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19th Century Photographic Studios: Photographic vans, wagons and cars
Title Carousel Lightbox Checklist
   
1.Josiah Johnson Hawes
n.d.
The photographic wagon of J.J. Hawes, 19 Tremont Row Boston

Stereocard
Archives of Modern Conflict OR National Gallery of Canada
This detailed view clearly shows the photographs of Boston taken by Josiah Johnson Hawes fixed to the side of the wagon. Closer examination reveals that these could be protected by a canvas flap.
 
LL/9833
2.Josiah Johnson Hawes
n.d.
The photographic wagon of J.J. Hawes, 19 Tremont Row Boston (Detail)

Stereocard
Archives of Modern Conflict OR National Gallery of Canada
This detailed view clearly shows the photographs of Boston taken by Josiah Johnson Hawes fixed to the side of the wagon. Closer examination reveals that these could be protected by a canvas flap.
 
Also note the stereo camera on the tripod.
 
LL/9834
3.Roger Fenton
1855
The artist's van [The photographic van with Sparling on the box]

Salt paper print
17.5 x 16.5 cm
 
Library of Congress, Prints and Photographs Division
LC-USZC4-9240 - PH - Fenton (R.), no. 122 (A size) [P&P]
 
LL/8175
4.Roger Fenton
1855, 10 November
Mr. Fenton's Photographic Van. - From the Crimean Exhibition

Magazine illustration
The Courtauld Institute of Art
Copyright: Illustrated London News Ltd. All rights reserved, Gale Document Number: HN3100442890
 
"Mr. Fenton's Crimean Photographs." Illustrated London News (London, England), Saturday, November 10, 1855; pg. 557; Issue 769
 
LL/36711
5.Roger Fenton
1855, 10 November
Mr. Fenton's Photographic Van. - From the Crimean Exhibition

Magazine illustration
The Courtauld Institute of Art
Copyright: Illustrated London News Ltd. All rights reserved, Gale Document Number: HN3100442890
 
"Mr. Fenton's Crimean Photographs." Illustrated London News (London, England), Saturday, November 10, 1855; pg. 557; Issue 769
 
LL/36712
6.Roger Fenton
1855
Cooking house, 8th Hussars

Salted paper print
16 x 21 cm
 
Library of Congress, Prints and Photographs Division
LC-USZC4-9344
 
Soldiers standing and sitting around cooking pots as a cook ladels food into a bowl; in the background stands a woman and on the left is the side of Fenton's photographic van.
 
LL/36820
7.Roger Fenton
1855
Cooking house, 8th Hussars

Salted paper print
16 x 21 cm
 
Library of Congress, Prints and Photographs Division
LC-USZ62-47542
 
Soldiers standing and sitting around cooking pots as a cook ladles food into a bowl; in the background stands a woman and on the left is the side of Fenton's photographic van.
 
LL/36821
8.Mathew Brady's Studio
1862
Brady Gallery photographic team for the Civil War, Berlin, Maryland

Albumen print
Private collection of Larry West
Courtesy of Larry J. West, © West Companies, Inc., 2005. [From the book: Tokens of Affection and Regard]
 
From left to right:
 
Silas Holmes
Stephen (a cook)
E.T. Whitney
Hodges
Jim (teamster)
Mathew Brady
David B. Woodbury
 
One of the rare photographs that shows the people who actually took the photography for Brady.
 
Published in the Image of War Series, NHS, vol I, p.423.
 
LL/8597
9.Mathew Brady's Studio
1862, 28 October
Brady Gallery photographic team for the Civil War, Berlin, Maryland

Albumen print
Source requested
From left to right:
 
Silas Holmes
Stephen (a cook)
E.T. Whitney
Hodges
Jim (teamster)
Mathew Brady
David B. Woodbury
 
One of the rare photographs that shows the people who actually took the photography for Brady.
 
Published in the Image of War Series, NHS, vol I, p.423.
 
LL/43005
10.Mathew Brady's Studio
1864
Brady's photographic outfit in the field near Petersburg, Va.

