Strings of the British Isles

 

 

 

 

 

 

 

 

 

 

String instruments can be plucked,

Or bowed,

or bowed and plucked at the same time. 

The multiple strings,
each tuned to a different pitch,  

gives the string instrument an ability to play chords. 

And with more strings

those chords can be strummed.

It only requires that the player

have nimble fingers
and rhythmic dexterity

on both hands.

Today I showcase five women

who clearly had that musical skill
to play a string instrument.

* * *

The first photo of a young woman holding a 5-string banjo comes from a carte de visite dating to the 1890s. Her banjo is not uncommon to find in photos of this era, but the place where the photo was taken is unusual because she is not in America where we might expect, but in England. The photographer was F. Southwell of Battersea, West Kensington, and Wandsworth in London.


The banjo became popular in the second half of the 19th century because of its use in traveling minstrel shows. By the 1890s the song styles of minstrel music, which borrowed this African-American folk instrument, were just becoming known in parts of the world far beyond the United States. This was still decades before ragtime, jazz, and even bluegrass music were invented, but the percussive thrum of the early banjo clearly attracted the interest of this woman. The fine inlay on her instrument's fret board shows that this was a banjo of quality. It's possible she might even be an American musician performing in London, but I would not describe her lacy blouse and plain skirt as a stage costume. The best part is her gentle smile.

                          * * *

The next photo of a woman with a violin is also from a cdv taken in London. It is unusual because the photographer has trimmed the image into landscape format so as to display the wide 3/4 profile of the woman in playing position. The photographer was F. W. Wood who evidently had taken over the studios of Elliot & Fry on 22 Bishops Rd. W. and 408 Edgware Rd. W.

The woman did not leave her name, but did provide a date 14/7/98, or 14 July 1898, which matches the era for her puffy sleeves and topknot hair. Mr. Wood's camera had a wonderfully clear lens and the sepia toning of the print is superb, but I still wish we could see her in color. Red hair and dress? With green eyes?

                               * * *

The third photo is another young woman posed with her violin in a similar playing position. This cdv has her posed with a 3/4 profile but the portrait format print cuts off the scroll end of her violin. However we do get to admire the black lace sleeves and filigree of her gown. She has a mature but youthful look that could be age 16 or 26. I can imagine her hair as red too. 

The photographer was the "Rembrandt" Studio of J. U. Valentine at 18 Bank Street in Teignmouth on the southwest coast of Britain. This Devonshire fishing port was also a fashionable seaside resort in the 1890s when this photo was likely made. It's not impossible that the violinist was a member of a ladies' orchestra engaged to play at a hotel restaurant.

                                   * * *

 

The fourth photo is of a serious minded cellist facing the camera nearly straight on but with her instrument pulled discretely to her left. The mottled discoloring is foxing on the original albumen print, which I have tried to correct by balancing the contrast. This young lady wears pince-nez spectacles attached to a safety ribbon that gives her a mature appearance, but again like the previous girl, she could be age 16 to 26.

The photographer of this carte de visite was the studio of Guy & Co. Ltd. of Cork, Ireland. This major city on the River Lee in southwest Ireland was a university town and center for culture. It likely offered women better opportunities to get a classical musical education than most towns in Ireland in this time.

                                 * * *

 

The last photo is not a cdv but a cabinet card photograph. Here a young woman dressed in an elegant white gown stands with a small guitar that is resting on an upholstered chair. She is from Bornemouth, another seaside town on Britain's south coast. Her guitar is handsomely made and festooned with a bow of ribbons tied to the headstock. She is also wearing long elbow-length white gloves with the fingertips carefully removed cut to allow her to feel the strings. The intriguing part of her attire is the decorative musical staff and notes embroidered to the hem of her dress. Something for a fancy dress ball? 

The photographer was W. J. Walker of 13, Gervis Buildings in Bournemouth. The larger cardstock of cabinet photos created more space for the display of a studio's backmark. I think this one is especially artful. 

 

 

This is my contribution to Sepia Saturday

where making tea can be complicated work.