Jen Library Archives and Special Collections 201 East Broughton Street Savannah GA

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1 Jen Library Archives and Special Collections 201 East Broughton Street Savannah GA Collection Name: Savannah Stereoview Collection Collection Number: MS 018 Dates: 1880 s through 1900 s Size: 2 boxes,.50 cubic feet Provenance: Collected by staff from various sources Restrictions: none Copyright: Retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. Preferred Citation: [Identification of item], in the Savannah Stereoview Collection, MS 018, Jen Library Archives and Special Collections, Savannah College of Art and Design. Date of Gift: Most stereoviews have been purchases, either singly or in small batches, most from EBay. A Stereo viewer was donated by Bill Raines October, Housed in: Stereoview box Abstract and Collection Overview: The collection consists of stereoviews of Savannah buildings, scenes, residences, monuments, cemeteries, and events. These images were by various photographers and date from the 1880 s to the 1930 s, though most are undated. Several are the work of local photographers. The cards themselves consist of two almost identical photographic prints affixed onto cards formatted to fit in a stereo viewer. Also included is a stereo viewer with no label or manufacturers mark, made of wood and metal with glass lenses. It is adjustable and is stamped in the wood: Pat d Apr Two of the items in the collection are not technically Stereoview images, but are related by time period or photographer. Institutional History: Stereography is the art and science of depicting three-dimensional images in the mind of the viewer using two-dimensional images. Though we think of it today as a photographic process, the idea for the stereoscopic image was thought of long before photography was invented. Giovanni Battista della Porta ( ) made binocular drawings. About the same time, Jacopo Chimenti da Empoli s ( ) side by side drawings demonstrated his 1

2 understanding of binocular vision. Jesuit Francois d'aguillion ( ) coined the word stéréoscopique in Early photographers applied the process of stereography to the daguerreotype and later to photographic procedures. At first it involved either the lens, plate, or even the camera being moved a measured distance to take two images in rapid succession. In 1854, Achille Quinet patented the first binocular twin-lens camera, the Quinetoscope. J. B. Dancer, a Manchester inventor introduced an improved version of his own binocular design, usable with either wet or dry plates in A commercial success, the twin-lens principle went on to dominate stereo camera development. In order to view the images, equipment had to be constructed. Various demonstrations of the theory of binocular vision began to take place in the 1800 s. In June of 1838, Sir Charles Wheatstone gave an address to the Royal Scottish Society of Arts on the phenomena of binocular vision. He is credited with the invention of the first stereoscope. His device was a large freestanding or tabletop stereoscope. It was a bulky and expensive and was used primarily as a laboratory instrument by scientists. William Brewster improved Wheatstone's stereoscope, and his was in demand for laboratory and scientific use through the mid-1870s. A more user friendly device was needed to make stereography accessible to the public. Dr. Oliver Wendell Holmes is attributed with inventing what would become the standard hand stereoscope in the early 1860s. The Holmes stereoscope was hand-held with a viewing lens at one end and a sliding cardholder at the other. The user placed a stereograph in the cardholder and looked through the lens, adjusting the distance until the image came into focus and a three-dimensional object was seen. Holmes did not patent his stereoscope, so shortly after its introduction, similar devices were mass produced. This sparked an international stereography craze. The form of commercially successful stereography that ensued was referred to as Orthostereography. It created two photographic images that depicted the same scene from slightly different locations. The images were affixed side by side to a rectangular card that and when viewed through a special viewer, the image appears to be three dimensional. These went by many names, among them stereoviews. It was popular from the 1870 s through the 1930 s. Biographical Information: Photographers: Becoming a photographer in the mid nineteenth century was not much different than today. One could attend classes, apprentice with a professional photographer, or be self taught with books and by trial and error. Most photographers experimented with several aspects of photography and advertised many photographic services such as daguerreotypes, ambrotypes, ferrotypes, cabinet photos, carte de visites, and stereoviews. Diversification was the key to success. From the beginning, stereography was a publishing business, with the product of photographic images. Negatives were an important commodity to be bought, sold, reproduced, and even pirated. Often photographers bought negatives, but sold the images as their own. After the 2

