Bates & Nye’s Photographs of Women Held Hostage by Native Americans

Tension At White River Reservation

In the late 1870s, white settlers began to increasingly populate western Colorado, unsettling the approximately 800 Utes who resided on a reservation in the northwestern part of the state.  Ute warriors led raids against the settlers. Their threats and intimidation made national headlines. The government appointed Nathanial Meeker, a journalist with no understanding of Native American culture, as the Indian agent for this region, known as the White River Indian Agency.

The sixty-one-year-old Meeker assumed his post in May 1878, traveling to the remote region alone.  He and the agency’s interpreter repaired buildings and prepared a home for the Meeker family.

Arvilla Meeker
Bates & Nye, photographers. Portrait of Arvilla Meeker. History Colorado, 95.200.922

In July 1878,  Meeker’s wife, Arvilla, and their youngest child,  Josephine “Josie,” joined him at the agency.  Meeker’s duties were to establish a school for the Indian children, educate the adults in farming methods, and introduce them to the ways of white civilization.

The Native peoples received food and supplies from the agency, but they preferred their traditional, nomadic way of life to learning from white agency officials. Mrs. Meeker operated a store and cared for the sick and elderly. Josie taught at the school, though only three students attended the boarding school. She visited the Ute camps and felt comfortable around the Native people.

In the fall of 1879, Meeker plowed up a horse pasture used by the Utes for grazing. In retaliation, a Ute named Chief Johnson shot Meeker’s horses.  A fight ensued between Meeker and Johnson.  Two other Utes joined in and left Meeker nearly unconscious.  As the threats continued, Meeker sent a note to Washington about the situation, and troops from a nearby post were sent to protect him.

On September 22, 1879, Major Thomas Thornburgh led approximately 200 soldiers toward the White River Indian agency from their base near Rawlins, Wyoming.  Four days later, en route, the soldiers encountered Ute warriors who tried to discourage them from continuing to the Indian agency; however, the troops moved forward. The Utes confronted the soldiers again and asked them not to cross Milk Creek. Disregarding the Ute leaders, Thornburgh’s men crossed the creek. The Utes fired on the troops, killing Thornburgh. The soldiers retreated, but the fighting continued. The Utes felt misled by Meeker and headed for the Indian agency.

Cabinet card of Mrs. Price
Bates & Nye, photographers. Portrait of Mrs. Shadruck Price (Flora Price), 1879. History Colorado, 95.200.925.

On September 29, 1879, the Indian agency on the Ute Reservation in Meeker, Colorado, was attacked, killing Indian agent Nathan Meeker and his ten male employees. Five women and children were taken hostage at a remote mountain camp, sparking outrage among white Americans. The hostages included Meeker’s wife, Arvilla; his daughter, Josie; Mrs. Shadruck Price, whose husband was killed in the attack; and her two children. They were held for twenty-three days. During their captivity, the women, having seen their husbands and father killed, feared their future—would they be tortured to death or used as barter?

She-towitch, sister of the great Ute leader Ouray and wife of the White River Ute leader Canalla, ensured the hostages had food and helped care for the two young children.  During their captivity, the women made clothes for themselves from Native American blankets and for the young Utes.

On October 21, 1879, Charles Adams, a general in the Colorado militia, rescued the women and children and brought them to Denver.  During their stay in town, they were photographed by Bates & Nye.

Life After Captivity

Josephine Meeker
Bates & Nye, photographers. Josephine Meeker, 1879. History Colorado, 995.200.928.

Josie Meeker worked in the office of the Secretary of the Interior at Washington, D. C., until her death from pneumonia on December 20, 1882, at the age of twenty-five.

Arvilla Meeker returned to Greeley and died in 1905 at the age of ninety.

Flora Price remarried and moved to the West Coast.

 

The Photographers                                                                                   Bates & Nye, a partnership between William L. Bates and Willis A. Nye, was located at the corner of Larimer and Fifteenth Streets in Denver. The firm opened in April 1879 and remained in business for about a year. Afterward, Nye moved to Leadville, Colorado, while Bates remained in Denver.

The firm is best known for its photographs of the women and children the Utes captured during the Meeker Massacre.  The firm sold cabinet-sized portraits for 50 cents each.  A group portrait was published in Frank Leslie’s Illustrated newspaper.

Group portrai
Engraving by photo by Bates & Nye. Colorado–The Late Ute Outbreak and Massacre at the White River Agency–Miss Josephine Meeker, and Mrs. Price and her Two Children, in the Costumes Worn by them when Captured.  Frank Leslie’s Illustrated Newspaper, November 22, 1879, page 209.