Albumen print
National Archives and Records Administration
111-B-5077
 
LL/35275
11.Timothy H. O'Sullivan
n.d.
View of the Petersburg Gas Works [Detail]
[Gardner's Photographic Sketch Book of the War. Incidents of the War, pl. 81]

Albumen print
Larry Gottheim, Be-hold, Inc
Courtesy of Larry Gottheim - Be-Hold (47 / 213)
 
A forceful architectural image with light grasses in the foreground. O'Sullivan's PHOTOGRAPH WAGON from the Engineer Department is parked at the right.
 
Attribution to Timothy H. O'Sullivan comes from the authoratitive work on the subject E.F. Bleiler (1959) Gardner's Photographic Sketch Book of the Civil War (New York, Dover Publications)
 
"Negative by David Knox. May, 1865. Entered according to act of Congress, in the year 1865, by A. Gardner, in the Clerk's Office of the District Court of the District of Columbia. Incidents of the War. View of the Petersburg Gas Works. Published by Philp & Solomon, Washington. Positive by A. Gardner, 511 7th Street, Washington"
 
LL/11463
12.Timothy H. O'Sullivan
1862
New bridge built by McDowell's engineers, Bull Run, VA

Albumen print
Library of Congress, Prints and Photographs Division
Ref: 00237u
 
Note photographer's wagon at extreme left hand edge of photograph.
 
LL/42991
13.Timothy H. O'Sullivan
1865
Petersburg, Va. Mills; photographic wagon of Engineer Dept. in foreground

Stereograph, glass, wet collodion
Library of Congress, Prints and Photographs Division
Reproduction Number: LC-DIG-cwpb-00613 (digital file from original neg.) LC-B8171-1105 (b&w film neg.), Call Number: LC-B815- 1105 [P&P]
 
LL/61350
14.Timothy H. O'Sullivan
1863, November
Approach to town, Culpepper, VA

Albumen print
Library of Congress, Prints and Photographs Division
Ref: 01074u
 
Photographer and wagon at left.
 
LL/42996
15.Timothy H. O'Sullivan
1865
Petersburg, Va. Mills; photographic wagon of Engineer Dept. in foreground

Stereograph, glass, wet collodion, detail
Library of Congress, Prints and Photographs Division
Reproduction Number: LC-DIG-cwpb-00613 (digital file from original neg.) LC-B8171-1105 (b&w film neg.), Call Number: LC-B815- 1105 [P&P]
 
LL/61351
16.Alexander Gardner
n.d.
Photography wagon, with Alexander Gardiner seated in the middle

Albumen print
This work is out of copyright
[Further information on the source of this image is requested.]
 
LL/35273
17.Samuel A. Cooley
1863 (ca)
Sam Cooley - photographer, employees, and working apparatus

Albumen print
Library of Congress, Prints and Photographs Division
Ref: 03518u
 
Cooley was active in the Charleston SC, Savannah GA and St Augustine FL areas. [Dave Tooley, pers. comm. February 2011]
 
LL/43000
18.Samuel A. Cooley
n.d.
Sam A. Cooley, Field Dark-Room

Albumen print
This work is out of copyright
[Further information on the source of this image is requested.]
 
LL/35274
19.Samuel A. Cooley
1864
Savannah, Georgia (vicinity). View of Fort McAllister and Cooley's photographic tent

1 negative (2 plates) : glass, stereograph, wet collodion
Library of Congress, Prints and Photographs Division
LC-DIG-cwpb-03484 (digital file from original neg. of left half) LC-DIG-cwpb-03483 (digital file from original neg. of right half)
 
LL/36097
20.George N. Barnard
1862, March
Sudley Church on hill, and the remains of the Sudley Sulphur Spring house on the rigfht, Bull Run Creek, Cathapin Run, VA

Albumen print
Library of Congress, Prints and Photographs Division
Ref: 00956v
 
George Barnard may or not been alone. There are photographs labeled Barnard & Gibson during this time. [Dave Tooley, pers. comm. February 2011]
 
LL/42994
21.Unidentified photographer
1862, 4 July
Our Photographer, Manassas, VA

Albumen print
Library of Congress, Prints and Photographs Division
Ref: 00167u
 
Thomas O'Sullivan and his assistant.
 
It is uncertain if this is a self-portrait of Timothy O'Sullivan and if it isn't who took the photograph.
 
