Lois Lilley Howe Photographic Collection, 1884-1912 A Finding Aid
Library of Congress Subject Headings
Series Description and Folder Listing
8 boxes; 1 book
2.5 linear feet
Processor: Christopher J. Lenney
Date: August 2005:
Revised: February 2006
Acquisition: Formal accession records for the collection are lacking, but it is believed to have been the gift of Lois Lilley Howe.
Access: Access to the negatives is restricted. Access to the collection is primarily through the prints, the sleeve notes, and the item list in the finding aid. The finding aid is located in Box 6, Folder 1.
Permission to Publish: Requests for permission to publish from the collection should be made to the Executive Director.
Copyright: The Cambridge Historical Society does hold copyright on the materials in the collection.
Lois Lilley Howe, architect, was born in Cambridge, Mass. on 25 September 1864, the daughter of Estes Howe, a physician turned real estate speculator, and Lois Lilly [sic] White. The Howe family was socially well-connected, and active in civic, abolitionist, and literary circles. This background not only contributed to Lois Lilley Howe’s intellectual development, but it also introduced her into a well-heeled society whose patronage would later prove critical to her entry into the male-dominated architectural profession. Her earliest exposure to that profession came purely by geographical accident. She grew up at one Oxford Street, where she could witness firsthand the construction of Harvard’s Memorial Hall (1870-78), an event which left an indelible impression on her imagination.
Howe received her equivalency certificate from Cambridge High School, and then studied design at the Museum of Fine Arts School (1882-1886). At about this time, a cousin who was a chemist visited the Howes, bringing along his camera and tripod: this was LLH’s first introduction to dry plate photography. Upon her father’s death in 1887, the family home at one Oxford Street was sold to the Reverend Francis Peabody. Peabody’s brother, the architect Robert Swain Peabody, was retained to remodel the house, and Howe so impressed him with her suggestions for the redesign of an awkward stairway that he encouraged her talent and became her mentor. The Howe family meanwhile purchased land at 2 Appleton Street and asked a family friend, Francis Chandler, of Cabot and Chandler, to design them a new house (destined to become LLH’s lifelong home). Howe’s exposure to architectural work at close quarters dispelled whatever doubts she may have entertained as to her choice of career. She was admitted to the “Harvard Annex” (later renamed Radcliffe), but opted instead to enroll in the two-year “partial course” offered by the MIT School of Architecture. The only woman in a class of 65 males, she completed the program in 1890. In 1892, while employed as a draftsman and librarian, she garnered her first public recognition with an honorable mention for her design for the Women’s Pavilion at the World’s Columbian Exhibition. The $500 prize money paid for her and her family’s passage to Europe, where they toured for 15 months. After her return home, in 1893 she opened what would soon become the only all-female architectural firm in Boston, and one of the earliest in America. In 1894 she designed her first house, the Alfred C. Potter residence at 1 Kennedy Road, Cambridge. Photographs of both the Potter house and the Potter family are found in this collection.
As Howe’s practice grew, her firm expanded: becoming successively Lois Lilley Howe&Manning in 1913, and then Howe, Manning & Almy in 1926, as draftsmen Eleanor Manning and Mary Almy were taken on a partners. The firm is best known for its largely Colonial Revival domestic architecture, with its emphasis on “comfort, convenience and practicality.” The general economic downturn, and Howe’s own advancing age (then 73) led the firm to disband in 1937, with her partners launching separate practices. Over its forty-three year history, the Howe firm executed some 426 commissions, about a fifth of which were located in Cambridge, many in the Brattle Street area.
Howe was the first woman to be elected a fellow of the American Institute of Architects; among her numerous other professional and social affiliations, two are of local note. She was second Vice President of the Cambridge Historical Society and contributed many articles to its Proceedings. Howe also served as President of the Cambridge Plant Club from 1938 to 1947.
The Howe, Manning & Almy Papers, 1883-1972, are held at the MIT Institute Archives and Special Collections, and include photographs as well as Howe’s early personal papers, scrapbooks, sketches, and watercolors.
A few letters written by Lois Lilley Howe figure in the E.E. Cummings Papers and the Arthur Stanley Pease Correspondence held at Houghton Library, Harvard University.
Cambridge Plant and Garden Club, Records, 1889-1991 are held at Schlesinger Library, Harvard University.
Sources:
Cole, Doris and Karen Cord Taylor. The Lady Architects: Lois Lilley Howe, Eleanor Manning and Mary Almy: 1893-1937. New York: Midmarch Arts Press, 1990.
Garraty, John A. and Mark C. Carnes, eds., American National Biography, New York: Oxford University Press, 1999.
Harkness. Marjory Gane. The Tamworth Narrative (New Hampshire). Freeport, Maine: Bond Wheelwright, 1958.
Howe, Lois Lilley. “Memories of Nineteenth Century Cambridge,” Proceedings of the Cambridge Historical Society, 34: 59-76, 1952.
Howe, Lois Lilley. Last Will and Testament, 1960.
Julyan, Robert, and Mary Julyan. Place Names of the White Mountains (rev. ed). Hanover, N.H.: University Press of New England, 1993.
Nathanson, Larry. “Lois Lilley Howe: 1864-1964. The Woman, Her Time, and Accomplishments.” (His notes for a talk presented to the Cambridge Historical Society, October 15, 2000.)
Who Was Who in America, with World Notables, vol. 4, Chicago: Marquis-Who’s Who, Inc., 1968.
(Due to length and the distinctive nature of the materials described, this note has been divided into two sections, one for Series I-III, and a second for Series IV-VI.)