William L. Bates was born in Ohio in 1843 to Aaron Tiffany Bates and Caroline Otis Bates.  By 1867, the family had moved to Chicago, Illinois.  Bates and his father sold farm machinery.  A few years later, Bates became an agent for “health lift,” a total body exerciser.  He married Ada T. Austin on January 4, 1872, in Chicago.

In 1876, Bates made at least three trips to Denver, Colorado, before moving there with his wife in 1879. He seemed to have some familiarity with photography before he arrived, as he opened the Bates & Nye studio with Dennis B. Nye in April. They worked together for a year.

In August 1880, Bates opened a gallery in the new Tabor Building at the corner of Sixteenth and Larimer Streets.  The studio was located on the upper floor, away from the dusty streets.  Patrons took the elevator to the fifth-floor reception room, hung with framed photographs from the studio.  “Many of his customers claimed that the view of the western mountains from the reception room’s window is “worth the price of a dozen pictures.” Men and women prepared for their sittings in elegant toilet rooms.

The operating room, where patrons had their portraits made, was lit by diffused light from ground glass, rather than direct sunlight.  Patrons could choose a background for their portraits—the studio had the largest collection of studio backgrounds in the West.  At least some of his backgrounds were produced by New York City’s well-known artist, L. W. Seavey.  Once the negative was exposed, it was processed in the darkroom and, when dry, moved to the retouching room.  Bates offered mats and frames especially selected to enhance photos and portraits.

The firm produced a variety of portrait work, ranging from high school students and local businessmen to celebrities passing through town, such as Misses Curtis and Pinneo, equestriennes who competed in long-distance horse races.  He copyrighted the latter portraits and sold them for 50 cents each.  He exhibited his work at the Colorado Industrial Association’s annual exhibitions.  

During the 1881 holiday season, Bates hired extra studio help, including Adolph Muhr as an operator.  (Shortly thereafter, Muhr would become Bates’ partner.)  The studio was even open for business on Thanksgiving Day.  They promised a five-day turnaround for photos.  

By early 1884, the firm was facing financial problems.  They increased newspaper advertising in hopes of boosting sales, but in October, the press reported that Bates had sold out and moved to Chicago. However, he maintained businesses in both cities for a while.  In Chicago, he worked under the studio name of Bates & Rocher, though Henry Rocher was not involved in the business.  Meanwhile, the Denver studio operated from November 1884 to May 1885, as Bates & Webb, with John T. Webb probably running the business.  

In May 1885, Bates returned to Denver for health reasons.   He reopened his studio, exhibiting 100 new pictures from his time in Chicago.  He operated this studio until September 1885, when he sold the business to John K. Rose, his longtime retoucher. 

Bates and his family lived in Colorado for most of the 1890s.  He worked in mining and later ran Denver’s Columbia Hotel.  In 1898, the Bates family moved to Cleveland, Ohio.  Bates died on March 2, 1909, leaving a wife and two daughters.  He was buried at Mansfield Cemetery in Mansfield, Ohio.

Willis A. Nye was born on December 19, 1851, in Wisconsin, to Austin Nye and Betsey Atkins Nye.  His father was a farmer who died of disease while serving in the Civil War.  His older brother, Dennis B. Nye, also worked as a photographer.

Nye may have begun his photographic career in Springfield, Illinois, around 1872.  In June 1873, he took charge of the operating room at C. L. Burpee’s studio in Beloit, Wisconsin.  By 1876, Nye settled in Detroit, Michigan, working for three years at various firms as an operator and later as a studio manager.  On August 15, 1878, Nye married Myra Augusta Jones in Detroit.  

In 1879, Nye lived in Denver, Colorado, where he partnered with William L. Bates under the name Bates & Nye.  After a year with Bates, Nye moved to Leadville, Colorado.  Alfred Brisbois managed Nye’s Leadville studio, and when Nye moved to Chicago around January 1881, Brisbois took over the space.  

Nye moved to Chicago, Illinois, where he joined John E. Beebe’s studio.  In 1882, he took over the studio when Beebe shifted his focus to manufacturing dry plate negatives.  The following year, Nye attended the annual meeting of the Photographers’ Association of America, where he exhibited his work.  He invited attendees to visit his Chicago studio after the meeting to see a demonstration of the Beebe Dry Plates.

In 1887, Nye established a studio in Minneapolis, Minnesota, where his brother Dennis worked as a photographer.   It was a brief stay, as he moved to Dubuque, Iowa, the following year.  In the spring of 1890, he relocated his studio to Duluth, Minnesota.  The St. Louis & Canadian Photographer published an example of his work in its June 1890 issue.  In 1892, Nye appears to have left Duluth, but his wife is listed in the Duluth city directory as a photographer with Frederick Johnson.  

