1841                Room 18 City Hotel, New London, Connecticut.

1841 May 26.  The People’s Advocate.  (New London, