shipler harry (2 Ergebnisse)

Reprints. Eleven 8" x 10" black and white photographs by the renowned Salt Lake firm of Shipler Commercial Photographers (8 are landscape format, 3 are portrait format). All eleven photographs are reprints, in very good condition, using the original negatives and were produced circa 1940. Eleven iconic views of early twentieth century Salt Lake City. The photographs with the original photograph dates are: 1- Salt Lake Theatre interior with charity ball decorations [First South and State Street], November 8, 1906. 2- Saltair swimmers with Giant Racer in the background [Great Salt Lake], July 4, 1913. 3- Royal Cafe / Cohn's [Main Street between Second and Third South], March 18, 1922. 4- McCormick Block / Crandall Building [First South and Main Street], June 19, 1905. 5- Templeton Building [Main Street and South Temple], December 12, 1905. 6- The Alta Club [State Street and South Temple], December 4, 1905. 7- Felt Building [Main Street between Third and Fourth South - east side], December 8, 1910. 8- Daft [Daynes] Building [Main Street between First and Second South - west side], March 23, 1906. 9- Boyd Park Building [Main Street between First and Second South - east side], September 21, 1914. 10- Tabernacle with Grand Army of the Republic decorations [Temple Square], August 2, 1909. 11- Hotel Utah [Main Street and South Temple], circa 1910.

Photograph. Large format [9 1/2" x 7 1/2"] photo by the renowned Salt Lake firm of Shipler Commercial Photographers, with backstamp. Early 1900s. "Old Kimball House. 4th South SL SL City" in pencil beneath the photo. 1/4" trimmed mount borders. A photograph produced by J. W. Shipler and his son Harry. It is pointed out by Nelson B. Wadsworth in "Set in Stone Fixed in Glass: The Great Mormon Temple and Its Photographers," that it was in Salt Lake City that the photographer, J. W. Shipler who had been traveling and trying to set up a photography practice for quite some time, finally found a permanent niche. Wadsworth writes, "Arriving on the Utah scene shortly after the anti-polygamy Manifesto, Shipler filled a void. He was among the first, non-Mormons to set up a commercial gallery in the capital city. He was instantly patronized by the Mormon and gentile populations. Cultural compromise was a required precursor for Utah to achieve statehood. In such a context commerce between Mormons and outsiders became more common. Shipler had learned his techniques and honed his skills in an urban, eastern establishment. His experience made him more than capable of competing in Utah's transforming environment. Shipler eventually brought his son into the business, and Shiplers would run a commercial photography business for the next hundred years.".