Charles William Carter (C. W. Carter), US-amerikanischer Photograph (*4. August 1832 in London, England; †27. Januar 1918 in Midvale, Utah)
»C. W. Carter’s View Emporium was a Salt Lake City, Utah business owned by photographer Charles William Carter, who founded it in June of 1867. During 1868 and 1869, Carter partnered with photographer John B. Silvis as Carter & Silvis but later returned to his own business. He became a well-known photographer of Utah, its native peoples, and its Mormon citizens. The Church of Jesus Christ of Latter-day Saints in Salt Lake City holds approximately 1,000 of his original glass plate negatives.« Quelle: https://www.masshist.org/photographs/nativeamericans/essay.php?entry_id=72
Portraitfoto: Fig. 36: A Photograph of Charles Carter, http://silverepicent.com/photofound/photofound/Photograph_Found/Appendix_B.html
Quellen:
- Massachusetts Historical Society, Photographing the American Indian: Portraits of Native Americans, 1860-1913, from the collections of the Massachusetts Historical Society, https://www.masshist.org/photographs/nativeamericans/essay.php?entry_id=72
Verlinkung auf:
- Utah State University, University Libraries, Digitzal Collections, Western Photographers, C.W. Carter
-- -- -- Western Photographers
About this collection
In the 1860s and 1870s the Intermountain West for most Easterners was an exotic, interesting, and potentially dangerous place. Eager to see images, but distrusting the accuracy of artists, they clamored for the realism that photography could provide. William Henry Jackson, A.J. Russell, C.R. Savage, Jack Hillers, Carleton Watkins, and others used the transcontinental railroad to transport the bulky equipment needed for collodion, wet-plate negatives that brought top dollar in the form of stereo-views or "large-format" prints.
The twenty years from 1860 to 1880 was the golden age of Western photography because quality images were in high demand. Every government survey and all the major railroads had official photographers. Interest would wane, however, in the 1880s as the general public started to want cheap, low quality shots of popular tourist destinations. Furthermore, as the West became mundane, the more evocative, romantic recreations of the "Old West" found in dime novels and Wild West shows became more popular.
Items found in this digital collection are compiled from two photograph collections : 19th Century Western Stereoviews and the C.R. Savage Photograph Collection. They are both housed at Utah State University, Merrill-Cazier Library, Special Collections and Archives. Click on their links to see their inventories.
Quelle: http://digital.lib.usu.edu/cdm/landingpage/collection/westernphoto
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Early Portraits of Native Americans, 1860-1871
During the late 1850s, the development of glass plate negatives and paper photographs made photography a more commercial—and thus more public—enterprise. Photographs were used not only as private commemorations of a particular sitter, to be viewed only by his or her family, but also as a public record of, and commentary on, current events and culture. Beginning in the 1820s, the United States government collected portrait paintings of American Indians for its "Indian Gallery," as a way to preserve a visual record of a race that most considered doomed to extinction in the face of western expansion and by the perceived inability of natives to adapt to modern American culture. As photography became more acceptable as an artistic and documentary medium, photographic portraits of Native Americans superseded paintings as a public documentation of the "vanishing race." Carte de visite and tintype photographs of Indians provided the average American a means by which to view unfamiliar tribes in a non-threatening manner, without a direct encounter.
The photographs exhibited here were taken mostly by Plains and Rocky Mountain photographers and depict Arapaho, Cheyenne, Chippewa, Ottawa, Pawnee, Sioux, and Ute men and women. Many of the portraits appear to portray their subjects objectively, wearing representative native dress. Others show the ways in which the photographers perceived their native sitters in relation to the Manifest Destiny of western migration, posing them in front of American flags or in aspects of modern dress. Still others reveal a subtle commentary on the ways in which different tribes interacted with American expansionism, as foe and as friend. About the Photographers
Charles DeForest Fredricks (1823-1894) has been credited as the first photographer to introduce the carte de visite format to the United States through his New York studio and is primarily known for his popular carte de visite portraits of eminent Americans, most of which were taken and published during the 1860s. Fredricks began his career as a case-maker for daguerreotypist Edward Anthony of New York, N.Y. (who also became a renowned publisher of cartes de visite) but also learned the techniques of photography from another prominent New York daguerreotypist, Jeremiah Gurney. Hearing of work available in South America for itinerant photographers, Fredricks traveled there in 1843, eventually setting up shops in Argentina, Brazil, and Uruguay, as well as Cuba, during the late 1840s and early 1850s. In 1853, Fredricks returned to New York and entered into partnership with Gurney, experimenting the following year with new techniques in paper photography. He eventually opened his own photography studio in 1857 and continued to work as a photographer in New York until 1889.
