Scarborough Historical Society – Accession #2023.19.57 Tammy Shepherd Collection By Don Taylor
Introduction
The Scarborough Historical Society preserves a remarkable collection of photographs that capture the everyday lives of local families and communities. Many of these images come to us with only partial identification, yet offer both a glimpse into the past and an invitation for further discovery.
Celebrating Flag Day, I examine a charming image of young children proudly holding American flags—an evocative scene of patriotism and childhood in the years following World War I.
A Group of Children with Flags, circa 1919–1921
Children holding American flags pose for a school photograph, likely during a patriotic observance, circa 1919–1921. The child at the far right is identified as Raymond Lewis Swasey (b. 1916).
Description:
A group of 17 young children stand outdoors in a gentle semicircle, each holding a small American flag. The children appear to be of early primary school age, dressed in typical attire of the late 1910s to early 1920s—boys in sailor-style blouses and short trousers, and girls in light-colored dresses.
Behind them, a dirt path curves up toward a house set among mature trees, suggesting a rural or semi-rural setting. The open yard and informal arrangement indicate this was likely a school-related activity held outdoors.
Identified Individual
Thanks to a handwritten note on the reverse of the photograph, we are able to identify one child with confidence:
Far right: Raymond Lewis Swasey
Born: 1916
Parents:
Harry Allan Swasey (1873–1951)
Olla Mae (Colter) Swasey (1883–1932)
Raymond appears to be about three to five years old in this image, suggesting a date of approximately 1919 to 1921.
Context and Interpretation
The presence of so many American flags suggests a patriotic school observance, possibly:
Flag Day (June 14)
A post–World War I patriotic exercise
A school program emphasizing civic pride
The children’s young ages suggest this may have been a primary or kindergarten class, perhaps in a one-room or small district school setting.
Where Was This Taken?
The reverse of the photograph includes the word “Portland,” however I’ve learned that in 1920 the Swasey family lived at 126 North Street in Portland (Munjoy Hill). But, the landscape in this image tells a different story.
The open grounds, dirt roadway, and widely spaced buildings do not resemble the urban environment of Portland’s East End. Instead, the scene strongly suggests a rural district school setting.
This raises an intriguing possibility: Was Raymond attending school outside Portland—or visiting family in a more rural community such as Scarborough or South Portland?
The house in the background appears to be a private residence rather than a formal school building, which was not uncommon for early district school settings or nearby teacher residences.
Call for Identification
This photograph presents a wonderful opportunity for community collaboration.
We would especially like to know:
Can anyone identify any of the other children in this photograph?
Does anyone recognize the house in the background or the setting?
Are there family stories of early school days involving flag ceremonies or group photographs like this?
If you have information, please contact me using the contact form below or the Scarborough Historical Society. Even small details can help piece together the full story behind this image.
Conclusion
Although only one child—Raymond Lewis Swasey—has been identified, this photograph captures a broader story of childhood, education, and patriotism in the early 20th-century. With community assistance, I hope to restore the names and stories of the other children who stood proudly with their flags on that day.
Disclaimer: This article was researched and written by the author. ChatGPT was used as a research and drafting aid, and Grammarly for editorial review and copyediting.
In my continuing effort to document the vaudeville career of my grandmother, Donna Darling, I have identified a new engagement placing her at the Valentine Theatre in Defiance, Ohio, on June 10, 1925.
An advertisement in The Crescent News provides a detailed look at the program and offers new insight into the structure and presentation of her show during this period.
Performance Details
Advertisement for Donna Darling’s “Bathing Girl Revue,” The Crescent News, June 10, 1925.
Venue: Valentine Theatre
Location: Defiance, Ohio
Date: June 10, 1925
Headlining Act:Bathing Girl Revue featuring Donna Darling
Billing: “The Personality Plus Star”
Program Format: Motion pictures followed by vaudeville
The evening’s entertainment combined a feature film (A Thief in Paradise) with a full vaudeville bill beginning at 8:30 PM. Donna Darling’s revue was clearly the featured live attraction.