Series I-III. The bulk of the collection consists of a total of 282 glass photographic negatives taken, with only a few known exceptions, by Lois Lilley Howe between 1892 and 1912. Most measure either 4”x5” (159) or 5”x7” (110), with a few large-format 8”x10” plates (12). (A small number were misleadingly labeled “glass positives” or “lantern slides.”) There is also one celluloid negative sandwiched in glass. (An earlier CHS inventory refers to “10 celluloid negatives” and “2 batches of 5x7 celluloid negatives, stuck together,” which no longer appear to exist.)
About 135 of the negatives have associated prints, apparently made when the collection was first processed by the Cambridge Historical Society. At that time, the negatives were also resleeved in paper or glassine envelopes, but documentation of the date and work plan of that procedure is lacking. The disintegrating text of the original sleeves was retained, which is fortunate as Howe’s florid script led to many poor transcriptions. These sleeve labels, on highly acidic paper, are variously annotated with date, subject, place, and technical details of equipment, exposure, and development.
According to the terms of Howe’s will, materials relating to her architectural firm were bequeathed to her former partners, and these ultimately made their way to the Institute Archives at MIT, Howe’s alma mater. The 1912 cut-off date of this photographic collection may relate to the 1913 incorporation of her firm, to her abandonment of dry plate photography, or to some other unknown cause.
The negatives are sufficiently dated and annotated to chronicle Howe’s developing skills as a photographer, as well as her expanding range in subject matter. Her themes reflect her personal, artistic, and professional interests. Her early artistic themes are typical of the period. These include several studies of a laurel-wreathed young man, Lydiard Horton (listed in the city directory as a Latin High School student), as well as others of a young woman in colonial dress, a biblically robed maiden with a jug, and a naked child in a woodland setting. Howe’s interest in gardening is reflected in some twenty studies of flowers: Japanese Iris, Hollyhocks, Cinnamon Roses, Lilacs, etc. taken indoors and out. Throughout the collection, fire and fireplaces, whether in the form of an autumn bonfire, campfire, or the household hearth, are a recurrent theme, and may relate to Colonial Revival ideas of hearth-centered domesticity.
Howe’s professional, personal, and photographic life were deeply intertwined, and the client list to be found in The Lady Architects is the single most useful source in identifying the people and places depicted in the collection. For example, the photograph labeled “Primroses—Schoonerhead—August 1898” may correlate with renovations undertaken for Robert W. Hale at Schooner Head, Bar Harbor, Me. in 1897. Howe’s friends were also her clients, and she often both photographed them and designed their homes, as was the case of the Alfred C. Potter family.
While some pictures of people have a casual quality, others are carefully staged portraits. Sleeve annotations such as “Roger Twitchell in his crib… 4 platinum prints Mrs.…Twitchell” suggest that her talents were recognized by her social circle, but there is no evidence that she pursued photography commercially. At least three negatives (5.037a, 5.037.1a, 5.037.2a) appear to depict Howe herself.
About three dozen photographs document, often highly repetitively, scenes of holidays spent ca. 1895-1906 in Tamworth, N.H., where a summer colony of Harvard faculty had grown up around Mount Chocorua. Dates indicate visits as early April and possibly as late as December, but most were taken in July and September. Howe appears to have been a frequent house guest of the Dr. Edward and Elizabeth Twitchell family, as many of the photographs depict their four children: Paul S., Helen, Roger T., and Margaret (all of whom were named as beneficiaries in Howe’s will). Among these are the consciously artistic studies of the naked child Roger Twitchell, and the idyllic group “Going to the Spring,” with Mount Chocorua in the background. The Twitchell’s rustic summer home, a “rough house built in the nineties,” was also much photographed, inside and out. While little is known of Howe’s relation to the Twitchells, there is a listing for a Mrs. Elizabeth Twitchell on Bond Street in the Cambridge Blue Book (1928). Howe’s architectural interests are further reflected in several scenes of weather-beaten New Hampshire farmhouses and of a new, shingle-style summer home named “Knollcroft.” The portraits of “Mr. Crothers” are believed to be of Dr. Samuel McChord Crothers, longtime minister of the First Parish in Cambridge (1894-1927), who summered in nearby Madison, N.H. “Mr. Liberty sawing wood” may depict the local woodsman James Liberty, who was the namesake of Liberty Trail and Jim Liberty Cabin on Mount Chocorua.
Another thirty-three negatives depict rural and urban landscapes along and near the Charles River from Dover to East Cambridge, Mass. (ca. 1896-1900), and are of considerable documentary value. Two are labeled as having been “exhibited in competition November 9, 1898.” Of particular local interest is “Coolidge Farm: Men, with City in the Distance,” which shows the distant steepled skyline of Harvard Square viewed across field and river.
A third (about 100) of the negatives are of purely architectural subjects. A few of these are of exceptional historical interest, such as early views of the oldest house in Cambridge, the Cooper-Frost-Austin House. Several of the house photographs have been reproduced by the Cambridge Historical Commission, and many have been annotated and identified by later researchers in terms different from Howe’s own captions. The studies of domestic interiors often bear the names of known architectural clients (as Alfred C. Potter, Mrs. A. M. Griswold, Thomas Mott Osborne), but no obviously labeled “before” and “after” views were noted. The photograph of the Longfellow Barn appears to be related to her Colonial Revival design for the carriage house at Elmwood (now owned by Harvard University). Howe was a strong advocate of the use of photography and measured drawings in the design work of her firm.
