Faces from the Past – Hinkley, & Kinney

Posted on May 4, 2026 by Don Taylor

Linwood Dyer Collection, Part 099
By Don Taylor

Introduction

The Scarborough Historical Society maintains several important photographic collections documenting the people, places, and events of our community. In this installment of Faces from the Past, I examine a photo album from the Linwood Dyer Collection titled “Hinkley Family Photographs – Margaret Kinney.” Some photos have names written on the back; others include pink slips with identifying information. But many more, sadly, have no identifying information at all.

This installment focuses on five portraits spanning roughly forty years of Hinkley and Kinney family history, from a grandmother photographed in 1894 to a Waynflete graduate in 1936.

Philip Edward Hinkley (1881–1962), May 1917

Sepia-toned full-length photograph of Philip Edward Hinkley in U.S. Army WWI uniform, holding his campaign hat, standing outdoors in May 1917.
Philip Edward Hinkley (1881–1962), May 1917. Inscribed “For Eleanor.”

Inscription: “For Eleanor – May 1917” is written on the back of the photo.

This is a wonderful sepia-toned photograph of Philip Hinkley, captured in May 1917 — just weeks after the United States entered the First World War. Philip stands outdoors on a grass lawn in his U.S. Army field uniform: a wool service coat with shoulder straps and breast pockets, paired with riding breeches bloused into white canvas leggings over dark ankle boots — the characteristic look of the American doughboy of WWI. He holds his campaign hat loosely at his side rather than wearing it, giving the portrait a casual, personable quality. Bare-branched trees in the background suggest early spring, and the setting may be a training camp or park.

The inscription “For Eleanor” is most certainly intended for his sister, Eleanor Tisdale Hinkley (1871–1943) — a young man’s gift to a loved one before heading off to war.

Research: Although the photo bears no name, based on my review of photographs in Part 098 of this series, I am confident it is of Philip Edward Hinkley (1881–1962).

Frances Elizabeth (Prindle) Hinkley (1843–1908), 1894

Sepia-toned cabinet card vignette portrait of Frances Elizabeth Prindle Hinkley, approximately age 51, photographed at Lamson Studio, Portland, Maine, in 1894.

Frances Elizabeth (Prindle) Hinkley (1843–1908), circa 1894, age 51. Lamson Studio, 5 Temple Street, Portland, Maine.

Photographer: Lamson Studio, 5 Temple Street, Portland, ME

Inscription: “1894 (?), Grandmother Hinkley”

This is a beautifully preserved cabinet card portrait in the vignette style popular in studio portraiture of the 1890s, where the image fades softly into the white mount rather than having a hard border. Frances is dressed in a dark, richly textured gown with prominent puffed sleeves, which were the height of fashion in the mid-1890s, and her neckline is trimmed with a delicate lace collar. Her hair is swept up into a high pompadour-style updo topped with a small decorative ornament, very characteristic of the era. Based on her known birth year of 1843, she would have been approximately 51 years old when this portrait was taken.

Research: Margaret Cogswell Kinney’s Hinkley grandmother was Frances Elizabeth (Prindle) Hinkley (1843–1908).

Dating the Photograph: The Lamson Studio was located at 5 Temple Street from approximately 1883 until about 1907, when it moved to Congress Street. The inscription date of 1894 is consistent with the sitter’s apparent age, her clothing and hairstyle, and the known studio location. I am confident this is a portrait of Frances taken around 1894, when she was 51 years old.

Louise and Margaret Kinney, circa 1917–1918

Sepia-toned photograph of two young sisters, Louise and Margaret Kinney, standing at a pedestal table in a home interior, circa 1917 to 1918.
Louise Kinney (b. 1914) and Margaret Kinney (b. 1911), circa 1917–1918.

Inscription: “Louise & Margaret Kinney”

A charming and beautifully composed indoor photograph of two young sisters gathered around an elegant tripod pedestal table. Both girls wear white smock-style dresses with wide white headbands. The older girl, Margaret, stands to the right, resting her chin thoughtfully on her hand; little Louise peers over the edge of the table from the left, her wide eyes full of wonder. They appear to be examining a small book or card together. The soft, natural lighting and intimate domestic setting give the photograph a warmth and tenderness.

Research: Previous research into the Kinney family established that Louise was born in 1914 and Margaret in 1911.

Dating the Photograph: With the girls’ ages estimated at roughly 3 and 6, the photo was most likely taken around 1917–1918.

Margaret Kinney (1911–1995), Graduation Portrait, 1931

Sepia-toned studio graduation portrait of Margaret Kinney, age approximately 19 to 20, photographed by Jordan Studio in 1931.
Margaret Kinney (1911–1995), Waynflete School Graduation Portrait, 1931. Jordan Studio.

