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Showing posts with label 1800s. Show all posts
Showing posts with label 1800s. Show all posts

January 18, 2026

This Whaling Suit From Greenland, Made Sometime Before 1834

This whaling suit from Greenland, crafted sometime before 1834, reflects the ingenuity and resourcefulness of the Inuit people. Designed for the harsh Arctic environment, it allowed hunters to remain dry and insulated while navigating icy waters during dangerous sea hunts. Every element of the suit was carefully considered for practicality and protection, ensuring the wearer could focus on hunting without succumbing to hypothermia.


Constructed entirely from sealskin, the suit was both flexible and durable. Its central opening allowed the hunter to crawl inside, after which the hole was tightly secured to create a nearly waterproof seal. This simple yet effective design demonstrates a sophisticated understanding of materials and environmental challenges, turning natural resources into life-saving technology.

Today, the suit is preserved at the National Museum of Denmark, serving as a testament to Inuit craftsmanship and survival skills. Beyond its practical use, it offers a glimpse into the daily lives and ingenuity of Arctic communities, highlighting how cultural knowledge and adaptation were crucial for thriving in one of the world’s most extreme climates.

January 16, 2026

Auguste Toulmouche: The Painter of Parisian Elegance

Auguste Toulmouche (1829–1890) was a prominent French painter of the Academic Realist school, best known for his exquisite genre paintings of upper-middle-class Parisian women.

A student of the famous Charles Gleyre, Toulmouche became a sensation during the Second French Empire, earning the patronage of Emperor Napoleon III and Empress Eugénie. His work is characterized by a meticulous attention to detail, particularly in the rendering of opulent fabrics like silk, satin, and lace, which earned his subjects the nickname “Toulmouche’s delicious dolls” from critics like Émile Zola.

While his paintings often depicted quiet, domestic moments, such as a woman reading a letter or admiring herself in a mirror, they captured the sophisticated psychological state of the 19th-century bourgeoisie.

Dolce far niente

Mother and Daughter Reading

A Bedtime Prayer

A Classical Courtship

A Fine Scent

January 15, 2026

30 Rare and Beautiful Outdoor Portraits From the Victorian Era

In the mid-to-late 19th century, Victorian outdoor portraits emerged as a popular alternative to the stiff, controlled environment of the photography studio. While indoor sessions relied on heavy velvet curtains and painted backdrops, shooting outdoors allowed for a more “naturalistic” aesthetic, integrating the era’s romantic obsession with gardens, woodlands, and grand estates.

However, these portraits were far from casual; due to the long exposure times required by early photographic plates, subjects still had to remain perfectly still for several seconds, often leaning against trees or stone benches for support. These images frequently featured families in their “Sunday best,” posed amidst lush foliage or architectural ruins to signify status and a connection to the pastoral ideal.






January 11, 2026

Double Trouble: The Strange Mugshots of Harris Lyons, 1893

The photos of Harris Lyons were taken by the police in Newark, New Jersey. They are carte de visite, also known as CDVs, meaning they are small photos mounted on card stock about the size of playing cards. CDVs were popular for non-criminal portrait photos too! In the case of mugshots, they usually had pre-printed labels on the back side with spaces for the police to write in details about the subject’s appearance and arrest.


What initially intrigued about the CDV mugshots of Harris is that he was photographed twice. He has a scruffy beard in one photo, and in the other, he’s clean-shaven. His beard was minimal. It doesn’t hide his mouth, chin or jaw line to any extent. Both photos were taken of him in exactly the same position. So why take two photos?

To answer that question we need to delve a bit deeper into the story. Harris and a criminal pal named James Goughty were arrested in New York City on December 8, 1893 for a “sneak thief” robbery in Newark, New Jersey, according to an article that appeared on December 9th in The Evening World (New York, NY). The article stated that Emma Zillaux, the storekeeper of the business that was robbed, identified the men after she saw their photos in the New York City Rogues’ Gallery. As you can see by reading the back of his cards, Harris was not photographed in Newark until two weeks after his arrest in New York. This detail explains why two photos were taken of him.


In between the New York arrest on the 8th and the taking his photo in New Jersey on the 22nd, he’d likely been held in jail and been unable to shave. Assuming he was normally clean-shaven, the police wanted his mugshot to show him like that. But it’s interesting that they also photographed him with the stubble. Maybe they took that photo first, then realized their mistake, shaved him and took another photo. It’s interesting that they kept both photos.

