Note: Staff are still actively working on the description of these records. The current descriptions do not accurately reflect the full scope of the records. [17 March 2022]
The collection consists of a number of private records created by the Maynard family, the selected business records of Mrs. R. Maynard's Photographic Gallery and a portion of the professional records of well-known British Columbian photographers Hannah Hatherly Maynard (1834-1918) and Richard Maynard (1832-1907). To a lesser extent, a percentage of the professional records of their son Albert Hatherly Maynard (1854-1934) are included in the collection. Primary materials include family photograph albums, a measure of the photographic portfolio of Hannah and Richard Maynard consisting of photographic negatives and prints, as well as several view and sample albums. There is also a small number of textual business records, the bulk of which consists of a single studio register that represents over 5,000 customer entries of portrait orders fulfilled at several different locations of the Maynard Studio between 1891 to 1899.
The Maynard family collection consists of the following series and discreet items:
MS-3394: Photograph albums
MS-3361: Photograph album of Mrs. R. Maynard’s Photographic Gallery
MS-3373: Albert H. Maynard photographs of the Provincial Museum’s natural history collections
MS-3374: Indigenous studio portraits of Mrs. R. Maynard’s Photographic Gallery
MS-3328: Photographic View Album by R. Maynard, Artist
MS-3384: Studio portraits of Mrs. R. Maynard’s Photographic Gallery
MS-3378: Colonial administration field photographs of Richard Maynard (Department of Indian Affairs tours of inspection)
MS-3380: Experimental photographic works of Mrs. R. Maynard’s Photographic Gallery
MS-3403: Photograph albums and photographic prints, reproductions
MS-3325: Studio register of Mrs. R. Maynard's Photographic Gallery
The Maynard family, Mrs. R. Maynard's Photographic Gallery and photographers Hannah Hatherly H. Maynard, Richard Maynard and Albert H. Maynard were based in Victoria, British Columbia. Richard Maynard’s boot and shoe business was also based in the city.
Mrs. R. Maynard’s Photographic Gallery clientele included the "upper echelons of Victoria society" including the Cridge, Douglas, O'Reilly, Harris, McNeil and Crease families, as well as members of the colonial government such as Victoria mayor John Grant among many others. It also served the spectrum of the Victoria population including temporary visitors, Indigenous day labourers, as well as pioneering Anglo-European, African American (including the Alexander and Spotts families), Caribbean (Barnswell family) and Chinese individuals, families and communities. Representatives from Indigenous governments and communities on Vancouver Island and British Columbia including the Tsimshian Chief known as Arthur Wellington Clah, and others who came for their likenesses. In the early years the studio produced conventional portraits for early inhabitants of Fort Victoria (established by the Hudson’s Bay Company) such as gold miners and sailors. In later years, clientele were documented from across British Columbia, Vancouver Island, Salts Spring Island, Haida Gwaii, Vancouver and Lytton. Also during this period, patrons came from British warships that visited the Esquimalt naval base. Institutional clients included the Peabody Museum of Archaeology and Ethnology at Harvard in the United States.
Within this collection, the works of other photographers and photographic studios are represented in the Maynard portfolio. Notably, this includes photographic negatives by well-known early pioneer British Columbian photographers such as English photographer Frederick Dally (1838-1914) and Italian photographer Carlo (Charles) Gentile (1835-1893).
There are also card mounted photographic prints from a range of photographers and photographic studios from the Western United States, Eastern Canadian provinces and the United Kingdom. Within Ontario, the former residence of the Maynard family prior to their move to Victoria in the early 1860s, a small amount of works are represented from “R. & H. O’Hara Photographers, BookSellers, Insurance Agents & c.” of Bowmanville, Ontario.
In terms of photographic subjects and styles, the collection brings together the following: studio portraiture (family; infant, baby, child and youth; self-portraiture), landscape photography, tourist photography, colonial and government administration photographs, ethnographic and field photography, photography of transportation/railway construction (Canadian Pacific Railway), stereoscopic photography and documentary photography (including early natural history museum collections). Maynard produced ethnographic and field photography, of which one series (MS-3378) and one discreet item (MS-3378) has been included in this collection, is representative of a larger body of their well-known work and documentation of the life and lifeways of many First Nations and Indigenous communities primarily on Vancouver Island, around British Columbia and Alaska. There are a few examples of sun photography used in infant, baby, child and youth portraiture, as well as a reference to a work of Victorian era collage. A small number of works in the style of architectural photography are represented here, as are Maynard’s portfolio depicting naval or military themes. Hannah Maynard’s work in police photography is not represented in this collection.
Artistic works include experimental photographs attributed to Mrs. R. Maynard in her role as a photographic artist and consist of tableau vivants, photocollages, composite and montage works photo-sculptures and studio portraits using double and multiple exposure techniques. A small number of montage works marketed by Richard Maynard can also be found in this collection, as are references to studio portraits marketed by R. Maynard.
Print formats include mounted and unmounted prints and photograph albums. Mounted prints consist of cartes de visite, boudoir and cabinet cards, gem-sized prints and tintype miniature portraits. Negative formats consist primarily of glass plate negatives. There are also a small number of textual records found in albums including several business cards and a few seasonal greeting cards. There is also one instance of business stationary from Mrs. R. Maynard's Photographic Gallery present within the studio register.