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younger brother, James, produced stereo views of St.
John in the early 1870s. After Notman’s death in 1891,
his eldest son William MacFarlane Notman continued
to run the business until his death in 1913 at which point
his son Charles headed the fi rm until 1935, when the
studio was fi nally sold.
Other large photographic fi rms of the time include
James Inglis of Montreal whose work and reputation
has been overshadowed by that of Notman. Inglis, who
also created large composite photographs, found himself
competing against Notman on a number occasions, the
most controversial of which was the production of his
version of the Victoria Skating Rink carnival in 1870.
Jules Benoit dit Livernois produced daguerreotypes in
Quebec City in the 1850s. Upon his death in 1865, his
son Jules-Ernest took over the business and produced
thousands of portraits and views of Quebec City, and
its surrounding area for sale to tourists. Genre scenes
depicting traditional but fast disappearing ways of
Québécois life were also popular. The Livernois oper-
ated their photography business for over one hundred
years, from 1854 to 1974. Also in Quebec City, Ellisson
& Co. created dramatic portraits of local personages
while the studio of Louis Parent Vallée specialized in
views of the city and its surrounding area.
Another well-known commercial photographer,
Napoleon Sarony, was born in Québec in 1821. He
moved to New York around 1836 where he eventually
established his famous studio several decades later.
In central Canada, James Esson operated a highly
successful studio in Preston, Ontario. From the late
1870s to 1882, Esson took hundreds of stereo views of
his travels throughout Canada and the United States.
Other photographers who produced stereoscopic views
of Canada include J.G. Parks of Montreal, W.J. Topley
of Ottawa, and J.S. Climo and James McClure both
of Saint John. Another important set of stereographs
of Québec and Montreal were taken in 1867 by the
American photographer B.W. Kilburn who, along with
his brother Edward, ran the large stereoscopic fi rm of
Kilburn Brothers of Littleton, N.H.
Commercial photography arrived on the west coast
with the discovery of gold on the Fraser River in 1858.
In 1859, George Robinson Fardon came to Victoria from
San Francisco and produced a number of views of Van-
couver Island. His panorama of Victoria was reproduced
as an engraving in the 10 January 1863 edition of The
Illustrated London News. Fardon is best known for his
1856 publication San Francisco Album: Photographs of
the Most Beautiful Views and Public Buildings. He also
specialized in pannotypes, or photographs reproduced
on leather. Francis G. Claudet, the youngest son of
Antoine François Claudet of London, England, pursued
photography on an amateur basis while fulfi lling his
duties in the Assay Offi ce in New Westminster in the
1860s. Richard Roche, a lieutenant on the survey ship
HMS Satellite, was another amateur who took photo-
graphs while stationed in the area. Most notable are his
views of aboriginal peoples, as well as American and
British camps on San Juan Island taken shortly before
the Americans occupied the island. Hannah Maynard
settled in Victoria in 1862 where she operated her studio
business for fi fty years. Her husband, Richard learned
photography from her and travelled extensively takingUnderwood & Underwood. Photographing New York City—on a slender support 18 stories above pavement of Fifth Avenue.
The J. Paul Getty Museum, Los Angeles © The J. Paul Getty Museum.