Inscription: “Margaret Kinney, Waynflete Graduation Picture”

Photographer: Jordan Studio, dated ’31

A studio graduation portrait of Margaret Kinney at approximately 19–20 years of age. She is photographed in a three-quarter bust pose, wearing a V-neck cardigan over a white blouse. Her wavy, light-colored hair is softly styled and swept back, and she gazes directly at the camera with a composed, self-possessed expression.

Research: The Portland Press Herald, June 12, 1931, Page 6, includes a photograph of Waynflete seniors following Commencement, in which Margaret Kinney appears.

Frances Dana (later Jordan) (1918–2008), Graduation Portrait, 1936

Sepia-toned studio graduation portrait of Frances Dana, later Frances Dana Jordan, age approximately 17 to 18, circa 1936.
Frances Dana (later Jordan) (1918–2008), Waynflete School Graduation Portrait, 1936.

Inscription: ’36 on the front; “Frances Dana Jordan” on the back.

A professional portrait of a young woman of approximately 17–18 years, apparently a graduation photograph. The style and composition are consistent with mid-1930s studio portraiture.

Research: Previous research established that Frances Dana, born April 20, 1918, married Jack Weaver Jordan on September 5, 1939. The Portland Press Herald, June 4, 1936, Page 6, reported Frances Dana as a senior graduating from Waynflete School. Frances was a first cousin of Margaret Kinney, the apparent original owner of this photo album.

Six Photos — Unidentified Individuals

Sadly, six photographs from various pages in the album carry no indication of who they are. Presumably, they are all related to the Kinney, Catlin, Hinkley, or Prindle families.

Collage of six sepia-toned studio portraits from the Hinkley and Kinney family photograph album, including a young man, three young women, a young girl in profile, a toddler, and an older woman with a child, all unidentified, circa 1910s to 1930s.
Six unidentified individuals, presumably related to the Kinney, Catlin, Hinkley, or Prindle families.

If any of the individuals shown are familiar to you, I would be very pleased to hear from you.

Conclusion

What strikes me most about this collection is the quiet intimacy of it — a grandmother posed in her finest dress at the Lamson Studio, two little girls sharing a book at a parlor table, a soldier smiling for his sister before sailing off to war. These are not grand public moments. They are the small, private acts of remembrance that families have always performed: commissioning a portrait, tucking a photograph into an album, writing a name on the back so that someone, someday, might remember.

The Hinkley and Kinney families were woven into the fabric of Portland and the greater Cumberland County community across several generations. Through photographs like these, preserved in the Linwood Dyer Collection at the Scarborough Historical Society, we are able to look across more than a century and see them not as names in a genealogical record, but as people — a proud young soldier, a dignified grandmother, two small girls in white dresses, and a pair of young women standing on the edge of their futures.

That is the enduring value of collections like this one. Every photograph identified is a story rescued from silence. I am grateful to Lynwood Dyer and the Scarborough Historical Society for preserving these images. If these portraits have stirred a memory, a family name, a familiar face, or a detail half-remembered, please do reach out. These people deserve to be remembered.

Disclaimer: This article was researched and written by the author. Claude (Anthropic) was used as a research and drafting aid, and Grammarly was used for editorial review and copy editing.
Posted in Faces from the Past, Hinkley Family Album, Linwood Dyer Collection, Portland History, Scarborough Historical Society and Museum | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Donna Darling Revue – Palace Theatre (New Orleans, LA) – April 7-10, 1927

Posted on April 30, 2026 by Don Taylor

In the News
by Don Taylor

Among the most valuable and humbling clippings of Donna’s vaudeville career are those that complicate the narrative. The recent discovery of Donna Darling’s April 1927 engagement at the Palace Theatre in New Orleans is a case in point. The newspaper advertisements confirm her continued presence on the vaudeville circuit and her reach into the Deep South. The surviving review, however, is the most critical assessment of her act that I have yet encountered.

Performance Details

  • Venue: Palace Theatre, New Orleans, Louisiana
  • Dates: April 7–10, 1927 (Thursday–Sunday)
  • Format: Continuous vaudeville and photoplay, 1 P.M. to 11 P.M.; four vaudeville shows daily at 2:45, 4:45, 7, and 9
  • Act: Donna Darling Revue does not appear as the headliner.

Other Acts on the Bill:

  • Baldwin & Blair – Comedy skit, “Hay! Hay!” (top-billed)
  • Donia & Dunlevy – “The Italian Sheik and the Southern Gentleman”
  • Corinne Arbuckle – Billed as “The Broadway Country Girl”
  • Billy Lamont Four – Wire acrobatics and dance
  • Photoplay: George Walsh in “His Rise to Fame”

A Bad Review

The Times-Picayune review of April 8, 1927, signed by the critic identified only as K.T.K., offers an appraisal of the full Palace bill and of Donna’s revue in particular.