In the mid-1890s, Nye, based in New York, served as a representative for Hammer Dry Plates.  Later, he worked for Eastman Kodak.

Nye died on January 21, 1938, in Washington, D. C. at age 86.  He was buried at Green-Wood Cemetery in Brooklyn, New York.  

For more information about the Meeker massacre, see:  Troubled Trails by Robert Silbernagel:   https://uofupress.com/books/troubled-trails/

Thank you to History Colorado staff:  Jori Johnson,  Aaron Marcus, and Joy Saliu.

Amelia Norder, Studio Assistant to Denver Photographer Joseph Collier

Amelia Norder was born in Sweden on June 22, 1871.  As a young child, she immigrated to the United States with her father, Peter Norder, a blacksmith.  She was raised by a family friend in Minnesota. 

By 1888, Amelia was living in Denver and working as a clerk for photographer Joseph Collier.  He noticed her artistic abilities and taught her the photographic trade.  She mastered all phases of the occupation, from the operating room to developing and finishing photographs.  Her artistic skills made her a natural as a photo retoucher.  Norder worked for Collier for more than fifteen years.  

Painting
Amelia Norder, artist. Portrait of Mrs. Libeus Barney (Miss Marilla E. Kendall), 1843-1925, oil painting. History Colorado, Object id, H.1148.2.  Barney was wife of Colorado pioneer Libeus Barney. He built and managed the People’s Theater.

When she was not occupied in the photo studio, Norder worked with her oil paints in the back of the gallery.   An article in the Denver Times (January 12, 1902)  states that Norder learned portrait painting from Scottish-born artist John Phillips (1822-1890).  Phillips had a national reputation as a portrait painter.  

Norder’s first commission came from John McGilvray, the builder responsible for many of the buildings on the Stanford University campus. She was hired to paint portraits of his three daughters. She also painted many prominent Denver figures, including Davis Hanson Waite, who served as governor of Colorado from 1893 to 1895. The painting was displayed in the State House. It now belongs to History Colorado.  

Portrait of Mrs. Amalia [sic] Ravnos. Portrait from California och dess Svenska Befolkning by Ernst 
Skarstedt, page 415.

Her warm relationship with her employer was displayed when Amelia married Ole Ravnos at Collier’s home on February 24, 1902.  Ole, originally from Norway, worked as a builder. A few years after their marriage, the couple moved to Santa Cruz, California, where Amelia gave lessons in oil and china painting.  Ole operated a photography studio, perhaps learning the trade from his wife.  Amelia Ravnos passed away after a long illness on March 23, 1940.

 

Thank you to History Colorado staff Jori Johnson, Collections Access Coordinator,  and Aaron Marcus, Digital Imaging Studio Manager and Associate Curator of LGBTQ+ History, and  Amanda Clapham, Curation and Education at the Colorado State Capitol.  

John E. Beebe, Photographer, Dry Plate Manufacturer, and Advertising Executive

John E. Beebe was born into a prominent family on December 11, 1851, in Galena, Illinois, the fifth of ten children.  His father, Thomas Hempstead Beebe (1819-1906), was the president of the Peshtigo Lumber Company, and his mother, Catherine Eddowes Beebe, was a native of Delaware.  They met and married in Galena.  The family moved to Chicago, Illinois, shortly after John’s birth.  Two Irish domestic servants assisted the busy household.  

In the mid-1860s, John attended the University of Chicago’s preparatory school. By 1869, he had secured a job at H. W. King’s wholesale clothing business, initially as a clerk and later as an assistant bookkeeper.  The Great Chicago Fire of October 1871 destroyed the Beebe family home at 368 Ohio Street, and their lumber business suffered a loss of three-quarters of a million dollars.  

John Beebe and Lucia Chase were married on New Year’s Eve, 1874, at the Chicago home of the bride’s parents.  In 1876, Beebe opened a photography studio in Chicago.  He was active in both the Chicago Photographic Association and the Photographers’ Association of America, serving as an officer in both organizations.  He was the youngest man to serve as president of the latter organization. 

https://www.piercevaubel.com/cam/catalogs/1312.scovill.wilson.hool.1883-all.pdf

In 1881, Beebe incorporated the Chicago Dry Plate & Manufacturing Company.   He championed the new dry plate negative process over the older wet plate chemistry, declaring,  “All odors of ethers and chemicals are banished from my studio.  No waiting for plates to be prepared, nor hurry on account of plates spoiling, thereby losing expression, for sake of saving the plate… In a word, I am now enabled to give all my time and attention to the artistic part of my profession, the annoyance and unreliability of the chemical manipulations having been reduced to the minimum.”

