Note; This is an art history essay that I submitted in the last academic year, about spirit photography.
The 1860’s gave birth to spirit photography in the United States of America. It offers one of the most fascinating and haunting chapters in the history of the medium, spiritualism and photography (Natale 125-145). Proclaimed to be discovered by one man, William Mumler, a Boston based engraver, turned photographer, pronounced that he could conjure the spirits of the dead in his images. This claim proved to be the making of him but also resulted in his undoing. In capturing the ghosts and spirits of the departed for friends and relatives. Unlike the previous post-mortem photographs, which allowed mourners to immortalize the recently deceased. Spirit photographs led the bereaved to meditate on images of themselves in the presence of their beloved. In a society where mourning was highly visible in attire, but grief was taboo. Spirit photography provided an opportunity to gain control over the grieving process (Cadwallader 9). More significantly, the spirit photograph helped Victorians conceptualize the nature of the soul and the afterlife. Spirit photography touched a powerful psychological nerve in a society coping with morning and bereavement in an era of high infant mortality rate, and against the backdrop of the civil war (Wojcik 109–136). I shall discuss the history of spirit photography and debate what initially drove Mumler to push spirit photography into people’s lives and the effects it had on society.
Before transitioning to his career of spirit photography, Mumler, was before neither a professional photographer or medium, nor did he have any spiritual beliefs. His original occupation was as a silver engraver in Boston and was only practising as an amateur photographer in his spare time – with the use of a local studio owned by a woman named Mrs. Helen F Stuart. A woman whose professional profile and existence, is merely documented from 1859 to 1867 and is only evident in Boston’s directories. Her professional status is not grounded in a paper trail of official citizenship. Her existence appears completely untraceable past 1867 (Tsering 146–167). Stuart’s studio is where Mumler was learning the collodion wet plate process, a complicated process that requires the photographic material to be coated, sensitized, exposed, and developed within the span of about fifteen minutes (Towler 1864). It was as he was practising this process that on the day of October 5th, 1862, he developed a self-portrait that appeared to feature a dimly lit, ghost-like figure in the foreground. This apparition was of his cousin who had been dead for 12 years and is universally credited as the first spirit photograph. Mumler got his recognition by way of the spiritualist magazine, The Herald of Progress, and later republished in The Banner of Light. The two first spiritualist newspapers he was published in (Jolly 16). The herald of progress in New York, October 1862 describes the photograph Mumler had taken and mentioned a note on the back of the picture signed and inscribed by Mumler – ‘this photograph was taken of myself by myself, on Sunday when there was not a living soul in the room beside me–’so to speak’ the form on my right I recognised was my cousin who passed away about twelve years since.’(Kaplan 35). It then goes on the describe the figure in the photo and how it bears a likeness to a spirit, how its appearance was equally unexpected and startling to Mumler. It is unclear who submitted the picture to the magazine as Mumler was not before this event a believer in Spiritualism himself, and merely believed that the spirit photograph was some form of photography error. It was an unnamed spiritualist that submitted the photograph upon hearing of the picture and visited Mumler at his workplace -where Mumler had a copy to show his colleges. Mumler explained to him in his own words, the spiritualist then asked him to write those words on the back of the photograph and sign his name. Mumler complied and let the spiritualist take the picture – only to discover, to his mortification and astonishment that it had been published in the New York newspaper the Herald of progress (Kaplan 72). Mumler, claimed to be innocent of any evil intention, and Boston where he lived was a considerable distance from, New York, may not have imagined how events could transpire. The article however was republished in the local The Boston spiritualist magazine, the banner of light. He then realised that he couldn’t hide from this any longer and concluded that he should let the studio know of his doings, unexpectedly to Mumler, he was too late. Upon his arrival into the studio there stood a room full of people anxiously awaiting his arrival to see the first spirit photograph. Sat at the reception desk was Hannah, who wasn’t at this time but will later become Mumler’s wife. As he arrived, she exclaimed “here comes Mr. Mumler” according to ‘The personal Experiences of William H. Mumler’ (Kaplan, 70-72). Mumler not long after this event, emerges in the Newspaper volume in November 1, 1862, A New spiritual Phase. Written by a Mr. A.B.Child, that speaks about three photographs that have been shown to him and states that the figures on them have a distinct likeness of some Spiritualists he is associated with and the spirit forms look entirely different from the sitters. He then affirms that the sitters to whom he is acquainted didn’t see any object that could have reflected or could have produced the second likeness on each photograph. He then promises to follow up on this subject the following week (Kaplan 38-39).