The critic opened by finding much to praise elsewhere in the program. Baldwin and Blair’s “Hey! Hey!” was described as an entertaining comedy skit with a splendid basic idea, though the players were said to need a little more polish and personality. The Billy Lamont Four was called an unusually good act of its type for their wire acrobatics and dance routines, despite some misplaced comedy. Corinne Arbuckle received a measured notice as a singing comedienne with a fair voice and standard personality. Donia and Dunlevy fared somewhat better in tone — their sketch was called trite, and Donlevy was faulted for laughing too much.

Donna’s revue, placed last on the bill, received the most direct criticism: “The Donna Darling Revue, closing, is poor. Cheap burlesque starts it, bad singing carries it along and fair dancing closes it.”

This is one of the harshest reviews I have found about her career.

Analysis and Context

A negative review requires honest engagement rather than deflection. Several factors are worth noting, though none of them are offered to dismiss the critic’s assessment.

Billing and placement. In the April 7 advertisement, the Donna Darling Revue is listed as a co-featured act alongside Baldwin & Blair, who received top billing. By the closing-day advertisement of April 10, the full bill is enumerated, and the revue appears neither first nor last in the printed order. Yet the Times-Picayune review explicitly states the revue was “closing,” meaning it occupied the final slot in the live performance order. In vaudeville practice, the closing position could reflect either the headliner or — more often in houses of this type — a lesser act placed last after the audience’s attention had already peaked. Given the review’s tone, the latter interpretation seems more plausible here.

The Palace Theatre, New Orleans, in context. The Palace was operating as a continuous-run house at popular prices — matinees at 10 and 20 cents, evenings at 10, 20, and 30 cents. This positions it firmly as a lower-priced theatre, distinct from the prestige houses Donna had played on the Western Vaudeville Managers’ Association circuit the previous year.

K.T.K.’s specific objections – cheap burlesque, poor singing, fair dancing suggest her revue had either declined in quality or was not suited to this venue and bill. Hopefully, it was just a bad show that night.

Conclusion

The April 7–10, 1927 engagement at the Palace Theatre in New Orleans adds a confirmed Southern venue to Donna Darling’s documented career. The review introduces a note of candor that not every engagement was a triumph.

Newspaper Sources

  • New Orleans States, April 7, 1927, Page 21 (opening advertisement)
  • New Orleans States, April 10, 1927, Page 49 (closing day advertisement)
  • The Times-Picayune, April 8, 1927, Page 28 (review, signed K.T.K.)

Research credit: Newspapers.com

Disclaimer: This article was researched and written by the author. Claude (Anthropic) was used as a research and drafting aid, and Grammarly was used for editorial review and copy editing.

Posted in Donna Darling Revue, In the news, Donna Montran, Vaudeville | Tagged , , , , , , , , , , , , | Leave a comment

Faces from the Past: Hinkley, Prindle & Welch

Posted on April 27, 2026 by Don Taylor

Linwood Dyer Collection, Part 98
By Don Taylor • dontaylorgenealogy.com

Introduction

The Scarborough Historical Society maintains several important photographic collections documenting the people, places, and events of our community. In this installment of Faces from the Past, I examine a photo album from the Linwood Dyer Collection titled “Hinkley Family Photographs – Margaret Kinney.” Some photos have names written on the back; others include pink slips with identifying information. But many more, sadly, have no identifying information.

The first photo in the album bears an inscription to Marion Hinkley. Based on prior research into the Dyer Photo Collection, I established that Margaret Cogswell Kinney’s (1911–1995) mother was Eleanor Tisdale Hinkley, and Eleanor’s oldest sister was Marion Hinkley. The second photo carries the inscription “Grand Mother Prindle.” Marion Hinkley’s maternal grandparents were James and Eunice (Welch) Prindle — a connection that anchors the first two photos firmly to Marion’s branch of the family.

This installment focuses on five portraits spanning roughly eighty years of Hinkley and Prindle family history, from painted likenesses of the 1840s to a World War I military photograph.

James Lonson Prindle (1802–1851) — circa 1840

Inscription (front): To Marion Hinkly

Inscription (second hand): James Lonson Prindle

Black and white photograph of an oil painting depicting a dark-haired man in 1840s dress, wearing a dark coat with wide lapels and a white cravat.
James Lonson Prindle (1802–1851), circa 1840. Photograph of a painting. Linwood Dyer Collection, Scarborough Historical Society.

