Figure 1.--This Canadian portrait is indestinguishable from an American portrait. It was taken at the Simpson & Bros studio at Toronto, Ontario. The paper frame is very similar to those used in America during the 1900. Cabinent cards were going out of style after the turn-of-the 20th century and the ones still made were styled differently from 19th century cards. changed.

The photographic industry developed very rapidly in Canada, but not as rapidly as in the United States. We not know much about the development of the industry in the 19th century. We do not notice the daguerreotypes, ambrotypes, and other early formats in Canada as we do in America. At this time we are unsure if this is just because we have only a small Canadian archive or if the industry was not well developed in the 1840s and 50s. We believe it related to the legal system in Canada which at the time basically followed English law. Copyright law prevented Daguerreotype pghotograph from developing rapidly in England and we believe the same occurred in Canada. This is probably why there are relatively few Canadian daguerreotypes. With the appearance of negative formats (CDVs and cabinent cards) in the 1860s we see photography developing along the same lines as the United States, We also note similarities in mounts and frames. This topic is of interest to HBC because often formats, cases, cards, and frames can help date images. We have begun to work on this tgopic in the main photographic section of HBC, but at this time have very little country-specific information on Canada. We believe that the information developed for the United States can be used to date Canadian photograohs. Canada emerged in the 20th century as first a Dominion and then an independent country within the British Commonwealth. The economy gradually shifted from trade with Britain to an economy very closely toed to the Americzn rconomy. You can see that reflected in both clothing styles and in photographic mounts and frames.

The 19th Century

The photographic industry developed very rapidly in Canada, but not as rapidly as in the United States. We not know much about the development of the industry in the 19th century. We do not notice the daguerreotypes, ambrotypes, and other early formats in Canada as we do in America. At this time we are unsure if this is just because we have only a small Canadian archive or if the industry was not well developed in the 1840s and 50s. We believe it related to the legal system in Canada which at the time basically followed English law. Copyright law prevented Daguerreotype pghotograph from developing rapidly in England and we believe the same occurred in Canada. This is probably why there are relatively few Canadian daguerreotypes. With the appearance of negative formats (CDVs and cabinent cards) in the 1860s we see photography developing along the same lines as the United States, We also note similarities in mounts and frames. An example of a CDV is a Toranto boy in 1876. We think the popularity of CDVs may have continued longer in Canada than America, but we cannot yet confirm this. This topic is of interest to HBC because often formats, cases, cards, and frames can help date images. We have begun to work on this toopic in the main photographic secion of HBC, but at this tome have very little country-specific information on Canada. We believe that the information developed for the United States can be used to date Canadian photograohs.

The 20th Century

Canada emerged in the 20th century as first a Dominion and then an independent country within the British Commonwealth. The economy gradually shifted from trade with Britain to an economy very closely toed to the Americzn rconomy. You can see that reflected in both clothing styles and in photographic mounts and frames. As in the second half of the 19th century, Canadian photographs in the 20th century are virtualky indestunguishable from American portraits and phitographs. As in America the style of cabinent cards and the mounts change dramatically after the turn-of-the 20th century. We still see cabinent cards in the 1900s, but the mounts are different. We also see pprtraits with paper frames rather than cabinent cards. As far as we know, photographic trends during the entire 20th century were essentialky the same in Canada as in the United States. We see amnateur snap shots becoming popular and at first commonly printed with opost card backs. By the 1910s, studio portraits were generally done with paper frames rather than as cabinebt cards. Studio portraitswere also oprinted with post card backs.

Created: 6:07 AM 1/13/2008
Last updated: 2:05 AM 8/5/2008