The Revue
The advertisement describes the show as: “A tidal wave of songs, dances and comedy, elaborate gowns and special scenery.”
Supporting performers included:
Todd Watson & Clarice Allyn – “Dancing Gypsies”
Al Ross – Eccentric dancer
Amelia – Hawaiian bather
Gerry Gene – Acrobatic bather and toe dancer
Nettie Bennis – “Beach Flirt”
Betty Bates – “Miss America of Today”
Newly Learned Insights
This advertisement provides several important additions to the historical record:
Confirmed Date & Location: Establishes Donna Darling in Defiance, Ohio, on June 10, 1925—helping refine her touring timeline.
Named Production: Identifies the show as the “Bathing Girl Revue.”
Headliner Status: Donna is clearly the principal attraction, reinforcing her prominence on the vaudeville circuit.
Ensemble Structure: The named cast confirms a multi-performer revue, with names not previously known. (It appears that Amelia may have replaced Alyce Louyse as the Hawaiian Bather.)
Production Value: References to elaborate costumes and scenery indicate a relatively sophisticated touring show.
Context & Significance
By 1925, vaudeville was evolving alongside the growing popularity of motion pictures. The Valentine Theatre’s program—films followed by live performance—illustrates this transitional entertainment model. Donna Darling’s prominent billing in such a program underscores her continued relevance and drawing power during this period.
Conclusion
Each newly discovered engagement helps refine the broader picture of Donna Darling’s career. This Defiance, Ohio, appearance not only confirms a specific date and venue but also provides valuable detail about the structure, branding, and scale of her performances in the mid-1920s.
This article was researched and written by the author. ChatGPT was used as a research and drafting aid, and Grammarly was used for editorial review and copy editing.
Theatre History Vaudeville Metropolitan Revue By Don Taylor
By the spring of 1926, my grandmother, known professionally as Donna Darling, was actively on tour from the New Jersey shore to Detroit and on into Ontario. The Fox Washington engagement falls at the center of this documented stretch.
Earlier that spring, she had appeared at the Broadway Theater in Long Branch, New Jersey, May 3rd, 4th, and 5th, 1926, where the act traveled under the billing “Donna Clark Revue.”[1]
Her engagements between May 5th and June 6th have not yet been documented in available sources.
The penciled inscriptions in Donna’s hand on the Fox Washington handbill – “week June 6” and “Detroit”- anchor the date of this engagement.[2]
The Engagement
The engagement ran for a standard week, beginning Sunday, June 6, 1926, and running through approximately Saturday, June 12th. One advance notice specifies “the week starting Sunday,”[3] and a Detroit Free Press review published on Wednesday, June 9th confirms the bill was then in progress.[4]
The Fox Washington operated continuous performances from noon to 11:30 P.M. — a schedule printed on every handbill and consistent with the mixed-policy film-and-vaudeville format standard at houses of this kind in the mid-1920s.[5]
The week-long engagement was the typical booking unit at a house of this size and standing. Donna’s Metropolitan Five headlined the vaudeville portion of the bill, performing alongside four other acts and beneath the featured motion picture.
Program for the Week
The following program is reconstructed from the printed handbills, advance notices, and reviews for the week of June 6, 1926.
Motion Picture
Donna’s clipping – Fox Washington Theatre, Detroit, Michigan, week of June 6, 1926.
The Shamrock Handicap — Fox Film Corp., 1926. William Fox presents Peter B. Kyne’s racing story. Starring Janet Gaynor, Leslie Fenton, and J. Farrell McDonald.[6]
Tagline: “Over the Hurdles with Irish Luck and Love Triumphant. A Race Track Drama of Erin’s Isle and Sunny California.”
The picture had been released on May 2, 1926 — just over a month before the Detroit engagement. for the climactic race. Being a William Fox production, it was a natural fit for the Fox Washington program.