Description

This is a photograph of a painting rather than a direct photograph of the subject. The image depicts a man approximately 30 to 45 years of age. His dark coat, wide lapels, high-collared shirt, and cravat are characteristic of American men’s fashion from the 1820s through the 1850s. The three-quarter bust pose and plain background are typical of provincial portraiture of the era. The photograph itself was likely made in the late 19th or early 20th century for archival or family preservation purposes.

Research

James Lonson Prindle was the maternal grandfather of Marion Hinkley and the great-grandfather of Margaret Cogswell Kinney. Family Search records indicate he was born in Vermont in 1802. He married Eunice Welch and had at least four children: James, Edgar, E. L., and Frances. He died in 1851 in Whitehall, New York.

Dating the Image

The apparent age of the sitter — roughly 30 to 45 — suggests the original painting was executed between approximately 1832 and 1847. The clothing style and James’s death in 1851 are fully consistent with this range. A date in the early to mid 1840s, when James would have been in his late 30s to early 40s, seems most probable.

This photograph has been added to the Linwood Dyer Collection on Ancestry.com.

Eunice (Welch) Prindle (1810–1895) — circa 1840–1845 (Painted Portrait)

Inscription: Grand Mother Prindle

Photo placement: Same page as the portrait of James Lonson Prindle, consistent with a husband-and-wife pairing.

Sepia-toned photograph of an oil painting depicting a dark-haired woman with side ringlet curls wearing a dark dress with a lace collar and a cross necklace.
Eunice (Welch) Prindle (1810–1895), circa 1840–1845. Photograph of a painting. Linwood Dyer Collection, Scarborough Historical Society.

Description

This is a photograph of a painting, not a direct photograph of the subject. The image depicts a woman approximately 30 to 45 years of age. Her long ringlet curls worn at the sides of the face are a very distinctive hairstyle most fashionable during the 1840s and into the early 1850s. She wears a dark dress with a wide V-neckline trimmed with a lace collar, and a delicate chain necklace with a cross pendant is visible at the center of the chest. The photograph was likely made in the late 19th or early 20th century for family preservation.

Research

Eunice Welch (1810–1895) was the wife of James Lonson Prindle (1802–1851), the grandmother of Marion Hinkley (1868–1908), and the great-grandmother of Margaret Cogswell Kinney (1911–1995). A later photograph of Eunice in this same album (see below) allows a confident comparison across decades.

Dating the Image

The sitter’s apparent age, combined with the ringlet hairstyle and lace-trimmed neckline, is consistent with a painting date of approximately 1840 to 1845, when Eunice would have been in her early to mid thirties.

This photograph has been added to the Linwood Dyer Collection on Ancestry.com.

“Grandfather Hinkley” — circa 1850 (Identity Uncertain)

Inscription: Grand Father Hinkley

Sepia-toned photograph of an oil painting depicting an older gray-haired man in mid-19th century dress, wearing a dark coat and black bow tie.
“Grandfather Hinkley,” circa 1850. Identity unconfirmed. Photograph of a painting. Linwood Dyer Collection, Scarborough Historical Society.

Description

This is a photograph of a painting rather than a direct photograph of the subject. The canvas texture and brushwork are clearly visible across the entire image, and a warm varnish yellowing typical of aged oil paintings gives the image its golden-brown cast. The sitter is a man approximately 50 to 65 years of age, with light brown to graying hair, somewhat wavy and receding at the temples. He is clean-shaven with a broad forehead and a composed, dignified expression. He wears a dark coat with wide lapels, a white high-collared shirt, and a black bow tie — consistent with American men’s fashion of the 1835–1860 period.

Research Note

If the album belonged to Marion Hinkley, then “Grandfather Hinkley” would most likely refer to Stephen Hinkley, Jr. (1799–1867). However, comparing this portrait with a previously reviewed photograph of Stephen Hinkley, Jr., I do not believe they depict the same individual. Stephen’s father, Stephen Hinkley, Sr. (1774–1804), can be ruled out: he died at approximately age 30, and the sitter in this portrait is clearly a much older man.

I intend to re-examine the photographs previously attributed to Stephen Hinkley, Jr. to confirm or revise that identification before drawing further conclusions about this portrait. The identity of “Grandfather Hinkley” remains an open question pending that review.

Eunice (Welch) Prindle (1810–1895) — circa 1871–1880 (Cabinet Card)

Photographer: Lamson, Portland, ME

Photo of Eunice Welch Prindle

Description

This is a direct photograph — a cabinet card or carte de visite — rather than a photograph of a painting. The image depicts a woman approximately 60 to 75 years of age. She has gray to white curly hair worn beneath a white widow’s cap, a style commonly adopted by older Victorian women. Her dark dress is accented with a white collar or fichu fastened at the throat with a small dark brooch. Her expression is serious and composed, with a direct gaze — consistent with the demeanor visible in the painted portrait made some thirty years earlier.