Series IV-VI. Series IV consists of approximately 100 photographs either created or collected by Lois Lilley Howe. An additional 31 photographs, most of them clearly taken by Howe, have been transferred from the Cambridge Image Collection and incorporated here in folders 2-3, as more properly belonging to the Howe Collection. With few exceptions (mainly the exhibition prints), the images in Series IV do not appear to derive from negatives found elsewhere in the collection.
This series represents a wide variety of sizes and print types, from mounted prints to simple snapshots, and even post cards. The arrangement adopted here reflects Howe’s familiar subject matter: Houses, Interiors, Landscapes, and People. Houses consist of some 89 images of houses, buildings, and architectural details, including a few commercial postcards. Many are mounted on pages torn from albums, or show glue traces on the reverse side. These album pages give evidence of having been methodically organized by Howe according to the architectural style of the house, doorway, fence, etc., depicted. The only captioned Interior views depict “Elmwood,” birthplace of James Russell Lowell, and the home office of Dr. C. C. Foster. Landscapes include 17 Charles River views, several depicting the working waterfront of tugboats, gasworks, and factories as it existed before the damming of the Charles River Basin. Also in this folder are bucolic and woodlands scenes. People include portraits of Cambridge Photographic Club members and possibly some Howe relatives. A cabinet card depicts an unidentified young man in elaborate uniform with a horsehair-plumed helmet (under magnification, the coat buttons are dated 1886).
The majority of Series IV is believed to be the work of Lois Lilley Howe, either alone, or in a few clearly labeled cases, in collaboration with James A. Wells. However, it seems probable that some of the material (particularly the Charles River views) was collected by Howe, but created by members of the Cambridge Photographic Club. Howe’s membership in this club, and her longstanding ties to C.H.S., make provenance difficult to determine. The problem is further aggravated by the lack of labeling and formal accession records. One large format (13”x20”) carbon print of 12 members of the Vaughan and Abbot families in theatrical costumes has been stored separately in drawer 4 of the map case due to size. This photograph is of uncertain provenance, but bears an Old Cambridge Photographic Club label and presumably came to C.H.S. through Howe.
Several Harvard yearbook photographs were removed from Series IV to the Cambridge Image Collection, Portrait Series. Also transferred to the Cambridge Image Collection was one woodland scene marked Gift of Miss Margaret Norton, which had no obvious connection to Los Lilley Howe.
Series V consists of drawings and plans, published and unpublished. The manuscript drawings of the Hastings-Holmes house (birthplace of Oliver Wendell Holmes), and of an old house that stood on the site of Hastings Hall, Harvard Law School, were done in 1884-85. They represent Howe’s earliest dated work in the collection, and were done several years before she began her formal architectural training at M.I.T. These drawings document significant Cambridge structures no longer standing, and were made at a time when making records of threatened Colonial buildings was still relatively novel. Also in this series is a signed copy of Details from Old New England Houses, measured and drawn by Lois L. Howe and Constance Fuller (1913). While this does not appear to have been Howe’s personal copy, it was incorporated into the collection some time ago by the Cambridge Historical Society.
Two photographs and one postcard of old doorways were glued to the back of architectural drawings of doorways in Kennebunkport, Maine and are found in Box 8, folder 4. Traced drawings of stairway details are filed in an oversized folder in drawer 4 of the map case.
Series VI consists of a folder of genealogical materials. Included is a partially completed pedigree chart, assorted genealogical notes regarding the Pomeroy and Spelman families, a newspaper clipping regarding the Spelman coat of arms, one bond of a Samuel Pomeroy dated 1797, and two copies of a biographical sketch of Lois Lilley Howe written for her M.I.T. Fiftieth Class Reunion in 1890.
Arrangement of Series I-III
Maintaining the context of the interrelated glass negative and print material, while also providing for both preservation and access has necessitated a fairly elaborate arrangement, which requires a word of explanation. When processing began in February 2005, corresponding negatives, prints, and original sleeve notes were interfiled together, but otherwise in no discernible order. Some items bore evidence of an earlier, but unfinished, numbering scheme, probably imposed by C.H.S. This scheme is exemplified by P-1.1 to P-1.71 for pictures of people, and P-3.1 to P-3.31 for pictures of houses. Other portions of the collection bore simpler numbers (nos. 1-50), or were unnumbered. These earlier numbers have been recorded in square brackets in the item descriptions.
In the present arrangement, the interfiled sets of related negatives, annotated sleeves, and prints were separated, assigned corresponding control numbers, and placed in parallel series. Each control number is followed by a suffix that indicates negative and print size (a= 4”x5”; b=5”x7”; c=8”x10”). In a few instances, inadvertent gaps occurred in the control number sequence; these have been indicated in the finding aid by the note “Number Not Used.”
Series I consists of glass negatives arranged in five subseries: Flowers (nos. 1.01-1.31), Houses (nos. 2.01-2.61), Interiors (nos. 3.01-3.46), Landscapes (nos. 4.01-4.38), and People (nos. 5.001-5.106). Within each subseries, arrangement is alphabetical by subject. Physical arrangement of the negatives in the storage containers is first by size (a, b, or c), then by number. Thus, negative 2.01a is filed in the 4”x5” box, while negative 2.02c is in the 8”x10” box. Access to this series is restricted.
Series II consists of silver gelatin prints. These are filed in the archival binder box first by size (a, b, c) and then by number. The control numbers appear on the back of each print and are enclosed in a rectangle to distinguish them from earlier numbering schemes. In the item list, the abbreviations P and NP are used to indicate whether a “Print” or “No Print” exists for the negative.