By the fall of 1882, the Beebe plates were so popular that the firm built a new factory near Lake Michigan devoted to manufacturing them.  Each batch underwent testing before being sold.  In June 1883, the major dry-plate firms agreed to offer their plates at reduced prices.  However, by the following month, Beebe must have realized that the dry plate business was no longer profitable.  He returned to operating a photography studio, partnering with well-known Chicago portrait photographer Henry Rocher.  Sadly, the Chicago Dry Plate Company closed in March 1884.

Dog with ribbon
J. E. Beebe, photographer. George Clayton’s dog, between 1887-1891.  History Colorado, 95.200.200.

After the closure, Beebe moved to Denver, Colorado.  He opened a ground-floor photography studio at 438 Arapahoe Street.  In the fall of 1886, Beebe exhibited portraits of Denver society at the Manufacturers’ Exhibition.  The following year, his brother Christopher joined the business.  Frank Haffner, hired as a photographer in 1890, took over the studio two years later when Beebe established the Beebe Photo-Engraving Co.  The new company specialized in half-tone copper engraving, zinc edging, wood engraving, line and map work, artistic illustrating, designing, and photographing.  

During this time, Beebe was enrolled at Gross Medical College and was chosen class president.  He graduated in 1895. Subsequently, he returned to Chicago and began practicing medicine.  After practicing medicine for five years, Beebe changed careers again, this time studying advertising at the Page Davis School of Advertising, one of the first correspondence schools in the field.  John Lee Mahin, president of the Mahin Advertising Company and one of the men associated with the correspondence school, hired Beebe before he completed the program.  When asked why he gave up his medical practice to work in advertising, Beebe stated:  “…while I could make a modest living at medicine, I could not lay up anything for the future… I wanted the opportunity to go after business and not sit and twirl my thumbs and wait for it to come to me… In ninety days I was earning my guarantee, in five months I was in Europe where I remained several months for one of our customers, and have been busy enough ever since to satisfy the most ambitious.”

Beebe portrait
John E. Beebe, from Agricultural Advertising, October 1906, page 352.

His experience with photography and engraving enhanced his advertising business.  In 1906, he wrote an article on Photographic Salesmanship, stating, “…photographic representation… always attracts attention, creates interest, stimulates desire and ends in the resolve to buy.”  His writings also reference historical photography, as well as contemporary Chicago-based photographer George Lawrence and his panoramic views made from kites.  Beebe’s final career move was as director of publicity and trade extension for the Old Ben Coal Corporation.

After a long illness, Beebe’s wife died in March 1920.  He married Clara Eleanor Pause on October 23, 1923, in Alameda, California.  In 1933, his only son and namesake passed away.  John E. Beebe died on November 14, 1936, of coronary thrombosis and arteriosclerosis.  He is buried at Greenwood Cemetery in Galena, Illinois.  

Thank you to Jori Johnson, Ann Sneesby-Koch, and Aaron Marcus, History Colorado.

Britton Bros. and Their Unusual Photo Mount

Buffalo natives, Walter Raleigh Britton (1868-1934) and his brother, George Francis Britton (1870-1939), worked as photographers in Denver in the mid-1890s.  Their cabinet card mounts provide many interesting details about their business.

Back of cabinet card
Back of Britton Bros. cabinet card

The back of the card shows portraits of both men.  We learn that Walter worked behind the camera as the operator, while George worked behind the scenes in the darkroom as a finisher.

The photographers made portraits, views, and groups, with “Babies [photographed] quick as a Wink.”   The brothers operated a gallery tent in Denver, while most professional photographers in the city had permanent studios.  They stressed that they had the most “complete traveling Photographic outfit in the country.”  The studio used an enamel finish.

Walter and George Britton were born to William Henry Britton, a tin smith, and Florence Augusta Lovejoy Britton, a homemaker.  Walter started practicing photography in Buffalo in 1887. He wed Alice L. Tully on February 8, 1889.  In 1892, Walter continued his photography career in Denver, Colorado, where he was joined by his brother George.  Citing desertion,  Walter filed for divorce from his wife in March 1895.  Following that, Walter relocated to Edinburgh, Scotland, where he would spend the bulk of his later years.  Britton worked as a photographer in San Francisco, California, during a two-year visit to the United States at the turn of the century.  He married Scottish-born Eugenie Christina Casimir Rogues in Nevada on June 26, 1900. Britton died on September 13, 1934, in Edinburgh.