Although Spirit photography became a coping mechanism, it wasn’t just to benefit the griever – mediums seemed to use Mumler’s work to enhance their own spiritual skills. By adapting spirit photography into their own profession. A young medium who named himself Master Herrod (Chéroux, 26). Herrod had his portrait taken twice by Mumler around 1870-72. According to Mumler the medium would enter a state of trance to call upon the spirits as the camera faced him. Despite this Mumler still continued with the picture. Once developed, the photograph showed three figures of spirits who are apparently are the spirits of Europe, Africa, and America (fig.1). American spiritualists paid special attention to Native American and African Cultures in their practice. This image is a prime example of how strong an influence they had. In August 1872, Mumler advertised the sale of the photo (Chéroux, 26). This makes for a strong argument that Mumler, and possibly Herrod were both to profit monetarily from spirit photography. The Banner of Light, on November 8th, 1862, discussed Mumler further, describing him as the medium and artist who makes photographs of spirits. It writes of his previous business being ornamental engraving and was apparently a very profitable business. Mumler claimed has paid him from five to eight dollars a day but from causes he cannot explain, he has been forced to leave it, and engage in what he is now doing. He is not a spiritualist, or, he says he has never believed in Spiritualism, but has opposed and ridiculed it. He has many times been told by mediums that he was a very powerful and peculiar medium. This he did not believe, and only laughed at the communications (Kaplan 39). Although Mumler says that he was already wealthy but the amount he was paid as an engraver for one day is less than that he would charge for one spirit photograph. Even with the price of ten dollars, there was no guarantee that he would provide a spirit figure on the portrait. As a comparison, the average cost of a portrait at this time would sell for more or less a quarter each (Chéroux 21). Mumler’s wife, Hannah Mumler, was also a well-known “healing medium,” and operated her own spiritual business in addition to overseeing the business of her husband and assisting him when needed (Kaplan p304). She was also an avid spiritualist and supported his work until their divorce in 1879. It was common of her to assist Mumler by helping with the process of developing the photographs, often she would help with the act of taking the picture by comforting the sitters. In one case when Bronson Murray was photographed by Mumler for his portrait in September 1872. Above Him in the foreground showed a faint image of an unknown woman. (fig 2) Hannah identified the spirit as Ella Bonner, a spirit who Hannah said was trying to contact her still-living husband. Shortly afterwards, Robert Bonner, the man Hannah believed to be the spirit’s husband, met up with Murray and after recognising his wife in the photograph, came for his portrait and sat for Mumler – Hoping to be reunited with his Wife once again. Rewarded by the appearance of his wife’s spirit in his own portrait – Husband and wife were then reunited through the spirit photograph. (Chéroux 24) (fig.2). It could be assumed that this was a deceitful money-making tactic employed by them. Whether or not William was aware of this deception or not is unclear. The ever-growing prominent religious movement, Modern Spiritualism, with the help of spirit photography, inspired a notable number of people in society to believe that communication with the dead was now more achievable than ever before. Spirit photography began a new phase in spirit communication and communion while the so-called spiritual telegraphy summoned by the fox siblings back to one day in 1848, when it was believed that two young sisters heard unusually cryptic tapping sounds in their home. They responded by forming a simplified Morse code by which they could then communicate by tapping back questions to the ghost and spirits who they claimed haunted their house in upstate New York and received tapped answers. The two girls, Kate and Margaret Fox, went on to become spiritualists most distinguished mediums (Jolly 8-9). Unlike the visual counterpart, it consisted of auditory tapping and a self-made Morse code, spiritual photography as some proponents like to call it, promised visible evidence of the existence of the afterlife, while believers held that Mumlers activities were supernatural phenomena that provided a visual demonstration of the truths of Spiritualism.