Series III consists of photocopies of the annotated negative sleeves. Acidic sleeves were photocopied on archival quality paper and filed by control number in folders. Notes by Howe herself were generally written on old fashioned, pre-printed Kraft paper envelopes, and are distinguishable by her florid script. Later notations by others were generally on newer glassine envelopes. A sample of the best-preserved original sleeves was kept, but most were discarded after photocopying, as too brittle for preservation.
Library of Congress Subject Headings:
Howe, Lois Lilley, 1864-1964.
Twitchell family —Photographs.
Architecture — Massachusetts — Cambridge — Photographs.
Historic buildings — Massachusetts — Cambridge — Photographs.
Cambridge (Mass.) — Photographs.
Cambridge (Mass.) —Buildings, structures, etc. —Photographs.
Tamworth Region (N.H.) —Photographs.
Series Description and Folder Listing:
Series I. Negatives
Identification of subjects, titles, and data for the negatives were derived from Howe’s sleeve notes, later researchers’ annotations, and published sources. Material in quotation marks was taken from the sleeve notes; text in brackets was supplied by the processor. Names have been standardized: R. Twitchell, R.T.T., and Roger Twitchell have all been rendered as Roger T. Twitchell. Sleeve notes were not fully transcribed, and these should be consulted to confirm conjectural readings and for fuller information. As noted above, earlier item numbers have been recorded in square brackets, e.g., [P-3.32] or [47].
Box 1 Size a (4”x5”) negatives
Box 2-3 Size b (5”x7”) negatives
Box 4 Size c (8”x10”) negatives
|
Negative Number |
|
Print/ |
Scan |
|
|
|
||
|
1.01a |
Arrowhead [flower] [1] |
NP |
|
|
1.02a |
Cinnamon Roses on Whittemore Wall [10] |
NP |
|
|
1.03a |
Cinnamon Roses by Miss [Walling’s?] Barn [11] |
NP |
|
|
1.04b |
5.7 Dandelions |
NP |
|
|
1.05a |
[Flowers and Picket Fence] [4] |
NP |
|
|
1.06a |
Flowers |
NP |
|
|
1.07a |
Hollyhock- large [8] |
NP |
|
|
1.08a |
Hollyhocks I [12] |
NP |
|
|
1.09a |
Hollyhocks [13] |
NP |
|
|
1.10a |
Hollyhocks [14] |
NP |
|
|
1.11a |
[Lay’s?] Hollyhock [15] |
NP |
|
|
1.12a |
Hollyhocks [20] |
NP |
|
|
1.13a |
[Japanese Iris?] [3] |
NP |
|
|
1.14a |
Japanese Iris I [5] |
NP |
|
|
1.15a |
Japanese Iris II [9] |
NP |
|
|
1.16a |
Japanese Iris II [6] |
NP |
|
|
1.17a |
Joe Pye Weed [2] |
NP |
|
|
1.18a |
Lilies [17] |
NP |
|
|
1.19a |
Miss Swan’s Lilies I. Best [16] |
NP |
|
|
1.20a |
Mullein [7] |
NP |
|
|
1.21a |
Mullein [21] |
NP |
|
|
1.22a |
Mullein [19] |
NP |
|
|
1.23b |
[Horsford’s?] |
NP |
|
|
1.24b |
Poet’s Narcissus |
NP |
|
|
1.25a |
Primroses [18] |
NP |
|
|
1.26b |
Couronne d’[Or?] Tulips |
NP |
|
|
1.27b |
Gold [Finch] Tulips in Yellow Pot—closed |
NP |
|
|
1.28b |
Gold [Finch] Tulips in Yellow Pot—wide open |
NP |
|
|
1.29b |
[Pot of Tulips] |
NP |
|
|
1.30b |
[Tulip] |
NP |
|
|
1.31b |
Yellow Tulips—wide open |
NP |
|
|
|
|
|
|
|
2.01a |
Arsenal Gate [P-12.5] |
P |
|
|
2.02c |
House, exterior side view [P-3.15] |
P |
|
|
2.03c |
House, exterior rear view [P-3.16] |
P |
|
|
2.04b |
Brewster Gate, 1 of 2 [P-3.4] |
P |
|
|
2.05b |
Brewster Gate, 2 of 2 [P-3.5] |
P |
|
|
2.06a |
Astor Cary barn door [P-3.32] |
P |
|
|
2.07a |
Old Cottage—front [P-3.12] |
P |
|
|
2.08a |
Old Cottage—back [P-3.13] |
P |
|
|
2.09a |
Cooper-Frost-Austin House [P-3.7] |
P |
|
|
2.10a |
Cooper-Frost-Austin House [P-3.8] |
P |
|
|
2.11a |
Cooper-Frost-Austin House, 1901 [P-3.9] |
P |
|
|
2.12b |
Crothers’ [rustic summer home, exterior] |
NP |
|
|
2.13a |
C. W. Eliot House—Porch [P-3.3] |
P |
|
|
2.14a |
C. W. Eliot House—South [P-3.19] |
P |
|
|
2.15a |
C. W. Eliot House—South West [P-3.18] |
P |
|
|
2.16a |
Mrs. A. M. Griswold’s House [P-3.26] |
P |
|
|
2.17c |
Mrs. A. M. Griswold’s house—exterior front view |
P |
|
|
2.18a |
Mrs. A. M. Griswold’s House [P-3.27] |
P |
|
|
2.22a |
Howe House—front [P-3.6] |
P |
|
|
2.23a |
Howe House—front [P-3.30] |
P |
|
|