Britton Bros. portrait
Britton Bros., photographers. [Portrait of an unidentified woman]. Collection of the author.
George Britton married Elizabeth “Lizzie” Jane Rector on December 24, 1893, in Denver.  Around 1896, they moved to Colorado Springs, Colorado, where he was employed by photographer Charles E. Emery.  The family is listed as residing in Boulder County, Colorado, in the 1900 federal census.  Two years later, they moved west to Meeker, Colorado, where Britton purchased W. H. Samuels’ gallery.  Lizzie Britton divorced her husband in June 1905 for adultery, cruelty, and lack of support.  She was granted custody of their two young sons.

George moved his studio to Boulder, Colorado, after the divorce.  On November 24, 1906, he married Alvarado Voris Kidder.  In 1911, the couple moved to Palisade, Colorado, where Britton operated a studio until the fall of 1914.  They then moved to California and ran a photo studio together in San Francisco until 1925. George Britton passed away on July 12, 1939, in San Francisco.  

 

Views of Colorado by Benjamin E. Hawkins

Benjamin E. Hawkins was born in Steubenville, Ohio. In 1865, IRS tax assessment records place him as a photographer in New Castle, Pennsylvania.  On November 24, 1866, he married Ellen Spaulding in Steubenville. They had three children before divorcing in the 1870s.  Hawkins operated a photography studio in Steubenville in the late 1860s and early 1870s.  

In June 1870, the National Photographic Association convened in Cleveland, Ohio. The exhibition featured works by American and foreign artists, as well as displays of photographic supplies. The firm of E. & H. T. Anthony, renowned for their extensive collection of stereoscopic views, presented the latest photographic advancements and inventions. Among the masters of photographic art, Hawkins displayed three oil paintings and four photographs. What an exhilarating experience for a young man to be included among the masters in the field.

Photo tent
B. E. Hawkins, photographer. Hawkin’s Camp, albumen silver stereo view.  W. G.  Eloe Collection. Note the word “Photographs” to the left of the door.

Hawkins arrived in Denver around 1873, where he operated a studio on Larimer Street with Newton I. Chew. The firm specialized in landscape views of the Denver area. They parted ways in February 1876 when Hawkins joined photographer D. S. Mitchell on a trip to the Black Hills, South Dakota, embarking on a six-week journey to mining areas near Custer. That summer, he made a four-part panoramic photograph of Boulder, Colorado, from Sunset Hill. 

Dump Mountain
B. E. Hawkins, photographer. Dump Mt., D. R. G. R. R. [Huerfano County, CO], albumen silver stereoview. W. G. Eloe Collection.

In January 1877, Hawkins and William Jandus worked together, traveling to Pueblo, Colorado, to make views.  Hawkins stayed in Pueblo, using John A. Chase’s gallery, over Wilson and Shepard’s dry goods store.  He recommended that parents bring their children between 10 a.m. and 2 p.m. to capture their likenesses when the natural light is at its best.

By 1877, Hawkins returned to Denver, setting up a studio at 377 Larimer Street, where he continued photographing the beauty of Colorado’s mountains and railroads. His stereoviews sold for 25 cents each or $2.25 for a dozen, while 11 x 14 views cost $1.00 each or $9.00 per dozen. His large views won a medal at the 1879 Colorado State Fair. According to newspaper accounts, Hawkins was a prolific photographer, but few of his images remain.

B. E. Hawkins died on February 1, 1882, of alcohol poisoning.

B. E. Hawkins, photographer. Rosita, Colorado,  albumen silver print.  W. E. Eloe Collection.

Hawkins’ former wife, Mrs. Ellen Spaulding Hawkins, earned a degree from Cleveland Medical College. She practiced medicine in Oberlin, Ohio, for over thirty years.

Thank you to W. E. Eloe for sharing his collection with me.  

A Trip to a Denver Photo Studio

Wedding photo
Central Photo Parlors. Unidentified couple in wedding attire, circa 1892. Collection of the author.

In 1892 or 1893, an unidentified couple arrived at the Central Photo Parlors at the corner of 15th and Lawrence Streets in Denver.  They posed for a full-length portrait, likely dressed in wedding attire, in front of a painted backdrop.

In the 19th century, marriage ceremonies were typically held at the home of the bride’s parents. Unlike modern times, it was not common for brides to wear white dresses. Instead, this bride wore a fashionable light-colored dress with a pleated bodice. The skirt was smooth at the hips and featured a wide hem adorned with trim. The narrow sleeves were a popular style in the early 1890s, lacking fullness in the upper arm.  Adding to the overall elegance of her attire, a trailing garland of flower blossoms cascaded down her neck and bodice.  To complete the look, the bride’s gloves were carefully coordinated with her gown.

