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CHARLES DUDLEY ARNOLD
INTRODUCTION
by Thomas G. Yanul
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Images & Text
copyright 2001
Thomas G. Yanul
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WHERE DOES ARNOLD FIT ?
I guess the question one must ask before putting a great deal of
time and effort into research on a particular individual is, what is
the worth ? And when you consider Arnold as a late 19th century
American photographer and judge him by the standards of the
academic world, he is probably not worth the effort. For a high
standard to be included in the "list" so to speak, of those who
have achieved greatness through unusual deeds, or set trends
and changed thedirection of an art form, then Arnold does not quality.
There is only so much room at the top - in general. But there is
another factor that comes into play in the history of photography
(as in art).One must at some level consider artists who have
performed at a very high level of competency at a particular period,
or at some special event in history. And certainly to my way of
thinking Arnold has met that criteria.
ARNOLD'S EVENT(S)
As a recorder of the Chicago Columbian Exposition of 1893, and
to a lesser extent thePan-American Exposition of 1901, Arnold I
proffer, had excelled at his profession in an event that has landmark
status in modern American history. The Columbian Expo was a
kind of epoch in a young country's search for identity. Despite its
residual architectural connection to European history, it non the
less was seminal in America's coming of age. It was big, bold and
brassy. One could even stretch the analogy to the City of Chicago
for the same reasons. It was in "the west", which meant it was
considered something of a prairie town to those back "east", where
the traditional powers-that-be held forum. Certainly is was an afront
to New Yorkers who had expected their city would be chosen to
represent the United States in this first real mega-fair to tell the
world who and what America had become...how we had grown into
a genuine country with its own inherent attributes. For Arnold to be
chosen to record and represent the Exposition photographically was
at the time, a somewhat divisive issue. Fortunately Arnold proved
himself more than adequate to the task, and his magnificent high
"official" record of the Exposition has stood the test of time.
JUST WHO WAS CHARLES DUDLEY ARNOLD ?
Unfortunately, even after many years of chasing facts and fantasy,
we don't know much about this individual. We will learn some of
what and where he did it, but personal information is scant to say
the least. Even his professional career is void of information regarding
years of his photographic work, especially in New York City. I'm
sorry to say that Arnold is in a large company of photographers
(and artists) who have done yeoman work in the profession but
have passed into obscurity for no other reason than they did not
record or cover a "major event" that would carry their names along
in history. Arnold is fortunate in that respect. He was in the right
place at the right time; his name recognition will hopefully last as
long as the record of the Chicago Columbian Exposition carrys
him with it. You cannot study the history of the Exposition without
referencing the visual record, of which Arnold's work is paramount.
ADDENDA TO ABOVE: In February of 2003, I acquired 33 vintage Arnold
photographs from his New York City days. Although undated, they
obviously were done during the years roughly 1884-1890, not only
because of the subject matter - mostly shingle style houses along
the Eastern U.S. built 1880's - but also because they bear his New
York City Stamp. These are the first and only prints I have found that
give credence to the fact that Arnold was catering to architects, many
of whom were the most important of the day. These include McKim
Mead & White, Peabody & Stearns, Lamb & Rich and other well
knowns, along with some lesser known, architects.
I believe that one reason Arnold's name has not surfaced in
searches of many architect's archives is that he did not, at this time,
put his name in the negative or include it afterwards on the print
Only his business stamp on the rear. And since most of these
prints are albumins - a very thin printing out paper - most were
mounted on boards for convenience in viewing and storing. And once
mounted, his name is for all practical purposes gone. By the time
of the Chicago Columbian Exposition of 1893 (he actually starts
construction photography in early 1891) Arnold never again prints a
photo without his name put in the picture. I assume he realized his
mistake at some point and changed his methods. It really was a
matter of survival then, as now. Since Arnold moved to New York
City with a family and also made at least one, and probably two
trips to Europe to photograph antiquities, his photographic
practice must have been economically successful during those years.
The clamor during the Columbian Exposition years that Arnold was
a nobody, an unknown eastern photographer, seems to be quite
specious in retrospect. Arnold was known to the East Coast
architectural community if not elsewhere. That is why he got the
position of photographer at the Chicago Columbian Exposition. He
was a proven fine architectural photographer. [see my page on an
article written by W.I. Lincoln Adams stating that exact fact written
in 1913]. In due time I will post these new images by Arnold so all
can see what his work consisted of, and whom he was working for.
WHERE WE GO FROM HERE
The following pages of this site will lay out the details of what I know
about his life and work. Details of work done at the Pan-American
Expo are scant in nature. It was simply too far and too difficult for me
to get involved in the details of that event, which I don't believe are
crucial to his history. Suffice it to say we know he was there and he
did the job in an adequate fashion. But apparently the monies were
not there officially nor unofficially to warrent the kind of photography
that was done at the Columbian.
The hugh format views made in platinum for the Chicago expo were
not done at the Pan-American. I suspect it was simply too expensive
and time consuming. In the future hopefully others will be able to flesh
out the details of Arnold's work at the Pan-Am, but that is not a prime
matter for this paper as such.
I have put the chronologies of Arnold's life, his work and home
addresses up front of this Introduction simply to make it easier for
those who need those hard, basic facts to do whatever they would
like with them. They are a sort of jumping off point for others who
may wish to pursue particular times or places in the Arnold references.
There are many more details to come of course, and they will be
covered in appropriate segments as we go. Arnold's early life and
what we know about it will come first. It is meager yet informative.
Ed. Note: the last of these pages is generally under construction as
material is organized and added. Readers should check occasionally
to see newer material as it is added.
TO SEE NEXT PAGE GO TO: The Arnold Family & Its Connections
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Columbian Expo.
Missouri Bldg.
7x8" Gold Toned Albumin
Coll. Author
(See detail below)
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One-legged man
Missouri Bldg.-detail
Columbian Expo
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C.D. Arnold-"Central Park"
Undated view New York City
Assumed ca. 1882-90
6x8" gold-toned albumin
Coll. author
Courtesy Harlow Davis Jr.
(detail below)
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Detail of boys, Central Pk. NY.
Photo by C.D. Arnold
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Hand camera permit
issued by Dept of Photography
Columbian Exposition
The photo is of
Don Cristobal de la Cerda
The Duke of Verague and his son.
Descendants of Christopher Columbus
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Harlow N. Higinbotham & son Harlow D.
Harlow N.(1838-1919) became President
World's Columbian Exposition
and son Harlow D. was Arnold's
partner in the photo concession
Photo ca.1880's by Max Platz, Chicago
A family friend and noted
portrait photographer
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