Though the album copy does not name the photographer, two loose cabinet cards elsewhere in the album bear the imprint “Lamson, Portland, ME.” Lamson’s studio did not add a street address to its cabinet cards until after 1880, which places these photographs between approximately 1871 and 1880. At that time Eunice would have been in her early to mid sixties.

Comparison with the Painted Portrait

Comparing this cabinet card with the earlier painted portrait of Eunice, several facial features are consistent across the two images: the long, narrow face; the prominent, straight brow; the firm set of the mouth; and the long neck. The approximately 30-year interval between the two images accounts for the dramatic changes in hair color and the visible aging of the face. A previous review of this same photograph appears in Linwood Dyer Collection, Part 084.

Philip Edward Hinkley (1881–1962) — circa 1919

Inscription: Philip Hinkley (on a separate slip of paper)

Sepia studio portrait photograph of a young man in a World War I U.S. Army officer's uniform, seated in a chair with one hand resting on the armrest.
Philip Edward Hinkley (1881–1962), circa 1919. U.S. Army Major, American Expeditionary Forces. Linwood Dyer Collection, Scarborough Historical Society.

Description

This is a high-quality studio portrait — a gelatin silver print — taken against a professionally painted backdrop. The sitter is a lean, upright young man in his late 20s to mid 30s, clean-shaven, with short light brown hair neatly combed back. He wears a U.S. Army officer’s service coat with a stand collar, four chest pockets, and a single star insignia visible on the shoulder epaulette. The uniform cut and style are consistent with the American Expeditionary Forces dress of 1917–1919.

Research

Philip Edward Hinkley (1881–1962) served as a Major during World War I. He was the brother of Marion Hinkley and the uncle of Margaret Cogswell Kinney. A photograph of Philip was previously reviewed in Linwood Dyer Collection, Part 084; the present image appears to have been taken at a slightly different angle and distance but depicts the same individual.

Philip’s birth year of 1881 places him at approximately 37 to 38 years of age at the likely date of this photograph — consistent with the apparent age of the sitter.

This photograph has been added to the Linwood Dyer Collection on Ancestry.com.

Conclusion

This installment of Faces from the Past presents five portraits drawn from a single family album, spanning roughly eighty years of Hinkley and Prindle family history. The paired paintings of James Lonson Prindle and Eunice (Welch) Prindle offer a rare glimpse of a mid-19th century couple, while the later cabinet card of Eunice in old age provides a moving counterpart to her youthful portrait. The identity of “Grandfather Hinkley” remains to be confirmed through further research, and I welcome any information that might help resolve it.

If any of the individuals shown here are familiar to you, I would be very pleased to hear from you. Many photographs in the Scarborough Historical Society’s collections still lack personal identification, and even a small detail can help restore a name or a story. My continuing goal is to reconnect these images with the families and communities to whom they belong — ensuring they are preserved, understood, and shared for future generations.

Disclaimer: This article was researched and written by the author. Claude.ai was used as a research and drafting aid, and Grammarly was used for editorial review and copy editing.

Posted in Photo Identification, Linwood Dyer Collection, Scarborough Historical Society and Museum, Faces from the Past | Tagged , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Ancestor Sketch – Anna Maria Dürst (1770–1858)

Posted on April 24, 2026 by Don Taylor

Charlemagne Project
Darling–Huber–Trümpi–Dürst Line
By Don Taylor

As part of my ongoing Charlemagne Project, I have been tracing the Darling–Huber family line back through its Swiss roots. This installment focuses on Anna Maria Dürst (1770–1858), my wife’s 5th great-grandmother and Ancestor #121 in her Ahnentafel chart, placing her in Generation 7 of the Darling–Huber line. Through her Dürst and Streiff parentage, a possible path leads further back through the Tschudi family of Glarus, Switzerland, toward Charlemagne. I must be candid, however: for the generations beyond Anna Maria herself, I am relying almost entirely on the compiled research of Patrick A. Wild, and primary sources verifying those earlier Swiss generations are largely absent. What follows should be read as a possible lineage rather than a proven one.

The Lineage

Darling–Huber Line – Ancestor #121

  • 3. Private Information (your wife)
  • 7. Florence Wilma Huber Darling (1908–1934)
  • 15. Bertha Barbara Trümpi Huber (1884–1968)
  • 30. Bernhead Trumpi (1844–1913)
  • 60. Bernhart Trümpi (1817–1879)
  • 121. Anna Maria Dürst (1770–1858)  ← Subject of this sketch
  • 243. Rosina Streiff (1743–1805)
  • 487. Magdalena Hefti (1707–1737)
  • 975. Afra Luchsinger (1665–1718)
  • …. (continuing through Swiss generations)
  • 15,804. Johannes Tschudi (1500–___)
  • 31,608. Jost Tschudi (1462–1527)
  • …. (continuing through the Tschudi line)
  • 130,428,120,404. Charlemagne (747–814)???

