However, other photographers were making composite photographs in Europe and a few in the States and in Canada. The Ewing Photo Company in Toronto recreated the first general assembly of the Canadian Presbyterian Church held in Knox Church in June 1870, containing a crowd of close to four hundred individuals. Jocia Bruce worked for eight years in Notman's Montreal studio and another seven at Notman & Fraser in Toronto. When he opened his own portrait studio in 1875 he made some fine composites including a very dramatic action sailboat scene which at present is part of the decor in the Toronto Yacht Club. And beginning in 1881, on the far western edge of the country in Victoria, Hannah Maynard was creating intriguing images composed of sometimes thousands of young children and babies1. These composites, like Notman's, were commercial ventures made on commission, or on speculation, as Hannah Maynard's were. But no one made composites on so grand a scale and in such great numbers and over such a long period of time as did Notman. Likewise he was the only photographer to turn composite-making into a grand commercial enterprise. By offering an exceptional product, he knew he would sell at least one print to every person in a group of three or four hundred. He might sell two or three prints or even more to each sitter: one for the wall, one for the album, one for the wallet, and perhaps several cabinet-sized copies for mailing to relatives and friends. On top of that, the individual portraits of each sitter showing the studio background were available for sale.
1Claire Weissman Wilks, The Magic Box. The Eccentric Genius of Hannah Maynard (Toronto: Exile Editions Ltd., 1980).
Stanley G. Triggs

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