Since the New York City police also had his mugshot, it will come as no surprise that Harris Lyons had a long and interesting criminal career; one that even included stealing silver from a descendant of Alexander Hamilton. Cath Giesbrecht, his great grandniece, has researched Harris and written a fascinating story about him. Here’s a link to her Substack article about her Uncle Harris.

January 7, 2026

Fernand Toussaint: The Master of Feminine Elegance

Fernand Toussaint (1873–1956) was a prominent Belgian painter renowned for his exquisite ability to capture the grace and sophistication of women during the Belle Époque and interwar periods.

A student of the leading portraits of his time, Toussaint developed a style that sat beautifully between traditional realism and subtle Impressionism. He was best known for his portraits of aristocratic ladies, often depicted in luxurious interiors, surrounded by delicate flowers or dressed in shimmering silks. His mastery lay in his use of soft lighting and a refined color palette, which imbued his subjects with a sense of quiet dignity and timeless charm.

Beyond portraiture, his talent extended to vibrant still lifes and tranquil landscapes, but it is his “Toussaint woman”, always elegant, melancholic, and deeply poetic, that remains his most enduring legacy in the world of European art.

Elegant Lady on a Green Sofa

A Lady Before the Mirror

A Pretty Flower Bouquet

A Quiet Moment

A Seductive Pose

January 2, 2026

Civil War Veteran Samuel Decker Posing With Prosthetic Arms He Designed Himself, ca. 1867

Samuel H. Decker (1813–1894) was a Union artilleryman during the American Civil War who became famous for designing his own highly functional prosthetic arms after a devastating combat injury.


In October 1862, during the Battle of Perryville, Kentucky, Decker was serving in the 4th U.S. Artillery when his gun prematurely exploded while he was reloading. The accident resulted in the traumatic loss of both his forearms.

Dissatisfied with the simple, non-functional prosthetics available at the time, Decker spent three years (1862–1865) conceptualizing a superior alternative. While he could not physically build them himself due to his injury, he sketched the designs and supervised their construction, reportedly guiding his wife or other skilled craftsmen to complete the mechanical limbs.

His prosthetics were mechanical and functional rather than merely cosmetic. They allowed him to perform delicate daily tasks, including feeding and dressing himself, carrying packages, and even picking up objects as small as a pin. Remarkably, he used the devices to relearn how to write legibly.

In 1867, the Army Medical Museum in Washington, D.C., invited him to demonstrate his invention, which was officially documented as “hitherto unrivaled for ingenuity and utility.”


Decker’s independence and the dexterity afforded by his prosthetics led to a long post-war career as a doorman (doorkeeper) for the U.S. House of Representatives. Historical accounts note that he was once a “formidable police officer” in the Congressional gallery, successfully handling disorderly individuals despite his disability. 

December 31, 2025

Mugshots of Bertha Liebbeke aka Fainting Bertha, One of the Midwest’s Most Infamous Pickpockets

Bertha Liebbeke (often spelled Liebke), known by the alias “Fainting Bertha,” was one of the American Midwest’s most notorious pickpockets during the late 19th and early 20th centuries.

Bertha’s 1899 CDV mugshot (front and back) listed her many aliases. Her occupation was given as “prostitute,” possibly an effort by police to blacken her name. (History Nebraska)

A Chicago detective named Clifton Woolridge described Bertha as a “girlish young woman, with the baby dimples and skin of peach and cream, the innocent blue eyes, and the smiles that play so easily over her face as she talks vivaciously and with keen sense of both wit and humor.” Woolridge was clearly smitten with Bertha, and he was not the only man to fall into her trap.

She was born in March 1880 in Council Bluffs, Iowa. When she was in her mid-teens, Bertha’s father, William, died. Soon after his death she was diagnosed with St. Vitus Dance (now called Sydenham’s chorea), an infectious disease resulting in uncontrollable twitching and jerking movements of the victim’s face, hands and feet. The diagnosis got her sent to the Iowa Institution for Feeble-Minded Children in Glenwood. Due to age restrictions she was later transferred to the Iowa State Hospital for the Insane in Clarinda. She remained there for less than a year.