William Henry Jackson and his brother Edward opened their Jackson Brothers photography studio in Omaha, Nebraska in 1867, merging it with another Omaha studio owned by William, Hamilton & Jackson's Gallery of Art. That same year, William did some of his first "field work" photography, taking some of the portraits of Pawnee, Otoe, Arapaho, and Sioux men that appear in this web presentation. Previously, he had worked as a photographic retoucher and, during the Civil War, served as a staff artist in the 12th Vermont Infantry. William Henry Jackson would later become the official photographer for the U.S. Geological and Geographical Survey, led by Ferdinand V. Hayden, from 1870 to 1878; in this capacity, he took what were eventually regarded as some of the most influential landscape photographs of the American West of the nineteenth century. Jackson continued to photograph the West from his studio in Denver after expedition work and, in 1893, was named the official photographer for the World’s Columbian Exposition in Chicago.
The photographs in this exhibition that are attributed to the Denver Photographic Rooms were most likely taken by William Gunnison Chamberlain (1815-1910), a native of Newburyport, Massachusetts who became one of Colorado’s most prolific photographers from 1861-1881 and worked for a time for the Denver studio.
C. W. Carter’s View Emporium was a Salt Lake City, Utah business owned by photographer Charles William Carter, who founded it in June of 1867. During 1868 and 1869, Carter partnered with photographer John B. Silvis as Carter & Silvis but later returned to his own business. He became a well-known photographer of Utah, its native peoples, and its Mormon citizens. The Church of Jesus Christ of Latter-day Saints in Salt Lake City holds approximately 1,000 of his original glass plate negatives. About the Collectors
These portraits from the Massachusetts Historical Society were collected by two Massachusetts men, Charles W. Jenks and Francis Parkman. Charles W. Jenks was a graduate of Harvard College, Class of 1871. He worked in the paper business for L. Hollingsworth & Company in Groton and Boston before settling in Bedford, Massachusetts. There, Jenks' interests included botany, horticulture and agriculture. He served as a trustee of the Bedford Public Library and of the town's cemetery, and was a tree warden and town moderator. Jenks' collection of carte de visite portraits consists of images of prominent American politicians, officers, soldiers, and other public figures active during the years of the Civil War, from 1861 to 1865. Included in these portraits are the two photographs of Chippewa men presented here; these photographs were possibly collected by Jenks to commemorate the Chippewa role in the Dakota Sioux trial of 1862.
The rest of the portraits within this web display were collected by the historian Francis Parkman. Parkman, a graduate of Harvard College, Class of 1844, had studied Plains Indian life when he travelled and hunted with the Sioux along the Oregon Trail in 1846. He was a diligent and prolific historian. In addition to writing The Oregon Trail: Sketches of Prairie and Rocky Mountain Life, he wrote France and England in North America, a multi-volume epic including the titles, The Conspiracy of Pontiac and the Indian War After the Conquest of Canada, and Jesuits in North American in the Seventeenth Century, in which American Indians play a central role. The photographs he collected were taken circa 1860-1871 and depict Pawnee, Ottawa, Arapaho, Ute, Cheyenne, and Sioux natives.
Quelle: https://www.masshist.org/photographs/nativeamericans/essay.php?entry_id=72
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Another to mention the daguerreotype was Charles W. Carter, a professional Salt Lake City photographer. In 1885 he announced that he had an artistic rendition of the daguerreotype for sale. It was described thus: "Joseph Smith, the Prophet: Copied from the original daguerreotype, taken at the City of Nauvoo, in 1843." (see Fig. 2) A short time later Mr. Carter would advertise in the Deseret News: "C. W. Carter, photographer of this city, has in his possession a daguerreotype portrait of the Prophet Joseph Smith, taken in Nauvoo in the year 1843." He would later state how he came to obtain this image in another advertisement: "THE ONLY CORRECT PHOTOGRAPH OF THE PROPHET JOSEPH SMITH... copied from the original daguerreotype taken in 1843, kindly loaned to me by Joseph Smith, jr."
