Wildlife Photography by the Wallihans

Allen Grant Wallihan and his wife, Mary Augusta Wallihan lived in sparsely populated northwestern Colorado where they were skilled with both the gun and the camera.  Mary picked up a camera first, but soon both Wallihans shared this passion.  Most publications credit Allen as the photographer and overlook Mary’s involvement, a common occurrence in photographic history, as women photographers were often considered assistants or helpers, rather than working behind the camera.

Mrs. Wallihan
Mrs. Wallihan.  Craig Press, January 31, 2009

Mary Augusta Higgins was born on February 22, 1837, at Oak Creek, Wisconsin to Elihu Higgins and Eliza (Rawson) Higgins. Mary’s father was one of the first settlers at South Milwaukee and Mary was purportedly the first “white child” born at Oak Creek. She married Cullen Farnham on June 1, 1865, at Croton Falls, New York.  The 1870 census lists Cullen and Mary living in Waukesha, WI, with Mary’s parents. In the 1870s, she and her husband were living in Salt Lake City, Utah.  Mary filed for divorce in 1877, claiming that Farnham had abandoned her without financial support. They divorced in 1880 and shortly thereafter she moved to her brother’s ranch in Routt County, CO.

Mule Deer
First Scent of Danger, Plate no. 22, Mule Deer, Buck and Doe.  From Hoofs, Claws and Antlers of the Rocky Mountains.

Mary married Allen G. Wallihan, twenty-two years her junior, on April 16, 1885, at Rawlins, WY.  The couple lived in remote northwestern Colorado, twenty miles from their nearest neighbor.  Mrs. Wallihan learned to shoot a rifle, first to protect herself when her husband was away, but she also became a proficient hunter.  She developed a love for wildlife the led her to acquire a camera from a missionary that she used to photograph the local deer.  She learned the craft of photography from books and manufacturer’s catalogs. 

In 1888, she initiated a project, with her husband, to document Colorado’s widlife, becoming perhaps the earliest wildlife photographers. They used a crude large-format camera on a tripod, taking 4-1/4 x 6-1/2” glass plates.  As they learned more about photography, they upgraded their equipment, purchasing better cameras and lenses, using both 5 x 8” and 8 x 10” cameras.  They printed cyanotype proofs before selecting which negatives to make into finished prints that would be mounted on cards.

Mountain Goats
On Guard. Plate No. 7, Rocky Mountain Goat. From Hoofs, Claws and Antlers of the Rocky Mountains.

The Wallihans produced two compilations of  wildlife photographs, Hoofs, Claws and Antlers of the Rocky Mountains (1894),  with an introduction by Theodore Roosevelt, was published by Frank S. Thayer in Denver.  Camera Shots at Big Game (1901) was published by Doubleday, Page & Co. and also included an introduction by Theodore Roosevelt.  The Wallihan’s photographs were exhibited at the 1900 Paris Exposition and in 1904 at the Louisiana Purchase Exposition.

Mrs. Wallihan died on September 27, 1922, after suffering a stroke.  She was 85 years old.  She is buried near her home in Lay, Colorado.

Allen G. Wallihan was born at Footville, Wisconsin, on June 15, 1859 to Pierce and Lucy (Flower) Wallihan.  He had ten older siblings. Wallihan arrived in Leadville, Colorado, in 1879, and worked unsuccessfully as a miner.  He lived in Colorado Springs and Alpine, before moving to a horse ranch in Routt County in 1882.  He homesteaded on 160 acres in Lay, a small town twenty-two miles west of Craig, where he lived for the remainder of his life.  

Wallihan served as the postmaster of Lay for about fifty years.  He spent the latter part of his career as a U. S. Land Commissioner, surveying, platting, and overseeing the sale of the public lands in the county.  He also owned an interest in a large tract of bituminous coal.  After Mary Wallihan’s death in 1922, Allen married Essaye Cook on September 26, 1927.  Allen G. Wallihan died on December 14, 1935, after a stroke.  He is buried in Lay, CO in a casket he himself made.

Bibliography:   https://www.historycolorado.org/sites/default/files/media/document/2018/ColoradoMagazine_v21n5_September1944.pdf   

Thank you to Beverly Brannan, former curator of photography at the Library of Congress, for proofreading.

 

Who Worked for William Henry Jackson? Part 2 (1884-1890)

Interior of bookstore
Duhem Bros., photographer. Chain & Hardy’s Bookstore, circa 1871. Denver Public Library Special Collections.

This post researches  William Henry Jackson’s employees between 1884 and 1890 when Jackson partnered with booksellers and publishers, Chain & Hardy.  James Albert Chain and S. B. Hardy opened their Denver bookstore in 1871. (Jackson’s first studio was across the street from the bookstore.)

