Oilfield Photographer John Mather
Thousands of glass-negative images document the earliest scenes of U.S. petroleum industry.
Soon after the first American oil well in August 1859 launched the U.S. petroleum industry in remote northwestern Pennsylvania, a young immigrant from England began documenting oilfield life among the wooden derricks and engine houses. Photographer John Mather created thousands of historic images and became known as the “Oil Creek Artist.”
John A. Mather (1829-1915) became the premier photographer of the nation’s new oil and natural gas industry. He would amass more than 20,000 glass plate negatives. In the fall of 1860, the newcomer to America set up his first studio in Titusville, Pennsylvania.
The growing oil region community (and soon, nearby Pithole) proved to be an ideal location for documenting the people, events, and evolving drilling technologies of petroleum exploration and production.
Iconic but often misidentified 1866 photo by John A. Mather features Edwin L. Drake (in top hat) with friend Peter Wilson standing at rebuilt derrick and engine house of the 1859 first U.S. commercial oil well. Photo courtesy Drake Well Museum.
What Civil War photographers Matthew Brady and James Gardner documented on battlefields, Mather accomplished in Pennsylvania’s oilfields. He photographed the iconic image of Edwin L. Drake, standing at the original site soon after the first oil well fire in October 1859.
Like Brady, Mather had abandoned one-of-kind daguerreotypes and ambrotypes in favor of wet plate negatives using collodion — a flammable, syrupy mixture also called “nitrocellulose.” With one glass plate, many paper copies of an image could be printed and sold.
Oilfield photographer John Aked Mather, probably a self-portrait circa 1900.
However, unlike most of the era’s studio photographers, Mather transported his camera and chemicals into the industrial chaos of early Pennsylvania oilfields, where he became known as the “Oil Creek Artist.” Like most of people in the new oil region, Mather was susceptible to “oil fever;” he hoped to drill some successful wells himself.
Having narrowly missed the opportunity for a one-sixteenth share of the Sherman Well, which would be “best single strike of the year,” Mather and three associates invested in wells near Pithole Creek. He proved to be better at using a camera.
John Mather photographs courtesy Western Pennsylvania Historical Magazine and Drake Well Museum, Titusville. Above, the interior of his Titusville studio, circa 1865.
Mather’s investment in exploratory wells at Pithole Creek did not lead to commercial quantities of oil. He tried again on the Holmden Farm off West Pithole Creek. His unsuccessful effort was among the last wells to be drilled at the infamous oil boom town of Pithole.
Many tried, but few in the increasingly crowded oil region would rival the wealth of the celebrated “Coal Oil Johnny.” Years later, Mather acknowledged that excitement of the drilling for “black gold” was so great that he “forsook photography for the oil business.”
Meanwhile, the young U.S. petroleum industry would learn some hard lessons, including disasters like the fatal Rouseville oil well fire of 1861.
Detail from the 19th century stereoview “Oil Regions of Pennsylvania,” published by C. W. Woodward of Rochester, N.Y., featuring John Mather’s floating studio and dark room.
Returning to the oilfields with his camera, Mather’s rolling darkroom and floating studio traveled up and down Oil Creek. In 2008, photographic historian John Craig (1943-2011) noted the discovery of a Mather image in a stereoview card published by C.W. Woodward.
“We have had the card for years and assumed that the boat belonged to Woodward,” the historian noted. “When I made the scan I noticed that the side of the boat carried a sign ‘Oil Creek Artist.’ I Googled and found that the studio/darkroom boat belonged to John A. Mather.”
At its peak, Mather’s collection of more than 16,000 glass negatives were described by the trade magazine Petroleum Age as “so perfect in finish it stands the test of time.”
Flood and Fire at Oil Creek
On Sunday morning June 5, 1892, and after weeks of rain, Oil Creek’s overflowing Spartansburg Dam failed at about 2:30 a.m. A wall of water and debris swelled towards Titusville and its oil works, seven miles downstream.
“On rushed the mad waters, tearing away bridge after bridge, carrying away horses, homes and people,” one newspaper reported about the flood’s devastation. Then fire erupted from ruptured benzine and oil storage tanks.
