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Archival description
Maynard, Richard Vancouver Island (B.C.)
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A.H. Maynard collection

  • PR-1258
  • Collection
  • [between 1896 and 1932]

The collection consists of four discreet collections of photographs, the bulk of which are lantern slides. The majority of the fonds consists of several sets of lantern slides, the bulk of which contain photographic subject matter dating from 1868 to 1930. The photograph collections are attributed to Albert Hatherly Maynard, son of early pioneer photographer Richard Maynard (1832-1907). Within lantern slide collections, slides from creators of other distinct lantern slide collections (likely Charles Frederick Newcombe and William A. Newcombe), appear to be included. A small number of flexible negatives are also included in one of the accessions.

A large number of lantern slides depict scenes of the Fraser River gold rush era of the 1860s, in the regions of Yale to Barkerville, Quesnel and Cottonwood in the interior of British Columbia. Many of the reproductions of photographs featured in the lantern slides in this collection are attributed early pioneer photographer’s works including those created by Richard Maynard during the 1860s and A.H. Maynard’s works produced in the 1920s. It also includes the photographic works of other early B.C. photographers including Frederick Dally (1838-1914), likely Louis A. Blanc who documented similar subjects as the Maynards particularly Barkerville, the Cariboo and the Cariboo Roads in British Columbia during the period before and after the Fraser River gold rush of the 1860s. A small number of photographic works by Frederick Dundas Todd (1858-1926) and F. [Dewitt] Reed are also contained within several of the slide collections.

Accessions 198203-025 and 198203-065 consist of slide compilations that depict a visual narrative of the history of Barkerville, the Cariboo Road and Cariboo region in the B.C. interior during the period of the 1868 Fraser River gold rush era and sixty years later in the 1920s. The bulk of the scenes of the gold mining resource industry, as well as views of transportation roads and routes along the journey to the goldfields. To a lesser extent views of other resources industries (forestry, agriculture, fishing and farming/ranching) are depicted against the nature and lands of the B.C. interior. Mining towns within the Lighting Creek and Williams Creek Districts, including Barkerville (before and after the fire of 1868), Richfield and Cameronton are represented, as well as other scenes representing the following views of gold mining operations: claims sites, posed group portraits and likenesses of miners, equipment and the production activity of early mining technology of associated mining companies, businesses and partnerships in the area. Photographs of mining claims and claims sites and the miners and labourers involved at Mucho Oro, Aurora Gold, Minnehah, Never Sweat; The Rankin Company (Grouse Creek), Ne’er do Weel (Grouse Creek) and the Canadian Grouse Company (Grouse Creek) are included in the sequences. Imagery along and of the Cariboo Road(s) are described as depicting various views, scenes and activities including: freight and trade transportation, transportation methods and transportation routes (ox pack teams, gold escorts; steamer “Reliance” and Fraser River crossings; travelers); views along the Cariboo Road(s) that include the geological terrain of the Fraser River (its river banks and surrounding forested and arid landscapes) at various points along the route to the goldfields including the Fraser Canyon and Lady Franklin Rock; examples of civil engineering as such as bridges; homes and ranches as well as accommodations such as roadhouses and hotels (70, 83, 108 and 150 Mile Houses, Pioneer Hotel, Van Winkel Hotel at Stanley, Colonial Hotel at Soda Creek and the Hastings Hotel) and businesses (Masonic Hall at Barkerville) in colonial service towns and mining communities and settlements. Indigenous communities do not appear to be identified in lantern slide captions, though the geographical regions documented in slides reflect many traditional Indigenous territories in which the Fraser River gold rush traversed and was situated. It appears that traditional Indigenous fishing methods are present in some views, likely in those of the Fraser River. Several photographs of geological specimens (gold nuggets) are included within the set. There appear to be very limited images of regional wildlife. There are a small number of group photographs reflecting the diverse population of gold miners, pioneers and travelers of the Interior B.C. (“Crew of SS "Nechacco"), including women and children. The views from the 1920s, appear to reflect A. H. Maynard’s trips to Barkerville, the Cariboo Road(s) and the Cariboo region. Finally, there are several views described as from the period in between 1868 and the 1920s. These slides depict views including those of the Fraser Valley region by F. Dundas Todd, a surveying team in “East Kootenay” and a few images described as the Okanagan.

A smaller collection of lantern slides (accession 198203-066) feature a random mix of Fraser River gold rush era views, military subjects, theatrical entertainment and other topics. Many slides appear to be images reproduced from works of art, books and other published materials. Documentation of theatrical productions include images of scenes and portraits from Shakespearean plays (Macbeth, Othello, A Winter’s Tale), as well as Anne Hathaway's cottage. It also includes documentation of the destruction of religious institutions during World War I, primarily in Ypres. Some of these slides indicate “mounted by Edgar Fleming, Victoria, B.C.”