Jackson and Chain became friends. They traveled together in a private Pullman train car, visiting the Southwest and Mexico.   Jackson photographed the scenery, while Chain’s wife, Helen, made paintings along the route.  This new partnership brought Jackson in direct contact with a publisher and distributor, so he could continue to concentrate on his photography while Chain & Hardy produced his books and sold his photographs.

The list below provides Jackson’s entries from the Denver city directories, followed by a list of his employees and their roles in the firm, with the dates of their employment. I have included all the names associated with Jackson’s photo studio.

1884  W. H. Jackson & Co.  (W. H. Jackson and Chain, Hardy & Co.) landscape photographers, 414 Larimer

Miss Helen Curtis, mounter, (1884)                                                               In 1884, Helen Curtis lived in Denver with the John Louville Curtis family.  Her relationship to this family is unknown.  As a mounter, Miss Curtis would adhere the photographs to a stiff backing board.

Miss M. E. Maynard, clerk  (1884-86)                                                          No biographical information found.

1885  W. H. Jackson & Co.  (W. H. Jackson and Chain, Hardy & Co.) landscape photographers, 414 Larimer

Louis C. McClure, printer, photographer (1885-89, 1895-97)          McClure (1867-1957) excelled at architectural photography.  After William Henry Jackson left Denver, McClure ran his own photographic business.  His clients included the Denver & Rio Grande Railroad and his work was published frequently in newspapers.  I plan to feature him in a future post.

pano
Louis C. McClure, photographer. [Unidentified landscape], hand-colored gelatin silver print. Amon Carter Museum of American Art.

 

 

 

 

1886  W. H. Jackson & Co., (W. H. Jackson, J. A. Chain and S. B. Hardy), landscape photographers, 414 Larimer

Orrin C. Painter, assistant photographer                                                     Painter (1864-1915) was Jackson’s nephew. (Historically he has been identified as Jackson’s brother-in-law).  See The Baltimore Sun, September 9, 1915, p. 7, c.4.

1887 W. H. Jackson & Co., (W. H. Jackson, J. A. Chain and S. B. Hardy), landscape photographers, 1609, 1611, 1613, and 1615 Arapahoe

Joseph A. Gilpin, photographer                                                                       No biographical information found.

Miss Kate M. Moran, clerk, colorist (1887-89, 1894-95)                     Moran moved to Colorado from Nebraska in 1881.  She worked for William Henry Jackson, as well as the Chain & Hardy Bookshop.  In the spring of 1898, she accepted a position with the Nonpareil Portrait and Publishing Company in Colorado Springs.  The Weekly Gazette (Colorado Springs) on May 17, 1898, referred to Moran as “one of the most skillful colorists in the country.” Her whereabouts after this date are unknown; although the Rocky Mountain News on October 5, 1898, reported the death of a Kate Moran from heart disease. Perhaps this is the same person.

1888  W. H. Jackson & Co., (W. H. Jackson  J. A. Chain and S. B. Hardy), landscape photographers, 1615 Arapahoe

George Reitze, photographer                                                                           Reitze (c. 1868-1920)  worked about one year with Jackson.  In 1890 Reitze and his brothers formed L. C. Reitze & Bros. Wall Paper & Decorating Company in Denver.

1889  W. H. Jackson & Co., (W. H. Jackson, J. A. Chain and S. B. Hardy), landscape photographers, 1615 Arapahoe

John Masonheimer, photographer, 1889-90                                           Possibly John K. Masonheimer (1871-1908).John K. Masonheimer came to Colorado in 1888.  He was employed as a civil engineer for the railroads.                       

railroad
George E. Mellen, photographer. Black Cañon at Curicanti Needle, D. & R.G. Ry., 1880s,  albumen silver print. Amon Carter Museum of American Art.

George E. Mellen, photographer, operator, 1889-90, 1892-93               Mellen (b. c1852-1915?) was an established photographer in Colorado before working for Jackson. In 1888, Jackson had even considered purchasing Mellen’s  Colorado Spring’s business. Mellen authored two photography books and spent the latter part of his career in Chicago. A blog post devoted to Mellen will appear in the future.

1890  W. H. Jackson & Co., (W. H. Jackson, J. A. Chain and S. B. Hardy), landscape photographers, 1615 Arapahoe

Frederick Caseman, photographer                                                                 After working for Jackson, Caseman (b. c1857) worked as a cigar maker and photographer in Rochester, NY.                                                                                    

city view
Smith-Hassell Co. View of the Buena Vista smelter in Buena Vista, CO, circa 1899. History Colorado Collection.