The groom wears a dark three-piece suit, a stiff white shirt and a knotted tie with a boutonniere and dark gloves.

head and shoulders
Central Photo Parlors. Unidentified couple. Collection of the author.

They removed their floral accessories and posed for a less formal head-and-shoulders portrait.  The close-up, a vignette style, does not show the painted backdrop.

Who operated Central Photo Parlors in Denver? The 1892 and 1893 Denver City Directories place Townsend & Hathaway at the 15th and Lawrence Streets address.  The partnership consisted of Israel Lewis Townsend (1839-1921) and Frank Hampton Hathaway (1859-1937).  The studio is mentioned in the Rocky Mountain News only a few times in 1893. 

Israel L. Townsend was born on July 19, 1839, to Ohio natives, James and Susanna Brown Rodgers Townsend, in Frederickstown, Ohio.  His parents were abolitionists, and their Ohio home served as a stop on the Underground Railroad.  

I. L. Townsend began his photographic career in 1860.  Israel married Mary Jay Yount on October 16, 1861, in Indiana.  They had two children, James and Clara.   In 1861, his studio was located in Iowa City, Iowa.  By 1880, he had moved to Iowa Falls, Iowa, where he produced a series of stereoviews entitled “Iowa Falls and Vicinity.”  In the early 1890s, he had relocated to Hastings, Nebraska, but he sold his interest in that studio to his son James.

In 1892, he and Frank Hathaway operated the short-lived studio, Townsend & Hathaway, in Denver, Colorado. Townsend remained in Denver until 1902, usually working as a photographer.  

In 1904, Townsend relocated to Pasadena, California, and continued to work as a photographer until at least 1907.  He died on December 29, 1921, in Los Angeles, CA, and is buried at Mountain View Cemetery and Mausoleum in Altadena, CA.  

Frank H. Hathaway was born on April 3, 1859, in Wyoming, Nebraska, to Moses Hampton Hathaway and Minerva Jane Ross Hathaway.  Frank grew up in Nebraska and taught at the Pleasant Ridge School in Cass County.  By 1885, he was working as a photographer at various locations in his home state, starting first with a photo car in Fairmont, Nebraska, before setting up a permanent location in Ulysses, Nebraska, where he installed a large skylight and painted and papered the walls.  

Hathaway was employed in 1890 by photographer Warren Givens of Seward, Nebraska, because of his proficiency as a retoucher and finisher.  They collaborated for a few years before Hathaway relocated to Denver, Colorado, in 1892, where he worked with Israel L. Townsend. After a couple of years with Townsend, Hathaway worked independently in Denver through the late 1890s before returning to Seward, Nebraska.  

In 1899, Hathaway, now known for his flash-light photos was back in Seward living and working with Givens.  In 1909, Hathaway returned to the Denver area, running a photo studio in Brighton. After a few years, he was employed in the insurance industry.  By 1930, he was living in Merced, Colorado, and operating a boarding house.  Hathaway passed away on June 4, 1937, in Turlock, California.  He was buried at Turlock Memorial Park.  

 

 

The beginning and the end of a short-lived Denver photographic studio in 1886

Today we have a guest post from Anders Hedman,  an archivist and records manager at the Stockholm City and Municipal Archive in Sweden.

Steele studio
Steele & Co., photographers. Portrait of John Wallin (b. 1858 in Sweden). Albumen cabinet card, 1886.

If you search for old Denver pictures you might come across cabinet photos with the credit line ”Steele & Co. 448 Larimer St. Denver, Colo.” Different web sites date these pictures to a variety of times. However, the author of this paper has come to the conclusion that the time of the studio’s operation was only less than one year – 1886. In this short essay, information from various sources put together tells the story of the rise and fall of a young photographer back in the 1880s.

The street number 448 Larimer Street is long gone, and so is the house which once housed the studio which is the focus of this paper. The district in which it was situated is still there though. The area around Larimer Square and Larimer Street today is classified as a historical area, and the street itself has gone from fancy boulevard to skid row – and then to the lively part of the town it is today. The Larimer area of today is known for its nice restaurants and for a pulsating nightlife.

Back in the 1880s the district was Denver’s main entertainment and shopping area. Thus, from a business perspective, if you got good and affordable localities there, it would be the perfect place for a photographic studio. That’s probably what the founder of Steele & Company had thought when he planned on opening up the studio there.