LL/42986
22.Unidentified photographer
1864-1865
Photographer's wagon and developing tent, Cold Harbor VA

Albumen print
Library of Congress, Prints and Photographs Division
Ref: 01728v
 
As this location was near the "center" of the war at this time the photographer could be one of many. [Dave Tooley, pers. comm. February 2011]
 
LL/42998
23.Unidentified photographer
1864
Photographer, wagon, observation tower, Bermuda Hundred, VA

Albumen print
Library of Congress, Prints and Photographs Division
Ref: 01831u
 
The war was squeezing the CSA into a concentrated area, lots of photographers in close proximity: Egbert G. Fowx, Andrew J. Russell, Thomas C. Roche are all possible candidates. [Dave Tooley, pers. comm. February 2011]
 
LL/42999
24.Thomas C. Roche
1861-1865 (ca)
Civil War Photographers Van

Photograph, detail
Private collection of Clark and Joan Worswick
LL/50715
25.Timothy H. O'Sullivan
1867
Timothy O'Sullivan's ambulance wagon and portable darkroom used during the King Survey rolls across the sand dunes of Carson Desert, Nev.

Albumen print
National Archives and Records Administration
Call Number: LOT 7096, no. 107
 
Photo shows the wagon O'Sullivan used to carry photographic equipment.
 
Plate has at top the seal of the Corps of Engineers, U.S. Army, War Department, and at bottom "Geological exploration of the fortieth parallel; Clarence King, geologist in charge; T.H. O'Sullivan, phot."
 
Plate 108 from: Geological exploration of the fortieth parallel / U.S. Army Corps. of Engineers; Clarence King, geologist in charge. [Washington, D.C., 187-?].
 
Published in: Framing the West: The Survey Photographs of Timothy H. O'Sullivan / Toby Jurovics, Carol M. Johnson, Glenn Willumson, and William F. Stapp. New Haven: Yale University Press, 2010, plate 6.
 
LL/35266
26.Timothy H. O'Sullivan
1867
Timothy O'Sullivan's ambulance wagon and portable darkroom used during the King Survey rolls across the sand dunes of Carson Desert, Nev.
National Archives and Records Administration
77-KS-346O
 
LL/35226
27.Timothy H. O'Sullivan
1869, June
Shifting Sand-Mounds

Magazine illustration
Google Books
Published in "Photographs from the High Rockies" in "Harper's New Monthly Magazine", No. CCXXXII, September, 1869, Vol. XXXIX, p.474
 
LL/34787
28.T.A. Aldrich
n.d.
Backmark on a stereocard showing a photographic waggon.

Stereoview, detail
Jefferson Stereoptics
Courtesy of John Saddy (Auction, Tues. August 29th & Thurs. August 31st, 2006, # 06-3, Lot 887)
 
LL/13882
29.H. Gurlitz
1860s (ca)
Harry Gurlitz's Photograph Gallery

Carte de visite
Private collection of Laddy Kite
LL/35887
30.Carleton E. Watkins
n.d.
B 3542. Primitive Mining. the Rocker. Calaveras Co., Cal.
[New Boudoir Series]

Boudoir card
Larry Gottheim, Be-hold, Inc
Courtesy of Larry Gottheim - Be-Hold (47 / 186)
 
LL/11455
31.Carleton E. Watkins
n.d.
Railroad Ferry "Solano" with Watkin's Photo Wagon

Albumen print, mammoth
15 x 22 in
 
Larry Gottheim, Be-hold, Inc
Courtesy of Larry Gottheim (Auction: March 13, 2008, 51, part 2 / lot 92)
 
Looking down at the Port Costa station with the ferry at the landing. A locomotive pulls a train from the ferry. Peeking out from the behind the wooden tower behind the first car of the train is the back of the wagon for Watkins' Yosemite Gallery. This also gives an indication of Watkins' working procedure. He carried the tripod, mammoth camera, stereo camera and other needs up to this elevation, and then moved to a position at an oblique angle to make the next view. This is a very rare image.
 
