Detroit Publishing Co. – America In Color
The Detroit Publishing Company stands as a remarkable testament to the intersection of art, commerce, and technological innovation in the late 19th and early 20th centuries. This American photographic publishing firm, renowned for its extensive collection of photochrom-color postcards and prints, offered a vibrant window into a bygone era, allowing people to experience the world in color long before affordable color photography became a reality. The story of the Detroit Publishing Co. – America In Color is one of entrepreneurial vision, artistic collaboration, and the enduring power of images to shape our understanding of the past.
The company’s origins can be traced back to the late 1890s when Detroit, Michigan businessman and publisher William A. Livingstone, Jr., joined forces with photographer and photo-publisher Edwin H. Husher. Initially known as the Detroit Photographic Company, the enterprise secured exclusive rights to utilize the groundbreaking Photochrom process within the American market. This revolutionary technique, developed in Zurich, Switzerland, held the key to transforming black-and-white photographs into full-color images. By employing the Photochrom process, the Detroit Publishing Co. – America In Color was able to mass-produce color postcards and prints at a time when traditional color photography was still prohibitively expensive.
The Detroit Publishing Co. – America In Color capitalized on the burgeoning postcard craze, offering a diverse range of subjects that appealed to a broad audience. Their catalog featured captivating cityscapes, reproductions of famous artworks, breathtaking natural landmarks, and glimpses into the folklore of various regions. Whether showcasing the bustling streets of New York City or the serene beauty of the Swiss Alps, the company’s postcards provided a captivating visual escape for those eager to explore the world from the comfort of their homes.
The company’s success was further cemented by its astute selection of subject matter. Buildings and views in towns and cities across America and Europe were popular choices, as were images of prestigious colleges and universities. The Detroit Publishing Co. – America In Color also catered to the public’s fascination with technological marvels, featuring battleships, yachts, and other symbols of progress and innovation. Resorts, natural landmarks, and scenes of American industry completed the diverse portfolio, offering a comprehensive snapshot of life at the turn of the century.
A pivotal moment in the company’s history occurred in 1897 when Livingstone persuaded the esteemed American landscape photographer, William Henry Jackson, to join the firm. Jackson’s arrival brought with it a treasure trove of photographic negatives, significantly expanding the Detroit Publishing Company’s inventory. Jackson, a veteran of the Civil War, had spent years capturing the rugged beauty of the American West, documenting its landscapes, towns, and the lives of its inhabitants.
Jackson’s photographs, taken during his time with the U.S. Geological and Geographic Survey of the Territories, played a crucial role in the establishment of Yellowstone and other early national parks. His images conveyed the awe-inspiring scale and majesty of these natural wonders, inspiring policymakers and the public alike to protect them for future generations. The Detroit Publishing Co. – America In Color benefited immensely from Jackson’s extensive collection, which included city and town views, images of prominent buildings, scenes along railroad lines, views of hotels, and landscapes, especially in the American West.
Beyond its landscape photography, the Detroit Publishing Company also recognized the growing demand for accessible art education. In the late 1890s, the company expanded its inventory to include photographic copies of works of art. These reproductions served as valuable educational tools, allowing students and art enthusiasts to study masterpieces without having to travel to distant museums. They also provided an inexpensive means of home decor, enabling individuals to adorn their walls with images of renowned paintings and sculptures.
In 1898, William Henry Jackson ascended to the presidency of the company, further solidifying his influence over its artistic direction. Then, in 1903, he assumed the additional role of plant manager. While this promotion granted him greater control over the company’s operations, it also left him with less time to travel and capture new photographs. The firm officially changed its name to the Detroit Publishing Company in 1905, reflecting its continued growth and evolution.
Around 1910, the Detroit Publishing Company reached the zenith of its success. The company boasted an impressive inventory of approximately 40,000 negatives, fueling its prolific publishing output. Annual sales soared to seven million prints, a testament to the enduring popularity of its postcards and photographic reproductions. To support this massive operation, the company employed a skilled workforce of around 40 artists and more than a dozen traveling salesmen, who crisscrossed the country promoting the company’s products.
However, the tides of fortune began to turn during World War I. The sale of photographs and postcards experienced a decline as the nation focused its attention and resources on the war effort. Moreover, the emergence of new and cheaper printing methods used by competing firms posed a significant challenge to the Detroit Publishing Company’s market dominance. In 1924, the company entered receivership, signaling the end of an era. William Henry Jackson departed the company that same year, severing his long-standing ties to the enterprise. The company’s assets were ultimately liquidated in 1932, marking the final chapter in its corporate history.
Despite the company’s demise, William Henry Jackson recognized the historical and artistic significance of the Detroit Publishing Company’s photographic collection. In 1939, he generously donated the company’s negatives and prints to the Edison Institute in Dearborn, Michigan, ensuring their preservation for future generations. Later, in 1949, the Edison Institute transferred all the negatives and many duplicate photographs to the Colorado Historical Society, recognizing the collection’s strong ties to the American West. Finally, later that year, the Colorado Historical Society transferred most of the negatives and prints for sites east of the Mississippi to the Library of Congress, where they reside today as a valuable resource for researchers, historians, and anyone interested in exploring America’s past.
The legacy of the Detroit Publishing Co. – America In Color endures, not only through the vast collection of images it produced but also through its impact on the development of photography and visual culture. The company’s innovative use of the Photochrom process, its commitment to artistic quality, and its astute marketing strategies helped to popularize photography and make it accessible to a wider audience. The images created by the Detroit Publishing Company continue to offer a captivating glimpse into a pivotal period in American history, reminding us of the power of images to shape our understanding of the past and inspire our vision for the future.