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Recent Gifts of Pictorial Caroliniana 2008
   Received at Visual Materials

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  • Two daguerreotypes, ca. 1840s, of William Harper (1790-1847) and William Campbell Preston (1794-1860). The quarter-plate shows Harper seated with his arm resting on a stack of books on a table. Harper was a lawyer, Chancellor of South Carolina, and U.S. Senator. The half-plate is a copy of the portrait of Preston by John Wesley Jarvis. Preston was also a lawyer, U.S. Senator, and President of South Carolina College.

  • Daguerreotype, ca. 1855, of an unidentified man, by J.M. Osborn, Charleston, S.C.. The man sports a partial beard and a checked waistcoat. His face is tinted, and the matte is stamped “Osborn’s.”

  • Ambrotype, late 1850s-early 1860s, of an unidentified young man with chin whiskers. The face and hands have been tinted. Photographed by Charles H. Lanneau, who was an itinerant photographer based in Greenville, S.C. The ambrotype is in a wooden picture frame with a paper matte rather than the typical case and punched-tin matte.

  • Carte-de-visite, ca. 1868, of Rev. Whatcoat Asbury Gamewell (1814-1869), by Richard Wearn of Columbia, S.C.; Gamewell was a Methodist minister in South Carolina.

  • Stereograph, 1861-1865, “East face of Fort Sumter, showing palmetto fortifications, Charleston Harbor,” no. 631 by George Stacy. The photograph shows I-beams and rocks outside the fort with palmetto log structure above.

  • Stereograph, 1861-1865, “Beacon House on Morris Island,” by Samuel A. Cooley, photographer with the Tenth Army Corps, U.S.A.; Union soldiers stand by and inside the skeletal remains of a large home with marsh beyond.

  • Stereograph, 1865, of Charleston’s “Meeting Street - ruins of Secession Hall and Circular Church, with St. Phillips in distance,” no. 360 in “War Views,” by John P. Soule, Boston. Taken from Meeting Street looking toward Church Street, St. Phillips is framed between the shells of the church and the hall.

  • Stereograph, 1870s, of “The Charleston Hotel” on Meeting Street, published by George N. Barnard. The front of the hotel is shown at an angle, with street intersection in foreground and Edwin Bates & Company Dry Goods store beyond. The label on reverse indicates that the original photograph was probably taken by Quinby and Company or John Souder.

  • Three stereographs, 1870s, by J.A. Palmer, of Aiken, South Carolina. “Date Trees,” no. 225 in the “Characteristic Southern Scenes” series, shows date palms in the front yard of a home. “View from Prospect Hill showing Horse Creek,” no. 124 in “Aiken and Vicinity” series, shows the results of kaolin clay mining on Prospect Hill. No. 409 in “Highland Park Hotel” series pictures ice in trees lining the road to the hotel.

  • Eleven stereographs, 1870s, of Charleston, S.C., chiefly by George N. Barnard. Titles and views by Barnard include “East Battery,” “Magnolia Cemetery,” “Live oak avenue,” “Group of palmetto trees, near Fort Moultrie,” “South Battery,” rooftop view, and the Unitarian Church and St. John’s Lutheran Church on Archdale Street. “Charleston market,” no. 18 in “The Southern Series,” shows the market building with buzzards on the roof and Charleston beyond. “The Palmetto tree,” no. 14 from an unknown series, shows a small palmetto in the rock-ringed garden of a home.

  • Stereograph, 1902, “The President, Mrs. Roosevelt and party reviewing the parade - before the Exposition auditorium, Charleston,” published by Underwood and Underwood of New York. The Roosevelts and several men in parade uniforms join other dignitaries on a flag-draped platform covering the steps to the auditorium during the South Carolina Inter-State and West Indian Exposition (1 Dec. 1901 to 20 June 1902).

  • Seven photographs, ca. 1907 and 1948, of the Boatwright family. The majority of photographs are of Ben Boatwright, Sr., of Johnston (Edgefield County, S.C.), with the first National Peach Council held in Columbia. Also pictured at the Council are Betty Boatwright (Mrs. Mark T. Boatwright) and Jackie Boatwright (Mrs. Ben Boatwright). A photograph of Harriet Toney Boatwright by H.C. Hall, of Augusta, Georgia, appears to be a college senior or wedding portrait.

  • Photograph, 1892, of the Allen University Class of 1892, Columbia. The photograph shows thirty-one African-American men and women, many wearing corsages and boutonnieres and holding umbrellas. Included in the photograph are Lucy A. Lipsey, Mary Jane Nicholas, and K. David Nicholas.

  • Photograph, 1896, of three women and two babies outside their one-and-a-half storey clapboard house. The photograph is by American View Company, Blacksburg (Cherokee County, S.C.). Daniel Audley Gold established his studio in 1895 and produced views of the area for several decades.

  • Photograph, 1951, of two older girls wearing white Ku Klux Klan robes without hoods and seated atop an automobile with a male driver. A truck behind them has two speakers attached to the roof.

  • Photograph, 1930s, of Bennett School basketball team in Charleston, S.C. It shows nine boys in shorts and jerseys posed with the coach in front of an outdoor basketball court. Photographed by Melchers Studio, Charleston.

  • Engraving, 1874, “Battle of Eutaw Springs,” after a painting by Alonzo Chappel and published by Johnson, Wilson and Company, New York. The battle occurred on 8 September 1781 at a site in Orangeburg County, S.C., and was a tactical draw between Gen. Nathanael Greene and Lt. Col. Alexander Stewart; however, this last battle of the American Revolution in South Carolina left the British too weak to continue their hold on the South.

  • Oil painting, 1834, of The Rev. John Hamilton Cornish (1815-1878) by James Bogle (1817-1873) of New York. Cornish served on Edisto Island (Charleston County, S.C.) and in many churches of the South Carolina low country before becoming rector of St. Thaddeus Episcopal Church in Aiken, S.C., in 1846. A native South Carolinian, Bogle was born in Georgetown and worked in Charleston, Baltimore, and New York. Among his works are portraits of John C. Calhoun, Elbridge Gerry, and James Monroe. The portrait of Cornish is perhaps the earliest known portrait by Bogle.

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