Photographic Timeline

Nineteenth Century

1850

This mid-1850s daguerreotype captures Lucy (left) and Jane Caroline Reed (right) in a tender, sisterly pose characteristic of the era, likely taken at the studio of J.D. Wells in Northampton, Massachusetts. Lucy wears a light-colored, off-the-shoulder gown with distinct dark banding at the neckline and sleeves, while Jane Caroline sits in a darker, patterned dress with her arm draped protectively over her sister’s shoulder. The image is framed by a decorative, scalloped brass mat that bears the photographer's embossed mark at the bottom, though time has left its signature through the silver-oxide clouding and tarnishing that sweeps across the plate. Despite the atmospheric "haloing" and surface wear, the girls' direct gazes and the intimate positioning of their hands provide a hauntingly clear window into a quiet moment of American childhood from nearly 170 years ago.

1860

Bef 1862-Wright: Albert David Sanders, Haydenville, MA

Gemini said This mid-to-late 1860s Victorian carte de visite captures a young woman, identified as Jane Caroline (or possibly Lucy) Reed, in a formal studio setting that epitomizes the American Civil War era. She is dressed in a dark, high-collared gown featuring delicate ruffling and a small brooch, with her hair styled in a traditional center part that was highly fashionable for the period. A particularly charming detail is the small, light-colored pet—likely a kitten—resting in her lap, while a decorative straw hat adorned with ribbons sits on the patterned carpet at her feet. Although the photograph shows significant age-related damage, including a large vertical tear and surface loss on the left side, the sitter’s steady, composed expression remains remarkably clear, providing a poignant window into her life and the photographic conventions of the 19th century.

This mid-to-late 1860s Victorian carte de visite captures a young woman, identified as Jane Caroline (or possibly Lucy) Reed, in a formal studio setting that epitomizes the American Civil War era. She is dressed in a dark, high-collared gown featuring delicate ruffling and a small brooch, with her hair styled in a traditional center part that was highly fashionable for the period. A particularly charming detail is the small, light-colored pet—likely a kitten—resting in her lap, while a decorative straw hat adorned with ribbons sits on the patterned carpet at her feet. Although the photograph shows significant age-related damage, including a large vertical tear and surface loss on the left side, the sitter’s steady, composed expression remains remarkably clear, providing a poignant window into her life and the photographic conventions of the 19th century.

1870

1880

1880-Wright: D.J. Wright Storefront, David Joy Wright on Left, Northampton, MA around 1880

Gemini said This 1888 cabinet card by Knowlton Bros. of Northampton, Mass., captures a tender Victorian-era portrait of Jane Caroline Reed and her young son, David Sanders Wright. Jane, appearing poised and maternal, wears a dark, high-collared silk dress accented with a delicate lace ruffle and a brooch, her hair styled in the tightly curled fringe popular in the late 1880s. A toddler-aged David sits beside her on a draped pedestal, dressed in a traditional white lace "shortening" gown and holding a small slate or toy to keep him still for the long exposure. The photograph is a quintessential example of late 19th-century studio portraiture, characterized by its soft sepia tones and the formal, slightly off-camera gaze of the subjects.

This 1888 cabinet card by Knowlton Bros. of Northampton, Mass., captures a tender Victorian-era portrait of Jane Caroline Reed and her young son, David Sanders Wright. Jane, appearing poised and maternal, wears a dark, high-collared silk dress accented with a delicate lace ruffle and a brooch, her hair styled in the tightly curled fringe popular in the late 1880s. A toddler-aged David sits beside her on a draped pedestal, dressed in a traditional white lace "shortening" gown and holding a small slate or toy to keep him still for the long exposure. The photograph is a quintessential example of late 19th-century studio portraiture, characterized by its soft sepia tones and the formal, slightly off-camera gaze of the subjects.

