American Catskills: Blog https://www.americancatskills.com/blog en-us Copyright (C). All Rights Reserved. 2009-2024. Matthew Jarnich. [email protected] (American Catskills) Fri, 18 Apr 2025 15:23:00 GMT Fri, 18 Apr 2025 15:23:00 GMT https://www.americancatskills.com/img/s/v-12/u126062438-o922362058-50.jpg American Catskills: Blog https://www.americancatskills.com/blog 120 80 Rip Van Winkle, Illustrated by Donald E. Cooke https://www.americancatskills.com/blog/2025/4/rip-van-winkle-illustrated-by-donald-e-cooke The Folio Club of Philadelphia published a beautifully illustrated version of the classic story Rip Van Winkle in 1946. The book includes 12 illustrations, all of them created by Donald E. Cooke (1916-1985), who was an acclaimed artist, author, illustrator, educator, publisher and journalist.

 

Cooke was born in the Germantown section of Philadelphia on August 5, 1916, the son of Philip Warren Cooke and Halchen (Mohr) Cooke. He studied at the Philadelphia Museum School of Art. Prior to World War II, Cooke worked as an illustration instructor at the Philadelphia Museum School of Art from 1938 to 1940 and as and art director for the David McKay Company from 1940 to 1941.

 

Cooke served during World War II as a tech sergeant in the US Army in the Information and Education Division. He was mustered into service on February 8, 1941 at Fort Meade, Maryland, and was discharged on February 9, 1945 at Fort Dix, New Jersey. He was one of the first correspondents for Yank, The Army Weekly, a magazine published by the US Army during World War II.

 

After World War II, Cooke worked as the art director and managing editor at the John C. Winston Company from 1945 to 1960. Cooke founded, in 1960, his own company called Edraydo Publishers, which later became Haverford House. As a painter, publisher, printer and poet, he wrote more than 30 books and illustrated and designed hundreds of others. He also printed and published books, note cards and limited-edition art prints.

 

Cooke was an active member of the Philadelphia Book Clinic, the city’s publishing association. In 1985, before his passing, Cooke received the clinic’s “man of the year” award for his more than 40 years of service in the industry. Donald E. Cooke passed away on August 17, 1985 at Bryn Mawr Hospital and is buried at Laurel Hill Cemetery in Philadelphia, Pennsylvania.

 

Rip Van Winkle included one illustration on the cover and 11 additional illustrations within the story. One of the illustrations was oversized, taking up two complete pages. All the illustrations were untitled but corresponded perfectly to various scenes of the story. Using the Rip Van Winkle story line, I have taken the liberty to title each of the illustrations with a passage from the book.

 

 

Rip Van Winkle, written by Washington Irving, and illustrated by Donald E. Cooke

Rip Van Winkle, Illustrated by Donald E. CookeRip Van Winkle, Illustrated by Donald E. CookeTitle: Rip Van Winkle, by Washington Irving

Illustrated by Donald E. Cooke

Published by The Folio Club, Philadelphia

 

A Little Village, Of Great Antiquity

A Little Village, Of Great AntiquityA Little Village, Of Great AntiquityTitle: Rip Van Winkle, by Washington Irving

Illustrated by Donald E. Cooke

Published by The Folio Club, Philadelphia

 

The Fiery Furnace of Domestic Tribulation

The Fiery Furnace of Domestic TribulationThe Fiery Furnace of Domestic TribulationTitle: Rip Van Winkle, by Washington Irving

Illustrated by Donald E. Cooke

Published by The Folio Club, Philadelphia

 

Perpetual Club of the Sages, Philosophers and Other Idle Personages of the Village

Perpetual Club of the Sages, Philosophers and Other Idle Personages of the VillagePerpetual Club of the Sages, Philosophers and Other Idle Personages of the VillageTitle: Rip Van Winkle, by Washington Irving

Illustrated by Donald E. Cooke

Published by The Folio Club, Philadelphia

 

He Would Sometimes Seat Himself at the Foot of a Tree

He Would Sometimes Seat Himself at the Foot of a TreeHe Would Sometimes Seat Himself at the Foot of a TreeTitle: Rip Van Winkle, by Washington Irving

Illustrated by Donald E. Cooke

Published by The Folio Club, Philadelphia

 

He Was Still More Surprised at the Singularity of the Stranger's Appearance

He Was Still More Surprised at the Singularity of the Stranger's AppearanceHe Was Still More Surprised at the Singularity of the Stranger's AppearanceTitle: Rip Van Winkle, by Washington Irving

Illustrated by Donald E. Cooke

Published by The Folio Club, Philadelphia

 

They Clambered Up a Narrow Gully

They Clambered Up a Narrow GullyThey Clambered Up a Narrow GullyTitle: Rip Van Winkle, by Washington Irving

Illustrated by Donald E. Cooke

Published by The Folio Club, Philadelphia

 

A Company of Odd-Looking Personages Playing at Nine-Pins

A Company of Odd-Looking Personages Playing at Nine-Pins (2)A Company of Odd-Looking Personages Playing at Nine-Pins (2)Title: Rip Van Winkle, by Washington Irving

Illustrated by Donald E. Cooke

Published by The Folio Club, Philadelphia

 

On Waking, He Found Himself on the Green Knoll

On Waking, He Found Himself on the Green KnollOn Waking, He Found Himself on the Green KnollTitle: Rip Van Winkle, by Washington Irving

Illustrated by Donald E. Cooke

Published by The Folio Club, Philadelphia

 

He Found the House Gone to Decay

He Found the House Gone to DecayHe Found the House Gone to DecayTitle: Rip Van Winkle, by Washington Irving

Illustrated by Donald E. Cooke

Published by The Folio Club, Philadelphia

 

He Met a Number of People, But None Whom He Knew

He Met a Number of People, But None Whom He KnewHe Met a Number of People, But None Whom He KnewTitle: Rip Van Winkle, by Washington Irving

Illustrated by Donald E. Cooke

Published by The Folio Club, Philadelphia

 

Being Arrived At That Happy Age When a Man Can Be Idle With Impunity

Being Arrived At That Happy Age When a Man Can Be Idle With ImpunityBeing Arrived At That Happy Age When a Man Can Be Idle With ImpunityTitle: Rip Van Winkle, by Washington Irving

Illustrated by Donald E. Cooke

Published by The Folio Club, Philadelphia

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[email protected] (American Catskills) art book Catskill Mountains Catskills Donald E. Cooke drawings Folio Club illustrations illustrator New York Rip Van Winkle story Washington Irving https://www.americancatskills.com/blog/2025/4/rip-van-winkle-illustrated-by-donald-e-cooke Sat, 19 Apr 2025 12:00:00 GMT
Rip Van Winkle Council https://www.americancatskills.com/blog/2025/4/rip-van-winkle-council The Rip Van Winkle Council of the Boy Scouts of America serves the youth of Ulster and Greene counties in the state of New York. The Rip Van Winkle Council is headquartered in Kingston, New York. Camp Tri-Mount, the council’s camp, is a 500-acre camp located in East Jewett, New York.

 

Rip Van Winkle Council, Boy Scouts of AmericaRip Van Winkle Council, Boy Scouts of America

 

The Boy Scouts of America, now known as Scouting America, was founded in 1910 with a purpose “to teach patriotism, courage, self-reliance, and kindred values.” It remains one of the largest youth organizations in the United States.

 

The Kingston Council (#405) of the Boy Scouts of America was founded in 1916, changing its name to the Ulster County Council (#405) in 1919 as the organization continued to grow. The Greene County Council (#766) was founded in 1926. In 1930 the Ulster County Council (#405) and the Greene County Council (#766) merged to form the Ulster-Greene Council (#405). In March 1950, the Ulster-Greene Council changed its name to the Rip Van Winkle Council (#405).

 

Within the current Rip Van Winkle Council, there are two districts. One is the Algonquin District, which is comprised of Ulster County with the exception of the town of Saugerties. The second is the Mohican District, which is comprised of Greene County plus the town of Saugerties.

 

By 1919, only three years after its founding, the local council had 283 active scouts in 10 different troops. There were approximately 400,000 members of the Boy Scouts of America in the United States at that time.

 

The Council Shoulder Patch (CSP) was first introduced by the Boy Scouts of America as official uniform insignia in early 1970s. They are worn on the top of your shirt sleeve to identify your local council. The Jamboree Shoulder Patch (JSP) is a special patch produced by local councils for its members attending a National or World Jamboree.

 

Each council has its own custom design for its patches that relate to the community in which it operates. Many of the historic patches for the Rip Van Winkle Council feature the beloved Rip Van Winkle character who, according to the story written by Washington Irving, lived in the Catskill Mountains. Rip can be seen on several council patches in the rugged Catskill Mountains in a variety of scenes, including sleeping on the ground, holding his trusty rifle or standing outside his simple home.

 

Rip Van Winkle Council, NYRip Van Winkle Council, NY

 

Rip Van Winkle Council, National Scout JamboreeRip Van Winkle Council, National Scout Jamboree

 

Rip Van Winkle Council, B. S. A.Rip Van Winkle Council, B. S. A.

 

In 2025, it was announced on the council website that the Rip Van Winkle Council would merge with the Twin Rivers Council, and operate under the name of Twin Rivers Council. The Rip Van Winkle Council would become the Rip Van Winkle District. The Twin Rivers Council is based in Albany, New York and would serve, after the merger, 15 counties in northeastern New York.

 

For more information about the Rip Van Winkle Council, visit their website at www.rvwbsa.org.

 

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[email protected] (American Catskills) Boy Scouts Boy Scouts of America Catskill Mountains Catskills council Council Shoulder Patch CSPS insignia jamboree Jamboree Shoulder Patch JSPs Kingston Kingston Council New York patch Rip Van Winkle Rip Van Winkle Council Scouting America Twin Rivers Council Ulster Council Ulster-Greene Council https://www.americancatskills.com/blog/2025/4/rip-van-winkle-council Sat, 12 Apr 2025 12:00:00 GMT
Rip Van Winkle: The 1981 Franklin Mint Calendar and Art Medal https://www.americancatskills.com/blog/2025/4/rip-van-winkle-the-1981-franklin-mint-calendar-and-art-medal The Rip Van Winkle calendar and art medal was issued in 1981 by the Franklin Mint. The 3-inch bronze medal was designed by Al Fiorentino and modeled by Dominic Angelini, a staff sculptor at the Franklin Mint.

 

The front of the medal depicts three scenes, including a young Rip Van Winkle walking with his dog Wolf, then an aged, newly awakened Rip Van Winkle sitting on a tree with his trusty rifle after his 20-year nap and lastly an old Rip returning to his home village where he is unrecognized after his long absence.

 

The reverse side of the medal depicts the calendar for the year 1981, Rip’s trusty rifle, a set of nine-pins, and a “strange figure” carrying a keg of liquor.

 

Rip Van Winkle (front)_The 1981 Franklin Mint Annual Calendar - Art MedalRip Van Winkle (front)_The 1981 Franklin Mint Annual Calendar - Art Medal Rip Van Winkle (back)_The 1981 Franklin Mint Annual Calendar - Art MedalRip Van Winkle (back)_The 1981 Franklin Mint Annual Calendar - Art Medal

 

Dominic Angelini (1923-2017), sculptor of the Rip Van Winkle medal, was born in Camden, New Jersey to Italian immigrant parents, with his father working as a coal stoker at a factory. Dominic proudly served during World War II after having enlisted in the Army Air Corps. He survived 65 bombing missions as a turret gunner in a B-25 bomber with the 57th Bomb Wing, 487th Squadron. After the war, Dominic worked at the New York Shipyard in Camden, before attending the Hussian School of Art on the GI Bill. He became a designer at Price Brothers Lithograph in Bridgeton designing can labels. In 1979, Dominic went to work for the Franklin Mint in Philadelphia where he designed commemorative coins and sculptures. Dominic passed away in 2017 and is buried at Saint Bridget’s Cemetery in Glassboro, New Jersey.

 

The Franklin Mint was founded as a private mint in 1964 by Joseph H. Segel (1931-2019) in Wawa, Pennsylvania. The Franklin Mint mass produced and sold collectible items such as coins, medals, jewelry, die-cast vehicles and aircraft, sculpture and much more.  The Franklin Mint closed its physical operations in 2003, but continue to exist as an online brand owned by Retail Ecommerce Ventures (REV).

 

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[email protected] (American Catskills) Al Fiorentino calendar calendar and art medal Catskill Mountains Catskills coin collectible Dominic Angelini Franklin Mint Joseph Segel medal New York Rip Van Winkle https://www.americancatskills.com/blog/2025/4/rip-van-winkle-the-1981-franklin-mint-calendar-and-art-medal Sat, 05 Apr 2025 12:00:00 GMT
Abe Minckler: Famous Rattlesnake Catcher https://www.americancatskills.com/blog/2025/3/abe-minckler-famous-rattlesnake-catcher Everybody’s friend Abraham “Abe” Minckler gained a small degree of local fame in the Sullivan County section of the Catskills as a well-known rattlesnake catcher, entertainer and salesman. By around the year 1900, Abe had worked at catching rattlesnakes for over 30 years.

 

Vintage postcard titled "Everybody's Friend, Abe" which depicts snake handler Abram Minckler.Everybody's Friend, Abe

 

Abraham Minckler was born on June 21, 1829, the son of John Minckler and Catherine (Post) Minckler. Abe was baptized in July 1829 in Schoharie County, New York. Abe married Claracilla “Clara” E. Ferguson (1835-1912), who was born at Shavertown in Delaware County, New York. Various census records report Abe’s occupation as “farmer.” At around the year 1900, now over 70 years of age, Abe was living at Kellams on the Pennsylvania side of the Delaware River.

 

Abe made a living for many years exhibiting the reptiles at fairs and in local towns, selling live snakes to zoos and circuses and selling snake oil and snake skins. The snake skins were often cured to make belts, charms and trophies. Live snakes were worth about 50 to 75 cents each, which were sometimes sold to museums in New York City. The snake oil was thought to be an invaluable painkiller and was used to treat rheumatism, while the snakeskin belts were thought to possess great virtue in the cure of “misery.” Abe had been bitten several times, but always cured himself with an herb remedy created by Joe Geer, the “Rattlesnake Man,” of Long Eddy, who in turn learned the remedy from the Indians.

 

In the summer of 1899, Abe captured 18 rattlesnakes at Shohola, Pennsylvania. He sought to train the reptiles “until they become partially civilized, then sell them at the highest market price. Since the snake is a foe to man we deem Mr. Minckler worthy of a bounty in removing this evil from the habitations of man. The traveler would do well to cultivate the acquaintance of this wholesale snake dealer. He could undoubtedly furnish material for a good sized snake story.” (Tri-States Union. June 8, 1899.)

 

In the summer of 1901, at Goshen, New York, “a strange traveler, giving his name as A. Minckler, was the object of interest on Main Street. He makes a specialty of hunting rattlesnakes and has a basket specially prepared for the poisonous reptiles. Upon request he stepped into Hanrahan’s store and showed the snakes. Those he had were large in size, having ten and twelve rattles. He also carried several bottles of rattlesnake oil which he said he sold at $1 an ounce. His outfit consisted of several iron pikes with hooks attached, and also several wooden pieces resembling pike poles. These instruments he used in capturing the snakes. Mr. Minckler left for the mountains, where he expects to spend some time hunting the snakes in their dens.” (The Independent Republican. June 14, 1901.)

 

In June 1902, a local newspaper noted that Abe had captured 20 rattlesnakes in one week near Hankins, New York. In July 1902 Abe was giving an exhibition of five rattlesnakes and one black snake at Middletown, New York, when he was arrested and then instructed by Captain Brinckerhoff not to give any more street exhibitions.

 

In August 1901, Abe visited the village of Jeffersonville, New York, where he exhibited four live rattlesnakes that he carried in a box. “He handles the poisonous reptiles fearlessly by stepping on their heads and then catching them by the neck. Minckler says that the common belief that a rattlesnake can jump or strike its length is false; it will, he says, do well to strike a distance of six inches.” (Sullivan County Record. August 22, 1901.)

 

In October 1902, Abe was at Binghamton, New York, where he exhibited the rattlesnakes “to the curious. He carries them in a tight box with a sliding top, and if bystanders will make up a purse of twenty-five cents he will open the box and handle the snakes, which are rattlers in full possession of their fangs. Perhaps it is due to the cold fall weather, but whatever the reason, the reptiles are quite torpid. When Minckler puts them on the ground the bystanders always scatter, but the rattlers seldom do more than move their heads about as if curious to see what is going on. Minckler, however, never leaves them out long.” (“A. Minckler Catches Snakes for a Living.” Broome Republican. October 25, 1902.) The article also noted that Abe was seemingly wearing the same clothes and black-striped shirt from a previous visit to Binghamton four years prior.

 

A popular postcard published by the George V. Millar Company of Scranton, Pennsylvania depicted Abe sitting on a folding chair with each foot on a live rattlesnake while he was holding another with his hooked stick. Two skins are draped over his shoulders and six more ore displayed to his right. The sign reads “A. Minckler, Dealer in Snakes, Snake Skins, Snake Oils, Also Ferrets. Snake Bite Cure A Specialty. Kellam, PA.” Minckler seemed “to have no fear of the snakes and handles them as though they were as harmless as kittens.”

 

The legacy of Abe Minckler lives on through the work of author Clara Gillow Clark who published a book titled Willie and the Rattlesnake King in 1997. The book tells the fictional tale of 13-year-old Willie Bishop as he runs away from hopes of joining a traveling medicine show to team up with snake handler Abraham Minckler, the Rattlesnake King.

 

Abe Minckler was killed instantly by an Erie train engine near Callicoon Depot on November 21, 1902. Abe was returning from Binghamton where he had sold a box of live rattlesnakes. On the return train trip, Abe got off on a foggy morning at Callicoon Depot, where he began to make his way along the east bound train tracks. An Erie engine, which had been hauling an east bound train, got short of water, left the cars at Rock Run, and made its way to Callicoon for water. In backing up its cars, the train struck Abe, “who evidently was not expecting anything to come from that direction on the east bound track.”

 

Abe’s funeral was held at Kellams, Pennsylvania, with Reverend Rodney officiating. Abe is buried at Union Cemetery in Wayne County, Pennsylvania. He was survived by his wife and three sons, as well as two brothers, David of Fremont Center, and Harmon of Middletown.

 

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[email protected] (American Catskills) A. Minckler Abe Minckler Abraham Minckler Abram Minckler Callicoon Depot Catskill Mountains Catskills Hankins Joe Geer Kellams Long Eddy New York Pennsylvania rattlesnake snake snake bite snake catcher snake charmer snake oil snake skins Sullivan County Union Cemetery https://www.americancatskills.com/blog/2025/3/abe-minckler-famous-rattlesnake-catcher Sat, 08 Mar 2025 13:00:00 GMT
Alfred S. Landis: The Postcard Artist https://www.americancatskills.com/blog/2025/3/alfred-s-landis-the-postcard-artist Introduction

 

Alfred S. Landis was one of the most unique and prolific artists in Catskills history. He published nearly 800 artistic postcards that depicted the hotels, resorts, boarding houses and scenery from throughout the four counties of the Catskill region. His beautiful and colorful postcards remain highly sought after collectibles to this day.

 

Columbia Hotel, South Fallsburg, N. Y.

Columbia Hotel, South Fallsburg, N. Y.Columbia Hotel, South Fallsburg, N. Y.Publisher: A. S. Landis, Wurtsboro, New York

Author's Collection

 

Background

 

Alfred S. Landis was born in Pennsylvania in September 1872. The 1900 United States census recorded 27-year-old Landis as living in Manhattan, New York with an occupation of lithographer. The 1905 New York state census recorded Landis is living in Bronx, New York, with an occupation of photographer. In 1910, Landis was living at Montclair, New Jersey; in 1920 and 1930, at West Orange Township, New Jersey; and in 1940, at Bayville, New Jersey; all with an occupation of lithographer. The 1950 United States census recorded Landis as living in Wurtsboro, New York with an occupation of “postcard artist.”

 

According to Joan Dunn in the Postcards Published by Alfred S. Landis, the earliest postmark date found on a Landis postcard was in August 1919. The postcard was published by the firm of Landis & Alsop, located at 294 Roseville Avenue in Newark, New Jersey. The partnership of Landis & Alsop ended around the late 1920s near the end of the “white border” era of postcards (1915-1930).

 

There has been a bit of mystery as to the identity of Alsop in the partnership of Landis and Alsop. As mentioned above, the first Landis and Alsop postcard was published around 1919. However, the partnership had created several popular and well-regarded birds-eye view city maps nearly twenty years prior. Examples include New Rochelle (1899), Morristown (1899), Atlantic City (1900), Easton, PA and Phillipsburg, NJ (1900), Binghamton (1901), Allentown (1900), Elmira (1901) and Buffalo (1901). Most of these maps can be viewed online at the Library of Congress website.

 

All of the maps were published by Landis & Alsop, located at 294 Roseville Avenue in Newark, New Jersey, which matches the address listed for the firm on some of its earliest postcards. In addition, the Atlantic City map contained an advertising reference for a musical song sheet titled “I’ll Love but Thee” with words and music by Charles F. Alsop. The song sheet was published by the Alsop Publishing Company at 294 Roseville Avenue in Newark.

 

Charles F. Alsop was recorded on his 1896 marriage license with an occupation of “artist,” in the 1910 national census with an occupation of “writer, show card” and in the 1920 census with an occupation of “commercial artist.” He authored several songs, including “Alice, My Darling, My Own” in 1896 and “In Manila Bay” in 1898. “In Manila Bay” was written exclusively for publication in the Philadelphia Press. The piece was written for George Dewey, who was known as the Hero of Manila and was promoted to Admiral of the Navy for winning the battle of Manila Bay with only one American casualty.

 

After the end of the Landis and Alsop partnership in the late 1920s, Landis then operated independently. A. S. Landis lived in the village of Wurtsboro, New York for approximately 13 years from 1942 to 1955. During these years, the hotel, resort and boarding house industry of the Catskills was at its peak. Hundreds of establishments could be found throughout the countryside and mountains. Landis postcards depicted a wide range of subjects including hotels, motels, resorts, boarding houses, pools, lakes, landscapes, waterfalls and rural scenes.

 

Upon agreement with a business owner, Landis would visit their establishment to sketch the buildings, landscape, roads and resort activities. With this sketch, Landis would return to his studio at Wurtsboro, where he would paint a picture as if he were looking down on the business from the air. When complete, the original painting would be presented to the owner of the establishment, while postcards of the painting were manufactured to be given to guests and used as marketing.

 

Jim Landis, grandson of Alfred Landis, described the artistic process of his grandfather. “In order to get his unusual and interesting perspective he would venture to hillsides and rooftops and even carried a ladder with him for an extra few feet. These different perspectives and an excellent imagination were the perfect combination to produce the “Bird’s-Eye View” that is his trademark.

 

[He would paint] directly onto a canvas held by an easel while he was at the site of the subject . . . Alfred would take countless photos from all sorts of angles and positions to get the full perspective for his art work. The photos were then pieced together like a puzzle to form the basis for the painting.

 

Needless to say, most of the paintings were not scaled. It would have been impossible to get the entire subject into a painting if the scale was accurate. Ball fields, playgrounds, casinos, additional rooms, buildings in progress and even buildings not yet built were “squeezed in” so that the potential guest would be able to see all the resort had to offer. Beach access, water access and what is offered all in one neat postcard. The resort owners loved this.

 

Usually, the original painting was displayed in the hotel. That was part of the package that Alfred sold. Alfred sold the framed painting along with the postcards to the owners. The owners would proudly display the painting and that led to selling more postcards.” (Landis, Jim. “The Magic of Alfred Landis.” Postcards Published by Alfred S. Landis. Wurtsboro, NY: Half Moon Postcard Club, 2007.)

 

The resulting postcards were unique in their style, and were unlike any other postcards that had been previously produced for the Catskills market. Most of the postcards utilized a healthy use of color in making Landis’ signature “birds-eye view” come to life. They made each hotel, motel, resort and boarding house a fun, inviting place to spend your vacation.

 

Landis was married to Florence Day Landis. He was a dedicated member of the Dutch Reformed Church of Mamakating for many years. After his time in Wurtsboro, Landis retired to Daytona Beach, Florida, where he continued to paint and published a small number of postcards. Landis lived at Daytona Beach from 1956 until his passing in August 1960. Both Alfred and Florence are buried at Rosedale Cemetery in Orange, New Jersey.

 

Postcards

 

The Half Moon Postcard Club of Wurtsboro, New York published a first edition reference guide in 1994 that detailed all the known postcards published by Landis. The guide, titled Postcards Published by Alfred S. Landis – “Birds-Eye View Artist", was updated as a second edition in 2007.

 

The updated 2007 guide lists 1,056 postcards published by Landis, which includes 838 from the state of New York, 171 from New Jersey, 8 from Pennsylvania, 6 from Florida, 2 from Connecticut and 1 from Virginia.

 

Of the 838 postcards from New York, 790 were from the four counties of the Catskills, including 535 from Sullivan County, 160 from Ulster County, 69 from Greene County and 26 from Delaware County.

 

In Delaware County, locations of the Landis postcards include Arkville (3), Fleischmanns (20), Grand Gorge (1), Margaretville (1) and Stamford (1).

 

In Greene County, locations include Acra (2), Cairo (3), Catskill (3), East Durham (3), East Windham (2), Greenville (5), Haines Falls (5), Hensonville (2), Hunter (5), Leeds (2), Lexington (1), Maplecrest (1), Palenville (9), South Cairo (1), Tannersville (6), Windham (18). There is also one card listed for Stamford that should be in the Delaware County section.

 

In Ulster County, locations include Accord (9), Allaben (1), Big Indian (3), Ellenville (82), Greenfield Park (36), Hurley (1), Kerhonkson (6), Lake Katrine (1), Mount Tremper (1), Napanoch (2), New Paltz (1), Phoenicia (2), Pine Hill (2), Saugerties (2), Spring Glen (3), Ulster Heights (1), Ulster Park (1) and Wawarsing (6).

 

In Sullivan County, locations include Bushville (3), Dairyland (1), Fallsburg (16), Ferndale (47), Fosterdale (8), Glen Wild (4), Greenfield (2), Hurleyville (20), Jeffersonville (1), Kauneonga Lake (8), Kenoza Lake (4), Kiamesha Lake (26), Lake Huntington (5), Liberty (6), Livingston Manor (36), Loch Sheldrake (57), Monticello (49), Mountaindale (25), Narrowsburg (1), North Branch (1), Parksville (46), Rock Hill (4), Roscoe (3), South Fallsburg (63), Summitville (3), Swan Lake (31), Westbrookville (4), White Lake (6), White Sulpher Springs (7), Woodbourne (17), Woodridge (24), Wurtsboro (4) and Youngsville (3).

 

As seen from the above, the most popular location for Landis to work was Ellenville, with 82 postcards. Other popular locations included South Fallsburg, with 63 postcards; Loch Sheldrake, with 57 postcards; Monticello, with 49 postcards; Ferndale with 47 postcards; Parksville, with 46 postcards; Livingston Manor with 36 postcards; and Greenfield Park, with 36 postcards.

 

Since the publication of the 2007 guide with 1,056 Landis postcards, technology has improved significantly, leading to the discovery of additional Landis postcards which are readily found on the internet and on various auction and postcard websites. My personal collection includes a number of Landis postcards that are not included in the guide. If the guide were to be updated, it would be interesting to see how many more Landis postcards were published.

 

Landis published his postcards from several different locations during his long career including

 

  • Landis and Alsop, 294 Roseville Avenue, Newark, New Jersey
  • Landis and Alsop, 332 Park Avenue, Newark, New Jersey
  • A. S. Landis, Beachwood, New Jersey
  • A. S. Landis, Bayville, New Jersey
  • A. S. Landis, Wurtsboro, New York
  • A. S. Landis, Wurtsboro, New York and Daytona Beach, Florida
  • A. S. Landis, Route 1, Box 25, Daytona Beach, Florida

 

These addresses are listed in chronological order to assist with the dating of postcards.

 

Gallery

 

I have only recently started to collect postcards published by Alfred S. Landis. I had previously focused my collecting mostly on Catskills photography, but there was something different, something unique about the Landis postcards that I decided to begin collecting them as well.

 

I have now acquired over 90 Landis postcards, which are all available for viewing from the “Alfred S. Landis” link on the “Gallery” page. I am focused mostly on collecting the Landis postcards from the four counties of the Catskills region, but am expanding my collection as postcards from the other states become available. A few of the Landis Catskills postcards are featured here.

 

Grand View Hotel, Hurleyville, Sull. Co., N. Y.

Grand View Hotel, Hurleyville, Sull. Co., N. Y.Grand View Hotel, Hurleyville, Sull. Co., N. Y.Publisher: A. S. Landis, Wurtsboro, New York

Author's Collection

 

High View Mountain House, Roscoe, Sull. Co., N. Y.

High View Mountain House, Roscoe, Sull. Co., N. Y.High View Mountain House, Roscoe, Sull. Co., N. Y.Publisher: Landis & Alsop, 294 Roseville Avenue, Newark, New Jersey

Author's Collection

 

Hollywood Country Club, Livingston Manor, N. Y.

Vintage postcard titled "Hollywood Country Club, Livingston Manor, N. Y." published by A. S. Landis.Hollywood Country Club, Livingston Manor, N. Y.Publisher: A. S. Landis, Wurtsboro, New York

Postmark: None

Author's collection

 

Murphy's Hotel, Grand Gorge, N. Y.

Murphy's Hotel, Grand Gorge, N. Y.Murphy's Hotel, Grand Gorge, N. Y.Publisher: Landis & Aslop, 294 Roseville Avenue, Newark, New Jersey

Author's Collection

 

Paradise Farm, Cuddebackville, Sullivan Co., N. Y.

Vintage artistic postcard titled "Paradise Farm, Cuddebackville, Sullivan Co., N. Y." published by A. S. LandisParadise Farm, Cuddebackville, Sullivan Co., N. Y.Publisher: A. S. Landis, Route 1 - Box 245, Daytona Beach, Florida

Author's collection

 

Silver Valley House, Arkville, N. Y.

Silver Valley House, Arkville, N. Y.Silver Valley House, Arkville, N. Y.Publisher: Landis & Also, 294 Roseville Ave., Newark, New Jersey

Author's Collection

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[email protected] (American Catskills) A. S. Landis Alfred S. Landis artist Bayville Beachwood Catskill Mountains Catskills Charles F. Alsop Daytona Beach Delaware County Greene County Half Moon Postcard Club history Landis Landis & Alsop Landis and Alsop lithographer lithography Newark painter painting photographer postcards Sullivan County Ulster County vintage Wurtsboro https://www.americancatskills.com/blog/2025/3/alfred-s-landis-the-postcard-artist Sat, 01 Mar 2025 13:00:00 GMT
William C. North: The Man Who Photographed Emily Dickinson https://www.americancatskills.com/blog/2025/1/william-c-north-the-man-who-photographed-emily-dickinson Introduction

 

William C. North holds a special place in photographic history. He was one of the pioneer photographers of Cleveland and made many of the oldest daguerreotypes in the city. He was a frequent prize winner at county and state fairs and achieved widespread recognition for his daguerreotypes, ambrotypes and stereoscopic views. He took famous photographs of Emily Dickinson, John D. Rockefeller and Henry Ward Beecher, among many other dignitaries. His photographic works can be found in museums across the country, including the Nelson-Atkins Museum of Art (Kansas City, Missouri); the George Eastman Museum (Rochester, New York); and the Amon Carter Museum of American Art (Fort Worth, Texas).

 

Biography

 

William C. North was born in Saugerties, New York on April 6, 1816. He was the son of Benjamin North (1779-1848) and Hannah (Mosier) North (1778-1865). Benjamin served during the War of 1812 with Captain Louis Bevier’s company. William was a direct descendent of John North, who sailed from London at the age of 20 and landed at Boston on April 16, 1635.

 

An 1858 advertisement noted that William had “practiced this beautiful art for the last fourteen years,” meaning his photographic career began circa 1844 or 1845. William can be found at the city Poughkeepsie, New York beginning circa July 1845. He located his photographic rooms at Miss Schoonmaker’s private boarding house at 25 Cannon Street.

 

By September 1845, while still at Poughkeepsie, William had moved his gallery to 251 1/2 Main Street, four doors from Market Street. William joined with L. M. Ives to form the partnership of North & Ives. Ives was “a young gentleman who received instruction some two years since of Professor Plumbe, or Broadway, N. Y., and who has been a recent pupil of Mr. Gurney, and received from him a perfect knowledge of the late improvements in the art. He is also an Artist by profession, and understands the manner of blending colors more perfectly than any one can who has not been instructed in the art of painting, and will therefore pay particular attention to coloring.”

 

The partnership of North & Ives, Daguerreian artists, was next located at Hudson, New York from circa November 1845 to early 1846. Their photographic rooms were located in the Post Office building on Warren Street. The local newspaper reported in February 1846 that the rooms of North & Ives “have been thronged by our citizens, anxious to procure their most perfect Likenesses. Their work is most perfect in the art; too true to nature for such as desire a shade of flattery – they present the face as it is; not always as its wearer might wish . . . Such of our ladies and gentlemen as have not availed themselves of the skill of these gentlemanly artists, we advise to examine their prices. We have never seen truer Likenesses than at their rooms . . .”

 

By the summer of 1846, William was working on his own again, now at Springfield, Massachusetts. His Daguerrean Gallery was located at No. 8 Fountain Row, opposite the Alden House. In October 1846, while still at Springfield, William appears to have taken a partner to establish the firm of North & James. The partnership was recognized for their daguerreotypes at the exhibition of the Hampden Agricultural Society on October 7 and 8, 1846. “The committee were pleased to see in the exhibition so many good Daguerreotype miniatures. Beautiful pictures were exhibited, executed both by Mr. North, now Messrs. North & James, also by Mr. Cooley. We saw no difference in the pictures as regards merit. Were we to make our choice, one would be as acceptable as the other. Much praise we think is due to them both for their truthful likenesses.”

 

Circa December 1846 to March 1847, William was located at Amherst, Massachusetts. It was during this time that William took a now famous daguerreotype of Emily Dickinson (1830-1886), who was then just a 16-year-old girl, but was later recognized as one of the great American poets. It is the only confirmed photograph of Dickinson. For more information about the interesting history of the Dickinson daguerreotype, see “Lost and Found: Emily Dickinson’s Unknown Daguerreotypist” by Mary Elizabeth Kromer Bernhard.

 

William’s next stop, by March 29, 1847, was Greenfield, Massachusetts. His gallery, open from 8am to 6pm, was located on Main Street, opposite Davis’s Hall. He remained at Greenfield until circa May 18, 1847. Although William only remained at Greenfield for a short time, his photographs were highly admired. “Mr. North, the Daguerreotype Artist now in town, has taken a most perfect likeness of the old Indian house in Deerfield. Even the prints of the axe can be seen upon the door. He has also taken a view of Doctor Hovey’s building, which is a beautiful one. The likenesses he takes are the most perfect of any that we have ever seen taken by the daguerreotype apparatus. He has taken those of a large number of our citizens, which have given great satisfaction. He will remain in town a short time longer. Those who wish a correct likeness of themselves, or friends, would do well to give him a call at his rooms, opposite Davis’ Hall.” (Gazette & Courier. May 11, 1847.)

 

Between May 1847 and circa November 1847, William was located at Brattleboro, Vermont. His gallery was located on Main Street, one door south of the Post Office. During the Windham County Agricultural Fair in October 1847, “the daguerreotypes by Mr. North were much and justly admired, as equal to the best productions of the art.” (Vermont Phoenix. October 7, 1847.)

 

By early 1848, William had relocated to Boston, Massachusetts, where he would open a gallery at 142 Washington Street, with his residence at the Marlboro Hotel. William is recorded in Boston city directories in both 1848 and 1849. While there, William advertised a “New & Important Discovery. A chemical mixture, prepared and sold by W. C. North, 142 Washington Street, Boston. It produces perfect life-like Daguerreotype Miniatures.” (The Galaxy. April 11, 1848.)

 

Between 1848 and 1850, North also maintained a studio in Rondout, New York. William’s nephew, Walter C. North, would begin to assist at the Rondout studio in 1850. William was recorded on the 1850 national census as living in “Kingston village” with an occupation of “artist.”

 

William North left Rondout for Ohio in 1850, and briefly lived in Oberlin, but quickly moved on to Cleveland, where he opened his Daguerrean Rooms in October 1850 at the Dunham House. Almost immediately William made a good impression on the citizens of Cleveland with his artistic skill. A Cleveland newspaper reported on October 29 that William’s “skill as an artist is of the highest order, as all must admit who have seen his pictures. He does not color them as artists generally do, but makes them rich and lifelike as the most elegant steel engraving, with sunlight and chemicals alone.” (Morning Daily True Democrat. October 29, 1850.)

 

Emily Dickinson, half length portrait, circa 1846-1847Emily Dickinson, half length portrait, circa 1846-1847Amherst College Digital Collections.

Emily Dickinson, half length portrait, circa 1846-1847. Amherst College Digital Collections.
 

Portrait of a young womanPortrait of a young womanPhotographer: William C. North

The J. Paul Getty Museum (www.getty.edu)

Portrait of a Young Woman. The J. Paul Getty Museum.

 

Portrait of a Young WomanPortrait of a Young WomanPhotographer: William C. North

The J. Paul Getty Museum (www.getty.edu)

Portrait of a Young Woman, Seated. The J. Paul Getty Museum.

 

Portrait of a Seated Young WomanPortrait of a Seated Young WomanPhotographer: William C. North

The J. Paul Getty Museum (www.getty.edu)

Portrait of a Seated Young Woman. The J. Paul Getty Museum.

 

Portrait of a young man with thick chin beardPortrait of a young man with thick chin beardPhotographer: William C. North

The J. Paul Getty Museum (www.getty.edu)

Portrait of a Young Man with a Thick Chin Beard. The J. Paul Getty Museum.

 

In late November 1850, William purchased the Cleveland daguerreotype gallery of G. W. Tilton, at the Melodeon building on Superior Street. In 1851, William won the First Premium prize at the Ohio State Fair and was “acknowledged by the public to be the best Daguerrean Artist in Cleveland.” Circa January 1852, William opened a branch gallery at Ohio City, near Folsom’s store, but this gallery only lasted for one year, when it was taken over by E. Greenwood. In 1854, William was awarded three First Premium prizes at the Ohio State Fair for his daguerreotypes and mezzographs.

 

In circa 1856, William sold his Cleveland gallery to his nephew Walter C. North, who had been operating his own gallery at Mansfield, Ohio. William moved in early 1857 to Buffalo, New York, where he opened a “new fine art gallery” at 324 Main Street, a few doors above the American Hotel. The gallery would also become known as “North’s First Premium Fine Art Gallery” after William was awarded First Premium prizes for both Daguerreotypes and Ambrotypes at the New York State Fair of 1857.

 

By early 1858, William established a partnership with Jefferson T. Upson (1829-1870) at Buffalo. Upson had previously worked for William at both Buffalo and Cleveland. They continued to operate at 324 Main Street. In December 1858, William returned to Cleveland, where he bought his former photograph gallery back from his nephew Walter. Upson continued to operate the Buffalo gallery on his own.

 

Circa 1857-1858, William took a photograph of 18-year-old John D. Rockefeller (1839-1937), who was then working as a bookkeeper in Cleveland. It is the earliest known photograph of Rockefeller, who would grow to become one of the great titans of American business and industry. Rockefeller began his own business in 1859, built his first oil refinery in 1863, and established the Standard Oil company in 1870, which revolutionized the emerging petroleum industry. Rockefeller chose this photograph to be the frontispiece of his autobiography, Random Reminiscences of Men and Events, published in 1909 when he was 70 years old.

 

In February 1862, William photographed Henry Ward Beecher (1813-1887), one of the most famous ministers of the 19th century. Beecher had given a lecture at the Melodeon building in Cleveland on February 26, 1862. William produced a carte de visite of Beecher and offered “elegant ones just taken and finished in the best style” for sale at his studio on 205 Superior Street.

 

In February 1862, William joined with Christian F. Schwerdt (1836-1908) to establish the firm of North & Schwerdt. North would take the photographs and, if customers desired, Schwerdt would create a colored photograph, which often took on the appearance of an oil painting. The Cleveland Leader described the portrait of Honorable F. T. Backus in 1865. “This portrait is from the studio of North and Schwerdt, of this city, and is properly a colored photograph, although it seems a painting. The face is first thrown upon canvas by a camera, and the contour is thus obtained with distinctness, when the brush follows with the life-like coloring. Perhaps it is safe to say that less skill is required in the artist to produce a portrait like this, that is demanded for the execution of the “old school” portrait, for Nature co-operates with the artist; but certain it is, that a more correct likeness is insured. The portrait in question has caught Mr. Backus’ happiest expression, and fixed it on the canvas with perfect fidelity.” (Cleveland Leader. March 15, 1865.) The partnership of North & Schwerdt lasted for approximately 3 1/2 years until October 1865.

 

In February 1867, William moved his gallery from Brainard’s Hall to No. 211 Superior Street on the Marble Block. “The new place has been elegantly fitted up. Its reception room is unexcelled by any in town, in the beauty of its appointments. The operating rooms are very large, and the apparatus connected therewith is of the most improved and perfect character, enabling him to take the very best of pictures.” (The Evening Post. February 5, 1867.)

 

Portrait, Man in Suit and BowtiePortrait, Man in Suit and BowtieAuthor's collection.

Portrait, Man in Suit and Bowtie. Author's collection.

 

Portrait, Man in SuitPortrait, Man in SuitAuthor's collection.

Portrait, Man in Suit. Author's collection.

 

Reverend SchullerReverend SchullerAuthor's collection.

Reverend Schuller. Author's collection.

 

Portait, Woman with Curly HairPortait, Woman with Curly HairAuthor's collection.

Portrait, Woman with Curly Hair. Author's collection.

 

W. C. North, Photographer, 211 Superior St., Cleveland, OhioW. C. North, Photographer, 211 Superior St., Cleveland, OhioAuthor's collection.

W. C. North, Photographer, 211 Superior Street, Cleveland, Ohio. Author's collection.

 

W. C. North, Photographer, 211 and 213 Superior Street, Cleveland, OhioW. C. North, Photographer, 211 and 213 Superior Street, Cleveland, OhioAuthor's collection.

W. C. North, Photographer, 211 and 213 Superior Street, Cleveland, Ohio. Author's collection.

 

In May 1876, William modernized his gallery by “making extensive alteration and improvements, by which he is now possessed of all the latest and most valuable accessories known to the business. His operating rooms have been provided with new sky-lights and side lights, many choice adjuncts in the way of scenic and variously shaded backgrounds, and adjustable screens, which render it possible to produce almost any effect which is desired. He has also introduced new and improved cameras – one of which is the largest made – and other mechanical attachments, which gives him a decided advantage over most of our other artists.” (Cleveland Leader. May 20, 1876.)

 

William joined with Edward A. Stein to establish the partnership of North & Stein in November 1878. The gallery continued to operate at North’s previous location at 211 Superior Street. In September 1879, the partnership of North & Stein was dissolved, with William retiring from the photograph business and Stein continuing with the business under the firm name of National Photographic Gallery. William, who had previously served on the Cleveland city council, thereafter devoted himself to civic activities.

 

William married Leila Allen in 1841, but she died a year later in 1842. From this marriage, their son Allen C. North (1842-1882) was born. Allen served as a drummer boy during the Civil War and was later a member of the Cleveland Grays. Allen was a leading photographer at Toledo, Ohio until his death by suicide in 1882.

 

William remarried in 1849 to Anna J. Mahan (1829-1911), the eldest daughter of Reverend Asa Mahan, the first president of Oberlin College. Anna graduated from Oberlin College in 1848 with A. B. degree, the first woman to receive the A. B. degree for the full classical course of study. She was prominent in philanthropic work in Cleveland, including working with the Humane Society and the Associated Charities, as well as serving for over 40 years on the board of managers of Lakeside Hospital. 

 

William Case North passed away at his home on Jennings Avenue in Cleveland on March 9, 1890. Upon his passing, it was written that “Christianity was to him more than a matter of profession; it was a matter daily living, and his belief found exemplification in his kindly spirit, his generous nature and his earnest efforts to assist the poor and needy. He was a very charitable man and no tale of sorrow or distress was ever told to him in vain. Many who knew him have reason to bless his memory for his timely assistance in the hour of need. He remained for many years an interesting figure in the life of Cleveland, and wherever known he was honored and esteemed.” Funeral services were held at his home, with Reverend W. C. Endly officiating. William is buried at Woodland Cemetery in Cleveland.

 

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[email protected] (American Catskills) Catskill Mountains Catskills Cleveland Daguerreian daguerreotype Emily Dickinson gallery Henry Ward Beecher John D. Rockefeller New York Ohio photographer photographs pictures Rondout studio W. C. North William C. North William Case North https://www.americancatskills.com/blog/2025/1/william-c-north-the-man-who-photographed-emily-dickinson Sat, 18 Jan 2025 13:00:00 GMT
John Jacob Loeffler in the Catskills – Part 2 https://www.americancatskills.com/blog/2025/1/john-jacob-loeffler-in-the-catskills-part-2 This week’s post is a continuation from last week, where I posted a series of recently acquired Catskills stereoviews published by photographer John Jacob Loeffler. I had acquired 39 new stereoviews, 20 of which were published last week, and the remaining 19 are included here.

 

They have all been added to the Loeffler gallery, which now contains nearly 200 of his photographs, 165 of which are from the Catskills. To access the gallery, click on the “Historic Photo Gallery” tab, and then navigate to John Jacob Loeffler.

 

3rd Series, #279_View from Piazza of Laurel House

3rd Series, #279_View from Piazza of Laurel House_Loeffler_Catskill Mountain Scenery3rd Series, #279_View from Piazza of Laurel House

 

3rd Series, #287_In the Cauterskill Clove towards Prospect Mountain

3rd Series, #287_In the Cauterskill Clove towards Prospect Mountain_Loeffler_Catskill Mountain Scenery3rd Series, #287_In the Cauterskill Clove towards Prospect Mountain

 

4th Series, #293_Burger's Hotel, Palensville

4th Series, #293_Burger's Hotel, Palensville_Loeffler_Catskill Mountain Scenery4th Series, #293_Burger's Hotel, Palensville

 

4th Series, #295_Pine Grove House, Palensville

4th Series, #295_Pine Grove House, Palensville_Loeffler_Catskill Mountain Scenery4th Series, #295_Pine Grove House, Palensville

 

4th Series, #296_Pine Grove House, Palensville

4th Series, #296_Pine Grove House, Palensville_Loeffler_Catskill Mountain Scenery4th Series, #296_Pine Grove House, Palensville

 

4th Series, #304_Looking down the stream from Palensville Bridge

4th Series, #304_Looking down the stream from Palensville Bridge_Loeffler_Catskill Mountain Scenery4th Series, #304_Looking down the stream from Palensville Bridge

 

4th Series, #308_Artists Grotto, Palensville

4th Series, #308_Artists Grotto, Palensville_Loeffler_Catskill Mountain Scenery4th Series, #308_Artists Grotto, Palensville

 

4th Series, #309_Artists Grotto, Palensville

4th Series, #309_Artists Grotto, Palensville_Loeffler_Catskill Mountain Scenery4th Series, #309_Artists Grotto, Palensville

 

4th Series, #311_Bowlder above Artists Grotto, Palensville

4th Series, #311_Bowlder above Artists Grotto, Palensville_Loeffler_Catskill Mountain Scenery4th Series, #311_Bowlder above Artists Grotto, Palensville

 

4th Series, #313_View in the Cauterskill Clove, near Mason's

4th Series, #313_View in the Cauterskill Clove, near Mason's_Loeffler_Catskill Mountain Scenery4th Series, #313_View in the Cauterskill Clove, near Mason's

 

4th Series, #315_Triton Cave, Haines Ravine

4th Series, #315_Triton Cave, Haines Ravine_Loeffler_Catskill Mountain Scenery4th Series, #315_Triton Cave, Haines Ravine

 

4th Series, #317_Shelving Rock Fall, Haines Ravine

4th Series, #317_Shelving Rock Fall, Haines Ravine_Loeffler_Catskill Mountain Scenery4th Series, #317_Shelving Rock Fall, Haines Ravine

 

4th Series, #319_View in Haines Ravine

4th Series, #319_View in Haines Ravine_Loeffler_Catskill Mountain Scenery4th Series, #319_View in Haines Ravine

 

5th Series, #327_version 1_Upper Cascade (side view), Haines Ravine

5th Series, #327_version 1_Upper Cascade (side view), Haines Ravine_Loeffler_Catskill Mountain Scenery5th Series, #327_version 1_Upper Cascade (side view), Haines Ravine

 

5th Series, #334_The Lemon Squeezer, South Mountain

5th Series, #334_The Lemon Squeezer, South Mountain_Loeffler_Catskill Mountain Scenery5th Series, #334_The Lemon Squeezer, South Mountain

 

5th Series, #339_Bowlder on South Moutain

5th Series, #339_Bowlder on South Moutain_Loeffler_Catskill Mountain Scenery5th Series, #339, version 1_Bowlder on South Moutain

 

5th Series, #351_Picnic Rock, Stone Clove

5th Series, #351_Picnic Rock, Stone Clove_Loeffler_Catskill Mountain Scenery5th Series, #351_Picnic Rock, Stone Clove

 

5th Series, #353_Picnic Rock, Stony Clove

5th Series, #353_Picnic Rock, Stony Clove_Loeffler_Catskill Mountain Scenery5th Series, #353_Picnic Rock, Stony Clove

 

6th Series, #365_The Overlook Mountain House from Hopper Rock

6th Series, #365_The Overlook Mountain House from Hopper Rock_Loeffler_Catskill Mountain Scenery6th Series, #365_The Overlook Mountain House from Hopper Rock

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[email protected] (American Catskills) Catskill Mountain Scenery Catskill Mountains Catskills Greene County J. Loeffler John Jacob Loeffler Loeffler New York photographer photographs photography photos pictures stereo view stereograph stereoscopic stereoscopic view stereoviews Tompkinsville https://www.americancatskills.com/blog/2025/1/john-jacob-loeffler-in-the-catskills-part-2 Sat, 11 Jan 2025 13:00:00 GMT
John Jacob Loeffler in the Catskills – Part 1 https://www.americancatskills.com/blog/2025/1/john-jacob-loeffler-in-the-catskills-part-1 John Jacob Loeffler is one of the great Catskills photographers of all time. He made hundreds of stereoviews of the Catskills throughout the 1870s and 1880s. The photographs, part of the series titled Catskill Mountain Scenery, demonstrate his skill and vision as well as the timeless beauty of the Catskills, being equally compelling today as they were 150 years ago.

 

I have recently acquired nearly 40 new Catskills stereoviews that were published by John Jacob Loeffler. They have all been added to the Loeffler gallery, which now contains nearly 200 of his photographs, 165 of which are from the Catskills. To access the gallery, click on the “Historic Photo Gallery” tab, and then navigate to John Jacob Loeffler.

 

Twenty of the new stereoviews are highlighted here this week, and the remaining will be published in next week’s post.

 

1st Series, #208, version 2_Looking down from the Spray House

1st Series, #208, version 2_Looking down from the Spray House_Loeffler_Catskill Mountain Scenery1st Series, #208, version 2_Looking down from the Spray House

 

1st Series, #209_Looking down from the Spray House

1st Series, #209_Looking down from the Spray House_Loeffler_Catskill Mountain Scenery1st Series, #209_Looking down from the Spray House

 

1st Series, #213_The Lake

1st Series, #213_The Lake_Loeffler_Catskill Mountain Scenery1st Series, #213, version 1_The Lake

 

1st Series, #214, version 1_View from North Mountain

1st Series, #214, version 1_View from North Mountain_Loeffler_Catskill Mountain Scenery1st Series, #214, version 1_View from North Mountain

 

1st Series, #220_Fawn's Leap (Looking down)

1st Series, #220_Fawn's Leap (Looking down)_Loeffler_Catskill Mountain Scenery1st Series, #220_Fawn's Leap (Looking down)

 

1st Series, #222, version 1_Fawn's Leap

1st Series, #222, version 1_Fawn's Leap_Loeffler_Catskill Mountain Scenery1st Series, #222, version 1_Fawn's Leap

 

2nd Series, #231_The Spray House

2nd Series, #231_The Spray House_Loeffler_Catskill Mountain Scenery2nd Series, #231_The Spray House

 

2nd Series, #235_Rapids above the Fall, looking down the stream

2nd Series, #235_Rapids above the Fall, looking down the stream_Loeffler_Catskill Mountain Scenery2nd Series, #235_Rapids above the Fall, looking down the stream

 

2nd Series, #239_Wood Path from Laurel House to the Falls

2nd Series, #239_Wood Path from Laurel House to the Falls_Loeffler_Catskill Mountain Scenery2nd Series, #239_Wood Path from Laurel House to the Falls

 

2nd Series, #241_Platform at the head of the Steps

2nd Series, #241_Platform at the head of the Steps_Loeffler_Catskill Mountain Scenery2nd Series, #241_Platform at the head of the Steps

 

2nd Series, #245, version 1_Cauterskill Fall, from upper Steps

2nd Series, #245, version 1_Cauterskill Fall, from upper Steps_Loeffler_Catskill Mountain Scenery2nd Series, #245, version 1_Cauterskill Fall, from upper Steps

 

2nd Series, #246_Round Top from the Steps

2nd Series, #246_Round Top from the Steps_Loeffler_Catskill Mountain Scenery2nd Series, #246_Round Top from the Steps

 

2nd Series, #247, version 1_Path behind the Falls, and overhanging Rocks

2nd Series, #247, version 1_Path behind the Falls, and overhanging Rocks_Loeffler_Catskill Mountain Scenery2nd Series, #247, version 1_Path behind the Falls, and overhanging Rocks

 

2nd Series, #254, version 1_In the Ravine

2nd Series, #254, version 1_In the Ravine_Loeffler_Catskill Mountain Scenery2nd Series, #254, version 1_In the Ravine

 

2nd Series, #258_In the Ravine

2nd Series, #258_In the Ravine_Loeffler_Catskill Mountain Scenery2nd Series, #258, version 1_In the Ravine

 

2nd Series, #259_In the Ravine

2nd Series, #259_In the Ravine_Loeffler_Catskill Mountain Scenery2nd Series, #259_In the Ravine

 

3rd Series, #263_Glen Mary

3rd Series, #263_Glen Mary_Loeffler_Catskill Mountain Scenery3rd Series, #263_Glen Mary

 

3rd Series, #264_The Sphynx

3rd Series, #264_The Sphynx_Loeffler_Catskill Mountain Scenery3rd Series, #264_The Sphynx

 

3rd Series, #266_From Sphynx, looking toward Haines'

3rd Series, #266_From Sphynx, looking toward Haines'_Loeffler_Catskill Mountain Scenery3rd Series, #266_From Sphynx, looking toward Haines'

 

3rd Series, #268_North Mountain, from Tannersville Road

3rd Series, #268_North Mountain, from Tannersville Road_Loeffler_Catskill Mountain Scenery3rd Series, #268_North Mountain, from Tannersville Road

 

 

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[email protected] (American Catskills) catskill mountain scenery catskill mountains catskills greene county j. loeffler john jacob loeffler loeffler new york photographer photographs photography photos pictures stereo view stereograph stereoscopic stereoscopic view stereoviews tompkinsville https://www.americancatskills.com/blog/2025/1/john-jacob-loeffler-in-the-catskills-part-1 Sat, 04 Jan 2025 13:00:00 GMT
Crazy Horse Memorial https://www.americancatskills.com/blog/2024/10/crazy-horse-memorial The Crazy Horse Memorial is a mountain monument under construction in the Black Hills of South Dakota. The monument is being carved out of Thunderhead Mountain, now also referred to as Crazy Horse Mountain. It is located approximately 16 miles from Mount Rushmore.

 

Photograph of the Crazy Horse Memorial in the Black Hills of South Dakota.Crazy Horse Memorial

Photograph of the Crazy Horse Memorial in the Black Hills of South Dakota.Crazy Horse Memorial, South Dakota

Photograph of the Crazy Horse Memorial in the Black Hills of South Dakota.Crazy Horse Memorial, Black Hills, South Dakota

Photograph of the Crazy Horse Memorial in the Black Hills of South Dakota.Crazy Horse Memorial

 

The memorial depicts Oglala Lakota warrior Crazy Horse, one of the most recognized Native Americans of the 1800s. On June 17, 1876, with more than 1,200 warriors, Crazy Horse helped defeat General George Crook at the Battle of the Rosebud. Eight days later, on June 25, 1876, Crazy Horse led a band of Lakota warriors against the Seventh U.S. Cavalry Battalion led by Lieutenant Colonel George Custer. The battle would become known as the Battle of Little Bighorn, but is also referred to as Custer’s Last Stand or the Battle of the Greasy Grass. At the end of the battle, Custer was dead, along with 9 of his officers and 280 of his enlisted men. One year later after the Battle of Little Big Horn, in 1877, Crazy Horse was killed by a military guard at Fort Robinson, Nebraska.

 

The Crazy Horse memorial was commissioned by Henry Standing Bear (1874-1953), a Lakota elder, and was to be sculpted by Korczak Ziolkowski (1908-1982). The memorial has been in progress since 1948, with much work still remaining. The final dimensions of the sculpture are planned to be 641 feet long and 563 feet high, which would make it the largest sculpture in the world when completed.

 

For more information visit the Crazy Horse Memorial website at www.crazyhorsememorial.org.

 

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[email protected] (American Catskills) art Black Hills Crazy Horse Crazy Horse Memorial Crazy Horse Mountain Henry Standing Bear Korczak Ziolkowski Lakota mountain Native American photographer photographs photography photos pictures road trip sculpture South Dakota Thunderhead Mountain https://www.americancatskills.com/blog/2024/10/crazy-horse-memorial Sat, 05 Oct 2024 12:00:00 GMT
Big Foot Pass Presbyterian Church, South Dakota https://www.americancatskills.com/blog/2024/9/big-foot-pass-presbyterian-church-south-dakota The congregation of the Big Foot Pass Presbyterian Church in South Dakota was originally organized on July 25, 1916 by Dr. William Wallace, the district missionary. Reverend G. W. Campbell, the pastor at Interior, through his “persistent labors,” also assisted in organizational efforts. Upon its founding, it was reported that “the new organization, which begins life with twelve members, will minister to a large community of ranchers who have no religious services except those afforded by Big Foot Pass Church.”

 

Photograph of the Big Foot Presbyterian Church, now located at the 1880 Town in Midland, South Dakota.Big Foot Presbyterian Church, South DakotaBig Foot Pass Presbyterian Church was originally located at Big Foot Pass near the Badlands National Park in South Dakota, about half way between the town of Quinn and the town of Interior. The church building was constructed in 1927.

Today, the Big Foot Pass Presbyterian Church is located at the 1880 Town in Midland, South Dakota.

Photograph of the Big Foot Presbyterian Church, now located at the 1880 Town in Midland, South Dakota.Big Foot Pass Church, South DakotaBig Foot Pass Presbyterian Church was originally located at Big Foot Pass near the Badlands National Park in South Dakota, about half way between the town of Quinn and the town of Interior. The church building was constructed in 1927.

Today, the Big Foot Pass Presbyterian Church is located at the 1880 Town in Midland, South Dakota.

Photograph of the Big Foot Presbyterian Church, now located at the 1880 Town in Midland, South Dakota.Big Foot Pass Presbyterian ChurchBig Foot Pass Presbyterian Church was originally located at Big Foot Pass near the Badlands National Park in South Dakota, about half way between the town of Quinn and the town of Interior. The church building was constructed in 1927.

Today, the Big Foot Pass Presbyterian Church is located at the 1880 Town in Midland, South Dakota.

 

The Big Foot Pass Presbyterian Church building was constructed in 1927 and dedicated on November 13, 1927. The church was located about half way between the town of Quinn and the town of Interior. Services were originally held in the school house, but the congregation grew to such a size that it was decided that its own church building was required.

 

On the day of the dedication, Reverend M. T. Rainier, from Belvidere, South Dakota, gave the morning sermon, while Reverend Johnson, from Aberdeen, South Dakota, gave the dedication sermon in the afternoon. A picnic lunch was served at noon. Reverend W. O. Howard was in his second years of serving as the permanent pastor.

 

Funding for the church was raised through several auction sales, for which friends of the church donated everything from “fancy work” to mules, all of which was auctioned off to the highest bidder. Most of the building was constructed with volunteer labor, with “the pastor doing his bit with the rest.” The church had a seating capacity for 150 people. There were approximately 50 active members at the time of the church’s construction.

 

Big Foot Pass was named for Chief Spotted Elk, who was also known as Big Foot. He was killed in 1890, along with at least 150 members of his tribe, at Wounded Knee Creek in South Dakota.

 

Big Foot Pass Presbyterian Church is now located at the historic 1880 Town in Midland, South Dakota.

 

Photograph of the Big Foot Presbyterian Church, now located at the 1880 Town in Midland, South Dakota.Big Foot Pass Presbyterian ChurchBig Foot Pass Presbyterian Church was originally located at Big Foot Pass near the Badlands National Park in South Dakota, about half way between the town of Quinn and the town of Interior. The church building was constructed in 1927.

Today, the Big Foot Pass Presbyterian Church is located at the 1880 Town in Midland, South Dakota.

Photograph of the Big Foot Presbyterian Church, now located at the 1880 Town in Midland, South Dakota.Protecting the ChurchBig Foot Pass Presbyterian Church was originally located at Big Foot Pass near the Badlands National Park in South Dakota, about half way between the town of Quinn and the town of Interior. The church building was constructed in 1927.

Today, the Big Foot Pass Presbyterian Church is located at the 1880 Town in Midland, South Dakota.

Photograph of the Big Foot Presbyterian Church, now located at the 1880 Town in Midland, South Dakota.Big Foot Pass ChurchBig Foot Pass Presbyterian Church was originally located at Big Foot Pass near the Badlands National Park in South Dakota, about half way between the town of Quinn and the town of Interior. The church building was constructed in 1927.

Today, the Big Foot Pass Presbyterian Church is located at the 1880 Town in Midland, South Dakota.

Photograph of the Big Foot Presbyterian Church, now located at the 1880 Town in Midland, South Dakota.Big Foot Pass Presbyterian ChurchBig Foot Pass Presbyterian Church was originally located at Big Foot Pass near the Badlands National Park in South Dakota, about half way between the town of Quinn and the town of Interior. The church building was constructed in 1927.

Today, the Big Foot Pass Presbyterian Church is located at the 1880 Town in Midland, South Dakota.

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[email protected] (American Catskills) 1880 Town architecture Badlands Badlands National Park Big Foot Pass Church Big Foot Pass Presbyterian Church building church Clarence Hullinger Interstate 90 Midland movie Murdo old west photographer photographs photography photos pictures Richard Hullinger road trip South Dakota town Two Strike https://www.americancatskills.com/blog/2024/9/big-foot-pass-presbyterian-church-south-dakota Sat, 28 Sep 2024 12:00:00 GMT
1880 Town at Midland, South Dakota https://www.americancatskills.com/blog/2024/9/1880-town-at-midland-south-dakota The historic 1880 Town is located along Interstate 90 at the town of Midland, South Dakota. It offers a charming step back in time with more than 30 original buildings and thousands of unique relics.

 

 

1880 Town

Photographs and brief history of 1880 Town at Midland, South Dakota.1880 TownThe historic 1880 Town is located along Interstate 90 at the town of Midland, South Dakota. It offers a charming step back in time with more than 30 original buildings and thousands of unique relics.

 

Scene from the Old West Photographs and brief history of 1880 Town at Midland, South Dakota.Scene from the Old WestThe historic 1880 Town is located along Interstate 90 at the town of Midland, South Dakota. It offers a charming step back in time with more than 30 original buildings and thousands of unique relics.

 

Dakota Hotel Photograph of the former Dakota Hotel, now located at the 1880 Town in Midland, South Dakota.Dakota HotelThe historic 1880 Town is located along Interstate 90 at the town of Midland, South Dakota. It offers a charming step back in time with more than 30 original buildings and thousands of unique relics.

 

Culpepper Saloon Photograph of the Culpepper Saloon at the 1880 Town in Midland, South Dakota.Culpepper SaloonThe historic 1880 Town is located along Interstate 90 at the town of Midland, South Dakota. It offers a charming step back in time with more than 30 original buildings and thousands of unique relics.

 

The original name of the town was Two Strike after the historical Lakota leader. His name Two Strike was earned when, during battle, he knocked two members of the Ute tribe off their horses with a single blow of his war club.

 

The original 1880 Town got its start in 1972 through the work of Clarence Hullinger (1915-2012) and his son Richard Hullinger. A movie production company had come to the region to make an 1880s western film and created an Old West main street through a fictional western town. The site chosen for the town was on Hullinger’s land. The movie project was abandoned before filming began and the movie company gave Clarence Hullinger the buildings, which were then moved to the current site of the 1880 Town.  

 

Most of the buildings are from the 1880 to 1920 era and have been transported from communities around South Dakota to 1880 Town in order to provide a close-to-realistic western experience. Buildings include the Culpepper Saloon, the Wells Fargo & Co. Express Office, the Potter County Jail (1896), the Everett Zaugg Blacksmith shop, Gregory National Bank, the Chicago & North Western Depot (1886), the Longhorn Saloon, the Big Foot Pass Presbyterian Church, the St. Stephen’s Church (1915), among many others. The Dakota Hotel, built in 1910, was moved from Draper, South Dakota to 1880 Town. A quarter-mile from the town is a homestead site which includes a small home, barn, corrals and a windmill.

 

Everett Zaugg Blacksmith

Photograph of the Everett Zaugg Blacksmith ship at the 1880 Town in Midland, South Dakota.Everett Zaugg BlacksmithThe historic 1880 Town is located along Interstate 90 at the town of Midland, South Dakota. It offers a charming step back in time with more than 30 original buildings and thousands of unique relics.

 

Emporium Photographs and brief history of 1880 Town at Midland, South Dakota.EmporiumThe historic 1880 Town is located along Interstate 90 at the town of Midland, South Dakota. It offers a charming step back in time with more than 30 original buildings and thousands of unique relics.

Homestead Barn Photographs and brief history of 1880 Town at Midland, South Dakota.Homestead BarnThe historic 1880 Town is located along Interstate 90 at the town of Midland, South Dakota. It offers a charming step back in time with more than 30 original buildings and thousands of unique relics.

 

Grazing Photographs and brief history of 1880 Town at Midland, South Dakota.GrazingThe historic 1880 Town is located along Interstate 90 at the town of Midland, South Dakota. It offers a charming step back in time with more than 30 original buildings and thousands of unique relics.

 

The Vanishing Prairie Museum includes a tribute to Casey Tibbs (1929-1990), a 9-time World Champion Rodeo Cowboy, including All-Around Champion Cowboy titles in 1951 and 1955. Tibbs is considered by many to be the greatest bronc rider of all time. He was inducted into Professional Rodeo Hall of Fame in 1979. The tribute contains a variety of memorabilia from his career including saddles, belt buckles, jackets and hats as well as photographs, sculptures and event advertisements.

 

The 1880 Town is located on Interstate 90, 22 miles west of Murdo, South Dakota and about 60 miles east of Wall, South Dakota. Visit the 1880 Town website at www.1880town.com for more information.

 

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[email protected] (American Catskills) 1880 Town Badlands Badlands National Park Clarence Hullinger Interstate 90 Midland movie Murdo old west photographer photographs photography photos pictures Richard Hullinger road trip South Dakota town Two Strike United States https://www.americancatskills.com/blog/2024/9/1880-town-at-midland-south-dakota Sat, 21 Sep 2024 12:00:00 GMT
Carhenge: Built with Blood, Sweat and Beers https://www.americancatskills.com/blog/2024/9/carhenge-built-with-blood-sweat-and-beers Carhenge, located near the city of Alliance, Nebraska, is an inventive replica of Stonhenge in England, but made with cars.

 

The sculpture was created by James Reinders (1927-2021), who graduated from high school in Alliance, served with the U.S. Navy in the South Pacific, attended the University of Nebraska with an engineering major and went on to work in the oil industry for over three decades. He had become familiar with Stonehenge while living in London for seven years.

 

Photograph of Carhenge located at Alliance, Nebraska.Carhenge (1)Carhenge is a creative replica of Stonhenge in England, but made with cars. It is located near the city of Alliance, Nebraska.

Photograph of Carhenge located at Alliance, Nebraska.Carhenge (5)Carhenge is a creative replica of Stonhenge in England, but made with cars. It is located near the city of Alliance, Nebraska.

Photograph of Carhenge located at Alliance, Nebraska.Carhenge (6)Carhenge is a creative replica of Stonhenge in England, but made with cars. It is located near the city of Alliance, Nebraska.

Photograph of Carhenge located at Alliance, Nebraska.Carhenge (7)Carhenge is a creative replica of Stonhenge in England, but made with cars. It is located near the city of Alliance, Nebraska.

 

According to Carhenge website, it “was built as a memorial to Reinders’ father who once lived on the farm where Carhenge now stands. While relatives were gathered following the death of Reinders’ father in 1982, the discussion turned to a memorial and the idea of a Stonehenge replica was developed. The family agreed to gather in five years and build it. The clan, about 35 strong, gathered in June of 1987 and went to work. The dedication was held on the Summer Solstice in 1987 with champagne, poetry, songs, and a play written by the family.”

 

Reinders purchased most of the cars in Alliance. Models include a 1943 Plymouth Savoy, 1945 Jeep Willys, 1956 Buick Roadmaster Deluxe, 1957 Cadillac Eldorado, 1965 Ford Thunderbird, 1971 Chevrolet Nova, a 1976 American Motors Gremlin and many others. To avoid ground contamination Reinders drained all the oil and gasoline from all the vehicles before construction. Several foreign cars were originally included in the installation, but were later taken away and ritually buried.

 

The spacing and height of the 39 vehicles is nearly identical to Stonehenge. The circle measures approximately 96 feet in diameter. Some of the cars are held upright in pits five feet deep, trunk end down. The cars used to form the arches have been welded into place. All the cars are covered with battleship gray paint. The heel stone is depicted by a 1962 Cadillac.

 

Construction on the project began on June 13, 1987 and took about a week. Once complete the family held a christening ceremony which included one last meal together and they sang a tribute to the building of Carhenge written by Veronica Cook to the tune of “On Top of Old Smokey.” A bottle of champagne was smashed against the ambulance in the center of the circle of cars. Family members joked that the christening of Carhenge included a sacrifice, i.e. “we all sacrificed our vacations to get this thing built.” The family would also joke that Carhenge was built with “blood, sweat and beers.”

 

There was a sign created for the roadway made of hubcaps, license plates, car ornaments and chrome bumpers. Access was originally restricted to the roadside, and visitors would not be able to come on the property for a closer look. Reinders commented in local newspapers that it was not his intent to create a tourist attraction.

 

Photograph of Carhenge located at Alliance, Nebraska.Carhenge (9)Carhenge is a creative replica of Stonhenge in England, but made with cars. It is located near the city of Alliance, Nebraska. Photograph of Carhenge located at Alliance, Nebraska.Carhenge (10)Carhenge is a creative replica of Stonhenge in England, but made with cars. It is located near the city of Alliance, Nebraska. Photograph of Carhenge located at Alliance, Nebraska.Carhenge (12)Carhenge is a creative replica of Stonhenge in England, but made with cars. It is located near the city of Alliance, Nebraska.

 

Photograph of Carhenge located at Alliance, Nebraska.Carhenge (17)Carhenge is a creative replica of Stonhenge in England, but made with cars. It is located near the city of Alliance, Nebraska.

Photograph of "Spawning Salmon" sculpture, located at Carhenge in Alliance, Nebraska.Spawining SalmonThe sculpture titled the "Spawning Salmon" was created by Geoff Sandhurts of Canada. The sculpture is located on the grounds of Carhenge in Alliance, Nebraska.

Photograph of sculpture titled "The Fourd Seasons," located at Carhenge in Alliance, Nebraska.The Fourd SeasonsThe car art sculpture titled "The Fourd Seasons was constructed by Merle Stone of Hemingford, Nebraska. It is located on the grounds of Carhenge in Alliance, Nebraska.

Although Carhenge is widely beloved now, this was not the case in the early days after it was first constructed. Some local neighbors complained that it was eyesore. The city of Alliance charged Reinders with zoning violations, claiming that the site of Carhenge was within city limits and that it violated the required agricultural use of the land. The state of Nebraska then claimed that the creation was in violation of the state’s junkyard laws, which required the cars be located in a zoned industrial area and that the cars be screened from the view of the traveling public. In time, public sentiment grew in favor of letting Carhenge remain, and these issues were resolved. Carhenge would go on to become a popular tourist attraction drawing thousands of visitors to the region every year.

 

The creation of Carhenge and the ensuing controversy made national news. Newspapers, magazines and television shows all covered the story. Reporters and photographers were sent to northwest Nebraska to see the site for themselves. James Reinders was profiled numerous times, with one of the most frequent questions being “why?”

 

On August 21, 2017, 30 years after its creation, Carhenge hosted over 4,000 people, including Nebraska Governor Pete Ricketts and creator James Reinders, for the total solar eclipse that was crossing the country. Carhenge was located within the path of totality, which lasted for 2 minutes and 28 seconds. In all, it took 21 minutes for the total solar eclipse to move through the state. Nebraska will not see another total solar eclipse until the year 2106. Reinders has stated that he was not aware of the total solar eclipse when Carhenge was first constructed.

 

Another car art installation on the Carhenge property is titled “The Fourd Seasons,” which was inspired by Vivaldi’s Four Seasons. The installation is meant to suggest Nebraska’s seasonal changes when wheat is planted, grows, matures and the field lies barren during a windy winter. It is constructed out of four Ford cars.

 

Other sculptures on the property include Dino the Dinosaur, constructed by Merle Stone of Hemingford, Nebraska, and the Spawning Salmon, created by Geoff Sandhurts of Canada.

 

Although never completed, Jim Reinders had other ideas for additional car art installations. They included plans for Caramid, a scale model of the Great Pyramid at Gaza, done in cars, and a 100-foot segment of the Great Wall of China, made of cars.

 

Reinders donated Carhenge and the 10 acres of grounds to the Friends of Carhenge, a local group of dedicated people who preserved and maintained it until October of 2013 when it was then gifted to the City of Alliance.

 

Today, Carhenge continues to attract thousands of visitors each year. It has appeared in several Hollywood movies and is one of the most photographed sites in the state of Nebraska. Admission to the grounds is free. A visitor center called “The Pit Stop” was constructed on the property in 2007. Carhenge is open year-round from dawn to dusk. Visit their website at www.carhenge.com for more information.

 

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[email protected] (American Catskills) Alliance automobiles Carhenge cars Dina the Dinosaur Friends of Carhenge Geoff Sandhurts James Reinders Merle Stone Nebraska photographer photographs photography photos road trip Spawning Salmon Stonehenge The Fourd Seasons United States https://www.americancatskills.com/blog/2024/9/carhenge-built-with-blood-sweat-and-beers Sat, 14 Sep 2024 12:00:00 GMT
Ghost Town at Scenic, South Dakota https://www.americancatskills.com/blog/2024/9/ghost-town-at-scenic-south-dakota “Every town in the Badlands had its characters, but in Scenic the characters had a town.” – Reflections of the Badlands by Philip S. Hall

 

 

The abandoned ghost town of Scenic, South Dakota is located along Route 44 near the western edge of Badlands National Park, approximately 50 miles from Rapid City, and seven miles north of the Pine Ridge Reservation boundary line. The town, established circa 1906, took its name for its location in a broad basin surrounded by the “scenic” Badlands.

 

Longhorn Store at Scenic, South DakotaLonghorn Store at Scenic, South DakotaThe ghost town of Scenic, South Dakota is located near the western edge of Badlands National Park.

Ashes to AshesAshes to AshesThe ghost town of Scenic, South Dakota is located near the western edge of Badlands National Park.

Sam 2 Bulls GallerySam 2 Bulls GalleryThe ghost town of Scenic, South Dakota is located near the western edge of Badlands National Park.

Abandoned in the BadlandsAbandoned in the BadlandsThe ghost town of Scenic, South Dakota is located near the western edge of Badlands National Park.

 

Early Days at Scenic

 

The town of Scenic was originally founded as a farming and ranching town. In 1907, a year after its founding, a traveler through Scenic noted that the town consisted of nothing more than “a box car for a depot, section house, a tent and a – saloon.” The town would soon change.

 

Ab Jefferson, the town’s first businessman, built the first building at Scenic, “which was a tar paper shack located on the south side of the railroad track.” This building was “the 1st grocery store and became a place where all could get together at the end of the day.” Jefferson operated the saloon and soon after added a store, a restaurant and a hotel. As would become a common theme for Scenic, Jefferson was arrested in those early days “for the sale of intoxicating liquors” to Native Americans, which was then against the law. Prior to moving to Scenic, Jefferson had established a ranch at the southwest base of Sheep Mountain Table, but was ruined in 1905 when a spring blizzard pushed his cattle off the edge of the table.

 

By 1907 a grocery store had been built at Scenic by Len Anderson, which was quickly followed by a mercantile store, two restaurants, a pool hall, a barbershop, a bank building, a printing office, a drugstore and the establishment of a post office. Soon thereafter, with the arrival of the Milwaukee Railroad, came a school, two churches, more stores, livery barns, blacksmith shops, a dance hall, a theater and a newspaper by the name of the Scenic Observer. By the 1920s Scenic had a population of 250 people and the town had become a trade center for farmers, ranchers and homesteaders in the surrounding region.

 

The Congregational Church was organized in 1906/1907 by a group of homesteaders. The congregation originally met in people’s homes to worship, until the first church building was built in 1909. The church was located 7 1/2 miles from Scenic on Kube Table. By 1911 there were 19 members and the first minister was Joabez Spitelli. The church building was moved from Kube Table to the town of Scenic in 1914.

 

Over time, and as tourism developed, the town then historically served as a stopping point for travelers making their way from Rapid City to the Badlands. However, once the new highway was built, there was little reason for travelers to come this way, and eventually little reason for the people who lived there to stay.

 

Characters and Other Odd Events

 

All sorts of characters have found their way to Scenic, including trappers, homesteaders, farmers, ranchers, traders, missionaries, saloon-keepers, bikers and gamblers.

 

“The colorful Frank Hart lived just west of town. Between gambling and riding unbroken horses down Main Street, he enlivened the town. Poker players in the livery barn occasionally looked up to see a full-grown wolf stalking main street. It was Bruno following at the heels of his owner, Bud Dalrymple.” (Hall, Philip S. Reflections of the Badlands. p. 163.)

 

Bud Dalrymple (1881-1955) was a well-known wolf hunter in the Badlands and the surrounding region. Ranchers in the area would often hire Dalrymple to hunt and trap the wolf, which was considered an enemy of range stock. Dalrymple wrote often about the wolf in various trade publications and in 1919 published a book on his personal experiences titled “The Gray Wolf of South Dakota.” Dalrymple wrote of the proper dress for a “wolfer,” how to find a wolf den, the bounties paid by the state and stockmen for each wolf skin, how to skin a wolf and he wrote about the demands of the challenging Badlands terrain.

 

Then there was the hardscrabble Mary Hynes (1858-1926) who homesteaded on the top of Sheep Mountain Table in 1907 with five of her eleven children after her husband had run off. Sheep Mountain Table was located four miles south of Scenic and the land was only available for claim because it was considered inaccessible. After staking her claim to the table, the family, through lots of hard work and ingenuity, carved their own path, and later a road, to the top of the table. There they created a new life on their isolated ranch. Everything that was required for their home was at first hauled to the top via a plank sled with wooden runners pulled by a horse. The Hynes family, through Mary Hynes followed by her son Clarence “Hap” Hynes (1888-1967), remained on Sheep Mountain Table until 1935 when Hap sold the land to the National Park Service and moved to Scenic to operate a hotel and bar.  

 

The sensational murder of 81-year-old Tom Friet, owner of “The Agate Shop”, and a recognized expert in Badlands mineral and fossil specimens, took place on Friday, January 13th, 1956 at his one room cabin on main street in the heart of Scenic. Friet had originally been a homesteader on the Quinn Table. On the night of his murder, Friet had visited a bar across the street to watch television, as was his custom each evening. After leaving for the night, he was never again seen alive. A neighbor found his body the next afternoon, around 3pm, lying on the floor in a pool of blood. Friet had been brutally beaten on the head with a blunt instrument and then choked with his own necktie. The coroner ruled that Friet had died of strangulation and a broken neck. The assumed motive was robbery, as it did not seem that Friet had any enemies in town, but others thought it was probably just “a drunken bum.” Despite the widespread news of the murder, authorities never found out who did it.

 

“Carl Bohling, a homesteader in Quinn Draw, thought that Scenic was a unique town. ‘It’s the only place in the world,’ he quipped, ‘where you can walk across main street knee deep in mud and have dust blow in your face.’” (Hall, Philip S. Reflections of the Badlands. p. 161.)

 

Other strange events, not always of this planet, seemed to happen at Scenic, such as when a meteor hit the land of J. A. Mulholland, a homesteader who lived four miles east of town on what was known as 71 Table. Mulholland not only saw “the brilliant light given off by the meteor, but he also heard it strike the ground with great force.” The meteor hit the earth in a draw, “ploughing up a deep furrow of earth. Finally it buried itself in the earth to an unknown depth. The meteor is about three feet in diameter.” (“Meteor Strikes Earth Near Scenic – Will Be Unearthed.” Black Hills Daily Register. September 20, 1911.)

 

Twila Merrill

 

The town of Scenic was once almost entirely owned by Twila Merrill (1936-2014), a famous rodeo rider during the 1950s and 1960s who was later inducted into the Casey Tibbs Rodeo Hall of Fame. Merrill, the daughter of Charles Merrill (1910-1996) and Eletta Merrill (1913-1978), grew up on the Pine Ridge Reservation in a ranching and rodeo family. Her father Charles was a rancher and rodeo contractor from 1928 to 1967 and later assisted Twila in managing a bar and store at Scenic.

 

Twila began riding in rodeos in 1952 after graduating from high school in Rushville, Nebraska. She rode bareback, saddle broncs and bulls. She earned a widespread reputation not only for her skill but also for frequently entering the men’s rodeo competitions. Working in the rodeo took her all over the west, in the Great Plains and the Rocky Mountain states, and from the Canadian border all the way down to Texas and Arizona.

 

During one 6-year stretch on the rodeo circuit, Merrill was never bucked off. Then she went to the Belle Fourche rodeo, where her father was the stock contractor. She was bucked off a red roan mare, and her father gently said “I want to remind you there ain’t no horse that can’t be rode or cowgirl that can’t be throwed.” (Rapid City Journal. December 5, 2014.)

 

After years on the road, and at her father’s request, Twila moved to Scenic in 1963, where she purchased a bar and a house. In 1965, she married Loren Palmer (1936-1970), a rancher and long-distance trucker. Five years after their marriage, Loren died in 1970 after a tragic truck accident near Mt. Anthony, Idaho. Over time, at Scenic, Twila added additional businesses, including a trucking company, a cattle ranch and horse trading. She purchased land in and around Scenic bit by bit over several decades until she practically owned the entire town.

 

Longhorn Saloon

 

The Longhorn Saloon, which Twila operated, earned a notorious reputation over the years. The saloon was the site of regular fights, including the town marshal being roughed up several times, as well as several murders, including killings in 1968, 1975, 1976 and 1985. It was widely believed that anyone going to the Longhorn Saloon should carry a gun in their boots.

 

Old Longhorn SaloonOld Longhorn SaloonThe ghost town of Scenic, South Dakota is located near the western edge of Badlands National Park.

Scenic, South Dakota, Established 1906Scenic, South Dakota, Established 1906The ghost town of Scenic, South Dakota is located near the western edge of Badlands National Park.

Cattle Skulls at the Old Longhorn SaloonCattle Skulls at the Old Longhorn SaloonThe ghost town of Scenic, South Dakota is located near the western edge of Badlands National Park.

 

In 1968, a fight behind the saloon led to the shooting death of Ardie Janis. Patrick Grooms was convicted of second-degree manslaughter and sentenced to 10 years in jail. In 1975 Richard Marshall was charged, and later convicted, in the shooting death of Martin Montileaux. In 1976 Harold Crazy Thunder was shot by Alvin Broken Rope, who later pled guilty and was sentenced to 35 years in jail. In 1985 Herman Tuttle, Jr. was killed during a street fight between two feuding families, the Tuttle family and the Cottier family, a melee that included at least 20 people.

 

Twila and her father Charles were both shot during a 1984 incident at the saloon. Both were hit with shotgun blasts from about 10 feet away after an argument with two customers. It is believed that the argument followed the publication of a photograph of the saloon on the front page of the weekly Lakota Times, published on the neighboring Pine Ridge Reservation. The photograph included the sign above the outside door of the saloon, which had been there for decades, that read “No Indians Allowed.” The two customers took issue with the sign and attempted to tear it down, after which a brief gunfight ensued. Twila later painted over the “No” part of the sign.

 

As a note of historical context, in 1832 the U.S. Congress passed legislation banning the sale of alcoholic beverages to Native American people. That legislation remained on the record for 121 years until it was repealed in 1953, and tribes were then given the option of retaining prohibition or allowing the sale and consumption of alcohol on reservations. Pine Ridge remains a “dry” reservation.

 

In 1987 Michael O’Keefe, a member of the El Forest Arrows motorcycle club, was stabbed in the stomach at the Longhorn Saloon. The stabbing took place during a fight between members of both the El Forest Arrrows motorcycle club and members of the Galloping Goose motorcycle club against a local group of Native Americans. The motorcyclists were supposedly annual visitors to the Longhorn Saloon, having visited the bar for eight years in a row.

 

The false front of the single-story Longhorn Saloon advertised whiskey, beer, wine and tobacco. Cattle skulls were hung with barbed wire. Two doors down the street, tellingly, and appropriately, seemed to be the town jail, with a jail cell that would have been visibly open to those on main street. Inside the saloon, the ceilings were low and covered with brands from local ranches, the floor was covered with sawdust and the walls were decorated with various artifacts including chaps, spurs, mounted horns, petrified turtles and other cowboy memorabilia. Oil barrels with metal tractor seats served as barstools. The men’s bathroom was painted blood red, with the walls marked by signs of previous struggles such as holes and knife cuts. With tribal law making the nearby Pine Ridge Reservation “dry,” the Longhorn Saloon saw good business from Native Americans.

 

Scenic: For Sale

 

By the 2000’s, and with her declining health, Twila Merrill decided to sell the entire town. News of the offering sale reached the national news, with many leading newspapers and television networks covering the story. The town of Scenic was purchased in 2011 for $800,000 by the Iglesia ni Cristo (Church of Christ), a Philippines-based church. It seems that not much has been done with the town since its purchase, nor is it evident as to what the church plans to do in the future.

 

Longhorn at Scenic, South DakotaLonghorn at Scenic, South DakotaThe ghost town of Scenic, South Dakota is located near the western edge of Badlands National Park.

Longhorn: Second Time AroundLonghorn: Second Time AroundThe ghost town of Scenic, South Dakota is located near the western edge of Badlands National Park.

 

Today, despite its prior thriving history, only decaying homes and businesses remain. The abandoned Old Longhorn Saloon, constructed in 1906, is decorated with longhorn cattle skulls. The Longhorn Store marked its business with a motto of “ashes to ashes, dust to dust, if we don’t have it, it isn’t a must.” The C. H. Merrill Museum of Natural History is all boarded up. Other former businesses included the Sam 2 Bulls Gallery and the Tatanka Trading Post.

 

Until the church makes its decision as to the future of the town, Scenic remains an interesting stopping point for those visiting the Badlands. The rough and interesting history of the region and the long-abandoned buildings, which are still charming in their own way, provide a small glimpse into what was once a popular small town in a very “scenic” part of the country.

 

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Colgate Lake Reflections https://www.americancatskills.com/blog/2024/8/colgate-lake-reflections Colgate Lake is a scenic 29-acre lake located in the 1,500 Colgate Lake Wild Forest in the town of East Jewett of the northern Catskills. The area around the lake provides panoramic views of the Blackhead Mountain Range, which includes Thomas Cole (3,950 feet), Black Dome (3,990 feet) and Blackhead (3,950 feet).

 

The lake is named after Robert Colgate, the 19th century owner of what is now the Colgate-Palmolive company. He owned thousands of acres in the East Kill Valley area, including the land in and around Colgate Lake. The property was purchased for $475,000 by the state of New York in 1975 from the Robert Colgate estate.

 

The lake is a popular location for fishing, kayaking, picnicking and primitive camping. The yellow marked Colgate Lake Trail travels 4 miles to Dutcher Notch and the Escarpment Trail in the Windham Blackhead Range Wilderness Area.

 

Photograph of Colgate Lake, a scenic 29-acre lake located in the Colgate Lake Wild Forest in the town of East Jewett, New York in the northern Catskills.Colgate Lake in the CatskillsColgate Lake is a scenic 29-acre lake located in the 1,495 Colgate Lake Wild Forest in the town of East Jewett. The area around the lake provides panoramic views of the Blackhead Mountain Range, which includes Thomas Cole (3,950 feet), Black Dome (3,990 feet) and Blackhead (3,950 feet). The lake is named after Robert Colgate, the 19th century owner of what is now the Colgate-Palmolive company. He owned thousands of acres in the East Kill Valley area, including the land in and around Colgate Lake.

Photograph of Colgate Lake, a scenic 29-acre lake located in the Colgate Lake Wild Forest in the town of East Jewett, New York in the northern Catskills.Autumn Reflections at Colgate LakeColgate Lake is a scenic 29-acre lake located in the 1,495 Colgate Lake Wild Forest in the town of East Jewett. The area around the lake provides panoramic views of the Blackhead Mountain Range, which includes Thomas Cole (3,950 feet), Black Dome (3,990 feet) and Blackhead (3,950 feet). The lake is named after Robert Colgate, the 19th century owner of what is now the Colgate-Palmolive company. He owned thousands of acres in the East Kill Valley area, including the land in and around Colgate Lake.

Photograph of Colgate Lake, a scenic 29-acre lake located in the Colgate Lake Wild Forest in the town of East Jewett, New York in the northern Catskills.Colgate Lake ReflectionsColgate Lake is a scenic 29-acre lake located in the 1,495 Colgate Lake Wild Forest in the town of East Jewett. The area around the lake provides panoramic views of the Blackhead Mountain Range, which includes Thomas Cole (3,950 feet), Black Dome (3,990 feet) and Blackhead (3,950 feet). The lake is named after Robert Colgate, the 19th century owner of what is now the Colgate-Palmolive company. He owned thousands of acres in the East Kill Valley area, including the land in and around Colgate Lake.

Photograph of Colgate Lake, a scenic 29-acre lake located in the Colgate Lake Wild Forest in the town of East Jewett, New York in the northern Catskills.Autumn Reflections in the CatskillsColgate Lake is a scenic 29-acre lake located in the 1,495 Colgate Lake Wild Forest in the town of East Jewett. The area around the lake provides panoramic views of the Blackhead Mountain Range, which includes Thomas Cole (3,950 feet), Black Dome (3,990 feet) and Blackhead (3,950 feet). The lake is named after Robert Colgate, the 19th century owner of what is now the Colgate-Palmolive company. He owned thousands of acres in the East Kill Valley area, including the land in and around Colgate Lake.

Photograph of Colgate Lake, a scenic 29-acre lake located in the Colgate Lake Wild Forest in the town of East Jewett, New York in the northern Catskills.Last Light at Colgate LakeColgate Lake is a scenic 29-acre lake located in the 1,495 Colgate Lake Wild Forest in the town of East Jewett. The area around the lake provides panoramic views of the Blackhead Mountain Range, which includes Thomas Cole (3,950 feet), Black Dome (3,990 feet) and Blackhead (3,950 feet). The lake is named after Robert Colgate, the 19th century owner of what is now the Colgate-Palmolive company. He owned thousands of acres in the East Kill Valley area, including the land in and around Colgate Lake.

Photograph of Colgate Lake, a scenic 29-acre lake located in the Colgate Lake Wild Forest in the town of East Jewett, New York in the northern Catskills.Reflecting Calm at Colgate LakeColgate Lake is a scenic 29-acre lake located in the 1,495 Colgate Lake Wild Forest in the town of East Jewett. The area around the lake provides panoramic views of the Blackhead Mountain Range, which includes Thomas Cole (3,950 feet), Black Dome (3,990 feet) and Blackhead (3,950 feet). The lake is named after Robert Colgate, the 19th century owner of what is now the Colgate-Palmolive company. He owned thousands of acres in the East Kill Valley area, including the land in and around Colgate Lake.

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[email protected] (American Catskills) acres Black Dome Mountain Blackhead Mountain Blackhead Mountain Range Catskill Mountains Catskills Colgate Lake Colgate Lake Wild Forest Colgate-Palmolive Company East Jewett East Kill Valley estate Greene County lake land New York owner river Robert Colgate Route 78 Tannersville Thomas Cole Mountain town valley water https://www.americancatskills.com/blog/2024/8/colgate-lake-reflections Sat, 31 Aug 2024 12:00:00 GMT
First Old School Baptist Church of Roxbury https://www.americancatskills.com/blog/2024/8/first-old-school-baptist-church-of-roxbury The First Old School Baptist Church of Roxbury is located in the rural hamlet of Vega, New York in the northeast corner of the Town of Roxbury in Delaware County, New York. The church is idyllically situated in the Denver-Vega Valley in a pleasing country setting with stark mountain backdrops.

 

Photograph of the First Old School Baptist Church of Roxbury, located in Denver-Vega Valley of Delaware County, New York.First Old School Baptist Church of Roxbury

Photograph of the First Old School Baptist Church of Roxbury, located in Denver-Vega Valley of Delaware County, New York.First Old School Baptist Church of Roxbury (1856)

 

The First Old School Baptist Church has its roots in a Baptist church organized in the Denver-Vega Valley on May 27, 1796. It was the first church of any denomination to have been formed in the Town of Roxbury. The original society was constituted by Elder William Warren, Shubal Dimmick, David Robinson, Elizabeth Robinson, Abner Bangs, Isaac Hodgkins, Samuel Mosher and John Avery. In the early days the society worshipped in barns, private dwellings, school houses and wherever opportunity offered.

 

The first church building for the congregation was likely a log structure that was erected circa 1800-1810. Early records show that it was located south of the Vega Cemetery on Cartwright Road, however the exact location remains unidentified.

 

The current church building, the second one constructed for the congregation, was built in 1856 in the “traditional meeting house form” that was characteristic of the Old School Baptist faith. This style of architecture is “defined by clean and economical form uncluttered by ornament and embellished with restrained detail.”

 

Interestingly, Old School Baptists, who believe in baptism by immersion, used the creek, the Batavia Kill, that is located behind the church for this purpose by constructing a wooden dam to raise the water level whenever new members were to be baptized. “In Old School Baptist churches, it was preferred to perform baptisms in natural water sources, since this is where John the Baptist immersed Christ.”

 

By the 1920s, the Old School Baptists of the Catskills were in significant decline. By 1929, the First Old School Baptist Church of Roxbury was one of seven area churches served by a single preacher, Elder Arnold H. Bellows (1884-1957), who rotated monthly around the association which included the two Roxbury churches, the Middletown-Andes Church, the Olive-Hurley Church, the Middleburgh Church, the Clovesville Church and the Lexington Church. Elder Bellows continued to serve the association into the 1950s. The population and energy of the Old School Baptist Church gradually diminished. By 1975 only one member of the church remained.

 

Today, the fully restored church is home to the Roxbury Arts Group, a non-profit organization who utilize the historic space for a variety of artistic functions.

 

Photograph of the First Old School Baptist Church of Roxbury, located in Denver-Vega Valley of Delaware County, New York.First O. S. B. Church of Roxbury

Photograph of the First Old School Baptist Church of Roxbury, located in Denver-Vega Valley of Delaware County, New York.First O. S. B. Church of Roxbury (1856)

 

Elder William Warren

 

Elder William Warren served as the first pastor of the First Old School Baptist Church of Roxbury. He was born in Glasgow, Scotland and immigrated to the United States. Warren served in the Continental Army during the American Revolution. He began his ministry near Carmel, in Putnam County, New York on June 25, 1791, and was ordained in 1793. He came to the Batavia Kill area in 1796.

 

Elder Warren served the First Old School Baptist Church of Roxbury from 1796 to 1811. He was succeeded by Elder James Mead, who served until 1813. Following elders included John Warren (1813), Orlando Mack (1813-1823) and David Mead (1823-1845). In 1800 Warren established the first store in the upper end of the Batavia Kill Valley.

 

Elder Warren would also become the first pastor of the Second Old School Baptist Church of Roxbury when it was formed in 1816. At its organization 53 members of the first church served as the new congregation for the new church. At first, the congregation held their meetings in the Scudder school-house. In 1833 they built a church near Stratton’s Falls in Roxbury. Elder Warren served the Second Old School Baptist Church of Roxbury from 1816 to 1821.

 

After his service at Roxbury, Elder Warren relocated to Olive in Ulster County, New York. He served as the third pastor of the Olive & Hurley Old School Baptist Church from 1821 to 1834.

 

Elder William Warren passed away at 76 years of age on December 6, 1836 in Olive, York. His body was later brought to the Vega Cemetery for burial. A portion of his epitaph reads, “He came preaching the gospel of Christ in the wilderness – he was a man of God and a father in Israel.”

 

Elder Warren lost his wife, Synthia, and daughter, Margaret, within three months of each other in 1809. Margaret, who died in May, and Synthia, who died in August, are both buried nearby in the Vega Cemetery.

 

National Register of Historic Places

 

The church is listed on the National Register of Historic Places as “a distinctive example of nineteenth-century rural church architecture.”

 

The church “epitomizes nineteenth-century wood-frame country church architecture in New York, particularly the plain aesthetic that so effectively articulated the world view of the orthodox sects of many rural religions, such as Baptist, Presbyterian, the Shakers, and the Society of Friends. Plainness was achieved by manipulating a number of architectural dimensions. In form, a plain building was precise and geometrical. In churches, wings, apses, dormers, clerestories, and other protrusions were omitted in favor of an austere rectangular solid with a gable (triangular) roof. Ornamental detail was greatly reduced from the perceived norm and used only where necessary to maintain architectural logic or to refer to a critical dialectic.

 

On the Roxbury church, ornament was limited to corners, roof-lines and the edges of opening where it was important to denote the transition from one element to another. In this case, the choices were greatly simplified and interpreted in a modest, non-worldly vocabulary. Workmanship was usually quite high in plain buildings, lest the austerity and distortion be construed as a lack of awareness or skill. Here is where the critical cultural statement is expressed in the architecture. The Old School Baptists were plain for ideological reasons, not because they lacked anything. The fineness of the Roxbury building, evident both in the handling of its restraint and the signature flourishes nested in design features such as the gallery stairs, is what distinguishes the building as architecture. That the architecture is plain, places this remote, local building in the larger dialectic of the Old School Baptists and their position in the world.” (National Register of Historic Places.)

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Jewett Presbyterian Church https://www.americancatskills.com/blog/2024/8/jewett-presbyterian-church The Jewett Presbyterian Church is located in the hamlet of Jewett in the northern Catskills of Greene County, New York. Located adjacent to the church is the Jewett Heights Methodist Episcopal Church.

 

Photograph of the Jewett Presbyterian Church located at Jewett, New York in the northern Catskills.Jewett Presbyterian ChurchThe Jewett Presbyterian Church is located in the hamlet of Jewett in the northern Catskills of Greene County, New York. The current church building was constructed in 1848.

Photograph of the Jewett Presbyterian Church located at Jewett, New York in the northern Catskills.Jewett Presbyterian ChurchThe Jewett Presbyterian Church is located in the hamlet of Jewett in the northern Catskills of Greene County, New York. The current church building was constructed in 1848.

 

The Presbyterian congregation at the hamlet of Jewett was established in 1799. J. B. Beers wrote in his 1884 The History of Greene County of the early days of the church.

 

“The first building at this place used exclusively for church purposed, was built around the year 1800, near the present residence of D. Noble Chase. Before it was finished, it was sold at auction to Elisha Thompson for $50. He then presented the meeting-house to the society, by whom it was used for only a short time. In 1804, another church edifice was commenced on the site of the present church, but remained unfinished for a number of years. The present building was erected in the year 1848. The first pastor was Rev. Mr. Stimson; the present pastor is Rev. William S. Long.

 

When the American Board of Foreign Missions had been formed in 1810, and called for aid to send out its first missionaries, Mr. Stimpson caught the spirit, and infuse in into the hearts of the members of his congregation. But little money was to be found in this community, however, and instead, Mr. Stimpson solicited from each a sheep or lamb. He gathered together a flock of about 30, and with the help of a boy, started for Catskill, 30 miles distant. The flock was sold for $1 per head, and the money was given to the missionary society. This was the first offering from this congregation for ethe conversion of heathen in foreign lands. Since then, the offerings of the church to the cause of missions, etc., have been stated and frequent, and according to the means of the donors, often liberal. This church and Sunday-school are prospering finely.”

 

The church was originally organized as part of the First Congregational Church of Windham. In 1813, the congregation separated from Windham to establish its own church. The church was organized by a “Council of the Northern Associated Presbytery” and became known as the Lexington Congregational Society. Fourteen years later, in 1827, the church changed to the Presbyterian denomination and was received into the Columbia Presbytery. In 1850 the name of the church was changed to Jewett, to correspond with the changed town name.

 

Beginning in 1846 discussions began about the possibility of constructing a new church building. A committee comprised of Loring Beach, Isaac Hinman and James Harrington was established to examine churches in other places to determine the best architectural plan. A subscription was started amongst the church members to raise the money required.

 

The current church building was constructed in 1848. The contract for its construction was awarded to J. B. Hinman and William Goslee “for a sum not exceeding twenty-five hundred dollars.” One stipulation for the building required that “the floors of the new church shall be laid of good hemlock board one inch thick and lined with the same material half inch thick.” The building was extensively repaired and decorated in 1901. The parsonage was built in 1844, and was enlarged in 1896.

 

The adjacent Jewett Heights Methodist Episcopal Church was also constructed in 1848. The Methodist church was constructed on a site purchased from the Presbyterian Church for five dollars. The Methodist church flourished for many years, but membership gradually declined until they ceased to hold regular services, around 1892. In 1901 they sold their meeting house to the Presbyterian church, who then fitted the building for social uses. Today, the building serves as the Presbyterian Church Hall.

 

The Jewett Presbyterian Church, part of the Albany Presbytery, continues to the serve the local community.

 

Photograph of the Jewett Presbyterian Church located at Jewett, New York in the northern Catskills.Jewett Presbyterian SocietyThe Jewett Presbyterian Church is located in the hamlet of Jewett in the northern Catskills of Greene County, New York. The current church building was constructed in 1848.

 

Photograph of the Jewett Presbyterian Church located at Jewett, New York in the northern Catskills.This Is The DayThe Jewett Presbyterian Church is located in the hamlet of Jewett in the northern Catskills of Greene County, New York. The current church building was constructed in 1848.

 

National Register of Historic Places

 

The Jewett Presbyterian Church and the Jewett Heights Methodist Episcopal Church are together listed on the National Register of Historic Places as part of the Jewett Presbyterian Church Complex. The churches represent “a unique and largely intact collection of Greek Revival era ecclesiastic architecture in Greene County.”

 

“The Jewett Presbyterian Church is a two-story, four by three bay timber frame building. The church is covered by a moderately pitched gable roof clad with asphalt shingles. Narrow clapboards sheath the building. The edifice rests on a modern concrete block foundation, which replaced a failing stone foundation. Windows throughout the church are elongated with simple frames and contain stained glass panels.

 

The east façade of the church is highlighted by a fully pedimented gable, which features a compound frieze and broad cornice moldings. A wide frieze with a decorative molding band supports the pediment. The frieze extends down the side elevations of the church terminating beneath partial cornice returns on the west gable elevation. The entablature is supported on all four corners of the church by broad pilasters with simple capitals and bases. Two additional pilasters grace the façade marking the divisions between the bays. The central bay of this elevation features an elongated window which contains a Victorian era stained glass panel. The north and south bays on the façade each contain an entrance. Each entry is composed of a pair of four panel wood doors set within finely crafted Greek Revival style frames. The frames are composed of broad pilasters supporting an unusually tall entablature, which is crowned by a heavily molded cornice. Surmounting the roof, on this elevation is belfry. This feature is composed of an unusually tall first stage, which terminates in a broad cornice. The second stage is composed of pairs of pilasters flanking louvered openings. The pilasters support a simple frieze, which in turn supports a broad cornice. The tower terminates with an octagonal spire, which is crowned by an iron weathervane.

 

The south and north elevations are identical and feature four evenly spaced windows. The west (rear) elevation of the church is unremarkable.

 

The interior plan of the church is simple and largely intact from the building’s period of construction. The plan consists of nave, chancel and entry vestibules. The main entrance of the building open into small vestibules. The vestibules open into the nave of the church. These entrances flank a two-story classical arch composed of pilasters supporting a segmental arch. The recess behind the arch separates the two vestibule spaces and originally served as the chancel of the church. Presently, this space serves as extra seating. Two ranks of wood pews lead up to the present altar area at the west wall of the church. This space is composed of a raised paneled dais, on which a lectern and chairs are located. A choir area is also located on the platform. Finishes in the church are simple and include plaster walls above wood wainscotting. Window and door surrounds are simple. In the late twentieth century a dropped ceiling was installed in an effort to conserve heat in the building. The original ceiling finishes survive intact above.” (National Register of Historic Places.)

 

Reverend Henry Bowen Stimson

 

“The name of Henry B. Stimson is indelibly carved on the foundation of the old church, and is still honored by the generations that survive.”

 

 

Reverend Henry Bowen Stimson, the first pastor of the Jewett Presbyterian Church, came from Framingham, Massachusetts to the Windham area in 1785 with his father, George Stimson, who was then almost 60 years of age. Henry was around 13 or 14 years old at the time. George was working as an agent for Robert Livingston and came to manage his herds that were pastured in the mountain sections of his lands. George had previously served during the American Revolution as a minute man at the Battle of Lexington.

 

At Windham, George and Henry Stimson found “a large, smooth, perpendicular rock, at right-angles to the street, from ten to twenty feet in height and breadth.” There “the two built, against the side of that rock, a rude cabin of brush and logs, with a roof of bark; and there they lived, among bears, wolves, and panthers, two years, until the other members of their family removed there. Their nearest neighbors were at Prattsville, ten mile in one direction, and at Cairo, sixteen miles in the other; and they brought their Indian corn, and other provisions, from the east side of the Hudson River, some thirty miles distant. The corn they bruised or ground with a stone, on the top of a large rock. Just as the first winter of their sojourn there commenced, their rude cabin, with everything in it, was burned; and then they reared another, which was but a poor shelter for them, amid the deep snows and raging winds of those mountain heights.” (Rockwell, p. 269.)

 

“The Captain and the boy Henry spent the winter of 1785-6 here. Their stores got low, and the father went to Claverack, near Hudson, where the nearest mill was, to get food. He expected to be gone but a few days, and left Henry alone. But the ice in the Hudson made his return crossing impossible for six weeks, during which time the boy Henry had to live in the hut alone, among wolves, bears, panthers, and other dangers, with no kind guardian except the Heavenly Father, whose care for His people never ceases.” (Dodd, p. 9.)

 

“An incident worth relating, occurred at that time. One night there came along a man on horseback, - a stranger, - who spent the night and shared with Henry his potato breakfast, and tried to persuade the boy that the return of his father was very doubtful, and that he had better go with him to a safer place. The boy, however, would not leave the place, and so the traveler started on. Soon he returned, fearing that the boy would starve if left alone, and evidently thinking it his duty to save him, tried to force him to go, whereupon Henry ran and hid in the woods, and the man had to go on without him after all.

 

Many years afterward, the Rev. Henry B. Stimson, at a Presbytery meeting was accosted by an aged gentleman who said, “You are from Batavia, are you not?” “Do you know a little boy who years ago lived in a hut there and was left alone?” Mr. Stimson replied, “I am that boy,” a statement which melted all to tears.” (Dodd, p. 9.)

 

By the age of 20, Henry “had been at school but three or four months in all; and yet, by the diligent reading and study of such books as he could obtain, much of it at night, after severe toil by day, lighted by pine-knows stuck in the back of the chimney of their log-cabin, and lying with his book on the floor before him, he lad the foundation of a solid, useful education.” (Rockwell, p. 269.)

 

After assisting in taking care of the family for those seven years, Henry entered school at Claverack in Columbia County, New York and at Kinderhook, New York. He remained there for nine years, engaged in his studies, while working as a cabinet-maker to pay his expenses.

 

When first expressing an interest in studying theology, Henry “consulted the ministers about going to college. They advised him not to go, on account of his age, 28.” Henry ignored this advice, and next studied theology with Reverend M. Thompson, of Oak Hill, and then for a year with Reverend Samuel Fuller, of Rensselaerville. Henry was licensed to preach on June 3, 1802 by the Northern Associate Presbytery at the house of Reverend Stephen Fenn, in Harpersfield, after a “full and thorough examination.” His preaching license was signed by Beriah Hotchkin, as moderator, and John Morse, as scribe.

 

Reverend Stimson was then ordained on September 14, 1803 at the Windham meeting-house. “The several parts [of the ordination] were performed by the following gentlemen: Rev. David Harrowar of Walton, Delaware County, made the introductory prayer; Rev. Samuel Fuller of Rensselaerville, Albany County, preached the sermon from 1 Cor. 1: 21; Rev. David Porter, late of Spencertown, and now preaching at Catskill, made the prayer during the imposition of hands; Rev. Beriah Hotchkin of Greenfield, gave the charge; Rev. Jesse Townsend of New Durham, gave the right hand of fellowship, and Rev. Ezekiel Chafman, late Missionary of New Connecticut, and now preaching at Canton [Cairo], made the concluding prayer. It is pleasing to remark that a large concourse of people were present on the occasion., and appeared especially attentive and solemn during the whole transaction.” (Dodd, p. 14.).

 

After being ordained, he took charge of the First Presbyterian Church of Windham. While there, Reverend Stimson “admitted between six and seven hundred to its communion, baptized about the same number of children, and married nearly two hundred couples. His mountain diocese embraced what are now five or six townships, and he often attended four or five religious services, several miles distant from each other, on a single Sabbath. All honor to such hardy and hard-working pioneers, who laid broad and deep the foundations of religious truth and order, to enlighten and guide all who should come after them.” (Rockwell, pp. 269-270.)

 

In addition to serving the First Presbyterian Church of Windham, Reverend Stimson also preached at the Jewett Presbyterian Church, and the area around. The region covered by Reverend Stimson extended for over 20 miles, “but he was used to hardships, and often preached nine times a week. Three extensive revivals prevailed during his ministry, and tradition says he received into the church more than 500 souls.” (Dodd, p. 19.)

 

Reverend Stimson “wielded a potent influence over the mature and rising generation, in the church and congregation, among whom he lived as a man among men. His appearance was commanding even in extreme age, fully six feet in height, erect, spare and muscular. He had strongly marked features, nose, brow, chin, cheekbones, all prominent; the whole contour of the face expressing intelligence, strength of will, and decision of character. He was sincere, devoted, and self-denying . . .” (Beers, p. 198.)

 

Reverend Stimson remained at the First Presbyterian Church for 24 years until 1826. “By this time (1824), there seems to have arisen a state of things tending to bring to an end this long and useful pastorate. Mr. Stimson did not favor the “new measures” in revival work, and tradition says that some wearied of the frequency with which he preached the distinctive points of his strongly Calvinistic system. After several meetings it was finally decided that his pastorate should be dissolved.” (Dodd, p. 18.)

 

“His farewell sermon, the text of which was taken from the passage, 1 Sam. 12: 1-5, “Whose ox have I taken? or whose ass have I taken? or whom have I defrauded?” & c., was a vigorous and characteristic effort, suited to the situation, and talked about for many years afterward.” (Dodd, pp. 18-19.)

 

Upon his removal, the Presbytery offered the following strong testimonial. “This may certify that the Rev. Henry B. Stimson has been dismissed from his pastoral relation to the first church of Christ in Windham by the Eastern section of the Northern Associated Presbytery without any allegation brought against his moral or ministerial character by church or society, but merely on account of their being unable to raise his support, and he is hereby cheerfully recommended to be further employed in the Gospel ministry as an orthodox and faithful minister of our Lord Jesus Christ. David Baldwin, Scribe. Seth Williston, Moderator.” (Dodd, p. 19.)

 

Despite the vote of removal in January 1825, Reverend Stimson seems to have continued preaching at the church until around 1826. He was then succeeded by Revered Clark H. Goodrich, who served for nine years from 1826 to 1835.

 

Reverend Stimson continued to reside at Windham for the remainder of his life. From 1825 to 1829, Reverend Stimson worked for the Bible Society. From 1829 to 1832, Reverend Stimson was in charge of the Reformed Dutch Church at Prattsville, New York. He then joined the Classis, where he continued to work until his health failed.

 

Reverend Henry Stimson married, in October 1803, Rebecca “Becca” Pond (1779-1856), the daughter of Edward Pond and Mary (Judson) Pond. Henry and Rebecca had 11 children together. Their son, Edward Pond (b. 1806), became a Dutch Reformed Minister.

 

In his later years, Reverend Stimson faced a number of medical issues. One publication noted that he was “deranged” for the last eight years of life. Reverend Henry Bowen Stimson passed away at 80 years of age on April 28, 1851. Both Henry and his wife Rebecca are buried at Ashland Cemetery in Ashland, New York.

 

Reverend Josiah Judson Buck

 

Reverend Josiah Judson Buck was the pastor of the Jewett Presbyterian Church when the current building was constructed. He served the church for over 23 years from October 1843 to April 1867.

 

Josiah Buck was born on March 13, 1794. He was the son of Asaph Buck (1762-1848) and Phebe (Wainright) Buck (1768-1855). Asaph was a farmer at New Milford, and later at New Lisbon in Otsego County, New York. He served the United States during the War of 1812. Josiah’s grandfather, James Buck, served during the American Revolution as a captain in the Connecticut militia. Captain Buck participated in several battles and skirmishes, including the Battle of Horse Neck.

 

Josiah Buck was married twice, first to Amelia Augusta Duryee (1803-1838), and second to Margaret Maria Wells (1811-1901). Josiah had 11 children by his wives Amelia and Margaret. Two of his sons, Charles Duryee Buck and Edward Henry Buck, also became preachers.

 

During his early life, Josiah worked on his father’s farm, “but his tastes were literary, rather than agricultural. For a while he studied law; then he turned his attention towards the medical profession. But only for a season. On making a public profession of Christ, he henceforth gave himself wholly to the work of the ministry. He was 24 years of age when he took this step; though he always thought that he might have been converted when nine years old.” (Harvey, p. 141.)

 

Josiah Buck was licensed to preach in February 1820 by the Union Congregational Association at Exeter, New York. Two years later, in 1822, this association was dissolved, and he became connected with the Presbytery of Otsego. In a long and distinguished career, Reverend Buck served in a number of locations including Worcester, Knox and Hamilton Union (1825-1828), Cairo (1829-1835), Kaatsbaan, Hunter, Malden, Jewett (1843-1867) and Big Hollow (circa 1868). He received an honorary degree from Williams College in 1836.

 

While serving at Jewett Presbyterian Church, “early in his ministry, in 1847, occurred one of the most extensive and thorough-going revivals in the history of the Church – 40 being added that year, some of whom still survive and are now pillars in the Church. There were several other revivals in Mr. Buck’s time, notably in the years 1858, 1862, 1865. Discipline was faithfully attended to. Some dissatisfied members, who would not walk with the Church, were kindly dealt with. Mr. Buck preached and practiced the giving of a tenth, which he did in spite of his eight children, small salary and lack of capital. And he trained his people to give to . . . Mr. Buck was a good preacher, a diligent pastor, and lived a blameless life. He loved his people and was respected and loved by them. But unfortunately, in the latter part of his ministry, in the Civil War times, his silence on the issues of the war caused dissatisfaction which finally resulted in the his dismission, in 1867.” (Dodd, pp. 33-34.)

 

In 1855, the sermon preached by Reverend Buck at the funeral of Amos Peck, the ruling elder of the Presbyterian Church at Jewett was published. The title was Dying in Faith – A Sermon Preached at Jewett, Feb. 28th, 1854, at the Funeral of Mr. Amos Peck, Ruling Elder in the Church at that place. At the conclusion of the sermon, Reverend Buck spoke to the family, saying “May they live in the faith in which he lived, die in the faith in which he died, and which, in the hour of his departure, afforded him the richest consolation and joy.”

 

After Reverend Buck was dismissed from the Jewett Presbyterian Church in 1867, he continued to live at Jewett. One year he supplied the church at Big Hollow. “His friends in Jewett provided for his needs as long as he lived by an annual subscription. Finally, they bought for him, for $600, a place near Glasco, to which he removed . . .” (Dodd, p. 34.)

 

In his last diary entry, Reverend Buck wrote that “My full assurance of hope still continues, absent from the body, I shall be present with the Lord.” Reverend Josiah Judson Buck died at 76 years of age at Glasco, New York on April 26, 1870. He is buried at Jewett Heights Cemetery in Jewett, New York, “and sleeps among the people he loved and served.”

 

Historic Pastors

 

The Jewett Presbyterian Church was served by a long line of distinguished pastors during its first 100 years.

 

  • Henry B. Stimson, 1803-1812
  • Daniel Beers, 1813-1819
  • Henry B. Stimson, 1819-1821
  • David Harrowar, 1821-1826
  • Asahel Nettleton, 1827
  • William Johnson, 1828-1832
  • Charles Jones, 1832-1833
  • Augustus L. Chapin, 1833-1841
  • Seth Williston, 1841-1843
  • Josiah Judson Buck, 1843-1867
  • Silas McKinney, supply pastor, circa 1868, for 3 months
  • Andrew Montgomery, 1869-1871
  • Timothy Williston, 1871
  • Nathan Leighton, 1872-1878
  • Frederick F. Judd, 1878-1882
  • William S. Long, 1882-1900
  • Seneca McNeil Keeler, installed 1900

 

Selected Sources

 

Beers, J. B. History of Green County, New York. New York: J. B. Beers & Co., 1884.

 

Buck, Josiah Judson. Dying in Faith – A Sermon Preached at Jewett, Feb. 28th, 1854, at the Funeral of Mr. Amos Peck, Ruling Elder in the Church at that place. Catskill: Trowbridge & Gunn, 1855.

 

Dodd, Rev. Henry Martyn. 1803-1903 Centennial of the Old First Congregational Church, Windham, New York. Windham, NY: Windham Journal Print, 1903.

 

Greene County Historical Society. Historic Places in Greene County, New York. Coxsackie, New York: Flint Mine Press, 2009.

 

Harvey, Cornelius B. Origin, History and Genealogy of the Buck Family. Jersey City, NJ: J. J. Griffiths, 1889.

 

Pond, Daniel Streator. A Genealogical Record of Samuel Pond and His Descendants. New London, Ohio: Geo. W. Runyan, 1875.

 

Rockwell, Rev. Charles. The Catskill Mountains and the Region Around. New York: Taintor Brothers & Co., 1869.

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[email protected] (American Catskills) 1799 1848 architecture building Catskill Mountains Catskills church congregation Greene County Henry Bowen Stimson Henry Stimson Jewett Jewett Heights Methodist Episcopal Church Jewett Presbyterian Church Jewett Presbyterian Society Josiah Judson Buck National Register of Historic Places New York https://www.americancatskills.com/blog/2024/8/jewett-presbyterian-church Sat, 17 Aug 2024 13:00:00 GMT
Christian Church at Fitch’s Bridge https://www.americancatskills.com/blog/2024/8/christian-church-at-fitch-s-bridge The historic Christian Church, also known as Fitch’s Bridge Church, is located adjacent to the West Branch of the Delaware River in the hamlet of East Delhi, New York. The church is located close to the picturesque Fitch’s Covered Bridge and just east of the Judge Gideon Frisbee House, the late 18th century home of one of the area’s earliest settlers.

 

Photograph of Christian Church at Fitch’s Bridge in East Delhi, Delaware County, New York.Christian Church at Fitch’s BridgeThe Christian Church at Fitch’s Bridge is located adjacent to the West Branch of the Delaware River in the hamlet of East Delhi and, as its name implies, is located very close to Fitch’s Covered Bridge. The congregation of the church was first formed in 1822 with the land being leased from Gideon Frisbee, an early settler of Delaware County and prominent local farmer. The current church was built in 1860 by James Adams, which replaced the original 1820s church that had been razed. The church congregation continued to operate under the Christian Church denomination until 1925 and had a short revival from 1940 to 1948, until a significant decline in membership prompted its closing. From 1950 to 1990 the Christian Scientist denomination utilized the building. In 1990 the Delaware County Historical Association assumed ownership of the property. The church and its adjacent cemetery are listed on the National Register of Historic Places.

Photograph of Christian Church at Fitch’s Bridge in East Delhi, Delaware County, New York.Christian Church at Fitch’s Bridge, East Delhi, New YorkThe Christian Church at Fitch’s Bridge is located adjacent to the West Branch of the Delaware River in the hamlet of East Delhi and, as its name implies, is located very close to Fitch’s Covered Bridge. The congregation of the church was first formed in 1822 with the land being leased from Gideon Frisbee, an early settler of Delaware County and prominent local farmer. The current church was built in 1860 by James Adams, which replaced the original 1820s church that had been razed. The church congregation continued to operate under the Christian Church denomination until 1925 and had a short revival from 1940 to 1948, until a significant decline in membership prompted its closing. From 1950 to 1990 the Christian Scientist denomination utilized the building. In 1990 the Delaware County Historical Association assumed ownership of the property. The church and its adjacent cemetery are listed on the National Register of Historic Places.

 

Church History

 

The congregation of the church was formed in 1822. The land for the church building and cemetery were leased from Gideon Frisbee, an early settler of Delaware County and prominent local farmer.

 

Gideon Frisbee (1758-1828) was a man of many talents that through an industrious career included pioneer, farmer, justice of the peace, county treasurer, revolutionary war veteran, militia captain, tavern keeper, and vestryman. His Federal-style, two-story house, located two miles north of Delhi, was built in 1797 along the West Branch of the Delaware River. The house is sometimes referred to as the “Birthplace of Delaware County” as the first meeting of the county board of supervisors was held here in 1797. The house remained in the Frisbee family for much of its history until it was acquired in 1960 by the Delaware County Historical Association, for which it now serves as their headquarters. The property is home to several other historic structures including a one-room schoolhouse, a gun shop, a blacksmith shop, a tollgate house, a corn crib and the family barn. The property and buildings are open to the public for tours. The home is listed on the National Register of Historic Places.  

 

The first trustees of the Christian Church were all prominent members of the community, including Putnam Farrington, Daniel Frisbee, John Hammond, Clarke Sloot and Newell Dodge. Reverend William Cummings was the first pastor at the Christian Church, and was followed by Reverend D. Call; Reverend J. M. Westcott; Reverend Southwick; and Reverend Daniel Grant.                                                                                                                                                                                             

 

In 1859 the church society was reorganized and the current church was built one year later in 1860 by James Adams, a regional carpenter from nearby Hamden. The building replaced the original 1820s church that had been razed circa 1859. The church was dedicated on Saturday, September 1, 1860.

 

“The Christian meeting-house near Fitch’s Bridge, in this town, was dedicated last Saturday. As the weather was fine, and the roads good, the attendance was large. The church was filled to overflowing. The new building is a very neat and pretty one for the purpose, and is fitted up in simple but comfortable style. It is a little smaller than the old one, but is large enough to accommodate the congregation. The contract for the repairs, or rather the rebuilding of the edifice, was entrusted to our friend, Mr. James Adams, of this village, who executed the work in a very satisfactory and acceptable manner.” (Delaware Republican. September 8, 1860.)

 

In January 1862, efforts were made by the trustees of the church to pay off the remaining debts that were incurred in constructing the church.

 

“Donation. The Christian Church in East Delhi being embarrassed with debt, incurred in erecting their new house of worship, have resolved to put forth a vigorous effort to liquidate the same.

 

For the purpose of consummating the above named object, the church and congregation would earnestly invite all the friends of religion to attend a donation party at the chapel, on Wednesday evening, the 12th day of February, at 6 o’clock.

 

All the churches in this community having been erected by united effort, and this house being free to all religious denominations, the committee feel justified in extending this invitation to all the friends of religion of every name and order. Refreshments will be prepared for the occasion.

 

The committee intend to secure the attendance of a good speaker, and to have the exercises enlivened by music, both vocal and instrument. By order of the trustees.” (Delaware Republican. January 25, 1862.)

 

In 1875, the church was improved with the addition of a new interior chandelier and lamps and exterior painting. The work was completed by J. L. Meeker. “When the work on the house was completed, it was thought best to see if the hearts of the people could not be renovated, as well as the church. Accordingly, a series of meetings was commenced, which has been running for about two weeks which has resulted in the conversion of ten or twelve happy son’s – and still they come. Christians of all denominations in the place work with heart and zeal becoming their profession. The preaching is done by Rev. Thomas Taylor, of New Paltz, Columbia Co., N.Y., assisted by the Pastor, D. Grant, who has proved himself a workman that needeth not to be ashamed. The meetings will continue through this week and over the coming Sabbath.” (Delaware Republican. November 13, 1875.)

 

In 1880, “sheds and other conveniences have been added to the property this year.” In 1888, the church was significantly renovated, “making decided improvement in the interior as well as the exterior of the church.” The church was repainted on the outside and new wallpaper was hung on the inside. A new “pulpit suite” was purchased from the firm of Jackson & Mason of Delhi. Funding was also being raised for a new carpet and the purchase of “opera folding chairs” for the congregation.

 

The church congregation continued to operate under the Christian Church denomination for over 100 years until 1925, when there were only two members left. The church building then remained vacant for 15 years. In 1940, Emily Dannheimer, a 1937 graduate and valedictorian of the Delaware Academy at Delhi, began to organize services at the church. Mrs. Alfred Carey, the only surviving member of the old church, granted permission for services each Sunday during the summer. “The Gospel of Christ” was the subject of the first sermon at the reopened church. The Christian Church had a short revival from 1940 to 1948, with the congregation reaching nearly one hundred members, but a significant decline in membership then prompted its closing.

 

From 1950 to 1990 the Christian Scientist denomination utilized the building. In 1990 the Delaware County Historical Association assumed ownership of the property. The Delaware County Historical Association makes the church available to rent for private functions.

 

Photograph of Christian Church at Fitch’s Bridge in East Delhi, Delaware County, New York.Christian Church at Fitch’s Bridge, East Delhi, NYThe Christian Church at Fitch’s Bridge is located adjacent to the West Branch of the Delaware River in the hamlet of East Delhi and, as its name implies, is located very close to Fitch’s Covered Bridge. The congregation of the church was first formed in 1822 with the land being leased from Gideon Frisbee, an early settler of Delaware County and prominent local farmer. The current church was built in 1860 by James Adams, which replaced the original 1820s church that had been razed. The church congregation continued to operate under the Christian Church denomination until 1925 and had a short revival from 1940 to 1948, until a significant decline in membership prompted its closing. From 1950 to 1990 the Christian Scientist denomination utilized the building. In 1990 the Delaware County Historical Association assumed ownership of the property. The church and its adjacent cemetery are listed on the National Register of Historic Places.

 

Cemetery

 

The Christian Church Cemetery is located adjacent to the church to both the east and the west. Gravestones at the church date from 1820 to the 1970s. There are approximately 25 graves marked with simple fieldstones without inscription.

 

National Register of Historic Places

 

The Christian Church and its adjacent cemetery were officially listed on the National Register of Historic Places in 2000. The church was noted “for its distinctive blend of Greek Revival and Gothic Revival styles and for its long association with the history of the hamlet of East Delhi.”

 

The application for the Christian Church to be included on the National Register of Historic Places described the architecture of the church in great detail. “The core of the building represents a typical mid-nineteenth century church design in the region, embodying forms and embellishments typical of the Greek Revival style; however, its overlay of assertive Gothic Revival decoration creates the dominant visual image of the building today. The small wood-frame building is of post and beam construction and sits on a dry-laid stone foundation. It is rectangular in shape, three bays wide by four bays deep, and surmounted by a gable roof clad with asphalt shingles. An interior brick chimney pierces the gable at the rear of the building. The church features clapboard siding, a wide water table and a raking cornice.

 

The most dramatic exterior decorative elements are the twelve narrow, engaged towers with pinnacles that mark the corners of the building, define the entrance bay and serve as the primary decorative components of the tower. The towers are of wood-frame construction and the pinnacles, originally sheet iron, are now aluminum.

 

Each of the corner towers rests on a separate stone base, which is not connected to and extends beyond the stone building foundation. The two towers that define the entrance by rise into a two-stage square tower, which interrupts the front gable of the roof. The raking cornice extends across the tower, either intentionally designed or replicated for the flat roofline at the apex. Each of the two tower stages is defined by corner towers and the whole is surmounted by a tall spire. Each stage of the tower originally featured louvered openings on all sides; however, the louvered elements that survive today are replacements without openings. Towers on each state were originally connected by decorative balustrades; only those on the upper stage survive.” (National Register of Historic Places.)

 

The Christian Church

 

The Christian Church, also known as Christian Connection, was a New England sect that broke away from the prevailing 16th and 17th century Calvinist theology. The Christian Church is often considered the first uniquely American religious movement. Elias Smith (1769-1846), founder of the Christian Church denomination, wrote of his ideas in the Herald of Gospel Liberty, which was first published in 1808 and is considered the first religious newspaper in the United States.

 

“The Christian Church was a religious denomination of its own, such as the Presbyterian or Baptist denominations. Early immigrants to Delaware County were generally from New England states, where the Christian denomination was popular. The sect was founded by Elias Smith, who had been raised near Woodstock, Vermont in the 1780s. Smith had been raised as a Calvinist Baptist.

 

The new denomination was a reaction against the old Calvinist doctrine of predestination, and, like other new sects of this period, believed in shifting the responsibility for salvation to men and women. The Christian Church held that the New Testament, accessible to all, was the only authority and could be used without divine assistance. By the early nineteenth century Smith had broken with the Baptists altogether and, with others of like mind, formed the loosely-knit Christian Church, or Christian Connection . . . The name “Christian” reflects the believers’ focus on the New Testament and their commitment to a more active role in their own salvation.” (National Register of Historic Places.)

 

Reverend William Cummings

 

Reverend William Cummings, the first pastor at the Christian Church, was born at Plymouth, New Hampshire on September 24, 1786. William was the youngest of ten children born to Captain Jotham Cummings (1741-1808) and Anna (Brown) Cummings (1744-1829). Jotham Cummings moved to Plymouth, New Hampshire in 1764 and was among the original grantees of Plymouth. Captain Cummings served in Colonel Goffe’s regiment during the march on Crown Point in the expedition to Canada in 1760. During the American Revolution, Captain Cummings served as a lieutenant in a company of New Hampshire Rangers, and subsequently as a captain of the Plymouth company in Colonel Hobart’s regiment.

 

William married Sarah Hazeltine on March 12, 1809. Sarah was born at Concord, New Hampshire on February 28, 1790. She was the daughter of John and Hanna Hazeltine. “Before 18 years of age she gave herself up to the service of the Lord, and found precious joy in believing in Him.” She had worked as a school teacher prior to her marriage in 1809. During the spring of 1809, months after their marriage, William and Sally moved to Plymouth, New Hampshire, where they remained for a few years.

 

William and Sarah had seven children together, including Dorcas, Peter, Damaris, Moses, Aaron, Marion and Lydia. Moses (1816-1867), like his father, would become a preacher in the Christian denomination; and served as publisher and editor of the Christian Messenger and the Christian Palladium. Amos Cummings (1841-1902), son of Moses, grandson of William, won the Medal of Honor for his heroic actions during the Civil War and would later serve in the United States Congress for several terms.

 

William Cummings was converted in 1806 and began preaching in 1810. He would become a preacher in the Christian Church denomination, serving in Vermont, New Hampshire and New York. Cummings was ordained at Bradford, Vermont in 1815. He helped establish and organize churches for his denomination.

 

Reverend Cummings and his wife moved from Rumney, New Hampshire to Roxbury, and later to Kortright, and then Stamford, all in Delaware County, New York. Reverend Cummings then came to the Delhi area and began preaching the doctrines of the Christian church. He helped establish the Christian Church at Fitch’s Bridge in 1822. For six years they lived at Delhi, and then moved to Lansingville, which was later known as Delancey. He served at the Christian Church of Delancey from 1842 to 1847.

 

After a long and distinguished career, Reverend William Cummings passed away from “inflammation of the lungs” at Hamden, New York on Sunday, December 12, 1847. He is buried at Chesire Cemetery in Chesire, Massachusetts. Upon his passing it was written that “The Elder was a prominent man in the church. He was also a man of more than ordinary consecration to the great work. His letters, of which he wrote many to the different periodicals of the day, are full of cheerfulness, faith, hope, and confidence in God. When he first embraced religion, he was so full of joy that some of the older members told him he was going on borrowed capital, and that the sorrows of life would have to pay back etc. The Elder, mentioning this in his days, said, ‘They were mistaken; I have been full of glory all the time.’”

 

Sarah Cummings passed away from “congestion of the lungs” at Lansingville on the morning of January 29, 1868. Upon her passing it was written that “those who knew Mrs. Cummings well, also knew her to be a very superior and excellent woman. She was especially gifted in prayer. In glancing over her diary, one is struck with admiration of the spirit of sincere piety throughout. So much refinement and delicacy of thought, so much humility and earnestness in the cause of the Lord and Savior – such an anxiety for the welfare of immortal souls – such gratitude for daily mercies, even in the midst of feebleness – such entire submission to the will of God – all show the elevation of her character.” (Delaware Republican. February 1, 1868.)

 

Reverend Daniel Grant

 

Reverend Daniel Grant (1812-1879) was the pastor at the Christian Church in 1860 when the new building was constructed.

 

Daniel Grant was born on October 3, 1812, the son of John Grant and Jane (Stillwell) Grant. In 1882, at 20 years of age,

 

“Brother Grant confessed faith in Jesus Christe as the Son of God and his only Savior . . . His conversion to Christianity was one of thoughtful deliberation, at a time when there was no unusual interest in the community on the subject, and, indeed, when the opposite interest pervaded society.

 

He came to the crisis of deciding the great question that changed the whole current of his life and destiny in a ball-room. He carried out his purpose as deliberately as he made it, going from the ball-room in the small hours of the morning to the grove where, in meditation and prayer, he dedicated himself forever to the service of God, and with the dawn of that morning came the light of life upon his moral and spiritual being.” (Delaware Republican. December 27, 1879.)

 

Grant was baptized by Elder Joshua Howard in September 1837, and began to preach that same year. He was admitted in 1837 to the New York Eastern Christian Conference. In 1839 he became a member of the Christian Church in Delhi and in 1842 he was ordained and chosen pastor of the church. He was selected by the ordaining council comprised of Elders John Spoor, William Cummings and Wright Butler, “a trio of strength, for there were giants in those days.”

 

Reverend Grant continued his pastorate of the Delhi church for 34 years until 1876. Besides the Delhi church, he also preached for the churches at Otego, Portlandville, North Harpersfield, Summit, Delancey, South Franklin and Roxbury. “None but God knows the weary miles he traveled over the hills of Delaware and Otsego counties and the anxious heart he carried for the cause of the blessed Master, weeping between the porch and the altar. He was often cheered by seeing men led to Christ, to taste his love and share his great salvation.” (Delaware Republican. December 27, 1879.)

 

Reverend Grant was married to Sally Frisbee, a granddaughter of Gideon Frisbee, at Delhi in 1837. David and Sally had five children, including Naomi, Huldah, Darius, George and John. Sally was “a faithful wife, an affectionate mother, and a devoted Christian all these years. Happy is that minister who has, in his wife, a help-meet indeed . . .”

 

Reverend Grant resigned from his pastorate in 1876 due to failing health. He died three years later at his home in Delhi at 67 years of age on October 30, 1879. He is buried at the Frisbee Family Cemetery in Delhi, New York. Upon his passing it was written that he “was a man of strong convictions; and we believe he ever tried to do right and to follow in the strict path of duty. . . In his death, the cause of religion, as well as all moral interests, particularly that of Temperance, loses a fast friend and sincere and efficient co-laborer.” (Delaware Republican. November 15, 1879.)

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[email protected] (American Catskills) architecture bridge building Catskill Mountains Catskills cemetery Christian Church Christian Church at Fitch's Bridge Christian Scientist church congregation covered Daniel Grant Delaware County Delaware County Historical Association East Delhi Fitch's Bridge Gideon Frisbee history James Adams National Register of Historic Places New York religion West Branch of the Delaware River William Cummings https://www.americancatskills.com/blog/2024/8/christian-church-at-fitch-s-bridge Sat, 10 Aug 2024 12:00:00 GMT
Blue Mountain Reformed Church https://www.americancatskills.com/blog/2024/8/blue-mountain-reformed-church The historic Blue Mountain Reformed Church is located on Blue Mountain Church Road in Saugerties, New York. The first movement to found a church at Blue Mountain occurred in 1832, however, this came to nothing. Nineteen years later, in 1851, the Blue Mountain Reformed Church was officially organized.

 

Photograph of the Blue Mountain Reformed Church in the town of Saugerties, Ulster County, New York in the northern Catskills.Blue Mountain Reformed ChurchThe historic Blue Mountain Reformed Church is located on Blue Mountain Church Road in Saugerties, New York. The first movement to found a church at Blue Mountain occurred in 1832, however, this came to nothing. Nineteen years later, in 1851, the Blue Mountain Reformed Church was officially organized.

Photograph of the Blue Mountain Reformed Church in the town of Saugerties, Ulster County, New York in the northern Catskills.Blue Mountain Reformed Church, New YorkThe historic Blue Mountain Reformed Church is located on Blue Mountain Church Road in Saugerties, New York. The first movement to found a church at Blue Mountain occurred in 1832, however, this came to nothing. Nineteen years later, in 1851, the Blue Mountain Reformed Church was officially organized.

 

The founding date of the Blue Mountain Reformed Church is recorded as March 20, 1851. On that date a group of residents from the Blue Mountain area met at the local schoolhouse, Saugerties School District #2, in order to establish a community church.

 

In May 1851, 52 organizational members of the church presented a petition to the Classis of Ulster to establish the Blue Mountain Church. The Classis investigated the petition, meeting with the new organization in the woods where the new church was to be constructed and holding the first service, officiated by the Reverend V. M. Hulbert. On August 20, 1851, the Blue Mountain Reformed Church was formally recognized.

 

Reverend Alexander C. Hillman (1811-1876) served as the first pastor of the Blue Mountain Reformed Church. He graduated from Columbia College with a Bachelor of Arts degree in 1832 and was licensed by the Classis of New York in 1836. Reverend Hillman served at a variety of locations throughout his career including Stonehouse Plains, New Jersey, 1837-1841; Vanderveer, Illinois, 1841-1842; Roxbury and Moresville, New York, 1843-1845; and Wurtsboro, New York; 1846-1849. Reverend Hillman was called to be the pastor at Blue Mountain in November 1851, and served the Blue Mountain congregation for six years from 1852 to 1858.

 

Reverend Hillman married Anna Cochran Magennis (1820-1888), daughter of George Magennis (1775-1853) and Catherine (Reynolds) Magennis. George was an Irish immigrant, from County Down, who came to the United States with his parents in 1790 at the age of 15. James Wilson Hillman, the son of Alexander and Anna, was born at the hamlet of Blue Mountain and became a prominent chaplain in the United States Army, reaching the rank of major while serving in the Philippines, Mexico, California and Alaska.

 

Reverend Alexander Hillman passed away in Brooklyn on November 20, 1875 “after protracted sufferings.” Funeral services were held on November 22, 1875 at his residence at 214 Division Avenue in Brooklyn, New York. Anna Hillman, his wife, passed away in Brooklyn on April 28, 1888 after a brief illness.

 

The first elders of the Blue Mountain Reformed Church included George Young, Simeon P. Myer, Jeremiah Snyder and Peter Becker. The first deacons of the church included John H. Freligh, Nelson Myer, Abram Wolven and Cornelius Minkler.

 

Jeremiah Snyder, chairman of the organizational group, donated the land for the church building. The cornerstone for the church building was laid by Reverend Henry Ostrander of Kaatsbaan and the dedication sermon was preached by Reverend C. Van Santvoord of Saugerties. The church building was constructed at a cost of $2,500 and was dedicated in 1852.

 

Three years later, in 1855, a new parsonage was completed for the minister, and included a barn where the minister kept his cow. In 1855, under the leadership of Reverend Hillman, the Blue Mountain Reformed Church had a membership of 100 families and approximately 400 people in the total congregation. Nine adults were baptized in the prior year.

 

By 1856, the church had paid all debts associated with constructing the church building and parsonage. In 1875, “the church enjoyed a very extensive and powerful revival, when more than 140 members were added to the church, thus greatly increasing its strength.”

 

In 1880 the church had around 253 members and offered two Sunday schools, one in the church at Blue Mountain, led by David W. Hommel, and the other at West Saugerties, led by James W. Cole. Officers of the church in 1880 included elders John H. Freligh, William S. Myer, Jacob Carn and Washington Myer; and deacons William Schoonmaker, Jacob Spellman, Peter T. Minkler and James W. Cole.

 

The church building was remodeled around the year 1884, with the lecture room likely being added at that time. In 1886, the last Dutch sermon on the town of Saugerties was preached at the Blue Mountain Reformed Church by Reverend Abram G. Lansing. The sermon “was thoroughly enjoyed by his many parishioners who were able to understand it, as well as by many from surrounding congregations.” In 1945 the Blue Mountain Reformed Church joined with the Reformed Church of Katsbaan.

 

In 1951 the Blue Mountain Reformed Church marked the 100th anniversary of its founding with a series of special services and community events. “The church at Blue Mountain has been marked by real interest and activity throughout its hundred years of organized existence. While there have been periods in which no full-time pastor was available, there has always been a loyal and faithful group to carry on the established tradition of fellowship and service in the community.” (Catskill Mountain Star. August 17, 1951.)

 

Photograph of the Blue Mountain Reformed Church in the town of Saugerties, Ulster County, New York in the northern Catskills.A New CommandThe historic Blue Mountain Reformed Church is located on Blue Mountain Church Road in Saugerties, New York. The first movement to found a church at Blue Mountain occurred in 1832, however, this came to nothing. Nineteen years later, in 1851, the Blue Mountain Reformed Church was officially organized.

 

Photograph of the Blue Mountain Reformed Church in the town of Saugerties, Ulster County, New York in the northern Catskills.Jesus SaidThe historic Blue Mountain Reformed Church is located on Blue Mountain Church Road in Saugerties, New York. The first movement to found a church at Blue Mountain occurred in 1832, however, this came to nothing. Nineteen years later, in 1851, the Blue Mountain Reformed Church was officially organized.

 

During the first 100 years of its existence, from 1851 to 1951, the Blue Mountain Reformed Church was served by 13 pastors and 12 supply pastors. The history of pastors at the Blue Mountain Reformed Church for the first 130 years of its existence from its founding in 1851 to 1980 includes:

 

  • Alexander Hillman, 1851-1858
  • Cornelius J. Blauvelt, 1859-1862
  • William D. Buckelew, 1863-1870
  • A. P. Freese, 1872-1874
  • George W. Labaw, 1874-1882
  • John F. Hooper, 1883-1884
  • Abram G. Lansing, 1885-1887
  • Peter Q. Wilson, 1888-1891
  • John Van der Meulen, 1898-1901
  • Garret D. De Graff, 1901-1905
  • Mugerdich N. Kalemjian, 1905-1910
  • Nicholas Hess, 1913-1915
  • F. W. Moot, 1922-1930
  • W. E. Mack, 1931-1934
  • Eugene C. Duryee, 1934-1943
  • Chris J. Westhoff, 1945-1949
  • August Pfaus, 1953-1968
  • Raymond E. Hendershot, 1970-1972
  • Thomas C. Wray, 1973-1980

 

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[email protected] (American Catskills) 1851 Alexander Hillman architecture Blue Mountain Blue Mountain Reformed Church building Catskill Mountains Catskills Christian church congregation New York Reformed Church in America Saugerties Ulster County https://www.americancatskills.com/blog/2024/8/blue-mountain-reformed-church Sat, 03 Aug 2024 12:00:00 GMT
Shandaken Reformed Church https://www.americancatskills.com/blog/2024/7/shandaken-reformed-church The historic Shandaken Reformed Church is located in Mount Tremper, New York. The church is situated on Route 212, across the road from the Esopus Creek, and just off Route 28.

 

Photographs of the Shandaken Reformed Church in the town of Shandaken, Ulster County, New York in the central Catskills.Shandaken Reformed ChurchThe historic Shandaken Reformed Church is located in Mount Tremper, New York. The church is situated on Route 212, across the road from the Esopus Creek, and just off Route 28.

The original church was located west of Mount Tremper at a place that was then known as The Corner. Research conducted by Reverend Harvey Todd in 1954 placed the church near “the former Goldman estate on the Onteora Trail further to the west.” (Kingston Daily Freeman. December 7, 1954.)

On April 3, 1854, a committee chosen by the Classis Ulster organized the current Shandaken Reformed Church. Trustees of the original church included James A. Simpson, Benjamin D. Longyear, A. D. Ladew, John R. Devall, Davis Winne and Solomon Hudler.

The Shandaken Reformed Church was officially established on May 13, 1854 with 33 members. The legal certificate to establish the church was executed on June 19, 1853. Many of the original members had previously worshiped at the church at Shokan. Original elders of the church included Christian Winne, William C. Longyear, Abram D. Ladew and Christian Happy. Original deacons of the church included Benjamin D. Longyear, James Delamater, Abram J. Longyear and Davis Winne.

The Shandaken Reformed Church was disbanded in 2023 by the Reformed Church in America (RCA). The building and property were sold in early 2024.

Photographs of the Shandaken Reformed Church in the town of Shandaken, Ulster County, New York in the central Catskills.Shandaken Reformed Church, Mount Tremper, New YorkThe historic Shandaken Reformed Church is located in Mount Tremper, New York. The church is situated on Route 212, across the road from the Esopus Creek, and just off Route 28.

The original church was located west of Mount Tremper at a place that was then known as The Corner. Research conducted by Reverend Harvey Todd in 1954 placed the church near “the former Goldman estate on the Onteora Trail further to the west.” (Kingston Daily Freeman. December 7, 1954.)

On April 3, 1854, a committee chosen by the Classis Ulster organized the current Shandaken Reformed Church. Trustees of the original church included James A. Simpson, Benjamin D. Longyear, A. D. Ladew, John R. Devall, Davis Winne and Solomon Hudler.

The Shandaken Reformed Church was officially established on May 13, 1854 with 33 members. The legal certificate to establish the church was executed on June 19, 1853. Many of the original members had previously worshiped at the church at Shokan. Original elders of the church included Christian Winne, William C. Longyear, Abram D. Ladew and Christian Happy. Original deacons of the church included Benjamin D. Longyear, James Delamater, Abram J. Longyear and Davis Winne.

The Shandaken Reformed Church was disbanded in 2023 by the Reformed Church in America (RCA). The building and property were sold in early 2024.

Photographs of the Shandaken Reformed Church in the town of Shandaken, Ulster County, New York in the central Catskills.Shandaken Reformed Church, Mount Tremper, NYThe historic Shandaken Reformed Church is located in Mount Tremper, New York. The church is situated on Route 212, across the road from the Esopus Creek, and just off Route 28.

The original church was located west of Mount Tremper at a place that was then known as The Corner. Research conducted by Reverend Harvey Todd in 1954 placed the church near “the former Goldman estate on the Onteora Trail further to the west.” (Kingston Daily Freeman. December 7, 1954.)

On April 3, 1854, a committee chosen by the Classis Ulster organized the current Shandaken Reformed Church. Trustees of the original church included James A. Simpson, Benjamin D. Longyear, A. D. Ladew, John R. Devall, Davis Winne and Solomon Hudler.

The Shandaken Reformed Church was officially established on May 13, 1854 with 33 members. The legal certificate to establish the church was executed on June 19, 1853. Many of the original members had previously worshiped at the church at Shokan. Original elders of the church included Christian Winne, William C. Longyear, Abram D. Ladew and Christian Happy. Original deacons of the church included Benjamin D. Longyear, James Delamater, Abram J. Longyear and Davis Winne.

The Shandaken Reformed Church was disbanded in 2023 by the Reformed Church in America (RCA). The building and property were sold in early 2024.

 

The original church was located west of Mount Tremper at a place that was then known as The Corner. Research conducted by Reverend Harvey Todd in 1954 placed the church near “the former Goldman estate on the Onteora Trail further to the west.” (Kingston Daily Freeman. December 7, 1954.)

 

On April 3, 1854, a committee chosen by the Classis Ulster organized the current Shandaken Reformed Church. Trustees of the original church included James A. Simpson, Benjamin D. Longyear, A. D. Ladew, John R. Devall, Davis Winne and Solomon Hudler.

 

The Shandaken Reformed Church was officially established on May 13, 1854 with 33 members. The legal certificate to establish the church was executed on June 19, 1853. Many of the original members had previously worshiped at the church at Shokan. Original elders of the church included Christian Winne, William C. Longyear, Abram D. Ladew and Christian Happy. Original deacons of the church included Benjamin D. Longyear, James Delamater, Abram J. Longyear and Davis Winne.

 

Reverend John W. Hammond (1819-1876) was the first pastor at the Shandaken Reformed Church. Reverend Hammond was serving at the Shokan Reformed Church at the time of the founding of the Shandaken Reformed Church, and thereafter served both locations. Reverend Hammond was born at Esopus, New York in 1819. In 1848 he was licensed as a pastor by the Classis of Ulster and would go on to a distinguished career in the priesthood. He served at Shokan (1848-1849); Grahamsville (1849-1852); Shokan (1852-1856); Mohawk (1856-1859); Queens (1859-1863); Grahamsville and Stated Supply, Upper Neversink (1863-1867); Shokan and Shandaken (1867-1873); and Roxbury (1873-1875). Reverend Hammond passed away on November 23, 1876 “after a useful and faithful ministry.” He is buried at Wiltwyck Cemetery in Kingston, New York.

 

In June 1856, while under the leadership of Reverend Hammond, and according to reports from the Reformed Church in America, the Shandaken Reformed Church had 35 member families and 100 total members in the congregation. There were four infants that were baptized in the prior year.

 

By November 1856, the Shandaken Reformed Church was under the leadership of its second pastor, the Reverend William R. S. Betts (1800-1883). Reverend Betts was born at Troy, New York on October 23, 1800. On November 12, 1856, Reverend Betts was installed by the Classis of Ulster to serve as the pastor of the Shokan and Shandaken churches. Reverend Betts would serve the Shandaken Reformed Church for approximately five years from November 12, 1856 to May 29, 1861. In June 1857, the church reported 25 member families and 80 total members of the congregation. Reverend Betts, “a man of prayer, and sound in the faith,” died on September 28, 1883. He is buried at Manalapan Presbyterian Cemetery in Manalapan, New Jersey.

 

The history of pastors at the Shandaken Reformed Church includes:

  • John W. Hammond, 1854-1856
  • William R. S. Betts, 1856-1861
  • Alonzo P. Peeke, 1862-1865
  • Alfred H. Brush, 1865-1867
  • John W. Hammond, 1867-1873
  • Adrian Westveer, 1874-1876
  • Abraham J. Beekman, 1876-1882
  • W. McGibbon, 1884-1886
  • John T. Bergen, 1886-1889
  • Irving P. Emerick, 1889-1890
  • Charles W. Kinney, 1891-1893
  • George Niemeyer, 1893-1899
  • Charles L. Palmer, 1899-1902
  • Clinton W. Clough (Clowe), 1903-1905
  • Henry W. Brink, 1906-1914
  • George W. Gulick, 1915-1916
  • Frank D. Blanchard, 1917-1920
  • Benjamin C. Ross, 1924-1926
  • August Pfaus, 1929-1940
  • Harvey I. Todd, 1940-1958
  • Osterhoudt Phillips, 1957-1968
  • Vacant, 1968-1976
  • John Van Reyendam, 1982-1987
  • Debra L. Jameson, 1984-1987

 

Special services were held on December 11, 1954 to celebrate the 100th anniversary of the church. The service was followed by a reception and a cafeteria supper. Reverend Harvey I. Todd (1890-1977) presided at the church in 1954, as he had for the previous 14 years. The special service was conducted by Reverend Daniel Y. Brink, pastor of the First Reformed Church of Scotia and vice president of the Reformed Church Synod of America. Reverend Brink’s father, Reverend Henry Brink, was pastor of the Shandaken Reformed Church from 1906 to 1914.

 

The Shandaken Reformed Church was disbanded in 2023 by the Reformed Church in America (RCA). The building and property were sold in early 2024.

 

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[email protected] (American Catskills) architecture building Catskill Mountains Catskills church congregation John W. Hammond Mount Tremper New York Onteora Trail pastor Reformed Church in America reverend Route 212 Route 28 Shandaken Dutch Reformed Church Shandaken Reformed Church Shokan Reformed Church The Corner Ulster County https://www.americancatskills.com/blog/2024/7/shandaken-reformed-church Sat, 27 Jul 2024 12:00:00 GMT
North Settlement Methodist Church https://www.americancatskills.com/blog/2024/7/north-settlement-methodist-church The historic North Settlement Methodist Church is located in the town of Ashland, Greene County in the northern Catskills. It is situated on County Route 10, east of the junction with County Route 32C.

 

The Methodist Society that later built the North Settlement Methodist Church was originally formed in 1805 at a time when Ashland was part of the town of Windham. “During these early years, the congregation [at North Settlement] was serviced by a circuit rider on what was known as the Albany Circuit and later as the Coeymans Circuit. In 1824 the society began a subscription campaign to raise sufficient funds to erect a church.”

 

The North Settlement Methodist Church was constructed in 1826, 21 years after the founding of the Methodist Society. The church was designed in the Greek Revival architectural style as a single-story building on a four by three bay plan.

 

Photographs and history of the North Settlement Methodist Church in the town of Ashland, Greene County in the northern Catskills.North Settlement Methodist ChurchThe North Settlement Methodist Church in the town of Ashland, Greene County was constructed in 1826 by the local Methodist Society. It was constructed in the Greek Revival architectural style as a single-story building on a four by three bay plan. The church remains today, nearly two centuries after its original construction, as “an exceptionally intact representative example of traditional frame meeting house architecture” and as a “religious and visual monument in the community.” The North Settlement Methodist Church is listed on the National Register of Historic Places.

 

Reverend Seth Crowell

 

“It was said that the first human sound in the wilderness was the ring of the frontiersman’s axe; the second was the “hello” of the Circuit Rider who rode into his clearing.”

 

 

The Methodist Society at North Settlement was formed in 1805 under the leadership of Reverend Seth Crowell (1781-1826), a circuit rider minister who preached on the Albany Circuit. Crowell was born in Tolland, Connecticut in 1781, but his family moved to Chatham, Connecticut when he was two years old. By the time Crowell was around 16 years old, “the time of my conversion to God,” “he engaged with great avidity in promoting the cause of Christ, by every means in his power. It was quickly inferred, from the tone of his exhortations, that he possessed a more than ordinary adeptness to the duties of the ministry.” (Springer, p. 349.)

 

In the spring of 1797, Crowell went to study under a Methodist class-leader, at which time Crowell “believed the Lord graciously converted my soul, Glory to his holy name.” (Crowell, 10.) After studying for two years, Crowell went his own way. In a fortuitous moment in his life, a local circuit preacher “was taken unwell” and asked young Crowell to take his horse, go around his circuit and fulfill his appointments. Crowell agreed, and then traveled the New London circuit as a preacher.

 

In 1801, at 20 years of age, Crowell was admitted on trial in the New York Conference of the Methodist church. Being “uncommonly mature for his years” and with an “ardency of zeal,” he was then assigned a circuit in “the wilds of Upper Canada.” He remained in Canada for two years, serving on the Niagara circuit in 1801 and on the Oswegatchie and Ottawa circuit in 1802.

 

Reverend Crowell would go on to a much-traveled career as an itinerant preacher, serving at times in Canada, Vermont, New York, Connecticut and Massachusetts. While serving on the Albany circuit in New York in 1805, Rev. Crowell preached at Albany, Greenfield, Scott’s Patent, New Durham, Windham and Rensselaerville, among other places.

 

In 1805 the Albany circuit was part of the Albany District, which was overseen by Elijah Woolsey, the presiding elder. The Albany District included 18 reverends working across 11 different regions including Black River, Western, Herkimer, Saratoga, Montgomery, Delaware, Ulster, Newburgh, Haverstraw, Albany circuit and Albany City. Reverend Crowell was joined on the 1805 Albany circuit by Reverend Henry Stead (1774-1854). Rev. Stead, who was born in England and immigrated to the United States in 1802, would go on to a long, distinguished career of over 50 years as Methodist minister.

 

While making his circuit at Windham, Reverend Crowell created a Methodist Society, which quickly had over 50 members. At one church service in the Windham area, Crowell “preached in the presbyterian meeting-house. Two of their preachers being present, I strove to convince them of the absurdity of absolute predestination. I met with no opposition.” (Crowell, 33.)

 

Methodist circuit riders, such as Rev. Crowell, were noted for their “self-sacrificing spirit” for they faced many challenges. The circuit rider position was noted for its constant travel, low pay and many physical hardships. Constant road travel was expensive and the preacher’s salary rarely covered a year’s expenses. Itinerant preachers were transferred almost every year; and Bishops could station a preacher on any circuit within a conference. Family life suffered while the circuit-rider preached, through financial difficulties and the constant moving.

 

Circuit riders traveled long distances between locations, often through woodlands that were little populated. Danger lurked on their journeys in the form of storms, swollen streams, wild beasts, desperadoes and hunger. Comfortable lodging was seldom available. Circuit preachers held services wherever there was an audience, including homes, schools, inns, taverns, local courthouses, small chapels, churches and, if more space was required, outside in barns, fields, under trees and outside stores. The circuit riders preached almost every day, and usually several times on Sunday.

 

Beginning in 1813, due to poor health, Rev. Crowell stopped his ministry for several years. During this time, Rev. Crowell published in 1813 The Journal of Seth Crowell; Containing an Account of His Travels as a Methodist Preacher for Twelve Years. The autobiography, albeit with periodic gaps, covers Crowell’s work between the years of 1801 and 1812. Rev. Crowell’s 12 years as an itinerant preacher included:

 

  • 1801 – Niagara circuit, Canada; served with Rev. Joseph Sawyer
  • 1802 – Oswegatchie and Ottawa circuit, Canada
  • 1803 – Returned to the United States, appointed to the Fletcher circuit, Vermont
  • 1804 – Brandon circuit, Vermont
  • 1805 – Albany circuit, New York
  • 1806 – New York City, St. John Methodist Episcopal Church
  • 1807 – Conference Missionary
  • 1808 – Schenectady, New York
  • 1809 – Newburgh, New York
  • 1810 – Pittsfield circuit, Massachusetts
  • 1811 – Chatham, Connecticut
  • 1812 – Redding, Connecticut

 

Perhaps influenced by his failing health, Crowell closed his 12-year journal at the end of 1812 with a fatalistic view of the future. “I took my circuit at Danbury; I continued about six months, when my health had got so bad that I was under the necessity to desist from travelling. How I shall I spend the rest of my short life, God only knows; if my health should ever be sufficient, I calculate to travel again; but be this as it may, I hope to be resigned to all the will of heaven, and close my days in peace. Amen.” (Crowell, 108.)

 

By 1816 Rev. Crowell’s health had recovered enough that he returned to work, being appointed a missionary within the bounds of the New York Conference. In 1817 and 1818, Crowell worked in New York City at the John Street Methodist Episcopal Church. In 1819, Reverend Crowell was “located,” a term used in Methodism meaning a church-sanctioned retirement.

 

The “location” of Reverend Crowell was not unusual. According to Elmer T. Clark in his book titled An Album of Methodist History, many of the early circuit riders faced health issues and died at a young age. “Of the first 650 preachers, 500 had to “locate.” Of the first 737 who died, 203 were under thirty-five years old, and 121 were between thirty-five and forty-five. Nearly half died before they were thirty. Two-thirds of those whose records are known died before they preached twelve years, and 199 died within the first five years.” (Clark, 198.)

 

Beginning around 1824, Reverend Crowell began to suffer from another long period of poor health. He suffered “under a slowly wasting disease, during which patience and resignation were exemplified in an eminent degree, and his soul was buoyed up with the blissful prospect of entering into life eternal.” (Bangs, 377.)

 

Reverend Crowell was placed “on the list of superannuated and worn-out members, that he might have a claim on their funds as long as he lived.” (Sprague, 350.) Reverend Crowell suffered for about two years from “nervous disease,” passing away at the age of 45 in New York City on July 6, 1826. He is buried at Sleepy Hollow Cemetery in Sleepy Hollow, New York. The quote on his gravesite reads “Why seek ye the living among the dead.”

 

Reverend Seth Crowell holds a distinguished place in the history of Methodism during the early 19th century. Numerous historical accounts highlight his powerful, and often very serious, style of preaching. Several testimonies from Methodist preachers described how Reverend Crowell had influenced them to join the church. “Rev. Seth Crowell deserves an honorable place among the heroes of our early history . . . He combined distinguished argumentative powers with great hortatory ability. God was with him, and his appeals were sometimes overwhelming. Amid great bodily infirmity and severe mental conflicts, he labored with uncommon zeal until utter prostration laid him aside. He died honored and beloved.” (Parks, 63.)

 

1856 Renovation

 

By 1856 the North Settlement Methodist Church had fallen into serious disrepair. The congregation was called to a meeting to determine whether the old church should be repaired or whether a new church should be constructed.

 

“In the latter part of the year 1856, the inhabitants thought the old edifice must be re-erected or else they could not have service in it, on account of its old and decaying condition. Upon this conclusion, and by the suggestion of the preacher in charge, the inhabitants in the vicinity of the church called a meeting, to get the expression of the people as to whether they should build a new one, or repair the old one, and also to ascertain how much money they could raise for the purpose of the same.

 

Whereupon they resolved to re-erect the old one, and appointed a building committee of three, to transact business, in relation to the erection of the Church and to circulate among the inhabitants a subscription paper, to raise money for the same. The result was that something over nine hundred dollars was subscribed and paid in the immediate vicinity of the church. It is now finished, and is a very nice comfortable edifice. It was dedicated last September, and I understand is paid for.

 

The subscription money was all paid without reluctance by the subscribers, with the exceptions of one or two individuals, and we must think they will soon pay theirs, as the committee have paid the defaulters subscriptions, and as they attend church regularly, and occupy as commodious seats as any in the church.” (Windham Journal. March 4, 1858.)

 

The building committee was comprised of several church members, including Brandow, Doolittle and Bronson. The committee “was prompt in the erection of the building, and paid liberally towards its completion.” (Windham Journal. March 4, 1858.)

 

National Register of Historic Places

 

The North Settlement Methodist Church is listed on the National Register of Historic Places “as an exceptionally intact representative example of traditional frame meeting house architecture in Greene County.”

 

As per the application for inclusion on the National Register of Historic Places, the church “is characterized by rectangular gable massing, heavily molded trim, full entablature and double door entrance with paneled door framed by a distinctive Greek door surround. The sanctuary remains substantially intact from the mid-nineteenth century and the overall structure retains a remarkably high degree of integrity. The North Settlement Methodist Church is an excellent example of a settlement era rural church that evolved reflecting the changing tastes and prosperity of its congregation and the community. It is an outstanding example of its period and style in the Catskill Region, as well as a rare survivor.”

 

The church “featured a heavy timber frame set atop a rubblestone foundation. The building was sheathed with narrow clapboards and covered by a medium pitched gable roof. The stone foundation, heavy timber frame, roof structure, some clapboards and some interior wall finishes survive from this period. In addition, based on structural evidence that survives in the church today, it can be determined that the original edifice featured three windows on the first floor and three at the balcony level, on both side elevations. Also typical of early nineteenth century meeting houses, there is evidence that the church originally featured paired entrances. These separate entrances would have been located where the current windows are situated.”

 

Bishop Francis Burns

 

“No one can doubt of the genuine conversion of Francis Burns. His name and memory will live for ages. His good deeds, his christian virtue and his true godliness have been engraved in the hearts of many people in Windham, a more lasting impression than could ever be cut in a tablet of stone.”

 

 

The North Settlement Methodist Church is where Francis Burns (1809-1863), the first African American Bishop in the Methodist Episcopal Church, received his early religious training.

 

Burns was born on December 5, 1809 in the city of Albany, New York. His parents were extremely poor, so at the age of four he was brought to the home of a Methodist farmer named Bennett Atwood in the North Settlement section of the town of Windham. At the age of 8, “satisfied that the experiment will prove a success, and, fearing lest the boy should be enticed from his home, just as he may be of some service to himself,” Atwood executed legal indentures with Francis’ parents that would have Burns bound to Atwood until his majority, “to learn the art, trade, and mystery of an agriculturist.” (Trafton, p. 377.)

 

From an early age, Burns attended school along with the other children of the neighborhood, typically during the winter term when there was less work on the farm. At the age of 15, Burns, “who had sought God in solitude and silence, now shouted aloud his praise.” Around this time,

 

“a camp meeting was being held on the farm of Arad Lewis, near, or a little west of the North Settlement M. E. Church. It was at this camp meeting that young Burns experienced religion. He earnestly sought Christ at this place, and as Burns himself told it, he knelt down by an old stump and earnestly plead with the Savior to speak peace to his soul. The glad message came down from heaven and Francis Burns was made happy in a Savior’s love . . .

 

After the conversion of young Burns, he seemed to change wonderfully. He would continually exhort and pray, and it could not be erased from his mind, for he was destined to preach the gospel; a thought then even some laughed at; however, those that loved the Savior began to hold counsel together, as the conversion of young Burns was the all-absorbing topic. His conversion was genuine; it showed for itself that the power of God was wonderfully displayed in Burns. People talked about it far and near. He seemed to feel a great interest that all his school boys, and everybody should seek Christ. Without a doubt it was a remarkable conversion and showed the wonderful work of Providence.

 

Burns took great delight in attending the prayer meetings and the class meetings. He always had something to say, and people were struck with amazement to hear the words that he spoke. He took great delight in attending prayer meetings that were held at the house of Perez Steele. Whenever the prayer meetings were there, Burns was there. The distance from Bennett Atwood’s to Mr. Perez Steele’s never kept Burns away. He was never absent; cold or heat made no difference with him; rain or stormy weather were never a hindrance. It made no difference how hard the wind blowed, or how many snow drifts to encounter, young Burns was never absent from the prayer meetings unless prevented by sickness. We can hardly say this of many today. A snow squall or a slight rain or a little muddy walking is generally in the way.” (Windham Journal. September 16, 1886; September 23, 1886.)

 

At the age of 17, Burns was baptized and received into the Methodist Episcopal Church, and thereafter he began to express an interest in preaching. He attended high school at Lexington Heights in Greene County, New York under the tutorship of William McLauren.

 

In 1830, at around the age of 20, and at the end of his indenture, Burns received a local preacher’s license at the quarterly conference of the Windham circuit held at Durham. Burns threw himself into his new work, and was “not idle, his license was no mere compliment, but authority by the Church to call sinners to repentance, and he enters every open door, aided and encouraged by the circuit preachers.”

 

In addition to his religious work, Burns also worked as a teacher in the local schools. “The estimation in which Mr. Burns was held by those among whom he had grown up, is well attested by the fact that he was employed to teach their school, and actually became the teacher of the white children in the neighborhood.”

 

Around the year 1831, Reverend David Terry, an itinerant preacher who traveled the Windham Circuit of the northern Catskills, took an interest in young Burns as he attended local church services. After church services one Sunday, Reverend Terry talked with Burns and came away very impressed with his “manly bearing” and “the fervor and intelligence of his testimony for Jesus Christ.” Reverend Terry recommended to Burns that he turn his attention to theological reading, in the hopes that his further studies would allow for future opportunity within the church.

 

This advice was taken, and Burns began with a study of “Clarke’s Commentary on the Holy Bible.” Thereafter, “the custom of brother Burns was always to have in one pocket some book of instruction, and in the other a dictionary, so he might be, when in the harvest field or in any other place at leisure for a moment, or at rest, improving his mind.” (The Ladies’ Repository. p. 130.)

 

By 1833 Burns received an introduction to Bishop Elijah Hedding at the New York Annual Conference held at Poughkeepsie, New York. Bishop Hedding came away “very much taken up with him,” and was impressed by Burns’ “manner of conversation,” “general deportment” and “deep piety.” (Windham Journal. September 30, 1886.) This meeting with Bishop Hedding would forever change the course of Burns’ life.

 

In 1834, Burns joined Reverend John Seys (1799-1872) for a Methodist mission to the country of Liberia in Africa, and this was to become his life’s work. Burns at first worked as a teacher in the Monrovia Seminary, but would in time take on more work and far greater responsibilities. He labored as an itinerant preacher over the course of many years. Burns edited, “with marked ability,” Africa’s Luminary, a paper sponsored by the mission. He was elected to the office of deacon and then elder. He was appointed principal of the Monrovia Conference Seminary; served as the presiding elder of the Cape Palmas district, and preacher in charge of the Cape Palmas station; and for six years he served as the appointed president of the Liberia Annual Conference.

 

Burns “visited Windham twice after he had become a missionary and everybody in Windham and surroundings was rejoiced to see him. He preached to large congregations powerful and eloquent sermons. When it was announced that Burns was to preach, there was a general rush; everybody went for miles around.” (Windham Journal. September 30, 1886.)

 

In the autumn of 1857 Reverend Burns, on one of his trips back to the United States, returned to the town of his youth, and visited the North Settlement Methodist Church for its rededication.

 

“In the autumn of 1857 it was my good fortune to be present at a love-feast on North Settlement, Greene County, N.Y. A new church had been dedicated to God the day before, and now the society was assembled for their first love-feast in their new and beautiful temple. It was a time of refreshing from the presence of the Lord. The aged members wept for joy, and gave thanks to God that the time had come when they had a comfortable church in which to worship in their declining years. There were many present from different parts of the circuit.

 

There were also present some eight or ten preachers, among whom was Francis Burns, late from Africa. This town was the place of his childhood; here he was reared, and here converted to God. In this vicinity he had been spending a few weeks among his old friends, recruiting his exhausted energies preparatory to his return to Africa.

 

He arose in the love-feast and said: “I have just visited the spot where I was converted more than thirty years ago. I sung the doxology, kneeled down and prayed, and then took my leave for the last time. The next month I shall spend on the Atlantic. You, my brethren, (referring to the ministers present,) will die in America; I will die in Africa. You will be buried in your beautiful cemeteries; I shall be buried by the foot of the palm. Over your grave will stand the cenotaph pointing to the heavens; but over mine the rose and the oleander will wave and bloom, and send forth their fragrance. Brethren, pray for me, for I mean that no man shall take my crown.”

 

Brother Burns sat down to weep amid deep emotion. The congregation was bathed in tears. All hearts melted. The audience was moved with sensation. The scene was solemn beyond description, and ranks with those never to be forgotten.” (Smith, pp. 156-157.)

 

At the General Conference of the Methodist Episcopal Church of 1856, a provision was made for the election and ordination of a Missionary Bishop. Two years later, in January 1858, and after nearly a quarter century of “toiling and suffering on the western coast of Africa,” Burns was chosen for the position and became the first African American Bishop of the Methodist Episcopal Church. Burns returned to the United States for his ordination, which took place on October 14, 1858 at the session of the Genesee Annual Conference at Perry, New York. The ordination service was conducted by Bishop Janes and Bishop Baker.

 

After his consecration as Bishop, Burns “gave himself brief repose, but at once sailed for his distant field of labor, where he threw himself again into his loved work with a zeal which knew no abatement, and a heart that never grew cold; he would not spare himself. He had the care of the schools, of the printing press, and of the Churches and ministers; he must be everywhere in the supervision of these interests, and this not for a few weeks, as in the case of a visiting bishop, and then off for home, but this strain was unremitting; the close of the year only introducing another of increasing care as the good work spread.” (Trafton, 387.)

 

After continuing his work in Liberia for five more years after being appointed Bishop, Burns returned to the United States in 1863 due to poor health. “His long exposure to that terrible climate, the frequent attacks of malarial fever he had suffered, and his herculean labors, had about exhausted a constitution not naturally strong, and he broke down. His physician commanded instant cessation from labor, and a return the States.” (Trafton, p. 387.)

 

Bishop Francis Burns died on April 18, 1863, only three days after his arrival at Baltimore, Maryland. Funeral services were held at Sharp Street Church in Baltimore, officiated by Rev. Dr. Durbin, with several other ministers offering their own remarks. The service was attended by hundreds of people, including over 70 ministers. At his request, Bishop Burns’ body was returned to Liberia, accompanied by his wife, who planned to return to Africa to make her home. Bishop Francis Burns is buried at Palm Grove Cemetery in Monrovia, Liberia.

 

Sources

 

Bangs, Nathan. A History of the Methodist Episcopal Church. Volume 3. New York: G. Lane and C. B. Tippett, 1845.

 

Clark, Elmer T. An Album of Methodist History. New York: Abingdon-Cokesbury Press, 1952.

 

Crowell, Seth. The Journal of Seth Crowell; Containing an Account of His Travels as a Methodist Preacher for Twelve Years. New York: J. C. Totten, 1813.

 

“Francis Burns. History of Windham, And Reminiscences of its People, Past and Present.” Windham Journal. Issues of September 16, 1886 (Part 37); September 23, 1886 (Part 38); September 30, 1886 (Part 39); and October 7, 1886 (Part 40). 

 

“Funeral of Bishop Burns.” Buffalo Christian Advocate (Buffalo, New York). May 7, 1863.

 

North Settlement Methodist Church. Application for inclusion on the National Register of Historic Places. 1996.

 

Parks, Rev. Stephen. Troy Conference Miscellany. Albany: J. Lord, 1854.

 

Powell, William A. Jr. Methodist Circuit-riders in America, 1766-1844. Master’s Theses. 1977.

 

“Rev. Francis Burns.” The Ladies’ Repository. Volume 19. New York: Carlton & Porter, 1859. pp. 129-132.

 

Simpson, Matthew. Cyclopaedia of Methodism. Philadelphia: Everts & Stewart. 1878. pp. 147-148.

 

Smith, William C. “Francis Burns in a Love-Feast.” Sketch Book. New York: Carlton & Porter, 1860. pp. 156-157.

 

Sprague, William B. Annals of the American Methodist Pulpit. New York: Robert Carter & Brothers, 1873. pp. 349-350.

 

Trafton, Rev. Mark. “Francis Burns.” In John W. Hamilton, Lives of Methodist Bishops. New York: Phillips & Hunt, 1882. pp. 373-390.

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[email protected] (American Catskills) Africa architecture Ashland bishop building Catskill Mountains Catskills church circuit circuit rider community Francis Burns Greek Revival Greene County Liberia meeting house Methodist Methodist Society monument National Register of Historic Places New York North Settlement North Settlement Methodist Church pastor religion reverend Seth Crowell town Windham https://www.americancatskills.com/blog/2024/7/north-settlement-methodist-church Sat, 20 Jul 2024 12:00:00 GMT
Mitchell Hollow Union Chapel https://www.americancatskills.com/blog/2024/7/mitchell-hollow-union-chapel The historic Mitchell Hollow Union Chapel, also known as Union Chapel, is located in the town of Windham in the northern Catskills. The church is situated on the north side of Mill Road at its intersection with Mitchell Hollow Road (County Route 21).

 

The Mitchell Hollow Union Chapel, also known as simply Union Chapel, in the town of Windham, Greene County was constructed in 1897.Mitchell Hollow Union ChapelThe Mitchell Hollow Union Chapel, also known as simply Union Chapel, in the town of Windham, Greene County was constructed in 1897. It was constructed in the Greek Revival architectural style as a single-story building on a three by three plan. The church is “significant as a representative example of late nineteenth century classically inspired ecclesiastic architecture.” The church is a local landmark and remains active in the community today. The Mitchell Hollow Union Chapel is listed on the National Register of Historic Places.

 

The church was constructed through community donations of labor, lumber and cash as well as the donation of 1/8 acre of land by Edgar Brockett. The church was built in 1897 and dedicated on April 21, 1898, with the dedicatory sermon provided by Reverend Henry M. Dodd. The church remains active in the community today.

 

As for the Mitchell Hollow name of the church, an article published in 1887 in the Windham Journal talked of the early history of the location.

 

“Mitchell Hollow was first settled about the year 1760 by a Mitchell family. They built a log house on the flats lying just east of the farm now owned by Frank Finch. These flats were afterward owned by my father, Sylvester Andrus. This was then in the heart of a howling wilderness, abounding with deer, panthers and wolves.

 

There is very little known of the history of the Mitchell family, from the fact that they either died or scattered before Mitchell Hollow was settled to any considerable extent. . . I remember, when a small boy, of seeing a daughter of the original Mitchell. She was then an old woman. She told me that when she was a little girl, she would help her father boil sap, and on one occasion, when returning from the bush after nightfall, she was compelled to carry a brand of fire to protect herself from the wolves, as they were howling around her in some numbers.

 

The Mitchells were about the only settlers in Mitchell Hollow until about the beginning of this century [19th], when, about that time, there came in old Deacon Finch with his sons, Elam, Wells, Willis and Clark. His other two sons, Justus and William, I believe were born in the Hollow.” (Andrus, Enos C. “Early History of Mitchell Hollow.” The Windham Journal. Windham, NY. June 11, 1925.)

 

Mitchell Hollow Union Chapel is listed on the National Register of Historic Places as “a representative example of late nineteenth century classically inspired ecclesiastic architecture in the community of Windham. The building, albeit simple in plan, is an important surviving example of church architecture constructed to service the year-round population of the upper Catskill region.” The church stands virtually intact from its construction more than a century ago.

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[email protected] (American Catskills) architecture building Catskill Mountains Catskills Christian church community congregation Greene County Mitchell Hollow Mitchell Hollow Union Chapel National Register of Historic Places New York religion Union Chapel Windham https://www.americancatskills.com/blog/2024/7/mitchell-hollow-union-chapel Sat, 13 Jul 2024 12:00:00 GMT
St. Francis de Sales Church at Elka Park, New York https://www.americancatskills.com/blog/2024/7/st-francis-de-sales-church-at-elka-park-new-york The historic St. Francis de Sales Church is located in a peaceful setting in the northern Catskills along Platte Clove Road in Greene County, New York. The church is located north of the hamlet of Elka Park and south of the village of Tannersville.  

 

The historic St. Francis de Sales Church is located in a peaceful setting near Elka Park in Greene County, New York.St. Francis de Sales Church, Elka Park, New YorkSt. Francis de Sales Church is located in a peaceful setting near Elka Park in Greene County, New York. Adjacent to the church is the St. Francis de Sales Cemetery. The mission church falls under the auspices of the Sacred Heart-Immaculate Conception Parish that includes the communities of Palenville, Haines Falls, Tannersville, Elka Park, East Jewett, Hunter and Lexington. The church is part of the Roman Catholic Diocese of Albany.

St. Francis de Sales (1567-1622) is a recognized saint in the Roman Catholic faith. He served as the Bishop of Geneva and authored in 1609 the highly influential Introduction to the Devout Life. He was canonized in 1665 and was further honored in 1877 with the title of Doctor of the Church, a title bestowed on those who have advanced the Catholic Church’s knowledge of faith through their research, study and writing. His feast day is celebrated on January 24. He has been honored as the patron saint of Catholic writers, Catholic journalists and the deaf. In addition to the St. Francis de Sales church at Elka Park, there are two other nearby churches of the same name in the hamlets of Lexington and Phoenicia.

The historic St. Francis de Sales Church is located in a peaceful setting near Elka Park in Greene County, New York.St. Francis de Sales Church at Elka Park, New YorkSt. Francis de Sales Church is located in a peaceful setting near Elka Park in Greene County, New York. Adjacent to the church is the St. Francis de Sales Cemetery. The mission church falls under the auspices of the Sacred Heart-Immaculate Conception Parish that includes the communities of Palenville, Haines Falls, Tannersville, Elka Park, East Jewett, Hunter and Lexington. The church is part of the Roman Catholic Diocese of Albany.

St. Francis de Sales (1567-1622) is a recognized saint in the Roman Catholic faith. He served as the Bishop of Geneva and authored in 1609 the highly influential Introduction to the Devout Life. He was canonized in 1665 and was further honored in 1877 with the title of Doctor of the Church, a title bestowed on those who have advanced the Catholic Church’s knowledge of faith through their research, study and writing. His feast day is celebrated on January 24. He has been honored as the patron saint of Catholic writers, Catholic journalists and the deaf. In addition to the St. Francis de Sales church at Elka Park, there are two other nearby churches of the same name in the hamlets of Lexington and Phoenicia.

 

The first St. Francis de Sales Church building at this location was constructed in 1891 through the leadership of Father Hugh O’Neil. Given its proximity, the church was long associated with the Elka Park community, which was established two years prior in 1889. The original members of the Elka Park community were all native-born Germans, many of whom had come to the United States in the 1840s and 1850s. The founders of Elka Park were all members of the Liederkranz Club of New York City, a social club of prominent German Americans. Elka Park was designed as a seasonal resort, with a theme of comfort and recreation among families of like social standing and cultural heritage.

 

Father O’Neil, the first pastor of the original St. Francis de Sales Church, was born in Dungarvan, County Waterford in Ireland on May 18, 1838, the son of Patrick and Ellen (McSweeney) O’Neil. His father Patrick was a farmer in early life, but later engaged in the bakery business at Dungarvan. Patrick also worked as a spirits merchant and, before the advent of railroads, ran a line of carriages known as post coaches. Patrick was regarded as “a highly respected citizen and an able supporter of the church.” Father O’Neil’s mother Ellen was born in Tipperary in 1796. During the Rebellion of 1798, her family took refuge in the County of Waterford. Hugh was one of eight children.

 

For his education, Father O’Neil attended a classical school and prepared for college with private tutors, and in 1858 attended All Hallows College in Dublin, where he graduated in 1860. His theological studies were completed at Waterford and at St. Mary’s College at Oscott, England. He was ordained a priest of the Roman Catholic Church on February 9, 1867. After 15 years of service in England at several different parishes, Father O’Neil came to the United States in 1882.

 

After several assignments at Philadelphia and at Indianapolis, in 1887 Father O’Neil came to St. Mary’s Church at Hunter, New York in the northern Catskills. He replaced Father Patrick H. Delehanty (1852-1888), who had served St. Mary’s Church from the spring of 1883 until September 1887.

 

Father O’Neil’s obligations at Hunter, New York included “the arduous duties of a widely distributed district, which included villages and settlements within a radius of fifty miles.” His duties “were zealously and energetically performed by him for five years, or until his circuit was divided, since which time the concentration of his labors has enabled him to accomplish results far more visible in their effects. Besides effecting the enlargement and improvement of St. Mary’s Church, he erected St. Franis de Sales Church in Platerkill [Elka Park] in 1891. At both these churches he officiates the year round, celebrating two masses each Sunday during the summer season, besides holding week-day services whenever occasion demands.” For a time, he conducted regular services at the Hotel Kaaterskill during the tourist season, “but these he was obliged to relinquish on account of his increasing labors elsewhere.”

 

Father O’Neil was well regarded in the community. “He has earnestly endeavored to promote the spiritual welfare of his widely-scattered flock, and the zeal he displays in conducting the affairs of his pastorate has gained for him the good will of the entire community. He organized the Sacred Heart and Rosary societies, and he takes a lively interest in the work of the town improvement society, of which he is a member. At the earnest request of the people of Lexington he aided in securing the erection of a church in that village; and he has also repaired St. Henry’s Church, located between Ashland and Prattsville.” (Biographical Review: Containing Life Sketches of Leading Citizens of Schoharie, Schenectady and Greene Counties, New York. pp. 192-193.)

 

In November 1900 Father O’Neil retired from parish work due to failing eyesight and a complication of diseases. Upon retiring, Father O’Neil left the United States to return to his home country of Ireland. He died less than a year later in September 1901 at his birthplace of Dungarvan, County Waterford in Ireland. Upon his passing it was written that Father O’Neil “was well known in this city [Troy], where he had many friends. He was especially popular in Troy and Hunter, and his death will be lamented generally by the people in both places.” (The Argus. September 13, 1901.)

 

In time, the first St. Francis de Sales Church, once described as “a little shed-like church building,” outlived its usefulness, and it was decided to construct a new church in order to accommodate the growing congregation. Money for the construction of the church was provided by Francis H. Lewis, supplemented by money raised by the congregation. The design of the church was based on Father Keefe’s remembrances of a church he had seen in France. The old church building was moved across the road, where it was used for several years as a parochial school for the parish.

 

The new St. Francis de Sales Church was dedicated on May 20, 1913 by Bishop Thomas Burke of Albany. Upon the church’s dedication, the building was described as “a very pretty frame edifice and will afford ample accommodation for all the Catholics of that district having a seating capacity of 400.”

 

The church was built under the leadership of Father William E. Keefe, who served at the Immaculate Conception Church at Haines Falls. Father Keefe’s “territory in the mountains was extensive owing to the fact of it being a popular vacationing section, and comprised all of Greene County on top of the Catskill Mountains. It covered three townships and included many small villages and hamlets. During the summer three priests have worked under Father Keefe in that section. All the well known mountain parks, including Onteora, Elka, Twilight, Sunset and Santa Cruz are within the territory which was comprised in his working section. These parks are private reserves and enclose the summer homes of many wealthy New York, Philadelphia and Washington people.” (The Columbian Republican. June 27, 1916.)

 

Father Keefe was born in Cohoes, New York on August 24, 1870. He was educated in the public schools of Cohoes, the old Christian Brother Academy and at Niagara University. He was prepared for the priesthood at St. Joseph’s Seminary at Troy, New York. He was ordained into the priesthood on September 19, 1896 at the chapel of the Sacred Heart Convent at Kenwood, New York. After ordination he was sent to Catholic University at Washington D. C. for post-graduate studies, where he remained until June 1897.

 

Father Keefe was next assigned to a summer mission at Lexington in the Catskills, where he remained until September, 1897. He was then appointed chaplain for the Christian Brothers, who then had a novitiate at the Old Troy Seminary in Troy, New York. Later he was made assistant pastor of St. Bernard’s Church at Cohoes, and remained there for six years. He was then appointed pastor of the Immaculate Conception Church at Haines Falls. In 1916 he was appointed pastor of St. Mary’s Church at Hudson, New York, where he remained for 24 years until his passing in 1940. Father Keefe is buried at Saint Agnes Cemetery at Menands, New York.

 

St. Francis de Sales Church is part of the Roman Catholic Diocese of Albany. The mission church falls under the auspices of the Sacred Heart-Immaculate Conception Parish that includes the communities of Palenville, Haines Falls, Tannersville, Elka Park, East Jewett, Hunter and Lexington. Adjacent to the church is the St. Francis de Sales Cemetery, which contains over 1,100 grave sites.

 

The historic St. Francis de Sales Church is located in a peaceful setting near Elka Park in Greene County, New York.Jesus on the CrossSt. Francis de Sales Church is located in a peaceful setting near Elka Park in Greene County, New York. Adjacent to the church is the St. Francis de Sales Cemetery. The mission church falls under the auspices of the Sacred Heart-Immaculate Conception Parish that includes the communities of Palenville, Haines Falls, Tannersville, Elka Park, East Jewett, Hunter and Lexington. The church is part of the Roman Catholic Diocese of Albany.

St. Francis de Sales (1567-1622) is a recognized saint in the Roman Catholic faith. He served as the Bishop of Geneva and authored in 1609 the highly influential Introduction to the Devout Life. He was canonized in 1665 and was further honored in 1877 with the title of Doctor of the Church, a title bestowed on those who have advanced the Catholic Church’s knowledge of faith through their research, study and writing. His feast day is celebrated on January 24. He has been honored as the patron saint of Catholic writers, Catholic journalists and the deaf. In addition to the St. Francis de Sales church at Elka Park, there are two other nearby churches of the same name in the hamlets of Lexington and Phoenicia.

The historic St. Francis de Sales Church is located in a peaceful setting near Elka Park in Greene County, New York.Jesus on the CrossSt. Francis de Sales Church is located in a peaceful setting near Elka Park in Greene County, New York. Adjacent to the church is the St. Francis de Sales Cemetery. The mission church falls under the auspices of the Sacred Heart-Immaculate Conception Parish that includes the communities of Palenville, Haines Falls, Tannersville, Elka Park, East Jewett, Hunter and Lexington. The church is part of the Roman Catholic Diocese of Albany.

St. Francis de Sales (1567-1622) is a recognized saint in the Roman Catholic faith. He served as the Bishop of Geneva and authored in 1609 the highly influential Introduction to the Devout Life. He was canonized in 1665 and was further honored in 1877 with the title of Doctor of the Church, a title bestowed on those who have advanced the Catholic Church’s knowledge of faith through their research, study and writing. His feast day is celebrated on January 24. He has been honored as the patron saint of Catholic writers, Catholic journalists and the deaf. In addition to the St. Francis de Sales church at Elka Park, there are two other nearby churches of the same name in the hamlets of Lexington and Phoenicia.

 

In addition to the St. Francis de Sales Church at Elka Park, there were two other nearby churches of the same name in the hamlets of Phoenicia and at Lexington. The church building at Lexington no longer serves its original religious purpose, as it is now the home to the Lexington Historical Society.

 

St. Francis de Sales (1567-1622) is a recognized saint in the Roman Catholic faith. He served as the Bishop of Geneva and authored in 1609 the highly influential Introduction to the Devout Life. He was canonized in 1665 and was further honored in 1877 with the title of Doctor of the Church, a title bestowed on those who have advanced the Catholic Church’s knowledge of faith through their research, study and writing. His feast day is celebrated on January 24. He has been honored as the patron saint of Catholic writers, Catholic journalists and the deaf.

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[email protected] (American Catskills) 1913 architecture building Catholic Catskill Mountains Catskills cemetery Christian church Elka Park Greene County Hugh O'Neil New York Platte Clove Platte Clove Road Roman Catholic Route 16 Sacred Heart-Immaculate Conception Parish St. Francis de Sales William E. Keefe https://www.americancatskills.com/blog/2024/7/st-francis-de-sales-church-at-elka-park-new-york Sat, 06 Jul 2024 12:00:00 GMT
Murder at the Stone Arch Bridge https://www.americancatskills.com/blog/2024/6/murder-at-the-stone-arch-bridge The Stone Arch Bridge at Kenoza Lake in Sullivan County, New York is locally famous for its role in one of the most prominent murder cases in Catskills history. The dramatic story involves supposed witchcraft, a hex that lasted for over 20 years, a gruesome murder, mental insanity and a lasting legacy of family tragedy and suicide.

 

Photograph of the Stone Arch Bridge at Kenoza Lake in Sullivan County, New York.Stone Arch Bridge, Kenoza Lake, New YorkKenoza Lake, Sullivan County

The Stone Arch Bridge, one of the most recognizable sites in Sullivan County, was constructed circa 1873 by Henry and Phillip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly farming, timbering and tanning. The three arch bridge crosses the East Branch Callicoon Creek, a major tributary of the Delaware River. The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights, and a kid’s playground. The historic bridge is listed on the National Register of Historic Places.

The Stone Arch Bridge is locally famous for its role in one of the most prominent murder cases in Catskills history. In January 1892 George Markert was brutally murdered at the bridge by Joseph Heidt.

Adam Heidt, Joseph’s father, believed that Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

Joseph confessed to the crime, but defended himself by claiming self-defense. He testified that he only went to the bridge to have Markert lift the curse off his father. Joseph was convicted of the murder and spent 20 years in prison. Adam Heidt was acquitted, but was committed to an insane asylum the following year.

Photograph of the Stone Arch Bridge at Kenoza Lake in Sullivan County, New York.Stone Arch Bridge at Kenoza LakeKenoza Lake, Sullivan County

The Stone Arch Bridge, one of the most recognizable sites in Sullivan County, was constructed circa 1873 by Henry and Phillip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly farming, timbering and tanning. The three arch bridge crosses the East Branch Callicoon Creek, a major tributary of the Delaware River. The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights, and a kid’s playground. The historic bridge is listed on the National Register of Historic Places.

The Stone Arch Bridge is locally famous for its role in one of the most prominent murder cases in Catskills history. In January 1892 George Markert was brutally murdered at the bridge by Joseph Heidt.

Adam Heidt, Joseph’s father, believed that Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

Joseph confessed to the crime, but defended himself by claiming self-defense. He testified that he only went to the bridge to have Markert lift the curse off his father. Joseph was convicted of the murder and spent 20 years in prison. Adam Heidt was acquitted, but was committed to an insane asylum the following year.

 

The story begins with George Markert, a local farmer, who had eaten supper with his family on the evening of Tuesday, January 19, 1892, and after went to the nearby Halfway House establishment of Philip Hembdt. The Halfway House, “a respectable roadside inn,” was located about one-half mile from Markert’s home along the main road. Markert arrived at the Halfway House between 6 and 7 p.m., remaining for several hours while having a few glasses of beer with his neighbors and friends. Markert left the hotel around 10 or 11 in the evening. Markert headed in the direction of his home, while the others headed to their own homes in different directions.

 

On his return home, Markert was viciously murdered as he crossed over the Stone Arch Bridge. He was shot five times in the back and side of his head and beaten with a heavy walking stick, resulting in several severe scalp wounds and a badly fractured skull. At least one of the pistol shots was from close range, as blackened powder marks were found around one of the wounds. The body was then dumped over the side of the stone bridge into the cold creek below, a drop of approximately 27 feet.

 

Markert’s house was located about 125 yards from the stone bridge. Markert was living with his second wife and her grandson named John Sanders, but was better known as Johnny Markert. In physical appearance, George Markert was described as 5 foot, 9 inches in height and weighed about 165 pounds. Markert was born in Germany and immigrated to the United States in the 1860s. When he was about 20 years old, he worked in a tannery near Turners. Later he worked for Gideon Wales at Pike Pond, now Kenoza Lake, and while there married Caroline Heidt, the sister of Adam Heidt. After Caroline had died at Rockville, Connecticut, Markert married Katherine Zehner, circa October 1884. She was a widow with three children.

 

Markert eventually saved enough money to purchase a small farm in Kenoza Lake near the Halfway House of Philip Hembdt. His farm was only 15 acres, most of which “was just a niche chopped out of a larger one.” One newspaper article referred to Markert as “probably the poorest man in the community.” Given the relatively small size of the farm, Markert also worked as a laborer for other farms in the area as a means of earning extra money.

 

Markert was regarded as “honest and respected by nearly all his neighbors.” He was also described as “an inoffensive man. Like the rest of the Germans, who make up the population of that vicinity, he enjoyed a glass of beer, and minded his own business.” (Port Jervis Daily Union. January 25, 1892.) Another report noted that Markert “was an honest, good-hearted man, and no enemies, except the Heidts.” (Hancock Herald. January 28, 1892.)

 

The well-attended funeral of George Markert took place at the Halfway House in Kenoza Lake five days after his murder at one o’clock in the afternoon on Sunday, January 24, 1892. He was survived by his second wife; three daughters, Mrs. A. Gerlich and Mrs. Wohlebe of Rockville, Connecticut; and Mary Markert of Kenoza Lake; by four step-children, and a little grandson who was living with him. George Markert is buried at the Kenoza Lake Cemetery in Kenoza Lake, New York.

 

George MarkertGeorge Markert

 

The Murder Scene

 

The murder scene was discovered about nine o’clock in the morning on Wednesday, January 20, the day after the murder. Mrs. Markert, realizing that her husband had not come home the night prior, had instructed their grandson Johnny to go to the Halfway House to inquire of Philip Hembdt as to his whereabouts. Along the way to the Halfway House, Johnny came upon neighbors John N. Kohler, who was a farmer and mail carrier, and Casper VonBerger, both of whom were on their way to cut fuel in the woods.

 

The three of them, coming upon the bridge, at the scene of the crime, found large blood stains in the newly fallen snow and tracks were found where the body was dragged and thrown over the side of the bridge. A shattered chair leg, an open jack-knife and a blood-soaked folding cap, all belonging to Markert, were found. The chair leg, about three feet in length, was frequently used by Markert as a walking stick. The walking stick was instantly recognized by Johnny for he had found it the summer before and gifted it to Markert. Footprints were found in the snow that were made by a size 11 rubber boot or shoe, which were later found to match those of the suspected murderer. An imprint of a right knee was found near an imprint of a head, and both spots were saturated with blood.

 

At the scene of the crime, and given the well-known animosity that Adam Heidt had for Markert, Mr. Kohler exclaimed, “Well, if Markert is dead, Heidt killed him.” Mr. Kohler instructed Johnny to go back to the house to tell his mother what they found. Johnny, upon arriving at his house, said to his mom that “Pa is murdered and thrown over the bridge.” Philip Hembdt arrived quickly and was one of the first people to investigate the scene of the murder.

 

After the initial evidence of the murder was discovered, a group of approximately 80 people was organized, and they began to thoroughly search the Callicoon Creek for the body. They poled boats up and down the river, raking the soft, underflowing ice. Other parties walked along the banks of the creek with hooks, poles, grapnels and rakes. For over 48 hours on Wednesday, January 20, and Thursday, January 21, the search continued without success.

 

On Friday, January 22, at around 11:30am, Charlie Heidt, the local constable, who was in a boat with Henry Wagner, noticed something in the water that looked like a coat. It was at a point in the river opposite Joseph Welch’s house. Charlie hooked the unknown object that had been snagged under three feet of water. Upon realizing that it was the body of George Markert, Charlie pulled the stiff body, which was covered with soft ice, to the surface. The body was found about a half-mile downstream from the stone arch bridge. Markert’s body was dragged to the shore, placed on a sled and then taken to the Halfway House, where it was examined by Coroner John Dycker, of Callicoon Depot and Dr. Simeon Kemp, a practicing physician and surgeon of Callicoon Depot for the prior 25 years, and assisted by Dr. Brand, of Jeffersonville.

 

The autopsy revealed “eight lacerations of the scalp as though made by some blunt instrument like a club; also five pistol-shot wounds. After a crucial incision of the scalp an extravasation of blood was found and a fracture of the skull eight inches in length extending from the frontal bone across the parietal bone to the occipital bone in an oblique direction. The first shot wound was four inches behind left ear, bullet imbedded in the lower part of the occipital bone; second shot wound two inches behind left ear, bullet penetrating occipital bone to the dura mater; third shot wound just below the second, bullet glanced off the skull and found imbedded in the muscles of the neck fourth bullet glanced off skull and lodged under the muscles of the neck at back; fifth shot wound passing through the angle of left lower jaw, bullet found in the sphenoidal bone; all the bullets were found.” (Sullivan County Record. January 29, 1892.)

 

There was also “a black-and-blue welt across the knuckles of one hand as though received in warding off a blow from a heavy stick.” (Middletown Daily Press. January 26, 1892.) Robbery was determined to not be the motive, as the little money that Markert had in his pockets was undisturbed. It was also felt that “nobody would have committed the deed for money, as the man was poor.” (Republican Watchman. January 29, 1892.)

 

Suspects

 

Adam Heidt and his son Joseph, the brother-in-law and nephew of Markert, respectively, were both quickly suspected of having committed the crime, for they had not been on good terms with Markert and had long wished him dead. The suspected motive for the murder was that both the Heidts believed Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. The Heidts believed that Markert was a “principal midnight visitor to the “hexenkanzel,” or witch pulpit, a spot in the neighborhood where the adepts in the black art were said to meet to say their incantations against those whom they sought to harm or destroy.” Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

 

Adam HeidtAdam Heidt

 

Joseph HeidtJoseph Heidt

 

Adam Heidt believed the hex began about 22 years before the murder, around 1870, when Markert patted him on the back three times and said, “You are a good brother-in-law, a good brother-in-law, a right good brother-in-law.” This supposed hex took place at the Halfway House, then owned and operated by the Bietz family. Heidt claimed “from that time on I was ailing, more or less all the time; I didn’t know and no doctor could tell what ailed me; medicine done me no good. My trouble never hindered me from work, but I was always ailing.”

 

Heidt complained of headaches, face pain and stomach issues, all ailments for which medicine did no good. In 1879, Adam went to Dr. Bennitt, who told him that he was healthy, “and he could not tell me what made me ailing. He gave me medicine which did me no good, but made me much worse. I took half of it and stopped. Another year, I went to Dr. Kemp. His medicine did me no good, but hurt me. I lived then in the Beech Wood. I had pains all over. Nothing would cure or help them, and my stomach beat like my heart. Gradually I grew worse, and in March, twelve years ago [1880], I went to Jefferson to see Dr. Wolfreen. He gave me medicine, and said he knew what ailed me. At first, I thought it did me good, but after taking a bottle of it I got down sick. Markert then lived in the Gannpler place. Dr. Wolfreen came to my house and was surprised to see how bad I was. It was reported around then that I would die – starve to death. I had pains like filling teeth. All at once I got better.” (The Sun. January 28, 1892.)

 

Heidt then claimed that his health improved greatly during the several years that Markert had lived in Connecticut, but that the pains had started again as soon as Markert returned. At an early inquest in to the murder in late January, 1892, Adam Heidt talked openly about his beliefs that Markert had cursed him, his resulting ailments and the steps he took to cure himself.

 

“I first saw him at our house, and there we shook hands. After that I had worse pains than I ever had before. They were in my head and legs and in my side. If I bought patent medicine the first bottle did me good, but the next made me worst than I had been. Then I let go of that and took the pills, with no better luck. Markert visited me two or three times a year till a year ago last spring. A year ago last spring he came to my house and we shook hands, and I took him in the cellar and treated him to cider. I got at once strange feelings in my eyes. We went upstairs and sat down, he opposite me. He stroked his whiskers.

 

He stroked his whiskers and twisted his hand at the end of each stroke as if he was throwing something from them at me. He saw that I noticed it and stopped. When I turned my head, he did the same thing again. I went and looked in the glass. My face was yellow, with a blue rim around my eyes. He then went home. I told my wife to look at my face, and that Markert was a witch and had cast a spell upon me. She told me she couldn’t believe that he would do such a thing because he talked so much religion. I told her I thought he had done it.

 

The next Sunday he came again and did the same thing. Again, my face turned yellow and blue and I had pains all over. Then he came the third Sunday and I wasn’t home. I had been to church in the morning and had walked to Jeffersonville. At just the time Markert called at the house and stroked his beard the thing came upon me in Jeffersonville, and when I got home, I said to my wife that Markert had been here. She asked my why, and I told her. She didn’t believe it. From that time, I had pain three days in the week, Friday Saturday, and Sunday, until in July, when he came to my place again and asked me how I was. I asked how a man who was sick all the time would be. He came the next Sunday and wanted a satisfaction piece on the judgment. I have it to him. From that time my trouble changed, and the pains would begin any day in the week and last three successive days. It was in my eyes and brain, and when it went off I had a peculiar feeling in my breast.

 

The last time Markert came to my house was in December, 1890. A month later he wanted me to file a saw for him. I wouldn’t do it, for to look at it gave me pain. I went to Dr. Hazie after that. He prescribed vapor baths. I took the baths, and then he prescribed medicine. I took it, and it made me a great deal worse. I had pains in my face every day and all the time. Then I went to a hospital [St. Francis Hospital in New York.] I was there two weeks and got no relief. They gave me medicine three times daily, which I couldn’t take, and they said they didn’t know what ailed me. The professor examined my and found me sound, but he shook his head afraid like, and seemed glad when I went away.

 

I couldn’t eat or sleep then. I came out of the hospital then and I had a conversation with a woman. She asked my why I went to the hospital. I told her it was to get relief from my troubles. She said medicine would not help me. She said I should not shake hands with any man. She wrote something for me on a piece of paper. She said I should not look at it, but I should carry it all the time and that if I did, I would get better. I saw her again six weeks later, in March, 1891. Before I saw her, I got pains in my stomach. After the second visit the pain left my stomach and went to my limbs.

 

After seeing Mrs. Stein the second time I came back home, and then I went to see Markert. We were alone. I told him he was the man who had patted me on the shoulder and said, “You are a good, a right good brother-in law,” and I tried to make him take the words back, but he only laughed. At that time, I had a feeling in my legs as if ants were crawling up and down This continued until November, 1891.

 

Then I went to see my brother in Bradford, Pennsylvania. I stayed there five weeks, and he took me to see the travelling Dr. Clark in Towanda. That doctor gave me two glass bulbs, with a glass tube connecting, and told me to hold them in my hands. The liquid in one was forced over to the other. He told me this indicated heart disease, liver disease, kidney disease, and some other diseases. He was going to fix medicines, but I said I didn’t want any. I did not tell him I was bewitched.

 

I left Bradford and went to Pittsburgh, and saw Father Mollinger. He gave me a blessing, and said that I needed no medicine. I did not tell him what ailed me. I expected the blessing would me off. It didn’t. I was there eight days, and I came directly home to Callicoon. I walked from Callicoon depot, and under the railroad bridge I found a revolver and a box of cartridges. I brought it home. The next morning, I wrapped it up in rags and hid it away in the haymow. I did not tell anyone I had found it. The last time I saw Markert alive was the night of the first Saturday in January. I was down by his house, and saw him through a window at his table.” (The Sun. January 28, 1892.)

 

Mrs. Stein, the witch Adam visited at Eighty-fifth Street in New York, offered advice on how to break the spell. She said that Adam must get Markert’s hat and boil it, and then he must with his own hand take the brain from the skull of a dead man and boil it.

 

At one point during his afflictions, perhaps following Mrs. Stein’s instructions, Adam hoped to acquire a hat from Markert, in the belief that if he got one it would relieve him of Markert’s witchery. Johnny Markert testified at an early inquest that Joseph had approached him one day as Johnny came out of a store in Kenoza Lake one day and asked if his father George had an old hat at home, and that Joseph had offered to pay Johnny a quarter if he would bring the hat to the second hill in the woods the next night. Joseph had stated that he wanted it for the Swiss Hill concert that was going to take place in the schoolhouse. Johnny agreed, but after he went home and told his mother, she said he could wait a long time till he got the hat. No one from the Heidt family ever mentioned the hat again to Johnny.

 

When Markert’s body was found, two letters written from Adam Heidt to Markert were discovered in his coat pocket. One letter contained the warning that if Markert was caught on the Heidt property again he would be killed. The second letter stated that if Markert did not stop “moonshining” the family, he would be killed anyway.

 

One letter written by Adam Heidt to George Markert, dated March 19, 1891, stated “You seeming friend and sly enemy. Nothing done so fine but what it will appear in the daytime. God had opened my eyes. You should take your witchcraft back. You know I have a judgment against you. You came to me on a Sunday and got a receipt. If you do not take the torture back, I will sell the judgment and pay the doctor bill which you have caused. You came to my house and stroked your beard. I was sick all the time. I forbid you my house and my barn, my flesh and blood. In the name of God. A Heidt.” (Middletown Daily Press. August 19, 1892.)            

 

Two years before his murder, when Markert received several threatening letters from Adam Heidt, he went to Judge Potts and showed the letters to him. Mr. Potts advised Markert to prosecute Heidt, but he never did it, as he felt kindly towards Heidt based on their relationship and family connection.

 

In the fall of 1891, only months prior to Markert’s murder, Adam Heidt had visited Conrad Metzger, a friend, to request to borrow $10 to go to the city of New York in the hopes of getting cured. While in New York Adam visited a clairvoyant who, when he entered the room, told him that “some one has put a spell on you.” When Adam saw Conrad again that fall, he talked of being bewitched. Conrad questioned him, saying “You don’t believe in it?” But Adam did seem to believe in it, but “did not express any angry feeling, but I [Conrad] noticed his manner was angry.” (Middletown Times-Press. August 19, 1892.)

 

In deliberating on the hex placed by Markert, Adam thought of the many tragedies that had afflicted the Heidt family in the years before the murder. In 1874, Nicholas Heidt, Adam’s brother, died from his injuries after being hit by a train of the Erie Railroad. Nicholas was working as brakeman for the railroad and had been coupling railroad cars at Lackawaxen. Adam claimed that Markert had possessed Nicholas to go on the track in front of the train and be killed.

 

On July 11, 1882, Anton Ulrich, Barbara Heidt’s father and Adam Heidt’s father-in-law, died instantly after falling from a wagon, striking his head and fracturing the bones of his neck. A team of horses were pulling a wagon full of a load of hay, and the horsed became frightened and started to run. Within a short distance Anton was thrown from the wagon to his death. This too was blamed on Markert.

 

In 1887, Ursula Ulrich, Barbara Heidt’s mother, was brutally murdered by a drunken ex-sailor named Abel John Allen, more commonly known as ‘Sailor Jack’. Allen shot Ulrich with a shot gun and then stabbed her in several places. Her house “bore every evidence of having been ransacked for plunder.” Allen was convicted of murder and would become the last man ever hanged in Sullivan County, New York. Heidt blamed the tragic event on Markert. It was believed that Jack Allen was no witch, but that he must have been possessed by one.

 

It was rumored that there were probably 20 people, in addition to Adam, in the Kenoza Lake community of 200 people that believed in witchcraft. “When a neighbor’s barn burns, they say that he has incurred the anger of the witches. When a neighbor’s child falls sick, they resort to mysterious devices and incantations to get it out of the power of the witch. They cut out of the mud the footprints of the suspected one and roast them and break them up and strew the ashes to the four winds. They put chalk marks on the doors to keep the evil spirits away, and carry charms about their necks. They hang stove pokers up for protection, and do many other strange things that have been handed down as means of preventing evil.” (The Sun. January 28, 1892.)

 

In the days following the murder, and upon several searches of the Heidt home, a number of pieces of incriminating evidence were found, including a blood-soaked .38-caliber revolver which had recently been fired, a .32 caliber pistol, a bloody handkerchief in a closet and an overcoat with blood spots. Bullets from the revolver matched those found in the head of George Markert. Joseph had two scratches on the back of his left hand. On Joseph’s undergarments, blood stains were found on the right knee. A pair of felt boots, belonging to Joseph, had rubber bottoms on them, the tracks of which matched the footprints in the snow at the scene of the murder.

 

At the inquest held in the weeks following the murder, Adam claimed that he knew nothing of the murder and that the first he heard of it was when the officers came to his house the following day. Adam also stated that he did not feel relieved of his troubles when he heard of Markert’s death, or at any time thereafter. The lawyers and the jury at the inquest specifically asked Adam “Are you better than before Markert was killed?” Markert responded, “Not a bit. There is pain in me now. I saw Markert dead, and saw Dr. Kemp extract the bullets from his head. The sight of him dead gave me no relief.” (The Sun. January 28, 1892.)

 

Adam Heidt was a 42-year-old farmer who lived at a place called Swiss Hill, which was south of Jeffersonville, about one-half mile from the Halfway House, and about one mile from Markert’s home. He was four years old in 1853 when he immigrated with his family to the United States from Germany. In 1869, Adam married Barbara Ulrich, the son of Anton and Ursula Urich. Barbara was described as being “possessed of considerably more sense than her husband.” At the time of the murder he was married, with a family of three sons and two daughters. The children included Joseph, 22 years old; John, 18 years old; Rosie, 14 years old; Anthony, 12 years old; and Mary, 3 years old. Adam was commonly known as “old man Heidt,” even though he was only 42 years old.

 

Heidt’s farm covered 133 acres, most of which was cultivated. His farm was one of the largest in the community, his stock was considered among the best and “their place is finely kept up.” (Hancock Herald. January 28, 1892.) In physical appearance, Adam was of medium height and weighed about 165 pounds.

 

Adam was described very differently in the press, depending on the account. One article described Adam as “a hard-working man, and though considered honest, he is said to harbor a very keen desire for gain; and to gratify this desire he has on different occasions endeavored to influence the division of legacies of relatives. He is Roman Catholic.” On the contrary, an article in the New York Times stated that Adam “has been long known in the community as of a low order of intellect and extremely ignorant and superstitious.” (New York Times. January 28, 1892.) Another article reported that Heidt “is somewhat demented, but has been known for many years as a quiet, peaceable citizen by his neighbors.” (Port Jervis Daily Union. January 21, 1892.)

 

Joseph Heidt, Adam’s son, was 22 years old at the time of the murder. He had lived with his family on Swiss Hill at Kenoza Lake for 13 years. He had two brothers and two sisters, of whom he was the oldest. He was educated until he was 16 years old, attending school at Buckwoods, Kenoza Lake and Swiss Hill. He attended school during the winter and worked on the home farm during the summer. He regularly attended the Catholic Church at Jeffersonville. In physical appearance, Joseph was about 5 feet, 10 inches tall and weighed about 190 pounds. Prior to being suspected in Markert’s murder, Joseph was regarded as “having a good reputation. He has had no quarrels with anyone, and was universally regarded as a good citizen.” (Hancock Herald. January 28, 1892.)

 

John Heidt, Adam’s son and Joseph’s brother, was also initially suspected of having been involved in the murder. At the time, John, 18 years of age, and described as “a pimple-faced, nervous youth,” was working as a school teacher at Birch settlement. In physical appearance he was of short stature and weighed about 140 pounds. He provided a solid alibi and was released.

 

Although John was not implicated in the crime, John was thought to know something about it. On the evening following the murder, he had made a memorandum titled “Testimony,” written with pencil on paper, of the time he came home from school Tuesday evening and of his movements from then on. He would later testify at trial that Joseph had returned home the night of the murder at a late hour, approximately between twelve and two in the morning.

 

The day after the murder, and while attending to his teaching duties, John “suddenly and to the amazement of his scholars, broke down weeping violently. A scholar asked him what was the matter, and he said he was worried because he didn’t know what was going on at home.” (Hancock Herald. January 28, 1892.)

 

Grand Jury

 

In February 1892 a Grand Jury was convened at Monticello, New York to determine whether the case against Adam Heidt and Joseph Heidt should proceed to trial. District Attorney Melvin Couch presented the case to the Grand Jury and an indictment was secured.

 

The trial was originally scheduled to take place in May 1892 at the Oyer and Terminer court at Monticello. However, the trial was delayed until August as neither the prosecution nor the defense was ready to proceed by May. In July 1892 a special term of the Supreme Court at Monticello was scheduled for August, specifically for the trial of Adam Heidt and Joseph Heidt.

 

While awaiting trial both Adam and Joseph “seem to be very much cast down. The elder is especially lachrymose and melancholy and has frequent fits of weeping. Neither shows any disposition to talk, evidently preferring to be left alone.” (Middletown Daily Press. February 13, 1892.)

 

Trial of Joseph Heidt

 

The trials of Adam Heidt and Joseph Heidt were held separately in August 1892, seven months after the murder. District Attorney Melvin Couch opted to try Joseph first, and his trial began on Tuesday, August 16, 1892. Joseph was defended by lawyer George McLaughlin, of Monticello. The trial was overseen by Judge Edgar L. Fursman (1838-1910), of Troy, New York. John E. Kelly served as court stenographer.

 

Judge Edgar L. FursmanJudge Edgar L. Fursman

 

For his defense, Joseph was well represented by his lawyer George McLaughlin (1841-1920), who was highly respected in the legal field. McLaughlin attended Alleghany College, at Alleghany Pennsylvania, and upon graduation was admitted to the bar in Ohio. In 1868, due to failing health, McLaughlin moved from Ohio to Sullivan County, New York to work for his uncle. He came to Monticello in 1872 and opened his own law practice. He remained in Monticello for 26 years until 1898, when he moved to Albany, New York upon being appointed secretary of the State Prison Commission.

 

The prosecution was also well represented by District Attorney Melvin Couch (1848-1913), “a very capable and astute lawyer.” Couch was born at Glen Wild, New York and was educated in the common schools followed by the Monticello Academy. After having gone west to teach for a few years, he returned east to study law, and was admitted to the bar in 1878. He began practicing law in Liberty, but after one year he moved to Monticello to open a law office. He continued to practice at Monticello for the remainder of his life. Upon his passing in 1913 it was written that “he was a man of rare genius” and that “there never was in the village and probably never will be again such a type of man.” (Sullivan County Republican. December 26, 1913.)

 

District Attorney Melvin CouchDistrict Attorney Melvin Couch

 

Upon being escorted into the courtroom by officers of the law for his trial at 10am on the morning of August 16, Joseph was “sprucely dressed in black clothes, and wore linen of immaculate whiteness.” He “presented a downcast appearance,” but was “cleanly shaved and neatly dressed.” Joseph “sat with his legs crossed and his right hand shading his eyes. Through the whole day he did not for one moment allow his eyes to be seen but once, and that was when the jurors were being sworn and he was required to stand up.” (Middletown Times-Press. August 17, 1892.) At times during the trial, Joseph had “spells of weeping.”

 

The case began with jury selection. The 12 jurors selected for the trial represented a cross-section of Sullivan County citizens. They included William C. Allan, sash and blind maker, Monticello; Mr. Hornbeck, ex-school commissioner, now farmer, Neversink; Joel C. Blackman, farmer, Liberty; Charles Hall, farmer, Neversink; Gilbert DuBois, merchant, Livingston Manor; William T. Daved, farmer, Phillipsport; Richard Gray, miller and farmer, Parksville; Charles Atwell, farmer, Fallsburgh; John W. Curry, farmer, Neversink; Riley Grant, farmer, Liberty; Manasseh Ingraham, farmer, Neversink; A. E. Rudolph, harness maker and bowling alley proprietor, Monticello. Manasseh Ingraham was chosen as jury foreman.

 

With the jury selected, the trial began at 3 o’clock in the afternoon on August 16. Catherine Markert, George’s widow, was the first witness, and testified that she thought she heard footsteps around the house on the night of the murder, but did not hear the shots from the revolver. She was followed by her grandson Johnny Markert, who testified that his mother had sent him to find his father, had met Mr. Kohler and they found evidence of the killing. John Kohler testified about finding the scene of the crime on the morning after the murder. Philip Hembdt, owner of the Halfway House, testified about the timing of Markert’s visit to the Halfway House on the night of the murder. Charles Heidt testified about finding the body of George Markert in the Callicoon Creek. William Schott, constable for the town of Delaware, testified about searching the Heidt home and finding several pieces of incriminating evidence. Conrad Metzger testified to the sale of rubber over-shoes to Joseph and that Joseph “has always had the best reputation in our town.”

 

At 9am on Wednesday, August 17, 1892, Dr. Simeon Kemp continued his testimony from the prior evening, describing his autopsy of the body of George Markert. Dr. Kemp presented photographs of Markert’s skull where the abrasions occurred. The photographs were shown to the jury. William Wilson, a member of the searching party, testified on finding a bloody overcoat at the Heidt home. Wirt Moulthrop testified about seeing Joseph at Kenoza Lake at 8:30 in the evening on the night of the murder and testified as to Joseph’s good character. John Bosley, a constable in the town of Delaware, testified about the Heidts belief that Markert had bewitched them. Oliver Hofer, Justice of the Peace for the town of Callicoon, testified about the crime scene, the autopsy and the search of the Heidt home. He presented a diagram of the murder scene that he had made as evidence.

 

Curtis Alley, a hotel owner at Kenoza Lake, testified that Joseph had left his house around 9:15pm on the night of the murder and that Joseph didn’t drink anything while there. John Heidt, Joseph’s brother, testified about the time that Joseph had returned home on the night of the murder. Judge Thornton, of Monticello, testified of the confession given by Joseph when the Judge had visited Joseph in jail in May 1892. Smith Benedict, a blacksmith at Kenoza Lake, testified to having seen Joseph on the night of the murder, as Joseph had inquired about shoeing his horses the next day.

 

After the prosecution rested, Joseph’s lawyer, George McLauglin, opened the case for the defense by summarizing “the history of this [Heidt] family, and of the character, standing and habits of Joseph Heidt; his peaceable character, his industrious habits; that he was a young man living there at the home farm, temperate, honest and hardworking.” (Sullivan County Record. August 26, 1892.) McLaughlin stated that it would be shown that the killing was committed in self-defense.

 

Joseph then took the stand to present his version of the story, his testimony being “given in a voice hardly audible even to the persons nearest to him.” (Republican Watchman. August 19, 1892.) For his actions, Joseph had already confessed to having committed the crime, but claimed that he had acted in self-defense. The story presented at Joseph’s trial was that he believed that Markert had placed a curse on his father, and that he wished to help his father in having Markert remove the curse. On the night of January 19, Joseph went to Markert’s house to talk to him, looked in the windows, but did not see him. Joseph assumed that Markert was at the Halfway House, and went to wait for Markert at the stone arch bridge. When Markert arrived, Joseph asked “Uncle, won’t you please take that spell from father?” Markert responded by saying “I didn’t put any spell on him and cannot take it off.”

 

Joseph asked again, “Dear Uncle, won’t you please take off the spell.” Markert again responded that he could not. Joseph became angry and threatened to have his uncle arrested, at which Markert became enraged, clinched Joseph and hit him. Markert then took out his jack-knife, at which point, Joseph believed that Markert was going to kill him. Joseph tried to escape, but slipped and fell to the ground, grabbing hold of Markert as he fell. Joseph drew his revolver and fired, with the first shot killing Markert. Joseph did not recollect having fired five times, did not recollect having beaten him with the club, but did recollect throwing him into the creek. Markert’s knife was found at the bridge the day after his death. Joseph testified that he was alone when he killed Markert, and that his father Adam had nothing to do with it. He also testified that the cuts on his hand were from Markert’s knife.

 

Joseph then testified that after killing Markert, he went home, and that he “was afraid to tell of the deed for fear of being lynched; after I was arrested and put in jail, I concluded to tell all.” He spoke of having serious headaches for several days after the murder.

 

McLaughlin began closing arguments for the defense at 1:40pm, going “over the evidence from beginning to end and dwelt strongly upon the former irreproachable character of the defendant. In his plea, which was a strong one, he stated that Heidt was purely a simple, misled boy.” His summation lasted for approximately 1 1/2 hours, concluding at 3:10pm. District Attorney then closed with his version of the case over 30 minutes. The judge then began his charge to the jury. At 4:20pm, the jury retired for deliberations, and were escorted by constable John Masten.

 

The jury deliberations in Joseph’s case took approximately three hours and twenty minutes, with four ballots taking place. The first three ballots were nine to three in favor of a guilty verdict, and on the fourth ballot the vote was unanimous. The jury did not believe Joseph’s story of self-defense and he was found guilty of second-degree murder.

 

At 7:40pm the bell in the court house rang out, which proclaimed that the jury’s decision had been reached. Crowds quickly assembled until the court room was filled to overflowing. Judge Thornton, the acting county clerk, addressed the jury, saying “Gentlemen of the jury, look upon the prisoner, prisoner look upon the jury; how find you this man, guilty or not guilty?” Manasseh Ingraham, the jury foreman, rose and stated that they had agreed on a verdict of murder in the second degree.

 

With the reading of the verdict, the crowds responded with “a ripple of applause.” Surprisingly, Joseph “manifested his delight by a brightening of the face, such as had not been observed during the trial.” The judge complimented the jury on their verdict and stated that they had performed their duty with fidelity and intelligence. The judge announced that Joseph would be sentenced at the close of the court term, which was two days later.

 

On August 19, 1892, the judge sentenced Joseph Heidt, saying “the sentence which the law imposes for the crime, for which are justly found guilty is fixed, and there is no discretion in the court to modify it in any degree. I am not disposed to add to your grief or misery, or to the grief and misery of your friends, by saying anything in particular to you concerning what you have done, and certainly it would be vain to make any suggestions as to your future life because that is determined. If, however, in the progress of time you should through executive mercy be set free, it is to be hoped that the experience you have already undergone, and the still more terrible experience which you must for many years hereafter continue to undergo, will serve to induce you, from that time on to lead an orderly, peaceable and quiet life, and however much you may be excited with the outward circumstances, to stay your hand from all manner of violence. The sentence of the court in your case is, that you be confined at hard labor in the state prison at Dannemora for the term of your natural life.”

 

After the court adjourned at the conclusion of the trial, several newspaper reporters visited the jail cell of Joseph Heidt. They reported that Joseph talked freely of his crime and that he expressed his joy at the thought of his father returning home a free and innocent man. Joseph noted that he weighed 189 pounds when he was taken to prison, but now only weighed about 140 or 150 pounds. He put on a vest which he said fit tightly when he came to prison, but there was now nearly enough room in it for another good-sized person. Joseph noted that his weight loss was not due to any mistreatment in prison as Sheriff Beecher had treated him fairly.

 

On Monday, August 22, 1892, Sherriff Beecher escorted Joseph Heidt to Dannemora Prison, then also known as Clinton Prison. They traveled by way of the O. & W. from Fallsburgh to Middletown, where they boarded the Erie Railroad train. It was the first time that Joseph had been on a railroad car even though he lived within 10 miles of the Erie Railroad all his life. The prison physician examined Joseph upon his arrival, and thought an asylum would be a better place for him as he thought Joseph was insane. Sherriff Beecher returned to Sullivan County on Wednesday morning, August 24.

 

Sherriff BeecherSherriff Beecher

 

The judge’s words at the time of sentencing seem prophetic for, despite the life sentence, Joseph was released from prison after having served about 20 years. While serving his time, Joseph had been “regarded by the prison authorities as a model convict, one who never makes any trouble.” After his release on parole, Joseph was employed on a farm near Malone, New York, “where he has proved an exemplary hand.” He was described as having “developed into an honest, hard working man, much respected by the people who know him.”

 

Joseph was pardoned in 1914 with the rationale that he “was the unfortunate victim of superstition, drilled into him by his father, who instigated the crime.” (Sullivan County Record. September 3, 1914.) He worked at the Malone Bronze Powder Works in Malone for 16 years in the 1920s and 1930s. In 1925 he married Emma Martin (1895-1963), with whom he had one daughter.

 

In 1939 Joseph Heidt committed suicide by hanging himself in the garage at his home. His body was found suspended from a cross beam by a clothesline rope. Funeral services were held at Notre Dame Church. Joseph Heidt is buried at Saint Francis of Assisi Cemetery in Constable, New York.

 

Trial of Adam Heidt

 

The trial of Adam Heidt began at 10am on Thursday, August 18, 1892 at the Court House in Monticello, New York. Upon entering the courtroom, Adam “looked unconcerned at first, although very pale.” (Sullivan County Record. August 26, 1892.)

 

From an original panel of 60 potential jurors, the 12 jurors selected for the trial included Frank Osterhout, farmer, Neversink; Henry Eastman, farmer, Burlingham; George Dearstyne, merchant, Claryville; Benjamin Gillett, hotel keeper, Grahamsville; Hiram Adams, farmer, Glen Wild; Peter Pomeroy, farmer, Neversink; George Wood, farmer, Rockland; Eugene VanKeuren, farmer, Bethel; George W. Budd, farmer, Phillipsport; Asa Wilson, farmer, Fallsburgh; Homer Travis, farmer Neversink; and Martin Day, farmer, Bridgeville.

 

Much of the evidence presented at the trial of Adam Heidt had been previously presented at the trial of Joseph Heidt. Oliver Hofer testified about the murder scene at the stone arch bridge and the letters found on Markert’s body written by Adam Heidt to Markert. Several witnesses, including William Pfeifer, Henry Chelius, Adam Barnhart, Conrad Metzger and Philip Hembdt, testified to Adam’s belief that he was bewitched by Markert. Joseph Heidt testified as to the history of his father Adam not feeling well, the supposed curse place on Adam by Markert and the steps that Adam had taken to heal himself; and he also testified as to the events on the night of the murder, much as he had presented at his own trial during the prior days. At 7:30pm on August 18, the prosecution rested their case.

 

At the conclusion of witness testimony, Mr. McLaughlin, Adam’s lawyer, motioned the court to acquit Adam on the grounds that there had not been sufficient evidence to hold him either as a participant or having in any way abetted or encouraged the commission of the crime for which Joseph had been found guilty. District Attorney Couch responded that he thought the case should go to the jury. The judge responded to the motion by generally saying: “This man is on trial for his life. He is either guilty of murder in the first degree or nothing. It won’t do to convict a man on suspicion. Human justice rests on a foundation of law.” The judge then adjourned the court till the following morning.

 

When the court reconvened at 9am the following morning, Friday, August 19, 1892, the judge addressed the jury, advising them to render a verdict of not guilty on the grounds that there was not enough evidence that Adam had incited another person, his son Joseph, to have committed the crime. The jury agreed with the judge’s direction, and without leaving their seats, rendered a verdict of not guilty. Heidt’s eyes filled with tears and he nodded an expression of thanks. Lawyer McLaughlin seemed exceedingly pleased over the victory he had won in clearing his client.

 

In the weeks after the trial, rumors began to circulate that Adam Heidt had run off to Ohio or was in hiding at his home. John Heidt, Adam’s son, wrote to the local newspaper to address the rumors.

 

“It is evident that those lies are only circulated to torment the remainder of the family and cause more sorrow than there is. Would people only consider one moment, and a feeling of remorse would cover their faces.

 

The people who talked nothing but witchcraft to A. Heidt are the ones, it is evident, who are circulating those rumors, and they also are the ones who are to blame for our affliction. Adam Heidt neither believed or talked witchcraft until some persons filled his mind with some of the most absurd witch stories obtainable. And those people will some time, earlier or later, receive their punishment.

 

On the other hand, it would be impolite not to say word of praise on behalf of those who tried to take the delusion from Adam Heidt’s mind. Let me say that those people deserve a blessing, and they will receive it.

 

The neighbors who so kindly offered their hand of assistance in the hour of affliction, we wish to thank, and home to return the favor, but we hope not in like emergency. John Heidt.” (Middletown Daily Press. September 3, 1892.)

 

On the day of his acquittal, Adam after went to the village of Monticello and saw Judge Fursman on the steps of the Mansion House. Adam “stepped briskly up to shake hands with him. The Judge waived him aside, refusing the proffered courtesy, which was a proper thing to do.” (Middletown Daily Press. August 27, 1892.) It was reported that “Adam, now that Markert is gone, and his son’s life has been saved by the jury, thinks that he is getting better and the “spell” is leaving him.”

 

Upon Adam’s acquittal, several local newspapers made their opinions known that they still viewed Adam as a danger to society. One such editorial noted that “proceedings ought to at once be taken to have the man examined as to his mental condition. It would seem that all the evidence of insanity necessary had been obtained at the trial, and that the mere formality of the signature of two physicians to a certificate is all that is necessary for him commitment to an asylum. No sane man could believe, as does Adam Heidt, that poor old George Markert possessed the power of witchcraft, and by stroking his beard three times, and then spitting upon the ground three times could put a spell upon him that would impair his health and cause the death of his cattle. One capable of entertaining such a delusion is not a safe man to be at large. Now that Markert is out of the way, Heidt may select another victim unless put under restraint.” (Jeffersonville Record. Republished by Tri-States Union. 1892.)

 

Adam Heidt, upon his acquittal, was set free and after went to Pennsylvania to spend time with his brother Edward. In May of 1893 Adam returned to Kenoza Lake, but was almost immediately considered “a menace to the peace and safety of the people of that neighborhood.” It was rumored that he made threats against one of the witnesses who testified against him at trial. Local citizens were reported to be afraid of him and they hoped “that some means will be devised for permanently ridding the country of his blighting presence. The very least that ought to be done would be to secure his incarceration in a lunatic asylum, before another life is offered up on the altar of witchcraft.” His wife Barbara filed a complaint against him for ill treatment and sought to have him adjudged a lunatic.

 

Adam was again arrested in May 1893 with plans to bring him to the State Hospital at Middletown. Many thought that Adam would resist, but he consented to go when officers told him that his disease could be cured at the hospital. Adam was examined by several state doctors who judged him to be insane and he was officially committed on June 1, 1893. He was to remain at the hospital until such time as doctors could certify that he was mentally sound. That time never came. Adam’s family never came to visit him at the hospital.

 

Adam Heidt died at the hospital four years later on July 22, 1897 at 48 years of age from chronic melancholia and chronic myelitis, or inflammation of the spine. Attempts were made hospital officials to notify Adam’s relatives of his passing, but no response was received. He was buried at Phillipsburg, Orange County, New York.

 

Legacy

 

While the supposed hex placed on the Heidt family was disregarded as medieval and superstitious, there is no doubt the Heidt family continued to suffer tragedy in the years after the murder. Adam Heidt had three sons, two of whom committed suicide, and the other was committed to a mental hospital. Adam’s two daughters, Rose and Mary, both died relatively young, at age 40 and at age 60, respectively.

 

Following the death of Adam Heidt in 1897 at the insane asylum, his wife, Barbara Heidt, i.e. Joseph’s mother, died four years later in 1901. She died at 51 years of age after a year-long illness during which she was confined to her bed and “suffered not a little.” She was “a mild-mannered woman, respected, and seemingly undeserving of so troublous a life as was hers.”

 

In 1911, John Heidt, son of Adam and brother of Joseph, was committed to the state hospital at Middletown on the recommendation of Dr. Archibald and Dr. Schonger. John formerly worked as a school teacher, but had more recently been involved in house painting at Kenoza Lake and in Pennsylvania. It was reported that John “showed signs of mental derangement” and was hallucinating that people were trying to covert him from the Catholic religion to the Protestant faith. John believed “that even his own relatives are designing evil against him.”

 

In 1942, Anthony Heidt, son of Adam and brother of Joseph, committed suicide, just like his brother Joseph had done three years prior. Anthony shot himself in the head with a shotgun in the woodshed on the same Heidt family homestead where he had grown up, and where his father Adam had suffered his delusions of witchcraft all those years earlier. Anthony had suffered a nervous breakdown around nine years earlier, recovered to normal health, but then suffered a second and more severe breakdown in the weeks before his death. Anthony worked as a farmer and summer boarding house keeper.

 

Although the brutal murder of George Markert took place well over a century ago, it has long continued on in the memories of those living in Sullivan County, New York. Since that infamous cold, snowy night in January 1892, there have many rumored ghostly sightings of the murdered George Markert around the stone arch bridge. The story is chillingly retold each year in all its detail on a spooky Halloween evening.

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[email protected] (American Catskills) Adam Heidt arch bridge Callicoon Creek Catskill Mountains Catskills county curse Delaware River East Branch Callicoon Creek George Markert ghost Halloween haunted Henry Hembdt hex hex murder immigrant Joseph Heidt Kenoza Lake legend lore mason murder National Register of Historic Places New York park Phillip Hembdt Pike Pond playground prison spell stone Stone Arch Bridge Sullivan County witchcraft woodland https://www.americancatskills.com/blog/2024/6/murder-at-the-stone-arch-bridge Sat, 29 Jun 2024 12:00:00 GMT
Stone Arch Bridge at Kenoza Lake, New York: A Photographic Study https://www.americancatskills.com/blog/2024/6/stone-arch-bridge-at-kenoza-lake-new-york-a-photographic-study The simply named Stone Arch Bridge is located in the small hamlet of Kenoza Lake, New York, near the junction of Route 52 and Route 52A. The bridge, one of the most recognizable sites in Sullivan County, spans the East Branch Callicoon Creek, a major tributary of the Delaware River. 

 

The Stone Arch Bridge was constructed circa 1873 by Henry and Philip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly the farming, timbering and tanning industries. The bridge replaced an earlier wooden bridge that collapsed under a load of hemlock bark that was on its way to a nearby tannery.

 

“The bridge is a solid masonry structure with an arched roadway supported by three arches made of hand-cut native stone. The arches and the ice breakers on the upstream side are built of mortared stone while the rest of the bridge is constructed of dry masonry. Formed concrete bases have been installed at the base of the arch supporters for stabilization purposes. Otherwise, the bridge is in its original condition . . . The construction technique incorporated the use of wooden forms to support the stones for the arches. Once all stones had been mortared and set, the forms were removed. This procedure eliminated the need for a specially cut keystone.”

 

The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights and a kid’s playground. The historic bridge is listed on the National Register of Historic Places as “a fine surviving example of vernacular bridge construction.”

 

Photograph of the Stone Arch Bridge at Kenoza Lake in Sullivan County, New York.Stone Arch BridgeKenoza Lake, Sullivan County

The Stone Arch Bridge, one of the most recognizable sites in Sullivan County, was constructed circa 1873 by Henry and Phillip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly farming, timbering and tanning. The three arch bridge crosses the East Branch Callicoon Creek, a major tributary of the Delaware River. The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights, and a kid’s playground. The historic bridge is listed on the National Register of Historic Places.

The Stone Arch Bridge is locally famous for its role in one of the most prominent murder cases in Catskills history. In January 1892 George Markert was brutally murdered at the bridge by Joseph Heidt.

Adam Heidt, Joseph’s father, believed that Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

Joseph confessed to the crime, but defended himself by claiming self-defense. He testified that he only went to the bridge to have Markert lift the curse off his father. Joseph was convicted of the murder and spent 20 years in prison. Adam Heidt was acquitted, but was committed to an insane asylum the following year.

Photograph of the Stone Arch Bridge at Kenoza Lake in Sullivan County, New York.Stone Arch Bridge, Kenoza LakeKenoza Lake, Sullivan County

The Stone Arch Bridge, one of the most recognizable sites in Sullivan County, was constructed circa 1873 by Henry and Phillip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly farming, timbering and tanning. The three arch bridge crosses the East Branch Callicoon Creek, a major tributary of the Delaware River. The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights, and a kid’s playground. The historic bridge is listed on the National Register of Historic Places.

The Stone Arch Bridge is locally famous for its role in one of the most prominent murder cases in Catskills history. In January 1892 George Markert was brutally murdered at the bridge by Joseph Heidt.

Adam Heidt, Joseph’s father, believed that Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

Joseph confessed to the crime, but defended himself by claiming self-defense. He testified that he only went to the bridge to have Markert lift the curse off his father. Joseph was convicted of the murder and spent 20 years in prison. Adam Heidt was acquitted, but was committed to an insane asylum the following year.

Photograph of the Stone Arch Bridge at Kenoza Lake in Sullivan County, New York.Stone Arch Bridge, Kenoza Lake, New YorkKenoza Lake, Sullivan County

The Stone Arch Bridge, one of the most recognizable sites in Sullivan County, was constructed circa 1873 by Henry and Phillip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly farming, timbering and tanning. The three arch bridge crosses the East Branch Callicoon Creek, a major tributary of the Delaware River. The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights, and a kid’s playground. The historic bridge is listed on the National Register of Historic Places.

The Stone Arch Bridge is locally famous for its role in one of the most prominent murder cases in Catskills history. In January 1892 George Markert was brutally murdered at the bridge by Joseph Heidt.

Adam Heidt, Joseph’s father, believed that Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

Joseph confessed to the crime, but defended himself by claiming self-defense. He testified that he only went to the bridge to have Markert lift the curse off his father. Joseph was convicted of the murder and spent 20 years in prison. Adam Heidt was acquitted, but was committed to an insane asylum the following year.

Photograph of the Stone Arch Bridge at Kenoza Lake in Sullivan County, New York.Stone Arch Bridge, Kenoza Lake, NYKenoza Lake, Sullivan County

The Stone Arch Bridge, one of the most recognizable sites in Sullivan County, was constructed circa 1873 by Henry and Phillip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly farming, timbering and tanning. The three arch bridge crosses the East Branch Callicoon Creek, a major tributary of the Delaware River. The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights, and a kid’s playground. The historic bridge is listed on the National Register of Historic Places.

The Stone Arch Bridge is locally famous for its role in one of the most prominent murder cases in Catskills history. In January 1892 George Markert was brutally murdered at the bridge by Joseph Heidt.

Adam Heidt, Joseph’s father, believed that Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

Joseph confessed to the crime, but defended himself by claiming self-defense. He testified that he only went to the bridge to have Markert lift the curse off his father. Joseph was convicted of the murder and spent 20 years in prison. Adam Heidt was acquitted, but was committed to an insane asylum the following year.

 

Philip Hembdt (1844-1917)

 

Philip Hembdt, one of the bridge builders, was born at Hueffelsheim, Germany on March 17, 1844. In 1864, at 20 years old, Hembdt immigrated to the United States. He worked as a carpenter for several years in New York City, after which he moved to the western United States for four years. Hembdt then moved back east to Beechwoods in Sullivan County, New York, where he operated a farm. While at Beechwoods, Hembdt married Emma Baum on September 20, 1868. Philip and Emma had ten children together.

 

Hembdt then moved to Kenoza Lake where he purchased the boarding house known as the Halfway House from Andrew Bietz, who had built the establishment and conducted it for 18 years. Hembdt owned and operated the Half Way House from 1876 to 1903. After selling the Half Way House in 1903 to Abe Feinberg, a photographer in New York City, Hembdt moved to Jeffersonville, where he lived his retired life.

 

Hembdt was an active member of the community. For nine years Hembdt served as the road commissioner for the Delaware township. He was an active member of the First Lutheran Church at Jeffersonville and served as president of the church for 17 years. He was a member of the Gustave Adolph Lodge, No. 274, of the Independent Order of Odd Fellows.

 

Philip Hembdt passed away at 73 years of age at his home on April 2, 1917. He had suffered from heart trouble for about a year prior to his passing. Philip and his wife Emma are both buried at Jeffersonville Lutheran Cemetery in Jeffersonville, New York.

 

Henry Hembdt (1847-1920)

 

Henry Hembdt, one of the bridge builders, was born in Germany in 1847. In 1873, at the age of 26, Henry immigrated to the United States. In 1875 Henry was married to Margaret Gottschalk. Henry and Margaret had six children together.

 

Henry was a highly skilled mason. In addition to building the Stone Arch Bridge at Kenoza Lake, Henry also constructed the stone bridge at Hortonville. For many years he operated a farm at Fremont until about 1916, when he moved to Hortonville on account of his failing health. He remained at Hortonville for his retired years until his passing. Henry was a charter member of the Gustave Adolph Lodge, No. 274, of the Independent Order of Odd Fellows.

 

Henry Hembdt passed away at 73 years of age at his home on December 9, 1920. Funeral services were held at the Hortonville Church, officiated by Reverend Charles Nietzer. He is buried at Hortonville Cemetery in Hortonville, New York.

 

Kenoza Lake

 

Kenoza Lake is located in the town of Delaware in Sullivan County, New York. The small hamlet is situated on the lake of the same name, about 4 miles south from the hamlet of Jeffersonville.

 

In 1873, around the time the stone arch bridge was built, the small hamlet consisted of one church, one store, one tannery, one grist mill, one wagon shop, one blacksmith shop, one shoe shop, two saw mills, one hotel, twenty-five dwellings and about 125 inhabitants. The tannery was owned by Gideon Wales, and employed thirty men.

 

As for the natural environment in 1873, “much of the surface is still covered with forests, especially the margin of Delaware [township]. But these are gradually disappearing as new accensions to its population are made. The soil is mostly a gravelly loam, and best adapted to pasturage. Lumbering and tanning form the leading branches of the industry.”

 

Kenoza Lake was previously known as Pike Pond, “from the abundance of pike which its waters contained at an early day, and which the early settlers were wont to substitute for pork, when the latter article in their larder became exhausted.” The name was changed from Pike Pond to Kenoza lake in 1890 in honor of John Greenleaf Whittier’s poem title Kenoza Lake. It was hoped that the change in name would increase the summer tourism trade, which at the time was a growing industry in Sullivan County.

 

Photograph of the Stone Arch Bridge at Kenoza Lake in Sullivan County, New York.Stone Arch Bridge at Kenoza LakeKenoza Lake, Sullivan County

The Stone Arch Bridge, one of the most recognizable sites in Sullivan County, was constructed circa 1873 by Henry and Phillip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly farming, timbering and tanning. The three arch bridge crosses the East Branch Callicoon Creek, a major tributary of the Delaware River. The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights, and a kid’s playground. The historic bridge is listed on the National Register of Historic Places.

The Stone Arch Bridge is locally famous for its role in one of the most prominent murder cases in Catskills history. In January 1892 George Markert was brutally murdered at the bridge by Joseph Heidt.

Adam Heidt, Joseph’s father, believed that Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

Joseph confessed to the crime, but defended himself by claiming self-defense. He testified that he only went to the bridge to have Markert lift the curse off his father. Joseph was convicted of the murder and spent 20 years in prison. Adam Heidt was acquitted, but was committed to an insane asylum the following year.

Photograph of the Stone Arch Bridge at Kenoza Lake in Sullivan County, New York.Stone Arch Bridge at Kenoza Lake, New YorkKenoza Lake, Sullivan County

The Stone Arch Bridge, one of the most recognizable sites in Sullivan County, was constructed circa 1873 by Henry and Phillip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly farming, timbering and tanning. The three arch bridge crosses the East Branch Callicoon Creek, a major tributary of the Delaware River. The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights, and a kid’s playground. The historic bridge is listed on the National Register of Historic Places.

The Stone Arch Bridge is locally famous for its role in one of the most prominent murder cases in Catskills history. In January 1892 George Markert was brutally murdered at the bridge by Joseph Heidt.

Adam Heidt, Joseph’s father, believed that Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

Joseph confessed to the crime, but defended himself by claiming self-defense. He testified that he only went to the bridge to have Markert lift the curse off his father. Joseph was convicted of the murder and spent 20 years in prison. Adam Heidt was acquitted, but was committed to an insane asylum the following year.

Photograph of the Stone Arch Bridge at Kenoza Lake in Sullivan County, New York.Stone Arch Bridge, Kenoza Lake, NYKenoza Lake, Sullivan County

The Stone Arch Bridge, one of the most recognizable sites in Sullivan County, was constructed circa 1873 by Henry and Phillip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly farming, timbering and tanning. The three arch bridge crosses the East Branch Callicoon Creek, a major tributary of the Delaware River. The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights, and a kid’s playground. The historic bridge is listed on the National Register of Historic Places.

The Stone Arch Bridge is locally famous for its role in one of the most prominent murder cases in Catskills history. In January 1892 George Markert was brutally murdered at the bridge by Joseph Heidt.

Adam Heidt, Joseph’s father, believed that Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

Joseph confessed to the crime, but defended himself by claiming self-defense. He testified that he only went to the bridge to have Markert lift the curse off his father. Joseph was convicted of the murder and spent 20 years in prison. Adam Heidt was acquitted, but was committed to an insane asylum the following year.

Photograph of the Stone Arch Bridge at Kenoza Lake in Sullivan County, New York.Picnic at the Stone Arch Bridge, Kenoza LakeKenoza Lake, Sullivan County

The Stone Arch Bridge, one of the most recognizable sites in Sullivan County, was constructed circa 1873 by Henry and Phillip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly farming, timbering and tanning. The three arch bridge crosses the East Branch Callicoon Creek, a major tributary of the Delaware River. The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights, and a kid’s playground. The historic bridge is listed on the National Register of Historic Places.

The Stone Arch Bridge is locally famous for its role in one of the most prominent murder cases in Catskills history. In January 1892 George Markert was brutally murdered at the bridge by Joseph Heidt.

Adam Heidt, Joseph’s father, believed that Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

Joseph confessed to the crime, but defended himself by claiming self-defense. He testified that he only went to the bridge to have Markert lift the curse off his father. Joseph was convicted of the murder and spent 20 years in prison. Adam Heidt was acquitted, but was committed to an insane asylum the following year.

Photograph of the Stone Arch Bridge at Kenoza Lake in Sullivan County, New York.Reflection at the Stone Arch Bridge, Kenoza LakeKenoza Lake, Sullivan County

The Stone Arch Bridge, one of the most recognizable sites in Sullivan County, was constructed circa 1873 by Henry and Phillip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly farming, timbering and tanning. The three arch bridge crosses the East Branch Callicoon Creek, a major tributary of the Delaware River. The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights, and a kid’s playground. The historic bridge is listed on the National Register of Historic Places.

The Stone Arch Bridge is locally famous for its role in one of the most prominent murder cases in Catskills history. In January 1892 George Markert was brutally murdered at the bridge by Joseph Heidt.

Adam Heidt, Joseph’s father, believed that Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

Joseph confessed to the crime, but defended himself by claiming self-defense. He testified that he only went to the bridge to have Markert lift the curse off his father. Joseph was convicted of the murder and spent 20 years in prison. Adam Heidt was acquitted, but was committed to an insane asylum the following year.

Photograph of the Stone Arch Bridge at Kenoza Lake in Sullivan County, New York.Autumn Reflection, Stone Arch Bridge, Kenoza LakeKenoza Lake, Sullivan County

The Stone Arch Bridge, one of the most recognizable sites in Sullivan County, was constructed circa 1873 by Henry and Phillip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly farming, timbering and tanning. The three arch bridge crosses the East Branch Callicoon Creek, a major tributary of the Delaware River. The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights, and a kid’s playground. The historic bridge is listed on the National Register of Historic Places.

The Stone Arch Bridge is locally famous for its role in one of the most prominent murder cases in Catskills history. In January 1892 George Markert was brutally murdered at the bridge by Joseph Heidt.

Adam Heidt, Joseph’s father, believed that Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

Joseph confessed to the crime, but defended himself by claiming self-defense. He testified that he only went to the bridge to have Markert lift the curse off his father. Joseph was convicted of the murder and spent 20 years in prison. Adam Heidt was acquitted, but was committed to an insane asylum the following year.

Photograph of the Stone Arch Bridge at Kenoza Lake in Sullivan County, New York.Seeing Through at the Stone Arch Bridge, Kenoza LakeKenoza Lake, Sullivan County

The Stone Arch Bridge, one of the most recognizable sites in Sullivan County, was constructed circa 1873 by Henry and Phillip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly farming, timbering and tanning. The three arch bridge crosses the East Branch Callicoon Creek, a major tributary of the Delaware River. The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights, and a kid’s playground. The historic bridge is listed on the National Register of Historic Places.

The Stone Arch Bridge is locally famous for its role in one of the most prominent murder cases in Catskills history. In January 1892 George Markert was brutally murdered at the bridge by Joseph Heidt.

Adam Heidt, Joseph’s father, believed that Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

Joseph confessed to the crime, but defended himself by claiming self-defense. He testified that he only went to the bridge to have Markert lift the curse off his father. Joseph was convicted of the murder and spent 20 years in prison. Adam Heidt was acquitted, but was committed to an insane asylum the following year.

Photograph of the Stone Arch Bridge at Kenoza Lake in Sullivan County, New York.SolidKenoza Lake, Sullivan County

The Stone Arch Bridge, one of the most recognizable sites in Sullivan County, was constructed circa 1873 by Henry and Phillip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly farming, timbering and tanning. The three arch bridge crosses the East Branch Callicoon Creek, a major tributary of the Delaware River. The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights, and a kid’s playground. The historic bridge is listed on the National Register of Historic Places.

The Stone Arch Bridge is locally famous for its role in one of the most prominent murder cases in Catskills history. In January 1892 George Markert was brutally murdered at the bridge by Joseph Heidt.

Adam Heidt, Joseph’s father, believed that Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

Joseph confessed to the crime, but defended himself by claiming self-defense. He testified that he only went to the bridge to have Markert lift the curse off his father. Joseph was convicted of the murder and spent 20 years in prison. Adam Heidt was acquitted, but was committed to an insane asylum the following year.

Photograph of the Stone Arch Bridge at Kenoza Lake in Sullivan County, New York.RIP Hembdt BrothersKenoza Lake, Sullivan County

The Stone Arch Bridge, one of the most recognizable sites in Sullivan County, was constructed circa 1873 by Henry and Phillip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly farming, timbering and tanning. The three arch bridge crosses the East Branch Callicoon Creek, a major tributary of the Delaware River. The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights, and a kid’s playground. The historic bridge is listed on the National Register of Historic Places.

The Stone Arch Bridge is locally famous for its role in one of the most prominent murder cases in Catskills history. In January 1892 George Markert was brutally murdered at the bridge by Joseph Heidt.

Adam Heidt, Joseph’s father, believed that Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

Joseph confessed to the crime, but defended himself by claiming self-defense. He testified that he only went to the bridge to have Markert lift the curse off his father. Joseph was convicted of the murder and spent 20 years in prison. Adam Heidt was acquitted, but was committed to an insane asylum the following year.

Photograph of the Stone Arch Bridge at Kenoza Lake in Sullivan County, New York.Built by Henry and Philip HembdtKenoza Lake, Sullivan County

The Stone Arch Bridge, one of the most recognizable sites in Sullivan County, was constructed circa 1873 by Henry and Phillip Hembdt, brothers and recent German immigrants, in order to support the growing commercial needs of the county, particularly farming, timbering and tanning. The three arch bridge crosses the East Branch Callicoon Creek, a major tributary of the Delaware River. The bridge remained open to vehicular traffic until 1955, after which it has since been open to pedestrian traffic only. Today, the bridge serves as the focal point of a 20-acre county park that features a woodland walk, fishing rights, and a kid’s playground. The historic bridge is listed on the National Register of Historic Places.

The Stone Arch Bridge is locally famous for its role in one of the most prominent murder cases in Catskills history. In January 1892 George Markert was brutally murdered at the bridge by Joseph Heidt.

Adam Heidt, Joseph’s father, believed that Markert was a “hexenmeister,” or sorcerer, who possessed supernatural powers, and that he practiced the “black art” of witchcraft. Both Adam and Joseph believed that Markert had placed a hex on Adam Heidt and his family which had led to personal illness, prevented their cows from giving cream, the death of several their cattle, the death of a horse, killed their crops and frustrated business plans. The Heidts also believed that Markert’s hex had led to the death of several family members.

Joseph confessed to the crime, but defended himself by claiming self-defense. He testified that he only went to the bridge to have Markert lift the curse off his father. Joseph was convicted of the murder and spent 20 years in prison. Adam Heidt was acquitted, but was committed to an insane asylum the following year.

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[email protected] (American Catskills) Adam Heidt arch bridge Callicoon Creek Catskill Mountains Catskills county curse Delaware River East Branch Callicoon Creek George Markert ghost Halloween haunted Henry Hembdt hex hex murder immigrant Joseph Heidt Kenoza Lake legend lore mason murder National Register of Historic Places New York park Phillip Hembdt Pike Pond playground prison spell stone Stone Arch Bridge Sullivan County witchcraft woodland https://www.americancatskills.com/blog/2024/6/stone-arch-bridge-at-kenoza-lake-new-york-a-photographic-study Sat, 22 Jun 2024 12:00:00 GMT
Hankins Stone Arch Bridge: A Photographic Study https://www.americancatskills.com/blog/2024/6/hankins-stone-arch-bridge-a-photographic-study The historic Hankins Stone Arch Bridge is located along Route 94 in the hamlet of Hankins, New York in the Upper Delaware River region. The single arch bridge crosses Hankins Creek just north of its confluence with the Delaware River. The hamlet of Hankins is located approximately 45 miles northwest from Port Jervis, New York, 19 miles southeast of Hancock, New York and 24 miles west from Liberty, New York.

 

Photograph of the Hankins Stone Arch Bridge, located at the hamlet of Hankins, New York in the Sullivan County region of the Catskills.Hankins Stone Arch BridgeThe charming Hankins Stone Arch Bridge was constructed in 1905 by John B. Inman, a local mason and quarryman, in order to link the hamlet of Hankins to the river community of Long Eddy. The single arch bridge crosses Hankins Creek just north of its confluence with the Delaware River. It is approximately 40 feet long, 15 feet wide and is made of local bluestone and Rosendale cement. The bridge remained a vital creek crossing for local traffic until 1973 when it was abandoned. The bridge, now open to pedestrian traffic only, has been restored and is home to a small roadside park. The historic bridge and the creek it spans are named in honor of John Hankins (1803-1847), who established the first permanent settlement here in 1835 with a home, store, sawmill and blacksmith’s shop. The bridge is listed on the National Register of Historic Places.

Photograph of the Hankins Stone Arch Bridge, located at the hamlet of Hankins, New York in the Sullivan County region of the Catskills.Over the Hankins Creek Stone Arch BridgeThe charming Hankins Stone Arch Bridge was constructed in 1905 by John B. Inman, a local mason and quarryman, in order to link the hamlet of Hankins to the river community of Long Eddy. The single arch bridge crosses Hankins Creek just north of its confluence with the Delaware River. It is approximately 40 feet long, 15 feet wide and is made of local bluestone and Rosendale cement. The bridge remained a vital creek crossing for local traffic until 1973 when it was abandoned. The bridge, now open to pedestrian traffic only, has been restored and is home to a small roadside park. The historic bridge and the creek it spans are named in honor of John Hankins (1803-1847), who established the first permanent settlement here in 1835 with a home, store, sawmill and blacksmith’s shop. The bridge is listed on the National Register of Historic Places.

 

Settlement at Hankins

 

The Hankins area was first settled in 1780 by Isaac Simmons, who “soon after sold his right of possession to Joseph Brown. Brown sold to Aaron Pierce, who, in 1792, built a saw-mill and small grist-mill . . . About the year 1800, Jonas Lakin came to the place, and subsequently became the owner of a considerable tract of land. In 1821, Lakin sold his tract of land to Elizabeth Pierce, who, with her family, lived on it until about 1833, when she died. In 1834, John Hankins and Luther Appley bought the property, for which they paid $1,451. In 1835, Hankins bought an additional tract of Lucas Elmendorf, and in May, 1839, moved to Fremont with his family.” (Quinlan, James Eldridge. History of Sullivan County. p. 292.)

 

The Hankins area was considered a good location for farming, with soil well adapted to the production of grass and grain, and for lumbering, with “a great store of valuable timber in its forests.” The location allowed hardy raftsman to run their timber rafts down the Delaware River. It offered good mill sites on its streams and was home to plentiful bluestone quarries.

 

Hankins Stone Arch Bridge

 

By the early part of 1900s there was a need for a stretch of river road to link the hamlet of Hankins to the river community of Long Eddy. Previously this connecting road had not been built due to the topography of the Hankins region and the presence of the Erie Railroad. The contract to construct a three-mile road with stone arch bridges over the Hankins Creek and the Basket Creek was given to John Inman. The road, the Hankins Stone Arch Bridge, and the Basket Creek Stone Arch Bridge were constructed in 1905 at a cost of $150.

 

“Everyone thought Mr. Inman would go broke on that job, but he was an old quarry man and had sized up the rocky point he had to cut through and knew what he was doing. The greater part of the three miles, down past the McDowell farm, was easy grading as roads went in those days. Cutting through the rocks just above Hankins was the main problem, blasting between train times and keeping the track clear. Mr. Inman, it will be recalled, was an expert at blasting and had at the Basket some years previously shot a big rock out of a quarry on this hillside and knocked the end off a house down near McDuffie’s.

 

On the road job he picked out a block of stone the right distance above the railroad and shot it into the river, and they said they couldn’t find a stone the size of a hen’s egg on the railroad track when he had finished. He left the overhang above the block he shot out, and until Route 97 came along forty years later and widened the road, this place was always called “Hanging Rock.” When Mr. Inman made the cut there he hit a colony of wild bees in a crevice and took out a lot of honey. When the road was finished, the bees came back and stayed there in the deep crevice until Route 97 wrecked them permanently.” (LaValley, Leslie D. “John Inman. Basket Letters – A History of the Basket Brook.” The Hancock Herald. April 25, 1957.)

 

The Hankins Stone Arch Bridge is approximately 40 feet long, 15 feet wide and is made of local bluestone and Rosendale cement. “The bridge consists of a single round arch springing from the banks of the rock creek. The arch is built of mortared and partially dressed voussoirs approximately two feet in depth. The spandrels and parapets rest directly upon the arch and are built of fieldstone. Cut, bluestone coping stones dress the top of the two parapet walls guarding the roadway. The roadway above the bridge is closed to traffic and largely unpaved. Although maintained for pedestrian use across the bridge, the former East Ridge Road remains only a trace south of the bridge. Wingwalls lining the creek banks downstream of the bridge were rebuilt in 1999 in order to stabilize the bridge and its erosion prone banks. The bridge and its immediate surroundings are currently maintained for passive recreation by Sullivan County and the Town of Fremont.” (National Register of Historic Places.)

 

With the completion of Route 97 connecting Port Jervis and Hancock in 1939, the Basket Creek Stone Arch Bridge was bypassed, and the Hankins to Long Eddy road began to see less traffic. The Hankins bridge remained in use, connecting Hankins with East Ridge Road (TR 26). The bridge remained a vital creek crossing for local traffic until 1973, when East Ridge Road was rerouted and the bridge was abandoned.

 

Through the efforts of local citizens, the Hankins Stone Arch Bridge has been restored and is home to a small roadside park. The bridge is now open to pedestrian traffic only. The bridge is listed on the National Register of Historic Places as “a rare and intact example of traditional stone arch bridge construction within the context of Upper Delaware River transportation resources.”

 

Photograph of the Hankins Stone Arch Bridge, located at the hamlet of Hankins, New York in the Sullivan County region of the Catskills.Hankins Stone Arch Bridge, Hankins, New YorkThe charming Hankins Stone Arch Bridge was constructed in 1905 by John B. Inman, a local mason and quarryman, in order to link the hamlet of Hankins to the river community of Long Eddy. The single arch bridge crosses Hankins Creek just north of its confluence with the Delaware River. It is approximately 40 feet long, 15 feet wide and is made of local bluestone and Rosendale cement. The bridge remained a vital creek crossing for local traffic until 1973 when it was abandoned. The bridge, now open to pedestrian traffic only, has been restored and is home to a small roadside park. The historic bridge and the creek it spans are named in honor of John Hankins (1803-1847), who established the first permanent settlement here in 1835 with a home, store, sawmill and blacksmith’s shop. The bridge is listed on the National Register of Historic Places.

Photograph of the Hankins Stone Arch Bridge, located at the hamlet of Hankins, New York in the Sullivan County region of the Catskills.The Work of John InmanThe charming Hankins Stone Arch Bridge was constructed in 1905 by John B. Inman, a local mason and quarryman, in order to link the hamlet of Hankins to the river community of Long Eddy. The single arch bridge crosses Hankins Creek just north of its confluence with the Delaware River. It is approximately 40 feet long, 15 feet wide and is made of local bluestone and Rosendale cement. The bridge remained a vital creek crossing for local traffic until 1973 when it was abandoned. The bridge, now open to pedestrian traffic only, has been restored and is home to a small roadside park. The historic bridge and the creek it spans are named in honor of John Hankins (1803-1847), who established the first permanent settlement here in 1835 with a home, store, sawmill and blacksmith’s shop. The bridge is listed on the National Register of Historic Places.

Photograph of the Hankins Stone Arch Bridge, located at the hamlet of Hankins, New York in the Sullivan County region of the Catskills.The Skills of a MasonThe charming Hankins Stone Arch Bridge was constructed in 1905 by John B. Inman, a local mason and quarryman, in order to link the hamlet of Hankins to the river community of Long Eddy. The single arch bridge crosses Hankins Creek just north of its confluence with the Delaware River. It is approximately 40 feet long, 15 feet wide and is made of local bluestone and Rosendale cement. The bridge remained a vital creek crossing for local traffic until 1973 when it was abandoned. The bridge, now open to pedestrian traffic only, has been restored and is home to a small roadside park. The historic bridge and the creek it spans are named in honor of John Hankins (1803-1847), who established the first permanent settlement here in 1835 with a home, store, sawmill and blacksmith’s shop. The bridge is listed on the National Register of Historic Places.

Photograph of the Hankins Stone Arch Bridge, located at the hamlet of Hankins, New York in the Sullivan County region of the Catskills.Still StandingThe charming Hankins Stone Arch Bridge was constructed in 1905 by John B. Inman, a local mason and quarryman, in order to link the hamlet of Hankins to the river community of Long Eddy. The single arch bridge crosses Hankins Creek just north of its confluence with the Delaware River. It is approximately 40 feet long, 15 feet wide and is made of local bluestone and Rosendale cement. The bridge remained a vital creek crossing for local traffic until 1973 when it was abandoned. The bridge, now open to pedestrian traffic only, has been restored and is home to a small roadside park. The historic bridge and the creek it spans are named in honor of John Hankins (1803-1847), who established the first permanent settlement here in 1835 with a home, store, sawmill and blacksmith’s shop. The bridge is listed on the National Register of Historic Places.

 

John B. Inman

 

The Hankins Stone Arch Bridge was constructed by John B. Inman (1845-1907), a local mason, quarryman and carpenter. According to federal and state census records Inman was listed with a range of occupations over the years, including carpenter (1870), farmer (1875, 1880), mill proprietor (1900) and lumberman (1905).

 

In the 1870s Inman and his family lived in Rock Valley and in 1877 Inman served as the trustee for the local district school. At this time Inman was employed as a wood worker. In the 1880s Inman was “running the old McDuffie sawmill,” and later went into the quarry business, leasing the “Shooting Rock” quarry from Horace McKoon on the hill west of the lower Basket. By the late 1890s Inman “lived in the Lathrop house and opened a quarry near the falls, and around 1900, he moved back to Rock Valley in what was always known as the John Inman house after the Lobdell estate sold it.”

 

Inman constructed a second stone arch bridge along the road from Hankins to Long Eddy, this one over the Basket Creek. The Basket Creek Stone Arch Bridge was also constructed in 1905. The Basket bridge was put to good use for several decades, “battered by floods, rammed by skidding cars and trucks . . . through the years, all the wood, stone and chemical products of the Basket valleys and hills were hauled over this bridge to the stone dock, or McKoon’s dock, as it was sometimes called.” The Basket Creek Stone Arch Bridge was destroyed around 1942 after a big flood, with most of the stones being washed down into the river.

 

Inman also constructed the classic, one-story, wood frame Rock Valley School, located in an area known as the Upper Basket in the small hamlet of Rock Valley in the town of Hancock, Delaware County. The school was established in 1885 in order to meet the needs of the growing population associated with local businesses such as logging, milling, bluestone quarrying, agriculture and the wood chemical industry. The historic school remained in continuous operation until 1940s, when it closed due to school district consolidation. In 1953 the school building was deeded to the Rock Valley Cemetery Association, which has maintained the school ever since. The Rock Valley School is listed on the National Register of Historic Places.

 

John Inman died suddenly at Rock Valley, New York at 61 years of age on February 2, 1907. Funeral services were held at the Rock Valley Church, with Reverend Regnal officiating. He was survived by his widow Margaret (Garrison) Inman; four sons, Clarence, James, John and Frank; and one daughter, Mrs. Bloom.

 

John Hankins

 

The historic Hankins Stone Arch Bridge and the creek it spans are named in honor of John Hankins (1803-1847), who established the first permanent settlement here in 1835 with a home, store, sawmill and blacksmith’s shop. As part of his business, he rafted large amounts of lumber down the Delaware River. Hankins later served as a Justice of Peace and then Supervisor of the town of Callicoon from 1844 to 1847. In 1851 the Erie Railroad named the local stop as Hankins Station. Hankins was a descendant of a soldier who served under General George Washington in the American Revolution, and was notably with the Continental Army when they crossed the Delaware.

 

John Hankins constructed the Hankins District No. 1 Schoolhouse in 1845. The school is located on County Highway 132, which continues downhill toward the commercial center of the hamlet, Route 97, the railroad tracks and the river. “He [Hankins] built the schoolhouse for the community and later donated the land and building to be used as a church for all denominations. After the local religious groups built their own churches, it continued to be used as a school. A new school was later built and this schoolhouse became the Hankins Fire House. The Fire Department has recently sold the building to a private owner with the stipulation that the bell shall remain with the building.” The school building is listed on the National Register of Historic Places.

 

John Hankins was born on September 2, 1803, the son of Ralph Hankins (1776-1863) and Mary (Dougherty) Hankins. He was born and raised in Pike County, Pennsylvania. James Eldridge Quinlan in his History of Sullivan County wrote in detail of John Hankins and the hamlet named for him. “Previous to 1839, Mr. Hankins had resided in the town of Damascus, in the State of Pennsylvania, where he married Susan, a daughter of Moses Thomas, 3d. Then he removed to Fremont, he passed over the “State-road,” on the west side of the river. The New York and Erie Railroad Company had accomplished considerable in grading their road; but had suspended work in 1837. Mr. Hankins attempted to make a highway of their track, but after rendering about three miles passable, gave up the job.

 

For several years ingress and egress were difficult. To attend town-meeting and vote at the fall-elections, he was obliged to follow a line of marked trees to Liberty, or travel over the State-road to the bridge at Cochecton, and from thence to Liberty by the way of Bethel. Sometimes, however, when the water was low, he followed the beach of the river on horseback as far as Cochecton. As the ford near his residence was occasionally impracticable, he built a scow, and crossed the river in it; but when there was a flood, it was not safe to cross in any manner, and he was practically cut off from the outside world.

 

It was been represented that John Hankins was the pioneer setter at Hankins Depot;* [See French’s Gazetteer] yet, when he came, he found on his place an old frame-house, a saw-mill, and land which had been occupied and tilled many years. He also found a sycamore tree which was nine feet in diameter. The latter was hollow, and the cavity was larger than some bed-rooms. It is said that a man could ride into it astride of a horse. Until about 1865, this tree was used as a substitute for a smoke-house.

 

Mr. Hankins was a man of action. Exclusive of those who lived in Pennsylvania, his only neighbors were at Long Eddy and Long pond; yet during the first year of his residence, he started a store and built a blacksmith-shop. He also built a handsome residence for his family, and in 1847, the second saw-mill erected on his land. He also became prominent as a local politician, and, notwithstanding his isolated position, was one of the first Justices of the Peace, and the second Supervisor of the town of Callicoon. He was elected to the latter office repeatedly, and at one time, in conjunction with Matthew Brown, controlled the Board of Supervisors.

 

Mr. Hankins did not live until the railroad was completed as far as Hankins creek. He was a man of forcible and energetic character – a warm friend and an ardent enemy – exalted in prosperity and depressed when his surroundings were unfavorable. In the summer of 1847, he suffered from a variety of small annoyances, and on the 17th of September was found dead on the road to Callicoon, about a quarter mile from his house, under circumstances which led to the belief that his life was cut short by his own hand.” (Quinlan, James Eldridge. History of Sullivan County. pp. 292-293.)

 

After Hankins’ death on September 17, 1847, rumors started that he had been shot and murdered by a contractor and engineer from the railroad. However, this proved false, as a coroner’s jury was organized, and they “spent all the afternoon and evening in a thorough and careful examination of the facts in relation to his death.” After the investigation, the jury offered their own findings. “The jury unanimously rendered a verdict that he [Hankins] killed himself by cutting his throat on the right side, having severed a jugular vein and an artery, it is supposed with a razor. There does not appear to have been any particular cause for his committing the rash deed, but a variety of small causes which had a tendency to render him unhappy, and which prompted him to suddenly commit the rash act. It is thought the resolution to do it had not long been taken before it was put in execution. He was found about one-fourth of a mile up the road leading from his house to the Callicoon Settlement. He committed the act in the afternoon of Friday. The finding of the jury was perfectly satisfactory to the family.” (“Suicide of John Hankins.” Republican Watchman. September 21, 1847.)

