002 Daguerreotype case.

The top photo is as it really looks.

The bottom photo is enhanced for visibility of the writing, which reads:

     Robt. Bond and his favorite
     dogs an interesting group indeed

     S[usan?] Green
     New Liberty
     Kentucky

At the time of the Daguerreotype, Robert Lewis Bond lived in Owen Co., KY, nearest town New Liberty.

There are two Susan Greens in Owen Co., KY in the 1850 census (and no other Greens whose first name looks like that in the inscription; and no Green kin, and no Greens who are listed as photographers in either the 1850 or 1860 censes).  Both Susan Greens are about 10 years old, only 4 years younger than Robert L. Bond, but it is hard to believe that teenaged girls in about 1855 had the ready money and means to purchase a Daguerreotype for even a potential suitor.
MISC 003
MISC 003 scan:

Provenance:  This Scan is courtesy of Mike Pierce.  The photographs misc 003 and misc 004 come from a book or article in a book that was written by Jennie Dorothy (Pierce) Clore (1897-1991), the daughter of Willis Champion Pierce and Jennie Davis Peay, and the grand-daughter of Jacob Ayhart and Elvira Oliver.  She knew all of the people in the two photographs during their lifetimes, and therefore is in a position to make positive identifications of them. 

Subject:  Standing, left to right: James Boyce Pierce (1881-1954), Jacob Marion Pierce (1878-1958), Richard Miles Pierce (1874-1959), Joseph Oscar Pierce (1872-1950).  Seated, left to right: Wirt Ahart Pierce (1871-1956), John Stanton Pierce (1869-1944), Henry Walter Pierce (1866-1943), Willis Champion Pierce (1864-1941).  Notice that they are arranged from youngest standing and on the left to oldest sitting and on the right.

Date: c.1903, as stated in the book.

Significance:  The photographs misc 003 and misc 004 are key in identifying the many unmarked photographs of this family that are extant.



MISC 004
MISC 004 scan:

Provenance:  This Scan is courtesy of Mike Pierce.  The photographs misc 003 and misc 004 come from a book or article in a book that was written by Jennie Dorothy (Pierce) Clore (1897-1991), the daughter of Willis Champion Pierce and Jennie Davis Peay, and the grand-daughter of Jacob Ayhart and Elvira Oliver.  She knew all of the people in the two photographs during their lifetimes, and therefore is in a position to make positive identifications of them. 

Subject:  The photograph in the book has a caption that identifies the people, but the photograph itself did not show the names.  I added the names and birth-death dates on the photograph for convenience - click the full sized photograph for legibility.

Date: early 1904, deduced from the presence of the baby Rodney Edward Pierce, who was born 7 Nov 1903.

Significance:  The photographs misc 003 and misc 004 are key in identifying the many unmarked photographs of this family that are extant.

MISC 005
MISC 005:  photograph of a Xerox of a cabinet card.

Provenance:  This is a photograph of a Xeroxed biographical sketch of the Spalding-Hoagland family that is present in the Carroll Co. Public Library (numbered 929.2 Hoag).

Subject:  Okey Wallace Spalding (1872-1956), son of Daniel Gregg Spalding (1836-?) and Catherine Hoagland (1840-1918), and husband of Julia Frances Bond (1877-1968).

Date: He appears to be about 15; therefore the photograph is c.1887, which date also falls within the era when cabinet cards were popular.

MISC 006

MISC 006:
 
     Comparison of images known or suspected to be of William Bennett Yandell (1857-1940), husband of Florence Emeline (Pierce) Yandell (1861-1938) from various sources in this collection of images, in approximate order of increasing age from left to right.

Known:
     The photo on the far right, ALBUM 4 PT1 0065, is definitely identified as Yandell, from a written description contemporary with the photo. 

Unknowns:
     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 remaining images are tentatively identified as William Bennett Yandell because of similarities in facial characteristics, e.g., jawline, distances between eyes, from nose to lip, from lip to chin, eye and eyelid shape, hairline, hair straightness, hair style and ear shape.
     He appears to have been growing out the same shape of moustache from about the age of 20.

     The sources of the images (e.g., CCHS 205) are overlain on the images.  They are (left to right):  CCHS 205, CCHS 261, CCHS 212, FPY 009, FPY 010, FPY 011, and ALBUM 4 PT1 IMG 0065.


MISC 007

MISC 007:
 

     Comparison of images known or suspected to be of James Boyce Pierce (1881-1954), son of Jacob Ayhart Pierce (1842-1930) and Elvira Oliver (1845-1929), in approximate order of increasing age from left to right.

Knowns:
     The extreme right two images, MISC 003 and MISC 004, are from half-tone reproductions in a article or book about the Jacob Pierce family written by Jennie Dorothy (Pierce) Chlore (1897-1991), the niece of James Boyce Pierce.  She identified them in the captions of the photos.  Since she knew them in her lifetime, those two identifications are sound.

