|
The career and life of photojournalist James H. "Jimmy"
Hare is represented from the 1870s through the 1930s with 1,128 lantern slides, 709
glass
negatives, 333 nitrate negatives, 150 vintage prints, and 1,047 Ransom Center-made
modern
prints, 18 personal photographs of Hare’s family and colleagues, manuscript materials,
and
clippings and copy prints related to Lewis L. Gould's and Richard Greffe’s Photojournalist: The Career of Jimmy Hare (Austin: University of
Texas Press, 1977). The finding aid is divided into the following three series: I.
Professional Photographs, 1884-1930, undated; II. Personal Photographs, 1870s-1930s,
undated; and III. Manuscript Materials, 1940, undated. |
|
Series I. Professional Photographs, 1884-1930, consists of lantern slides, glass negatives,
nitrate negatives, vintage prints, and modern prints made by the Ransom Center with
a total
of 2,169 discrete images. The vast majority of images are black-and-white but 34 lantern
slides are hand-tinted. This finding aid builds on the subject identifications from
a card
index created by Gould and Greffe as part of the research for Photojournalist: The Career of Jimmy Hare. Though Hare’s original index cards
with identifications exist, not all items are cataloged in those cards. Both card
indices
are available for reference in the collection. When the new index was created, researchers
assigned identification numbers 1 through 2130 to most items. Images existing in multiple
formats (or multiple copies of one format) were usually given the same identification
numbers, therefore there is overlap in numbering. For example, image 188 exists as
a lantern
slide, a glass negative, and a copy print. Seventy-one lantern slides and two vintage
prints
(both from the same negative) were not numbered when the new index was created; these
were
assigned the number range 2132-2203 during cataloging. The following list gives the
item
numbers that exist for each format: |
|
- Lantern slides: 17-19, 22 [2 items], 29-30, 166, 168, 170-178, 184-185, 188, 191,
194-195, 197, 200-201, 204 [2 items], 207, 346, 348, 352, 364, 421, 489, 759, 764,
773,
903, 982, 1000-1251, 1252 [2 items], 1253-2010, 2126, 2128-2130, 2132-2202
- Glass negatives: 1-16, 18-30, 32-60, 62-169, 172-179, 181-184, 186-188, 190-351,
353, 355-381, 383-420, 422-434, 436, 438-506, 581-655, 666-758, 760-763, 765-766,
768-772, 774-812
- Nitrate negatives: 31, 61, 180, 435, 437, 507-580, 767, 815-902, 904-943, 947-981,
1076, 1372, 1720, 1786, 1796, 1998, 2011-2014, 2033-2035, 2041-2047, 2049-2057,
2062-2069, 2073-2125
- Vintage prints: 30, 99-102, 129 [2 items], 130-132, 134, 173-176, 178, 210-211, 213
[2 items], 214, 217, 219 [2 items], 220, 232, 233 [2 items], 234, 235 [2 items], 236
[2
items, 237, 239-242, 267, 270, 271 [3 items], 272 [2 items], 273-274, 279-280, 313,
332-336, 468, 472, 474, 483-484, 487, 610 [2 items], 611 [2 items], 616 [3 items],
617
[3 items], 619, 623, 628-629, 681, 733, 739-740, 741 [2 items], 742-744, 746, 1998,
2011-2032, 2033 [2 items], 2034-2038, 2039 [4 items], 2040, 2044 [2 items], 2047-2052,
2053 [2 items], 2054 [2 items], 2055-2056, 2057 [2 items], 2058 [2 items], 2059, 260
[2
items], 2061, 2070, 2071 [3 items], 2072, 2131, 2203 [2 items]
- Modern prints: 1-16, 18-169, 172-184, 186-194, 196-351, 353-381, 383-420, 422-655,
666-758, 760-763, 765-772, 774-812, 815-943, 847-902, 904-981, 1076, 1372, 1720, 1786,
1796, 1998, 2011-2014, 2033-2035, 2041-2047, 2049 [2 items], 2050-2055, 2056 [2 items],
2057, 2062-2069, 2073-2100, 2101-2125
- Photomechanical reproduction: 2127
- No items: 189, 382, 656-665, 813-814, 944-946, 983-999
- Missing item: 354 (lantern slide)
|
|
This series is physically arranged by format with items in numerical order, but the
container list follows a chronological subject index with assorted undated subjects
at the
end. In the container list, each subject is followed by formats and the item identification
numbers for each. All negatives, glass and nitrate, have a corresponding vintage print
or
modern print made by the Ransom Center (or both) and are therefore restricted from
access. |
|
Researchers may still wish to consult the card index in Boxes 45 and 46, as they have