1881-Wright: Wedding Invitation for the marriage of Fannie Russell Parsons to Jonathan W. Arnold on June 15th, 1881

This envelope, likely dating to the early 1880s, is a quintessential artifact of Gilded Age social etiquette, characterized by its heavy, cream-colored vellum and the elegant Spencerian script favored for formal Victorian correspondence. The address, "Mr. & Mrs. J. D. Lawrence," reflects the rigid decorum of 1881, where a married woman was addressed solely through her husband’s initials in formal settings to maintain a sense of high-society propriety. The delicate contrast between the thick, shaded downstrokes and the fine hairlines suggests the use of a flexible steel dip pen, while the absence of a street address implies the invitation was hand-delivered by a private messenger—a common practice among the era's elite to keep the stationery pristine. Over the last 145 years, the paper has developed a natural patina and foxing, giving it a warm, historical character that marks it as a survivor of a period when the presentation of a wedding invitation was as much a display of status as the ceremony itself

This "Present to Usher" card serves as a fascinating window into the meticulous logistics of a high-society 1881 wedding, acting as a formal credential for guests to be shown upon arrival at the Congregational Church. In an era where prominent weddings like that of Fannie Parsons and Jonathan Arnold were major local events, such cards were essential for managing the "social gatekeeping" of the ceremony, ensuring that the ushers—typically close friends or relatives of the groom—could distinguish invited guests from curious onlookers and seat them according to their social rank or proximity to the family. The card features a highly ornate, intertwined monogram in the upper left corner—likely the bride's initials, FRP—rendered in a complex, calligraphic style that mirrors the elegance of the main invitation. The central phrase, "Present to Usher," is executed in the same sweeping Spencerian script, emphasizing that even the most functional pieces of the wedding stationery suite were expected to be works of art. This artifact highlights a time when the usher’s role was less about handing out programs and more about the ceremonial "conducting" of guests to their assigned pews, a process governed by the very card seen here.

1890

abt 1890-Wright: David Joy Wright and some of his carriages, Northampton, MA

abt 1890-Wright: Some of David Joy Wright's horses, Northampton, MA

1890-Wright-David Sanders Wright, Northampton, MA

This late 19th-century studio portrait captures the Wright family in a formal, triangular composition against a draped Victorian backdrop. Jane Caroline Reed sits to the left in a patterned gown featuring the era's signature "leg-o'-mutton" sleeves and a high collar, while David Joy Wright sits to the right in a dark three-piece suit accented by a visible watch chain. Their elder son, Edward Wright, stands prominently in the center-back wearing a dark jacket and bow tie, and the younger son, David Sanders Wright, is seated at the forefront wearing a suit with a wide, white Fauntleroy collar. The image is a classic example of "Cabinet Card" era photography, reflecting the family's middle-class status through their poised expressions and fashionable, high-quality attire.

1892-Smith: Possibly Florence Edna Smith, Springfield, MA

1894-Wright: Class Photo Holyoke, MA

1895-Wright: David Sanders and Edward Nims Wright, Northampton, MA

1898-Wright: 67 West Street, Northampton, MA, abt 1898

Twentieth Century

1900

1901-1907- Smith:This vintage black-and-white postcard depicts the expansive brick industrial complex and distinct clock tower of the B.D. Rising Paper Company in Risingdale, Massachusett

1902-Smith: Florence Edna Smith, abt 1902

This 1905 profile features J. D. Lawrence, the prominent manager of the Hotel McKinley in Canton, Ohio, which served as the city’s premier social and political hub during the presidency of its namesake, William McKinley. Capturing the formal aesthetic of the Gilded Age, Lawrence is depicted in a traditional profile portrait—complete with a high stiff collar and dark suit—befitting a man tasked with hosting the nation’s political elite and the global press corps. His leadership at the hotel coincided with a pivotal moment in American history, particularly in September 1901, when the eyes of the world turned to Canton following the President’s assassination and subsequent funeral.

This vintage-style business card, featuring a slightly weathered cream background, identifies John D. Lawrence as the Manager of The McKinley in Canton, Ohio. The card is characterized by its elegant, classic serif typography and a prominent red fraternal or organizational emblem in the upper left corner—a decorative Maltese-style cross containing letters and a central symbol. The overall layout is minimalist yet formal, suggesting a professional role at a historic establishment, likely the McKinley Hotel, which was a well-known landmark in Canton.

This weathered, vintage metal business card holder features the name "J.D. Lawrence" elegantly engraved in a flowing cursive script at its center. The design is framed by delicate, silver-toned floral flourishes and a faint, dotted diamond-shaped border, all set against a dark, possibly enameled surface that has heavily chipped and aged over time. This distressed "crackle" effect reveals the bright metal underneath, giving the piece a rugged, antique character that suggests decades of personal use. Resting on a textured reddish-brown fabric, the case includes a visible hinge on the left side, indicating a classic book-style opening meant for storing professional cards or small personal items.

