George White of Chesterfield & Blackpool

In an earlier post I featured the following advertisement, in the form of a handbill for Chesterfield daguerreotypist G. White, sent to me by Mike Spencer.


Handbill advertising the services of G. White, Daguerreotypist of Rose Hill, Chesterfield
Image © Derby County Record Office & Courtesy of Mike Spencer
At the time, I was unable to find out anything more about Mr. White. He isn't included on any other lists of Derbyshire photographers that I have seen. However, as a result of a recent discovery, and successful purchase, on eBay, I was able to identify him, and can now divulge what happened to him after his presumably brief sojourn in Chesterfield.


The carte de visite is of an unidentified, elegantly dressed elderly gentleman, seated in a studio, with his left hand resting on a book, which has in turn been placed on a table. There is another item on the table, possibly made of cloth. The studio setting is a fairly plain one, typical of the early to mid-1860s.


The card mount is completely blank on the reverse, but the photographer's details have been blind stamped at the base of the card front, as shown in the image above.

G WHITE PHOTO BLACKPOOL.
With the information that a photographer of this name was working in Blackpool within a decade of the presumed date of publication of the handbill, i.e. the mid-1850s, I was able to undertake a search of the census records. After a few dead ends, I found him in all four censuses from 1841 until 1871. In none of these was he described as a photographer, but I am confident it is the right person as he is shown variously as an artist or engraver, and many early photographers came to that profession through being artists.

George White was born around 1810, in either Chesterfield or Winster (he never was quite sure, according to census records). He married Ann Melbourne (dau of Belper nail manufacturer, William Melbourne) at North Wingfield in September 1834, and by the census of June 1841, they were living at a house in Chapel Avenue, Poulton le Fylde, Bispham, Lancashire. George was working as an artist, and a James White, aged 15 - possibly a nephew - is listed as an artist's apprentice. According to Bernard & Pauline Heathcote (A Faithful Likeness, publ. 2002, ISBN 0-9541934-0-7, courtesy of Ian Leith), who trawled contemporary newspapers between 1841 and 1855 for advertisements, George started work as a profile artist in 1834, either becoming a daguerreotype photographer or employing one by 1849. He also operated briefly at Preston in 1850.

Within the next few years they moved to Layton-with-Warbreck, near Blackpool, where their only son Frederick George was born in 1850. The census of April the following year shows Ann living at 1 Queen's Terrace, Layton with Warbreck, Blackpool, with their son and a nurse, but George was lodging in the parish of Church, west of Accrington. He now described himself as an engraver.

After the expiry of Beard's daguerreotype patent in August 1853 and the development of Archer's "patent free" wet collodion process, when there was a great expansion of photographic activity in England, White possibly took up the photographic business as a sideline to his art. Initially at least, he is likely to have operated mainly in the summer months, and visited areas where there were not photographers already well established. Oliver Sarony (from Scarborough) and Horatio Harrop (of Manchester) were early visiting photographers to Chesterfield, in May 1852 and 1854 respectively, while Henry Morton opened the town's first permanent studio in July 1854. Others known to have worked there in the 1850s included Andrew & James McMunn (1856), Henry Slack (October 1856), John Stringfellow and George Edgar (1858) and Hugh Boughen (1859). [Source: Professional Photographers in Derbyshire 1843-1914, by Keith I.P. Adamson, publ. Sep 1997 as Supplement No. 118 to The PhotoHistorian, by The Royal Photographic Society Historical Group, ISSN 0957-0209] No advertisements have been found for George White in Chesterfield newspapers, but it seems likely that he visited that town, albeit briefly, in the mid-1850s.

By 1861, George was back with his wife and son in the house at Queen's Terrace, and working as an "artist" once more. The carte de visite shown above is probably from the early to mid-1860s, but doesn't include an address, so it is not clear whether he had permanent premises by that time. Gillian Jones (in Lancashire Professional Photographers 1840-1940, publ. 2004 by PhotoResearch, ISBN 0-952311-5-6, courtesy of Michael Pritchard) lists him at 1 Queen's Terrace, Adelaide Street, Blackpool from 1849 to 1869, and then at 33 Adelaide Street, Blackpool in 1869. It is possible these are actually the same location.

It appears that George White retired around 1869; that is certainly how he described himself to the 1871 Census enumerator. George died in 1880, and census night in the subsequent year found his widow Ann living with their married son, still in Adelaide Street. Frederick George White, now married, stated his profession to be, "Income from houses, &c" and Ann is shown as an annuitant. Either George had done well from his art/photographic business or, more likely, Frederick had inherited property from his maternal grandfather.

Advertising by Photographers (1) Daguerreotypist, G. White of Rose Hill Chesterfield

Photographers themselves needed to advertise too. In the 1850s and 1860s, much of this was done through the local newspapers. Some early photographers would also have flyers or handbills printed, to distribute in advance of a visit to a town. Since many of these early travelling or itinerant photographers did not include their names on the mount or case of the daguerreotype or ambrotype, the advertisements may sometimes be the only means we now have of knowing that a photographer operated in a particular area. This copy of one such early handbill was kindly sent to me by Mike Spencer, who found it in the holdings of the Derbyshire Record Office at Matlock (Ref. D267/96/2(i)).

