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Revealed: C.R. Tucker: Restless Wanderer with a Camera

Jun 2025 | Archive Highlights, Childhood Photography, Documentary Photography, New Additions, Unknown Photographers

“Portrait of Charles Rollins Tucker”, Chester Moulton Whitney, American: 1873-1949, Bromide print mounted within folder, ca. 1910, 18.9 x 13.9 | 29.6 x 22.7 cm | 31.1 x 47.4 cm-opened. This formal portrait of C.R. Tucker was taken during the time he was teaching physics at Curtis High School on Staten Island. In addition to sharing a love for amateur photography, Whitney and Tucker were good friends and their family socialized together. Several surviving photos show Whitney’s young son playing with Tucker’s daughter Dorothy at the Tucker home in New Dorp. Both natives of MA and public school teachers, the Alden Letter from 1949 mentioned Tucker had spent a week with “Mr. Whitney” at his summer home in Boothbay Harbor, ME in August of that year, the same year Whitney passed. From: PhotoSeed Archive

This is the first of a two-part blog post: Revealed: C.R. Tucker: Restless Wanderer with a Camera. It uncovers a life once lost to history: the fascinating story of public school educator and amateur photographer Charles Rollins Tucker, 1868-1956. Our post concludes with an in-depth historical timeline of Tucker’s life. For fifteen years, since acquiring an archive of his work, I’ve been wanting to do a deep-dive into the life of American amateur photographer C.R. Tucker. Perhaps the most important role of this website is to uncover the past lives of anonymous photographers, whose life details have been entirely lost to history. It’s not that he was some lost genius behind the camera, say in the mold of the acknowledged masters of the medium: those have already been, and continue to be, documented and celebrated in the historical canon. In this vein, and to its credit as a medium that continually fascinates by revealing secrets with a bit of digging, Tucker’s photographic life story- began around the time he graduated high school in 1887- can give all of us a relatable way to see how a hobby born 138 years ago can be a life-long journey of exploration rather than a short term dalliance.

New & Old. Top: “My Old Log House in WI”, ca. 1908, gelatin silver rppc post card, photo credit to C.R. Tucker’s mother Myra Tucker on verso, 8.3 x 13.4 cm. Amateur photographer C.R. Tucker lived in this Wisconsin log cabin for five years, from about 1873-1878 before going back to New England at 10 years of age to complete his schooling. Bottom: “Fairbanks House”, C.R. Tucker, American: 1868-1956, albumen print on card, ca. 1885-1890, 8.8 x 10.9 | 10.0 x 15.1 cm. Dating to 1641, this is the oldest surviving timber-frame house still standing in North America. From: PhotoSeed Archive

The fact that so much photographic history has been lost, an area I expound upon in the second part of this post, makes the rare opportunity to examine but one of these early lives in greater detail based on the remains of that photographic record- water staining, mildew and the effects of improper storage on some of these images seen here being besides the point- an anomaly I wanted to celebrate.

What drove my interest further in discovering and piecing together C.R. Tucker’s life story was that his own career of someone who made his living- not in photography- but as a public school educator for about 45 years- is a realistic example of what dedicated amateurs faced in the early years of the medium, particularly during the Pictorial era of artistic photography.

“Stoughton, MA High School Students”, 1887, silver albumen print- 11.0 x 19.4 | 20.4 x 25.4 cm on card mount.This group photograph, thought to have been taken by C.R. Tucker, (American: 1868-1956) includes several classes, as the 1887 graduating class was only 15 students. Based on a guess, this archive thinks Charles Tucker is shown in the front row, third from left. Another possibility? The student seated on a chair leaning against the tree to the left of the teacher standing at back row right. In September, 1887, Tucker would matriculate at Tufts College, in the “Philosophical course”. From: PhotoSeed Archive

This main hurdle of course, was cost. Beyond the simplified “you press the button, we do the rest” mantra, which of course revolutionized the massive participation in making photography a popular hobby, required a good bit of money. Think: home dark rooms, a more expensive plate camera, mounting supplies, postage fees for entering competitions, subscriptions to photographic magazines, etc. etc. And this of course did not include the most valuable component: the cost of someone’s free time to be deliberate and open to learning about photographic process and technique needing plenty of time to perfect and master.

“Moving Jumbo into Barnum Museum, 1889” (title assigned by Tufts University Archives- see variant: ID: tufts: UA136.002.DO.00823 ): Attributed photographer: Charles Rollins Tucker, American, 1868-1956, 1889: mounted brown-toned gelatin silver print on cabinet card: 8.3 x 11.0 cm | 10.8 x 13.2 cm. This rare photograph taken on April, 3 1889 shows the famed circus elephant Jumbo, (died 1885) once owned by circus showman P.T. Barnum. The taxidermied pachyderm was in the process of being moved inside the brand new Barnum Museum of Natural History on the Tufts College campus in Medford, MA, where it was placed on display. From: PhotoSeed Archive.

Fortunately, C.R. Tucker had the perfect mind and circumstance to take this all on, and his love for history made him an ideal vessel to create historical documents that are the very definition of photographs themselves. That mind? He was a scientist in practical terms but historian at heart. Born in Canton, MA in 1868, and one of only two to graduate from his small town Massachusetts high school in 1887, he went on to receive both his bachelors and masters degrees from Tufts College outside of Boston. These were entirely complimentary for an advanced amateur photographer for that era: in 1891, a bachelors in the speciality of chemistry and physics and in 1894, a master of arts degree.

Early School Days: UL: “West Boylston High School”, ca. 1895, mounted gelatin silver print, 7.9 x 10.7 cm. LL: “Quincy High School” 1896, cyanotype print on cabinet card: 9.4 x 11.9 cm | 12.7 x 15.3 cm. Far Right: “Pratt Institute Girl”, ca. 1898-1900, mounted gelatin silver print, 6.9 x 5.0 | 18.1 x 13.1 cm. All: C.R. Tucker, American: 1868-1956. Center: “Cabinet Card of C.R. Tucker”, Studio of J.F. Suddard, Fall River, MA, ca. 1890-1895, mounted albumen print, 13.8 x 9.8 | 16.6 x 10.7 cm. Some of early school assignments for Tucker were as principal at West Boylston High School, submaster at Quincy High School and as an assistant instructor in physics at Pratt Institute, where this mounted student portrait was an early effort at photographing students. All: PhotoSeed Archive

These degrees and his love of people-especially children- would serve him well in a fruitful career as a teacher in public education for the next 45 years.

Through many fits and starts since acquiring the “C.R. Tucker Trove” of photographs,  I’ve been able to piece together a truly fascinating life: a quintessentially American life at that- glued together by the love of his family and fueled by his own expansive, inquisitive mind.

Beginnings, Wanderings & Jumbo the Elephant

C.R. Tucker’s father George was a farmer and his mother Myra a homemaker. Although its assumed the Tucker family did not possess generational wealth based on the occupation of his father, pastures back then seemed greener in the American West, literally: especially for a farmer. With this in mind, when Charles was only four years old, he and his family traveled in a “prairie schooner”, better known as a covered wagon, in search of fortune to Missouri. That dream got detoured however, and the family pivoted north, to the state of Wisconsin. There, Charles found himself living in a log cabin for five years in the mid 1870s. Miraculously, a photograph of that log cabin survives to this day, and can be seen with this post. How many family’s in the 21st century can say their forebears grew up in a log cabin along with an actual picture to prove it?!

“Country Lane”, ca. 1905-1910: printed 1916, mounted bromide print, C.R. Tucker, American 1869-1956. 23.1 x 29.3 | 35.5 x 43.2 cm. Tucker enjoyed landscape photography, and this view of a dirt road with river or pond at left and buildings obscured in background may have been taken on Staten Island, N.Y., a locale where farms and open space were the norm versus the heavy populated landscape it is in the 21st Century. This mounted print is from a series of photographs bearing the artists signature and date 1916 at lower right corner that are believed to be from earlier negatives. The uniformity of the brown cardstock mounts indicates they were intended as exhibition prints. From: PhotoSeed Archive

 

Personal history obviously made quite an impression on Charles. In keeping with the idea of “home”, an early cabinet card believed taken by him in the late 1880’s, when he was still in high school or early in college, shows the oldest known American home- then or now- in existence: the Fairbanks House in Dedham, MA. Even then, as an impressionable newcomer to photography, he must have known of its significance, one worthy of his early efforts behind the camera. In contrast to his old childhood log cabin, the Fairbanks house, dating to 1641, is the oldest surviving timber-frame house in North America.

The Old Mill”, ca. 1906, mounted platinum print, C.R. Tucker, American 1869-1956. 16.4 x 9.7 | 18.6 x 11.4 | 29.3 x 22.9 cm. This is a variant, with orientation reversed, of a bucolic waterscape study titled “The Mill” by the artist & published in the June, 1906 issue of the Photo-Era. At the time, Tucker was a member of The Postal Photographic Club of the United States. The location of the photo is the Old Mill on Crescent Street in West Bridgewater, MA. A later photograph of this mill, now believed lost and taken around 1915 can be seen here. From: PhotoSeed Archive

In the Spring of his sophomore year at Tufts, April, 3, 1889, an opportunity featuring a different kind of home crossed paths with Tucker’s amateur photography skills. This took the form of the the newly built Barnum Museum of Natural History on campus. For the future secretary of the brand new Tufts Camera Club, Charles Tucker got to record history in photographing a unique specimen of the circus impresario Barnum: his former colossus, the now stuffed Jumbo the Elephant.  Mounted on a platform before being moved and placed on exhibit inside the new museum, Several of Tucker’s photographs, including the one with this post, were quickly turned into crude woodcuts: used to illustrate an article written by Tufts graduate and Boston Daily Globe reporter Julien C. Edgerly for the April 4, 1889 edition. In March, 2015, I used this original brown-toned, gelatin silver print of Jumbo mounted as a cabinet card to illustrate a news story on how Ringling Bros. and Barnum & Bailey Circus was going to retire their performing pachyderms. Alas, other than a small photo not held by this archive of the artist’s dorm room, no other currently identified photographs taken by the college student-in the capacity of his camera club membership or otherwise- are known to survive.

Top: First home owned by Tucker Family: “90 Third St. New Dorp, Staten Island”, ca. 1910, probably C.R. Tucker, American, 1868-1956, unmailed, divided back CYKO gelatin silver rppc, 8.6 x 13.7 cm, from: PhotoSeed Archive. LL: “The Window”, 1906, mounted platinum print, C.R. Tucker, American, 1868-1956, 9.9 x 6.6 | 31.4 x 16.5 cm. From: PhotoSeed Archive. LR: “Dorothy Tucker seated on Veranda”, 1906, halftone published as illustration: “Some Modern Concrete Country Houses” in August, 1906 American Homes and Gardens magazine. The artist’s wife, Mary Carruthers Tucker, peers out the first floor dining room window the same year the family moved in, the concrete home’s second owners. Built ca. 1904-05, the revolutionary structure, now demolished, was designed by important American architect Robert Waterman Gardner, who pioneered reinforced concrete in residential construction.

The artist’s work adorns the walls: “Living Room: 90 Third St. New Dorp, Staten Island”, ca. 1906-10, unmounted gelatin silver print, shown slightly cropped, C.R. Tucker, American, 1868-1956, 20.0 x 20.0 cm. This interior study shows the decorated Tucker family living room of their revolutionary concrete home. Photographs by the artist are on far wall, including original prints now held by this archive. Far left: “Cathedral Ledge and Echo Lake, North Conway, NH”; center, perched on fireplace mantle: framed photo of artist’s daughter Dorothy; either side of this on wall: framed profile portraits of Curtis High School students; far right, perched on mantle: “At Point O’ Woods Long Island”, from 1899. From: PhotoSeed Archive

But what of another future home, this time for the family residence of an older C.R. Tucker? A futuristic one of course, the perfect manifestation for someone who then made his living as a high school physics teacher. A revolutionary structure built ca. 1904-05, this abode was built entirely of concrete, owned by Tucker and his wife Mary as its second owners when purchased with the aid of a mortgage in 1906.

