1322
After twenty-one years of fi nancial struggle, South-
worth’s exasperation reached its limit and he dissolved
the partnership in 1862. He returned to the family
farm in West Fairlee to settle his late father’s estate
and stayed to run it with his brother. He continued to
practice photography, write for leading journals and
address the National Photographic Association of the
United States. In later life he became a handwriting
expert and died in 1894. Hawes continued to run the
Tremont Row studio for a further thirty-nine years
and his late nineteenth century images of Boston are
regarded as some of the fi nest documents of life in the
city at that time. In the post-Civil War period, Hawes
occasionally returned to his earlier itinerant career
hawking Stereoscopic views of Boston around the
New England countryside in a traveling wagon. Still
active in the profession, Hawes died while on vaca-
tion in 1901. In tribute, Photo-Era magazine praised
the achievement of “the oldest living professional
photographer in the world”: “he was the last link in
the long chain connecting the past and the present of
photography and he sat at the cradle of photography
and helped to rock it into life” (“Stray Leaves from the
Diary of the Oldest Professional Photographer in the
World,” Photo-Era, 16 (1906): 104–107).
Richard Haw
Biographies
Albert Sands Southworth was born in West Fairlee,
Vermont, on 12 March 1811. Attended lecture on
daguerreotypy by François Gourand in Boston, 1840;
established the A. S. Southworth and Co. daguerreotype
studio with Joseph Pennell, 1841; traveled in California
prospecting for gold, 1849–1851; developed the Grand
Parlor Stereoscope, 1853; left the fi rm of Southworth
and Hawes, 1862. Gave keynote address to the National
Photographic Association of the United States, 1871.
Died Charlestown, Massachusetts 3 March 1894.
Josiah Johnson Hawes was born in East Sudbury,
Massachusetts, on 20 February 1808. Attended lecture
on daguerreotypy by François Gourand in Boston,
1840; joined A. S. Southworth and Co., 1843; devel-
oped photographic back-lighting and perfected the
use of studio skylights, 1843–1845; married Nancy
Southworth, 1847; continued to operate out of the
Tremont Row studio as an independent photographer,
1862–1901. Died Crawford Notch, New Hampshire
7 August 1901. The Hawes daguerreotype collection
distributed to the Metropolitan Museum of Art, New
York, the Boston Museum of Fine Art and independent
collectors, 1934.
See also: Daguerreotype; Daguerre, Louis-Jacques-
Mandé; and Wet Collodion Negative.
Further Reading
Appollo, Ken, “Southworth and Hawes: The Studio Collection.”Iin
The Daguerreotype: A Sesquicentennial Celebration, edited
by John Wood, 79–90, Iowa City: University of Iowa Press,
1989.
Homer, Rachel Johnston, The Legacy of Josiah Johnson Hawes:
19th Century Photographs of Boston, Barre, MA: Barre
Publishers, 1972.
Isenburg, Mathew R., “Southworth and Hawes: The Artists.” In
The Daguerreotype: A Sesquicentennial Celebration, edited
by John Wood, 74–78, Iowa City: University of Iowa Press,
1989.
Newhall, Beaumont, The Daguerreotype in America, third revised
edition, New York: Dover, 1976, originally published 1961.
Sobieszek, Robert, and Odette M. Appel, The Daguerreotypes of
Southworth and Hawes, New York: Dover, 1980, originally
published 1961.
Southworth, Albert Sands, “An Address to the National Photo-
graphic Association of the United States.” The Philadelphia
Photographer, 8 (1871): 315–323
——, “On the Use of the Camera” in The Photographic News
(London), 18 (1874): 109–111.
——, “Photography, Painting and Truth.” The Photographic
Times, 29 (1877): 510–511.
Stauffer, John, “Daguerreotyping the National Soul: The Por-
traits of Southworth and Hawes, 1843–1860.” Prospects, 22
(1997): 69–107.
Stokes, I. N. Phelps, The Hawes-Stokes Collection of American
Daguerreotypes by Albert Sands Southworth and Josiah
Johnson Hawes, New York: The Metropolitan Museum of
Art, 1939.
“Stray Leaves from the Diary of the Oldest Professional Photog-
rapher in the World.” Photo-Era, 16 (1906): 104–107.SPAIN
When François Arago publicly announced the inven-
tion of the daguerreotype at the Académie des Sciences
(Academy of Sciences) in Paris on 7 January 1839, Spain
was immersed in a dynastic confl ict between Carlists
and Liberals that was to determine whether absolutism
would continue or give way to allow the consolidation
of a constitutional monarchy. In the fi rst third of the
19th century, Spanish society was still primarily agrar-
ian and anchored in the structures of the past. The new
photographic technology, however, was to illustrate how
the most progressive intellectual and scientifi c circles
committed to modernising Spain immediately learned
about and became involved in the initial development of
this invention, in spite of their country’s economically
and socially underdeveloped context. This fact, the lack
of government support and the absence of any commer-
cial backing or stimulus characterise the introduction of
photography in Spain.
The main fi gures involved in the earliest introduc-
tion of photography into Spain all belonged to the same
progressive cultural and scientifi c elite. Many of them
were doctors associated with Barcelona’s Academia
de Artes y Ciencias (Academy of Arts and Sciences),