It appears Frank Wendt was originally brought in by Chas. Eisenmann as an assistant and business manager. Eventually Wendt not only took over the studio, changing times forced him to relocate to Boonton, New Jersey. He continued to photograph and produce hundreds of cabinet cards, but he was also known to reprint Eisenmann originals, on request, as customers replenished their stock. One such sitter was the beautiful young mystery actress shown here. The large portrait, by Wendt, also appears on an earlier Eisenmann card, as does the same girl in the garden pose. The third photo here, an Eisenmann photo, has not yet been found on a Wendt card, at least not by me.A beautiful young actress...in fact possibly one of the most beautiful child actors of all, and it seems both photographers were able to capture her. But who is she?I recently found out. Not that is helps much. On the reverse of the Eisenmann photo, a yellowed slip of paper reveals this is Edna Adams as "Little Meenie" in Rip Van Winkle. One would think a performer with the moxie to have sold at least three images of herself to admirers would be documented in the press. What have I found? ONE lurid tale from a 1913 issue of the Pittsburgh Press. "Pretty Young Woman Says He Accused Her of Stealing Watch" which reveals the plaintiff in a lawsuit is one "highly indignant young woman, Rose Meyers, known to stageland as Edna Adams." While walking near her home, the young woman was accosted by one of three men who were standing on the corner, one of whom asked "Don't you want to go out with me" and when she paid no attention asked "Is money any object?" Miss Adams/Meyers continued walking and met her friend Walter Welfitt, also an actor, who protected her from the group. Not deterred, the crude man said "Come on, I'm on to you" and demanded the actress hand over her watch, chain and $20. Noble Mr. Welfitt "invited the stranger to remove his glasses" which resulted in an accusation that the actress had stolen his watch earlier. Apparently all charges were dropped. No row occurred...would YOU fight a man named Welfitt? Is this the young beautiful Edna, some 15 years after these photos were taken? I believe it is. It would not be the first time a young child star falls upon hard times after growing up. I don't need to provide more contemporary examples, we've all seen them rise and fall on reality TV. More information is loaded on the web every day. We may one day know who this young woman was.
This Post also appears on the site "Wondrous World of Wendt"
Three Cabinet Cards by Frank Wendt and Charles Eisenmann, circa 1890 Collection Jim Linderman
NOTE: Our beautiful actress may have been running a scam in other places as well...a kind reader has taken the time to provide additional information:
http://armourtree.blogspot.com/2010/12/w-starrett-and-edna-adams-other-woman.html
I am not going to open a debate on the appropriateness of circus sideshow freak photographs. To be sure they are among the most striking of images and these photos were taken so the performers could sell them for a dime each to the audience...so who can begrudge the process? 100 years later Diane Arbus took similar photographs, but rather than being used as souvenirs or trade cards, they made her career. Never one to shy from the disturbing, overlooked or neglected, I am attracted by the taboo of these images, and they still manage to make the desperate attempts of contemporary artists to "shock" pale by comparison.
Continuing to review books which have been forgotten or deserve another look, this is the fairly obscure "Monsters of the Gilded Age: The Photographs of Chas. Eisenmann" by Michael Mitchell. Published in Canada in 1979, and likely a small edition, it is expensive today on the used book market but available.
Despite the author's intensive research, more is known about the performers shown than the photographer. Eisenmann worked with his wife on the Bowery in New York City for ten years and specialized in theatrical portraits. He then turned the studio over to Frank Wendt, (a photographer I am profiling and intend to publish a book on before long) then vanished. By 1904 he was gone. What IS known remains in the photographs, sharp, crisp, perfectly posed and lit pictures of some of the most remarkable humans ever captured by camera. Mitchell describes the environment of the working portrait photographer in the Cartes de visite and Cabinet Card era (Eisenmann worked in both) and produces a 110 page book with an example of the artist's work on nearly every page. Each performer is identified and discussed thoroughly, and while it might not be a book you will leave on the coffee table, it certainly will attract interest if you choose to share it.
The book is out of print unfortunately, and though it was reprinted with a slightly different title in 2003, I can only find used copies for sale. Images by Eisenmann turn up on ebay frequently and many have been reproduced on the web.
"Pet refuses to leave Master's bier; derrick Needed to Lower Coffin" 1922
Captain George Auger Cabinet Card by Frank Wendt, circa 1890 and attached newspaper clip, Collection Jim Linderman (To be posted on the circus sideshow photographer site Wondrous World of Frank Wendt as well)
Frank Wendt, who I have devoted an entire site to HERE composed this cabinet card photograph made up of eight earlier photos he took of the same wiggly boy, Albert Powell Jr. A contortionist quality photo! And just when I thought I had collected them all, I now have 8 more to look for.Albert Powell Jr. Cabinet Card by Frank Wendt, c. 1890 Collection Jim Linderman
Frank Wendt has always been unfairly placed in the shadow of Sideshow Freak photographer Charles Eisenmann, his mentor. Wendt took over the Eisenmann studio on the Bowery in 1893 and ran it for five years before moving it to New Jersey. He continued making pictures there for a number of years, some quite extraordinary. In 1979, just as interest in collecting circus freak photos was rising (in part as interest in Diane Arbus was rising as well) a book on Eisenmann was published which dismissed Wendt's work as "perfunctory" and that the production of those years has all but been "obliterated." Au contraire! As we are just learning, MANY exceptional images remain. The photos here are certainly not obliterated.
Wendt specialized in the unusual, of course as you can see. But he had a wider clientele than Eisenmann. He shot all manner of performers, not just the strange. In fact, some of his most beautiful work is normal looking actors and child performers, who would use his cabinet card photographs as trade cards, mementos and such, frequently selling them to admirers for a dime each. Often the performers autographed the cards on the reverse, personalizing them to fans and the freaked. In the case of the carnival performers, vital statistics were often provided though frequently exaggerated. In fact, Wendt would take his pictures to emphasize the particular trait or deformity being marketed. As traveling shows passed through New York and New Jersey, they would stop to replenish their stock. Sometimes Wendt would republish Eisenmann's work on his own cards, but frequently a new photo was taken, and the same performers often appear in later pictures, with different imprints or logos on the cards.I have posted work by Frank Wendt on this site before, they are worth looking at. As research continues, I plan to expand on the story with a book and exhibition. Frank Wendt Five Original Cabinet Card Photographs circa 1890-1900 Collection Jim Linderman
SOON I WILL MOVE THESE TO THE WONDROUS WORLD OF FRANK WENDT
A site I am constructing.
Linus II had a 10 foot double mane and a 16 foot tail. He was owned by W. A. Rutherford of Marion, Oregon, and presumably won many ribbons at the local state fair, not to mention attracting many nickels and dimes from sideshow attendees in the 1880's. Circus sideshow performers with unusual attributes were far from common, but even fewer had four legs.Original Cabinet Card Photograph c. 1880 by Wendt Collection Jim Linderman