some
information which is not duplicated on this finding aid. Captions written on items
or Hare’s
cards are transcribed on the index cards, citation information is given for some images
reproduced in such publications as Leslie’s Illustrated
Weekly, Illustrated War News, or The Nations at War by Willis J. Abbot, and the corresponding
identification numbers from Hare’s original cards are given. |
|
Following the subject index is an additional index arranged by the identification
numbers
assigned by Gould and Greffe. This index shows all formats created for each image,
includes
the container number, and the HRC-assigned number unique to each item. Researchers
should
use the unique HRC-assigned number when requesting material. |
|
Hare is known especially for his work as a war correspondent. He photographed the
Spanish-American War in 1898, the Russo-Japanese War from 1904 to 1905, battles in
the
Mexican Revolution in 1911 and 1914, the Balkan Wars from 1912 to 1913, and finally
the
First World War, and these are all represented in the collection. |
|
The Spanish-American War is documented with 66 images of soldiers at leisure, encampments,
infantry troops, trenches, wounded soldiers, the Rough Riders, and telegraph lines
being
installed. The Russo-Japanese War is represented with 166 images, including 9 hand-tinted
lantern slides. Many of the images are of Japanese soldiers wounded, at leisure, and
preparing for action. There are also images of field hospitals, troops entering Liaoyang,
Chinese prisoners, and portraits of General Kuroki Tamemoto and his staff. In 1911,
Hare
traveled to Mexico to document the Battle of Ciudad Juárez during the Mexican
Revolution. The collection has 108 of these images which include wounded men, soldiers
in
action, and scenes with Pancho Villa and Francisco Madero. In 1914, Hare returned
to Mexico
during the occupation of Veracruz. There are ten images of Marines drilling on the
USS Louisiana and aerial views of Veracruz taken by military pilots
using Hare’s cameras. Between stints in Mexico, Hare went to Eastern Europe to document
the
Balkan Wars. Thirteen images from this time period include women and children knitting
and
carrying pitchers and bread and scenes from the trenches including soldiers at rest. |
|
The "European War" (World War I) makes up nearly half of
the collection with 1,005 images which are subdivided into subjects organized
alphabetically. Ninety-seven images of general scenes include damaged buildings, street
scenes, parades, and battlefields from unidentified locations. Captain A. L. Boyce
and his
"Tigers" are documented with 34 images of a parade in New
York City as well as copy images of correspondence and old portraits. Belgium is represented
with 17 images of city scenes, crowds of people evacuating Antwerp, and the Ypres
Cathedral
in ruins. Nineteen images show soldiers building a pontoon bridge in an unidentified
location. Thirty images depict Canadian troops in England and at a convalescent home.
Other
convalescent soldiers at an unidentified location are seen in 22 images. |
|
England during the war is well represented with general scenes (15 images) including
an
address by the Italian Ambassador at the embassy in London; soldiers and families
at an
amusement park (52 images); Kitchener’s volunteer army (18 images); a women’s rights
demonstration led by Mrs. Emmeline Pankhurst in London in July 1915 (14 images);
recuperating men at St. Dunstan’s Hostel for Blinded Soldiers and Sailors (22 images);
and a
special service for intercession at St. Paul’s Cathedral (13 images). France is documented
with general scenes (16 images); the American Ambulance Hospital at Neuilly-sur-Seine
near
Paris (37 images); recuperating troops in the Hall of Mechanics at the Grand Palais
in Paris
(4 images); and soldiers and encampments at Verdun (6 images). Greece is depicted
in general
scenes (46 images) and scenes from the harbor town of Thessalonikē (44 images). |
|
Italy is the most well-represented country in the World War I items with 451 images.
General subjects include damaged buildings, street scenes, and weapons (62 images).