Oilfield workers pose on and among their oil derricks and engine houses in this 1864 John Mather photo from the Drake Well Museum collection in Titusville, Pennsylvania.
Newspapers all over America carried stories of the disaster. In Montana, the Helena Independent headlines included: “Waters of an Overflowing Creek Become a Rushing Mass of Flames” and victims being, “Spared by the Deluge Only to Become the Prey of the Fire.”
John Mather’s photographs documented family life in remote early oil boom towns. He also briefly caught “oil fever” and unsuccessfully invested in a few wells in booming Pithole Creek field.
The Brooklyn Daily Eagle added: “The Waters Subside and The Flames Die Away, Revealing the Full Extent of the Calamity.” Oil City and Titusville were “Nearly Wiped From Off the Earth.” Mather’s studio flooded to a depth of five feet, destroying expensive equipment and most of his life’s work of prints from glass plate negatives.
Pennsylvania oil towns were “Nearly Wiped From Off the Earth” by an 1892 fire and flood that destroyed thousands of Mather’s prints and glass plates. Photo from Drake Well Museum collection.
As the fires and flood continued, Mather set up his camera and photographed the disaster in progress with his bulky equipment, which already was being rendered obsolete by new imaging technologies.
Just a few years before the Titusville flood, George Eastman of Rochester, New York, introduced celluloid roll film and created an entirely new market: amateur snapshot photography. Expertise in preparing fragile glass plates and dangerous chemicals were no longer required. Instead, Kodak offered, “You Press the Button, We Do the Rest.”
John Mather often used his “Oil Creek Artist” studio/darkroom boat while photographing the early U.S. petroleum industry.
As oil booms moved to discoveries in other states, including the massive 1901 “Lucas Gusher” in Texas, Mather worked little in his later years. His financial circumstances diminished with age and illness.
The Artist of Oil Creek died poor and without fanfare on August 23, 1915, in Titusville. His death certificate reported the cause as cerebral hemorrhage, “complicated by suppression of urine.”
An 1865 John Mather photograph of wooden derricks, engine houses, oilfield workers, an office (and tree stumps) at Pioneer Run – Oil Creek, Pennsylvania.
To preserve John A. Mather’s petroleum industry legacy, the Drake Well Memorial Association purchased 3,274 surviving glass negatives for about 30 cents each. The Drake Well Museum has preserved the photographers surviving work. The museum and surrounding park allow visitors to explore rare artifacts and a visual record of the early U.S. oil and natural industry.
Visit the Titusville museum along Oil Creek and other Pennsylvania petroleum museums.
More Mather Resources
“Virtually unknown, certainly unheralded, and completely unappreciated — in these few words is a description of John Aked Mather, pioneer photographer, whose skill, devotion, and energy endowed the petroleum industry with one of the finest pictorial records of growth and development of any early all-American industry,” proclaimed Ernest C. Miller and T.K. Stratton in their January 1972 article, “Oildon’s Photographic Historian,” in The Western Pennsylvania Historical Magazine (Volume 55, Number 1).
“Born in 1829 in Heapford Bury, England, the son of an English paper-mill superintendent, Mather followed his two brothers to America in 1856. His brother Robert was looking to open a paper mill in Tennessee, but John was not ready to settle down, too transfixed by the beauty of the Pennsylvania and Eastern Ohio regions,” explained a NWPaHeritage article by Stephanie David and Brennen French.
The authors of the peer-reviewed article “John A. Mather’s Photographic Studio” added that “Mather was In his obsessive desire to capture the industry in its entirety.”
_______________________
Recommended Reading: Western Pennsylvania’s Oil Heritage
_______________________________
The American Oil & Gas Historical Society (AOGHS) preserves U.S. petroleum history. Please become an AOGHS annual supporter and help maintain this energy education website and expand historical research. For more information, contact bawells@aoghs.org. © 2024 Bruce A. Wells.
Citation Information – Article Title: “Oilfield Photographer John Mather.” Authors: B.A. Wells and K.L. Wells. Website Name: American Oil & Gas Historical Society. URL: https://aoghs.org/petroleum-art/oilfield-photographer-john-mather. Last Updated: May 28, 2024. Original Published Date: March 11, 2005.