Quelle: The Possibility of a Joseph Smith Photograph http://silverepicent.com/photofound/photofound/Photograph_Found/The_Possibility.html
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Charles William Carter (see Fig. 36) was born August 4th, 1832 in London, England. Nothing is known about Carter's youth in England except that he fought in the Crimean War, where he rose to the rank of sergeant.
Fig. 35: The Carter Image circulated in the West. Carter claimed that it was copied from the original daguerreotype of Joseph Smith but that it was in need of retouching. It has more photographic qualities than Carter’s other images. Notice how he extends the left coat lapel up to the ear. Evidence suggests the Prophet’s daguerreotype did not have this extended collar. Note the optically correct appearance of the eyes. We believe this could be a “keyed” retouched copy of the Prophet’s original daguerreotype/photograph.
The Carter Confusion is Confusing
Carter may be the man responsible for all of the confusion generated in the West over the possibility of a Joseph Smith daguerreotype. Over the years, people have dismissed the idea of Foster's daguerreotype, due to all the obviously hand-drawn images of the Prophet listed as copies of the photograph. Three of Carter's hand-drawn copies were filed with the Library of Congress under the dates, August 31st, September 25th, and December 26th, 1885. Carter's claim that they were copied from the daguerreotype have led many to believe they are photographic copies instead of drawings.
Due to all of this confusion, it has been stated by some that Carter may have been mistaken in his claims. That perhaps he obtained a daguerreotype of some art-work and mistook it for an actual picture of the Prophet. This is unlikely. Had Carter been an amateur of photography, one could believe this argument, but one must remember that Carter was not a novice to his trade. He was an intelligent and able professional photographer.
With the copyright secured, the law forbidding reproduction, and the Joseph Smith III family in ownership of it, Utah Saints, who either wanted to make a little money off the daguerreotype or possess it for nostalgic reasons, were forced to accept drawings from it. Their claims of "photograph" and "taken from" a photograph have been misinterpreted by later generations. It must be remembered that "taken from" was a term that originally meant "rendering a copy" and was originally used centuries ago with the "camera obscura".
On January 27th, 1918, Charles William Carter died, and things got even more confusing. His health had been failing for some time. Shortly after Carter retired from the photographer's life, he died on March 13th 1906, at the age of 74.
Without Carter in the flesh to answer questions, his art-work was many times mistaken for the daguerreotype. One would appear as a Frontispiece in the Young Woman's Journal. The explanation reads: "The Frontispiece is the only full face portrait of the Prophet Joseph known. It was taken by C. W. Carter, pioneer photographer, from an old daguerreotype found at Nauvoo." This is an incorrect statement. It is not the "only full face portrait of the Prophet Joseph known". While no one doubts the intentions of the periodical, it further goes to illustrate the confusion. However, it is only part of it. Harrison Sperry is another example. On the 17th of October, 1921, he copyrighted a drawing of Joseph Smith calling it a photograph. It again is similar to Joseph III's daguerreotype but it is obviously a painting. (see Fig. 39)
Joseph Smith III's Willingness
Joseph III was very willing to show himself able and equal to the task of being his father's successor. At the death of the Prophet, Emma hid several church artifacts in order to keep them away from Brigham Young. This is discussed at length in Appendix A. In 1866, Emma gave the manuscript of the Prophet's translation of the Bible to the Reorganized Church for publication. Joseph III was ecstatic over its release. It added to his prestige immeasurably. He hoped it would show his leadership ability to the Utah Saints, but Brigham Young refused to acknowledge the release of the translation and forbid its use. It is possible that Joseph III hoped to touch the people's heart by releasing the JS photograph in the West. His copyright would serve as a means of controlling its use and possibly focus attention on his claims of succession. Joseph III did not have to wait long to act. After Brigham Young died, the Church again pondered who would be best qualified to lead them. Brigham had been the president for so long it was hard to imagine Utah without him. However, John Taylor as head of the Apostles, was called to fill that position. Taylor was only president a short time when Joseph III launched his successful attack against polygamy.
