Ostentatious Funeral Flower Displays

Here’s two great old photographs that depict over-the-top floral displays. Both images appear to be from the 1920s. The first one looks to be taken in a private home, but possibly a funeral home, and the photographer’s embossed imprint shows that it was done by Brack of San Marcos, Texas. Written on the back is “Elnora” and underneath that “L. G. Coovert”. Mr. Lewellyn G. Coovert, born in Indiana c1871, is shown in the 1910 census of LaSalle County, Texas and in the 1920 census for San Marcos, Hays County, Texas, with his wife and a number of children, including a daughter, Elnora born c1914. In 1930, his wife is a widow and Elnora is still at home, so I assume he died in the 1920s and this photo is his casket and floral offerings. In 1910, he is a farmer, but in 1920, he is shown as a “marble worker”. At any rate, he apparently had a host of friends and relatives who mourned his passing.

This image shows massive floral offerings arranged after an interment. There are no clues as to who or where, but this came from an Austin, Texas estate and so it could easily be from this area. There’s a large arrangement in the shape of an anchor and another that is a lyre. Although this quantity of flowers was frequently the norm in years past, many people now find this to be a distasteful waste of money, and prefer that donations be made to charities instead. I guess they're right, but these flowers are certainly impressive and I'm sure the families felt comforted to know that so many people cared for their loved one.

© 2010, copyright Stephen Mills

Victorian Home Memorial Shrines

I love these elaborate images of what I refer to as “home memorial shrines”. This reflects a different way of thinking about funeral flowers than the one we have today. It appears from the number of these images I’ve run across that many times some of the funeral arrangements were not left at the cemetery, but kept at home to assist in the mourning process. These wonderful displays were probably maintained in the deceased’s home for a few days or weeks after the burial. This first image, by H. T. Biel of Terre Haute, Indiana could have been done in the studio or at home – it’s hard to tell. The deceased’s name, Anna, appears on the arrangement directly below her photograph. Representations of the cross, the anchor, and the lyre are included, as well as the gates of heaven, crowned with a dove.

The image below was clearly taken in the parlor of a home and it pays tribute to a man with many friends and connections. The floral representation of the gates of heaven and the dove is one of the best I’ve ever seen. Several of these arrangements are from organizations, such as the S.U.N.A. (Switchmen’s Union of North America) and the K.O.T.M.M. No. 56 (Knights of the Modern Maccabees). I did a little research on that one and learned that the KOTMM, a benevolent and fraternal organization, was organized into local chapters known as Tents, and that Tent No. 56 was located in Muskegon, Michigan. It’s probably safe to assume this image is from Muskegon or nearby.

Upon close inspection with a loupe, the dove is holding a rose in its mouth. I must say the dove looks remarkably real and I have to wonder if it’s stuffed. That would not be unheard of for this era.

© 2010, copyright Stephen Mills

Funeral Flowers Cabinet Card Photographs

For those who preferred not to photograph their deceased loved one, a nice alternative was to photograph the beautiful floral arrangements that were sent by friends and relatives. As I’ve collected these images over the years, I’ve noticed a couple of distinct styles of the funeral flowers photograph. In today’s post, I’m featuring photographs that appear to be made in the studio and which, with one exception, feature a cabinet card photograph of the deceased within the funeral flowers display. In future posts, I’ll feature funeral flowers photographs of what I call “home memorial shrines” which can be wonderfully elaborate.

This great cabinet card was made by Gustav Dahms of Davenport, Iowa. It looks like the funeral arrangements, which include common Christian symbols such as the anchor and cross, were hung on the wall. The card also bears a highly decorated backstamp which is most interesting.


This is a beautifully preserved image of the tributes for Ida, done by McDowell of Nelsonville, Ohio. Ida’s name can be seen on the pillow-shaped arrangement in the center, just below her photograph. Again, the cross, and some wonderful glass vases.

This artistic image, also by McDowell of Nelsonville, Ohio, is striking in its simplicity and unusual composition. The cabinet photo of a young lady is tucked away within the anchor, symbolizing the assurance that she awaits safely in heaven. This card also has a wonderful backstamp with a design that is copyrighted 1889.


The last card is by McDonnell of Erie, Pennsylvania. It shows many floral tributes with the sender’s cards attached and a cabinet photo of a young man within the “C” shaped arrangement at top that says “Brother”. I assume “C” was the first initial of the deceased.


Regrettably, none of the images are identified on the back with names or dates. Each is a standard size cabinet card measuring 6 ½ by 4 ¼ inches on heavy stock.

© 2010, copyright Stephen Mills

For Clara Finger - When I’m Gone

Here’s another great example of a dear lady laid out in the parlor of her home, most likely about 1910-1920. She’s not identified, but there’s an inscription on the back that says “For Clara Finger – When I’m Gone – H.E.H.” The original owner apparently took care to ensure the photograph would go to a person who would appreciate it, and of course I’m curious to know if Clara Finger ever received it and, if so, why it ended up for sale in 2002.

The peacefully posed subject is resting in a beautiful drop-front casket, which sits atop an ornate wooden stand. The floral decorations spill out from the casket interior onto the floor. One of the large arrangements has letters on it, which I can’t fully make out, but it could read “Lette”. No doubt this lady was greatly loved and mourned.

The photographer’s embossed imprint in the lower right corner says “G. W. Delling, Madelia, Minn.” Madelia is in Watonwan County, MN. Mr. Delling shows up there in the 1900 census, with his occupation listed as “Artist”. In the 1910 and 1920 censuses, he’s still living in Madelia, with occupation shown as “Photographer”. He was 67 years old in the 1920 census and isn’t listed in the Minnesota 1930 census, so I assume he died in the 1920s or moved elsewhere. This photograph, which is in excellent condition, measures 11 by 13 inches including the mounting board, and the image comes in at 8 ½ by 9 inches.

© 2010, copyright Stephen Mills

It Shall Be Well With Them That Fear God

This memorial image of a deceased woman laid out in the parlor of her home was taken by Sterling of Beaver Falls, PA, most likely in the 1910-1920 era. The original image measures about 8 by 9 inches and comes on a 12 by 14 inch photograph mount. The photographer’s name and city are embossed in the lower right corner.

This is a fine example of the tradition of “laying out” the body at home, which many people continued to do long after funeral homes came into existence. On the wall hangs a cardboard plaque with a quote from Ecclesiastes: “It Shall Be Well With Them That Fear God”. A framed portrait of a baby can also be seen. The room is nicely appointed with Victorian wallpaper, rugs, lacy curtains, and the family’s piano. Opening the window to allow the sunlight in was probably the photographer’s idea and it definitely adds to the artistry of the image.

The casket is dramatically propped up to raise the head - this was probably done to increase the visibility of her face for the photograph. The ornately shaped casket, which is covered in fabric, features a two-piece removable lid. The upper part of the lid can be seen standing against the wall. Easter lilies figure prominently in the floral tributes, and this death probably occurred in the spring, when lilies would have been readily available.
© 2009, copyright Stephen Mills