 

Although it is unclear if it is related to his passing, beginning in February 1847 Hankins advertised weekly in the local newspaper that much of his property was for sale. There does not seem to have been much interest in the property as the advertisements continued throughout the year. Even if the sale of his home and property was unrelated to his suicide, the advertisements still provide great insight to his land and possessions.

 

“Highly interesting to lumbermen, tanners, farmers, & c. A RARE OPPORTUNITY! 1173 Acres of Valuable Land For Sale! Situated in the Hardenbergh patent, great lot 2, in division 23, 24 and 25, containing about 1173 acres of land, with a good farm house well finished from cellar to garret, three small frame houses which are comfortable dwellings for small families, 2 saw mills, a grist mill, store house, a blacksmith shop with tools, a large frame barn, with a shed or cow house 64 b 24 ft., 16 ft. posts, all well finished, a good cider mill with screws, and three first rate orchards. On the lot, there is an abundance of timber – hemlock, maple, white ash, beech, birch, chestnut and some cherry. As a lumbering establishment it is one of the best of the kind in Sullivan County. The N. Y. & Erie Railroad will run through it, and 2 public roads lead to it, one from the town of Rockland and the other from Callicoon settlement. A railroad depot will probably be established on it, as it is 13 miles from Cochecton. It is well calculated for the tanning business, and has an abundance of water power. Any person wishing to purchase such a property will do well to call and examine for themselves. A liberal time for payment will be given. John Hankins, Callicoon, Feb. 18, 1847.” (Republican Watchman. March 16, 1847.)

 

John Hankins married Susan Thomas (1811-1885) on March 4, 1830 at her parents’ homestead, two miles south of Damascus, Pennsylvania. Susan was the daughter of Moses Thomas III (1777-1857) and Rebecca Thomas (1782-1841), and a granddaughter of Moses Thomas II, who was killed in 1779 during the American Revolution at the Battle of Minisink Ford. John and Susan had eight children together, including Lucas Wurtz (1831-1910), Mary (1833-1907), Rebecca Thomas (1835-1918), Angeline Elizabeth (1838-1903), Susan Abigail (1841-1917), John Ralph (1843-1905), William Thomas (1845-1847) and Samuel Howard (1848-1917).

 

After the death of her husband in 1947, Susan continued to raise her children at the village of Hankins. The Commemorative Biographical Record of Northeastern Pennsylvania, published in 1900, offered many details about the children of John and Susan Hankins.

 

(1) Lucas W. . . . Owner and proprietor of a beautiful summer resort in Manchester township, Wayne County.

 

(2) Mary, born in Sullivan County, N.Y., in October, 1833, married Col. Zalman Main, of Sullivan County, N.Y., who during the Civil war raised a company in Indiana, and for bravery and valor on the field was promoted to the rank of colonel, having command of an Indiana regiment. He died in 1866, leaving a wife and one child, Florence E., who now resides in Binghamton, N.Y.

 

(3) Rebecca T., born in Sullivan County, N.Y., is a well-educated woman, was for a number of years a successfully teacher in the public schools, and is now a resident of Binghamton.

 

(4) Angie E., born in Damascus township, Wayne County, married Capt. C. A. Johnson, of the regular army, who died in 1894, at Washington, D. C., and she now makes her home at Binghamton.

 

(5) Susan A., born in Hankins, N. Y., in 1841, married David Bush, of California, born in Sullivan County, and they located in Susquehanna, Penn., where he was connected with the Adams Express Company for a number of years, or until his health failed. He died at his home in that place in 1889, leaving a wife, now a resident of Binghamton; one son, Edward, a civil engineer residing in Rome, N. Y., and one daughter, Jessie, who died at the age of sixteen years.

 

(6) John R., born in Hankins, was educated in the New York schools, and when a young man engaged in mercantile business at Little Equinunk, Wayne County. Subsequently he carried on business near Owego, N. Y., for a number of years, but now has charge of his brother’s wholesale tobacco trade, in Binghamton, where he makes his home. He married Emma Buckley, of Fremont Center, Sullivan County, N. Y., and had two daughters – Susan, now the wife of Dr. W. Leonard, of Tully, N. Y.; and Bertha, who died in childhood.

 

(7) Willie died when a child.

 

(8) Samuel H., born in Hankins, has a large wholesale tobacco establishment in Binghamton, and is one of the leading business men of that place. He married Lillian Wait, of Hollisterville, Wayne Co., Penn., and has two children, Walter and Winifred.” (Commemorative Biographical Record of Northeastern Pennsylvania. Chicago: J.H. Beers & Co., 1900. pp. 466-467.)

 

Hankins and his wife Susan, along with two of their sons, John and William, are all buried at Overlook Cemetery at Damascus, Pennsylvania.

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[email protected] (American Catskills) arch architecture Basket Creek Stone Arch Bridge bridge Catskill Mountains Catskills creek Delaware River hamlet Hankins Hankins Creek Hankins Creek Stone Arch Bridge Hankins District No. 1 Schoolhouse Hankins Stone Arch Bridge John Hankins John Inman Long Eddy New York river road Rock Valley School Route 97 settlement stone arch Sullivan County village https://www.americancatskills.com/blog/2024/6/hankins-stone-arch-bridge-a-photographic-study Sat, 15 Jun 2024 12:00:00 GMT
Ten Mile River Baptist Church at Tusten, New York https://www.americancatskills.com/blog/2024/6/ten-mile-river-baptist-church-at-tusten-new-york The historic Ten Mile River Baptist Church, also known as the Tusten Baptist Church, is located just off Route 97 in the Upper Delaware River Valley town of Tusten, New York. It is approximately five miles south of the village of Narrowsburg, New York. The church prominently stands on a wooded hill, east of the Ten Mile River, which flows approximately one-half mile south to its junction with the Delaware River. Downriver from the church, near the mouth of the Ten Mile River at its junction with the Delaware River, the Tusten Stone Arch Bridge also pays testament to the former village of Tusten, which was known as Ten Mile River Village on some historic maps. The church property encompasses approximately six acres of land, including the church building, the adjacent cemetery and several stone walls.

 

Photograph of the Ten Mile River Baptist Church, located at Tusten, New York in the southern Catskills.Ten Mile River Baptist ChurchThe Ten Mile River Baptist Church, also known as the Tusten Baptist Church, was organized in 1840 by Reverend Henry Curtis, first meeting in the homes of its congregants. The current church building was constructed in 1856. “The layout and construction of this building was typical of smaller Protestant meetinghouses of the period and illustrated simple, but finely crafted furnishing and joinery. The rectangular lines of the building, and use of period moldings and trim profiles imbue the vernacular church with some of the characteristics of the Greek Revival style, popular in the Delaware Valley between 1840 and 1860.” The church was added to the National Register of Historic Places in 1997.

 

Enoch Owen – Preaching the Word at Ten Mile River

 

As the village of Ten Mile River grew in the 1800s the Baptist faith reached the people of the village through the works of Elder Enoch Owen (1767-1836). Owen came to the village of Damascus, Pennsylvania about the year 1790, and settled above Cochecton. He married Lois Tyler (1772-1814), the daughter of Silas Tyler. By trade Owen worked as a local lumberman, farmer and mason. He “built the old-fashioned stone chimneys of the valley before brick and lime were seen there” and also constructed several miles of the Newburgh and Cochecton Turnpike.

 

In June of 1806 Enoch Owen was ordained as an Evangelist. Being of the Free Will Baptist faith, he preached every Sunday at a small Baptist meeting-house in Damascus, Pennsylvania, but also “held religious meetings in the Delaware river towns wherever there was a settlement.” He was the first missionary at Callicoon and “among the pioneer preachers of Cochecton,” and he occasionally visited the village of Ten Mile River. Owen was sometimes accompanied on his trips up and down the Delaware River valley by Deacon William Dunn, a member of Owen’s church. Where a church was not available, Owen would preach in people’s homes, in barns and sometimes at popular establishments such as the Raftman’s Hotel in the town of Tusten.

 

At Callicoon, “hearing that a few families were living here far from Christian privileges, he found his way to them through the woods in 1820, and preached to them. The three households received him gladly, and as a token of their satisfaction, presented him with a half-bushel of rye, which he carried home on his shoulders. It is said that he continued to preach at [Edward] Wood’s once a month; that to reach the settlement he followed blazed trees when the snow was deep and the thermometer below zero; and that he was paid fifteen dollars per annum for his services!” (Quinlan, James Eldridge. History of Sullivan County. p. 159.)

 

Elder Owen “was a man of but little education; but his mind and body and zeal were robust. It cannot be said that he was mercenary; for he received little or no compensation for his labors in his Master’s vineyard . . . He was always ready to visit the sick and afflicted, and to discourse at funerals on mortality and immortality – the ineffable and everlasting bliss of the redeemed, and the fearful fate of the doomed. His unpretending and homely discourses impressed Christian morality upon many souls of this neglected region . . . In his old age he joined the Close Communion Baptists. He was an honest old soul, whose good deeds and good name survived his mortal body, and are yet held in grateful remembrance.” (Quinlan, James Eldridge. History of Sullivan County. pp. 217-218.) Enoch Owen passed away on November 14, 1836 and is buried at Overlook Cemetery in Damascus, Pennsylvania.

 

Founding of the Ten Mile River Baptist Church

 

The official congregation of the Ten Mile River Baptist Church was organized in the spring of 1840 by local citizens, including E. Tyler, A. F. Bush and Thompson Parsons. The group commenced holding prayer meetings, with the first meetings taking place in the homes of its congregants. Soon after founding of the congregation, Reverend Henry Curtis, of the Damascus society, was invited to preach and to aid in conducting the church meetings.

 

In the early days of the church, “the Word preached was attended with convincing and converting power, leading Christians to pray and labor, and sinners to cry “men and brethren what shall we do to be saved?” Soon a number of the anxious were indulging hope in an all-sufficient Savior. The meetings were continued with increasing interest and power. The subject of believers’ baptism and church membership now began to claim attention and elicit discussion. As usual, candid inquiry resulted in a sense of obligation to make a public profession of Christ by baptism, and become identified with his people. A number of persons manifested a desire to unite with a Baptist church.

 

This desire being made known to the Damascus Church, situated some fourteen miles above, on the Delaware River, a special meeting was appointed by that church and held at Ten Mile River, to hear experiences and receive candidates for baptism and membership. A number of the converts presenting themselves at this meeting, were cordially received and baptized on a profession of faith, by Mr. Curtis, and became a branch of Damascus Church.” (Bailey, Edward L. History of the Abington Baptist Association, From 1807 to 1857. pp. 185-188.)  

 

Given its lengthy distance from the Damascus church, the Ten Mile River congregation soon requested “letters of dismission” in order to organize themselves as an independent body. The Ten Mile River Church was officially established through a council of recognition on August 18, 1840. At the time of its organization the congregation consisted of 29 people, including 16 males and 13 females. The first dedicated pastor of the church was Rev. Daniel F. Leach (1840-1845), who was then followed by Rev. James P. Stalbird (1845-1848), Rev. M. M. Everet (1848-1852) and Rev. J. R. Ross (1852-1854). In October 1840 William Hawks and Tobias Fox were chosen Deacons of the church and were ordained into that office the following year. Services continued at the church for circa 80 years until around 1920.

 

Photograph of the Ten Mile River Baptist Church, located at Tusten, New York in the southern Catskills.Ten Mile River Baptist Church, 1856The Ten Mile River Baptist Church, also known as the Tusten Baptist Church, was organized in 1840 by Reverend Henry Curtis, first meeting in the homes of its congregants. The current church building was constructed in 1856. “The layout and construction of this building was typical of smaller Protestant meetinghouses of the period and illustrated simple, but finely crafted furnishing and joinery. The rectangular lines of the building, and use of period moldings and trim profiles imbue the vernacular church with some of the characteristics of the Greek Revival style, popular in the Delaware Valley between 1840 and 1860.” The church was added to the National Register of Historic Places in 1997.

 

The Church Building and Cemetery

 

Sixteen years after the congregation’s founding, the church building was constructed in 1856 at a cost of $1,500. Although there is little evidence, several newspaper articles from around the time the church was being restored in 1969 have noted that “according to tradition, this church replaced a still older one.” (“Resort Tusten Church – Service Sunday.” The Evening News. August 21, 1969.) The church had seating available for 200 people. The “layout and construction of this building was typical of smaller Protestant meetinghouses of the period and illustrated simple, but finely crafted furnishings and joinery. The rectangular lines of the building, and use of period moldings and trim profiles imbue the vernacular church with some of the characteristics of the Greek Revival style, popular in the Delaware Valley between 1840 and 1860.” (National Register of Historic Places.)

 

The Ten Mile River Baptist Church has also been known as the Tusten Baptist Church. However, not all local residents appreciated the alternative name. In 1894, a local newspaper noted that “some are mistaken by calling this church the Tusten church. It always has been the Ten Mile River Baptist church and it is hoped it always will be.” (Tri-States Union. October 11, 1894.)

 

The cemetery adjacent to the church was opened in 1840 or earlier. The cemetery, enclosed by stone walls on the east and south sides, contains approximately 100 burials. William H. Hankins (1846-1922), builder of the nearby Tusten Stone Arch Bridge, is buried here. William Hawks (1813-1906), reported to be “the last constituent member of the Ten Mile River Baptist Church,” passed away “on the old homestead” in September 1906 and is buried at the church “beside those of his family, who have passed on before.” Hawks had been chosen to be a Deacon at the church in the year of its founding in 1840.

 

The church was largely unused for over 50 years from 1920 to 1969, but continued to receive basic maintenance. In 1969, the Tusten Settlement Association was established in order to restore and maintain the church and the adjacent cemetery, and over 50 years later they continue with that notable historic mission. After the church’s restoration was completed in August 1969, a community service was held for the first time in nearly five decades. The services were attended by nearly 150 people, with the sermon being given by Reverend Robert L. Kohler, Jr., the senior chaplain at the nearby Ten Mile River Boy Scout Camp.

 

Today, the church continues to serve the Tusten area, and is made available for special services, including Memorial Day and Veterans Day observances. In 1995 the church belfry and spire were reconstructed through the analysis of historic photographs. The church building was added to the National Register of Historic Places in 1997 “for its historical significance in representing the lost nineteenth century river community of Tusten.”

 

Photograph of the Ten Mile River Baptist Church, located at Tusten, New York in the southern Catskills.Ten Mile River Baptist Church, Tusten, New YorkThe Ten Mile River Baptist Church, also known as the Tusten Baptist Church, was organized in 1840 by Reverend Henry Curtis, first meeting in the homes of its congregants. The current church building was constructed in 1856. “The layout and construction of this building was typical of smaller Protestant meetinghouses of the period and illustrated simple, but finely crafted furnishing and joinery. The rectangular lines of the building, and use of period moldings and trim profiles imbue the vernacular church with some of the characteristics of the Greek Revival style, popular in the Delaware Valley between 1840 and 1860.” The church was added to the National Register of Historic Places in 1997.

Photograph of the Ten Mile River Baptist Church, located at Tusten, New York in the southern Catskills.Ten Mile River Baptist Church, Tusten, NYThe Ten Mile River Baptist Church, also known as the Tusten Baptist Church, was organized in 1840 by Reverend Henry Curtis, first meeting in the homes of its congregants. The current church building was constructed in 1856. “The layout and construction of this building was typical of smaller Protestant meetinghouses of the period and illustrated simple, but finely crafted furnishing and joinery. The rectangular lines of the building, and use of period moldings and trim profiles imbue the vernacular church with some of the characteristics of the Greek Revival style, popular in the Delaware Valley between 1840 and 1860.” The church was added to the National Register of Historic Places in 1997.

Photograph of the Ten Mile River Baptist Church, located at Tusten, New York in the southern Catskills.Point to GodThe Ten Mile River Baptist Church, also known as the Tusten Baptist Church, was organized in 1840 by Reverend Henry Curtis, first meeting in the homes of its congregants. The current church building was constructed in 1856. “The layout and construction of this building was typical of smaller Protestant meetinghouses of the period and illustrated simple, but finely crafted furnishing and joinery. The rectangular lines of the building, and use of period moldings and trim profiles imbue the vernacular church with some of the characteristics of the Greek Revival style, popular in the Delaware Valley between 1840 and 1860.” The church was added to the National Register of Historic Places in 1997.

Photograph of the Ten Mile River Baptist Church, located at Tusten, New York in the southern Catskills.FatherThe Ten Mile River Baptist Church, also known as the Tusten Baptist Church, was organized in 1840 by Reverend Henry Curtis, first meeting in the homes of its congregants. The current church building was constructed in 1856. “The layout and construction of this building was typical of smaller Protestant meetinghouses of the period and illustrated simple, but finely crafted furnishing and joinery. The rectangular lines of the building, and use of period moldings and trim profiles imbue the vernacular church with some of the characteristics of the Greek Revival style, popular in the Delaware Valley between 1840 and 1860.” The church was added to the National Register of Historic Places in 1997.

 

Reverend Daniel Fowler Leach

 

Reverend Daniel Fowler Leach (1817-1889), the first pastor at the church, was born at Corbettsville, New York on June 27, 1817. He was a direct descendent of Lawrence Leach who arrived at Salem, Massachusetts in 1629. Daniel’s father, Major Daniel Leach (1777-1831) was a lumberman and farmer, served as a Justice of the Peace, and served as a Major in the New York State Militia. Daniel’s grandfather, Captain Hezekiah Leach (d. 1823) served during the American Revolution as a private in the Connecticut Line of the Revolutionary Army.

 

Daniel felt the call of the ministry early in life, and was baptized at the age of 15. In 1838 he was attending the Hamilton Literary and Theological Institution, and in 1840 he began preaching in Pennsylvania at Bethany, Damascus and Jackson Summit. At Pennsylvania, “revivals soon broke out under his labors, and he became, without any preconceived purpose, by force of circumstances, an itinerant evangelist along the Lackawaxen and Delaware Rivers. Long walks, often on mere footpaths, and sometimes with no path, became necessary. He was ordained at Ten Mile River, N.Y., September 10, 1840.” (Brooks, Charles Wesley. A Century of Missions in the Empire State. pp. 174-175)

 

Reverend Leach remained as pastor of the Ten Mile River Baptist Church for four years until 1845, during which time “he performed missionary labors. . . preaching six times a week; only one other Baptist minister within forty miles.” Reverend Leach divided his time between Ten Mile River and the Paupack Eddy Church (now Hawley, Pennsylvania). The Ten Mile River Baptist church grew to a membership of 43 in 1841 and t0 46 in 1842. Reverend Leach was married to Levantia Guy on May 11, 1841 at Middlefield, New York. Daniel and Levontia had six children together.

 

After his time at Ten Mile River, Reverend Leach went on to serve in a number of locations, including Port Jervis, New York for five years from 1845 to 1850; followed by time at Colesville, New York; Unadilla, New York; Newark Valley, New York; and the state of Virginia. Reverend Daniel Fowler Leach passed away at Virginia on September 10, 1889. Upon his passing it was written that “few men in the State ever gave a half-century of more self-sacrificing, disinterested service to the cause of Christ than did the dear brother whose life-work is here so briefly and imperfectly sketched. The half has not been told of his efficiency and consecration, even in outline. A multitude of souls won to Christ was waiting to welcome him on the other shore, and throngs will be welcomed by him, whom he had led to the Savior’s feet.” (Brooks, Charles Wesley. A Century of Missions in the Empire State. pp. 176-177.)

 

Reverend James Perkins Stalbird

 

Reverend James P. Stalbird (1813-1900), the second pastor at the Ten Mile River Baptist Church, was born in Canada in 1813. That same year he moved with his family to New Hampshire, where he spent most of his time until 1837, when he then came to Pennsylvania.

 

Reverend Stalbird was licensed to preach the gospel at the Blakely Baptist Church in 1843, and in 1845 he was ordained at the Ten Mile River Baptist Church. He remained at Ten Mile River for three years until 1848. During his time at Ten Mile River church membership including 40 people in 1846, and “congregations had been comparatively large and covenant meetings quite interesting. Three weekly prayer meetings had been sustained by a few as in former years. The Sabbath School, however, had been somewhat neglected. In 1847, the church was measurably revived and the cause strengthened. They report to the Association of that year, 11 received by baptism and 51 as their total membership.” (Bailey, Edward L. History of the Abington Baptist Association, From 1807 to 1857. p. 187.)

 

In 1854 Reverend Stalbird returned to the Ten Mile River Baptist Church. During his second tenancy, “little has occurred during his ministry worthy of particular notice. The church report in 1856, two received by baptism, and 53 as their total membership, but complain of their scattered condition and want of activity and earnestness in the cause of the Master. In 1857, they report 50 communicants, and say that they cannot tell of prosperity and progress in the service of Christ. They, however, still cling to the Word and promise of God, and hope for brighter and better days.” (Bailey, Edward L. History of the Abington Baptist Association, From 1807 to 1857. p. 188.)

 

After leaving Ten Mile River, Reverend Stalbird served a number of churches, including those at Ashland, Berlin, Hawley, Purdytown, Lebanon, Lackawaxen and Barryville, as well as many mission churches. He often traveled 20 miles a day, and preached three times on Sunday.

 

In the fall of 1868 Reverend Stalbird sold his house at Beaver Brook, New York and settled on a farm at Freytown, Pennsylvania. He remained there on the farm for nearly thirty years until the fall of 1897, when he moved to Moosic, Pennsylvania to live with his son.

 

Reverend James Perkins Stalbird passed away at 87 years of age on November 6, 1900 at the home of his son Howell G. Stalbird in Moosic, Pennsylvania. His passing was caused by a fall a few days prior, from which he received a broken hip and suffered internal injuries. Funeral services were conducted by Reverend H. F. Hardell, of Daleville, Pennsylvania. Reverend Stalbird is buried at Freytown Cemetery in Pennsylvania. Upon his passing it was written that “he was a kind husband and father, and much respected wherever he lived.”

 

Reverend M. M. Everet

 

Reverend M. M. Everet, the third pastor at the Ten Mile River Baptist Church, took charge of the church in 1848 and remained for four years until 1852. During this period, Reverend Everet divided his time between Ten Mile River and Paupack Eddy, Pennsylvania (now Hawley, Pennsylvania). In 1852 he resigned from the church and the Baptist association.

 

During his time at Ten Mile River, “under his faithful labors, the church enjoyed a degree of prosperity and received some accessions by baptism. Two were baptized in 1848, the same number in the following year, and one in 1850. In 1852, the church report four received by baptism and 64 as their total membership – the culminating point in their numerical prosperity – and say in their letter to the Association, which met with them that year, that they are grateful for the mercies of the past year; had tokens of a deep and solemn work of grace, but the enemy of all righteousness, by weakening the faith of the brethren, disappointed their hopes. A few, however, were hopefully converted.” (Bailey, Edward L. History of the Abington Baptist Association, From 1807 to 1857. pp. 187-188.)

 

Reverend J. R. Ross

 

Reverend J. R. Ross, the fourth pastor at the Ten Mile River Baptist Church, accepted the invitation of the church to be the pastor while teaching at an academy in Narrowsburg. Reverend Ross took charge of the church in the autumn of 1852 and remained until May of 1854, when he resigned from the church and the Baptist association. During his time at Ten Mile River “his labors were faithful, but without any marked results.” Reverend Ross was followed as pastor by the return of Reverend James P. Stalbird.

 

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[email protected] (American Catskills) 1856 architecture building Catskill Mountains Catskills church D. F. Leach Daniel Fowler Leach Delaware River Henry Curtis J. R. Ross James P. Stalbird M. M. Everet New York pastor reverend Route 97 Sullivan County Ten Mile River Ten Mile River Baptist Church Tusten Tusten Baptist Church Tusten Settlement Association village William H. Hankins William Hawks https://www.americancatskills.com/blog/2024/6/ten-mile-river-baptist-church-at-tusten-new-york Sat, 08 Jun 2024 12:00:00 GMT
Tusten Stone Arch Bridge: A Photographic Study https://www.americancatskills.com/blog/2024/6/tusten-stone-arch-bridge-a-photographic-study The Tusten Stone Arch Bridge was designed and constructed in 1896 by William H. Hankins, a local timber raftsman, stone mason and occasional postmaster. The bridge crosses the Ten Mile River just northeast of its confluence with the Delaware River. The two-arch bridge, constructed of native bluestone, is approximately 52 feet long and 15 feet wide.

 

The stone arch bridge was located at the heart of the former village of Tusten, adjacent to a mill located on the west bank of the Ten Mile River. It is believed that the Tusten Stone Arch Bridge replaced an earlier, less permanent timber structure. Tusten was sometimes referred to as Ten Mile River Village on historic maps.

 

Photograph of the Tusten Stone Arch Bridge, located at Tusten, New York in the southern Catskills.Tusten Stone Arch BridgeThe Tusten Stone Arch Bridge was constructed in 1896 by William H. Hankins, a local timber raftsman, stone mason and occasional postmaster. The bridge crosses the Ten Mile River just northeast of its confluence with the Delaware River. It is approximately 52 feet long and 15 feet wide and continues to operate as a single lane vehicle bridge for local traffic.

The bridge is named in honor of Dr. Benjamin Tusten, “an American militia volunteer and physician, who was killed as he ministered to the wounded at the Battle of Minisink on July 22, 1779 less than ten mile to the south of this settlement.”

The bridge and the surrounding land has been owned by the Boy Scouts of America since 1927 for their use an educational camp. Fortunately, through an agreement with the National Park Service, the bridge is publicly accessible along the beginning section of the 3-mile Tusten Mountain Trail, an interesting hike with outstanding Upper Delaware Valley scenery. The bridge is listed on the National Register of Historic Places.

Photograph of the Tusten Stone Arch Bridge, located at Tusten, New York in the southern Catskills.Tusten Stone Arch Bridge, NYThe Tusten Stone Arch Bridge was constructed in 1896 by William H. Hankins, a local timber raftsman, stone mason and occasional postmaster. The bridge crosses the Ten Mile River just northeast of its confluence with the Delaware River. It is approximately 52 feet long and 15 feet wide and continues to operate as a single lane vehicle bridge for local traffic.

The bridge is named in honor of Dr. Benjamin Tusten, “an American militia volunteer and physician, who was killed as he ministered to the wounded at the Battle of Minisink on July 22, 1779 less than ten mile to the south of this settlement.”

The bridge and the surrounding land has been owned by the Boy Scouts of America since 1927 for their use an educational camp. Fortunately, through an agreement with the National Park Service, the bridge is publicly accessible along the beginning section of the 3-mile Tusten Mountain Trail, an interesting hike with outstanding Upper Delaware Valley scenery. The bridge is listed on the National Register of Historic Places.

Photograph of the Tusten Stone Arch Bridge, located at Tusten, New York in the southern Catskills.Standing the Test of Time: The Tusten Ston Arch BridgeThe Tusten Stone Arch Bridge was constructed in 1896 by William H. Hankins, a local timber raftsman, stone mason and occasional postmaster. The bridge crosses the Ten Mile River just northeast of its confluence with the Delaware River. It is approximately 52 feet long and 15 feet wide and continues to operate as a single lane vehicle bridge for local traffic.

The bridge is named in honor of Dr. Benjamin Tusten, “an American militia volunteer and physician, who was killed as he ministered to the wounded at the Battle of Minisink on July 22, 1779 less than ten mile to the south of this settlement.”

The bridge and the surrounding land has been owned by the Boy Scouts of America since 1927 for their use an educational camp. Fortunately, through an agreement with the National Park Service, the bridge is publicly accessible along the beginning section of the 3-mile Tusten Mountain Trail, an interesting hike with outstanding Upper Delaware Valley scenery. The bridge is listed on the National Register of Historic Places.

 

The first settlement on the Delaware River at the mouth of the Ten Mile River originated in the 1750s, about the year 1757, under the authority of the Connecticut-based Delaware Company. A sawmill was established at the site by Elijah Reeves before 1762. In October 1763, the settlement was wiped out during an Indian raid led by Captain Bull, the son of an elderly sachem named Teedyuscung. All 22 settlers were killed in the raid known as the Ten Mile River Massacre. “Not a person escaped. The houses, barns, etc. were burned, and everything valuable was destroyed, except the bare fields.” (Quinlan, 106.) Following the American Revolution, the community was re-established at the same location.

 

As the village of Tusten grew, a post office was established there in 1838, and operated intermittently until 1913. From 1838 to 1842, the post office operated under the name Ten Mile River, and was staffed by Samuel Hankins, the father of William H. Hankins. From 1849 to 1863, the post office operated under the name Delaware Bridge, and was operated at various times by Paul A. Tyler, Sylvester Mapes and William Hawks. From 1884 to 1913, the post office operated with the name Tusten. When the Tusten post office was not in service, residents would cross the Delaware River to pick up their mail at Mast Hope, Pennsylvania.

 

In addition to the Tusten Stone Arch Bridge, the Ten Mile River Baptist Church, also known as the Tusten Baptist Church, also still stands in remembrance of the former village of Tusten. The church is prominently located on a wooded hill north of the bridge and east of the Ten Mile River, and just off Route 97. The congregation was organized in the spring of 1840 by Reverend Henry Curtis, of the Damascus society, with the first meetings taking place in the homes of its congregants. The church was officially organized through the council of recognition on August 18, 1840. Sixteen years after the church’s founding, the church building was constructed in 1856 at a cost of $1,500. The first dedicated pastor of the church was Rev. Daniel F. Leach (1840-1845), who was then followed by Rev. James P. Stalbird (1845-1848), Rev. M. M. Everet (1848-1852) and Rev. J. R. Ross (1852-1854). Services continued at the church until around 1920. The church building was added to the National Register of Historic Places in 1997 “for its historical significance in representing the lost nineteenth century river community of Tusten.”

 

During the 1870s the village of Tusten was home to a sawmill, a gristmill, a blacksmith shop, a store, a church with an adjacent parsonage, a schoolhouse, a cable ferry across the Delaware River to Mast Hope, Pennsylvania, a “flag stop” railroad station on the Erie Railroad and a number of homes. In addition to Hankins, the names of other families that lived in the area in 1875 included W. Davis, J. Crawford, W. Robinson, H. Bross, W. D. Bross, W. Hawks and J. H. Barlow.

 

Tusten’s fortunes began to fade with the decline of the area’s leading industries such as rafting, lumbering and bluestone quarrying. In 1911, in an effort to revive the town, the Minisink Company, of New York City, sought to create “a nicely laid out community” at Tusten, and then sell the lots to city people who wanted to have a summer home along the Delaware River. The 4,000-acre community, set along two miles of river frontage on the Delaware River, would be complete with new roads, water works, electric lights and over 325 building lots for new homes. The lands around Davis Lake were to be sold as a single parcel for a club or hotel. However, these well-intentioned plans never materialized, and by the 1920s the company had dissolved. Most of Tusten’s remaining buildings were abandoned and left to deteriorate. All that now remains of the once thriving village of Tusten is the stone arch bridge and the Ten Mile River Baptist Church.

 

The bridge and the surrounding land have been owned by the Boy Scouts of America since 1927 for their use an educational camp. Fortunately, through an agreement with the National Park Service, the bridge is publicly accessible along the beginning section of the 3-mile Tusten Mountain Trail, an interesting hike with outstanding Upper Delaware Valley scenery. The bridge continues to operate as a single lane vehicle bridge for local traffic. The Tusten Stone Arch Bridge is listed on the National Register of Historic Places “as a rare and intact example of traditional stone arch bridge construction within the context of Upper Delaware River transportation resources.”

 

Photograph of the Tusten Stone Arch Bridge, located at Tusten, New York in the southern Catskills.Tusten Stone Arch Bridge, Tusten, New YorkThe Tusten Stone Arch Bridge was constructed in 1896 by William H. Hankins, a local timber raftsman, stone mason and occasional postmaster. The bridge crosses the Ten Mile River just northeast of its confluence with the Delaware River. It is approximately 52 feet long and 15 feet wide and continues to operate as a single lane vehicle bridge for local traffic.

The bridge is named in honor of Dr. Benjamin Tusten, “an American militia volunteer and physician, who was killed as he ministered to the wounded at the Battle of Minisink on July 22, 1779 less than ten mile to the south of this settlement.”

The bridge and the surrounding land has been owned by the Boy Scouts of America since 1927 for their use an educational camp. Fortunately, through an agreement with the National Park Service, the bridge is publicly accessible along the beginning section of the 3-mile Tusten Mountain Trail, an interesting hike with outstanding Upper Delaware Valley scenery. The bridge is listed on the National Register of Historic Places.

Photograph of the Tusten Stone Arch Bridge, located at Tusten, New York in the southern Catskills.Tusten Stone Arch Bridge, Tusten, NYThe Tusten Stone Arch Bridge was constructed in 1896 by William H. Hankins, a local timber raftsman, stone mason and occasional postmaster. The bridge crosses the Ten Mile River just northeast of its confluence with the Delaware River. It is approximately 52 feet long and 15 feet wide and continues to operate as a single lane vehicle bridge for local traffic.

The bridge is named in honor of Dr. Benjamin Tusten, “an American militia volunteer and physician, who was killed as he ministered to the wounded at the Battle of Minisink on July 22, 1779 less than ten mile to the south of this settlement.”

The bridge and the surrounding land has been owned by the Boy Scouts of America since 1927 for their use an educational camp. Fortunately, through an agreement with the National Park Service, the bridge is publicly accessible along the beginning section of the 3-mile Tusten Mountain Trail, an interesting hike with outstanding Upper Delaware Valley scenery. The bridge is listed on the National Register of Historic Places.

Photograph of the Tusten Stone Arch Bridge, located at Tusten, New York in the southern Catskills.Ten Mile River at the Tusten Stone Arch BridgeThe Tusten Stone Arch Bridge was constructed in 1896 by William H. Hankins, a local timber raftsman, stone mason and occasional postmaster. The bridge crosses the Ten Mile River just northeast of its confluence with the Delaware River. It is approximately 52 feet long and 15 feet wide and continues to operate as a single lane vehicle bridge for local traffic.

The bridge is named in honor of Dr. Benjamin Tusten, “an American militia volunteer and physician, who was killed as he ministered to the wounded at the Battle of Minisink on July 22, 1779 less than ten mile to the south of this settlement.”

The bridge and the surrounding land has been owned by the Boy Scouts of America since 1927 for their use an educational camp. Fortunately, through an agreement with the National Park Service, the bridge is publicly accessible along the beginning section of the 3-mile Tusten Mountain Trail, an interesting hike with outstanding Upper Delaware Valley scenery. The bridge is listed on the National Register of Historic Places.

 

William H. Hankins, the bridge builder, was born at Tusten, New York on March 12, 1846, the son of Samuel Hankins (1798-1877) and Catherine (Reeves) Hankins (1803-1882). Samuel Hankins was a farmer and a merchant, and served as postmaster from 1838 to 1842. The Hankins family were prominent members of the Tusten community, being associated with virtually every public office and business. William Hankins was “one of the last of the old Delaware River raftsmen who ran through the tidewater.” In 1883 it was reported that “many more rafts are offered to him every year than he can take under his charge.” In 1902, perhaps for old times’ sake, and for the first time in 15 years, Hankins started down the Delaware River from Narrowsburg, but noted that “he did not find many changes in the river.” In 1905, Hankins purchased a scow in order to accommodate those who wished to cross the Delaware River.

 

The William H. Hankins & Company worked three or four quarries in the region, employing approximately 30 men as quarrymen, stone cutters, teamsters and laborers. For a time, he was associated with Charles W. Martin and C. R. Underwood in the stone business. In the early 1900s, as the tourism business began to grow in the region, Hankins operated a boarding house.

 

Upon his passing, it was written that William H. Hankins “was devoted to his home and family and was held in high esteem in the community where he had always resided.” Hankins passed away at 76 years of age after a long illness on October 24, 1922 at Tusten. Funeral services, officiated by Reverend R. D. Minch, were held at Ten Mile River Baptist Church. Hankins is buried at Tusten Cemetery in Narrowsburg, New York.

 

The bridge, and the town of Tusten, New York, is named in honor of Dr. Benjamin Tusten (1743-1779), an American militia volunteer and physician who was killed as he ministered to the wounded at the Battle of Minisink on July 22, 1779.

 

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[email protected] (American Catskills) arch Benjamin Tusten Boy Scouts of America bridge Catskill Mountains Catskills Delaware River Delaware Valley hamlet National Park Service National Register of Historic Places New York river road settlement stone stone arch Sullivan County Ten Mile River Ten Mile River Baptist Church Tusten Tusten Baptist Church Tusten Mountain Trail Tusten Stone Arch Bridge village William H. Hankins https://www.americancatskills.com/blog/2024/6/tusten-stone-arch-bridge-a-photographic-study Sat, 01 Jun 2024 12:00:00 GMT
Roebling’s Delaware Aqueduct: A Photographic Study https://www.americancatskills.com/blog/2024/5/roebling-s-delaware-aqueduct-a-photographic-study Roebling’s Delaware Aqueduct, located at Minisink Ford, New York, is the oldest existing wire suspension bridge in the United States. The 535-foot aqueduct bridge, spanning the Delaware River, opened in 1849 as a vital transportation link between the coal mines of Pennsylvania and the thriving marketplace in New York. It was one of four suspension aqueducts on the former Delaware & Hudson Canal. John A. Roebling (1806-1869), future engineer of the Brooklyn Bridge, designed each of the four bridges.

 

The Delaware Aqueduct operated for nearly 50 years, closing in 1898 with the end of the canal. The aqueduct was then drained and the bridge converted to accommodate vehicle traffic, often operating as a private toll road. The bridge continued to operate until 1979 when, after substantial deterioration through years of neglect, it was threatened with closure. Fortunately, however, in 1980 the National Park Service purchased the bridge and began its restoration using Roebling’s original plans and specifications.

 

Roebling’s Delaware Aqueduct was designated as a National Historic Landmark in 1968. Today, the bridge accommodates single lane vehicle traffic where barges once flowed, and accommodates foot traffic on each side of the road where the path was once trod by canal workers and their mules. Roebling’s Delaware Aqueduct is a wonderful example of the historic and modern blended together in the Upper Delaware River area.

 

Photograph of Roebling’s Delaware Aqueduct, located at Minisink Ford in Sullivan County, New York.Roebling’s Delaware AqueductRoebling’s Delaware Aqueduct, located at Minisink Ford, New York, is the oldest existing wire suspension bridge in the United States. The 535-foot aqueduct bridge, spanning the Delaware River, opened in 1847 as a vital transportation link between the coal mines of Pennsylvania and the thriving marketplace in New York. It was one of four suspension aqueducts on the former Delaware & Hudson Canal. John A. Roebling (1806-1869), future engineer of the Brooklyn Bridge, designed each of the four bridges.

The aqueduct operated for over 50 years, closing in 1898 with the end of the canal. The aqueduct was then drained and the bridge converted to accommodate vehicle traffic, often operating as a private toll road. The bridge continued to operate until 1979 when, after substantial deterioration through years of neglect, it was threatened with closure. Fortunately, however, in 1980 the National Park Service purchased the bridge and began its restoration using Roebling’s original plans and specifications.

Roebling’s Delaware Aqueduct was designated as a National Historic Landmark in 1968. Today, the bridge accommodates single lane vehicle traffic where barges once flowed, and accommodates foot traffic on each side of the road where the path was once trod by canal workers and their mules. Roebling’s Delaware Aqueduct is a wonderful example of the historic and modern blended together in the Upper Delaware River area.

 

Photograph of Roebling’s Delaware Aqueduct, located at Minisink Ford in Sullivan County, New York.Overlooking Roebling's Delaware AqueductRoebling’s Delaware Aqueduct, located at Minisink Ford, New York, is the oldest existing wire suspension bridge in the United States. The 535-foot aqueduct bridge, spanning the Delaware River, opened in 1847 as a vital transportation link between the coal mines of Pennsylvania and the thriving marketplace in New York. It was one of four suspension aqueducts on the former Delaware & Hudson Canal. John A. Roebling (1806-1869), future engineer of the Brooklyn Bridge, designed each of the four bridges.

The aqueduct operated for over 50 years, closing in 1898 with the end of the canal. The aqueduct was then drained and the bridge converted to accommodate vehicle traffic, often operating as a private toll road. The bridge continued to operate until 1979 when, after substantial deterioration through years of neglect, it was threatened with closure. Fortunately, however, in 1980 the National Park Service purchased the bridge and began its restoration using Roebling’s original plans and specifications.

Roebling’s Delaware Aqueduct was designated as a National Historic Landmark in 1968. Today, the bridge accommodates single lane vehicle traffic where barges once flowed, and accommodates foot traffic on each side of the road where the path was once trod by canal workers and their mules. Roebling’s Delaware Aqueduct is a wonderful example of the historic and modern blended together in the Upper Delaware River area.

Photograph of Roebling’s Delaware Aqueduct, located at Minisink Ford in Sullivan County, New York.Across the RiverRoebling’s Delaware Aqueduct, located at Minisink Ford, New York, is the oldest existing wire suspension bridge in the United States. The 535-foot aqueduct bridge, spanning the Delaware River, opened in 1847 as a vital transportation link between the coal mines of Pennsylvania and the thriving marketplace in New York. It was one of four suspension aqueducts on the former Delaware & Hudson Canal. John A. Roebling (1806-1869), future engineer of the Brooklyn Bridge, designed each of the four bridges.

The aqueduct operated for over 50 years, closing in 1898 with the end of the canal. The aqueduct was then drained and the bridge converted to accommodate vehicle traffic, often operating as a private toll road. The bridge continued to operate until 1979 when, after substantial deterioration through years of neglect, it was threatened with closure. Fortunately, however, in 1980 the National Park Service purchased the bridge and began its restoration using Roebling’s original plans and specifications.

Roebling’s Delaware Aqueduct was designated as a National Historic Landmark in 1968. Today, the bridge accommodates single lane vehicle traffic where barges once flowed, and accommodates foot traffic on each side of the road where the path was once trod by canal workers and their mules. Roebling’s Delaware Aqueduct is a wonderful example of the historic and modern blended together in the Upper Delaware River area.

 

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The Wayne County Herald issue of May 9, 1849 announced the opening of the aqueduct in an article titled “Del. & Hud. Canal Company.”

 

“The water was let into the Delaware and Hudson Canal on the 25th ult., and the navigation resumed for the season. The wire Suspension Aqueducts over the Delaware and Lackawaxen rivers, which were commenced in 1846, are now completed and opened for the passage of boats. These works have been erected for the purpose of avoiding the delay formerly experienced in crossing the Delaware river, and will materially improved the navigation. They are constructed on the plan of the Pittsburg Suspension Aqueduct; a structure designed and executed by Mr. John A. Roebling, civil Engineer of the city of Pittsburg, and which has proved eminently successful, and was the first of the kind in the world. After an examination of this work by Mr. R. F. Lord, Chief Engineer of the Del. & Hud. Canal Co., a contract was entered into with Mr. Roebling for the erection of the superstructure of the Delaware and Lackawaxen Aqueducts. The following description will convey a tolerably accurate idea of the extent and magnificence of this work.

 

The trunks are composed of timber and plank well joined and caulked, and suspended to two wire cables, one on each side. The Cables rest in heavy cast iron saddles, which are placed on top of small towers of 4 by 6 feet base, rising 4 feet above the towpath. There is a towpath on each side of the trunk, which is wide enough for two boats of the present capacity to pass. The towers are each composed of 3 blocks of a white quartz pudding-stone, of great hardness and durability, obtained from the quarries in Ulster Co., N.Y. The masonry of the piers and abutments, which support the little towers has been executed in the most substantial manner of a durable and compact gray-wacke, which constitutes the principal foundation of the valley of the upper Delaware. The beds of the face-stone are all cut, the backing is large and well bonded, and the whole laid in hydraulic cement. Nothing has been spared to ensure the safety of the foundations, and by the construction of good ice-breakers to guard the piers against the heavy ice floods, which in this river prove sometimes very violent and destructive.

 

The Cables are made in one length across the river from abutment to abutment, and connected at their ends with anchor chains, manufactured of solid wrought iron, in bars of from 5 ft. to 10 feet long, and 5 to 6 inches wide by 1 1/4 inch thick. The lower end of each chain is secured to a heavy cast iron anchor-plate of 6 feet square, which supports the foundation of a large body of masonry, whose weight resists the strain of the chain and cable. As the cables are protected against oxidation by a copious varnish and paint and closely encased by a tight wire wrapping, which gives them the appearance of solid cylinders, they may be considered indestructible.

 

The wood-work is subject to decay, however it will last longer in these works than in common timber structures, and can be renewed at any time.

 

The following table exhibits the principal dimensions and quantities of the Delaware Aqueduct:

 

  • Hydraulic cement masonry in abutments, piers and anchorage, 7,688 cubic yards.

 

  • Length of Aqueduct with extensions, 600 feet.

 

  • Number of Spans, 4.

 

  • Length of Span varies from 131 to 142 feet.

 

  • Width of Trunk at water line, 19 ft.

 

  • Depth of water, 6 ft. 6 inches.

 

  • Weight of water between abutments, 1,950 tons.

 

  • Weight of water in one span, 487 1/2 tons.

 

  • Diameter of wire cables, 8 1/2 inches.

 

  • Length of wire weighing 1 lb., 17 1/2 feet.

 

  • Number of wires in each cable, 2,150.

 

  • Total weight of Cables and anchor chains, 190,000 lbs.

 

  • Ultimate strength of each cable, 1,900 tons.

 

The new Aqueducts over the Neversink at Cuddebackville and the Rondout at High Falls, will be constructed on the same plan in the course of this season. There will then be on the line of the Del. And Hudson Canal, four Wire Suspension Aqueducts, most perfect and complete, as far as durability and economy is concerned.

 

The general enlargement of the Canal has been prosecuted vigorously during the last winter. Fifty-seven of the enlarged Locks, being 100 feet long between quoins, and 15 feet width of chamber, are brought into use this spring, and the whole are to be completed by the opening of the Canal in the spring of 1850, making the canal then competent for the passage of Boats loaded with 130 to 140 tons of Coal.”

 

Photograph of Roebling’s Delaware Aqueduct, located at Minisink Ford in Sullivan County, New York.The Bridge at Minisink FordRoebling’s Delaware Aqueduct, located at Minisink Ford, New York, is the oldest existing wire suspension bridge in the United States. The 535-foot aqueduct bridge, spanning the Delaware River, opened in 1847 as a vital transportation link between the coal mines of Pennsylvania and the thriving marketplace in New York. It was one of four suspension aqueducts on the former Delaware & Hudson Canal. John A. Roebling (1806-1869), future engineer of the Brooklyn Bridge, designed each of the four bridges.

The aqueduct operated for over 50 years, closing in 1898 with the end of the canal. The aqueduct was then drained and the bridge converted to accommodate vehicle traffic, often operating as a private toll road. The bridge continued to operate until 1979 when, after substantial deterioration through years of neglect, it was threatened with closure. Fortunately, however, in 1980 the National Park Service purchased the bridge and began its restoration using Roebling’s original plans and specifications.

Roebling’s Delaware Aqueduct was designated as a National Historic Landmark in 1968. Today, the bridge accommodates single lane vehicle traffic where barges once flowed, and accommodates foot traffic on each side of the road where the path was once trod by canal workers and their mules. Roebling’s Delaware Aqueduct is a wonderful example of the historic and modern blended together in the Upper Delaware River area.

Photograph of Roebling’s Delaware Aqueduct, located at Minisink Ford in Sullivan County, New York.Roebling BridgeRoebling’s Delaware Aqueduct, located at Minisink Ford, New York, is the oldest existing wire suspension bridge in the United States. The 535-foot aqueduct bridge, spanning the Delaware River, opened in 1847 as a vital transportation link between the coal mines of Pennsylvania and the thriving marketplace in New York. It was one of four suspension aqueducts on the former Delaware & Hudson Canal. John A. Roebling (1806-1869), future engineer of the Brooklyn Bridge, designed each of the four bridges.

The aqueduct operated for over 50 years, closing in 1898 with the end of the canal. The aqueduct was then drained and the bridge converted to accommodate vehicle traffic, often operating as a private toll road. The bridge continued to operate until 1979 when, after substantial deterioration through years of neglect, it was threatened with closure. Fortunately, however, in 1980 the National Park Service purchased the bridge and began its restoration using Roebling’s original plans and specifications.

Roebling’s Delaware Aqueduct was designated as a National Historic Landmark in 1968. Today, the bridge accommodates single lane vehicle traffic where barges once flowed, and accommodates foot traffic on each side of the road where the path was once trod by canal workers and their mules. Roebling’s Delaware Aqueduct is a wonderful example of the historic and modern blended together in the Upper Delaware River area.

Photograph of Roebling’s Delaware Aqueduct, located at Minisink Ford in Sullivan County, New York.John A. Roebling's Bridge at Minisink FordRoebling’s Delaware Aqueduct, located at Minisink Ford, New York, is the oldest existing wire suspension bridge in the United States. The 535-foot aqueduct bridge, spanning the Delaware River, opened in 1847 as a vital transportation link between the coal mines of Pennsylvania and the thriving marketplace in New York. It was one of four suspension aqueducts on the former Delaware & Hudson Canal. John A. Roebling (1806-1869), future engineer of the Brooklyn Bridge, designed each of the four bridges.

The aqueduct operated for over 50 years, closing in 1898 with the end of the canal. The aqueduct was then drained and the bridge converted to accommodate vehicle traffic, often operating as a private toll road. The bridge continued to operate until 1979 when, after substantial deterioration through years of neglect, it was threatened with closure. Fortunately, however, in 1980 the National Park Service purchased the bridge and began its restoration using Roebling’s original plans and specifications.

Roebling’s Delaware Aqueduct was designated as a National Historic Landmark in 1968. Today, the bridge accommodates single lane vehicle traffic where barges once flowed, and accommodates foot traffic on each side of the road where the path was once trod by canal workers and their mules. Roebling’s Delaware Aqueduct is a wonderful example of the historic and modern blended together in the Upper Delaware River area.

Photograph of Roebling’s Delaware Aqueduct, located at Minisink Ford in Sullivan County, New York.Roebling's Engineering MarvelRoebling’s Delaware Aqueduct, located at Minisink Ford, New York, is the oldest existing wire suspension bridge in the United States. The 535-foot aqueduct bridge, spanning the Delaware River, opened in 1847 as a vital transportation link between the coal mines of Pennsylvania and the thriving marketplace in New York. It was one of four suspension aqueducts on the former Delaware & Hudson Canal. John A. Roebling (1806-1869), future engineer of the Brooklyn Bridge, designed each of the four bridges.

The aqueduct operated for over 50 years, closing in 1898 with the end of the canal. The aqueduct was then drained and the bridge converted to accommodate vehicle traffic, often operating as a private toll road. The bridge continued to operate until 1979 when, after substantial deterioration through years of neglect, it was threatened with closure. Fortunately, however, in 1980 the National Park Service purchased the bridge and began its restoration using Roebling’s original plans and specifications.

Roebling’s Delaware Aqueduct was designated as a National Historic Landmark in 1968. Today, the bridge accommodates single lane vehicle traffic where barges once flowed, and accommodates foot traffic on each side of the road where the path was once trod by canal workers and their mules. Roebling’s Delaware Aqueduct is a wonderful example of the historic and modern blended together in the Upper Delaware River area.

 

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[email protected] (American Catskills) aqueduct architecture bridge cable canal Catskill Mountains Catskills Delaware & Hudson Canal Delaware River John A. Roebling Lackawaxen Minisink Ford National Historic Landmark National Park Service New York NPS road Roebling's Delaware Aqueduct Sullivan County suspension https://www.americancatskills.com/blog/2024/5/roebling-s-delaware-aqueduct-a-photographic-study Sat, 25 May 2024 12:00:00 GMT
Kadampa World Peace Temple, Glen Spey, New York: A Photographic Study https://www.americancatskills.com/blog/2024/5/kadampa-world-peace-temple-glen-spey-new-york-a-photographic-study The Kadampa World Peace Temple is located in the hamlet of Glen Spey in the Sullivan County region of the southern Catskills. It is one of six Kadampa World Peace temples in the world. The temple, which opened in 2006, is set on 82 landscaped and woodland acres, which includes gardens, nature trails, a lake and streams.

 

The Temple was designed by Venerable Geshe Kelsang Gyatso as part of the International Temples Project. According to the website for the Temple, its “unique design is based on the celestial palace of Heruka, the Buddha of Compassion. The design also represents all the stages of the spiritual path.” The Temple is also home to a bookstore, a gift shop and the World Peace Cafe.

 

The Kadampa World Peace Temple is located at 47 Sweeney Rd, Glen Spey, New York. Visit their website at www.kadampanewyork.org for more information.

 

Photograph of the Kadampa World Peace Temple, located at Glen Spey in the Sullivan County region of the southern Catskills.Kadampa World Peace Temple, Glen Spey, New York (1)The Kadampa World Peace Temple is located in the hamlet of Glen Spey in the Sullivan County region of the southern Catskills. It is one of six Kadampa World Peace temples in the world. The temple, which opened in 2006, is set on 82 landscaped and woodland acres, which includes gardens, nature trails, a lake and streams.

The Temple was designed by Venerable Geshe Kelsang Gyatso as part of the International Temples Project. According to the website for the Temple, its “unique design is based on the celestial palace of Heruka, the Buddha of Compassion. The design also represents all the stages of the spiritual path.” The Temple is also home to a bookstore, a gift shop and the World Peace Cafe.

The Kadampa World Peace Temple is located at 47 Sweeney Rd, Glen Spey, New York. Visit their website at www.kadampanewyork.org for more information.

Photograph of the Kadampa World Peace Temple, located at Glen Spey in the Sullivan County region of the southern Catskills.Kadampa World Peace Temple, Glen Spey, New York (6)The Kadampa World Peace Temple is located in the hamlet of Glen Spey in the Sullivan County region of the southern Catskills. It is one of six Kadampa World Peace temples in the world. The temple, which opened in 2006, is set on 82 landscaped and woodland acres, which includes gardens, nature trails, a lake and streams.

The Temple was designed by Venerable Geshe Kelsang Gyatso as part of the International Temples Project. According to the website for the Temple, its “unique design is based on the celestial palace of Heruka, the Buddha of Compassion. The design also represents all the stages of the spiritual path.” The Temple is also home to a bookstore, a gift shop and the World Peace Cafe.

The Kadampa World Peace Temple is located at 47 Sweeney Rd, Glen Spey, New York. Visit their website at www.kadampanewyork.org for more information.

Photograph of the Kadampa World Peace Temple, located at Glen Spey in the Sullivan County region of the southern Catskills.Kadampa World Peace Temple, Glen Spey, New York (7)The Kadampa World Peace Temple is located in the hamlet of Glen Spey in the Sullivan County region of the southern Catskills. It is one of six Kadampa World Peace temples in the world. The temple, which opened in 2006, is set on 82 landscaped and woodland acres, which includes gardens, nature trails, a lake and streams.

The Temple was designed by Venerable Geshe Kelsang Gyatso as part of the International Temples Project. According to the website for the Temple, its “unique design is based on the celestial palace of Heruka, the Buddha of Compassion. The design also represents all the stages of the spiritual path.” The Temple is also home to a bookstore, a gift shop and the World Peace Cafe.

The Kadampa World Peace Temple is located at 47 Sweeney Rd, Glen Spey, New York. Visit their website at www.kadampanewyork.org for more information.

Photograph of the Kadampa World Peace Temple, located at Glen Spey in the Sullivan County region of the southern Catskills.Kadampa World Peace Temple, Glen Spey, New York (9)The Kadampa World Peace Temple is located in the hamlet of Glen Spey in the Sullivan County region of the southern Catskills. It is one of six Kadampa World Peace temples in the world. The temple, which opened in 2006, is set on 82 landscaped and woodland acres, which includes gardens, nature trails, a lake and streams.

The Temple was designed by Venerable Geshe Kelsang Gyatso as part of the International Temples Project. According to the website for the Temple, its “unique design is based on the celestial palace of Heruka, the Buddha of Compassion. The design also represents all the stages of the spiritual path.” The Temple is also home to a bookstore, a gift shop and the World Peace Cafe.

The Kadampa World Peace Temple is located at 47 Sweeney Rd, Glen Spey, New York. Visit their website at www.kadampanewyork.org for more information.

Photograph of the Kadampa World Peace Temple, located at Glen Spey in the Sullivan County region of the southern Catskills.Kadampa World Peace Temple, Glen Spey, New York (11)The Kadampa World Peace Temple is located in the hamlet of Glen Spey in the Sullivan County region of the southern Catskills. It is one of six Kadampa World Peace temples in the world. The temple, which opened in 2006, is set on 82 landscaped and woodland acres, which includes gardens, nature trails, a lake and streams.

The Temple was designed by Venerable Geshe Kelsang Gyatso as part of the International Temples Project. According to the website for the Temple, its “unique design is based on the celestial palace of Heruka, the Buddha of Compassion. The design also represents all the stages of the spiritual path.” The Temple is also home to a bookstore, a gift shop and the World Peace Cafe.

The Kadampa World Peace Temple is located at 47 Sweeney Rd, Glen Spey, New York. Visit their website at www.kadampanewyork.org for more information.

Photograph of the Kadampa World Peace Temple, located at Glen Spey in the Sullivan County region of the southern Catskills.Kadampa World Peace Temple, Glen Spey, New York (13)The Kadampa World Peace Temple is located in the hamlet of Glen Spey in the Sullivan County region of the southern Catskills. It is one of six Kadampa World Peace temples in the world. The temple, which opened in 2006, is set on 82 landscaped and woodland acres, which includes gardens, nature trails, a lake and streams.

The Temple was designed by Venerable Geshe Kelsang Gyatso as part of the International Temples Project. According to the website for the Temple, its “unique design is based on the celestial palace of Heruka, the Buddha of Compassion. The design also represents all the stages of the spiritual path.” The Temple is also home to a bookstore, a gift shop and the World Peace Cafe.

The Kadampa World Peace Temple is located at 47 Sweeney Rd, Glen Spey, New York. Visit their website at www.kadampanewyork.org for more information.

 

 

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[email protected] (American Catskills) Buddha Buddhism café Catskill Mountains Catskills Geshe Kelsang Gyatso Glen Spey Kadampa Meditation Center Kadampa World Peace Temple meditation New York photographer photographs photography pictures retreat Sullivan County temple https://www.americancatskills.com/blog/2024/5/kadampa-world-peace-temple-glen-spey-new-york-a-photographic-study Sat, 18 May 2024 12:00:00 GMT
Saints Peter and Paul Ukrainian Orthodox Church, Glen Spey, New York https://www.americancatskills.com/blog/2024/5/saints-peter-and-paul-ukrainian-orthodox-church-glen-spey-new-york The beautiful Saints Peter and Paul Ukrainian Orthodox Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was built in order to meet the religious needs of the growing population of Ukrainians living in the area. The church is part of the Ukrainian Orthodox Church of the United States of America.

 

Photograph of Saints Peter and Paul Ukrainian Orthodox Church in Glen Spey, New York.Saints Peter and Paul Ukrainian Orthodox Church (1)The beautiful Saints Peter and Paul Ukrainian Orthodox Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was built in order to meet the religious needs of the growing population of Ukrainians living in the area. The church is part of the Ukrainian Orthodox Church of the United States of America.

Photograph of Saints Peter and Paul Ukrainian Orthodox Church in Glen Spey, New York.Saints Peter and Paul Ukrainian Orthodox Church (2)The beautiful Saints Peter and Paul Ukrainian Orthodox Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was built in order to meet the religious needs of the growing population of Ukrainians living in the area. The church is part of the Ukrainian Orthodox Church of the United States of America.

Photograph of Saints Peter and Paul Ukrainian Orthodox Church in Glen Spey, New York.Saints Peter and Paul Ukrainian Orthodox Church (3)The beautiful Saints Peter and Paul Ukrainian Orthodox Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was built in order to meet the religious needs of the growing population of Ukrainians living in the area. The church is part of the Ukrainian Orthodox Church of the United States of America.

 

The ground for the church was consecrated on July 11, 1971. The dedication service was performed by Very Reverend Vitaly Kowalenko, Very Reverend Philimon Kulchinsky and the Very Reverend Serhij Nepril. Construction on the church was completed in 1972. The property for the church was donated by the Ukrainian Fraternal Association, which at the time owned and operated the nearby Verkhovyna resort.

 

The church was built in the Kozak-Baroque architectural style, which emerged in the 17th and 18th centuries in Ukraine as the country struggled for national independence. This style of architecture was a combination of European baroque styles and local architectural styles, and was noted for its moderate ornamentation, a local style that was simpler in form from its western European counterparts and a style softened by traditional naturalistic images. It was also noted for gilded or azure domes.

 

The church was designed by Ivan Zhukovsky (1901-1980), who was born on March 4, 1901 in Kitsman, Bukovyna. He studied in Prague in 1926 and graduated from Moscow Polytechnic, while at the same time studying conducting and composition at the Moscow Conservatory. He operated his own architectural firm at Chernivtsi, Ukraine from 1930 to 1941 and was the head of the Society of Ukrainian Engineers from 1931 to 1941. He emigrated to Germany and then to the United States in 1949, where he was active in Ukrainian community life. He was a professor and dean of the architectural department at the Ukrainian Technical Institute in New York from 1957 to 1961. He served as president of the Ukrainian Engineers’ Society of America from 1954 to 1980 and served as chairman at the Center for the Association of Bukovinian Ukrainians in the United States from 1954 to 1973. Zhukovsky published a number of books, including several versions of Ukrainian-German dictionaries. He also designed the Saint John the Baptist Ukrainian Catholic Church in Hunter, New York.

 

The hamlet of Glen Spey, where the church is located, takes its name from the Scottish word “glen” for valley, and “spey” for the clear water springs found throughout the area. In the 1940s the area became a popular destination for second home owners of Ukrainian descent, eventually becoming known as “Little Ukraine.” The area is said to have reminded the homeowners of their native homeland, and allowed them to celebrate their faith and heritage without the fear of persecution. The popular Ukrainian Youth Festival for many years attracted thousands of visitors to the small Glen Spey hamlet in Sullivan County. The equally beautiful St. Volodymyr Ukrainian Catholic Church, founded in 1967, can also be found at Glen Spey.

 

Saints Peter and Paul Ukrainian Orthodox Church is located at 329 High Road (County Route 41) in Glen Spey, New York.

 

Photograph of Saints Peter and Paul Ukrainian Orthodox Church in Glen Spey, New York.Saints Peter and Paul Ukrainian Orthodox Church, B&WThe beautiful Saints Peter and Paul Ukrainian Orthodox Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was built in order to meet the religious needs of the growing population of Ukrainians living in the area. The church is part of the Ukrainian Orthodox Church of the United States of America.

Photograph of Saints Peter and Paul Ukrainian Orthodox Church in Glen Spey, New York.988-1988, 1000 Years of Christianity in UkraineThe beautiful Saints Peter and Paul Ukrainian Orthodox Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was built in order to meet the religious needs of the growing population of Ukrainians living in the area. The church is part of the Ukrainian Orthodox Church of the United States of America.

Photograph of Saints Peter and Paul Ukrainian Orthodox Church in Glen Spey, New York.988-1988, 1,000 Years of Christianity in UkraineThe beautiful Saints Peter and Paul Ukrainian Orthodox Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was built in order to meet the religious needs of the growing population of Ukrainians living in the area. The church is part of the Ukrainian Orthodox Church of the United States of America.

Photograph of Saints Peter and Paul Ukrainian Orthodox Church in Glen Spey, New York.Saints Peter and Paul Ukrainian Orthodox Church, Erected 1972The beautiful Saints Peter and Paul Ukrainian Orthodox Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was built in order to meet the religious needs of the growing population of Ukrainians living in the area. The church is part of the Ukrainian Orthodox Church of the United States of America.

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[email protected] (American Catskills) architecture building Catskill Mountains Catskills Christian church Glen Spey Ivan Zhukovsky Kozak-Baroque New York photographer photographs photography pictures Saints Peter and Paul Ukrainian Orthodox Church St. Volodymyr Ukrainian Catholic Church Sullivan County Ukraine Ukrainian https://www.americancatskills.com/blog/2024/5/saints-peter-and-paul-ukrainian-orthodox-church-glen-spey-new-york Sat, 11 May 2024 12:00:00 GMT
Saint John the Baptist Ukrainian Catholic Church https://www.americancatskills.com/blog/2024/5/saint-john-the-baptist-ukrainian-catholic-church Saint John the Baptist Ukrainian Catholic Church is located in Hunter/Jewett Center, New York in the northern Catskills of Greene County. The beautiful church was built in 1962 using the traditional construction methods of the Ukrainian Carpathian Mountain highlanders. The church, constructed on lands donated by Dr. Ivan Makarewycz, was designed by sculptor Jaroslaw Paladij and architect Ivan Zhukovsky, and was built by master carpenter Jurij Kostiw. The interior of the church was decorated by two prominent Ukrainian artists, iconographer Petro Cholodny, Jr., and wood-carver/sculptor Mykhailo Chereshnovsky.

 

The tri-partite (three-frame) church, which measures 61 feet in height, was constructed using building techniques involving solid timber or logs. The logs were laid horizontally one on top of the other and secured with wooden pegs and various other systems of corner-joinings. There were no nails used in the church’s construction. The redwood cedar logs, measuring 7 1/2 feet by 12 inches, were imported from British Columbia. The roof shingles were hand split from the imported red cedar and were expected to last for 60 years before repairs were needed.

 

Photograph of the Saint John the Baptist Ukrainian Catholic Church in the hamlet of Jewett in the northern Catskills.St. John the Baptist Ukrainian Catholic Church (1)Saint John the Baptist Ukrainian Catholic Church is located in Jewett, New York in the northern Catskills. The beautiful church was built in 1962 using the traditional construction methods of the Ukrainian Carpathian Mountain highlanders. The church, constructed on lands donated by Dr. Ivan Makarevych, was designed by sculptor Jaroslaw Paladij and architect Ivan Zhukowsky and was built by master carpenter Jurij Kostiw. The interior of the church was decorated by two prominent Ukrainian artists, iconographer Petro Cholodny, Jr., and wood-carver/sculptor Mykhailo Chereshniowsky.

The church is located along Route 23A, six miles west from the village of Hunter and two miles east from the hamlet of Lexington. For more information about the church, its history and current events, visit their website at www.ukrainianmountaintop.org.

Photograph of the Saint John the Baptist Ukrainian Catholic Church in the hamlet of Jewett in the northern Catskills.St. John the Baptist Ukrainian Catholic Church (2)Saint John the Baptist Ukrainian Catholic Church is located in Jewett, New York in the northern Catskills. The beautiful church was built in 1962 using the traditional construction methods of the Ukrainian Carpathian Mountain highlanders. The church, constructed on lands donated by Dr. Ivan Makarevych, was designed by sculptor Jaroslaw Paladij and architect Ivan Zhukowsky and was built by master carpenter Jurij Kostiw. The interior of the church was decorated by two prominent Ukrainian artists, iconographer Petro Cholodny, Jr., and wood-carver/sculptor Mykhailo Chereshniowsky.

The church is located along Route 23A, six miles west from the village of Hunter and two miles east from the hamlet of Lexington. For more information about the church, its history and current events, visit their website at www.ukrainianmountaintop.org.

Photograph of the Saint John the Baptist Ukrainian Catholic Church in the hamlet of Jewett in the northern Catskills.St. John the Baptist Ukrainian Catholic Church (3)Saint John the Baptist Ukrainian Catholic Church is located in Jewett, New York in the northern Catskills. The beautiful church was built in 1962 using the traditional construction methods of the Ukrainian Carpathian Mountain highlanders. The church, constructed on lands donated by Dr. Ivan Makarevych, was designed by sculptor Jaroslaw Paladij and architect Ivan Zhukowsky and was built by master carpenter Jurij Kostiw. The interior of the church was decorated by two prominent Ukrainian artists, iconographer Petro Cholodny, Jr., and wood-carver/sculptor Mykhailo Chereshniowsky.

The church is located along Route 23A, six miles west from the village of Hunter and two miles east from the hamlet of Lexington. For more information about the church, its history and current events, visit their website at www.ukrainianmountaintop.org.

 

The interior of the church is adorned with hand-carved wood items including the altar, pulpit, tabernacle and processional cross, as well as a variety of artistic religious icons including the four Evangelists (symbolizing the Catholic church’s roots in the Gospel), the Virgin Mary with Jesus, the scene of the Last Supper and St. John the Baptist, patron saint of the church. The crosses inside the church were designed after those used in Ukraine 300-400 years ago. Carvings on the various tables in the church show sun rays, wheat, grapes, even dishes and utensils used in every day life by the Ukrainian ancestors of the church’s founders. The wooden chandelier, at 65 feet high, is suspended from the ceiling, and signifies the earth wherein the crops are grown. According to old traditions it is customary to stand during the service and while praying or meditating; and therefore there are no pews in the church, and only a few benches along the walls which can be used by the elderly, the sick and pregnant or nursing mothers.

 

As per the church website, construction of the church “was financed by Ukrainian post-World War II refugees and immigrants who realized the need for a tangible expression of their heritage and in the context of Soviet control of their country were constantly vigilant in the preservation and propagation of Ukrainian culture.” With this historic goal for the landmark church, it has certainly met its objective for over 60 years, remaining a distinctive example of Ukrainian culture and heritage.

 

The idea for the church began to form on August 14, 1960 at a meeting held at the home John Kobziar which was well attended by local Ukrainian-American residents. The group called themselves the “Temporary Committee for the construction of the Ukrainian Catholic Chapel in the Vicinity of Hunter, N.Y.” The church design was approved at the group’s May 21, 1961 meeting, and the group raised the money required. Construction of the church began in 1961 and was completed the following year in 1962.

 

The consecration service at St. John the Baptist Ukrainian Catholic Church was officiated by Right Reverend Joseph Schmondiuk (1912-1978), who would later become the head of the Ukrainian Catholic Church in America. Twenty-four priests assisted in the service that was attended by over 2,000 people from across the country. Following the service, John Kobziar hosted a dinner for 270 people at his nearby Xenia motel. The dinner included a number of speeches by prominent Ukrainian officials, followed by a presentation of Ukrainian folk songs and entertainment by Ukrainian folk dancers.  

 

Photograph of the Saint John the Baptist Ukrainian Catholic Church in the hamlet of Jewett in the northern Catskills.St. John the Baptist Ukrainian Catholic Church (4)Saint John the Baptist Ukrainian Catholic Church is located in Jewett, New York in the northern Catskills. The beautiful church was built in 1962 using the traditional construction methods of the Ukrainian Carpathian Mountain highlanders. The church, constructed on lands donated by Dr. Ivan Makarevych, was designed by sculptor Jaroslaw Paladij and architect Ivan Zhukowsky and was built by master carpenter Jurij Kostiw. The interior of the church was decorated by two prominent Ukrainian artists, iconographer Petro Cholodny, Jr., and wood-carver/sculptor Mykhailo Chereshniowsky.

The church is located along Route 23A, six miles west from the village of Hunter and two miles east from the hamlet of Lexington. For more information about the church, its history and current events, visit their website at www.ukrainianmountaintop.org.

Photograph of the Saint John the Baptist Ukrainian Catholic Church in the hamlet of Jewett in the northern Catskills.St. John the Baptist Ukrainian Catholic Church (5)Saint John the Baptist Ukrainian Catholic Church is located in Jewett, New York in the northern Catskills. The beautiful church was built in 1962 using the traditional construction methods of the Ukrainian Carpathian Mountain highlanders. The church, constructed on lands donated by Dr. Ivan Makarevych, was designed by sculptor Jaroslaw Paladij and architect Ivan Zhukowsky and was built by master carpenter Jurij Kostiw. The interior of the church was decorated by two prominent Ukrainian artists, iconographer Petro Cholodny, Jr., and wood-carver/sculptor Mykhailo Chereshniowsky.

The church is located along Route 23A, six miles west from the village of Hunter and two miles east from the hamlet of Lexington. For more information about the church, its history and current events, visit their website at www.ukrainianmountaintop.org.

 

John (Ivan Volodymyr) Kobziar (1909-1977), organizer of the original group responsible for building the church, was born in the city of Lviv, Ukraine on January 19, 1909. He would begin playing professional soccer at the young age of 14 for the Lviv “Ukraina”, and became widely known for his “uncanny skills as a soccer player, including a booming shot that eventually became the nemesis of some of the best goalkeepers in Eastern Europe.” He played professionally through 1949, including from circa 1923 to 1931 for Lviv “Ukraina”, then the Ukrainian “Rus” team from Uzhhorod, Carpatho-Ukraine, followed by a second stint at Lviv “Ukraina”, and then for several years at the Regensburg “Sich” team in west Germany. He is regarded as one of the best soccer players in Ukrainian history, and was elected to the Ukrainian Sport Hall of Fame in 2017. With the arrival of communism, he was eventually forced to move to West Germany, and then moved to the United States in 1949. Soon after his arrival, in 1950, he became one of the first Ukrainian settlers in the mountaintop area of Hunter, New York. John and his wife Olga operated the Xenia tourist house at the intersection of Route 23A and Route 17 in Jewett Center for many years. John Kobziar was tragically killed in a car collision along Route 23A on August 15, 1977. He is buried at Saint Francis de Sales Cemetery in Elka Park, New York.

 

Dr. Ivan Makarewycz (1914-1999), who donated the land for the church, worked as a physician and surgeon for over 30 years in New York City. He owned a summer home not far from the church. Makarewycz, who also helped supervise the construction of the church, noted in 1969 what the church meant to him. “We constructed the church as a memorial to all the Ukrainians killed by the Communists in Russia and to preserve this special style of church architecture. We welcome visitors to stop so they can see what an old mountainside church looked like years ago in the western part of Ukraine.” (Times-Union. August 3, 1969.) Dr. Makarewycz passed away at 85 years of age on July 10, 1999 and is buried at Saint Andrew Cemetery in South Bound Brook, New Jersey.

 

Jaroslaw Paladij (1910-1977), who made the preliminary scale model of the church, was born on April 21, 1910 at Bukovyna, Ukraine, the son of Jurig and Maria (Smereshanska) Paladij. He graduated from the Academy of Art in Bucharest, Romania and taught sculpture for several years. He immigrated to the United States in 1949, where he worked as draftsman for the New York City Water District until his retirement in 1959. He had a summer weekend summer home in the Jewett area, and after his retirement he made his permanent residence there. Several of his works are featured at the Bukovina Museum of Diaspora in the Ukraine and three of his pyrographs are housed in the Vatican Museum in Rome. He illustrated the book “Abetka,” first published in 1973 by the Ukrainian Academy of Art and Science, which featured 33 illustrated letters of the Ukrainian alphabet, with each letter highlighting famous patriots and historic events from his Ukrainian homeland. Several of his paintings were used for Ukrainian Christmas and Easter greeting cards. One review of his works noted that “his perfect techniques of accomplishment are evident in his works “Zadumany” (“Meditating), “Portret druzhyny” (Wife’s Portrait”), “Avtoportret” (Selfportrait”), and his memorial project honoring Hetman I. Mazepa.” Jaroslaw Paladij passed away in 1977 and is buried at Saint Andrew Cemetery in South Bound Brook, New Jersey.

 

Ivan Zhukovsky (1901-1980), the church architect, was born on March 4, 1901 in Kitsman, Bukovyna. He studied in Prague in 1926 and graduated from Moscow Polytechnic, while at the same time studying conducting and composition at the Moscow Conservatory. He operated his own architectural firm at Chernivtsi, Ukraine from 1930 to 1941 and was the head of the Society of Ukrainian Engineers from 1931 to 1941. He emigrated to Germany and then to the United States in 1949, where he was active in Ukrainian community life. He was a professor and dean of the architectural department at the Ukrainian Technical Institute in New York from 1957 to 1961. He served as president of the Ukrainian Engineers’ Society of America from 1954 to 1980 and served as chairman at the Center for the Association of Bukovinian Ukrainians in the United States from 1954 to 1973. Zhukovsky published a number of books, including several versions of Ukrainian-German dictionaries. He also designed the Saints Peter and Paul Ukrainian Orthodox Church in Glen Spey, New York.

 

George (Jurij) Kostiw, the church master builder, was born at the city of Skole in the Ukraine on May 3, 1912, the son of Mykola and Maria (Palko) Kostiw. He was trained by experienced carpenters, including Komar, Koval and Mykhailiv, in his native Bojko mountain region of Ukraine. He served as an apprentice to church master builders and architects in Tseneva, Ukraine from 1927 to 1936. Kostiw came to the United States in 1950 and became a naturalized citizen in 1960. He married Daria Szczur on August 15, 1950. Kostiw also constructed the St. Volodymyr Ukrainian Catholic Church (1967) at Glen Spey, New York and the Sacred Heart Ukrainian Catholic Church (1977) at Johnson City, New York. Jurij passed away in 2005 and is buried at Saint Andrew Cemetery in South Bound Brook, New Jersey. An illustration of the Saint John the Baptist Ukrainian Catholic Church is pictured on his gravestone.

 

Petro Cholodny, Jr. (1902-1990), the church artist, was born in Kyiv, Ukraine and would become a well-known Ukrainian icon painter and graphic artist. He received his art education from the Ukrainian Studio of Plastic Art in Prague and the Academy of Fine Art in Warsaw, Poland from 1928 to 1934, and upon graduation worked at the Academy as an instructor. Before World War II Cholodny exhibited his work across Europe, including at Warsaw, Lviv, Berlin and Brussels. After the war, he immigrated to the United States and settled in New York. His artistic work can be found in numerous churches, including St. George Ukrainian Catholic Church (New York City), Ukrainian Orthodox Cathedral of St. Volodimir (New York City), St. Andrew's Ukrainian Orthodox Memorial Church (South Bound Brook, New Jersey), St. John the Baptist Ukrainian Catholic Church (Newark, New Jersey), and the Assumption of the Blessed Virgin Mary (Lourdes, France). In 2001, The Ukrainian Museum in New York City featured an exhibition titled "Three Generations of Cholodny Artists," which featured the paintings and icons of Petro Cholodny the Elder (1876–1930), those of his son, Petro Cholodny the Younger (1902–1990), and of Andrew Charyna (b. 1951), grandson of Petro Cholodny the Younger.

 

Mykhailo Chereshnovsky (1911-1994), the church wood-carver and sculptor, was born on March 5, 1911 in the village of Stezhyntsia in the Lemko region. He studied at the School of Applied Arts in Kolomyia and graduated from the School of Plastic Arts in Krakow in 1939. After the end of World War II, as a member of the Ukrainian Insurgent Army, Mykhailo emigrated in 1947 to West Germany, and later to the United States, settling in New York City. He was described in 1958 as “one of the best sculptors of the younger generation.” In addition to his decorative wood carving, as seen at St. John the Baptist, he sculpted busts of a number of prominent Ukrainians and produced several monuments in bronze. He served from 1973 to 1994 as the president of the Ukrainian Artists Association, an organization founded in 1952 at New York.

 

Saint John the Baptist Ukrainian Catholic Church is located on a small hillside along Route 23A, six miles west from the village of Hunter and two miles east from the hamlet of Lexington.  Other buildings on the church complex include a bell tower, the parish hall (grazdha) and the parsonage. The Grazdha serves as the venue for the classical music concert series that is held each summer by the Music and Art Center of Greene County. The complex is also home to a Ukrainian gift shop, which offers a wide variety of Ukrainian artistic works and handcrafted items. For more information about the church, its history and current events, visit their website at www.ukrainianmountaintop.org.

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[email protected] (American Catskills) architecture building catholic Catskill Mountains Catskills Christian church Greene County Hunter Ivan Makarewycz Ivan Zhukovsky Jaroslaw Paladij Jurij Kostiw Lexington Mykhailo Chereshnovsky New York Petro Cholodny Route 23A Saint John the Baptist Ukrainian Catholic Church St. John the Baptist Ukraine Ukrainian Catholic Church https://www.americancatskills.com/blog/2024/5/saint-john-the-baptist-ukrainian-catholic-church Sat, 04 May 2024 12:00:00 GMT
Heller’s Fabulous Furniture, Boiceville https://www.americancatskills.com/blog/2024/4/heller-s-fabulous-furniture-boiceville Heller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

 

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

 

Photograph of metallic sculptures at Heller’s Fabulous Furniture along Route 28, Boiceville in the central Catskills.To the FutureHeller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

Photograph of metallic sculptures at Heller’s Fabulous Furniture along Route 28, Boiceville in the central Catskills.AliensHeller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

Photograph of metallic sculptures at Heller’s Fabulous Furniture along Route 28, Boiceville in the central Catskills.Alien LeaderHeller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

Photograph of metallic sculptures at Heller’s Fabulous Furniture along Route 28, Boiceville in the central Catskills.Strange AlienHeller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

Photograph of metallic sculptures at Heller’s Fabulous Furniture along Route 28, Boiceville in the central Catskills.To the MoonHeller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

Photograph of metallic sculptures at Heller’s Fabulous Furniture along Route 28, Boiceville in the central Catskills.Take Me to Your LeaderHeller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

Photograph of metallic sculptures at Heller’s Fabulous Furniture along Route 28, Boiceville in the central Catskills.Alien GirlHeller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

This 25 foot rocket ship can be found at Steve Heller’s Fabulous Furniture in Boiceville, New York.Roswell or BustHeller’s Fabulous Furniture, Boiceville, Ulster County

One of the largest installations, seen prominently along Route 28, at Steve Heller’s Fabulous Furniture store in Boiceville is this 25 foot rocket ship, detailed with Martians driving the spaceship and waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts.

The creator of this interesting work of art is Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store, which includes various other artistic installations on the front lawn, is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

Photograph of metallic sculptures at Heller’s Fabulous Furniture along Route 28, Boiceville in the central Catskills.I Come in PeaceHeller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

Photograph of metallic sculptures at Heller’s Fabulous Furniture along Route 28, Boiceville in the central Catskills.Take Me to Your LeaderHeller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

Photograph of metallic sculptures at Heller’s Fabulous Furniture along Route 28, Boiceville in the central Catskills.RuthieHeller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

Photograph of metallic sculptures at Heller’s Fabulous Furniture along Route 28, Boiceville in the central Catskills.StarshipHeller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

Photograph of metallic sculptures at Heller’s Fabulous Furniture along Route 28, Boiceville in the central Catskills.Metal GuitarHeller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

Photograph of metallic sculptures at Heller’s Fabulous Furniture along Route 28, Boiceville in the central Catskills.Compressor ManHeller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

Photograph of metallic sculptures at Heller’s Fabulous Furniture along Route 28, Boiceville in the central Catskills.Rock OnHeller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

Photograph of metallic sculptures at Heller’s Fabulous Furniture along Route 28, Boiceville in the central Catskills.PeacockHeller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

Photograph of metallic sculptures at Heller’s Fabulous Furniture along Route 28, Boiceville in the central Catskills.Pink PigHeller’s Fabulous Furniture, located along Route 28 in Boiceville, is home to a wide variety of interesting and eclectic metallic sculptures. One of the largest installations is a 25-foot rocket ship, detailed with Martians driving a spaceship while waving out the window, with a humorous motto of Roswell or Bust. The rocket ship weighs 11,000 pounds and interestingly utilizes a cement truck barrel mixer, bulldozer treads and old car parts. Other sculptures include all sorts of aliens and robots, as well as a metallic pig and a guitar.

Heller’s Fabulous Furniture is operated Steve Heller, a local artist, woodworker and sculptor. Heller, a man of many skills, makes one-of-a-kind wood furniture, creates metal art out of all sorts of odds and ends and even customizes old cars. Heller’s works have been featured in a variety of newspaper and magazine articles including Architectural Digest, Car & Travel, Hudson Valley Magazine and the New York Times. Heller’s store is certainly worth a stop on your way along Route 28. Visit the store website at www.fabulousfurnitureon28.com for more information.

 

 

 

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[email protected] (American Catskills) Architectural Digest art artist automobile Boiceville business car Car & Travel Catskill Mountains Catskills furniture Heller's Fabulous Furniture Hudson Valley Magazine magazine Martians metal New York New York Times rocket ship Roswell or Bust Route 28 sculptor shop spaceship Steve Heller store Ulster County https://www.americancatskills.com/blog/2024/4/heller-s-fabulous-furniture-boiceville Sat, 27 Apr 2024 12:00:00 GMT
Fill ‘Er Up https://www.americancatskills.com/blog/2024/4/fill-er-up This abandoned Gulf gas station can be found alongside a busy county highway in the central Catskills. I have driven past the station many times, but only recently decided to stop and photograph. It is not exactly clear when the station was abandoned, but it nonetheless has a few interesting elements that have stood still with time, such as the stacks of tires and hubcaps, an old 7UP soda machine, a pair of analog gas pumps, overgrown vegetation and a decaying building.

 

Photograph of an abandoned gas station at Big Indian, New York in the central Catskills.Fill 'Er Up

Photograph of an abandoned gas station at Big Indian, New York in the central Catskills.Open

Photograph of an abandoned gas station at Big Indian, New York in the central Catskills.Closed

Photograph of an abandoned gas station at Big Indian, New York in the central Catskills.24-Hour Towing

Photograph of an abandoned gas station at Big Indian, New York in the central Catskills.Used Tires

Photograph of an abandoned gas station at Big Indian, New York in the central Catskills.Out of Order

Photograph of an abandoned gas station at Big Indian, New York in the central Catskills.Long Time Gone

Photograph of an abandoned gas station at Big Indian, New York in the central Catskills.Full Serve

Photograph of an abandoned gas station at Big Indian, New York in the central Catskills.Full Serve at Your Local Gulf Station

 

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[email protected] (American Catskills) abandon abandoned Big Indian Catskill Mountains Catskills fuel gas gas pumps gas station New York photographer photographs photography photos Route 28 tow truck truck Ulster County https://www.americancatskills.com/blog/2024/4/fill-er-up Sat, 20 Apr 2024 12:00:00 GMT
Early Morning on the Esopus https://www.americancatskills.com/blog/2024/4/early-morning-on-the-esopus The Esopus Creek is one of the great waterways of the Catskills. Rising from its source at Winnisook Lake on the northwest slopes of Slide Mountain, the creek scenically flows through Ulster County as it makes its way to the Hudson River at Saugerties. The creek is impounded at Olive Bridge to create the Ashokan Reservoir, an important water source for residents of New York City. The creek above the Reservoir is commonly known as the Upper Esopus Creek, and the section below the Reservoir is commonly known as the Lower Esopus Creek. The Esopus Creek offers some of the best fly fishing in the Catskills and, with high water flow, is also popular with kayakers and tubers.

 

These pictures of the lower section of the Esopus Creek were taken on an early September morning. One of the amazing things about photographing along the Esopus Creek is to observe how the river changes so much from section to section, from narrow to wide, from shallow to deep, from slow-moving to swift currents, and so on.

 

Photograph of an early morning on the Esopus Creek in the Catskills.Early Morning on the Esopus Creek

Photograph of an early morning on the Esopus Creek in the Catskills.Morning Light on the Esopus Creek

Photograph of an early morning on the Esopus Creek in the Catskills.First Light on the Esopus Creek

Photograph of an early morning on the Esopus Creek in the Catskills.Esopus Creek, Ashokan Center

Photograph of an early morning on the Esopus Creek in the Catskills.Early Morning on the Esopus Creek, Ashokan Center

Ray of Light on the Esopus CreekRay of Light on the Esopus Creek

 

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[email protected] (American Catskills) Ashokan Reservoir Catskill Mountains Catskills creek Esopus Creek fishing fly fishing Hudson River kayaking New York river Saugerties Slide Mountain tubing Ulster County water Winnisook Lake https://www.americancatskills.com/blog/2024/4/early-morning-on-the-esopus Sat, 13 Apr 2024 12:00:00 GMT
1817 Schoolhouse, Ashokan Center https://www.americancatskills.com/blog/2024/4/1817-schoolhouse-ashokan-center The 1817 Stone Schoolhouse, a one-story, two-bay by two-bay stone building with a gable roof, is located on the property of the Ashokan Center. It was constructed in 1817 and operated as a school for the Shokan district from 1817 to 1842, after which it functioned as a cooper shop and a dwelling. It had been abandoned for most of the 20th century when it was given to the Ashokan Camp and staff dismantled it and reconstructed it on its present site in 1985.

 

The 1817 Schoolhouse is located on the grounds of the Ashokan Center, a non-profit organization dedicated to outdoor and environmental education. The center hosts school groups and hobby and community events such as concerts, blacksmithing, square dancing, guitar camp and the fall festival. The beautiful 374-acre property, being home to Winchell Falls, the 1885 Ashokan/Turnwood Covered Bridge, Cathedral Gorge, a large lake, a barnyard and a horse pasture, is like taking a step back in time. Although the Ashokan Center is private property, you can take advantage of one of its numerous public events to tour the scenic grounds. Visit their website at www.ashokancenter.org for more information.

 

1817 Schoolhouse, Ashokan Center1817 Schoolhouse, Ashokan CenterThe 1817 Stone Schoolhouse, a one-story, two-bay by two-bay stone building with a gable roof, is located on the property of the Ashokan Center. It was constructed in 1817 and operated as a school for the Shokan district from 1817 to 1842, after which it functioned as a cooper shop and a dwelling. It had been abandoned for most of the 20th century when it was given to the Ashokan Camp and staff dismantled it and reconstructed it on its present site in 1985.

Going to School in 1817Going to School in 1817The 1817 Stone Schoolhouse, a one-story, two-bay by two-bay stone building with a gable roof, is located on the property of the Ashokan Center. It was constructed in 1817 and operated as a school for the Shokan district from 1817 to 1842, after which it functioned as a cooper shop and a dwelling. It had been abandoned for most of the 20th century when it was given to the Ashokan Camp and staff dismantled it and reconstructed it on its present site in 1985.

Shokan School i 1817Shokan School i 1817The 1817 Stone Schoolhouse, a one-story, two-bay by two-bay stone building with a gable roof, is located on the property of the Ashokan Center. It was constructed in 1817 and operated as a school for the Shokan district from 1817 to 1842, after which it functioned as a cooper shop and a dwelling. It had been abandoned for most of the 20th century when it was given to the Ashokan Camp and staff dismantled it and reconstructed it on its present site in 1985.

 

Door to the Future, 1817 Schoolhouse, Ashokan CenterDoor to the Future, 1817 Schoolhouse, Ashokan CenterThe 1817 Stone Schoolhouse, a one-story, two-bay by two-bay stone building with a gable roof, is located on the property of the Ashokan Center. It was constructed in 1817 and operated as a school for the Shokan district from 1817 to 1842, after which it functioned as a cooper shop and a dwelling. It had been abandoned for most of the 20th century when it was given to the Ashokan Camp and staff dismantled it and reconstructed it on its present site in 1985.

 

Here to Learn, 1817 Schoolhouse, Ashokan CenterHere to Learn, 1817 Schoolhouse, Ashokan CenterThe 1817 Stone Schoolhouse, a one-story, two-bay by two-bay stone building with a gable roof, is located on the property of the Ashokan Center. It was constructed in 1817 and operated as a school for the Shokan district from 1817 to 1842, after which it functioned as a cooper shop and a dwelling. It had been abandoned for most of the 20th century when it was given to the Ashokan Camp and staff dismantled it and reconstructed it on its present site in 1985.

 

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[email protected] (American Catskills) 1817 Schoolhouse architecture Ashokan Center Ashokan Field Campus Historic District building Catskill Mountains Catskills Esopus Creek Jacobus Bush Lemuel Winchell National Register of Historic Places New York Olivebridge Ulster County Winchell – Moehring House Winchell's Falls Winchell's Inn https://www.americancatskills.com/blog/2024/4/1817-schoolhouse-ashokan-center Sat, 06 Apr 2024 12:00:00 GMT
Winchell’s Inn, Ashokan Center https://www.americancatskills.com/blog/2024/3/winchell-s-inn-ashokan-center Winchell’s Inn, also known as the Winchell – Moehring House, was constructed in 1785, and reputedly includes the stone foundation of the early 18th-century dwelling of Jacobus Bush, the first landowner. The inn takes its name from Lemuel Winchell and the Winchell family who managed the lands along the Esopus Creek from 1785 to 1857. Lemuel Winchell also developed an industrial site on the waterfall named for him which, at its fullest extent in the early-19th century, had grist, saw and fulling mills, a forge and a store.

 

Photograph of Winchell’s Inn, located at the Ashokan Center in the central Catskills.Winchell’s Inn, Ashokan Center

 

The early history of the property, located on the Esopus Creek at what had been known as Winchell’s Falls, has been traced back to a 1731 deed by which Jacobus Bush purchased the property from the Town of Marbletown. Portions of the stone basement of Bush’s homestead, or that of his son and namesake who inherited the property in 1754, are believed to survive in the extant house, which Lemuel Winchell erected after acquiring the farm in 1785. Whereas the Bush family was well-established in the region, Winchell was a newcomer arriving from Dutchess County, where his family had migrated from New England. He selected the site for the industrial potential of the falls, which is believed to have supported a mill as early as 1772, as well as its location at a fording place on the creek. In addition to constructing a dam on the falls and operating grist, saw and carding mills, as well as a forge, blacksmith shop and store, Lemuel Winchell accommodated travelers in his house and tavern.

 

The house was extensively restored and “improved” in the 1930s for use as a country retreat for an automobile industry executive with local ties. Following plans provided by Teller & Halverson, a Kingston architectural firm specializing in the restoration of historic houses for second homes, the house was renovated in the Colonial Revival sensibility of the period, featuring a regional “Dutch” taste emphasizing ceiling beams, wide-board floors in natural finish, and modest white-painted interiors and exteriors. A service wing was added to one end and a bluestone terrace, embellished with grind stones from an abandoned pulp mill on the property, distinguished a new front façade created on the uphill side. When the college created the camp in 1957, the house was used as a retreat for the president and a conference center; later it became a dormitory for camp staff. Few changes have been made to the 1937 plan and design.

 

Winchell’s Inn is located on the grounds of the Ashokan Center, a non-profit organization dedicated to outdoor and environmental education. The center hosts school groups and hobby and community events such as concerts, blacksmithing, square dancing, guitar camp and the fall festival. The beautiful 374-acre property, being home to Winchell Falls, the 1885 Ashokan/Turnwood Covered Bridge, Cathedral Gorge, an 1817 schoolhouse, a large lake, a barnyard and a horse pasture, is like taking a step back in time. Although the Ashokan Center is private property, you can take advantage of one of its numerous public events to tour the scenic grounds. Visit their website at www.ashokancenter.org for more information.

 

The house is the oldest building on the property and has been in continuous use since the 18th century. It is listed on the National Register of Historic Places as part of the Ashokan Field Campus Historic District.


 

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[email protected] (American Catskills) architecture Ashokan Center Ashokan Field Campus Historic District building Catskill Mountains Catskills Esopus Creek Jacobus Bush Lemuel Winchell National Register of Historic Places New York Olivebridge Ulster County Winchell – Moehring House Winchell's Falls Winchell's Inn https://www.americancatskills.com/blog/2024/3/winchell-s-inn-ashokan-center Sat, 30 Mar 2024 12:00:00 GMT
Father John Nelson, Memento Mori https://www.americancatskills.com/blog/2024/3/father-john-nelson-memento-mori “I didn’t plan on any of this. In fact, I had a lot of other plans. But then I heard the word of God, and after that . . . your other plans become your other plans.” – Father John Nelson

 

 

In the fall of 2014, I found myself in the village of Woodstock to photograph the Church of the Holy Transfiguration of Christ-on-the-Mount, a simple, but picturesque, one-room church located near the summit of Meads Mountain Road high above the village of Woodstock. The church, originally known as the Episcopalian Chapel of Ease, was constructed circa the mid-1890s to serve seasonal visitors at the neighboring Mead’s Mountain House and the nearby Overlook Mountain House.

 

George Mead (1834-1905), who built Mead’s Mountain House, was born at Ridgefield, Connecticut, the son of Sherwood Mead. At the young age of 15, Mead went to Newburgh to learn the silversmith business as an apprentice. After six years of learning the trade, he went to New York, then New Haven, before settling at Kingston for eight years between circa 1856 to 1864. On the recommendation of his doctor, who told him that he only had a few years to live, Mead moved to the country, buying a farm from a man named Henry Fuller on the side of Overlook Mountain.

 

Fuller had established himself at what was then known as Wide Clove around 1855, and “cleared a few acres and built a small and rough dwelling.” (Evers, 276). He would “take care of climbers’ horses and occasionally give climbers sleeping space on his floor. He did not act as a guide, however. When climbers asked him to help them keep to the rough trail up Overlook, Fuller would point in the general direction of the trail’s beginning and say, ‘Follow the plainest path.’” (Evers, 276.)

 

After purchasing Fuller’s farm, Mead would establish his popular boarding house in 1865, which was originally called the “Overlook Mountain House” (not to be confused with the Overlook Mountain House that was later constructed further up the mountain) on account of its location. In its early days it was also sometimes called the “Red House” on account of its color, or the “The Halfway House” on account of its location on the road to Overlook Mountain.

 

South View, Mead's Mountain House. Louis E. Jones. Author's collection

South View, Meads Mountain House. No number, Beautiful Woodstock SheriesSouth View, Meads Mountain House. No number, Beautiful Woodstock SeriesLouis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

Upon opening the “Overlook Mountain House” on August 8, 1865, Mead advertised that the “house is new and commodious, fronting a view of more than seventy miles. Ample stable room for horses and vehicles. Persons wishing pure mountain air and mountain scenery in matchless grandeur, will find the location of this summer resort unsurpassed. Fine trout fishing and hunting in the immediate vicinity of the house. No pains will be spared to render the visits of guests both agreeable and pleasant.” (Rondout Freeman. September 6, 1865.) The first visitor names on the hotel register were Christopher Agar and H. B. Schoonmaker.

 

The location of Mead’s Mountain House in Wide Clove was considered one of the finest in Catskills. “It is located in one of the finest notches in the south end of the Catskills, two thousand feet above the Hudson River and fifteen hundred feet above the beautiful village of Woodstock. From the broad piazzas tine views of the mountains and valleys can be had in every direction and the whole range of the Shawangunk Mountains and the Esopus and Woodstock valleys in the south, while at the north the domes of the Catskills are seen as far as they eye can reach; the house is surrounded with all the attractions of the southern Catskills; is only two miles from Cooper and Echo lakes, two miles from Woodstock village and the immediate vicinity is replete with beautiful mountain walks, fine trout streams, etc.” (Kingston Daily Freeman. April 28, 1880.)

 

In those early days, visitors came to Rondout by day boats, then transferred to stages for the rest of the journey, sometimes not reaching the house till ten or eleven o’clock at night. Mead’s Mountain House grew in popularity over the next several decades, eventually reaching a capacity for 75 people by 1897. By that time, George Mead had noticed a change in his clientele. “In those [old] days . . . people were glad to get away from railroads and were content with mail three times a week; not they want a railroad station right in front of the house, mail every hour and a telegraph within reach of the bed. He deplores the “pace” at which the present generation lives, and loves to talk of the ‘old times.’” (Ferris, R. The Catskills: An Illustrated Handbook. P. 37.)

 

Mead’s Mountain House, in addition to being a destination itself, was often used as a way stop for refreshments for travelers making their way to the summit of Overlook Mountain and as a base for fishing at Shue’s Pond (what would become known as Echo Lake). The Mountain House entertained many prominent people over the years, including General Ulysses S. Grant, the 18th President of the United States, as well as Jervis McEntee, Sanford R. Gifford and Frederick Church, all notable painters of the Hudson River School.

 

Three generations of the Mead family would manage Mead’s Mountain House. Upon George Mead’s death in 1905, his son William and daughter-in-law Annie continued to operate the boarding house. When William passed away in 1913, Annie worked with her daughter Genevieve and son-in law Joseph Hutty to manage the place. The Mead family sold the boarding house to 1948 to Captain Sava J. Milo (1905-1982) and his wife Danka (1913-2002), who operated the place until 1978. It was then purchased by the Karma Triyana Dharmachakra monastery, who demolished the historic structure in 2011.

 

The Mead family were devout Episcopalians, and in response to the growing popularity of their boarding house, they built the Chapel of Ease circa 1894 so that their customers, and those of the Overlook Mountain House, did not have to travel all the way down the mountain to the village of Woodstock to attend religious services. Episcopal services were held every Sunday, with rotating ministers from the village of Woodstock or a minister who was staying at the adjacent boarding house. George Mead’s granddaughter Genevieve was married to Joseph Hutty at the chapel.

 

The church is beautifully situated at an elevation of 1,700 feet above sea level, between Mount Guardian to the west and the southwestern shoulder of Overlook Mountain to the east. It was listed on the National Register of Historic Places in 2005 “for its association with the seasonal tourist industry in Woodstock and the larger Catskill Mountain region during the nineteenth and early twentieth century.”

 

Chauncey Snyder, who lived in a nearby farmhouse, donated one acre of land to the Protestant Episcopal Diocese of Albany to build the church. Despite this act of goodwill, several years later in 1902 Snyder would be evicted from his farm, with “tears running down his old bronzed cheeks,” by Bolton Brown as he acquired lands for the Byrdcliffe Arts and Crafts Colony. (Bolton Brown. Early Days at Woodstock.) An article published in 1952 in the Kingston Daily Freeman attributed the construction of the church to William Mead (1862-1913), son of George Mead.

 

The chapel was “modestly built, constructed with a wood balloon frame above a well-laid fieldstone foundation with detailing reminiscent of the rustic aesthetic . . . the form of the chapel and the honesty of its construction and lines relate it to the parish-type model.” Furthermore, “the chapel was modestly scaled, built, and detailed, reflecting its original use as a seasonal place of worship. The choice of shingle sheathing and rustic detailing, particularly as seen on the original entrance canopy and rustic walkway, mark it as a seasonal building and effectively relate it to its immediate mountain surroundings. These elements likewise lend the building a considerable charm and romantic appeal.”

 

The chapel design was based on architectural designs of Richard Upjohn (1802-1878), who authored Upjohn’s Rural Architecture in 1852. The designs included in the book were aimed at small Episcopal congregations of modest means, and included “plans and elevations for a conveniently scaled and priced wood church and chapel.” Although the Christ-on-the-Mount Church was constructed 39 years after the book’s publication, some of Upjohn’s design elements found in the church include “its steeply pitched roof simple and unpretentious lines, self-contained form and open truss ceiling;” with “the form of the chapel and the honesty of its construction and lines [relating] it to the parish-type model.”

 

Church of the Holy Transfiguration of Christ-on-the-Mount
The Church of the Holy Transfiguration of Christ-on-the-Mount is a simple, but picturesque, one-room church located high above the village of Woodstock.Church of the Holy Transfiguration of Christ-on-the-MountWoodstock, Ulster County

The Church of the Holy Transfiguration of Christ-on-the-Mount is a simple, but picturesque, one-room church located near the summit of Meads Mountain Road high above the village of Woodstock. The church, originally known as the Episcopalian Chapel of Ease, was constructed in 1891 to serve seasonal visitors at the neighboring Mead’s Mountain House and the nearby Overlook Mountain House.

Since 1948, with the arrival of Father William Francis (1885-1979), the church has been affiliated with the Orthodox Church of the Western Rite. During the 1960s Father Francis would gain a small degree of fame as the “hippie priest” for his kindness, understanding and service to the young people of the era. According to various sources, Father Francis also spent time with Bob Dylan (a local resident of Woodstock) in the mid 1960s, with the humble priest serving as the inspiration behind Dylan’s song Father of Night. Today the church is led by the equally charismatic Father John Nelson, who first attended Easter Sunday service with Father Francis in 1970, and now serves as a local community leader and founder of the Woodstock Council for World Peace.

The Church is listed on the National Register of Historic Places as an “architecturally significant . . . relatively intact example of seasonal ecclesiastical architecture” and “for its association with the seasonal tourist industry in Woodstock and the larger Catskill Mountain region during the nineteenth and early twentieth century.” (1) The church interior is adorned with “ornate lattice and woodcarvings” (2) created by Father Francis and artwork depicting a wide range of scriptural and religious figures.

References:
(1) Church of the Holy Transfiguration of Christ-on-the-Mount. National Park Service, nomination form for inclusion on the National Register of Historic Places, Washington D.C. 2004.
(2) Ibid.

 

Most sources, including the National Register of Historic Places, put the construction of the church as 1891. However, two different sources place the construction as circa 1893 or 1894. In November 1893, the Stamford Mirror wrote that “Christ Chapel, in the town of Woodstock, is to be the most elevated church in Ulster County. It is 2,000 feet above tide water, being near Mead’s Mountain House.” The use of the term “to be” implies, as of November 1893, that the church had not been constructed yet, and that its construction was therefore likely in 1894. A second source, The Churchman issue of August 4, 1894, notes that the cornerstone for the church was laid “two summers ago.” This places the beginning of construction as circa the summer of 1893.

 

This same article from The Churchman seemingly described the opening of the church in the summer of 1894. “Woodstock, At Christ Church, in the Catskill Mountains, services were held on the Eighth Sunday after Trinity, July 15, and 5 children were baptized. The Rev. George W. Douglas, D. D., who was spending Sunday at Mead’s Mountain House, while on his way to the Adirondacks, conducted the services. The little church has been built mainly through the efforts of Mrs. Augusta Crabbe, of Rochester, N.Y., and the Misses Bolton, of Pelham, N.Y., who spent some time in this place three summers ago. Mr. Snyder presented an acre of ground, and since then $600 have been collected, and a simple shingled building, with rustic finish have been completed. Two summers ago, the Rev. Mr. Wattson, of Kingston, and the Rev. Charles Adams, of Rondout, directed by Archdeacon Thomas, laid the cornerstone. Among the gifts presented to the church, $50 was received from the Church Building Association, also Prayer Books and Hymnals, and an altar Prayer Book and a Bible from Miss Stewart Brown, of New York. A friend from Rochester presented a lectern and chancel chair, and Christ Church, Rochester, sent altar vases. About eighty guests are at Mead’s Mountain House from May to October, and, with the farmers and their children, they all make quite a Sunday-school and goodly congregation. Miss Elizabeth Crabbe, by her faithful visiting among the neighbors, built up a Sunday-school before the church was finished, and thus her summer holidays have laid a precious cornerstone of faith and love.”

 

No matter the specific date of construction, over the next 130 years after its founding, the church has been associated with some of the village’s most prominent residents. In 1902, Ralph Radcliffe Whitehead purchased 1,200 acres of land in the village of Woodstock, including the property on which the chapel was located, in order to found the Byrdcliffe Arts and Crafts Colony, now the oldest-operating arts colony in the country. In the mid-1930s, Jane Whitehead, then Ralph’s widow, invited Father William Henry Francis, Archbishop of the Old Catholic Church in America, to Woodstock to help mentor her son Peter Whitehead (1901-1975).

 

William Henry Francis was born at Nottingham, England, and immigrated to the United States with his family as a young boy. The family settled at Waukegan, Illinois, on Lake Michigan, where his father established a mechanized lace-making factory. From an early age Francis had decided that he wanted to become a monk and in 1908 he joined a monastic community in Waukegan founded by Dom Augustine de Angelis Harding. Francis was ordained as a priest in 1910 by Joseph Rene Vilatte, was appointed prior of St. Dunstan’s Abbey at Waukegan in 1913, was consecrated as a bishop in the Old Catholic Church in America by Prince de Landas Berghes in 1916 and was ultimately elected Archbishop and Metropolitan of the Old Catholic Church in America in 1917. He would later in life also be known as William Henry Francis Brothers, after adding the name Brothers, his mother’s maiden name.

 

The Old Catholic Church in America, sometimes called the Western Orthodox Catholic Church, “believes in the ancient faith, as held by the undivided Catholic Church prior to the great schism of 1054 A. D.” The doctrine is essentially Catholic, but “the authority of the pope is rejected, as is also clerical celibacy. Communion is offered to the laity in both kinds and the liturgy is mainly in the vernacular. The great creeds are accepted, but the ‘filioque’ clause of the Nicene Creed is rejected. Apostolic succession as constituting the only valid ministry is insisted upon, but the typical Roman Catholic intolerance of other religious bodies is largely absent. In most other points of doctrine and practice there is agreement with the Roman position.” (Elmer T. Clark. The Small Sects in America. p. 205.) The church does not advocate compulsory confession and participation of the congregation in worship is emphasized.

 

With his new position of Archbishop of the Old Catholic Church in America, Father Francis moved around 1917 to Chicago, where he worked with the poor and disadvantaged, who were often “the uncared for, exploited immigrants working in the steel mills of the Middle-West. There in the midst of the despised “foreigners” his sympathetic understanding of their problems and his practical attempts to solve them made his mission bountiful in good works.” (Catskill Mountain Star. 1941.) In the early 1920s, Francis moved to New York City, and worked from St. Dunstan’s House on Stuyvesant Square, where he continued with his branch of the Old Catholic Church. From 1926 to 1936 Francis grew the Old Catholic Church in America from 9 to 24 parishes and from 1,888 members to 5,470 members.

 

In the early 1930s Father Francis moved to Cos Cob, Connecticut, located half-way between Greenwich and Stamford, in the hopes of establishing Saint Dunstan’s Abbey as “one of the truly great cloisters of the twentieth century.” However, the community was not successful, and Father Francis was ultimately forced to give up the 100-acre property. Around 1934 he moved to a small farmhouse at Bedford Village in New York, in the hopes that this new version of Saint Dunstan’s Abbey would become “The Mother Community of the Old Catholic Benedictines in North America.” Despite the lofty name and ambitions, this community “seldom mustered more than half a dozen monks, few of whom ever reached profession.” Francis remained at Bedford for only a couple of years.

 

With the invitation of Jane Whitehead, Father Francis moved to Woodstock in the mid-1930s, where he would remain for the rest of his life. Father Francis was often quoted as saying “I came here to convert Woodstock, but Woodstock has converted me.”

 

When Father Francis first arrived in the late 1930s at the Chapel of Ease, later renamed to the Church of the Holy Transfiguration of Christ-on-the-Mount, it had been abandoned for 13 years, or since around 1926. As per Alf Evers, “The Overlook Mountain House, which was destroyed by fire in 1924 [should be 1923], never reached a point at which it could house fashionable church-going guests. Mead’s became somewhat less popular among churchgoers and the chapel languished. By 1931 the Board of Missions of the Episcopal Diocese of New York took it over, but did little to check the growing deterioration of the charming rustic building and its grounds or the dwindling of its congregation.

 

The Old Catholic Movement was usually on good terms with the Anglican Church and the American Protestant Episcopal Church. Yet problems developed when the chapel became the center of the Old Catholic Church in America. William Manning, bishop of New York and some said a man with a medieval mind, objected to the presence of the Old Catholics on his church’s property. Jane Whitehead bought the chapel from the board of the diocese and allowed Father Francis to remain in possession throughout the rest of his life.” (Evers, Woodstock: History of an American Town, pp. 582-583.)

 

Father Francis arrived in the summer of 1939 at the church, “which up until a few months ago seemed to be claimed only by the wilderness about it. (Kingston Daily Freeman. December 7, 1939.) Father Francis, with the help of three assistants, quickly went to work, clearing away the brush and making necessary repairs to the interior. The group, including Father Francis, Father Victor Boniface, Father Edwin and Brother Frank, lived in a house about a quarter mile down the road from the church. That house was owned by Mrs. C. Hinton, and “was known originally as the Snyder house, part of which still stands and which was one of the first two homes built in Woodstock.” (Kingston Daily Freeman. December 7, 1939.) The original intention of the group was to use the church as “nothing more than a monastic chapel,” but they quickly attracted an ever-growing attendance at Sunday services. The first service attracted 13 people, then 26 people a week later, and services soon had enough congregants that they were standing in the back of the church and even outside.

 

Since the arrival of Father Francis, the church has been affiliated with the Orthodox Church of the Western Rite. During the 1960s and 1970s Father Francis would gain a small degree of fame as the “hippie priest” for his kindness, understanding and service to the young people of the era. According to various sources, Father Francis spent time with Bob Dylan, a local resident of Woodstock in the mid-1960s, with the humble priest serving as the inspiration for Dylan’s song Father of Night. Folk singer Ramblin’ Jack Elliot was a frequent visitor at the chapel. Father Francis married famed sculptor Harvey Fite, creator of Opus 40, to Barbara Richards in 1944.

 

Father Francis lived a simple life during his time at Woodstock, once noting that “this may seem absurd but we are trying to be like the primitive Christians.” There was a small wood addition, now removed, that was added to the back of the Christ-on-the-Mount church to serve as a humble residence for Father Francis. In a 1941 profile, it was written that Father Francis did not receive a salary, but largely depended on donations of food from his flock. He did not own any property, and at the time was living in an abandoned corn crib which was given to him for free by the owner. There was no passing of a collection plate at church services, but a simple offertory box on the rear wall where donations could be made as one felt inclined. Donations at that time did not exceed $10 per week.

 

As it was then inconvenient in winter and impossible to hold year-round services at the Christ-on-the-Mount Church high up on the mountain, around 1940, Father Francis moved his church to the village of Woodstock along the Saugerties-Woodstock Road (what is now Route 212), where he converted a barn into what he would call St. Dunstan’s Church. The barn was originally constructed in the 1890s through a communal “raising bee,” where the men of the community came together to erect the structure. Under Father Francis, St. Dunstan’s Church quickly gained a small amount of popularity with both locals and tourists for its beautiful altar, wood carvings and decorative pieces, much of it handcrafted by Father Francis and his associates. When St. Dunstan’s Church was destroyed by fire in December 1945, Father Francis lost much of his worldly possessions, including the church organ, vestments, books, carvings and pictures, as well as all of his personal and household effects. Soon thereafter, Father Francis retreated to the Christ-on-the-Mount Church, where he would live and preach for the remainder of his life. Father Francis passed away on July 21, 1979.

 

On the morning of October 10, 2014, 35 years after the passing of Father Francis, I went to the Church of the Holy Transfiguration of Christ-on-the-Mount only expecting to take some exterior shots of the building. Although churches have historically kept their doors open around the clock in order to serve the community at any time of day or night, the world has changed, and likely due to theft, vandalism, etc., most churches are now locked while not in active use. After getting my exterior shots, I walked to the front door in the secret hope that it would be open. And surprise, it was.

 

“As you step through the door,” one newspaper article noted in the 1950s, “you find you have gone back to the 15th century, for it is truly a reproduction of early times.” (Saugerties Daily Post. September 30, 1954.) The interior design of the church, including the ornate lattice and woodcarvings found at and near the altar, were constructed by Father Francis. A decorative, medieval-like rood screen with carved Gothic and floral motifs separates the worship space from the liturgical center, and was once described as being “a work of art which would be a credit to the masters of the Renaissance.” (Kingston Daily Freeman. December 7, 1939) The rood screen and the surrounding walls are decorated with paintings of historic religious figures. The floor is laid with medium-width pine plank, seemingly original, running in an east-west direction.

 

Interior, Church of the Holy Transfiguration of Christ-on-the-Mount
The Church of the Holy Transfiguration of Christ-on-the-Mount is a simple, but picturesque, one-room church located high above the village of Woodstock.Church of the Holy Transfiguration of Christ-on-the-MountWoodstock, Ulster County

The Church of the Holy Transfiguration of Christ-on-the-Mount is a simple, but picturesque, one-room church located near the summit of Meads Mountain Road high above the village of Woodstock. The church, originally known as the Episcopalian Chapel of Ease, was constructed in 1891 to serve seasonal visitors at the neighboring Mead’s Mountain House and the nearby Overlook Mountain House.

Since 1948, with the arrival of Father William Francis (1885-1979), the church has been affiliated with the Orthodox Church of the Western Rite. During the 1960s Father Francis would gain a small degree of fame as the “hippie priest” for his kindness, understanding and service to the young people of the era. According to various sources, Father Francis also spent time with Bob Dylan (a local resident of Woodstock) in the mid 1960s, with the humble priest serving as the inspiration behind Dylan’s song Father of Night. Today the church is led by the equally charismatic Father John Nelson, who first attended Easter Sunday service with Father Francis in 1970, and now serves as a local community leader and founder of the Woodstock Council for World Peace.

The Church is listed on the National Register of Historic Places as an “architecturally significant . . . relatively intact example of seasonal ecclesiastical architecture” and “for its association with the seasonal tourist industry in Woodstock and the larger Catskill Mountain region during the nineteenth and early twentieth century.” (1) The church interior is adorned with “ornate lattice and woodcarvings” (2) created by Father Francis and artwork depicting a wide range of scriptural and religious figures.

References:
(1) Church of the Holy Transfiguration of Christ-on-the-Mount. National Park Service, nomination form for inclusion on the National Register of Historic Places, Washington D.C. 2004.
(2) Ibid.

The Church of the Holy Transfiguration of Christ-on-the-Mount is a simple, but picturesque, one-room church located high above the village of Woodstock.Church of the Holy Transfiguration of Christ-on-the-MountWoodstock, Ulster County

The Church of the Holy Transfiguration of Christ-on-the-Mount is a simple, but picturesque, one-room church located near the summit of Meads Mountain Road high above the village of Woodstock. The church, originally known as the Episcopalian Chapel of Ease, was constructed in 1891 to serve seasonal visitors at the neighboring Mead’s Mountain House and the nearby Overlook Mountain House.

Since 1948, with the arrival of Father William Francis (1885-1979), the church has been affiliated with the Orthodox Church of the Western Rite. During the 1960s Father Francis would gain a small degree of fame as the “hippie priest” for his kindness, understanding and service to the young people of the era. According to various sources, Father Francis also spent time with Bob Dylan (a local resident of Woodstock) in the mid 1960s, with the humble priest serving as the inspiration behind Dylan’s song Father of Night. Today the church is led by the equally charismatic Father John Nelson, who first attended Easter Sunday service with Father Francis in 1970, and now serves as a local community leader and founder of the Woodstock Council for World Peace.

The Church is listed on the National Register of Historic Places as an “architecturally significant . . . relatively intact example of seasonal ecclesiastical architecture” and “for its association with the seasonal tourist industry in Woodstock and the larger Catskill Mountain region during the nineteenth and early twentieth century.” (1) The church interior is adorned with “ornate lattice and woodcarvings” (2) created by Father Francis and artwork depicting a wide range of scriptural and religious figures.

References:
(1) Church of the Holy Transfiguration of Christ-on-the-Mount. National Park Service, nomination form for inclusion on the National Register of Historic Places, Washington D.C. 2004.
(2) Ibid.

The Church of the Holy Transfiguration of Christ-on-the-Mount is a simple, but picturesque, one-room church located high above the village of Woodstock.Church of the Holy Transfiguration of Christ-on-the-MountWoodstock, Ulster County

The Church of the Holy Transfiguration of Christ-on-the-Mount is a simple, but picturesque, one-room church located near the summit of Meads Mountain Road high above the village of Woodstock. The church, originally known as the Episcopalian Chapel of Ease, was constructed in 1891 to serve seasonal visitors at the neighboring Mead’s Mountain House and the nearby Overlook Mountain House.

Since 1948, with the arrival of Father William Francis (1885-1979), the church has been affiliated with the Orthodox Church of the Western Rite. During the 1960s Father Francis would gain a small degree of fame as the “hippie priest” for his kindness, understanding and service to the young people of the era. According to various sources, Father Francis also spent time with Bob Dylan (a local resident of Woodstock) in the mid 1960s, with the humble priest serving as the inspiration behind Dylan’s song Father of Night. Today the church is led by the equally charismatic Father John Nelson, who first attended Easter Sunday service with Father Francis in 1970, and now serves as a local community leader and founder of the Woodstock Council for World Peace.

The Church is listed on the National Register of Historic Places as an “architecturally significant . . . relatively intact example of seasonal ecclesiastical architecture” and “for its association with the seasonal tourist industry in Woodstock and the larger Catskill Mountain region during the nineteenth and early twentieth century.” (1) The church interior is adorned with “ornate lattice and woodcarvings” (2) created by Father Francis and artwork depicting a wide range of scriptural and religious figures.

References:
(1) Church of the Holy Transfiguration of Christ-on-the-Mount. National Park Service, nomination form for inclusion on the National Register of Historic Places, Washington D.C. 2004.
(2) Ibid.

 

With the surprise of the church being open, and my additional wonder at the interior being so religiously striking and beautiful, I quickly began to photograph, focusing on the woodwork, close-ups of the religious artifacts, etc. I was inside taking photographs for about 15 minutes when I was startled by someone behind me walking through the front door. It was Father John Nelson.

 

Father Nelson and I would wind up talking for several hours. He told me a little bit about the church, and himself and asked about my photography. After some time, he then told me he wanted to show me a religious relic that was very important to him, which was located in his basic, monk-like dwelling not too far from the church building.

 

Although I do not remember some of the particulars, Father Nelson told me about the history of the relic, and how he had traveled years before to northwest US in search of the abandoned dwelling of an esteemed pastor of his church denomination who had died years before. This pastor had lived the life of solitude in a secluded monk-like environment, but had still managed to be known to others in the church. With only the most basic of information, Father Nelson searched the woods for this home for several days, but to no avail. As he was about to give up, Father Nelson found the home, perhaps with some divine intervention, and much to his happiness.

 

Although the dwelling was in relative ruins after years of abandonment, Father Nelson did find this historic religious artifact with the charcoal inscription “memento mori” arched over a skull and crossbones. The powerful Latin phrase “memento mori” can be translated to “remember death,” “remember that you have to die” or “remember that you are mortal.” Closely associated with Christianity, “memento mori” serves as a moral lesson, reminding believers to lead a meaningful and virtuous life as your time on earth is fleeting. As death is inevitable it was not something to fear, and by contemplating your own mortality it would lead you to reflect on your life and the emptiness of earthly possessions, pleasures and achievements; and lead you to focus on the afterlife and the eternal gift of God.

 

Father John Nelson, Memento Mori

Father John Nelson, pastor at the Church of the Holy Transfiguration of Christ-on-the-Mount, is holding an historic religious artifact with the charcoal inscription “memento mori” arched over a skullFather John NelsonChurch of the Holy Transfiguration of Christ-on-the-Mount, Woodstock, Ulster County

Father John Nelson (seen here), pastor at the Church of the Holy Transfiguration of Christ-on-the-Mount, is holding an historic religious artifact with the charcoal inscription “memento mori” arched over a skull and crossbones. The powerful Latin phrase ‘memento mori’ can be translated to “remember death”, “remember that you have to die” or “remember that you are mortal”. Closely associated with Christianity, “memento mori” serves as a moral lesson, reminding believers to lead a meaningful and virtuous life as your time on earth is fleeting. As death is inevitable it was not something to fear, and by contemplating your own mortality it would lead you to reflect on your life and the emptiness of earthly possessions, pleasures and achievements; and lead you to focus on the afterlife and the eternal gift of God.

 

Father John Nelson asked me to take a picture of him with the religious artifact, and also asked if I could send him some of the photographs of the church that I had taken. After getting home several days after taking the photographs, I processed the photos and sent him the best ones in an email. He responded to the email with much thanks. The photos were later used as part of a fundraising campaign for the church to help fund needed repairs.

 

In my photography of the Catskills, I do not take many photographs with people, and if there are people, they are usually small, often non-descript, and used only to offer a point of interest or offer a contrast in size to the surrounding landscape. That being said, this photograph of Father John Nelson continues to be one of my favorite photographs that I have ever taken in the Catskills. I fondly remember the brief time spent with the charismatic Father Nelson and the beauty of the small mountaintop church.

 

The combination of the portrait element of Father John Nelson, wearing a winter coat and hat in the chilly autumn weather, standing outside the most rustic of living quarters, while he holds an incredibly interesting religious artifact with a powerful and timeless meaning, and knowing the very personal story of how the religious artifact was obtained, provide multiple points of interest, which, when seamlessly united, seem to perfectly capture that moment in time.

 

After meeting Father Nelson that day I tried to learn a little bit more about him, who, as I found out, had led quite an interesting and varied life. John Nelson was born in 1950 in Maryland and was raised by his grandparents. He had found his way to the village of Woodstock by the late 1960s, and first attended Easter Sunday service with Father Francis in 1970. On his first visit to the mountain church, Nelson recalled, “I was immediately struck by the reverence being shown toward God, something that did not exist in typical American churches. It was something very old, and you could feel it.” (Woodstock Times. March 12, 2015.)

 

Intervening years found Nelson living in an intentional community in Stony Hollow, marrying several times, working as a woodworker and carpenter, studying the Celtic church in Ireland for several years, and ultimately studying in the early 1990s at the Western Rite Orthodox Monastery in New Jersey under the mentorship of Father Theodore, a Russian priest who had escaped the revolution. He would also lead a cover band called the Beagles, which was dedicated to the music of the Beatles and the Eagles.

 

By around 1995, Nelson would follow in the footsteps of Father Francis and personally lead the Church of the Holy Transfiguration of Christ-on-the-Mount. While serving the church, “he built a beautiful baptistry by closing in the old pavilion, creating a sleeping area, and lived there as a monk, under simple, primitive conditions. He also worked on the church structure, rebuilding the rood screen and shoring up areas that were decaying.” (Woodstock Times. August 10, 2017.)

 

For the next 22 years until his passing, Nelson served as a prominent local community leader. He helped found the Woodstock Council for World Peace, led the Woodstock March for Peace and was instrumental in getting the church listed on the National Register of Historic Places in 2005. Father John Nelson died from liver cancer at Northern Dutchess Hospital on August 1, 2017. He is buried on the grounds of his beloved mountaintop church.

 

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[email protected] (American Catskills) architecture building Catskill Mountains Catskills Chapel of Ease Christ Church church Church of the Holy Transfiguration of Christ-on-the-Mount Father Francis Father John Nelson George Mead Jack Nelson John Nelson Meads Mountain House memento mori National Register of Historic Places New York Overlook Mountain Overlook Mountain House pastor photograph photography priest Richard Upjohn St. Dunstan's Church Ulster County William Henry Francis Woodstock https://www.americancatskills.com/blog/2024/3/father-john-nelson-memento-mori Sat, 23 Mar 2024 12:00:00 GMT
Woodstock Artists Cemetery: A Photographic Study https://www.americancatskills.com/blog/2024/3/woodstock-artists-cemetery-a-photographic-study Encircled by the everlasting hills

They rest here who added to the beauty of the world

By art, creative thought and by life itself.

                       - Dr. James T. Shotwell

 

Woodstock Artists CemeteryWoodstock Artists CemeteryArtists Cemetery, Woodstock, New York

They Rest HereThey Rest Here

RIP Ralph Radcliffe WhiteheadRIP Ralph Radcliffe Whitehead

 

Woodstock’s reverence for artists and their craft is not limited to the living, as the Woodstock Artists Cemetery pays eternal homage to local residents who have made their mark on the arts. Buried here are many great artists, musicians, writers, painters, sculptors and poets.

 

Among the well-known buried here are Milton Avery and Philip Guston, noted painters; Ralph Radcliffe Whitehead, Bolton Brown and Hervey White, co-founders of the Byrdcliffe Arts and Crafts Colony, now the oldest-operating arts colony in the country; Milton Glaser, graphic designer and creator of the I ♥ NY logo; and Howard Koch, who won an Academy Award as one of the screenwriters of the movie “Casablanca.”

 

The idea of the Woodstock Artists Cemetery was initiated in 1934 by John Kingsbury following the tragic death of his 18-year-old son, who died in a car accident while attending school in Andover, Massachusetts. Kingsbury, who had originally purchased an 80 ft. by 100 ft. plot of land on which to bury his son, was soon joined by his close friends Carl Lindin, James Shotwell, Bruno Zimm and James Stagg, who together purchased additional land to expand the cemetery. The Woodstock Memorial Society was officially established on November 4, 1934 to manage the cemetery.

 

In the hopes of preserving the natural environment and the beauty of the landscape, the cemetery established bylaws which prohibited many of the traditional symbols of grief. With the exception of the memorial to Ralph Radcliffe Whitehead, the cemetery requires that all gravestones are level to the earth. Cemetery bylaws also prohibit signs and grave mounds and containers for flowers were not permitted to rise more than two inches above the ground.

 

In line with their artistic backgrounds, many of the gravestones of the deceased include beautiful visual images such as a piano, a violin, a sailboat, a peace symbol, doves, musical notes, a sword, an acorn, a colorful sunburst, among many others. Some of the gravestones carry messages that attempt to sum up life in a few words such as “From Rain to Sunshine,” “He Has Loved the Stars Too Fondly to Be Fearful of the Night,” “Many Blessings on Your Sacred Journey,” “May All Beings Be Happy and Free from Suffering,” or “He Was a Man, Take Him for All in All I Shall Not Look Upon His Like Again.”  

 

At the top of the hill overlooking the cemetery, there is an imposing 10-ton bluestone monument set on a circular terrace that was created by sculptor Tomas Penning (1905-1982). The bluestone sculpture includes the inscription of Dr. James Shotwell’s words seen at the beginning of this blog post. Penning had settled in the hamlet of High Woods in Saugerties in the early 1930s and would become one of the leading sculptors in the village of Woodstock. He was an instructor for several years at the National Youth Administration Work Center in Woodstock. Penning honorably served during World War II from 1942 to 1946, including service in an army anti-aircraft unit in Tunis, North Africa.

 

The Woodstock Artists Cemetery is located at 12 Mountain View Avenue, just off Rock City Road, and only a short walk from the Village Green at the center of Woodstock. Visit the cemetery website at www.woodstockartistscemetery.org for more information.

 

RIP Clinton Woodbridge ParkerRIP Clinton Woodbridge Parker

Poet + Painter + PhilosopherPoet + Painter + Philosopher

RIP Albert GraeserRIP Albert Graeser

RIP AlekRIP Alek

RIP Richard E. TeeRIP Richard E. Tee

RIP Leonardo CiminoRIP Leonardo Cimino

ViolinistViolinist

At the EndAt the End

On the HorseOn the Horse

Many Blessings on Your Sacred JourneyMany Blessings on Your Sacred Journey

May All Beings Be Happy and Free From SufferingMay All Beings Be Happy and Free From SufferingRIP Carol Anderson, Woodstock Artists Cemetery.

PeacePeace

He was a manHe was a man

Seeds of LifeSeeds of Life

Cross of GodCross of God

Art at Woodstock Artists CemeteryArt at Woodstock Artists Cemetery

Our HomeOur Home

Crusader for PeaceCrusader for Peace

RIP Jenne Magafan ChavezRIP Jenne Magafan Chavez

The Song of LifeThe Song of Life

Two AcornsTwo Acorns

Reaching OutReaching Out

BugBug

Manhattanville College 1841Manhattanville College 1841

All I WantAll I Want

The Scenes of LifeThe Scenes of Life

LifeLife

RIP Hans J. CohnRIP Hans J. Cohn

 

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[email protected] (American Catskills) artists Catskill Mountains Catskills cemetery graves musicians New York painters poets Ralph Radcliffe Whitehead sculptors Tomas Penning Ulster County Woodstock Woodstock Artists Cemetery Woodstock Memorial Society writers https://www.americancatskills.com/blog/2024/3/woodstock-artists-cemetery-a-photographic-study Sat, 16 Mar 2024 12:00:00 GMT
John Kenneth Corbin: The First Aerial Photographs of Stamford, New York https://www.americancatskills.com/blog/2024/3/john-kenneth-corbin-the-first-aerial-photographs-of-stamford-new-york John Kenneth Corbin was born on September 5, 1902, the son of William and Mary Cowley Corbin. He was born in Stamford and graduated from the local high school. After high school he worked at the local railroad station for two years, before joining the National Bank of Stamford in 1923. He worked at the bank for over 40 years, from 1923 to his retirement in 1965. He was a veteran of the US Army during World War II, serving from December 1943 until his discharge in May 1945. He was an active member of the community, serving as a member of the Stamford Fire Department and the Methodist Church. He was a motorcycle enthusiast and an avid bowler, holding several local record high scores for many years.

 

Corbin was married to Eva Dederick on December 25, 1943 at Saugerties, New York. Eva worked as a teacher in the Stamford and South Kortright school systems for 23 years.

 

Mt. Utsayantha, Elev. 3365 Ft.Mt. Utsayantha, Elev. 3365 Ft.

 

In the late 1920s and early 1930s Corbin took to the air, earning his pilots license. Combining his love of flight and photography, Corbin took the first aerial pictures of the Stamford area in 1931. The first pictures were taken unassisted from his Allison monoplane with an ordinary No. 3 Brownie camera. The simple Brownie camera, first manufactured by the Eastman Kodak company in 1900, was inexpensive and easy to use, making it accessible to the general public and the growing population of amateur photographers. The No. 3 Brownie camera used by Corbin was manufactured from 1908 to 1934.

 

The Stamford Mirror-Recorder, the local newspaper, reported on these first aerial pictures in an article titled "First Airplane Views of Town." “One of the pictures, taken from a height of 1300 feet, shows how conspicuous as an identification mark the new pool in Indian Trail Park really is to visiting aviators. It also reveals that the South Street garage building of Cook & Son and the Stamford Opera House are two conspicuous landmarks, having as they do, two of the largest roof-spreads in town. The Cook & Son building especially stands out clearly and from its location it would make an ideal direction indicator for visiting pilots. The Hoagland garage block which already carries a direction arrow and the name of the airport, is clearly discernible at 1300 feet and should be instantly located by a pilot new to these parts. Stamford Arms stands out clearly as do the Belvedere and the Maselyn.

 

Another picture, taken at considerably greater height, looks directly down upon the Tower on Mt. Utsayantha – a white dot against a dark background. This picture shows what an unusually dense forest growth covers this mountain top. The automobile road which leads through the woods to the mountain top is completely hidden.” (Stamford Mirror-Recorder. September 17, 1931.)

 

In 1934 Corbin took a series of aerial photographs of Stamford, Mount Utsayantha, the village hotels and the surrounding region, pictures that were then made available for sale as postcards. Local resident Dayton Griffin piloted the plane while Corbin took the pictures.

 

“Stamford people who haven’t the courage to view their village from the air will soon have an opportunity to see what it looks like from above, through post cards which will shortly go on sale here . . .

 

Stamford people had forgotten that the village has a huge airport direction arrow painted on the roof of one of its larger buildings until they saw a picture taken by Mr. Corbin showing in sharp detail the West End area of Stamford village of which the Hoagland garage block was the center. There were many other pictures of various sections of the village, all unusually sharp and clear and giving a new and very favorable impression of the beautiful village in which we live.

 

Two of the pictures of the village were especially interesting. One shows the buildings which comprise The Maselyn Hotel group and Stamford Arms, together with Main Street and other buildings in that immediate section. The other picture shows the municipal pool in Indian Trail Park to splendid advantage.

 

Two unusually fine pictures of the New Rexmere Club Hotel have been obtained from the air by Mr. Corbin. In one picture the hotel and its immediate surroundings are beautifully reproduced. In the other picture the acres of lawns which spread out in all directions from the hotel are interestingly caught from a higher elevation.

 

Another view of the village is taken from the air from Hobart way and is quite inclusive. One of the prettiest pictures is that of The Chateau in Granthurst Park. Here a natural setting aids the camera and with close-cropped lawns and encircling trees the effect is pleasing indeed.

 

The Stamford Country Club, located on a sharply sloping hillside, has heretofore been difficult to photograph to advantage and as a result pictures for booklets have for years been taken showing the rear of the building. Part of Stamford’s picture problem this year was solved when Mr. Corbin took a picture of the club house from his plane. The picture is used in this year’s Stamford booklet issued by the Chamber of Commerce. Since that picture was taken, Mr. Corbin, flying at a much lower altitude, has secured an unusually fine picture.

 

The tower on Mt. Utsayantha and the automobile parking space on the top of this 3,365-foot peak were beautifully caught in a hazardous flight in which the plane must have barely skimmed the flag staff. The gnarled trees surrounding the tower which always attract the interest of the visitor are faithfully reproduced in the picture which incidentally is the first to be taken of the tower from the air.

 

There are other fine pictures of various sections of the village showing The Terrace, The Madison, the Watson Greenhouses, etc.

 

There were two other pictures of unusual interest. One a “still,” taken on Main Street during the flood of last March when West End residents in Stamford worked desperately nearly all day Sunday, March 4th, to truck away or break up the ice jams that formed constantly at the rear of Main Street business places on the upstream side. When the trucks proved too slow to handle the ice a double line of men extending across the street was formed and the cakes were broken up into small pieces and shoved through a manhole on the opposite side of the street, below the plugged culvert. The picture shows the string of men in action, with cakes of ice which they couldn’t for the moment handle spreading out upon the street.

 

The other picture, taken from the air, gives an impressive close-up of the mighty torrent that pours over Gilboa dam when the Old Schoharie Creek goes on a rampage. The camera caught it – mist and all.

 

The pictures, particularly those of Stamford, should provide something of interest for those who are ever seeking “something different” for their booklets.” (Stamford Mirror-Recorder. July 12, 1934.)

 

Upon his retirement from the National Bank of Stamford in 1965, Corbin and his wife moved to Bradenton, Florida. Corbin passed away a few years later after an extended illness on December 21, 1971 at the Manatee Memorial Hospital in Bradenton, Florida. Funeral services were held at Hall Funeral Home in Stamford, with Reverend William R. Phinney, pastor of the Jefferson United Methodist Church, officiating. John Kenneth Corbin and his wife Eva are both buried at Stamford Cemetery in Stamford, New York.

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[email protected] (American Catskills) Catskills aerial airplane Catskill Mountains County" Delaware Eva Dederick J. K. Corbin John Kenneth Corbin Ken Corbin Kenneth Corbin National Bank of Stamford New York photographer photographs photography photos pictures pilot plane postcards Stamford https://www.americancatskills.com/blog/2024/3/john-kenneth-corbin-the-first-aerial-photographs-of-stamford-new-york Sat, 09 Mar 2024 13:00:00 GMT
Crispell Memorial French Church and Burying Ground https://www.americancatskills.com/blog/2024/3/crispell-memorial-french-church-and-burying-ground The Crispell Memorial French Church, to the surprise of many, is actually a 1972 reconstructed interpretation of the first 1717 stone church in New Paltz. The original church, which was also used as a school, served the early settlement for 56 years when a larger church was built to accommodate the growing congregation. The church is named for Antoine Crispell, one of the twelve founders of New Paltz. The adjacent Burying Ground contains many graves of the original 12 founding families of New Paltz. The last burial took place here in 1864.

 

New Paltz was founded in 1678 by French Huguenots, Protestant followers of John Calvin who had escaped religious persecution in France and emigrated to religiously tolerant countries around the world, including the United States. With the purchase of nearly 40,000 acres of land from the Esopus Indians, the 12 founding families, referred to as the Patentees (as they held the legal patent to the land), quickly left their young Kingston and Hurley homes and established a permanent settlement and farming community along the Wallkill River.

 

Peaceful Huguenot Street in downtown New Paltz offers a step back in time to these early days of the village. Charming, Dutch-inspired stone houses, many now active museums, provide a glimpse of what life was like in the 17th, 18th, and 19th centuries. Visitors can admire the quality architecture at the Freer House, Abraham Hasbrouck House, Bevier-Elting House, DuBois Fort, Jean Hasbrouck House and the LeFevre House, as well as a reconstructed 1717 church. There is also an 18th century burial ground, a visitor center, educational exhibits and many of the homes are open for tours. Huguenot Street, marketing itself as “the oldest street in America with its original houses”, is listed on the register of National Historic Landmark Districts.

 

Crispell Memorial French Church and Burying Ground is located along historic Huguenot Street in New Paltz, New York.Morning Light at the Crispell Memorial French Church and Burying GroundThe Crispell Memorial French Church, to the surprise of many, is actually a 1972 reconstructed interpretation of the first 1717 stone church in New Paltz. The original church, which was also used as a school, served the early settlement for 56 years when a larger church was built to accommodate the growing congregation. The church is named for Antoine Crispell, one of the twelve founders of New Paltz. The adjacent Burying Ground contains many graves of the original 12 founding families of New Paltz. The last burial took place here in 1864.

New Paltz was founded in 1678 by French Huguenots, Protestant followers of John Calvin who had escaped religious persecution in France and emigrated to religiously tolerant countries around the world, including the United States. With the purchase of nearly 40,000 acres of land from the Esopus Indians, the 12 founding families, referred to as the Patentees (as they held the legal patent to the land), quickly left their young Kingston and Hurley homes and established a permanent settlement and farming community along the Wallkill River.

Peaceful Huguenot Street in downtown New Paltz offers a step back in time to these early days of the village. Charming, Dutch-inspired stone houses, many now active museums, provide a glimpse of what life was like in the 17th, 18th, and 19th centuries. Visitors can admire the quality architecture at the Freer House, Abraham Hasbrouck House, Bevier-Elting House, DuBois Fort, Jean Hasbrouck House and the LeFevre House, as well as a reconstructed 1717 church. There is also an 18th century burial ground, a visitor center, educational exhibits and many of the homes are open for tours. Huguenot Street, marketing itself as “the oldest street in America with its original houses”, is listed on the register of National Historic Landmark Districts.

Crispell Memorial French Church and Burying Ground is located along historic Huguenot Street in New Paltz, New York.Crispell Memorial French Church and Burying GroundThe Crispell Memorial French Church, to the surprise of many, is actually a 1972 reconstructed interpretation of the first 1717 stone church in New Paltz. The original church, which was also used as a school, served the early settlement for 56 years when a larger church was built to accommodate the growing congregation. The church is named for Antoine Crispell, one of the twelve founders of New Paltz. The adjacent Burying Ground contains many graves of the original 12 founding families of New Paltz. The last burial took place here in 1864.

New Paltz was founded in 1678 by French Huguenots, Protestant followers of John Calvin who had escaped religious persecution in France and emigrated to religiously tolerant countries around the world, including the United States. With the purchase of nearly 40,000 acres of land from the Esopus Indians, the 12 founding families, referred to as the Patentees (as they held the legal patent to the land), quickly left their young Kingston and Hurley homes and established a permanent settlement and farming community along the Wallkill River.

Peaceful Huguenot Street in downtown New Paltz offers a step back in time to these early days of the village. Charming, Dutch-inspired stone houses, many now active museums, provide a glimpse of what life was like in the 17th, 18th, and 19th centuries. Visitors can admire the quality architecture at the Freer House, Abraham Hasbrouck House, Bevier-Elting House, DuBois Fort, Jean Hasbrouck House and the LeFevre House, as well as a reconstructed 1717 church. There is also an 18th century burial ground, a visitor center, educational exhibits and many of the homes are open for tours. Huguenot Street, marketing itself as “the oldest street in America with its original houses”, is listed on the register of National Historic Landmark Districts.

Crispell Memorial French Church and Burying Ground is located along historic Huguenot Street in New Paltz, New York.The Light of GodThe Crispell Memorial French Church, to the surprise of many, is actually a 1972 reconstructed interpretation of the first 1717 stone church in New Paltz. The original church, which was also used as a school, served the early settlement for 56 years when a larger church was built to accommodate the growing congregation. The church is named for Antoine Crispell, one of the twelve founders of New Paltz. The adjacent Burying Ground contains many graves of the original 12 founding families of New Paltz. The last burial took place here in 1864.

New Paltz was founded in 1678 by French Huguenots, Protestant followers of John Calvin who had escaped religious persecution in France and emigrated to religiously tolerant countries around the world, including the United States. With the purchase of nearly 40,000 acres of land from the Esopus Indians, the 12 founding families, referred to as the Patentees (as they held the legal patent to the land), quickly left their young Kingston and Hurley homes and established a permanent settlement and farming community along the Wallkill River.

Peaceful Huguenot Street in downtown New Paltz offers a step back in time to these early days of the village. Charming, Dutch-inspired stone houses, many now active museums, provide a glimpse of what life was like in the 17th, 18th, and 19th centuries. Visitors can admire the quality architecture at the Freer House, Abraham Hasbrouck House, Bevier-Elting House, DuBois Fort, Jean Hasbrouck House and the LeFevre House, as well as a reconstructed 1717 church. There is also an 18th century burial ground, a visitor center, educational exhibits and many of the homes are open for tours. Huguenot Street, marketing itself as “the oldest street in America with its original houses”, is listed on the register of National Historic Landmark Districts.

Crispell Memorial French Church and Burying Ground is located along historic Huguenot Street in New Paltz, New York.Autumn at the Crispell Memorial French ChurchThe Crispell Memorial French Church, to the surprise of many, is actually a 1972 reconstructed interpretation of the first 1717 stone church in New Paltz. The original church, which was also used as a school, served the early settlement for 56 years when a larger church was built to accommodate the growing congregation. The church is named for Antoine Crispell, one of the twelve founders of New Paltz. The adjacent Burying Ground contains many graves of the original 12 founding families of New Paltz. The last burial took place here in 1864.

New Paltz was founded in 1678 by French Huguenots, Protestant followers of John Calvin who had escaped religious persecution in France and emigrated to religiously tolerant countries around the world, including the United States. With the purchase of nearly 40,000 acres of land from the Esopus Indians, the 12 founding families, referred to as the Patentees (as they held the legal patent to the land), quickly left their young Kingston and Hurley homes and established a permanent settlement and farming community along the Wallkill River.

Peaceful Huguenot Street in downtown New Paltz offers a step back in time to these early days of the village. Charming, Dutch-inspired stone houses, many now active museums, provide a glimpse of what life was like in the 17th, 18th, and 19th centuries. Visitors can admire the quality architecture at the Freer House, Abraham Hasbrouck House, Bevier-Elting House, DuBois Fort, Jean Hasbrouck House and the LeFevre House, as well as a reconstructed 1717 church. There is also an 18th century burial ground, a visitor center, educational exhibits and many of the homes are open for tours. Huguenot Street, marketing itself as “the oldest street in America with its original houses”, is listed on the register of National Historic Landmark Districts.

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[email protected] (American Catskills) Abraham Hasbrouck House architecture Bevier-Elting House building burial burial ground burying ground church congregation Crispell Memorial French Church DuBois Fort educational Esopus Indians exhibit family field stone founder France Freer House grave headstone Historic Huguenot Street home house Huguenot Huguenot Street Jean Hasbrouck House John Calvin LeFevre House museum National Historic Landmark District New Paltz Patentee persecution Protestant religion school settlement stone tours United States village visitor center Wallkill River https://www.americancatskills.com/blog/2024/3/crispell-memorial-french-church-and-burying-ground Sat, 02 Mar 2024 13:00:00 GMT
The Rondout Effect https://www.americancatskills.com/blog/2024/2/the-rondout-effect The Rondout Effect, located at the Riverport Wooden Boat School in Kingston, New York, is an impressive mural depicting scenes typical of the Rondout District including boating, the Rondout Lighthouse, and the buildings of the Strand. The mural was created in conjunction with the 2017 and 8th annual O+ festival. It is the first O+ mural in the downtown section of Kingston.

 

The Rondout Effect is the creation of local artist Matthew Pleva, a Kingston native and SUNY Purchase graduate. This is Pleva’s second work for the O+ festival. His first, titled Hobgoblin of Old Dutch Church, prominently overlooks Peace Park in the Stockade District of Kingston, New York. The Hobgoblin mural features several icons of the Kingston landscape including the Old Dutch Church and Jansen House as well as the famed hobgoblin of Kingston lore. Visit Matthew’s website at www.matthewpleva.com for more information about this amazing artist or visit him at his store, The Art Riot.

 

The O+ festival is a 3-day event where artists and musicians exchange their participation for basic health care, dental and wellness services. Billed as “The Art of Medicine for the Medicine of Art”, the growing Kingston event features many forms of art media including paint, sculpture, dance, performance art and music. The first Kingston O+ festival took place in 2010. The most visible aspect of the festival is the large-scale murals seen throughout the city.

 

Mural by Matthew Pleva at the Riverport Wooden Boat School in the Rondout District of Kingston, New York depicting the Rondout Lighthouse, buildings of the Strand, a Viking ship, small boat fishermenThe Rondout EffectKingston, Ulster County

The Rondout Effect, located at the Riverport Wooden Boat School in Kingston, New York, is an impressive mural depicting scenes typical of the Rondout District including boating, the Rondout Lighthouse, and the buildings of the Strand. The mural was created in conjunction with the 2017 and 8th annual O+ festival. It is the first O+ mural in the downtown section of Kingston.

The Rondout Effect is the creation of local artist Matthew Pleva, a Kingston native and SUNY Purchase graduate. This is Pleva’s second work for the O+ festival. His first, titled Hobgoblin of Old Dutch Church, prominently overlooks Peace Park in the Stockade District of Kingston, New York. The Hobgoblin mural features several icons of the Kingston landscape including the Old Dutch Church and Jansen House as well as the famed hobgoblin of Kingston lore. Visit Matthew’s website at www.matthewpleva.com for more information about this amazing artist or visit him at his store, The Art Riot.

The O+ festival is a 3-day event where artists and musicians exchange their participation for basic health care, dental and wellness services. Billed as “The Art of Medicine for the Medicine of Art”, the growing Kingston event features many forms of art media including paint, sculpture, dance, performance art and music. The first Kingston O+ festival took place in 2010. The most visible aspect of the festival is the large-scale murals seen throughout the city.

Mural by Matthew Pleva at the Riverport Wooden Boat School in the Rondout District of Kingston, New York depicting the Rondout Lighthouse, buildings of the Strand, a Viking ship, small boat fishermenThe Rondout EffectKingston, Ulster County

The Rondout Effect, located at the Riverport Wooden Boat School in Kingston, New York, is an impressive mural depicting scenes typical of the Rondout District including boating, the Rondout Lighthouse, and the buildings of the Strand. The mural was created in conjunction with the 2017 and 8th annual O+ festival. It is the first O+ mural in the downtown section of Kingston.

The Rondout Effect is the creation of local artist Matthew Pleva, a Kingston native and SUNY Purchase graduate. This is Pleva’s second work for the O+ festival. His first, titled Hobgoblin of Old Dutch Church, prominently overlooks Peace Park in the Stockade District of Kingston, New York. The Hobgoblin mural features several icons of the Kingston landscape including the Old Dutch Church and Jansen House as well as the famed hobgoblin of Kingston lore. Visit Matthew’s website at www.matthewpleva.com for more information about this amazing artist or visit him at his store, The Art Riot.

The O+ festival is a 3-day event where artists and musicians exchange their participation for basic health care, dental and wellness services. Billed as “The Art of Medicine for the Medicine of Art”, the growing Kingston event features many forms of art media including paint, sculpture, dance, performance art and music. The first Kingston O+ festival took place in 2010. The most visible aspect of the festival is the large-scale murals seen throughout the city.

Mural by Matthew Pleva at the Riverport Wooden Boat School in the Rondout District of Kingston, New York depicting the Rondout Lighthouse, buildings of the Strand, a Viking ship, small boat fishermenThe Rondout EffectKingston, Ulster County

The Rondout Effect, located at the Riverport Wooden Boat School in Kingston, New York, is an impressive mural depicting scenes typical of the Rondout District including boating, the Rondout Lighthouse, and the buildings of the Strand. The mural was created in conjunction with the 2017 and 8th annual O+ festival. It is the first O+ mural in the downtown section of Kingston.

The Rondout Effect is the creation of local artist Matthew Pleva, a Kingston native and SUNY Purchase graduate. This is Pleva’s second work for the O+ festival. His first, titled Hobgoblin of Old Dutch Church, prominently overlooks Peace Park in the Stockade District of Kingston, New York. The Hobgoblin mural features several icons of the Kingston landscape including the Old Dutch Church and Jansen House as well as the famed hobgoblin of Kingston lore. Visit Matthew’s website at www.matthewpleva.com for more information about this amazing artist or visit him at his store, The Art Riot.

The O+ festival is a 3-day event where artists and musicians exchange their participation for basic health care, dental and wellness services. Billed as “The Art of Medicine for the Medicine of Art”, the growing Kingston event features many forms of art media including paint, sculpture, dance, performance art and music. The first Kingston O+ festival took place in 2010. The most visible aspect of the festival is the large-scale murals seen throughout the city.

Mural by Matthew Pleva at the Riverport Wooden Boat School in the Rondout District of Kingston, New York depicting the Rondout Lighthouse, buildings of the Strand, a Viking ship, small boat fishermenThe Rondout EffectKingston, Ulster County

The Rondout Effect, located at the Riverport Wooden Boat School in Kingston, New York, is an impressive mural depicting scenes typical of the Rondout District including boating, the Rondout Lighthouse, and the buildings of the Strand. The mural was created in conjunction with the 2017 and 8th annual O+ festival. It is the first O+ mural in the downtown section of Kingston.

The Rondout Effect is the creation of local artist Matthew Pleva, a Kingston native and SUNY Purchase graduate. This is Pleva’s second work for the O+ festival. His first, titled Hobgoblin of Old Dutch Church, prominently overlooks Peace Park in the Stockade District of Kingston, New York. The Hobgoblin mural features several icons of the Kingston landscape including the Old Dutch Church and Jansen House as well as the famed hobgoblin of Kingston lore. Visit Matthew’s website at www.matthewpleva.com for more information about this amazing artist or visit him at his store, The Art Riot.

The O+ festival is a 3-day event where artists and musicians exchange their participation for basic health care, dental and wellness services. Billed as “The Art of Medicine for the Medicine of Art”, the growing Kingston event features many forms of art media including paint, sculpture, dance, performance art and music. The first Kingston O+ festival took place in 2010. The most visible aspect of the festival is the large-scale murals seen throughout the city.

Mural by Matthew Pleva at the Riverport Wooden Boat School in the Rondout District of Kingston, New York depicting the Rondout Lighthouse, buildings of the Strand, a Viking ship, small boat fishermenThe Rondout EffectKingston, Ulster County

The Rondout Effect, located at the Riverport Wooden Boat School in Kingston, New York, is an impressive mural depicting scenes typical of the Rondout District including boating, the Rondout Lighthouse, and the buildings of the Strand. The mural was created in conjunction with the 2017 and 8th annual O+ festival. It is the first O+ mural in the downtown section of Kingston.

The Rondout Effect is the creation of local artist Matthew Pleva, a Kingston native and SUNY Purchase graduate. This is Pleva’s second work for the O+ festival. His first, titled Hobgoblin of Old Dutch Church, prominently overlooks Peace Park in the Stockade District of Kingston, New York. The Hobgoblin mural features several icons of the Kingston landscape including the Old Dutch Church and Jansen House as well as the famed hobgoblin of Kingston lore. Visit Matthew’s website at www.matthewpleva.com for more information about this amazing artist or visit him at his store, The Art Riot.

The O+ festival is a 3-day event where artists and musicians exchange their participation for basic health care, dental and wellness services. Billed as “The Art of Medicine for the Medicine of Art”, the growing Kingston event features many forms of art media including paint, sculpture, dance, performance art and music. The first Kingston O+ festival took place in 2010. The most visible aspect of the festival is the large-scale murals seen throughout the city.

Mural by Matthew Pleva at the Riverport Wooden Boat School in the Rondout District of Kingston, New York depicting the Rondout Lighthouse, buildings of the Strand, a Viking ship, small boat fishermenThe Rondout EffectKingston, Ulster County

The Rondout Effect, located at the Riverport Wooden Boat School in Kingston, New York, is an impressive mural depicting scenes typical of the Rondout District including boating, the Rondout Lighthouse, and the buildings of the Strand. The mural was created in conjunction with the 2017 and 8th annual O+ festival. It is the first O+ mural in the downtown section of Kingston.

The Rondout Effect is the creation of local artist Matthew Pleva, a Kingston native and SUNY Purchase graduate. This is Pleva’s second work for the O+ festival. His first, titled Hobgoblin of Old Dutch Church, prominently overlooks Peace Park in the Stockade District of Kingston, New York. The Hobgoblin mural features several icons of the Kingston landscape including the Old Dutch Church and Jansen House as well as the famed hobgoblin of Kingston lore. Visit Matthew’s website at www.matthewpleva.com for more information about this amazing artist or visit him at his store, The Art Riot.

The O+ festival is a 3-day event where artists and musicians exchange their participation for basic health care, dental and wellness services. Billed as “The Art of Medicine for the Medicine of Art”, the growing Kingston event features many forms of art media including paint, sculpture, dance, performance art and music. The first Kingston O+ festival took place in 2010. The most visible aspect of the festival is the large-scale murals seen throughout the city.

Mural by Matthew Pleva at the Riverport Wooden Boat School in the Rondout District of Kingston, New York depicting the Rondout Lighthouse, buildings of the Strand, a Viking ship, small boat fishermenThe Rondout EffectKingston, Ulster County

The Rondout Effect, located at the Riverport Wooden Boat School in Kingston, New York, is an impressive mural depicting scenes typical of the Rondout District including boating, the Rondout Lighthouse, and the buildings of the Strand. The mural was created in conjunction with the 2017 and 8th annual O+ festival. It is the first O+ mural in the downtown section of Kingston.

The Rondout Effect is the creation of local artist Matthew Pleva, a Kingston native and SUNY Purchase graduate. This is Pleva’s second work for the O+ festival. His first, titled Hobgoblin of Old Dutch Church, prominently overlooks Peace Park in the Stockade District of Kingston, New York. The Hobgoblin mural features several icons of the Kingston landscape including the Old Dutch Church and Jansen House as well as the famed hobgoblin of Kingston lore. Visit Matthew’s website at www.matthewpleva.com for more information about this amazing artist or visit him at his store, The Art Riot.

The O+ festival is a 3-day event where artists and musicians exchange their participation for basic health care, dental and wellness services. Billed as “The Art of Medicine for the Medicine of Art”, the growing Kingston event features many forms of art media including paint, sculpture, dance, performance art and music. The first Kingston O+ festival took place in 2010. The most visible aspect of the festival is the large-scale murals seen throughout the city.

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[email protected] (American Catskills) art artist dance festival Hobgoblin of Old Dutch Church Kingston Matthew Pleva medicine mural music O positive festival O+ Festival paint Peace Park performance art Riverport Wooden Boat School Rondout District sculpture Stockade District The Rondout Effect Ulster County https://www.americancatskills.com/blog/2024/2/the-rondout-effect Sat, 24 Feb 2024 13:00:00 GMT
Heading to Kingston Point https://www.americancatskills.com/blog/2024/2/heading-to-kingston-point The non-profit Trolley Museum of New York, located in the Rondout waterfront section of Kingston, has on display trolley cars from around the world. Visitors can also hop on to take a 1 ½ mile trolley ride with stops at T. R. Gallo Park and out to Kingston Point, all while taking in great views of the Hudson River and the Rondout Lighthouse.

 

Trolley #358, seen here, is making its way towards Kingston Point. This trolley originally operated in Johnstown, Pennsylvania. It was manufactured in 1925 by the St. Louis Car Co. for the Johnstown Traction Company. After Johnstown abandoned its street railway in June 1960 the car was sent to Stone Mountain, Georgia, where it operated as part of a tourist ride around the mountain. The Trolley Museum of New York then acquired trolley #358 in 1991 and undertook an extensive restoration. In 2000 trolley #358 began to carry its first Kingston passengers and continues this service today. The trolley weighs 38,380 pounds and originally had seating capacity for 44.

 

For more information about the Trolley Museum and the trolley rides, check out their website at www.tmny.com.

 

Visitors to the Trolley Museum of New York, located in the Rondout waterfront section of Kingston, can hop on a working trolley to take a 1 ½ mile trolley ride out to Kingston Point.A Step Back in TimeKingston, Ulster County

The non-profit Trolley Museum of New York, located in the Rondout waterfront section of Kingston, has on display trolley cars from around the world. Visitors can also hop on to take a 1 ½ mile trolley ride with stops at T. R. Gallo Park and out to Kingston Point, all while taking in great views of the Hudson River and the Rondout Lighthouse.

Trolley #358, seen here, is making its way towards Kingston Point. This trolley originally operated in Johnstown, Pennsylvania. It was manufactured in 1925 by the St. Louis Car Co. for the Johnstown Traction Company. After Johnstown abandoned its street railway in June 1960 the car was sent to Stone Mountain, Georgia, where it operated as part of a tourist ride around the mountain. The Trolley Museum of New York then acquired trolley #358 in 1991 and undertook an extensive restoration. In 2000 trolley #358 began to carry its first Kingston passengers and continues this service today. The trolley weighs 38,380 pounds and originally had seating capacity for 44.

For more information about the Trolley Museum and the trolley rides, check out their website at www.tmny.com.

 

Visitors to the Trolley Museum of New York, located in the Rondout waterfront section of Kingston, can hop on a working trolley to take a 1 ½ mile trolley ride out to Kingston Point.Heading to Kingston PointKingston, Ulster County

The non-profit Trolley Museum of New York, located in the Rondout waterfront section of Kingston, has on display trolley cars from around the world. Visitors can also hop on to take a 1 ½ mile trolley ride with stops at T. R. Gallo Park and out to Kingston Point, all while taking in great views of the Hudson River and the Rondout Lighthouse.

Trolley #358, seen here, is making its way towards Kingston Point. This trolley originally operated in Johnstown, Pennsylvania. It was manufactured in 1925 by the St. Louis Car Co. for the Johnstown Traction Company. After Johnstown abandoned its street railway in June 1960 the car was sent to Stone Mountain, Georgia, where it operated as part of a tourist ride around the mountain. The Trolley Museum of New York then acquired trolley #358 in 1991 and undertook an extensive restoration. In 2000 trolley #358 began to carry its first Kingston passengers and continues this service today. The trolley weighs 38,380 pounds and originally had seating capacity for 44.

For more information about the Trolley Museum and the trolley rides, check out their website at www.tmny.com.

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[email protected] (American Catskills) 325 car Catskill Mountains Catskills fare Georgia Heading to Kingston Point Hudson River Johnstown Johnstown Traction Company Kingston mountain museum New York passengers Pennsylvania railway ride Rondout Rondout Lighthouse St. Louis Car Co. Stone Mountain street T. R. Gallo Park trolley Trolley Museum Trolley Museum of New York Ulster County water waterfront https://www.americancatskills.com/blog/2024/2/heading-to-kingston-point Sat, 17 Feb 2024 13:00:00 GMT
The Statues of Academy Green, Kingston, New York https://www.americancatskills.com/blog/2024/2/the-statues-of-academy-green-kingston-new-york Academy Green holds a distinguished place in Kingston’s history. Governor Peter Stuyvesant negotiated a peace treaty here in 1660 between early settlers and the local Esopus Indians. Ulster County troops drilled on the site prior to entering the Civil War. From 1830 to 1916, Academy Green was the site of the Kingston Academy, the oldest preparatory school in New York State, which instructed students on mathematics, science, the arts and languages. After the Kingston Academy’s demolition in 1916, with students moving to a new location at the Kingston High School, Academy Green became a park in 1918. 

 

Academy Green is home to three 11-foot bronze sculptures of Peter Stuyvesant, George Clinton and Henry Hudson, each of whom left a lasting impact on the Kingston region. The 1898 monuments are the work of noted sculptor John Massey Rhind (1860-1936) and were produced by the Gorham Manufacturing Company in New York. The statues were originally located Exchange Court building in Manhattan. When that building was being remodeled in the late 1940s, the sculptures, unbelievably, wound up in a junkyard as scrap. Fortunately, after seeing a newspaper article about the building remodeling, Emily Crane Chadbourne, president of Kingston’s Senate House Association, tracked down the junkyard and sought to rescue the statues. She purchased and donated the statues to the city of Kingston. The statues were installed on large pedestals of local bluestone at Academy Green, and a dedication ceremony led my Kingston Mayor Oscar Newkirk took place in June 1950. 

 

George Clinton (1739-1812) led a remarkable career and left a lasting legacy on both his home state of New York and his country. He was the first Governor of New York and served for 21 years, the longest serving governor in state history. He was a delegate to the 2nd Continental Congress, served honorably as a Brigadier General in the Continental Army during the American Revolution and is considered by many to be one of the Founding Fathers of the country. Clinton served as Vice President of the United States under two different presidents, Thomas Jefferson and James Madison, one of only two men to hold that distinction. He is buried at the Old Dutch Church in the Stockade District of Kingston.

 

Peter Stuyvesant (1612-1672) was the Director General (i.e. Governor) of New Netherlands, a Dutch colony, from 1647 until 1664. In 1664, the English gained control of New Amsterdam, and thus all of the New Netherlands colony, and it was renamed New York. Stuyvesant left a lasting legacy on the colony with the introduction of strict new laws, establishment of a municipal government and the expansion of the colony beyond Manhattan.

 

Henry Hudson (c. 1570-1611) was an English sea explorer. In 1609, working on behalf of the Dutch East India Company, Hudson was the first European to sail up the Hudson River (obviously named in his honor). His explorations led to the Dutch colonization of the region, the establishment of New Netherland and the settlement of Kingston (then known as Wiltwyck).

 

George Clinton

Academy Green in Kingston, New York is home to monuments of Peter Stuyvesant, Henry Hudson and George Clinton.George ClintonAcademy Green, Kingston, Ulster County

Academy Green holds a distinguished place in Kingston’s history. Governor Peter Stuyvesant negotiated a peace treaty here in 1660 between early settlers and the local Esopus Indians. Ulster County troops drilled on the site prior to entering the Civil War. From 1830 to 1916, Academy Green was the site of the Kingston Academy, the oldest preparatory school in New York State, which instructed students on mathematics, science, the arts and languages. After the Kingston Academy’s demolition in 1916, with students moving to a new location at the Kingston High School, Academy Green became a park in 1918.

Academy Green is home to three 11-foot bronze sculptures of Peter Stuyvesant, George Clinton and Henry Hudson, each of whom left a lasting impact on the Kingston region. The 1898 monuments are the work of noted sculptor John Massey Rhind (1860-1936) and were produced by the Gorham Manufacturing Company in New York. The statues were originally located Exchange Court building in Manhattan. When that building was being remodeled in the late 1940s, the sculptures, unbelievably, wound up in a junkyard as scrap. Fortunately, after seeing a newspaper article about the building remodeling, Emily Crane Chadbourne, president of Kingston’s Senate House Association, tracked down the junkyard and sought to rescue the statues. She purchased and donated the statues to the city of Kingston. The statues were installed on large pedestals of local bluestone at Academy Green, and a dedication ceremony led my Kingston Mayor Oscar Newkirk took place in June 1950.

George Clinton (1739-1812), pictured here, led a remarkable career and left a lasting legacy on both his home state of New York and his country. He was the first Governor of New York and served for 21 years, the longest serving governor in state history. He was a delegate to the 2nd Continental Congress, served honorably as a Brigadier General in the Continental Army during the American Revolution and is considered by many to be one of the Founding Fathers of the country. Clinton served as Vice President of the United States under two different presidents, Thomas Jefferson and James Madison, one of only two men to hold that distinction. He is buried at the Old Dutch Church in the Stockade District of Kingston.

 

Peter Stuyvesant

Academy Green in Kingston, New York is home to monuments of Peter Stuyvesant, Henry Hudson and George Clinton.Peter StuyvesantAcademy Green, Kingston, Ulster County

Academy Green holds a distinguished place in Kingston’s history. Governor Peter Stuyvesant negotiated a peace treaty here in 1660 between early settlers and the local Esopus Indians. Ulster County troops drilled on the site prior to entering the Civil War. From 1830 to 1916, Academy Green was the site of the Kingston Academy, the oldest preparatory school in New York State, which instructed students on mathematics, science, the arts and languages. After the Kingston Academy’s demolition in 1916, with students moving to a new location at the Kingston High School, Academy Green became a park in 1918.

Academy Green is home to three 11-foot bronze sculptures of Peter Stuyvesant, George Clinton and Henry Hudson, each of whom left a lasting impact on the Kingston region. The 1898 monuments are the work of noted sculptor John Massey Rhind (1860-1936) and were produced by the Gorham Manufacturing Company in New York. The statues were originally located Exchange Court building in Manhattan. When that building was being remodeled in the late 1940s, the sculptures, unbelievably, wound up in a junkyard as scrap. Fortunately, after seeing a newspaper article about the building remodeling, Emily Crane Chadbourne, president of Kingston’s Senate House Association, tracked down the junkyard and sought to rescue the statues. She purchased and donated the statues to the city of Kingston. The statues were installed on large pedestals of local bluestone at Academy Green, and a dedication ceremony led my Kingston Mayor Oscar Newkirk took place in June 1950.

Peter Stuyvesant (1612-1672), pictured here, was the Director General (i.e. Governor) of New Netherlands, a Dutch colony, from 1647 until 1664. In 1664, the English gained control of New Amsterdam, and thus all of the New Netherlands colony, and it was renamed New York. Stuyvesant left a lasting legacy on the colony with the introduction of strict new laws, establishment of a municipal government and the expansion of the colony beyond Manhattan.

 

Henry Hudson

Academy Green in Kingston, New York is home to monuments of Peter Stuyvesant, Henry Hudson and George Clinton.Henry HudsonAcademy Green, Kingston, Ulster County

Academy Green holds a distinguished place in Kingston’s history. Governor Peter Stuyvesant negotiated a peace treaty here in 1660 between early settlers and the local Esopus Indians. Ulster County troops drilled on the site prior to entering the Civil War. From 1830 to 1916, Academy Green was the site of the Kingston Academy, the oldest preparatory school in New York State, which instructed students on mathematics, science, the arts and languages. After the Kingston Academy’s demolition in 1916, with students moving to a new location at the Kingston High School, Academy Green became a park in 1918.

Academy Green is home to three 11-foot bronze sculptures of Peter Stuyvesant, George Clinton and Henry Hudson, each of whom left a lasting impact on the Kingston region. The 1898 monuments are the work of noted sculptor John Massey Rhind (1860-1936) and were produced by the Gorham Manufacturing Company in New York. The statues were originally located Exchange Court building in Manhattan. When that building was being remodeled in the late 1940s, the sculptures, unbelievably, wound up in a junkyard as scrap. Fortunately, after seeing a newspaper article about the building remodeling, Emily Crane Chadbourne, president of Kingston’s Senate House Association, tracked down the junkyard and sought to rescue the statues. She purchased and donated the statues to the city of Kingston. The statues were installed on large pedestals of local bluestone at Academy Green, and a dedication ceremony led my Kingston Mayor Oscar Newkirk took place in June 1950.

Henry Hudson (c. 1570-1611), pictured here, was an English sea explorer. In 1609, working on behalf of the Dutch East India Company, Hudson was the first European to sail up the Hudson River (obviously named in his honor). His explorations led to the Dutch colonization of the region, the establishment of New Netherland and the settlement of Kingston (then known as Wiltwyck).

 

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[email protected] (American Catskills) Academy Green American Revolution bluestone Brigadier General colony Continental Congress dedication Director General Dutch East India Company Emily Crane Chadbourne Esopus Indians Exchange Court explorer Founding Father George Clinton Gorham Manufacturing Company Governor Henry Hudson Hudson River James Madison John Massey Rhind Kingston Kingston Academy Manhattan military monument New Amsterdam New Netherland New York Old Dutch Church Oscar Newkirk park Peter Stuyvesant sculptor sculpture Senate House Association statue Stockade District Thomas Jefferson Vice President Wiltwyck https://www.americancatskills.com/blog/2024/2/the-statues-of-academy-green-kingston-new-york Sat, 10 Feb 2024 13:00:00 GMT
Billy Costello: The Pride of Kingston https://www.americancatskills.com/blog/2024/2/billy-costello-the-pride-of-kingston Billy Costello (1956-2011) was a native of Kingston, New York who became a boxing world champion. Costello took up boxing at the relatively late age of 19, but showed quickly that he was a natural fighter. He won the New York Golden Gloves championship in 1978 and turned professional a year later, winning his first 30 fights. In 1984 Costello became the undefeated WBC light welterweight champion with a technical knockout of Bruce Curry. He successfully defended his title three times against Ronnie Shields, Saoul Mamby and Leroy Haley, before losing his fourth title defense to the undefeated Lonnie Smith. He left boxing in 1986 with a loss to Alexis Arguello, but returned in 1992 for nine more fights, all victories, before retiring for good in 1999. After a 20-year career, Costello retired with an impressive record of 40 wins, 2 defeats, with both defeats coming at the hands of world champions.

 

Billy Costello is fondly remembered in his native Kingston, for his humble beginnings, for notably holding three of his championship fights in his hometown, for setting up the local boxing program with the Kingston Police Athletic League, and ultimately for his toughness and dedication to the sport. The statue of Costello is prominently located at a busy intersection in that city for all those who pass to remember his athletic greatness. The life-sized, white granite statue was dedicated in 2012, only a year after his passing. The dedication ceremony was well attended by family, local residents, boxing fans and local dignitaries.

 

Inspirational quotes by Billy Costello, Kingston native and WBC light welterweight boxing champion from January 29, 1984 to August 21, 1985.

 

  • “Everyone was always telling me, ‘Billy, you can’t do this’ and ‘Billy, you can’t do that.’ But all that ever did was make me more determined than before.”

 

  • “They had some boxing equipment in the gym, and I figured, why not try it? One day on the heavy bag and it was like God saying to me, this is what you’re supposed to do.”

 

  • “I looked across the ring and I said to myself, I’m here. People put me down all my life, but I’m here.” – Billy Costello talks of his mindset on January 29, 1984 as he entered the ring for his title fight with Bruce Curry in Beaumont, Texas. Costello knocked out Curry in the 10th round to win the WBC light welterweight title.

 

Life-sized, white granite sculpture of Billy Costello, former boxing world champion and native of Kingston, New York.Billy CostelloKingston, Ulster County

Billy Costello (1956-2011) was a native of Kingston, New York who became a boxing world champion. Costello took up boxing at the relatively late age of 19, but showed quickly that he was a natural fighter. He won the New York Golden Gloves championship in 1978 and turned professional a year later, winning his first 30 fights. In 1984 Costello became the undefeated WBC light welterweight champion with a technical knockout of Bruce Curry. He successfully defended his title three times against Ronnie Shields, Saoul Mamby and Leroy Haley, before losing his fourth title defense to the undefeated Lonnie Smith. He left boxing in 1986 with a loss to Alexis Arguello, but returned in 1992 for nine more fights, all victories, before retiring for good in 1999. After a 20-year career, Costello retired with an impressive record of 40 wins, 2 defeats, with both defeats coming at the hands of world champions.

Billy Costello is fondly remembered in his native Kingston, for his humble beginnings, for notably holding three of his championship fights in his hometown, for setting up the local boxing program with the Kingston Police Athletic League, and ultimately for his toughness and dedication to the sport. The statue of Costello is prominently located at a busy intersection in that city for all those who pass to remember his athletic greatness. The life-sized, white granite statue was dedicated in 2012, only a year after his passing. The dedication ceremony was well attended by family, local residents, boxing fans and local dignitaries.

 

Life-sized, white granite sculpture of Billy Costello, former boxing world champion and native of Kingston, New York.Billy CostelloKingston, Ulster County

Billy Costello (1956-2011) was a native of Kingston, New York who became a boxing world champion. Costello took up boxing at the relatively late age of 19, but showed quickly that he was a natural fighter. He won the New York Golden Gloves championship in 1978 and turned professional a year later, winning his first 30 fights. In 1984 Costello became the undefeated WBC light welterweight champion with a technical knockout of Bruce Curry. He successfully defended his title three times against Ronnie Shields, Saoul Mamby and Leroy Haley, before losing his fourth title defense to the undefeated Lonnie Smith. He left boxing in 1986 with a loss to Alexis Arguello, but returned in 1992 for nine more fights, all victories, before retiring for good in 1999. After a 20-year career, Costello retired with an impressive record of 40 wins, 2 defeats, with both defeats coming at the hands of world champions.

Billy Costello is fondly remembered in his native Kingston, for his humble beginnings, for notably holding three of his championship fights in his hometown, for setting up the local boxing program with the Kingston Police Athletic League, and ultimately for his toughness and dedication to the sport. The statue of Costello is prominently located at a busy intersection in that city for all those who pass to remember his athletic greatness. The life-sized, white granite statue was dedicated in 2012, only a year after his passing. The dedication ceremony was well attended by family, local residents, boxing fans and local dignitaries.

 

Life-sized, white granite sculpture of Billy Costello, former boxing world champion and native of Kingston, New York.Billy CostelloKingston, Ulster County

Billy Costello (1956-2011) was a native of Kingston, New York who became a boxing world champion. Costello took up boxing at the relatively late age of 19, but showed quickly that he was a natural fighter. He won the New York Golden Gloves championship in 1978 and turned professional a year later, winning his first 30 fights. In 1984 Costello became the undefeated WBC light welterweight champion with a technical knockout of Bruce Curry. He successfully defended his title three times against Ronnie Shields, Saoul Mamby and Leroy Haley, before losing his fourth title defense to the undefeated Lonnie Smith. He left boxing in 1986 with a loss to Alexis Arguello, but returned in 1992 for nine more fights, all victories, before retiring for good in 1999. After a 20-year career, Costello retired with an impressive record of 40 wins, 2 defeats, with both defeats coming at the hands of world champions.

Billy Costello is fondly remembered in his native Kingston, for his humble beginnings, for notably holding three of his championship fights in his hometown, for setting up the local boxing program with the Kingston Police Athletic League, and ultimately for his toughness and dedication to the sport. The statue of Costello is prominently located at a busy intersection in that city for all those who pass to remember his athletic greatness. The life-sized, white granite statue was dedicated in 2012, only a year after his passing. The dedication ceremony was well attended by family, local residents, boxing fans and local dignitaries.

 

Life-sized, white granite sculpture of Billy Costello, former boxing world champion and native of Kingston, New York.Billy CostelloKingston, Ulster County

Billy Costello (1956-2011) was a native of Kingston, New York who became a boxing world champion. Costello took up boxing at the relatively late age of 19, but showed quickly that he was a natural fighter. He won the New York Golden Gloves championship in 1978 and turned professional a year later, winning his first 30 fights. In 1984 Costello became the undefeated WBC light welterweight champion with a technical knockout of Bruce Curry. He successfully defended his title three times against Ronnie Shields, Saoul Mamby and Leroy Haley, before losing his fourth title defense to the undefeated Lonnie Smith. He left boxing in 1986 with a loss to Alexis Arguello, but returned in 1992 for nine more fights, all victories, before retiring for good in 1999. After a 20-year career, Costello retired with an impressive record of 40 wins, 2 defeats, with both defeats coming at the hands of world champions.

Billy Costello is fondly remembered in his native Kingston, for his humble beginnings, for notably holding three of his championship fights in his hometown, for setting up the local boxing program with the Kingston Police Athletic League, and ultimately for his toughness and dedication to the sport. The statue of Costello is prominently located at a busy intersection in that city for all those who pass to remember his athletic greatness. The life-sized, white granite statue was dedicated in 2012, only a year after his passing. The dedication ceremony was well attended by family, local residents, boxing fans and local dignitaries.

Life-sized, white granite sculpture of Billy Costello, former boxing world champion and native of Kingston, New York.ChampKingston, Ulster County

Inspirational quotes by Billy Costello, Kingston native and WBC light welterweight boxing champion from January 29, 1984 to August 21, 1985.

“Everyone was always telling me, ‘Billy, you can’t do this’ and ‘Billy, you can’t do that.’ But all that ever did was make me more determined than before.”

“They had some boxing equipment in the gym, and I figured, why not try it? One day on the heavy bag and it was like God saying to me, this is what you’re supposed to do.”

“I looked across the ring and I said to myself, I’m here. People put me down all my life, but I’m here.” – Billy Costello talks of his mindset on January 29, 1984 as he entered the ring for his title fight with Bruce Curry in Beaumont, Texas. Costello knocked out Curry in the 10th round to win the WBC light welterweight title.

Life-sized, white granite sculpture of Billy Costello, former boxing world champion and native of Kingston, New York.ChampKingston, Ulster County

Inspirational quotes by Billy Costello, Kingston native and WBC light welterweight boxing champion from January 29, 1984 to August 21, 1985.

“Everyone was always telling me, ‘Billy, you can’t do this’ and ‘Billy, you can’t do that.’ But all that ever did was make me more determined than before.”

“They had some boxing equipment in the gym, and I figured, why not try it? One day on the heavy bag and it was like God saying to me, this is what you’re supposed to do.”

“I looked across the ring and I said to myself, I’m here. People put me down all my life, but I’m here.” – Billy Costello talks of his mindset on January 29, 1984 as he entered the ring for his title fight with Bruce Curry in Beaumont, Texas. Costello knocked out Curry in the 10th round to win the WBC light welterweight title.

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[email protected] (American Catskills) Billy Costello boxer boxing Bruce Curry Catskill Mountains Catskills champion Golden Gloves Kingston monument New York sculpture statue title Ulster County WBC welterweight world champion https://www.americancatskills.com/blog/2024/2/billy-costello-the-pride-of-kingston Sat, 03 Feb 2024 13:00:00 GMT
Patriotism https://www.americancatskills.com/blog/2024/1/patriotism Standing in the southeast corner of the Old Dutch Church cemetery in Kingston, New York, the 16-foot bronze war monument entitled “Patriotism” commemorates the soldiers of the 120th New York State Infantry and their military service during the Civil War. The 120th New York Infantry unit was led by General George H. Sharpe (1828-1900), a prominent member of the Old Dutch Church parish, and contained many men from the church. The distinguished unit fought at Fredericksburg, Chancellorsville, Gettysburg and Appomattox Court House, which are but a few of their many battles.

 

Following the Civil War, General Sharpe erected the statue in honor of the men of his command. The statue depicts “the figure of a young and beautiful woman who stands in a graceful attitude on top of the pedestal holding aloft a flag. The pedestal is of red granite from Stony Creek, Conn., and is made of the same kind of stone as that used in the construction of the statue of the Goddess of Liberty, in New York Harbor." (Kingston Daily Freeman, October 17, 1896) The statue was dedicated on October 17, 1896. The statue was created by sculptor Byron M. Pickett (1834-1907) and cast at the foundry of M. J. Power of New York City. The statue was restored in 1996 by Coryat Casting Company.

 

One plaque on the base of the statue contains an approximation of the Great Seal of the United States, which includes the United States motto of “E Pluribus Unum.” Translated from Latin, the motto means “Out of many, one.”

 

Standing in the southeast corner of the Old Dutch Church cemetery, the 16 foot bronze war monument entitled “Patriotism” commemorates the soldiers of the 120th New York State Infantry and their militaPatriotismStockade District, Kingston, Ulster County

Standing in the southeast corner of the Old Dutch Church cemetery, the 16 foot bronze war monument entitled “Patriotism” commemorates the soldiers of the 120th New York State Infantry and their military service during the Civil War. The 120th New York Infantry unit was led by General George H. Sharpe (1828-1900), a prominent member of the Old Dutch Church parish, and contained many men from the church. The distinguished unit fought at Fredericksburg, Chancellorsville, Gettysburg and Appomattox Court House, which are but a few of their many battles.

Following the Civil War, General Sharpe erected the statue in honor of the men of his command. The statue depicts “the figure of a young and beautiful woman who stands in a graceful attitude on top of the pedestal holding aloft a flag. The pedestal is of red granite from Stony Creek, Conn., and is made of the same kind of stone as that used in the construction of the statue of the Goddess of Liberty, in New York Harbor." (Kingston Daily Freeman, October 17, 1896) The statue was dedicated on October 17, 1896. The statue was created by sculptor Byron M. Pickett (1834-1907) and cast at the foundry of M. J. Power of New York City. The statue was restored in 1996 by Coryat Casting Company.

Standing in the southeast corner of the Old Dutch Church cemetery, the 16 foot bronze war monument entitled “Patriotism” commemorates the soldiers of the 120th New York State Infantry and their militaE pluribus unumStockade District, Kingston, Ulster County

Standing in the southeast corner of the Old Dutch Church cemetery, the 16 foot bronze war monument entitled “Patriotism” commemorates the soldiers of the 120th New York State Infantry and their military service during the Civil War. The 120th New York Infantry unit was led by General George H. Sharpe (1828-1900), a prominent member of the Old Dutch Church parish, and contained many men from the church. The distinguished unit fought at Fredericksburg, Chancellorsville, Gettysburg and Appomattox Court House, which are but a few of their many battles.

Following the Civil War, General Sharpe erected the statue in honor of the men of his command. The statue depicts “the figure of a young and beautiful woman who stands in a graceful attitude on top of the pedestal holding aloft a flag. The pedestal is of red granite from Stony Creek, Conn., and is made of the same kind of stone as that used in the construction of the statue of the Goddess of Liberty, in New York Harbor." (Kingston Daily Freeman, October 17, 1896) The statue was dedicated on October 17, 1896. The statue was created by sculptor Byron M. Pickett (1834-1907) and cast at the foundry of M. J. Power of New York City. The statue was restored in 1996 by Coryat Casting Company.

The plaque contains an approximation of the Great Seal of the United States, which includes the Unites States motto of “E Pluribus Unum.” Translated from Latin, the motto means “Out of many, one.”

 

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[email protected] (American Catskills) 120th New York State Infantry Appomattox Court House Byron M. Pickett cemetery Chancellorsville church church yard Coryat Casting Company E Pluribus Unum flag Fredericksburg General George H. Sharpe Gettysburg graveyard Great Kingston M. J. Power memorial military monument motto New York City of Old Dutch Church Out of many one Patriotism restoration restore sculpture seal soldier States" statue Statue of Liberty Stockade District stone Stony Creek the Ulster County United uptown woman https://www.americancatskills.com/blog/2024/1/patriotism Sat, 27 Jan 2024 13:00:00 GMT
Staff Sergeant Robert Dietz https://www.americancatskills.com/blog/2024/1/staff-sergeant-robert-dietz Staff Sergeant Robert Dietz (1921-1945) was a Kingston native, soldier in the United States Army and recipient of the Congressional Medal of Honor, the nation’s highest military award for valor.

 

Dietz served as a squad leader in Company A, 38th Armored Infantry Battalion, 7th Armored Division during World War II. During the battle for Kirchain, Germany in March 1945, Dietz braved heavy enemy fire to kill several enemy bazooka teams, bayoneted an enemy soldier, shot 3 German soldiers, all in his pursuit to prevent the enemy from using demolition charges set to blow up two bridges that were vital to the American attack on Kirchain. He succeeded in killing several teams of enemy soldiers protecting the first bridge and personally dismantled the charges on the second bridge but “as he stood up to signal that the route was clear, he was killed by another enemy volley from the left flank.”

 

Dietz is buried at Wiltwyck Cemetery in Kingston. Dietz Memorial Stadium in uptown Kingston and the Staff Sgt. Robert H. Dietz Post Office are both named in his honor.

 

Staff Sergeant Robert Dietz (1921-1945) was a Kingston native, soldier in the United States Army and recipient of the Congressional Medal of Honor, the nation’s highest military award for valor.Medal of HonorWiltwyck Cemetery, Kingston, Ulster County

Staff Sergeant Robert Dietz (1921-1945) was a Kingston native, soldier in the United States Army and recipient of the Congressional Medal of Honor, the nation’s highest military award for valor. Dietz served as a squad leader in Company A, 38th Armored Infantry Battalion, 7th Armored Division during World War II. During the battle for Kirchain, Germany in March 1945, Dietz braved heavy enemy fire to kill several enemy bazooka teams, bayoneted an enemy soldier, shot 3 German soldiers, all in his pursuit to prevent the enemy from using demolition charges set to blow up two bridges that were vital to the American attack on Kirchain. He succeeded in killing several teams of enemy soldiers protecting the first bridge and personally dismantled the charges on the second bridge but “as as he stood up to signal that the route was clear, he was killed by another enemy volley from the left flank.” Dietz is buried at Wiltwyck Cemetery in Kingston. Dietz Memorial Stadium in uptown Kingston and the Staff Sgt. Robert H. Dietz Post Office are both named in his honor.

 

Staff Sergeant Robert Dietz (1921-1945) was a Kingston native, soldier in the United States Army and recipient of the Congressional Medal of Honor, the nation’s highest military award for valor.Medal of HonorWiltwyck Cemetery, Kingston, Ulster County

Staff Sergeant Robert Dietz (1921-1945) was a Kingston native, soldier in the United States Army and recipient of the Congressional Medal of Honor, the nation’s highest military award for valor. Dietz served as a squad leader in Company A, 38th Armored Infantry Battalion, 7th Armored Division during World War II. During the battle for Kirchain, Germany in March 1945, Dietz braved heavy enemy fire to kill several enemy bazooka teams, bayoneted an enemy soldier, shot 3 German soldiers, all in his pursuit to prevent the enemy from using demolition charges set to blow up two bridges that were vital to the American attack on Kirchain. He succeeded in killing several teams of enemy soldiers protecting the first bridge and personally dismantled the charges on the second bridge but “as as he stood up to signal that the route was clear, he was killed by another enemy volley from the left flank.” Dietz is buried at Wiltwyck Cemetery in Kingston. Dietz Memorial Stadium in uptown Kingston and the Staff Sgt. Robert H. Dietz Post Office are both named in his honor.

 

Staff Sergeant Robert Dietz (1921-1945) was a Kingston native, soldier in the United States Army and recipient of the Congressional Medal of Honor, the nation’s highest military award for valor.Medal of HonorWiltwyck Cemetery, Kingston, Ulster County

Staff Sergeant Robert Dietz (1921-1945) was a Kingston native, soldier in the United States Army and recipient of the Congressional Medal of Honor, the nation’s highest military award for valor. Dietz served as a squad leader in Company A, 38th Armored Infantry Battalion, 7th Armored Division during World War II. During the battle for Kirchain, Germany in March 1945, Dietz braved heavy enemy fire to kill several enemy bazooka teams, bayoneted an enemy soldier, shot 3 German soldiers, all in his pursuit to prevent the enemy from using demolition charges set to blow up two bridges that were vital to the American attack on Kirchain. He succeeded in killing several teams of enemy soldiers protecting the first bridge and personally dismantled the charges on the second bridge but “as as he stood up to signal that the route was clear, he was killed by another enemy volley from the left flank.” Dietz is buried at Wiltwyck Cemetery in Kingston. Dietz Memorial Stadium in uptown Kingston and the Staff Sgt. Robert H. Dietz Post Office are both named in his honor.

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[email protected] (American Catskills) 38th Armored Infantry Battalion 7th Armored Division army attack award bridge cemetery demolition Dietz Memorial Stadium enemy explosive flag Germany grave headstone honor Kingston Kirchain Medal of Honor military native post office Robert Dietz route soldier stadium Staff Sergeant Staff Sgt. Robert H. Dietz Post Office Ulster County United States valor Wiltwyck Cemetery World War 2 WWII https://www.americancatskills.com/blog/2024/1/staff-sergeant-robert-dietz Sat, 20 Jan 2024 13:00:00 GMT
Battle Cross https://www.americancatskills.com/blog/2024/1/battle-cross The Ulster County War Memorial, located in front of the Ulster County Office Building in uptown Kingston, pays testament to the 1,307 Ulster County citizens that have lost their lives defending our country. In the center of the monument stands a time-honored military sculpture known as the Battle Cross, consisting of a soldier’s combat boots, their bayonet and inverted weapon stuck in the ground, dog tags hanging off the weapon and helmet resting on top of the stock of the weapon. It is meant to show honor and respect to the fallen at a battle site. Surrounding the Battle Cross are five 7-foot-high polished black granite slabs that are engraved with the names of those soldiers who have been lost. The slabs are positioned in the shape of a pentagon, representing the five branches of the military – Army, Navy, Air Force, Marine Corps and Coast Guard. The memorial was dedicated in 2015.

 

“This monument stands in eternal and heartfelt remembrance of those brave American soldiers from Ulster County who made the ultimate sacrifice in service to our great nation.” – Ulster County Executive Michael P. Hein.

 

The Ulster County War Memorial, located in front of the Ulster County Office Building in uptown Kingston, pays testament to the 1,306 Ulster County citizens that have lost their lives defending our coSoldiersUlster County War Memorial, Stockade District, Kingston, Ulster County

The Ulster County War Memorial, located in front of the Ulster County Office Building in uptown Kingston, pays testament to the 1,307 Ulster County citizens that have lost their lives defending our country. In the center of the monument stands a time honored military sculpture known as the Battle Cross, consisting of a soldier’s combat boots, their bayonet and inverted weapon stuck in the ground, dog tags hanging off the weapon and helmet resting on top of the stock of the weapon. It is meant to show honor and respect at the battle site. Surrounding the Battle Cross are five 7-foot high polished black granite slabs that are engraved with the names of those soldiers who have been lost. The slabs are positioned in the shape of a pentagon, representing the five branches of the military – Army, Navy, Air Force, Marine Corps and Coast Guard. The memorial was dedicated in 2015.

 

The Ulster County War Memorial, located in front of the Ulster County Office Building in uptown Kingston, pays testament to the 1,306 Ulster County citizens that have lost their lives defending our coBattle CrossUlster County War Memorial, Stockade District, Kingston, Ulster County

The Ulster County War Memorial, located in front of the Ulster County Office Building in uptown Kingston, pays testament to the 1,307 Ulster County citizens that have lost their lives defending our country. In the center of the monument stands a time honored military sculpture known as the Battle Cross, consisting of a soldier’s combat boots, their bayonet and inverted weapon stuck in the ground, dog tags hanging off the weapon and helmet resting on top of the stock of the weapon. It is meant to show honor and respect at the battle site. Surrounding the Battle Cross are five 7-foot high polished black granite slabs that are engraved with the names of those soldiers who have been lost. The slabs are positioned in the shape of a pentagon, representing the five branches of the military – Army, Navy, Air Force, Marine Corps and Coast Guard. The memorial was dedicated in 2015.

 

The Ulster County War Memorial, located in front of the Ulster County Office Building in uptown Kingston, pays testament to the 1,306 Ulster County citizens that have lost their lives defending our coIn RemembranceUlster County War Memorial, Stockade District, Kingston, Ulster County

The Ulster County War Memorial, located in front of the Ulster County Office Building in uptown Kingston, pays testament to the 1,307 Ulster County citizens that have lost their lives defending our country. In the center of the monument stands a time honored military sculpture known as the Battle Cross, consisting of a soldier’s combat boots, their bayonet and inverted weapon stuck in the ground, dog tags hanging off the weapon and helmet resting on top of the stock of the weapon. It is meant to show honor and respect at the battle site. Surrounding the Battle Cross are five 7-foot high polished black granite slabs that are engraved with the names of those soldiers who have been lost. The slabs are positioned in the shape of a pentagon, representing the five branches of the military – Army, Navy, Air Force, Marine Corps and Coast Guard. The memorial was dedicated in 2015.

“This monument stands in eternal and heartfelt remembrance of those brave American soldiers from Ulster County who made the ultimate sacrifice in service to our great nation.” – County Executive Michael P. Hein.

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[email protected] (American Catskills) Air Force Army Battle Cross bayonet boots branches building Catskills citizens Coast Guard country county dedication dog tags government helmet Kingston knife life lives Marine Corps memorial memory Michael Hein Michael P. Hein military monument names New York pentagon resident rifle sculpture soldier Stockade District Ulster County Ulster County Office Building Ulster County War Memorial uptown weapon https://www.americancatskills.com/blog/2024/1/battle-cross Sat, 13 Jan 2024 13:00:00 GMT
JoJo’s Masterpiece: The Stone Castle of Swan Lake https://www.americancatskills.com/blog/2024/1/jojo-s-masterpiece-the-stone-castle-of-swan-lake This miniature, medieval-looking stone castle is located within a small park in the Sullivan County hamlet of Swan Lake. In the 1930s, at the request of Siegel family, the owners of the former Commodore Hotel, the sculpture was constructed by Joe “JoJo” Moshini, an Italian immigrant and master mason. Moshini had arrived at Swan Lake around 1928 and quickly gained a reputation for his fine masonry work.

 

The sculpture featured the castle standing tall on a stone pedestal, a surrounding fountain and, at night, it was well lighted by lamps. Surrounding the castle was a beautiful flower garden. Moshini was also known for his other local masonry work including several other stone castles, stone pillars, stone steps and stone walls. The Commodore Hotel as well as the adjacent Stevensville Hotel were popular resort destinations. 

 

In 2013, long after the decline of Catskills tourism and the 1979 razing of the Commodore Hotel, the castle was rediscovered after years of neglect and restored by local volunteers, who now also maintain the small park. The castle serves as a lasting testament to the craftsmanship of Joe Moshini and to the memory of the once great resorts that dotted the Sullivan County landscape.

 

The miniature, medieval-looking stone castle is located within a small park in the Sullivan County hamlet of Swan Lake.Stone CastleSwan Lake, Sullivan County

The miniature, medieval-looking stone castle is located within a small park in the Sullivan County hamlet of Swan Lake. In the 1930s, at the request of Siegel family, the owners of the former Commodore Hotel, the sculpture was constructed by Joe “JoJo” Moshini, an Italian immigrant and master mason. It featured the castle standing tall on a stone pedestal, a surrounding fountain and at night was well lighted by lamps. Moshini was also known for his other local masonry work including several other stone castles, stone pillars, stone steps and stone walls. The Commodore Hotel as well as the adjacent Stevensville Hotel were popular resort destinations.

In 2013, long after the decline of Catskills tourism and the 1979 razing of the Commodore Hotel, the castle was rediscovered after years of neglect and restored by local volunteers, who now also maintain the small park. The castle serves as a lasting testament to the craftsmanship of Joe Moshini and to the memory of the once great resorts that dotted the Sullivan County landscape.

 

The miniature, medieval-looking stone castle is located within a small park in the Sullivan County hamlet of Swan Lake.The Work of MoshiniSwan Lake, Sullivan County

The miniature, medieval-looking stone castle is located within a small park in the Sullivan County hamlet of Swan Lake. In the 1930s, at the request of Siegel family, the owners of the former Commodore Hotel, the sculpture was constructed by Joe “JoJo” Moshini, an Italian immigrant and master mason. It featured the castle standing tall on a stone pedestal, a surrounding fountain and at night was well lighted by lamps. Moshini was also known for his other local masonry work including several other stone castles, stone pillars, stone steps and stone walls. The Commodore Hotel as well as the adjacent Stevensville Hotel were popular resort destinations.

In 2013, long after the decline of Catskills tourism and the 1979 razing of the Commodore Hotel, the castle was rediscovered after years of neglect and restored by local volunteers, who now also maintain the small park. The castle serves as a lasting testament to the craftsmanship of Joe Moshini and to the memory of the once great resorts that dotted the Sullivan County landscape.

 

The miniature, medieval-looking stone castle is located within a small park in the Sullivan County hamlet of Swan Lake.JoJo's MasterpieceSwan Lake, Sullivan County

The miniature, medieval-looking stone castle is located within a small park in the Sullivan County hamlet of Swan Lake. In the 1930s, at the request of Siegel family, the owners of the former Commodore Hotel, the sculpture was constructed by Joe “JoJo” Moshini, an Italian immigrant and master mason. It featured the castle standing tall on a stone pedestal, a surrounding fountain and at night was well lighted by lamps. Moshini was also known for his other local masonry work including several other stone castles, stone pillars, stone steps and stone walls. The Commodore Hotel as well as the adjacent Stevensville Hotel were popular resort destinations.

In 2013, long after the decline of Catskills tourism and the 1979 razing of the Commodore Hotel, the castle was rediscovered after years of neglect and restored by local volunteers, who now also maintain the small park. The castle serves as a lasting testament to the craftsmanship of Joe Moshini and to the memory of the once great resorts that dotted the Sullivan County landscape.

 

The miniature, medieval-looking stone castle is located within a small park in the Sullivan County hamlet of Swan Lake.The Commodore FountainSwan Lake, Sullivan County

The miniature, medieval-looking stone castle is located within a small park in the Sullivan County hamlet of Swan Lake. In the 1930s, at the request of Siegel family, the owners of the former Commodore Hotel, the sculpture was constructed by Joe “JoJo” Moshini, an Italian immigrant and master mason. It featured the castle standing tall on a stone pedestal, a surrounding fountain and at night was well lighted by lamps. Moshini was also known for his other local masonry work including several other stone castles, stone pillars, stone steps and stone walls. The Commodore Hotel as well as the adjacent Stevensville Hotel were popular resort destinations.

In 2013, long after the decline of Catskills tourism and the 1979 razing of the Commodore Hotel, the castle was rediscovered after years of neglect and restored by local volunteers, who now also maintain the small park. The castle serves as a lasting testament to the craftsmanship of Joe Moshini and to the memory of the once great resorts that dotted the Sullivan County landscape.

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[email protected] (American Catskills) Borsht Belt castle Catskills Commodore Hotel fountain garden hotel Joe Moshini Jojo Moshini mason masonry medieval New York park pillars resort sculpture Siegel Stevenson Hotel stone Stone Castle Sullivan County Swan Lake Swan Lake Hotel volunteers walls https://www.americancatskills.com/blog/2024/1/jojo-s-masterpiece-the-stone-castle-of-swan-lake Sat, 06 Jan 2024 13:00:00 GMT
Seven New Stereoviews of the Catskills by the E. & H. T. Anthony Co. https://www.americancatskills.com/blog/2023/12/seven-new-stereoviews-of-the-catskills-by-the-e-h-t-anthony-co The E. & H. T. Anthony company was the largest 19th-century manufacturer and distributor of cameras and photographic supplies in the United States. The company was founded by Edward Anthony (1818-1888) and his brother Henry T. Anthony (1814-1884). Regionally, the company produced many of the greatest views of the Catskills of the 19th century. The Catskills stereoviews were incorporated into several series including The Artistic Series, The Glens of the Catskills, and Winter in the Catskills. Each of the photographs demonstrates the enduring beauty of the Catskills, being as equally compelling today as they were 150 years ago.

 

I have recently acquired seven new stereoviews of the Catskills that were published by the E. & H. T. Anthony & Company. Each of the stereoviews have all been added to the Anthony gallery, which now contains 141 of the company’s Catskills works.

 

Sunset Rock, The Bluff (# 263)

Vintage E. & H. T. Anthony & Co. stereoview # 263 titled “Sunset Rock, The Bluff” from the “Winter in the Catskills” series.263_Sunset Rock, The BluffPublisher: E. & H. T. Anthony & Co.
Series name: Winter in the Catskills
Stereoview #: 263
Title: Sunset Rock, The Bluff.

 

Looking down Kauterskill Clove from Sunset Rock (# 264)

Vintage E. & H. T. Anthony & Co. stereoview # 264 titled “Looking down Kauterskill Clove from Sunset Rock” from the “Winter in the Catskills” series.264_Looking down Kauterskill Clove from Sunset RockPublisher: E. & H. T. Anthony & Co.
Series name: Winter in the Catskills
Stereoview #: 264
Title: Looking down Kauterskill Clove from Sunset Rock.

 

Hanging Icicles (# 785)

Vintage E. Anthony stereoview # 785 from the “Winter in the Catskills” series depicting a large array of hanging icicles.785_Hanging IciclesPublisher: E. Anthony
Series name: Winter in the Catskills
Stereoview #: 785
Title: None listed; Description: Hanging Icicles

Reverse side: “These are some of the most remarkable Ice and Snow scenes in existence, and every assortment of stereoscopic views should contain a selection from them.”

 

Catskill Mountain House, From North Mountain (# 1340)

Vintage E. & H. T. Anthony & Co. stereoview #1340 titled “Catskill Mountain House, From North Mountain” from “The Glens of the Catskills” series.1340_Catskill Mountain House, From North MountainPublisher: E. & H. T. Anthony & Co.
Series name: The Glens of the Catskills
Stereoview #: 1340
Title: Catskill Mountain House, From North Mountain

 

Fawns Leap - Kauterskill Clove (#9061)

Vintage E. & H. T. Anthony & Co. stereoview # 9061 titled “The Fawn’s Leap – Kauterskill Clove” in “The Glens of the Catskills” series.9061_Fawns Leap - Kauterskill ClovePublisher: E. & H. T. Anthony & Co.
Series name: The Glens of the Catskills
Stereoview #: 9061
Title: The Fawn’s Leap – Kauterskill Clove.

 

View at Hancock, looking down the North Branch of the Delaware River (#687)

Vintage E. stereoview # 687 titled “View at Hancock, looking down the North Branch of the Delaware River” in “A Ramble through the Southern Tier on the Route of the Erie Rail Road” series.687_View at Hancock, looking down the North Branch of the Delaware RiverPublisher: E. Anthony, 501 Broadway, New York
Series name: A Ramble through the Southern Tier on the Route of the Erie Rail Road
Stereoview #: 687
Title: View at Hancock, looking down the North Branch of the Delaware River.

 

View at Hancock, on the North Branch of the Delaware (#688)

Vintage E. stereoview # 688 titled “View at Hancock, on the North Branch of the Delaware” in “A Ramble through the Southern Tier on the Route of the Erie Rail Road” series.688_View at Hancock, on the North Branch of the DelawarePublisher: E. Anthony, 501 Broadway, New York
Series name: A Ramble through the Southern Tier on the Route of the Erie Rail Road
Stereoview #: 688
Title: View at Hancock, on the North Branch of the Delaware.

 

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[email protected] (American Catskills) catskill mountains catskills e. & h. t. anthony edward anthony gems of american scenery glens of the catskills henry t. anthony new york photographer photographs photography photos pictures stereo view stereograph stereoscopic stereoviews the artistic series winter in the catskills https://www.americancatskills.com/blog/2023/12/seven-new-stereoviews-of-the-catskills-by-the-e-h-t-anthony-co Sat, 30 Dec 2023 13:00:00 GMT
Friendship Manor Covered Bridge https://www.americancatskills.com/blog/2023/12/friendship-manor-covered-bridge The Friendship Manor Covered Bridge, also known as the Pine Hill Covered Bridge, was built in 1992. The bridge is 72 feet long and 22 feet wide as it spans Birch Creek to serve as the entrance for the Belleayre Mountain Pine Hill Lake Day Use Area. The bridge is located on the east side of Pine Hill, a small, yet charming hamlet in the town of Shandaken in Ulster County. The one lane bridge is open for auto traffic but is only open with the day-use area. The bridge also includes a pedestrian walkway. Due to its recent construction and use of modern materials and processes the bridge is not eligible for inclusion on the National Register of Historic Places. The bridge was designed by the New York State Department of Environmental Conservation.

 

Photograph of Friendship Manor Covered Bridge, also known as Pine Hill Covered Bridge, located in Pine Hill in the central Catskills.Friendship Manor Covered Bridge at Pine Hill

 

Photograph of Friendship Manor Covered Bridge, also known as Pine Hill Covered Bridge, located in Pine Hill in the central Catskills.Friendship Manor Covered Bridge at Pine Hill, New York

 

Photograph of Friendship Manor Covered Bridge, also known as Pine Hill Covered Bridge, located in Pine Hill in the central Catskills.Friendship Manor Covered Bridge at Pine Hill, NY

 

The Friendship Manor Covered Bridge was constructed by Fort Miller Co. and Chesterfield Associates. Fort Miller is a construction company that specializes in precast concrete products and is based in Schuylerville, New York. The company was founded in 1939 by Jefferson Davis, great-grandson of the President of the Confederate States of America. Their products include bridges, highway barriers, noise barriers, wall systems and more. Chesterfield Associates is a contracting firm. The Friendship Manor Bridge utilizes a precast concrete and steel Inverset bridge which was then covered with a wooden roof to create a traditional covered bridge appearance.

 

The bridge units “utilized Grade 50W steel and were erected on cast-in-place concrete abutments”[1]. Grade 50W steel is noted for its high strength and resistance to atmospheric corrosion. The “W” “stands for weathering and denotes the fact that this material has controlled rusting characteristics that allow just enough corrosion to occur so a rust barrier is formed. Because of this barrier, painting is not required, meaning less maintenance for state highway crews. In contrast, a non-weathering steel often used in bridge construction requires constant painting and maintenance.”[2]

 

The area around the hamlet of Pine Hill, where the covered bridge is located, was first settled during the late 1700s. The settlement and industry of Pine Hill followed the traditional arc of Catskills business including subsistence farms, tanneries, lumber, bluestone, arrival of the railroad, boarding houses and tourism.

 

Aaron Adams is credited as having the first homestead at Pine Hill, located on what is now Main Street. In 1810 Adams established the aptly named Pine Hill Tavern. In 1831 the Empire Tannery, the first tannery in the town of Shandaken, was established on Birch Creek at Pine Hill by Augustus A. Guigou. In 1872, the Ulster and Delaware Railroad arrived, providing expanded tourism opportunities to visitors and in 1895 Pine Hill became an incorporated village. In the late 19th century through the early 20th century, Pine Hill was home to numerous boarding houses for those seeking out fresh air and a vacation from city life. The hamlet was known throughout the region for its sparkling fresh water, marketed by the local Crystal Spring Water Company, referred to as the “Saratoga of the Catskills,” which operated there from 1901 to 1933. In 1949, skiing became a major attraction for tourists with the construction of the adjacent Belleayre Ski Center. In 1960, Route 28 was realigned away from the village Main Street.

 

Today, although Pine Hill is long past its heyday, it does offer a step back in time with a quaint feel and slower pace. There are several hotels and restaurants, most catering to the crowds visiting the neighboring Belleayre Ski Center. The Pine Hill Historic District is listed on the National Register of Historic Places “as a cohesive collection of late 19th century and early 20th century buildings that represent the heyday of summer tourism in the Catskill Mountains of New York.” Some district highlights include the Shandaken Historical Museum, located in the 1925 School District No. 10 building, the Elm Street Stone Arch Bridge and the 1903 Morton Memorial Library.

 

The name origin of the Pine Hill hamlet, and thus the alternate name for the covered bridge, varies slightly depending on the source. Pine Hill’s application for inclusion on the National Register of Historic Places states that “its name reflects the prominence upon which it is sited.”[3] Similarly, the town website states: “Pine Hill takes its name from the steep ascent rising toward Belleayre that famously challenged travelers and settlers heading west.”[4]

 

The register of New York place names states that “this community was named for the hill on which it sits.”[5] A Harper’s Weekly article about prominent village resident Henry Morton states: “It is the jest of the place that Pine Hill is so called because there are no pines anywhere near it. Dr. Morton did not like that, so he planted a whole hill-side with pines, and they are prospering.”[6]

 

A different theory about the Pine Hill name put forward in a book about area history states: “Pine Hill received its name from the Indian word “Kauren sinck” meaning place of the pine trees.”[7] Similarly, the Central Catskills Chamber of Commerce website states: “The Indians knew Pine Hill as Kawiensinck. This was told to the interpreter Thomas Nottingham by two Esopus Indians, John Paulin and Sapan. It was placed on a map as such for the Hardenburgh Patent in 1771 by William Cockburn.”[8] The Native American term “kawiensinck” is likely the origin of the Pine Hill name as a detailed study of land deeds shows:

 

“By July 31, 1706, lawyer Jacob Rutsen of Marbletown, the father-in-law of Hardenbergh, had signed an unusual agreement with an Esopus Indian chief called Nanisinos. For two hundred pounds, Rutsen obtained a promise of lands northwest of Marbletown in Ulster County ‘called or known by the Indian names of moghogwagsinck [on the east branch of the Delaware] kawiensinck [present Pine Hill area] pakatagkan menaghenonck being a great Island [in the east branch of the Delaware] matagherack oghkananteponck and passighkawanonck which said tracts and parcels of Land Lyes upon the fish kill or River [the Delaware] that runs toward Minisinck and several other Rivers Creeks and branches that waters in the said fish kill or River. . .’. The original of this agreement is on file at Kingston’s Senate House, a New York State Historic Site.

 

This was “according to information given years later by Esopus Indians to Surveyor William Cockburn, who drew a map of the area in 1771 . . . Cockburn obtained his information through an interpreter from John Paulin and Sapan, two Esopus Indians.”[9]

 

The perennial Birch Creek, over which the covered bridge stands, is a tributary to the famed Esopus River which it joins near Big Indian. The Creek begins its life modestly on the southern flank of 3,520-foot Halcott Mountain in the town of Lexington. It flows generally southward as it crosses Upper Birch Creek Road and enters the town of Shandaken. It quickly meets and generally follows Lower Birch Creek Road and later Birch Creek Road. The Creek flows into and through the hamlet of Pine Hill before bypassing Pine Hill Lake to the east.  It then generally follows the base of Belleayre Ridge along the west side of Route 28 all the way to the hamlet of Big Indian where it joins the famed Esopus Creek. Birch Creek is approximately seven miles long.

 

Tributaries to Birch Creek include Giggle Hollow Brook, Smith Hollow Brook and Crystal Spring Brook (with its own tributaries of Cathedral Glen Brook and Woodchuck Hollow Brook which is also known as Bailey Brook). Over its course Birch Creek ranges from 10 to 30 feet wide with water depths up to 3 1/2 feet but averaging from 1/2 to 1 foot. It is home to brook trout, brown trout and rainbow trout. It has a watershed area of 8,114 acres. Birch Creek is the primary feeder into the adjacent Pine Hill Lake, with the lake “currently designed to be able to take water from the creek when flows are in excess of 5cfs” (cubic feet per second).[10]

 

The original bridge at this site was functional in nature, providing access to a popular boarding house known as Funcrest, or the Funcrest Hotel. The Funcrest Hotel was constructed in 1923 and was owned and operated David Funk, an immigrant from Hungary who arrived in the United States as a young boy. Funk had been a frequent visitor to the Pine Hill area for many summers before buying the property and building the hotel. Before opening Funcrest, David had operated the White House hotel at Pine Hill for a couple of years. The Funcrest Hotel was constructed by M. C. Myers on the former Robert Eignor property.

 

Upon opening in the summer of 1923, the Funcrest Hotel had capacity for 125 people, was located a 1/2 mile from the train depot and advertised itself as “New! Just Completed. Funcrest Hotel. For Fun – For Rest. Pine Hill, N.Y. Adjoining Lake. Catskill Mountains. The last word in hotel construction. Electric lights; hot and cold running water in every room. Rooms with private baths. Well kept tennis court. Jazz Band. Dancing. Competent instructors in all sports. Kosher Hungarian Proprietor.”[11]

 

In 1925, Funk added another thirty rooms to the hotel, making it “one of the largest and most up-to-date in this section.” In 1926 a new bridge leading to the Funcrest Hotel was constructed under the supervision of Matthew G. Thompson. In a 1927 advertisement the Funcrest Hotel advertised itself as “For Fun – For Rest. Adjoining Lake. Pine Hill, N.Y. Catskill Mountains. A Modern Hotel – All Camp Activities. Private Baths – Telephone in Every Room – Social Director – Physical Instructor. Hungarian Cuisine. Jewish Dietary Laws Observed. Special June Rates. Write for Booklet – D. FUNK.”[12]

 

By 1929 the Funcrest Hotel had a capacity for 225 people, and eventually reached a capacity of 300 people. In 1931 a new ballroom was added. Various newspaper clippings and advertisements show that they offered seasonal entertainment such as concerts, dances and shows and winter time ice skating. Funcrest also hosted a variety of family and community events.

 

The Funcrest resort was continuously operated by David Funk for 34 years until 1957 when his health would no longer permit it. The resort was then leased to Mr. and Mrs. Gerald Herskovits, who ran the hotel for 6 years. Under the management of the Herskovits family the hotel continued with its fine reputation for hospitality. “Funcrest Hotel at Pine Hill has exceptional charm which emanates from its congenial operators, the Herskovits family. Its cuisine is kosher and continental and its entertainment program is specially designed for all age groups.”[13] In 1963 David Funk sold the Funcrest Hotel to Hunt, Garvas and Benyey of New York.

 

In April 1966, the Funcrest resort was sold again to new ownership and the name was changed to “Friendship Manor,” and thus the name origin for the covered bridge. The hotel resort was purchased by an eight-owner corporation headed by Rev. R. W. Gulette who had plans to operate year-round. The June 30, 1966 issue of the Catskill Mountain News announced the resort opening: “The grand opening and get-acquainted party of Friendship Manor was held Friday and Saturday. Dinner was served Friday evening. More than 100 local and out-of-town guests attended. T.H. Edmonds is manager of the new year-round resort hotel.”[14] Famed singer, jazz composer and bandleader Noble Sissle worked as the entertainment director for Friendship Manor.

 

In April 1967 the local newspaper stated that the resort received its license to sell beer, liquor and wine on its premises. The new resort was “a 1960s-era resort catering to African Americans . . . Mr. Reed ran a bustling ethnic resort, attracting busloads of folks who’d come up from the city on weekends, where friends recall a lively music scene.”[15] The resort quickly endeared itself to the local public by opening its lake for public community use.

 

Despite its popularity, according to a local newspaper article on May 4, 1972, the property was seized in 1972 for unpaid taxes: “Friendship Manor in Pine Hill has been seized by agents of the Internal Revenue Service for unpaid federal taxes. A tax lien of $8,558.32 against Friendship Manor, Inc. was filed in the Ulster County clerk’s office on January 24 and another of $2,048.85 on March 8. Notices have been posted on the property and the buildings padlocked. The firm’s bank account has also been seized.”[16]

 

The hotel must have paid the taxes and reopened briefly as there is an advertisement in the local newspaper on September 28, 1972 announcing “One Final Fling – Join Us for One Last Party” and “This will be our last affair as Friendship Manor is closing. It has been a pleasure to entertain you. Many thanks for all the good times we have had together. Your host, D. E. Reed”.[17]

 

Soon after Friendship Manor closed the Fitzgerald family took over the hotel, and they renamed the place Fitzgeralds. The hotel quickly grew in popularity for its dinners, music and entertainment. The Fitzgerald family invested thousands of dollars in improving the facilities. Unfortunately, the popular Fitzgeralds establishment only lasted a couple of years, burning down in November 1974. The devastating and quickly expanding fire destroyed the 51-year-old building in less than 90 minutes.

 

“The devastating fire was discovered shortly before 6 p.m. In its early stages it appeared to center around the main staircase at the center back of the original building. From there it spread outward, first on the top floor, then rapidly through the other floors, and the extensions for the casino, dining room and kitchen areas. There was flame on the roof when the first fire fighters arrived.

 

Pine Hill firemen immediately sought help from companies in neighboring communities. Big Indian firemen quickly arrived with all their equipment, as did Fleischmanns with two large pumpers. Arkville firemen came with one truck, but this was sent back for standby at Fleischmanns, while Arkville men helped to man hoses of the early arriving companies. Margaretville sent a pumper also to stand by at Fleischmanns, and several firemen came to Pine Hill assist. Moving up from the eastern end were Shandaken-Allaben, which went on standby at Big Indian, and one Phoenicia pumper on standby at Shandaken.

 

The Big Indian and Pine Hill pumpers began sending water from the hotel swimming pool, about 100 yards from the structure. The Pine Hill tanker relayed lines near the hotel. The two Fleischmanns pumpers were on the main approach bridge pumping from the diminished waters of the Esopus Creek below the dam that had once held back the Funcrest lake.

 

Two portable pumps were placed in the creek near the swimming pool in an attempt to keep the pool filled. However, the two big pumpers drained this source in little more than an hour. At times water pressured dropped futilely low, dooming early hopes of confining the fire to the center and top of the hotel.

 

Meanwhile, the fire continued to grow in intensity, despite the numerous lines, high and low pressure from which water was being thrown at all angles. Fleischmanns firemen were moving in on the northwest corner at the front of the building when suddenly an ominous cracking sounded. They scrambled back quickly and most of the building collapsed. The loops in their hoses were under the porch debris, and for a moment it looked as though they were lost.

 

This collapse intensified the fire, and fanned it more rapidly into the concrete block casino and kitchen extensions. At the western end the flaming cornice dropped like a gigantic spear through the roof of the dining room extension.”[18]

 

As the entrance for the state day use area, crossing the covered bridge provides access to Pine Hill Lake. The Pine Hill Lake has an estimated surface area of 5.62 acres and has an estimated storage capacity for 29.4 million gallons of water. During the summer months, the lake is used for recreational purposes such as swimming, picnicking, boating and fishing. During the winter, the lake water is used for snowmaking on the ski slopes of Belleayre Mountain. Water is pumped over 1,000 feet higher from the lake to the Upper Reservoir area for use on the upper slopes.  Pine Hill Lake, in conjunction with the 2-million-gallon Cathedral Glen Reservoir, provide snow making capability for 150 of 155 acres, or 97%, of the Belleayre Mountain Ski Area.  

 

Photograph of Friendship Manor Covered Bridge, also known as Pine Hill Covered Bridge, located in Pine Hill in the central Catskills.Friendship Manor Covered Bridge, Pine Hill, New York

Photograph of Friendship Manor Covered Bridge, also known as Pine Hill Covered Bridge, located in Pine Hill in the central Catskills.Friendship Manor Covered Bridge

 

Photograph of Friendship Manor Covered Bridge, also known as Pine Hill Covered Bridge, located in Pine Hill in the central Catskills.Friendship Manor Covered Bridge, Catskills

 

Photograph of Friendship Manor Covered Bridge, also known as Pine Hill Covered Bridge, located in Pine Hill in the central Catskills.Friendship Manor Covered Bridge

 

The artificial Pine Hill Lake was originally constructed in 1911 in order to serve cottagers during their summer vacations. In February 1911 contractor Robert Vaughn, of Windham, was awarded the contract to build Pine Hill Lake. In March 1911 Vaughn refitted the barn on the property of the Pine Hill Lake Company to make it habitable “for the Italian laborers to live in who are to work for him.” By the next month, April 1911, it was reported that he had fifty men at work on the dam which he was building for the Pine Hill Lake Company.[19]

 

By early July work on the dam was “well under way and the work is progressing rapidly. The entire base of the dam is completed and the water now runs through the large pipes near the center. An extra force of men are to be added to the present force immediately and as practically only concrete work and filling in is now to be done the work will rapidly. The Company has already ordered a carload of boats for the lake and by the time they arrive the work will be so far completed as to allow the water to flood the basin to such an extent as to permit boating and bathing. The dam appears to be a very neat and substantial structure and reflects much credit on the contractor’s manner of doing work.”[20]  

 

In July 1911 the company received a carload of boats “which they will place on the large lake in the lower part of the village now nearing completion. While the Lake is not yet completed, it is intended to turn the water in sufficient to afford good boating in a few days.”[21]

 

The July 1911 opening was featured in several New York Times articles. The July 9, 1911 article stated: “Charmingly located in a section of the Catskills noted for its beauty, Pine Hill is one of the best-known resorts in the mountains. Tuesday’s celebration here was one of the pleasantest events of the season, and brought a number of visitors from other places in the vicinity. Pine Hill Lake is completed and will be in readiness to entertain the Summer visitors next week. It will add much to the pleasure of the people who spend the Summer here, because the lack of boating and bathing up to the present time has been a serious matter for Pine Hill.”[22]

 

The July 30, 1911 follow-up article in the New York Times stated that “work on the artificial lake here has been completed and Pine Hill now adds boating and bathing to its already numerous attractions. During the week many persons have enjoyed these pastimes.”[23]

 

Within a short time of its opening, Pine Hill Lake proved to be a great success. “During the past few weeks, the 25 boats have been in almost constant use and they will be kept in use during September. The project has proved a success and added very much to Pine Hill’s popularity as a summer resort.”[24]

 

Near its 40th anniversary, disaster struck the lake, Pine Hill and the central Catskills region at large. In November 1950, the historic Rainmaker’s Flood inflicted widespread damage on the Pine Hill area, including the destruction of Pine Hill Lake.

 

“Pine Hill suffered the worst disaster in its history when the rainmaker’s flood reached a record height between 10 and 11 o’clock Saturday night, Nov. 25 . . .

 

The Pine Hill lake gave away, taking with it the small buildings, tennis courts, swimming pools, roads and bridges belonging to the Funcrest hotel and the Pine Hill Country club. The printing presses and machinery of Frank Sanchis, in the basement of his home, were under water. Currents were rushing through homes on the first floors. Chimneys toppled, lawns crumpled, oil burner motors were ruined.

 

The water mains broke. Electric lines and telephone wires came down. Autoists were stranded. One car washed downstream as its driver attempted to cross a well-washed bridge.

 

Chicken coops and outbuildings sailed downstream. Trees toppled on buildings. The small bridge on Station street collapsed and tons of dirt came down from the banks which oozed water they could no longer hold. Many lawns were piled up with unwanted gravel and debris.”[25]

 

The Catskill Mountain News also reported on the destruction from the 1950 Rainmaker’s Flood.

 

“Then the wall of water jumped into the Pine Hill Lake and broke a hole in the embankment toward the Funcrest Hotel. This let out the great volume of the 40-foot deep lake which tore down to the Ashokan dam, wrecking bridges, dwellings, public buildings and other properties. The township of Shandaken never had such losses. An appeal is being made to the state for help in the emergency.

 

The first bridge to go below the lake was the one from Route 28 to the Funcrest Hotel. The swimming pool at the Pine Hill Country Club was torn out, the Lost Cove bridge near Greenberg’s went. The Big Indian bridge was able to stand up under the flood. The Donohue bridge went.”[26]

 

The lake and dam were rebuilt in 1951 by David Funk and his son Danny Funk, owners of the adjacent Funcrest hotel. It cost an estimated $80,000 and was fully paid for by the Funk family. The new dam included a 60-foot spillway, which was double the capacity of the one washed away.

 

On July 28, 1969 during an unnamed storm the Pine Hill Lake and its dam were destroyed again by floods, sending walls of water downstream to Big Indian. “The Friendship Manor lake dam gave way and sent water charging down the Esopus . . . Major damage in the town of Shandaken was the result of the dam break at Pine Hill. Water rushed down the Esopus causing damage to buildings between Pine Hill and Big Indian and threatening campers in the Phoenicia area . . . Unlike the November 1950 flood, however, when the Pine Hill Lake was also washed out, Monday’s deluge did not take out the bridge below the dam . . . The flood had many of the characteristics of the November 1950 “rainmakers” flood, but did not cause as severe damage. Water rose rapidly catching many mountain residents unawares.”[27]

 

In the storm’s aftermath there was community opposition to rebuilding the dam and lake. An August 21, 1969 article states that:

 

“This dam has burst at least once before, has leaked frequently and has been a constant source of fear to those in its path. Its age and condition are such, that it is no longer adequate and capable of serving its purpose. Its continued use, regardless of any attempted repairs, could be catastrophic and lead to great tragedy.

 

The undersigned [property owners and residents, immediately below the village of Pine Hill] respectfully petition the above named individually and collectively, to the end that an immediate inspection be made, that the said dam be condemned and that its further use be prohibited.”[28]

 

The lake was not rebuilt again until 1988, this time by the New York State Department of Environmental Conservation. This time however the lake was separate from Birch Creek and no dam was built.

 

In 1992 Belleayre Beach on the lake was constructed and was opened to the public in July 1993 as the Belleayre Mountain Pine Hill Lake Day Use Area. The lake is very popular during the summer months with swimming, picnicking, boating and fishing. There are also volleyball and basketball courts as well as horseshoe pits. Other than perhaps a secluded swimming hole, the lake provides some of the best swimming in the Catskill Park. The covered bridge was constructed in 1992 to provide a scenic entrance to this mountain escape. The property is now managed by the Olympic Regional Development Authority (ORDA).

 

[1] Fort Miller website. Bridge Products Project Gallery. Accessed February 20, 2014.

[2] Yost, Lon; Funderburk, Scott. “High-Performance Steel Increasingly Used for Bridge Building.” American Welding Society. www.aws.org. Accessed February 20, 2014.

[3] Pine Hill Historic District. Application for inclusion on the National Register of Historic Places.

[4] “Shandaken’s Hamlets.” www.shandaken.us. Accessed February 21, 2014.

[5] Vasiliev, Ren. From Abbotts to Zurich: New York State Placenames. Syracuse: Syracuse University Press, 2004. p. 178.

[6] “Personal Notes.” Harper’s Weekly. Vol. 46. Harper’s Magazine Company, 1902. p. 575.

[7] Bussy, Ethel. History and Stories of Margaretville and Surrounding Area. Margaretville, NY, 1960.

[8] “A Brief History of Pine Hill.” www.chamberorganizer.com. Accessed February 21, 2014.

[9] Dunn, Shirley. “Mohican Seminar 3: The Journey – An Algonquian Peoples Seminar”. New York State Museum Bulletin 511, 2009. pp. 81-82.

[10] “Belleayre Mountain Ski Center UMP, Appendix B – Snowmaking Engineers Report.” New York State Department of Environmental Conservation. April 2011. p. 6.

[11] The Brooklyn Daily Eagle. July 1, 1923.

[12] The American Hebrew. May 13, 1927.

[13] Post, Larry. “Round the Resorts. New York Post. July 5, 1962.

[14] “New Manor Is Open.” Catskill Mountain News.  June 30, 1966. p. 7.

[15] Birns, William. A Catskill Archive. Fleischmanns, NY: Purple Mountain Press, 2011. p. 146.

[16] “Tax Agents Seize Friendship Manor.” Catskill Mountain News. May 4, 1972. p. 1.

[17] “Our Final Fling.” Catskill Mountain News. September 28, 1972. p. 2.

[18] “Fitzgeralds Hotel Destroyed in Pine Hill Fire.” Catskill Mountain News. November 14, 1974.

[19] “News From the Vicinity.” The Mirror-Recorder. April 19, 1911.

[20] “Weekly Home Happenings.” Windham Journal. July 6, 1911.

[21] “From All About Us.” The Mirror-Recorder. July 26, 1911.

[22] “New Artificial Lake to be in Readiness This Week.” New York Times. July 9, 1911.

[23] “The Artificial Lake Now Open for Boating and Bathing Parties.” New York Times. July 30, 1911.

[24] “From All About Us.” Stamford Mirror-Recorder. 1911.

[25] Smith, Mrs. James. “The Rainmaker’s Flood Which Damaged Pine Hill.” Catskill Mountain News. December 8, 1950. p. 9.

[26] “Many Houses and Bridges Lost in Esopus Valley.” Catskill Mountain News. December 1, 1950.

[27] “Flood Wash Out Roads, Bridges.” Catskill Mountain News. July 31, 1969. pp. 1-2.

[28] “Dam Repair Opposed In Petition Submitted By Pine Hill Residents.” Catskill Mountain News. August 21, 1969. p. 1.

 

 

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[email protected] (American Catskills) beach Belleayre Beach Belleayre Mountain Birch Creek bridge Catskill Mountains Catskills Chesterfield Associates covered bridge David Funk day use area Fitzgeralds Fort Miller Friendship Manor Friendship Manor Covered Bridge Funcrest Funcrest Hotel lake New York Pine Hill Pine Hill Covered Bridge Pine Hill Lake road Route 28 Shandaken swimming Ulster County https://www.americancatskills.com/blog/2023/12/friendship-manor-covered-bridge Sat, 23 Dec 2023 13:00:00 GMT
Coykendall Lodge at Alder Lake https://www.americancatskills.com/blog/2023/12/coykendall-lodge-at-alder-lake The remains of the former Coykendall Lodge are located on the shores of Alder Lake in the upper Beaverkill Valley in the town of Hardenbergh in Ulster County, New York. The lodge sits within the Balsam Lake Mountain Wild Forest and overlooks Alder Lake, with Mill Brook Ridge to the east, Cradle Rock Ridge to the south and several unnamed hills to the north. The lodge was situated on a bluff overlooking a rolling meadow that led down to the lake.

 

Photograph of the Coykendall Lodge, located at Alder Lake in the upper Beaverkill Valley in Hardenburgh township in Ulster County, New York.Coykendall Lodge at Alder LakeThe remains of the former Coykendall Lodge are located on the shores of Alder Lake in the upper Beaverkill Valley in the town of Hardenbergh in Ulster County, New York. The lodge sits within the Balsam Lake Mountain Wild Forest and overlooks Alder Lake, with Mill Brook Ridge to the east, Cradle Rock Ridge to the south and several unnamed hills to the north. The lodge was situated on a bluff overlooking a rolling meadow that led down to the lake.

 

Photograph of the Coykendall Lodge, located at Alder Lake in the upper Beaverkill Valley in Hardenburgh township in Ulster County, New York.Coykendall LodgeThe remains of the former Coykendall Lodge are located on the shores of Alder Lake in the upper Beaverkill Valley in the town of Hardenbergh in Ulster County, New York. The lodge sits within the Balsam Lake Mountain Wild Forest and overlooks Alder Lake, with Mill Brook Ridge to the east, Cradle Rock Ridge to the south and several unnamed hills to the north. The lodge was situated on a bluff overlooking a rolling meadow that led down to the lake.

 

Photograph of the Coykendall Lodge, located at Alder Lake in the upper Beaverkill Valley in Hardenburgh township in Ulster County, New York.Remains of Coykendall LodgeThe remains of the former Coykendall Lodge are located on the shores of Alder Lake in the upper Beaverkill Valley in the town of Hardenbergh in Ulster County, New York. The lodge sits within the Balsam Lake Mountain Wild Forest and overlooks Alder Lake, with Mill Brook Ridge to the east, Cradle Rock Ridge to the south and several unnamed hills to the north. The lodge was situated on a bluff overlooking a rolling meadow that led down to the lake.

 

The Coykendall Lodge was constructed in 1899 as the summer residence of prominent businessman Samuel Decker Coykendall (1837-1913). Coykendall was an important member of the Kingston, New York community, having a hand in a wide variety of businesses including railroads, canal operations, the trolley system, the cement industry, the brick industry, bluestone, a hotel, a water company, dry goods, banks, a newspaper and the Cornell Steamboat Company. The lodge was used by Coykendall and his guests as a retreat for fishing, hunting and entertaining. The lodge was listed on the National Register of Historic Places as “architecturally significant as an important regional example of “Great Camp” inspired architecture in the Catskill Region of New York State.”

 

Coykendall Lodge was designed by Downing Vaux (1856-1926), son of prominent landscape architect Calvert Vaux (1824-1895). Although he is most frequently mentioned only in context of being Calvert Vaux’s son, Downing Vaux also became a prominent landscape architect in his own right. He attended Columbia School of Mines for one year, studied and worked for three years in his father’s firm of Vaux & Radford and then worked for one year with the engineering firm of McClay & Davies. He afterwards rejoined his father’s firm in the mid-1880s, before eventually going into private practice. In addition to Coykendall Lodge, Downing also designed Coykendall’s Kingston Point Park, which served as an amusement park for local residents and for passengers of the Hudson Day liners. From 1893 to 1911 Vaux lectured on landscape architecture at the engineering school at New York University. Downing was a member of the Society for the Preservation of Scenic and Historic Places and Objects, the Architectural League of New York and the National Arts Club. Downing was one of the eleven founding members of the American Society of Landscape Architects in 1899.

 

Photograph of the Coykendall Lodge, located at Alder Lake in the upper Beaverkill Valley in Hardenburgh township in Ulster County, New York.Step Back in Time - Coykendall Lodge at Alder LakeThe remains of the former Coykendall Lodge are located on the shores of Alder Lake in the upper Beaverkill Valley in the town of Hardenbergh in Ulster County, New York. The lodge sits within the Balsam Lake Mountain Wild Forest and overlooks Alder Lake, with Mill Brook Ridge to the east, Cradle Rock Ridge to the south and several unnamed hills to the north. The lodge was situated on a bluff overlooking a rolling meadow that led down to the lake.

 

 

Alder Lake, where Coykendall Lodge is located, “was originally a very small pond, and since its surrounding land was not suitable for farming it was not developed until 1859. In 1889 Julius (June) Smith constructed a dam just upstream, transforming the pond into the fifty-five acre Alder Lake, stocked with native brook taken from the Beaverkill. The first trout hatchery established in the Beaverkill valley was constructed on Alder Lake in 1890.” (Coykendall Lodge, National Register of Historic Places.) Today, the 1.6-mile Alder Lake Loop Trail circles the lake.

 

In 1891 Coykendall helped found the Alder Lake Club, a private fishing club established “for the purpose of purchasing, acquiring, holding and improving real estate in the vicinity of Alder Lake in the town of Hardenburgh, Ulster County, and erecting and maintaining thereon a club house, cottages, and other buildings and fish ponds, and apportioning and distributing such real estate among the stockholders of the club.” (“The Alder Lake Club.” New Paltz Times. August 19, 1891.) The first directors of the club included Coykendall, John McEntee, Abram Hasbrouck, Dr. George C. Smith, Dr. Robert Loughram, Dr. J. D. Wurts, Dr. Henry VanHovenberg, John N. Cordts and George N. Hutton.

 

“The Ulster & Delaware Railroad provided transportation from Kingston to its station in Arkville, from which [Alder Lake Club] members rode stagecoaches to the clubhouse. Fishing in Alder Lake was very good, its stock of fish constantly replenished with fish from the Beaverkill, as well as from the river’s original private hatchery located there.

 

By the beginning of fishing season in 1899 Coykendall had purchased the shares of the other club members and controlled the entire lake. He planned to build a stylish estate and fishing preserve, and on a knoll overlooking the lake he constructed “a stately mansion of grand proportions.” He employed over one hundred men over the course of its construction, all materials being hauled from Livingston Manor, some sixteen miles distant. Construction was completed by June 1900, and the large three-story building became the scene of many fishing excursions and parties. The style of the lodge reflected the Victorian influence, and combined elegance in design with the rustic simplicity and feeling of comfort that had come to characterize the Catskill Mountain Resorts. Reflecting the influence as well of the local Ulster County historic stone houses, the lodge was rooted to the ground on a base of rough local stone, and its spacious porch, providing views across the lake, was also constructed in local stone. Also on the property was the original Alder Lake fish hatchery, which Coykendall maintained and kept in operation to preserve and perpetuate the excellent fishing conditions.

 

Coykendall purchased hundreds of acres of forested land around the lake, and constructed an access road over Cross Mountain from Arena. This provided safe and comfortable access to the lodge via stagecoach, which attracted many guests and fellow fly-fishing enthusiasts. Unfortunately, it also attracted poachers to the Lake, and Coykendall worked diligently to protect the natural resources of the lake and its trout as long as he owned his house.

 

Coykendall’s stewardship of the lake and the region lasted until 1945 when the estate once again became a trout-fishing club. The membership of the new Alder Lake Club came from Liberty, in Sullivan County. They maintained the lodge and the lake for fifteen years before they sold their holdings to the Nassau County Council of Boy Scouts, who used the lake and surrounding forest as a summer retreat. In 1980 Alder Lake and surrounding lands were acquired by New York State and added to the forever-wild Catskill Forest Preserve.” (Coykendall Lodge, National Register of Historic Places.)

 

After the lodge’s acquisition by New York State, it quickly fell into a state of disrepair. Given the “forever wild” policy applied to lands within the Catskills Park, the Department of Environmental Conservation took no steps to save the building. Over time, looters took anything of value, including the copper pipes and plumbing, and vandals destroyed windows, walls, etc., while bats infested the structure and natural elements took their toll.

 

There were various efforts over the years by the Alder Lake Restoration Society, a local preservation group, to save Coykendall Lodge. The society was organized in 1998 after the state of New York announced that the lodge would be torn down. However, despite best efforts the lodge was torn down by the state circa 2008. Only the stone foundations and cobblestone walls remain.

 

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[email protected] (American Catskills) abandoned Alder Lake Alder Lake Club Alder Lake Loop Trail architecture Balsam Lake Mountain Wild Forest Beaverkill Valley building camp camping Catskill Mountains Catskills Coykendall Lodge Downing Vaux fish Hardenburgh hatchery home lodge National Register of Historic Places remains residence Samuel Coykendall trail trout Ulster County https://www.americancatskills.com/blog/2023/12/coykendall-lodge-at-alder-lake Sat, 16 Dec 2023 13:00:00 GMT
Skene Memorial Library, Fleischmanns, New York https://www.americancatskills.com/blog/2023/12/skene-memorial-library-fleischmanns-new-york The historic Skene Memorial Library is located in the village of Fleischmanns in Delaware County, New York.

 

The Skene Memorial Library was constructed in 1901 in honor of Dr. Alexander Johnston Chalmers Skene (1838-1900), a noted physician and medical researcher, and one of the most prominent summer residents in the village of Fleischmanns. Dr. Skene was a Scottish immigrant who arrived in America at the age of nineteen. He became a surgeon and contributed to the theory, practice and teaching of gynecology. Skene was “generally looked upon as one of the foremost physicians of his time.”

 

Photograph of the Skene Memorial Library, located in the Catskills village of Fleischmanns, New York.Skene Memorial Library, Fleischmanns, New YorkThe historic Skene Memorial Library is located in the village of Fleischmanns in Delaware County, New York. The building is listed on the National Register of Historic Places.

 

Photograph of the Skene Memorial Library, located in the Catskills village of Fleischmanns, New York.Skene Memorial Library, Fleischmanns, NYThe historic Skene Memorial Library is located in the village of Fleischmanns in Delaware County, New York. The building is listed on the National Register of Historic Places.

 

Skene was born in the parish of Fyvie, Aberdeenshire, Scotland and received his early education in his home country at Aberdeen and at Kings College. After his arrival in America at age 19, Skene first studied at Toronto, Canada, then at the University of Michigan, and ultimately graduated from Long Island College Hospital in 1863. He began his medical career as an assistant military surgeon in the U. S. Army, serving during the Civil War at Port Royal, South Carolina; Charleston Harbor, South Carolina; and at Decamp’s Hospital on Davids Island, New York. After the war Skene continued his interest in military service through his work as a surgeon for the National Guard in the 12th Regiment and the 1st Division, and also as a Lieutenant Colonel on the staff of General Molineux in 1884-1885.

 

Upon completion of his military duty in 1864 Skene entered private practice. Skene served as a professor of Obstetrics and Gynecology at Long Island College Hospital from 1866 to 1899, as the Dean of Faculty of that institution from 1886 to 1893, and as president from 1893 to 1899. Skene helped found the American Gynecological Society and opened his own sanitorium in Brooklyn. He was the author of numerous six books (including one novel) and dozens of papers; was a member of many domestic and foreign medical societies; is credited with inventing several surgical instruments; and has his name associated with a part of the human body – Skene’s Glands, which he discovered in 1880. His county home in Highmount, above Fleischmanns, was designed to recall a Scottish castle and named Bonnie Em.

 

Alexander Skene passed away at 62 years of age on July 4, 1900 at his summer home in Highmount after suffering from a heart ailment for some time. Funeral services were held at the family residence in Brooklyn, with the Reverend Edward P. Ingersoll officiating. Skene is buried at the family plot in Rockland Cemetery at Sparkill, New York. After Skene’s death, an impressive monument in his honor was sponsored by a committee of physicians and former patients. The monument was sculpted by John Massey Rhind and placed in 1905 at Grand Army Plaza in Brooklyn, New York.

 

Funding to build the library came from fundraising by local residents and summer visitors, supplemented by a $5,000 donation from steel magnate Andrew Carnegie (1835-1919), a childhood friend of Alexander Skene. No conditions were placed on Carnegie’s gift other than the library “continue to bear the honored name of Doctor Skene, whom we shall ever hold in grateful remembrance.” News of Carnegie’s donation for the construction of the Skene Library was published in various regional newspapers, several of which also reported that “Dr. Skene once saved the millionaire’s life.” Carnegie also sponsored other libraries in the Catskills region, including buildings at Catskill (1901), Kingston (1904) and Saugerties (1915).

 

Land for the library was donated in October 1901 by Herbert and Augusta Vermilyea and John and Frances Scudder. The cornerstone for the library was laid on November 25, 1901, with work beginning shortly thereafter. Construction was completed by Crosby Kelly, a lumber mill owner at Fleischmanns and builder of many local residences. Sol Myers is credited with painting the library and George Mayes completed the interior work. The library received its charter on December 19, 1901.

 

The building was designed by the architectural firm of Marshall Lansing Emery (c. 1863-1921) and Henry George Emery (1871-1956). Marshall Emery began his career with the firm of Withers and Dixon, and opened his own architectural practice in New York City in 1894. Five years later, in 1899, his younger brother Henry, having previously worked at the prestigious firms of R. M. Hunt and Warren & Wetmore, joined him to form the partnership of M. L. and H. G. Emery. Other notable buildings designed by the Emery brothers include the Jamaica Hospital on Long Island, St. George’s Episcopal Church in Manhattan, the Polheumus Memorial Library in Brooklyn and the Elks Lodge in Albany, New York. The Emery brothers also designed several buildings in the Nyack, New York area, including several personal residences, the St. Ann’s Roman Catholic Church, St. Paul’s Methodist Church, the Nyack Library and the Nyack Hospital. Remarkably the firm continues to exist today, now operating under the name of CPLA Architects.

 

Photograph of the Skene Memorial Library, located in the Catskills village of Fleischmanns, New York.Skene Memorial LibraryThe historic Skene Memorial Library is located in the village of Fleischmanns in Delaware County, New York. The building is listed on the National Register of Historic Places.

 

Photograph of the Skene Memorial Library, located in the Catskills village of Fleischmanns, New York.Skene Memorial Library, FleischmannsThe historic Skene Memorial Library is located in the village of Fleischmanns in Delaware County, New York. The building is listed on the National Register of Historic Places.

 

As for the design of the Skene Memorial Library, it “combines features of the Queen Anne and Shingle styles in an eclectic, late Victorian period design. Its design is similar to other resort era buildings in the village, such as some of the larger village residences, summer homes and small hotels. Interestingly, the library’s form and some of its details are also characteristic of the designs used for some of the region’s many resort era railroad stations. The low rectangular form, broad hipped roof overhanging eaves and shingle cladding are typical of the type, while the broad, sheltering porch and distinctive octagonal tower suggest functions such as providing shelter and identifying locations. On the interior, the library’s plan is typical of other period libraries, featuring a hierarchy of public spaces and the ability to define spaces for public and private functions.” (Skene Memorial Library, National Register of Historic Places.)

 

The Skene Memorial Library is listed on the National Register of Historic Places as a “distinctive intact example of an early twentieth century public library building and as a center for community life in the village of Fleischmanns for more than a century.”

 

Throughout its history the Skene Memorial Library has played an important part in Fleischmanns history, providing a community space for fairs, lectures, recitals, theater productions, movies and town meetings. For more information about the Skene Memorial Library visit their website at www.skenelib.org.

 

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[email protected] (American Catskills) Alexander Johnston Chalmers Skene Alexander Skene Andrew Carnegie architecture building Catskill Mountains Catskills Crosby Kelly Delaware County Fleischmanns Henry Emery library Marshall Emery New York Skene Memorial Library village https://www.americancatskills.com/blog/2023/12/skene-memorial-library-fleischmanns-new-york Sat, 09 Dec 2023 13:00:00 GMT
Church of St. John the Evangelist at Tannersville, New York https://www.americancatskills.com/blog/2023/12/church-of-st-john-the-evangelist-at-tannersville-new-york The historic Church of St. John the Evangelist is located in the village of Tannersville in Greene County, New York. It is bounded by Philadelphia Hill Road to the west, and by woodlands and scattered cottages to the north, south and east.

 

The historic Church of St. John the Evangelist is located on Philadelphia Hill Road in the village of Tannersville, New York in the northern Catskills.Church of St. John the Evangelist, Tannersville, New YorkThe historic Church of St. John the Evangelist is located in the village of Tannersville in Greene County, New York.

 

The historic Church of St. John the Evangelist is located on Philadelphia Hill Road in the village of Tannersville, New York in the northern Catskills.Church of St. John the Evangelist, Tannersville, NYThe historic Church of St. John the Evangelist is located in the village of Tannersville in Greene County, New York.

 

The historic Church of St. John the Evangelist is located on Philadelphia Hill Road in the village of Tannersville, New York in the northern Catskills.Church of St. John the EvangelistThe historic Church of St. John the Evangelist is located in the village of Tannersville in Greene County, New York.

 

The church, constructed in 1885, long served the residential enclave known as Philadelphia Hill. The community originally consisted of a group of individuals from the city of Philadelphia who had typically spent their summers at the Blythewood boarding house operated by Alexander Hemsley (1834-1904).

 

The Blythewood resort had been established in the late 1870s by Hemsley to assist his wife, who suffered from tuberculosis, in taking advantage of the crisp mountain air. Within a few years of opening the Blythewood advertised itself in 1879 as being “beautifully situated in the heart of the Catskill Mountains.” It was “open for Boarders the 1st of June. It is accessible from Catskill village, by two daily lines of stages. The house is new, has all modern conveniences, and is comfortably furnished throughout. There is abundant shade, fine lawn and croquet ground on the premises. Good trout fishing in the neighborhood during the season. Comfortable private conveyances can always be furnished for pleasure parties, and will be sent to meet guests on the arrival of cars or steamboat, when desired. Post-office and Telegraph Station within half a mile of the house.”

 

In 1883 Hemsley acquired 43 acres of land in the town of Hunter, which was subdivided and sold in parcels to many of the guests at Blythewood as sites to build summer cottages. As part of the new development 1.5 acres was designated for the construction of a summer chapel. The chapel lot was centered within the developing community.

 

Noted architect William Halsey Wood (1855-1897) designed the church, while his brother, Reverend Alonzo Lippincott Wood, Sr. (1852-1911) served as its first minister. William Halsey Wood would later marry Florence Hemsley, daughter of Alexander Hemsley, at the church in November 1889, the first wedding conducted at the church. Alonzo’s family, including his three sons, would serve the congregation at the rural church for over 75 years.

 

William Halsey Wood, the church architect, was born on April 24, 1855 in Danville, New York, the son of Daniel Halsey Wood and Hannah Bell Lippincott. The family moved to Newark, New Jersey shortly after William’s birth and William was almost entirely educated at the Episcopal parish school of the House of Prayer in that city. At the age of 15, Wood entered the architectural profession in the New York office of John F. Miller. He received further architectural training with Thomas A. Roberts, in Newark, New Jersey, eventually joining Roberts as a partner in the firm of Roberts, Taylor & Wood. After the firm dissolved within a few years, he went into business on his own, and practiced alone for the remainder of his career, eventually establishing offices at both Newark, New Jersey and in New York City. His church, library and building designs can be found across the country, including in the states of New York, New Jersey, Connecticut, Pennsylvania, Alabama, Tennessee, Ohio, Missouri, Wisconsin, and Wyoming. Wood passed away at 41 years of age on March 13, 1897 from tuberculosis and is buried at Saint James the Less Episcopal Churchyard in Philadelphia, Pennsylvania.

 

Alonzo L. Wood, the church’s first summer minister, was born at New Providence, New Jersey in 1852. He was made deacon in the Episcopal Church in 1876 by Bishop Odenheimer and became an ordained priest in 1879 by Bishop Seymour. He served nine years as curate at the House of Prayer in Newark and then became rector at St. John’s at Woodside, Newark. On leaving St. John’s in 1892 he became rector of Tompkinsville, Staten Island, where he remained until 1908. After resigning that parish, he performed missionary work for the dioceses of Vermont and Pennsylvania. Father Wood for many years served as chaplain for the Hospital of St. Barnabas in Newark. He was the author of A Ritual Catechism and Brief Devotions for Young People. Wood passed away at Tannersville, New York at 59 years of age on August 24, 1911 after a lingering illness. He is buried in the churchyard of the Church of St. John the Evangelist in Tannersville.

 

The historic Church of St. John the Evangelist is located on Philadelphia Hill Road in the village of Tannersville, New York in the northern Catskills.Church of St. John the Evangelist, Tannersville, NYThe historic Church of St. John the Evangelist is located in the village of Tannersville in Greene County, New York.

 

The historic Church of St. John the Evangelist is located on Philadelphia Hill Road in the village of Tannersville, New York in the northern Catskills.Church of St. John the Evangelist, TannersvilleThe historic Church of St. John the Evangelist is located in the village of Tannersville in Greene County, New York.

 

The historic Church of St. John the Evangelist is located on Philadelphia Hill Road in the village of Tannersville, New York in the northern Catskills.Church of St. John the Evangelist, National Register of Historic PlacesThe historic Church of St. John the Evangelist is located in the village of Tannersville in Greene County, New York.

 

The historic Church of St. John the Evangelist is located on Philadelphia Hill Road in the village of Tannersville, New York in the northern Catskills.Church of St. John the Evangelist, SpringtimeThe historic Church of St. John the Evangelist is located in the village of Tannersville in Greene County, New York.

 

The single-story church design “features the mixture of textures and natural materials indicative of the Victorian architecture. The use of native stone blended with stylized half-timbering and wood panel work [that] created a naturalistic form intended to allow the building to recede into the wooded building site.”

 

The Church of St. John the Evangelist is listed on the National Register of Historic Places “as an outstanding example of late nineteenth century Victorian ecclesiastic architecture in the community of Hunter.” It “stands today virtually intact from its construction more than one-century ago. The building retains an outstanding degree of architectural integrity as well as an intact rural setting. The building is a local landmark and an important reminder of the prosperity and spiritual commitment of the Hemsley family and the enclave of Philadelphia Hill."

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[email protected] (American Catskills) Alexander Hemsley Alonzo L. Wood architecture Blythewood building Catskill Mountains Catskills Christian church Church of St. John the Evangelist community Episcopal Episcopal Diocese of Albany Florence Hemsley Greene County Hunter Hunter Foundation National Register of Historic Places New York park Philadelphia Philadelphia Hill St. John the Evangelist Tannersville William Halsey Wood https://www.americancatskills.com/blog/2023/12/church-of-st-john-the-evangelist-at-tannersville-new-york Sat, 02 Dec 2023 13:00:00 GMT
Callicoon Theater https://www.americancatskills.com/blog/2023/11/callicoon-theater The art-deco styled Callicoon Theater is the oldest continually operating movie theater in Sullivan County, New York. Opening night took place on July 8, 1948 with a showing of the American western film titled Green Grass of Wyoming starring Charles Coburn and Peggy Cummins. Marilyn Monroe appeared in the film as an uncredited extra.

 

Callicoon TheaterCallicoon TheaterThe art-deco styled Callicoon Theater is the oldest continually operating movie theater in Sullivan County, New York.

 

Movies Since 1948Movies Since 1948The art-deco styled Callicoon Theater is the oldest continually operating movie theater in Sullivan County, New York.

 

Callicoon Theater, Movies Since 1948Callicoon Theater, Movies Since 1948The art-deco styled Callicoon Theater is the oldest continually operating movie theater in Sullivan County, New York.

 

The single-screen theater, which was originally called the Harden Theater, was built by Fred H. Starck as part of a regional chain owned by Harvey D. English. The Harden Theater at Callicoon was the 13th theater in the chain. The building was built in “the Quonset style, with rounded roof coming down to the foundation on either side. The frame is of wood and has Rilco rafters.” (The Hancock Herald. July 1, 1948.) Construction was primarily completed by the Martin Hermann Lumber Company.

 

The theater originally had seating capacity for 514 people. Ray Dexter, Jr., former manager of the Park Theatre at Narrowsburg, was appointed as the first manager of the new Harden Theatre in Callicoon.

 

In 1963 the theater was purchased by the partnership James “Mickey” Roche (1933-2018) and Warren Doetsch (1936-1921), who renamed the theater by dropping the “H” and calling it the Arden Theater. Roche was a US Army veteran, a parishioner at Holy Cross Church and worked as president of Roche’s Garage, which he operated for many years in partnership with his brother “Rease” Roche. Doetsch, a graduate of Jeffersonville High School and the Albany College of Pharmacy (1958), in addition to operating the Callicoon Theater with Roche, was a pharmacist for 43 years, including owning and operating the Callicoon Pharmacy for 15 years. He worked at various other pharmacies in the area until his retirement from the New York State Department of Corrections in 2001. Doetsch, was a member of the Board of Education, the Callicoon Kiwanis Club and St. John’s Lutheran Church. Roche and Doetsch operated the Callicoon Theater for 23 years, selling it 1986 to Jim and Barbara Kayton.

 

After their purchase the Kayton’s renamed the theater to the Callicoon Theater and would successfully operate it for the next 32 years, with Jim handling the technical operations and Barbara handling personnel activities. In an October 2023 interview the Kayton’s noted that the longest movie run under their ownership was for Titanic, which was filled for every showing for three consecutive weeks.

 

Movie Night at the Callicoon TheaterMovie Night at the Callicoon TheaterThe art-deco styled Callicoon Theater is the oldest continually operating movie theater in Sullivan County, New York.

 

Now Playing at the Callicoon TheaterNow Playing at the Callicoon TheaterThe art-deco styled Callicoon Theater is the oldest continually operating movie theater in Sullivan County, New York.

 

Callicoon Theater, Since 1948Callicoon Theater, Since 1948The art-deco styled Callicoon Theater is the oldest continually operating movie theater in Sullivan County, New York.

 

In 2018 Kristina Smith, a freelance theater director and producer, purchased the theater and the theater continues to serve the regional community with first-run films and timeless classics.

 

The Callicoon Theater is listed on the National Register of Historic Places as part of the Callicoon Downtown Historic District.

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[email protected] (American Catskills) architecture Arden Theater Barbara Kayton building Callicoon Callicoon Theater D. English" film Fred Starck Harden Theater Harvey James Roche Jim Kayton Kristina Smith marquee movie National Register of Historic Theaters New York Sullivan County theater theatre Warren Doetsch https://www.americancatskills.com/blog/2023/11/callicoon-theater Sat, 25 Nov 2023 13:00:00 GMT
Rock Valley School in Hancock, New York https://www.americancatskills.com/blog/2023/11/rock-valley-school-in-hancock-new-york “We were young together

       And never can forget

The school house at Rock Valley

       In school days where we met.”

 

– Hancock Herald. February 14, 1957.

 

 

The Rock Valley School, also known as Hancock School District No. 22, is located in an area known as the Upper Basket in the small hamlet of Rock Valley in the town of Hancock, Delaware County. The school is situated just north of the intersection of Rock Valley Road (County Route 28) and John Milk Road; and near the confluence of   the North Branch Basket Creek and Hoffman Brook. The school is located approximately 3.8 miles north of Route 97 and the Delaware River. The historic Rock Valley Cemetery is located adjacent to the school on a sloping hillside.

 

Rock Valley School HouseRock Valley School HouseThe Rock Valley Schoolhouse, located in the small hamlet of Rock Valley in the town of Hancock, was established in 1885 in order to meet the needs of the growing population associated with local businesses such as logging, milling, bluestone quarrying, agriculture and the wood chemical industry. The classic one-story wood frame school, built at a cost of $750 with all the latest educational mandates, was considered to be one of the finest schools in the county. As was common for rural areas of the era, the one room schoolhouse served students of all grade levels. (Remarkably, although one room schoolhouses are considered a product of a long-gone era, there are still approximately 400 active one-room schoolhouses in the United States.) Today, the school interior features many of its original fixtures such as the pine floor, blackboard, iron coat hooks and desks. The historic school remained in continuous operation until 1940s, when it closed due to school district consolidation. Since its closing, the building has been used as a polling station, a community meeting house and, more recently, as a venue for artistic events such as book signings and poetry readings. The Rock Valley School is listed on the National Register of Historic Places.

 

Rock Valley School House, AutumnRock Valley School House, AutumnThe Rock Valley Schoolhouse, located in the small hamlet of Rock Valley in the town of Hancock, was established in 1885 in order to meet the needs of the growing population associated with local businesses such as logging, milling, bluestone quarrying, agriculture and the wood chemical industry. The classic one-story wood frame school, built at a cost of $750 with all the latest educational mandates, was considered to be one of the finest schools in the county. As was common for rural areas of the era, the one room schoolhouse served students of all grade levels. (Remarkably, although one room schoolhouses are considered a product of a long-gone era, there are still approximately 400 active one-room schoolhouses in the United States.) Today, the school interior features many of its original fixtures such as the pine floor, blackboard, iron coat hooks and desks. The historic school remained in continuous operation until 1940s, when it closed due to school district consolidation. Since its closing, the building has been used as a polling station, a community meeting house and, more recently, as a venue for artistic events such as book signings and poetry readings. The Rock Valley School is listed on the National Register of Historic Places.

Going to SchoolGoing to SchoolThe Rock Valley Schoolhouse, located in the small hamlet of Rock Valley in the town of Hancock, was established in 1885 in order to meet the needs of the growing population associated with local businesses such as logging, milling, bluestone quarrying, agriculture and the wood chemical industry. The classic one-story wood frame school, built at a cost of $750 with all the latest educational mandates, was considered to be one of the finest schools in the county. As was common for rural areas of the era, the one room schoolhouse served students of all grade levels. (Remarkably, although one room schoolhouses are considered a product of a long-gone era, there are still approximately 400 active one-room schoolhouses in the United States.) Today, the school interior features many of its original fixtures such as the pine floor, blackboard, iron coat hooks and desks. The historic school remained in continuous operation until 1940s, when it closed due to school district consolidation. Since its closing, the building has been used as a polling station, a community meeting house and, more recently, as a venue for artistic events such as book signings and poetry readings. The Rock Valley School is listed on the National Register of Historic Places.

Rock Valley School House, Delaware County, N.Y.Rock Valley School House, Delaware County, N.Y.The Rock Valley Schoolhouse, located in the small hamlet of Rock Valley in the town of Hancock, was established in 1885 in order to meet the needs of the growing population associated with local businesses such as logging, milling, bluestone quarrying, agriculture and the wood chemical industry. The classic one-story wood frame school, built at a cost of $750 with all the latest educational mandates, was considered to be one of the finest schools in the county. As was common for rural areas of the era, the one room schoolhouse served students of all grade levels. (Remarkably, although one room schoolhouses are considered a product of a long-gone era, there are still approximately 400 active one-room schoolhouses in the United States.) Today, the school interior features many of its original fixtures such as the pine floor, blackboard, iron coat hooks and desks. The historic school remained in continuous operation until 1940s, when it closed due to school district consolidation. Since its closing, the building has been used as a polling station, a community meeting house and, more recently, as a venue for artistic events such as book signings and poetry readings. The Rock Valley School is listed on the National Register of Historic Places.

 

The school was established in 1885 in order to meet the needs of the growing population associated with local businesses such as logging, milling, bluestone quarrying, agriculture and the wood chemical industry.

 

As for the name Rock Valley, “the exact origin of the name is a matter of speculation, the most common guess being the obvious one, that it was so named because of the rocks in it. Back in the days before the permanent settlers came in, when only hunters and trappers and occasional Indians visited the Basket wilderness, the lower Fernwood basin was known as the Big Rock Valley, and the suggestion has been made that somehow, in the passage of time, the name slipped over the hill. To anyone knowing the country, however, the west brook has its own rock valley, where the stream at one place falls over a rocky ledge and after running past rocky walls, finally flows over a solid rock bottom near the lower end. This, no doubt, was the beginning of Rock Valley.” (LaValley, Leslie D. “Basket Letters. A History of the Basket Brook. Chapter LV, Rock Valley.” The Hancock Herald. February 14, 1957.)

 

The classic one-story wood frame school was built at a cost of $750 by John Inman, a local mason and carpenter. As per the Hancock Herald issue of March 5, 1885, “we hear the contract to build the new school at Rock Valley has been taken by John E. Inman, consideration $750.00. If built according to contract, it will be one of the best in the county, will be perfectly ventilated, and supplied with Triumph desks.”

 

As for the timing of the construction the Hancock Herald in their April 9, 1885 issue reported that “. . . Inman has part of the lumber for our school house delivered on the ground.” The firm of Swinton, Shimer, and Co., of Port Jervis, were contracted to put the tin on the roof of the new school house, which they did in June 1885. (Hancock Herald. June 11, 1885.) The land for the school was donated by George Oestrich.

 

“The school is a one-story wood-frame building on a cut stone foundation. The main section of the building is rectangular in form, two bays wide and three bays deep (approximately 24’ by 36’). The gable roof (clad with asphalt shingles in 1975) features simple overhangs and returns in the roof line and rectangular vents in the front and rear pediments. Sided in wooden clapboards, the school has narrow cornerboards and a water table. All of the large six over six double hung windows are original to the construction and matching in size and enframements. The main entrance, approached by three flagstone tiered steps, has a four paneled wood door within a simple molded enframement. The rear entrance of the building is on the left hand side and is windowless, with a central brick chimney running up the center and a handicapped accessible ramp added to the building in 1985.

 

The interior of the school is divided into a vestibule, which was used as a cloakroom and retains its original iron coat hooks, and a single large schoolroom. The vestibule is lit by the two façade windows. Two opposing four-paneled doors on the interior wall provide access to the classroom. The interior of the classroom is large and brightly lit by the three windows on the east and west sides. The original blackboard hangs between the two entry doors and a cast-iron woodstove is in the center of the room. The school retains its original pine floors throughout. Electric lighting is supplied by hanging pendant lights, added to the building after 1910. The school has bad minimal alterations from its original construction date.”

 

The school building complied with all the latest educational mandates, and was considered one of the finest schools in the county. As was common for rural areas of the era, the one room schoolhouse served students of all grade levels. On March 25, 1886 the Hancock Herald reported that “Miss Minnie Biedeknapp will teach the Rock Valley school the coming term,” making her one of the earliest teachers as the Rock Valley School.

 

The historic school remained in continuous operation until 1940s, when it closed due to school district consolidation. In 1953 the school building was deeded to the Rock Valley Cemetery Association, which has maintained the school ever since. The Rock Valley Cemetery, located along John Milk Road, behind and to the west of the school, was established in 1902. A commemorative marker was mounted on the front of the building by the Basket Historical Society in 1985 to mark the 100th anniversary of the school.

 

The Rock Valley School was one of 29 school buildings that served the town of Hancock in the late 1800s. Of the 29 buildings 14 have been demolished, 10 were converted to dwellings, 3 are of unknown disposition and 2, Rock Valley and Harvard, retain their school forms.

 

Rock Valley School HouseRock Valley School HouseThe Rock Valley Schoolhouse, located in the small hamlet of Rock Valley in the town of Hancock, was established in 1885 in order to meet the needs of the growing population associated with local businesses such as logging, milling, bluestone quarrying, agriculture and the wood chemical industry. The classic one-story wood frame school, built at a cost of $750 with all the latest educational mandates, was considered to be one of the finest schools in the county. As was common for rural areas of the era, the one room schoolhouse served students of all grade levels. (Remarkably, although one room schoolhouses are considered a product of a long-gone era, there are still approximately 400 active one-room schoolhouses in the United States.) Today, the school interior features many of its original fixtures such as the pine floor, blackboard, iron coat hooks and desks. The historic school remained in continuous operation until 1940s, when it closed due to school district consolidation. Since its closing, the building has been used as a polling station, a community meeting house and, more recently, as a venue for artistic events such as book signings and poetry readings. The Rock Valley School is listed on the National Register of Historic Places.

Rock Valley School House, SummerRock Valley School House, SummerThe Rock Valley Schoolhouse, located in the small hamlet of Rock Valley in the town of Hancock, was established in 1885 in order to meet the needs of the growing population associated with local businesses such as logging, milling, bluestone quarrying, agriculture and the wood chemical industry. The classic one-story wood frame school, built at a cost of $750 with all the latest educational mandates, was considered to be one of the finest schools in the county. As was common for rural areas of the era, the one room schoolhouse served students of all grade levels. (Remarkably, although one room schoolhouses are considered a product of a long-gone era, there are still approximately 400 active one-room schoolhouses in the United States.) Today, the school interior features many of its original fixtures such as the pine floor, blackboard, iron coat hooks and desks. The historic school remained in continuous operation until 1940s, when it closed due to school district consolidation. Since its closing, the building has been used as a polling station, a community meeting house and, more recently, as a venue for artistic events such as book signings and poetry readings. The Rock Valley School is listed on the National Register of Historic Places.

Country School at Rock ValleyCountry School at Rock ValleyThe Rock Valley Schoolhouse, located in the small hamlet of Rock Valley in the town of Hancock, was established in 1885 in order to meet the needs of the growing population associated with local businesses such as logging, milling, bluestone quarrying, agriculture and the wood chemical industry. The classic one-story wood frame school, built at a cost of $750 with all the latest educational mandates, was considered to be one of the finest schools in the county. As was common for rural areas of the era, the one room schoolhouse served students of all grade levels. (Remarkably, although one room schoolhouses are considered a product of a long-gone era, there are still approximately 400 active one-room schoolhouses in the United States.) Today, the school interior features many of its original fixtures such as the pine floor, blackboard, iron coat hooks and desks. The historic school remained in continuous operation until 1940s, when it closed due to school district consolidation. Since its closing, the building has been used as a polling station, a community meeting house and, more recently, as a venue for artistic events such as book signings and poetry readings. The Rock Valley School is listed on the National Register of Historic Places.

 

Today, the school interior features many of its original fixtures such as the pine floor, blackboard, iron coat hooks and desks. Since its closing in the 1940s, the building has been used as a polling station, a community meeting house and, more recently, as a venue for artistic events such as book signings and poetry readings.

 

The 24-inch cast iron church bell located in front of the school adds to the charm of the location but has no historic association with the schoolhouse. It was acquired in the summer of 2006 by the Rock Valley Cemetery Association, the school’s owner. The bell was originally located at the old Grange and Rock Valley Methodist Church, located a 1/4 mile up the road from the schoolhouse.

 

The Rock Valley School is listed on the National Register of Historic Places “as an intact representative example of a small, vernacular nineteenth-century schoolhouse and for its association with the history and development of the town of Hancock in Delaware County.”

 

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[email protected] (American Catskills) architecture Basket building community Delaware County district George Oestrich hamlet Hancock John Inman kids learning meeting house museum National Register of Historic Places New York one room school Rock Valley Rock Valley School rural school schoolhouse students teacher https://www.americancatskills.com/blog/2023/11/rock-valley-school-in-hancock-new-york Sat, 18 Nov 2023 13:00:00 GMT
Rip Van Winkle: Piedmont Series https://www.americancatskills.com/blog/2023/11/rip-van-winkle-piedmont-series Circa 1910 The American Tobacco Company, owners of the Piedmont brand of cigarettes, issued a series of 10 full-color cards depicting various scenes from the Rip Van Winkle tale. The rare cards each measure 5 inches by 8 inches. For each card, the “chapter” number can be seen in the lower left corner, while in the upper left-hand corner is an image of a pack of Piedmont cigarettes. The reverse side of each card contains a brief “chapter” of text from the legendary story.

 

The Piedmont cigarette brand was established by The American Tobacco Company under the Liggett & Myers (L & M) name. Piedmont, advertising itself with the slogan of “cigarettes of quality,” was once a dominant tobacco brand in the south. The American Tobacco Company (ATC), an original member of the Dow Jones Industrial Average, was broken up for operating as a monopoly in 1911 by an anti-trust action from the United States government. The ATC was divided up into four companies, after which Piedmont cigarettes continued to be manufactured by Liggett & Myers well into the 20th century.