Designed by the important American architect Robert Waterman Gardner, who pioneered using reinforced concrete in residential construction, the home brought me down more than one rabbit hole in my research. Recently, with the evidence of several interior photographs of the home I purchased included with the Tucker “trove”, a wonderful discovery was made. This was an August, 1906 article (begins: p. 88) showcasing the residence in American Homes and Gardens magazine. Delightfully, who would show up in several of the uncredited halftone photographs published with this article? Tucker’s daughter Dorothy, a little over six years old, sitting by herself, unidentified, perched on the edge of the ground level veranda.

“Cathedral Ledge and Echo Lake, North Conway, NH”, ca. 1900-05, tipped platinum print to card mount, C.R. Tucker, American, 1868-1956, 15.2 x 19.1 | 25.3 x 30.4 cm. A large rowboat with protruding oar frames this serene lakeside study. This archive is fairly confident the view shows the rock outcropping of Cathedral Ledge overlooking Echo Lake in New Hampshire. A framed example, perhaps this print, hung on the dining room wall of the artist’s concrete Staten Island home- seen in previous photo above. From: PhotoSeed Archive

Left: “Curtis High School Girl”; Right: “Girl with Braids”, both ca. 1905-1910: printed 1916, mounted bromide prints, C.R. Tucker, American 1869-1956. Left: 27.2 x 21.3 | 43.2 x 35.5 cm, Right: 26.7 x 17.6 | 43.2 x 28.4 cm. These prints are from a series of photographs bearing the artists signature and date 1916 at lower right corner, and are believed to be from earlier negatives. The uniformity of the brown cardstock mounts indicates they were intended as exhibition prints. Another extant unmounted print of “Curtis High School Girl” seen here includes the name Eloise Poulin (?) crossed out-perhaps the name of the subject. This particular portrait was displayed with others over the fireplace mantle of the artist’s New Dorp home: From: PhotoSeed Archive

Located in the New Dorp area of Staten Island, N.Y. but unfortunately now demolished, the magazine lay claim at the time of publication that it was “the first building of this character to be constructed in New York City.” Historians of early concrete homes will find new things to ponder, and the article and published floor plans gave me further insight into the location and backdrop for many of the Dorothy and Tucker family photographs included in the larger archive.

Author and Practitioner: Left: “The Pleasures of Winter Photography by C.R. Tucker”, in: Suburban Life, December, 1907. Excerpt: from first page of article: “Snow landscapes, if well made, are always a delight; but don’t try to include too much in your picture. A fence and a few snow-covered trees, a winding path, or a bit of a brook, will be better than the whole hillside.” Two halftones, believed to show the photographer’s daughter at left and wife Mary, are shown. The four-page spread included at least one other photo by the author. Examples of the aforementioned brook and path: Right: “A Winter Brook”, Bottom: “Snowy Path”, both ca. 1905-10, C.R. Tucker, American 1869-1956. Brook: mounted POP print: 11.8 x 16.8 | 31.0 x 24.5 cm; Path- signed and dated 1915: mounted bromide print, 29.5 x 22.9 | 43.2 x 35.5 cm. From: PhotoSeed Archive

 

A Public School Teaching Career Informed from the Age of 10

There he matriculated in an old red school house – Seems to have garnered a good deal out of it, too- 1949

…but wherever Charles Tucker is his heart and his camera capture children. Wherever he is he is the sun to which the children, like sunflowers, turn.  -The Alden Letter, 1950

Children & Students- a Favorite Subject: Top: detail: “Sunday School Picnic, Spencer Wisconsin”, 1908, Bottom: “Young Women Exercise at Curtis High School”, ca. 1910, both: unmounted gelatin silver prints, C.R. Tucker, American 1869-1956. Top: 9.8 x 14.0 cm, Bottom: 5.0 x 25.2 | 7.4 x 33.2 cm, Top: water reflections of a group of Sunday school students lined up on a log give this photo an extra dimension: the photographer and his wife traveled to WI during summer months to visit relatives. Bottom: Curtis students wearing “romper” style gym outfits exercise on a field at the Staten Island school. “Bloomers”, “Middy” blouses and loose scarves made up the uniforms. Both: PhotoSeed Archive

Principal of Procter Academy, Provo, Utah, for one year; Principal of West Boylston, MA, High School; Submaster in Quincy, MA High School; Working in the Educational Department at the YMCA (Springfield, MA Training School); Assistant instructor in physics at Pratt Institute, Brooklyn, N.Y.; Physics teacher at Stapleton High School in New Brighton on Staten Island; Physics teacher at the brand-new Curtis High School on Staten Island; long-time professor of physics at Manual Training High School in Brooklyn, N.Y. These teaching assignments made up the bulk of C.R. Tucker’s 45-year public teaching career, and could be looked on as a testament to his being a pragmatist in what surely were the fickle ministrations over the decades of an ever changing series of administrations.  But what can be assumed through it all, as evidenced by the above 1950 quote, is that the children and young adults he taught made it all worthwhile for him.

Female Studies: Left: “A Head”, 16.8 x 13.1 cm | 33.2 x 25.5 cm, Right: “Curtis High School Girl”, 18.2 x 21.2 cm, 1909 at left; ca. 1905-10 at right, mounted and unmounted platinum prints, C.R. Tucker, American 1869-1956. The profile portrait at left of an unknown, older female subject retains a portion of its original Postal Camera Club label on verso, indicating author, title and sequence- #1, for August, 1909 club’s portfolio. Right: This pleasing study of an unknown young woman resting before a lake is a warm brown platinum print: the photographer additionally printed it as a bromide print in 1916, probably for exhibition. Both: PhotoSeed Archive

Reportedly warm in personality: a proven public speaker with the capacity for humor in telling a good story, he cuts a dashing figure in surviving photographs. Wearing an ever-present silk cravat but with the contradiction of tousled hair in throwing off the look in several surviving photographs, Tucker at the end of the day was a realist. To wit, in his 1956 obituary, his good friend E. Huling Woodworth, the deputy governor general of the General Society of Mayflower Descendants, quoted Tucker that he went to New York City in the promotion of his teaching career: “simply because they paid me more money”. Around 1920, the amateur photographer seemed to have had enough however. Looking back much later in life, he said: I tried teaching for 45 years; decided I couldn’t do it, and when they told me they would rather pay me than have me around, I bought a Vermont farm, but I kept on teaching, to try to pay farm expenses; I am now living on the interest of what I lost, trying to be a farmer”.

Mother & Son: Top: “Royalton, Wisconsin Family Group”, Bottom: “Wisconsin Sunday School Outing”, 1908 (top) and ca. 1908, printed 1910?, both: rppc gelatin silver postcard & bottom: unmounted gelatin silver print: Top: 8.4 x 13.1 cm, Bottom: 6.6 x 15.7 cm, C.R. Tucker, American 1869-1956. The photographer, seated at center, and mother, Myra F. Tucker: 1848-1927, seated at right, look towards each other. Myra’s sister, Susan A. Talbot Phillips, 1848-1922 sits behind them, along with her husband Sewall A. Phillips: 1839-1912, at far left. Sewall had been a member of the WI State Assembly and worked as a teacher. Bottom: three large horse-drawn wagons ferry a large group of children and adults during what is believed to be a Sunday school outing, possibly in Spencer, WI. The print is signed and dated at lower right corner. Both: PhotoSeed Archive

Curtis High School: Top: “Class of 1910: Curtis High School”, Bottom left: “Portrait of Charles Rollins Tucker”, Bottom right: “Around Staten Island”, all: ca. 1910, unmounted and mounted gelatin silver prints, probably C.R. Tucker, American 1869-1956. 18.7 x 24.1 cm, portrait: 13.2 x 9.8 | 14.7 x 10.4 cm, boats: 6.0 cm roundel on 9.3 x 7.2 cm photographic paper. Note student seated in front row at far left holding #10 sign. This signifies these are Curtis High School students, class of 1910. A vibrant community school in the 21st Century, it first opened in 1904, with Tucker teaching here until 1914, when he was put in charge of the Tottenville Annex. A formal, tousled-hair (self-portrait?) portrait shows the artist with his ever-present silk cravat. The dates 1910-1915? are written in unknown hand on mount verso. Small, open steam launches, with boat at foreground flying an American flag, make their way in the waters around Staten Island in a student outing, taken about 1910. All: PhotoSeed Archive

And all the while, the photographic evidence taken in promotion of his hobby, both inside and outside that teaching career, was most important to him. He used his amateur camera to photograph some of his students, even going as far as displaying mounted examples in his own home, and became, in effect, an in-house yearbook style photographer. For Curtis High School especially, Tucker photographed students and teachers alike. He also recorded events, like a class boat trip and sporting scenes: a panoramic showing a a long line of young women exulting in exercise- part of an outdoor gym class.

Tucker Family in New Dorp: Left: “Charles, Mary & Robert Tucker on Porch”, Right: “C.R. Tucker with son John Robert on Swing”, bottom right: “”Giggle Jerry!”, porch: 1914, swing: 1914, Jerry: ca. 1915-16; unmounted gelatin silver prints and cyanotype rppc, all: attributed to C.R. Tucker, American 1869-1956, and daughter Dorothy Tucker. L: 13.0 x 13.9 cm, swing: 9.5 x 6.8 cm, Jerry: 6.3 roundel on 13.7 x 8.2 cm card. The Tucker family home at 90 Third St. in the New Dorp section of Staten Island welcomed the second born, John Robert Tucker, 1914-1991, in March, 1914. The newborn lies in a hammock on the porch while the photographer and his wife, holding a cat, fawn over him. At right, Tucker goes for a swing with son John Robert (?) on his lap while his third child, Stephen Jeremiah “Jerry” Tucker, 1915-2001, plays with his rocking horse at bottom right. A second cyanotype rppc of this image gives title as Giggle Jerry! on recto and photo credit to his sister Dorothy on verso. All: PhotoSeed Archive

Preserved decades later by his son Stephen “Jerry” Tucker, and subsequently purchased by this archive many years after his passing, these mounted and unmounted photographs-some printed in platinum- are beautiful pictorialist records of early 20th Century American High School life. Some of the hand-written titles on the versos of just some of these mounted and unmounted photographs: “Curtis High School Girl”;  Curtis High School Girl in Costume of a Play”; “Apple Blossoms”: a genre photograph celebrating Spring featuring a student wearing a long dress ornamented by sunflowers; “Curtis HS Elocution Teacher”, and many others.

Exploring Native-American Cultures: Top: “Man Photographing Seated Children”, LL: “Native-American Man”, LR: “Native Family Group”, all: ca. 1910-15, unmounted gelatin silver prints, attributed: C.R. Tucker, American 1869-1956. Top-LL-LR: 10.9 x 15.9 cm, 9.9 x 4.9 cm, 10.2 x 6.8 cm. Tucker was known to give public lectures on Pictorial Photography in 1908 and, pertaining to this grouping of photographs in 1916: an illustrated lecture for children described as “A Visit to the Wisconsin Indians”. Although degraded by the elements and digitally cleaned up here, these were found with the larger Tucker archive: photos he is thought to have made during  frequent visits to Wisconsin to visit in-laws. Given the sad history of forced assimilation by the US Government by which Native-American children were placed in American Indian boarding schools throughout WI (and the greater US) it cannot be ruled out the top photograph may have been taken at such a school: the subjects in the other photographs not so much because they wear native clothing. Other photographs not shown depict a sweat lodge. All: PhotoSeed Archive

Mayflower Descendant & Later Life

“I had a lot of fun tracing ancestry back to counts and no-accounts, especially the early American families. I found 6 Mayflower ancestors (John Alden was one) 11 Revolutionary ancestors, one Indian, one witch (hanged in Salem, 1692). The Ball and Adams families (whence President Washington and the Adams)”. –Charles Rollins Tucker

 

In the late 1930’s and through the early 1950’s, Tucker was living in Brooklyn and active as the Vice-President of The Alden Kindred of New York City and Vicinity. As a long-descended related “cousin” of Mayflower passenger John Alden, the Alden Kindred was then, and is still today, an active Mayflower descendant society named after English pilgrims John and Priscilla Mullins Alden. Before the untimely passing of the photographer’s wife Mary in 1940, Tucker and his wife would host chapter meetings in their home. Later, in the pages of the Alden Kindred “Gossip”, a newsletter reporting on the happenings of the society as well as the private accomplishments of its members, the musings regarding “cousin” Tucker were duly reported.