Vaudeville
Donna Darling’s Metropolitan Five — Novelty singing and musical act
The Grady Trio — Miniature Musical Comedy
Bryson and Tyson — “Breezy Bits” (comedy skit)
Pearl Brothers — “Two Good Men Gone Wrong”
Murray’s American Beauties — “The Acme of Intelligence” (performing dog act)
Reviews and Reception
Three newspaper items bearing on the engagement have been located: two advance descriptive notices and one formal mid-run review.
The Detroit Free Press (June 9, 1926, p. 10)[7] carried a review headlined “Shamrock Handicap Notably Good Film.” The critic called the picture “a really novel presentation of a rather old theme” and commended all three leads. Of the vaudeville program, the reviewer wrote:
“Heading the vaudeville program, Donna Darling and her Metropolitan Five offer a novelty singing and musical act that is unique. Bryson and Tyson present a clever skit, while the Pearl Brothers, gifted entertainers, show their version of ‘Two Good Men Gone Wrong.’ A feature of the bill is the performance of the American Beauty Dogs, a canine act that is remarkable as well as entertaining.”
The reviewer for The Detroit Evening Times, H.R.W.,[8] wrote that “Donna Darling and her Metropolitan Five head the vaudeville bill with a song and dance act of merit,” and praised the Grady Trio for “a novel specialty offering out of the ordinary.” Bryson and Tyson’s comedy skit and the Pearl Brothers were noted as rounding out “a well-balanced bill.”
One discrepancy appears in the Evening Times review: H.R.W. identified the dog act as “Grady’s American Beauties,” while all printed handbills and every other source attribute the canine act to Murray’s American Beauties, listed separately from the Grady Trio.[9] This appears to be a reviewer’s error. The Detroit Free Press review simply refers to them as the “American Beauty Dogs” and describes them as “remarkable as well as entertaining.”
Fox Washington Theatre Profile
The Fox Washington was a mixed-policy film-and-vaudeville house occupying a prominent position in downtown Detroit on Washington Boulevard at Clifford, at the northern edge of Grand Circus Park. With 1,862 seats and continuous programming from noon to 11:30 P.M., it operated as a popular-audience house drawing from a broad downtown clientele — office workers, shoppers, and the many guests of the adjacent Statler Hotel, which had opened next door in 1915.
The theatre was part of William Fox’s national chain. From 1915 onward, it showed Fox Film Corp. productions exclusively, pairing them with a live vaudeville supporting bill, which was a format typical of the era’s mixed-policy houses. At the time of Donna Darling’s engagement in June 1926, the Fox Washington was the primary Fox outlet in Detroit and one of the major booking stops on the regional vaudeville circuit.[10]
History of the Theatre
The theatre was built by William Fox and opened on July 21, 1913, under the name Washington Theatre. It was designed by architect Arland W. Johnson in a red-bricked Renaissance Revival style and stood at 1505–1513 Washington Boulevard, on the northwest corner of Clifford. Johnson had designed the Broadway Theatre — later the Broadway Strand — around the same time.
Washington Boulevard in 1913 was largely undeveloped, with modest residential and commercial structures. Grand Circus Park itself had little presence as an entertainment district at that point. The Washington Theatre was among the earliest houses to establish the boulevard as a destination, predating the great wave of development that would follow.
In 1915, Fox formed the Fox Film Corp., giving him the ability to produce and exhibit films exclusively in his own theatres. The strategy of making and showing his own pictures proved highly successful. In 1919, the theatre was renamed the Fox Washington, though the marquees continued to read “William Fox Washington.”
By the early 1920s, Fox’s ambitions had grown to require a larger and more spectacular presence in Detroit. He commissioned theater architect C. Howard Crane to design a new movie palace for the city, sited just up the road from the Washington. The old Fox Washington was closed on June 3, 1928, and demolished shortly thereafter, having stood for only fifteen years. Fox’s new palace — the Fox Theatre, seating 5,041 — opened September 21, 1928, and survives today as one of Detroit’s most celebrated architectural landmarks.