The first sign of Steele & Company’s activity was an advertisement in The Rocky Mountain News on January 20, 1886.   There you could read the following: ”PORTRAITS – The cheapest ever offered. In India ink, water colors and crayon work a specialty; satisfaction guaranteed in all work; also tin-types and photos. Give us a call; 448 Larimer street”. The first ad is anonymous but it didn’t take long until the same ad started to appear with the signature Steele & Co.

In fact, photographic business was not new to the location. The same address housed Watson’s [photographic] Gallery in 1885.  And before that Eastman’s [photographic] gallery from 1879 which took over from the Duhem brothers, who’d opened their photographic atelier as early as 1869.

But who was the photographer behind the brand Steele & Co? A look in the Denver city directory from 1886 gives it away. There we find ”Steele, William C., photographer” living with one H. W. Watson at ”r. 448 Larimer”. Watson was more than likely one of the owners of Watson & Conway Parlor at the same address, which if an ad in The Silver Standard were to be believed was ”the cosiest little parlor in the city.”

BEGINNING AND THE END

It appears that Steele’s investment had turned out good, because after a short time he was looking for an assistant. An ad was placed in The Rocky Mountain News in May 1886 which read: ”Wanted – a photograph operator and retoucher at 448 Larimer Street.”

However, the smooth start was marred by tragedy only a couple of months later, when the studio was struck by what The Rocky Mountain News called ”A Morning Blaze”.  According to the article the fire department was called out when an alarm was turned in from The Alvord House, a hotel close to the gallery. The studio was already pretty much burned out when the firemen got at the flames and even though the flames soon were extinguished the losses were countless.

A man who was sleeping in the building barely managed to escape being burned to death. Steele survived but his loss was great, around $500. And he was not insured. 

The article goes on to tell us that other businesses in the building at the time were the following:
Mrs. Moore who ran a confectionery, and on the ground floor there was J.H. Mitchell’s saloon (having replaced Watson & Conway apparently). 

Steele’s business had literally gone up in smoke. His finances were certainly in ruins and his home was gone. But Steele was as we shall see not a man that would give up easily. In the 1887 city directory of Denver we find him living at 510th street and 17th Avenue, employed by photographic firm Wells & King. In the following directories we find him still listed as photographer living at the same address, but no mention of Wells & King. Around the turn of the century the author loses trace of William C. Steele, photographer.

This article was a by-product of my research trying to date the photograph shown above with the Steele & Co. name. After having gathered some information I thought it might be a good idea to put what I found together for others to know that all photographs with the line ”Steele & Co. 448 Larimer St. Denver, Colo.” most certainly derive from the first half of 1886, and only that short period of time.  And while I was at it, I thought it might be nice share some other information I found about the localities as well, as it might give the story some more life. 

Thanks to Bethany Williams, Collections Access Coordinator at History Colorado for putting me in the right direction.

Online resources used:
Colorado Historic Newspapers Collection coloradohistoricnewspapers.org/
Ancestry.com for old city directories
Library of Congress, loc.com, for scans of Sanborn Fire Insurance Map from Denver, Colorado 1887
Google Street View for a glimpse of what the district today, https://www.google.com/streetview/

 

Fred L. Knight Photographs Life on the Plains

Frederick Lincoln Knight was born around 1861 in Albany, New York to Horace Barton Knight and Mary Hillman Knight.  In the 1880s, he worked as a printer in St. Louis, Missouri.  He married Calista A. Shore in Lucas, Iowa on July 1, 1882.  

In the 1890s, Knight continued his career as a printer in Denver, where he was employed by the Smith-Brooks Printing Company.  In 1894, he acquired land on Colorado’s Eastern plains and began taking landscape views.  The following year he set up his photo tent in Akron, Colorado, south of the Republican newspaper office.  His photo business kept him busy until his crops were ready to harvest. 

Sod home
Fred L. Knight, photographer. [Sod home at an unidentified location], 1890s, silver printing out print. History Colorado, 92.175.1.
In the spring of 1898, Knight acquired a photograph car and planned a summer tour of the outlying countryside.  Later that year, he purchased a camera for taking small stamp photographs, which could make 28 portraits on one sheet of film.  In the spring of 1901, Knight closed his gallery for the season and traveled to nearby towns, entertaining people with the largest Edison phonograph in Eastern Colorado.  Later he incorporated moving pictures into the programs.  He continued his entertainment tour for several years.  Knight worked as a photographer in Akron through 1909.  

By 1920, Knight lived in Lakeport, California, where he worked as a newspaper printer.  He died in 1942.  

Thank you to Jori Johnson, Aaron Marcus, and Joy Saliu at History Colorado and Beverly Brannan for proofreading this post.

Happy Thanksgiving!