Gilbert Hassell,  photographer printer, finisher, 1890-1897         Hassell( 1871-1957) was born in Illinois, but grew up in Colorado Springs.  At the age of 19, he began his photographic career with Jackson. After leaving Jackson’s employ, Hassell formed  The Smith – Hassell Company.  They  were the official photographers to the C & S (Colorado & Southern) and Colo & Northwestern Ry. By 1901, Hassell had moved to California, where he became known for his large panoramic views.

Lewis E. Imes, printer                                                                                           Imes (1860-1932) learned photography in Chicago from Edward F. Hartley in 1880.  He was hired as a photographer in several western towns, including his time with Jackson, until settling in Lansing, Michigan in 1899, where he would remain working in the photography field until his death.

Fred. D.  Judson, photographer                                                                         No biographical information found.

Thank you to Bill Else for sharing information about Gilbert Hassell’s post Jackson career.  Thank you to Beverly Brannan, recently retired curator of photography, Library of Congress, Prints & Photographs Division, for her editorial assistance.

 

 

 

 

 

 

 

 

 

Frank Kuykendall’s Views of the Central Rockies

Frank Kuykendall (1855-1920) was born in Douglas County Oregon to George and Candace (Stark) Kuykendall.  He attended Umpqua Academy, a public school organized by the Methodist church in Wilbur, Oregon.  The family moved to California in the mid-1860s and by 1870 had settled in Santa Rosa.  Frank learned the carpentry trade from his father, before mastering the art of photography.

Church
Frank Kuykendall, photographer. Episcopal Church in Silver Cliff, 1880, albumen silver print. Amon Carter Museum of American Art.

In 1877, Frank and  Nettie Louse Hadcock were married in Sonoma County.  (They would later divorce, and Frank would remarry  twice.) By 1880, they lived in Silver Cliff, Colorado, and Frank had begun photographically  documenting  local business houses, street scenes and landscapes.  If the numbers scratched into his negatives are accurate, Kuykendall’s inventory included about  1,000 views of Saguache, Gunnison, Salida, Silver Cliff, Maysville and the surrounding area.  The bulk of his output consisted of stereoviews, but he also made larger prints.  His prints were stamped with “Fine Portraits and Views, S.W. Cor. of Ohio and Emery Sts., Near Colorado House, Silver Cliff, Colo.”

street scene
Frank Kuykendall, photographer. [Saguache County Bank and Ruby Saloon], ca. 1882, albumen silver stereoview.  Amon Carter Museum of American Art
Street scene
Frank Kuykendall, photographer. [Silver Cliff, CO.], ca. 1881, albumen silver stereo view.  Amon Carter Museum of American Art.
Log bridge
Kuykendall & Whitney, photographers. [Six workers on a log bridge], ca. 1885, albumen silver stereo view.  Amon Carter Museum of Art.
In 1882 Kuykendall joined forces with William H. Whitney (1855-1936) and they would continue to work together until 1885, first in Silver Cliff and later in Ouray, as Kuykendall & Whitney.  

By 1890, Kuykendall had moved to Santa Rosa, California, where he would end his photographic career.  Later, he farmed in Washington and Arizona, and then took up carpentry again, working in San Diego until his death on February 29, 1920.  He is buried at Santa Rosa Rural Cemetery, in Santa Rosa, CA.

Giant trees
Frank Kuykendall, photographer. A redwood tree 68 feet in circumference on Eel River, near Scotia, Humboldt County, Cal., from which a section was sent to the World’s Fair at Chicago in 1893, albumen print. San Francisco Museum of Modern Art.

 

 

 

 

 

 

 

 

For more information about stereoviews and how to see them in 3D:  https://www.loc.gov/pictures/collection/stereo/viewing3d.html  

Mary Dudley and the Black Sisters, Boulder Photographers

Women in the 19th century had limited occupational opportunities.  Many unmarried women and widows struggled to earn a living and often relied on their extended family for financial support.  Some of the occupations open to women at the time included teaching, sewing, cooking, nursing, running boarding houses and photography.

brother & sister
Mary Dudley, photographer. Laura & Alfred Ellet, 1894-1895. Carnegie Library for Local History, Boulder.

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Illustration
Mary Dudley, photographer. Unidentified McKenzie girl, 1894-95. Carnegie Library for Local History/Museum of Boulder.

Mary P. Dudley was born in Wapello County, Iowa, on December 23, 1859, to Charles  S. Dudley and Polly Angeline Dennison Dudley.  As early settlers in the area, the Dudley’s owned property in the city of Agency, Iowa, as well as more than 800 acres outside the city limits.  (The History of Wapello County, Iowa: Containing a History of the County, Its Cities, Towns, … History of the Northwest, History of Iowa … Chicago: Western Historical Company, 1878, p. 611

According to the 1880 federal census, Mary taught school in Agency. In August of that year Mary’s father died, followed by her mother in 1888.   At least five of Mary’s nine siblings were also deceased by this time.