The Fox Washington’s lifespan coincided almost exactly with the vaudeville era. It opened the same year vaudeville reached its commercial peak, and it closed just as the entertainment world was absorbing the first sound pictures. Donna Darling’s engagement in June 1926 fell squarely in the theatre’s last productive years.
Location Today
The Fox Washington Theatre stood at 1505–1513 Washington Boulevard, Detroit, Michigan, on the northwest corner of Washington Boulevard and Clifford, near Grand Circus Park. The adjacent Statler Hotel, which had served as a reliable source of the theatre’s audience, was itself demolished circa 1975.
Site of the Fox Washington Theatre, Detroit, Michigan. Opened July 21, 1913; closed June 3, 1928; demolished 1928. The theatre stood at the northwest corner of Washington Boulevard and Clifford. The Premier Pet Supply (Sep 2023)
Theatre Specifications
The following specifications reflect the Fox Washington Theatre as it stood during the period of Donna Darling’s appearance. Proscenium dimensions, stage measurements, fly loft height, and dressing room count have not been documented in the available sources for this engagement and are therefore omitted.
Seating capacity: 1,862
Architectural style: Renaissance Revival
Architect: Arland W. Johnson
Address: 1505–1513 Washington Boulevard, Detroit, Michigan (northwest corner of Washington Blvd. and Clifford)
Operating hours: Continuous, Noon to 11:30 P.M.
Circuit affiliation: William Fox Theatres (Fox Film Corp. exclusive exhibition)
Year opened: July 21, 1913 (as Washington Theatre)
Renamed: 1919 (to Fox Washington)
Year closed: June 3, 1928
Year demolished: 1928
Significance
Donna Darling’s week-long engagement at the Fox Washington Theatre in June 1926 places her at one of Detroit’s most active film-and-vaudeville houses during the late vaudeville era. Headlining the live program at a 1,862-seat downtown house, alongside a major Fox Film Corp. release, represented the working core of a professional touring act: a featured billing, a reputable venue, a guaranteed audience.
The Fox Washington itself stood at a transitional moment in June 1926. Two years remained before William Fox would close and replace it with one of the grandest movie palaces in America. Donna’s engagement was part of the final chapter of the house’s life as a vaudeville venue.
Engagements such as this one represent the working middle tier of vaudeville, where professional acts sustained their careers through short, dependable, and respectable bookings. Donna Darling’s appearance at the Fox Washington is a clear example of that category, and a useful marker in the ongoing reconstruction of her career.
Sources
Footnote references appear in the text below. The following list provides full citations in order.
1. Donna Darling’s penciled inscriptions “week June 6” and “Detroit” on the primary Fox Washington handbill are the primary dating source for this engagement. Donna Darling Collection (DDC), Part 36. Collector: Don Taylor.
2. The Shamrock Handicap. Dir. John G. Blystone. Fox Film Corp., 1926. Released May 2, 1926. Starring Janet Gaynor, Leslie Fenton, J. Farrell McDonald.
3. “Shamrock Handicap Notably Good Film.” Detroit Free Press, June 9, 1926, p. 10. Accessed via Newspapers.com (image no. 97945639). Donna Darling Collection, Part 36.
4. “‘Shamrock Handicap’ Is Appealing Story at Fox.” Detroit Evening Times, [June 1926]. Review signed H.R.W. Physical clipping, Donna Darling Collection, Part 36.
5. “Fox Washington — ‘Shamrock Handicap.’” [Unidentified Detroit newspaper, June 1926]. Physical clipping, Donna Darling Collection, Part 36. This notice confirms the run began on a Sunday.
