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.

 

James M. Goins, The First Black Photographer in Denver

James M. Goins was born circa 1850 in Ohio.  At the time of the 1860 federal census, Goins, listed as an artist with the last name of Goings, was living with the well-known Black photographer, James Presley Ball, in Cincinnati.  His reported age on the census was seventeen, but he was probably younger.  

In 1869 he opened a photography gallery in Chicago, Illinois, with J. G. Johnson.  Goins remained in Chicago for nearly a decade, offering cartes de visite and opal miniatures.  He also made enlargements from old and faded photographs and photographs colored on oil, India Ink, or watercolor.

In 1879, he moved to St. Paul, Minnesota, but he left that city owing money to creditors. In 1881, Goins continued the photographic trade in Denver,  remaining in town for only one year.  

Goins portrait
Goines, photographer. Portrait of an Unidentified Black man, 1888-1889. Photo courtesy of Museum of Modern Art.

By 1887, he had relocated his business to Cincinnati, Ohio, where he stayed for a few years. His studio was described as “One of the most elegant and expensively furnished photograph galleries in the city.”  Business seemed to be booming, but after a drinking binge, Goins walked out of the studio and never returned.  

For about a decade, Goins’ whereabouts are unknown. The 1900 Chicago city directory lists him as a photographer again.   In the 1920 federal census, Goins is recorded as a patient in Chicago’s Oak Forest Institution, a home for poor and elderly residents.  The Cook County, Illinois,  Death Index, shows that a 72-year-old James “Gains” living at 185 Wabash Avenue (the same address as his photo studio in 1900) died on July 26, 1921.  

If anyone has seen Goins’ work from Denver, please let me know.

Theresa Leininger-Miller kindly shared her research on James Goins, including information about his work with James Presley Ball and Goins’ death date.  Her published research on Goins includes: “The Serpent King of Robinson’s Circus in Cincinnati,” Bandwagon: The Journal of the Circus Historical Society 63, no. 3 (October, 2025): 20-33.

Denver Photographer J. C. Swan

To celebrate Black History Month, this post is illustrated with a portrait of an unidentified Black woman made in a Denver studio by White photographer, J. C. Swan.  Only a few Black photographers worked in Colorado, and information about them is very limited.  An earlier post discussed one of them,  John Green.  As a follow-up to that post, Green’s best-known photograph, a portrait of Black cowboy, Isam Dart, is held by the Museum of Northwest Colorado in Craig.

Justus Crandall “J. C.” Swan was born in 1849 to Samuel Prentice Swan and Calista Elnora Crandall Swan in Lincklaen, New York. Justus was the oldest of four children. Samuel Swan worked as a wagon maker. According to the 1870 federal census, the family lived on a farm in Frederick County, Virginia.   In 1871,  Justus settled in Missouri. On January 20, 1875, he married Elizabeth “Lizzie” Ann Goodman-Bateman in Nevada, Missouri.

The earliest mention of Swan’s photographic career appears in an advertisement in the January 13, 1876, Nevada Ledger (Nevada, MO) for his studio over Roberts & Tyler’s hardware store. In 1877, the Swans moved to Delavan, Illinois, where J. C. Swan was the senior partner in the firm of Swan & Maltby. Mrs. Swan worked as a milliner. The couple’s first child, Justine, was born in Delavan.

The Swan family is not listed in the 1880 federal census and J. C. Swan is not mentioned in the press until they moved back to Missouri in the spring of 1886. At that time, his stereoviews of Zodiac Springs (Vernon County, MO), made under the firm name Swan & Taylor were praised by the press. A month later the firm purchased the interests of  J. H. Harter’s Nevada, MO studio in the Norman Building at West Side Square. In Nevada, Swan photographed local events, including a Republican rally held in September 1888 and the local artesian well. Swan remained in Nevada through 1892.

He traveled to Texas, spending several months looking for job opportunities. The family moved to the Austin area in December 1892. By 1896 he operated a photocopying service in Shepherd, Texas.

J. C. Swan photo
Justus C. Swan, photographer. Full-length portrait of an unidentified woman, circa 1897. Silver and photographic gelatin on cabinet card mount. Collection of the Smithsonian National Museum of African American History and Culture, Gift of JoAnn Oxley Foster.

In 1897, the Swans changed their residence once again, now traveling north to Denver, Colorado where he promoted himself as a portrait and landscape photographer. He stayed in the city for eight years, working mainly as a photographer, but Denver city directories list him as a carpenter in 1901 and 1903. In April 1905 the Swans settled in Nucla, a small, secluded town in Colorado’s southwest mountains. He continued his photographic work, while his wife ran a hotel. Justus C. Swan died on May 3, 1928, at 78 years old. He is buried at Nucla Cemetery.

Thank you to Beverly Brannan, former Curator of Photography, Library of Congress, for proofreading this post.