3 photos were taken and the negatives were selected, the cards themselves were fabricated. The steps involved in their production included making positive prints from the negative, trimming prints with scissors or a die, pasting the print on the card, drying under gentle pressure, and applying labels. The process took several days to complete, with drying times. Often this part of the job went to a photofinisher or photoprinter. This part of the processing was often anonymous. Until about 1900, most stereoviews were marketed by the photographer and sold in the studio or at various outlets. Some also sold their work by mail order. A number of large companies sprung up around the turn of the century and distributed their products world wide. Because many companies may had the same or similar images, it is often difficult to discern who the original photographer was for many of the images. Many publishers entire production was of copy negatives of old stereoviews. There is a certain type of chronological sequence to the production of the cards, and it may be possible to apply an approximate date based on some of the physical characteristics such as luster of photograph, color of paper mount, size of card, shape of corners, etc. Occasionally, a card is a printed image, not a photograph. The photographers and companies creating the images in this collection include B. W. Kilburn, Littleton N. H., Barker's Foreign Views, Nashville, TN and other places, D. J. Ryan, photographer, corner of Congress and Whitaker, E. & H. T. Anthony & Co. Emporium of American and Foreign Stereoscopic Views, New York, Geo. Barker, Niagara Falls, N.Y., J. N. Wilson, nos. 143 Broughton and 21 Bull St., Savannah Ga., Keystone View Co. Meadville, Pa., St. Louis Mo. San Francisco, Cal., Toronto Can., New York, NY, London England, O. Pierre Havens (successor to Wilson & Havens), and The Southern Series, Savannah Georgia. Of these, three located their studios in Savannah: Jerome N. Wilson was born in New York on January 27, Seeing opportunities to expand his profession and rebuild an economy, he came to Savannah sometime after April 29, 1865 at age thirty eight. He was a professional photographer. Shortly after his arrival, he met and married Bridget Vaughan, an Irish immigrant, on June 10, The couple produced nine children. He advertised as a photographer of cabinet cards, carte de visits, stereographs, ferrotypes, frames, and other photographic services. His success was mixed and he was involved in a number of lawsuits, large and small, some as trivial as an overhanging sign. Much of his property was lost due to these suits. He partnered with several photographers over the years. Wilson died in O. Pierre Havens was born in Ossining, New York. He moved to Savannah, Georgia, in 1872, opening a photography studio in partnership with J. N. Wilson. He later took over the business from J. N. Wilson. In 1888, he relocated to Jacksonville, Florida, where he maintained a studio and was involved with a number of charitable organizations until his death in about Like many commercial photographers in America during the late nineteenth century, Havens was as occupied with publishing and marketing his photographs as he was in making them. 3

4 D. J. Ryan (Daniel) not only was a photographer, but a dealer in photographic equipment and chemicals. He arrived in Savannah in He advertised in the 1868 Historical Record of the City of Savannah by F. D. Lee and J. L. Agnew, published in Savannah, Georgia. It is known that his studio was at the corner of Whitaker and Congress Streets, probably on the site of Paula Deen s restaurant, from the information on the backs of his stereoviews. He was the photographer who took the images of General Lee in Savannah on his farewell tour. Lee posed with his old comrade-in-arms, Joseph Johnston, for a series of photographs sold to aid the Ladies Memorial Association of Savannah. Ryan left Savannah in 1886 for Illinois. In 1893, he moved to Denver, Colorado, where he died in Subject Headings: Albumen prints th century. Stereoscopic views. Photography -- 19th century. Photography, Stereoscopic--History--19th century. Photographers--Georgia--Biography Stereograph industry--united States Havens, O. Pierre (Photographer) Ryan, D. J. (Photographer) Wilson, J. N. (Photographer) Series: The collection has been divided into several topical series: I. Aerial Views II. Buildings III. Cemeteries and Parks IV. Churches V. Forsyth Park VI. Hotels VII. Miscellaneous VIII. Residences IX. River Front X. Schools XI. Squares XII. Street Scenes XIII. Viewer Inventory: The descriptions contain the title of the Stereoview card, the location, size in inches and the photographer or manufacturer. Box 1: I. Aerial Views 1. A View of South Carolina Rice Fields from Savannah GA, From Whitaker Street looking towards the river, 3 1/2 x 7", Keystone View Company 4