LL/27725
32.Carleton E. Watkins
n.d.
Railroad Ferry "Solano" with Watkin's Photo Wagon (detail)

Albumen print, mammoth
15 x 22 in
 
Larry Gottheim, Be-hold, Inc
Courtesy of Larry Gottheim (Auction: March 13, 2008, 51, part 2 / lot 92)
 
Looking down at the Port Costa station with the ferry at the landing. A locomotive pulls a train from the ferry. Peeking out from the behind the wooden tower behind the first car of the train is the back of the wagon for Watkins' Yosemite Gallery. This also gives an indication of Watkins' working procedure. He carried the tripod, mammoth camera, stereo camera and other needs up to this elevation, and then moved to a position at an oblique angle to make the next view. This is a very rare image.
 
LL/27726
33.C.R. Savage
1860s (?)
C.R. Savage's photo wagon in the desert, south of St. George Utah

Stereocard
Private collection of Bill Lee
LL/37141
34.C.R. Savage
1860s (?)
C.R. Savage's photo wagon in the desert, south of St. George Utah.

Stereocard, detail
Private collection of Bill Lee
LL/37142
35.William Henry Jackson
n.d.
104. Rocks near Platte Canyon.
[Hayden Geological Survey of the Territories]

Stereoview
Jeffrey Kraus Antique Photographics
Jackson's Wagon and Dark Tent in view
 
LL/37788
36.William Henry Jackson
n.d.
104. Rocks near Platte Canyon.
[Hayden Geological Survey of the Territories]

Stereoview, detail
Jeffrey Kraus Antique Photographics
Jackson's Wagon and Dark Tent in view
 
LL/37789
37.William Henry Jackson
1870
621. Red Sandstones near Platte Canon.

Carte de visite, detail
Jeffrey Kraus Antique Photographics
This image shows Jackson's Photo Wagon and Dark Tent. See plate 105, Era of Exploration.
 
LL/37871
38.William Henry Jackson
1870
621. Red Sandstones near Platte Canon.

Carte de visite, detail
Jeffrey Kraus Antique Photographics
This image shows Jackson's Photo Wagon and Dark Tent. See plate 105, Era of Exploration.
 
LL/37872
39.Alexander Gardner
1867 (published)
Photographic outfit, 309 miles west of St. Louis, Mo.
[Across the Continent on the Union Pacific Railway, Eastern Division]

Stereocard
Library of Congress, Prints and Photographs Division
Reproduction Number: LC-DIG-stereo-1s00027 (digital file from original photo, front) LC-DIG-stereo-2s00027 (digital file from original photo, back) LC-USZ6-4358 (b&w film copy neg. of full stereo) LC-USZ6-15 (b&w film copy neg. of half stereo), Call Number: LOT 2775, no. 27 [item] [P&P]
 
LL/61347
40.Alexander Gardner
1867 (published)
Photographic outfit, 309 miles west of St. Louis, Mo.
[Across the Continent on the Union Pacific Railway, Eastern Division]

Stereocard, detail
Library of Congress, Prints and Photographs Division
Reproduction Number: LC-DIG-stereo-1s00027 (digital file from original photo, front) LC-DIG-stereo-2s00027 (digital file from original photo, back) LC-USZ6-4358 (b&w film copy neg. of full stereo) LC-USZ6-15 (b&w film copy neg. of half stereo), Call Number: LOT 2775, no. 27 [item] [P&P]
 
LL/61348
41.Theodore Lilienthal
n.d.
Theo. Lilienthal Photo Wagon on Canal Street, New Orleans
[New Orleans Scenery]

Stereoview
Cowan's Auctions, Inc
Wes Cowan Stereoview Auction, 30 March 2015, Lot: 145
 
Theo. Lilienthal stereoview showcasing his photo wagon in the foreground and providing a nice view down Canal Street with several businesses visible, including the photographic studio of Samuel Anderson.
 
LL/58642
42.Theodore Lilienthal
n.d.
Theo. Lilienthal Photo Wagon on Canal Street, New Orleans
[New Orleans Scenery]

Stereoview, detail
Cowan's Auctions, Inc
Wes Cowan Stereoview Auction, 30 March 2015, Lot: 145
 
Theo. Lilienthal stereoview showcasing his photo wagon in the foreground and providing a nice view down Canal Street with several businesses visible, including the photographic studio of Samuel Anderson.
 