TINTED
PHOTOGRAPHIC PORTRAITS,
PAPER CUTTINGS, &c., &c.,
TAKEN AT ROSE HILL.
----------
MR. WHITE
Begs to acquaint the Inhabitants of Chesterfield and its neighbourhood, that for a short time he will take at the above place pleasing

Photographic Portraits,
Either in Single Figure or Groups.
Nothing can possibly equal the beauty of detail and faithful Likenesses of these portraits.
G. WHITE will also take his
BRONZED AND SHADED LIKENESSES,
from the plain bust to the highly finished whole length figure.
LIKENESSES COPIED.
----------
Keeps constantly a variety of suitable Frames for the Daguerreotype Portraits and Paper Cuttings.
----------
Open from 9 in the Morning till 8 in the Evening.
----------
J. ROBERTS, PRINTER

This advert is probably from the 1850s. However, I've been unable to find any other record of Mr. G. White's photographic career. The 1851 and 1861 Census, and White's 1857 Trade Directory (transcribed and presented online by Neil Wilson), show nobody by this name in any profession, at least living in Chesterfield. I'd appreciate any information whch might shed light on his identity and time in Chesterfield.

John Edward Roberts (1830-1908) was a Chesterfield postmaster, bookseller, printer & stationer with premises on the High Street.

Coming to America

Photographs are often used to tell a story. Good examples of this may be found in some of the photographs sent by emigrants to their kin back home in the old country. They wanted not only to be remembered by and keep in touch with their families, but also to share their new lives with their parents, siblings, cousins etc. Perhaps they were even trying to convince them of the good life, and persuade them to join them in their adventure.


Kimberly Carlton sent me this photo by Seaman & Sons of Chesterfield and asked: "I purchased this photo at a garage sale in the Kansas City, Missouri area, so I don't know the subjects. The back has some faint pencil writing that I think says "Frank Wood". It looks to be around the turn of the century, but not sure. Did this photographer ever work in the USA or is this pic from the UK? And why wouldn't these people be standing next to each other, I thought that was strange how spread out they were?"

I believe, by comparing the style of the mount with others produced by this studio, that the photograph was produced at around the turn of the century, as Kim has suggested. The shape of the house looks to me to be more suited to North America than late Victorian Derbyshire. I have no evidence that any members of the extensive Seaman family spent any time in North America, and have seen no other examples of photographs taken by them outside England. I wonder if perhaps the photograph was originally taken somewhere in North America, sent to relatives back home in Derbyshire, and subsequently copied by Seaman & Sons? From the shape of the sleeves of the dresses worn by the women, I think it likely that the photograph was originally taken in the 1890s.

The more I think about it, the less I can imagine this building being in Derbyshire, England, and the more convinced I am that it is located somewhere in North America, perhaps not far from Kansas City, Missouri where Kim rescued it from a garage sale. The style of photo, with the people spread out like that, although not as common as more formal studio portraits, could, I believe, have been intended by the photographer to give more of an impression of the lifestyle of the recently arrived immigrant family to their kinfolk back home in England.

Although the subjects are nominally the four people, in the usual stiff, unsmiling poses common to both indoor studio portraits and outdoor poses of the era, the photographic artist, as he would no doubt have styled himself, is trying to convey a much "bigger picture". The saw and horse, pile of freshly sawn logs, wagon or cart pulled by pair of large horses harnessed to a wagon, waiting in the yard, the rough wooden fences in the background, perhaps enclosing the yard or an orchard, and last but not least the large, solid, two-storey house, are perhaps employed to tell a story to their relatives at home - one of hard work and just reward for their efforts, and a picture of their new life in a new land.

Judging by the lack of leaves on the trees I guess this is late autumn or winter. Is that a smudge towards the top of the photo, or perhaps smoke coming out of the chimney? A fire in the hearth would not be out of place at that time of the year. I note that there are no young children shown in the photo. The man with a beard, wearing strong shoes, a wide-brimmed hat and long coat, marked above and below with two Xs, is obviously the primary subject, and presumably man of the house. The woman with a long dress standing behind him, and slightly to his right, is probably his wife The female at the extreme left appears to be a young woman - her dress is shorter, which suggests to me that she is perhaps in her teens. Perhaps she is a daughter. The younger man with a smaller hat and shorter jacket, holding the reins may be part of the family, but he could well be an employee on the farm.

This brings to mind the story of my own gg-grandfather, Henry Payne (1842-1907), who took his wife Henrietta and children to start a new life in America in 1880. First Henry and his 13-year-old eldest son Charles Vincent (my great-grandfather) sailed from Liverpool to Philadelphia on board the S.S. British Crown, arriving on American soil on 2 March [see my transcript of the Passenger List].