6. Fox Washington Theatre handbills (two printed copies). Physical clippings, Donna Darling Collection, Part 36.
8. For the Broadway Theater, Long Branch, NJ engagement (May 3–5, 1926), see Donna Darling Collection, Part 20.
9. For the Capitol Theater, Kitchener, Ontario engagement (June 21–23, 1926), see Donna Darling Collection research notes.
10. Austin, Dan. “Fox Washington Theatre.” HistoricDetroit.org. Archived September 5, 2018. https://historicdetroit.org/building/fox-washington-theatre/.
11. The Detroit Evening Times review (H.R.W.) refers to the dog act as “Grady’s American Beauties,” while all handbills and other notices list them as “Murray’s American Beauties — The Acme of Intelligence,” listed separately from the Grady Trio. This appears to be a reviewer error.
Endnotes
[1]For the Broadway Theater, Long Branch, NJ engagement (May 3–5, 1926), see Donna Darling Collection, Part 20.
[2]Donna Darling’s penciled inscriptions “week June 6” and “Detroit” on the primary Fox Washington handbill are the primary dating source for this engagement. Donna Darling Collection (DDC), Part 36. Collector: Don Taylor.
[3]“Fox Washington — ‘Shamrock Handicap.'” [Unidentified Detroit newspaper, June 1926]. Physical clipping, Donna Darling Collection, Part 36. This notice confirms the run began on a Sunday.
[4]“Shamrock Handicap Notably Good Film.” Detroit Free Press, June 9, 1926, p. 10. Accessed via Newspapers.com (image no. 97945639). Donna Darling Collection, Part 36.
[5]Fox Washington Theatre handbills (two printed copies). Physical clippings, Donna Darling Collection, Part 36.
[6]The Shamrock Handicap. Dir. John G. Blystone. Fox Film Corp., 1926. Released May 2, 1926. Starring Janet Gaynor, Leslie Fenton, J. Farrell McDonald.
[8]“‘Shamrock Handicap’ Is Appealing Story at Fox.” Detroit Evening Times, [June 1926]. Review signed H.R.W. Physical clipping, Donna Darling Collection, Part 36.
[9]The Detroit Evening Times review (H.R.W.) refers to the dog act as “Grady’s American Beauties,” while all handbills and other notices list them as “Murray’s American Beauties — The Acme of Intelligence.” This appears to be a reviewer error, possibly caused by confusion between the Grady Trio and the separate canine act.
[10]Austin, Dan. “Fox Washington Theatre.” HistoricDetroit.org. Archived September 5, 2018. https://historicdetroit.org/building/fox-washington-theatre/.
Eleven years ago, I wrote a post titled Brick Wall – Jacob Huber (bef. 1860–?) in which I confessed to knowing virtually nothing about my wife’s great-grandfather Jacob Huber beyond his name and the fact that he had lived somewhere in the Windlach/Stadel bei Niederglatt area of Zürich, Switzerland. I had found hints — a family photo with names on the back, a marriage record for his son John that named him as the father — but every attempt to push past those clues and into the Swiss records came up empty. I even found what I thought might be a crack in the mortar when I discovered a reference to Zürich parish registers in the FamilySearch catalog, only to learn it was a book about using parish registers, not the registers themselves. The brick wall held.
StAZH E III 114.20, p. 168
Thanks to the State Archives of Zurich, the Bürger-Familienregister der Kirchgemeinde Stadel (StAZH E III 114.20, p. 168) has shattered my brick wall completely. This single page of the Stadel parish citizen register provides not only Jakob’s birth and death dates, but also the names of his parents, the full details of his marriage, and a complete accounting of his seven children.
List of Greats
Great-grandfather – John Huber
Johann Jakob Huber
2nd Great-grandfather – J.J. Huber
Johann Jakob Huber (1850–1926)
Birth & Origins
Johann Jakob Huber was born on 5 February 1850 in Pfündlauf, in the Canton of Zürich, Switzerland.[¹] He was the son of J.J. Huber and his wife, whose given name appears to read Naguile or Nagele Dominr. in the register — the surname portion remains partially illegible and will require further research. Jakob is recorded in the Stadel parish register under citizen entry number 1486, indicating his family held longstanding local citizenship (Bürgerrecht) in Pfündlauf.