 

Complete Set of 10 Cards

 

Chapter 1 – The Catskill Mountains

Rip Van Winkle, Piedmont Series, Chapter 1, The Catskill MountainsRip Van Winkle, Piedmont Series, Chapter 1, The Catskill Mountains

 

Chapter 2 – Rip’s Home Life

Rip Van Winkle, Piedmont Series, Chapter 2, Rip's Home LifeRip Van Winkle, Piedmont Series, Chapter 2, Rip's Home Life

 

Chapter 3 – Rip at the Old Inn

Rip Van Winkle, Piedmont Series, Chapter 3, Rip at the Old InnRip Van Winkle, Piedmont Series, Chapter 3, Rip at the Old Inn

 

Chapter 4 – Rip Leaving Home

Rip Van Winkle, Piedmont Series, Chapter 4, Rip Leaving HomeRip Van Winkle, Piedmont Series, Chapter 4, Rip Leaving Home

 

Chapter 5 – Rip Meets a Gnome

Rip Van Winkle, Piedmont Series, Chapter 5, Rip Meets a GnomeRip Van Winkle, Piedmont Series, Chapter 5, Rip Meets a Gnome

 

Chapter 6 – Rip Among the Gnomes

Rip Van Winkle, Piedmont Series, Chapter 6, Rip Among the GnomesRip Van Winkle, Piedmont Series, Chapter 6, Rip Among the Gnomes

 

Chapter 7 – Rip Falls Asleep

Rip Van Winkle, Piedmont Series, Chapter 7, Rip Falls AsleepRip Van Winkle, Piedmont Series, Chapter 7, Rip Falls Asleep

 

Chapter 8 – Rip Wakes Up

Rip Van Winkle, Piedmont Series, Chapter 8, Rip Wakes UpRip Van Winkle, Piedmont Series, Chapter 8, Rip Wakes Up

 

Chapter 9 – Rip’s Return to the Village

Rip Van Winkle, Piedmont Series, Chapter 9, Rip's Return to the VillageRip Van Winkle, Piedmont Series, Chapter 9, Rip's Return to the Village

 

Chapter 10 – Rip Finds His Son and Daughter

Rip Van Winkle, Piedmont Series, Chapter 10, Rip Finds His Son and DaughterRip Van Winkle, Piedmont Series, Chapter 10, Rip Finds His Son and Daughter

 

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[email protected] (American Catskills) advertising American Tobacco Company art artist book Catskill Mountains Catskills character cigarettes drawings illustrations Liggett & Myers marketing Piedmont Rip Van Winkle short story story tobacco Washington Irving https://www.americancatskills.com/blog/2023/11/rip-van-winkle-piedmont-series Sat, 11 Nov 2023 13:00:00 GMT
Rip Van Winkle, by Arthur Rackham https://www.americancatskills.com/blog/2023/11/rip-van-winkle-by-arthur-rackham “I think Rip [is] one of the most remarkable of created characters. Created as the sheerest piece of pleasant moralizing, acknowledging, even, that it was cribbed from old-world sources, here is Rip as firmly fixed in the hearts of all good Americans as any genuine myth. I can think of hardly another modern instance.” – Arthur Rackham.

 

“There have been three creators of Rip Van Winkle. The first, who was Washington Irving, created him with his pen; the second, who was Joseph Jefferson, created him with his personality; and the third, who is Arthur Rackham, erected him with his brush.” – Eleanor Farjeon, grand-daughter of Joseph Jefferson.

 

(11) Surrounded by a Troop of Children(11) Surrounded by a Troop of Children

Surrounded by a Troop of Children.

 

Arthur Rackham (1867-1939) was one of the leading book illustrators of his time. Rackham, the son of Alfred Thomas Rackham, was educated at the City of London School and at Lambeth School of Art. After working as a clerk at the insurance firm of the Westminster Fire Office from 1885 to 1892, he officially began his art career in the early 1890s working as a journalistic illustrator for several London newspapers and contributing occasional illustrations to magazines. His first work as a book illustrator can be seen in the travel book titled To the Other Side, by Thomas Rhodes, published in 1893, and The Dolly Dialogues, by Anthony Hope, published in 1894.

 

Throughout his nearly 50-year career he would illustrate a range of classic stories including Peter Pan in Kensington Gardens (1906), Alice’s Adventures in Wonderland (1907), Gulliver’s Travels (1900, 1909), Hansel and Gretel (1920) and The Legend of Sleepy Hollow (1928), among many others. His last book illustrations, which he worked on while in failing health, were for The Wind in the Willows, published posthumously in 1940.

 

Rackham was commissioned in the middle of 1904 by Ernest Brown and Phillips, joint owners of Leicester Galleries, to complete 51 color illustrations for the to-be-published book titled Rip Van Winkle. Rackham was paid 300 guineas total, or about six guineas per drawing, for both the original drawings and all the rights associated with them. The publishing rights were then resold to William Heinemann (1863-1920). With his reputation firmly established with the publishing of Rip Van Winkle, Rackham would negotiate much improved terms for further book illustrations, his contracted price beginning at five guineas for the copyright for each illustration, but now with Rackham retaining ownership of the originals. (Hamilton, James. Arthur Rackham: A Life with Illustration. Great Britain: Pavilion Books Limited, 1995. pp. 67-72.)

 

In 1905 the book Rip Van Winkle, as illustrated by Rackham, was published by William Heinemann of London and in the United States by Doubleday, Page and Co. The book contained 51 illustrations that were reproductions in full color of the original drawings by Rackham. The illustrations depicted various scenes from throughout Irving’s beloved Catskills tale. In conjunction with the release of the book, the drawings were exhibited at Leicester Galleries in London in the spring of 1905. Most of the original drawings were sold at the exhibition.

 

(7) Taught Them to Fly Kites(7) Taught Them to Fly Kites

Taught Them to Fly Kites.

 

(28) He Even Ventured to Taste the Beverage(28) He Even Ventured to Taste the Beverage

“He even ventured to taste the beverage, which he found had much of the flavour of excellent hollands.”
 

 

(1) Rip Wakes Up(1) Rip Wakes Up

Rip wakes up. “Surely,” though he, “I have not slept here all night . . . Oh! that flagon! that wicked flagon! what excuse shall I make to Dame Van Winkle?”
 

 

Leicester Galleries, where Rackham first exhibited his Rip Van Winkle drawings in 1905, was established only three years prior in 1902 by brothers Cecil and Wilfred Philips, who were then joined a year later by Ernest Brown. Originally operating at Leicester Square in central London, the gallery’s first exhibition took place and 1903. Over its 74-year history, Leicester Galleries held over 1,400 exhibitions, with its last being held in 1975. Rackham’s work was regularly exhibited at Leicester Galleries, including every year from 1905 to 1913. Upon Rackham’s passing in 1939 a memorial exhibition was held in his honor.

 

The first edition of Rip Van Winkle was published as a limited edition of 250 copies, all numbered and signed by the artist. The book was “bound in vellum with gold pictorial stamping and lettering on the cover and gold lettering on the spine, gilt top. 57 number pages of printed matter and fifty-one full-page illustrations in color mounted on brown paper. Size of page 8 3/4 x 11.” (Latimore, Sarah Briggs; Grace Clark Haskell. Arthur Rackham: A Bibliography. New York: Burt Franklin, 1936.)

 

“The illustrations, all gathered together at the back of the book, are ‘tipped in’, that is, printed on coated paper and stuck on to thicker card because it was then technically impossible to print in color on text pages. The 51 illustrations, for a story of not more than five thousand words, enable the story to be told twice, one through Irving’s words, and once again, image by image, through Rackham’s pictures with their text extracts printed as titles on India paper flyleaves.” (Hamilton, James. Arthur Rackham: A Life with Illustration. Great Britain: Pavilion Books Limited, 1995.)

 

After the limited-edition books quickly sold out, a trade edition was issued, “bound in green cloth with the same [as the original pictorial stamping in gold and gold lettering, with fifty-one full-page illustrations mounted on green paper, 57 number pages, 7 1/4 x 9 3/4.” (Latimore, Sarah Briggs; Grace Clark Haskell. Arthur Rackham: A Bibliography. New York: Burt Franklin, 1936.)

 

(35) He Found the House Gone to Decay(35) He Found the House Gone to Decay

“He found the house gone to decay . . . ‘My very dog,’ sighed poor rip, ‘has forgotten me.’”
 

 

(40) Sure Enough, It is Rip Van Winkle(40) Sure Enough, It is Rip Van Winkle

“Sure enough! it is Rip Van Winkle – it is himself!”
 

 

(45) He Preferred Making Friends Among the Rising Generation(45) He Preferred Making Friends Among the Rising Generation

“He preferred making friends among the rising generation, with whom he soon grew into great favour.”
 

 

In 1916 Rip Van Winkle was reissued “bound in light gray-blue cloth with pictorial stamping in gold on the cover and gold lettering on the cover and spine. 36 numbered pages, 6 7/8 x 9 3/4. Twenty-four full-page illustrations in color, five full-page drawings in black and white, nine black and white drawings in the text, and pictorial end-papers, all by Arthur Rackham. This book is a reprint of the 1905 edition, with many new black and white illustrations added and some of the original colored plates left out.” (Latimore, Sarah Briggs; Grace Clark Haskell. Arthur Rackham: A Bibliography. New York: Burt Franklin, 1936.)

 

The exhibition at Leicester Galleries of the Rip Van Winkle drawings would lead to further success for Rackham. The exhibition was attended by J. M. Barrie, author of Peter Pan in Kensington Gardens. After admiring Rackham’s work, Barrie asked Rackham to produce a set of drawings for his story featuring the character Peter Pan. Rackham agreed, and Peter Pan in Kensington Gardens would become one of the most popular gift books of 1906.

 

Rackham’s Rip Van Winkle received much positive praise in various newspaper reviews, both in England and in the United States. The reviews commented on many aspects of the book and its illustrations, including their originality, the use of color, the book’s unique layout, the quality of materials used to manufacture the book and that Rackham’s drawings were in the original spirit of Irving’s tale. 

 

March 11, 1905. “‘Rip Van Winkle’ is the subject of fifty water colors by Mr. Arthur Rackham, A.R.W.S., shortly to be on view at the Leicester Galleries. No story could offer better subjects to an artist of Mr. Rackham’s peculiar gifts, and those who have been privileged to see his pictures regard them as the best work he has yet done.” (“Art and Artists.” Manchester Courier and Lancashire General Advertiser. March 11, 1905.)

 

March 13, 1905. “. . . Mr. Rackham is exhibiting a collection of delightfully quaint and delicate drawings illustrative of “Rip Van Winkle.” His designs are full of intricate detail; and, while droll, they appeal to the intelligence as strongly illuminating the most appealing features of the famous legend of the Catskills. Technically, too, the drawings are important. Mr. Rackham, though he works on absolutely independent lines, realizes his ideas in a manner that all groups of artists will applaud.” (“Our London Correspondence.” Manchester Courier and Lancashire General Advertiser. March 13, 1905.)

 

March 13, 1905. “As to Mr. Rackham, his illustrations to “Rip Van Winkle” are delightful, and will be highly appreciated in New York, where they are to be exhibited next autumn. There is genuine comedy here, while now and then, as in the drawing of “Rip’s Daughter and Grandchild,” the artist shows us that he can paint a pretty woman with much daintiness. In other drawings, his dragons, wolves, and other fierce creatures are properly terrifying.” (“Art Exhibitions.” The Times (London). March 13, 1905.)

 

March 13, 1905. “An exhibition of extraordinary interest has just been opened at the Leicester Galleries. It consists of a series of drawings by Mr. Arthur Rackham, an artist who holds an absolutely unique position among our present-day painters of imaginative motives. The majority of these drawings are intended as illustrations for an edition of “Rip Van Winkle,” which is to be published shortly, but with these are included a number of his other fantasies and a few of the illustrations which he has executed during recent years for “Grimm’s Fairy Tales” and for various books of the same order. The special characteristics of Mr. Rackham’s work are its amazing freedom of imagination and its remarkable beauty and originality of treatment. He works a vein of fantastic humour, in which he seems to find an inexhaustible supply of suggestions that he turns to account in an absolutely fascinating manner, and with delightful quaintness of expression. He affects particularly those subjects which give him scope for the display of his charming power of grotesque exaggeration, for the assertion of a capacity for invention which is partly humorous and partly poetic, but always spontaneous and brilliantly personal. Even in his most surprising flights of fancy he never misses those essentials which stamp his work as that of a sincere artist and a man of serious conviction, and in nothing that he does, however grotesque, is there the smallest hint of vulgarity. As an executant he takes the highest possible rank; his pen-drawings, tinted with delicious washes of color, are wonderfully accomplished and full of decorative beauty, and his pure water-colors, though, perhaps, a little less confident and masterly in handling, have admirable qualities and show a very correct perception of appropriate technicalities.” (Birmingham Daily Post (Birmingham, England). March 13, 1905.)

 

September 30, 1905. “Art books and gift books, chiefly in demand for the holiday trade, are already coming in unusual supply from both English and American publishers. There have been great improvements lately in the art of color printing, and richly illustrated books, dealing with the lives of artists, and critical studies of their works, can be produced now at a comparatively small cost. A book which is sold at retail nowadays at as high a price as $5 ought to be positively a thing of beauty and of permanent worth. Such a book is the new edition of Washington Irving’s “Rip Van Winkle,” (published here by Doubleday, Page & Co.) The pictures are by Arthur Rackham, an English artist, who has poetic fancy and technical skill in plenty, and a good enough comprehension of his subject, derived largely, probably, from studies in old Holland rather than the neighborhood of the New Netherlands and the Kaatskill Mountains. But the spirit of the mountains he has caught from Irving. The forty-odd colored plates, mounted loosely on dark green boards, are charming in tone and excellent as illustrations. Perhaps some of the housewives are a bit too young and comely, but that is a small fault. The humor and the poetry of Irving are all in the pictures, without a hint of the theatrical quality. The type and paper are all that they should be.” (“Saturday Review of Books.” The New York Times. September 30, 1905.)

 

September 30, 1905. “One of the most beautifully and artistically gotten up books that we have seen in the “Rip Van Winkle,” with Mr. Arthur Rackham’s illustrations, published by William Heinemann in London and Doubleday, Page & Co. in New York. First comes the test of Irving’s tale splendidly printed in large type; then follow Mr. Rackham’s fifty pictures, exquisitely reproduced, looking like paintings on ivory and each mounted on tinted cardboard. The drawing of the pictures is very good. The effect is decorative, perhaps, rather than illustrative, and the artist we fancy, has tried at times to make an attractive picture rather to show the author’s meaning, but the pictures, whether grotesque, fanciful, comical or purely descriptive, are charming. The price of the book is remarkably low.” (“Some Interesting Picture Books.” The Sun (New York, New York). September 30, 1905.)

 

October 2, 1905. “Illustrated books abound nowadays, but it is rarely that we see so charming a book as the Rip Van Winkle of Washington Irving with fifty colored pictures by Mr. Arthur Rackham. Here we have a young artist of talent who has at last found a congenial subject. Mr. Rackham is favorably known as an illustrator of Georgian and Victorian novels, but his true sphere is obviously in the Teutonic fairyland, peopled with gnomes and pixies, which Washington Irving rediscovered among the Catskills. He enjoys the grotesque humor of the old Dutch legend as heartily as Irving did, and he renders it in line and color with the same quiet skill. By a happy innovation the text is printed at the beginning of the book and the plates are kept together at the end; it is easy, therefore, to follow Mr. Rackham as he retells the story in his own delightful way. The drawings are not all original. The village scenes remind us now of Caldecott and now of George Boughton in their airy grace and freshness. But when Mr. Rackham has brought Rip into the mountains and confronted him with the “odd-looking persons playing at ninepins” who hand him the flagon of excellent Hollands we find ourselves in the company of an artist whose imagination is unfettered by precedent. Hendrik Hudson and his men in these pictures are the creations of a lively and delicate fancy, and the rocks and fir trees among which these strange beings move are as fantastic as they. The treatment of landscape recalls Japanese pictures; the precise outlines that reinforce the color often produce an effect similar to that of a Japanese wood-block. But Mr. Rackham is never a mere imitator, and his most whimsical compositions have a beauty that is all their own. In the last but one of the series, for instance, the idea of the “old squaw spirit who hung up the new moons in the skies and cut up the old ones into stars” is rendered with amazing ingenuity and at the same time makes an exquisite moonlight landscape I purplish grey tones. Among the pictures of mortals, those of Rip awaking and of Rip telling stories to children by firelight may be named also for their dramatic force and their vivid play of light and shade. But almost every one of these clever and thoughtful drawings is good to look upon. They have been reproduced with considerable success; though the more delicate drawings lose some of their piquancy, other certainly gain in coherence by the reduction in size that they have had to bear, and the color-printing is far more accurate than usual, probably because Mr. Rackham’s style suits the process. We could not, in fact, wish for a better illustrated version of Rip Van Winkle.” (“New Books.” The Guardian (London). October 2, 1905.)

 

October 5, 1905. “There have been not a few illustrated editions of “Rip Van Winkle,” but never has Washington Irving’s story been illustrated so delightfully as in the book just published by Mr. Heinemann (price 15s. net). It contains fifty fine reproductions in color of a series of drawings by Mr. Arthur Rackham which were greatly admired at an exhibition last spring. In the strange scenes and quaint characters of the story this accomplished artist has found congenial themes, and the pictures, but turns weird and fantastic, graceful and humorous, are throughout wonderfully effective.” (Truth. Vol. 58. 1905. October 5, 1905.)

 

October 13, 1905. “Rip Van Winkle. In the form in which Washington Irving’s immortal story is presented by Mr. Heinemann it is a genuine pleasure to renew acquaintance with the hero of the Kaatskill Mountains. For it is not merely the familiar tale that we meet with afresh, but the legend adorned with illustrations that must needs delight by reason of their fancy, aptness, and charm. Mr. Arthur Rackham may be congratulated sincerely upon the task and the art he has brought to bear upon these quaint and imaginative drawings. The stage has frequently familiarized us with the picturesque figure of the Rip of tradition, with his shrewish wife, the village children he delighted to romp with, and his companions-in-idleness. But Mr. Rackham “pictures” them all anew, and in accordance, not with accepted convention, but with his own delicate fancy, which is revealed quite at its best in these welcome pages. There is both humor and pathos in the artist’s treatment of the well-worn classic, and he has been peculiarly happy in preserving its spirit. Never, indeed, has the famous story been presented in a more attractive guise.” (“New Novels.” The Daily Telegraph (London, England). October 13, 1905.)

 

October 26, 1905. “Mr. Heinemann’s edition of “Rip Van Winkle” has been beautifully illustrated by Mr. Arthur Rackham, A.R.W.S., and modern methods of reproduction in colors have assisted in the publication of an exceedingly artistic book. Some fifty examples of Mr. Rackham’s art follow the letterpress, and the whole is enclosed in a binding of tasteful simplicity.” (“William Heinemann.” The Daily Telegraph (London, England). October 26, 1905.)

 

November 25, 1905. “Rip Van Winkle. By Washington Irving. Illustrated by Arthur Rackham. (Heinemann.) – In the minds of many the story of Rip Van Winkle is identified not so much with Irving the author as with “Joe” Jefferson the actor. Jefferson’s marvelous impersonation of the cheerful vagabond has become the authentic portrait of Rip, and hence it is inevitable that all other alleged portraits should wear an appearance of doubtful authenticity. Mr. Rackham’s drawings, which constitute the real reason for the existence of this beautiful edition of Irving’s story, are of remarkable merit, both in conception and execution. Especially is this true of the pictures representing the supernatural features of the story. That much overworked adjective “weird” faithfully describes many of them, and they cannot be other than a delight to all lovers of true art. Yet it must be said that Mr. Rackham’s conception of Rip Van Winkle will somewhat disappoint those who know him as presented by Jefferson. Mr. Rackham’s Rip is a silly, even a weak-minded person, whereas the true Jeffersonian Rip was conspicuous for his shrewdness. But to seem to find fault with admirable work merely because it does not entirely correspond with certain other admirable work is hardly fair. Mr. Rackham has demonstrated in these drawings that he is not only a master of the pencil, but also an artist of real power. This will not be news to those who have been familiar with his work, but not every one has had that privilege, and to those who have not, his drawings will come as a delightful surprise.” (The Athenaeum. No. 4074. November 25, 1905.)

 

November 29, 1905. “Two sumptuous holiday books have just made their appearance bearing the imprint of Doubleday, Page & Company. The first is Arthur Rackham’s illustrated “Rip Van Winkle.” This is perhaps the most remarkably illustrated version of the great American classic. Mr. Rackham is an eminent English artist, and at the exhibition of the originals of this book every one was sold. He shows a richly humorous imagination and a unique power of invention.” (The Buffalo Commercial. November 29, 1905.)

 

December 2, 1905. “Rip Van Winkle. – This new edition of Washington Irving’s well-known story is especially designed for the holidays. The text is printed on an excellent quality of heavy paper in clear black type, and following it are fifty illustrations in color by Arthur Rackham, an English illustrator. The spirit and humor of Irving’s story are all in the pictures, which are loosely mounted on dark green paper and charming in tone and color. These drawings were recently exhibited at the Leicester Galleries, in London, and attracted considerable attention. The volume is tastefully bound in dark green cloth and lettered in gold.” (The New York Times. December 2, 1905.)

 

December 2, 1905. “The holiday editions of American authors are led off by a sumptuous reprint of “Rip Van Winkle” (Doubleday, Page & Co.), in which text and plates are put together after a new fashion. The former occupies the first fifty-seven pages, and occupies them, we may add, with every circumstance of luxury. No holiday book of the season has been better printed. Then follow the illustrations, printed in quiet tints, and each mounted on its separate leaf of stout, dark green paper. This mounting idea is not a bad one, for it gives to each illustration the value of an independent picture set on a mat, as if for framing, but, unfortunately, the wrong color was chosen. Mr. Arthur Rackham’s designs merited a better background, though we are not unprepared to hear that he himself chose the somber tint. We would have preferred something a shade lighter. As it is, these drawings excite our lively admiration. They are original in conception and in style, they really illustrate the famous tale, and they are executed with authority, making us feel that the artist knew just what he wanted to say and knew just how to say it. His restrained, tawny tones are especially gratifying. The book is manufactures with marked thoroughness. Here we have one more of those Christmas publications which are not meant for Christmas alone.” (“Literary News and Criticism.” New York Tribune. December 2, 1905.)

 

December 10, 1905. “Rip Van Winkle in Color. Washington Irving’s immortal romance, “Rip Van Winkle,” has been published in numerous editions, and with all grades of decorative adornment, but it is doubtful if this classic American story ever received a quainter or more artistic setting that the edition which is issued by Doubleday, Page & Co. The charm of the edition lies in the illustrations, which are from water color drawings by Arthur Rackham, an associate of the Royal Water Color Society. In form, the book is a large, handsomely bound, and with appropriate cover design. The text is in a large-faced type, and instead of sandwiching the illustrations between the pages of the text, the legend comes first – prefaced by the author’s quaint introduction, relative to our old friend Mr. Diedrich Knickerbocker. Following the text, the pictures are grouped together, as if in a portfolio, each with its appropriate legend on the fly leaf that covers it. The frontispiece is an ideal portrait of Rip Van Winkle, as he appeared after his twenty years slumber. All of the plates, about fifty in number, are in simulation of water color drawings, and are mounted on heavy paper, of a dull-toned olive tint, affording an effective background. Mr. Rackham has been singularly fortunate in his conception of the legend, and has put into his drawings all of the quaintness and originality of its antic quality. His grotesque never descends to the buffoonery of caricature; it is filled with weirdness; his gnomes of the mountain are the gnomes of fairy romances, reminding one the pleasantly uncanny sort of fellows that childhood conjures up, and delightfully shivers over. His ideals of the old time settlement, with its flavor of the Dutchman’s ideas in architecture, the pictures of the folk – are all in the happiest sort of keeping with the spirit of the legend. One must have studied Rip Van Winkle with loving care and appreciation to have caught Irving’s atmosphere so perfectly. In the matter of color as well, the artist has avoided the fault so often apparent in illustrative work of this sort, of overcoloring. He has painted with due restraint; there is no glare of primary tints in his pictures. In a word, they are a delight to the eye, appealing to the taste and giving one a sense of artistic completeness. Altogether, a most successful illustration of this much loved legend. From these delightful color pictures the mind runs back to Felix O. C. Darley’s drawings in outline of years ago, illustrative of the Van Winkle legend – drawings which in their outline sketch style seemed to have been suggested by Flaxman’s illustrations of Homer. The contrast between those cold and not very inspiring designs and the warmth of color and originality of Mr. Rackham’s pictures is wonderfully satisfactory. It means an advance that is shared by the artist’s public as well as the artist.” (“More Holiday Books for All Sorts of Folks.” The Brooklyn Daily Eagle. December 10, 1905.)

 

December 23, 1905. “So great has been the demand for the edition of “Rip Van Winkle” illustrated by Arthur Rackham that Doubleday, Page & Company have brought out a second large edition. Mr. Rackham has a richly humorous imagination, and the fifty full-page colored illustrations reveal a new and quaint world of elves, goblins and mountain characters. It has been said of these pictures that the artist has caught the spirit of Irving’s classic, and interpreted anew it ‘old-fashioned grace and elfin playfulness.’” (Nashville Banner. December 23, 1905.)

 

1905. “Rip Van Winkle, by Washington Irving, with fifty-two drawings by Arthur Rackham, A.R.W.S. How such an exquisitely beautiful volume as this can be produced for so small a sum as fifteen shillings we cannot pretend to know; it is a veritable triumph in the art of colored illustration, worthy of a place on the shelves of the most eclectic of bibliophiles. Mr. Rackham’s drawings in color evince the most delicate art; indeed, we find it difficult to praise them adequately. Imagination, fancy, humor, grotesqueness, pathos, weirdness – all these qualities may be discovered freely expended on his work; the pictures introduce us to a new world, a world wherein we dwell with great delight and profit to ourselves. Each drawing is pasted on to a separate page and may easily be removed if required for framing purposes. It is a book which must bring honor to both artist and publisher.” (The Publishers’ Circular. Vol. 83. 1905.)

 

Despite the widespread praise of the Rackham’s Rip Van Winkle drawings, one critic from The Daily Telegraph in London found the artwork lacking in many different areas.

 

“At the Leicester Galleries we find two new exhibitions; one a group of water-colors illustrating Rip Van Winkle, and other Fantasies, by Mr. Arthur Rackham, of the Royal Society of Painter is Water Colors . . . Mr. Arthur Rackham shows here on a larger scale, and with more of elaboration and deliberation, the same grim, yet not, save exceptionally, cruel or unamiable vein of fantasy that has won for him much favorable notice at the more recent exhibitions of the “old” society. It is an Anglo-Teutonic mode of conception, in the realms of the fantastic, the goblinesque, the macabre, that distinguishes the young English artist. His method, his means are derived from many sources; his way of looking at his subjects is, nevertheless, quite personal and engaging; up to a certain point he interests and convinces, even though the sources of his art may not yet have so mingled and coalesced as to make up a perfectly homogeneous whole.

 

Obviously, the chief inspirer of these strange little creatures who swarm through the Rip Van Winkle designs is “Dicky” Doyle, most amiable and inventive of all limners of the fairy and hobgoblin tribe. In the rustic scenes that most expressive of draughtsmen and exquisitely tender of humorists, Randolph Caldecott, has not less obviously been the exemplar. And again Mr. Rackham as an executant owes much – yet as regards essentials perhaps not enough – to the great Hokusai and the comparatively late Japanese draughtsmen of his period.

 

While taking genuine pleasure in this delicately fantastic and in its way attractive art, we must in conscience level against Mr. Rackham a reproach which as addressed to a draughtsman is a very serious one. His drawings show a tangle of lines ingenious and elaborate rather than truly expressive; his line is wanting in flexibility and in power; with all its appearance of incisiveness it conveys too little. Vitality, momentariness, and the suggestion of movement – so necessary in caricature and humorous fantasy – are, if not entirely wanting, at any rate present in no high degree of intensity. This is disquieting, if we are to look upon this promising artist as a candidate for the highest honors.

 

It is a pity that his carefully-wrought and at its best really imaginative series of drawings should not have been arranged in the order of the story, familiar and dear to all, both on this and the other side of the Atlantic. It is very hard on the pictorial humorist that the spectator should be compelled to absorb his humor and digest his characterization in this jerky and uneven fashion.

 

Thus, perhaps, the most genuine creating of the series and certainly in its quiet way the most original piece of color, is “The old squaw spirit who hung up new moons in the skies.” But this is divorced by the whole length of the gallery from a companion piece of the same grimly jocular type, “If displeased, she (the old squaw spirit), would brew up clouds as black as ink.” Caldecott-like, with a difference – that is less spontaneous, more deliberate – is, among other drawings, “Those mountains are regarded by all good wives, far and near, as perfect barometers.”

 

The “Curtain-lecture – indirect cause of all Rip’s strange adventure – is, with all its elaboration, a failure. No such comely, undemonstrative, and expressionless female could have driven Rip to despair and self-banishment. The power to evoke new types of quaintness, engaging and disquieting at the same time – like the goblins in Ibsen’s “Peer Gynt” – is well shown in “His father had seen them (the Hollander-gnomes) in their old Dutch dresses, playing at nine-pins.” The type of Rip himself – the ancient Rip of the elf locks and the weird garments – is pathetic, but not strongly personal. Japanese in intention, but unfortunately without the synthetic quality, the concision, or the intense expressiveness of fine Japanese art, is ‘He was only answered by a flock of idle crows.’” (“Leicester Galleries.” The Daily Telegraph (London, England). March 23, 1905.)

 

This seemingly over-the-top negative review had no impact on the sales of Rip Van Winkle, and could almost be dismissed in its entirety, as it was so far outside the norm of general opinion, and was so greatly outnumbered by the positive reviews. With history as a guide, author Jeff A. Menges, in The Arthur Rackham Treasury, writes of Rip Van Winkle’s impact on the publishing industry at large.

 

“In completing 51 color pieces for a classic Early American tale, Rackham created a work that was to become a turning point in the production of books. The recent perfection of color-separated printing had made the accurate reproduction of color artwork possible, and British publisher William Heinemann found the perfect marriage in this pairing of Rackham with Washington Irving’s Rip Van Winkle, an atmospheric tale of rustic America. The book became an instant classic, and popularized the production of lavishly illustrated gift editions of well-known tales – a trend that delighted both publishers and consumers.”

 

Derek Hudson, in his biography titled Arthur Rackham: His Life and Work, wrote of the summary impact of the publishing of Rip Van Winkle on Rackham and his career.

 

“The first work that greatly advanced his fame in the years immediately following his marriage was his edition of Rip Van Winkle, with its fifty-one color plates, published in 1905.

 

This lovely book decisively established Rackham as the leading decorative illustrator of the Edwardian period. One does not know which to admire most – the superb artistry of his landscapes, the poetry of the scenes of Rip by the riverside, the charm of his children and fairies, or the grotesque groups of Hendrick Hudson and his crew which so long anticipated the art of Walt Disney. With Rip Van Winkle he began his fruitful association with the firm of William Heinemann, who issued the book in a limited edition and a trade edition, while American, French, German and other foreign editions were also called for, setting a pattern of publications to be followed for many years. Another profitable precedent was established by the exhibition of the originals at the Leicester Galleries in March 1905. All except eight of the pictures were sold, and the deluxe edition of the book was fully subscribed before the exhibition closed. Henceforth Rackham’s book illustrations were regularly exhibited at the Leicester Galleries at the time of their publication, and they found ready buyers.” 

 

Given the location of his birth and upbringing, Rackham is rightfully regarded as one of the great British illustrators in history, but through his delightful work in Rip Van Winkle he can also justly claim a place in American illustration history. Dozens of illustrators from the 1800s through to the current day have created their visual interpretation of Irving’s tale, many with great success, but Rackham’s originality, use of color and technical expertise, all of which were used in a combination that had not been seen before, continue to place his Rip Van Winkle interpretation amongst the most revered, even though it is been more than a century since its original publication.   

 

 

Rip Van Winkle illustrations by Arthur Rackham

 

Illustration 1. Rip wakes up. “Surely,” though he, “I have not slept here all night . . . Oh! that flagon! that wicked flagon! what excuse shall I make to Dame Van Winkle?”

 

Illustration 2. “He found the old burghers, and still more their wives, rich in that legendary lore so invaluable to true history.”

 

Illustration 3. “These fairy mountains.”

 

Illustration 4. “Some of the houses of the original settlers.”

 

Illustration 5. “A curtain-lecture is worth all the sermons in the world for teaching the virtues of patience and long-suffering.”

 

Illustration 6. “The good wives of the village never failed in their evening gossipings, to lay all the blame on Dame Van Winkle.”

 

Illustration 7. “Taught Them to Fly Kites.”

 

Illustration 8. “Certain biscuit-bakers have gone so far as to imprint his likeness on their new-year cakes.”

 

Illustration 9. “These mountains are regarded by all good wives, far and near, as perfect barometers.”

 

Illustration 10. “These fairy mountains.”

 

Illustration 11. “Surrounded by a troop of children.”

 

Illustration 12. “Not a dog would bark at him throughout the neighborhood.”

 

Illustration 13. “He would sit on a wet rock and fish all day.”

 

Illustration 14. “The women of the village used to employ him to do such little odd jobs as their less obliging husbands would not do for them.”

 

Illustration 15. “His cow would go astray or get among the cabbages.”

 

Illustration 16. “So that he was fain to draw off his forces and take to the outside of the house – the only side which, in truth, belongs to a hen-pecked husband.”

 

Illustration 17. “His children were as ragged and wild as if they belonged to nobody.”

 

Illustration 18. “Equipped in a pair of his father’s cast-off galligaskins, which he had as much ado to hold up as a fine lady does her train in bad weather.”

 

Illustration 19. “He used to console himself by frequenting a kind of perpetual club of the sages, philosophers and other idle personages, which held its sessions before a small inn.”

 

Illustration 20. “When anything displeased him he was observed to smoke his pipe vehemently, and to send forth short, frequent and angry puffs.”

 

Illustration 21. “Mutually relieving one another they clambered up a narrow gully.”

 

Illustration 22. “A company of odd-looking persons playing at ninepins.”

 

Illustration 23. “Their visages too were peculiar.”

 

Illustration 24. “There was one who seemed to be the commander.”

 

Illustration 25. “They maintained the gravest faces.”

 

Illustration 26. “They stared at him with such fixed, statue-like gaze, that his heart turned within him and his knees smote together.”

 

Illustration 27. “They quaffed their liquor in profound silence.”

 

Illustration 28. “He even ventured to taste the beverage, which he found had much of the flavour of excellent hollands.”

 

Illustration 29. “The sleep of Rip Van Winkle.”

 

Illustration 30. “He was only answered by a flock of idle crows.”

 

Illustration 31. “They all stared at him with equal marks of surprise and invariably stroked their chins.”

 

Illustration 32. “A troop of strange children ran at his heels, hooting after him and pointing at his gray beard.”

 

Illustration 33. “The dogs too, not one of whom he recognized for an old acquaintance, barked at him as he passed.”

 

Illustration 34. “Strange names were over the doors – strange faces at the windows – everything was strange.”

 

Illustration 35. “He found the house gone to decay . . . ‘My very dog,’ sighed poor rip, ‘has forgotten me.’”

 

Illustration 36. “They crowded round him, eyeing him from head to foot with great curiosity.”

 

Illustration 37. Rip’s son, “a precise counterpart of himself, as he went up the mountain.”

 

Illustration 38. Rip’s daughter and grand-child.

 

Illustration 39. “All stood amazed.”

 

Illustration 40. “Sure enough! it is Rip Van Winkle – it is himself!”

 

Illustration 41. “Old Peter Vanderdonk was the most ancient inhabitant of the village.”

 

Illustration 42. “The Kaatskill Mountains had always been haunted by strange beings.”

 

Illustration 43. “His father had seen them in their old Dutch dresses playing at ninepins.”

 

Illustration 44. “He soon found many of his former cronies, though all rather the worse for the wear and tear of time.”

 

Illustration 45. “He preferred making friends among the rising generation, with whom he soon grew into great favour.”

 

Illustration 46. “Even to this day they never hear a thunderstorm about the Kaatskill but they say Hendrick Hudson and his crew are at their game of ninepins.”

 

Illustration 47. “I have even talked with Rip Van Winkle myself, who, when I last saw him, was a very venerable old man.”

 

Illustration 48. “The Kaatsberg or Catskill mountains have always been a region full of fable.”

 

Illustration 49. “The Indians considered them the abode of spirits.”

 

Illustration 50. “They were ruled by an old squaw spirit who hung up the new moons in the skies and cut up the old ones into stars.”

 

Illustration 51. “If displeased, she would brew up clouds black as ink, sitting in the midst of them like a bottle-bellied spider in the midst of its web; and when these clouds broke, woe betide the valleys!”

 

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[email protected] (American Catskills) 1905 art Arthur Rackham artist book Catskill Mountains Catskills Cecil Philips character Doubleday Page & Co. drawings Ernest Brown illustrations illustrator Leicester Galleries Rip Van Winkle short story story Washington Irving Wilfred Philips William Heinemann https://www.americancatskills.com/blog/2023/11/rip-van-winkle-by-arthur-rackham Sat, 04 Nov 2023 12:00:00 GMT
Rip Van Winkle, by George P. Webster https://www.americancatskills.com/blog/2023/10/rip-van-winkle-by-george-p-webster Rip Van Winkle by Washington Irving was published to international acclaim in 1819. Set in the Catskills, an amiable Rip wanders off in the woods with his dog Wolf to escape his wife’s nagging and to avert “all kinds of profitable labor” only to encounter a silent group of short, bearded men playing nine-pins. After drinking some of their liquor he falls asleep for twenty years. Upon waking, he returns to his village to learn that his wife has died, the American Revolution has occurred and that he must face the fact that many of his former friends have either died, moved on or simply do not recognize him. The short story is an American classic.

 

Author George P. Webster poetically re-told Irving’s tale of Rip Van Winkle in a rhyming poem and published it as a children’s book. This version of the book, published by McLoughlin Brothers of New York, was published in 1889. There are multiple versions of Webster’s book, each with same words, but with different illustrations.

 

McLoughlin Brothers was a publishing company that operated from 1858 to 1920. The company was founded by John McLoughlin (1827-1905), who then took on his younger brother Edmund McLoughlin (1833/4-1889) as a partner. McLoughlin Brothers was considered a pioneer in the use of color printing technology for children’s books, and later expanded their product line to include puzzles, games and toys. The company was sold to their chief competitor Milton Bradley in 1920.

 

Rip Van WinkleRip Van Winkle

 

Rip Van Winkle Scolded by His WifeRip Van Winkle Scolded by His Wife

 

Rip With the ChildrenRip With the Children

 

Rip At the TavernRip At the Tavern

 

Rip Van Winkle With His Dog WolfRip Van Winkle With His Dog Wolf

 

Rip Van Winkle In the MountainsRip Van Winkle In the Mountains

 

The Nine-Pin GameThe Nine-Pin Game

 

In the MountainsIn the Mountains

 

Rip Van Winkle AwakesRip Van Winkle Awakes

 

Old Rip Van WinkleOld Rip Van Winkle

 

Old Rip Van Winkle With the ChildrenOld Rip Van Winkle With the Children

 

 

Rip Van Winkle

 

Near to the town, in a cottage small,

Lived RIP VAN WINKLE, known to all

As a harmless, drinking, shiftless lout,

Who never would work, but roamed about,

 

Always ready with jest and song –

Idling, tippling all day long.

“Shame on you, Rip!” cried the scolding vrows;

And old men muttered and knit their brows.

 

Not so with the boys, for they would shout,

And follow their hero, Rip, about,

Early or late – it was all the same,

They gave him a place in every game.

 

At ball he was ready to throw or catch;

At marbles, too, he was quite their match;

And many an urchin’s face grew bright,

When Rip took hold of his twin and kite.

 

And so he frittered the time away –

“Good natured enough,” they all would say;

But the village parson heaved a sigh

As Rip, in his cups, went reeling by,

 

With a silly and drunken leer –

His good dog Schneider always near.

Rip was fond of his rod and line,

And many a time, when the day was fine,

 

He would wander out to some neighb’ring stream,

And there with his dog, would sit and dream;

Hour after hour, would he dozing wait,

And woe to the fish that touched his bait.

 

But the stream of his life ran sometimes rough,

And his good “Vrow” gave him many a cuff,

For she was never a gentle dame,

And Rip was a toper, and much to blame.

 

But little did Rip Van Winkle care

For his wife or his home – he was seldom there –

But tried in his cups his cares to drown;

His scolding wife, with her threat’ning frown,

 

At his cottage-door he was sure to see –

“Ah! This,” said Rip, “is no place for me.”

So down to the tavern to drink his rum,

And waste his time with some red-nosed chum,

 

He was sure to go; for he knew that there

He would find a glass and a vacant chair,

And jolly fellows, who liked his fun,

And the tales he told of his dog and gun.

 

But his was still but a sorry life,

For, sot as he was, he loved his wife;

But he would tipple both day and night,

And she would scold him with all her might.

 

Thus Rip Van Winkle had many a grief,

And up ’mongst the mountains sought relief.

For lowering louds or a burning sun

He cared but little; his dog and gun

 

Were his friends, he knew; while they were near

He roamed the forests, and felt no fear.

If tired at last, and a seat he took,

And his dog came up with a hungry look,

 

He had always a crust or bone to spare,

And Schneider was certain to get his share.

And then if a squirrel chanced to stray

In range of his gun, he would blaze away,

 

And he held it too with a steady aim –

Rip never was known to miss his game.

But over his ills he would sometimes brood,

And scale the peaks in a gloomy mood;

 

And once he had climbed to a dizzy height,

When the sun went down, and the shades of night

Came up from the vale, and the pine-trees tall,

And the old gray rocks, and the waterfall

 

Grew dusky and dim, and faded away,

Till night, like a pall, on the mountain lay.

Full many a mile he had strayed that day,

And up in the mountains had lost his way;

 

And there he must stay through the gloomy night,

And shiver and wait for the morning light.

He thought of the stories, strange and old,

Which the graybeards down in the village told;

 

“And what,” said he, “if the tale were true

I have heard so oft of a phantom crew,

Who up in the Catskills, all night long,

Frolic and revel with wine and song.”

 

Just then a voice from a neighb’ring hill

Cried “Rip Van Winkle!” and all was still.

Then he looked above and he looked below,

And saw not a thing but a lonely crow.

 

“Ho, Rip Van Winkle!” the voice still cried,

And Schneider skulked to his master’s side.

Just then from a thicket a man came out –

His legs were short and his body stout,

 

He looked like a Dutchman in days of yore,

With buttons behind and buttons before;

And held a keg with an iron grip,

And beckoned for help to the gazing Rip.

 

Rip had his fears, but at last complied,

And bore the keg up the mountain side;

And now and then, when a thunder-peal

Made the mountain tremble, Rip would steal

 

A look at his guide, but never a work

From the lips of the queer old man was heard,

Up, up they clambered, until, at last,

The stranger halted. Rip quickly cast

 

A glance around, and as strange a crew

As ever a mortal man did view

Were playing at nine pins; at every ball

’Twas fun to see how the pins would fall;

 

And they rolled and rolled, without speaking a word,

And this was the thunder Rip had heard.

Their hats looked odd, each with sugar-loaf crown,

And their eyes were small, and their beards hung down,

 

While their high-heeled shows all had peaked toes,

And their legs were covered with blood-red hose;

Their noses were long, like a porker’s snout,

And they nodded and winked as they moved about.

 

They tapped the keg, and the liquor flowed,

And up to the brim of each flagon glowed;

And a queer old man made a sign to Rip,

As much as to say, “Will you take a nip”

 

Nor did he linger to stop of think,

For Rip was thirsty and wanted a drink.

“I’ll risk it,” though he; “it can be no sin,

And it smells like the best of Holland gin;”

 

So he tipped his cup to grim old chap,

And drained it, then, for a quiet nap,

He stretched himself on the mossy ground,

And soon was wrapped in a sleep profound.

 

At last he woke; ’twas a sunny morn,

And the strange old man of the glen was gone;

He saw the young birds flutter and hop,

And an eagle wheeled round the mountain-top;

 

Then he rubbed his eyes for another sight –

“Surely,” said he, “I have slept all night.”

He thought of the flagon and nine-pin game;

“Oh! What shall I say to my fiery dame!”

 

He, faintly faltered; “I know that she

Has a fearful lecture in store for me.”

He took up his gun, and strange to say,

The wood had rotted and worn away;

 

He raised to his feet, and his joints were sore;

“Said he, “I must go to my home once more.”

The, with trembling step, he wandered down;

Amazed, he entered his native town.

 

The people looked with a wondering stare,

For Rip, alas! was a stranger there;

He tottered up to his cottage door,

But his wife was dead, and could scold no more;

 

And down at the tavern he sought in vain

For the chums he would never meet again;

He looked, as he passed, at a group of girls

For the laughing eye and the flaxen curls

 

Of the child he loved as he loved his life,

But she was a thrifty farmer’s wife;

And when they met, and her hand he took,

She blushed and gave him a puzzled look;

 

But she knew her father and kissed his brow,

All covered with marks and wrinkles now;

For Rip Van Winkle was old and gray

And twenty summers had passed away –

 

Yes, twenty winters of snow and frost

Had he in his mountain slumber lost;

Yet his lover for stories was still the same,

And he often told of the nine-pin game.

 

But the age was getting a little fast –

The Revolution had come and passed,

And Young America, gathered about,

Received his tales with many a doubt.

 

Awhile he hobbled about the town;

Then, worn and weary, at last laid down,

For his locks were white and limbs were sore –

And Rip Van Winkle will make no more.

 

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[email protected] (American Catskills) art artist book Catskill Mountains Catskills character drawings George P. Webster illustrations illustrator McLoughlin Bros McLoughlin Brothers New York Rip Van Winkle short story story Washington Irving https://www.americancatskills.com/blog/2023/10/rip-van-winkle-by-george-p-webster Sat, 28 Oct 2023 12:00:00 GMT
Rip Van Winkle: A Tale of the Hudson, Illustrated by Frances Brundage https://www.americancatskills.com/blog/2023/10/rip-van-winkle-a-tale-of-the-hudson-illustrated-by-frances-brundage Frances Lockwood Brundage (1854-1937) was a noted illustrator of children’s books. She illustrated over 200 books during her career, in addition to her work on postcards, valentines, prints, trade cards and calendars. Her works were published by several companies including Raphael Tuck & Sons, Samuel Gabriel Company and Saalfield Publishing, among others.

 

Rip Was at Length Routed by His Termagant Wife (35)Rip Was at Length Routed by His Termagant Wife (35)Rip Van Winkle: A Tale of the Hudson. By Washington Irving. Illustrated by Frances Brundage. Akron, Ohio: Saalfield Publishing Company, 1927.

 

Rip Van Winkle: A Tale of the Hudson, as illustrated by Brundage, was published in 1927 by the Saalfield Publishing Company of Akron, Ohio. The 92-page book contains 62 illustrations, including 17 full page illustrations, depicting various scenes from the classic American short story by famed author Washington Irving. Full page illustrations included:

 

  • Frontispiece. The children of the village, too, would shout with joy whenever he approached.
  • Page 16. It is a little village of great antiquity.
  • Page 22. He taught them to fly kites and shoot marbles.
  • Page 25. His children were as ragged as if they belonged to nobody.
  • Page 28. He shrugged his shoulders, shook his head, cast up his eyes, but said nothing.
  • Page 30. At the least flourish of a broomstick, he would fly to the door with yelping precipitation.
  • Page 37. “Poor Wolfe, thy mistress leads thee a dog’s life of it!”
  • Page 39. He could overlook all the lower country for many a mile of rich woodland.
  • Page 47. A company of odd-looking personages playing at nine-pins.
  • Page 51. He was naturally a thirsty soul. One taste provoked another.
  • Page 56. He reached to where the ravine had opened through the cliffs to the amphitheater; but no traces of such an opening remained.
  • Page 62. Rip called him by name, but the cur snarled, showed his teeth, and passed on. “My very dog,” sighed poor Rip, “has forgotten me!”
  • Page 65. A tall, naked pole, and from it was fluttering a flag, on which was a singular assemblage of stars and stripes.
  • Page 67. The orator bustled up to him and inquired “on which side he voted?”
  • Page 70. The self-important man demanded again, what he came there for, and whom he was seeking?
  • Page 76. She had a chubby child in her arms, which, frightened at his looks, began in cry.
  • Page 81. It was affirmed that the great Hendrick Hudson kept a kind of vigil there every twenty years, with his crew of the half-moon.

 

It Is a Little Village of Great Antiquity (16)It Is a Little Village of Great Antiquity (16)Rip Van Winkle: A Tale of the Hudson. By Washington Irving. Illustrated by Frances Brundage. Akron, Ohio: Saalfield Publishing Company, 1927.

 

He Taught Them to Fly Kites and Shoot Marbles (22)He Taught Them to Fly Kites and Shoot Marbles (22)Rip Van Winkle: A Tale of the Hudson. By Washington Irving. Illustrated by Frances Brundage. Akron, Ohio: Saalfield Publishing Company, 1927.

 

A Strange Figure Slowly Toiling Up the Rocks (43)A Strange Figure Slowly Toiling Up the Rocks (43)Rip Van Winkle: A Tale of the Hudson. By Washington Irving. Illustrated by Frances Brundage. Akron, Ohio: Saalfield Publishing Company, 1927.

 

He Was Naturally a Thirsty Soul (51)He Was Naturally a Thirsty Soul (51)Rip Van Winkle: A Tale of the Hudson. By Washington Irving. Illustrated by Frances Brundage. Akron, Ohio: Saalfield Publishing Company, 1927.

 

He Reached to Where the Ravine Had Opened (56)He Reached to Where the Ravine Had Opened (56)Rip Van Winkle: A Tale of the Hudson. By Washington Irving. Illustrated by Frances Brundage. Akron, Ohio: Saalfield Publishing Company, 1927.

 

He Met a Number of People, But None Whom He Knew (59)He Met a Number of People, But None Whom He Knew (59)Rip Van Winkle: A Tale of the Hudson. By Washington Irving. Illustrated by Frances Brundage. Akron, Ohio: Saalfield Publishing Company, 1927.

 

Rip Preferred Making Friends Among the Rising Generation (85)Rip Preferred Making Friends Among the Rising Generation (85)Rip Van Winkle: A Tale of the Hudson. By Washington Irving. Illustrated by Frances Brundage. Akron, Ohio: Saalfield Publishing Company, 1927.

 

Hendrick Hudson Kept a Kind of Vigil There Every Twenty Years (81)Hendrick Hudson Kept a Kind of Vigil There Every Twenty Years (81)Rip Van Winkle: A Tale of the Hudson. By Washington Irving. Illustrated by Frances Brundage. Akron, Ohio: Saalfield Publishing Company, 1927.

 

Brundage was born on June 28, 1854 in Newark, New Jersey. Her ancestors were long established in the United States, and were noted patriots, it being estimated that 195 of her father’s ancestors fought in the American Revolution and another 23 ancestors having fought in the Colonial wars.

 

Her father, Rembrandt Lockwood (b. 1815), was an architect, engraver and painter of church murals. Rembrandt was perhaps most associated with his large work, measuring 17 feet by 27 feet, titled The Last Judgment, “a work of nine years, which was commenced in Germany, where he resided for four years, and completed in Newark, N. J.” Rembrandt married Sarah Ursula Despeaux (1820-1907), who passed away in 1907 at 87 years of age after a three-year struggle following a stroke of paralysis.

 

Brundage never attended art school, but began sketching at the age of four. She received much of her informal art training from her father. She began her professional career in her teens when she sold a sketch illustrating a Louisa M. Alcott poem to the author.

 

“Her start as a professional artist was made when she was in her teens. Like most girls, she had a favorite author. The honors in this case went Louisa M. Alcott. One day the aspiring young painter purchased a poem written by Mrs. Alcott – made a folio of it and illustrated it. With much trepidation, she sent the finished work to the writer, asking “if she had caught the idea.” The answer was – Mrs. Alcott bought the illustrations.” (Leigh, Virginia. “Anyone Can Paint Who Will Observe.” Brooklyn Daily Eagle. August 2, 1931.)

 

In 1931 the Brooklyn Daily Eagle published a full-page profile of Brundage, including insights into her background, her career and her thoughts on art.

 

“The loneliness that is so terribly feared by every human being bereft of relatives at the twilight of life holds no such terror for her. Drawing has always been her whole existence. Every waking moment has been filled either with thinking about it, studying it or working at it. She has no need for human relations. She can create with just a few strokes of her pencil a compatible companion that will liven up any dreary moment. The cataract that threatened to blind her turned out to be just a threat. “I would not want to live two minutes,” she said, “if I could not draw.” It is characteristic of Mrs. Brundage that her idea of heaven is a haven for artists where paint, pencils, brushes and time are always in abundance. “I would prefer to go to the bad place down below where I could do little things if in heaven they would not permit me to draw,” she emphatically declared . . .

 

If this talented woman has a pet theory it is that she can teach any one to paint just by making them learn to observe the little things that happen in normal everyday living. She believes that discerning observation will help even a grocery clerk, and that success is totally dependent on having trained one’s self to watch everything that is going on. She bases this theory on the common knowledge that eighty-seven percent of understanding is gotten through the eye, eleven percent through the ear and two percent through the other senses.”

 

During more than 50 years as a commercial artist, she illustrated all of Louisa M. Alcott’s books, and many others including “A Child’s Garden of Verse,” “Rip Van Winkle,” “The Legend of Sleepy Hollow,” “Mother Goose Rhymes,” “The Pied Piper of Hamelin,” “Black Beauty,” “Robinson Crusoe,” “Treasure Island,” “King Arthur,” “Arabian Nights” and several of Shakespeare’s plays. She also wrote and illustrated four books for children including “The Adventures of Jack,” “What Happened to Tommy,” “Boys and Girls Around the Country,” and “Little Maids.”

 

Brundage was married to William Tyson Brundage (1849-1923), a well-known marine artist. He was one of the original members of the Salmagundi Club, an art organization in Manhattan that was founded in 1871 and is still in operation today. William and Frances had one child, Mary Frances Brundage, who passed away at 17 months of age in 1891. William passed away at his home in 1923 following a stroke of apoplexy. His last painting was of an old Dutch fishing boat.

 

Brundage considered Brooklyn to be her home town, although she had also lived in Washington, D. C., and spent the summer months at Cape Ann, Massachusetts for many years. Frances Brundage passed away at her home at the age of 83 on March 26, 1937 after having heart trouble since the prior December. She is buried at Green-Wood Cemetery in Brooklyn, New York. At the time of her death, she had just completed a children’s textbook on art called “It’s Fun to Draw.

 

For more information on this notable artist, see the book titled A Bit of Brundage: The Illustration Art of Frances Brundage by authors Sarah Steier and Donna Braun. For more information on the genealogy of Frances Brundage, through her father Rembrandt Lockwood and back to the Lockwood ancestors who fought in the American Revolution, see History of the Lockwood Family in America by Frederic A. Holden and E. Dunbar Lockwood.

 

See all the Rip Van Winkle illustrations by Brundage on the gallery page >> Rip Van Winkle, Gallery 2.

 

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[email protected] (American Catskills) A Bit of Brundage art artist book Catskill Mountains Catskills character drawings Frances Brundage Frances Lockwood Brundage illustrations illustrator Louisa M. Alcott New York Raphael Tuck Rembrandt Lockwood Rip Van Winkle Rip Van Winkle: A Tale of the Hudson Saalfield Publishing Salmagundi Club Samuel Gabriel short story story The Last Judgment Washington Irving William Tyson Brundage https://www.americancatskills.com/blog/2023/10/rip-van-winkle-a-tale-of-the-hudson-illustrated-by-frances-brundage Sat, 21 Oct 2023 12:00:00 GMT
The Child’s Rip Van Winkle, Illustrated by Maria Louise Kirk https://www.americancatskills.com/blog/2023/10/the-child-s-rip-van-winkle-illustrated-by-maria-louise-kirk Maria Louise Kirk (1860-1938) was a popular American painter and illustrator. She was born in Philadelphia, the daughter of George H. Kirk and Harriet A. (Craig) Kirk. She studied art in Philadelphia at the School of Design for Women and the Pennsylvania Academy of Fine Arts and later at the Art Institute of Chicago.

 

The Child's Rip Van Winkle (Cover), Illustrated by M. L. KirkThe Child's Rip Van Winkle (Cover), Illustrated by M. L. Kirk

 

In 1894 Kirk won the Mary Smith prize at the Pennsylvania Academy of Fine Arts for best painting by a woman. The Mary Smith prize had been established in 1879 by Russell Smith in memory of his daughter, Mary Smith. The prize was annually awarded “to the Painter of the best painting in oil or water colors exhibited at the Academy by a resident Woman Artist, for the qualities ranking as follows: 1st, Originality of Subject; 2d, Beauty of Design or Drawing; 3d, Color and Effect; and, lastly, Execution.”

 

Kirk illustrated over 50 books throughout her career, including Alice’s Adventure in Wonderland (1904), The Secret Garden (1911), Heidi (1915) and Pinocchio: The Story of a Puppet (1919).

 

In 1908 Kirk illustrated The Child’s Rip Van Winkle with 12 full color illustrations. The book was published by the Frederick A. Stokes Company of New York. The book followed the same plot line as in Irving’s classic tale, but substituted simpler words and phrases for those that children could not understand. The result was easier reading for younger children.

 

The reviews of Kirk’s illustrative work for The Child’s Rip Van Winkle were very positive.

 

  • “This beautiful legend of the historic Catskill Mountains is very elaborate and artistically illustrated in color by Maria L. Kirk.” The Washington Post, October 3, 1908.

 

  • “. . . with some very sprightly and interesting illustrations in most vivid and tasteful colors by M. L. Kirk.” The Boston Globe, October 7, 1908.

 

  • “Miss Kirk’s twelve illustrations in color are unusually attractive, and will intensify the pleasure of youthful readers in the tale itself.” Brooklyn Times Union, October 10, 1908.

 

  • “The colored pictures by M. L. Kirk and the illuminated cover make this a beautiful holiday book.” Democrat and Chronicle (Rochester, New York), October 27, 1908.

 

  • “The book is illustrated in colors by Maria L. Kirk, who has offered a dozen full-page pictures of a high degree of merit.” Evening Star (Washington, DC), November 7, 1908.

 

  • “Miss Kirk’s pictures are well worth looking at even by the older reader; for children, they will be a delight. Full page, in many bright colors, with a great deal of child interest, and capitally drawn, they are in truth really illustrations of the fascinating old legend of the Catskills.” The Standard Union (Brooklyn, New York), November 15, 1908.

 

  • “The illustrations in color, twelve in number, are full of freshness and charm. They are essentially pictures for children to look at, conceived with an understanding of the child’s imagination, and made to show the little parts in the story that interest a child. This is an element of no little importance and one often slighted. Miss Kirk, moreover, has followed the traditions of the story closely and has not altered any of the familiar characters.” The Los Angeles Times, December 13, 1908.

 

  • “. . .the twelve full-page illustrations in color by Miss Kirk are true to the spirit of the story and most artistic.” The Publishers’ Weekly, December 19, 1908.

 

The 12 illustrations in The Child’s Rip Van Winkle depict scenes from throughout the story, including:

 

  • The children of the village hanging on his skirts and climbing on his back

The Children of the Village Hanging on His Skirts and Climbing on His BackThe Children of the Village Hanging on His Skirts and Climbing on His BackThe Child's Rip Van Winkle. Illustrated by M. L. Kirk.

 

  • His cow would get among the cabbages

His Cow Would Get Among the CabbagesHis Cow Would Get Among the CabbagesThe Child's Rip Van Winkle. Illustrated by M. L. Kirk.

 

  • Like a colt at his mother’s heels

Like a Colt at His Mother's HeelsLike a Colt at His Mother's HeelsThe Child's Rip Van Winkle. Illustrated by M. L. Kirk.

 

  • At the least flourish of the broomstick he would fly yelping

At the Least Flourish of the Broomstick He Would Fly YelpingAt the Least Flourish of the Broomstick He Would Fly YelpingThe Child's Rip Van Winkle. Illustrated by M. L. Kirk.

 

  • A strange figure slowly toiling up the rocks

A Strange Figure Slowly Toiling up the RocksA Strange Figure Slowly Toiling up the RocksThe Child's Rip Van Winkle. Illustrated by M. L. Kirk.

 

  • Odd-looking persons playing nine-pins

Odd-Looking Persons Playing Nine-PinsOdd-Looking Persons Playing Nine-PinsThe Child's Rip Van Winkle. Illustrated by M. L. Kirk.

 

  • They stared at him with a fixed statue-like gaze

They Stared at Him with a Fixed Statue-Like GazeThey Stared at Him with a Fixed Statue-Like GazeThe Child's Rip Van Winkle. Illustrated by M. L. Kirk.

 

  • Surely I have not slept here all night!

Surely I Have Not Slept Here All Night!Surely I Have Not Slept Here All Night!The Child's Rip Van Winkle. Illustrated by M. L. Kirk.

 

  • Strange children ran at his heels

Strange Children Ran At His HeelsStrange Children Ran At His HeelsThe Child's Rip Van Winkle. Illustrated by M. L. Kirk.

 

  • My very dog has forgotten me

My Very Dog Has Forgotten MeMy Very Dog Has Forgotten MeThe Child's Rip Van Winkle. Illustrated by M. L. Kirk.

 

  • Does nobody know poor Rip Van Winkle!

Does Nobody Know Poor Rip Van Winkle?Does Nobody Know Poor Rip Van Winkle?The Child's Rip Van Winkle. Illustrated by M. L. Kirk.

 

  • People love to hear his stories of old times

People Love to Hear His Stories of Old TimesPeople Love to Hear His Stories of Old TimesThe Child's Rip Van Winkle. Illustrated by M. L. Kirk.

 

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[email protected] (American Catskills) art artist book Catskill Mountains Catskills character drawings illustrations illustrator M. L. Kirk Maria Louise Kirk New York Rip Van Winkle short story story The Child's Rip Van Winkle Washington Irving https://www.americancatskills.com/blog/2023/10/the-child-s-rip-van-winkle-illustrated-by-maria-louise-kirk Sat, 14 Oct 2023 12:00:00 GMT
Rip Van Winkle, Illustrated by Eric Pape https://www.americancatskills.com/blog/2023/10/rip-van-winkle-illustrated-by-eric-pape Rip Van Winkle and The Legend of Sleepy Hollow, as illustrated by Eric Pape, was published in 1925 by The Macmillan Company of New York. The book contains 46 illustrations for the Rip Van Winkle story, and another 37 illustrations for The Legend of Sleepy Hollow story. The book originally sold for $1.75.

 

He Taught Them to Fly KitesHe Taught Them to Fly KitesRip Van Winkle and The Legend of Sleepy Hollow, as illustrated by Eric Pape, was published in 1925 by The Macmillan Company of New York. The book contains 46 illustrations for the Rip Van Winkle story, and another 37 illustrations for The Legend of Sleepy Hollow story. The book originally sold for $1.75.

He Taught Them to Fly Kites.

 

A Long Ramble on a Fine Autumnal DayA Long Ramble on a Fine Autumnal DayRip Van Winkle and The Legend of Sleepy Hollow, as illustrated by Eric Pape, was published in 1925 by The Macmillan Company of New York. The book contains 46 illustrations for the Rip Van Winkle story, and another 37 illustrations for The Legend of Sleepy Hollow story. The book originally sold for $1.75.

A long ramble on a fine autumnal day.

 

He Bore on His Shoulders a Stout KegHe Bore on His Shoulders a Stout KegRip Van Winkle and The Legend of Sleepy Hollow, as illustrated by Eric Pape, was published in 1925 by The Macmillan Company of New York. The book contains 46 illustrations for the Rip Van Winkle story, and another 37 illustrations for The Legend of Sleepy Hollow story. The book originally sold for $1.75.

He bore on his shoulders a stout keg.

 

This illustrated edition of the Rip Van Winkle story was positively reviewed by the Evening Star, of Washington D. C. upon its release in 1925. “On our own ground here with an author who pays to be remembered. We can visit Sleepy Hollow. We can see the places that Irving has made so mellow and soft and whimsically dear to us, a place to which Joseph Jefferson has added much to the original charm set by the author himself, a place also which the pictures of this edition, by Eric Pape, bring out to a new effect of reality mingled with the fancy that Irving himself used to happily in the stories and legends of the Catskills.” (“Selecting Books for the Young.” Evening Star (Washington, D.C.). November 8, 1925.)

 

Illustrations for the Rip Van Winkle portion of the book include:

 

  • Cover design: Chanticleer calling, “Rip Van Winkle! Rip Van Winkle!” (cover)
  • End paper: “At the foot of these mountains the voyager may have descried the light smoke curling up from a village”
  • Washington Irving as he appeared in 1820 (page i)
  • Rip Van Winkle (frontispiece)
  • Sundial (page iii)
  • Diedrich Knickerbocker’s small hair-covered chest, bound with iron, in which letters, valuable papers and deeds were kept; date about 1775 (page v)
  • D. K. – the keys to his papers (page xi)
  • Old night watchman, returning in the early morning after an all night vigil (page xii)
  • Wrought iron door hinge, date about 1750 (page xiii)
  • The tale was found among the papers of the late Diedrich Knickerbocker (page xix)
  • The famous biscuit, with the likeness of Diedrich Knickerbocker (page 1)
  • The Waterloo Medal. Obverse, head of his Grace the Duke of Wellington. Reverse, date; joined hands; emblems of the co-operation of the allied generals (page 2)
  • The Queen Anne farthing. Obverse, head of “Anna Regina.” Reverse, figure of “Britannia” and date (page 3)
  • “I have seen a certificate, taken before a country justice and signed with a cross in the justice’s own handwriting. – D. K.” Stand with Betty lamp, flint, steel and striker, and pocket tinder box. (page 5)
  • “He taught them to fly kites.” (facing page 6)
  • “Morning, noon and night, her tongue was incessantly going.” (page 8)
  • “He would fish all day” (page 11)
  • “He would never refuse to assist a neighbor, even in the roughest toil” (page 15)
  • Utensils commonly used at an inn; wooden sconce with removable irons for holding candles, curly maple trenchers and wooden mug, mortar and pestle, candle molds, and a ball of wick floss (page 17)
  • The tavern sign: “A rubicund portrait of his majesty George the Third” (page 19)
  • “How solemnly they would listen” (page 21)
  • Nicholas Vedder, the landlord of the inn (page 23)
  • Nicholas Vedder’s pipe-rack and portable sconce, candle hook-holder, snuffers and toddy irons. Also smoker’s small tongs, tobacco pouch and pocket fire outfit (page 24)
  • Wrought iron door latch, tulip design, date about 1760 (page 26)
  • “Wolf would look wistfully in his master’s face” (page 27)
  • “A crow wining its solitary flight across the mountain (page 29)
  • “A long ramble on a fine autumnal day” (page 31)
  • The solitary crow (page 33)
  • “He bore on his shoulders a stout keg” (page 35)
  • “Hendric Hudson and his crew. (The people of the Kaatskill never heard a thunder storm without referring to him and his crew at their game of ninepins.) (facing page 38)
  • Wrought iron door latches, lily and tulip design, date about 1745 (page 41)
  • “He met a number of people, but none whom he knew” (page 43)
  • “The roof had fallen in, the windows shattered, and the doors were off their hinges” (page 47)
  • “A flag on which was a singular assemblage of stars and stripes” (page 51)
  • “A sword was held in the hand instead of a sceptre” (page 55)
  • Wrought iron chest-handle and hinges, date about 1740 (page 57)
  • “An old man replied in a thin piping voice” (page 59)
  • Wild purple raspberry (page 61)
  • “The Kaatskill Mountains has always been haunted by strange beings” (page 66)
  • Wrought iron chest-hinge, date about 1770 (page 70)
  • D. K.’s precious chest (page 71)
  • Wrought iron cupboard latch, date about 1760 (page 72)
  • “Kept a kind of vigil there every twenty years” (page 73)
  • D. K. – the key to his papers (page 75)
  • Morning glories or hedge weed (page 77)
  • “Gay castles in the clouds that pass” (page 78)

 

 

Hendrick Hudson and His CrewHendrick Hudson and His CrewRip Van Winkle and The Legend of Sleepy Hollow, as illustrated by Eric Pape, was published in 1925 by The Macmillan Company of New York. The book contains 46 illustrations for the Rip Van Winkle story, and another 37 illustrations for The Legend of Sleepy Hollow story. The book originally sold for $1.75.
Hendrick Hudson and His Crew.

 

Singular Assemblage of Stars and StripesSingular Assemblage of Stars and StripesRip Van Winkle and The Legend of Sleepy Hollow, as illustrated by Eric Pape, was published in 1925 by The Macmillan Company of New York. The book contains 46 illustrations for the Rip Van Winkle story, and another 37 illustrations for The Legend of Sleepy Hollow story. The book originally sold for $1.75.
A flag on which was a singular assemblage of stars and stripes.

 

Rip Van WinkleRip Van WinkleRip Van Winkle and The Legend of Sleepy Hollow, as illustrated by Eric Pape, was published in 1925 by The Macmillan Company of New York. The book contains 46 illustrations for the Rip Van Winkle story, and another 37 illustrations for The Legend of Sleepy Hollow story. The book originally sold for $1.75.
Rip Van Winkle.

 

Frederic L. M. Pape (1870-1938), more commonly known as Eric Pape, was a highly regarded painter, engraver and illustrator. Pape was born and raised in San Francisco, California. He studied art in San Francisco the School of Design and later in Paris under noted artists such as Boulanger, Lefebvre, Constant, Doucet, Blanc and Delance. He then furthered his studies at the Ecole des Beaux Arts under famous instructors such as Gerome, Delauney and Jean Paul Laurens. Pape was well traveled, having lived in England, France, Germany, Mexico and Europe. After five years abroad from around 1888 to 1893 Pape returned to the United States in 1894. He taught during 1897 in Boston at the Cowles Art School, which was established by painter Frank Cowles (1839-1928) and operated from 1883 to around 1900.

 

The next year, in 1898, Pape established his own school, the Eric Pape School of Art at Boston, Massachusetts. The school offered “drawing and painting “from life,” separate classes for men and women. Portraiture, still life, water-color, paste, pyrogravure, wood-carving, composition. Illustration, with costume models, pen, wash, gouache, poster and book-cover designing, decorative illustration for books.” The school, soon after its founding, “has been signally successful and quickly recognized as one of the foremost schools of its kind in this country.” (“Representative Young Illustrators: Eric Pape, Illustrator and Painter.” The Art Interchange. Vol. 44, no. 5. May, 1900.) Among the students at his school was N. C. Wyeth, who later published his own highly regarded illustrated version of the Rip Van Winkle story in 1921. The school operated until 1913.

 

Pape’s fine art work had been exhibited at the Paris Salon and at expositions in Munich (1897) Chicago (1893), Cincinnati, Detroit, Omaha (1899), Paris (1900), Buffalo (1901) and St. Louis (1904). Some of his noted paintings include The Spinner of Zeven (1889); The Great Sphinx by Moonlight (1891); The Two Great Eras (1892); The Angel with the Book of Life (1897); Approaching Storm, The Great Dane and Early Morning (1900); and Foam Surges (1902). His illustrative work can be found in many special edition books and illustrated magazine articles of the time.

 

Pape also worked as a stage designer for theater productions, including a showing of Rip Van Winkle in 1925 at the Repertory Theatre in Boston. This version of the timeless classic featured noted American actor Francis Wilson (1854-1935) portraying Rip Van Winkle in an “effective revival of stage classic.” Wilson was an ardent admirer of Joseph Jefferson, who played the role of Rip Van Winkle on stage for over 40 years. Wilson, who at the age of 12 first saw Jefferson in 1870, also authored a biography on Jefferson. In a review of the show, it was noted that “Eric Pape, noted illustrator and scenic artist, has designed and painted special settings of extraordinary beauty for this production.” (“Rip Van Winkle at the Repertory.” The Boston Globe. November 24, 1925.)

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[email protected] (American Catskills) art artist book Catskill Mountains Catskills character Eric Pape Eric Pape School of Art Francis Wilson Frederic L. Pape illustration illustrator Macmillan Company N. C. Wyeth New York Rip Van Winkle Rip Van Winkle and The Legend of Sleepy Hollow short story story Washington Irving https://www.americancatskills.com/blog/2023/10/rip-van-winkle-illustrated-by-eric-pape Sat, 07 Oct 2023 12:00:00 GMT
Rip Van Winkle's Dream https://www.americancatskills.com/blog/2023/9/rip-van-winkles-dream Rip Van Winkle’s Dream was published in 1883 in dedication to the Michigan Central Railroad – The Niagara Falls Route. The book contains over 30 beautiful, full-page illustrations, many of them featuring the beloved Rip Van Winkle. Wemple & Co., of New York, worked on the book as lithographers.

 

Rip Van Winkle's DreamRip Van Winkle's DreamRip Van Winkle’s Dream was published in 1883 in dedication to the Michigan Central Railroad – The Niagara Falls Route. The book contains over 30 beautiful, full-page illustrations, many of them featuring the beloved Rip Van Winkle. Wemple & Co., of New York, worked on the book as lithographers.

The first seven pages of the book, unrelated to the main story of Rip Van Winkle, includes “A Parody on Iolanthe,” written by Davison Dalziel, which is an alternative take on the Gilbert and Sullivan comic opera Iolanthe, but is instead dedicated to the conductors of the Chicago & Alton Railway. The last 22 pages of the book contain advertisements for a variety of businesses around Chicago, including, as just a few examples, the Ansonia Clock Company, the Crescent Steel Works, the Leland Hotel and the Haverly Theatre.

Rip Van Winkle’s Dream was published by Davison Dalziel (1852-1928), of Chicago. Dalziel was born and raised in London, England, and after being “granted the privileges of a superior education” he entered the journalism industry. He was engaged in newspaper work in Sydney, Australia in the late 1870s. He afterwards went to San Francisco, where he established the San Francisco Daily Mail. He then relocated to Chicago, where he remained prominent in the newspaper industry and served as the editor of the Chicago News Letter, “the leading dramatic newspaper in America.” He then returned to London, where he formed Dalziel’s News Agency and became an influential businessman in the transportation industry. He served as president of the Pullman Car Company and the International Sleeping Car Company. He was elected to serve as a Member of Parliament for Brixton from 1910 to 1923 and again from 1924 to 1927. Dalziel passed away in 1928 after a short illness.

Rip and the Men of Henry Hudson (13), Rip Van Winkle's DreamRip and the Men of Henry Hudson (13), Rip Van Winkle's DreamRip Van Winkle’s Dream was published in 1883 in dedication to the Michigan Central Railroad – The Niagara Falls Route. The book contains over 30 beautiful, full-page illustrations, many of them featuring the beloved Rip Van Winkle. Wemple & Co., of New York, worked on the book as lithographers.

The first seven pages of the book, unrelated to the main story of Rip Van Winkle, includes “A Parody on Iolanthe,” written by Davison Dalziel, which is an alternative take on the Gilbert and Sullivan comic opera Iolanthe, but is instead dedicated to the conductors of the Chicago & Alton Railway. The last 22 pages of the book contain advertisements for a variety of businesses around Chicago, including, as just a few examples, the Ansonia Clock Company, the Crescent Steel Works, the Leland Hotel and the Haverly Theatre.

Rip Van Winkle’s Dream was published by Davison Dalziel (1852-1928), of Chicago. Dalziel was born and raised in London, England, and after being “granted the privileges of a superior education” he entered the journalism industry. He was engaged in newspaper work in Sydney, Australia in the late 1870s. He afterwards went to San Francisco, where he established the San Francisco Daily Mail. He then relocated to Chicago, where he remained prominent in the newspaper industry and served as the editor of the Chicago News Letter, “the leading dramatic newspaper in America.” He then returned to London, where he formed Dalziel’s News Agency and became an influential businessman in the transportation industry. He served as president of the Pullman Car Company and the International Sleeping Car Company. He was elected to serve as a Member of Parliament for Brixton from 1910 to 1923 and again from 1924 to 1927. Dalziel passed away in 1928 after a short illness.

 

The first seven pages of the book, unrelated to the main story of Rip Van Winkle, includes “A Parody on Iolanthe,” written by Davison Dalziel, which is an alternative take on the Gilbert and Sullivan comic opera Iolanthe, but is instead dedicated to the conductors of the Chicago & Alton Railway. The last 22 pages of the book contain advertisements for a variety of businesses around Chicago, including, as just a few examples, the Ansonia Clock Company, the Crescent Steel Works, the Leland Hotel and the Haverly Theatre.

 

Old Rip Van Winkle in the Mountains (16), Rip Van Winkle's DreamOld Rip Van Winkle in the Mountains (16), Rip Van Winkle's DreamRip Van Winkle’s Dream was published in 1883 in dedication to the Michigan Central Railroad – The Niagara Falls Route. The book contains over 30 beautiful, full-page illustrations, many of them featuring the beloved Rip Van Winkle. Wemple & Co., of New York, worked on the book as lithographers.

The first seven pages of the book, unrelated to the main story of Rip Van Winkle, includes “A Parody on Iolanthe,” written by Davison Dalziel, which is an alternative take on the Gilbert and Sullivan comic opera Iolanthe, but is instead dedicated to the conductors of the Chicago & Alton Railway. The last 22 pages of the book contain advertisements for a variety of businesses around Chicago, including, as just a few examples, the Ansonia Clock Company, the Crescent Steel Works, the Leland Hotel and the Haverly Theatre.

Rip Van Winkle’s Dream was published by Davison Dalziel (1852-1928), of Chicago. Dalziel was born and raised in London, England, and after being “granted the privileges of a superior education” he entered the journalism industry. He was engaged in newspaper work in Sydney, Australia in the late 1870s. He afterwards went to San Francisco, where he established the San Francisco Daily Mail. He then relocated to Chicago, where he remained prominent in the newspaper industry and served as the editor of the Chicago News Letter, “the leading dramatic newspaper in America.” He then returned to London, where he formed Dalziel’s News Agency and became an influential businessman in the transportation industry. He served as president of the Pullman Car Company and the International Sleeping Car Company. He was elected to serve as a Member of Parliament for Brixton from 1910 to 1923 and again from 1924 to 1927. Dalziel passed away in 1928 after a short illness.

 

Rip Van Winkle Sees a Train for the First Time (left image) (20), Rip Van Winkle's DreamRip Van Winkle Sees a Train for the First Time (left image) (20), Rip Van Winkle's DreamRip Van Winkle’s Dream was published in 1883 in dedication to the Michigan Central Railroad – The Niagara Falls Route. The book contains over 30 beautiful, full-page illustrations, many of them featuring the beloved Rip Van Winkle. Wemple & Co., of New York, worked on the book as lithographers.

The first seven pages of the book, unrelated to the main story of Rip Van Winkle, includes “A Parody on Iolanthe,” written by Davison Dalziel, which is an alternative take on the Gilbert and Sullivan comic opera Iolanthe, but is instead dedicated to the conductors of the Chicago & Alton Railway. The last 22 pages of the book contain advertisements for a variety of businesses around Chicago, including, as just a few examples, the Ansonia Clock Company, the Crescent Steel Works, the Leland Hotel and the Haverly Theatre.

Rip Van Winkle’s Dream was published by Davison Dalziel (1852-1928), of Chicago. Dalziel was born and raised in London, England, and after being “granted the privileges of a superior education” he entered the journalism industry. He was engaged in newspaper work in Sydney, Australia in the late 1870s. He afterwards went to San Francisco, where he established the San Francisco Daily Mail. He then relocated to Chicago, where he remained prominent in the newspaper industry and served as the editor of the Chicago News Letter, “the leading dramatic newspaper in America.” He then returned to London, where he formed Dalziel’s News Agency and became an influential businessman in the transportation industry. He served as president of the Pullman Car Company and the International Sleeping Car Company. He was elected to serve as a Member of Parliament for Brixton from 1910 to 1923 and again from 1924 to 1927. Dalziel passed away in 1928 after a short illness.

 

 

Rip Van Winkle’s Dream was published by Davison Dalziel (1852-1928), of Chicago. Dalziel was born and raised in London, England, and after being “granted the privileges of a superior education” he entered the journalism industry. He was engaged in newspaper work in Sydney, Australia in the late 1870s. He afterwards went to San Francisco, where he established the San Francisco Daily Mail. He then relocated to Chicago, where he remained prominent in the newspaper industry and served as the editor of the Chicago News Letter, “the leading dramatic newspaper in America.” He then returned to London, where he formed Dalziel’s News Agency and became an influential businessman in the transportation industry. He served as president of the Pullman Car Company and the International Sleeping Car Company. He was elected to serve as a Member of Parliament for Brixton from 1910 to 1923 and again from 1924 to 1927. Dalziel passed away in 1928 after a short illness.

 

The lengthy advertisement for the Michigan Central Railroad at the back of Rip Van Winkle’s Dream provides an overview of the company and the Niagara Falls Route.

 

                “Michigan Central. The Great Highway of East and West Travel.

 

The Michigan Central has become the deservedly favorite route between the great cities and Summer resorts of the East and West, being the only route under a single management between Chicago, Niagara Falls and Buffalo, and offering to the traveling public the many great advantages resulting from that fact. Whether one travels East or travels West, he finds that the Michigan Central has spared no pains nor expense to make his journey as rapid, safe, comfortable and pleasant as possible. He finds not one only, but many, daily Fast Express trains, made up new and sumptuous Parlor, Dining and Sleeping Coaches, replete with every convenience that money can provide and ingenuity devise. These trains are veritable first-class hotels upon wheels, in which the passenger can eat, drink, smoke, sleep, lounge and take comfort as in his own inn. And the traveler is sure of quick time and close connection at junction points.

 

The title of “The Niagara Falls Route” belongs peculiarly and especially to the Michigan Central, for it is the only route running trains directly to the Great Cataract itself. Its trains halt at Falls View Station, almost at the very brink of the down-pouring flood, where the views is finer than is obtainable from any other point. From this point, the trains follow the course of the river to the great Cantilever Bridge, which is a marvelous triumph of engineering science. It is constructed of steel, with a double track, and stood the severest test upon its completion. It is the first bridge ever built upon its particular principle, and is probably the safest, as it is one of the most elegant, in the world. Crossing this grand structure, two hundred and fifty feet above “the angriest bit of water in the world,” the traveler sees again the great Falls, the dark river gorge, and the rushing Whirlpool Rapids.

 

The route to Buffalo follows the river bank for miles, affording varied and delightful pictures of the emerald flood, the foam-crested Rapids, the Falls, the leafy islands and peaceful Canada shore, while the thunders of the great Cataract sink with distance into a monotone, and are finally lost, save as their echoes long linger in memory.

 

Entering the beautiful city of Buffalo, the traveler finds the superb Palace Cars taken on without change to Albany and New York, by the New York Central and Hudson River, and from Albany to Boston by the Boston and Albany railroads. To the Michigan Central, and to no other road, all this applies, and therefore it is that the public have bestowed upon it the title of “The Niagara Falls Route.”

 

Excepting only the almost inaccessible Yellowstone Park, there is no spot combining so many of the glories, beauties and advantages of a tourists’ paradise as Mackinac Island. Rising grandly over 300 feet above the channel in which the waters of the earth’s greatest unsalted seas meet and blend in billowy harmony, it is nearly nine miles in circumference. The United States Government has, with a just appreciation of its wonderful attractions, reserved entire island for a National Park, and the Michigan Central has made it accessible to tourists.

 

O. W. Ruggles, Gen. Passenger and Ticket Agent, Chicago.

F. I. Whitney, Ass’t Gen. Pass. And Ticket Ag’t, Chicago.”

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[email protected] (American Catskills) A Parody on Iolanthe ad advertisement art book Catskill Mountains Catskills character D. Dalziel Davison Dalziel drawings illustrations lithography Michigan Central Railroad New York Niagara Falls Route publisher railroad Rip Van Winkle Rip Van Winkle's Dream short story story Washington Irving Wemple & Co. https://www.americancatskills.com/blog/2023/9/rip-van-winkles-dream Sat, 30 Sep 2023 12:00:00 GMT
Rip Van Winkle, with Illustrations by Rhoda Campbell Chase https://www.americancatskills.com/blog/2023/9/rip-van-winkle-with-illustrations-by-rhoda-campbell-chase Rip Van Winkle by Washington Irving was published to international acclaim in 1819. Set in the Catskills, an amiable Rip wanders off in the woods with his dog Wolf to escape his wife’s nagging and to avert “all kinds of profitable labor” only to encounter a silent group of short, bearded men playing nine-pins. After drinking some of their liquor he falls asleep for twenty years. Upon waking, he returns to his village to learn that his wife has died, the American Revolution has occurred and that he must face the fact that many of his former friends have either died, moved on or simply do not recognize him. The short story is an American classic.

 

This miniature version of the Rip Van Winkle story, measuring only 2 3/16 inches by 2 3/4 inches, served as an advertising booklet for Packard Pianos. The 12-page booklet contains a short, summarized version of the Rip Van Winkle story along with six colorized illustrations. The advertisement for Packard Pianos, which noted that “you can’t get a better piano at any price,” can be found on the back page. The booklet was published in 1916 by John H. Eggers of New York.

 

Rip Van Winkle, CoverRip Van Winkle, CoverThis miniature version of the Rip Van Winkle story, measuring only 2 3/16 inches by 2 3/4 inches, served as an advertising booklet for Packard Pianos. The 12-page booklet contains a short, summarized version of the Rip Van Winkle story along with six colorized illustrations. The advertisement for Packard Pianos, which noted that “you can’t get a better piano at any price,” can be found on the back page. The booklet was published in 1916 by John H. Eggers of New York.

Each of the six images in the Rip Van Winkle booklet were created by illustrator Rhoda Campbell Chase (1881-1959), whose work can be found in numerous school and children’s books. Rhoda was the daughter of Henry Seymour Chase (1853-1889), a well-known marine artist, and Laura Emeline Eames Chase (1856-1917), a member of the Daughters of the American Revolution, a graduate of Iowa State University dental school and the first woman accepted as a full member of the American Dental Association.

Following in her father’s footsteps Rhoda would become a well-respected artist. She attended the St. Louis School of Fine Arts, lived in Paris while working with Theophile Steinlen as a mentor and studied at the Art Students’ League in New York City.

Beginning in 1917 Chase illustrated a new line of products issued by Harper & Brothers called the Bubble Book, an innovative product which combined books with records. The Bubble Book series, marketed with a slogan of “books that sing,” were aimed at children who could learn to read while singing along to the records at the same time. The record/book combination proved immensely popular, with millions sold every year after its initial release. For more information on the history of the Bubble Book series, see Jacob Smith’s book titled Spoken Word: Postwar American Phonograph Cultures.

For approximately 45 years, from the mid-1910s to her passing in 1959, Rhoda lived in the art-friendly village of Woodstock, New York in the Catskill Mountains, near the setting for the Rip Van Winkle story. She was an active member of the Christian Science Church in Woodstock. Rhoda died on August 1, 1959 at Kingston Hospital in Kingston, New York and was survived by her brother Irwin Chase, of Deep River, Connecticut; a nephew, Rear Admiral Irwin Chase Jr., USN, Ret., of Deep River; and a niece, Mrs. Roger C. Cunningham of Ann Arbor, Michigan. Rhoda Campbell Chase is buried at Bellefontaine Cemetery in St. Louis, Missouri.

 

Each of the six images in the Rip Van Winkle booklet were created by illustrator Rhoda Campbell Chase (1881-1959), whose work can be found in numerous school and children’s books. Rhoda was the daughter of Henry Seymour Chase (1853-1889), a well-known marine artist, and Laura Emeline Eames Chase (1856-1917), a member of the Daughters of the American Revolution, a graduate of Iowa State University dental school and the first woman accepted as a full member of the American Dental Association.

 

Following in her father’s footsteps Rhoda would become a well-respected artist. She attended the St. Louis School of Fine Arts, lived in Paris while working with Theophile Steinlen as a mentor and studied at the Art Students’ League in New York City.

 

Beginning in 1917 Chase illustrated a new line of products issued by Harper & Brothers called the Bubble Book, an innovative product which combined books with records. The Bubble Book series, marketed with a slogan of “books that sing,” were aimed at children who could learn to read while singing along to the records at the same time. The record/book combination proved immensely popular, with millions sold every year after its initial release. For more information on the history of the Bubble Book series, see Jacob Smith’s book titled Spoken Word: Postwar American Phonograph Cultures.

 

For approximately 45 years, from the mid-1910s to her passing in 1959, Rhoda lived in the art-friendly village of Woodstock, New York in the Catskill Mountains, near the setting for the Rip Van Winkle story. She was an active member of the Christian Science Church in Woodstock. Rhoda died on August 1, 1959 at Kingston Hospital in Kingston, New York and was survived by her brother Irwin Chase, of Deep River, Connecticut; a nephew, Rear Admiral Irwin Chase Jr., USN, Ret., of Deep River; and a niece, Mrs. Roger C. Cunningham of Ann Arbor, Michigan. Rhoda Campbell Chase is buried at Bellefontaine Cemetery in St. Louis, Missouri.

 

Rip and His ChildrenRip and His ChildrenThis miniature version of the Rip Van Winkle story, measuring only 2 3/16 inches by 2 3/4 inches, served as an advertising booklet for Packard Pianos. The 12-page booklet contains a short, summarized version of the Rip Van Winkle story along with six colorized illustrations. The advertisement for Packard Pianos, which noted that “you can’t get a better piano at any price,” can be found on the back page. The booklet was published in 1916 by John H. Eggers of New York.

Each of the six images in the Rip Van Winkle booklet were created by illustrator Rhoda Campbell Chase (1881-1959), whose work can be found in numerous school and children’s books. Rhoda was the daughter of Henry Seymour Chase (1853-1889), a well-known marine artist, and Laura Emeline Eames Chase (1856-1917), a member of the Daughters of the American Revolution, a graduate of Iowa State University dental school and the first woman accepted as a full member of the American Dental Association.

Following in her father’s footsteps Rhoda would become a well-respected artist. She attended the St. Louis School of Fine Arts, lived in Paris while working with Theophile Steinlen as a mentor and studied at the Art Students’ League in New York City.

Beginning in 1917 Chase illustrated a new line of products issued by Harper & Brothers called the Bubble Book, an innovative product which combined books with records. The Bubble Book series, marketed with a slogan of “books that sing,” were aimed at children who could learn to read while singing along to the records at the same time. The record/book combination proved immensely popular, with millions sold every year after its initial release. For more information on the history of the Bubble Book series, see Jacob Smith’s book titled Spoken Word: Postwar American Phonograph Cultures.

For approximately 45 years, from the mid-1910s to her passing in 1959, Rhoda lived in the art-friendly village of Woodstock, New York in the Catskill Mountains, near the setting for the Rip Van Winkle story. She was an active member of the Christian Science Church in Woodstock. Rhoda died on August 1, 1959 at Kingston Hospital in Kingston, New York and was survived by her brother Irwin Chase, of Deep River, Connecticut; a nephew, Rear Admiral Irwin Chase Jr., USN, Ret., of Deep River; and a niece, Mrs. Roger C. Cunningham of Ann Arbor, Michigan. Rhoda Campbell Chase is buried at Bellefontaine Cemetery in St. Louis, Missouri.

 

Rip Cast Out From His HouseRip Cast Out From His HouseThis miniature version of the Rip Van Winkle story, measuring only 2 3/16 inches by 2 3/4 inches, served as an advertising booklet for Packard Pianos. The 12-page booklet contains a short, summarized version of the Rip Van Winkle story along with six colorized illustrations. The advertisement for Packard Pianos, which noted that “you can’t get a better piano at any price,” can be found on the back page. The booklet was published in 1916 by John H. Eggers of New York.

Each of the six images in the Rip Van Winkle booklet were created by illustrator Rhoda Campbell Chase (1881-1959), whose work can be found in numerous school and children’s books. Rhoda was the daughter of Henry Seymour Chase (1853-1889), a well-known marine artist, and Laura Emeline Eames Chase (1856-1917), a member of the Daughters of the American Revolution, a graduate of Iowa State University dental school and the first woman accepted as a full member of the American Dental Association.

Following in her father’s footsteps Rhoda would become a well-respected artist. She attended the St. Louis School of Fine Arts, lived in Paris while working with Theophile Steinlen as a mentor and studied at the Art Students’ League in New York City.

Beginning in 1917 Chase illustrated a new line of products issued by Harper & Brothers called the Bubble Book, an innovative product which combined books with records. The Bubble Book series, marketed with a slogan of “books that sing,” were aimed at children who could learn to read while singing along to the records at the same time. The record/book combination proved immensely popular, with millions sold every year after its initial release. For more information on the history of the Bubble Book series, see Jacob Smith’s book titled Spoken Word: Postwar American Phonograph Cultures.

For approximately 45 years, from the mid-1910s to her passing in 1959, Rhoda lived in the art-friendly village of Woodstock, New York in the Catskill Mountains, near the setting for the Rip Van Winkle story. She was an active member of the Christian Science Church in Woodstock. Rhoda died on August 1, 1959 at Kingston Hospital in Kingston, New York and was survived by her brother Irwin Chase, of Deep River, Connecticut; a nephew, Rear Admiral Irwin Chase Jr., USN, Ret., of Deep River; and a niece, Mrs. Roger C. Cunningham of Ann Arbor, Michigan. Rhoda Campbell Chase is buried at Bellefontaine Cemetery in St. Louis, Missouri.

 

Rip Takes a DrinkRip Takes a DrinkThis miniature version of the Rip Van Winkle story, measuring only 2 3/16 inches by 2 3/4 inches, served as an advertising booklet for Packard Pianos. The 12-page booklet contains a short, summarized version of the Rip Van Winkle story along with six colorized illustrations. The advertisement for Packard Pianos, which noted that “you can’t get a better piano at any price,” can be found on the back page. The booklet was published in 1916 by John H. Eggers of New York.

Each of the six images in the Rip Van Winkle booklet were created by illustrator Rhoda Campbell Chase (1881-1959), whose work can be found in numerous school and children’s books. Rhoda was the daughter of Henry Seymour Chase (1853-1889), a well-known marine artist, and Laura Emeline Eames Chase (1856-1917), a member of the Daughters of the American Revolution, a graduate of Iowa State University dental school and the first woman accepted as a full member of the American Dental Association.

Following in her father’s footsteps Rhoda would become a well-respected artist. She attended the St. Louis School of Fine Arts, lived in Paris while working with Theophile Steinlen as a mentor and studied at the Art Students’ League in New York City.

Beginning in 1917 Chase illustrated a new line of products issued by Harper & Brothers called the Bubble Book, an innovative product which combined books with records. The Bubble Book series, marketed with a slogan of “books that sing,” were aimed at children who could learn to read while singing along to the records at the same time. The record/book combination proved immensely popular, with millions sold every year after its initial release. For more information on the history of the Bubble Book series, see Jacob Smith’s book titled Spoken Word: Postwar American Phonograph Cultures.

For approximately 45 years, from the mid-1910s to her passing in 1959, Rhoda lived in the art-friendly village of Woodstock, New York in the Catskill Mountains, near the setting for the Rip Van Winkle story. She was an active member of the Christian Science Church in Woodstock. Rhoda died on August 1, 1959 at Kingston Hospital in Kingston, New York and was survived by her brother Irwin Chase, of Deep River, Connecticut; a nephew, Rear Admiral Irwin Chase Jr., USN, Ret., of Deep River; and a niece, Mrs. Roger C. Cunningham of Ann Arbor, Michigan. Rhoda Campbell Chase is buried at Bellefontaine Cemetery in St. Louis, Missouri.

 

Rip Awakes Twenty Years LaterRip Awakes Twenty Years LaterThis miniature version of the Rip Van Winkle story, measuring only 2 3/16 inches by 2 3/4 inches, served as an advertising booklet for Packard Pianos. The 12-page booklet contains a short, summarized version of the Rip Van Winkle story along with six colorized illustrations. The advertisement for Packard Pianos, which noted that “you can’t get a better piano at any price,” can be found on the back page. The booklet was published in 1916 by John H. Eggers of New York.

Each of the six images in the Rip Van Winkle booklet were created by illustrator Rhoda Campbell Chase (1881-1959), whose work can be found in numerous school and children’s books. Rhoda was the daughter of Henry Seymour Chase (1853-1889), a well-known marine artist, and Laura Emeline Eames Chase (1856-1917), a member of the Daughters of the American Revolution, a graduate of Iowa State University dental school and the first woman accepted as a full member of the American Dental Association.

Following in her father’s footsteps Rhoda would become a well-respected artist. She attended the St. Louis School of Fine Arts, lived in Paris while working with Theophile Steinlen as a mentor and studied at the Art Students’ League in New York City.

Beginning in 1917 Chase illustrated a new line of products issued by Harper & Brothers called the Bubble Book, an innovative product which combined books with records. The Bubble Book series, marketed with a slogan of “books that sing,” were aimed at children who could learn to read while singing along to the records at the same time. The record/book combination proved immensely popular, with millions sold every year after its initial release. For more information on the history of the Bubble Book series, see Jacob Smith’s book titled Spoken Word: Postwar American Phonograph Cultures.

For approximately 45 years, from the mid-1910s to her passing in 1959, Rhoda lived in the art-friendly village of Woodstock, New York in the Catskill Mountains, near the setting for the Rip Van Winkle story. She was an active member of the Christian Science Church in Woodstock. Rhoda died on August 1, 1959 at Kingston Hospital in Kingston, New York and was survived by her brother Irwin Chase, of Deep River, Connecticut; a nephew, Rear Admiral Irwin Chase Jr., USN, Ret., of Deep River; and a niece, Mrs. Roger C. Cunningham of Ann Arbor, Michigan. Rhoda Campbell Chase is buried at Bellefontaine Cemetery in St. Louis, Missouri.

 

The World Has Changed in Twenty YearsThe World Has Changed in Twenty YearsThis miniature version of the Rip Van Winkle story, measuring only 2 3/16 inches by 2 3/4 inches, served as an advertising booklet for Packard Pianos. The 12-page booklet contains a short, summarized version of the Rip Van Winkle story along with six colorized illustrations. The advertisement for Packard Pianos, which noted that “you can’t get a better piano at any price,” can be found on the back page. The booklet was published in 1916 by John H. Eggers of New York.

Each of the six images in the Rip Van Winkle booklet were created by illustrator Rhoda Campbell Chase (1881-1959), whose work can be found in numerous school and children’s books. Rhoda was the daughter of Henry Seymour Chase (1853-1889), a well-known marine artist, and Laura Emeline Eames Chase (1856-1917), a member of the Daughters of the American Revolution, a graduate of Iowa State University dental school and the first woman accepted as a full member of the American Dental Association.

Following in her father’s footsteps Rhoda would become a well-respected artist. She attended the St. Louis School of Fine Arts, lived in Paris while working with Theophile Steinlen as a mentor and studied at the Art Students’ League in New York City.

Beginning in 1917 Chase illustrated a new line of products issued by Harper & Brothers called the Bubble Book, an innovative product which combined books with records. The Bubble Book series, marketed with a slogan of “books that sing,” were aimed at children who could learn to read while singing along to the records at the same time. The record/book combination proved immensely popular, with millions sold every year after its initial release. For more information on the history of the Bubble Book series, see Jacob Smith’s book titled Spoken Word: Postwar American Phonograph Cultures.

For approximately 45 years, from the mid-1910s to her passing in 1959, Rhoda lived in the art-friendly village of Woodstock, New York in the Catskill Mountains, near the setting for the Rip Van Winkle story. She was an active member of the Christian Science Church in Woodstock. Rhoda died on August 1, 1959 at Kingston Hospital in Kingston, New York and was survived by her brother Irwin Chase, of Deep River, Connecticut; a nephew, Rear Admiral Irwin Chase Jr., USN, Ret., of Deep River; and a niece, Mrs. Roger C. Cunningham of Ann Arbor, Michigan. Rhoda Campbell Chase is buried at Bellefontaine Cemetery in St. Louis, Missouri.

 

Other books illustrated by Rhoda Campbell Chase include:

 

Hansel and Gretel (1914)

The Merrill Readers: Third Reader (1915)

The Merrill Readers: Fourth Reader (1915)

Wonderdays and Wonderways Through Flowerland (1916)

Rip Van Winkle (1916)

Aladdin (1916)

Puss in Boots (1916)

The Bubble Book (1917)

The Sandman’s Hour: Stories for Bedtime (1917)

The Child’s World: First Reader (1917)

The Child’s World: Second Reader (1917)

The Story of Little Angels (1917)

Sandman Christmas Stories (1918)

Sandman Twilight Stories (1918)

Second Bubble Book (1918)

Third Bubble Book (1918)

The Animal Bubble Book (1918)

The Pie Party: Fifth Bubble Book (1919)

The Pet Bubble Book (1919)

The Funny Froggy: The Seventh Bubble Book (1919)

Happy Go Lucky: Bubble Book (1919)

The Merry Midgets: The Ninth Bubble Book

The Fairy Detective (1919)

The Little Mischief: Tenth Bubble Book (1920)

The Tippy Toe Bubble: 11th Book (1920)

Sandman’s Rainy Day Stories (1920)

Sandman’s Goodnight Stories (1921)

Sandman’s Might-Be-So Stories (1922)

Dot and Don with Mother (1923)

Dot and Don at School (1924)

Visiting Days with Dot and Don (1924)

Dot and Don: The Thoughtful Twins

The Christmas Reindeer (1926)

For the Children’s Hour (1927)

Busy Days with Bobby and Betty (1928)

The Doings of Bobby and Betty (1928)

Good Times for Bobby and Betty (1928)

The Peter-Pan Twins Are Glad to Help (1928)

The Peter-Pan Twins Are Now in School (1928)

Playtime for the Peter-Pan Twins (1928)

Play Fellows (1928)

Friends to Make (1928)

Happy Hour Readers: Good Friends (1935)

And Then We Came Home (1943)

Bob and Betty’s Busy Days (1943)

Bob and Betty’s Play Days (1943)

A Child’s Book of Verse (1943)

 

 

Rip Van Winkle

 

In a little village in the Catskill mountains near the Hudson river there lived many years ago a simple, good-natured fellow named Rip Van Winkle. He was lazy and would not work, but roamed the woods with his dog and gun, hunting and fishing.

 

All the village children loved him because of his kind heart and simple ways, and would follow him about while he played their games and told them stories.

 

While he thus idled away time, his farm was neglected, weeds overran his garden, his fences fell down for want of repair and his wife and children were in rags.

 

Rip’s wife would scold him for his idleness and shiftless ways, and in order to have peace he would take his dog Wolf and to the village inn, where he would sit on a bench in the sun and gossip with his neighbors, and escape his wife’s sharp tongue.

 

One day, after a harder scolding than usual, Rip took his dog and gun and set off for the mountains, hoping to bring home a squirrel of two to put his wife in good humor again. As he left, he could hear her voice calling after him that he was an idle good-for-nothing, and had better keep out of her sight, and he felt glad to escape the sound of her voice.

 

He tramped all day and shot many a squirrel and when he grew tired he lay down to rest on the soft grass under the shade of a tree.

 

Suddenly he heard his name called. He sat up, and looked about him, but he saw no one. Again he heard it – “Rip van Winkle – Rip van Winkle” – several times.

 

Wolf growled and came close to his master.

 

Looking again, Rip saw far down in the glen, slowly toiling up among the rocks, a strange little figure. He had a long beard and was dressed in old Dutch style, with a high peaked hat, and on his back he carried a keg of liquor. When he saw Rip he beckoned without speaking, and Rip saw that he was asking for help with his load.

 

Rip was always willing to help anyone, so he shouldered the keg and took turns with the dwarf in carrying it along the rocky path. Neither spoke a word, and the only sound was from the distant thunder that echoed among the mountains.

 

At last they reached the top. Rip and his guide entered a small hollow, and there Rip saw a company of strange little men. All wore the peaked hats, and had long beards and great baggy trousers. They were playing nine-pins, but stopped to gaze at Rip.

 

No one spoke or smiled, but one, who seemed to be the leader and wore red stockings and pointed red shoes, ran to Rip and took the keg. Then they offered it to him, and after taking a drink he grew bolder, and finding it good he took another and another.

 

Soon he began to feel very drowsy, he eyes closed and he fell into a deep sleep.

 

When Rip awoke, the sun was shining. He rubbed his eyes and said, “I must have slept here all night.” Slowly the memory of the dwarfs and the wine came back to him, and he cried out, “Oh, that wicked wine! What will my wife say?”

 

He looked for his gun but saw only an old rusty one, falling apart with age. He thought the little men had stolen his. He whistled for Wolf, who did not come; then he tried to walk, but found he was stiff and sore. He made his way down the mountain with great difficulty, expecting to meet his dog as he went.

 

He felt very hungry and weak, and dreaded to meet his wife, but felt that he must go on or starve in the mountains.

 

When he reached the village, he saw many people, but none whom he knew. All stared at him, and the children were strange. Looking down, he saw that his beard had grown long and white, and his clothes were ragged. He made his way to his own house and found it in ruins.

 

Much distressed, he wandered on, asking those he met about his old friends, but all were dead.

 

In the crowd that gathered about him there was a young woman carrying a child. Rip finally turned to her and asked her name. Her face and voice were familiar and he learned that she was his own daughter, grown up and married. From her he learned that he had disappeared and had been given up for dead twenty years ago! His wife had died soon after his disappearance.

 

The daughter welcomed her father with joy, and took him to her home to liver with her husband and children. There he spent his old age in contentment, and never again visited Hendrik Hudson and his band, who played nine-pins in the mountains.

 

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[email protected] (American Catskills) ad advertisement art artist book booklet Bubble Books Catskill Mountains Catskills Harry Chase Henry Seymour Chase illustrations illustrator John H. Eggers New York Rhoda Campbell Chase Rhoda Chase Rip Van Winkle Washington Irving Woodstock https://www.americancatskills.com/blog/2023/9/rip-van-winkle-with-illustrations-by-rhoda-campbell-chase Sat, 23 Sep 2023 12:00:00 GMT
David J. Auchmoody – Kingston, New York Photographer (Part 2) https://www.americancatskills.com/blog/2023/9/david-j-auchmoody-kingston-new-york-photographer-part-2 David J. Auchmoody was a much-respected photographer located at the city of Kingston in Ulster County, New York from 1868 to circa 1893. He photographed thousands of Kingston’s citizens over the course of his 25 years in business. Auchmoody also published a popular series of stereoviews that included scenes of Kingston, Rondout, Rosendale, Rifton, Lawrenceville, Saugerties, Shandaken, Shokan and the surrounding Catskills region. After leaving the photography business Auchmoody worked in the insurance industry and for several fraternal organizations.

 

Continued from September 9, 2023.

 

Creek Cement Works, from SleightsburghCreek Cement Works, from SleightsburghThe Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. "Creek Cement Works, from Sleightsburgh." The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-57c1-a3d9-e040-e00a18064a99 Creek Cement Works, from Sleightsburgh.

 

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In 1884, as Auchmoody became more involved with various fraternal organizations, he founded the Fraternal Indicator. The publication was described as “a monthly journal devoted to the interest of Fraternal Societies. Official Organ of the Supreme Lodge, Knights of Columbia. An attractive journal, with a large circulation.” Auchmoody served as both editor and publisher. The publication was typically four pages long, sized 16x23. Annual subscription was 25 cents. Annual circulation was 2,000.

 

Reviews about the newly created Fraternal Indicator were quite positive. On January 19, 1884 the Kingston Daily Freeman wrote that “The ‘Knights of Columbia Indicator’ is the name of a new paper printed at the Freeman job printing establishment, by the Committee of Supplies of the Knights. It has four pages and is neatly printed on tinted paper, and is in every way creditable to its editors. The first number contains an excellent photograph of D. J. Auchmoody, the well known photographer, who was the first Supreme Governor of the Knights of Columbia. It will be published monthly, and its subscription price is only 25 cents a year.”

 

In another positive review, on August 8, 1884 the Kingston Daily Freeman wrote that “we have received the first number of a new monthly publication styled the Fraternal Indicator, the editor and publisher of which is D. J. Auchmoody of this city. It is an interesting four page paper, and besides what it contains in reference to mutual benefit and secret societies has a good selection of miscellaneous matter, and is ably edited. We bespeak for it a good reception among all interested in society matters.”

 

Throughout approximately 25 years as a photographer, Auchmoody’s gallery was located at several different locations. He was at first located at the corner of Garden and Ferry streets. He then worked at 29 Union Avenue, and was then listed at both 18 and 20 Union Avenue.

 

Luther, David’s son, seems to have assisted his father at the photographic gallery in the early years of his career, before becoming an automobile salesman. In 1890 L. M. Auchmoody, who would have been 19 years old at the time, submitted pictures of the family studio to Wilson’s Photograph Magazine, and those pictures were positively reviewed.

 

“Mr. L. M. Auchmoody, of Rondout, N.Y., sends a series of pictures which would be very interesting to any of our younger aspirants. They are of his studio, printing room, and reception rooms, showing their fitting an arrangement. As interiors they are excellent, not only pictorially, but also in the extreme order and regularity of appointments, and the cheerfulness of their aspect. Enlivened with plants and pictures, Mr. Auchmoody’s place seems a charming one to be in, suggesting good work; and even the printing room is not the well-lit den of rubbish and horror that it sometimes unhappily becomes, but contains a whole gallery of prints and pictures smiling from its sunny walls.”[1]

 

Auchmoody left the photography business around 1893 or 1894, according to the annual business directories for the city of Kingston. After leaving the photography business Auchmoody began to work in the insurance industry and became quite involved with a number of fraternal societies.

 

“He [Auchmoody] was a past grand chancellor of the grand lodge of Knights of Pythias of New York state and past state councilor of the United Order of Mechanics. He also served for many years as state deputy of the Knights of Pythias. He was a member of Hope Lodge, No. 65, Knights of Pythias, of Port Ewen, and Ulster County Council, United Order of American Mechanics, the Order of the Golden Seal and the Knights of Honor.”[2]

 

Auchmoody was a founding member of the Knights of Honor, lodge 791, at the city of Kingston. The lodge was formed on November 7, 1877. In 1880 Auchmoody was serving as “Reporter” for the lodge. The Knights of Honor organization was founded in 1873 in Louisville, Kentucky by James A. Demaree. The organization grew from its original 17 members to a membership of 120,000 by 1889, including 190 lodges in the state of New York.

 

The Knights of Pythias, in which Auchmoody served as state deputy and grand chancellor, was formed at Washington, D. C. in 1864 by Justus H. Rathbone (1839-1899), a federal government clerk. The organization began with 13 members, but grew rapidly, reaching a membership of 450,000 in 1895, and 1,000,000 in the early 1920s. Its cardinal principles include Friendship, Charity, and Benevolence, and their motto is “Be Generous, Brave, and True.” The rituals for the Knights of Pythias are based on the mythological friendship of Damon and Pythias. The Knights of Pythias were the first fraternal organization in the United States to receive a charter through an Act of Congress. The organization continues to operate today.

 

In addition to his work in the insurance industry and with various fraternal organizations, Auchmoody also served, for a time, as director and secretary of the S. R. Deyo Company. The company, which manufactured pure apple cider, was founded by Sylvester R. Deyo in 1886. The company had grown significantly over the years, producing 15,000 to 20,000 barrels of sweet cider and vinegar each season. “The business was one of the largest of its kind in this section of the country and annually filled large contracts, including many contracts with the United States Government.”[3]

 

The 1900 United States census listed 51-year-old Auchmoody as living in the city of Kingston, New York. He was living with his 48-year-old wife Elvina, who was shown as having been born in April 1852. They were married for 29 years. Auchmoody’s occupation was listed as “state deputy, K of P. [Knights of Pythias].”

 

D. J. Auchmoody published at least 320 different views of Kingston, Rondout, Saugerties, Shandaken and the surrounding Catskills region. Below is a summary of the 320 views, based on the imprints contained on the reverse side of some his stereoviews.

 

Road at Steep RocksRoad at Steep Rocks Road at Steep Rocks.

 

R.R. Depot at Rosendale, N.YR.R. Depot at Rosendale, N.Y R. R. Depot at Rosendale, N.Y.

 

View of Lawrenceville Cement Works, from the hills, N.Y.View of Lawrenceville Cement Works, from the hills, N.Y. View of Lawrenceville Cement Works, from the hills, N.Y.

 

1-16.      See above for Overlook Mountain House series.

17.          Cement Quarry at Creek Locks.

18.          Cement Quarry at Creek Locks.

19.          Cement Quarry at Creek Locks.

20.          Cement Quarry at Creek Locks.

21.          Cement Quarry at Creek Locks.

22.          Cement Quarry at Creek Locks.

23.          Esopus Creek near Shandaken.

24.          Deep Hollow in Shandaken.

25.          Shandaken Centre.

26.          Valley and Lost Clove Mountain near Shandaken depot.

27.          Esopus Creek south of Phoenicia, looking south.

28.          The Notch in Shandaken.

29.          N. Y. K. & S. R. R. Track at Shandaken.

30.          The Notch in Shandaken.

31.          Shandaken Village.

32.          Esopus Creek near Phoenicia.

33.          Esopus Creek near Phoenicia.

34.          The Notch in the Clove in Shandaken.

35.          Bushkill Creek and Valley in Shandaken.

36.          Bushkill Creek and Valley in Shandaken.

37.          Lament’s Hotel, Shandaken, front view.

38.          Lament’s Hotel, Shandaken, rear view.

39.          Mountains near Bushnellville, Shandaken, looking south.

40.          Rustic View near Shandaken.

41.          Steep Rocks Road.

42.          Steep Rocks.

43.          Bank of the Hudson near Steep Rocks.

44.          Bank of the Hudson near Steep Rocks.

45.          Bank of the Hudson near Steep Rocks.

46.          Lower Falls at Glenerie.

47.          Upper Falls at Glenerie.

48.          Upper and Lower Falls at Glenerie.

49.          Glenerie.

50.          Glenerie.

51.          Glenerie White Lead Works.

52.          Cement Works at Flatbush.

53.          Cement Works at Flatbush.

54.          On the Banks of the Hudson, horse in the foreground.

55.          Group of Men and Animals.

56.          Store at Flatbush.

57.          Hudson River near Flatbush.

58.          Private Residence at Malden.

59.          Private Residence at Malden.

60.          Private Residence at Malden.

61.          Carriage House.

62.          View at Malden.

63.          Private Residence near Saugerties.

64.          Private Residence near Saugerties.

65.          Private Residence near Saugerties.

66.          Flower Garden.

67.          Flower Garden.

68.          Saugerties.

69.          Saugerties.

70.          Esopus Lake near Saugerties.

71.          Rustic View.

72.          Rifton Falls on Wallkill.

73.          Rifton Falls on Wallkill.

74.          Rifton Falls on Wallkill.

75.          Buttermilk Falls on Wallkill near Rifton.

76.          Buttermilk Falls on Wallkill near Rifton.

77.          Dashville Falls on the Wallkill.

78.          Dashville Falls on the Wallkill.

79.          Maple Grove, Shokan.

80.          Maple Grove, Shokan.

81.          Pic-Nic Party at Maple Grove, Shokan.

82.          Pic-Nic Party at Maple Grove, Shokan.

83.          Croquet Party.

84.          Old Hurley Bridge.

85.          Old Hurley Bridge.

86.          Esopus Creek near Old Hurley.

87.          Esopus Creek near Old Hurley. (2 views.)

88.          Esopus Creek near Old Hurley. (2 views.)

89.          Baptist Church, Kingston.

90.          Interior of Dining Saloon, Kingston.

91.          County Clerk’s Office, Kingston.

92.          St. John’s Church, Kingston – Episcopal.

93.          St. Joseph’s Church, Kingston – Catholic.

94.          Corner Wall and North Front Streets, Kingston.

95.          Wall Street, Kingston.

96.          Wall Street, Kingston.

97.          John Street, Kingston.

98.          Fair Street, Kingston.

99.          Main Street, Kingston.

100.        Academy at Kingston.

101.        First Reformed Church, Kingston.

102.        Second Reformed Church, Kingston.

103.        Savings Bank, Kingston.

104.        Kingston Bank, Kingston.

105.        State of New York Bank, Kingston.

106.        Interior of St. John’s Church, Kingston.

107.        Interior of Baptist Church, Kingston.

108.        Interior of 2nd Reformed Church, Kingston.

109.        Interior of 2nd Reformed Church, Kingston.

110.        Interior of 1st Methodist Church, Kingston.

111.        Interior of 1st Methodist Church, Kingston.

112.        Moses’ Rock in Jacob’s Valley.

113.        Fly Mountain near Eddyville.

114.        Statuary (copy).

115.        Lilly.

116.        Road near Eddyville Bridge.

117.        Road near Eddyville Bridge.

118.        Bridge at Eddyville.

119.        Mill Dam at Eddyville.

120.        Looking up the Creek from Eddyville Bridge.

121.        Looking up the Creek from Eddyville Bridge.

122.        Looking down the Creek from Eddyville Bridge.

123.        Rondout Creek near Wilbur.

124.        Stone Yard at Wilbur.

125.        Stone Yard at Wilbur.

126.        Stone Yard at Wilbur.

127.        Rondout Creek at Wilbur.

128.        Wilbur Road and Rondout Creek.

129.        Rondout Creek and South Rondout.

130.        Rondout Creek and South Rondout.

131.        View from the Road between Kingston and Wilbur.

132.        Rustic View near Rondout.

133.        Entrance to Cement Quarry near Rondout.

134.        Entrance to Cement Quarry near Rondout.

135.        School House in Rondout.

136.        Bird’s Eye View of Rondout.

137.        Kingston Point from Sleightburgh.

138.        Rondout from Sleightburgh.

139.        Rondout from Sleightburgh.

140.        Rondout from Sleightburgh.

141.        Rondout Creek and Coal Docks.

142.        Interior of Washington Hall, decorated for a Festival.

143.        Interior of Union Church at North Haven.

144.        Interior of Union Church at North Haven.

145.        Organ in Union Church at North Haven.

146.        Private Residence at Sleightburgh.

147.        North Haven from Sleightburgh Hill.

148.        Kingston Point from Sleightburgh Hill.

149.        Rondout from Sleightburgh Hill.

150.        Rondout from Sleightburgh Hill.

151.        Light House and River.

152.        The Day Boat M. Martin leaving Rondout.

153.        Coal Dock, Creek, South Rondout, Hussy’s Hill, & c.

154.        Creek, Dry Docks, with Ferry Boat Lark, & c.

155.        Corner of The Strand and Union Avenue, Rondout.

156.        Fire Steamer Lindsley and Weber Hose Carriage.

157.        Ferry Street, Rondout.

158.        Private Residence on The Strand, Rondout.

159.        Private Residence in North Rondout.

160.        Cross Street, Rondout.

161.        Schooner Juliette Terry.

162.        Rondout and Sleightburgh Ferry.

163.        Methodist Church at Port Ewen.

164.        Reformed Church at Port Ewen.

165.        Interior of Episcopal Church, Rondout.

166.        The Strand, Rondout.

167.        Private Residence on Union Avenue, Rondout.

168.        Interior of St. Mary’s Church, Rondout.

169.        Interior of St. Mary’s Church, Rondout, with group.

170.        The Watch Dog.

171.        The Watch Dog.

172.        Dog Smoking.

173.        Union Hotel Road and Canal, Rosendale.

174.        Looking up the Creek from Rosendale toward Lawrenceville.

175.        View of Rosendale Village from near W. V. R. R. Bridge.

176.        The Bluff and West End of W. V. R. R. Bridge, Rosendale.

177.        W. V. R. R. Bridge, looking down Canal, 150 feet high.

178.        W. V. R. R. Bridge from near Depot, 876 feet long, 150 high.

179.        W. V. R. R. Bridge from near Depot, 876 feet long, 150 high.

180.        W. V. R. R. Bridge near end of Bridge, 876 feet long, 150 high.

181.        Creek and distant view of W. V. R. R. Bridge, at Rosendale.

182.        Canal and distant view of W. V. R. R. Bridge, at Rosendale.

183.        W. V. R. R. Depot at Rosendale.

184.        W. V. R. R. Track, looking south from Depot.

185.        Rosendale Bridge looking up the Creek.

186.        Rosendale from near Canal Bridge.

187.        Rosendale from near Drug Store.

188.        Lawrenceville Cement Works.

189.        Lawrenceville Cement Works.

190.        Lawrenceville Cement Works.

191.        Canal, & c., at Lawrenceville.

192.        Canal and Rocks in foreground at Lawrenceville.

193.        Looking up the Creek from Lawrenceville.

194.        Looking down the Creek from Lawrenceville.

195.        High Falls, side view.

196.        High Falls, front view.

197.        High Falls, front view.

198.        The Covered Bridge at High Falls.

199.        The Aqueduct at High Falls, front view.

200.        The Aqueduct at Hight Falls, side view.

201.        Looking up the Creek from under Aqueduct at High Falls.

202.        The Strand, Rondout.

203.        Birdseye view of Rondout from east.

204.        Birdseye view of Rondout and Creek.

205.        Birdseye view of Rondout from Catholic Church.

206.        Birdseye view of Rondout from Catholic Church.

207.        Cement Quarry near Rondout.

208.        Cement Quarry near Rondout.

209.        Cement Quarry near Rondout.

210.        Cement Quarry near Rondout.

211.        Cement Quarry near Rondout.

212.        Cement Quarry near Rondout.

213.        Cement Quarry near Rondout.

214.        Island in Copake Lake.

215.        Falls at Philmont.

216.        Bashabe Falls.

217.        Centre Falls of Bashabe.

218.        Copake Island and Lake.

219.        Pond, & c., near Hudson.

220.        Birdseye view of Hudson.

221.        Birdseye vie of Rondout.

222.        Skeleton Leaves arranged on Cross.

223.        Skeleton Leaves arranged on Cross.

224.        Skeleton Leaves arranged on Cross.

225.        Basket of Shells and Flowers.

226.        Basket of Shells and Flowers.

227.        Wreath of Flowers.

228.        Purity (medallion).

229.        Rondout Creek, Hudson River, & c.

230.        Rondout Creek, Hudson River, & c.

231.        Mouth of Rondout Creek.

232.        Ship Yard, Stone Yard, Hudson River, & c.

233.        The Mocking Bird.

234.        The Mocking Bird and Trainer.

235.        The Beautiful Snow (taken April 29, 1874).

236.        Pic-Nic Part at Ellsworth’s Grove, Port Ewen.

237.        St. Mary’s Church, Rondout (Catholic).

238.        Christian Brothers’ House, Rondout.

239.        Priest’s House, Rondout.

240.        View of an Arbor and Group.

241.        St. Mary’s School House, Rondout.

242.        St. Mary’s School House, Rondout.

243.        Sisters’ House, Rondout.

244.        Episcopal Church, Rondout.

245.        Private Residence on Pierpont Street.

246.        Private Residence on Pierpont Street.

247.        Cement Quarry near Rondout.

248.        Quarry Hill near Rondout.

249.        Cement Works opposite Wilbur.

250.        Skeleton Leaves on a Cross.

251.        Skeleton Leaves in a Frame.

252.        The Old Woman who lives in her shoe.

253.        Fair and Festival in Presbyterian Chapel.

254.        Fair and Festival in Presbyterian Chapel.

255.        Fair and Festival in Presbyterian Chapel.

256.        Home for Invalids (side view).

257.        Home for Invalids (front view).

258.        A cosy Retreat.

259.        A cosy Retreat.

260.        A House built about 1760 (side view).

261.        A House built about 1760 (end view).

262.        A farm scene in haying time.

263.        A Dead Beet.

264.        A Wreath of Flowers.

265.        Corner of Union av. and Strand.

266.        The Village Blacksmith.

267.        Private Residence in Port Ewen.

268.        Private Residence in Port Ewen.

269.        A Wreath of Flowers.

270.        Corner of Hone and Spring Street.

271.        Mary Powell (model).

272.        City Hall, Kingston, N.Y.

273.        Crow, Blue Jay, & King Fisher.

274.        Sparrow Hawk, & Parrott.

275.        Crane and Rail.

276.        Rock Eagle & Gray Squirrel.

277.        Quack & Rail.

278.        Crane, Quack, & Rail.

279.        Sparrow Hawk, Owl & Muskrat.

280.        Guinea Pigs, Squirrel & white breasted bird.

281.        Coatmundi and Muskrat.

282.        The Pelican.

283.        Catamount and Sea Gull.

284.        Catamount and Racoon.

285.        Sea Gull and Owl.

286.        The Fox.

287.        Taxidermist with Birds and Animals.

288.        Robin, Canary, Blue Jay & c.

289.        Corner Bowery and Furnace Street.

290.        Interior of 2nd M. E. Church, Kingston.

291.        Port Ewen, (Street near M. E. Church).

292.        Anthracite Fuel works from the River.

293.        Anthracite Fuel works from the Shore.

294.        Hudson River Light House Ferry Boat & c.

295.        Looking up the Creek from Cranes dock.

296.        South Rondout.

297.        Machine Shop & Round House R. & C. R. R.

298.        Cross of Flowers.

299.        Rapid Hose Carriage.

300.        Cement Quarry near Rondout.

301.        Cement Quarry near Rondout.

302.        Cement Quarry near Rondout.

303.        Cement Quarry near Rondout.

304.        Cement Quarry near Rondout.

305.        Cement Quarry near Rondout.

306.        Cement Quarry near Rondout.

307.        Cement Quarry near Rondout.

308.        Cement Quarry near Rondout.

309.        Cement Quarry near Rondout.

310.        Cement Quarry near Rondout.

311.        Cement Quarry near Rondout.

312.        Cement Quarry near Rondout.

313.        Cement Quarry near Rondout.

314.        Birds-eye view of Rondout from opposite side of Creek.

315.        Birds-eye view of Rondout from Sleightburg in Winter.

316.        Birds-eye view of Rondout the Creek & South.

317.        Birds-eye view of Rondout the Creek & South.

318.        Looking up the Creek from Sleightburgh.

319.        North Rondout from near Catholic Church.

320.        Interior of Presbyterian Church, Rondout.

 

Legacy

 

The thousands of portraits of Ulster County citizens taken by Auchmoody over the course of his 25-year career as a photographer and his hundreds of scenic views from throughout the county both leave a lasting impression of the region in the late 1800s.

 

Upon his passing it was written that Auchmoody “was a man of many sterling traits of character and endeared himself to a wide circle of friends.”

 

David J. Auchmoody passed away at 58 years of age on January 11, 1907. He died at his home on West Strand several days after catching “a severe cold, which greatly weakened him and hastened the end.” Two funeral services were held, the first being a private service at his home at 11 West Strand, and a second public service was held at Pythian Hall at Port Ewen under the direction of the Hope Lodge, Knights of Pythias. David was survived by his wife and two sons, Luther Auchmoody, of New York, and Lester D. Auchmoody, of Albany, New York. He is buried at Port Ewen Cemetery.

 

[1] Wilson’s Photographic Magazine. Vol. 27, no. 371. June 7, 1890. p. 351.

[2] “D. J. Auchmoody Dead.” Kingston Daily Freeman (Kingston, New York). January 11, 1907.

[3] “Postmaster Deyo Dead at Saranac.” Kingston Daily Freeman (Kingston, New York). May 26, 1917.

 

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[email protected] (American Catskills) business Catskill Mountains Catskills D. J. Auchmoody David J. Auchmoody Elvina Ackerman gallery Kingston New York Overlook Mountain House Petere J. Auchmoody photographer photographs photography pictures portraits Rondout stereoscope stereoscopic studio Ulster County views https://www.americancatskills.com/blog/2023/9/david-j-auchmoody-kingston-new-york-photographer-part-2 Sat, 16 Sep 2023 12:00:00 GMT
David J. Auchmoody – Kingston, New York Photographer (Part 1) https://www.americancatskills.com/blog/2023/9/david-j-auchmoody-kingston-new-york-photographer-part-1 Introduction

 

David J. Auchmoody was a much-respected photographer located at the city of Kingston in Ulster County, New York from 1868 to circa 1893. He photographed thousands of Kingston’s citizens over the course of his 25 years in business. Auchmoody also published a popular series of stereoviews that included scenes of Kingston, Rondout, Rosendale, Rifton, Lawrenceville, Saugerties, Shandaken, Shokan and the surrounding Catskills region. After leaving the photography business Auchmoody worked in the insurance industry and for several fraternal organizations.

 

Rondout Creek and Wilbur RoadRondout Creek and Wilbur Road Rondout Creek and Wilbur Road.

 

Biography

 

David Jeremiah Auchmoody, more commonly known as D. J., was born at New Paltz, New York on July 19, 1848. He was the son of Peter J. Auchmoody, who worked as a carpenter, and Elmira (Deyo) Auchmoody.

 

One reference noted that Auchmoody was a native of the hamlet of Plutarch, located on the northeastern edge of the town of New Paltz. The farming community was once home to a post office, a general store, a one room schoolhouse, a blacksmith shop and a church which was constructed in 1861. The Plutarch post office operated for about six months in 1886, closing on November 18, 1886, but was reestablished on August 11, 1890, and then operated for 15 years until its final closing on December 15, 1905. The Plutarch section of the town was at one time called Grawhow (or Grahow), for Great Ridge, was later known as Cold Spring or Cold Spring Corners, from “a fine spring of water” located north of the church, before becoming Plutarch in honor of the Greek philosopher.

 

According to Ralph Lefevre in his History of New Paltz, New York, the Auchmoody family in Ulster County, New York can be traced back to Jeames Auchmoide, a young man who was born in Scotland. He married Mari Doyo in October, 1731. They built a house in the Bontecoe neighborhood and had six children together, including three sons and three daughters.[1]

 

The 1850 United States census listed 1-year-old David as living with his parents, 22-year-old Peter and 20-year-old Elmira (sometimes spelled Almira) Auchmoody, in the town of New Paltz in Ulster County, New York. Peter was listed with an occupation of carpenter.

 

The 1855 New York state census listed 6-year-old Auchmoody as residing with his parents Peter J. and Elmira Auchmoody in the town of Lloyd in Ulster County, New York. Also living in the household was David’s sister, 2-year-old Catherine Auchmoody. Peter was listed with an occupation of carpenter.

 

The 1860 United States census listed 11-year-old Auchmoody as residing with his parents Peter and Elmira at New Paltz, New York. Also living in the household was David’s sister, 7-year-old Catherine Auchmoody. Peter was listed with an occupation of laborer.

 

The 1865 New York state census listed 17-year-old Auchmoody as residing with his parents Peter and Elmira at New Paltz in Ulster County, New York. Also living in the household was David’s sister, 13-year-old Catherine Auchmoody. No profession was listed for Peter or David.

 

For several years, “when a young man,” Auchmoody taught school in the town of Esopus.

 

In December 1868 Auchmoody, at the age of 20, “started what is now [as of 1881] the oldest photograph gallery in the lower part of the city. Since his venture into business, which at first, of course, was but on a small scale, he has been enabled by strict attention to business, and good work to build up an establishment second to none in the county.” His early gallery was located over Van Deusen’s Drug Store at the corner of Garden and Ferry Streets in the Rondout section of Kingston, New York.

 

The 1870 United States census listed 22-year-old Auchmoody as living with his parents Peter and Elmira at Rondout in Ulster County, New York. Also living in the household were David’s two sisters, 18-year-old Catherine and 4-year-old Cecilia. Peter was listed with an occupation of carpenter and David was listed with an occupation of photographer.

 

Catherine (1853-1934), David’s sister, married Martin L. Van Keuren. She lived in Port Ewen for her entire married life. “She was well liked and was a good friend and neighbor and will be missed by her friends and neighbors. She was a member of the Port Ewen Methodist Church and was a very active member until forced to give up some of her duties because of her age and her health.”[2] Catherine passed away in 1934 and is buried at Port Ewen Cemetery.

 

Celia Auchmoody, David’s sister, “a very attractive and much beloved young lady at Port Ewen, aged about 17 years, and a sister of D. J. Auchmoody of this city, died of typhoid fever after a very short and severe illness.”[3] Celia passed away in 1883.

 

David Auchmoody married Elvina Ackerman on December 22, 1870. Elvina was the daughter of Oliver Ferris Ackerman (1817-1862) and Jane Ann (Degraff) Ackerman (1816-1900). Elvina passed away at Flushing, Long Island in 1935 and is buried at Port Ewen Cemetery. Elvina was a lineal descendant of Geoffrey Ferris, one of the founders of Greenwich, Connecticut, and also Lieutenant Commander Oliver Ferris (1753-1825), a Revolutionary War officer whose home, Sunnyside, at Tarrytown, later became the home of Washington Irving.

 

“Capt. Oliver Ferris was born in Greenwich, Conn., Nov. 22, 1753, the son of Josiah, and through John, Jr., and John, was descended from Jeffrey Ferris, the ancestor of that family in this country. Oliver Ferris was married to Abigail, daughter of Enos Lockwood on the 10th of Feb., 1776, by the Rev. Blackleach Burritt, who, on the 17th of the following June was taken prisoner and carried away to be incarcerated in the old Sugar House Prison on account of his staunch patriotism.

 

Captain Ferris did good service in the Connecticut Militia, and after the Revolution came over to Tarrytown and purchased the historic Major Jacob Van Tassel place, the date of transfer being March 31, 1802. He died Aug. 17, 1825, and his son, Benson Ferris, Sr., in 1835, sold the homestead, comprising ten acres to Washington Irving, who re-built it, and gave it the title of Wolfert’s Roost. Mr. Benson Ferris, son of Benson, Sr., and grandson of Capt. Oliver Ferris, was born there.

 

The records of the Pension Office at Washington show that Oliver Ferris enlisted May 10, 1775, and was in the expedition to Canada under Gen. Montgomery; was in Col. John Mead’s Regt. From Aug. 14 to Sept. 25, 1776; in Col. Wooster’s Regt. 1777; in 1778 Quartermaster in Col. John Mead’s Regt.; March 9, 1779, appointed Commander of the war vessel “Wakeman”; July 4, 1781, commissioned Brigade Quartermaster of the 4th Brigade of Militia of the State of Connecticut.”[4]

 

David and Elvina had three children, including Luther M. Auchmoody (1871-1947); George Auchmoody (b. 1877); and Lester Auchmoody (1879-1963).

 

Luther Auchmoody was born at Port Ewen, New York. He worked as an automobile dealer and sales manager for the H. J. Heinz Company. He married Ellen (Blodgett) Auchmoody. He died at the home of his son in 1947 and is buried at Riverview Cemetery in Port Ewen, New York.

 

Lester Auchmoody for a time worked at the Standard Oil Company in Albany, New York. He later lived at Denver, Colorado.

 

In 1870 Auchmoody placed an advertisement in the New Paltz Independent. “D. J. Auchmoody, Photographer, Garden and Ferry Streets, (Over Van Deusen’s Drug Store), Rondout, N.Y. Pictures of all kinds taken. Frames and cases of every style constantly on hand.”

 

In 1871 Auchmoody was advertising his business in the Rondout Freeman. “Photographs! Pictures & Frames! Auchmoody’s Gallery, (Over Van Deusen’s) Garden & Ferry Sts., is the place to get them.”

 

Auchmoody advertised his gallery twice in the Gazetteer and Business Directory of Ulster County, N.Y. for 1871-2.

 

“D. J. Auchmoody’s Gallery and Picture Frame Store, Garden and Ferry Streets, Rondout, N.Y. Stereoscopes and Stereoscopic Views. Picture Frames, all sorts and sizes, very cheap. Every style of Picture taken.”

 

“D. J. Auchmoody’s Gallery and Picture Frame Store, Garden and Ferry Sts., Rondout, N.Y., is one of the great centers of attraction. Any kind of Picture, with any style of Frame, can be procured here. Call and examine specimens of work and then consult your taste and your purse. If you want a good stereoscope, here is the place to get it.”

 

In 1871 Auchmoody issued a series of 16 stereoscopic views of the newly constructed Overlook Mountain House. The same set of views was published by both D. J. Auchmoody and fellow Kingston photographer Edward Lewis.

 

5_South Piazza, Overlook Mountain House5_South Piazza, Overlook Mountain House

South Piazza, Overlook Mountain House.

 

7_Parlor, Overlook Mountain House7_Parlor, Overlook Mountain House Parlor, Overlook Mountain House.

 

16_Top of the Overlook Cliff, looking west16_Top of the Overlook Cliff, looking west Top of the Overlook Cliff, looking west.

 

Located north of Woodstock near the summit of Overlook Mountain, the Overlook Mountain House first opened its doors to guests in 1871, was destroyed by fire in 1875, was rebuilt and reopened in 1878, only to be destroyed by fire again in 1923. There was an attempted 3rd rebuilding that was never completed, the remains of which are still visible on a hike to the summit of Overlook Mountain.

 

At its height the Overlook Mountain House provided accommodations for approximately 300 guests and offered visitors the latest in modern conveniences and experiences. One of the early advertisements for the Overlook Mountain House, published in 1871, beautifully described its superior accommodations and the mountain setting.

 

“Overlook Mountain House, Catskill Range. J. E. Lasher, Proprietor. This elegant House will be opened to the public early in the season, and will afford a rare treat for the lovers of the Beautiful, the Grand, and the Sublime, who can enjoy the loveliest of scenery in a first-class hotel.

 

The house cost $50,000, and is complete throughout, furnishing accommodations that will please the most fastidious and satisfy the most exacting tastes.

 

The view is unsurpassed not only on the Catskills, but in the country, and combines a grand combination of mountain, valley, river, forest, and cultivated fields. No one who has seen it has failed to speak of it with admiration.

 

It will be found a delightful spot for excursion and picnic parties, for whom special accommodations will be provided.

 

A Stage Line from West Hurley on the R. & O. R. R. will be run by the Proprietor of the Overlook, and will connect with the trains. Guests can also obtain the best of livery establishments at Rondout and Kingston.

 

John E. Lasher, Proprietor. Overlook Mountain House, Woodstock, March 24, 1871.”

 

John E. Lasher (1827-1899), the first proprietor of the Overlook Mountain House, had previously operated the Mansion House at Kingston, New York from after the Civil War until his taking control of the Overlook.

 

In order to promote his new hotel, Lasher invited Edward Lewis to photograph the establishment prior to its official opening on June 15, 1871. “Mr. John Lasher, the lessee of the new hotel on the Overlook, has had Mr. E. Lewis, of Kingston, up there taking views of the house and grounds about it during the past week. The views are to be engraven from the photographs, and used in advertising this beautiful new summer resort. Mr. Lewis has the name of being the best artist in Ulster County.”[5]

 

Given that the set of 16 views was published by both Auchmoody and Lewis, it is likely that Auchmoody also photographed the Overlook Mountain House.

 

The imprint on the back of each stereoview included a brief description of the hotel, travel directions and a listing of the 16 different views that were available for purchase.

 

“New Summer Resort in the Catskill Mountains. The OVERLOOK MOUNTAIN HOUSE, 3,800 feet above tide water, on the highest point of the Catskill range, was opened June 15th, 1871. All modern conveniences, including Gas and Telegraph facilities. Reached by Boat or Rail to Rondout; Rondout and Oswego Railroad to West Hurley (9 miles); thence by the Hotel Stages in 3 hours. Overlook Mountain House, Woodstock, Ulster Co., N.Y. John E. Lasher, Proprietor.

 

No. 1. Catskill Mountains from ascent to the Overlook.

No. 2. Overlook Mountain House, Rocks in foreground.

No. 3. Overlook Mountain House, distant view.

No. 4. Overlook Mountain House, near view.

No. 5. South Piazza, Overlook Mountain House.

No. 6. West Piazza, Overlook Mountain House.

No. 7. Parlor, Overlook Mountain House.

No. 8. Dining Room, Overlook Mountain House.

No. 9. View from the ledge in front of the House.

No. 10. Pulpit Rock, near the House.

No. 11. Devil’s Kitchen, near the House.

No. 12. Cleft in Rocks, near the House.

No. 13. Rocky declivity, near the House.

No. 14. Path to the Overlook.

No. 15. Top of the Overlook Cliff, looking east.

No. 16. Top of the Overlook Cliff, looking west.

 

The subject published on this card is indicated by a mark under the number and name.

 

D. J. AUCHMOODY, Photographer, Rondout, N.Y.”

 

The demand for the stereoscopic views of the Overlook Mountain House published by both Auchmoody and Lewis was very strong. One year after the opening of the Overlook Mountain House the Kingston Daily Freeman wrote of the demand and the scenic views available throughout the region.

 

“Stereoscopic views. Our photographic artists are turning the natural beauties of this section to good advantage and are making some fine views of the scenery hereabouts. The Overlook furnishes many good views, which find a ready sale at the Mountain House, Mr. Auchmoody and Mr. Lewis being kept pretty busy just now supplying the demand. Of course few visitors wish to leave the spot without some memento of their visit, and a faithful representation of the scenes they have gazed upon in the shape of a stereoscopic view is as pleasing a reminder as they can have. The landscapes about our own city, sketches of scenery along the Wallkill, Rondout and Esopus creeks also are visited by these artists and their beauties transferred to the negative. The wild scenes of Olive and Shandaken and among the Shawangunk Mountains also often form the subject of the picture, and in fact so numerous are the scenes of interest hereabouts that a person can gather a very extensive collection of stereoscopic views comprising only scenes in our own immediate neighborhood.”[6]

 

The local newspapers frequently published small articles about Auchmoody and his photographic business.

 

April 4, 1872, Kingston Daily Freeman

 

“Fine Gallery. David Auchmoody has one of the finest and best photographic galleries in the vicinity. It has been greatly enlarged and improved, refurnished and remodeled, and is now decidedly a pleasant attractive place. David’s smiling face welcomes all his patrons, and he is gaining a reputation for good work which must bring him success.”

 

April 4, 1872, Kingston Daily Freeman

 

“The finest lot of stereoscopic pictures in the city, comprising views of Yosemite Valley, the White Mountains, Niagara, and ever other noted place in the country, also of noted persons of the day, foreign views, statuary, etc. Constantly on hand a large and complete assortment of picture frames and all articles usually kept in first-class photograph galleries. A newly furnished room, greatly enlarged and improved, and all the essentials for making good pictures. Satisfaction guaranteed. David Auchmoody, Van Deusen’s Building.”

 

August 1, 1872, The Daily Freeman (Kingston, New York)

 

“Chromos, Photographs and Stereoscopic Views.– Mr. D. J. Auchmoody, the Photographer, is closing out his fine stock of Chromos, which he is selling at greatly reduced prices, preparatory to procuring a new stock. Those who wish to obtain fine pictures at exceedingly low prices will do well to call at once. Also a large and varied assortment of Stereoscopic Views. Photography in all its branches carefully and satisfactorily attended to. D. J. AUCHMOODY’S, over Van Deusen’s Drug Store, Rondout.”

 

December 21, 1872, The Daily Freeman (Kingston, New York)

 

“All wishing photographs for the holidays should call as soon as convenient, so as to give us time to finish them properly. D. J. Auchmoody, Photographer, Garden and Ferry Sts., Rondout.”

 

December 18, 1872, Kingston Daily Freeman

 

“A large stock of picture frames of every size and style on hand and made to order at Auchmoody’s Photograph Gallery, Garden and Ferry Sts., Rondout.”

 

December 30, 1872, Kingston Daily Freeman

 

“Chromos, Stereoscopic Views and Photographs. Auchmoody, the Photographer, has a fine assortment of Chromos, representing the famous paintings – landscapes, views, etc., – of our most noted artists. Also a large and varied stock of Stereoscopic Views, embracing scenes of every description, home and foreign. Photographs and other pictures carefully taken.”

 

September 16, 1873, Kingston Daily Freeman

 

“A new lot of plain and very fine polished moulding for square frames of any size at AUCHMOODY’S Photography Gallery, Garden street, Rondout.”

 

December 10, 1873, Kingston Daily Freeman

 

“Sime Wood’s advertising card, photographed by Auchmoody from drawings of John C. Horton is a unique thing and a bully dodge.”

 

December 12, 1873, Kingston Daily Freeman

 

“TWENTY-TWO different styles of STEREOSCOPES and over 5,000 views to select from at Auchmoody’s Photographic and Picture Frame Rooms, Garden street.”

 

March 31, 1874, Kingston Daily Freeman

 

“Moth will not eat wire picture cord; for sale at Auchmoody’s Photograph Gallery, Garden street. Also Picture Frames of every style.”

 

May 9, 1874, Kingston Daily Freeman

 

“Auchmoody, the photographer, has in his gallery a very fine collection of stereoscopic views, his latest being an excellent photograph of the house of Jansen Hasbrouck, taken from the Garden street entrance April 29th, the grounds being covered with a mantle of snow. The photograph is well toned and very artistically finished.”

 

December 19, 1874, Kingston Daily Freeman

 

“Auchmoody, the photographer, on Friday took a number of views of the Presbyterian chapel on Abeel street, with its decorations for the fair, including the fancy dressed waiters.”

 

December 21, 1874 advertisements, Kingston Daily Freeman

 

           “Graphoscope. Come and see the little graphoscope at Auchmoody’s, The Strand, Rondout.”

 

“Picture Frames. The largest assortment of Picture Frames of all sizes and styles and Auchmoody’s, The Strand, Rondout.”

 

“Stereoscopes and views. A new lot at Auchmoody’s, The Strand, Rondout.”

 

Aqueduct, at High Falls, N.Y.Aqueduct, at High Falls, N.Y. Aqueduct at High Falls.

 

The 1875 New York state census listed Auchmoody as living in the first election district of the town of Esopus in Ulster County, New York. He was living with his wife Lavina and his 3-year-old son Luther Auchmoody. Auchmoody was listed with an occupation of photographer.

 

May 27, 1875 advertisement, Kingston Daily Freeman

 

“D. J. Auchmoody, Photographer, and dealer in Picture Frames in large assortment. Strand and Ferry Street.”

 

September 16, 1875, The Times (New Paltz)

 

“D. J. Auchmoody, photographer in Rondout, was in our village Tuesday. He had on his head a straw hat large enough to cover half of Rondout. As an artist he has no equal, and a visit to his gallery will convince most any person of the truth of this fact.”

 

November 18, 1875, The Independent (New Paltz)

 

“We received a call on Saturday from David J. Auchmoody, the artist of Rondout. Mr. Auchmoody has won a reputation as a good artist, and has met an extensive patronage. Give him a trial when you want your pictures taken. He has also a great variety of stereoscopic views, no less than 170 in number, including many of local interest. He deals in picture frames also, and those who need any can obtain what they want by calling on him.”

 

December 17, 1875, Red Hook Journal

 

“Mr. D. J. Auchmoody, of Rondout, continues to take pictures in his usual artistic manner, and can give you a perfect likeness of yourself at short notice. He also has a large stock of views, picture frames, & c., constantly on hand.”

 

November 1, 1876, Kingston Daily Freeman

 

“Auchmoody’s fancy pictures excite the open-mouthed wonder and covetousness of the small boys.”

 

November 1, 1876, Kingston Daily Freeman

 

“Best Photographs in the City. At Auchmoody’s is the place to get them. Call and see specimens at the new rooms, 29 Union avenue, Rondout.”

 

November 15, 1876 advertisement, Kingston Daily Freeman

 

“D. J. Auchmoody, photographer and dealer in frames, looking-glasses, views, & c. Union Ave., one door below Abeel St.”

 

December 15, 1876, Kingston Daily Freeman

 

“A Lot of Brackets. Chromos, Steel Engraving, Statuary Mottoes, Panel Pictures, Frames, etc., etc., just received for the Holiday trad e at Auchmoody’s, 29 Union avenue, Rondout.”

 

April 26, 1878, Kingston Daily Freeman

 

“Notice to the Public. I have secured the services of Mr. Lorenzo Short in my Photographic department. Those wishing Mr. Short or myself to photograph them can be served by calling at 29 Union avenue. I would state that I am taking photographs at as low a price, and of as good quality, as can be obtained in the city. D. J. AUCHMOODY.”

 

June 7, 1878, Kingston Daily Freeman

 

“The work of illustrating prominent features of this city and its surroundings by the New York Graphic has been commenced, D. J. Auchmoody, the photographer, yesterday taking a number of photographs of the Anthracite Fuel Works at Port Ewen, the creek and portions of the city bordering on it, from W. B. Crane’s docks. The illustrations will made from the photographs.”

 

June 13, 1878, Kingston Daily Freeman

 

“An Acknowledgment. To the Editor of the Freeman: Will you permit me through your excellent paper to acknowledge the receipt, by the kindness of Captain Rogers, from friends at Port Ewen of a choice token in the form of a photograph of the Methodist Episcopal church and parsonage in that place, beautifully executed by Mr. Auchmoody, of your city, and very neatly and appropriately framed. And I wish also to say to my friends that its place in our parlor is like that of the donors in our remembrance and affections – prominent and central.”

 

July 9, 1878, Kingston Daily Freeman

 

“Auchmoody, the photographer, is a great bird fancier, and has quite a collection of feathered pets. His tame crow and two young hawks may not be exactly as musical as canaries, but they are very intelligent and learn all sorts of comical tricks.”

 

November 26, 1878, Kingston Daily Freeman

 

“Photographs – the best in the city – taken at Auchmoody’s old stand, 29 Union avenue, Rondout.”

 

May 27, 1880, Kingston Daily Freeman

 

“Photographing a Trout. The photograph of the largest trout ever caught in the Neversink with a hook and line by Auchmoody, is a fine work of art, but the fifteen-inch trout appears at a disadvantage, as he should have been stuffed or blown up like a bladder before the photograph was taken. His head is about all that remains of him and that looks as if he had been run through a thrashing machine.”

 

The 1880 United States census listed 31-year-old Auchmoody as living in the 4th ward of the city of Kingston, New York. Also living in the household was his 28-year-old wife Elvina, and his three sons, 8-year-old Luther, 3-year-old George and 8-month-old Lester. David was listed with an occupation of photographer.

 

As of 1881, Auchmoody “at present occupies two upper floors in the brick building next to A. P. Van Buren’s grocery, corner Mill street and Union avenue, and has the rooms therein suitably furnished for photograph and picture frame work. A large assortment of elegant velvet, and engraved ebony frames can also be here obtained and made to order. He also has a large stock of stereoscopic and graphoscopic views. In addition to his already ample facilities for making pictures incomparable this side of New York, he will shortly fit his skylight room with new backgrounds of snow, outdoor and indoor, scenes never seen in this city before. For good Cabinets and Cards or Photographs of larger or smaller sizes, call on D. J. Auchmoody, and receive satisfaction. He will neither “blatter” you, nor give you a picture you cannot recognize, but will take a perfect likeness at every sitting.”[7]

 

February 12, 1881, Kingston Daily Freeman

 

“Aldermen’s Portraits. The portraits of the Aldermen in cabinet size placed in a large frame with the Mayor in the center, were brought up to the Common Council rooms Friday night by Mr. Auchmoody, the photographer, and hung up on the wall. This is a private speculation on the part of the Aldermen, who pay a certain amount each out of their own pockets for the honor of seeing their faces look down upon them from the historical walls of the Council rooms. The pictures are all well taken, and it would be an excellent plan if Mr. Auchmoody could extend his work so as to take in those who have been members of the Common Council since the formation of the city, with other representatives of the city, each, of course, putting his hand into his pocket and paying for his share according to the example set by the present Common Council.”

 

March 16, 1881, Kingston Daily Freeman

 

“PHOTOGRAPHS & PICTURE FRAMES. I wish to inform my customers that I am ready for business at my old stand, 29 Union avenue, except I have moved my frame department to the second story. My expenses are reduced and I can furnish frames, etc., cheaper than before and give more attention to Photographing. D. J. Auchmoody, Operator.”

 

April 28, 1881, Kingston Daily Freeman

 

“Auchmoody, the photographer, has just put in a large supply of picture frames and mouldings, which he will sell as cheaply as they can be had elsewhere.”

 

April 30, 1881, Kingston Daily Freeman

 

“Each member of the Common Council of last year is being supplied with a group picture nicely framed of the old Council by D. J. Auchmoody, the photographer.”

 

May 10, 1881, Kingston Daily Freeman

               

“Auchmoody, the photographer, has taken photographs of Montalvo’s glass prize and the glass ship which were displayed in the Baby Show window and will make stereoscopic views of them.”

 

June 20, 1881, Kingston Daily Freeman

 

“D. J. Auchmoody, photographer of this city, took a photograph of the Grand Hotel Mountain House wagon, as it stood in front of Burr’s livery stable, on Mill street, this morning.”

 

September 10, 1881, Kingston Daily Freeman

 

“An elegant large picture of Mr. John Weber, executed by photographer Auchmoody, was displayed today in D. A. Ainley’s jewelry store window.”

 

April 23, 1883, Kingston Daily Freeman

 

“Information Wanted. – Anyone having a picture of Fred A. Gross, who died in November, 1881, will confer a great favor by calling on or communicating with D. J. Auchmoody, Photographer, 29 Union avenue, Rondout.”

 

May 18, 1883, Kingston Daily Freeman

 

                “The Wurts Street Baptist parsonage was being photographed by Auchmoody today.”

 

June 5, 1883, Kingston Daily Freeman

 

“Photographic Views. Mr. Beale, who is working in connection with D. J. Auchmoody, the photographer, of this city, has recently made some very fine views of the Wurts Street Baptist church and parsonage.”

 

February 8, 1884, Kingston Daily Freeman

 

“Change of Base. Auchmoody, the well known photographer, is to soon remove to the Newkirk building on lower Union avenue, a portion of which is to be expressly fitted up for his accommodation. He will gain by the change a much larger operating room, better light and many other facilities for the successful prosecution of his business.”

 

February 22, 1884, Kingston Daily Freeman

 

                “CABINET PHOTOS, $2 A DOZ. Until further notice by Auchmoody, Rondout, N.Y.”

 

July 21, 1884, Kingston Daily Freeman

 

“Auchmoody occupies a large space in Ainley’s show windows today with specimens of his skill in photography, etc. Among the display are excellent photographs of William Winter of this city and Col. John McEntee.”

 

September 5, 1884, Kingston Daily Freeman

 

“D. J. Auchmoody was engaged today in photographing the presents Cornell Hose received at Utica.”

 

September 22, 1884, Kingston Daily Freeman

 

“The Hartford Phalanx. The Putnam Phalanx of Hartford arrived at Rhinebeck this afternoon on the Hartford & Connecticut Western Railroad, on their way to Albany and Lake George. They formed in line after disembarking from the railroad train and marched to the top of the hill, where a photograph was taken of the whole company by D. J. Auchmoody. It is needless to say the command presented a very martial and soldierly appearance. But little time was had at Rhinecliff, and as soon as the photographer was through with his work the command had to step off lively to get on board the C. Vibbard.”

 

Continued next week . . .

 


[1] Lefevre, Ralph. History of New Paltz New York and Its Old Families (From 1678 to 1820). Fort Orange Press, 1903. pp. 451-452.

[2] Kingston Daily Freeman (Kingston, New York). March 14, 1934.

[3] “Death of Miss Celia Auchmoody.” Kingston Daily Freeman (Kingston, New York). May 14, 1883.

[4] Raymond, Marcius D. Souvenir of the Revolutionary Soldiers’ Monument Dedication at Tarrytown, N.Y. October 19th, 1894. Tarrytown, N.Y., 1894. pp. 179-180.

[5] Kingston Daily Freeman (Kingston, New York). March 24, 1871.

[6] Kingston Daily Freeman (Kingston, New York). August 27, 1872.

[7] “D. J. Auchmoody.” Kingston Daily Freeman. December 20, 1881.

 

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[email protected] (American Catskills) business Catskill Mountains Catskills D. J. Auchmoody David J. Auchmoody Elvina Ackerman gallery Kingston New York Overlook Mountain House Petere J. Auchmoody photographer photographs photography pictures portraits Rondout stereoscope stereoscopic studio Ulster County views https://www.americancatskills.com/blog/2023/9/david-j-auchmoody-kingston-new-york-photographer-part-1 Sat, 09 Sep 2023 12:00:00 GMT
Edward Lewis – Saugerties, Kingston and Ellenville, NY Photographer (Part 2) https://www.americancatskills.com/blog/2023/9/edward-lewis-saugerties-kingston-and-ellenville-ny-photographer-part-2 Edward Lewis operated a popular photography gallery at the village of Saugerties, New York during the late 1860s and at the city of Kingston in Ulster County, New York from the late 1860s to 1883. In addition to his portrait work Lewis issued a wide range of scenic stereoscopic views from throughout the Catskills. From 1883 to 1886 Lewis operated a gallery at the village of Ellenville. After leaving the Catskills region Lewis later established galleries at Nyack, New York and Norwalk, Connecticut.

 

Continued from August 26, 2023.

 

Great Crevice, near Ice Cave, Choice Views of Scenery in and about EllenvilleGreat Crevice, near Ice Cave, Choice Views of Scenery in and about Ellenville Great Crevice, near Ice Cave, Choice Views of Scenery in and about Ellenville.

 

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The 1880 United States census listed 50-year-old Edward Lewis living in the city of Kingston in Ulster County, New York. Also living in the household was his 35-year-old wife Mary A. Lewis, his 9-year-old daughter Nina A. Lewis and a 23-year-old servant from Ireland by the name of Mary Roach. Edward was listed with an occupation of photographer, while Mary was listed with an occupation of “housekeeping” and Nina was listed with an occupation of “private school.” Edward was listed as having been born in New York, as were both his parents. Mary was listed as having been born in Ohio, as were both her parents.

 

February 24, 1880, Kingston Daily Freeman

 

“The Cost to Publish Your Portrait. It is said that to have your portrait in the coming history of Ulster County requires from $20 to $180, according to the location and the kind of engraving. Judging by the large number of photographs taken every day at Lewis’ gallery to be used to make these engravings after, the historians will make a very good thing out of this branch of work alone. Some one suggests that a few pages be illustrated with Ulster county rogues and that it be called the rogues’ gallery.”

 

July 12, 1880, Kingston Daily Freeman

 

“E. Lewis, the photographer in Dimmick’s building, has placed out on the building a large new case of photographs.”

 

October 15, 1880, Kingston Daily Freeman

 

“Ed Lewis, the photographer, had his machine out this morning and took a number of views of the Eagle Hotel. Some one got off a joke by telling around that Lewis was ‘taking something at the Eagle Hotel.’”

 

November 26, 1880, Kingston Daily Freeman

 

“Lewis, the photographer, has a perfect galaxy of beautiful faces in his new picture case in the Dimmick building, the faces being those recognized as the handsomest young ladies of that part of the city, and the pictures show them, save the color, at their best.”

 

December 15, 1880, Kingston Daily Freeman

 

“A perfect rush for photographs and fine frames for holiday presents at Lewis Uptown. Hours for sittings from 10 a.m. to 3 p.m.”

 

December 15, 1880, Kingston Daily Freeman

 

“No sittings for Photographs made by Lewis after 3 p.m. For the very best results come early in the day.”

 

In 1881 Edward Lewis lost the assistance of one of his best workers, T. D. Lewis, who decided that he wanted to run his own photographic establishment. This loss inevitably increased the business competition for Edward Lewis, and may have even led to his leaving the city of Kingston two years later in 1883.

 

Theodore Dawes Lewis had come to work at the gallery of Edward Lewis when he was 20 years old. Theodore worked there for seven years, thereafter opening a studio for himself at No. 9 Wall Street in Kingston. Theodore remained there for five years, “when his rapidly growing business necessitated his removal to the corner of Wall and John streets, where he occupies the entire upper floor.”[1]

 

February 21, 1881, Kingston Daily Freeman

 

“Ed. Lewis, the west end photographer, will photograph the decorations of the Grand Army Bazar.”

 

May 27, 1881, Kingston Daily Freeman

 

“E. Lewis, the photographer, intends next week to visit the town of Shandaken to take views of the country and also of several of the mountain houses in that section. Mr. Lewis will also pass through Chichesterville and visit the Notch, of which he will take a number of views. This same gentleman contemplates making an extended tour of the county during the coming season; to travel the whole of the mountainous region and also through Wawarsing and Ellenville and over the Shawangunk mountains. He considers, and rightly, that there are many fine views in and about the county and also at Ellenville which should not be lost. That the public will appreciate them there is not a doubt. Many a farmer in that section would delight to have the old place taken, the “old oaken bucket hanging in the well,” the house and the barn, and even the corn house, to send to the far away former members of his family. Mr. Lewis’ well-known ability as an artist in doing superior work will be sufficient to give him all the work he can possibly attend to.”

 

June 11, 1881, Kingston Daily Freeman

 

“E. Lewis, the photographer, has a photographic sulky, or two-wheeled vehicle, all ready for business, to be used in taking views of the mountain houses. The extraordinary wet weather has prevented him from starting out, as the dampness of the leaves of the trees makes them so dark and heavy that, he says, the pictures would necessarily be very poor ones if taken now. He is anxiously looking for clear weather.”

 

June 25, 1881, Kingston Daily Freeman

 

“The graduating classes of Kingston and Ulster Academies have been photographed, the former by Lewis uptown and the latter by Lorenzo Short, on The Strand, downtown.”

 

July 11, 1881, Kingston Daily Freeman

 

“Fine Photographic Views. Mr. E. Lewis, the photographer uptown, with a great deal of labor, managed to take some very fine views of the Grand Hotel, though in order to do it a high platform had to be erected to place his instruments on. He also took a number of landscape views around about the hotel, as well as a number of the Tremper House. He had these worked up into stereoscopic pictures, and they will be sold to guests or any one who may desire them. One of the photographs of the hotel is a large one.”

 

July 23, 1881, Kingston Daily Freeman

 

                “E. Lewis, the photographer, has a number of large photographs of the Summit House.”

 

August 1, 1881, Kingston Daily Freeman

 

“Photographs of the Summit Mountain House. Mr. Lewis, the uptown photographer, has a number of his large photographs of the Summit Mountain House ready for framing. The photograph proper is 14x17 inches, and gives a complete front view of the house with the grounds, and the mountain in the rear, covered with trees, which are in fall foliage. The picture is an excellent one, everything being in bold relief, and taken with remarkable accuracy and lack of imperfections, as where there are a number of horses, as in this picture, it is a hard matter to take them without one or more of the animals moving, and with the wind blowing the trees are also troublesome, while the flags, too, are apt to shake so as not to show well. In these pictures not only are the horses well taken, but the flagpoles and flags, and a couple of dead pine trees for in the rear show distinctly every twig and limb. The pictures, as mounted, require a frame 18x22 inches.”

 

August 9, 1881, Kingston Daily Freeman

 

“Rustic Scenery. Mr. Lewis, the uptown photographer, the other day, requiring a bit of rustic scenery, drove out to Old Hurley, purchased a piece of an old post and a rail fence, brought it back with him, and now has something that is quite original for pictures. It isn’t everyone who can have a centennial post and rail fence, with the moss on it, in his picture.”

 

October 13, 1881, Kingston Daily Freeman

 

“E. Lewis has a beautiful crayon portrait of his wife, which has been placed in the window of Forsyth & Wilson’s store. It is a very fine picture and of large size.”

 

November 7, 1881, Kingston Daily Freeman

 

                “A fine picture of ex-Alderman Freileweh in Lewis’ gallery attracted quite a crowd today.”

 

November 10, 1881, Kingston Daily Freeman

 

“Bewildering with Belles. Lewis’ Gallery on John street is perfectly bewildering with fair ones this week. Two belles have had their pictures taken with their necks enveloped in white ostrich plumes and look very fascinating indeed – as though they had thrown around them a dash of sea spray.”

 

July 27, 1882, The Saugerties Telegraph

 

“E. Lewis, the photographer, at Kingston, has secured the services of a skillful negative retoucher from Pearsall’s famous photograph gallery in Brooklyn.”

 

November 23, 1882, The Saugerties Telegraph

 

“E. Lewis, the photographer of Kingston, is getting up a handsome cabinet of photographs of all who have been sheriffs of the county.”

 

In 1883 Lewis began contemplating establishing a branch gallery at the village of Ellenville, approximately 30 miles southwest of Kingston. He would initially continue to run both the Kingston gallery and the Ellenville gallery, but sold the Kingston gallery only a few months after his arrival at Ellenville.

 

“A Veteran Photographer. To Establish a Gallery at Ellenville, and Reside There Hereafter. E. Lewis, the uptown photographer, is getting his Ellenville gallery in condition to do good work, and will move up there about the middle of May. Mr. Lewis’ place of business will be on Canal street, and he will reside in the same building in which his gallery will be placed. The gallery in this city will be run by a competent man under the supervision, however, of Mr. Lewis, who expects to take charge of both of them. Mr. Lewis is an artist of the higher class, and very industrious and enterprising, and no doubt he will give Ellenville an opportunity of patronizing one of the best photograph galleries outside of New York City.

 

Mr. Lewis should have great praise for one thing if for no other. He has made more good landscape pictures of Ulster county scenery than any other artist. His views taken from different parts of the county are excellent, and the Ellenville people could do no better than employ him to take some of the charming views in that section and work them up into stereoscopic views. Not only would there be a ready sale for them, but it would be a source of great delight for thousands of people at that place and who are residing outside of the town, but who are familiar with some of the many magnificent views which can be seen in it.”[2]

 

Giant's Leap, Choice Views of Scenery in and about EllenvilleGiant's Leap, Choice Views of Scenery in and about Ellenville

Giant's Leap, Choice Views of Scenery in and about Ellenville.

 

Mountain Brook Grotto, Choice Views of Scenery in and about EllenvilleMountain Brook Grotto, Choice Views of Scenery in and about Ellenville

Mountain Brook Grotto, Choice Views of Scenery in and about Ellenville.

 

March 7, 1883, Kingston Daily Freeman

 

“Jos. S. Thompson has rented the second and third stories of the brick building on Canal street, below Leopold’s to Edward Lewis of Kingston, who will occupy them as a photograph gallery and dwelling rooms.”

 

May 1, 1883, Kingston Daily Freeman

 

“Ed. Lewis, the photographer, is getting ready to remove to Ellenville, packing his furniture in a car so as to send it there by railroad. He has come to the conclusion that a man never knows the amount of material he has until the time comes to move it.”

 

May 12, 1883, 1883, Kingston Daily Freeman

 

“Lewis’ Quarters at Ellenville. The building being fitted up for Lewis, the photographer, is approaching completion. Mr. Lewis will have one of the finest galleries in Ellenville to be found outside of New York city, and all who are acquainted with his skill know that he will rival the very best city work. A rush of orders awaits him here as soon as his gallery opens. – Ellenville Press.”

 

May 24, 1883, The Saugerties Telegraph

 

“E. Lewis, who has carried on the photographic business in Kingston for a number of years past, and who formerly had a gallery here [Saugerties], is about to open a branch gallery in Ellenville, which the Press of that place says will be one of the finest to be found outside of New York city.”
 

June 8, 1883, Kingston Daily Freeman

 

“To Open on Monday Next. Mr. Lewis, the photographer, has his rooms nearly ready and expects to open them for business on Monday next. His gallery will be an important addition to our village. – Ellenville Press.”

 

July 27, 1883 advertisement, Ellenville Journal

 

“Photographs! Mr. E. Lewis, of Kingston, has just finished his Handsomely Fitted Gallery, which is complete in all its appointments. The Skylight Room is a model in regard to light, accessories and access. In the Reception Room will be found specimens of every size and style, from finely finished Life-size to small Carts De Visites, all of which speak in unmistakable terms of the excellence of Mr. Lewis’s efforts in Art.

 

His arrangements for procuring any requisite shade of light by means of a system of sliding and overlapping Curtains may be pronounced absolutely perfect; and what he has done in the past is a guarantee of future success with his improved facilities.

 

In soliciting Ellenville patronage he promises Good and Satisfactory Work.

 

Instantaneous Pictures of children a specialty.

 

Gallery 129 Canal Street, Ellenville, N.Y.”

 

August 8, 1883, Kingston Daily Freeman

 

“Mr. E. Lewis, photographer, has a number of views of Ellenville and surrounding places in his salesrooms in the Dimmick building, uptown. His views of Honk Falls are the best, and certainly are very fine.”

 

August 9, 1883, Kingston Daily Freeman

 

“E. Lewis, the photographer, has sold his photographic gallery in this city to a gentleman by the name of Becker of Hudson. Mr. Becker is a student of the celebrated photographer Forshew.”

 

August 17, 1883, Ellenville Journal

 

“Such is the gratifying success with which Mr. Lewis the photographer has met in Ellenville that he has disposed of his long established and popular gallery in Kingston, and will henceforth devote himself to the development of his business here, giving the public of Ellenville and vicinity all the advantages of a first-class city art gallery.”

 

September 10, 1883, Kingston Daily Freeman

 

“Mr. Lewis, the photographer, has an order from Surrogate Parker for a life-size crayon portrait of his little son, recently deceased. The work has been entrusted to the skillful pencil of Mr. Bozenhart. – Ellenville Press.”

 

October 4, 1883, Kingston Daily Freeman

 

“Mr. Becker, the photographer who bought the gallery of E. Lewis, has been making some street photographs, for the water works men. Two of those on John street are very handsome, especially where he caught the new gray horse of Superintendent Low.”

 

February 29, 1884 advertisement, Ellenville Journal

 

“For a Short Time Only! Cabinet Size Photographs reduced to $3.50 per Doz. for single dozen! Clubs of ten $3.00 per Dozen, and an extra dozen to the person forming the Club. At Lewis’s Gallery, Thompson Building, Canal Street, Ellenville, N.Y.”

 

April 3, 1884, Ellenville Journal

 

“Special Notice. Persons wishing Photographs for the Holidays should get their sittings at once. All who can should come early in the day, as it is impossible for us to accommodate all who require our services in the afternoon. N. B. No sittings made after 3 o’clock p.m. E. Lewis.” 

 

November 20, 1885, Ellenville Journal

 

“Big Tumble in Photographs at Lewis’ Gallery, Thompson Building, Ellenville, N.Y. Until further notice we will make CABINET PHOTOGRAPHS, in style, Best Work and Best Mounts for only three dollars per dozen!”

 

Portrait, Well Dressed Young Man, by Edward Lewis, Kingston, New YorkPortrait, Well Dressed Young Man, by Edward Lewis, Kingston, New York

Portrait, Well Dressed Young Man, by Edward Lewis.

 

Portrait, Young Girl, by Edward Lewis, Kingston, New YorkPortrait, Young Girl, by Edward Lewis, Kingston, New York

Portrait, Young Girl, by Edward Lewis.

 

By the end of 1885 Lewis had decided to leave Ellenville. He sold his gallery to Edwin A. Davis, with the gallery soon after being run by Edwin’s son, Winfield S. Davis. W. S. Davis would operate the gallery until 1902, selling it after the death of his wife Lillian. The gallery was then purchased by Albert V. Porter, who operated the business until 1918.

 

“Mr. E. Lewis, the photographer in Thompson’s building, has sold out his business to Mr. E. A. Davis, from Danbury, Conn., who has already taken possession and commenced work. Mr. Lewis, who has been among us for more than two and half years, is not only a skillful and experienced artist, but an excellent citizen as well. We are pleased to learn that he does not contemplate immediate removal from town. We trust that Mr. Davis may find the lines fallen pleasantly, and meet with abundant success.”[3]

 

By February, 1886 Lewis, “having visited quite a number of places, north and south for a business location,” had decided to leave Ellenville for the village of Nyack in Rockland County, New York.[4] Lewis was joined by F. C. Weeks, “a skillful retoucher, of Middletown.”

 

It is not known how long Lewis remained at Nyack, but his obituary noted that after leaving Ellenville, the Lewis family went “from there to Norwalk, where they have made their home ever since, and where for many years Mr. Lewis was highly esteemed as an artistic photographer.” A logo embossed on a portrait taken by Lewis at Norwalk noted that his gallery was located on Main Street.

 

The 1900 United States census listed Edward Lewis as living in the city of Norwalk in Fairfield County, Connecticut. Also living in the household was his wife Mary A. Lewis and his daughter Nina A. Lewis. Edward and Mary were married for 30 years and had one child. Edward was listed with an occupation of photographer and Nina was listed with an occupation of music teacher.

 

The 1910 United States census listed 80-year-old Edward Lewis as living Norwalk City in Fairfield County, New York. Also living in the household was 60-yearold wife Mary Lewis. Edward was listed with an occupation of photographer. They were listed as having one child, who was still living.

 

Legacy

 

Upon his passing it was written that Lewis “was for many years not only the leading photographer of Kingston, but of this section of the state.” In addition to thousands of portraits of Ulster County citizens, Lewis extensively photographed the regional scenery, including the city of Kingston, the Rondout Creek, the Esopus Creek, the Wallkill Creek, the Esopus at Glenerie, Overlook Mountain, the Shandaken Mountains, local cement quarries and much more.

 

Edward Lewis died at the age of 88 in his home at Norwalk, Connecticut on December 21, 1917. He had been in poor health for “some time” prior to his passing. He was survived by his wife and one daughter, Mrs. Charles Lang, of Norwalk. Both Edward and his wife Mary are buried at Riverside Cemetery in Norwalk, Connecticut.

 

[1] Commemorative Biographical Record of Ulster County, New York. Chicago: J. H. Beers & Co. p. 878.

[2] “A Veteran Photographer.” Kingston Daily Freeman (Kingston, New York). April 19, 1883.

[3] Ellenville Journal (Ellenville, New York). December 25, 1885.

[4] Ellenville Journal (Ellenville, New York). February 19, 1886.

 

 

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[email protected] (American Catskills) business Catskill Mountains Catskills Ed. Lewis Edward Lewis Ellenville gallery Kingston Kingston Photographic Company National Photograph Gallery New York Norwalk Nyack Overlook Mountain House photographer photographs photography pictures portraits Saugerties stereoscope stereoscopic studio Ulster County views W. S. Davis Winfield S. Davis https://www.americancatskills.com/blog/2023/9/edward-lewis-saugerties-kingston-and-ellenville-ny-photographer-part-2 Sat, 02 Sep 2023 12:00:00 GMT
Edward Lewis – Saugerties, Kingston and Ellenville, NY Photographer (Part 1) https://www.americancatskills.com/blog/2023/8/edward-lewis-saugerties-kingston-and-ellenville-ny-photographer-part-1 Introduction

 

Edward Lewis operated a popular photography gallery at the village of Saugerties, New York during the late 1860s and at the city of Kingston in Ulster County, New York from the late 1860s to 1883. In addition to his portrait work Lewis issued a wide range of scenic stereoscopic views from throughout the Catskills. From 1883 to 1886 Lewis operated a gallery at the village of Ellenville. After leaving the Catskills region Lewis later established galleries at Nyack, New York and Norwalk, Connecticut.

 

Pulpit Rock, near the House (Overlook Mountain House)Pulpit Rock, near the House (Overlook Mountain House) Pulpit Rock, near the house (Overlook Mountain House).

 

Biography

 

Edward Lewis was born in August 1829 in Chenango County, New York. Chenango County, formed in 1798, is located in the central part of New York State.

 

An advertisement placed by Lewis in 1868 noted that he “had seventeen years experience in Photography, in England and America.” This would mean that Lewis began his photography career around 1851, at 21 years of age. Little more is known at this point about this time period in Lewis’ life.

 

In the late 1860s Lewis was operating as a photographer at the village of Saugerties along the Hudson River. His business was located on Partition Street, next to Van Buskirk’s drug store. In February 1868 Lewis placed the following advertisement in The Saugerties Telegraph.

 

“Photographer.– Notice to the Public. Mr. Lewis respectfully requests his patrons (all who can do so) to call in the early part of the day, as it is impossible for him to wait on all who require his services in the afternoon, consequently many go away without securing the shadow. Morning is decidedly the best time for children, as we are more at leisure and can give them more of our time and attention. Persons wishing large pictures taken should call at about eleven, if possible.”

 

In March 1868 Lewis placed the following advertisement in the local newspaper.

 

“A Treat for the Million. Good Photographs for Everybody. Mr. E. Lewis takes great pleasure in announcing to the people of Saugerties and vicinity that he has taken the Photographic Rooms adjoining Mr. Van Buskirk’s drug store, Partition street, refitted the same, and is now ready for the reception of visitors. Mr. L. having had seventeen years experience in Photography, in England and America, places him in the front ranks of his profession; and he assures the public that no pains or expense will be spared, on his part, to secure fine pictures and give satisfaction to his patrons. All kinds of pictures produced on the shortest notice, from miniature to life size, plain or finished in Oil, Water color or India Ink.

 

Prices from 25 Cts. To $50. Particular attention paid to copying, old pictures enlarged or diminished, and finished as above if required. Give him a call, examine specimens and try his skill. Saugerties, Dec. 16th 1867.”[1]

 

Edward, Lewis, Saugerties, NYEdward, Lewis, Saugerties, NYPhotographer: Edward Lewis
Location: Saugerties, Ulster County, New York
Year: 1867-1868


"A Treat for the Million. Good Photographs for Everybody.

Mr. E. Lewis takes great pleasure in announcing to the people of Saugerties and vicinity, that he has taken the Photographic Rooms adjoining Mr. Van Ruskirk's drug store, Partition street, refitted the same, and is now ready for the reception of visitors. Mr. L. having had seventeen years experience in Photography, in England and America, places him in the front ranks of his profession; and he assures the public that no pains or expense will be spared, on his part, to secure fine pictures and give satisfaction to his patrons. All kinds of pictures produced on the shortest notice, from miniature to life size, plain or finished in Oil, Water color or India Ink.

Prices from 25 Cts to $50.

Particular attention paid to copying, old pictures enlarged or deminished, and finished as above if required. Give him a call, examine specimens and try his skill.

Saugerties, Dec. 16th, 1867."

 

In May of 1868 Lewis placed another advertisement in the local newspaper, thanking the people for Saugerties for their business and announcing some of the new services that he offered.

 

“Photography. Mr. Edw. Lewis begs to return thanks to the inhabitants of Saugerties and vicinity for their very liberal patronage during his stay among them, and hopes by attention to their interests, to merit a continuance of their favors. He would also say that he is now prepared to execute views of private residences, landscapes and all other outdoor photography, both large and stereoscopic, in the best manner, (having recently purchased instruments expressly for that purpose.) Orders from the country solicited and promptly attended to. Specimens at the Gallery. He wishes to call special attention to his India Ink & Water Color Work.

 

Old pictures enlarged in the above styles. Always on hand the largest stock of oval and square frames in town. Plain and fine cases of every variety for small work. Photographs of the different Churches for sale.”[2]

 

In May of 1868 Lewis moved from the village of Saugerties to Kingston, where he leased the photographic rooms that had been recently occupied by George A. Vallet. The people of Saugerties lost a respected member of their community. “In the removal of Mr. Lewis to Kingston, our place loses not only the best artist it ever had, one who was always prompt in his business and courteous to visitors, but also a kind and an agreeable citizen. We feel confident that the people of Kingston will appreciate his skill in the Photographic art and extend him a liberal patronage.”[3]

 

In November 1868 the partnership between Lewis and Edward Jernegan (1841-1922), which operated under the name of “The Kingston Photographic Company,” was dissolved “by mutual consent.” It was agreed that Jernegan would continue the photography business at Saugerties while Lewis would remain in Kingston. Edward Jernegan would go on to prominence in the Saugerties newspaper industry, founding the Saugerties Daily Post in 1877 and the Saugerties Daily Telegraph in 1897.

 

In 1871 Lewis issued a series of 16 stereoscopic views of the newly constructed Overlook Mountain House. Located north of Woodstock near the summit of Overlook Mountain, the Overlook Mountain House first opened its doors to guests in 1871, was destroyed by fire in 1875, was rebuilt and reopened in 1878, only to be destroyed by fire again in 1923. There was an attempted 3rd rebuilding that was never completed, the remains of which are still visible on a hike to the summit of Overlook Mountain.

 

At its height the Overlook Mountain House provided accommodations for approximately 300 guests and offered visitors the latest in modern conveniences and experiences. One of the early advertisements for the Overlook Mountain House, published in 1871, beautifully described its superior accommodations and the mountain setting.

 

“Overlook Mountain House, Catskill Range. J. E. Lasher, Proprietor. This elegant House will be opened to the public early in the season, and will afford a rare treat for the lovers of the Beautiful, the Grand, and the Sublime, who can enjoy the loveliest of scenery in a first-class hotel.

 

The house cost $50,000, and is complete throughout, furnishing accommodations that will please the most fastidious and satisfy the most exacting tastes.

 

The view is unsurpassed not only on the Catskills, but in the country, and combines a grand combination of mountain, valley, river, forest, and cultivated fields. No one who has seen it has failed to speak of it with admiration.

 

It will be found a delightful spot for excursion and picnic parties, for whom special accommodations will be provided.

 

A Stage Line from West Hurley on the R. & O. R. R. will be run by the Proprietor of the Overlook, and will connect with the trains. Guests can also obtain the best of livery establishments at Rondout and Kingston.

 

John E. Lasher, Proprietor. Overlook Mountain House, Woodstock, March 24, 1871.”

 

John E. Lasher (1827-1899), the first proprietor of the Overlook Mountain House, had previously operated the Mansion House at Kingston, New York from after the Civil War until his taking control of the Overlook.

 

In order to promote his new hotel, Lasher invited Lewis to photograph the establishment prior to its official opening on June 15, 1871. “Mr. John Lasher, the lessee of the new hotel on the Overlook, has had Mr. E. Lewis, of Kingston, up there taking views of the house and grounds about it during the past week. The views are to be engraven from the photographs, and used in advertising this beautiful new summer resort. Mr. Lewis has the name of being the best artist in Ulster County.”[4]

 

The imprint on the back of each stereoview included a brief description of the hotel, travel directions and a listing of the 16 different views that were available for purchase.

 

“New Summer Resort in the Catskill Mountains. The OVERLOOK MOUNTAIN HOUSE, 3,800 feet above tide water, on the highest point of the Catskill range, was opened June 15th, 1871. All modern conveniences, including Gas and Telegraph facilities. Reached by Boat or Rail to Rondout; Rondout and Oswego Railroad to West Hurley (9 miles); thence by the Hotel Stages in 3 hours. Overlook Mountain House, Woodstock, Ulster Co., N.Y. John E. Lasher, Proprietor.

 

No. 1. Catskill Mountains from ascent to the Overlook.

No. 2. Overlook Mountain House, Rocks in foreground.

No. 3. Overlook Mountain House, distant view.

No. 4. Overlook Mountain House, near view.

No. 5. South Piazza, Overlook Mountain House.

No. 6. West Piazza, Overlook Mountain House.

No. 7. Parlor, Overlook Mountain House.

No. 8. Dining Room, Overlook Mountain House.

No. 9. View from the ledge in front of the House.

No. 10. Pulpit Rock, near the House.

No. 11. Devil’s Kitchen, near the House.

No. 12. Cleft in Rocks, near the House.

No. 13. Rocky declivity, near the House.

No. 14. Path to the Overlook.

No. 15. Top of the Overlook Cliff, looking east.

No. 16. Top of the Overlook Cliff, looking west.

 

The subject published on this card is indicated by a mark under the number and name.

 

ED. LEWIS, Photographer, Kingston, N.Y.”

 

South Piazza, Overlook Mountain HouseSouth Piazza, Overlook Mountain House

South Piazza, Overlook Mountain House.

 

Overlook Mountain House, New Summer Resort in the Catskill MountainsOverlook Mountain House, New Summer Resort in the Catskill Mountains Overlook Mountain House, New Summer Resort in the Catskill Mountains.

 

Top of the Overlook Cliff, looking west (Overlook Mountain House)Top of the Overlook Cliff, looking west (Overlook Mountain House) Top of the Overlook Cliff, looking west (Overlook Mountain House).

 

The demand for the stereoscopic views of the Overlook Mountain House taken by Lewis, and fellow photographer D. J. Auchmoody, was very strong. One year after the opening of the Overlook Mountain House the Kingston Daily Freeman wrote of the demand and the scenic views available throughout the region.

 

“Stereoscopic views. Our photographic artists are turning the natural beauties of this section to good advantage and are making some fine views of the scenery hereabouts. The Overlook furnishes many good views, which find a ready sale at the Mountain House, Mr. Auchmoody and Mr. Lewis being kept pretty busy just now supplying the demand. Of course few visitors wish to leave the spot without some memento of their visit, and a faithful representation of the scenes they have gazed upon in the shape of a stereoscopic view is as pleasing a reminder as they can have. The landscapes about our own city, sketches of scenery along the Wallkill, Rondout and Esopus creeks also are visited by these artists and their beauties transferred to the negative. The wild scenes of Olive and Shandaken and among the Shawangunk Mountains also often form the subject of the picture, and in fact so numerous are the scenes of interest hereabouts that a person can gather a very extensive collection of stereoscopic views comprising only scenes in our own immediate neighborhood.”[5]

 

March 24, 1871, Saugerties Telegraph

 

“Lewis’ National Photograph Gallery, Cor. Wall and John Streets, Kingston, N.Y. Photographs in every desirable Style of the art. Rembrandt Effects or Shadow Pictures a Specialty. Old pictures copied and enlarged to any size and, if desired, Finished in Oil, India Ink, or Water Colors, by a first-class Artist on the premises.

 

Specimens of Finished Work on Exhibition at the Gallery. I shall the coming season give my personal attention to Out-Door Work, On plates from Stereoscopic size to 14x17 inches (10x12 inch plate is largest size used by me heretofore.)

 

Views of Residences, Public Buildings, Churches, Mills, Factories, Blocks of Buildings, Streets, Quarries, Groups, Horses, Cattle, & c., &c.

 

All orders for the above will receive prompt attention and be filled in turn at moderate prices.

 

EDW. LEWIS, P. O. Box 181, Kingston, N.Y.”

 

April 14, 1871, The Rondout Freeman

 

“E. Lewis, photographer, takes splendid pictures. He is going to Big Indian in a few days, to take views of that delicious country and also of the locomotive John C. Brodhead.”

 

May 6, 1871, The Rondout Freeman

 

“Lewis, the photographer, has a gallery of fine views, taken from home scenes. The best, probably, is the residence of W. B. Crane at Ponckhockie.”

 

May 12, 1871, The Rondout Freeman

 

“At the Stereoscopic exhibition of last week many home views, principally taken by Lewis, were shown upon the canvas. This exhibition was quite a success, and not at all marred because the scenes were generally shown wrong side up, as they were always presented anew in their proper position. Besides, this gave the audiences a better chance to view them in a manner they probably could never do by visiting the localities represented, unless indeed they, looked at them clown-fashion by standing on their heads.”       

 

June 9, 1871, The Rondout Freeman

 

“Lewis’s Gallery contains a fine photograph of the steamer “Thomas Cornell.” This picture is almost perfection, even the shadows made by the wires that brace the smoke stacks, being plainly visible.”

 

July 21, 1871, The Rondout Freeman

 

“In Lewis’s gallery there are some fine views of the Overlook Mountain House. The piazza of the hotel is crowded with the party from this place and Rondout, who were on the mountain last week Wednesday. Their faces can be readily recognized, and altogether the picture is a good one.”

 

July 28, 1871, The Rondout Freeman

 

“Lewis says he might have taken a much better picture of the Overlook House had not the visitors felt so funny. It seemed very hard for them to keep their heads still.”

 

September 22, 1871, The Rondout Freeman

 

At the Ulster County Fair: “Mr. Lewis had some very fine photographs, one of his wife being a brilliant specimen of art, and Dr. Loughran’s a speaking likeness and a splendid triumph of the artist.”

 

October 20, 1871, The Rondout Freeman

 

                “A large new gallery of pictures is displayed by Lewis at his gallery on John street.”

 

May 27, 1872 advertisement, Kingston Daily Freeman

 

“Photographic Card. As making pictures of young children has become a very important branch of the business, a few hints on the subject will not be amiss as a guide to those interested.

 

Mothers who wish to have babies appear in white should dress them in light blue, pink or solferino, nicely trimmed or embroidered. All blue, or colors mixed with blue, are photographically speaking white, accordingly as the blue more or less predominates.

 

As children are often troublesome and restless and hard to get a picture of, and as I do not wish to let your work leave my Gallery, or be bothered with impossibilities ever which I have no control, I kindly request mothers to bear in mind that babies should be brought to the Gallery between ten and two o’clock, the earlier the better. The reasons for this are obvious, to wit:

 

First:– The child is not so restless, the mother is in better humor in the forenoon, the artist is pretty likely to have had his breakfast (we seldom even get dinner) and is not so impatient, hence baby is more likely to get a good picture.

 

Second:– A photographer wishes to make money, or at least a living, as well as other people, and don’t like to bother with babies if the gallery is full of ladies and gentlemen, who are waiting for sittings, and see no end to the baby-rattle and cry.

 

Third:– The light is not so powerful in the afternoon as in the morning. The acting power of the sun’s rays are stronger and more active from sunrise to noon, than from noon to sundown. It would be well for adults to bear this in mind who want sittings for themselves.

 

We call special attention to our Shadow Pictures, Berlin Heads, Porcelain Pictures, Victoria Cards, New Size. Old Pictures copied and painted in Oil, Water Colors, India Ink and Crayon.

 

Stereoscopic views of Places of Interest and Scenery of Ulster County, Views of Public Buildings and streets in Kingston. A Series of views of the Rondout Creek, Esopus Creek, Wallkill Creek with its Falls, the Esopus at Glenerie, Overlook Mountain, Shandaken Mountain Scenery, Interiors of Cement Quarries, & c. Also a full line of foreign & Miscellaneous Views.

 

A Large Variety of Oval and Square Frames, Velvet Cases, Passapartouts, Stereoscopes, & c.

 

E. LEWIS, Cor. Wall & John sts., Over Tappen, Burhans & Webster’s Store, Kingston.”

 

September 23, 1872, The Daily Freeman

 

“Lewis has again been out in the country, and has returned home with many fine views of Rosendale and High Falls. His views of the high bridge at Rosendale and the aqueduct at High Falls are especially fine. Lewis is improving in stereoscopic views; the aqueduct is one of the best pictures of lights and shadows we have ever seen.”

 

September 26, 1872, The Daily Freeman

 

“Miss Sahler’s Wax Work. Miss Sahler’s Wax Work which took the first premiums at the Horticultural Fair, will be for sale at Lewis’ Photograph Gallery, Kingston, for two weeks. She will also keep on hand stereoscopic views of the same. September 24th, 1872.”

 

September 16, 1873, Kingston Daily Freeman

 

“Lewis, the photographer, has finished a splendid full length picture of Rev. Father Dougherty in his priestly robes, which is not only a perfect likeness but a fine work of the photographic art. The picture is to be disposed of by chances, $300 worth of tickets being sold, the money thus raised to be used in purchasing books for St. Joseph’s Sunday School.”

 

August 13, 1873, Kingston Daily Freeman

 

“E. Lewis, photographer on Wall street, with his wife and daughter, have been rusticating for some time at Stamford. Mr. Lewis went fishing in Odell Lake and caught half a bushel of pickerel. He also took a trip up the Neversink; walked fourteen miles up the stream and back. The trout fishing was very good.”

 

October 24, 1873, The Daily Freeman

 

“A young lady from Shokan came to Lewis’ photograph gallery the other day. She had to leave home in a hurry, she said, because she wanted to catch the train and had to go away ‘round on account of the bridge being down. Consequently her toilet wasn’t arranged in the most complete and satisfactory manner. When she arrived at Lewis’, where she was to sit for a picture, she furnished lots of amusement for the customers waiting in the reception by undoing a vast number of packages and proceeding to get herself up in wonderful style. Of course the young ladies who were waiting for an opportunity to sit blessed her for taking up a couple of hours rigging herself.”

 

January 14, 1874, Kingston Daily Freeman

 

“Lewis, the photographer uptown, has a new lot of handsome faces finished according to his patent and hanging in a case on John street. It’s strange how often the girls whose pictures are in that case walk down that street, and what a wonder of excuses they do make to stop and look ‘just once.’”

 

May 30, 1874, Kingston Daily Freeman

 

“Lewis, the Photographer of Kingston, has secured the services of Walter C. North for this week only at his gallery, and will be pleased to see his Rondout friends and all others wishing the benefit of his extensive experience. Call and see his new styles.”

 

June 1, 1874, Kingston Daily Freeman

 

“E. Lewis has taken some fine pictures called the “Rustics.” One of a youth mounted on a velocipede is natural as life.”

 

June 29, 1874, The Daily Freeman

 

“Lewis has a new outdoor gallery of pictures. They are called rustic pictures and represent views of the sea-side, hunting and fishing scenes, with now and then a very handsome little boy or girl thrown in.”

 

December 18, 1874, Kingston Daily Freeman

 

“Lewis, the uptown Photographer, requests his patrons, all who conveniently can, to call for sittings early in the day, as it is impossible to accommodate all applicants these short days. Old Sol refuses to give light enough for negative making shortly after 3 o’clock p.m.”

 

The 1875 New York state census listed 43-year-old Edward Lewis living in the First Ward of the city of Kingston in Ulster County New York. Also living in the household was his 29-year-old wife Mary A. Lewis, his 4-year-old daughter Nina A. Lewis and a 22-year-old servant by the name of Bridget Mahar. Edward was listed as having been born in Chenango County, New York. He was listed with an occupation of photographer.

 

Corner of Wall and North Front Sts. [View of a Tailor Shop.]Corner of Wall and North Front Sts. [View of a Tailor Shop.] Corner of Wall and North Front Sts. [View of a Tailor Shop].

 

View of a Church in Kingston, N.Y.View of a Church in Kingston, N.Y. View of a Church in Kingston, N.Y.

 

May 14, 1875, The Daily Freeman

 

“Lewis, the photographer, went trout fishing in Little Shandaken Thursday, and caught about sixty.”

 

December 24, 1875, The Daily Freeman

 

“Just The Thing For The Holidays. Colored Enamel Photographs. These beautiful pictures represent the natural colors with a depth and richness equal to the finest colored porcelain, and at a comparatively small price. Come and see them, and those who wish sittings come early as there is no light for negative making after 3 o’clock these short days. Lewis’ Gallery, Cor. Wall & John Sts., Kingston, N.Y.”

 

December 28, 1875, Kingston Daily Freeman

 

“While Lewis the photographer on Wall street was driving his fast bay towards Flatbush Sunday afternoon, the animal in a playful mood made a spring and put one of its hind feet over the cross-bar of the wagon. Not being able to get it back the equine started to run and broke one of the shafts. Lewis reined the steed to the side of the road and the wagon overturned, which threw the occupants, Mr. and Mrs. Lewis and their little daughter, to the ground, and the horse went on, bringing up under a shed. No one was injured to any great extent.”

 

February 22, 1876, Kingston Daily Freeman

 

“E. Lewis, photographer, has taken twenty-eight negatives of the most prominent actors in the uptown Esther performance. They are fine pictures.”

 

October 21, 1876 advertisement, Kingston Daily Freeman

 

“A Card to my Patrons. Until further notice I will make card photographs in our best style for $2.00 Per Dozen, Cabinet Size $5.00. Former Price $3.00 and $6.00.

 

The public has had an opportunity for the last eight years to compare our photographs with the work of other photographers of this city; also New York and other cities. We abide their decision.

 

In reducing prices I would have my patrons bear in mind that the quality of work will remain the same as heretofore STRICTLY FIRST CLASS.

 

I call attention to our beautiful style of picture, the plain and colored enamel which of late we have greatly improved.

 

Persons wishing large, colored pictures of themselves or friends would do well to examine our work and prices and not be taken in by traveling humbugs, we Warrant All Work To Give Satisfaction.

 

A good stock of Picture Frames Always On Hand, and we will not be undersold.

 

Respectfully yours, ED. LEWIS, Kingston, N.Y., Cor. Wall & John Streets, over Dimmic & Webster’s.”

 

October 30, 1876, Kingston Daily Freeman

 

“Lewis, the uptown photographer, is making a specialty of plain and colored enamels, which are really the finest pictures a person can have taken. They are perfect and life like, and will last forever. Several military gentlemen have had pictures finished in this style by Lewis, which are truly magnificent specimens of art. A more appropriate present cannot be found, and the recipient cannot fail to prize it as something invaluable.”

 

November 20, 1876, Kingston Daily Freeman

 

“A Fine Piece of Work. We were shown some resolutions the other day on the death of John Vanderlyn, that were printed in ink by our young Kingston artist Mr. E. Youngs. We have seldom seen anything of the kind that has surpassed it in the beauty of design and originality. In the center of the resolutions was a beautiful and life-like photograph of the artist Vanderlyn, which reflects great credit on the photographer, Mr. E. Lewis of Kingston.”

 

December 4, 1876, Kingston Daily Freeman

 

“E. Lewis, photographer, has finished the pictures of the Supplies house that was blown up by gunpowder, and they are fine pictures, giving a perfect view of the premises, which will be of great benefit to the jury when the case is tried.”

 

March 7, 1878, Kingston Daily Freeman

 

“The attractive advertisement of Lewis, the photographer, elsewhere speaks for itself, and The Freeman cordially commends it to the attention of its readers. Mr. Lewis’ artistic skill needs no praises, and should receive the patronage it deserves.”

 

March 8, 1878, Kingston Daily Freeman

 

“For a Short Time Only. In making this great reduction in our prices we hesitate, not because we are unwilling to bear our share of the burden of business depression, but fear that some may think there will be a corresponding reduction in quality. Be assured, however, that we shall give you the best work that we can produce.

 

                “Card Photographs. One Dollar Per Dozen. Cabinet Size $3 Per Dozen.

 

Lewis’ Photograph Gallery, Cor. Wall & John Sts., City of Kingston, N.Y.”

 

June 12, 1878, The Daily Freeman

 

“There is a very nice crayon portrait of a child, by Lewis, the uptown photographer, on exhibition in A. A. Crosby & Company’s show window on the corner of Union avenue and The Strand.”

 

July 1, 1878, Daily Post (Saugerties)

 

“Mr. Edward Lewis, the celebrated photographer of Kingston, was in town yesterday. Mr. Lewis informs us that he is turning out finer work than ever at his gallery, and is much pleased at the many calls he receives from his Saugerties customers.”

 

July 1, 1878, Daily Post (Saugerties)

 

“Lewis in Kingston is making photographs for $1 per dozen at his gallery. He don’t slight the work on account of the price either.”

 

July 16, 1878, Kingston Daily Freeman

 

“Photographs $1 per Dozen. Finely retouched heads $1.50 per dozen. Crayon, Water Color and India Ink Pictures by the best artists at bottom prices. Ed. Lewis, Kingston, N.Y.”

 

July 17, 1878, Kingston Daily Freeman

 

“Mr. Lewis, the photographer uptown, has several pictures lately taken that are as fine as can be seen anywhere along the river. One of these is a water color portrait of Mrs. William Hermance, the likeness of which is excellent, while the coloring shows the touch of an artist. There are also large pictures in crayon of Mr. and Mrs. S. Bernstein, which were given as presents to their newly married son. One great excellence of the pictures of Mr. Lewis is the graceful positions in which he places the person whose likeness is being taken.”

 

November 11, 1878, The Daily Freeman

 

“Photographs.–Twelve for $1.00. Finely retouched heads $1.50 per dozen. A fine new stock of velvet and other frames at Bottom Prices, at Lewis’ (up-town) – Kingston.”

 

June 23, 1879, Kingston Daily Freeman

 

“E. Lewis, the photographer of Wall street, has made from a small photograph enlarged a very fine life-size picture in water colors of Miss Kittie Sahler, the little daughter of Mr. and Mrs. Artemass Sahler, who died so suddenly a few months since.”

 

June 23, 1879, Kingston Daily Freeman

 

“Rev. John Johns has had a fine photograph taken of the Clinton Avenue Methodist Episcopal church and parsonage, and also a photograph of every pastor who has been associated with the church from the time of its formation in 1855, they being Revs. R. H. Chalker, F. L. Prentice, W. H. Evans, W. C. Smith, W. G. Browning, L. W. Peck, T. W. Chadwick, D. Buck, S. W. Knapp, W. H. Mickle, J. E. Gorse, A. K. Sandford and John Johns. The pictures were taken by E. Lewis of the upper part of the city, and they are framed, the church and parsonage in the center, and the photographs of the dominies in a circle around them.”

 

June 30, 1879, Kingston Daily Freeman

 

“Mr. Lewis, the photographer, has taken some very handsome pictures of the audience room of the Second Reformed church. Since the improvements, this room is one of the finest in the city.”

 

July 9, 1879, Kingston Daily Freeman

 

“A number of the graduating class of the Kingston Academy, have had their pictures taken by Lewis. The ladies being dressed in white, the photographs are a little out of the ordinary style and certainly are very fine, and the objects handsome accordingly.”

 

In July of 1879, B Company, 20th Battalion went to the hamlet of Phoenicia for “the purpose of camping out four days.” “While in camp Mr. E. Lewis, the Wall street photographer, will go up at the request of the company and take a number of views of the camp, of the men on parade, and also of the Tremper House, and as much of the surrounding scenery as he can. Mr. Lewis will not take a poor picture, and so if he takes any at all, it can be depended upon that it will be well worth purchasing.”[6]

 

To be continued next week . . .

 


[1] Saugerties Telegraph (Saugerties, New York). March 6, 1868.

[2] Saugerties Telegraph (Saugerties, New York). May 8, 1868.

[3] Saugerties Telegraph (Saugerties, New York). May 22, 1868.

[4] Kingston Daily Freeman (Kingston, New York). March 24, 1871.

[5] Kingston Daily Freeman (Kingston, New York). August 27, 1872.

[6] Kingston Daily Freeman (Kingston, New York). July 10, 1879.

 

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Harry C. Earl – Sidney, New York Photographer https://www.americancatskills.com/blog/2023/8/harry-c-earl-sidney-new-york-photographer Harry C. Earl – Sidney, New York Photographer

 

Introduction

 

Harry C. Earl was a popular photographer at the village of Sidney in Delaware County, New York. He worked as a portrait photographer from 1921 to 1937 and then worked on the photographic staff of the Scintilla Magneto Division from 1937 until his retirement in 1954.

 

Portrait, Well Dressed Woman, by Harry C. EarlPortrait, Well Dressed Woman, by Harry C. Earl

Portrait, Well Dressed Woman, by H. C. Earl. Author's collection.

 

Biography

 

Harry Charles Earl was born in Sidney on March 8, 1889, the son of Frederick and Josephine (Palmer) Earl.

 

Moses Earl, Frederick’s grandfather, and Harry’s great-grandfather, is the ancestor of many of the Earl families in the Sidney – Unadilla section. Moses was born in Connecticut in 1795 and made his way to the region as a young man. He operated a tollgate on the Catskill Turnpike near East Sidney for many years. He was married to Lucy Weed, and together they were parents of eight children.  Moses Earl passed away in 1849 and is buried at the East Sidney Cemetery.

 

Charles Earl, Frederick’s father, and Harry’s grandfather, was born on March 10, 1828, the son of Moses Earl and Lucy Weed. He was married to Harriet Sisson, who passed away on November 17, 1891. Charles was a “lifelong and highly respected resident of Wells Bridge . . . [and] was real active for one of his age and with a great many friends.” Charles passed away in February 1916 at the home of his youngest son, Arthur Earl, about 1 1/2 miles from Wells Bridge, New York. Funeral services were held on February 19, 1916, officiated by Reverend Harwood, pastor of the Wells Bridge Baptist Church. Charles is buried at the family plot at Sand Hill Cemetery in Unadilla, New York.

 

Frederick Charles Earl, Harry’s father, was born on Sand Hill on March 17, 1862, the son of Charles H. Earl and Harriet (Sisson) Earl. Frederick worked as a house painter and decorator for many years, and in his later years he conducted a farm on which he had lived for 54 years. Fred C. Earl, at the age of 85, passed away in May 1947 after a short illness at his home at Sand Hill. The funeral service was conducted at his home, with Reverend Clayton Hoag officiating. He is buried at Sand Hill Cemetery in Unadilla, New York.

 

Josephine, Harry’s mother, was born in Laurens, New York on January 18, 1861, the daughter of John Palmer and Melinda (Reynolds) Palmer. Josephine and Fred were married on November 22, 1882, and resided at Sand Hill, New York for 42 years until her passing. Josephine was an active member of the Sand Hill Methodist Church. She passed away on April 14, 1937 after several months of heart trouble and illness. Upon her passing it was written that she was “devoted to her home, she was a kind wife and mother, and much respected in her community.”[1] The funeral service was held at her home, officiated by Reverend Robert Wood, pastor of the Wells Bridge Methodist Church. She is buried at Sand Hill Cemetery in Unadilla, New York.

 

Frederick and Josephine had five children together, including three sons, Lavern, Lynn and Harry, and two daughters, Hazel and Iva.

 

Lynn P. Earl, Harry’s brother, was an influential member of the community. He was a veteran of World War I. He was the president of the Favorite Printing Company of Sidney, New York and was the owner and publisher of The Unadilla Times and the Catskill Examiner-Recorder at Catskill, New York. He was a former director of the Unadilla National Bank. Lynn was a charter member of the Joyce-Bell Post 578 of the American Legion at Unadilla and a 50-year member of the Freedom Lodge 324 of the Free and Accepted Masons. He was member of the board of managers at The Hospital at Sidney and was a director of the Afton Fair Association. Lynn P. Earl passed away in 1974 and is buried at Evergreen Hill Cemetery in Unadilla, New York.

 

Lavern T. Earl, Harry’s brother, “was held in high esteem by many friends in this vicinity. He has often visited his brother in Sidney and at times has assisted him in his photographic studio, and has many friends in town who learn of his death with regret, and who extend their sympathy to the family. Mr. Earl has considerable ability as a cartoonist and had worked on several newspapers in this capacity, his last position being with the Binghamton Press.”[2] Lavern passed away from tuberculosis on May 10, 1925 at the home of his parents, Fred and Josephine Earl, at Sand Hill, New York. He is buried at Sand Hill Cemetery in Unadilla, New York.

 

Hazel Earl, Harry’s sister, was born on August 30, 1888 in the town of Unadilla. She married Truair Halbert (1887-1955). They had nine children together, one of whom, Truair, who was killed in battle during World War II. The Halbert’s had lived at Sidney for the 26 years prior to their passing in 1955, and had previously resided at Gilbertsville, Mount Upton and Wells Bridge. She was a member of the Sidney Methodist Church. Hazel passed away after an illness of several years at the age of 67 on October 16, 1955 and is buried at Sand Hill Cemetery in Unadilla, New York.

 

Iva E. Earl, Harry’s sister, was born on August 15, 1899 at Sand Hill, New York. She married William Springsteen (1891-1975), of Sand Hill, in 1918 at Wells Bridge, New York. William was the son of Maurice and Jennie (Branning) Springsteen). William worked as a self-employed cabinet maker and home decorator. Iva passed away on November 23, 1970 and is buried at Sand Hill Cemetery in Unadilla, New York.

 

The 1900 United States census listed 11-year-old Harry living with his parents Fred and Josephine in the town of Unadilla, Otsego County, New York. Also living in the household were Harry’s four siblings, including two brothers, Lynn and Lavern, and two sisters, Hazel and Iva. Fred was listed with an occupation of house painter.

 

The 1910 United States census listed 21-year-old Harry living with his parents Fred and Josephine in the village of Otego, Otsego County, New York. Also living in the household were siblings Lavern, Lynn and Iva. Fred and Lavern were listed with an occupation of house painter, while Josephine was working as a sales lady, and Harry was listed as working in a chair factory.

 

Harry learned the photographic industry via an apprenticeship at Oneonta, New York. Following his apprenticeship he worked as a photographer at Buffalo, New York and at Toledo, Ohio. Earl then worked for well-known photographer H. F. Smith at Syracuse, New York for seven years from around 1914 to 1920.

 

While living at Syracuse, on February 10, 1914, Earl married Ada May Bannister, in a ceremony officiated by Reverend Dawley. Ada was the daughter of William and Hannah (Gray) Bannister. Ada was born at Watertown, New York on October 11, 1895. During her 64 years of living at the village of Sidney, Ada was very active in the community. She was member of the Sidney United Methodist Church and the United Methodist Women. She was also a 40-year member of the Sidney Monday Club, and was a State honorary Monday Club member. She was a member of the Sidney Senior Citizens and the Sidney Historical Society. Ada Earl passed away at her home in Sidney on April 9, 1985. Her funeral was conducted on April 12 at the Sidney United Methodist Church in a service officiated by the Reverend Dwight E. Giles Sr. Along with her husband, she is buried at Sand Hill Cemetery in Unadilla, New York.

 

Harry and Ada had a daughter, Phyllis, who tragically died in 1920 at the age of four. “Automobiles have played a tragic part in the life of Mr. and Mrs. Earl. Shortly before they came to Sidney from Syracuse, a little daughter about three years of age was killed by an automobile. They were out driving and had stopped at the side of the road and alighted from the car. The little one ran across the road to pick some flowers. She had started to return when an automobile approached at a high speed. Mr. and Mrs. Earl shouted a warning to the little girl, but it was too late, and before they could make a move to rescue her, they saw their daughter struck and killed before their horrified eyes.”[3]

 

Earl moved to his hometown at the village of Sidney in 1921 to establish his own studio. With his arrival the Sidney Record wrote that “Mr. Earl has had considerable experience in his profession, and comes to Sidney with an enviable reputation as an expert in his line of work. Sidney has been without a photographer for some time, in fact since Charles Phelps’ studio was destroyed by fire some months ago, so our people will again have an opportunity of “sitting up and looking pleasant” without having to go to some neighboring village.”[4]

 

Upon his arrival at Sidney the local newspapers regularly carried advertisements for his studio and provided short anecdotes about his various work and activities.

 

February 25, 1921, The Unadilla Times

 

“Harry Earl, who has been making his home with his father, Fred Earl, for the winter, will open a photograph studio at Sidney the first of March. Mr. Earl was a successful photographer at Syracuse before he came to live here, and we wish him much success in his new field. Mrs. Earl will accompany her husband, but they will not move their household goods there for the present.”

 

March 25, 1921, The Unadilla Times

 

“Having opened a studio, I am now prepared to do all kinds of photographic work. Portraits, Groups, Flashlights, Enlargements, Amateur Finishing, etc. Satisfaction Guaranteed. Harry C. Earl, Main Street, Sidney, N.Y.”

 

Having Opened a StudioHaving Opened a StudioMarch 25, 1921, The Unadilla Times

“Having opened a studio, I am not prepared to do all kinds of photographic work. Portraits, Groups, Flashlights, Enlargements, Amateur Finishing, etc. Satisfaction Guaranteed. Harry C. Earl, Main Street, Sidney, N.Y.”

 

March 26, 1921, Sidney Record

 

“Photographs. I am now ready to do all kinds of Photographic work. Children a Specialty. Satisfaction Guaranteed. H. C. Earl, 47 Main St., Sidney, N.Y.”

 

March 26, 1921, Sidney Record

 

“A new photographer has taken the place of the Elite Studio for many years conducted by C. H. Phelps and the place will be found on Main street formerly occupied by the Bassett dental offices. Mr. H. C. Earl has experience in the business entitles him to success. His work is guaranteed and prices moderate.”

 

November 11, 1921, The Unadilla Times

 

“Photographs. Special until Nov. 15. With every order of one dozen cabinet pictures, we will make without extra charge one 8x10 enlargement. Open Evenings. Phone 137-w. Harry C. Earl, Main Street, Sidney, N.Y.”

 

November 12, 1921, Sidney Record

 

“Thanksgiving Day is the home gathering day of the year. If distance prevents your home going, let your photograph carry your message of love to the old folks back home. Why not make an appointment today? H. C. Earl, 47 Main St., Sidney, N.Y.”

 

December 7, 1921, Sidney Record

 

“X-mas Remembrances. A dozen photographs will solve a dozen puzzling gift problems. Telephone 137-W for appointment. No settings made after December 15, for X-mas delivery. H. C. Earl, Phone 137-W. Sidney, New York.”

 

January 4, 1922, Sidney Enterprise

 

“Remembrances. Have us take a picture of the young ones. They will bring back pleasant memories of the small tots when they have grown up. Satisfaction guaranteed. H. C. Earl, Phone 137-W. Sidney, N.Y.”

 

February 11, 1922, Sidney Record

 

“Bear In Mind. We do picture framing correctly and satisfactory. We have a splendid showing of mouldings and easel frames and our prices are reasonable. H. C. Earl, Portrait Studio. Phone 137-w. 47 Main St., Sidney, N.Y.”

 

April 15, 1922, Sidney Record

 

“H. C. Earl. Sidney is fortunate in having a good photographer, the real kind. His first year’s work was completed April 1st, and his work has given excellent satisfaction, exact harmony of tone and at very moderate prices. No better work in leading city studios. Give your home men first choice. H. C. Earl is one of them.”

 

June 24, 1922, Sidney Record

 

“H. C. Earl photographic studio on Main street, is prepared to promptly fill all orders for graduation photos, singly or in group. Utmost care employed to give none but high-grade work at moderate prices. Photos by night or day, indoors or outdoors with good results guaranteed.”

 

On October 18, 1922, two D & H freight trains collided at the railroad crossing in Sidney, New York. Engineer William Toal, of Binghamton, was killed in the wreck. The Sidney Record described the scene.

 

“. . . dawn revealed a wreck of unusually spectacular features, two of the wrecked cars pyramided 50 feet high, overtopping the signal tower, which tower itself very narrowly escaped total destruction, escaping by a margin of less than two feet . . .

 

In railroad life there are wrecks, and again there are other wrecks, two kinds, the common every day wreck and the other, the kind of wreck that makes other far away towns sit up and take notice. Wednesday morning’s wreck in Sidney belonged to the take notice classification . . .

 

Two heavy engines had side-swiped and reduced to total wreckage, while two freight cars were loftily perched 50 feet in the air, high above the signal tower at the junction of the O. & W. and D. & H. railroads. The engines were a mass of twisted, interlocking labyrinth of steel and iron, with hissing steam adding to the terror of the scene.”[5]

 

Photographer Earl visited the site of the wreck that morning and took pictures of the scene. Some of the pictures were published in the local newspapers. It was later reported that Earl sold over 4,000 photographic views of the disaster.

 

In January 1923 Earl sold the developing part of his photographic business to C. B. Conrow, who “has had considerable experience in the line of developing photos for amateurs in this section and his work is sure to please. His office will be in his home on Maple avenue.”[6]

 

October 27, 1923, Sidney Record

 

“There’s another Sidney business man of three years service in Sidney, who by close attention to work and satisfactory results bids fair to remain many more successful years in this community. We refer to H. C. Earl, Main street artist-photographer. It makes no difference as between night time or day time, his photographic work gives perfect clear and accurate results and at prices within the means of all. Sometimes when too late bitter are the regrets that a photograph was not taken. Don’t get caught that way, leave no regrets in your family but secure the shadow before the substance fades and H. C. Earl is just the man to secure the shadow and send you on your way rejoicing.”

 

October 27, 1923, Sidney Record

 

“Photograph Free. Until Nov. 1st we will give a large portrait (8x10 inches) with every order of $5.00 or more. It is none too early to have your Xmas photographs made. For an appointment Phone 137-w. The Early Studio, Sidney, N.Y. Easel Frames, Colored Pictures.”

 

December 8, 1923, Sidney Record

 

“Greet Your Friends on Xmas Morning with Your Photograph. Have them made now and avoid the rush. For an appointment Phone 137-w. The Earl Studio, Sidney, N.Y. Easel Frames, Colored Pictures.”

 

February 2, 1924, Sidney Record

 

“What is the most interesting age? When the child takes the first step or starts for school? Confirmation or Graduation? To the Mother every stage and age is interesting. Every stage and age in the Child’s Lie may be marked with a Photograph which in after years will prove even more interesting than can now be contemplated. The Earl Studio, Sidney, N.Y. Phone for an Appointment, 137-w.”

 

March 1, 1924, Sidney Record

 

“‘Once there was a little boy’ – so the story book reads, and how rapidly he is growing into manhood. Have you had a really good photograph of him taken recently? Your children have a right to a photograph as they are today. Bring the kiddies to our studio. The Earl Studio, Sidney, N.Y.”

 

May 3, 1925, Sidney Record

 

“Be Photographed On Your Birthday. Surprise the family and your friends. Your photograph will prove the most welcome of gifts – and the most enduring. Nothing gives such complete satisfaction and lasting happiness as a pleasing portrait. The Earl Studio, Sidney, N.Y.”

 

May 13, 1924, Sidney Record

 

“At the H. C. Earl Studio on Main street, may be seen a fine photographic group of the Sidney High School Delta Gamma of 1923, which clearly demonstrates Mr. Earl’s ability as an artist. This framed grouping makes an excellent photographic study, bringing the features of the Delta Gamma Society into clear relief. The framed picture is to be forwarded to the National Historical Department of the D. G. Society.”

 

September 27, 1924, Sidney Record

 

“MacDonald Hose Co. No. 2, Thursday evening, 25th, hope to meet as many friends as possible at their company dance and cordially invite all who possibly can come to do so. These occasions are always most enjoyable. Photographer Earl recently took a fine group picture of the thirty members of the company in uniform, the boys make a sturdy looking band of ‘smoke eaters.’”

 

November 22, 1924, Sidney Record

 

         “H. C. Earl. Photographer. Photographs made anytime, anyplace. Phone 137-w. Sidney, N.Y.”

 

February 21, 1925, Sidney Record

 

         “The Earl Studio. All Kinds of Photographic Work; Picture Framing.”

 

January 31, 1925, Sidney Record

 

“Photographer Earl took some fine views of the T. E. on Mt. Moses, very well worth preserving for future reference.”

 

October 15, 1925, Sidney Enterprise

 

“Photographer Harry C. Earl has returned from a week spent in New York on business and attending the annual meeting of photographers. Artificial lighting was one of the subjects earnestly considered by the convention. Mr. Earl has his studio artificially lighted by the latest methods and can successfully take a picture at any hour of the day or night, regardless of weather conditions, the old-time bogey of the photograph studio.”

 

October 31, 1925, Sidney Record

 

“Your Photograph. The one gift that always pleases. Now is the best time to have your sitting. You are not so busy now and we are not so busy as we will be next month. Better to come in October than to be disappointed in December. A deposit at time of sitting will hold your photograph until Christmas time. Make your appointment today. Phone 137-W. The Earl Studio, Sidney, N.Y.”

 

April 17, 1926, Sidney Record

 

“On the occasion of the banquet sponsored by Mr. Edgar A. Gibson, of this village, together with representatives of the Celotex company, at the Hotel De Cumber, 7th inst., a flashlight was taken of those present by photographer H. C. Earl. Mr. Earl gave a fine example of the thing called “Service.” One-half hour after the flash-light was taken Mr. Earl returned with the mounted photograph delivered picture to Celotex representatives, much to their surprise as well as pleasure.”

 

June 26, 1926, Sidney Record

 

“The Sidney Fire Department, always attentive to duty, next Monday evening, 28th, will renew its regular fire drills. These drills are highly important to prompt service in case of fire. The Department looks well in the new uniforms, consisting of red shirt, blue caps, white trousers. Last Sunday afternoon photographer Earl on the Riverside ball ground, took several very fine photographs of the firemen, one of which will be presented to the Chenango Firemen’s Association, which held a convention Monday night at Brisben, N.Y.”

 

In June 1927 Harry Earl suffered severe injuries as the result of a car accident that took place while driving from Sidney to Syracuse. At first it was feared that Harry would not survive the accident, but the quick actions of his wife and a friend, who were also in the car, as well as the fast response from the ambulance, led to his survival and eventual recovery.

 

“When about two miles out of Syracuse on a road with which Mr. Earl, who was used to driving, was unacquainted, was a sharp turn with a large tree at the side of the road near the center of the curve. Before Mr. Earl could successfully make the turn the car crashed into the tree.

 

Mrs. Earl and Mr. Steinwinter were catapulted through the top of the car and landed in a garden adjoining the highway. Mr. Earl was not so fortunate. He was pinned between the tree and the badly crushed car.

 

Mrs. Earl and Mr. Steinwinter were able to lift the car enough to extricate him. It was seen that he was very badly injured and an ambulance was summoned. This quickly arrived, accompanied by a surgeon, and Mr. and Mrs. Earl and Mr. Steinwinter were removed to the Crouse-Irving hospital.

 

Examination showed that Mr. Earl had received a fractured right arm; the left shoulder blade was broken, his upper jaw bone and nose were fractured and four ribs also broken. He had also sustained a bad cut on one leg, requiring several stitches to close, and his condition was very critical, and but little encouragement as to his recovery has as yet been given by the hospital staff.”[7]

 

Friends and family visited Earl at Syracuse during his recovery. A testimonial signed by 110 people from Sidney was presented to him at the hospital in Syracuse. Within a month Earl was back at the family home on River Street to continue recuperating, and within a few months he was back at work.

 

August 13, 1927, Sidney Record

 

“Photographer H. C. Earl is making gradual but slow recovery from the recent automobile accident in Syracuse but at the same time work continues at the Main street studio with the able assistance of Mrs. Earl and all orders receive immediate attention and friends are urged to reserve their orders for the holidays for the Earl studio and it will be greatly appreciated. Anyone is liable to get a hard rap at any time and nothing helps more than the cheer of friends at such times.”

 

November 3, 1927, Sidney Enterprise

 

“The Delta Gamma sorority of the Sidney school initiated the Halloween season with a Kid Party, held at the Community House last Thursday evening. There was a big attendance of the young ladies, who were clothed as young children. They had a very pleasant evening which was concluded by Photographer Harry Earl taking a picture of the party, in their cute little costumes.”

 

October 16, 1930, Sidney Enterprise

 

“Free! 1 8x10 Photograph With Every Dozen Pictures Until November 1st. You are not as busy – we are not as busy – as we will be later. STOP in now and make your appointment for a sitting and “Avoid the Holiday Rush.” The Earl Studio, Phone 137-W, Sidney, N.Y.”

 

November 30, 1933, Sidney Enterprise

 

“Christmas Special. Six 5x7 Photographs mounted in attractive folders for $5.00. This special is not good after December 9th. Make your appointment early! The Earl Studio, Phone 69-J, Sidney, New York.”

 

In 1930 Earl attended the prestigious National Photographers School at Winona Lake, Indiana. The school, which had enrolled 85 photographers that year, included students from all over the United States. Operated by the Professional Photographers of America (PPA), the officially named Winona International School of Professional Photography held summer classes at Winona Lake each year from 1921 to 1984, when it moved to a new campus at Mount Prospect, Illinois. In 1994 the school moved again, this time to Atlanta, Georgia.

 

In 1937 Earl sold his portrait studio and equipment to the partnership of Henderson and Young, “two Syracuse men who come to Sidney highly recommended as expert photographers.”[8] Within a year, newspaper advertisements showed the business being operated only by Henderson, under the name of the Henderson Studio.

 

After selling his studio, Earl went to work as the official photographer for the Scintilla Magneto Division of the Bendix Aviation Corporation. Earl had previous experience with the company, having “made the photographs for the first manual of magnetos in 1925 when Scintilla was still under the ownership of Brown-Boveri Company.”[9]

 

The Scintilla Division had relocated from New York City to Sidney in the mid-1920s with approximately 15 employees. The company rapidly grew in size, employing over 4,000 people by 1942, and 8,600 people during the boom years of World War II. Today, the company, after many mergers and corporate takeovers, continues to operate at Sidney as the Amphenol Aerospace Company.

 

As part of the 1939 World’s Fair held at Queens, New York, Delaware County was to be represented in the New York State building through a photo mural exhibit of the region, including exhibits representing the industrial and agricultural life of the county and its historical background. Earl’s photographic work was included among the 26 pictures chosen to represent Delaware County.

 

While working at the Scintilla Magneto Division, Earl served as the plant photographer for The Scintillator, the company publication. The Scintillator was first published in 1943 and was mailed monthly to the homes of more than 4,600 Scintilla employees. There was also an outside mailing to business people in the community and other industrial manufacturers. In 1953 The Scintillator won a national award as determined by the American Association of Industrial Editors. The focus of the award was to encourage plant publications to promote a register and vote campaign.

 

Harry C. Earl retired from the Scintilla Magneto Division on September 30, 1954 after 17 1/2 years of service, and after a combined 45 years of working as a portrait and commercial photographer.

 

Legacy

 

Harry C. Earl had a long and distinguished career as a photographer, which included 34 years at the village of Sidney. Through his popular studio, he photographed thousands of residents of the village and the surrounding region between 1921 and 1937. He then worked at a critically important business, the Scintilla Magneto Division, as it supported World War II on the home front through its production of highly regarded aviation and military products.

 

Harry C. Earl passed away after a long illness at 65 years of age, only months after his retirement. He died at the hospital in Sidney on Monday, November 15, 1954. Funeral services were held on November 18, 1954 at the C. H. Landers Chapel, with Reverend Roger B. Glazier, pastor of the Methodist Church, officiating. Earl, along with his wife, his parents, his grandparents and several other family members, is buried at Sand Hill Cemetery in Unadilla, New York.

 

[1] “Mrs. Fred Earl.” Sidney Enterprise (Sidney, New York). April 22, 1937.

[2] “Lavern T. Earl.” Sidney Enterprise (Sidney, New York). May 14, 1925.

[3] “Pinned Between Tree and His Badly Smashed Auto.” Sidney Enterprise (Sidney, New York). June 16, 1927.

[4] “New Photographer.” Sidney Record (Sidney, New York). February 23, 1921.

[5] “D. & H. Trains Crash in the Sidney Yard.” Sidney Record (Sidney, New York). October 21, 1922.

[6] “Amateur Work.” Sidney Enterprise (Sidney, New York). January 10, 1923.

[7] “Pinned Between Tree and His Badly Smashed Auto.” Sidney Enterprise (Sidney, New York). June 16, 1927.

[8] “Local Photographer Enters Magneto Plant.” Sidney Enterprise (Sidney, New York). March 4, 1937.

[9] “Funeral Thursday for Harry Earl.” Sidney Record – Enterprise (Sidney, New York). November 18, 1954.

 

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[email protected] (American Catskills) business Catskill Mountains Catskills Delaware County H. C. Earl Harry C. Earl Harry Charles Earl New photographer photographs photography pictures portraits Scintilla Magneto Division Sidney The Scintillator York" https://www.americancatskills.com/blog/2023/8/harry-c-earl-sidney-new-york-photographer Sat, 19 Aug 2023 12:00:00 GMT
B. E. Pudney – Sidney, New York Postcard Publisher https://www.americancatskills.com/blog/2023/8/b-e-pudney-sidney-new-york-postcard-publisher Introduction

 

B. E. Pudney was a prolific publisher of postcards depicting the scenes of Delaware County, New York and the surrounding region. Located at the village of Sidney, he was also a well-known businessman, at times operating a clothing store, a bicycle shop, a stationery store, an automobile garage and a famous music store.

 

Main Street, looking North, Sidney, N.Y.Main Street, looking North, Sidney, N.Y. Main Street, looking North, Sidney, N.Y. Author's collection.

 

Biography

 

Herbert Eugene Pudney, more commonly known as Bert or B. E., was born on February 24, 1868 at Sherburne, Chenango County, New York. He was the son of Denison E. Pudney (1823-1907) and Betsey Cordelia (Cole) Pudney (1825-1913).

 

According to the family genealogy, the Pudney family in the United States can be traced back to John Pudney (c. 1636-1712), who resided at Salem, Massachusetts in 1662.[1],[2] He married Judith Cooke (b. 1643), daughter of Henry Cooke, on November 18, 1662 at Salem. John Pudney worked as a husbandman, or farmer, and eventually acquired, according to his will, a house, farm, orchard and about forty acres of land, which he then left to his son Jonathan Pudney, of Salem.[3] The surname Pudney, or Putney in earlier days, can be traced even further back to the parish of Putney in the County of Surrey, England.

 

Denison E. Pudney, B. E.’s father, was first married to Frances E. Royce on September 8, 1847. She passed away at Sherburne on December 7, 1853 and is buried at Sherburne Quarter Cemetery in Sherburne, Chenango County, New York.

 

Denison and Betsey were married several years later on March 4, 1857 at Butternuts, Oswego County, New York. Denison worked as a farmer in Sherburne. Betsey was born on March 4, 1825 at Gilbertsville, New York. Her father, Richard Cole, was one of the pioneer settlers of Otsego County. On her mother’s side, she was descendant of soldiers of the American Revolution, for which “she was proud and often referred to it in her later life.”[4] She was a resident of Sherburne for 52 years. She passed away at Manchester, Connecticut on August 6, 1913. Both Denison and Betsey are buried at Sherburne Quarter Cemetery in Sherburne, Chenango County, New York.

 

The 1870 United States census listed 2-year-old Herbert living in the household of his parents Denison and Cordelia B. at Sherburne in Chenango County, New York. Also listed as living in the household were Herbert’s siblings, Walter, Emma, William, Frank and his twin-brother Herman. Denison was listed with an occupation of farmer and 17-year-old Walter was listed with an occupation of farm laborer.

 

The 1880 United States census listed 12-year-old Herbert living with his parents Denison and Cordelia in Sherburne in Chenango County, New York. Also living in the household were Herbert’s siblings, William, Frank, and Herman. Denison was listed with an occupation of farmer, while Herbert and Herman were listed “at school.”

 

Getting an early start in the business world, Pudney began his work in the mercantile industry as a clerk in 1884 at the young age of 16. By the late 1880s Pudney was operating as a clothing dealer on the Exchange Block at the village of Oxford in Chenango County, New York. The business, called Pudney & Brooksbank, was operated in partnership with Robert Brooksbank. This partnership only lasted a short time, and was dissolved in 1891. However, the business continued to operate as Brooksbank & Son.

 

Pudney then quickly established in 1891 the firm of Pudney and Freeman, in partnership with Edmund B. Freeman, who “is an active business man, well known in Sherburne and vicinity.” The business, located at Oxford, was also known as The Corner Store. Pudney and Freeman also opened a branch clothing store at Gilbertsville in 1891.

 

Pudney & FreemanPudney & FreemanSidney Record. November 25, 1893.

"Pudney & Freeman, Bennett Block, Sidney, N. Y.

The greatest bargain givers in central New York. Every article a bargain. Every article a prize. Every article at one price to all and that the lowest.

With every Thirty Dollars purchases of us we will give Shepp's Photographs of the World.

Pudney & Freeman are the leading Clothiers in central New York."

Sidney Record. November 25, 1893.

 

On September 1, 1893 the Pudney and Freeman partnership opened a new branch store at the village of Sidney, Delaware County, New York. It was reported that the partnership had taken a three-year lease of the large store on the north side of the Bennett block. With the store opening, Pudney and Freeman intended “ to carry a stock of goods that will draw customers from a large radius of territory . . . The firm is blessed with a good block of capital and along with it they have push and energy. They will sell the best grade of goods at very low prices, and by fair dealing they will endeavor to win a share of patronage from our village people as well as those of the surrounding county.”[5] The partnership was dissolved after a few years as of April 1, 1895.

 

After the dissolution of the Pudney and Freeman partnership, Pudney then quickly went into business for himself at Sidney, continuing to operate a clothing and shoe store. During the 1890s Pudney, who was an avid cyclist, also began selling bicycles, specializing in the sales of Victor bicycles, a product of the pioneering Overman Wheel Company of Chicopee Falls, Massachusetts. Pudney was the exclusive agent for the Overman company for Otsego, Delaware and Chenango counties. He would open additional bicycle shops at Edmeston in 1900 and in the Peck building at Gilbertsville in 1901.

 

In 1894 Pudney was one of 23 charter members who established the Sidney Cycle Club. Arthur Bird was selected president of the club, Miss Lottie Johnson as Vice President and Pudney as Captain.

 

Pudney and his wife were considered to be among the best cyclists in the region. In 1894 the Pudney’s “rode on their wheels to Oneonta last Monday, returning the same day, – a distance of 45 miles, heavy roads and big head winds.”[6] In 1895 they rode from Sidney to Cooperstown, a distance of 45 miles, in six hours. They also rode from Sidney to Albany, a distance of 104 miles, in 15 hours. The Sidney Record also wrote of their notable long-distance ride to the Adirondacks.

 

“Bicycle riders who ride 75 miles per day for four consecutive days are few in the land. We refer to those of the male persuasion, and when this can be said of a lady rider, it is a record worth noting. Mrs. B. E. Pudney and her husband took a trip together to the Adirondacks some time ago. The distance from Sidney is 300 miles, and the trip was made in four days, some of the roads in the northern part of the State being the worse that the sun ever shone upon.”[7]

 

Sarah, Bert’s wife, “who by the way owns the handsomest lady bicycle in town, enjoys the reputation of being one of the best long distance riders in the State. Mrs. Pudney is a graceful rider and will readily cover a distance of 75 miles in one day.”[8]

 

Pudney received “his first Victor at a cost of $122.50; weight forty-four pounds. It had two-inch pneumatic tires, which were not guaranteed and were recommended only as an experiment.” Annual sales increased steadily over the next decade, with Pudney selling 8 bicycles in 1890; 14 in 1891; 26 in 1892; 44 in 1893; 60 in 1894; 80 in 1895; 105 in 1896; 128 in 1897; 144 in 1898; and 160 in 1899. By 1900 the Overman Wheel Company was out of business due to increased competition and the financial impact of a devastating fire that did much damage to the company’s manufacturing plant the year prior.

 

Pudney the Cycler, Sidney, New YorkPudney the Cycler, Sidney, New YorkSidney Record. May 1, 1897.

Sidney Record. May 1, 1897.

 

In describing his early bicycle business, “Mr. Pudney points out that the actual amount of cash received does not increase from year to year to any considerable extent. In other words, the decrease in prices about keeps pace with the increase in sales. Were it not for the sale of accessories he believes that selling bicycles alone would not pay store rent. He believes that no man can conduct a profitable business without repairing, renting, exchanging and selling supplies.”[9]

 

As part of promoting his business Pudney would sponsor bicycle races in the region. One such race in 1899 followed a course from the starting line at the Unadilla House to the finish line at the fountain in Sidney. The course was about 4 1/2 miles and was covered in about 14 minutes, 15 seconds. First prize, a diamond pin, was won by Frank French, of Sidney; second prize, bicycle sundries, was won by Homer Travis, of Sidney; and third prize, bicycle sundries, was won by E. J. Pratt.

 

Pudney served as the manager and trainer of the Barnes Racing Team, which utilized bikes from the Barnes Cycle Company of Syracuse, New York. In 1897 “a splendid picture” of the Barnes Racing Team was engraved and published in an issue of the Barnes White Flyer Tips, a publication with a circulation of 1,000,000 copies.

 

With his far-reaching reputation as a bicycle dealer and enthusiast, Pudney was visited in 1907 by “the world famous bicycle long distance rider, Fred J. Titus, of Middletown, Ohio.” “Mr. Titus holds a record of 27 miles in 60 minutes, and has also covered a distance of 10 miles in 20 minutes and 58 seconds. He came to Sidney to see Mr. Pudney, the leading bicycle dealer about here, who gave him a handsome order for racycles of the Miami model. Go down on our fair association track next summer and you will see Miami lightning describing circles around the race course at a John R. Gentry gait.”[10]

 

In 1899 the Sidney Record wrote that “We take pleasure in recommending Mr. Pudney as the leading bicycle dealer of this section of the state. He sold in 1898, 160 bicycles. He will sell at both retail and wholesale, bicycles and sundries. In the rear of the store he has a finely equipped repair shop.”[11]

 

In a separate issue the Sidney Record wrote more extensively about Pudney’s bicycle operations.

 

“Bert E. Pudney. While it may with truth be asserted that there is nothing new under the sun, and while upon the other hand it is held that the most modern convenience known as the bicycle, in its origin can be traced to antiquity, it is equally true that for perfection in this machine the public must look to today. And for a perfect wheel, it is necessary to go to Bert E. Pudney who occupies commodious premises in the Sidney house block and carries a large stock of the highest grade bicycles, those which have gained great popularity among all riders, such wheels as the cyclist terms perfection. Mr. Pudney also deals in cycle accessories, tools and supplies.

 

The rear of the store is equipped for repairing, enameling, brazing and vulcanizing. The business is both wholesale and retail and the advantages of cash or installment payments are put forth to customers.

 

Mr. Pudney has been identified with this business for 9 years and is energetic and ambitious to make his business the largest of its kind in this section. And the manner in which he is now working foreshadows the result he aims to attain. In addition to his bicycle interest he also carries on a general merchant tailoring business. Mr. Pudney is an enthusiastic cyclist, he is popular among his customers and adheres to the rule of commercial probity.”[12]

 

During his time in the bicycle business Pudney described himself as “a cycle dealer . . . [who enjoyed] the rush of a hustling cycle trade, selling, exchanging, renting and repairing, [taking] pleasure in washing the black oil of the cycle bearings off his hands with the use of gasoline and a slight touch of soap . . .” In the early 1900s Pudney exited the bicycle industry, selling off his entire remaining stock of bicycles and sundries.

 

Over the years Pudney expanded his business beyond just clothing and bicycles. In 1901 Pudney purchased the extensive stationery and newspaper business of Albert Birdsall at Sidney. He also bought out Harry Gross and acquired the exclusive agency to sell the “celebrated pianos” of the Babcock Brothers. That same year he would also open a piano and music store that sold just about anything related to music including phonographs, records, musical instruments, sheet music and much more. Expanding yet again, store products included stationery, school supplies, books, post cards, sporting goods, fishing equipment, shot guns and rifles, sewing machines and artists’ materials.

 

In response to his many businesses the Sidney Record wrote in 1901 that “B. E. Pudney has enough irons in the fire to keep him busy twenty-three hours out of twenty-four . . . Mr. Pudney deserves to succeed.”[13] His varied businesses took on the long name of the Sidney News Company, Cycle and Music Store.

 

On May 1, 1906 Pudney opened a branch music store at the village of Delhi. He purchased the Edison Phonograph stock and business of W. E. Finch, and advertised that he would carry a full line of Edison Phonograph goods at his new store. In September 1906 Pudney also bought the Stanley newspaper sale business at Delhi.

 

In October, 1908, “our enterprising, hustling merchant, B. E. Pudney, this week, purchased of J. E. Harper, (his leading competitor,) his entire stock of Edison phonograph records, books and postcards. This move on Mr. Pudney’s part at once places his Delhi business clearly in the lead.”[14] In 1910 Pudney would sell his Delhi music store, including stock of phonographs, records, music, books, cards and stationery to Carl D. Williams.

 

Pudney published a popular series of postcards that depicted the regional scenes in and around Sidney, New York. The postcards are still generally available today on various internet web sites. Within the “Historic Catskills Photographers” section of this website you can view a small sample of his work.

 

Photograph titled "Masonville, N.Y., View N. W. From South Road" by B. E. Pudney.Masonville, N.Y., View N. W. From South RoadPhotographer: B. E. Pudney, Sidney, New York Masonville, N.Y., View N. W. From South Road. Author's collection.

 

New Iron Bridge, Sidney, N.Y.New Iron Bridge, Sidney, N.Y.Photographer: B. E. Pudney, Sidney, New York New Iron Bridge, Sidney, N.Y. Author's collection.

 

County House, Delhi, N.Y.County House, Delhi, N.Y.Photographer: B. E. Pudney, Sidney, New York County House, Delhi, N.Y. Author's collection.

 

Mill Dam and Falls, East Sidney, N.Y.Mill Dam and Falls, East Sidney, N.Y.Photographer: B. E. Pudney, Sidney, New York Mill Dam and Falls, East Sidney, N.Y. Author's collection.

 

By 1906 Pudney’s post card business was thriving. “B. E. Pudney is making considerable stir among the Post Card dealers, as carrying both in Delhi and Sidney Music stores the largest and finest stocks in this State. The cards are the best that can be bought and are sold at popular prices. Nearly all are of the famous German gelatine photo work.”[15] By November 1906 Pudney advertised of “34,000 new views of Sidney just received at the Sidney Music Store. Mr. Pudney now has over 100 different views of Sidney. Theses cards are going over the whole world telling of our beautiful village, advantages, etc.”[16]

 

In 1907 the local newspaper noted that “very nice postal cards, with views of Floral Park, cor. River and Grand, can be obtained at Pudney’s. These excellent views are well worth preserving, especially when one considers the vast improvement which the park represents.”[17]

 

Showing the popularity of postcards in the early 1900s, it was reported in the local paper in 1908 that Pudney had ordered 140,000 postal cards of local views. Of the 140,000 cards, 23,000 were of Sidney views, 7,000 of East Sidney and 5,000 of Masonville. The cards were to be manufactured in Leipsic, Germany. In 1909 the local newspaper noted Pudney’s “post card department with stocks invoicing $2,000.00 in Delhi and Sidney stores, the most of which are local views. All are able to fine in the many card racks a choice that for variety excels.”[18]

 

In 1908 Pudney’s store had in stock “over 10,000 Christmas and New Year’s cards that he sells at one cent each, or 90 cts per 100. His holiday offerings are very attractive in all specialties. Mr. Pudney is very liberal and prompt in his dealings and has established a fine business upon a permanent basis.”[19]

 

In 1908 Pudney advertised the sale of postcards for 3 cents each, or two for 5 cents. A December 1908 sale offered Christmas and New Year’s cards for one cent each, or 90 cents per 100. In 1909 Pudney added new postcards with local views that were taken by Sidney photographer C. H. Phelps; these postcards were sold for two for 5 cents. By 1913, as the postcard craze was fading, Pudney advertised that postcards were selling for 5 cents per dozen.

 

In 1909, “B. E. Pudney moved his store, after fourteen years of occupancy of the Sidney house block, to the business center of Main Street, where, in a brick block with a large piano and music department connected by two arches with the main store, he is able to display all the goods in different departments, each to good advantage. News department, post cards, books, stationery, sporting goods, phonographs, music, pianos and organs. In each department Mr. Pudney has tried and is trying for the mutual benefit of all to excel. To a great extent his stores now surpass anything in greater New York.”[20]

 

The 1910 United States census listed the widowed, 42-year-old Pudney as living in the village of Sidney in Delaware County, New York. Pudney was listed with an occupation of “Retail merchant, stationery and books.” Around this time, for a few years, Pudney also operated a branch music store at the village at Delhi. He later operated a branch store at Oneonta for a few years.

 

In 1911 Pudney partnered with George Webb to open an automobile garage at the village of Sidney. The garage, to be managed by Webb, was located in a building behind Pudney’s Main Street music store. They opened a sales room between the Yager and Spencer blocks of Sidney for the purpose of exhibiting cars and auto supplies. This portion of the operation was to be managed by Pudney.[21]

 

The following year, in 1912, Pudney “closed one of the largest automobile contracts ever made in this section for a large portion of Delaware, Chenango and Otsego counties for the “Elmore.” This is important to those wishing automobiles, as this car being exclusive in the use of a valveless motor, having less wearing parts than any other engine, speaks for itself. That Mr. Pudney, after spending months in investigating automobiles should have decided and secured the “Elmore” is a matter of congratulation. This will help to put Sidney on the map as a center for automobiles, supplies, etc.”[22] Pudney’s automobile business likely did not last long as it was reported that the garage was rented to another party by the summer of 1913.

 

In 1914, after 14 years of ownership, Pudney sold his interests in the book, stationery and sporting goods portions of his store to J. H. Rushton, a former bookkeeper with the Sidney Novelty corporation. Pudney retained the rights to the music portion of the business, which he continued to operate. In addition to the main location at Sidney, a 1916 advertisement noted that Pudney was operating branch locations at New Berlin, Milford, Delhi, Owego, Oneonta and Earlville.

 

Pudney actively supported his country during World War 1. Locally, “he has taken an active part in Sidney’s patriotic efforts being a member of the local military company and on various committees in war activities and an energetic worker in every instance.”[23] Between January and June 1918 he gave 175 different speeches to the public on various war issues. One 1917 newspaper article even affectionately referred to Pudney as “Sidney’s Four-Minute-Man” for his talks on thrift stamps and war saving certificates.

 

While beyond the age of service for the Army, Pudney also volunteered for the U.S. Army Y. M. C. A. service. He served at Camp Dix, New Jersey, on transport ships between the United States and France, and overseas in Europe for approximately six months from January to June 1919. He made several cross-Atlantic trips to Europe. While overseas, he traveled through the battlefields and the ruined cities of northern France.

 

B. E. Pudney, Oath of AllegianceB. E. Pudney, Oath of AllegianceB. E. Pudney's passport application in 1919. Oath of Allegiance, Bert E. Pudney, U. S. Passport Application, 1919.

 

Due to his service Pudney closed out all his store branch locations by the end of 1918, leaving only the Sidney store in operation. The Earlville location closed in July; New Berlin closed in August; and the Delhi and Oneonta locations closed in September. The Milford and Owego locations were closed before December, 1918. His wife ran the remaining Sidney store while he was overseas.

 

E. F. Van Horne, Pudney’s direct supervisor while at Camp Dix, offered generous praise about his service.

 

“The first few months of his [Pudney] service were under my direct supervision, and as an educational worker I had none on my staff during my more than two years of service who did a better or more far-reaching piece of work than Mr. Pudney. He was at all times indefatigable in his efforts to promote the program as set forth by those in charge of the Educational Department. His main idea and controlling motive, as I observed his work, was, “Help the Boys.” He made friends of all he met and all liked him. At all times he was courteous and pleasant, and his cheerful “Good morning” made the day brighter for many a homesick boy, and his kindly “Good night” helped them to bed with lighter hearts. His smile was contagious and there was no place for gloom in his presence, and he smiled at times when it was hard to smile. Mr. Pudney never failed to receive most generous and heartfelt applause when he addressed the boys – a thing that many renowned speakers failed to receive.”[24]

 

Chaplain Paul J. A. Leduc also commended Pudney for his efforts on the U. S. S. Montana, an armored cruiser of the United States Navy. During World War I the U. S. S. Montana served as a convoy escort, and after the war had ended, the ship was repurposed to serve as a transport ship, taking American soldiers back home from the battlefields of Europe. The U. S. S. Montana made six round-trips to and from Europe, returning 8,800 American soldiers home.

 

“Gentlemen: When your representative, Overseas Secretary Bert Pudney, went down the gang plank of this vessel he carried with him the esteem and the love of all on board.

 

Mr. Pudney was not only a hard, willing worker, he was also a good cheerful shipmate. We all regretted to lose him and now that he is gone we want to express to his superiors our great appreciation for the work he performed here among us.

 

As a Chaplain, I am greatly indebted to Mr. Pudney for his kind assistance in helping me to put across my religious and morale work.

 

The “Y” has done the most possible for the officers and men of this vessel. Renewing the expression of our gratitude and thanking you in particular for what you did in the days when I was alone to do all the welfare work, I remain

 

Gratefully yours, Paul J. A. Leduc.” [25]

 

Upon his return from Europe, Pudney lectured on his experiences in various churches and nearby towns. He later wrote in the South New Berlin Bee about how his time in Europe taught him the need for perseverance.

 

“Carry On. On the battle fields of the world’s war, as the soldiers of England were dying, their last message to their comrades was Carry On. So to us there is a message left, Carry On. Sickness, sorrow, death, comes among us. A message is left as a force, a heritage that calls out to us. Take from the best we have left and with it Carry On. B. E. Pudney.”[26]

 

Pudney authored in 1919 a lengthy opinion article titled “Autocracy’s Guilt” as part of an advertisement for his business. The article provides some valuable insight as to Pudney’s thoughts on business, capitalism and politics.

 

“Visit European battlefields and devastated cities. Look upon beautiful landscapes caused by the God of War. Here and there great cemeteries stand by the side of the graves of those that you once knew in your homeland.

 

Realize deeply that all of this was caused directly through military power in Germany becoming Autocratic, domineering, absolutely selfish. For half a century the German people had become subservient to the military, when it was utterly crushed. The people’s will had been enslaved to their great War God and Kaiser. Then other fields must be theirs over in the battlefields of Europe and defeat. It took four years to crush this Autocracy. Right conquered, as it always and ever will.

 

Hew to the line and let the chips fall where they will. Autocracy of wealth and capitalism have learned their lesson and they know full well that their power and influence is subservient to the government and the people for the good of all. That profiteer who alone and in combines attempts or succeeds in cornering food and necessities of life is an autocrat and those who help him to finance it as capitalists are traitors to a people, and should be and they are treated as criminals.

 

All efforts of autocratic capitalist wealth to increase their wealth in this way should be met and stopped. When the capitalists or a stock bond holder attempts to make unreasonable profit by using his power to hold back labor from its honest due, then he has started an autocracy that must be met and made to yield to the good of all, all else advancing yet six per cent in the legal interest rate. On approved security there is millions to loan. Sugar would have been twenty-five cents per pound, flour would have been twenty-five dollars a barrel. Who held this down? Uncle Sam. No autocracy of wealth can exist with us, for Uncle Sam is awake on his job.

 

Autocracy organized labor, for years holding sway in our land, for years has had the sympathy and confidence of American people. When our nation was forced into war and in her greatest stress, in a crisis as it were, organized labor issued from its central stronghold an ultimatum to Congress and President that unless certain papers and bills were signed at 10:00 a.m. on a certain date, the wages highest in our history, hours of day’s labor the shortest.

 

When all Europe’s world was in danger of Autocracy of Germany’s military, we ourselves became slaves of German powers, they would stop every railroad, every factory and every dock and every ship as far as possible. For a moment in its crisis our Congress and President weakened – the bill was signed. Never again. This was Autocracy of the most dreaded kind. Four million members of labor unions throughout the United States became discredited by it. Because of this unreasonable spirit of demand or we strike, collective bargaining of bodies of men to be controlled by leaders who can do with them as majority wishes, practically making slaves of the minority, must become illegal and unlawful.

 

Uncle Sam may have been held up for the moment, but Uncle Sam is now awake. No autocracy of wealth, however combined, no autocracy of organized labor, is to tell him where he can get off or get on. All must succeed to exist for the common good or go down to defeat, same as Germany’s autocracy military has, the same as all autocracy. Turn back the scroll of history, my reader, and from the world’s beginning learn thereby that disaster comes to all who for selfish personal reasons start out to take from others that which belongs to them.

 

The writer wants success to come to labor and capital alike when they are in the right, on the other hand, just punishment and defeat when either or both are in the wrong.

 

After the great Roosevelt was elected President of the U. S., he was invited to a banquet by certain labor organizations. One of the speakers said now the doors of the White House will swing open easier for us. Immediately Roosevelt was on his feet, exclaiming “Yes, but just as easy for the capitalists.” There should be no distinction. The laborer is a capitalist. Neither gets more out of life than the other. Hand in hand they must go, realizing this, that they exist for the common good of all; that labor unions’ membership totals only four million, so-called capitalists much less; that Uncle Sam clothes and feeds over a hundred and ten million of his own people, as well as other millions. Prosperity of the richest and best kind is ours and the great middle classes, which represent over a hundred million, will have the final say in this grand republic of ours.

 

The best in capitalistic forces, the best in organized labor, will come to the front and clean out the radical elements and stand with a firm determination for our national welfare. Their very existence as organized forces depend on it.

 

Yours, B. E. Pudney.”[27]

 

In 1919 Pudney helped establish an Employment Bureau at the village of Sidney. The bureau was available to every line of work, including farmer, factory, mercantile, railroad, housekeepers and professions. The expense was limited to 50 cents for each person seeking a position that submitted an application, and another 50 cents for each person from anyone who hired a job applicant. Within a week it was reported that the employment bureau “has started off with a good rush.”

 

The 1920 United States census listed Pudney as living with his wife Katherine at the village of Sidney in Delaware County, New York. Also in the household was Bert’s 5-year-old daughter Louise and his 2-year-old daughter Katherine. Pudney’s occupation as a “Merchant, retail music store.”

 

Business at this time, following the World War 1 years, was growing rapidly for Pudney. In one January 1921 advertisement he noted sales of $28,000 in 1919 and $66,000 in 1920, while setting a goal for $100,000 in 1921.

 

B. E. Pudney's Piano & Music Store, Sidney, N.Y.B. E. Pudney's Piano & Music Store, Sidney, N.Y.

B. E. Pudney's Piano & Music Store, Sidney, N.Y. Author's collection.

 

In 1922 The Morris Chronicle carried an amusing anecdote about Pudney, with a well-known reputation as a salesman, having seen a beautiful buck deer.

 

“Saw a Buck Deer. Wednesday morning the 23d inst., B. E. Pudney, while driving his Brockway truck on the state road near the Sackett farm, between East Guilford and Rockdale, at about ten o’clock saw an unusual and beautiful sight.

 

It goes without saying that B. E. P. clapped on the brakes to take in the show. Coming across the Sackett River flat was seen a splendid full grown buck, with large branching antlers. It was a pretty stunt to see how easily and gracefully the big fellow cleared the fences. No guns, no dogs after him, he was in no hurry, cool as a sliced cucumber on ice.

 

Ex-mayor Pudney was so thrilled in admiration that he didn’t even try to sell him a phonograph.”

 

During the 1920s Pudney, in addition to his commercial interests, began to offer lectures to the public on a variety of topics. One “of his famous lectures” was titled “Something Hidden, Go and Find It.” Another popular lecture was known as the “Three Links,” in reference to the concept of “friendship, love and truth” of the Odd Fellows, an organization that Pudney was a member of. Pudney was “a noted speaker and needs no introduction, as he has spoken in several nearby towns. Do no fail to hear him.”[28]

 

In 1928 Pudney’s music store, that had been located at 40 Main Street in Sidney for the prior 12 years, moved to the Melnick block on Division Street.

 

In 1928 “ex-mayor B. E. Pudney of Sidney has accepted an appointment to the Republican Publicity bureau, tendered by the New York State Republican committee. Mr. Pudney will be assigned to the field work following the State convention to be held in Syracuse, 28th inst.”[29]

 

Despite operating a successful business for nearly 40 years, by 1929 Pudney faced numerous financial challenges, and was forced to declare bankruptcy. The bankruptcy petition, filed at federal court in Utica, listed Pudney with $25,971 in liabilities and $13,534 in assets, including $6,000 in real estate and $7,534 in contracts with various customers in many villages. The federal court, in a finding by Judge Frank Cooper of Albany, determined that Pudney had conformed with the bankruptcy law and was therefore entitled to a clean financial slate and a new start, free from debt.

 

In 1930 United States census listed Pudney living with his family at the village of Sidney in Delaware County. Also listed in the household was Bert’s wife Katherine A., his two daughters, Louise and Katherine E., and his son Clinton. Despite his prior bankruptcy, Pudney’s occupation was listed as “Retail merchant, music store.”

 

By late 1931 Pudney was beginning the process of closing out his business, taking the “opportunity as a Sidney merchant, to thank his many customers and friends who, for 38 years, have been faithful and helpful during his association with them.” [30] In July 1932 an auction was held to sell off all the remaining stock of the Pudney’s store. That same month, upon completion of the auction, the local newspaper noted that Pudney “has closed out his store business in that village [Sidney] and for the first time in over forty years is not carrying a store key in his pocket.”

 

Throughout his career Pudney was an avid believer in the value of marketing. His advertisements could be found in local newspapers on a weekly basis. At one point he boasted of advertising in between 14 to 25 different newspapers at the same time. He routinely sponsored free band and orchestra concerts in front of his store, at the Congregational church or in some of regional villages. He gave away records with the purchase of a phonograph. He accepted, at 100 cents on the dollar, Liberty Loan Bonds that were issued in support of World War I. For several years, in order to promote his line of sporting goods, he sponsored a fishing contest with cash prizes for the largest catch and the largest trout.

 

Pudney's New Piano and Music StorePudney's New Piano and Music StoreThe Otsego Journal. April 30, 1914.

Pudney's New Piano and Music Store of Sidney, N.Y. The Otsego Journal. April 20, 1914.

 

In one notable marketing event on August 5, 1920 Pudney made arrangements to fly over the villages of Guilford, Oxford, Norwich, North Norwich, Sherburne, New Berlin, South New Berlin, Mt. Upton, Rockdale, Sidney and more. At each location, from an elevation of 3,000 feet, he dropped a flag, and any person returning the flag to Pudney’s store would be entitled to $10 credit towards the purchase of a phonograph, piano or sewing machine. In total Pudney dropped 16 flags over 80 miles of flying in 75 minutes.

 

Earlier in his career, in order to promote his line of bicycles, Pudney conducted a popular guessing contest at the village of Edmeston. Pudney placed a large number of beans, shot and pins within a sealed glass can. For 5 cents per guess, anyone who guessed the correct number of items in the glass can would win a Pennant bicycle. One person spent close to $10 in trying to win. In the end, there were 3,694 items in the can, with the winner, F. H. France of Cobleskill, coming closest with a guess of 3,697.

 

Pudney was married twice, with his first marriage being to Sarah De Etta Stratton. She was born in Smithville on August 4, 1865, the daughter of Thomas and Ruth Stratton. She passed away suddenly in 1907 and is buried at Riverview Cemetery in Oxford, New York. Upon her passing the local newspaper wrote a glowing tribute to her.

 

“Mrs. Pudney had many warm friends, who admired her untiring energy, her cheerfulness in a ceaseless routine of work, at the store as well as at home. In her daily affairs she came in contact with large numbers of people and commanded the friendship and respect of them all.

 

. . . It is difficult to pay a fitting tribute to the memory of one so worthy; one whose every day life was embellished by the best attributes of womanhood. She ran the journey of her life in forty-two years. It was a path marked with deeds of kindness and cheer. Flowers, not thorns; sunshine, not shadow, she scattered about her. Truth was the inspiration of her life and by kindness she exemplified its great worth.”[31]

 

Pudney remarried on October 24, 1912 to Katherine A. Bennett, daughter of Marvin Bennett and Josephine L. (Hammond) Bennett. The ceremony took place at Church of the Transfiguration, more well known as the “Little Church Around the Corner.” For the five years prior to their marriage Katherine had worked as a school teacher in New York City. Katherine passed away in 1984 and is buried at Prospect Hill Cemetery in Sidney, New York.

 

Clinton L. Pudney, Bert’s son, was killed on June 16, 1943 during a training flight while serving with the Royal Canadian Air Force in World War II. Pudney had been awarded the George Cross for his actions earlier that year, in January, for heroism during a previous training action. The award citation reads: “While engaged on a practice flight, the Halifax aircraft in which Sergt. Pudney was flying as a mid-upper gunner struck high ground, crashed and burst into flames. Three members of the crew were killed, and the others, with the exception of Sergt. Pudney, were too severely injured to extricate themselves from the burning wreckage. Though suffering from severe lacerations on his face, and in spite of loss of blood and shock, Sergt. Pudney entered the blazing aircraft several times, and finally succeeded in bringing all his companions out. He then struggled over rough moorland for two miles to obtain help.”

 

Katherine (Pudney) Thomas, Bert’s daughter, was born on October 10, 1917 at Sidney, New York. Katherine earned a nursing degree from the University of Buffalo, New York in 1941 and later earned her master’s degree in education from the University of Cincinnati in 1966. She worked as an instructor at the St. Francis School of Practical Nursing for ten years and later became a nursing instructor at the College of Nursing and Health at the University of Cincinnati. Katherine retired from the University of Cincinnati in 1980, but continued to work as an advocate for the American Diabetes Association and remained active with St. James Episcopal Church in Cincinnati. She married Everett A. Thomas in 1942. Everett worked as a ceramic engineer. Katherine passed away at 94 years of age on November 11, 2011. She is buried at Spring Grove Cemetery in Cincinnati, Ohio.

 

Emily Louise (Pudney) Day, Bert’s daughter, was a graduate of Sidney High School and passed the New York state nursing board examinations in 1936. She began her career at Wilson Memorial Hospital in Johnson City, New York. She later worked as a registered nurse for many years at the Jersey Shore University Medical Center in Neptune, New Jersey. She retired in 1984. She had lived in Belmar and Wall Township, before moving to Point Pleasant, New Jersey about 40 years before her death, likely after the passing of her husband in 1969. She married George James Day in 1934. George, a graduate of Sidney High School and Coyne Electrical School in Chicago, worked at the C. L. Reynolds Radio Testing Station at Binghamton, New York and was later employed for 27 years as a program manager at the Army Electronics Command at Fort Monmouth, New Jersey. Emily passed away at 95 years of age on June 20, 2009 at Meridian Hospice in Brick, New Jersey.

 

Merton W. Pudney, Bert’s twin brother, passed away at 93 years of age on January 5, 1962 at East Hartford, Connecticut. He had lived at East Hartford for 45 years and was employed at Colt’s Patent Fire Arms Manufacturing Company until his retirement in 1948. He was a member of the Wesley Memorial Methodist Church. He was survived by his wife, Katherine (Mildrum) Pudney and two sons, Delos Pudney and Dennison Pudney, both of Syracuse, New York. He is buried at Center Cemetery in East Hartford, Connecticut.

 

Pudney was active in the community, at times serving as fire chief, village trustee and as mayor for several terms for the village of Sidney. He volunteered as the superintendent of the Sunday school program at the Congregational church. Through various fundraisers he supported the local chapter of the Epworth League, an organization that was founded in 1889 and was comprised of Methodist young adults. He served on the local Chamber of Commerce, and was on the child welfare committee, giving “much of his time for the betterment of children’s conditions over the county.”

 

In 1919, Pudney, along with several others, helped found a local troop of the Boy Scouts at Sidney. In 1922 he was elected to serve as president of the Sidney Automobile Club. He served as Secretary for the annual Pudney and Church family reunion for 34 years from 1899 to his passing in 1933. He was active with both the Knights of Pythias and the Odd Fellows community organizations.

 

Part community service and part marketing, Pudney often provided free musical concerts to the community. Pudney commented during a series of 1914 concerts at Unadilla, Gilbertsville, Morris, Garrattsville and New Berlin that the “music will be as free as water and his purpose is to have people learn to love music more and to know better what the latest musical instruments can do.”[32] At times the concerts were conducted in front of his music store.

 

Pudney donated many musical instruments to various organizations and schools over the years. In January 1916 it was reported that he had donated at least 60 instruments in the prior three years. Some of the recipients included the Sunday School at East Guilford (piano), the Rockdale school (six octave organ), the Women’s Relief Corps (square piano), and the Gilbertsville district school (organ).[33]

 

Legacy

 

Upon his passing it was written that Pudney was “one who served our community faithfully and well, promoting to the best of his ability, its welfare during 39 years . . . the news of his unexpected demise proved a distinctive shock, causing deep regret wherever learned. Men, no matter how interested in public welfare, quite often fail of appreciation while living, only when they pass away, but too late do we realize the value of their services. His keynote was cheerful encouragement to all with an ever ready laugh, a merry gloom chaser, if there ever was one. As a member of the Chamber of Commerce and K. of P. Lodge, his suggestions were valued and his aim was always to aid the destitute and needy and his delight to make the juveniles happy and lead them only the right way.”[34]

 

Pudney passed away at 65 years of age on May 21, 1933 at the hospital at South Manchester, Hartford County, Connecticut while visiting his nephew, Milton Freeman. He had been in poor health during the preceding winter, and while at South Manchester took ill with bronchial pneumonia. The body was brought to the Carr & Hare funeral chapel at Sidney.

 

Funeral services were held at the Congregational Church in Sidney, with Reverend E. R. Holden officiating, assisted by Reverend Father Hogg, rector of St. Paul’s Episcopal Church, and Reverend F. W. Connell, pastor of the Methodist Episcopal Church. The Knights of Pythias conducted the ritual burial service of the order in honor of their departed brother. Pudney is buried at Riverview Cemetery in Oxford, Chenango County, New York.

 

[1] Pudney, W. D; C. G. Stevens. Prospective History of the Pudney Family. Cleveland, Ohio, 1900.

[2] Sullivan, Dr. James. History of New York State 1523-1927. Vol. 6. New York: Lewis Historical Publishing Co., 1927. pp. 156-157.

[3] The Essex Institute Historical Collections. Vol. 51. Salem, MA: Essex Institute, 1915.

[4] “Mrs. B. C. Pudney.” The Otsego Farmer (Cooperstown, New York). September 19, 1913.

[5] Sidney Record (Sidney, New York). July 29, 1893.

[6] Sidney Record (Sidney, New York). May 26, 1894.

[7] Sidney Record (Sidney, New York). July 13, 1895.

[8] Sidney Record (Sidney, New York). May 19, 1894.

[9] “A Pleasant Anniversary. B. E. Pudney Received His First Victor Ten Years Ago – Loyal to the End.” The Cycle Age. Vol. 25, no. 6. June 7, 1900.

[10] Sidney Record (Sidney, New York). March 6, 1897.

[11] “Pudney’s Liberal Offer.” Sidney Record (Sidney, New York). April 22, 1899.

[12] “Bert E. Pudney.” Sidney Record (Sidney, New York). February 25, 1899.

[13] Sidney Record (Sidney, New York). February 9, 1901.

[14] Sidney Record (Sidney, New York). October 10, 1908.

[15] Delaware Gazette (Delhi, New York). October 24, 1906.

[16] Sidney Record (Sidney, New York). November 10, 1906.

[17] Sidney Record (Sidney, New York). September 28, 1907.

[18] Sidney Enterprise (Sidney, New York). March 20, 1909.

[19] Sidney Record (Sidney, New York). December 19, 1908.

[20] Unadilla Times (Unadilla, New York). March 26, 1909.

[21] “Sidney.” Oxford Times (Oxford, New York). October 25, 1911.

[22] “Elmore Car Agency in Sidney.” The Earlville Standard. February 12, 1912.

[23] “Mr. Pudney Has Offered Services.” The Otsego Journal (Gilbertsville, New York). June 27, 1918.

[24] “A Glowing Tribute.” Sidney Record (Sidney, New York). December 6, 1919.

[25] “An Appreciation.” Sidney Record (Sidney, New York). July 19, 1919.

[26] “Carry On.” South New Berlin Bee (South New Berlin, New York). July 31, 1920.

[27] “Autocracy’s Guilt.” Sidney Record (Sidney, New York). November 29, 1919.

[28] “Burlington.” The Otsego Farmer. October 21, 1927.

[29] “Vicinity News Briefly Told.” Unadilla Times. September 28, 1928.

[30] “To Close Out.” Sidney Enterprise (Sidney, New York). November 12, 1931.

[31] “The Late Mrs. B. E. Pudney of Sidney.” Oxford Times (Oxford, New York). January 1, 1908.

[32] “A Week of Music.” The Unadilla Times (Unadilla, New York). November 13, 1914.

[33] “A Public Benefactor.” South New Berlin Bee (South New Berlin, New York). January 29, 1916.

[34] “Then Came The Final Summons.” Sidney Record (Sidney, New York). May 25, 1933.

 

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[email protected] (American Catskills) B. E. Pudney Bert E. Pudney bicycle business businessman Catskill Mountains Catskills Clinton L. Pudney cyclist Delaware County Denison Pudney Herbert Eugene Pudney mayor merchant music New York postcard publisher Pudney and Freeman Sidney store Y. M. C. A. https://www.americancatskills.com/blog/2023/8/b-e-pudney-sidney-new-york-postcard-publisher Sat, 12 Aug 2023 12:00:00 GMT
George A. Vallet – Kingston, New York Photographer https://www.americancatskills.com/blog/2023/8/george-a-vallet-kingston-new-york-photographer Introduction

 

George A. Vallet was a prominent photographer at the city of Kingston in Ulster County, New York from the 1850s to the early 1880s. Vallet began his photography career around 1852 and took over the gallery of Robert H. Hill in 1857, offering photographs utilizing the daguerreotype process, which was the original photographic process. Over the next several decades, as photographic technology evolved, Vallet remained current with the times, offering ambrotypes, ferrotypes (tintypes, melainotypes), stereoscopic views, cartes de visite and much more. Vallet is considered one of the great photographers in Kingston history.

 

 

Portrait, Young Man, by George A. Vallet, Kingston, NYPortrait, Young Man, by George A. Vallet, Kingston, NY

Portrait, Young Man, by George A. Vallet. Author's collection.

 

Biography

 

George Ambler Vallet was born on November 14, 1833, the son of Benjamin Franklin Vallet (1813-1852) and Maria (Copp) Vallet. Benjamin was born on February 3, 1813 at Kinderhook in Columbia County, New York; and was christened at the Reformed Dutch Church in Kinderhook on December 2, 1821.

 

Benjamin and Maria married in 1834 at Kingston, New York. Benjamin worked as a silversmith and as a jeweler. B. F. Vallet advertised his services in the local newspaper in 1837, providing a long list of goods for sale. Examples included watches, clocks, tea and coffee pots, knives and forks, silver and plated spoons, plated candle sticks and castors, spectacles, razors, pen knives and much more. The advertisement also stated that Vallet could repair clocks and watches. His business was located on North Front Street, at the head of Wall Street, in the city of Kingston.

 

Benjamin was a member of several fraternal organizations at the city of Kingston. He was a founding member of the Kosciusko Lodge of the Independent Order of Odd Fellows, formed on May 10, 1843. He was also a member of the Excelsior Encampment, No. 21, and the Aretas Lodge, No. 172, both of the Independent Order of Odd Fellows.

 

The 1850 United States census listed George A. Vallet as living at Kingston village in Ulster County, New York with his parents Benjamin and Maria. Benjamin was listed with an occupation of Jeweler. Sixteen-year-old George, getting an early start in business, was also listed with an occupation of Jeweler. Also listed as living in the house were 13-year-old Maria Vallet, 9-year-old Henriette Vallet, 7-year-old Jane Vallet, 3-year-old William Vallet and 1-year-old Franklin Vallet.

 

William M. Vallette (1847-1922), George’s brother, is noted for having enlisted during the Civil War as a drummer boy in Company B, 20th Regiment, New York State Militia, when he was only 13 years old. After the war he was affectionately known by residents of Kingston as “Major.” He was very active in the affairs of Civil War Veterans, including being a popular member of the Pratt Post, Grand Army of the Republic (G. A. R.), serving as secretary and treasurer. Until a few years before his death, “he took great interest in playing the snare drum and was always willing to teach young men to handle the drum sticks and organize drum corps.”[1] He later worked in the insurance industry and served many years as the clerk to the city assessor. William passed away on April 26, 1922 and is buried with his brother at Wiltwyck Cemetery in Kingston, New York.

 

Benjamin, George’s father, passed away at 39 years of age on March 23, 1852. He is buried at Wiltwyck Cemetery in Kingston, New York. His gravestone was “erected by members of the Kosciusko Lodge No. 86.”

 

Benjamin’s jewelry and silversmith business was purchased by John Vignes, Jr. from Vallet’s estate. John Vignes, Sr. was a native of France, where he had learned the trade of watchmaker. John Vignes Sr. came from a prosperous French family, with one brother who served as a general in the army of Napoleon Bonaparte, one brother who was a physician and one brother who owned a large vineyard. He had emigrated, along with John Choilet, his cousin, from France to the United States during the Napoleonic Wars.

 

John Vignes, Sr. had founded his business at Kingston around 1820. He died in 1850, and his son, John Vignes, Jr. continued with the trade, buying out the Benjamin F. Vallet’s business from his heirs. Vignes, Jr. would be succeeded in 1876 by his son James A. Vignes, who, in turn, was succeeded by his son, Everett A. Vignes. Everett was of the fourth generation of the family to follow the jewelry and watchmaking trade in Kingston, a family business that lasted for well over 100 years.

 

An advertisement published in The Daily Freeman in 1872 noted that Vallet “had an experience of over twenty years” in the photography business This would place the beginning of Vallet’s photographic career around 1852, when he was 19 years old. With the death of his father in 1852, and the subsequent sale of his father’s business, it is possible that Vallet had soon after switched careers from jeweler to that of photographer.

 

An article published in 1910 by the Kingston Daily Freeman talked of a photograph taken by Vallet in 1853. Vallet would have been 20 years old at that time.

 

“An Old Picture. In the window of the confectionary store of Frederick Lynes on Wall street is a picture of the old Excelsior Hose Company, No. 4, which was organized back in the 30’s. The picture was taken by George Vallett in 1853 from the window of his photographic gallery on the second floor of a building where the Herbert Carl Dry Good Company’s establishment is now located on North Front street at the head of Wall street. The company was grouped about their old hand engine in Wall street when they were snapped by the camera.

 

Their engine house was located on John street near Green street and they numbered 65 active and 40 honorary members. Only a few of this old-time brigade of flame quenchers now survive. Among them are Gillead A. Smith and Bernard McBride of this city and James Van Vleet of Brooklyn.