LL/58643
43.Unidentified photographer / artist
n.d.
Photographer's dark wagon with black boy standing by its side

Stereoview, hand-tinted
Jeffrey Kraus Antique Photographics
LL/37800
44.Unidentified photographer / artist
n.d.
Photographer's dark wagon with black boy standing by its side

Stereoview, detail, hand-tinted
Jeffrey Kraus Antique Photographics
LL/37801
45.H.H. Bennett
1870s
No. 135 Gates Ravine
[A Trip Through the Dells of the Wisconsin River]

Stereoview
Private collection of Ken Burkhart
H.H. Bennett with his dark tent boat and assistant sitting on shore. Several views from his series "A Trip Through the Dells of the Wisconsin River" show this traveling darkroom. This view clearly shows the two large spoke wheels at the back of the boat which could be attached to the dark tent for transporting across land.
 
LL/39411
46.H.H. Bennett
1870s
No. 135 Gates Ravine
[A Trip Through the Dells of the Wisconsin River]

Stereoview, half
Private collection of Ken Burkhart
H.H. Bennett with his dark tent boat and assistant sitting on shore. Several views from his series "A Trip Through the Dells of the Wisconsin River" show this traveling darkroom. This view clearly shows the two large spoke wheels at the back of the boat which could be attached to the dark tent for transporting across land.
 
LL/39412
47.H.H. Bennett
1870s
No. 135 Gates Ravine
[A Trip Through the Dells of the Wisconsin River]

Stereoview, detail
Private collection of Ken Burkhart
H.H. Bennett with his dark tent boat and assistant sitting on shore. Several views from his series "A Trip Through the Dells of the Wisconsin River" show this traveling darkroom. This view clearly shows the two large spoke wheels at the back of the boat which could be attached to the dark tent for transporting across land.
 
LL/39413
48.H.H. Bennett
19th century
H.H. Bennett With Wet Plate Outfit

Gelatin silver print
Museum of Photographic Arts - MOPA
Gift of Jack and Beverly Waltman, Accession Number: 2008.044.008
 
LL/45342
49.Unidentified photographer
n.d.
R.R. Bridge, Cincinnati, Ohio.
[American Views. Peoples' Series]

Stereoview
Jeffrey Kraus Antique Photographics
The Photographers dark wagon is shown prominently, in the left foreground.
 
LL/37826
50.Unidentified photographer
n.d.
R.R. Bridge, Cincinnati, Ohio.
[American Views. Peoples' Series]

Stereoview, detail
Jeffrey Kraus Antique Photographics
The Photographers dark wagon is shown prominently, in the left foreground.
 
LL/37827
51.Henry Beaufoy Merlin (1830-1873) or Charles Bayless (1850-1897)
1872 (ca)
View of buildings and Beaufoy Merlin's mobile photographic studio standing in Mudgee Road, Tambaroora, New South Wales

Albumen print
6 x 9.4 ins
 
National Library of Australia
nla.pic-vn4732019
 
In: Album of photographs of gold mining, buildings, residents and views at Hill End and environs, New South Wales, 1872-1873.
 
Part of: B.O. Holtermann archive of Merlin and Bayliss photographic prints of New South Wales and Victoria.
 
Inscription: "80016"--Negative number in pencil below image.
 
Variously attributed to Charles Bayliss and Beaufoy Merlin.
 
LL/39402
52.Henry Beaufoy Merlin (1830-1873) or Charles Bayless (1850-1897)
1872 (ca)
Dead tree trunk with pigeoncotes suspended by local storekeepers, and the horse-drawn mobile photographic studio of Beaufoy Merlin to the left, Mudgee Road, Tambaroora, New South Wales

Albumen print
6 x 9.5 cm
 
National Library of Australia
nla.pic-vn4733862
 
In: Album of photographs of gold mining, buildings, residents and views at Hill End and environs, New South Wales, 1872-1873.
 
Part of: B.O. Holtermann archive of Merlin and Bayliss photographic prints of New South Wales and Victoria.
 
Inscription: "80005"--Negative number in pencil below image.
 
Variously attributed to Charles Bayliss and Beaufoy Merlin.
 
LL/39403
53.A. Nott
n.d.
Back of carte de visite from A. Nott's, Photograph Car

Carte de visite, back
Private collection of Alan Griffiths
A Photograph Car could be either a wagon on wheels used by an itinerant photographer or, less-commonly, a photographic studio in a railway car.
 