American History Preserved: “Conference House: Tottenville, Staten Island”, ca. 1905-10, mounted platinum print for 1916 calendar, C.R. Tucker, American 1869-1956. 4.4 x 6.7 | 13.9 x 8.8 cm. A Staten Island resident with a passion for American History, it’s not surprising Tucker would photograph one of the oldest buildings on the island. Also known as the Billopp House, it was here on September 11, 1776 that a meeting was held by Benjamin Franklin, John Adams, Edward Rutledge and others with Lord Howe, commander in chief of British forces in America, in an unsuccessful attempt to halt the American Revolution. A landmark and museum today, the home is shown in the early 20th Century when columns supported a long front porch- no longer present. Signed on the mount by the artist, the 1916 calendar may have been a promotion for the South Shore Savings and Loan Association, of which the photographer was president of that year. From: PhotoSeed Archive

Farming Home in Vermont: Top: “Tucker Farmstead, Randolph, Vermont”, LL: “Charles & Mary Tucker with Buckets on Farmstead”, LR: “When the Mists have Rolled Away”, all: 1920’s, unmounted gelatin silver prints, attributed: C.R. Tucker, American 1869-1956. Top-LL-LR: 16.6 x 25.9 cm, 6.7 x 4.8 & 5.7 x 4.2 cm, 6.6 x 8.8 cm. The Tuckers are believed to have purchased this 125-acre farm, (seen at top photo) located in Randolph, VT, before 1920. The Farmhouse at upper right was enlarged, based on another photo, with a large covered porch. Two fun photos show Charles and his wife Mary, probably holding galvanized metal maple sugar buckets, both coming and going. This pleasing scenic view is believed to be from VT and may be a view from the farm- the title written on the print verso most likely referring to the 1874 composition of the same name by composer James Gowdy Clark. Due to his own retirement from public teaching around 1939, the damaging effects of the 1938 hurricane and the passing of his wife in 1940, Tucker sold the farm in the early 1940’s. All: PhotoSeed Archive

Here’s one example, from a 1949 “Gossip” article with the headline: Charles Rollins Tucker, (Expert with the Camera) showing that even at 80 years of age, the photographer was still passionate for a hobby believed to have begun in his high school years:

The Latest Technology: “Manual Training High School Students Show off Radio”, ca. 1930, unmounted gelatin silver print, unknown photographer, but perhaps C.R. Tucker, American 1868-1956. 25.5 x 33.1 | 27.9 x 35.6 cm. The photographer spent many years teaching at this Brooklyn school, from about 1917-1939. Here he stands in third row at far left looking away from the camera. The group may have been a radio club at the school, and the students display at front right an early radio stamped “Duval Energee” above center of large disc. Duval Radio Products Corp. marketed “radio electron tubes and batteries” under the Duval Energee name beginning around 1927. From: PhotoSeed Archive

Now C.R.T’s. color photographs have carried his reputation along the eastern coast from Key West through Maine. He estimates that he has 3,000 slides. He is expert in catching the significant moods of flowering plants and of little children in their own habitat. His slides in Art League exhibits “steal the show”.

Later Years: Top Left: “C.R. Tucker Dinner Invitation”, ca. 1945-50, Right: “Portrait of C.R. Tucker”, ca. 1935-40, both: POP and gelatin silver print, attributed: C.R. Tucker, American 1868-1956. Bottom: Detail: “Alden Kindred Gossip Newsletter”, Dec. 1934. Invite: 5.6 x 7.9 | 15.2 x 10.0 cm, portrait: 8.6 x 4.5 cm. After retirement and the early passing of his wife, Tucker typically spent the months of May and October in this mountain cabin at Aldenwood in western North Carolina in route to wintering in Mt. Dora, Florida. The owner, E. Huling Woodworth, was a good friend and  deputy governor general of the General Society of Mayflower Descendants, whom Tucker met through his role as Vice-President of The Alden Kindred of New York City and Vicinity. The photographer claimed he had “found 6 Mayflower ancestors (John Alden was one) 11 Revolutionary ancestors, one Indian, one witch (hanged in Salem, 1692). The Ball and Adams families (whence President Washington and the Adams)”. Here, a detail of the Gossip, the newsletter of The Alden Kindred, lists him as Vice-President, which he held from around 1933-50. Photos: PhotoSeed Archive, newsletter: Wisconsin Historical Library Archives, Madison, WI.

Finis: “Dad in Living Room at New Dorp”, (sic) ca. 1906, unmounted platinum print, C.R. Tucker, American 1868-1956. 19.7 x 14.7 cm. The artist smiles at the viewer while reading from a favorite dining room chair, taken around the same time he and wife Mary and first-born Dorothy moved into their modern Staten Island concrete home in 1906. Charles Rollins Tucker’s life was a series of wanderings- a game of musical chairs in which he wore many hats, made many friends, taught many children, and fortunately for us, made a photographic record throughout. A description in his 1956 obituary seems appropriate with this last photograph of the artist, in the sense he would pass on much later in one of those chairs, albeit figuratively, something his known demeanor of “lovableness and gentle humor” might have allowed him a chance to wink back at us from the future, as he “went to sleep in his chair, in his tiny little home” the last time. From: PhotoSeed Archive

From the same article, the invocation of Shakespeare as poet ultimately defined him, his optimistic view of life made relevant from all its ordinary moments, and here, with photographic evidence for the ages:

Mr. Tucker loves people, but does not need them to keep himself happy and busy.- Shakespere climaxes him as “seeing good in everything”.

 

Historical Timeline: Charles Rollins Tucker: 1868-1956

1868: Born in Canton, MA on December 18. (source: Tufts College Yearbook) A major discrepancy exists: his headstone indicates 1869, and his 1956 obituary details in the Middleborough Gazette stated he died at 87 years old.

1880: Charles, 11, living with family in Hubbardston, Worcester, MA. His father George is a farmer and mother Myra a housekeeper. (George Lewis Tucker: Jan. 16, 1843-May 19, 1907) (Myra F. Tucker: 1848-1927)

1887: Graduates from Stoughton High School, Stoughton, MA. In his class of 15 students, he was one of only two who graduated. In 1892, his younger brother Lewis L. Tucker, would not graduate.

– Matriculates at Tufts College, Medford, MA in September, in the “Philosophical course”.

1889-90: At Tufts, he is Secretary of the Camera Club in his junior year and member in his senior year; Secretary and treasurer of Reading-Room Association, 1889-90; member of the Sketch Club as a sophomore; member of the tennis club earlier.

1890: He’s the Vice-President of the 1891 Junior class at Tufts; self-quotation listed in yearbook: “He has a lean and hungry look; such men are dangerous. -Shakspere“. As a junior, during the annual Prize Speaking and Reading ceremony at College Hall on June 10, he gives the speech: “Plea for the Old South Church”, by Phillips. First delivered in 1876 by Wendall Phillips, the speech saved the Boston landmark church from destruction, affirmingTucker’s interest in preserving and advocating for American history.

1891: Graduates Tufts with bachelors degree, Ph.B. in chemistry and physics.

– As principal of Somerset, MA High School, he began teaching pupils in 15 subjects, in the one-room school located on Pierce’s Bluff off of South Street.

1892: Principal of Procter Academy, Provo, Utah, for one year.

1894: Receives his Master of Arts from Tufts College.

1895: Principal of West Boylston, MA, High School.

1896: Submaster in Quincy, MA High School.

1897: Working in the Educational Department at the YMCA (Springfield, MA Training School)

1898: In September, becomes an assistant instructor in physics at Pratt Institute, Brooklyn, N.Y. 

– Marriage to Mary Carruthers on July 29 in Manhattan, New York.

1899: Daughter Dorothy born in Stoughton, MA on August 27.

1900: US Census: living with wife Mary and daughter Dorothy at 73 Clifton Place in Brooklyn.

– Family moves to 4 Wall Street in New Brighton on Staten Island.

1903: Tucker listed as a teacher in the High School Department at Public School 14 located at Broad and Brook Streets in Stapleton, Borough of Richmond, Staten Island. He most likely had been teaching here before 1903. (source: Directory of Teachers in the Public Schools 1903)

– Becomes a member of the Staten Island Institute of Arts and Sciences as well as the Natural Science Association of Staten Island.

1904: Transfers, from PS 14, to the brand new (George William) Curtis High School, where he continued teaching physics. Opened in February, Curtis was the first high school built on Staten Island. (source: notice: School: Devoted to the Public Schools and Educational Interests”, issue for December 25, 1903)

1905: His name appears on the Curtis High School teaching roster published in The Journal of the Board of Education of the City of New York. His yearly salary in 1905 is $1960.00, with a proposed increase for 1906 to $2042.50. His address continues to be 4 Wall Street in New Brighton.

Receives an honorable mention in the Photo Era Portrait Competition.

1906: In October, Tucker and his wife take out a mortgage for a revolutionary home made entirely of concrete in New Dorp, Staten Island at 90 Third Street from Eleanor Gardner, believed to be the lender. Built ca. 1904-1905, it was designed by Robert Waterman Gardner, 1866-1937, president of the New York Society of Craftsmen, an architect who pioneered using reinforced concrete in residential construction. The Tucker’s were the second owners of the home after the first, W.J. Steel. 

His photograph “The Mill”, taken in West Bridgewater, MA, is published in the June issue of the Photo-Era. It showed he was a member of The Postal Photographic Club of the United States. The accompanying article outlined the club was founded in early 1885, with membership strictly limited to 40 all residing east of the Ohio River.

1907: In January, a portrait of his daughter Dorothy holding a cat appears as part of an advertisement for Bausch and Lomb-Zeiss Tessar lenses “Home Portraits” in Camera Work XVII.

– Tucker now listed as member of the Postal Camera Club, with a history first dating to 1900 and a roster from around the country, including California.  One of his award-winning photographs for the club,  Day Dreams”, held by this archive, was widely discussed and published in 1907.

– Writes article: The Pleasures of Winter Photography”, for the December issue of Suburban Life Magazine.

1908: Gives a New York City public schools lecture: “Pictorial Photography” in November and December at Public Schools 62 and 63.

1910: American Photography magazine reports C.R. Tucker is a member of: “A New portfolio club has been organized among the advanced workers in the territory east of the Ohio River and north of Washington, D. C.” (other members include: W. H. Zerbe, C. F. Clarke, S. B. Phillips, Miss Katherine Bingham, H. W. Schonewolf and others) “Membership is by election after circulation of samples of work, and only those of marked ability are desired.”

1911: In what was probably a recalibration of the earlier 1910 portfolio club, The Photo Era announces the formation of: The New Postal Photographic Club: C.R. Tucker of New Dorp is a member: “A New pictorial Photographic Album Club has just been started. It has not yet been christened, but a vote is now being taken to determine its title.”

The album is making its first round and the prints contained therein show most painstaking efforts to put it on a parity with any similar club of the country, and when we take into consideration the active and pictorial workers of this club, we feel justified in predicting its success.”

1914: Tucker’s first son,  John Robert Tucker, (1914-1991) is born on March 3 on Staten Island.

– Listed as being in charge of the Tottenville Annex of Curtis High School, and an assistant teacher of physics. Continues to live at 90 Third St., New Dorp, S.I. with the telephone # 922-J Tottenville (Ext. of P.S. 1)

1915: His second son, Stephen Jeremiah “Jerry” Tucker, (1915-2001) is born on April 24th in Vermont.

– At the Tottenville Annex, Tucker heads up the Junior Audubon (Society) Class. An article published by the Macmillan Co. states: “This class has no stated meetings, we are informed by Charles H. Tucker, (sic) the leader, but makes the study of birds a part of the regular work in biology, using the Educational Leaflets as a text-book, and paying especial attention to the economic value of the birds studies.”

1916: The January issue of The Museum Bulletin of the Staten Island Association of Arts and Sciences lists a free illustrated lecture for children by Tucker: “A Visit to the Wisconsin Indians.” A later issue stated 100 people attended.

– While continuing to teach public school, Tucker is listed as President of the South Shore Savings and Loan Association, at No. 11 Sixth Street in New Dorp, Staten Island. The bank commenced business in 1915. The presidency of the bank was taken over by A.J. Grout in 1917, and he assumed that position through at least 1928.