Marriage
Katharina Huber
On 19 March 1877, Jakob married Katharina Nüßlinger.[¹] An interesting detail emerges from the register: Katharina is identified as a Wittwe — a widow — at the time of the marriage, indicating she had been previously married before she wed Jakob. She was born on 10 October 1857 in Rüfenacht (or a similarly named locality — the register entry is partially illegible), the daughter of Heino. Nüßlinger and his wife. Katharina’s previous marriage and any children from it remain to be researched.
Occupation
The register header describes Jakob as a Landwirth — a farmer.[¹] This is consistent with the rural agricultural character of the Stadel bei Niederglatt area in the late 19th century.
Children
Jakob and Katharina had seven children, as recorded in the Stadel parish register.[¹]
Name
Born
Baptized
Confirmed
Married
Died
Notes
Jakob (1st)
24 Jul 1878
7 Aug 1878
—
—
13 Sept 1878
Died in infancy
Jakob (2nd)
30 Jul 1879
17 Aug 1879
1894
(Vol. III, p. 2/4)
—
Johann
10 Sept 1880
26 Sept 1880
1897
—
—
Emigrated to America
Frida
24 Dec 1887
5 Feb 1888
1904
Oskar Meierhofer
5 May 1908
Emil
23 Feb 1889
7 Apr 1889
—
c. 5 Jul 191_?
—
Vol. IV, p. 80
Alfons
9 Jan 1892
14 Feb 1892
—
9 Sept 1920
—
Vol. IV, p. 87
Hermann
18 Dec 1899
4 Feb 1900
16 Oct 1914
29 Mar 1926
15 May 1932
Vol. IV, p. 115
The first child, named Jakob, died after only seven weeks of life. The name was reused for the second son, a common practice in Swiss Reformed families of the era. The register’s notation in Amerika beside the name of Johann — my wife’s great-grandfather — confirms that he was the only one of the children to emigrate, exactly as family oral history held.[¹]
Frida’s story is poignant. She married Oskar Meierhofer, a vintner (Weinbauer), and died on 5 May 1908 at approximately 20 years of age — likely in childbirth or from complications shortly thereafter. Her husband’s name and occupation are noted directly in the register.
The register cross-references the later family pages for Jakob (2nd), Emil, Alfons, and Hermann in Volume IV, providing a clear pathway for continued research into those lines.
Death
Johann Jakob Huber died on 8 December 1926 in the Stadel/Pfündlauf area of Zürich, Switzerland.[¹] His wife Katharina survived him by nearly fifteen years, dying on 10 January 1941.[¹]
Further Research
Identify Katharina Nüßlinger’s first husband and any children from that prior marriage.
Fully decipher the maiden name/origin notation for Jakob’s mother in the register.
Research Volume IV entries for Jakob (2nd), Emil, Alfons, and Hermann to extend those family lines.
Search Swiss vital records and Find a Grave Switzerland for burial information for Jakob and Katharina.
Investigate Johann Huber’s emigration date and passenger record — now that his birth date (10 September 1880) is confirmed, a targeted passenger list search becomes possible.
Events by Location
Switzerland, Canton of Zürich, Pfündlauf — Birth, 1850
Switzerland, Canton of Zürich, Stadel bei Niederglatt — Marriage, 1877; Residence; Death, 1926
Endnotes
[¹] Bürger-Familienregister der Kirchgemeinde Stadel, Staatsarchiv des Kantons Zürich (StAZH), E III 114.20, p. 168 — Family of Johann Jakob Huber, Farmer, of Pfündlauf.