Mary’s whereabouts are unknown until 1893 when Colorado State Business Directory lists her as a photographer in Grand Junction, Colorado.  She relocated to Boulder in May 1894, purchasing C. W. Biles’ photography studio, over Rachofsky’s millinery store on Pearl St.  Miss Dudley specialized in studio portraiture.  Her advertisements in University of Colorado’s Silver and Gold (October 3, 1894, p. 12) offered  Minnettes ($1.00 per dozen) and Cabinettos ($1.50 per dozen), smaller card formats than the traditional cabinet card.   

horizontal image
Mary Dudley, photographer. E. W. Haskins and Royal Graham, 1895-96. Carnegie Library for Local History/Museum of Boulder.

In August 1895, Dudley hired Frank Oiler to assist her in the studio.  Oiler came highly recommended by Denver photographers F. A. Rinehart and Charles Nast.  In October, 1895, Miss Dudley sold her gallery to the Black Sisters and left for Ottumwa, Iowa, in an effort to regain her health.

Mary Dudley, photographer. Evan Austin, Elmo Maldon, Dan Fisher and Allen Volk, 1894-95. Carnegie Library for Local History/Museum of Boulder.

Sadly, Mary Dudley committed suicide in Agency, Iowa, on November 19, 1895, cutting herthroat with a butcher knife.  Miss Dudley was buried in Agency Cemetery, Agency, Iowa.

 

young boy in carriage
The Black Sisters, photographers. Richard H. Whiteley, 1892-1899. Carnegie Library for Local History, Boulder.

Anna E. Black (1867-1931) and her sister, Mary “Minnie” C. Black (1872-1899) were born in Illinois to Cochran S. Black and Helen Gertrude Wyman Black.  The family moved to Beatrice, Nebraska, in the late 1870s, where Cochran operated a flour mill.                               

Allen with microscope
Black Sisters, photographers. Dr. Henly Wheaton Allen seated at a table with a microscope.  December 24,  1897, Carnegie Library for Local History, Boulder.

Anna studied at the Art Institute of Chicago before moving to Boulder in September 1895.  She planed to teach oil and china painting, but shortly after she arrived in town, Anna and her sister Minnie purchased Mary Dudley’s photography studio.  The Black Sisters excelled at portraiture.   They maintained their studio until 1898, then both sisters returned to Beatrice, Nebraska. Minnie died the following year.  I have not found any records about Anna’s life in Nebraska.

Woman and baby
Black Sisters, photographers. Unidentified woman and child. Carnegie Library for Local History, Boulder.

 

 

 

 

 

 

 

 

To see more photographs by Mary Dudley and the Black Sisters, you can search here. https://localhistory.boulderlibrary.org   I recommend using a broad search on “Dudley” and “Black Sisters.”

Special thanks to Barbara Buchman and Sarah Vlasity at Boulder’s Carnegie Library for Local History, Stephanie Fletcher, Ryerson & Burnham Libraries, The Art Institute of Chicago and Beverly Brannan, recently retired photography curator, Library of Congress.

John C. H. Grabill Captures the End of the Wild West

Little
John C. H. Grabill, photographer. “Little,” the instigator of Indian Revolt at Pine Ridge, 1890, Library of Congress, Prints & Photographs Division, LOT 3076-2, no. 3607.

Many 19th century photographers combined their careers with mining activities, moving West with the dream of finding gold.  John C. H. Grabill (c.1850-1903) followed this pattern.  Grabill was born around  1850 at Donnelsville, Ohio, to David and Catharine Kee Grabill.   One decade later, the census shows the Grabills living in Champagne, Illinois.

By late 1880 John Grabill was mining near Aspen, Colorado, later expanding his holdings to mines in Chaffee and Gunnison counties.  He purchased an assaying outfit from Chicago that allowed him to distinguish the properties and value of his finds.  Grabill opened an assay office in Buena Vista, Colorado, that was known as one of the best in the state (Buena Vista Democrat, March 15, 1883, p3, c3).  A fire on March 9, 1883, likely caused by a defective flue, destroyed  the entire business block that housed Grabill’s office  (Gunnison Review-Press,  March 9, 1883, p1, c2).  Later that month he opened a new brick office, continuing to offer his indispensable services to the miners.  He also provided electroplating services for cutlery and jewelry.

Mining Exchange
J. C. H. Grabill’s Mining Exchange and photograph gallery, 1886, Buena Vista, Colorado, Library of Congress, Prints & Photographs Division, LOT 3076-6, no. 1449.