Another collection of photographs (accession 198201-068) consist of 107 black and white flexible film negatives depicting Canadian and American views taken between the period of May and June 1914. These include views include of Bowmanville, Toronto and Niagara, Ontario in May 1914; Rochester and New York, New York in May and June, and the "Rio Grande" in Colorado in June of the same year. Photographs of American destinations such as San Francisco, Philadelphia, Atlantic City including Freemount Park, Salt Lake and [Ogden], Denver and Washington, DC are here. Several locations on Vancouver Island identified as Victoria, Saanich and Mill Bay also housed in this group of photographs. This unit also includes film negatives described as “C.P.R.y [Railway] 1914”. 25 copy prints were made from these negatives due to deterioration of original film negatives.16 images of Bowmanville and Toronto in May 1914 and 9 images of Vancouver Island including Victoria, Saanich and Mill Bay are available.

Maynard, Albert Hatherly

Maynard family collection

  • PR-1259
  • Collection
  • [ca. 1862]-1937

Collection consists of records created by members of the Maynard family, primarily Hannah Hatherly Maynard and Richard Maynard. Hannah, Richard, and their son, Albert Hatherly Maynard, were professional photographers based in Victoria. Records include photograph albums, a portion of the photographic portfolio of Hannah and Richard Maynard, a studio register with over 5,000 customer entries for portrait orders fulfilled by Mrs. R. Maynard's Photographic Gallery, and a small number of textual business records. Within this collection, the works of other photographers and photographic studios may be found. Images depict studio portraits, family gatherings, field photographs for Department of Indian Affairs tours of inspection of Indigenous communities, construction of the Canadian Pacific Railway (C.P.R.), documentary photographs of the natural history collection of the Provincial Museum (now Royal BC Museum), and Hannah's experimental artistic works such as tableau vivants, photocollages, composites, montages, photo-sculptures, and double- and multiple-exposure studio portraits.

Records within this collection have been arranged into series that roughly correspond to Maynard Collection numbers that were assigned according to themes by either one of the Maynard family members or early BC Archives staff.

Maynard (family)

My Automobile Trips / Lillian E Maynard

File consists of one family album containing a black leather cover with gold embossing on the cover and 91 photographic prints of various sizes adhered to forty-nine black album pages. Lillian E. Maynard’s life, family, and friends are documented through portrait and landscape photographs as well as newspaper clippings. Members of the Maynard family are depicted including Lillian’s brother Richard James Maynard; Katie Adelaide and her sons Albert, Robert, and Jack Walker; and unidentified infants, babies, children and adults. Landscapes include views of Saanich (Saanich Inlet, Island Highway Saanich Road, Little Cadboro Bay), Oak Bay (McNeill Bay, Willows Beach), Elk Lake, Jordon River, Cameron Lake, Colwood, Courtney, Sooke (Inner Sooke Harbour “Saseenos”) and Mount Baker. The album features a small number of Victoria tourist views including Belmont House at the Parliament buildings, Dunsmuir Castle, Butchart Gardens, Victoria Harbour, and the C.P.R. docks (1927). Near the end of the album are three of Hannah and Richard Maynard’s photographs, including Richard's award-winning landscape view, "The Arm", and two of Hannah’s annual “Gems of British Columbia" composite photographs. The album concludes with a newspaper article "Carry a Camera It Pays, says Fair Motorist" from The Daily Colonist, April 1919. It contains news coverage of a car crash involving Lillian and Richard and features images of the crash, Lillian, and her Kodak camera. In the article, she is credited for documenting the incident and later using the photographic evidence in court.

Maynard, Lillian Elizabeth

Studio register of Mrs. R. Maynard's Photographic Gallery, 1891-1899

Item consists of one studio register created by Mrs. R. Maynard’s Photographic Gallery that documents client orders from 1891 to 1899 and represents studio-based business transactions over a ten year period. It consists of 248 pages and contains entries for negative numbers 1025 to 6240. The record represents over 5,000 customer entries, likely referring to portrait orders fulfilled at several different locations of the Maynard Studio. Also included within the pages of the register is a small number of textual documents that refer to customer requests for non-portrait photographs that appear to have been furnished through the photographic studio. The author of the register appears to be either Mrs. R. Maynard or Arthur S. Rappertie, an employee of Hannah Maynard.

During this period, the studio was located at two different locations in Victoria, British Columbia. From 1874 to 1892, the studio was located on Douglas and Johnson Streets. In 1888, the studio is described in the publication The New West (Winnipeg) as having: “… superior facilities for executing all orders in the promptest and most satisfactory manner…” In 1892 until 1912, the studio was relocated 41 Pandora Avenue (renumbered to 717 Pandora ca. 1907). Many of Hannah Maynard's photographs after this date bear the address "41 1/2 Pandora Avenue near Douglas Street. Several employees worked for the studio throughout its existence. It is estimated that Arthur S. Rappertie (1854?-1923) worked for Hannah Maynard in the 1870s to early 1900s as either her assistant or photographer. Nicholas Herman Hendricks (1869-1946) was also employed by Hannah Maynard for a period. The signatures of both Mrs. R. Maynard and A.S. Rappertie are handwritten within the first initial pages of the studio register. The record does not note the corresponding Maynard Studio address alongside client entries, however orders are dated by the references to the year of the transaction, a date which appears at the top of selected register pages throughout the record.

