The Seven Lakes Hotel - 20 rooms
1880 Mayo G. Smith purchases from David L.
Welch and Quincy King
the claim in Seven Lakes Park together with the stock in the
Cheyenne Lake Park and Pikes Peak Toll Road Companies.
Smith operated the hotel in 1882-3.
The Seven Lakes Hotel is being nicely fitted
up for the summer by M.F. Smith the proprietor.
A bowling alley and billiard room are being fitted for the
use of the guests, and in many other respects the place is being
1888: Patent to 160 acres issued to Smith
after trial contesting the ownership by Quincy King.
Daguerreotypes : First
By Georgen Gilliam Charnes
In the vault of the NHA
Research Library, there are several boxes filled with small wood
or leather cases, each about the size of your hand. The cases are
decorated with carvings, gold-embossed designs, and sometimes,
pieces of glass. When opened, each case typically reveals a velvet
lining and a gold-framed image of a unsmiling man, woman, or
child, who is usually seated and looking directly into the camera,
a hand-painted blush on each cheek and gilt shine applied to a
piece of jewelry. These images are daguerreotypes, the first type
of photographic images ever made.
Frenchman Louis Daguerre
invented the daguerreotype process in 1839. In November of that
year, the first authorized agent arrived in New York City selling
the rights to the process and the equipment to create them.
Hundreds of shops were set up within weeks, and within three years
even the smallest town offered "daguerrotypy," which was
irresistible to both rich and poor, even at the high price of
several dollars a portrait. The base of a daguerreotype is a
silver-coated plate of copper. There is no negative involved with
this process; therefore, each image is one of a kind. The image is
also reversed, so wedding rings appear to be on the right hand and
signs appear to be written backwards. In the first years, sitting
for a daguerreotype required being exposed to light for five to
seventy minutes. Soon, however, the process was improved, and the
time required for sitting was reduced to a few seconds. Since this
is still a long time to remain still, photographers often used a
pole with a two-pronged "fork" that could be adjusted in height,
called the "Jenny Lind Posing Headrest," to keep the subject's
head immobile during exposures. Rosy cheeks and the gilt of golden
jewelry were often hand painted onto the delicate image before
being matted, covered in glass, and placed in its decorative case.
Daguerreotypes continued to be popular through the 1850s, when
they were edged out by the cheaper tintype.
The NHA Research Library
houses about 200 cased daguerreotype images, many of which do not
feature a photographer's mark. We do know, however, that Nantucket
hosted several traveling daguerreotypists in the years after the
introduction of the process, most of whom stayed for no more than
a few weeks. The earliest advertisement in the Nantucket Inquirer
was in September 1841, for a
G. Smith, who claimed to have been "initiated in the
mysteries of Photography, by Prof. Morse of the N. York
University" and offered "likenesses in neat morocco case for $3 to
$5," at the corner of Union and Main Streets. Others who visited
and resided in Nantucket in the first half of the nineteenth
century includes a "Mr. Dewey" in 1842 and H.S. Chase in 1843. By
October 1843 George F. Barney bought Chase's equipment and offered
single images for the reduced price of $2.50 at 86 ½ Main Street.
In September of 1845 Mr. E. Goddard was "prepared to execute
Miniature Likenesses" at 43 Orange Street; dental surgery was
performed by Doct. Adams, Practical Dentist, in the same rooms. G.
W. J. Hawes, who later moved his business to New Bedford, came to
Nantucket in May of 1846. Maxham & Gorham offered to "those
wishing likenesses of themselves or friends, can procure them, of
any shade or color desired" at 41 Orange Street in 1848.
sometimes difficult to see clearly, because the silver coating
acts like a mirror, resulting in a "negative" quality, unless you
view them straight on. Ambrotypes, another kind of cased image,
were created on glass and presented with black backing for
viewing. Ambrotypes do not have the same negative quality when
viewed, so they're easily distinguished from daguerreotypes. The
quality of the image in a daguerreotype is startlingly detailed.
Hair, jewelry, and backgrounds can be examined very closely,
unlike photographs made with today's processes. Because of the
nature of the process, light actually creates the image at a
molecular level. There is no "grain" to be seen as there is with
modern film. In practical terms, when you look at a daguerreotype
through a magnifying glass, the closer you look, the more you see.
For example, an image of a street scene may have a street sign a
full block away in the background. With magnification, one can
read the text on this sign (remembering that it's backwards).
If you have a
daguerreotype, the best way to preserve it is to keep it out of
light. Propping the case open on a shelf, as you would modern
photographs, causes daguerreotypes to fade quickly. You might
consider having a duplicate made, and displaying the duplicate
image. If the case of your daguerreotype has come apart, remember
that the surface of the image is extremely fragile, and can be
damaged with the touch of a finger - it will retain forever
fingerprints left on its surface. You might consider having it
professionally re-cased in the same case with new glass.
When I look at
daguerreotypes, I am always reminded how startling it must have
been to see a photograph when the process was first invented. The
detail of the image and the immediacy of delivery were entirely
new. Before the daguerreotype, people only had their likeness if
they could afford to commission a portrait to be painted. We're
fortunate that many Nantucketers cared to have their "likenesses"
captured, and lucky to have them here at the NHA, where we can
preserve and provide access to them
sailing on a clipper ship, the Nellie Chaplin with George Adams
one of the disciplines of the Zion movement
daughter of Gilbert and Hepsibah (Johnstone) Vale, was born in
Hastings, England, in 1817. She came with her father, mother and
other members of the family to New York in 1823, and married, in
that city, in 1842,
Smith, son of Foster Smith. Soon after her marriage she
came with her husband to Newburyport, and lived for some months in
the family of her father-in-law, on Smith's court, removing later
to a dwelling house on Essex street, where her husband had an of
fitted up for his use as a surgeon dentist. The children by this
marriage were Mayo Vale Smith, born June 25, 1844/ and Euphemia
Smith, born September 20, 1848.'
After the discovery of
gold in California, in 1849, Doctor Smith went to the Pacific
coast, and remained there seven years. During his absence Mrs.
Smith was busily engaged in literary work. She was a frequent
contributor to the New- buryport Herald, editor of the Saturday
Evening Union, and
author of a History of Newbury, published
in 1854. In 1857, she removed to New York, and was there granted a
decree of divorce from her husband.