The New Jersey Stereoscopic Views Co.

Between 1872 and 1876, New Jersey Stereoscopic Views Company was formed by photographers Colwell Lane and David N. Carvalho. It is estimated that during the brief four years of existence, New Jersey Stereoscopic Views Co. produced about 200 local views which only about a dozen have been located during a detailed survey of Monmouth County Stereoscopic views published in 1971 by George H. Moss Jr.. This makes it even more relevant to highlight the holdings at New York Public Library Digital Collection attributed to this New Jersey company. 

Born in 1848, David N. Carvalho he most likely learned this trade from his father with whom he shared interest in the study of light and in photography. Solomon N. Carvalho was an artist and daguerreotypist who owned a “Portrait, Porcelain, Miniature and Photographic Gallery” located at 765 Broadway in New York City. Solomon N. Carvalho is the first known jewish photographer. According to a catalog created by “The Jewish Historical Society of Maryland in the occasion of a 1989 exhibition dedicated to Carvalho’s artistic endeavors: “only in the United States could the first Jewish photographer have emerged, for only there existed the combination of relative tolerance of Jews, particularly enlightened cities (Charleston and Philadelphia) where Jews could receive exposure to and some training in the Fine Arts, and an intellectual atmosphere which encouraged very broad participation in the scientific discoveries of the day.”

Solomon focused his efforts in earning a living and reputation as a painter and didn’t develop a successful career as a commercial photographer: “Despite his fame as a field photographer, he never embarked on any similar ventures for the purpose of making scenic photographs for sale. He neglected entirely the stereograph, the most popular format for the mass distribution of scenic photographs in the late 1850’s and 1860’s. (...) His photographic efforts at this period were to, perhaps (...) teach his son David the fundamentals of the technique”.

David N. Carvalho would exercised similar creative freedom as his father using exactly the technique his father rejected: in 1872, he became a manager at the New Jersey Stereoscopic Company. In this role David might’ve photographed some of the stereo views but most of his time was most likely spent supervising the production and distribution of the stereoscopic cards. All evidence points to his partner, Colwell Lane, as being the primary photographer. 

The carefully composed images created by Lane resulted in stereoscopes of superior quality than his competitors: “few reached the technical excellence evidenced in Lane’s efforts. It should be understood that the mere use of a stereoscopic camera is no guarantee pictures will contain good three-dimensional qualities.” 

Colwell Lane was a skilled photographer who began his career in photography by opening his own studio circa 1866 where he was a prolific producer of Cartes-de-Visite and quality ferrotypes. He deserved the self-title of “photographic artist” which he included in his Cartes-de-Visite. Over twenty three variations of these business cards were found indicating that Colwell Lane had a prolific photographic career. 

By 1876, the partnership of Lane and Carvalho dissolved. Eventually both photographers established their own separate photography enterprises in New York City. Colwell Lane operated his studio in Manhattan from 1888 to 1890.

After closing New Jersey Stereoscopic Views Co., David N. Carvalho sustained  various temporary studio locations, following the trend of photography in uptown Manhattan. In 1877, he opened his first studio which was located at the Carvalho’s household; the following studios remained quite near his father’s residence. David named his business “Carvalho”, probably an indication of lack of business independence from his father who most likely ambled over from time to time to give his son paternal advice. David produced Cartas-de-Visite and cabinet cards with some degree of success and sustained a commercial photography career for the next 10 years. Eventually he became an expert in the study of handwriting and inks, to which studies he was dedicated for the rest of his life.