Disclaimer: The research presented in this post represents my current findings and conclusions based on the sources cited. Claude.ai was used as a research and drafting aid, which included transcription and translation. Grammarly was used for editorial review and copyediting. The brick wall image used in this post was generated by ChatGPT. Where evidence is incomplete, I have drawn careful inferences and have endeavored to distinguish clearly between documented fact and reasoned interpretation. Genealogical research is an ongoing process; new records may alter, refine, or overturn conclusions presented here.
All source citations are provided for transparency and verification. Cited records belong to their respective repositories and institutions. The narrative text, analysis, and editorial conclusions are my own work and are protected under copyright.
If you have additional information, corrections, or family connections relevant to this post, I welcome your contact through the blog. Genealogy is a collaborative pursuit, and I am always grateful for the contributions of fellow researchers and family members.
In this installment of Faces from the Past, I examine five photographs from the Scarborough Historical Society Photo Collection. This installment presents five cabinet card portraits, dating from approximately 1876 to 1891. Three of the subjects have direct Scarborough connections — Charles Moulton, his wife Hannah Libby Meserve Moulton, both of Scarborough, and Rosile Dolley Poland of West Scarborough. The remaining two portraits — Dr. Willis Bean Moulton, grandson of Charles and Hannah, and an unidentified young man from Lewiston — round out this collection. Together, they offer a window into Maine life in the latter half of the nineteenth century, from prosperous Portland physicians to humble West Scarborough families navigating hard times.
Charles Moulton (1801-1891)
Charles Moulton (1801–1891), Portland, Maine. Photographer: Conaut, Portland, ME, c. 1876–1891. SHS Photo Collection #2022.28.01a.
Charles Moulton was born in 1801, the eldest son of Captain Joshua Moulton (1775–1855) and Lydia Stone (1780–1872). Charles married Hannah Meserve (b. 1806), and together they raised a large family of eight children:
John B. (b. between 1831-1832)*,
Lydia M. (b. 1833),
Esther J. (1835–1908),
Mathias M. (1839–between 1903-1920)*,
Olive (1842–1926),
Charles (1844–1932),
Liberty (1848–1923), and
Fanny (b. 1851).
His son Mathias M. Moulton married Rose Ann Bean, and their son Willis Bean Moulton (1877–1934) married Jean S. Moulton. This cabinet card portrait, photographed by Conaut, was taken sometime between 1876 and 1891, capturing Charles in his later years. He lived to the remarkable age of 90, passing away in 1891.
Hannah Libby Meserve was born on 13 December 1806 in Scarborough, Cumberland, Maine, the daughter of John Meserve (1767–1831) and Hannah Libby (1775–1859). On 21 November 1829, she married Charles Moulton (1801–1891), and together they raised eight children:
John B. (b. between 1831-1832)*,
Lydia M. (b. 1833),
Esther J. (1835–1908),
Mathias M. (1839–between 1903-1920)*,
Olive (1842–1926),
Charles (1844–1932),
Liberty (1848–1923), and
Fanny (b. 1851).
Census records show the family living in Gorham in 1850, returning to Scarborough by 1860, and back to Gorham by 1870. Hannah passed away on 17 January 1884 in Scarborough, Maine, and was buried in Portland, Cumberland County. Her husband Charles survived her by seven years, living until 1891. This cabinet card portrait, photographed by Conaut, appears to predate the portrait of her husband Charles, and is dated between 1876 and 1884 — suggesting it may have been taken while the couple were still living together in their later years, and no later than the year of Hannah’s death.
(Probably) Rosile Dolley Poland (1837–1890)
(Probably) Rosile Dolley Poland (1837–1890), West Scarborough, Maine. Photographer: Ford, c. 1887–1890. SHS Photo Collection #2010.18.01.