5 2. Bird's Eye view, Bay St. looking up, 3 7/8" x 7", Pierre Havens, successor to Wilson & Havens 3. Bird's Eye view, looking at square, church, 4"x 7", J. N. Wilson, 21 Bull St., Savannah Ga. 4. Bull Street Pulaski House to Left. Savannah Ga., Aerial View looking towards Johnson Square, 3 3/4" x 7", Havens, (successor to Wilson & Havens) 5. Panoramic View Bull St., Aerial View looking down Bull Street looking towards Nathanael Greene's Memorial, 3 3/4" x 7", O. Pierre Havens (successor to Wilson & Havens) 6. Panoramic View Looking East, Looking towards the river from a high vantage point, 3 7/8" x 6 3/4", O. Pierre Havens (successor to Wilson & Havens) 7. Savannah, Aerial View, Wright Square, 4" x 7", O. Pierre Havens (Successor to Wilson and Havens) 8. Savannah from Government Building looking south, Aerial view, 3 1/2" x 7", Keystone View Co. Meadville, Pa., St. Louis Mo. San Francisco, Cal., Toronto Can., New York, NY, London England II. Buildings 1. C. Hansen Groceries, Lincoln St. South of Bay, 3 7/8" x 7", no photographer listed 2. City Market, Market building with horse and carriages, 4" x 7", J. N. Wilson, 21 Bull St., Savannah Ga. 3. Customs House, Bay Street, 3 1/4" x 6 3/4", no photographer listed 4. Scriven House, S.E. cor. Broughton and Whitaker Sts., 3 1/2" x 6 3/4", J. N. Wilson III. Cemeteries and Parks 1. Bonaventure Cemetery, 3 1/4" x 6 7/8", J. N. Wilson, Photographer, Cor. Broughton & Whitaker Sts. 2. Bonaventure Cemetery, 3 7/8" x 7", J. N. Wilson, Photographer 21 Bull Street, (opposite the Screven House.) 3. Moss Avenue, Bonaventure Cemetery, 3 1/2" x 7", Geo. Barker. Niagara Falls, N.Y. IV. Churches 1. Christ Church, 3 1/4" x 7", no photographer listed V. Forsyth Park 1. Avenue to Fountains, 4" x 7", O. Pierre Havens (Successor to Wilson and Havens) 2. Confederate Monument,4" x 7", Havens, (successor to Wilson & Havens) 3. Entrance to Park, [Forsyth Park], 3 1/2" x 6 7/8", J. N. Wilson, nos. 143 Broughton and 21 Bull Sts., Savannah Ga. 4. Mercury in Park, Forsyth Park, 4 1/2" x 7", D. J. Ryan 5. Music Stand, Forsyth Park, 3 1/2" x 7", The Southern Series, Savannah Georgia 6. Park Fountain Playing, Forsyth Park, 3 3/4" x 7", O. Pierre Havens, Successor to Wilson & Havens 5

6 7. (Not a Stereoview) Glass lantern slide, on one side is T. W. McAllister, Manuf g Optician, 49 Nassau Street, New York. On other side is paper label with No. 659, Savannah GA. Forsythe Park. The image is of 2 sphinxes in a park like setting. VI. Hotels 1. DeSoto Hotel, Main Parlor, Savannah Ga. U.S.A., Liberty and Bull Streets, 3 1/2" x 7", Keystone View Co. Meadville, Chicago, & Kansas City 2. Marshall House, 3 3/8" x 6 7/8", J. N. Wilson, nos. 143 Broughton and 21 Bull Sts., Savannah Ga. VII. Miscellaneous 1. Sago Palms, 3 3/4" x 7", O. Pierre Havens, Successor to Wilson & Havens VIII. Residences 1. Dr. Habersham s Residence 2. Orleans Square, designed by William Jay and torn down in 1914, the Civic Center was built on the site of this house,3 1/4" x 6 3/4", no photographer listed IX. River Front 1. Along the Wharf of Savannah River, Savannah Ga., 3 1/2" x 7", Keystone View Company, Meadville, Pa., New York, N.Y., Portland Oregon, London, Eng., Sydney, Aus. 2. Bay St. and Savannah River -- East from the Exchange, Aerial view, Factor's walk, 3 3/8" x 6 7/8", E. & H. T. Anthony & Co. Emporium of American and Foreign Stereoscopic Views, New York 3. From Exchange, Savannah River, looking up A., Aerial view, 3 1/2" x 6 7/8", The Southern Series, Savannah Georgia 4. Greatest Rosin market in the World, Savannah River, 3 1/2" x 7", no photographer listed 5. Savannah River, 4" x 7", D. J. Ryan, Southern Stereoscopic Views X. Schools I. Freedman s School, 3 1/4" x 6 3/4", D. J. Ryan, photographer, corner of Congress and Whitaker XI. Squares 1. McDonough Street, From square looking down street, 4" x 7", O. Pierre Havens (Successor to Wilson and Havens) 2. Bull Street from Madison Square, 3 1/2" x 7", Wilson & Havens 3. McDonough St., Fountain in foreground, church in background, 3 7/8" x 7", O. Pierre Havens (Successor to Wilson and Havens) 4. Pulaski Monument, Monterrey Square, 3 7/8" x 7", J. N. Wilson, Photographer 5. Sleet Storm Sav. GA., Bull Street near Bryan, 3 1/2" x 7", Barker's American Views 6

7 XII. Street Scenes 1. Bull Street, Bull Street near Bryan, 4 1/4" x 7", B. W. Kilburn, Littleton N. H. 2. Liberty Street, 3 1/2" x 6 7/8", The Southern Series, Savannah Georgia 3. South Broad Street, the median of Oglethorpe Ave. 4" x 7", O. Pierre Havens (Successor to Wilson and Havens) 4. (May be ½ of a Stereoview) Photograph of Bull Street, by J. N. Wilson, Savannah, GA, no date, 2¼ x 3¾. Wilson was known for his Stereoviews of the city. Box 2: XIII. Adjustable Stereo viewer made of wood and metal with glass lenses. No manufacturer named and no label but does have a patent date of Sources Cited: Darrah, William C. The World of Stereographs Nashville: Land Yacht Press, 1997 Hunting and Gathering: 19th & early to mid-20th century Georgia photographers & their associates Processed: dhr, 2008; additional materials added