 

The 1855 New York State census listed Vallet as living in his mother’s house in the 2nd Election District of the town of Kingston. His mother was listed with an occupation of “Boarders,” i.e., keeping a boarding house. She likely undertook this new business after the passing of her husband Benjamin in 1852. George was listed with an occupation of Artist. Vallet was possibly working for R. H. Hill at this time, as he was a pupil of Hill’s and would take over Hill’s gallery two years later in 1857. Also living in the house were George’s siblings Antoinette, Henrietta, Jane, William and Franklin.

 

Vallet, of Kingston, married Mary Ann Hopkins, of Saugerties, on May 7, 1857. The ceremony took place at Saugerties and was officiated by Reverend M. Linn.

 

An 1857 newspaper advertisement noted that Vallet was the successor to photographer R. H. Hill. Vallet continued to operate this gallery at 72 North Front Street, in J. D. Wilson’s New Brick Building. Hill had operated the gallery at least since 1850, according to advertisements in the local newspaper.

 

Robert H. Hill (1812-1880) was the brother of Levi L. Hill (1816-1865), a minister and photographer, who in 1850 claimed to have invented a color photographic process. The claim was met with skepticism at the time and for the next 150 years, but was proven true in 2007 through a 6-month scientific study conducted by National Museum of American History.

 

It is interesting that Robert referred to his brother Levi’s supposed invention in a section of an 1857 newspaper advertisement. “All Daguerreotypes taken at the Gallery after this date may be re-taken in the natural colors for the mere cost of the materials, as soon as the process is made public, the subscriber having secured the exclusive right for Ulster County.”[2] This section of the advertisement was likely in response to prospective clients putting off having their picture taken for they had heard that a new color process had been invented, and preferred their likeness made in color.

 

Vallet was a pupil of Mr. Hill and “has been in practice some time. We once had some knowledge of this business, and have retained sufficient, we think, to enable us to judge a good Picture or a Daguerreotype operator who understands his business. Therefore, we can, with confidence state that Mr. Vallet’s pictures come up to the standard of first-class work. Consequently, the old customers of the establishment, and all others, can feel secure in having pictures equal in superiority to those which have made Mr. Hill’s rooms the general resort for good likenesses.”[3]

 

In October 1858 Vallet displayed his pictures at the Ulster County Fair. The pictures “received much notice, and were highly praised by all. They certainly were well finished, and taken in a most life-like manner.”[4]

 

In the late 1850s Vallet advertised extensively in the local newspapers. The business was originally described as a partnership under the name of “Vallet & Co.,” but that partnership “was dissolved in March [1858], and the interest of my partner purchased by me. I am now alone.” It is unclear who the partner was at this point.

 

April 24, 1857 advertisement, The People’s Press (Kingston, New York).

 

“Geo. A. Vallet & Co.’s Daguerrean Rooms. Colored Daguerreotype Likenesses, Ambrotypes, Crayon Pictures, Photographs, Stereoscopes & Chromotints.

 

The subscribers, successors to R. H. Hill, would respectfully inform the inhabitants of Kingston, and all those visiting this place, that they continue the Gallery at 72 North Front Street, in J. D. Wilson’s New Brick Building, where has been elegantly fitted up large and spacious rooms with all the improvements of the age, and with the LARGEST SKY-LIGHT between New York and Buffalo. They will be happy to wait upon those wishing a beautiful and colored Life-Like Miniature.

 

You are invited to call and examine their Specimens and mode of Operating, and if suited, to sit for your Likeness. Persons will not be expected to take their Miniatures unless entire satisfaction is given; but if the Likeness is taken from the Room, it will not be exchanged for less than fifty cents. The subscribers’ long experience in The Daguerrean Art, gives them the fullest confidence that they will be able to please all who favor them with a call. All work done at this establishment warranted fadeless and of the best order. Being permanently located, they are desirous of building up a reputation for Style, Cheapness and Durability.

 

PRICES – From $1 to $15, according to size and style of Case or frame; in Lockets $1. Those having poor Impressions can have them re-taken for 75 cents.

 

Ambrotypes – These are a new and beautiful style of miniatures, and by far excel anything before made in light and shade; they are only to be seen to be admired. Price the same as Daguerreotypes. They are made on pure crystal glass, and are more durable than any other miniature, as no acid will remove or inure them. They are taken in much less time than other pictures, so bring on the children.

 

Stereoscopes – These are produced by making two pictures at different angles, and after being placed in a stereoscope case a most wonderful effect is produced and the subject stands out like life itself.

 

For Sick or Deceased Persons, A HOUSE or LANDSCAPE where it is necessary to remove the Apparatus, $5.

 

GOLD LOCKETS always on hand and for sale Cheap.

 

FULL INSTRUCTIONS in the Art given on reasonable terms, to those wishing to engage in the business.

 

STOCK – All kinds of Operator’s Stock furnished at New York prices.

 

GEO. A. VALLET & CO.

 

Kingston, March 20, 1857.”

 

September 18, 1857 Advertisement, The People’s Press (Kingston, New York).

 

“Pictures for the Million. Daguerreotypes at Reduced Prices. The undersigned, at their Daguerrean Rooms, No. 72 North Front Street, are now taking superior Ambrotypes at the exceedingly low price of 50 CENTS, put up in cases of the most unique and recent styles.

 

Pictures are taken in all kinds of weather, from 8 A. M., to 6 P. M., and executed in all cases so as to give entire satisfaction.

 

N. B. Pictures taken for sick or disabled persons at their residences.

 

GEO. A. Vallet & Co.

 

Kingston, Sept. 9, 1857.”

 

September 25, 1857 Advertisement, The People’s Press (Kingston, New York).

 

“Now is the Time. If any one, for a moment, doubts the superior taste and skill of Geo. A. Vallet, in producing a beautiful picture and first-rate likeness of the original, all that is necessary to do is to stop into his Room and sit down, and in a short time all doubt will be removed. If the person is not suited, the picture need not be taken, and no harm is done. Mr. Vallet is now putting likenesses in small cases for 50 cents each. Who will grudge that amount for a little one, which if taken would make the representative invaluable to the parent.”

 

February 12, 1858 (1857-1858 advertisement), The People’s Press (Kingston, New York).

 

“OBSERVE. AMBROTYPES, LARGE SIZE, FOR FIFTY CENTS, Case Included, at G. A. Vallet & Co’s, 72 North Front Street.

 

CITIZENS AND STRANGERS, your attention is respectfully invited to the following remarkable reduction in prices. (Come and examine, and see for yourself.) Large sizes, twice the size ever offered before, for 50 cents. Extra large size or 1/4, for $1.50. Double extra size for $3.00, and all others in proportion.

 

If you would secure a likeness of your family or friends, you now have a rare opportunity to do so. What a treasure is a life like miniature of a deceased and departed friend; which, when looked at, call to mind all the associations incident to human life – besides being a valuable keepsake, and a memento that the person would not part with for any consideration. Come and see, and have your own taken and bring your friends with you.

 

Pictures taken as well in cloudy as fair weather; and no picture offered unless entire satisfaction is given.

 

N. B. Pictures put in Lockets for 50 cents.

 

GEO. A. VALLET & CO.

 

Kingston, Dec. 11, 1857.”

 

February 26, 1858 advertisement, The People’s Press (Kingston, New York).

 

           “A GREAT GIFT!

 

Come and See for Yourselves. A SPLENDID large size paper Mache CASE AND PICTURE, valued at $15, to be given for a dollar picture, at Vallet & Co’s, 72 North Front Street.

 

Each purchaser will receive a ticket to draw the case; to be drawn for in one month. There will be no risk in trying, as you will receive full value in the Picture you purchase, and a ticket for the great gift.

 

Pictures taken from 50 cts. To $5, and all warranted to give entire satisfaction. Hours for operating from 9 o’clock, A. M., to 5 o’clock, P. M.

 

GEO. A. VALLET & Co. Kingston, February 22, 1858.”

 

April 28, 1858 advertisement, The People’s Press (Kingston, New York).

 

“The Picture Gallery of Mr. Geo. A. Vallet, (late Hill’s,) in North Front Street, is well worthy of a visit from an admirer of the arts. A new style of likenesses, recently produced by Mr. V., we consider a beautiful and an important improvement in the “Sun-painting” business. The picture has the appearance of standing out, giving it a fullness, to attain which heretofore has been the great difficulty with Daguerreans. We once had some knowledge of this business, and can therefore judge of the skill in it. Those who desire a good and life-like likeness should give Mr. Vallet a call.”

 

April 23, 1858 advertisement, The People’s Press (Kingston, New York).

 

         “VALLET’S GALLERY, (FORMERLY HILL’S,) Wilson Building, 72 North Front St.,

 

Can supply in an instant an imperishable image of husband or wife, child or parent, or friend, which may, by the accidents of life become the fondest treasure and memento of the heart. It is the veritable reflection of the original, truthful as He who said “let there be light” painted by light itself.

 

The firm of Geo. A. Vallet & Co., was dissolved in March, and the interest of my partner purchased by me. I am now alone, and will spare no exertion to secure for the prosecution of the Art which has been my study and undivided pursuit for years, every discovery made by science. The ordinary Daguerreotype has been succeeded by the AMBROTYPE, MELAINOTYPE AND PHOTOGRAPH.

 

These are all decided advances in faithful portraitures and their beauty as mere pictures. Specimens of the several styles can be seen at my Gallery, to which I give a general public invitation.

 

The prices vary with the size and style from $5 down to 50 cents, and the Cases are of a rare variety, from a plain Morocco to the richest pearl and tortoise.

 

Hours of operating, sunny and cloudy days being equally favorable now, from 8 A. M. to 5 P. M. Terms reasonable for landscapes or pictures of the dead.

 

Vallet’s Gallery has been completely refurnished, and by the opening of an ample side light, the facilities for taking brilliant pictures are much increased.

 

GEORGE A. VALLET.

 

Kingston, April 1st, 1858.”

 

Vallet's GalleryVallet's GalleryPhotographer: George A. Vallet
Location: 72 North Front Street, Kingston, Ulster County, New York
Year: 1858

“VALLET’S GALLERY, (FORMERLY HILL’S,) Wilson Building, 72 North Front St.,

Can supply in an instant an imperishable image of husband or wife, child or parent, or friend, which may, by the accidents of life become the fondest treasure and memento of the heart. It is the veritable reflection of the original, truthful as He who said “let there be light” painted by light itself.

The firm of Geo. A. Vallet & Co., was dissolved in March, and the interest of my partner purchased by me. I am now alone, and will spare no exertion to secure for the prosecution of the Art which has been my study and undivided pursuit for years, every discovery made by science. The ordinary Daguerreotype has been succeeded by the AMBROTYPE, MELAINOTYPE AND PHOTOGRAPH.

These are all decided advances in faithful portraitures and their beauty as mere pictures. Specimens of the several styles can be seen at my Gallery, to which I give a general public invitation.

The prices vary with the size and style from $5 down to 50 cents, and the Cases are of a rare variety, from a plain Morocco to the richest pearl and tortoise.

Hours of operating, sunny and cloudy days being equally favorable now, from 8 A. M. to 5 P. M. Terms reasonable for landscapes or pictures of the dead.

Vallet’s Gallery has been completely refurnished, and by the opening of an ample side light, the facilities for taking brilliant pictures are much increased.

GEORGE A. VALLET.

Kingston, April 1st, 1858.”

 

June 25, 1858, The People’s Press (Kingston, New York).

 

“The new and improved style of Ambrotypes, with grained and receded background, now produced by Geo. A. Vallet, photographist, of this village are truly beautiful and the admiration of all who observe them. See Mr. Vallet’s advertisement in another column of the Press.”

 

July 23, 1858 advertisement, The People’s Press (Kingston, New York).

 

         “Improved Ambrotype.

 

The undersigned has discovered a new process of Ambrotyping, by which the picture is THROWN OUT FROM A GRAINED GROUND, and represented in a perfectly life-like position.

 

He would therefore invite all persons interested in this art, to call and examine specimens of his work. He feels confident that his discovery is superior to anything ever before offered in the Daguerrean art FOR REPRESENTING LIFE ITSELF in the Picture. The price of pictures taken by the IMPROVED PROCESS, is from $1.00 upwards, according to size and style of cases.

 

G. A. VALLET, No. 72 North Front St.”

 

April 25, 1859 advertisement, The People’s Press (Kingston, New York).

 

“VALLET’S Photograph and Ambrotype Gallery, 72 North Front Street, over Wilson’s Hat and Cap store. Photographs copied from Ambrotypes and Daguerreotypes to a small size or large as life, and finished in oil water colors. Family groups and children’s likenesses beautifully taken for 50 cts. To $7.”

 

April 26, 1859, The Daily Chronicle (Kingston, New York).

 

“Vallet’s Photographs.– Mr. Vallet, of North Front street, is taking photograph likenesses, which are the most beautiful counterparts of the human face we ever saw. They far excel, in all the essentials of a good picture, the most elaborate and artistic oil paintings. In point of life-likeness, graphicness, mellowness of tone and brilliancy of coloring, they are unequalled by anything of the sort in these localities. Go to Vallet’s, and examine his specimens, and then get one for yourself, and our word for it you will like it.

 

Mr. Vallet is now prepared to take photographs of life size, and also take copies of ambrotypes and daguerreotypes of the smallest locket size, so that the copies shall be of any size from small and medium to life size.”

 

September 16, 1859, The Daily Chronicle (Kingston, New York).

 

“Vallet’s Ferotypes.–We have been shown one of the Ferotypes taken by Mr. Geo. Vallet of North Front Street. We would remark, by way of explanation, that a Ferotype is a picture taken on a prepared iron plate. They possess at least one advantage over those taken on glass – they are not easily broken. Some artists also think that they yield a cleaner and better defined picture. The picture shown us is a very good one, and if it is a fair specimen, Mr. Vallet’s pictures will undoubtedly be received with considerable favor by the public.”

 

September 26, 1859 advertisement, The People’s Press (Kingston, New York).

 

“NOTICE – The only place where Griswold’s Patent Ferrotypes are taken is at VALLET’S Gallery, 72 North Front Street, and have only been taken by me for a short time. GEO. A. VALLET.”           
 

December 15, 1859 Advertisement, The People’s Press (Kingston, New York).

 

           “One dollar photographs. One dollar photographs. One dollar photographs.

 

           Fifty cent Ambrotypes. Fifty cent Ambrotypes. Fifty cent Ambrotypes.

 

           At Vallet’s First Premium Picture Gallery, 72 North Front St., Kingston, N.Y.”

 

December 29, 1859, The People’s Press (Kingston, New York).

 

“The Holidays are Coming, so are Christmas and New Year. Young gents – If you wish to make a very acceptable present to your particular friends, just give me a call, at my Gallery, and have your very good looking phis taken, put in one of those superior cases just received at Vallet’s.

 

Old Gents – If you wish to make a valuable present to your family – something that will be highly prized, and something that will not get to be an old thing, give Vallet a call, at his Gallery, No. 72 North Front st., and have a superb Ambrotype, Photograph or any other style of picture you wish, ever taken by Daguerrean Artists. Vallet can suit all, so come one, come all.

 

Ambrotypes from 50 cts. To $5.00.

 

Photographs from $1.00 upwards.”

 

March 8, 1860 (1859-1860 advertisement), The People’s Press (Kingston, New York).

 

           “For 30 Days, Ambrotypes in Cases, at Vallet’s Gallery, For 30 cents.

 

           SOMETHING NEW At Vallet’s Gallery, 72 North Front St.

 

GRISWOLD’S PATENT FERROTYPE PICTURES, Which far excel all others now taken and are warranted to stand all kinds of climate and weather. They are only seen to be admired. Call and see, and you will soon be satisfied that they are just what you want.

 

GEO. A. VALLET, Kingston, Sept. 10th, 1859.”

 

May 3, 1860 advertisement, The People’s Press (Kingston, New York).

 

“Young Lady, Do you wish to please that young Gent, who we have seen paying you particular attention? Given him the privilege of having an impression of that lovely face of yours. Go with him to VALLET’S and sit for a picture.”

 

Portrait, Young Girl, by George A. Vallet, Kingston, NYPortrait, Young Girl, by George A. Vallet, Kingston, NY

Portrait, Young Girl, by George A. Vallet. Author's collection.

 

The 1860 United States census listed George, his wife and their newborn, one month-old daughter Viola living at Kingston in Ulster County, New York. George was listed with an occupation of Daguerrean Artist.

 

In 1860 Vallet moved his gallery from 72 North Front Street to a new location at 94 North Front Street, over Shaw’s Shoe Store. There, “he has fitted up a very fine light for his business. We have seen some likenesses taken at the new place which were of a superior order in every respect.”[5]

 

October 4, 1860 Advertisement, The People’s Press (Kingston, New York).

 

“WASHINGTON AMBROTYPE, PHOTOGRAPH AND NEILOGRAPH GALLERY, No. 94 North Front St., at the head of Wall.

 

HAVING removed from 72 North Front St. to my NEW GALLERY, 94 North Front St., over Shaw’s Shoe Store, and at the head of Wall Street, (with only one pair of Stairs to ascend,) I am now ready to receive visitors and to furnish them with a Photograph, Ambrotype, Melainotype, or Neilograph, superior to any ever made. Having a very powerful light, I am prepared to take children’s pictures in one half less time than heretofore. I am making pictures which cannot be beat, and would invite all to call at my New Gallery and see for themselves.

 

Pictures taken at prices to suit the times, as I am to be undersold.

 

REMEMBER THE PLACE – No. 94 North Front St., (head of Wall.)

 

Only look for WASHINGTON and the big Banner on the top of the building.

 

GEORGE A. VALLET.”

 

Washington Ambrotype, Photograph, and Neilograph Gallery by George A. ValletWashington Ambrotype, Photograph, and Neilograph Gallery by George A. ValletPhotographer: George A. Vallet
Location: 94 North Front Street, Kingston, Ulster County, New York
Year: 1860

“WASHINGTON AMBROTYPE, PHOTOGRAPH AND NEILOGRAPH GALLERY, No. 94 North Front St., at the head of Wall.

HAVING removed from 72 North Front St. to my NEW GALLERY, 94 North Front St., over Shaw’s Shoe Store, and at the head of Wall Street, (with only one pair of Stairs to ascend,) I am now ready to receive visitors and to furnish them with a Photograph, Ambrotype, Melainotype, or Neilograph, superior to any ever made. Having a very powerful light, I am prepared to take children’s pictures in one half less time than heretofore. I am making pictures which cannot be beat, and would invite all to call at my New Gallery and see for themselves.

Pictures taken at prices to suit the times, as I am to be undersold.

REMEMBER THE PLACE – No. 94 North Front St., (head of Wall.)

Only look for WASHINGTON and the big Banner on the top of the building.

GEORGE A. VALLET.”

 

Vallet marketed his gallery in an 1861 newspaper advertisement in The Rondout Freeman.

 

“Vallet’s Photograph Gallery!!

 

Head of Wall Street, Kingston.

 

The Fine ARTS fully Represented at this Establishment.

 

Large Photographs!! Only $1 – duplicates of the same, half price.

 

CARD VISITES – four for $1 – or one dozen for $2.50. These visites are something new and decidedly handsome. The proof given by a call.

 

Card Photographs!! Or Heads – twenty-four for $1.

 

Pictures copied and enlarged from small pictures and colored.

 

Prices very Low. Work warranted; and no charge made for a look at the array of specimens always hanging in the gallery.

 

Kingston, October 3, 1861.”

 

An 1862 advertisement in the local newspaper described the wide range of products available at Vallet’s gallery.

 

           “Vallet’s Photograph Gallery!

            Head of Wall St., Kingston, N.Y.

 

Large Photographs! Carte de Visites! Vignettes! Ambrotypes, and all other style of Pictures taken in the very best style.

 

Oval GILT FRAMES for sale very CHEAP.

 

A LARGE assortment of Photograph Albums for sale at Low Rates.

 

Card Photographs of Miss Lavinia Warren and Commodore Nutt. The smallest man and woman in the world. For sale at 25 cents each.

 

GEO. A VALLET.”

 

In 1863 Vallet briefly operated a branch location at the village of Saugerties. The Saugerties Telegraph carried the following advertisement.

 

           “Photographs and Card de Visites!

 

Having taken the Rooms of Mr. JERNEGAN for a short time, for the purpose of making PHOTOGRAPH PICTURES! I would respectfully invite the people of Saugerties to Call and Examine Specimens of Work at the Gallery, and if

 

The work will be under the charge of Mr. Jas. Beekman.

 

Satisfaction guaranteed in all cases or Pictures re-taken without extra charge.

 

GEO. A. VALLET. Saugerties, April 27th, 1863.

 

Mr. Jernegan will remain at the rooms to take Ambrotypes as usual.”

 

The 1865 New York State census listed Vallet as residing in the 2nd Election District in the city of Kingston. He was listed with an occupation of Artist. Also living in the household was Mary A., his wife; Viola, his 5-year-old daughter; Frances, his 2-year-old daughter; and Ellen Riley, a 19-year-old servant from Ireland.

 

Vallet marketed his gallery in an 1865 newspaper advertisement in The Rondout Freeman.

 

           “Vallet’s Photograph and Ambrotype Gallery, Wall Street, Kingston, N.Y.

 

Cart de Visites, Vignettes, Ambrotypes, Photographs, Gems, Porcelains and all other styles of pictures.

 

The largest assortment of OVAL FRAMES, PHOTOGRAPH ALBUMS, CARD PICTURES for sale in the County. Daguerreotypes and Ambrotypes copied in Card Pictures and large Photographs, and colored in Oil, India Ink and Water colors.

 

Cards, $1.40 1/2 dozen; $2.50 per dozen.

Vignettes, $1.65 1/2 dozen; $3 per dozen.

Children’s Cards, $2 1/2 dozen; $3 per dozen.

 

Please call and see for yourself. Square Frames of ROSEWOOD, BLACK WALNUT and GILT. Made to Order.

 

GEORGE A. VALLETT.”

 

In 1865 and 1866 Vallet, now located at 12 Wall Street, advertised his services in the local newspaper The Rondout Freeman.

 

“VALLET’S PHOTOGRAPH GALLERY, 12 WALL St., Kingston, N.Y.

 

Porcelains, Ambrotypes, Card Pictures, Gems, Photograph Albums, Oval Frames, Rose and Gilt, Black Walnut and Gilt Frames made to order.

 

4 Carte de Visites, $1.00, 12 for $2.00

4 Vignettes, $1.25, 12 for $2.50

Duplicate Cart de Visites, $1.50 per doz.

Duplicate Vignettes, $2.00 per doz.

 

Specimens can be seen at Knapp’s Drug Store.

 

GEO. A. VALLET, Rondout, Nov. 17th, 1865.”

 

The Rondout Freeman wrote in the November 22, 1865 issue about Vallet’s work. “Geo. A. Vallett, of Kingston, a very successful and excellent artist, has shown us some very fine specimens of porcelaintypes, which for clearness and delicacy of finish equal any that we have ever seen. He has placed a number of his specimens on exhibition at Knapp’s Drug Store where they can be examined by our citizens. Mr. Vallet meets with great success in making pictures in all branches of the art.”

 

In 1867 The Rondout Freeman published another Vallet advertisement in their December 4, 1867 issue.

 

           “Vallett’s New Photograph Gallery, Newkirk Building, Division Street, Rondout, N.Y.

 

The citizens of Rondout and county are invited to call and examine the specimens of this establishment, where they will find the best Pictures and the most complete Photograph Gallery in the County.

 

Pictures of all kinds known in the Photographic art taken IN THE VERY BEST MANNER.

 

Large Photographs, Cartes de visite, Vignettes, Ambrotypes, Gems, Bon-Tons, Tintypes and Porcelain Pictures.

 

Pictures taken in cloudy as well as in clear weather, and particular attention given to taking copies, Groups and Children’s pictures.

 

Gallery open from 8 o’clock A. M. until 5 o’clock P. M.

 

GEO. A. VALLETT, Artist.”

 

The 1870 United States census listed Vallet as residing in the village of Rondout, Ulster County. He was listed with an occupation of Photographer. Also in the household was Mary Ann, his wife; Viola, his 10-year-old daughter; and Frances, his 8-year-old daughter.

 

In July 1872 Vallet advertised his services in the local newspaper The Daily Freeman.

 

“VALLET’S PHOTOGRAPH GALLERY, 12 Wall Street.

 

           Large Photographs, Card de Visites, Imperials, Shadow Pictures and Tin Types Taken.

               

           Pictures of all kinds copied and finished in oil, water colors or India Ink.

 

Having had an experience of over twenty years, in which I gained a reputation which is well known to the citizens of this city and county, I flatter myself I can take pictures which will please the sitter and be second to none.

 

           GEO. A. VALLET.”

 

The August 31, 1872 issue of the Kingston Daily Freeman carried the following Vallet advertisement.

 

“A Fine Picture. We were very much surprised on being shown an imperial photograph, colored in India ink, of Mr. William Bonner, to learn that it was produced at Vallet’s gallery in Wall street, western district. The entire picture is done in perfect taste and is much better, in every way, than we imagined home photographers could produce.”

 

The September 17, 1872 issue of the Kingston Daily Freeman carried the following advertisement.

 

“All persons wishing photographs and picture frames should call on Geo. A. Vallet, at his old Gallery, No. 12 Wall St.”

 

In December 1872 Vallet placed an advertisement in the New Paltz Times.

 

           “VALLETT’S PHOTOGRAPH GALLERY, No. 12 Wall Street, City of Kingston.

           Large Photographs for $1.50 and $2.

           Cartes de Visite, $2.00 per dozen.

           Tintypes, for frame, 4 for 50 cents.

           Tintypes, for frame, 75c and $1 each

           Pictures finished in India Ink, Oil and Water Colors. Oval and Square Frames all sizes and styles.

           GEO. A. VALLETT, Kingston, December 16, 1872.”

 

The January 1, 1874 issue of the Kingston Daily Freeman wrote of a recent photograph taken by Vallet.

 

“George Vallett took photographs of Mr. Weiner’s turkey-Englishman yesterday, and now when they are shown people say ‘Why, it looks like Jim Cooper, don’t it?’”

 

In 1874, “Alderman Gross has had a fine picture of himself, in the uniform of Chief Engineer of the Western Fire Department, taken by George Vallet, the photographer. It is a large photograph finished in water colors and besides being a very accurate portrait of the ex-Chief, is a very handsome specimen of workmanship. It is on exhibition in Knapp’s window.”[6] The photograph was also described as a “fine colored photograph 26x30, the work having been done by Geo. A. Vallet of this city. It is a perfect likeness of the donor and a handsome adornment for the walls of the company’s rooms.”[7]

 

The 1875 New York State census listed Vallet as residing in the 7th Ward of the city of Kingston. He was listed with an occupation of Photographer. The household also included Mary A., his wife; Viola, his 15-year-old daughter; and Frances, his 12-year-old daughter.

 

The October 21, 1875 issue of the Kingston Daily Freeman carried the following advertisement.

 

           "Vallett’s Gallery, No. 12 Wall street. Four Tintypes for 50cts, or eight for 75 cts.”

 

The January 5, 1878 issue of Kingston Daily Freeman wrote of the new location for Vallet’s gallery, now in the Rondout section of the city of Kingston.

 

“George Vallett, the photographer from the upper part of the city, has leased the rooms in the VanDeusen building on The Strand where he has established a gallery.”

 

In 1878 Sherriff B. Webb had photographs taken of every sheriff of Ulster County who held the office since 1843, a period of 35 years. He “had them handsomely framed and hung up in the sheriff’s office in the court-house, over the door. The work was done by George Vallet, the photographer on Wall Street, and the likenesses are very good. Their names are: John H. Schryver, who was elected in 1843; Charles Brodhead, elected in 1846; Jacob L. Signor, in 1849; John Griffiths, in 1852; Maurice Wurts, in 1855; Abraham A. Deyo, Jr., in 1858; Davis Winne, in 1861; Simon S. Westbrook, in 1861; Cyrenius F. Brill, in 1867; John W. Kerr, in 1870; Silas Saxton, in 1873; and William B. Webb in 1876. The most of these men are living, one of them being considerable over seventy years of age.”[8]

 

The February 6, 1879 issue of the Kingston Daily Freeman wrote of the new location of Vallet’s gallery.

 

“George Vallette, the Photographer, has had the rooms over Uncle Jake Fox’s on The Strand, fitted up for a gallery, and will open them on Saturday.”

 

The 1880 United States census listed Vallet as residing in Enumeration District 126 at the city of Kingston and with an occupation of Photographer. The household also included Mary Ann, his wife; and Frances A., his 17-year-old daughter.

 

On March 6, 1880 the Kingston Daily Freeman wrote that “McEntee & Dillon have had photographs taken of the engine they have constructed for Captain Dave Hitchcock’s new steamer which is to ply between Albany and New Baltimore. George Vallett took the photographs, the engine having been set up in the shop for the purpose.”

 

On September 20, 1880 the Kingston Daily Freeman wrote that “Company D’s men are ordered to be on hand at the Armory tomorrow morning at 8 o’clock, preparatory to leaving the city for Hudson. Invited guests of the Company will join the Company at the Mansion House at about 9 o’clock, when Vallett will photograph the Company and the band.”

 

On December 22, 1880 the Kingston Daily Freeman wrote that “Vallett is making photographs of the members of one of our hose companies.”

 

In 1881 it was reported that Vallet had recently vacated his photograph gallery on The Strand. Photographer Lorenzo Short took over the space, and had it cleaned and repaired. This was to be a branch location, with Short’s primary establishment in the Newkirk building, on Union Avenue.

 

By 1883 it was reported that Vallet had left Kingston to work in Tyrone, Pennsylvania. “George A. Vallett, the well-known photographer, is in town. He is now in the employ of B. Harris at Tyrone, Pa., who employs twenty-two operatives in his business.”

 

The 1910 United States census, 11 years after George’s passing in 1899, listed his widowed, 71-year-old wife Mary living in the city of Kingston with her daughter Viola and her son-in-law William Dickinson. Mary was listed as having had two children, only one of whom was living. William, who was born in Alabama, was listed as working as a floor manager in a dry goods and clothing store.

 

Legacy

 

Vallet was once described as “one of the leading photographers in this locality in the early days of the art, having galleries in Rondout and Kingston.”

 

George A. Vallet passed away at 65 years of age in Manhattan on June 1, 1899. He is buried at Wiltwyck Cemetery in Kingston, New York. His gravestone, erected by the Wheatfield Ulster County Civil War Round Table, reads “Kingston’s Premier Civil War Photographer.”

 

Mary Ann (Hopkins) Vallet, George’s wife, died at 76 years of age after a long illness at the home of George Stoddard, on the Saugerties road, on April 12, 1916. She “had many friends among the older residents of this city.” The funeral took place at the chapel of A. Carr & Son, No. 1 Pearl Street. She was survived by one daughter, Viola Dickenson of Summit, New Jersey. She is buried with her husband at Wiltwyck Cemetery in Kingston, New York.

 

[1] Kingston Daily Freeman (Kingston, New York). April 27, 1922.

[2] The People’s Press (Kingston, New York). March 6, 1857.

[3] “Kingston Daguerrean Rooms.” The People’s Press (Kingston, New York). March 20, 1857.

[4] “Ulster County Fair.” The People’s Press (Kingston, New York). October 22, 1858.

[5] The People’s Press (Kingston, New York). May 10, 1860.

[6] “Fine Picture.” The Kingston Daily Freeman (Kingston, New York). May 25, 1874.

[7] “Presentation by Hon. John A. Gross to Kingston Hose Company, No. 2.” Kingston Daily Freeman (Kingston, New York). July 8, 1874.

[8] “Sheriffs of Ulster.” The Kingston Daily Freeman (Kingston, New York). October 28, 1878.

 

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Winfield S. Davis – Ellenville, New York Photographer https://www.americancatskills.com/blog/2023/7/winfield-s-davis-ellenville-new-york-photographer Introduction

 

W. S. Davis was a popular photographer at the village of Ellenville, New York from the mid-1880s to 1902. He also operated a branch gallery at Grahamsville, New York during the 1890s. Winfield was the son of Edwin A. Davis, a photographer in Rockland County, New York. Winfield sold his Ellenville gallery in 1902 after the passing of his wife Lillian. The gallery was purchased by Albert V. Porter, who operated the business until 1918.    

 

Sam's Point (2), Views of Ellenville and VicinitySam's Point (2), Views of Ellenville and Vicinity Sam's Point. Author's collection.

 

Biography

 

Winfield Scott Davis was born on May 16, 1861 in New York City, the son of Edwin Augustus Davis (1836-1911) and Catherine Lavinia Davis (1839-1923).

 

The 1870 United States census showed 9-year-old Winfield living with his parents, 34-year-old Edwin A. Davis and 30-year-old Lavina Davis. The family was living at Orangetown in Rockland County, New York. Edwin was listed with an occupation of photographer.

 

The 1880 United States census showed 19-year-old Winfield living with his parents, 44-year-old Edwin A. Davis and 40-year-old Catherine. The family was living in New York County, New York. Edwin was listed with an occupation of photographer and Winfield was listed as “works at home.”

 

The 1878-1879 and the 1879-1880 catalogs of Columbia College in New York City listed a Winfield Scott Davis as being a first class student and a second class student, respectively, in the School of Mines. He was listed as residing at 491 6th Avenue. It is unclear if Winfield graduated from college as he was not listed in either the 1880-1881 or the 1881-1882 Columbia College catalogs.

 

Trow’s New York City Directory for the year ending May 1, 1880 listed both Edwin A. Davis and Winfield S. Davis working as photographers and both residing at 491 Sixth Avenue. This was also true in the 1882 and 1883 directories. The New York City Directory for 1884-1885 listed a Winfield S. Davis with a profession of photographer and a home address of 491 6th Avenue; but did not list Edwin A. Davis.

 

Winfield S. Davis met Lillian May Prindle while still a student at college. They were married on November 26 (or 29 depending on the source), 1883 in Highbridge, New York. Lillian was the daughter of Charles Bradley Prindle (1841-1904) and Fidelia A. (Ferguson) Prindle (1844-1907). Charles owned a hat factory and lived at Mill Plain, Connecticut. Lillian was born on June 29, 1867(8) and was raised in Mill Plain, Connecticut.

 

Lillian May Prindle is a direct descendant of Captain Nehemiah Keeler (1753-1838) who honorably served during the American Revolution. Keeler enlisted and served as a private in 1776; served in various regiments until 1780; and was promoted through the grades to Captain. He married Eleanor Rockwell at Ridgebury, Connecticut on June 15, 1772. According to Alexander DuBin, author of Five Hundred First Families of America, Lillian’s lineage, through her father, can be traced back over 1,000 years to Charlemagne (747-814), ruler of the Holy Roman Empire, and to other kings and nobility of Europe and France.

 

Winfield and Lillian had four children, including Wynetta, born September 14, 1884; Kittie, born August 5, 1886; Edwin “Eddie,” born January 8, 1888; and Dorothy Marguerite, born August 4, 1898.

 

Dorothy was born at Ellenville, New York but moved to Connecticut after her mother’s passing. She graduated from Classical High School at Springfield, Massachusetts in 1916. She was also a student at Pratt Institute in Brooklyn, New York in 1917-1918. She married Carl Oscar Carlson (1898-1970) on October 4, 1919. She passed away on August 11, 1971 in Scott County, Kentucky. Although it cannot be definitively determined if it is the same person, Colonel Harland Sanders, famous founder of Kentucky Fried Chicken, was listed as one of the honorary bearers at Dorothy’s funeral. She is buried at the Lexington Cemetery in Lexington, Kentucky.

 

“Georgetown, Ky. Mrs. Dorothy Davis Carlson, 73, widow of Carl Oscar Carlson, Carls Haven Farm, Scott County, died about 11 p.m. Wednesday at the John Graves Ford Hospital here after a short illness.

 

Since Mr. Carlson’s death in August of 1970 she had been president of the Lexington Photo Engraving Co., which he founded in May, 1946.

 

Mrs. Carlson, a native of New York state, was a past president of the Lexington Altrusa Club, and was a member of the Lexington chapter, Daughters of the American Revolution, Akielo Temple, Daughters of the Nile, Mt. Horeb Homemakers Club, and Salvation Army Auxiliary Club and the Woman’s Club of Central Kentucky.

 

She was a member of the First Church of Christ Scientist and of the Mother Church in Boston, Mass.

 

Survivors are a son, Charles E. Carlson, Lexington; two daughters, Mrs. Harold Lofton Childs, Chelsea, Vt., and Mrs. L. Philip Williams, Columbus, Ga., and eight grandchildren.

 

The body is at Milwards Mortuary – Broadway, Lexington.”[1]

 

Wynetta Davis was the subject of newspaper articles across the country in 1910 when her wealthy husband Arthur Brady shot her. Brady, who was an invalid due to locomotor ataxia, died soon after the shooting. Wynetta remarried to James A. Benedict, but she died in an automobile accident three years later in 1913 at Danbury, Connecticut. She is buried at Milltown Cemetery in Brewster, New York.

 

Kittie married James Anderson Benedict, widow of her sister Wynetta, in New York City on December 24, 1916. She was a longtime resident of Colorado Springs, Colorado. While in Colorado she was a member of the Monday Progress Women’s Club of which she was president, the First Presbyterian Church, the Parker Prayer Group and the Daughters of the American Revolution. She passed away June 13, 1972 at the home of her daughter, Mrs. Wynette Epp, in Albuquerque, New Mexico. She is buried at Evergreen Cemetery in Colorado Springs, Colorado.

 

Edwin Augustus Davis resided at the city of Danbury, Connecticut for over 60 years. He likely moved there some time after the tragic death of his mother in 1901. Edwin’s World War I registration card listed his profession as a self-employed farmer at Mill Plain, Connecticut and also noted that he was supporting a wife, two children and a grandmother. He later worked as a machinist. Edwin died on March 3, 1962 at 74 years of age at Danbury Hospital. The funeral took place at the Albert W. Schmidt funeral home with Reverend Stoddard B. Williams, pastor of the King Street Christian Church, officiating. He was survived by two sons, Maurice Davis, of Danbury; and Donald Davis, of New Fairfield; a daughter, Mrs. Charles Tease, of White Plains, New York; and two sisters, Mrs. Oscar Carlson, of Kentucky; and Mrs. Kittie Benedict, of Colorado Springs, Colorado; and several grandchildren. Edwin is buried at Milltown Cemetery in Brewster, New York.

 

Winfield and his wife Lillian likely came to the village of Ellenville around late 1885 or early 1886. The Ellenville Journal reported in December 1885 that E. A. Davis, Winfield’s father, had purchased the photograph gallery of Edward Lewis, a noted photographer who had previously worked in Kingston. Lewis had moved from Kingston to Ellenville three years prior in 1883 to open the gallery. After selling the gallery it was reported that Lewis, “having visited quite a number of places, north and south for a business location, has settled in the pleasant village of Nyack, Rockland County. We wish him success.”[2]

 

“Mr. E. Lewis, the photographer in Thompson’s building, has sold out his business to Mr. E. A. Davis, from Danbury, Conn., who has already taken possession and commenced work. Mr. Lewis, who has been among us for more than two and a half years, is not only a skillful and experienced artist, but an excellent citizen as well. We are pleased to learn that he does not contemplate immediate removal from town. We trust that Mr. Davis may find the lines fallen pleasantly, and meet with abundant success.”[3]

 

When Davis began trying to sell his gallery in 1900, an advertisement noted that the gallery was “established 18 years; 15 years present owner.” These facts would coincide with Edward Lewis founding the gallery in 1883 and Davis taking over around 1886. However, given the above-mentioned article that stated the gallery was sold directly to E. A. Davis, it is unclear if Winfield’s father, 1) purchased the gallery on behalf of his son; 2) or perhaps was, for a brief time, a partner with his son; 3) or operated the gallery by himself until his son arrived within a few short years. What is known is that within a few years advertisements and articles in the local newspaper referred to the photographer as “W. S. Davis,” rather than just “Davis.”

 

In the January 15, 1886 issue of the Ellenville Journal it was written that “Mr. Davis, successor to Lewis, the photographer, and whose card appears in another column, is a pleasant gentleman, an artist of some years’ successful experience in the city.”

 

In that same January 15, 1886 issue of the Ellenville Journal, Davis placed perhaps the first advertisement for his new gallery.

 

“Davis, Late of Fifth Avenue, New York, (Successor to E. Lewis,) Photographer. Portraits by Instantaneous Process. Photographs of Houses, Live Stock and Interiors. Copying a specialty. Thompson Building, Canal Street, Ellenville.”

 

The Davis gallery was located at 129 Canal Street in Ellenville. The reverse side of a cabinet card portrait taken by Davis noted that “Instantaneous process used exclusively. Negatives preserved. Duplicates can be had at any time.” His series of scenic stereoviews were issued under the title “Views of Ellenville and Vicinity.”

 

Through the years the Ellenville Journal, the local newspaper, wrote about Davis and his artistic photography. Below are some early examples of items that were published.

 

October 29, 1886, Ellenville Journal

 

“Davis, the photographer, presents a change of adv’t in this issue. Mr. Davis shows a line of much the finest views ever made with the camera in this section; and he is prepared to take views of any sort, including interiors, at short notice.

 

September 2, 1887, Ellenville Journal

 

“Davis, the photographer, has during the past week added to his collection of artistic and charming views of local scenery a cabinet photo of the Kaederkill Falls some distance east of Sam’s Point, on the eastern slope of the mountain. It is indeed a gem; the falls are unexcelled for romantic beauty by anything in the State, and the picture is perfect.”

 

In January 1887 the photographic work taken by Davis was recognized at the county fair conducted by the Southern Ulster Agricultural Society. “Davis, the popular photographer, had a booth on the ground, and had also a fine collection of his pictures in the exhibition building. These were justly admired. Mr. Davis has few rivals in his art.”[4]

 

Sam's Point (11), Views of Ellenville and VicinitySam's Point (11), Views of Ellenville and Vicinity Sam's Point. Author's collection.

 

Parkers Pass, Hanging Rock Falls, Views of Ellenville and VicinityParkers Pass, Hanging Rock Falls, Views of Ellenville and Vicinity Parkers Pass, Hanging Rock Falls. Author's collection.

 

Arching Rocks, Lake Mohonk and VicinityArching Rocks, Lake Mohonk and Vicinity Arching Rocks. Author's collection.

 

The Ellenville Journal continued to write about Davis in the late 1880s and into the early 1890s.

 

February 3, 1888 advertisement, Ellenville Journal

 

“Davis, (Late of Sixth Avenue, New York), Portrait and View Photographer! 129 Canal Street, Ellenville. Copying of Finest quality! 75 Stereoscopic Views Of Points of Interest in Ellenville and Vicinity. Views of all kinds and sizes made at short notice. Best workmanship. Moderate Prices.”

 

January 3, 1889, Ellenville Journal

 

“Davis, the photographer, has on exhibition at his rooms some elegant trout rods, hand-made. They are for sale also at the store of H. Tice & Co.”

 

April 26, 1889, Ellenville Journal

 

“Davis, the photographer, makes unexcelled views, and he has on exhibition and sale at his gallery a great variety representing many of the more notable points of attraction and bits of local scenery. And, by the way, now is just the time for obtaining a picture of your residences, grounds, street views, etc., while the foliage is putting forth, and before it becomes too dense.”

 

July 18, 1890, Ellenville Journal

 

“INTERESTING VIEWS.– City visitors will find at the art gallery of Davis, the photographer, a series of beautiful and very interesting photos of the natural attractions and wonders of this vicinity – unsurpassed by those of any other locality east of the Rockies. These embrace besides pictures of the village a great variety of mountain pictures – cliffs, crevices, glens, caves, and the like, with most enchanting waterfalls, not only of the mountain, but also in the hills and vales of the vicinage. Those who entertain summer guests may do them a favor by directing their attention to this rare collection. Not only will it afford “tips” for many a delightful ramble, but from it may be chosen pretty souvenirs of the summer’s outing.”

 

January 16, 1891 advertisement, Ellenville Journal

 

“Davis, Artist, Photographer, 129 Canal St., Ellenville. A fine stock of PICTURE FRAMES at low prices! Special from January 1st, for $5 I will make 1 16x20 3/4 life size crayon and 1 dozen cabinet photos!

 

Cabinet Photos, $2, $3 and $4 per Doz.

 

Copying of finest quality.

 

Views of all points of interest in the vicinity for sale at the studio. Views of all kinds and sizes made at short notice. Best workmanship. Moderate Prices.”

 

August 7, 1891, Ellenville Journal

 

“We observe that in some parts of the county artists from distant cities are employed to make views of buildings, grounds, local scenery, etc. There is no occasion to go abroad for that sort of work. Davis, the Ellenville photographer, is unexcelled in that line. And, by the way, he has on exhibition and sale at his gallery hundreds of views of notable features of Shawangunk mountain and the vicinity, embracing many scenic gems.”

 

In 1889 a photograph by Davis was published in The Photographic Times.

 

“Proper Credit.– We are informed by Mr. W. S. Davis, the well-known photographer of Ellenville, N.Y. that the Mosstype view of “Verkeederkill Falls,” in the “American Annual for 1889” is from his negative. We are glad to know who is entitled to the credit of such beautiful work, and would have been glad to credit him on the print had we learned of the authorship before going to press.”[5]

 

In 1891 Davis expanded his business by opening a branch gallery at the village of Grahamsville. He would continue to operate this branch gallery throughout the 1890s.

 

“Grahamsville Photograph Gallery! The subscriber will be in Grahamsville, and open a PHOTOGRAPH GALLERY for the following dates: November 5th and 6th, 12th and 13th, and 19th and 20th. Other dates will be announced later. W. S. Davis, Photographer, Ellenville, Oct. 30, 1891.”[6]

 

In 1892 Davis wrote a letter to the St. Louis and Canadian Photographer, a leading industry publication.

 

                “Concerning the Aristotype.

 

                Editor St. Louis and Canadian Photographer:

 

While the subject of “Aristo” is all the go, I will state that I have been working the process since August, 1889, at which time I saw some beautiful work in Boston by E. A. Gilbert. I bought one of his outfits and have since tried almost every kind of aristotype paper in the market – Gelatine and Collodion – and have come to the conclusion that the former is not what many claim for it, and cannot be made to withstand the different changes of our climate. [Gelatine prints can not be made that neither water, boiling hot or ice cold, will in any manner affect, no matter how long the contact. This seems to us will be sufficient to withstand any climatic change any country can ever be subjected to. – Ed. St. L. & C. P.]

 

Collodio-Chloride prints, self-prepared, and “Aristo,” were put into my show-case together with gelatine and albumen. The two latter faded and lost their brilliancy, while the former retained its tone and color.

 

The show-case which I have for testing the permanency of my work faces the northeast. When the sun strikes the glass in the morning, dampness from the gelatine and albumen prints condenses on the inside of the glass, and later in the day the water returns to the prints and the glass again becomes clear. The collodion prints, not susceptible to water changes, do not undergo this terrible ordeal, and with the recent hot water process is much easier of manipulation than either albumen or gelatine.

 

W. S. Davis, Ellenville, N.Y.”[7]

 

At the 1892 County Fair “Davis, our local photographer, had a rich and varied exhibit of the product of his skill, which by the way is unsurpassed. He had also a gallery on the grounds where he “took” the people.”[8]

 

Portrait, Well Dressed Man, by W. S. Davis, Ellenville, NYPortrait, Well Dressed Man, by W. S. Davis, Ellenville, NY

Portrait, Well Dressed Man, by W. S. Davis. Author's collection.

 

Portrait, Young Woman, by W. S. Davis, Ellenville, NYPortrait, Young Woman, by W. S. Davis, Ellenville, NY

Portrait, Young Woman, by W. S. Davis. Author's collection.

 

Logo, W. S. Davis, Photographer, Ellenville, NYLogo, W. S. Davis, Photographer, Ellenville, NY

Business Imprint, W. S. Davis, Ellenville, N.Y. Author's collection.

 

The Ellenville Journal and other local newspapers wrote of Davis and his photographic gallery throughout the 1890s.

 

March 18, 1892 advertisement, Ellenville Journal

 

“Davis, Photographer, and Dealer in Amateur Supplies, Canal Street, Ellenville, N.Y. Finest equipped Gallery within Fifty Miles. I make Portraits and Views of all sizes. My Life Size Aristo, Sepia and Solar Aristo Enlargements are the finest that can be made. Parties wishing Crayon, Oil, Water Color or Pastel Portraits will do well to consult me.

 

The Collodio-chloride Aristo, making the best permanent picture, and the instantaneous process used exclusively.

 

Lady Operator in attendance.”

 

August 8, 1892, Middletown Times-Press

 

“W. S. Davis, the Ellenville photographer, has just finished a large pictures of Honk Falls, Mt. Menaga, Sam’s Point, Walnut Mountain, White Lake, and also a view of Ellenville. He has placed them in a beautiful oak-finished frame and hung them in the Weehawken depot.”

 

September 15, 1892, Middletown Times-Press

 

“The display of photos, etc., of Davis, the photographer, is the best ever seen here.” [At the annual county fair held by the Ulster County Agricultural Society.]

 

July 24, 1894, Ellenville Journal

 

“W. S. Davis has put on exhibition at the entrance to his gallery a very fine picture of Mr. Dwight Divine.”

 

September 18, 1896, Ellenville Journal

 

“W. S. Davis, the local photographer, proposes to open a branch in Liberty in a few weeks. Mr. Davis possesses the highest skill in his art.”

 

March 12, 1897, Ellenville Journal

 

“Davis’s large photo of the Reformatory was on exhibition a day or two in the County Treasurer’s office, en route to Albany.”

 

March 12, 1897, Ellenville Journal

 

“Davis, the photographer, is making cabinet photographs for $1.50 a dozen. That would seem to leave no motive to go abroad for pictures.”

 

July 9, 1897, Ellenville Journal

 

“Photographer Davis went yesterday to Jamestown, to attend the convention at that place, expecting to be absent until the 20th.”

 

The 1900 United States census showed 39-year-old Davis living at the village of Ellenville, town of Wawarsing in Ulster County, New York. Also living in the household was his 32-year-old wife Lillian, and his four children, 15-year-old Wynetta, 13-year-old Kittie, 12-year-old Edwin and 1-year-old Dorothy. The census showed that Winfield and Lillian had been married for 17 years and that they had four children, all of them living. Winfield was listed with an occupation of photographer, while Wynetta, Kittie and Edwin were all listed “at school.”

 

Lillian, Winfield’s wife, tragically passed away in 1901.

 

“A sudden and sad death was that of the wife of Winfield S. Davis, the well known local photographer, which occurred about five o’clock on Friday evening last, after no more than fifteen or sixteen hours’ illness, death being attributed to congestion of the kidneys. Mrs. Davis had been well as usual the preceding day. During the night she was up with a child and took a chill. A physician was called early in the morning, and later others were summoned, but her malady seemed to defy treatment, and she steadily grew worse. In the afternoon she recognized the gravity of the situation, and an hour before her death bade her family good-bye. Mrs. Davis was in her 34th year; she was bright and winsome, and made friends at sight . . .

 

Much sympathy is extended to the sorely stricken family. Besides the husband there are four children – Winetta, Kittie, Eddie, and little Dorothy two or three years old. The mother of Mrs. Davis lives in New York, and a married sister in Hartford. Rev. Dr. Berg conducted a funeral service at 5 p.m. Saturday, and on Monday morning the remains were conveyed to Milltown, Conn., for interment, Dr. H. C. Derby accompanying. On his return to Ellenville Wednesday evening, Mr. Davis was accompanied by his father and mother.”[9]

 

Davis placed the following advertisement for his photography business in the July 4, 1902 issue of the Ellenville Journal.

 

“Davis, Photographer, will make, till stock is used up, 1 Doz. C. D. V. Photos for 50c. Cut prices in all sizes to reduce stock. F R A M E S at reduced prices.”

 

The following month Davis placed the following advertisement in the August 1, 1902 issue of the Ellenville Journal.

 

“Davis, Photographer, is making 12 Photos, C. D. V., for 50c. 6 Cabinet Photos for 60c. 1 dozen Carbonettes for 75c. This is less than the cost of the material used, and the price will last only as long as the stock on hand.”

 

Perhaps due to the tragic death of his wife, Davis offered his gallery for sale.

 

“FOR SALE.– One of the best equipped galleries in New York State; only gallery; town 4,000; fully stocked; small branch gallery 16 miles distant; established 18 years; 15 years present owner. W. S. Davis, Ellenville, N.Y.”[10]

 

The Davis Gallery was purchased by Albert V. Porter in September 1902.

 

“Albert V. Porter, for twenty-six years engaged at the knife factory, on Tuesday resigned his position as foreman of the material room, having been for some time in poor health and advised by his physician to seek a more congenial occupation. Mr. Porter has purchased the entire outfit with stock and good will of W. S. Davis’s photograph gallery taking possession this week. Mr. Davis has established a good reputation for the gallery during the past twenty years, and Mr. Porter, with artistic taste and a successful experience of some years as an amateur photographer, should do well.”[11]

 

After their mother’s passing, Wynetta and Kittie went to live with their grandfather, E. A. Davis, at Mill Plain, Connecticut. Dorothy, as per a note on www.findagrave.com, went to live with her mother’s sister, Grace Prindle Dexter, and her husband, Albert J. Dexter.”

 

In November 1903 it was reported that “W. S. Davis, formerly photographer in Ellenville, and his son are spending a few days in Kerhonkson, having come up from the city on a hunting trip.”[12]

 

In December 1903 Winfield remarried to Mayme MacNiff (1861-1923) in Manhattan, New York. It was her first marriage. Mayme was born in Pearl River, New York. Her parents were Philip McNiff and Susan (Webb) McNiff.

 

After selling his gallery, Davis became “interested in the production of milk flour by a patented process, and will give his attention wholly to that business, removing his family to Connecticut.”[13] The process called for “reducing skim milk to a powder called milk flour, that can be again turned into a liquid. The formula is a secret. It is with this company that W. S. Davis of this village is associated.”[14]

 

In 1910 it was reported that Davis was residing at the village of Centerville Station, New York with his second wife. Centerville Station would later change its name to Woodridge.

 

The 1910 United States census listed the 49-year-old Winfield Davis as residing in the town of Fallsburg in Sullivan County, New York. Also in the household was his second wife Mayme, to whom he had been married for seven years. They had no children together. Winfield was listed with an occupation of photographer, with an industry of “general work.”

 

Three years later, in 1913, it was reported that Davis was living at Mountaindale, New York. Mountaindale is located southwest of the village of Ellenville and within the town of Fallsburg in Sullivan County, New York.

 

The 1930 United States census listed the 69-year-old Winfield Davis, now a widow, as living in the village of Woodridge in the town of Fallsburg, Sullivan County, New York. He was listed with an occupation of photographer.

 

Legacy

 

Winfield Scott Davis left his mark on Ellenville’s history through over 15 years of artistic portraits of local citizens and beautiful landscape stereoviews of Ellenville and the surrounding region. Davis passed away on November 5, 1938 and is buried at Milltown Cemetery in Brewster, New York.

 

[1] “Engraving Firm Head Is Dead.” The Lexington Herald (Lexington, Kentucky). August 12, 1971.

[2] Ellenville Journal (Ellenville, New York). February 19, 1886.

[3] Ellenville Journal (Ellenville, New York). December 25, 1885.

[4] Ellenville Journal (Ellenville, New York). October 7, 1887.

[5] The Photographic Times. January 4, 1889. Vol. 19, No. 381.

[6] Ellenville Journal (Ellenville, New York). November 13, 1891.

[7] “Concerning the Aristotype.” St. Louis & Canadian Photographer. April, 1892. Vol. 10, No. 4.

[8] Ellenville Journal (Ellenville, New York). September 23, 1892.

[9] Ellenville Journal (Ellenville, New York). May 10, 1901.

[10] The St. Louis and Canadian Photographer. January, 1900. Vol. 24, No. 1.

[11] Ellenville Journal (Ellenville, New York). September 5, 1902.

[12] “Ellenville.” Kingston Daily Freeman (Kingston, New York). November 2, 1903.

[13] Ellenville Journal (Ellenville, New York). September 5, 1902.

[14] Ellenville Journal (Ellenville, New York). August 1, 1902.

 

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[email protected] (American Catskills) A. V. Porter Albert V. Porter Catskill Mountains Catskills Edward Lewis Ellenville gallery Grahamsville landscapes Lillian May Prindle Nehemiah Keeler New York photographer photographs photography pictures stereoviews studio Ulster County W. S. Davis Winfield Scott Davis https://www.americancatskills.com/blog/2023/7/winfield-s-davis-ellenville-new-york-photographer Sat, 29 Jul 2023 12:00:00 GMT
Alfred Wurts Tice – Ellenville, NY Photographer https://www.americancatskills.com/blog/2023/7/alfred-wurts-tice-ellenville-ny-photographer Introduction

 

Alfred Wurts Tice (1829-1909) was a popular photographer at the village of Ellenville in Ulster County, New York for nearly two decades from the early-to-mid 1860s to the early 1880s. In 1881 Tice left Ellenville to open a photograph gallery at Corry, Pennsylvania. He returned to Ellenville in 1895 and worked as an assistant in the gallery of A. V. Porter. Tice passed away in 1909.

 

Portrait, Young Boy_Alfred Wurts Tice, Ellenville, NYPortrait, Young Boy_Alfred Wurts Tice, Ellenville, NY

 

Logo, Alfred Wurts Tice, Ellenville, NYLogo, Alfred Wurts Tice, Ellenville, NY

 

Biography

 

Alfred Wurts Tice was born on October 19, 1829 at Phillipsport, New York. He was the son of John Tice and Huldah (Gumaer) Tice.

 

The name Tice can be traced back to the earliest days of the country. It “is of Dutch origin, and in the early records of New York appears in many forms, such as Tys, Tysz, Thys, Thysen, Thyssen. There seem to have been two persons called Claes Thyssen in New York City, each having a child baptized there in 1654. Garret Thyssen had a child baptized in New York in 1665, and Anthony in 1682. There was a Jan Thyssen Buys in New York in 1684. It is possible that the child baptized in that year was his first born in America.”[1]

 

John Tice, Senior, Alfred’s grandfather, was baptized in Montgomery, New York on February 14, 1767. From Orange County, he went to Mamakating, near Phillipsport, in Sullivan County, New York, in 1799. He died on September 3, 1849.

 

“John Tice was a son of Joseph Henry Tice, who came from Germany and settled near Montgomery in Orange County about 1735. His father started with him to America, but died on the way and was buried in the ocean. Joseph Henry Tice was the ancestor of the family of that name in this part of the country. John Tice married Sally, a daughter of David Horton of Mamakating, and lived near the northerly end of the village of Phillipsport, near the old house on the westerly side of the valley road having a basement partly in the bank to its rear, and more recently known as the VanBuren house. Philip Tice, a brother of John, also settled in Mamakating about the same time as his brother, and married Phebe, another daughter of David Horton. To the former were born eight children, all of whom grew up to be men and women; to the latter were born twelve children; and Methodism has run through both families down to the present generation . . .

 

In the second year of the present century Mrs. Sally Tice was converted at one of the local meetings, and shortly afterward her husband, John Tice, was also soundly converted. They both joined the Methodist society at that place, though David Horton, the father of Mrs. Tice, being a Baptist and strongly attached to that organization, vehemently objected. In regular German fashion, John Tice and his wife accepted Christianity as a great truth, and immediately began to put it in practice. Ever afterward their house was consecrated to the Lord, and became a rallying point for Methodism.”[2]

 

John Tice, Junior, Alfred’s father, was born on October 21, 1804 and passed away on December 24, 1853. John “conducted a large general store at Phillipsport for many years, and also engaged in farming. He was an active member of the Methodist church. He married Huldah Gumaer, who was undoubtedly a descendent of the old family of that name at Port Jervis.”[3] Huldah, Alfred’s mother, was born on July 30, 1806 and passed away on August 22, 1868.

 

Alfred was the oldest of John and Huldah’s four children. Alfred’s siblings included Wickham, born December 2, 1831; Margaret, born January 13, 1834, wife of Gouverneur Nickerson; and Helen (Ellen), born on August 17 (19?), 1843, married Wesley Holmes. John and Huldah are buried at the Chester A. Stanton Memorial Cemetery in Wurtsboro, New York.

 

During his youth Alfred was educated in the public schools at Phillipsport.

 

The 1850 United States census showed Tice residing at the town of Mamakating in Sullivan County, New York. Alfred was living in the household of his parents John and Huldah. John and Wickham, Alfred’s brother, were listed with an occupation of farmer. Alfred was listed with an occupation of blacksmith.

 

Alfred was first married to Louisa ----, who was born on November 6, 1828(9) and died on November 17, 1852. He married a second time on October 1, 1854 to Irene Miller. The ceremony took place at Grahamsville, New York. Irene was born at Grahamsville, New York on April 7, 1825. Irene was the daughter of Joseph S. and Hannah W. Miller. Joseph had come to Grahamsville from Connecticut.

 

Sometime in the early 1850s Tice went to live at the village of Ellenville. James Strode Elston in The Tice Families In America, puts the year at 1850; while the obituary for Irene (Miller) Tice, Alfred’s wife, stated that the couple moved to Ellenville in 1854 soon after their marriage. In 1857 Alfred built a house at Ellenville which they owned for over 50 years.

 

Together Alfred and Irene had four children, including Royal, born January 21, 1856, died July 18, 1856; James W., born July 4, 1857, married Jennie ----, and lived in Chicago; John A., born June 29, 1859; and Perry S., born on January 24, 1865.

 

James W. Tice, Alfred’s son, was for many years a trusted employee of the Standard Watch Company in New York. In 1894 he was transferred to Chicago, where he assumed “the important position of manager of the Western Department. He receives an increased and very handsome salary.”[4] James passed away on January 20, 1936 at Chicago, Illinois.

 

John Arthur Tice, Alfred’s son, became a prominent member of the Ellenville Community. He passed away on June 25, 1923 after an attack of acute indigestion.

 

“John A. Tice, Secretary of the Ellenville Savings Bank, is a descendent of ---- Tice, who came to America upon the Mayflower. The descendants of the progenitor of this family are found in Dutchess and Sullivan Counties, from whence our subject’s father came into Ulster, some sixty years ago.

 

John A. Tice was born at Ellenville, June 29, 1859. He attended the public schools and finished his education at the Wyoming Seminary, of Pennsylvania. After leaving school he was engaged in the jewelry business for a time and later in the shoe business with Burr Eaton. In April, 1883, he accepted a position as bookkeeper in the Savings Bank, where he has since continued and of which he was elected secretary in 1906. Mr. Tice married Miss Harriet I. Hoar, and to them has been born one son, Rodger DuBois Tice. Mr. Tice is a Mason, Knight Templar, President of the Scoresby Hose Company for the past fifteen years, and one of Ellenville’s most influential and trustworthy business men. He is highly regarded by all.”[5]

 

Perry Schultz Tice, Alfred’s youngest son, died suddenly in June 1917 “while walking along the street on Monday evening, from heart failure. The body has been shipped to Ellenville for funeral and interment.”

 

“Perry S. Tice was 52 years of age and a son of A. Wurts Tice, one of the old residents of this village. He grew to manhood in this place, was educated in the Ellenville schools, and for quite a number of years was connected with the Ellenville Savings Bank. Upon leaving Ellenville some years ago, Mr. Tice went to Chicago, from there to Houston, Texas, where he has since been employed as a travelling salesman by a firm of that city, selling fire department supplies.

 

The news of his death came as a great shock to his relatives and many friends in this village, where he has been so well and popularly known. He is survived by two brothers, James Tice, of Chicago, Ill., and John A. Tice, of Ellenville.” [6]

 

In May 1863 Tice placed an advertisement in the Ellenville Journal for his photography business, which he had taken over from George H. Payne, who, in turn, had taken over from Jonathan Penny. The 37-year-old Penny was listed with an occupation of “artist” on the 1860 United States census. The gallery was located over Corbin’s Drug Street on Canal Street.

 

“Ambrotypes & Photographs! Having rented and fitted up the PICTURE GALLERY, formerly occupied by George H. Payne, Over Corbin’s Drug Store, Canal St., Ellenville, the subscriber is now ready to take Ambrotypes and Photographs! In the Best Style, and at low prices. His friends and the public are invited to GIVE HIM A TRIAL, as he feels assured that his pictures will prove entirely satisfactory in every respect. Call and See for Yourselves! Remember this place – Over Corbin’s Drug Store, Canal Street. A. W. Tice, Ellenville, May, 1863.”

 

Tice placed additional advertisements in the local newspaper during the mid-1860s, including the below examples.

 

January 7, 1865, Ellenville Journal

 

“Premium Picture Gallery! Ambrotypes, Photographs, Cartes de Visites, produced in a style not excelled anywhere. Call and see specimens. Entrance to Gallery next door to Corbin’s Drug Store. A. Wurts Tice, Ellenville, Dec. 17, 1864.”

 

September 8, 1866, Ellenville Journal

 

“A TALL MAN.– Saul, the first Hebrew king, stood “head and shoulders” above all others, and was a splendid specimen of a king and man. So are the Pictures from TICE’S Gallery unrivalled – Don’t be humbugged! Poor pictures are dear at any price! Ambrotypes, Photographs, Porcelain Pictures, Ferrotypes, & c., & c., made in the very best style, on as short notice, and at as low prices as at any other establishment. A perfectly satisfactory picture guaranteed. Don’t be humbugged!”

 

September 28, 1867, Ellenville Journal

 

“Photographs, Ambrotypes and Porcelain Pictures at the photograph saloon, over Childs & Smith’s Drug Store, where the subscriber has facilities for making and furnishing Pictures in any style, from a Plain Gem to a Life Size Photograph in Colors, and Prices Ranging Accordingly! Also, copying from small pictures done on reasonable terms. A. Wurts Tice, Ellenville, June 9, 1866.”

 

Portrait, Middle Aged Woman, by Alfred Wurts Tice, Ellenville, NYPortrait, Middle Aged Woman, by Alfred Wurts Tice, Ellenville, NY

 

Portait, Baby, by Alfred Wurts Tice, Ellenveille, NYPortait, Baby, by Alfred Wurts Tice, Ellenveille, NY

 

Portrait, Middle Aged Man, Sitting, by Alfred Wurts Tice, Ellenville, NYPortrait, Middle Aged Man, Sitting, by Alfred Wurts Tice, Ellenville, NY

 

The 1870 United States census listed 40-year-old Tice as living in the town of Wawarsing, Ulster County, New York. Also listed in the household was his wife Irene and his three sons, James, John and Perry. Tice was listed with an occupation of photographer.

 

In addition to his portrait work, Tice issued a series of views under the title “Stereoscopic Views in the Vicinity of Ellenville.” Views included scenery in the village of Ellenville and around the southern edge of the Catskill Mountains.

 

In June 1871 the Ellenville Journal wrote about some of Tice’s recent photographic work. “Mr. Tice has left on our table a number of handsome stereoscopic views, including the “Neversink River Bridge and Trestle,” “Little Falls and Trestle,” and “Little Falls.” These are very fine pictures, neatly mounted in the usual style for the stereoscope. Mr. Tice is making a view of Honk Falls near Napanoch, and proposes to make a number of others of local interest.”

 

Tice advertised his business in the Gazetteer and Business Directory of Ulster County, N.Y. for 1871-1872. Included was a graphic advertisement on page 324 and a brief description on page 323.

 

“A. Wurts Tice, Photographer, Canal Street, Ellenville, N.Y., whose card appears on page 330, is getting out some of the finest pictures to be found in Ulster County. His pictures have a life-like expression, rendering them very desirable. Let those who wish for good pictures, at low prices, give him a call, and he will satisfy the most exacting.

 

A. Wurts Tice, Ellenville, NYA. Wurts Tice, Ellenville, NYPhotographer: A. Wurts Tice
Location: Ellenville, Ulster County, New York
Year: 1871-1872


"A. Wurts Tice. Photographer, Canal Street, Ellenville, N.Y."

 

The December 13, 1906 issue of the Ellenville Journal wrote of a photograph taken by Tice in 1871, and his following injury.

 

“A photograph hanging in the office of the Journal editor presents an excellent likeness of Pastor Clarke and each of the officers and teachers of the Ellenville M. E. Sunday School in 1871, when it was taken by A. W. Tice, the figures about thirty in number being grouped on the steps of the Methodist church. The picture, though hanging for thirty-five years, well attests the skill of the artist. By the way, Mr. Tice, who soon afterward lost an eye by a flying chip from a casting in a machine shop, is still able to do fine retouching as assistant to A. V. Porter.”

 

Below are several additional advertisements placed by Tice in the local newspaper to promote his photograph business.

 

October 19, 1876, Ellenville, Journal

 

“A. Wurts Tice, Photographer, Over Corbin’s Drug Store, opposite Liberty Square. Pictures of all kinds and styles; prices according.”

 

June 22, 1877, Ellenville Journal

 

“Photographs! Photographs! If you want to get faithful likenesses, artistically finished, cheap, visit the Photographic Studio of A. Wurts Tice, The Ellenville Photographer.

 

It is not necessary to patronize a “travelling artist,” when an old neighbor and life-long resident of the town can do the work as well. Come and see me.

 

All kinds of Portraits taken, from Imperials down to Tin Types.

 

A. WURTS TICE, Canal street, over Meinhold’s store, Ellenville, June 22, 1877.”

 

Business Imprint, A. Wurts Tice, Ellenville, NYBusiness Imprint, A. Wurts Tice, Ellenville, NY

 

The 1880 United States census listed Tice living in the village of Ellenville, town of Wawarsing, in Ulster County, New York. Also living in the household were his wife Irene and his three sons 22-year-old James, 20-year-old John and 15-year-old Perry. Tice was listed with an occupation of photographer, James as a clerk, John as a clerk in a boot and shoe store and Perry as a clerk in the Savings Bank.

 

In 1881 Tice left Ellenville to establish a new gallery at the city of Corry in northwestern Pennsylvania. During a return to Ellenville in 1885, “after an absence of three years,” Tice reported that “business shows some signs of brightening up.”[7] Tice operated his photograph gallery at the village of Corry for approximately 15 years.

 

In 1895 it was reported that “A. Wurts Tice, who has been away from Ellenville for a term of years, most of which time he spent at Corry, Pa., has returned to town, intending to remain here. Mr. and Mrs. Tice will occupy a portion of their dwelling house on Canal street.”[8] He lived at Ellenville for the remainder of his life.

 

For some time after his return to Ellenville Tice worked as an assistant to A. V. Porter retouching photographs. Albert V. Porter was a popular portrait and landscape photographer at the village of Ellenville in Ulster County, New York. Porter, after many years working at a knife factory, took over the studio of W. S. Davis in the early 1900s and successfully served the Ellenville community for nearly 20 years. By late 1918 Porter faced a significant health challenge in losing his eyesight, and therefore retired from the photography business and sold his studio to Casper Cosenza.

 

The 1900 United States census listed 70-year-old Tice living in the village of Ellenville in Ulster County, New York. Also in the household was his 74-year-old wife Irene. The census showed that Alfred and Irene had four children, of which three were living. Tice was listed with an occupation of photographer.

 

Legacy

 

Alfred Wurts Tice was a well-respected member of the Ellenville community. “He was an upright, conscientious citizen, respected by all, a member of the Methodist church, and of Wawarsing Lodge, No. 582, of the Masonic fraternity.”[9]

 

Alfred Wurts Tice passed away after a short illness on February 5, 1909 at Ellenville, New York. He was survived by his wife, to whom he had been married for over 50 years, and three sons, John A. Tice, secretary of the Ellenville Savings Bank, and James and Perry of Chicago. He is buried at Fantinekill Cemetery in Ellenville, New York.

 

Irene Miller Tice, Alfred’s wife, passed away at her home on September 14, 1910. “Mrs. Tice had been in her usual good health until about ten days ago and not seriously ill since. She passed a good night but at five o’clock called for a drink of water and expired before it could be given her . . . Mrs. Tice was a lifelong member of the Methodist Church and active in its work. For many years she conducted a mission Sunday school at the West End, over the store of Jesse M. Low, which did a great deal of good.”[10]  The funeral services were held at the home of son John A. Tice on Centre Street. Irene Tice is buried with her husband at Fantinekill Cemetery.

 

[1] Reynolds, Cuyler. Genealogical and Family History of Southern New York and the Hudson River Valley. New York: Lewis Historical Publishing Company, 1914. p. 1009.

[2] Gray, John G. History of the Rise and Progress of the Methodist Episcopal Church in the Wawarsing and Mamakating Valleys. Ellenville, N.Y.: Charles F. Taylor, 1897. pp. 6-8.

[3] Reynolds, Cuyler. Genealogical and Family History of Southern New York and the Hudson River Valley. New York: Lewis Historical Publishing Company, 1914. p. 1010.

[4] Ellenville Journal (Ellenville, New York). August 17, 1894.

[5] Clearwater Alphonso T. The History of Ulster County, New York. Kingston, New York: W. J. Van Deusen, 1907. p. 693.

[6] Middletown Times-Press (Middletown, New York). June 14, 1917.

[7] Ellenville Journal (Ellenville, New York). July 17, 1885.

[8] Ellenville Journal (Ellenville, New York). December 13, 1895.

[9] Reynolds, Cuyler. Genealogical and Family History of Southern New York and the Hudson River Valley. New York: Lewis Historical Publishing Company, 1914. p. 1010.

[10] “Local Death Record.” Kingston Daily Freeman (Kingston, New York). October 15, 1910.

 

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[email protected] (American Catskills) A. V. Porter A. W. Tice Albert V. Porter Alfred Wurts Tice ambrotypes Canal Street Catskill Mountains Catskills Corry Ellenville gallery Irene Miller Irene Tice John Tice New York Pennsylvania Phillipsport photographer photographs photography pictures portraits studio Ulster County Wawarsing https://www.americancatskills.com/blog/2023/7/alfred-wurts-tice-ellenville-ny-photographer Sat, 22 Jul 2023 12:00:00 GMT
J. J. Cornish – Walton, New York Photographer https://www.americancatskills.com/blog/2023/7/j-j-cornish-walton-new-york-photographer Introduction

 

J. J. Cornish was a photographer during the early 1870s at the village of Walton in the western Catskills of Delaware County, New York. Cornish had previously worked as a photographer for most of the 1860s at Dodgeville, Wisconsin; and after leaving Walton he worked as a photographer at several small villages in Colorado.

 

G. S. Mead's Residence, Walton, No. 5, by J. J. Cornish, Walton, New YorkG. S. Mead's Residence, Walton, No. 5, by J. J. Cornish, Walton, New York G. S. Mead's Residence. Author's collection.

 

Business Imprint, J. J. Cornish, Walton, New YorkBusiness Imprint, J. J. Cornish, Walton, New York Business Imprint, J. J. Cornish, Walton, N.Y. Author's collection.

 

Biography

 

John Jay Cornish was born on June 15, 1824, the son of Jacob Miller Cornish (1791-1852) and Susan (Patricke) Cornish (1796-1862). Jacob and Susan were married in New York City on January 1, 1818. Jacob worked as a carpenter and lived at Pine Hill, New York.

 

John was one of eight children. His siblings included William Henry (b. 1818); Alexander Hamilton (b. 1821); Nathaniel (b. 1822); Cornelius (b. 1826); James Chilson (b. 1829); Benjamin Franklin (b. 1833); and Abraham Loami (b. 1835).

 

William is supposed to have been killed by Quantrill’s Guerillas in Missouri during the Civil War. Alexander was a carpenter who lived for some years at Lexington, New York, but later moved to Menlo Park, New Jersey. Nathaniel died young when he was around two years old. Cornelius died young, although at what age is unknown. James was a carpenter and builder, being credited with constructing over 33 churches in various parts of New York. James later operated the Cornish House, a popular boarding house, at Pine Hill, New York. Benjamin worked as a manufacturer of window sash and lived at Pine Hill, New York. Abraham was a veteran of the Civil War, and worked as a silver plater and lived in Brooklyn, New York.

 

This line of the Cornish family can be traced back from John seven generations to Thomas Cornish, who settled at Newtown, New York (Long Island) very soon after its settlement in 1651. Newtown was renamed to Elmhurst in 1897. Thomas worked as a maker of pipe staves, or cooper.

 

Benjamin Cornish, John’s grandfather, was born in 1749. He married Freelove Miller, of Newtown, New York. “He was one of the leading citizens of Newtown, N.Y., both in church and town affairs. The church there was destroyed by the British soldiers during their occupation of New York in the Revolutionary War, and the organization was broken up and dispersed, and he and his wife, with three or four others, were all who gathered together again after the war to reorganize and rebuild the church. The British army was encamped near by his home all through the war, and the soldiers robbed him and his house of nearly everything that was of use or value that they could carry away. He seemed to be the particular object of their annoyance and abuse because of his known patriotic sentiments.”[1]

 

John married Sarah Jane Bowne (1824-1899), of New York City, on June 13, 1847. Sarah was born on February 23, 1824 at Paterson, New Jersey. John and Sarah had seven children, including Marcia E. (1853-1859); Susan A. (b. 1855); Mary Ida (b. 1857); Florence E. (b. 1859); Francis E. (b. 1862); Sarah Emma (b. 1865); and John A. (1867-1955).

 

Sarah passed away at the age of 75 on Friday night, February 24, 1899 at the home of her daughter, Mrs. Kennedy, after a long illness. She is buried at the Hillside Cemetery in Saguache, Colorado. Sarah was well regarded in the community, as per her obituary published in the Saguache Advance.

 

“She has left six children behind in sorrow, to meet her husband in God’s immediate presence who preceded her about four months.

 

The last three years she had been a great sufferer a part of the time. During these ordeals of bodily affliction, she evidenced to the satisfaction of all who saw her what only a child of God can endure and not complain. She never murmured in the midst of numerous combined afflictions.

 

She had been a member of the M. E. Church for fifty years, upright and consistent. She was a kind hearted mother and wife and a devout Christian faithful unto death. She has gone to her reward as a devout disciple of Christ. May her remaining children “fight that good fight of faith” and meet her in the glories of heaven. Pastor.”               

 

The 1860 United States census listed John as residing at Merrimac in Sauk County, Wisconsin. Also living in the household was his wife, Sarah Jane; 64-year-old Marcia Bowne; his daughter, 4-year-old Susan Amelie; his daughter, 2-year-old Mary Ida; and his daughter, 8-month-old Florence Ella. John was listed with an occupation of carpenter. The three daughters were all listed as having been born in Wisconsin, meaning it is likely that John was living in Wisconsin at least by the mid-1850s.

 

By the year 1861 John seems to have switched careers from carpentry to photography. That year, while living at Dodgeville, Wisconsin, he placed an advertisement in the local newspaper for his new photography business.

 

“Something Worth Having – A Good Picture. J. J. Cornish would respectfully inform the public that he is prepared to take Ambrotypes, Melainotypes, Carte De Visites, Views of Residences, Locket Pictures taken and old pictures copied, he is fitted up expressly for the business, having a skylight, an indispensable article for getting a good picture.

 

Please call at the car nearly opposite the Court House and see his Premium Pictures.

 

Dodgeville, November 13th, 1861.”[2]

 

J. J. Cornish – Something Worth Having – A Good Picture.J. J. Cornish – Something Worth Having – A Good Picture.

 

Cornish quickly established a reputation for excellence. At the 1861 Iowa County Fair (Dodgeville is located in Iowa County, Wisconsin) he won an award for “best ambrotype.” The following years, in 1862 and 1863, he won the award for best daguerreotype and for the best ambrotype. In 1864 and 1865 he won the award for “best ambrotypes” and for “best photographs.”

 

In 1866 and 1867, in addition to winning “best ambrotypes” and “best photographs,” Cornish was also awarded the premium for “best porcelain pictures.” At the 1867 fair, the local newspaper noted that “Mr. Cornish displayed his usual taste in the arrangement of his splendid lot of sun pictures. His extra talent in the picture business has shut out competition, and he consequently always gets the first premiums.”[3]

 

In 1862, the Dodgeville Chronicle published a poem titled “The Picture” about Cornish and his photography business.

 

                “I tell you friends, I see’d a sight,

                I swow it beats all nater,

                A sausage stuffer set on legs,

                Just like some tarnal critter.

 

                The man what keeps the pesky thing,

                Has other funny fixtures,

                Inside his little Rail Road car,

                Where he takes the folk’s pictures.

 

                And if you go inside his car

                And sit down just a minit,

                The deuced little varmint’s sure

                To have your picture in it.

 

                He calls some picturs Ambrotypes,

                And when he goes to take ‘em,

                He pulls the muzzle off its nose,

                And it paints your face Verbatim.

 

                Or if you wish another kind,

                That’s struck fast on’ter paper,

                The dasted thing, can do it up,

                To beat all human nater.

 

                It must a tuck a mighty pile,

                To buy the little critter,

                And get them little boxes too,

                To put the picters inter.

 

                But still the pictures are so cheap,

                That all of you might have ‘em,

                And give one to your sweethearts, when,

                You’r goin’ off to leave ‘em.

 

                And now, all you that wants a picter

                That’s made ’th’out paint or varnish,

Take my advice and go and see,

                The Artist John J. Cornish.”

 

Throughout the 1860s the Dodgeville Chronicle, the local newspaper, carried various advertisements from Cornish and also published updates on his photographic business.

 

April 2, 1863, Dodgeville Chronicle

 

“Mr. Cornish has just been fixing up his car in first class order, where he will be found ready to take pictures in the highest style of the art, as good as the best, and as cheap as the cheapest.”

 

April 23, 1863, Dodgeville Chronicle

 

“Something Worth Having – A Good Picture. J. J. Cornish would respectfully inform the public that he is prepared to take photographs, carte de visites, vignetts, ambrotypes, melanotypes, taken in the highest style of the ART. View of Residencies, Locket pictures taken and old pictures copied.

 

Persons living at a distance wishing Photographs or Carte De Visites, by leaving their address can have them mailed.

 

1-16 size card pictures, of one person, 12 for $1.00.

Carte De Visites, of one person, 3 for $1.00.

Vignetts, of one person, 3 for $1.00.

 

Large sized photographs put up to suit purchasers. Oval, Gilt, and Rosewood frames, also Photograph Albums.

 

He is fitted up expressly for the business, having a skylight, an indispensable article for getting a good picture. Please call the car opposite the Court House, and see his Pictures.

 

Dodgeville, January 20th, 1863.”

 

April 23, 1863, Dodgeville Chronicle

 

“Mr. J. J. Cornish has just been fitting up his car in a handsome manner, and is now ready to attend to all orders for pictures. See advertisement in another column.”

 

July 2, 1863, Dodgeville Chronicle

 

“THANKS.– That Mammoth pie plant, & c., from the garden of Mr. Cornish was quite a treat. Success to him. And we would just make a passing remark to those who wish to preserve the life features of themselves or their friends, they cannot do better than go to his car and have their photographs & c., taken. He will satisfy you, our word for it.”

 

August 20, 1863, Dodgeville Chronicle

 

“We paid a visit the other day to the Photographic car of friend Cornish, and were shown some of the finest new specimens of work that we have seen for many a day. Mr. Cornish is a true artist, and those wanting good pictures cannot do better than to patronize home manufacture.”

 

December 10, 1863, Dodgeville Chronicle

 

         “The Holidays are coming. For nice pictures go to Cornish’s.”

 

February 18, 1864, Dodgeville Chronicle

 

“Secure the shadow, ere the substance fade.” – And the best place to secure that perfect shadow, in Iowa County, is without exception at J. J. Cornish’s Photographic Gallery in Dodgeville.

 

Mr. Cornish has been with us some time, and deserves considerable credit for his perseverance in building up quite a respectable business, out of the poorest kind of a show. He has lately received from New York one of those large sized cameras, the best in use; it is warranted to take a perfect picture, at any distance from three feet to six miles, when worked by one who understands its use, and every one knows that Mr. C. is a thorough artist, and being fully prepared with apparatus, chemicals, cases, mats, frames, & c, to take and finish those large and justly admired photographs, in the best style of the art, we would recommend those wishing such to call on Mr. C. at an early day.”

 

March 24, 1864, Dodgeville Chronicle

 

“Something New.– Our friend J. J. Cornish, Photographic Artist, is determined to be up to the times, and has now procured from Chicago, a splendid view of the far-famed Hudson River; it is got good style, and sets off the background of a photograph very handsomely. If you want your Carte de Visite in good style, surrounded by beautiful scenery, call at J. J. Cornish’s Photographic Gallery.”

 

July 21, 1864, Dodgeville Chronicle

 

“Our excellent artist J. J. Cornish got a very good and almost instantaneous photograph of YANKEE ROBINSON’S band carriage, private carriage, & c. in front of his rooms, while they were in town, including over thirty persons in the street, and on the steps of the Court House. Since Mr. Cornish has made so many additions and improvements to his gallery, he cannot be beat in this part of the State for taking perfect life-like pictures, scenes or views.”

 

July 28, 1864, Dodgeville Chronicle

 

“Signs of Prosperity.– Our energetic citizen artist, J. J. Cornish, Esq., is engaged in putting up a fine business building adjoining the residence of A. B. Robinson. Success to you friend C.”

 

October 20, 1864, Dodgeville Chronicle

 

“By calling on J. J. Cornish you can see a stock of the best Photographic Albums ever brought to Town. Go soon and secure one before they are all gone, for they are going like hot cakes.”

 

November 17, 1864, Dodgeville Chronicle

 

“The other day we chanced to step into the new Photograph Gallery of our friend J. J. Cornish, and we must confess that we were pleasingly surprised to see with what taste and good judgment his rooms were fitted up. They are by a long way superior to anything we had seen in this part of the country, and being of ample size and well furnished, they look far more like business than the little cooped up place where the photographs and ambrotypes which have taken the first premiums at our County Fairs, for the last three years have been made.

 

The Gallery has been built expressly for the business, and consequently is furnished with one of the best sky-lights in the country, and has other conveniences necessary to the successful development of photographs. Now we believe that most, if not all, of our readers know that Mr. Cornish is a first-class artist, for a great many have tried him, and others have had our testimony heretofore, but as a gentle reminder or a refreshener of the memory, we would just state that he actually is the best artist in this part of the State, and can furnish pictures in as good style as can be done at any other place. By all means give him a call.”

 

April 13, 1865, Dodgeville Chronicle

 

“Saved from Deserting. How inexorable are the laws of war; and how harsh – and at times we are led to say unjust – are some of the regulations, by which our country’s brave defenders are governed.

 

One brave fellow, who at the first call of his country, left his wife and three sickly children, had served faithfully more than two years; had been in almost every battle, was wounded nine times – thinking it an honor to be wounded in his country’s service. But the hour of temptation came. His wife wrote him that the children had grown quite healthy, and that her friends complimented her by saying she looked better than ever she did before.

 

His desire to see his wife and family was now intense, he had repeatedly asked for a furlough, and as often been refused; finally he had concluded to desert the service and see them, if he lost his life in so doing. But he was prevented; his wife knowing his anxiety to see them, paid a visit to J. J. Cornish, Photographic Artist, of Dodgeville, Wis., and procuring pictures of the whole family, sent them to him. On their arrival, the husband pronounced them so good and life-like, that he determined not to desert; and to this day the wife thanks Mr. Cornish for saving her husband from utter disgrace and probably an ignominious death, by taking such good photographs of herself and children.”

 

August 10, 1865, Dodgeville Chronicle

 

“Our good looking photographic friend, Cornish, was quite a heavy loser by the hail storm in the breaking of nearly every light of glass in his fine large skylight; but like the energetic fellow that he is, all damage is repaired, and today he is again busy taking pictures as if not a pane of glass had been broken. Success to you, friend C.”

 

December 21, 1865, Dodgeville Chronicle

 

        “Oh wad some pow’r the giftie gie us.

        To see oursel’s as ithers see us.”

 

J. J. Cornish, photographic artist of Dodgeville, possesses that giftie, in a larger degree than any other man in Iowa County, and he is ready and willing to gie it to anyone on application. In other words, he takes the most perfect likenesses, either ambrotypes, photographs, or the later styles of pictures. They are so perfect that we may look on them and “see oursel’s as ithers see us.” Little did the poet think in his day, that art would ever arrive at such perfection. His porcelain pictures, a new thing in this part of the world, are really splendid. They are without doubt, the most perfect likeness of anything yet produced. Don’t fail to call on J. J. Cornish, at this gallery over the Post Office, if for no other purpose, by all means call and see his new style of pictures.”

 

January 4, 1866, Dodgeville Chronicle

 

“Cornish, being determined not to be behind the times, has so perfected his arrangements that he is now prepared to take those celebrated Porcelain pictures. So if you want a portrait taken in the latest and best style of the art, go to Cornish’s.”

 

May 31, 1866, Dodgeville Chronicle

 

“People come from Mineral Point, Linden, Highland, and in fact, every other part of the county, to let J. J. Cornish have a look at them through his excellent camera. Mr. Cornish’s five year’s operations in this place have established his character as a Photographer, and it now stands far ahead of any other person in this part of the state.”

 

February 7, 1867 advertisement, Dodgeville Chronicle

 

“J. J. Cornish’s Photographic Gallery. Dodgeville, Wisconsin. Being monthly in receipt of all the improvements and novelties in Europe and eastern cities, is now better prepared than ever to put up all styles and sizes of PICTURES. He also keeps constantly on hand Picture Frames consisting of Gilt, Rose Wood, Black Walnut, and other kinds. Also, albums of different styles and prices, for sale cheap. Give him a call – opposite court house. Dodgeville, February 7, 1867.”

 

February 7, 1867, Dodgeville Chronicle

 

“Cornish is still at the head of his profession in this part of the world. His photographs and porcelain pictures are unsurpassed, and so perfect are they that we are inclined to think they are unsurpassable.”

 

February 14, 1867, Dodgeville Chronicle

 

“Do our readers generally know that Cornish is now prepared to take those splendid cabinet sized pictures? If they never did before, they know now. If you want a good picture call and get one of these celebrated pictures of Cornish.”

 

December 6, 1867, Dodgeville Chronicle

 

“Those patent chain back Albums which Cornish is offering for sale, are truly nice. They are handsome, good, cheap and durable.”

 

June 12, 1868 advertisement, Dodgeville Chronicle

 

“Something New.– Cornish, of the Dodgeville photographic gallery has purchased the right of this county for a new invention, “Robinson’s Photograph Albums, or revolving pictures.” It is an elegant little box, about 6 by 10 inches, and 6 inches high; a beautiful ornament for a center table, and so arranged that the pictures can all be seen, 50 in number, by turning a knob, without opening the album. But what is the use of our attempting to describe it, for when we have finished you would of course go and see it, and then would have a better idea of it than we could give you in a whole page.”

 

July 3, 1868 advertisement, Dodgeville Chronicle

 

“J. J. Cornish, Photographic Artist, and dealer in photographs, chromos, lithographs, steel engravings, stereoscopic views & stereoscopes, revolving albums, chain back and common albums, cord & tassels, frames & c. & c. Pictures framed to order.

 

Persons wanting Albums should call and see my revolving albums. They are the best article ever introduced for the preservation of pictures.

 

Dodgeville, July 3, 1868.”

 

J. J. Cornish, Photographic ArtistJ. J. Cornish, Photographic Artist

 

September 4, 1868, Dodgeville Chronicle

 

“J. J. Cornish, Photographic Artist, has closed his gallery for the present to complete the job he has been at for several weeks, of putting in one of the best skylights in the west. It is a style of skylight which has been thoroughly tried in the east, and has answered so well, that it is rapidly superseding all others, and as Mr. Cornish wants to make as good pictures as any artist in the United States, he concluded he must have one of these lights. He promises to have his improvements all completed and to open again in about two weeks.”

 

December 11, 1868, Dodgeville Chronicle

 

“Cornish has a fine collection of elegant pictures, which are very appropriate for holiday presents. Call and see them.”

 

December 18, 1868, Dodgeville Chronicle

 

“We would call the attention of the marriageably inclined to a novelty “photographic marriage certificate,” for sale at “Cornish’s gallery and the Primitive Methodist parsonage” – that is Cornish will take your photograph, and Rev. Alderson will perform the ceremony and furnish the certificate, which is really beautiful. We are printing some, not quite so elaborate, the price of which will bring them within the reach of all.”

 

December 25, 1868, Dodgeville Chronicle

 

“Cornish, at his gallery, has a large and beautiful assortment of pictures, albums, etc., suitable for holiday gifts.”

 

January 1, 1869, Dodgeville Chronicle

 

“J. J. Cornish at the Dodgeville photographic gallery has a large and well selected assortment of steel engravings, chromos, and other pictures and photographic albums, which are “in seasons” as presents at all times. He is the best artist in this part of the state, invariably taking the premiums at the county fair.”

 

February 12, 1869, Dodgeville Chronicle

 

“How much money would be necessary to buy the picture of a departed friend or relative? How would you like to part with the likeness of little Minnie, who died last summer? Don’t wait till it is too late, but get a copy of all your children and relatives. You will prize them highly in the coming years. Mr. Cornish is doing some excellent work in the photograph line. Give him a call at once.”

 

In June 1869, after approximately eight years at Dodgeville, Cornish made plans to move to New York. His gallery was taken over by Isaac C. Jones.

 

“Going.– The many friends of John J. Cornish will be sorry to hear that he leaves with his family for New York on Monday next. Mr. Cornish came to this village about eight years ago. He had a small photograph car, and a very limited stock. Being a first class artist, and a very industrious man, he gradually increased his business and facilities until he was acknowledged the best artist in this part of the country. He built a fine building on Iowa street, and for years has been doing a very good business. But his family growing up, and being ambitious, he has concluded to move to a larger field for operation. Mr. Cornish has always been recognized as an enterprising, liberal and good citizen, and we part with him with many regrets, but with every wish for his future success, health and happiness.”[4]

 

By the summer of 1869 Cornish was living at the village of Walton in Delaware County, New York. He quickly went to work, taking stereoscopic views of the scenery in and around Walton. By early 1870 he had fitted out photographic rooms over J. B. Gray’s Trimming Shop on North Street. In April 1870 Cornish had “the frame up for his new house and photograph rooms, near the residence of H. B. Niles.”[5]

 

By June 1870 Corning had moved from J. B. Gray’s place to new rooms at his residence, at the head of North Street, “where he claims to have the best facilities in the county for taking a good picture.”[6] An advertisement in the local newspaper on November 2, 1870 placed the Cornish gallery “three doors above the Methodist Church, on North Street, Walton, N.Y.”

 

The 1870 United States census listed 46-year-old John as residing in the village of Walton in Delaware County, New York. He was living with his brother, James C. Cornish, and his family. John was listed with an occupation of photographer. James Marion, John’s nephew, was listed with an occupation of apprentice photographer. James was working as a carpenter. John’s wife and children were not listed as residing in Walton.

 

On February 8, 1871 the Walton Chronicle wrote that “we are in receipt of a winter view of Mead’s Dam, taken by our excellent Photographic Artist, Mr. J. J. Cornish. It was taken as a stereoscopic view, and will go with the other views of Walton, taken last summer. Mr. Cornish’s views are equal to the best views made by New York City artists.”[7] Cornish continued to advertise his gallery at Walton in May 1871.

 

At this time, it is not known how long Cornish remained at Walton beyond 1871, but by around 1880 he had moved to Colorado, where he was working as a photographer at the village of Del Norte. The 1880 United States census listed Cornish as residing at Del Norte in Rio Grande County, Colorado. He was listed with an occupation of photographer. He was listed as living alone, with his family not being listed with him on the census.

 

The town of Del Norte was established in 1874, only six years before Cornish’s approximate arrival. It originally served as a base camp for the workers in the nearby gold and silver mines. As the town grew, it also served as the social, financial and commercial center for nearby communities, including Silverton, Platoro, and Lake City. Today Del Norte, supported by the local farming, agricultural and tourism industries, continues to serve as the county seat for Rio Grande County, Colorado.

 

In May 1881 the village of Del Norte was the location of great excitement; scenes of which Cornish was able to photograph. Arthur Pond, using the alias Billy Leroy, and his brother, Silas Pond, using the alias Samuel Potter, had conducted a robbery of the Barlow & Sanderson stagecoach on May 18 in the area, six miles east of Clear Creek. A search party from Del Norte was quickly organized to track down the robbers. Both Pond brothers were captured by the local authorities soon thereafter and taken to the jail at Del Norte.

 

The citizens of Del Norte had ideas other than the normal course of legal proceedings. A large mob of around 40 armed men went to the jail on the night of May 23. They overpowered the sheriff and the guards, pulled the two robbers outside, placed them in a wagon, took them to a large cottonwood tree located near the depot on the north side of town, and they were hanged.

 

The bodies were photographed by J. J. Cornish, first at the cottonwood tree where they were hung, and again when they, “stiff as steel bars,” were propped up against the outside of the jail. These photographs, with the caption “Adios, Pond Bros. – road agents,” were then offered for sale by Cornish to the citizens of Del Norte. Arthur and Silas Pond were buried in a distant section of the Del Norte Cemetery.

 

The San Juan Prospector, the local newspaper, published a detailed article about the incident in their May 28, 1881 issue. The title of article was “Buzzard Meat,” and was followed by the sub-titles of “Leroy and Potter, Road Agents and Desperadoes, Captured by Del Norters. They register at the Del Norte Jail, are Taken out by Masked Men, and “Fixed” for the Coyotes. Both Men Die Game, Not Even a Whisper for Mercy or Time to Pray. Broken Necks are Trumps, and Billy and Sammy Ornament the Lower Pits of Hades. Full Particulars of the Picnic, From the Robbery to Rope. Bad Men.”

 

In 1882, the Saguache Advance, the local newspaper, wrote a brief profile about Cornish, praising his abilities as a photographer and his “indomitable pluck.”

 

“Mr. Cornish, our photographer, is a genius who ought to be liberally patronized. He has the free use of only his left hand, and yet he has built his present house and rooms, has manufactured his own instruments so that they can be operated with the left hand, and he now has all arranged for doing first-class work. He has done all this while fighting against ill health. An old photographer who recently visited his photograph gallery, told your correspondent that Mr. Cornish had his lighting facilities so arranged that they were the best in the state outside of Denver. He does good work. A man who shows such indomitable pluck, and who is master of his art, deserves a liberal patronage from home and abroad.”[8]

 

In 1884 Cornish advertised his business in the local newspaper. The advertisement read “San Juan Photographic Art Gallery. J. J. Cornish, Artist. I defy all honorable competition in quality or price, and have a good stock of photographic material on hand that will be made up at the lowest living prices. Examine prices and work. No Sunday work.”[9] That same year it was advertised that Cornish’s stereoscopic views were for sale at the business of Charles Tucker.

 

In 1885 the local newspaper wrote that “Mr. Cornish, the photographer, says he takes the Queen Bee for the jokes. The ladies should appreciate the fact that Del Norte has one of the best photographers in the country, and an advocate for woman’s political equality, besides a good, jolly, industrious citizen.”[10]

 

That same year, in 1885, it was advertised that there was a “great reduction in prices at J. J. Cornish’s San Juan Art Gallery. Call and see before going elsewhere.”

 

The 1885 Colorado state census listed Cornish as residing in Rio Grande County, Colorado. He was living with his wife Sarah and his 18-year-old son John. Cornish was listed with an occupation of photographer. Sarah was listed as “keeping house” and John was listed as “at home.”

 

Some of the scenic works taken by J. J. Cornish were included as part of a series titled “Colorado Views.” According to T. K. Treadwell and William C. Darrah in their book Photographers of the United States of America, there were approximately 89 views in the series. Subjects included local scenery, hunting, churches, and much more. A few of the titles in this series include:

 

  • No. 21, Little Annie Tramway, Summit Dist, Alt. 12,000 ft.
  • No. 71, Summitville, Colorado, Alt. 11,300.  

 

No. 21. Little Annie Tramway, Summit Dist, Alt 12,000 ft.No. 21. Little Annie Tramway, Summit Dist, Alt 12,000 ft.Colorado Views by J. J. Cornish, Del Norte. No. 21. Little Annie Tramway, Summit Dist., Alt 12,000 ft. Boston Public Library.

 

The Yale University Library at New Haven, Connecticut is home to a wide-ranging collection of stereoviews taken by J. J. Cornish. The Yale University archive classified the stereoviews into two series; first, scenes in and around Del Norte and, second, scenes in and around the Summitville Mining District. It is estimated that these views were taken circa 1880.

 

Stereograph views of Del Norte, Rio Grande, Colorado.

No. 1. Del Norte, from Lookout Mountain.

No. 2. West Side Spruce St. Del Norte, Colo.

No. 3. Del Norte, Colo. from east cliff: Columbia Avenue, Del Norte.

No. 4. Hotel Grand Avenue, Del Norte.

No. 5. South Lookout Mountain. From Rio Grande River

No 11. School-House Del Norte.

No. 12. M. E. Church, Del Norte.

No 15. Varg[?]on Place, Del Norte.

No. 35. San Juan Mountain's from Continental Divide.

No. 38. Rio Grande at Del Norte.

No. 41. Presbyterian Church. Del Norte, Colo.

No. 43. Presbyterian Church interior. Del Norte, Colo.

No. 44. Presbyterian Church. Del Norte, Colo.

No. 45. Baldy Mountain and Lake, Alt 13000 ft.

No. 48. Baldy Mountain East Lake, Alt 13150 ft.

No. 49. Baldy Mountain Lake, Alt 13100 ft.

No. 55. Natural Wall, Saguache Co. Colo.

No. 57. Natural Wall & Great Arch. Saguache Co. Colo.

No. 58. Great hole in the Natural Wall. Saguache Co. Colo.

No. 64. Natural Arch on Dry Creek Colo.

No. 80. Del Norte. Colo. from North Lookout Mountain.

No. 81. Table Mountain from continental divide.

No. 84. Palace Rock on Pine Creek.

Alt. No. 88. On snowy peaks of San Juan, Aug 31st Alt 13300 ft.

No. 111. R. C. Nisbet's resident on the Rio Grande. Burger & Alice Del Norte, Colo.

No. 137. Observatory of Presbyterian College of the south west.

 

Stereograph views of Summitville Mining District, Rio Grande County, Colorado.

No. 1. Looking west Summit district.

No. 12. First school at Summitville. Clara Larson Teacher 1843.

No. 14. South Mountain Summit Dit.

No. 16. South Mountain Summit Dist, Alt 12,700 ft.

No. 17.  Looking east from above Mills Summit Dit.

No. 19. M. Bowen's Ida Tunnel Summit Dist. Alt. 11800 ft.

No. 22. Little Annie Mine, Summit Dist, Alt. 12,000 ft.

No. 26. Little Annie Cabin. Summit Dist.

No. 31. Bobtail Lode Summit Dist. Alt 12200 ft.

No. 37. Looking up Pines Creek.

No. 65. Looking down the Summitville Tole Road.

No. 70. Summitville from Iron Springs. Alt 11,300 ft.

No. 74. Iowa & Colo? House Summit Dist. Alt 11900 ft.

No. 76. East side South Mountain Summit Dist. Alt. 12,100 ft.

No. 77. Summitville from Continental Divide Alt. 11,900 ft.

No. 78. Cropsey Mill Summit Dist. Alt. 11,800 ft.

No. 79. Miners home Summit Dist Alt. 11,100 ft. Aug 30 1832.

 

In 1889 “Mr. J. J. Cornish, recently from Del Norte, has located on the Navajo, where he has taken up a valuable ranch. He and his wife were in town Tuesday taking out their homestead papers.”[11]

 

In the early 1890s Cornish was still working in the photography industry. The Colorado state business directory listed Cornish as residing in Chromo from 1890 until his passing in 1898. The local newspaper wrote about some of the developments in his business during these years.

 

March 12, 1891, Pagosa Spring News. “Mr. Cornish is working on a building which he will occupy when finished as artist’s and assayer’s rooms.”

 

June 13, 1891, San Juan Prospector. “E. F. Hilton, formerly of Alamosa, has moved his photographic gallery to Del Norte, and will occupy the old Cornish stand on Spruce street. Mr. Hilton advertises in our Business News department this week, and has come to stay. Drop in and look at his work.”

 

November 3, 1892, “Chromo News,” Pagosa Spring News. “Mr. Cornish has completed his photograph gallery. It is one of the neatest rooms in the county.”

 

November 10, 1892, Pagosa Spring News. “While at Chromo last week the writer was shown through the photograph gallery of J. J. Cornish. Mr. Cornish’s gallery is fixed up with all modern conveniences and would be good enough for any town of five thousand people. Mr. Cornish’s work is second to none.”

 

Legacy

 

Although his time at Walton, New York was relatively brief, Cornish contributed to the village’s outstanding reputation for offering first-class photographic rooms. Other photographers of note that have operated at Walton included Frank L. Sprague, Hiram H. Miller, G. W. Simpkins, the Kinch Brothers, Burton Hine and many others. Cornish was highly regarded for his photographic abilities wherever he worked.

 

John Jay Cornish, “an old resident of Del Norte,” passed away on October 26, 1898 at the residence of Milton Welch in Chromo, Colorado. He is buried at Chromo Cemetery in Archuleta County, Colorado.

 

[1] Cornish, Joseph E. The History and Genealogy of the Cornish Families in America. Boston: Geo. H. Ellis Co., 1907. pp. 262-263.

[2] Dodgeville Chronicle (Dodgeville, Wisconsin). September 18, 1862.

[3] Dodgeville Chronicle (Dodgeville, Wisconsin). October 4, 1867.

[4] “Going.” Dodgeville Chronicle (Dodgeville, Wisconsin). June 25, 1869.

[5] Walton Chronicle (Walton, New York). April 27, 1870.

[6] Walton Chronicle (Walton, New York). June 22, 1870.

[7] Walton Chronicle (Walton, New York). February 8, 1871.

[8] Saguache Advance. June 1, 1882.

[9] San Juan Prospector. February 2, 1884.

[10] The Queen Bee. January 21, 1885.

[11] San Juan Prospector. August 31, 1889.

 

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[email protected] (American Catskills) Billy Leroy Catskill Mountains Catskills Chromo Colorado Del Norte Delaware County Dodgeville gallery J. J. Cornish John Jay Cornish New York photographer photographs photography pictures studio Walton Wisconsin https://www.americancatskills.com/blog/2023/7/j-j-cornish-walton-new-york-photographer Sat, 15 Jul 2023 12:00:00 GMT
New Gallery: Albert V. Porter, Ellenville, NY Photographer https://www.americancatskills.com/blog/2023/7/new-gallery-albert-v-porter-ellenville-ny-photographer Albert V. Porter was a popular portrait and landscape photographer at the village of Ellenville in Ulster County, New York. He took over the studio of W. S. Davis in the early 1900s and successfully served the Ellenville community for nearly 20 years. By late 1918 Porter faced a significant health challenge in losing his eyesight, and therefore retired from the photography business and sold his studio to Casper Cosenza.

 

Last week I published a biography for Albert V. Porter. In writing the biography I had acquired 25 photographs taken by Albert V. Porter. The postcards depict some of the beautiful scenes in and around the village of Ellenville. Scenes include Sam’s Point, Hanging Rock Falls, Grahamsville, Big Indian Springs, the Mohonk House, Vernooy Kill Falls and many more.

 

All the photographs have been added to the Albert V. Porter gallery, which can be reached by navigating: Catskills Photograph Gallery >> Historic Catskills Photographers >> Albert V. Porter – Ellenville, NY Photographer.

 

Sam’s Point, 2340 Feet

Sam's Point, 2340 FeetSam's Point, 2340 Feet

 

Hanging Rock Falls, Ellenville, N.Y.

Hanging Rock Falls, Ellenville, N.Y. (2)Hanging Rock Falls, Ellenville, N.Y. (2)

 

Red Mill Dam, Ellenville, N.Y.

Red Mill Dam, Ellenville, N.Y.Red Mill Dam, Ellenville, N.Y.

 

Looking from Post Office, Grahamsville, N.Y.

Looking from Post Office, Grahamsville, N.Y.Looking from Post Office, Grahamsville, N.Y.

 

Mohonk Lake and House

Mohonk Lake and HouseMohonk Lake and House

 

Interior, Church of the Holy Name, Cragsmoor, N.Y.

Interior, Church of the Holy Name, Cragsmoor, N.Y.Interior, Church of the Holy Name, Cragsmoor, N.Y.

 

Vernooy Kill Falls, Wawarsing, N.Y.

Vernooy Kill Falls, Wawarsing, N.Y.Vernooy Kill Falls, Wawarsing, N.Y.

 

Ice Cave, Ellenville, N.Y.

Ice Cave, Ellenville, N.Y.Ice Cave, Ellenville, N.Y.

 

Big Indian Spring, Ellenville, N.Y.

Big Indian Spring, Ellenville, N.Y.Big Indian Spring, Ellenville, N.Y.

 

Lover's Glen, Grahamsville, N.Y.

Lover's Glen, Grahamsville, N.Y.Lover's Glen, Grahamsville, N.Y.

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[email protected] (American Catskills) A. V. Porter Albert V. Porter Casper Cosenza Catskill Mountains Catskills Ellenville gallery landscapes New York Passaic Passaic Park photographer photographs photography pictures Porter Studio portraits postcards studio Ulster County W. S. Davis https://www.americancatskills.com/blog/2023/7/new-gallery-albert-v-porter-ellenville-ny-photographer Sat, 08 Jul 2023 12:00:00 GMT
Albert V. Porter – Ellenville, NY Photographer https://www.americancatskills.com/blog/2023/7/albert-v-porter-ellenville-ny-photographer Introduction

 

Albert V. Porter was a popular portrait and landscape photographer at the village of Ellenville in Ulster County, New York. He took over the studio of W. S. Davis in the early 1900s and successfully served the Ellenville community for nearly 20 years. By late 1918 Porter faced a significant health challenge in losing his eyesight, and therefore retired from the photography business and sold his studio to Casper Cosenza.

 

Red Mill, Ellenville, N.Y.Red Mill, Ellenville, N.Y. Red Mill, Ellenville, N.Y. Author's collection.

 

Biography

 

Albert V. Porter was born at Ellenville, New York in October 1856. He was the son of Jonathan Porter and Sarah (Van Dover) Porter.

 

Jonathan Porter, Albert’s father, was born in March 1821 (or 1822, depending on the source) in New Bedford in the Berkshire Mountains of Massachusetts. When he was eight years old his family moved to Lumberland, Pennsylvania, “where he grew to manhood, his ancestors owning at one time a large tract of land where the city of Kingston, PA now stands.” At the age of 18 Jonathan moved to the village of Ellenville, where he remained for the rest of his life. For several years he worked in the old lead mine, which at the time was one of the village’s most important industries. He also worked as a tanner, a teamster, a farm laborer and a day laborer.

 

Jonathan married Sarah Van Dover, daughter of Albert Van Dover and Eliza (Carpenter) Van Dover, on April 19, 1846 in a ceremony conducted by Reverend S. B. Ayres of the Reformed Church. Together Jonathan and Sarah had ten children. She had been a devoted member of the Methodist Church. Sarah passed away at 86 years old on April 29, 1914 at Albert’s home in Ellenville. Jonathan and Sarah were together for “a long and happy married life of 68 years.” They “had lived together in loving devotion for 68 years. They were doubtless the oldest married couple in Ulster County.”[1]

 

Upon Jonathan’s passing four years later on January 19, 1918 at the age of 95, he was described as “one of the aged and highly respected residents of this village” and as “the oldest member of the Methodist Episcopal Church and a man who always had a kind word for every one with whom he came in contact, making many friends during his long life.” His obituary demonstrated the great respect with which he was held in the Ellenville community.

 

“At the time of her [Sarah] death and since Mr. Porter has resided with his son and family, who have been devoted in the care of this venerable father – a long life ended. Up until a year or two deceased was able to go out upon the street and exchange friendly greetings with friends. He was active in the early history of the village and was a man of bright intellect, well read in history not confined alone to state but national affairs, a man devoted to home and family, a kind neighbor and a good friend, and has been kept in mind by many to whom he and his good wife were so kind in sickness and sorrow, cheering many aching hearts. He lived a good life and has gone to meet its reward.”

 

Jonathan’s funeral was held at Albert’s house in Ellenville in a service conducted by Reverend Joseph E. Appley, of the M. E. Church. Attending the funeral were his four surviving sons, including Albert, John and Richard of Ellenville, and Saul Porter, of Syracuse, and his “devoted granddaughter, Miss Sadie E. Porter, of Brooklyn.” He is buried in the family plot at the Old Ellenville Cemetery.

 

The 1860 United States census listed 4-year-old Albert residing in the household of his parents Jonathan and Sarah in the town of Wawarsing, Ulster County, New York. The household included Albert’s siblings, including 8-year-old Ida and 1-year-old John, as well as a farm laborer named John Vanduzen and a domestic servant named Mary Riley. Jonathan was listed with an occupation of farm laborer.

 

The 1870 United States census listed 17-year-old Albert as residing in the household of his father and mother in Wawarsing, Ulster County, New York. Also in the household were Albert’s siblings, including 19-year-old Ida, 11-year-old John, 9-year-old Sarah and 6-year-old Richard. Both Albert and his father were listed with an occupation of laborer.

 

The 1880 United States census listed 23-year-old Albert residing with his parents Jonathan and Sarah in the village of Ellenville in Ulster County, New York. Also in the household were Albert’s siblings Ida, John, Saul, and Richard. Jonathan was listed with an occupation of “laboring in mine” while Albert was listed with an occupation of “knife maker.” Albert was also listed as being unemployed for three months of the year, due to “steel in eye.”

 

On September 12, 1883 Albert married Jessie Moffat Hanmore, daughter of Charles Hanmore and Elsie (Decker) Hanmore of Newburgh, New York. She was the descendent of old Ulster County families, including Jacob J. Decker and Lucretia Pameron. Charles, Jessie’s father, worked as a captain of the ferry boat between Newburgh and Fishkill for many years. “Only a few years after his [Charles] marriage, while attempting to rescue his younger brother, Moses Hanmore, he was injured by smoke and fumes in the boiler room of the ferryboat and never regained his health. An accident to the machinery and boiler caused Moses Hanmore, the engineer, to lose his life by drawing the fire box as the boat was in mid-river, and many lives were in danger.”[2]

 

Albert and Jessie had four children, two of which reached adulthood, including Sadie (b. January, 1886) and Helen (b. March, 1896). Sadie for many years worked in the photography industry at Waterbury, Connecticut; Kingston, New York; and New York City. Helen married William C. Matthews, of Passaic New Jersey, who was for many years associated with the Automatic Fire Alarm Company of Brooklyn. Jessie was a devoted member of the Methodist Church. She passed away at her home in Passaic, New Jersey on October 5, 1926.

 

In 1895 Nellie D. Porter, the youngest daughter of Albert and Jessie Porter, died after a nine-day battle with diphtheria.

 

“Nellie, the youngest daughter of Mr. and Mrs. A. V. Porter, was taken sick the early part of last week, and on Tuesday Dr. Hanker, the attending physician, pronounced it a case of diphtheria, and on the following day, Dr. Eastgate, the health physician, quarantined the house. Mr. and Mrs. Porter were the only occupants except an aged lady who occupied the lower part of the house. After a week of anxious watching and attendance upon the little one, she passed away about 10 o’clock Tuesday morning.

 

About 8 o’clock in the evening of the same day a “carry-all,” with two seats, drove up to the door and the heart-broken father and mother, with the remains of their daughter were taken in, and conveyed to the cemetery for burial, the Rev. Mr. Jones accompanying them in a separate wagon. Neighbors and friends of the family showed their respect in the only way possible – by sending floral contributions – which they did in large numbers.

 

The deceased was a bright, intelligent child, and was a favorite with her playmates. During the afternoon, another daughter, Sadie May, aged about 9 years, in company with other near relatives, were permitted to stand in an adjoining yard and view the remains of her sister, while she was held by the window in the upper story of the house. It was sad indeed.”[3]

 

The 1900 United States census listed 43-year Albert living with his 39-year-old wife Jessie and their two children, 14-year-old Sadie and 4-year-old Helen. Albert and Jessie were listed as having had four children, of which two were alive. Albert was listed with an occupation of knife worker.

 

During the Ulster County Fair held in the year 1900 Porter was described by the local newspaper as a promising amateur photographer.

 

“In amateur photography the exhibit was small. Mr. Porter sent a collection which was greatly appreciated. His excellence in that branch of art is so well known it is not necessary for me to add my encomiums. By the way, why do not our two score or more amateur photographers band together for the purpose of higher attainment in their art, and give us a display of their talent next fall in the art department of the Fair? From personal observation covering many years I find the photo exhibit, whether large or small, one of the most attractive in our department; and while some like this and others that, all are pleased with photography. Why not give them variety of talent and a larger range of subjects.”[4]

 

In the early 1900s Albert began his career as a professional photographer, taking over ownership of the Davis Studio from well-known photographer Winfield S. Davis. While trying to sell his gallery, Davis described it in an advertisement published in early 1900.

 

“FOR SALE. – One of the best equipped galleries in New York State; only gallery; town 4,000; fully stocked; small branch gallery 16 miles distant; established 18 years; 15 years present owner. W. S. Davis, Ellenville, N.Y.”[5]

 

The following advertisement was published by Porter in the Ellenville Journal in December 1902.

 

“Photographs for Christmas. Leave your order early. Cabinets from $1 to $7.00. Fine Gems – 50c. per doz. Copying, Enlarging in Crayon, Oil, Pastel, Sepia and India Ink a specialty. Orders for Framing of all kinds promptly filled. VIEWS in great variety. Satisfaction guaranteed. Formerly Davis Studio. Albert V. Porter, Proprietor, 129 Canal St., Ellenville. A Fine Line of Calendars 1903.”

 

Porter quickly established a solid reputation as a photographer, winning an award at the 1903 Ellenville Fair for his photographic views. That same year he was advertising his studio as offering “the highest grade of work.”[6] For his landscape work Porter made views of the mountain resorts, illustrated for the Mohonk, Winnewaska Lakes and the boarding houses of the Shawangunk Mountains.

 

Stratton's Mill, Greenfield, N.Y.Stratton's Mill, Greenfield, N.Y. Stratton's Mill, Greenfield, N.Y. Author's collection.

 

Tannery Dam and Bridge, Grahamsville, N.Y.Tannery Dam and Bridge, Grahamsville, N.Y. Tannery Dam and Bridge, Grahamsville, N.Y. Author's collection.

 

In 1906 The Tri-States Union newspaper of Port Jervis, New York wrote about a unique photo taken by Porter.

 

“Picture of the Late Solar Halo. A. V. Porter, of Ellenville, succeeded in getting a fine photograph of the solar halo which occurred last week, and which excited so much comment. He was on the roof of a house and lay there nearly a half hour to get a proper focus. The pictures are probably the only ones of the kind in existence.”

 

The 1910 United States census listed 54-year-old Albert, his 50-year-old wife Jessie and their 14-year-old daughter Helen living in the 2nd Election District in the village of Ellenville, Wawarsing Township, Ulster County, New York. Albert was listed with an occupation of photographer.

 

On March 8, 1910 The Kingston Daily Freeman wrote that “Albert Porter has on display twenty-five pictures of different basketball teams that have visited Ellenville in the last three years.”

 

The Kingston Daily Freeman issue of January 26, 1912 wrote that “Albert V. Porter has presented two large pictures 18x22 of Ward Post members, also of the graduating class of 1911 to the post and high school. The pictures are from Mr. Porter’s studio and show the skill and fine work done there.”

 

Over the years Porter employed various photographic assistants at his gallery. In 1909 Harvey J. Osterhoudt, of Kingston, and John Joseph Young, of Leurenkill, worked at the gallery. Osterhoudt would leave the Porter gallery that same year for “an excellent position” with the Baumann studio at Westfield, New Jersey. In 1911 Waldmere L. Andre assisted at the Porter gallery, after which he returned to him in Denmark. In the summer of 1915 Porter employed operators Harry Parth, Charles M. DeBevoise and Casper S. Cosenza of New York.

 

For several years, during the 1900s, Porter employed Alfred Wurts Tice (1829-1909) as an assistant. Tice had been a longtime photographer at Ellenville in the 1860s to the early 1880s, but had moved to Corry, Pennsylvania where he had established a gallery. Tice moved back to Ellenville in the mid 1890s.

 

In 1915 Porter was hard at work photographing the local schools. “John M. Schoonmaker, school supervisor of Accord, and Albert V. Porter, the local photographer, are on a trip this week through the district to secure pictures of the school houses for a special work.”[7]

 

Hanging Rock Falls, Ellenville, N.Y. (3)Hanging Rock Falls, Ellenville, N.Y. (3) Hanging Rock Falls, Ellenville, N.Y. Author's collection.

 

Fantinekill Falls, Ellenville, N.Y.Fantinekill Falls, Ellenville, N.Y. Fantinekill Falls, Ellenville, N.Y. Author's collection.

 

In 1917 “Albert V. Porter, local photographer, has received a large order of pictures taken by Casper Cosenza of the Porter Studio of the Tyler lawn at Lackawack. It is understood the pictures are to be used for a big publicity campaign throughout the country in connection with Mrs. G. Vere Tyler and the conspicuous names of the motion picture industry.”[8]

 

In September 1918 Porter was recognized in the local newspaper for one of his portrait photographs.

 

“A very fine portrait of the late John R. Hunt has just been finished and framed in a chestnut brown frame to correspond with the woodwork in the lobby of Hunt Memorial Hall, where it is to occupy a prominent place on the walls of this room. Mr. Hunt, the donor o the beautiful building, the gift to the local Woman’s Christian Temperance Union, the ladies of this union had the picture made through our local photographer, Albert V. Porter, and it has been on exhibition for a few days in the large window Ostrander’s furniture store and much admired. 

 

In September 1918 Porter made “pictures of many of the boys from the town going int the U.S. service during the past year and many of the boys sending back to the home folks pictures taken in their uniforms, so Mr. Porter has completed a fine piece of work. It is a large picture which has for its center the picture of the Rev. Joseph E. Appley, who left a few weeks ago for work in France, and surrounding this picture many pictures of the boys, so as completed and framed is a fine piece of work and will be greatly appreciated for all to go and look upon the faces of loved ones who have entered the U. S. service and look upon the face of George D. Cook, who gave his life for his country, and look upon the face of Melvin Schoonmaker of Wawarsing, who is reported missing in action in the service in France.”[9]  

 

By late 1918 Porter had to close his studio at Ellenville due to the loss his eyesight from chemical poisoning. In 1919 Albert and Jessie Porter moved from Ellenville to Passaic, New Jersey.

 

The Porter Studio was sold in March 1920 to Casper Cosenza, who had previously worked there as an assistant during the summer months. Cosenza changed the name of the business to the Shadowland Studio, and reopened on May 1, 1920.

 

Porter was very active in the Ellenville community throughout his life. He was a longtime member of the M. E. Church and was always active in the church’s work. He taught the church Sunday School for 41 years. It was noted in the local newspaper that five members of just one Sunday School class had entered the ministry, a testament to Porter’s teaching. During World War I, 12 former members of his classes were serving their country, two of whom “paid the supreme sacrifice.”

 

Porter was the local acting secretary of the Y. M. C. A. and “always found time when young men were leaving the home town to interest himself in their welfare, and a letter would go to the Y. M. C. A. secretary introducing them to the association.”[10] He was also, for several years, the superintendent of the floral department of the Ulster County Agricultural Society.

 

The 1920 United States census listed Albert and his wife Jessie residing in Passaic County, New Jersey in the household of their daughter Helen and son-in-law William Matthews. Albert was not listed with a profession.

 

After moving to Passaic, Porter apparently regained his eyesight as he worked at several local florist companies. He was employed as manager at the retail department of Moles and Gillen at 184 Main Avenue, and also worked for Gruber Florists and the Variety Florist. Albert was active in the church, and was a member of the Men’s Bible Class at the Passaic Methodist Church. He was a member of the Y. M. C. A. and president of the Floral Society.

 

The 1930 United States census listed the now widowed Albert living in Passaic County, New Jersey with his daughter Sadie, his daughter Helen and his son-in-law William. Albert was listed with an occupation of “retired” while Sadie was working as a retoucher in a photographic studio. William was working as a clerk in the fire equipment industry.

 

Legacy

 

Albert V. Porter published a large number of portrait photographs of the residents of the Ellenville community throughout his approximately 20 years in business. In addition, he photographed and published a wide range of scenic postcards from Ellenville and much of the surrounding countryside. Both his portrait and landscape photographs provide a nostalgic look back at the Ellenville region during the first two decades of the 20th century.

 

Albert V. Porter passed away at his home in Passaic Park, New Jersey at the age of 80 on January 10, 1937. Albert had suffered a stroke the week before his death. Funeral services were held at his home, with the Reverend A. L. Fretz officiating. Porter was buried at Ridgelawn Cemetery. He was survived by his two daughters, Sadie Mae Porter and Mrs. William C. Matthews, both of 16 Rutgers Place, Passaic; and three brothers, Saul T. Porter, of Syracuse, New York; and John M. Porter and Richard F. Porter, both of Ellenville.

 

[1] The Independent Republican. May 8, 1914.

[2] The Goshen Democrat. October 15, 1926.

[3] Middletown Daily Press. October 9, 1895.

[4] Ellenville Journal. September 14, 1900.

[5] The St. Lous and Canadian Photographer. Vol. 24, No. 1. January, 1900.

[6] Ellenville Journal. February 13, 1903.

[7] The Kingston Daily Freeman (Kingston, New York). May 8, 1915.

[8] The Kingston Daily Freeman (Kingston, New York). August 15, 1917.

[9] The Kingston Daily Freeman (Kingston, New York). October 1, 1918.

[10] The Kingston Daily Freeman (Kingston, New York). November 8, 1919.

 

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[email protected] (American Catskills) A. V. Porter Albert V. Porter Casper Cosenza Catskill Mountains Catskills Ellenville gallery landscapes New York Passaic Passaic Park photographer photographs photography pictures Porter Studio portraits postcards studio Ulster County W. S. Davis https://www.americancatskills.com/blog/2023/7/albert-v-porter-ellenville-ny-photographer Sat, 01 Jul 2023 12:00:00 GMT
James V. Brandow – Windham, New York Photographer https://www.americancatskills.com/blog/2023/6/james-v-brandow-windham-new-york-photographer Introduction

 

James V. Brandow was a prominent photographer in the northern Catskills from the late 1800s to the 1930s. He was perhaps most associated with his work at the village of Windham, but at various times he also had galleries at Catskill, Prattsville, Stamford, Gilboa and Ellenville. He also operated a winter-time gallery in the city of Miami, Florida for many years.

 

Country House, by James V. Brandow, Windham, New YorkCountry House, by James V. Brandow, Windham, New York Country House. Author's collection.

 

Biography

 

James Vernon Brandow was born on February 16, 1861 at the hamlet of Hensonville, Greene County in the northern Catskills. He was the son of Henry Brandow (1824-1887) and Julia (Stone) Brandow (1863-1905). Henry and Julia had eight children including seven sons (Charles, George H., Frank, I. Wheeler, Julian J., James and William) and one daughter (Hattie).

 

Henry, the father, most often worked as a painter or carriage painter, but was listed in the 1855 New York State census with an occupation of tailor. The Windham Journal carried an advertisement for Henry Brandow’s tailoring business in 1857.

 

“New Tailoring Establishment. The subscriber would respectfully inform his friends and citizens of Windham that he has removed from the shop adjoining R. P. Gorshine’s Store, to the rooms over W. F. Spencer’s Jewelry Store, where he will be pleased to see all who will favor him with a call. He will warrant garments made by him to a perfect fit. Cutting done at short notice. HENRY BRANDOW. Windham, April 1st, 1857.”

 

Henry passed away on August 6, 1887 in the village of Catskill. Both Henry and Julia are buried at Catskill Village Cemetery in Catskill, New York.

 

The 1865 New York State census listed 4-year-old James residing in the town of Windham in the household of his parents. His father Henry was listed with an occupation of painter. In 1865, likely sometime after the census, Henry, “one of the old residents of Hensonville,” moved to the village of Catskill to work for Mr. Dunham in the painting business.

 

The 1870 United States census listed 9-year-old James residing in the town of Catskill in the household of his parents. His father Henry was listed with an occupation of carriage painter. Two brothers, 19-year-old Charles and 18-year-old George, were listed with an occupation of painter. His 15-year-old brother I. Wheeler was listed with an occupation of clerk in a meat market. Also in the household were his sister Hattie and his brother William.

 

The 1875 United States census listed 14-year-old James living in the town of Catskill in the household of Henry Brandow, his father. Henry was listed with an occupation of painter. Julia Brandow, James’ mother, had passed away in 1871. Also in the household were James’ siblings Harriet and William, and a housekeeper by the name of Elizabeth Chichester.

 

Before beginning his photography career, Brandow operated a store selling sewing machines at the village of Windham. The store was located at O. R. Coe’s Hotel, and could later be found at the Journal Building in Windham.

 

“BUY YOUR SEWING MACHINES OF J. V. BRANDOW, Windham, N.Y., who keeps always on hand a large stock and can furnish any machine in the market. Sewing Machines sold on monthly payments to parties who are not able to pay cash. OLD MACHINES taken in exchange. Attachments, needles, and all parts supplied. All Kinds of Machines Repaired. Office at O. R. Coe’s Hotel.”[1]

 

In 1885, The Windham Journal published another advertisement for Brandow’s sewing machine business at Windham.

 

“Only $20. This Style SINGER, with full Set of Attachments, on two weeks trial. We do not ask you to pay one cent until you use the machine in your own home for two weeks. Warranted for 3 years. Circulars and testimonials free. J. V. Brandow, Windham, N.Y.”

 

Buy Your Sewing Machines of J. V. Brandow, Windham, N.Y.Buy Your Sewing Machines of J. V. Brandow, Windham, N.Y.The Windham Journal, September 13, 1883.

 

Brandow, in partnership with W. A. Jenne, in 1885 opened a skating rink on Mill Street, in Osborn’s “new building.” The rink was 24 x 40, and “was big enough for a town of Windham’s size. About all the young folks in town are learning the art.” By September the rink was “well patronized” and “having a success.”

 

In 1890 there was some controversy around the use of tariffs in the United States, particularly since the Tariff Act of 1890 was signed into law that year. The Catskill Recorder wrote in October of 1890 about the direct impact of the tariffs on Brandow’s photography business through higher supply costs.

 

“A tariff object lesson: The Windham Journal says that “the new tariff hit James Brandow of this village. He wanted some usual supplies in his photograph business; sent for them, when, lo! the new tariff had increased the cost 15 per cent. Did ‘the foreigner’ pay it? Oh, no! Mr. Brandow paid it, and will have to get it out of the consumer, or lose so much of his already small profits.” The tariff is a tax, gentlemen; you can’t wriggle around the fact. And “foreigners” are not paying our taxes.”

 

At some point in the early 1890s Brandow established a partnership with W. A. Jenne. The partnership operated with the names The Photo Company or Jenne & Brandow. This partnership did not last long, as a notice of dissolution was published in The Windham Journal in October 1891.

 

“NOTICE OF DISSOLUTION. Notice is hereby given that the co-partnership heretofore existing between the undersigned, under the names of The Photo Company, and Jenne & Brandow, is hereby dissolved by mutual consent. All the liabilities of said firms are assumed by, and all accounts due said firms are payable to W. A. Jenne. W. A. JENNE, J. V. BRANDOW.”

 

In July 1892, The Catskill Recorder reported that Brandow was opening a photograph gallery at the village of Stamford, New York.

 

In 1892, Brandow also began serving as an agent for the Ocean Steamship Company operating between New York and the southern states. The following advertisement for the service was carried in The Windham Journal.

 

“Where the balmy breezes blow, where there’s neither ice nor snow, where the orange blossoms bloom, where old “Sol” is always shining at noon, is reached by the Ocean Steamship Co. J. V. Brandow, Agt. See W. A. Jenne for days of sailing, etc.”

 

In July 1893, The Windham Journal reported that Brandow was operating a photography business at East Windham.

 

In October 1893, The Windham Journal reported that photographers Brandow and W. A. Jenne were at the village of Saugerties taking views of the Fireman’s parade. That same month The Catskill Recorder reported that the partnership of Jenne & Brandow had rented from C. L. Van Valkenburgh the entire second floor of his building on Bridge Street in the village of Catskill. The lease was to begin December 1, and was for a term of five years.

 

Brandow & Jenne advertised their new partnership in the local newspapers.

 

“New studio, new furniture, new accessories, new backgrounds; everything the latest; only one short flight of stairs; extra large skylight; can photograph a group of fifty. BRANDOW & JENNE, Bridge Street, Catskill.” – The Catskill Recorder, December 15, 1893.

 

“Babies’ photos, quicker than a wink, at Brandow & Jenne’s, Bridge st.” – The Catskill Recorder, December 15, 1893.

 

“Brandow & Jenne have opened their new studio on Bridge st. and are prepared to do all kinds of photographic work. Photographing children a specialty.” – The Catskill Recorder, December 22, 1893.

 

“Four new styles in portraits, the latest and cutest, at Brandow & Jenne’s, Bridge st.” – The Catskill Recorder, December 22, 1893.

 

“Crayons, pastels and photo enlargements; the best grades only; prices the lowest for good work; satisfaction guaranteed, at Brandow & Jenne’s, Bridge st., Catskill.” – The Catskill Recorder, December 29, 1893.

 

“Everything pertaining to photography; a special department for landscapes and views, at Brandow & Jenne’s, Bridge st., Catskill.” – The Catskill Recorder, January 5, 1894.

 

The partnership of Brandow & Jenne lasted only a few months, with The Catskill Recorder reporting in January 1894 that the partnership had been dissolved. W. A. Jenne was going to continue with the business. By October 1895 Jenne had disposed of his business at Catskill and was reportedly moving to Thomasville, Georgia.

 

James married Cora Woodvine at Troy, New York on May 22, 1894. The ceremony was officiated by Reverend Hines. She was the daughter of William and Sarah Woodvine. Cora passed away in 1905 in Miami, Florida. She had suffered for several years with pulmonary afflictions, which in part had prompted her and James to spend the winters at Miami. Her body was taken to Windham and buried at Windham Cemetery. Upon her passing it was written that “she was a devout Christian, a patient and loving wife and was generally admired and reverenced by those of her acquaintances.”[2]

 

In July 1894, Brandow was at the town of Windham taking pictures of popular views and private residences in the region. He took photos of T. W. Jernalds’ residence at the hamlet of Ashland. In September 1894 Brandow erected a portable studio at Windham. The scheduled opening was about September 20th.

 

In October 1894 Brandow visited the village of Hudson where he photographed the Tri-County Fireman’s Parade. He also photographed the fire companies of Hudson. Later in October Brandow visited Coxsackie to photograph the teachers taking part in the Teachers’ Institute.

 

In November 1894, Brandow temporarily operated his portable photographic studio at the hamlet of Prattsville. The studio was located near the Fowler House.

 

By December 1894, Brandow had returned to the village of Windham “with his new portable studio, prepared to make the best photo ever made in this section. One dozen finest finish, aristo cabinet photographs, a life size crayon portrait, and an elegant frame, for $4. Call and see samples.” He operated this Windham studio until January 10th of 1895, after which, he and his wife traveled to Florida for the remainder of the winter. They returned to Windham in late May 1895, and Brandow reopened his studio on June 10th, occupying the rooms formerly occupied by W. A. Jenne.

 

In October 1895, The Windham Journal reported that Brandow had again temporarily located at the hamlet of Prattsville.

 

In June 1897, Brandow opened a picture gallery at the village of Stamford. M. H. West was doing much of the carpentry work for Brandow in order to prepare the gallery. The following advertisement for Brandow was published in the Stamford Recorder.

 

“Coupon. J. V. Brandow, Photo Artist, Stamford. The holder of this Coupon is entitled to ONE DOZEN of my best IVORYETTE FINISH CABINET PHOTOS FOR $2.00. Good until August 30, 1897. Regular Price of Photo, $3.00.”

 

J. V. Brandow, Photo Artist, StamfordJ. V. Brandow, Photo Artist, StamfordStamford Recorder, August 28, 1897.

 

In October 1897, The Windham Journal reported that Brandow had purchased the Behm photograph gallery on Bridge Street in the village of Catskill, and would move from Stamford to that location.

 

The Windham Journal reported in September 1898 that Brandow had sold his photograph gallery at the village of Catskill to J. B. O’Henans.

 

The 1900 United States census listed 39-year-old Brandow as residing with his wife in Windham Township in the household of William and Sarah Woodvine, his parents-in-law. He was listed with the occupation of photographer.

 

In March 1900, The Windham Journal noted “a fine picture” taken by Brandow that included 78 people, representing four generations of the Osborn-Bump family. The photo was taken at the home of Alice R. Cole & Son during a family reunion.

 

“It was a wonderful gathering, nearly all of whom are residents of this vicinity. The faces are all clearly distinct, and the picture will prove a valuable keep-sake of those present, never to be obtained again elsewhere.  How many families can number so large a company? Aunt Huldah Osborn, over 82 years old; Elbert Osborn, son; Geo. W. Osborn, grandson; Hilda Osborn, great-granddaughter. So, too, was it with Aunt Huldah Osborn, Alice R. Cole, Osborn A. Cole and little Estelle Cole. Then there was the family of Oscar Bronson; also, the late Barney Fuller descendants; those of Nelson Bump, Ephriam Bump; also L. S. Graham, S. L. Munson and A. H. Chittenden. This vicinity is indebted much to those people for what Windham has been and now is, in every sense going to promote morals and prosperity. The picture is a big one, and only 50 cents gets one of Brandow.”[3]

 

The Windham Journal reported in September 1903 that Brandow “had his tin-type tent at the Cooksburg Farmers’ Picnic last week. He will also be at the Prattsville Fair next week.”

 

In September 1904, The Gilboa Monitor reported that Brandow had opened a branch studio at the village of Gilboa, opposite the O’Brien House. Brandow had employed E. Van Dyke, of Catskill, to work as operator and manager of the location.

 

In July 1905, as reported by The Windham Journal, Brandow “did a rushing business at Griffin Corners July 4th, with his tin-type gallery.”

 

In November 1905, the same year that he lost his wife Julia, The Windham Journal wrote that “J. V. Brandow had taken down his photograph building which for the past dozen years has been erected across the stream from Mott’s drug store. Mr. Brandow will again return to Miami, Fla., where he has wintered for several years. We regret to lose Mr. Brandow, because he has been a useful, helpful citizen, and one who made a success of his profession. He is a good artist, and Windham will miss him, but the death of Mrs. Brando last year severed many ties here, and better business opportunities call him South. We wish him full success in his southern home.”

 

Brandow, in July 1906, erected his photographic studio at the village of Windham on the premises of Charles Jennings, on the creek side of the blacksmith shop.

 

In October 1908 Brandow advertised that “Now is the time to have your PHOTOS TAKEN BY BRANDOW, The Leading Photographer of Greene County. First-class photos from $1 per dozen up. A Life Size Crayon Portrait or a Beautiful Gold-Plated Brooch Given Free With Every Dozen. Open Every Week Day Till Nov. 7th. Brandow’s Studio, Windham, N.Y.”[4]

 

Photos Taken by BrandowPhotos Taken by BrandowThe Windham Journal, October 8, 1908.

 

Brandow, in May 1909, was “quite busy these days getting ready for his summer trade. However, he is not too busy to take your picture just now if you want it. If you want a picture of your premises or a landscape view taken, call on him. He will do you an O.K. job.”[5]

 

In July 1909, The Windham Journal wrote of an interesting photograph taken by Brandow at the village of Hensonville.

 

“Did You See the Ark? – It took three big truck horses and the largest truck of the company to convey over the mountain from Cairo the big order for “Jacobs’ Sparkling Soda Water” to local dealers in Hensonville and Windham, on Saturday. The approach of the big “ark” attracted much attention as it entered the village of Hensonville with its enormous cargo of cases of “the sparkling” piled high above the racks. There were 150 cases aboard. Before unloading, Photographer J. V. Brandow of this village, was called and took a picture of the turnout, including the driver, Manly Brainerd, with reins in hand. This picture is 8x10 inches, and is an artistic piece of work, which may be seen by calling at Mr. Brandow’s Studio. The Jacobs concern has a large patronage here, and the scene of last Saturday, is the introductory load for the summer trade, about equally divided between the eastern and western villages of our town. Mr. Jacobs is making a special drive on his mineral waters this season.”

 

Business must have been good for Brandow in the summer of 1909, as seen in his setup for his photography business.

 

“EQUAL TO THE EMERGENCY. – J. V. Brandow, ever alert to the growing demands of his business (photography), now has an up to date photograph wagon, equipped with everything necessary to do business with, including a dark room, where he can develop the old-time tin-type or the modern photograph. The wagon was designed by Mr. Brandow, is easily drawn by one horse, and is O.K. in every particular. Its extreme length is nine feet and has proportionate width and height. Mr. Brando has neatly applied the brush, and it shows up nicely in its finish of red and lemon, with trimmings of black. Other ornamentation and lettering will be added as time permits. The initial trip with the wagon was at the Cooksburg picnic, and “Jim” says it is the right thing in the right place. He is at Prattsville Fair with it this week, and is ready for picnics and the like at short notice.”[6]

 

Miller Brothers Clothiers, by James V. Brandow, Windham, NYMiller Brothers Clothiers, by James V. Brandow, Windham, NY Miller Brothers Clothiers. Author's collection.

 

Even as late as around 1910, Brandow was still taking old-fashioned tin-type pictures. In September of that year, he was at the Firemen’s Convention at Tannersville taking the tin-type photographs. Later in September Brandow had his tin-type tent at the Farmers’ Picnic at Union Society, a popular event that attracted at least 2,000 people.

 

In the 1910s Brandow operated a souvenir store and ice cream parlor at the village of Windham. In 1914, The Windham Journal reported that “J. V. Brandow, bound to be up to date at his studio and ice cream parlor, has installed an acetylene gas lighting plant in the building. A new awning has also been placed in front of the porch.” In May 1918, The Windham Journal wrote that “J. V. Brandow has purchased the goods in Mrs. J. H. Wood’s Bazaar and rented the premises. He will continue the business, confining his former business place to the sale of ice cream and confectionary.” In 1924 Brandow likely sold the store to his former worker Frances M. Post and her soon-to-be husband Clyde R. Adams. After their wedding, Post and Adams were to take possession of the business at the J. V. and H. A. Brandow store on November 1, 1924.

 

In June 1922 Brandow suffered a significant blow to his health when he was struck with apoplectic shock. He had been at Hough’s Garage in Hensonville, New York looking after his branch operations, when the partial paralysis struck. The stroke caused his whole right side to be helpless. He was quickly taken to his home at Windham, where he was attended to by Dr. Mulbury. At the time, the “latest reports in his case are not altogether assuring.”[7] He would live another 16 years.

 

In 1923 Brandow’s film developing business was thriving at the village of Windham. It was reported that he had developed approximately 25,000 kodak pictures during the summer months that year.

 

In 1925, The Windham Journal published a small advertisement stating that “J. V. Brandow will take your picture any time, day or night, at his Home Studio, Windham.” Raymond Moseman began to work for Brandow in 1927.

 

Even as the Black Monday stock market crash neared that fall, and the Great Depression loomed, business at the Brandow gallery was going strong in the summer of 1929. Brandow reported that he was employing five men at his studio, and was hoping to add a sixth.

 

The 1930 United States census listed Brandow as residing in Windham Township. He was listed with an occupation of photographer, with his own studio.

 

In September 1932, The Windham Journal wrote that “Ransom McConnell has recently leased the J. V. Brandow studio, upper Main Street, where he is ready for business at any time in his line – photography. He and Mrs. McConnell are housekeeping in rooms in Mr. Brandow’s residence.”

 

In July 1933, The Windham Journal reported that Brandow, in addition to his business at Windham, had taken over an established business at the village of Ellenville. Work commenced around July 13, 1933.

 

By 1936, in the depths of the Great Depression, Brandow had seemingly fallen on hard financial times. On August 7, 1936 a foreclosure sale was held at the Court House in Catskill, New York for Brandow’s property at Windham.

 

Florida

 

For many years Brandow would travel from his home in Windham to Miami, Florida for the winter, where he would operate a photograph gallery aimed at the tourist industry. The early Brandow operation at Miami was typically located at the corner of Avenue D and Fourteenth Street. In 1905 Brandow was unable to secure his usual studio location, and therefore decided to operate in tents located across the street from his previous location.

 

Brandow would later operate a popular gallery at Miami known as the Royal Palm Studio at the Hotel Royal Palm and casino. He took the operation over from J. N. Chamberlain, who had run the studio for many years. Brandow also established a branch studio at Elser Pier, located at 12th Street and boulevard. George H. Brandow, James’ brother, was a partner in the Miami operation for many years. George, like James, would return to the Catskills each summer, with his residence at the hamlet of Purling, New York. Hattie Brandow, James’ sister, would also accompany him from Windham to Miami for the winter and would work at the gallery.

 

In 1908 Brandow advertised his Miami studio in the local newspaper. “24 Ping-Pong Photos for 25c in Six Different Positions. Have your Post Cards taken with our Big Alligator, or in the Automobile. Kodak developing and printing. At Brandow Studio Tent. Cor. 14th Street and Ave. D.”[8] In 1917 Brandow took “several panoramic views of the bay and the race course for publicity purposes.” In 1918 Brandow took photographs at the Miami Beach casino for the Miami Chamber of Commerce to use in their annual 1918-1919 booklets.

 

Brandow Studio TentBrandow Studio TentMiami Morning News Record, January 19, 1908.

Royal Palm Studio, J. V. BrandowRoyal Palm Studio, J. V. BrandowThe Miami Herald, January 24, 1911.

 

Brandow would sometimes travel to other locations in the Miami region. In April 1906 he visited the town of Dania, Florida “to take some pictures of that live little town.” In May 1906 Brandow went to Fort Lauderdale “to take some pictures of the dredge ‘Everglades.’”

 

Painting

 

In addition to his photography business, Brandow also followed in the footsteps of his father in the painting industry. In addition, James’ brothers George and Charles were also house, sign and carriage painters. Through the years the local newspapers noted the various painting work completed by James Brandow. In one interesting story, in 1915 Brandow repainted the office sign at The Windham Journal, the local newspaper, with the sign having been originally painted by his father Henry 30 years prior. The Windham Journal wrote on November 18, 1915 that “The lettering was in gold leaf, of old English design, and was then considered one of the most artistic signs in Greene County. As was his father, so is James V., an artist with the brush.”

 

As just a few examples of his work, Brandow painted the 24-foot Miller Bros. sign at Roxbury in 1897, the G. W. Potter Company sign in 1900 and the Newell & Brockett “Furniture” and “Undertaking” signs in 1900. Brandow painted the Elgin Creamery sign in 1905, the Davis bowling alley in 1906 and the steel ceiling and woodwork of the M. E. Church in 1906. He painted the wagons in Cole’s livery in 1907, the auto trucks of Barker & Woodworth in 1914 and finished the steel ceiling at the new Masonic Hall building in 1915.

 

Legacy

 

James V. Brandow was a well-respected citizen of Greene County, New York for his entire life. He passed away at 77 years of age on June 29, 1938. His death was attributed to the effects of a fall, after which he was immediately taken to Memorial Hospital. He died without regaining consciousness. He had also been in a weakened physical condition for several years due to paralytic strokes.

 

Upon his passing it was written that “before illness incapacitated him [Brandow] anyone would have to be more than a genius in that art [photography] to outdo him either in knowledge, speed, or ability.” He is buried next to his wife Cora at Windham Cemetery in Windham, New York. 

 

[1] The Windham Journal. April 19, 1883.

[2] “Death of Mrs. Cora Brandow.” The Miami News (Miami, Florida). January 6, 1905.

[3] The Windham Journal. March 15, 1900.

[4] The Windham Journal. October 8, 1908.

[5] The Windham Journal. May 27, 1909.

[6] The Windham Journal. August 26, 1909.

[7] “Hensonville.” Catskill Recorder. June 30, 1922.

[8] Miami Morning News-Record (Miami, Florida). January 19, 1908.

 

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[email protected] (American Catskills) Catskill Florida gallery Greene County James Brandow James Vernon Brandow Jenne & Brandow Miami New York photographer photographs photography pictures Prattsville Royal Palm Studio Stamford studio Windham https://www.americancatskills.com/blog/2023/6/james-v-brandow-windham-new-york-photographer Sat, 24 Jun 2023 12:00:00 GMT
Louis E. Jones, Woodstock, NY Photographer – New Photographs https://www.americancatskills.com/blog/2023/6/louis-e-jones-woodstock-ny-photographer-new-photographs In April of this year, I was able to attend the spring post card show hosted by the Kaaterskill Postcard Club at the village of Saugerties, New York. There was a good number of postcard dealers, and the attendance looked pretty good as well. When I arrived, to my surprise, the parking lot was full, and I was forced to park on the grass along the side of the lot. This was the first show held by the club in three years, and it was the first one in Saugerties, as the show had previously been held in Kingston.

 

While browsing the impressive collections of the various dealers I was able to pick up some new postcards for the website, including some by photographers John W. Rusk, Samuel E. Rusk, Conrad O. Bickelmann, Charles H. Phelps and B. E. Pudney.

 

I was also able to pick up 14 new postcards by Louis E. Jones, the well-regarded photographer and painter closely associated with the village of Woodstock in the Catskill Mountains and, later in his career, with the Great Smoky Mountains near Gatlinburg, Tennessee. All the new images have been added to the Jones gallery, which now contains 41 of his original postcard photographs. To view all the postcards, navigate to Gallery >> Historic Catskills Photographers >> Louis E. Jones.

 

In the Catskills. No. 3, Beautiful Catskill Mountain Series.

In the Catskills. No. 3, Beautiful Catskill Mountain Series.In the Catskills. No. 3, Beautiful Catskill Mountain Series.Louis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

In Open Country. No. 4, Beautiful Catskill Mountain Series.

In Open Country. No. 4, Beautiful Catskill Mountain SeriesIn Open Country. No. 4, Beautiful Catskill Mountain SeriesLouis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

Lovely Falls in the Catskills. No. 11, Beautiful Catskill Mountain Series.

Lovely Falls in the Catskills. No. 11, Beautiful Catskill Mountain Series.Lovely Falls in the Catskills. No. 11, Beautiful Catskill Mountain Series.Louis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

Winter in the Catskills. No. 14, Beautiful Catskill Mountain Series.

Winter in the Catskills. No. 14, Beautiful Catskill Mountain Series.Winter in the Catskills. No. 14, Beautiful Catskill Mountain Series.Louis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

A Frozen Stream. No. 18, Beautiful Woodstock Series.

A Frozen Stream. No. 18, Beautiful Woodstock Series.A Frozen Stream. No. 18, Beautiful Woodstock Series.Louis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

A View in the Catskills. No. 23, Beautiful Woodstock Series.

A View in the Catskills. No. 23, Beautiful Woodstock Series.A View in the Catskills. No. 23, Beautiful Woodstock Series.Louis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

Gathering Maple Sap near Woodstock. No. 37, Beautiful Woodstock Series.

Gathering Maple Sap near Woodstock. No. 37, Beautiful Woodstock Series.Gathering Maple Sap near Woodstock. No. 37, Beautiful Woodstock Series.Louis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

Charm of the Catskills. No. 39, Beautiful Woodstock Series.

Charm of the Catskills. No. 39, Beautiful Woodstock Series.Charm of the Catskills. No. 39, Beautiful Woodstock Series.Louis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

January in the Catskills. No. 40, Beautiful Woodstock Series.

January in the Catskills. No. 40, Beautiful Woodstock Series.January in the Catskills. No. 40, Beautiful Woodstock Series.Louis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

South View, Meads Mountain House. No number, Beautiful Woodstock Series.

South View, Meads Mountain House. No number, Beautiful Woodstock SheriesSouth View, Meads Mountain House. No number, Beautiful Woodstock SeriesLouis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

A Winter Morning in the Harbor. No. 14, Beautiful Kingston Series.

A Winter Morning in the Harbor. No. 14, Beautiful Kingston Series.A Winter Morning in the Harbor. No. 14, Beautiful Kingston Series.Louis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

On an Old Fashioned Street. No. 17, Beautiful Kingston Series.

On an Old Fashioned Street. No. 17, Beautiful Kingston Series.On an Old Fashioned Street. No. 17, Beautiful Kingston Series.Louis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

Across the Ranges, Woodstock, N.Y. Copyright 1919.

Across the Ranges, Woodstock, N.Y.Across the Ranges, Woodstock, N.Y.Louis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

Interior of the Jones Shop. Woodstock, N.Y.

Interior of the Jones Shop, Woodstock, N.Y.Interior of the Jones Shop, Woodstock, N.Y.Louis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

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[email protected] (American Catskills) art artist Bucknell University Catskill Mountains Catskills Cliff Dwellers exhibit gallery Gatlinburg gift shop Kingston L. E. J. L. E. Jones Little Art Gallery Little Art Shop Louis E. Jones Louis Edward Jones New York painter photo photographer photography show Smoky Mountains Tennessee tourism travel Williamsport Woodstock https://www.americancatskills.com/blog/2023/6/louis-e-jones-woodstock-ny-photographer-new-photographs Sat, 17 Jun 2023 12:00:00 GMT
John N. Brengel – Kingston, New York Photographer https://www.americancatskills.com/blog/2023/6/john-n-brengel-kingston-new-york-photographer Introduction

 

John N. Brengel was a popular photographer for over 20 years in the city of Kingston, New York. Prior to his arrival at Kingston Brengel operated a photographic gallery in New York City from the late-1860s through the mid-1880s.

 

Family Portrait, by J. N. Brengel, Rondout, NYFamily Portrait, by J. N. Brengel, Rondout, NYAuthor's collection.

Family portrait, by J. N. Brengel. Author's collection.

 

 

Biography

 

John N. Brengel was born in February 1833 in Manhattan, New York. He was married to Mary J. (Brown) Brengel. There is a conflict as to Mary’s correct year of birth, as the 1900 United States census shows her birthdate as July 1854 whereas her gravestone shows her birth year as 1855. John and Mary were married around the year 1875.

 

Brengel honorably served during the Civil War. At the age of 29, he enlisted for three years on August 12, 1862 at New York. He mustered in as a private in Company I, 6th New York Cavalry on August 13, 1862. Records show, somewhat amusingly, that he was “wounded in the canteen, October 11, 1863, at Brandy Station. Not disabled, but had to go thirsty until he procured another canteen.” He was promoted to sergeant on December 1, 1864. He was discharged on June 5, 1865 at Cloud’s Mills, Virginia.

 

The 6th New York Cavalry was involved in intense fighting for much of the Civil War. Notable battles and campaigns include the Battle of Chancellorsville (April 30 – May 6, 1863), Battle of Gettysburg (July 1-3, 1863), Sheridan’s Shenandoah Valley Campaign (August-November 1864) and the Appomattox Campaign (March 29-April 9, 1865). 

 

By the late 1860s Brengel was listed with the occupation of photographer in the business directories for New York City. His studio was listed as 391 Canal Street. In the mid-1870s his business was located at 291 6th Avenue. Advertisements later place his business at 55 East 13th Street. The year 1885 was the last one in which Brengel was listed as a photographer in New York City.

 

The logo imprint on the reverse side of a portrait taken by Brengel reads “J. N. Brengel, Ferrotype Gallery, New York. 4 for 25 cents.” The ferrotype, also known more popularly as tintype, was patented by Hamilton Smith in 1856 in the United States. The ferrotype process was used widely used in the 1860s and 1870s.

 

An 1884 advertisement in The Photographic Times stated: “J. N. Brengel, Solar Printer, Photo, Enlargements by Electric Light. Prints made, Rain or Shine. Address for Price List, 55 East Thirteenth Street, New York.”

 

In August 1884 tragedy struck when Brengel’s New York City gallery was destroyed by fire. The New York Times provided a summary of the incident.

 

“J. N. Brengel, a photographer, whose specialty is the enlargement of pictures for artists by electric light, had a gallery on the third floor of No. 55 East Thirteenth Street. Last evening he was developing some negatives in the dark room, and his boy, Albert Whitemore, was in the gallery, when there was a whizzing noise, followed by an outburst of flame. Mr. Brengel found the woodwork of his operating room on fire, and the heat caused bottles of ether and alcohol to burst and add fuel to the flames. The fire was fierce when the engines arrived, but it was subdued in half an hour, when the gallery was a complete wreck. Mr. Brengel used the Brush wires for the light he needed, and he says the fire was due to insulating material being stripped in some manner from the wires so that they set fire to the woodwork through which they passed. Mr. Brengel was insured for $1,300 in the Phenix Company, of Brooklyn, and his loss is more than $2,500. C. Z. Bates, locksmith and bellhanger, on the second floor, loses about $700 by water damage. John Church & Co., of Cincinnati, publishers of music, on the first floor, lose by water damage from $1,200 to $1,500. About $800 damage was done to the building, which is owned by the Roosevelt estate.”[1]

 

Perhaps due to the tragedy that destroyed his gallery, that same year, 1884, Brengel advertised that he was in the market to purchase a Photographic Gallery, giving his address as Rondout, New York.

 

The city of Kingston business directories first listed Brengel as operating at 9 Wall Street by around 1884. By 1894 he had moved locations and was then operating at 29 Strand. Following business directories listed Brengel at 31 East Strand, 27-29 East Strand and 29 East Strand.

 

Portrait, Old Woman, by J. N. Brengel, 9 Wall Street, Kingston, NYPortrait, Old Woman, by J. N. Brengel, 9 Wall Street, Kingston, NYAuthor's collection.

Portrait, Old Woman, by J. N. Brengel. Author's collection.

 

An 1888 newspaper advertisement had Brengel operating his business at 9 Wall Street in Kingston. He advertised cabinet photographs for sale at a cost of $1.50 per dozen. The advertisement also interestingly stated that “15,000 Negatives by Edward Lewis are in my possession.” Lewis had been a long-time photographer at Kingston through the early 1880s.

 

Advertisement for J. N. Brengel, Photographer, Kingston, New YorkAdvertisement for J. N. Brengel, Photographer, Kingston, New York

The Kingston Daily Freeman. October 13, 1888.

 

In October 1890 a fire broke out in the rear of the E. T. Dodge candy store on Wall Street, and quickly spread. As the fire engulfed the building, it did much damage to the rear of the Brengel’s photographic establishment. Damage was estimated at $500, and Brengel was not insured for the loss.

 

The 1892 book Kingston and Rondout: Their Representative Business Men and Points of Interest featured a profile of Brengel.

 

“J. N. Brengel, Photographer, No. 9 Wall Street, Kingston, N.Y. – If improved apparatus and reliable chemicals and unbounded self-confidence were all that is necessary to make a first-class photographer, the country would be full of such, for about every tenth man you see nowadays practices photography for fun or for money, and can talk to you by the hour about “negatives,” and “exposures” and developing, and many other things of which you know little or nothing; but when it comes to putting theories into practice the average photographer, amateur or professional, cannot seem to make a very excellent showing. The fact is long experience and considerable natural ability are absolutely essential to the attainment of thoroughly satisfactory results in photography, and an illustration of this may be had by comparing the work turned out by Mr. J. N. Brengel with that produced by other photographers who might be mentioned, for Mr. Brengel has been in the business for many years and is thoroughly familiar with it in every detail. He is a native of New York, and succeeded to the business founded by Mr. Edward Lewis in 1865. His rooms are located at No. 9 Wall Street, on the third and fourth floors, being very thoroughly fitted up in every way. Photography in all its branches is carried on, orders being filled at short notice and at uniformly moderate rates, while the results attained are such that it is perfectly safe to fully guarantee satisfaction to all who may place orders at this popular studio. This gentleman commanded Company I, 6th New York Cavalry, during the war, and for a time served on the staff of General Sheridan.”[2]

 

In 1896 Brengel achieved a certain amount of fame with the announcement that he, along with Chester B. Melott, had developed a process to produce static x-rays. News of this discovery was featured in newspapers in Massachusetts, Pennsylvania, Illinois, Kansas, Nebraska and other states.

 

“Static X-rays. A process differing from that of Roentgen. Everything goes now. These people made a wide departure. No vacuum was used. A series of experiments at Kingston which appear to be more startling than any yet performed with the Crookes tubes.

 

Kingston, N.Y., Feb. 18. – Chester B. Melott, manager of the Rondout Western Telegraph office, and J. N. Brengel, a local photographer, have made several successful experiments with X-rays, the manner of obtaining the pictures being altogether different from ordinary methods.

 

Not an inch of conducting wire, no battery, Crookes tubes, condensers, coils, or Leyden jars were used. The electric current used was transmitted through the body of the operators, and was conducted by them to the objects that were photographed and transmitted through the sensitized plate to the body of another person place on the opposite side of the sensitized plate, which was enclosed in a dark slide.

 

The current used was static, of high potential and high frequency, and the time of exposure required was about half a minute for each object. The experiment was conducted upon the principle and the theory that a lightning bolt will photograph objects on any sensitized bodies, when coming between them, as numerous accounts prove.

 

The pictures were taken through the cardboard cover of the slide, and through one thickness of a pane of glass, making about one-fourth of an inch. The whole operation is simple, and can be performed by anyone. The electricity for this experiment was obtained by holding an ordinary tin dusting pan under the rapidly moving leather driving belt of an engine in the power house of the Kingston City Electric line, with one hand, while the other hand touched the objects lying on top of the case containing the sensitized plate, another person holding the plate through the body of which the electricity passed off.

 

By other experiments tried with exhausted tubes and incandescent bulbs, lights of all the shades of the rainbow were secured, the light changing according to the condition of the atmosphere. In damp weather a very reddish light is produced, while in dry, clear atmosphere, the light assumes a bluish ting; also phantom rays of great brilliancy were obtained, but owing to the arrangement of the bulb and machinery, when sensitized plates were brought close to the bulbs, it destroyed their electrical effect, and in some cases extinguished the light altogether, the operation taking the current away by induction.

 

Mr. Melott contemplates making further experiments with the rays, and also with a very penetrating electric light, which consists of passing a current of dynamo electricity through a tube filled with a peculiar metallic gas. The current freely passes and produces and produces a very penetrating light.”[3]

 

The 1900 United States census listed Brengel as residing in district 107 of the city of Kingston. Also residing in the household was Mary J., his wife, born July 1854; Carrie A., born January 1880; Anna L., born February 1882; Frederick D., born January 1884; George A., born March 1886; and Mable V., born July 1888. The census reported that John and Mary Brengel had seven children, six of which were currently living. The census showed that Brengel’s parents had both been born in Germany. He was listed with an occupation of Photographer. Frederick, even at the young age of 16, was listed with an occupation of Assistant Photographer.

               

In 1903 Brengel began planning for retirement, putting his gallery up for sale. An industry publication carried the following advertisement. “FOR SALE – Having decided to retire from active business, will sell my studio at a bargain; fitted for 11 by 14; fine Dallmeyer lens; best light; price, $450, cash. J. N. BRENGEL, 27 Strand, Kingston, N.Y.”[4]

 

Brengel’s actual retirement from the photography business took place two years later in 1905 at 72 years of age. He sold his business in August of that year to Robert G. Sibley, of Port Ewen. After the sale Brengel moved back to New York City.

 

The address directories for Manhattan and the Bronx begin to list Brengel in 1902 with a home address at 204 West 114th Street. In some years he was listed with an occupation of photographer, however, there was no business address listed.

 

John N. Brengel passed away at 76 years of age at his home in New York City on September 26, 1909. He was survived by two sons, George and Fred, and four daughters, Mrs. Joseph Stillwell, Carrie, Mabel and Lulu. Mary J. Brengel passed away at her home on January 26, 1927 at her home on Glenwood Road, Brooklyn. John, along with his wife Mary, is buried at Montrepose Cemetery in Kingston, New York.

 

 

[1] “Fired By Electric Light.” New York Times (New York, New York). August 26, 1884.

[2] Bacon, George F. Kingston and Rondout: Their Representative Business Men and Points of Interest. Newark, N.J.: Mercantile Publishing Company, 1892. p. 33.

[3] “Static X-rays.” Democrat and Chronicle (Rochester, New York). February 19, 1896.

[4] The Photo-Beacon. Vol. 15. Chicago: The Photo-Beacon Company, 1903.

 

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[email protected] (American Catskills) 6th New York Calvary 9 Wall Street biography Catskill Mountains Catskills Civil Edward Lewis John N. Brengel Kingston New York photographer photographs photography portraits Robert G. Sibley veteran War" x-rays https://www.americancatskills.com/blog/2023/6/john-n-brengel-kingston-new-york-photographer Sat, 10 Jun 2023 12:00:00 GMT
B. E. Pudney – New Gallery of Delaware County, NY Postcards https://www.americancatskills.com/blog/2023/6/b-e-pudney-new-gallery-of-delaware-county-ny-postcards B. E. Pudney was a prolific publisher of postcards depicting the scenes of Delaware County, New York and the surrounding region. Located at the village of Sidney, he was also a well-known businessman, at times operating a clothing store, a bicycle shop, a stationery store, an automobile garage and a famous music store.

 

I have recently acquired around 50 postcards that were published by B. E. Pudney. Although Pudney’s postcards depict scenes from all the counties and regions surrounding the village of Sidney, my collection focuses mostly on the Catskills portion of Delaware County. The postcards include scenes from Masonville, Sidney, East Sidney and Delhi. The postcards depict village scenes, buildings, churches, bridges, roads, waterfalls and landscapes Although not published by Pudney, there is also a postcard showing his store titled “B. E. Pudney’s Piano and Music Store.”

 

The gallery also includes 40 advertisements published in the local newspapers by Pudney from throughout his business career.

 

The complete collection of postcards can be found by navigating to Gallery >> Historic Catskills Photographers >> B. E. Pudney.

 

 

View N. W. From South Road, Masonville, N.Y.

Photograph titled "Masonville, N.Y., View N. W. From South Road" by B. E. Pudney.Masonville, N.Y., View N. W. From South RoadPhotographer: B. E. Pudney, Sidney, New York

 

The Mill Pond, Masonville, N.Y.

Photograph by B. E. Pudney titled "The Mill Pond, Masonville, N.Y."The Mill Pond, Masonville, N.Y.Photographer: B. E. Pudney, Sidney, New York

 

Birds-eye View, Sidney, N.Y.

Birds-eye View, Sidney, N.Y.Birds-eye View, Sidney, N.Y.Photographer: B. E. Pudney, Sidney, New York

 

New Iron Bridge, Sidney, N.Y.

New Iron Bridge, Sidney, N.Y.New Iron Bridge, Sidney, N.Y.Photographer: B. E. Pudney, Sidney, New York

 

Main Street, looking North, Sidney, N.Y.

Main Street, looking North, Sidney, N.Y.Main Street, looking North, Sidney, N.Y.

 

Mill Dam and Falls, East Sidney, N.Y.

Mill Dam and Falls, East Sidney, N.Y.Mill Dam and Falls, East Sidney, N.Y.Photographer: B. E. Pudney, Sidney, New York

 

Woolerton Street Bridge, Delhi, N.Y.

Photograph by B. E. Pudney titled "Woolerton Street Bridge, Delhi, N.Y."Woolerton Street Bridge, Delhi, N.Y.Photographer: B. E. Pudney, Sidney, New York

 

County House, Delhi, N.Y.

County House, Delhi, N.Y.County House, Delhi, N.Y.Photographer: B. E. Pudney, Sidney, New York

 

Watauga Falls, Delhi, N.Y.

Watauga Falls, Delhi, N.Y.Watauga Falls, Delhi, N.Y.Photographer: B. E. Pudney, Sidney, New York

 

 

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[email protected] (American Catskills) B. E. Pudney biography Catskill Mountains Catskills Delaware County Herbert Eugene Pudney landscapes New York Oxford photographer photographs photography postcards publisher Sidney https://www.americancatskills.com/blog/2023/6/b-e-pudney-new-gallery-of-delaware-county-ny-postcards Sat, 03 Jun 2023 12:00:00 GMT
John G. Stenger – Callicoon Depot, New York Photographer https://www.americancatskills.com/blog/2023/5/john-g-stenger-callicoon-depot-new-york-photographer Introduction

 

John G. Stenger was a popular photographer at the hamlet of Callicoon Depot in the 1890s to the early 1900s. He was noted for both his landscape and portrait work. Anthony Stenger, John’s father, also worked as a photographer for many years at Callicoon Depot and at the hamlet of North Branch.

 

Country Scene, by J. G. StengerCountry Scene, by J. G. Stenger

Country Scene, by J. G. Stenger. Author's collection.

 

Biography

 

John G. Stenger was born in March 1865, the son of Anthony Stenger (1839-1915) and Fredericka (Weingartner) Stenger (1840-1919), both natives of Germany. Anthony was born on September 8, 1839 at Darmstadt, Germany and immigrated to the United States in 1852. He resided in New York City for four years and then settled at Mileses in the town of Fremont, Sullivan County, New York.

 

In May, 1863, Anthony married Fredericka Weingartner. She was a native of Stuttgart, Germany who immigrated to the United States in 1859. Together they had four children, including John; Mary Anna (Stenger) Schonger (1866-1928), wife of Dr. Adolph H. Schonger, the well-known physician at North Branch; Henry J. Stenger (1866-1935), a painter and well-regarded musician, and later a foreman in the paint shops of the Long Island Railroad Company; and Anthony Stenger (1873-1939), an optometrist with the firm of Stenger and Stenger at 398 Broadway in Brooklyn for 30 years. Mary Anna and Henry were twins.

 

Anthony was a house painter by trade, and combined that occupation with photography and musical work. He was prominent in the musical scene of the area, being a member of several bands and orchestras. “Mr. Stenger was a musician with exceptional talent and has furnished the music for the dances in that section of the county for the last fifty years and was known and beloved by all.”[1]

 

Anthony first established a photograph gallery at Callicoon Depot sometime in the 1870s. At Stenger’s gallery, you could “get your photograph taken, which will be better looking than you really are.”[2] In 1881 the local newspaper noted that “Mr. S. is a good photographer, and no doubt he will do a good trade in his line.”[3]

 

After moving from Callicoon Depot to the hamlet of North Branch in the late 1890s, Anthony established another gallery there. The local newspaper noted in 1898 that “Anthony Stenger, the North Branch artist and photographer, is established in his new quarters and I learn is doing a good business. Mr. Stenger has had a long experience of his profession, and gives satisfaction.”[4]

 

Anthony Stenger continued to operate his photograph gallery until poor health no longer allowed him to work. He was a member of the Free Masons, being one of the first members of the chapter at Callicoon Center. He was also a member of the Knights of Honor.

 

Anthony was well regarded in the community. Upon his passing it was written that “Mr. Stenger was the kind of man it does you good to meet. His greeting was always happy, hearty and sincere; there was not an artificial streak in him. He was the personification of good nature, a genial companion, a true friend. He has added his full share of happiness to the world with the sunshine and melody which came forth from his soul.”[5]

 

Upon the death of Mary Anna, John’s sister, in 1928, the local newspaper wrote of her parents Anthony and Fredericka Stenger.

 

“The Stengers were a musical family, which added to their social atmosphere. The old folks, Pop and Mom Stenger, spent their later years on the Dietrichsen place just below North Barnch, where Pop had a photograph gallery and where many musical gatherings were held. Pleasant memories of the Stengers will long linger in the minds of those who have been so fortunate as to partake of their hospitality and good cheer.”[6]

 

Anthony passed away on January 30, 1915 at the age of 75 from a cerebral hemorrhage at his home in North Branch. He had been in poor health for some time, having suffered three strokes, two of which were within 48 hours of his death. The funeral services were conducted by Reverend J. E. Straub. Fredericka passed away in 1919 from pneumonia. Anthony and his wife Fredericka are both buried at Grace Lutheran Cemetery in North Branch, New York.

 

John G. Stenger, our subject, spent his youth growing up in the town of Fremont. The 1875 New York State census listed 10-year-old John as living with his parents Anthony and Fredericka, along with his sister and two brothers. Anthony was listed with an occupation of Painter.

 

The 1880 United States census listed 14-year-old John as living with his parents Anthony and Fredericka, along with his sister and two brothers. He was listed as being “at school.” Anthony was listed with an occupation of Laborer.

 

After receiving his education, Stenger lived for four years living in New York City, but afterwards moved to Callicoon Depot, New York in his home county.

 

Callicoon Depot is beautifully situated along the Delaware River in Sullivan County, New York. The hamlet takes its name from the New York and Erie Railroad train depot which opened there in 1848. In 1906 the “Depot” part of the name was dropped by the U.S. Postal Service, and became simply Callicoon.

 

Stenger followed the several trades of his father, being a painter, photographer and musician. John was a noted house painter, with numerous mentions in the local newspapers of his work painting the houses of various community residents.

 

As a photographer, Stenger’s services included both landscape and portrait work. Advertisements noted that outdoor views and groups were a specialty. One 1895 advertisement from Stenger that was published in the Sullivan County Record stated “Don’t neglect the family, Come and Bring the children. All Work executed in good style and at moderate prices. Buildings, groups, scenery, schools and other outdoor work.” His gallery was located on South Street in Callicoon Depot.

 

Portrait, Young Man, by John G. StengerPortrait, Young Man, by John G. Stenger

Portrait, Young Man, by J. G. Stenger. Author's collection.

 

Portrait, Baby, by John G. Stenger, Callicoon Depot, New YorkPortrait, Baby, by John G. Stenger, Callicoon Depot, New York

Portrait, Baby, by J. G. Stenger. Author's collection.

 

The 1900 United States census listed Stenger as residing in the town of Delaware, Sullivan County. He was listed with an occupation of “House painter.”

 

In March 1900 Stenger erected and opened at Callicoon Depot “a new photograph gallery on his premises adjoining the school building. It will be equipped with the most up-to-date appliances for that line of business.”[7]

 

Advertisement for J. G. Stenger, PhotographerAdvertisement for J. G. Stenger, Photographer

 

Advertisement for John G. Stenger, PhotographerAdvertisement for John G. Stenger, Photographer

 

In 1895 Stenger was appointed coroner by New York State Governor Levi Morton to fill the vacancy caused by the death of Philip Metzger of Jeffersonville. In November 1895 he won the county election to serve a full term of three years as coroner. The local paper noted that Stenger had won his election despite spending very little. His expenses totaled only $8.25, of which $1.50 was to hire horses and $6.75 was for “treating at various hotels while introducing myself.” Of the four coroners elected, Stenger had received the highest number of votes.

 

Prior to his marriage John may have had a reputation as a ladies’ man. The Sullivan County Record wrote in 1895 that “I noticed J. G. Stenger, Callicoon Depot’s photographer, riding about town Tuesday on the laps of two dearies of the same place. Most fellows are satisfied with one at a time, but Johnnie don’t ’pear to be one of ’em.”

 

Portrait of John G. Stenger, PhotographerPortrait of John G. Stenger, Photographer

 

Stenger eventually settled down and married Mary Mitchell (1872-1938), daughter of Elias Mitchell of Callicoon Depot, on January 21, 1902. The service was held at the St. James Episcopal Church at Callicoon Depot and was officiated by Pastor H. C. Briggs. There were only a few relatives present at the ceremony, including John’s brother, Anthony Stenger Jr. of North Branch, and Mary’s sister, Ollie Mitchell. John and Mary had one son, Albert H. Stenger (1903-1973).

 

Elias Mitchell (1839-1912), Stenger’s father-in-law, was one of the oldest and most successful rivermen and raft pilots along the Delaware River. Both his father, Stephen Mitchell, and grandfather, Timothy Mitchell, were also well-known lumbermen and rivermen. Elias began his life as a lumberman and raft pilot at the age of 19, and continued with the trade until the spring of 1911. He was reported to have made as many as 21 trips down the river in a single year. He was affectionately referred to as “Deacon.”

 

Like his father Anthony, John was also an accomplished musician. He served as the musical conductor for the Callicoon dramatic society. In the early 1900s he served as leader of the Callicoon Depot orchestra while playing first violin. The reviews of Stenger’s leadership of the orchestra were very positive.

 

“A masquerade ball will be held in Harmonie Hall Feb. 22. All who attend will be given an opportunity to hear our new band, which, under the leadership of J. G. Stenger, has surpassed all expectations of its advancement.” – Tri-State Union (Port Jervis, New York). February 15, 1900.

 

“The new orchestra recently organized here deserves credit for the progress it has made for the short time it has been in existence. The members and instruments are as follows: J. G. Stenger, first violin; Ed Starck, second violin; Ed Robisch, cornet; Edward Gardner, trombone; William Kothe Jr., piano. Mr. Stenger is director. They have played in public a number of times, and the music is much appreciated.” – Sullivan County Record (Jeffersonville, New York). March 29, 1900.

 

“Wednesday evening last found the upper grade room of the school building packed . . . Special mention should be made of the faithful and untiring work done by our orchestra, led by J. G. Stenger, for the entertainment of those attending the Wednesday night meetings.” – Tri-States Union (Port Jervis, New York). March 29, 1900.

 

John G. Stenger died suddenly at 43 years of age at his home in Callicoon in 1908. John and his wife Mary, along with their son Albert, are buried at Callicoon Cemetery Old in Callicoon, New York.

 

[1] “Anthony Stenger.” Sullivan County Republican (Monticello, New York). February 12, 1915.

[2] “Milesville Directory.” Sullivan County Record (Jeffersonville, New York). October 10, 1879.

[3] “Callicoon Depot.” Republican Watchman (Monticello, New York). March 18, 1881.

[4] Tri-States Union (Port Jervis, New York). July 28, 1898.

[5] “Anthony Stenger.” Sullivan County Record (Jeffersonville, New York). February 4, 1915.

[6] “Apoplexy Takes Mrs. Dr. Schonger.” Sullivan County Record (Jeffersonville, New York). May 3, 1928.

[7] Tri-States Union (Port Jervis, New York). February 15, 1900.

 

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[email protected] (American Catskills) Anthony Stenger biography Callicoon Callicoon Depot Catskill Mountains Catskills coroner J. G. Stenger John G. Stenger landscapes Mary Mitchell New York photographer photographs photography portraits Sullivan County https://www.americancatskills.com/blog/2023/5/john-g-stenger-callicoon-depot-new-york-photographer Sat, 27 May 2023 12:00:00 GMT
Clyde Fisher: Photographing John Burroughs https://www.americancatskills.com/blog/2023/5/clyde-fisher-photographing-john-burroughs Introduction

 

Clyde Fisher was a well-known naturalist, scientist and lecturer who served as curator at the American Museum of Natural History and as head of the Hayden Planetarium. He was a close friend of famed author and naturalist John Burroughs. Being an avid photographer Fisher took many photographs of Burroughs, his home and the surrounding Catskills environment.

 

John Burroughs on Veranda at Woodchuck Lodge, Roxbury, N.Y.John Burroughs on Veranda at Woodchuck Lodge, Roxbury, N.Y. John Burroughs on Veranda at Woodchuck Lodge, Roxbury, N.Y.

 

 

Background

 

“The modesty with which he [Fisher] carried his learning was engaging; the width of his study was remarkable. He walked with John Burroughs. He talked with Dr. Albert Einstein. He went to baseball games and track meets and enjoyed them hugely. He was the ideal companion for field trips, always in a merry mood, always carrying more than his share of the burdens. He was an inspiring teacher, an industrious student, a modest scholar, a delightful friend and a great gentleman. It was a wonderful privilege to have known him.”[1]

 

 

George Clyde Fisher, more commonly known as Clyde Fisher, was born on May 22, 1878 on the 1,500-acre family farm near Sidney, Ohio. He was the second of eight children born to Harrison Fisher (1851-1909), a farmer, and his wife Amanda (Rhinehart) Fisher (1848-1936). Harrison was a deeply religious man who was well respected in the community.

 

“He [Harrison] was a model husband, father and neighbor, a man of few words, but active in good deeds, proving his faith by his works. His one aim in life was to aid and comfort his family and educate his children to be useful men and women . . . We have felt the model life he lived from a child was such that parents, and brothers and sisters, and his family, certainly have reason to believe that he was guided by some power that was more than the work of man. I feel free to say this, because I knew him from infancy, he being my cousin; he was also my playmate in youth and faithful friend through life. I have often wished I were possessed with his quiet, peaceful and upright manner. His character all his life was without spot; I never knew any one who possessed a more gentle spirit, always esteeming others better than himself.”[2]

 

Amanda (Rhinehart) Fisher, Clyde’s mother, was born on December 4, 1848 to Noah Rhinehart (1821-1897) and Rebecca (Huddle) Rhinehart (1824-1907) near Melmore in Seneca County. Amanda moved with her parents to Shelby County in her childhood and resided there for the remainder of her life. She was married to Harrison J. Fisher on February 3, 1876. She was a lifelong member of the First Presbyterian Church and for many years operated a market stand at the Sidney Saturday Market.[3] Amanda passed away on September 9, 1936 and is buried, along with her husband, at Graceland Cemetery in Sidney, Ohio.

 

From a very young age, having been born on a farm, Clyde Fisher spent much of his childhood outdoors, and expressed much interest in all aspects of nature, including rocks, plants, trees, stars and planets. Upon learning that the family farm was located on the glacial drift, he collected over one hundred varieties of rocks as evidence. Two uncles who had taken up astronomy as a hobby had taught Clyde, who in turn attempted to teach the subject to anyone who would listen.

 

“Farmers around Sidney, Ohio pitied Harrison Jay Fisher, a fellow farmer, on account of his son Clyde. Instead of following in his father’s footsteps and becoming a good husbandman, the lad took to books and studies, which, from their practical point of view, meant that the boy was going to the dogs.

 

When his family was busy with the corn crop, Clyde would be preoccupied with the investigation of the life of a daisy or a dandelion. When he was expected to take care of the domestic animals populating the farm, he would likely be found somewhere in the woods ’possum hunting. Poor Harrison Jay!”[4]

 

Fisher received his early education at “a little red-brick schoolhouse” in the local schools of Orange township in Shelby County. Perhaps in a telling sign of his future, Fisher, at his 9th grade commencement ceremony, gave the valedictorian speech titled “Examples of Great Men.” In 2002 the Sidney school district honored Fisher by inducting him into their Hall of Honor as an accomplished scientist and “the father of astronomy in America.”

 

Upon graduation, and with a country schoolteacher’s certificate in hand, he began teaching at the young age of 16. During the summer months he attended the Ohio Normal University at Ada.

 

After teaching for approximately six years, and having saved enough money, Fisher returned to school full-time, ultimately receiving in 1905 his A. B. degree in geology from Miami University in Ohio. While attending the university from 1902 to 1905, he was also a member of the Sigma Chi fraternity, captain of the intercollegiate debate team, and editor-in-chief of the college magazine. In 1903 Fisher was awarded a gold medal during a contest of the newly established Miami Oratorical Association.

 

In 1905, with his degree in hand, Fisher married Bessie Wiley (1883-1964), his high school sweetheart. She was the daughter of Johnston Crozier Wiley and Anna M. (Wright) Wiley. Together Clyde and Bessie had four children, including Clyde Jr. (b. 1914, died at birth), Ruth (b. 1916), Beth (b. 1918) and Katherine (b. 1920). After a period of separation Clyde and Bessie divorced in 1933. Later that year, on September 28, 1933, Clyde remarried to Te Ata (1895-1995), also known as Mary Frances Thompson Fisher, a Native American storyteller, actress and citizen of the Chickasaw Nation. Clyde and Te Ata would remain together until his passing.

 

Upon graduation from Miami University in 1905, Fisher taught science in the local high school at Troy, Ohio for two years from 1905 to 1907. Fisher then moved to Florida where he served as the Principal of Palmer College Academy at Defuniak Springs, Florida from 1907 to 1909 and served as acting President from 1909 to 1910. After leaving Palmer College, Fisher taught at Cornell University, and then worked as an instructor at the University of Florida and in 1912 at the University of Tennessee.[5]

 

Having saved enough money from his work in Florida, Clyde returned to school for his graduate studies, attending the prestigious John Hopkins University in Baltimore. Fisher graduated in 1913, receiving his Ph.D. with a focus on botany, zoology and plant physiology. His dissertation was titled “Seed Development in the Genus Peperomia.”

 

Upon graduation Fisher joined the American Museum of Natural History in June of 1913, in time becoming the Curator of the Department of Public Education in 1928. In 1924 he was also named Curator for the Astronomy department and in 1935 he became the first Head of the Hayden Planetarium. In 1938 Fisher became the editor of The Sky, a magazine for amateur astronomers that was published from 1935 to 1941. (The Sky merged with The Telescope magazine in 1941, and remains in existence today as the Sky & Telescope publication.) In 1941 Fisher officially retired as Curator of Astronomy and the Hayden Planetarium, but was named Honorary Curator of the same department. Fisher remained connected with the museum, either as a staff member or lecturer, from 1913 until his passing.

 

Throughout his career Fisher displayed a remarkable interest in all aspects of scientific work. His breadth of knowledge was noted in a 1940 magazine article.

 

“Dr. Clyde Fisher, Curator-in-Chief of the Hayden Planetarium, may not be another Leonardo but he is surely a man of parts. In his time he has been a member of the Sioux Indian tribe, a college president, an astronomer, photographer, botanist, ornithologist, mammalogist, geologist, and paleontologist, and as a dabbler or specialist has been associated with every classification of scientific work conducted by the American Museum. . . .

 

As he looks back upon the years, Doctor Fisher does not regret that he took so long in settling upon a single specialization. Internationally famous as a great teacher and a pioneer in the broad field of visual instruction, he feels that his natural talent always has been that of the all-round naturalist. And though his contribution in weighty monographs are small, it can safely be said that he has brought the vast subject of Natural History in all its ramifications to the attention of a greater public than any research specialist could ever hope to do”[6]

 

As the head of the Department of Education at the American Museum of Natural History, Fisher was considered a “true scientist with a great respect for scientific truth.” Using his background as a teacher, he worked tirelessly to educate the public, with a guiding belief that science should be fun.

 

“By personal choice, Fisher was a teacher and truly loved people. He especially loved children due to their thirst for knowledge and inquisitive nature. His greatest interest was in presenting the wonder and beauty of science in such a way that others would also share the feeling of fascination that he had. His greatest strength as a teacher was exhibited in his enthusiasm, knowledge, and sincere interest in the individuals he taught.

 

Seemingly with infinite patience, Fisher would take great care in explaining the intricacies of science and in answering any and all questions that came his way. He never seemed too busy to respond to an inquiry or to chat with members of the public about astronomy, even for many hours at a time.

 

As an educator, he was very progressive, and quite ahead of his colleagues in the field of education. His main philosophy was that learning about science was fun. He never considered his duties as a teacher and science lecturer a labor, but a joy.”[7]

 

In the pursuit of science Fisher traveled extensively. He often visited the American Southwest to study the languages and customs of Native Americans. He has inspected meteor craters in Arizona, Kansas and Estonia. In 1922 he conducted an expedition to Arctic Lapland for the museum and visited Norway and Sweden, where he studied the educational systems of those countries and visited the Universities of Uppsala and Lund.[8] In 1924 he conducted a photographic expedition to Bermuda, where he captured many images of angel fish and other rare specimens of fish. Later in 1924 Fisher and Carveth Wells journeyed to the little-known Sweden and Norwegian Lapland, never before crossed by any American or Englishman.

 

In 1925 Fisher traveled to Europe to tour a variety of astronomical museums and observatories, including the facilities at the University of Upsala, the Zeiss Planetarium at Jena, Germany and the observatory connected with the Vatican. In 1927 Fisher, along with Ernest Thompson Seton, a noted naturalist, toured several Native American reservations from North Dakota to Arizona. In 1930 he traveled to Iceland as a representative of the New York Bird and Tree Club, with the goal of donating 1,000 trees “to inaugurate a reforestation project as a part of the millennial celebration of the founding of the first parliament in the world.”[9] After the Iceland portion of the trip, Fisher also visited Norway, Denmark and Sweden in order to take photographs on behalf of the American Museum for their educational work in the schools of New York City.

 

In 1936 he journeyed to the Ak-Bulak region of Siberia (modern day Kazakhstan) as a member of the joint Harvard and Massachusetts Institute of Technology expedition to view the total eclipse of the sun. In 1937 Fisher served as the leader of the American Museum’s expedition to Peru to observe the total solar eclipse, the path of the Moon’s shadow and to record their scientific observations. In 1943 and 1944 he visited Mexico twice to study the volcano Paricutin from the ground and from the air.

 

Fisher was a friend and colleague of Albert Einstein, whom he believed to be one of the greatest astronomers and physicists of the word. Fisher often lectured about Einstein’s theory of relativity, stating in one such lecture that Einstein, who won the Nobel Prize in 1921, could have won the prestigious award for any one of three different accomplishments. Fisher wrote a book review of Einstein’s book The Meaning of Relativity, noting that “the only conception of the universe that can now be framed is a mathematical conception, and that after we have it, only a mathematician can understand it.”[10]

 

Fisher was a contributor to the popular Information Please radio program, a popular quiz show that aired from 1938 to 1951. During the show a panel of well-known experts would attempt to answer a diverse set of questions submitted by listeners. Fisher would also contribute to the book version of the show titled Information Please Almanac.

 

In addition to his scientific endeavors, Fisher was also widely known as an accomplished photographer. His photographs were featured in many magazines, scientific journals and books, including several books about John Burroughs. Subjects included just about anything, including flowers, trees, landscapes, people, wildlife, scientific instruments and natural events. Throughout his career he would use the photographs and motion pictures created during his journeys to illustrate his instructional classes and public lectures.

 

The annual report of the American Museum of Natural History in 1956 notes that in the early 1920s “Clyde Fisher began making educational motion pictures of local small mammals and birds. His first such venture for the department was a film of the life of a gray squirrel. This and other films Fisher made were added to the Museum’s growing library of films. It is quite possible that Fisher’s film “The Gray Squirrel” was the first educational motion picture produced by any museum.”[11]

 

Fisher would take many motion pictures as well as still photographs on many of his expeditions. He took 10,000 feet of motion pictures and some 500 still photographs during his 1924 expedition to Lapland.

 

“They made a valuable and most interesting record of the Lapps, with still and motion picture cameras, and their splendid observations upon the life of the nomadic tribes and the natural history of the beautiful northland were widely acclaimed on their return to civilization.

 

The expedition crossed the Arctic Circle into northern Scandinavia late in June, 1924, and remained in the Land of the Midnight Sun for a whole month. Dr. Fisher made 10,000 feet of motion pictures and some 500 still photographs, showing the summertime activities of the Lapps, including very unusual pictures of the snowy owl and other Arctic birds, of the midnight sun and of the lemmings in migration.

 

The explorers slept in the Lapp tents, ate rude fare of reindeer meat, fish and drank goats’ milk. They paid visits to the nomadic schools, and became friends with Turi, the only Lapp who has written a book.”[12]

 

Fisher’s photograph of the January 24, 1925 solar eclipse was featured on the cover of the July-August 1926 issue of Natural History magazine. The photograph was taken from Jumel Mansion, near 160th Street, in New York City. Viewers above 96th Street witnessed a total solar eclipse, while those below 96th Street witnessed a partial eclipse. The photograph was taken with a Graflex camera with a Cooke lens, f 4.5, focal length 7 inches, stop f. 16, Kodak Cut Film. The exposure time was two seconds.

 

In the summer of 1927 Fisher took part in a three-month expedition to the American Southwest with Ernest Thompson Seton, famed naturalist, author, founder of the Woodcraft League (1902) and founder of the Boy Scouts of America (1910). During this trip Fisher shot a motion picture titled Camping Among the Indians, which captured a variety of Native American dances, sign language and cultural practices, as well as an intertribal ceremony. The footage from Camping Among the Indians was used by the American Museum of Natural History in its public programs in 1927 and 1928.

 

In 1932 Fisher shot a motion film titled Pottery Making in the Village of San Ildefonso, New Mexico. The film shows Maria Poveka Martinez (1887-1980) and her husband Julian Martinez (1897-1943), well-known potters that are credited with the rediscovery and revival of the ancient pottery techniques of their Native American ancestors.

 

In 1932 Fisher took several photographs that had never been accomplished before that time. In a plane piloted by Casey Jones, they “flew up above the clouds and observed the eclipse and photographed the shadow of the moon on the clouds below.” During the flight he “made several successful still-photographs of the partial phases of the eclipse with panchromatic plates, using the special Eastman filter, which was said to admit about one one-thousandth of the visible light . . . The thing we set out most determined to do was to photograph the oncoming shadow of the moon, since this had never been done before . . . We had a perfect opportunity to observe the phenomenon, and to see a total eclipse of the sun from above a continuous blanket of clouds, with no earth visible below, is an unforgettable experience. This most impressive spectacle, seen under these conditions, makes one realize the inadequacy of words.”[13]

 

Fisher’s photograph of a flower from the Franklinia tree was featured on the cover of the October 1945 issue of Natural History magazine. The Franklinia tree, considered “one of those mysteries of botany in this country,”[14] was discovered in 1765 by botanist John Bartram in Georgia along the Altamaha River. The tree was named Franklinia alatamaha in honor of Benjamin Franklin. (Alatamaha is the old spelling of Altamaha.)

 

The cover of the May 1949 issue of Natural History, published several months after Fisher’s passing, featured Fisher’s photograph of Chief Hind Bull. The photograph was taken at a place called Belly Buttes in Alberta Canada during the annual Sun Dance. In the photograph Chief Hind Bull wears “a typical war bonnet of the Blood Tribe, made of eagle feathers and tipped with horsehair. This spectacular headdress originated in this area among the division of Indians known as the Plains Indians. Only since the coming of the white man has the feather bonnet become symbolic, in the popular mind, with Indians in general. Chief Hind Bull was dressed for his Medicine Pipe Dance, a part of the greater Sun Dance Ceremonial. It was said that he gave away 22 horses and many other gifts on this occasion.”[15]  

 

Fisher authored countless essays, articles and books about nature. Some of his published books include Exploring the Heavens (1939), Astronomy (with Marian Lockwood, 1940), The One Volume Nature Encyclopedia (first published under the title Nature’s Secrets, 1940), the well-illustrated The Story of the Moon (1943) and a biography of John James Audubon titled The Life of Audubon (1949). Partnering with Marion Langham, Fisher published a series of six books intended for elementary school age children with titles that included Our Pets (1st grade, 1936), On the Farm (2nd grade, 1936), World of Nature (3rd grade, 1934), Ways of the Wild Folk (4th grade, 1934), Our Wonder World (5th grade, 1934) and In Field and Gardens (6th grade, 1934).

 

Fisher served as president of the New York Bird and Tree Club and was a fellow the New York Academy of Sciences. He was a member of the Explorers Club, the American Ornithologists Union, the Torrey Botany Club, the American Astronomical Society, the Linnaean Society, The American Society of Mammologists, among many other organizations. He was a member of several honorary fraternities, including Phi Beta Kappa and Tau Kappa Alpha. In 1926 he was awarded an honorary LL.D. degree by his alma mater, Miami University.

 

Friendship

 

“I have played with a camera all my life – if any of my friends from western Ohio are here they will know that. When I got my camera I felt that if I could make one picture of John Burroughs I would be satisfied. I have made something like two hundred pictures of John Burroughs.”[16] – Clyde Fisher

 

John Burroughs Providing for the Chipmunks, Roxbury, N.Y.John Burroughs Providing for the Chipmunks, Roxbury, N.Y. John Burroughs Providing for the Chipmunks, Roxbury, N.Y.

 

 

Born and raised in Roxbury, John Burroughs (1837-1921) would grow from his humble roots to become a famous author and naturalist. He authored 27 books that sold over 1 1/2 million copies as well as numerous magazine essays. Burroughs’ most popular writings became generally known as the nature essay. The nature essay relied on Burroughs’ astute observation of his natural surroundings. He took long walks in the woods, collected plant and animal specimens and read voraciously about nature. He would often write not about faraway places that few readers would ever see but about his immediate surroundings. Subjects would include flowers, trees, birds, country living, open fields, barns and barnyards and farm animals. He would write about long hiking trips and fly-fishing. Readers could individually relate to the subjects and his essays resonated with wide audiences. His literary prominence brought him the audience of John Muir, Walt Whitman, Thomas Edison, Henry Ford and even President Theodore Roosevelt. While his fame has diminished over the past century since his death, his contribution to the literary arts and environmental conservation has ensured that his legacy will not be forgotten.

 

Upon the passing of John Burroughs in 1921 Fisher wrote a touching tribute to his friend titled “Reminiscences of John Burroughs.” The article was published in the March-April 1921 issue of Natural History. In the beginning of the article Fisher talks of his early impressions of Burroughs through his writing, and the privilege of meeting the famed author for the first time many years later.

 

“Some twenty years ago there fell into my hands the first volume of Mr. Burroughs’ essays that I had ever seen. It happened to be Signs and Seasons. I am now sure that the result would have been the same, had it been any other volume. The interest and charms that this book held for me prompted me to secure and read the others that he had written up to that time, and to be on the look-out for those that have come from his pen since. One cannot read any book by Mr. Burroughs without a feeling of affection for the author. He has put his lovable self into his essays in a way that few men of letters have succeed in doing.

 

As my interest and admiration grew, I ventured to hope that I might sometime have the privilege of knowing him personally. On my first visit to New York, eighteen years ago, what I wanted to do more than anything else was to visit the Sage of Slabsides. So I went up to Riverby, his home, which is situated on the west bank of the Hudson about eighty miles north of New York City. It will not be difficult to imagine my disappointment when I was informed by Mrs. Burroughs, who came to the door, that her husband had gone to Slide Mountain, the highest peak in the Catskills, and would not return for several days. I could not wait, so had to leave without seeing him. Like a thoughtless schoolboy, I had neglected to find out beforehand whether he would be at home and whether it would be convenient to have me call. However, I saw Riverby, the stone house, the building of which he described in the essay “Roof-Tree,” which is included in the first book of his that I had read. Here he makes us feel the joy he felt and the enthusiasm he had in building his home by the river.

 

It was not until after I joined the staff of the American Museum eight years ago, that I actually had the privilege of meeting the poet-naturalist, and later of visiting him at Riverby. This first visit was on a bright November day in 1915, an ideal day for such a pilgrimage. Mrs. Fisher and I were to be the guests of Dr. Clara Barrus, Mr. Burroughs’ physician and friend, while we visited our hero. Mr. and Mrs. Burroughs were then living in the stone house at Riverby, but were taking their meals with Dr. Barrus, who lived in The Nest on adjoining grounds. This cottage, which Dr. Barrus on making her home there had rechristened The Nest, had been built for Mr. Burroughs’ son, Julian. It is one of the most attractive little houses I have ever seen.”[17]

 

Fisher also wrote of taking his first photograph of Burroughs at his Riverby estate.

 

“I had brought my camera hoping to get one picture of the great poet-naturalist. Before noon I started out to secure a few photographs about his home. First I undertook to make one of the Summer House on the banks of the Hudson just a few steps from the bark-covered Study between the stone house and the river. In this Summer House, which commands a wonderful view up and down the river, Mr. Burroughs used to sit by the hour during the warmer months of the year, reading or thinking out the essays he has given us. While focusing my camera on the Summer House, I was discovered by Mr. Burroughs, who appeared at the door of his Study, and after cordially greeting me, said, “I thought you might like to have me in the picture.” I was so delighted that I could hardly operate my Graflex camera. However, I made a picture of John of Birds examining a wren box on the big sugar maple by the Summer House, one of him standing in the door of the Study looking out over the Hudson, and one of him sitting by the fireplace in the Study. So, my wish was more than fulfilled on that first visit.”[18]

 

During this first visit Burroughs and Fisher talked of both having grown up on a farm and of Fisher’s training as a botanist. Burroughs talked of the rare plants that grew in the area. They walked from Riverby to Slabsides, at a distance of 1 3/4 miles, with Burroughs occasionally stopping to “pluck a gorgeous leaf from a young oak tree, and, holding it up between his eye and the sun, and would comment on its beauty.” Burroughs told of John Muir, the naturalist of the Sierras, being one of the first visitors at Slabsides in 1897; and of their journeys together in Alaska, Arizona, Colorado and Yosemite. Burroughs gave a lively account of President Roosevelt visiting Slabsides in July 1903, proclaiming of his active nature, “There is no dead wood in Roosevelt.” Together Burroughs and Fisher were delighted “to find a wild flower in bloom so late in the fall – a little reddish-purple flower, the herb-robert.” As Burroughs bade Fisher farewell at the station at West Park on the evening of their first meeting Burroughs proclaimed “Whenever you want to come to Slabsides the key is yours!”[19]

 

After this first meeting “Fisher was hooked not only because Burrough’s observations on flora and fauna always brought new knowledge and fresh insights but also because the author put so much of himself in his essays. In fact, Burroughs once told Fisher that literature is observation plus the man. That is why he replied to a friend who was urging him to write his autobiography ‘“My books are my autobiography.’”[20]

 

In the years between that first meeting in 1915, when Burroughs was 78 years of age, and the passing of Burroughs in 1921, the friendship blossomed. Fisher frequently visited Burroughs at his Riverby home in West Park, at Slabsides, his writing retreat located one mile from Riverby, and at Woodchuck Lodge in Roxbury. Fisher was often accompanied by his wife Bessie during these visits. Fisher once estimated that he visited the rustic Slabsides cabin for two or three days at a time about twice a year since their first meeting.

 

John Burroughs at his Study, Riverby, West Park, New YorkJohn Burroughs at his Study, Riverby, West Park, New York

John Burroughs at his Study, Riverby, West Park, New York

 

 

During one such visit to Slabsides, in November 1917, Fisher observed an interesting event involving the Dusky Salamander, an event that he afterwards summarized for a scientific magazine.

 

“After dark , on the night of November 25, 1917, I went to the spring to get a bucket of water, and when I returned to the light, I was surprised to find that I had dipped up two active immature salamanders. A few minutes later one of these was inadvertently poured out into a pan containing a little water, scarcely a half-inch deep, and allowed to remain in that all night. The next morning, the temperature having dropped to about 20 degrees F., the salamander was frozen solid in the ice – that is, the ice was apparently frozen solid all around it. But after we had started a fire in the fireplace and the room had warmed up a bit, the ice thawed out, and the salamander, as soon as it was free from its icy prison, was as lively as it was the evening before, seemingly unharmed by the experience. In fact, after the two specimens were again placed together in water, it was impossible to tell which had been encased in ice, as they were uniformly active and continued so during the several days that I kept them alive.”[21]

 

In addition to his visits to Riverby and Slabsides, Fisher also affectionately recalled his visits to Woodchuck Lodge, located about 1/2 mile from Burroughs’ birthplace. During these visits Burroughs recalled his amazement at having observed his first warbler, and early fishing trips with his grandfather in Montgomery Hollow. They spoke of making maple sugar, the only farm task which appealed to Burroughs as a youth. On one of his visits Fisher observed the record Hubbard squashes grown by Burroughs on his farm, one of which was given to Thomas Edison. They spoke of the numerous woodchucks shot by Burroughs, from which he made rugs for his home, a coverlet for his bed on the sleeping porch and coats for himself and Dr. Barrus. Fisher, to his surprise, even learned to appreciate eating woodchuck with Burroughs. They listened to the bark of the red fox. Fisher observed the very cradle in which a young Burroughs had been rocked to sleep 80 years prior. Burroughs talked of the large-flowered white wake-robin which, with the help of Walt Whitman, became the title of his first book Wake-Robin in 1871. In summary of these visits Fisher wrote that “the visits that have meant the most to me have been subsequent ones. Perhaps the most inspiring have been those at Woodchuck Lodge . . .”[22]

 

Fisher last visited with John Burroughs during the weekend of November 6-8, 1920, almost an exact anniversary of his first visit with Burroughs in 1915. During this visit

 

“We camped in Slabsides, and on the second day (November 7) Mr. Burroughs ate his midday meal and spent several hours with us. He cooked one of his favorite brigand steaks for luncheon – the last he ever cooked at Slabsides. While preparing the steak, we talked about his latest book, Accepting the Universe, which had appeared a little while before. He told me of a number of letters he had received concerning it, and that two or three preachers had thanked him warmly for writing such a book.

 

On the afternoon of that day, I made what proved to be the last photographs of him at Slabsides. In fact, he visited Slabsides only once after this date. We found the herb-robert in bloom near by, as we found it on my first visit. We also found the climbing fumitory or mountain fringe and the witchhazel in bloom.

 

When he left Slabsides toward evening, we walked with him to the bend of the road in the hemlocks, and there bade him good-bye. Little did we think that this would be the last time we would see him alive. While we shall not be able to talk with him again, or to shake his hand, or to look into his honest gray-blue eyes, he still lives in our hearts. The spirit of John Burroughs will live on.”[23]

 

John Burroughs would die less than five months later on March 29, 1921 during his return trip from spending the winter in California. Funeral services, conducted by Reverend Franklin D. Elmer, were held at Riverby on Saturday, April 2, 1921 and were attended by approximately 150 people including Henry Ford, Thomas Edison and Harvey Firestone. In his prayer for Burroughs, Elmer eloquently spoke “There are here to pay tribute those who come from the woodlands and the fields, the shop and office, the church and state and from shore to shore. This man, O Lord, has taught us the beauty of your creation, of the rivers, the valleys, the skies, the birds and the animals.”[24]

 

Burroughs was buried the following day on what would have been his 84th birthday. His grave is beautifully situated next to his beloved Boyhood Rock of his youth near Woodchuck Lodge at Roxbury, New York.

 

John Burroughs and "Cuff" at Burroughs Birthplace, Roxbury, N.Y.John Burroughs and "Cuff" at Burroughs Birthplace, Roxbury, N.Y.

John Burroughs and "Cuff" at Burroughs' Birthplace, Roxbury, N.Y.

 

 

Over the years Fisher took numerous photographs at Woodchuck Lodge, at Riverby and at Slabsides. The photographs included portraits and candid shots of Burroughs as well as architectural images of the buildings so closely associated with the writer. Some of the images were published as postcards that were sold to the public. One album of 94 gelatin silver prints is in the possession of the Library of Congress. This album includes photos of Burroughs, with some photos also including Fisher and his wife Bessie, at Riverby and at Slabsides.

 

Woodchuck Lodge was built in the early 1860s by Curtis Burroughs, John’s older brother, and is located on the southern slope of Old Clump Mountain near Roxbury on the property where Burroughs grew up as a child. Woodchuck Lodge was Burroughs summer home from 1910 until his death in 1921. Upon his passing, Burroughs’ close friend, Henry Ford, purchased the property, likely in order to help preserve it. Today, the lodge is owned by a nonprofit community preservation organization and is open to the public on select summer weekends. Located adjacent to the Woodchuck Lodge property is the John Burroughs Memorial Field State Historic Site, the final resting place for John Burroughs. Woodchuck Lodge is listed on the National Register of Historic Places.

 

Riverby (pronounced River bee), a 9-acre property located in the community of West Park on the banks of the Hudson River, was purchased by Burroughs in 1873. Burroughs constructed a three-story house here that would remain his permanent residence for the remainder of his life. The property included a small separate building known as “The Study,” where Burroughs wrote extensively between 1881 and 1895. Books written here included Fresh Fields (1884), Signs and Seasons (1886), Indoor Studies (1889) and Riverby (1894). “The Study” at Riverby is listed on the National Register of Historic Places.

 

The rustic cabin known as Slabsides was constructed by Burroughs in 1895 about one mile west of his home at Riverby in Ulster County, New York. Burroughs used Slabsides, named for its bark-covered siding, as a summer residence and as a retreat from the obligations that his fame called for. He wrote many books here, including Whitman: A Study (1896), Far and Near (1904) and The Way Nature (1905), as well as other articles and essays. Burroughs entertained many famous visitors at Slabsides, including John Muir and Teddy Roosevelt.

 

After the passing of Burroughs, Henry Ford, in 1923, purchased the nine acres surrounding Slabsides and donated them to the newly created John Burroughs Memorial Association. Additional lands were added to the property over time. Today Slabsides is located on the 170-acre John Burroughs Sanctuary which, in addition to the cabin, offers miles of quiet, scenic hiking trails. The Sanctuary grounds are open year-round while Slabsides is open twice a year for Slabsides Day. Visit the John Burroughs Association website at www.johnburroughsassociation.org for more information. The historic cabin is listed on the National Register of Historic Places.

 

Boyhood Rock, located at the John Burroughs Memorial State Historic Site in Roxbury, is located on the family farm where Burroughs grew up. He would spend hours upon the sandstone rock gazing out over the farm, fields and mountains. It was perhaps his favorite place in the world. As per his last wishes Burroughs is buried in his final resting place only feet away from “the big rock in the pasture”: “Here I climbed at sundown when a boy to rest from work and play, and to listen to the vesper sparrow sing, and here I hope to rest when my work and play are over – when the sun goes down – here by boyhood rock.”[25]

 

The bronze plaque attached to Boyhood Rock includes a wonderful engraving of Burroughs sitting upon the rock gazing upon the beautiful scenery. The engraving is an interpretation of a nearly life size bronze statue of John Burroughs created in 1918 by well-known sculptor Cartaino di Sciarrino Pietro. The original bronze statue is located at the Toledo Museum of Art in Ohio, having been dedicated on the officially proclaimed “Burroughs Day” in 1918 during a ceremony attended by thousands. The Boyhood Rock plaque also includes a brief excerpt from his famous “Waiting” poem: “I stand amid eternal ways, and what is mine shall know my face.”

 

Upon the passing of Burroughs, his dear friend Fisher reflected that “My privilege of knowing him has meant more to me than knowing any one else that I can think of. No one could know him without loving him. Like all great men, his outstanding characteristics were his simplicity, genuineness and naturalness. As an interpreter of nature, it is hard to estimate what he has meant to the people of this country.”[26]

 

In honor of his close friend Fisher frequently lectured about his life and work. Fisher traveled across the country with presentations titled “With John Burroughs at Slabsides,” “John Burroughs and His Birds,” and perhaps the most popular “With John Burroughs in his Favorite Haunts.” He lectured in New York, New Jersey, Connecticut, Pennsylvania, Illinois, Missouri, South Carolina, Oklahoma, North Dakota, Texas, among many other states.

 

In October 1927, at the meeting of the Ohio State Archaeological and Historical Society, Fisher presented “With John Burroughs in his Favorite Haunts.” The presentation was illustrated with a large number of color lantern slides.

 

                “Ladies and Gentlemen, Members of the Ohio State Archaeological and Historical Society:

 

It is a privilege and an honor to be welcomed back to my home State, and to speak before this Society this afternoon.

 

I do not intent to try to talk about the literature that John Burroughs produced; except casually. It was my privilege to know John Burroughs a great many years. In fact, I began correspondence with him when I was a boy on a farm in western Ohio more than twenty-five years ago. I later knew him personally, and had the privilege of visiting him, during his last years, in his various haunts.

 

It will be my plan to bring before you, if I can, John Burroughs the man, John Burroughs the very human man. To know John Burroughs was to love him. I have been told by his publishers, who also publish the works of other eminent naturalists, that many more copies of Burroughs’ books have been sold than of the others. I do not wish to make comparisons, and I do not mean to say that John Burroughs knew more about animals, birds, and nature than the others. John Burroughs was not an encyclopedia, a walking dictionary of facts. John Burroughs was, first, a man and, second, a naturalist. Mr. Burroughs said that man can have but one interest in nature – to see himself interpreted there. I think he might have extended that statement to literature and art, as well as nature. He is the great interpretive naturalist for us.

 

His friends urged him to write his autobiography, and he said “my books are my autobiography,” and I think that is true. Mr. Burroughs was better able to put himself into his books than most of our men of letters. He wrote with a simplicity of style that makes us forget the style. We read John Burroughs; his essays read so smoothly that we do not realize how much hard work has gone into the making of his books. One critic said, “John Burroughs writes with a style that we all feel we can go home and imitate, but we can’t.” I consider myself fortunate in the opportunity to know John Burroughs. His first book was written when Abraham Lincoln was President. He continued writing until 1921, the year of his death . . .”[27]

 

Fisher wrote of the impact that Burroughs had on conservation, “perhaps not much directly, for he was no preacher or propagandist,”[28] but through his observations and writings. Burroughs, as a “literary naturalist,” opened “the eyes of his readers to the beauty of nature, especially of nature near at hand.” Fisher observed that “the great conservationists of wild life in this and other countries have been naturalists, those who have really been interested in the wildflowers and the trees, the birds and other animals. And this was to be expected. How could it be otherwise?”[29]

 

Fisher also quoted a letter from Frank Chapman about the impact that Burroughs had on the public. “John Burroughs, as a widely read literary naturalist, did more to arouse an interest in nature than any other writer of his generation. Much of his work was based on original observation; his standards were high and were never sacrificed to popular demands.”[30]

 

Fisher, along with several associates, also quickly established the John Burroughs Memorial Association upon the death of their friend. The association, with its headquarters located at the American Museum of Natural History in New York City, sought to preserve the places most closely associated with the writings of the poet-naturalist, including Slabsides, Woodchuck Lodge, Memorial Field and Riverby. Fisher served as president of the association, which also included noted dignitaries such as Mrs. Henry Ford; Mrs. Thomas Edison; Judge A. T. Clearwater; Hamlin Garland, noted writer; Carl E. Akeley, noted naturalist and explorer; W. Ormiston Roy; and Kermit Roosevelt, son of President Teddy Roosevelt. The association continues to operate today, the name having been changed in the 1960s to the John Burroughs Association (JBA) as it sought to expand its mission. More information about the society and its mission can be found at: www.johnburroughsassociation.org.

 

In 1931, ten years after his passing, the American Museum of Natural History held John Burroughs week, which included displays of manuscripts, portraits and other memorabilia. As part of the event Fisher discussed his high opinion of the poet-naturalist.

 

“Burroughs was no scientist, but he had an extraordinary gift for interpreting natural history, for conveying his own enthusiasm in such terms that it could not only be understood but shared by everybody, no matter how little the reader might know about the subject to begin with. He interested more people in the subject than Thoreau and Muir combined.

 

He maintained that man sought and saw Nature in terms of himself. And it was in those terms that he interpreted what he saw. He had a genius for the exact word, the word that would make you see with absolute vividness his picture of outdoor life.”[31]

 

As part of the John Burroughs Memorial Association or the Torrey Botanical Club Fisher would often lead trips to Slabsides and surrounding area. In 1930 a large group of 171 people journeyed to Slabsides. The group made pen holders out of the stalk of the cattail plant which grew along the edges of the Slabsides swamp (as Burroughs had so often done), dined on the celery grown on the property for lunch and heard from Julian Burroughs about how he had found the Slabsides location while hunting as a young boy and how important the location was to his father. Fisher talked about the group of 12 Burroughs’ lovers who had visited Slabsides on April 3, 1921 following the funeral services for Burroughs. Other speakers, including Clara Barrus, biographer of Burroughs, read from his writings and Reverend C. Hazeltine Osborne gave a speech titled “Religion of John Burroughs” which discussed “the permanence of Burroughs’ place in the literature of nature and the analysis of Burroughs’ philosophy of life.”[32]

 

In 1933 Fisher led a group of 25 people on a field trip to the cabin. The group visited Julian’s Point, walked in the woods and along Black Creek and, with the permission of Julian Burroughs, visited Riverby and the Study. In 1948, at the age of 70, and only a year before his passing, Fisher was still leading annual pilgrimages to the rustic cabin. In May of that year a group of 30 people identified over 150 species of plants in the area, while the October visit also included the reading of parts of John Burrough’s essays that related to Slabsides.

 

In 1937, 16 years after the death of Burroughs, Clyde Fisher, as president of the John Burroughs Memorial Association, was the guest speaker at a celebration held at Hartwick College to commemorate the 100th anniversary of the birth of John Burroughs. Fisher talked of their time together and about the writings of Burroughs. A few of his anecdotal comments included:

 

“John Burroughs’ books are his own autobiography and in them he places his character and knowledge . . .

 

Take your first step in John Burroughs’ books and you will have a ticket to the whole shelf . . .

 

Burroughs was called John O’Birds because of his intense interest in them and his love for their habits. Read his books and you will have a complete picture of Burroughs the man and the poet.”[33]

 

As part of the ceremony Burroughs was honored as the first inductee into the Hall of Fame at Hartwick College. Events included a trip to Woodchuck Lodge at Roxbury, followed by an elaborate luncheon. Over 500 people attended the day’s events.

 

In a Natural History magazine profile of Fisher published in 1940 titled “He Brought the Stars to America” it was noted that Fisher “considers his long friendship with that beloved interpreter of Nature, John Burroughs, to be one of the most important influencers of his entire career.”[34]

 

Farida A. Wiley: Grand Birder of Central Park

 

“Miss Wiley taught people to make a connection with the world, to look up, and out, beyond themselves . . . She had led an extraordinary life, and was a woman of uncommon character, a product of the 19th century who seemed to have drawn her identity not from movies and magazines but from a clear sense of purpose, her calling as a teacher.”[35]

 

 

The deep admiration of John Burroughs and his writings spread from Clyde Fisher to his extended family. Farida A. Wiley, Clyde’s sister-in-law, compiled a book titled John Burroughs’ America, a book with a carefully curated selection of Burroughs’ most popular and enjoyable passages.

 

In the foreword of John Burroughs’ America, Julian Fisher, son of John Burroughs, writes: “The purpose of this present volume is to gather into one book selections from a variety of his works. Miss Wiley is well fitted for this task. She is not only an expert ornithologist and botanist herself but also has a wide knowledge of the literature of natural history, and knew Father [Burroughs] and much of the country he roamed. She was one of the few guests invited to attend his burial services and went with the group up to Slabsides afterwards, where the organization of a John Burroughs Association was discussed. This group was formed in 1921. Miss Wiley has been a director for many years and is Secretary-Treasurer at the present time.”[36]

 

In the introduction of John Burroughs’ America Wiley talks of her visits with Burroughs.

 

“It was my own good fortune to spend many delightful days at Slabsides, together with my sister [Bessie] and her family. We were with John Burroughs on one of the very last days he ever spent there. On this particular occasion he cooked a “brigand steak” for us over an outdoor fire. Here is how he did it: he would find a green twig of sugar maple or black birch, remove the bark, and sharpen one end so meat and onions could be easily pierced. He would alternate on the stick a piece of steak about one inch square with a piece of bacon and a slice of young onion, repeating the process. Resting the end of the stick on the rocks, back of the bed of coals, he would turn it slowly over the fire till done. Then he would serve it between slices of bread or in a roll. He would usually observe, as he slowly revolved the skewer, “It takes all the conceit out of the onion when you cook it.”

 

The brigand steak that John Burroughs cooked for us that day was his last at Slabsides. A few days later, in September 1920, he left for California. He passed away during the return journey on March 29, 1921.”[37]

 

Farida A. Wiley (1887-1986), like her brother-in-law Clyde Fisher, worked at the American Museum of Natural History, getting her start in 1919 as a part-time botany teacher for blind children. She would rise to become a well-respected teacher and director of various educational programs. In addition to teaching at the museum, she also taught at Pennsylvania State College, the Audubon Camp in Main and at a New York University branch on Long Island.

 

As a self-taught naturalist she would become a recognized expert about birds, plants, trees and wildlife. Wiley, as author or editor, had six books to her credit, including Ferns of the Camp Wigwam Region (1928), Ferns of Northeastern United States (1936), John Burroughs’ America (1951), The Story of Landscape (1952), Ernest Thompson Seton’s America (1954) and Theodore Roosevelt’s America (1962). She was perhaps most well-known for her early morning naturalist tours through Central Park. She worked at the museum as a full-time staff member for over 60 years.

 

Legacy

 

“To be learned is an accomplishment; to be lovable is a gift. When both characteristics are so combined in one man that all who even know about him admire and love him, surely greatness is nearly attained. Such a man undoubtedly was Dr. Clyde Fisher . . .”[38]

 

Before having met Burroughs in person Clyde Fisher stated that he felt that he knew John Burroughs through his writings. And although Fisher only had a personal connection with Burroughs in the twilight of his life for six years from 1915 to 1921, his photographs and reminiscences of his time spent with Burroughs adds much to the history of Catskills. Fisher’s photographs intimately capture the man and the places most associated with his naturalist writings.

 

George Clyde Fisher passed away at New York City on January 7, 1949 after a lengthy illness. Memorial services were held at the Little Church Around the Corner in New York. His body was cremated and is buried at Graceland Cemetery in Sidney, Ohio. He was survived by his wife Te Ata and several brothers and sisters. The engraving on Fisher’s gravestone reads “He has loved the stars too fondly to be fearful of the night,” which was written by Sarah Williams (1837-1868) as part of her popular poem “The Old Astronomer.”

 

Selected Sources

 

Barton, D. R. “He Brought the Stars to America.” Natural History. Vol. 46, no. 1. June, 1940. pp. 59-63.

 

Fisher, Clyde, and Clark Wissler. “Indian Pottery Making in the Village of San Ildefonso,

New Mexico.” New York: American Museum of Natural History, 1932.

 

Fisher, G. Clyde. “John Burroughs and Conservation.” Bird-Lore. Vol. 39, no. 2. March-April 1937. pp. 115-117.

 

Fisher, G. Clyde. “Reminiscences of John Burroughs.” Natural History. Vol. 21, no. 2. March-April 1921. pp. 113-125.

 

Fisher, G. Clyde. “The Optimistic Philosophy of a Naturalist.” Natural History. Vol. 20. New York: The American Museum of Natural History, 1920. pp. 572-573.

 

Fisher, Clyde. “Visits to John Burroughs at Slabsides.” The Slabsides Book of John Burroughs. Boston and New York: Houghton Mifflin Company, 1931. pp. 103-119.

 

Fisher, G. Clyde. “With John Burroughs in His Favorite Haunts.” Ohio Archaeological and Historical Society Publications. Vol. 36. Columbus, Ohio: Fred J. Heer, 1927. pp. 676-683.

 

Green, Richard. Te Ata, Chickasaw Storyteller, American Treasure. Norman, Oklahoma: University of Oklahoma Press, 2002.

 

Huddle, Rev. W. D. History of the Descendants of John Hottel. Strasburg, Virginia: Shenandoah Publishing House, Inc., 1930.

 

Wallace, Rich. “Sidney Man Touches the Last Frontier.” Shelby County Historical Society. www.shelbycountyhistory.org. July, 1999. Accessed February 19, 2023.

 

Zacharoff, Lucien. “Made Astronomy Popular.” The Brooklyn Daily Eagle (Brooklyn, New York). November 4, 1928.

 

[1] Kieran, John. “Memorials. Dr. Clyde Fisher.” Proceedings of the Linnaean Society of New York. Nos. 58-62. 1945-1950. pp. 76-78.

[2] “Harrison Jay Fisher.” Signs of the Times. Vol. 78, no. 5. March 1, 1910. p. 156.

[3] “Aged Resident of County Dies After Illness.” Sidney Daily News (Sidney, Ohio). September 10, 1936.

[4] Zacharoff, Lucien. “Made Astronomy Popular.” The Brooklyn Daily Eagle (Brooklyn, New York). November 4, 1928.

[5] Menke, David H. “Planetarium Lifeline.” The Planetarium. Vol. 16, no. 2. April 1987. pp. 54-58.

[6] Barton, D. R. “He Brought the Stars to America.” Natural History. Vol. 46, no. 1. June, 1940. pp. 59, 63.

[7] Menke, David H. “Planetarium Lifeline.” The Planetarium. Vol. 16, no. 2. April 1987. pp. 54-58.

[8] Johnson, Robert Leland. The Ancestry of Anthony Morris Johnson. Vol. 2. Denver: Robela Publishing Co., 1989.

[9] Barton, D. R. “He Brought the Stars to America.” Natural History. Vol. 46, no. 1. June, 1940. p. 63.

[10] Fisher, Clyde. “The Meaning of Relativity.” Natural History. September 1945. p. 296.

[11] The American Museum of Natural History. Eighty-seventh Annual Report July, 1955, Through June, 1956. The City of New York, 1956. p. 21.

[12] Zacharoff, Lucien. “Made Astronomy Popular.” The Brooklyn Daily Eagle (Brooklyn, New York). November 4, 1928.

[13] Fisher, Clyde. “The Eclipse From Above the Clouds.” Popular Astronomy. Vol. 40. pp. 467-469.

[14] “The Cover This Month.” Natural History. Vol. 54, No. 8. October, 1945.

[15] “The Cover This Month.” Natural History. Vol. 58, No. 5. May, 1949.

[16] Fisher, G. Clyde. “With John Burroughs in His Favorite Haunts.” Ohio Archaeological and Historical Society Publications. Vol. 36. Columbus, Ohio: Fred J. Heer, 1927. p. 677.

 

[17] Fisher, G. Clyde. “Reminiscences of John Burroughs.” Natural History. Vol. 21, no. 2. March-April 1921. p. 113.

[18] Fisher, G. Clyde. “Reminiscences of John Burroughs.” Natural History. Vol. 21, no. 2. March-April 1921. p. 114.

[19] Fisher, Clyde. “Visits to John Burroughs at Slabsides.” The Slabsides Book of John Burroughs. Boston and New York: Houghton Mifflin Company, 1931. p. 115.

[20] Green, Richard. Te Ata, Chickasaw Storyteller, American Treasure. Norman, Oklahoma: University of Oklahoma Press, 2002. p. 115.

[21] Fisher, G. Clyde. “Notes on the Dusky Salamander.” Copeia. No. 58. June 18, 1918. p. 65.

[22] Fisher, G. Clyde. “Reminiscences of John Burroughs.” Natural History. Vol. 21, no. 2. March-April 1921. p. 121.

[23] Fisher, G. Clyde. “Reminiscences of John Burroughs.” Natural History. Vol. 21, no. 2. March-April 1921. p. 125.

[24] “Throng Honors Burroughs at Last Services.” New York Tribune. April 3, 1921.

[25] Barrus, Clara. John Burroughs: Boy and Man. Doubleday, Page & Company, New York, 1920. p. 47.

[26] “John Burroughs, Naturalist, Dead.” New York Evening Post. March 29, 1921. p. 7.

[27] Fisher, G. Clyde. “With John Burroughs in His Favorite Haunts.” Ohio Archaeological and Historical Society Publications. Vol. 36. Columbus, Ohio: Fred J. Heer, 1927. pp. 676-677.

[28] Fisher, G. Clyde. “John Burroughs and Conservation.” Bird-Lore. Vol. 39, no. 2. March-April 1937. p. 115.

[29] Fisher, G. Clyde. “John Burroughs and Conservation.” Bird-Lore. Vol. 39, no. 2. March-April 1937. p. 115.

[30] Fisher, G. Clyde. “John Burroughs and Conservation.” Bird-Lore. Vol. 39, no. 2. March-April 1937. p. 115.

[31] “Naturalists Honor Burroughs As Work Is Shown at Museum.” New York Evening Post. March 31, 1931. p. 3.

[32] “Pilgrimage to Burroughs’ Old Slabsides Camp.” Kingston Daily Freeman (Kingston, New York). October 20, 1930.

[33] “Burroughs Described as Man of Humor and Integrity by Hayden Planetarium Curator.” The Binghamton Press. April 3, 1937. p. 16.

[34] Barton, D. R. “He Brought the Stars to America.” Natural History. Vol. 46, no. 1. June, 1940. p. 63.

[35] Brown, Chip. “Miss Wiley, Grand Birder of Central Park.” The Washington Post. December 26, 1986.

[36] Wiley, Farida A. John Burroughs’ America. New York: Devin-Adair Company, 1967. pp. v-vi.

[37] Wiley, Farida A. John Burroughs’ America. New York: Devin-Adair Company, 1967. p. xiii.

[38] “Pruett, J. Hugh. “Dr. Fisher A Brilliant, Lovable Man.” Argus-Leader (Sioux Falls, South Dakota). March 13, 1949.

 

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[email protected] (American Catskills) Albert Einstein American Museum of Natural History author biography Boyhood Rock Catskill Mountains Catskills Clyde Fisher conservation Delaware County Hayden Planetarium John Burroughs naturalist New York photographer photographs photography portraits postcards Riverby Roxbury scientist Slabsides Te Ata Ulster County West Park Woodchuck Lodge https://www.americancatskills.com/blog/2023/5/clyde-fisher-photographing-john-burroughs Sat, 20 May 2023 12:00:00 GMT
Charles Carman – Andes, NY Photographer https://www.americancatskills.com/blog/2023/5/charles-carman-andes-new-ny-photographer Introduction

 

Charles Carman was a popular photographer who operated a gallery at the village of Andes for over 30 years from around 1875 to 1908. He took a countless number of portraits of village residents and is believed to have taken some of the earliest photographs of the village of Andes.

 

Andes, New York. Main Street, from High Street to Delaware AvenueAndes, New York. Main Street, from High Street to Delaware AvenueAndes, New York. Main Street, from High Street to Delaware Avenue. Italiante style buildings built sometime after June 1878 fire which had destroyed entire block. Original buildings were Greek Revival structures. Photo by Andes photographer, Charles Carman. (Circa 1880).

Andes, New York. Main Street, from High Street to Delaware Avenue. Italiante style buildings built sometime after June 1878 fire which had destroyed entire block. Original buildings were Greek Revival structures. Photo by Andes photographer, Charles Carman. (Circa 1880). Author’s collection.

 

 

Life Story

 

Charles Carman was born on September 15, 1832 at Bovina, son of Joshua Carman (1787-1840) and Priscilla (Scutt) Carman (~1791-1876). Both Joshua and Priscilla are buried at Valley View Cemetery. Charles spent his boyhood days at Bovina. After being educated in the district schools, he became a teacher.

 

The 1855 New York State census lists Carman, age 23, as residing with his mother Priscilla in the town of Bovina and working as a farmer. Also in the household were his brothers John, Orrin and William, all listed with an occupation of farmer. His sister Emily was working as a teacher and his sister Caroline had no profession listed.

 

In 1858 he moved to the village of Downsville and opened a general store. An 1859 business directory for the village of Downsville printed in the local newspaper listed the firm of Dean & Carman as operating a Dry Goods and Groceries store. Phineas Dean was listed as Carman’s partner.

 

Map of Downsville in 1856Map of Downsville in 1856Map of Downsville in 1856, two years before the arrival of Charles Carman.

Source: Gould, Jay. Map of Delaware Co., New York. Philadelphia: Published by Collins G. Keeney, 1856. Map. Retrieved from the Library of Congress, <www.loc.gov/item/2012593655/>.

Map of Downsville in 1856, two years before the arrival of Charles Carman.

Source: Gould, Jay. Map of Delaware Co., New York. Philadelphia: Published by Collins G. Keeney, 1856. Map. Retrieved from the Library of Congress, <www.loc.gov/item/2012593655/>.

 

 

By December 1859 Carman had entered into a partnership at Downsville with Edward O’Conner. The following advertisement for the partnership was placed in the local newspaper.

 

“NEW CASH STORE. The subscribers, having located themselves in the Store lately occupies by Messrs. Dean & Carman in Downsville, would respectfully solicit from the citizens and vicinity, a share of their patronage. Their stock of Goods is entirely new, having been lately purchased in New York at the present unprecedented low prices, consisting in part of Broadcloths, Cassimeres, Satinets, Vestings, Cotton, Linen and Silk Warp, Alpaccas, French Tibet and striped Maddena; SHAWLS, and the largest and cheapest assortment of PRINTS ever offered for sale in Downsville. A splendid assortment of the newest patterns of

 

CROCKERY & GLASS WARE!

 

And a choice selection of the best Family Groceries. Believing that “a nimble sixpence is better than a slow shilling,” their Goods will be sold for ready pay only.

 

All kinds of country product taken in exchange for Goods. Bring your produce or money, and you shall have a good bargain.

 

O’CONNER & CARMAN.

 

Downsville, Dec. 21, 1859.”[1]

 

Carman’s partnership with Edward O’Conner did not last long, being dissolved in July 16, 1860. The following notice was placed in the local newspaper.

 

“DISSOLUTION – The partnership heretofore existing between O’Conner & Carman is this day dissolved by mutual consent. All those indebted to the above firm will please call and settle. The books will be left in the hands of O’Conner. O’CONNER & CARMAN. Downsville, July 16, 1860.

 

Business will be continued by E. O’Conner at the old stand of O’Conner and Carman. Reduced prices – cash or short credit. We take this opportunity to return our thanks for past patronage. EDWARD O’CONNER. Downsville, July 16, 1860.”[2]

 

In addition to operating the general store at Downsville, Carman was also offering his photographic services to the public. The local newspaper carried the following advertisement from Carman in 1858; and the 1859 business directory for the village of Downsville printed in the local newspaper listed Carman as selling “Ambrotypes.”

 

“Great Flood in Downsville. The rain having subsided, the subscriber is ready to furnish the people of Downsville and vicinity with superior SPHEROTYPES, AMBROTYPES, and MELAINOTYPES.

 

Those wishing true likenesses will do well to call immediately, as I intend to remain but a few days.

 

         Superior likenesses at reduced prices – satisfaction warranted.

 

        The public are respectfully invited to call, whether wanting pictures or not.

 

        Downsville, July 19, 1858.

 

        CHAS. CARMAN.”

 

Carman married Helen Johnson, of Downsville, on June 6, 1860. Together they had three children, including two daughters, Lulia (1861-1932) and Evelyn (1867-1934), and one son, Ward (1870-1938). Ward would follow in his father’s footsteps in becoming a photographer and operating his own gallery. Evelyn would marry Harvey Kinch (1868-1959), who with his brother Edgar Kinch (1877-1939), operated a successful photo studio at Walton and Hancock for over 40 years.

 

The 1860 United States census showed 28-year-old Charles living in the town of Colchester with his 18-year-old wife Helen. He was listed with a profession of “Merchant,” while she was listed as a “Lady of Leisure.”

 

During the Civil War Carman served as a recruiting officer. The 1865 New York State census lists Carman as residing in the first election district of Colchester with a profession as “Artist.” He may have reached a certain level of success by this point as there was 17-year-old from Germany, named Carrie Minor, who was residing in the household as a servant.

 

Carman moved to the village of Andes around 1867 where he operated a mercantile business with his brother for about two or three years. In June of 1867 the County Board of Excise approved a store license for the firm of “Carman and Brother.” The 1869 map of Andes published by F. W. Beers shows Carman operating along Main Street as a “Dealer in General Merchandise.” His building was located on the north side of Main Street, next to the Tremper Kill. The 1870 United States census lists Carman as living in the town of Andes with a profession of “Retail Grocer.” In addition to Carman, his wife and three children in the household, there was also Anna Bays, a 17-year-old “domestic servant.”

 

Map of the village of Andes in 1869Map of the village of Andes in 1869Map of the village of Andes in 1869, including the Charles Carman general merchandise business.

Source: "Andes [Village]; Union Grove [Village]; Andes [Township]; Andes Business Directory." The New York Public Library Digital Collections. 1869. https://digitalcollections.nypl.org/items/510d47e3-67c0-a3d9-e040-e00a18064a99

Map of the village of Andes in 1869, including the Charles Carman general merchandise business.

Source: "Andes [Village]; Union Grove [Village]; Andes [Township]; Andes Business Directory." The New York Public Library Digital Collections. 1869. https://digitalcollections.nypl.org/items/510d47e3-67c0-a3d9-e040-e00a18064a99

 

 

After several years residing at Andes, Carman began a photography business, about 1875, which he operated continuously for the next 33 years. He operated a popular portrait gallery and is believed to have taken some of the earliest stereoviews of the village of Andes. It is also believed that Carman published scarce views of the Catskill Mountains, the Grand Hotel and Pine Hill. The 1875 United States census listed his profession as “Artist.”

 

The village of Andes of today is listed on the National Register of Historic Places as “an embodiment of nineteenth and early twentieth century architectural styles as interpreted in a rural upstate New York community.” The historic district is comprised of 84 properties and 129 contributing structures. Some of the still standing structures of today can be seen in the photographs taken by Carman over 130 years ago.

 

In 1879 Carman occupied the upper floor of a new two-story building constructed by David Hyser. The building replaced a prior one that had burned in June, 1878 during a tragic event in which much of the business district of the village of Andes was destroyed, including fifteen buildings on the north side of Main Street between Delaware Avenue and High Street. The 1880 United States census, the 1892 New York State census and the 1900 United States census all listed Carman as residing in the village of Andes with a profession of “Photographer.” Carman’s home and studio were located at 62 Main Street.

 

Portrait, Well Dressed Young ManPortrait, Well Dressed Young ManPhotographer: Charles Carman, Andes, New York

 

Portrait, Well Dressed ManPortrait, Well Dressed ManPhotographer: Charles Carman, Andes, New York

 

Portrait, Well Dressed LadyPortrait, Well Dressed LadyPhotographer: Charles Carman, Andes, New York

 

Portrait, Young Boy, Sitting in ChairPortrait, Young Boy, Sitting in ChairPhotographer: Charles Carman, Andes, New York

 

Portrait, Young Girl, Sitting in ChairPortrait, Young Girl, Sitting in ChairPhotographer: Charles Carman, Andes, New York

 

Logo, Charles Carman, Photographer, Andes, N.Y.Logo, Charles Carman, Photographer, Andes, N.Y.

 

Carman opened a branch photography office in June 1889 at Margaretville, approximately 16 miles southeast from Andes. Ward, Carman’s son, at first operated the branch on behalf of his father, but eventually took over to manage it by himself. Ward operated the business for 49 years until his passing in 1938, doing business at the same location the entire time. It was noted that “this is an unusual record. There is no other firm in town with half that record of years.”

 

“The business has seen great changes in that time, as has the village. The taking of pictures in the studio was the important part of the business at its inception. In later years the amateur camera came into vogue and the finishing of the film for the public was more remunerative than the posing of the professional photographs.

 

Ward Carman has been a popular and successful member of the business community for all the years that mount up to the 49. He was of a genial nature, always a smile for everyone, attended strictly to his own affairs. While his business was not one of large volume in dollars he amassed a competence and his advice in financial matters was sought. He was of the old-fashioned school of honesty and integrity – exemplifying what America needs today – good citizens.”[3]

 

Ethel H. Bussy in her 1960 book titled History and Stories of Margaretville and Surrounding Area wrote of the Ward Carman gallery.

 

“The photography shop, or "Gallery" as it was called, was on Main Street in the building now remodeled and occupied by Mr. Shafer as a jewelry store. The Gallery was always run by the late Ward Carman as photographer and Miss Carrie Osborne as photo finisher and helper. A large glass enclosed case was on the front of the Gallery and the pictures of the best looking people displayed there. It was similar to a beauty contest of the present day. Everyone was interested to see if their picture made the glass case.”

 

Upon Ward’s passing in July 1938, the business continued operating for a brief time under the ownership of Carrie Osborn, Ward’s sister-in-law. Carrie had worked at the business for over 40 years. Upon closing in December 1938 Carrie talked to the local newspaper about the history of the business.

 

“Talking about the closing yesterday Miss Osborn recited many interesting events that have taken place in the half century. The first activity was the taking of “cabinet” photographs. These cost $3.00 per dozen 50 years ago. The photographic business ran through many cycles. Amateur work came many years after the opening. It brought rich contacts. A quarter of a century or more ago there were a large number of artists scattered through this section of the mountains. Most of them knew the photographer and firm friendships were formed. Mr. Carman photographed various folks of world renown and lesser fame. When the old negatives were carted to the village dump last week there were many instances of four generations of negatives, cataloged one against the other in the boxes of glass. During the war 20 years ago the glass was valuable and some of the useless negatives were sold for a fair price.

 

In the flush days of amateur work the studio did a rushing business. Mr. Carman and Miss Osborn often developed and printed 100 rolls of films per day during these times.

 

It was hard work, they who performed it knew how their money was obtained. A competence was saved and will take care of Mrs. Carman and Miss Osborn in the cottage on the hillside for those days of retirement so many look forward to and miss when they seem about to enter the threshold.”[4]

 

In addition to his business enterprises Charles Carman also faithfully served his community for many years. He served as Justice of the Peace for about 35 years and as the census marshal in 1870. He served as justice of sessions for one year. He also served as Overseer of the Poor for the town of Andes for several years.

 

Carman retired from the photography business in 1908. The 1910 United States census listed Carman as retired with a profession of “Own Income.”

 

In 2006 the Andes Society for History and Culture held an exhibit featuring the photographic works of Charles Carman. The Andes Society wrote a brochure for the event that included his biography and the history of the buildings photographed by Carman.

 

Legacy

 

Charles Carman was one of the oldest residents of Andes village when he passed away at his home on Main Street on January 3, 1911. The cause of death was a growth on his head that “caused him much suffering and he had been unable to lay down with it all winter. Complications hastened the end.”

 

His funeral was held at his residence with Reverend E. A. Bookout officiating. Carman was survived by his wife and three children, including Ward Carman, a photographer in Margaretville; Mrs. Harvey J. Kinch, of Walton; and Mrs. William D. Hilton, of Chicago. He is buried at the Andes Cemetery in Andes, New York. 

 

Helen Carman, wife of Charles Carman, passed away a few years later in 1914. She died at Delhi, New York while residing with her daughter Evelyn. She is also buried at the Andes Cemetery.

 

Ward W. Carman, son of Charles Carman, passed away at the family home in Margaretville on July 6, 1938. He had been sick for about two weeks with liver trouble. He is buried at the Margaretville Cemetery.

 

[1] “New Cash Store.” Bloomville Mirror (Bloomville, New York). December 27, 1859.

[2] “Dissolution.” Bloomville Mirror (Bloomville, New York). 1860.

[3] “W. W. Carman Dies, 49 Years In Local Business.” Catskill Mountain News (Margaretville, New York). July 8, 1938.

[4] “Aged Nearly 50, Carman Studio Closes Doors.” Catskill Mountain News (Margaretville, New York). December 16, 1938.

 

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[email protected] (American Catskills) Andes biography Catskill Mountains Catskills Charles Carman Delaware County Downsville Margaretville New York photographer photographs photography portraits stereoviews Ward Carman https://www.americancatskills.com/blog/2023/5/charles-carman-andes-new-ny-photographer Sat, 13 May 2023 12:00:00 GMT
Bob Wyer: 32 New Photographs https://www.americancatskills.com/blog/2023/5/bob-wyer-32-new-photographs Bob Wyer is one of the most prolific photographers in the history of the Catskills. His photographic career included shooting just about everything, such as passport photos, chauffer licenses, hunting licenses, high school yearbooks, formal portraits, special occasions such as birthdays and weddings, young babies, local stores, hotels and businesses, accidents, insurance claims, crime scenes, landscapes, parades and local news events. There was nothing that Bob could not and would not photograph. Upon his retirement, Bob donated his extensive collection of over 150,000 photos to the Delaware County Historical Association. The collection is a virtual time capsule of the region from the late 1930s to the 1970s.

 

For a more detailed biography about this notable Catskills photographer please see my blog post titled “Bob Wyer: The Delhi Lensman” from February 22, 2020.

 

I have recently acquired 32 new photographs by Bob Wyer, all from the Catskills region. They have all been added to the Bob Wyer gallery, which now contains over 135 of his Catskills works. The gallery can be reached by navigating: Catskills Photograph Gallery >> Historic Catskills Photographers >> Bob Wyer – Catskills Photographer. Ten of the new photographs are shown here.

 

Engine #2 pulling the Rip Van Winkle Flier

Vintage postcard from photographer Bob Wyer of the “Rip Van Winkle Flier” train that operates as part of the Delaware and Ulster Railroad in the Catskills.Engine # 2 pulling the “Rip Van Winkle Flier”The inscription on the back of this Bob Wyer postcard reads: “Engine # 2 pulling the “Rip Van Winkle Flier.” Delaware and Otsego Railroad. Oneonta, New York. Excursions – May thru September – Daily except Monday. The DoLine runs thru the scenic foothills of the Catskill Mountains on tracks of the former Ulster and Delaware Railroad.”

 

Dry Fly in Fast Water (Greetings from Roscoe, N.Y.)

Vintage postcard titled “Dry Fly in Fast Water” by photographer Bob Wyer of Delhi, New York.Dry Fly in Fast Water (Greetings from Roscoe, N.Y.)A traditionally outfitted fisherman uses his dry fly under a flowing waterfall in this vintage postcard by photographer Bob Wyer of Delhi, New York.

 

Downsville Covered Bridge

Vintage postcard by Bob Wyer of the Downsville Covered Bridge.Downsville Covered BridgeWell-known photographer Bob Wyer took this photograph of the Downsville Covered Bridge as it spans the East Branch of the Delaware River at the hamlet of Downsville. The postcard was never mailed.

 

Greetings from Delhi, N.Y., At the Crossroads

Greetings from Delhi, N.Y., At the CrossroadsGreetings from Delhi, N.Y., At the Crossroads

 

Glenerie Falls on the famous Esopus Creek

Glenerie Falls on the famous Esopus CreekGlenerie Falls on the famous Esopus Creek

 

Greetings from Walton, N.Y., Hay Harvest

Greetings from Walton, N.Y., Hay HarvestGreetings from Walton, N.Y., Hay Harvest

 

East Sidney Dam

East Sidney DamEast Sidney Dam

 

Greetings from Walton, N.Y., Harvesting Hay

Greetings from Walton, N.Y., Harvesting HayGreetings from Walton, N.Y., Harvesting Hay

 

Lookout at East Windham, N.Y.

Lookout at East Windham, N.Y.Lookout at East Windham, N.Y.

 

Greetings from Prattsville, N.Y., Country Store

Greetings from Prattsville, N.Y., Country StoreGreetings from Prattsville, N.Y., Country Store

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[email protected] (American Catskills) Bob Wyer Bob Wyer Photo Cards Catskill Mountains Catskills Delaware County Delhi New York photographer photographs photography photos pictures postcards https://www.americancatskills.com/blog/2023/5/bob-wyer-32-new-photographs Sat, 06 May 2023 12:00:00 GMT
Detroit Publishing Company: From Black-and-White to Color in the Catskills https://www.americancatskills.com/blog/2023/4/detroit-publishing-company-from-black-and-white-to-color-in-the-catskills In the blog posts of April 8 and April 15 the importance of the photochrom process was discussed as part of the history of the Detroit Publishing Company. As a brief recap the process was invented in the 1880s in Zurich, Switzerland. The exclusive American rights to use the photochrom process was acquired in the mid-1890s by the Photochrom Company, predecessor to the Detroit Publishing Company.

 

This revolutionary new process allowed for the conversion of black-and-white photographs into color images and for the mass production of prints, postcards, and albums. At the time color photography as we know it did not exist, therefore the exclusive rights to the “photochrom” process provided the Photochrom Company at Detroit a significant competitive advantage throughout the United States.

 

Using the black-and-white images of the Detroit Publishing Company held with the Library of Congress and my personal collection of colorized photochrom postcards, it is incredible to see the transformation in comparing the original black-and-white image to the resulting color image. Given my amazement in seeing this transformation brought to life with images from the Catskills I thought it would be interesting to share some of these before-and-after comparisons.

 

Rip Van Winkle House, Catskill Mountains

Rip Van Winkle House, Sleepy Hollow, Catskill Mountains, N.Y.Rip Van Winkle House, Sleepy Hollow, Catskill Mountains, N.Y.

6372, version 1_Rip Van Winkle House, Catskill Mountains6372, version 1_Rip Van Winkle House, Catskill Mountains

 

Boulder Rock and Hotel Kaaterskill, Catskill Mountains

Boulder Rock and Hotel Kaaterskill, Catskill Mountains, N.Y.Boulder Rock and Hotel Kaaterskill, Catskill Mountains, N.Y.

10124_Boulder Rock and Hotel Kaaterskill, Catskill Mountains10124_Boulder Rock and Hotel Kaaterskill, Catskill Mountains

 

A Mountain Toll Gate

A Catskill Mountain toll gateA Catskill Mountain toll gate

6374_A Mountain Toll Gate6374_A Mountain Toll Gate

 

Old Studio of Artist Hall, Palenville, Catskill Mountains

Old studio of artist Hall, near Palenville, Catskill Mountains, N.Y.Old studio of artist Hall, near Palenville, Catskill Mountains, N.Y.

6373, version 1_Old Studio of Artist Hall, Palenville, Catskill Mountains6373, version 1_Old Studio of Artist Hall, Palenville, Catskill Mountains

 

Alligator Rock, Near South Lake, Catskill Mountains

Alligator Head near South Lake, Catskill Mts., N.Y.Alligator Head near South Lake, Catskill Mts., N.Y.

6367_Alligator Rock, Near South Lake, Catskill Mountains6367_Alligator Rock, Near South Lake, Catskill Mountains

 

Kaaterskill Falls, Catskill Mountains

Kaaterskill Falls from below, Catskill Mountains, N.Y.Kaaterskill Falls from below, Catskill Mountains, N.Y.

6365_Kaaterskill Falls, Catskill Mountains6365_Kaaterskill Falls, Catskill Mountains

 

Haines Falls, Catskill Mountains

Haines Falls, Catskill Mountains, N.Y.Haines Falls, Catskill Mountains, N.Y.

6368_Haines Falls, Catskill Mountains6368_Haines Falls, Catskill Mountains

 

Sunset Rock, Kaaterskill Clove, Catskill Mountains

Sunset Rock, Kaaterskill Clove, Catskill Mountains, N.Y.Sunset Rock, Kaaterskill Clove, Catskill Mountains, N.Y.

 

6370_Sunset Rock, Kaaterskill Clove, Catskill Mountains6370_Sunset Rock, Kaaterskill Clove, Catskill Mountains

 

 

 

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[email protected] (American Catskills) Catskill Mountains Catskills Detroit Detroit Photographic Company Detroit Publishing Company Edwin H. Husher Kingston Lake Minnewaska Lake Mohonk Library of Congress phostint photochrom Photocrhom Company photographs photography photos pictures postcards publisher William A. Livingstone William Henry Jackson https://www.americancatskills.com/blog/2023/4/detroit-publishing-company-from-black-and-white-to-color-in-the-catskills Sat, 29 Apr 2023 12:00:00 GMT
Detroit Publishing Company: New Catskills Photo Gallery https://www.americancatskills.com/blog/2023/4/detroit-publishing-company-new-catskills-photo-gallery The last two posts described the history of the Detroit Publishing Company, one of the largest American publishers of photographic prints and postcards in the early decades of the 20th century. Part of the company’s extensive inventory included beautiful black-and-white photographs and colorized photochrom postcards from the central and northern Catskills and from the city of Kingston, as well as the Mohonk Mountain House and Lake Minnewaska areas near New Paltz.

 

As part of my research into the company, I created a new photo gallery dedicated to their images from the Catskills. This gallery currently contains 385 images, which includes the entire collection of black-and-white photos from the Library of Congress, as well as my personal collection of 104 photochrom postcards. The gallery can be found at: Gallery > Historic Catskills Photographers > Detroit Publishing Company.

 

The Library of Congress collection contained several series of shots, comprised of between two and five photographs, which were to be stitched together later for its intended panoramic effect. In these cases, I have stitched the photos together using today’s technology to create the intended panoramic image, and have added those images to the gallery as well. In some cases, in addition to the publishing of the panoramic photograph, one individual photo from the series would also be published by the Detroit Publishing Company on its own merits.

 

The 104 photochrom images constitute a significant portion of the postcards issued by the Detroit Publishing Company for the Catskills region. There are 28 postcards from the northern Catskills, 50 from the Lake Mohonk vicinity, 4 from the city of Kingston and 22 from the Lake Minnewaska vicinity. There are a handful more from the catalog that I will need to acquire in order to complete the collection.

 

From the Library of Congress collection

Mr. H.E. Eder and family at Bowlder [i.e. Boulder] RockMr. H.E. Eder and family at Bowlder [i.e. Boulder] Rock

Old studio of artist Hall, near Palenville, Catskill Mountains, N.Y.Old studio of artist Hall, near Palenville, Catskill Mountains, N.Y.

Rip Van Winkle House, Sleepy Hollow, Catskill Mountains, N.Y.Rip Van Winkle House, Sleepy Hollow, Catskill Mountains, N.Y.

The Otis Elevating Railway and Catskill Mountain House, Catskill Mountains, N.Y.The Otis Elevating Railway and Catskill Mountain House, Catskill Mountains, N.Y.

[Catskill Mountain railway station, Haines Corners, Catskill Mountains, N.Y.][Catskill Mountain railway station, Haines Corners, Catskill Mountains, N.Y.] [Kaaterskill Falls and Laurel House, Catskill Mts., N.Y.][Kaaterskill Falls and Laurel House, Catskill Mts., N.Y.]

 

The Gardens, Lake Mohonk House, N.Y.The Gardens, Lake Mohonk House, N.Y.

The Wildmere House, Lake Minnewaska, N.Y.The Wildmere House, Lake Minnewaska, N.Y.

 

From my personal collection of photochrom postcards

6362_Catskill Mountain House6362_Catskill Mountain House

10124_Boulder Rock and Hotel Kaaterskill, Catskill Mountains10124_Boulder Rock and Hotel Kaaterskill, Catskill Mountains

14960_Lake Mohonk House14960_Lake Mohonk House

80800_Swimming Place, Mohonk Lake, N.Y.80800_Swimming Place, Mohonk Lake, N.Y.

10753_Elmendorf Tavern, Kingston, N.Y. Erected 1723.10753_Elmendorf Tavern, Kingston, N.Y. Erected 1723.

80198, version 2_The Wildmere, Lake Minnewaska, N.Y.80198, version 2_The Wildmere, Lake Minnewaska, N.Y.

80201_Wildmere House From Mid-Cliff, Lake Minnewaska, N.Y.80201_Wildmere House From Mid-Cliff, Lake Minnewaska, N.Y.

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[email protected] (American Catskills) Catskill Mountains Catskills Detroit Detroit Photographic Company Detroit Publishing Company Edwin H. Husher Kingston Lake Minnewaska Lake Mohonk Library of Congress phostint photochrom Photocrhom Company photographs photography photos pictures postcards publisher William A. Livingstone William Henry Jackson https://www.americancatskills.com/blog/2023/4/detroit-publishing-company-new-catskills-photo-gallery Sat, 22 Apr 2023 12:00:00 GMT
Detroit Publishing Company: Capturing the Beauty of the Catskills (Part 2) https://www.americancatskills.com/blog/2023/4/detroit-publishing-company-capturing-the-beauty-of-the-catskills-part-2 The Catskills

 

“The Detroit Publishing Company of Michigan issued such a wide variety of views that one is awed by their prolific coverage of towns and cities and hamlets of the nation, along with the magnificent sights of the west and mid-west. These picture postcards form an important record of American historical and social life. Not only from the view point of their subjects, but also from the style of printing used by the Detroit firm – these issues have contributed to United States culture and to the American way of life.” - Lowe, James L.; Ben Papell. Detroit Publishing Company Collector’s Guide. Newton Square, PA: Deltiologists of America, 1975. p. 7.
 

 

The Detroit Photographic Company published an incredible collection of images from several regions within the Catskills, including Lake Mohonk, Lake Minnewaska, the city of Kingston and the central and northern Catskills.

 

From the northern Catskills, scenic locations include Kaaterskill Falls, Sunset Rock, Boulder Rock, Santa Cruz Falls, Buttermilk Falls, Alligator Rock, Moore’s Bridge Falls, Fawn’s Leap, among others.

 

Architectural photographs include the monumental Hotel Kaaterskill on the summit of South Mountain, the Laurel House located near the top of Kaaterskill Falls, the famed Catskill Mountain House at Pine Orchard overlooking the Hudson Valley, Churchill Hall at Stamford, the Grand Hotel at Highmount and some of the other great boarding houses of the region. Village scenes include Haines Corners and Fleischmanns. There are four photographs depicting the Otis Elevating Railway, an engineering marvel in its time.

 

Included within the Catskills collection are several series of shots, comprised of between two and five photographs, which were to be stitched together later for its intended panoramic effect. In some cases, in addition to the publishing of the panoramic photograph, one individual photo from the series would also be published on its own merits.

 

The black-and-white photographs, as with many of the company’s images, were used by the Detroit Photographic Company to produce colorful photochrom postcards. Many of the company stamps, in the shape of an artist’s palette and located on the Catskills black-and-white photographs and photochrom interpretations, show a copyright date of 1902.

 

Library of Congress Collection – Detroit Publishing Company – The Catskills

Catskill Mountain House and Hudson River Valley, Catskill Mountains, N.Y. (2)Catskill Mountain House and Hudson River Valley, Catskill Mountains, N.Y. (2)

Catskill Mountain House, Catskill Mountains, N.Y. Library of Congress.

 

Below is an inventory listing of the Detroit Publishing Company’s works of the Catskills now located in the Library of Congress.

 

  • A Catskill Mountain road
  • A Catskill Mountain toll gate
  • Alligator Head near South Lake, Catskill Mountains, N.Y.
  • Alligator Head near South Lake, Catskill Mts., N.Y.
  • Boulder Rock and Hotel Kaaterskill, Catskill Mountains, N.Y.
  • Buttermilk Falls, Kaaterskill Clove, Catskill Mountains, N.Y.
  • [Camping in the woods]
  • Catskill Mountain House and Hudson River Valley, Catskill Mountains, N.Y.
  • Catskill Mountain House and Summit Station of Otis Elevating Railway, Catskill
  • [Catskill Mountain railway station, Haines Corners, Catskill Mountains, N.Y.]
  • [Catskill Mts., Catskill Mountain House, New York]
  • [Catskill Mts., N.Y., Hotel Kaaterskill]
  • [Catskill Mtns., Hudson River valley from Catskill Mountain House, New York]
  • [Catskill Mts., N.Y., trout fishing in the Catskills]
  • Central facade, Hotel Kaaterskill, Catskill Mountains, N.Y.
  • Churchill Hall, Stamford, Catskill Mountains, N.Y.
  • Churchill Park and the Rexmere, Stamford, Catskill Mountains, N.Y.
  • Cottage and grounds of Mr. Fleischmann, Fleischmann's, Catskill Mountains, N.Y.
  • Cottage of Mr. Fleischmann, Fleischmann's, Catskill Mountains, N.Y.
  • [Down Kaaterskill Clove from Twilight Park, Catskill Mts., New York]
  • Driveway in Twilight Park, Catskill Mountains, N.Y.
  • Fawns Leap, Kaaterskill Clove, Catskill Mountains, N.Y.
  • Fishing in the Catskill Mts., N.Y.
  • Fleischmann's and Hotel Switzerland, Catskill Mountains, N.Y.
  • Fleischmann's, Catskill Mountains, N.Y. (1)
  • Fleischmann's, Catskill Mountains, N.Y. (2)
  • [Garden path at Hotel Kaaterskill, Catskill Mts., N.Y.]
  • General view of Fleischmann's, Catskill Mountains, N.Y.
  • Gray Court Inn, Stamford, Catskill Mountains, N.Y.
  • Haines Corners, Catskill Mountains, N.Y.
  • Haines Corners from Sunset Park Inn, Catskill Mountains, N.Y.
  • Haines Falls, Catskill Mountains, N.Y.
  • [Haine's Falls, Catskill Mts., N.Y.]
  • Haines Falls House, Haines Corners, Catskill Mountains, N.Y.
  • Hamilton House, Stamford, Catskill Mountains, N.Y.
  • Hotel Kaaterskill from Boulder Rock, Catskill Mountains, N.Y.
  • Hotel Kaaterskill from golf links, Catskill Mountains, N.Y.
  • [Hudson River Valley from Catskill Mountain House, Catskill Mts., N.Y.]
  • Kaaterskill Clove from Palenville overlook, Catskill Mountains, N.Y.
  • [Kaaterskill Clove from Santa Cruz Falls, Catskill Mts., N.Y.]
  • [Kaaterskill Clove from Sunset Rock, Catskill Mts., N.Y.]
  • [Kaaterskill Falls and Laurel House, Catskill Mts., N.Y.]
  • Kaaterskill Falls, Catskill Mountains, N.Y.
  • Kaaterskill Falls from below, Catskill Mountains, N.Y.
  • [Kaaterskill Falls from below, Catskill Mts., N.Y.]
  • [Kaaterskill Falls from Prospect Rock, Catskill Mts., N.Y.]
  • Kaaterskill Falls from Ulster and Delaware Railway, Catskill Mountains, N.Y.
  • Kaaterskill lakes and mountain, Catskill Mts., N.Y.
  • Kaaterskill Mountain and lakes, Catskill Mountains, N.Y.
  • [Kaaterskill Mountain & the lakes, Catskill Mts., New York]
  • Kaaterskill Mountain wild flowers, Catskill Mountains, N.Y.
  • Kaaterskill Mountain with Otis Elevating Railway, Catskill Mountains, N.Y.
  • Laurel House, Catskill Mountains, N.Y.
  • Left wing, Hotel Kaaterskill, Catskill Mountains, N.Y.
  • Long level and Catskill Mountain House, Catskill Mountains, N.Y.
  • Mr. H.E. Eder and family at Bowlder [i.e. Boulder] Rock
  • New Grand Hotel and Monka Hill Mountain, Catskill Mountains, N.Y.
  • New Grand Hotel, Catskill Mountains, N.Y.
  • New Grand Hotel from Belle Ayr, Catskill Mountains, N.Y.
  • [New Grand Hotel, front veranda, Catskill Mtns., N.Y.]
  • New Grant House, Stamford, Catskill Mountains, N.Y.
  • North veranda, Churchill Hall, Stamford, Catskill Mountains, N.Y.
  • Old log cabin and the Rexmere, Stamford, Catskill Mountains, N.Y.
  • Old studio of artist Hall, near Palenville, Catskill Mountains, N.Y.
  • [Old studio of artist Hall, near Palenville, Catskill Mts., N.Y.]
  • [Otis Elevating Railway, looking down, Catskill Mts., N.Y.]
  • [Otis Elevating Railway, looking up, Catskill Mts.,N.Y.]
  • Palenville Hotel, Palenville, Catskill Mountains, N.Y.
  • Parlor, Kraterskill [i.e. Kaaterskill] Hotel, Catskill Mountains, N.Y.
  • Pine Hill from the Ulster and Delaware Ry., Catskill Mountains, N.Y.
  • Pond lillies [i.e. lilies] in South Lake, Catskill Mountains, N.Y.
  • Rapids at the bridge, Kaaterskill Clove, Catskill Mountains, N.Y.
  • Right wing, Hotel Kaaterskill, Catskill Mountains, N.Y.
  • Rip Van Winkle House, Pine Hill, Catskill Mountains, N.Y.
  • Rip Van Winkle House, Pine Hill, Catskill Mts., N.Y.
  • Rip Van Winkle House, Sleepy Hollow, Catskill Mountains, N.Y.
  • Santa Cruz Falls, Kaaterskill Clove, Catskill Mountains, N.Y.
  • [Sleepy Hollow, Rip Van Winkle House, Catskill Mts., N.Y.]
  • Stamford and Mt. Utsayantha, Catskill Mountains, N.Y.
  • Sunset Park from the golf links, Catskill Mountains, N.Y.
  • Sunset Rock, Kaaterskill Clove, Catskill Mountains, N.Y.
  • The Alphine [i.e. Alpine], Pine Hill, Catskill Mts., N.Y.
  • The Annex, Hotel Kaaterskill, Catskill Mountains, N.Y.
  • The Antlers, Haines Corners, Catskill Mountains, N.Y.
  • The Ball room, Hotel Kaaterskill, Catskill Mountains, N.Y.
  • The Barns, Hotel Kaaterskill, Catskill Mountains, N.Y.
  • The Dining room, Hotel Kaaterskill, Catskill Mountains, N.Y.
  • The Five cascades, Haines Falls, Catskill Mountains, N.Y.
  • The Front entrance, Hotel Kaaterskill, Catskill Mountains, N.Y.
  • The Lobby, Hotel Kaaterskill, Catskill Mountains, N.Y.
  • The Otis Elevating Railway and Catskill Mountain House, Catskill Mountains, N.Y.
  • The Otis Elevating Railway, looking down, Catskill Mts., N.Y.
  • The Piazza, Hotel Kaaterskill, Catskill Mountains, N.Y.
  • [The Rapids in Kaaterskill Clove, Catskill Mts., N.Y.]
  • The Rexmere [i.e. Rexmore], Stamford, Catskill Mountains, N.Y.
  • The Rexmere, Stamford, Catskill Mountains, N.Y.
  • The Upper fall, Kaaterskill Falls, Catskill Mountains, N.Y.
  • Twilight Rest Club House, Twilight Park, Catskill Mountains, N.Y.
  • Ulster and Delaware Railroad station, Fleischmann's, Catskill Mountains, N.Y.
  • View in Sunset Park, Haines Corners, Catskill Mountains, N.Y.
  • View on South Lake, Catskill Mountains, N.Y.

 

Library of Congress Collection – Detroit Publishing Company – Mohonk Mountain House

[Lake Mohonk House, Lake Mohonk, N.Y.][Lake Mohonk House, Lake Mohonk, N.Y.]

[Lake Mohonk House, Lake Mohonk, N.Y.] Library of Congress.

 

The Mohonk Mountain House is an historic hotel located on a cliff overlooking Lake Mohonk high in the Shawangunk Mountains. The famous hotel was constructed in 1870 by Albert and Alfred Smiley and remains in the Smiley family today.

 

Starting with a quaint 10 rooms, it now has over 250 rooms and the capacity for nearly 600 guests. Situated on 2,200 acres, the resort offers a wide variety of year-round activities such as hiking, bike riding, horseback riding, swimming, rock climbing, golfing, snowshoeing, cross-country skiing and ice skating.

 

A visit to the Mohonk Mountain House is like taking a step back in time – there are no TVs in the rooms, jackets are required for formal dinners, century-old carriage roads guide walkers to amazing viewpoints and signs throughout the property remind visitors “Slowly and Quietly Please.”

 

Nearly 150 years after its opening, the Mohonk Mountain House continues to meet its original mission of encouraging visitors to take a break from the outer world with peace and relaxation. The hotel and its surrounding property are listed on the National Register of Historic Places.

 

Below is an inventory listing of the Detroit Publishing Company’s works of Lake Mohonk and the Mohonk House now located in the Library of Congress.

 

  • A Driveway, Lake Mohonk House, N.Y.
  • A Driveway, Lake Mohonk, N.Y.
  • A Garden driveway, Lake Mohonk House, N.Y.
  • A Pretty spot on Lake Mohonk, N.Y.
  • A Rustic bridge, Lake Mohonk House, N.Y.
  • Boating on Lake Mohonk, N.Y.
  • East entrance, Lake Mohonk House, N.Y.
  • Flowers along the lake, Lake Mohonk, N.Y.
  • [Gazebo and lake, Mohonk Mountain House, Lake Mohonk, N.Y.]
  • Glimpse of hotel and lake, Lake Mohonk, N.Y.
  • Lake Mohonk from Eagle Cliff Road, N.Y.
  • Lake Mohonk from the driveway
  • Lake Mohonk House from Garden Drive, N.Y.
  • Lake Mohonk House from sky top path
  • Lake Mohonk House from the west
  • Lake Mohonk House, Lake Mohonk, N.Y. (1)
  • Lake Mohonk House, Lake Mohonk, N.Y. (2)
  • [Lake Mohonk House, Lake Mohonk, N.Y.]
  • Lake Mohonk House [Mohonk Mountain House], N.Y.
  • [Lake Mohonk House, N.Y., the lilypond]
  • Lake Mohonk [Mountain] House
  • Lake Mohonk [Mountain] House from Sky Top path, N.Y.
  • [Lake Mohonk [Mountain] House from the west, Lake Mohonk, N.Y.]
  • Lake Mohonk [Mountain] House from trail to Eagle Cliff
  • Lake Mohonk [Mountain] House, Lake Mohonk, N.Y.
  • [Lake Mohonk Mountain House, N.Y., from near Sky Top]
  • [Lake Mohonk Mountain House, N.Y., from near trail to Sky Top]
  • [Lake Mohonk Mountain House, N.Y., Sky Top from under porte cochere]
  • [Lake Mohonk Mountain House, N.Y., rustic bridge]
  • [Lake Mohonk, New York]
  • [Lake Mohonk, N.Y., Skytop from rear of Lake Mohonk House]
  • Lake shore road, Lake Mohonk, N.Y.
  • [Mohonk Mountain House, Lake Mohonk, N.Y.]
  • [Mohonk Mountain House, Lake Mohonk, N.Y.]
  • [Mohonk Mountain House, Lake Mohonk, N.Y.]
  • Near view, Lake Mohonk House [i.e. Mohonk Mountain House], N.Y.
  • On the piazza, Lake Mohonk House, N.Y.
  • Porte cochere and balconies, Lake Mohonk [Mountain] House, N.Y.
  • Porte cochere and fountain, Lake Mohonk [Mountain] House, N.Y.
  • [Porte cochere, Mohonk Mountain House, Lake Mohonk, N.Y.]
  • Rondout Valley and Lake Mohonk from Skytop [i.e. Sky Top], N.Y.
  • [Rondout Valley from Sky Top, Mohonk Lake, N.Y.]
  • Sky top and Lake Mohonk
  • Sky Top and Lake Mohonk, N.Y.
  • Sky top and Washington's Profile, Lake Mohonk, N.Y.
  • Sky top from Lake Mohonk House, N.Y.
  • Sky top from the archway, Lake Mohonk House, N.Y.
  • The Bathing place, Lake Mohonk
  • The Bathing place, Lake Mohonk, N.Y.
  • The Bathing place, Lake Mohonk [Mountain] House, N.Y.
  • The Boat landing and main entrance, Lake Mohonk House
  • The Boat landing, Lake Mohonk [Mountain] House
  • The Driveway, Lake Mohonk [Mountain House], N.Y.
  • The Gardens, Lake Mohonk House
  • The Gardens, Lake Mohonk House, N.Y.
  • The Gardens, Lake Mohonk House, N.Y.
  • The Parlor, Lake Mohonk House, N.Y.
  • Upper Eagle Cliff Road, Lake Mohonk, N.Y.

 

Library of Congress Collection – Detroit Publishing Company – Lake Minnewaska

The Cliff House, Lake Minnewaska, N.Y.The Cliff House, Lake Minnewaska, N.Y.

The Cliff House, Lake Minnewaska, N.Y. Library of Congress.

 

Lake Minnewaska, “which is fed by springs and is very deep and clear as crystal, is held in a strikingly picturesque, rocky and well-wooded bowl, rising one hundred and fifty feet above the lake on the eastern side and sixty feet on the western, and from either edge the rocks tumble precipitously down to the Wallkill and Hudson River Valleys on the one side, and to the Rondout Valley on the other.”

 

 

Lake Minnewaska is located on the Shawangunk Ridge in Ulster County, New York. It was once home to two grand resorts, the Cliff House and the Wildmere.

 

The Cliff House, also known as the Minnewaska Mountain House, on the eastern side of Lake Minnewaska was constructed in 1879. In its heyday the Cliff House was a fashionable resort that earned a reputation as one of the best in the region. It operated until 1972 when it was abandoned and ultimately burned down in 1978. The land around the former resort was eventually sold to New York State and incorporated into the Minnewaska State Park Preserve.

 

In order to accommodate the growing number of visitors at Lake Minnewaska, a second hotel, the Wildmere, was constructed in 1887, only eight years after the Cliff House opened on the opposite side of the lake. After an enlargement in 1911 the resort hotel could accommodate 350 guests. The Wildmere operated until 1979 and ultimately burned down in 1986. The land around the former resort was eventually sold to New York State and incorporated into the Minnewaska State Park Preserve.