2.24b |
L. L. Howe House? [P-3.2] |
P |
|
|
2.25a |
House on James Street—“Approx. 79 1/ 2 Brattle” |
P |
|
|
2.26b |
“Jaundice Hall” [P-3.1] |
NP |
|
|
2.27a |
“Knollcroft” [house] [44] |
NP |
|
|
2.28a |
Longfellow Barn I [P-3.31] |
P |
|
|
2.29a |
3.36 Longfellow Barn II [P-3.10] |
P |
|
|
2.30a |
Nutting Place—Front Gate, open [P-3.22] |
P |
|
|
2.31a |
Nutting Place—Back Gate, large [P-3.23] |
P |
|
|
2.32a |
Nutting Place—Back Gate, small [P-3.24] |
P |
|
|
2.33a |
Nutting Place—Front Gate, closed [P-3.25] |
P |
|
|
2.34a |
[Farmhouse with barn on a rise] [46] |
NP |
|
|
2.35a |
View of Country House [42] |
NP |
|
|
2.36a |
House and Cornfield on Butler’s Bridge Road [47] |
NP |
|
|
2.37a |
House on Butler’s Bridge Road [48] |
NP |
|
|
2.38a |
View of Country House [43] |
NP |
|
|
2.39a |
Wonalancet- First View in Winter of April 1895 [45] |
NP |
|
|
2.40a |
Alfred C. Potter House [P-3.20] |
P |
|
|
2.41a |
Alfred C. Potter House —exterior [P-3.11] |
P |
|
|
2.42a |
Alfred C. Potter House [P-3.21] |
P |
|
|
2.43b |
Twitchell’s House |
NP |
|
|
2.44a |
Twitchell’s House—approach |
NP |
|
|
2.45a |
Twitchell’s House—back |
NP |
|
|
2.46b |
Twitchell’s House—from southeast |
NP |
|
|
2.47a |
Twitchell’s House—appletree porch |
NP |
|
|
2.48b |
Twitchell’s House—appletree porch |
NP |
|
|
2.49b |
Twitchell Porch |
NP |
|
|
2.50a |
Twitchell’s House—appletree porch [50] |
NP |
|
|
2.51a |
Twitchell’s House—appletree porch, P.M. |
NP |
|
|
2.52b |
Twitchell’s House—appletree porch |
NP |
|
|
2.53a |
Twitchell’s House—porch, P.M. |
NP |
|
|
2.54a |
Twitchell’s House—porch, A.M. |
NP |
|
|
2.55b |
Twitchell’s House—porch [rustic arbor] |
NP |
|
|
2.56b |
Twitchell’s House—appletree porch, P.M. |
NP |
|
|
2.57b |
“Roger [Twitchell]’s house” [shingled hut in woods] |
NP |
|
|
2.58a |
Wadsworth House—rear [P-3.28] |
P |
|
|
2.59a |
Wadsworth House—east side [P-3.29] |
P |
|
|
2.60b |
Unidentified House—side view |
NP |
|
|
2.61b |
Miss Howe |
NP |
|
|
|
|
|
|
|
3.01b |
Booth House—bedroom, 6 [P-4.1] |
P |
|
|
3.02b |
Booth House—dining room, 4 [P-4.2] |
NP |
|
|
3.03b |
Booth House—“Study for Miss Howe” [P-4.3] |
NP |
|
|
3.04b |
Booth House—parlor, 1 [P-4.4] |
P |
|
|
3.05b |
Booth House—from hall, 3 [P-4.5] |
P |
|
|
3.06b |
Booth House—hall from parlor, 2 [P-4.6] |
P |
|
|
3.07b |
Crothers’[rustic interior] |
NP |
|
|
3.08b |
Crothers’ [rustic interior with fireplace] |
NP |
|
|
3.09a |
Mrs. A. M. Griswold’s parlor [P-4.30] |
P |
|
|
3.10a |
Mrs. A. M. Griswold’s parlor [P-4.31] |
P |
|
|
3.11a |
Mrs. A. M. Griswold’s parlor (upright) [P-4.32] |
P |
|
|
3.11.1b |
Mrs. A. M. Griswold’s House [P-4.16] |
P |
|
|
3.11.2b |
Mrs. A. M. Griswold’s House [P-4.17] |
P |
|
|
3.11.3b |
Mrs. A. M. Griswold’s House [P-4.18] |
P |
|
|
3.12a |
Clara’s Room [P-4.33] |
P |
|
|
3.13b |
G. B. Maynadier House—dining room with hall, 2 [P-4.10] |
NP |
|
|
3.14b |
G. B. Maynadier House—dining room, 1 [P-4.11] |
NP |
|
|
3.15b |
G. B. Maynadier House—dining room, 3 [P-4.9] |
P |
|
|
3.16a |
Thomas Mott Osborne House—hall and parlor [P-4.34] |
P |
|
|
3.17a |
Thomas Mott Osborne House—library [P-4.29] |
P |
|
|
3.18a |
Alfred C. Potter House—hall [P-4.35] |
P |
|
|
3.19b |
Alfred C. Potter House—hall [P-4.7] |
P |
|
|
3.20b |
Alfred C. Potter House—hall [P-4.8] |
P |
|
|
3.21a |
Twitchell’s House—interior |
NP |
|
|
3.22b |
Twitchell’s House—cot corner, oblong |
NP |
|
|
3.23b |
Twitchell’s House—cot [i.e., hammock] corner |
NP |
|
|
3.24b |
Twitchell’s House—dining room |
NP |
|
|
3.25b |
Twitchell’s House—dining-room corner |
NP |
|
|
3.26b |
Number Not Use |
--------------- |
-------- |
|
3.27b |
Twitchell’s living room, with fireplace and cot |
NP |
|
|
3.28b |
Twitchell’s living room, with fireplace and stairs |
NP |
|
|
3.29b |
Twitchell’s House—sitting room corner |
NP |
|
|
3.30b |
Twitchell’s House—stairs |
NP |
|
|
3.31b |
Twitchell’s House—with stairway and fireplace |
NP |
|
|
3.32b |
Twitchell’s house—staircase |