By the 1890s, Mrs. R. Maynard’s Photographic Gallery already been a creator of conventional portraits in the popular carte de visite format and capturing the likenesses of gold miners and sailors, as well as Indigenous people whose studio portraits were commercially popular in and around Victoria during the early 1860s and 1870s. Children and family portraits were also a unique market provided for by the Maynard Studio, with photographic products including miniature portraits and composite images. In the period between 1891 and 1899, Hannah Maynard was producing experimental photographic works, including the "Gems of British Columbia" series of composite photographs. The montage works featured selected portraits of children and babies, largely Anglo-European subjects as well as a number of Chinese clients and Black families, photographed throughout the year were produced and sent as New Year's greeting cards to clients from 1881 until about 1895. In the 1890s, the studio facilitated the photographing of mugshots for prisoners for several years, when Hannah Maynard became the official photographer for the Victoria city police in 1897. Data on photographic orders noted in this record consists of date of order, number of negative, size and style of portrait (the bulk of which are carte de visites), quantity and price paid, and sometimes specific customization instructions of photographs ordered, as well as shipping information.

Mrs. R. Maynard’s Photographic Gallery clientele included the spectrum of the Victoria population including notable members of Victorian colonial society, temporary visitors, members of the navy, as well as pioneering Anglo-European, Indigenous, Black (including African American and Caribbean families) and Chinese individuals, families and communities. Client information frequently contained within register entries includes names, place of residence, family relationships, and occasionally identifiers for race or ethnicity for clients not perceived as Anglo-European. Customer names recorded within the approximately 5,000 register entries range from “Mrs. Bossi” and “Mr. Powell” to “Mrs. Alexander and 2 children (Clifford and Mildred Alexander),” “Tie Sue, Chinamen,” and “A Japanese, J Adachi,” to “Chief Sheppard and family,” and “George Alexander” of the HMS Ship Nymphe. Some clients appear multiple times throughout the record. In addition, the initials “CM” and "CL" repeat frequently and appear to relate to clients perceived to be of Chinese or Asian heritage (for examples see “CM Lee Hoo” on register page number 50, “6 C.M. Ah Hoye” on register page number 79 and “CM & C Lady” on register page number 93. Not all given and family names are recorded, as in the case of many clients perceived to be of Chinese heritage, whose entries are generic and general terms such as “Chinamen.” Stated places of residence for the Maynard Studio clientele represented in this record range across British Columbia from in and around Victoria, around South Vancouver Island (locations such as Sidney, Nanaimo, Chemainus and Comox), Salts Spring Island, Haida Gwaii (including Alert Bay), and on the mainland (including Vancouver and Lytton). The register also documents the orders of portrait clients with residences noted as at or near the naval base in the neighbouring community of Esquimalt. Locations such as the dockyard, naval yard or barracks appear listed in the record, as well as the names of British warships that visited the base not limited to: Egeria, Leander, Icarus, Imperieuse, Pheasant and Wild Swan. Many of these client entries are located near the rear of the register.

During the 1870s and 1880s, Hannah and her husband, Richard Maynard, took several working trips, and some they took together where they both practiced landscape photography. This included trips to Vancouver Island, Haida Gwaii (then referred to as the Queen Charlotte Islands) and to Banff, Alberta. She used landscape views as well as studio portraits as source material for composite works, such as the blended “documentary” image of a field photograph depicting a view of community village scene and a studio portrait of an Indigenous women. In the early 1900s, Hannah Maynard supplied ethnographic documentary photographs of Indigenous people of B.C.'s Northwest Coast to the Peabody Museum of Archaeology and Ethnology at Harvard in the United States. In addition to the recorded customer transactions for portraits relating to negative numbers 1025 to 6240, there are several other textual documents found inserted throughout the pages of the register that appear to refer to non-portrait photographs orders furnished through the Maynard Studio. One order handwritten on an excerpt of stationary from the final location of Mrs. R. Maynard’s Photographic Studio on Pandora Street, contains the name and location of G.W. Lilly and Westholme, B.C. and lists the names of several British warships (Pheasant, Imperieuse, Icarus and Wild Swan). Another undated note addressed to Dr. Dorsey at the Field Columbia Museum in Chicago lists a small number of general descriptions noting field and landscape photographs described as depicting Indigenous lifeways and cultural material from communities on the mainland of British Columbia including Bella Coola and Knight Inlet. Finally, located near the beginning of the register there is a single record of correspondence written on The Colonist letterhead between F.A. Harrison and H. Maynard dated March 3rd, 1900 and referring to the return of photographs loaned in 1897.

Mrs. R. Maynard’s Photographic Gallery