1917: Charles and Mary Tucker sell house at 90 Third St. in April to Dr. Abel Joel and Grace Grout. The home was later purchased in 1922 by the Catholic Diocese for use as Our Lady Queen of Peace Rectory. The present rectory building was built in 1951 and is red brick. It’s assumed the Tucker’s concrete block home was leveled to build the present structure. From the history of the rectory: “Instead, he negotiated with Doctor Grout whose home was situated on Cloister Place and Third Street, but whose property flowed around the corner onto New Dorp Lane. The Grout Home was to become the rectory and the wooded land became the site of the church and school.

– Dorothy Frances Tucker listed in Tufts College Jumbo Yearbook as matriculated and pursuing her AB degree. Lists being from New Dorp (Staten Island) and graduate of Curtis High School.

– Its believed around this time Tucker joined the faculty of Manual Training High School in Brooklyn, N.Y. as professor of physics, with his 1956 obituary stating he retired from the school about 1939.

1920: Dorothy receives her Bachelor of Arts degree as a member of the Jackson College for Women at Tufts College on June 21 at the 64th Annual Commencement.

1925: On the New York State Census, Charles occupation is listed as teacher. He lives at 13 Greene Ave. in Brooklyn along with daughter Dorothy, also a teacher, and two younger sons.

1929: Mentioned in Alden KindredGossip” that he was teaching at the Manuel Training High School of Brooklyn, N.Y. At the time, The Gossip was a publication of  The Alden Kindred of America, a Mayflower descendant society named after pilgrims John and Priscilla Mullins Alden.

– Additionally mentioned in the “Gossip” this year- pertaining to his photo skills:  The Green Mountain Club has awarded a second prize in a photographic contest to our Cousin C. R. Tucker of Brooklyn and Randolph, Vt. The scene is a delightful section of Lake Mansfield and Nebraska Notch with a cross section of mountain region which is almost impossible to catch with a camera and keep the picture clear in perspective. Both in composition and development very careful thought had been given and the prize was well deserved.”

1932: Writes poem:

Freedom  

When the city’s narrow street

Meets the broad highway and gives

Glimpse of space and sky and cloud

Beyond the noisy throngs that crowd,

That is momentary joy.

But when at last my sentence here shall end

Free from this ceaseless shirl of work

and care

(Another waits to better fill my place)

I can forever leave this noisy race,

That will be lasting joy.

1933: Living at 13 Greene Ave. Brooklyn. During this time and much later, Tucker was the Vice-President of The Alden Kindred of New York City and Vicinity.

1934: Charles and Mary Tucker living at 108 South Elliott Place, Brooklyn.

1935: Notice in the Alden Kindred Gossip that Charles Tucker had retired from his teaching job in New York City: “Extra! Extra! Charles Rollins Tucker has retired and does not expect to teach in New York City any longer. The family is moving to Vermont immediately, where their address is “Route 2, Randolph”. Mr. Tucker writes that they will miss the Alden meetings and often think of us on the first Saturday of the month, and shall look eagerly for “GOSSIP”.  Bon voyage; bon repose.” (note: his obituary stated he worked until around 1939)

1936:  From the “Gossip”: In August, Mr. and Mrs. Charles Rollins Tucker drove to Ann Arbor, Mich.,via Saratoga, Howes Caverns, Niagara Falls, through Ontario to Detroit, and back by way of Toledo, the Cleveland Fair, Adirondacks, Ticonderoga, Brandon Pass, & c. Son Bob enrolled at the University of Michigan as a senior. The Tuckers will live In Ann Arbor during the Winter, leaving Randolph September 15th. Before going, they were to visit their daughter, Dorothy Tinkham, mother of 2 children, at Rock, Mass.” (Rock Village was located in the town of Middleborough)

1939: Is reported from obituary to have retired from his public school teaching career.

1940: US Census: Tucker living with wife Mary and son Jerry in Randolph, VT

Mary Carruthers Tucker dies in Boston.

1943: (approx.) Starts Wintering in Mt. Dora, Florida. (one address printed in the Gossip was 916 Grandview Ave.)

1949: The following overview of the life of Tucker appeared in the May issue of The Alden Letter, No. 47:

CHARLES ROLLINS TUCKER, (EXPERT WITH THE CAMERA.)

In the 28 April, 1949 issue of Mount Dora Topic ( Mount Dora, Lake Co., Fla.) Mabel Norris Reese has expressed something of the lovableness and gentle humor which characterize our Alden Kindred official member, Charles Rollins Tucker.

The author quotes from Mr. Tucker: “I tried teaching for 45 years; decided I couldn’t do it, and when they told me they would rather pay me than have me around, I bought a Vermont farm, but I kept on teaching, to try to pay farm expenses; I am now living on the interest of what I lost, trying to be a farmer”.

It was like Charles Tucker to say nothing of the heartbreak when Death took his companionable wife, while they were still Vermonters. Nor is there mention of the 1938 hurricane which crashed through their precious capital, in sugar maple groves.

Nothing of the anxious loneliness while World War II held son, Jerry, for 4 years in the Pacific.

Miss Reese notes that Charles was born in Canton, Mass.; at 4 years, with his family traveled in a prairie schooner to Missouri; shortly afterward moved on to Wisconsin for 5 years in a log cabin; at 10 returned with the rest of the Tuckers to Massachusetts.

There he matriculated in an old red school house – Seems to have garnered a good deal out of it, too- He went to Tufts College and a bachelor degree in 1891. But “not satisfied with being a bachelor, I took another college year to be a Master.”

Charles began teaching pupils in 15 subjects, in a one-room Mass. school; continued teaching as principal of an academy In Utah; went to New York City – “simply because they paid me more money”: stayed there for the rest of his teaching life, as a high school instructor.

As to Charles Tucker’s avocations, he says regarding genealogy: “I had a lot of fun tracing ancestry back to counts and no-accounts, especially the early American families. I found 6 Mayflower ancestors (John Alden was one) 11 Revolutionary ancestors, one Indian, one witch (hanged in Salem, 1692). The Ball and Adams families (whence President Washington and the Adams)”.

Now C.R.T’s. color photographs have carried his reputation along the eastern coast from Key West through Maine. He estimates that he has 3,000 slides.

He is expert in catching the significant moods of flowering plants and of little children in their own habitat. His slides in Art League exhibits “steal the show”.

Mr. Tucker loves people, but does not need them to keep himself happy and busy.- Shakespere climaxes him as “seeing good in everything”.

He spent last October alone in Aldenwood, N.C. a mountain cabin – in a wide spread community of 14 houses, 90 souls and 5 surnames: McCall, Anderson, Devore, Hogshed, Owen. They were 17 miles from a grocery store, 25 miles from a movie – One day the community jammed a mountain schoolhouse to see for the first time an outside world interpreted to them by Chas. Tucker.

For 6 years Mr. Tucker has spent his winters in Florida. Last Dec. 18 he was quietly reading away his 80 anniversary when he heard whispers and stifled giggles: The door flew open, and there a host of children were shouting, “Нарру Birthday, Mr. Tucker!” The head ones were bearing a table radio, which the younglings had “chipped in” to get for their most beloved friend. When Mr. Tucker centers a group of little people, one is minded of a scene in Galilee 2,000 years ago.

Mr. Tucker generally comes back to Middleboro, Mass. in a leisurely trip – This year he is trying to reach Aldenwood, N.C. while the shrubbery, delayed by unseasonable cold spells is in top bloom. Two years ago he and son Jerry took 2300 miles of mountain and valley loveliness into their trailer home of 21 days – Throngs of people have gone along with them.

The children of C.R. and Mrs. Tucker could not but be fine also- S. Jerry, after his 4 years of Pacific war service is with the N.H. Cattle Breeding Ass’n, John Robert is in U.S. Testing Co., Hoboken, N.J., Dorothy, the oldest, retired from Harvard U. library work to be a wife and mother on a Middleboro, Mass. farm. At an annual meeting of Alden Kindred in Duxbury a few years ago we heard this proudest grandfather ever, presenting a lovely first grandbaby as “Miss Priscilla Alden, Barbara Standish” – I think her real name is Barbara Tinkham – and that now other grandchildren have carried on the Alden Standish lines.  (pp. 295-7)

1951: Attends 60th reunion of his class at Tufts College, renamed Tufts University in 1955.

1956: Charles Rollins Tucker passes away near Middleboro, Mass., on Monday, May 28.

Obituary: The Alden Letter: No. 132, June, 1956

CHARLES ROLLINS TUCKER, former Vice-President of the Alden Kindred of New York City and Vicinity, went to sleep in his chair, in his tiny little home near Middleboro, Mass., on Monday, May 28 1956, and never woke up. His funeral service was conducted by a Congregational minister the following Thursday, and Burial was in Maplewood Cemetery, Stoughton, Mass. Survivors include a daughter, Mrs. Roland Tinkham of Middleboro, two sons, Jerry Tucker of Susquehanna, Pa. and Robert Tucker of Teaneck, N.J., three grandchildren and at least one great-grandchild. His wife, the late Mary (Carruthers) Tucker, died in 1940.

Mr. Tucker would have been 88 in December and was born at Canton, Mass. He graduated from Tufts College in 1891 and attended the 60th reunion of his class in 1951. He held the degree of Bachelor of Arts and also Master of Arts.

After teaching in Utah some years, he returned East and was in YMCA work for a short time and taught at Pratt Institute in Brooklyn, N.Y. He then entered the New York City public school system and served as teacher and principal on Staten Island. But the major portion of his teaching career was as professor of physics at Manual Training High School in Brooklyn, N.Y. He retired about 1939.

For many years, he retained a summer home on a 125-acre farm at Randolph, Vermont, where several of the New York Kindred visited him. He was an ardent hiker and had several times hiked the entire Long Trail of Vermont, from Massachusetts to Canada. After retirement, he gave up the Vermont farm and he and Mrs. Tucker went to live with their daughter at Middleboro. Mrs. Tucker soon died, and Mr. Tucker established a little summer home near his daughter’s house. He spent his winters in Florida, except for one winter sojourn in Phoenix, Arizona, and the last two winters when he stayed in Massachusetts. For several years, in going to and from Florida, he spent the months of May and October at ALDENWOOD, the mountain cabin of the Huling Woodworths in western North Carolina. He took thousands of color photographs and gave slide showings in Florida, Arizona, South Carolina, Georgia, North Carolina, Pennsylvania, New Jersey, New York, Vermont, New Hampshire, and Massachusetts. Many people have had many hours of enjoyment from his beautiful slides and the sweet whimsicality of his accompanying comments. He will be sorely missed by many.

Alden Letter is indebted to Huling Woodworth, his host at Aldenwood, for the outline of Mr. Tucker’s life quoted above. June 8, ’56.  E.A.P.  (Eudora Alden Philip-editor) note: E. Huling Woodworth was the deputy governor general of the General Society of Mayflower Descendants who compiled the “Mayflower Register” of descendants. He died in 1964.

American Crucible

Apr 2025 | Documentary Photography, New Additions, Publishing, Unknown Photographers

Members of the Acton Minute Men, reenactors in the annual Isaac Davis Trail March, fire a volley over the side of The Old North Bridge in Concord, MA: the start of the American Revolution on April 19, 1775. This year marks the 250 anniversary of what is known as “The Shot Heard Round the World.” David Spencer for PhotoSeed Archive

Concord Hymn

“By the Rude Bridge That

Arched the Flood,

Their Flag to April’s

Breeze Unfurled,

Here Once the Embattled

Farmers Stood,

And Fired the Shot Heard

Round the World.” -Ralph Waldo Emerson  1837

“Flag Raising on New Flag-Staff Apr. 19, 1906”, 1906, album-mounted platinum print, Alfred Wayland Cutting, American 1860-1935, 15.3 x 19.5 | 27.8 x 34.5 cm. On the Wayland, MA town common, residents watch the dedication of a new town flag pole: the date occurring on April 19th, an important date in American history commemorating “The Shot Heard Round the World.” From: PhotoSeed Archive

Bad luck. At least for one distant relation. On official battle cry orders, the second soldier to die on April 19, 1775— the very moment which started the American Revolutionary War—was my direct cousin, private Abner Hosmer, not quite 21 years old, a member of the Acton, MA Minute Men.

