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

Remember, Jesus Leads: A Family Buries a Son, 1894

This compelling image of mourning, love, and hope depicts a family gathered at the grave of a loved one who was recently buried. A sign at the head of the grave underneath a floral arrangement says “Remember Jesus Leads”. Each person cast their face down, gazing at the mound that covers their beloved.

This standard-sized cabinet card photograph was done by H. B. Cady of Waitsfield, Washington County, Vermont. Written in pencil on the back, in period handwriting, is “Ernie W. Colby / Died Sep 4=1894 / Aged 20”. Based on a review of the 1880 census of Addison County, Vermont and the 1900 census of Washington County, Vermont, I believe the parents are George and Francis C. Colby, the oldest daughter standing next to them is Lydia Colby (born c1868), the younger man next to her is Albert Colby (born c1876) and the girl is Lou Colby (born c1884). The 1880 census identifies the deceased as "Westly E. Colby" born c1874.

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

Farewell Till We Meet Again

Here’s a few images of burials and cemeteries that were professionally taken and mounted on photo boards – the same mounting as for cabinet cards, but these images are different sizes. All of these images most likely date to the 1900-1910 era.

The first is one of my favorites, both for one special feature in it, as well as the story of how I got it. In 1996, I stopped at a dilapidated old motel along Interstate 20 east of Abilene, Texas because there was a hand-lettered sign out front advertising “Junk and Antiques”. The building was awful, and so was the merchandise – clearly more junk than antiques. As I was leaving, I noticed this old photograph under a pile of debris, which included a can of paint. I pulled it out and liked it, due to its subject matter, but then I saw cockroach excrement over much of the mounting board and some of the image. I was putting it down when the little banner (which appears to be supported by sticks) near the head of the grave caught my eye: “Farewell Till We Meet Again”. How could I leave that gem behind? The price was two dollars, so I took it. When I got home, I cut off most of the mounting board and worked at cleaning the image with a damp cloth. The worst of the matter was in the center, above the grave, and you can see where I removed some of the emulsion in my efforts. Other stains remain on the upper edge, but I cropped them out. This image was taken by Harrik’s Studio of Schulenberg, Texas and I assume it was made in or near Schulenberg. Notice how the photographer altered the negative to outline the grave and floral offerings, and obliterated the upper portion of the image.


Below are four images, three of interments and one of a cemetery. None of these are identified as to location or photographer, but the one that shows the burial with the head and foot marker already in place (which must have been ordered and erected prior to death) is marked on the back “Eugene South’s grave”.





© 2010, copyright Stephen Mills

Real Photo Postcards of Interments and Cemeteries

First, let me share a pet peeve. I frequently see obituaries that refer to the “internment” of the deceased. That is not the correct term. According to Merriam-Webster, “interment” means the act or ceremony of putting a dead body in its final resting place, and a synonym for interment is burial. “To inter” means to bury or entomb. “Internment” means the act of confining or the state of being confined, especially during time of war, and synonyms for internment are captivity, confinement, and imprisonment. (A correct usage of “internment” would be “The internment of Americans of Japanese descent during World War II is one of the more shameful chapters in United States history.”) Yes, the terms are somewhat similar in meaning, but they are definitely not interchangeable.

Anyway, today I thought I’d share some real photo postcards of interments. A real photo postcard is exactly what you’d think it is – a postcard bearing an actual photograph. These were common from about 1910 to 1950 – the photo could be professional or amateur, and anyone could have negatives printed with the inexpensive postcard backs. They were suitable for mailing, and many were mailed, although the images shown below are postally unused. Postcard collectors refer to them as RPPCs or RPs. For more information about the world of postcard collecting, you can visit the Capital of Texas Postcard Club, of which I’m a member. For detailed information on RPPCs, this link to Playle’s is outstanding.

None of these images are identified as to cemetery location or name of deceased. These cards all date to the 1904-1920 era, based on the design of the stamp boxes on the backs (see the Playle's link for more information on dating RPPCs using stamp box design). The first image shows a wonderful old graveyard with some seriously large floral tributes, including one from the International Order of Odd Fellows (IOOF), of which the deceased would have been a member. The other arrangement looks to be symbols of Masonry; I don't know how common it was to be in both societies.