Other
subjects include an American pilot training camp (50 images); candid images of American
pilots (35 images); American politicians (8 images); American troops crossing the
Piave
River (14 images); the anniversary celebration in Rome of the American entry into
the war
(13 images); nurses (6 images); the Red Cross (27 images); soldiers (165 images);
a ceremony
with King Emmanuel III and Major Fiorello H. La Guardia (23 images); presentations
of War
Cross medals (36 items); and American soldiers at a ceremony in 1918 with a "Young Italy, Inc." (11 images). |
|
The World War I photographs are rounded out with images of funeral processions, coffins,
and burial scenes in Queenstown (now Cobh), Ireland, in 1915 of the dead from the
RMS
Lusitania (44 images) and scenes in the Netherlands (4 images). |
|
In addition to his work as a war correspondent, Hare is known for having documented
many
early aeronautical pioneers. Ballooning scenes are represented with 25 images. Hare
documented the London Centenary of Free Ballooning in 1884, he flew with balloonist
Leo
Stevens in 1906 taking aerial views of Manhattan, and he photographed a race of dirigibles
in St. Louis (undated). Photographs of pilots and planes range from 1908 to 1911.
General
scenes (45 images) include: events and crowds of spectators; a U.S. Navy Trans-Atlantic
flight; scenes in Keyport, New Jersey, and at Belmont Park on Long Island; the
Harvard-Boston Meet in September 1910; and scenes of people bathing at Brighton Beach,
Long
Island, where flight meets took place. There are 77 images of airplanes and aviators,
including informal portraits and aviators in flight, and one image of a man in a
hang-glider. An index of people at the end of the finding aid will help identify individual
pilots depicted in the photographs. Of the 38 images related to the Wright brothers,
few are
of the Wright brothers themselves. There are images of their plane in flight (such
as 1524)
and some candid images of them fishing along with Hare (1501-1503), but most are of
the
circumstances surrounding their flights, such as nearby towns, correspondents trying
to get
a glimpse of the flights, or receptions to celebrate them. Thirty-eight photographs
taken in
San Antonio, Texas, in 1911 include additional aviation images along with some military
parades, aerial views of a military camp, and a reception for Theodore Roosevelt. |
|
Beyond wars and aviators, Hare took on a variety of assignments. There is a set of
93
images of Boy Scouts at camps in Hackensack, New Jersey, and at Raquette Lake, New
York,
which include boys at leisure, drilling, marching, camping, boating, fishing, exercising,
and partaking in other outdoor activities. Sixty-two images, including eleven hand-painted
lantern slides, were taken in Haiti and include street scenes, civilians, and soldiers.
Other assorted subjects include boats and ships, landscapes and seascapes, candid
images of
men, women, and children, formal portraits of unidentified sitters, and a few images
of
various presidents. Many of these assorted images may belong to previously listed
subjects
but could not be positively identified as such. For example, among the images of men
are
many soldiers and sailors but these could not be associated with a specific war. |
|
At the end of Series I are 67 lantern slides which are commercial images, possibly
from
Hare’s sojourn and collaborative project in the Middle East in 1902-1903. These are
primarily images of ancient archeological sites and artifacts from the Middle East,
but they
also include a few images from Africa, the Far East, and Europe. Some of these lantern
slides are hand-tinted. |
|
Series II. Personal Photographs, includes six photographs of Hare on assignment with
colleagues, and twelve portraits of his family members, including his father George,
his
wife Ellen, and his children. These are arranged chronologically. There are also other
images of Hare scattered throughout Series I., such as in the photographs from the
Russo-Japanese War, the Mexican Revolution, and World War I, and some portraits of
Hare are
listed in the assorted and undated section as well. The index of subjects at the end
of this
finding aid will help locate all the images of Hare as well as all other prominent
individuals found throughout the photographs. |
|
The last series of manuscript materials includes some of Hare’s items, such as his
original
index cards and various notes and captions, but also includes items related to the
1977
publication Photojournalist: The Career of Jimmy Hare. Copies
of clippings compiled by the authors include articles about Hare and his family as
well as
articles written by and with photography by Hare, mostly from Leslie’s Illustrated Weekly. A set of copy prints of images used for the book and
a few images ultimately not chosen for inclusion are also found in this series. Researchers
are encouraged to consult these prints as they are mostly 8 x 10 inches, thus larger
than
the vintage and modern prints in Series I., which are all 5 x 7 inches or smaller. |
|
Note for researchers requesting material: Following the subject
index is an additional index arranged by the identification numbers assigned by Gould
and
Greffe. This index shows all formats created for each image, includes the container
location, and the HRC assigned number unique to each item. Researchers should use
the unique
HRC-assigned number when requesting material. |