Anna Maria Dürst (1770–1858)

Birth

26 December 1770 – Diesbach, Glarus, Switzerland

Anna Maria Dürst was born on 26 December 1770 in Diesbach, a village in the canton of Glarus, Switzerland. [1][2][3] She was the first child of Joachim Dürst [2][4][3] and Rosina Streiff. [1] Her siblings included two sisters named Maria Magdalena (likely an infant that died with a second child named the same), a brother Bartholome, and a brother Fridolin.

Marriage

22–23 October 1806 – Glarus, Glarus, Switzerland

When she was approximately 35 years old, Anna Maria married Bernhard Trümpi, [1] son of Fridolin Trümpy [1] and Anna Magdalena Becker. [1] The marriage took place either 22 or 23 October 1806 in Glarus, Glarus, Switzerland. [4][2] Bernhard Trümpi is listed as Ancestor #120 in our Ahnentafel. His parents, Fridolin Trümpy (#240) and Anna Magdalena Becker (#241), are already recorded on the Darling–Huber family page.

Children

Bernhard Trümpi and Anna Maria Dürst had at least five known children:

NameBornMarriedDied
Fridolin Trümpi05 Aug 1806, Glarus—18 Sep 1868
Rosin Trümpi1808—1877
Tochter Trümpi1811—1811 (infant)
Joachim Trümpi1814—1892
Bernhard Trümpy09 Feb 1817, Ennenda, GlarusAnna Maria Örtli, 30 Jan 184420 Mar 1879, Ennetbühls

Our line descends through her son Bernhard Trümpy (1817–1879), Ancestor #60, who married Anna Maria Örtli and is the subject of a separate entry on the Darling–Huber page. He died on 20 March 1879 in Ennetbühls, having drowned in the factory sewer of the Heer factory in Glarus. [2][1][5]

Death

08 May 1858 – Ennetbühls, Glarus, Switzerland

Anna Maria Dürst died on 8 May 1858 in Ennetbühls, Glarus, Switzerland, at approximately 87 years old. [2][1][3] She outlived her husband, Bernhard, and witnessed several generations of her family establish roots in the hamlet of Ennetbühls.

Events by Location

  • Switzerland, Glarus, Diesbach – Birth, 26 December 1770.
  • Switzerland, Glarus, Glarus – Marriage, 22–23 October 1806.
  • Switzerland, Glarus, Ennenda (Ennetbühls hamlet) – Son Bernhard born, 09 February 1817.
  • Switzerland, Glarus, Ennetbühls – Death, 08 May 1858.

A Note on Sources and Reliability

I want to be transparent about the evidentiary foundation of this sketch. The primary facts for Anna Maria Dürst herself — her birth, marriage, death, and children — are drawn from three converging sources: a pedigree chart compiled by Patrick A. Wild in 2021, [1] his published descent from Charlemagne, [2] and the Geneanet family tree he maintains. [3] These sources broadly agree on her vital dates. A FamilySearch entry also exists (LBW7-XY6) but carries no independent sources of its own. [4] All four are, to varying degrees, derivative of the same underlying research.

The path from Anna Maria back through the generations — through her mother Rosina Streiff, through the Hefti, Luchsinger, and Tschudi lines, and onward to Charlemagne — currently rests entirely on Patrick Wild’s compiled work. I have not independently verified these earlier Swiss generations with primary records such as Reformed church baptismal registers, Glarner cantonal records, or other archival sources. The connection to Charlemagne, shown as a question with three question marks even on my own Darling–Huber lineage page, must be understood as an unconfirmed hypothesis at this stage.

Readers should treat the generations above Anna Maria’s parents as a research hypothesis — a promising thread to follow, not a proven line. I am grateful to Patrick Wild for the groundwork, and I hope future research in Swiss cantonal and church archives can either confirm or revise this lineage.

Her Parents and the Path Back

Anna Maria’s father, Joachim Dürst (Ancestor #242, b. 1727, d. 1785), and mother, Rosina Streiff (Ancestor #243, b. 1743, d. 1805), are both recorded on the Darling–Huber lineage page, though without individual sketches. Joachim’s father was Joachim Dürst (#484, 1697–1783) and his mother Elsbeth Hefti (#485, 1702–1775). Rosina Streiff’s parents were Bartholome Streiff (#486, 1710–1771) and Magdalena Hefti (#487, 1707–1737).

