Discovery of What Is Believed To Be a Previously Unknown Cabinet Card Photograph of Annie Oakley

Annie Oakley, the iconic American champion sharpshooter and trick-shot artist, was born Phoebe Ann Moses in a rural western border county of Ohio. Oakley’s amazing talent and timely rise to fame led to a starring role in Buffalo Bill’s Wild West show, which propelled her to become the first American female superstar.

Born in 1860, Annie was the sixth of Jacob and Susan Moses’ eight children. Her father, who had fought in the War of 1812, died in 1865 at age 65 from pneumonia and overexposure in freezing weather. Her mother married Daniel Brumbaugh, had a ninth child, Emily, and was widowed a second time. In 1870, Annie and her sister were admitted to an orphanage and within a few months she was “bound out” to a local family to help care for their infant son, on the false promise of fifty cents a week and an education. She spent about two years in near-slavery to them, where she endured mental and physical abuse. She would often have to do boys’ work. One time the wife put Annie out in the freezing cold, alone, to survive. Annie referred to them as “the wolves.” Even in her autobiography, she kindly never told the couples real name. When, in the spring of 1872, she reunited with her family, her mother had married a third time, to Joseph Shaw.

Annie began trapping at a young age, and shooting and hunting by age eight to support her siblings and her widowed mother. She sold the hunted game for money to locals in Greenville, as well as restaurants and hotels in southern Ohio. Her skill eventually paid off the mortgage on her mother’s farm when Annie was 15.

Oakley soon became well known throughout the region. During the spring of 1881, the Baughman and Butler shooting act was being performed in Cincinnati. Traveling show marksman and former dog trainer Francis E. Butler (1850–1926), an Irish immigrant, placed a $100 bet per side (roughly equivalent to $2,000 of today’s money) with Cincinnati hotel owner Jack Frost, that he, Butler, could beat any local fancy shooter. The hotelier arranged a shooting match between Butler and the 15-year-old Oakley. The last opponent Butler expected was a five-foot-tall, 15-year old named Annie. After missing on his 25th shot, Butler lost the match and the bet. He began courting Oakley, and they married on June 20, 1882. The couple never had children.

In 1885 Butler and Annie joined Buffalo Bill’s Wild West – and the rest, as they say, is history!

An 1890’s, cabinet card photograph has recently come to light which is believed to be a previously unknown portrait of shooting champion and renowned trick shot artist Annie Oakley. The photo is by Waltermire of Sioux City, Iowa, and depicts a female trick shot artist that bears a striking resemblance to Annie Oakley. The young woman is pictured making adjustments to a pump-action target rifle (actually a Colt Lightning small frame 22 pump action rifle) and surrounded by sharpshooter targets, American flags, and a second target rifle. The image has never been seen before, and although the woman pictured bears a striking resemblance of Annie, it has not as yet been definitively identified as being a portrait of the woman respectfully nicknamed (by Hunkpapa Lakota Sioux Tribal Chief and Holy Man Sitting Bull) “Watanya Cicilla” (rendered “Little Sure Shot” in public advertisements). Given the content of the photograph and the strong resemblance of the young woman to Annie Oakley, there is a growing confidence that this is a previously unknown portrait of the iconic female sharpshooter – one Oakley historian and researcher has offered the following comment:

“I’ve seen a lot of cabinet cards people have thrown out there with Annie’s name as a suspect. This is the first one I’ve seen where I think it may be the real deal…”

The photograph depicts a young, female trick shot artist working with what appears to be a clay pigeon on the stock of the pump action Colt 22 caliber rifle. She is seated on a chair and holds the rifle straight out in front of her. Behind her is a painted background and an array of American Flags. To the right of the young woman we see a second target rifle and a number of targets and other accouterments, which one would associate with a trick shot artist in a Wild West Show. The mount is also printed with the photographer’s credits of Waltermire of Sioux City, Iowa. We know that on September 22, 1896, Buffalo Bill’s Wild West (with Annie Oakley as a member of the cast) performed at Sioux City, Iowa, and it is entirely possible that this is when the Photograph was taken.

Because this image has never been seen before, and the sharpshooter pictured is not identified in any way, we, as yet, cannot state definitively that the young woman pictured is “without a doubt” Annie Oakley. It seems almost impossible to believe that there was another female sharpshooter, who resembled Annie Oakley to this extent, that would have been photographed in the manner seen here, and who was of such notoriety that the photographer felt it unnecessary to identify in any way.

If you’d like to learn more about this piece, further details can be found at our eBay listing.

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Happy Martin Luther King, Jr. Day!

courtesy of swiss-miss

The King Center of Atlanta unveiled a new website of never-seen-before archives of Martin Luther King Jr.’s speeches and correspondence. It is a beautifully designed site, featuring a treasure trove of historical American documents.

Every man must decide whether he will walk in the light of creative altruism or in the darkness of destructive selfishness.

– Martin Luther King, Jr.

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Drink Moxie: Circa 1933 Moxie Soda Self Framed Tin Lithograph Advertising Sign


It’s America’s oldest soft drink. Pictured above is an original, tin lithograph advertising sign from around 1933. It features a wonderful image of the “Moxiemobile,” an advertising automobile that was first manufactured for Moxie in 1915.

There were several Moxiemobiles on American roads in the 1930′s, and the example seen on this sign is the Rolls Royce model. On the sign, the Moxiemobile can be seen speeding along a country road and passing a large Billboard with advertising text that reads “Drink Moxie / Distinctively Different.”

