Lens on the Texas Frontier by Lawrence T. Jones III (review)

Abstract

Reviewed by: Lens on the Texas Frontier by Lawrence T. Jones III Deborah Liles Lens on the Texas Frontier. By Lawrence T. Jones III. Forewords by Russell L. Martin III and Roy Flukinger. ( College Station: Texas A&M University Press, 2014. Pp. 224. Illustrations, notes, index.) This well-researched collection of photographs is a gift for those who study the history of the frontier, Texas, women, the military, and photography. As stated on the dust jacket, “the rare images in Lens on the Texas Frontier offer a documentary record that is usually available to only a few dedicated collectors.” Along with spectacular images, the author, [End Page 217] noted Texas photograph expert Lawrence T. Jones III, includes a thorough chapter about Texas photographers and the techniques they used from 1843 to 1900. Armed with this information, the reader can proceed through a fabulous adventure of frontier photography. Often breathtaking, the landscapes, faces, clothing, settings, and historical value of each and every frame transport you to a time seldom witnessed. Jones’s dedication and obsession with collecting and preserving photographic history is surpassed only by his knowledge of his superb collection and Texas photography. These frontier images are not only impressive but also fascinating. The book is divided into five main categories: cased images (daguerreotypes, ambrotypes, and tintypes), cartes de visite, stereographs, cabinet cards, and large-format mounted photographs. Each section contains images that abound with historical relevance and are accompanied by detailed captions. Included among the cased images are Indian trader George Barnard, veteran of San Jacinto and survivor of the Mier Expedition William Dunbar, Texas Ranger and rancher Buck Barry, Mexican president Antonio López de Santa Anna, Texas president Sam Houston, hopeful fortyniners, Cynthia Ann Parker, a Confederate foundry in Texas, and a young slave. The carte de visite section is equally captivating with Dick Dowling, Rip Ford, Gordon Granger, Doc Rayburn, William Oliphant, Robert Onderdonk, the first known image of a public hanging, women, cowboys, and a Texas horned lizard, among many others. The stereographs include Indian villages, Colbert’s Ferry, a house of prostitution, buffalo hunters, several early courthouses, and an 1893 train wreck in Lufkin. The three remaining sections include early buildings, daily activities, and people who have contributed to Texas history through their acts and deeds. As mentioned, each of these images is accompanied by thoughtful, well researched, and interesting captions. Jones finishes with encouraging words to collectors, a thorough list of early Texas photographers, and an extensive section of carte de visite back marks, which help to identify the photographers. The list of early photographers is arranged both by name and by location, while the section on back marks will be immensely valuable to any collector. While stating that there are many more photographs to be found, Jones also shares some mistakes made while he built his collection. Tips like learning to recognize faces, places, and authenticity are mixed with stories of struggles to buy on a budget. He also shares great memories of acquisitions along his journey. For casual and professional historians alike, this is a must have for your collection. [End Page 218] Deborah Liles University of North Texas Copyright © 2015 The Texas State Historical Association