The S.S. British Crown of the American Line in 1881, by Antonio Jacobsen (1850 - 1921)


Passenger List for the S.S. British Crown of the American Line, arriving at the Port of Philadelphia on 2 March 1880
According to my gg-uncle Hallam, they "took up" a farm at Bladensburg, about four miles north-west of Washington D.C. They must have moved fast to find the farm and get the crops planted by late April or early May, although the census on 7 June shows a farm labourer Thomas Cash boarding with them, and he may well have helped, driving the wagon just as the man in Kim's photo.


1880 Census entry for Henry & Charles V. Payne at Columbia Road (Bladensburg), Washington D.C.
Henrietta had given birth to their fourth son Fred at St. James' Road in Normanton (Derbyshire, England) in December the previous year, and probably waited in Derby for Fred to get a little older, and for word from Henry, before setting out to join them. They left Liverpool in late June, they arrived at the Port of Baltimore - via Norfolk and Halifax - on 7 July aboard the SS Hibernian [see my transcript of the Passenger List], and must have joined Henry and Charlie at the farm shortly after.


The S.S. Hibernian of the Allan Line


Passenger List for the S.S. Hibernian of the Allan Line, arriving at the Port of Baltimore on 7 July 1880 (NB. "Allan" written incorrectly for "Hallam")
Even after the rigours of an Atlantic crossing, they do not seem to have had much time for rest and recuperation. Only two days after their arrival, Hallam fell out of "the buggy" and broke his right arm, resulting in a "four or five week stay in hospital in Washington." In the meantime, Charlie was attacked by two "niggers" (Hallam's words, not mine) on his way back from Washington. Of far greater importance, however, was the fact that the climate did not agree with Henrietta's health. They returned to England soon after Hallam's recovery, "leaving all the crops in the fields", and the UK census shows them again running the family grocery at 38 St. James' Road in Normanton by 3 April 1881.


April 1880 Census entry for Henry & Henrietta C. Payne and family at 38 St James' Road, Normanton, Derby
The trip seems to have been a disaster, and Henry apparently gave up any ideas of leaving England again. It did not, however, put off their children. Hallam, Charles Vincent and Frank, together with CV's young bride Amy, made short-lived forays to Chicago in the early 1890s [1890-1892: Chicago, Pullman & the World's Fair]. My grandfather Leslie Payne was born during this stay in Chicago, and himself returned to North America when he was a young man, spending a few years before and after the First World War in Saskatchewan and Manitoba.


Henry & Henrietta Payne in Derbyshire, England, 1898
To get back to Kim's photo, it is evocative of the experiences of many thousands of English families, and of course those from all over Europe, who arrived in America in great numbers in the latter part of the nineteeth century and built new lives for themselves. Since we only have Uncle Hallam's brief words and the rather impersonal and matter-of-fact census & passenger list entries to hint of their experiences, we must resort to our imaginations to fill in the gaps and flesh out the story a little. I can pretend for a moment or two, perhaps, that this is my own family making their way in a new land ...

Joseph Roper (1791-1868), Plasterer of Chesterfield

Joseph Roper was born at Brampton, near Chesterfield, Derbyshire in 1791, son of Joseph Roper senior and his wife Sarah. In 1814, he married Anne Heath at St Peter's Church, Old Brampton, and when a son George was baptised there on 1 March 1815, Joseph described himself as a plasterer, living at Ashgate (a hamlet near Brampton). Anne presumably died shortly afterwards because Joseph was remarried at Chesterfield on 4 January 1820 to Anne Heald (1796-); again he described himself as plasterer. Joseph & Anne went on to have another three daughters (Anne, Emma, Elizabeth) and three sons (Wlliam, Charles, Henry/Harry) between then and 1839. The family are shown living at White Horse Yard, West Bars, Chesterfield in the 1841, 1851 and 1861 censuses, and Joseph continued working as a plasterer. He died at the age of 77 at Chesterfield (Regn. Dist.) in the June quarter of 1868.

More detailed biographical and professional notes for photographer Samuel Whiting have been provided elsewhere, but he operated a studio in Chesterfield from at least 1868 until the 1880s. The earliest premises recorded were in Vicar Lane, and it seems likely that Whiting took this portrait of Joseph Roper shortly before the latter's death, possibly between 1866 and 1868.

I purchased this carte de visite on eBay, my interest having been aroused by the fact that it was the only example I had then seen by the itinerant photographer and travelling fairground showman Samuel Whiting, and because the subject was identified on the reverse. However, I subsequently discovered that fellow DerbysGen lister Liz Newbery is descended from Joseph Roper's sister Anne Roper (1796-1872), who married Richard Kirk (1795-1867), Chesterfield's crier. I'm grateful to Liz for sharing her research material, and know that she's enjoying the detailed image of this photo that I sent her. I'd be happy to do the same for any other family members who'd like to get in touch.