After her release from the mental hospital, Bertha claimed a man named Gunther seduced her. She also claimed he schooled her in the art of “larceny from the person.” She proved to be an excellent student. Not only was she good at getting the goods, she developed a unique approach to pickpocketing that took advantage of her beauty.

Bertha would locate a prosperous-looking gentleman in a crowd and smile demurely at him. Intrigued, he would come closer. When he got next to her, she would be suddenly overcome by a dizzy spell. The gallant gentleman would catch the lovely lady just in time to keep her from hitting the ground. She heaved a sigh, came to and thanked him, but not before she’d picked her rescuer’s pockets so skillfully that he didn’t notice the theft until she was long gone. When they reported their losses to the police, none of Bertha’s victims suspected her as the culprit.

Even after news reports about “Fainting Bertha” made her the most notorious female pickpocket in the Midwest, men continued to walk into her trap. She could steal anything—a wallet, a diamond stickpin, a gold watch—without batting an eyelash.

Margaret Reilly was one of Bertha’s many aliases. (Pittsburgh Daily Post, Feb. 22, 1925)

Before long Bertha was traveling by boat and train to all the big Midwestern cities, robbing conductors and passengers along the way. She also used her nimble fingers to steal from department stores, including Marshall Field’s in Chicago, where Detective Woolridge made her acquaintance. Over the course of her career she used at least nine aliases. By the turn of the century her photo graced the walls of every rogues’ gallery in the Midwest.

Being photographed by the police didn’t bother Bertha in the least. She smiled beguilingly when, as inmate #5693, she was photographed at the Nebraska State Penitentiary, where she’d been sent after a conviction for grand larceny.

Bertha smiled in her mugshots taken at the Nebraska State Penitentiary. (History Nebraska)

It was becoming clear that all was not well with Bertha’s mind. She suffered periodic bouts of insanity so intense it was impossible for prison guards, doctors or hospital attendants to control her. In the grip of one of these attacks, which often occurred at night, she had been known to break every window she could reach while screaming profanities at the top of her lungs. Her mood swings were extreme—one minute she was calm and the next, she was crying hysterically.

Unfortunately for hospital and prison officials, Bertha was not only good at stealing jewelry and cash, she also had a talent for lifting keys and picking locks. In 1905, when she was a patient in an insane asylum in Kankakee, Illinois, she escaped and tried to set fire to herself. By 1907 she’d been housed in seven different penitentiaries and asylums and she’d escaped a dozen times from them. She also frequently threatened to commit suicide. Back and forth between the hospital and the prison Bertha went.

December 30, 2025

Richard Ansdell: A Master of Victorian Animal and Sporting Art

Richard Ansdell (1815–1885) was a distinguished British painter of the Victorian era, renowned for his exceptional skill in depicting animals, sporting scenes, and the rugged beauty of the Scottish Highlands.

Rising from a humble background in Liverpool, Ansdell became a celebrated member of the Royal Academy and was often considered a formidable rival to the famous Sir Edwin Landseer. His work is characterized by a meticulous attention to anatomical detail and a dramatic sense of narrative, whether he was portraying the intense energy of a hunt, the quiet life of a Highland shepherd, or powerful social themes as seen in his masterpiece, The Hunted Slaves.

His immense popularity during his lifetime was so significant that the district of Ansdell in Lancashire was named in his honor, making him the only English artist to have a town bear his name. Today, his paintings remain vital cultural records of 19th-century rural life and the enduring bond between humans and animals.

The Hunted Slaves

A Family Portrait

A Highlander with Setters and Game

A Warm Welcome

Andalusian Gallant

December 28, 2025

200-Year-Old Wooden Bridge in Dagestan, Built Without the Use of a Single Nail

This 200-year-old bridge built without a single nail is a wooden bridge located near the village of Gulli (Juli) in the Tabasaran region of Dagestan, Russia. It is known primarily by its description rather than a formal historical name in English-language sources. The bridge is approximately 10 meters (about 33 feet) high.

The bridge was constructed by local Tabasaran people using traditional joinery techniques, relying on precisely cut, interlocking wooden joints and wooden pegs (sometimes called “trunnels” or dowels) instead of metal fasteners.

The builders used only local wood and stone that were available to them. A metal bracket visible on the bridge in some photos is a later addition and does not serve a functional or structural purpose.