NP |
|
|
3.33b |
Interior with fireplace [P-4.12] |
P |
|
|
3.34b |
Interior with fireplace [P-4.13] |
P |
|
|
3.35b |
Interior [P-4.14] |
P |
|
|
3.36b |
Interior with stairs [P-4.15] |
P |
|
|
3.37c |
Parlor with fireplace [P-4.19] |
P |
|
|
3.38c |
Parlor with fireplace [P-4.20] |
P |
|
|
3.39c |
Parlor with fireplace [P-4.21] |
P |
|
|
3.40c |
Victorian parlor with gas lamp [P-4.22] |
P |
|
|
3.41c |
Victorian parlor with gas lamp [P-4.25] |
P |
|
|
3.42c |
Victorian parlor with tea setting [P-4.23] |
P |
|
|
3.43c |
Victorian parlor with tea setting [P-4.24] |
P |
|
|
3.44c |
Hallway to stairs [P-4.26] |
P |
|
3.45c |
Stairs [P-4.27] |
P |
|
|
3.46c |
Dining room with fireplace [P-4.28] |
P |
|
|
|
|
||
|
4.01a |
Charles River—1896 [P-7.18] |
P |
|
|
4.02a |
Charles River—1896 [P-7.36] |
P |
|
|
4.03a |
Charles River with Trees [P-7.37] |
P |
|
|
4.04a |
[Charles River?] [P-7.41] |
P |
|
|
4.05a |
Charles River—East Cambridge [P-7.17] |
P |
|
|
4.06a |
Entrance to Coolidge Farm, Willis [Court?] [P-7.34] |
P |
|
|
4.07a |
Coolidge Farm—Apple Trees, Haystacks [P-7.39] |
P |
|
|
4.08a |
Coolidge Farm—Apple Tree [P-7.40] |
P |
|
|
4.09a |
Coolidge Farm—Looking Back at Sunset [P-7.42] |
P |
|
|
4.10a |
Coolidge Farm—Men, with City in Distance [P-7.43] |
P |
|
|
4.11a |
Coolidge Farm—Stacks and Outhouses [P-7.43] |
P |
|
|
4.12a |
Glacialis in Winter, 1 of 2 [P-7.23] |
P |
|
|
4.13a |
Glacialis in Winter, 2 of 2 [P-7.24] |
P |
|
|
4.14a |
Class B—Willows [P-7.16] |
S |
|
|
4.15a |
[Longfellow Park] [P-7.35] |
P |
|
|
4.16a |
Willows at Canton [P-7.25] |
P |
|
|
4.17a |
Hoar Farm—Pond [P-7.31] |
P |
|
|
4.18 |
Number Not Used |
|
|
|
4.19a |
Cotton Mill, Waltham [P-12.3] |
P |
|
|
4.20a |
[Cows grazing near dam and mill] [P-7.22] |
NP |
|
|
4.21a |
Charles River—View outside Arsenal [P-7.32] |
P |
|
|
4.22a |
Charles River—Above Arsenal [P-7.19] |
P |
|
|
4.23a |
Charles River—Above Arsenal [P-7.20] |
P |
|
|
4.24a |
Charles River North—Marshes by Arsenal [P-7.21] |
P |
|
|
4.25a |
Arsenal Bridge and [Long K—?] Boiler [P-7.26] |
P |
|
|
4.26a |
Charles River—1896 [P-7.30] |
P |
|
|
4.27a |
Watertown Bridge [P-12.4] |
P |
|
|
4.28a |
View from Watertown Bridge [P-7.27] |
P |
|
|
4.29a |
Charles River between Bemis and Watertown [P-7.28] |
P |
|
|
4.30a |
Charles River north from Bemis Bridge [P-7.29] |
P |
|
|
4.31a |
Charles River North—Meadows below Watertown Dump |
P |
|
|
4.32a |
Charles River near West Watertown Station [P-7.33] Watertown, Mass. |
P |
|
|
4.33b |
“View 7.” [Title illegible] |
NP |
|
|
4.34b |
Panorama I |
NP |
|
|
4.35b |
“Looking Through The Barn” |
NP |
|
|
4.36a |
Twitchell Bonfire [25] |
NP |
no scan |
|
4.36.1a |
Twitchell Bonfire [P-1.61] |
P |
no scan |
|
4.37a |
Bonfire [32] |
NP |
|
|
4.38b |
[Twitchell’s?] Brush Fire |
NP |
|
|
|
|
|
|
|
5.001a |
The Ladies Bellier? from “The Amazon” [P-1.34] |
P |
|
|
5.002b |
The Twins Playing Cards [P-1.6] |
NP |
|
|
5.003b |
Canton Twins [P-1.7] |
NP |
|
|
5.004b |
Canton Twins [P-1.8] |
NP |
|
|
5.004.1b |
Canton Twins [P-1.4] |
NP |
|
|
5.004.2b |
Canton Twins [P-1.5] |
NP |
|
|
5.005a |
Chapman [P-1.56] |
P |
|
|
5.006a |
Chapman [P-1.57] |
P |
|
|
5.007a |
Chapman [P-1.58] |
P |
|
|
5.008b |
Helen Crothers in her [?] |
NP |
|
|
5.009b |
Mr. [Samuel McChord?] Crothers in his Study |
NP |
|
|
5.010b |
Mr. [Samuel McChord?] Crothers in his Study II |
NP |
|
|
5.011a |
Betty Devens [P-1.38] |
P |
|
|
5.012a |
Betty Devens [P-1.39] |
P |
|
|
5.013b |
Betty and Geraldine [Dropper?] P-1.28] |
NP |
|
|
5.014b |
The Droppers [P-1.29] |
NP |
|
|
5.015b |
[another study of the Droppers] [P-1.30] |
NP |
|
|
5.016a |
S[arah] McK[eane] Folsom (head looking down) [P-1.35] |
P |
|
|
5.017a |
S[arah] McK[eane] Folsom (head) [P-1.36] |
P |
|
|
5.018a |
S[arah] McK[eane] Folsom [P-1.37] |
P |
|
|
5.019a |
A. L. G. (intensified) [P-1.67] |
P |
|
|
5.020a |
A. L. G. and Rick [P-1.68] |
P |
|
|
5.021a |
A. L. G. (sitting down) [P-1.69] |
