AMERICAN DOLLAR PRINCESSES

By Golden Keyes Parsons

The popularity of the PBS series, Downton Abbey, has piqued the interest of

many Americans about the phenomena of the American Dollar Princesses. The character of Cora is one of these dollar princesses who married into British royalty giving up their inheritance in the process.

How did this strange arrangement come about? In the late 1800's New York society was ruled with an iron hand by Caroline Schermerhorn Astor. Her 400 elite, known as the Knickerbockers, shut out of the hallowed halls of New York society divorcees, the new rich, and Jews. Many newly monied Americans, spurned by the Knickerbockers, fled to Europe to find suitable matches for their daughters. This, coupled with the rise of American wheat and the loss of income on the vast British estates, plowed the fertile ground for American heiresses to become British aristocracy and the aristocracy in turn to save their treasured estates. Over 200 American heiresses married into British aristocracy from the late 1800's after the Civil War into the early 20th century up until World War I. The caveat was that the said American heiresses gave over to their husbands their entire inheritance. It was no longer theirs, but belonged to the head of the estate.

The complicated social scene offered "dating" opportunities at lavish balls and polo games. Some couples fell in love at first sight, like Jenny Jerome and Randolph Churchill, and some married purely for convenience. Unlike the limited 400 elite in New York City, London's elite brimmed at 1500. And England's own Prince of Wale, Albert Edward, encouraged the American/British matches. He was enchanted by the vivacious, bold, sexual American women and put his stamp of approval on the practice. 

After Jenny Jerome became Lady Churchill and returned to New York with that royal title, the Knickerbocker 400 had to "eat crow" and admit the Churchills to American society. Of course, their son, Winston Churchill became the most highly esteemed British politician of all time. 

Sadly, most of the marriages ended unhappily. Many of the estates were destroyed after World War I. One exception is the estate of Princess Diana's family, the Spencers, of which her brother is currently head of the estate.

Although a multi-published fiction author, Golden Keyes Parsons’ first published non-fiction work, Spiritual Spring Cleaning, (BoldVision Books) just released in April 2015. Her series, Darkness to Light, (Thomas Nelson) chronicled the journey of her ancestors in 17^th century France and was a finalist for ACFW’s Debut Author of the Year in 2008. Her fourth novel, His Steadfast Love, a Civil War novel, was a National Readers Choice finalist. Parsons has also written a biblical fiction series entitled Hidden Faces, Portraits of Nameless Women in the Gospels (WhiteFire Publishing). Golden lives in Waco, TX, with her husband, Blaine. www.goldenkeyesparsons.com

Composite Photography of William Notman

The rapid advancement of photography must have been a wonderful thing to common people in the 19th century. For the fraction of a portrait's price, one could keep a photograph of their loved one close at hand, or even on their person. In North America, photo studios and travelling booths could be found almost anywhere, including most survey crews having a photographer as part of the team.

However, if you wonder why the people in those older photographs look weary and unhappy, it's probably because having a photograph taken was a tedious task which called for long periods of immobility. Body stands and props were needed to maintain stillness while facial muscles strained after minutes of holding a smile.

Scotsman William Notman was an amateur photographer when he emigrated to Canada in 1856. After a short stint working at a dry goods firm, he set up a small studio in Montreal, Quebec. Success soon had him moving into the elegant building next door which allowed rooms for the studio, dressing rooms, art department and processing stations.

Mr. William Notman Sr., Montreal, QC, 1861
 William Notman (1826-1891)

© McCord Museum

William Notman Studio, Montreal, QC, ca 1875
William Notman (1826-1891) 

© McCord Museum

Gaining in popularity at the time was the small carte-de-visite, patented in Paris in 1854, which could be displayed in an album or in a frame as a cabinet-card. Cheaply made, these business card-size photographs were quick to catch on with the general public, but lacked the detail finesse of the daguerreotype. 