When Carter obtained the image from Joseph Smith III in 1885, President John Taylor had gone into hiding to avoid arrest for practicing polygamy. Joseph III had been waiting for just such an opportunity to gather the Utah Church under his direction. President Taylor was accused of "abandoning the flock", leaving them to be devoured by hungry wolves. Joseph III hoped the people would see him as "a port in the storm." Perhaps this picture would serve to remind them once more of the Smith family waiting with open arms to receive the abandoned Saints on the shores of the Mississippi. He was wrong once again; and the Utah Mormons clung to the Twelve Apostles just as Joseph Smith had cautioned them too prior to his murder.
Whether Carter lied or told the truth about the image is somewhat unimportant. Truth or lie, either is historically possible and each lends itself to interesting possibilities.
Despite how Carter got the image, he would later have several drawings done from it which he recopyrighted under his own name. Perhaps Joseph Smith III objected to his selling it or the way in which he was marketing it. It is significant to note the similarities between Joseph III's copy of the daguerreotype and Carter's drawings. (see Fig. 38) Note how Carter's drawings do not have the extended collar touching the ear while the retouched image does.
What if Carter told the truth?
What if Carter had told the truth about how he obtained the image. The authors prefer this explanation as it gives Carter the benefit of the doubt. Since it is a fact that Carter stated Joseph Smith Jr., gave him the photograph, perhaps it is we, and not him, that misunderstand. Could it be that Carter meant Joseph Smith III when he referred to Joseph Smith Jr.? Joseph III was at times called Joseph Jr., just as Joseph Jr. was sometimes called Joseph Sr. For example, in an affidavit by Hyrum Smith, used to get the prophet out of the grasp of Joseph H. Reynolds, sheriff from Missouri, the following statement was made. It appears from this affidavit that Missouri had written a warrant for the arrest of Joseph Smith, Junior. Hyrum testified:
Hyrum Smith sworn, said that the defendant now in court is his brother, and that his name is not Joseph Smith, Jun., but Joseph Smith, Sen., and had been for more than two years past.
Joseph Smith, the father of the Prophet, died on September 14th, 1840, and hence at the time these warrants were issued against the Prophet in June, 1843, he was no longer Joseph Smith, Junior, but Joseph Smith, Senior. A technicality, it is true, but it worked. A warrant issued for the wrong man is not binding. Joseph Smith III, would officially now be Joseph Junior. In order to differentiate all of the Joseph Smith's both on the LDS and RLDS side, modern historians use Joseph Smith Junior for the Prophet and Joseph Smith III for his son, but for the people of Carter's day, Joseph III was called, at times, Joseph Smith Jr. Note a news article printed in the Salt Lake Tribune, November 23rd, 1876 a non-Mormon controlled newspaper:
Joseph Smith, Jr., the true head of the Mormon Church, arrived in this city yesterday from the West, and is now stopping with Mr. Peter Reinsimar of the Eighth Ward. We welcome him to Utah, and feel sure for him and his co-laborers. ...The time for Joseph Smith, Jr., to put in the sickle is come, and we trust he will do it vigorously, that the power of Brigham may be broken.
Therefore, it is possible that Carter rightly said that he had obtained a copy of the daguerreotype from Joseph Smith Junior -- Joseph III. If this is true, then why would he have need of retouching the image? Daguerreotypes are images upon a highly polished silver plate. They are exactly like a mirror when tilted into the sun. It is somewhat tricky balancing the lighting in order to recapture the image without vast reflection. Perhaps Carter found this difficult and had to tilt the image in order to recapture it. This would explain the keystoning and the need for "touching it up with India ink." But, why would Joseph Smith III allow Carter to copy his daguerreotype?
Fig. 36: A Photograph of Charles Carter.
The Crimean War (1854-1856), while not really much of a war, did go down in history as the first war: "photographed and reported by war correspondents." Also at this time a new photographic process was invented. It was called the Wet-Collodion process, sometimes termed "wet-plate". It had many advantages, one, was a glass negative. This meant that several positive prints could be taken from one negative. Another advantage was a very short exposure time ranging from a few seconds to a few minutes.
The Crimean conflict arose when Russia occupied two Turkish provinces, Moldavia and Walachia. When Turkey declared war, England, France and Sardinia joined in to protect their own interests. The actual fighting consisted of three major battles and, "most of the loses on both sides resulted from hunger, exposure, and disease." This provided many scenes for the camera man to capture. It was during this war that Carter learned photography.