Unknowns:
     The image on the far left was identified based on the date of image FPY 074.  Given the date, the only Jacob Pierce family member that could look so young was James Boyce.
     The images FPY and CCHS 209 are tentatively identified as James Boyce Pierce because of similarities in facial characteristics, e.g., jawline, distances between eyes, from nose to lip, from lip to chin, eye and eyelid shape, hairline, hair straightness, hair style and ear shape.

     The source of the images (e.g., CCHS 209) are overlain on the images.  They are (left to right): FPY 074, FPY 059, CCHS 209, MISC 003 and MISC 004.

MISC 008

MISC 008:


     Comparison of images known or suspected to be of Florence Emeline (Pierce) Yandell (1861-1938), wife of William Bennett Yandell (1857-1940), from various sources in this collection of images, in approximate order of increasing age from left to right.

Knowns:
     The photo on the far right, ALBUM 3 PT1 0019, is identified in an album caption by the album owner, her sister-in-law Margaret (Bond) Pierce.
     The next two on the right, CCHS 224 and CCHS 225, are identified by writing on the backs of their image cards.  The writing appears to be contemporaneous to the images.  They also appear to be the same woman only younger as the woman in ALBUM 3 PT1 0019.
     Lastly, the second photo from the left, CCHS 268, is positioned in its album next to an older woman having similar facial lines - very probably her mother, and the two cards are identical - taken at the same studio at the same time.  The older woman looks like Emeline (Rolston) Pierce, Florence's mother.  It is significant that both mother and daughter in this pair of photos look like known photos of the women.

Unknowns:
     The remainder of the photos are tentatively identified as Florence Emeline Pierce because of similarities in facial characteristics, e.g., because of similarities in jawline, distances between eyes, from nose to lip, from lip to chin, eye and eyelid shape, hairline, hair straightness, hair style and ear shape.  Ear shape is a surprisingly sensitive test, although not always visible.
     The least sure of these identifications are: FPY 054 (the toddler, far left), and the two girls wearing their hair straight, CCHS 217 and CHS 216.  Identifying toddlers from images of adults is always iffy.  The hair of the Pierce family is almost universally straight, and, from the varying amount of curl evident in these photos, Florence did a lot of curling to remedy her straightness.  Her sister Cora also shows varying amounts of curl throughout her life, but is also probably naturally straight (see MISC 011).  For that reason, I did not eliminate these two images based on hair curl.  Their underlying facial structures and dimensions are consistent with the other images.

     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.


MISC 009

MISC 009:
 

     Comparison of images known or suspected to be of Joseph Oscar Pierce (1872-1950), son of Jacob Ayhart Pierce (1842-1930) and Elvira Oliver (1845-1929), in approximate order of increasing age from left to right.

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 long nose, long chin and slight downturn at the end of the left side of the mouth that has Joseph Oscar.  His hair is parted on the opposite side as the knowns.  I suppose a person could switch - I did when I was in college.

     The source of the images (e.g., CCHS 209) are overlain on the images.  They are (left to right): MISC 003 , CCHS 211 and MISC 004.



MISC 010

MISC 010:
 

     Comparison of images known or suspected to be of John Stanton Pierce (1869-1944), son of Jacob Ayhart Pierce (1842-1930) and Elvira Oliver (1845-1929), in approximate order of increasing age from left to right.

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 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.


MISC 011

MISC 011:
 

     Comparison of images known or suspected to be of Cora A. Pierce (1869-1915), daughter of James Perry Pierce (1841-1916) and Emeline F. Rolston (1840-1895), and wife of George M. Crider (1861-1917), in approximate order of increasing age from left to right.

Knowns:
      All the photos in the image strip can be considered knowns except for CCHS 227, second from the left.  The reason is that Cora was one of the few people in the area to wear glasses, which she did from about 1890 on.  In addition FPY 019 was a photo of her and her husband, and FPY 016 and FPY 018 were photos of her with her close friend, Nell Walker.
     FPY 015 is a photo of just her without glasses.  It is known from another copy of the same image which is identified as her in ALBUM 3 PT1 0005.
     Another photo that can be placed in the known category is ALBUM 4 PT1 0059 (on the far left).  This photo is one of James Perry Pierce, two of his daughters and one son, on the occasion of what appears to be the death of his wife.  At that time, there were only two daughters alive, of which the youngest was Cora.  The only problem with the photo is that the rectilinear wide angle lens with which it was taken has caused Cora (at the right edge of the photo) to be distorted (her face is too wide).  A scale factor was applied to make her face more in proportion with other known photos.  This photo is fairly important, since it allows the unknown to be shown to be Cora.