Thanksgiving display
Russell Bros., photographers. Thanksgiving display at Birks Cornforth Grocery Store, 17th and Lawrence St., circa 1886, History Colorado, 2000.129.1043.

British immigrant Birks Cornforth (1836-1906) was one of Denver’s early settlers.  In 1863, he established a wholesale and retail grocery store that operated for decades in the city.

The Russell Brothers made this photograph around 1886.  Warren H. Russell (b. c. 1854- 1894) and Frederick C. Russell (1859-1924) were born to Chandler Miller Russell and Clara Howard Russell in New Jersey or New York.  In 1870 the family moved to the Union Colony of Colorado (now Greeley), joining the experimental utopian farming community.

In 1882, Frederick, Warren, and Alonzo Russell worked as electroplaters and assayers in Denver. In the mid-1880s, Warren Russell earned a living as a photographer in Denver, partnering with his brother, Frederick, in 1886 as the Russell Bros.  Warren spent the remainder of his career with Frank Reistle, at one of the first photoengraving businesses in Denver.  On March 10, 1894, Warren died on the job when a fire broke out in Reistle’s establishment.

In the 1890s, F. C. Russell practiced carpentry, first in Denver and later in Greeley, a career he would follow for the remainder of his life.  Frederick Russell died on September 30, 1924, and is buried in Greeley’s Linn Grove Cemetery.  

Thank you to Jori Johnson and Aaron Marcus, History Colorado.  

 

Smallwood & Ball: Colorado Stereo Photographers

Smallwood & Ball were listed as photographers in the 1876 Denver City Directory. Although no views were published under their combined names, the same stereoviews were often published under both Smallwood’s and Ball’s names.

William John Smallwood was born in St. Joseph, Missouri to William Jackson Smallwood and Mary “Polly” Fox Smallwood.  In 1850, his father traveled to the Lake Tahoe area of California in search of gold.  He appeared in California’s 1852 census and supposedly died shortly thereafter.

William Smallwood grew up in Knox County, Missouri.  In the 1870 census, he is listed as a photographic artist.  By 1873, Smallwood had moved to Denver, Colorado, where he worked as a dyer.  In 1876, he formed a partnership with photographer George Ball. He made photographs south and west of Denver.   

Garden of the Gods
William Smallwood, photographer. Balanced Rock, Garden of the Gods, Colorado Springs, Colorado, circa 1876. Albumen silver stereograph. History Colorado, accession number 84.192.690

A few years later, Smallwood returned to Knox County, Missouri.  He married Anna Amanda Roberts on June 4, 1882.  They spent their married life on a farm, raising six children to adulthood.  William Smallwood died on January 7, 1912, and is buried in Knox County’s Baker Cemetery.

George E. Ball was born in Ross, Herefordshire, England, around 1848.  He worked as a photographer in England before immigrating to the United States in November 1874, where he settled in the Denver area.  He was the junior partner in the photographic firm of Smallwood & Ball.  In 1876, he opened his own gallery in Golden, Colorado, specializing in stereoviews.  He exhibited his views at Boulder’s Mineral and Agricultural Fair of 1877.

Green Lake stereo
George Ball, photographer. Green Lake, Georgetown, Colorado, circa 1876.  Albumen silver stereoview.  History Colorado, accession number 84.192.8.

By 1878, he was a popular resident of Golden, operating a lunch stand at the railroad depot.  He organized a shooting club in the city and served as its president.  Ball spent four months on a survey party for the southern portion of the Denver & Rio Grande railroad.  

On January 18, 1881, the desirable bachelor married Miss J. M. A. Pearlburg in Golden.  In July 1882, he sold his lunch counter and moved to a ranch in Middle Park, Colorado with his wife.  The couple often wintered in Golden.  
However, in the summer of 1886, George Ball’s life took an unexpected turn. Word from England revealed that while George had been living as a single man in the United States, he had a wife and three children in England.  After George stopped writing home, his British wife assumed he had died in the United States. She took action to find him.  In early 1886, an affidavit taken before a United States consul in Leeds, England, made by Elizabeth Ball, provided the details of their marriage.

The press reported that he could be arrested for bigamy or have a divorce brought against him by one or both of his wives.  But, about two years later, George Ball surfaced in Alameda, California, as a photographer.  He made portraits and a rare series of stereoviews with the mount “The New Series of Pacific Coast Views.”

In the fall of 1897, he left the Bay Area and headed to Sawyer’s Bay in Siskiyou County, California, where he had a placer claim.  Further details about his life have not been uncovered.

Thank you to:  W. G. Eloe;  Krista N. Hanley;  Jori Johnson and Aaron Marcus, History Colorado; and Beverly W. Brannan.