Notman's success was due to eschewing the popular daguerreotypes while putting his efforts into the wet collodial process which had been perfected in the 1850's by the Englishman, Frederick Scott Archer. The revolutionary wet collodial process was so technically challenging that a slight timing or chemical error at any step would put the photograph at risk. But once accomplished, and unlike the daguerreotype process, unlimited copies could be printed from the glass negatives, and the resulting photographs could be displayed in whatever size and wherever the owner wanted.

If you're interested in seeing the wet collodial process in action, check out this brief video from the J. Paul Getty Museum about Photography: The Wet Collodial Process.

With the ability to produce larger images while keeping the sharp detail of the daguerreotype, the Grand Trunk Railway commissioned Notman to document the construction of Montreal's Victoria Bridge. (This is the same bridge the train passes beneath in my post, Trains on Ice.)

Portfolio - CANADA EAST, portfolio from the Maple Box, 1859-1960, measuring 76.2 x 91.4 x 5.1 cm (30 x 36 x 2 in) William Notman (1826-1891) © McCord Museum

The above images showing the Victoria Bridge are only a few of the 500 photographs about Canada which Notman collected into one of two special portfolios to be presented as an official gift to Queen Victoria's heir, Albert Edward, HRH the Prince of Wales, upon his 1860 goodwill visit to Canada and the United States. A large maple box contained two leather-bound portfolios, one entitled Canada East, and the other Canada West. Each lavish portfolio measured 76.2 x 91.4 x 5.1 cm (30 x 36 x 2 in) and was held together by a silver clasp. Apparently, Queen Victoria liked the gift so much, she designated Notman, "Photographer to the Queen".

According to the McCord Museum, Notman created a duplicate set which he submitted to the 1862 International Exhibition in London and was awarded a medal for "excellence in an extensive series of photographs." Check the McCord Museum link for images and video of the actual maple box and photograph portfolios.

By 1864, the William Notman Studio had a total of 35 employees, many of which were photographers who had spread out across British North America and into parts of the United States. 

Back when Notman emigrated from Scotland, photographers were already experimenting with composite imagery all over the United Kingdom and Europe as well as in North America. Yet it wasn't until the late 1860's when he started experimenting himself. Only a couple years after his first crude attempts, Notman created his famous huge Fancy Ball Skating Carnival photograph.

Photograph - Skating Carnival, Victoria Rink, Montreal, QC, painted composite, 1870

William Notman (1826-1891) Silver salts, oil on canvas - Albumen process, 

137 x 176 cm (60 x 70 inches) © McCord Museum

As stated earlier, taking photographs was a long process of immobility. If keeping a dozen or so people from moving was difficult, taking a photograph with a couple hundred participants was impossible. Composite photography used the cut and paste technique to create photographs where numerous participants blend seamlessly together - and into - a painted background.

Along with the technical aspect, Notman's Skating Carnival stood out because of its huge size and use of color. Even today, a 5 ft x 6 ft photograph demands attention. But Notman had a vision and decided the large fancy dress skating carnival to be held in honor of Prince Arthur, Queen Victoria's third son who at the time was stationed with the Rifle Brigade in Montreal, was the perfect opportunity to promote his business.

The Notman Studio put an ad in the paper requesting anyone who would be at the carnival and wished to be in the photograph make a sitting appointment wearing their costume. 150 people responded to the ad, which included the following starting off with the man of the hour himself:

Prince Arthur William Patrick Albert, 

Duke of Connaught and Strathearn, 

Montreal, QC, 1870
William Notman (1826-1891)
© McCord Museum

Mr. Reynolds in costume, Montreal, QC, 1870
William Notman (1826-1891)
© McCord Museum

Miss F. Prior, posed for a composite, 

Montreal, QC, 1870
William Notman (1826-1891) 
© McCord Museum

Missie Hattie Atwater on skates,
Montreal, QC, 1869-70
William Notman (1826-1891) 
© McCord Museum

Turning the individual photographs into the finished product took several steps, but if you want to see where each of the above 4 individuals are positioned in the final photograph, check out the animated composite gallery feature at the McCord Museum.