Unknowns:
     The only unknowns amongst the group are CCHS 229 and CCHS 227 (second and third from the left). 
     CCHS 227 was one of only three photos in the collection to have been taken by the photographer Klauber in Louisville.  The other two were both members of the James Perry Pierce family - Norval Pierce (CCHS 214) and Florence Pierce (CCHS 250) - both siblings of Cora.  This, in fact, was the reason that Cora was considered as the identity of CCHS 227.  It is likely that all three (or others if more Klauber photos have been lost) had photos taken on the same trip to Louisville.  If this is indeed Cora, it makes the more sense, since the ages of the three that are apparent in the photos are exactly their relative ages, i.e., Florence the oldest, then Cora, then Norval.
CCHS 229 is a McMinnville carte de visite in which the girl looks very similar to the one in CCHS 227.  The usual markers (nose to lips distance, lips to chin distance, jawline, etc. are consistent with Cora Pierce, including an unusual angle in the middle of the edge of her ears.
     Note that Cora has straight hair as a child or young teenager, then curly hair, back to straight in FPY 218, then a very slight wave.  Her natural hair was undoubtedly straight, as are pretty much all the Pierces (see discussion for her sister, Florence E. Pierce, MISC 008).

     The source of the images (e.g., CCHS 209) are overlain on the images.  They are (left to right): ALBUM 4 PT1 0059, CCHS 229, CCHS 227, FPY 015, ALBUM 3 PT1 0005, FPY 017, FPY 016, FPY 018, ALBUM 3 PT1 0021, FPY 019, and FPY 167.

MISC 012

MISC 012


     Comparison of images known or suspected to be of James Perry Pierce (1841-1916), husband of Emeline F. (Rolston) Pierce (1840-1895) (see MISC 013), in approximate order of increasing age from left to right.

Knowns:
     The only knowns (the two images at the extreme right) are ALBUM 4 PT1 0056, which is identified in an album owned by his daughter-in-law, Margaret (Bond) Pierce, and CCHS 235, which is the exact same image as ALBUM 4 PT 1 0056.

Unknowns:
     The images other than the knowns are spaced out evenly enough throughout his life that the next image to left (FPY 003) is readily recognizable as the same man as the previous image, and so on going from right to left.

    The source of the images (e.g., CCHS 209) are overlain on the images.  They are (left to right): FPY 057, FPY 056, FPY 055, FPY 053, FPY 058, FPY 002, FPY 003, ALBUM 4 Pt1 0056, and CCHS 235.

MISC 013


MISC 013


    Comparison of images known or suspected to be of  Emeline F. (Rolston) Pierce (1840-1895), wife of James Perry Pierce (1841-1916) (see MISC 012), in approximate order of increasing age from left to right.

Knowns:
     Image ALBUM 4 PT1 0055 is from an album kept by Emeline's daughter-in-law, Margaret (Bond) Pierce, and positively identified as "Father's Mother" (using "Father" to refer to her husband and father of her children, a custom common even today; it could not possibly be an image of her actual father's (William Rolston (abt.1790-abt.1847) mother (Sarah Hinton (1763-1822), since she died before the first photographic process was invented in 1839).
     The images FPY 004 and CCHS 201 are the exact same image as that in the image ALBUM 4 PT1 0055, so they may be considered knowns as well.
     The image CCHS 267 is from an album in which it is directly facing image CCHS 268.  Both of these photos have the same card stock and photographer's label (Willis & Coquilette).  They probably were therefore taken at the same time, of subjects that are kin.  They resemble each other as would a mother and daughter, of which CCHS 267 is the mother.  In addition, the only other photograph in the entire Crittenden County collection (279 images) is FPY OO2, a cabinet card of James Perry Pierce (241-1916).  The conclusion is that CCHS 267 is his wife, Emeline, and CCHS 268 is his oldest daughter, Florence (see MISC 008 for her image comparison).

Unknowns:
     Image CCHS 238 was taken at almost the same time as CCHS 267 (although she looks slightly younger), and also taken from with the same pose as CCHS 267, so she looks identical.
     Image FPY 070 was carefully compared to the image ALBUM 4 PT1 0055, which was taken using the same pose.  The two images have matching facial characteristics, e.g., distance between eyes, distance from nose to lips, distance from lips to chin, jawline, ear shape, heaviness of eyelid, slant (or in this case no slant) of eyes, etc. 

     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.


MISC 014

MISC 014:

    Comparison of images known or suspected to be of  Cortis Jackson Pierce (1864-1924), son of James Perry Pierce (1841-1916) and Emeline F. (Rolston) Pierce (1840-1895), and husband of Laura Miles (1875-1963), in approximate order of increasing age from left to right.

Knowns:
     The two grayscale (black and white) images, ALBUM 3 PT1 0002 and ALBUM 3 PT1 0003, from the albums of his sister-in-law Margaret (Bond) Pierce are identified in their album captions.