Rosile Dolley was born in 1837 and married Alvin J. Poland (1834–1914) as his second wife, Alvin having previously been married to Martha W. Pennell (1832–1864). By 1880 the couple were living in Biddeford, but by 1889 they had relocated to the West Scarborough area, near the Broad Turn School district (District No. 10). Town records reflect the family’s difficult circumstances in these final years — the 1889 Scarborough Town Report records Mrs. A. J. Poland receiving $2 in support, and Alvin receiving $14 for labor on the town farm buildings, while the 1890 Town Report notes Alvin receiving $10 worth of supplies as a recipient off the Poor Farm. Alvin filed for a Civil War pension on July 20, 1889, suggesting he was a veteran. Rosile passed away in 1890, after which Alvin is recorded as a widower living in Saco in the 1900 census. He lived until 1914. This cabinet card portrait, inscribed on the reverse “A. J. Poland, West Scarboro,” is believed to depict Rosile Dolley Poland, with the photo’s style and clothing suggesting a date of approximately 1887–1890, consistent with her final years in Scarborough.
Dr. Willis Bean Moulton (1877–1934)
Dr. Willis Bean Moulton (1877–1934), grandson of Charles Moulton, while a student at Bowdoin College. Photographer: Webber, Brunswick, ME, c. 1895–1900. SHS Photo Collection #2022.28.01b.
Willis Bean Moulton was born on March 20, 1877, in Portland, Maine, the son of Mathias M. Moulton (1839–1903) and Rose Ann Bean, and the grandson of Charles Moulton (1801–1891) and Hannah Libby Meserve (1806–1884) of Scarborough, Maine. Educated in the Portland Public Schools, he graduated from Bowdoin College and Johns Hopkins University in Baltimore, Maryland, establishing himself as a surgeon and gynecologist in Portland, serving on the staffs of several Portland hospitals.
During World War I, he was commissioned as a captain in 1918, serving in the Medical Officers’ Training Group and later as acting commanding officer of Evacuation Hospital No. 57. He was discharged in August 1919 with the rank of major. A Fellow of the American College of Surgeons, he was also a member of the Portland Medical Society, the Cumberland County Medical Society, and the Maine Medical Association. He married Jean S. Moulton, who survived him. Dr. Willis Bean Moulton passed away on September 14, 1934, at the Maine Eye and Ear Infirmary from pneumonia. This cabinet card portrait was taken by photographer Webber of Brunswick, Maine.
Unidentified Man, Lewiston, Maine (c. 1890)
Unidentified man, Lewiston, Maine. Photographer: Colpitts & Co., 52 Lisbon Street, Lewiston, ME, c. 1890. Name on reverse: “Mary A. Smith.” SHS Photo Collection.
This cabinet card portrait was taken by Colpitts & Co., 52 Lisbon Street, Lewiston, Maine, circa 1890. The subject is a young man, approximately 20–30 years of age, seated on a decorative stone prop before a painted landscape backdrop, a typical studio arrangement of the era. He is well dressed in a dark sack coat suit with a waistcoat, visible watch chain, and striped cravat, and holds a bowler hat in his lap — suggesting a man of modest means dressed for a formal occasion. The name “Mary A. Smith” (or possibly “Margit Smith” or Marg A. Smith (for Margaret A. Smith) is written on the reverse, almost certainly identifying the owner or recipient of the photograph rather than the subject himself. Mary/Marg A. Smith may have been a wife, sweetheart, sister, or friend of this unidentified young man. Unfortunately, there are several Mary & Margaret Smiths in the Lewiston-Auburn area, and the identity of the subject remains unknown. Research assistance welcome.
Conclusion
These five cabinet card portraits represent both the rewards and the challenges of historical photo identification. Three have been identified with confidence, one tentatively, and one remains a complete mystery. If you have information that might help identify the young man photographed by Colpitts & Co. of Lewiston, or can shed further light on any of the other subjects, please contact me using the comments form below.
Endnotes:
* My quick research uncovered multiple dates for this individual’s birth, marriage, or death. Further research is necessary.
Disclaimer: This article was researched and written by the author. ChatGPT was used for photo improvement, Claude was used as a research and drafting aid, and Grammarly was used for editorial review and copy editing.
