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Photographs, with their provenance
Pictures only on this page — the paper (registers, draft cards, certificates, newspaper pages) lives on the Documents page and the Newspaper Wall, where it belongs. What is here is the family itself, face after face. Every picture is shown cleaned of everything that is not the picture — no phone screens, no furniture, no glare that can be cropped away — and carries its provenance with it: where it came from, who held it, and what about its identification is settled and what is still open. Tap any picture to see it full-screen.
The face the family kept
No newspaper we have found ever printed Lawrence Carey's likeness. The town knew this man by sight — the constable, the fire chief, the chief of police — and when he was gone, what was left of his face was this one portrait, and the family guarded it. Everything the book can show you of the man himself hangs on this photograph, which is why the chapter that introduces him ends on it.
“The family kept his face. Malissa kept his portrait wrapped in brown paper, the way people keep the things they mean to last.” From the book — Chapter Eight, “No Exceptions”
Provenance: the family's photograph of the framed portrait, shown here cropped close (the full framed original is kept in the project file). It reached the wider family through a post by his great-niece Donna Hemphill on June 20, 2020; she had asked the family for a photograph in 2018. Identification: family knowledge, unanimous. Whether the Logan Banner ever printed this portrait is a named question that must be answered before the book goes to print.
The widow, in old age
Malissa Jane Sansom Carey, in the years after the story this book tells: the cat-eye glasses, the brooch at her collar, and the same level look she must have given Logan for forty-three years of widowhood at 41 High Street. Lawrence died in 1927. She held the house, and the family, until 1970.
Provenance: family photograph, sent by Larry Lorimer, October 31, 2026, and identified by him: “Malissa” — Malissa Jane Sansom Carey, in old age. Project research file.
Malissa and her children — minus Brookie
Eight people should be in this picture. There are eight chairs' worth of Careys in the frame — and the family's own handwritten caption, kept with the print, names them left to right: Carl, Frank, Marie, “Daddy,” Emmett, Bill — the one in the bow tie — Malissa herself, front right in her glasses, and Jim. The eldest is not here. Brook had been dead since November 1928, before any such gathering could be photographed. Larry's word for the picture is the whole caption it needs: “Minus Brookie.”
Provenance: family photograph with its handwritten caption (writer not yet identified), sent by Larry Lorimer, October 27, 2026. Date read from the sitters' ages: mid-1930s. “Daddy” in the caption is read as Willis Carey — the note was written by one of his daughters — and stands unconfirmed; every other name is the caption's own.
Grandpap Cary and the baby
An old man in a porch rocker, white-haired, holding a baby in a long christening-style gown up where the camera can see it. On the back, in faded pencil: “my Brother … Grandpap Cary.” Grandpap Cary can only be William Cary — Jennie McCoy's husband, Lawrence's father — and if the identification holds, this is the first photograph of his face the family has. The baby's name, written between those words, is still being read: Francis, Emmett, and Willis have each had their readers, and the name is not settled — so this caption doesn't settle it. What is certain is the gesture: the old soldier, near the end of his life, presenting the next generation to the camera.
Provenance: family photograph, front and back held in the project file; sent October 28, 2026. The sitting is dated only by its sitters (roughly 1906–1919); the figures on the back read “919” and do not give a year. Identification of William Cary: family caption, graded as stated in the lesson above; the baby is unidentified.
Mary Vance and Harvey's family, in a hollow
Seven people in a hollow, dressed for the camera. At the center, in the light blouse and long skirt, stands Mary Vance Duty — Nellie Duty's mother, Lawrence Carey's daughter-in-law by the family's other road. At the far right, the big man in the dark hat is her husband, Harvey Kenna Duty. The rest are sisters and family, and the honest caption is the one this picture gets: named where the family names them, unnamed where it doesn't — yet.
Provenance: family photograph, sent by Larry Lorimer, October 31, 2026; Mary (center) and Harvey Kenna Duty (far right) identified by Larry. Date and place not stated on the photograph. Project research file; a closer crop of Mary from this same photograph is held with it.
Seven people on a hillside, 1917
A Hatfield family group on a Logan hillside in 1917, the year handwritten at the photograph's foot: three women standing — the family's own label names a Chafin among them, because these families were never as separate as the feud story makes them sound — three little girls in white dresses in front, and at the right a tall young man in a suit and bow tie: Hibbard Hatfield, by the project's identification. Within a year of this picture he had resigned as Logan's chief of police, for reasons no paper in hand explains; ten years on, he stood indicted beside Lawrence Carey, and was acquitted.
Provenance: framed family photograph, Logan, 1917, shared within the family; shown here cropped to the photograph itself, out of its frame and free of the phone screenshot it arrived in (the untouched original is kept in the project file). Identification and dating: project research file, Hatfield–Hibbard lane.
Six photographs, dressed the way the full gallery will be: the picture cleaned, its story told, and its provenance kept — who is settled, who is read, and who is still open, all stated plain. The full gallery will gather more of the family's photographs, each cleared for rights before it publishes. The documents that used to stand on this page — the 1865 marriage register and Brook Carey's draft card — have moved to Documents.