This is a vintage-style visiting card featuring the name John D. Lawrence printed in the center. The typography utilizes a classic serif font in all capital letters, with a subtle emphasis on the first letter of each word. The card itself appears aged, with a cream or off-white textured background showing slight speckling and wear, suggesting it is a historical or commemorative artifact rather than a modern business card.

The McKinley Hotel breakfast menu from Canton, Ohio, presents a fascinating look at early 20th-century American dining, featuring a substantial variety of proteins and specialized grains. Under the management of J.D. Lawrence, the menu offers a curious mix of period-specific staples like Clam Broth in Cup, Stewed Prunes, and vintage cereals such as Korn Kinks and Egg-O-See. The selection is remarkably heavy on seafood and offal for breakfast, including Kippered Herring, Fried Honeycomb Tripe, and Calf’s Liver, alongside more traditional hearty options like sirloin steak, lamb chops, and various egg preparations. The "Bread, Etc." section rounds out the meal with regional classics like Parker House Rolls, Graham Gems, and Vermont soft maple sugar, reflecting a time when breakfast was a formal, multi-course affair.

April 6th, 1908-Wright: Front of Postcard

April 6th, 1908-Wright: Back of Postcard

1910

1912-Putnam: Pickett Camps, Griswold, ME, 1912

1914-Smith: Florence Smith in a Mount Holyoke Parade, Mount Holyoke, MA

1915-Putnam: Moose on Rt 1, Maine

Abt 1915-Smith: Unknown Man and Woman, Housatonic, MA

1915-Smith: Mt. Holyoke Yearbook Page, Mt. Holyoke, MA

1915-Smith: Florence Smith Wright Mt. Holyoke Graduation, Mt. Holyoke, MA

1917-Smith: Three people Picnicking in the Woods, Massachusetts

1917-Smith: Florence and Catherine Smith with a group of friends, Massachusetts

1917-Smith: Florence Smith on left with Friends, Massachusetts

1917-Smith: Florence Smith on right, Massachusetts

1917-Smith: Florence Smith with two friends, Massachusetts

1917-Smith: Florence Smith with friends in the woods, Massachusetts

1917-Smith: Merrick and Catherine Smith on right, Massachusetts

1917-Smith: Catherine and Merrick Smith on right, Massachusetts

1917-Smith: Florence Smith, 2nd from left, Housatonic, MA

1917-Smith: 2nd from left Catherine McCann, 4th Florence Smith, Housatonic, MA

Group of Friends with Florence Smith in the middle, 1917, Great Barrington, MA

1917-Smith: Group of Friends with Florence Smith in the middle, Great Barrington, MA

1917-Smith: Group of people in the woods, Massachusetts

1917-Smith: Unknown Cabin in the woods, Smith Photo Album, abt 1917, Massachusetts

1917-Smith: Unknown group of friends with a canoe, Smith Photo Album, abt 1917, Massachusetts

1917-Smith: Unknown group swimming in a lake, Smith Photo Album, Massachusetts, abt 1917

1917-Smith:Unknown Location from Smith Photo album, Massachusetts, abt 1917

1917-Smith: Unknown Man by a tree from Smith Photo Album, Massachusetts, abt 1917

1917-Smith: Unknown Child With Cat, Smith Photo Album, Massachusetts, abt 1917

1917-Wright: Sanders Family

1917-Smith: Unknown Child on Scooter, Likely Housatonic, Ma around 1917. From the Smith Family Photos

1917-Smith: Unknown Man cooking in the woods, Smith Photo Album, abt 1917

1917-Smith: Unknown Man in a boat from Smith Photo Album, abt 1917

1917-Smith: Unknown Woman by a tree from Smith Photo Album, abt 1917

1917-Smith: Unknown Woman in White in the Woods from Smith Photo Album, abt 1917

1917-Smith: Unknown Woman in the woods from Smith Photo Album, abt 1917

1918-Smith: Great Barrington, MA, June 1st, 1918. 2nd from left-Florence Edna Smith