 

Below is an inventory listing of the Detroit Publishing Company’s works of Lake Minnewaska now located in the Library of Congress.

 

  • Along the shore, Lake Minnewaska, N.Y.
  • Awosting Falls, Lake Minnewaska, N.Y.
  • Battlement Terrace, Lake Minnewaska, N.Y.
  • [Cliff House from across the lake, Lake Minnewaska, N.Y.]
  • [Cliff House from Sunset Rock, Lake Minnewaska, N.Y.]
  • Lake Minnewaska from the Wildmere House
  • Lake Minnewaska, N.Y. (1)
  • Lake Minnewaska, N.Y. (2)
  • Lake Minnewaska, N.Y., from Millbrook Mountain Road (1)
  • Lake Minnewaska, N.Y., from Millbrook Mountain Road (2)
  • [Looking north from Cliff House, Lake Minnewaska, N.Y.]
  • [Midcliff, Lake Minnewaska, N.Y.]
  • Morning reflections at the Wildmere House, Lake Minnewaska, N.Y.
  • Moss cliff and the Wildmere House, Lake Minnewaska, N.Y.
  • On Lake Minnewaska, N.Y.
  • Peterskill Falls, Lake Minnewaska, N.Y. (1)
  • Peterskill Falls, Lake Minnewaska, N.Y. (2)
  • Peterskill road, Lake Minnewaska, N.Y.
  • Sky Top from Pine Cliff, Lake Minnewaska, N.Y.
  • [Sunset Road, Lake Minnewaska, N.Y.]
  • The Cliff House from the Wildmere House, Lake Minnewaska, N.Y.
  • The Cliff House, Lake Minnewaska, N.Y.
  • [The Wildmere House from the lake, Lake Minnewaska, N.Y.]
  • The Wildmere House, Lake Minnewaska, N.Y. (1)
  • The Wildmere House, Lake Minnewaska, N.Y. (2)
  • Undercliff and Lake Minnewaska, N.Y.
  • Undercliff, Lake Minnewaska, N.Y.

 

Library of Congress Collection – Detroit Publishing Company – Kingston, New York

Broadway, Kingston, N.Y.Broadway, Kingston, N.Y.

Broadway, Kingston, N.Y. Library of Congress.

 

The historic city of Kingston is located along the west bank of the Hudson River in Ulster County, New York. The city, sitting where the Hudson River and the Rondout Creek meet, has a long and distinguished history. An early trading post was built at the mouth of the Rondout Creek in 1614 and by 1652 the first permanent settlement was established. An official charter was granted in 1661 for the establishing of Wiltwyck, now Kingston. It was one of three Dutch colonies in New Netherland, Albany and New York City being the other two.

 

The lands of Kingston traded hands several times between the Dutch and the British, ultimately falling under the control of the British in 1674. Over a century later Kingston served as the first capital of New York State, but was burned by the British in 1777 during the American Revolution. With American victory over the British complete General George Washington visited the city in 1782 in recognition of the devotion of the city’s citizens to the patriot cause.

 

By the time the Detroit Photographic Company arrived at Kingston in the early 1900s the city had grown significantly. The city was a key point for trade along the Hudson River, serving as the terminus for the D&H Canal. Important local industries included bluestone, cement mining and brick manufacturing. In 1872 the village of Rondout and the hamlet of Wilbur merged with the village of Kingston to form what is today’s city.

 

The number of photographs taken by the Detroit Photographic Company at Kingston is not as numerous as those from the northern and central Catskills, the Mohonk Mountain House or Lake Minnewaska, yet they still offer a beautiful glimpse at the historic city at the turn of the century. Photographs of Kingston include several of the city’s notable and historic buildings and sites, including the Old Senate House, the Hoffman House, the Dutch Reformed Church and Kingston Point Park.

 

Below is an inventory listing of the Detroit Publishing Company’s works of the city of Kingston in Ulster County, New York now located in the Library of Congress.

 

  • Boat landing, Kingston, N.Y.
  • [Boat landing, Kingston Point, N.Y.]
  • Broadway, Kingston, N.Y.
  • Elmendorf Tavern, Kingston, N.Y.
  • Hoffman House, Kingston, N.Y.
  • Kingston Point Park, Kingston, N.Y. (1)
  • Kingston Point Park, Kingston, N.Y. (2)
  • [Kingston Point Park, Kingston, N.Y.] (1)
  • [Kingston Point Park, Kingston, N.Y.] (2)
  • Old Senate House, Kingston, N.Y.
  • Old Tappan house, Kingston, N.Y.
  • Protestant Dutch Reformed Church, Kingston, N.Y.
  • Wall St., Kingston, N.Y.

 

Detroit Publishing Company – Catalog Inventory

 

Over the years there have been several efforts to document the historic postcard catalog of the Detroit Publishing Company. Each of the efforts have built upon the work of the previous authors and collectors. In 1954 Jeff R. Burdick published an initial 84-page summary titled The Handbook of Detroit Publishing Co. Postcards. In 1975 James L. Lowe and Ben Papell published the 288-page Detroit Publishing Company Collectors’ Guide. And in 1994 Nancy Stickels Stechschulte published the 446-page The Detroit Publishing Company Postcards.

 

6372, version 1_Rip Van Winkle House, Catskill Mountains6372, version 1_Rip Van Winkle House, Catskill Mountains

 

Based on the works of these authors, coupled with a few changes and additions that have become known since their publication, below is an inventory listing of the postcards relating to the Catskills that were published by the Detroit Publishing Company.

 

Catskill Mountains

6359       Kaaterskill Hotel

6360       Kaaterskill Mountain and Lakes; hv

6361       Kaaterskill Lake; nc: South Lake, Mountain House Park

6362       Catskill Mountain House

6363       Long Level and Catskill Mountain House

6364       Otis Elevating Railway

6365       Kaaterskill Falls; comment: card with #9365 s/b 6365

6366       Laurel House and Kaaterskill Falls

6367       Alligator Rock Near South Lake; hv

6368       Haines Falls; dp

6369       The Five Cascades, Haines Falls

6370       Sunset Rock, Kaaterskill Clove

6371       Santa Cruz Falls, Kaaterskill Clove

6372       Rip Van Winkle House

6373       Old Studio of Artist Hall, Palenville

6374       A Catskill Mountain Toll Gate; nc

6375       New Grand Hotel; an: C596

6376       Monka Hill Mountain, From Pine Hill

6377       Fleischmann’s

6378       The Rexmere and Golf Links, Stamford

6379       Churchill Hall, Stamford

7761       Hotel Kaaterskill

8734       Leeds Bridge

10122    Ulster and Delaware R. R. Station, Fleischmanns

10124    Boulder Rock and Hotel Kaaterskill

10125    Grand Hotel; an C596

10126    Birds-Eye View, Margaretville

10127    View of High Mountain and Townsend Valley

11104    Stamford and Mt. Utsayantha, Catskill Mountains

11105    Fleischmanns, Catskill Mountains

11129    Trout Fishing in the; nc, dp

11130    Kaaterskill Clove, Fawn’s Leap, Catskill Mountains

11131    Otis Elevating Railway

11132    Haines Corners, Catskill Mountains

11133    Down Kaaterskill Clove From, Catskill Mountains

11134    Driveway in Twilight Park

54027    The Otis Elevating Railway, Catskill Mountains

54029    Home of Rip Van Winkle, Sleepy Hollow, Catskill Mountains

72117    Catskills From the Hudson River

79921    Catskill Mountain House (3-part panorama); an: C523a, pan58

C46 – 46f             The Kyle Camp and Summer School for Boys

C596 – 596a        New Grand Hotel; an: 6374, 10125

               

Kingston

10752    Kingston Point Park

10753    Elmendorf Tavern

10754    Boat Landing; ad: Central Hudson Line Steamers; New York, NY

10755    Senate House; comment: built 1676

10766    Kingston Point Park

               

Lake Mohonk / Mohonk Lake

6380       Lake Mohonk and Sky Top; an: C120v

6381       The Bathing Place; C120b

6382       The Gardens, Lake Mohonk House; an: C119c

6383       Lake Mohonk House, From Across the Lake; nc, an: C119d

6384       Washington’s Profile, Sky Top; rd, an: C120n

6385       Sky Top From Archway, Lake Mohonk House; an: C120l

7595       Lake Mohonk and Rondout Valley From Road to Sky Top

7733       Lake Mohonk House; rd, an: C119x, nc: Mohonk House From Pine Bluff

7734       Upper Eagle Cliff Road; an: C120y

7735       Flower Beds, Lake Mohonk House; an: C120c

7855       Boat Landing and Main Entrance, Lake Mohonk House; an: C120s

9757       Lake Shore Road; an: C120w

9758       A Pretty Spot On; an: C120x

9759       Lake Shore; an: C119g

9760       Glimpse of Hotel and Lake; an: C120t

9761       Along a Path; an: C120r

14951    Lake Mohonk House from Sky Top Path; an: C119e

14952    Glimpse of Hotel and Lake; an: C120e

14953    Main Entrance and Boat Landing, Lake Mohonk House; an: C120i

14954    A Rustic Bridge; an: C120k

14955    Flower Beds Along the Lake; an: C120d

14956    The Gardens, Lake Mohonk House; an: C120o

14957    The Gardens, Lake Mohonk House; an: C120p

14958    The Parlors, Lake Mohonk House; an: C120j

14959    Rondout Valley and Mohonk Lake, N.Y. From Sky Top; nc, an: C119o

14960    Lake Mohonk House; an: C120h

80653    Lake Mohonk House From Sky Top; an: C119e

80654    The Towers, Lake Mohonk House; an: C119t

80655    Lake Mohonk House From the Gardens; an: C119f

80656    The Putting Green; an: C119l

80657    Bathing at; an: C119a

80658    Sky Top from Approach To; an: C119p

80659    On the Road To: an: C119j

80660    Wallkill Valley From Approach To; an: C120q

80661    Testimonial Gateway; an: C119s

80662    Mohonk Farms; an: C119h

80794    House and Gardens From Sky Top Road; an: C120f

80795    House From Upper Garden; an: C120g

80799    Putting Green and Main Entrance; an: C119m

80800    Swimming Place; an: C120

80801    Tennis Courts; an: C119r

80802    Under Sky Top; an: C119u

80803    House and Gardens From Talman Seat; an: C120a

80808    June Laurel; an: C119z

80811    Tennis Courts; an: C119y

81133    Western View Mohonk House; an: C119w

81134    Mohonk House and Rondout Valley From Sky Top; an: c119i

81136    Corner of the Display Gardens; an: C119b

81137    The Gardens; an: C119c

81138    The Plunge; an: C119k

81139    Putting Green and Porte Cochere; an: C119n

81140    Lake and House From Sky Top Path; an: C119e

81142    House From Across the Lake; an: C119d

               

Lake Minnewaska

7419       The Cliff House

7420       The Wildmere House; an: C114j

7421       From the Wildmere House

7422       Undercliff; an: C120n

7423       Battlement Terrace; an: C114d

7424       Peterskill Road; an: C114r, 80182

7425       Peterskill Falls; an: C114i

7426       Awosting Falls; an: C114a

80191    Undercliff; an: C114n

80192    Peterskill Falls; an: C114i

80198    The Wildmere; an: C114j

80200    Laurel in June; an: C114h

80201    Wildmere House From Mid-Cliff; an: C114m

80773    Wildmere House From Cliff Path; an: C114l

81829    Wildmere House; an: C114p

81830    Wildmere House From Cliff Stairway; an: C114l

81831    Cliff House; an: C114e

81832    Awosting Lake; an: C114b

81833    Awosting Falls; an: C114a

81834    Battlement Terrace; an: C114d

81835    Cliff House From Road Near Wildmere; an: C114q

C114 – 114c        Ball Game at Cliff House

C114 – 114f         Cliff House (horizontal)

C114 – 114g        Lake Shore

C114 – 114k        The Wildmere House and Cliff House (2-part panorama); an: PAN63

C114 – 114o        Table Rock

               

Glossary

ad           Advertisement

an           Another number

dp           Different picture

hv           Printed both Horizontal and Vertical Views

nc           Name/Title change

rd            Reverse design

 

Changing Times

 

As World War I approached the company faced several challenges, including the war economy, with the government having deemed its line of business “non-essential,” and growing competition as more advanced printing methods were established. Adding to the company troubles, general interest in postcards was declining and the financial depression of 1920-1921 greatly impacted the US economy.

 

By 1923, according to manager William Henry Jackson, company debts had “reached such a volume that we knew receivership was inescapable, and the following year brought us to the end of our rope.”[1] The company survived until 1924, when it went into receivership.

 

In January 1924 a Receiver’s Sale was held at which the plant, property and business of the Photochrom Company was offered for sale to the public. Included in the sale was real estate with frontage on Vermont Avenue, Alexandrine Avenue West and Linden Street. Machinery and equipment for sale included printing presses, power cutters, cameras, lenses, photographic appliances and framing machinery. Also available was manufactured merchandise, publication rights and registered brands. Although somewhat dated by this time, the sale also included rights to the Photochrom Process, the very process that had practically given birth to the company 29 years prior.[2]

 

The company continued to operate on a small scale after 1924, mostly focused on selling the approximately 2 million postcards and photographic prints that were in inventory. All the remaining company assets, including nearly 40,000 negatives, were liquidated in 1932.

 

According to the Benson Ford Research Center, the negatives were then purchased by the Ohio Art Company and moved to Byron, Ohio. In 1934 Robert B. Livingstone then organized a group to re-purchase all the negatives and moved them back to Detroit.

 

In the late 1930s the negatives and prints of the Detroit Publishing Company were acquired by Henry Ford and donated to the Edison Institute (now known as the Henry Ford Museum) in Dearborn, Michigan. In 1949 the Edison Institute gave all the negatives and the many duplicate photographs to the Colorado Historical Society. The Colorado Historical Society transferred most of the negatives and prints for sites east of the Mississippi River to the Library of Congress later that year, keeping the negatives and prints for the western views.

 

Legacy

 

“What is a Photochrom? A photochrom is a photograph in the colors of nature. It is not a chromo, lithograph, nor is it a colored print. It combines the truthfulness of a photograph with the color and richness of an oil painting.”[3]

 

 

The photographic works of the Catskills by the Detroit Publishing Company provide an invaluable reference for both the photographer and historian. The photographer can appreciate the visual impact of the scenes, combined with the technical mastery that is clearly evident in the composition, tone and sharpness of all the photographs; while the historian can appreciate the architecture and village scenes as they once stood over a century ago.

 

The works of the Detroit Publishing Company can be found in numerous collections of historical societies, libraries and museums across the United States. Locations holding the works of the Detroit Publishing Company include the Library of Congress, the New York Public Library, the Yale University Library, the Henry Ford Museum and the Colorado Historical Society, among many others.

 

Select Sources

 

Beaumont, Newhall; Diana E. Edkins. William H. Jackson. Fort Worth, Texas: Amon Carter Museum of Western Art, 1974.

 

Benson Ford Research Center. Finding Aid for Detroit Publishing Company Collection. Dearborn, MI: Benson Ford Research Center, July 2013.

 

Burdick, Jefferson R. The Handbook of Detroit Publishing Co. Postcards. Essingston, PA: Hobby Publications, 1954.

 

Davis, Jack; Ryan, Dorothy. Samuel L. Schmucker: The Discovery of His Lost Art. Bozeman, Montana: Olde America Antiques, 2001.

 

Hannavy, John. Encyclopedia of Nineteenth-Century Photography. New York: Routledge, 2008.

 

Hughes, Jim. The Birth of a Century: Early Color Photographs of America. New York: St. Martin’s Press, 1994.

 

Jackson, William Henry. Time Exposure: The Autobiography of William Henry Jackson. New York: G. P. Putnam’s Sons, 1940.

 

Knauth, Kristin. “News from the National Digital Library Program: 25,000 Vintage Photos Made Available on the Internet.” Library of Congress Information Bulletin. Vol. 55, No. 2. February 5, 1996. pp. 33-35.

 

Lowe, James L.; Ben Papell. Detroit Publishing Company Collector’s Guide. Newton Square, PA: Deltiologists of America, 1975.

 

Ryan, Dorothy B. Picture Postcards in the United States 1893-1918. 1982.

 

Stechschulte, Nancy Stickels. The Detroit Publishing Company Postcards. Big Rapids, Michigan: N. S. Stechschulte, 1994.

 

Tinder, David V. Directory of Early Michigan Photographers. Ann Arbor, Michigan: University of Michigan, 2013.

 

Waitley, Douglas. William Henry Jackson: Framing the Frontier. Missoula, Montana: Mountain Press Publishing Company, 1998.

 

Weber, Bruno. “Around the World in Photochrom.” Germany Around the Turn of the Century. Zurich: Orell Fussli, 1990.

 

[1] Jackson, William Henry. Time Exposure: The Autobiography of William Henry Jackson. New York: G. P. Putnam’s Sons, 1940. p. 330.

[2] “Receiver’s Sale.” Detroit Free Press (Detroit, Michigan). January 9, 1924.

[3] “What is a Photochrom.” The Akron Beacon and Republican (Akron, Ohio). March 23, 1895.

 

 

 

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[email protected] (American Catskills) Catskill Mountains Catskills Detroit Detroit Photographic Company Detroit Publishing Company Edwin H. Husher Kingston Lake Minnewaska Lake Mohonk Library of Congress phostint photochrom Photocrhom Company photographs photography photos pictures postcards publisher William A. Livingstone William Henry Jackson https://www.americancatskills.com/blog/2023/4/detroit-publishing-company-capturing-the-beauty-of-the-catskills-part-2 Sat, 15 Apr 2023 12:00:00 GMT
Detroit Publishing Company: Capturing the Beauty of the Catskills (Part 1) https://www.americancatskills.com/blog/2023/4/detroit-publishing-company-capturing-the-beauty-of-the-catskills-part-1 Introduction

 

“One firm, the Detroit Publishing Company, a part of the Detroit Photographic Company, covered the length and breadth of America shortly after the turn of the century and chronicled as no other publisher attempted the diversity of people, activity, and industry found in the United States.”

 

 

The Detroit Publishing Company, earlier known as the Detroit Photographic Company and the Photochrom Company, was established in 1895 by William A. Livingstone, a Detroit businessman and publisher, and Edwin H. Husher, a photographer and photo-publisher. The company would grow to become one of the largest American publishers of photographic prints, postcards and lantern slides in the early decades of the 20th century. Part of the company’s extensive inventory included beautiful black-and-white photographs and colorized photochrom postcards from the central and northern Catskills and from the city of Kingston, as well as the Mohonk Mountain House and Lake Minnewaska areas near New Paltz.

 

Kaaterskill lakes and mountain, Catskill Mts., N.Y.Kaaterskill lakes and mountain, Catskill Mts., N.Y.

Kaaterskill lakes and mountain, Catskill Mts., N.Y. Library of Congress.

 

The Founders – William A. Livingstone

 

William Allan Livingstone (1867-1924), co-founder of the Detroit Publishing Company, was born on January 13, 1867, the son of William Livingstone (1844-1925), a prominent Detroit businessman in the shipping, banking and publishing industries. William was the eldest of eight children.

 

William Livingston, the father, moved with his family to Detroit at the age of five. His work career began at the age of 17 as a machinist, but he then entered a partnership with Robert Downie to operate a grocery store. Thereafter he opened his own business, expanding it greatly over time. Operations would eventually include a wholesale and resale grocery, flour and grain merchant, lumber dealer, operating a fleet of tugboats and founding his own steamship company. As he continued to prosper, he helped establish the Detroit Dime Savings Bank, serving as its president for many years, and purchased the Detroit Evening Journal. He helped found the still operating Lake Carriers Association, serving as its president for many years. The Livingstone Channel on the lower Detroit River near Grosse Ile and the Livingstone Memorial Lighthouse on Belle Isle are both named in his honor.

 

William, the son, was educated to become an engineer, having graduated with a degree in mechanical engineering from the University of Michigan in 1889.

 

Livingstone served as an agent for the Anchor, Western and Union Steamboat lines for four years. He resigned his position in 1897, citing ill-health and “a desire to engage in a business that promised better returns.”[1] Upon his resignation he bought stock in the Photochrom Company, became the company manager and embarked upon a business trip to Europe.

 

The 1900 United States census listed Livingstone’s profession as “Manager – Photochrom Co.” The 1910 United States census listed his profession as “Publisher – Own Business.” The 1920 United States census listed his profession as “Manager – Publishing Co.”

 

As his career progressed, Livingstone was the first president of the Print Publishers’ Association of the United States, a prominent industry group comprised of picture and photographic publishers. He was a member of the public lighting company and, in efforts to support the local community, served as treasurer for the Detroit High School Scholarship Fund. Within the legal area he contributed to the development of copyright law on prints, photographs and music, as well as being instrumental in the development of tariff policies for the United States.

 

William Livingston, after being ill for several weeks, passed away at St. Mary’s Hospital in Detroit, Michigan on October 26, 1924. Funeral services were held on October 28 at the family residence at 76 Eliot Street. He is buried at Woodmere Cemetery in Detroit.

 

The Founders – Edwin H. Husher

 

Edwin Hector Husher (1863-1923), co-founder of the Detroit Publishing Company, was born in 1863 in the state of Indiana. He was the son of photographer Jacob W. Husher and his wife Mary M. Husher. Jacob Husher (1823-1879) operated his own photographic studio at Terre Haute, Indiana during the 1860s and early 1870s and later at Greencastle, Indiana from circa 1873 to 1879. He had attended Asbury University and worked for some time as a teacher. Jacob was active in the community, being a member of the Roberts Chapel, the International Order of Odd Fellows and the National Photographic Association.[2] He died in 1879 by suicide after contracting typhoid fever, which induced him to cut his own throat with a razor.[3] He is buried at Woodlawn Cemetery in Terre Haute, Indiana.

 

Before establishing the Detroit Publishing Company, Edwin Husher had a varied career across multiple locations. With the passing of his father in 1879, he began to work as a photographer at Greencastle, Indiana. The United States census of 1880, taken when Edwin was only 17 years of age, already listed his profession as “photographer.” He then worked as a reporter and photographer for the Courier-Journal at Louisville, Kentucky.

 

By the mid-1880s Husher had moved to San Francisco, where he worked as the chief operator at the famous Taber Gallery, operated by Isaiah West Taber, who was “one of the most prominent and ambitious west coast photographers of the last third of the nineteenth century.”[4] Husher went on to become a photographer of some note in his own right, being described in 1887 as “one of the best photographers in the United States.”[5] Husher was a prominent member of the Olympic Club and was also a member of the California Camera Club.[6]

 

Husher is credited with taking the first aerial pictures in California when he ascended in a hot air balloon over the city of San Francisco on April 15, 1887. The first photo was taken from an altitude of 2,000 feet, with the flight eventually reaching the height of 7,200 feet. Below is a description of that first aerial photo in California.

 

“The first photograph was taken at a reasonable distance from the earth; in consulting the barometer, that faithful instrument registered an altitude of 2,000 feet. The city was no far away. There was just enough distance to lend enchantment to the view; the white breakers broken on the ocean beach, and the beautiful bay lay spread out before the view. We could hear the sounds of the people below, we could even hear the bell of the Market street cars, which looked toy-like as they crept down the long narrow track. As for the city itself, it looked like a ward and precinct map laid out in regular squares, and showing strange gaps among the crowded blocks. The City Hall was plainly discernible, and looked quite finished; such is the illusion of the skies. The Palace Hotel was strongly reminiscent of a child’s wooden house. Tall square buildings had the advantage over those which were turreted and spired. The churches were flattened out, and nothing of the Nob Hill residences were to be seen. Indeed, so small a hill as Nob Hill has no standing in high altitudes.”[7]

 

The resulting photos were published to much acclaim in the San Francisco Daily Examiner.

 

“Although the scheme of photographing San Francisco from the heavens had been conceived by the EXAMINER, the entire success of the experiment was largely owing to the courage and skill of young photographer, Mr. E. H. Husher, who risked his life for the purpose of adding something more to the knowledge of his fellow men; and the readers of the EXAMINER are very much indebted to him for their idea of the appearance of San Francisco a mile away from earth.”[8]  

 

W. K. Burton wrote in The Photographic News issue of July 8, 1887 about the technical aspects of Husher’s pioneering aerial work at San Francisco.

 

“The camera used was 10 x 8 size, and it was fixed on a swivel arrangement, over the edge of the car, which enabled it to be directed at any angle with the perpendicular. Twelve plates of American make were taken, a No. 3 euroscope lens was used – precise focus not known to me, but long for a 10 by 8 plate – and the exposures were made by the aid of a rapid double action shutter.

 

From the twelve plates, six good negatives resulted. Husher noted what has, I believe, been observed by all who have made attempt at balloon photography, that there is great difficulty in getting contrast in the negative. This is due probably to lack of any deep shadows (the under sides of all objects being of course hid from view, and every point seen being illuminated at least by the whole sky), and also to somewhat of land mist.”[9]

 

Several months later Husher also took the first aerial photos of the city of Los Angeles on June 26, 1887 from a hot-air balloon. The balloon reached heights of 14,400 feet over the city as it floated for nearly several hours. Husher, leaning over the side of the basket, took 13 photographs of scenes that included the city of Los Angeles, the Santa Monica Valley and the San Fernando Valley.

 

“The most curious one [photograph] was that of Santa Monica, taken through an opening in the clouds. A view of this character is believed to be the only one ever secured in the world. Taken all in all the trip will prove to have been one of the most notable balloon voyages in ballooning annals on this coast.”[10]

 

Husher also traveled extensively in his pursuit of photographic beauty. In 1886 he traveled to the Mount St. Elias region of Alaska in the summer of 1886 and to Montana in 1887.

 

In August 1888 through March 1889 Husher worked in the American southwest and in Mexico as a photographer for the Hemenway Southwestern Archaeological Expedition. Husher primarily worked from Camp Cibola near Zuni, New Mexico, one of several base camps for the expedition, but also took a trip to central Mexico and Teotihuacan in December 1888. Husher’s involvement with the Hemenway expedition was funded by Isaiah West Taber, his gallery manager at San Francisco, who agreed to pay all of Husher’s expenses in exchange for the right to photograph the expedition and to publish the pictures. According to Taber’s catalog, Husher produced at least 60 photographs of the expedition.[11] Husher left Camp Cibola in mid-March 1889, returning to San Francisco.

 

In 1889 Husher was again on the move, journeying to Alaska on behalf of the Taber gallery. The San Francisco Examiner noted in October 1889 that Husher, during his Alaska trip, was credited with “the first pictures ever taken along the Icy Coast from Mount St. Elias to Yakatat, from Dry Bay to the Great Davidson Glacier.”[12]

 

“Queer sights are to be seen from vicinity of Mount St. Elias at Icy Bay to the Indian village of Yakutat, down to Dry Bay past the Fairweather Range to the Davidson Glacier. When the traveler extends this trip to Disenchantment Bay and the Muir Glacier, and has also visited Sitka, he has made a trip of over 600 miles along a coast and through strange fiords that are new to the explorer.

 

Such a trip was recently made by E. H. Husher, the artist for Taber & Co., this city, who recently narrowly escaped being wrecked in the schooner Alpha. Much of his voyage was, however, made in an Indian canoe. He has succeeded in getting, for the first time in many instances, views of places destined henceforth to be noted in the history of Alaska.”[13]

 

Husher faced extremely challenging conditions at many points during his Alaskan adventure. At one point, he was presumed dead by reports in the local newspapers when the ship he was traveling on disappeared. The San Francisco Examiner in its September 28, 1889 issue even published the last letter that had been received from Husher.[14] Fortunately, Husher and the crew and passengers aboard the schooner Alpha were rescued, as described in The Record-Union of Sacramento.

 

“The steamship Corona arrived here [Port Townsend] this morning from Alaska. Among her passengers was Husher, the artist, who left San Francisco last spring on a trip to Alaska, and who was supposed to have been lost on the schooner Alpha, at Yukutat Bay. Mr. Husher left Sitka on the 4th of August, on the schooner Alpha, as the guest of her owner, Jeff Kuhn, for Yukutat, to procure some views of Mount St. Elias.

 

Returning, the Alpha sailed from Yukutat August 17th, when she encountered terrific southeasterly gales, and was driven back to Yukutat in a disabled condition. The wrecked crew and passenger were contemplating the alternative of passing the winter there or making an overland journey of 250 miles on foot and by canoe to Chilkat. To make this journey it would be necessary to wait until the snow fell and use snow shoes, the moss and undergrowth rendering the country otherwise impassable. Their rations were reduced to half a sack of beans.

 

Upon the arrival of the revenue cutter Rush at Sitka, the officers learning of the fears for the schooner’s safety, proceeded in search at once, and found her after about a thirty-six hour run at Yukutat Bay, and brought the crew and passengers to Sitka, where they were provided and cared for. The prompt action of Captain Shepherd, commander of the Rush, after arriving from a three months’ cruise in Behring Sea, is commended with feelings of gratitude by the rescued parties. The schooner was beached and abandoned at Yukutat Bay. She is a fifteen-ton vessel and was a fur-trader.”[15]

 

After moving circa 1892 to Detroit, Michigan Husher operated his own gallery, a long-standing enterprise that that was previously owned by photographer Frank N. Tomlinson, and before that by photographer Joseph E. Watson.

 

“Since taking possession of this studio he has greatly increased its facilities and developed a large additional and permanent trade. The premises comprise the second and third floors of the building. The second floor is devoted to the reception parlors and toilet rooms, and are elegantly furnished and arranged, while on the third floor are the operating rooms, which are also thoroughly provided, printing rooms and dark and finishing rooms. Mr. Husher executes photography in all its branches, and produces in all his work the best and most beautiful effects. It is perhaps needless to add that his patrons are of the refined and cultivated classes, who appreciate art at its true value.”[16]

 

Husher’s work was published in the 1893 book titled Picturesque Detroit and Environs. The book was published by the Picturesque Publishing Company of Northampton, Massachusetts, the same company that would publish Picturesque Catskills: Greene County in 1894. Husher served as a judge during the 15th Annual Convention of the Photographers’ Association of America that was held in Detroit from August 6 to 9, 1895.[17]

 

Husher’s collection of negatives was added to the inventory of the Photochrom Company when it was founded. The 1900 United States census listed his profession as “superintendent.” Husher would very effectively work as the company manager, helping lead the company to become one of the largest American publishers of the early 20th century.

 

Husher resigned from the Photochrom Company in 1903 and retired to California, where he became a farmer after purchasing an orange grove. The 1910 United States census listed Edwin’s profession as farmer, while the 1920 United States census listed his profession as real estate agent. Edwin Husher passed away from an “aneurism of ascending aorta” in 1923.

 

Rise to Prominence

 

“Photochroms combine photographic exactitude with the charm of a painting, and unite the color beauty of a picture with the advantages of photography.”[18]

 

 

The Photochrom Company was established in 1895 at Detroit, Michigan with the intended “purposes of the corporation are to erect a factory and to manufacture and sell photographs and art goods in colors, by the photochrom process owned by the Photochrom Co., of Switzerland; the operations of the concern to be confined to the United States and Canada.”[19]

 

The company was established with a common stock of $300,000, of which $100,000 was preferred stock. There were 20,000 shares of common stock, which were originally owned by Rudolphe A. Demme, 7,100 shares; Horace W. Avery, 7,000 shares; Edwin H. Husher, 4,800 shares; and Hans Rutishausen, 1,000 shares.

 

Rudolph Demme, one of the first shareholders, was quickly removed from the company for embezzlement, after stealing some of the money that had been raised to build the company’s first manufacturing plant.[20] In 1897 the Photochrom Company filed a lawsuit in the Wayne Circuit Court against Demme for $25,000 in damages. It was claimed that Demme owed over $10,000 to the company due to accounting irregularities. Demme was succeeded as manager of the company by William A. Livingstone.[21]

 

Demme, the son of a prominent physician, had arrived in the United States during the 1890s from Berne, Switzerland. In 1895 he married Flora A. Whitney, daughter of David Whitney, Jr., one of the most prominent citizens of the city of Detroit. In a newspaper description of their wedding, Demme was described as “a young man of brilliant mentality and excellent business qualifications, and a representative of one of the oldest and wealthiest families in Switzerland.”[22] In 1904 Demme and Whitney were divorced upon her claims of his desertion since 1901, during which time Demme had moved to Paris. Whitney then married Edward J. Schmidt, with the marriage only lasting several years and ending in divorce. Whitney, with the encouragement of her young daughter, then remarried Demme in 1910. Whitney passed away in 1915.

 

Horace W. Avery (1858-1932), another of the first shareholders, was born at Port Huron, son of Newell Avery (1817-1877), a prominent Michigan lumber baron and one of the founders of the Republican party at Jackson, Michigan in 1854. He went to school at Port Huron and at Detroit, graduating from Chester (PA) Military Academy. In addition to his early interests in the Photochrom Company, Avery served as secretary and treasurer of the Detroit, Belle Isle & Windsor Ferry Company. He was a charter member of the Detroit Athletic Club and played pitcher on the club’s first baseball team. Avery left Detroit around 1912, spending several years cruising the Mississippi River on his yacht with his family, eventually moving to New Orleans. With the death of his wife Avery moved in the home of his son at Swarthmore, Pennsylvania. He passed away at Swarthmore in 1932 and is buried at Forest Lawn Cemetery in Detroit.

 

The photochrom technique, “considered to constitute a significant achievement in printing technology,”[23] was invented in the 1880s by Hans Jakob Schmid (1856-1924). Schmid worked for the Swiss graphic arts publishing firm Orell Füssli, a printing firm whose history began in the 16th century. Schmid, from the Swiss town of Nurensdorf, was the son of a carpenter, but was orphaned at the young age of eleven. Having lost his father, he therefore had to grow up quickly, and therefore began his apprenticeship in 1868 with August Wilhelm Fehrenbach, a lithographer and stencil manufacturer. By 1875 or 1876 he was working as a machinist in Geneva, before joining the Orell Fussli company in November 1876. He first worked as a lithographer and then as a machinist.

 

After several years of detailed experimentation, the photochrom process was patented in Austria-Hungary on January 4, 1888. It was vaguely described by Orell Fussli as “a process for direct photographic transfer of the original for litho and chromographic printing plates by means of a single negative.”[24] The images were marketed as “nature color photographs.”

 

With the commercial promise of the invention Heinrich Wild-Wirth (1840-1896), a partner in the Orell Fussli company, established the Photochrom & Co. Zurich company in 1889. With its merger with Schroder & Co. in 1895 the company changed names to Photoglob & Co. Zurich, and since 1974 the company has been known as Photoglob AG. After its founding an extensive sales network was organized, including agencies in many major cities. The photochrom process was also licensed out beyond continental Europe to companies like the Photochrom Company Ltd. in London, England and the Photochrom Company (later the Detroit Publishing Company) in the United States.

 

The Photochrom Company at Detroit obtained the exclusive American rights to use the “photochrom” process from the Photoglob Company of Zurich, Switzerland. This revolutionary new process allowed for the conversion of black-and-white photographs into color images and for the mass production of prints, postcards, and albums. At the time color photography as we know it did not exist, therefore the exclusive rights to the “photochrom” process provided the Photochrom Company at Detroit a significant competitive advantage throughout the United States. From 1907 the company also used “Phostint” as a trade name for the improved photochrom process.

 

Once the Photochrom Company at Detroit had acquired the process rights, they recruited Albert Schuler and a small team of workers to move from Zurich to Detroit. Schuler was born in 1874 in Zurich, and “was known by his adopted name Albert Vollenwider during his youth. At the age of 14, he began his apprenticeship with Orell Fussly and, at the age of 19, he was commissioned to travel throughout the Middle East from 1893 to 1897. These travels produced the photographs that now belong to the University of Pennsylvania Museum.”[25]

 

Schuler immigrated to the United States in 1897, becoming a naturalized citizen in 1905. Having worked for Orell Fussli for many years, Schuler was an expert with the photochrom process, and would become foreman for manufacturing production at the Photochrom Company, a position that he held for the next 25 years.

 

After the Detroit Publishing Company went bankrupt in 1924 “Schuler set out to innovate the photomechanical and colorization processes, searching ‘for ways to produce color prints at only half the former price.’ Schuler’s innovation was a success – particularly for the advertisement industry. The ‘Schuler process’ spread throughout the United States, increasing the production of color advertisements. Schuler established ‘a plant of his own to exploit his invention profitably,’ but was unable to turn his technical success into financial success. After the venture failed, Schuler, along with his wife and daughters, moved to Royal Oak, a suburb of Detroit, where he lived until he died at the age of 80 years old.”[26]

 

Technically speaking, the “photochrom” process allowed for the production of colorized images from a single black-and-white photographic negative via the direct photographic transfer of the negative onto lithographic printing plates. The process is a photographic variant of chromolithography (color lithography). Because no color information was preserved in the photographic process, the photographer would make detailed notes on the colors within the scene and use the notes to hand paint the negative before transferring the image through colored gels onto the printing plates.

 

Mr. Norris C. Baker of the Orell Fussli Arts Graphiques Sa Zurich company described the “photochrom” process in a letter to Jeff R. Burdick, author of the 1954 The Handbook of Detroit Publishing Co. Postcards.

 

“Photochrom is a lithographic process based on photographic halftone copies on stone. It is characterized by the fact that it works without any screen. The stone is sensitized by Syrian asphalt and the negative has to be copied on as many stones as colors are needed. Then the copies are developed and retouched by specialists who also make the color-separation. The stones can be used either for direct lithographic printing or for offset (flat offset or normal offset by transfers). Although runs of 30,000-40,000 can be made from the same plate, photochrom is especially suitable for smaller runs of several thousand copies, for which it is generally cheaper than a reproduction by screen-photolith.”[27]

 

From the inception of the Photochrom Company at Detroit reviews of its new color photographs were very positive. The Detroit Free Press wrote in August, 1895 about the company’s display of work at the local art museum.

 

“At the entrance to the east and west wings of the addition, the Photochrom Co. has an excellent exhibit of photochroms, or views in color photography. For many years science has occupied itself with the solution of the color photography problem, and there are perhaps 500 craftsmen in the world engaged on the problem at the present time. A partial success has been achieved in producing natural colors by photographic process, but the difficulty has been to hold the colors. The Photochrom Co. claims that it has succeeded in effecting a faithful photographic reproduction of the colors a few subjects on a mat surface that run to a brown tone. The subjects are happily chosen and faultlessly executed, displaying the sympathy of the artist. The old man saying grace over a frugal meal is perhaps the most pathetic, and one of the most striking pictures in the collection. The expression of the old weather-beaten, time-worn features, the surroundings are all true to nature. An harmonious effect is produced by the mounting of those pictures on natural finished oak.[28]

 

10124_Boulder Rock and Hotel Kaaterskill, Catskill Mountains10124_Boulder Rock and Hotel Kaaterskill, Catskill Mountains

10124_Boulder Rock and Hotel Kaaterskill, Catskill Mountains. Author's collection.

 

The company, in 1896, first established its operations at Wyandotte, Michigan, located just south of Detroit. The cost of constructing the plant was $50,000. It was estimated that the plant would first be staffed by 12 operators, although there was room to grow to 50 operators.

 

“As soon as the weather permits ground will be broken for the buildings, the plans for which will be a modification of those used in the erection of the plant of the Photoglobe Co., at Zurich, Switzerland. These plans call for a three-story brick building, 160x120, including wings. Besides this main building there will be several other smaller structures for various purposes. The building will be erected in the center of a three-acre lot, so as to obtain an unobstructed north and south exposure. Other buildings that may go up on adjoining property can therefore not obstruct the light. The second and third floor will be devoted exclusively to the photochrom process proper. There will be a very large skylight to the north on the third floor for the purpose of reproducing oil paintings, etc. The printing of photochroms will be done on the roof.”[29]

 

The company plant would later move to several other locations in Detroit, including 8 Witherall Street, the corner of 13th Street and Linden Street, a retail store at 281 Woodward Avenue, the corner of Vermont Avenue and Alexdrine Avenue, a retail store at 235 Woodward Avenue and 2373 17th Street.

 

In 1897 the Photochrom Company held an exhibition of its pictures at Leonard’s Furniture Store at 230 Woodward Avenue. The exhibition of photochrom pictures received very high praise.

 

The exhibition “is well worth the visit of all lovers of art and the curious. In the collection are 1,000 pictures, the first output of the Photochrom Co., of this city. This company bought from the Swiss company, which originated the process, the exclusive right to North and South America and Canada. Since July the Detroit concern has built at Thirteenth and Linden streets a large plant, which is now in full operation. The views on exhibition are reproductions from nature, in colors as nearly representing the natural hues as man can do it, of landscapes, scenic views, etc., the most striking of which is a reproduction of Niagara Falls in winter, as seen from Goat Island. The green water, the piles of ice and snow, rainbow effects in the spray and fall of water, are vividly brought out.

 

The company has 11,000 negatives from which to draw, representing scenes and types of people caught in Europe, from the north to the south, and from Liverpool to the east. By January 1 the company will have ready for exhibition a series of views of Belle Isle park, and, later, a series representing Yellowstone Park in all its beauty will be shown. The company will in time send expert photographers to all parts of the United States. City, country, mountain, river, hill, meadow, lake, coast – nothing likely to arouse human interest will be passed over in the search for subjects. And when this country is exhausted there are Canada and Central and South America to furnish an almost inexhaustible supply of material.

 

The pictures are made on plates, specially prepared for that purpose, and the highest type of photographic skill must be employed in order that reflection, refraction, the handling of the camera and the selection of the most fitting subjects, from the most advantageous positions, may be achieved.”[30]

 

As the company grew the Detroit Photographic Company, as it now called itself, increased its collection of photographs through the employment of its own photographers and by purchasing the collections of other photographers. Noteworthy photographers for the company included Lycurgus S. Glover (1858-1935), Henry Greenwood Peabody (1855-1951), John S. Johnston (c.1839-1899), Herbert R. Fitch (1868-1968), Clarence S. Jackson (1876-1961), Almon J. Tripp (c.1882-1962) and Edward H. Hart.

 

However, perhaps the most notable photographer to join the Detroit Photographic Company was William Henry Jackson (1843-1942). Jackson, a Civil War veteran, painter, and explorer, made a name for himself through his photography of the American West, including his work for the U.S. Geological and Geographic Survey of the Territories. He was the first person to photograph the scenes of what would become Yellowstone National Park, with his photographs playing an instrumental role in persuading Congress to establish Yellowstone as the country’s first national park.

 

In 1897 Jackson, facing mounting financial challenges, joined the Detroit firm as a partner, bringing with him his entire stock of glass plate negatives that then formed the core of the company’s visual offerings.

 

“During my few hours in New York I had run into an old acquaintance of mine, E. H. Husher, a well-known photographer of California scenes, who had recently returned from Switzerland, where he had been sent by a group of Detroit men to study a new photo-lithographic process for reproducing pictures in color. He told me that American rights to the process had been bought by his associates and that the Photochrom Company had been organized to exploit it. Most important (at least from my point of view), Husher, as superintendent, had recommended to his superior, William A. Livingstone, that the new company absorb the W. H. Jackson Company in order to acquire a stock of negatives. Furthermore, Husher had urged Mr. Livingstone to offer me a suitable position with the company.”[31]

 

For joining the company Jackson was offered $30,000, which included $5,000 in cash and $25,000 in company stock. Upon joining the company Jackson at first continued as a photographer, but eventually he and his family moved to Detroit, where he became the plant manager and company president. By 1903, at the age of 60, and with Husher’s retirement, Jackson had ended his work in the field to primarily focus on the plant operations, where he played an increasingly important role. He left the company when it went into receivership in 1924.

 

In 1905 the Detroit Photographic Company changed its name to the Detroit Publishing Company as it expanded its business beyond the publication of photographs, to include publishing catalogs, sales and promotional materials.

 

Throughout its history the Detroit Publishing Company sought opportunity to expand its business, often in reaction to public sentiment. In 1898, with the beginning of the Spanish-American War, there was huge public interest in the company’s photographs of Cuba and war-related scenes. There was also great interest in photographs of warships.

 

In the early 1900s the company signed a lucrative contract with the “Harvey House” chain of souvenir shops, restaurants and hotels to produce postcards to be sold at all their locations. The Harvey House chain of businesses operated alongside several busy railroads in the western United States. The postcards were used to promote the southwest as a travel destination, and to promote the Harvey businesses themselves.

 

In 1910 the Detroit Publishing Company expanded its line of images to include photographic replicas of artwork. This proved to be very popular, with the images being marketed as an educational tool, and being utilized as moderately priced home décor. Exhibits of the reproductions, with most of the public likely not ever being able to view the originals, were held throughout the country.

 

“Thistle Publications are the very beautiful reproductions of old and modern masters which are made by the Detroit Publishing Company of Detroit, Mich. These pictures are not only beautiful, they are almost perfect reproductions of their originals. Such critical artists as Winslow Homer, Henry W. Ranger and Gari Melchers have expressed their satisfaction in what this company has done with their pictures.”[32]

 

Starting in 1912 the company issued edited sets of 40 picture postcards titled Little “Phostint” Journeys, each set representing a specific region or subject. The 1912 Phostint catalog stated of the sets: “Tours through the Wonder Places of America illustrated in high grade Phostint post cards executed in nature’s coloring.” Advertisements stated that the sets were appropriate “for tourists, educators, fireside travelers, and users of projection lanterns.” There were 41 known volumes of Little “Phostint” Journeys, with some of the popular series including Historic Boston and Vicinity, New York City, The Quaker City (Philadelphia), Old Charleston, The Great Lakes, The Land of Sunshine, Yosemite and the Big Trees, Down the Mississippi, Missions of the Southwest and many more. Each journey was sold either in the form of a book with leather backs and titles in gold, advertised as “suitable for best library shelves,” or in cartons.

 

On the breadth of subjects published by the Detroit Publishing Company noted postcard historian Dorothy Ryan, in Picture Postcards in the United States: 1893-1918, wrote:

 

“One firm, the Detroit Publishing Company, a part of the Detroit Photographic Company, covered the length and breadth of America shortly after the turn of the century and chronicled as no other publisher attempted the diversity of people, activity, and industry found in the United States.

 

The hustle of large cities, the languor of small towns, farming and light industry, steel and other heavy manufacturing, harbors and shipping, the mansions of the wealthy and the tenements and ghettos of the poor, the varied social minorities; taken as a whole, a Detroit collection forms a rich and varied tapestry of what might be termed the “The American Scene.”[33]

 

At its height the Detroit Publishing Company had approximately 40,000 negatives in its inventory, from which it produced approximately seven million prints annually, and employed 40 artists and 12 traveling salesmen. The company maintained retail outlets in Detroit, New York, Boston, Los Angeles, London and Zurich, and controlled a worldwide distribution system that included mail-order and sales at prominent resorts and tourist attractions.

 

[1] “Agent Livingstone Resigns.” The Detroit Free Press (Detroit, Michigan). July 29, 1897.

[2] “Editor’s Table.” The Philadelphia Photographer. Vol. 16, No. 185. May 1879. p. 159.

[3] “Indiana.” Fort Wayne Daily Gazette (Fort Wayne, Indiana). April 11, 1879.

[4] Palmquist, Peter E.; Thomas R. Kailbourn. Pioneer Photographers of the Far West: A Biographical Dictionary 1840-1865. Stanford, California: Stanford University Press, 2000. p. 538.

[5] “Mr. Husher, Who Goes Up.” Los Angeles Herald (Los Angeles, California). June 23, 1887.

[6] The American Amateur Photographer. Vol. 2, No. 5. May 1890.

[7] “Sky-High.” The Daily Examiner (San Francisco, California). April 17, 1887.

[8] “Sky-High.” The Daily Examiner (San Francisco, California). April 17, 1887.

[9] Burton, W. K. “Notes on Photography at San Francisco.” The Photographic News. Vol. 31, No. 1505. July 8, 1887.

[10] “Above the Clouds.” The San Francisco Examiner (San Francisco, California). June 28, 1887.

[11] Husher, E. H. “The Hemenway Photography of E. H. Husher, 1888-1889: Three Images.” Journal of the Southwest 37, no. 4 (1995): 701-9. http://www.jstor.org/stable/40169951.

[12] “The Camera in Alaska.” The San Francisco Examiner (San Francisco, California). October 20, 1889.

[13] “The Camera in Alaska.” The San Francisco Examiner (San Francisco, California). October 20, 1889.

[14] “Lost in Wild Waters.” The San Francisco Examiner (San Francisco, California). September 28, 1889.

[15] “Rescued by the Rush.” The Record-Union (Sacramento, California). October 3, 1889.

[16] Detroit of To-day, The City of the Strait. Detroit: Phoenix Publishing Co., 1893. p. 153.

[17] “Fifteenth Annual Convention, Photographers’ Association of America.” American Journal of Photography. Vol. 16, No. 190. October, 1895. p. 476.

[18] “The Photochrom Company.” The Detroit Free Press (Detroit, Michigan). December 30, 1896.

[19] “Photochrom Co. Incorporated.” The Detroit Free Press (Detroit, Michigan). December 13, 1895.

[20] Marks, Ben. “In Living Color: The Forgotten 19th-Century Photo Technology that Romanticized America.” Collectors Weekly. May 23, 2014.

[21] “News of the Courts.” The Detroit Free Press (Detroit, Michigan). August 11, 1897.

[22] “Demme-Whitney Wedding.” Detroit Free Press (Detroit, Michigan.) June 26, 1895.

[23] Hannavy, John. Encyclopedia of Nineteenth-Century Photography. New York: Routledge, 2008. p. 1079.

[24] “Patents.” Photographic Correspondence. No. 330. 1888. p. 135.

[25] Kadish, Josh. “A Picture is Worth a Thousand Words: Albert Schuler’s “Jaffa Gate” and the History of Holy Land Photography.” Kedma: Penn’s Journal on Jewish Thought, Jewish Culture, and Israel. Vol. 2, No. 5 Spring & Summer 2020.

[26] Kadish, Josh. “A Picture is Worth a Thousand Words: Albert Schuler’s “Jaffa Gate” and the History of Holy Land Photography.” Kedma: Penn’s Journal on Jewish Thought, Jewish Culture, and Israel. Vol. 2, No. 5 Spring & Summer 2020.

[27] Burdick, Jefferson R. The Handbook of Detroit Publishing Co. Postcards. Essingston, PA: Hobby Publications, 1954. p. 54.

[28] “Preservative of Art.” The Detroit Free Press (Detroit, Michigan). August 8, 1895.

[29] “Located at Wyandotte.” The Detroit Free Press (Detroit, Michigan). December 18, 1895.

[30] “Photochrom Exhibition.” The Detroit Free Press (Detroit, Michigan). December 19, 1897.

[31] Jackson, William Henry. Time Exposure: The Autobiography of William Henry Jackson. New York: G. P. Putnam’s Sons, 1940. p. 321.

[32] Zug, George B. “Among the Art Galleries.” The Inter Ocean (Chicago, Illinois). May 18, 1913.

[33] Ryan, Dorothy B. Picture Postcards in the United States 1893-1918. 1982. p. 149.

 

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[email protected] (American Catskills) Catskill Mountains Catskills Detroit Detroit Photographic Company Detroit Publishing Company Edwin H. Husher Kingston Lake Minnewaska Lake Mohonk Library of Congress phostint photochrom Photocrhom Company photographs photography photos pictures postcards publisher William A. Livingstone William Henry Jackson https://www.americancatskills.com/blog/2023/4/detroit-publishing-company-capturing-the-beauty-of-the-catskills-part-1 Sat, 08 Apr 2023 12:00:00 GMT
Merrill & Humphries, Delhi, NY Photographic Partnership: New Gallery https://www.americancatskills.com/blog/2023/4/merrill-humphries-delhi-ny-photographic-partnership-new-gallery The partnership of Merrill and Humphries operated a drug store located at the village of Delhi in Delaware County, New York while also publishing scenic postcards of the western Catskills region from 1911 to 1928. After the partnership dissolved in 1928, Pierre B. Merrill continued to publish postcards under his own name.

 

See my blog post titled “Merrill & Humphries – Delhi, New York Photography Partnership” published on February 6, 2021 for an interesting biography of this famed photographic partnership.

 

I have recently acquired over 40 postcards that were published either by the partnership of Merrill & Humphries or by P. B. Merrill. All the postcards can be viewed on the Gallery page at: Gallery > Historic Catskills Photographers > Merrill & Humphries – Delhi, NY Photographers.

 

Below Sherwood’s Bridge, Delhi, N.Y.

Vintage postcard by Merrill and Humphries of the Delaware River below Sherwood’s Bridge in Delhi, New York.Below Sherwood’s Bridge, Delhi, N.Y.Sherwood’s Bridge crosses the West Branch of the Delaware River on Sherwood Road in the town of Delhi, New York. According to the history of the county “The first church in the town of Delhi stood just below Sherwood’s bridge on the opposite side of the river, and was built in 1811.”

The postcard was published by Merrill & Humphries of Delhi, New York. The postmark on the reverse side shows that it was mailed in 1919.

 

Delaware River and Boomhour Mountain, Delhi, N.Y.

Delaware River and Boomhour Mountain, Delhi, N.Y.Delaware River and Boomhour Mountain, Delhi, N.Y.

 

River Valley from Federal Hill, Delhi, N.Y.

River Valley from Federal Hill, Delhi, N.Y.River Valley from Federal Hill, Delhi, N.Y.

 

Scene on Delhi-Bloomville New York State Highway

Vintage postcard titled “Scene on Delhi-Bloomville New York State Highway” that was published by photographer P. B. Merrill.Scene on Delhi-Bloomville New York State HighwayThis vintage postcard titled “Scene on Delhi-Bloomville New York State Highway” was published by photographer P. B. Merrill. The postcard was never mailed.

 

Fitch's Bridge and Delaware River, Delhi, N.Y.
Fitch's Bridge and Delaware River, Delhi, N.Y.Fitch's Bridge and Delaware River, Delhi, N.Y.

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[email protected] (American Catskills) Catskill Mountains Catskills Delaware County Delhi drug store Merrill & Humphries Merrill and Humphries Merrill's Drug Store New York photographer photographs photography Pierre B. Merrill postcards shop store William A. Humphries https://www.americancatskills.com/blog/2023/4/merrill-humphries-delhi-ny-photographic-partnership-new-gallery Sat, 01 Apr 2023 12:00:00 GMT
Schuyler S. Cornell: New Portraits and Stereoviews https://www.americancatskills.com/blog/2023/3/schuyler-s-cornell-new-portraits-and-stereoviews Schuyler S. Cornell (1843-1927) was a popular photographer who operated out of the village of Stamford in Delaware County, New York for nearly 50 years. He operated a portrait studio on Main Street in the village and was also well known for his landscapes of the surrounding western Catskills.

 

I have recently acquired seven new stereoviews and three new portraits that were taken by Cornell. They have all been added to his gallery page.

 

Delaware Street, looking north

24_Delaware Street, looking north24_Delaware Street, looking northAuthor's Collection.

 

Delaware Street, Residence of Judge I. H. Maynard

25_Delaware Street, Residence of Judge I. H. Maynard25_Delaware Street, Residence of Judge I. H. MaynardAuthor's Collection.

 

Devasego Falls from North Bank

40_Devasego Falls from North Bank40_Devasego Falls from North BankAuthor's Collection.

 

View of Roadway to Mount Jefferson

45_View of Roadway to Mount Jefferson45_View of Roadway to Mount JeffersonAuthor's Collection.

 

View North from Mount Jefferson

46_View North from Mount Jefferson46_View North from Mount JeffersonAuthor's Collection.

 

Mountain View

Mountain ViewMountain ViewAuthor's Collection.

 

Landscape View

Landscape ViewLandscape ViewAuthor's Collection.

 

Portrait, Grandma Barlur

Portrait, Grandma BarlurPortrait, Grandma BarlurAuthor's Collection.

Photographer: S. S. Cornell

Schuyler S. Cornell was a popular photographer who operated out of the village of Stamford in Delaware County, New York for nearly 50 years. He operated a portrait studio on Main Street in the village and was also well known for his landscapes of the surrounding western Catskills.

 

Portrait, Uncle Jeb Barlur

Portrait, Uncle Jeb BarlurPortrait, Uncle Jeb BarlurAuthor's Collection.

Photographer: S. S. Cornell

Schuyler S. Cornell was a popular photographer who operated out of the village of Stamford in Delaware County, New York for nearly 50 years. He operated a portrait studio on Main Street in the village and was also well known for his landscapes of the surrounding western Catskills.

 

Portrait, R. L. Barlur and wife

Portrait, R. L. Barlur and wifePortrait, R. L. Barlur and wifeAuthor's Collection.

Photographer: S. S. Cornell

Schuyler S. Cornell was a popular photographer who operated out of the village of Stamford in Delaware County, New York for nearly 50 years. He operated a portrait studio on Main Street in the village and was also well known for his landscapes of the surrounding western Catskills.

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[email protected] (American Catskills) Catskill Mountains Catskills Delaware County gallery Jeb Barlur New York photographer photographs photography portraits R. L. Barlur S. S. Cornell Schuyler S. Cornell soldier Stamford stereoviews studio Views of Stamford & Vicinity village https://www.americancatskills.com/blog/2023/3/schuyler-s-cornell-new-portraits-and-stereoviews Sat, 25 Mar 2023 12:00:00 GMT
Stereoviews of the Catskills by the E. & H. T. Anthony Co. https://www.americancatskills.com/blog/2023/3/stereoviews-of-the-catskills-by-the-e-h-t-anthony-co The E. & H. T. Anthony company was the largest 19th-century manufacturer and distributor of cameras and photographic supplies in the United States. The company was founded by Edward Anthony (1818-1888) and his brother Henry T. Anthony (1814-1884). Regionally, the company produced many of the greatest views of the Catskills of the 19th century. The Catskills stereoviews were incorporated into several series including The Artistic Series, The Glens of the Catskills, and Winter in the Catskills. Each of the photographs demonstrates the enduring beauty of the Catskills, being as equally compelling today as they were 150 years ago.

 

I have recently acquired six new stereoviews of the Catskills that were published by the E. & H. T. Anthony & Company. Each of the stereoviews have all been added to the Anthony gallery, which now contains 134 of the company’s Catskills works.

 

Glen Cottage near Kauterskill Falls (# 8547)

Vintage E. & H. T. Anthony & Co. stereoview # 8547 titled “Glen Cottage near Kauterskill Falls” in the “The Glens of the Catskills” series.8547_Glen Cottage near Kauterskill FallsPublisher: E. & H. T. Anthony & Co.
Series name: Glens of the Catskills
Stereoview #: 8547
Title: Glen Cottage near Kauterskill Falls.

 

Bears Den, North Mountain (# 8550, version 2)

8550, version 2_Bears Den, North Mountain8550, version 2_Bears Den, North MountainPublisher: E. & H. T. Anthony & Co.
Series name: The Glens of the Catskills
Stereoview #: 8550, version 2
Title: Bears Den, North Mountain.

 

Looking Down Kauterskill Notch (# 8553)

Vintage E. & H. T. Anthony stereoview # 8553 titled “Looking Down Kauterskill Notvch” in the “The Glens of the Catskills” series.8553_Looking Down Kauterskill NotchPublisher: E. & H. T. Anthony & Co.
Series name: Glens of the Catskills
Stereoview #: 8553
Title: Looking Down Kauterskill Notch.

 

Kauterskill Clove and Hain's Fall from Sunset Rock, Hunter Mountain in the distance (# 9066)

Vintage E. & H. T. Anthony & Co. stereoview # 9066 titled “Kauterskill Clove and Hain’s Fall from Sunset Rock, Hunter Mountain in the distance” from “The Glens of the Catskills” series.9066_Kauterskill Clove and Hain's Fall from Sunset Rock, Hunter Mountain in the distancePublisher: E. & H. T. Anthony & Co.
Series name: The Glens of the Catskills
Stereoview #: 9066
Title: Kauterskill Clove and Hain’s Fall from Sunset Rock, Hunter Mountain in the distance.

 

The Valley of the Lake from North Mountain – High Peak and Round Top in the distance – High Peak 3800 ft. from level of the Hudson River (# 9075)

Vintage E. & H. T. Anthony & Co. stereoview # 9075 titled “The Valley of the Lake from North Mountain – High Peak and Round Top in the distance – High Peak 3800 ft. from level of the Hudson River” fro9075_The Valley of the Lake from North Mountain – High Peak and Round Top in the distance – High Peak 3800 ft. from level of the Hudson RiverPublisher: E. & H. T. Anthony & Co.
Series name: The Glens of the Catskills
Stereoview #: 9075
Title: The Valley of the Lake from North Mountain – High Peak and Round Top in the distance – High Peak 3800 ft. from level of the Hudson River.

 

Icy Bridge (# 809)

Vintage E. & H. T. Anthony & Company stereoview # 809 from the “Winter in the Catskills” series depicting an ice-covered bridge.809_Icy Bridge.Publisher: E. & H. T. Anthony & Co.
Series name: Winter in the Catskills
Stereoview #: 809
Title: None listed; Description: Icy Bridge

Reverse side: “These are some of the most remarkable Ice and Snow scenes in existence, and every assortment of stereoscopic views should contain a selection from them.”

 

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[email protected] (American Catskills) Catskill Mountains Catskills E. & H. T. Anthony Edward Anthony Gems of American Scenery Glens of the Catskills Henry T. Anthony New York photographer photographs photography photos pictures stereo view stereograph stereoscopic stereoviews The Artistic Series Winter in the Catskills https://www.americancatskills.com/blog/2023/3/stereoviews-of-the-catskills-by-the-e-h-t-anthony-co Sat, 18 Mar 2023 12:00:00 GMT
The Foot Race, Loch Sheldrake, N.Y. https://www.americancatskills.com/blog/2023/3/the-foot-race-loch-sheldrake-n-y For several years now I have been collecting postcards and photographs from throughout the four-county region of the Catskills. Most of my purchases have focused on specific requirements, perhaps a particular photographer, or a certain location, and some items for my Catskills: Then and Now series.

 

Every once in a while though I will come across a postcard or photograph that does not fit a particularly category, but will nonetheless capture my attention. That was certainly the case with this vintage postcard titled “The Foot Race, Loch Sheldrake, N.Y.”

 

In this vintage postcard five young men speedily take off at the beginning of an apparently very serious foot race at the hamlet of Loch Sheldrake in Sullivan County, New York. All the young men are well dressed, each wearing nice pants and dress shirts, and three of them wearing ties. Given the stylish clothes and the large cross that looms above them in the background, perhaps the race was taking place after a Sunday church service. Also in the background, just behind the young men, an older man gleefully jumps in the air, perhaps signaling the start of the race.

 

Each of the young men take off with sheer determination, as seen in their facial expressions, speeding their way down the dirt road to an unseen finish line. One can only imagine what the challenge was or what was at stake for these five young men to inspire such determination.

 

The postcard was published by L. G. Laidlaw as part of his Artino Series. The postcard was never mailed.

 

Vintage postcard published by L. G. Laidlaw depicting five young men beginning a very serious foot race at Loch Sheldrake, New York.The Foot Race, Loch Sheldrake, N.Y.In this vintage postcard five young men speedily take off at the beginning of an apparently very serious foot race at the hamlet of Loch Sheldrake in Sullivan County, New York. All the young men are well dressed, each wearing nice pants and dress shirts, and three of them wearing ties. Given the stylish clothes and the large cross that looms above them in the background, perhaps the race was taking place after a Sunday church service. Also in the background, just behind the young men, an older man gleefully jumps in the air, perhaps signaling the start of the race.

Each of the young men take off with sheer determination, as seen in their facial expressions, speeding their way down the dirt road to an unseen finish line. One can only imagine what the challenge was or what was at stake for these five young men to inspire such determination.

The postcard was published by L. G. Laidlaw as part of his Artino Series. The postcard was never mailed.

 

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[email protected] (American Catskills) boys Catskill Mountains Catskills foot race L. G. Laidlaw Loch Sheldrake men N.Y. photograph postcard race run running sport Sullivan County The Foot Race https://www.americancatskills.com/blog/2023/3/the-foot-race-loch-sheldrake-n-y Sat, 11 Mar 2023 13:00:00 GMT
Ashokan-Turnwood Covered Bridge – A Photographic Study https://www.americancatskills.com/blog/2023/3/ashokan-turnwood-covered-bridge-a-photographic-study The historic Ashokan-Turnwood Covered Bridge is located at the Ashokan Center in the Catskills hamlet of Olivebridge, New York. The bridge is listed on the National Register of Historic Places “as a rare and substantially intact example of rural vernacular bridge design and construction in the Catskill region.”

 

Photograph of the Ashokan-Turnwood Covered Bridge, located at the Ashkokan Center in the Catskills hamlet of Olivebridge, New York.Ashokan-Turnwood Covered BridgeThe historic Ashokan-Turnwood Covered Bridge is located at the Ashokan Center in Olivebridge, New York.

The town lattice truss bridge, spanning 72 feet over the famed Esopus Creek, was originally built in 1885 by Nelson Tompkins to span the Beaver Kill in the small western Catskills hamlet of Turnwood. After being replaced by a modern steel bridge, the covered bridge was sold, and all bridge parts were numbered, dismantled, moved, and reconstructed at its current location, then a private estate, in 1939. The Ashokan-Turnwood Covered Bridge is listed on the National Register of Historic Places. It is one of 24 covered bridges in New York State that has been identified as historic.

 

Photograph of the Ashokan-Turnwood Covered Bridge, located at the Ashkokan Center in the Catskills hamlet of Olivebridge, New York.Across the CreekThe historic Ashokan-Turnwood Covered Bridge is located at the Ashokan Center in Olivebridge, New York.

The town lattice truss bridge, spanning 72 feet over the famed Esopus Creek, was originally built in 1885 by Nelson Tompkins to span the Beaver Kill in the small western Catskills hamlet of Turnwood. After being replaced by a modern steel bridge, the covered bridge was sold, and all bridge parts were numbered, dismantled, moved, and reconstructed at its current location, then a private estate, in 1939. The Ashokan-Turnwood Covered Bridge is listed on the National Register of Historic Places. It is one of 24 covered bridges in New York State that has been identified as historic.

 

Photograph of the Ashokan-Turnwood Covered Bridge, located at the Ashkokan Center in the Catskills hamlet of Olivebridge, New York.Morning at the Ashokan-Turnwood Covered BridgeThe historic Ashokan-Turnwood Covered Bridge is located at the Ashokan Center in Olivebridge, New York.

The town lattice truss bridge, spanning 72 feet over the famed Esopus Creek, was originally built in 1885 by Nelson Tompkins to span the Beaver Kill in the small western Catskills hamlet of Turnwood. After being replaced by a modern steel bridge, the covered bridge was sold, and all bridge parts were numbered, dismantled, moved, and reconstructed at its current location, then a private estate, in 1939. The Ashokan-Turnwood Covered Bridge is listed on the National Register of Historic Places. It is one of 24 covered bridges in New York State that has been identified as historic.

 

The Ashokan-Turnwood Covered Bridge was originally built in 1885 by Nelson Tompkins to span the Beaver Kill in the small western Catskills hamlet of Turnwood, town of Hardenbergh, Ulster County. The hamlet of Turnwood, and thus the bridge, took its name from the small hand turning mill owned by Hooper Tripp that was located there.

 

As the covered bridge approached 50 years of age it was becoming increasingly dangerous due to growing automobile and truck traffic, as well as limited sight lines and the sharp turns required at both portals. In 1934 the bridge was declared unsafe by the local government. In 1938 severe local flooding damaged the stone abutments. The following year, in 1939, after being replaced by a modern steel bridge, the Ashokan-Turnwood Covered Bridge was sold at auction for one dollar to prominent businessman Lester A. Moehring. All the bridge parts were numbered, dismantled, moved, and reconstructed at its current location, then Moehring’s private estate.

 

In 1955 the Moehring property was sold to Frank V. Banks, who renamed the property Barrington Lodge. Banks only owned the property for two years, selling it in 1957 to the State University Teacher’s College at New Paltz, now SUNY New Paltz, for use as recreational camp for students and faculty. It was later used for the outdoor education of schoolchildren and for teacher training. In 2008 the property was sold to the Open Space Conservancy, who in turn sold a portion of the land to the New York City Department of Environmental Protection to facilitate water supply operations and the rest of the land to the non-profit Ashokan Foundation.

 

At its current location the single span Ashokan-Turnwood Covered Bridge crosses over the famed Esopus Creek, immediately east of Winchell Falls. The bridge portals are oriented north and south. The bridge measures 72 feet long and 16 feet wide. It is constructed using the town lattice truss design and is set upon on abutments of dry laid fieldstone capped with concrete.

 

Photograph of the Ashokan-Turnwood Covered Bridge, located at the Ashkokan Center in the Catskills hamlet of Olivebridge, New York.All's Quiet at the Ashokan-Turnwood Covered BridgeThe historic Ashokan-Turnwood Covered Bridge is located at the Ashokan Center in Olivebridge, New York.

The town lattice truss bridge, spanning 72 feet over the famed Esopus Creek, was originally built in 1885 by Nelson Tompkins to span the Beaver Kill in the small western Catskills hamlet of Turnwood. After being replaced by a modern steel bridge, the covered bridge was sold, and all bridge parts were numbered, dismantled, moved, and reconstructed at its current location, then a private estate, in 1939. The Ashokan-Turnwood Covered Bridge is listed on the National Register of Historic Places. It is one of 24 covered bridges in New York State that has been identified as historic.

 

Photograph of the Ashokan-Turnwood Covered Bridge, located at the Ashkokan Center in the Catskills hamlet of Olivebridge, New York.Ten Dollars FineThe historic Ashokan-Turnwood Covered Bridge is located at the Ashokan Center in Olivebridge, New York.

The town lattice truss bridge, spanning 72 feet over the famed Esopus Creek, was originally built in 1885 by Nelson Tompkins to span the Beaver Kill in the small western Catskills hamlet of Turnwood. After being replaced by a modern steel bridge, the covered bridge was sold, and all bridge parts were numbered, dismantled, moved, and reconstructed at its current location, then a private estate, in 1939. The Ashokan-Turnwood Covered Bridge is listed on the National Register of Historic Places. It is one of 24 covered bridges in New York State that has been identified as historic.

 

Photograph of the Ashokan-Turnwood Covered Bridge, located at the Ashkokan Center in the Catskills hamlet of Olivebridge, New York.Town Lattice, Ashokan-Turnwood Covered BridgeThe historic Ashokan-Turnwood Covered Bridge is located at the Ashokan Center in Olivebridge, New York.

The town lattice truss bridge, spanning 72 feet over the famed Esopus Creek, was originally built in 1885 by Nelson Tompkins to span the Beaver Kill in the small western Catskills hamlet of Turnwood. After being replaced by a modern steel bridge, the covered bridge was sold, and all bridge parts were numbered, dismantled, moved, and reconstructed at its current location, then a private estate, in 1939. The Ashokan-Turnwood Covered Bridge is listed on the National Register of Historic Places. It is one of 24 covered bridges in New York State that has been identified as historic.

 

The Ashokan-Turnwood Covered Bridge is currently located on the property of the Ashokan Center, a non-profit organization dedicated to outdoor and environmental education. Located on over 370 acres, the Ashokan Center hosts school and hobby groups as well as community events such as blacksmithing, square dancing, guitar camp and a fall festival. The beautiful property is like taking a step back in time being home. In addition to the Ashokan-Turnwood Covered Bridge, beautiful sites at the Ashokan Center include Winchell Falls, Cathedral Gorge, an 1817 schoolhouse, a large lake, a barnyard and a horse pasture. The Ashokan Center, historically known as The Ashokan Field Campus Historic District, is listed on the National Register of Historic Places. Visit the Ashokan Center website at www.ashokancenter.org for more information.

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[email protected] (American Catskills) architecture Ashokan Center Ashokan Field Campus Ashokan-Turnwood Covered Bridge Beaverkill Beaverkill Road bridge Catskill Mountains Catskills covered bridge Esopus Creek Matthew Jarnich National Register of Historic Places Nelson Tompkins New York Olivebridge photographer photography photos pictures SUNY New Paltz tourism travel Turnwood https://www.americancatskills.com/blog/2023/3/ashokan-turnwood-covered-bridge-a-photographic-study Sat, 04 Mar 2023 13:00:00 GMT
Beaverkill Covered Bridge – A Photographic Study https://www.americancatskills.com/blog/2023/2/beaverkill-covered-bridge-a-photographic-study “If there is one stream more than another that deserves the title of a perfect trout-stream it is the Beaverkill.” – Benjamin Kent

 

 

The historic Beaverkill Covered Bridge is located north of the Catskills hamlet of Livingston Manor in Sullivan County, New York. The historic bridge provides a scenic background as part of the Beaverkill State Campground, one of the oldest campgrounds in the Catskills.

 

Photograph of the Beaverkill Covered Bridge, located north of the Catskills hamlet of Livingston Manor in Sullivan County, New York.Beaverkill Covered Bridge

 

Photograph of the Beaverkill Covered Bridge, located north of the Catskills hamlet of Livingston Manor in Sullivan County, New York.Crossing the Beaverkill

 

Photograph of the Beaverkill Covered Bridge, located north of the Catskills hamlet of Livingston Manor in Sullivan County, New York.Beautiful Morning at the Beaverkill Covered Bridge

 

The bridge was originally built in 1865 by John Davidson, a Scottish immigrant, farmer, lumberman and famous Catskills covered bridge builder. The town lattice truss bridge is 14.5 feet wide and spans 98 feet over the famed Beaverkill River. It is open to vehicular traffic and continues to this day as a key river crossing point for local communities. The Beaverkill Covered Bridge is listed on the National Register of Historic Places.

 

Grave site for John Davidson, builder of the Bendo Covered Bridge, the Livingston Manor Covered Bridge and the Beaverkill Covered Bridge.RIP John, Amanda and Clara DavidsonLew Beach, Sullivan County

John Davidson (1815-1875) was a Scottish immigrant, farmer, lumberman, sawmill owner and famous Catskills covered bridge builder. He constructed the Bendo Covered Bridge (1860), the Livingston Manor Covered Bridge (1860) and the Beaverkill Covered Bridge (1865).

John was born in 1815 in the Highlands of Scotland to shepherd William Davidson (1786-1876) and Rebecca Black (1786-1870). Along with his family, John Davidson immigrated to the United States in 1819. The family first moved to Andes where they spent 1 ½ years, before settling down at Campbell Mountain near Downsville in Delaware County, New York. The family owned 140 acres of forest that was improved in to a working family farm.

At some time in the 1840s John Davidson moved to a farm near the hamlet of Shin Creek (now known as Lew Beach) in the Beaverkill Valley in the Town of Rockland, Sullivan County. On February 27, 1845, John Davidson married Amanda Joscelyn (~1823-1902), daughter of Hon. G. S. Joscelyn. John and Amanda had 14 children together. John died in 1875 during an accident involving “falling logs” at the Voorhees mill. Both John and Amanda are buried at the Davidson Cemetery near Lew Beach.

 

The aging Beaverkill Covered Bridge was restored between 2015 and 2017. New York State Governor Andrew Cuomo announced the project’s completion in June 2017 with a press release that included a description of the work completed. “Extensive repairs were made to the one-lane bridge, including a full replacement of the timber decking, roofing and siding, and replacement of selected floor beams, roof rafters and support members as necessary. The abutment on the eastern side of the bridge was reconstructed to replicate the original stone approach ramp. The western abutment was resurfaced with stone from the eastern approach ramp in order to replicate the original stone wall appearance. As part of the project, a walkway underneath the bridge – located between the eastern pier and abutment – was widened. One of the bridge piers was repaired.” (www.governor.ny.gov. “Governor Cuomo Announces Completion of Historic Covered Bridge Rehabilitation Project.” Albany, NY. June 21, 2017.)

 

The Beaverkill Covered Bridge, seen here with exposed town lattice trusses due to the removed siding, underwent a major restoration project between 2015 and 2017.UncoveredLivingston Manor, Sullivan County

The historic Beaverkill Covered Bridge, also known as Conklin Bridge, was originally built in 1865 by John Davidson, a Scottish immigrant, farmer, lumberman and famous Catskills covered bridge builder. The town lattice truss bridge, located north of Livingston Manor, is 14.5 feet wide and spans 98 feet over the famed Beaverkill River. The historic bridge provides a scenic background as part of the Beaverkill State Campground, one of the oldest campgrounds in the Catskills. It is open to vehicular traffic and continues to this day as a key river crossing point for local communities. The Covered Bridge Pool, a scenic and popular fly-fishing location, is located adjacent and underneath the bridge. The Beaverkill Covered Bridge is listed on the National Register of Historic Places.

The aging Beaverkill Covered Bridge was restored between 2015 and 2017. New York State Governor Andrew Cuomo announced the project’s completion in June 2017 with a press release that included a description of the work completed. “Extensive repairs were made to the one-lane bridge, including a full replacement of the timber decking, roofing and siding, and replacement of selected floor beams, roof rafters and support members as necessary. The abutment on the eastern side of the bridge was reconstructed to replicate the original stone approach ramp. The western abutment was resurfaced with stone from the eastern approach ramp in order to replicate the original stone wall appearance. As part of the project, a walkway underneath the bridge – located between the eastern pier and abutment – was widened. One of the bridge piers was repaired.” (www.governor.ny.gov. “Governor Cuomo Announces Completion of Historic Covered Bridge Rehabilitation Project.” Albany, NY. June 21, 2017.)

 

The Beaverkill Covered Bridge, seen here with exposed town lattice trusses due to the removed siding, underwent a major restoration project between 2015 and 2017.UncoveredLivingston Manor, Sullivan County

The historic Beaverkill Covered Bridge, also known as Conklin Bridge, was originally built in 1865 by John Davidson, a Scottish immigrant, farmer, lumberman and famous Catskills covered bridge builder. The town lattice truss bridge, located north of Livingston Manor, is 14.5 feet wide and spans 98 feet over the famed Beaverkill River. The historic bridge provides a scenic background as part of the Beaverkill State Campground, one of the oldest campgrounds in the Catskills. It is open to vehicular traffic and continues to this day as a key river crossing point for local communities. The Covered Bridge Pool, a scenic and popular fly-fishing location, is located adjacent and underneath the bridge. The Beaverkill Covered Bridge is listed on the National Register of Historic Places.

The aging Beaverkill Covered Bridge was restored between 2015 and 2017. New York State Governor Andrew Cuomo announced the project’s completion in June 2017 with a press release that included a description of the work completed. “Extensive repairs were made to the one-lane bridge, including a full replacement of the timber decking, roofing and siding, and replacement of selected floor beams, roof rafters and support members as necessary. The abutment on the eastern side of the bridge was reconstructed to replicate the original stone approach ramp. The western abutment was resurfaced with stone from the eastern approach ramp in order to replicate the original stone wall appearance. As part of the project, a walkway underneath the bridge – located between the eastern pier and abutment – was widened. One of the bridge piers was repaired.” (www.governor.ny.gov. “Governor Cuomo Announces Completion of Historic Covered Bridge Rehabilitation Project.” Albany, NY. June 21, 2017.)

 

The Covered Bridge Pool, a scenic and popular fly-fishing location, is located adjacent and underneath the bridge. The historic plaque at the site reads: “Covered Bridge Pool. This stretch of the Beaverkill was a favorite of Theodore Gordon (1854-1915). Fly fisher, fly-tier and creator of the Quill Gordon, one of the first purely American dry flies. Erected by Theodore Gordon Flyfishers.”

 

Photograph of the sign for the Covered Bridge Pool, located at the Beaverkill Covered Bridge, north of the Catskills hamlet of Livingston Manor in Sullivan County, New York.Covered Bridge PoolThe Covered Bridge Pool, a scenic and popular fly-fishing location, is located adjacent and underneath the historic Beaverkill Covered Bridge. The bridge is located north of the Catskills hamlet of Livingston Manor in Sullivan County, New York.

The historic plaque at the site reads: “Covered Bridge Pool. This stretch of the Beaverkill was a favorite of Theodore Gordon (1854-1915). Fly fisher, fly-tier and creator of the Quill Gordon, one of the first purely American dry flies. Erected by Theodore Gordon Flyfishers.”

The historic Beaverkill Covered Bridge provides a scenic background as part of the Beaverkill State Campground, one of the oldest campgrounds in the Catskills. The bridge was originally built in 1865 by John Davidson, a Scottish immigrant, farmer, lumberman and famous Catskills covered bridge builder. The town lattice truss bridge is 14.5 feet wide and spans 98 feet over the famed Beaverkill River. It is open to vehicular traffic and continues to this day as a key river crossing point for local communities. The Beaverkill Covered Bridge is listed on the National Register of Historic Places.

 

Photograph of the autumn colors on the Beaverkill, located north of the Catskills hamlet of Livingston Manor in Sullivan County, New York, near the Covered Bridge.Morning on the BeaverkillThe Beaverkill, or Beaver Kill, is a 44-mile tributary of the East Branch Delaware River. The reputation of the Beaverkill as an unparalleled trout fly-fishing destination is known far and wide. Seen here are the autumn colors of the Catskills at the Covered Bridge Pool, aptly named for the adjacent Beaverkill Covered Bridge.

The historic Beaverkill Covered Bridge is located north of the Catskills hamlet of Livingston Manor in Sullivan County, New York. The historic bridge provides a scenic background as part of the Beaverkill State Campground, one of the oldest campgrounds in the Catskills.

 

The Beaverkill, or Beaver Kill, is a 44-mile tributary of the East Branch Delaware River. It has its source near the col between Graham Mountain and Doubletop Mountain. The reputation of the Beaverkill as an unparalleled trout fly-fishing destination is known far and wide.

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[email protected] (American Catskills) Beaverkill Camp Road Beaverkill Covered Bridge Beaverkill River Beaverkill State Campground Beaverkill State Park Beaverkill Valley bridge brook camp campground camping Catskill Mountains Catskills covered bridge Covered Bridge Pool creek fish fishing fly-fishing John Davidson Livingston Manor Matthew Jarnich National Register of Historic Places New York photographer photographs photos pool river Roscoe Theodore Gordon tourism travel https://www.americancatskills.com/blog/2023/2/beaverkill-covered-bridge-a-photographic-study Sat, 25 Feb 2023 13:00:00 GMT
Tanbark Trail at Phoenicia https://www.americancatskills.com/blog/2023/2/tanbark-trail-at-phoenicia The Tanbark Trail in the Catskills hamlet of Phoenicia offers a moderately challenging 2.1-mile route, with views from both Phoenicia Overlook and Grand View Ledge. Both wonderful viewpoints overlook the hamlet of Phoenicia, surrounded by the idyllic Esopus Valley landscape of Mount Pleasant (2,900 feet), Romer Mountain (2,160 feet), and Panther Mountain (3,730 feet, the 17th highest mountain in the Catskills). Route 28, Route 214 and the south ridge of Sheridan Mountain are all visible.

 

The woods and mountains surrounding Phoenicia were once home to two prominent industries, including the quarrying of local bluestone and the tanning of leather utilizing the abundant hemlock trees in the area. The Tanbark Trail follows some of the old roads that were constructed for these industries.

 

The Grand View Overlook and the Phoenicia Overlook provide wonderful mountain views overlooking the Catskills hamlet of Phoenicia and the Esopus Valley landscape.Grand View Ledge, AutumnGrand View Ledge, and the nearby Phoenicia Overlook, provides a wonderful mountain view overlooking the hamlet of Phoenicia, surrounded by the idyllic Esopus Valley landscape of Mount Pleasant (2,900 feet), Romer Mountain (2,160 feet), and Panther Mountain (3,730 feet, the 17th highest mountain in the Catskills). Route 28, Route 214 and the south ridge of Sheridan Mountain are all visible. This is one of the best places I know of where you can see and feel the symbiotic relationship between man and nature that so epitomizes the Catskills.

 

The Grand View Overlook and the Phoenicia Overlook provide wonderful mountain views overlooking the Catskills hamlet of Phoenicia and the Esopus Valley landscape.Grand View LedgeGrand View Ledge, and the nearby Phoenicia Overlook, provides a wonderful mountain view overlooking the hamlet of Phoenicia, surrounded by the idyllic Esopus Valley landscape of Mount Pleasant (2,900 feet), Romer Mountain (2,160 feet), and Panther Mountain (3,730 feet, the 17th highest mountain in the Catskills). Route 28, Route 214 and the south ridge of Sheridan Mountain are all visible. This is one of the best places I know of where you can see and feel the symbiotic relationship between man and nature that so epitomizes the Catskills.

 

The Grand View Overlook and the Phoenicia Overlook provide wonderful mountain views overlooking the Catskills hamlet of Phoenicia and the Esopus Valley landscape.Grand view Overlook, Phoenicia, NYGrand View Ledge, and the nearby Phoenicia Overlook, provides a wonderful mountain view overlooking the hamlet of Phoenicia, surrounded by the idyllic Esopus Valley landscape of Mount Pleasant (2,900 feet), Romer Mountain (2,160 feet), and Panther Mountain (3,730 feet, the 17th highest mountain in the Catskills). Route 28, Route 214 and the south ridge of Sheridan Mountain are all visible. This is one of the best places I know of where you can see and feel the symbiotic relationship between man and nature that so epitomizes the Catskills.

 

The Grand View Overlook and the Phoenicia Overlook provide wonderful mountain views overlooking the Catskills hamlet of Phoenicia and the Esopus Valley landscape.Phoenicia OverlookThe Phoenicia Overlook, at an elevation of 1,145 feet, provides a wonderful mountain view overlooking the hamlet of Phoenicia, surrounded by the idyllic Esopus Valley landscape of Mount Pleasant (2,900 feet), Romer Mountain (2,160 feet), and Panther Mountain (3,730 feet, the 17th highest mountain in the Catskills). Route 28, Route 214 and the south ridge of Sheridan Mountain are all visible. This is one of the best places I know of where you can see and feel the symbiotic relationship between man and nature that so epitomizes the Catskills.

 

The Grand View Overlook and the Phoenicia Overlook provide wonderful mountain views overlooking the Catskills hamlet of Phoenicia and the Esopus Valley landscape.Phoenicia, From AboveThe Phoenicia Overlook, at an elevation of 1,145 feet, provides a wonderful mountain view overlooking the hamlet of Phoenicia, surrounded by the idyllic Esopus Valley landscape of Mount Pleasant (2,900 feet), Romer Mountain (2,160 feet), and Panther Mountain (3,730 feet, the 17th highest mountain in the Catskills). Route 28, Route 214 and the south ridge of Sheridan Mountain are all visible. This is one of the best places I know of where you can see and feel the symbiotic relationship between man and nature that so epitomizes the Catskills.

 

Photograph of a makeshift pile of bluestone, in the form of a shrine, located on the Tanbark Trail in the Catskills hamlet of Phoenicia, New York.Shrine to the Bluestone GodsThe Tanbark Trail in the Catskills hamlet of Phoenicia offers a moderately challenging 2.1-mile route, with views from both Phoenicia Overlook and Grand View Ledge. Both wonderful viewpoints overlook the hamlet of Phoenicia, surrounded by the idyllic Esopus Valley landscape of Mount Pleasant (2,900 feet), Romer Mountain (2,160 feet), and Panther Mountain (3,730 feet, the 17th highest mountain in the Catskills). Route 28, Route 214 and the south ridge of Sheridan Mountain are all visible.

The woods and mountains surrounding Phoenicia were once home to two prominent industries, including the quarrying of local bluestone and the tanning of leather utilizing the abundant hemlock trees in the area. The Tanbark Trail follows some of the old roads that were constructed for these industries. This quirky Shrine to the Bluestone Gods can be found along the Tanbark Trail.

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[email protected] (American Catskills) bluestone Catskill Mountains Catskills Grand View Ledge hemlock hike hiking Matthew Jarnich New York overlook Phoenicia Phoenicia Overlook photographer photographs photos Tanbark Trail tannery tanning tourism trail travel view https://www.americancatskills.com/blog/2023/2/tanbark-trail-at-phoenicia Sat, 18 Feb 2023 13:00:00 GMT
Phoenicia Diner https://www.americancatskills.com/blog/2023/2/phoenicia-diner The legendary Phoenicia Diner is located along Route 28 outside the Catskills hamlet of Phoenicia, New York. The diner structure was constructed in 1962 by the DeRaffele Manufacturing Company and was originally located on Long Island. The diner was then moved to its current location in the Catskills in the early 1980s. The first iteration of the diner, operated by owner Chris Raptis, served the public for nearly 30 years, closing its doors in 2011.

 

The following year, in 2012, the diner was bought by Mike Cioffi, a Brooklyn native who owned a cabin in the area. With no restaurant experience, he reinvigorated the establishment with a mix of diner favorites and trendy modern fare. Now operating for nearly a decade, the Phoenicia Diner remains a very popular establishment with visitors, weekenders and locals alike. Check out their website for more information including hours and menu: www.phoeniciadiner.com.

 

Photograph of the popular Phoenicia Diner, located along busy Route 28 outside the Catskills hamlet of Phoenicia, New York.Phoenicia DinerThe legendary Phoenicia Diner is located along Route 28 outside the hamlet of Phoenicia. The diner structure was constructed in 1962 by the DeRaffele Manufacturing Company and was originally located on Long Island. The diner was then moved to its current location in the Catskills in the early 1980s. The first iteration of the diner, operated by owner Chris Raptis, served the public for nearly 30 years, closing its doors in 2011.

The following year, in 2012, the diner was bought by Mike Cioffi, a Brooklyn native who owned a cabin in the area. With no restaurant experience, he reinvigorated the establishment with a mix of diner favorites and trendy modern fare. Now operating for nearly a decade, the Phoenicia Diner remains a very popular establishment with visitors, weekenders and locals alike. Check out their website for more information including hours and menu: www.phoeniciadiner.com.

 

Photograph of the popular Phoenicia Diner, located along busy Route 28 outside the Catskills hamlet of Phoenicia, New York.DinerThe legendary Phoenicia Diner is located along Route 28 outside the hamlet of Phoenicia. The diner structure was constructed in 1962 by the DeRaffele Manufacturing Company and was originally located on Long Island. The diner was then moved to its current location in the Catskills in the early 1980s. The first iteration of the diner, operated by owner Chris Raptis, served the public for nearly 30 years, closing its doors in 2011.

The following year, in 2012, the diner was bought by Mike Cioffi, a Brooklyn native who owned a cabin in the area. With no restaurant experience, he reinvigorated the establishment with a mix of diner favorites and trendy modern fare. Now operating for nearly a decade, the Phoenicia Diner remains a very popular establishment with visitors, weekenders and locals alike. Check out their website for more information including hours and menu: www.phoeniciadiner.com.

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[email protected] (American Catskills) Catskill Mountains Catskills diner food hickster hipster Matthew Jarnich Mike Cioffi New York Phoenicia Phoenicia Diner photographer photographs photos restaurant Route 28 tourism travel Ulster County https://www.americancatskills.com/blog/2023/2/phoenicia-diner Sat, 11 Feb 2023 13:00:00 GMT
Davy Crockett, at Phoenicia https://www.americancatskills.com/blog/2023/2/davy-crockett-at-phoenicia The imposing ten-foot-tall fiberglass statue of old Davy Crockett, standing proudly with a rifle over his shoulder and a coonskin cap on his head, can be found in front of the Sportsman’s Alamo Cantina in the Catskills hamlet of Phoenicia, New York. The statue has been a prominent part of the Phoenicia’s Main Street since at least the 1970s. It has become the unofficial mascot of Phoenicia, even being prominently displayed on the town sign, which is located at the hamlet entrance along Route 28. For several years, Davy Crockett Day was celebrated in the town of Shandaken (which includes Phoenicia), with events including a dedication ceremony, a look-alike contest and a ukulele concert featuring “The Ballad of Davy Crockett.”

 

Photograph of the Davy Crockett statue located in the Catskills hamlet of Phoenicia, New York.Davy CrockettThe imposing ten-foot-tall fiberglass statue of old Davy Crockett, standing proudly with a rifle over his shoulder and a coonskin cap on his head, can be found in front of the Sportsman’s Alamo Cantina in the Catskills hamlet of Phoenicia. The statue has been a prominent part of the Phoenicia’s Main Street since at least the 1970s. It has become the unofficial mascot of Phoenicia, even being prominently displayed on the town sign, which is located at the hamlet entrance along Route 28. For several years, Davy Crockett Day was celebrated in the town of Shandaken (which includes Phoenicia), with events including a dedication ceremony, a look-alike contest and a ukulele concert featuring “The Ballad of Davy Crockett.”

Davy Crockett (1786-1836) was a frontiersman, soldier, politician and American folk hero. As a frontiersman, Crockett gained a widespread reputation as a fearless scout, sharpshooter and bear hunter. As a solider, Crockett was a veteran of both the Creek War and the War of 1812. As a politician, he served as a congressman representing Tennessee in the US House of Representatives. As an all-around American folk hero, Crockett’s life was popularized in “The Lion of the West,” a play that first appeared in 1831. In popular culture he is often referred to as the “King of the Wild Frontier.” Further burnishing his legendary reputation, Davy Crockett famously died at the historic Battle of the Alamo in Texas in 1836.

Photograph of the Davy Crockett statue located in the Catskills hamlet of Phoenicia, New York.Davy Crockett, Phoenicia, New YorkThe imposing ten-foot-tall fiberglass statue of old Davy Crockett, standing proudly with a rifle over his shoulder and a coonskin cap on his head, can be found in front of the Sportsman’s Alamo Cantina in the Catskills hamlet of Phoenicia. The statue has been a prominent part of the Phoenicia’s Main Street since at least the 1970s. It has become the unofficial mascot of Phoenicia, even being prominently displayed on the town sign, which is located at the hamlet entrance along Route 28. For several years, Davy Crockett Day was celebrated in the town of Shandaken (which includes Phoenicia), with events including a dedication ceremony, a look-alike contest and a ukulele concert featuring “The Ballad of Davy Crockett.”

Davy Crockett (1786-1836) was a frontiersman, soldier, politician and American folk hero. As a frontiersman, Crockett gained a widespread reputation as a fearless scout, sharpshooter and bear hunter. As a solider, Crockett was a veteran of both the Creek War and the War of 1812. As a politician, he served as a congressman representing Tennessee in the US House of Representatives. As an all-around American folk hero, Crockett’s life was popularized in “The Lion of the West,” a play that first appeared in 1831. In popular culture he is often referred to as the “King of the Wild Frontier.” Further burnishing his legendary reputation, Davy Crockett famously died at the historic Battle of the Alamo in Texas in 1836.

 

Davy Crockett (1786-1836) was a frontiersman, soldier, politician and American folk hero. As a frontiersman, Crockett gained a widespread reputation as a fearless scout, sharpshooter and bear hunter. As a solider, Crockett was a veteran of both the Creek War and the War of 1812. As a politician, he served as a congressman representing Tennessee in the US House of Representatives. As an all-around American folk hero, Crockett’s life was popularized in “The Lion of the West,” a play that first appeared in 1831. In popular culture he is often referred to as the “King of the Wild Frontier.” Further burnishing his legendary reputation, Davy Crockett famously died at the historic Battle of the Alamo in Texas in 1836.

 

Photograph of the Davy Crockett statue located in the Catskills hamlet of Phoenicia, New York.King of the Wild FrontierThe imposing ten-foot-tall fiberglass statue of old Davy Crockett, standing proudly with a rifle over his shoulder and a coonskin cap on his head, can be found in front of the Sportsman’s Alamo Cantina in the Catskills hamlet of Phoenicia. The statue has been a prominent part of the Phoenicia’s Main Street since at least the 1970s. It has become the unofficial mascot of Phoenicia, even being prominently displayed on the town sign, which is located at the hamlet entrance along Route 28. For several years, Davy Crockett Day was celebrated in the town of Shandaken (which includes Phoenicia), with events including a dedication ceremony, a look-alike contest and a ukulele concert featuring “The Ballad of Davy Crockett.”

Davy Crockett (1786-1836) was a frontiersman, soldier, politician and American folk hero. As a frontiersman, Crockett gained a widespread reputation as a fearless scout, sharpshooter and bear hunter. As a solider, Crockett was a veteran of both the Creek War and the War of 1812. As a politician, he served as a congressman representing Tennessee in the US House of Representatives. As an all-around American folk hero, Crockett’s life was popularized in “The Lion of the West,” a play that first appeared in 1831. In popular culture he is often referred to as the “King of the Wild Frontier.” Further burnishing his legendary reputation, Davy Crockett famously died at the historic Battle of the Alamo in Texas in 1836.

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[email protected] (American Catskills) Catskill Mountains Catskills Davy Crockett main street mascot Matthew Jarnich Mystery Spot New York Phoenicia photographer photographs photos sculpture Shandaken Sportsman's Alamo Cantina statue symbol tourism travel Ulster County https://www.americancatskills.com/blog/2023/2/davy-crockett-at-phoenicia Sat, 04 Feb 2023 13:00:00 GMT
Phoenicia Railroad Station – A Photographic Study https://www.americancatskills.com/blog/2023/1/phoenicia-railroad-station-a-photographic-study The Phoenicia Railroad Station is located at the hamlet of Phoenicia in the town of Shandaken, Ulster County, New York. The station served the former Ulster and Delaware Railroad (UDRR).

 

The Phoenicia Railroad Station is located at the hamlet of Phoenicia in the town of Shandaken, Ulster County, New York.Phoenicia Railroad StationThe Phoenicia Railroad Station is located at the hamlet of Phoenicia in the town of Shandaken, Ulster County, New York. The station served the former Ulster and Delaware Railroad (UDRR).

The Rondout and Oswego Railroad was chartered in 1866 by Thomas Cornell. By 1872 the Rondout and Oswego was bankrupt, but was reorganized as the New York, Kington and Syracuse Railroad. This railroad, in 1875, also went bankrupt. It was then reorganized yet again as the Ulster and Delaware Railroad.

The Ulster and Railroad proved to be very successful, opening up the central Catskills region for expanded tourism and providing easy access to the numerous boarding houses and hotels along the line. At its greatest extent, the railroad originated at Kingston Point, on the Hudson River, and followed much of what is today’s Route 28, passing through four counties (Ulster, Delaware, Schoharie and Otsego), ultimately connecting to its western terminus at Oneonta. The Ulster and Delaware was advertised as “The Only All-Rail Route to the Catskill Mountains.” At its peak, in 1913, the railroad carried 675,000 passengers.

Eventually the rise of the automobile and changing vacation patterns led to a slow decline in business, and by 1932 the Ulster and Railroad was acquired by New York Central. The line was then operated by New York Central until 1954, when it ceased operations.

The Phoenicia Railroad Station was constructed in 1899 to replace an earlier station following conversion of the narrow-gauge line to Hunter to standard gauge. The new station handled baggage, mail, express and passenger traffic to and from Phoenicia. The building remained in service until the cessation of passenger traffic in 1954. The station was acquired by the Empire State Railway Museum, which was founded in 1960 and moved to Phoenicia in 1983. Visit the museum website at www.esrm.com for more information.

 

The Phoenicia Railroad Station is located at the hamlet of Phoenicia in the town of Shandaken, Ulster County, New York.Kingston Point to OneontaThe Phoenicia Railroad Station is located at the hamlet of Phoenicia in the town of Shandaken, Ulster County, New York. The station served the former Ulster and Delaware Railroad (UDRR).

The Rondout and Oswego Railroad was chartered in 1866 by Thomas Cornell. By 1872 the Rondout and Oswego was bankrupt, but was reorganized as the New York, Kington and Syracuse Railroad. This railroad, in 1875, also went bankrupt. It was then reorganized yet again as the Ulster and Delaware Railroad.

The Ulster and Railroad proved to be very successful, opening up the central Catskills region for expanded tourism and providing easy access to the numerous boarding houses and hotels along the line. At its greatest extent, the railroad originated at Kingston Point, on the Hudson River, and followed much of what is today’s Route 28, passing through four counties (Ulster, Delaware, Schoharie and Otsego), ultimately connecting to its western terminus at Oneonta. The Ulster and Delaware was advertised as “The Only All-Rail Route to the Catskill Mountains.” At its peak, in 1913, the railroad carried 675,000 passengers.

Eventually the rise of the automobile and changing vacation patterns led to a slow decline in business, and by 1932 the Ulster and Railroad was acquired by New York Central. The line was then operated by New York Central until 1954, when it ceased operations.

The Phoenicia Railroad Station was constructed in 1899 to replace an earlier station following conversion of the narrow-gauge line to Hunter to standard gauge. The new station handled baggage, mail, express and passenger traffic to and from Phoenicia. The building remained in service until the cessation of passenger traffic in 1954. The station was acquired by the Empire State Railway Museum, which was founded in 1960 and moved to Phoenicia in 1983. Visit the museum website at www.esrm.com for more information.

 

The Phoenicia Railroad Station is located at the hamlet of Phoenicia in the town of Shandaken, Ulster County, New York.Waiting RoomThe Phoenicia Railroad Station is located at the hamlet of Phoenicia in the town of Shandaken, Ulster County, New York. The station served the former Ulster and Delaware Railroad (UDRR).

The Rondout and Oswego Railroad was chartered in 1866 by Thomas Cornell. By 1872 the Rondout and Oswego was bankrupt, but was reorganized as the New York, Kington and Syracuse Railroad. This railroad, in 1875, also went bankrupt. It was then reorganized yet again as the Ulster and Delaware Railroad.

The Ulster and Railroad proved to be very successful, opening up the central Catskills region for expanded tourism and providing easy access to the numerous boarding houses and hotels along the line. At its greatest extent, the railroad originated at Kingston Point, on the Hudson River, and followed much of what is today’s Route 28, passing through four counties (Ulster, Delaware, Schoharie and Otsego), ultimately connecting to its western terminus at Oneonta. The Ulster and Delaware was advertised as “The Only All-Rail Route to the Catskill Mountains.” At its peak, in 1913, the railroad carried 675,000 passengers.

Eventually the rise of the automobile and changing vacation patterns led to a slow decline in business, and by 1932 the Ulster and Railroad was acquired by New York Central. The line was then operated by New York Central until 1954, when it ceased operations.

The Phoenicia Railroad Station was constructed in 1899 to replace an earlier station following conversion of the narrow-gauge line to Hunter to standard gauge. The new station handled baggage, mail, express and passenger traffic to and from Phoenicia. The building remained in service until the cessation of passenger traffic in 1954. The station was acquired by the Empire State Railway Museum, which was founded in 1960 and moved to Phoenicia in 1983. Visit the museum website at www.esrm.com for more information.

 

The Phoenicia Railroad Station is located at the hamlet of Phoenicia in the town of Shandaken, Ulster County, New York.BaggageThe Phoenicia Railroad Station is located at the hamlet of Phoenicia in the town of Shandaken, Ulster County, New York. The station served the former Ulster and Delaware Railroad (UDRR).

The Rondout and Oswego Railroad was chartered in 1866 by Thomas Cornell. By 1872 the Rondout and Oswego was bankrupt, but was reorganized as the New York, Kington and Syracuse Railroad. This railroad, in 1875, also went bankrupt. It was then reorganized yet again as the Ulster and Delaware Railroad.

The Ulster and Railroad proved to be very successful, opening up the central Catskills region for expanded tourism and providing easy access to the numerous boarding houses and hotels along the line. At its greatest extent, the railroad originated at Kingston Point, on the Hudson River, and followed much of what is today’s Route 28, passing through four counties (Ulster, Delaware, Schoharie and Otsego), ultimately connecting to its western terminus at Oneonta. The Ulster and Delaware was advertised as “The Only All-Rail Route to the Catskill Mountains.” At its peak, in 1913, the railroad carried 675,000 passengers.

Eventually the rise of the automobile and changing vacation patterns led to a slow decline in business, and by 1932 the Ulster and Railroad was acquired by New York Central. The line was then operated by New York Central until 1954, when it ceased operations.

The Phoenicia Railroad Station was constructed in 1899 to replace an earlier station following conversion of the narrow-gauge line to Hunter to standard gauge. The new station handled baggage, mail, express and passenger traffic to and from Phoenicia. The building remained in service until the cessation of passenger traffic in 1954. The station was acquired by the Empire State Railway Museum, which was founded in 1960 and moved to Phoenicia in 1983. Visit the museum website at www.esrm.com for more information.

 

The Ulster and Delaware Railroad had its founding roots with the Rondout and Oswego Railroad, chartered in 1866 by Thomas Cornell “in order to provide a route for goods from mid-state beyond the Catskills to the Hudson River.” By 1872 the Rondout and Oswego was bankrupt, but was reorganized as the New York, Kington and Syracuse Railroad. This railroad, in 1875, also went bankrupt. It was then reorganized yet again as the Ulster and Delaware Railroad.

 

The Ulster and Delaware Railroad proved to be very successful, opening up the central Catskills region for expanded tourism and providing easy access to the numerous boarding houses and hotels along the line. It also operated as a freight line, supporting the local agricultural, timber and bluestone industries in getting their products to market.

 

At its greatest extent, the railroad originated at Kingston Point, on the Hudson River, and followed much of what is today’s Route 28, passing through four counties (Ulster, Delaware, Schoharie and Otsego), ultimately connecting to its western terminus at Oneonta. The Ulster and Delaware Railroad was advertised as “The Only All-Rail Route to the Catskill Mountains.” At its peak, in 1913, the railroad carried 676,000 passengers.

 

In 1904 the railroad published the following description of the Phoenicia station and its scenic locale.

 

“PHOENICIA. This is one of the most important stations on the line. You are now twenty-eight miles from the river and 794 feet above it, with lofty mountain peaks on every hand. It is the entrance of the famous Stony Clove Canyon, and the southern terminus of the Stony Clove and Kaaterskill Branch of the Ulster & Delaware system. You are now well into the mountains and the scenery is wild and picturesque. It is late in the day when the sun peers over the eastern skyline on Mount Tremper, and comparatively early in the afternoon when the western shadows begin to envelop the little hamlet. Meanwhile your engine, having taken afresh drink of mountain water, gets the signal and skips off up the valley with a business-like snort, winding now closely along the left bank of the Esopus, which lessens in volume as the region of its source is approached. But the little valley grows in wildness and beauty with every mile, and the Mountains become higher and grander.”

 

Eventually the rise of the automobile and changing vacation patterns led to a slow, steady decline in the Catskills railroad business, and by 1932 the Ulster and Delaware Railroad was acquired by New York Central. The line was then operated by New York Central until 1954, when passenger service ended. The branch line from Phoenicia to Kaaterskill was abandoned in 1940.

 

The Phoenicia Railroad Station was constructed in 1899 to replace an earlier station following conversion of the narrow-gauge line to Hunter to standard gauge. The new station handled baggage, mail, express and passenger traffic to and from Phoenicia. The below describes the physical attributes of the station in detail.

 

“The station is a long, low, one-story building, rectangular in shape. The building is surmounted by a broad, deeply overhanging hipped roof, with decorative exposed rafters and oversized decorative wooden brackets. The roof, originally featuring slate shingles, is now sheathed in asphalt shingles. The building rests on a slightly raised, ashlar and bluestone foundation and is of wood-frame construction with shingle cladding. The walls are slightly flared just above the foundation. Continuous wooden moldings create horizontal divisions. Fenestrations is asymmetrical and corresponds to the station’s functional program. There are various passenger and baggage openings, a bay window on the track side for views up and down the track and other windows lighting interior spaces. Windows consist of double-hung wooden sash with six-over-one or eight-over-one lights. Doors are wooden with six panels. There is a deep wooden platform at the track side, sheltered by the deep overhang of the roof. The non-historic platform replaced the original and was constructed at an elevated height to permit direct access to the station without the use of dangerous boarding stools.

 

The interior of the station is divided into a waiting room with a vaulted ceiling extending to the roof, a station agent’s office, a baggage/express room, a closet and men’s and women’s bathrooms. Stairs provide access to the basement. Interior walls and ceilings are entirely finished in narrow beaded board siding of yellow pine. Siding is laid both vertically and horizontally, creating a patterned effect. Floors throughout have three-inch tongue and groove flooring. Interior surfaces have been recently refurbished.

 

Both the waiting room and the baggage room have the original ticket agent’s windows with brass window bars and milk glass windows. The main waiting area retains the original wooden benches, which line the three walls of the waiting room. Also present is the original water fountain and porcelain sink. The floor retains an original figured cast-metal heating grate and a central cast-iron air distribution pedestal. The pedestal has been moved to the side to permit installation of an electrical outlet. The furnace is extant but no currently operational. A single change to the floor place has been made to provide a closet for an electrical control panel. The closet is finished to match the rest of the interior.” (LaFrank, Kathleen, “Phoenicia Railroad Station,” National Register of Historic Places Nomination Form. Washington, DC: U.S. Department of the Interior, National Park Service, 2005.)

 

In 1906 the Phoenicia Station and the nearby railroad line were featured in the 1906 drama film titled The Holdup of the Rocky Mountain Express. Although supposedly set in the Rocky Mountains, the film was actually made in the Catskills hamlet of Phoenicia. The film was produced by Frank Marion and the American Mutoscope and Biograph Company. It was a one-reel film intended for the store shows and nickelodeons of the day. The film depicts a group of bandits as they block the train tracks, and then board the train to rob the well-dressed passengers. While attempting to make their escape using a four-wheeled pump car, the bandits are chased by the train and ultimately captured at a railroad crossing.

 

The Phoenicia Railroad Station building remained in service until the cessation of passenger traffic in 1954. The station was acquired by the Empire State Railway Museum, which was founded in 1960 and moved to Phoenicia in 1983.

 

The Phoenicia Railroad Station is located at the hamlet of Phoenicia in the town of Shandaken, Ulster County, New York.At the StationThe Phoenicia Railroad Station is located at the hamlet of Phoenicia in the town of Shandaken, Ulster County, New York. The station served the former Ulster and Delaware Railroad (UDRR).

The Rondout and Oswego Railroad was chartered in 1866 by Thomas Cornell. By 1872 the Rondout and Oswego was bankrupt, but was reorganized as the New York, Kington and Syracuse Railroad. This railroad, in 1875, also went bankrupt. It was then reorganized yet again as the Ulster and Delaware Railroad.

The Ulster and Railroad proved to be very successful, opening up the central Catskills region for expanded tourism and providing easy access to the numerous boarding houses and hotels along the line. At its greatest extent, the railroad originated at Kingston Point, on the Hudson River, and followed much of what is today’s Route 28, passing through four counties (Ulster, Delaware, Schoharie and Otsego), ultimately connecting to its western terminus at Oneonta. The Ulster and Delaware was advertised as “The Only All-Rail Route to the Catskill Mountains.” At its peak, in 1913, the railroad carried 675,000 passengers.

Eventually the rise of the automobile and changing vacation patterns led to a slow decline in business, and by 1932 the Ulster and Railroad was acquired by New York Central. The line was then operated by New York Central until 1954, when it ceased operations.

The Phoenicia Railroad Station was constructed in 1899 to replace an earlier station following conversion of the narrow-gauge line to Hunter to standard gauge. The new station handled baggage, mail, express and passenger traffic to and from Phoenicia. The building remained in service until the cessation of passenger traffic in 1954. The station was acquired by the Empire State Railway Museum, which was founded in 1960 and moved to Phoenicia in 1983. Visit the museum website at www.esrm.com for more information.

 

The Phoenicia Railroad Station is located at the hamlet of Phoenicia in the town of Shandaken, Ulster County, New York.Phoenicia Station CentennialThe Phoenicia Railroad Station is located at the hamlet of Phoenicia in the town of Shandaken, Ulster County, New York. The station served the former Ulster and Delaware Railroad (UDRR).

The Rondout and Oswego Railroad was chartered in 1866 by Thomas Cornell. By 1872 the Rondout and Oswego was bankrupt, but was reorganized as the New York, Kington and Syracuse Railroad. This railroad, in 1875, also went bankrupt. It was then reorganized yet again as the Ulster and Delaware Railroad.

The Ulster and Railroad proved to be very successful, opening up the central Catskills region for expanded tourism and providing easy access to the numerous boarding houses and hotels along the line. At its greatest extent, the railroad originated at Kingston Point, on the Hudson River, and followed much of what is today’s Route 28, passing through four counties (Ulster, Delaware, Schoharie and Otsego), ultimately connecting to its western terminus at Oneonta. The Ulster and Delaware was advertised as “The Only All-Rail Route to the Catskill Mountains.” At its peak, in 1913, the railroad carried 675,000 passengers.

Eventually the rise of the automobile and changing vacation patterns led to a slow decline in business, and by 1932 the Ulster and Railroad was acquired by New York Central. The line was then operated by New York Central until 1954, when it ceased operations.

The Phoenicia Railroad Station was constructed in 1899 to replace an earlier station following conversion of the narrow-gauge line to Hunter to standard gauge. The new station handled baggage, mail, express and passenger traffic to and from Phoenicia. The building remained in service until the cessation of passenger traffic in 1954. The station was acquired by the Empire State Railway Museum, which was founded in 1960 and moved to Phoenicia in 1983. Visit the museum website at www.esrm.com for more information.

 

The Catskill Mountain Railroad operated a tourist train ride in the Catskills from Phoenicia to Mount Tremper for many years.Catskill Mountain RailroadIn the early-to-mid 19th century visitors typically travelled to the Catskills area via ship on the Hudson River and then on to their ultimate destination, most likely one of the area mountain or boarding houses, via horseback or stage coach. The trips were long and physically tiring. The arrival of railroads changed all that, allowing quicker and easier access to the region while also opening it to the “mass market”.

In 1866, construction began on what was to become known as the Ulster and Delaware (U&D). The U&D followed much of what is today’s Route 28, ultimately connecting Kingston to Oneonta. In 1882, the Stony Clove and Catskill Mountain Railroad was completed, connecting Phoenicia to Hunter, much of it along today’s Route 214. Also in 1882, the Catskill Mountain Railway was completed, connecting the town of Catskill to Palenville.

All three companies are now defunct. However, the spirit of the region’s great railroad era lived on for many years with the Catskill Mountain Railroad (CMRR), based out of Phoenicia. Chartered in 1983, and operating along a section of what was the Ulster and Delaware line, the tourist-oriented CMRR was a wonderfully scenic photographic opportunity with trains, rails, and depot station all evoking memories of yester-year. Unfortunately, in 2016, the Catskill Mountain Railroad ended more than 30 years of service between Phoenicia and Mt. Tremper when their lease ended for that section of track.

The CMRR continues to offer scenic train rides out of Kingston, New York. Visit their website at www.catskillmountainrailroad.com for more information.

 

Now operating out of the former Phoenicia Railroad Station, the Empire State Railway Museum offers a step back in time to the railroad era of the Catskills. Self-guided tours of the building are available, and the gift shop offers items for all ages, including books, toys, t-shirts, hats and much more. The museum can be visited at 70 Lower High Street in Phoenicia. They are currently open weekends from 10am to 4pm. Visit the museum website at www.esrm.com for more information.

 

The Phoenicia Railroad Station is listed on the National Register of Historic Places “as a distinctive and exceptionally intact example of a late nineteenth century passenger station in rural Ulster County.” The station “exemplifies the type of intermediate size railroad buildings built in small rural communities in this period.”

 

Phoenicia Railroad Station, National Register of Historic PlacesPhoenicia Railroad Station, National Register of Historic PlacesThe Phoenicia Railroad Station is located at the hamlet of Phoenicia in the town of Shandaken, Ulster County, New York. The station served the former Ulster and Delaware Railroad (UDRR).

The Rondout and Oswego Railroad was chartered in 1866 by Thomas Cornell. By 1872 the Rondout and Oswego was bankrupt, but was reorganized as the New York, Kington and Syracuse Railroad. This railroad, in 1875, also went bankrupt. It was then reorganized yet again as the Ulster and Delaware Railroad.

The Ulster and Railroad proved to be very successful, opening up the central Catskills region for expanded tourism and providing easy access to the numerous boarding houses and hotels along the line. At its greatest extent, the railroad originated at Kingston Point, on the Hudson River, and followed much of what is today’s Route 28, passing through four counties (Ulster, Delaware, Schoharie and Otsego), ultimately connecting to its western terminus at Oneonta. The Ulster and Delaware was advertised as “The Only All-Rail Route to the Catskill Mountains.” At its peak, in 1913, the railroad carried 675,000 passengers.

Eventually the rise of the automobile and changing vacation patterns led to a slow decline in business, and by 1932 the Ulster and Railroad was acquired by New York Central. The line was then operated by New York Central until 1954, when it ceased operations.

The Phoenicia Railroad Station was constructed in 1899 to replace an earlier station following conversion of the narrow-gauge line to Hunter to standard gauge. The new station handled baggage, mail, express and passenger traffic to and from Phoenicia. The building remained in service until the cessation of passenger traffic in 1954. The station was acquired by the Empire State Railway Museum, which was founded in 1960 and moved to Phoenicia in 1983. Visit the museum website at www.esrm.com for more information.

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[email protected] (American Catskills) architecture building Catskill Mountains Catskills Empire State Railway Museum Holdup of the Rocky Mountain Express Matthew Jarnich museum New York Phoenicia Phoenicia Railroad Station photographer photographs photos Rondout and Oswego Railroad Shandaken station Thomas Cornell tourism trains travel Ulster and Delaware Railroad Ulster County https://www.americancatskills.com/blog/2023/1/phoenicia-railroad-station-a-photographic-study Sat, 28 Jan 2023 13:00:00 GMT
St. Francis de Sales Church, Phoenicia – A History and Photographic Study https://www.americancatskills.com/blog/2023/1/st-francis-de-sales-church-phoenicia-a-history-and-photographic-study The Roman Catholic parish of Saint Francis de Sales in the Catskills hamlet of Phoenicia was founded in 1902. Upon its founding, Archbishop Michael A. Corrigan entrusted care of the church to the Missionary Fathers of La Salette, a religious order that was founded in honor of the apparition of the Blessed Virgin Mary at La Salette, France that took place in 1846.

 

Photograph of the Saint Francis de Sales church in the Catskills hamlet of Phoenicia, New York.St. Francis de SalesThe Roman Catholic parish of Saint Francis de Sales in the Catskills hamlet of Phoenicia was founded in 1902. Upon its founding, Archbishop Michael A. Corrigan entrusted care of the church to the Missionary Fathers of La Salette, a religious order that was founded in honor of the apparition of the Blessed Virgin Mary at La Salette, France that took place in 1846.

At a cost of $9,000 the beautiful stone church building was thereafter constructed to serve the community, and was dedicated on August 21, 1904. The first pastor of the congregation, Reverend M. Julien Ginet, was also the architect and builder of the church.

The church namesake, Francis de Sales (1567-1622), was a prolific writer whose most famous work, Introduction to the Devout Life, has been a Christian classic for over 4 centuries. Saint Francis de Sales is honored within the Roman Catholic Church as the patron saint of journalists and writers. The Feast of St. Francis de Sales is celebrated on January 24 of each year.

Photograph of the Saint Francis de Sales church in the Catskills hamlet of Phoenicia, New York.Rising to GodThe Roman Catholic parish of Saint Francis de Sales in the Catskills hamlet of Phoenicia was founded in 1902. Upon its founding, Archbishop Michael A. Corrigan entrusted care of the church to the Missionary Fathers of La Salette, a religious order that was founded in honor of the apparition of the Blessed Virgin Mary at La Salette, France that took place in 1846.

At a cost of $9,000 the beautiful stone church building was thereafter constructed to serve the community, and was dedicated on August 21, 1904. The first pastor of the congregation, Reverend M. Julien Ginet, was also the architect and builder of the church.

The church namesake, Francis de Sales (1567-1622), was a prolific writer whose most famous work, Introduction to the Devout Life, has been a Christian classic for over 4 centuries. Saint Francis de Sales is honored within the Roman Catholic Church as the patron saint of journalists and writers. The Feast of St. Francis de Sales is celebrated on January 24 of each year.

Photograph of the Saint Francis de Sales church in the Catskills hamlet of Phoenicia, New York.St. Francis de Sales, Phoenicia, New YorkThe Roman Catholic parish of Saint Francis de Sales in the Catskills hamlet of Phoenicia was founded in 1902. Upon its founding, Archbishop Michael A. Corrigan entrusted care of the church to the Missionary Fathers of La Salette, a religious order that was founded in honor of the apparition of the Blessed Virgin Mary at La Salette, France that took place in 1846.

At a cost of $9,000 the beautiful stone church building was thereafter constructed to serve the community, and was dedicated on August 21, 1904. The first pastor of the congregation, Reverend M. Julien Ginet, was also the architect and builder of the church.

The church namesake, Francis de Sales (1567-1622), was a prolific writer whose most famous work, Introduction to the Devout Life, has been a Christian classic for over 4 centuries. Saint Francis de Sales is honored within the Roman Catholic Church as the patron saint of journalists and writers. The Feast of St. Francis de Sales is celebrated on January 24 of each year.

Photograph of the Saint Francis de Sales church in the Catskills hamlet of Phoenicia, New York.St. Francis de Sales, Gem of the CatskillsThe Roman Catholic parish of Saint Francis de Sales in the Catskills hamlet of Phoenicia was founded in 1902. Upon its founding, Archbishop Michael A. Corrigan entrusted care of the church to the Missionary Fathers of La Salette, a religious order that was founded in honor of the apparition of the Blessed Virgin Mary at La Salette, France that took place in 1846.

At a cost of $9,000 the beautiful stone church building was thereafter constructed to serve the community, and was dedicated on August 21, 1904. The first pastor of the congregation, Reverend M. Julien Ginet, was also the architect and builder of the church.

The church namesake, Francis de Sales (1567-1622), was a prolific writer whose most famous work, Introduction to the Devout Life, has been a Christian classic for over 4 centuries. Saint Francis de Sales is honored within the Roman Catholic Church as the patron saint of journalists and writers. The Feast of St. Francis de Sales is celebrated on January 24 of each year.

Photograph of the Saint Francis de Sales church in the Catskills hamlet of Phoenicia, New York.Three WindowsThe Roman Catholic parish of Saint Francis de Sales in the Catskills hamlet of Phoenicia was founded in 1902. Upon its founding, Archbishop Michael A. Corrigan entrusted care of the church to the Missionary Fathers of La Salette, a religious order that was founded in honor of the apparition of the Blessed Virgin Mary at La Salette, France that took place in 1846.

At a cost of $9,000 the beautiful stone church building was thereafter constructed to serve the community, and was dedicated on August 21, 1904. The first pastor of the congregation, Reverend M. Julien Ginet, was also the architect and builder of the church.

The church namesake, Francis de Sales (1567-1622), was a prolific writer whose most famous work, Introduction to the Devout Life, has been a Christian classic for over 4 centuries. Saint Francis de Sales is honored within the Roman Catholic Church as the patron saint of journalists and writers. The Feast of St. Francis de Sales is celebrated on January 24 of each year.

 

The beautiful stone church building at Phoenicia was thereafter constructed, at a cost of $9,000, to serve the community. The church was dedicated on the summer day of Sunday, August 21, 1904. The stone church is Gothic in style and seats approximately 180 people. The first pastor of the congregation, Reverend Julien M. Ginet, was also the architect and builder of the church. Reverend Ginet was succeeded by Reverend John M. Pilloix, who was ordained in 1902 in Hartford, Connecticut.

 

The below section of an article attributed to Maira Longyear, which can be found on the church website, details some of the church’s early history.

 

“Now it was time to establish Phoenicia as the center of his widely spread parish, to build his parish church and residence. Several attempts had been made in the past to construct a mission chapel but without success. Father Ginet with a zeal that thrived upon difficulties, set out on his task.

 

He took up residence in the Globe Hotel; it was known for its fine food; the men of the area after spending a day at the quarry or lumber camp were hungry enough and not at all reluctant to take a thirsty drink or two or three. Many a night as Father Ginet recited his vespers by gas light, was distracted by the gaiety down in the bar below. If his rectory was strange, his church was too. Of all odd places to use as a church was the Odd Fellows Hall. But Sunday after Sunday he would leave the bright lights of the Globe fore the shadowy halls of the Lodge. From the first, numbers who came were consoling. Many non-Catholics, eager for any approach to God came to greet Father Ginet. He entered the Lodge Hall and for a moment it was the gate of heaven; for he carried in his hand, his chaplain’s kit, in his heart, the word of God and in his anointed fingers the power to offer Holy Mass.

 

Father’s zeal was contagious; within a short time, his people were of one mind; they would have their parish church. One of the graces of his many talented personality was a hobby long cherished by Fr. Ginet. It was architecture; it had its impulse in the beautiful churches of his native France. So Pastor became architect and contractor too. He sent in plans for the church to his superiors, who found them too grandiose for the limited pocketbooks of the people. Undaunted he planned again. This time a smaller church evolved upon the blue print; it was to be made of quarried stone and the price of its building would astonish any builder.

 

After a laborious day at the quarry, the men lay down their hammers . . . but not for so long; after a few moments rest, they would take up their sledges and now the harsh crushing strokes became a symphony in the prayerful hearts of these men. Now they were quarrying stones for their own church. Other volunteers joined them and very soon indeed, the stone were piled near the site of the new St. Francis de Sales Parish Church. Hammers were laid aside for pick and shovel and the excavations soon deepened. On September 8, the digging began. On September 17, the foundations were laid and the wall structure began. Winter stopped the building for a while. Here we must honor the memory of Father John Hickey of Kingston, who personally and thru his friends contributed sufficient funds to purchase, bricks and cement for the inner walls of the church.

 

In the spring of 1904, the church was completed. And on July 12, 1904 the cornerstone was laid. Very Rev. Dr. Burtsell D. D., Auxiliary Bishop of New York performed the solemn ceremony of dedication. On this same occasion the first class was confirmed, consisting of 23 persons. The honor of the first baptism belongs to an infant, named Augustus Jay Simpson. Today that infant named Augustus is an august person of some two hundred pounds, and strong in the faith as he is in girth. This “Gem of the Catskills,” as the church is called, cost only nine thousand dollars. Its insured value today is one hundred and fifty thousand.”

 

The Saint Francis de Sales church at Phoenicia continues to serve the community faithful today, over 120 years after its founding. For more information about the church, including mass times and community outreach efforts, visit their website at www.stjohnstfrancis.org.

 

Photograph of the Saint Francis de Sales church in the Catskills hamlet of Phoenicia, New York.St. Francis de Sales, PhoeniciaThe Roman Catholic parish of Saint Francis de Sales in the Catskills hamlet of Phoenicia was founded in 1902. Upon its founding, Archbishop Michael A. Corrigan entrusted care of the church to the Missionary Fathers of La Salette, a religious order that was founded in honor of the apparition of the Blessed Virgin Mary at La Salette, France that took place in 1846.

At a cost of $9,000 the beautiful stone church building was thereafter constructed to serve the community, and was dedicated on August 21, 1904. The first pastor of the congregation, Reverend M. Julien Ginet, was also the architect and builder of the church.

The church namesake, Francis de Sales (1567-1622), was a prolific writer whose most famous work, Introduction to the Devout Life, has been a Christian classic for over 4 centuries. Saint Francis de Sales is honored within the Roman Catholic Church as the patron saint of journalists and writers. The Feast of St. Francis de Sales is celebrated on January 24 of each year.

 

Father Ginet

 

Reverend Julien Marie Ginet (1872-1949), the first pastor at St. Francis de Sales, was born at Aillon-le-Jeune in southeast France in 1872. He was the son of Paul Marie and Josephine Garnier Ginet. Father Ginet was educated at Allevard-les-Baines and took his classical instruction at the School of the Missionaries of La Salette at Grenoble, France. In 1885 he was received by the Apostolique School of La Salette at St. Joseph at Isere, France. He entered the novitiate in 1888 at the Holy Mountain and made his profession there on August 2, 1889.

 

In 1892, at 20 years of age, he joined the Missionaries of Our Lady of La Salette. He left his family and his home country to study theology in the United States at the Hartford Seminary of the La Salette Fathers. Ginet was ordained at St. Michael’s Cathedral in Springfield on March 25, 1897.

 

After his ordination Ginet worked on the faculty of St. Charles College in Maryland and then served two years as a professor at La Salette College. Father Ginet was then assigned to St. Francis de Sales in Phoenicia, New York, serving there from 1902 to 1910, before returning to La Salette College as the school treasurer. He remained at the college for 2 years, and then served from 1912 to 1921 as the pastor at St. James Church in Danielson, Connecticut.

 

Father Ginet left St. James Church in 1921 to become the assistant pastor at St. Joseph’s Church at Fitchburg, Massachusetts. He only remained a short time, then being named in 1922 as assistant pastor at the Immaculate Conception Church at Holyoke, Massachusetts. In 1923, with the passing of Father Jean Guinet, Father Ginet was elevated to pastor, and remained there for 26 years until his passing in 1949.

 

Father Ginet faithfully served as a Roman Catholic priest for 52 years. He passed away at 77 years of age on October 15, 1949 at the La Salette Novitiate in Bloomfield, Connecticut after several years of failing health. He is buried at Mount Saint Benedict Cemetery in Bloomfield, Connecticut. Father Ginet was survived by one brother, Alcine Ginet of Savoie, France.

 

St. Francis de Sales

 

The church namesake, Francis de Sales (1567-1622), was a prolific writer whose most famous work, Introduction to the Devout Life, has been a Christian classic for over 4 centuries. Saint Francis de Sales is honored within the Roman Catholic Church as the patron saint of journalists and writers. The Feast of St. Francis de Sales is celebrated on January 24 of each year.

 

Quotes by St. Francis de Sales

 

“Do not fear what may happen tomorrow. The same loving Father who cares for you today will care for you tomorrow and every day. Either he will shield you from suffering or He will give you unfailing strength to bear it. Be at peace then and put aside all anxious thoughts and imaginings.”

 

“It is a fact that people are always well aware of what is due them. Unfortunately, they remain oblivious of what they owe to others.”

 

“Have patience with all things, but chiefly have patience with yourself. Do not lose courage in considering your own imperfections, but instantly set about remedying them—every day begin the task anew.”

 

“Do not wish to be anything but what you are, and try to be that perfectly.”

 

"Mere silence is not wisdom, for wisdom consists of knowing when and how to speak, and when and where to keep silent."

 

"If we say less than we should it is easy to add, but having said too much it is hard to take it back."

 

"When we aim at perfection, we must aim at the center, but we must not be troubled if we do not always hit it."

 

"If we really knew ourselves, instead of being astonished at finding ourselves on the ground, we should marvel how we sometimes manage to remain upright."

 

"God never permits anything to come upon us as a trial or test of our virtue without desiring that we should profit by it."

 

Our Lady of La Salette

 

Located across the street from the church is a beautiful shrine and grotto that serves in honor of the apparition of the Blessed Virgin Mary at La Salette, France in 1846.

 

Photograph of a shrine to Our Lady of La Salette at the St. Francis de Sales church in the Catskills hamlet of Phoenicia.Apparition of the Blessed Virgin Mary at La Salette, FranceLocated across the street from the St. Francis de Sales church in the Catskills hamlet of Phoenicia is a beautiful shrine and grotto that serves to honor the apparition of the Blessed Virgin Mary at La Salette, France that took place in 1846.

Photograph of a shrine to Our Lady of La Salette at the St. Francis de Sales church in the Catskills hamlet of Phoenicia.Our Lady of La Salette, PhoeniciaLocated across the street from the St. Francis de Sales church in the Catskills hamlet of Phoenicia is a beautiful shrine and grotto that serves to honor the apparition of the Blessed Virgin Mary at La Salette, France that took place in 1846.

Photograph of a shrine to Our Lady of La Salette at the St. Francis de Sales church in the Catskills hamlet of Phoenicia.Our Lady of La Salette, Phoenicia, NYLocated across the street from the St. Francis de Sales church in the Catskills hamlet of Phoenicia is a beautiful shrine and grotto that serves to honor the apparition of the Blessed Virgin Mary at La Salette, France that took place in 1846.

 

On September 19 of that year the Blessed Mother appeared to two poor children, Maximin Giraud, 11 years old, and Melanie Calvat, 14 years old, in the small village of La Salette in the French Alps. The children, while tending a few cows, were drawn to a globe of light a short distance away. While under their gaze, the globe opened up and they saw a woman seated on some stones which surrounded the bed of a dried stream.

 

The two children called her “the Beautiful Lady” and listened intently as she spoke with them about conversion, a world reconciled to her Son and a deepening of their faith in their everyday lives. She mentioned the need to renounce the sins of blasphemy and not honoring Sundays as the day to rest and attend Holy Mass. Her prophetic last words to the two children were ‘Well, my children, you will make this well known to all my people.’” Soon thereafter there was a natural spring present where Mary had stood.

 

The Missionaries of La Salette was founded in 1852, six years after the apparition. This Missionaries of La Salette would become important in the history of St. Francis de Sales when the church was entrusted to the group’s care in 1902 with the assignment of Reverend M. Julien Ginet.

 

The National Shrine of Our Lady of La Salette is located at Attleboro, Massachusetts, however there are also a number of parishes, shrines and communities throughout the Americas that dedicate themselves to the apparition. Roman Catholics celebrate the Feast Day of Our Lady of La Salette on September 19 of each year.

 

Memorare to Our Lady of La Salette

 

“Remember, Our Lady of La Salette, true mother of Sorrows, the tears you shed for us on Calvary. Remember also the care you have taken to keep us faithful to Christ, your Son. Having done so much for your children, you will not now abandon us. Comforted by this consoling thought, we come to you pleading, despite our infidelities and ingratitude. Virgin of Reconciliation, do not reject our prayers, but intercede for us, obtain for us the grace to love Jesus above all else. May we console you by living a holy life and so come to share the eternal life Christ gained by His cross. Amen.”

 

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[email protected] (American Catskills) architecture building catholic Catskill Mountains Catskills Christian church Introduction to the Devout Life La Salette M. Julien Ginet Main Street New York Our Lady of La Salette patron saint Phoenicia photographs photography photos pictures Roman Catholic Route 28 saint Saint Francis de Sales shrine St. Francis de Sales https://www.americancatskills.com/blog/2023/1/st-francis-de-sales-church-phoenicia-a-history-and-photographic-study Sat, 21 Jan 2023 13:00:00 GMT
Shandaken Eagle – A Photographic Study https://www.americancatskills.com/blog/2023/1/shandaken-eagle-a-photographic-study The beautiful Shandaken Eagle statue sits on a grassy knoll near the Esopus Creek, marking the entrance to the Catskills hamlet of Phoenicia, New York. It is located at the junction of Route 28 and Route 214.

 

The Shandaken Eagle, located along Route 28 in the Catskills hamlet of Phoenicia, once stood high above Grand Central Station in New York City.Shandaken EagleThe beautiful Shandaken Eagle statue sits on a grassy knoll near the Esopus Creek, marking the entrance to the Catskills hamlet of Phoenicia, New York. It is located at the junction of Route 28 and Route 214.

The two-ton sculpture, with a wingspan of 13 feet, once stood atop one of the towers of Grand Central Depot at the intersection of Park Avenue and 42nd Street in New York City. The eagle was installed in 1871 at Grand Central, along with 10 others like it. With the remodeling of Grand Central in 1898 the statue was taken down and would spend the next eight decades in storage.

In 1975 the town of Shandaken adopted the eagle as its official town symbol. In 1980, David McLane, a photographer for the New York Daily News and then owner of the eagle, moved to Shandaken and agreed to donate the eagle to the town. Various fundraising efforts were undertaken to raise the funds to move, repair and erect the bird at Phoenicia. Dakin Morehouse, a metal sculptor in Woodland Valley, restored the sculpture at his Phoenicia Forge, replacing its original white cement coating with a protective bronze surface.

With much fanfare, the sculpture was dedicated at its current Phoenicia location on August 23, 1986. There is a time capsule buried near the eagle that will be opened in 2076, the tri-centennial of the nation’s founding.

The Shandaken Eagle, located along Route 28 in the Catskills hamlet of Phoenicia, once stood high above Grand Central Station in New York City.On AlertThe beautiful Shandaken Eagle statue sits on a grassy knoll near the Esopus Creek, marking the entrance to the Catskills hamlet of Phoenicia, New York. It is located at the junction of Route 28 and Route 214.

The two-ton sculpture, with a wingspan of 13 feet, once stood atop one of the towers of Grand Central Depot at the intersection of Park Avenue and 42nd Street in New York City. The eagle was installed in 1871 at Grand Central, along with 10 others like it. With the remodeling of Grand Central in 1898 the statue was taken down and would spend the next eight decades in storage.

In 1975 the town of Shandaken adopted the eagle as its official town symbol. In 1980, David McLane, a photographer for the New York Daily News and then owner of the eagle, moved to Shandaken and agreed to donate the eagle to the town. Various fundraising efforts were undertaken to raise the funds to move, repair and erect the bird at Phoenicia. Dakin Morehouse, a metal sculptor in Woodland Valley, restored the sculpture at his Phoenicia Forge, replacing its original white cement coating with a protective bronze surface.

With much fanfare, the sculpture was dedicated at its current Phoenicia location on August 23, 1986. There is a time capsule buried near the eagle that will be opened in 2076, the tri-centennial of the nation’s founding.

The Shandaken Eagle, located along Route 28 in the Catskills hamlet of Phoenicia, once stood high above Grand Central Station in New York City.Ready to FlyThe beautiful Shandaken Eagle statue sits on a grassy knoll near the Esopus Creek, marking the entrance to the Catskills hamlet of Phoenicia, New York. It is located at the junction of Route 28 and Route 214.

The two-ton sculpture, with a wingspan of 13 feet, once stood atop one of the towers of Grand Central Depot at the intersection of Park Avenue and 42nd Street in New York City. The eagle was installed in 1871 at Grand Central, along with 10 others like it. With the remodeling of Grand Central in 1898 the statue was taken down and would spend the next eight decades in storage.

In 1975 the town of Shandaken adopted the eagle as its official town symbol. In 1980, David McLane, a photographer for the New York Daily News and then owner of the eagle, moved to Shandaken and agreed to donate the eagle to the town. Various fundraising efforts were undertaken to raise the funds to move, repair and erect the bird at Phoenicia. Dakin Morehouse, a metal sculptor in Woodland Valley, restored the sculpture at his Phoenicia Forge, replacing its original white cement coating with a protective bronze surface.

With much fanfare, the sculpture was dedicated at its current Phoenicia location on August 23, 1986. There is a time capsule buried near the eagle that will be opened in 2076, the tri-centennial of the nation’s founding.
The Shandaken Eagle, located along Route 28 in the Catskills hamlet of Phoenicia, once stood high above Grand Central Station in New York City.Fly Eagle, FlyThe beautiful Shandaken Eagle statue sits on a grassy knoll near the Esopus Creek, marking the entrance to the Catskills hamlet of Phoenicia, New York. It is located at the junction of Route 28 and Route 214.

The two-ton sculpture, with a wingspan of 13 feet, once stood atop one of the towers of Grand Central Depot at the intersection of Park Avenue and 42nd Street in New York City. The eagle was installed in 1871 at Grand Central, along with 10 others like it. With the remodeling of Grand Central in 1898 the statue was taken down and would spend the next eight decades in storage.

In 1975 the town of Shandaken adopted the eagle as its official town symbol. In 1980, David McLane, a photographer for the New York Daily News and then owner of the eagle, moved to Shandaken and agreed to donate the eagle to the town. Various fundraising efforts were undertaken to raise the funds to move, repair and erect the bird at Phoenicia. Dakin Morehouse, a metal sculptor in Woodland Valley, restored the sculpture at his Phoenicia Forge, replacing its original white cement coating with a protective bronze surface.

With much fanfare, the sculpture was dedicated at its current Phoenicia location on August 23, 1986. There is a time capsule buried near the eagle that will be opened in 2076, the tri-centennial of the nation’s founding.

 

The two-ton sculpture, with a wingspan of 13 feet, once stood atop one of the towers of Grand Central Depot at the intersection of Park Avenue and 42nd Street in New York City. The eagle was installed in 1871 at Grand Central, along with 10 others like it. With the remodeling of Grand Central in 1898 the statue was taken down and would spend the next eight decades in storage.

 

In 1975 the town of Shandaken adopted the eagle as its official town symbol. In 1980, David McLane, a photographer for the New York Daily News and then owner of the eagle, moved to Shandaken and agreed to donate the eagle to the town. Various fundraising efforts were undertaken to raise the funds to move, repair and erect the bird at Phoenicia. Dakin Morehouse, a metal sculptor in Woodland Valley, restored the sculpture at his Phoenicia Forge, replacing its original white cement coating with a protective bronze surface.

 

With much fanfare, the sculpture was dedicated at its current Phoenicia location on August 23, 1986. There is a time capsule buried near the eagle that will be opened in 2076, the tri-centennial of the nation’s founding.

 

The Shandaken Eagle, located along Route 28 in Phoenicia, once stood high above Grand Central Station in New York City.On Alert, B&WThe beautiful Shandaken Eagle statue marks the entrance to the hamlet of Phoenicia, New York. According to the plaque on the statue, the eagle “originally stood atop one of the towers of Grand Central Station in N.Y.C. (New York City) at the turn of the century. Initially coated with which cement, the cast iron eagle was restored with a protective bronze surface at the Phoenicia forge.” The sculpture was dedicated at its current location on August 23, 1986.

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[email protected] (American Catskills) art artist Catskill Mountains Catskills Dakin eagle Grand Central Morehouse" New York New York City Phoenicia Phoenicia Eagle Phoenicia Forge photographs photography photos pictures Route 214 Route 28 sculpture Shandaken Eagle statue tourism tourist Ulster County https://www.americancatskills.com/blog/2023/1/shandaken-eagle-a-photographic-study Sat, 14 Jan 2023 13:00:00 GMT
Big Indian, In the Catskills https://www.americancatskills.com/blog/2023/1/big-indian-in-the-catskills The uniquely named hamlet of Big Indian is located within the town of Shandaken in Ulster County, New York. The hamlet is located along scenic Route 28 as the road makes its way through the Catskill Park.

 

Statue of a Native American at the hamlet of Big Indian in the central Catskills of Shandaken, New York.Big IndianThe uniquely named hamlet of Big Indian is located within the town of Shandaken in Ulster County, New York. The hamlet is located along scenic Route 28 as the road makes its way through the Catskill Park. The hamlet of Big Indian takes its name from the legends surrounding an 18th century Native American named Winnisook who lived in the area.

 

Statue of a Native American at the hamlet of Big Indian in the central Catskills of Shandaken, New York.Winnisook, Big IndianThe uniquely named hamlet of Big Indian is located within the town of Shandaken in Ulster County, New York. The hamlet is located along scenic Route 28 as the road makes its way through the Catskill Park. The hamlet of Big Indian takes its name from the legends surrounding an 18th century Native American named Winnisook who lived in the area.

 

The historical marker at Big Indian Park provides the context behind the legendary naming of the hamlet.
 

“The hamlet of Big Indian takes its name from an 18th century Native American named "Winnisook," who was said to be over seven feet in height, strong, well-built, and fearless. Much of the legend surrounding Winnisook's activities in Ulster County were undoubtedly embellished over the years by local guides and lodging owners seeking to attract visitors to the area with an enticing, romantic tale. However, one fact is certain: the first reference to "Big Indian" as a location was recorded in surveys dating from 1786.

 

Winnisook, a member of the local tribe called the Munsees of the Lenape Nation, lived in the Marbletown area of Ulster County. There Winnisook fell in love with one Gertrude Molyneaux, the daughter of an early Huguenot settler in the area. However, Gertrude had been betrothed to a Dutch settler by the name of Joseph Bundy, a man said to be of questionable character.

 

After a brief, unhappy marriage to Bundy, Winnisook succeeded in getting Gertrude to elope with him back to his village and thereafter fathered several children with her.

 

Several years after this very public humiliation of Bundy, Winnisook led a livestock raiding party against the Dutch farmers in the area, which resulted in a number of their cattle and sheep being driven away by the Indians.

 

In response a posse was formed, including Bundy, to track down the raiding party. Allegedly, Bundy and company caught up with Winnisook in the area now named Big Indian. It was here that Bundy succeeded in finally getting his revenge by firing the bullet that killed Winnisook.

 

There are many versions of Winnisook's death, one more romantic than the next, including stories of a huge oak tree that stood at the crossroads with Winnisook's enormous outline carved into the bark. One version of the legend is likely true; that upon Winnisook's death Gertrude moved her family to the area we now call "Big Indian" to be near Winnisook's grave. Evidence of this can be found in old land title records that carry Gertrude Molyneaux's family name on land in the Lost Clove valley of Big Indian.”

 

Statue of a Native American at the hamlet of Big Indian in the central Catskills of Shandaken, New York.Big Indian, At the ValleyThe uniquely named hamlet of Big Indian is located within the town of Shandaken in Ulster County, New York. The hamlet is located along scenic Route 28 as the road makes its way through the Catskill Park. The hamlet of Big Indian takes its name from the legends surrounding an 18th century Native American named Winnisook who lived in the area.

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[email protected] (American Catskills) Big Indian Catskill Mountains Catskills Gertrude Molyneaux Native American photographs photography photos pictures Route 28 Route 47 sculpture Shandaken statue tourism travel Ulster County Winnisook https://www.americancatskills.com/blog/2023/1/big-indian-in-the-catskills Sat, 07 Jan 2023 13:00:00 GMT
Pine Hill Lake in the Catskills https://www.americancatskills.com/blog/2022/12/pine-hill-lake-in-the-catskills Pine Hill Lake, located at the base of Belleayre Mountain, offers plenty of summer time fun, with a white sand beach, lifeguard-supervised swimming, rowboat and kayak rentals, large picnic pavilions and much more. It was estimated in 2018 that over 21,000 people visited Pine Hill Lake for summer recreational purposes.

 

Pine Hill Lake, located at the base of Belleayre Mountain, offers a popular summer time destination with a white sand beach and swimming for the whole family.All's Quiet at Pine Hill LakePine Hill Lake, located at the base of Belleayre Mountain, offers plenty of summer time fun, with a white sand beach, lifeguard-supervised swimming, rowboat and kayak rentals, large picnic pavilions and much more. The lake is used in the winter months for snowmaking purposes at the ski resort at Belleayre Mountain.

Pine Hill Lake, located at the base of Belleayre Mountain, offers a popular summer time destination with a white sand beach and swimming for the whole family.Pine Hill Lake in SeptemberPine Hill Lake, located at the base of Belleayre Mountain, offers plenty of summer time fun, with a white sand beach, lifeguard-supervised swimming, rowboat and kayak rentals, large picnic pavilions and much more. The lake is used in the winter months for snowmaking purposes at the ski resort at Belleayre Mountain.

 

The lake has a surface area of approximately 5.62 acres, with a storage capacity of approximately 29.4 million gallons of water. The lake is located on an impounded National Wetland Inventory (NWI) freshwater wetland.

 

Pine Hill Lake is used in the winter months for snowmaking purposes at the ski resort at Belleayre Mountain. The historical sign at the Belleayre Mountain Ski Center offers additional information about its history.

 

“Belleayre Mountain is located off of State Route 28 in Highmount, NY, just hours from New York City. From Rt. 28 in Highmount, turn west on Rt. 49A (Galli Curci Rd.). Go about 1/2 mile, look for the signs.

 

Belleayre was declared “Forever Wild” by the New York State Forest Preserve in 1885. Early on, skiers would side-step or hike their way more than 3,000 feet to be the first to make tracks down unnamed and woody trails. Since the very beginning of the American skiing experience, skiers gazed at the steep, rugged inclines of Belleayre Mountain and dreamed of refining them. In the 1940s skiing enthusiasts pressured politicians to develop Belleayre as a safe and fun mountain for families and extreme skiers alike.

 

In 1947 bills were introduced allowing New York State to create Belleayre Mountain. Construction began in 1949, and Belleayre began its premier winter season with five trails, an electrically powered rope tow, New York's first chairlift, a summit lodge, a temporary base lodge with a cafeteria and dirt floors, and parking to accommodate 300 people. It would become the center for winter sports in the region and an economic catalyst for surrounding communities.”

 

Today the Belleayre Mountain Ski Center is home to 64 trails, parks and glades, eight chair lifts including a high-speed gondola and quad and several lodges. The longest run on the mountain measures 12,024 feet. It is estimated that over 175,000 skiers and snowboarders visit Belleayre Mountain every year.

 

As for the origins of the Pine Hill name, different sources provide various details and contexts.

 

  • “This is a pleasant rural village situated upon the eastern slope of the hill from which it derives its name.” – Sylvester, History of Ulster County, p. 308.

 

  • “Pine Hill received its name from the Indian word "Kauren sinck" meaning place of the pine trees.” –Bussy, “History and Stories of Margaretville and Surrounding Area.”

 

  • “Later Cockburn was more careful in recording so-called Indian names, and on his map of 1771 of the Hardenbergh Patent, which contains many Indian names, including “Kawiensinck,” (Kuwesing, place of pine trees) at Pine Hill, he says: “The Indian names I have put down from the information of John Cantin and Sapon, two Esopus Indians, to Thomas Nottingham their interpreter to me.” – Monroe, Chapters in the History of Delaware County New York, p. 30.

 

  • An article in a 1902 issue of Harper’s Weekly about prominent village resident Henry Morton gives a small bit of doubt about Pine Hill being “a place of pine trees.” “It is the jest of the place that Pine Hill is so called because there are no pines anywhere near it. Dr. Morton did not like that, so he planted a whole hill-side with pines, and they are prospering.” – “Personal Notes.” Harper’s Weekly. Vol. 46. Harper’s Magazine Company, 1902. p. 575.

 

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[email protected] (American Catskills) beach Belleayre Lake Belleayre Mountain Catskill Mountains Catskills lake mountain New York Pine Hill Pine Hill Lake Route 28 ski skiing swim swimming water https://www.americancatskills.com/blog/2022/12/pine-hill-lake-in-the-catskills Sat, 31 Dec 2022 13:00:00 GMT
Spruce Creek in the Catskills https://www.americancatskills.com/blog/2022/12/spruce-creek-in-the-catskills Spruce Creek is a beautiful destination in the northern Catskills offering a wide range of photographic shooting opportunities. For the area, surely, Kaaterskill Falls gets most of the attention. Bastion Falls, located along Route 23A, used to get its fair bit of attention as well, but that is now in the past with the closing of the parking area that provided its primary access. Few people now make the hike down the clove from Kaaterskill Falls just to see Bastion Falls. Between the two waterfalls, however, the creek offers its own scenic rewards, albeit rewards that you have to look a little harder for.

 

There has been some debate as to the name of this section of the creek, other possible names being Lake Creek or the east branch of the Kaaterskill Creek. For an interesting article that details the debate as to the origins and history of the name, check out the article titled “South Lake Creek” on the Mountain Top Historical Society blog (https://www.mths.org/blog/58-south-lake-creek.html).

 

Photograph of Spruce Creek (also known as Lake Creek) in Kaaterskill Clove of the northern Catskills.Spruce Creek

Photograph of Spruce Creek (also known as Lake Creek) in Kaaterskill Clove of the northern Catskills.Flowing

Photograph of Spruce Creek (also known as Lake Creek) in Kaaterskill Clove of the northern Catskills.Through the Clove

Photograph of Spruce Creek (also known as Lake Creek) in Kaaterskill Clove of the northern Catskills.The Rocks of Spruce Creek

Photograph of Spruce Creek (also known as Lake Creek) in Kaaterskill Clove of the northern Catskills.After the Fall

Photograph of Spruce Creek (also known as Lake Creek) in Kaaterskill Clove of the northern Catskills.The Rocks of Spruce Creek

Photograph of Spruce Creek (also known as Lake Creek) in Kaaterskill Clove of the northern Catskills.Streaming

Photograph of Spruce Creek (also known as Lake Creek) in Kaaterskill Clove of the northern Catskills.The Rock, Spruce Creek

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[email protected] (American Catskills) Bastion Falls Catskill Mountains Catskills creek Greene County Kaaterskill Clove Kaaterskill Falls Lake Creek New York photographs photography photos pictures river Spruce Creek stream water waterfalls https://www.americancatskills.com/blog/2022/12/spruce-creek-in-the-catskills Sat, 24 Dec 2022 13:00:00 GMT
Edwin Forrest Branning: New Photography Gallery https://www.americancatskills.com/blog/2022/12/edwin-forrest-branning-new-photography-gallery Edwin Forrest Branning was a well-known merchant and citizen of the hamlet of Narrowsburg in Sullivan County, New York. He later moved to New York City. He was highly regarded as a businessman, eventually attaining great wealth through his general store, creamery, cigar manufacturing, wholesale, catalog, automobile, lumber and real estate dealings. As perhaps his most lasting legacy, Branning published a wide range of scenic postcards from throughout the southern Catskills of Sullivan County.

 

In last week’s post, I wrote a short biography of this notable citizen of Sullivan County. I have now added a new gallery of his photographic works. I have only recently started to collect his works, but there are still over 300 photographs in the gallery, each of which will allow the viewer to appreciate Branning’s technical skill as well as his eye for beauty.

 

Branning’s extensive focus on the sites of Sullivan County is remarkable. His collection of works, as a whole, offer a virtual time capsule of the county during the early years of the 20th century. And given his business acumen and attention to detail, each photograph is individually numbered, making it easy for deltiologists to track their collections. I hope to add additional photographs to the Branning gallery over the coming months and years.

 

792_Mill Falls, Roscoe, Rockland, N.Y.

792_Mill Falls, Roscoe, Rockland, N.Y.792_Mill Falls, Roscoe, Rockland, N.Y.

 

980_Stone Arch Bridge and Falls of the Neversink River, Sullivan Co., N.Y.

980_Stone Arch Bridge and Falls of the Neversink River, Sullivan Co., N.Y.980_Stone Arch Bridge and Falls of the Neversink River, Sullivan Co., N.Y.

 

1635_The Falls, Thompsonville, N.Y.

1635_The Falls, Thompsonville, N.Y.1635_The Falls, Thompsonville, N.Y.

 

1915_The Smallest Post Office in the State, Cooley, Sullivan Co., N.Y.

1915_The Smallest Post Office in the State, Cooley, Sullivan Co., N.Y.1915_The Smallest Post Office in the State, Cooley, Sullivan Co., N.Y.

 

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[email protected] (American Catskills) Artino Catskill Mountains Catskills E. F. Branning Edwin Forrest Branning landscapes manufacturer Narrowsburg New York photographer photography photos pictures postcards Sullivan County https://www.americancatskills.com/blog/2022/12/edwin-forrest-branning-new-photography-gallery Sat, 17 Dec 2022 13:00:00 GMT
Edwin Forrest Branning: Catskills Postcard Publisher https://www.americancatskills.com/blog/2022/12/edwin-forrest-branning-catskills-postcard-publisher Introduction

 

Edwin Forrest Branning was a well-known merchant and citizen of the hamlet of Narrowsburg in Sullivan County, New York. He later moved to New York City. He was highly regarded as a businessman, eventually attaining great wealth through his general store, creamery, cigar manufacturing, wholesale, catalog, automobile, lumber and real estate dealings. As perhaps his most lasting legacy, Branning published a wide range of scenic postcards from throughout the southern Catskills of Sullivan County.

 

1602_Lake Ophelia, Liberty, N.Y.1602_Lake Ophelia, Liberty, N.Y.

 

936_Loch Sheldrake, N.Y.936_Loch Sheldrake, N.Y.

 

Biography

 

Edwin Forrest Branning was born on September 11, 1861 at Branningville, Wayne County, Pennsylvania, which is located on the opposite side of the Delaware River from the hamlet of Narrowsburg, New York. Edwin was the son of John Dexter Branning (1822-1876), a prominent lumberman “whose father furnished the sail mast for the gunboat Old Ironsides.”[1]

 

“His grandfather made the family famous by furnishing the tree from which the mast of the Old Ironsides was made. A tree was found at “Last Hope,” or Peggy Runway, as it was called in those days. It was cut and floated down the river to its destination on a raft and was pronounced the finest specimen of the forest. As a result of that history making occurrence, the place was rechristened Mast Hope, and Grandfather Branning became known the country over as the mast man of Old Ironsides.”[2]

 

The USS Constitution, affectionately known as Old Ironsides, was one of the first frigates built for the US Navy. The USS Constitution was launched in 1797, making it the world’s oldest commissioned warship still afloat. Never defeated in battle, she faithfully defended the United States through many decades of service, including against French privateers and during the Barbary Wars and the War of 1812. The ship earned its name during the War of 1812 when during a battle with British frigate Guerriere, enemy cannonballs were seen bouncing off the ship’s wooden hull. In response to seeing this, an American sailor reportedly exclaimed "Huzzah! her sides are made of iron!" Through its history the USS Constitution destroyed or captured 33 enemy ships. Today the USS Constitution is berthed at Boston, Massachusetts and is open to the public for tours.

 

The hamlet of Branningville, Pennsylvania took its name from Edwin’s father.[3] In the 1880 history of Wayne County, Branningville was described as having a “good school, with a thickly settled neighborhood about it. It is a very pleasant place.”[4] John D. Branning built a mill there in 1860. John, with William Holbert, also constructed what is now known as the Joel Hill Saw Mill. Located at Duck Harbor, the mill was constructed in 1873 during the height of the lumber industry in Wayne County. It is the only water-powered mill remaining in northeastern Pennsylvania. The saw mill is listed on the National Register of Historic Places. The hamlet of Branningville was later renamed Atco, for a town in New Jersey. Edwin’s parents moved to Narrowsburg in 1874 when Edwin was approximately 13 years old.

 

Edwin’s new home, the hamlet of Narrowsburg, is beautifully situated on the Delaware River in Sullivan County, New York. The hamlet was originally known as Homans’ Eddy, named for Benjamin Homans, an early settler. After he died, the place was called Big Eddy, “as it was located at the section of the Delaware River believed to be the widest spot upstream from the tidewater. The area was renamed Narrowsburg in 1810, again for its river location, that spot above the Big Eddy which was the narrowest and deepest section above the tidewater.”[5]

 

During Edwin’s youth in the 19th century Narrowsburg was a thriving village, with a large lumber industry and a prosperous main street with many stores and hotels.

 

“During the early history of the settlement, the river was the focus of economic activity. Grain was transported to grist mills and lumber was transported to market via the river. For nearly a century, lumber rafting was a major enterprise on the Upper Delaware, and Narrowsburg became a popular resting place for raftsmen. The demand for overnight accommodations encouraged the development of the hotel trade in Narrowsburg, an industry that contributed to the general prosperity of the village until the early twentieth century. The construction of the Mount Hope and Lumberland Turnpike during the second quarter of the nineteenth century also contributed to the success of the village’s hotel and boardinghouse industry. The turnpike ended at the river in Narrowsburg and was connected by bridge to a road to Honesdale, Pennsylvania, bringing additional travelers through the village.

 

The event which most greatly benefited Narrowsburg was the completion of the New York & Erie Railroad. The railroad was America’s first long line railroad, providing the first major link between the northwest railroad routes and the western frontier. Narrowsburg, located at the heart of the line’s Delaware Division, experienced a period of unprecedented commercial expansion and population growth. The village soon had three hotels, five stores, three blacksmith shops, a shoe shop, a funeral home, a harness shop and hop house and a half-mile trotting course. The business of the village, particularly the hotels and boardinghouses, were patronized by commercial travelers and holiday visitors from the city and continued to thrive into the early twentieth century.”[6]

 

Edwin Forrest Branning was one of nine children of John Dexter Branning and Christina (Staats) Branning (1827-1883). His siblings included John Wellington Branning (1847-1901); Matilda C. Branning (1849-1934); Martha D. Branning (1851-1927); Cecilia Branning (1853-1922); Winton W. Branning (1855-1861); Clarence E. Branning (1858-1901); Caroline Branning (1858-1940); and Franklyn Devine Branning (1865-1923).

 

Portrait, Edwin Forrest BranningPortrait, Edwin Forrest BranningPortrait of Edwin Forrest Branning, noted publisher of photographic postcards of Sullivan County, New York.

 

On February 20, 1884 Branning married Mary Etta Rockwell (1861-1950) at the residence of her father. The ceremony was officiated by Reverend C. W. Spencer. Together Edwin and Mary Etta would have eight children, including three sons and five daughters. Two of the children predeceased him. They were Anita, the youngest daughter, who died in October, 1918, and Edwin Forrest, the eldest son, who died in April 1928. Edwin and Mary’s children included:

 

  • Edwin Forrest Branning, Jr. (1884-1928). Edwin, Jr. worked with his father in the wholesale notions business and for many years traveled Sullivan County and the surrounding counties as the firm’s representative. He passed away in 1928 from an operation for the removal of an internal goiter. He is buried at Woodlawn Cemetery.

 

  • Harry Rockwell Branning (1885-1971). Harry worked as president of the Branning Realty Corporation.[7] The 1910 US census listed Harry’s occupation as “bookkeeper, mercantile office”; the 1930 US census listed his occupation as “salesman, real estate”; and the 1940 US census listed his occupation as “manager, real estate.”

 

  • Carrie Marie Branning (b. March 1888). Carrie married William J. O’Connor (1884-1947) in 1910. The 1910 US census listed William’s occupation as “special mechanic clothing”; the 1920 US census listed his occupation as “mechanic.”; the 1930 US census listed his occupation as “machinist, US govt.”; and the 1940 US census listed his occupation as “plumber.”

 

  • Bernice A. Branning (b. October 1889). Bernice married George H. Seybold (1884-1955), a lieutenant of the constabulary service of the Philippine Islands.

 

  • Cora Abigail Branning (1891-1949). Cora married Charles Clinton Harding (1890-1982) in 1917. The 1930 US census listed Charles’ occupation as “buyer, hardware store”; and the 1940 US census similarly listed his profession as “purchasing agent, retail and wholesale, hardware store.” Cora is buried at Ashland Cemetery in Boyd County, Kentucky.

 

  • Winton Wellington Branning, Sr. (1893-1958). Winton began his career working at his father’s garage, later becoming president of the company, the W. and H. B. Garage in the Bronx. He was also engaged in the real estate business, serving as the vice president of the Branning Realty Corporation until his retirement in 1956.[8] In 1914 he married Elsie Hyden in the Bronx.

 

  • Lucille Rockwell Branning (1895-1953). Lucille married Cornelius W. Daniel, Sr. (1894-1975), a builder and contractor. She was a member of the First Presbyterian Church of Belmar, the Daughters of the American Revolution and was an honorary member of the Apollo Club of Asbury Park.

 

  • Anita Delphine Branning (1901-1918). Anita died of the Spanish influenza.

 

Gone West

 

In his early manhood, around 1879, Branning went west to seek out his fortune. He first went to Kansas, intending to become a farmer and to purchase cattle to enter the stock business. The 1880 United States census showed Branning, age 19, residing in Ottawa County, Kansas, with an occupation of farmer.

 

This line of work did not last long, and by 1880 he had sold his interests in cattle to his brother and headed further west. Branning then moved to Colorado where he operated several mines with his brother Clarence and was “making money rapidly.” However, when Edwin found out that his mother was in very poor health, he left Colorado and returned to his home in Narrowsburg, New York.

 

Narrowsburg

 

After returning home Branning began work in 1882 as a clerk in the general store of George W. Rockwell, Sr., his future father-in-law. Working with him as clerks at the store were George W. Rockwell, Jr. and Edward A. H. Rockwell, both of whom became successful hotel businessmen, operating the Hotel Rockwell at Monticello until the 1909 fire that destroyed their property.

 

After less than two years Edwin bought the store in February 1883, taking full possession on May 1, 1883. Edwin greatly improved upon the operation, as noted in the local newspapers.

 

1886: “E. F. Branning has painted up his store and out-buildings a quiet quaker color, and looks very neat.”[9]

 

~1887: “A vast deal of repairing and repainting is going on, and among the latter the store of E. F. Branning, has been made to look in fine shape, and, if not the finest painted building in town, it is among them if we be the judge.”[10]

 

1888: “The enterprising merchant and obliging postmaster at Narrowsburg, Mr. E. F. Branning, still continues spreading his domain. He has connected the first and second floor of his store with a handsome staircase. On the second floor he has put in a large stock of clothing.”[11]

 

1891: “Mr. E. F. Branning is having his store enlarged in such a manner as will present a fine appearance when completed.”[12]

 

1891: “The extensive improvements now being made upon the store building of Mr. E. F. Branning will make it both attractive and commodious. When completed it will be the largest store in the village.”[13]

 

1891: “Ed. Branning has completed his new store at Narrowsburgh, which is quite an addition to the looks of the place.”[14]

 

The character and humorous side of Edwin Branning in running his store at Narrowsburg was noted in the newspaper.

 

“Ed Branning was resourceful and humorous. He enjoyed a joke whether it was on himself or the other fellow. An order came to his wholesale establishment for a dozen belts for men. The clerk reported to Ed that the stock of belts was exhausted. What shall we do, asked the clerk. Why, send them a dozen sets of suspenders, said Ed: they will hold up the pants just as well as the belts.

 

At the Narrowsburg store a woman came in for a half dozen lemons. I have no lemons, madam, said Branning, but I have some very fine sour oranges which I can recommend to you as excellent substitutes.”[15]

 

In 1893 a local newspaper provided this amusing anecdote about Branning and the lucky gift that he had received from his father.

 

“The Callicoon Echo tells the following story of Mr. Ed. Branning one of the most successfully merchants of Narrowsburg and the upper Delaware Valley: Our enterprising merchant, Ed. Branning, told the writer a few days ago that in 1880 he was reduced to a three-cent piece (with a hole in) given him years before by his father. Today his snug bank account, his fine brick block, and his elegant and enormous stock of goods are grand testimonials of what pluck, energy, perseverance and honesty, as exemplified in our “dealer in everything,” can accomplish. Mr. Branning still has and treasures that three-cent piece.”[16]

 

In 1894 the local newspaper noted Branning’s interest in collecting coins, indirectly demonstrating his relative prosperity by his ability to purchase such an expensive collection of coins.

 

“A short time ago E. F. Branning of Narrowsburg purchased of B. G. Wales of Kenoza Lake the second best collection of American and foreign coins in Sullivan County. It is valued at $2,000 and contains in silver one or more dollars, halves and smaller coin from nearly each and every year of coinage in this country, copper and other one cent pieces. The collection also contains some gold coins. – Honesdale Independent.”[17]

 

Edwin operated the store at Narrowsburg until 1895, when he would sell out to ex-Sherriff Frank Kinne and Louis C. W. Schneider. The new owners took possession of the store on June 1, 1895.

 

Branning diversified his Narrowsburg business operations by operating, under the name of Branning Brothers, a cigar manufacturing operation. At its peak the operation employed eight men. It was one of four cigar manufacturing businesses operating in Narrowsburg in the 1880s. These operations produced approximately 4,000 to 5,000 cigars on a daily basis. In 1886 Branning’s cigar business faced difficulty after he cut the workmen’s pay by $1 per thousand cigars, resulting with the workforce striking immediately. By 1888 Branning had shut down his cigar business.

 

Branning would also successfully enter the creamery business, acquiring the creamery at Narrowsburg in May 1889. “Our enterprising merchant and creamery man, E. F. Branning, is no less at home in his new business of dealing in the lacteal fluid and its concomitants than in general merchandise. He has been in possession of the creamery but two months but has built up a large business in that time. Tact and push have made his name and success synonymous in every venture. Butter making is his specialty, large quantities of which are used in Port Jervis and Erie stations east.”[18]

 

While residing at Narrowsburg Branning would serve the community in a number of different functions, including as school trustee, postmaster and as supervisor of the town of Tusten. Branning served as postmaster from April 14, 1886 to April 20, 1889, being succeeded by Edward O. Green.

 

In 1889 Branning was elected as trustee for the local school district, replacing Mr. Fred Botens, who had served as trustee for three consecutive years. Branning won the position in a landslide, receiving 48 of the 50 legal votes cast in the election.

 

In 1894 Branning (democrat) won the Tusten town supervisor position over Edward O. Green (republican) by 135 votes to 94 votes, a margin of 41 votes. He served two terms as Tusten supervisor.

 

Branning was a member of the Masons, originally being a member of the Monticello F. & A. M. He transferred his membership to New York City in later years.

 

In 1895 Branning was unanimously elected as the Democratic nominee for the New York State Assembly. The Sullivan County Record of Jeffersonville, New York heartily endorsed Branning for election.

 

“Edwin F. Branning. The Record is able this week to give its readers a good likeness of the plain, honest, alert and intelligent features of the Democratic nominee for Member of Assembly. Whatever may be said in favor of his popular opponent, we do not believe that a more upright, conscientious and intelligent man could be brought forward to represent Sullivan County in the state legislature than Edwin F. Branning of Tusten.

 

Mr. Branning is a man the first acquaintance of whom one cannot fail to become impressed with his frankness and unconcealed manner, his friendly and unhaughty ways, the shrewd business abilities he displays and his wisdom about things in general. He has not a word to say against his political enemies, but conducts his canvas in a clean, honorable way, and upon the theory that “may the best man win.”

 

The possessor of such instincts and characteristics as these is certainly worthy of being trusted with the interests of any community. Indeed, in his speech of acceptance, Mr. Branning says: “The interests of Sullivan County are my interests, and I promise, if elected, to serve the people of Sullivan County.”

 

And we believe him.”[19]

 

The Sullivan County Record again wrote of Branning’s character on October 18, 1895.

 

“E. F. Branning of Narrowsburg, the Democratic nominee for Member of Assembly, was in town Monday. Mr. Branning is one of the most pleasant, plain-spoken, every day fellows that I have ever had the pleasure of meeting, and he cannot but make friends wherever he goes. He says he is no politician and doesn’t know the first thing about politics. He is making a hustling canvas just the same, and if there is a man in Sullivan County who is capable of carrying the Democratic banner to victory this fall, that man would seem to be Ed Branning.”[20]

 

As the election approached the Sullivan County Record wrote of the dirty tricks that were being used in the campaign and the efforts to impinge upon Edwin Branning’s character.

 

“The Brannings Are Coming. Edwin F. Branning of Narrowsburg is making the most active canvas for member of assembly Sullivan County has had in a long time. Even his political enemies say he would make the best member the county has had in years. – Honesdale Independent.

 

No, Brother Independent; his political enemies may have conscience enough to think that, but they will not say it. On the contrary, some of them are resorting to the vilest means in their futile efforts to stay his steady march to victory. But Mr. Branning’s spotless character and noble spirit will withstand it all, and the good people of Sullivan County will condemn the libels that are being transmitted through the mails and from mouth to mouth, by electing him to the assembly with a substantial plurality.”[21]

 

The Republican Watchman also wrote of an “atrocious scheme” that was being put forth by Branning’s opponent in the election.

              

“Mr. Messiter Discloses His Cloven Foot and Shows a Willingness to Do Anything to Elect Himself to a Third Term.

 

Mr. Messiter has issued a card which he is circulating in a stealthy and surreptitious manner around the county among those whom he thinks are gullible enough to be deceived by it. He is endeavoring to inject the Monticello monument fight into the canvass to the disgust of many who have been engaged in the controversy on both sides.

 

This work of Messiter’s we happen to know is disavowed by many of the leading and clear headed men of his own party . . .

 

In sending out the card Mr. Messiter shows some of the meanest characteristics that can possibly belong to a depraved and dishonest politician. His mendacity is equaled only be his heartless disregard of the interests of his comrades who are running on the same ticket with him, and whom he is in honor bound not to injure in making his own canvass . . .

 

The unscrupulous methods resorted to by Messiter in conducting his campaign justify the criticism made by many of his former friends that he has deteriorated into a selfish politician, which has been further shown by the questionable manner in which he “sidetracked” poor Krenrich in his desperate attempt to obtain a third term in the State Legislature.”[22]

 

Despite his best efforts Branning lost the close election to Uriah S. Messiter of the village of Liberty. There were 6,826 votes cast, with Messiter receiving 3,588 votes, and Branning receiving 2,985 votes.

 

New York City and Other Business Ventures

 

In 1895, even prior to the state election, it seems Branning was contemplating a move away from Narrowsburg. He considered a variety of locations, including the city of Scranton, Pennsylvania, writing to city officials there seeking additional information.

 

“Dealer in Everything. He is Desirous to Locate in This City. Yesterday a letter was received at the board of trade rooms from “E. F. Branning, dealer in everything, Narrowsburg, N. Y.,” stating “I have heard a great deal about your city nowadays and as I am looking for a place to move to, kindly send me such printed matter you may have bearing on your city.” Secretary Atherton remarked that a “dealer in everything” would have a valuable acquisition to the business community, and forwarded the desired information to Mr. Branning.”[23]

 

Edwin eventually settled on New York City and in February 1896 he moved there, where he began operations in the wholesale jobbing trade and the catalog wholesale business, advertising himself as a “dealer in everything.” The business started slowly: “His ambition was to conduct a catalogue wholesaling business. His ideas were all right, but the business did not go with a rush and he found it necessary to go out as a traveling salesman for the firm that he established. His itinerary covered the States of New York, New Jersey and Pennsylvania within a radius of two hundred miles or more and he made a splendid success as a man of the road.”[24]

 

In addition to his retail business, Branning would become very interested in real estate in the Bronx section of New York City. At the time of his death, he owned two apartment houses, a 60-car garage and a sub-station of the United States post office. His ownership of an automobile garage led to the following amusing anecdote.

 

“A good story is related of Mr. Branning. After he had attained to his position of money, which made no difference in his mode of living or his attitude to his friends, he was wont to go down to his big garage, in the Bronx, which was then being conducted by his son and a partner, don his overalls and enjoy himself around the place. His lawyer kept his cars there. One day his lawyer’s wife came in to take out the car. She was not an expert at manipulating a car and neither did she know Mr. Branning. When she was having some difficulty with the car Mr. Branning went to her assistance and gave her some pointers and helped her out of the garage. When she reached home that night, she told her husband that the garage had just employed one of the nicest and most polite old gentlemen she had ever seen and as he had been so nice to her, she wanted her husband to see that he got a tip. Good Lord, wifey, said the lawyer, that was Mr. Branning, who owns the garage.”[25]

 

Expanding his business enterprise Branning also extensively engaged in the lumber business. Likely partnering in some form with several of his brothers, he joined in operating several mills in the south. As a result of his endeavors, he “is now rated among the millionaire class.”[26]

 

As for Edwin’s association with the lumber industry, John Wellington Branning (1847-1901), better known as J. W., and Clarence Branning (1858-1901), Edwin’s brothers, established the Branning Manufacturing Company at Edenton, North Carolina in 1888. The company was established with the purpose of “buying and selling timber lands, standing timber and lumber and wood of all kinds, and cutting, sawing and manufacturing the said timber and wood into lumber of all kinds, dressed and undressed, and manufacturing shingles, staves, lathes, and other articles, selling such manufactured material, and such other business and operations as may be necessary and incidental to the accomplishment of the above mentioned objects.”

 

Portrait, John Wellington BranningPortrait, John Wellington Branning

 

The Branning Manufacturing Company would grow to become the largest timber operation in North Carolina, and possibly in all of the south. At its peak the Branning mills employed approximately 600-700 people. Upon the passing of John Wellington Branning in 1901, one newspaper referred to him as the “King of Lumbermen.”[27]

 

In support of their lumber operations, the Branning family also operated the Wellington and Powellsville Railroad, which ran approximately 22 miles, originally from Windsor, North Carolina to Powellsville, North Carolina, and later to Ahoskie, North Carolina. In an amusing anecdote, “there was a hill on the train’s route it often had trouble climbing. Passengers sometimes had to literally jump out and help push the cars to the top. That led people to jokingly refer to the W&P as the “Walk and Push.”” The railroad was acquired by the Carolina Southern Railway in 1926, and operated until 1961 when the line was abandoned.

 

The 1900 United States census listed Edwin Branning’s profession as “notions merchant.” In 1910 his profession was listed as “merchant souvenirs”; in 1920 as “none”; and in 1930 as “real estate proprietor.”

 

Postcard and Photography Business

 

While operating in New York City, Branning developed the idea of the souvenir picture postcard, an idea from which he became very wealthy. He is sometimes credited as being the first to “invent” the commercial picture postcard.

 

               “Made First Souvenir Card in U. S. A.

 

Mr. Branning has been in the mercantile business for many years. His company was the first to manufacture souvenir post cards in the United States.

 

“One of my friends showed me a card he had received from Germany. At once I saw the possibilities the bit of cardboard furnished and soon began turning them out. During the second year of our new business, we printed and sold 11,000,000 post cards, which increased in volume each year for 15 years.””[28]

 

1553_Mountain Rest House, Lake Huntington, N.Y.1553_Mountain Rest House, Lake Huntington, N.Y.

1575_Ye Olde Days, Livingston Manor, N.Y.1575_Ye Olde Days, Livingston Manor, N.Y.

 

The Republican Watchman newspaper of Monticello, New York wrote of Branning’s thriving post card business and the unfortunate history of his extensive archives.

 

“Eventually he saw the possibility of the post card business and engaged in the manufacture and sale of that product and soon every store and shop had Branning’s cards on their counters and the output became tremendous. At first the cards were printed from halftone cuts of fine quality. In 1909 he discarded the cuts and used the gelatin process. The halftones of Sullivan County discarded by Mr. Branning were bought by the Watchman owner. They filled two large boxes and were a fine collection, but were destroyed when the Watchman office was burned in 1909. He was one of the pioneers in the post card business.”[29]

 

During the 1905 season Branning reported “brisk business in the card line,” selling over 90,000 souvenir cards to dealers throughout Sullivan County. The Tri-States Union newspaper reported that one Port Jervis store sold over 48,000 cards in only eight months. It was also noted that “among the summer guests this season there seems to be an increasing demand for these clever souvenirs.”[30]

 

In 1903 Branning published a book of illustrations titled “Picturesque Sullivan County.” The book contained nearly 100 half-tone views of villages, lakes, landscapes and scenery from throughout Sullivan County. The book was well received.

 

“To all lovers of the beautiful, the author has respectfully dedicated this book which will be appreciated and enjoyed by summer tourists and friends of Mr. Branning.

 

The book is not hampered with glaring advertisements of any kind, but is strictly gotten up to please and to interest all who love to become familiar with the magnificent and healthful summer resorts, where so many from the metropolis have visited each season for many years.

 

Mr. Edwin Forrest Branning is well and favorably known throughout Sullivan and adjoining counties. For a number of years, he was a prosperous merchant at Narrowsburg. His place of business at the present time is 448 Broome St., New York City. It is a pleasure also to note that Mr. Branning is a stanch friend and admirer of the UNION and always finds time even in pursuit of his arduous duties to stop and peruse its pages.”[31]

 

The Republican Watchman newspaper of Monticello, New York also published a brief review of Branning’s “Picturesque Sullivan County.”

 

“One of the finest booklets coming into our hands this season is “Picturesque Sullivan County, N. Y.,” issued by Edward Forest Branning, of New York City, formerly of Narrowsburg, and at one time a candidate for Member of Assembly. The book is 6x9 inches and contains one hundred views. Among them are some of the most picturesque and historical scenes in Sullivan County. It is a work of art and must have cost Mr. Branning a pretty penny; the cuts alone are probably worth $300. The only improvement that we could suggest in the composition of Mr. Branning’s art gallery would be the author’s picture.”[32]

 

In 1907 the following advertisement for the production of postcards, using one’s own photographs, appeared in an industry publication.

 

“CHEAP SOUVENIR POST CARDS we do not make. But from your Photo we do make the very best black and white and 7 color work at a very Cheap price, prices and samples to dealers. Edwin Forrest Branning, Cedar Ave. & 177 st., N. Y. City.”[33]

 

Advertisement from E. F. BranningAdvertisement from E. F. BranningAdvertisement for Edwin Forrest Branning, noted publisher of photographic postcards of Sullivan County, New York.

 

Historic postcards published by Branning can readily be found for sale on various internet websites. As noted above, the majority of his postcards focused on the sites of Sullivan County, New York. However, postcards with sites from other nearby locations, such as Pennsylvania, Port Jervis, New York and Goshen, New York, can also be found. Average prices for an E. F. Branning postcard tend to be in $6 to $10 range.

 

1599_The Beaverkill at Rockland, N.Y.1599_The Beaverkill at Rockland, N.Y.

1606_Episcopal Church, Liberty, N.Y.1606_Episcopal Church, Liberty, N.Y.

 

Transcontinental Trip

 

In 1920 Branning and his wife completed a four-month, 7,500-mile trip from New York City to Long Beach, California. The trip was reported in a number of newspapers. The Brannings left their home on June 22 and reached Long Beach on October 14. The cross-country trip included stops in 18 states and three national parks, including Yellowstone, Yosemite and Mount Rainier. They stopped at Manhattan, Kansas in visit their nephew, K. W. Hofer. They camped out most nights until they reached San Francisco.

 

The car was a Chandler, Despatch model, which was “fitted for trip and camping purposes, being designed on the lines that facilitate arrangement for camping. The back of the forward seat tips to a horizontal position, the robe rail forming its support. The cushions reverse and the footrest is inverted and placed to fill the space between the end of the tilted front seat and the cushion of the rear seat. The footrest also contains room as a tool box.”[34]

 

After wintering in California, the Brannings motored back as far as Galveston, Texas, taking the boat there for New York.

 

Legacy

 

Edwin Forrest Branning passed away from heart failure in 1930 while walking on the boardwalk at Ocean Grove, New Jersey. According to newspaper reports he had “left New York at 10 o’clock in the morning with his daughter, Mrs. Harding and her family. He and his son-in-law were walking along the boardwalk about 6 o’clock when he cried out: “Oh, Charlie,” to his son-in-law and fell into the latter’s arms dead.”

 

His funeral was held at his residence in New York, with services organized by the Masonic order, of which he was an active member. Branning was survived by his wife, four daughters and two sons. He was buried at Woodlawn Cemetery in New York, where “under the canopy of the sky, and surrounded by banks of roses and lilies, and baptized by the tears of his friends his body was given back to mother earth. Thus, friends and associates said good-bye.”[35]

 

[1] “E. F. Branning Drops Dead of Heart Failure.” Sullivan County Record (Jeffersonville, New York). July 24, 1930.

[2] “Ed. Branning Drops Dead at Sea Shore.” Republican Watchman (Monticello, New York). July 18, 1930.

[3] Goodrich, Phineas G. History of Wayne County, Pennsylvania. Honesdale, PA: Haines & Beardsley, 1880. p. 136.

[4] Goodrich, Phineas G. History of Wayne County, Pennsylvania. Honesdale, PA: Haines & Beardsley, 1880. p. 136.

[5] Larsen, Neil. “Arlington Hotel,” National Register of Historic Places Nomination Form. Washington, DC: U.S. Department of the Interior, National Park Service, 1983.

[6] Larsen, Neil. “Arlington Hotel,” National Register of Historic Places Nomination Form. Washington, DC: U.S. Department of the Interior, National Park Service, 1983.

[7] “Winton W. Branning. Ex-Realty, Garage Executive.” Herald-Statesman (Yonkers, New York). July 10, 1958.

[8] “Winton W. Branning. Ex-Realty, Garage Executive.” Herald-Statesman (Yonkers, New York). July 10, 1958.

[9] “Narrowsburg.” Sullivan County Record (Jeffersonville, New York). July 23, 1886.

[10] “From Narrowsburg.” The Tri-States Union. 1885-1887.

[11] The Port Jervis Union (Port Jervis, New York). November 13, 1888.

[12] “Narrowsburgh.” Republican Watchman (Monticello, New York). February 27, 1891.

[13] The Evening Gazette. April 8, 1891.

[14] Sullivan County Record (Jeffersonville, New York). October 16, 1891.

[15] “Ed. Branning Drops Dead at Sea Shore.” Republican Watchman (Monticello, New York). July 18, 1930.

[16] “A Luck Three-Cent Piece.” Middletown Times-Press (Middletown, New York). March 10, 1893.

[17] Sullivan County Record (Jeffersonville, New York). November 30, 1894.

[18] “Narrowsburg.” Tri-States Union (Port Jervis, New York). June 13, 1889.

[19] “Edwin F. Branning.” Sullivan County Record (Jeffersonville, New York). October 25, 1895.

[20] “Notes About Town.” Sullivan County Record (Jeffersonville, New York). October 18, 1895.

[21] “The Brannings Are Coming.” Sullivan County Record (Jeffersonville, New York). November 1, 1895.

[22] “An Atrocious Scheme.” Republican Watchman. 1895.

[23] “Dealer in Everything.” The Scranton Tribune (Scranton, Pennsylvania). April 30, 1895.

[24] “Ed. Branning Drops Dead at Sea Shore.” Republican Watchman (Monticello, New York). July 18, 1930.

[25] “Ed. Branning Drops Dead at Sea Shore.” Republican Watchman (Monticello, New York). July 18, 1930.

[26] “Edward Branning on a Visit to Monticello.” Sullivan County Republican (Monticello, New York). April 30, 1920.

[27] Tazewell Republican (Tazewell, Virginia). April 4, 1901.

[28] Bennett, Eleanor F. “Big-Heartedness of Western Folk Impresses Tourists.” The Daily Telegram (Long Beach, California). November 5, 1920.

[29] “Ed. Branning Drops Dead at Sea Shore.” Republican Watchman (Monticello, New York). July 18, 1930.

[30] “Souvenir Card Business.” Tri-States Union (Port Jervis, New York). 1905 to 1907.

[31] “‘Traveler’ Again.” Tri-States Union (Port Jervis, New York). July 16, 1903.

[32] “Personal and Local Notes.” Republican Watchman (Monticello, New York). 1903.

[33] “Souvenir Post Cards.” Everybody’s Magazine. Vol. 16, No. 1. p. 62.

[34] “Transcontinental Trip Made By New York Man Driving Chandler.” The Daily Telegram (Long Beach, California). October 30, 1920.

[35] “Ed. Branning Drops Dead at Sea Shore.” Republican Watchman (Monticello, New York). July 18, 1930.

 

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[email protected] (American Catskills) Artino Catskill Mountains Catskills E. F. Branning Edwin Forrest Branning landscapes manufacturer Narrowsburg New York photographer photography photos pictures postcards Sullivan County https://www.americancatskills.com/blog/2022/12/edwin-forrest-branning-catskills-postcard-publisher Sat, 10 Dec 2022 13:00:00 GMT
Kaaterskill Clove, Springtime https://www.americancatskills.com/blog/2022/12/kaaterskill-clove-springtime Kaaterskill Clove is a deep gorge that cuts through the northern Catskills Mountains, with the village of Palenville located at the base of the Clove and the village of Haines Falls located at its head. The clove is formed by Kaaterskill and Lake Creeks, with the gorge cutting as deep as 2,500 feet in places.

 

Scenic photograph of springtime in Kaaterskill Clove in the northern Catskills.Kaaterskill Clove, Springtime (1)Kaaterskill Clove is a deep gorge that cuts through the northern Catskills Mountains, with the village of Palenville located at the base of the Clove and the village of Haines Falls located at its head. The clove is formed by Kaaterskill and Lake Creeks, with the gorge cutting as deep as 2,500 feet in places.

South Mountain forms the north wall of the clove. Prospect Mountain, located west of Lake Creek, looms over the upper part of the Clove near Bastion Falls. Kaaterskill High Peak and Round Top Mountain form the south wall of the clove, with the Long Path traversing much of its length. The south wall is also home to the Wildcat Ravine, Buttermilk Ravine and Santa Cruz Ravine. The south wall, at its head, culminates at Twilight Park, a private residential community that offers magnificent views of the entire clove. The entire length of the Clove is traversed by Route 23A.

 

South Mountain forms the north wall of the clove. Prospect Mountain, located west of Lake Creek, looms over the upper part of the Clove near Bastion Falls. Kaaterskill High Peak and Round Top Mountain form the south wall of the clove, with the Long Path traversing much of its length. The south wall is home to the Wildcat Ravine, Buttermilk Ravine and Santa Cruz Ravine. The south wall, at its head, culminates at Twilight Park, a private residential community that offers magnificent views of the entire clove. The entire length of the Clove is traversed by Route 23A.

 

Numerous hiking trails in Kaaterskill Clove offer access to overlooks with outstanding views. Notable examples include the Escarpment trail that takes the hiker along the north wall to viewpoints such as Inspiration Point and Sunset Rock, the viewpoints at Palenville Overlook and Indian Head near the entrance of the clove, as well as Poet’s Ledge on the south wall. The clove is also home to countless other scenic wonders such as Moore’s Bridge Falls, Fawn’s Leap, Bastion Falls, the Five Cascades and Kaaterskill Falls.

 

Scenic photograph of springtime in Kaaterskill Clove in the northern Catskills.Kaaterskill Clove, Springtime (2)Kaaterskill Clove is a deep gorge that cuts through the northern Catskills Mountains, with the village of Palenville located at the base of the Clove and the village of Haines Falls located at its head. The clove is formed by Kaaterskill and Lake Creeks, with the gorge cutting as deep as 2,500 feet in places.

South Mountain forms the north wall of the clove. Prospect Mountain, located west of Lake Creek, looms over the upper part of the Clove near Bastion Falls. Kaaterskill High Peak and Round Top Mountain form the south wall of the clove, with the Long Path traversing much of its length. The south wall is also home to the Wildcat Ravine, Buttermilk Ravine and Santa Cruz Ravine. The south wall, at its head, culminates at Twilight Park, a private residential community that offers magnificent views of the entire clove. The entire length of the Clove is traversed by Route 23A.

 

Although I would estimate that Kaaterskill Clove is most popular with visitors in the summer and fall, springtime is also a great time to visit. Spring is a season of change, often equated with the ideas of rebirth and renewal. It brings warmer temperatures and melting snow that creates high volume runoff in the rivers and waterfalls. Visitors are few, as skiers have finished for the season but the hikers have yet to arrive in large numbers. The hiking trails begin to thaw and it marks the beginning of fishing season. There is a cleansing scent of newness in the air. The days grow daily in length. Flowers begin to bloom. As the old adage goes “April showers bring May flowers.” Although trees are often still bare in the early spring, flourishing vegetation and lush greens begin to mark the landscape by the late spring.

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[email protected] (American Catskills) canyon Catskill Mountains Catskills clove Greene County Haines Falls Kaaterskill Clove Kaaterskill Falls New York Palenville photographer photographs photography photos spring springtime waterfall https://www.americancatskills.com/blog/2022/12/kaaterskill-clove-springtime Sat, 03 Dec 2022 13:00:00 GMT
Transient: A Peekamoose Valley Waterfall https://www.americancatskills.com/blog/2022/11/transient-a-peekamoose-valley-waterfall The Peekamoose Valley is a beautiful destination complete with river scenery, fishing spots, swimming holes, waterfalls and a popular state campground. The scenic drive along Route 42 begins at the hamlet of West Shokan, runs along the Bush Kill and through Watson Hollow, becomes Peekamoose Road (formerly known as Gulf Road), passes Peekamoose Lake, follows the Rondout Creek, allows access to Buttermilk Falls, passes the Blue Hole, and then quickly runs by Bull Run and the hamlet of Sundown, before ending at the Rondout Reservoir.

 

Photograph of an unnamed waterfall in the Catskills along Peekamoose Road as it enters the Rondout Creek.TransientThis scenic photograph depicts one of the more transient waterfalls of the Peekamoose Valley as it comes off the side of 2,350-foot Bangle Hill, before entering the Rondout Creek.

 

Famous author and photographer Richard Lionel De Lisser wrote of the Peekamoose Gorge and the Rondout Creek in his 1896 book titled Picturesque Ulster.

 

“The Gorge, or Canon as it is sometimes called, is the crowning jewel of the Peekamoose and is beyond description; a royal cradle fit for the queen of waters, the royal Rondout. The Rondout Creek, springing from life from the mountain streams that flow from the steep slopes of the Peekamoose Mountain, passes through a most beautiful and picturesque region, not altogether quietly, for far up at the source and for several miles below its clear fountain springs, it forms a succession of rocky basins, sometimes with only a little ripple of a plunge to a lower level, and again a fall of many feet over rocks to the clear sparkling reservoir below . . .

 

Further down the stream the Rondout enters Peekamoose Gorge, and flows through it for nearly a mile. On each side rise the perpendicular or overhanging rocks to the height of over a hundred feet, the top clad with stately trees, the shadow of whose far-reaching branches add to the gloom and mystery of the depths below. Through this canon rushes the Rondout Creek, leaping over high bowlders and rocks that in the course of time have fallen from the ledge above; in places forming miniature lakes, through which the stream moves gently; in others darting over the worn moss-covered ledges forming rapids or falls of many feet, and dashing itself into foam as it plunges into a long, deep pool that sends up clouds of mist.

 

In winter the accumulation of ice formed by the mist and the moisture dropping from the rocks piles up to a great height and in most grotesque forms against the sides of the canon. It is late in the spring before this ice disappears, for the Gorge is a cool place even on the hottest summer day.

 

After the creek passes form the Gorge it becomes a more quiet stream, moving gently though still pools, and over the moss-covered stones in its bed, with no sound louder than its murmurings of complaint to the bowlders which now and then obstruct its pathway to the majestic Hudson.” (De Lisser, Richard Lionel. Picturesque Ulster. The Styles & Bruyn Publishing Company, 1896. Pp. 148-149.)

 

The Sundown Wild Forest and Vernooy Kill State Forest Unit Management Plan contains some geological details about the Peekamoose Valley.

 

“The Peekamoose Valley was most certainly within the ancient river delta, as is evidenced by the high elevation of the surrounding mountains (Peekamoose Mountain at 3,843 feet, Table Mountain at 3,847 feet, and Van Wyck Mountain at 3,206 feet) and preponderance of conglomerate rock. The valley itself was formed during the last ice age. J. L. Rich, in his book "Glacial Geology of the Catskills" writes, "A powerful stream working for a long time must have been required to cut a rock gorge so large and deep as Peekamoose gorge[sic]."

 

Rich theorizes that the Esopus Creek was once dammed by a glacier to form a large lake. This lake grew as ice lay banked up against Ashokan High Point, above the level of Wagon Wheel Gap, until the waters found a place to drain through Watson Hollow and Peekamoose. This resulted in the formation of a powerful stream which cut deeply into the erosion resistant conglomerate rock of the mountains.

 

Today, small tributary streams cascade over the sides of the Peekamoose Gorge forming numerous waterfalls as they join the Rondout Creek. Some of the larger tributaries, such as Stone Cabin Brook (1.1 miles), have cut narrow gorges of their own. Today's Rondout Creek descends about 300 feet over about 4 miles before making its way to Sundown.” (Sundown Wild Forest and Vernooy Kill State Forest Unit Management Plan. October, 2019. pp. 35-36.)

 

As the above quote hints, one of the great scenic features of the Peekamoose Road is the number of waterfalls that can be seen here, although some are on private property and others are heavily dependent on the season or on recent rains. Given their occasionally fleeting nature, the waterfalls here can be particularly rewarding to photograph if you happen to be there at a time when the waters are flowing.

 

Photograph of an unnamed waterfall in the Catskills along Peekamoose Road as it enters the Rondout Creek.Peekamoose Valley WaterfallThis scenic photograph depicts one of the more transient waterfalls of the Peekamoose Valley as it comes off the side of 2,350-foot Bangle Hill, before entering the Rondout Creek.

 

SPhotograph of an unnamed waterfall in the Catskills along Peekamoose Road as it enters the Rondout Creek.Bangle Hill FallsThis scenic photograph depicts one of the more transient waterfalls of the Peekamoose Valley as it comes off the side of 2,350-foot Bangle Hill, before entering the Rondout Creek.

 

The photographs seen here depict one of the more transient waterfalls of the Peekamoose Valley as it comes off the side of 2,350-foot Bangle Hill, before entering the Rondout Creek.

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[email protected] (American Catskills) Bangle Hill Blue Hole Buttermilk Falls Catskill Mountains Catskills creek New York Peekamoose Gorge Peekamoose Road Peekamoose Valley photographs photography photos river Rondout Creek tourism travel water waterfall https://www.americancatskills.com/blog/2022/11/transient-a-peekamoose-valley-waterfall Sat, 26 Nov 2022 13:00:00 GMT
Samuel E. Rusk – New Photography Gallery https://www.americancatskills.com/blog/2022/11/samuel-e-rusk-new-photography-gallery Samuel Rusk (1851-1930) is closely associated with the history of the northern Catskills. He was the grandson of Aaron Haines (1802-1883), who owned the first deed of land in the Haines Falls area and operated a popular boarding house.

 

Throughout his career Rusk had a wide variety of jobs including surveyor, professor, principal, inventor, hotel owner, author, car dealership owner and postmaster, but it is perhaps his lengthy career as a photographer around Newport News, Virginia and in the northern Catskills that is his most lasting legacy.

 

 

In the 1870s Rusk assisted Princeton geology professor Arnold Henry Guyot as he surveyed the Catskills, a survey that determined that Slide Mountain was the tallest mountain in the Catskills (previously recognized as Kaaterskill High Peak), set “down in print a system of names for all summits of any importance in the Catskills”* and expanded the region commonly known as the Catskills.

 

In 1879 Rusk published the popular tourist guide titled An Illustrated Guide to the Catskill Mountains.

 

In 1884 he built the fashionable Lox-Hurst boarding house in Haines Falls, which accommodated 40 people and was well known for its pure spring water. Lox-Hurst was located at the site of today’s Mountain Top Historical Society but unfortunately burned down in the mid-1990s. In 1905 Rusk built the opulent Claremont boarding house, which accommodated 75 people.

 

In 1907 Rusk constructed the Haines Falls post office and served as its postmaster for many years.

 

Samuel, along with his brother John Rusk, was a prominent landscape photographer and operated Rusk’s FotoFactory, a well-known portrait studio in Haines Falls. He published a popular series of postcards from his photographs.

 

Samuel Rusk was a prominent citizen who contributed in many ways to the Catskills community. The 3,680-foot Rusk Mountain, the 20th highest mountain in the Catskills, is named in his honor. 

 

I have recently added a new gallery to display the photographic work of Samuel E. Rusk. It can be found on the gallery page and is titled “Samuel E. Rusk – Haines Falls Photographer.” The gallery currently displays 26 photographic postcards of this noted artist, and hopefully more will periodically be added as they are acquired. Below is just a small selection of Rusk’s beautiful works.

 

 

Kaaterskill Clove and Haines Falls from Sunset Rock, Catskill Mts.

Kaaterskill Clove and Haines Falls from Sunset Rock, Catskill Mts.Kaaterskill Clove and Haines Falls from Sunset Rock, Catskill Mts.

 

A Vanishing Type, Catskill Mts.

A Vanishing Type, Catskill Mts.518_A Vanishing Type, Catskill Mts.

 

The Oldest Frame House standing in the Catskill Mts. (A. D. 1787.) Haines Falls.

The Oldest Frame House standing in the Catskill Mts. (A. D. 1787.) Haines Falls595_The Oldest Frame House standing in the Catskill Mts. (A. D. 1787.) Haines Falls

 

The Old Sawmill, Haines Falls, Catskill Mts.

The Old Sawmill, Haines Falls, Catskill Mts.514_The Old Sawmill, Haines Falls, Catskill Mts.

 

Ledge End Inn, Twilight Park, Haines Falls, Catskill Mts.

 

The Bowlder, Hotel Kaaterskill, Catskill Mts.

The Bowlder, Hotel Kaaterskill, Catskill Mts.507_The Bowlder, Hotel Kaaterskill, Catskill Mts.

 

Haines Falls (150 feet high), Catskill Mts.

Haines Falls (150 feet high), Catskill Mts.535_Haines Falls (150 feet high), Catskill Mts.

 

The Sphinx, Haines Falls, Catskill Mts.

The Sphinx, Haines Falls, Catskill Mts.530_The Sphinx, Haines Falls, Catskill Mts.

 

Source: *Evers, Alf. The Catskills: From Wilderness to Woodstock. Woodstock, NY: The Overlook Press, 1972. p. 494.

 

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[email protected] (American Catskills) An Illustrated Guide to the Catskill Mountains Arnold Henry Guyot author boarding house book Catskill Mountains Catskills Claremont community FotoFactory geologist geology Greene County guide guidebook Haines Falls hotel John W. Rusk Kaaterskill High Peak Lox-Hurst Mountain Top Historical Society mountains New York photographer photography photos portrait studio post office postcards postmaster Rusk Mountain Samuel Rusk Slide Mountain survey writer https://www.americancatskills.com/blog/2022/11/samuel-e-rusk-new-photography-gallery Sat, 19 Nov 2022 13:00:00 GMT
John Jacob Loeffler’s Stereoviews of the Catskills https://www.americancatskills.com/blog/2022/11/john-jacob-loeffler-s-stereoviews-of-the-catskills John Jacob Loeffler is one of the great Catskills photographers of all time. He made hundreds of stereoviews of the Catskills throughout the 1870s and 1880s. The photographs, part of the series titled Catskill Mountain Scenery and Scenery of Lake Mohonk and Vicinity, demonstrate his skill and vision as well as the timeless beauty of the Catskills. The photographs are as equally compelling today as they were 150 years ago.

 

I have recently acquired a number of new Catskills photographs by John Jacob Loeffler. They have all been added to the Loeffler gallery, which now contains over 140 of his photographs.

 

 

Rapids above the Fall, looking up the stream. (Catskill Mountain Scenery, 2nd Series, # 236)

Vintage John Jacob Loeffler stereoview titled “Rapids above the Fall, looking up the stream” from the “Catskill Mountain Scenery” series; second series, # 236.2nd Series, #236_Rapids above the Fall, looking up the streamPhotographer: John Jacob Loeffler
Series name: Catskill Mountain Scenery
Catalog #: 2nd Series, # 236
Title: Rapids above the Fall, looking up the stream

John Jacob Loeffler is one of the great Catskills photographers of all time. He made hundreds of stereoviews of the Catskills throughout the 1870s and 1880s. The photographs, part of the series titled Catskill Mountain Scenery, demonstrate his skill and vision as well as the timeless beauty of the Catskills, being equally compelling today as they were 150 years ago.

 

Wood Path from Laurel House to the Falls. (Catskill Mountain Scenery, 2nd Series, # 238)

Vintage John Jacob Loeffler stereoview titled “Wood Path from Laurel House to the Falls” from the “Catskill Mountain Scenery” series; 2nd Series, # 238.2nd Series, #238_Wood Path from Laurel House to the Falls.Photographer: John Jacob Loeffler
Series name: Catskill Mountain Scenery
Catalog #: 2nd Series, No. 238.
Title: Wood Path from Laurel House to the Falls.

John Jacob Loeffler is one of the great Catskills photographers of all time. He made hundreds of stereoviews of the Catskills throughout the 1870s and 1880s. The photographs, part of the series titled Catskill Mountain Scenery, demonstrate his skill and vision as well as the timeless beauty of the Catskills, being equally compelling today as they were 150 years ago.

 

Terrace Falls, Plauterkill Clove. (Catskill Mountain Scenery, 5th Series, # 341)

Vintage John Jacob Loeffler stereoview titled “Terrace Falls, Plauterkill Clove” in the “Catskill Mountain Scenery” set; 5th Series, # 341.5th Series, #341_Terrace Falls, Plauterkill Clove.Photographer: John Jacob Loeffler
Series name: Catskill Mountain Scenery
Catalog #: 5th Series, No. 341.
Title: Terrace Falls, Plauterkill Clove.

John Jacob Loeffler is one of the great Catskills photographers of all time. He made hundreds of stereoviews of the Catskills throughout the 1870s and 1880s. The photographs, part of the series titled Catskill Mountain Scenery, demonstrate his skill and vision as well as the timeless beauty of the Catskills, being equally compelling today as they were 150 years ago.

 

Hotel Kaaterskill. (Catskill Mountain Scenery, No series, # 376)

Vintage John Jacob Loeffler stereoview titled “Hotel Kaaterskill” from the “Catskill Mountain Scenery” series; No series listed, # 376.No series, #376_Hotel Kaaterskill.Photographer: John Jacob Loeffler
Series name: Catskill Mountain Scenery
Catalog #: No series listed, No. 376.
Title: Hotel Kaaterskill.

John Jacob Loeffler is one of the great Catskills photographers of all time. He made hundreds of stereoviews of the Catskills throughout the 1870s and 1880s. The photographs, part of the series titled Catskill Mountain Scenery, demonstrate his skill and vision as well as the timeless beauty of the Catskills, being equally compelling today as they were 150 years ago.

 

House from Pine Bluff. (Scenery of Lake Mohonk & Vicinity, 1st Series, # 6)

Vintage John Jacob Loeffler stereoview titled “House from Sky-Top Path” from the “Scenery of Lake Mohonk and Vicinity” series; First Series, # 6.1st Series, #6_House from Pine Bluff.Photographer: John Jacob Loeffler
Series name: Scenery of Lake Mohonk and Vicinity
Catalog #: 1st Series, No. 6
Title: House from Pine Bluff.

 

View from Labyrinth. (Scenery of Lake Mohonk & Vicinity, 1st Series, # 22)

Vintage John Jacob Loeffler stereoview titled “View from Labyrinth” from the “Scenery of Lake Mohonk and Vicinity” series; First Series, # 22.1st Series, #22_View from Labyrinth.Photographer: John Jacob Loeffler
Series name: Scenery of Lake Mohonk and Vicinity
Catalog #: 1st Series, No. 22.
Title: View from Labyrinth.

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[email protected] (American Catskills) Catskill Mountain Scenery Catskill Mountains Catskills Greene County J. Loeffler John Jacob Loeffler Lake Mohonk Loeffler Mohonk House New York photographer photographs photography photos pictures Shawangunks Staten Island stereo view stereograph stereoscopic stereoscopic view stereoview Tompkinsville https://www.americancatskills.com/blog/2022/11/john-jacob-loeffler-s-stereoviews-of-the-catskills Sat, 12 Nov 2022 13:00:00 GMT
E. & H. T. Anthony Stereoviews of the Catskills https://www.americancatskills.com/blog/2022/11/e-h-t-anthony-stereoviews-of-the-catskills The E. & H. T. Anthony company was the largest 19th-century manufacturer and distributor of cameras and photographic supplies in the United States. The company was founded by Edward Anthony (1818-1888) and his brother Henry T. Anthony (1814-1884). Regionally, the company produced many of the greatest Catskills views of the 19th century. The Catskills stereoviews were incorporated into several series including “The Artistic Series,” “The Glens of the Catskills,” and “Winter in the Catskills.” Each of the photographs demonstrates the enduring beauty of the Catskills, being as equally compelling today as they were 150 years ago.

 

I have recently acquired a number of new Catskills stereoviews by E. & H. T. Anthony & Company. They have all been added to the Anthony gallery, which now contains over 125 of the company’s Catskills works.

 

View in the Kauterskill Gorge. (# 411)

Vintage E. Anthony stereoview # 411 titled “View in the Kauterskill Gorge” from “The Glens of the Catskills” series.411_View in the Kauterskill Gorge.Publisher: E. & H. T. Anthony & Co.
Series name: The Glens of the Catskills
Stereoview #: 411
Title: View in the Kauterskill Gorge.

The E. & H. T. Anthony company was the largest 19th-century manufacturer and distributor of cameras and photographic supplies in the United States. The company was founded by Edward Anthony (1818-1888) and his brother Henry T. Anthony (1814-1884). Regionally, the company produced many of the greatest Catskills views of the 19th century. The Catskills stereoviews were incorporated into several series including “The Artistic Series,” “The Glens of the Catskills,” and “Winter in the Catskills.” Each of the photographs demonstrates the enduring beauty of the Catskills, being as equally compelling today as they were 150 years ago.

 

Ice Formation (# 788)

Vintage E. & H. T. Anthony & Company stereoview # 788 from the “Winter in the Catskills” series depicting a beautiful ice formation.788_Ice Formation.Publisher: E. & H. T. Anthony & Co.
Series name: Winter in the Catskills
Stereoview #: 788
Title: None listed; Description: Ice Formation.

Reverse side: “These are some of the most remarkable Ice and Snow scenes in existence, and every assortment of stereoscopic views should contain a selection from them.”

The E. & H. T. Anthony company was the largest 19th-century manufacturer and distributor of cameras and photographic supplies in the United States. The company was founded by Edward Anthony (1818-1888) and his brother Henry T. Anthony (1814-1884). Regionally, the company produced many of the greatest Catskills views of the 19th century. The Catskills stereoviews were incorporated into several series including “The Artistic Series,” “The Glens of the Catskills,” and “Winter in the Catskills.” Each of the photographs demonstrates the enduring beauty of the Catskills, being as equally compelling today as they were 150 years ago.

 

Winter View in the Catskills (# 796)

Vintage E. & H. T. Anthony & Company stereoview # 796 from the “Winter in the Catskills” series depicting a beautiful winter view over the snow-laden mountains.796_Winter View in the Catskills.Publisher: E. & H. T. Anthony & Co.
Series name: Winter in the Catskills
Stereoview #: 796
Title: None listed; Description: Winter View in the Catskills.

Reverse side: “These are some of the most remarkable Ice and Snow scenes in existence, and every assortment of stereoscopic views should contain a selection from them.”

The E. & H. T. Anthony company was the largest 19th-century manufacturer and distributor of cameras and photographic supplies in the United States. The company was founded by Edward Anthony (1818-1888) and his brother Henry T. Anthony (1814-1884). Regionally, the company produced many of the greatest Catskills views of the 19th century. The Catskills stereoviews were incorporated into several series including “The Artistic Series,” “The Glens of the Catskills,” and “Winter in the Catskills.” Each of the photographs demonstrates the enduring beauty of the Catskills, being as equally compelling today as they were 150 years ago.

 

Snowy Path (# 801)

Vintage E. & H. T. Anthony & Company stereoview # 801 from the “Winter in the Catskills” series depicting a snowy mountain path.801_Snowy Path.Publisher: E. & H. T. Anthony
Series name: Winter in the Catskills
Stereoview #: 801
Title: None listed; Description: Snowy Path.

Reverse side: “These are some of the most remarkable Ice and Snow scenes in existence, and every assortment of stereoscopic views should contain a selection from them.”

The E. & H. T. Anthony company was the largest 19th-century manufacturer and distributor of cameras and photographic supplies in the United States. The company was founded by Edward Anthony (1818-1888) and his brother Henry T. Anthony (1814-1884). Regionally, the company produced many of the greatest Catskills views of the 19th century. The Catskills stereoviews were incorporated into several series including “The Artistic Series,” “The Glens of the Catskills,” and “Winter in the Catskills.” Each of the photographs demonstrates the enduring beauty of the Catskills, being as equally compelling today as they were 150 years ago.

 

Man Standing in the Ice Cave (# 1532)

Vintage E. & H. T. Anthony & Company stereoview # 1532 from the “Winter in the Catskills” series depicting a well-dressed man standing within a large ice cave.1532_Man Standing in the Ice Cave.Publisher: E. & H. T. Anthony & Co.
Series name: Winter in the Catskills
Stereoview #: 1532
Title: None listed; Description: Man Standing in the Ice Cave.

Reverse side: “These are some of the most remarkable Ice and Snow scenes in existence, and every assortment of stereoscopic views should contain a selection from them.”

The E. & H. T. Anthony company was the largest 19th-century manufacturer and distributor of cameras and photographic supplies in the United States. The company was founded by Edward Anthony (1818-1888) and his brother Henry T. Anthony (1814-1884). Regionally, the company produced many of the greatest Catskills views of the 19th century. The Catskills stereoviews were incorporated into several series including “The Artistic Series,” “The Glens of the Catskills,” and “Winter in the Catskills.” Each of the photographs demonstrates the enduring beauty of the Catskills, being as equally compelling today as they were 150 years ago.

 

Catskills Winter View (# 1539)

Vintage E. & H. T. Anthony & Company stereoview # 1539 from the “Winter in the Catskills” series depicting a beautiful snow-covered scene in the Catskills.1539_Catskills Winter View.Publisher: E. & H. T. Anthony & Co.
Series name: Winter in the Catskills
Stereoview #: 1539
Title: None listed; Description: Catskills Winter View.

Reverse side: “These are some of the most remarkable Ice and Snow scenes in existence, and every assortment of stereoscopic views should contain a selection from them.”

The E. & H. T. Anthony company was the largest 19th-century manufacturer and distributor of cameras and photographic supplies in the United States. The company was founded by Edward Anthony (1818-1888) and his brother Henry T. Anthony (1814-1884). Regionally, the company produced many of the greatest Catskills views of the 19th century. The Catskills stereoviews were incorporated into several series including “The Artistic Series,” “The Glens of the Catskills,” and “Winter in the Catskills.” Each of the photographs demonstrates the enduring beauty of the Catskills, being as equally compelling today as they were 150 years ago.

 

The Laurel House (# 4190)

Vintage E. & H. T. Anthony & Co. stereoview # 4190 titled “The Laurel House” from “The Glens of the Catskills” series.4190_The Laurel House.Publisher: E. & H. T. Anthony & Co.
Series name: The Glens of the Catskills
Stereoview #: 4190
Title: The Laurel House.

The E. & H. T. Anthony company was the largest 19th-century manufacturer and distributor of cameras and photographic supplies in the United States. The company was founded by Edward Anthony (1818-1888) and his brother Henry T. Anthony (1814-1884). Regionally, the company produced many of the greatest Catskills views of the 19th century. The Catskills stereoviews were incorporated into several series including “The Artistic Series,” “The Glens of the Catskills,” and “Winter in the Catskills.” Each of the photographs demonstrates the enduring beauty of the Catskills, being as equally compelling today as they were 150 years ago.

 

Looking down the Kauterskill, from New Laurel House. (# 4202)

Vintage E. & H. T. Anthony & Co. stereoview # 4202 titled “Looking down the Kauterskill, from New Laurel House” from “The Glens of the Catskills” series.4202_Looking down the Kauterskill, from New Laurel House.Publisher: E. & H. T. Anthony & Co.
Series name: The Glens of the Catskills
Stereoview #: 4202
Title: Looking down the Kauterskill, from New Laurel House.

The E. & H. T. Anthony company was the largest 19th-century manufacturer and distributor of cameras and photographic supplies in the United States. The company was founded by Edward Anthony (1818-1888) and his brother Henry T. Anthony (1814-1884). Regionally, the company produced many of the greatest Catskills views of the 19th century. The Catskills stereoviews were incorporated into several series including “The Artistic Series,” “The Glens of the Catskills,” and “Winter in the Catskills.” Each of the photographs demonstrates the enduring beauty of the Catskills, being as equally compelling today as they were 150 years ago.

 

Sunset Rock from the Bluff (# 8540)

Vintage E. & H. T. Anthony & Co. stereoview # 8540 titled “Sunset Rock from the Bluff” from “The Glens of the Catskills” series.8540_Sunset Rock from the Bluff.Publisher: E. & H. T. Anthony & Co.
Series name: Glens of the Catskills
Stereoview #: 8540
Title: Sunset Rock from the Bluff.

The E. & H. T. Anthony company was the largest 19th-century manufacturer and distributor of cameras and photographic supplies in the United States. The company was founded by Edward Anthony (1818-1888) and his brother Henry T. Anthony (1814-1884). Regionally, the company produced many of the greatest Catskills views of the 19th century. The Catskills stereoviews were incorporated into several series including “The Artistic Series,” “The Glens of the Catskills,” and “Winter in the Catskills.” Each of the photographs demonstrates the enduring beauty of the Catskills, being as equally compelling today as they were 150 years ago.

 

The Mill Pond near Laurel House (# 9049)

Vintage E. & H. T. Anthony & Co. stereoview # 9049 titled “The Mill Pond near Laurel House” in “The Glens of the Catskills” series.9049_The Mill Pond near Laurel House.Publisher: E. & H. T. Anthony & Co.
Series name: The Glens of the Catskills
Stereoview #: 9049
Title: The Mill Pond near Laurel House.

The E. & H. T. Anthony company was the largest 19th-century manufacturer and distributor of cameras and photographic supplies in the United States. The company was founded by Edward Anthony (1818-1888) and his brother Henry T. Anthony (1814-1884). Regionally, the company produced many of the greatest Catskills views of the 19th century. The Catskills stereoviews were incorporated into several series including “The Artistic Series,” “The Glens of the Catskills,” and “Winter in the Catskills.” Each of the photographs demonstrates the enduring beauty of the Catskills, being as equally compelling today as they were 150 years ago.

 

General View of the Kauterskill Fall (# 9051)

Vintage E. & H. T. Anthony & Company stereoview # 9051 titled “General View of the Kauterskill Fall” from “The Glens of the Catskills” series.9051_General View of the Kauterskill Fall.Publisher: E. & H. T. Anthony & Co.
Series name: The Glens of the Catskills
Stereoview #: 9051
Title: General View of the Kauterskill Fall.


The E. & H. T. Anthony company was the largest 19th-century manufacturer and distributor of cameras and photographic supplies in the United States. The company was founded by Edward Anthony (1818-1888) and his brother Henry T. Anthony (1814-1884). Regionally, the company produced many of the greatest Catskills views of the 19th century. The Catskills stereoviews were incorporated into several series including “The Artistic Series,” “The Glens of the Catskills,” and “Winter in the Catskills.” Each of the photographs demonstrates the enduring beauty of the Catskills, being as equally compelling today as they were 150 years ago.

 

The Mountain House and Valley of the Lakes from North Mt., High Peak and Round Top in the Distance (# 9078)

Vintage E. & H. T. Anthony & Company stereoview # 9078 titled “The Mountain House and Valley of the Lakes from North Mt., High Peak and Round Top in the Distance” from “The Glens of the Catskills” ser9078_The Mountain House and Valley of the Lakes from North Mt., High Peak and Round Top in the Distance.Publisher: E. & H. T. Anthony & Co.
Series name: The Glens of the Catskills
Stereoview #: 9078
Title: The Mountain House and Valley of the Lakes from North Mt., High Peak and Round Top in the Distance


The E. & H. T. Anthony company was the largest 19th-century manufacturer and distributor of cameras and photographic supplies in the United States. The company was founded by Edward Anthony (1818-1888) and his brother Henry T. Anthony (1814-1884). Regionally, the company produced many of the greatest Catskills views of the 19th century. The Catskills stereoviews were incorporated into several series including “The Artistic Series,” “The Glens of the Catskills,” and “Winter in the Catskills.” Each of the photographs demonstrates the enduring beauty of the Catskills, being as equally compelling today as they were 150 years ago.

 

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[email protected] (American Catskills) Catskill Mountains Catskills E. & H. T. Anthony Edward Anthony Gems of American Scenery Glens of the Catskills Henry T. Anthony New York photographer photographs photography photos pictures stereo view stereograph stereoscopic stereoviews The Artistic Series Winter in the Catskills https://www.americancatskills.com/blog/2022/11/e-h-t-anthony-stereoviews-of-the-catskills Sat, 05 Nov 2022 12:00:00 GMT
Updated: The “Cats” in Cats-kills https://www.americancatskills.com/blog/2022/10/the-cats-in-cats-kills Having recently acquired 14 new postcards of “Cats” in the Catskills, I thought I would update a previous blog post published on January 9, 2021. Each of the new postcards are as interesting as those included in the original post. We find our lovable cats reading and selling newspapers, towing campers, going for a hike, flying a hot air balloon, and observing the scenery from a fire tower.

 

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Original post:

 

Given the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The anthropomorphic cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons.

 

There is much debate as to the origin of the name Catskills, particularly around the “cats.” Theories include that the name derived from the American wildcat (bobcats), or catamounts, that once roamed the area; or the Dutch word “kat” meaning a domestic she cat; or the Dutch word “kater” for tomcat; or a Mohican chief named Cat; or from an Indian word “katsketed” which meant fortification; or the “kasteels,” which were Indian stockades located along the banks of the Catskill Creek; or in honor of the poet Jacob Cats; or the ship named “The Cat” that once sailed up the Hudson River; or a place called Katsbaan near Saugerties where Indians played the game of lacrosse; and so on. For perhaps the most detailed history about the possible origins of the name Catskills, see Alf Evers in chapter 71 of his regional classic The Catskills, From Wilderness to Woodstock.

 

If the origin of “Cats” is quite obscure, what is quite clear is the origin of the term “kill” in Cats-“kills.” The term “kill” means creek, stream or river; and originated from the Dutch word kille meaning “riverbed” or “water channel”. The term is used in historically Dutch-influenced areas in the New York and New Jersey region, including the Catskills.

 

Included here are a number of vintage postcards that utilized cats in promoting the Catskills. The postcards were published by the Kingston News Service, the Eagle Post Card Company, C. W. Hughes, George Greenberg & Son, Albert Hahn and the Hugh C. Leighton Company, amongst others.

 

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New "Cats" postcards

 

Just Leaving the Catskills

Vintage Catskills postcard by Albert Hahn depicting a cat-drawn wagon being driven by other cats as they pass the train station to leave the Catskills.Just Leaving the CatskillsGiven the Cat-skills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons. In this particular vintage postcard, a cat-drawn wagon is being driven by other cats as they pass the train station to leave the Catskills.

The postcard was published by Albert Hahn located at 229 Broadway, New York. The postcard was copyrighted by Albert Hahn in 1907. The postmark on the reverse side shows that it was mailed in 1909.

 

Greetings from the Catskills

Vintage postcard titled “Greetings from the Catskills” that depict three good-looking cats in fancy clothes move along on roller skates as they make their way to the Catskills.Greetings from the CatskillsGiven the Cat-skills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons. In this particular vintage postcard, three good-looking cats in fancy clothes move along on roller skates as they make their way to the Catskills.

The vintage postcard was published by the Kingston News Service located in Kingston, New York. The postcard was never mailed.

 

Greetings from Catskill Mts., N.Y.

Vintage Catskills postcard by the Kingston News Service depicting a family of cats with their car loaded with luggage, towing an RV, with laundry hanging on a clothes line.Greetings from Catskill Mts., N.Y.Given the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons.

In this particular vintage postcard, a family of cats can be found camping. The scene includes a car loaded with luggage, an RV with a child cat peeking out the window and laundry hanging on a clothesline. The Catskill Mountains can be seen in the background. The postcard was published by the Kingston News Service located at Kingston, New York. The postcard was never mailed.

 

Greetings from the Catskills 

Greetings from the CatskillsGreetings from the Catskills

 

Vacation Days in the Catskills, N.Y. Vintage postcard titled “Vacation Days in the Catskills” showing three cats walking down the road with mountains in the background.Vacation Days in the Catsills, N.Y.Given the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons.

In this particular vintage postcard, three cats are walking down the road, surrounded by forests and with looming mountains in the background. The vintage postcard was published by C. W. Hughes & Co. of Mechanicsville, New York.

The postmark on the reverse side shows that the card was mailed in 1931. The postcard was mailed to Mrs. Ira Walker of Minerva, Ohio with the note “Have a few days off in this beautiful country. Harry.”

 

A Jolly Outing in the Catskills Vintage postcard by Albert Hahn titled “A Jolly Outing in the Catskills.”A Jolly Outing in the CatskillsGiven the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons.

In this particular postcard, a wagon full of cats, one of which is waving an American flag, are pulled by six other cats, while they all make their way to the famed Catskill Mountain House, which can be seen in the background. The postcard, titled “A Jolly Outing in the Catskills,” was published in 1908 by Albert Hahn, located at 229 Broadway in New York City. The postmark on the reverse side is illegible.

 

High up in the Catskills, Catskill Mts., N.Y. Vintage postcard titled “High Up in the Catskills” depicting five cats in a plane named “Catskill Mountain Line.”High Up in the Catskills, Catskill Mts., N.Y.Given the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons.

In this particular vintage postcard, five cats are flying in a brightly colored airplane named “Catskill Mt. Line.” The postcard was published by the Kingston News Service located at Kingston, New York.

The postcard was mailed to Margaret and Alfred Klein of Jersey City, New Jersey. The writing reads “Isn’t this plane and passengers catsy. Will see you soon. Home was never like this. Ha! Ha!” The postmark date on the reverse side is illegible.

 

High Up in the Catskills Vintage Catskills postcard depicting four cats enjoying themselves as they go for a ride in a double set of basket swings.High up in the CatskillsGiven the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons.

In this particular vintage postcard, two cats are enjoying the Catskill Mountain views from the top a fire tower, or lookout tower. In the distance two cats can be seen starting their ski runs from the top of a mountain.

The postcard was published by Geo. Greenberg & Son, located at Catskill, New York. The postmark on the reverse side shows that it was mailed in 1955.

 

Souvenir Folder of the Catskill Mountains, N.Y. Vintage Catskills souvenir folder depicting four cats relaxing in the baskets of a hot air balloon.Souvenir Folder of the Catskill Mountains, N.Y.Given the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons.

On the cover of this particular souvenir folder of postcards, four cats can be seen relaxing in the baskets of a hot air balloon.

The souvenir folder was published by C. W. Hughes & Company located at Mechanicsville, New York. The folder was never mailed.

 

High Up in the Catskills Vintage Catskills postcard with four cats snuggled in a woven basket with two ropes seemingly suspending them “high up in the Catskills.”High Up In The CatskillsGiven the Cat-skills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons. In this particular vintage postcard, four cats are snuggled in a woven basket with two ropes seemingly suspending them “high up in the Catskills.”

The postcard was published by the Kingston News Service located in Kingston, New York. It was mailed, and has a postmark, although the date is illegible.

 

Here Is News from the Catskill Mountains, N.Y.

Vintage Catskills postcard by the Kingston News Service depicting a cat walking along a dirt road selling a newspaper titled “Catskill Mountain News.”Here Is News From The Catskill Mountains, N.Y.Given the Cat-skills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons. In this particular vintage postcard, a cat walks along a dirt road selling a newspaper titled “Catskill Mountain News.” The front page of the newspaper shows a wanted poster, with the criminal looking much like our beloved Mickey Mouse.

The postcard was published by the Kingston News Service located at Kingston, New York. The postcard was never mailed.

 

Here is News from the Catskill Mountains, N.Y.

Vintage Catskills postcard by the Kingston News Service depicting a cat with eyeglasses sitting comfortably as it reads a newspaper titled “Catskill Mountain News.”Here Is News From The Catskill Mountains, N.Y.Given the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons.

In this particular vintage postcard, a cat with eyeglasses sits comfortably as it reads a newspaper titled “Catskill Mountain News.” The postcard was published by the Kingston News Service located at Kingston, New York. The postcard was never mailed.

 

Greetings from the Catskills

Greetings from the CatskillsGreetings from the Catskills

 

Way Up in the Kills

Vintage postcard titled “Way Up in the Kills,” i.e. the Catskills, depicting two cats in a hot air balloon.Way Up in the KillsGiven the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons.

In this particular postcard, two cats can be seen sitting in the basket of hot air balloon with the moon in the background.

The postcard, titled “Way Up in the Kills,” was published by C. W. Hughes & Co. of Mechanicsville, New York. The postcard was never mailed.

 

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From original post:

 

High Up in the Catskills, Catskill Mts., N.Y.
“Catskill Mountain Line”, “Kingston News Service”, Kingston, cars cat, cats, marketing, mountains, parachute, planeHigh Up in the Catskills, Catskill Mts., N.Y.Given the Cat-skills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons. In this particular vintage postcard, the cats look like they are having the time of their life as they fly a plane named “Catskill Mountain Line” over the towering mountains.

The postcard was published by the Kingston News Service located in Kingston, New York. It was never mailed.

 

Catskill Mountains
 

Vintage Catskills postcard that shows two cars full of cats as they drive along a dirt country road with balloons that advertise that they are headed for the Catskill Mountains.Catskill MountainsGiven the Cat-skills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons. In this particular vintage postcard, two cars full of cats drive along a dirt country road with balloons that advertise that they are headed for the Catskill Mountains.

The postcard was published by the Eagle Post Card Company located in New York City. The postmark on the reverse side shows that it was mailed in 1921.

 

Motoring in the Catskills, N.Y.
 

Vintage postcard titled “Motoring in the Catskills, N.Y.” by C. W. Hughes that was used to market the Catskill Mountains region of New York State.Motoring in the Catskills, N.Y.Given the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons. In this particular vintage postcard, two gray cats drive their boss, decked out with a top hat, in a convertible, open-aired vehicle loaded down with suitcases, golf clubs and more.

This postcard was published by C. W. Hughes & Co. located in Mechanicsville, New York. It was never mailed.

 

Greetings from the Catskills
 

Vintage postcard for the Catskills region depicting four cats relaxing on a tree branch.Greetings from the CatskillsGiven the Cat-skills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons. In this particular vintage postcard, four cats lounge on a tree branch under a beautiful blue sky.

The postcard was published by C. W. Hughes & Co. located in Mechanicsville, New York. The postcard was never mailed.

 

Greetings from the Catskills
 

Vintage postcard titled “Greetings from the Catskills” that depict four good-looking cats offering a relaxed invitation to join them in the Catskills.Greetings from the CatskillsGiven the Cat-skills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons. In this particular vintage postcard, four good-looking cats offer a relaxed invitation to join them in the “Kills.”

The vintage postcard was published by George Greenberg & Son located in Catskill, New York. The postcard was never mailed.

 

Greetings from the Cats Kills
 

Vintage postcard by George Greenberg & Son titled “Greetings from the Catskills” that depict four good-looking cats offering a relaxed invitation to join them in the Catskills.Greetings from the CatskillsGiven the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons.

In this particular vintage postcard, four good-looking cats offer a relaxed invitation for you to join them in the “Kills.” The vintage postcard was published by George Greenberg & Son located in Catskill, New York. The postcard was never mailed.

 

Greetings from the Catskills
 

Vintage postcard titled “Greetings from the Catskills” that depict three good-looking cats offering a relaxed invitation to join them in the Catskills.Greetings from the CatskillsGiven the Cat-skills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons. In this particular vintage postcard, three good-looking cats offer a relaxed invitation to join them in the “Kills.”

The vintage postcard was published by the Kingston News Service located in Kingston, New York. The postmark on the reverse side shows that it was mailed in 1945.

 

High Up in the Catskills
 

Vintage Catskills postcard depicting four cats enjoying themselves as they go for a ride in a double set of basket swings.High up in the CatskillsGiven the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons. In this particular vintage postcard, four cats look like they are enjoying themselves as they go for a ride in a double set of basket swings.

The postcard was published by C. W. Hughes & Company located at Mechanicsville, New York. The postmark on the reverse side shows that it was mailed in 1936.

 

Praising the Catskills
 

Vintage Catskills postcard by Albert Hahn that shows five adorable cats loudly sing from a music book about the wonders of the Catskill Mountains.Praising the CatskillsGiven the Cat-skills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons. In this particular vintage postcard, five adorable cats loudly sing from a music book about the wonders of the Catskill Mountains.

The postcard was published by Albert Hahn located in New York City. The Albert Hahn company operated from 1901 to 1919. He published his postcards in Germany, as was common for the era. The postmark on the reverse side shows that this particular postcard was mailed in 1912.

 

Greetings from the Catskills
 

Vintage postcard published by the Hugh C. Leighton Company titled “Greetings from the Catskills” depicting a beautiful cat.Greetings from the CatskillsGiven the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons.

In this particular vintage postcard, an elegantly beautiful cat poses for the camera. The postcard was manufactured in Germany and published by the Hugh C. Leighton Company located at Portland, Maine. The postcard was never mailed.

 

Greetings from the Catskill Mts., N.Y.
 

Vintage postcard by George Greenberg & Son titled “Arrived O.K.” and “Greetings from the Catskills” that depict a cat family in a car following a sign toward the Catskills.Arrived O.K.Given the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons.

In this particular vintage postcard, a cat driving a car follows a road sign towards the Catskills, with the lush green mountains looming in the background. The vintage postcard was published by George Greenberg & Son located in Catskill, New York. The postcard was never mailed.

 

Mr. Kaatskill
 

Vintage postcard titled “Mr. Kaatskill” depicting a well-groomed cat in a human tie and top hat.Mr. KaatskillGiven the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons. In this particular vintage postcard, the dapper Mr. Kaatskill poses his finely groomed self while sharply dressed with a tie and top hat.

The postcard was published by C. W. Hughes & Company located at Mechanicsville, New York. The postcard was never mailed.

 

Mrs. Kaatskill
 

Vintage postcard titled “Mr. Kaatskill” depicting a well-groomed cat in a human tie and top hat.Mrs. KaatskillGiven the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons. In this particular vintage postcard, the beautiful Mrs. Kaatskill elegantly poses with a bow on her head.

The postcard was published by C. W. Hughes & Company located at Mechanicsville, New York. The postcard was never mailed.

 

Mr. Catskill
 

Vintage postcard titled “Mr. Catskill” that was used to market the Catskill Mountains region of New York State.Mr. CatskillGiven the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons. In this particular vintage postcard, the relaxed Mr. Catskill poses with a hat and bowtie.

The postcard was published by George Greenberg located in Catskill, New York. It was never mailed.

 

Mrs. Catskill
 

Vintage postcard titled “Mrs. Catskill” that was used to market the Catskill Mountains region of New York State.Mrs. CatskillGiven the Cats-kills name it is not surprising that there is a wide array of historical “cat” related postcards and marketing materials for the region. The cats often depicted tourists as they partook in various vacation activities or were dressed to the nines in high fashion. The cats could be found driving cars, flying planes, going hiking or riding in cat-pulled wagons. In this particular vintage postcard, the beautiful feline Mrs. Catskill hits the town in a bonnet and pearls.

 

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[email protected] (American Catskills) advertising anthropomorphic antique cars cat cats Catskill Mountains Catskills historic mail marketing New York photographer photographs photography photos pictures postcards region sightseeing tourism tourist travel vintage https://www.americancatskills.com/blog/2022/10/the-cats-in-cats-kills Sat, 29 Oct 2022 12:00:00 GMT
Bob Wyer – Covered Bridges of the Catskills https://www.americancatskills.com/blog/2022/10/bob-wyer-covered-bridges-of-the-catskills Bob Wyer is one of the most prolific photographers in the history of the Catskills. His photographic career included shooting just about everything, such as passport photos, chauffer licenses, hunting licenses, high school yearbooks, formal portraits, special occasions such as birthdays and weddings, young babies, local stores, hotels and businesses, accidents, insurance claims, crime scenes, landscapes, parades and local news events.

 

There was nothing that Bob couldn’t and wouldn’t photograph. Upon his retirement, Bob donated his extensive collection of over 150,000 photos to the Delaware County Historical Association. The collection is a virtual time capsule of the region from the late 1930s to the 1970s.

 

See my blog post titled “Bob Wyer: The Delhi Lensman” of February 22, 2020 for an interesting biography of this famed photographer. My personal collection of Bob Wyer photographs can be visited from the gallery page.

 

As part of my collection, Bob’s photographs of the covered bridges of the Catskills are particularly appealing. Below is an exhibit of some of these covered bridge photographs.

 

Millbrook Bridge

Millbrook BridgeMillbrook BridgeThis vintage postcard with the title "Millbrook Bridge" was taken by famed photographer Bob Wyer of Delhi, New York.

Bob Wyer is one of the most prolific photographers in the history of the Catskills. His photographic career included shooting just about everything, such as passport photos, chauffer licenses, hunting licenses, high school yearbooks, formal portraits, special occasions such as birthdays and weddings, young babies, local stores, hotels and businesses, accidents, insurance claims, crime scenes, landscapes, parades and local news events. There was nothing that Bob couldn’t and wouldn’t photograph. Upon his retirement, Bob donated his extensive collection of over 150,000 photos to the Delaware County Historical Association. The collection is a virtual time capsule of the region from the late 1930s to the 1970s.

 

Fitch’s Bridge

Vintage postcard of a woman in red sweater getting her mail at a snow-covered Fitch’s Covered Bridge as it spans the Delaware River at East Delhi in Delaware County. New York.Fitch's BridgeEast Delhi, Delaware County

Vintage postcard of a woman in red sweater getting her mail at a snow-covered Fitch’s Covered Bridge as it spans the Delaware River at East Delhi in Delaware County, New York. The postcard was published by Bob Wyer, located at Delhi, New York. It was never mailed.

The historic Fitch’s Covered Bridge was constructed in 1870 by James Frazier and James Warren at a cost of $1,900. The bridge is a single span, one lane wide, constructed using native materials and is 106 feet long as it spans the West Branch of the Delaware River. The bridge was originally located on Kingston Street in Delhi but was moved in 1885 when the town decided to replace the covered bridge with a newer, more durable iron structure. Instead of destroying the relatively new bridge (constructed only 15 years prior), it was moved several miles upstream to its current location. The historic bridge was recently restored in 2001 at a cost of $425,000. Fitches Covered Bridge is listed on the National Register of Historic Places.

According to the Fitch family website, the bridge is named for Dr. Thomas Fitch (1774-1849) and his younger brother Dr. Cornelius Root Fitch (1783-1846). “Thomas bought a farm at the (site of the future) bridge on the river in 1803. When he left Delhi for Philadelphia in 1806, he sold the farm to Cornelius, who continued to practice medicine in Delhi for 33 years.”

Bob Wyer is one of the most prolific photographers in the history of the Catskills. His photographic career included shooting just about everything, such as passport photos, chauffer licenses, hunting licenses, high school yearbooks, formal portraits, special occasions such as birthdays and weddings, young babies, local stores, hotels and businesses, accidents, insurance claims, crime scenes, landscapes, parades and local news events. There was nothing that Bob couldn’t and wouldn’t photograph. Upon his retirement, Bob donated his extensive collection of over 150,000 photos to the Delaware County Historical Association. The collection is a virtual time capsule of the region from the late 1930s to the 1970s.

 

Fitches Bridge

Vintage postcard of the historic Fitches Covered Bridge as it spans the Delaware River at East Delhi in Delaware County. New York.Fitches BridgeThe historic Fitch’s Covered Bridge spans the Delaware River at East Delhi in Delaware County, New York. The postcard was published by Bob Wyer, located at Delhi, New York. The postmark on the reverse side shows that it was mailed in 1969.

The historic Fitch’s Covered Bridge was constructed in 1870 by James Frazier and James Warren at a cost of $1,900. The bridge is a single span, one lane wide, constructed using native materials and is 106 feet long as it spans the West Branch of the Delaware River. The bridge was originally located on Kingston Street in Delhi but was moved in 1885 when the town decided to replace the covered bridge with a newer, more durable iron structure. Instead of destroying the relatively new bridge (constructed only 15 years prior), it was moved several miles upstream to its current location. The historic bridge was recently restored in 2001 at a cost of $425,000. Fitches Covered Bridge is listed on the National Register of Historic Places.

According to the Fitch family website, the bridge is named for Dr. Thomas Fitch (1774-1849) and his younger brother Dr. Cornelius Root Fitch (1783-1846). “Thomas bought a farm at the (site of the future) bridge on the river in 1803. When he left Delhi for Philadelphia in 1806, he sold the farm to Cornelius, who continued to practice medicine in Delhi for 33 years.”

 

Fitches Bridge

Vintage postcard of the historic Fitches Covered Bridge as it spans the Delaware River at East Delhi in Delaware County. New York.Fitches BridgeThe historic Fitch’s Covered Bridge spans the Delaware River at East Delhi in Delaware County, New York. The postcard was published by Bob Wyer, located at Delhi, New York. The postcard was never mailed.

The historic Fitch’s Covered Bridge was constructed in 1870 by James Frazier and James Warren at a cost of $1,900. The bridge is a single span, one lane wide, constructed using native materials and is 106 feet long as it spans the West Branch of the Delaware River. The bridge was originally located on Kingston Street in Delhi but was moved in 1885 when the town decided to replace the covered bridge with a newer, more durable iron structure. Instead of destroying the relatively new bridge (constructed only 15 years prior), it was moved several miles upstream to its current location. The historic bridge was recently restored in 2001 at a cost of $425,000. Fitches Covered Bridge is listed on the National Register of Historic Places.

According to the Fitch family website, the bridge is named for Dr. Thomas Fitch (1774-1849) and his younger brother Dr. Cornelius Root Fitch (1783-1846). “Thomas bought a farm at the (site of the future) bridge on the river in 1803. When he left Delhi for Philadelphia in 1806, he sold the farm to Cornelius, who continued to practice medicine in Delhi for 33 years.”

 

Covered Bridge over the Willowemoc at Livingston Manor, NY

Vintage postcard of the Livingston Manor Covered Bridge, formerly known as the Mott Flats Bridge and more recently as the Vantran Bridge, that was originally built in 1860 by John Davidson.Covered Bridge over the Willowemoc at Livingston Manor, NYLivingston Manor, Sullivan County

Vintage postcard of the Livingston Manor Covered Bridge that was published by Bob Wyer. It was never mailed.

The historic Livingston Manor Covered Bridge, formerly known as the Mott Flats Bridge and more recently as the Vantran Bridge, was originally built in 1860 by John Davidson, a Scottish immigrant, farmer, lumberman and famous Catskills covered bridge builder. The bridge was restored to its original beauty in 1984 by the Division of Public Works. The town lattice truss bridge is approximately 17 feet wide and spans 117 feet over the famous Willowemoc Creek. The single lane bridge is open to vehicular traffic and continues to this day as a key river crossing point for the local community.

The original name of the bridge, Mott Flats, came from the Mott family, who owned land around the bridge. John Mott would later grow in to an influential American figure as the founder of the YMCA, Nobel Peace Prize winner and philanthropist. His original homestead house is located directly adjacent to the bridge.

Bob Wyer is one of the most prolific photographers in the history of the Catskills. His photographic career included shooting just about everything, such as passport photos, chauffer licenses, hunting licenses, high school yearbooks, formal portraits, special occasions such as birthdays and weddings, young babies, local stores, hotels and businesses, accidents, insurance claims, crime scenes, landscapes, parades and local news events. There was nothing that Bob couldn’t and wouldn’t photograph. Upon his retirement, Bob donated his extensive collection of over 150,000 photos to the Delaware County Historical Association. The collection is a virtual time capsule of the region from the late 1930s to the 1970s.

 

Ancient covered bridge at Dry Brook

Vintage postcard of a hunter with his gun in front of a covered bridge in the Dry Brook Valley, south of Route 28 between Margaretville and Fleischmanns.Ancient covered bridge at Dry BrookDry Brook, Ulster County

Vintage postcard of a covered bridge in the Dry Brook valley, south of Route 28 between Margaretville and Fleischmanns. The Dry Brook valley was once home to numerous covered bridges but today only three remain, including the historic Forge Covered Bridge, the historic Tappan Covered Bridge and the non-historic Myers Covered Bridge. The postcard was published by Bob Wyer. It was never mailed.

Bob Wyer is one of the most prolific photographers in the history of the Catskills. His photographic career included shooting just about everything, such as passport photos, chauffer licenses, hunting licenses, high school yearbooks, formal portraits, special occasions such as birthdays and weddings, young babies, local stores, hotels and businesses, accidents, insurance claims, crime scenes, landscapes, parades and local news events. There was nothing that Bob couldn’t and wouldn’t photograph. Upon his retirement, Bob donated his extensive collection of over 150,000 photos to the Delaware County Historical Association. The collection is a virtual time capsule of the region from the late 1930s to the 1970s.

 

Small Covered Bridge on Dry Brook, Ulster County, N.Y.

Vintage postcard from photographer Bob Wyer of a covered bridge over the Dry Brook in the Catskills.Small Covered Bridge on Dry Brook, Ulster County, N.Y.This vintage postcard from photographer Bob Wyer depicts one of the covered bridges across the Dry Brook in Ulster County, New York. The postmark on the reverse side shows that the postcard was mailed in 1971.

 

Old Covered Bridge, Dry Brook, Ulster County, N.Y.

Vintage photograph by Bob Wyer of a covered bridge over the Dry Brook in the Catskills.Old Covered Bridge, Dry Brook, Ulster County, N.Y.

 

Covered Bridge on the Willowemoc

Vintage postcard of the Bendo Covered Bridge that crosses the Willowemoc Creek near the small hamlet of Debruce in Sullivan County.Covered Bridge on the WillowemocThe Bendo Covered Bridge crosses the Willowemoc Creek near the small hamlet of Debruce in Sullivan County. The bridge is a single lane, 48 feet long and supports limited local traffic. The bridge was originally built near Main Street in Livingston Manor by John Davidson in 1860 but was later cut in half and moved to its current location by Joseph Sherwood in 1913. The bridge was originally constructed using the town lattice truss design but is now effectively a stringer type bridge. The bridge is owned and maintained by Sullivan County. Despite its age the current Bendo Covered Bridge is not considered historical since it was significantly modified (i.e. cut in half), rebuilt and is not located near its original location. It is not eligible for inclusion on the National Register of Historic Places.

The postcard was published by Bob Wyer, one of the most prolific photographers in the history of the Catskills. His photographic career included shooting just about everything, such as passport photos, chauffer licenses, hunting licenses, high school yearbooks, formal portraits, special occasions such as birthdays and weddings, young babies, local stores, hotels and businesses, accidents, insurance claims, crime scenes, landscapes, parades and local news events. There was nothing that Bob couldn’t and wouldn’t photograph. Upon his retirement, Bob donated his extensive collection of over 150,000 photos to the Delaware County Historical Association. The collection is a virtual time capsule of the region from the late 1930s to the 1970s.

 

Beaverkill Covered Bridge

Vintage postcard by photographer Bob Wyer of the Beaverkill Covered Bridge.Beaverkill Covered BridgeThe historic Beaverkill Covered Bridge, also known as Conklin Bridge, was originally built in 1865 by John Davidson, a Scottish immigrant, farmer, lumberman and famous Catskills covered bridge builder. The town lattice truss bridge, located north of Livingston Manor, is 14.5 feet wide and spans 98 feet over the famed Beaverkill River. The historic bridge provides a scenic background as part of the Beaverkill State Campground, one of the oldest campgrounds in the Catskills. It is open to vehicular traffic and continues to this day as a key river crossing point for local communities. The Covered Bridge Pool, a scenic and popular fly-fishing location, is located adjacent and underneath the bridge. The Beaverkill Covered Bridge is listed on the National Register of Historic Places.

 

The River Calls to Young and Old

A young boy makes his way along the road to the river with fishing pole in hand in this wonderful Bob Wyer photograph.The River Calls to Young and OldA barefooted young boy with his jeans rolled up makes his way along the road to the river with fishing pole in hand in this wonderful Bob Wyer photograph. An historic covered bridge in the background rounds out this perfect country scene. The postcard was never mailed.

 

Dunraven Covered Bridge

Vintage postcard from photographer Bob Wyer of the Dunraven Covered Bridge near Margaretville, New York.Dunraven Covered BridgeThe inscription on the back of this Bob Wyer postcard reads: “Catskill Mountain Vacationlands. Typical of the rural charm in the Delaware River Valley are the old covered bridges, many of which have been used from more than a century. This one is at Dunraven near Margaretville, N.Y.” The postcard was never mailed.

 

Dunraven Covered Bridge

Vintage postcard from photographer Bob Wyer of the Dunraven Covered Bridge near Margaretville, New York.Dunraven Covered BridgeThe inscription on the back of this Bob Wyer postcard reads: “Catskill Mountain Vacationlands. Typical of the rural charm in the Delaware River Valley are the old covered bridges, many of which have been used from more than a century. This one is at Dunraven near Margaretville, N.Y.” The postcard was never mailed.

 

Perrine's Bridge

Vintage photograph by Bob Wyer of Perrine’s Covered Bridge located near Rosendale, New York.Perrine's BridgeFamed photographer Bob Wyer took this photograph of the historic Perrine’s Covered Bridge. The caption on the reverse side reads “Perrine’s Bridge between Rifton and Rosendale on route 213, Ulster County. Oldest covered bridge in New York State, it crosses the Walkill River . . . a favorite fishing spot.”

The historic Perrine’s Covered Bridge is one of the most popular covered bridges in New York State. Its scenic location and easy accessibility ensure that that it is often visited by artists, photographers, covered bridge fans, regional tourists and those just “passing through”. The bridge has long been touted in New York State and Ulster County tourist guides as step back into the past, a famed landmark and stopping point for any visitor to the county. Local newspapers describe it as a great picnic location or a romantic place to “pop the question”. Local politicians use the bridge site as a backdrop during campaigns, a location to make newsworthy announcements or to stage a photo opportunity. Any visit to the bridge will likely convince the observer that the enduring popularity of Perrine’s Bridge is well deserved.

Perrine’s Covered Bridge was constructed in 1835 by Benjamin Wood at a cost of $1,200. The wooden, 138-foot-long, one-lane bridge is located adjacent to the New York State Thruway as it spans the Wallkill River. It is open to pedestrian traffic only, having been closed to vehicle traffic since 1930. The bridge is named for James W. Perrine, a French Huguenot immigrant and local tavern owner. It is the second oldest covered bridge in New York State, after Hyde Hall Covered Bridge in Otsego County that was built in 1825. Perrine’s Covered Bridge is listed on the National Register of Historic Places.

 

Hamden Covered Bridge

Photograph by Bob Wyer of a little boy pulling his sled on a snowy road as he walks towards the Hamden Covered Bridge.Hamden Covered BridgeThe Hamden Covered Bridge is the backdrop for a cute winter photograph as a little boy pulls his sleigh along the snowy road. The photograph was taken by Bob Wyer. The postcard was never mailed.

 

Old Covered Bridge (in snow), Dry Brook, Ulster County, N.Y.

Vintage photograph by Bob Wyer of a snowy covered bridge that spans the Dry Brook in the Catskills.Old Covered Bridge (in snow), Dry Brook, Ulster County, N.Y.Photographer Bob Wyer took this charming shot of a snowy covered bridge in the Dry Brook Valley of the Catskills. The postcard was never mailed.

 

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[email protected] (American Catskills) Bob Wyer Bob Wyer Photo Cards bridges Catskill Mountains Catskills covered bridge Delaware County Delhi New York photographer photographs photography photos pictures postcards tourism travel https://www.americancatskills.com/blog/2022/10/bob-wyer-covered-bridges-of-the-catskills Sat, 22 Oct 2022 12:00:00 GMT
George S. Young, Platte Clove Photographer – New Photographs https://www.americancatskills.com/blog/2022/10/george-s-young-platte-clove-photographer-new-photographs George S. Young was a talented photographer and boarding house owner in the rugged Platte Clove section of the northern Catskills. He and his family operated the popular Grand Canyon House and the Devil’s Kitchen tourist attraction for many years.

 

See my blog post of July 3, 2021 for an interesting biography of George S. Young.

 

I have recently acquired a number of photographs published by George S. Young. They have all been added to the “George S. Young – Platte Clove Photographer” gallery, which now contains 27 of his works.

 

 

Grand Canyon House, Entrance to Grand Canyon, Platte Clove, N.Y.

Grand Canyon House, Entrance to Grand Canyon, Platte Clove, N.Y.Grand Canyon House, Entrance to Grand Canyon, Platte Clove, N.Y.

 

Devil's Kitchen and Grand Canyon, Platte Clove, N.Y.

Devil's Kitchen and Grand Canyon, Platte Clove, N.Y.Devil's Kitchen and Grand Canyon, Platte Clove, N.Y.

 

Looking Down In Devil's Kitchen and Hell Hole – Grand Canyon, Platte Clove, N.Y.

Looking Down In Devil's Kitchen and Hell Hole – Grand Canyon, Platte Clove, N.Y.Looking Down In Devil's Kitchen and Hell Hole – Grand Canyon, Platte Clove, N.Y.

 

Winter in the Canyon, Platte Clove, N.Y.

Winter in the Canyon, Platte Clove, N.Y.Winter in the Canyon, Platte Clove, N.Y.

 

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[email protected] (American Catskills) arch bridge brook Catskill Mountains Catskills cliffs clove creek devil Devil's Chamber Devil's Kitchen George S. Young Grand Canyon House Greene County Hell Hole Hell Hole Creek Hell Hole Falls Huckleberry Point Hudson River Ida J. Young Kaaterskill High Peak Old Mill Falls photographer photographs photography pioneer Platte Clove Plattekill Plattekill Clove Plattekill Creek Plattekill Falls postcards ravines river souvenirs stone tourism tourist tours water waterfall https://www.americancatskills.com/blog/2022/10/george-s-young-platte-clove-photographer-new-photographs Sat, 15 Oct 2022 12:00:00 GMT
Abandoned Trucks of the Northern Catskills https://www.americancatskills.com/blog/2022/10/abandoned-trucks-of-the-northern-catskills This group of abandoned trucks can be found alongside a busy county highway in the northern Catskills. I have driven past the trucks dozens of times, and even photographed them at times over the years. Although the trucks haven’t moved, it is still interesting to see how the scene can change. Different light, different times of day, different seasons, different levels of vegetation growth surrounding the trucks. Once in while it even seems as if the vegetation has been cut to a certain degree.

 

Open DoorOpen Door

Who's Driving?Who's Driving?

Your Truck or Mine?Your Truck or Mine?

Spare TiresSpare Tires

Truck BramblesTruck Brambles

Needs PaintNeeds Paint

Dump TruckDump Truck

GMCGMC

GMC V8GMC V8

 

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[email protected] (American Catskills) abandoned cars Catskill Mountains Catskills Greene County Lexington New York photographs photography photos tourism travel trucks West Kill https://www.americancatskills.com/blog/2022/10/abandoned-trucks-of-the-northern-catskills Sat, 08 Oct 2022 12:00:00 GMT
High Test: An Abandoned Gas Station https://www.americancatskills.com/blog/2022/10/high-test-an-abandoned-gas-station Driving one day up to the Catskills I took some of the more local roads and highways, rather than the interstate. During the drive, always on the lookout, I came across this abandoned gas station known as “High Test.” Although it had clearly been out of business for a long time, it still retained an element of nostalgic charm, reminding you of bygone days when someone pumped your gas, someone that you probably knew personally by first name, and they always checked the oil with every fill-up.

 

The business appears to have offered a range of services, including pumping gas, washing and waxing cars, auto maintenance and repair and operating as a small car dealership. The repair section of the business must have been popular as it utilized a 3-bay garage. The business was affiliated with the Mobil gas company.

 

High TestHigh Test

High Test, OpenHigh Test, Open

Mobil GasMobil Gas Need Gas?Need Gas?

Total Sale: $00.00Total Sale: $00.00

Fill 'Er UpFill 'Er Up

Zero GallonsZero Gallons

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[email protected] (American Catskills) abandoned auto repair car Catskill Mountains Catskills gas gas station High Test Highland Matthew Jarnich Milton Mobil New York photographs photography photos Route 9W tourism travel https://www.americancatskills.com/blog/2022/10/high-test-an-abandoned-gas-station Sat, 01 Oct 2022 12:00:00 GMT
Angel Falls and Sholam Falls – A Photographic Study https://www.americancatskills.com/blog/2022/9/angel-falls-and-sholam-falls-a-photographic-study Angel Falls and Sholam Falls are both amazing destinations located along Trout Creek, near the Rondout Reservoir. It’s a two-for-one destination with both falls located within close proximity of each other, with the separate “upper” falls, known as Sholam Falls, measuring approximately 40 feet, and the “lower” falls, known as Angel Falls, measuring approximately 30 feet.

 

Angel Falls

Angel Falls is a beautiful waterfall located along Trout Creek near Yagerville and the Rondout Reservoir.Angel FallsAngel Falls is a beautiful waterfall located along Trout Creek near the Rondout Reservoir. Even with its rustic beauty, Angel Falls is largely unknown, having only recently been acquired and opened to the public by the Department of Environmental Protection (DEP).

Angel Falls is a beautiful waterfall located along Trout Creek near Yagerville and the Rondout Reservoir.Angel Falls, FlowingAngel Falls is a beautiful waterfall located along Trout Creek near the Rondout Reservoir. Even with its rustic beauty, Angel Falls is largely unknown, having only recently been acquired and opened to the public by the Department of Environmental Protection (DEP).

Angel Falls is a beautiful waterfall located along Trout Creek near Yagerville and the Rondout Reservoir.Angel Falls, Over the RocksAngel Falls is a beautiful waterfall located along Trout Creek near the Rondout Reservoir. Even with its rustic beauty, Angel Falls is largely unknown, having only recently been acquired and opened to the public by the Department of Environmental Protection (DEP).

Angel Falls is a beautiful waterfall located along Trout Creek near Yagerville and the Rondout Reservoir.Angel Falls, Through the GapAngel Falls is a beautiful waterfall located along Trout Creek near the Rondout Reservoir. Even with its rustic beauty, Angel Falls is largely unknown, having only recently been acquired and opened to the public by the Department of Environmental Protection (DEP).

Angel Falls is a beautiful waterfall located along Trout Creek near Yagerville and the Rondout Reservoir.Angel Falls, AutumnAngel Falls is a beautiful waterfall located along Trout Creek near the Rondout Reservoir. Even with its rustic beauty, Angel Falls is largely unknown, having only recently been acquired and opened to the public by the Department of Environmental Protection (DEP).

 

Angel Falls and Sholam Falls are located within the Trout Creek Unit, which is managed by the New York City Department of Environmental Protection. The Trout Creek Unit falls within the town of Wawarsing in Ulster County. The unit is 1,506 acres in size. The lands of the Trout Creek Unit are open for hiking, fishing, hunting and trapping. The section of Sholam Road near Trout Creek, as well as the bridge over the top of Sholam Falls, has long been abandoned.

 

Trout Creek is 5.6 miles in length, originating in the Sundown Wild Forest near Balsam Swamp and flowing south past the hamlet of Yagerville and then into the Rondout Reservoir. Trout Creek enters the reservoir just east of the intersection of Route 46 and Route 55A, near the former site of the hamlet of Montela, one of three hamlets destroyed during the construction of the Rondout Reservoir. The other two destroyed hamlets were Lackawack and Eureka. Trout Creek is one of several primary tributaries of the Rondout Reservoir, the others being Chestnut Creek, Red Brook, Sugarloaf Brook, and the Rondout Creek. Even with their rustic beauty, Angel Falls and Sholam Falls are both largely unknown, having only recently been acquired and opened to the public by the Department of Environmental Protection (DEP).

 

Sholam Falls

Sholam Falls is a beautiful waterfall located along Trout Creek near Yagerville and the Rondout Reservoir.Sholam FallsSholam Falls is a beautiful waterfall located along Trout Creek near the Rondout Reservoir. Even with its rustic beauty, Sholam Falls is largely unknown, having only recently been acquired and opened to the public by the Department of Environmental Protection (DEP).

Sholam Falls is a beautiful waterfall located along Trout Creek near Yagerville and the Rondout Reservoir.Sholam Falls, Trout Creek UnitSholam Falls is a beautiful waterfall located along Trout Creek near the Rondout Reservoir. Even with its rustic beauty, Sholam Falls is largely unknown, having only recently been acquired and opened to the public by the Department of Environmental Protection (DEP).

Sholam Falls is a beautiful waterfall located along Trout Creek near Yagerville and the Rondout Reservoir.Sholam Falls, Through the CutSholam Falls is a beautiful waterfall located along Trout Creek near the Rondout Reservoir. Even with its rustic beauty, Sholam Falls is largely unknown, having only recently been acquired and opened to the public by the Department of Environmental Protection (DEP).

Sholam Falls is a beautiful waterfall located along Trout Creek near Yagerville and the Rondout Reservoir.Sholam Falls, B&WSholam Falls is a beautiful waterfall located along Trout Creek near the Rondout Reservoir. Even with its rustic beauty, Sholam Falls is largely unknown, having only recently been acquired and opened to the public by the Department of Environmental Protection (DEP).

 

Angel Falls and Sholam Falls are both located in close proximity to the former hamlet of Sholam, which has quite an interesting place in Catskills history. The former hamlet, located north of the hamlet of Lackawack and south of the hamlet of Yagerville, was founded in 1837 by a group of Jewish settlers from New York City as an agricultural and religious co-operative community. At the time of its founding Sholam was home to the only synagogue in the Catskills, which was called Covenant Observers, or Shomre Ha-Brit. (Marcus, Jacob Rader. United States Jewry, 1776-1985. Vol. 4. Detroit, Michigan: Wayne State University Press, 1993.)

 

The settlement would eventually be home to approximately 15 families. In addition to hard-scrabble farming (given the inhospitable land), some settlers operated two factories, which manufactured quill pens and fur caps, while others engaged in various trades including cobbling, tailoring and selling used clothing purchased in New York. Despite noble intentions, the community faced numerous business and financial issues, and only lasted four years before its collapse circa 1842.

 

The community was originally named Sholem, a variant of “shalom,” the Hebrew word for “peace,” but later appeared on maps as “Sholam.” In 1912, Olde Ulster, a local publication dedicated to regional Ulster County history, published a brief history of the Sholam community.

 

“At that period Edmund Bruyn of Kingston was the possessor of a large tract of land in the north part of the town of Wawarsing at the head of the Ver Nooy kill. This land lies north of Lackawack and near the town of Rochester. He established his home there and named the place Bruynsville. It is now known as Brownsville. This was during the decade 1830-1840. He threw the property, containing 3,000 acres, upon the market. A survey was made by Jacob Chambers and the tract was divided into lots and a village was laid out and sub-divided into village lots. A map was made and said to have been filed in the office of the county clerk in Kingston . . .

 

. . . the records in the office of the county clerk of Ulster county show that on the 12th of December, 1837, Edmund Bruyn conveyed by deed hundreds of acres of land “of the Sholam tract” to certain parties of the City of New York, each of whom bought in addition one of more lots in “Sholam village.” The deeds give in each instance the numbers of both of the lots upon the tract and in the village of Sholam, referring to the Chambers map. There are eight of these deeds of the date of 12th December, 1837 and three of subsequent dates. All are recorded in Book of Deeds No. 49 except one in Book No. 50. The names of the parties purchasing are William N. Polack, Marcus Van Gelderen, Elias Rodman, Benedict Cohen, Jonas Solomon, Edward May, Solomon Samelson, Ignatz Newman, Moses Cohen and Charles A. Sahroni. One deed on the record is to Zion Berenstein for nine lots on “Sholam tract” and two lots in “Sholam village.” Was this for the synagogue they erected?

 

Whence these colonists came is forgotten today and the story of the settlement is almost unknown . . .

 

The colonists contracted with a man named Rich, of Napanoch, for the erection of about a dozen houses for residences, a store, a synagogue, a museum, an art building and two factories.

 

When the colonists arrived they were found to be a highly educated people possessed of a taste for art and music, and who loved and sought social intercourse with all neighbors. Their store was stocked with a general assortment of goods; the museum filled with attractions and the art gallery with many oil paintings. Customers at the store were first received in a reception room, given a cup of tea and cakes and then permitted to trade.

 

One factory was devoted to the manufacturing of goose quill pens. Quills were purchased by the wagon load in New York, sent to Rondout and brought to Sholam. Here they were boiled in oil, scraped, split and tied in bunches of a dozen quills with bright red ribbons. They were then transported back to New York. A Mr. Castor conducted a fur-cap factory, using local firs as well as seal.

 

Farms were cleared and fenced, and the homes were models of neatness and thrift. Some members of the colony peddled with packs; others were traveling shoemakers and tailors. All engaged in some employment and prospered. The Reverend Solomon Samelson was the rabbi. It is the opinion in the vicinity that these colonists were refugees from persecution in some country in Europe. They came laden with a quantity of rich furniture and household effects and beautiful paintings. They seemed to have been a people once possessed of wealth which may have been swept away by such an experience.

 

In the former part of this article we stated that the abundance of paper money and the fever of speculation with the inflated and irredeemable currency reached a crisis in 1837. There was currency, such as it was, in abundance, but no capital. This had been absorbed in speculative schemes and measures all over the land far beyond the needs of the day. During the spring of that year holders of the great issues of bank bills began to ask that these bills be converted into specie. Panic reigned everywhere.

 

The President, Martin Van Buren, on May 15th, 1837, called a meeting of Congress to assemble on the first Monday in September. People everywhere locked up what gold and silver money was in their possession. During all this time the president stood by his position that public lands must be paid for in specie, not in renewed promises to pay. In this he was firm during his whole administration. Besides, he insisted that the fiscal concerns of the government must be divorced from those of private individuals and corporations. It was a long and bitter struggle but the president won.

 

As we just said Congress was to meet on the first Monday of September, 1837. A few days before this, August 14th, 1837, Edmund Bruyn and the Jews mentioned had agreed upon the formation of a village on his lands in the town of Wawarsing. The surveys therefore were to be made by Jacob Chambers. The survey and map was completed and filed under date of November 22nd, 1837. The panic was at its height. When the purchasing colonists met on December 12th, 1837, for the receipt of their deeds, they could pay but from forth to fifty per cent of the purchase price because of the financial stringency and mortgages at seven per cent were given for the difference, payable in five years.

 

As the immediately succeeding years showed little improvement the mortgagors defaulted. By the autumn of 1841 they were considerable in arrears and foreclosures were begun. The court directed a sale and William H. Romeyn, editor of the Kingston Democratic Journal, was directed to sell Zion Berenstein and Ignatz Newman had paid off the mortgages on their lots. But the others were foreclosed and sold. Edmund Bruyn was the purchaser in each instance, buying the lots of Charles Saroni, Marcus Van Gelderen, Elias Rodman, Benedict Cohen, Moses Cohen, Solomon Samelson, Jonas Solomon, Edward May and William N. Polack, some on May 6th and the others on May 27th, 1842.

 

This brought the project to an end. The colony broke up. Auctions were held and the personal possessions of the colonists disposed of by auction sales. Houses were removed to other sites, goods and effects, including rich old furniture of mahogany and large gilt mirrors found their way into families of the vicinity where, it is probable, some may yet be traced and found.

 

This seems to have ended the enterprise early in 1842. As it could not have been under way before the spring of 1838 it must have been of not more than four years duration. Most of the lands cleared for farms and even the village site have returned to the wilderness in which the settlers found them and where they made a heroic attempt to build a model home and community. The colonists returned to New York City. Their future history is not known.” (“The Jewish Colony at Sholam, Ulster County.” Olde Ulster. Vol. 8, no. 6. June, 1912. Pp. 161-167.)

 

Given the local interest in the subject, Olde Ulster, in the following year of 1913, published a second article on the hamlet titled “Establishing a New Jerusalem in Sholam.” The article expanded on the 1912 article and contained additional information on the people, business, financial troubles and downfall of the experimental Jewish community in the woods. (“Establishing a New Jerusalem in Sholam.” Olde Ulster. Vol. 9, no. 8. August, 1913.)

 

For a more detailed history of the Sholam community, see also “The Sholem community: reimagining a Jewish agricultural community as the First Jewish Resort in the Catskill Mountains” by Michele Ferris, published in 2013 in the Communal Societies Journal, volume 33, number 2, pages 105 to 132.

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Ashley Falls – A Photographic Study https://www.americancatskills.com/blog/2022/9/ashley-falls-a-photographic-study Ashley Falls is a delightful three-tier waterfall located in the North-South Lake area of the northern Catskills. Ashley Creek, which originates from North Mountain, flows into North Lake, from which the waters of the lake continue its journey to Kaaterskill Falls, through Kaaterskill Clove and ultimately to the Hudson River.

 

Delightful Ashley Falls can be found in the North-South Lake area of the northern Catskills.Ashley FallsAshley Falls is a delightful 40-foot, three-tier waterfall located in the North-South Lake area of the northern Catskills. Ashley Falls is named for John Ashley, who used spruce trees in the North Lake area during the early 1800s to manufacture spruce beer. The waterfall is located on the Mary’s Glen trail, named for Mary Scribner who, along with her husband Ira, owned a sawmill and boarding house called the Glen Mary on the creek in the 1840s and 1850s.

Delightful Ashley Falls can be found in the North-South Lake area of the northern Catskills.Ashley Falls, North-South LakeAshley Falls is a delightful 40-foot, three-tier waterfall located in the North-South Lake area of the northern Catskills. Ashley Falls is named for John Ashley, who used spruce trees in the North Lake area during the early 1800s to manufacture spruce beer. The waterfall is located on the Mary’s Glen trail, named for Mary Scribner who, along with her husband Ira, owned a sawmill and boarding house called the Glen Mary on the creek in the 1840s and 1850s.

 

Ashley Falls is reached via the red-blazed Mary’s Glen trail, to a short yellow-blazed spur trail. The roundtrip hike is approximately 1/2 mile. The trailhead is located along the main road between the North Lake entrance and the North Lake parking area. Given its easy access, short hiking distance and beautiful scenery, Ashley Falls is popular for families with children and for those looking for a quick walk.

 

The Mary’s Glen trail is named for Mary (Saxe) Scribner (1807-1889) who, along with her husband Ira Scribner (1800-1890), owned a sawmill and boarding house called the Glen Mary on the creek in the 1840s and 1850s.

 

Mary Saxe was the daughter of Catharina Irene Layman Saxe (1786-1853) and Frederick William Saxe (1780-1854), a noted member of the Kiskatom community. Mary and Ira Scribner were married on March 1, 1829. Mary passed away at Kiskatom on February 22, 1889 and Ira passed away at 89 years of age at Kiskatom on September 12, 1890. Both Mary and Ira are buried at the Linzey Family Cemetery on the grounds of the old Catskill Game Farm in Catskill, New York. Ashley Falls has sometimes been referred to as Mary’s Glen Falls.

 

Famous American author Henry David Thoreau (1817-1862), along with his friend William Ellery Channing (1817-1901), stayed at the Glen Mary in July 1844, where he found “the inspiration for his momentous experiment at Walden Pond”. Thoreau, in beginning his daily journal at Walden on July 5th of the following year, wrote of his time at Mary’s Glen.

 

“Yesterday, I came here to live. My house makes me think of some mountain houses I have seen, which seemed to have a fresher auroral atmosphere about them, as I fancy of the halls of Olympus. I lodged at the house of a saw-miller last summer, on the Catskill Mountains, high up as Pine Orchard, in the blueberry and raspberry region, where the quiet and cleanliness and coolness seemed to be all one, – which had their ambrosial character.

 

He was the miller of the Kaaterskill Falls. They were a clean and wholesome family, inside and out, like their house. The latter was not plastered, only lathed and the inner doors were not hung. The house seemed high-placed, airy, and perfumed, fit to entertain a travelling god. It was so high, indeed, that all the music, the broken strains, the waifs and accompaniments of tunes, that swept over the ridge of the Catskills, passed through its aisles. Could not man be man in such an abode? And would he ever find out this groveling life? It was the very light and atmosphere in which the works of Grecian art were composed, and in which they rest. They have appropriated to themselves a loftier hall than mortals ever occupy, at least on a level with the mountain-brows of the world. There was wanting a little of the glare of the lower vales, and in its place a pure twilight as become the precincts of heaven. Yet so equable and calm was the season there that you could not tell whether it was morning or noon or evening. Always there was the sound of the morning cricket.”

 

“For Thoreau, Scribner’s house offered the instant revelation of a rustic architectural ideal; rough, unplastered, open to nature, clean, and healthful. It even resonated with the extraordinary virtues of the Parthenon, as he hints by calling it “high placed, airy, and perfumed, fit to entertain a travelling God” and by referring to its “aisles.” For the classically inspired young writer with an enthusiasm for the primitive hut, Scribner’s evidently seemed a latter-day Doric cabin . . . The origin of Thoreau’s Walden idea, it seems, was to join Scribner’s “airy and unplastered cabin” and the South Lake “tarn” into the conception of a rustic lakeshore retreat of his own, one that would allow him to live the vigorous Catskills life not only in summer but all year long.” (Maynard, W. Barksdale. “Thoreau’s House at Walden.” The Art Bulletin, vol. 81, no. 2, 1999, pp. 303–25, https://doi.org/10.2307/3050694. Accessed 21 Apr. 2022.)