It is not known when Carter joined the Mormon Church but it is believed to have been after the war. He was probably 24-26 years old at the time. Wadsworth pointed out that there is some confusion as to when Carter immigrated to Salt Lake City. There seems to be two possible dates: 1859 or 1863. Either way, the Saints were already well established in the Salt Lake Valley when he arrived.
Carter worked hard at his photography trade and soon prospered among the Saints. Many of Salt Lake's famous pioneer scenes were captured by Charles Carter and for this we owe him a great debt. During his life, he was favored many times by photographing President Young and other prominent men.
Quelle: http://silverepicent.com/photofound/photofound/Photograph_Found/Appendix_B.html
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On January 27th, 1918, Charles William Carter died, and things got even more confusing. His health had been failing for some time. Shortly after Carter retired from the photographer's life, he died on March 13th 1906, at the age of 74.
Quelle: http://silverepicent.com/photofound/photofound/Photograph_Found/Appendix_B.html
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The Church of Jesus Christ of Latter-Day Saints Church History Library PH 1300: Charles W. Carter glass negative collection circa 1860-1900 https://eadview.lds.org/findingaid/PH%201300/
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Set in Stone, Fixed in Glass by Nelson B. Wadsworth
IV. C. W. CARTER “Views—1,000 to Select From!” ¤ C. W. SYMONS “A Master at Portraiture”
[p.130] 134. Charles William Carter as he appeared about the time he opened his gallery in Great Salt Lake City (ca. 1868; from an old tintype).
[p.131] Among the commercial photographers at the capstone-laying ceremony for the Salt Lake temple in 1892 was an eccentric, sixty-year-old British Army veteran who had been photo-documenting Mormon life for nearly three decades. Charles William Carter had become interested in photography as a young soldier during the Crimean War (1853-56), shortly after the collodion or wet-plate process forced daguerreotypes into obsolescence.1
Carter was born on 4 August 1832 in London, England, to Richard Carter and Eliza Shadbolt.2 ...
Ausführlich! Ergiebig! http://signaturebookslibrary.org/set-in-stone-fixed-in-glass-4-c-w-carter-and-c-w-symons/
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CHARLES WILLIAM CARTER A.K.A. C. W. CARTER'S VIEW EMPORIUM Salt Lake City, Utah
Charles William Carter was born in London, England on August 4, 1832. Early in his life in England he was a schoolmaster, and was also a sergeant in the British army. Carter came to Salt Lake City in 1859, and set up his first photograph studio. As one of Utah's most famous early photographers, Carter documented the construction of the Mormon Temple and Tabernacle. He also made fine views of Shoshone Indians, mining, the Transcontinental Railroad construction and Mormon life. He died at the home of his daughter, Mrs. George Smith, in Midvale, Utah on January 27, 1918.
Only a few, rare Yellowstone views are known by Carter. The are all printed with his company name, "C.W. Carter’s View Emporium."
http://www.yellowstonestereoviews.com/publishers/carter.html
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PH 1300: Charles W. Carter glass negative collection circa 1860-1900
In 1906, Charles W. Carter sold his collection of nearly 1000 glass plate negatives to the LDS Church's Bureau of Information on Temple Square for $400. These photographs document the history of the Mormon Church as well as the settlement of the western United States. Many pictures show early Mormons, Indian, and Chinese, as well as street scenes and scenic views, not restricted to Mormon subjects and not restricted to Utah. The LDS Church History Library has scanned the negatives and made these images available for viewing on the internet without cost.
http://hickmanmuseum.homestead.com/CWCarter.html
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C.W. Carter photograph collection, 1860s-1870s Overview of the Collection
Photographer: Carter, C. W. Title: C.W. Carter photograph collection Dates: 1860s-1870s (inclusive) Quantity: 11 photographs Collection Number: P0366 Summary: The C.W. Carter photograph collection contains prints of photos taken by Carter. Generally concern important LDS [Latter Day Saints; Mormonen] sites and views of Salt Lake City. Repository: University of Utah Libraries, Special Collections. Special Collections, J. Willard Marriott Library University of Utah
Archives West, Orbis Cascade Alliance, http://archiveswest.orbiscascade.org/ark:/80444/xv86685
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