Unknowns:
     The three images from the loose photograph collection of Florence (Pierce) Yandell, FPY 012, FPY 044 and FPY 013) were identified as Cortis by comparing the facial characteristics, e.g., distance between eyes, distance from nose to lips, distance from lips to chin, jawline, ear shape, heaviness of eyelid, and, in this case, his cleft chin. 

    The source of the images (e.g., CCHS 209) are overlain on the images.  They are (left to right): FPY 012, FPY 044, ALBUM 3 PT1 0002, FPY 013, and ALBUM 3 PT1 0003.


MISC 015

MISC 015:

    Comparison of images known or suspected to be of  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), in approximate order of increasing age from left to right.

Knowns:
     Because Norval was the husband of Margaret Ramey (Bond) Pierce, the keeper of the Albums 1 through 5, there are a number of images of him identified by their album captions.  These include the grayscale (black & white) images in the image strip to the left, namely: ALBUM 4 PT1 0057, ALBUM 4 PT1 0058, ALBUM 4 PT1 0067, ALBUM 2 0059, and ALBUM 2 0058.
     In addition, the image FPY 021 has duplicate images, designated ALBUM 1 0078 and ALBUM 4 PT1 0070, both of which are identified as Norval in their album captions.  These duplicates are not included in the image strip so that other photos may be larger in the 800 pixel wide thumbnail.
     Likewise, the image FPY 022 also has a duplicate image, designated ALBUM 2 0049, which is identified in its album caption, and not shown in the image strip.

Unknowns:
     There are only three images in the image strip that are not identified by album captions: the toddler FPY 020, the teenager CCHS 249, and the mustachioed FPY 155.
     FPY 020 is pretty much a dead ringer for the photo to its left, ALBUM 5 PT1 0057, CCHS 249 is a dead ringer for the image to its right, ALBUM 4 PT1 0067, and FPY 055 is a dead ringer for the image to its right, FPY 022.
     No further discussion is needed, which gives us images throughout Norval's life.

    The source of the images (e.g., CCHS 209) are overlain on the images.  They are (left to right): ALBUM 4 PT1 0057, FPY 020, 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.  In addition, there are the three duplicate images not shown: ALBUM 1 0078, ALBUM 4 PT1 0070, and ALBUM 2 0049., bringing the total of Norval Lee Pierce images in the collection to 14 reasonably large head shots.  There are many more snapshots of Norval that do not have sufficient detail to be useful for the identification of unknowns. 


MISC 016

MISC 016:

    Comparison of images known or suspected to be of  Ira Tilden Pierce (1876-1924), son of James Perry Pierce (1841-1916) and Emeline F. (Rolston) Pierce (1840-1895), and husband of (Jane Thompson) Pierce (1889-abt.1930), in approximate order of increasing age from left to right.

Knowns:
     As usual, the two images from Margaret (Bond) Pierce's albums: ALBUM 4 PT1 0059 and ALBUM 3 PT1 0003, were identified by their album captions.

Unknowns:
     Technically, all of the images except the two album images are unknowns, but, with his large nose, sharp chin and protruding ears, he has a unique appearance that cannot be mistaken.
     The exception is the image at the far left, CCHS 237, in which the child is no more than about 3 years old.  He has the protruding ears and the sharp chin, but still has the button nose of early childhood - the large honker has yet to develop.  Notably, not only do the ears protrude (as do most of the male Pierce ears), but the details of ear morphology are the same in CCHS 227 as for the remainder of the images.  For this reason, he probably is Ira.
 
    The source of the images (e.g., CCHS 209) are overlain on the images.  They are (left to right): CCHS 227, FPY 027, CCHS 245, FPY 029, FPY 028, ALBUM 4 PT1 0059, FPY 030, FPY 031, and ALBUM 3 PT1 0003.


MISC 017

MISC 017:


    Comparison of images known or suspected to be of  George Collin Pierce (1877-1965), son of James Perry Pierce (1841-1916) and Emeline F. (Rolston) Pierce (1840-1895), and husband of 1) Lucy Ruth Boaz (1880-1963), 2) Lucy Ruth Farris (1885-?), and 3) Louise Unknown (abt. 1899-?), in approximate order of increasing age from left to right.

Knowns:
     As usual, the only definite known is from Margaret (Bond) Pierce's albums: ALBUM 3 PT1 0004, which was identified by its album caption.

Unknowns:
     All of the others were identified from similarity in facial characteristics, such as distance between eyes, distance from nose to lips, distance from lips to chin, jawline, and ear shape.  George also seems to always have a drooping right side to his mouth.
 
    The source of the images (e.g., CCHS 209) are overlain on the images.  They are (left to right): FPY 166, FPY 032, FPY 033, FPY 077, ALBUM 3 PT1 0004, and FPY 076.

 

 

 

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