 

In his “experiment”, Thoreau would live for two years in a cabin near Walden Pond in Massachusetts removed but not isolated from others with minimal material goods to “live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.” Walden would become a classic American book noted for its themes of individualism, simplification and self-reliance.

 

Delightful Ashley Falls can be found in the North-South Lake area of the northern Catskills.Ashley FallsAshley Falls is a delightful 40-foot, three-tier waterfall located in the North-South Lake area of the northern Catskills. Ashley Falls is named for John Ashley, who used spruce trees in the North Lake area during the early 1800s to manufacture spruce beer. The waterfall is located on the Mary’s Glen trail, named for Mary Scribner who, along with her husband Ira, owned a sawmill and boarding house called the Glen Mary on the creek in the 1840s and 1850s.

Delightful Ashley Falls can be found in the North-South Lake area of the northern Catskills.In Memory of John AshleyAshley Falls is a delightful 40-foot, three-tier waterfall located in the North-South Lake area of the northern Catskills. Ashley Falls is named for John Ashley, who used spruce trees in the North Lake area during the early 1800s to manufacture spruce beer. The waterfall is located on the Mary’s Glen trail, named for Mary Scribner who, along with her husband Ira, owned a sawmill and boarding house called the Glen Mary on the creek in the 1840s and 1850s.

 

Noted American landscape painter Sanford Gifford (1823-1880), a leading member of the Hudson River School of Art, was a regular guest at the Glen Mary during the late 1840s and the early 1850s. The Autobiography of Worthington Whittredge details some of Gifford’s time at Scribner’s Boarding House.

 

“Many years ago he [Gifford] hunted up a little house in Kaaterskill Clove, in which lived a family of plain country folk, and, as the place was secluded an there were no boarders, he liked it and managed to obtain quarters there. This house, scarcely enough to hold the family, was, nevertheless, for many summers the abiding place of a congregation of artists. The beds were few and it may truly be said that the best were the cheapest, for the most expensive were composed of straw, while the cheapest were of feathers.

 

As may well be imagined, the table at this house was not very good. Gifford was no gourmet, but he had a commendable ambition to improve the cooking of the Catskills. To this end, he urged the immigration of some of the wives and sisters of those present, whose culinary gifts he was acquainted with. In due time they appeared upon the scene and, by their adroit direction, new dishes were served and coffee was improved.

 

But this experiment proved fatal in the end. Boarders came in flocks from the city, and Scribner’s Boarding House had to be abandoned by the artists and new quarters found further on.” (Bauer, John I. H. “The Autobiography of Worthington Whittredge, 1820-1910.” Brooklyn Museum Journal, 1942. Brooklyn, NY: Brooklyn Institute of Arts and Sciences, 1942. p. 59.)

 

Famed author and historian Alf Evers, writing in his classic The Catskills: From Wilderness to Woodstock, noted the name origins of Ashley Falls and Ashley’s Creek.

 

“One man found an unusual way to use one of the kinds of trees which grew in the Catskills. He was John Ashley. Hardly had the Schohariekill Road been opened when Ashley was traveling it in order to set up on the shore of North Lake two log buildings in which he manufactured from the tips of the branches of spruce trees a substance known as the essence of spruce. This John Ashley was a man worth knowing, for he emerges from the old records seeming even yet to bounce and quiver with acquisitive energy and ingenuity. Of Yankee origin, he had come from the city of Hudson to serve as the town baker of Catskill. Years after Ashley was gone, old-timers recalled that he had advertised with a vigor worthy of more recent times. The signboard attached to his shop was actually bigger than the shop. On it were shown in natural colors monumental loaves of bread and giant barrels of overflowing with crackers. Surmounting these appeals to the public appetite was a slogan reading, “May our County never want for Bread.” But baking could not absorb all of John Ashley’s energy. He was ever on the alert for new ways of laying his hands on dollars. As a baker he supplied the people of Catskill with bread to eat. Sometime in the 1790s he proposed supplying them, as well as more distant Americans, with something to drink.

 

The tips of the spruce trees to be found beside North Lake were the raw materials of Ashley’s method of quenching Americans’ thirst. In Ashley’s day, the artificially carbonated drinks daily consumed by millions in our time were yet unknown, although a beginning had been made by druggists who flavored, colored and carbonated waters prescribed by physicians for those who could or would not visit spas where naturally carbonated waters were to be found. The place in life of the cola drinks, the ginger ales, and similar concoctions of our day was once filled very well indeed by a slightly alcoholic liquid known as spruce beer. People of all ages relished spruce beer but it was the especial favorite of children and adolescents. Old ladies and one-armed veterans often kept refreshment stands at which they offered spruce beer and gingerbread of their own brewing and baking. Such stands sprang up in cities on holidays and were a feature of summer resorts and of places to which people traveled to see natural wonders.

 

Most spruce beer was made from the essence of spruce. To a small amount of essence, water, sugar or molasses, and a little yeast were added. The mixture was allowed to ferment for a few days and was then bottled. John Ashley’s plan was to settle on the shores of North Lake and there produce the essence of spruce which he could send down to the Hudson River over the new road. The log buildings were his headquarters, located close to the point at which the stream once known in his honor as Ashley’s Brook enters the lake. For years the spruce trees bordering the lakes dwindled as Ashley’s kettles boiled and bubbled. But by 1809 the project failed and Ashley was turning his attention to fresh paths to riches. An alum mine in the Kaaterskill Clove and a plaster mill near Catskill had become the subjects of his dreams.” (pp. 293-295.)

 

Delightful Ashley Falls can be found in the North-South Lake area of the northern Catskills.Ashley Falls, Mary's Glen TrailAshley Falls is a delightful 40-foot, three-tier waterfall located in the North-South Lake area of the northern Catskills. Ashley Falls is named for John Ashley, who used spruce trees in the North Lake area during the early 1800s to manufacture spruce beer. The waterfall is located on the Mary’s Glen trail, named for Mary Scribner who, along with her husband Ira, owned a sawmill and boarding house called the Glen Mary on the creek in the 1840s and 1850s.

Delightful Ashley Falls can be found in the North-South Lake area of the northern Catskills.Ashley Falls, North-South Lake, CatskillsAshley Falls is a delightful 40-foot, three-tier waterfall located in the North-South Lake area of the northern Catskills. Ashley Falls is named for John Ashley, who used spruce trees in the North Lake area during the early 1800s to manufacture spruce beer. The waterfall is located on the Mary’s Glen trail, named for Mary Scribner who, along with her husband Ira, owned a sawmill and boarding house called the Glen Mary on the creek in the 1840s and 1850s.

Delightful Ashley Falls can be found in the North-South Lake area of the northern Catskills.Ashley Falls, In DetailAshley Falls is a delightful 40-foot, three-tier waterfall located in the North-South Lake area of the northern Catskills. Ashley Falls is named for John Ashley, who used spruce trees in the North Lake area during the early 1800s to manufacture spruce beer. The waterfall is located on the Mary’s Glen trail, named for Mary Scribner who, along with her husband Ira, owned a sawmill and boarding house called the Glen Mary on the creek in the 1840s and 1850s.

 

Samuel E. Rusk, in his 1879 guidebook titled Rusk’s Illustrated Guide to the Catskill Mountains, described the Mary’s Glen and Ashley’s Creek area as being a popular walk from the Catskill Mountain House.

 

“Mary’s Glen. Walk in the Mt. House Region. The shady walk of a mile, without climbing, from the Mountain House to Mary’s Glen is a desirable one. The way is down the mountain road to the top of the second small hill, where the left one of the two paths on the north should be followed. It leads past the eastern end of North Lake, crossing a small stream near the Lake. Half a mile farther Ashley’s Creek is crossed on a log for a footbridge. A pretty falls are some two hundred feet further up the stream. A path leads from the top of the falls to the road, by the charcoal pit west of the lake, and the return is usually by this way.” (p. 88.)

 

Three years later, in 1882, Walton Van Loan also described the area in his own guidebook titled Van Loan’s Catskill Mountain Guide.

 

“Mary’s Glen – North Mountain. Go down the mountain road to the general entrance of North Mountain. Take the left hand path – a wood-road – part of the way along the eastern shore of North Lake; cross Ravine Creek, and just before reaching “Glen Mary,” cross Ashley’s Creek on a log placed there for the purpose. From here the sound of the fall can generally be heard, distant about two hundred feet up the creek.

 

Arriving at the falls, cross the stream, and ascend the bank so as to cross back again on the top of the falls, where a well defined path will bring you out on the main road by the charcoal pit, three quarters of a mile from the Mountain House. This delightful and shady walk is recommended to those who wish to avoid climbing, and is a favorite walk with the ladies.” (p. 18.)

 

Roland Van Zandt described the Ashley’s Falls area in his book titled The Catskill Mountain House.

 

“Quickly descending the mountain, it soon arrives at the headwaters of Ashley’s Creek, the principal source of North and South Lakes. Following this mountain stream for about half a mile, the trail then intersects the red trail that provides a shortcut to the eastern escarpment (not known in the nineteenth century), and soon reaches the head of Ashley’s Falls, the main feature of the idyllic Glen Mary. The falls are not large, but they are proportionate to the intimate seclusion of the surrounding dale and afford a delightful contrast to the more spectacular scenes of the upper trail. A subsidiary yellow trail (much used in the nineteenth century) provides a detour to the top and bottom of the falls, then back to the main trail. During the last century this trail was a popular walk for those who did not wish to encounter the rigors of the eastern escarpment and was a ‘favorite walk with the ladies.’” (p. 115.)

 

The North-South Lake area is described on the New York state Department of Environmental Conservation (DEC) website as the most popular state property in the Catskills and includes its largest campground. During the summer months the 84-acre North-South Lake area offers a picture-perfect location for swimming, boating, camping, hiking and picnicking.

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Tompkins Falls – A Photographic Study https://www.americancatskills.com/blog/2022/9/tompkins-falls-a-photographic-study Tompkins Falls is a beautiful roadside water fall located in the Delaware Wild Forest section of the western Catskills. The falls, located on the Barkaboom Stream, are approximately 25 feet tall. Near the top of the falls are the remnants of old dam and mill site.

 

Photographs of Tompkins Falls, a waterfall in the western Catskills, located near the hamlet of Andes and the village of Margaretville.Tompkins FallsTompkins Falls is a beautiful roadside water fall located in the Delaware Wild Forest section of the western Catskills. The falls, located on the Barkaboom Stream, are approximately 25 feet tall. Near the top of the falls are the remnants of old dam and mill site.

Photographs of Tompkins Falls, a waterfall in the western Catskills, located near the hamlet of Andes and the village of Margaretville.Autumn at Tompkins FallsTompkins Falls is a beautiful roadside water fall located in the Delaware Wild Forest section of the western Catskills. The falls, located on the Barkaboom Stream, are approximately 25 feet tall. Near the top of the falls are the remnants of old dam and mill site.

Photographs of Tompkins Falls, a waterfall in the western Catskills, located near the hamlet of Andes and the village of Margaretville.Tompkins Falls, On the Barkaboom StreamTompkins Falls is a beautiful roadside water fall located in the Delaware Wild Forest section of the western Catskills. The falls, located on the Barkaboom Stream, are approximately 25 feet tall. Near the top of the falls are the remnants of old dam and mill site.

Photographs of Tompkins Falls, a waterfall in the western Catskills, located near the hamlet of Andes and the village of Margaretville.Tompkins Falls, Close UpTompkins Falls is a beautiful roadside water fall located in the Delaware Wild Forest section of the western Catskills. The falls, located on the Barkaboom Stream, are approximately 25 feet tall. Near the top of the falls are the remnants of old dam and mill site.

 

The Barkaboom Stream, which rises between Barkaboom Mountain and Touchmenot Mountain, once flowed into the East Branch of the Delaware River, but now sends its waters into the Pepacton Reservoir, south of the hamlet of Andes and west of the village of Margaretville. Deerlick Brook flows west off of Barkaboom Mountain and joins the Barkaboom Stream upstream of Tompkins Falls.

 

The nearby 3,140-foot Barkaboom Mountain is part of the Mill Brook Ridge Range. Other peaks in this range include Balsam Lake Mountain, Schoolhouse Mountain, Graham Mountain and Doubletop Mountain. Graham Mountain, at 3,868 feet, and Doubletop Mountain, at 3,860 feet are the seventh and eighth highest mountains in the Catskills. (Kudish, Michael. The Catskill Forest: A History. Fleischmanns, NY: Purple Mountain Press, 2000. pp. 91-96.) For more information on hiking the unmarked Barkaboom Mountain, see Alan Via’s book titled The Catskill 67 – A Hiker’s Guide to the Catskill 100 Highest Peaks under 3500’.

 

Barkaboom Stream, Barkaboom Road and Barkaboom Mountain all have quite interesting names. According to the History of Delaware County, N.Y., the Barkaboom name “is of Indian origin, signifying a birch bridge, and alludes to an immense birch tree which had so fallen as to make a suitable bridge on one of the Indian trails crossing this stream.” (History of Delaware County, N.Y. New York: W.W. Munsell & Co., 1880. p. 111.)

 

Two other sources state that the Barkaboom name derives from either the Dutch word “berkenboom,” meaning “birch tree,” or perhaps otherwise a family name. (Van Der Sijs, Nicoline. Cookies, Coleslaw and Stoops. Amsterdam University Press, 2009. p. 52.; also, Stewart, George Rippey. American Place-Names. New York: Oxford University Press, 1970. p. 35.)

 

However, a third theory about the Barkaboom name was put forward by journalist David Rossie in a 1991 article for the Press and Sun-Bulletin newspaper of Binghamton, New York.

 

“Bob Gonos of Binghamton solved the mystery of Barkaboom for me. A “barkaboom,” Gonos wrote, was a person who stripped bark from trees – hemlock, I believe – in the Catskill Mountains around the turn of the century and probably into the 1930s. The bark was used as a dying agent in the shoe industry.

 

Gonos said his information was supplied by a man named Cal Smith of Phoenicia. He said Cal’s father was a fishing guide on the Esopus and that one of his frequent clients was the comedian, Fred Allen.

 

“Incidentally,” Gonos added, “from the way Cal referred to barkabooms, it was not a highly regarded occupation.”

 

Sort of like journalist, maybe.” (Rossie, David. “How the barkaboom got his name.” Press and Sun-Bulletin. June 10, 1991.)  

 

Photographs of Tompkins Falls, a waterfall in the western Catskills, located near the hamlet of Andes and the village of Margaretville.Past the Former DamTompkins Falls is a beautiful roadside water fall located in the Delaware Wild Forest section of the western Catskills. The falls, located on the Barkaboom Stream, are approximately 25 feet tall. Near the top of the falls are the remnants of old dam and mill site.

Photographs of Tompkins Falls, a waterfall in the western Catskills, located near the hamlet of Andes and the village of Margaretville.The Flowing Barkaboom StreamTompkins Falls is a beautiful roadside water fall located in the Delaware Wild Forest section of the western Catskills. The falls, located on the Barkaboom Stream, are approximately 25 feet tall. Near the top of the falls are the remnants of old dam and mill site.

Photographs of Tompkins Falls, a waterfall in the western Catskills, located near the hamlet of Andes and the village of Margaretville.Over the Edge at Tompkins FallsTompkins Falls is a beautiful roadside water fall located in the Delaware Wild Forest section of the western Catskills. The falls, located on the Barkaboom Stream, are approximately 25 feet tall. Near the top of the falls are the remnants of old dam and mill site.

Photographs of Tompkins Falls, a waterfall in the western Catskills, located near the hamlet of Andes and the village of Margaretville.Upper Tompkins FallsTompkins Falls is a beautiful roadside water fall located in the Delaware Wild Forest section of the western Catskills. The falls, located on the Barkaboom Stream, are approximately 25 feet tall. Near the top of the falls are the remnants of old dam and mill site.

 

The valley of the Barkaboom was closely associated with the history of the nearby hamlet of Union Grove. The hamlet was located where the Barkaboom Stream entered the East Branch of the Delaware.

 

The Union Grove area was first settled in 1800 by a family with the name of Howks. With an abundance of lumber, including white hemlock trees, Eli Sears established a sawmill on the Barkaboom Stream in 1801, moving the wood each year to the Philadelphia market.

 

In 1848 the firm of Jenkins and Mekeel built another sawmill further up the Barkaboom Stream. This firm, a partnership between James Jenkins (1812-1883) and John Mekeel (b. 1798) & Son, was established with the purchase of 130 acres of land, to which an additional 270 acres were later added. This mill was later operated by Anson Jenkins (1833-1905), son of James Jenkins.

 

In 1857 Andrew Hawver settled further up the valley, about one-third of a mile below Tompkins Falls, and established his own mill. This mill was later operated by William M. Spickerman.

 

In September 1863 flooding caused much damage in the Barkaboom area. “On the Barkaboom stream its ravages were very great. About 1200 logs were taken out of the milldam, belonging to A. Hawver, Esq. Part of the sawmill of James Jenkins were swept away – the entire sawmill, logs and lumber around it, belonging to Harrison Hawver, were taken down the stream – and, finally, the dwelling house of Mr. Hawver, P. M., of Union Grove Post Office, was undermined, broken to pieces and taken away.” (“Flood in Andes.” Bloomville Mirror. September 29, 1863.)

 

In 1868 Robert M. Hammer and Herman D. Hammer established a sawmill 3.3 miles up the Barkaboom Stream from the East Branch confluence. This was known as the Little Falls Mill. The Hammer’s also operated a lumber and general merchandise business at the hamlet of Union Grove.

 

In 1880 Union Grove was described as having a post office, a hotel, several shops, a sawmill, three churches and a schoolhouse. In terms of progress at Union Grove, district school number 20 was established in 1843, the Union Grove post office was established in 1857, and the first general store was established in 1860 by R. M. Hammer.

 

The business dealings of the Barkaboom valley, in a book on local history, were described in 1880. “Opposite Union Grove, on the right bank of the river, are old, well improved farms, but up the valley of the Barkaboom is a newly cleared, sparsely settled tract, which seems to be in a sort of transition state between lumbering and farming, where the one has ceased to pay and the other has not become profitable.” (History of Delaware County, N.Y. New York: W.W. Munsell & Co., 1880. p. 111.)

 

Union Grove was one of the four hamlets destroyed during the construction of the Pepacton Reservoir. The other three destroyed hamlets included Pepacton, Shavertown and Arena.

 

For those who wish to spend a little more time in this area in a beautiful rustic setting, the Little Pond Campground is located approximately five miles south along Barkaboom Road. The state campground offers tent and RV camping, fishing, boating and swimming, all set on the picturesque, 13-acre Little Pond. For more information visit the New York Department of Environmental Conservation website for Little Pond Campground and Day Use Area.

 

For those with a need for more refined lodging, the historic Beaverkill Valley Inn is also located in this region. The Inn, formerly known as The Bonnie View, was built for anglers seeking to spend time on the pristine waters of the Beaverkill. The Inn continues today with its history of inviting hospitality. Visit their website at www.beaverkillvalleyinn.com for more information.

 

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[email protected] (American Catskills) Barkaboom Mountain Barkaboom Road Barkaboom Stream Catskill Mountains Catskills Delaware Wild Forest Margaretville Matthew Jarnich New York Pepacton Reservoir photographs photography photos Tompkins Falls tourism travel Union Grove water waterfall https://www.americancatskills.com/blog/2022/9/tompkins-falls-a-photographic-study Sat, 10 Sep 2022 12:00:00 GMT
Otto Hillig – New Photographs https://www.americancatskills.com/blog/2022/9/otto-hillig-new-photographs Otto Hillig can be considered one of the great photographers in Catskills history. Arriving from Germany in the United States as a poor teenage immigrant he took on a series of odd jobs before developing a prosperous photography business at his adopted hometown in the village of Liberty in Sullivan County, New York. He operated a well-regarded portrait studio in the village, extensively photographed the landscapes of the region and was considered an earlier pioneer of aerial photography.

 

I have recently acquired a number of photographic items published by Otto Hillig, including postcards, a photograph and a rare stereoview. They have all been added to the Otto Hillig gallery, which now contains over 120 of his works.

 

Liberty House, Liberty, N.Y.

Vintage postcard published by photographer Otto Hillig depicting the Liberty House, located in the village of Liberty, New York.Liberty House, Liberty, N.Y.This vintage postcard published by photographer Otto Hillig depicts the grand Liberty House, located in the village of Liberty, New York. The postmark on the reverse side shows that the postcard was mailed in 1911.

 

Colonial Hall, Liberty, N.Y.

Vintage postcard by photographer Otto Hillig depicting the charming Colonial Hall building in the village of Liberty, New York.Colonial Hall, Liberty, N.Y.This vintage postcard by photographer Otto Hillig depicts the charming Colonial Hall building in the village of Liberty, New York. The postcard was never mailed.

 

Crest Lawn, Liberty, N.Y.

Vintage postcard published by photographer Otto Hillig depicting the charming Crest Lawn building in the village of Liberty, New York.Crest Lawn, Liberty, N.Y.This vintage postcard published by photographer Otto Hillig depicts the charming Crest Lawn building in the village of Liberty, New York. The postcard was never mailed.

 

The Mapledoram Log Cabin, DeBruce, N.Y.

Vintage photograph from Otto Hillig titled “The Mapledoram Log Cabin, DeBruce, N.Y.”The Mapledoram Log Cabin, DeBruce, N.Y.

 

Xmas at the M. E. Church, Liberty, N.Y.

Photographer Otto Hillig of Liberty, New York published this vintage postcard titled “Xmas at the M. E. Church, Liberty, N.Y.”Xmas at the M. E. Church, Liberty, N.Y.

 

Grooville, N.Y.

Vintage photograph by Otto Hillig titled “Grooville, N.Y.”Grooville, N.Y.

 

Beautiful Scenery near Grooville, N.Y.

Vintage photograph by Otto Hillig titled “Beautiful Scenery near Grooville, N.Y.”Beautiful Scenery near Grooville, N.Y.

 

One of the Many Waterfalls in Sull. Co., N.Y. Parksville, N.Y.

Vintage photograph by Otto Hillig titled “One of the Many Waterfalls in Sull. Co., N.Y. Parksville, N.Y.”One of the Many Waterfalls in Sull. Co., N.Y. Parksville, N.Y.

 

Koons Bros. Turning Mill, Emmonsville, N.Y.

Vintage photography by Otto Hillig titled “Koons Bros. Turning Mill, Emmonsville, N.Y.”Koons Bros. Turning Mill, Emmonsville, N.Y.

 

Young, Messiter and Dodge Float. Centennial, 1907, Liberty, N.Y.

Vintage photograph by Otto Hillig titled “Young, Messiter and Dodge Float. Centennial, 1907, Liberty, N.Y.”Young, Messiter and Dodge Float. Centennial, 1907, Liberty, N.Y.

 

I. O. G. T. Float from White Sulpher Springs. Centennial, Liberty, N.Y. 1907

Vintage photograph by Otto Hillig titled “I. O. G. T. Float from White Sulpher Springs. Centennial, Liberty, N.Y. 1907.”I. O. G. T. Float from White Sulpher Springs. Centennial, Liberty, N.Y. 1907

 

The Trout Stream near Lake Ophelia, Liberty, N.Y.

Vintage photo by Otto Hillig titled “The Trout Stream near Lake Ophelia, Liberty, N.Y.”The Trout Stream near Lake Ophelia, Liberty, N.Y.

 

Arriving of the U.S. Mail, Grooville, N.Y.

Vintage photog by Otto Hillig titled “Arriving of the U.S. Mail, Grooville, N.Y.”Arriving of the U.S. Mail, Grooville, N.Y.

 

Remains of the Old Tanning Industry, Claryville, N.Y.

Vintage photo by Otto Hillig titled “Remains of the Old Tanning Industry, Claryville, N.Y.”Remains of the Old Tanning Industry, Claryville, N.Y.

 

The Acid Factory, Willowemoc, N.Y.

Vintage photo by Otto Hillig titled “The Acid Factory, Willowemoc, N.Y.”The Acid Factory, Willowemoc, N.Y.

 

Stevensville, N.Y.

Vintage stereoview by Otto Hillig titled “Stevensville, N.Y.” depicting a scenic waterfall.Stevensville, N.Y.

 

Untitled (Man, Horse and Wagon)

 

Hillig’s Castle

Hillig's CastleHillig's Castle

 

Otto Hillig and Holger Hoiriis

Vintage advertising card depicting Otto Hillig and Holger Hoiriis with their plane Liberty.Otto Hillig and Holger HoiriisOtto Hillig and Holger Hoiriis, with their plane Liberty, are depicted on this vintage advertising card, which highlighted their trans-Atlantic flight from New York to Copenhagen in 1931.

 

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[email protected] (American Catskills) aerial architecture building Catskill Mountains Catskills gallery Hillig's Photo Studio landscapes Liberty Main Street New York Otto Hillig photographer photographs photography photos pictures portrait postcards studio Sullivan County https://www.americancatskills.com/blog/2022/9/otto-hillig-new-photographs Sat, 03 Sep 2022 12:00:00 GMT
Louis E. Jones – New Photographs https://www.americancatskills.com/blog/2022/8/louis-e-jones-new-photographs Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskill Mountains and, later in his career, with the Great Smoky Mountains near Gatlinburg, Tennessee.

 

I have recently acquired a number of new Catskills photographs by Louis E. Jones. They have all been added to the Jones gallery, which now contains 24 of his original postcard photographs.

 

Mountain Laurel. #1, Beautiful Catskill Mountain Series.

Mountain Laurel. Louis E. Jones. Beautiful Catskill Mountain Series, No. 1.Mountain Laurel, No. 1, Beautiful Catskill Mountain SeriesLouis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

On Breezy Heights. #5, Beautiful Catskill Mountains Series.

Breezy Heights. Louis E. Jones. Beautiful Catskill Mountain Series, No. 5.On Breezy Heights, No. 5, Beautiful Catskill Mountain SeriesLouis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

Haunts of Rip Van Winkle. #13, Beautiful Catskill Mountain Series.

Haunts of Rip Van WinkleHaunts of Rip Van Winkle, No. 13, Beautiful Catskill Mountain SeriesLouis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

Tower at Lake Mohonk. #4, Beautiful Kingston Series.

Tower at Lake Mohonk. Louis E. Jones. Beautiful Kingston Series, No. 4.Tower at Lake Mohonk, No. 4, Beautiful Kingston SeriesLouis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

Hillside Cottages. #15, Beautiful Kingston Series.

Hillside Cottages. Louis E. Jones. Beautiful Kingston Series, No. 15.Hillside Cottages, No. 15, Beautiful Kingston SeriesLouis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

Across the Meadows. #24, Beautiful Kingston Series.

Across the Meadows. Louis E. Jones. Beautiful Kingston Series, No. 24.Across the Meadows, No. 24, Beautiful Kingston SeriesLouis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

Cutting Logs near Woodstock. #36, Beautiful Woodstock Series.

Cutting Logs near Woodstock. Louis E. Jones. Beautiful Woodstock Series, No. 36.Cutting Logs near Woodstock, No. 36, Beautiful Woodstock SeriesLouis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

A Woodstock Studio. Copyright 1920.

A Woodstock Studio. Louis E. Jones.A Woodstock StudioLouis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

Concert Hall at the Maverick, Woodstock, N.Y. Copyright 1918.

Concert Hall at the Maverick, Woodstock, N.Y. Louis E. Jones.Concert Hall at the Maverick, Woodstock, N.Y.Louis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

The Woodstock Valley. Copyright 1925.

The Woodstock Valley. Louis E. Jones.The Woodstock ValleyLouis E. Jones. Author’s collection.

Louis E. Jones was a well-regarded photographer and painter closely associated with the Catskills and the Great Smoky Mountains National Park.

 

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[email protected] (American Catskills) art artist Bucknell University Catskill Mountains Catskills Cliff Dwellers exhibit gallery Gatlinburg gift shop Kingston L. E. J. L. E. Jones Little Art Gallery Little Art Shop Louis E. Jones Louis Edward Jones New York painter photo photographer photography show Smoky Mountains Tennessee tourism travel Williamsport Woodstock https://www.americancatskills.com/blog/2022/8/louis-e-jones-new-photographs Sat, 27 Aug 2022 12:00:00 GMT
Buttermilk Falls: A Photographic Study https://www.americancatskills.com/blog/2022/8/buttermilk-falls-a-photographic-study Buttermilk Falls is a relatively anonymous waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest. The falls consist of two tiers, the upper tier measuring approximately 45 feet in height and the lower tier measuring 5 feet in height.

 

Buttermilk Falls Brook forms on the south slopes of Peekamoose Mountain and joins the Rondout Creek on the far side of Route 47.

 

Buttermilk Falls is a relatively anonymous Catskills waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest.Buttermilk FallsButtermilk Falls is a relatively anonymous waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest. The falls consist of two tiers, the upper tier measuring approximately 45 feet in height and the lower tier measuring 5 feet in height.

Buttermilk Falls Brook forms on the south slopes of Peekamoose Mountain and joins the Rondout Creek on the far side of Route 47.

Buttermilk Falls is a relatively anonymous Catskills waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest.Like ButtermilkButtermilk Falls is a relatively anonymous waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest. The falls consist of two tiers, the upper tier measuring approximately 45 feet in height and the lower tier measuring 5 feet in height.

Buttermilk Falls Brook forms on the south slopes of Peekamoose Mountain and joins the Rondout Creek on the far side of Route 47.

Buttermilk Falls is a relatively anonymous Catskills waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest.Buttermilk Falls, FlowingButtermilk Falls is a relatively anonymous waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest. The falls consist of two tiers, the upper tier measuring approximately 45 feet in height and the lower tier measuring 5 feet in height.

Buttermilk Falls Brook forms on the south slopes of Peekamoose Mountain and joins the Rondout Creek on the far side of Route 47.

Buttermilk Falls is a relatively anonymous Catskills waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest.Flowing Buttermilk FallsButtermilk Falls is a relatively anonymous waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest. The falls consist of two tiers, the upper tier measuring approximately 45 feet in height and the lower tier measuring 5 feet in height.

Buttermilk Falls Brook forms on the south slopes of Peekamoose Mountain and joins the Rondout Creek on the far side of Route 47.

Buttermilk Falls is a relatively anonymous Catskills waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest.Buttermilk Falls BrookButtermilk Falls is a relatively anonymous waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest. The falls consist of two tiers, the upper tier measuring approximately 45 feet in height and the lower tier measuring 5 feet in height.

Buttermilk Falls Brook forms on the south slopes of Peekamoose Mountain and joins the Rondout Creek on the far side of Route 47.

Buttermilk Falls is a relatively anonymous Catskills waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest.Buttermilk Falls, Close UpButtermilk Falls is a relatively anonymous waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest. The falls consist of two tiers, the upper tier measuring approximately 45 feet in height and the lower tier measuring 5 feet in height.

Buttermilk Falls Brook forms on the south slopes of Peekamoose Mountain and joins the Rondout Creek on the far side of Route 47.

Buttermilk Falls is a relatively anonymous Catskills waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest.Rocky ButtermilkButtermilk Falls is a relatively anonymous waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest. The falls consist of two tiers, the upper tier measuring approximately 45 feet in height and the lower tier measuring 5 feet in height.

Buttermilk Falls Brook forms on the south slopes of Peekamoose Mountain and joins the Rondout Creek on the far side of Route 47.

Buttermilk Falls is a relatively anonymous Catskills waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest.Descending Buttermilk FallsButtermilk Falls is a relatively anonymous waterfall located in the Peekamoose Valley near Sundown in the Sundown Wild Forest. The falls consist of two tiers, the upper tier measuring approximately 45 feet in height and the lower tier measuring 5 feet in height.

Buttermilk Falls Brook forms on the south slopes of Peekamoose Mountain and joins the Rondout Creek on the far side of Route 47.

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[email protected] (American Catskills) brook Buttermilk Falls Buttermilk Falls Brook Catskill Mountains Catskills creek Peekamoose Mountain Peekamoose Valley photographs photography photos river Rondout Creek Route 42 Route 47 stream Sundown Sundown Wild Forest tourism travel Ulster County water waterfall https://www.americancatskills.com/blog/2022/8/buttermilk-falls-a-photographic-study Sat, 20 Aug 2022 12:00:00 GMT
Kaaterskill Falls: A Springtime Photographic Study https://www.americancatskills.com/blog/2022/8/kaaterskill-falls-a-springtime-photographic-study Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills. For over two centuries, visitors, including many famous artists and writers, have journeyed to the falls and found themselves amazed at its beauty.

 

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills.Kaaterskill FallsHaines Falls, Greene County

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills. For over two centuries, visitors, as well as many famous artists and writers, have journeyed to the falls to be amazed at its beauty. Be prepared for crowds though as it is likely one of the most popular destinations in all of the Catskills.

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills.Kaaterskill Falls, SpringHaines Falls, Greene County

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills. For over two centuries, visitors, as well as many famous artists and writers, have journeyed to the falls to be amazed at its beauty. Be prepared for crowds though as it is likely one of the most popular destinations in all of the Catskills.

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills.Gem of the CatskillsHaines Falls, Greene County

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills. For over two centuries, visitors, as well as many famous artists and writers, have journeyed to the falls to be amazed at its beauty. Be prepared for crowds though as it is likely one of the most popular destinations in all of the Catskills.

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills.From the TopHaines Falls, Greene County

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills. For over two centuries, visitors, as well as many famous artists and writers, have journeyed to the falls to be amazed at its beauty. Be prepared for crowds though as it is likely one of the most popular destinations in all of the Catskills.

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills.The Rock at the TopHaines Falls, Greene County

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills. For over two centuries, visitors, as well as many famous artists and writers, have journeyed to the falls to be amazed at its beauty. Be prepared for crowds though as it is likely one of the most popular destinations in all of the Catskills.

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills.Where the Mountain DividesHaines Falls, Greene County

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills. For over two centuries, visitors, as well as many famous artists and writers, have journeyed to the falls to be amazed at its beauty. Be prepared for crowds though as it is likely one of the most popular destinations in all of the Catskills.

The “jewel of the upper Catskills” was a popular haunt of the Hudson River School artists, including Thomas Cole whose paintings brought world-wide fame to the Catskills region. His 1826 Falls of the Kaaterskill and Kaaterskill Falls both beautifully capture the essence of what was to become one of the most popular subjects of 19th century American painting. Sanford Robinson Gifford’s 1871 Kaaterskill Falls is another masterpiece rendition.

 

The most celebrated painting of the falls though is certainly Asher Durand’s 1849 Kindred Spirits, sometimes referred to as the defining work of the Hudson River School. Originally created as a tribute to Thomas Cole, after his death, and poet William Cullen Bryant, it offers a romanticized view of the Kaaterskill Falls area, although it is actually a composite of several scenes in the area. In 2005, Kindred Spirits sold at auction for $35 million dollars, the highest price ever paid for an American painting.

 

One of the greatest descriptions of Kaaterskill Falls was written by James Fenimore Cooper in his 1823 novel titled The Pioneers. The dialogue below begins with Leatherstocking, also known as Natty Bumppo, talking of his time in the Catskills region.

 

“‘But there’s a place, a short two miles back of that very hill, that in late times I relished better than the mountains; for it was more kivered with the trees, and more natural.’

 

“And where was that?” inquired Edwards, whose curiosity was strongly excited by the simple description of the hunter.

 

“Why there’s a fall in the hills, where the water of two little ponds that lie near each other breaks out of their bounds, and runs over the rocks into the valley. The stream is, maybe, such a one as would turn a mill, if so useless a thing was wanted in the wilderness. But the hand that made that ‘leap’ never made a mill! There the water comes crooking and winding among the rocks, first so slow that a trout could swim in it, and then starting and running just like any creator that wanted to make a far spring, till it gets to where the mountain divides, like the cleft hoof of a deer, leaving a deep hollow for the brook to tumble into. The first pitch is night two hundred feet, and the water looks likes flakes of driven snow, before it touches the bottom; and there the stream gathers itself together again for a new start, and maybe flutters over fifty feet of flat rocks, before it falls for another hundred, when it jumps about from shelf to shelf, first turning this-away and then turning that-away, striving to get out of the hollow, till it finally comes to the plain.”

 

“I have never heard of this spot before!” exclaimed Edwards; “it is not mentioned in the books.”

 

“I never read a book in my life,” said Leather-stocking; “and how should a man who has lived in towns and schools known anything about the wonders of the woods! No, no lad; there has that little stream of water been playing among them hills, since He made the world, and not a dozen white men have ever laid eyes on it. The rock sweeps like a mason’s work, in a half-round, on both sides of the fall, and shelves over the bottom for fifty feet; so that when I’ve been sitting at the foot of the first pitch, and my hounds have run into the caverns behind the sheet of water, they’ve looked no bigger than so many rabbits. To my judgment, lad, it’s the best piece of work that I’ve met with in the woods; and none know how often the hand of God is seen in a wilderness, but them that rover it for a man’s life.”

 

“What becomes of the water? In which direction does it run? Is it a tributary of the Delaware?”

 

“Anan!” said Natty.

 

“Does the wat run into the Delaware?”

 

“No, no, it’s a drop for the old Hudson; and a merry time it has till it gets down off the mountain. I’ve sat on the shelving rock many a long hour, boy and watched the bubbles as they shot by me, and thought how long it would be before that very water, which seemed made for the wilderness, would be under the bottom of a vessel, and tossing in the salt sea. It is a spot to make a man solemnize. You can see right down into the valley that lies to the east of the High Peak, where, in the fall of the year, thousands of acres of woods are before your eyes, in the deep hollow, and along the side of the mountain, painted like ten thousand rainbows, by no hand of man, though without the ordering of God’s providence.”

 

For many years the former Laurel House hotel was located near the top of Kaaterskill Falls. The Laurel House was constructed as a boarding house in 1852 by Peter Schutt, and later managed by his son Jacob L. Schutt. The Laurel House, named for the mountain laurel (kalmia latifolia) that grows and blossoms around the area, originally had room for 50 visitors but was expanded after the Civil War and again in the early 1880s to accommodate approximately 300 people. The hotel was very popular given its location near the falls, its views of Kaaterskill Clove and its moderate pricing when compared to the more upscale Catskill Mountain House and the Kaaterskill Hotel. The grand Laurel House hotel operated until 1963, was acquired by New York State two years later and its grounds added to the Catskill Forest Preserve. The state intentionally burned the historic structure in March 1967.

 

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills.The best piece of workHaines Falls, Greene County

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills. For over two centuries, visitors, as well as many famous artists and writers, have journeyed to the falls to be amazed at its beauty. Be prepared for crowds though as it is likely one of the most popular destinations in all of the Catskills.

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills.The Wonders of the WoodsHaines Falls, Greene County

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills. For over two centuries, visitors, as well as many famous artists and writers, have journeyed to the falls to be amazed at its beauty. Be prepared for crowds though as it is likely one of the most popular destinations in all of the Catskills.

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills.The Lower FallHaines Falls, Greene County

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills. For over two centuries, visitors, as well as many famous artists and writers, have journeyed to the falls to be amazed at its beauty. Be prepared for crowds though as it is likely one of the most popular destinations in all of the Catskills.

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills.Kaaterskill Falls, Close UpHaines Falls, Greene County

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills. For over two centuries, visitors, as well as many famous artists and writers, have journeyed to the falls to be amazed at its beauty. Be prepared for crowds though as it is likely one of the most popular destinations in all of the Catskills.

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills.Than turning that-awayHaines Falls, Greene County

Kaaterskill Falls, at over 260 feet, is the tallest waterfall in New York State and is one of the popular destinations in the Catskills. For over two centuries, visitors, as well as many famous artists and writers, have journeyed to the falls to be amazed at its beauty. Be prepared for crowds though as it is likely one of the most popular destinations in all of the Catskills.

Samuel E. Rusk, who would later become a noted Catskills photographer and boarding house owner, beautifully described the setting of the Laurel House and Kaaterskill Falls in his 1879 book titled Rusk’s Illustrated Guide to the Catskill Mountains.

 

“It is but a few feet from the Laurel House to the top of the [Kaaterskill] Falls. The Spray House stands on the very verge, and its platform, with timbers bolted to the rock, projects over the awful chasm. This is the point from which to view the Falls from above; and over this first Fall the water drops a hundred and sixty feet, broken into millions of foamy fragments ere it strikes below, and flowing along a few yards it again plunges to the depth of eighty feet . . .

 

It is from under the Falls where its grandeur becomes most striking. At a gate by the Spray House a payment of twenty-five cents is made – for once during the season – and a charming path followed a few yards through the forest to the head of the stairs. Rustic seats are place along the way, and there are resting-places at various landings along down the many flights of stairs passed in reaching the bottom of the falls.

 

In the immense ampitheater which curves behind of the first Fall is a level path on which one may safely pass entirely around behind the falling water. Midway along the path the flood comes pouring over the enormous arch of rock, and as it descends, is eighty feet distant from the point of observation. After passing around by this path, the stream may be re-crossed a few yards below, at the top of the second Fall, where the stairs continue down to the foot, and reach a seat placed so as to give an unobstructed view of both Falls. While parties are down here, the gate of a dam immediately above the Falls is opened, thus augmenting the usual flow of water, and the scene is then truly marvellous.” 

 

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[email protected] (American Catskills) brook Catskill Mountains Catskills creek Greene County Haines Falls hike hiking Kaaterskill Clove Kaaterskill Falls New York photographs photography photos river tourism trail travel water waterfall https://www.americancatskills.com/blog/2022/8/kaaterskill-falls-a-springtime-photographic-study Sat, 13 Aug 2022 12:00:00 GMT
Sunset Rock: A Photographic Study https://www.americancatskills.com/blog/2022/8/sunset-rock-a-photographic-study Sunset Rock is one of the finest views in all of the Catskill Park. Its open ledge area overlooks North and South Lakes and South Mountain (2,460 feet), with Kaaterskill High Peak (3,655 feet) and Roundtop Mountain (3,440 feet) hovering in the background to the south west. The ridge of North Mountain can be seen towards the northwest. The Hudson Valley can be seen.

 

Sunset Rock’s picturesque beauty made it a favorite location for both visitors to the famed Catskill Mountain House, once one of the most famous hotels in the world, and many of the early Hudson River School artists of the 19th century, including Thomas Cole and Jasper Cropsey. Today, it continues as one of the most popular hiking destinations in the Catskills.

 

Sunset Rock along the Escarpment Trail is one of the finest views in the Catskills.Sunset RockSunset Rock is one of the finest views in all of the Catskill Park. Its open ledge area overlooks North and South Lakes and South Mountain (2,460 feet), with Kaaterskill High Peak (3,655 feet) and Roundtop Mountain (3,440 feet) hovering in the background to the south west. The ridge of North Mountain can be seen towards the northwest. The Hudson Valley can be seen. Sunset Rock’s picturesque beauty made it a favorite location for both visitors to the famed Catskill Mountain House, once one of the most famous hotels in the world, and many of the early Hudson River School artists of the 19th century, including Thomas Cole and Jasper Cropsey. Today, it continues as one of the most popular hiking destinations in the Catskills.

Sunset Rock along the Escarpment Trail is one of the finest views in the Catskills.Sunset Rock ViewSunset Rock is one of the finest views in all of the Catskill Park. Its open ledge area overlooks North and South Lakes and South Mountain (2,460 feet), with Kaaterskill High Peak (3,655 feet) and Roundtop Mountain (3,440 feet) hovering in the background to the south west. The ridge of North Mountain can be seen towards the northwest. The Hudson Valley can be seen. Sunset Rock’s picturesque beauty made it a favorite location for both visitors to the famed Catskill Mountain House, once one of the most famous hotels in the world, and many of the early Hudson River School artists of the 19th century, including Thomas Cole and Jasper Cropsey. Today, it continues as one of the most popular hiking destinations in the Catskills.

Sunset Rock along the Escarpment Trail is one of the finest views in the Catskills.Rocks, Lakes and MountainsSunset Rock is one of the finest views in all of the Catskill Park. Its open ledge area overlooks North and South Lakes and South Mountain (2,460 feet), with Kaaterskill High Peak (3,655 feet) and Roundtop Mountain (3,440 feet) hovering in the background to the south west. The ridge of North Mountain can be seen towards the northwest. The Hudson Valley can be seen. Sunset Rock’s picturesque beauty made it a favorite location for both visitors to the famed Catskill Mountain House, once one of the most famous hotels in the world, and many of the early Hudson River School artists of the 19th century, including Thomas Cole and Jasper Cropsey. Today, it continues as one of the most popular hiking destinations in the Catskills.

Sunset Rock along the Escarpment Trail is one of the finest views in the Catskills.Sunset Rock PanoramicSunset Rock is one of the finest views in all of the Catskill Park. Its open ledge area overlooks North and South Lakes and South Mountain (2,460 feet), with Kaaterskill High Peak (3,655 feet) and Roundtop Mountain (3,440 feet) hovering in the background to the south west. The ridge of North Mountain can be seen towards the northwest. The Hudson Valley can be seen. Sunset Rock’s picturesque beauty made it a favorite location for both visitors to the famed Catskill Mountain House, once one of the most famous hotels in the world, and many of the early Hudson River School artists of the 19th century, including Thomas Cole and Jasper Cropsey. Today, it continues as one of the most popular hiking destinations in the Catskills.

Sunset Rock along the Escarpment Trail is one of the finest views in the Catskills.First Light at Sunset RockSunset Rock is one of the finest views in all of the Catskill Park. Its open ledge area overlooks North and South Lakes and South Mountain (2,460 feet), with Kaaterskill High Peak (3,655 feet) and Roundtop Mountain (3,440 feet) hovering in the background to the south west. The ridge of North Mountain can be seen towards the northwest. The Hudson Valley can be seen. Sunset Rock’s picturesque beauty made it a favorite location for both visitors to the famed Catskill Mountain House, once one of the most famous hotels in the world, and many of the early Hudson River School artists of the 19th century, including Thomas Cole and Jasper Cropsey. Today, it continues as one of the most popular hiking destinations in the Catskills.

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[email protected] (American Catskills) Catskill Mountain House Catskill Mountains Catskills hike hiker hiking Hudson River Hudson River School Hudson Valley Jasper Cropsey Kaaterskill High Peak mountain North Lake overlook photographs photography photos Roundtop Mountain South Lake South Mountain Sunset Rock Thomas Cole tourism travel view https://www.americancatskills.com/blog/2022/8/sunset-rock-a-photographic-study Sat, 06 Aug 2022 12:00:00 GMT
Conklin Hill Falls: A Photographic Study https://www.americancatskills.com/blog/2022/7/conklin-hill-falls-a-photographic-study Conklin Hill Falls is a quiet, yet beautiful, destination in the Willowemoc Wild Forest, located between the hamlets of Claryville and Livingston Manor. The falls are located on an unnamed tributary that feeds in to the Willowemoc Creek, sister to the more famous Beaverkill River.

 

There are actually several falls along the unmarked trail, ranging in height from 4 feet to 15 feet, with the tallest one being the most impressive. Given its out-of-the-way location and its being located on an unmarked path through the woods, you will typically find yourself alone here, unlike many of the more well-known waterfalls throughout the Catskills.

 

Conklin Hill Falls is a beautiful waterfall located in the Willowemoc Wild Forest near the towns of Debruce and Willowemoc in Sullivan County, New York.Conklin Hill Falls (Upper)Debruce, Sullivan County

Conklin Hill Falls is a quiet, out-of-the-way destination in the Willowemoc Wild Forest near the towns of Debruce and Willowemoc. The falls are located on an unnamed tributary that feeds in to the Willowemoc Creek, the sister to the more famous Beaverkill River.

Conklin Hill Falls is a beautiful waterfall located in the Willowemoc Wild Forest near the towns of Debruce and Willowemoc in Sullivan County, New York.Who Was Conklin?Debruce, Sullivan County

Conklin Hill Falls is a quiet, out-of-the-way destination in the Willowemoc Wild Forest near the towns of Debruce and Willowemoc. The falls are located on an unnamed tributary that feeds in to the Willowemoc Creek, the sister to the more famous Beaverkill River.

Conklin Hill Falls is a beautiful waterfall located in the Willowemoc Wild Forest near the towns of Debruce and Willowemoc in Sullivan County, New York.SereneDebruce, Sullivan County

Conklin Hill Falls is a quiet, out-of-the-way destination in the Willowemoc Wild Forest near the towns of Debruce and Willowemoc. The falls are located on an unnamed tributary that feeds in to the Willowemoc Creek, the sister to the more famous Beaverkill River.

Conklin Hill Falls is a beautiful waterfall located in the Willowemoc Wild Forest near the towns of Debruce and Willowemoc in Sullivan County, New York.Conklin Hill Falls (Lower)Debruce, Sullivan County

Conklin Hill Falls is a quiet, out-of-the-way destination in the Willowemoc Wild Forest near the towns of Debruce and Willowemoc. The falls are located on an unnamed tributary that feeds in to the Willowemoc Creek, the sister to the more famous Beaverkill River.

Conklin Hill Falls is a beautiful waterfall located in the Willowemoc Wild Forest near the towns of Debruce and Willowemoc in Sullivan County, New York.Conklin Hill Falls, AutumnDebruce, Sullivan County

Conklin Hill Falls is a quiet, out-of-the-way destination in the Willowemoc Wild Forest near the towns of Debruce and Willowemoc. The falls are located on an unnamed tributary that feeds in to the Willowemoc Creek, the sister to the more famous Beaverkill River.

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[email protected] (American Catskills) Beaverkill River Bendo Covered Bridge brook Catskill Mountains Catskills Claryville Conklin Hill Falls creek Debruce hike hiker hiking Livingston Manor New York photographs photography photos river stream Sullivan County tourism travel tributary water waterfall Willowemoc Willowemoc Creek Willowemoc Wild Forest https://www.americancatskills.com/blog/2022/7/conklin-hill-falls-a-photographic-study Sat, 30 Jul 2022 12:00:00 GMT
Rosendale Trestle: A Photographic Study https://www.americancatskills.com/blog/2022/7/rosendale-trestle-a-photographic-study The Rosendale Trestle was originally opened in April 1872 to serve the Wallkill Valley Railroad along its line from New Paltz to Kingston. The bridge was built of iron, in five spans, supported by heavy stone piers and abutment, along with iron columns. At the time of its construction, it was the highest span bridge in the United States. The bridge was rebuilt in 1895 to address safety concerns associated with the new steam locomotives as well as longer and heavier trains.

 

The Rosendale Trestle in the hamlet of Rosendale is part of the 24-mile Wallkill Valley Rail Trail that runs from Gardiner to Kingston.View from Joppenbergh MountainRosendale, Ulster County

The Rosendale Trestle was originally opened in 1872 to serve the Wallkill Valley Railroad along its line from New Paltz to Kingston. After over a century of service the Rosendale rail line closed in 1977. The bridge was then sold to a private businessman in 1986 and briefly used for commercial bungee jumping. Ulster County seized the property in 2009 for delinquent taxes, and subsequently sold the property to the Wallkill Valley Trust and Open Space Conservancy.

Due to the many years of prior neglect, the bridge underwent extensive renovations in order to ensure its safety for the public. The Rosendale Trestle officially reopened to the public in June 2013. Today, the 940-foot trestle is part of the popular 24-mile Wallkill Valley Rail Trail that runs from Gardiner to Kingston. Rising 150 feet above the Rondout Creek, the trestle provides amazing views of the Rosendale hamlet, St. Peter’s Catholic Church, Joppenbergh Mountain and the surrounding countryside.

The Rosendale Trestle in the hamlet of Rosendale is part of the 24-mile Wallkill Valley Rail Trail that runs from Gardiner to Kingston.Morning WalkRosendale, Ulster County

The Rosendale Trestle was originally opened in 1872 to serve the Wallkill Valley Railroad along its line from New Paltz to Kingston. After over a century of service the Rosendale rail line closed in 1977. The bridge was then sold to a private businessman in 1986 and briefly used for commercial bungee jumping. Ulster County seized the property in 2009 for delinquent taxes, and subsequently sold the property to the Wallkill Valley Trust and Open Space Conservancy.

Due to the many years of prior neglect, the bridge underwent extensive renovations in order to ensure its safety for the public. The Rosendale Trestle officially reopened to the public in June 2013. Today, the 940-foot trestle is part of the popular 24-mile Wallkill Valley Rail Trail that runs from Gardiner to Kingston. Rising 150 feet above the Rondout Creek, the trestle provides amazing views of the Rosendale hamlet, St. Peter’s Catholic Church, Joppenbergh Mountain and the surrounding countryside.

The Rosendale Trestle in the hamlet of Rosendale is part of the 24-mile Wallkill Valley Rail Trail that runs from Gardiner to Kingston.Take the Road Less TravelledRosendale, Ulster County

The Rosendale Trestle was originally opened in 1872 to serve the Wallkill Valley Railroad along its line from New Paltz to Kingston. After over a century of service the Rosendale rail line closed in 1977. The bridge was then sold to a private businessman in 1986 and briefly used for commercial bungee jumping. Ulster County seized the property in 2009 for delinquent taxes, and subsequently sold the property to the Wallkill Valley Trust and Open Space Conservancy.

Due to the many years of prior neglect, the bridge underwent extensive renovations in order to ensure its safety for the public. The Rosendale Trestle officially reopened to the public in June 2013. Today, the 940-foot trestle is part of the popular 24-mile Wallkill Valley Rail Trail that runs from Gardiner to Kingston. Rising 150 feet above the Rondout Creek, the trestle provides amazing views of the Rosendale hamlet, St. Peter’s Catholic Church, Joppenbergh Mountain and the surrounding countryside.

 

After over a century of service the Rosendale rail line closed in 1977. The bridge was then sold to a private businessman in 1986 and briefly used for commercial bungee jumping. Ulster County seized the property in 2009 for delinquent taxes, and subsequently sold the property to the Wallkill Valley Trust and Open Space Conservancy.

 

Due to the many years of prior neglect, the bridge underwent extensive renovations in order to ensure its safety for the public. The Rosendale Trestle officially reopened to the public in June 2013. Today, the 940-foot trestle is part of the popular 24-mile Wallkill Valley Rail Trail that runs from Gardiner to Kingston.

 

Rising 150 feet above the Rondout Creek, the trestle provides amazing views of the Rosendale hamlet, St. Peter’s Catholic Church, Joppenbergh Mountain and the surrounding countryside.

 

The Rosendale Trestle in the hamlet of Rosendale is part of the 24-mile Wallkill Valley Rail Trail that runs from Gardiner to Kingston.Over the RondoutRosendale, Ulster County

The Rosendale Trestle was originally opened in 1872 to serve the Wallkill Valley Railroad along its line from New Paltz to Kingston. After over a century of service the Rosendale rail line closed in 1977. The bridge was then sold to a private businessman in 1986 and briefly used for commercial bungee jumping. Ulster County seized the property in 2009 for delinquent taxes, and subsequently sold the property to the Wallkill Valley Trust and Open Space Conservancy.

Due to the many years of prior neglect, the bridge underwent extensive renovations in order to ensure its safety for the public. The Rosendale Trestle officially reopened to the public in June 2013. Today, the 940-foot trestle is part of the popular 24-mile Wallkill Valley Rail Trail that runs from Gardiner to Kingston. Rising 150 feet above the Rondout Creek, the trestle provides amazing views of the Rosendale hamlet, St. Peter’s Catholic Church, Joppenbergh Mountain and the surrounding countryside.

This beautiful fall foliage scene takes in the Rosendale landscape including Route 213, 500-foot Joppenbergh Mountain, the Rondout Creek and Saint Peter’s Catholic Church.Country Scene at RosendaleRosendale, Ulster County

This beautiful fall foliage scene takes in the Rosendale landscape including Route 213, 500-foot Joppenbergh Mountain, the famous Rondout Creek and the historic 1875 Saint Peter’s Catholic Church. As viewed from the Rosendale Trestle along the Wallkill Valley Rail Trail, the classic scene, with elements of both man and nature, seems to come together in perfect harmony.

The Rosendale Trestle in the hamlet of Rosendale is part of the 24-mile Wallkill Valley Rail Trail that runs from Gardiner to Kingston.First Light at RosendaleRosendale, Ulster County

The Rosendale Trestle was originally opened in 1872 to serve the Wallkill Valley Railroad along its line from New Paltz to Kingston. After over a century of service the Rosendale rail line closed in 1977. The bridge was then sold to a private businessman in 1986 and briefly used for commercial bungee jumping. Ulster County seized the property in 2009 for delinquent taxes, and subsequently sold the property to the Wallkill Valley Trust and Open Space Conservancy.

Due to the many years of prior neglect, the bridge underwent extensive renovations in order to ensure its safety for the public. The Rosendale Trestle officially reopened to the public in June 2013. Today, the 940-foot trestle is part of the popular 24-mile Wallkill Valley Rail Trail that runs from Gardiner to Kingston. Rising 150 feet above the Rondout Creek, the trestle provides amazing views of the Rosendale hamlet, St. Peter’s Catholic Church, Joppenbergh Mountain and the surrounding countryside.

The Rosendale Trestle in the hamlet of Rosendale is part of the 24-mile Wallkill Valley Rail Trail that runs from Gardiner to Kingston.Sunrise Over the RondoutRosendale, Ulster County

The Rosendale Trestle was originally opened in 1872 to serve the Wallkill Valley Railroad along its line from New Paltz to Kingston. After over a century of service the Rosendale rail line closed in 1977. The bridge was then sold to a private businessman in 1986 and briefly used for commercial bungee jumping. Ulster County seized the property in 2009 for delinquent taxes, and subsequently sold the property to the Wallkill Valley Trust and Open Space Conservancy.

Due to the many years of prior neglect, the bridge underwent extensive renovations in order to ensure its safety for the public. The Rosendale Trestle officially reopened to the public in June 2013. Today, the 940-foot trestle is part of the popular 24-mile Wallkill Valley Rail Trail that runs from Gardiner to Kingston. Rising 150 feet above the Rondout Creek, the trestle provides amazing views of the Rosendale hamlet, St. Peter’s Catholic Church, Joppenbergh Mountain and the surrounding countryside.

This beautiful fall foliage scene in Rosendale takes in the cliffs of 500-foot Joppenbergh Mountain as it blooms with vibrant orange, red, green and yellow colors.Joppenbergh MountainThis beautiful fall foliage scene in Rosendale takes in the cliffs of 500-foot Joppenbergh Mountain as it blooms with vibrant orange, red, green and yellow colors. Despite what would be its diminutive size in other locations, Joppenbergh Mountain seems to fit perfectly in Rosendale, providing a dramatic backdrop as walkers and bikers cross the Rosendale Trestle on the Wallkill Valley Rail Trail.

 

The 500-foot Joppenbergh Mountain, despite what would be its diminutive size in other locations, seems to fit perfectly in Rosendale, providing a dramatic backdrop as walkers and bikers cross the Rosendale Trestle on the Wallkill Valley Rail Trail. The mountain was actively mined in the late 19th century for dolomite, which was used to manufacture natural cement. Visitors can take an easy hike to the top of Joppenbergh Mountain for a birds-eye view of the Rosendale Trestle.

 

The Rondout Creek, underneath the trestle, flows 63 miles from its origin on the col between Rocky Mountain and Balsam Cap to its confluence with the Hudson River at the city of Kingston.

 

The village of Rosendale is beautifully situated along the Rondout Creek and at the base of Joppenbergh Mountain. In addition to the trestle, Rosendale is also home to the equally interesting Snyder Estate and the Widow Jane mine, The 1850 House Inn, the Rosendale Theatre and several shops and restaurants.

 

The parish at St. Peter’s Church was established in 1855 to meet the religious needs of the rapidly growing population of Rosendale that was closely associated with the cement industry and the Delaware & Hudson canal. The church building was constructed 20 years later in 1875-76, with the first service taking place on Christmas Day, 1876. The church, over 150 years later, continues to play an active role in the Rosendale community.

 

Parking for the Rosendale Trestle can be found at the Binnewater Kiln parking area on Binnewater Road, off of Route 213, north of the trestle. Parking for the hike up Joppenbergh Mountain can be found at Willow Kiln Park, just off of Main Street, in the village of Rosendale.

 

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[email protected] (American Catskills) bike biking bridge Catskill Mountains Catskills Gardiner hike hiking Joppenbergh Mountain Kingston New Paltz Open Space Conservancy photographs photography photos railroad Rondout Creek Rosendale Rosendale Trestle scenery St. Peter's Church tourism train travel trestle Ulster County view walk walking Wallkill Valley Rail Trail Wallkill Valley Railroad Wallkill Valley Trust https://www.americancatskills.com/blog/2022/7/rosendale-trestle-a-photographic-study Sat, 23 Jul 2022 12:00:00 GMT
Pickles: The Saugerties Dinosaur https://www.americancatskills.com/blog/2022/7/pickles-the-saugerties-dinosaur The extreme road side dinosaur known as Pickles can be found at the entrance of the always popular Rip Van Winkle Campground in Saugerties, New York.

 

Large scale metal dinosaur sculpture known as Pickles can be found at the entrance of the Rip Van Winkle Campground in Saugerties, New York.PicklesThe extreme road side dinosaur known as Pickles can be found at the entrance of the always popular Rip Van Winkle Campground in Saugerties, New York. Blending the body of an Apatosaurus with the head of a T-Rex, the large-scale skeleton stands 38 feet tall and 49 feet long and weighs four tons.

The skeleton was constructed in 1994 by Benson Steel, a local fabrication company, and is engineered to withstand winds up to 75 miles per hour. Pickles marks the entrance of the campground’s “fun zone,” which includes an outdoor movie theater, swimming pool, remote control tracks and more. For 25 cents the dinosaur sprays water from its mouth. The dinosaur got its name from a campground fundraiser for a local cancer charity.

 

Blending the body of an Apatosaurus with the head of a T-Rex, the large-scale skeleton stands 38 feet tall and 49 feet long and weighs four tons.

 

The skeleton was constructed in 1994 by Benson Steel, a local fabrication company, and is engineered to withstand winds up to 75 miles per hour. Pickles marks the entrance of the campground’s “fun zone,” which includes an outdoor movie theater, swimming pool, remote control tracks and more. For 25 cents the dinosaur sprays water from its mouth. The dinosaur got its name from a campground fundraiser for a local cancer charity.

 

Visit the Rip Van Winkle Campground website at www.ripvanwinklecampgrounds.com for more information.

 

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[email protected] (American Catskills) attraction Benson Steel camp campground cancer Catskill Mountains Catskills charity dinosaur fundraiser Matthew Jarnich photographs photography photos Pickles pond Rip Van Winkle Rip Van Winkle Campgrounds Saugerties skeleton steel tourism travel Ulster County https://www.americancatskills.com/blog/2022/7/pickles-the-saugerties-dinosaur Sat, 16 Jul 2022 12:00:00 GMT
The “X” Barn of Callicoon https://www.americancatskills.com/blog/2022/7/the-x-barn-of-callicoon The region around Callicoon in Sullivan County, New York is home to a great number of farms and barns. According to the 2017 Census of Agriculture, Sullivan County is home to 366 farms with an average size of 164 acres. Some of the top products from the county include poultry and eggs, milk from cows, hay, cattle and calves and vegetables, melons, potatoes and sweet potatoes. Agriculture represents the second largest economic sector in the County.

 

This bright, red-colored barn, with a green roof and a towering silo topped with silver and red, certainly catches the eye of any traveler in the region.
 

Farm and barn scene located near Callicoon in Sullivan County.X Barn

 

 

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[email protected] (American Catskills) agriculture barn Callicoon Catskill Mountains Catskills country farm Matthew Jarnich New York photographer photographs photos scene Sullivan County tourism travel X Barn https://www.americancatskills.com/blog/2022/7/the-x-barn-of-callicoon Sat, 09 Jul 2022 12:00:00 GMT
Want a Nice Cold Coke? https://www.americancatskills.com/blog/2022/7/want-a-nice-cold-coke For most of my visits to the Catskills, I have planned my shooting destinations in advance, while also allowing for a degree of change for lighting, weather, etc. Although it may sound oxymoronic, sometimes as part of the planning process, I will schedule a morning or an afternoon with no plan, to either scout possible future locations or to just simply drive around to see what I can found.

 

This country scene in Pleasant Valley, Sullivan County shows an old Coke machine, horseshoe, saw blades and pitchfork blade along the side of small barn.Want a Nice Cold Coke?

 

And that’s what happened with this photograph. I had finished an early morning session at Callicoon, which has the look of many bygone years, and was then just driving around the backroads of Sullivan County. There are many great rural scenes in this section of the Catskills, including a wide variety of farms, barns and landscapes. As I was driving by one particular farm, this country scene came across my vision and caused me to immediately stop.

 

This wonderful scene shows an old Coke machine that had certainly seen better days, several lucky horseshoes, a few rusted saw blades and a corroded pitchfork blade, all proudly displayed on the side of a small, weather-beaten barn. Contrary to the image seen here, the actual farm was a beehive of activity with tractors and workers moving every which way.

 

Although it is a simple photograph, “f8 and be there” as they say, I thought it was a great capture that I felt quite fortunate to have come across.

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[email protected] (American Catskills) barn beverage building Callicoon Catskill Mountains Catskills Coke drink farm machine Matthew Jarnich New York photographer photographs photos Sullivan County tourism travel Want a Nice Cold Coke? https://www.americancatskills.com/blog/2022/7/want-a-nice-cold-coke Sat, 02 Jul 2022 12:00:00 GMT
The Children Are Our Future: Jeffersonville Central School https://www.americancatskills.com/blog/2022/6/the-children-are-our-future-jeffersonville-central-school The Jeffersonville Central School building is located in the village of Jeffersonville in Sullivan County. It is situated on the top of Behnken Hill, the high point of the 54-acre campus. East of the school is the central business district of the Jeffersonville village, while to the north, west and south are “the rolling foothills of the Catskill Mountains, marked by small farms and one-family residences.”

 

The Jeffersonville Central School building is located in the village of Jeffersonville in Sullivan County, New York.Jeffersonville Central SchoolThe Jeffersonville Central School building is located in the village of Jeffersonville in Sullivan County. The building was designed by architect Harold Fullerton in the Colonial Revival style and constructed as a Public Works Administration (P.W.A.) project in 1938-1939. At the time of its construction, and as part of the school centralization movement, the building “replaced 15 one-room and rural school-houses in the towns of Callicoon, Bethel, Fremont, Liberty, Delaware, and Cochecton.” The village of Jeffersonville and the Jeffersonville Central School were both named by a local 19th century hotel builder who was an admirer of Thomas Jefferson. The building is listed on the National Register of Historic Places.

The Jeffersonville Central School building is located in the village of Jeffersonville in Sullivan County, New York.The Walk to Jefferson Central SchoolThe Jeffersonville Central School building is located in the village of Jeffersonville in Sullivan County. The building was designed by architect Harold Fullerton in the Colonial Revival style and constructed as a Public Works Administration (P.W.A.) project in 1938-1939. At the time of its construction, and as part of the school centralization movement, the building “replaced 15 one-room and rural school-houses in the towns of Callicoon, Bethel, Fremont, Liberty, Delaware, and Cochecton.” The village of Jeffersonville and the Jeffersonville Central School were both named by a local 19th century hotel builder who was an admirer of Thomas Jefferson. The building is listed on the National Register of Historic Places.

The Jeffersonville Central School building is located in the village of Jeffersonville in Sullivan County, New York.Jefferson CentralThe Jeffersonville Central School building is located in the village of Jeffersonville in Sullivan County. The building was designed by architect Harold Fullerton in the Colonial Revival style and constructed as a Public Works Administration (P.W.A.) project in 1938-1939. At the time of its construction, and as part of the school centralization movement, the building “replaced 15 one-room and rural school-houses in the towns of Callicoon, Bethel, Fremont, Liberty, Delaware, and Cochecton.” The village of Jeffersonville and the Jeffersonville Central School were both named by a local 19th century hotel builder who was an admirer of Thomas Jefferson. The building is listed on the National Register of Historic Places.

 

The building was designed by architect Harold Fullerton (1895-1965) in the Colonial Revival style and constructed as a Public Works Administration (P.W.A.) project in 1938-1939. At the time of its construction, and as part of the school centralization movement, the building replaced 15 one-room and rural school-houses in the towns of Callicoon, Bethel, Fremont, Liberty, Delaware, and Cochecton. The building is estimated to have cost $418,000.

 

“Harold O. Fullerton, born in Cleveland, Ohio in 1896, opened his firm in Albany twelve years after graduating from the University of Michigan (1920) with degrees in Architecture and Architectural Engineering . . . During his career, he designed over 50 public and private schools, office buildings, churches, and other structures. Other work in New York State includes Livingston Manor Central School, Delaware Academy in Delhi, and the dormitory complex of the State University of New York (Albany Campus). He planned the modernization of Page, Draper, Heusted, and Richardson Halls on that campus. During World War II, he served as a Naval Commander of Yards and Docks. He was a member of many professional associations, including the American Institute of Architects, the Architectural League of New York, the Engineers Club of New York City, and the University Clubs of Washington and New York.” (Kuhn)

 

The village of Jeffersonville and the Jeffersonville Central School were both named by a local 19th century hotel builder who was an admirer of Thomas Jefferson.

 

The building is listed on the National Register of Historic Places “as a monumental Colonial Revival style building that is associated with the period of centralization in the development of the New York State educational system.”

 

Source: Kuhn, Robert D. “Jefferson School.” National Register of Historic Places Nomination Form. 1988.

 

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[email protected] (American Catskills) architect architecture Bethel building Callicoon Catskill Mountains Catskills Cochecton Colonial Revival Delaware Fremont Harold Fullerton Jeffersonville Jeffersonville Central School Liberty Matthew Jarnich National Register of Historic Places P.W.A. photographs photography photos Public Works Administration school schoolhouse Sullivan County Thomas Jefferson tourism travel village https://www.americancatskills.com/blog/2022/6/the-children-are-our-future-jeffersonville-central-school Sat, 25 Jun 2022 12:00:00 GMT
Signs of the Past in Monticello https://www.americancatskills.com/blog/2022/6/signs-of-the-past-in-monticello Ghost signs are old and fading advertising signs painted on the exterior building walls, often remaining in place well after the business has closed. Ghost signs can be found throughout the Catskills and across the United States. The ghost signs seen here advertise for Al Cohen’s Sport Shop and the legendary Roark’s Tavern in the village of Monticello, New York.

 

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The long gone Al Cohen’s Sport Shop was located at 246 Broadway in the village of Monticello. The popular store sold a wide range of sporting gear, tennis and golf equipment, fishing equipment, fly rods, hunting rifles and much more. Newspaper advertisements in 1965 boasted that the shop was “Sullivan County’s Largest and Most Complete Sporting Goods and Sports Wear Store.”

 

Ghost sign advertising the long gone Al Cohen’s Sport Shop at 246 Broadway in Monticello, New York.Al Cohen's Sport ShopMonticello, Sullivan County

This ghost sign advertises the long gone Al Cohen’s Sport Shop at 246 Broadway in the village of Monticello. The popular store sold a wide range of sporting gear, tennis and golf equipment, fishing equipment, fly rods, hunting rifles and much more. Newspaper advertisements in 1965 boasted that the shop was “Sullivan County’s Largest and Most Complete Sporting Goods and Sports Wear Store.”

 

Milton Kabak (1926-2010) managed Al Cohen’s Sport Shop for 27 years and after worked at the Sullivan County Courthouse in Monticello for 17 years. Kabak was a veteran of World War II, having served as a Forward Scout in the Army, serving a majority of his time in the Philippines. He was awarded a Bronze Star for his service. Kabak had served as president of the local Veterans of Foreign Wars (VFW). He passed away at the age of 84 in 2010. He was survived by his wife Charlotte Kabak, his son Stuart Kabak, of Swan Lake, and his daughter Stephanie Suarez, of Liverpool, New York.

 

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Legendary Roark’s Tavern on Landfield Avenue in the village of Monticello first opened its doors in 1932 during the height of the Great Depression.

 

Roark’s Tavern on Landfield Avenue in Monticello, New York first opened in 1932 during the height of the Great Depression by William Roark.Roark's TavernLegendary Roark’s Tavern on Landfield Avenue in the village of Monticello first opened its doors in 1932 during the height of the Great Depression.

William “Bill” Roark (1892-1947), a Monticello native, started the tavern. He was the son of Michael Roark (1845-1925), a well-respected farmer, and Bridget Carroll Roark (1857-1929). He attended the Monticello schools and was a star basketball and baseball player. Prior to the tavern he had worked at a bakery and at the Monticello Inn. William was active in the community, being a member of the Knights of Columbus, the Elks and president of the Monticello soft ball league. William passed away at the age of 54 in 1947 at the Hamilton Avenue Hospital. Services were held at Saint Peter’s Church and he is buried at Saint Peter’s Cemetery in Monticello, New York.

 

William “Bill” Roark (1892-1947), a Monticello native, started the tavern. He was the son of Michael Roark (1845-1925), a well-respected farmer, and Bridget Carroll Roark (1857-1929). He attended the Monticello schools and was a star basketball and baseball player. Prior to the tavern he had worked at a bakery and at the Monticello Inn. William was active in the community, being a member of the Knights of Columbus, the Elks and president of the Monticello soft ball league. William passed away at the age of 54 in 1947 at the Hamilton Avenue Hospital. Services were held at Saint Peter’s Church and he is buried at Saint Peter’s Cemetery in Monticello, New York.

 

After William Roark passed away in 1947, the tavern was briefly operated by Ted Dowd for 1 1/2 years.

 

Roark’s Tavern was then taken over by the well-known Clement “Clem” Leffer, who operated it from 1948 to 1971. Leffer was the son of Nathan Leffer and Mary Schneider. The Leffer family, originally from Brooklyn, moved to Sullivan County when Clement was 15 years old. Clement married Madeline V. Leffer (1913-2001), daughter of William and Anna Karlberg McGuigan. Clement was a veteran of World War II, having served in the US Army during its Africa campaign. Clement died at Delray Beach, Florida in 2007 at the age of 95.

 

The following advertisement for Roark’s Tavern was published in 1948.

 

Roark’s is the place where old friends meet,

               To better their service would be a fete,

So for fun and cheer, to set you “aglow,”

               Then it’s Roark’s; the place to go.

 

Likely taking over from Leffer, Roark’s Tavern was then operated by Tony Cellini for many years until 1984. Cellini later served as the Town of Thompson supervisor for over 20 years and then as Security Supervisor at the Monticello Motor Club. He served in the US Army Military Police from 1958 to 1961.

 

Interestingly, famous musician Gavin DeGraw, a nearby South Fallsburg native, got his start playing local bars around Monticello, including Roark’s Tavern and the Nowhere Bar.

 

Roark’s Tavern, with a motto of “Saving the world one beer at a time,” continues to be a longtime mainstay of downtown Monticello.

 

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[email protected] (American Catskills) 1932 246 Broadway advertisement Al Cohen Al Cohen's Sport Shop bar Catskill Mountains Catskills Clem Leffer Clement Leffer Gavin DeGraw ghost sign Matthew Jarnich Milton Kabak Monticello New York photographer photographs photos Roark's Tavern sign store Sullivan County tavern Tony Cellini tourism travel William Roark https://www.americancatskills.com/blog/2022/6/signs-of-the-past-in-monticello Sat, 18 Jun 2022 12:00:00 GMT
The Last of an Era: The One-Room Ferndale Schoolhouse https://www.americancatskills.com/blog/2022/6/the-last-of-an-era-the-one-room-ferndale-schoolhouse The Ferndale School is a one-story, one-room wood-frame schoolhouse located in the small hamlet of Ferndale in Sullivan County, New York. The school was built circa 1850 for District 6 in the town of Liberty, New York.

 

The Ferndale School is a one-room wood-frame schoolhouse located in the small hamlet of Ferndale in Sullivan County, New York.Ferndale SchoolThe Ferndale School is a one-story, one-room wood-frame schoolhouse located in the small hamlet of Ferndale in Sullivan County, New York. The school was built circa 1850 for District 6 in the town of Liberty and served the community through the 1950s, when it closed due to school district consolidation. The Ferndale School is listed on the National Register of Historic Places.

 

The Ferndale School is a one-room wood-frame schoolhouse located in the small hamlet of Ferndale in Sullivan County, New York.Ferndale SchoolThe Ferndale School is a one-story, one-room wood-frame schoolhouse located in the small hamlet of Ferndale in Sullivan County, New York. The school was built circa 1850 for District 6 in the town of Liberty and served the community through the 1950s, when it closed due to school district consolidation. The Ferndale School is listed on the National Register of Historic Places.

 

The hamlet of Ferndale, formerly known as Liberty Falls, is located south of the village of Liberty. The Mongaup River and the route of the former O. & W. Railroad run through the hamlet. The school is located at the intersection of Ferndale Loomis Road and Upper Ferndale Road.

 

Ferndale was settled in 1807 by Roswell Russell, who established a sawmill at the Falls. When Liberty Falls sought to change names in the early 1900s to avoid confusion with the village of Liberty, which had become closely associated with the treatment of tuberculosis, the Ferndale name came from the Ferndale Villa, a popular local resort built by Joshua Gerow. The once world-famous Grossinger’s Resort Hotel, which was established in 1919 and operated until 1986, was located at Ferndale.

 

The Ferndale School is listed on the National Register of Historic Places as “an intact representative of a nineteenth century rural schoolhouse in Sullivan County and for its association with the history of education in the hamlet of Ferndale.”

 

“The building was a typical example of a nineteenth-century common school. Schools built in rural areas during the first half of the nineteenth century were generally small wood-frame buildings, domestic in scale, featuring undifferentiated interior spaces. Beginning in the 1840s, numerous pattern books were published that provided plans for schools that incorporated features intended to enhance the learning experience and accommodate advances in education, such as more specialized or graded instruction. Henry Barnard, for example, published ten editions of School Architecture between 1842 and 1883, all featuring examples of model schools that local districts could draw upon. The typical 1850 school was a small building with a vestibule (used as a cloakroom) and one large classroom. A teacher’s platform was located at the front of the room and students sat at fixed stations. The school was usually heated with a stove in the school room and there were windows on two or three sides of the building. Restrooms were generally privies. Despite certain variations and improvements, this remained the basic model for rural school buildings until the late nineteenth century.

 

The Ferndale School follows this model. Its modest size, rectangular form, wood-frame construction, and regular fenestration identify the building as a traditional and easily recognizable icon on the landscape. On the interior, the school was a single, undivided classroom (typically, a partition would have divided off a narrow vestibule just inside the door; it is not known whether Ferndale had this feature). The school was heated by a stove and a small wood-frame building at the rear served as a woodshed. Bathrooms were probably accommodated by privies; however, there is no evidence of them today. While modest, the school was constructed with windows on three elevations to provide a maximum amount of light and good ventilation. As per contemporary practice, the teacher probably sat at the front of the room facing the students. There were no openings on the rear elevation (behind the teacher) so that the students would not have to look into direct sunlight.”

 

The school served the community through the 1950s, when it closed due to school district consolidation. As was common for rural areas of the era, the one room schoolhouse served students of all grade levels.

 

Remarkably, although one room schoolhouses are considered a product of a long-gone era, there are still approximately 400 active one-room schoolhouses in the United States.

 

Source: LaFrank, Kathleen. “Ferndale School.” National Register of Historic Places Registration Form. April, 2004.

 

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[email protected] (American Catskills) architecture building Catskill Mountains Catskills community District 6 Ferndale Ferndale School Liberty Matthew Jarnich National Register of Historic Places New York one-room one-room schoolhouse photographer photographs photos rural school schoolhouse student Sullivan County tourism travel https://www.americancatskills.com/blog/2022/6/the-last-of-an-era-the-one-room-ferndale-schoolhouse Sat, 11 Jun 2022 12:00:00 GMT
What Once Was: The Apollo Mall at Monticello https://www.americancatskills.com/blog/2022/6/what-once-was-the-apollo-mall-at-monticello The long-abandoned Apollo Mall on the east side of Monticello first opened in 1983. The mall, formerly the Monteco Mall, was developed by Alfred S. “Flap” Ingber of Fallsburg (1931-1991).

 

Photograph of the abandoned Apollo Mall in the southern Catskills in the village of Monticello, Sullivan County, New York.Apollo MallThe long-abandoned Apollo Mall on the east side of Monticello first opened in 1983. The factory outlet mall, although popular for a time with about 37 stores, did not last long. Plagued with issues, the last retail tenant moved out in 2003 and by 2007 the county had repossessed the property from its prior owners due to back taxes.

Photograph of the abandoned Apollo Mall in the southern Catskills in the village of Monticello, Sullivan County, New York.Apollo's FallThe long-abandoned Apollo Mall on the east side of Monticello first opened in 1983. The factory outlet mall, although popular for a time with about 37 stores, did not last long. Plagued with issues, the last retail tenant moved out in 2003 and by 2007 the county had repossessed the property from its prior owners due to back taxes.

Photograph of the abandoned Apollo Mall in the southern Catskills in the village of Monticello, Sullivan County, New York.ApolloThe long-abandoned Apollo Mall on the east side of Monticello first opened in 1983. The factory outlet mall, although popular for a time with about 37 stores, did not last long. Plagued with issues, the last retail tenant moved out in 2003 and by 2007 the county had repossessed the property from its prior owners due to back taxes.

 

Ingber was a graduate of Columbia University in 1954 and later served as president of the Apollo Scaffold and Equipment Company in Monticello. In 1973 he was named a trustee of the College of Pharmaceutical Sciences at Columbia University and was considered a “well-known area horseman.” He was married to Mary Ann Toomey (1938-2015), a graduate of Anna Maria College, Town of Forestburgh historian and partner with her husband at the Apollo Scaffold Company. Flap Ingber died at the age of 60 on October 1, 1991 and is buried at Temple Sholom Cemetery in Monticello.

 

At the time the Apollo was Sullivan County’s only indoor mall. Stores included Van Heusen, Hallmark, Mostly Books, Catskill Corner, American Tourister, Toy Liquidators, Fieldcrest Cannon, an 18-hole miniature golf course, a food court and a movie theater, among many others.

 

The factory outlet mall, although popular for a time with about 37 stores, did not last long. The mall was plagued with issues, including huge potholes in the parking lot, health code violations, fire hazards, uninspected fire sprinklers and a leaky roof. The mall was located adjacent to the Sullivan County landfill.

 

The last retail tenant moved out in 2003 and by 2007 the county had repossessed the property from its prior owners due to back taxes. The property is now in a high state of decay with broken glass, collapsed ceilings, overgrown vegetation and graffiti.

 

Photograph of the abandoned Apollo Mall in the southern Catskills in the village of Monticello, Sullivan County, New York.FriendsThe long-abandoned Apollo Mall on the east side of Monticello first opened in 1983. The factory outlet mall, although popular for a time with about 37 stores, did not last long. Plagued with issues, the last retail tenant moved out in 2003 and by 2007 the county had repossessed the property from its prior owners due to back taxes.

Photograph of the abandoned Apollo Mall in the southern Catskills in the village of Monticello, Sullivan County, New York.Iron Man at the ApolloThe long-abandoned Apollo Mall on the east side of Monticello first opened in 1983. The factory outlet mall, although popular for a time with about 37 stores, did not last long. Plagued with issues, the last retail tenant moved out in 2003 and by 2007 the county had repossessed the property from its prior owners due to back taxes.

 

In 2013, 10 years after the mall closed, several scenes from the supernatural horror film titled “Jamie Marks is Dead” were filmed at the abandoned mall. The movie was based on Christopher Barzak’s novel titled “One for Sorrow.”

 

The property is often in the local news as local officials work towards a solution on what do with the 25-acre property going forward. Ideas have included a boutique distillery, high stakes bingo parlor, office center, an updated shopping mall, a big box store or a truck stop and hotel off the redeveloped exit 106 as part of the Interstate 86 project.

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[email protected] (American Catskills) 1983 2003 abandoned Apollo Mall Apollo Plaza bingo parlor Catskill Mountains Catskills closed county decay distillery East Broadway graffiti highway hotel interstate mall Matthew Jarnich Monticello motel New York office center photographer photographs photos property retail shops stores Sullivan County tourism travel truck stop https://www.americancatskills.com/blog/2022/6/what-once-was-the-apollo-mall-at-monticello Sat, 04 Jun 2022 12:00:00 GMT
Hunter, New York: The Story of Dolan’s Lake https://www.americancatskills.com/blog/2022/5/hunter-new-york-the-story-of-dolan-s-lake Dolan’s Lake, is scenically located adjacent to the Schoharie Creek at the base of Hunter Mountain in Greene County, New York. The park at the lake is a popular summer swimming destination, with public fishing, walking paths, picnic tables and a pavilion also available.

 

Photograph of Dolan’s Lake, which is located in the northern Catskills at the village of Hunter in Greene County, New York.Dolan's LakeDolan’s Lake is scenically located adjacent to the Schoharie Creek at the base of Hunter Mountain in Greene County, New York. The park at the lake is a popular summer swimming destination, with public fishing, walking paths, picnic tables and a pavilion also available. The lake is named for Michael Buddington Dolan (1861-1931), “one of the most prominent men in Greene County, and a lifelong resident of Hunter.”

 

Dolan’s Lake Park is home to a memorial in honor of the September 11, 2001 attacks. The memorial includes two 14-foot-high steel towers from the World Trade Center, an American flag and a bronze plaque. The plaque reads: “10th Anniversary of 9/11. This monument of WTC steel is dedicated to all were lost on 9/11/01 and to our heroes who made the supreme sacrifice. Never to be forgotten.” The memorial was installed in 2011 through the collaboration of Joe Jove, a retired lieutenant of the New York City Fire Department and a member of the Hunter Mountain Hall of Fame, and David Slutzky, one of the owners of Hunter Mountain.

 

The lake is named for Michael Buddington Dolan, “one of the most prominent men in Greene County, and a lifelong resident of Hunter.” Dolan was born on October 16, 1861 at Elka Park, in the town of Hunter, to James Dolan (1824-1899) and Mary (Miller) Dolan (1831-1902). Michael was one of 16 children.

 

James Dolan, Michael’s father, was an Irish immigrant who first worked as a tannery worker and later became a farmer at Platte Clove. James was also a veteran of the Civil War, having served with the 15th New York Engineers. James passed away in 1899, and was survived by his wife Mary, eight sons and five daughters, with three of his children having died. Both James and Mary, Michael’s parents, are buried at Saint Francis de Sales Cemetery at Elka Park, New York.

 

Michael married Lizzie Patricia (Lackey) Dolan (1859-1947) at the “parochial residence” on Thanksgiving Day in 1888. She was the daughter of Michael Lackey, Sr. (1815-1901) and Catharine Burke (1825-1905). Michael Lackey, Sr. was born in Ireland and immigrated to the United States with his parents in 1829 at the age of 14. He received an education at night school in New York City. After moving to Tannersville, he continued his trade as a house painter and also operated a country tavern. Lizzie is buried at Saint Francis de Sales Cemetery at Elka Park, New York.

 

A combination of local, government and newspaper records show that Michael certainly had a diverse career. In addition to operating Dolan’s Lake as a tourist attraction, he operated the Half-Way House between Hunter and Tannersville. In 1896 it was reported that Dolan had exchanged this “saloon property” with his brother-in-law M. Lackey, Jr. for a farm.

 

In 1908 Dolan was reported as operating the livery at Hotel St. Charles during the summer months. The hotel was highly regarded in the Hunter area. “This hotel, which is situated upon the highest elevation in the Catskill region, occupies a desirable location on what is known as Breeze Lawn Farm. The building is seventy-five feet front, one hundred and sixty-three feet deep, and four stories high. It has broad piazzas on three sides, and is equipped with all modern improvements, including passenger elevator and telegraph office. With the annex it has accommodations for two hundred guests. The table is supplied with fresh cream, butter, eggs, and vegetables from the farm connected with the house; and the service is of the best.” (Biographical Review Containing Life Sketches of Leading Citizens of Schoharie, Schenectady and Greene Counties, New York. Boston: Biographical Review Publishing Company, 1899. p. 403.)

 

During the early winter months of the 1910s Dolan would travel to New York City to sell Christmas trees. In 1913 his partners included his son Robert and Frank Carr. In 1918 it was reported that Dolan was robbed at his city tree stand. “It is said that M. B. Dolan was held up and robbed in New York, and that thieves stole Christmas trees from his stand on the river front. He knew what he was talking about when he said ‘Good-bye, God; I am going to New York.’” (The Recorder. Catskill, New York. December 27, 1918.)

 

For many years, Dolan operated a prospering ice business, cutting the ice each winter from his lake. He would supply the local hotels as well as fill his own ice houses.

 

The 1880 United States census, while 18-year-old Michael was living with his parents, listed his profession as “at home”. The 1896 Greene County Directory listed Michael with a profession as a “hotel keeper.” The 1900 US census listed his profession as “beer bottler”; the 1910 US census listed his profession as “livery”; the 1920 US census listed his profession as “farmer” and “ice dealer”; and the 1930 US census listed his profession as “ice dealer.”

 

Beyond his business activity, Dolan was very active in the community. He was member of the Kingston Council, No. 275, of the Knights of Columbus and was a member of the Catskill Lodge of Elks. He served as president of the village of Hunter for several years. He was long affiliated with the Democratic party, including serving as an active member of the County Democratic Committee.

 

Michael B. Dolan died on December 4, 1931 at the age of 70 at Benedictine Hospital in Kingston from an acute attack of diabetes. He is buried at Saint Francis de Sales Cemetery at Elka Park, New York. He was survived by his wife Lizzie, and five children, including three sons Julius Dolan (1891-1966) of Tannersville, Robert Dolan (1895-1986) of Hunter and Leo Dolan (1900-1959) of California, and two daughters, Frances (b. 1889) of Hunter, and Margaret (1893-1980), a teacher with the New York public schools.

 

Dolan established the artificial lake sometime in the 1910s or the early 1920s. The lake was a popular establishment with summer visitors. A 1922 newspaper advertisement talked about the lake and its popular features. “Dolan’s Lake in the Heart of the village of Hunter, N.Y. Now open to the public for Boating and Bathing. Dressing booths. Lake well illuminated at night. High class refreshment parlor on premises.” (The Windham Journal. August 10, 1922.) In the early times of the lake, winter was also a popular time to visit the lake. Ice skating was a popular activity. Ice was harvested during the winter time.

 

Photograph of Dolan’s Lake, which is located in the northern Catskills at the village of Hunter in Greene County, New York.Dolan's Lake at DuskDolan’s Lake, is scenically located adjacent to the Schoharie Creek at the base of Hunter Mountain in Greene County, New York. The park at the lake is a popular summer swimming destination, with public fishing, walking paths, picnic tables and a pavilion also available. The lake is named for Michael Buddington Dolan (1861-1931), “one of the most prominent men in Greene County, and a lifelong resident of Hunter.”

In 1929, flooding of Schoharie Creek caused much damage to Dolan’s Lake. Local newspapers reported on the storm’s effects. “Trees of all sizes and heights once covered the site of the lake and held the creek in leash to some extent, but during last year’s November freshet the creek broke through below the upper bridge, tearing out the bank and creek sides of the lake below and rushing with tremendous suction over and around the abutment of the middle bridge. A hole was made in the once shallow creek bed to a depth of 15 feet along Mr. Jackson’s property.” (“Big Concrete Jobs at Hunter.” Stamford Mirror-Recorder (Stamford, New York). October 29, 1927.)

 

In response the flooding Dolan went to work the next year to repair some of the damage to his lake. “Mr. Dolan’s activities consist of building a barrier wall along the bank of the creek below the upper iron bridge, 4 to 8 feet high of boulders and lesser stones, and then from the filled upper lake end scraping the gravel up against the inside of the wall. About 400 tons of gravel will be moved. Added to this work is that done last spring, such as repairing bulkheads and building wall at the lower end.” (“Big Concrete Jobs at Hunter.” Stamford Mirror-Recorder. Stamford, New York. October 29, 1927.)

 

A few years later, in September 1930, tragedy again struck at Dolan’s Lake when a fire broke out, destroying both the restaurant and the pavilion. It was reported that the windows were boarded up, and the inside was in flames before the fire was discovered, so the structures were completely lost.

 

In 1932 flooding again damaged the lake. “At Dolan’s Lake, in Hunter, the flood got in some damaging work not only on the building foundation which now has been undermined about eight feet, but also on the bridge abutment on the south side which shows an ominous crack in the roadway some feet from the bridge. The lot below the dam was badly washed. At the end of this street the Hunter branch of the Central railroad was badly washed out, the tracks being twisted out of line and the roadbed considerably damaged.” (“Storm Damages Mountain Area.” Stamford Mirror Recorder. Stamford, New York. October 13, 1932.)

 

In 1940 Dolan’s Lake was aptly described by F. A. Gallt in his guidebook titled Picturesque Catskills. “While right in the heart of the village is located Dolan’s Lake, a grand sheet of water, with boat house, bathing houses, refreshment pavilion. 35 boats affording boating, bathing and fishing as well as water sports.”

 

Photograph of Dolan’s Lake, which is located in the northern Catskills at the village of Hunter in Greene County, New York.Dolan's Lake ParkDolan’s Lake is scenically located adjacent to the Schoharie Creek at the base of Hunter Mountain in Greene County, New York. The park at the lake is a popular summer swimming destination, with public fishing, walking paths, picnic tables and a pavilion also available. The lake is named for Michael Buddington Dolan (1861-1931), “one of the most prominent men in Greene County, and a lifelong resident of Hunter.”

 

For a time, in the 1940s, the lake was known as Topps Lake, for the Topps Hotel that operated in the village of Hunter. The hotel had 110 rooms, a hunter lodge and over 100 acres. In 1945 the Topps Hotel was nicely described in a newspaper advertisement. “Ideal vacation resort where fun and relaxation are ideally blended. Delightfully cool. Modern throughout. 100 acres of nature’s splendor. Swimming, boating, fishing. Dancing, Casino, Orchestra. A. Wise. Prop.” (Brooklyn Daily Eagle. June 17, 1945.)

 

In 1946 benefits of the Topps Hotel were again described in newspaper advertisement. “It’s Topps Hotel at Hunter, N.Y. Decoration Weekend and June Frolic for Honeymooners, & Early Vacationists. Free Golf and Horses. Private Lake. All sports, dancing, orchestra, entertainment. 4-day weekend $32, ($9 day), $45 weekly, choice of rooms inc. bath during June.” (Evening Post.  The property had previously been known as the Alpine House. The lake has also been known as Hunter Lake.

 

Dolan’s Lake is fed by Shanty Hollow Brook, which originates on the north side of Hunter Mountain and flows for approximately 2.4 miles before joining the Schoharie Creek near the County Route 83 bridge at the entrance of the Hunter Mountain ski area. The water from Dolan’s Lake is used by Hunter Mountain as a source of water for its snowmaking activities.

 

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[email protected] (American Catskills) Catskill Mountains Catskills Dolan Lake Park Dolan's Lake Elka Park Greene County Hunter Hunter Lake Hunter Mountain ice lake Matthew Jarnich Michael B. Dolan Michael Buddington Dolan New York park photographer photographs photos picnic Schoharie Creek Shanty Hollow swim swimming Topps Lake tourism travel https://www.americancatskills.com/blog/2022/5/hunter-new-york-the-story-of-dolan-s-lake Sat, 28 May 2022 12:00:00 GMT
Ellenville Pride: The Boy with the Boot https://www.americancatskills.com/blog/2022/5/ellenville-pride-the-boy-with-the-boot Located in Liberty Square at the center of Ellenville, the four-foot, bronze “Boy with the Boot” statue has come to symbolize the small Ulster County village. This public Ellenville version was created in 1997 by local sculptor Matt Pozorski. It was modeled after one of the original Ellenville “Boy with the Boot” statues that was located for many years in front of the Scoresby Hose, Hook & Ladder Company.

 

The “Boy with the Boot” statue is located in the southern Catskills on Liberty Square at the village of Ellenville in Ulster County, New York.Boy with the BootLocated in Liberty Square at the center of Ellenville, the four-foot, bronze “Boy with the Boot” statue has come to symbolize the small Ulster County village. This public Ellenville version was created in 1997 by local sculptor Matt Pozorski. It was modeled after one of the original Ellenville “Boy with the Boot” statues that was located for many years in front of the Scoresby Hose, Hook & Ladder Company.

 

The “Boy with the Boot” statue is located in the southern Catskills on Liberty Square at the village of Ellenville in Ulster County, New York.Boy with the Leaky BootLocated in Liberty Square at the center of Ellenville, the four-foot, bronze “Boy with the Boot” statue has come to symbolize the small Ulster County village. This public Ellenville version was created in 1997 by local sculptor Matt Pozorski. It was modeled after one of the original Ellenville “Boy with the Boot” statues that was located for many years in front of the Scoresby Hose, Hook & Ladder Company.

 

Liberty Square, current location of the 1997 statue, has long played a central role in the history of Ellenville. The southwest corner of Canal Street and Market Street was the site of the first stores and homes in Ellenville. The square was also home to Charles Hartshorn, who served as Ellenville’s first postmaster and who was elected in 1856 as the village’s first president. Today, Liberty Square continues to play an important role in Ellenville, being the home of the historic U. S. Post Office, constructed in 1940, and the beautiful Hunt Memorial Building, constructed 1915-1917, both of which are listed on the National Register of Historic Places.

 

Marion M. Dumond, former historian for the town of Wawarsing, offers additional details about the history of Liberty Square and its role with the “Boy with The Boot” statue.

 

“The first fountain was on the lawn of the home of Charles Hartshorn, which stood where the Hunt Memorial Building still stands. Mr. Hartshorn was the first President of the Village of Ellenville in 1856 and a leading citizen. His son-in-law and daughter, Mr. and Mrs. Joseph Tuthill, lived with him and inherited the house at his death. In 1875, they gave a large section of their front yard, containing the fountain, to the Village of Ellenville, ‘for the purpose of a public square, and the maintenance of a fountain thereon at or about the site of the present fountain.’ The deed also stipulates that, if the Village did not live up to the terms of the gift, the land would revert to the Tuthills and their heirs.” (Dumond, Marion M. “The Boy with the Boot.” Wawarsing.net Magazine. December 2002, Issue 1. p. 18.)

 

Matt Pozorski, the sculptor, operates his own foundry and sculpture services company named Matt Pozorski Sculptureworks, located at Phillipsport, New York. He has completed projects for The American Museum of Natural History and New York City’s Percent for Art program. Pozorski’s role with Ellenville’s “Boy with the Boot” statue was detailed by Beth Scullion in a 2010 article for the Catskill Mountainkeeper.

 

“So how did our current Boot Boy make his way to Liberty Square? Back in late 1997, Ellenville-resident Iris Friedman approached her friend, Phillipsport sculptor Matt Pozorski, about casting a new 'Boy with the Boot' for Ellenville – a proposition to which the artist readily agreed. Pozorski worked with the original Scoresby statue, which he then restored in return for being allowed to work with it. The statue is now on display at the Ellenville Public Library and Museum.

 

‘I pulled a mold, or a series of molds, off of the original, and used those,’ says Pozorski of the process. ‘I poured wax into them, to make wax patterns, so I could do wax casting, cast it into bronze, and welded all the parts together.’" (Scullion, Beth. “Shawangunk: So what’s the story with that ‘Boy with the Boot’ statue, anyway?” Catskill Mountainkeeper. (www.catskillmountainkeeper.org). February 3, 2010. Accessed March 27, 2022.)

 

The “Boy with the Boot” statue is located in the southern Catskills on Liberty Square at the village of Ellenville in Ulster County, New York.Leaking BootLocated in Liberty Square at the center of Ellenville, the four-foot, bronze “Boy with the Boot” statue has come to symbolize the small Ulster County village. This public Ellenville version was created in 1997 by local sculptor Matt Pozorski. It was modeled after one of the original Ellenville “Boy with the Boot” statues that was located for many years in front of the Scoresby Hose, Hook & Ladder Company.

 

The “Boy with the Boot” statue, also known as the “Boy with the Leaking Boot”, is not unique to Ellenville however, as there are similar statues throughout the United States. States where “Boy with the Boot” statues are known to exist include California, Colorado, Iowa, Kansas, Louisiana, Maine, Michigan, Mississippi, Montana, Nebraska, New Jersey, New York, Ohio, Oregon, Pennsylvania, Texas, Vermont, Virginia, Washington and Wisconsin. International locations include Canada, Cuba, England and Sweden. Each has their own distinct story, including cost, installation year, being lost, decay from the weather, theft, vandalism and accidents, but each also has their own unique role in the history of their respective communities.

 

Each “Boy with the Boot” statue is typically quite similar, with a young boy, with a slight look of amusement on his face, wearing a cap, his shirt sleeves rolled-up, with a bare right foot and his right pant leg rolled up to the knee, left hand in his pocket with the thumb sticking out, while in his right hand he holds a leaking boot out in front of himself. The statue is typically affixed on top of a pedestal and/or fountain and is located at a park, museum, library or town building. Some, like the Ellenville version, retain their metallic appearance while other versions are colorfully painted. The original manufacturer offered several different sizes and shapes for the basin portion of the fountain underneath the statue, ranging from 7 feet, inches to 12 feet 6 inches, with either a round or octagonal shape.

 

The “Boy with the Boot” statue is located in the southern Catskills on Liberty Square at the village of Ellenville in Ulster County, New York.Liberty Square: The Boy with the BootLocated in Liberty Square at the center of Ellenville, the four-foot, bronze “Boy with the Boot” statue has come to symbolize the small Ulster County village. This public Ellenville version was created in 1997 by local sculptor Matt Pozorski. It was modeled after one of the original Ellenville “Boy with the Boot” statues that was located for many years in front of the Scoresby Hose, Hook & Ladder Company.

The “Boy with the Boot” statue is located in the southern Catskills on Liberty Square at the village of Ellenville in Ulster County, New York.Boy with the BootLocated in Liberty Square at the center of Ellenville, the four-foot, bronze “Boy with the Boot” statue has come to symbolize the small Ulster County village. This public Ellenville version was created in 1997 by local sculptor Matt Pozorski. It was modeled after one of the original Ellenville “Boy with the Boot” statues that was located for many years in front of the Scoresby Hose, Hook & Ladder Company.

 

In 1894 the city of Hillsboro, Ohio installed their own version of the “Boy with the Boot,” with the statue being beautifully described in the local newspaper.

 

“The design is a departure from the old stiff and staid styles, alike refreshing and delightfully attractive. This bright and cute conceit has been very appropriately been christened “The Unfortunate Boot.” The merry-faced urchin who holds aloft his much-abused footwear, is the typical boy. His counterpart can be found in flesh and blood in a thousand happy Highland homes. How his mirthful, careless glee takes us back to the days when you and were like him! Though that time may never come back, the old thrill of pleasure tingles through our veins as we gaze on this juvenile with his “Unfortunate Boot!” What a subject for the poet and the painter! It is such things that break like gleams of sunshine through the shadows of mature life. Without glad fancies that now and then flit across our pathways, life would be dreary indeed.” (“A Touch of the Beautiful.” The News-Herald (Hillsboro, Ohio). March 22, 1894.)

 

The statue was originally known as the “Unfortunate Boot” and was first produced by the J. L. Mott Iron Works company, who offered it for sale via their catalog. The statue was first advertised for sale in the company’s 1875 catalog. The company was founded by Jordan L. Mott (1799-1866), an American inventor and industrialist, in 1828 at what is now known as the Mott Haven neighborhood in the South Bronx area of New York City. J. L. Mott is credited with being the inventor of the first coal-burning stove. The company became highly regarded for manufacturing a wide range of products including stoves, fireplaces, household products such as tubs, sinks and urinals, iron pipes, water tanks, drain and manhole covers, drinking fountains, lamp pillars, gates, statuary, garden furniture and much more. Jordan L. Mott, Jr. (1829-1915) succeeded his father as owner of the foundry business.

 

The “Fountain: Unfortunate Boot” was one of many fountains available for sale in the 1905 catalog for the J. L. Mott Iron Works company. The statue was described as: “Height of Fountain, 5 feet 3 inches. Diameter of base, 2 feet nine inches. Suitable for 7 feet 6 inches and 9 feet 6 inches diameter Round, or 10 feet 6 inches and 12 feet 6 inches diameter Octagon Ground Basin. NOTE.– The Ground Basin shown above is our 7 feet 6 inches or 9 feet 6 inches diameter Round Ground Basin.” (J. L. Mott iron Works. Fountains. New York, 1905. p. 106.)

 

The first statues appeared in the United States in the late 19th century. The artistic origins of the statue are unknown but that hasn’t stopped several legends from developing. Three of the more popular theories include an American army drummer boy who carried water in his leaking boot for his fallen comrades, a young fire fighter carrying water with his boot as part of a communal bucket chain to put out a fire and a young newspaper boy who drowned.

 

For more information about the statue’s history across the United States see Mary’n B Rosson’s book titled The Mystery of the Boy with the Leaking Boot. For a listing of many of the known statues throughout the United States, see Carol A. Grissom’s book titled Zinc Sculpture in America 1850-1950 (pages 330-337).

 

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[email protected] (American Catskills) Hook & Ladder Company art artist boy Boy with the Boot Boy with the Leaking Boot Boy with the Leaky Boot Catskill Mountains Catskills Charles Hartshorn drummer boy Ellenville J. L. Mott Iron Works Liberty Square library Matt Pozorski Matthew Jarnich museum New York park photographer photographs photos Scoresby Hose sculptor sculpture soldier square statue tourism town travel Ulster County Unfortunate Boot village https://www.americancatskills.com/blog/2022/5/ellenville-pride-the-boy-with-the-boot Sat, 21 May 2022 12:00:00 GMT
Longo’s Work: The Woodridge O. & W. Mural https://www.americancatskills.com/blog/2022/5/longo-s-work-the-woodridge-o-w-mural Walking along Broadway in the village of Woodridge in Sullivan County, New York, perhaps on your way to a restaurant or to the market, you will find an amazing, 100-foot-long mural dedicated to the history of the New York, Ontario and Western Railway (N.Y. O. & W.).

 

The mural, located on the side of Slater’s Garage building, was completed in the early 1990s. The vibrant scene is set with powerful engine #405 chugging away, a full passenger train, the postcard-worthy Woodridge train station complete with the American flag flying high and an active freight dock at the station warehouse. William Panos, grandfather of Joan Collins, former mayor of Woodridge, is depicted as an O. & W. flagman.

 

The mural of the Ontario & Western (O. & W.) railroad is located in the southern Catskills at the village of Woodridge, Sullivan County, New York.N. Y. O. & W. #405Walking along Broadway in the village of Woodridge in Sullivan County, New York, perhaps on your way to a restaurant or to the market, you will find an amazing, 100-foot-long mural dedicated to the history of the New York, Ontario and Western Railway (N.Y. O. & W.).

The mural, located on the side of Slater’s Garage building, was completed in the early 1990s. The vibrant scene is set with powerful engine #405 chugging away, a full passenger train, the postcard-worthy Woodridge train station complete with the American flag flying high and an active freight dock at the station warehouse.

The mural of the Ontario & Western (O. & W.) railroad is located in the southern Catskills at the village of Woodridge, Sullivan County, New York.At Work on the 405Walking along Broadway in the village of Woodridge in Sullivan County, New York, perhaps on your way to a restaurant or to the market, you will find an amazing, 100-foot-long mural dedicated to the history of the New York, Ontario and Western Railway (N.Y. O. & W.).

The mural, located on the side of Slater’s Garage building, was completed in the early 1990s. The vibrant scene is set with powerful engine #405 chugging away, a full passenger train, the postcard-worthy Woodridge train station complete with the American flag flying high and an active freight dock at the station warehouse.

 

Engine #405, depicted in the mural, was constructed in 1923 by American Locomotive Works (Alco) in Schenectady, New York. It was a class Y, wheels 4-8-2 type train. It was designed to lead the company’s passenger train, referred to as the Mountaineer. In 1938 O. & W. undertook a major effort to upgrade its passenger trains, including engine no. 405. The project was led by industrial designer Otto Kuhler.

 

“Working closely with the Middletown shop forces, Kuhler transformed a fifteen-year-old veteran, engine No. 405, into a dramatic and colorful steam locomotive. He mixed brilliant hues of orange and maroon paint with which to garnish the boiler, drivers, cab and tender. With stainless steel and chromium plate, he emphasized the handrails, the bell, and by the addition of two narrow stainless steel bands around it, the stack. Sheet metal skirts were run along the running boards and a large panel placed between the pilot braces. On this panel the age-old Ontario and Western symbol appeared with the added flair of orange wings.” (Helmer, William F. O. & W. The Long Life and Slow Death of the New York, Ontario & Western Railway. Berkley, California: Howell-North Press, 1959. p. 140.)

 

As for the no. 405 parlor cars, these were also upgraded, or “streamstyled,” in 1938.

 

“Turning to necessary car renovations, Kuhler carried through the maroon color scheme with a horizontal stripe of light orange just below the windows, to suggest speed and motion. The interior appearance of the coaches was not only antiquated but shabby. To hide the soiled and worn seat cushions, tan slip-covers were made, with the railroad’s monogram applied in a cool green. The walls were brightened with brushstrokes of gray and ivory paint, trim of black and maroon. Then, taking one of the steel parlor cars (the Ulster) of vintage 1913, the renovators laid new gray linoleum, threw out the old wicker armchairs, brought in inexpensive maple armchairs and wisely kept the rich mahogany paneling. The sister parlor-observation car, the Orange, received similar treatment and soon the train stood in the Middletown yard, gleaming in the sunlight.” (pp. 140-141.)

 

The mural of the Ontario & Western (O. & W.) railroad is located in the southern Catskills at the village of Woodridge, Sullivan County, New York.New York, Ontario & WesternWalking along Broadway in the village of Woodridge in Sullivan County, New York, perhaps on your way to a restaurant or to the market, you will find an amazing, 100-foot-long mural dedicated to the history of the New York, Ontario and Western Railway (N.Y. O. & W.).

The mural, located on the side of Slater’s Garage building, was completed in the early 1990s. The vibrant scene is set with powerful engine #405 chugging away, a full passenger train, the postcard-worthy Woodridge train station complete with the American flag flying high and an active freight dock at the station warehouse.

The mural of the Ontario & Western (O. & W.) railroad is located in the southern Catskills at the village of Woodridge, Sullivan County, New York.Saying GoodbyeWalking along Broadway in the village of Woodridge in Sullivan County, New York, perhaps on your way to a restaurant or to the market, you will find an amazing, 100-foot-long mural dedicated to the history of the New York, Ontario and Western Railway (N.Y. O. & W.).

The mural, located on the side of Slater’s Garage building, was completed in the early 1990s. The vibrant scene is set with powerful engine #405 chugging away, a full passenger train, the postcard-worthy Woodridge train station complete with the American flag flying high and an active freight dock at the station warehouse.

 

The mural was created by well-known artist Robert “Bob” Longo (1921-2019). After graduating from Hazleton High School in 1939, Longo attended Kutztown State College. His college education was interrupted by World War II, during which he served in the Air Corps for 4 years as an aerial engineer on B-26 bombers in Del Rio, Texas. One of the notable projects he worked on during the war was the creation of a supersonic radio map of Osaka, Japan, which was to be the third atomic bomb drop if Japan did not surrender after the Nagasaki and Hiroshima bombings.

 

After the war, Longo completed his Art Education degree at Kutztown and went on to attend Columbia University, where he earned a Master’s degree for teaching. He moved to Woodridge, New York where he became a respected art teacher at the Fallsburg Central School District. He retired in 1984 after 35 years of teaching.

 

Longo’s artwork for the 1970 movie “The Molly Maguires,” starring Sean Connery, were used to promote the film. The watercolors depicted the movie sets used in the Hazleton, Eckley and Jim Thorpe areas of Pennsylvania. Several of the scenes were reproduced as postcards.

 

In addition to this work, Longo also created over 55 different postal cancellations for the United States Postal Service (USPS), including stamps that celebrated the 100th anniversary of the Boy Scouts of America and two stamp designs to commemorate the 40th anniversary of the Woodstock music festival. Other designs included the International Space Station and the anniversary of the September 11 attacks.

 

The Woodridge Kiwanis Club awarded Longo its Everyday Hero award for his work on the O&W Railroad mural. In 2010 the Lions Club of Fallsburg awarded Longo its highest honor, the Melvin Jones Fellows award. Longo was a member of the Lions Club for over 65 years, and had previously served as its president. In 2017, he was inducted into the Fallsburg Central School District Hall of Fame. Robert passed away in 2019 at his son’s home in Colorado, and was survived by his wife Irma, and his sons Robert, Alan and Joseph.

 

The mural of the Ontario & Western (O. & W.) railroad is located in the southern Catskills at the village of Woodridge, Sullivan County, New York.All Aboard, WoodridgeWalking along Broadway in the village of Woodridge in Sullivan County, New York, perhaps on your way to a restaurant or to the market, you will find an amazing, 100-foot-long mural dedicated to the history of the New York, Ontario and Western Railway (N.Y. O. & W.).

The mural, located on the side of Slater’s Garage building, was completed in the early 1990s. The vibrant scene is set with powerful engine #405 chugging away, a full passenger train, the postcard-worthy Woodridge train station complete with the American flag flying high and an active freight dock at the station warehouse.

The mural of the Ontario & Western (O. & W.) railroad is located in the southern Catskills at the village of Woodridge, Sullivan County, New York.Woodridge StationWalking along Broadway in the village of Woodridge in Sullivan County, New York, perhaps on your way to a restaurant or to the market, you will find an amazing, 100-foot-long mural dedicated to the history of the New York, Ontario and Western Railway (N.Y. O. & W.).

The mural, located on the side of Slater’s Garage building, was completed in the early 1990s. The vibrant scene is set with powerful engine #405 chugging away, a full passenger train, the postcard-worthy Woodridge train station complete with the American flag flying high and an active freight dock at the station warehouse.

The mural of the Ontario & Western (O. & W.) railroad is located in the southern Catskills at the village of Woodridge, Sullivan County, New York.At the StationWalking along Broadway in the village of Woodridge in Sullivan County, New York, perhaps on your way to a restaurant or to the market, you will find an amazing, 100-foot-long mural dedicated to the history of the New York, Ontario and Western Railway (N.Y. O. & W.).

The mural, located on the side of Slater’s Garage building, was completed in the early 1990s. The vibrant scene is set with powerful engine #405 chugging away, a full passenger train, the postcard-worthy Woodridge train station complete with the American flag flying high and an active freight dock at the station warehouse.

The mural of the Ontario & Western (O. & W.) railroad is located in the southern Catskills at the village of Woodridge, Sullivan County, New York.Flag Over WoodridgeWalking along Broadway in the village of Woodridge in Sullivan County, New York, perhaps on your way to a restaurant or to the market, you will find an amazing, 100-foot-long mural dedicated to the history of the New York, Ontario and Western Railway (N.Y. O. & W.).

The mural, located on the side of Slater’s Garage building, was completed in the early 1990s. The vibrant scene is set with powerful engine #405 chugging away, a full passenger train, the postcard-worthy Woodridge train station complete with the American flag flying high and an active freight dock at the station warehouse.

 

The New York, Ontario and Western Railway (N.Y. O. & W.) was a regional railroad that operated from 1868 to 1957. The railroad ran from Weehawken, New Jersey to Cornwall on the Hudson River and then on to Oswego on Lake Ontario, with branches to Kingston, Port Jervis, Monticello, Delhi, Utica, Rome and Scranton. The railroad entered bankruptcy in 1937 due to lower passenger traffic (largely due to improved automobile roads), declining coal shipments and outdated equipment. The railroad never emerged from that bankruptcy, and was liquidated in 1957, becoming the first US Class I railroad to be abandoned.

 

The mural of the Ontario & Western (O. & W.) railroad is located in the southern Catskills at the village of Woodridge, Sullivan County, New York.Loading UpWalking along Broadway in the village of Woodridge in Sullivan County, New York, perhaps on your way to a restaurant or to the market, you will find an amazing, 100-foot-long mural dedicated to the history of the New York, Ontario and Western Railway (N.Y. O. & W.).

The mural, located on the side of Slater’s Garage building, was completed in the early 1990s. The vibrant scene is set with powerful engine #405 chugging away, a full passenger train, the postcard-worthy Woodridge train station complete with the American flag flying high and an active freight dock at the station warehouse.

The mural of the Ontario & Western (O. & W.) railroad is located in the southern Catskills at the village of Woodridge, Sullivan County, New York.N. Y. O. & W.Walking along Broadway in the village of Woodridge in Sullivan County, New York, perhaps on your way to a restaurant or to the market, you will find an amazing, 100-foot-long mural dedicated to the history of the New York, Ontario and Western Railway (N.Y. O. & W.).

The mural, located on the side of Slater’s Garage building, was completed in the early 1990s. The vibrant scene is set with powerful engine #405 chugging away, a full passenger train, the postcard-worthy Woodridge train station complete with the American flag flying high and an active freight dock at the station warehouse.

 

Today, the route of the former O. & W. railroad through Sullivan County, New York has been developed into a popular rail trail, although only available in several disconnected sections. Currently developed sections include Parksville (1.3 miles), Liberty (2.7 miles), Hurleyville (5.4 miles), Woodridge (1.7 miles) and Mountain Dale (2.6 miles). It is hoped to complete a continuous 25-mile section through Sullivan County from Summitville to the village of Liberty.

 

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[email protected] (American Catskills) Bob Longo Catskill Mountains Catskills Cornwall Delhi Kingston Matthew Jarnich Monticello mural N.Y. O. & W. New York Ontario and Western Railway O. & W. Oswego painting photographer photographs photos Port Jervis rail trail railroad railway Robert Longo Rome Roscoe Scranton Sullivan County The Molly Maguires tourism train travel Utica Weehawken Woodridge https://www.americancatskills.com/blog/2022/5/longo-s-work-the-woodridge-o-w-mural Sat, 14 May 2022 12:00:00 GMT
Our Lady of Knock Shrine: A Photographic Study https://www.americancatskills.com/blog/2022/5/our-lady-of-knock-shrine-a-photographic-study Our Lady of Knock Shrine is located in the northern Catskills at the hamlet of East Durham. The beautiful church is part of the Roman Catholic Diocese of Albany. Reverend Jay Atherton is the current pastor of the church, which offers daily and weekend masses. Atherton also serves as pastor for Sacred Heart in Cairo, St. John the Baptist in Greenville, St. Theresa’s in Windham, Sacred Heart in Palenville and Immaculate Conception in Haines Falls.

 

The Our Lady of Knock Shrine is located in the northern Catskills at East Durham, New York.Our Lady of Knock ShrineOur Lady of Knock Shrine is located in the northern Catskills at the hamlet of East Durham. The beautiful church, constructed in 1989, is part of the Roman Catholic Diocese of Albany. The church interior is decorated with stained-glass windows from Donegal, Ireland, which depict many of the favorite Celtic saints. There are also mahogany carvings and an altar screen that resembles the original church wall in the village of Knock on which the apparition appeared.

The shrine commemorates the August 21, 1879 event at the village of Knock in County Mayo, Ireland in which locals reported to have seen an apparition of the Virgin Mary, Saint Joseph and Saint John the Evangelist as well as the Lamb of God, understood to be Jesus Christ, on an altar standing before a cross. The apparition was a silent one. The event took place on the gable wall of the Parish Church. There were 15 witnesses to the apparition, ranging in ages from 5 to 75 years old, all of whom watched it for two hours as they recited the rosary.

The Our Lady of Knock Shrine is located in the northern Catskills at East Durham, New York.Our Lady of Knock Shrine, East DurhamOur Lady of Knock Shrine is located in the northern Catskills at the hamlet of East Durham. The beautiful church, constructed in 1989, is part of the Roman Catholic Diocese of Albany. The church interior is decorated with stained-glass windows from Donegal, Ireland, which depict many of the favorite Celtic saints. There are also mahogany carvings and an altar screen that resembles the original church wall in the village of Knock on which the apparition appeared.

The shrine commemorates the August 21, 1879 event at the village of Knock in County Mayo, Ireland in which locals reported to have seen an apparition of the Virgin Mary, Saint Joseph and Saint John the Evangelist as well as the Lamb of God, understood to be Jesus Christ, on an altar standing before a cross. The apparition was a silent one. The event took place on the gable wall of the Parish Church. There were 15 witnesses to the apparition, ranging in ages from 5 to 75 years old, all of whom watched it for two hours as they recited the rosary.

 

The Our Lady of Knock Shrine was constructed in 1989 with seating capacity for 500 people. The interior is decorated with stained-glass windows from Donegal, Ireland, which depict many of the favorite Celtic saints. There are also mahogany carvings and an altar screen that resembles the original church wall in the village of Knock on which the apparition appeared.

 

Over the exterior doors, decorated with a wood carving depicting a family of four entering the church, is the Bible passage from John 6, verse 51. “I myself am the living bread come down from heaven. If anyone eats this bread, he shall live forever. The bread I will give is my flesh for the life of the world.”

 

The Our Lady of Knock Shrine is located in the northern Catskills at East Durham, New York.I myself am the living bread.Our Lady of Knock Shrine is located in the northern Catskills at the hamlet of East Durham. The beautiful church, constructed in 1989, is part of the Roman Catholic Diocese of Albany. The church interior is decorated with stained-glass windows from Donegal, Ireland, which depict many of the favorite Celtic saints. There are also mahogany carvings and an altar screen that resembles the original church wall in the village of Knock on which the apparition appeared.

The shrine commemorates the August 21, 1879 event at the village of Knock in County Mayo, Ireland in which locals reported to have seen an apparition of the Virgin Mary, Saint Joseph and Saint John the Evangelist as well as the Lamb of God, understood to be Jesus Christ, on an altar standing before a cross. The apparition was a silent one. The event took place on the gable wall of the Parish Church. There were 15 witnesses to the apparition, ranging in ages from 5 to 75 years old, all of whom watched it for two hours as they recited the rosary.

 

The stained-glass window over the exterior doors was donated by The Mayo Society, which was founded in 1879 at New York City to assist immigrants moving to the United States from County Mayo, Ireland due to the potato famine.

 

Gerry Laverty, a designer, architect and craftsman from Dunkineely, County Donegal, designed and built much of the interior of the Shrine at his workshop in Ireland, and then amazingly exported it to East Durham, New York in the United States. He employed 17 people for the project, which was worth more than $250,000.

 

“‘It all started when I was making a few Irish souvenirs – copper and woodwork items. The fellow marketing them in the States happened to be from Donegal. Next thing he asked me to design a shop front for him. I made it and shipped it out to East Durham in upstate New York. Then the Irish community there asked if I would work on the church. It was all by chance and good luck – no planning at all.’ . . .

 

Some sales success was achieved with high-quality Irish artefacts, mostly sold to the US, but fluctuations in exchange rates put paid to that. Then along came the shop front project. An entire frontage made in Donegal, complete with carvings and paintings, is now part of an Irish goods shop in New York . . .

 

The church has taken a year to complete. Two of the Laverty daughters have done much of the work on about 70 stained glass windows for the church. Laverty himself has carved 20 statues. Workers at his small factory have been putting in more than 40 hours overtime per week recently in order to get the project finished.

 

‘Two container loads of material, including everything from the tabernacle to a 32 ft. spire, are going out to the US. The funny thing is that the architect I’m working with over there is Jewish. And I’ve made it plain that I am not a particularly religious person. But the community is great. It has just said ‘Go ahead.’”
 

(“Opportunity Knocks for Gerry.” Financial Times. August 12, 1989. p. 6.)

 

The Our Lady of Knock Shrine is located in the northern Catskills at East Durham, New York.Into the ShrineOur Lady of Knock Shrine is located in the northern Catskills at the hamlet of East Durham. The beautiful church, constructed in 1989, is part of the Roman Catholic Diocese of Albany. The church interior is decorated with stained-glass windows from Donegal, Ireland, which depict many of the favorite Celtic saints. There are also mahogany carvings and an altar screen that resembles the original church wall in the village of Knock on which the apparition appeared.

The shrine commemorates the August 21, 1879 event at the village of Knock in County Mayo, Ireland in which locals reported to have seen an apparition of the Virgin Mary, Saint Joseph and Saint John the Evangelist as well as the Lamb of God, understood to be Jesus Christ, on an altar standing before a cross. The apparition was a silent one. The event took place on the gable wall of the Parish Church. There were 15 witnesses to the apparition, ranging in ages from 5 to 75 years old, all of whom watched it for two hours as they recited the rosary.

The Our Lady of Knock Shrine is located in the northern Catskills at East Durham, New York.At the AltarOur Lady of Knock Shrine is located in the northern Catskills at the hamlet of East Durham. The beautiful church, constructed in 1989, is part of the Roman Catholic Diocese of Albany. The church interior is decorated with stained-glass windows from Donegal, Ireland, which depict many of the favorite Celtic saints. There are also mahogany carvings and an altar screen that resembles the original church wall in the village of Knock on which the apparition appeared.

The shrine commemorates the August 21, 1879 event at the village of Knock in County Mayo, Ireland in which locals reported to have seen an apparition of the Virgin Mary, Saint Joseph and Saint John the Evangelist as well as the Lamb of God, understood to be Jesus Christ, on an altar standing before a cross. The apparition was a silent one. The event took place on the gable wall of the Parish Church. There were 15 witnesses to the apparition, ranging in ages from 5 to 75 years old, all of whom watched it for two hours as they recited the rosary.

The Our Lady of Knock Shrine is located in the northern Catskills at East Durham, New York.The Lamb of GodOur Lady of Knock Shrine is located in the northern Catskills at the hamlet of East Durham. The beautiful church, constructed in 1989, is part of the Roman Catholic Diocese of Albany. The church interior is decorated with stained-glass windows from Donegal, Ireland, which depict many of the favorite Celtic saints. There are also mahogany carvings and an altar screen that resembles the original church wall in the village of Knock on which the apparition appeared.

The shrine commemorates the August 21, 1879 event at the village of Knock in County Mayo, Ireland in which locals reported to have seen an apparition of the Virgin Mary, Saint Joseph and Saint John the Evangelist as well as the Lamb of God, understood to be Jesus Christ, on an altar standing before a cross. The apparition was a silent one. The event took place on the gable wall of the Parish Church. There were 15 witnesses to the apparition, ranging in ages from 5 to 75 years old, all of whom watched it for two hours as they recited the rosary.

The shrine commemorates the August 21, 1879 event at the village of Knock in County Mayo, Ireland in which locals reported to have seen an apparition of the Virgin Mary, Saint Joseph and Saint John the Evangelist as well as the Lamb of God, understood to be Jesus Christ, on an altar standing before a cross. The apparition was a silent one. The event took place on the gable wall of the Parish Church. There were 15 witnesses to the apparition, ranging in ages from 5 to 75 years old, all of whom watched it for two hours as they recited the rosary.

 

All 15 witnesses testified for the Church inquiry later that year of 1879, and the commission found that “the testimony of all, taken as a whole, was trustworthy and satisfactory.” A second inquiry was held in 1936, which confirmed the findings of 1879. Every Pope since Pius XII (1939-1958) has recognized Knock, including Saint John Paul II during his 1979 visit to commemorate the centenary of the apparition.

 

Prayer to Our Lady of Knock

Our Lady of Knock, Queen of Ireland, you gave hope to your people in a time of distress and comforted them in sorrow. You have inspired countless pilgrims to pray with confidence to your divine Son, remembering His promise, “Ask and you shall receive, seek and you shall find." Help me to remember that we are all pilgrims on the road to Heaven. Fill me with love and concern for my brothers and sisters in Christ, especially those who live with me. Comfort me when I am sick, lonely or depressed. Teach me how to take part ever more reverently in the Holy Mass. Give me a greater love of Jesus in the Blessed Sacrament. Pray for me now and at the hour of my death. Amen.

 

The Our Lady of Knock Shrine is located in the northern Catskills at East Durham, New York.Donegal GlassOur Lady of Knock Shrine is located in the northern Catskills at the hamlet of East Durham. The beautiful church, constructed in 1989, is part of the Roman Catholic Diocese of Albany. The church interior is decorated with stained-glass windows from Donegal, Ireland, which depict many of the favorite Celtic saints. There are also mahogany carvings and an altar screen that resembles the original church wall in the village of Knock on which the apparition appeared.

The shrine commemorates the August 21, 1879 event at the village of Knock in County Mayo, Ireland in which locals reported to have seen an apparition of the Virgin Mary, Saint Joseph and Saint John the Evangelist as well as the Lamb of God, understood to be Jesus Christ, on an altar standing before a cross. The apparition was a silent one. The event took place on the gable wall of the Parish Church. There were 15 witnesses to the apparition, ranging in ages from 5 to 75 years old, all of whom watched it for two hours as they recited the rosary.

The Our Lady of Knock Shrine is located in the northern Catskills at East Durham, New York.Mother Frances CabriniOur Lady of Knock Shrine is located in the northern Catskills at the hamlet of East Durham. The beautiful church, constructed in 1989, is part of the Roman Catholic Diocese of Albany. The church interior is decorated with stained-glass windows from Donegal, Ireland, which depict many of the favorite Celtic saints. There are also mahogany carvings and an altar screen that resembles the original church wall in the village of Knock on which the apparition appeared.

The shrine commemorates the August 21, 1879 event at the village of Knock in County Mayo, Ireland in which locals reported to have seen an apparition of the Virgin Mary, Saint Joseph and Saint John the Evangelist as well as the Lamb of God, understood to be Jesus Christ, on an altar standing before a cross. The apparition was a silent one. The event took place on the gable wall of the Parish Church. There were 15 witnesses to the apparition, ranging in ages from 5 to 75 years old, all of whom watched it for two hours as they recited the rosary.

The Our Lady of Knock Shrine is located in the northern Catskills at East Durham, New York.Saint JosephOur Lady of Knock Shrine is located in the northern Catskills at the hamlet of East Durham. The beautiful church, constructed in 1989, is part of the Roman Catholic Diocese of Albany. The church interior is decorated with stained-glass windows from Donegal, Ireland, which depict many of the favorite Celtic saints. There are also mahogany carvings and an altar screen that resembles the original church wall in the village of Knock on which the apparition appeared.

The shrine commemorates the August 21, 1879 event at the village of Knock in County Mayo, Ireland in which locals reported to have seen an apparition of the Virgin Mary, Saint Joseph and Saint John the Evangelist as well as the Lamb of God, understood to be Jesus Christ, on an altar standing before a cross. The apparition was a silent one. The event took place on the gable wall of the Parish Church. There were 15 witnesses to the apparition, ranging in ages from 5 to 75 years old, all of whom watched it for two hours as they recited the rosary.

The Our Lady of Knock Shrine is located in the northern Catskills at East Durham, New York.Servants of GodOur Lady of Knock Shrine is located in the northern Catskills at the hamlet of East Durham. The beautiful church, constructed in 1989, is part of the Roman Catholic Diocese of Albany. The church interior is decorated with stained-glass windows from Donegal, Ireland, which depict many of the favorite Celtic saints. There are also mahogany carvings and an altar screen that resembles the original church wall in the village of Knock on which the apparition appeared.

The shrine commemorates the August 21, 1879 event at the village of Knock in County Mayo, Ireland in which locals reported to have seen an apparition of the Virgin Mary, Saint Joseph and Saint John the Evangelist as well as the Lamb of God, understood to be Jesus Christ, on an altar standing before a cross. The apparition was a silent one. The event took place on the gable wall of the Parish Church. There were 15 witnesses to the apparition, ranging in ages from 5 to 75 years old, all of whom watched it for two hours as they recited the rosary.

The Our Lady of Knock Shrine is located in the northern Catskills at East Durham, New York.For the FatherOur Lady of Knock Shrine is located in the northern Catskills at the hamlet of East Durham. The beautiful church, constructed in 1989, is part of the Roman Catholic Diocese of Albany. The church interior is decorated with stained-glass windows from Donegal, Ireland, which depict many of the favorite Celtic saints. There are also mahogany carvings and an altar screen that resembles the original church wall in the village of Knock on which the apparition appeared.

The shrine commemorates the August 21, 1879 event at the village of Knock in County Mayo, Ireland in which locals reported to have seen an apparition of the Virgin Mary, Saint Joseph and Saint John the Evangelist as well as the Lamb of God, understood to be Jesus Christ, on an altar standing before a cross. The apparition was a silent one. The event took place on the gable wall of the Parish Church. There were 15 witnesses to the apparition, ranging in ages from 5 to 75 years old, all of whom watched it for two hours as they recited the rosary.

 

The word ‘knock’ “is an anglicization of the Irish word cnoc, meaning a hill . . . One’s first impression, though the elevation is only 400 feet above sea level, is of being on top of the world.” At the time of the apparition, the village of Knock was quite small, with only a dozen or so “thatched cabins.”

 

The village of Knock of 1879, at the time of the apparition, was suffering from hard times. “The stony soil of their little patchwork of fields surrounded by dark peat bogs scarcely yielded enough in good years to pay the terrible rents charged by cruel landlords. And 1879 in Mayo was a bad year; a potato failure brought on a famine comparable to those experienced by the entire country 30 odd years earlier. The people, their few possessions long since sold to stave off eviction, huddled at night on the earthen floors of their bare huts. Their only coverings were a few tattered potato bags. Their food consisted of a watery gruel made with corn meal obtained on relief tickets.” (Our Lady of Knock in Ireland. St. Paul, Minnesota: Catholic Digest, Inc.: 1957. pp. 8-9.)

 

The Feast of Our Lady of Knock is celebrated by the Roman Catholic church annually on August 17.  The village of Knock has become a popular international pilgrimage destination for the faithful, attracting over 1.5 million people every year.

 

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[email protected] (American Catskills) 1879 apparition Catskill Mountains Catskills church Donegal East Durham Gerry Laverty Greene County Knock Matthew Jarnich Mayo Society New York Our Lady of Knock Shrine photographer photographs photos Roman Catholic shrine tourism travel https://www.americancatskills.com/blog/2022/5/our-lady-of-knock-shrine-a-photographic-study Sat, 07 May 2022 12:00:00 GMT
Forestburgh Log Cabin: A Photographic Study https://www.americancatskills.com/blog/2022/4/forestburgh-log-cabin-a-photographic-study The Forestburgh Log Cabin, constructed circa the 1790s, is one of the earliest structures built in Sullivan County, New York. The Forestburgh town website notes that the cabin was once owned by Abe Cuddeback. A primitive school was functioning at the cabin prior to the town of Forestburgh being established.

 

The Forestburgh log cabin, constructed in the 1790s, is located at the Forestburgh town hall in Sullivan County, New York.Forestburgh Log CabinThe Forestburgh Log Cabin, constructed circa the 1790s, is one of the earliest structures built in Sullivan County, New York. The Forestburgh town website notes that the cabin was once owned by Abe Cuddeback. A primitive school was functioning at the cabin prior to the town of Forestburgh being established.

The Forestburgh log cabin, constructed in the 1790s, is located at the Forestburgh town hall in Sullivan County, New York.Forestburgh Log CabinThe Forestburgh Log Cabin, constructed circa the 1790s, is one of the earliest structures built in Sullivan County, New York. The Forestburgh town website notes that the cabin was once owned by Abe Cuddeback. A primitive school was functioning at the cabin prior to the town of Forestburgh being established.

 

For many years the cabin was undetected as it was covered up by a later period structure. The cabin was discovered in the summer of 1982 when the recently purchased home was being renovated. As one wing of the house, known as the old Theimer place, was being removed, the cabin logs were found under the clapboards. The cabin was subsequently purchased by the town and moved to its current location in 1987. The cabin was preserved through the combined efforts of the Town, Sullivan County and Federal resources as well as generous private individuals and groups.

 

The year 1987, when the cabin was moved, was particularly important as it represented the 150th anniversary of the town of Forestburgh being established. Forestburgh was established on May 2, 1837 from sections of the towns of Mamakating and Thompson. Early industries included lumbering, dairying, tanning and quarrying.

 

The Forestburgh log cabin, constructed in the 1790s, is located at the Forestburgh town hall in Sullivan County, New York.Abe Cuddeback House at ForestburghThe Forestburgh Log Cabin, constructed circa the 1790s, is one of the earliest structures built in Sullivan County, New York. The Forestburgh town website notes that the cabin was once owned by Abe Cuddeback. A primitive school was functioning at the cabin prior to the town of Forestburgh being established.

The Forestburgh log cabin, constructed in the 1790s, is located at the Forestburgh town hall in Sullivan County, New York.Through the DoorThe Forestburgh Log Cabin, constructed circa the 1790s, is one of the earliest structures built in Sullivan County, New York. The Forestburgh town website notes that the cabin was once owned by Abe Cuddeback. A primitive school was functioning at the cabin prior to the town of Forestburgh being established.

 

The Forestburgh log cabin, constructed in the 1790s, is located at the Forestburgh town hall in Sullivan County, New York.Over 200 YearsThe Forestburgh Log Cabin, constructed circa the 1790s, is one of the earliest structures built in Sullivan County, New York. The Forestburgh town website notes that the cabin was once owned by Abe Cuddeback. A primitive school was functioning at the cabin prior to the town of Forestburgh being established.

 

Elsie Winterberger (1910-1992), historian for the Town of Forestburgh, played a pivotal role in managing the dismantling, moving and then reconstruction of the cabin at its new location. She organized various fundraisers, including raffles and stitching a commemorative quilt, in order to purchase antiques for the cabin. Winterberger notably served as town historian for 18 years until her passing in 1992. She was also the author of the well-read “Forestburgh Lore” column published in the Sullivan County Democrat and other local publications in which she shared her stories of regional history. In 2012 Winterberger was honored by the Sullivan County Historical Society with its History Preserver award.

 

A sign at the Forestburgh cabin notes that famous author Stephen Crane (1871-1900), while residing with his brother Edmund at the nearby hamlet of Hartwood, “was inspired to create” his Sullivan County Sketches (1891); The Red Badge of Courage (1895); and The Third Violet (1896). The Red Badge of Courage, a novel about the Civil War, follows soldier Henry Fleming as he finds the courage to fight in battle. It is considered a classic American novel.

 

The lake near Edmund Crane’s home is now called Stephen Crane’s Pond, a name which “comes from an unpublished fragment of a letter by E. B. Crane: ‘My brother and I think that the little lake that has never up to now been dignified on any map by a name should henceforth be called Stephen Crane’s Pond.’” (Sorrentino, Paul. Stephen Crane: A Life of Fire. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 2014. p. 402.)

 

The Forestburgh log cabin, constructed in the 1790s, is located at the Forestburgh town hall in Sullivan County, New York.Forestburgh Log Cabin Historical MonumentThe Forestburgh Log Cabin, constructed circa the 1790s, is one of the earliest structures built in Sullivan County, New York. The Forestburgh town website notes that the cabin was once owned by Abe Cuddeback. A primitive school was functioning at the cabin prior to the town of Forestburgh being established.

The Forestburgh log cabin, constructed in the 1790s, is located at the Forestburgh town hall in Sullivan County, New York.Welcome to ForestburghThe Forestburgh Log Cabin, constructed circa the 1790s, is one of the earliest structures built in Sullivan County, New York. The Forestburgh town website notes that the cabin was once owned by Abe Cuddeback. A primitive school was functioning at the cabin prior to the town of Forestburgh being established.

 

The Forestburgh Log Cabin is now located at Forestburgh Town Hall, which is situated on King Road, off of Route 42 South. The original Town Hall building, which was located on the north side of County Route 48 near its intersection with Carpenter Road, was constructed in 1895, but was destroyed by fire in 1928. On the same site, and using the same plans, an exact replica of the original town hall building was constructed in 1929, which was used until 1980. This building still survives, and is listed on the National Register of Historic Places.

 

Today’s Town Hall building, dedicated in 1980, was designed to meet the needs of a modern local government. The building contains a courtroom, a supervisor’s office, an assessor’s office and the clerk’s office. In addition to the cabin, the property is also home to a swimming pool and a children’s play area.

 

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[email protected] (American Catskills) Abe Cuddeback cabin Catskill Mountains Catskills Crane's Pond Edmund Crane Elsie Winterberger Forestburgh log cabin New York photographer photographs photos Stephen Crane Stephen Crane's Pond Sullivan County tourism town hall travel https://www.americancatskills.com/blog/2022/4/forestburgh-log-cabin-a-photographic-study Sat, 30 Apr 2022 12:00:00 GMT
Diamond Notch Falls: A Photographic Study https://www.americancatskills.com/blog/2022/4/diamond-notch-falls-a-photographic-study Diamond Notch Falls, sometimes referred to as West Kill Falls, is a pleasant 25-foot waterfall located on the West Kill at the end of Spruceton Valley in the Hunter-Westkill Wilderness Area. Diamond Notch is the gap between Hunter Mountain and West Kill Mountain.

 

Diamond Notch Falls, located on the West Kill in the Spruceton Valley, is a pleasant 25-foot waterfall.Diamond Notch FallsDiamond Notch Falls, sometimes referred to as West Kill Falls, is a pleasant 25-foot waterfall located on the West Kill at the end of Spruceton Valley in the Hunter-Westkill Wilderness Area. The falls are easily accessible via a relatively flat 1.4-mile roundtrip hike.

Diamond Notch Falls, located on the West Kill in the Spruceton Valley, is a pleasant 25-foot waterfall.Scene at Diamond Notch FallsDiamond Notch Falls, sometimes referred to as West Kill Falls, is a pleasant 25-foot waterfall located on the West Kill at the end of Spruceton Valley in the Hunter-Westkill Wilderness Area. The falls are easily accessible via a relatively flat 1.4-mile roundtrip hike.

 

From the end of Greene County Route 6 (Spruceton Road), the falls are easily accessible via a relatively flat, family-friendly 1.4-mile roundtrip hike along the West Kill. For a different starting point, the trail to the falls can also be accessed from the end of Diamond Notch Road, 1.5 miles off of Route 214 near Lanesville. This route to the falls, which follows along Hollow Tree Brook through Diamond Notch Hollow, is approximately 4.0 miles roundtrip. The entire blue-blazed Diamond Notch Trail from Lanesville to Spruceton Road is 2.7 miles long one-way, or 5.4 miles roundtrip.

 

Diamond Notch Falls is located on the regionally famous Devil’s Path, at its junction with the Diamond Notch Trail. The 25.2-mile Devil’s Path is an extremely challenging hike that crosses the summits of Indian Head, Twin, Sugarloaf, Plateau and West Kill Mountains, all of which are over 3,500 feet. With its notorious rocky terrain and approximately 9,000 feet of elevation gain, the Devil’s Path is considered one of the most challenging hikes in all of the Catskills, and perhaps even the tri-state area.

 

Diamond Notch Falls, located on the West Kill in the Spruceton Valley, is a pleasant 25-foot waterfall.Diamond Notch Falls, AutumnDiamond Notch Falls, sometimes referred to as West Kill Falls, is a pleasant 25-foot waterfall located on the West Kill at the end of Spruceton Valley in the Hunter-Westkill Wilderness Area. The falls are easily accessible via a relatively flat 1.4-mile roundtrip hike.

Diamond Notch Falls, located on the West Kill in the Spruceton Valley, is a pleasant 25-foot waterfall.From the Top of Diamond Notch FallsDiamond Notch Falls, sometimes referred to as West Kill Falls, is a pleasant 25-foot waterfall located on the West Kill at the end of Spruceton Valley in the Hunter-Westkill Wilderness Area. The falls are easily accessible via a relatively flat 1.4-mile roundtrip hike.

 

The 11-mile-long West Kill, on which Diamond Notch Falls sit, forms between Hunter Mountain and Westkill Mountain, flows through the Spruceton Valley and past the hamlets of Spruceton and West Kill before joining the Schoharie Creek at the hamlet of Lexington.

 

Spruceton, located near the northern terminus of the Diamond Notch Trail, is one of four historic hamlets located within the town of Lexington, the other three being Lexington, Westkill and Bushnellsville. The Spruceton hamlet is beautifully situated within the West Kill valley, with the hamlet of West Kill (junction of County Route 6 and Route42) at the western terminus of the valley, and the parking area for the Diamond Notch Trail at the eastern terminus of the valley. The focal point for today’s Spruceton hamlet is the Spruceton Methodist Church, which was founded in 1889, and its adjacent graveyard enclosed by a stone wall.

 

According to noted professor, author and naturalist Michael Kudish “the name of the hamlet of Spruceton does originate from the presence of this conifer in the valley of the West Kill. Most of the red spruce were and are today on the upper slopes and ridgecrests of Rusk and West Kill Mountains. West of these two peaks, no spruce was or is to be found along the ridges. In the West Kill Valley, spruce descended to about the hamlet of Spruceton and not any farther west. Most of the red spruce in the valley was logged off during the nineteenth century.” (Kudish, Michael. The Catskill Forest: A History. Fleischmanns, New York: Purple Mountain Press, 2000. p. 124.)

 

J. B. Beers wrote in 1884 in his definitive History of Greene County, New York of the origin of the hamlet of Lanesville, which is located near the southern terminus of Diamond Notch Hollow. “Still lower down is Lanesville, named from its early pioneer, Peter R. Lane, who came within the bounds of Greene County about 1830. It is a small settlement and its few citizens are mostly farmers, among them are Edward Lane, Orrin B. Crosby and the genial post-master, Mr. Barber, who keeps a small general store. The other early settlers were the Martins, Connolly, William Barber, Jacob D. Lane, Robert Kerr, H. D. Devall, Mr. Fairchild and a few others. Their chief business from the earliest dates has been lumbering, and the stream abounds in old mill and dam sites, many owned and run by the above men. At present there are but a few in operation, but to locate the sites by other methods than a map, would be impossible.” (Beers, J. B. History of Greene County, New York. New York: J. B. Beers & Co., 1884. p. 83.)

 

By the mid-1880s the well-regarded Diamond Notch House, with accommodations for 30 people, had been established at the hamlet of Lanesville. The Diamond Notch House was early managed by Orrin B. Crosby (1813-1900) and later by his son Asa Crosby (1860-1926). A 1915 advertisement noted that the farm house included “excellent table; airy rooms; dancing, fishing, etc.; homelike; restful; telephone.” Asa Crosby was a lifelong resident of Lanesville, and in addition to the boarding house, he also managed his farm and operated a general store business.

 

In 1892 the Diamond Notch House was the scene of much excitement. “David J. Crosby, son of O. B. Crosby, who keeps the Diamond Notch House at Lanesville, in the Catskills Mountains, one night, a short time ago, had two sheep killed by some wild animal. He set a trap, and the next morning found a large animal fast in it. Believing the animal to be dead he carelessly unloosed the jaws of the trap. This proved an unfortunate circumstance, as the animal was by no means dead. In a “York second” Crosby and a large catamount were rolling around in the snow. Crosby managed to get a large jackknife from his pocket, and after one or two well-directed stabs the catamount yielded up its life. Mr. Crosby had his clothing torn into shreds, and his body was terribly scratched. The catamount was four feet in length and weighed forty pounds.” (“New York State News.” Republican Watchman. Monticello, New York. February 12, 1892.)

 

David Crosby, brother of Asa Crosby, would establish Echo Cottage, also located at Lanesville. Echo Cottage had accommodations for 40 people. Other boarding houses operating at Lanesville in 1919 included the Lanesville House (Mrs. J. McGinn), the Central Farm House (F. A. Barber), The Ruggles (C. R. Lane), Pleasant View House (T. H. Jansen), Clover Leaf Cottage (A. H. Stryker), Notch View Farm (E. Kerr), The Brunswick (H. S. Lane), The Elmwood (Louisa North) and The Norwood (George Lindsley).

 

A similarly named Diamond Notch House was located at the hamlet of Spruceton and was operated by Henry I. Van Valkenburgh.

 

Between 1890 and 1910 there was a massive landslide on the east wall of Diamond Notch that “removed all vegetation and soil helping to create a landslide-prone boulder talus slope with very little vegetation even today. The area was also reportedly logged during this period.” (Hunter Mountain Wild Forest Unit Management Plan. November 1995. pp. 21-22.)

 

Diamond Notch Falls, located on the West Kill in the Spruceton Valley, is a pleasant 25-foot waterfall.Diamond Notch FallsDiamond Notch Falls, sometimes referred to as West Kill Falls, is a pleasant 25-foot waterfall located on the West Kill at the end of Spruceton Valley in the Hunter-Westkill Wilderness Area. The falls are easily accessible via a relatively flat 1.4-mile roundtrip hike.

Diamond Notch Falls, located on the West Kill in the Spruceton Valley, is a pleasant 25-foot waterfall.Diamond Notch FallsDiamond Notch Falls, sometimes referred to as West Kill Falls, is a pleasant 25-foot waterfall located on the West Kill at the end of Spruceton Valley in the Hunter-Westkill Wilderness Area. The falls are easily accessible via a relatively flat 1.4-mile roundtrip hike.

 

The Diamond Notch Trail from Lanesville to Spruceton was an old public road that was eventually abandoned, and later converted to trail use. Both the 1856 Map of Greene County, N.Y. by Samuel Geil and the 1867 Atlas of Greene County map by F. W. Beers did not show a road through the notch between Lanesville and Spruceton. However, the U.S. Geological Survey of 1900, as seen on the Phoenicia Quadrangle, did show the route through Diamond Notch. This route was shown as a trail, not as a road.

 

The road through Diamond Notch was officially abandoned on November 26, 1924 by order of the Town Board of Lexington, although the portion of the road operated by the town of Hunter was maintained for some years after. Lands within Diamond Notch were purchased by New York State in 1932 to incorporate as part of the Catskill Forest Preserve. The Diamond Notch Trail “was developed during the 1937 season primarily as a ski trail from Stony Clove Road (Route 214) near Lanesville to the Spruceton Road near its junction with the old Spruceton-Hunter Road.” (Delaware Republican Express. Summer Vacation Issue, 1974.) The original 5-mile cross-country ski trail, with exposure to the north and south, was rated by the New York State Conservation Department as “novice.”

 

The lean-to located within Diamond Notch, approximately 1/2 mile from the Falls, was originally constructed in 1968, and rehabilitated in 2010. It is a popular overnight spot for backpackers given its proximity to the Devil’s Path and to Diamond Notch Falls. The Diamond Notch lean-to is one of three shelters located within the Hunter-Westkill Wilderness Area, the other two being the John Robb lean-to on the Spruceton Trail and the Devil’s Acre lean-to on the Devil’s Path.

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[email protected] (American Catskills) brook Catskill Mountains Catskills creek Devil's Path Diamond Notch Diamond Notch Falls Diamond Notch Hollow Greene County hike hiker hiking Hollow Tree Brook Hunter-Westkill Wilderness Area Lanesville Matthew Jarnich New York photographer photographs photos river Spruceton Spruceton Road tourism trail travel water waterfall West Kill West Kill Falls https://www.americancatskills.com/blog/2022/4/diamond-notch-falls-a-photographic-study Sat, 23 Apr 2022 12:00:00 GMT
On the Road Again: Ultimate Road Trip # 10 https://www.americancatskills.com/blog/2022/4/on-the-road-again-ultimate-road-trip-10 The latest iteration of the Ultimate Road Trip music mix series went live in the fall of 2021. In October of that year, I took a fantastic week-long vacation to the Catskills. I stayed for several days at Resorts World Catskills in Monticello and spent the rest of the week in the Phoenicia area.

 

Using Monticello as a base for the first half of the week, the surrounding Sullivan County region offered, as always, some great shooting opportunities including two beautiful Ukrainian churches, Bethel Woods (site of the 1969 Woodstock festival), Forestburgh, the historic Beaverkill Covered Bridge, the near-abandoned hamlet of Parksville, the serene Alder Lake, several beautiful waterfalls, and much more.

 

Using the quiet hamlet of Phoenicia as a base for the second half of the week, I visited the amazing sculptures at Emile Brunel Park in Boiceville, the always inviting Ashokan Reservoir, the peaceful Spruceton Valley, the flowing Diamond Notch Falls, the quirky village of Woodstock and several other scenic locations.

 

Overall, I was accompanied by some great weather, and even the periods of rain added to the trip by adding increased volume to the several waterfalls that I visited.

 

Here is the latest mix that kept me company during my travels through the southern and central Catskills. There are a number of new artists that have not appeared on any of my prior mixes, including Uncle Lucius, Ashley McBryde, Sons of Bill, Lord Huron, Katie Pruitt and Joshua Ray Walker. It’s always a great feeling when you find a new song and/or a new artist that immediately makes you think “oh yeah, that’s going on the mix.” The mix contains 20 songs with 1 hour, 23 minutes of listening time.

 

  1. The Sound of Silence – Disturbed

 

  1. Further On (Up the Road) – Bruce Springsteen with the Sessions Band

 

  1. Keep the Wolves Away – Uncle Lucius

 

  1. Only Children – Jason Isbell and the 400 Unit

 

  1. Girl Goin’ Nowhere (Live from Nashville) – Ashley McBryde

 

  1. Running For So Long – Parker Ainsworth, Butch Walker, Paris Jackson and Jessie Payo

 

  1. Maybe It’s Time – Bradley Cooper

 

  1. Highwayman – The White Buffalo

 

  1. A Simple Song – Chris Stapleton

 

  1. American Ride – Willie Nile

 

  1. Wilson’s Track – Kevin Welch

 

  1. Frozen Pines – Lord Huron

 

  1. Here’s Looking at You, Kid (Live) – The Gaslight Anthem

 

  1. Santa Ana Winds – Sons of Bill

 

  1. Virginia Calling (Live) – Sons of Bill

 

  1. Expectations – Katie Pruitt

 

  1. Further On Up the Road – Johnny Cash

 

  1. God’s Gonna Cut You Down – Johnny Cash

 

  1. Paradise – Bruce Springsteen

 

  1. Canyon – Joshua Ray Walker

 

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William England and His 1859 Tour of the Catskills (Part 9) https://www.americancatskills.com/blog/2022/4/william-england-and-his-1859-tour-of-the-catskills-part-9 Introduction

 

William England (1830-1896) was a 19th century British photographer who was widely known for his travel images. He was an early adopter of photography, operating a studio in the late 1840s, less than ten years after the daguerreotype was created by French inventor Louis Daguerre. England’s 1859 trip through the United States, including a visit to the Catskills, and Canada gained widespread praise. His image of Charles Blondin tightrope walking across the Niagara Gorge is among the top selling stereoviews of all time. Although largely forgotten today, William England was considered one of the great photographers of his era.

 

 

Continued from Part 8, Conclusion.

 

Following in His Footsteps

 

“As Mr. England has for some little time been resting on his oars, the whole of these businesses is now carried on by his sons, under the firm of England Brothers . . .”

 

 

Several children of William England followed in their father’s footsteps by working in the photography industry. Louis William England, William’s oldest child, started in the photography business at a young age. “Mr. England is one of the few who have already introduced photography to a second generation: his eldest son, a youth of seventeen, has commenced his career as photographer, as a dry plate man, having produced some excellent dry plate negatives, before he has yet produced one by the wet process.”[1]

 

According to UK census and marriage records, Louis William England worked as a photo landscape artist (1881 census), a publisher (1889 marriage record), a photographer (1891 census), a photographic printer (1901 census) and a photographer (1911 census). Louis, for a time, operated the L. W. England & Co. business, located at 25 Charles Street in Royal Crescent, Notting Hill, London, which offered photographic printing and enlarging. Louis was also a partner with his brothers in the England Bros. firm. Louis William England passed away in 1919.

 

The Amateur photographer.L. W. England & Co.L. W. England & Co.,
Photographic Printers & Enlargers,
25, Charles Street, Royal Crescent, London,
Price List on Application.
Finest Sensitized Paper, 13s, 6d, per quire, Post Free.

 

Walter John England, William’s third child, and according to UK census records, was educated as a “Student of Arts” (1871 census). In 1877, according to the record of his first marriage, Walter was working as an “Artist.” In 1888, according to the record of his second marriage, Walter was working as a “publisher.” He later worked with an occupation of “Photo mount manufacturer and Lithograph” (1891 census), a “Manager Collotype printing” (1901 census), and as a printer (1911 census). Walter was also a partner with his brothers in the England Bros. firm. Walter John England passed away in 1914.

 

John Desire England, William’s youngest child, and according to his 1887 marriage record, at age 26, was working as a dry plate maker. According to UK census records, John then worked with photographic materials (1891 census), and worked as a photographic chemist (1901 census) and as a technical chemist in photographic paper manufacturing (1911 census). John worked with and then took over the dry plate manufacturing business of his father, with money invested by his father, operating at 21 to 24 Charles Street in Royal Crescent, Notting Hill, London. John was a Council Member of the West London Photographic Society and became a member of the Photographic Society of Great Britain, later the Royal Photographic Society of Great Britain, in 1884.

 

Like his father, John wrote detailed technical articles for the leading photographic industry publications.

 

  • 1885. “Electric Light in Developing Rooms.” The British Journal Photographic Almanac and Photographer’s Daily Companion for 1885. London: Ross & Co., 1885.  p. 68.
  • 1886. “On the Development of Chloride Plates.” The British Journal Photographic Almanac and Photographer’s Daily Companion for 1886. London: Ross & Co., 1886. p. 190.
  • 1887. “A Method of Estimating the Value of Photographic Waste.” The Photographic News. Vol. 31, No. 1487. March 4, 1887. p. 132.
  • 1892. “Celluloid Films.” Scientific American Supplement. Vol. 33, No. 847. March 26, 1892. p. 13,530. Also, The Amateur Photographer. Vol. 15, No. 383. February 5, 1892. London: Hazell, Watson, and Viney, LD., 1892. p. 99.
  • 1893. “The Manufacture of Gelatine Dry Plates.” The Journal and Transactions of the Photographic Society of Great Britain. New Series, Vol. 17, No. 8. May 30, 1893. pp. 222-228.

 

Later John and his brothers combined efforts to form the England Bros. company, which offered plate-making, the production of lantern slides, gelatine dry plates, letterpress and lithographic printing, including the production of “photographic mounts in carte, cabinet, and every other size made use of in the profession,” books, magazines and photographic catalogs. The England Bros. firm later merged with Charles Tylor in the late 1890s to form the Chas. Tyler and England Bros. company. The Chas. Tyler and England Bros. company operated until 1907 when it was incorporated into the firm of W. Butcher and Sons, Limited. John Desire England passed away in 1931.

 

England's Dry PlatesEngland's Dry PlatesEngland's Dry Plates.

The Plates are tested by Mr. W. England, and guaranteed to be of the same quality as those used by him, and for which he received several Medals, and also the SILVER MEDAL OF THE BELGIAN EXHIBITION just awarded.

Best Selected Glass only Used. Rapid and Instantaneous same Price.

Sample Dozen of Quarter Plates forwarded per Parcels Post on Receipt of 2/-.

The New Gelatino-Chloride Plates, Now Ready. These are especially prepared for Copying Negatives Stereoscopic and Lantern Transparencies. Prices same as Bromide Samples, and Full Particulars for Working forwarded.

J. Desire England, Manufacturer, 21 and 23 Charles Street, Royal Crescent, Notting Hill, London, W.

Special Landscape Plate . . . Tested by William EnglandSpecial Landscape Plate . . . Tested by William EnglandSpecial Landscape Plate. Made by an entirely new FORMULA and tested by WILLIAM ENGLAND.

These Plates which are made in two rapidities Slow and Extra rapid are without exception the finest Plates ever made.

J. Desire England, Charles St. Royal Crescent, Notting Hill.

Fas-simile of Label of England's New Landscape Plate.

Professional and Amateur Landscape Photographers will be much pleased by the ease with which they can be used and the brilliant results obtained. The Extra Rapid are admirably suited for Instantaneous Works.

 

England's Studio PlatesEngland's Studio PlatesEngland's Studio Plates.

Manufactured by J. Desire England, Charles St., Royal Crescent, Notting Hill, London, W.

Telegraphic address.–"England, London."

 

England's Dry PlatesEngland's Dry PlatesEngland's New Instantaneous Dry Plates. Especially prepared for Winter use and Instantaneous Views.

These Plates will be found to give remarkably brilliant negatives.

Those operators who have not yet used them should send at once for sample dozen, which will be forwarded on receipt of 24 stamps.

J. Desire England, 21 to 24, Charles Street, Royal Crescent, Notting Hill, London, W.

 

Endorsements

 

“The new Tourist’s Knapsack Tent. This tent was used by that eminent photographer Mr. England during the whole of his tour through Switzerland.”

 

 

The name of William England, given its prominence in the photographic industry, was widely used by companies in advertisements to promote their products. Examples of advertisements where England’s name was used include W. W. Rouch for their Tourist’s Knapsack Tent and their collodion plates, Newman’s Diamond Print Varnish, Dallmeyer’s assortment of lenses, the E. & H. T. Anthony Company, and various distributors of stereoscopic views and other photography prints, among many others.

 

The New Tourist's Knapsack TentThe New Tourist's Knapsack TentThe New Tourist's Knapsack Tent.

This tent was used by that eminent photographer Mr. England during the whole of his tour through Switzerland.

Weight of Tent when Packed 8 lbs.
Price Complete £6 15s. Od.


MR. ENGLAND
Writes;–"I have now used the KNAPSACK TENT for four Seasons for both Dry and Wet Plate Work. I am still of opinion that it is by far the best form of tent for Tourists and Others."

 

The Tourist's Knapsack TentThe Tourist's Knapsack TentW. W. Rouch & Co.

Are the Sole Makers of

The Tourist's Knapsack Tent.

This tent was used by that eminent photographer Mr. England during the whole of his tour through Switzerland.

Weight of Tent when Packed 8 lbs.
Price Complete 6 15s.

MR. ENGLAND writes:–"I have used the Knapsack Tent for five seasons abroad, in mountainous districts, and I retain the opinion that for both dry and wet plate work it it by far the best form of Tent for Tourists and others."

W. W. ROUCH & CO.,
180, STRAND, LONDON.

 

Photographic Society of Great Britain

 

“The object of the Photographic Society is the promotion of the Art and Science of Photography, by the interchange of thought and experience among Photographers . . .”

 

 

William England was long associated with the Photographic Society of Great Britain, later the Royal Photographic Society of Great Britain, having joined the society in 1863. He made his debut at the society the year prior on March 4, 1862 “when he exhibited a series of lantern slides, consisting of ‘instantaneous street scenes in Paris, etc.’” England was elected as a Council Member in 1867, a position he held until his death. In 1886 and 1887 England served as the organization’s Vice President. The Royal Photographic Society, founded in 1853, continues to operate today. More information about the organization and their history can be found on their website at www.rps.org.

 

Solar Club

 

“Gentlemen in lux way.” – Solar Club.

 

 

William England was a founding member of the Solar Club, which was established in 1866. Although founded as a photographic professional society, the group functioned more as a gentleman’s social club, with a decided focus on dining.

 

“The prospectus of the club was as follows:

 

WHEREAS the object of this Club is Social Enjoyment, and WHEREAS we have the authority of many famous men that it is good to dine, videlicet, Dr. Johnson said, “Sir, let us dine;” Shakespeare recommends us to “dine and never fret;” he also says “Though should’st hazard they life for they dinner;” and authority, Prior, says:

 

“Thus of your heroes and brave boys

With whom old Homer makes such noise,

The greatest actions I can find

Are that they did their work – and dined.”

 

And WHEREAS it is clearly great and virtuous to dine, therefore BE IT ENACTED that we be great and virtuous.

 

At each meeting of the Members they will dine together. The diner may consist of herps and of water from the spring, or –

 

To promote freedom and avoid formality, it is suggested that Members shall not appear in Regimentals, Court Dress, as Guys or in Disguise, in a Dress Coat, or any other than their ordinary costume, unless they wish their portraits, in such costume, to hang up during every meeting as a warning to others. Further, to fuse all elements into harmony, it is suggested that Smoking not be prohibited, but, on the contrary, strictly enforced.”[2]

 

Members of the Solar Club were addressed as “Rays,” instead of the usual “Brothers”; for example, “Ray England will now propose a toast.” Members included writers and editors for trade magazines, studio proprietors and, generally, a who’s who of London photography. Other founding members included Francis Bedford (1816-1894), Valentine Blanchard (1831-1901), G. Bishop, John Henry Dallmeyer (1830-1883), Samuel Fry, Russell Manners Gordon (1829-1906), W. Holyoake, Frank Howard, Jabez Hughes (1819-1884), J. E. Mayall (1813-1901), William Mayland (1821-1907), W. F. Mills, Oscar Gustave Rejlander (1813-1875), George Wharton Simpson (1825-1880), M. Whiting, Jr., Walter Bentley Woodbury (1834-1885), and Thomas Richard Williams (1824-1871) and Henry Peach Robinson (1830-1901), Chancellor. Membership in the Solar Club was restricted to 25 people, with guests from the arts and the press often invited to the monthly dinners.

 

Members of the Solar Club, including England, were notably photographed in 1869 by O. G. Rejlander, and the picture was later enlarged by Jabez Hughes. The Photographic Journal noted that there was “special interest” in the photograph “from the circumstance of its being the only picture extant exhibiting so large a group of British photographers.”[3] The photograph was exhibited in 1870 at the 15th Annual Exhibition of the Photographic Society of London. The photograph is now part of the Royal Photographic Society collection at the Victoria and Albert Museum in London.

 

Solar ClubSolar ClubWilliam England was a founding member of the Solar Club, which was established in 1866. Although founded as a photographic professional society, the group functioned more as a gentleman’s social club, with a decided focus on dining.

“The prospectus of the club was as follows:

WHEREAS the object of this Club is Social Enjoyment, and WHEREAS we have the authority of many famous men that it is good to dine, videlicet, Dr. Johnson said, “Sir, let us dine;” Shakespeare recommends us to “dine and never fret;” he also says “Though should’st hazard they life for they dinner;” and authority, Prior, says:

“Thus of your heroes and brave boys
With whom old Homer makes such noise,
The greatest actions I can find
Are that they did their work – and dined.”

And WHEREAS it is clearly great and virtuous to dine, therefore BE IT ENACTED that we be great and virtuous.

At each meeting of the Members they will dine together. The diner may consist of herps and of water from the spring, or –

To promote freedom and avoid formality, it is suggested that Members shall not appear in Regimentals, Court Dress, as Guys or in Disguise, in a Dress Coat, or any other than their ordinary costume, unless they wish their portraits, in such costume, to hang up during every meeting as a warning to others. Further, to fuse all elements into harmony, it is suggested that Smoking not be prohibited, but, on the contrary, strictly enforced.” (“Editorial Notes.” The Photographic Times. Vol. 28, No. 5. May 1896. pp. 240-241.)

Members of the Solar Club were addressed as “Rays,” instead of the usual “Brothers”; for example, “Ray England will now propose a toast.” Members included writers and editors for trade magazines, studio proprietors and, generally, a who’s who of London photography. Other founding members included Francis Bedford (1816-1894), Valentine Blanchard (1831-1901), G. Bishop, John Henry Dallmeyer (1830-1883), Samuel Fry, Russell Manners Gordon (1829-1906), W. Holyoake, Frank Howard, Jabez Hughes (1819-1884), J. E. Mayall (1813-1901), William Mayland (1821-1907), W. F. Mills, Oscar Gustave Rejlander (1813-1875), George Wharton Simpson (1825-1880), M. Whiting, Jr., Walter Bentley Woodbury (1834-1885), and Thomas Richard Williams (1824-1871) and Henry Peach Robinson (1830-1901), Chancellor. Membership in the Solar Club was restricted to 25 people, with guests from the arts and the press often invited to the monthly dinners.

 

Edgar Yoxall Jones described the historic photograph in his 1973 biography of Rejlander. “In June, Rejlander invited his friends of the Solar Club to a house-warming, and the group photograph taken during the proceedings shows him in the company of some of the foremost figures in the photographic world. On the left sits William England of the London Stereoscopic Company, whose extensive tours opened up the continent and the United States to the British public. With his back to the camera sits Wharton Simpson, editor of Photographic News; and to his right is Jabez Hughes, whose lucrative business in the Isle of Wight enjoyed royal patronage. Leaning back into the window one catches the profile of Walter Woodbury, inventor of the Woodbury type, whose name is perpetuated in The Oxford Dictionary. H. P. Robinson sits near Rejlander, who smiles benignly upon the proceedings.”[4]

 

Photographers’ Benevolent Association

 

“Some further effort has been made by a few earnest working photographers to establish a Benevolent Society, for the benefit of the unfortunate and needy amongst their body . . .”

 

 

Seeking to aid members of the photographic community in need, the Photographers’ Benevolent Association, sometimes referred to as the P. B. A., was founded in 1874. William England served as one of the association’s earliest trustees. The organization was supported by donations and subscriptions from those interested in the photographic trade, including employers, workers, amateurs and even those generally interested in photography. Professional photographers closely associated with the Photographers’ Benevolent Association also donated some of their completed photographs, which were then used to raise money via art shows and art sales. In June 1874 it was noted that “as a beginning, Mr. England has kindly promised a liberal donation.”[5] The following January, in 1875, England again donated photographs, this time “a splendid collection of statuary.”[6]

 

The charitable aims of the Photographers’ Benevolent Association were detailed in an advertisement in The Photographic Journal.

 

“The objects of the Association are – To receive Subscriptions and Donations, and by other means to raise funds, and to apply them to the following purposes:–

 

1.– The assistance, by grants or loans, of persons connected with Photography, their widowss and orphans, who are in neessitous circumstances arising from age, sickness, misfortune, or any other cause.

 

2.– The Grant of Annuities for life or for a term of years to such persons as are hereinafter indicated as qualified to receive such Annuities. Also,

 

3.– To aid unemployed Photographers in obtaining situations.”[7]  

 

Despite the laudable goals of the organization, it often faced challenging times given the lack of financial support from the photographic industry at large. Near its demise in the 1890s professional publications often wrote about how unfortunate it was that the Photographers’ Benevolent Association was not better supported.

 

  • “It is little short of scandalous that so exceedingly useful a body should languish for the want of funds.” – Photography, 1895.

 

  • “The Benevolent died through the neglect of those for whom it was instituted.” – The British Journal of Photography, 1896.

 

  • “There are probably 50,000 or 60,000 people engaged in the photographic industry in Great Britain who last year contributed to the funds of the Photographers’ Benevolent Association (lately dead) the magnificent sum of – nothing!” – Photographic News. 1896.

 

  • “Professional photographers cannot even combine for their own interests. Where is the Photographers’ Benevolent Association now? That was an institution for the benefit of professional photographers, and, with a reasonable amount of support from the profession, would have become a credit to it and a valuable aid for the sick and wounded. For years it lingered on, almost entirely supported and adminstered by amateurs and dealers, for the benefit of the professional photographer, who would not help himself, but was quite content to allow outsiders to pay for him and work for him.” – The British Journal of Photography, 1899.

 

Due to the lack of general interest and an absence of incoming financial support from subscriptions and donations, the Photographers’ Benevolent Association ceased operating in 1898. Any remaining funds were provided to the Royal Photographic Society on condition that the money be used for benevolent purposes.

 

Photographic Convention of the United Kingdom

 

“The object of the Convention . . . was an interchange of opinions and experiences on the subject of photography, combined with friendly intercourse amongst the charming Derbyshire scenery, and the general advancement of the photographic art.” – First annual convention in 1886.

 

 

In August 1886 England attended the inaugural meeting of the Photographic Convention of the United Kingdom held at the School of Art in Derby. “Its object was to afford facilities to photographers, professional and amateur, for an annual gathering at some suitable town, previously agreed upon, for the purpose of hearing and discussing papers of photographic interest; of holding exhibitions; excursions; a dinner; and other social gatherings. Conventions carried out on this model have for many years been popular amongst the photographers of the United States.”[8]

 

The first convention meeting, taking place over the course of three days from August 12 to 14, 1886, attracted approximately 46 well-to-do amateurs and successful professionals. Excursions were arranged to nearby destinations including Haddon Hall, Chatsworth, Dovedale and Matlock. Various papers were read including “Success” by H. P. Robinson, “Instantaneous Photography” by William Cobb, “Emulsion-making” by W. K. Burton and “Daylight Enlarging” by Andrew Pringle, among others.

 

Convention membership expanded to 193 photographers in 1887, 232 photographers in 1888 and 328 photographers by 1899. Each year the convention would be held in a different location, including Glasgow in 1887, Birmingham in 1888, London in 1889 and Chester in 1890. The challenging World War I years caused a drop in interest, which was followed by years with an ageing and declining membership. Despite the growing challenges the Photographic Convention of the United Kingdom managed to continue with its annual meeting until the 1930s.

 

West London Photographic Society

 

“The name of William England was so well known in the photographic world . . .”

 

 

England became the first president of the West London Photographic Society at its inaugural meeting on December 28, 1888 at Addison Hall in Kensington. The organization was considered “one of the most able of Metropolitan local photographic organizations.”[9] The West London Photographic Society later moved locations to Broadway, Hammersmith, and then again to the School of Arts and Crafts in Bedford Park. At some point it absorbed the Chiswick Camera Club, another local photographic organization.

 

Upon the founding of the West London Photographic Society, “John A. Hodges said that it was his pleasing duty to propose the election of William England as President of the new Society. He felt that the name of William England was so well known in the photographic world, that it would be conceded on all hands that anything beyond the mere mention of his name was unnecessary. The motion was carried with acclimation.”[10] England served as president of the organization for less than one year, announcing his resignation in October 1889.

 

Legacy

 

“No name is better known in London circles in connexion with photography than that of Mr. William England, who has practised [sic] in succession every branch and process of photography from the Daguerreotype onwards, and has done so with a high degree of success, both technically and financially.” – The British Journal of Photography, 1887.

 

 

William England died on a street near his home on August 13, 1896 at the age of 66. The sudden cause of death was heart disease. His death was a shock to many: “Although one of our oldest workers, Mr. England had always seemed so healthy and active that his death could not be expected by anyone who knew him personally.”[11] He is buried at Kensal Green Cemetery in the west of London, although his tombstone was destroyed during the bombings of World War II.

 

England helped establish the London Stereoscopic Company as a leader in the stereoview market. He shot the photograph that became perhaps the top selling stereoview of all time. He invented the focal plane shutter, an idea that was ahead of its time.

 

William England undertook numerous photographic journeys, all to picturesque locations, including Wales, Ireland, the United States, Canada, Paris, Switzerland, Savoy, Tyrol, the Rhine, and others. For every journey his photographic work was reviewed by the leading industry artists of the era, and in each case his work was accorded nothing but the highest of praise, for both their artistic and technical merits.

 

After establishing his own business, he would become perhaps the largest publisher of European views. His work won countless awards and he juried important competitions. He published numerous technical articles in highly respected photographic journals. England was a long-standing member of the leading photography associations of the day.

 

John Hannavy, a noted photographer and historian, wrote of England’s legacy. “At his peak, England was regarded as one of the leading landscape photographers in Europe. . . [He was considered] “perhaps one of an elite band of photographers who spanned the whole evolution of photography from the daguerreotype to the roll-film and seemingly adapted to each phase with relative ease. Throughout his career his advice was much sought after and he was a member of several photographic societies.”[12]

 

Comments and Corrections

 

If you should have any additional information, comments or corrections about the photographer William England please add a comment to this page, or send me an email using the contact page. Where possible, please include any available references. Thank you.

 

 

[1] “Visits to Noteworthy Studios. Mr. England’s Establishment at Notting Hill.” The Photographic News. Vol. 12, No. 502. April 17, 1868. pp. 184-185.

[2] “Editorial Notes.” The Photographic Times. Vol. 28, No. 5. May 1896. pp. 240-241.

[3] “Photographic Society.” The Photographic Journal, Containing the Transactions of the Photographic Society. Vol. 15, No. 219. November 8, 1870. p. 34.

[4] Jones, Edgar Yoxall. Father of Photography: O. G. Rejlander 1813-1875. Greenwich, CT: New York Graphic Society, LTD, 1973. pp. 36-37.

[5] “Photographers’ Benevolent Association.” The Photographic News. Vol. 18, No. 823. June 12, 1874. p. 286.

[6] “Photographers’ Benevolent Association.” The Photographic News. Vol. 19, No. 854. January 15, 1875. London: Piper and Carter, 1875. pp. 35-36.

[7] “The Photographers’ Benevolent Association.” Advertisement. The Photographic Journal. Vol. 21. London: The Royal Photographic Society, 1897. December 21, 1896.

[8] “The Gloucester Convention.” The British Journal of Photography. Vol. 46. March 10, 1899. London: Henry Greenwood & Co., 1899. p. 150.

[9] “Spirit of the Times.” Photography, The Journal of The Amateur, The Profession, and the Trade. Vol. 6, No. 270. January 11, 1894. p. 20.

[10] “West London Photographic Society.” The Photographic News. Vol. 32, No. 1581. December 21, 1888. London: Piper and Carter, 1888. p. 815.

[11] “Current Topics.” The Photogram. Vol. 3, No. 34. October 1896. pp. 253-254.

[12] Hannavy, John. Encyclopedia of Nineteenth-Century Photography. New York: Taylor & Francis Group, 2008. p. 489.

 

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[email protected] (American Catskills) 1859 alpine America in the Stereoscope Blondin Britain Catskills England exhibit Fawn's Leap International Exhibition Ireland Italy Kaaterskill Clove Kaaterskill Falls Kauterskill Falls landscape Laurel House London Stereoscopic Company mountains Niagara Falls North American Series North Lake photographer photographs photography Plattekill Clove Plauterkill Clove Rhine scenery statuary stereoscope stereoscopic stereoviews Switzerland waterfalls William England https://www.americancatskills.com/blog/2022/4/william-england-and-his-1859-tour-of-the-catskills-part-9 Sat, 09 Apr 2022 12:15:00 GMT
William England and His 1859 Tour of the Catskills (Part 8) https://www.americancatskills.com/blog/2022/4/william-england-and-his-1859-tour-of-the-catskills-part-8

Introduction

 

William England (1830-1896) was a 19th century British photographer who was widely known for his travel images. He was an early adopter of photography, operating a studio in the late 1840s, less than ten years after the daguerreotype was created by French inventor Louis Daguerre. England’s 1859 trip through the United States, including a visit to the Catskills, and Canada gained widespread praise. His image of Charles Blondin tightrope walking across the Niagara Gorge is among the top selling stereoviews of all time. Although largely forgotten today, William England was considered one of the great photographers of his era.

 

 

Continued from Part 7.

 

Exhibits

 

“. . . a fine series of views in the Tyrol, Italy, Switzerland, and on the Rhine, by the well-known photographer, Mr. W. England. For transparency, relief, and pictorial effect these beautiful little photographs are unsurpassed by any in the exhibition.”

 

 

England exhibited his work widely, received many awards and served as judge on countless leading exhibitions of the day. A few examples of England’s exhibitions, as either exhibitor or judge, are listed below.

 

  • 1858. London Photographic Society Exhibition. The exhibited photographs were all of Ireland and were attributed to the London Stereoscopic & Photographic Company. Number 5, “Stereoscopic Views in Ireland.” Number 384, “View in Killarney.” Number 423, “Glangariff, near Killarney.” Number 591, “View in Killarney.” Number 606, “St. Boyne’s Cross, County Louth.” Number 627, “Ross Castle, Killarney.” Number 649, “Blarney Castle, Co. Cork.” Number 657, “Lake of Killarney.” Number 659, “Holy Cross Abbey, Co. Tipperary.” Number 661, “Glena Mountain, Killarney.” Number 664, “Vale of Avoca, Co. Wicklow.” Number 666, “General View of Killarney.” Number 691, “Tore Waterfall, Killarney.”

 

  • 1860. London Photographic Society Exhibition. The exhibited photographs, titled “Stereographic Views in America,” were attributed to the London Stereoscopic & Photographic Company.

 

  • 1861. London Photographic Society Exhibition. The exhibited photographs were attributed to the London Stereoscopic & Photographic Company. Number 610, “Portion of the Horse-shoe Fall from below, Winter Scene.” Number 611, “The American Fall, Niagara.” Number 612, “The Victoria Bridge, Montreal.” Number 613, “Rustic Bridge, Sleepy Hollow.” Number 614, “The American Fall, from Luna Island.” Number 615, “Scene from Ottawa, Canada.” Number 616, “Niagara from Prospect Point.”

 

  • 1862. International Exhibition. The exhibited photographs were attributed to the London Stereoscopic & Photographic Company. Number 229, "Quebec." Number 234, "Rustic Bridge, Sleepy Hollow - American View." Number 244, "Stereoscopic Views of Paris - Instantaneous." Number 245, "Stereoscopic Views of Paris - Instantaneous." Number 246, "Natural Bridge - Kentucky." Number 248, "Niagara Falls." "Number 251, "Kauterskill Cavern - American View."

 

England received an award for his instantaneous work, “stereoscopic pictures of Paris (exhibited in name of the London Stereoscopic Co.)”

 

A medal for “photographic excellence” was awarded to the London Stereoscopic Company “for great excellence in photographic views, and especially a series of stereoscopic pictures of Paris.”[1]

 

“The Jurors of Class XIV . . . [have bestowed] the medal for the best series of instantaneous street views ever executed – the Paris views, by Mr. W. England – upon the London Stereoscopic Company, who have not the remotest claim to any share of the merit due, either photographic or manufacturing.”[2]

 

“One of the most interesting branches of modern photography is the production of instantaneous pictures, such as street scenes, and marine pictures, with breaking waves, shipping, fine cloud and atmospheric effects. In the production of a street scene with vehicles and pedestrians in rapid motion, and all the bustle of a London main thoroughfare or a Parisian boulevard, Mr. W. England, of the London Stereoscopic Company, stands unrivalled.”[3]

 

  • 1863. London Photographic Society. England exhibited an extensive number of views from the International Exhibition of 1862.

 

  • 1863. Glasgow Photographic Association Exhibition, Merchants’ Hall, Glasgow. “And lastly, the dissolving views for the magic lantern had been kindly furnished by Mr. England for that occasion; they were from negatives taken by himself, the transparencies being printed on tannin plates. They had thus every reason to hope that the evening would result in the satisfaction of all present.”[4]

 

  • 1865. Photographic Society of London Exhibition. England was awarded a medal “for landscapes.” “Mr. England exhibits a fine collection of his very fine views of Swiss scenery, taken on 9 by 7 plates, a size which has been somewhat neglected of late. Mr. England has shown rare skill in dealing with difficult subjects; Swiss scenery has been too often rendered familiar to the public as hard and snowy in a pictorial as well as a physical sense; but by a judicious mastery over his materials and art, Mr. England has produced some grand representations of Alpine scenery full of gradation and tone. Possibly a little less depth in printing would be more pleasing to the majority of visitors, but altogether there is a degree of uniform excellence not hitherto attained in pictures of this kind. Mr. England also exhibits a frame of stereoscopic pictures of the same scenery, which leave little to desire.”[5]

 

“If a piece of sculpture be judiciously lighted it forms one of the most effective of photographic subjects. Halse’s Advance, Australia! Photographed by Mr. England, shows more modelling and stereoscope effect than we are accustomed to look for in a monocular picture.”[6] This photograph was again exhibited by England in 1872 at the 17th Photographic Society of London Exhibition.

 

  • 1865. Dublin International Exhibition, Ireland. Exhibit number 107, “Cabinet and stereoscopic photographs of Switzerland and Savoy, taken by the wet collodion process, in four frames.”

 

“The admirable Swiss views of England, so full of quiet harmony, so free from the hardness which many photographers of similar scenery mistake for brilliancy.”[7]

 

England received a medal “for excellence in his manipulation and artistic effect.”[8]

 

“Mr. England’s Alpine views claim admiring attention. He exhibits several frames of 9 x 7 views, and a large collection of stereoscopic pictures of Swiss scenery, all exhibiting the well-known perfection for which this artist’s works are famous.”[9]

 

  • 1865. North London Photographic Exhibition. “The displays of landscapes at this exhibition includes some of the finest examples of this branch of the art we have seen. When we mention the names of Mudd, Bedford, and England, it will be readily understood that the pictures are good and we may add that the contributions are amongst the finest we have ever seen them exhibit.”[10]

 

  • 1866. Photographic Society of Scotland Exhibition. “The Exhibition is rather strong in landscapes, prominent among which are the Alpine views of Mr. England. Some of these we have never seen surpassed for delicacy, choice of subject, or excellence of manipulation.”[11]

 

  • 1867. Paris Universal Exhibition, Champ de Mars, Paris, France. England was awarded a silver medal for “views.” “W. England exhibits only views 9 x 7, or about that size, and I saw about forty of them. Whether all who deserved silver medals have got them or not, no one will doubt Mr. England’s right to the award that has been made to him. His productions are all well printed, and occupy good positions. The pictures are well known, and need no praise from me. He shows nothing but views, if we except a group of ecclesiastics, seemingly taken in the open air; but the picture is not essentially a landscape. It is clear and clean enough, but stiff, formal, and poor as a specimen of photographic art.”[12]

 

  • 1867. Exhibition Soiree of the London Photographic Society. “Mr. England exhibited very largely. That all his pictures were excellent it would be superfluous to remark. A frame of dry-plate subjects mainly claim our attention here. These were not in any sense inferior to those by the wet process hanging side by side with the artist’s works. There is all the detail, softness, and gradation in Mr. England’s dry plates that characterize his pictures by the wet process . . .Mr. England’s series of views comprised no stereographic subjects, those exhibited being from half-plate up to 9 x 7 inches.”[13]

 

  • 1867. Royal Cornwall Polytechnic Society. “Mr. William England, a number of pretty and well photographed Swiss views.”[14]

 

“. . . and another second silver medal had been given to Mr. William England, for his views of Swiss scenery.”[15]

 

  • 1868. Photographic Society of London Exhibition. “Mr. England sends a frame of the capital results obtained during the summer in the Savoy.”[16]

 

“Amongst the other landscape photographers Mr. England and Mr. Bedford stand unrivalled in their peculiar branches. The views in the Tyrol, lately taken by Mr. England, are so excellent that they cannot but add to that gentleman’s high reputation.”[17]

 

  • 1869. Dutch Photographic Exhibition, at Groningen. England received a silver medal for landscapes.[18]

 

  • 1869. Royal Cornwall Polytechnic Society Exhibition. “Also 411, by Mr. W. England, a case of views on the Tyrol, very fine indeed.”[19]

 

  • 1869. Photographic Society of London Exhibition. Number 136, Stereo views of Switzerland and Savoy. Number 137, Eight views in Switzerland (wet plates). Number 138, Eight views in Switzerland (dry plates).

 

“Mr. England was, as usual, admirable in Swiss scenery. His contributions, besides their pictorial excellence, had another special source of interest, as he exhibited, side by side, a frame of eight examples of the wet process, and eight examples, from similar subjects, of dry plate work. Both were, as in all Mr. England’s work, in all respects exceedingly fine, but it was possible for the critical observer to note a little more hardness and wiriness in the prints from dry plates than in those from wet plate negatives.”[20]

 

“Mr. England has a large number of his inimitable Swiss views. This artist’s works are ever fresh and charming.”[21]

 

  • 1869. Manchester Photographic Society Exhibition, Memorial Hall, Albert-square. “Next in order came a number of views by Mr. England, illustrative of scenery on the Rhine. The character of Mr. England’s work is so familiar to the photographic world that it is unnecessary to say that his contributions were very excellent.”[22]

 

  • 1870. Manchester Photographic Society Exhibition, Memorial Hall, Albert-square, Manchester. The exhibit included 500 photographs from 45 different exhibitors. “Mr. W. England, a London artist, has sent a number of beautiful Swiss views.”[23]

 

“. . . and some very fine views on the Rhine, and of the more rugged beauties of Switzerland, are contributed by W. England, of London . . . in which the bold grandeur of the scenery is forcibly exhibited, form quite a collection; and the same may be said of the views of the Rhine, exhibited by Mr. William England, London.”[24]

 

  • 1870. Palais de l’Industrie, Champs Elysees, Paris, France. England exhibited as one of 15 photographers from his home country.[25]

 

  • 1871. International Exhibition. England displayed a series of landscapes.

 

  • 1872. 17th Photographic Society of London Exhibition. Number 303, “Photographs of Sculpture.” Number 304, “Halse’s ‘Advance Australia.’”

 

“Mr. England contributed only a few pictures, but they were quite worthy of him. There were eight views of statuary by this artist which possessed great beauty.”[26]

 

  • 1872. London International Exhibition. England exhibited a “frame of eight photos.”[27]

 

  • 1873. 18th Photographic Society of London Exhibition. Numbers 113, 114, 115, “Statuary of the International Exhibition, 1873.” Number 116, “The Albert Memorial.” Numbers 117, 118, 119, 120, “Statuary from the International Exhibition, 1873.” Number 516, “Cabinet Statuary for the Stereoscope (from the International Exhibition).”

 

“William England, who of late years has made statuary his especial study, shows some marvellous productions of the kind, soft and harmonious, and as solid apparently, as the originals; a graceful rendering of the Albert memorial is also exhibited by Mr. England.”[28]

 

  • 1874. 19th Photographic Society of Great Britain Exhibition. Number 5, “Statuary in the International Exhibition, 1874 (12 subjects).”

 

“Mr. England shows a choice collection of photographs from statuary in the International Exhibition at present open. Being sole photographer in the “International” Mr. England has exceptional facilities for reproducing works of this description.”[29]

 

“Next to these, but yet unnumbered, appeared a series of twelve telling copies of marbles from the International Exhibition, by Mr. W. England – we presume a member of this Society’s Council.”[30]

 

  • 1874. Bengal Photographic Society Exhibition. England received a silver medal for his photographs of statuary. “On the reverse side of the same stand are a fine series of views in the Tyrol, Italy, Switzerland, and on the Rhine, by the well-known photographer, Mr. W. England. For transparency, relief, and pictorial effect these beautiful little photographs are unsurpassed by any in the exhibition.”[31]

 

“The admirable series of photographs of statuary by Mr. W. England merits particular attention for the delicacy and perfection of light and shade which characterize them. At first sight it would seem child’s play to photograph such subjects; but the manipulation of both negatives and prints, so as to produce the effect most suitable to each subject, and the proper direction of light and shade, so as to produce relief, and bring out the beauties of the work without deep black shadows on the one hand or flat blank whites on the other, demand considerable technical skill and artistic taste, and we quite agree with the judges that these beautiful pictures are worthy of the award of an extra silver medal.”[32]

 

  • 1874. International Exhibition, Albert Hall. “The views of Holland House are, we observe, from negatives taken by Mr. England. In addition to prints upon paper this company also exhibit a charming series of glass lantern transparencies of a most attractive tone.”[33]

 

“To Mr. William England has been entrusted the privilege of photographing the subjects in the present International Exhibition.”[34]

 

  • 1874. Photographic Society of France Exhibition, Palais de l’Industrie, Paris, France. England was awarded a medal. Other English medalists included Bedford, Johnson, Woodbury, D. Hedges and Brownrigg.[35]

 

  • 1875. 20th Photographic Society of Great Britain Exhibition. Numbers 61, 62 and 63, “Copies of Oil-Paintings.” Numbers 64, 65, 66, “Copies of Sculpture.” Numbers 136, 137, 138, 139, 140, “Copy of a Painting.” Number 141, “Copy of Sculpture.” “Mr. England also contributes largely, his exhibits being confined to copies of paintings and sculpture. The latter will amply repay the most careful study, so skillfully has the lighting and general treatment been managed.”[36]

 

“Mr. England sends some very admirable reproductions from painting and sculpture; the excellence of his work causes regret that the paintings copied are in many cases so poor.”[37]

 

  • 1876. Centennial Exhibition, Philadelphia, United States. England displayed landscapes and sculpture, “some of them being fine in lighting and composition.”[38]

 

  • 1877. 22nd Photographic Society of Great Britain Exhibition. England was awarded a medal “for the best Frame of Dry-Plate Photographs” for his Swiss views, numbers 26 to 34. Number 26, “Righi Staffel.” Number 27, “Valley of Grindelwald.” Number 28, “Interlaken.” Number 29, “Berne.” Number 30, “Pont du Chemin de Fer.” Number 31, “Lake of Thun.” Number 32, “The Jungfrau.” Number 33, “Berne.” Number 34, “On the Road to Grindelwald.” Number 84, “Grindelwald.” Number 85, “The Jungfrau.” Number 86, “The Jungfrau.” Number 87, “Thun.” Number 38, “On the Road to Lauterbrunnen.” Number 89, “Interlaken.” Number 90, “On the Road Grindelwald.” Number 91, “On the Road to Grindelwald.” Number 92, “Attenburg, near Burne.” Number 343, “Statuary.” Number 543, “Revolving Stereoscope, with Views taken, and exhibited by.”

 

“To ascertain what can be done with dry plates in the hands of a capable artist the visitor has only to examine a series of Swiss views by Mr. England (Nos. 26-34).”[39]

 

“Mr. William England, whose Swiss photographs are so widely known, is represented here by numerous examples, remarkable for their extreme distinctness of definition. These are from dry plates.”[40]

 

“Respecting the medal for the best frame of dry-plate photographs awarded to Mr. William England for his Swiss Views, the President said that as specimens of dry-plate work they were perfect; and when the various difficulties arising from local colour – affecting distances combined with the foreground colours of a totally different nature were considered, they showed that some mastery had been obtained over dry-plate work when put in competition with wet.”[41]

 

“Mr. England has produced his splendid collection of Swiss views, in which (though no information is given in the catalogue regarding it) we think we can trace the delicacy due to albumen in the sensitive film, combine probably in some way or another with bromide of silver.”[42]

 

“The Swiss views of W. England, which occur very early in the catalogue, cannot fail to charm the spectator. “The Road to Grindelwals” (34) is particularly tender.”[43]

 

  • 1877. Edinburgh Photographic Society Exhibition. “Mr. Wm. England has sent a series of very exquisite pictures from dry plates, consisting of views in Switzerland, Belgium, & c.”[44]

 

“A silver medal for the best landscape of 8 ½ x 6 ½ or under to Mr. Wm. England, 7 St. James’s square, Notting-hill, London, for his picture The Wetterhorn (No. 768), from a dry plate. Characteristics: fine aerial perspective, with both foreground and extreme distance in good keeping.”[45]

 

“In landscape photographs the Exhibition is very rich. If there are any who still have a doubt as to the suitability of dry plates for the very highest class of work in this direction, they have only to look at the exhibits of Mr. Wm. England to have the doubt dispelled. Hung together are six charming views in Switzerland, Italy, and Savoy, so soft, yet full of brilliant detail, and most perfect gradation, even when, as is generally the case, such difficult combinations as summer foliage and snow-clad mountains are included. Where all are so excellent, it is difficult to particularize; but we may mention “Monk and Eiger from St. Beatenburg” (No. 767) as a work of rare merit. The foreground is the bank of a lake, with finely-grouped trees on the right and left, and a few well-arranged figures in the centre. The middle distance includes groups of grand mountains, whose shadows are more or less indefinitely mirrored on the bosom of the lake, and, rising high behind all, are the beautiful snowy peaks so well known to travellers in the district.”[46]

 

  • 1877. West Riding of Yorkshire Photographic Society Exhibition, Belle Vue Hotel, Bradford. “The views of Swiss scenery shown by Mr. W. England in his well-known style need no comment.”[47]

 

  • 1878. 23rd Photographic Society of Great Britain Exhibition. Number 172, “View in the Avenue of Nations.” Number 173, “Monaco Pavilion in the Gardens.” Number 174, “English Country House. (erected by Collinson and Lock).” Number 175, “View in the Austrian Section.” Number 176, “Portuguese Pavilion, Avenue of Nations.” Number 177, “Exhibition, Principal Entrance.” Number 178, “Gateway of the Portuguese Pavilion.” Number 179, “Façade of the Spanish Pavilion.” Number 180, “View in the Gardens.” Number 181, “United States Pavilion.” Number 182, “View in the Gallery de Jena.” Number 183, “Spanish Pavilion.” Number 184, “View in the Avenue of Nations.” Number 185, “Gallery de Jena, Indian Section.” Number 186, “View in the Gardens.” Number 187, “French Fine Art Pavilion.” Number 188, “Swiss Pavilion.” Number 189, “View in the Pavilion of Fine Arts.” Number 190, “Pavilion of the Central States of America.” Number 191, “View in the Avenue of Nations.” Number 192, “Pavilion of H.R.H. the Prince of Wales (designed by Gilbert R. Redgrave).” Number 193, “Old English Mansion. (erected by Cubitt & Co.).” Number 194, “View of the Trocadero.” Number 349, “Transparencies.”

 

“A large collection of noteworthy photographs taken in Paris transport the sympathetic observer to the Great International Exhibition now open in that city. The twenty-three views of various interesting scenes in the World’s Fair, selected by Mr. England for exhibition, have been executed with all that care and skill for the possession of which Mr. England has obtained a world-wide reputation. Those who, on visiting the French Exhibition, have had to hurry past numerous beautiful architectural and other details are here enabled to revisit such scenes once more, pictorially, and dwell at leisure on the structural peculiarities of each.”[48]

 

  • 1878. Exposition Universelle, Paris, France. England served as a juror for the exhibition. He also displayed “a collection of views and sculpture” and “instantaneous views of the ceremony, having understood they had made applications for the necessary official permission to photograph generally the Exhibition.”[49]

 

  • 1878. Royal Cornwall Polytechnic Society, 46th Annual Exhibition. View numbers 658 to 672 titled “Views in Switzerland.”

 

“For the best landscape by the collodion emulsion process, size not less than 9 x 7 inches. First silver medal to W. England, for his splendid Swiss view, No. 666. Mr. England exhibits fifteen gems – views in Switzerland – all in his well-known style, possessing the highest artistic excellence. They are full of atmosphere – broad, yet exquisite in detail.”[50]

 

  • 1880. Bristol and West of England Amateur Photographic Association’s International Exhibition. “Mr. William England is also represented by a couple of dozen 12 x 10 Swiss views of magnificent quality. These, again, are produced from gelatine plates, and are equal, if not superior, to any of the artist’s work in the same class with wet collodion – and that, too, in those points where gelatine is usually supposed to be far inferior to collodion. The power possessed by gelatine, in capable hands, of rendering at once foreground and distance is well exemplified in Near Chamounix (No. 281) and Mount Blanc and the Valley of Chamounix (No. 286.) The strong shadows cast by the Swiss sun, which are so difficult to soften down in a photograph, are full of detail, and are rendered in perfect harmony with the delicate gradations of the distant snow-clad peaks. Surely the detractors of gelatine must, ere long, be convinced that it is the operator, and not the process, which should be blamed for the inferior results said to be produced by gelatine.”[51]

 

“Mr. William England and Mr. Bedford are too well known for their fine pictures to require dwelling on here . . . Those who do not quite realise the meaning of the words “breadth” and “atmosphere” could not study them better than in Mr. England’s pictures; these will at once reveal their full meaning.”[52]

 

  • 1881. 26th Photographic Society of Great Britain Exhibition. Number 3 titled “The Pisevache, near Martigny, Switzerland.” Number 4 titled “Place de Beltir, Geneva.” Number 5 titled “Village of Zermatt.” Number 6 titled “Valley of Chamounix. (Landscape and clouds, taken with one exposure).” Number 7 titled “Matterhorn, Zermatt.” Number 8 titled “Matterhorn, Zermatt.” Number 9 titled “Matterhorn, Zermatt and Lake on the Riffleberg.” Number 10 titled “Mont Blanc: Village of Chamounix.” Number 11 titled “Mont Blanc Range.” Number 12 titled “St. Nicolas, Valley of Zermatt.” Number 13 titled “Mont Blanc Range.” Number 14 titled “Valley of Chamounix.” Number 15 titled “View on the Imperial Route.” Number 16 titled “Village and Valley of Chamounix.” Number 17 titled “Monument to the Duke of Brunswick, Geneva. (Clouds and view, one exposure).” Number 18 titled “View on the Imperial Route.” Number 19 titled “Pass of the Tete Noire.” Number 20 titled “Village of Chamounix.” Number 342 titled “Gorge St. Gervois, Savoy.” Number 343 titled “Gorge of Trient, Switzerland.”

 

“Mr. William England receives a medal for a series of Swiss views (Nos. 3 to 20), many of which we have reviewed before in connection with the late Bristol International Exhibition. The special feature of these pictures is the admirable manner in which the dark foregrounds are rendered in conjunction with the snowy peaks – in many cases miles distant – without producing heaviness in the one case or destroying the delicacy of detail in the other. Three views of The Matterhorn (Nos. 7, 8, and 9) especially show this. In The Village of Chamounix (No. 20) – in addition to the dark foreground and delicate distance – we have in the middle distance white houses partly in sunshine and partly in shade, which leave nothing to be desired on the score of rendering.”[53]

 

  • 1881. Manchester Photographic Society Exhibition. “. . . the soft and brilliant Alpine views of Mr. W. England, are as conspicuous here as at London . . .”[54]

 

  • 1882. Dundee and East of Scotland Photographic Association Exhibition. England exhibited landscape photographs of Swiss scenery. “Bronze Medal for second best series of (not fewer than six) Landscapes, of 8 1/2 x 6 1/2, or under: Mr. W. England, London.”[55]

 

“Mr. William England, London, exhibits some very charming specimens of Swiss scenery. The pictures are hung exactly on the line, and are well seen.”[56]

 

  • 1882. Third Convention of the Photographers’ Association of America. “Among the pictures from Europe was . . . a charming selection of Swiss pictures, by Mr. Wm. England.”[57] 

 

  • 1883. 28th Photographic Society of Great Britain Exhibition. England was awarded a medal for his work. Number 66 titled “Sulzeck Tunnel.” Number 67 titled “St. Gothard Railway.” Number 322 titled “Wasen in Winter. (Gelatine plates, own make).” Number 323 titled Three Brides at Wasen.” Number 324 titled “Wasen in Summer.” Number 325 titled “View at Wasen.” Number 326 titled “Railway Bridge over the Reuss.” Number 327 titled “View at Intsch.” Number 328 titled “View at Wasen.” Number 329 titled “Fluelin, Lake of Lucerne.” Number 330 titled “Amstaig.”

 

“Mr. William England’s Swiss views (Nos. 322-330), in his usual style, formed a feature amongst the landscapes, from which we select No. 329 as the best.”[58]

 

“A frame of lantern transparencies, by Messrs. England Brothers, possess a charming tone for effective exhibition on an enlarged scale, being of a rich purplish-black. Their views of Swiss scenery, from negatives by Mr. W. England, display great delicacy of gradation in the distances, with ample vigour in the shadows. They also exhibit some good transparencies of statuary.”[59]

 

  • 1883. Second International Exhibition of the Association Belge de Photographie, Palais des Beuax Arts, Paris, France. England was awarded a silver medal for Swiss mountain views. “Mr. W. England’s mountain scenery is, as usual, so charming that we could wish the pictures were larger, so that no visitor to the Exhibition might miss them.”[60]

 

  • 1884. 29th Photographic Society of Great Britain Exhibition. Number 297 titled “Views in Switzerland.” England also served as Judge along with James Glaisher, William Bedford, William F. Donkin, John E. Mayall, William Mayland and Andrew Pringle.

 

“Mr. William England shows a single frame containing four late Swiss views, measuring something like 18 x 15. Mr. England’s work has been familiar to not only visitor to the annua exhibition, but to nearly the whole world, for years past; but, however good it has been previously, we are constrained to confess that his late venture into a large size seems to us to show better work than ever.”[61]

 

“Photography is fast advancing its claims to be regarded as an art as well as a scientific and mechanical process, and in place of the clear hard backgrounds and disproportionate dark foreground patches that used to characterize landscape scenery under the lens, it is now possible to represent mist-clad hills, delicate gradations of distance, and soft shadows. This is especially instanced in Mr. W. England’s beautiful views in Switzerland . . .”[62]

 

  • 1884. Sheffield Photographic Society Exhibition, Cutlers’ Hall. The annual exhibition opened on January 7, 1884.[63]

 

  • 1884. Glasgow Photographic Association Exhibition, Christian Institute.[64]

 

  • 1884. Newcastle-on-Tyne and Northern Counties’ Photographic Association. The exhibition was held at the College of Physical Science at Newcastle. England served as a judge along with W. Bedford, W. F. Donkin, J. E. Mayall, W. Mayland and Andrew Pringle.[65]

 

  • 1887. 32nd Photographic Society of Great Britain Exhibition. Number 242 titled “Four Views of Goring.” Numbers 362, 363 and 364 titled “Street Views of London (Taken from a Tricycle)”. England also served as Judge.

 

“William England (No. 362), Street Views of London.–This frame and two others contain small photographs taken from a tricycle. Here we have work by this well-known exhibitor which constitutes a departure from his usual Swiss scenes. The realistic part has been enriched by choosing moving objects, when they were in a position to add increased value to the streets and buildings depicted.”[66]

 

  • 1887. Royal Cornwall Polytechnic Society Exhibition. “Mr. W. England, of London, sends some small instantaneous pictures taken on a tricycle, which are very perfect and natural.”[67]

 

  • 1888. 33rd Photographic Society of Great Britain Exhibition. Number 581 titled “Revolving Stereoscope, with Slides.”

 

  • 1889. 34th Photographic Society of Great Britain Exhibition. Number 687, “Revolving Stereoscope.” England also served as Judge.

 

  • 1889. Paris International Exhibition. England served as a juror, working as the foreman of the British photographic section, receiving the thanks of H.R.H., the Princess of Wales.

 

  • 1890. 35th Photographic Society of Great Britain Exhibition. England served as a Judge.

 

  • 1891. International Photographic Exhibition, Leeds. England served as a Judge along with A. Pringle, V. Blanchard, J. Gale and F. P. Cembrano.[68]

 

  • 1892. 37th Photographic Society of Great Britain Exhibition. “Slides by Mr. W. England.” England also served as Judge along with F. P. Cembrano, W. E. Debenham, F. Hollyer, and J. Traill Taylor.[69]

 

  • 1893. 38th Photographic Society of Great Britain Exhibition. Number 14 titled “Clouds descending the Valley. Taken from the Hotel du Lac Noir, Zermatt. (Bromide Enlargement).” Number 158 titled “View in the Zermatt Valley. (Bromide Enlargement).” Number 287 titled “Dome et Aguille du Goute, Chamounix. (Bromide Enlargement).” Number 297 titled “Glacier de Bossons, Chamounix. (Bromide Enlargement).”

 

“14, a bromide enlargement of descending clouds, by Wm England is noticeable for the fine rendering of the clouds.”[70]

 

  • 1893. Hackney Photographic Society Exhibition. England was awarded a silver medal for “open lantern slides.” “Other good work in the Class was shown by Messrs. W. England (The Matterhorn).”[71]

 

  • 1893. Lille Photographic Exhibition. England was awarded a silver medal for his Alpine studies.[72]

 

  • 1893. Bristol International Photographic Exhibition. England displayed a series of Alpine views.[73]

 

  • 1894. Royal Aquarium Photographic Exhibition. England displayed a series of Alpine views.[74]

 

  • 1894. Ealing Photographic Society Exhibition. England served as a judge.[75]

 

  • 1895. 40th Annual Exhibition of the Royal Photographic Society. Number 326 titled “Aiguille Verte, Chamonix.” Number 327 titled “Glacier die Boissons, Chamonix.” Number 328 titled “Mont Blanc from Argenterre.” Number 339 titled “View at St. Michel, Savoie.” Number 340 titled “View in Suterlaken.” Number 341 titled “Lake near Pontresina, Engadine.”

 

  • 1895. Leeds Photographic Society Exhibition, City Art Gallery, Leeds. The exhibit opened on September 24, 1895 and was expected to last approximately two months. The event was curated by George Birkett. “Mr. W. England shows several small Swiss views, which he has vignetted. Vignetted landscapes, however, do not meet with much favour [sic] nowadays, and the rarity with which they are produced makes them look all the more old-fashioned and, as it were, artificial.”[76]

 

  • 1895. Photographic Exhibition at the Imperial Institute, South Kensington. In the historical division, “some interesting old Daguerreotypes, shown by Mr. W. England.”[77]

 

  • 1895. Derby Photographic Society, Outdoor Meeting Competition. England served as a judge for the competition.[78]

 

  • 1895. Linked Ring, 3rd Annual Photographic Society, Dudley Gallery. “The vignetted subjects by W. England, in both the galleries, are excellent examples of good commercial topographic work, but they fail to interest one apart from their subjects.”[79]

 

  • 1896. 41st Annual Exhibition of the Royal Photographic Society. “In Memoriam, a portrait of the late William England (146), by Andrew Pringle, has a sad interest of its own in the exhibition which the sitter helped to prepare.”[80]

 

  • 1897. Imperial Victorian Loan Exhibition, Crystal Palace. “In the cases are to be seen one of the finest collection of Daguerreotypes ever got together . . . There are also instantaneous Daguerreotypes, one of New York Harbour, taken later on, lent, amongst others, by Mr. L. W. England, in which the frame of the paddle wheels of a steamer, and the waves, are as sharp as in modern work, as well as an excellent picture of Daguerre himself.”[81] Also displayed were the actual Daguerreotype equipment used by the late William England.

 

  • 1898. Royal Photographic Society Exhibition. “Yet work still unsurpassed, and instantaneous views even, were taken quite as good as those taken nowadays on gelatine plates. Examples of these, by the late Mr. William England and by Mr. Valentine Blanchard – taken 1856-1865 – are shown which prove it. Some of the primitive apparatus used in the Daguerreotype process and the calotype and wax-paper processes have been quite a source of amusement to some, yet withal the older workers managed to obtain excellent results with it, and it is doubtful if they could have surpassed them even with the most modern of apparatus, though, of course, they would have obtained them with for less inconvenience to themselves.”[82]
 

[1] “Exhibition Gossip. The Awards of the Jurors.” The British Journal of Photography. Vol. 9. August 1, 1862. Liverpool: Henry Greenwood, 1862. pp. 289-290.

[2] “Notes of the Month.” The British Journal of Photography.” Vol. 8. August 1, 1862. Liverpool: Henry Greenwood, 1862. p. 297.

[3] “Photographic Pictures.” Record of the International Exhibition, 1862. London: William Mackenzie, 1862. p. 576.

[4] “Glasgow Photographic Association.” The British Journal of Photography. Vol. 10. March 2, 1863. Liverpool: Henry Greenwood, 1863. pp. 103-106.

[5] “The Photographic Exhibition.” The Photographic News. Vol. 9, No. 349. May 12, 1865. pp. 217-218.

[6] “The Photographic Society’s Exhibition.” The British Journal of Photography. Vol. 12. June 9, 1865. London: Henry Greenwood, 1865. p. 305.

[7] “Photography at the Dublin International Exhibition.” The Photographic News. Vol. 9. August 25, 1865. London: Thomas Piper, 1865. p. 399.

[8] “Photography at the Dublin Exhibition.” The British Journal of Photography. Vol. 12. October 6, 1865. London: Henry Greenwood, 1865. p. 512.

[9] “The Dublin Exhibition – Photographic Department.” The Journal of The Photographic Society of London. Vol. 10, No. 160. August 15, 1865. p. 123.

[10] “North London Photographic Exhibition.” The Photographic News. Vol. 9. September 29, 1865. London: Thomas Piper, 1865. p. 459.

[11] “Photographic Society of Scotland.” The British Journal of Photography. March 16, 1866. p. 128.

[12] “Paris Universal Exhibition.” The British Journal of Photography. Vol. 14. August 23, 1867. London: Henry Greenwood, 1867. pp. 398-399.

[13] “Exhibition Soiree of the London Photographic Society.” The British Journal of Photography. Vol. 14. November 22, 1867. London: Henry Greenwood, 1867. pp. 555-556.

[14] “Photography at the Royal Cornwall Polytechnic Society.” The Photographic News. Vol. 12. May 1, 1868. London: Piper and Carter, 1868. p. 209.

[15] “Fine Arts Department.” The Royal Cornwall Polytechnic Society. The Thirty-Fifth Annual Report. 1867. Falmouth: Heard and Sons. 1867. p. 34.

[16] “Exhibition of the Photographic Society.” The Photographic News. Vol. 12, No. 532. November 13, 1868. London: Piper and Carter, 1868. pp. 541-542.

[17] “Lux Graphics on the Wing.” The Photographic News. Vol. 12. November 20, 1868. London: Piper and Carter, 1868.  p. 560.

[18] “Photographic Exhibition at Groningen.” The Photographic News. Vol. 13. August 20, 1869. London: Piper and Carter, 1869. p. 400.

[19] “Royal Cornwall Polytechnic Society’s Report.” The Photographic News. Vol. 14. April 14, 1870. p. 180.

[20] “The Photographic Exhibition.” The Photographic News. Vol. 13. December 10, 1869. p. 588.

[21] “The Exhibition of the London Photographic Society.” The British Journal of Photography. Vol. 16. November 18, 1869. p. 556.

[22] “Manchester Photographic Society.– Soiree and Exhibition.” The British Journal of Photography. Vol. 16. March 5, 1869. p. 114.

[23] “Photographic Exhibition at Manchester.” The Photographic News. Vol. 14. March 4, 1870. pp. 106-107.

[24] “Exhibition of the Manchester Photographic Society. The British Journal of Photography. Vol. 17. March 11, 1870. London: Henry Greenwood, 1870. p. 114.

[25] “Correspondence.” The British Journal of Photography. Vol. 17. June 17, 1870. London: Henry Greenwood, 1870. p. 284.

[26] “The Photographic Exhibition.” The British Journal of Photography. Vol. 19. December 6, 1872. London: Henry Greenwood, 1872. p. 576.

[27] “West Quadrant. Engravings, Etchings, Lithographs, and Photographs.” London International Exhibition, 1872. London: J. M. Johnson & Sons, 1872. p. 103.

[28] “The Exhibition of 1873.” The Photographic Journal. October 21, 1873. pp. 2-3.

[29] “Exhibition of the Photographic Society.” The British Journal of Photography. Vol. 21. October 16, 1874. pp. 492-493.

[30] “The Annual Exhibition of the Photographic Society of Great Britain.” The British Journal of Photography. Vol. 21. October 23, 1874. p. 510.

[31] “The Bengal Exhibition.” The British Journal of Photography. Vol. 21.  April 3, 1874. London: Henry Greenwood, 1874. pp. 162-163.

[32] “The Bengal Exhibition.” The British Journal of Photography. Vol. 21. April 3, 1874. London: Henry Greenwood, 1874. pp. 162-163.

[33] “Photographs at the International Exhibition.” The British Journal of Photography. Vol. 21. May 8, 1874. p. 219.

[34] “Photographs at the International Exhibition.” The British Journal of Photography. Vol. 21. April 10, 1874. London: Henry Greenwood, 1874. p. 169.

[35] “Medalists of the French Exhibition of Photographs.” The British Journal of Photography. Vol. 21. July 17, 1874. London: Henry Greenwood, 1874. p. 343.

[36] “The Photographic Exhibition. The British Journal of Photography. Vol. 22. October 15, 1875. London: Henry Greenwood, 1875. pp. 496-497.

[37] “The Photographic Exhibition.” The Photographic News. Vol. 19. October 29, 1875. London: Piper and Carter, 1875. pp. 522-523.

[38] “English Photographs at the Philadelphia Exhibition.” The British Journal of Photography. Vol. 23. September 22, 1876. pp. 453-454.

[39] “The Photographic Exhibition.” The British Journal of Photography. Vol. 24, No. 910. October 12, 1877. pp. 487-488.

[40] “The Photographic Society of Great Britain.” The British Journal of Photography. Vol. 24. October 26, 1877. p. 514.

[41] “Photographic Society of Great Britain.” The British Journal of Photography. Vol. 24. November 16, 1877. pp. 547-548.

[42] “Opinions of the London Press on the Photographic Exhibition.” The British Journal of Photography. Vol. 24. November 23, 1877. p. 560.

[43] “The Photographic Exhibition.” The Photographic News. Vol. 21. November 23, 1877. London: Piper and Carter, 1877. p. 557.

[44] “Edinburgh Photographic Society’s Exhibition.” The British Journal of Photography. Vol. 24, No. 870. January 5, 1877. London: Henry Greenwood, 1877. p. 3.

[45] “Edinburgh Photographic Society’s Exhibition.” The British Journal of Photography. Vol. 24. January 12, 1877. London: Henry Greenwood, 1877. p. 15.

[46] “Edinburgh Photographic Exhibition.” The Photographic News. Vol. 21. January 19, 1877. London: Piper and Carter, 1877. p. 32.

[47] “West Riding of Yorkshire Photographic Society.” The British Journal of Photography. Vol. 24. December 14, 1877. pp. 596-597.

[48] “The Photographic Exhibition.” The British Journal of Photography. Vol. 25. October 25, 1878. pp. 505-505.

[49] “The French Exhibition.–Meeting of the Photographic Society of France.” The British Journal of Photography. Vol. 25. May 10, 1878. Pp. 224-226.

[50] “Royal Cornwall Polytechnic Society.” The British Journal of Photography. Vol. 25. September 6, 1878. p. 426.

[51] “Bristol and West of England Amateur Photographic Association’s International Exhibition.” The British Journal of Photography. Vol. 27. December 31, 1880. pp. 627-628.

[52] “Art Notes at the Bristol Exhibition.” The British Journal of Photography. Vol. 28. January 14, 1881. London: Henry Greenwood, 1881. p. 17.

[53] “The Photographic Exhibition.” The British Journal of Photography. Vol. 28. October 14, 1881. p. 527.

[54] “The Manchester Photographic Society’s Exhibition.” The British Journal of Photography. Vol. 28. December 2, 1881. pp. 624-625.

[55] “Exhibition of the Dundee and East of Scotland Photographic Association.” The British Journal of Photography. Vol. 29. February 10, 1882. p. 79.

[56] “Exhibition of the Dundee and East of Scotland Photographic Association.” The British Journal of Photography. Vol. 29. February 24, 1882. pp. 106-107.

[57] “Third Convention of the Photographers’ Association of America.” The British Journal of Photography. Vol. 29. September 8, 1882. pp. 520-522

[58] “The Photographic Exhibition.” The British Journal of Photography. Vol. 30. November 23, 1883. pp. 701-702.

[59] “Transparencies at the Photographic Exhibition.” The British Journal of Photography. Vol. 30. November 9, 1883. p. 674.

[60] “The Second International Exhibition of the Association Belge de Photographie.” The British Journal of Photography. Vol. 30. September 7, 1883. pp. 526-527.

[61] “The Photographic Exhibition.” The British Journal of Photography. Vol. 31. November 14, 1884. London: Henry Greenwood, 1884. p. 724.

[62] “The Photographic Society of Great Britain.” Daily News (London). October 6, 1884. p. 6.

[63] “Sheffield Photographic Society’s Exhibition.” The British Journal of Photography. Vol. 31. January 11, 1884. London: Henry Greenwood, 1884. p. 27.

[64] “Glasgow Photographic Association.” The British Journal of Photography. Vol. 31. February 22, 1884. London: Henry Greenwood, 1884. p. 125.

[65] “Newcastle-on-Tyne and Northern Counties’ Photographic Association.” The British Journal of Photography. Vol. 31. February 22, 1884. London: Henry Greenwood, 1884. p. 125.

[66] “The Photographic Exhibition.” The British Journal of Photography. Vol. 34. November 4, 1887. London: Henry Greenwood & Co., 1887. pp. 692-693.

[67] “The Royal Cornwall Polytechnic Society’s Exhibition.” The British Journal of Photography. Vol. 34. September 16, 1887. London: Henry Greenwood, 1887. p. 588.

[68] “Leeds Photographic Exhibition.” The British Journal of Photography. Vol. 38. December 11, 1891. London: Henry Greenwood & Co., 1891. p. 800.

[69] “The Photographic Society’s Exhibition.” The British Journal of Photography. Vol. 39. September 2, 1892. London: Henry Greenwood & Co., 1892. p. 565.

[70] “Photographic Society of Great Britain.” The Amateur Photographer. Vol. 18, July–December 1893. October 6, 1893. p. 221.

[71] “Hackney Photographic Society’s Exhibition.” The British Journal of Photography. Vol. 40. October 27, 1893. London: Henry Greenwood & Co., 1893. p. 689.

[72] The British Journal of Photography. Vol. 40. June 30, 1893. London: Henry Greenwood & Co., 1893. p. 416.

[73] “Bristol International Photographic Exhibition.” The British Journal of Photography. Vol. 40. December 22, 1893. London: Henry Greenwood, 1893. p. 812.

[74] “Photographic Exhibition at the Royal Aquarium.” The British Journal of Photography. Vol. 41. September 14, 1894. London: Henry Greenwood & Co., 1894. p. 586.

[75] “Ealing Photographic Society’s Exhibition.” The British Journal of Photography. Vol. 41. November 30, 1894. London: Henry Greenwood & Co., 1894. p. 764.

[76] “The Leeds Exhibition.” The British Journal of Photography. Vol. 42. September 27, 1895. pp. 615-616.

[77] “The Photographic Exhibition at the Imperial Institute.” The British Journal of Photography. Vol. 42. London: Henry Greenwood & Co., 1895. p. 332.

[78] “Derby Photographic Society.” The British Journal of Photography. Vol. 43. May 1, 1896. p. 286.

[79] “The Two Great Exhibitions.” Photograms of the Year. London: Dawbarn & Ward, 1895. p. 66.

[80] “The Great Exhibitions.” Photograms of the Year, 1896. London: Dawbarn & Ward, Ltd., 1896. p. 92.

[81] “The Photographic Exhibition at the Crystal Palace.” The British Journal of Photography. Vol. 44. May 14, 1897. London: Henry Greenwood & Co., 1897. p. 307.

[82] “Some Lessons of the Royal Photographic Society’s Exhibition.” The British Journal of Photography. Vol. 45. May 13, 1898. London: Henry Greenwood & Co., 1898. p. 306.

 

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[email protected] (American Catskills) 1859 alpine America in the Stereoscope Blondin Britain Catskills England exhibit Fawn's Leap International Exhibition Ireland Italy Kaaterskill Clove Kaaterskill Falls Kauterskill Falls landscape Laurel House London Stereoscopic Company mountains Niagara Falls North American Series North Lake photographer photographs photography Plattekill Clove Plauterkill Clove Rhine scenery statuary stereoscope stereoscopic stereoviews Switzerland waterfalls William England https://www.americancatskills.com/blog/2022/4/william-england-and-his-1859-tour-of-the-catskills-part-8 Sat, 09 Apr 2022 12:00:00 GMT
William England and His 1859 Tour of the Catskills (Part 7) https://www.americancatskills.com/blog/2022/4/william-england-and-his-1859-tour-of-the-catskills-part-7 Introduction

 

William England (1830-1896) was a 19th century British photographer who was widely known for his travel images. He was an early adopter of photography, operating a studio in the late 1840s, less than ten years after the daguerreotype was created by French inventor Louis Daguerre. England’s 1859 trip through the United States, including a visit to the Catskills, and Canada gained widespread praise. His image of Charles Blondin tightrope walking across the Niagara Gorge is among the top selling stereoviews of all time. Although largely forgotten today, William England was considered one of the great photographers of his era.

 

 

Continued from Part 6.

 

Publications

 

“ . . . it is well known to all those who have the advantage of Mr. England’s friendship, that when he advises a given course, or when he published a process, it is certain to be practical and trustworthy.”

 

 

“Another very important practical article in the ALMANAC is from the pen of Mr. England; for how can such a man as this put pen to paper without teaching us something valuable from the stores of his immense practical experience.”

 

 

England was widely published in the leading photographic industry magazines of the day, with his articles most frequently highlighting his various technical processes. A few examples of England’s publications are listed below.

 

  • 1862. “On a Method of producing Photographic Transparencies and Instantaneous Negatives.” The Journal of The Photographic Society of London. Vol. 8, No. 120, April 15, 1862. London: Taylor and Francis. pp.24-26.
  • 1862. "On a Rapid Dry Process, Printing Transparencies, and Remarks on 'Instantaneous Photography.” The British Journal of Photography. Vol. 9, No. 164. April 15, 1862. p. 143.
  • 1862. “On a Method of Producing Photographic Transparencies and Instantaneous Negatives.” The Photographic Journal. Vol. 8, No. 120. April 15, 1862. pp. 24-26.
  • 1862. “The Tannin Process – Transparencies – Instantaneous Photography. The Photographic News. Vol. 6, No. 188. April 11, 1862. London: Thomas Piper, 1862. p. 175.

 

  • 1863. “On a Simple Method of choosing Glass suited for the Operating-room.” The Journal of the Photographic Society of London. Vol. 8, No. 130, February 16, 1863. London: Taylor and Francis. p.222.
  • 1863. “Recovery of Gold and Silver from Waste Photographic Materials.” The Photographic News. Vol. 7, No. 245. May 15, 1863. London: Thomas Piper, 1863. p. 234.
  • 1863. “A Neat Mode of Washing Sensitive Plates.” The Photographic News. Vol. 7, No. 251. June 26, 1863. London: Thomas Piper, 1863. p. 304.

 

  • 1866. “Recovering the Gold from Old Toning Baths.” The Photographic News. May 4, 1866. London: Thomas Piper, 1866. p. 209.
  • 1866. “Hints to Photographic Tourists.” The Year-Book of Photography and Photographic News Almanac, for 1866. London: Office of the Photographic News, 1866. pp. 48-50.
  • 1866. “The Discussion on the Organic Iron Developer.” The Photographic News. Vol. 10, No. 384. January 12, 1866. London: Thomas Piper, 1866. p. 23.
  • 1866. “Recovering Silver from Ashes.” The Photographic News. Vol. 10, No. 429. November 23, 1866. London: Thomas Piper, 1866. p. 563.

 

  • 1867. “Resin in Collodion.” The Year-Book of Photography and Photographic News Almanac for 1867. London: Thomas Piper, 1867. pp. 34-35.
  • 1867. "On the Preservation, Restoration and Perfection of Negatives.” (Read before the London Photographic Society, January 8, 1867), in: The Philadelphia Photographer. Vol. 4, No. 40. April 1867, pp. 108-110. Also, The British Journal of Photography. Vol. 14, No. 350. January 18, 1867. pp. 24-25.
  • 1867. “Collodio-Albumen Process Requiring but One Sensitising Bath.” The Year-Book of Photography and Photographic News Almanac for 1867. London: Thomas Piper, 1867. pp. 55-56.
  • 1867. “England’s Modified Collodion-Albumen Process.” The British Journal of Photography. Vol. 14, No. 362. April 12, 1867. London: Henry Greenwood, 1867. p. 167.
  • 1867. “A Modification of the Collodio-Albumen Process, Requiring but One Sensitising Bath.” The British Journal of Photography. Vol. 14. April 18, 1867. London: Henry Greenwood, 1867. p. 181.
  • 1867. “Mr. England’s Method of Cleaning and Modifying Intensity of Varnished Negatives.” The Year-Book of Photography and Photographic News Almanac for 1867. London: Office of the Photographic News, 1867. p. 64.

 

  • 1869. “Aphorisms for Photographers.” The Year-Book of Photography and Photographic News Almanac for 1869. London: Piper and Carter, 1869. p. 15.
  • 1869. “Impure Water and Dry Plate Failures.” The Year-Book of Photography and Photographic News Almanac for 1869. London: Piper and Carter, 1869. pp. 33-34.
  • 1869. “On the Preservation of Negatives.” The Photographic News. Vol. 13, No. 546. February 19, 1869. London: Piper and Carter, 1869. pp. 88-89.
  • 1869. “Treatment of the Printing Bath.” The Photographic Journal. June 15, 1869. pp. 65-66.
  • 1869. “Mr. England’s Method of Preparing Collodion.” The Year-Book of Photography and Photographic News Almanac for 1870. London: Piper and Carter, 1869. pp. 87-88.

 

  • 1870. “Rain-Water for Photography.” The Year-Book of Photography and Photographic News Almanac for 1870. London: Piper and Carter, 1870. pp. 30-31.
  • 1870. “Note on the Varnishing of Negatives.” The Photographic News. London: Piper and Carter, 1870. January 21, 1870. p. 32.
  • 1870. “Which is the Best Dry Process? Mr. England on the Relative Merits of Dry Processes.” The British Journal of Photography. Vol. 17, No. 523. May 13, 1870. pp. 215-216.
  • 1870. “Remarks on the Dry-Plate Process.” The British Journal of Photography. Vol. 17, No.  524. May 20, 1870. p. 231.
  • 1870. “New Method of Treating a Discolored Printing Bath.” Photographic Mosaics. Philadelphia: Benerman & Wilson, 1870. p. 103.

 

  • 1871. “Some Hints on Development.” The Year-Book of Photography and Photographic News Almanac for 1871. London: Piper and Carter, 1871. pp. 32-33.
  • 1871. “Modified Morphine Process.” The Year-Book of Photography and Photographic News Almanac for 1871. London: Piper and Carter, 1871. p. 91.
  • 1871. “How to Make a Negative Nitrate Bath.” The British Journal Photographic Almanac and Photographer’s Daily Companion for 1871. Liverpool: H. Greenwood, 1871. pp. 81-82.
  • 1871. “Developing Dishes.” The Photographic News. Vol. 15, No. 647. January 27, 1871. London: Piper and Carter, 1871. p. 39.
  • 1871. “Practical Hints on the Preservation of Negatives.” The Photographic Journal. No. 223. March 21, 1871. pp. 62-66.

 

  • 1872. "Talc as a protection to negatives.” British Journal Photographic Almanac, and Photographer's Daily Companion 1872. p. 52.
  • 1872. “A Ready Mode of Drying Albumenized Paper.” The Year-Book of Photography and Photographic News Almanac for 1872. London: Piper and Carter, 1872. p. 35.

 

  • 1873. “On Copying Sculpture.” The Year-Book of Photography and Photographic News Almanac for 1873. London: Piper and Carter, 1873. pp. 29-30.

 

  • 1875. “Hints and Suggestions.” The Year-Book of Photography and Photographic News Almanac for 1875. London: Piper and Carter, 1873. p. 5.

 

  • 1878. “On Dry Plate Processes.” The Photographic News. Vol. 22, No. 1029. May 24, 1878. London: Piper and Carter, 1878. pp. 241-243.

 

  • 1880. “The England Drying Box.” The Photographic News. Vol. 24, No. 1129. April 23, 1880. London: Piper and Carter, 1880. p. 201.
  • 1880. “On a Drying-box for Gelatine Plates.” The Photographic Journal. New Series, Vol. 4, No. 6. April 16, 1880. pp. 97-98.
  • 1880. “Iodine in Gelatine Emulsion.” The British Journal of Photography. Vol. 27, No. 1073. November 26, 1880. p. 575.
  • 1880. “How to Treat Negatives that are to be Printed Before Varnishing.” The Photographic News. Vol. 24, No. 1129. April 23, 1880. London: Piper and Carter, 1880. p. 100.

 

  • 1881. “On Washing Gelatine Emulsion.” The Photographic News. Vol. 25, No. 1216. December 23, 1881. London: Piper and Carter, 1881. p. 607.
  • 1881. “A Simple Method of Enamelling Prints.” The British Journal Photographic Almanac, and Photographer’s Daily Companion for 1880. London, Ross & Co. pp. 162-163.
  • 1881. “The Slow Development of Gelantine Plates.” The Year-Book of Photography, and Photographic News Almanac for 1881. London: Piper and Carter, 1881. pp. 112-113.
  • 1881. “Reducing Over-Printed Proofs.” The British Journal of Photography. Vol. 28, No. 1099. May 27, 1881. London: Henry Greenwood, 1881. p. 264.
  • 1881. “Mr. England’s Drying-Box for Gelatine Plates.” The British Journal Photographic Almanac, and Photographer’s Daily Companion for 1881. London: Ross & Co., 1880. pp. 241-242.

 

  • 1882. “A Transparent Paper for Backing Negatives.” The British Journal Photographic Almanac, and Photographer’s Daily Companion for 1882. London: Ross & Co., 1882. p. 99.
  • 1882. “England’s Method of Reducing Over-Printed Proofs.” The British Journal Photographic Almanac, and Photographer’s Daily Companion for 1882. London: Ross & Co., 1882. pp. 207-208.
  • 1882. “The Breakage of Negatives.” The British Journal of Photography. Vol. 29, No. 1141. March 17, 1882. London: Henry Greenwood, 1882. pp. 157-158.
  • 1882. “Electric Light in the Dark Room.” The British Journal of Photography. Vol. 29, No. 1143. March 31, 1882. London: Henry Greenwood, 1882. p. 190.
  • 1882. “A Knapsack Tent.” The Journal and Transactions of the Photographic Society of Great Britain. New Series, Vol. 6, No. 8. May 19, 1882. pp. 158-161.

 

  • 1883. “The Daguerreotype Process in Practice.” The Year-Book of Photography and Photographic News Almanac for 1883.  London: Piper and Carter, 1883. pp. 100-101.
  • 1883. “Collodion Emulsion.” The British Journal of Photography. Vol. 30, No. 1206. June 15, 1883. London: Henry Greenwood, 1883. p. 349.

 

  • 1886. “Development.” The British Journal Photographic Almanac, and Photographer’s Daily Companion for 1886. London: Ross & Co., 1886. pp. 215-216.
  • 1886. “England on Development.” The Year-Book of Photography and Photographic News Almanac for 1886. pp. 166-167.

 

  • 1887. “A Print-Washing Machine.” The Year-Book of Photography and Photographic News Almanac for 1887. London: Piper and Carter, 1887. pp. 103-104.

 

  • 1888. “Photography on Wheels.” The Year-Book of Photography and Photographic News Almanac for 1888. London: Piper and Carter, 1888. pp. 93-94.

 

  • 1889. “Cleaning and Copying Daguerreotypes.” The British Journal Photographic Almanac, and Photographer’s Daily Companion 1889. London: Ross & Co., 1889. pp. 573-574.

 

  • 1890. “Mr. William England’s Flash Lamp.” The Year-Book of Photography and Photographic News Almanac for 1890. London: Piper and Carter, 1890. p. 167.
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[email protected] (American Catskills) 1859 alpine America in the Stereoscope Blondin Britain Catskills England exhibit Fawn's Leap International Exhibition Ireland Italy Kaaterskill Clove Kaaterskill Falls Kauterskill Falls landscape Laurel House London Stereoscopic Company mountains Niagara Falls North American Series North Lake photographer photographs photography Plattekill Clove Plauterkill Clove Rhine scenery statuary stereoscope stereoscopic stereoviews Switzerland waterfalls William England https://www.americancatskills.com/blog/2022/4/william-england-and-his-1859-tour-of-the-catskills-part-7 Sat, 02 Apr 2022 12:15:00 GMT
William England and His 1859 Tour of the Catskills (Part 6) https://www.americancatskills.com/blog/2022/4/william-england-and-his-1859-tour-of-the-catskills-part-6

Introduction

 

William England (1830-1896) was a 19th century British photographer who was widely known for his travel images. He was an early adopter of photography, operating a studio in the late 1840s, less than ten years after the daguerreotype was created by French inventor Louis Daguerre. England’s 1859 trip through the United States, including a visit to the Catskills, and Canada gained widespread praise. His image of Charles Blondin tightrope walking across the Niagara Gorge is among the top selling stereoviews of all time. Although largely forgotten today, William England was considered one of the great photographers of his era.

 

 

Continued from Part 5.

 

Going on His Own

 

“Mr. William England is probably the largest Continental publisher of European views . . .” – The Photographic News.

 

“Mr. England has returned from his few months’ sojourn in the region of the Alps, with a stock of negatives of the charming scenery, the most perfect in photography, and the most uniform in excellence, that we have ever had the pleasure of examining.” – The Photographic News, 1864.

 

 

Circa 1863 William England left the LSC to establish his own photography business at 7 James’s Square in Notting Hill, London. He continued his foreign photographic journeys with trips to Switzerland (Views of Switzerland, 1863), Savoy (Views of Switzerland and Savoy), Italy (Views of Switzerland, Savoy and Italy), the Italian Alps (1866), the Rhine (Views of the Rhine and its Vicinity, 1867/68), Tyrol (A Choice Selection of Scenes in the Tyrol, 1868), France and Italy (1869), Rhineland (1870), Switzerland (1880), the St. Gothard District (1882), Switzerland (1885), Switzerland (1892), and other beautiful, tourist-friendly destinations. His images from Europe were as widely praised and as commercially successful as his earlier work in the United States and France.

 

In one of his first trips after becoming an independent photographer England traveled to Switzerland in the summer of 1863. The result was a series of 130 stereoviews titled Views of Switzerland. According to historian Paul Blair, England’s travels “took him to some of the most famous tourist spots: Geneva, Lausanne, Chillon Castle, Sallanches, Chamonix, Gorges du Trient, Martigny, Sion, Zermatt, Interlaken, Grindlewald, Lauterbrunnen, Reichenbach, Rosenlaui, Thun, Bern and Fribourg.”[1] With numerous subsequent trips to the Alps region, the series would later expand to include over 1,000 photographs and was retitled, first to Views of Switzerland and Savoy, and later to Views of Switzerland, Savoy and Italy.

 

L'Hospice du Grand St. Bernard et le Mont Velan. Suisse.L'Hospice du Grand St. Bernard et le Mont Velan. Suisse.

L'Hospice du Grand St. Bernard et le Mont Velan. Views of Switzerland. William England.

 

In an 1864 review of the Views of Switzerland and Savoy series The Photographic News emphatically praised England’s work, noting that the photographs were the best they had ever seen of the region.

 

“VIEWS OF SWITZERLAND AND SAVOY. Photographed by Wm. England.

 

Mr. England has returned from his few months’ sojourn in the region of the Alps, with a stock of negatives of the charming scenery, the most perfect in photography, and the most uniform in excellence, that we have ever had the pleasure of examining. They consist of cabinet pictures, album views, and stereographs. The series before us, consists of the latter, 130 in number, issued under the special patronage of the Alpine Club.

 

There are, perhaps, few subjects which better repay the photographer with satisfactory results, than Alpine scenery, especially if he be working for the stereoscope, and it might readily have been anticipated, with Mr. England’s well-known fine feeling and skillful manipulation that his Swiss photography should be unusually beautiful. The results before us will satisfy the anticipations of the most sanguine. We have seen excellent photographs of Alpine scenery before, but we have met with none that approach these as pictures, and few that equal them as photographs.

 

The admirable selection of subjects, the judicious choice of point of view, the rare fulness and gradation of tone, all combine to give this series unusual pictorial value. Perhaps, never was the value of bromo-iodized collodion more triumphantly illustrated than in these pictures. We have snow-clad peaks, and pine forests of deep green in the same pictures, each alternately in foreground and distance, rendered with perfect detail and softness. Here is the glistening, icy, broken surface of La Mer de Glace rendered with perfect texture, without an approach to chalkiness. Here are Mont Blanc, with a view of the Chemin de la Tete Noire, and a view of the Wetterhorn, each with foliage and figures in the foreground, and the snow-clad craggy summits of the mountains in the distance, rendered with equally tender gradations. Harmony is an essential quality of each picture, and there is not a white sky in all the pictures before us. In the more animated scenes on the Lake of Geneva, he is just as happy and successful. Some of the scenes on the lake, crowded with small craft, amongst which the feluccas with their wide stretching lateen sails are conspicuous, are very picturesque. On the lake also, we have exceeding fine views of the Chateau Chillon, awaking memories of Byron’s poem and Rousseau’s romance. To detail al that is beautiful, and describe all that is interesting, would require many columns; we must, therefore, content ourselves by recommending to our readers the series as containing some of the most charming pictures, and of the most perfect photographic studies that we have ever come under our notice.”[2]

 

Two years later, in 1866, The Photographic News reviewed England’s alpine work, again with overwhelming acclaim.

 

“In the selection of photographs of Swiss scenery before us, we have the highest perfection of landscape photography; in every technical point it would seem impossible to attain a higher degree of excellence than is here secured, and at the same time nothing is left to desire on the score of artistic rendering . . . the pictures before us far surpass all that we have seen before in almost every quality of excellence. There is an exquisite delicacy of gradation, an infinity of exquisitely marked demi-tones, which we have rarely seen even in very good photographs. With the greatest brilliancy and richness of contrast, there is scarcely a single space of object larger than a pepper corn of a pure white or pure black in any of the pictures; but still minute traces of these extremes are there, giving infinite value to all the gradations of mezzotint, and conferring great brilliancy on the whole.”[3]

 

As England sought to establish his own business independent of the London Stereoscopic Company, he faced the challenges typically associated with running your own business. In 1863 employees associated with England’s business complained of the working conditions, and took their complaints to the press.

 

“NOTTING HILL PHOTOGRAPHERS. –We always feel pleasure in advocating the interests of every class of photographic operatives; but we must remind our readers that the bargain between employers and employed, whether it refer to the hours of labour, the work done, or remuneration received, is entirely a personal question between the parties to the contract. We strongly recommend liberality to employers as good policy, and because photography is generally sufficient remunerative to justify liberality. But on the other hand it should be borne in mind that in winter a photographer’s working hours are necessarily short, and that no available light should be wasted in summer. We do not think there is much danger of over-work or under pay in the present state of the profession, inasmuch as the market is not so much stocked with thoroughly skilled workmen to induce any of them to accept injustice. Where there is good demand for any class of labour it will always command a fair price for reasonable hours. An employer who, under such circumstances, attempted to grind his people would soon find them leaving him for more liberal employers. Whatever grievance of this kind exists must soon right itself. We cannot offer a more definite opinion without knowing more of the circumstances, and hearing the case states by both sides.”[4]

 

One week after the initial complaints were published England responded in a letter to the editor of The Photographic News, providing details on the working conditions of his operation. Note England’s sarcastic finish when describing the sleeping habits of the discovered complainant.

 

“My dear sir,– In your last Number I saw, in the “Answers to Correspondents,” an allusion to some complaints emanating from the employees of a photographic establishment at Notting Hill.

 

As I know of no other business of that kind in the neighborhood than my own, I, in justice to myself, beg to offer you the other side of the question. In the first place, no one in my employ has worked more than seven hours and a half this winter and during short days and foggy weather. I will leave you to judge how much of that time could be profitably employed.

 

As the longer days are now coming in I desired the men to work nine hours per day and boys nine hours and a half. All time beyond that I have always paid for, both to men and boys.

 

A notion seems to have entered their heads that they should work the same hours only as operators employed in the close confinement of the dark room, and at that requiring infinitely more head work than printing, divided, as it is, into different branches, each one to his own department.

 

Several of my hands I could have well dispensed with, but having had their services through the summer, I have kept them through the winter, and at full wages too.

 

During this winter I have paid a lad to be here two hours before the others to get the workshops dry and warm, ready for the day’s operations.

 

I now, sir, leave you to judge how tyrannical has been my conduct.

 

Apologising [sic] for this troubling you, I remain, dear sir, your obediently. W. ENGLAND.

 

P.S.– Since writing the above I have discovered the chief mover in the affair to be an apprentice in the house, of whose character the best I can say (after an experience of five years) is that it is very difficult to get him out of bed before 9 o’clock in the morning.”[5]

 

In 1866 England can be found traveling through the Italian Alps. “Further on Mr. Foster, speaking of the glorious scenery of the Italian Alps, says “what would not a Wilson or an England effect here!” With many thanks for the great compliment he pays me I may also state that I have a series of views of the Italian Alps, procured during the summer of 1866, and which I am happy to say has been favourably received, both at home and abroad.”[6]

 

The series titled Views of the Rhine and its Vicinity, which included “the most striking and well-known subjects,” was published in 1867. England, using his own dry plate process, took over 400 negatives of Rhine scenery. The resulting published series was comprised of “80 stereo photographs of the Rhine from Cologne to Mayence, and of the Lahn and the Nahe. Priority is given to the big cities. There are 11 photographs of Cologne, Coblenz and the surrounding areas, 7 pictures of Wiesbaden, then a famous spa. However it is the Lahn which is well presented – there are 16 pictures. Photographs of the Moselle are lacking completely. There are only two pictures of Mayence, and four of the lower Nahe. This series also seems to be incomplete. Whether this is due to the unreliability of the dry plate procedure, to the lack of transport or perhaps other causes, it is hard to tell.”[7]

 

Abside de la Cathedrale de Limburg sur le LannAbside de la Cathedrale de Limburg sur le LannAbside de la Cathedrale de Limburg sur le Lann. Views of the Rhine and Its Vicinity. J. Paul Getty Museum.

Abside de la Cathedrale de Limburg sur le Lann. Views of the Rhine and Its Vicinity. J. Paul Getty Museum.

 

The last statement around the “unreliability of the dry plate procedure” is disputed by the fact that England used dry plates extensively, and successfully, during his Rhine journey. “In dry collodion processes the year has been more rich in good results than in any other branch of the art. Simplicity, sensitiveness, and certainty have been attained in several processes in a higher degree than had before been secured in dry plates. A simplified collodio-albumen process, by Mr. England, in which the preparation of the plate is completed at one operation and with one bath, has been found in his own practice sufficiently trustworthy to be employed commercially instead of the wet process; and during the summer he obtained by it upwards of 400 negatives of the Rhine scenery.”[8]

 

Further confirming his confidence in dry plates, England, in the same year as his Rhine journey, published several articles regarding collodio-albumen process. One article, titled “Collodio-Albumen Process Requiring but One Sensitising Bath,” was published in The Year-Book of Photography and two articles, one of which was titled “England’s Modified Collodion-Albumen Process,” were published in The British Journal of Photography.

 

Marion and Company, operating at Soho square, offered the set of England’s Rhine photographs for sale. There were 72 different panoramic views for sale for 1 shilling each, or the complete set, bound in half morocco, with each picture in a linen joint, for £4. The 80 stereoscopic views were available for 1 shilling each.

 

Following his trip to the Rhine region the prior year, England travelled to Tyrol in the Alps region of Italy and Austria in 1868. The resulting series, titled A Choice Selection of Scenes in the Tyrol, is comprised of approximately 80 pictures, although England was known to add, delete and reorder his sets in order to attract and keep the public’s interest. As with his previous photographic series, the Tyrol series was highly regarded. “The views in the Tyrol, lately taken by Mr. England, are so excellent that they cannot but add to that gentleman’s high reputation.”[9] England’s photographic work in Tyrol is attributed with contributing to the growing development of the tourist industry there.

 

In 1869 England can found traveling in France and Italy, where he “spent a good portion of the year 1869 taking views on the whole route, from St. Michel to Susa, including the top of the pass – a most interesting journey. Of this series of views a portion was shown at our Exhibition of that year, and also at the International Exhibition last year [1871].”[10]

 

In addition to his travel and landscape photography, other sets released by England included Views of Sandringham (1863); Views of Holland House (c.1864); Collection d'Objets d'Artet de Curiosité de M. Le Duc de Morny (1865); Gems of Statuary by Eminent Sculptors (1870s); and the London Exhibitions of 1871, 1872, 1873 and 1874.

 

The Views of Sandringham series was published in 1863 to a popular reception. There were two series of views, one set that included fifteen large views and another set that included fifteen stereoscopic views. For the British public, noteworthy among the series were several portraits of the Prince and Princess of Wales. There were six individual photographs of the Prince, nine individual photographs of the Princess and six photographs of the Prince and Princess together. Other subjects included the exterior and interior of Sandringham Hall, the grounds with “a pretty sheet of water, with some fine old trees; and very effective combinations may be made of them with the house,” and Sandringham Church. One review noted that all the photographs were “likely to be of interest to the large number of loyal subjects who are brimming over with curiosity as to every detail of the life, walks, and ways of this happy and honoured pair.”[11]

 

The Princess. Views of Sandringham.The Princess. Views of Sandringham.London Stereoscopic Company. The Princess. [London: london stereoscopic and photographic company, between 1863 and 1901] Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/2017651255/>.

The Princess. Views of Sandringham. London Stereoscopic Company. The Princess. [London: london stereoscopic and photographic company, between 1863 and 1901] Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/2017651255/>.

 

The Photographic News reviewed the Sandringham series, noting that the scenery was rather “unpicturesque.” Nonetheless, William England still managed to produce a pleasing series of photographs and stereoscopic views, including portraits of the Prince and Princess of Wales.

 

“PHOTOGRAPHS TAKEN AT SANDRINGHAM. By the London Stereoscopic and Photographic Company.

 

To make good pictures out of unpicturesque subjects is a task more difficult than making bricks with straw. All that could be done for Sandringham in the shape of good photography and well chosen positions, has been done, however, by Mr. England and the staff of operators sent down by the Stereoscopic Company. The result is some really pleasing pictures of the hall and grounds, and surrounding neighborhood, both in stereoscopic and 10 by 8 pictures. In the production of portraits the task was easier. The Princess, always graceful and charming – the Prince, always pleasant, easy, and a gentleman, make good pictures in any style; and of the score of different positions, & c., produced by the company, there is not one bad. A group of the Prince and Princess, the latter sitting on a rustic garden-seat, and the Prince leaning against it, forms at once as pleasing a picture and satisfactory likeness as have yet been produced. This picture is published both in stereoscopic size and as a vignetted 10 by 8 picture for framing. All the portraits are good, but the group is a gem.”[12]

 

The Holland House, located at Kensington, and photographed by England in circa 1864, has a long and distinguished place in the history of London. The historic house was constructed in 1605 by Sir Walter Cope, and later passed through the Rich and Fox families. Originally called Cope Castle, the house takes its newer name from Henry Rich, the Earl of Holland, son-in-law of Walter Cope. The house was mostly destroyed in World War II during the German firebombing runs of the Blitz in October 1940.  

 

In 1865 England traveled to Paris to photograph the art collection of the late Charles Auguste Louis Joseph de Morny, or the Duc de Morny (1811-1865). “DUC DE MORNY’S PICTURES.–It is satisfactory to find the high status of our best English photographers so practically recognised [sic] on the continent. Mr. England has just returned from Paris with a large and very fine series of negatives from the magnificent collection of paintings and other articles of vertu of the late Duc de Morny, now dispersed, by the auctioneer’s inexorable hammer, to all quarters of the globe. Mr. England had the honour [sic] to receive a commission from the Duchess to execute the task, and has also received her gracious permission to publish the series, as a souvenir of this unique collection.”[13]

 

The Gems of Statuary series focused on the works of noteworthy sculptors. The photographs frequently portrayed a statue reflected in a mirror. Statuary works photographed by England included Hop Queen and Britannia Unveiling Australia by George Halse, Golden Age and Love Restraining Wrath by William Beattie, Paul and Virginia by Charles Cumberworth, Florence Nightingale by Theodore Phyffers, Ino and Bacchus by John Henry Foley (1818-1874), The Bather by Luchini, The Quarrelsome Blacksmith by Leopold Harze, The First Thorn of Life by R. A. Macdowell, Bashfulness by E. Braga, The Finish of a Run with Foxhounds by J. Willis Good, The Bather by Odoardo Tabacchi, Parting of the Lovers by H. R. H. Prince Christian, Cinderella by J. Hirt, I’m First Sir! by Giovanni Focardi, Little Girl with Dove by A. Itasse, Her Majesty the Queen by J. E. Boehm, to name but a few.

 

Paul and Virginia by Cumberworth.Paul and Virginia by Cumberworth.Paul and Virginia by Cumberworth. Photograph. Gems of Statuary. William England. Marian S. Carson Collection. Retrieved from the Library of Congress, <www.loc.gov/item/2017650745/>.

Paul and Virginia by Cumberworth. Photograph. Gems of Statuary. William England. Marian S. Carson Collection. Retrieved from the Library of Congress, <www.loc.gov/item/2017650745/>.

 

By 1868 England had earned a reputation as one of the great photographers in England and Europe, if not the world. He was noted for his artistic efforts and his technical expertise, as well as his willingness to share his technical findings with the entire photographic community.

 

“For many years he has been chiefly devoted, however, to the production of landscapes, especially stereoscopic and instantaneous work. His success in these departments has been most unequivocal, his especial work work being unsurpassed by any in the world, and equalled by very few.

 

His views of Niagara, taken under serious disadvantages, upwards of ten years ago, are still the finest views of the grand scenery of the Falls that have been issued. His instantaneous views of the streets of Paris have never been surpassed. His views of the International Exhibition of 1862 were perfect, and, by contrast, give a singular point to the failure in the attempt to photograph the recent exhibition of a similar kind. The Swiss scenery, which for some years has absorbed Mr. England’s attention, is executed with a degree of care which leaves nothing to desire.

 

Perhaps the most distinguishing characteristic in all Mr. England’s operations is their preeminently practical quality. An earnest experimentalist, with a perfect knowledge of all the capabilities of the art, and a liberal communicator of all the results of his knowledge to his brethern, it is well known to all those who have the advantage of Mr. England’s friendship, that when he advises a given course, or when he publishes a process, it is certain to be practical and trustworthy. A cultivated artistic feeling characterizes all his pictures; whilst their photographic manipulation is generally absolutely perfect. A scrupulous and conscientious care to secure in all cases the best possible result is manifest.”[14]

 

As for the breadth of his skill, William C. Darrah, a recognized expert on the history of photography, wrote that England was considered “a skillful artist in virtually all areas of photography, but especially landscape, architecture, interiors and sculpture.”[15]

 

In 1870, while photographing in the Rhine region of Germany, England was the subject of international intrigue. “At his peak, England was regarded as one of the leading landscape photographers in Europe. However this did not help him during the Franco-Prussian War of 1870, when he was arrested in the Rhine region of Germany and accused of being a French spy. England was eventually released but not before authorities had initially confiscated his lenses, though these were later returned.”[16]

 

The Photographic News, in 1882, also wrote of the earlier international incident. “It is not so long ago that Mr. William England was arrested on the Rhine, and marched off between two spiked helmets with all the pomp and circumstances of a spy. But this was at the beginning of the Franco-German war; and no doubt if “Gelatine-Amateur” takes care to keep out of sight of the fortifications of Metz, Strasburg, Ehrenbreitstein, and the like, he will not be molested by German officials.”[17]

 

In August 1870, soon after England’s return from the Rhineland, The Photographic News published some details around the encounter.

 

“I was somewhat startled the other day, when I was asked by a friend if I had heard that England bad been attacked and plundered by the Prussians. My alarm was removed and my sympathy quickened when he explained, however, that it was Mr. England, and not England as a nation or territory, and that the proper statement of the case should have been that Mr. England had been robbed during his continental campaign of a pair of lenses worth £20, and subsequently arrested by two Prussian soldiers as a French spy. Fortunately, the delay and ignominy were of brief duration, as he was soon able to prove that his occupation was altogether of a peaceful character, and that he was a votary of Phoebus Apollo, not Bellona, I was glad to learn subsequently that he had recovered the lenses, after much bother and the disbursement of cash in “tipping” officers of justice. His photographic operations for the season were, however, strictly prohibited by the military authorities, and he has left Rhineland in disgust, his summer’s work practically ended.

 

This is perhaps one of the most trivial of the evils caused by the insane war now pending – a trifle compared with the terrible horrors which must ensue; but such trifles are serious when they touch our immediate interests. Who does not echo the wish of simple little Jeanette, in the song, that they who make the quarrels “should be the only men to fight’?”[18]

 

In July 1870 another version of England’s arrest was published in The British Journal of Photography.

 

“In the course of conversation, a few days since, with Mr. England, who has just returned from the continent, that gentleman informed us of a series of misadventures which he has recently encountered, and which have culminated in his having had to beat a retreat from the intended scene of his photographic labours. Mr. England, about six weeks ago, left this country for the Rhine, with the intention of taking a series of negatives of the charming scenes to be found in the vicinity of that far-famed river.

 

The first drawback to his anticipated success was a steady downpour of rain, which set in upon his arrival and continued for several days. This pluvial visitation, however, eventually came to an end, and he at last found himself in the field of his artistic operations. Having occasion to leave his camera for a very brief interval, he found, on his return, that some enterprising native had stolen a bag containing a valuable pair of Voigtlander portrait lenses that were used by him in the production of instantaneous views. These were fortunately recovered, but not until much time had been wasted in feeing policemen and in attendance at a court of justice; and as this happened when the Queen of Prussia was on a visit to Coblentz, where Mr. England was then sojourning, trifling legal matters were not likely to receive immediate attention at the hands of the officials.

 

Eventually, however, Mr. England got once more on to the scene of action. On the morning of the day succeeding that on which the war was proclaimed between France and Germany, Mr. England was arrested by four Prussian soldiers, who, imagining that he was a French spy engaged to photograph the fortifications on the Rhine, conveyed him before the military authorities. After a short interview they realized the fact that he was simply what he professed himself to be, viz., an English photographer in quest of artistic pictures and not of fortifications. The negatives he had already taken were sent for and examined, and, as these bore out his statement, he was cautioned against taking any more pictures while the war lasted, after which he was released.

 

The Rhine being thus closed against Mr. England, he has returned home. There are many Englishmen at present on the continent with their cameras, and probably many more have been preparing to go there; but we trust the experience of one of our oldest and best photographers will suffice to prevent other of our countrymen from visit that portion of the continent which is now the scene of strife between Gaul and Teuton.”[19]

 

In 1872 England was engaged by the Heliotype Company to photograph the London International Exhibition, possibly due to a lack of expertise. “Now for a few instances to the point, which, being strictly true, will, I hope, give no offense. It is no secret that the Heliotype Company, working one of the collographic processes as perfected by Mr. E. Edwards, during their reign as sole photographers in the International Exhibition of this year found it necessary to employ the staff of Mr. England to produce silver prints of the views, statuary, &c., taken in the building for sale there.”[20] For the years 1873 and 1874 England was the sole photographer for the London International Exhibitions.

 

Historian Alexander Guano wrote of England’s business practices while self-employed. William England “did not himself place any advertisements drawing attention to his photographs in the relevant specialist periodicals. On the contrary, from the description by Pritchard it becomes clear that not even a plate on his house, 7 St. James’s Square, Notting Hill, London, in which his business was situated from 1867 onwards, drew attention to the fact that it housed one of the biggest enterprises undertaking landscape photography in Europe. This shows that England was not aiming at drop-in customers. The question then is, how did he publicise and sell his photographs throughout the world? The answer, most probably, is via a tight network of publishers. Labels and stamps of publishers from various countries are often found on England’s photographs . . .”[21]

 

Confirming Guano’s observations about England’s business, an article in The British Journal of Photography titled “A London Photographic Establishment” extensively described the England residence and production facility.

 

“The residence and ateliers of Mr. England adjoin each other, and are situated in the extreme west end, in the outskirts of Notting Hill. In passing through the square – which is one of a very staid character, and the gentility of which is not marred by the presence of a tradesman’s shop – we were struck by the fact that there was not the slightest indication whatever of the vicninity of an extensive photographic establishment. Not only was there not a single “specimen” visible, as we might have supposed to be perceptible, but on the entrance door, which was essentially that of a gentleman’s private house, there was not even a name-plate to indicated either the resident or the profession carried on so extensively in connection with this particular mansion.”[22]

 

This same article, written in 1865, noted that England was producing an estimated 1,680 stereoscopic pictures per day during normal times. For times of high demand, as associated with the International Exhibition, production could reach upwards of 4,800 stereoscopic pictures per day. As a point of emphasis, the article closed by noting that the England “establishment of which we have attempted to convey some idea is not that of a portrait, but of a landscape photographer.” 

 

In 1881 England wrote to the editors of The British Journal of Photography in response to an earlier article, which claimed the benefits of photographing landscapes in cloudy weather. With this England steadfastly disagreed. 

 

“Gentleman,– In glancing through the British Journal Photographic Almanac, just published, I notice Mr. W. Harding Warner makes the remark that bright sunshine in most cases is destructive to the working of a gelatine plate, and he intimates that more detail and finer pictures may be obtained on dull and cloudy days.

 

Surely Mr. Warner must be trying to pass a practical joke on the readers, or he can have had no knowledge of landscape photography. If he has examined the works in gelatine recently exhibited by many of the best photographers he will find that all the most successful pictures have been obtained in sunlight. I can also say that in my own experience of some twenty-five years I have seldom taken a landscape on a dull or cloudy day. Close studies, certainly, may be taken; but extensive views without the bright, crisp sunlight I should esteem a failure. If I ever venture out on a cloudy day to take a view I arrange my camera ready, take a comfortable seat on the nearest convenient spot, and wait till the sun makes its appearance, which may be, and has been many times, from minutes to hours; and, in the event of its not doing so till the day is too far advances or my patience has been exhausted, I simply pack up, and, as Jacob Faithful says, look for “better luck next time,” and return on some future occasion.

 

Dull days, when the sun is not shining, may be profitably employed in selecting the views to be taken when the weather becomes favourable. On such occasions one should carry a compass, and also make a note of the time of day when the light I most suitable for takin the various views.

 

I have been induced to make these remarks, as they may be of service to the inexperienced. With the compliments of the season, – I am your, & c., William England. December 27, 1881.”[23]

 

In 1880 the Photographic News wrote of England, his popular establishment and his world-class reputation. “Yes, Mr. William England is probably the largest Continental publisher of European views, and here at St. James’s Square, or rather in a compact little establishment at the back of his residence, is the source of all the prints issued in his name. In the summer, Mr. England travels in Switzerland, the Tyrol, and Italy for months together with camera and apparatus, bringing back with him additions to his series of photographs, the names of which fill a good-sized pamphlet . . . The harmony and delicacy of Mr. England’s landscapes are proverbial; the sun’s glare is never permitted to exercise a baneful influence upon the middle distance and horizon, and this simple shade has much to do with Mr. England’s reputation as one of the first landscape photographers.”[24]

 

In 1880 England again traveled to Switzerland, including stops at Chamonix, the Pass of Tete Noire and the Matterhorn. During his trip England was accompanied by Captain Abbey and Lieutenant Darwin. The resulting photographs were much praised.

 

“The most charming effects of light and shade have been secured; summer clouds float over black pine forest and deep shadowed vale, the gloom rendered with full detail, while the high lights are milk-white in tone, with all absence of glare. In nearly every plate, Mr. England has succeeded by the aid of his well-known camera screen, or camera-peak, in faithfully depicting the sky as well as the earth; some of his “cloud-capt” peaks are really marvellous.”[25]

 

“Mr. England’s pictures come from Switzerland. Look at the Pass of Tete Noire (279). The pathway is but a narrow shelf cut in the rocky side of a steep mountain; as you stand here on the jutting prominence, the whole of the magnificent defile is before you – the pine clad slopes – the lofty peaks towering to the clouds – the sheer precipices of cliff and crag. A clump of black firs in the foreground supply a contrast to the clear bright panorama beyond, and give a sense of the magnitude of the vast mountain ranges before you. Look, too, at the Matterhorn and the Riffel (285), two lofty pinnacles, the one a glittering spire of ice crystals – the other in the foreground a black pyramid that might be taken for the Matterhorn’s shadow, it is so dark and gloomy. Mr. England has never shown a finer series of studies.”[26]

 

In the fall of 1882 England extensively photographed the St. Gothard route between Switzerland and Italy, “one of the greatest centres of attraction in Europe during the past year or two.”[27] An amateur photographer, who was at St. Gothard at the same time as England, wrote of England’s trip and the resulting photographs. England took extensive views at Amsteg and Wasen and the “beautiful valley of Goshenen.” He shot at Locarno and at the head of Lake Maggiore. His trip lasted well into the fall, so that he was able to photograph several scenes under snow. “Doubtless, long before these lines are published, Mr. England will have arranged mountains and clouds to his satisfaction, and his pictures of the the St. Gothard will be keeping up his well-deserved high reputation.”

 

In 1885 England was again photographing in Switzerland. Paul Felix Kuhne served as a porter for England for four years, including the 1885 Switzerland trip. Kuhne was engaged to carry England’s photographic apparatus. Kuhne would be arrested 1886 upon accusations from William England and his son John Desire England, being accused of “forging and uttering an endorsement on an order for the payment of 6£., with intent to defraud.”[28] Kuhne was found not guilty.

 

In 1892 England was back in Switzerland, this time using a new technique of “cut films.” “Although the value of cut films has long been established, more especially those of the smaller sizes, yet it is well that the endorsement of such a well-known practical man as Mr. William England should be put upon record. This veteran photographer, who has just returned from Switzerland, informs us that when he went abroad he took with him twenty-four dozen whole-plate and half-plate films, and, having developed them all, is in a position to say that he has not experienced a single failure directly or indirectly traceable to his having used films instead of glass, as formerly. His film holders are made with a slight curve, causing the films to assume a cylindrical bend towards the lens, and this enabled him to get marginal sharpness when employing a stop larger in size than would suffice if the film were impressed when in a flat position.”[29]

 

William England continued to operate his photography business in the 1870s and the 1880s. In 1871, as per the national census, England was listed with a profession of “photographer, employs 1 boy, 2 girls.” In 1877, William listed his profession as “artist,” as per the marriage record of his son Walter. The 1881 England census listed William with an occupation of “photo publisher.” In 1887 William’s profession was listed as “gentleman,” as per the marriage record of his son John Desire. That same year a magazine article about the England Brothers firm noted that “Mr. England has for some little time been resting on his oars,” i.e., noting that he was retired. In 1889 William’s profession was again listed as “gentleman,” as per the marriage record of his son Louis. By 1891 he was listed in the United Kingdom census as a retired photographer, i.e., “own means,” but remained active in the trade until his passing in 1896.

 

Technical Expert

 

“Mr. England was to the front as a clever manipulator and all round photographer.”

 

 

England’s technical prowess was widely respected. He widely published a number of practices that he thought worthy of sharing; and if those ideas were published, they were to be respected. “Perhaps the most distinguishing characteristic in all Mr. England’s operations is their eminently practical quality. An earnest experimentalist, with a perfect knowledge of all the capabilities of the art, and a liberal communicator of all the results of his knowledge to his brethren, it is well known to all those who have the advantage of Mr. England’s friendship, that when he advises a given course, or when he published a process, it is certain to be practical and trustworthy.”[30]

 

In addition to his picture taking England was also well acquainted with the technical hardware of the photography trade. In 1861 he notably created the first ever focal plane shutter, which allowed greater control of exposure times. The “focal plane shutter” greatly increased image clarity, thus improving the overall stereoview quality.

 

“A shutter that works immediately in front of the plate, and now commonly fitted to the highest class cameras. It is believed to owe its practical form to B. J. Edwards, who in 1882 published a description of his apparatus; but some eighteen or twenty years previously the principles were known to William England, who used a crude device working on the same principle a long time before Edwards’s ideas were published. England’s device was a board containing a horizontal slit which travelled in front of the plate in the same manner as the drop shutter of the present-day travels in front of the lens, and it was caught in a kind of bag suspended from the camera.”[31]

 

Writing for The Amateur Photographer in 1890, W. Jerome Harrison detailed of the history of instantaneous photography. As part of the article Harrison wrote at length of England’s innovative shutter device.

 

“The dark slide used in obtaining the instantaneous negatives was exhibited. Instead of adopting the usual method of covering and uncovering the lens, Mr. England uses a shutter on the inside of his camera, forming part of the dark-slide. It consists of a shutter having a slot the whole length of the plate. The lower part of this shutter, before the exposure, covers the whole of the plate; on touching a small lever, it is released, and falls rapidly by its own weight, after the principle of the guillotine; in falling, the long aperture or slot passes over the plate, giving in its passage a rapid exposure to every part of the plate, which is again covered by the upper part of the shutter. The slot may be widened or contracted at will, so as to control in some degree the amount of exposure given to the plate. This is an excellent form of shutter, and is now in use by some of our best workers.”[32]

 

In addition to the focal plane shutter, England was also widely associated with the lens shade. At the May 1890 meeting of the Photographic Society of Great Britain, while discussing the topic of lens hoods, “Mr. W. England wondered why so little care was generally taken to shade the camera. He never went out to photograph without a shade. All cameras ought to be furnished with a hood. He used it in such a way as to all but cut off the image . . . Mr. V. Blanchard said that he believed the mode of shading the lens by a hood was originally suggested by Mr. England and the late Mr. Dallmeyer.”[33]

 

“The lens shade, which Mr. England was one of the first to employ, if not introduce, is scarcely so well known as it deserves to be. Mr. England invariably employs it for landscape work, and if jointed, as shown in our picture, the shade may be depressed in front of the lens, to cut off every bit of glare on a sunny day. As the peak of a cap shades its wearer, and permits him to see more clearly, so the lens-shade allows the camera to conceive a more vivid image. Such an apparatus fixed to the front of the camera is far better than any make-shift arrangement at the moment of exposure.”[34]

 

The Camera of William EnglandThe Camera of William EnglandThe lens shade, which Mr. England was one of the first to employ, if not introduce, is scarcely so well known as it deserves to be. Mr. England invariably employs it for landscape work, and if jointed, as shown in our picture, the shade may be depressed in front of the lens, to cut off every bit of glare on a sunny day. As the peak of a cap shades its wearer, and permits him to see more clearly, so the lens-shade allows the camera to conceive a more vivid image. Such an apparatus fixed to the front of the camera is far better than any make-shift arrangement at the moment of exposure.

 

Lens Shade of William EnglandLens Shade of William EnglandIn 1880 The Photographic News published a lengthy profile on England, his equipment and his studio, including some additional details about his lens shade. “Mr. England confines himself for the most part to views of small size, or, in other words, rarely goes beyond a 10 by 8 plate. His favorite travelling camera is standing in a corner, and he sets it up for inspection; it will do for stereoscopic pictures, or for whole-plate negatives. “Here is a simple arrangement for shading the lens,” says Mr. England, and he shows us what appears to be the peak of a cap made of mahogany. We made a rough sketch of this apparatus, and here it is. The front flap measures four inches and the middle flap about three, and the double hinge arrangement permits you to bend down the peak right in front of the lens, if you like, so that you may almost employ it as a cap. But for shading the lens the arrangement is invaluable, and travelling photographers would be wise indeed to adopt so simple a modification to their apparatus.” (“Mr. William England at St. James’s Square, Notting Hill.” The Photographic News. Vol. 24. April 9, 1880. London: Piper and Carter, 1880. pp. 171-173.)

 

In 1880 The Photographic News published a lengthy profile on England, his equipment and his studio, including some additional details about his lens shade. “Mr. England confines himself for the most part to views of small size, or, in other words, rarely goes beyond a 10 by 8 plate. His favorite travelling camera is standing in a corner, and he sets it up for inspection; it will do for stereoscopic pictures, or for whole-plate negatives. “Here is a simple arrangement for shading the lens,” says Mr. England, and he shows us what appears to be the peak of a cap made of mahogany. We made a rough sketch of this apparatus, and here it is. The front flap measures four inches and the middle flap about three, and the double hinge arrangement permits you to bend down the peak right in front of the lens, if you like, so that you may almost employ it as a cap. But for shading the lens the arrangement is invaluable, and travelling photographers would be wise indeed to adopt so simple a modification to their apparatus.”[35]

The camera and equipment of William England, noted photographer.W. Englands tragbares LaboratoriumSource: Photographisches Archiv. No. 309. 1875. p. 54.

 

In 1868 The Photographic News published a profile of England’s studio, including a description of his innovative washing equipment and process.

 

“The washing arrangements are very excellent. After the fixed prints are received three or four rapid changes of water to remove the bulk of the hypo, they are transferred to the washing machine, an invention of Mr. England, and used by him for the past ten years, diagram of which we give. It consists primarily of a large trough 7 feet long, by 4 feet 6 inches wide, and 11 inches deep. Placed in this are two trays with lattice work, made of gutta-percha strips, at the bottom. Just above, supported by a bracket on the wall, is a box containing a water-wheel turned by the stream from a tap just above it.