The ingenious design allows the structure to flex and adapt to natural changes in temperature and humidity, which contributes to its incredible longevity. It has withstood harsh weather conditions for two centuries and can even support the weight of a passenger car today.

It stands as a testament to the advanced engineering knowledge and craftsmanship of traditional builders, showcasing the sustainable use of natural materials and the enduring strength of time-honored techniques.







December 27, 2025

Aleardo Villa: The Master of Belle Époque Elegance

Aleardo Villa (1865–1906) was a brilliant Italian painter and illustrator whose work perfectly encapsulated the refined beauty of the Belle Époque. Originally trained at the Brera Academy in Milan, he began his career as a traditional painter before becoming one of the most sought-after masters of the Art Nouveau (Stile Liberty) movement.

Villa was celebrated for his extraordinary ability to capture the feminine ideal, his portraits often featured women who radiated a delicate, ethereal charm, wrapped in flowing fabrics and surrounded by soft, floral motifs.

Beyond his canvases, Villa was a visionary in the world of commercial art. His iconic posters for brands like Mele (the famous Naples department store) and his intricate postcard designs are considered masterpieces of early 20th-century advertising. With his sophisticated use of color and fluid, rhythmic lines, he didn’t just paint subjects, he painted an atmosphere of luxury and romanticism.

Though his life was tragically short, Aleardo Villa’s legacy lives on as a definitive voice of an era that celebrated art as a total experience of grace and harmony.

E. & A. Mele & Cia. Magazzini Italiani, 1897

Teatro Lirico Internazionale, Grande Veglione Orientale, February 1, 1896

Regate, Pallanza, Lago Maggiore, 1897

E & A Mele & Ci., Guanti, 1898

Grandi Magazzini Italiani E. & A. Mele-Napoli, 1898

December 20, 2025

Jean Geoffroy: The Painter of Childhood and Schools

Jean Geoffroy (1853–1924), who often signed his works with the pseudonym Geo, was a distinguished French painter and illustrator renowned for his heartfelt and realistic depictions of children and social life. He rose to fame during the French Third Republic, a period marked by major educational reforms, and he became the unofficial chronicler of the new public school system.

Geoffroy’s work is characterized by an extraordinary empathy. He had a unique ability to capture the quiet concentration of students in a classroom, the playful energy of the playground, and even the somber reality of children’s hospitals and night shelters. His masterpiece, “En classe” (In Class), remains an iconic representation of the 19th-century French classroom.

Through his meticulous attention to detail and soft, natural lighting, Geoffroy elevated everyday scenes of humble life into poignant works of art, leaving behind a visual legacy that continues to be a primary source for understanding the social history of childhood in France.

A Drawing Lesson in Primary School

A Minor Adjustment

A Simple Pleasure

Arrival at School

At the Fountain

December 16, 2025

Historical Photos of Wooden Water Pipelines From the Late 19th and Early 20th Centuries

Wooden water pipelines, made from hollowed-out logs or wooden staves, were a common and effective infrastructure solution used by ancient civilizations and in urban centers across Europe and North America from the 16th to the early 20th centuries.

The earliest form of wooden pipes were single logs, typically from elm or oak, with a hole bored or carved through the center using an auger. The ends were often tapered (male end) and reamed (female or “bell” end) to fit together, forming a seal that became watertight as the wood swelled when soaked with water.

Later, especially for larger diameter pipes in the American West, pipelines were constructed from numerous wooden staves (planks) held together by metal bands or hoops. This method allowed for the construction of continuous, large-diameter pipes. Joints were often reinforced with metal collars or bands and sealed with natural materials like pitch or clay to prevent leaks. Rot-resistant woods such as redwood, cedar, fir, elm, and oak were preferred to ensure longevity.

Wooden pipes were widely used in Europe and became the primary water main material in North American cities like Boston, Philadelphia, and Montreal in the 18th and 19th centuries. They were a practical and abundant alternative to cast iron, which was not always readily available.

Wooden pipelines, particularly the large stave type, were a common and effective solution for transporting water over long distances for agriculture, industry, and burgeoning settlements in the American West and Pacific Northwest.

As industrialization made cast iron pipes more economical and reliable, wooden pipes were phased out, though some systems remained in use well into the mid-20th century.









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