1918-Smith: Florence Smith on Right, Housatonic, MA

1918-Smith: Seated Florence Smith, Housatonic, MA

This formal, oval-vignetted portrait captures Florence Edna Smith in a moment of quiet, dignified contemplation, likely dating from the late 19th or very early 20th century. Her dark hair is styled in a meticulously swept-back fashion typical of the era, featuring soft volume at the crown and sides that frames her youthful yet resolute face. She gazes slightly off-camera with an expression of calm intensity, her features highlighted by a gentle, directional light that creates a subtle play of shadow across the left side of her visage. Florence wears a delicate, high-collared white blouse—possibly cotton or lawn—adorned with intricate vertical tucks and lace detailing, which is elegantly complemented by a single strand of pearls resting at the base of her throat. The sepia-toned image transitions from a crisp, clear focus on her features to a soft, ethereal blur at the edges of the oval, evoking a nostalgic and resilient atmosphere that characterizes this classic piece of family history

This sepia-toned, oval-framed portrait captures David Sanders Wright in a formal military pose from 1918, radiating a sense of quiet resilience and duty as a "Doughboy" during the height of American involvement in World War I. He wears the standard-issue, high-collared wool service tunic of the National Army, featuring the darkened bronze enlisted collar discs that became synonymous with the Great War’s mobilization. His posture is composed and upright, with his hands resting calmly in his lap, drawing attention to his steady, direct gaze and clean-shaven, youthful features that reflect the millions of young men drafted into service during the 1918 Selective Service waves. The soft, directional studio lighting casts gentle shadows across the heavy fabric of his uniform, highlighting the absence of high-ranking NCO chevrons and suggesting his role as a dedicated Private or Private First Class prepared for deployment. The overall atmosphere is one of solemnity and dignity, preserving a moment of readiness and historic service within the grainy, nostalgic texture of a classic early 20th-century military photograph.

1918-Wright: David Sanders Wright and another solider, England

1918-Wright: David Wright, Chinales East Hospital, England

This sepia-toned studio portrait captures Mary Connelly with a serene and dignified expression, her gaze directed forward with a subtle, knowing hint of a smile. The photograph features a soft-focus vignette that gently blurs the edges, centering the viewer's attention on her delicate features and the high-contrast textures of her attire. Her dark, wavy hair is styled in a soft, voluminous arrangement characteristic of the early 20th century, framing a face defined by bright, observant eyes and a refined composure. She is draped in a luxurious, dark fur stole that wraps around her shoulders, its thick, tactile bristles providing a sharp visual counterpoint to the smooth, porcelain quality of her skin. The lighting is soft and directional, casting gentle shadows that give the portrait a three-dimensional depth and a nostalgic, sophisticated atmosphere indicative of a formal commemorative sitting.

A formal, sepia-toned studio portrait captures Ervin Earl Putnam in a poignant moment of military service, likely dating to the World War I era. He is shown from the waist up, positioned in a three-quarter profile with his arms firmly crossed over his chest, projecting an air of quiet resilience and steady discipline. He wears a heavy, dark wool tunic—a characteristic doughboy uniform—featuring a high standing collar adorned with a circular "US" insignia and pleated chest pockets. On his lower left sleeve, a single chevron or "V" shaped patch is visible, indicating his rank or length of service. His expression is serious and thoughtful, framed by thin-rimmed round spectacles and a neatly groomed, short-cropped hairstyle. The background is a soft, mottled gray that creates a dreamlike, atmospheric haze, drawing all focus to his sharp features and the textured grain of his uniform, preserving a dignified piece of family history within a single, evocative frame.

1918-Putnam: Army Medical School Class, July 10th, 1918, Washington D.C.

1918-Putnam: Hospital Center A.P.O. 731, Bazoilles Sur Meuse, France, Bases Num 42, 81, 18, 46