 

The two trays are connected with this wheel by a rod attached to a crank, and as the wheel revolves the trays are kept in a constantly oscillating motion, which serves the double purpose of preventing the prints from sticking together, and of securing more effectual washing than is effected by great soaking. The water which turns the wheel passes through a pipe at the bottom of the wheel-box into the washing trays; and about once in every hour, the large trough having become full, brings into action a syphon, which empties it in ten minutes, leaving the prints to drain for a time, resting on the gutta-percha lattice work. The washing, thus managed, is found to be very effectual.

 

The prints are removed each morning after a night’s washing, and placed in a straight heap in a screw press, by which all the water is squeezed out of them, which is a more effectual aid to drying than blotting off; and when spread on canvas frames the prints rapidly dry flat and even, with little curling or cockling.”[36]

 

In 1888, over 20 years after the publication of the details of England’s washing equipment, those ideas were still being used throughout the industry. The “Optimus” Rocking Print Washer, being sold in 1888, was designed “after a model invented over a quarter of a century ago by Mr. England” with “a form not much differing from its forefather configuration.” One retailer noted that when selling the washer, he did not refer to the equipment as the “Optimus,” but rather the “England,” “as we think Mr. England, who invented it over a quarter of a century ago, ought to get some little credit by the article which gets so many compliments for the way in which it does its work.”[37]

 

Photographic Washing Machine by William EnglandPhotographic Washing Machine by William England“The washing arrangements are very excellent. After the fixed prints are received three or four rapid changes of water to remove the bulk of the hypo, they are transferred to the washing machine, an invention of Mr. England, and used by him for the past ten years, diagram of which we give. It consists primarily of a large trough 7 feet long, by 4 fee 6 inches wide, and 11 inches deep. Placed in this are two trays with lattice work, made of gutta-percha strips, at the bottom. Just above, supported by a bracket on the wall, is a box containing a water-wheel turned by the stream from a tap just above it.

The two trays are connected with this wheel by a rod attached to a crank, and as the wheel revolves the trays are kept in a constantly oscillating motion, which serves the double purpose of preventing the prints from sticking together, and of securing more effectual washing than is effected by great soaking. The water which turns the wheel passes through a pipe at the bottom of the wheel-box into the washing trays; and about once in every hour, the large trough having become full, brings into action a syphon, which empties it in ten minutes, leaving the prints to drain for a time, resting on the gutta-percha lattice work. The washing, thus managed, is found to be very effectual.

The prints are removed each morning after a night’s washing, and placed in a straight heap in a screw press, by which al the water is squeezed out of them, which is a more effectual aid to drying than blotting off; and when spread on canvas frames the prints rapidly dry flat and even, with little curling or cockling.” (“Visits to Noteworthy Studios. Mr. England’s Establishment at Notting Hill.” The Photographic News. Vol. 12, No. 502. April 17, 1868. pp. 185.)
Photographic Washing Machine by William England

 

Optimus Rocking Print WasherOptimus Rocking Print WasherIn 1888, over 20 years after the publication of the details of England’s washing equipment, those ideas were still being used throughout the industry. The “Optimus” Rocking Print Washer, being sold in 1888, was designed “after a model invented over a quarter of a century ago by Mr. England” with “a form not much differing from its forefather configuration.” One retailer noted that when selling the washer, he did not refer to the equipment as the “Optimus,” but rather the “England,” “as we think Mr. England, who invented it over a quarter of a century ago, ought to get some little credit by the article which gets so many compliments for the way in which it does its work.” (“Correspondence.” The British Journal of Photography. Vol. 35. October 19, 1888. London: Henry Greenwood & Co., 1888. p. 671.)  Optimus Rocking Print Washer

 

William England, and later his sons, were noted manufacturers of a variety of plates, including landscape plates, dry plates, lantern plates, gelatino-chloride plates and many others. The drying box was a key piece of equipment in the process, and was described in The Photographic Studios of Europe by H. Baden Pritchard.

 

“As our readers are aware, Mr. England is facile princeps in the preparation and manipulation of gelatine plates, and his drying-box is the best model yet devised. It is nothing more nor less than a light-tight cupboard, with wires stretched across to support the plates. Through the centre runs an inch gas-pipe, open at both ends, at the bottom of which is a small gas jet which burns inside. At the top and bottom of the box are two draught-holes cut, to which a tin tubing about three inches diameter is attached, as shown in the figure.

 

The gas tube gets warmed with a very small jet of gas burning in it, a mere pin-hole being sufficient exit for the gas. This warms the air in contact with the tin tube, and also slightly the air inside the cupboard. The consequence is, that a current of slightly warm air is set up, and circulates amongst the plates while supported on the wires, and the drying of the films takes place rapidly. Five or six hours is a sufficient time in which to dry the plates, whilst without the gas jet it would take twenty-four hours or more. In the inside of the cupboard, and near the top and bottom, are placed two cupboard discs to stop the possibility of any stray light entering, and as the whole affair is place in the dark-room, the chances of any such access even without it would be small.

 

Inside the cupboard door is fixed a thermometer, and the jet is regulated so that a temperature of about 70 degrees is indicated – 80 degrees would do no harm to the plates; beyond that temperature it might not be safe to go.

 

The small gas jet used is the same as may be seen in tobacconists’ shops; the hole in the end is plugged up, and a very small hole drilled at the side.”[38]

 

Drying box of William England, noted photographer.England's Drying BoxDrying box by William England. England's Drying Box

 

Beyond his technical knowledge of the camera and its related equipment, and beyond his expert skill in taking photographs, England also ran a fine manufacturing operation. “Mr. England is a man of resource. At St. James’s Square he prepares his own plates, makes his own varnish, albumenizes his paper, prints and mounts his pictures, and does what lithographic or letter-press work the mounts require. Here is a model little printing establishment with two type-presses and a litho-press; and adjoining is the compositor’s room, with type trays and desk complete. Both litho-press and printing-press are busily at work just now, and stacks of white and yellow mounts are standing by ready for printing. Farther on, across a spacious yard, half covered in with glass, where the printing takes place, is another building devoted downstairs to the toning and washing of prints, and upstairs to albumenizing paper and sensitizing it. The albumenizing is done when eggs are cheap, and there is very little mystery about the matter. The best Saxe paper is employed, and this floated upon the albumen in the same way as paper is sensitized.”[39]

 

 

[1] Blair, Peter. Stereo Views: Victorian 3D Photography of the Alps. pp. 227-233.

[2] “Critical Notices. Views of Switzerland and Savoy. Photographed by Wm. England.” The Photographic News. Vol. 8, No. 278. January 1, 1864. p. 4.

[3] “Views of Switzerland and Savoy. By William England.” The Photographic News. Vol. 10. April 20, 1866. London: Thomas Piper, 1866. p. 183.

[4] “Notting Hill Photographers.” The Photographic News. Vol. 7. March 13, 1863. London: Thomas Piper, 1863. p 132.

[5] “Photographic Notes and Queries. Working Hours of Photographers.” The Photographic News. Vol. 7. March 20, 1863. London: Thomas Piper, 1863. p 143.

[6] “Transalpine Photography.” The British Journal of Photography. Vol. 19. February 9, 1872. London: Henry Greenwood, 1872. p. 69.

[7] Wettmann, Hartmut. “William England’s 1867 Rhine Journey.” Stereo World. Vol. 29, No. 1. pp. 4-9, 13.

[8] “Photography During the Past Year.” The Photographic News. Vol. 12, No. 487. January 3, 1868. London: Piper and Carter, 1868.

[9] Werge, John. The Evolution of Photography. London: Piper and Carter, 1890. p. 295.

[10] “Transalpine Photography.” The British Journal of Photography. Vol. 19. February 9, 1872. London: Henry Greenwood, 1872. p. 69.

[11] “The Sandringham Series of Photographs.” The Photographic Journal. Vol. 8, No. 134. London: Taylor and Francis, 1864. June 15, 1863. p. 306.

[12] “Photographs Taken at Sandringham.” The Photographic News. Vol. 7, No. 256. July 31, 1863. London: Thomas Piper, 1863. p. 366.

[13] “Miscellanea.” The British Journal of Photography. Vol. 12. June 9, 1865. London: Henry Greenwood, 1865. p. 306.

[14] “Visits to Noteworthy Studios. Mr. England’s Establishment at Notting Hill.” The Photographic News. Vol. 12, No. 502. April 17, 1868. p. 185.

[15] Darrah, William C. The World of Stereographs. Gettysburg, Pennsylvania: W. C. Darrah, 1977. p. 103.

[16] Hannavy, John. Encyclopedia of Nineteenth-Century Photography. New York: Taylor & Francis Group, 2008. p. 489.

[17] “Notes.” The Photographic News. Vol. 26, No. 1243. June 30, 1882. pp. 376-377.

[18] “Echoes of the Month.” The Photographic News. Vol. 14. August 5, 1870. London: Piper and Carter, 1870. p. 362.

[19] The British Journal of Photography. Vol. 17. July 29, 1870. London: Henry Greenwood, 1870. p. 349.

[20] “Mechanical Printing.” The British Journal of Photography. Vol. 19. October 4, 1872. London: Henry Greenwood, 1872. p. 471.

[21] Guano, Alexander. “The views of the Tyrol by William England.” The PhotoHistorian. Summer 2019 / No. 184. p. 11.

[22] “A London Photographic Establishment.” The British Journal of Photography. Vol. 12. January 20, 1865. London: Henry Greenwood, 1865. pp. 28-29.

[23] “Sunshine of Shade.” The British Journal of Photography. Vol. 28, No. 1130. December 20, 1881. London: Henry Greenwood, 1881. p76.

[24] “Mr. William England at St. James’s Square, Notting Hill.” The Photographic News. April 9, 1880. pp. 171-173.

[25] “Notes.” The Photographic News. Vol. 24. December 10, 1880. London: Piper and Carter, 1880. p. 595.

[26] “At the Opening of the Bristol International Exhibition.” The Photographic News. Vol. 24. December 24, 1880. London: Piper and Carter, 1880. p. 615.

[27] “Mr. W. England’s Photographs of the St. Gothard District.” The British Journal of Photography. Vol. 30, No. 1197. April 13, 1883. London: Henry Greenwood, 1883. pp. 208-209.

[28] “New Court.—Monday, September 20th, 1886.” The Proceedings of the Old Bailey. London’s Central Criminal Court, 1674 to 1913.

[29] “Cut Films in Professional Practice.” The British Journal of Photography. Vol. 34. September 23, 1892. London: Henry Greenwood & Co., 1892. p. 612.

[30] “Visits to Noteworthy Studios. Mr. England’s Establishment at Notting Hill.” The Photographic News. Vol. 12, No. 502. April 17, 1868. pp. 185.

[31] Jones, Bernard E. Cassel’s Cyclopedia of Photography. Vol. 1. New York: Cassell and Company, Ltd., 1912. p. 262.

[32] Harrison, W. Jerome. “Instantaneous Photography.” Chapter 4, Pioneers of Instantaneous Photography. The Amateur Photographer. Vol. 12. October 31, 1890. pp. 309-310.

[33] “Photographic Society of Great Britain.” The British Journal of Photography. Vol. 37. May 16, 1890. London: H. Greenwood & Co., 1890. p. 316.

[34] “Notes.” The Photographic News. Vol. 27. June 29, 1883. London: Piper and Carter, 1883. p. 408.

[35] “Mr. William England at St. James’s Square, Notting Hill.” The Photographic News. Vol. 24. April 9, 1880. London: Piper and Carter, 1880. pp. 171-173.

[36] “Visits to Noteworthy Studios. Mr. England’s Establishment at Notting Hill.” The Photographic News. Vol. 12, No. 502. April 17, 1868. pp. 185.

[37] “Correspondence.” The British Journal of Photography. Vol. 35. October 19, 1888. London: Henry Greenwood & Co., 1888. p. 671.

[38] Pritchard, H. Baden. “Mr. William England at Notting Hill.” The Photographic Studios of Europe. London: Piper and Carter, 1882. pp. 14-19.

[39] “Mr. William England at St. James’s Square, Notting Hill.” The Photographic News. Vol. 24. April 9, 1880. London: Piper and Carter, 1880. p. 172.

 

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[email protected] (American Catskills) 1859 alpine America in the Stereoscope Blondin Britain Catskills England exhibit Fawn's Leap International Exhibition Ireland Italy Kaaterskill Clove Kaaterskill Falls Kauterskill Falls landscape Laurel House London Stereoscopic Company mountains Niagara Falls North American Series North Lake photographer photographs photography Plattekill Clove Plauterkill Clove Rhine scenery statuary stereoscope stereoscopic stereoviews Switzerland waterfalls William England https://www.americancatskills.com/blog/2022/4/william-england-and-his-1859-tour-of-the-catskills-part-6 Sat, 02 Apr 2022 12:00:00 GMT
William England and His 1859 Tour of the Catskills (Part 5) https://www.americancatskills.com/blog/2022/3/william-england-and-his-1859-tour-of-the-catskills-part-5

Introduction

 

William England (1830-1896) was a 19th century British photographer who was widely known for his travel images. He was an early adopter of photography, operating a studio in the late 1840s, less than ten years after the daguerreotype was created by French inventor Louis Daguerre. England’s 1859 trip through the United States, including a visit to the Catskills, and Canada gained widespread praise. His image of Charles Blondin tightrope walking across the Niagara Gorge is among the top selling stereoviews of all time. Although largely forgotten today, William England was considered one of the great photographers of his era.

 

 

Continued from Part 4.

 

Reviews

 

“One of the remarkable things about this collection . . . is that it can be attributed to a single hand, that of William England, one of Nottage’s principal photographers. It is also rare – indeed unique – in being a complete account of a single trip, through the Northeast. It was also, and as you would expect of a commercial photographer, a disciplined journey, one which took account of pictorial expectations, for America, in particular, was a much traveled land . . .” – Ian Jeffrey. (p. 10)

 

 

Upon returning to Britain after his travels in the United States William England exhibited his American stereoscopic views in various forums. His work was also reviewed in several leading publications.

 

On May 3, 1860, The Times, of London, published an extensive review of England’s North American series in an article titled “America in the Stereoscope.”

 

“America in the Stereoscope.– It is hardly too much praise to say that a good set of stereoscopes is equal in interest to a good book of travels, with all those additional advantages which the former must derive from giving us their quick, life-like glimpses into costumes, manners, and modes of life of all kinds, and reproducing with minute fidelity the scenery which is always so characteristic of a people. Stereoscopes, in fact, anticipate travel.

 

The peculiar genius of the Egyptians, as manifested in their rock-hewn temples and colossal monuments, can be appreciated and understood in beautiful little stereoscopes without quitting an arm-chair. The great pictorial features of British India are familiar to millions who have never been within the tropics. We can study and admire the sacred shrines of the Holy Land, and look with something like dismay on these arid places which spread in a sea of hot sand around Mounts Horeb and Sinai. Robertson has made the mosques of Constantinople and the ruined temples of Aegean as familiar as Tintern or Melrose; and, except among the untrodden wilds of Asia Minor and Circassian coast, where Europeans seldom venture, photography has done all it can do for the East.

 

The West, however, has not been attempted, and till within the last two or three months the grand scenery of North America with its checkered beauties of cataract and river, lake and mountain, have remained unknown save to those who have extended their travels so far.

 

Now, however, the turn of the New World has come round for photographic illustration, and under the title of “America in the Stereoscope,” the London Stereoscopic Company have just issued a most charming set of views, so well chosen and so varied that as we pass from one to the other American life and scenery in every phase are present to the eye. American cities, as a rule, afford little matter for pictorial illustration when compared with the gorgeous edifices and many-tinted capitals of the East. The artist therefore has, with much tact, avoided a repitition of American towns and villages, and flown to those scenes on the Delaware, the Hudson, and the St. Lawrence which seem always new. In these views we seem to travel through the states, starting from New York, which is of course made much of, and with its angular streets and blinding sunglare is brought with all the vividness of reality before the spectator.

 

From this point, then, we journey along the Hudson, past the Falls of the Poniac, Patterson, Peekskill, Poughkeepsie, Indian Glen, and Sunnyside. The Hudson, of course, affords an endless source of views, and the "Falls of the Poniac," "Sleepy Hollow," "Indian Fall," and "Rustic Bridge" are among the best things of the kind that has ever been attempted.

 

In the gorges and gaps of the Katskill Mountains we look for and get some sublime pieces of mountain scenery, rough and wild as can well be conceived; but it is in "the matchless cataract," the fountain of an infant sea – Niagara, that the artist exhausts all his skill in instantaneous photographs of this tremendous scene. In these views, fortunately, he is even, if possible, more successful than with the others, and for a marvellous specimen of stereoscopic skill we should select the view of the fall from Prospect Point and the Rapids as being in clearness and grandeur of detail beyond all views of the kind that we have seen. All the views of the Falls, in fact, are perfect studies, and here we get the cataract from every point, lit by the sun or moon red in the day's decline, gray as evening slowly falls upon it, or in the winter when snow and ice are the ruling genii of the spot, and when the spray which rises from the cataract hangs heavy in gigantic crystals on all around. The view near the Terrapin Tower in winter is a splendid example of this kind.

 

In addition to these grand objects we find scores of others less striking, but of equal interest – the tomb of Washington, Trenton Falls, the Mississippi river boats, the broad commodious trains and sleeping cars, with grand suspension bridges out of number, and the great Victoria Bridge, of course. In fact, the title which has been given to those views of "America in the Stereoscope, is amply borne out, and the whole series forms a most interesting and attractive collection.

 

In connexion with the stereoscopes, the Stereoscopic Company have published some large views of the Falls of Niagara, which are wonderful examples of the vividness with which, in skilful hands, photography may be made to reproduce even the most fleeting grandeur of these tremendous cataracts. Some of these are most beautiful and excellent of their kind – quite beyond mere description to do justice to.”[1]

 

The Art-Journal, in July 1860, published an overwhelmingly glowing review of the work created by William England during his tour of the United States and Canada.

 

“There are hundreds of thousands in Great Britain who are continually hearing of the grandeur and beuaty of scenery in the United States and in Canada who have not, and probably never will have, a chance of examining its peculiar marvels and graces, except by the aid of the artist. And that aid is rarely so obtained as to convey assurance of positive truth; we suspect, if we are not certain, that Art has derived help from Fancy; we doubt while we admire, and attribute to invention that which may be only fact. The photography, however, cannot deceive; in nothing can it extenuate; there is no power in this marvellous maching either to add to or take from: we know that what we see must be TRUE. So guided, therefore, we can travel over all the countries of the world, without moving a yard from our own firesides. Fortunately there are those who, from love of wandering, or of Art, or of gain, will incur any amount of fatigue or danger, and bring to us enjoyment and knowledge, without demanding from us either labour or risk; giving in an hour the information that has been gained by years of toil and peril. All honour to the men who are thus our ministers!

 

The series of stereoscopic views recently brought under our notice by the London Stereoscopic Company – taken in various parts of Canada and the United States – bring us, as far as they go, into closer and safer aquaintance with the New World than all the books that have been written on the subject, and “their name is legion.” Lake and mountain, glen and river, picturesque waterfalls and gigantic cataracts, spacious harbors, populous cities – all the glories of Nature and of Art – are here brought so vividly before the eye that we seem to have journeyed with the traveller and worked with the artist. It is indeed impossible to overrate the debt we owe for so much of pleasure and so much of information.

 

The city views are chiefly those of New York, Boston, Washington, Philadelphia, Quebec, Montreal and Ottawas (the new capital of Canada); but more interesting are those which picture attractive scenes on the rivers St. Lawrence, the Delaware, and the Hudson. Still more so, perhaps are those that introduce us to the far-famed “Katskills,” Sleepy Hollow, the Indian Fall, the Falls of the Pontiac, and Trenton Falls – not forgetting Pougheepsie, and which other accomplished Americans have made renowned. There is, indead, no one of the series that fails to gratify; some may be better than others, but all are full of interest, anc convey instruction. The artist has, however, most put forth his strength where it became most effective. Hundreds of pictues have been painted, and description written, to make us acquainted with NIAGARA; but until now we seem to have been utterly ignorant concerning the character of this – one of the wonders of the world. The views are many: – Comprising 1. the Suspension Bridge, hung, as it were, in mid air; the railway trains, as they pass, seeming but little larger than the miniature toys of children; 2. The Bridge again, a nearer view; 3. The Bridge over the Rapids, a remarkably light and graceful structure; 4. The Lewiston Suspension Bridge; 5. The American Fall; 6. The American Fall in winter; 7. The Terrapin Towr and Bridge, the tower standing on the very edge of the Great Horse-shoe Fall –

 

“How dizzy ‘tis to cast one’s eyes below;”

 

8. Another view of the terrific scene, the torrent rushing over the brink; 9. The Rapids: a view that must have been caught instantaneously, the tremendous character of which is given with marvellous accuracy; 10. A general view of the Falls, in which Niagara is beheld “in all its glory and magnificence;” 11. A sylvan scene on Goat Island, the rush of water in the distance; and though last not least in this singular series, are two views showing the daring adventurer, Blondin, crossing the Niagara on a tight rope – one of the most daring feats ever achieved. We have thus ome fifteen or sixteen views of this wonderful wrok of nature, including the objects by which Art has succeeded in rendering Niagara in a degree subject to the will of man. Unquestionably no series of stereoscopic views has been yet issued at once so interesting and so instructive; they so thoroughly convey accurate ideas of the marvels they depict. Moreover, they are exceedingly well executed, and may vie with the best, in clearness of detail and power of effect, when seen in the stereoscope. A brief but carefully written description accompanies each view, giving such particulars as are requisite for a complete comprehension of the theme, in its grandeur, or its beauty, or its combination of both.

 

We shall rejoice if our notice be the means of enabling others to partake of the rich treat we have enjoyed in examing this delightfuly series: it would be difficult to pass an hour more pleasantly or more profitably. Of the many boons conferred by the London Stereoscopic Company, this, their latest, is undoubtedly the best.”[2]

 

Yet another praising review was published on August 31, 1860 in The Photographic News.

 

“AMERICA IN THE STEREOSCOPE, a Series of One Hundred Views of the most choice and interesting Portions of American Scenery.

 

We know of no application of instantaneous photography more important in its relation to the picturesque, more capable of aiding the imagination in realizing some of the most sublime and soul-stirring of nature’s beauties, than is presented by some of the stereographs before as of the cataract scenery of the Western World. We gaze with varying wonder and elight as we turn from the silvery cascades of the Kauterskill to the turbulent rapids of the Niagara, and from these to the overpowering immensity and bewildering sublimity of the gigantic cataract. To secure the slightest approximation of a truthful effect in depicting such scenes, it is imperative that the operation be in the strictest sense of the word, instantaneous, otherwise the broken mass of falling water becomes a white patch, and the boiling, surging, seething abyss into which they faill is represented by a mass of something like wool.

 

In the pictures before us we have some of the best instantaneous effects we have seen, and in the various views of Niagara, of which we have something like a score, their value and beauty are strikingly illustrated, conveying as they do the most vivid and impressive idea, not simply of the whirling and conflicting waters; but also of the transparent cloud of misty spray with which they are enveloped. So real is the scene, that as we turn from slide to slide, obtaining with each change fresh views and new surprises of tumultuous beauty, we seem to lose the monechrome of the photograph, and behold the scene invested with all the glorious hues as well as the “thousand fantastic shapes” of nature, and stand with silent awe before the stupendous cataract.

 

Among the views of Niagara which please us most by a charm peculiarly their own, are the various winter scenes in which snow and ice are “the ruling genii of the spot.” Huge icicles hang from every available point, and the spray which bursts rom the thundering avalanche of water encrusts everything with a coat of dazzling purity and whiteness, which seems to give additional sublimity to the darkling waters.

 

In addition to the various views of the mighty Niagara we have a large variety of cascades and cataracts of varying degrees of beauty, but less considerable in vastness and sublimity, such as the falls on the Passaic and Genessee rivers, the Trenton Falls, and some exquisitely beautiful cascades in the Catskill Mountains, in all of which a large amount of artistic skill in selection is displayed.

 

We have headed these remarks by a quotation from the catalogue, describing the series as “One hundred views” of choice and interesting portions of American scenery. We believe, however, that we have looked through a selection of not less than twice that number, comprising every variety of the characteristic natural scenery of the western world, together with some striking street-scenes and architectural views. Among the former, we may especially mention a scene in Goat Island, Niagara, called the “Lovers’ Walk,” – a perfect gem of landscape stereography, full of sun-light. An ice-cavern in the White Mountains presents in the stereoscope a wondrously beautiful and sparkling effect. Some of the subjects, in addition to their natural beauties, have the added charm of associations, as scenes identified with popular literature. Amongst these, is an interesting view, and excellent photograph of the “Rustic Bridge, Sleepy Hollow,” the scene of Washington Irving’s “Headless Man.”

 

A slide which possesses some interest, as the verification of what has been regarded as a somewhat mythical event, is a stereograph of Blondin crossing the Niagara river on a tight rope. The feat, at the time of its accomplishment, was the subject of so much assertion and enial, that it became generally regarded as an American canard. We have it here, however, verified by the lens which will not lie, the adventurous Frenchman being taken in transitu.

 

An interesting circumstance, in connection with these slides, is the fact that they include the several spots of interest which his Royal Highness the Prince of Wales is now in course of visiting. A set of the stereographs of these places, together with twelve-by-ten pictures of the same places, have been purchased by his father the Prince Consort, in order that he might thus trace his son’s progress.

 

In concluding our notice of this series, and speaking of their high merits as photographs, which, as a whole, we have not seen surpassed, we may mention the interesting fact that they are the production of an English photographer, sent out specifically by the Stereoscopic Company, for the purpose of taking them. The negatives are produced by the wet process, and possess merits as high of a photographic character, as they do in an artistic and picturesque point of view. The prints are clear, bright, and vigorous, and of the warm, purple-borwn tone which is so satisfactory in landscape photograpy.”[3]

 

In August 1860 the Photographic Notes publication provided a brief, but very positive, review of the American series. “The London Stereoscopic Company have lately brought out a series of stereoscopic views of American Scenery, which possess uncommon interest, and are well executed.”[4]

 

In August 1860 The Literary Gazette published a review of a small selection of severn views from the series. Once again, the views were widely praised, being noted as “fantastic, and exceedingly beautiful.”

 

“SEVEN Select Stereoscopic Gems of American Scenery.” (London Stereoscopic company, 54, Cheapside, 313, Oxford Street, and 594 Broadway, New York.) The photographer is a great teacher; he brings home to our very doors scenes and likenesses which very few of us could ever hope to realise. But the photographer has an ally in that simple, but yet wonderful, discovery of Sir David Brewster, the stereoscope, which places his art in such a position as almost to deceive the spectator.

 

We have before us “Seven Select Stereoscopic Gems of American Scenery,” issued by the London Stereoscopic Company. The first is an exterior view of the Victoria Tubular Bridge two miles in length, spanning the great St. Lawrence, at Montreal, Canada, and which was designed by the late surprising genius, Mr. Robert Stephenson. Its purpose is to connect the British colony of Canada with the United States of America, by the route of the Grand Trunk Railway of Canada. The pictures before us give a wonderful impression of the stupendous work, and are so clear and well defined as to make us believe we are looking at the structure itself.

 

The next subject is that of Blondin’s Tight Rope Feat, which the hazardous adventurer is depicted crossing the Niagara river. Placing this picture in the stereoscope, and looking at for a moment, we realise the impression of a scene which, whatever may have been though of its sanity, is one of great peril to the performer, and so vividly does the image become impressed on the mind by the medium of the eye, that it becomes actually painful to contemplate.

 

The Ice Caverns in the White Mountains, New Hampshire, U.S., is the next in order. The description tells us that, during the winter, the roofs, which are formed of the trunks of trees falling upon small rivulets, soon accumulate a very beautiful stalactite appearance, or, in the words of Bryant –

 

“You might deem the spot

The spacious cavern of some virgin mine,

Deep in the womb of earth – where the gems grow

And diamonds put forth radiant rods and bud

With amethyst and topaz – and the place

Lit up most royally with the pure beam

That dwells therein.”

 

They are very fantastic and exceedingly beautiful. The remainder are – Niagara Falls; White-hall Street, New York; Montreal; and a View on the St. Lawrence. Too much praise cannot be given to the London Stereoscopic Company for these views. They are clear, distinct, and graphic, conveying such an impression of the places represented that will ensure remembrance. Each picture has a brief description printed at the back, and the getting up, generally, is worthy of succes.”[5]

 

In October 1860 Simeon Headsman visited the facilities of the London Stereoscopic Company at Cheapside. In a letter titled “Letters to a Photographic Friend” Headsman wrote of his impressions of the new American views taken by William England.

 

“I next made my way to the London Stereoscopic Company, in Cheapside, and examined an extensive series of photographs of American scenery lately introduced into this country. These comprise not merely stereoscopic subjects, but large views of the most interesting spots in Canada and the United States. Of course, Niagara figures largely in the series; and one is easily able to form a very good idea of the grandeur of those mighty Falls by examining such stereographs as The Rapids, No. 115; The General view of the Falls from Prospect Point, No. 140; The Horse-Shoe Fall and the Terrapin Tower (instantaneous) No. 153; and the Table Rock, from the base of the Horse-shoe Fall.

 

Among the large photographs there is a capital panoramic view of the entire scene. Most persons in England have been in doubt as to whether Blondin was not an apocryphal personage, but a stereograph in this series depicts a gentleman in the usual “India-rubber—incredible-brother” costume, poised on a rope over the rushing waters of Niagara. This is something like an authentic proof that Blondin had an existence otherwise than in the fertile brains of a Yankee editors or in the veracious and voracious columns of American newspapers. Slide 136 gives an exquisite rendering of the stalactite-like icicles in one of the ice caverns of the White Mountains, New Hampshire; The Chaudier Falls, No. 113; The Cataracts on the Genesee, near Portage, No. 125; whilst many other of these stereographs present objects of great interest. Moreover, they are as well executed as the points of view are well selected.”[6]

 

In April 1861 The Photographic Journal extensively reviewed the American series, including individual descriptions of twenty photographs. Locations in the series include Niagara Falls, the Victoria Bridge at Montreal, the city of Montreal, Montmorenci Falls at Quebec, the White Mountains of New Hampshire, the city of Boston and the Natural Bridge in Virginia.

 

“We have before us a collection of twenty admirable stereograms of some of the most remarkable scenery in the United States and Canada, which possess great interest as representations of the natural beauties of the country, as well as the great engineering triumphs of our transatlantic cousins. Of these views nine are devoted to the town and Falls of Niagara, and of which we will first proceed to speak.

 

Bird’s-eye view of Niagara.–We have here a view of Niagara town, the great Suspension Bridge, and two miles of the river, clearly and brightly photographed. The definition from the foreground, which does not possess much interest, to the extreme distance, in which is seen the world-renowned Falls – a mass of spray, but which with the river forms a valuable “bit” of light in the centre of the picture, the effect of which is strengthened by the dark towers of the bridge cutting sharply against it.

 

General View of the Falls from Prospect Point.–Niagara in all its glory! In the foreground is the American fall, falling sheer 164 feet, making the beholder feel anxious for the safety of the little ferry-boat steaming across the river below. In the middle distance is seen the Terrapin Tower and the Horseshoe Fall enveloped in a cloud of mist: the stereoscopic effect of this cloud is exceedingly fine.

 

The Horseshoe Fall affords a good idea of the awful power of the mass of descending water; we can almost hear the deafening roar. The effect of viewing this little photograph in the stereoscope is to make one giddy. Byron’s description of the Falls of Terni” might be well applied to this view:–

 

“The roar of waters!–from the headlong height

Velino cleaves the wave-worn precipice;

The fall of waters! rapid as the light

The flashing mass foams, shaking the abyss;

The hell of waters! where they howl and hiss,

And boil in endless torture; while the sweat

Of their great agony, wrung out from this

Their Phlegethon, curls round the rocks of jet

That gird the gulf around, in pitiless horror set,

And mounts in spray the skies, and thence again

Returns in an unceasing shower.”

 

The Spiral Staircase, Table Rock, although not equal to the others as a photograph, is interesting as being the entrance to the path beneath the great Horseshoe Fall.

 

The Terrapin Tower and Bridge.–This tower occupies a singular position on a scattered mass of rock on the verge of the Horseshoe Fall, and which is gradually dissolving away from the action of the water; threatening in time to swallow tower and rocks into its gulf. It is approached by a wooden bridge, and its summit affords a fine view of the rapids and falls.

 

The Rapids. (Instantaneous.)–A fine scene, admirably photographed, reminding us of Wilson’s sea views. Although the water is rolling and dashing along in wild confusion, there is no want of detail; every wave and fall is sharp and distinct. Perfect in every respect, this is one of the best photographs of rushing water we have seen.

 

The Niagara Suspension Bridge. (Three Views.)–This bridge is a stupendous structure, 258 feet above the water, forming a communication between Canada and the United States. The interior view, besides being a fine photograph, gives a clear idea of its ingenious construction. The three pictures are also noticeable from some well-placed figures.

 

Two Views of the Victoria Bridge, Montreal, designed by the late Mr. Robert Stephenson, and constructed by Messrs. Peto, Betts, and Brassey, are interesting as memorials of this extraordinary undertaking. Some ideas of the solidity of its construction may be gathered from the fact that each buttress is calculated to withstand the pressure of 70,000 tons of ice, which comes sweeping down the St. Lawrence when winter breaks up. This bridge is the great feature in the Grand Trunk Railway of Canada, the longest railway in the world, extending the distance of upwards of a thousand miles.

 

A General View of Montreal from Mount Royal.–An admirable and extensive view of the city, with the Victoria Bridge, in course of construction, spanning the St. Lawrence, in the distance.

 

View on the Montmorenci River, near Quebec.–Perhaps the most picturesque river in the world, being a wild and continued torrent from its source till it empties itself into the St. Lawrence. This view consists of a wooden bridge extending between beautifully wooded banks; a broad sheet of water broken about into picturesque forms; and in the foreground a cascade dashing over immense rocks – forming a charming picture.

 

The Falls of Montmorenci, where that river joins the St. Lawrence, is a delicious subject. Its natural beauties are still further enhanced by some judiciously placed figures. The reflexion [sic] in the water is admirable, and in the stereoscope has an astonishing effect.

 

Crystal Cascade, White Mountains; View on the Genesee River, and portion of the Chaudière Falls, are exquisite specimens of well-photographed falling water, having no evidence of the wooliness which so often mars the effect of photographs of scenes of this kind.

 

Ice Cavern, White Mountains.–This is the gem of the collection. The long icicles hanging from the top of the picture to the bottom have a marvellously [sic] natural effect, particularly when ween in the stereoscope, the want of achromatism in the lenses adding the prismatic colours often seen in ice.

 

Washington Street, Boston.–An instantaneous view of a picturesque street, with omnibuses, carriages, & c., full of life and motion; all, with the exception of a gig which must have been proceeding at a very rapid pace, as distinct as if they had stood for their portraits.

 

Natural Bridge, Virginia.–This well-known bridge is one of the greatest natural wonders in America, and is a good subject for the stereoscope.

 

In looking over this collection of stereograms, we were much pleased with the even tone and general excellence of the whole, and we much regret that the name of the clever artist who produced them has not been given.”[7]

 

In April 1861 twenty views from the North American series reached Australia. That month the Sydney Morning Herald wrote of their impressions of the series.

 

“PHOTOGRAPHS OF AMERICAN SCENES.–We extracted, a few weeks ago, from the Times, a notice of several beautiful photographic views taken in North America by artists engaged for the purpose by the London Stereoscopic Company. ON Saturday last we had the pleasure of inspecting a complete set of these views – about twenty in number – which have lately been imported by Mr. J. R. Clarke, of George-street. A very superficial glance at these pictures will show the encomiums passed upon them were well deserved. As photographic pictures, they are remarkable for the exquisite softness of the shades, and for the almost stereoscopic distinctness of the minutest lines; but, in addition to their intrinsic excellence as photographs, the scenes selected are some of the most conspicuous to be found in North America, either for their picturesque beauty, or for the magnitude of the engineering works. Several views were taken of Niagara, and they represent as accurately as it is possible for photographs to do, the wild impetuosity and grandeur of that celebrated cataract. The views of bridges across Niagara, and also across the St. Lawrence, and the Genesee, are of great interest as showing the ingenious construction of works, which are the wonders of this, as they will doubtless be of succeeding ages. Of course the most remarkable of these is the Victoria Bridge, across the St. Lawrence, which was opened a few months ago by his Royal Highness the Prince of Wales. A good position has been taken for giving some idea of the enormous length of this viaduct, which connects shores a mile and three-quarters distant from each other, and is supported on only twenty-four piers. Considering the beauty of these pictures as photographs, and the interest which attaches to the scenes they represent, we may doubt whether any similar works of greater value have arrived in the colony.”[8]

 

In March 1862, at a Polytechnic Institution meeting, England conducted a full showing using “the aid of the magic lantern.” The Photographic News wrote of the show, including views of New York City, Sleepy Hollow, West Point, Niagara Falls, Quebec and the Catskills.

 

“The Polytechnic Institution is one of the oldest favourites with the public as a place combining instruction and amusement, and has, moreover, many associations connected with photography. Recently, it has acquired a distinctive characteristic in the prominence which it gives to photographic illustration. By the aid of the magic lantern, or dissolving view apparatus on a very large scale, photographic transparencies receive the utmost possible effect. The series of photographs which are now exciting considerable attention consist of a selection from Mr. England’s stereoscopic views of American scenery, published by the London Stereoscopic Company. These pictures, illuminate b the oxy-hydrogen lime light, are thrown on an immense screen, the disk covering seven hundred superficial feet, and notwithstanding this immense amplification, produce a very fine effect. The only faults we have to notice consist in a little hardness in some, and a little coldness in the tone of others.

 

Firs on the list is the Broadway, New York, an instantaneous view, giving a very good idea of that busy thoroughfare, and reminding us vividly of the day we first stood there. West Point, on the Hudson River, with its military academy, is a fine picturesque view, as is also the view of Sleepy Hollow, rendered so famous by the legends of Washington Irving. Here we have the veritable spot where the “Headless Man,” to the no small terror of the inhabitants of this dreamy region, performed his nocturnal excursions.

 

Passing up the Hudson, we find ourselves amongst the Catskill Mountains, where Rip Van Winkle slept and dreamed. Some of the scenery here is very grand, and like the Hartz Mountains, fit dwelling place of elf and gnome. Here are the Catskill Falls, a deep gorge, with a cascade descending some hundreds of feet, dashing from rock to rock in wild confusion and turbulent beauty.

 

The chief attractions of this series are the superb views of Niagara. The falls in summer, with warm glowing atmosphere, soft and sunny, and in winter, when the spray is frozen into myriads of sparking diamonds; whilst around are icicles of enormous size, hanging from the rocks, and reaching almost to the foot of the falls. The panorama from Prospect Point shows the American and Horse-shoe Falls, the figures in the foreground suggesting the vastness of the scene. This is a charming photograph, full of softness and atmosphere. The Lover’s Walk, Niagara, is a well chosen view, with fine perspective, very sunny effect. Passing down the Niagara River, we get a representation of the longest suspension bridge in the world. The details of this fairy-like structure is very fine. Here also we have the crowning work of Stephenson – the Victoria Bridge, Montreal. The St. Lawrence at Quebec, with its thousand ships, riding peacefully at anchor on the broad bosom of this mighty river, is another excellent view.

 

The Falls of Montmorenci, a cataract near Quebec, of two hundred feet in height, is a fine and telling picture. An ice cavern is amazingly effective and beautiful. Long icicles depending several feet from the roof glitter in dazzling rays of wondrous splendour, such subjects illustrating pre-eminently the excellence of photographic delineation.

 

The undoubted success of these transparencies is due as much to their photographic excellence as to the interest of the subjects. We are glad to believe that photographs must ere long largely, if not entirely, supersede the gaudy and unreal paintings which have hitherto formed the staple of views for the magic lantern.”[9]

 

In March 1862 England again displayed his American photographs, this time at the London Photographic Society. “The chairman announced that Mr. England would exhibit some instantaneous and other views of Paris and America. They would be enlarged on the screen ten feet square and by the aid of the magic lantern, so as to be seen by all the members at once. Mr. England had not prepared a paper on the subject, but would be happy to answer any questions put to him as to the process followed in the production of the pictures . . . The members were entertained for more than half-an-hour by the inspection of these photographs.”[10]

 

The “America in the Stereoscope” series firmly estalished the reputation of both William England and his employer, the LSC. Although very skilled, England, before the America series, was not, perhaps, as well-known as he should have been. This was likely due to the fact that the LSC had a policy of not including the photographer’s name on any of their published stereoviews. It is conjectured that this may have eventually contributed to England leaving the LSC.

 

 

Advertisements for the “America in the Stereoscope” Series

 

“The London Stereoscopic Company . . . having sent out a special artist to America and Canada, have secured all the above celebrated places in large single, and also in stereoscopic photographs of remarkable beauty, both of which sets his Royal Highness the Prince Consort has most graciously patronized.” – The Morning Post (London).

 

“The company have, through their aid, just secured a most remarkable series of upwards of 100 views from America, among which Niagara presents us, within compass of a few inches, all its rush and roar, and ever-hurrying waters.” – The Morning Post (London).

 

 

Advertisements for the “America in the Stereoscope” series were placed in various publications around the globe. The commercial response was near universal, with the LSC selling an incredible number of views. One advertisement from the company noted that 12,000 views were sold on their issue date alone. Below are a few examples of these “America in the Stereoscope” advertisements.

 

This advertisement one was featured in published in The Cathedrals of the United Kingdom.

Advertisement for the photographs taken by William England during his 1859 tour of the United States.America in the Stereoscope“America in the Stereoscope. This wonderful and extraordinary Series of Pictures is now ready; they comprehend the wildest and loveliest portions of this world-renowned Scenery. In Leather Case, price £7 7s. the Set. Specimens sent (Niagara if desired) free by post, 18 stamps each. As proof of the high quality and beauty of the above, 1000 Dozen were sold on the first day of their issue. EXPORTERS AND TRADE SUPPLIED. Post Office Orders (crossed Union Bank of London) payable to George Swan Nottage.”

Source: Walcott, MacKenzie. The Cathedrals of the United Kingdom. London: Edward Stanford, 1860.

Caption: “America in the Stereoscope. This wonderful and extraordinary Series of Pictures is now ready; they comprehend the wildest and loveliest portions of this world-renowned Scenery. In Leather Case, price £7 7s. the Set. Specimens sent (Niagara if desired) free by post, 18 stamps each. As proof of the high quality and beauty of the above, 1000 Dozen were sold on the first day of their issue. EXPORTERS AND TRADE SUPPLIED. Post Office Orders (crossed Union Bank of London) payable to George Swan Nottage.”[11]

 

Another advertisement was placed in The Art-Journal Advertiser over several months in 1859.

Advertisement for the America in Stereoscope series of photographs by William England.Now Publishing, America in the StereoscopeNow Publishing, America in the Stereoscope. The LONDON STEREOSCOPIC COMPANY beg to announce that their long expected series of American Views is now complete, consisting of ONE HUNDRED. The Company have had one of their principal Artists engaged upon these views in the United States for upwards of six months, and all who have examined the subjects, declare them to be the grandest series of views ever produced. They comprehend alike the most terrific and the loveliest portions of this world-renowned scenery, and are specimens of the highest style of the Photographic Art. As a simple proof of their excellence and beauty, upwards of 1000 DOZEN were sold on the first day of their publication. THE SET COMPLETE, in gold lettered HANDSOME LEATHER CASE £7 7S. 54 Cheapside, E.C., and 313, Oxford Street, W. Post Office Orders (crossed “Union Bank of London”) payable to GEORGE SWAN NOTTAGE.”

Caption: Now Publishing, America in the Stereoscope. The LONDON STEREOSCOPIC COMPANY beg to announce that their long expected series of American Views is now complete, consisting of ONE HUNDRED. The Company have had one of their principal Artists engaged upon these views in the United States for upwards of six months, and all who have examined the subjects, declare them to be the grandest series of views ever produced. They comprehend alike the most terrific and the loveliest portions of this world-renowned scenery, and are specimens of the highest style of the Photographic Art. As a simple proof of their excellence and beauty, upwards of 1000 DOZEN were sold on the first day of their publication. THE SET COMPLETE, in gold lettered HANDSOME LEATHER CASE £7 7S. 54 Cheapside, E.C., and 313, Oxford Street, W. Post Office Orders (crossed “Union Bank of London”) payable to GEORGE SWAN NOTTAGE.”[12]

 

This advertisement was placed in The Morning Post of London on May 15, 1860.

Advertisement for the photographs taken by William England during his 1859 tour of the United States.Seven New American Stereographs“This day (Tuesday), the 15th,
Seven new American
S T E R E O G R A P H S.
NIAGARA FALLS.
NEW VICTORIA BRIDGE, Two Miles Long.
PANORAMA – BROADWAY.
PANORAMA – MONTREAL.
PANORAMA – QUEBEC.
ICE CAVERN – WHITE MOUNTAINS.
BLONDIN CROSSING THE FALLS.
In Ornamental Envelope.
Free by post, 10s.
Post-office orders to GEORGE SWAN NOTTAGE,
54, CHEAPSIDE, and 313, OXFORD STREET.
“A most charming set of stereoscopic views. In the matchless cataract of Niagara, the fountain of an infant sea, the artist exhausts his skill in instantaneous photography of this tremendous scene. For fearlessness and grandeur of detail, these surpass anything of the kind we have ever seen.” – Times, May 3.
Now Publishing,
A SET of 21 LARGE PHOTOGRAPHIS OF AMERICAN SCENERY,
Portfolio Included, £5 5s.

“This day (Tuesday), the 15th,

Seven new American

S T E R E O G R A P H S.

NIAGARA FALLS.

NEW VICTORIA BRIDGE, Two Miles Long.

PANORAMA – BROADWAY.

PANORAMA – MONTREAL.

PANORAMA – QUEBEC.

ICE CAVERN – WHITE MOUNTAINS.

BLONDIN CROSSING THE FALLS.

In Ornamental Envelope.

Free by post, 10s.

Post-office orders to GEORGE SWAN NOTTAGE,

54, CHEAPSIDE, and 313, OXFORD STREET.

“A most charming set of stereoscopic views. In the matchless cataract of Niagara, the fountain of an infant sea, the artist exhausts his skill in instantaneous photography of this tremendous scene. For fearlessness and grandeur of detail, these surpass anything of the kind we have ever seen.” – Times, May 3.

Now Publishing,

A SET of 21 LARGE PHOTOGRAPHIS OF AMERICAN SCENERY,

Portfolio Included, £5 5s.

 

This advertisement was published in The Athanaeum in May 1860.

Advertisement for the photographs taken by William England during his 1859 tour of the United States.21 Large Photographs21
LARGE
P H O T O G R A P H S
OF
AMERICAN SCENERY.
Price 5£. 5s.
Including Portfolio.
“They are wonderful examples of the vividness with which, in skillful hands, Photography may be made to reproduce the most fleeting grandeur of these tremendous cataracts; and are quite beyond mere description to do justice to.” – Times, May 3.

LONDON STEREOSCOPIC COMPANY
54, CHEAPSIDE, AND 313, OXFORD STREET.
*** The New Stereoscopic Series will be published Next Week.”

Source: The Athenaeum. May 19, 1860.

 

21

LARGE

P H O T O G R A P H S

OF

AMERICAN SCENERY.

Price 5£. 5s.

Including Portfolio.

“They are wonderful examples of the vividness with which, in skillful hands, Photography may be made to reproduce the most fleeting grandeur of these tremendous cataracts; and are quite beyond mere description to do justice to.” – Times, May 3.

 

LONDON STEREOSCOPIC COMPANY

54, CHEAPSIDE, AND 313, OXFORD STREET.

*** The New Stereoscopic Series will be published Next Week.”[13]

 

The London Stereoscopic Company also advertised their American and Canadian views in association with the trip of Albert Edward (1841-1910), the Prince of Wales, i.e., the future King Edward VII, to Canada and the United States in 1860. During the Canadian portion of the extended 3-month tour the Prince of Wales visited St. John’s, Sydney, Halifax, Hantsport, Fredericton, Pictou, Charlotte Town, Gaspe, Quebec, Montreal, Ottawa, Toronto and London. During the American portion of the tour the Prince of Wales visited Niagara Falls, Detroit, Chicago, St. Louis, Cincinnati, Pittsburgh, Harrisburg, Washington DC, Mount Vernon, Richmond, Baltimore, Philadelphia, New York, Albany, Boston and Portland.

 

Several of these sites had been visited and photographed by William England in the years prior to the Prince’s trip. In Canada, locations that were photographed by England and later visited by the Prince of Wales included Quebec, Chaudière Falls, Montmorency Falls, Montreal, the Victoria Bridge and Ottawa. American locations that were photographed by England included Niagara Falls, Washington DC, Mount Vernon, Philadelphia, New York City and Boston. The Prince Consort, father of the Prince of Wales, reportedly purchased a set of the stereoviews in order to follow his son’s trip, a fact that the London Stereoscopic Company gladly advertised.

 

The Prince of Wales's TourThe Prince of Wales's TourTHE PRINCE OF WALES'S TOUR.

Patronised by His Royal Highness the PRINCE CONSORT. A SET OF STEREOGRAMS, including NIAGARA, for 10s., in stamps.

LONDON STEREOSCOPIC COMPANY, 54, Cheapside, and 313, Oxford-street.

A Large Set, 35s.

"The most wonderful pictures we ever saw." – Art Journal.


Source: The Morning Post. (London.) August 24, 1860. p. 4.

 

THE PRINCE OF WALES’S TOUR.

Patronised by

His Royal Highness the PRINCE CONSORT.

A SET OF STEREGRAMS, including

NIAGARA, for 10s., in stamps.

LONDON STEREOSCOPIC COMPANY,

54, Cheapside, and 313, Oxford-street.

A Large St, 35s.

“The most wonderful pictures we ever saw.”–Art Journal.”[14]

 

The Prince of Wales's Tour.The Prince of Wales's Tour.THE PRINCE OF WALES'S TOUR.

A Series of large Photographs of the principal places visited by his Royal Highness, with portfolio, £5 5s. The LONDON STEREOSCOPIC COMPANY have had the honour to receive the royal commands for the above fine series of views.

The above are sent carriage free, on remittance to George Swan Nottage, 54, Cheapside.

They form a handsome New-Year's gift.

"Impossible for mere description to do justice to these photographs."–Times.

"We never realised America until we saw these wonderful photographs."–Art Journal.

Source: The Morning Post. (London.) January 5, 1861.

 

THE PRINCE OF WALES'S TOUR. A Series of large Photographs of the principal places visited by his Royal Highness, with portfolio, £5 5s. The LONDON STEREOSCOPIC COMPANY have had the honour to receive the royal commands for the above fine series of views. The above are sent carriage free, on remittance to George Swan Nottage, 54, Cheapside. They form a handsome New-Year's gift. "Impossible for mere description to do justice to these photographs."–Times.

"We never realised America until we saw these wonderful photographs."–Art Journal.”[15]

 

The Prince of Wales's TourThe Prince of Wales's Tour"Impossible for mere description to do justice to these Photographs." – Times.

"We never realised America until we saw these wonderful Photographs."–Art Journal.

THE PRINCE of WALES'S TOUR of the PRINCIPAL PLACES VISITED by H.R.H. With Portfolio, £5 5s.

The LONDON STEREOSCOPIC COMPANY have had the honour to receive the ROYAL COMMAND for the above fine SERIES OF VIEWS.

They are sent, carriage free, on remittance to
GEORGE SWAN NOTTAGE, 54, CHEAPSIDE.

The above form a handsome New Year's Gift.


Source: Daily News. (London.) January 5, 1861. p. 4.

“THE PRINCE OF WALES IN CANADA.–His royal highness visits, on the 18th, Quebec; 20th, Chaudière Falls; 22d, Falls of Montmorency; 23d, Montreal; 25th, Victoria Bridge (opening ceremony); 31st, Ottawa; 12th September, Falls of Niagara. The London Stereoscopic Company, of 54, Cheapside, and 313, Oxford-street, having sent out a special artist to America and Canada, have secured all the above celebrated places in large single, and also in stereoscopic photographs of remarkable beauty, both of which sets his Royal Highness the Prince Consort has most graciously patronized. The cost of the set of seven large pictures is 35s.; the stereoscopic set of seven, 10s. Sent free to any part of England on remittance to Mr. George Swan Nottage, the managing partner. Opinions of the press:– “Quite beyond mere description to do justice to.”–Times. “We never realized Niagara before we saw these wonderful pictures.”–Art-Journal.”[16]

 

 

[1] “America in the Stereoscope.” The Times. May 3, 1860.

[2] “America in the Stereoscope.” The Art-Journal. Vol. 6. July 1, 1860. London: James S. Virtue, 1860. p. 221.

[3] “Critical Notices.” The Photographic News. Vol. 4, No. 104. August 31, 1860. pp. 208-209.

[4] Photographic Notes. Vol. 5. August 1, 1860. London: Sampson Low, Son, & Co., 1860. p. 204.

[5] “Fine Arts.” The Literary Gazette. New Series, Vol. 5, No. 113. August 25, 1860. p. 137.

[6] Headsman, Simeon. “Letters to a Photographic Friend.” British Journal of Photography. Vol. 7, No. 128. October 15, 1860. pp. 302-303.

[7] “American Scenery.” Published by the London Stereoscopic Company.” The Photographic Journal. Vol. 7. April 15, 1861. London: Taylor and Francis, 1862. pp. 167-169.

[8] “Photographs of American Scenery.” The Sydney Morning Herald. April 1, 1861. p. 4.

[9] “Photography at the Polytechnic Institution.” The Photographic News. March 28, 1862. London: Thomas Piper, 1862. p. 150.

[10] “London Photographic Society.” The British Journal of Photography. Vol. 8. March 15, 1862. Liverpool: Henry Greenwood, 1862. p. 113.

[11] Walcott, MacKenzie. The Cathedrals of the United Kingdom. London: Edward Stanford, 1860.

[12] The Art-Journal Advertiser. November 1859.

[13] The Athenaeum. May 19, 1860.

[14] “The Prince of Wales’s Tour.” The Morning Post. August 24, 1860. p. 4.

[15] “The Prince of Wales’s Tour.” The Morning Post. (London.) January 5, 1861.

[16] “The Prince of Wales in Canada.” The Morning Post (London). August 20, 1860. p. 6.

 

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[email protected] (American Catskills) 1859 alpine America in the Stereoscope Blondin Britain Catskills England exhibit Fawn's Leap International Exhibition Ireland Italy Kaaterskill Clove Kaaterskill Falls Kauterskill Falls landscape Laurel House London Stereoscopic Company mountains Niagara Falls North American Series North Lake photographer photographs photography Plattekill Clove Plauterkill Clove Rhine scenery statuary stereoscope stereoscopic stereoviews Switzerland waterfalls William England https://www.americancatskills.com/blog/2022/3/william-england-and-his-1859-tour-of-the-catskills-part-5 Sat, 26 Mar 2022 12:15:00 GMT
William England and His 1859 Tour of the Catskills (Part 4) https://www.americancatskills.com/blog/2022/3/william-england-and-his-1859-tour-of-the-catskills-part-4 Introduction

 

William England (1830-1896) was a 19th century British photographer who was widely known for his travel images. He was an early adopter of photography, operating a studio in the late 1840s, less than ten years after the daguerreotype was created by French inventor Louis Daguerre. England’s 1859 trip through the United States, including a visit to the Catskills, and Canada gained widespread praise. His image of Charles Blondin tightrope walking across the Niagara Gorge is among the top selling stereoviews of all time. Although largely forgotten today, William England was considered one of the great photographers of his era.

 

 

Continued from Part 3

 

Study of the Catskills

 

In 1882 The Photographic News noted England’s earlier work in the Hudson Valley and in the Catskills. “Speaking of Mr. England’s photographs, it is well worth noting that he was the first to produce a series of views of that charming district hallowed by the romance of Washington Irving. The green-shored Hudson river and craggy Kaatskills, world-famous as the home of Rip Van Winkle, where passed “the legend of Sleepy Hollow,” and where Hendrick Hudson and his old-Dutch associates still live and move in spirit, carrying on in phantom-life their old sailor-smuggler adventures among the silvery crags and green forest land that overlook the winding river – these scenes were depicted with all Mr. England’s art and skill during his stay in the New World.”[1]

 

England’s stereoviews of the Catskills offer three contrasting views of Kaaterskill Falls, i.e., numbers 55, 56 and 68. Number 55 shows the side view of the falls, a view that is today quite accessible since the construction of a viewing platform by the Department of Environmental Conservation. Number 56 offers a view from underneath the first drop, a location that was for many years difficult to reach, although in recent years additional trails have been constructed around Kaaterskill Falls for safety reasons, and this view is now easily accessed. Number 68 offers the classic view of the falls, from the bottom of the gorge, showing both drops, and the spray house of the former Laurel House. This view was featured in a 2019 New York Times article about the Catskills and their growing popularity.

 

#55 Kauterskill Fall, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#55 Kauterskill Fall, Catskill Mountains.#55
Kauterskill Fall, Catskill Mountains.
“This branch of the Kauterskill Falls, after winding and rippling o’er its rocky bed, singing and murmuring through forest shades and wild secluded glens, descends in a white and misty torrent over a ledge of rock to the depth of 180 feet, its incessant music, as it splashes on the projecting ledges in its descent, falling pleasantly on the ear.

From rock to rock the waters leap,
In a fair white sheet they flow,
Then sparkling fall o’er the rugged steep,
To the dark abyss below;
Dashing and splashing in extacy,
As they dance to their own rough minstrelrcy.”

Source: England, William, photographer. Kauterskill Fall, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a57e-a3d9-e040-e00a18064a99

 

#56 Kauterskill Fall, Catskill Mountains.–View from Below.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#56 Kauterskill Fall, Catskill Mountains.–View from Below.#56
Kauterskill Fall, Catskill Mountains.–View from Below.
“This portion of Kauterskill Falls, when viewed from beneath, presents a most peculiar feature. From a height of nearly 180 feet the water descends into an ampitheatre scooped by the hand of nature out of the solid rock, and forming a cavern of vast extent, and of grand and solemn aspect. As we stand upon the floor of this and gaze upward, we behold the limpid waters descending in a white and flaky column, their light and sparkling beauty contrasting greatly with the gloomy walls of the overhanging rocks, the misty stream presenting the appearance of a bright sunbeam piercing through the arched roof above.”

Source: England, William, photographer. Kauterskill Fall, Catskill Mountains.–View from Below. 1859. J. Paul Getty Museum, Open Content Program.

 

#68 Falls of the Kauterskill, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#68 Falls of the Kauterskill, Catskill Mountains.#68
Falls of the Kauterskill, Catskill Mountains.
“FENNIMORE COOPER in his story of “The Pioneer” thus describes these cascades: “The water comes croaking and winding among the rocks, first so slow that a trout might swim in it, then starting and running like any creature that wanted to make a fair spring, till it gets to where the mountain divides like the cleft foot of deer, leaving a deep hollow for the brook to tumble into. The first falls is night 200 feet, and the water looks like flakes of snow before it touches the bottom, and then gathers itself together again for a new start, and maybe flutters over 50 feet of that rock before it falls for another 100 feet, when it jumps from shelf to shelf, first running this way, and then that way, striving to get out of the hollow, till it finally gets to the plain.”

“Midst greens and shades the Kauterskill leaps,
From cliffs there the wood flower clings;
All summer he moistens his verdant steeps,
With the sweet light spray of the mountain springs;
And he shakes the woods on the mountain side,
When they drip with the rains of autumn tide.

“But when in the forest bare and old,
The blast of December calls,
He builds, in the starlight clear and cold,
A palace of light where his torrent falls,
With turret, and arch, and fretwork fair,
And pillars blue as the summer air.”–Bryant.

Source: England, William, photographer. Falls of the Kauterskill, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a57a-a3d9-e040-e00a18064a99

 

Two photos of Kaaterskill Falls, numbers 55 and 68, depict the “spray house” of the former Laurel House hotel, which was constructed as a boarding house in 1852 by Peter Schutt, and later managed by his son Jacob L. Schutt. The Laurel House, named for the mountain laurel (kalmia latifolia) that grows and blossoms around the area, originally had room for 50 visitors but was expanded after the Civil War and again in the early 1880s to accommodate approximately 300 people. The hotel was very popular given its location near the falls, its views of Kaaterskill Clove and its moderate pricing when compared to the more upscale Catskill Mountain House and the Kaaterskill Hotel. The grand Laurel House hotel operated until 1963, was acquired by New York State two years later and its grounds added to the Catskill Forest Preserve. The state intentionally burned the historic structure in March 1967.

 

All three of England’s photos of Kaaterskill Falls notably show a heavy flow of water. This type of flow at Kaaterskill Falls is fairly typical with the spring thaw, in the autumn season and after a heavy rain. However, summer was, by far, the busiest season in the 19th-century Catskills, a time of year when the falls often slow considerably, sometimes to a mere trickle. Given that visitors desired to see the falls at full flow, an early entrepreneur had a solution, i.e., dam the creek, and, then when visitors were at the Falls, open the dam’s gate to allow the water to freely flow when requested, all for a fee, of course, typically noted as being 25 cents for the season. Not everyone was happy about paying for nature’s flowing water, and yet most wanted to witness the Kaaterskill Falls made famous in so many paintings, engravings and poems. This “spray” operation began in the 1820s with Ira Scribner and father Silas who operated a sawmill upstream from the falls, and continued with the Schutt family while they operated the Laurel House. The option to let the water flow for a fee would have almost certainly been made available to William England during his visit to Kaaterskill Falls.

 

Samuel E. Rusk, who would later become a noted Catskills photographer and boarding house owner, beautifully described the setting of the Laurel House, the Spray House and Kaaterskill Falls in his 1879 book titled Rusk’s Illustrated Guide to the Catskill Mountains.

 

“It is but a few feet from the Laurel House to the top of the [Kaaterskill] Falls. The Spray House stands on the very verge, and its platform, with timbers bolted to the rock, projects over the awful chasm. This is the point from which to view the Falls from above; and over this first Fall the water drops a hundred and sixty feet, broken into millions of foamy fragments ere it strikes below, and flowing along a few yards it again plunges to the depth of eighty feet . . .

 

It is from under the Falls where its grandeur becomes most striking. At a gate by the Spray House a payment of twenty-five cents is made – for once during the season – and a charming path followed a few yards through the forest to the head of the stairs. Rustic seats are place along the way, and there are resting-places at various landings along down the many flights of stairs passed in reaching the bottom of the falls.

 

In the immense ampitheater which curves behind of the first Fall is a level path on which one may safely pass entirely around behind the falling water. Midway along the path the flood comes pouring over the enormous arch of rock, and as it descends, is eighty feet distant from the point of observation. After passing around by this path, the stream may be re-crossed a few yards below, at the top of the second Fall, where the stairs continue down to the foot, and reach a seat placed so as to give an unobstructed view of both Falls. While parties are down here, the gate of a dam immediately above the Falls is opened, thus augmenting the usual flow of water, and the scene is then truly marvellous.”[2]

 

Fawn’s Leap, number 74, once known as the less poetic Dog’s Hole, is a quaint, fabled waterfall spilling through a narrow gorge along the lower Kaaterskill Creek. It is one of the most beautiful spots in Kaaterskill Clove. The falls are approximately 30 feet tall, “and so runs on this wonderful stream, giving the Fawn’s Leap, where the waters plunge into a seething gulf between the cleft rocks and then flow gently to make still greater plunges into darker depths a short distance below.”[3]

 

#74 The Fawn’s Leap, Kauterskill Clove, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#74 The Fawn’s Leap, Kauterskill Clove, Catskill Mountains.#74
The Fawn’s Leap, Kauterskill Clove, Catskill Mountains.
“At one period these mountain ranges and thick tangled forests, were the homes of the red deer, and from a circumstance which transpired some years since, the spot, which the accompanying photograph represents, was named; and from which it would appear, that a fawn, pursued by the angry dog of one of the settlers, and just as escape seemed hopeless, suddenly espied this wide and gaping chasm. Goaded by desperation, the fawn attempted the leap, and succeeded in reaching the opposite side in safety. The dog, less nimble that his expected prey, in attempting to follow, missed his footing, and was dashed down the yawning abyss, his mangled body being carried away by the current.

Fresh vigour with the hope returned,
With flying foot the heath he spurned,
Held westward with unwearied race,
And left behind the panting chase.–LADY OF THE LAKE.”

Source: London Stereoscopic Company. The Fawn’s Leap, Kauterskill Clove, Catskill Mountains. 1859. J. Paul Getty Museum, Open Content Program.

 

There are multiple versions of the legend as to how Fawn’s Leap takes its name. One version “has a young deer having here escaped a hunter and his dog that pursued it to the verge of the chasm; the fawn leaped it, but the dog, attempting to follow, fell into the gulf and was drowned.”[4] The historic marker at the waterfall has the fawn, not the dog, meeting its fate: “A fawn pursued by a dog tried to jump the chasm and failed.” Yet another version states “that a doe made the leap of the chasm over the fall, and that her fawn, in attempting to follow, fell into the deep pool, and swan round the pool for two days, the doe remaining near and watching it.”[5] An 1839 article in The Evening Post in still yet another version said the falls were “so called from the bones of a deer being found near the opening of a rocky chasm into which the sheet of water throws itself.”[6]

 

No matter the origin of its name, Fawn’s Leap has long been a favorite destination for artists and photographers and today is a locally popular swimming hole and cliff jumping location. Fawn’s Leap was the inspiration for the lower waterfall in Asher Brown Durand’s classic painting Kindred Spirits. Other well-known paintings of the waterfall include The Fawn’s Leap (1859) by John Frederick Kensett, Mountain View (1860) by Charles Herbert Moore and Fawn’s Leap, Catskill, New York (1868) by John William Hill.

 

“Sylvan Lake, Catskill Mountains,” number 65, was one of several former names of today’s North-South Lake, as per Alf Evers, noted Catskills’ historian. “Forest Scene, on the Catskill Mountains,” number 59, and “View on the Catskill Mountains,” number 62, both appear that they may also be scenes on the shores of Sylvan Lake.

 

#59 Forest Scene, on the Catskill Mountains.

#59  Forest Scene, on the Catskill Mountains.#59 Forest Scene, on the Catskill Mountains.

 

#62 View on the Catskill Mountains. (Same name as #67.)

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#62 View on the Catskill Mountains. (Same name as #67.)#62
View on the Catskill Mountains. (Same name as #67.)
“The Catskill Mountains are the most grand and picturesque of the mountain ranges of the United States, and are part of the great Appallachian chain, which extends through all the eastern portion of the Union, from Canada to the Gulf of Mexico. Their chief ranges follow the course of the Hudson River for some twenty or thirty miles, lying west of it, and separated by a valley stretch of ten or twelve miles. These mountains lend to all the landscape of that part of the Hudson from which they are visible, its greatest charm. Of the unrivalled sight one can never weary; and at the dawn of day, or as the rising of the sun, when its magical beams are lifting the mystical vapours and cloud-curtain, which the night has invisibly spread over the scene, the beauty of these rugged mountains is complete.”

Source: England, William, photographer. View on the Catskill Mountains. 1859. J. Paul Getty Museum, Open Content Program.

Sylvan Lake, or North-South Lake, has also been known as the Kaaterskill Lakes. At times the two names, North-South Lake and Kaaterskill Lakes, were used interchangeably; while at other times the name Kaaterskill Lake referred specifically to South Lake, while the other lake continued to be known as North Lake. The 1884 Walton Van Loan map referred to them as North Lake and South Lake.

 

Sylvan Lake, “a perfect gem of a lake,” was, like Kaaterskill Falls and Fawn’s Leap, a required stop for those visiting Kaaterskill Clove of the northern Catskills. Sylvan Lake is located between South Mountain and North Mountain, west of the Escarpment, and near the former site of the famed Catskill Mountain House. Particularly with visitors to the Mountain House, the lakes were a much-sought destination for walks along its shores as well as being a haven for swimming, boating and fishing. North-South Lake used to be two separate, distinct lakes. However, as per the New York Department of Environmental Conservation, “the narrow isthmus between the lakes was removed and a dam was built at the outlet of South Lake to create one large lake.” Today, North-South Lake is home to the largest campground in the Catskills.

 

Sylvan Lake had long gained the attention of artists. The first painting of the lake, titled Lake with Dead Trees, was completed in 1825 by the then unknown 24-year-old landscape artist Thomas Cole. Lake with Dead Trees was one of five paintings completed that year by Cole of scenery in the Hudson Valley and the Catskill Mountains. Th painting was displayed in a New York City shop, where it was purchased by William Dunlap (1766-1839), a noted painter and historian, and then displayed at the American Academy of Fine Arts exhibition to favorable reviews. The five paintings helped launch both Cole’s painting career and the Hudson River School of Art, a new style of painting, the first uniquely American painting style and one that Americans could call their own. In 1835, ten years after his initial visit and painting, Cole wrote of “two of the happiest days I remember,” which included his experiences at Sylvan Lake.

 

“After breakfast, we strolled down to the small lake, a few hundred yards from the house [the Catskill Mountain House]. It has beautiful as well as grand features – rich forests and mountains . . . I pointed out a view which I once painted, which was, I think, the first picture ever painted of the lake, which will hereafter be the subject of a thousand pencils. Several years since I explored its shores for some distance, but thick woods and swampy ground impeded me. I enriched by sketch-book with studies of the fine dead trees, which stand like spectres on the shores. As we made our way to an opening through the woods, which disclosed the lake in a charming manner, we perceived a rude boat among the bushes, which was exactly what we wanted. We pushed off and leaped into it, as if the genius of the deep had placed it there for our special use. Before us spread the virgin waters which the prow of the sketcher has never yet curled, enfolded by the green woods, whose venerable masses had never yet figured in annuals, and overlooked by the stern mountain peaks never beheld by Claude or Salvator, nor subjected to the canvas by the innumerable dabblers in paint of all past time . . . .

 

A little promontory, forming a fine foreground to a charming view down the lake, invited us. We had some fine perspective lines of forest on our right, with many dead trees standing near the shore, as if stripped for the elements.  These dead trees are a striking feature in the scenery of this lake, and exceedingly picturesque. Their pale forms rise from the margin of the lake, stretching out their contorted branches, and looking like so many genii set to protect their sacred waters. On the left was another reach of forest of various hues, and in the center of the picture rose the distant Round Top, blue and well defined, and cast its reflection on the lake, out to the point where our boat swung like a thing in air. The headland was picturesque in the extreme. Apart from the dense wood, a few birches and pines were grouped together in a rich mass, and one giant pine rose far above the rest. On the extreme cape a few bushes of light green grew directly from the water. In the midst of their sparkling foliage stood two of the bare spectral trees, with limbs decorated with moss of silvery hue, and waving like gray locks in the wind. We remained here long enough to finish a sketch, and returned to our harbor to refit.

 

After dinner we again launched our vessel for a longer voyage of discovery. We now crossed the lake, paddling, after the manner of Indians. Our boat glided beautifully over the tranquil waters, and swept aside the yellow water-lilies. In a strait between the mainland and a low islet, where the water was very still, the woods were reflected beautifully. I never saw such depth and brilliancy in the reflections. The dead trees on the margin added by their silvery tints to the harmony of color, and their images in the waters, which had a gentle undulation, appeared like immense glittering serpents playing in the deep. At every stroke of the oar some fresh object of beauty would break upon us. We made several sketches, and about sunset turned our prow. As we returned we struck up the ‘Canadian Boat Song,’ and though our music was rude, the woods answered in melodious echoes. What a place for music by moonlight! It would be romance itself! This may be, and I may enjoy it.”[7]            

 

T. Addison Richards, a noted landscape painter, described the scene at Sylvan Lake during his travels through the region in 1854, only five years before England’s arrival.

 

“The next pilgrimage which the tourist is expected to make is the two charming lakelets, which, in their strange mountain bed, add so greatly to the interest of the surrounding points. Their waters supply the renowned Catskill Falls, which we shall reach in due order. An easy wagon passes the lakes at intervals throughout the day, on its way from the hotel to the cascades, but an orthodox Syntax will indignantly scorn this vulgar mode of locomotion, and bless the man who first invented boots.

 

A few minutes’ walk will bring you to the margin of the Upper or Sylvan Lake, a view of which we add to the list of our pictorial memories. You may pass an hour or two delightfully in strolling upon the pleasant shores, or you may enter one of the skiffs which skim the waters, and mingle your voice in happy carol with the murmur of the breeze, which never fails to play with the bright image cast by tree and rock and sail on the pellucid bosom of the lake. When these more demonstrative expressions of pleasure, which the scene will always draw from the coldest hearts, are spent, you may give your thoughts to the poetic page, or to the dreams of the romancer, occasionally glancing at the fly which you have cast upon the water to lure the wary trout. In short, unless you can find here some or other source of pleasure, God pity you, unhappy man!”[8]

 

“Crystal Cascade, Catskill Mountains,” number 77, appears to be a photograph of Moore’s Bridge Falls, a scenic 20-foot waterfall located in Kaaterskill Clove near Palenville. The falls flow beneath the Route 23A bridge, known as Moore’s Bridge, with Fawn’s Leap being located just upstream. The waterfall and the bridge over the falls are named for Charles Herbert Moore (1840-1930), a 19th century artist, writer, professor and museum director. During the 1860s Moore resided just north of the village of Catskill near today’s Rip Van Winkle Bridge. That estate, known as the Moore-Howland Estate, is now listed on the National Register of Historic Places. Moore then moved to Cambridge, Massachusetts where he took a teaching position at Harvard University and would become the first director of Harvard’s Fogg Museum. The rock wall adjacent to the waterfall is a popular destination for ice climbers during the winter months, while the pool just past the falls is a popular swimming hole during the summer months.

 

#77 Crystal Cascade, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#77 Crystal Cascade, Catskill Mountains.#77
Crystal Cascade, Catskill Mountains.
“Prone down the rocks the whitening sheet descends,
And viewless Echo’s ear astonished lends;
Dim seen thro’ rising mists and ceaseless showers,
The hoary cavern wide, surrounding lowers.
Still through the gap the struggling river toils,
And still below the horrid cauldron boils.”

Source: The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. "Crystal Cascade, Catskill Mountains." The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a576-a3d9-e040-e00a18064a99

 

William England, in his Catskills photos, makes great use of adding people to the foreground to add both human interest and to reference the scale of the mountains. This use of people in landscapes, known as staffage, would continue to be used in England’s landscape work throughout his career. In his use of staffage, England was known to include various people including his traveling companions, his wife Rosalie and even himself.

 

The use of people in landscape photography, as England was inclined, was often debated. At a meeting of the Camera Club on February 13, 1890, 31 years after England’s journey to the United States, there was a discussion as to “the relative artistic merits of pure landscape and landscape with figures.” “Mr. William England was of the opinion that it is desirable to introduce figures into landscapes where it can be judiciously done, and that in some cases it is absolutely necessary. He had seen American stereoscopic pictures in which the introduction of the human figure gave an idea of the approximate height of the geysers in the Yellowstone Park. Sometimes the introduction of a figure will help to suitably break up a landscape foreground, and in the instance of a trout stream, the introduction of a man fishing was an improvement.”[9]

 

Not everyone at the Camera Club agreed with England’s assertions on staffage. Graham Balfour noted “the relative artistic merits of pure landscape and landscape with figures, and stated that he felt inclined to recommend the former.” Andrew Pringle, photographic author and president of the Photographic Convention of the United Kingdom, “maintains figures in landscape photographs are scarcely ever in the right place, and that it is better to leave them out.” Mr. George Davison, later a proponent of impressionistic photography and director at the Kodak company, stated that he “believed that there might be as much beauty in a simple landscape, or a tree, or a bit of a pond, as in grand scenery, and he did not think figures to be essential to pure artistic work.” Mr. Balfour, perhaps most harshly, stated that “the great experience of Mr. England made his utterances welcome and valuable, but that evening they were rather outside the range of the subjects dealt with in his paper. When figures were introduced to give the scale of the dimensions of a geyser, he should consider the result to be more properly classified with diagrams than with works of art.”

 

In the summer of 1863 England traveled to Switzerland, which resulted in the series Views of Switzerland, comprised of 130 widely praised stereoviews. Historian Peter Blair notes England’s use of staffage in an article about stereoviews in the Alps. “Long before the impact of global warming was felt, his [England’s] stereoviews provide a remarkable photographic record of the Alps at the end of the Little Ice Age with dramatic glaciers reaching the valley floors. His images demonstrate a genius for composition and an eye for the picturesque, with people placed in the foreground, usually including his French wife Rosalie, to provide interest and a sense of depth and scale.”[10]

 

In 1865 The Photographic News wrote of England’s expert use of staffage in a review of his “Views in Switzerland” series. “Another quality in which Mr. England excels, the want of facility in doing which often causes the ruin of otherwise charming views, is the judicious introduction of figures. In all the series before us we seldom find a figure out of place, and in the majority of instances they greatly assist in completing the pictorial effect of the composition.”[11]

 

During 1868, nine years after his trip to the United States, William England travelled to Tyrol in the Alps region of Italy and Austria. Historian Alexander Guano wrote of England’s travels in that beautiful region and the importance of staffage figures in his photographs taken there. “. . . one can nearly always find staffage figures in England’s work that enlivened the picture. On the one hand, they demonstrate the scale of the mountains, and on the other hand, function as representatives of the viewer in the landscape or in space.”[12]

 

#53 Plauterkill Gap, Catskill Mountains.
 

As an example of England’s use of people in the Catskills, in view #53 titled Plauterkill Gap, Catskill Mountains, a well-dressed, bearded man in a hat relaxingly sits with legs crossed among the enormous boulders that are quite characteristic of Platte Clove.

 

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#53 Plauterkill Gap, Catskill Mountains.#53
Plauterkill Gap, Catskill Mountains.
“This wild and almost untrodden spot is one of the most rugged scenes in the Catskill Mountains. By a strange and sudden convulsion of nature, the solid mountains has been cleft, as it were, in twain, the stupendous masses which have fallen from its sides filling the intermediate chasm with vast piles of solid blocks, heaped one upon another in grand confusion. Stretching out far beyond, an extensive area is covered with these gigantic fragments and as one gazes on them, strewn far and wide, he is prone to think that nature dissatisfied with a portion of her handiwork, and disdaining the mountains she had once reared, had, in momentary anger, undone her work and scattered the huge mountains in fragments around. From between the fallen ruins a solitary tree will raise its head, the almost leafless branches partaking of the desolation around.

Crags, knolls, and mounds confusedly hurled
The fragments of an earlier world.”–Scott.

Source: England, William, photographer. Plauterkill Gap, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a58e-a3d9-e040-e00a18064a99

 

#54 View in the Kauterskill Clove, Catskill Mountains.
 

In view #54 titled View in the Kauterskill Clove, Catskill Mountains, a well-dressed man in a suit and hat carries a walking stick while standing on the edge of a boulder-strewn river. The view is stamped with the imprint of The London Stereoscopic Company 534 Broadway.

 

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#54 View in the Kauterskill Clove, Catskill Mountains.#54
View in the Kauterskill Clove, Catskill Mountains. (Same name as #71.) OR
Kauterskill Clove, Catskill Mountains.

“The Kautsberg or Catskill mountains have always been a region full of fable. The Indians considered them the abode of spirits, who influenced the weather, spreading sunshine or clouds over the landscape and sending good or bad hunting seasons. They were ruled by an old squaw spirit, said to be their mother. She dwelt on the highest peak of the Catskills, and had charge of the doors of day and night, to open and shut them at the proper hour. She hung up the new moon in the skies, and cut up the old ones into stars. In times of drought, if properly propitiated, she would spin light summer clouds out of cobwebs and morning dew, and send them off from the crest of the mountain, flake after flake, like flakes of carded cotton, to float in the air until dissolved by the heat of the sun, they would fall in gentle showers, causing the grass to spring, the fruits to ripen, and the corn to grow an inch an hour. If displeased, however, she would brew up clouds black as ink sitting in the midst of them like a bottle-bellied spider in the midst of its web; and when this cloud broke, woe betide the valleys.” Notes to the “The Sketch Book,” by Washington Irving.

Source: England, William, photographer. View in the Kauterskill Glove, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a584-a3d9-e040-e00a18064a99

 

#57 Mountain Scene on the Catskills.
 

In view #57 titled Mountain Scene on the Catskills, a man in a hand-painted red shirt sits along at the bottom of a rocky cliff ledge while seemingly drawing on a sketch pad. Large boulders can be seen, along with a set of trail stairs leading up the cliffside, as well as a young woman in an aqua shirt sitting on a rock. The hand-painted elements, i.e., the man’s red shirt, the woman’s aqua shirt, the green trees and the blue sky, all add to the view.

 

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#57 Mountain Scene on the Catskills.#57
Mountain Scene on the Catskills.
“WASHINGTON IRVING in his “Sketch Book” thus writes of these mountains;– “Every change of season, every change of weather, indeed every hour of the day, produces some change in the magical lines and shapes of these mountains; and they are regarded by all the good wives, far and near, as perfect barometers. When the weather is fair and settled they are clothed in blue and purple; and print their bold outlines on the clear evening sky; but sometimes when the rest of the landscape is cloudless, they will gather a hood of clear vapours about their summits, which in the last rays of the setting sun will glow and light up like a crown of glory.” ‘Twas on these mountains that “the simple good natured fellow Rip Van Winkle, a descendent of the Van Winkles, who figured so gallantly in the chivalrous days of Peter Stuyvesant and accompanied him to the siege of Fort Christina,” took his long doze of twenty years’ duration.”

Source: England, William, photographer. Mountain scene on the Catskills. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a58c-a3d9-e040-e00a18064a99

 

#62 View on the Catskill Mountains. (Same name as #67.)
 

In view #62 titled View on the Catskill Mountains, a well-dressed young man sits on a fallen tree with a lake in the background. The view has been hand-painted, including the man’s yellow hat, the tree trunks and ground in a natural orange, the tree foliage in green and the sky in blue.

 

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#62 View on the Catskill Mountains. (Same name as #67.)#62
View on the Catskill Mountains. (Same name as #67.)
“The Catskill Mountains are the most grand and picturesque of the mountain ranges of the United States, and are part of the great Appallachian chain, which extends through all the eastern portion of the Union, from Canada to the Gulf of Mexico. Their chief ranges follow the course of the Hudson River for some twenty or thirty miles, lying west of it, and separated by a valley stretch of ten or twelve miles. These mountains lend to all the landscape of that part of the Hudson from which they are visible, its greatest charm. Of the unrivalled sight one can never weary; and at the dawn of day, or as the rising of the sun, when its magical beams are lifting the mystical vapours and cloud-curtain, which the night has invisibly spread over the scene, the beauty of these rugged mountains is complete.”

Source: England, William, photographer. View on the Catskill Mountains. 1859. J. Paul Getty Museum, Open Content Program.

 

#69 View in the Kauterskill Glen, Catskill Mountains.
 

View #69 titled View in the Kauterskill Glen, Catskill Mountains depicts two men scrambling amongst boulders in the middle of a series of towering cascades.

 

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#69 View in the Kauterskill Glen, Catskill Mountains.#69
View in the Kauterskill Glen, Catskill Mountains.
“In old times, say the Indian traditions, there was a kind of Manitou or Spirit, who kept about the wildest recesses of the Catskill mountains, and took a mischievous pleasure in wreaking all kinds of even and vexations upon the red men. Sometimes he would assume the form of a bear, a panther, or a deer, lead the bewildered hunter a weary chase through tangled forests and among ragged rocks, and then spring off with a loud ho! ho! leaving him aghast on the brink of a beetling precipice or raging torrent.”– Notes to “The Sketch Book,” by Washington Irving.

“The pent up flood, impatient of control,
In ages past here broke its granite bound,
Then to the sea in broad meanders stole,
While the ponderous ruins strew’d the broken ground
And these gigantic hills for over closed around.”

Source: England, William, photographer. View in the Kauterskill Glen, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a586-a3d9-e040-e00a18064a99

 

#60 Mountain Gorge, on the Catskills.
 

In several views, including #60 titled Mountain Gorge, on the Catskills, #74 titled The Fawn’s Leap, Kauterskill Clove, Catskill Mountains and #76 titled Sylvan Cascade, Plauterkill Clove, Catskill Mountains, young men can be seen sitting or standing, all while admiring beautiful waterfalls.

 

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#60 Mountain Gorge, on the Catskills.#60
Mountain Gorge, on the Catskills.
“‘Mountain scenery,’ remarks an elegant writer, “is, after all, that which most impresses the mind with the greatness of the works of the Creator. The summit of the mountains crowned with granite, and lifting its unadorned crest to the clouds, or perhaps above them, speaks to us in a majesty and glory derived from its severe boldness of outline, as well as magnitude of parts.

To sit on rocks, to muse on flood and fell,
To slowly trace the forest's shade scene,
Where things that own not man's dominion dwell,
And mortal foot hath ne'er or rarely been;
To climb the trackless mountain all unseen,
With the wild flocks that never need a fold;
Alone o'er steeps and foaming falls to lean;
This is not solitude; 'tis but to hold
Converse with Nature's God, and view his stores unroll'd.”
BYRON.

Source: England, William, photographer. Mountain Gorge, on the Catskills. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a58a-a3d9-e040-e00a18064a99

 

#74 The Fawn's Leap, Kauterskill Clove, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#74 The Fawn's Leap, Kauterskill Clove, Catskill Mountains.#74
The Fawn’s Leap, Kauterskill Clove, Catskill Mountains.
“At one period these mountain ranges and thick tangled forests, were the homes of the red deer, and from a circumstance which transpired some years since, the spot, which the accompanying photograph represents, was named; and from which it would appear, that a fawn, pursued by the angry dog of one of the settlers, and just as escape seemed hopeless, suddenly espied this wide and gaping chasm. Goaded by desperation, the fawn attempted the leap, and succeeded in reaching the opposite side in safety. The dog, less nimble that his expected prey, in attempting to follow, missed his footing, and was dashed down the yawning abyss, his mangled body being carried away by the current.

Fresh vigour with the hope returned,
With flying foot the heath he spurned,
Held westward with unwearied race,
And left behind the panting chase.–LADY OF THE LAKE.”

Source: London Stereoscopic Company. The Fawn’s Leap, Kauterskill Clove, Catskill Mountains. 1859. J. Paul Getty Museum, Open Content Program.

 

#76 Sylvan Cascade, Plauterkill Clove, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#76 Sylvan Cascade, Plauterkill Clove, Catskill Mountains.#76
Sylvan Cascade, Plauterkill Clove, Catskill Mountains.
“This cascade is justly considered the finest of the Kauterskill Falls, and may literally be said to take its course through a rock grove, for on either side the perpendicular cliffs rise to a height of many hundred feet, sheltering the sparkling stream from summer sun, and casting a subdued and mellow light on the scene. From the rough sides of these towering cliffs stunted trees and shrubs stretch out their verdant arms, the green foliage presenting a pleasing contrast to the dark ledges of rock, and offering a charming relief to the otherwise nakedness of the view. From ledge to ledge the beautiful waters descend and in a succession of silvery cascades unceasingly tumble and flow, the waters of each fall as they reach the deep and rugged basin beneath, boiling and bubbling as through impatient of delay, then bursting their momentary bonds, again hurry on, winding their way between the fallen fragments, till they reach the brink of the next precipice, over which they again descend in a white and foamy stream. There is a quiet and secluded beauty about this spot which is only equalled by that of the Alhambra Cascade, Trenton.

Bright scenes of mountain and of lake,
With rugged glens where torrents break,
In floods of silver white;

Mid cliffs, and crags, and stone peaks,
Green woods, and isles of flowing creeks,
In chequered shade and light.”

Source: England, William, photographer. Sylvan Cascade, Plautterkill Clove, Catskill Mountains. [London? or New York?: London Stereoscopic Company, Publisher] Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/2017660500/>.

 

Three of England’s stereoviews (numbers 57, 59 and 70), interestingly, feature other artists, likely painters, working at their trade. “Mountain Scene on the Catskills,” number 57, was described above. In “Forest Scene, on the Catskill Mountains,” number 59, a well-dressed man comfortably sits straddling on a dead tree, while in front of him is a tripod and a small easel, with a seemingly near completed work of art, either a sketch or a painting. Although the exact subject in the artist’s work is difficult to determine, it may possibly be a waterfall scene, perhaps Kaaterskill Falls. “View in the Kauterskill Glen, Catskill Mountains,” number 70, shows two men in front of a towering waterfall, with one of them comfortably sitting on a rock with a sketch pad in his lap.

 

#57 Mountain Scene on the Catskills.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#57 Mountain Scene on the Catskills.#57
Mountain Scene on the Catskills.
“WASHINGTON IRVING in his “Sketch Book” thus writes of these mountains;– “Every change of season, every change of weather, indeed every hour of the day, produces some change in the magical lines and shapes of these mountains; and they are regarded by all the good wives, far and near, as perfect barometers. When the weather is fair and settled they are clothed in blue and purple; and print their bold outlines on the clear evening sky; but sometimes when the rest of the landscape is cloudless, they will gather a hood of clear vapours about their summits, which in the last rays of the setting sun will glow and light up like a crown of glory.” ‘Twas on these mountains that “the simple good natured fellow Rip Van Winkle, a descendent of the Van Winkles, who figured so gallantly in the chivalrous days of Peter Stuyvesant and accompanied him to the siege of Fort Christina,” took his long doze of twenty years’ duration.”

Source: England, William, photographer. Mountain scene on the Catskills. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a58c-a3d9-e040-e00a18064a99

 

#59 Forest Scene, on the Catskill Mountains.

#59  Forest Scene, on the Catskill Mountains.#59 Forest Scene, on the Catskill Mountains.

 

#70 View in the Kauterskill Glen, Catskill Mountains.

#70  View in the Kauterskill Glen, Catskill Mountains.#70 View in the Kauterskill Glen, Catskill Mountains.#70
View in the Kauterskill Glen, Catskill Mountains. OR
View near the Kauterskill River, Catskill Mountains.

 

As for the equipment used by England during his United States trip, historian Alexander Guano writes: “William England used a light ‘pocket’ camera, measuring 20 x 12 x 5 cm. With a weight of only half a kilogram, it was perfect for travelling, but there was one problem with this ‘pocket’ camera; it used only a single lens, which forced England, while taking a photograph, and in order to attain the desired stereo effect, to move precisely 33 cm sideways, on an exactly pre-defined line, before taking a second picture. The tent he carried with him for processing the plates on the spot, was also very lightweight.”[13]

 

During his time in the United States England worked through all seasons. Winter photographs included snow and ice scenes at Niagara Falls and in the White Mountains. Working in the frigid cold of winter in the northeast United States placed additional technical burdens on England.

 

“During Mr. England’s operations in America and Canada, the film of his wet plate, he has told us, would often freeze in the low temperature, for a long time would sometimes elapse between the plate’s withdrawal from the bath and its development. At first he was much exercised in mind, lest no picture should be developed from the glazed collodion surface he brought out of the dark slide; but he paid little heed, and developed in the same way precisely as if nothing had happened. The result was in every way satisfactory, and there was no sign, indeed, in the image to show that anything extraordinary had happened to the plate.”[14]

 

“Mr. W. England said that, when working in America several years ago, he had encountered a temperature as low as thirty degrees below freezing point. He found that, although the cold was so great as to freeze the surface of the wet collodion plates he was using, the quality of the negatives was unimpaired.”[15]

 

In addition to tough weather conditions, England also faced challenges with wildlife in the United States, to which he responded quickly and decisively. “It is not often, we apprehend, that photographers are visited by snakes during their operations; but we remember Mr. England describing an incident of a similar kind. Whilst photographing in America he found a large snake rearing its head with open mouth just outside his tent. The cyanide solution being close at hand, a little of it was poured between the gaping jaws of the snake, his fate being less fortunate that that of those for which Professor Towler found a better berth than the photographer’s water bucket.”[16]

 

England’s time in the Catskills offer some of the earliest landscape photographs from that once world-famous region. The photos provide great insight, in both the changing and unchanging elements of the Catskills. For the changing elements, there are early captures of the spray house at the top of Kaaterskill Falls and the simple bridge above what is now known as Moore’s Bridge Falls. The unchanging elements include numerous waterfalls and mountain scenes that seemingly, in their own way, emphasize the timeless beauty of the Catskills. All the Catskills scenes can be enjoyed today in the same way that they were at the time of England’s visit in 1859.

 

William England would be followed in the 19th century Catskills by several other notable photographers such as E. and H. T. Anthony, John Jacob Loeffler and Richard Lionel De Lisser. Anthony and Loeffler would both offer an extensive series of Catskills stereoviews, while De Lisser would publish Picturesque Catskills: Greene County, a thorough photographic survey of the northern Catskills that included over 800 photographs.

 

Kaaterskill Clove and Plattekill Clove

 

"Whoever has made a voyage up the Hudson must remember the Kaatskill mountains. They are a dismembered branch of the great Appalachian family, and are seen away to the west of the river, swelling up to a noble height, and lording it over the surrounding country. Every change of season, every change of weather, indeed, every hour of the day, produces some change in the magical hues and shapes of these mountains . . .

 

When the weather is fair and settled, they are clothed in blue and purple, and print their bold outlines on the clear evening sky; but sometimes, when the rest of the landscape is cloudless, they will gather a hood of gray vapors about their summits, which, in the last rays of the setting sun, will glow and light up like a crown of glory." – Rip Van Winkle, Washington Irving, 1819.

 

 

Kaaterskill Clove and Plattekill Clove are two of the most popular areas within the northern Catskills. At the time of England’s trip, the geographic understanding of what constituted the Catskills was generally thought to be the Greene County region around the Catskill Mountain House, including Pine Orchard, South Mountain, North Mountain and North-South Lake, as well as Palenville, Haines Falls, Hunter, Stony Clove, Kaaterskill Clove and Plattekill Clove. It was only later that areas in the rest of Greene County, Ulster County, Delaware County and Sullivan County also became thought of as being part of the Catskills. Therefore, in 1859, it is no surprise that William England would have focused his photographic efforts on the northern Catskills regions of Kaaterskill Clove and Plattekill Clove.

 

Kaaterskill Clove is a deep gorge that cuts through the northern Catskills Mountains, with the village of Palenville located at the base of the Clove and the village of Haines Falls located at its head. The clove is formed by Kaaterskill and Lake Creeks, with the gorge cutting as deep as 2,500 feet in places.

 

South Mountain forms the north wall of the clove. Prospect Mountain, located west of Lake Creek, looms over the upper part of the Clove near Bastion Falls. Kaaterskill High Peak and Round Top Mountain form the south wall of the clove, with the Long Path traversing much of its length. The south wall is home to the Wildcat Ravine, Buttermilk Ravine and Santa Cruz Ravine. The south wall, at its head, culminates at Twilight Park, a private residential community that offers magnificent views of the entire clove. The entire length of the Clove is traversed by Route 23A.

 

Numerous hiking trails in Kaaterskill Clove offer access to overlooks with outstanding views. Notable examples include the Escarpment trail that takes the hiker along the north wall to viewpoints such as Inspiration Point and Sunset Rock, the viewpoints at Palenville Overlook and Indian Head near the entrance of the clove, as well as Poet’s Ledge on the south wall. The clove is also home to countless other scenic wonders such as Moore’s Bridge Falls, Fawn’s Leap, Bastion Falls, the Five Cascades and Kaaterskill Falls.

 

Kaaterskill Falls, the subject of three of England’s photographs (numbers 55, 56 and 68), can be considered one of the most iconic destinations in all of the Catskills. With two drops measuring a combined 260 feet, 175 feet for the upper and 85 feet for the lower, Kaaterskill Falls is taller than Niagara Falls, which measures 173 feet. Kaaterskill Falls, the tallest waterfall in New York State, is a classic Catskills, “must see” location, and has been for nearly two centuries.

 

In 1823 James Fenimore Cooper in his classic The Pioneers poetically described Kaaterskill Falls.

 

“Why, there’s a fall in the hills where the water of two little ponds, that lie near each other, breaks out of their bounds and runs over the rocks into the valley. The stream is, maybe, such a one as would turn a mill, if so useless a thing was wasted in the wilderness. But the hand that made that ‘Leap’ never made a mill. There the water comes crooking and winding among the rocks; first so slow that a trout could swim in it, and then starting and running like a crater that wanted to make a far spring, till it gets to where the mountain divides, like the cleft hoof of a deer, leaving a deep hollow for the brook to tumble into.

 

The first pitch is nigh two hundred feet, and the water looks like flakes of a driven snow afore it touches the bottom; and there the stream gathers itself together again for a new start, and maybe flutters over fifty feet of flat rock before it falls for another hundred, when it jumps about from shelf to shelf, first turning this-way and then turning that-away, striving to get out of the hollow, till it finally comes to the plain . . .

 

To my judgment, lad, it’s the best piece of work that I’ve met with in the woods; and none know how often the hand of God is seen in the wilderness, but them that rove it for a man’s life.”

 

The “jewel of the upper Catskills” was a popular haunt of the Hudson River School artists, including Thomas Cole whose paintings brought world-wide fame to the region. His 1826 Falls of the Kaaterskill and Kaaterskill Falls both beautifully capture the essence of what was to become one of the most popular subjects of 19th century American painting. Sanford Robinson Gifford’s 1871 Kaaterskill Falls is another masterpiece rendition.

 

The most celebrated painting of the falls though is certainly Asher Durand’s 1849 Kindred Spirits, sometimes referred to as the defining work of the Hudson River School. Originally created as a tribute to Thomas Cole, after his death, and poet William Cullen Bryant, it offers a romanticized view of the Kaaterskill Falls area, although it is actually a composite of several scenes in the area. In 2005, Kindred Spirits sold at auction for $35 million dollars, the highest price ever paid for an American painting. 

 

The second of England’s Catskills destinations, Platte Clove, also known as Plattekill Clove, is a deep, dark, heavily wooded, historic, wildly rugged and wonderfully scenic mountain pass through the northern Catskills. Charles Lanman, a noted American writer and artist who spent much time in the clove, described his impressions in 1844.

 

“Plauterkill Clove is an eddy of the great and tumultuous world, and in itself a world of unwritten poetry, whose primitive loveliness has not yet been disfigured by the influences of mammon, and God grant that it may continue so forever. It is endeared to my heart for being a favourite haunt for solitude, and for having been consecrated by a brotherhood of friends to the pure religion of nature; and they always enter there as into a holy sanctuary.”

 

With Plattekill Mountain encroaching from the south and Kaaterskill High Peak looming to the north, a narrow and winding two-lane road precipitously crosses the eastern portion of the clove, rising over 1,400 feet from West Saugerties in only 2.1 miles. There are no guardrails despite the nearly vertical cliffs along much of the drive. The climb is so dangerously steep that the road is closed in the winter from November 15th to April 15th as the town provides no maintenance.

 

Platte Clove is home to, depending on who’s counting, over 18 waterfalls, many of which are only reachable with extreme caution and effort and is not recommended. There are fatalities in the clove area just about every year. Fortunately, the clove’s showpiece waterfall, the beautiful Plattekill Falls, is easily and safely accessible.

 

Well-known photographer and guidebook author Richard Lionel De Lisser wrote of his 1894 trip through Platte Clove.

 

“A trip through the clove, following the bed of the stream, to West Saugerties, in Ulster County, is fully worth the exertion necessary to make it, and is full of interest to the lover of Nature in her barbaric state. There is nothing in the Catskills to equal it – of the kind. My trip was made with an assistance and a guide, with an axe to clear the way of fallen trees and other obstructions. Although not much over a mile, it took us from early morning till late in the evening to make the passage. In the descent, of over 2,000 feet, no less than eighteen large waterfalls are encountered and passed, which vary in height – from twenty-five up to many which are higher – some of them hundreds of feet. There are no paths or roads through; in fact there is little chance for any, the creek occupying about all the space between the mountains on either side.

 

After a visit to Black Chasm and the Plaaterkill Falls, the next point of interest is the Old Mill Falls, just below the bridge that crosses the stream on the Overlook Mountain road. Then comes Pomeroy Falls. Here the visitor will find a flight of steps that will take him to the foot of the ravine. From there, down the clove, he must do as I did – make the best of the natural opportunities afforded by the depth of the water in the creek, and the fallen trees and rocks in the bed.

 

I should judge that a foot-path could be made through the entire length of the clove, and at but little expense, that would make it passable for ladies and summer people in general. The place only needs to be known and made passable, to take precedence over any other of the cloves in the Catskill region.

 

The next fall below Pomeroy is the Rainbow, the one below that is the Lower Rainbow, or Hell Hole Falls. The stream that enters the creek at this point comes from High Peak, passes under Hell Hole bridge, on the clove wagon road, and falls almost perpendicularly hundreds of feet, over huge rocks and high cliffs, into the wild stream below.

 

Green Falls comes next. A second view of this falls I have called “The Ghost,” as it suggested to me a Death-head wrapped in a winding-sheet. Looking to one side of the “Ghost,” you can find two other heads, one clearly defined.

 

Evergreen Falls is named from the quantities of green moss that covers its rocks, and comes next in order. Then comes Rocky Rapids, which is a wild and rather a dangerous spot, quite narrow and in which one is in as much danger from the rocks handing above as from the big boulders in the path.

 

Gray Rock is a beautiful falls, and would well repay a visit to the clove. The stream from Black Chasm enters the creek just below these falls.

 

In attempting to cross the stream here I fell in the creek, for about the twentieth time that day, but unfortunately, this time, having in one hand the camera and in the other the lens, and wishing to keep them dry, at any cost, I was obliged to remain as I had fallen, until relieved of them, while the water, which had found convenient passageway through my trousers, spurted out over my collar in playful jets. My guide set to laughing at this, and laughed so long and so hard that we had to sit down and wait for him to get through and afterward to recover from the fatigue caused thereby.

 

The last falls in Greene county is the Upper Red Falls, so called to distinguish it from the Lower Red Falls, which in Ulster county.”[17]

 

 

[1] “Notes.” The Photographic News. Vol. 27. September 8, 1882. London: Piper and Carter, 1882. p. 536.

[2] Rusk, Samuel E. Rusk’s Illustrated Guide to the Catskill Mountains. Catskill, NY: Samuel E. Rusk, 1879. pp. 68-71.

[3] Beers, J. B. History of Greene County, New York. New York: J. B. Beers & Co., 1884. p. 82.

[4] Beers, J. B. History of Greene County, New York. New York: J. B. Beers & Co., 1884. p. 82.

[5] Van Loan, Walton. Van Loan’s Catskill Mountain Guide. New York: The Aldine Publishing Company, 1882. p. 20.

[6] The Evening Post. August 2, 1839.

[7] Rockwell, Charles. The Catskill Mountains and the Region Around. New York: Taintor Brothers & Co., 1869. pp. 280-283.

[8] Richards, T. Addison. “The Catskills.” Harper’s New Monthly Magazine. Vol. 9, No. 50. July 1854. p. 148.

[9] “Proceedings of Societies.” The Photographic News. Vol. 34, No. 1642, February 21, 1890. London: Piper and Carter, 1890. pp. 153-154.

[10] Blair, Peter. “Stereo Views: Victorian 3D Photography of The Alps.” The Alpine Journal. 2015.

[11] “View in Switzerland. Photographed by W. England.” The Photographic News. Vol. 9. January 20, 1865. London: Thomas Piper, 1865. p. 28.

[12] Guano, Alexander. “The views of the Tyrol by William England.” The PhotoHistorian. Summer 2019 / No. 184. p. 18.

[13] Guano, Alexander. “The views of the Tyrol by William England.” The PhotoHistorian. Summer 2019 / No. 184. p. 13.

[14] “Cold Weather and Photography.” The Photographic Times. Vol. 5, No. 50. February, 1875. p. 37.

[15] “Photographic Society of Great Britain.” The British Journal of Photography. Vol. 23. December 15, 1876. p. 596.

[16] “Snakes Amongst the Chemicals – Metallic Silver Stains in the Negative.” The Photographic News. Vol. 10. October 19, 1866. London: Thomas Piper, 1866. p. 494.

[17] De Lisser, Richard Lionel. Picturesque Catskills. Greene County. Northampton, Mass.: Picturesque Publishing Company, 1894. Reprinted – Cornwallville, New York: Hope Farm Press, 1983. pp. 76-77.

 

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[email protected] (American Catskills) 1859 alpine America in the Stereoscope Blondin Britain Catskills England exhibit Fawn's Leap International Exhibition Ireland Italy Kaaterskill Clove Kaaterskill Falls Kauterskill Falls landscape Laurel House London Stereoscopic Company mountains Niagara Falls North American Series North Lake photographer photographs photography Plattekill Clove Plauterkill Clove Rhine scenery statuary stereoscope stereoscopic stereoviews Switzerland waterfalls William England https://www.americancatskills.com/blog/2022/3/william-england-and-his-1859-tour-of-the-catskills-part-4 Sat, 26 Mar 2022 12:00:00 GMT
William England and His 1859 Tour of the Catskills (Part 3) https://www.americancatskills.com/blog/2022/3/william-england-and-his-1859-tour-of-the-catskills-part-3 Introduction

 

William England (1830-1896) was a 19th century British photographer who was widely known for his travel images. He was an early adopter of photography, operating a studio in the late 1840s, less than ten years after the daguerreotype was created by French inventor Louis Daguerre. England’s 1859 trip through the United States, including a visit to the Catskills, and Canada gained widespread praise. His image of Charles Blondin tightrope walking across the Niagara Gorge is among the top selling stereoviews of all time. Although largely forgotten today, William England was considered one of the great photographers of his era.

 

 

Continued from Part 2

 

The Catskills

 

“A ramble, or, as might properly be said, a scramble amid the varied scenes on the Catskill mountains, is a thing to be felt and remembered. Their ever-changing features, and the sublimity of their aspect, strike home to the heart, and sink deep into the soul.”

 

 

The photographs of the “North American Series” by William England contained 238 unique views. Of those 238 views, 26 of the scenes were taken from within the Catskill Mountains, almost exclusively within the Kaaterskill Clove, then known as Kauterskill Clove, and Plattekill Clove, then known as Plauterkill, regions. Catskills’ scenes included the world famous Kaaterskill Falls, Fawn’s Leap, Moore’s Bridge Falls, Sylvan Lake (now North-South Lake), and various other waterfalls and rugged mountain landscapes.

 

Catalog numbers for the Catskills stereoviews from the “North American Series” ranged from 53 to 78. Although the individual stereoviews were not numbered they can be cross-referenced against the catalog by name. Only in several cases is there mild confusion due to a similar or duplicate name.

 

#53 Plauterkill Gap, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#53 Plauterkill Gap, Catskill Mountains.#53
Plauterkill Gap, Catskill Mountains.
“This wild and almost untrodden spot is one of the most rugged scenes in the Catskill Mountains. By a strange and sudden convulsion of nature, the solid mountains has been cleft, as it were, in twain, the stupendous masses which have fallen from its sides filling the intermediate chasm with vast piles of solid blocks, heaped one upon another in grand confusion. Stretching out far beyond, an extensive area is covered with these gigantic fragments and as one gazes on them, strewn far and wide, he is prone to think that nature dissatisfied with a portion of her handiwork, and disdaining the mountains she had once reared, had, in momentary anger, undone her work and scattered the huge mountains in fragments around. From between the fallen ruins a solitary tree will raise its head, the almost leafless branches partaking of the desolation around.

Crags, knolls, and mounds confusedly hurled
The fragments of an earlier world.”–Scott.

Source: England, William, photographer. Plauterkill Gap, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a58e-a3d9-e040-e00a18064a99

“This wild and almost untrodden spot is one of the most rugged scenes in the Catskill Mountains. By a strange and sudden convulsion of nature, the solid mountains has been cleft, as it were, in twain, the stupendous masses which have fallen from its sides filling the intermediate chasm with vast piles of solid blocks, heaped one upon another in grand confusion. Stretching out far beyond, an extensive area is covered with these gigantic fragments and as one gazes on them, strewn far and wide, he is prone to think that nature dissatisfied with a portion of her handiwork, and disdaining the mountains she had once reared, had, in momentary anger, undone her work and scattered the huge mountains in fragments around. From between the fallen ruins a solitary tree will raise its head, the almost leafless branches partaking of the desolation around.

 

Crags, knolls, and mounds confusedly hurled

The fragments of an earlier world.”–Scott.

 

Source: England, William, photographer. Plauterkill Gap, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a58e-a3d9-e040-e00a18064a99

 

 

#54 View in the Kauterskill Clove, Catskill Mountains. (Same name as #71.) OR Kauterskill Clove, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#54 View in the Kauterskill Clove, Catskill Mountains.#54
View in the Kauterskill Clove, Catskill Mountains. (Same name as #71.) OR
Kauterskill Clove, Catskill Mountains.

“The Kautsberg or Catskill mountains have always been a region full of fable. The Indians considered them the abode of spirits, who influenced the weather, spreading sunshine or clouds over the landscape and sending good or bad hunting seasons. They were ruled by an old squaw spirit, said to be their mother. She dwelt on the highest peak of the Catskills, and had charge of the doors of day and night, to open and shut them at the proper hour. She hung up the new moon in the skies, and cut up the old ones into stars. In times of drought, if properly propitiated, she would spin light summer clouds out of cobwebs and morning dew, and send them off from the crest of the mountain, flake after flake, like flakes of carded cotton, to float in the air until dissolved by the heat of the sun, they would fall in gentle showers, causing the grass to spring, the fruits to ripen, and the corn to grow an inch an hour. If displeased, however, she would brew up clouds black as ink sitting in the midst of them like a bottle-bellied spider in the midst of its web; and when this cloud broke, woe betide the valleys.” Notes to the “The Sketch Book,” by Washington Irving.

Source: England, William, photographer. View in the Kauterskill Glove, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a584-a3d9-e040-e00a18064a99

“The Kautsberg or Catskill mountains have always been a region full of fable. The Indians considered them the abode of spirits, who influenced the weather, spreading sunshine or clouds over the landscape and sending good or bad hunting seasons. They were ruled by an old squaw spirit, said to be their mother. She dwelt on the highest peak of the Catskills, and had charge of the doors of day and night, to open and shut them at the proper hour. She hung up the new moon in the skies, and cut up the old ones into stars. In times of drought, if properly propitiated, she would spin light summer clouds out of cobwebs and morning dew, and send them off from the crest of the mountain, flake after flake, like flakes of carded cotton, to float in the air until dissolved by the heat of the sun, they would fall in gentle showers, causing the grass to spring, the fruits to ripen, and the corn to grow an inch an hour. If displeased, however, she would brew up clouds black as ink sitting in the midst of them like a bottle-bellied spider in the midst of its web; and when this cloud broke, woe betide the valleys.” Notes to the “The Sketch Book,” by Washington Irving.

 

Source: England, William, photographer. View in the Kauterskill Glove, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a584-a3d9-e040-e00a18064a99

 

 

#55 Kauterskill Fall, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#55 Kauterskill Fall, Catskill Mountains.#55
Kauterskill Fall, Catskill Mountains.
“This branch of the Kauterskill Falls, after winding and rippling o’er its rocky bed, singing and murmuring through forest shades and wild secluded glens, descends in a white and misty torrent over a ledge of rock to the depth of 180 feet, its incessant music, as it splashes on the projecting ledges in its descent, falling pleasantly on the ear.

From rock to rock the waters leap,
In a fair white sheet they flow,
Then sparkling fall o’er the rugged steep,
To the dark abyss below;
Dashing and splashing in extacy,
As they dance to their own rough minstrelrcy.”

Source: England, William, photographer. Kauterskill Fall, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a57e-a3d9-e040-e00a18064a99

“This branch of the Kauterskill Falls, after winding and rippling o’er its rocky bed, singing and murmuring through forest shades and wild secluded glens, descends in a white and misty torrent over a ledge of rock to the depth of 180 feet, its incessant music, as it splashes on the projecting ledges in its descent, falling pleasantly on the ear.

 

From rock to rock the waters leap,

               In a fair white sheet they flow,

Then sparkling fall o’er the rugged steep,

               To the dark abyss below;

Dashing and splashing in extacy,

As they dance to their own rough minstrelcy.”

 

Source: England, William, photographer. Kauterskill Fall, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a57e-a3d9-e040-e00a18064a99

 

 

#56 Kauterskill Fall, Catskill Mountains.–View from Below.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#56 Kauterskill Fall, Catskill Mountains.–View from Below.#56
Kauterskill Fall, Catskill Mountains.–View from Below.
“This portion of Kauterskill Falls, when viewed from beneath, presents a most peculiar feature. From a height of nearly 180 feet the water descends into an ampitheatre scooped by the hand of nature out of the solid rock, and forming a cavern of vast extent, and of grand and solemn aspect. As we stand upon the floor of this and gaze upward, we behold the limpid waters descending in a white and flaky column, their light and sparkling beauty contrasting greatly with the gloomy walls of the overhanging rocks, the misty stream presenting the appearance of a bright sunbeam piercing through the arched roof above.”

Source: England, William, photographer. Kauterskill Fall, Catskill Mountains.–View from Below. 1859. J. Paul Getty Museum, Open Content Program.

“This portion of Kauterskill Falls, when viewed from beneath, presents a most peculiar feature. From a height of nearly 180 feet the water descends into an ampitheatre scooped by the hand of nature out of the solid rock, and forming a cavern of vast extent, and of grand and solemn aspect. As we stand upon the floor of this and gaze upward, we behold the limpid waters descending in a white and flaky column, their light and sparkling beauty contrasting greatly with the gloomy walls of the overhanging rocks, the misty stream presenting the appearance of a bright sunbeam piercing through the arched roof above.”

 

Source: England, William, photographer. Kauterskill Fall, Catskill Mountains.–View from Below. 1859. J. Paul Getty Museum, Open Content Program.

 

 

#57 Mountain Scene on the Catskills.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#57 Mountain Scene on the Catskills.#57
Mountain Scene on the Catskills.
“WASHINGTON IRVING in his “Sketch Book” thus writes of these mountains;– “Every change of season, every change of weather, indeed every hour of the day, produces some change in the magical lines and shapes of these mountains; and they are regarded by all the good wives, far and near, as perfect barometers. When the weather is fair and settled they are clothed in blue and purple; and print their bold outlines on the clear evening sky; but sometimes when the rest of the landscape is cloudless, they will gather a hood of clear vapours about their summits, which in the last rays of the setting sun will glow and light up like a crown of glory.” ‘Twas on these mountains that “the simple good natured fellow Rip Van Winkle, a descendent of the Van Winkles, who figured so gallantly in the chivalrous days of Peter Stuyvesant and accompanied him to the siege of Fort Christina,” took his long doze of twenty years’ duration.”

Source: England, William, photographer. Mountain scene on the Catskills. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a58c-a3d9-e040-e00a18064a99

“WASHINGTON IRVING in his “Sketch Book” thus writes of these mountains;– “Every change of season, every change of weather, indeed every hour of the day, produces some change in the magical lines and shapes of these mountains; and they are regarded by all the good wives, far and near, as perfect barometers. When the weather is fair and settled they are clothed in blue and purple; and print their bold outlines on the clear evening sky; but sometimes when the rest of the landscape is cloudless, they will gather a hood of clear vapours about their summits, which in the last rays of the setting sun will glow and light up like a crown of glory.” ‘Twas on these mountains that “the simple good natured fellow Rip Van Winkle, a descendent of the Van Winkles, who figured so gallantly in the chivalrous days of Peter Stuyvesant and accompanied him to the siege of Fort Christina,” took his long doze of twenty years’ duration.”

 

Source: England, William, photographer. Mountain scene on the Catskills. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a58c-a3d9-e040-e00a18064a99

 

 

#58 Kauterskill Chasm, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#58 Kauterskill Chasm, Catskill Mountains.#58
Kauterskill Chasm, Catskill Mountains.
“To where the bank opposing showed
Its huge square cliffs and shaggy wood,
One prominent above the rest,
Reared to the sun its pale grey breast;
Around its broken summit grew,
The hazel rude and sable yew;
A thousand varied lichens dyed
Its waste and weather-beaten side,
And round its rugged basis lay,
By time or thunder rent away,
Fragments that from its frontlet torn,
Were mantled now by varied thorn.”–Scott

Source: England, William, photographer. Kauterskill Chasm, Catskill Mountains. [London? or New York?: London Stereoscopic Company, Publisher] Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/2017660499/>.

“To where the bank opposing showed

Its huge square cliffs and shaggy wood,

One prominent above the rest,

Reared to the sun its pale grey breast;

Around its broken summit grew,

The hazel rude and sable yew;

A thousand varied lichens dyed

Its waste and weather-beaten side,

And round its rugged basis lay,

By time or thunder rent away,

Fragments that from its frontlet torn,

Were mantled now by varied thorn.”–Scott

 

Source: England, William, photographer. Kauterskill Chasm, Catskill Mountains. [London? or New York?: London Stereoscopic Company, Publisher] Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/2017660499/>.

 

Source: England, William, photographer. Kauterskill Chasm, Catskill Mountains. 1859. J. Paul Getty Museum, Open Content Program.

 

 

#59 Forest Scene, on the Catskill Mountains.

#59  Forest Scene, on the Catskill Mountains.#59 Forest Scene, on the Catskill Mountains.

 

#60 Mountain Gorge, on the Catskills.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#60 Mountain Gorge, on the Catskills.#60
Mountain Gorge, on the Catskills.
“‘Mountain scenery,’ remarks an elegant writer, “is, after all, that which most impresses the mind with the greatness of the works of the Creator. The summit of the mountains crowned with granite, and lifting its unadorned crest to the clouds, or perhaps above them, speaks to us in a majesty and glory derived from its severe boldness of outline, as well as magnitude of parts.

To sit on rocks, to muse on flood and fell,
To slowly trace the forest's shade scene,
Where things that own not man's dominion dwell,
And mortal foot hath ne'er or rarely been;
To climb the trackless mountain all unseen,
With the wild flocks that never need a fold;
Alone o'er steeps and foaming falls to lean;
This is not solitude; 'tis but to hold
Converse with Nature's God, and view his stores unroll'd.”
BYRON.

Source: England, William, photographer. Mountain Gorge, on the Catskills. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a58a-a3d9-e040-e00a18064a99

“‘Mountain scenery,’ remarks an elegant writer, “is, after all, that which most impresses the mind with the greatness of the works of the Creator. The summit of the mountains crowned with granite, and lifting its unadorned crest to the clouds, or perhaps above them, speaks to us in a majesty and glory derived from its severe boldness of outline, as well as magnitude of parts.

 

To sit on rocks, to muse on flood and fell,

To slowly trace the forest's shade scene,

Where things that own not man's dominion dwell,

And mortal foot hath ne'er or rarely been;

To climb the trackless mountain all unseen,

With the wild flocks that never need a fold;

Alone o'er steeps and foaming falls to lean;

This is not solitude; 'tis but to hold

Converse with Nature's God, and view his stores unroll'd.”

BYRON.

 

Source: England, William, photographer. Mountain Gorge, on the Catskills. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a58a-a3d9-e040-e00a18064a99

 

 

#61 Forest Scene, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#61 Forest Scene, Catskill Mountains.#61
Forest Scene, Catskill Mountains.
“A ramble, or, as might properly, be said, a scramble amid the varied scenes on the Catskill mountains, is a thing to be felt and remembered. Their ever-changing features, and the sublimity of their aspect, strike home to the heart, and sink deep into the soul. In after-times, although one may speak of their beauties, and extol with graphic effect the scenes with which they abound, ‘tis impossible to convey by words alone, a just idea of their attractions. ‘Tis only amid the scenes themselves, that one can be fully awakened to their impressive grandeur and extent.

When to the city’s crowded streets,
The fiercest spells of summer come,
Then for they calm and cool retreats,
Sweet Catskill may the wanderer roam.

Then may he seek thy guardian haunts,
They quiet streams, they shady tree,
And, while the world around him pants,
From all oppression find him free.”

Source: Author’s Collection.

“A ramble, or, as might properly be said, a scramble amid the varied scenes on the Catskill mountains, is a thing to be felt and remembered. Their ever-changing features, and the sublimity of their aspect, strike home to the heart, and sink deep into the soul. In after-times, although one may speak of their beauties, and extol with graphic effect the scenes with which they abound, ‘tis impossible to convey by words alone, a just idea of their attractions. ‘Tis only amid the scenes themselves, that one can be fully awakened to their impressive grandeur and extent.

 

When to the city’s crowded streets,

               The fiercest spells of summer come,

Then for they calm and cool retreats,

               Sweet Catskill may the wanderer roam.

 

Then may he seek thy guardian haunts,

               They quiet streams, they shady tree,

And, while the world around him pants,

               From all oppression find him free.”

 

Source: Author’s Collection.

 

 

#62 View on the Catskill Mountains. (Same name as #67.)

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#62 View on the Catskill Mountains. (Same name as #67.)#62
View on the Catskill Mountains. (Same name as #67.)
“The Catskill Mountains are the most grand and picturesque of the mountain ranges of the United States, and are part of the great Appallachian chain, which extends through all the eastern portion of the Union, from Canada to the Gulf of Mexico. Their chief ranges follow the course of the Hudson River for some twenty or thirty miles, lying west of it, and separated by a valley stretch of ten or twelve miles. These mountains lend to all the landscape of that part of the Hudson from which they are visible, its greatest charm. Of the unrivalled sight one can never weary; and at the dawn of day, or as the rising of the sun, when its magical beams are lifting the mystical vapours and cloud-curtain, which the night has invisibly spread over the scene, the beauty of these rugged mountains is complete.”

Source: England, William, photographer. View on the Catskill Mountains. 1859. J. Paul Getty Museum, Open Content Program.

“The Catskill Mountains are the most grand and picturesque of the mountain ranges of the United States, and are part of the great Appallachian chain, which extends through all the eastern portion of the Union, from Canada to the Gulf of Mexico. Their chief ranges follow the course of the Hudson River for some twenty or thirty miles, lying west of it, and separated by a valley stretch of ten or twelve miles. These mountains lend to all the landscape of that part of the Hudson from which they are visible, its greatest charm. Of the unrivalled sight one can never weary; and at the dawn of day, or as the rising of the sun, when its magical beams are lifting the mystical vapours and cloud-curtain, which the night has invisibly spread over the scene, the beauty of these rugged mountains is complete.”

 

Source: England, William, photographer. View on the Catskill Mountains. 1859. J. Paul Getty Museum, Open Content Program.

 

 

#63 View on the Kauterskill River, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#63 View on the Kauterskill River, Catskill Mountains.#63
View on the Kauterskill River, Catskill Mountains.
“Like streamlet on the mountain north,
Now in a torrent racing forth,
Now winding slow its silver train,
And almost slumb’ring on the plain.”–Scott.

Source: Author’s Collection.

“Like streamlet on the mountain north,

Now in a torrent racing forth,

Now winding slow its silver train,

And almost slumb’ring on the plain.”–Scott.

 

Source: Author’s Collection.

 

 

#64 Cascade on the Kauterskill River, Catskill Mountains.

64  Cascade on the Kauterskill River, Catskill Mountains#64 Cascade on the Kauterskill River, Catskill Mountains

 

#65 Sylvan Lake, Catskill Mountains.

 

 

#66 Split Rock, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#66 Split Rock, Catskill Mountains.#66
Split Rock, Catskill Mountains.
“The scenery around this spot stands almost unrivalled. It carries with it a charm peculiar to itself. Bold and striking in some respects, simple and beauteous in others, it fails not to delight the lover of all that is grand and beautiful in nature. Through the gaping chasms and openings in the tall stupendous rocks we behold the wild and rugged scenery beyond; the tall aspiring mountains, from the steep sides of which the slender pines spring up as it were ambitious of topping the mountains themselves, while at their feet the gushing waters of no “babbling brook,” but some foaming cataract add to the charms of the scene by their rough unceasing music.

It was a wild and strange retreat,
As e’er was trod by outlaw’s feet,
The dell, upon the mountain crest,
Yawned like a gash on warrior’s breast.

Suspended cliffs, with hideous sway,
Seemed nodding o’er the cavern gray,
From such a den the wolf had sprung,
In such the wild cat leaves her young.”–Scott.

Source: England, William, photographer. Split Rock, Catskill Mountains. [London? or New York?: London Stereoscopic Company, Publisher] Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/2017660498/>.

“The scenery around this spot stands almost unrivalled. It carries with it a charm peculiar to itself. Bold and striking in some respects, simple and beauteous in others, it fails not to delight the lover of all that is grand and beautiful in nature. Through the gaping chasms and openings in the tall stupendous rocks we behold the wild and rugged scenery beyond; the tall aspiring mountains, from the steep sides of which the slender pines spring up as it were ambitious of topping the mountains themselves, while at their feet the gushing waters of no “babbling brook,” but some foaming cataract add to the charms of the scene by their rough unceasing music.

 

It was a wild and strange retreat,

As e’er was trod by outlaw’s feet,

The dell, upon the mountain crest,

Yawned like a gash on warrior’s breast.

 

Suspended cliffs, with hideous sway,

Seemed nodding o’er the cavern gray,

From such a den the wolf had sprung,

In such the wild cat leaves her young.”–Scott.

 

Source: England, William, photographer. Split Rock, Catskill Mountains. [London? or New York?: London Stereoscopic Company, Publisher] Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/2017660498/>.

 

 

#67 View on the Catskill Mountains. (Same name as #62.)

 

 

#68 Falls of the Kauterskill, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#68 Falls of the Kauterskill, Catskill Mountains.#68
Falls of the Kauterskill, Catskill Mountains.
“FENNIMORE COOPER in his story of “The Pioneer” thus describes these cascades: “The water comes croaking and winding among the rocks, first so slow that a trout might swim in it, then starting and running like any creature that wanted to make a fair spring, till it gets to where the mountain divides like the cleft foot of deer, leaving a deep hollow for the brook to tumble into. The first falls is night 200 feet, and the water looks like flakes of snow before it touches the bottom, and then gathers itself together again for a new start, and maybe flutters over 50 feet of that rock before it falls for another 100 feet, when it jumps from shelf to shelf, first running this way, and then that way, striving to get out of the hollow, till it finally gets to the plain.”

“Midst greens and shades the Kauterskill leaps,
From cliffs there the wood flower clings;
All summer he moistens his verdant steeps,
With the sweet light spray of the mountain springs;
And he shakes the woods on the mountain side,
When they drip with the rains of autumn tide.

“But when in the forest bare and old,
The blast of December calls,
He builds, in the starlight clear and cold,
A palace of light where his torrent falls,
With turret, and arch, and fretwork fair,
And pillars blue as the summer air.”–Bryant.

Source: England, William, photographer. Falls of the Kauterskill, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a57a-a3d9-e040-e00a18064a99

“FENNIMORE COOPER in his story of “The Pioneer” thus describes these cascades: “The water comes croaking and winding among the rocks, first so slow that a trout might swim in it, then starting and running like any creature that wanted to make a fair spring, till it gets to where the mountain divides like the cleft foot of deer, leaving a deep hollow for the brook to tumble into. The first falls is night 200 feet, and the water looks like flakes of snow before it touches the bottom, and then gathers itself together again for a new start, and maybe flutters over 50 feet of that rock before it falls for another 100 feet, when it jumps from shelf to shelf, first running this way, and then that way, striving to get out of the hollow, till it finally gets to the plain.”

 

“Midst greens and shades the Kauterskill leaps,

               From cliffs there the wood flower clings;

All summer he moistens his verdant steeps,

               With the sweet light spray of the mountain springs;

And he shakes the woods on the mountain side,

               When they drip with the rains of autumn tide.

 

“But when in the forest bare and old,

               The blast of December calls,

He builds, in the starlight clear and cold,

               A palace of light where his torrent falls,

With turret, and arch, and fretwork fair,

               And pillars blue as the summer air.”–Bryant.

 

Source: England, William, photographer. Falls of the Kauterskill, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a57a-a3d9-e040-e00a18064a99

 

 

#69 View in the Kauterskill Glen, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#69 View in the Kauterskill Glen, Catskill Mountains.#69
View in the Kauterskill Glen, Catskill Mountains.
“In old times, say the Indian traditions, there was a kind of Manitou or Spirit, who kept about the wildest recesses of the Catskill mountains, and took a mischievous pleasure in wreaking all kinds of even and vexations upon the red men. Sometimes he would assume the form of a bear, a panther, or a deer, lead the bewildered hunter a weary chase through tangled forests and among ragged rocks, and then spring off with a loud ho! ho! leaving him aghast on the brink of a beetling precipice or raging torrent.”– Notes to “The Sketch Book,” by Washington Irving.

“The pent up flood, impatient of control,
In ages past here broke its granite bound,
Then to the sea in broad meanders stole,
While the ponderous ruins strew’d the broken ground
And these gigantic hills for over closed around.”

Source: England, William, photographer. View in the Kauterskill Glen, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a586-a3d9-e040-e00a18064a99

“In old times, say the Indian traditions, there was a kind of Manitou or Spirit, who kept about the wildest recesses of the Catskill mountains, and took a mischievous pleasure in wreaking all kinds of even and vexations upon the red men. Sometimes he would assume the form of a bear, a panther, or a deer, lead the bewildered hunter a weary chase through tangled forests and among ragged rocks, and then spring off with a loud ho! ho! leaving him aghast on the brink of a beetling precipice or raging torrent.”– Notes to “The Sketch Book,” by Washington Irving.

 

“The pent up flood, impatient of control,

               In ages past here broke its granite bound,

Then to the sea in broad meanders stole,

               While the ponderous ruins strew’d the broken ground

And these gigantic hills for over closed around.”

 

Source: England, William, photographer. View in the Kauterskill Glen, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a586-a3d9-e040-e00a18064a99

 

 

#70 View in the Kauterskill Glen, Catskill Mountains. OR View near the Kauterskill River, Catskill Mountains.

#70  View in the Kauterskill Glen, Catskill Mountains.#70 View in the Kauterskill Glen, Catskill Mountains.#70
View in the Kauterskill Glen, Catskill Mountains. OR
View near the Kauterskill River, Catskill Mountains.

 

#71 View in the Kauterskill Clove, Catskill Mountains. (Same name as #54.)

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#71 View in the Kauterskill Clove, Catskill Mountains. (Same name as #54.)#71
View in the Kauterskill Clove, Catskill Mountains. (Same name as #54.)
“The scenery around this spot is grand and varied in the extreme – unflagging in its influence, and unwearying to the gaze. At every turn fresh beauties meet the eye; and, although they be of the same wild and rugged character, their dissimilarity in form and outline, and the many changing hues of their aspect, make each one rise up before us as something new, and to be admired afresh. The rough uneven lines of rock, crowned with dark masses of foliage; the tangled woods stretching out as far as they eye can reach; and as we look down upon them from some neighboring height, appearing like a troubled sea, heaving and swelling, as each pliant branch bends in obedience to the passing winds; the gushing water of the mountain stream dashing onward o’er its rocky bed; the bright blue heavens, and the solitary quietude which reigns around:–

Make up a scene so melting to the soul,
That o’er the hear there steals a sudden joy,
But that so sweet and tranquil on the whole,
That e’en a whisper would the spell destroy.”

Source: England, William, photographer. View in the Kauterskill Glove, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a582-a3d9-e040-e00a18064a99

“The scenery around this spot is grand and varied in the extreme – unflagging in its influence, and unwearying to the gaze. At every turn fresh beauties meet the eye; and, although they be of the same wild and rugged character, their dissimilarity in form and outline, and the many changing hues of their aspect, make each one rise up before us as something new, and to be admired afresh. The rough uneven lines of rock, crowned with dark masses of foliage; the tangled woods stretching out as far as they eye can reach; and as we look down upon them from some neighboring height, appearing like a troubled sea, heaving and swelling, as each pliant branch bends in obedience to the passing winds; the gushing water of the mountain stream dashing onward o’er its rocky bed; the bright blue heavens, and the solitary quietude which reigns around:–

 

Make up a scene so melting to the soul,

               That o’er the hear there steals a sudden joy,

But that so sweet and tranquil on the whole,

               That e’en a whisper would the spell destroy.”

 

Source: England, William, photographer. View in the Kauterskill Glove, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a582-a3d9-e040-e00a18064a99

 

 

#72 A Rocky Scene in the Plauterkill Clove, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#72 A Rocky Scene in the Plauterkill Clove, Catskill Mountains.#72
A Rocky Scene in the Plauterkill Clove, Catskill Mountains.
“THE PLAUTERKILL CLOVE, a mountain pass in the Catskills, abounds with wild and rocky scenes, At every turn fresh ones present themselves, each one appearing more beautiful than the last. On the one hand a tall, bare cliff rises like an aspiring giant, ambitious of reaching the heavens themselves; while, on the other, the heaving plain is strewn with the crumbling fragments of former stalwart rocks. Here a dark and dismal cavern, hewn by the hand of Time, in the solid rock; there the dark chasm, ridge and abyss, formed by the rushing water of former mighty torrents. Here, too, the babbling waters of the mountain stream flow happily and contentedly on, till, reaching the overhanging ledge of some steep precipice, they lash themselves into anger, and dash unhesitatingly over, and in a sheet of whitened foam fall into the rugged basin beneath, where they boil and bubble in smothered wrath; but, growing calmer as they reach the outer edge, they again travel on, singing and murmuring in their course, to the Hudson River.

“Rock upon rocks incumbent hung,
And torrents down the gullies flung,
Joined the rude river and brawled on,
Recoiling now from crag and stone,
Now diving deep from human ken
And raving down its darksome glen.”
The Bridal of Trierman.

Source: England, William, photographer. A Rocky Scene in the Plauterkill Clove, Catskill Mountains. 1859. J. Paul Getty Museum, Open Content Program.

“THE PLAUTERKILL CLOVE, a mountain pass in the Catskills, abounds with wild and rocky scenes, At every turn fresh ones present themselves, each one appearing more beautiful than the last. On the one hand a tall, bare cliff rises like an aspiring giant, ambitious of reaching the heavens themselves; while, on the other, the heaving plain is strewn with the crumbling fragments of former stalwart rocks. Here a dark and dismal cavern, hewn by the hand of Time, in the solid rock; there the dark chasm, ridge and abyss, formed by the rushing water of former mighty torrents. Here, too, the babbling waters of the mountain stream flow happily and contentedly on, till, reaching the overhanging ledge of some steep precipice, they lash themselves into anger, and dash unhesitatingly over, and in a sheet of whitened foam fall into the rugged basin beneath, where they boil and bubble in smothered wrath; but, growing calmer as they reach the outer edge, they again travel on, singing and murmuring in their course, to the Hudson River.

 

“Rock upon rocks incumbent hung,

And torrents down the gullies flung,

Joined the rude river and brawled on,

Recoiling now from crag and stone,

Now diving deep from human ken

And raving down its darksome glen.”

               The Bridal of Trierman.

 

Source: England, William, photographer. A Rocky Scene in the Plauterkill Clove, Catskill Mountains. 1859. J. Paul Getty Museum, Open Content Program.

 

 

#73 Scene in the Catskill Mountains, After a Flood.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#73 Scene in the Catskill Mountains, After a Flood.#73
Scene in the Catskill Mountains, After a Flood.
“At certain seasons the floods and torrents in this extensive range of mountains are terrific in the extreme, especially during the spring freshets, when the snows and ice of winter begin to dissolve from the mountainsides. The water gathering strength as they descent, at last becoming so mighty and unyielding in their nature that huge giants of forest-trees that have braved the tempests of centuries, are swept away, ponderous rocks and mounds of reft asunder, the raging torrents sweeping and dashing the immense fragments aside or bearing them onwards with a thundering roll, to deposit them, at last, in rude heaps, which may subsequently form the rough bed of a brook – a scion, perhaps, of the once mighty torrent.

“The brooklet raved, for on the hills
The upland showers had swollen the rills,
And down the torrents came.”–Scott.

Source: England, William, photographer. Scene in the Catskill Mountains, after a flood. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a590-a3d9-e040-e00a18064a99

“At certain seasons the floods and torrents in this extensive range of mountains are terrific in the extreme, especially during the spring freshets, when the snows and ice of winter begin to dissolve from the mountainsides. The water gathering strength as they descent, at last becoming so mighty and unyielding in their nature that huge giants of forest-trees that have braved the tempests of centuries, are swept away, ponderous rocks and mounds of reft asunder, the raging torrents sweeping and dashing the immense fragments aside or bearing them onwards with a thundering roll, to deposit them, at last, in rude heaps, which may subsequently form the rough bed of a brook – a scion, perhaps, of the once mighty torrent.

 

“The brooklet raved, for on the hills

The upland showers had swollen the rills,

               And down the torrents came.”–Scott.

 

Source: England, William, photographer. Scene in the Catskill Mountains, after a flood. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a590-a3d9-e040-e00a18064a99

 

 

#74 The Fawn’s Leap, Kauterskill Clove, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#74 The Fawn’s Leap, Kauterskill Clove, Catskill Mountains.#74
The Fawn’s Leap, Kauterskill Clove, Catskill Mountains.
“At one period these mountain ranges and thick tangled forests, were the homes of the red deer, and from a circumstance which transpired some years since, the spot, which the accompanying photograph represents, was named; and from which it would appear, that a fawn, pursued by the angry dog of one of the settlers, and just as escape seemed hopeless, suddenly espied this wide and gaping chasm. Goaded by desperation, the fawn attempted the leap, and succeeded in reaching the opposite side in safety. The dog, less nimble that his expected prey, in attempting to follow, missed his footing, and was dashed down the yawning abyss, his mangled body being carried away by the current.

Fresh vigour with the hope returned,
With flying foot the heath he spurned,
Held westward with unwearied race,
And left behind the panting chase.–LADY OF THE LAKE.”

Source: London Stereoscopic Company. The Fawn’s Leap, Kauterskill Clove, Catskill Mountains. 1859. J. Paul Getty Museum, Open Content Program.

“At one period these mountain ranges and thick tangled forests, were the homes of the red deer, and from a circumstance which transpired some years since, the spot, which the accompanying photograph represents, was named; and from which it would appear, that a fawn, pursued by the angry dog of one of the settlers, and just as escape seemed hopeless, suddenly espied this wide and gaping chasm. Goaded by desperation, the fawn attempted the leap, and succeeded in reaching the opposite side in safety. The dog, less nimble that his expected prey, in attempting to follow, missed his footing, and was dashed down the yawning abyss, his mangled body being carried away by the current.

 

Fresh vigour with the hope returned,

With flying foot the heath he spurned,

Held westward with unwearied race,

And left behind the panting chase.–LADY OF THE LAKE.”

 

Source: London Stereoscopic Company. The Fawn’s Leap, Kauterskill Clove, Catskill Mountains. 1859. J. Paul Getty Museum, Open Content Program.

 

 

#75 Scene in the Plauterkill Gorge, Catskill Mountains. OR View in the Plauterkill Gorge, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#75 Scene in the Plauterkill Gorge, Catskill Mountains.#75
Scene in the Plauterkill Gorge, Catskill Mountains. OR
View in the Plauterkill Gorge, Catskill Mountains.
“The gorge is a grand pass in the Catskill Mountains, five miles below the Kauterskill passage. ‘Tis a wild and beautiful spot, rich in scenes of glen and rock, the mountain torrent which runs through it forming several silvery cascades as it jets over the cliffs, and winds its way between the fragments of rock, which have been washed down by the floods in ages past, and where the hemlock and

“Grouped their dark hues with every stain,
The weather beaten crags retain;
With boughs that quaked at every breath,
Grey birch and aspen wept beneath;
Aloft the ash and warrior oak,
Cast anchor in the rutted rock;
And higher yet the pine tree hung
His shattered trunk, and frequent flung,

Where seemed the cliffs to meet on high,
His bows athwart the narrowed sky,
Highest of all where when peaks glanced,
Where glistening streamers waved and danced,
The wanderer’s eye could barely view
The summer heaven’s delicious blue,
So wondrous wild, the whole might seem
The scenery of a fairy dream.”–Scott.

Source: England, William, photographer. Scene in the Plauterkill Gorge, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a580-a3d9-e040-e00a18064a99

“The gorge is a grand pass in the Catskill Mountains, five miles below the Kauterskill passage. ‘Tis a wild and beautiful spot, rich in scenes of glen and rock, the mountain torrent which runs through it forming several silvery cascades as it jets over the cliffs, and winds its way between the fragments of rock, which have been washed down by the floods in ages past, and where the hemlock and

 

“Grouped their dark hues with every stain,

The weather beaten crags retain;

With boughs that quaked at every breath,

Grey birch and aspen wept beneath;

Aloft the ash and warrior oak,

Cast anchor in the rutted rock;

And higher yet the pine tree hung

His shattered trunk, and frequent flung,

 

Where seemed the cliffs to meet on high,

His bows athwart the narrowed sky,

Highest of all where when peaks glanced,

Where glistening streamers waved and danced,

The wanderer’s eye could barely view

The summer heaven’s delicious blue,

So wondrous wild, the whole might seem

The scenery of a fairy dream.”–Scott.

 

Source: England, William, photographer. Scene in the Plauterkill Gorge, Catskill Mountains. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a580-a3d9-e040-e00a18064a99

 

 

#76 Sylvan Cascade, Plauterkill Clove, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#76 Sylvan Cascade, Plauterkill Clove, Catskill Mountains.#76
Sylvan Cascade, Plauterkill Clove, Catskill Mountains.
“This cascade is justly considered the finest of the Kauterskill Falls, and may literally be said to take its course through a rock grove, for on either side the perpendicular cliffs rise to a height of many hundred feet, sheltering the sparkling stream from summer sun, and casting a subdued and mellow light on the scene. From the rough sides of these towering cliffs stunted trees and shrubs stretch out their verdant arms, the green foliage presenting a pleasing contrast to the dark ledges of rock, and offering a charming relief to the otherwise nakedness of the view. From ledge to ledge the beautiful waters descend and in a succession of silvery cascades unceasingly tumble and flow, the waters of each fall as they reach the deep and rugged basin beneath, boiling and bubbling as through impatient of delay, then bursting their momentary bonds, again hurry on, winding their way between the fallen fragments, till they reach the brink of the next precipice, over which they again descend in a white and foamy stream. There is a quiet and secluded beauty about this spot which is only equalled by that of the Alhambra Cascade, Trenton.

Bright scenes of mountain and of lake,
With rugged glens where torrents break,
In floods of silver white;

Mid cliffs, and crags, and stone peaks,
Green woods, and isles of flowing creeks,
In chequered shade and light.”

Source: England, William, photographer. Sylvan Cascade, Plautterkill Clove, Catskill Mountains. [London? or New York?: London Stereoscopic Company, Publisher] Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/2017660500/>.

“This cascade is justly considered the finest of the Kauterskill Falls, and may literally be said to take its course through a rock grove, for on either side the perpendicular cliffs rise to a height of many hundred feet, sheltering the sparkling stream from summer sun, and casting a subdued and mellow light on the scene. From the rough sides of these towering cliffs stunted trees and shrubs stretch out their verdant arms, the green foliage presenting a pleasing contrast to the dark ledges of rock, and offering a charming relief to the otherwise nakedness of the view. From ledge to ledge the beautiful waters descend and in a succession of silvery cascades unceasingly tumble and flow, the waters of each fall as they reach the deep and rugged basin beneath, boiling and bubbling as through impatient of delay, then bursting their momentary bonds, again hurry on, winding their way between the fallen fragments, till they reach the brink of the next precipice, over which they again descend in a white and foamy stream. There is a quiet and secluded beauty about this spot which is only equalled by that of the Alhambra Cascade, Trenton.

 

Bright scenes of mountain and of lake,

With rugged glens where torrents break,

               In floods of silver white;

 

Mid cliffs, and crags, and stone peaks,

Green woods, and isles of flowing creeks,

               In chequered shade and light.”

 

Source: England, William, photographer. Sylvan Cascade, Plauterkill Clove, Catskill Mountains. [London? or New York?: London Stereoscopic Company, Publisher] Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/2017660500/>.

 

 

#77 Crystal Cascade, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#77 Crystal Cascade, Catskill Mountains.#77
Crystal Cascade, Catskill Mountains.
“Prone down the rocks the whitening sheet descends,
And viewless Echo’s ear astonished lends;
Dim seen thro’ rising mists and ceaseless showers,
The hoary cavern wide, surrounding lowers.
Still through the gap the struggling river toils,
And still below the horrid cauldron boils.”

Source: The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. "Crystal Cascade, Catskill Mountains." The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a576-a3d9-e040-e00a18064a99

“Prone down the rocks the whitening sheet descends,

And viewless Echo’s ear astonished lends;

Dim seen thro’ rising mists and ceaseless showers,

The hoary cavern wide, surrounding lowers.

Still through the gap the struggling river toils,

And still below the horrid cauldron boils.”

 

Source: The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. "Crystal Cascade, Catskill Mountains." The New York Public Library Digital Collections. 1850 - 1930. https://digitalcollections.nypl.org/items/510d47e1-a576-a3d9-e040-e00a18064a99

 

 

#78 Silver Cascade, Catskill Mountains.

Historic Catskills stereoview by William England taken during his 1859 tour of the United States.#78 Silver Cascade, Catskill Mountains.#78
Silver Cascade, Catskill Mountains.

“The sunny land, the sunny land where nature has displayed,
Her fairest works with lavish hand, in hill and vale and glade;
Her streams flow on in melody, thro’ fair and fruitful plains,
And from the mountain to the sea, Beauty and Plenty reigns.”

Source: Author’s Collection.

“The sunny land, the sunny land where nature has displayed,

Her fairest works with lavish hand, in hill and vale and glade;

Her streams flow on in melody, thro’ fair and fruitful plains,

And from the mountain to the sea, Beauty and Plenty reigns.”

 

Source: Author’s Collection.

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[email protected] (American Catskills) 1859 alpine America in the Stereoscope Blondin Britain Catskills England exhibit Fawn's Leap International Exhibition Ireland Italy Kaaterskill Clove Kaaterskill Falls Kauterskill Falls landscape Laurel House London Stereoscopic Company mountains Niagara Falls North American Series North Lake photographer photographs photography Plattekill Clove Plauterkill Clove Rhine scenery statuary stereoscope stereoscopic stereoviews Switzerland waterfalls William England https://www.americancatskills.com/blog/2022/3/william-england-and-his-1859-tour-of-the-catskills-part-3 Sat, 19 Mar 2022 12:15:00 GMT
William England and His 1859 Tour of the Catskills (Part 2) https://www.americancatskills.com/blog/2022/3/william-england-and-his-1859-tour-of-the-catskills-part-2 Introduction

 

William England (1830-1896) was a 19th century British photographer who was widely known for his travel images. He was an early adopter of photography, operating a studio in the late 1840s, less than ten years after the daguerreotype was created by French inventor Louis Daguerre. England’s 1859 trip through the United States, including a visit to the Catskills, and Canada gained widespread praise. His image of Charles Blondin tightrope walking across the Niagara Gorge is among the top selling stereoviews of all time. Although largely forgotten today, William England was considered one of the great photographers of his era.

 

 

 

Continued from Part 1 (March 12)

 

Tour of the United States of America

 

“William England’s composite picture – his American journey of 1859 recorded in stereo photography – ought to be seen as both the first large-scale photographic record of the country and the last glimpse of it as Utopia on a manageable scale.” – Ian Jeffrey. (p. 7.)

 

“Yet as a representation of Utopia this picture of America ought to be honored, for it may be the only unselfconsciously realized vision of paradise on earth that we have.” – Ian Jeffrey. (p. 32.)

 

 

Circa 1858/59 England traveled to the United States and Canada on behalf of the LSC and thoroughly documented his trip. Within the United States stops along the way included New York City; Paterson, New Jersey; the Hudson Valley including places such as Peekskill, West Point, Sleepy Hollow, and Tarry Town; Trenton Falls, New York; Niagara Falls, New York; White Mountains, New Hampshire; Boston, Massachusetts; Philadelphia, Pennsylvania; Natural Bridge, Virginia; Mount Vernon, Virginia; and Washington DC.

 

The series of photographs, titled “America in the Stereoscope,” or alternatively the “North American Series,” was very popular, being considered among the first views of the United States available for sale in Britain. The stereoscopic views were mounted on a yellow card, which was then enameled on both sides. The reverse side of each stereoview from the United States included a picture of a bald eagle, the national bird, and each stereoview from Canada included the British coat of arms. The reverse side of each card also included the title, description and various quotations or poems. The written descriptions were imprinted with brown ink.

 

In November 1858, Ballou’s Pictorial Drawing-Room Companion mentioned the work of the LSC in America. “An agent of the London Stereoscopic co. is now in this country, and he has artists employed taking views of scenes and noted places throughout the United States, which will be sent to London and there multiplied, not only for our own use, but for sale on the continent.”[1] Although not definitive, this little anecdote seems to imply that England may have been in the United States earlier than suspected, i.e., 1858. Also, given the use of the term “artists,” plural, William England may not have been the only photographer working on behalf the LSC in the United States, although he is widely attributed as being the “lead” photographer.

 

If there were additional LSC photographers other than William England in the United States at that time it is possible that one of them could have been Thomas Richard Williams (1824-1871), another famed photographer of the LSC. The following advertisement from Edward Anthony, the largest 19th-century manufacturer and distributor of cameras and photographic supplies in the United States, was published in newspapers across the country.

 

“MR. BROADWAY PINNED TO THE WALL.

 

Reader, don’t stop till you get to the end, or you’ll lose the fun.

 

The following Circular has been scattered about our hotels and other public places:

 

“INSTANTANEOUS VIEWS.

 

“From certain advertisements and circulars which have been recently issued, it appears that a New York house, whose efforts at Stereoscopic Photography have but very lately commenced, lay claim to the earliest publications of Instantaneous Views.

 

“Doubtless they have inadvertently fallen into this error.

 

“At the same time, justice to the London Stereoscopic Company demand that the mistake be peremptorily corrected. More than twelve months since, the London Company’s eminent artist, Mr. Williams, succeeded in taking Instantaneous Views for the Stereoscope, of New York city, harbor, river, & c. Justly therefore is it claimed for the London Stereoscopic Company, and universally is it admitted by all impartial testimony, that their productions, instantaneous and otherwise, were the first, and the finest, that have ever been offered to the public.

 

“To confirm this statement, nothing is requisite but an actual inspection of the views in question.

 

“504 BROADWAY, N.Y.”[2]

 

Mr. Anthony goes on to dispute, quite sarcastically, the claims of the LSC, with supporting evidence from two other publications. The Anthony advertisement notes a stereoscopic business which had “but very lately commenced.” Earlier that year in 1859 the LSC had opened their own “depot” in New York City at 534 Broadway under the management of Theo. Lessey.

 

The advertisement, by using the exact name of “Mr. Williams,” describing him as “the London Company’s eminent artist,” while noting photos taken “more than twelve months since,” does seem to place another LSC photographer, T. R. Williams, in the United States sometime around the fall of 1858. The Anthony advertisement also, importantly, attributes the stereoscopic views of New York City and its environs to Williams. The first 19 stereoscopic views of the North American series, as well as number 26, were taken in and around New York City.

 

An article titled “The Stereoscope” in the November 9, 1858 issue of the New York Daily Tribune also mentions the presence of Williams in the United States, noting that he had been there through the summer months of 1858. “The London Stereoscopic Company makes more than half the Stereoscopes that are made in London. A single section of its establishment has facilities for turning off 1,000 every day. Mr. Williams, one of its principal artists, we met the other day at High Bridge taking views of that noble structure and its beautiful surroundings. He has been through the country during the past Summer.”[3]

 

The location noted, High Bridge, is listed as number 26 in the North American Series under the title “High Bridge, Haarlem, near New York.” The High Bridge, originally constructed in 1848 as part of the Croton Aqueduct system, is the oldest bridge in New York City. The bridge spans the Harlem River as it connects the New York City boroughs of Manhattan and the Bronx. The New York City parks website notes that “the bridge achieved fame for New Yorkers and tourists and a favorite subject for artists and photographers, a sort of 19th century High Line.” After years of neglect the bridge was restored and reopened to the public in 2015 as a pedestrian walkway.

 

The possibility of additional photographers contributing to the America in the Stereoscope series was proposed by T. K. Treadwell, a noted stereograph historian. “Rather than a single series, there may have been 5 or 6 different groups issued at different times using images made by several photographers besides William England, according to the recently published NSA Monograph #1 by T.K. Treadwell and Herbert Mitchell, covering in detail the L.S.C. “North American” series. (T. K. Treadwell collection.)”[4]

 

Despite the presence of T. R. Williams, William England can also definitely be placed in the city of New York area, according to several sources. As per his 1871 article titled “Some Hints on Development,” published in The Year-Book of Photography, England wrote that “I witnessed in New York, some years ago, a singular mode of developing. I do not know if it is at present practised in the States.”

 

In addition, at a lecture in 1882, England’s presence at New York circa 1857 was noted. “Amongst some pictures which Mr. England has kindly brought we have an instantaneous view of New York Harbour, taken about twenty-five years ago, and I doubt very much whether there are any wet-plate instantaneous pictures equal to that; from age it has become a little bit tarnished, but otherwise it is a most perfect picture. The size is about five inches by four inches.”[5]

 

In 1897, the Imperial Victorian Loan Exhibition was held at Crystal Palace. In the historical section, the daguerreotype works of England were displayed, including another mention of his photograph of the New York harbor. “In the cases are to be seen one of the finest collection of Daguerreotypes ever got together . . . There are also instantaneous Daguerreotypes, one of New York Harbour, taken later on, lent, amongst others, by Mr. L. W. England, in which the frame of the paddle wheels of a steamer, and the waves, are as sharp as in modern work, as well as an excellent picture of Daguerre himself.”[6]

 

Many years after his United States trip, in 1893, England again confirmed his presence in New York in 1858 during a presentation about the Daguerreotype process at a meeting of the Photographic Society of Great Britain, later the Royal Photographic Society.

 

“I have several specimens [of daguerreotypes] taken nearly fifty years ago, one of Daguerre, which is still perfect; another, a copy of a painting taken by Kilburn; also one of myself taken in New York, 1858; also an excellent specimen of instantaneous work which, as you will see, is not much behind the work done at present time.”[7]

 

An 1865 article titled “A London Photographic Establishment” in The British Journal of Photography noted the presence of the photographic negatives from England’s trip to the United States at his residence and production site in Notting Hill.

 

“The first room into which we were ushered was that devoted to the storing of negatives, of which there were upwards of ten thousand. They were arranged in separate boxes, which bore the respective labels of “America,” “Exhibition,” “Ireland,” “Wales,” “Switzerland,” and so on. From some of these negatives – those of the International Exhibition, for instance – and incredible number of prints have been produced, and the value of these negatives in the aggregate is very great.”[8]

 

In 1888, at a meeting of the London and Provincial Photographic Association, England talked of the large demand in the United States for his American photographs. “Mr. William England stated that about eighteen years ago [i.e., circa 1860] he had to make some specially large stereoscopic pictures for the American market, where, at the time, the demand was enormous; he would sometimes send over 300 gross at a time.”[9]

 

Two photographs from the America in the Stereoscope series can be definitively dated. The first is number 8, “The Atlantic Telegraph Jubilee,” which took place in New York City on September 1, 1858. This stereoview was taken of the “procession in its progress up the Broadway” as the nation rejoiced in the “celebration of the successful laying of the Atlantic Cable.” The second is number 137, “Blondin’s Tight Rope Feat,” which was taken on June 30, 1859. In both cases the date of the photographs was imprinted on the reverse side of each stereoview. Assuming both photographs were taken by England, he would have been in the United States for at least ten months. Given the winter, snow and ice photographs taken at Niagara Falls and in the White Mountains, it is also clear that England was in the United States through at least one winter season.

 

The Atlantic Telegraph Jubilee, New York. View of the Procession.The Atlantic Telegraph Jubilee, New York. View of the Procession.The Atlantic Telegraph Jubilee, New York. View of the Procession in its progress up the Broadway. William England. 1859, Hand-colored albumen silver print. The J. Paul Getty Museum, Los Angeles, Gift of Weston J. and Mary M. Naef.

The Atlantic Telegraph Jubilee, New York. View of the Procession in its progress up the Broadway. William England. 1859, Hand-colored albumen silver print. The J. Paul Getty Museum, Los Angeles, Gift of Weston J. and Mary M. Naef.

 

 

An advertisement placed in May 1859 for the America in the Stereoscope series noted that one of the LSC photographers was in the United States in 1858. “The Company [LSC] have had one of their principal Artists engaged upon these views in the United States for upwards of six months . . .”[10] Given the delay in publication, and the time required for manufacturing, this would have placed England in the United States in 1858, likely sometime between September and November.

 

The above references provide some clues as to the possible timing of England’s trip. However, what is difficult to reconcile is England’s statement at a September 25, 1883 meeting of the Photographic Society of Great Britain, later the Royal Photographic Society. “Mr. England remarked that in 1857 and 1858 he took the first series of American views ever done by the camera.”[11] And then on September 8, 1882 The Photographic News noted that “When Mr. William England was in the United States, in 1857 and 1858 . . .” In 1894 The Lantern Record wrote that “Especial interest attached to the slides shown by Mr. W. England. Some of these were made on tannin plates from instantaneous wet-plate negatives taken in 1857-8 at Niagara Falls, on the St. Lawrence . . .”[12] These are three different references to William England being in the United States in 1857 and 1858. These dates, 1857 and 1858, would conflict with the common wisdom that England was in Ireland in 1858. 

 

Nonetheless, William England being the photographer of the “America in the Stereoscope” series can be confirmed, at least in part, by the following exchange published in The Photographic Journal in April and May 1861.

 

“We have before us a collection of twenty admirable stereograms of some of the most remarkable scenery in the United States and Canada, which possess great interest as representations of the natural beauties of the country, as well as the great engineering triumphs of our transatlantic cousins . . . In looking over this collection of stereograms, we were much pleased with the even tone and general excellence of the whole, and we much regret that the name of the clever artist who produced them has not been given.[13]

 

In response, George S. Swan, director of the London Stereoscopic Company, wrote a letter to the editor of The Photographic Journal stating:

 

“In your recent review of our series of American scenery, you express ‘regret that the name of the clever artist who produced them has not been given.’ We have much pleasure in informing you that the name of our artist is Mr. William England, whose connexion with our establishment dates from its commencement.”[14]

 

The American Scenery series was so popular that it was the subject of industry counterfeiting as early as November 1859. That month, in response to the counterfeiting, the London Stereoscopic Company placed an advertisement in The Times (of London) cautioning those who would illegally copy the series. They included the manufacturing details of their own cards so that buyers could readily identify any counterfeit version.

 

“CAUTION.–The London Stereoscopic Company have just ascertained that some persons are vending STEREOSCOPIC PHOTOGRAPHS of their American Scenery, either as unmounted pictures, or mounted on a plain drab card. This is to give notice to the trade and the public, that all American Stereographs of their production are mounted on yellow card, enamelled on both sides, with descriptions in brown ink, surmounted with the American eagle; and that those that are being offered for sale, as their productions, either unmounted or mounted on drab card, are either spurious copies or have been feloniously abstracted; and person who have had such offered to them are respectfully requested to communicate with undersigned. GEO. S. NOTTAGE, Managing Partner, No. 54, Cheapside, E. C., Nov. 11, 1859.”[15]

 

As mentioned previously, the Ireland series by William England and London Stereoscopic Company can be found listed verbatim in an 1859 catalog for the Negretti and Zambra company. The catalog was titled Descriptive Catalogue of Stereoscopes and Stereoscopic Views, Manufactured and Published by Negretti and Zambra. In similar fashion to the Ireland series, the “America in the Stereoscope” series is listed in the Negretti and Zambra catalog under the title of “America.” The catalog, in a section titled “Views and Groups on Paper,” notes that the views are “manufactured and published by Negretti and Zambra.” In addition to the similar or identical view names, the numbering convention is also identical. There is no mention of either William England or the London Stereoscopic Company. It is undetermined if the word of caution from the London Stereoscopic Company was directed at the Negretti and Zambra Company.

 

The Great Blondin

 

“Without hesitation he balanced his pole in his hands, and with a calmer and less fluttering heart than could have been found in that vast audience, he commenced his terrible walk. The slightest misstep, the merest dizziness, the least uncertainty, would cast him at once into the perdition beneath, and the crowd held their breaths in amazement as he went on and on over the frightful chasm.”

 

Blondin's Tight Rope Feat, version 1Blondin's Tight Rope Feat, version 1One of the most famous photographs of William England’s time in the United States was his “Great Blondin crossing Niagara Falls.” This photograph would become one of the most popular stereoscopic views of all time, reportedly selling over 100,000 copies. This photograph was included in the National Geographic book titled 100 Days in Photographs: Pivotal Events That Changed the World.

That famous photograph, taken on June 30, 1859, depicts the French tightrope walker Charles Blondin crossing the Niagara Gorge from the United States across to Canada. At precisely 5pm that day, with thousands of spectators lining the shores, Blondin began his 1,300-foot walk across the abyss. So calm was Blondin, he stopped in the middle to lay on the rope with his balance pole across his chest. Blondin then summoned the Maid in the Mist steamer, and upon the ship reaching the section of the river below, Blondin threw down a rope, raised a bottle of wine, had a sip, threw away the bottle, and then continued with his crossing. Blondin successfully completed the death-defying passage in about 17 minutes. The stunt was widely heralded and was covered in newspapers across the nation and around the globe. (“The Great Feat Accomplished.” The Daily Republic. July 1, 1859.)

Blondin's Tight Rope Feat, version 2Blondin's Tight Rope Feat, version 2One of the most famous photographs of William England’s time in the United States was his “Great Blondin crossing Niagara Falls.” This photograph would become one of the most popular stereoscopic views of all time, reportedly selling over 100,000 copies. This photograph was included in the National Geographic book titled 100 Days in Photographs: Pivotal Events That Changed the World.

That famous photograph, taken on June 30, 1859, depicts the French tightrope walker Charles Blondin crossing the Niagara Gorge from the United States across to Canada. At precisely 5pm that day, with thousands of spectators lining the shores, Blondin began his 1,300-foot walk across the abyss. So calm was Blondin, he stopped in the middle to lay on the rope with his balance pole across his chest. Blondin then summoned the Maid in the Mist steamer, and upon the ship reaching the section of the river below, Blondin threw down a rope, raised a bottle of wine, had a sip, threw away the bottle, and then continued with his crossing. Blondin successfully completed the death-defying passage in about 17 minutes. The stunt was widely heralded and was covered in newspapers across the nation and around the globe. (“The Great Feat Accomplished.” The Daily Republic. July 1, 1859.)

Blondin's Tight Rope Feat, version 3Blondin's Tight Rope Feat, version 3One of the most famous photographs of William England’s time in the United States was his “Great Blondin crossing Niagara Falls.” This photograph would become one of the most popular stereoscopic views of all time, reportedly selling over 100,000 copies. This photograph was included in the National Geographic book titled 100 Days in Photographs: Pivotal Events That Changed the World.

That famous photograph, taken on June 30, 1859, depicts the French tightrope walker Charles Blondin crossing the Niagara Gorge from the United States across to Canada. At precisely 5pm that day, with thousands of spectators lining the shores, Blondin began his 1,300-foot walk across the abyss. So calm was Blondin, he stopped in the middle to lay on the rope with his balance pole across his chest. Blondin then summoned the Maid in the Mist steamer, and upon the ship reaching the section of the river below, Blondin threw down a rope, raised a bottle of wine, had a sip, threw away the bottle, and then continued with his crossing. Blondin successfully completed the death-defying passage in about 17 minutes. The stunt was widely heralded and was covered in newspapers across the nation and around the globe. (“The Great Feat Accomplished.” The Daily Republic. July 1, 1859.)

 

One of the most famous photographs of England’s time in the United States was his “Great Blondin crossing Niagara Falls.” This photograph would become one of the most popular stereoscopic views of all time, reportedly selling over 100,000 copies. This photograph was included in the National Geographic book titled 100 Days in Photographs: Pivotal Events That Changed the World.

 

That famous photograph, taken on June 30, 1859, depicts the French tightrope walker Charles Blondin (1824-1897) crossing the Niagara Gorge from the United States across to Canada. At precisely 5pm that day, with thousands of spectators lining the shores, Blondin began his 1,300-foot walk across the abyss. So calm was Blondin, he stopped in the middle to lay on the rope with his balance pole across his chest. Blondin then summoned the Maid in the Mist steamer, and upon the ship reaching the section of the river below, Blondin threw down a rope, raised a bottle of wine, had a sip, threw away the bottle, and then continued with his crossing. Blondin successfully completed the death-defying passage in about 17 minutes. The stunt was widely heralded and was covered in newspapers across the nation and around the globe.[16]

 

Although Blondin’s feat was witnessed by thousands, written about in the newspapers, and photographed extensively, not everyone, including a leading London publication, believed that Blondin actually crossed the gorge, so sensational, so death-defying was the feat.

 

“Seeing is not always believing, and here is an example. When Mr. William England was in the United States, in 1857 and 1858 (for Mr. England makes pictures in every land except England itself), he happened to be at Niagara just when the redoubted Blondin made his trip across the Falls. The feat was made much of at the time, and has been made much of since; and Mr. England conceived the happy idea of taking a series of pictures showing Blondin on the rope, over the foaming water, to forward to England. This he did, posting off the packet of wonderful pictures to the Illustrated London News.

 

As Blondin’s feat was the sensation of the day, Mr. England was rather anxious to see what use the journal made of his sketches; but, on searching, he could find no evidence of their having been used at all. So, naturally enough, on his return he called at the office to enquire if his photographs had been received. Yes, they had come to hand, he was told, with a smile. “Then why were they not used?” he rejoined. “Because,” was the still smiling reply, “we knew they were only a joke.” And to this day, indeed, the fact of Blondin having crossed the Niagara Falls on a rope is regarded as a myth by many people in this country. Certainly, the whole matter is not of very great moment; but when the News had the proof in hand, it is a pity it was published. But in those days there was no Graphic.”[17]

 

 

[1] “Editor’s Easy Chair.” Ballou’s Pictorial Drawing-Room Companion. Vol. 15, No. 22. November 27, 1858. p. 350.

[2] “Mr. Broadway Pinned to the Wall.” The National Era. Washington, D. C. November 17, 1859.

[3] “The Stereoscope.” The New York Daily Tribune. November 9, 1858.

[4] Norton, Russell. “Early and Rare Views from Outside the U.S.” Stereo World. Vol. 16, No. 2. May/June 1989. pp. 22-27.

[5] “Recent Advances in Photography.” The British Journal of Photography. Vol. 29. August 18, 1882. p. 478.

[6] “The Photographic Exhibition at the Crystal Palace.” The British Journal of Photography. Vol. 44. May 14, 1897. London: Henry Greenwood & Co., 1897. p. 307.

[7] “Monthly Technical Meetings.” The Photographic Journal. New Series, Vol. 17, No. 9. June 29, 1893. London: Harrison and Sons, 1893. p. 259.

[8] “A London Photographic Establishment.” The British Journal of Photography. Vol. 12. January 20, 1865. London: Henry Greenwood, 1865. pp. 28-29.

[9] “The London and Provincial Photographic Association.” The British Journal of Photography. Vol. 35. September 14, 1888. London: Henry Greenwood & Co., 1888. p. 588.

[10] The Art-Journal. May 1859.

[11] “Tuesday, September 25th, 1883.” The Photographic Journal. November 30, 1883. pp. 34-35.

[12] “Lantern Notes and News.” The Lantern Record. February 2, 1894.

[13] “American Scenery. Published by the London Stereoscopic Company.” The Photographic Journal. Vol. 7. April 15, 1861. London: Taylor and Francis, 1862. pp. 167-169.

[14] “Correspondence.” The Journal of The Photographic Society of London. Vol. 7. May 15, 1861. London: Taylor and Francis, 1862. p. 194.

[15] “Caution.” The Times. (London, England.) November 18, 1859.

[16] “The Great Feat Accomplished.” The Daily Republic. July 1, 1859.

[17] “Notes.” The Photographic News. Vol. 27. September 8, 1882. London: Piper and Carter, 1882. p. 536.

 

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William England and His 1859 Tour of the Catskills (Part 1) https://www.americancatskills.com/blog/2022/3/william-england-and-his-1859-tour-of-the-catskills-part-1

Introduction

 

William England (1830-1896) was a 19th century British photographer who was widely known for his travel images. He was an early adopter of photography, operating a studio in the late 1840s, less than ten years after the daguerreotype was created by French inventor Louis Daguerre. England’s 1859 trip through the United States, including a visit to the Catskills, and Canada gained widespread praise. His image of Charles Blondin tightrope walking across the Niagara Gorge is among the top selling stereoviews of all time. Although largely forgotten today, William England was considered one of the great photographers of his era.

 

Portrait of William England, noted British photographer.Portrait of William England, photographer.William England (1830-1896) was a 19th century British photographer who was widely known for his travel images. He was an early adopter of photography, operating a studio in the late 1840s, less than ten years after the daguerreotype was created by French inventor Louis Daguerre. England’s 1859 trip through the United States, including a visit to the Catskills, and Canada gained widespread praise. His image of Charles Blondin tightrope walking across the Niagara Gorge is among the top selling stereoviews of all time. Although largely forgotten today, William England, in his era, was considered a “giant of 19th century British photography.”

Wm. England. “Current Topics.” The Photogram. Vol. 3, No. 34. October, 1896. London: Dawbarn & Ward, Ltd., 1896. p. 254.

Source: Wm. England. “Current Topics.” The Photogram. Vol. 3, No. 34. October, 1896. London: Dawbarn & Ward, Ltd., 1896. p. 254.

 

Background

 

William England was born around 1830 near Trowbridge, Wiltshire in southwest England. He was the son of John England (c. 1794/96-1872), a “cloth worker” or “cloth dresser,” and Jane (Mizen) England (c. 1796-1848). John and and Jane were married at the Chapel of Holt in December 1817. William was one of six children, including three sisters and two brothers. As per the 1841 England census, the family was residing at Wellhead in the borough of Westbury in the Parish of Leigh.

 

William, on November 25, 1850, married Rosalie Sophie Vornier, with whom he would have five children. They were married at Saint John’s Church in the Paddington Parish of Middlesex County. At the time of their marriage, they resided on Star Street. Rosalie was the daughter of Louis Vornier, a surgeon, and Sophie Joseph Prevost.

 

The children of William and Rosalie included Louis William (1851-1919); Marie Rosalie (b. c. 1852/53); Walter John (1854-1914); William Frank (b. c. 1855/56); and John Desire (1861-1931). England’s wife Rosalie passed away in 1873, after which William would remarry to Eliza Hagar Read Riches. In 1890 England married for the third time, this time to Ada Grace Maud Roberts.

 

The Beginning: Daguerreotypist

 

“The Daguerreotype I still regard as the most beautiful of all photographic processes, and the most permanent . . .” – William England, 1893.

 

 

The earliest known photographic process was announced to the world in 1839 by Louis Daguerre (1787-1851), a French inventor, artist, theater owner and chemist. Known as the daguerreotype, the process was introduced to great fanfare at the French Academy of Science in Paris. It was widely hailed as a scientific milestone, and was thought to be so monumental that the French government arranged to purchase Daguerre’s invention with the purpose of making it free to the world. In exchange Daguerre received an annual pension of 6,000 francs. The daguerreotype was the most common photography method through the 1850s, only to be replaced with the collodion or wet place process.

 

According to various sources, in the late 1840s William England began his lifelong love of photography, first as an amateur and later as a professional. An 1868 article about the England studio “noted that Mr. England is one of the very few veterans of the art who commenced the practical business of life as a professional photographer. Upwards of twenty years ago [i.e., 1848], when he was a lad of eighteen years old, he undertook the charge of a Daguerreotype portrait establishment.”[1]

 

At a March 1890 meeting of the Photographic Society of Great Britain, regarding the subject of daguerreotypes, England personally mentioned his work with the process in the year 1844. His opinion on the subject was supported by Valentine Blanchard (1831-1901).

 

“MR. JOHN SPILLER then read a paper on some early experiments by Dr. Percy and Mr. George Shaw. He premised that he had been personally acquainted with the late Dr. Percy, having been his laboratory assistant at the School of Mines, and had received a note-book containing the experiments, which he would describe, having had permission from Mr. Shaw and from the executors of Dr. Percy to do so. These experiments referred principally to the direct action of light upon silver chloride in sealed glass tubes under varying hygrometric conditions and in atmospheres of either air or nitrogen. One of the experiments referred to a Daguerreotype plat which had been coated with chloride of silver by exposure to chlorine gas, and he inquired of Messrs. V. Blanchard and W. England, as old Daguerreotypists, whether the Daguerreotype plate of the period referred to was made of rolled standard silver on a copper back or was electroplated.

 

Mr. ENGLAND replied that in 1844 only rolled plates were in use, but that electroplate was afterwards introduced, and was decidedly superior.

 

Mr. BLANCHARD concurred in this view.”[2]

 

In 1873 England wrote an article for the Year-Book of Photography titled “On Copying Sculpture” in which he talked of his personal experiences with daguerreotype work. “My experience in copying statuary dates from the days when Daguerreotype plates were used, and working in all sorts of light, from a dungeon to sunshine; therefore, if any hints I can offer should prove of service to any of your numerous readers interested in this subject, I shall feel my time has not been lost.”[3]

 

In 1882 The Photographic News wrote of a forthcoming article from England where he would write of the Daguerreotype process. “Many an amateur photographer, aye and professional too, would practise the beautiful process of Daguerreotype if only he possessed the vapour generators, exciting-boxes, and other strange paraphernalia he has been given to understand are necessary for the production of the image. Mr. William England, one of the few Daguerreotypists still living, had, we are glad to say, promised us to dispel the illusion of all this mystery, and will explain in the YEAR-BOOK for 1883 how common utensils may very well be used in the process, and how simple it really is from first to last.”[4]

 

In 1882, as part of the Cantor Lectures series, England presented on the old daguerreotype process. “I have the pleasure tonight of introducing to your notice an old worker of the daguerreotype process, Mr. England. He has kindly consented to show the whole manipulation of the process from beginning to end, thinking it might interest what I may call a juvenile audience; for juvenile I suppose most of you are, as regards photography.”[5]

 

As part of the lecture, a daguerreotype of Louis Daguerre taken by England was presented. Given that Daguerre passed away in July 1851, the daguerreotype must have been taken some time prior to that date. The daguerreotype was noted as being “taken by himself [i.e., England] and was credited with being “one of the very earliest daguerreotypes known.” [Author’s emphasis.]

 

“Amongst some pictures which Mr. England has kindly brought we have an instantaneous view of New York Harbour, taken about twenty-five years ago, and I doubt very much whether there are any wet-plate instantaneous pictures equal to that; from age it has become a little bit tarnished, but otherwise it is a most perfect picture. The size is about five inches by four inches. I have a transparency taken from this, and one from a negative, also in the possession of Mr. England. This last is a portrait of Daguerre, taken by himself. This is interesting as showing one of the very earliest daguerreotypes known.[6]

 

In 1893, England again discussed the daguerreotype of Daguerre, noting that it been taken “nearly fifty years ago.” This would have been circa 1843, although England would have been only approximately 13 years old at the time. [Author’s emphasis.]

 

“I have several specimens [of daguerreotypes] taken nearly fifty years ago, one of Daguerre, which is still perfect; another, a copy of a painting taken by Kilburn; also one of myself taken in New York, 1858; also an excellent specimen of instantaneous work which, as you will see, is not much behind the work done at present time.”[7]

 

Very few daguerreotype portraits of Daguerre are in existence, with perhaps the most well-known being those taken by Charles Richard Meade in 1848. Despite being regarded as the inventor of photography, the reason for the lack of portraits was Daguerre himself. Upon Daguerre’s passing in 1851 The New York Daily Tribune wrote that “it is a little singular that M. Daguerre would hardly ever allow himself to be pictured by his own process . . .”[8] Furthermore, C. W. Canfield, in analyzing the history of Daguerre portraits, wrote in 1891 that “in addition to Daguerre’s traditional aversion to sitting for his portrait, he himself made scarcely any portrait work; having worked out the process, he left it to others to study the applications.”[9]

 

According to Helmut and Alison Gernsheim in their 1968 biography of Daguerre, the William England daguerreotype of Daguerre was taken in 1846, and the original is now located with the Société Francaise de Photographic, an association dedicated to the history of photography.

 

“At Bry Daguerre was always delighted to receive visitors from all countries who wanted to lionize the famous inventor. Several well-known photographers were granted a sitting, though the majority of such requests met with a polite refusal. The well-known portraits by A. Claudet, William England, J. E. Mayall, and Charles R. Meade show him sitting in a chair, his head supported by his left hand, a pose which he obviously regarded as the most attractive, for he photographed his wife in a similar position. (Plate 60.) Resting the head on the hand, of course, avoided the necessity for a headrest.”[10]

 

The Daguerre daguerreotype by England was presented to the Société Francaise de Photographic in 1905. Given England’s passing in 1896, it was likely donated by one of his sons. According to the Gernsheim biography, other known daguerreotypes of Daguerre have been taken by E. Thiesson (1844), Jean-Baptiste Sabatier-Blot (1844) and Pierre Ambroise Richebourg (n. d.).

 

Louis-Jacques-Mandé Daguerre.Louis-Jacques-Mandé Daguerre.Louis-Jacques-Mandé Daguerre. c. 1844. Unknown photographer. The Metropolitan Museum of Art.

Louis-Jacques-Mandé Daguerre. c. 1844. Unknown photographer. The Metropolitan Museum of Art.

 

For more information about the detailed, and often confounding, history of Daguerre portraits, see “Portraits of Daguerre” by C. W. Canfield in the 1891 American Annual of Photography; “More Portraits of Daguerre” by C. W. Canfield in the 1893 American Annual of Photography; L. J. M. Daguerre: The History of the Diorama and the Daguerreotype by Helmut and Alison Gernsheim; “Charles R. Meade and his Daguerre Pictures” by Rita Ellen Bott in History of Photography; and “The Daguerre Portraits by Meade – A Review and a Discovery” by Rita Ellen Bott in The Daguerreian Society Newsletter.

 

Demonstrating his skill in the production of these early daguerreotypes, England published several articles over the years with technical details, including “The Daguerreotype Process in Practice” in 1883 and “Cleaning and Copying Daguerreotypes” in 1889. Even decades after the decline of the daguerreotype, England maintained his love of the early process, writing of his affection in 1883 for the The Year-Book of Photography and Photographic News Almanac.

 

“I have been requested by the Editor to write a short article on the Daguerreotype. Now, I was under the impression that this most beautiful process was as defunct as good Queen Anne, and about as likely to revive again. I cannot see, however, why some interest should not still exist, for I hold that no more beautiful results can be obtained by any other of the photographic arts; it was my first love, and one for which I still retain a great affection – so much so that I have not only retained all the original apparatus used by me in early days, but have on several occasions of late years taken many Daguerreotypes for my own gratification, and to the no small interest of a few of my acquaintances whose entry into the photographic art dates not back to those days.”[11]

 

England then, in “The Daguerreotype Process in Practice,” continued with a brief, but certainly interesting, and technical, description of the daguerreotype process.

 

“I will now briefly describe the process, and I think any amateur with a little ingenuity and practice will succeed; but as the materials and apparatus cannot easily be obtained, he will have to make a few contrivances for the purpose. The plate must be copper electroplated, and highly polished – a quarter-plate is a convenient size, as it will fit into the ordinary holders now used. It is very important to have the plate perfectly clean, and most of the beauty depends on a brilliant polish.

 

The next process is the sensitizing. For this purpose get two evaporating dishes or saucers; make a frame to lay on the top to hold the plate; now sprinkle on the bottom of the dish some crystals of iodine, and in the other some lime to which a few drops of bromine have been added; not place the plate over the iodine, and let it remain till it assumes a deep yellow, which may be observed by lifting it and holding it to a white light for a moment; after, place it over the second dish containing the bromine till it takes a rose tint; now again over the iodine (carefully excluding all the white light) for about ten seconds. The plate is now ready for the camera. The exposure should be about double that of ordinary collodion. Now comes the most beautiful part of the process, the development; this can easily be done in the following manner. In the absence of proper apparatus, get an ordinary white basin of about six or seven inches in diameter, and on the top place a frame to hold the plate, and on the bottom a few ounces of mercury. Now place the basin on a stand, and underneath apply a spirit lamp, and heat the mercury to about 140 degrees; in a few minutes the plate can be lifted and examined by the yellow light, and if not fully developed, should be again placed over the mercury. All this should of course be done in the dark room. The plate as soon as developed may be taken into the light and placed in a dish of hyposulphite solution, which will instantly remove the sensitizing film. It must now be well washed in distilled water, and afterwards fixed – or, as it is sometimes called, gilded – in the following way. Make a solution of about one grain of chloride of gold to one ounce of distilled water, and into another ounce of water put twenty grains of soda hyposulphite; now pour the gold into the hyposulphite, and filter the solution. The Daguerreotype must now be placed on a levelling-stand with sufficient solution to cover the plate; apply a spirit lamp till the image gets a little darker, and then becomes brighter; then stop and well rinse with distilled water, and dry off by the lamp. And if the operator has been successful, he now possesses what is unlike many photographic pictures, a “thing of beauty, and a joy for ever,” for there can be no doubt of the permanency of the Daguerreotype.

 

I have described the above as briefly as possible, for I know your space is very valuable, but I hope it will be of service to some who may still feel an interest in this beautiful branch of photography.”[12]

 

William England’s “Cleaning and Copying Daguerreotypes” was published in The British Journal Photographic Almanac, and Photographer’s Daily Companion 1889.

 

“CLEANING AND COPYING DAGUERREOTYPES. By WILLIAM ENGLAND. As many of the readers of this Annual may have some very valuable daugerreotypes [sic] which have become tarnished, and of which they would like to obtain copies, I have thought that a few hints may be of service. It is useless to attempt to make a copy unless the surface is clean, so a few instructions to help those who have not had experience in these matters may be useful.

 

First remove carefully the plate from the mount and pass a camel-hair brush lightly over the surface, now have ready a solution of pure cyanide of potassium, ten to fifteen grains to the ounce of distilled water, the latter if the daguerreotype is much tarnished. Place this in a small porcelain dish, but before immersing the plate pour over two or three times from a measure some alcohol, now plunge the plate in the cyanide solution, and rock it until the tarnish has disappeared and the plate looks bright. This may take from three to six or seven minutes. The plate must now be well washed in clean water, and finally with distilled water, and dried in the following manner:–

 

Hold the corner by a pair of pliers, and with a spirit lamp warm the back of the plate, at the same time blowing with the breath without stopping until the surface is dry. If care has been taken the picture will be as bright as on the day it was taken. Every care must be taken not to touch the surface, except with a camel-hair brush, should dusting be necessary.

 

Copying a daguerreotype is not a difficult matter if the following directions are carried out:–It must be placed in a good light. If a top light, the plate must be placed sideways so that the vertical light may fall in the direction of what are called the buff marks across the plate. If a side light, then, of course, the plate must be fixed upright. Placed in the sun at a proper angle gives the best of all illumination, if convenient. Having now arranged the picture, place the camera as you would for copying a carte-de-visite or cabinet, using a rapid rectilinear lens and medium stop, and, to avoid any reflection in front, a piece of cardboard about a foot square covered with velvet, and with an opening just showing the glass of the lens, this will very effectually stop all reflection on the polished surface. In the earlier days of photography collodion was the only method of taking the negative, but now, should I have occasion to copy a daguerreotype, I use the slow landscape gelatine plates or the new rapid chloride of J. Desire England’s; the latter requires the same exposure as wet plates, the former about one-sixth. In all cases the slower the plates the better are the results obtained. Very rapid plates should never be used.

 

One word in conclusion. Great care must be taken in remounting the daguerreotype; it must be bound round with thin gummed paper to prevent the air getting in between the plate and the glass, or it will soon show signs of tarnishing; if well done it will have secured it a new lease of existence.”[13]

 

In 1890 Valentine Blanchard wrote of England and his role in the history of the stereoscope, including his prior work with daguerreotypes. “Mr. W. England who is fortunately still with us to give to modern workers the benefit of his varied experience, was also a large producer of daguerreotype slides, but he also was one of the first to take up the collodion process, for with practical eye he saw the importance of the increased facility of production furnished by it.”[14]

 

At the monthly technical meeting of the Photographic Society of Great Britain on May 23, 1893, England provided a demonstration of the daguerreotype process, which was followed by a question-and-answer session. England discussed the type of plates and chemicals that were used, the developing process, how to sensitize the plate and finishing the picture. England stated that the largest plate used was 15 inches by 12 inches, and that typically the whole plate was used. England also stated of daguerreotype quality that “the pictures never looked painfully sharp; there was always a soft and beautiful appearance, although the definition was perfect.” One attendee, upon viewing several of England’s exhibited daguerreotypes, “remarked it was to be hoped that the photographs produced at the present time would look as well thirty or forty years hence as did some of the Daguerreotypes which Mr. England has shown.”[15]

 

In 1895 an exhibition of photography was held at the Imperial Institute in South Kensington. In the historical division England displayed “some interesting old Daguerreotypes.”

 

In September 1896, The British Journal of Photography wrote of England’s death, and his earlier work with daguerreotypes. “The gentleman whose name is at the head of this notice, and whose loss old photographers must deplore, was one of its earliest workers, having been a most successful Daguerreotypist.”[16]

 

In 1897, the Imperial Victorian Loan Exhibition was held at Crystal Palace. In the historical section, the daguerreotype works of England were displayed. “In the cases are to be seen one of the finest collection of Daguerreotypes ever got together . . . There are also instantaneous Daguerreotypes, one of New York Harbour, taken later on, lent, amongst others, by Mr. L. W. England, in which the frame of the paddle wheels of a steamer, and the waves, are as sharp as in modern work, as well as an excellent picture of Daguerre himself.”[17] Also displayed were the actual Daguerreotype equipment used by the late William England.

 

Cordwainer

 

For several years it seems that England may have left the photography trade, or only took shots as an amateur, as various sources then note that England worked for several years as a “cordwainer,” or shoe maker. On the 1850 marriage record of William and Rosalie his profession was listed as “cordwainer.” On the 1851 England and Wales census, William’s profession was provided as “shoe maker.” In 1852 William was recorded as having a profession of “boot maker,” as per the baptismal record of his son Louis William.

 

London Stereoscopic Company

 

“No home without a stereoscope.” – Advertisement for the London Stereoscopic Company.

 

 

Around that time, in the early 1850s, circa 1854, the London Stereoscope Company (LSC) was formed by shopkeeper George Swan Nottage (1823-1885), later the Lord Mayor of London, and his associate Howard John Kennard (1829-1896), later a prominent businessman in the iron industry. The LSC would quickly grow to become one of the largest publishers and manufacturers of stereoviews in the world, advertising a catalog of over 100,000 unique views. In 1862 it is estimated that the LSC sold over one million stereoviews. In addition, operating with a motto of “a stereoscope for every home,” the LSC extensively manufactured stereoscopic cameras and viewers.

 

The LSC, also working under similar names such as the London Stereoscopic Company and the London Stereoscopic and Photographic Company, continued to operate for nearly 70 years until its closing in 1922.

 

Seeing opportunity, William England would leave his career as a cordwainer to join the newly founded LSC in its earliest days and quickly became one of its principal photographers. Beginning in circa 1858, four years after joining the LSC, England took several domestic and foreign photographic journeys on behalf of the LSC, including Wales, England, Ireland (c. 1857/58), the United States (c. 1858/59), Canada (1859) and France (1860, 1861).

 

The British Journal of Photography, in 1885, in a review of the International Inventions Exhibition, talked of some of England’s earliest work. “As showing the degree of perfection to which the collodion process was brought at a very early date, attention may be directed to the instantaneous views of England and Blanchard, taken from 1855 to 1860.”[18] This appears to be anecdotal evidence supporting the fact of England working as a photographer in 1855.

 

Ireland

 

England traveled to Ireland in circa 1857 or 1858, resulting in a series of stereoscopic views. Joseph Henggeler in a 1987 article for Stereo World magazine wrote of England’s early work in Ireland. “The 1860 London Stereoscopic catalog first mention views of Ireland. Twenty-three views were listed and there is agreement among collectors that these were probably taken in 1858. The company endorsed their own views as being “the finest ever produced, of this beautiful and world renowned scenery.” The catalog – although American-oriented, named Irish views ranging from “Sackville Street – showing Nelson’s Monument, Dublin,” to “View in Enniskerry, showing the Sugar Loaf Mountain” to “The Lodge, Entrance to same.” William England has been credited as the stereophotographer.[19]

 

Interestingly, two of the views attributed to England that Henggeler refers to individually, “Sackville Street” and “View in Enniskerry,” are both listed verbatim in an 1859 catalog for the Negretti and Zambra company. The catalog, titled Descriptive Catalogue of Stereoscopes and Stereoscopic Views, Manufactured and Published by Negretti and Zambra, lists 100 Irish views. Many of the other Irish views listed in that catalog listing have been attributed to William England and the London Stereoscopic Company, although there is no mention of either.

 

A series of Irish views was reviewed in March 1858 in The Art-Journal.

 

“The London Stereoscope Company have recently issued a series of views of charming scenery in Ireland; they will be classed among the most interesting of those productions, in which this company continues to lead, by constantly producing “novelties,” and these of the best order. The Irish views are chiefly taken in Wicklow, and all-beautiful Killarney. One of the Dargle, and another of the Powerscourt Waterfall (introducing a picnic group of “celebrities”), are especially effective, while those of “the lake” are in the highest degree attractive. The scenery of Ireland is now much better known that it was a few years ago; happily, the country has attracted many tourists, and they have been largely repaid for their visit. That visit is now made without any of the “old” inconveniences – a voyage of four hours lands the traveller at Kingstown; railways, admirably conducted, are now plentiful; and those capital characters, the “car boys,” are as abundant as ever. This series of stereoscopic views will aid materially to draw visitors thither: they will behold scenery unsurpassed in the world for beauty and sublimity, and especially for the blending of both. They have examples, though but few, in this attractive selection; we hope that it will be largely augmented.”[20] 

 

The timing of the above review, March 1858, along with later discussed evidence that England was in the United States in 1858, leads one to believe that England may have been in Ireland in 1857, a year earlier than widely attributed. Nonetheless, the series was widely appreciated as advertising Ireland’s beauties in the tourism market.

 

Although William England is not mentioned by name, an 1858 book mentions a well funded photographer from the London Stereoscopic Company working in Ireland at that time.

 

“We have noticed this business in consequence of its rising importance as a commercial speculation. The London Stereoscopic Company keeps a staff of artists continually engaged in travelling, taking views in differenct countries. While we are writing, one of these gentlemen has just returned from an Irish tour of scenic observation, and we were informed by the manager that the travelling expenses of the journey was £400! From this it will seen that the business must absorb a large amount of capital.”[21]

 

Instantaneous Views of Paris

 

“We have never seen a series of stereoscopic photographic views more calculated to give pleasure than this collection . . .”

 

 

In 1861 the London Stereoscopic Company, with photographs taken by William England, published a series of stereoviews titled Instantaneous Views of Paris. The comprehensive series, containing approximately 113 views, was widely praised in numerous newspapers and trade publications of the day, including The Photographic Journal, The Photographic News, The Times, The British Journal of Photography, The Morning Post and The Athenaeum. A few noteworthy examples of the reviews are included here.

 

May 31, 1861. The Photographic News.

“INSTANTANEOUS PHOTOGRAPHS.– We have received some specimens of a beautiful series of instantaneous photographs of Paris, just issued by the London Stereoscopic Company executed by their talented artist, Mr. W. England. They, for the most part, represent scenes in the crowded streets of the French capital in the midst of its busy traffic. In many of them the conditions of complete instantaneity are perfectly fulfilled, for we have walking figures with foot uplifted beautifully rendered, and rapidly driven equipages produced without blurring. In addition to their interest as instantaneous pictures of scenes so full of subject as Parisian streets, they are harmonious photographs without the common enormity of white skies. There is in all cases a tone over the skies, and in some the natural clouds. The only point at all at fault, is the lens, which has not always given perfect sharpness and illumination to the edges, the results, we presume, of the large aperture necessary to instantaneous pictures.”[22]

 

October 15, 1861. The Photographic Journal.

“We have never seen a series of stereoscopic photographic views more calculated to give pleasure than this collection; and of the so-called instantaneous pictures, these are decidedly the best which have hitherto been brought under our notice. There is no blurring. There are no indistinct masses which puzzle the beholder to ascertain exactly what is intended, but all is clearness and well defined. Persons in motion are excellent; they are not aware of having their actions permanently recorded. The horses and vehicles are passing with their usual activity, the result being altogether natural and agreeable.

 

To describe each view would be a mere repetition of recording an effective good photograph; and we strongly recommend our friends, especially those who have not visited Paris in late years, to possess themselves of the entire series.”[23]

 

October 18, 1861. The Photographic News.

“INSTANTANEOUS VIEWS OF PARIS. London: The Stereoscopic Company. This is a second series of instantaneous street views of Paris, issued by the Stereoscopic Company. Excellent as were their former series, the present in many respects, surpasses it. The most crowded thoroughfares of lively Paris are here most exquisitely rendered, with a perfection of definition and detail perfectly marvellous. Walking figures, running figures, falling figures, equestrian figures and vehicles, all caught in their acts without the slightest appearance of movement or imperfect definition. Here is a lad transfixed in the act of falling, flying forward, as something has tripped him up; he remains on the slide doomed neither to fall further nor rise again. Here we have unimpeachable evidence that two well-dressed Parisians were seen walking down the Boulevard Montmartre actually out of step, the right leg of the one and the left leg of the other being uplifted at the same moment. The majority of these pictures are entirely free from every trace of under exposure, and are brilliant, clear, sharp, bold, and delicate, some of them also possessing fine natural skies. They are remarkably clean and free from blemish or manipulatory faults, furnishing fine examples altogether of what instantaneous pictures ought to be. Of the interest of the scenes it is unnecessary to speak. Life in Paris is almost a synonym for all that is brilliant and gay, and these views are chosen from the busiest scenes of the gay metropolis.”[24]

 

October 22, 1861. The Times.

“PHOTOGRAPHS OF PARIS. – A most interesting series of instantaneous stereoscopic views of Paris have just been published by the London Stereoscopic Company, whose collections of similar pictures of America, Switzerland, England, and most of the capitals of Europe are already so well known. The Paris series gives the French metropolis under every possible variety of out-door life. All the chief public buildings, the new Boulevards, the old historic barriers, even the intended new streets now in progress, are given with a finish and clearness of outline rarely attained in these pictures of an instant. As instantaneous views they are certainly among the most remarkable specimens of photographic art that have been published for some time. The points from which they are taken, too, are well chosen, so that altogether the series illustrates admirably the daily routine of life in Paris, from the most fashionable promenades to the hurried crowds along the narrow trottoirs and by way of third-rate Faubourgs.”[25]

 

February 14, 1862. The Photographic News.

The London Stereoscopic Company have just issued a further series of Mr. England’s admirable stereographs of Paris, instantaneous and other wise. Of the instantaneous street scenes, it is only necessary to say that they surpass, if possible, in definition and detail, his former pictures. Some of the subjects are somewhat critical tests of instantaneity; here, for instance, in No. 91 is a regiment of infantry, five abreast, with fixed bayonets, marching towards the camera; every detail in every part is rendered without the slightest confusion. Here also in No. 101, “Halles Centrales,” is a busy market-scene, containing a surging crown of many hundreds of bustling moving people, all perfectly detailed. Many of the subjects are very perfect as pictures, altogether apart from their interest as instantaneous views. Of these we may mention No. 106, a view in the Rue Royale, with natural clouds, which is a most charming composition, and a fine photograph. In this series, Mr. England has produced some very fine interiors. In speaking of them we accord them very high praise when we state that we think some of them equal to Wilson’s interiors. Several views of the interior of the church of St. Etienne du Mont, which we believe presents some considerable difficulties as regards the question of lighting, are exceedingly fine. The magnificently carved pulpit, which, though nearly black and dimly lighted, is here secured with the most perfect definition, detail, and gradation. There are also some fine pictures of scenes in the Bois de Bologne, which are very perfectly executed.”[26]

 

As a result of the resounding success of his work in Paris, England was the subject of a popular industry joke. “An old photographic joke of this period in connection with his name may be mentioned:– “Have you heard the news? England has taken Paris.”[27]

 

Instantaneous Views of ParisInstantaneous Views of ParisINSTANTANEOUS VIEWS of PARIS.–Just Out. The London Stereoscopic Comapny, 313, Oxford-street. 1s, 6d. each, or seven for 10x, free by post. These are the finest views of Paris ever issued, and the wholesale orders for them from Paris will take the Company some months to execute.

 

Palais Royal à Paris. Vue Instantanée. Views of Paris.Palais Royal à Paris. Vue Instantanée. Views of Paris.Palais Royal à Paris. Vue Instantanée. Views of Paris. William England, London Stereoscopic Company. Museum of Fine Arts, Boston. Palais Royal à Paris. Vue Instantanée. Views of Paris. William England, London Stereoscopic Company. Museum of Fine Arts, Boston.
 

 

The International Exhibition

 

“On the whole, this pictorial record of the finest Exhibition that has yet been held is in every way worthy of the advance the chymical art has made since our last World’s Fair in 1851.”

 

 

In 1862, in response to a public tender, the LSC was awarded the exclusive rights to photograph the International Exhibition, a world’s fair. In exchange for this exclusive right the LSC paid what was then considered a “prodigious outlay,” which included a guaranteed 2,000 guineas plus royalties on sales. The LSC also invested £500 to outfit the space and paid a further £300 to purchase brand new lenses “when it was discovered that Dallmeyer’s lenses executed the work better than the equipment of first-rate lenses already in use.”[28]

 

The International Exhibition was held over the course of seven months from May to November at South Kensington in London. England served as the lead photographer on behalf of the LSC, with a team that included other notable photographers William Russell Sedgfield (1826-1902) and Stephen Thompson, “a highly accomplished and artistic photographer.”

 

A series of 350 stereoviews was published to wide acclaim, with The Photographic Journal writing that “as photographs they are all we can desire, and those who are unable to visit the building will obtain a very good idea of its vast interest by the inspection of these beautiful productions.”[29] The first proofs were to be forwarded to the Queen at Balmoral, and another set were to be sent to the Princess Frederick William of Prussia. Given the anticipated demand, one firm placed an order for not less than 50,000 prints before the exhibition even opened. With the stereoviews available to the public, it has been estimated that over 300,000 views were sold at the Exhibition. England later estimated that the most popular kind of souvenir were photographs, of which “more than ninety-five per cent of the views were for the stereoscope.”[30]

 

Writing in November 1862 The Photographic News reviewed the photography of the Exhibition, noting the incredible investment of the London Stereoscopic Company, the work of William England, the incredible volume of sales and the beautiful nature of the photographs.

 

“As to the quality of the photographs produced, the public verdict has been given in the demand for the prints. They comprise a treasury of the choicest gems which the world of art and science could produce, photographed with an amount of skill which could not, we believe, be surpassed. Some of the slides before us are choice gems of photography, as well as exquisite delineations of gems of art. Nothing can exceed the beauty of many of the general views of the nave, transept, and various courts. In the representations of ornamental glass and ceramic wares, the exquisitely delicate rendering of texture is something marvellous, the perfect detail and softness giving an effect of reality to these substances in the stereoscope, which we have hitherto regarded as only possibly in stereoscopic transparencies on glass. The grouping of various art products, in some of the slides, has been managed with much judgment, taste and skill.”[31]

 

Another review of the Exhibition, this one in June 1862, was published by The Standard, of London.

 

“Yesterday also we were enabled to inspect a number of stereographs and cartes de visite just issued by the London Stereoscopic Company. It is pleasant, as showing a love for art and a desire to possess mementos of the Exhibition, to be able to state that all their works, and especially the slides, are going off very fast. Among those just issued we notice particularly a stereograph of Gibson’s “Venus,” for which there is a perfect rush; a slide of Minton’s majolica fountain, another of the south-eastern picture gallery, one of the entrance to the staircase in the western dome, one of Thomas’s “Lady Godiva,” and one of the nave from the western dome. The cartes include the statues of the dais, the machinery annex, and the foreign half of the nave. The portraits of the Prince and his suite, as well as that of Sir C. W. Dilke, are really excellent, although so small.”[32]

 

The Times, of London, in August 1862, wrote an extensive review about the photographs of the International Exhibition. The challenging photographic environment was described, as was one of the most popular stereoscopic views of the International Exhibition, the Reading Girl. This statue, “among the most attractive pieces of sculpture in the Exhibition,” and “about which every one has gone wild,” was sculpted by Pietro Magni (1817-1877). The statue was first exhibited at Florence, Italy in 1861. It was later estimated that the sale of photographs of the “Reading Girl” were so large that the proceeds exceeded the cost paid by the London Stereoscopic Company to photograph the entire International Exhibition. During the course of the exhibition the statue was purchased by George Nottage, chairman of the London Stereoscopic Company.

 

“The first results of the efforts of this company [the London Stereoscopic Company] have now been given to the public in about a hundred large and small plain and coloured carte de visite views, and views adapted only to the stereoscope. The latter, as might be expected from the fame of this company for such pictures, are among the best, and are really wonderfully good, when we consider the extreme difficulty of taking them.

 

The light in the building is so extremely bad for photographic purposes that at first it was believed that none could be taken there at all. This supposition was so near the truth that even now, on bad days, it requires from 12 to 15 minutes’ exposure of the plate to get a good negative; and when we remember that, in addition to this difficulty, the varied colours are so sadly metamorphosed in the process as often to destroy not only the beauty but the likeness of the picture, the care and cost required to get good views have been very great. Of these difficulties, however, there is no trace in the series which has just been issued. They are each as clear and sharp as instantaneous views, and the tinted views especially bring out every light and shade, and every tone of colour, in the building. Here we see the nave as only photographers and policemen have the luck to see it – in the cool clear air of the early morning, when there is no dust, no crowd, when not a living being is visible over the whole expanse of the noble hall, when it looks like fairyland of beauties undiscovered and unknown. In these pictures the statuary comes out with all the sharpness of high relief, and every column and rib of the nave may be counted.

 

In some, such as the collection of glass in the English and Austrian Courts, the effect is more than stereoscopic – it is an optical delusion; less a picture of the places as we see them than the places themselves. The quaint, funny monstrosities of the Japanese Court are here reproduced to the life; here we get the long vista of ponderous wheels and thrusting pistons of the Machinery Annexe; here we find the Picture Galleries as visitors have never found them yet – quiet and empty; and here, above all, are the best specimens of the statuary.

 

The tinted Venus of Gibson is so tinted as to avoid the discoloration of the marble which in the original gives the goddess the appearance of having dirty legs; the veiled figures of Monti come out with beautiful distinctness; and the pale, earnest features of the Reading Girl are copied with all the force of the statue itself. This latter is apparently the popular picture, as nearly 200 gross of its copies are sold per week. Some of the best gems of the Roman Court are among these pictures, though it is much to be regretted that up to the present no permission has been obtained to copy two of the finest works in it – Storey’s beautiful statues of Cleopatra and the Sibyl.

 

On the whole, this pictorial record of the finest Exhibition that has yet been held is in every way worthy of the advance the chymical art has made since our last World’s Fair in 1851. These views will be enduring records of what we did in 1862, and the only regret we feel in looking over this wonderful delineation is that the art was not sufficiently advanced to have served the same purpose for our first great effort in 1851. Many more views have yet to be brought out before the series is complete. It they are only as good as those already issued, they will reflect high credit on the Stereoscopic Company.”[33]

 

In an extensive review The Art-Journal praised the stereographs from the International Exhibition, noting them as a complete collection capable of teaching.

 

“Amongst the Notabilia of this Exhibition, none can rival the stereographs, which render the Exhibition itself at once indestructible and ubiquitous. In the stereoscope they place before our eyes the well-known Courts, the favourite groups, the infinitely diversified collections, and the most popular objects, precisely as they existed, and as we used to study them. And, as we suppose that “no home” is now “without a stereoscope,” we may assume that the stereographic presence of the Exhibition will be diffused as widely as its fame. It is no slight advantage that the stereoscope thus bestows. Unerring fidelity, complete in its power of representation, and always certain of absolutely successful action, this wonderful little instrument now accomplished exactly what in 1851 was felt to be equally important and impossible. We can enjoy this year’s Exhibition again and again in the stereoscope, and in the stereoscope we can study it, and thoroughly learn all it has to teach. The “slides” with the Stereoscopic Company have produced in such abundance, are much more than pleasant reminiscences, forcibly and vividly conveyed. They are the most impressive of teacher also – or rather, through their agency the Exhibition, in the most impressive manner, conveys its eminently valuable lessons . . .

 

Working, as they have, under no ordinary pressure of difficulties, the Stereoscopic Company have, nevertheless, been faithful to the duty which they took upon themselves. Never have more admirable stereographs been produced than those which the Company have placed before visitors, and before the public, and, indeed, the world at large. Every most effective general view has been photographed from the best point of view; and the same may be affirmed with equal justice of particular groups, collections, and objects. And when the eye glances over the list of the subjects of the Exhibition stereographs, or, far better still, when the stereographs themselves are displayed in close contiguity as a collection, it becomes apparent that a substantial history – such as never before was prepared from any Exhibition – is here present, which begins with the commencement of this Exhibition, and accompanies its career from day to day; and when the closing shall have taken place, without doubt the series will be found to be complete, as far as the Stereoscopic Company will have been able to attain to completeness.”[34]

 

The photography at the International Exhibition was widely attributed to William England, while working for the London Stereoscopic Company. Interestingly though, in November 1862 The Photographic News wrote that much of the work was being completed directly by William England. “The number of persons employed in Mr. England’s establishment, in albumenizing, exciting, printing, toning, fixing, washing, mounting, & c., may easily be conceived; and this is only one portion of the Exhibition work, and does not include any of the large pictures.”[35]

 

England’s work at the International Exhibition was considered the peak popularity of stereoscopic views in England. “The high water mark of the popularity for the stereoscope may be fixed at about 1862, and it is curiously noteworthy that while the great exhibition of 1851 practically gave birth to it, the next great exhibition – that of 1862 – saw it at its fullest growth. The enterprise of the late Mr. Nottage, of the Stereoscopic Company, secured the exclusive right to photograph the noteworthy objects in that wonderful collection, and he gave into the hands of Mr. England the entire control of the stereoscopic department, and it is not too much to say here that no one could have been found more able for the work. There have been many exhibitions since, but never such a beautiful series of stereoscopic slides, to perpetuate the remembrance of them. The demand for England’s slides of the Exhibition was simply incredible.”[36]

 

The Nave, from Eastern Dome. The International Exhibition of 1862.The Nave, from Eastern Dome. The International Exhibition of 1862.London Stereoscopic Company, Publisher, photographer by England, William. The International Exhibition of 1862. “The nave, from eastern dome.” [London: London Stereoscopic and Photographic Company] Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/2010646522/>.

The Nave, from Eastern Dome. The International Exhibition of 1862.

London Stereoscopic Company, Publisher, photographer by England, William. The International Exhibition of 1862. “The nave, from eastern dome.” [London: London Stereoscopic and Photographic Company] Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/2010646522/>.

 

 

Views of the International Exhibition advertisement by the London Stereoscopic CompanyViews of the International ExhibitionJust Arrived. Stereoscopic and Album Views of the International Exhibition of 1862. London Stereoscopic and Photographic Co., 579 Broadway, opposite the Metropolitan Hotel, N. Y.

Source: New York Herald. July 17, 1862, p. 6.

 

Advertisement for the 1862 International Exhibition.1862 International Exhibition advertisementINTERNATIONAL EXHIBITION, 1862.–A SET of 50 STEREOGRAPHS of the leading objects of interest and beauty, and the finest general views, in handsome leather case, sent free for £3 10s. Post-office orders payable to GEORGE SWAN NOTTAGE, London, Stereoscopic and Photographic Company (sole photographers to the Exhibition), 54, Cheapside, and 110, Regent Street. "They are gems of photographic art." Photographic Journal of the Society.

1862 International Exhibition advertisement1862 International Exhibition advertisementThe Great Exhibition in the Stereoscope.

J. Haddock has just received a collection of BEAUTIFUL STEREOGRAPHS of the Interior of the Building, taken by the London Stereoscopic Company; comprising views of the various Courts and Galleries, and all the best known specimens of Sculpture, & c.

Portrait Albums in great variety, from 2s 6d. to Two Guineas.

Ancient House, Old Butter Market, Ipswich.

 

Early Reputation

 

By 1862 William England had already established a reputation as one of the finest photographers in England, if not the world. In April 1862 The Photographic News wrote of England’s experience. “Mr. England, whose experience is, perhaps, more extensive and varied than that of any photographer of the day . . . Mr. England’s experience exceeds that of some of his compeers, inasmuch as it has been more varied, his practice having been on the Continent and in America, as well as in this country.”[37]

 

The Castles and Abbeys of England

 

Just prior to his trip to the United States, England was photographing a series of castles and abbeys in his home country of England.[38] This time of England’s career is relatively unknown and requires further research.

 

 

[1] “Visits to Noteworthy Studios. Mr. England’s Establishment at Notting Hill.” The Photographic News. Vol. 12, No. 502. April 17, 1868. p. 184.

[2]  “Photographic Society of Great Britain.” The British Journal of Photography. Vol. 37. March 14, 1890. London: H. Greenwood & Co., 1890. p. 172.

[3]  “On Copying Sculpture.” The Year-Book of Photography and Photographic News Almanac for 1873. London: Piper and Carter, 1873. p. 29.

[4] “Notes.” The Photographic News. Vol. 26. December 8, 1882. London: Piper and Carter, 1882. p. 744.

[5]  “Recent Advances in Photography.” The British Journal of Photography. Vol. 29. August 18, 1882. p. 478.

[6]  “Recent Advances in Photography.” The British Journal of Photography. Vol. 29. August 18, 1882. p. 478.

[7]  “Monthly Technical Meetings.” The Photographic Journal. New Series, Vol. 17, No. 9. June 29, 1893. London: Harrison and Sons, 1893. p. 259.

[8]  “Respect for M. Daguerre.” New-York Daily Tribune. August 6, 1851. p. 4.

[9]  Canfield, C. W. “Portraits of Daguerre.” The American Annual of Photography and Photographic Times Almanac for 1891. New York: The Scovill & Adams Company. p. 27.

[10]  Gernsheim, Helmut; Alison Gernsheim. L. J. M. Daguerre: The History of the Diorama and the Daguerreotype. New York: Dover Publications, Inc., 1968. p. 126.

[11]  “The Daguerreotype Process in Practice.” The Year-Book of Photography and Photographic News Almanac for 1883.  London: Piper and Carter, 1883. pp. 100-101.

[12]  “The Daguerreotype Process in Practice.” The Year-Book of Photography and Photographic News Almanac for 1883.  London: Piper and Carter, 1883. pp. 100-101.

[13]  “Cleaning and Copying Daguerreotypes.” The British Journal Photographic Almanac, and Photographer’s Daily Companion 1889. London: Ross & Co., 1889. pp. 573-574.

[14] Blanchard, Valentine. “The Stereoscope – II.” The Amateur Photographer. Vol. 11. May 16, 1890. pp. 354-355.

[15] “Monthly Technical Meetings.” The Photographic Journal. New Series, Vol. 17, No. 9. June 29, 1893. London: Harrison and Sons, 1893. pp. 261.

[16] “The Late Mr. William England.” The British Journal of Photography. Vol. 43. September 25, 1896. London: Henry Greenwood & Co., 1896. p. 618.

[17] “The Photographic Exhibition at the Crystal Palace.” The British Journal of Photography. Vol. 44. May 14, 1897. London: Henry Greenwood & Co., 1897. p. 307.

[18] “International Inventions Exhibition.” The British Journal of Photography. Vol. 32. September 25, 1885. London: Henry Greenwood, 1885. p. 618.

[19] Henggeler, Joseph. “Stereo Emeralds: A Look at Nineteenth Century Irish Stereo Views.” Stereo World. Vol. 14, No. 1, March/April 1987. pp. 24.

[20] “Minor Topics of the Month.” The Art-Journal. March 1, 1858. p. 95.

[21] Burn, James Dawson. Commerical Enterprise and Social Progress. London: Piper, Stephenson, & Spence, 1859. p. 29.

[22] “Talk in the Studio.” The Photographic News. Vol. 5. May 31, 1861. p. 264.

[23] “Instantaneous Views of Paris.” The Photographic Journal. No. 114. October 15, 1861. p. 288.

[24] “Instantaneous Views of Paris.” The Photographic News. Vol. 5, No. 163. October 18, 1861. p. 495.

[25] “Photographs of Paris.” The Times. October 22, 1861.

[26] “Stereoscopic Views of Paris.” The Photographic News. Vol. 6, No. 180. February 14, 1862. p. 78.

[27] Blanchard, Valentine. “The Stereoscope – II.” The Amateur Photographer. Vol. 11. May 16, 1890. pp. 354-355.

[28] “Stereoscopic Views of the Interior of the International Exhibition.” The Photographic News. November 7, 1862. p. 533.

[29] “Photographic Views of the International Exhibition.” The Photographic Journal. August 15, 1862. p. 104.

[30] “Stereoscopic Photography.” The Photo-Miniature. Vol. 1, No. 5. August, 1899. p. 211.

[31] “Stereoscopic Views of the Interior of the International Exhibition.” The Photographic News. November 7, 1862. p. 533.

[32] “The International Exhibition.” The Standard. June 19, 1862. p. 6.

[33] “Photographs of the Exhibition.” The Times. August 13, 1862. p. 20.

[34] “The Stereographs of the Stereoscopic Company.” The Art-Journal. New Series, Vol. 1. London: James S. Virtue, 1862. p. 223.

[35] “The Commerce of Photography.” The Photographic News. Vol. 6, No. 220. November 21, 1862.

[36] Blanchard, Valentine. “The Stereoscope – III.” The Amateur Photographer. Vol. 11. May 30, 1890. pp. 394-395.

[37] “Bromides in Instantaneous Collodion.” The Photographic News. Vol. 6, No. 187. April 4, 1862. pp. 157-158.

[38] Blanchard, Valentine. “The Stereoscope – II.” The Amateur Photographer. Vol. 11. May 16, 1890. pp. 354-355.

 

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[email protected] (American Catskills) 1859 alpine America in the Stereoscope Blondin Britain Catskills England exhibit Fawn's Leap International Exhibition Ireland Italy Kaaterskill Clove Kaaterskill Falls Kauterskill Falls landscape Laurel House London Stereoscopic Company mountains Niagara Falls North American Series North Lake photographer photographs photography Plattekill Clove Plauterkill Clove Rhine scenery statuary stereoscope stereoscopic stereoviews Switzerland waterfalls William England https://www.americancatskills.com/blog/2022/3/william-england-and-his-1859-tour-of-the-catskills-part-1 Sat, 12 Mar 2022 13:00:00 GMT
A Photographic Tour of Huguenot Street at New Paltz https://www.americancatskills.com/blog/2022/3/a-photographic-tour-of-huguenot-street-at-new-paltz New Paltz was founded in 1678 by French Huguenots, Protestant followers of John Calvin who had escaped religious persecution in France and emigrated to religiously tolerant countries around the world, including the United States. With the purchase of nearly 40,000 acres of land from the Esopus Indians, the 12 founding families, referred to as the Patentees (as they held the legal patent to the land), quickly left their young Kingston and Hurley homes and established a permanent settlement and farming community along the Wallkill River.

 

Peaceful Huguenot Street in downtown New Paltz offers a step back in time to these early days of the village. Charming, Dutch-inspired stone houses, many now active museums, provide a glimpse of what life was like in the 17th, 18th, and 19th centuries. Visitors can admire the quality architecture at the Freer House, Abraham Hasbrouck House, Bevier-Elting House, DuBois Fort, Jean Hasbrouck House and the LeFevre House, as well as a reconstructed 1717 church. There is also an 18th century burial ground, a visitor center, educational exhibits and many of the homes are open for tours. Huguenot Street, marketing itself as “the oldest street in America with its original houses”, is listed on the register of National Historic Landmark Districts.

 

Crispell Memorial French Church and Burying Ground

Crispell Memorial French Church and Burying Ground is located along historic Huguenot Street in New Paltz, New York.Morning Light at the Crispell Memorial French Church and Burying GroundThe Crispell Memorial French Church, to the surprise of many, is actually a 1972 reconstructed interpretation of the first 1717 stone church in New Paltz. The original church, which was also used as a school, served the early settlement for 56 years when a larger church was built to accommodate the growing congregation. The church is named for Antoine Crispell, one of the twelve founders of New Paltz. The adjacent Burying Ground contains many graves of the original 12 founding families of New Paltz. The last burial took place here in 1864.

New Paltz was founded in 1678 by French Huguenots, Protestant followers of John Calvin who had escaped religious persecution in France and emigrated to religiously tolerant countries around the world, including the United States. With the purchase of nearly 40,000 acres of land from the Esopus Indians, the 12 founding families, referred to as the Patentees (as they held the legal patent to the land), quickly left their young Kingston and Hurley homes and established a permanent settlement and farming community along the Wallkill River.

Peaceful Huguenot Street in downtown New Paltz offers a step back in time to these early days of the village. Charming, Dutch-inspired stone houses, many now active museums, provide a glimpse of what life was like in the 17th, 18th, and 19th centuries. Visitors can admire the quality architecture at the Freer House, Abraham Hasbrouck House, Bevier-Elting House, DuBois Fort, Jean Hasbrouck House and the LeFevre House, as well as a reconstructed 1717 church. There is also an 18th century burial ground, a visitor center, educational exhibits and many of the homes are open for tours. Huguenot Street, marketing itself as “the oldest street in America with its original houses”, is listed on the register of National Historic Landmark Districts.

The Crispell Memorial French Church, to the surprise of many, is actually a 1972 reconstructed interpretation of the first 1717 stone church in New Paltz. The original church, which was also used as a school, served the early settlement for 56 years when a larger church was built to accommodate the growing congregation. The church is named for Antoine Crispell, one of the twelve founders of New Paltz. The adjacent Burying Ground contains many graves of the original 12 founding families of New Paltz. The last burial took place here in 1864.

 

LeFevre House

The LeFevre House, also known as the 1799 House, is located on historic Huguenot Street in the village of New Paltz, New York.LeFevre HouseThe LeFevre House, also known as the 1799 House, was built in 1799 by Ezekiel Elting, a descendent of one of the original Patentees that founded the village of New Paltz. The stone-and-brick, Federal-style structure was designed to function as both a residence and as a store. It’s size, symmetry, building materials (partially brick versus all field stone) and location (across from the now gone ferry landing) each demonstrated the growing prosperity of the Elting family, the New Paltz village and the United States.

New Paltz was founded in 1678 by French Huguenots, Protestant followers of John Calvin who had escaped religious persecution in France and emigrated to religiously tolerant countries around the world, including the United States. With the purchase of nearly 40,000 acres of land from the Esopus Indians, the 12 founding families, referred to as the Patentees (as they held the legal patent to the land), quickly left their young Kingston and Hurley homes and established a permanent settlement and farming community along the Wallkill River.

Peaceful Huguenot Street in downtown New Paltz offers a step back in time to these early days of the village. Charming, Dutch-inspired stone houses, many now active museums, provide a glimpse of what life was like in the 17th, 18th, and 19th centuries. Visitors can admire the quality architecture at the Freer House, Abraham Hasbrouck House, Bevier-Elting House, DuBois Fort, Jean Hasbrouck House and the LeFevre House, as well as a reconstructed 1717 church. There is also an 18th century burial ground, a visitor center, educational exhibits and many of the homes are open for tours. Huguenot Street, marketing itself as “the oldest street in America with its original houses”, is listed on the register of National Historic Landmark Districts.
The LeFevre House, also known as the 1799 House, was built in 1799 by Ezekiel Elting, a descendent of one of the original Patentees that founded the village of New Paltz. The stone-and-brick, Federal-style structure was designed to function as both a residence and as a store. It’s size, symmetry, building materials (partially brick versus all field stone) and location (across from the now gone ferry landing) each demonstrated the growing prosperity of the Elting family, the New Paltz village and the United States.

 

Jean Hasbrouck House

The Jean Hasbrouck House is located on historic Huguenot Street in the village of New Paltz, New York.Jean Hasbrouck HouseJean Hasbrouck, one of the original 12 founders of New Paltz, constructed this charming house over two decades, completing it around 1712. For many years, the family operated a general store on the ground floor. The house remained in the Hasbrouck family until 1899 when it was sold to the local preservation organization known as the Huguenot Monumental, Historical and Patriotic Society (today known as Historic Huguenot Street). It has been operated as a museum since 1899.

New Paltz was founded in 1678 by French Huguenots, Protestant followers of John Calvin who had escaped religious persecution in France and emigrated to religiously tolerant countries around the world, including the United States. With the purchase of nearly 40,000 acres of land from the Esopus Indians, the 12 founding families, referred to as the Patentees (as they held the legal patent to the land), quickly left their young Kingston and Hurley homes and established a permanent settlement and farming community along the Wallkill River.

Peaceful Huguenot Street in downtown New Paltz offers a step back in time to these early days of the village. Charming, Dutch-inspired stone houses, many now active museums, provide a glimpse of what life was like in the 17th, 18th, and 19th centuries. Visitors can admire the quality architecture at the Freer House, Abraham Hasbrouck House, Bevier-Elting House, DuBois Fort, Jean Hasbrouck House and the LeFevre House, as well as a reconstructed 1717 church. There is also an 18th century burial ground, a visitor center, educational exhibits and many of the homes are open for tours. Huguenot Street, marketing itself as “the oldest street in America with its original houses”, is listed on the register of National Historic Landmark Districts.

Jean Hasbrouck, one of the original 12 founders of New Paltz, constructed this charming house over two decades, completing it around 1712. For many years, the family operated a general store on the ground floor. The house remained in the Hasbrouck family until 1899 when it was sold to the local preservation organization known as the Huguenot Monumental, Historical and Patriotic Society (today known as Historic Huguenot Street). It has been operated as a museum since 1899.

 

Bevier-Elting House

The Bevier-Elting House is located on historic Huguenot Street in the village of New Paltz, New York.Bevier-Elting HouseThe Bevier-Elting House was constructed in 1698 by Louis Bevier, one of the 12 founders of New Paltz. In 1760, Samuel Bevier, Louis Bevier’s son, sold the house to Josiah Elting. It is believed that the Elting family utilized one room of the house to operate a general store. Remarkably, the house remained in the Bevier-Elting families until 1963, when it was sold to the Huguenot Historical Society.

New Paltz was founded in 1678 by French Huguenots, Protestant followers of John Calvin who had escaped religious persecution in France and emigrated to religiously tolerant countries around the world, including the United States. With the purchase of nearly 40,000 acres of land from the Esopus Indians, the 12 founding families, referred to as the Patentees (as they held the legal patent to the land), quickly left their young Kingston and Hurley homes and established a permanent settlement and farming community along the Wallkill River.

Peaceful Huguenot Street in downtown New Paltz offers a step back in time to these early days of the village. Charming, Dutch-inspired stone houses, many now active museums, provide a glimpse of what life was like in the 17th, 18th, and 19th centuries. Visitors can admire the quality architecture at the Freer House, Abraham Hasbrouck House, Bevier-Elting House, DuBois Fort, Jean Hasbrouck House and the LeFevre House, as well as a reconstructed 1717 church. There is also an 18th century burial ground, a visitor center, educational exhibits and many of the homes are open for tours. Huguenot Street, marketing itself as “the oldest street in America with its original houses”, is listed on the register of National Historic Landmark Districts.
The Bevier-Elting House is located on historic Huguenot Street in the village of New Paltz, New York.Bevier-Elting HouseThe Bevier-Elting House was constructed in 1698 by Louis Bevier, one of the 12 founders of New Paltz. In 1760, Samuel Bevier, Louis Bevier’s son, sold the house to Josiah Elting. It is believed that the Elting family utilized one room of the house to operate a general store. Remarkably, the house remained in the Bevier-Elting families until 1963, when it was sold to the Huguenot Historical Society.

New Paltz was founded in 1678 by French Huguenots, Protestant followers of John Calvin who had escaped religious persecution in France and emigrated to religiously tolerant countries around the world, including the United States. With the purchase of nearly 40,000 acres of land from the Esopus Indians, the 12 founding families, referred to as the Patentees (as they held the legal patent to the land), quickly left their young Kingston and Hurley homes and established a permanent settlement and farming community along the Wallkill River.

Peaceful Huguenot Street in downtown New Paltz offers a step back in time to these early days of the village. Charming, Dutch-inspired stone houses, many now active museums, provide a glimpse of what life was like in the 17th, 18th, and 19th centuries. Visitors can admire the quality architecture at the Freer House, Abraham Hasbrouck House, Bevier-Elting House, DuBois Fort, Jean Hasbrouck House and the LeFevre House, as well as a reconstructed 1717 church. There is also an 18th century burial ground, a visitor center, educational exhibits and many of the homes are open for tours. Huguenot Street, marketing itself as “the oldest street in America with its original houses”, is listed on the register of National Historic Landmark Districts.

The Bevier-Elting House was constructed in 1698 by Louis Bevier, one of the 12 founders of New Paltz. In 1760, Samuel Bevier, Louis Bevier’s son, sold the house to Josiah Elting. It is believed that the Elting family utilized one room of the house to operate a general store. Remarkably, the house remained in the Bevier-Elting families until 1963, when it was sold to the Huguenot Historical Society.

 

Abraham Hasbrouck House

The Abraham Hasbrouck House is located on historic Huguenot Street in the village of New Paltz, New York.Abraham Hasbrouck HouseDaniel Hasbrouck (1692-1759), son of Abraham Hasbrouck (one of the original 12 founders of New Paltz), constructed this charming house in the 1720s and 1730s. The house remained in the Hasbrouck family until 1911, after which it was sold several times and eventually purchased by the Huguenot Historical Society.

New Paltz was founded in 1678 by French Huguenots, Protestant followers of John Calvin who had escaped religious persecution in France and emigrated to religiously tolerant countries around the world, including the United States. With the purchase of nearly 40,000 acres of land from the Esopus Indians, the 12 founding families, referred to as the Patentees (as they held the legal patent to the land), quickly left their young Kingston and Hurley homes and established a permanent settlement and farming community along the Wallkill River.

Peaceful Huguenot Street in downtown New Paltz offers a step back in time to these early days of the village. Charming, Dutch-inspired stone houses, many now active museums, provide a glimpse of what life was like in the 17th, 18th, and 19th centuries. Visitors can admire the quality architecture at the Freer House, Abraham Hasbrouck House, Bevier-Elting House, DuBois Fort, Jean Hasbrouck House and the LeFevre House, as well as a reconstructed 1717 church. There is also an 18th century burial ground, a visitor center, educational exhibits and many of the homes are open for tours. Huguenot Street, marketing itself as “the oldest street in America with its original houses”, is listed on the register of National Historic Landmark Districts.
The Abraham Hasbrouck House is located on historic Huguenot Street in the village of New Paltz, New York.Abraham Hasbrouck HouseDaniel Hasbrouck (1692-1759), son of Abraham Hasbrouck (one of the original 12 founders of New Paltz), constructed this charming house in the 1720s and 1730s. The house remained in the Hasbrouck family until 1911, after which it was sold several times and eventually purchased by the Huguenot Historical Society.

New Paltz was founded in 1678 by French Huguenots, Protestant followers of John Calvin who had escaped religious persecution in France and emigrated to religiously tolerant countries around the world, including the United States. With the purchase of nearly 40,000 acres of land from the Esopus Indians, the 12 founding families, referred to as the Patentees (as they held the legal patent to the land), quickly left their young Kingston and Hurley homes and established a permanent settlement and farming community along the Wallkill River.

Peaceful Huguenot Street in downtown New Paltz offers a step back in time to these early days of the village. Charming, Dutch-inspired stone houses, many now active museums, provide a glimpse of what life was like in the 17th, 18th, and 19th centuries. Visitors can admire the quality architecture at the Freer House, Abraham Hasbrouck House, Bevier-Elting House, DuBois Fort, Jean Hasbrouck House and the LeFevre House, as well as a reconstructed 1717 church. There is also an 18th century burial ground, a visitor center, educational exhibits and many of the homes are open for tours. Huguenot Street, marketing itself as “the oldest street in America with its original houses”, is listed on the register of National Historic Landmark Districts.

Daniel Hasbrouck (1692-1759), son of Abraham Hasbrouck (one of the original 12 founders of New Paltz), constructed this charming house in the 1720s and 1730s. The house remained in the Hasbrouck family until 1911, after which it was sold several times and eventually purchased by the Huguenot Historical Society. 

 

DuBois House

The DuBois House, also known as the DuBois Fort or the Old Fort, is located along historic Huguenot Street in the village of New Paltz, New York.DuBois HouseThe New Paltz Patent approved by the Governor required the settlers to construct a fort as part of the community. In response, in order to meet this requirement and despite good relations with local Native Americans, the DuBois House, also known as the DuBois Fort or the Old Fort, was constructed in 1705. Although it was designed as a place of refuge, it contained little fortification other than a few gun ports but did meet the letter of the law. It was never used in armed conflict. The house was constructed by Daniel Dubois, the grandson of Louis DuBois, one of the original 12 founders of New Paltz. Remarkably, the house remained in the Dubois family until 1968, or 263 years, when it was sold to the Huguenot Historical Society. Today, the Dubois Fort serves as the visitor center for the Huguenot Historic District.

New Paltz was founded in 1678 by French Huguenots, Protestant followers of John Calvin who had escaped religious persecution in France and emigrated to religiously tolerant countries around the world, including the United States. With the purchase of nearly 40,000 acres of land from the Esopus Indians, the 12 founding families, referred to as the Patentees (as they held the legal patent to the land), quickly left their young Kingston and Hurley homes and established a permanent settlement and farming community along the Wallkill River.

Peaceful Huguenot Street in downtown New Paltz offers a step back in time to these early days of the village. Charming, Dutch-inspired stone houses, many now active museums, provide a glimpse of what life was like in the 17th, 18th, and 19th centuries. Visitors can admire the quality architecture at the Freer House, Abraham Hasbrouck House, Bevier-Elting House, DuBois Fort, Jean Hasbrouck House and the LeFevre House, as well as a reconstructed 1717 church. There is also an 18th century burial ground, a visitor center, educational exhibits and many of the homes are open for tours. Huguenot Street, marketing itself as “the oldest street in America with its original houses”, is listed on the register of National Historic Landmark Districts.

The New Paltz Patent approved by the Governor required the settlers to construct a fort as part of the community. In response, in order to meet this requirement and despite good relations with local Native Americans, the DuBois House, also known as the DuBois Fort or the Old Fort, was constructed in 1705. Although it was designed as a place of refuge, it contained little fortification other than a few gun ports but did meet the letter of the law. It was never used in armed conflict. The house was constructed by Daniel Dubois, the grandson of Louis DuBois, one of the original 12 founders of New Paltz. Remarkably, the house remained in the Dubois family until 1968, or 263 years, when it was sold to the Huguenot Historical Society. Today, the Dubois Fort serves as the visitor center for the Huguenot Historic District.

 

Freer House

The Freer House is located on historic Huguenot Street in the village of New Paltz, New York.Freer HouseHugo Freer, one of the original 12 founders of New Paltz, built the 1½ story home in 1694, with Hugo’s descendants adding rooms in 1735 and 1776. Hugo was a prominent member of the community, including being named deacon of the first church in the village. Hugo is buried in the nearby Crispell Memorial French Church and Burying Ground. In 1720, Hugo’s granddaughter Sarah and husband Johannes Louw inherited the house. The house then remained in the Low family until the early 20th century, changed hands several times outside the family before being purchased in 1955 by the Huguenot Historical Society.

New Paltz was founded in 1678 by French Huguenots, Protestant followers of John Calvin who had escaped religious persecution in France and emigrated to religiously tolerant countries around the world, including the United States. With the purchase of nearly 40,000 acres of land from the Esopus Indians, the 12 founding families, referred to as the Patentees (as they held the legal patent to the land), quickly left their young Kingston and Hurley homes and established a permanent settlement and farming community along the Wallkill River.

Peaceful Huguenot Street in downtown New Paltz offers a step back in time to these early days of the village. Charming, Dutch-inspired stone houses, many now active museums, provide a glimpse of what life was like in the 17th, 18th, and 19th centuries. Visitors can admire the quality architecture at the Freer House, Abraham Hasbrouck House, Bevier-Elting House, DuBois Fort, Jean Hasbrouck House and the LeFevre House, as well as a reconstructed 1717 church. There is also an 18th century burial ground, a visitor center, educational exhibits and many of the homes are open for tours. Huguenot Street, marketing itself as “the oldest street in America with its original houses”, is listed on the register of National Historic Landmark Districts.
The Freer House is located on historic Huguenot Street in the village of New Paltz, New York.Freer HouseHugo Freer, one of the original 12 founders of New Paltz, built the 1½ story home in 1694, with Hugo’s descendants adding rooms in 1735 and 1776. Hugo was a prominent member of the community, including being named deacon of the first church in the village. Hugo is buried in the nearby Crispell Memorial French Church and Burying Ground. In 1720, Hugo’s granddaughter Sarah and husband Johannes Louw inherited the house. The house then remained in the Low family until the early 20th century, changed hands several times outside the family before being purchased in 1955 by the Huguenot Historical Society.

New Paltz was founded in 1678 by French Huguenots, Protestant followers of John Calvin who had escaped religious persecution in France and emigrated to religiously tolerant countries around the world, including the United States. With the purchase of nearly 40,000 acres of land from the Esopus Indians, the 12 founding families, referred to as the Patentees (as they held the legal patent to the land), quickly left their young Kingston and Hurley homes and established a permanent settlement and farming community along the Wallkill River.

Peaceful Huguenot Street in downtown New Paltz offers a step back in time to these early days of the village. Charming, Dutch-inspired stone houses, many now active museums, provide a glimpse of what life was like in the 17th, 18th, and 19th centuries. Visitors can admire the quality architecture at the Freer House, Abraham Hasbrouck House, Bevier-Elting House, DuBois Fort, Jean Hasbrouck House and the LeFevre House, as well as a reconstructed 1717 church. There is also an 18th century burial ground, a visitor center, educational exhibits and many of the homes are open for tours. Huguenot Street, marketing itself as “the oldest street in America with its original houses”, is listed on the register of National Historic Landmark Districts.

Hugo Freer, one of the original 12 founders of New Paltz, built the 1½ story home in 1694, with Hugo’s descendants adding rooms in 1735 and 1776. Hugo was a prominent member of the community, including being named deacon of the first church in the village. Hugo is buried in the nearby Crispell Memorial French Church and Burying Ground. In 1720, Hugo’s granddaughter Sarah and husband Johannes Louw inherited the house. The house then remained in the Low family until the early 20th century, changed hands several times outside the family before being purchased in 1955 by the Huguenot Historical Society.

 

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[email protected] (American Catskills) Abraham Hasbrouck House architecture Bevier-Elting House building burial ground burying ground church Crispell Memorial French Church DuBois Fort educational Esopus Indians exhibit family field stone founder France Freer House Historic Huguenot Street home house Huguenot Huguenot Street Jean Hasbrouck House John Calvin LeFevre House museum National Historic Landmark District New Paltz Patentee persecution Protestant religion settlement stone tours United States village visitor center Wallkill River https://www.americancatskills.com/blog/2022/3/a-photographic-tour-of-huguenot-street-at-new-paltz Sat, 05 Mar 2022 13:00:00 GMT
Hankins Volunteer Fire Department, Sullivan County https://www.americancatskills.com/blog/2022/2/hankins-volunteer-fire-department-sullivan-county The Hankins Volunteer Fire Department #1 is located near the Delaware River in the tiny hamlet of Hankins in the town of Fremont, Sullivan County. The department was established in 1949 “through the foresight and generosity of some prominent citizens in the neighboring communities a fire truck, a lot on which a new fire house is being erected, and other equipment was obtained with a minimum of cost. The spirit of the new organization is high and the Hankins Fire Department has a good start.” (“The Hankins Fire Department Organized”. The Hancock Herald. October 20, 1949). In 1952 a "sub-station" for Hankins, the Mileses Division, was also formed. The Hankins Fire Department later merged with the nearby Fremont Center Fire Department, organized in 1962, to form the Hankins-Fremont Center Fire Department. The new station is located at 20 Newman Hill Rd, Hankins NY.

 

The Hankins Volunteer Fire Department #1 is located near the Delaware River in the hamlet of Hankins in the town of Fremont, Sullivan County.Hankins Vol. Fire #1The Hankins Volunteer Fire Department #1 is located near the Delaware River in the tiny hamlet of Hankins in the town of Fremont, Sullivan County. The department was established in 1949 “through the foresight and generosity of some prominent citizens in the neighboring communities a fire truck, a lot on which a new fire house is being erected, and other equipment was obtained with a minimum of cost. The spirit of the new organization is high and the Hankins Fire Department has a good start.” (“The Hankins Fire Department Organized”. The Hancock Herald. October 20, 1949). In 1952 a "sub-station" for Hankins, the Mileses Division, was also formed. The Hankins Fire Department later merged with the nearby Fremont Center Fire Department, organized in 1962, to form the Hankins-Fremont Center Fire Department. The new station is located at 20 Newman Hill Rd, Hankins NY.

 

The hamlet of Hankins takes its name from John Hankins, who was descended from a soldier who served under General George Washington in the American Revolution, and was notably with the Continental Army when they crossed the Delaware. The historic sign located at the former Hankins fire department building provides additional background about the history of Hankins. “In 1834 John Hankins bought the land now called Hankins. He built the first store, blacksmith shop and sawmill – main industry lumbering. Was Justice of Peace and then Supervisor of the town. In 1851 Erie R. R. named it Hankins Station.”

 

The Hankins Volunteer Fire Department #1 is located near the Delaware River in the hamlet of Hankins in the town of Fremont, Sullivan County.Hankins Fire DepartmentThe Hankins Volunteer Fire Department #1 is located near the Delaware River in the tiny hamlet of Hankins in the town of Fremont, Sullivan County. The department was established in 1949 “through the foresight and generosity of some prominent citizens in the neighboring communities a fire truck, a lot on which a new fire house is being erected, and other equipment was obtained with a minimum of cost. The spirit of the new organization is high and the Hankins Fire Department has a good start.” (“The Hankins Fire Department Organized”. The Hancock Herald. October 20, 1949). In 1952 a "sub-station" for Hankins, the Mileses Division, was also formed. The Hankins Fire Department later merged with the nearby Fremont Center Fire Department, organized in 1962, to form the Hankins-Fremont Center Fire Department. The new station is located at 20 Newman Hill Rd, Hankins NY.

 

James Eldridge Quinlan in his History of Sullivan County, published in 1873, wrote in detail of John Hankins and the hamlet. “In 1821, Lakin sold his tract of land to Elizabeth Pierce, who, with her family, lived on it until about 1833, when she died. In 1834, John Hankins and Luther Appley bought the property, for which they paid $1,451. In 1835, Hankins bought an additional tract of Lucas Elmendorf, and in May, 1839, moved to Fremont with his family.

 

Previous to 1839, Mr. Hankins had resided in the town of Damascus, in the State of Pennsylvania, where he married Susan, a daughter of Moses Thomas, 3d. Then he removed to Fremont, he passed over the “State-road,” on the west side of the river. The New York and Erie Railroad Company had accomplished considerable in grading their road; but had suspended work in 1837. Mr. Hankins attempted to make a highway of their track, but after rendering about three miles passable, gave up the job.

 

For several years ingress and egress were difficult. To attend town-meeting and vote at the fall-elections, he was obliged to follow a line of marked trees to Liberty, or travel over the State-road to the bridge at Cochecton, and from thence to Liberty by the way of Bethel. Sometimes, however, when the water was low, he followed the beach of the river on horseback as far as Cochecton. As the ford near his residence was occasionally impracticable, he built a scow, and crossed the river in it; but when there was a flood, it was not safe to cross in any manner, and he was practically cut off from the outside world.

 

It was been represented that John Hankins was the pioneer setter at Hankins Depot;* [See French’s Gazetteer] yet, when he came, he found on his place an old frame-house, a saw-mill, and land which had been occupied and tilled many years. He also found a sycamore tree which was nine feet in diameter. The latter was hollow, and the cavity was larger than some bed-rooms. It is said that a man could ride into it astride of a horse. Until about 1865, this tree was used as a substitute for a smoke-house.

 

Mr. Hankins was a man of actions. Exclusive of those who lived in Pennsylvania, his only neighbors were at Long Eddy and Long pond; yet during the first year of his residence, he started a store and built a blacksmith-shop. He also built a handsome residence for his family, and in 1847, the second saw-mill erected on his land. He also became prominent as a local politician, and, notwithstanding his isolated position, was one of the first Justices of the Peace, and the second Supervisor of the town of Callicoon. He was elected to the latter office repeatedly, and at one time, in conjunction with Matthew Brown, controlled the Board of Supervisors.

 

Mr. Hankins did not live until the railroad was completed as far as Hankins creek. He was a man of forcible and energetic character – a warm friend and an ardent enemy – exalted in prosperity and depressed when his surroundings were unfavorable. In the summer of 1847, he suffered from a variety of small annoyances, and on the 17th of September was found dead on the road to Callicoon, about a quarter mile from his house, under circumstances which led to the belief that his life was cut short by his own hand.” (Quinlan, James Eldridge. History of Sullivan County. Liberty, NY: W. T. Morgan & Co., 1873. Pages 292-293.)

 

The Hankins Volunteer Fire Department #1 is located near the Delaware River in the hamlet of Hankins in the town of Fremont, Sullivan County.Hankins Volunteer Fire Department #1The Hankins Volunteer Fire Department #1 is located near the Delaware River in the tiny hamlet of Hankins in the town of Fremont, Sullivan County. The department was established in 1949 “through the foresight and generosity of some prominent citizens in the neighboring communities a fire truck, a lot on which a new fire house is being erected, and other equipment was obtained with a minimum of cost. The spirit of the new organization is high and the Hankins Fire Department has a good start.” (“The Hankins Fire Department Organized”. The Hancock Herald. October 20, 1949). In 1952 a "sub-station" for Hankins, the Mileses Division, was also formed. The Hankins Fire Department later merged with the nearby Fremont Center Fire Department, organized in 1962, to form the Hankins-Fremont Center Fire Department. The new station is located at 20 Newman Hill Rd, Hankins NY.

 

The Commemorative Biographical Record of Northeastern Pennsylvania, published in 1900, offered great detail about John Hankins and his family. “John Hankins, our subject’s father, was born and reared in Pike county, and throughout life engaged in lumbering and in the mercantile trade. Moving to Liberty township, Sullivan Co., N.Y., he purchased a large tract of land, on which he erected two sawmills, which he successfully operated, and did an extensive business on the site of the present village of Hankins, which was named in his honor. He rafted a large amount of lumber down the Delaware river to southern markets, and continued to engage in this business until his death, in 1847. John and Susan Hankins had a family of eight children, as follows:

 

(1) Lucas W. is our subject.

 

(2) Mary, born in Sullivan county, N.Y., in October, 1833, married Col. Zalman Main, of Sullivan county, N.Y., who during the Civil war raised a company in Indiana, and for bravery and valor on the field was promoted to the rank of colonel, having command of an Indiana regiment. He died in 1866, leaving a wife and one child, Florence E., who now resides in Binghamton, N.Y.

 

(3) Rebecca T., born in Sullivan county, N.Y., is a well-educated woman, was for a number of years a successfully teacher in the public schools, and is now a resident of Binghamton.

 

(4) Angie E., born in Damascus township, Wayne county, married Capt. C. A. Johnson, of the regular army, who died in 1894, at Washington, D. C., and she now makes her home at Binghamton.

 

(5) Susan A., born in Hankins, N. Y., in 1841, married David Bush, of California, born in Sullivan county, and they located in Susquehanna, Penn., where he was connected with the Adams Express Company for a number of years, or until his health failed. He died at his home in that place in 1889, leaving a wife, now a resident of Binghamton; one son, Edward, a civil engineer residing in Rome, N. Y., and one daughter, Jessie, who died at the age of sixteen years.

 

(6) Joh R., born in Hankins, was educated in the New York schools, and when a young man engaged in mercantile business at Little Equinunk, Wayne county. Subsequently he carried on business near Owego, N. Y., for a number of years, but now has charge of his brother’s wholesale tobacco trade, in Binghamton, where he makes his home. He married Emma Buckley, of Fremont Center, Sullivan county, N. Y., and had two daughters – Susan, now the wife of Dr. W. Leonard, of Tully, N. Y.; and Bertha, who died in childhood.

 

(7) Willie died when a child.

 

(8) Samuel H., born in Hankins, has a large wholesale tobacco establishment in Binghamton, and is one of the leading business men of that place. He married Lillian Wait, of Hollisterville, Wayne Co., Penn., and has two children, Walter and Winifred.” (Commemorative Biographical Record of Northeastern Pennsylvania. Chicago: J.H. Beers & Co., 1900. Pages 466-467.)

 

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[email protected] (American Catskills) architecture building Catskill Mountains Catskills Delaware River fire fire department Fremont Fremont Center Fire Department Hankins Hankins Volunteer Fire Department Hankins-Fremont Center Fire Department John Hankins Mileses Division Newman Hill Road photographs photography photos Route 97 station Sullivan County tourism travel volunteer https://www.americancatskills.com/blog/2022/2/hankins-volunteer-fire-department-sullivan-county Sat, 26 Feb 2022 13:00:00 GMT
Fallsburg Falls: A Photographic Study https://www.americancatskills.com/blog/2022/2/fallsburg-falls-a-photographic-study Fallsburg Falls, once known as Old Falls, is a series of charming cascades on the Neversink River. Much of the early industry in the town of Fallsburg centered around the falls as it provided the necessary waterpower for the mills. Thomas Lockwood, considered by county historians to be the father of Fallsburg, soon bought out many of the earliest businesses located at the falls and worked diligently to promote the area. The first tannery in the town, established in 1832 by Rufus Palen, was also located at the falls. Early in its history, it had been proposed that Lockwood Mills, in honor of Thomas Lockwood, would be a fitting name for the town. It was only after he declined the honor that residents settled on the Fallsburg name. Great views of the falls can be had been from the bridge over the Neversink River just south of the cascades, from the adjacent town park or you can scamper down one of the herd paths to the river shore for a closer look.
 

Photograph of Fallsburg Falls on the Neversink River in Sullivan County, New York.Fallsburg FallsFallsburg Falls, once known as Old Falls, is a series of charming cascades on the Neversink River. Much of the early industry in the town of Fallsburg centered around the falls as it provided the necessary waterpower for the mills. Thomas Lockwood, considered by county historians to be the father of Fallsburg, soon bought out many of the earliest businesses located at the falls and worked diligently to promote the area. The first tannery in the town, established in 1832 by Rufus Palen, was also located at the falls. Early in its history, it had been proposed that Lockwood Mills, in honor of Thomas Lockwood, would be a fitting name for the town. It was only after he declined the honor that residents settled on the Fallsburg name. Great views of the falls can be had been from the bridge over the Neversink River just south of the cascades, from the adjacent town park or you can scamper down one of the herd paths to the river shore for a closer look. Photograph of Fallsburg Falls on the Neversink River in Sullivan County, New York.Fallsburg FallsFallsburg Falls, once known as Old Falls, is a series of charming cascades on the Neversink River. Much of the early industry in the town of Fallsburg centered around the falls as it provided the necessary waterpower for the mills. Thomas Lockwood, considered by county historians to be the father of Fallsburg, soon bought out many of the earliest businesses located at the falls and worked diligently to promote the area. The first tannery in the town, established in 1832 by Rufus Palen, was also located at the falls. Early in its history, it had been proposed that Lockwood Mills, in honor of Thomas Lockwood, would be a fitting name for the town. It was only after he declined the honor that residents settled on the Fallsburg name. Great views of the falls can be had been from the bridge over the Neversink River just south of the cascades, from the adjacent town park or you can scamper down one of the herd paths to the river shore for a closer look. Photograph of Fallsburg Falls on the Neversink River in Sullivan County, New York.Fallsburg FallsFallsburg Falls, once known as Old Falls, is a series of charming cascades on the Neversink River. Much of the early industry in the town of Fallsburg centered around the falls as it provided the necessary waterpower for the mills. Thomas Lockwood, considered by county historians to be the father of Fallsburg, soon bought out many of the earliest businesses located at the falls and worked diligently to promote the area. The first tannery in the town, established in 1832 by Rufus Palen, was also located at the falls. Early in its history, it had been proposed that Lockwood Mills, in honor of Thomas Lockwood, would be a fitting name for the town. It was only after he declined the honor that residents settled on the Fallsburg name. Great views of the falls can be had been from the bridge over the Neversink River just south of the cascades, from the adjacent town park or you can scamper down one of the herd paths to the river shore for a closer look. Photograph of Fallsburg Falls on the Neversink River in Sullivan County, New York.Fallsburg FallsFallsburg Falls, once known as Old Falls, is a series of charming cascades on the Neversink River. Much of the early industry in the town of Fallsburg centered around the falls as it provided the necessary waterpower for the mills. Thomas Lockwood, considered by county historians to be the father of Fallsburg, soon bought out many of the earliest businesses located at the falls and worked diligently to promote the area. The first tannery in the town, established in 1832 by Rufus Palen, was also located at the falls. Early in its history, it had been proposed that Lockwood Mills, in honor of Thomas Lockwood, would be a fitting name for the town. It was only after he declined the honor that residents settled on the Fallsburg name. Great views of the falls can be had been from the bridge over the Neversink River just south of the cascades, from the adjacent town park or you can scamper down one of the herd paths to the river shore for a closer look. Photograph of Fallsburg Falls on the Neversink River in Sullivan County, New York.Fallsburg FallsFallsburg Falls, once known as Old Falls, is a series of charming cascades on the Neversink River. Much of the early industry in the town of Fallsburg centered around the falls as it provided the necessary waterpower for the mills. Thomas Lockwood, considered by county historians to be the father of Fallsburg, soon bought out many of the earliest businesses located at the falls and worked diligently to promote the area. The first tannery in the town, established in 1832 by Rufus Palen, was also located at the falls. Early in its history, it had been proposed that Lockwood Mills, in honor of Thomas Lockwood, would be a fitting name for the town. It was only after he declined the honor that residents settled on the Fallsburg name. Great views of the falls can be had been from the bridge over the Neversink River just south of the cascades, from the adjacent town park or you can scamper down one of the herd paths to the river shore for a closer look. Photograph of Fallsburg Falls on the Neversink River in Sullivan County, New York.Fallsburg FallsFallsburg Falls, once known as Old Falls, is a series of charming cascades on the Neversink River. Much of the early industry in the town of Fallsburg centered around the falls as it provided the necessary waterpower for the mills. Thomas Lockwood, considered by county historians to be the father of Fallsburg, soon bought out many of the earliest businesses located at the falls and worked diligently to promote the area. The first tannery in the town, established in 1832 by Rufus Palen, was also located at the falls. Early in its history, it had been proposed that Lockwood Mills, in honor of Thomas Lockwood, would be a fitting name for the town. It was only after he declined the honor that residents settled on the Fallsburg name. Great views of the falls can be had been from the bridge over the Neversink River just south of the cascades, from the adjacent town park or you can scamper down one of the herd paths to the river shore for a closer look. Photograph of Fallsburg Falls on the Neversink River in Sullivan County, New York.Neversink River at Fallsburg FallsFallsburg Falls, once known as Old Falls, is a series of charming cascades on the Neversink River. Much of the early industry in the town of Fallsburg centered around the falls as it provided the necessary waterpower for the mills. Thomas Lockwood, considered by county historians to be the father of Fallsburg, soon bought out many of the earliest businesses located at the falls and worked diligently to promote the area. The first tannery in the town, established in 1832 by Rufus Palen, was also located at the falls. Early in its history, it had been proposed that Lockwood Mills, in honor of Thomas Lockwood, would be a fitting name for the town. It was only after he declined the honor that residents settled on the Fallsburg name. Great views of the falls can be had been from the bridge over the Neversink River just south of the cascades, from the adjacent town park or you can scamper down one of the herd paths to the river shore for a closer look. Photograph of Fallsburg Falls on the Neversink River in Sullivan County, New York.Fallsburg FallsFallsburg Falls, once known as Old Falls, is a series of charming cascades on the Neversink River. Much of the early industry in the town of Fallsburg centered around the falls as it provided the necessary waterpower for the mills. Thomas Lockwood, considered by county historians to be the father of Fallsburg, soon bought out many of the earliest businesses located at the falls and worked diligently to promote the area. The first tannery in the town, established in 1832 by Rufus Palen, was also located at the falls. Early in its history, it had been proposed that Lockwood Mills, in honor of Thomas Lockwood, would be a fitting name for the town. It was only after he declined the honor that residents settled on the Fallsburg name. Great views of the falls can be had been from the bridge over the Neversink River just south of the cascades, from the adjacent town park or you can scamper down one of the herd paths to the river shore for a closer look. Photograph of Fallsburg Falls on the Neversink River in Sullivan County, New York.Fallsburg FallsFallsburg Falls, once known as Old Falls, is a series of charming cascades on the Neversink River. Much of the early industry in the town of Fallsburg centered around the falls as it provided the necessary waterpower for the mills. Thomas Lockwood, considered by county historians to be the father of Fallsburg, soon bought out many of the earliest businesses located at the falls and worked diligently to promote the area. The first tannery in the town, established in 1832 by Rufus Palen, was also located at the falls. Early in its history, it had been proposed that Lockwood Mills, in honor of Thomas Lockwood, would be a fitting name for the town. It was only after he declined the honor that residents settled on the Fallsburg name. Great views of the falls can be had been from the bridge over the Neversink River just south of the cascades, from the adjacent town park or you can scamper down one of the herd paths to the river shore for a closer look. Photograph of Fallsburg Falls on the Neversink River in Sullivan County, New York.Fallsburg FallsFallsburg Falls, once known as Old Falls, is a series of charming cascades on the Neversink River. Much of the early industry in the town of Fallsburg centered around the falls as it provided the necessary waterpower for the mills. Thomas Lockwood, considered by county historians to be the father of Fallsburg, soon bought out many of the earliest businesses located at the falls and worked diligently to promote the area. The first tannery in the town, established in 1832 by Rufus Palen, was also located at the falls. Early in its history, it had been proposed that Lockwood Mills, in honor of Thomas Lockwood, would be a fitting name for the town. It was only after he declined the honor that residents settled on the Fallsburg name. Great views of the falls can be had been from the bridge over the Neversink River just south of the cascades, from the adjacent town park or you can scamper down one of the herd paths to the river shore for a closer look. Photograph of Fallsburg Falls on the Neversink River in Sullivan County, New York.Fallsburg FallsFallsburg Falls, once known as Old Falls, is a series of charming cascades on the Neversink River. Much of the early industry in the town of Fallsburg centered around the falls as it provided the necessary waterpower for the mills. Thomas Lockwood, considered by county historians to be the father of Fallsburg, soon bought out many of the earliest businesses located at the falls and worked diligently to promote the area. The first tannery in the town, established in 1832 by Rufus Palen, was also located at the falls. Early in its history, it had been proposed that Lockwood Mills, in honor of Thomas Lockwood, would be a fitting name for the town. It was only after he declined the honor that residents settled on the Fallsburg name. Great views of the falls can be had been from the bridge over the Neversink River just south of the cascades, from the adjacent town park or you can scamper down one of the herd paths to the river shore for a closer look.

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[email protected] (American Catskills) business cascade Catskill Mountains Catskills creek Fallsburg Fallsburg Falls Lockwood Mills Matthew Jarnich mills Neversink River New York Old Falls park path photographer photographs photos river Rufus Palen settler tannery Thomas Lockwood tourism town travel water waterfall https://www.americancatskills.com/blog/2022/2/fallsburg-falls-a-photographic-study Sat, 19 Feb 2022 13:00:00 GMT
Campbell Inn at Roscoe, New York https://www.americancatskills.com/blog/2022/2/campbell-inn-at-roscoe-new-york The century old Campbell Inn was a once famous resort located in the iconic fishing haven of Roscoe, New York. The resort, prominently located on a hillside overlooking the hamlet of Roscoe, first opened its doors circa 1900 under the ownership of Jefferson Campbell (1854-1916), a Roscoe native, prominent local merchant and partner in the firm Campbell, Sprague & Co. With room for 200 visitors, it was largest summer boarding house in the area for many years. The hotel was located on over 107 acres of property that included a grand lawn, a small man-made lake and surrounding forest.

 

The now abandoned Campbell Inn was once a famous resort located in the iconic fishing haven of Roscoe, New York.The Campbell Inn at Roscoe, New YorkThe century old Campbell Inn was a once famous resort located in the iconic fishing haven of Roscoe, New York. The resort, prominently located on a hillside overlooking the hamlet of Roscoe, first opened its doors circa 1900 under the ownership of Jefferson Campbell (1854-1916), a Roscoe native, prominent local merchant and partner in the firm Campbell, Sprague & Co. With room for 200 visitors, it was largest summer boarding house in the area for many years. The hotel was located on over 107 acres of property that included a grand lawn, a small man-made lake and surrounding forest.

In 1900, just after its opening, the Campbell Inn began advertising itself in the newspapers: “THE CAMPBELL INN, ROSCOE, SULLIVAN CO., N.Y. House newly built; elevation 1,450 feet; accommodates 100; convenient to depot, post office and churches; large, airy rooms; excellent spring water; abundance of shade, all modern sanitary improvements; good trout fishing; good table. Terms and particulars of J. CAMPBELL. Proprietor.” In the 1920s, after an expansion that doubled its capacity, the Inn advertised itself as: “1,450 feet elevation; accommodates 200; 4 hours from New York; 10 minutes' walk from village; orchestra; dancing, tennis, boating, bathing, etc. All rooms running water. Rates $25 to $40.”

After the passing of Jefferson Campbell, the hotel was owned and operated by his oldest son Harry Campbell. In 1932 the Wood family purchased the property from Harry Campbell and successfully operated it for 54 years. The resort was sold by the Wood family in 1986 to Boris Potapovsky. With its better days long behind, the hotel closed sometime in the late 1990s. In the early 2000s there were plans to demolish the Campbell Inn and replace it with a luxury 11-story, 200 room hotel and spa. However, these plans were never enacted and the Inn remains vacant.

 

The now abandoned Campbell Inn was once a famous resort located in the iconic fishing haven of Roscoe, New York.The Glory of the Campbell InnThe century old Campbell Inn was a once famous resort located in the iconic fishing haven of Roscoe, New York. The resort, prominently located on a hillside overlooking the hamlet of Roscoe, first opened its doors circa 1900 under the ownership of Jefferson Campbell (1854-1916), a Roscoe native, prominent local merchant and partner in the firm Campbell, Sprague & Co. With room for 200 visitors, it was largest summer boarding house in the area for many years. The hotel was located on over 107 acres of property that included a grand lawn, a small man-made lake and surrounding forest.

In 1900, just after its opening, the Campbell Inn began advertising itself in the newspapers: “THE CAMPBELL INN, ROSCOE, SULLIVAN CO., N.Y. House newly built; elevation 1,450 feet; accommodates 100; convenient to depot, post office and churches; large, airy rooms; excellent spring water; abundance of shade, all modern sanitary improvements; good trout fishing; good table. Terms and particulars of J. CAMPBELL. Proprietor.” In the 1920s, after an expansion that doubled its capacity, the Inn advertised itself as: “1,450 feet elevation; accommodates 200; 4 hours from New York; 10 minutes' walk from village; orchestra; dancing, tennis, boating, bathing, etc. All rooms running water. Rates $25 to $40.”

After the passing of Jefferson Campbell, the hotel was owned and operated by his oldest son Harry Campbell. In 1932 the Wood family purchased the property from Harry Campbell and successfully operated it for 54 years. The resort was sold by the Wood family in 1986 to Boris Potapovsky. With its better days long behind, the hotel closed sometime in the late 1990s. In the early 2000s there were plans to demolish the Campbell Inn and replace it with a luxury 11-story, 200 room hotel and spa. However, these plans were never enacted and the Inn remains vacant.

In 1900, just after its opening, the Campbell Inn began advertising itself in the newspapers: “THE CAMPBELL INN, ROSCOE, SULLIVAN CO., N.Y. House newly built; elevation 1,450 feet; accommodates 100; convenient to depot, post office and churches; large, airy rooms; excellent spring water; abundance of shade, all modern sanitary improvements; good trout fishing; good table. Terms and particulars of J. CAMPBELL. Proprietor.” (Brooklyn Daily Eagle. June 8, 1900.)

 

The newly constructed Campbell Inn was praised in various newspaper reviews upon its opening in 1900. In June of that year the Brooklyn Daily Eagle wrote that “The Campbell Inn at Roscoe, Sullivan County, is situated on one of the most beautiful hills in Sullivan County, and at an elevation of 1,450 feet. The front of the hotel faces the villages of Roscoe and Rockland. The building is arranged in such a form as to make it possible for all the rooms to receive a generous supply of pure air and bright sunshine. A broad piazza extends the entire length of the north front, thus insuring a shady side at all times of the day. The cuisine is unsurpassed and the water of the Campbell is of exceptional purity. The inn is provided with a first class livery. The house will open July 1. Croquet, tennis, fishing, boating are the amusements and the temperature averages from 65 to 70 degrees. J. Campbell is the proprietor.” (“Catskills.” Brooklyn Daily Eagle. June 17, 1900.)

 

In 1901, a year after the opening of the Campbell Inn, the Brooklyn Daily Eagle wrote again of the luxurious nature of the hotel. “Near Roscoe, Sullivan County, at an elevation of 1,450 feet above sea level, is situated one of the most desirable summer homes of the Shawangunks – the Campbell Inn – surrounded with sloping hills and nestling in the valley between the twin villages of Roscoe and Rockland. The inn is approached by a private road that climbs along the mountain side, at so easy a grade that one scarcely appreciates the ascent until the summit is reached. The house, which is new, contains fifty sleeping rooms, all of which are large and commodious. The sanitary appliances are not surpassed in a city hotel. The water for the house gushes from a private spring in the mountainside and is conveyed from there through hemlock logs. The drives are the most beautiful imaginable, and the lover of nature may feast his eye on new scenes of marked interest every day. The cuisine is in charge of a competent chef, and the neighboring farms are made to serve up their best to the guests of the Campbell Inn. Sportsmen will derive endless pleasure from taking the trout from the Beaverkill, the Willowemoc and Russel Pond. The proprietor, Jefferson Campbell, is untiring in his efforts to afford his guests a variety of entertainments and amusements. The rates are from $9 to $12 a week.” (“Shawangunks and Sullivan County.” Brooklyn Daily Eagle. June 16, 1901.)

 

The now abandoned Campbell Inn was once a famous resort located in the iconic fishing haven of Roscoe, New York.Early Morning at the Campbell InnThe century old Campbell Inn was a once famous resort located in the iconic fishing haven of Roscoe, New York. The resort, prominently located on a hillside overlooking the hamlet of Roscoe, first opened its doors circa 1900 under the ownership of Jefferson Campbell (1854-1916), a Roscoe native, prominent local merchant and partner in the firm Campbell, Sprague & Co. With room for 200 visitors, it was largest summer boarding house in the area for many years. The hotel was located on over 107 acres of property that included a grand lawn, a small man-made lake and surrounding forest.

In 1900, just after its opening, the Campbell Inn began advertising itself in the newspapers: “THE CAMPBELL INN, ROSCOE, SULLIVAN CO., N.Y. House newly built; elevation 1,450 feet; accommodates 100; convenient to depot, post office and churches; large, airy rooms; excellent spring water; abundance of shade, all modern sanitary improvements; good trout fishing; good table. Terms and particulars of J. CAMPBELL. Proprietor.” In the 1920s, after an expansion that doubled its capacity, the Inn advertised itself as: “1,450 feet elevation; accommodates 200; 4 hours from New York; 10 minutes' walk from village; orchestra; dancing, tennis, boating, bathing, etc. All rooms running water. Rates $25 to $40.”

After the passing of Jefferson Campbell, the hotel was owned and operated by his oldest son Harry Campbell. In 1932 the Wood family purchased the property from Harry Campbell and successfully operated it for 54 years. The resort was sold by the Wood family in 1986 to Boris Potapovsky. With its better days long behind, the hotel closed sometime in the late 1990s. In the early 2000s there were plans to demolish the Campbell Inn and replace it with a luxury 11-story, 200 room hotel and spa. However, these plans were never enacted and the Inn remains vacant.

 

The now abandoned Campbell Inn was once a famous resort located in the iconic fishing haven of Roscoe, New York.Entrance, Campbell InnThe century old Campbell Inn was a once famous resort located in the iconic fishing haven of Roscoe, New York. The resort, prominently located on a hillside overlooking the hamlet of Roscoe, first opened its doors circa 1900 under the ownership of Jefferson Campbell (1854-1916), a Roscoe native, prominent local merchant and partner in the firm Campbell, Sprague & Co. With room for 200 visitors, it was largest summer boarding house in the area for many years. The hotel was located on over 107 acres of property that included a grand lawn, a small man-made lake and surrounding forest.

In 1900, just after its opening, the Campbell Inn began advertising itself in the newspapers: “THE CAMPBELL INN, ROSCOE, SULLIVAN CO., N.Y. House newly built; elevation 1,450 feet; accommodates 100; convenient to depot, post office and churches; large, airy rooms; excellent spring water; abundance of shade, all modern sanitary improvements; good trout fishing; good table. Terms and particulars of J. CAMPBELL. Proprietor.” In the 1920s, after an expansion that doubled its capacity, the Inn advertised itself as: “1,450 feet elevation; accommodates 200; 4 hours from New York; 10 minutes' walk from village; orchestra; dancing, tennis, boating, bathing, etc. All rooms running water. Rates $25 to $40.”

After the passing of Jefferson Campbell, the hotel was owned and operated by his oldest son Harry Campbell. In 1932 the Wood family purchased the property from Harry Campbell and successfully operated it for 54 years. The resort was sold by the Wood family in 1986 to Boris Potapovsky. With its better days long behind, the hotel closed sometime in the late 1990s. In the early 2000s there were plans to demolish the Campbell Inn and replace it with a luxury 11-story, 200 room hotel and spa. However, these plans were never enacted and the Inn remains vacant.

 

The now abandoned Campbell Inn was once a famous resort located in the iconic fishing haven of Roscoe, New York.The Road to the Campbell InnThe century old Campbell Inn was a once famous resort located in the iconic fishing haven of Roscoe, New York. The resort, prominently located on a hillside overlooking the hamlet of Roscoe, first opened its doors circa 1900 under the ownership of Jefferson Campbell (1854-1916), a Roscoe native, prominent local merchant and partner in the firm Campbell, Sprague & Co. With room for 200 visitors, it was largest summer boarding house in the area for many years. The hotel was located on over 107 acres of property that included a grand lawn, a small man-made lake and surrounding forest.

In 1900, just after its opening, the Campbell Inn began advertising itself in the newspapers: “THE CAMPBELL INN, ROSCOE, SULLIVAN CO., N.Y. House newly built; elevation 1,450 feet; accommodates 100; convenient to depot, post office and churches; large, airy rooms; excellent spring water; abundance of shade, all modern sanitary improvements; good trout fishing; good table. Terms and particulars of J. CAMPBELL. Proprietor.” In the 1920s, after an expansion that doubled its capacity, the Inn advertised itself as: “1,450 feet elevation; accommodates 200; 4 hours from New York; 10 minutes' walk from village; orchestra; dancing, tennis, boating, bathing, etc. All rooms running water. Rates $25 to $40.”

After the passing of Jefferson Campbell, the hotel was owned and operated by his oldest son Harry Campbell. In 1932 the Wood family purchased the property from Harry Campbell and successfully operated it for 54 years. The resort was sold by the Wood family in 1986 to Boris Potapovsky. With its better days long behind, the hotel closed sometime in the late 1990s. In the early 2000s there were plans to demolish the Campbell Inn and replace it with a luxury 11-story, 200 room hotel and spa. However, these plans were never enacted and the Inn remains vacant.

 

In the 1920s, after an expansion that doubled its capacity, the Inn advertised itself as: “1,450 feet elevation; accommodates 200; 4 hours from New York; 10 minutes' walk from village; orchestra; dancing, tennis, boating, bathing, etc. All rooms running water. Rates $25 to $40.”

 

Jefferson Campbell, the original proprietor, was the son of John K. Campbell and Catherine Sprague of Colchester. After 16 years of managing the Campbell Inn he passed away in 1916 while visiting relatives in Arizona. He is buried at Riverview Cemetery in Roscoe, New York.

 

The now abandoned Campbell Inn was once a famous resort located in the iconic fishing haven of Roscoe, New York.On the Rocks at the Campbell InnThe century old Campbell Inn was a once famous resort located in the iconic fishing haven of Roscoe, New York. The resort, prominently located on a hillside overlooking the hamlet of Roscoe, first opened its doors circa 1900 under the ownership of Jefferson Campbell (1854-1916), a Roscoe native, prominent local merchant and partner in the firm Campbell, Sprague & Co. With room for 200 visitors, it was largest summer boarding house in the area for many years. The hotel was located on over 107 acres of property that included a grand lawn, a small man-made lake and surrounding forest.

In 1900, just after its opening, the Campbell Inn began advertising itself in the newspapers: “THE CAMPBELL INN, ROSCOE, SULLIVAN CO., N.Y. House newly built; elevation 1,450 feet; accommodates 100; convenient to depot, post office and churches; large, airy rooms; excellent spring water; abundance of shade, all modern sanitary improvements; good trout fishing; good table. Terms and particulars of J. CAMPBELL. Proprietor.” In the 1920s, after an expansion that doubled its capacity, the Inn advertised itself as: “1,450 feet elevation; accommodates 200; 4 hours from New York; 10 minutes' walk from village; orchestra; dancing, tennis, boating, bathing, etc. All rooms running water. Rates $25 to $40.”

After the passing of Jefferson Campbell, the hotel was owned and operated by his oldest son Harry Campbell. In 1932 the Wood family purchased the property from Harry Campbell and successfully operated it for 54 years. The resort was sold by the Wood family in 1986 to Boris Potapovsky. With its better days long behind, the hotel closed sometime in the late 1990s. In the early 2000s there were plans to demolish the Campbell Inn and replace it with a luxury 11-story, 200 room hotel and spa. However, these plans were never enacted and the Inn remains vacant.

 

The now abandoned Campbell Inn was once a famous resort located in the iconic fishing haven of Roscoe, New York.The Broken ChairThe century old Campbell Inn was a once famous resort located in the iconic fishing haven of Roscoe, New York. The resort, prominently located on a hillside overlooking the hamlet of Roscoe, first opened its doors circa 1900 under the ownership of Jefferson Campbell (1854-1916), a Roscoe native, prominent local merchant and partner in the firm Campbell, Sprague & Co. With room for 200 visitors, it was largest summer boarding house in the area for many years. The hotel was located on over 107 acres of property that included a grand lawn, a small man-made lake and surrounding forest.