The controversy surrounding Mumler, reached its climax in April, 1869 with Mumlers dramatic trial after being arrested through a sting operation setup by the mayor’s office. He was eventually taken to court and was accused of an unusual charge of fraud and larceny for his composing and selling photographs at his studio on 630 Broadway. They were purportedly believed to bring back the spirits of the dead, on the glass plate negatives of the sitter’s portrait. Mumlers trial was not by jury and the judge ultimately acquitted him although Mumler may have been liberated, the event put a permanent stain on his career. Ultimately resulting in the first spirit photographer spending his last days in poverty (Natale 147-149). After his trial he established a studio in his mother-in-law’s parlor, where he continued to resume his photographic work. Some of his most interesting photographs such as the widely circulated portrait “Ghost of Abraham Lincoln” date from this period (Fischer 23). Mumler’s most prestigious spirit photograph taken three years after his trial in 1872 The “Ghost of Abraham Lincoln” (fig.4) shows Mary Todd Lincoln with the ‘ghost’ of her late husband Abraham Lincoln. Standing in the background behind her, the ghost of the assassinated president appears to give comfort to his wife – the longtime avid spiritualist Mary Todd Lincoln. Note the pose of Lincoln behind Mary Todd, with his hands placed around her touching her. In many other images you’ll see that typical Mumler pose and bringing out the haptic aspects of these photographs qualities as well. Mary after the death of her sons in July 1871 and her already departed husband, brought on overpowering grief and depression that pointed her to the direction of spiritualism (Emerson 2006)). When she visited Mumler for her portrait, she went under the name “Mrs Tundall”. Mumler claimed not to be aware that his sitter was indeed a Lincoln, instead taking her word for it – not discovering who she really was until after the photo was developed (Willin P22). Not long after Mary’s spirit photograph was taken due to erratic behavior with the spiritualists and otherwise, her surviving son Robert Lincoln initiated proceedings to have her institutionalized, in May 1875 (Emerson 2006). It is apparent from this event that spirit photography had really made a mark on society by reaching such an eminent client. It would also be reasonable to say that Mumler had a direct impact on the mental health of a grieving woman, which poses the question about morality – profiting of peoples suffering. Spirit photography ultimately broke Mumler. He died in poverty and obscurity in his hometown of Boston in 1884. In 1875, the same year that Mary Todd Lincoln had her portrait taken, Mumler published his self-serving autobiography, that speaks of his career as a pioneer of spirit photography. The separation of William and Hannah marks the end of his photographic career in 1879 (Chéroux 23). This turn of events could well prove that Hannah was the whole driving force behind Mumler’s spirit photography.
One could argue that Hannah had more to do with the invention of spirit photography than she was credited for, as Hannah had supposed mediumistic powers that had been with her since childhood. Numerous researchers have references to her abilities, it is difficult to ascertain precisely when she first began practice formally. In his autobiography, Mumler stated that Hannah was engaged solely as a secretary at the place and time of “his” invention, at his trial he made no mention of her involvement this may have been down to him protecting his wife or down to his pride. As Spiritualists believed primarily, although not exclusively, that the presence of women in the medium was an extraordinarily important part of the developing the popularity of Spiritualism. For Mumler the appearance of a female guide for the ‘dead’ by his side, would have helped him keep secure in favor with the spiritualists. As there is no mention of her as a clairvoyant in early newspaper accounts of what was transpired in Mrs. Stuart’s studio. It is not until about 1865 that Hannah Green – now Hannah Mumler – advertised herself as such. Even so, her ability as physician who, could heal a variety of physical, and psychic ailments would be with her until her death in 1912. Mumler ceased his photographic career after their separation in 1879. Following this there is a history of Spirit photographers typically working with mediums who enabled the appearance of magical ‘extras’ of the deceased, and seeing as the majority of mediums were women, their contributions to this development within personal mourning rituals have been limited almost exclusively to this activity. Fueled by the acknowledged proximity of two women to the invention, Helen Stuart and Hannah Green, challenges Mumler’s widely accepted status as the originator of spirit photography. Although Stuart was the owner of the studios where Mumler stumbled upon his invention and Green was a secretary and medium in the same studios, for some reason attention seems to refuse these women larger roles or to mention that it was not the soul discovery of one man. From a photograph taken by Stuart between 1859-1867 (fig.5), we can see a strong resemblance to that of Mumler’s work. What seems quite apparent from this example is that Stuart’s spirit photograph appears to be of a higher quality to that of Mumler’s. Stuart possibly showed Mumler this technique, but it wasn’t until then that it was used as anything more than just a technical trick. Unsurprisingly there doesn’t seem to be much mention of Mrs. Stuart and she seems to also dissolve into anonymity with even her death certificate casting some doubt that she even existed.