1918-Putnam: Section of trench, North of Verdun. France

1918-Putnam: Downed Biplane, Verdun, France

1918-Putnam: X-Ray Camions, Paris, France

1918-Putnam: X-Ray Repair Shop Paris, France

1918-Putnam: "French Camion", Paris, France

1918-Putnam: English Camion, Paris, France

1918-Putnam: U.S. "Portable Outfit", Paris, France

1919-Putnam: Bois de Beleau, 1/10/1919

1919-Putnam: Avenue Des Longchamps, Bois de Belleau, France

1919-Putnam: German Shell Dump, Chateau Thierry, Soissons Road, France

1919-Putnam: Gierres, France

1919-Putnam: German Dugouts on the road to Brimont, France

1919-Putnam: Ft. DeBrimont, France

1919-Putnam: Ruins of Rheims, France

1919-Putnam: Rheims Trip, France

1919-Putnam: German Tank, Rheims, France

1919-Putnam: Cathedral at Soissons, France

1919-Putnam: On road to Fontainebleau, France

1919-Putnam: Some Grouch, Fontainbleu, France

1919-Putnam: Fontainbleau, France

1919-Putnam: American Cemetery, Beleau, France

1919-Putnam: Murat Castle, Wilson's Home, Paris, France

1919-Putnam: Grand Palace, Paris

1919-Putnam: Notre Dame, Paris, France

1919-Putnam: Dirigible over Paris, France

1919-Putnam: On Quai D'orsay, Part of the Latin Quarter, Paris, France

1919-Putnam: Place Concord, Paris, France

1919-Putnam: View from St. Germain, Paris

1919-Putnam: Champs Elysees Ave, Paris, France

1919-Putnam: Champs Elysees Avenue toward the Arc de Triumphe, Paris, France

1919-Putnam: Champs Elysees Avenue toward Palace Concord, Paris, France

1919-Putnam: Seine River, Paris, France

1919-Putnam: Boat on the Seine, Paris, France

1919-Putnam: Barracks, Ervin Putnam is second from the left at the table, Paris, France

1919-Putnam: The Mess Line, Paris, France

1919-Putnam: Café near barracks, Paris, France

1919-Smith: Cat at 306 Maple St house in Housatonic, MA, abt 1919

1919-Wright: David Sanders and Florence Edna Wright Wedding-8/ 17/1919

1919-Wright: David Sanders and Florence Edna Wright, Honeymoon, 1919

1919-Smith: Group Photo, Housatonic, MA

1919-Smith: Unknown Girl at 306 Maple St house in Housatonic, MA, abt 1919

1919-Smith: Unknown Person and Dog at 306 Maple St house in Housatonic, MA, abt 1919

1919-Wright: Coach David Sanders Wright in the Northampton HS Yearbook, Northampton, MA

1920

1920-Putnam: Ervin Putnam at Chamberlain Lake, ME

1920-Putnam: Forest Bradstreet, Griswold, ME

1920-Wright: Catherine Wright, 1920

1920: Wright: Roger Hines, abt 1920

1922-Putnam: Putnam Family Reunion, Houlton, ME

1923-Smith:In this approximately 1923 photograph, Merrick Luther Smith (1856–1934) is seen standing beside a vintage automobile with Massachusetts license plate 161.120 at 306 Maple Street.

1920-smith:A man in a suit and hat holds a bundled infant while standing outdoors next to a woman in a long dress, with a large house and leafless trees in the background of this 1920 photograph of Catherine McCann, Catherine Wright, and Merrick Smith

1923-Smith:This circa 1923 photograph features Merrick Luther Smith standing by the family car while David Sanders Wright holds young David Joy Wright on his shoulder and Florence Smith Wright holds Catherine Wright in front of their home at 306 Maple Street in Great Barrington, Massachusetts.

1924-Putnam: Island on Eagle Lake, one of the group, Eagle Lake, ME

Captured in May 1921, this sepia-toned photograph portrays a multi-generational group of seven individuals gathered in a sun-dappled garden, creating a warm and intimate domestic scene. The composition is centered on a young woman cradling an infant in a bright white gown, surrounded by family members including Jane Reed Wright, David Wright, Florence Smith Wright, and Catherine Wright. The subjects are dressed in quintessential early 1920s attire—the women in long skirts with soft, wide collars and the man in a formal white shirt and dark tie—while the natural backdrop of lush foliage and a distant house suggests a relaxed afternoon gathering. Despite the characteristic silvering, fine scratches, and grain of a century-old amateur print, the image beautifully preserves a fleeting moment of family pride, with the small child providing the only direct, curious gaze toward the camera lens.

This sepia-toned photograph from 1921 captures a poignant family moment, showing an elderly woman identified as Grandma Wright holding a young child named Catherine in an outdoor setting. The woman, with her silver hair styled in a neat bun and wearing a dark dress with a white collar, gazes toward the camera with a gentle, weathered expression while securely cradling the toddler. Catherine is dressed in a bright white, ruffled coat or dress that stands out against the darker tones of the background and her grandmother’s clothing. The pair is positioned in front of a dense, leafy backdrop of trees and bushes, with soft light filtering through the foliage, creating a nostalgic and slightly grainy atmosphere characteristic of early 20th-century amateur photography