In 1900, just after its opening, the Campbell Inn began advertising itself in the newspapers: “THE CAMPBELL INN, ROSCOE, SULLIVAN CO., N.Y. House newly built; elevation 1,450 feet; accommodates 100; convenient to depot, post office and churches; large, airy rooms; excellent spring water; abundance of shade, all modern sanitary improvements; good trout fishing; good table. Terms and particulars of J. CAMPBELL. Proprietor.” In the 1920s, after an expansion that doubled its capacity, the Inn advertised itself as: “1,450 feet elevation; accommodates 200; 4 hours from New York; 10 minutes' walk from village; orchestra; dancing, tennis, boating, bathing, etc. All rooms running water. Rates $25 to $40.”

After the passing of Jefferson Campbell, the hotel was owned and operated by his oldest son Harry Campbell. In 1932 the Wood family purchased the property from Harry Campbell and successfully operated it for 54 years. The resort was sold by the Wood family in 1986 to Boris Potapovsky. With its better days long behind, the hotel closed sometime in the late 1990s. In the early 2000s there were plans to demolish the Campbell Inn and replace it with a luxury 11-story, 200 room hotel and spa. However, these plans were never enacted and the Inn remains vacant.

 

Upon the death of Jefferson Campbell, the hotel was owned and operated by his oldest son Harry Campbell. In 1932 James F. Wood, former supervisor of the town of Rockland, purchased the property from Harry Campbell and successfully operated it for 54 years. The resort was sold by the Wood family in 1986 to Boris Potapovsky. With its better days long behind, the hotel closed sometime in the late 1990s. In the early 2000s there were plans to demolish the Campbell Inn and replace it with a luxury 11-story, 200 room hotel and spa. However, these plans were never enacted and the Inn remains vacant.

 

The photographs in this post, including the Campbell Inn sign, the hotel and the stone terraces at lakeside, were taken in the summer of 2016.

 

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[email protected] (American Catskills) architecture Beaverkill boarding house Boris Potapovsky building Campbell Inn Campbell Sprague & Co. Catskill Mountains Catskills fish fishing Harry Campbell hotel Jefferson Campbell Junction Pool lake photographs photography photos resort Roscoe Sullivan County tourism travel Willowemoc Wood https://www.americancatskills.com/blog/2022/2/campbell-inn-at-roscoe-new-york Sat, 12 Feb 2022 13:00:00 GMT
High Falls on the Rondout Creek https://www.americancatskills.com/blog/2022/2/high-falls-on-the-rondout-creek High Falls, originally known as Great Falls, is a very wide, 25-foot-high waterfall that spans the Rondout Creek in the similarly named hamlet of High Falls. The falls were known to early settlers by the 1670s, with the first recorded transfer of land at the High Falls taking place with the land grant of 50 acres to Frederick Hussey in 1676. However, it wasn’t until after the American Revolution that its water power was harnessed. On June 25, 1776 the area around the falls were sold to Jacob Hasbrouck, or his son Joseph. Jacob Hasbrouck was one of the first people to establish a permanent residence near the falls. By 1783 the Hasbrouck’s had constructed a mill at the site on the north bank of the creek.

 

High falls, located in the similarly named hamlet of High Falls, New York, is a beautiful 25-foot waterfall on the Rondout Creek.High FallsHigh Falls, originally known as Great Falls, is a very wide, 25-foot high waterfall that spans the Rondout Creek in the similarly named hamlet of High Falls. The area around the falls was first settled in the 1780’s by Jacob Hasbrouck, who operated a mill at the site. The falls would power centuries of industry including a saw mill, a grist mill, a leather tannery, cement factory and an electric plant.

An electric power plant was first established at High Falls in 1909 by the United Hudson Electric Company. The plant had two 560 kilowatt generators which provided power to the city of Kingston. After United’s sale in 1926 to the Central Hudson Gas & Electric Company, the plant continued to operate until 1972, closed for 14 years, and was then reopened in 1986. Today, the station, with a 3,250-kilowatt capacity, generates an estimated 10-million-kilowatt hours per year, providing power to nearly 1,600 homes.

The admirably civic-minded Central Hudson Gas & Electric Company have opened much of the area around the falls to visitors from dawn to dusk. Please respect the open policy by adhering to the no trespassing signs where they do exist.

 

High falls, located in the similarly named hamlet of High Falls, New York, is a beautiful 25-foot waterfall on the Rondout Creek.Autumn at High FallsHigh Falls, originally known as Great Falls, is a very wide, 25-foot high waterfall that spans the Rondout Creek in the similarly named hamlet of High Falls. The area around the falls was first settled in the 1780’s by Jacob Hasbrouck, who operated a mill at the site. The falls would power centuries of industry including a saw mill, a grist mill, a leather tannery, cement factory and an electric plant.

An electric power plant was first established at High Falls in 1909 by the United Hudson Electric Company. The plant had two 560 kilowatt generators which provided power to the city of Kingston. After United’s sale in 1926 to the Central Hudson Gas & Electric Company, the plant continued to operate until 1972, closed for 14 years, and was then reopened in 1986. Today, the station, with a 3,250-kilowatt capacity, generates an estimated 10-million-kilowatt hours per year, providing power to nearly 1,600 homes.

The admirably civic-minded Central Hudson Gas & Electric Company have opened much of the area around the falls to visitors from dawn to dusk. Please respect the open policy by adhering to the no trespassing signs where they do exist.

 

“By 1796 there were two more mills at the lower falls, where William Peters on the north shore and Simeon Depuy on the south operated fulling mills for the washing and felting of home-made woolen cloth. In 1825, while the D & H Canal was being built, Simeon’s son Jacob and Abraham Robison operated grist mills at the lower falls. When the manufacture of cement became a local industry, it was more profitable to grind cement than grain, and most of the grist mills were converted to cement mills. In 1860 two cement factories turned out over 68,000 barrels of cement, and a cooperage made barrels for shipping the cement. Two mule-powered railroads and an aerial tramway supplied the mills with calcined limestone from local kilns.

 

High falls, located in the similarly named hamlet of High Falls, New York, is a beautiful 25-foot waterfall on the Rondout Creek.High Falls on the Rondout CreekHigh Falls, originally known as Great Falls, is a very wide, 25-foot high waterfall that spans the Rondout Creek in the similarly named hamlet of High Falls. The area around the falls was first settled in the 1780’s by Jacob Hasbrouck, who operated a mill at the site. The falls would power centuries of industry including a saw mill, a grist mill, a leather tannery, cement factory and an electric plant.

An electric power plant was first established at High Falls in 1909 by the United Hudson Electric Company. The plant had two 560 kilowatt generators which provided power to the city of Kingston. After United’s sale in 1926 to the Central Hudson Gas & Electric Company, the plant continued to operate until 1972, closed for 14 years, and was then reopened in 1986. Today, the station, with a 3,250-kilowatt capacity, generates an estimated 10-million-kilowatt hours per year, providing power to nearly 1,600 homes.

The admirably civic-minded Central Hudson Gas & Electric Company have opened much of the area around the falls to visitors from dawn to dusk. Please respect the open policy by adhering to the no trespassing signs where they do exist.

 

Waters flowing over these two falls has powered cotton and woolen factories; flour, corn and plaster mills; a saw mill; cement factories; electrical generators; dyeing works; a leather tannery; and a cooperage; but little physical evidence remains of the two centuries of industrial activity here.” (“Water-Powered Mills.” Historical Sign onsite at High Falls.)

 

High falls, located in the similarly named hamlet of High Falls, New York, is a beautiful 25-foot waterfall on the Rondout Creek.Generating ElectricHigh Falls, originally known as Great Falls, is a very wide, 25-foot high waterfall that spans the Rondout Creek in the similarly named hamlet of High Falls. The area around the falls was first settled in the 1780’s by Jacob Hasbrouck, who operated a mill at the site. The falls would power centuries of industry including a saw mill, a grist mill, a leather tannery, cement factory and an electric plant.

An electric power plant was first established at High Falls in 1909 by the United Hudson Electric Company. The plant had two 560 kilowatt generators which provided power to the city of Kingston. After United’s sale in 1926 to the Central Hudson Gas & Electric Company, the plant continued to operate until 1972, closed for 14 years, and was then reopened in 1986. Today, the station, with a 3,250-kilowatt capacity, generates an estimated 10-million-kilowatt hours per year, providing power to nearly 1,600 homes.

The admirably civic-minded Central Hudson Gas & Electric Company have opened much of the area around the falls to visitors from dawn to dusk. Please respect the open policy by adhering to the no trespassing signs where they do exist.

 

An electric power plant was first established at High Falls in 1909 by the United Hudson Electric Company. The plant had two 560 kilowatt generators which provided power to the city of Kingston. After United’s sale in 1926 to the Central Hudson Gas & Electric Company, the plant continued to operate until 1972, closed for 14 years, and was then reopened in 1986. Today, the station, with a 3,250-kilowatt capacity, generates an estimated 10-million-kilowatt hours per year, providing power to nearly 1,600 homes.

 

High falls, located in the similarly named hamlet of High Falls, New York, is a beautiful 25-foot waterfall on the Rondout Creek.Flowing Down River from High FallsHigh Falls, originally known as Great Falls, is a very wide, 25-foot high waterfall that spans the Rondout Creek in the similarly named hamlet of High Falls. The area around the falls was first settled in the 1780’s by Jacob Hasbrouck, who operated a mill at the site. The falls would power centuries of industry including a saw mill, a grist mill, a leather tannery, cement factory and an electric plant.

An electric power plant was first established at High Falls in 1909 by the United Hudson Electric Company. The plant had two 560 kilowatt generators which provided power to the city of Kingston. After United’s sale in 1926 to the Central Hudson Gas & Electric Company, the plant continued to operate until 1972, closed for 14 years, and was then reopened in 1986. Today, the station, with a 3,250-kilowatt capacity, generates an estimated 10-million-kilowatt hours per year, providing power to nearly 1,600 homes.

The admirably civic-minded Central Hudson Gas & Electric Company have opened much of the area around the falls to visitors from dawn to dusk. Please respect the open policy by adhering to the no trespassing signs where they do exist.

 

The admirably civic-minded Central Hudson Gas & Electric Company have opened much of the area around the falls to visitors from dawn to dusk. Please respect the open policy by adhering to the no trespassing signs where they do exist.

 

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[email protected] (American Catskills) Catskill Mountains Catskills cement Central Hudson Gas & Electric Company creek D & H Canal dam electric factory Great Falls grist mill hamlet High Falls hydroelectric plant industry Jacob Hasbrouck Joseph Hasbrouck Kingston Matthew Jarnich mill New York photographer photographs photos plant power river Rondout Creek saw mill station tourism travel United Hudson Electric Company water waterfall https://www.americancatskills.com/blog/2022/2/high-falls-on-the-rondout-creek Sat, 05 Feb 2022 13:00:00 GMT
Cantine Dam Falls https://www.americancatskills.com/blog/2022/1/cantine-dam-falls The Cantine Dam Falls is a beautiful, albeit man-made, waterfall located in downtown Saugerties. The dam was originally erected in 1825 by Henry Barclay and was known as the Barclay Dam. In 1857 the dam was carried away by flooding, which also caused extensive damage to several mills and thus forced 700 people out of work for several months. The dam was quickly rebuilt, with wood, and in 1929 was replaced with a more modern, concrete dam.

 

The 25-foot-high, incredibly wide waterfall spans the entire Esopus Creek, just downstream from the Route 9W bridge that crosses the creek. The falls take its name from the Martin Cantine Company, a paper manufacturer, whose water powered mill operated there from 1888 until its closing in 1975. The mill was later destroyed by fire in 1978. Today, the property is home to the Diamond Mills Hotel, a luxurious boutique hotel, restaurant and conference center.

 

Photograph of the Cantine Dam Falls in the village of Saugerties, New York.Cantine Dam Falls, SaugertiesThe Cantine Dam Falls is a beautiful, albeit man-made, waterfall located in downtown Saugerties. The 25-foot-high, incredibly wide waterfall spans the entire Esopus Creek, just downstream from the Route 9W bridge that crosses the creek. The falls take its name from the Martin Cantine Company, a paper manufacturer, whose water powered mill operated there from 1888 until its closing in 1975. The mill was later destroyed by fire in 1978. Today, the property is home to the Diamond Mills Hotel, a luxurious boutique hotel, restaurant and conference center.

Photograph of the Cantine Dam Falls in the village of Saugerties, New York.Cantine Dam FallsThe Cantine Dam Falls is a beautiful, albeit man-made, waterfall located in downtown Saugerties. The 25-foot-high, incredibly wide waterfall spans the entire Esopus Creek, just downstream from the Route 9W bridge that crosses the creek. The falls take its name from the Martin Cantine Company, a paper manufacturer, whose water powered mill operated there from 1888 until its closing in 1975. The mill was later destroyed by fire in 1978. Today, the property is home to the Diamond Mills Hotel, a luxurious boutique hotel, restaurant and conference center.

 

Martin Cantine, namesake of the waterfall, was born in Saugerties on January 22, 1866, the son of Peter Cantine and Sarah Starin Cantine. Cantine was a descendent of one of the Huguenot patentees that settled in Ulster County. “His father, the Hon. Peter Cantine, served with distinction in many public positions and was one of the leading lawyers at the Ulster county bar; and his brother, the Hon. Charles Cantine, was one of the county's better known judges.

 

Mr. Cantine received his early education in the Saugerties Academy and the 17th Street Grammar School in New York city. At the age of 18 he secured employment with J. B. Sheffield and Son, paper manufacturers, where he remained for about five years, serving in positions of office boy, general utilities man about the mill, as traveling salesman upon the road and as superintendent of the purchasing department, thus acquiring a general knowledge of the paper business.

 

In 1888 he purchased the plant The Alston Adams Company of Albany and engaged in the manufacture of paper. He organized the firm of Martin Cantine and Company on January 1, 1889, began operations in Saugerties. Under his efficient management the business steadily increased and in 1890 the company was incorporated with a capital stock of $30,000. Mr. Cantine was chosen president, a position which he held at the time of his death. In 1893 a building was purchased and greatly improved by the addition of greater space and $20,000 worth of new machinery. In 1893 Mr. Cantine also purchased the first right to the magnificent water power of the John G. Myers estate, giving him the first right the entire creek.

 

With the passing years the business continued to grow and develop until at the present time it is one of the outstanding industries of the county and one of the most widely known. He later organized the Tissue Company of Saugerties of which he was also president.

 

Politically an ardent Republican, Mr. Cantine was at all times highly interested in the civic affairs of his home town and county. He was for several years a member of the Board of Trustees and also the Board of Education. At one time he was head of the Hook and Ladder Company of the village. He had served several times as director and for two years president of the village (1896-97). He was president of the Saugerties Board of Trade in 1900. Mr. Cantine was also one of the vice presidents of the Ulster County Historical Society.

 

Among the more widely known of his philanthropies, which were varied and many, were the gift of Cantine Memorial Field to the village and the donation of an elevator to the Benedictine Hospital; and his interests in charity included the Red Cross of which he was chairman during the World War and his activities on the part of the Liberty Loan drives. At the time of his death he was a member of the executive committee of the Saugerties Branch of the American Red Cross.

 

Mr. Cantine was also interested in the banking business. He was vice president of the First National Bank and Trust Company of Saugerties, a trustee of the Saugerties Savings Bank, and a director of the National Ulster County Bank of Kingston. He was also president of the Saugerties Cooperative Savings and Loan Association.”

 

Martin Cantine died of pneumonia at Kingston City Hospital on March 17, 1935 at 69 years of age. He was survived by his wife, his daughter, Frances Cantine; and a son, Holley R. Cantine. Funeral services were held at the Dutch Reformed Church at Saugerties. He is buried at Mountain View Cemetery in Saugerties, New York.

 

Photograph of the Cantine Dam Falls in the village of Saugerties, New York.Cantine Dam Falls at DuskThe Cantine Dam Falls is a beautiful, albeit man-made, waterfall located in downtown Saugerties. The 25-foot-high, incredibly wide waterfall spans the entire Esopus Creek, just downstream from the Route 9W bridge that crosses the creek. The falls take its name from the Martin Cantine Company, a paper manufacturer, whose water powered mill operated there from 1888 until its closing in 1975. The mill was later destroyed by fire in 1978. Today, the property is home to the Diamond Mills Hotel, a luxurious boutique hotel, restaurant and conference center.

Photograph of the Cantine Dam Falls in the village of Saugerties, New York.Springtime at the Cantine Dam FallsThe Cantine Dam Falls is a beautiful, albeit man-made, waterfall located in downtown Saugerties. The 25-foot-high, incredibly wide waterfall spans the entire Esopus Creek, just downstream from the Route 9W bridge that crosses the creek. The falls take its name from the Martin Cantine Company, a paper manufacturer, whose water powered mill operated there from 1888 until its closing in 1975. The mill was later destroyed by fire in 1978. Today, the property is home to the Diamond Mills Hotel, a luxurious boutique hotel, restaurant and conference center.

 

Sources:

“Martin Cantine Is Dead, Eminently Successful As Paper Manufacturer.” The Kingston Daily Freeman. March 18, 1935.

 

“Riparian Rights At Saugerties Determined; New Dam Will Be Built.” The Kingston Daily Freeman. May 6, 1929.

 

“Saugerties Mourns Loss of Its Foremost Citizen.” The Saugerties Telegraph. March 22, 1935.

 

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[email protected] (American Catskills) 9W Barclay Dam Cantine Dam Cantine Dam Falls Catskill Mountains Catskills creek Diamond Mills Hotel Esopus Creek falls hotel industry manufacturer Martin Cantine Martin Cantine Company mill paper photographs photography photos restaurant river Route 9W Saugerties tourism travel Ulster County water waterfall https://www.americancatskills.com/blog/2022/1/cantine-dam-falls Sat, 29 Jan 2022 13:00:00 GMT
A Photographic Tour of Catskill, New York https://www.americancatskills.com/blog/2022/1/a-photographic-tour-of-catskill-new-york The historic riverside village of Catskill, scenically located at the junction of the Hudson River and Catskill Creek, is home to “rich architectural resources”, “a tapestry of architectural styles, most of which are remarkably well preserved” and “a wide variety and high concentration of well-preserved late eighteenth and nineteenth century brick and frame structures, ranging from simple industrial buildings and early stores to the elaborate Victorian residences.”

 

Much of the downtown village is included on the National Register of Historic Places as part of the East Side Historic District, which is comprised of over 500 contributing buildings spread over 200 acres. While the historic district is quite large, an introductory appreciation of the village architecture is as simple as taking an enjoyable driving tour and/or a walking tour up and down Main Street. 

 

Main Street in the East Side Historic District in the village of Catskill in Greene County, New York.Main StreetMain Street, East Side Historic District, Catskill, Greene County

The prominent 399-395 Main Street building was constructed in 1802 and is described as “commercial, 3 story, 9 bays wide, brick, flat roof, 3 glass storefronts.” The neighboring 393 Main Street building was constructed circa 1820 and is described as “commercial, 3 story, 3 bays wide, brick, flat roof, glass storefront, street level” and “the plain lintels were updated during the nineteenth century with the addition of segmental window heads and the building was topped with a typical and popular segmental cornice.” To the left is the Selleck Building at 391 Main Street which was constructed circa 1890 and is “commercial, 3 story, 4 bays wide, brick, flat roof with highly decorative cornice, glass storefront on street level.” The building has been home to Selleck & Co., a bakery and confectionery, Upper Hudson Electric and Railroad Company and Central Hudson Gas & Electric.

Reference:
Ross, Claire. East Side Historic District. National Park Service, nomination form for inclusion on the National Register of Historic Places, Washington D.C. 1981.

Main Street

The prominent 399-395 Main Street building was constructed in 1802 and is described as “commercial, 3 story, 9 bays wide, brick, flat roof, 3 glass storefronts.”

 

The neighboring 393 Main Street building was constructed circa 1820 and is described as “commercial, 3 story, 3 bays wide, brick, flat roof, glass storefront, street level” and “the plain lintels were updated during the nineteenth century with the addition of segmental window heads and the building was topped with a typical and popular segmental cornice.”

 

To the left is the Selleck Building at 391 Main Street which was constructed circa 1890 and is “commercial, 3 story, 4 bays wide, brick, flat roof with highly decorative cornice, glass storefront on street level.” The building has been home to Selleck & Co., a bakery and confectionery, Upper Hudson Electric and Railroad Company and Central Hudson Gas & Electric.

 

The buildings at 393 Main Street to 401 Main Street in the village of Catskill, New York are listed on the National Register of Historic Places as part of the East Side Historic District.393-401 Main StreetThe buildings at 393 to 401 Main Street in the village of Catskill, New York are listed on the National Register of Historic Places as part of the East Side Historic District.

393 Main Street: Constructed “c. 1820. Commercial – 3 story – 3 bays wide – Brick – Flat roof – Glass storefront, street level.” “Living quarters are upstairs. The plain lintels were updated during the nineteenth century with the addition of segmental window heads and the building was topped with a typical and popular segmental cornice.”

395-399 Main Street. Constructed 1802. “Commercial – 3 story – 9 bays wide – Brick – Flat roof – 3 glass storefronts.”

401 Main Street. Constructed 1802. “Commercial – 3 story – 3 bays wide – Brick – Gable and flat roof – Glass storefront.”

Windows on Main

 

The 281 Main Street building, constructed circa 1870, is located within the East Side Historic District of the village of Catskill.281 Main StreetThe 281 Main Street building in the village of Catskill (Greene County) was constructed circa 1870. It is described on the East Side Historic District’s nomination form for inclusion on the National Register of Historic Places as “residential, 2 story, 6 bays wide, brick, flat roof, center hall entrance both with double doors.” The building has served as home to an optometrist, a gallery, a pharmaceutical sales company and as a private residence. Today the sign on the door advertises the building as home to The Galleria Catskill, a small local gallery featuring artists Edith Marcik and Terence Barrell. Visit their website at www.thegalleriacatskills.webstarts.com for more information.

281 Main Street

The 281 Main Street building in the village of Catskill (Greene County) was constructed circa 1870. It is described on the East Side Historic District’s nomination form for inclusion on the National Register of Historic Places as “residential, 2 story, 6 bays wide, brick, flat roof, center hall entrance both with double doors.” The building has served as home to an optometrist, a gallery, a pharmaceutical sales company and as a private residence. Today the sign on the door advertises the building as home to The Galleria Catskill, a small local gallery featuring artists Edith Marcik and Terence Barrell. Visit their website at www.thegalleriacatskills.webstarts.com for more information.

 

Di Stefano’s Barber Shop offers up a classic storefront in the downtown historic district of Catskill.Di Stefano’s Barber Shop412 Main Street, East Side Historic District, Catskill, Greene County

Di Stefano’s Barber Shop offers up a classic storefront in the downtown historic district of Catskill. The barber shop has been a long-time mainstay of the village community. The building was originally constructed circa 1800 and is described on the East Side Historic District’s nomination form for the National Register of Historic Places as “commercial, 3 story, 2 bays wide, stucco, flat roof, glass storefront, street level.”

Di Stefano’s Barber Shop

412 Main Street

 

Di Stefano’s Barber Shop offers up a classic storefront in the downtown historic district of Catskill. The barber shop has been a long-time mainstay of the village community. The building was originally constructed circa 1800 and is described on the East Side Historic District’s nomination form for the National Register of Historic Places as “commercial, 3 story, 2 bays wide, stucco, flat roof, glass storefront, street level.” 

 

The A.M. Osborn Hose Co. No. 2 formerly served as a volunteer fire company at the village community of Catskill, Greene County, New York.A.M. Osborn Hose Co. No. 2323 Main Street, East Side Historic District, Catskill, Greene County

The A.M. Osborn Hose Co. No. 2 was formed in 1886 as a volunteer fire company to serve the village community of Catskill. The company was named in honor of Austin Melvin Osborn, a prominent New York State Supreme Court Justice. The first leader of the fire company was Clarence Deed, who was elected foreman. The company firehouse, located on Main Street across from the Greene County Courthouse, was constructed in 1904. The fire company faithfully served the community for 117 years until 2003 when the three fire companies of Catskill were merged into one consolidated department, the Catskill Fire Department. Today the former A.M. Osborn Hose Company firehouse is home to a U.S Army recruiting station.

A.M. Osborn Hose Co. No. 2

323 Main Street

 

The A.M. Osborn Hose Co. No. 2 was formed in 1886 as a volunteer fire company to serve the village community of Catskill. The company was named in honor of Austin Melvin Osborn, a prominent New York State Supreme Court Justice. The first leader of the fire company was Clarence Deed, who was elected foreman. The company firehouse, located on Main Street across from the Greene County Courthouse, was constructed in 1904. The fire company faithfully served the community for 117 years until 2003 when the three fire companies of Catskill were merged into one consolidated department, the Catskill Fire Department. Today the former A.M. Osborn Hose Company firehouse is home to a U.S Army recruiting station.

 

The Catskill Daily Mail is a regional newspaper located at the village of Catskill, Greene County.The Daily Mail414 Main Street, East Side Historic District, Catskill, Greene County

The Catskill Daily Mail is a regional newspaper with its direct origins in the year 1879, and, including countless mergers, acquisitions and name changes, harkens back to the late 18th century as The Catskill Packet. Today the newspaper operates out of an office on Main Street in downtown Catskill. The 414 Main Street building was constructed circa 1930 and is described on the East Side Historic District’s nomination form for the National Register of Historic Places as “commercial, 2 story, 3 bays wide, brick, flat roof with stepping, glass storefront.”

The Daily Mail

The Catskill Daily Mail is a regional newspaper with its direct origins in the year 1879, and, including countless mergers, acquisitions and name changes, harkens back to the late 18th century as The Catskill Packet. Today the newspaper operates out of an office on Main Street in downtown Catskill. The 414 Main Street building was constructed circa 1930 and is described on the East Side Historic District’s nomination form for the National Register of Historic Places as “commercial, 2 story, 3 bays wide, brick, flat roof with stepping, glass storefront.”

 

The 111 Water Street building is located within the East Side Historic District of the village of Catskill, New York.111 WaterEast Side Historic District, Catskill, Greene County

Situated on the Catskill Creek, the historic 111 Water Street building was constructed circa 1880 and was described on the East Side Historic District’s nomination form for the National Register of Historic Places as “commercial, 4 story, large waterfront factory, brick, 5th floor tower, gable roof.”

In its long history the building, sometimes referred to as Union Mills, has served as home to the Steam Woolen Company, a manufactured gas plant, a furniture store and a warehouse. In its latest incarnation, after lying dormant for nearly a decade, Rob Kalin, founder and former CEO of Etsy, purchased the property with the intent of building a multi-use facility including a restaurant serving local farm-to-table cuisine, general store, hotel, brewery, bakery, and crafting workshops. All items for sale in the general store and used in the restaurant would be handmade by resident craftsmen. The workshops, open to the public, would feature artisans working with wood, metal, glass, ceramics, clay, paper and much more. The property, formerly known as Union Mills, will now be known as The Catskill Mill.

The neighboring building at 110 Water Street, known as the Bogardus-Donnelly building, was originally the personal mansion of James Bogardus, a local shopkeeper and ship captain, but was later converted to serve as the main office for the Steam Woolen Company. During the Civil War the factory produced military uniforms for the Union Army.

111 Water Street

Situated on the Catskill Creek, the historic 111 Water Street building was constructed circa 1880 and was described on the East Side Historic District’s nomination form for the National Register of Historic Places as “commercial, 4 story, large waterfront factory, brick, 5th floor tower, gable roof.”

 

In its long history the building, sometimes referred to as Union Mills, has served as home to the Steam Woolen Company, a manufactured gas plant, a furniture store and a warehouse. In its latest incarnation, after lying dormant for nearly a decade, Rob Kalin, founder and former CEO of Etsy, purchased the property with the intent of building a multi-use facility including a restaurant serving local farm-to-table cuisine, general store, hotel, brewery, bakery, and crafting workshops. All items for sale in the general store and used in the restaurant would be handmade by resident craftsmen. The workshops, open to the public, would feature artisans working with wood, metal, glass, ceramics, clay, paper and much more. The property, formerly known as Union Mills, will now be known as The Catskill Mill.

 

The neighboring building at 110 Water Street, known as the Bogardus-Donnelly building, was originally the personal mansion of James Bogardus, a local shopkeeper and ship captain, but was later converted to serve as the main office for the Steam Woolen Company. During the Civil War the factory produced military uniforms for the Union Army.

 

The 331 Main Street building in Catskill was constructed around 1869 by J. Freelon Gaylord (1844-1911) as home to several stores and the 1,000 seat Gaylord Opera House.Gaylord Opera House331 Main Street, East Side Historic District, Catskill, Greene County

The 331 Main Street building in Catskill, once considered “one of the most substantial in the county, was constructed around 1869 by J. Freelon Gaylord (1844-1911) as home to several stores and the 1,000 seat Gaylord Opera House. J. F. Gaylord was a prominent member of the Catskill community, being described in The Recorder in his December 29, 1911 obituary as “a man of rare business tact and progressive ideas. His whole life was governed and directed by his inherent desire to do right. He had a wide acquaintance, and was esteemed for his sterling integrity and honesty of purpose.”

In 1952 a fire destroyed the 3rd and 4th floors, which were never rebuilt. According to the non-profit Heart of Catskill Association (HOCA) on their website www.catskillny.org, the building has been home to a variety of businesses including Doty Golding’s Opera House Store, Sanford Overbaugh’s Restaurant, Sedgewood Pharmacy, William Earl – Harness Maker, the Daily Mail and the Morris Furniture Company. Today the building is home to Stiefel & Winans, a local legal firm.

Gaylord Opera House

The 331 Main Street building in Catskill, once considered “one of the most substantial in the county, was constructed around 1869 by J. Freelon Gaylord (1844-1911) as home to several stores and the 1,000 seat Gaylord Opera House. J. F. Gaylord was a prominent member of the Catskill community, being described in The Recorder in his December 29, 1911 obituary as “a man of rare business tact and progressive ideas. His whole life was governed and directed by his inherent desire to do right. He had a wide acquaintance, and was esteemed for his sterling integrity and honesty of purpose.”

 

In 1952 a fire destroyed the 3rd and 4th floors, which were never rebuilt. According to the non-profit Heart of Catskill Association (HOCA) on their website www.catskillny.org, the building has been home to a variety of businesses including Doty Golding’s Opera House Store, Sanford Overbaugh’s Restaurant, Sedgewood Pharmacy, William Earl – Harness Maker, the Daily Mail and the Morris Furniture Company. Today the building is home to Stiefel & Winans, a local legal firm.  

 

The Community Theatre is located in the village of Catskill, New York.Like Us373 Main Street, East Side Historic District, Catskill, Greene County

Looking like a scene out of the 1950s this small section of downtown Catskill offers a glimpse of the wonderful take-a-step-back-in-time architecture that is characteristic of the riverside village. The Community Theatre was constructed in 1920 and had its roots in vaudeville and other live entertainment before transitioning to motion pictures in the 1940s. The theatre retains much of its original charm including a photo-worthy marquee. For nearly 100 years that historic charm, combined with affordable prices and the latest movie releases, has ensured that the Community Theatre remained a focal point for the village.

The Community Theatre

373 Main Street

 

Looking like a scene out of the 1950s this small section of downtown Catskill offers a glimpse of the wonderful take-a-step-back-in-time architecture that is characteristic of the riverside village. The Community Theatre was constructed in 1920 and had its roots in vaudeville and other live entertainment before transitioning to motion pictures in the 1940s. The theatre retains much of its original charm including a photo-worthy marquee. For nearly 100 years that historic charm, combined with affordable prices and the latest movie releases, has ensured that the Community Theatre remained a focal point for the village.    

 

The Greene County Courthouse is a beautiful building in the village of Catskill, New York.Greene County Courthouse, Afternoon LightThe Greene County Courthouse is a beautiful building in the village of Catskill. The building was designed by architect William J. Beardsley (1872-1934) of Poughkeepsie and constructed by the Peter Keeler Company. The building was constructed in 1909 at a cost of $180,000. Neo-classical in architectural style, the building is described as “an imposing Neo-classical Ohio sandstone building with a monumental portico highlighted by bas-relief carved figures in the pediment. The building is topped by a balustrade and has a well-scaled dome.” (1) The Greene County Courthouse is included on the National Register of Historic Places as part of the East Side Historic District (of Catskill). The county, and thus the courthouse, is named for Nathanael Greene (1742-1786), a Major General for the Continental Army during the American Revolution.

According to the History of Greene County written in 1915 by Frank Gallt, at the time of its construction the Greene County Courthouse “is without a doubt the finest county building in the state. It is built of Ohio sand stone and fireproof. The interior is finished with tirazza and inlaid floors, marble wainscoting, and hard natural woods. The Supreme court chambers, court room, supervisors’ rooms and County Judge’s chambers are furnished with antique oak furnishings, and the carpets in keeping with the other fittings. The county treasurer, sheriff and election commissioners have excellent chambers. The vaults for records are fireproof and very spacious.

The building is located at the corner of Main and Bridge streets, and the surroundings are first class. On the lawn is a grand fountain, the gift to the county of the late Senator William P. Fiero, of Catskill, costing a large sum of money. The county jail costing about $10,000 is located in the rear of the court house, and the Carnegie library costing $30,000 is across the street, as also are the Presbyterian church and the Masonic Temple. Grand buildings that replaced unsightly structures. (2)

Sources:
(1) Ross, Claire L. National Register of Historic Placed nomination form for the East Side Historic District. Page 8.

(2) Gallt, Frank A. Dear Old Greene County. Catskill, NY, 1915. Pages 63-65.
The Greene County Courthouse is a beautiful building in the village of Catskill, New York.Greene County CourthouseThe Greene County Courthouse is a beautiful building in the village of Catskill. The building was designed by architect William J. Beardsley (1872-1934) of Poughkeepsie and constructed by the Peter Keeler Company. The building was constructed in 1909 at a cost of $180,000. Neo-classical in architectural style, the building is described as “an imposing Neo-classical Ohio sandstone building with a monumental portico highlighted by bas-relief carved figures in the pediment. The building is topped by a balustrade and has a well-scaled dome.” (1) The Greene County Courthouse is included on the National Register of Historic Places as part of the East Side Historic District (of Catskill). The county, and thus the courthouse, is named for Nathanael Greene (1742-1786), a Major General for the Continental Army during the American Revolution.

According to the History of Greene County written in 1915 by Frank Gallt, at the time of its construction the Greene County Courthouse “is without a doubt the finest county building in the state. It is built of Ohio sand stone and fireproof. The interior is finished with tirazza and inlaid floors, marble wainscoting, and hard natural woods. The Supreme court chambers, court room, supervisors’ rooms and County Judge’s chambers are furnished with antique oak furnishings, and the carpets in keeping with the other fittings. The county treasurer, sheriff and election commissioners have excellent chambers. The vaults for records are fireproof and very spacious.

The building is located at the corner of Main and Bridge streets, and the surroundings are first class. On the lawn is a grand fountain, the gift to the county of the late Senator William P. Fiero, of Catskill, costing a large sum of money. The county jail costing about $10,000 is located in the rear of the court house, and the Carnegie library costing $30,000 is across the street, as also are the Presbyterian church and the Masonic Temple. Grand buildings that replaced unsightly structures. (2)

Sources:
(1) Ross, Claire L. National Register of Historic Placed nomination form for the East Side Historic District. Page 8.

(2) Gallt, Frank A. Dear Old Greene County. Catskill, NY, 1915. Pages 63-65.

Greene County Courthouse

The Greene County Courthouse is a beautiful building in the village of Catskill. The building was designed by architect William J. Beardsley (1872-1934) of Poughkeepsie and constructed by the Peter Keeler Company. The building was constructed in 1909 at a cost of $180,000. Neo-classical in architectural style, the building is described as “an imposing Neo-classical Ohio sandstone building with a monumental portico highlighted by bas-relief carved figures in the pediment. The building is topped by a balustrade and has a well-scaled dome.” The Greene County Courthouse is included on the National Register of Historic Places as part of the East Side Historic District (of Catskill). The county, and thus the courthouse, is named for Nathanael Greene (1742-1786), a Major General for the Continental Army during the American Revolution.

 

According to the History of Greene County written in 1915 by Frank Gallt, at the time of its construction the Greene County Courthouse “is without a doubt the finest county building in the state. It is built of Ohio sand stone and fireproof. The interior is finished with tirazza and inlaid floors, marble wainscoting, and hard natural woods. The Supreme court chambers, court room, supervisors’ rooms and County Judge’s chambers are furnished with antique oak furnishings, and the carpets in keeping with the other fittings. The county treasurer, sheriff and election commissioners have excellent chambers. The vaults for records are fireproof and very spacious.

 

The building is located at the corner of Main and Bridge streets, and the surroundings are first class. On the lawn is a grand fountain, the gift to the county of the late Senator William P. Fiero, of Catskill, costing a large sum of money. The county jail costing about $10,000 is located in the rear of the court house, and the Carnegie library costing $30,000 is across the street, as also are the Presbyterian church and the Masonic Temple. Grand buildings that replaced unsightly structures.”

 

World War I Doughboy statue titled “Over the Top at Cantigny” located in front of Greene County Supreme Court building in the village of Catskill.Over the Top at CantignyLocated in front of Greene County Supreme Court building in the village of Catskill, the World War I Doughboy statue titled “Over the Top at Cantigny” commemorates those who have served in 10th New York Infantry between July 15, 1917 and July 8, 1919. The Battle of Cantigny, during May 1918 in France, was the first American battle and victory of World War 1. American Army and Marine soldiers of the era were known as “doughboys”, with historians theorizing about several different possible origins of the term.

The life size bronze statue, set upon a tall granite pedestal with commemorative plaques, poignantly details a “World War 1 soldier holding a rifle aloft in his proper right hand as he runs with his proper left leg taking a step forward. At his feet are rocks and barbed wire. The soldier is dressed in his uniform, including a helmet, and carries a pack on his back. Around his neck he wears a square pouch and hanging from his ammunition belt are a canteen and his bayonet. The sculpture rests on a square base with two steps at the bottom.” (Smithsonian American Art Museum.)

The Doughboy statue was designed by John Paulding (1883-1935), a prominent American sculptor well known for his World War 1 memorials. Paulding created four variations in his “Over the Top” series of sculptures. Three of the four variations can be found throughout the United States, but only two versions of Model 2043-C (with the soldier holding his rifle overhead) are known to exist, the one here at Catskill, New York and the other at Astoria, Oregon. The sculpture was manufactured by the American Art Bronze Foundry in Chicago.

Over the Top at Cantigny

Located in front of Greene County Supreme Court building in the village of Catskill, the World War I Doughboy statue titled “Over the Top at Cantigny” commemorates those who have served in 10th New York Infantry between July 15, 1917 and July 8, 1919. The Battle of Cantigny, during May 1918 in France, was the first American battle and victory of World War 1. American Army and Marine soldiers of the era were known as “doughboys”, with historians theorizing about several different possible origins of the term.

 

The life size bronze statue, set upon a tall granite pedestal with commemorative plaques, poignantly details a “World War 1 soldier holding a rifle aloft in his proper right hand as he runs with his proper left leg taking a step forward. At his feet are rocks and barbed wire. The soldier is dressed in his uniform, including a helmet, and carries a pack on his back. Around his neck he wears a square pouch and hanging from his ammunition belt are a canteen and his bayonet. The sculpture rests on a square base with two steps at the bottom.” (Smithsonian American Art Museum.) 

 

The Doughboy statue was designed by John Paulding (1883-1935), a prominent American sculptor well known for his World War 1 memorials. Paulding created four variations in his “Over the Top” series of sculptures. Three of the four variations can be found throughout the United States, but only two versions of Model 2043-C (with the soldier holding his rifle overhead) are known to exist, the one here at Catskill, New York and the other at Astoria, Oregon. The sculpture was manufactured by the American Art Bronze Foundry in Chicago.

 

The village of Catskill boasts a beautiful town mural depicting “Life in Old Catskill.”Life in Old CatskillEast Side Historic District, Catskill, Greene County

The village of Catskill boasts a beautiful town mural depicting “Life in Old Catskill.” The colorful mural, with the Catskill Mountains as a backdrop, nicely encapsulates village history with trains, boats, the Hudson River promenade, the Thomas Cole House and more.

Life in Old Catskill

The village of Catskill boasts a beautiful town mural depicting “Life in Old Catskill.” The colorful mural, with the Catskill Mountains as a backdrop, nicely encapsulates village history with trains, boats, the Hudson River promenade, the Thomas Cole House and more. 

 

The 271 Main Street building is located within the East Side Historic District of the village of Catskill, New York.271 Main StreetThe 271 Main Street building in the village of Catskill (Greene County) was constructed circa 1868. The building is included on the National Register of Historic Places as part of Catskill’s East Side Historic District. The building was described as “Residential – 2 story – 5 bays wide – Wood shingles – Gable roof – Recessed center front door.”

271 Main Street

The 271 Main Street building in the village of Catskill (Greene County) was constructed circa 1868. The building is included on the National Register of Historic Places as part of Catskill’s East Side Historic District. The building was described as “Residential – 2 story – 5 bays wide – Wood shingles – Gable roof – Recessed center front door.”

 

The Kindness Rocks Project has a rock garden at the village of Catskill, New York.LiveCatskill, Greene County

The Kindness Rocks Project began simply enough in Barnstable, Massachusetts with one woman collecting a few rocks during daily walks on a local beach. Seeking to spread the message of kindness, she started painting the rocks with bright colors along with messages of hope, optimism and remembrance. The rocks were then placed in random places in the hope of inspiring others. It worked. Others soon followed with painted rocks of their own.

Today there are dozens of these inspirational rock gardens that can be found throughout the United States. The movement has been covered in the local and national press. For more information on the Kindness Rocks movement check out the website at www.thekindnessrocksproject.com.
The Kindness Rocks Project has a rock garden at the village of Catskill, New York.Live With PurposeCatskill, Greene County

The Kindness Rocks Project began simply enough in Barnstable, Massachusetts with one woman collecting a few rocks during daily walks on a local beach. Seeking to spread the message of kindness, she started painting the rocks with bright colors along with messages of hope, optimism and remembrance. The rocks were then placed in random places in the hope of inspiring others. It worked. Others soon followed with painted rocks of their own.

Today there are dozens of these inspirational rock gardens that can be found throughout the United States. The movement has been covered in the local and national press. For more information on the Kindness Rocks movement check out the website at www.thekindnessrocksproject.com.

Kindness Rocks

The Kindness Rocks Project began simply enough in Barnstable, Massachusetts with one woman collecting a few rocks during daily walks on a local beach. Seeking to spread the message of kindness, she started painting the rocks with bright colors along with messages of hope, optimism and remembrance. The rocks were then placed in random places in the hope of inspiring others. It worked. Others soon followed with painted rocks of their own.

 

Today there are dozens of these inspirational rock gardens that can be found throughout the United States. The movement has been covered in the local and national press. For more information on the Kindness Rocks movement check out the website at www.thekindnessrocksproject.com.

 

One-of-a-kind cat sculpture titled “Captain Americat” that was displayed in the village of Catskill, New York.Captain AmeriCATThe village of Catskill celebrates its “cat” like name each year with the Cat’n Around Catskill celebration. Since 2006 local artists create their own unique interpretations of a cat, generally made of fiberglass, and all beautifully colored and decorated. The cats are then placed throughout the Catskill village on special design posts for public viewing, generally from Memorial Day through Labor Day. At the end of the season the sculpture cats are auctioned off at a special event known as the Cat’s Meow Auction and Gala, with the proceeds benefiting the Heart of Catskill Association. Cat’n Around is the longest running public art exhibit in Greene County.

Captain AmeriCAT, from the 2014 event, was created by local artist Jim Bonivito. The captain was sponsored by B & B Garage.

Captain AmeriCAT

The village of Catskill celebrates its “cat” like name each year with the Cat’n Around Catskill celebration. Since 2006 local artists create their own unique interpretations of a cat, generally made of fiberglass, and all beautifully colored and decorated. The cats are then placed throughout the Catskill village on special design posts for public viewing, generally from Memorial Day through Labor Day. At the end of the season the sculpture cats are auctioned off at a special event known as the Cat’s Meow Auction and Gala, with the proceeds benefiting the Heart of Catskill Association. Cat’n Around is the longest running public art exhibit in Greene County.

 

Captain AmeriCAT, from the 2014 event, was created by local artist Jim Bonivito. The captain was sponsored by B & B Garage.

 

The former Catskill Savings Bank, now The Bank of Greene County, is located in the village of Catskill, Greene County.The Bank of Greene County341 Main Street, East Side Historic District, Catskill, Greene County

The former Catskill Savings Bank was established in 1868 by a special act of the New York State Legislature. The longtime village mainstay prospered quickly with 229 depositors and $49,000 in total resources after its first year in operation. The Bank’s headquarters building, seen here, was constructed circa-1909. The building, built in the neoclassical architectural style, was designed by prominent American architect Marcus T. Reynolds (1869-1937). Upon its 1909 opening the building was described as a “a model banking house, equipped with modern bookkeeping and posting machines, York Safe & Lock Company modern vault, safe deposit boxes and all other necessary facilities.” (Kimball, Francis. The Capital Region of New York State, Crossroads of Empire. 1942.) After 132 years of serving the local community, the Catskills Savings Bank was acquired by Troy Savings Bank in 2000, and later merged again with the First Niagara Bank (which vacated the building in 2012). The building is now owned and operated by The Bank of Greene County.
The former Catskill Savings Bank, now The Bank of Greene County, is located in the village of Catskill, Greene County.Catskills Savings Bank341 Main Street, East Side Historic District, Catskill, Greene County

The former Catskill Savings Bank was established in 1868 by a special act of the New York State Legislature. The longtime village mainstay prospered quickly with 229 depositors and $49,000 in total resources after its first year in operation. The Bank’s headquarters building, seen here, was constructed circa-1909. The building, built in the neoclassical architectural style, was designed by prominent American architect Marcus T. Reynolds (1869-1937). Upon its 1909 opening the building was described as a “a model banking house, equipped with modern bookkeeping and posting machines, York Safe & Lock Company modern vault, safe deposit boxes and all other necessary facilities.” (Kimball, Francis. The Capital Region of New York State, Crossroads of Empire. 1942.) After 132 years of serving the local community, the Catskills Savings Bank was acquired by Troy Savings Bank in 2000, and later merged again with the First Niagara Bank (which vacated the building in 2012). The building is now owned and operated by The Bank of Greene County.

Catskill Savings Bank

341 Main Street

 

The former Catskill Savings Bank was established in 1868 by a special act of the New York State Legislature. The longtime village mainstay prospered quickly with 229 depositors and $49,000 in total resources after its first year in operation. The Bank’s headquarters building, seen here, was constructed circa-1909. The building, built in the neoclassical architectural style, was designed by prominent American architect Marcus T. Reynolds (1869-1937). Upon its 1909 opening the building was described as a “a model banking house, equipped with modern bookkeeping and posting machines, York Safe & Lock Company modern vault, safe deposit boxes and all other necessary facilities.” (Kimball, Francis. The Capital Region of New York State, Crossroads of Empire. 1942.) After 132 years of serving the local community, the Catskills Savings Bank was acquired by Troy Savings Bank in 2000, and later merged again with the First Niagara Bank (which vacated the building in 2012). The building is now owned and operated by The Bank of Greene County.

 

The 391 Main Street building in the village of Catskill, New York is listed on the National Register of Historic Places as part of the East Side Historic District.391 Main Street, CatskillThe 391 Main Street building in the village of Catskill, New York is listed on the National Register of Historic Places as part of the East Side Historic District.

The 391 Main Street building was constructed circa 1890. It is “commercial – 3 story – 4 bays wide – Brick – Flat roof with highly decorative cornice – glass storefront on street level.” The building has been home to Selleck & Co., a bakery and confectionery, Upper Hudson Electric and Railroad Company and Central Hudson Gas & Electric.

391 Main Street, Catskill

The 391 Main Street building was constructed circa 1890. It is “commercial – 3 story – 4 bays wide – Brick – Flat roof with highly decorative cornice – glass storefront on street level.” The building has been home to Selleck & Co., a bakery and confectionery, Upper Hudson Electric and Railroad Company and Central Hudson Gas & Electric.

 

The congregation of the First Baptist Church in the village of Catskill, Greene County was organized in 1803.First Baptist Church321 Main Street, East Side Historic District, Catskill, Greene County

The congregation of the First Baptist Church in the village of Catskill was organized in 1803. The first services, under the leadership of Pastor Truman Beeman, were held in the home of church member Ketura Hill, then at the schoolhouse, then the courthouse and then a small building constructed on Clarke Street. With the rapidly growing membership, then approaching 102 members, the first church at the Main Street site was constructed in 1840, but unfortunately burned to the ground only 11 years later in 1851. Its 1852 replacement was destroyed by fire in 1871 after only 19 years of use. The current building was constructed in 1873 at a cost of $22,000.

The First Baptist Church building was described on Catskill’s nomination form for inclusion on the National Register of Historic Places as “Gothic in detail, with two steeples, one tall and one short, and a large Gothic front window with tracery, framed by two front entrances, one under each tower. Each tower is encircled below its spire with white wooden louvers topped by miniature Gothic spires. The church as elaborate brick detailing including wood molds and corbelling; there are lancet openings set into the towers and stained glass in windows.”

The building later became home to the Gospel Tabernacle Church. Today the building is home to a fitness center (Snap Fitness) and a physical therapy practice.

First Baptist Church

The congregation of the First Baptist Church in the village of Catskill was organized in 1803. The first services, under the leadership of Pastor Truman Beeman, were held in the home of church member Ketura Hill, then at the schoolhouse, then the courthouse and then a small building constructed on Clarke Street. With the rapidly growing membership, then approaching 102 members, the first church at the Main Street site was constructed in 1840, but unfortunately burned to the ground only 11 years later in 1851. Its 1852 replacement was destroyed by fire in 1871 after only 19 years of use. The current building was constructed in 1873 at a cost of $22,000.

 

The First Baptist Church building was described on Catskill’s nomination form for inclusion on the National Register of Historic Places as “Gothic in detail, with two steeples, one tall and one short, and a large Gothic front window with tracery, framed by two front entrances, one under each tower. Each tower is encircled below its spire with white wooden louvers topped by miniature Gothic spires. The church as elaborate brick detailing including wood molds and corbelling; there are lancet openings set into the towers and stained glass in windows.”

 

The building later became home to the Gospel Tabernacle Church. Today the building is home to a fitness center (Snap Fitness) and a physical therapy practice.

 

The beautiful First Reformed Church is located on Main Street in the historic village of Catskill in Greene County, New York.First Reformed Church, CatskillThe beautiful First Reformed Church is located on Main Street in the historic village of Catskill in Greene County, New York. After the prior church burned in 1851, the church was reconstructed in 1852 “with a projecting square central tower and arched windows topped by hood molds.” (1) The “structure is very commodious and the interior shows artistic decorations and beautiful memorial windows. The building has been remodeled and the grounds beautified by a cut stone retaining wall, similar to that in front of the court house.” (2) The church building is listed on the National Register of Historic Places as part of the East Side Historic District (of Catskill). The church is currently under the leadership of Reverend Joanna C. Tipple.

Sources:
(1) Ross, Claire L. National Register of Historic Places nomination form for the East Side Historic District. Page 8.

(2) Gallt, Frank A. Dear Old Greene County. Catskill, NY, 1915. Pages 255-257.

First Reformed Church

The beautiful First Reformed Church is located on Main Street in the historic village of Catskill in Greene County, New York. After the prior church burned in 1851, the church was reconstructed in 1852 “with a projecting square central tower and arched windows topped by hood molds.” The “structure is very commodious and the interior shows artistic decorations and beautiful memorial windows. The building has been remodeled and the grounds beautified by a cut stone retaining wall, similar to that in front of the court house.” The church building is listed on the National Register of Historic Places as part of the East Side Historic District (of Catskill). The church is currently under the leadership of Reverend Joanna C. Tipple.

 

The village of Catskill in Greene County, New York reflects in the Catskill Creek in the early evening of an autumn day.Catskill Creek ReflectionThe village of Catskill reflects in the Catskill Creek in the early evening of an autumn day. Much of the idyllic village is listed on the National Register of Historic Places as part of the East Side Historic District (of Catskill). The village of Catskill in Greene County, New York reflects in the Catskill Creek in the early evening of an autumn day.A Catskill NightThe village of Catskill reflects in the Catskill Creek in the early evening of an autumn day. Much of the idyllic village is listed on the National Register of Historic Places as part of the East Side Historic District (of Catskill).

All Quiet on the Catskill Riverfront

The village of Catskill reflects in the Catskill Creek in the early evening of an autumn day. Much of the idyllic village is listed on the National Register of Historic Places as part of the East Side Historic District (of Catskill).

 

Cedar Grove, the home of Thomas Cole, is located in the village of Catskill, New York.Cedar Grove (Home of Thomas Cole)Thomas Cole (1801-1848) was perhaps the most prominent American landscape painter of his time. His depictions of the Catskills captured the imagination of the American public, offering a sense of national pride in the country’s natural beauty. His paintings offered the belief that the vast and awe-inspiring American landscape was sublime, a reflection of God, with nature ultimately inseparable from religion. Cole, through his masterful landscapes and interpretation of nature, is widely renowned as the founder of Hudson River School, the first uniquely American art movement. The fourth highest peak in the Catskills is named in his honor.

Thomas Cole first came to Cedar Grove, the farm of John A. Thompson, in the 1820’s and eventually called it home after marrying one Thompson’s nieces. The current property, set on 5 acres of the original estate, includes Cole’s home, his original studio and wonderful panoramic views of the Catskill Mountains. Guided tours, a visitor center and a gift shop are also available. Cedar Grove is listed on the National Register of Historic Places.
Cedar Grove, the home of Thomas Cole, is located in the village of Catskill, New York.View of the CatskillsThomas Cole (1801-1848) was perhaps the most prominent American landscape painter of his time. His depictions of the Catskills captured the imagination of the American public, offering a sense of national pride in the country’s natural beauty. His paintings offered the belief that the vast and awe-inspiring American landscape was sublime, a reflection of God, with nature ultimately inseparable from religion. Cole, through his masterful landscapes and interpretation of nature, is widely renowned as the founder of Hudson River School, the first uniquely American art movement. The fourth highest peak in the Catskills is named in his honor.

Thomas Cole first came to Cedar Grove, the farm of John A. Thompson, in the 1820’s and eventually called it home after marrying one Thompson’s nieces. The current property, set on 5 acres of the original estate, includes Cole’s home, his original studio and wonderful panoramic views of the Catskill Mountains. Guided tours, a visitor center and a gift shop are also available. Cedar Grove is listed on the National Register of Historic Places.

Cedar Grove (Home of Thomas Cole)

Thomas Cole (1801-1848) was perhaps the most prominent American landscape painter of his time. His depictions of the Catskills captured the imagination of the American public, offering a sense of national pride in the country’s natural beauty. His paintings offered the belief that the vast and awe-inspiring American landscape was sublime, a reflection of God, with nature ultimately inseparable from religion. Cole, through his masterful landscapes and interpretation of nature, is widely renowned as the founder of Hudson River School, the first uniquely American art movement. The fourth highest peak in the Catskills is named in his honor.

 

Thomas Cole first came to Cedar Grove, the farm of John A. Thompson, in the 1820’s and eventually called it home after marrying one Thompson’s nieces. Cedar Grove is located on a hill on the west bank of the Hudson River at the village of Catskill, New York. The house was constructed between 1812 and 1814.

 

The current property, set on 5 acres of the original estate, includes Cole’s home, his original studio and wonderful panoramic views of the Catskill Mountains. Guided tours, a visitor center and a gift shop are also available. Cedar Grove is listed on the National Register of Historic Places.

 

Gravesite for Charles L. Beach (1808-1902), located at the Thompson Street Cemetery in the village of Catskill, New York.RIP Charles L. BeachThompson Street Cemetery, East Side Historic District, Catskill, Greene County

Charles L. Beach (1808-1902) was one of the most influential businessmen in Catskills history. Mr. Beach began his career working with his father, Erastus Beach, at the family business, a stage coach company. He would take visitors via a long arduous stage coach ride from the Hudson River port city of Catskill to Pine Orchard, home of the Catskill Mountain House, renowned in its time as one of the most famous hotels in the world. By 1845 Mr. Beach would purchase and personally manage the Catskill Mountain House. For nearly a century after its 1824 founding the hotel was nearly synonymous with the Catskills, i.e. if a traveler said they were going to the Catskills, it meant they were going to the area around the Catskill Mountain House. In 1882 Mr. Beach opened the Catskill Mountain Railroad and in 1892 he opened the Otis Elevating Railroad, both of which significantly improved tourist access to the Mountain House.

Unfortunately, by the 1930s, economic hard times, changing vacation patterns and declining tourism as people sought out (with the popularity of automobiles and improved highways) more exotic destinations meant the Catskills were no longer the treasured destination they once were. The Catskill Mountain House would continue to operate until 1941 when the hotel shut its doors for good. By 1962 the decaying house and its surrounding property had been acquired by New York State. In 1963 the Catskill Mountain House was burned to the ground by the state.

For more information about Charles Beach and the Catskill Mountain House be sure to check out The Catskill Mountain House by Roland Van Zandt. Van Zandt brilliantly takes you through the hotel’s history, the people, and its lasting influence on the region. Van Zandt also provides insightful historical context that helps the reader understand the popularity of the Catskills in popular culture and the public’s imagination. Any person looking to learn more about the Catskills should certainly seek out this book. The Catskill Mountain House has long been out of print, but you can often pick up a copy online.

RIP Charles L. Beach

Thompson Street Cemetery

 

Charles L. Beach (1808-1902) was one of the most influential businessmen in Catskills history. Mr. Beach began his career working with his father, Erastus Beach, at the family business, a stage coach company. He would take visitors via a long arduous stage coach ride from the Hudson River port city of Catskill to Pine Orchard, home of the Catskill Mountain House, renowned in its time as one of the most famous hotels in the world. By 1845 Mr. Beach would purchase and personally manage the Catskill Mountain House. For nearly a century after its 1824 founding the hotel was nearly synonymous with the Catskills, i.e. if a traveler said they were going to the Catskills, it meant they were going to the area around the Catskill Mountain House. In 1882 Mr. Beach opened the Catskill Mountain Railroad and in 1892 he opened the Otis Elevating Railroad, both of which significantly improved tourist access to the Mountain House. 

 

Unfortunately, by the 1930s, economic hard times, changing vacation patterns and declining tourism as people sought out (with the popularity of automobiles and improved highways) more exotic destinations meant the Catskills were no longer the treasured destination they once were. The Catskill Mountain House would continue to operate until 1941 when the hotel shut its doors for good. By 1962 the decaying house and its surrounding property had been acquired by New York State. In 1963 the Catskill Mountain House was burned to the ground by the state. 

 

For more information about Charles Beach and the Catskill Mountain House be sure to check out The Catskill Mountain House by Roland Van Zandt. Van Zandt brilliantly takes you through the hotel’s history, the people, and its lasting influence on the region. Van Zandt also provides insightful historical context that helps the reader understand the popularity of the Catskills in popular culture and the public’s imagination. Any person looking to learn more about the Catskills should certainly seek out this book. The Catskill Mountain House has long been out of print, but you can often pick up a copy online.

 

Thomas Cole (1801-1848), widely renowned as the founder of Hudson River School, is buried at the Thomson Street Cemetery in the village of Catskill, New York.RIP Thomas ColeThompson Street Cemetery, East Side Historic District, Catskill, Greene County

Thomas Cole (1801-1848) was perhaps the most prominent American landscape painter of his time. His depictions of the Catskills captured the imagination of the American public, offering a sense of national pride in the country’s natural beauty. His paintings offered the belief that the vast and awe-inspiring American landscape was sublime, a reflection of God, with nature ultimately inseparable from religion. Cole, through his masterful landscapes and interpretation of nature, is widely renowned as the founder of Hudson River School, the first uniquely American art movement. The fourth highest peak in the Catskills is named in his honor.

The Thompson Street Cemetery is part of the East Side Historic District, which is included on the National Register of Historic Places. The cemetery was described on the Historic District’s application for inclusion on the National Register thusly: “On Thompson Street, the old road connecting with the Athens Turnpike leading north out of the village, a cemetery was established early. Many older graves were moved into this cemetery, and many people important to the history of the village, including artist Thomas Cole, were buried there. Twice enlarged, the cemetery provides a large, landscaped tranquil green space between Thompson Street and New Street.”

RIP Thomas Cole

Thompson Street Cemetery

 

Thomas Cole (1801-1848) was perhaps the most prominent American landscape painter of his time. His depictions of the Catskills captured the imagination of the American public, offering a sense of national pride in the country’s natural beauty. His paintings offered the belief that the vast and awe-inspiring American landscape was sublime, a reflection of God, with nature ultimately inseparable from religion. Cole, through his masterful landscapes and interpretation of nature, is widely renowned as the founder of Hudson River School, the first uniquely American art movement. The fourth highest peak in the Catskills is named in his honor.

 

The Thompson Street Cemetery is part of the East Side Historic District, which is included on the National Register of Historic Places. The cemetery was described on the Historic District’s application for inclusion on the National Register thusly: “On Thompson Street, the old road connecting with the Athens Turnpike leading north out of the village, a cemetery was established early. Many older graves were moved into this cemetery, and many people important to the history of the village, including artist Thomas Cole, were buried there. Twice enlarged, the cemetery provides a large, landscaped tranquil green space between Thompson Street and New Street.”

 

Statue Civil War soldier located within the Thompson Street Cemetery in the village of Catskill, New York.Standing GuardThompson Street Cemetery, East Side Historic District, Catskill, Greene County

This statue of a Civil War soldier is located within the Thompson Street Cemetery in Catskill. It serves as a monument to all veterans who have served in the United States military. Grave sites of veterans who have served in our nation’s wars circle the monument.

The Thompson Street Cemetery is part of the East Side Historic District, which is included on the National Register of Historic Places. The cemetery was described on the Historic District’s application for inclusion on the National Register thusly: “On Thompson Street, the old road connecting with the Athens Turnpike leading north out of the village, a cemetery was established early. Many older graves were moved into this cemetery, and many people important to the history of the village, including artist Thomas Cole, were buried there. Twice enlarged, the cemetery provides a large, landscaped tranquil green space between Thompson Street and New Street.”
Statue Civil War soldier located within the Thompson Street Cemetery in the village of Catskill, New York.VigilantThompson Street Cemetery, East Side Historic District, Catskill, Greene County

This statue of a Civil War soldier is located within the Thompson Street Cemetery in Catskill. It serves as a monument to all veterans who have served in the United States military. Grave sites of veterans who have served in our nation’s wars circle the monument.

The Thompson Street Cemetery is part of the East Side Historic District, which is included on the National Register of Historic Places. The cemetery was described on the Historic District’s application for inclusion on the National Register thusly: “On Thompson Street, the old road connecting with the Athens Turnpike leading north out of the village, a cemetery was established early. Many older graves were moved into this cemetery, and many people important to the history of the village, including artist Thomas Cole, were buried there. Twice enlarged, the cemetery provides a large, landscaped tranquil green space between Thompson Street and New Street.”

Standing Guard

Thompson Street Cemetery

 

This statue of a Civil War soldier is located within the Thompson Street Cemetery in Catskill. It serves as a monument to all veterans who have served in the United States military. Grave sites of veterans who have served in our nation’s wars circle the monument.

 

The District School No. 11, located in the Jefferson Heights area of Catskill, was established circa 1834.District School No. 11Jefferson Heights, Catskill, Greene County

District School No. 11, located in the Jefferson Heights area of Catskill, was established circa 1834 with 25 students and remained in continuous operation until 1948 when it closed due to school district consolidation. As was common for rural areas of the era, the one room schoolhouse served students of all grade levels. Remarkably, although one room schoolhouses are considered a product of a long-gone era, there are still approximately 400 active one-room schoolhouses in the United States. The school is listed on the National Register of Historic Places as an “architecturally and historically significant . . . highly intact example of modest one-room schoolhouse built in rural areas of New York in the mid nineteenth century.”

District School No. 11

Jefferson Heights

 

District School No. 11, located in the Jefferson Heights area of Catskill, was established circa 1834 with 25 students and remained in continuous operation until 1948 when it closed due to school district consolidation. As was common for rural areas of the era, the one room schoolhouse served students of all grade levels. Remarkably, although one room schoolhouses are considered a product of a long-gone era, there are still approximately 400 active one-room schoolhouses in the United States. The school is listed on the National Register of Historic Places as an “architecturally and historically significant . . . highly intact example of modest one-room schoolhouse built in rural areas of New York in the mid nineteenth century.”

 

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[email protected] (American Catskills) architecture brick building business Catskill Catskill Creek Catskill Mountains Catskills downtown drive East Side Historic District frame Greene County industrial Main Street National Register of Historic Places photographs photography photos shop store tour tourism Victorian village walk walking https://www.americancatskills.com/blog/2022/1/a-photographic-tour-of-catskill-new-york Sat, 22 Jan 2022 13:00:00 GMT
Over the Top at Cantigny https://www.americancatskills.com/blog/2022/1/over-the-top-at-cantigny Located in front of Greene County Supreme Court building in the village of Catskill, the World War I Doughboy statue titled “Over the Top at Cantigny” commemorates those who have served in 10th New York Infantry between July 15, 1917 and July 8, 1919. The Battle of Cantigny, during May 1918 in France, was the first American battle and victory of World War 1. American Army and Marine soldiers of the era were known as “doughboys”, with historians theorizing about several different possible origins of the term.

 

World War I Doughboy statue titled “Over the Top at Cantigny” located in front of Greene County Supreme Court building in the village of Catskill.Over the Top at CantignyLocated in front of Greene County Supreme Court building in the village of Catskill, the World War I Doughboy statue titled “Over the Top at Cantigny” commemorates those who have served in 10th New York Infantry between July 15, 1917 and July 8, 1919. The Battle of Cantigny, during May 1918 in France, was the first American battle and victory of World War 1. American Army and Marine soldiers of the era were known as “doughboys”, with historians theorizing about several different possible origins of the term.

The life size bronze statue, set upon a tall granite pedestal with commemorative plaques, poignantly details a “World War 1 soldier holding a rifle aloft in his proper right hand as he runs with his proper left leg taking a step forward. At his feet are rocks and barbed wire. The soldier is dressed in his uniform, including a helmet, and carries a pack on his back. Around his neck he wears a square pouch and hanging from his ammunition belt are a canteen and his bayonet. The sculpture rests on a square base with two steps at the bottom.” (Smithsonian American Art Museum.)

The Doughboy statue was designed by John Paulding (1883-1935), a prominent American sculptor well known for his World War 1 memorials. Paulding created four variations in his “Over the Top” series of sculptures. Three of the four variations can be found throughout the United States, but only two versions of Model 2043-C (with the soldier holding his rifle overhead) are known to exist, the one here at Catskill, New York and the other at Astoria, Oregon. The sculpture was manufactured by the American Art Bronze Foundry in Chicago.
World War I Doughboy statue titled “Over the Top at Cantigny” located in front of Greene County Supreme Court building in the village of Catskill.Remember the FallenLocated in front of Greene County Supreme Court building in the village of Catskill, the World War I Doughboy statue titled “Over the Top at Cantigny” commemorates those who have served in 10th New York Infantry between July 15, 1917 and July 8, 1919. The Battle of Cantigny, during May 1918 in France, was the first American battle and victory of World War 1. American Army and Marine soldiers of the era were known as “doughboys”, with historians theorizing about several different possible origins of the term.

The life size bronze statue, set upon a tall granite pedestal with commemorative plaques, poignantly details a “World War 1 soldier holding a rifle aloft in his proper right hand as he runs with his proper left leg taking a step forward. At his feet are rocks and barbed wire. The soldier is dressed in his uniform, including a helmet, and carries a pack on his back. Around his neck he wears a square pouch and hanging from his ammunition belt are a canteen and his bayonet. The sculpture rests on a square base with two steps at the bottom.” (Smithsonian American Art Museum.)

The Doughboy statue was designed by John Paulding (1883-1935), a prominent American sculptor well known for his World War 1 memorials. Paulding created four variations in his “Over the Top” series of sculptures. Three of the four variations can be found throughout the United States, but only two versions of Model 2043-C (with the soldier holding his rifle overhead) are known to exist, the one here at Catskill, New York and the other at Astoria, Oregon. The sculpture was manufactured by the American Art Bronze Foundry in Chicago.

 

The life size bronze statue, set upon a tall granite pedestal with commemorative plaques, poignantly details a “World War 1 soldier holding a rifle aloft in his proper right hand as he runs with his proper left leg taking a step forward. At his feet are rocks and barbed wire. The soldier is dressed in his uniform, including a helmet, and carries a pack on his back. Around his neck he wears a square pouch and hanging from his ammunition belt are a canteen and his bayonet. The sculpture rests on a square base with two steps at the bottom.” (Smithsonian American Art Museum.) 

 

World War I Doughboy statue titled “Over the Top at Cantigny” located in front of Greene County Supreme Court building in the village of Catskill.Follow MeLocated in front of Greene County Supreme Court building in the village of Catskill, the World War I Doughboy statue titled “Over the Top at Cantigny” commemorates those who have served in 10th New York Infantry between July 15, 1917 and July 8, 1919. The Battle of Cantigny, during May 1918 in France, was the first American battle and victory of World War 1. American Army and Marine soldiers of the era were known as “doughboys”, with historians theorizing about several different possible origins of the term.

The life size bronze statue, set upon a tall granite pedestal with commemorative plaques, poignantly details a “World War 1 soldier holding a rifle aloft in his proper right hand as he runs with his proper left leg taking a step forward. At his feet are rocks and barbed wire. The soldier is dressed in his uniform, including a helmet, and carries a pack on his back. Around his neck he wears a square pouch and hanging from his ammunition belt are a canteen and his bayonet. The sculpture rests on a square base with two steps at the bottom.” (Smithsonian American Art Museum.)

The Doughboy statue was designed by John Paulding (1883-1935), a prominent American sculptor well known for his World War 1 memorials. Paulding created four variations in his “Over the Top” series of sculptures. Three of the four variations can be found throughout the United States, but only two versions of Model 2043-C (with the soldier holding his rifle overhead) are known to exist, the one here at Catskill, New York and the other at Astoria, Oregon. The sculpture was manufactured by the American Art Bronze Foundry in Chicago.
World War I Doughboy statue titled “Over the Top at Cantigny” located in front of Greene County Supreme Court building in the village of Catskill.DoughboyLocated in front of Greene County Supreme Court building in the village of Catskill, the World War I Doughboy statue titled “Over the Top at Cantigny” commemorates those who have served in 10th New York Infantry between July 15, 1917 and July 8, 1919. The Battle of Cantigny, during May 1918 in France, was the first American battle and victory of World War 1. American Army and Marine soldiers of the era were known as “doughboys”, with historians theorizing about several different possible origins of the term.

The life size bronze statue, set upon a tall granite pedestal with commemorative plaques, poignantly details a “World War 1 soldier holding a rifle aloft in his proper right hand as he runs with his proper left leg taking a step forward. At his feet are rocks and barbed wire. The soldier is dressed in his uniform, including a helmet, and carries a pack on his back. Around his neck he wears a square pouch and hanging from his ammunition belt are a canteen and his bayonet. The sculpture rests on a square base with two steps at the bottom.” (Smithsonian American Art Museum.)

The Doughboy statue was designed by John Paulding (1883-1935), a prominent American sculptor well known for his World War 1 memorials. Paulding created four variations in his “Over the Top” series of sculptures. Three of the four variations can be found throughout the United States, but only two versions of Model 2043-C (with the soldier holding his rifle overhead) are known to exist, the one here at Catskill, New York and the other at Astoria, Oregon. The sculpture was manufactured by the American Art Bronze Foundry in Chicago.
World War I Doughboy statue titled “Over the Top at Cantigny” located in front of Greene County Supreme Court building in the village of Catskill.Over the TopLocated in front of Greene County Supreme Court building in the village of Catskill, the World War I Doughboy statue titled “Over the Top at Cantigny” commemorates those who have served in 10th New York Infantry between July 15, 1917 and July 8, 1919. The Battle of Cantigny, during May 1918 in France, was the first American battle and victory of World War 1. American Army and Marine soldiers of the era were known as “doughboys”, with historians theorizing about several different possible origins of the term.

The life size bronze statue, set upon a tall granite pedestal with commemorative plaques, poignantly details a “World War 1 soldier holding a rifle aloft in his proper right hand as he runs with his proper left leg taking a step forward. At his feet are rocks and barbed wire. The soldier is dressed in his uniform, including a helmet, and carries a pack on his back. Around his neck he wears a square pouch and hanging from his ammunition belt are a canteen and his bayonet. The sculpture rests on a square base with two steps at the bottom.” (Smithsonian American Art Museum.)

The Doughboy statue was designed by John Paulding (1883-1935), a prominent American sculptor well known for his World War 1 memorials. Paulding created four variations in his “Over the Top” series of sculptures. Three of the four variations can be found throughout the United States, but only two versions of Model 2043-C (with the soldier holding his rifle overhead) are known to exist, the one here at Catskill, New York and the other at Astoria, Oregon. The sculpture was manufactured by the American Art Bronze Foundry in Chicago.
World War I Doughboy statue titled “Over the Top at Cantigny” located in front of Greene County Supreme Court building in the village of Catskill.10th New York InfantryLocated in front of Greene County Supreme Court building in the village of Catskill, the World War I Doughboy statue titled “Over the Top at Cantigny” commemorates those who have served in 10th New York Infantry between July 15, 1917 and July 8, 1919. The Battle of Cantigny, during May 1918 in France, was the first American battle and victory of World War 1. American Army and Marine soldiers of the era were known as “doughboys”, with historians theorizing about several different possible origins of the term.

The life size bronze statue, set upon a tall granite pedestal with commemorative plaques, poignantly details a “World War 1 soldier holding a rifle aloft in his proper right hand as he runs with his proper left leg taking a step forward. At his feet are rocks and barbed wire. The soldier is dressed in his uniform, including a helmet, and carries a pack on his back. Around his neck he wears a square pouch and hanging from his ammunition belt are a canteen and his bayonet. The sculpture rests on a square base with two steps at the bottom.” (Smithsonian American Art Museum.)

The Doughboy statue was designed by John Paulding (1883-1935), a prominent American sculptor well known for his World War 1 memorials. Paulding created four variations in his “Over the Top” series of sculptures. Three of the four variations can be found throughout the United States, but only two versions of Model 2043-C (with the soldier holding his rifle overhead) are known to exist, the one here at Catskill, New York and the other at Astoria, Oregon. The sculpture was manufactured by the American Art Bronze Foundry in Chicago.
World War I Doughboy statue titled “Over the Top at Cantigny” located in front of Greene County Supreme Court building in the village of Catskill.CantignyLocated in front of Greene County Supreme Court building in the village of Catskill, the World War I Doughboy statue titled “Over the Top at Cantigny” commemorates those who have served in 10th New York Infantry between July 15, 1917 and July 8, 1919. The Battle of Cantigny, during May 1918 in France, was the first American battle and victory of World War 1. American Army and Marine soldiers of the era were known as “doughboys”, with historians theorizing about several different possible origins of the term.

The life size bronze statue, set upon a tall granite pedestal with commemorative plaques, poignantly details a “World War 1 soldier holding a rifle aloft in his proper right hand as he runs with his proper left leg taking a step forward. At his feet are rocks and barbed wire. The soldier is dressed in his uniform, including a helmet, and carries a pack on his back. Around his neck he wears a square pouch and hanging from his ammunition belt are a canteen and his bayonet. The sculpture rests on a square base with two steps at the bottom.” (Smithsonian American Art Museum.)

The Doughboy statue was designed by John Paulding (1883-1935), a prominent American sculptor well known for his World War 1 memorials. Paulding created four variations in his “Over the Top” series of sculptures. Three of the four variations can be found throughout the United States, but only two versions of Model 2043-C (with the soldier holding his rifle overhead) are known to exist, the one here at Catskill, New York and the other at Astoria, Oregon. The sculpture was manufactured by the American Art Bronze Foundry in Chicago.

 

The Doughboy statue was designed by John Paulding (1883-1935), a prominent American sculptor well known for his World War 1 memorials. Paulding created four variations in his “Over the Top” series of sculptures. Three of the four variations can be found throughout the United States, but only two versions of Model 2043-C (with the soldier holding his rifle overhead) are known to exist, the one here at Catskill, New York and the other at Astoria, Oregon. The sculpture was manufactured by the American Art Bronze Foundry in Chicago.

 

World War I Doughboy statue titled “Over the Top at Cantigny” located in front of Greene County Supreme Court building in the village of Catskill.Remember CantignyLocated in front of Greene County Supreme Court building in the village of Catskill, the World War I Doughboy statue titled “Over the Top at Cantigny” commemorates those who have served in 10th New York Infantry between July 15, 1917 and July 8, 1919. The Battle of Cantigny, during May 1918 in France, was the first American battle and victory of World War 1. American Army and Marine soldiers of the era were known as “doughboys”, with historians theorizing about several different possible origins of the term.

The life size bronze statue, set upon a tall granite pedestal with commemorative plaques, poignantly details a “World War 1 soldier holding a rifle aloft in his proper right hand as he runs with his proper left leg taking a step forward. At his feet are rocks and barbed wire. The soldier is dressed in his uniform, including a helmet, and carries a pack on his back. Around his neck he wears a square pouch and hanging from his ammunition belt are a canteen and his bayonet. The sculpture rests on a square base with two steps at the bottom.” (Smithsonian American Art Museum.)

The Doughboy statue was designed by John Paulding (1883-1935), a prominent American sculptor well known for his World War 1 memorials. Paulding created four variations in his “Over the Top” series of sculptures. Three of the four variations can be found throughout the United States, but only two versions of Model 2043-C (with the soldier holding his rifle overhead) are known to exist, the one here at Catskill, New York and the other at Astoria, Oregon. The sculpture was manufactured by the American Art Bronze Foundry in Chicago.
World War I Doughboy statue titled “Over the Top at Cantigny” located in front of Greene County Supreme Court building in the village of Catskill.Hail O' Hail O' InfantryLocated in front of Greene County Supreme Court building in the village of Catskill, the World War I Doughboy statue titled “Over the Top at Cantigny” commemorates those who have served in 10th New York Infantry between July 15, 1917 and July 8, 1919. The Battle of Cantigny, during May 1918 in France, was the first American battle and victory of World War 1. American Army and Marine soldiers of the era were known as “doughboys”, with historians theorizing about several different possible origins of the term.

The life size bronze statue, set upon a tall granite pedestal with commemorative plaques, poignantly details a “World War 1 soldier holding a rifle aloft in his proper right hand as he runs with his proper left leg taking a step forward. At his feet are rocks and barbed wire. The soldier is dressed in his uniform, including a helmet, and carries a pack on his back. Around his neck he wears a square pouch and hanging from his ammunition belt are a canteen and his bayonet. The sculpture rests on a square base with two steps at the bottom.” (Smithsonian American Art Museum.)

The Doughboy statue was designed by John Paulding (1883-1935), a prominent American sculptor well known for his World War 1 memorials. Paulding created four variations in his “Over the Top” series of sculptures. Three of the four variations can be found throughout the United States, but only two versions of Model 2043-C (with the soldier holding his rifle overhead) are known to exist, the one here at Catskill, New York and the other at Astoria, Oregon. The sculpture was manufactured by the American Art Bronze Foundry in Chicago.
World War I Doughboy statue titled “Over the Top at Cantigny” located in front of Greene County Supreme Court building in the village of Catskill.Queen of BattleLocated in front of Greene County Supreme Court building in the village of Catskill, the World War I Doughboy statue titled “Over the Top at Cantigny” commemorates those who have served in 10th New York Infantry between July 15, 1917 and July 8, 1919. The Battle of Cantigny, during May 1918 in France, was the first American battle and victory of World War 1. American Army and Marine soldiers of the era were known as “doughboys”, with historians theorizing about several different possible origins of the term.

The life size bronze statue, set upon a tall granite pedestal with commemorative plaques, poignantly details a “World War 1 soldier holding a rifle aloft in his proper right hand as he runs with his proper left leg taking a step forward. At his feet are rocks and barbed wire. The soldier is dressed in his uniform, including a helmet, and carries a pack on his back. Around his neck he wears a square pouch and hanging from his ammunition belt are a canteen and his bayonet. The sculpture rests on a square base with two steps at the bottom.” (Smithsonian American Art Museum.)

The Doughboy statue was designed by John Paulding (1883-1935), a prominent American sculptor well known for his World War 1 memorials. Paulding created four variations in his “Over the Top” series of sculptures. Three of the four variations can be found throughout the United States, but only two versions of Model 2043-C (with the soldier holding his rifle overhead) are known to exist, the one here at Catskill, New York and the other at Astoria, Oregon. The sculpture was manufactured by the American Art Bronze Foundry in Chicago.
World War I Doughboy statue titled “Over the Top at Cantigny” located in front of Greene County Supreme Court building in the village of Catskill.Paulding's "Over the Top"Located in front of Greene County Supreme Court building in the village of Catskill, the World War I Doughboy statue titled “Over the Top at Cantigny” commemorates those who have served in 10th New York Infantry between July 15, 1917 and July 8, 1919. The Battle of Cantigny, during May 1918 in France, was the first American battle and victory of World War 1. American Army and Marine soldiers of the era were known as “doughboys”, with historians theorizing about several different possible origins of the term.

The life size bronze statue, set upon a tall granite pedestal with commemorative plaques, poignantly details a “World War 1 soldier holding a rifle aloft in his proper right hand as he runs with his proper left leg taking a step forward. At his feet are rocks and barbed wire. The soldier is dressed in his uniform, including a helmet, and carries a pack on his back. Around his neck he wears a square pouch and hanging from his ammunition belt are a canteen and his bayonet. The sculpture rests on a square base with two steps at the bottom.” (Smithsonian American Art Museum.)

The Doughboy statue was designed by John Paulding (1883-1935), a prominent American sculptor well known for his World War 1 memorials. Paulding created four variations in his “Over the Top” series of sculptures. Three of the four variations can be found throughout the United States, but only two versions of Model 2043-C (with the soldier holding his rifle overhead) are known to exist, the one here at Catskill, New York and the other at Astoria, Oregon. The sculpture was manufactured by the American Art Bronze Foundry in Chicago.

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[email protected] (American Catskills) 10th New York Infantry American Art Bronze Foundry Army Astoria battle bronze Catskill Catskill Mountains Catskills Chicago court courthouse doughboy East Side Historic District foundry France granite Greene County Greene County Supreme Court John Paulding Marine memorial Model 2043-C monument National Register of Historic Places New York Oregon Over the Top Over the Top at Cantigny photographer photographs photos plaque rifle sculptor sculpture Smithsonian Smithsonian American Art Museum soldier statue tourism travel veteran victory World War 1 WWI https://www.americancatskills.com/blog/2022/1/over-the-top-at-cantigny Sat, 15 Jan 2022 13:00:00 GMT
Cedar Grove (Home of Thomas Cole) https://www.americancatskills.com/blog/2022/1/cedar-grove-home-of-thomas-cole Thomas Cole (1801-1848) was perhaps the most prominent American landscape painter of his time. His depictions of the Catskills captured the imagination of the American public, offering a sense of national pride in the country’s natural beauty. His paintings offered the belief that the vast and awe-inspiring American landscape was sublime, a reflection of God, with nature ultimately inseparable from religion. Cole, through his masterful landscapes and interpretation of nature, is widely renowned as the founder of Hudson River School, the first uniquely American art movement. The fourth highest peak in the Catskills is named in his honor.

 

Cedar Grove, the home of Thomas Cole, is located in the village of Catskill, New York.Cedar Grove (Home of Thomas Cole)Thomas Cole (1801-1848) was perhaps the most prominent American landscape painter of his time. His depictions of the Catskills captured the imagination of the American public, offering a sense of national pride in the country’s natural beauty. His paintings offered the belief that the vast and awe-inspiring American landscape was sublime, a reflection of God, with nature ultimately inseparable from religion. Cole, through his masterful landscapes and interpretation of nature, is widely renowned as the founder of Hudson River School, the first uniquely American art movement. The fourth highest peak in the Catskills is named in his honor.

Thomas Cole first came to Cedar Grove, the farm of John A. Thompson, in the 1820’s and eventually called it home after marrying one Thompson’s nieces. The current property, set on 5 acres of the original estate, includes Cole’s home, his original studio and wonderful panoramic views of the Catskill Mountains. Guided tours, a visitor center and a gift shop are also available. Cedar Grove is listed on the National Register of Historic Places.

 

Cedar Grove, the home of Thomas Cole, is located in the village of Catskill, New York.Cedar Grove (Home of Thomas Cole)Thomas Cole (1801-1848) was perhaps the most prominent American landscape painter of his time. His depictions of the Catskills captured the imagination of the American public, offering a sense of national pride in the country’s natural beauty. His paintings offered the belief that the vast and awe-inspiring American landscape was sublime, a reflection of God, with nature ultimately inseparable from religion. Cole, through his masterful landscapes and interpretation of nature, is widely renowned as the founder of Hudson River School, the first uniquely American art movement. The fourth highest peak in the Catskills is named in his honor.

Thomas Cole first came to Cedar Grove, the farm of John A. Thompson, in the 1820’s and eventually called it home after marrying one Thompson’s nieces. The current property, set on 5 acres of the original estate, includes Cole’s home, his original studio and wonderful panoramic views of the Catskill Mountains. Guided tours, a visitor center and a gift shop are also available. Cedar Grove is listed on the National Register of Historic Places.

 

Cedar Grove, the home of Thomas Cole, is located in the village of Catskill, New York.The Home of Thomas ColeThomas Cole (1801-1848) was perhaps the most prominent American landscape painter of his time. His depictions of the Catskills captured the imagination of the American public, offering a sense of national pride in the country’s natural beauty. His paintings offered the belief that the vast and awe-inspiring American landscape was sublime, a reflection of God, with nature ultimately inseparable from religion. Cole, through his masterful landscapes and interpretation of nature, is widely renowned as the founder of Hudson River School, the first uniquely American art movement. The fourth highest peak in the Catskills is named in his honor.

Thomas Cole first came to Cedar Grove, the farm of John A. Thompson, in the 1820’s and eventually called it home after marrying one Thompson’s nieces. The current property, set on 5 acres of the original estate, includes Cole’s home, his original studio and wonderful panoramic views of the Catskill Mountains. Guided tours, a visitor center and a gift shop are also available. Cedar Grove is listed on the National Register of Historic Places.

 

Thomas Cole first came to Cedar Grove, the farm of John A. Thompson, in the 1820’s and eventually called it home after marrying one Thompson’s nieces. Cedar Grove is located on a hill on the west bank of the Hudson River at the village of Catskill, New York. The house was constructed between 1812 and 1814.

 

Cedar Grove, the home of Thomas Cole, is located in the village of Catskill, New York.View of the CatskillsThomas Cole (1801-1848) was perhaps the most prominent American landscape painter of his time. His depictions of the Catskills captured the imagination of the American public, offering a sense of national pride in the country’s natural beauty. His paintings offered the belief that the vast and awe-inspiring American landscape was sublime, a reflection of God, with nature ultimately inseparable from religion. Cole, through his masterful landscapes and interpretation of nature, is widely renowned as the founder of Hudson River School, the first uniquely American art movement. The fourth highest peak in the Catskills is named in his honor.

Thomas Cole first came to Cedar Grove, the farm of John A. Thompson, in the 1820’s and eventually called it home after marrying one Thompson’s nieces. The current property, set on 5 acres of the original estate, includes Cole’s home, his original studio and wonderful panoramic views of the Catskill Mountains. Guided tours, a visitor center and a gift shop are also available. Cedar Grove is listed on the National Register of Historic Places.

 

The current property, set on 5 acres of the original estate, includes Cole’s home, his original studio and wonderful panoramic views of the Catskill Mountains. Guided tours, a visitor center and a gift shop are also available. Cedar Grove is listed on the National Register of Historic Places.

 

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[email protected] (American Catskills) architecture art art movement artist building Catskill Mountains Catskills Cedar Grove estate home Hudson River School John A. Thompson landscape Matthew Jarnich National Register of Historic Places New York painter painting photographer photographs photos studio Thomas Cole tourism travel https://www.americancatskills.com/blog/2022/1/cedar-grove-home-of-thomas-cole Sat, 08 Jan 2022 13:00:00 GMT
Broadway Theater: Movie Night in Monticello https://www.americancatskills.com/blog/2022/1/broadway-theater-movie-night-in-monticello The abandoned art deco Broadway Theater in the village of Monticello was a classic single screen theater. It started operating by circa 1930. According to the 1945 Film Daily Year Book the theater had 570 seats, although it was later expanded to approximately 1,000 seats.

 

The abandoned Broadway Theatre in Monticello, New York was a classic single screen theater.BroadwayThe abandoned Broadway Theatre in the village of Monticello was a classic single screen theater. According to the 1945 Film Daily Year Book the theatre had 570 seats. It has been long out of business. The old school marquee remains however and offers a poignant testament to what once was.

 

The abandoned Broadway Theatre in Monticello, New York was a classic single screen theater.Broadway TheatreThe abandoned Broadway Theatre in the village of Monticello was a classic single screen theater. According to the 1945 Film Daily Year Book the theatre had 570 seats. It has been long out of business. The old school marquee remains however and offers a poignant testament to what once was.

 

The Broadway Theater is listed on the National Register of Historic Places as part of the Broadway Historic District in Monticello, New York. The historic district is comprised of 78 contributing properties along four blocks of Broadway, Monticello’s principal commercial street. The district generally extends along Broadway from Pleasant Street to the east and Liberty Street to the west. The district captures the “important commercial, educational and religious properties that relate to the significance of the community center.” The district was deemed significant “for its important associations with the history and development of Sullivan County and as the commercial center of Sullivan County in the Southern Catskills during the period when it thrived as a summer resort destination for thousands of Jewish families living in New York City.”

 

On the historic district’s application for inclusion on the National Register the Broadway Theater was described in detail, from both an historical perspective and an architectural perspective.

 

From an historical perspective, “the Broadway Theater, another small cinema catering to summer tourists, was opened in the next block west of Liberty Street at 498 Broadway by 1930. The one-story brick façade has been painted white, obscuring the white barbell decoration in the frieze and along the edge of the parapet. It retains a cantilevered metal marquee over a central entrance flanked by storefronts, two of which have been closed in by metal security doors. The theater is the centerpiece of an enclave of small one-story commercial buildings west of Liberty Street that terminate, with the historic district, at Monument Park, created around one of the village’s Civil War monuments that was moved there in 1970.”

 

From an architectural perspective the Broadway Theater was described as a “1 sty [story] masonry theater building, flat roof, brick façade painted white w/ tapestry brick in parapet, 4 piers at corners and flanking center bay containing metal theater marquee, large pointed barbells embedded in upper wall, 3 on each side of marquee, central entryway and one storefront shuttered, second storefront currently in use.”

 

In 1986 the Broadway Theater was purchased from Milton Kutscher, owner of the nearby Kutscher Hotel and Country Club, by Steven A. Klar, a lawyer, developer and old-time movie buff. Klar completely renovated the theater, including installing new seat upholstery, cleaning the marquee and replacing the movie screen. In June of 1986 the theater reopened with a tribute to Irving Berlin, a 10-minute sing-along and newsreels from the 1930s. On either side of the theater Klar also planned to build an ice-cream parlor, a candy store and movie museum. (Gutis, Phillip S. “Catskills Revivals.” New York Times. June 15, 1986.)

 

The abandoned Broadway Theatre in Monticello, New York was a classic single screen theater.Long GoneThe abandoned Broadway Theatre in the village of Monticello was a classic single screen theater. According to the 1945 Film Daily Year Book the theatre had 570 seats. It has been long out of business. The old school marquee remains however and offers a poignant testament to what once was.

 

The abandoned Broadway Theatre in Monticello, New York was a classic single screen theater.The Forgotten BroadwayThe abandoned Broadway Theatre in the village of Monticello was a classic single screen theater. According to the 1945 Film Daily Year Book the theatre had 570 seats. It has been long out of business. The old school marquee remains however and offers a poignant testament to what once was.

 

The abandoned Broadway Theatre in Monticello, New York was a classic single screen theater.The Show Didn't Go OnThe abandoned Broadway Theatre in the village of Monticello was a classic single screen theater. According to the 1945 Film Daily Year Book the theatre had 570 seats. It has been long out of business. The old school marquee remains however and offers a poignant testament to what once was.

 

The Broadway Theater has been long out of business, and was available for purchase for many years. In perhaps an optimistic appraisal of its prospects, one real estate listing described the theater. “Bring the Broadway Theater back to life! Located on the main drag of the Village of Monticello, home of the NEW Resorts World Casino as well as the New Water Park and Yoga Center. Monticello is in the midst of a Renaissance. The face-lift has begun, and this is a ground floor opportunity. This is a huge project for someone with a vision to make this property shine again. Theater currently houses one screen and 800+ seats. The building in need of extensive rehabilitation, but construction seems solid. Systems have been off for some time, no representations. There are 2 storefronts in the building, one on each side of the theater entrance. Property is "L" shaped, includes a private parking lot, and abuts public parking lot in rear. Fronts on Broadway and also Liberty Street with parking. Near to Post Office, restaurants church, many other stores and businesses.”

 

Despite its near abandonment, the theater maintains some of its charm due to the old-fashioned marquee that remains, which offers a poignant testament to what once was the thriving business and entertainment district of Monticello, New York.

 

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[email protected] (American Catskills) abandoned architecture Broadway Theater Broadway Theatre building Catskill Mountains Catskills Film Daily Year Book ghost sign marquee Monticello movie National Register of Historic Places photographs photography photos sign Sullivan County theater theatre travel https://www.americancatskills.com/blog/2022/1/broadway-theater-movie-night-in-monticello Sat, 01 Jan 2022 13:00:00 GMT
O. & W. Railway Museum at Roscoe https://www.americancatskills.com/blog/2021/12/o-w-railway-museum-at-roscoe The New York, Ontario and Western Railway (N.Y. O. & W.) was a regional railroad that operated from 1868 to 1957. The railroad ran from Weehawken, New Jersey to Cornwall on the Hudson River and then on to Oswego on Lake Ontario, with branches to Kingston, Port Jervis, Monticello, Delhi, Utica, Rome and Scranton. The railroad entered bankruptcy in 1937 due to lower passenger traffic (largely due to improved automobile roads), declining coal shipments and outdated equipment. The railroad never emerged from that bankruptcy, and was liquidated in 1957, becoming the first US Class I railroad to be abandoned.

 

The refurbished N.Y. O. & W. caboose #8487 (ex-Erie Railroad C110 / EL110 / CR46109) is part of an outdoor display located at the O. & W. Railway Museum at Roscoe.Caboose #8487The New York, Ontario and Western Railway (N.Y. O. & W.) was a regional railroad that operated from 1868 to 1957. The railroad ran from Weehawken, New Jersey to Cornwall on the Hudson River and then on to Oswego on Lake Ontario, with branches to Kingston, Port Jervis, Monticello, Delhi, Utica, Rome and Scranton. The railroad entered bankruptcy in 1937 due to lower passenger traffic (largely due to improved automobile roads), declining coal shipments and outdated equipment. The railroad never emerged from that bankruptcy, and was liquidated in 1957, becoming the first US Class I railroad to be abandoned.

The refurbished N.Y. O. & W. caboose #8487 (ex-Erie Railroad C110 / EL110 / CR46109), seen here, is part of an outdoor display located at the O. & W. Railway Museum at the hamlet of Roscoe in Sullivan County. The museum, located at a former auto garage, was founded in 1984 to help tell the story of the O. & W. and its impact on farming, tourism, hunting, fishing and community life.

 

The refurbished N.Y. O. & W. caboose #8487 (ex-Erie Railroad C110 / EL110 / CR46109) is part of an outdoor display located at the O. & W. Railway Museum at Roscoe.N. Y. O. & W.The New York, Ontario and Western Railway (N.Y. O. & W.) was a regional railroad that operated from 1868 to 1957. The railroad ran from Weehawken, New Jersey to Cornwall on the Hudson River and then on to Oswego on Lake Ontario, with branches to Kingston, Port Jervis, Monticello, Delhi, Utica, Rome and Scranton. The railroad entered bankruptcy in 1937 due to lower passenger traffic (largely due to improved automobile roads), declining coal shipments and outdated equipment. The railroad never emerged from that bankruptcy, and was liquidated in 1957, becoming the first US Class I railroad to be abandoned.

The refurbished N.Y. O. & W. caboose #8487 (ex-Erie Railroad C110 / EL110 / CR46109), seen here, is part of an outdoor display located at the O. & W. Railway Museum at the hamlet of Roscoe in Sullivan County. The museum, located at a former auto garage, was founded in 1984 to help tell the story of the O. & W. and its impact on farming, tourism, hunting, fishing and community life.

 

The refurbished N.Y. O. & W. caboose #8487 (ex-Erie Railroad C110 / EL110 / CR46109) is part of an outdoor display located at the O. & W. Railway Museum at the hamlet of Roscoe in Sullivan County. The museum, located at a former auto garage, was founded in 1984 to help tell the story of the O. & W. and its impact on farming, tourism, hunting, fishing and community life.

 

The refurbished N.Y. O. & W. caboose #8487 (ex-Erie Railroad C110 / EL110 / CR46109) is part of an outdoor display located at the O. & W. Railway Museum at Roscoe.# 8487The New York, Ontario and Western Railway (N.Y. O. & W.) was a regional railroad that operated from 1868 to 1957. The railroad ran from Weehawken, New Jersey to Cornwall on the Hudson River and then on to Oswego on Lake Ontario, with branches to Kingston, Port Jervis, Monticello, Delhi, Utica, Rome and Scranton. The railroad entered bankruptcy in 1937 due to lower passenger traffic (largely due to improved automobile roads), declining coal shipments and outdated equipment. The railroad never emerged from that bankruptcy, and was liquidated in 1957, becoming the first US Class I railroad to be abandoned.

The refurbished N.Y. O. & W. caboose #8487 (ex-Erie Railroad C110 / EL110 / CR46109), seen here, is part of an outdoor display located at the O. & W. Railway Museum at the hamlet of Roscoe in Sullivan County. The museum, located at a former auto garage, was founded in 1984 to help tell the story of the O. & W. and its impact on farming, tourism, hunting, fishing and community life.

 

The refurbished N.Y. O. & W. caboose #8487 (ex-Erie Railroad C110 / EL110 / CR46109) is part of an outdoor display located at the O. & W. Railway Museum at Roscoe.Roscoe StationThe New York, Ontario and Western Railway (N.Y. O. & W.) was a regional railroad that operated from 1868 to 1957. The railroad ran from Weehawken, New Jersey to Cornwall on the Hudson River and then on to Oswego on Lake Ontario, with branches to Kingston, Port Jervis, Monticello, Delhi, Utica, Rome and Scranton. The railroad entered bankruptcy in 1937 due to lower passenger traffic (largely due to improved automobile roads), declining coal shipments and outdated equipment. The railroad never emerged from that bankruptcy, and was liquidated in 1957, becoming the first US Class I railroad to be abandoned.

The refurbished N.Y. O. & W. caboose #8487 (ex-Erie Railroad C110 / EL110 / CR46109) is part of an outdoor display located at the O. & W. Railway Museum at the hamlet of Roscoe in Sullivan County. The museum, located at a former auto garage, was founded in 1984 to help tell the story of the O. & W. and its impact on farming, tourism, hunting, fishing and community life.

 

The O. & W. Railway Museum, which was founded in 1984, is located at 7 Railroad Avenue in Roscoe, New York. It is generally open on the weekends from Memorial Day to Columbus Day. For more information about the O. & W. railroad and its history, please visit the Ontario & Western Historical Society website at www.nyow.org.

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[email protected] (American Catskills) caboose Catskill Mountains Catskills Cornwall Delhi Erie Railroad Jervis Kingston Matthew Jarnich Monticello museum N.Y. O. & W. New York O. & W. O. & W. Railway Museum Ontario and Western Railway Oswego photographer photographs photography photos Port railroad railway Rome Roscoe Scranton Sullivan County tourism tourist train travel trout Utica Weehawken https://www.americancatskills.com/blog/2021/12/o-w-railway-museum-at-roscoe Sat, 25 Dec 2021 13:00:00 GMT
Russell Brook Falls https://www.americancatskills.com/blog/2021/12/russell-brook-falls Russell Brook Falls is a scenic, relatively out-of-the-way, two-tiered waterfall located in the southwestern corner of the Catskill Park in the Delaware Wild Forest. The Russell Brook, the name of both the brook and falls, flows downstream for approximately 3.7 miles, joining the Beaverkill River at Butter Nut Grove. The trailhead used for accessing Russell Brook Falls is popular with fishermen hiking to the appropriately named Trout Pond and the not-as-attractively named Mud Pond.

 

Russell Brook Falls is a scenic waterfall located near Roscoe in the southwestern corner of the Catskill Park in the Delaware Wild Forest.Russell Brook FallsCooks Falls, Delaware County

Russell Brook Falls is a scenic, relatively out-of-the-way two-tiered waterfall located in the southwestern corner of the Catskill Park in the Delaware Wild Forest. The Russell Brook, the name of both the brook and falls, flows downstream for approximately 3.7 miles, joining the Beaverkill River at Butter Nut Grove. The trailhead used for accessing Russell Brook Falls is popular with fishermen hiking to the appropriately named Trout Pond and the not-as-attractively named Mud Pond.

 

Despite its idyllic surroundings Russell Brook Falls became the site of a tragic murder in the spring of 1992. On May 3, 1992 Rosemary Denis, a child support investigator for the Schenectady County Department of Social Services, and her husband Marvin Denis, a General Electric engineer, were on an outing to the falls. During the picnicking and photography trip 49-year-old Rosemary fell off a 35-foot cliff ledge at the top of the falls, landing in a pool of water at the base.

 

The cause of death was originally filed as accidental, being the result of the fall. However, a subsequent autopsy revealed that the cause of the victim's death was drowning, and not the injuries she sustained as a result of the fall.

 

Although police thought the death to be suspicious there was originally not enough evidence to file charges against Denis. Continuously building the case over the years, the police expanded the investigation, including re-interviewing witnesses, while looking for motive, opportunity and intent.

 

On the day of the murder Anthony Gooler and Robert Nevelle, two key witnesses who were fishing near the falls, claimed to have heard Rosemary’s high-pitched scream during the fall. Soon thereafter Denis rushed past them, but did not ask for help. Then, upon approaching the scene, both Gooler and Nevelle testified that they witnessed Denis straddling his wife while attempting to hold her head underwater. Denis, upon seeing the fisherman, rolled her over, pulled her to his chest and then yelled for help. It was never determined what caused the victim's fall.

 

Prosecutors claimed the Denis killed his wife so that he could have an affair with Rhodel Green, a co-worker, a woman he later married in 1996. Prosecutors also claimed that Denis did not want a divorce because he did not want to split up their assets, including his pension. More than six years later, in September 1998, Denis was charged with a single count of intentional murder in the second degree.

 

In his defense Denis claimed that his wife had slipped off the ledge while taking photographs. He said he had started walking to the bottom of the falls so that she could take a picture of him. He thought he heard her call his name, and therefore started making his way back up the hillside. When he got to the top, he saw her body in the water below. He then claimed to have rushed down to the base where he attempted to revive her using cardiopulmonary resuscitation. He said he tried to get her out of the water but that she was too heavy. Denis testified that he was not having an affair with Rhodel Green at the time of his wife’s death.

 

After a highly publicized 2 1/2-week trial in 1999, the 12-person jury deliberated for three days before finding Denis guilty as charged of felony second-degree murder. Delaware County District Attorney stated that “this was not a spontaneous act committed on the spur of the moment out of anger, fear or rage. This was premeditated, cold-blooded murder.” (Jump, Linda. “Denis get 25 to life for wife’s death.” Press and Sun-Bulletin. August 24, 1999.) Denis was sentenced to a prison term of 25 years to life, and began serving his life sentence at a maximum-security prison in Clinton County.

 

Russell Brook Falls is a scenic waterfall located near Roscoe in the southwestern corner of the Catskill Park in the Delaware Wild Forest.Russell Brook FallsCooks Falls, Delaware County

Russell Brook Falls is a scenic, relatively out-of-the-way two-tiered waterfall located in the southwestern corner of the Catskill Park in the Delaware Wild Forest. The Russell Brook, the name of both the brook and falls, flows downstream for approximately 3.7 miles, joining the Beaverkill River at Butter Nut Grove. The trailhead used for accessing Russell Brook Falls is popular with fishermen hiking to the appropriately named Trout Pond and the not-as-attractively named Mud Pond.

Russell Brook Falls is a scenic waterfall located near Roscoe in the southwestern corner of the Catskill Park in the Delaware Wild Forest.Russell Brook FallsCooks Falls, Delaware County

Russell Brook Falls is a scenic, relatively out-of-the-way two-tiered waterfall located in the southwestern corner of the Catskill Park in the Delaware Wild Forest. The Russell Brook, the name of both the brook and falls, flows downstream for approximately 3.7 miles, joining the Beaverkill River at Butter Nut Grove. The trailhead used for accessing Russell Brook Falls is popular with fishermen hiking to the appropriately named Trout Pond and the not-as-attractively named Mud Pond.

Russell Brook Falls is a scenic waterfall located near Roscoe in the southwestern corner of the Catskill Park in the Delaware Wild Forest.Russell Brook FallsCooks Falls, Delaware County

Russell Brook Falls is a scenic, relatively out-of-the-way two-tiered waterfall located in the southwestern corner of the Catskill Park in the Delaware Wild Forest. The Russell Brook, the name of both the brook and falls, flows downstream for approximately 3.7 miles, joining the Beaverkill River at Butter Nut Grove. The trailhead used for accessing Russell Brook Falls is popular with fishermen hiking to the appropriately named Trout Pond and the not-as-attractively named Mud Pond.

Russell Brook Falls is a scenic waterfall located near Roscoe in the southwestern corner of the Catskill Park in the Delaware Wild Forest.Upper Russell Brook FallsCooks Falls, Delaware County

Russell Brook Falls is a scenic, relatively out-of-the-way two-tiered waterfall located in the southwestern corner of the Catskill Park in the Delaware Wild Forest. The Russell Brook, the name of both the brook and falls, flows downstream for approximately 3.7 miles, joining the Beaverkill River at Butter Nut Grove. The trailhead used for accessing Russell Brook Falls is popular with fishermen hiking to the appropriately named Trout Pond and the not-as-attractively named Mud Pond.

 

Sources:

(Supreme Court, Appellate Division, Third Department, New York. The People of the State of New York, Respondent, v. Marvin L. Denis, Appellant. Decided: November 22, 2000.)

 

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[email protected] (American Catskills) Beaverkill River brook Butter Nut Grove Catskill Mountains Catskills Cooks Falls Delaware County Delaware Wild Forest fish fishermen fishing forest hike hiker hiking Marvin Denis Matthew Jarnich Morton Hill Road Mud Pond New York photographs photography photos pictures river Roscoe Rosemary Denis Russell Brook Russell Brook Falls Russell Brook Road tourism tourist trail trailhead Trout Pond water waterfall wild forest https://www.americancatskills.com/blog/2021/12/russell-brook-falls Sat, 18 Dec 2021 13:00:00 GMT
1st Church of the Little Green Man https://www.americancatskills.com/blog/2021/12/1st-church-of-the-little-green-man The 1st Church of the Little Green Man is the creation of the eccentrically creative artist Mike Osterhout. As a self-proclaimed “minister,” Osterhout led the obscure Church of the Little Green Man as a form of performance art in the East Village of Manhattan in the 1980s. Holding court in former bars and strip clubs, Osterhout would lead the church band, the Workdogs, while church attendees were notoriously required to burn a dollar bill at the “eternal flame” as the price of admission. Osterhout was also the singer for the band Purple Geezus, described in a 1988 NY Post article as a “psychedelic hard rock band with jazz and blues influences”. Osterhout eventually left New York and now occasionally hosts “services” at his 1st Church of the Little Green Man in the small rural hamlet of Glen Wild in Sullivan County.

 

The 1st Church of the Little Green Man is located at the hamlet of Glen Wild in Sullivan County, New York.1st Church of the Little Green ManGlen Wild, Sullivan County

The 1st Church of the Little Green Man is the creation of the eccentrically creative artist Mike Osterhout. As a self-proclaimed “minister” (of some sort), Osterhout led the obscure Church of the Little Green Man as a form of performance art in the East Village of Manhattan in the 1980s. Holding court in former bars and strip clubs, Osterhout would lead the church band, the Workdogs, while church attendees were notoriously required to burn a dollar bill at the “eternal flame” as the price of admission. Osterhout was also the singer for the band Purple Geezus, described in a 1988 NY Post article as a “psychedelic hard rock band with jazz and blues influences”. Osterhout eventually left New York and now occasionally hosts “services” in the small rural hamlet of Glen Wild in Sullivan County.

Until its purchase and renaming by Osterhout, the Little Green Man church building was known as the Glen Wild Methodist Church. The charming church was constructed in 1867 at a cost of $3,169. It served the community for nearly 100 years until declining church membership led to its sale. It is listed on the National Register of Historic Places.

 

The 1st Church of the Little Green Man is located at the hamlet of Glen Wild in Sullivan County, New York.1st Church of the Little Green ManGlen Wild, Sullivan County

The 1st Church of the Little Green Man is the creation of the eccentrically creative artist Mike Osterhout. As a self-proclaimed “minister” (of some sort), Osterhout led the obscure Church of the Little Green Man as a form of performance art in the East Village of Manhattan in the 1980s. Holding court in former bars and strip clubs, Osterhout would lead the church band, the Workdogs, while church attendees were notoriously required to burn a dollar bill at the “eternal flame” as the price of admission. Osterhout was also the singer for the band Purple Geezus, described in a 1988 NY Post article as a “psychedelic hard rock band with jazz and blues influences”. Osterhout eventually left New York and now occasionally hosts “services” in the small rural hamlet of Glen Wild in Sullivan County.

Until its purchase and renaming by Osterhout, the Little Green Man church building was known as the Glen Wild Methodist Church. The charming church was constructed in 1867 at a cost of $3,169. It served the community for nearly 100 years until declining church membership led to its sale. It is listed on the National Register of Historic Places.

 

Until its purchase and renaming by Osterhout, the Little Green Man church building was known as the Glen Wild Methodist Church, and before that as the Fletcher Centenary Church. The church congregation was originally formed in 1807 with three or four members; and was formally organized on October 17, 1866. At that time the land for the church was purchased for $200 from Joseph W. Hait. The church building, with seating for 200 people, was constructed at a cost of $3,169, the building being dedicated the following year in 1867.

 

As of 1872, approximately five years after its construction, there were approximately 50 members in the church, and the congregation was led by Reverend Charles H. Reynolds. Also as of 1872 the Glen Wild hamlet consisted of one store, one school, two saw mills, a wagon shop, a blacksmith shop and eight houses. (Child, Hamilton. Gazetteer and Business Directory of Sullivan County, N.Y. for 1872-3. Syracuse: Journal Office, 1872. Page 196-I.)

 

The church bell was removed in 1885 due to its excessive weight posing a threat to the building. Electricity was added in 1914, with light fixtures replacing the original kerosene lamps.

 

The 1st Church of the Little Green Man is located at the hamlet of Glen Wild in Sullivan County, New York.Casinos: Vote NoGlen Wild, Sullivan County

The 1st Church of the Little Green Man is the creation of the eccentrically creative artist Mike Osterhout. As a self-proclaimed “minister” (of some sort), Osterhout led the obscure Church of the Little Green Man as a form of performance art in the East Village of Manhattan in the 1980s. Holding court in former bars and strip clubs, Osterhout would lead the church band, the Workdogs, while church attendees were notoriously required to burn a dollar bill at the “eternal flame” as the price of admission. Osterhout was also the singer for the band Purple Geezus, described in a 1988 NY Post article as a “psychedelic hard rock band with jazz and blues influences”. Osterhout eventually left New York and now occasionally hosts “services” in the small rural hamlet of Glen Wild in Sullivan County.

Until its purchase and renaming by Osterhout, the Little Green Man church building was known as the Glen Wild Methodist Church. The charming church was constructed in 1867 at a cost of $3,169. It served the community for nearly 100 years until declining church membership led to its sale. It is listed on the National Register of Historic Places.

 

The 1st Church of the Little Green Man is located at the hamlet of Glen Wild in Sullivan County, New York.1st Church of the Little Green ManGlen Wild, Sullivan County

The 1st Church of the Little Green Man is the creation of the eccentrically creative artist Mike Osterhout. As a self-proclaimed “minister” (of some sort), Osterhout led the obscure Church of the Little Green Man as a form of performance art in the East Village of Manhattan in the 1980s. Holding court in former bars and strip clubs, Osterhout would lead the church band, the Workdogs, while church attendees were notoriously required to burn a dollar bill at the “eternal flame” as the price of admission. Osterhout was also the singer for the band Purple Geezus, described in a 1988 NY Post article as a “psychedelic hard rock band with jazz and blues influences”. Osterhout eventually left New York and now occasionally hosts “services” in the small rural hamlet of Glen Wild in Sullivan County.

Until its purchase and renaming by Osterhout, the Little Green Man church building was known as the Glen Wild Methodist Church. The charming church was constructed in 1867 at a cost of $3,169. It served the community for nearly 100 years until declining church membership led to its sale. It is listed on the National Register of Historic Places.

 

James Eldridge Quinlan in his 1873 book titled History of Sullivan County wrote of the early days of the Glen Wild religious community. “Itinerant Methodist preachers at an early day preached the Gospel as they understood it to the inhabitants of this region, and gathered within their fold the stray sheep of the wilderness of Glen Wild, and the adjacent neighborhoods. A church edifice belonging to the followers of John Wesley crowns a height east of Denniston’s ford. This church is more in accordance with the rules of architecture than other rural meeting-houses of Sullivan, and is very creditable to those who erected it. It was built in 1866. It is claimed that Methodist preachers visited this locality as early as 1807, and that they formed a class here in that year.” (Page 265.)

 

Quinlan also described how the hamlet of Glen Wild, and thus the church, received its name. “Glen Wild received its name from a remarkable glen or canyon in its neighborhood, through which runs the outlet of Lord’s or Foul Woods lake. At the head of the glen is a beautiful waterfall, which adds much to the impressive wilderness of the scene. On each side of the stream the ascent is so abrupt that the locality was avoided by the lumberman and bark-peeler until a few years since, when, at considerable expense, a road was made to penetrate the gulf. Glen Wild is in what was originally called Miller Settlement.” (Pages 617-618.)

 

The Glen Wild Methodist Church served the community for nearly 100 years until declining church membership led to its sale in 1964. Osterhout, originally from the Sullivan County region, would purchase the church in the spring of 1995. The former one-story, ranch-style church hall, built in 1944 and located adjacent to the church, became his home. Osterhout, in an interview with Roderick Angle, told of how he came into possession of the historic church.

 

“Well, with the church, this is one of those weirdo incidents. But there have been so many in my life; I think there’s got to be reasons for it. I spotted the church in 1986, when I was up here driving around on these old country roads. The front door was open, so I pull over to the side of the road and went inside, and it’s a mess. There was junk everywhere, the roof was leaking, with lawnmowers and crap all over the place. I look down and in the rubble, I kid you not, there’s some old birth certificate or wedding certificate with the name Osterhout on it. It sent chills down my spine. So I leave my business card with a note saying, “If you ever want to sell this church, give me a call.” That was that. So, ten years go by and the phone rings. It’s the guy that owns the church, and he wants to sell it. That was it. Fate had it. I bought it in the spring of ninety-five and moved up here.” (Angle, Roderick. “The Passion of Mike.” An interview with Mike Osterhout. www.medium.com. September 16, 2017.)

 

Despite the changes in its outward appearances and its new-found eccentricities, the Glen Wild Methodist Church is listed on the National Register of Historic Places. The church was noted as “architecturally significant as one of the only known examples of a vernacular board and batten Gothic church in Sullivan County” and as “an exceptionally stylish example of vernacular architecture in the county.”  

 

The 1st Church of the Little Green Man is located at the hamlet of Glen Wild in Sullivan County, New York.No Help Is ComingGlen Wild, Sullivan County

The 1st Church of the Little Green Man is the creation of the eccentrically creative artist Mike Osterhout. As a self-proclaimed “minister” (of some sort), Osterhout led the obscure Church of the Little Green Man as a form of performance art in the East Village of Manhattan in the 1980s. Holding court in former bars and strip clubs, Osterhout would lead the church band, the Workdogs, while church attendees were notoriously required to burn a dollar bill at the “eternal flame” as the price of admission. Osterhout was also the singer for the band Purple Geezus, described in a 1988 NY Post article as a “psychedelic hard rock band with jazz and blues influences”. Osterhout eventually left New York and now occasionally hosts “services” in the small rural hamlet of Glen Wild in Sullivan County.

Until its purchase and renaming by Osterhout, the Little Green Man church building was known as the Glen Wild Methodist Church. The charming church was constructed in 1867 at a cost of $3,169. It served the community for nearly 100 years until declining church membership led to its sale. It is listed on the National Register of Historic Places.

The 1st Church of the Little Green Man is located at the hamlet of Glen Wild in Sullivan County, New York.Vote NoGlen Wild, Sullivan County

The 1st Church of the Little Green Man is the creation of the eccentrically creative artist Mike Osterhout. As a self-proclaimed “minister” (of some sort), Osterhout led the obscure Church of the Little Green Man as a form of performance art in the East Village of Manhattan in the 1980s. Holding court in former bars and strip clubs, Osterhout would lead the church band, the Workdogs, while church attendees were notoriously required to burn a dollar bill at the “eternal flame” as the price of admission. Osterhout was also the singer for the band Purple Geezus, described in a 1988 NY Post article as a “psychedelic hard rock band with jazz and blues influences”. Osterhout eventually left New York and now occasionally hosts “services” in the small rural hamlet of Glen Wild in Sullivan County.

Until its purchase and renaming by Osterhout, the Little Green Man church building was known as the Glen Wild Methodist Church. The charming church was constructed in 1867 at a cost of $3,169. It served the community for nearly 100 years until declining church membership led to its sale. It is listed on the National Register of Historic Places.

 

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[email protected] (American Catskills) 1st Church of the Little Green Man art artist band Catskill Mountains Catskills church community East Village Glen Wild Glen Wild Methodist Church hamlet Manhattan Methodist Mike Osterhout Miller Settlement minister National Register of Historic Places performance art photographs photography photos pictures Purple Geezus singer Sullivan County tourism travel Workdogs https://www.americancatskills.com/blog/2021/12/1st-church-of-the-little-green-man Sat, 11 Dec 2021 13:00:00 GMT
Roaring Kill Falls: A Photographic Study https://www.americancatskills.com/blog/2021/12/roaring-kill-falls-a-photographic-study Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead. The falls drop over a lengthy series of successive cascades ranging in height from 3 to 10 feet and over wide ledges up to 10 yards wide. Large boulders disrupt the chilly, chaotic flow of water downstream as the Roaring Kill (which is the name of the river as well as the falls) makes its way to join with the Schoharie Creek.

 

Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead in the northern Catskills.Roaring Kill FallsPlatte Clove, Greene County

Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead. The falls drop over a lengthy series of successive cascades ranging in height from 3 to 10 feet and over wide ledges up to 10 yards wide. Large boulders disrupt the chilly, chaotic flow of water downstream as the Roaring Kill (which is the name of the river as well as the falls) makes its way to join with the Schoharie Creek.
Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead in the northern Catskills.Roaring Kill FallsPlatte Clove, Greene County

Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead. The falls drop over a lengthy series of successive cascades ranging in height from 3 to 10 feet and over wide ledges up to 10 yards wide. Large boulders disrupt the chilly, chaotic flow of water downstream as the Roaring Kill (which is the name of the river as well as the falls) makes its way to join with the Schoharie Creek.
Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead in the northern Catskills.Roaring Kill FallsPlatte Clove, Greene County

Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead. The falls drop over a lengthy series of successive cascades ranging in height from 3 to 10 feet and over wide ledges up to 10 yards wide. Large boulders disrupt the chilly, chaotic flow of water downstream as the Roaring Kill (which is the name of the river as well as the falls) makes its way to join with the Schoharie Creek.
Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead in the northern Catskills.Roaring Kill FallsPlatte Clove, Greene County

Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead. The falls drop over a lengthy series of successive cascades ranging in height from 3 to 10 feet and over wide ledges up to 10 yards wide. Large boulders disrupt the chilly, chaotic flow of water downstream as the Roaring Kill (which is the name of the river as well as the falls) makes its way to join with the Schoharie Creek.
Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead in the northern Catskills.Roaring Kill FallsPlatte Clove, Greene County

Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead. The falls drop over a lengthy series of successive cascades ranging in height from 3 to 10 feet and over wide ledges up to 10 yards wide. Large boulders disrupt the chilly, chaotic flow of water downstream as the Roaring Kill (which is the name of the river as well as the falls) makes its way to join with the Schoharie Creek.
Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead in the northern Catskills.Roaring Kill FallsPlatte Clove, Greene County

Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead. The falls drop over a lengthy series of successive cascades ranging in height from 3 to 10 feet and over wide ledges up to 10 yards wide. Large boulders disrupt the chilly, chaotic flow of water downstream as the Roaring Kill (which is the name of the river as well as the falls) makes its way to join with the Schoharie Creek.
Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead in the northern Catskills.Roaring Kill FallsPlatte Clove, Greene County

Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead. The falls drop over a lengthy series of successive cascades ranging in height from 3 to 10 feet and over wide ledges up to 10 yards wide. Large boulders disrupt the chilly, chaotic flow of water downstream as the Roaring Kill (which is the name of the river as well as the falls) makes its way to join with the Schoharie Creek.
Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead in the northern Catskills.Roaring Kill Falls in WinterPlatte Clove, Greene County

Roaring Kill Falls is a relatively unknown but scenic waterfall located near the head of Platte Clove and the Twin Mountain trailhead. The falls drop over a lengthy series of successive cascades ranging in height from 3 to 10 feet and over wide ledges up to 10 yards wide. Large boulders disrupt the chilly, chaotic flow of water downstream as the Roaring Kill (which is the name of the river as well as the falls) makes its way to join with the Schoharie Creek.

 

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[email protected] (American Catskills) boulders brook cascades Catskill Mountains Catskills creek Greene County kill Matthew Jarnich New York photographer photographs photography photos pictures Platte Clove river Roaring Kill Roaring Kill Falls Roaring Kill Road Schoharie Creek sightseeing stream Tannersville tourism tourist travel Twin Mountain water waterfall https://www.americancatskills.com/blog/2021/12/roaring-kill-falls-a-photographic-study Sat, 04 Dec 2021 13:00:00 GMT
Old Stone House of Hasbrouck https://www.americancatskills.com/blog/2021/11/old-stone-house-of-hasbrouck The Old Stone House in the hamlet of Hasbrouck was constructed circa 1810. It is scenically located on a knoll overlooking the confluence of the Wynkoop Brook and the Neversink River in the town of Fallsburg.

 

The Old Stone House is located in the hamlet of Hasbrouck on a knoll overlooking the confluence of the Wynkoop Brook and the Neversink River.Old Stone House of HasbrouckHasbrouck, Sullivan County

The Old Stone House in the hamlet of Hasbrouck was constructed circa 1810. It is scenically located on a knoll overlooking the confluence of the Wynkoop Brook and the Neversink River in the town of Fallsburg.

The Hasbrouck hamlet was once a thriving country community with shops, a mill, a church, a creamery and its own post office (from 1846 to 1923). The hamlet was named in honor of Anthony Hasbrouck, who settled there in the early 1800’s and was known as “one of the most prominent citizens of Sullivan [County] . . . a man of wealth, and an active and influential democratic politician.” Anthony Hasbrouck for many years resided at the Old Stone House.

In December 1840 the old stone became the site of the one of the most notorious crimes in early Sullivan County history. Cornelius Hardenbergh, the great grandson of Major Johannes Hardenbergh, one of the original proprietors of the Hardenbergh patent, murdered Anthony Hasbrouck at the house over a heated dispute involving business dealings and a family inheritance. The local newspaper described the crime “as one of the most fiendish murders ever committed in this or any other country . . . We do not believe the annals of crime can furnish an instance of the kind more shocking in its details – one which was perpetrated with such brutality and cool premeditation. The bare recital is sufficient to sicken the heart of the most abandoned and brutal.” (The Cabinet. Schenectady, NY. January 5, 1841.) Hardenbergh was convicted for his crime and became the first person to be hanged in Sullivan County.

During the course of the building’s history it has served as a private residence, boarding house, restaurant, creamery, post office and school. Today the Old Stone House, now owned by the Concerned Citizens of Hasbrouck, serves as a community center and home for the arts. Visit their website at www.theoldstonehouseofhasbrouck.org for more information.

 

The Hasbrouck hamlet was once a thriving country community with shops, a mill, a church, a creamery and its own post office (from 1846 to 1923). The hamlet was named in honor of Anthony Hasbrouck, who settled there in the early 1800’s and was known as “one of the most prominent citizens of Sullivan [County] . . . a man of wealth, and an active and influential democratic politician.” Anthony Hasbrouck for many years resided at the Old Stone House.

 

In December 1840 the old stone became the site of the one of the most notorious crimes in early Sullivan County history. Cornelius Hardenbergh, the great grandson of Major Johannes Hardenbergh, one of the original proprietors of the Hardenbergh patent, murdered Anthony Hasbrouck at the house over a heated dispute involving business dealings and a family inheritance. The local newspaper described the crime “as one of the most fiendish murders ever committed in this or any other country . . . We do not believe the annals of crime can furnish an instance of the kind more shocking in its details – one which was perpetrated with such brutality and cool premeditation. The bare recital is sufficient to sicken the heart of the most abandoned and brutal.” (The Cabinet. Schenectady, NY. January 5, 1841.) Hardenbergh was convicted for his crime and became the first person to be hanged in Sullivan County.

 

The Old Stone House is located in the hamlet of Hasbrouck on a knoll overlooking the confluence of the Wynkoop Brook and the Neversink River.Old Stone House of HasbrouckHasbrouck, Sullivan County

The Old Stone House in the hamlet of Hasbrouck was constructed circa 1810. It is scenically located on a knoll overlooking the confluence of the Wynkoop Brook and the Neversink River in the town of Fallsburg.

The Hasbrouck hamlet was once a thriving country community with shops, a mill, a church, a creamery and its own post office (from 1846 to 1923). The hamlet was named in honor of Anthony Hasbrouck, who settled there in the early 1800’s and was known as “one of the most prominent citizens of Sullivan [County] . . . a man of wealth, and an active and influential democratic politician.” Anthony Hasbrouck for many years resided at the Old Stone House.

In December 1840 the old stone became the site of the one of the most notorious crimes in early Sullivan County history. Cornelius Hardenbergh, the great grandson of Major Johannes Hardenbergh, one of the original proprietors of the Hardenbergh patent, murdered Anthony Hasbrouck at the house over a heated dispute involving business dealings and a family inheritance. The local newspaper described the crime “as one of the most fiendish murders ever committed in this or any other country . . . We do not believe the annals of crime can furnish an instance of the kind more shocking in its details – one which was perpetrated with such brutality and cool premeditation. The bare recital is sufficient to sicken the heart of the most abandoned and brutal.” (The Cabinet. Schenectady, NY. January 5, 1841.) Hardenbergh was convicted for his crime and became the first person to be hanged in Sullivan County.

During the course of the building’s history it has served as a private residence, boarding house, restaurant, creamery, post office and school. Today the Old Stone House, now owned by the Concerned Citizens of Hasbrouck, serves as a community center and home for the arts. Visit their website at www.theoldstonehouseofhasbrouck.org for more information.

 

The Old Stone House is located in the hamlet of Hasbrouck on a knoll overlooking the confluence of the Wynkoop Brook and the Neversink River.FlagHasbrouck, Sullivan County

The Old Stone House in the hamlet of Hasbrouck was constructed circa 1810. It is scenically located on a knoll overlooking the confluence of the Wynkoop Brook and the Neversink River in the town of Fallsburg.

The Hasbrouck hamlet was once a thriving country community with shops, a mill, a church, a creamery and its own post office (from 1846 to 1923). The hamlet was named in honor of Anthony Hasbrouck, who settled there in the early 1800’s and was known as “one of the most prominent citizens of Sullivan [County] . . . a man of wealth, and an active and influential democratic politician.” Anthony Hasbrouck for many years resided at the Old Stone House.

In December 1840 the old stone became the site of the one of the most notorious crimes in early Sullivan County history. Cornelius Hardenbergh, the great grandson of Major Johannes Hardenbergh, one of the original proprietors of the Hardenbergh patent, murdered Anthony Hasbrouck at the house over a heated dispute involving business dealings and a family inheritance. The local newspaper described the crime “as one of the most fiendish murders ever committed in this or any other country . . . We do not believe the annals of crime can furnish an instance of the kind more shocking in its details – one which was perpetrated with such brutality and cool premeditation. The bare recital is sufficient to sicken the heart of the most abandoned and brutal.” (The Cabinet. Schenectady, NY. January 5, 1841.) Hardenbergh was convicted for his crime and became the first person to be hanged in Sullivan County.

During the course of the building’s history it has served as a private residence, boarding house, restaurant, creamery, post office and school. Today the Old Stone House, now owned by the Concerned Citizens of Hasbrouck, serves as a community center and home for the arts. Visit their website at www.theoldstonehouseofhasbrouck.org for more information.

 

During the course of the building’s history, it has served as a private residence, boarding house, restaurant, creamery, post office and school. Today the Old Stone House, now owned by the Concerned Citizens of Hasbrouck, serves as a community center and home for the arts. Visit their website at www.theoldstonehouseofhasbrouck.org for more information.

 

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[email protected] (American Catskills) Anthony Hasbrouck boarding house Catskill Mountains Catskills church community Concerned Citizens of Hasbrouck Cornelius Hardenbergh creamery dispute Fallsburg hamlet hang hanged Hardenbergh Patent Hasbrouck home house hung inheritance Johannes Hardenbergh mill murder Neversink River New York Old Stone House Old Stone House of Hasbrouck post office residence restaurant school settler shops stone stores Sullivan County Wynkoop Brook https://www.americancatskills.com/blog/2021/11/old-stone-house-of-hasbrouck Sat, 27 Nov 2021 13:00:00 GMT
State Theater: Movie Night in Deposit, New York https://www.americancatskills.com/blog/2021/11/state-theater-movie-night-in-deposit-new-york The iconic State Theater in the village of Deposit, New York proudly opened its doors on March 27, 1937 with a 7pm showing of the romantic comedy “When’s Your Birthday.” Admission cost 30 cents for adults and 10 cents for children.

 

The iconic State Theater is located in the hamlet of Deposit, New York.State TheaterThe iconic State Theater in Deposit, New York opened its doors in 1937 with a showing of “When’s Your Birthday.” The building, constructed by the Kallet-Comerford theater chain of upstate New York, contains several unique features such as the facade made of blue and black art-deco glass panels and the old-fashioned marquee which stands 20 feet long, 7 feet tall with blue and red neon lights. The theater has suffered its share of bad luck including a 1985 roof collapse, a 1994 fire that destroyed much of the theater except the building facade and marquee and a devastating 2006 flood which filled much of the theater with water. However, in a testament to local volunteer work and donations, the State Theater has re-opened each time. In a town with a large number of business vacancies, the State Theater fortunately harkens back to an earlier time, bringing back the good memories with the theater as a focal point of small-town main street.

 

The State Theater building was originally constructed by the Kallet-Comerford movie house chain of upstate New York, which operated over 100 theaters in New York and Pennsylvania, including the Capital and Riviera Movie Palaces at Binghamton, New York. The building was constructed around the former Tom Lewis Chevrolet Garage, built in 1925, which had recently gone out of business. Construction was completed over a four-week period in the spring of 1937 by the Lewis and Sons Construction Company of Bainbridge, New York.

 

The building contains several beautiful, and quite distinctive, features. The facade was made of blue and black vitrolite glass panels in the art-deco style. The old-fashioned marquee, which stands 20 feet long, 7 feet tall with blue and red neon lights, was designed and installed by the Flexlume Neon Sign Company of Syracuse, New York. The decorative front section of the theater, including the façade, marquee, lobby and lounge areas, was designed by architect H. L. Beebe, an employee of the Kallet-Comerford company.

 

The iconic State Theater is located in the hamlet of Deposit, New York.MarqueeThe iconic State Theater in Deposit, New York opened its doors in 1937 with a showing of “When’s Your Birthday.” The building, constructed by the Kallet-Comerford theater chain of upstate New York, contains several unique features such as the facade made of blue and black art-deco glass panels and the old-fashioned marquee which stands 20 feet long, 7 feet tall with blue and red neon lights. The theater has suffered its share of bad luck including a 1985 roof collapse, a 1994 fire that destroyed much of the theater except the building facade and marquee and a devastating 2006 flood which filled much of the theater with water. However, in a testament to local volunteer work and donations, the State Theater has re-opened each time. In a town with a large number of business vacancies, the State Theater fortunately harkens back to an earlier time, bringing back the good memories with the theater as a focal point of small-town main street. The iconic State Theater is located in the hamlet of Deposit, New York.StateThe iconic State Theater in Deposit, New York opened its doors in 1937 with a showing of “When’s Your Birthday.” The building, constructed by the Kallet-Comerford theater chain of upstate New York, contains several unique features such as the facade made of blue and black art-deco glass panels and the old-fashioned marquee which stands 20 feet long, 7 feet tall with blue and red neon lights. The theater has suffered its share of bad luck including a 1985 roof collapse, a 1994 fire that destroyed much of the theater except the building facade and marquee and a devastating 2006 flood which filled much of the theater with water. However, in a testament to local volunteer work and donations, the State Theater has re-opened each time. In a town with a large number of business vacancies, the State Theater fortunately harkens back to an earlier time, bringing back the good memories with the theater as a focal point of small-town main street.

 

The theater included all the latest technology including “Mirrorphonic sound equipment,” “the best in projectors,” and a “Walker Super Silver Sheet Screen.” There was capacity for 600 hundred people, all of whom could relax comfortably in the newly installed red upholstered seats. Joseph Essel served as the first resident manager of the theater. The State Theater is listed on the National Register of Historic Places as “a distinctive example of a small Art Deco style movie house.”

 

The State Theater played a central role in the movie drama titled “A Time to Remember,” which was filmed in the village of Deposit during the winter of 1985. Set in the 1950s the heart-warming Christmas movie tells the story of 12-year-old Angelo Villano, a young boy who wants to sing like his idol Mario Lanza, a popular professional opera singer of the time. Angelo grows to achieve his childhood dream despite the protests of his widowed father, bullying from neighborhood kids and being hit by a car.

 

As per the plot summary on IMDb “When Angelo is chased by bullies into the path of an oncoming car, he recovers all but his voice, retreating into a silent world that no one can touch. One night, locked in the church basement, the frightened Angelo experiences a spectacular vision, a true Christmas miracle, that changes his life. And when his vision and his voice return during Christmas Eve Mass, no one can deny the beauty and blessing of his amazing gift.” (www.imdb.com.)

 

Numerous local Deposit residents were cast as extras in the film. The film debuted at the city of Binghamton, New York in November 1987; and was shown the following year in November 1986 at the grand re-opening of the State Theater. Several decades later “A Time to Remember” is still fondly remembered by local residents, being featured every New Year’s Eve at a special showing at the State Theater.

 

Over the years the theater has suffered its share of bad luck including a 1985 roof collapse due to heavy snow fall, a 1994 fire that destroyed much of the theater except the building facade and marquee and a devastating 2006 flood which filled much of the theater with water. However, in a testament to local volunteer work and donations, the State Theater has re-opened each time.

 

For over 80 years, the State Theater, a “relatively sophisticated, small Art Deco theatre, visually prominent in Deposit, New York, [has remained] highly valuable as a historic and community resource.” In a town with a large number of business vacancies, the State Theater fortunately harkens back to an earlier time, bringing back the good memories with the theater acting as a focal point of a small-town main street.

 

The iconic State Theater in Deposit, New York opened its doors in 1937 with a showing of “When’s Your Birthday.”On StageDeposit, Delaware County

The iconic State Theater in Deposit, New York opened its doors in 1937 with a showing of “When’s Your Birthday.” The building, constructed by the Kallet-Comerford theater chain of upstate New York, contains several unique features such as the facade made of blue and black art-deco glass panels and the old fashioned marquee which stands 20 feet long, 7 feet tall with blue and red neon lights. The theater has suffered its share of bad luck including a 1985 roof collapse, a 1994 fire that destroyed much of the theater except the building facade and marquee and a devastating 2006 flood which filled much of the theater with water. However, in a testament to local volunteer work and donations, the State Theater has re-opened each time. In a town with a large number of business vacancies, the State Theater fortunately harkens back to an earlier time, bringing back the good memories with the theater as a focal point of small town main street.
The iconic State Theater in Deposit, New York opened its doors in 1937 with a showing of “When’s Your Birthday.”DanceDeposit, Delaware County

The iconic State Theater in Deposit, New York opened its doors in 1937 with a showing of “When’s Your Birthday.” The building, constructed by the Kallet-Comerford theater chain of upstate New York, contains several unique features such as the facade made of blue and black art-deco glass panels and the old fashioned marquee which stands 20 feet long, 7 feet tall with blue and red neon lights. The theater has suffered its share of bad luck including a 1985 roof collapse, a 1994 fire that destroyed much of the theater except the building facade and marquee and a devastating 2006 flood which filled much of the theater with water. However, in a testament to local volunteer work and donations, the State Theater has re-opened each time. In a town with a large number of business vacancies, the State Theater fortunately harkens back to an earlier time, bringing back the good memories with the theater as a focal point of small town main street.

 

Sources:

Jettner, Alicia. “State Theater.” National Register of Historic Places Inventory – Nomination Form. National Park Service. 1988.

 

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[email protected] (American Catskills) A Time to Remember architecture art-deco building Catskill Mountains Catskills cinema Delaware County Deposit facade fire flood flooding Front Street H. L. Beebe Joseph Essel Kallet-Comerford Main Street marquee movie mural New York photographer photographs photography photos pictures State Theater theater theatre tourism tourist travel When's Your Birthday https://www.americancatskills.com/blog/2021/11/state-theater-movie-night-in-deposit-new-york Sat, 20 Nov 2021 13:00:00 GMT
Bastion Falls: A Photographic Study https://www.americancatskills.com/blog/2021/11/bastion-falls-a-photographic-study Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A. The falls, which mark the beginning of the lower hiking trail to Kaaterskill Falls, has multiple tiers ranging in height from eight to thirty feet and numerous other smaller cascades.

 

Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.Bastion FallsKaaterskill Clove, Greene County

Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.

“These Falls make a very pleasing picture, and a view of them will convey the idea that the name is derived from the bastions of rock which partially divide the stream as it breaks over the edge of the precipice.” – Samuel E. Rusk, 1879, Rusk’s Illustrated Guide to the Catskills

 

Samuel Rusk, in his 1879 book Rusk’s Illustrated Guide to the Catskills, described Bastion Falls: “These Falls make a very pleasing picture, and a view of them will convey the idea that the name is derived from the bastions of rock which partially divide the stream as it breaks over the edge of the precipice.”

 

Roland Van Zandt, in his book The Catskill Mountain House, declared with similar high praise that “the falls themselves are a most impressive sight and confirm the appropriateness of their name by tumbling down great battlements of high rocky ledges and then plunging, directly under the highway, into a deep chasm.”

 

After the falls, Spruce Creek joins Kaaterskill Creek for its trip down Kaaterskill Clove, ultimately finding its way to the Hudson River and beyond.

 

Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.Bastion FallsKaaterskill Clove, Greene County

Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.

“These Falls make a very pleasing picture, and a view of them will convey the idea that the name is derived from the bastions of rock which partially divide the stream as it breaks over the edge of the precipice.” – Samuel E. Rusk, 1879, Rusk’s Illustrated Guide to the Catskills
Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.Bastion FallsKaaterskill Clove, Greene County

Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.

“These Falls make a very pleasing picture, and a view of them will convey the idea that the name is derived from the bastions of rock which partially divide the stream as it breaks over the edge of the precipice.” – Samuel E. Rusk, 1879, Rusk’s Illustrated Guide to the Catskills
Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.Bastion FallsKaaterskill Clove, Greene County

Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.

“These Falls make a very pleasing picture, and a view of them will convey the idea that the name is derived from the bastions of rock which partially divide the stream as it breaks over the edge of the precipice.” – Samuel E. Rusk, 1879, Rusk’s Illustrated Guide to the Catskills
Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.Bastion FallsKaaterskill Clove, Greene County

Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.

“These Falls make a very pleasing picture, and a view of them will convey the idea that the name is derived from the bastions of rock which partially divide the stream as it breaks over the edge of the precipice.” – Samuel E. Rusk, 1879, Rusk’s Illustrated Guide to the Catskills
Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.Bastion FallsKaaterskill Clove, Greene County

Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.

“These Falls make a very pleasing picture, and a view of them will convey the idea that the name is derived from the bastions of rock which partially divide the stream as it breaks over the edge of the precipice.” – Samuel E. Rusk, 1879, Rusk’s Illustrated Guide to the Catskills
Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.Bastion FallsKaaterskill Clove, Greene County

Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.

“These Falls make a very pleasing picture, and a view of them will convey the idea that the name is derived from the bastions of rock which partially divide the stream as it breaks over the edge of the precipice.” – Samuel E. Rusk, 1879, Rusk’s Illustrated Guide to the Catskills
Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.The RocksKaaterskill Clove, Greene County

Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.

“These Falls make a very pleasing picture, and a view of them will convey the idea that the name is derived from the bastions of rock which partially divide the stream as it breaks over the edge of the precipice.” – Samuel E. Rusk, 1879, Rusk’s Illustrated Guide to the Catskills
Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.The RockKaaterskill Clove, Greene County

Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.

“These Falls make a very pleasing picture, and a view of them will convey the idea that the name is derived from the bastions of rock which partially divide the stream as it breaks over the edge of the precipice.” – Samuel E. Rusk, 1879, Rusk’s Illustrated Guide to the Catskills
Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.The RockKaaterskill Clove, Greene County

Bastion Falls is a beautiful waterfall located within Kaaterskill Clove at the horseshoe curve along Route 23A that marks the beginning of the hiking trail to Kaaterskill Falls.

“These Falls make a very pleasing picture, and a view of them will convey the idea that the name is derived from the bastions of rock which partially divide the stream as it breaks over the edge of the precipice.” – Samuel E. Rusk, 1879, Rusk’s Illustrated Guide to the Catskills

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[email protected] (American Catskills) bastion Bastion Falls brook Catskill Mountains Catskills creek Greene County hike hiking Horseshoe Curve Kaaterskill Clove Kaaterskill Falls Matthew Jarnich New York photographer photographs photography photos pictures river Roland Van Zandt Route 23A Samuel Rusk sightseeing tourism tourist trail travel water waterfall https://www.americancatskills.com/blog/2021/11/bastion-falls-a-photographic-study Sat, 13 Nov 2021 13:00:00 GMT
Split Rock Falls https://www.americancatskills.com/blog/2021/11/split-rock-falls Split Rock Falls, at eight feet high, is a small but scenic waterfall that drops through a natural cleft in an exposed rock ledge along the Coxing Kill. The falls are situated within the Mohonk Preserve and make for a popular swimming hole and summer picnic location as well as serving as a convenient trailhead for hikers.

 

Split Rock Falls are located on the Coxing Kill in the Mohonk Preserve near New Paltz, New York.Split Rock FallsSplit Rock Falls, at eight feet high, is a small but scenic waterfall that drops through a natural cleft in an exposed rock ledge along the Coxing Kill. The falls are situated within the Mohonk Preserve and make for a popular swimming hole and summer picnic location as well as serving as a convenient trailhead for hikers.

The area in and around Split Rock Falls was first settled by Henry Harp and his family in 1764 as part of a government land grant. The property was then briefly owned in the late 18th century by Tunis and Mary Roosa, who in turn, sold the property Johannes Enderly in 1801. The property then remained in the Enderly family for four generations over 120 years.

The Enderly homestead was located in the area once generally referred to as Trapps Mountain Hamlet. The homestead was the site of an operating sawmill, and the family likely gained additional income through blueberry picking, hoop pole making, tan bark peeling, charcoal making and other area industries. Although the structures are long gone, many of the building foundations can still be seen today. In 1920, the Enderly land was sold to the Smiley family, owners of the nearby Mohonk Mountain House and the now vanished Cliffhouse and the Wildmere at Lake Minnewaska.

 

The area in and around Split Rock Falls was first settled by Henry Harp and his family in 1764 as part of a government land grant. The property was then briefly owned in the late 18th century by Tunis and Mary Roosa, who in turn, sold the property Johannes Enderly in 1801. The property then remained in the Enderly family for four generations over 120 years.

 

The Enderly homestead was located in the area once generally referred to as Trapps Mountain Hamlet. The homestead was the site of an operating sawmill, and the family likely gained additional income through blueberry picking, hoop pole making, tan bark peeling, charcoal making and other area industries. Although the structures are long gone, many of the building foundations can still be seen today. In 1920, the Enderly land was sold to the Smiley family, owners of the nearby Mohonk Mountain House and the now vanished Cliffhouse and the Wildmere at Lake Minnewaska.

 

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[email protected] (American Catskills) blueberry Catskills charcoal Cliffhouse Coxing Kill creek Enderly homestead hoop pole Johannes Enderly Lake Minnewaska ledge Mary Roosa Mohonk Mountain House Mohonk Preserve New Paltz New York photographer photographs photography photos picnic pictures river sawmill sightseeing Split Rock Falls swimming hole tan bark tourism tourist trailhead Trapps Mountain Hamlet travel Tunis Roosa water waterfall Wildmere https://www.americancatskills.com/blog/2021/11/split-rock-falls Sat, 06 Nov 2021 12:00:00 GMT
Delaware House https://www.americancatskills.com/blog/2021/10/delaware-house The Delaware House is located along the Delaware River in the quaint hamlet of Callicoon in the town of Delaware, Sullivan County. The former hotel and saloon were once considered one of the finest in the area.

 

The Delaware House is located along the Delaware River in the quaint hamlet of Callicoon in the town of Delaware, Sullivan County.Delaware HouseThe Delaware House is located along the Delaware River in the quaint hamlet of Callicoon in the town of Delaware, Sullivan County. The former hotel and saloon were once considered one of the finest in the area.

The first hotel on the site was constructed in the 1850s by William Batsford. The original building was later sold it to Zillar Minard, who operated the establishment as the Minard Hotel. The building was then sold again to Eleazer Everard. Then misfortune struck with the devastating fire in 1888 that destroyed much of Callicoon’s Lower Main Street, including the original hotel.

Jacob Dietz (1843-1925), a former blacksmith and Sullivan County sheriff, purchased the site and constructed the current building in 1888. Dietz operated the Delaware House until 1907. Dietz then sold it to Stephen D. Sawyer, who operated it for many years and, upon his death, passed it to his son George W. Sawyer. In 1920 D.J. Starck then leased the building for five years. After only a year however, George Sawyer sold the building to Louis Supera in 1921 for $35,000; with Starck receiving compensation for the remaining 4 years of his lease. The next owners, in 1925, were the Orth Brothers who intended to convert the building to stores and for their automobile garage and service station business. Only a year later, the building was sold again, this time to L.D. Whitlock who planned on returning the building to a hotel and restaurant. Over the years, the building has been home to residential apartments, an automobile service station, a dentist office, a legal office and a variety of other commercial businesses.

The Delaware House is located along the Delaware River in the quaint hamlet of Callicoon in the town of Delaware, Sullivan County.Delaware HouseThe Delaware House is located along the Delaware River in the quaint hamlet of Callicoon in the town of Delaware, Sullivan County. The former hotel and saloon were once considered one of the finest in the area.

The first hotel on the site was constructed in the 1850s by William Batsford. The original building was later sold it to Zillar Minard, who operated the establishment as the Minard Hotel. The building was then sold again to Eleazer Everard. Then misfortune struck with the devastating fire in 1888 that destroyed much of Callicoon’s Lower Main Street, including the original hotel.

Jacob Dietz (1843-1925), a former blacksmith and Sullivan County sheriff, purchased the site and constructed the current building in 1888. Dietz operated the Delaware House until 1907. Dietz then sold it to Stephen D. Sawyer, who operated it for many years and, upon his death, passed it to his son George W. Sawyer. In 1920 D.J. Starck then leased the building for five years. After only a year however, George Sawyer sold the building to Louis Supera in 1921 for $35,000; with Starck receiving compensation for the remaining 4 years of his lease. The next owners, in 1925, were the Orth Brothers who intended to convert the building to stores and for their automobile garage and service station business. Only a year later, the building was sold again, this time to L.D. Whitlock who planned on returning the building to a hotel and restaurant. Over the years, the building has been home to residential apartments, an automobile service station, a dentist office, a legal office and a variety of other commercial businesses.

The first hotel on the site was constructed in the 1850s by William Batsford. The original building was later sold it to Zillar Minard, who operated the establishment as the Minard Hotel. The building was then sold again to Eleazer Everard. Then misfortune struck with the devastating fire in 1888 that destroyed much of Callicoon’s Lower Main Street, including the original hotel.

 

Jacob Dietz (1843-1925), a former blacksmith and Sullivan County sheriff, purchased the site and constructed the current building in 1888. Dietz operated the Delaware House until 1907. Dietz then sold it to Stephen D. Sawyer, who operated it for many years and, upon his death, passed it to his son George W. Sawyer. In 1920 D.J. Starck then leased the building for five years. After only a year however, George Sawyer sold the building to Louis Supera in 1921 for $35,000; with Starck receiving compensation for the remaining 4 years of his lease. The next owners, in 1925, were the Orth Brothers who intended to convert the building to stores and for their automobile garage and service station business. Only a year later, the building was sold again, this time to L.D. Whitlock who planned on returning the building to a hotel and restaurant.

 

Over the years, the building has been home to residential apartments, an automobile service station, a dentist office, a legal office and a variety of other commercial businesses.

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[email protected] (American Catskills) architecture bar blacksmith building business Callicoon Catskill Mountains Catskills D. J. Starck Delaware House Delaware River dentist Eleazer Everard fire garage George Sawyer hotel Jacop Dietz L. D. Whitlock legal Louis Supera Main Street Matthew Jarnich Minard Hotel New York Orth Brothers photographer photographs photography photos pictures restaurant saloon sheriff sightseeing Stephen Sawyer Sullivan County tourism tourist travel William Batsford Zillar Minard https://www.americancatskills.com/blog/2021/10/delaware-house Sat, 30 Oct 2021 12:00:00 GMT
Western Hotel at Callicoon https://www.americancatskills.com/blog/2021/10/western-hotel-at-callicoon The Western Hotel has been a longtime mainstay in the scenic hamlet of Callicoon, which is scenically situated along the banks of the Delaware River. The hotel was constructed circa 1852, likely making it the oldest commercial building in the hamlet. It has been run by many families, several of which owned it for several decades, including the Thorwelle, Darling and Naughton families. The hotel’s construction and the hamlet’s growth had quickly followed the arrival of the New York & Erie railroad depot which opened in 1848. Callicoon became a prosperous railroad stop and river town in the Delaware River valley. The hotel is listed on the National Register of Historic Places as part of the Callicoon Downtown Historic District.

 

The Western Hotel has been a longtime mainstay in the scenic hamlet of Callicoon, situated along the banks of the Delaware River.Western HotelThe Western Hotel has been a longtime mainstay in the scenic hamlet of Callicoon, situated along the banks of the Delaware River. The hotel was constructed circa 1852, likely making it the oldest commercial building in the hamlet. It has been run by many families, several of which owned it for several decades, including the Thorwelle, Darling and Naughton families. The hotel’s construction and the hamlet’s growth had quickly followed the arrival of the New York & Erie railroad depot which opened in 1848. Callicoon became a prosperous railroad stop and river town in the Delaware River valley. The hotel is listed on the National Register of Historic Places as part of the Callicoon Downtown Historic District.

In the 1882 issue of Summer Homes and Rambles Along the Erie Railway, the Western Hotel was listed under the ownership of Mrs. Thorwelle: “WESTERN HOTEL—Mrs. L. Thorwelle, Proprietress—P. O. Address, Callicoon Depot. Near depot. Accommodation for 40; 10 single rooms; 6 double rooms; $6 to $10 single; $10 to $15 double; $1.50 per day. Discount to season guests. Raises vegetables.”

The historic hotel has been the site of several infamous murders. In 1921 Peter Kahl, in a fit of jealousy, murdered his wife Laura Darling Kahl, who had attended a local dance with another man. That night, despite the implying protests of her husband, Laura and the other man, George Turner, had gone out together for an evening of dancing at the nearby hamlet of Hortonville. When she returned from the dance to Callicoon at 2am in the morning, her scorned husband Peter was angrily waiting for them. After being taunted by Turner and quite casually dismissed by his wife who “shrugged her shoulder and humming a lively tune skipped into the house,” Peter Kahl, in a rage, shot her in the head with a 32-caliber revolver on the front porch of the Western Hotel. Peter was charged with the first-degree murder. Despite several witnesses, motive and possession of the gun, Peter Kahl was acquitted of murder. For many years it has been rumored that the ghost of Laura Darling Kahl haunts the Western Hotel.

 

Eighty-seven years later, in 2008, Joe Naughton, then owner of the Western Hotel, accidentally shot and killed bartender and local actress Lori Schubeler while she was working behind the bar. At the time Naughton, who was drinking, was showing a patron his collection of antique personal guns. Naughton accidentally discharged one of the weapons, with the bullet striking Schubeler in the chest, quickly killing her. Joe Naughton was convicted of criminally negligent homicide and criminal possession of a firearm. He was sentenced six months in county jail, 5 years probation and 500 hours of community service.

 

The Western Hotel has been a longtime mainstay in the scenic hamlet of Callicoon, situated along the banks of the Delaware River.Western HotelThe Western Hotel has been a longtime mainstay in the scenic hamlet of Callicoon, situated along the banks of the Delaware River. The hotel was constructed circa 1852, likely making it the oldest commercial building in the hamlet. It has been run by many families, several of which owned it for several decades, including the Thorwelle, Darling and Naughton families. The hotel’s construction and the hamlet’s growth had quickly followed the arrival of the New York & Erie railroad depot which opened in 1848. Callicoon became a prosperous railroad stop and river town in the Delaware River valley. The hotel is listed on the National Register of Historic Places as part of the Callicoon Downtown Historic District.

In the 1882 issue of Summer Homes and Rambles Along the Erie Railway, the Western Hotel was listed under the ownership of Mrs. Thorwelle: “WESTERN HOTEL—Mrs. L. Thorwelle, Proprietress—P. O. Address, Callicoon Depot. Near depot. Accommodation for 40; 10 single rooms; 6 double rooms; $6 to $10 single; $10 to $15 double; $1.50 per day. Discount to season guests. Raises vegetables.”

 

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[email protected] (American Catskills) 1852 architecture bar building Callicoon Callicoon Depot Callicoon Downtown Historic District Catskill Mountains Catskills Darling Delaware River George Turner hotel Joe Naughton Laura Darling Kahl Lori Schubeler Matthew Jarnich National Register of Historic Places Naughton New York New York & Erie Peter Kahl photographer photographs photography photos pictures railroad railway restaurant river sightseeing Sullivan County Summer Homes and Rambles Along the Erie Railway tavern Thorwelle tourism tourist travel Western Hotel https://www.americancatskills.com/blog/2021/10/western-hotel-at-callicoon Sat, 23 Oct 2021 12:00:00 GMT
Birchall Falls: A Study https://www.americancatskills.com/blog/2021/10/birchall-falls-a-study Birchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York. The headwaters of the West Branch of the Beer Kill originate at an unnamed lake in the eastern portion of Sullivan County just east of Woodbourne. The West Branch, measuring approximately 10 miles in length, then flows into Sandburg Creek at Ellenville, which in turn flows northwards to its confluence with the Rondout Creek at Napanoch, which in turn flows northwards to join the Hudson River at Kingston. The West Branch is stocked by the NY Department of Environmental Conservation annually with 1,500 brown trout. Some brook trout may also be found in the headwaters. The east-flowing Beer Kill is named for the yellowish water color that comes from sediments and minerals, giving it a beer-like appearance.

 

Birchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York.Birchall FallsBirchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York. The headwaters of the West Branch of the Beer Kill originate at an unnamed lake in the eastern portion of Sullivan County just east of Woodbourne. The West Branch, measuring approximately 10 miles in length, then flows into Sandburg Creek at Ellenville, which in turn flows northwards to its confluence with the Rondout Creek at Napanoch, which in turn flows northwards to join the Hudson River at Kingston. The West Branch is stocked by the NY Department of Environmental Conservation annually with 1,500 brown trout. Some brook trout may also be found in the headwaters. The east-flowing Beer Kill is named for the yellowish water color that comes from sediments and minerals, giving it a beer-like appearance. Birchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York.Birchall FallsBirchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York. The headwaters of the West Branch of the Beer Kill originate at an unnamed lake in the eastern portion of Sullivan County just east of Woodbourne. The West Branch, measuring approximately 10 miles in length, then flows into Sandburg Creek at Ellenville, which in turn flows northwards to its confluence with the Rondout Creek at Napanoch, which in turn flows northwards to join the Hudson River at Kingston. The West Branch is stocked by the NY Department of Environmental Conservation annually with 1,500 brown trout. Some brook trout may also be found in the headwaters. The east-flowing Beer Kill is named for the yellowish water color that comes from sediments and minerals, giving it a beer-like appearance. Birchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York.Birchall FallsBirchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York. The headwaters of the West Branch of the Beer Kill originate at an unnamed lake in the eastern portion of Sullivan County just east of Woodbourne. The West Branch, measuring approximately 10 miles in length, then flows into Sandburg Creek at Ellenville, which in turn flows northwards to its confluence with the Rondout Creek at Napanoch, which in turn flows northwards to join the Hudson River at Kingston. The West Branch is stocked by the NY Department of Environmental Conservation annually with 1,500 brown trout. Some brook trout may also be found in the headwaters. The east-flowing Beer Kill is named for the yellowish water color that comes from sediments and minerals, giving it a beer-like appearance. Birchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York.Birchall FallsBirchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York. The headwaters of the West Branch of the Beer Kill originate at an unnamed lake in the eastern portion of Sullivan County just east of Woodbourne. The West Branch, measuring approximately 10 miles in length, then flows into Sandburg Creek at Ellenville, which in turn flows northwards to its confluence with the Rondout Creek at Napanoch, which in turn flows northwards to join the Hudson River at Kingston. The West Branch is stocked by the NY Department of Environmental Conservation annually with 1,500 brown trout. Some brook trout may also be found in the headwaters. The east-flowing Beer Kill is named for the yellowish water color that comes from sediments and minerals, giving it a beer-like appearance. Birchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York.Birchall FallsBirchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York. The headwaters of the West Branch of the Beer Kill originate at an unnamed lake in the eastern portion of Sullivan County just east of Woodbourne. The West Branch, measuring approximately 10 miles in length, then flows into Sandburg Creek at Ellenville, which in turn flows northwards to its confluence with the Rondout Creek at Napanoch, which in turn flows northwards to join the Hudson River at Kingston. The West Branch is stocked by the NY Department of Environmental Conservation annually with 1,500 brown trout. Some brook trout may also be found in the headwaters. The east-flowing Beer Kill is named for the yellowish water color that comes from sediments and minerals, giving it a beer-like appearance. Birchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York.Birchall FallsBirchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York. The headwaters of the West Branch of the Beer Kill originate at an unnamed lake in the eastern portion of Sullivan County just east of Woodbourne. The West Branch, measuring approximately 10 miles in length, then flows into Sandburg Creek at Ellenville, which in turn flows northwards to its confluence with the Rondout Creek at Napanoch, which in turn flows northwards to join the Hudson River at Kingston. The West Branch is stocked by the NY Department of Environmental Conservation annually with 1,500 brown trout. Some brook trout may also be found in the headwaters. The east-flowing Beer Kill is named for the yellowish water color that comes from sediments and minerals, giving it a beer-like appearance. Birchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York.Birchall FallsBirchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York. The headwaters of the West Branch of the Beer Kill originate at an unnamed lake in the eastern portion of Sullivan County just east of Woodbourne. The West Branch, measuring approximately 10 miles in length, then flows into Sandburg Creek at Ellenville, which in turn flows northwards to its confluence with the Rondout Creek at Napanoch, which in turn flows northwards to join the Hudson River at Kingston. The West Branch is stocked by the NY Department of Environmental Conservation annually with 1,500 brown trout. Some brook trout may also be found in the headwaters. The east-flowing Beer Kill is named for the yellowish water color that comes from sediments and minerals, giving it a beer-like appearance. Birchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York.Birchall FallsBirchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York. The headwaters of the West Branch of the Beer Kill originate at an unnamed lake in the eastern portion of Sullivan County just east of Woodbourne. The West Branch, measuring approximately 10 miles in length, then flows into Sandburg Creek at Ellenville, which in turn flows northwards to its confluence with the Rondout Creek at Napanoch, which in turn flows northwards to join the Hudson River at Kingston. The West Branch is stocked by the NY Department of Environmental Conservation annually with 1,500 brown trout. Some brook trout may also be found in the headwaters. The east-flowing Beer Kill is named for the yellowish water color that comes from sediments and minerals, giving it a beer-like appearance. Birchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York.Birchall FallsBirchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York. The headwaters of the West Branch of the Beer Kill originate at an unnamed lake in the eastern portion of Sullivan County just east of Woodbourne. The West Branch, measuring approximately 10 miles in length, then flows into Sandburg Creek at Ellenville, which in turn flows northwards to its confluence with the Rondout Creek at Napanoch, which in turn flows northwards to join the Hudson River at Kingston. The West Branch is stocked by the NY Department of Environmental Conservation annually with 1,500 brown trout. Some brook trout may also be found in the headwaters. The east-flowing Beer Kill is named for the yellowish water color that comes from sediments and minerals, giving it a beer-like appearance. Birchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York.Birchall FallsBirchall Falls is a scenic waterfall located on the West Branch of the Beer Kill in the hamlet of Greenfield Park in southern Ulster County, New York. The headwaters of the West Branch of the Beer Kill originate at an unnamed lake in the eastern portion of Sullivan County just east of Woodbourne. The West Branch, measuring approximately 10 miles in length, then flows into Sandburg Creek at Ellenville, which in turn flows northwards to its confluence with the Rondout Creek at Napanoch, which in turn flows northwards to join the Hudson River at Kingston. The West Branch is stocked by the NY Department of Environmental Conservation annually with 1,500 brown trout. Some brook trout may also be found in the headwaters. The east-flowing Beer Kill is named for the yellowish water color that comes from sediments and minerals, giving it a beer-like appearance.

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[email protected] (American Catskills) beer Birchall Falls Birchall Road Falls Catskill Mountains Catskills color DEC Department of Environmental Conservation Ellenville fish fishing Greenfield Park Hudson River Kingston Matthew Jarnich Napanoch New York photographer photographs photography photos pictures Rondout Creek Sandburg Creek sightseeing tourism tourist travel trout Ulster County water waterfall West Branch Beer Kill Woodbourne https://www.americancatskills.com/blog/2021/10/birchall-falls-a-study Sat, 16 Oct 2021 12:00:00 GMT
Schalk’s Falls: A Study https://www.americancatskills.com/blog/2021/10/schalk-s-falls-a-study The scenic 17-foot Schalk’s Falls sits on the Plattekill Creek near the base of Platte Clove in West Saugerties. Although the property on both sides of the falls is posted good views can still be had from roadside on the bridge just downstream from the falls.

 

Schalk’s Falls is a scenic waterfall located at the base of Plattekill Cllove at West Saugerties, Ulster County, New York.Schalk’s FallsWest Saugerties, Ulster County

The scenic 17-foot Schalk’s Falls sits on the Plattekill Creek near the base of Platte Clove in West Saugerties. Although the property on both sides of the falls is posted good views can still be had from roadside on the bridge just downstream from the falls.

Platte Clove, also known as Platte Kill Clove, is a deep, dark heavily wooded, historic, wildly rugged and wonderfully scenic mountain pass through the northern Catskills. Charles Lanman, a noted American writer and artist who spent much time in the clove, described his impressions of the clove in 1844: “Plauterkill Clove is an eddy of the great and tumultuous world, and in itself a world of unwritten poetry, whose primitive loneliness has not yet been disfigured by the influences of mammon, and God grant that it may continue so forever. It is endeared to my heart for being a favourite haunt for solitude, and for having been consecrated by a brotherhood of friends to the pure religion of nature; and they always enter there as into a holy sanctuary. (1)

Platte Clove is home to, depending on who’s counting, over 18 waterfalls, many of which are only reachable with extreme caution. The exact names of the waterfalls are often in debate, as many of the names have changed over the years or are referred to differently in various historical guidebooks, but include fanciful names such as Old Mill, Platte Kill, Bridal Veil, Pomeroy, Rainbow, Lower Rainbow, Devil’s Kitchen (Devil’s Chamber), Green (The Ghost), Evergreen, Rocky Rapids, Gray Chasm (Gray Rock), Black Chasm, Upper Red Falls, Lower Red Falls, Red Rock, Honolulu, Double Leap or Blue Bell.

Plattekill Creek forms on the northern slope of Indian Head Mountain and flows south towards Plattekill Falls to begin its rapid descent through the clove. After Schalk’s Falls Plattekill Creek flows into the Esopus Creek for a short remaining journey to feed the Hudson River. Given its precipitous climb and extremely narrow turns, the seasonal Platte Clove Road, heading west from Schalk’s Falls, is closed from November to April each year.

1. Landman, Charles. Letters From a Landscape Painter. Boston, James Munroe and Company, 1844. Page 50.

 

Platte Clove, also known as Platte Kill Clove, is a deep, dark heavily wooded, historic, wildly rugged and wonderfully scenic mountain pass through the northern Catskills. Charles Lanman, a noted American writer and artist who spent much time in the clove, described his impressions of the clove in 1844: “Plauterkill Clove is an eddy of the great and tumultuous world, and in itself a world of unwritten poetry, whose primitive loneliness has not yet been disfigured by the influences of mammon, and God grant that it may continue so forever. It is endeared to my heart for being a favourite haunt for solitude, and for having been consecrated by a brotherhood of friends to the pure religion of nature; and they always enter there as into a holy sanctuary. (1)

 

Platte Clove is home to, depending on who’s counting, over 18 waterfalls, many of which are only reachable with extreme caution. The exact names of the waterfalls are often in debate, as many of the names have changed over the years or are referred to differently in various historical guidebooks, but include fanciful names such as Old Mill, Platte Kill, Bridal Veil, Pomeroy, Rainbow, Lower Rainbow, Devil’s Kitchen (Devil’s Chamber), Green (The Ghost), Evergreen, Rocky Rapids, Gray Chasm (Gray Rock), Black Chasm, Upper Red Falls, Lower Red Falls, Red Rock, Honolulu, Double Leap or Blue Bell.

 

Plattekill Creek forms on the northern slope of Indian Head Mountain and flows south towards Plattekill Falls to begin its rapid descent through the clove. After Schalk’s Falls Plattekill Creek flows into the Esopus Creek for a short remaining journey to feed the Hudson River. Given its precipitous climb and extremely narrow turns, the seasonal Platte Clove Road, heading west and upwards from Schalk’s Falls, is closed from November to April each year.

 

Schalk’s Falls is a scenic waterfall located at the base of Plattekill Cllove at West Saugerties, Ulster County, New York.Schalk's FallsWest Saugerties, Ulster County

The scenic 17-foot Schalk’s Falls sits on the Plattekill Creek near the base of Platte Clove in West Saugerties. Although the property on both sides of the falls is posted good views can still be had from roadside on the bridge just downstream from the falls.

Platte Clove, also known as Platte Kill Clove, is a deep, dark heavily wooded, historic, wildly rugged and wonderfully scenic mountain pass through the northern Catskills. Charles Lanman, a noted American writer and artist who spent much time in the clove, described his impressions of the clove in 1844: “Plauterkill Clove is an eddy of the great and tumultuous world, and in itself a world of unwritten poetry, whose primitive loneliness has not yet been disfigured by the influences of mammon, and God grant that it may continue so forever. It is endeared to my heart for being a favourite haunt for solitude, and for having been consecrated by a brotherhood of friends to the pure religion of nature; and they always enter there as into a holy sanctuary. (1)

Platte Clove is home to, depending on who’s counting, over 18 waterfalls, many of which are only reachable with extreme caution. The exact names of the waterfalls are often in debate, as many of the names have changed over the years or are referred to differently in various historical guidebooks, but include fanciful names such as Old Mill, Platte Kill, Bridal Veil, Pomeroy, Rainbow, Lower Rainbow, Devil’s Kitchen (Devil’s Chamber), Green (The Ghost), Evergreen, Rocky Rapids, Gray Chasm (Gray Rock), Black Chasm, Upper Red Falls, Lower Red Falls, Red Rock, Honolulu, Double Leap or Blue Bell.

Plattekill Creek forms on the northern slope of Indian Head Mountain and flows south towards Plattekill Falls to begin its rapid descent through the clove. After Schalk’s Falls Plattekill Creek flows into the Esopus Creek for a short remaining journey to feed the Hudson River. Given its precipitous climb and extremely narrow turns, the seasonal Platte Clove Road, heading west from Schalk’s Falls, is closed from November to April each year.

1. Landman, Charles. Letters From a Landscape Painter. Boston, James Munroe and Company, 1844. Page 50.

 

Schalk’s Falls is a scenic waterfall located at the base of Plattekill Cllove at West Saugerties, Ulster County, New York.Schalk's FallsWest Saugerties, Ulster County

The scenic 17-foot Schalk’s Falls sits on the Plattekill Creek near the base of Platte Clove in West Saugerties. Although the property on both sides of the falls is posted good views can still be had from roadside on the bridge just downstream from the falls.

Platte Clove, also known as Platte Kill Clove, is a deep, dark heavily wooded, historic, wildly rugged and wonderfully scenic mountain pass through the northern Catskills. Charles Lanman, a noted American writer and artist who spent much time in the clove, described his impressions of the clove in 1844: “Plauterkill Clove is an eddy of the great and tumultuous world, and in itself a world of unwritten poetry, whose primitive loneliness has not yet been disfigured by the influences of mammon, and God grant that it may continue so forever. It is endeared to my heart for being a favourite haunt for solitude, and for having been consecrated by a brotherhood of friends to the pure religion of nature; and they always enter there as into a holy sanctuary. (1)

Platte Clove is home to, depending on who’s counting, over 18 waterfalls, many of which are only reachable with extreme caution. The exact names of the waterfalls are often in debate, as many of the names have changed over the years or are referred to differently in various historical guidebooks, but include fanciful names such as Old Mill, Platte Kill, Bridal Veil, Pomeroy, Rainbow, Lower Rainbow, Devil’s Kitchen (Devil’s Chamber), Green (The Ghost), Evergreen, Rocky Rapids, Gray Chasm (Gray Rock), Black Chasm, Upper Red Falls, Lower Red Falls, Red Rock, Honolulu, Double Leap or Blue Bell.

Plattekill Creek forms on the northern slope of Indian Head Mountain and flows south towards Plattekill Falls to begin its rapid descent through the clove. After Schalk’s Falls Plattekill Creek flows into the Esopus Creek for a short remaining journey to feed the Hudson River. Given its precipitous climb and extremely narrow turns, the seasonal Platte Clove Road, heading west from Schalk’s Falls, is closed from November to April each year.

1. Landman, Charles. Letters From a Landscape Painter. Boston, James Munroe and Company, 1844. Page 50.

Sources:

Landman, Charles. Letters From a Landscape Painter. Boston, James Munroe and Company, 1844. Page 50.

 

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Fantinekill Falls: A Study https://www.americancatskills.com/blog/2021/10/fantinekill-falls-a-study Fantinekill Falls is a small, yet beautiful waterfall located at the Fantinekill Cemetery in Ellenville, Ulster County. The Fantinekill name comes from the small, 18th-century settlement that was once located in the area, then about one mile north of the village of Ellenville.

 

Fantinekill Falls is a small, yet beautiful waterfall located at the Fantinekill Cemetery in Ellenville, Ulster County.Fantinekill Falls 3Ellenville, Ulster County

Fantinekill Falls is a small, yet beautiful waterfall located at the Fantinekill Cemetery in Ellenville, Ulster County. The Fantinekill name comes from the small, 18th-century settlement that was once located in the area, then about one mile north of the village of Ellenville.

The name “Fantinekill” is probably best known in history for the massacre that occurred on May 4, 1779 during the American Revolution when British Loyalists and Native Americans brutally killed nine people from the Bevier and Sax families at the Fantinekill settlement. That tragic event is today known as the Fantinekill Massacre. Those killed included Elizabeth Bevier (age 62) and her sons Solomon Bevier (29) and Josiah Bevier (23); Johannah Sax (59) and her children Mariah Sax (29), Peter Sax (23), Hester Sax (18), Dorothy Sax (16) and Jacob Sax (14). There is a memorial located along Route 209 in Ellenville that marks the graves of those killed.

 

Fantinekill Falls is a small, yet beautiful waterfall located at the Fantinekill Cemetery in Ellenville, Ulster County.Fantinekill Falls 1Ellenville, Ulster County

Fantinekill Falls is a small, yet beautiful waterfall located at the Fantinekill Cemetery in Ellenville, Ulster County. The Fantinekill name comes from the small, 18th-century settlement that was once located in the area, then about one mile north of the village of Ellenville.

The name “Fantinekill” is probably best known in history for the massacre that occurred on May 4, 1779 during the American Revolution when British Loyalists and Native Americans brutally killed nine people from the Bevier and Sax families at the Fantinekill settlement. That tragic event is today known as the Fantinekill Massacre. Those killed included Elizabeth Bevier (age 62) and her sons Solomon Bevier (29) and Josiah Bevier (23); Johannah Sax (59) and her children Mariah Sax (29), Peter Sax (23), Hester Sax (18), Dorothy Sax (16) and Jacob Sax (14). There is a memorial located along Route 209 in Ellenville that marks the graves of those killed.

The name “Fantinekill” is probably best known in history for the massacre that occurred on May 4, 1779 during the American Revolution when British Loyalists and Native Americans brutally killed nine people from the Bevier and Sax families at the Fantinekill settlement. That tragic event is today known as the Fantinekill Massacre. Those killed included Elizabeth Bevier (age 62) and her sons Solomon Bevier (29) and Josiah Bevier (23); Johannah Sax (59) and her children Mariah Sax (29), Peter Sax (23), Hester Sax (18), Dorothy Sax (16) and Jacob Sax (14).

 

There is a memorial located along Route 209 in Ellenville that marks the graves of those killed at the Fantinekill Massacre. The monument was unveiled on Memorial Day, May 30, 1903 with a large public ceremony that included a parade, the singing of patriotic songs and a number of well-received speeches from distinguished guests. The monument was constructed from a massive boulder of Shawangunk grit that weighed several tons and bears a bronze tablet containing the names of the nine victims and the date of the massacre. The monument, costing about $400, was largely funded by the “public-spirited citizens of the neighborhood.”

 

Upon the unveiling of the monument, the Honorable Thomas E. Benedict spoke that “After one hundred and twenty-four years we have erected this monument as a shrine to our ancestors who lived and died like heroes. They were the men and women who built up the republic in which we live, and they died that the republic might live. These mothers were the first Daughters of the American Revolution, and they are entitled to the first honors of the day. The coming daughters should be led to possess all the virtues which their ancestors had. Let the Fantinekill be a monument to which the younger generations shall go, and may they express the sentiment which is in bronze on the monument we have erected today.” (‘Impressive Ceremonies.” Kingston Daily Freeman. June 1, 1903.)

 

The History of Ulster County, New York by Nathaniel Bartlett Sylvester provides some background on the Fantinekill Cemetery, where the falls are located. “This [Fantine Kill Cemetery Association] organization was effected at a meeting held May 27, 1871, at the First National Bank of Ellenville. A. S. Schoonmaker was chairman, and C. A. Van Wagener secretary. The trustees chosen were Uriah C. Enderly, Gilbert Du Bois, C. A. Van Wagener, Alfred Neafie, Isaac Corbin, Andrew S. Schoonmaker, Hiram H. Gale, John McElhone, Newton Le Fever. The proceedings were verified before John Lyon, notary public, and recorded May 31, 1871. The grounds of this association bear an appropriate name, not only from the Fantine Kill itself, but in memory of the “Fantine Kill massacre” elsewhere mentioned.” (Page 268.)

 

Fantinekill Falls is a small, yet beautiful waterfall located at the Fantinekill Cemetery in Ellenville, Ulster County.Fantinekill Falls 6Ellenville, Ulster County

Fantinekill Falls is a small, yet beautiful waterfall located at the Fantinekill Cemetery in Ellenville, Ulster County. The Fantinekill name comes from the small, 18th-century settlement that was once located in the area, then about one mile north of the village of Ellenville.

The name “Fantinekill” is probably best known in history for the massacre that occurred on May 4, 1779 during the American Revolution when British Loyalists and Native Americans brutally killed nine people from the Bevier and Sax families at the Fantinekill settlement. That tragic event is today known as the Fantinekill Massacre. Those killed included Elizabeth Bevier (age 62) and her sons Solomon Bevier (29) and Josiah Bevier (23); Johannah Sax (59) and her children Mariah Sax (29), Peter Sax (23), Hester Sax (18), Dorothy Sax (16) and Jacob Sax (14). There is a memorial located along Route 209 in Ellenville that marks the graves of those killed.

Fantinekill Falls is a small, yet beautiful waterfall located at the Fantinekill Cemetery in Ellenville, Ulster County.Fantinekill Falls 7Ellenville, Ulster County

Fantinekill Falls is a small, yet beautiful waterfall located at the Fantinekill Cemetery in Ellenville, Ulster County. The Fantinekill name comes from the small, 18th-century settlement that was once located in the area, then about one mile north of the village of Ellenville.

The name “Fantinekill” is probably best known in history for the massacre that occurred on May 4, 1779 during the American Revolution when British Loyalists and Native Americans brutally killed nine people from the Bevier and Sax families at the Fantinekill settlement. That tragic event is today known as the Fantinekill Massacre. Those killed included Elizabeth Bevier (age 62) and her sons Solomon Bevier (29) and Josiah Bevier (23); Johannah Sax (59) and her children Mariah Sax (29), Peter Sax (23), Hester Sax (18), Dorothy Sax (16) and Jacob Sax (14). There is a memorial located along Route 209 in Ellenville that marks the graves of those killed.

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[email protected] (American Catskills) American Revolution Bevier Catskill Mountains Catskills cemetery creek Ellenville Fantinekill Fantinekill Cemetery Fantinekill Falls Fantinekill Massacre photographer photographs photography photos pictures river Sax sightseeing tourism tourist travel Ulster County water waterfall https://www.americancatskills.com/blog/2021/10/fantinekill-falls-a-study Sat, 02 Oct 2021 12:00:00 GMT
Mohyla https://www.americancatskills.com/blog/2021/9/mohyla Located across the road from St. Volodymyr Ukrainian Catholic Church in the hamlet of Glen Spey, there is a symbolic mohyla (mound) with a large Christian cross on top. The mound was created in honor of those that served and fought for the freedom of Ukraine. The marble base includes the words, in Ukrainian, “In Eternal Memory of the Ukrainian Revolutionary.” For many years religious services were held here, with a large number of attendees, including veterans and youth. The mound is located on the former grounds of the Ukrainian Fraternal Association.

 

The symbolic mohyla (mound), located across the road from St. Volodymyr Church in Glen Spey, honors those who fought from the freedom of Ukraine.MohylaGlen Spey, Sullivan County

Located across the road from St. Volodymyr Ukrainian Catholic Church in the hamlet of Glen Spey, there is a symbolic mohyla (mound) with a large Christian cross on top. The mound was created in honor of those that served and fought for the freedom of Ukraine.

In the 1940s the Glen Spey area became a popular destination for second home owners of Ukrainian descent, eventually becoming known as “Little Ukraine.” The area is said to have reminded the homeowners of their native homeland, and allowed them to celebrate their faith and heritage without the fear of persecution.

 

The popular Ukrainian Youth Festival, hosted at the former 160-acre Verkhovyna Resort, and with its county fair atmosphere, for many years attracted thousands of visitors to the small Glen Spey hamlet in Sullivan County. Beginning in 1976 during the summer of America’s bicentennial, the festival celebrated Ukrainian culture with dance, music, crafts and cuisine. In 1988 it was estimated that 20,000 people would attend the festival. Verkhovyna, the Ukrainian Fraternal Association’s resort center, also hosted summer camps, cultural workshops and annual art festivals. Verkhovyna, translated from Ukrainian, means “highlands.”

 

Two beautiful Ukrainian churches, St. Volodymyr Ukrainian Catholic Church, constructed in 1967, and Saints Peter and Paul Ukrainian Orthodox Church, constructed in 1971, can also be found at Glen Spey.

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[email protected] (American Catskills) Verkhovyna Catholic Catskill Mountains Catskills church cross Glen Spey Little memorial Mohyla mound New York Saints Peter and Paul Ukrainian Orthodox Church soldier St. Volodymyr Ukrainian Catholic Church Sullivan County Ukraine Ukraine" Ukrainian Fraternal Association Ukrainian Youth Festival https://www.americancatskills.com/blog/2021/9/mohyla Sat, 25 Sep 2021 12:00:00 GMT
St. Volodymyr Ukrainian Catholic Church: A Study https://www.americancatskills.com/blog/2021/9/st-volodymyr-ukrainian-catholic-church-a-study The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was consecrated on July 30, 1967 by His Excellency the Most Rev. Joseph Schmondiuk, Bishop of Stamford, in order to meet the religious needs of the growing population of Ukrainians living in the area. The first pastor at the church was Rev. Stephan Kieparchuk.

 

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York.St. Volodymyr ChurchGlen Spey, Sullivan County

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was consecrated on July 30, 1967 by His Excellency the Most Rev. Joseph Schmondiuk, Bishop of Stamford, in order to meet the religious needs of the growing population of Ukrainians living in the area. The first pastor at the church was Rev. Stephan Kieparchuk.

St. Volodymyr Church was designed by architect Apollinaire Osadca (1916-1997) and constructed by master builder George Kostiw. At its consecration, Osadca said the church was “built in the tradition of the wooden church architecture of the Ukrainian Carpathian Mountains . . . [and] even though it has the style features of the wooden Carpathian churches . . . it is not a copy of any one there.” Osadca, despite having designed many other buildings, described the construction of St. Volodymyr as a “labor of love.” Some of St. Volodymyr’s early congregants described the building as “the most beautiful Ukrainian wooden church in the free world.”

 

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York.Country ChurchGlen Spey, Sullivan County

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was consecrated on July 30, 1967 by His Excellency the Most Rev. Joseph Schmondiuk, Bishop of Stamford, in order to meet the religious needs of the growing population of Ukrainians living in the area. The first pastor at the church was Rev. Stephan Kieparchuk.

St. Volodymyr Church was designed by architect Apollinaire Osadca (1916-1997) and constructed by master builder George Kostiw. At its consecration, Osadca said the church was “built in the tradition of the wooden church architecture of the Ukrainian Carpathian Mountains . . . [and] even though it has the style features of the wooden Carpathian churches . . . it is not a copy of any one there.” Osadca, despite having designed many other buildings, described the construction of St. Volodymyr as a “labor of love.” Some of St. Volodymyr’s early congregants described the building as “the most beautiful Ukrainian wooden church in the free world.”

 

The Ukrainian Daily newspaper described the official events of that first day in the new life of the Glen Spey church. “The Church bell rang loud and clear last Sunday, morning, as the faithful gathered around St. Volodymyr's to greet His Excellency, the Bishop. He walked along Таras Shevchenko Blvd. in a procession of priests, veterans of the Ukrainian National Army, and little children dressed in colorful Ukrainian costumes. At the gates, under the bright summer sun, the procession halted. With the traditional Ukrainian welcome of bread, salt and warm words, Rev. Stephan Кіерагchuk, pastor of the newly built Church, and Dr. Hrabarchuk, chairman of the Church building committee, met the Bishop.

 

A cool breeze stirred the leaves of the mighty oaks. The bell of St. Volodymyr’s carried its wakening message over the hills toward the rippling waters of the Delaware. A blue and yellow flag gently came to life along side the Stars and Stripes. Around the Church made of wood, stood many, many people.

 

Following the consecration, a High Mass was held in the Church, during which the choir of the Holy Ghost Church of Brooklyn, N.Y., sang . . .

 

At the conclusion of religious ceremonies, the public enjoyed a picnic on the sprawling grounds of Verchovyna resort. Under towering oaks and stately pines guests sampled varieties of home baked goods and typically Ukrainian foods such аs ругоhy, holubel, etc., prepared by proud hosts of the day, local Ukrainian citizens. The lively music of Mr. Hirniak, kept the picnickers on their toes.

 

Highlighting the picnic was a short program of Ukrainian dance, song and recital, presented by children from the Verchovyna Youth camp, and prepared by Mrs. Bulba. His Excellency, Bishop Schmondiuk, in a brief speech afterwards, said that he was very impressed by the children, and by the fact that here in Glen Spey they are given the opportunity to absorb Ukrainian culture.” (Baczynsky, Marta. “Ukrainian Church Consecrated in Glen Spey, N.Y.” Ukrainian Daily. August 5, 1967.)

 

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York.1966Glen Spey, Sullivan County

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was consecrated on July 30, 1967 by His Excellency the Most Rev. Joseph Schmondiuk, Bishop of Stamford, in order to meet the religious needs of the growing population of Ukrainians living in the area. The first pastor at the church was Rev. Stephan Kieparchuk.

St. Volodymyr Church was designed by architect Apollinaire Osadca (1916-1997) and constructed by master builder George Kostiw. At its consecration, Osadca said the church was “built in the tradition of the wooden church architecture of the Ukrainian Carpathian Mountains . . . [and] even though it has the style features of the wooden Carpathian churches . . . it is not a copy of any one there.” Osadca, despite having designed many other buildings, described the construction of St. Volodymyr as a “labor of love.” Some of St. Volodymyr’s early congregants described the building as “the most beautiful Ukrainian wooden church in the free world.”

 

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York.Door to GodGlen Spey, Sullivan County

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was consecrated on July 30, 1967 by His Excellency the Most Rev. Joseph Schmondiuk, Bishop of Stamford, in order to meet the religious needs of the growing population of Ukrainians living in the area. The first pastor at the church was Rev. Stephan Kieparchuk.

St. Volodymyr Church was designed by architect Apollinaire Osadca (1916-1997) and constructed by master builder George Kostiw. At its consecration, Osadca said the church was “built in the tradition of the wooden church architecture of the Ukrainian Carpathian Mountains . . . [and] even though it has the style features of the wooden Carpathian churches . . . it is not a copy of any one there.” Osadca, despite having designed many other buildings, described the construction of St. Volodymyr as a “labor of love.” Some of St. Volodymyr’s early congregants described the building as “the most beautiful Ukrainian wooden church in the free world.”

 

St. Volodymyr Church was designed by architect Apollinaire Osadca (1916-1997) and constructed by master builder George Kostiw. At its consecration, Osadca said the church was “built in the tradition of the wooden church architecture of the Ukrainian Carpathian Mountains . . . [and] even though it has the style features of the wooden Carpathian churches . . . it is not a copy of any one there.” Osadca, despite having designed many other buildings, described the construction of St. Volodymyr as a “labor of love.” Some of St. Volodymyr’s early congregants described the building as “the most beautiful Ukrainian wooden church in the free world.”

 

Apollinaire Osadca, the church architect, was born what is now the Ukraine and emigrated to the United States in 1949. Other noted works by Osadca include the Sacred Heart Convent in Astoria, New York (1962), the Ukrainian National Home in Hartford, Connecticut (1965), the Holy Cross Ukrainian Cathedral Church in Astoria, New York (1966), the St. Nicholas Ukrainian Cathedral Church in Passaic, New Jersey (1969) and St. George's Ukrainian Catholic Church in New York City (1977).

 

George (Jurij) Kostiw, the church master builder, was trained by experienced carpenters in his native Bojko mountain region of Ukraine. Kostiw also constructed St. John the Baptist Church (1962) at Hunter, New York and the Sacred Heart Ukrainian Catholic Church (1977) at Johnson City, New York.

 

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York.CrossGlen Spey, Sullivan County

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was consecrated on July 30, 1967 by His Excellency the Most Rev. Joseph Schmondiuk, Bishop of Stamford, in order to meet the religious needs of the growing population of Ukrainians living in the area. The first pastor at the church was Rev. Stephan Kieparchuk.

St. Volodymyr Church was designed by architect Apollinaire Osadca (1916-1997) and constructed by master builder George Kostiw. At its consecration, Osadca said the church was “built in the tradition of the wooden church architecture of the Ukrainian Carpathian Mountains . . . [and] even though it has the style features of the wooden Carpathian churches . . . it is not a copy of any one there.” Osadca, despite having designed many other buildings, described the construction of St. Volodymyr as a “labor of love.” Some of St. Volodymyr’s early congregants described the building as “the most beautiful Ukrainian wooden church in the free world.”

 

The hamlet of Glen Spey, where the church is located, takes its name from the Scottish word “glen” for valley, and “spey” for the clear water springs found throughout the area. In the 1940s the area became a popular destination for second home owners of Ukrainian descent, eventually becoming known as “Little Ukraine.” The area is said to have reminded the homeowners of their native homeland, and allowed them to celebrate their faith and heritage without the fear of persecution. The popular Ukrainian Youth Festival for many years attracted thousands of visitors to the small Glen Spey hamlet in Sullivan County. The equally beautiful Saints Peter and Paul Ukrainian Orthodox Church, founded in 1971, can also be found at Glen Spey.

 

The church takes its name from Saint Volodymyr, who is perhaps better known as Vladimir the Great. Although originally a devout pagan known for his barbarism and immorality, he later converted to Christianity, thereafter having himself and his country baptized into the Orthodox Christian Church. With his conversion, Volodymyr destroyed all the pagan statues that were located within the Kievan Rus, would go on to build a large number of schools, libraries and churches throughout the country and lived in relative peace with his national neighbors. Volodymyr was canonized in the mid-13th century. Both the Roman Catholic and Eastern Orthodox churches celebrate his feastday on July 15th.

 

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York.The Work of OsadcaGlen Spey, Sullivan County

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was consecrated on July 30, 1967 by His Excellency the Most Rev. Joseph Schmondiuk, Bishop of Stamford, in order to meet the religious needs of the growing population of Ukrainians living in the area. The first pastor at the church was Rev. Stephan Kieparchuk.

St. Volodymyr Church was designed by architect Apollinaire Osadca (1916-1997) and constructed by master builder George Kostiw. At its consecration, Osadca said the church was “built in the tradition of the wooden church architecture of the Ukrainian Carpathian Mountains . . . [and] even though it has the style features of the wooden Carpathian churches . . . it is not a copy of any one there.” Osadca, despite having designed many other buildings, described the construction of St. Volodymyr as a “labor of love.” Some of St. Volodymyr’s early congregants described the building as “the most beautiful Ukrainian wooden church in the free world.”

 

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York.The Church at Glen SpeyGlen Spey, Sullivan County

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was consecrated on July 30, 1967 by His Excellency the Most Rev. Joseph Schmondiuk, Bishop of Stamford, in order to meet the religious needs of the growing population of Ukrainians living in the area. The first pastor at the church was Rev. Stephan Kieparchuk.

St. Volodymyr Church was designed by architect Apollinaire Osadca (1916-1997) and constructed by master builder George Kostiw. At its consecration, Osadca said the church was “built in the tradition of the wooden church architecture of the Ukrainian Carpathian Mountains . . . [and] even though it has the style features of the wooden Carpathian churches . . . it is not a copy of any one there.” Osadca, despite having designed many other buildings, described the construction of St. Volodymyr as a “labor of love.” Some of St. Volodymyr’s early congregants described the building as “the most beautiful Ukrainian wooden church in the free world.”

 

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York.God's HandGlen Spey, Sullivan County

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was consecrated on July 30, 1967 by His Excellency the Most Rev. Joseph Schmondiuk, Bishop of Stamford, in order to meet the religious needs of the growing population of Ukrainians living in the area. The first pastor at the church was Rev. Stephan Kieparchuk.

St. Volodymyr Church was designed by architect Apollinaire Osadca (1916-1997) and constructed by master builder George Kostiw. At its consecration, Osadca said the church was “built in the tradition of the wooden church architecture of the Ukrainian Carpathian Mountains . . . [and] even though it has the style features of the wooden Carpathian churches . . . it is not a copy of any one there.” Osadca, despite having designed many other buildings, described the construction of St. Volodymyr as a “labor of love.” Some of St. Volodymyr’s early congregants described the building as “the most beautiful Ukrainian wooden church in the free world.”

 

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York.1,000 YearsGlen Spey, Sullivan County

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was consecrated on July 30, 1967 by His Excellency the Most Rev. Joseph Schmondiuk, Bishop of Stamford, in order to meet the religious needs of the growing population of Ukrainians living in the area. The first pastor at the church was Rev. Stephan Kieparchuk.

St. Volodymyr Church was designed by architect Apollinaire Osadca (1916-1997) and constructed by master builder George Kostiw. At its consecration, Osadca said the church was “built in the tradition of the wooden church architecture of the Ukrainian Carpathian Mountains . . . [and] even though it has the style features of the wooden Carpathian churches . . . it is not a copy of any one there.” Osadca, despite having designed many other buildings, described the construction of St. Volodymyr as a “labor of love.” Some of St. Volodymyr’s early congregants described the building as “the most beautiful Ukrainian wooden church in the free world.”

 

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York.In FaithGlen Spey, Sullivan County

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was consecrated on July 30, 1967 by His Excellency the Most Rev. Joseph Schmondiuk, Bishop of Stamford, in order to meet the religious needs of the growing population of Ukrainians living in the area. The first pastor at the church was Rev. Stephan Kieparchuk.

St. Volodymyr Church was designed by architect Apollinaire Osadca (1916-1997) and constructed by master builder George Kostiw. At its consecration, Osadca said the church was “built in the tradition of the wooden church architecture of the Ukrainian Carpathian Mountains . . . [and] even though it has the style features of the wooden Carpathian churches . . . it is not a copy of any one there.” Osadca, despite having designed many other buildings, described the construction of St. Volodymyr as a “labor of love.” Some of St. Volodymyr’s early congregants described the building as “the most beautiful Ukrainian wooden church in the free world.”

 

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York.Afternoon Light at St. Volodymyr’sGlen Spey, Sullivan County

The St. Volodymyr Ukrainian Catholic Church is located only a few miles from the Delaware River at the hamlet of Glen Spey in Sullivan County, New York. The church was consecrated on July 30, 1967 by His Excellency the Most Rev. Joseph Schmondiuk, Bishop of Stamford, in order to meet the religious needs of the growing population of Ukrainians living in the area. The first pastor at the church was Rev. Stephan Kieparchuk.

St. Volodymyr Church was designed by architect Apollinaire Osadca (1916-1997) and constructed by master builder George Kostiw. At its consecration, Osadca said the church was “built in the tradition of the wooden church architecture of the Ukrainian Carpathian Mountains . . . [and] even though it has the style features of the wooden Carpathian churches . . . it is not a copy of any one there.” Osadca, despite having designed many other buildings, described the construction of St. Volodymyr as a “labor of love.” Some of St. Volodymyr’s early congregants described the building as “the most beautiful Ukrainian wooden church in the free world.”

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[email protected] (American Catskills) Apollinaire Osadca architect architecture building Catholic Catskill Mountains Catskills church George Kostiw Glen Spey hamlet Joseph Schmondiuk Matthew Jarnich New York pastor photographer photographs photography photos pictures religion reverend Saint Vladimir Saint Volodymyr Saint Volodymyr Ukrainian Catholic Church sightseeing Stephan Kieparchuk Sullivan County tourism tourist travel Ukraine Ukrainian wood wooden https://www.americancatskills.com/blog/2021/9/st-volodymyr-ukrainian-catholic-church-a-study Sat, 18 Sep 2021 13:19:43 GMT
John Jacob Loeffler – New Catskills Photographs https://www.americancatskills.com/blog/2021/9/john-jacob-loeffler-new-catskills-photographs John Jacob Loeffler is one of the great Catskills photographers of all time. He made hundreds of stereoviews of the Catskills throughout the 1870s and 1880s. The photographs, part of the series titled Catskill Mountain Scenery, demonstrate his skill and vision as well as the timeless beauty of the Catskills, being equally compelling today at they were 150 years ago.

 

I have recently acquired a number of new Catskills photographs by John Jacob Loeffler. They have all been added to the Loeffler gallery, which now contains over 130 of his photographs.

 

Vintage John Jacob Loeffler stereoview titled “Steps leading down to Ravine, as seen from the Spray House” from the “Catskill Mountain Scenery” series; second series, # 237.2nd Series, #237_Steps leading down to Ravine, as seen from the Spray House.Photographer: John Jacob Loeffler
Series name: Catskill Mountain Scenery
Catalog #: 2nd Series, # 237
Title: Steps leading down to Ravine, as seen from the Spray House.
Steps leading down to Ravine, as seen from the Spray House. (2nd Series, # 237)

 

Vintage John Jacob Loeffler stereoview titled “The Lower Fall, from above” from the “Catskill Mountain Scenery” series; second series, number 252.2nd Series, #252_The Lower Fall, from above.Photographer: John Jacob Loeffler
Series name: Catskill Mountain Scenery
Catalog #: 2nd Series, # 252
Title: The Lower Fall, from above.
The Lower Fall, from above. (2nd Series, # 252)

 

Vintage John Jacob Loeffler stereoview titled “Ledge of Rocks, in front of Mountain House” from the “Catskill Mountain Scenery” series; third series, # 276.3rd Series, #276_Ledge of Rocks, in front of Mountain House.Photographer: John Jacob Loeffler
Series name: Catskill Mountain Scenery
Catalog #: 3rd Series, # 276.
Title: Ledge of Rocks, in front of Mountain House.
Ledge of Rocks, in front of Mountain House. (3rd Series, # 276)

 

Vintage John Jacob Loeffler stereoview titled “Overlook Mountain House” from the “Catskill Mountain Scenery” series; no series listed, #355.No series listed, #355_Overlook Mountain House.Photographer: John Jacob Loeffler
Series name: Catskill Mountain Scenery
Catalog #: No series, # 355.
Title: Overlook Mountain House.
Overlook Mountain House. (No series listed, # 355)

 

Vintage John Jacob Loeffler stereoview titled “View from the Overlook” from the “Catskill Mountain Scenery” series; no series listed, # 363.No series listed, #363_View from the Overlook.Photographer: John Jacob Loeffler
Series name: Catskill Mountain Scenery
Catalog #: No series listed, No. 363
Title: View from the Overlook.

John Jacob Loeffler is one of the great Catskills photographers of all time. He made hundreds of stereoviews of the Catskills throughout the 1870s and 1880s. The photographs, part of the series titled Catskill Mountain Scenery, demonstrate his skill and vision as well as the timeless beauty of the Catskills, being equally compelling today as they were 150 years ago.
View from the Overlook. (No series listed, # 363)

 

Vintage John Jacob Loeffler stereoview titled “Bear’s Den” from the “Catskill Mountain Scenery” series; no series listed, # 369.No series listed, #369_Bear’s Den.Photographer: John Jacob Loeffler
Series name: Catskill Mountain Scenery
Catalog #: No Series, # 369
Title: Bear’s Den.
Bear’s Den. (No series listed, # 369)

 

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[email protected] (American Catskills) Bear's Den Catskill Mountain House Catskill Mountain Scenery Catskill Mountains Catskills J. Loeffler John Jacob Loeffler Kaaterskill Falls Laurel House Loeffler New York Overlook Mountain Overlook Mountain House photographer photographs photography photos pictures Staten Island stereo view stereograph stereoscopic stereoscopic view stereoview Tompkinsville https://www.americancatskills.com/blog/2021/9/john-jacob-loeffler-new-catskills-photographs Sat, 11 Sep 2021 12:00:00 GMT
W. F. Spencer - Jeweler, Watch Maker and Photographer https://www.americancatskills.com/blog/2021/9/w-f-spencer---jeweler-watch-maker-and-photographer W. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.

W. F. Spencer, Stamford photographerW. F. Spencer, Stamford photographerW. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.

 

Ambrotypes at W. F. Spencer'sAmbrotypes at W. F. Spencer'sBloomville Mirror, April 29, 1862

W. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.
Bloomville Mirror advertisement, April 29, 1862.

 

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William F. Spencer was born in Delaware County, New York. The 1900 United States census shows his birth as January 1830, although other census reports show his birth year as circa 1828 or 1829. Throughout his life, many records, such as newspaper accounts, show William using the nickname “W. F.,” while some official records, such as census reports, use the first name “Whedon.”

According to census records, William and his mother Eliza were living at the village of Windham from circa 1831. Sometime in the 1850s at the village of Windham, New York, Spencer, while in his mid-20s, established a jewelry and watch business, a trade he would continue for the remainder of his life.

On the 1855 New York state census Spencer, age 28, was residing at the village of Windham in Greene County, New York. He was living with his wife Caroline M., age 25; his mother Eliza Spencer, age 48; and a boarder by the name of Mary Fink, age 18. Spencer was listed with an occupation of Watch Maker. His mother Eliza was listed as widowed. Eliza and the boarder Mary were both listed with an occupation of Milliner. The family was living in a framed house valued at $500. The census shows that Spencer and his mother had been residing at Windham for 24 years while his wife Caroline had been residing there for 4 years. Caroline was shown as having been born in Albany County, New York.

In 1857 Spencer was advertising his jewelry business at Windham, New York. “The Metropolitan Police War has kicked up quite a dust in Gotham. Everyone knows that, but everyone does not know that Watches, Jewelry, & c., can be purchased of Mr. W. F. Spencer as economically as elsewhere in the county. Economy consists in purchasing where you can get the best article for the smallest amount of money. Never send to strangers, therefore, for an article which may be as cheaply and suitably purchased at home. Read Mr. Spencer’s advertisement, in another column, and give him a call.” (Windham Journal. August 6, 1857.)

A March 1857 advertisement in the Windham Journal highlighted the many offerings of Spencer’s business.

 

“Opposition to Imposition. W. F. Spencer keeps constantly on hand a complete assortment of Clocks, Watches, Jewelry, And Fancy Goods, which he will sell as cheap as can be bought outside of New York city. Among his stock may be found Gold and Silver Watches, Gold Pens and Pencils, Gold Chains, Gold, Cameo and Mosaic Pins, Ear Drops and Knobs, Gold and Cornelian Finger Rings, Gold Sleeve Buttons and Studs, Silver and German Silver Thimbles, Silver and Silver Plated Table, Tea, Cream, Sugar, Salt and Mustard Spoons; Butter and Fruit Knives, Spectacles, & c. Shears, scissors, port-moneys and wallets, pen, pocket and table cutlery, and all articles usually found at such a store.

Clocks, Watches and Musical Instruments repaired and warranted. Old Gold and silver taken in exchange for work or goods.

Windham, March 21st, 1857.”

 

               In 1857 Spencer, in addition to his jewelry business, can also be found at Windham operating his photograph gallery. He advertised in the Windham Journal for “SPANISH QUARTERS taken for twenty-two cents at W. F. SPENCER’S.”

After running his “Opposition to Imposition” advertisement in the local newspapers for a long time, and now finding the advertisement “stale,” in 1858 Spencer advertised under a heading of “New Arrangement.”

 

“New Arrangement. W. F. Spencer, Finding that the quick six-pence is better than a slow shilling, will offer his stock of goods, for CASH, fifteen per cent cheaper than can be bought outside of New York city. His goods consist of Gold and Silver Watches, Gold Pens and Pencils, Gold Chains, Gold, Cameo, Mosaic & Florentine Pins, Ear Drops and Knobs, Gold and Cornelian Finger Rings, Gold Sleeve Buttons and Studs, Silver and German Silver Thimbles, Silver, plated & Steel-bowed Spectacles, Plated Goods of all kinds, Pen and Pocket Cutlery, Sheers, Scissors, Razors, & c. Harrison’s J. D. Edrek’s and Lubin’s Extracts for the handkerchief. Minor’s Extracts for flavoring. Hair Oils, Restoratives, Colognes, Toilet Soaps, and Depilatory, Stationary, Port Monies, Wallets, Pass Books, & c. A great variety of Clocks, eight day and thirty hour, with and without Alarms, and all goods usually kept in such Stores, Cheap for Cash.

 

Clocks, Watches and Musical Instruments repaired and warranted. Old Silver taken in exchange for work or goods. Windham Center, April 21, 1858.” (Windham Journal. 1858.)

 

By late 1858 Spencer seemed to be preparing to leave the village of Windham. He placed the following notice in the Windham Journal, the local newspaper. “Notice. ALL PERSONS INDEBTED TO W. F. Spencer, either by note or account, are requested to call and make immediate payment, in order that he may do the same by his creditors.”

In 1859 Spencer entered into partnership with Henry L. Lemily, of Windham, with Spencer focusing on the selling and repairing of watches and jewelry and Lemily focusing on producing photographs, ambrotypes and melainotypes “in the best styles and at the lowest prices.” Their business was located within a Daguerrean Car at Bloomville, New York near the hotel of James W. Lyon. Lemily was well regarded locally, having placed second for “best ambrotypes” at the 1859 Delaware County Fair. First place was awarded to Jones & Ferguson of Kortright; and third place was awarded to O’Connor & Atkins.

In September 1859 Spencer was operating his photography business at the village of Bloomville, New York. “Mr. W. F. Spencer, Ambrotypist, requests to say that he will be here [Bloomville] on the 1st of Sept. with his Car, and attend to the wants of the people in the Picture line, and also in the repairing of Jewelry, clocks, Watches, & c.” (Bloomville Mirror. August 23, 1859.) In October 1859 Spencer sold his house and property at Windham to C. A. Mattoon, with ownership to take effect on November 10, 1859.

That same year, 1859, saw a small conflict between competing photographers, when L. D. Jones publicly challenged Spencer to compare their work at the upcoming county fair. “Andes, Aug. 20th, 1859. Mr. W. F. Spencer – As you make opposition to me in making Ambrotypes, I will give you another chance. Carry some of your pictures to the Fair and I will make opposition to you. L. D. JONES.” (Bloomville Mirror. 1859.) Jones briefly operated out of the villages of Andes, Bloomville, Delhi (at Churchill’s old gallery) and Hobart. L. D. Jones, in addition to being a photographer, was also a watch-maker and jeweler at the village of Andes, adding even further intrigue to the competition.

On the 1860 United States census, W. F. Spencer, age 32, was residing at Jefferson in Schoharie County, New York. He was living with his wife Caroline, age 30; his daughter Frances, age 4; and his daughter Augusta, age 11 months. Also living in the household was Elizabeth Washburn, age 11, who was listed as an adopted daughter on the 1865 New York State census. No occupation was listed was listed for W.F. His real estate was valued at $2,500 and his personal estate was valued at $1,000.

Augusta Spencer, W. F.’s daughter, was born in August 1859 and married Horace E. Stoddard in January 1881 at a ceremony in her hometown of Stamford. Augusta, affectionately known as “Gussie,” was a graduate of the Stamford Seminary and was considered to have “extraordinary musical ability.” (The Roxbury Times. August 28, 1915.) Horace Elijah Stoddard (1847-1937), the son of Chester (1812-1893) and Charity Stoddard (1810-1881), first worked as a farmer with his father and then worked for the Ulster and Delaware Rail Road (UDRR) company for many years as a conductor, laborer, baggage-man and expressman. The 1900 United States census reported that Horace and Augusta had seven children, six of them living at the time. Their children included Joseph (b. November, 1877), Frank (b. January, 1882), Harry (b. November, 1884), Charity (b. September, 1887), Helen (b. July, 1890), William (b. November, 1892) and Louise (b. September, 1895). Augusta passed away on May 20, 1929 at 70 years of age in New York City and was interred at Wiltwyck Cemetery in Kingston, New York. Horace passed away on April 4, 1937 in Bronx, New York and was also interred at Wiltwyck Cemetery.

 

W. F. SpencerW. F. SpencerW. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker. Stamford Seminary, Stamford, N.Y. 1869.

Lionel Pincus and Princess Firyal Map Division, The New York Public Library. "Res. of Wm. Youmans Jr. Delhi N.Y. ; Christ Church & Parsonage, Walton N.Y. ; Presbyterian Church, Downsville N.Y. ; Stamford Seminary, Stamford N.Y. S.E. Churchhill, Principal & Proptr."" The New York Public Library Digital Collections. 1869. https://digitalcollections.nypl.org/items/510d47e3-67c9-a3d9-e040-e00a18064a9

 

Frances Spencer, W. F.’s daughter, was born in 1855 at Greene County, New York. Like her father, she would engage in the jewelry business, partnering with him in their business at Kingston, New York. The 1900 United States census listed her marital status as single. Frances passed away at the age of 73 in New York City on October 29, 1928.

In 1860 Spencer, formerly of Windham, purchased the hotel owned by George W. Childs, a local merchant, at the hamlet of Jefferson in Schoharie County, New York. The property was purchased on March 6, 1860. According to the current owners of the building the Jefferson Hotel, as it was first called, got its start in 1833 and doubled as a stage coach stop. By the time of Spencer’s ownership, the hotel operated under the name of Jefferson House. The hotel was located in the heart of the Jefferson hamlet near the post office, stores, churches and across the road from the village square. At the suggestion of Revolutionary War veteran and local resident Colonel Stephen Judd the hamlet of Jefferson, and thus the Jefferson House, were named for founding father Thomas Jefferson. Spencer’s Windham jewelry business was taken over by Truman Johnson.

 

W. F. SpencerW. F. SpencerBloomville Mirror, October 30, 1860.

W. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.


In 1860 W. F. Spencer owned and operated the Jefferson House, located in the hamlet of Jefferson in Schoharie County.
Jefferson House advertisement. Bloomville Mirror, October 30, 1860.

 

W. F. Spencer, Map of the Jefferson hamlet, Schoharie CountyW. F. Spencer, Map of the Jefferson hamlet, Schoharie CountyW. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.

In 1860 W. F. Spencer owned and operated the Jefferson House, located in the hamlet of Jefferson in Schoharie County.

Wenig, E, Wm Lorey, and Robert Pearsall Smith. Map of Schoharie Co., New York. Philadelphia: Published by R.P. Smith, 1856. Map. Retrieved from the Library of Congress, <www.loc.gov/item/2008620859/>.
1856 map of the hamlet of Jefferson, Schoharie County, New York, including the Jefferson House.

Wenig, E, Wm Lorey, and Robert Pearsall Smith. Map of Schoharie Co., New York. Philadelphia: Published by R.P. Smith, 1856. Map. Retrieved from the Library of Congress, <www.loc.gov/item/2008620859/>.

 

W. F. Spencer, Jefferson HouseW. F. Spencer, Jefferson HouseW. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.

In 1860 W. F. Spencer owned and operated the Jefferson House, located in the hamlet of Jefferson in Schoharie County.
Jefferson House. Courtesy of Jefferson Historical Society. www.thejeffersonhistoricalsociety.com.

 

Spencer’s ownership of the Jefferson House did not last long, for land records show that on December 26, 1860 Spencer sold the property to James Childs. On a side note, the Jefferson House, now with the name Heartbreak Hotel, continues to operate to this day as a popular local restaurant. It is located at 149 Main Street in Jefferson, New York. For more information about their history and delicious pub offerings visit their website at www.heartbreakhotelny.com.

By February 1861 Spencer was again operating in the jewelry business, but was now located at the village of Stamford in Delaware County, New York. “W. F. SPENCER, Dealer in Watches and Clocks. WATCHES, Clocks, Jewelry and Musical instruments repaired, and warranted at short notice and reasonable prices. Old silver taken in Exchange. Stamford, Del. Co.” (Bloomville Mirror. February 5, 1861.)

 

W. F. Spencer, 1861 advertisementW. F. Spencer, 1861 advertisementBloomville Mirror, March 5, 1861.

W. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.
W. F. Spencer advertisement. Bloomville Mirror, March 5, 1861.

 

Interestingly some of Spencer’s watches are today sold for higher prices, by multiples, than they ever would have sold for in the 19th century. As just one example, in 2016 the New Hampshire based horological specialty firm of Jones & Horan auctioned off a watch by W. F. Spencer for $1,700. According the condition report, the watch was created by the United States Watch Co. under a private label for Spencer. As can be seen in their photographs the Spencer watch was beautiful, and the fact that it is still working over approximately 1 1/2 centuries later is a testament to his craftsmanship.

 

W. F. Spencer, watchW. F. Spencer, watchW. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.

W. F. Spencer, watchW. F. Spencer, watchW. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.

W. F. Spencer, watchW. F. Spencer, watchW. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.

 

In 1862 Spencer announced his photography business in a simple newspaper advertisement in the Bloomville Mirror: “Ambrotypes, at W. F. Spencer’s, Stamford, N.Y.”

The invention of the Ambrotype photographic process is often credited to James A. Cutting (1814-1867), an American photographer and inventor. Cutting patented his improvements on the ambrotype process in 1854, and thus attached his name to the process. Ambrotypes would reach their height of popularity in the mid-1850s to the mid-1860s. Ambrotypes were eventually replaced with Cartes de visite and other paper print photographs, both of which were easily available in multiple copies.

As per the Library of Congress “An ambrotype is comprised of an underexposed glass negative placed against a dark background. The dark backing material creates a positive image . . . The invention of wet collodion photography processes in the 1850s allowed the development of two new kinds of photographs--ambrotypes and tintypes. These new formats shared many characteristics with the earlier daguerreotypes but were quicker and cheaper to produce. Primarily used for portraiture, each photo is a unique camera-exposed image and was available in the following standard-sizes. The most common size was the sixth plate.

  • Imperial or Mammoth Plate - Larger than 6.5 x 8.5 inches
  • Whole Plate - 6.5 x 8.5 inches
  • Half Plate - 4.25 x 5.5 inches
  • Quarter Plate - 3.25 x 4.25 inches
  • Sixth Plate - 2.75 x 3.25 inches
  • Ninth Plate - 2 x 2.5 inches
  • Sixteenth Plate - 1.5 x 1.75 inches.”

In 1863, the Stamford business directory, as published in The Bloomville Mirror issue on March 3, 1863, listed W. F. Spencer with the occupations of both Postmaster and Photographic Artist. Spencer was appointed Stamford postmaster on January 28, 1863, following Jeffrey H. Champlin who had served in that role since 1858. The Stamford post office had been established on September 8, 1801, with Spencer serving as Stamford’s 10th postmaster. Spencer held the postmaster position for less than two months, being succeeded by Ambrose Stevenson on March 5, 1863.

According to an anonymous letter written to the Bloomville Mirror, published on March 31, 1863, there may have been some local intrigue around Spencer’s appointment as postmaster. “STAMFORD, March 28, 1863. Mr. Mirror – A correspondent of yours, few weeks since, stated that W. F. Spencer had been appointed Post Master at this place. I think Mr. Spencer received notice that he would be made a P. M., and probably the old P. M. though so, too, for the post-office was hustled off to Spencer’s, where it remained until yesterday, when Ambrose Stevenson, Esq., the newly commissioned Postmaster at this place, mover the office back to its old locality opposite the Delaware house. This fact may not be very pleasing to the Harpersfield man, who simply wrote a letter to procure Spencer’s appointment, and then made a journey to Washington to prevent the appointment of Stevenson. PATRON.”

In 1864 The New York State Business Directory listed W. F. Spencer as a photographer at Stamford. Spencer was the only photographer then operating at Stamford. Other Delaware County photographers listed in the 1864 directory included James D. Ferguson at Andes, Myres Hill at Downsville, Jacob Churchill and Benjamin F. Gilbert at Delhi, Willson H. Stewart at Hamden, Wm. H. Barber at Margaretville and Norman Taylor at Walton.

On the 1865 New York State census Spencer, age 38, was residing at Harpersfield in Delaware County, New York. He was residing with his wife Caroline, age 32; his daughter Frances, age 9; his daughter Augusta, age 5; and his adopted daughter Elizabeth Washburn, age 16. Caroline was born in Albany County, New York while both Frances and Augusta were born in Greene County, New York, likely at Windham where Spencer was residing at the time of their births. Spencer was listed with an occupation of Merchant. The family was living in a framed house valued at $600.

In 1866 Spencer announced the reopening of his photography business in a newspaper advertisement in the Bloomville Mirror. “NOTICE. W. F. SPENCER Has again opened his Picture Rooms in Stamford, where he will be pleased to see his former customers, and all others who may favor him with a call. November 3, 1866.”

 

W. F. Spencer, 1867 advertisementW. F. Spencer, 1867 advertisementBloomville Mirror, January 1, 1867.

W. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.
W. F. Spencer advertisement. Bloomville Mirror, January 1, 1867.

 

In March 1868 Spencer announced his return to the jewelry business at Stamford, although it’s unclear where he was in preceding year. “IMPORTANT! – W. F. SPENCER would respectfully notify the people of Stamford and adjoining towns that he has returned to this village, and will, as heretofore, pursue the business of Repairing Watches, Clocks, Jewelry of all kinds, Melodeons, Accordions, Music Boxes, Sewing Machines, & c. Jewelry of solid Gold or Silver manufactures. Engraving done to order. Agent for Sewing Machines. Stamford, March 15, 1868.)

In September 1869 Spencer “bought Gilbert & Maynard’s old office, and carries on the Jewelry and Drug business, besides dealing in papers, books and music. He is putting up an addition to the building.” (Bloomville Mirror. September 7, 1869.) That same year he became the exclusive agent at Stamford for the Davis Lock Stitch Sewing Machine, “a late invention – decided improvement over all the old shuttle machines – great simplicity, and great case of management.”

On the 1870 United States census Spencer, age 41, was residing at the village of Stamford in Delaware County, New York. He was living with his wife Caroline, age 39, who was listed with an occupation of “Keeping House”; his daughter, “Franklin,” (Frances) age 15; his daughter “Susie,” (Augusta) age 11; and his adopted daughter Elizabeth Washburn, age 20. Both Franklin and Susie were listed as having attended school within the past year. Spencer’s occupation was listed as “Jewelry.” His real estate was valued at $2,000 and his personal estate was valued at $600. In 1871 Libbie Washburn advertised that she was available at W. F. Spencer’s “to make coats, pants and vests, promptly.” (Bloomville Mirror. 1871.)

In 1870 Spencer advertised the sale of a wide assortment of goods including watches, clocks, musical instruments, sheet music, music books, and even drugs and medicines. (Bloomville Mirror. June 7, 1870.)

 

W. F. Spencer, 1870 advertisementW. F. Spencer, 1870 advertisementBloomville Mirror, December 13, 1870.

W. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.
W. F. Spencer advertisement. Bloomville Mirror, December 13, 1870.

 

W. F. Spencer, 1871 advertisementW. F. Spencer, 1871 advertisementBloomville Mirror, February 7, 1871.

W. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.
W. F. Spencer advertisement. Bloomville Mirror, February 7, 1871.

 

In 1870 The New York State Business Directory listed W. F. Spencer at Stamford under the profession of “Watches Jewelry Dealers.” Photographer E. O. Covill was listed as operating at the village of Stamford. Other photographers listed as operating in Delaware County included B. F. Gilbert and M. Johnson at Delhi, and Burton Hine at Franklin.  (Sampson, Davenport, & Co. The New York State Business Directory. Boston, MA: Charles Van Benthuysen & Sons, 1870. p. 1024.)

In 1872 Spencer moved his business to a new location. “Mr. W. F. Spencer has moved his Jewelry establishment to the Mirror office building. This together with the Printing works, Book Store, Post-office and Railroad Engineers office, make it one of the most lively establishments in Stamford.” (The Jeffersonian. May 15, 1872.)

In 1872 Boyd’s New York State Directory listed W. F. as operating at Stamford with the profession of “jeweler and music dealer.” A photographer by the name of R. M. Gibbs was listed as working at Stamford. (Boyd, Andrew. Boyd’s New York State Directory, 1872. 1873. 1874. Syracuse, N.Y.: Truair, Smith & Co., 1872.)

That same year, in 1872, Spencer visited his old home at the village of Windham. The Windham Journal in their March 7, 1872 issue wrote an extremely positive announcement about his return, including his contributions the establishment of that newspaper.

 

“We had a very pleasant call yesterday, from Mr. W. F. Spencer, of Stamford, who has a jewelry store there. He deals largely in gold and silver watches, pianos, organs, melodeons, & c. Mr. Spencer will be remembered as a resident of Windham Centre about a dozen years ago. He was one of a number who kindly furnished means to buy a press to print the JOURNAL on, while our paper was in its infancy. – We were shown by Mr. Spencer, a large variety of solid gold and silver watches, some of which contained the celebrated Spencer movement. Also, shown some very unique ladies, and gentlemen’s sold gold chains and rings, not easily excelled. Parties from New York and Albany have purchased goods of him, knowing they could obtain a superior article, at reasonable rates. – Reader, if you ever meet Mr. Spencer, and he has anything you want, - just one word from us, - you will find his goods as he represents them. Can we say as much of the jewelry peddlers traveling the country?”

 

Spencer’s business seemed to move frequently around the village of Stamford. Having just moved the Mirror office building in 1872, he was again on the move late that year, moving to rooms over Hubbard & Van Dusen’s Store in December 1872. In the spring of 1873, he again moved, this time “permanently located at No. 1 Delaware St.” In June 1875 he moved again to the Sturgess Store, two doors down from the offices of the Stamford Mirror, the local newspaper.

In 1873, the Stamford business directory, as published in The Stamford/Bloomville Mirror issue of February 11, 1873, listed Spencer with an occupation of Jeweler. The 1874 Stamford business directory, as published in The Stamford/Bloomville Mirror issue on March 23, 1874, also listed Spencer with an occupation of Jeweler.

In 1874 Spencer became the sole agent of “Crescent Spectacles” within the village of Stamford. The glasses were manufactured by the firm of Fellows, Holmes & Clapp of New York City. It was claimed that the spectacles were “guaranteed superior to all others in the market. For clearness and distinctness of vision they are unrivaled, the total absence of prismatic colors and refractory rays always found in Pebbles render them especially desirable. Being ground with [Trade Mark] great care, they are free from all imperfections and impurities. They are mounted in Gold, Silver, shell, Rubber and Steel frames and will last many years without change.” (Stamford and Bloomville Mirror. January 27, 1874.)

 

W. F. Spencer, 1874 advertisementW. F. Spencer, 1874 advertisementStamford and Bloomville Mirror, January 27, 1874.

W. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.
W. F. Spencer advertisement. Stamford and Bloomville Mirror, January 27, 1874.

 

In 1874 Spencer was listed in The New York State Business Directory published by Sampson, Davenport, & Co. under the category “Watches and Jewelry Dealers.” The guide incorrectly published his name as M. T. Spencer. There was another watch and jewelry dealer operating at Stamford by the name of Warner. There were no photographers listed as operating at Stamford that year. Other photographers operating in Delaware County included Wm. H. Crawford at Andes, Mrs. E. K. Taft at Ashland, M. L. Farrington and B. F. Gilbert at Delhi, Francis Allen at Franklin and Burton Hines at Walton.

On the 1875 New York State census Spencer, age 53 (incorrectly stated), was residing at the village of Stamford in Delaware County, New York. He was living with his wife Caroline, age 45; his daughter Frank (Frances), age 19; with Augusta Spencer, age 15, listed as a niece, although previous census information listed her as a daughter; his niece Mary E. Washburn, age 25; and a servant, Francis Hildreth, age 18, born in Schoharie County, who listed with an occupation of “Apprentice.” Spencer’s occupation was listed as “Jeweler.” The family resided in a framed house valued at $1,900.

In 1875, Spencer, in addition to his photography and jewelry businesses, became the sole agent for the sale of the Secor Lock-Stitch, Shuttle Sewing Machine. His exclusive rights to sell the Secor sewing machine extended to “all of the mountain towns in Greene County, and a portion of Delaware and Schoharie [Counties.]” The machine, created by Jerome Burgess Secor (1839-1923), was advertised as the “Most Practical and Most Desirable Machine ever presented to the Public.”

 

And Always Remember Square Meals Make Round PeopleW. F. Spencer, 1876 advertisementThe Windham Journal, October 12, 1876.

W. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.
W. F. Spencer advertisement. The Windham Journal, October 12, 1876.

 

W. F. Spencer, 1881 advertisementW. F. Spencer, 1881 advertisementThe Gilboa Monitor, October 27, 1881.

W. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.
W. F. Spencer advertisement. The Gilboa Monitor, October 27, 1881.

 

In 1876 W. F. Spencer photographed extensively in the area in and around the village of Stamford, New York. He produced approximately 100 unique stereoscopic views, all of which were available for purchase at his shop. Spencer’s photographic work was frequently highlighted in the local newspapers.

 

The Jeffersonian, July 26, 1876. “W. F. Spencer, of Stamford, is prepared to take pictures of all styles and sizes. Special attention given to copying and enlarging. All work warranted. Prices cheap.”

 

Stamford Mirror, 1877. “PICTURES. – Our readers should not forget that Mr. W. F. Spencer, in this village, is engaged in the picture making business. His specimens, exhibited to us a few days since, will compare favorably with those made by parties from abroad, and at as low prices. Mr. Spencer is an industrious mechanic, and our home people should patronize him.”

 

Stamford Mirror, 1877. “Mr. Spencer, of this village, takes the best Photographs nowadays that have ever been made in Stamford. If you don’t believe us, call at his shop and see specimens.”

 

Stamford Mirror, 1876 and 1877. “NOTICE. THE UNDERSIGNED takes this method to inform the inhabitants of Stamford and the surrounding towns that I am still to be found a all times at my shop, (notwithstanding all reports to the contrary,) where I have every facility, and am ready and willing to give my attention to the repairing of all WATCHES, CLOCKS, JEWELRY, & c., that may be intrusted to me. ALL WORK WARRANTED, and at prices as low as good work will admit.

Also, in connection, I have a PHOTOGRAPH GALLERY, Where all sizes and styles of PORTRAITS, STEREOGRAPHS and LANDSCAPE WORK can be obtained. Having made arrangements with first-class Artists in New York, I am prepared to furnish ENLARGED COPIES, FROM OLD PICTURES, EITHER IN INDIA INK, WATER COLORS, OIL PAINTING, OR CRAYON WORK. Give me a call. W. F. SPENCER.”

 

Stamford Mirror, March 19, 1878. “H. H. Bailey has sold his Photograph Car to W. F. Spencer, of Stamford.”

 

Stamford Mirror, May 20, 1879. “W. F. Spencer is building a photograph car near his residence on Delaware street.”

 

Windham Journal, July 17, 1879. “Mr. W. F. Spencer of Stamford, photographist, is in town for a few days, taking portraits, views, & c. Call soon.”

 

Stereoview by photographer W. F. Spencer of Stamford, New York.Lake SceneW. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.

Stereoview by photographer W. F. Spencer of Stamford, New York.Village HomeW. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.

Stereoview by photographer W. F. Spencer of Stamford, New York.Three WomenW. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.

Stereoview by photographer W. F. Spencer of Stamford, New York.Village StreetW. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.

 

On the 1880 United States census Spencer, age 51, was residing at the village of Stamford in Delaware County, New York. He was living with his wife Caroline, age 50, listed with an occupation of “Keeping House”; his daughter Frances, age 24; and his daughter Augusta, age 20. Spencer was listed with an occupation of “Jeweler.”

 

Spencer’s photography business continued to be highlighted in the local newspapers throughout 1881 and 1882.

 

Windham Journal, January 13, 1881. “W. F. Spencer of Stamford, has opened a photograph gallery at Gilboa.”

 

The Gilboa Monitor, January 27, 1881. “Photographing in all its branches at the gallery opposite post office, Gilboa. Copying a specialty. W. F. Spencer.”

 

The Gilboa Monitor, June 2, 1881. “W. F. Spencer has moved his photograph car to the Devasego House, between here and Prattsville.”

 

Stamford Mirror, June 7, 1881. “W. F. Spencer, of this village, has opened a photograph gallery at Devasego Falls.”

 

Windham Journal, June 9, 1881. “W. F. Spencer has moved his photograph car to the Devasego House, near Prattsville.”

 

The Gilboa Monitor, May 25, 1882. “W. F. Spencer, of this village, has gone over to Devasego Falls to take photographs of city people who visit the Falls during the summer season.”

 

The Gilboa Monitor, August 9, 1883. “W. F. Spencer, practical watch-maker and jeweler, has located at Devasego Falls.”

 

Devasego Falls, where Spencer operated his seasonal photography business, was a popular waterfall along the Schoharie Creek near the villages of Prattsville and Gilboa. The falls were approximately 50 feet high and 125 feet wide, and were a popular location for church picnics and as a day trip for summer tourists in the surrounding villages. According to the History of Greene County, New York, originally published in 1884, the falls “were named after a French Indian who resided in this vicinity. In a deed, executed in 1765, these falls were termed Owlfleck, a name generally unknown to the residents of this place.” (Page 384.) An 1847 newspaper article in The Evening Post beautifully described the attraction of the falls.

 

“Devasego Falls. -  Three miles north-west of Prattsville are the Falls of Devasego. The Schoharie Kill at Devasego is about eighty yards wide. The water plunges seventy or eighty feet nearly perpendicularly, over three stair-like rocks, and then rushes furiously several hundred yards along a deep and rocky channel. These falls have, like Niagara, gradually receded, so wearing away the rocks as to form high and perpendicular walls of sold rock on each side of the river below the falls. The most favorable place from which to view these falls is from a rock overhanging the stream below the falls. The spectator, in this position, takes in at a single glance a view of the entire sheet of water as it plunges over the rocks, and of the deep and rocky channel below the falls. Just as the falls on the left stands an old mill. Above them the placid surface of the river may be traced in is meanderings till it is lost in a beautiful grove which encircles the delightful and romantic residence of the S--- family. Excepting the objects now described, nothing else is seen but the wild and craggy mountains and the valleys that intervene. These falls, of course, do not compare with Niagara, but their beauty and the wildness and ruggedness of the surrounding scenery will not fail to please and interest one who loves to contemplate the grander works of nature. C. G.”

 

The falls were also home to the ever-popular Devasego House, which later changed names to the Devasego Inn. In 1878, just a few years before Spencer began photographing there, the Devasego House was described to be a very charming destination by a local visitor from Stamford.

 

“Resuming our journey, our next stopping place was Devasego Falls, situated about one mile below Prattsville, which are the most beautiful falls among the Catskills. Situated about 200 yards from the falls in the Devasego House, which is kept by Peckham and Rappelyea. This house is open this Summer for the first. It is large, (having accommodation for about sixty guests,) convenient, well furnished, and a more beautiful location could not be found. For city people desiring a cool, pleasant, country home, it is just the place, and for all who wish a place to go for a ride or picnic it cannot be beat. The proprietors and employees are all that can be desired in gentlemanly, accommodating people.” (“A Trip From Stamford to Pratt’s Rocks and Devasego Falls.” Stamford Mirror. July 9, 1878.)

 

For many years the popular hotel, famed for its “real country hospitality,” was owned and managed by the “fine hotel man” Starr D. Mase (1877-1935), who later operated the Cold Spring Farm Inn at Stamford. At its peak the Devasego Inn accommodated 200 people. Unfortunately, the inn was razed on January 13, 1925 and Devasego Falls is no longer possible to view the waterfall as it was submerged with the construction of the Schoharie Reservoir during the 1920s.

 

W. F. Spencer, Devasego InnW. F. Spencer, Devasego InnBrooklyn Daily Eagle, June 4, 1916.

W. F. Spencer was a popular photographer in Delaware County, New York from circa 1859 to 1886. He operated at several locations in the area including Stamford, Gilboa and Prattsville. Despite his photographic success he was perhaps more popularly known locally as a jeweler and watchmaker.
Devasego Inn advertisement. Brooklyn Daily Eagle, June 4, 1916.

 

In 1885, as published in the Stamford Mirror issue of February 3, 1885, William F. Spencer was listed in the Stamford Business Directory as both a Jeweler and as a Photographer. The second photographer listed in the business directory at Stamford was S. S. Cornell. Schuyler S. Cornell (1843-1927) was a popular photographer who operated out of the village of Stamford in Delaware County, New York for nearly 50 years. He operated a portrait studio on Main Street in the village and was also well known for his landscapes of the surrounding western Catskills.

Throughout his time at Stamford Spencer was active in local community organizations, perhaps most notably in the local Masonic lodge. For the year 1863 he was elected as an officer in the St. Andrew’s Lodge No. 289. In 1870 he was elected as officer for the Delta Chapter, No. 185, Royal Arch Masons, of Stamford, New York. In 1871 he was elected Secretary of the Delta Chapter. For 1883 and 1885 he was again elected as an officer of the Stamford chapter.

In 1886, after living for approximately 25 years in the village of Stamford, W. F. Spencer left the northern Catskills and moved to the city of Kingston, New York along the Hudson River. With his daughter Frances he opened a jewelry store there, which he operated until his passing. The shop was located at 535 Union Avenue, which is now Broadway, which takes you from the edge of the historic Stockade District, through business-focused midtown, and to the charming Rondout district on the Rondout Creek.

In an 1892 trade publication about prominent businessmen in Kingston and Rondout the entry for Spencer makes it clear that he was highly regarded throughout the community.

 

“W. F. Spencer, Practical Watchmaker and Jeweler, No. 535 Union Avenue, Kingston, N.Y. It is hardly an exaggeration to say that everybody carries a watch nowadays and hence everybody is interested in knowing where watchmaking and repairing is done in a skillful and durable manner at moderate rates, and we can supply that information by calling attention to the establishment of Mr. W. F. Spencer, located at No. 535 Union Avenue, for he is a well-known and reliable watchmaker and jeweler, and although he does strictly first-class work, and handles only the best lines of goods, he charges no fancy prices, but on the contrary quotes rates which can hardly fail to prove satisfactory to even the most economically disposed. Watches, clocks, jewelry, etc., are extensively dealt in. We would therefore advise our readers to examine his stock and prices before buying elsewhere. Mr. Spencer, being a practical watchmaker and jeweler, is prepared to do all kinds of watch, clock and jewelry repairing, filling orders at short notice and doing the work strongly and durably, as well as neatly. He is a native of New York State and is well known and highly respected throughout Kingston and vicinity, having opened his establishment in this city in 1886, where he has built up quite an extensive patronage which is still steadily increasing.” (Bacon, Geo. F. Kingston and Rondout. Their Representative Business Men and Points of Interest. Newark, N.J.: Mercantile Publishing Company, 1892. Page 36.)

 

Spencer’s jewelry store was the subject of several newspaper articles in 1899 after it was robbed by Thomas “Dykie” Miller, a well-known Poughkeepsie criminal.

 

“THIS ROBBER WAS BOLD. The Kingston Jeweler Comes to Poughkeepsie and Identifies the Watches Stolen from His Store by “Dikey” Miller.

 

Sergeant Cahill, of the Kingston police force accompanied by Mr. W. F. Spencer and his daughter, arrived in Poughkeepsie early Friday morning for the purpose of trying to identify the eight watches found on Thomas, alias “Dikey” Miller, the man arrested by Officer Scanlon Thursday. Mr. Spencer was accompanied by his daughter, and as soon as they saw the eight watches Miss Spencer identified them immediately. Miller was brought before Recorder Morschauser, and the young woman said, “Oh, that’s the man beyond doubt.”

 

In telling of the robbery she said to an Eagle representative, “I was in the back room of our store about half-past six o’clock Wednesday evening. I heard a noise in the front store, and looking around the partition I saw the man reaching over the counter to a shelf after the watches. He had a handful. I screamed, as a woman will when she sees a burglar, and ran into the store behind the counter. As I grabbed at his arm he pulled it back and started for the door which leads to the hall. I ran after him and when he slammed the door the lamp went out. I grabbed him by the coat, but he got away from me and ran down the street.” Miller and the Kingston party returned to Kington Friday morning, and as the Ulster County grand jury convenes next week, Miller’s freedom is very much limited.” (Poughkeepsie Eagle-News. February 18, 1899.)

 

Thomas “Dykie” Miller had previously been sent to jail for burglary and several petty offences. One newspaper article described him as “one of the best known crooks that Pokeepsie ever produced.” (The Evening Enterprise. Pokeepsie, NY. February 24, 1899.) “Miller is a criminal by choice, by nature and by profession. For years he has cared only for living without doing any work, and it has been his pride and he has made his boasts that his livelihood was gained by crime . . . Housebreaking and thieving were his specialties, and no specialist ever applied himself with greater energy than did Miller. He was what the police of New York would term a “degenerate.” He preferred a life among the low, criminal classes, to a life among the more intelligent criminals, and among them he squandered ill-gotten gains. For years before he was convicted in this city, he made annual trips from the Atlantic coast to the Pacific slope, leaving at all places along the line the marks of his violence and criminal propensities. Wherever he went he committed crime, and in nearly every state in the United States the police and detectives are still looking for the perpetrator of some crime committed by Miller.” (Pokeepsie Evening Enterprise. February 25, 1899.) For his burglary of Spencer’s jewelry store Miller was sentenced to 10 years in Dannemora prison.

On the 1900 United States census Spencer, age 70, was residing in Ward 9 at the city of Kingston, New York. He was living with his daughter Frances, age 38. His occupation was listed as “Watch Maker” and he rented his home. His birthday was listed as January 1830 and Frances’ birthday was listed as May 1862. He was also listed as “widowed.”

William F. Spencer died suddenly at the age of 74 on January 4, 1902 in a chair at his home in Kingston, New York.

 

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If you should have any additional information, comments or corrections about photographer William F. Spencer please add a comment to this page, or send me an email using the contact page. Where possible, please include any available references. Thank you.

 

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[email protected] (American Catskills) ambrotype ambrotypist Augusta Spencer Bloomville Caroline Spencer Catskill Mountains Catskills Delaware County Devasego Falls Devasego Inn Eliza Spencer Frances Spencer gallery Gilboa Greene County Heartbreak Hotel Henry Lemily Jefferson Jefferson House jeweler Kingston L. D. Jones landscapes photographer photography portraits Prattsville scenery Stamford stereoviews studio watchmaker Whedon Spencer William F. Spencer Windham https://www.americancatskills.com/blog/2021/9/w-f-spencer---jeweler-watch-maker-and-photographer Sat, 04 Sep 2021 12:00:00 GMT
Bob Wyer – New Photographs https://www.americancatskills.com/blog/2021/8/bob-wyer-new-photographs Bob Wyer is one of the most prolific photographers in the history of the Catskills. His photographic career included shooting just about everything, such as passport photos, chauffer licenses, hunting licenses, high school yearbooks, formal portraits, special occasions such as birthdays and weddings, young babies, local stores, hotels and businesses, accidents, insurance claims, crime scenes, landscapes, parades and local news events. There was nothing that Bob couldn’t and wouldn’t photograph. Upon his retirement, Bob donated his extensive collection of over 150,000 photos to the Delaware County Historical Association. The collection is a virtual time capsule of the region from the late 1930s to the 1970s.

 

For a more detailed biography about this notable Catskills photographer please see my blog post titled “Bob Wyer: The Delhi Lensman” from February 22, 2020.

 

I have recently acquired a number of new photographs by Bob Wyer, all from the Catskills region. They have all been added to the Bob Wyer gallery, which now contains over 100 of his Catskills works.

 

Vintage postcard by photographer Bob Wyer depicting several fishermen on the Esopus Creek near the small hamlet of Phoenicia, New York.Greetings from Phoenicia, N.Y.This vintage postcard by photographer Bob Wyer depicts several fishermen on the Esopus Creek near the small hamlet of Phoenicia, New York. The inscription on the reverse side reads: “Dry fly, wet fly, the Catskills are a fisherman’s paradise. Famous trout streams include the Esopus, the Beaverkill, the Willowemoc, the two branches of the Delaware, and Schoharie Creek.” The postcard was never mailed. Greetings from Phoenicia, N.Y. 

 

Vintage photograph by Bob Wyer of the hamlet of Phoenicia in Ulster County, New York.Phoenicia, New YorkThis vintage postcard depicts the business district of the small hamlet of Phoenicia in Ulster County, New York. The photograph was taken by famed photographer Bob Wyer of Delhi, New York. The postcard was never mailed. Phoenicia, New York

 

Vintage postcard by Bob Wyer depicting the Stamford Country Club in Delaware County, New York.Stamford Country ClubThis vintage postcard by photographer Bob Wyer depicts the Stamford Country Club in the northern Catskills of Delaware County, New York. The inscription on the reverse side of the postcard reads “Golf in a beautiful mountain setting draws sportsmen from miles around to the Stamford Country Club course at Stamford, Delaware County, N.Y.” The postcard was mailed in 1965. Stamford Country Club

 

Vintage postcard by photographer Bob Wyer of a farm scene along Route 28 in the Catskills.Catskill Mountain VacationlandsPhotographer Bob Wyer published this beautiful postcard titled Catskill Mountain Vacationlands depicting “one of the many picturesque farms on scenic route 28, Catskill Mountains, N.Y.” The postcard was never mailed. Catskill Mountain Vacationlands

 

Vintage postcard by photographer Bob Wyer depicted a peaceful river scene along the Sawkill at Woodstock, New York.Down by the Old MillstreamTwo people enjoying the beautiful scenery along the Sawkill at Woodstock, New York are depicted in this Bob Wyer postcard. Titled “Down by the Old Millstream,” the inscription on the reverse side of the postcard notes that this location is popular for artists and, in season, with swimmers. Down by the Old Millstream

 

Vintage Bob Wyer photograph from his popular Catskill Mountain Vacationlands series depicting the beautiful view from top of Pine Hill.Top of Pine HillFrom his popular Catskill Mountain Vacationlands series, this Bob Wyer photograph depicts the beautiful view from top of Pine Hill, a view that “is typical of the colorful scenery of this year round resort area.” The postcard was mailed from Shandaken in 1968. Top of Pine Hill

 

Vintage postcard with a view of the Leeds Bridge, an historic stone arch bridge in the Catskills that spans the Catskill Creek of Leeds in Greene County, New York.Historic Leeds BridgeThe Leeds Bridge spans the Catskill Creek at the village of Leeds in Greene County, New York. The original bridge at the site was made of wood, but “the spring rains made a mighty river of the stream and it was partly swept away. About 1760 the missing part or the eastern part was replaced by two arches of stone. In 1785 the wooden part was burned and the western arches added in 1792 at a cost of £300. Just below the bridge was the old fording place used by both Indians and white men.” (“Old Stone Bridge.” Brooklyn Daily Eagle. June 30, 1940.) The bridge was a key crossing point along the Susquehanna Turnpike as it traveled from the village of Catskill west to Unadilla on the Susquehanna River. By the 1920s plans were being designed to replace the bridge with a modern steel structure with a view that “there is no question as to the strength or solidity of the bridge, but is narrow and has a “hump” in the middle, making a menace for traffic.” (“Leeds Bridge Doomed.” Brooklyn Times Union. Brooklyn, New York. December 26, 1926.) Through community efforts a more historic approach was taken and the bridge rehabilitated in 1937, as a “reinforced concrete structure whose facing is original stone in exact duplicate of design of old bridge. Span lengths, 28, 63, 42 and 40 ft. as well as rise and shape of arches are duplicated.” (Highways. V. 17. No. 9. Washington, D.C. March 2, 1938.) The bridge is approximately 239 feet long and 30 feet wide.

The photograph was taken by Bob Wyer of Delhi, New York. The postmark on the reverse side shows that it was mailed from Tannersville, but the postmark date is illegible.
Historic Leeds Bridge

 

Vintage postcard published by Bob Wyer showing Meridale Farms at Meridale, New York.Farm Scene on Route 28The barn on the left of this photograph has “Meridale” on its side, a popular farm that was known far and wide. Meridale Farms was founded in 1888 by Francis Ayer (1848-1923) and Henry McKinney (1849-1918). Operating under the name Ayer and McKinney, they imported livestock form the Isle of Jersey in the English Channel, and began to improve upon the Jersey breed. At its peak the farm employed over 50 men and women. The farms remained active until 1945, changed hands, and ultimately closed in 1985.

A 1909 advertisement for the farm read: “Meridale Farms are located in the natural grass lands of the foothills of the Catskills, where pure air and spring water combine to create ideal conditions for the making of butter, the ultimate product of Meridale Jerseys, and as well for the development of rugged health of the animals. The value of a cow in the Meridale Herd is measured by the amount of butter she will produce year by year, and only the cows which “make good” are retained in the herd. Calves born to such cows, by any Meridale sire, should be peculiarly desirable animals for herd building. Visitors always welcome. Correspondence invited. Ayers & McKinney.”

The obituary for Francis Ayer contained some great details into his life: “Francis Wayland Ayer, aged 75 years, died on Monday, March 5. 1923, at his country home, "Ayermont," Merridale Farms, Meredith, N. Y. He lived in Camden, N. J. He was a son of Nathan Wheeler Ayer, who conducted a private school in Penn Yan prior to 1860. F. W. Ayer, with his father, founded the advertising agency of N. W. Ayer & Son, in Philadelphia, in 1869. This agency became one of the largest institutions of its kind in the country. Mr. Ayer joined the North Baptist Church when he moved to Camden in 1869 and soon after became Superintendent of the Sunday School, a position he held to the time of his death. He was for many years President of the New Jersey State Convention of the Baptist church, which under his leadership first employed a paid executive. Later Mr. Ayer was elected President of the Northern Baptist Convention, and remained until his death active in its national plans and activities. He leaves his second wife and a daughter by his first wife.”

For more information about the farm and the region, check out Frank M. Waterman’s book titled Meridale Farms, available through the Meredith Historical Society.

The postcard was published by Bob Wyer of Delhi, New York. the postcard was never mailed.
Farm Scene on Route 28

 

Vintage postcard by Bob Wyer of the fields and farms around Hobart, New York.Greetings from Hobart, N.Y.Famed photographer Bob Wyer took this beautiful photograph titled “Greetings from Hobart, N.Y.” The inscription on the reverse side reads “Land of the Leatherstocking. View from Franklin Mountain shows the rich and fertile Susquehanna River Valley. Overlooking Oneonta, New York. City of the Hills.” Greetings from Hobart, N.Y.

 

Vintage photograph by Bob Wyer of a snow-covered scene at the Belleayre Mountain Ski Center at Highmount, New York.Belleayre Mountain Ski CenterThis Bob Wyer photograph depicts a snow-covered mountain scene at the Belleayre Mountain Ski Center, including two well-dressed skiers about ready to begin their descent. The caption on the reverse side of the postcard states “Belleayre Mountain Ski Center, featuring N.Y. State’s only chairlift. One of the principal tourist attractions in central N.Y. At Highmount between Pine Hill and Fleischmanns, N.Y.” The postcard was never mailed. Belleayre Mountain Ski Center

 

Titled “A Beautiful Falls,” this Bob Wyer postcard beautifully depicts a flowing waterfall in the Delhi, New York area.A Beautiful FallsTitled “A Beautiful Falls,” this Bob Wyer postcard beautifully depicts a flowing waterfall in the Delhi, New York area. The postcard was never mailed.

A Beautiful Falls

 

Vintage postcard from photographer Bob Wyer depicting the Second Presbyterian Church at Delhi, New York.Second Presbyterian Church of DelhiThis vintage postcard from photographer Bob Wyer depicts the Second Presbyterian Church at Delhi, New York. The postcard was never mailed. The church was founded in 1831.

Second Presbyterian Church of Delhi

 

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[email protected] (American Catskills) Bob Wyer Bob Wyer Photo Cards Catskill Mountains Catskills Delaware County Delhi New York photographer photographs photography photos pictures postcards https://www.americancatskills.com/blog/2021/8/bob-wyer-new-photographs Sat, 28 Aug 2021 12:00:00 GMT
Battle of Minisink Ford: A Photographic Study https://www.americancatskills.com/blog/2021/8/battle-of-minisink-ford-a-photographic-study The Battle of Minisink Ford took place during the American Revolution on July 22, 1779 between British Loyalists and their Native American supporters, led by Mohawk Chieftain Joseph Brant, versus approximately 120 American militiamen from New York and New Jersey, led by Colonel John Hathorn. In response to Brant’s attack two days prior at the frontier settlement at Peenpack (Point Jervis), American militia sought to intercept Brant’s escape up the Delaware Valley, catching up with him and his forces at Minisink Ford.

 

With the American militia preparing to ambush Brant as he prepared to cross the Delaware River into Lackawaxen, and with Colonel Hathorn having split his forces into a group of skirmishers and two main units, an accidental rifle discharge from a militiamen unfortunately alerted Brant. Upon his discovery, Brant responded quickly and forcefully, attacking the American militia before they were able to fully deploy, splitting the American forces. One group of the Americans retreated to the top of the hill overlooking the river to regroup and regain their strategic advantage. Unfortunately, only about 50 of the original group of 120 American militiamen were left, the separated forces having dispersed or having been killed or wounded. Brant outflanked the Americans and broke through the new small defensive square of the Americans. The Americans were routed, with 47 militiamen killed. Brant lost approximately seven men. It was a decisive British victory.

 

The Battle of Minisink Ford took place during the American Revolution on July 22, 1879. The battle monument was dedicated in 1879 on the centennial of the battle.In Defense of American LibertyThe Battle of Minisink Ford took place during the American Revolution on July 22, 1779 between British Loyalists and their Native American supporters, led by Mohawk Chieftain Joseph Brant, versus approximately 120 American militiamen from New York and New Jersey, led by Colonel John Hathorn. In response to Brant’s attack two days prior at the frontier settlement at Peenpack (Point Jervis), American militia sought to intercept Brant’s escape up the Delaware Valley, catching up with him and his forces at Minisink Ford.

With the American militia preparing to ambush Brant as he prepared to cross the Delaware River into Lackawaxen, and with Colonel Hathorn having split his forces into a group of skirmishers and two main units, an accidental rifle discharge from a militiamen unfortunately alerted Brant. Upon his discovery, Brant responded quickly and forcefully, attacking the American militia before they were able to fully deploy, splitting the American forces. One group of the Americans retreated to the top of the hill overlooking the river to regroup and regain their strategic advantage. Unfortunately, only about 50 of the original group of 120 American militiamen were left, the separated forces having dispersed or having been killed or wounded. Brant outflanked the Americans and broke through the new small defensive square of the Americans. The Americans were routed, with 47 militiamen killed. Brant lost approximately seven men. It was a decisive British victory.

The battle monument, made of native bluestone and capped with a rounded glacier boulder, was dedicated in 1879 on the centennial of the battle. The monument measures 11 feet high and 5 feet wide at its base. Over 1,000 people attended the 1879 centennial dedication ceremony that included music, prayers and speeches from local dignitaries and descendants of those who were killed in the battle. Over 12,000 people attended similar cemeteries at Goshen, N.Y., where many of the remains of soldiers killed in the battle are buried. The Minisink monument is located on the site of the militia’s “last stand” of the battle.

The battle monument, made of native bluestone and capped with a rounded glacier boulder, was dedicated in 1879 on the centennial of the battle. The monument measures 11 feet high and 5 feet wide at its base. Over 1,000 people attended the 1879 centennial dedication ceremony that included music, prayers and speeches from local dignitaries and descendants of those who were killed in the battle. Over 12,000 people attended similar cemeteries at Goshen, N.Y., where many of the remains of soldiers killed in the battle are buried. The Minisink monument is located on the site of the militia’s “last stand” of the battle.

 

The Battle of Minisink Ford took place during the American Revolution on July 22, 1779. Sentinel Rock is where British troops launched their final attack on the American militia.Last Stand On The Rocky HillThe Battle of Minisink Ford took place during the American Revolution on July 22, 1779 between British Loyalists and their Native American supporters, led by Mohawk Chieftain Joseph Brant, versus approximately 120 American militiamen from New York and New Jersey, led by Colonel John Hathorn. In response to Brant’s attack two days prior at the frontier settlement at Peenpack (Point Jervis), American militia sought to intercept Brant’s escape up the Delaware Valley, catching up with him and his forces at Minisink Ford.

With the American militia preparing to ambush Brant as he prepared to cross the Delaware River into Lackawaxen, and with Colonel Hathorn having split his forces into a group of skirmishers and two main units, an accidental rifle discharge from a militiamen unfortunately alerted Brant. Upon his discovery, Brant responded quickly and forcefully, attacking the American militia before they were able to fully deploy, splitting the American forces. One group of the Americans retreated to the top of the hill overlooking the river to regroup and regain their strategic advantage. Unfortunately, only about 50 of the original group of 120 American militiamen were left, the separated forces having dispersed or having been killed or wounded. Brant outflanked the Americans and broke through the new small defensive square of the Americans. The Americans were routed, with 47 militiamen killed. Brant lost approximately seven men. It was a decisive British victory.

Sentinel Rock, or the Last Stand on the Rock Hill. “After the initial contact at the river, Col. Hathorn’s remaining force, about forty five men, conducted a fighting retreat until they reached high ground. Here they took up a position about two acres in size. Sentinel Rock, where you are now, marked the approximate southwest corner of the militia “square.” The battle field monument marks the southeastern part of the American defensive square.

Capt. Brant’s men encircled them at a distance of 100 yards of less. Tradition has long held that this is the location where Brant made his push into the heart of the militia’s defensive square. More recent research indicates that Brant’s final assault began from the northeast, not far from Hospital Rock. The militia men were now in the fight of their lives, and few would survive.”

Sentinel Rock, or the Last Stand on the Rocky Hill: “After the initial contact at the river, Col. Hathorn’s remaining force, about forty five men, conducted a fighting retreat until they reached high ground. Here they took up a position about two acres in size. Sentinel Rock, where you are now, marked the approximate southwest corner of the militia “square.” The battle field monument marks the southeastern part of the American defensive square.

 

Capt. Brant’s men encircled them at a distance of 100 yards of less. Tradition has long held that this is the location where Brant made his push into the heart of the militia’s defensive square. More recent research indicates that Brant’s final assault began from the northeast, not far from Hospital Rock. The militia men were now in the fight of their lives, and few would survive.”

 

The Battle of Minisink Ford took place during the American Revolution on July 22, 1779. Hospital Rock is where the American wounded were being cared for, and eventually killed after British forces broHospital RockThe Battle of Minisink Ford took place during the American Revolution on July 22, 1779 between British Loyalists and their Native American supporters, led by Mohawk Chieftain Joseph Brant, versus approximately 120 American militiamen from New York and New Jersey, led by Colonel John Hathorn. In response to Brant’s attack two days prior at the frontier settlement at Peenpack (Point Jervis), American militia sought to intercept Brant’s escape up the Delaware Valley, catching up with him and his forces at Minisink Ford.

With the American militia preparing to ambush Brant as he prepared to cross the Delaware River into Lackawaxen, and with Colonel Hathorn having split his forces into a group of skirmishers and two main units, an accidental rifle discharge from a militiamen unfortunately alerted Brant. Upon his discovery, Brant responded quickly and forcefully, attacking the American militia before they were able to fully deploy, splitting the American forces. One group of the Americans retreated to the top of the hill overlooking the river to regroup and regain their strategic advantage. Unfortunately, only about 50 of the original group of 120 American militiamen were left, the separated forces having dispersed or having been killed or wounded. Brant outflanked the Americans and broke through the new small defensive square of the Americans. The Americans were routed, with 47 militiamen killed. Brant lost approximately seven men. It was a decisive British victory.

Hospital Rock: “Hospital Rock is the most historically significant location on the battleground. Once the enemy broke the American’s defensive square late in the afternoon, it was here in the shadow of this rock that Lieutenant Colonel Benjamin Tusten, a physician, and seventeen wounded militiamen under his care were trapped and killed by Brant’s raiders. Probably fewer than a dozen of the forty-five men who made a protracted “last stand” on the hilltop escaped.” (Source: Minisink Valley Historical Society.)

Hospital Rock. “Hospital Rock is the most historically significant location on the battleground. Once the enemy broke the American’s defensive square late in the afternoon, it was here in the shadow of this rock that Lieutenant Colonel Benjamin Tusten, a physician, and seventeen wounded militiamen under his care were trapped and killed by Brant’s raiders. Probably fewer than a dozen of the forty-five men who made a protracted “last stand” on the hilltop escaped.” (Source: Minisink Valley Historical Society.)

 

Lackawaxen, Pennsylvania is the burial spot for an unknown soldier who died during the Battle of Minisink Ford, which took place during the American Revolution on July 22, 1779.Not ForgottenLackawaxen, Pennsylvania

The Battle of Minisink Ford took place during the American Revolution on July 22, 1779 between British Loyalists and their Native American supporters, led by Mohawk Chieftain Joseph Brant, versus approximately 120 American militiamen from New York and New Jersey, led by Colonel John Hathorn. In response to Brant’s attack two days prior at the frontier settlement at Peenpack (Point Jervis), American militia sought to intercept Brant’s escape up the Delaware Valley, catching up with him and his forces at Minisink Ford.

With the American militia preparing to ambush Brant as he prepared to cross the Delaware River into Lackawaxen, and with Colonel Hathorn having split his forces into a group of skirmishers and two main units, an accidental rifle discharge from a militiamen unfortunately alerted Brant. Upon his discovery, Brant responded quickly and forcefully, attacking the American militia before they were able to fully deploy, splitting the American forces. One group of the Americans retreated to the top of the hill overlooking the river to regroup and regain their strategic advantage. Unfortunately, only about 50 of the original group of 120 American militiamen were left, the separated forces having dispersed or having been killed or wounded. Brant outflanked the Americans and broke through the new small defensive square of the Americans. The Americans were routed, with 47 militiamen killed. Brant lost approximately seven men. It was a decisive British victory.

Located at Saint Mark’s Church in Lackawaxen, Pennsylvania, directly across the Delaware River from Minisink Ford, is the burial site for an Unknown Soldier that died in the Battle of Minisink Ford on July 22, 1779. Because of the battle’s location, being in rough country and far removed from any roads, the bodies of the soldiers killed that fateful day remained there for over 40 years. Later still, in 1847, yet another body of an American soldier was discovered under a rock ledge by a farmer looking for his cow. The remains, identified by remnants of his uniform, were removed to Lackawaxen and buried on the shores of the Delaware River. Today the local chapter of the Veterans of Foreign Wars takes care of the gravesite and conducts an annual memorial service to commemorate the Battle of Minisink Ford.
Lackawaxen, Pennsylvania is the burial spot for an unknown soldier who died during the Battle of Minisink Ford, which took place during the American Revolution on July 22, 1779.Unknown SoldierLackawaxen, Pennsylvania

The Battle of Minisink Ford took place during the American Revolution on July 22, 1779 between British Loyalists and their Native American supporters, led by Mohawk Chieftain Joseph Brant, versus approximately 120 American militiamen from New York and New Jersey, led by Colonel John Hathorn. In response to Brant’s attack two days prior at the frontier settlement at Peenpack (Point Jervis), American militia sought to intercept Brant’s escape up the Delaware Valley, catching up with him and his forces at Minisink Ford.

With the American militia preparing to ambush Brant as he prepared to cross the Delaware River into Lackawaxen, and with Colonel Hathorn having split his forces into a group of skirmishers and two main units, an accidental rifle discharge from a militiamen unfortunately alerted Brant. Upon his discovery, Brant responded quickly and forcefully, attacking the American militia before they were able to fully deploy, splitting the American forces. One group of the Americans retreated to the top of the hill overlooking the river to regroup and regain their strategic advantage. Unfortunately, only about 50 of the original group of 120 American militiamen were left, the separated forces having dispersed or having been killed or wounded. Brant outflanked the Americans and broke through the new small defensive square of the Americans. The Americans were routed, with 47 militiamen killed. Brant lost approximately seven men. It was a decisive British victory.

Located at Saint Mark’s Church in Lackawaxen, Pennsylvania, directly across the Delaware River from Minisink Ford, is the burial site for an Unknown Soldier that died in the Battle of Minisink Ford on July 22, 1779. Because of the battle’s location, being in rough country and far removed from any roads, the bodies of the soldiers killed that fateful day remained there for over 40 years. Later still, in 1847, yet another body of an American soldier was discovered under a rock ledge by a farmer looking for his cow. The remains, identified by remnants of his uniform, were removed to Lackawaxen and buried on the shores of the Delaware River. Today the local chapter of the Veterans of Foreign Wars takes care of the gravesite and conducts an annual memorial service to commemorate the Battle of Minisink Ford.
Lackawaxen, Pennsylvania is the burial spot for an unknown soldier who died during the Battle of Minisink Ford, which took place during the American Revolution on July 22, 1779.All the FallenLackawaxen, Pennsylvania

The Battle of Minisink Ford took place during the American Revolution on July 22, 1779 between British Loyalists and their Native American supporters, led by Mohawk Chieftain Joseph Brant, versus approximately 120 American militiamen from New York and New Jersey, led by Colonel John Hathorn. In response to Brant’s attack two days prior at the frontier settlement at Peenpack (Point Jervis), American militia sought to intercept Brant’s escape up the Delaware Valley, catching up with him and his forces at Minisink Ford.

With the American militia preparing to ambush Brant as he prepared to cross the Delaware River into Lackawaxen, and with Colonel Hathorn having split his forces into a group of skirmishers and two main units, an accidental rifle discharge from a militiamen unfortunately alerted Brant. Upon his discovery, Brant responded quickly and forcefully, attacking the American militia before they were able to fully deploy, splitting the American forces. One group of the Americans retreated to the top of the hill overlooking the river to regroup and regain their strategic advantage. Unfortunately, only about 50 of the original group of 120 American militiamen were left, the separated forces having dispersed or having been killed or wounded. Brant outflanked the Americans and broke through the new small defensive square of the Americans. The Americans were routed, with 47 militiamen killed. Brant lost approximately seven men. It was a decisive British victory.

Located at Saint Mark’s Church in Lackawaxen, Pennsylvania, directly across the Delaware River from Minisink Ford, is the burial site for an Unknown Soldier that died in the Battle of Minisink Ford on July 22, 1779. Because of the battle’s location, being in rough country and far removed from any roads, the bodies of the soldiers killed that fateful day remained there for over 40 years. Later still, in 1847, yet another body of an American soldier was discovered under a rock ledge by a farmer looking for his cow. The remains, identified by remnants of his uniform, were removed to Lackawaxen and buried on the shores of the Delaware River. Today the local chapter of the Veterans of Foreign Wars takes care of the gravesite and conducts an annual memorial service to commemorate the Battle of Minisink Ford.

Lackawaxen, Pennsylvania is the burial spot for an unknown soldier who died during the Battle of Minisink Ford, which took place during the American Revolution on July 22, 1779.13 StarsLackawaxen, Pennsylvania

The Battle of Minisink Ford took place during the American Revolution on July 22, 1779 between British Loyalists and their Native American supporters, led by Mohawk Chieftain Joseph Brant, versus approximately 120 American militiamen from New York and New Jersey, led by Colonel John Hathorn. In response to Brant’s attack two days prior at the frontier settlement at Peenpack (Point Jervis), American militia sought to intercept Brant’s escape up the Delaware Valley, catching up with him and his forces at Minisink Ford.

With the American militia preparing to ambush Brant as he prepared to cross the Delaware River into Lackawaxen, and with Colonel Hathorn having split his forces into a group of skirmishers and two main units, an accidental rifle discharge from a militiamen unfortunately alerted Brant. Upon his discovery, Brant responded quickly and forcefully, attacking the American militia before they were able to fully deploy, splitting the American forces. One group of the Americans retreated to the top of the hill overlooking the river to regroup and regain their strategic advantage. Unfortunately, only about 50 of the original group of 120 American militiamen were left, the separated forces having dispersed or having been killed or wounded. Brant outflanked the Americans and broke through the new small defensive square of the Americans. The Americans were routed, with 47 militiamen killed. Brant lost approximately seven men. It was a decisive British victory.

Located at Saint Mark’s Church in Lackawaxen, Pennsylvania, directly across the Delaware River from Minisink Ford, is the burial site for an Unknown Soldier that died in the Battle of Minisink Ford on July 22, 1779. Because of the battle’s location, being in rough country and far removed from any roads, the bodies of the soldiers killed that fateful day remained there for over 40 years. Later still, in 1847, yet another body of an American soldier was discovered under a rock ledge by a farmer looking for his cow. The remains, identified by remnants of his uniform, were removed to Lackawaxen and buried on the shores of the Delaware River. Today the local chapter of the Veterans of Foreign Wars takes care of the gravesite and conducts an annual memorial service to commemorate the Battle of Minisink Ford.

Unknown Soldier. Located at Saint Mark’s Church in Lackawaxen, Pennsylvania, directly across the Delaware River from Minisink Ford, is the burial site for an Unknown Soldier that died in the Battle of Minisink Ford on July 22, 1779. Because of the battle’s location, being in rough country and far removed from any roads, the bodies of the soldiers killed that fateful day remained there for over 40 years. Later still, in 1847, yet another body of an American soldier was discovered under a rock ledge by a farmer looking for his cow. The remains, identified by remnants of his uniform, were removed to Lackawaxen and buried on the shores of the Delaware River. Today the local chapter of the Veterans of Foreign Wars takes care of the gravesite and conducts an annual memorial service to commemorate the Battle of Minisink Ford.

 

Saint Mark’s Church, located along the Delaware River in Lackawaxen, was constructed in 1848 on grounds donated by the Delaware and Hudson Canal Company.Saint Mark's ChurchLackawaxen, Pennsylvania

The Battle of Minisink Ford took place during the American Revolution on July 22, 1779 between British Loyalists and their Native American supporters, led by Mohawk Chieftain Joseph Brant, versus approximately 120 American militiamen from New York and New Jersey, led by Colonel John Hathorn. In response to Brant’s attack two days prior at the frontier settlement at Peenpack (Point Jervis), American militia sought to intercept Brant’s escape up the Delaware Valley, catching up with him and his forces at Minisink Ford.

With the American militia preparing to ambush Brant as he prepared to cross the Delaware River into Lackawaxen, and with Colonel Hathorn having split his forces into a group of skirmishers and two main units, an accidental rifle discharge from a militiamen unfortunately alerted Brant. Upon his discovery, Brant responded quickly and forcefully, attacking the American militia before they were able to fully deploy, splitting the American forces. One group of the Americans retreated to the top of the hill overlooking the river to regroup and regain their strategic advantage. Unfortunately, only about 50 of the original group of 120 American militiamen were left, the separated forces having dispersed or having been killed or wounded. Brant outflanked the Americans and broke through the new small defensive square of the Americans. The Americans were routed, with 47 militiamen killed. Brant lost approximately seven men. It was a decisive British victory.

Saint Mark’s Church, located along the Delaware River in Lackawaxen, was constructed in 1848 on grounds donated by the Delaware and Hudson Canal Company. At its founding it was a Union church, open to Christians of all denominations including Baptists, Methodists, Christadelphians, and Lutherans. In 1873 the church denomination changed officially to Lutheran. St. Mark’s is currently part of the three-church Good News Parish, which also includes sister churches St. Luke’s in Greeley and St. Jacobi in Shohola.

St. Mark’s Union Cemetery, located adjacent to the church, is the burial site for an Unknown Soldier that died in the Battle of Minisink Ford on July 22, 1779. Because of the battle’s location, being in rough country and far removed from any roads, the bodies of the soldiers killed that fateful day remained there for over 40 years. Later still, in 1847, yet another body of an American soldier was discovered under a rock ledge by a farmer looking for his cow. The remains, identified by remnants of his uniform, were removed to Lackawaxen and buried on the shores of the Delaware River. Today the local chapter of the Veterans of Foreign Wars takes care of the gravesite and conducts an annual memorial service to commemorate the Battle of Minisink Ford.

St. Mark’s Union Cemetery, located adjacent to Saint Mark’s Church, is the burial site for an Unknown Soldier that died in the Battle of Minisink Ford on July 22, 1779. Saint Mark’s, located along the Delaware River in Lackawaxen, was constructed in 1848 on grounds donated by the Delaware and Hudson Canal Company. At its founding it was a Union church, open to Christians of all denominations including Baptists, Methodists, Christadelphians, and Lutherans. In 1873 the church denomination changed officially to Lutheran. St. Mark’s is currently part of the three-church Good News Parish, which also includes sister churches St. Luke’s in Greeley and St. Jacobi in Shohola.

 

The Battle of Minisink Ford took place during the American Revolution on July 22, 1779. A commemorative tablet presents the names of those soldiers who died at the battle.PatriotsThe Battle of Minisink Ford took place during the American Revolution on July 22, 1779 between British Loyalists and their Native American supporters, led by Mohawk Chieftain Joseph Brant, versus approximately 120 American militiamen from New York and New Jersey, led by Colonel John Hathorn. In response to Brant’s attack two days prior at the frontier settlement at Peenpack (Point Jervis), American militia sought to intercept Brant’s escape up the Delaware Valley, catching up with him and his forces at Minisink Ford.

With the American militia preparing to ambush Brant as he prepared to cross the Delaware River into Lackawaxen, and with Colonel Hathorn having split his forces into a group of skirmishers and two main units, an accidental rifle discharge from a militiamen unfortunately alerted Brant. Upon his discovery, Brant responded quickly and forcefully, attacking the American militia before they were able to fully deploy, splitting the American forces. One group of the Americans retreated to the top of the hill overlooking the river to regroup and regain their strategic advantage. Unfortunately, only about 50 of the original group of 120 American militiamen were left, the separated forces having dispersed or having been killed or wounded. Brant outflanked the Americans and broke through the new small defensive square of the Americans. The Americans were routed, with 47 militiamen killed. Brant lost approximately seven men. It was a decisive British victory.


A commemorative tablet attached to a large boulder, with the names of those soldiers who died at the battle of Minisink Ford was dedicated by The Delaware Company on July 22, 2007. With the citation, “Honoring these patriots who sacrificed their tomorrows for America’s tomorrows”, those soldiers who died at Minisink Ford include:
Lt. Colonel Benjamin Tusten, M.D.
Captain Bezaleel Tyler
Ensign Ephraim Masten
Adjutant Nathaniel Fitch
Captain John Duncan
Captain Samuel Jones
Captain John Little
Ensign Ephraim Middaugh
Gabriel Wisner, Esquire
Stephen Mead
Captain Benjamin Vail
Lieutenant John Wood
Mattias Terwilliger
Joshua Lockwood
Joseph Rider
Ephraim Forguson
Robert Townsend
James Knapp
Benjamin Bennett
William Barker
Jacob Dunning
Jonathan Pierce
James Little
Joseph Norris
Gilbert S. Vail
Joel Decker
Abram Shepherd
Nathan Wade
Nathan Wade
Simon Wait
Daniel Talmadge
John Carpenter
David Barney
Jonathan Haskell
Abram Williams
James Mosher
Isaac Ward
Baltus Niepos
Gamaliel Bailey
Moses Thomas II
Eleazer Owens
Adam Embler
Samuel Little
Benjamin Dunning
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