Note; Gue to copyright I cannot visually show the photographs that was used in the original assy, but you may search them yourselves online with the following information.
Fig. 1“Master Herrod with the spirits of Europe, Africa and America” the College of Psychic Studies, London
Fig. 2. William, Mumler. Bronson Murray in a trance with the spirit of Ella Bonner 1872 The J. Paul Getty Museum, Los Angeles 10x6approx
Fig 3. William, Mumler “Robert Bonner with the spirit of his wife Ella Bonner”. The J. Paul Getty Museum, Los Angeles 10x6approx
Fig 4. William, Mumler “Mary Todd Lincoln with the spirit of her husband, president Abraham Lincoln” 1870-2 the College of Psychic Studies, London
Fig 5. Helen F. Stuart, Unidentified Woman with Male Spirit, carte de visite, 1859–67. Collection of Carl Mautz.
works cited
Cadwallader, Jen. “Spirit Photography Victorian Culture of Mourning.” Modern Language Studies, vol. 37, no. 2, 2008, p. 9. JSTOR, http://www.jstor.org/stable/40346959. Accessed 31 Jul 2019.
Chéroux, Clément. Fischer, Anareas.The Perfect Medium : Photography and the Occult. 1st English-language ed., Yale University Press, 2005. P 26, 21.
Emerson, Jason. “The Madness Of Mary Lincoln”. American Heritage Magazine. 2006. https://www.americanheritage.com/madness-mary-lincoln-0. Accessed 10 Aug. 2019.
Jolly, Martyn. Faces of the Living Dead : the Belief in Spirit Photography. London: British Library, 2006. P.16
Kaplan, Louis. The Strange Case of William Mumler, Spirit Photographer. University of Minnesota Press, 2008. P 35, 38-39, 391, 70-72
Kaplan, Louis. The Strange Case of William Mumler, Spirit Photographer. Minneapolis, Minn. : Bristol: U of Minnesota ; UPes Marketing [distributor], 2008. Print.
Willin, Melvyn. The Earliest Images. Ghosts Caught on Film: Photographs of the Paranormal. West, Donald. New Abbot: David & Charles, 2007. P. 22.
Natale, Simone. “A Short History of Superimposition: From Spirit Photography to Early Cinema.” Early Popular Visual Culture, vol. 10, no. 2, 2012, pp. 125–145.
Natale, Simone. Supernatural Entertainments: Victorian Spiritualism and the Rise of Modern Media Culture. University Park, PA: Pennsylvania State University Press. 2016 pp. 147–149.
Mumler, William, The Personal Experiences of William H. Mumler in Spirit-Photography (Boston: Colby and Rich, 1875), p3.
Towler, John. The Silver Sunbeam. New York: Joseph H. Ladd. 1864. ISBN 0-87100-005-9. http://albumen.conservation-us.org/library/monographs/sunbeam/chap36.html Accessed 15 Aug. 2019.
Tsering Chödron Hamer, Felicity. “Helen F. Stuart and Hannah Frances Green: The Original Spirit Photographer.” History of Photography, vol. 42, no. 2, 2018, pp. 146–167.
Wojcik, Daniel. “Spirits, Apparitions, and Traditions of Supernatural Photography.” Visual Resources, vol. 25, no. 1-2, 2009, pp. 109–136.
Dottie-may Aston 