LL/36598
54.A. Nott
n.d.
Back of carte de visite from A. Nott's, Photograph Car

Carte de visite, back, detail
Private collection of Alan Griffiths
A Photograph Car could be either a wagon on wheels used by an itinerant photographer or, less-commonly, a photographic studio in a railway car.
 
LL/36599
55.S.R. Miller
n.d.
Back of carte de visite from S.R. Miller's, Photograph Car

Carte de visite, back
Private collection of Alan Griffiths
A Photograph Car could be either a wagon on wheels used by an itinerant photographer or, less-commonly, a photographic studio in a railway car.
 
LL/36840
56.Unidentified photographer / artist
1863, 15 December
Photographic van - British Army

Magazine page
Google Books
Published in John Spiller, F.C.S., Assistant Chemist to the War Department "Photography in Application to Military Purposes" in "The Photographic Journal", Volume 8, Dec. 15, 1863, p.410-413.
 
At Woolwich we have a photographic van, which was constructed and originally used by the Royal Carriage Department. It is four-wheeled, and, being somewhat large in dimensions, is drawn by two horses, which latter are supplied when required from the Military Train service. Some few years ago this van accompanied the troops from Woolwich to Dartford, and enabled Mr. Butter to produce a series of photographs illustrative of camp life.
 
LL/35167
57.Unidentified photographer / artist
1863, 15 December
Dark tent designed by Mr. Smartt - British Army

Magazine page
Google Books
Published in John Spiller, F.C.S., Assistant Chemist to the War Department "Photography in Application to Military Purposes" in "The Photographic Journal", Volume 8, Dec. 15, 1863, p.410-413.
 
Besides these transportable operating-rooms, we have successfully used the square tent designed by Mr. Smartt. On several occasions the Artillery officers have had "field days" both in the grounds of the Royal Military Repository and on Woolwich Common, and with tents pitched have, under photographic canvas, allowed me to assume the command. Many useful sketches have thus been secured, and outdoor experience gained, which has since been, further extended by my pupils, some of whom at distant stations have given proof of the value which attaches to photography as a ready means of recording the geographical and military features of a country, or of reporting details of construction, whether relating to stockades, forts, or suggested improvements in military equipment.
 
LL/35168
58.James Mudd
1860, 15 March
Mr James Mudd encounters a photographic van in Wales

Magazine page
Google Books
Published in Mr. James Mudd "On the Collodio-Albumen Process" in "The Journal and Transactions of the Photographic Society of Great Britain", Volume 5, No.95, Mar. 15, 1860, p.179-182. In this article that was published at a time of transition between wet plate and dry plate he recounts a trip to Wales where he encountered the photographic van of an amateur.
About noon we entered a beautiful valley, through which ran a mountain stream. To my surprise, in this lonely spot, I espied, upon a rocky mound overlooking the river, the familiar " three legs " of a camera-stand surmounted by a stereoscopic camera. On coming nearer, I found drawn up on the roadside a large photographic van, bearing in outward appearance a close resemblance to that kind of itinerant habitation in which giants, dwarfs, boa-constrictors, and pig-faced ladies generally reside. Two horses, released from the shafts, but retaining their harness, were cropping, at a short distance, the grass that the neighbourhood afforded; while a man, who was evidently there as groom, driver, assistant photographer, and, as the advertisements say, "to make himself generally useful," was toiling up from the river with a pail of water. Over the roof of the van were hung large cloths dripping with water, the contents of previous buckets. This, I judged, was done to cool the atmosphere within. Just visible in the doorway of the vehicle stood a tall individual, thoughtfully polishing a plate of glass. I approached and saluted this gentleman, who kindly asked me to "walk up." These words, as I ascended the few steps that led to the interior, were so associated in my mind with "be in time, positively just going to begin ! " that I mentally repeated them; and for a moment my hand wandered instinctively to the region of my cash-pocket.
 
I found the occupier of the van an amateur photographer, who was out for amusement and the benefit of his health. With that friendliness which the brethren always display towards each other, we were soon chatting comfortably together. Of course I spoke of the process I was using; and, as I looked round upon the extent of his baggage and preparations, I could not help contrasting the smallness of my equipment with the numerous and weighty articles of his. He was very sceptical respecting the capabilities of dry plates; and when I told him I had taken three pictures that morning, asked me if I was "sure I had them." I replied that I had no uneasiness on that score, as the plates I knew were good, were exposed under favourable circumstances, and therefore could be successfully developed. He still shook his head, and " didn't believe in the dry process." " You see," he said, " I always like to know what I have got."
 