“Distinctively Different,” indeed. Moxie originated in Lowell, Massachusetts, at Doctor Augustin Thompson’s Moxie Nerve Food Company (Source) in 1876. It was originally intended to be a “cure-all” serum, which may be why some describe the soda’s taste as “medicinal.” It’s main ingredient is gentian root, which is used to help digestion and upset stomach.

On the original Moxie label, the makers claimed that the beverage:

Contains not a drop of Medicine, Poison, Stimulant or Alcohol. But is a simple sugarcane-like plant grown near the Equator and farther south, was lately accidentally discovered by Lieut. Moxie and has proved itself to be the only harmless nerve food known that can recover brain and nervous exhaustion, loss of manhood, imbecility and helplessness. It has recovered paralysis, softening of the brain, locomotor ataxia, and insanity when caused by nervous exhaustion. It gives a durable solid strength, makes you eat voraciously, takes away the tired, sleepy, listless feeling like magic, removes fatigue from mental and physical over work at once, will not interfere with action of vegetable medicines.

Some speculate that the name “Moxie” came from an Alogonquin Indian word, a tribe populating the section of Maine Dr. Thompson where Dr. Thompson grew up. It is possible that the name was derrived from the word “maski”, meaning “medicine”, which also could have been the origin of the name. As a Moxie chronicler adds, “Dr. Thompson no doubt believed that giving an Indian name to his product would lend it a mystique and perhaps imply that it contained Indian medicines.” (Source)

If you want to read more about the history of Moxie, further information can be found here.

If you’d like to learn more about this piece, further details can be found at our eBay listing.

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A Morbid Collection: Original Photo Album of Death Row Prisoners Hanged in Connecticut, 1894-1912

A macabre yet fascinating presentation photo album has been recently discovered among the offerings from a Connecticut Estate. The Album contains the final, pre-execution photo portraits of the 22 Men executed by the State of Connecticut between December 18, 1894 and March 29, 1912 at the Connecticut State Prison in Wethersfield. This simply amazing, one-of-a-kind Photo Album was put together by a correctional officer by the name of (amazingly enough) James E. Officer (yes, he really was “Officer Officer,” not a literary construct like Heller’s “Major Major”) and was presented to another correctional officer by the Name of “M. J. Redding.”

We were honestly unaware of the fact that apparently it was the policy of the Connecticut State Prison at Wethersfield to dress the men on Death Row in a suit and take a final portrait before they were hanged for their crime. Somehow, Officer Officer obtained the original photographs taken of each of the 22 men hanged by the State of Connecticut between December 18, 1894 and March 29, 1912, and mounted those portraits in a photo album along with neatly handwritten text identifying the condemned man by name, his place and date of birth, the date he was convicted, his crime, the place and date of his crime, the date he was sentenced to death, the dates of any reprieves, and (finally) the date and manner of his execution.

The album itself measures approx. 7 1/4″ x 5 5/8″ and is a generic, photograph album of the mid 19th-century. Each photograph of the condemned prisoner measures 3 1/8″ by 3 7/8″ and are essentially identical in form and format. In each photograph, the condemned man is dressed in a suit and tie (in a number of the photos it appears that the condemned are dressed in the very same suit and tie) and most of the images depict a man with a stunned, frightened, horrified and/or vacant countenance. The looks on the faces of these men alone are a study in the horrors of capital punishment, and the shock and horror of those faced with the reality of their own death. We have never seen anything like the images contained in this album, and we feel that the images contained here are among the most graphic, though at the same time incredibly subtle, statements in support of the abolishment of the barbaric practice of capital punishment – enough said.

The first page of the album features a presentation inscription that reads “Officer James E. Officer / to / Officer M. J. Redding. / 9, April, ’47.” The next 21 leaves of the album feature a single portrait photograph of an executed man with the details of his life and crime, as stated above. The 22nd page contains a portrait of convicted murderer Andrea Tanganelli, but without any manuscript information. The next few pages of the album have cut out corners identical to those it insert the Photos found on the previous pages, but these pages are blank and it is our best guess that Officer Officer had planned to continue this morbid collection, perhaps including those 32 men executed between 1912 and 1947 (when he dated this presentation album), but for some (perhaps thankful) reason was prevented from doing so. The actual story of the assembly of this album will likely never be known, but the simply amazing content represents a unique and likely never again available insight into the faces and souls of a group of men on death row at the turn of the 20th century – a group populated mostly by immigrants who somehow found themselves facing death in a country far from their home.

If you’d like to learn more about this piece, further details can be found at our eBay listing.

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The Hidden Mother

Perhaps this is well-known among coinoisseurs of antique photography, but I was recently introduced to the concept of the “hidden mother,” an interesting yet strange part of photographic history.

In early portrait photography, children would have to sit for quite some time before the full process of each shot could be complete. To keep them calm and comfortable, the child’s mother would be cloaked in fabric and sit with the child on her lap, serving as the backdrop for her child’s portrait. Due to traditional methods of matting and framing, the end piece would crop the mother’s figure completely out of the frame, making her look as nothing more than a draped piece of cloth.

source: accidentalmysteries.com

However, as the photographs are uncovered and the mothers “discovered,” there is this eerie, almost ghost-like effect to the photographs. An entire Flickr community has been set up to track the instances of hidden mothers in old tintypes and cabinets. Some are humorous, but some are down-right (unintentionally) disconcerting:

look closely for the mother's face...

Sources: Retronaut, Boing Boing, Accidental Mysteries, The Hidden Mother Group on Flickr

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