The Tschudi connection enters through a collateral branch. According to Wild’s research, the line continues through Rosina’s ancestry and eventually reaches Margreth Tschudi (#3951, 1609–1691), daughter of Samuel Tschudi (#7902, 1564–1629). The Tschudi family of Glarus was one of the most prominent dynasties in the Swiss Confederation, with documented noble and ecclesiastical connections reaching back to the medieval period. The genealogist Ægidius Tschudi (1505–1572), the famous Swiss historian, belonged to this same family. It is through these Swiss noble lines that the claimed descent from Charlemagne is asserted, via a chain of documented medieval nobles.

Again, I want to emphasize: I have not personally verified the links in these intermediate generations. This is inherited research, and I present it as such.

Conclusion

Anna Maria Dürst was born in the mountain canton of Glarus in the waning years of the Old Swiss Confederacy, decades before Napoleon’s armies would reorganize Switzerland into the Helvetic Republic. She lived through the turbulent early 19th century, raised a family in the hamlet of Ennetbühls, and died at an impressive age of approximately 87 during the era of Swiss industrialization, when the very Heer factory where her son Bernhard would one day meet his end was already reshaping daily life in Glarus. Her life was rooted in the same compact Alpine landscape her ancestors had occupied for centuries.

If the lineage compiled by Patrick Wild holds up under scrutiny, Anna Maria Dürst represents the most recent Swiss link in a chain stretching back through Glarus’s leading families to the very foundations of Western European medieval history. Her story adds another possible step along the path to Charlemagne — but it is a step that still awaits independent verification.

Disclaimer: This article was researched and written by the author. Claude.ai was used as a research and drafting aid, and Grammarly was used for editorial review and copy editing.

Endnotes

[1] Patrick A. Wild, Pedigree Chart for Shirley Elizabeth Darling: Following the Trümpy line in Glarus (2021), Page 002 – Abraham Heer and 14 Ancestors.
[2] Patrick A. Wild, Descent of Mary-Alice Darling Howell from Charlemagne (Zurich, Switzerland, 2021), Page 13 – Bernhard Trümpy, Bernhard Trümpy, Anna Maria Dürst, & Joachim Dürst.
[3] Geneanet Family Trees, Patrick WILD’s Family Tree. Anna Maria Dürst (1770–1858). Accessed 22 Apr 2026. https://gw.geneanet.org/pwild1?lang=en&p=anna+maria&n=durst&oc=22.
[4] FamilySearch.org, FamilySearch Family Tree, Anna Maria Dürst (1790–1858) LBW7-XY6. NO SOURCES. https://www.familysearch.org/en/tree/person/details/LBW7-XY6.
[5] Geneanet Community Trees Index.

Posted in Darling-Huber, Ancestor Sketch, Genealogy Research | Tagged , , , , , , , , , | Leave a comment

Unidentified Faces – Dyer, Libby, and Six Unlabeled Women

Posted on April 21, 2026 by Don Taylor

Linwood Dyer Collection, Part 097
By Don Taylor

Introduction
The Scarborough Historical Society maintains several important photographic collections documenting people, places, and events. In this installment of Faces from the Past, I examine eight more photographs from the Linwood Dyer Collection. Sadly, two of the photos I was unable to determine which of several people they might be. Six of them have no identifying information included. All are from the Dyer Photo Album.

Spine of Dyer Photo Album.

Undetermined – Mattie Dyer, dau. Greeley Dyer, circa 1891-1908

Sepia cabinet card portrait of a young woman named Maude Libby, approximately 16 to 22 years old, with dark wavy hair pinned up, wearing a high-collared pintucked blouse with a brooch and small drop earrings, photographed by Jackson of Portland, Maine, between 1891 and 1908.
Mattie Dyer, daughter of Greeley Dyer. Cabinet card by Jackson & Kinney, Congress & Oak Streets, Portland, Maine, ca. 1891–1908.

Photographer: Jackson & Kinney
Studio Address: Corner Congress and Oak Streets (New Perry Building), Portland, Maine.
Inscription: Separate slip of paper says, “Mattie Dyer, dau[ghter of] Greeley Dyer.”

Description:
A cabinet card of a small child, likely between 18 months and 3 years of age. The child wears a white dress with puffed sleeves, typical at the turn of the century.