Like a paint-by-number, a plan is required to show the position of each participant.

Photograph - Numbered key for the Skating Carnival composite of 1870, copied 1900-30 William Notman (1826-1891) © McCord Museum

Photograph - Skating Carnival, Victoria Rink, Montreal, QC, 1870  William Notman (1826-1891) Silver salts on paper mounted on paper - Albumen process, composite photograph © McCord Museum

I've skipped steps for brevity, but if you're interested in the process, check out the McCord Museum for more information.

Once the public saw the completed Skating Carnival photograph, William Notman's studio never looked back.

The Grand Trunk Railway composite photograph below is just one example of the meticulous work Notman employed to create memorable group photographs.

Photograph - Grand Trunk Railway Engineering Department group, composite, 1877, Notman & Sandham, Silver salts on paper mounted on card - Albumen process © McCord Museum

For games, activities, videos and animations of 19th century photography, check out the wonderful resources and virtual exhibits of the Notman Studio at the McCord Museum.

Join me on my next posting day on May 5th when I present a series of photographs under the heading, Is it Real or Composite?

So your turn... I think what astounded me most while researching this topic were the photographic techniques available during the 3rd quarter of the 19th century. What about you?

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Anita Mae Draper is retired from the Canadian Armed Forces and lives on the prairie of southeast Saskatchewan, Canada with her hubby of 30 plus years and the youngest of their four kids. Anita's stories are set, but not limited to the western prairies. She is blessed to be included in Guideposts Books A Cup of Christmas Cheer collection. Anita is represented by Mary Keeley of Books & Such Literary Management. You can find Anita Mae at  www.anitamaedraper.com

The Cotton States and International Exposition and Henry Grady's New South

Expositions were popular fairs from mid-1800s through the early part of the twentieth century. Starting with Price Albert’s Great Exhibition of 1851, these expositions began to pop up throughout Europe and across the pond in America. Promoting the host city, it also provided a stage to highlight the advancement of society as a whole while providing economy growth to the region.

Atlanta’s reasons for hosting such an exposition were far more reaching. Thirty years past a way that had left the city and surrounding area smoldering waste land, the financial windfall as well as the world wide attention appealed to the city leaders. What better way to prove that the South was ready to move past a war that seemed to define it than a display of southern ingenuity as well as it’s industrial, agricultural and intellectual strength? 

So in the fall of 1895, Atlanta played host to the world, inviting them to The Cotton States and International Exposition and Henry Grady’s New South. Almost a million people from all over the country and from around the world poured into fairgrounds--located where the modern day Piedmont Park stands) over the course of 100 days. Among the crowds were many celebrities of the day. President Grover Cleveland, a visitor of the 1887 Piedmont Exposition was a guest as well as future president William McKinley, then governor of Ohio. Thousands of school children lined up for hours for the opportunity to touch the Liberty Bell, and in an outside arena, crowds gathered to be entertained by Buffalo Bill’s Wild West Show as well as authentic bullfighting.

  

Inside the various halls exhibits offered a wide range of entertainment and knowledge that appealed to a wide spectrum of fair attendees. Machinery literally stuffed the exhibition halls, a show of innovations in the cotton industry as well as transportation and food production. Education as well as art were central focal points of Women’s exhibition hall. Never seen before exotic animals were on display as well as exhibits highlighting different cultures, particularly the South American regions.

The exhibitions and speeches from The Cotton States and International Exposition and Henry Grady’s New South would have politic and social ramifications into the new century and beyond.

In March--An invention from the exposition we still enjoy today! 

Patty Smith Hall has been making up stories to keep herself occupied since she was knee-high to a grasshopper. Now she’s thrilled to share her love of history with others, including her husband of 30 years, Danny; her beautiful and talented daughters, Jennifer and Carly, and her future son-in-law, Dan.