The following commentary appeared on the index page for this portrait of Robert Gordon Hardie by A. D. Wyatt: “Mr. Hardie was born in Brattleboro, Vt., March 29th, 1854. After trying type setting, proof reading, wood carving and engraving, his natural talent asserted itself, and for four years he spent his evenings at the Cooper Institute and the Academy of Design in New York. Leaving America he went to the great art centre, Paris, where he remained for five years under Gerome, and in the Ecole des Beux Arts. He took the first prizes in his school and gained the position of No. 1 at several of the monthly contests for rank. Here he made a copy of a picture of Cabanel’s that was so clever that the master sought him out and aided and guided the young American during his last year in the French capital. He has been home but nine years, but in that time he has painted a long list of distinguished men, including David Dudley Field, President Eliot, of Harvard, Horace White, Benjamin Bristow, etc. His work is marked by careful drawing and admirable color, and he is more than ordinarily successful in getting striking likenesses. As his clients are rather widely scattered, he finds it convenient to have studios in New York, Boston, Brattleboro and Northeast Harbor, Maine. He is clever as a genre, and landscape painter, but as he usually has commissions a year ahead, he is compelled to devote himself to portraiture. He ranks with the best in the land. He has exhibited in the Paris Salon.”

Arthur Damon Wyatt: 1859-1921

Vermont native Arthur D. Wyatt ran a photo studio at 61 Main Street in Brattleboro, Vermont from 1884-1915.

ARTHUR D. WYATT’S STUDIO.—There is such a widely marked difference between an artistic and an ordinary photographer, that it is always a pleasure to mention the one who applies the principles of art to his profession. Such a one may be found in Mr. Arthur D. Wyatt, whose gallery is located in Brattleboro. His business was established in 1881, under the firm name of Messrs. Emery & Wyatt; in I883 it became Wyatt & Phillips, and in December, 1884, Mr. Wyatt took the gallery upon his own hands. He has nicely fitted rooms, with a rich display of his work, including pictures in India ink, crayon, pastel, and water colors. Mr. Wyatt does every kind of artistic photographing, including cabinet, small and Imperial sized photograph. He is a practical photographer, having been four years an employee in a gallery. He has a modernly appointed operating and developing room and draws his patronage from the best classes. Mr. Wyatt is a native of Vermont and a member of the I. O. O. F. He is a man of reliable business principles and true to his promises, while his work is unsurpassed.”— Industries and Wealth of the Principal Points in Vermont, (Brattleboro) 1891, p. 124

“Arthur D Wyatt who learned photography in Caleb Howe’s “Gallery,” had a studio in the Cutler building from 1882 to 1915 where with an artist’s eye and feeling he achieved results which gave to his work a distinctive place and an extended reputation.”—Annals of Brattleboro, 1681-1895, vol. 2, 1922,  p. 657

Sun & Shade: An Artistic Periodical

“Within the covers of Sun and Shade…We shall especially endeavor to encourage the artistic side of direct photography in all its phases,”—Ernest Edwards, president & publisher, 1889

In July, 1888, the first issue of Sun & Shade: A Photographic Record of Events, was published in New York City by The Photo-Gravure Company. Essentially a high-class art periodical, each issue featured eight or more beautiful hand-pulled photogravures as well as plates printed in photogelatine, (collotype) and halftone. These were collected within a stapled, folio-sized magazine issued monthly.  The subject matter included the work of leading amateur and professional photographers, as well as works of art—many from the galleries at The Metropolitan Museum of Art in Manhattan. The December issue—Christmas themed—featured a specially designed cover printed in green ink.  Success was swift. The first issue sold 1000 copies “in a fortnight”. (1.) Within the first year, Sun & Shade quickly increased circulation to 4000 copies a month. With a public demand for reprinting earlier issues, this success lead to a rebranding, after which, beginning with the September, 1889 issue, the magazine was renamed Sun & Shade: An Artistic Periodical. The final issue was March, 1896, when financial issues to the parent company, spurred by the eventual May, 1896 bankruptcy of the N.Y. Photo-Gravure Company, forced its closure.

Sun & Shade would become the ultimate statement of the many skills and inquisitive mind of Englishman Ernest Edwards. (1836-1903) Essentially his own printed passion project, the magazine was fueled by his ongoing love of photography in the field (issues featured many plates by him over the years) and a deeply scientific mind which pushed the advancement of the state of photo-mechanical reproduction and fine printing.

The son of a clergyman from Bloomsbury in London, he initially made a name for himself taking photographic portraits of eminent people in his Baker Street gallery. (Charles Darwin sat for him several times) His love of the outdoors also bore fruit and he became an accomplished alpine photographer. But his real interest centered around photo-mechanical reproduction. In 1869, he took out a patent in England for his own rudimentary collotype process called heliotype. In the Fall of 1872, he moved across the pond along with his wife Charlotte, and became superintendent of Boston’s Heliotype Printing Company after selling the American rights to American publisher James Ripley Osgood. (1836–1892) Edwards ran the Heliotype Printing Co. there until the end of 1884. The following year the James R. Osgood & Co. went bankrupt, although not a result of the heliotype division.

Growing restless in Boston, he then moved to New York City, where he established a new firm in March, 1885: The Photo-Gravure Company, (subsequently renamed The New York Photo-Gravure Company) with offices in Manhattan and a leased printing factory in Brooklyn. In 1887, his company received perhaps the one commission it’s best known for today: the printing of  781 collotypes, which Edwards called photogelatine plates, making up the monumental publication:

Animal Locomotion. An Electro-Photographic Investigation of Consecutive Phases of Animal Movements, 1872-1885, with the landmark sequenced motion study photographs taken by British photographer Eadweard Muybridge. 

Restructured in 1891 as the New York Photogravure Co., Ernest Edwards continued to advance the state of photo-mechanical printing during his final decade, with Sun & Shade publishing some of the earliest examples of his own invention by 1894: plates printed in a three-color process called chrome-gelatine, a variation of his heliotype process.

Quality Rather than Quantity

Even though it survived less than eight years in print, describing Sun & Shade in Ernest Edward’s own words is perhaps the best posterity for this important photographic periodical with an artistic heart. One year after its’ debut, he wrote the following, published in The Photographic Times for August 2, 1889:

“A year ago we commenced the publication of our novel venture in journalism Sun and Shade, a Picture Periodical without letterpress, almost as an experiment, with a modest list of less than fifty subscribers. To-day we are printing an edition of 4,000 copies monthly. A sufficiently convincing proof of the wisdom of our hope that there was room for us.

“In our rapid growth the wish has been indicated unmistakably for the higher grade of pictures, and of the higher class–always for quality rather than quantity. Following rather than leading such a wish, we feel that we make no mistake in marking the future career of the magazine to be rather that of an artistic periodical than a photographic record of events.

*Our efforts shall be directed in the future to make Sun and Shade an artistic periodical which shall be not only pleasing but educational in its broadest sense, Some of our plans may be briefly referred to.

“We shall reproduce the leading pictures in the great collection of the Metropolitan Museum of Art. Within the covers of Sun and Shade will be found from time to time, reproductions of the works of American artists. We shall especially endeavor to encourage the artistic side of direct photography in all its phases, And we shall supplement these special features with examples of sculpture, architecture, and industrial art. If in the future we receive as hearty a response to our efforts as we have received in the past, our task will be indeed pleasant and our road to success a royal one.” (p. 394)

1. Notice: Sun & Shade: October, 1888. The August and September issues did not appear.