Depicts a Jewish man standing and an Irish woman seated on a staircase between Water and Front Streets, north of Market Street, Philadelphia. A sign reading " 'The Headless Wonder' Made without 'Heads'. No useless Expense. All Quality. Flexo Giants Cigars. 10 for 30 cents" is pasted to the brick wall next to the people., Photographer's manuscript note on verso: Not in Florence, Genoa or Naples. An outside stairway between Water and Front Sts., No., of Market St., Phila. The characters are not Italians. The man is a Jew and the young woman is Irish., Gift of Margaret Odewalt Sweeney., Duplicate: P.8513.11: same neg., Retrospective conversion record: original entry, edited., Reproduced in Frederic M. Miller, Morris J. Vogel, and Allen F. Davis' Still Philadelphia: A Photographic History, 1890-1940 (Philadelphia: Temple University Press, 1983), p. 162.
Creator
Wilson, G. Mark (George Mark), 1879-1925, photographer
Date
ca. 1923
Location
Library Company of Philadelphia | Print Department Wilson 107 [P.8513.107], http://www.lcpimages.org/wilson/wilson107.htm
Waist-length portrait of the writer wearing a locket containing the portrait of her husband and holding a small portrait of her three sons., In Corwin, Jane H. The harp of home (Cincinnati, 1858), frontispiece., Facsimile signature: Yours with respect Jane H Corwin., Mrs. Jane H. Corwin was a newspaper writer who frequently published pseudonymously. Two letters attached to the Library Company copy reveal that, in the years following the book’s initial publication, her husband died and her three surviving sons fought in the Civil War, and the losses suffered rendered her penniless.
Full-length portrait of the actress in costume as Medea. She wears Grecian robes and drapes a long beaded necklace around her head and across her chest. A brooch with a portrait on it adorns her right sleeve and she wears a bracelet beaded with pearls., In Frank Leslie’s illustrated newspaper, vol. 3, no. 59 (Jan. 24, 1857), p. 128., “Miss Heron’s style is her own. She has endeavored throughout her career to perfect such abilities as were most natural to herself : hence her success in producing powerful emotions upon her audiences. At first she is rather quiet - almost tame, some would suppose - but she gradually warms up with the progress of the play, and closes the performance with some of the most powerful effects it is possible to imagine. In most of her scenes she is perfectly natural, and refuses to use any of the trickeries which have so long defaced the efforts of some of our best actors.”--P. 128., Another portrait found in: Ballou’s pictorial drawing-room companion, vol. 14, no. 8 (Apr. 4, 1857), p. 177.
Full-length portraits of the victims in the parlor. The illustration depicts the scene of the crime the morning after the murders. Mrs. Honora Shaw, closest to the door, lies on her back with her arms flailed upward. Mrs. Ellen Lynch lies across the room, barefoot and on her side., In The Life and adventures of Arthur Spring; the murderer of Mrs. Ellen Lynch and Mrs. Honora Shaw (Philadelphia, 1853), p. 53., Mrs. Ellen Lynch and Mrs. Honora Shaw were murdered by Mr. Arthur Spring, whom they had grown up with in Ireland, on the night of March 10th, 1853. Mr. Spring murdered the sisters in the home that they shared in an attempt to rob them of less than one hundred dollars.