Well, we drove on up the valley, took some more views, lunched at a small inn, wandered over the ruins of a castle, and turned our horses' heads homewards by the same route we had made in the morning. It was evening as we approached the spot where we had met our friend the photographer. To my surprise, there was the camera with its slim legs clearly defined against the evening sky, in exactly the same position, and pointing precisely at the same object as it did in the morning! I descended from the carriage, and found our photographer and assistant just cleaning up for the day. Their looks were melancholy; and to my question of "what luck ? " I was informed by my "brother" that he had tried all day to take that view and had not yet succeeded. He had been badly treated, he said, by his bath, which had behaved in the most disgraceful manner he supposed, in consequence of the heat of the weather. It was annoying, he added, but unusual quite unusual. He turned his back for a moment; and his assistant, taking advantage of that movement, whispered to me, "Oh! Its always a-doing of it, Sir! I do believe gov'nor would have drowned hisself in it before this, if it had bin big enough, he's bin so awful aggerawated by it."
 
The principal portion of the day, it was confessed, had been spent in doctoring and filtering this refractory fluid. I bade our friend good bye, and, laughingly referring to his words at parting in the morning, asked him if he found any difficulty in ascertaining "what he had got" during the day ! He looked grim, and defiantly repeated that he "didn't believe in the dry," but added, somewhat more quietly, "he wished he could."
 
What became of him and his companion that night they were miles away from any human habitation I know not. Whether they drove their lumbering van by moonlight to the next village, or retired within the chemically-scented interior to pass the night, I cannot tell, for I met them no more. This I am pretty sure about: that if our wandering photographer found amusement in all this, he certainly would not find it benefit his health!

 
LL/35169
59.Unknown author
1875, 26 February
A photographic van or house on wheels

Magazine page
Google Books
Published in "Camping Out" (p.97-98) in "The British Journal of Photography", Vol.XXII, No.773, February 26, 1875, p.98.
 
A photographic van or house upon wheels, for taking views, not portraits, should be drawn by two horses abreast, in order to be large enough for comfort. The horses should be hired for the job whenever it was necessary to move it from one place to another. The van should be upon four wheels and divided into three compartments. There should be a cabriolet in front with a projecting hood, like a " Hansom " cab, in which three persons could sit abreast that is to say, two and the driver. Next to that should be the dark room, and, astern of all, the sleeping and cooking apartment, furnished with a stove and chimney. The photographer himself would sleep here, and his assistant in the front compartment, with the windows down, under the hood.
 
The van would be dragged to within an easy walk of some spot from whence several negatives could be taken, and when these had been taken successfully it would be moved to some other spot not less, perhaps, than five or six miles distant. In this way the whole of some fine neighbourhood might be conveniently photographed, whilst the expense of living at inns would be saved. The cost of living would not be, in fact, greater, if so great, as that of living at home. During bad weather negatives could be varnished, retouched, &c., and the diary of the trip be carried forward. On a trip of this kind it would be necessary to encamp in some rather solitary place not too near a town or village, but close to a river or brook. A carbon filter would be an indispensable requisite, and some cases of desiccated milk, as well as potted provisions, biscuits, &c., would be taken. Cooking by charcoal, French fashion, would be the simplest and best, if charcoal could be procured.
 
The negatives would have to be taken in a common photographic tent, as it would not often be possible to take them in the dark room of the van itself. Mr. Sutton's moist process would be admirably suited for preparing plates on an excursion conducted in this way, whenever a slow exposure would answer. The van should be regarded as the photographer's "travelling house," in which he would travel about with all his paraphernalia close at hand, together with a comfortable dark room within a mile or two, at the furthest, of the subjects to be photographed. In this way a multitude of interesting "bits," "effects," "compositions," and "studies" could be taken of all sorts of subjects, which would have great value for artists. The attempt to drag a van to the immediate neighbourhood of every separate spot from which a negative is to be taken would involve much trouble and expense, and only end in the results with which we are already perfectly well acquainted. The "home upon wheels" is the new idea which we wish to submit to the reader as something far better.
 