This black-and-white photograph from 1925 captures Marick Luther Smith in a relaxed, candid moment, seated outdoors against a shingled wall. He is dressed in a dark jacket, trousers, and a flat cap, leaning back in a wooden chair with his legs crossed and a cheerful, squinting expression. In his hands, he proudly displays two distinct items: a pair of large binoculars held against his chest and a whimsical, bird-like whirligig or folk-art toy in his left hand. The setting appears to be a porch or patio, evidenced by the sacks resting in the background and the bright, direct sunlight that casts sharp shadows, creating a charming snapshot of leisure and personality from the early 20th century

1927-Putnam: Aunt Madge, Jim, Joan, Mary Putnam, Kay, Houlton, ME, 1927

1926-Putnam: Aunt Madge, Kay, Jim, Mary Putnam, possible Joyce, Houlton, ME, abt 1926

1927-Putnam: Ervin Putnam doing dishes, Northampton, MA, abt 1927

1927-Putnam: Mary and Ervin Putnam with Friends, Northampton, MA, abt 1927

1929-Putnam: Left-Richard Putnam, Right-Robert Putnam, Florence around 1929

1930

1930-Putnam: Frank Houlton Putnam's Masonic Record, January 25th, 1930

1930-Putnam: Beaver House, Long Lake Dam, Maine

1930-Putnam: The Camp, New Limerick, ME, abt 1930

1930-smith:This black-and-white family portrait shows Merrick Luther Smith and Catherine Ellen McCann standing together behind eight of their grandchildren, who are arranged in seated and standing positions outdoors near a building

1930-Smith: black and white historical photograph shows several people standing on and in front of the porch of a two-story, Craftsman-style house with a prominent front-facing gable and a dormer at 306 Maple St house

930-smith:A black-and-white vintage photograph depicts an elderly man in a dark overcoat and fedora standing in front of a shingled house with a lattice-skirted porch of Merrick Luther Smith

1930-smith:A black-and-white vintage photograph depicts an elderly man in a dark overcoat and fedora standing in front of a shingled house with a lattice-skirted porch of Merrick Luther Smith

1930-Wright: Wright Family Kids, Northampton, MA around 1930

1935-Wright: Wright Cat

1935-Putnam: 24 Center St. Leeds, MA, abt 1935

1935-Putnam: 24 Center Street, Leeds, MA, around 1935

1935-Wright: Possibly David Wright with Cat, Northampton, MA

1936-Putnam: Frank Carpenter's Masonic Record, January 22nd, 1936

1936-Putnam: Amos Putnam's Masonic Record, May 25th, 1936

1936-Putnam: Amos Putnam's Gravesite, Houlton, ME

1917-Connelly: 4 women possibly from the Connelly side of the family, Massachusetts

1937-Putnam: Great Aunt Lucy, Unknown, Kay and Joan, Houlton, ME abt 1937

1937-Putnam: Barn at 24 Center Street, Leeds, MA, around 1937

1937-Putnam: Black Lab and Robert Putnam, around 1937

1937-Putnam: Frances Ann Cates, 1937

1937-Putnam: Frances Ann Cates and Richard Putnam bathing at 24 Center Street, Leeds, MA, abt 1937

1937-Putnam: Frances Ann Cates and Richard Putnam with tub at 24 Center Street, Leeds, MA, abt 1937

1937-Putnam: Putnam Family Black Lab, around 1937

1937-Putnam: Richard Putnam and Frances Ann Cates bathing at 24 Center Street, Leeds, MA, around 1937

1937-Putnam: Robert Putnam, Frances Ann Cates and Richard Putnam at 24 Center Street, Leeds, MA, abt 1937

1938-Wright: Unknown Girl with Horse from the Wright family photos, Northampton MA, around 1938

1938-Wright: Unknown Girl with Horse in front of Barn, Wright Family Photos, Northampton, MA, around 1938

1938-Wright: Unknown Girl with Horse, Wright family photos, Northampton, MA, around 1928

1938-Wright: Unknown Girl, Wright Family Photos, abt 1938

1938-Wright: Wright Cat, Northampton, MA, abt 1938

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1938-Putnam: Ervin, Cora and others at Drew's Lake, ME abt 1938

1938-Putnam: Group of the cousins at Drew's Lake, abt 1938

1938-Putnam: Group of Cousins having dinner at Drew's Lake, abt 1938

1938-Putnam: Group of Cousins swimming at Drew's Lake, abt 1938

1938-Putnam: Raising the flag at the camp, Drew's Lake Maine, abt 1938

1938-Putnam: St. John River Trip, around 1938

1938-Putnam: Possibly Bill Caldwell, Haymock Lake, ME, around 1938

1938-Putnam: St John River Trip, Possibly Bill Caldwell, around 1938

1938-Putnam: St. John River Trip, Boy delivering Groceries near Clayton Lake, ME, around 1938