At left, a cow powder horn recovered from the Old North Bridge battle is now a centerpiece of a display on Concord’s role in the American Revolution at the Concord Museum. A descriptive panel states: “Abner Hosmer loaded his musket with gunpowder from this horn at the North Bridge on the morning of April 19, 1775, but was killed before he had a chance to pull the trigger.” Right: this bloodied hatband belonging to Private Abner Hosmer, an Acton Minute Man, was also recovered at the bridge site. It is now on display at the Acton Memorial Library. Abner’s father, Jonathan, in a letter written just ten days earlier, had predicted that if the (British) Regulars turned out, “there will be Bloody work.” Hosmer was a direct descendent of this site owner. David Spencer for PhotoSeed Archive

Today, April 19, 2025, we, now the American nation, pay tribute to his fellow Massachusetts townsfolk—those approximately 400 colonial soldiers who went into battle against 96 British Regulars at the Old North Bridge in Concord, Massachusetts. It was their bravery that began the epic conquest and eventual success to cast off their English king in becoming a new nation and free republic.

Detail: “Bloody Butchery, by the British Troops”, 40 coffins representing some of the first provincial soldiers killed in fighting against British troops from towns including Concord, Acton, (Captain Isaac Davis, Abner Hosmer and James Hayward) Sudbury, Charlestown, Salem, Woburn, Cambridge, Brookline, Medford, Lynn and Danvers make up the top portion of this broadside. Printed in letterpress by the Essex (MA) Gazette only five days after the April 19, 1775 battle, subsequent editions of the broadsheet added more coffins representing lives lost in the ongoing war. The work is framed and on display at the Concord Museum. David Spencer for PhotoSeed Archive

The last time I visited Concord was in my childhood. The Hosmer line sprouts from my maternal side, and I’m sure my mom was her usual stern yet patient New England self in trying to explain the significance of our ancestor and what happened in this place. But no. I remember the bridge and perhaps a vague memory of someone dressed in a tricorn hat, but that is all that registers now, thinking back. But 50 years forward to the present? A load of difference.

And, as one of those descendants, I will not mince words now. I’m scared for our country and ashamed of what is happening in the name of it. But what I saw in Concord yesterday was downright beautiful.

With permanent Photography not invented yet in 1775, the Concord Museum features a variety of media, including a large 24-hour digital timeline on an expansive battle and route map showing the advance of British troops marching from Boston to Concord. This detail from a 3d diorama of the battle at the Old North Bridge, however old school, is still visceral and gets the point across: casualties on the provincial side. Two British soldiers were also killed at the bridge, their bodies interred nearby. David Spencer for PhotoSeed Archive

Historical Snaps from a New England Album“, gelatin silver prints removed from album, ca. 1900, unknown American photographer, UL: The Minute Man (1874: by Daniel Chester French) : 10.7 x 8.1 cm, LL: 1836 Battle Monument: 10.5 x 8.1 cm, R: Old North Bridge (Centennial Bridge): 8.2 x 10.8 | 13.5 x 17.9 cm. Photographs of the Old North Bridge and her monuments were worthy subjects for early amateur photographers, with the main photo enhanced by album’s author quoting Emerson’s famous 1837 poem. These were obtained from a New England dealer who stated names in the album were John Noble and the Philips family, with most photos depicting Gilbertville, Ware, Maynard, Harwick and Concord, MA. A calendar photo dated 1901 came near the end of the album, so these earlier snaps could be from the late 1890s. From: PhotoSeed Archive

 

In what has become a long-time annual tradition, a group of Acton, MA and other local town residents gather and march behind the Minute Men bearing that old town’s name: the annual Isaac Davis Trail March. The Acton group are American Revolutionary War reenactors who celebrate that fateful day by marching at dawn nearly seven miles to the Old North Bridge in Concord. They are led by a gentleman playing the role of Captain Isaac Davis, “the leader of the Acton Minute Company who sounded the alarm shots to rally his men to come to his house and prepare to head off for Concord,” according to the company’s website.

“American Revolutionary War Reenactors: Wayland, MA”, 1906, album-mounted platinum print, Alfred Wayland Cutting, American 1860-1935, 14.2 x 19.0 | 27.8 x 34.5 cm. Pride and patriotism are on display as three columns of troops parade off the town common in Wayland, MA: perhaps on the July 4th holiday. An automobile can be seen making up the rear. From: PhotoSeed Archive

 

This year, due to events surrounding Concord’s direct 250th anniversary role in “The Shot Heard Round the World,” and the massive amount of people expected on town streets, many of which will be closed due to a parade and other Patriot Day Weekend events, the Acton company made the decision to do the trail march a day early.

Overlooking from the rear at the conclusion of the April 19th Issac Davis Trail March at Concord’s Old North Bridge is the iconic Minute Man bronze statue depicting Davis by American sculptor Daniel Chester French. The large group that marched behind the Acton Minute Men look on at center as they are thanked for their nearly seven mile journey. The sculpture was unveiled for the Centennial of the battle on April 19, 1875. My aunt Jane described the work in 2009: “By definition, a minuteman can be ready to fight “in a minute”: he hears the alarm, grabs his musket from the farmhouse wall, and leaves his farm chores for battle. This statue can be Abner, in our imagination, or any other soldier in the Revolution, standing with his left foot forward, his right foot poised to take a step while holding his musket on his right hip. He wears simple, everyday clothes, and boots, and a hat with a jaunty, upturned brim, and he gazes straight ahead.” David Spencer for PhotoSeed Archive

“Two Drummers & Fifer: Wayland, MA”, 1906, album-mounted platinum print, Alfred Wayland Cutting, American 1860-1935, 13.2 x 14.0 | 27.8 x 34.5 cm. Pride and patriotism are on display as two drummers and a fifer keep the past alive- perhaps with a spirited rendition of The White Cockade March, on the Wayland town common. Fifteen-year-old Luther Blanchard was the name of the fifer that day, and is reported to have been the first to be grazed by a bullet on his side by a British Regular: the “First Shot?” The gathering was perhaps part of the town’s July 4th holiday. From: PhotoSeed Archive

So let me end with this, while getting back to that “beautiful” statement thing I mentioned a few lines ago. The 100 or so townsfolk following along yesterday—to my eye—were from all walks of life, nationalities and genders, along with a Boy Scout troop thrown in for good measure. Basically, the American Melting Pot, in real life, practicing their Constitutionally-protected right to assemble while keeping in marching step to the flute and drummer ahead of them playing a spirited rendition of the White Cockade, the traditional Scottish folk song. And, as luck would have it, at the conclusion of several musket volleys over the Old North Bridge, I ran into a fellow Hosmer descendant from another line of the family. A hug for both of us, and not bad luck at all 250 years later.

Great Scot! Edinburgh & the Scottish Highlands

Oct 2024 | Documentary Photography, History of Photography, Painters|Photographers, Photography

It’s been ten years since this archive delved into Scottish photography, with our post: The Permanence of Disruption, which looked into the first use of photography on a large scale as the basis for a painting.

David Octavius Hill: Scotland (1802-70) “Edinburgh Old and New”, oil on panel, about 1846-7: The National Galleries of Scotland. This work shows the expanse of Edinburgh looking down from the perspective of Edinburgh Castle overlooking the city. Curators state that photography was central to the panoramic effect achieved in the work:  “Hill was a pioneer of photography, with his associate Robert Adamson (1821-1848). He used their experiments with this new technology to inform several aspects of the painting. To achieve the panoramic effect, he merged a series of photographic views taken from the Mons Meg Battery of Edinburgh Castle.”

The artist of this work, David Octavius Hill, (1802-70) Secretary of the Royal Scottish Academy of Fine Arts in Edinburgh, used hundreds of portraits done in partnership with his employee, the calotype photographer Robert Adamson, a chemist born in St. Andrews, (1821-1848) as the basis for his 1843 “Disruption” painting.

In 1868 this marble “heroic” portrait bust of pioneering Scottish artist and photographer David Octavius Hill (1802-70) was executed in marble by the artist’s second wife Amelia Robertson Hill. Its shown here at the National Galleries of Scotland Portrait Gallery as part of the exhibit: “HEROES & HEROINES – IDEALISM AND ACHIEVEMENT IN THE VICTORIAN AGE”. Photo by David Spencer for PhotoSeed Archive

Taking 23 years to complete, the work marked the occasion of Scottish religious free will: the schism known as the Disruption, which took place at Edinburgh’s Tanfield Hall in 1843. This is when the First General Assembly of the Free Church of Scotland signed the Act of Separation and Deed of Demission from the Church of Scotland.

At sunset, visitors photograph themselves in front of the light-washed Edinburgh Castle, a popular tourist attraction in the city’s Old Town section, which dates back to the 11th Century. Located 260 ft above its surrounding landscape, this Castle Rock edifice can claim to have been “the most besieged place in Great Britain and one of the most attacked in the world”- and it is certainly one of the most photographed landmarks in Scotland. Photo taken in October, 2024 by David Spencer for PhotoSeed Archive.

The occasion for this post? A long overdue visit to where this painting was executed- Edinburgh, Scotland, with a day-long tour of the Scottish Highlands rounding out my visit: a week that included quality time with my aunt- my late father’s kid sister- outside Newcastle.

“Edinburgh Castle”, by John Bell, English: 1920-64. Print ca. 1960-64. Trichrome gum bichromate print: 13.5 x 22.1 cm on irregular manila card mount 18.9 x 28.1 cm. Bell, made a Fellow of the Royal Photographic Society in 1956, was an active member of the Lancashire and Cheshire Photographic Union representing the Blackburn Camera Club, Accrington. His obituary stated he became interested in pictorial photography in his 20s, but died tragically young, the victim of an automobile accident while stopping to save others involved in a collision while in route to London. From: PhotoSeed Archive

Photograph of Edinburgh, Scotland at Dusk taken from the Mound. Shown illuminated in foreground is the National Galleries of Art building, with the Burns monument silhouetted at background right. Photo taken in October, 2024 by David Spencer for PhotoSeed Archive.

The last time I visited Scotland was more than 40 years ago- a memorable Glasgow visit with fellow University photography students. Camera always in hand, I seem to remember my young deluded self becoming rapturous while taking photographs of a skeleton smoking a cigarette displayed by students at the Glasgow School of Art for some kind of exhibition, as well as visiting the original Willow Tearooms, designed by famed architect  Charles Rennie Mackintosh, then newly refurbished in 1983, the year I visited.

“City of Edinburgh”, Thomas Annan, Scottish, 1829-1887. Albumen print: 8.0 x 8.3 cm, pasted on leaf: 18.6 x 14.9 cm. Included as plate in 1866 volume: Marmion: A Tale of Flodden Field, by Sir Walter Scott, Bart. London: A.W. Bennett. Photographed from Edinburgh Castle, this view shows the current National Galleries of Scotland main building in foreground. At far left is Princes Street, with the Scott Memorial at left background and Waverly train station directly behind the National building. From: PhotoSeed Archive

But this time, a thorough exploration of Scotland’s capital, Edinburgh, as well as the Scottish Highlands, were in store. With the magisterial Edinburgh Castle, located high atop Castle Rock, seemingly looming over all of the capital, it soon became evident this city would put San Francisco to shame in the department of hilly streets. So with my wife’s bemusement and a bit of whimpering on my part, a massive amount of rocky stair climbing would soon become part of our daily routine as we explored the city’s Old Town neighborhoods in particular.

Left: “Sir Walter Scott’s Monument”, George Washington Wilson, Scottish, 1823-1893. Albumen print: 10.2 x 7.8 cm, pasted to ruled and titled leaf: 21.9 x 17.9 cm. Shown from the perspective of Princes St. in Edinburgh, this plate was included in the 1866 volume: Photographs of English and Scottish Scenery, by G.W. Wilson, Aberdeen: Edinburgh. 12 Views. London: A. Marion, Son, & Co. From: PhotoSeed Archive. Right: A bicyclist makes his way along Princes Street tram tracks, with the soaring Scott Memorial monument in background. Designed by George Kemp, the foundation of the monument was laid in August, 1840 and completed in 1844. A large marble statue of Scott, seated, along with his favorite dog Bevis, are underneath the monuments canopy. Photo taken in October, 2024 by David Spencer for PhotoSeed Archive.