In December 1885 Grabill announced that he would open a photography studio in Buena Vista, Colorado.  The studio, located on San Juan Avenue, opened in March 1886, next door to his assay office.  One of his early photos shows both of his businesses (see left).  

Grabill moved his studio to the wild west town of Sturgis, Dakota Territory, in the fall of 1886.  His photographs capture the day-to-day life of the area– a street crowded with ox teams and rounding up cattle on the Belle Fourche River.  In 1888, Grabill added another studio, about fifteen miles west of Sturgis in Deadwood, splitting his time between the two locations.  The new studio was an elegant space in the Nye building, at the corner of Gold and Main streets.   He photographed historical landmarks, such as the famous Deadwood Stage Coach’s last trip before being superseded by the railway, the recently completed Deadwood Central Railroad, and Deadwood’s July 4th celebration.

Deadwood’s holiday festivities included events for the Chinese immigrants who came to the city in the mid-1870s in numbers large enough to form their own Chinatown neighborhood.  The immigrants supported the town’s mining industry, running businesses like restaurants and laundries.  Two Chinese fire hose teams, both from Deadwood,  competed in the world’s first Hub-and-Hub race by Chinese teams.  The teams, outfitted in fancy uniforms,  ran a 300-yard dash, pulling their equipment.  The  team under the direction of Hi Kee, a Chinatown merchant, was the first to couple their hoses and pump water, winning the contest.  This race was followed by eight White hose teams with a purse of $500.00

Hose Team
John C. H. Grabill, photographer. Hose team. The champion Chinese Hose Team of America, who won the great Hub-and-Hub race at Deadwood, Dak., July 4th, 1888, Library of Congress, Prints & Photographs Division, LOT 3076-18, no. 1204.

In the early 1890s, Grabill produced extensive documentation of Native Americans, including views made at Pine Ridge in January 1891, just weeks  after the Battle of Wounded Knee and the death of Sitting Bull.  

Grabill incorporated The Grabill Portrait and View Company in 1891 with studios planned for Baltimore, Boston, Chicago, New York, and Omaha  (The Black Hills Daily Times, April 4, 1891, p4, c5).  But the company was soon bankrupt and Grabill’s pictures were auctioned off to cover a $340.43 debt (The Daily Deadwood Pioneer-Times,  March 8, 1892, p3, c2).  The firm of Locke & McBride took over Grabill’s Deadwood studio. 

In 1901, Grabill lived in St. Louis and worked as a salesman for a mining supply company.  His mental health deteriorated and by early 1903 he was a resident at the St. Louis City Insane Asylum.  Grabill died there on August 23, 1903.  He is buried at Saint Matthew Cemetery in St. Louis.

Devils Tower
John C. H. Grabill, photographer. Devil’s Tower or Bear Lodge (Mato [i.e. Mateo] Tepee of the Indians), on the Belle Fourche, Library of Congress, Prints & Photographs Division, LOT 3076-14, no. 343.
Grabill submitted more than 180 photographs for copyright protection to the Library of Congress.  In addition to his photographs, perhaps Grabill’s lasting legacy is his work to protect Devil’s Tower in northeastern Wyoming.  He collected signatures for a petition asking congress to establish Devil’s Tower as a National Landmark  (The Sundance Gazette,  November 7, 1890, p1, c3). Unfortunately, Grabill died a few years before the creation of the park in 1906.

 

 

 

The Library of Congress collection of Grabill photographs. https://www.loc.gov/pictures/collection/grabill/

Additional biographical information:  https://en.wikipedia.org/wiki/John_C._H._Grabill

 

 

 

 

 

 

 

 

 

 

 

 

 

Everett Van Epps, Kansas Photographer and Publisher, Moves to Alma, Colorado

With this post, we are going to cross over to the 20th century, to look at the work of Everett Van Epps (1858-1935), a photographer active in Alma, Colorado, in the late 1890s until his death.  The Pikes Peak Library District in Colorado Springs has a small archive of modern prints made from Epps’ original negatives.

photo car
E. E. Van Epps Photo Gallery, probably in Hoxie, Kansas, 1888, Pikes Peak Library District

Everett E. Van Epps was born on a farm in Fremont, Iowa, on April 28, 1858, to Evert and Janett Van Epps.  Everett pursued many professional careers during his long life, but his interest in photography never wavered. He began his photographic career in 1879 working out of a railroad car in Scandia, Kansas.

In 1884 he opened a studio in a brand new building in Hanover, KS.   Everett traveled to New Orleans in January 1885,  studying photography at the  World’s Industrial and Cotton Centennial Exposition.  (Grit, February 27, 1885, p6, c1)

Everett moved his operation to Oberlin, KS, in 1886 and opened a series of studios in northwestern part of the state.  He juggled as many as four studios at a time, including locations in Atwood, Colby, Hoxie, and Sharon Springs. He also traveled with his outfit to several other cities in the state.