Research:

  • Jackson & Kinney operated at 478 Congress (Congress & Center) from 1888 to 1890.
  • Charles E Jackson operated at 548½ Congress (Congress & Oak) from 1891 to 1908.
  • In previous research into the Dyer family, I learned of
    • Greeley Hunnewell Dyer (1815-1904), 2nd great-grandfather of Linwood Dain Dyer. His 14 known children were born between 1846 and 1865, long before this photo could be taken.
    • Charles Greeley Dyer (1847-1914), the 2nd great uncle of Linwood Dain Dyer. Previous research found he had a son, Elwyn Rice Dyer (1873-1950). If he had other children, Charles would be a good candidate to be Mattie’s father. Family Search suggests Charles had three children besides Elwyn.
      • Edwin L Dyer (1870-1872)
      • Evelyn L Dyer (1870-1957_
      • Leon Willis Dyer (1877-1953)
      • None of whom are “Mattie.”
  • My search of FamilySearch for Mattie Dyer in Cumberland County, Maine, from 1891 to 1908 uncovered:
    • Martha F Dyer, born Aug 1839.
    • Martha G Dyer, born Mar 1850.
    • Martha A Dyer, daughter of George F and Mary E Dyer, born Nov 1884.
    • Martha F Dyer, daughter of Marshal H & Eva A Dyre, born May 1888
    • Mattie H Dyer, daughter of Thos. & Helen T Dyer, born Oct 1888.
    • Martha B Dyer, daughter of Louvill H and Hattie E. Dyer, born Mar 1889.
    • Martha H Dyer, daughter of John A S and Helen H Dyer, born Nov 1892.

Finding no candidate who name was Mattie (or Martha) Dyer, whose father was Greeley Dyer, I judge this photo undetermined. (As a side note, my suspicion is that whoever wrote the name on the slip with the photo errored and wrote Greeley rather than George, but I can’t prove it.)

Undetermined – Maude Libby, circa 1891-1908.

Sepia cabinet card portrait of a young woman named Maude Libby, approximately 16 to 22 years old, with dark wavy hair pinned up, wearing a high-collared pintucked blouse with a brooch and small drop earrings, photographed by Jackson of Portland, Maine, between 1891 and 1908.
Maude Libby – Cabinet card by Jackson, Portland, Maine, ca. 1891–1908.

Photographer: Charles E. Jakson, formerly Jackson & Kinney
Studio Address: Corner Congress and Oak Streets, Portland, Maine.
Inscription: Separate slip of paper says, “Maude Libby”

Description:
A cabinet card of a young woman, approximately 16 to 22 years of age. Her thick, dark, wavy hair pinned up in a style fashionable in the 1890s. She wears small drop earrings and a high-collared blouse or dress with pleating and a small decorative brooch at the collar, all hallmarks of women’s fashion in the 1890s. The card shows some foxing (brown spots from age).

Research:

  • Charles E Jackson operated at 548½ Congress (Congress & Oak) from 1891 to 1908.
  • In previous research into the Dyer family, I found no one named Maude Libby nor a Maude that married a Libby.
  • Ancestry Family Trees search for Maude Libby born between 1869 and 1892 in Cumberland County and lived in Cumberland county between 1891 and 1908, found four candidates.
    • Maud Marion Libby (1874-1962) daughter of Charles S Libby and Georgianna Hasty.
    • Nellie Maude Libby (1875-aft 1918), daughter of Lewis Boothby Libby and Frances Isabella Brown.
    • Ethel Maud Libby (1874-1951), daughter of David Bradbury Libbey and Lydia A Pendexter.
    • Maud B Stanford (1875-1960) wife of Franklin Everett Robert Libby.

Finding no candidate who name was Mattie (or Martha) Dyer, whose father was Greeley Dyer, I judge this photo undetermined.

Six photos of unknown women.

College of six woman, all cabinet cards,

Album Page – Photographer, Address (years at that location)

  • Page 22-2 – Photographer: Lamson, 5 Temple (1883-1887)
  • Page 23-1 – Photographer: Hanson, 12 Monument (1892-1917)
  • Page 25-1 – Photographer: Lamson,  Opposite Falmouth Hotel (1875-1907)
  • Page 24-2 – Photographer: H. M. Smith, 257 Middle (1891-1892)
  • Page 23-2 – Photographer: Lamson, Opposite Falmouth Hotel (1875-1907)
  • Page 25-2 – Photographer: H. M. Smith, 257 Middle (1891-1892

Conclusion

If any of the individuals here are familiar to you, I would love to hear from you. Any bit of information or a small detail can help restore a name or story. My continuing goal is to reconnect these images with the families and communities to whom they belong, ensuring they are preserved, understood, and shared for future generations.

Disclaimer: This article was researched and written by the author. Claude.ai was used as a research and drafting aid, and Grammarly was used for editorial review and copy editing.

Sources

• Portland City Directories
• FamilySearch
• Ancestry.com

Posted in Maine Genealogy, Linwood Dyer Collection, Faces from the Past | Tagged , , , , , , , , , , | Leave a comment