This image shows a cemetery with graves uniformly outlined with bricks. This is an interesting old tradition, which is frequently not seen today, since it’s much easier to maintain a cemetery that does not have grave outlines. You also see old graves that are outlined with rocks, shells, iron or wood fencing, or that are mounded to form the outline. The modern version of outlining is the use of concrete grave covers and/or curbing.

The last image shows a close-up of a burial with floral offerings and grave markers in the background.

© 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

Empty Chairs

This lonesome image affects one emotionally, reminding us that death is essentially a solitary experience, both for the deceased and for those most impacted by the loss. This snapshot depicts a fresh burial from the 1920s; it came from an Austin, Texas estate and was developed by Fox Photo of San Antonio. After the last rites, one or two close family members probably stayed to witness the closing of the grave, and they memorialized the final, solemn moment through this photograph. This calls to mind the famous poem Solitude by Ella Wheeler Wilcox:

Laugh, and the world laughs with you;
Weep, and you weep alone.
For the sad old earth must borrow its mirth,
But has trouble enough of its own.
Sing, and the hills will answer;
Sigh, it is lost on the air.
The echoes bound to a joyful sound,
But shrink from voicing care.

Rejoice, and men will seek you;
Grieve, and they turn and go.
They want full measure of all your pleasure,
But they do not need your woe.
Be glad, and your friends are many;
Be sad, and you lose them all.
There are none to decline your nectared wine,
But alone you must drink life's gall.

Feast, and your halls are crowded;
Fast, and the world goes by.
Succeed and give, and it helps you live,
But no man can help you die.
There is room in the halls of pleasure
For a long and lordly train,
But one by one we must all file on
Through the narrow aisles of pain.

© 2009, copyright Stephen Mills, poem excepted

O! If I Could Only Have Kept Her

This unusual real photo postcard, purchased at an antique mall in Lubbock, Texas in 1993, poignantly conveys a mother’s pain at the loss of her child. Only rarely do I run across a postmortem photograph with contemporary historical information on the reverse that documents the depth of feeling and details of the photographic sitting that we find here. The reverse is stamped “Curtis C. Benedict, Mitchell, Iowa” and the following is written there: “Selma Marie Donaghy Born [and] Died Aug 16, 1911. O! if I could only have kept her./Ma and Pa./It just makes me sick to look at this dear little thing. Don’t you think she has an awful distressed look on her face. It must be because they worked so hard to get it.” This card was apparently sent to the grandparents, so they could see the little baby that had been lost. The mother commented on how difficult it was for the photographer to get the deceased baby posed. Even though she knew her baby was gone, she attributes the look on Selma’s face to the discomfort she endured during the photographic process. God bless little Selma with the distressed look on her face - and God bless her mother, who could not keep her.
© 2009, copyright Stephen Mills

Drink Double Cola, Vicks VapoRub for Colds, Buffalo Rock Sold Here, and an Open Casket

When I became interested in genealogy at the age of 11, one of the first things I noticed was how often genealogists, of necessity, come into contact with death and burial mementos and artifacts. To answer my many questions about our family history, both of my grandmothers referred to their keepsake boxes, which were filled with newspaper clippings of death notices, funeral cards, and a few funeral photographs. Among these keepsakes of death, I found a wealth of history.

As I continued on my genealogy journey, I also discovered a significant interest in antiques and I found myself unable to pass up an antique store or flea market. In these establishments, I frequently buy funeral-related items that have found their way onto the market. Having amassed a large collection of this memorabilia over the years, I thought I’d share some of my gems for others who may have a common interest.

I bought this snapshot at the Salvation Army Store in my hometown of Pampa, Texas in 1988. It cost twenty-five cents and the clerk made a face that clearly indicated how strange she thought I was for buying it. Oh well, she’s not the first person in my hometown that I’ve rubbed the wrong way!

This is Mrs. Gruben of Spur, Texas about 1940 standing next to her husband’s casket, which was placed in front of the general store they owned - an interesting intersection of amateur photography, commercialism, and death in small town Texas.
© 2009, copyright Stephen Mills