Girls in newspaper
E. E. van Epps, Cabinet Card, circa 1888, Courtesy of Worthpoint

During the early 1890s Van Epps published The Selden Times, The Colby News and The Dresden Star,  while maintaining his photo business.  In September 1890 he traveled with other Kansas newspapers editors to Colorado.  From Colorado Springs, they took a special Pullman car on the Colorado Midland to the Continental Divide, and then to Glenwood Springs and Denver before taking the Rock Island back to Kansas.

In 1892 Van Epps began working a mining claim near Colorado’s Cripple Creek, while maintaining is home in Kansas.  The following year, Van Epps worked in the photography department at the World’s Columbian Exposition in Chicago, where he printed a record 1260 pictures in a single day.  (The Pittsburg Daily Headlight, September 12, 1896, p4, c7)

Van Epps moved permanently to Alma, Colorado, in 1898. He opened a photo gallery and also worked the Wood Chuck mine on Mt. Democrat for molybdenum.  (The Colby Tribune,  January 26, 1899, p8, c3)

In the 1920s,  Van Epps used a panoramic camera to photograph mining camps in Park County, Colorado.  Copy photographs from Van Epps’s original negatives can be viewed here: http://digitalcollections.ppld.org/digital/collection/p15981coll11

Van Epps Mine
E. E. Van Epps. Van Epps Placer Claim, circa 1925. Pikes Peak Library.

Van Epps died on August 30,1935 from an accidental powder blast at his placer mine.  He is buried in Buckskin Cemetery at Alma, CO.  

Aspen Photographers Scam Patrons

In May 1891, after operating a photography studio in Aspen, Colorado, for nearly a year, Opie & Kerr quietly left town. Many customers had sat for portraits and paid for work without receiving their finished cabinet cards.    

Cabinet card
Opie & Kerr, photographers.  Cabinet card portrait of Lillie Warner, Cassie Warner and Mahlon Warner, History Colorado, 95.200.163.

About a week before leaving  town, Opie & Kerr advertised elegant cabinet photographs for the very low price of $1.00 per dozen, $2.00 less than usual  (Rocky Mountain Sun, May 9, 1891, p2, c3).  Since they expected a rush of customers, the photographers stated that it would take them two weeks to complete the work. True to form, customers flocked to their studio.

But on Saturday night, May 16th, Opie & Kerr boarded a northbound Denver & Rio Grande train, presumably headed for a brief trip to Glenwood Springs. Witnesses saw the pair purchasing tickets at Glenwood Springs to continue their trip. When the men did not return to Aspen, their apartments were searched, and all of their belongings and most of their mortgaged studio equipment was gone. Later, it was determined that Opie & Kerr had sent several packages to Telluride weeks earlier, proving their departure was premeditated. And while news reports suggested that the men would be chased down and returned to Aspen, Anna Scott, archivist at the Aspen Historical Society, could not find any records to substantiate this.  

Who were Opie & Kerr and what happened to them after they left Aspen?          

Studio
Front exterior view of William Opie’s original Ely, MN,  photography studio, 1891?, Iron Range Research Center.

William Ross Opie (1864-1917) was born in England in February 1864, the oldest of thirteen siblings.  Opie immigrated to the United States in 1886, where he was employed as a miner at Tombstone, Arizona Territory.  Opie arrived in Aspen in the spring of 1890, taking over the studio of M. L. Cutler with S. T. Kerr, operating as Opie & Kerr.  After leaving Aspen, Opie ran photography studios in Ohio, Minnesota and North Dakota.  Opie died on June 7, 1917, in Langdon, N. D.

Samuel T. Kerr (1868-1929)  immigrated to the United States from Canada in 1884.  By 1889, he had arrived in Aspen, where he partnered with photographer M. L. Cutler, as Cutler & Kerr.  A few months later, Kerr purchased, on a credit of $190, Cutler’s photograph outfit and set up shop on Hyman Avenue with William Ross Opie.  As the date for the payment neared, the team devised the plan to offer low cost photographs to their customers and also asked for a couple extra days in order to pay their bill in full.  After fleeing Aspen with Opie and their mortgaged photography equipment, they left disappointed customers waiting for their portraits.  They also fleeced their landlord and left several bills unpaid.  

Nevertheless, Kerr returned to Aspen in 1892, working for photographer    L. C. Newby.  The Newby studio claimed to have Opie & Kerr’s old negatives (Aspen Daily Times, September 15, 1891, p4, c2).  In 1895, Kerr worked for Aspen photographer, Mrs. Drenkel.   