The first order of business in Edinburgh was to pay a visit, in person, to see the “Disruption” painting by Hill. I had tried to do basic research before the trip- where it was displayed, etc. but did not really have specific details, other than an address on “The Mound”, located on the periphery of the city’s medieval  Old Town.

Left: Endpage inscription: “Given to Laurence George Frank Gordon (1864-1943) on his Birthday- by his Grandpapa in consequence of his having evinced (?) so much interest in the poem of Marmion.” Signed? Frogmore Cottage May 21, 1868. Contained within volume: Right: title page: Marmion: A Tale of Flodden Field, by Sir Walter Scott, Bart. London: A.W. Bennett, 1866. With pasted arched-top albumen print photograph of Scott’s Monument at Edinburgh by Thomas Annan, Scottish, 1829-1887. 8.1 x 8.1 cm, pasted on leaf: 18.6 x 14.9 cm. From: PhotoSeed Archive

Left: Volume Cover: stamped: PHOTOGRAPHS By G.W. Wilson. EDINBURGH. from volume: “Photographs of English and Scottish Scenery, by G.W. Wilson, Aberdeen: Edinburgh. 12 Views.” 1866: London: A. Marion, Son, & Co. Right: “Old Town, From Princes Street”, albumen print: 10.7 x 7.8 cm, pasted to ruled and titled leaf: 21.9 x 17.9 cm. The individual plates in the volume are accompanied by a descriptive letterpress leaf. This particular example: THE OLD TOWN, From Princes Street. “The Old Town of Edinburgh presents many rare and valuable objects of interest to every true Scotchman. High Street, its principal thoroughfare, (Known as the Royal Mile-editor) extends from the Castle to Holyrood, and is replete with historical associations of times gone by.”…From: PhotoSeed Archive

Left: Carte de visite (cdv) backstamp: Archibald Burns Photographer Edinburgh. 10.3 x 6.4 cm. Right: “John Knox’s House”, Archibald Burns, Scotland: (1831-1880) Albumen print, ca. 1868: 9.4 x 6.0 cm pasted to mount 10.3 x 6.4 cm. Still standing today and built from 1490 onwards, Wikipedia states the home was “reputed to have been owned and lived in by Protestant reformer John Knox during the 16th century. Although his name became associated with the house, he appears to have lived in Warriston Close where a plaque indicates the approximate site of his actual residence.” John Knox: c. 1514- 1572. Both from: PhotoSeed Archive

Speaking into an intercom at that address, which turned out to be the Edinburgh Theological Seminary, I lucked out. Explaining my interest in seeing the painting by Hill, a lovely employee- Fiona- a painter herself as I recall-asked if we had an appointment, to which stammering and ignorance ensued on my end. But the planets aligned-no meetings were then being held in Presbytery Hall- where the painting was permanently displayed, and buzzing my wife and I up, she gave an unrushed, personal tour of the painting and the room it was displayed in.

Known as the “Disruption” painting and owned by the Free Church of Scotland, this massive painting (Oil on canvas, 154 × 347 cm) was executed by the Scottish artist and photographer David Octavius Hill between 1843-66. It commemorates the gathering of the First General Assembly of the Free Church of Scotland signing the Act of Separation and Deed of Demission from the Church of Scotland in May of 1843. On permanent display in Presbytery Hall at Edinburgh Theological Seminary, it depicts 457 people of the approximately 1500 present on May 23rd of that year-many who later sat for their photographic portraits by the team of Hill and his partner Robert Adamson- photographs used as the basis by Hill for this Disruption painting- historically significant as the first large scale use of photography for the basis of a painting. Complete name of work: “The First General Assembly of the Free Church of Scotland; Signing the Act of Separation and Deed of Demission at Tanfield, Edinburgh, 23 May 1843.” Photo of Disruption painting taken in October, 2024 by David Spencer for PhotoSeed Archive.

After befuddled coffee ordering- the “Americano” seems to approximate Dunkin’, but without the cream and sugar- the highlight of one full morning in Edinburgh was a visit to the “National”, the main gallery building of the National Galleries of Scotland. It’s located near Princess Street Gardens, and directly over the underground railroad tracks for nearby Waverly Station. (an 1866 photograph by Thomas Annan showing the building can be seen with this post)

In this detail of the “Disruption” painting by David Octavius Hill, the photographer Robert Adamson (1821-1848) is seen at center of composition focusing his wooden box camera towards ministers and others who are standing at a central table (not shown) while signing the deed of demission. Directly above Adamson is the artist Hill holding his quill and a sketch pad. In reality, Hill the artist was in attendance for the signing but Adamson was not. Only later upon the suggestion of David Brewster did Hill hire Adamson for the task of taking hundreds of portraits- both individually and in groups, which formed the basis of the painting. The fact Hill painted Adamson into the painting later after he died in 1848 is a great tribute to his friend and an acknowledgment of the role of photography had in the work’s creation. Photo of Disruption painting taken October, 2024 by David Spencer for PhotoSeed Archive.

Free, this is a world-class museum showcasing International and Scottish art from 1300-1945, and I was delighted to encounter an original oil painting done by David Octavius Hill ca. 1846-47. Titled “Edinburgh Old and New”, the work shows the expanse of Edinburgh looking down from the castle.

Left: A chalk on paper portrait of sculptress Amelia Robertson Hill, (1820-1904) by Alexander Blaikley on display at the National Galleries of Scotland Portrait Gallery. The second wife of artist/photographer David Octavius Hill, her initials appear on the frame of the “Disruption” painting along with her husbands signature, showing her late-stage involvement in getting the work completed. Curators include the following commentary: “From the early 1860s until the mid-1880s, she exhibited more than 60 sculptures, mainly portraits, at exhibitions in Edinburgh, Glasgow, Leeds, London and Dublin. Her most important commissioned work is the statue of David Livingstone in Princes Street Gardens, Edinburgh. In 1862, she married the painter and pioneer photographer David Octavius Hill. Their marriage was described as one of mutual companionship in art.” Right: A later photogravure (ca. 1916) by James Craig Annan from a calotype negative (ca. 1843-47) of the landscape, genre painter and photographer David Octavius Hill. (1802-1870) Combined photos taken in October, 2024 by David Spencer for PhotoSeed Archive.

I’ve used a photo of the painting as the first picture in this post. Curators at the National helpfully include on the informational wall descriptor that photography was central to the panoramic effect achieved in the work:Hill was a pioneer of photography, with his associate Robert Adamson (1821-1848). He used their experiments with this new technology to inform several aspects of the painting. To achieve the panoramic effect, he merged a series of photographic views taken from the Mons Meg Battery of Edinburgh Castle.”

In this detail of the “Disruption” painting by David Octavius Hill, the massive amount of public interest in the de-coupling from the Church of Scotland at Tanfield Hall where the signing of the Act of Separation and Deed of Demission took place is represented by these spectators peering down from an open skylight. In a later “key” to those present in the painting, drawn up by Hill in 1866 and held by the National Galleries of Scotland, these souls looking down are unnamed. Interestingly, an updated engraved key done around 1868 shows an additional figure drawn in (later painted) at the far left of the open doorway below the skylight. Its been inferred this added figure is photographer Thomas Annan, who in 1868 copied the Disruption painting and made carbon photographic enlargements that year. Photo of Disruption painting taken in October, 2024 by David Spencer for PhotoSeed Archive.

Triptych of the Rev. Dr. Thomas Chalmers: (1780-1847) minister, social reformer, leader & first Moderator of the Free Church of Scotland Assembly, Principal of New College, Edinburgh: Left: Pasted carbon print: ca. 1916: 15.2 x 11.1 cm: Jesse Bertram: after original ca. 1843 calotype by Hill & Adamson. (PhotoSeed Archive) Middle: Detail of Chalmers at top with open book moderating assembly- part of “Disruption” painting by David Octavius Hill- work executed 1843-66. Right: Stained glass panel of Thomas Chalmers, signed 1862 by James Ballantine and Son: part of a larger window depicting 12 church pioneers (including early reformer John Knox and Henry Moncreiff-Wellwood, a baronet and minister in the Church of Scotland) on display in Presbytery Hall opposite the “Disruption” painting at Edinburgh Theological Seminary, the Mound. Composite photographs by David Spencer for PhotoSeed Archive.

Top: “Greyfriars’ Churchyard, a group of monuments including the Paton and Chalmers Monuments, with Heriot’s Hospital in the Background.” David Octavius Hill, Scottish: 1802-1870 & Robert Adamson, Scottish: 1821-1848. Salted paper print,  14.50 x 19.80 cm. Accession number: PGP HA 2271. National Galleries of Scotland. Online digital reproduction courtesy National Galleries of Scotland. Bottom: Today, the approximate site showing the two memorials Hill & Adamson photographed in 1843. Greyfriars Kirkyard, a cemetery dating to 1561-62 surrounding Greyfriars Kirk in Edinburgh is a popular tourist attraction. At left is the monument of Elizabeth Paton (wife of John Cunningham) (d. 1676), and the Chalmers monument at right dates to 1675: erected to the memory of James Chalmers Esq. by his son Thomas. Photo taken in October, 2024 by David Spencer for PhotoSeed Archive.

So its nice to learn photography really did inform Hill’s painting, not just in his “Disruption” work. We soon headed over to the National Galleries of Scotland Portrait Gallery, where I had been hopefully informed by a National employee that photography was actually on display.  This is not always the case in museums.  Knowing Scotland does not have a dedicated national gallery for photography highlighting Scottish achievements, (1.) the Portrait gallery was a good bet.

“The Bird Cage”( Misses Watson) David Octavius Hill, Scottish: 1802-1870 & Robert Adamson, Scottish: 1821-1848. Silver bromide print: 22.6 x 16.8 pasted to impressed card mount:35.8 x 29.4 cm. This may be a rare test print made by Scottish photographer James Craig Annan which he later produced as a hand-pulled photogravure and published in Camera Work 28, in 1909. A fine example of genre work produced by the photographic duo. (another example: Harry Ransom Center: Accession Number: 964:0062:0011) From: PhotoSeed Archive

The first wonderful thing I saw, besides many busts of eminent Scotsmen, was a striking marble head of Hugh Miller, (1802-1856) an intellectual of Victorian Scotland whom I recognized from a book photograph taken by Hill & Adamson in my library. Miller was originally a stonemason who went on to be a geologist, pioneering journalist and champion of the Free Church of Scotland. Nearby, the gallery helpfully included in a display case a later carbon print (Jessie Bertram?) of Miller printed from the original 1843 calotype negative.

Left: A view of the main building for the National Galleries of Scotland with Princes Street gardens in foreground and Edinburgh Castle in background. Photo taken in October, 2024 by David Spencer for PhotoSeed Archive. Right: Detail: “Edinburgh Castle”, George Washington Wilson, Scottish, 1823-1893. Albumen print: 10.6 x 7.9 cm, pasted to ruled and titled leaf: 21.9 x 17.9 cm. Included with 1866 volume: “Photographs of English and Scottish Scenery, by G.W. Wilson, Aberdeen: Edinburgh. 12 Views.” London: A. Marion, Son, & Co. The main building for the National Gallery is at far left of frame. From: PhotoSeed Archive

Top: A wall display for “Images of Italy 1480-1900” at the National Library of Scotland prominently features Scottish photographer James Craig Annan’s “White Friars”, taken in Italy in 1894. This is an early example of stop-movement photography made by Annan with a hand-held camera. Annan went to Italy in 1894 with Scottish artist David Young Cameron RA. (1865-1945) Both collaborated on making photographs and etchings of similar subjects, including these monks. Annan would go on to produce the 1896 portfolio Venice and Lombardy. Photo taken in October, 2024 by David Spencer for PhotoSeed Archive. Bottom: “Naples,. 1863.” Gouache on paper by unknown Italian School painter: 15.3 x 23.00 cm, pasted to album leaf: 19.0 x 23.0 cm. This is an example of a fine souvenir image done in the “vedute style”- a landscape or city view that is mostly topographical- having origins in the 18th-century paintings of Canaletto and Luca Carlevaris in Venice. This type of work was featured in the “Images of Italy” exhibit at the National Library. Contained within a family and “Grand Tour” album belonging to Major William Henry Carleton: 1831-1909, who served with distinction in the Scottish Highland regiment 21st Royal Scots Fusiliers. From: PhotoSeed Archive

But then things got better. When was the last time you encountered a marble bust on display of a famous photographer, who also happened to be an artist? And from 1868? Certainly, in my estimation, the Scottish people are historically way ahead of the curve when it comes to acknowledging the genius of photography! And not to leave the female gender absent, the wall card informs us the artist behind the sculpture was none other than Hill’s second wife, Amelia Robertson Hill. In fact, scholars have now credited her with helping her husband complete the Disruption painting by 1866. Included as part of the Portrait galleries (semi-permanent?) exhibition: HEROES & HEROINES – IDEALISM AND ACHIEVEMENT IN THE VICTORIAN AGE, Robertson Hill’s ““heroic” bust shows Hill wearing classical drapery rather than contemporary dress-furthering an immortalization and lasting impression for the ages of a real photographic innovator.