1938-Putnam: St John River Trip, Dr. Steele and fish on Allagash, around 1938

1940

1940-Smith: Front of Christmas Card from Estella Smith to Caroline Wright, Northampton, MA

1940-Smith: Inside of Christmas Card from Estella Smith to Caroline Wright, Northampton, MA

1940-Smith: Back of Christmas Card from Estella Smith to Caroline Wright, Northampton, MA

1940-Wright: Possibly Catherine Wright at the West Street House, around 1940

1940-Wright: Caroline Wright, abt 1940

1940-Wright: Possibly George Wright, abt 1940

1940-Wright: Two unknown people, around 1940

1941-Putnam: Mary, Ervin, Robert and Richard at the beach, Massachusetts

1941-Putnam: Boat at Beach, Massachusetts

1941-Putnam: Richard Putnam on a rock, Massachusetts

1941-Putnam: Ervin and Possibly Robert swimming, Massachusetts

1941-Putnam: Richard and Robert Putnam in a tent, Massachusetts

1941-Putnam: Mary Putnam in a tent, Massachusetts

1941-Putnam: Ervin in a tent, Massachusetts

1941-Putnam: Mary Putnam Sunbathing, Massachusetts

1941-Putnam: Ervin and Robert Putnam, Massachusetts

1941-Putnam: Richard, Robert and Ervin Fishing, Massachusetts

1941-Putnam: Ervin, Unknown, Richard, and Robert, Massachusetts

1941-Putnam: Ervin Putnam Fishing, Massachusetts

1941-Putnam: Mary and Ervin Putnam, Massachusetts

1941-Wright: Cats(Bush kitten) at 67 West Street, Northampton, MA, around 1941

1941-Wright: Unknown Location

1943-Wright: Barbara around 1943

1943-Putnam: Ervin and Robert Fishing in Main, around 1943

abt 1943-Wright: Front of Christmas Card

abt 1943-Wright: Middle of Christmas Card

abt 1944-Wright-Front of Christmas Card

abt 1944-Wright-Middle of Christmas Card

abt 1944-Wright-Back of Christmas Card

1945-Wright: D.J. Wright In A French Hospital Now, April 11, 1945

1945-Wright: Possibly George Wright, around 1945

1945-Wright: Front of Christmas Card

1945-Wright: Middle of Christmas Card

1945-Wright: Back of Christmas Card

1948-Wright: Front of Graduation Card, Northampton, MA

1948-Wright: Middle of Graduation Card, Northampton, MA

1948-Wright: Back of Graduation Card, Northampton, MA

1948-Wright: Front of Graduation Card, Northampton, MA

1948-Wright: Middle of Graduation Card, Northampton, MA

1948-Wright: Back of Graduation Card, Northampton, MA

1950

1950-Wright: David Sanders Wright, Northampton, MA around 1950

1952-This sepia-toned studio portrait captures Mary Connelly with a serene and dignified expression, her gaze directed forward with a subtle, knowing hint of a smile. The photograph features a soft-focus vignette that gently blurs the edges, centering the viewer's attention on her delicate features and the high-contrast textures of her attire. Her dark, wavy hair is styled in a soft, voluminous arrangement characteristic of the early 20th century, framing a face defined by bright, observant eyes and a refined composure. She is draped in a luxurious, dark fur stole that wraps around her shoulders, its thick, tactile bristles providing a sharp visual counterpoint to the smooth, porcelain quality of her skin. The lighting is soft and directional, casting gentle shadows that give the portrait a three-dimensional depth and a nostalgic, sophisticated atmosphere indicative of a formal commemorative sitting.

Member of VA Hospital's Original Staff Honored At Testimonial

BERKSHIRE GAZETTE, NORTHAMPTON, MASS, MONDAY, DECEMBER 3, 1956

Shown, left to right, are Edward and Mrs. Clauss, Mrs. Robert Putnam, Mrs. Ervin Putnam, Ervin Putnam, Dr. O'Neil, Mr. Blackwell, Mrs. O'Neil, Mrs. Blackwell and Rev. Daniel Crowley of Leeds.