We will conclude this article with an extract from Mr. Hamerton's book, showing what he thinks of the probability of landscape painters being able to derive aid from photography. He says at page 180:
 
"With regard to photography in its relation to landscape painting, nobody has ever yet answered the often-suggested question how far photography may be useful to the landscape painter; and whether, under certain limitations, he may wisely practise it himself. Nor can I answer this question yet in any decisive way. I have hitherto only practised the waxed-paper process, and cannot speak authoritatively of the limitations of the wet collodion. Besides, I perceive that photographs taken for especial purposes as memoranda may be useful to a degree which, as yet, nobody has any idea of, for such photographs are not to be had in the market, where they would be unsaleable except to artists."
 
A word or two more abont the van, and then we will discuss, next week, the taking of river and lake scenery. On this subject our author has some very curious and interesting remarks.
 
A van, or home upon wheels, or "maison roulante," as the French call it, would be a home at any season, even in the depth of winter; and an enthusiastic landscape photographer might live in it and make use of it all the year round. How very interesting winter scenery would be, taken in fine localities, amongst lakes and mountains, &c. Then, again, the van might be dragged to some sheltered spot on a grand sea beach, amongst gigantic rocka and cliffs, and instantaneous views of waves and clouds be taken from it, direct, whenever anything unusually fine of this kind happened to present itself. And what an infinity of studies might be taken for drawing-masters, to be vignetted and printed by the collotype process.
 
A van such as we describe might probably be built for from £60 to £80; and the photographer and his assistant, by living in it, would save at least £7 per week as respects hotel bills, and a vast deal more for carriage and breakage of apparatus. The comfort of this mode of practising landscape photography would be immense, and the results, we verily believe, such as could scarcely be obtained, except by an unlooked-for succession of happy accidents, in any other way. Be it understood we are now discussing professional and not amateur landscape photography.
 
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60.Mathew Brady's Studio
1863
Mr Brady's Photographic Van in the panic from Centreville

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Published 'My Diary North and South" by William Howard Russell, (Boston: T.O.H.P. Burnham, 1863) p.460 and discussing the panic within the Union Army at Centreville in Virginia that took place after the defeat at Bull Run during the American Civil War. The description recounts the chaos of war.
 
Whilst on this subject, let me remark that some time afterwards I was in Mr. Brady's photographic studio in Pennsylvania Avenue, Washington, when the very intelligent and obliging manager introduced himself to me, and said that he wished to have an opportunity of repeating to me personally what he had frequently told persons in the place, that he could bear the fullest testimony to the complete accuracy of my account of the panic from Centreville down the road at the time I left, and that he and his assistants, who were on the spot trying to get away their photographic van and apparatus, could certify that my description fell far short of the disgraceful spectacle and of the excesses of the flight.
 
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61.Unknown author
1861, 2 December
Poisoning by Cyanide of Potassium, within a Photographic Van

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Pharmaeutical Journal: A Weekly Record of Pharmacy and Allied Studies, Second Series, Vol.III, No.VI, December 2nd, 1861, p.342.
 
Poisoning by Cyanide of Potassium. An inquest has been held at the Red Cow, Chapel Street, Stratford, on Henry Giblett, aged two years and six months. The deceased accompanied some other persons into a photographic van in Bridge Road, Stratford, and as they were having their portraits taken he suddenly became alarmingly ill, and by the time Mr. Kennedy, the surgeon, arrived, had expired from the effects of a quantity of cyanide of potassium, which it is supposed he swallowed out of a phial which was in a cupboard. The jury found an open verdict, "That the child died from the effects of the poison, but how administered there was no evidence to show."
 
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62.Thomas Sutton
1874, 7 August
Wanted, a good strong photographic van upon four wheels

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The British Journal of Photography, Vol.XXI, No.774, August 7, 1874, p.382.
 
Wanted, a good strong photographic van upon four wheels, in exchange for miscellaneous photographic apparatus of equal value. Apply to Monsieur Sutton, Redon (Ille et Vilaine), Brittany, France.
 
[Presumably Monsieur Sutton is Thomas Sutton.]
 
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