In the early 1900s Kerr moved to West Virginia to be closer to family.  He drowned on October 27, 1929, when his car drove off a road into a stream.  Kerr was sixty years old.  

 

Who Worked in William Henry Jackson’s Denver Studio? (Part 1)

WHJacksonportrait
William Henry Jackson, 1870, History Colorado

William Henry Jackson is arguably the  most famous  19th century landscape photographer.  After nearly a decade photographing the West for the Hayden Survey, in 1879 Jackson opened a studio in Denver.  I had a number of questions about his business:  Who worked for him?  Did any of his employees go on to have careers of their own?  How many women worked for the firm and what they do?

Luckily, the Denver Public Library has digitized many of the Denver City Directories, and with  key word searching, I was able to begin to answer some of these questions.  Historic newspapers helped fill in some of the gaps.

Jackson’s Denver operation first appears in the 1880 city directory.  The list below provides Jackson’s entries from the city directories or newspapers (April 1880), followed by a list of his employees and their roles in the firm, with the dates of their employment. I have included all the names associated with Jackson’s photo studio.

1879-1880   W. H. Jackson, photographer, 413 Larimer St. 

Miss Sadie Crisp, reception lady     (1880)                                           Miss Sadie Crisp worked for Jackson for about a year before joining Denver  photographer, A. E. Rinehart in 1881.  In December 1882, Sadie Crisp attended the Colorado State Teachers’ Institute in Pueblo. (The Colorado Daily Chieftain, December 28, 1882, p4, c3)

Frederick D. Jackson, photographer, operator, printer (1880, 1885-89, 1891, 1893-94)                                                                              Fred was one of Jackson’s younger brothers.His photographic career began in Omaha, Nebraska, in the late 1860s with the Jackson Bros. firm, and continued off and on for the Denver studio in the 1880s and 1890s. He worked for A. E. Rinehart in 1881.

William Henry Jackson. The 1874 photographic division, on the way to Los Pinos and the Mesa Verde. Left to right: Smart, Anthony, Mitchell, Whan, Ernest Ingersoll, and Charley, cook. Dolly, the mule, stands between Charley and Ingersoll, National Archives

R. M. Mitchell, operator  (1880) Probably Robert Mitchell, a packer working under W. H. Jackson on Hayden’s 1874 survey team.

Frank T. Smart, photographic printer (1880)
Smart [circa 1857-91] was Jackson’s general assistant during the 1874 Hayden Survey.  Smart worked for the U. S. Geological Survey, from 1884 until his death from consumption in 1891.

April 1880     Jackson & Rinehart, 413 Larimer St.                                                                                                   

Jackson & Rinehart
Jackson & Rinehart, Unidentified portrait, History Colorado

Jackson formed a partnership with prominent portrait photographer, Alfred E. Rinehart.  Rinehart (1851-1915) began his photographic career in Denver in 1876.  He worked in the city until his death in 1915.  

 

 

1881 W. H. Jackson, Landscape Photographer, 18th, cor Wazee
The January 1, 1881 Denver Post reported that Jackson had retired, with Rinehart taking over his studio.  But Jackson had received a major commission from the Denver & Rio Grande Railroad, which kept him away from the Denver studio.

1882   W. H. Jackson & Co., Landscape Photographers                                                                                                        Lester J. Bennett, photographer (1882)

Samuel Atkinson Grigg, photographer (1882)                                Grigg [b. circa 1851]  attended the Episcopal High School of Virginia, near Alexandria, where he excelled in German. (Alexandria Gazette, July 17, 1867, p3, c1)  He worked as a photographer in Alexandria between 1876 and 1881, before moving to Denver and working under Jackson.  Grigg is listed as an artist in the 1883 Denver City Directory.  He remained in Denver for decades, working as a bookkeeper.

Andrew McKirahan, photographer  (1882)

Frank L. Mortimer, photographer  (1882)                                               Mortimer is also  listed as a photographer in the Leadville City Directory published in June 1882.

1883   W. H. Jackson & Co., landscape photographers, 414 Larimer                                    
William H. Brown, printer (1883)

Walter A. Chamberlain, printer (1883-86, 1888-92)                         W. A. Chamberlain (1859-1916) learned photography from his father, William G. Chamberlain, one of Denver’s earliest and most prolific  photographers.  After his photographic career, W. A. worked with his brother in the W. J. Chamberlain Ore Company.

As you can see, biographical information for many of Jackson’s employees is scarce.  If you have information about these individuals that you would like to share, please let me know and I will update the post.  I  will cover later dates in future posts.

 

 

Where Was Gold Hill?

 

Acme Mine
Edward F. Bunn, photographer. Acme Mine, Gold Hill, Wyoming, albumen silver print, 1891, Denver Public Library, western History Collection, X-61518.