One of the photographic highlights of the “Images of Italy 1480-1900” exhibition at the National Library of Scotland was this collected portfolio titled “Macpherson’s Photographs Rome”. Opened to the index at left, it lists 191 different views available for purchase directly from the photographer’s Rome studio, including “The Forum of Trajan, Rome”, (cat. #20) at right. Robert Macpherson (1814-72) was born in Dalkeith, south of Edinburgh. The display card notes Macpherson: “Like many early photographers,…was initially an artist before turning to photography in 1851. Although based in Rome, Macpherson also took images of the surrounding countryside.” Photo taken in October, 2024 by David Spencer for PhotoSeed Archive. Bottom: Another example of one of Macpherson’s Photographs of Rome from this archive: “Arch of Constantine” (North facade) albumen silver print: 31.1 x 41.0 cm, mounted to primary support: 40.3 x 50.3 cm, with the artist’s blindstamp (trimmed) and 2. in graphite corresponding to index. From: PhotoSeed Archive

In the library at the Portrait gallery, I happened upon the volume A Perfect Chemistry: Photographs by Hill and Adamson, (Anne M. Lyden: National Galleries of Scotland: 2018) which helpfully reproduced several photographs by the duo taken in Edinburgh’s Greyfriars Kirkyard, and so I was off to see if I could find remains of some of the memorials shown in the early 1840s photographs. The library itself holds the world’s largest collection of Hill and Adamson’s photographs, with most digitized and accessible- a remarkable resource for those looking to do further research. As of this writing, The Scottish National Portrait Gallery has 6,154 artworks: original and later prints, calotype negatives, drawings and paintings by the Hill & Adamson, with 5,809 of these with images online.

Engineering and other marvels were seen, some from afar, during my Scotland visit, as well as one outside Newcastle, England- in honor of a visit to see where my father spent his boyhood and where my grandfather and his father made their living in the steel works along the river Tyne. Left: The Queensferry Crossing (bridge) from a speeding van heading to the Scottish Highlands: opened in 2017, the Crossing, at 1.7 miles long, “is the longest three-tower, cable-stayed bridge in the world.” (scotland.org). (David Spencer-PhotoSeed Archive) Middle: Nearby the Crossing is the Forth Bridge, seen here 20 years after it opened in 1890. Wikipedia notes the bridge “is considered a symbol of Scotland (having been voted Scotland’s greatest man-made wonder in 2016), and is a UNESCO World Heritage Site. It was designed by English engineers Sir John Fowler and Sir Benjamin Baker. Photograph by Frank G. Ensenberger, American: (1879-1966) bromoil print, 1910: 7.6 x 12.2 cm on mount: 27.0 x 22.3 cm. (PhotoSeed Archive) Right:  The “Angel of the North” (1998) in Gateshead, England, by sculptor Sir Antony Gormley, is believed to be the largest sculpture of an angel in the world. It honors the regions industrial past, including coal mining and steel making. It is 66’ tall with a wingspan of 177’, larger than that of a Boeing 757 aircraft. Photo taken in October, 2024 by David Spencer for PhotoSeed Archive

It took a while, admittedly distracted by Greyfriars Bobby, the churchyard’s celebrity resident, now permanently lying at rest but helpfully alive in perpetuity nearby as a bronze statue. Similar to accessible memorials everywhere sporting touchable appendages: think- Abe Lincoln’s very shiny nose in Oakridge Cemetery, Springfield, IL-  Bobby’s nose is equally bright- worn down by all those seeking good luck. At least for me, the act was infinitely easier than my experience 40 years ago as a student lying on my back kissing the Blarney Stone. The legend goes that Bobby, believed to be a long-haired Skye Terrier, guarded his owner’s grave in the Kirkyard for 14 years after his owner died in 1858, and after his own passing in 1872 was buried near his owner’s grave. But I digress. Soon, with the help of my amused wife, we found the remains of the Paton and Chalmers Monuments I saw in the book photographed by Hill & Adamson in 1843. Much weathered, I could not line up a modern day perspective due to a large tree and other changes in the topography, but a reasonable view was captured. 

Although a personal visit did not occur on our trip to the Scottish Highlands, my wife and I spied Stirling Castle going, I believe, a bit above the posted speed limit-apologies for the whizzing sheep in foreground. Sitting atop an intrusive crag here on the horizon, Stirling dates from at least the early 12th century, with the present buildings mostly built between 1490 and 1600, and is one of the largest and most historically and architecturally important castles in Scotland. Photo by Shannon O’Brien

“Stirling Castle”, James Craig Annan, Scottish: 1864-1946, hand-pulled tissue photogravure 15.0 x 21.8 | 20.0 x 28.0 cm on mount 21.0 x 30.2 cm. Published, 1907: Camera Work 19. Mary, Queen of Scots, was crowned at Stirling Castle, and Before the union with England, the castle was also one of the most used of the many Scottish royal residences, very much a palace as well as a fortress. From: PhotoSeed Archive

While researching Scottish photographers and Edinburgh, I realized I owned some photographically illustrated volumes featuring the city taken by Scottish native sons George Washington Wilson: born in Alvah, Banffshire: 1823-1893, and Thomas Annan: born in Dairsie, Fife: 1829-1887. These latter works were included in an 1866 edition of the narrative poem Marmion: A Tale of Flodden Field, written by Edinburgh poet Sir Walter Scott, (1771-1832) whose magnificent 200’ tall memorial- believed to be the largest dedicated to a writer- is a city landmark located just outside the Waverly train station, itself appropriately named after his groundbreaking historical Waverly novels.

Before heading to the Scottish Highlands, I thought it might be interesting to contrast work on display in the National Galleries of Scotland with my own visual record. This is a detail of artist Peter Graham’s (1836-1921- born Edinburgh) magnificent oil painting “Wandering Shadows”, from 1878. From the wall card: …the work “exemplifies the romantic vision of the Scottish Highlands at its peak. Its grand scale matches the breathtaking nature of the scenery. Graham specialised in remote, uninhabited views, often veiled by mist and featuring dramatic light effects. His successful formula drew on the earlier paintings of Horatio McCulloch as well as the writings of Sir Walter Scott. It was also based on a close observation of nature. Graham’s Highland landscapes proved highly popular and were regularly reproduced.” (photo of painting by David Spencer)

I may not have captured mist or sheep in my version of Graham’s painting, but early morning light as well as a few hikers were evident in this idyllic scenic captured near the village of Ballachulish, Glencoe, in Western Scotland. We covered a lot of ground and history on this day trip, thanks to our guide Kieran from Rabbie’s, (highly recommended) with this snap done through the window of our our speedy passenger van. Photo taken in October, 2024 by David Spencer for PhotoSeed Archive

In a chance visit to the National Library, I stumbled on the exhibit “Images of Italy”, which showcased work by the important Scottish photographers Robert Macpherson (born Dalkeith, Scotland: 1814-72) and James Craig Annan, a favorite of this archive. (born Hamilton, South Lanarkshire, Scotland: 1864-1946) I’ve uploaded several examples of their work, including Annan’s famous view of Stirling castle outside Edinburgh.

“The Herdsman”, Charles E. Walmsley (1862-1941) English. 1911, carbon print: 19.2 x 24.2 cm mount: 19.5 x 24.5 cm. Published originally as a photogravure plate in William Wordsworth’s Complete Poetical Works. (Vol. VI The Excursion) A note on this illustration states: “A Herdsman on the lonely mountain-tops.” “Frequently the shepherd finds a sheep with a broken leg or otherwise hurt. It is carried home and tended with great care. Sometimes the broken limb is set on the spot.” From the Electric Scotland website, we learn more about the metaphorical representation Wordsworth has cast this shepherd as “the wanderer” : “the striking delineation which Wordsworth has given of the early surroundings of his ‘Wanderer,’ and the circumstances that moulded his character, special stress is laid on the clerical influence which from infancy had guarded this son of the Braes of Athol.” From Ambleside, Charles Ezekiel Walmsley lived most of his life in Prospect Cottage. His working life was spent as a landscape photographer capturing images of the Lake District’s villages and fells. From: PhotoSeed Archive

Left: (inset) We did manage to see a few long-horned Highland cattle on our short trip, but none grazing in the Scottish wilds. A Scottish breed of rustic cattle, Wikipedia notes the breed “originated in the Scottish Highlands and the Western Islands of Scotland and has long horns and a long shaggy coat. It is a hardy breed, able to withstand the intemperate conditions in the region. The first herd-book dates from 1885; two types – a smaller island type, usually black, and a larger mainland type, usually dun – were registered as a single breed. It is reared primarily for beef, and has been exported to several other countries.” This big guy looks out from his enclosure from a farm store in Perthshire. (David Spencer for PhotoSeed Archive) Right: “Bull or Cow in Scottish Highlands” : H.Y. Summons, English: gelatin silver holiday card, 1944: 7.9 x 10.2 cm within folder 17.2 x 22.5 cm. From: PhotoSeed Archive

A photograph of the John Knox house in Edinburgh by Archibald Burns from my collection, who was based in the city from the early 1850s, (b. 1831-1880) is one of 8 Carte de visite albumen views in this archive included with this post. Interestingly, both Thomas Annan and Burns took up residence and trade in the former photographic studio known as Rock House, previously home to Robert Adamson and then D.O. Hill.

We of course learned about the familial Scottish clans and their many feuds on our trip to the Highlands, but also of Scotland’s military prowess. As luck would have it, this archive owns a few Crimean War salt prints featuring a famed Scottish regiment. Left: “Band 21st (Royal North British) Fusiliers. Crimea 1855.” James Robertson, English: 1813-88) salted paper print cut in halves from original: top: 10.9 x 14.3 cm, bottom: 10.8 x 14.2 cm on album leaf 23.0 x 19.0 cm. Contained within a family and “Grand Tour” album belonging to Major William Henry Carleton: 1831-1909, who served with distinction in the (then named) Scottish regiment 21st Royal North British Scots Fusiliers Regiment of Foot . Another example, uncut: Royal Collection Trust: RCIN 2500655. Right: “21st Fusiliers Crimea. 1856.” James Robertson, attributed: salted paper print: 12.2 x 17.6 cm on album leaf 19.0 x 23.0 cm. . Carleton’s obituary: “The death is announced as having taken place on December 26 at Raveagh, County Tyrone, (Ireland) of Major William Henry Carleton, late of the 21st Foot (Royal Scots Fusiliers). Major Carleton served with his regiment throughout the Eastern campaign of 1854-55, including the battles of Alma, Balaclava, and Inkerman, and the siege and fall of Sevastopol. He received for his services the medal with four clasps, the Turkish medal, and was nominated a Knight of the Legion of Honour. He retired from the Army in 1870.” From: PhotoSeed Archive

I’ve included examples of both Annan’s work here, along with a few earlier Crimean war salt prints depicting members of the famed Scottish regiment 21st Royal North British Fusiliers.