P |
|
|
5.022a |
A. L. G. (intensified) [P-1.70] |
P |
|
|
5.023a |
A. L. G. [P-1.71] |
P |
|
|
5.024a |
[seated woman] |
P |
|
|
5.025a |
M. H., & Prince [P-1.40] |
P |
|
|
5.026a |
Helen & Carl (standing up) [P-1.42] |
P |
|
|
5.027a |
Helen & Carl (sitting down) [P-1.43] |
P |
|
|
5.028a |
E. H. Horton [P-1.59] |
P |
|
|
5.029a |
E. H. Horton [P-1.60] |
P |
|
|
5.030a |
Lydiard Horton, reading, with laurel wreath [P-1.44] |
P |
|
|
5.031a |
Lydiard Horton with laurel wreath [P-1.45] |
P |
|
|
5.032a |
Lydiard Horton, reading, with white fillet [P-1.46] |
P |
|
|
5.033a |
Lydiard Horton, as a saint [P-1.47] |
P |
|
|
5.034a |
Lydiard Horton, with wreath and book [P-1.48] |
P |
|
|
5.035a |
Lydiard Horton, with ruff collar [P-1.49] |
P |
|
|
5.036a |
Lydiard Horton, with ruff collar (no. 2) [P-1.50] |
P |
|
|
5.037a |
Lois? in gig [P-1.62] |
P |
|
|
5.037.1a |
[Lois Lilley Howe?] |
P |
no scan |
|
5.037.2a |
[Lois Lilley Howe?] |
P |
no scan |
|
5.038b |
Helen Twitchell Feeding Hens |
NP |
|
|
5.039b |
Helen Twitchell Feeding Hens |
NP |
|
|
5.040b |
Mr. [Liberty] sawing wood |
NP |
|
|
5.041b |
Mr. [Liberty] and the wheelbarrow |
NP |
|
|
5.042b |
Potters and Dog—small [P-1.24] |
NP |
|
|
5.043 |
Number Not Used |
---------------- |
--------- |
|
5.044b |
The Whole Potter Family [P-1.25] |
NP |
|
|
5.045b |
Potters and Dog—bad [P-1.26] |
NP |
|
|
5.046a |
Mr. [Alfred C.?] Potter and Delano [P-1.51] |
P |
|
|
5.047a |
Mr. Potter and Delano (Delano with a cap) [P-1.52] |
P |
|
|
5.048a |
Betty and Delano Potter (Delano in carriage) (no. 2) [P-1.53] |
P |
|
|
5.049b |
[Betty Potter and Dog on Steps] [P-1.19] |
NP |
|
|
5.050b |
Betty Potter and Dog on Steps [P-1.22] |
NP |
|
|
5.051b |
Betty Potter and Dog on Steps II [P-1.21] |
NP |
|
|
5.052b |
Betty Potter and Dog on Steps III [P-1.20] |
NP |
|
|
5.053a |
Betty and Delano Potter (Delano in carriage) [P-1.54] |
P |
|
|
5.054b |
Delano Potter and Dog on Steps [P-1.27] |
NP |
|
|
5.055b |
Edith, Alfred and Delano Potter [P-1.18] |
NP |
|
|
5.056b |
Edith, Alfred and Delano Potter and Dog—large [P-1.23] |
NP |
|
|
5.057a |
untitled |
------------ |
|
|
5.058a |
Mrs. J. B. Russell, at window [P-1.31] |
P |
|
|
5.059b |
Mrs. J. B. Russell [profile] [P-1.1] |
NP |
|
|
5.060b |
Mrs. J. B. Russell [three-quarter figure] [P-1.2] |
NP |
|
|
5.061b |
Mrs. J. B. Russell [playing with cat] [P-1.3] |
NP |
|
|
5.062a |
untitled |
--------------- |
|
|
5.063b |
[Twitchell? Woman Feeding Chickens] |
NP |
|
|
5.064b |
[Twitchell? Woman and Three Children] |
NP |
|
|
5.065a |
Helen and Margaret Twitchell [28] |
NP |
|
|
5.066a |
Helen and Roger Twitchell [30] |
NP |
|
|
5.067a |
Helen and Margaret Twitchell by the Fire [38] |
NP |
|
|
5.068b |
Helen Twitchell Feeding Hens—upright |
NP |
|
|
5.069b |
Helen Twitchell Feeding Hens |
NP |
|
|
5.070b |
Helen Twitchell Feeding Hens |
NP |
|
|
5.071b |
Helen Twitchell Feeding Hens |
NP |
|
|
5.072a |
Margaret, Helen and Roger Twitchell [23] |
NP |
|
|
5.073a |
Margaret, Helen and Roger Twitchell [34] |
NP |
|
|
5.074a |
Margaret Twitchell and Cat [49] |
NP |
|
|
5.075a |
Paul, Helen, Roger Twitchell, and Rooster [22] |
NP |
|
|
5.076a |
Paul, Helen, and Roger Twitchell and Mary [29] |
NP |
|
|
5.077a |
Roger Twitchell [24] |
NP |
|
|
5.078a |
Roger Twitchell in his Crib [31] |
NP |
|
|
5.079a |
Roger Twitchell on his Sled—“best” [33] |
NP |
|
|
5.080a |
Roger Twitchell on his Sled—[35] |
NP |
|
|
5.081a |
Roger Twitchell in Woods [36] |
NP |
|
|
5.082a |
Roger Twitchell in Woods—“worst” [37] |
NP |
|
5.083a |
Roger Twitchell in Boat [39] |
NP |
|
|
5.084a |
Roger Twitchell in Woods [40] |
NP |
|
|
5.085a |
Roger Twitchell in Woods [41] |
NP |
|
|
5.086b |
Roger Twitchell and Rain Barrel |
NP |
|
|
5.087b |
Roger Twitchell and Paul Wainwright by Campfire I |
NP |
|
|
5.088b |
Roger Twitchell and Paul Wainwright by Campfire [II] |
NP |
|
|
5.089b |
Roger Twitchell and Paul Wainwright by Campfire [III] |
NP |
|
|