It seems like every western mining region has an area named Gold Hill.  For years, researchers have assumed that Edward F. Bunn’s 1891 photographs of Gold Hill were made in Boulder County, Colorado.  Today, a drive up the steep, unpaved road to Boulder’s Gold Hill reveals a landscape quite different from that seen in Bunn’s photographs.  And with a little digging (pun intended), we can now prove that Bunn’s Gold Hill photographs were not made in Colorado, but in southern Wyoming.  

Edward F. Bunn, circa 1900, Fort Collins History Connection.

Edward F. Bunn was born in July 1855, in Muskingum County, Ohio, to Elnathan  Raymond Bunn, Sr. (1817-1908) and his wife Dorcas Crumrin Bunn (1823-1882).  He was the fourth of six children, born into a farming family, an occupation that Edward himself would pursue in Missouri.  Edward even patented a cultivator in 1884. 

Edward married Mary Ann Dyer (1856-1940) in 1877 in Missouri.  The couple visited northern Colorado in March 1885, before moving to Fort Collins that June (Rocky Mountain News, March 13, 1885, p3, c1). Mary Ann’s mother and step-father, William T. Campton, and their two sons also lived in Fort Collins. 

It is not known when Edward Bunn learned photography.  In 1890 he and Stephen H. Seckner formed a  short-lived photography partnership.  The following year, Bunn worked alone, out of the old  stand he formerly shared with Seckner, as well as his horse-drawn photographic wagon.  While he did make portraits, Bunn enjoyed working outdoors and specialized in landscape views.  He also offered “one chance in a lifetime” to learn photography. (Loveland Reporter, February 26, 1891, p1,c2)

Edward F. Bunn, photographer. Edward F. Bunn’s photography wagon and tent, albumen silver print, 1891, Denver Public Library, Western History Collection, Z-3084.

Health concerns led Bunn to visit Wyoming’s rugged Medicine Bow Mountains in July 1891.  The timing was fortuitous, as gold had been discovered in the mountains the previous summer, but too late in the season to fairly assess the prospects.  Bunn arrived on the scene and found the miners at work.  He could not pass up the opportunity to make photographs, and  accepted an assignment from the Board of Trade to photograph the Gold Hill Camp and Battle Lake (The Saratoga Sun, July 14, 1891, page 3, column 2). 

The blog’s lead photograph shows a group of well-dressed men standing behind a pile of egg-sized ore nuggets from the Acme Mine and a log structure under under construction.  The mine operated double shifts, with plans to ship the ore to Omaha, Nebraska.  (The Wyoming Commonwealth, August 9, 1891, p2, c2)

The Saratoga region had seen brief bursts of activity briefly before.  Back in 1868, the area supplied railroad ties for the Union Pacific Railroad.  Bunn photographed one of the abandoned camps.

Edward F. Bunn, photographer. Coe & Carter’s Tie Camp, albumen silver print, 1891, Denver Public Library, Western History Collection, Z-5449.

Bunn planned on staying in the Saratoga area for about three weeks, but he spent at least an additional three weeks in the region.  He set up a temporary studio on the west side of town in late July and early August, making portraits of local citizens, charging $4.00 for popular cabinet-size portraits. (The Saratoga Sun, July 28, 1891, page 4, column 5). These portraits measured 4 x 5-1/2” and were mounted on heavy card stock.

The Platte Valley Lyre reported on July 30, 1891:  “E. F. Bunn, a photographer from Fort Collins, has taken a number of fine views of the Battle Lake country during the past week.  He has fifteen views in all, giving one a very clear idea of the beauty of this lake on the summit of the Sierra Madres and the magnificent scenery surrounding it.  We have seen quite a number of views of the lake, but none of them equaled those taken by Mr. Bunn.  He also visited Gold Hill, securing as many photos in that region, but his plates were accidentally injured.  He will therefore visit the camp again soon…” 

By the late 1890s, the Wyoming gold camps had petered out, as did Bunn’s photographic career.   The 1900 federal census lists Edward Bunn as a photographer at St. Cloud, north of Fort Collins.  A few years later, he moved to Collbran, Colorado, in Mesa County, where he had success as a dry farmer.  Over the years he grew wheat, Concord grapes and sweet corn.  He also did carpentry work, enlarging the photo studio of R. C. Phipps (The Plateau Voice, June 2, 1916, page 1, column 1).

Edward F. Bunn died on May 6, 1947.  He is buried in Denver’s Fairmount Cemetery. 

Additional photographs by E. F. Bunn are available at the Denver Pubic Library’s website: https://digital.denverlibrary.org/digital/

An earlier version of this post appeared in Annuals of Wyoming: The Wyoming History Journal, v84, no. 4 (2014), p20-26.