Top: This still life, most likely taken by an English photographer, is a later albumen silver print from the post Crimean War era. (1860-70) It shows a composition of two crossed battle-scarred flags in background-perhaps Crimean War relics, with an elaborate silver trophy at center placed on a large drum of the Royal North British Fusiliers. At left and right are smaller drums for the Royal Scots Fusiliers, as well as a Rams head with horns at front. In 1877, the Royal “North British” designation was dropped and the 21st regiment became known as the 21st (Royal Scots Fusiliers) Regiment of Foot. Further information is welcomed. Photograph: 14.6 x 16.7 cm on album leaf 23.0 x 19.0 cm. Contained within a family and “Grand Tour” album belonging to Major William Henry Carleton: 1831-1909, who served with distinction in the then Scottish regiment 21st Royal North British Fusiliers. From: PhotoSeed Archive. Bottom: The later achievements of Scottish troops fighting in World War II can be seen in The Commando Memorial, located in Lochaber, Scotland. Unveiled by the Queen Mother in September 1952, it’s dedicated to the memory of all Commandos who gave their lives in the service of Scotland during the 1939-1945 War. Photo taken in October, 2024 by David Spencer for PhotoSeed Archive

These were taken by British great James Robertson, (1813-88) and various other nuggets unearthed to celebrate the Highlands themselves: some of the most remarkable scenery I was able to visit firsthand.

Southwest of Inverness, aboard the Spirit of Loch Ness, “Nessie”, the  cryptozoological nomad of the second deepest loch in Scotland, is briefly seen—or at least partly emerges from the loch surface due to some careful alignment with my iPhone. Fun fact: 755’ at its deepest point, Loch Ness contains more water than all the lakes in England and Wales combined. Although sightings go all the way back to 565 AD, when the Irish monk Saint Columba encountered a “water beast” at the loch, that wonderful medium of photography can be blamed for modern day interest, fueled by “evidence”- the best known being the so-called “surgeon’s photograph” of 1934. Originally published in the Daily Mail newspaper on April 21, 1934, it carried the claimed authorship of Robert Kenneth Wilson. Local shopkeepers seem happy, as visitors from around the world continually descend on the area, including yours truly. Photo taken in October, 2024 by David Spencer for PhotoSeed Archive

I hope you may be inspired by these examples of historical Scottish photography and artwork going back to the early 1840’s, as well as my modern day snaps, in order to inspire, give insight, and make you want you to learn more about Scotland in general. So plan a visit yourself, to a fiercely independent nation whose motto: “Nemo Me Impune Lacessit  translates to “No one provokes me with impunity.” 

 

  1. My timing was not perfect to the Portrait gallery, as I learned the opening of an exhibit celebrating 40 Years of Scotland’s Photography Collection would open the following week of my visit. Including a stunning series of New Haven fishwives photographs (calotypes) by Hill & Adamson taken in the early to mid 1840s, the exhibit is described:highlights from the nation’s world-class collection of over 55,000 photographs. Find famous faces, gems of early Scottish photography and new acquisitions which push the boundaries of photography.”

Summer Wanderings & Roadside Wonders

Jun 2024 | Documentary Photography, Unknown Photographers

“Waving from the Eye of Lucy the Elephant, Margate New Jersey”: Unknown American photographer, ca. 1915-25: gelatin silver snapshot pasted on larger album leaf of nine photos: 10.2 x 6.5 cm. Lucy’s head is 16 feet long and 48 feet in circumference; her neck is six feet long and 48 feet in circumference. The snapshot was included in an album of creative photographs (1890-1930) found in a Long Island, N.Y. thrift store. With additional Margate or shoreline New Jersey locales depicted along with many unknown portrait subjects, the eclectic album features rare photos of American silent era film actress Marjorie Daw (1902-1979) from 1920 and even a photograph of a man resembling Russian Ballet dancer Vaslav Nijinsky (1889-1950) dressed in the role of “Afternoon of a Faun”. From: PhotoSeed Archive

I’ll admit I’m a sucker for roadside oddities of the purely Americana kind. As a working photojournalist I chronicled the handiwork of numerous “folk artists” and passionate creators who left their mark on the land. These often took the form of oddities sculpted in wood and other materials, like fiberglass. To wit, check out my photograph of “Pinky” the elephant hoisting a martini while making her way through a Midwestern snowstorm later in this post.

In addition, I’ve long been a fan of created environments such as those by visionary artists including the late Howard Finster of Summerville, GA whose Paradise Garden can still be visited today. In Florida, I remember a giant alligator the size of a city bus beckoning tourists heading to the Disney resorts as well as a colossal Paul Bunyon and his faithful blue ox Babe in Klamath, CA: a roadside diversion my future wife and I visited while in route to Seattle.

The one oddity I have not visited yet, and the subject of this scribbling, is the famed Lucy the Elephant roadside attraction in Margate City, New Jersey. Six stories tall and originally built and named the Elephant Bazaar by Philadelphia resident James Lafferty in 1881, she was later moved in 1970 to her present location in Margate’s Josephine Harron Park to escape demolition. Completely refurbished by 2000, Lucy had already been deemed worthy, in 1976, to be listed on the U.S. National Park Registry of Historical Landmarks. The fascinating history of Lucy can be found on her official website, which includes a merch store to support ongoing preservation.

 

“Profile View of Lucy the Elephant with Clothesline and Automobiles, Margate New Jersey”: Unknown American photographer, ca. 1915-25: loose, gelatin silver snapshot : 5.1 x 7.4 cm. Purchased for this archive in 2019 from an Arkansas based seller, this snapshot may date to the years when a building on the grounds adjacent to Lucy known as the Mansion House- a speakeasy- was converted to a rooming house after 1920: the year the US Volstead Act outlawed the sale of alcohol- thus the domestic details of clothes hanging on a line seen at far left of image. Lucy is six stories tall and covered in tin metal. From: PhotoSeed Archive

For some reason, the subject of elephants keeps cropping up in this site’s collection efforts. Jumbo the elephant- or at the least the stuffed version- was the subject of a March, 2015 blog post on PhotoSeed, and in keeping with that spirit, a small collection of historical snapshots of Lucy the Elephant from Margate, New Jersey that are believed to date from the late 1910’s into the 20’s makes up this present gallery post.

Not Summer but Winter: Photographed through my windshield while on assignment for the State Journal-Register newspaper in Springfield, IL, I captured Pinky the elephant-wearing her sunglasses and hoisting a martini while being transported on a trailer as a snowplow drives past during a 1990 Midwestern snowstorm in Riverton, IL. Owned by the Kent Family, Pinky is now 45 years old in 2024 and still a presence and delight to those in Central Illinois. Photo by David Spencer

In anticipation of summer travels, in May of this year, the newspaper USA Today released the results of their annual readers choice for the Best Roadside Attraction of 2024, and you guessed it, Lucy was voted the number one attraction. Enjoy this roadtrip down memory lane.

“Women Pose in front of Lucy the Elephant, Margate New Jersey”: Unknown American photographer, ca. 1915-25: gelatin silver snapshot pasted on larger album leaf of nine photos: 6.2 x 5.0 cm. In background at right, several of the onion-shaped domes of the former Turkish Pavilion, originally constructed in 1876 for the Centennial Exhibition in Philadelphia’s West Fairmount Park, can be seen. The structure became a popular nightclub for many years after it was disassembled piece by piece at the conclusion of the fair and erected behind Lucy by owners the Gertzen family at an unknown date. Visitors were charged 10 cents to tour the furnished interior of the Elephant building and climb the 130 stair spiral stairway to the howdah or observatory on its back. From: PhotoSeed Archive

 

“Woman waves alongside Companion next to Lucy the Elephant, Margate New Jersey”: Unknown American photographer, ca. 1915-25: gelatin silver snapshot pasted on larger album leaf of nine photos: 7.6 x 10.1 cm. Power lines can be seen just above the window at left located in one of Lucy’s rear feet. A few more statistics from Lucy’s official website: “Entrance stairs lead to a reception room, which is 18 by 18 feet. Other rooms are off this main one. There are 22 windows. In the construction of this monster, made of wood and metal, it is said that a million pieces of timber and 8,560 ribs or arches, 200 kegs of nails, and four tons of bolts and bars were used. It required 12,000 square feet of tin to cover the structure.” From: PhotoSeed Archive

 

“Profile View of Lucy the Elephant from Beach Side, Margate New Jersey”: Unknown American photographer, ca. 1915-25: loose, gelatin silver snapshot : 5.1 x 7.4 cm. This image was purchased for this archive in 2019 from an Arkansas based seller and the snapshot may date to the years when a building on the grounds adjacent to Lucy known as the Mansion House- a speakeasy- was converted to a rooming house after 1920: the year the US Volstead Act outlawed the sale of alcohol. From: PhotoSeed Archive

 

“Two Women Pose in front of Lucy the Elephant, Margate New Jersey”: Unknown American photographer, ca. 1915-25: gelatin silver snapshot pasted on larger album leaf of nine photos: 7.6 x 10.2 cm. The painted sign on the sand at center states “Don’t Fail to visit the Elephant”. Some additional statistics from Lucy’s official website: “The body is 38 feet long and 80 feet in circumference; the head is 16 feet long and 48 feet in circumference. Lucy’s neck is six feet long and 48 feet in circumference; legs are 22 feet long and 10 feet in diameter. The ears are 17 feet long and 10 feet wide. It is estimated that each weighs 2,000 pounds. Lucy’s tusks are 22 feet long; tail 26 feet and eyes 18 inches in diameter. The latter are made of glass. It is estimated that Lucy can be seen (without use of binoculars) up to eight miles. “ From: PhotoSeed Archive

“Lucy the Elephant with Automobile Campers in Summer, Margate New Jersey”: Unknown American photographer, ca. 1920-29: loose, gelatin silver print removed from album : 9.7 x 14.0 cm. Purchased for this archive in 2025 from a California based postcard dealer, the view likely dates to the mid 1920’s. By then, an earlier tent camp (it was so popular it required 40 tents to satisfy the demand) generating income for Lucy’s owner had been abolished by Margate city officials by 1920: the year the US Volstead Act outlawing the sale of alcohol took effect. However, as evidenced here, auto beach camping may have been exempted. Notice the activity in center foreground: the sedan has camping supplies arranged inside a large trunk outfitted to the drivers side resting on its sideboard- a tent set up over the passenger side door opens to larger sleeping quarters. A young boy looks towards the photographer at left behind the auto and a table set with chair is to the rear of the sedan adjacent to another auto tent. The photo was taken before 1929, when Lucy’s original howdah viewing platform was blown away in a storm- replaced after with a less elaborate version. From: PhotoSeed Archive

Christmas Nocturne

Dec 2023 | Documentary Photography, New Additions, Significant Photographers, Texts

“A Nocturne of New York -Christmas 1915”: Jessie Tarbox Beals, American (1870-1942) 1915 print from negative 1905-1906: vintage Silver Bromide print 8.0 x 10.1 cm affixed within folded single sheet of tan woven paper with printed poem by Beals 18.9 x 27.7 cm. One of two known versions of Beals 1915 Christmas card, with the other held by Princeton but actually showing streetcars and the One Times Square building in the background. The famous New York City landmark skyscraper the Flatiron Building, built in 1902, is shown looming over the horizon just to the right of the center of this photograph. The original acetate negative for same is held by the Museum of the City of New York describing the view as “Fifth Avenue at 25 Street (at dusk), 1906.” (catalogue # 91.53.39)  From: PhotoSeed Archive

Have Faith

Dec 2020 | Documentary Photography, New Additions, Unknown Photographers

A Christmas Wish

“The Vendors & the Faithful”: Manuel Arellano: Filipino, b. 1885. Vintage bromide print ca. 1920-30: 34.5 x 27.2 | 38.1 x 30.4 | 45.8 x 35.8 cm. Wearing a traditional short-sleeved Camisa blouse, a woman devout in her faith kneels and prays inside a church while vendors stand behind her with wares for sale. These would most likely include rosaries, religious pamphlets and small religious icons such as the Black Nazarene, should the location of the photograph be the Minor Basilica of the Black Nazarene (Quiapo Church) fronting Plaza Miranda in Manila, perhaps the most important symbol of Roman Catholicism in the Philippines. Further research for the location of this photograph may be the former Antipolo Church, now Antipolo Cathedral-rebuilt after the church was destroyed in World War II. From: PhotoSeed Archive

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