5.090a |
E. F. W. and children [P-1.64] |
P |
|
|
5.091a |
E. F. W. and children [P-1.65] |
P |
|
|
5.092a |
E. F. W. and children [P-1.66] |
P |
|
|
5.093b |
Mr. Watson and Two Babies 3 [P-1.9] |
NP |
|
|
5.094b |
Mr. Watson and Two Babies 4 [P-1.10] |
NP |
|
|
5.095b |
Mr. Watson and Two Babies 1 [P-1.11] |
NP |
|
|
5.096b |
Mr. Watson and Two Babies 2 [P-1.12] |
NP |
|
|
5.096.1b |
Mr. Watson and His Babies [P-1.13] |
NP |
|
|
5.097b |
Mr. Watson and Eleanor [P-1.14] |
NP |
|
|
5.098b |
Mr. Watson and Eleanor [P-1.15] |
NP |
|
|
5.099b |
Mr. Watson and Eleanor [P-1.16] |
NP |
|
|
5.100b |
Mr. Watson and Eleanor [P-1.17] |
NP |
|
|
5.101b |
Paul Wainwright playing mandolin |
NP |
|
|
5.102b |
Paul [Wainwright] in Barn [Man sawing wood in doorway] |
NP |
|
|
5.103b |
Paul [Wainwright?] |
NP |
|
|
5.104a |
Fourth of July gathering [P-1.63] |
P |
|
|
5.105a |
“Going to the Spring” [26] |
NP |
|
|
5.106a |
2.27 “Coming from the Spring” [27] |
NP |
|
|
5.107b |
Unidentified Woman |
NP |
------ |
Series II. Prints
The item list for this series is the same as that for corresponding negatives in Series I above. The abbreviations P and NP are used to indicate whether a “Print” or “No Print” exists for the negative. Prints are filed in the archival binder box first by size (a,b,c), and then by number.
Series III. Sleeve Notes
Box 5
The item list for this series is the same as that for the corresponding negatives in Series I. Sleeve notes are filed in order by control number. Sleeve notes exist for most, but not all, negatives. Notes by Howe herself were generally written on old fashioned, pre-printed Kraft paper envelopes, and are distinguishable by her florid script. Later notations made by others were generally on newer, glassine envelopes. A sample of the best-preserved original sleeves was kept, but most were too brittle for preservation and discarded after photocopying.
Box Folder
| 6 | 1 | Finding Aid |
| 6 | 2 | Subseries A. Flowers |
| 6 | 3 | Subseries B. Houses |
| 6 | 4 | Subseries C. Interiors |
| 6 | 5 | Subseries D. Landscapes |
| 6 | 6 | Subseries E. People (nos. 5.001-5.050) |
| 6 | 7 | Subseries E. People (nos. 5.051-5.107) |
| 6 | 8 | Subseries F. Samples of Original Sleeves |
| Box | Folder | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 7 | 1 | Houses (55 images). | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
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| 7 | 2 | Houses and Interiors (22 images transferred from Cambridge Image Collection). | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
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| [NOTE: 7.175 LLH – 7.184 LLH May be mistakenly identified as Lois Howe’s house, but possibly may be connected with the Grace Treadwell family since the tilt-top table and Queen Anne chairs seem to objects donated by her in 1970.] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
7 |
3 |
Houses (15 images transferred from CHS Image Collection). | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| 7 | 4 | Interiors (3 images). | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
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| 8 | 1 | Landscapes (10 images). | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| 8 | 2 | Landscapes (14 images). | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| 8 | 3 | People (5 images). | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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Series V. Architectural Drawings
| Box | Folder | |||||||||||||||||||||||||
| 8 | 4 | Manuscript Drawings (10 drawings). | ||||||||||||||||||||||||
|
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| 9 |
Howe, Lois Lilley. Details from Old New England Houses, Measured and Drawn by Lois L. Howe and Constance Fuller New York: The Architectural BookPublishing Co., 1913. |
view online at Haititrust Digitized by Google |
Series VI. Genealogical Information
| 8 | 5 | Genealogy |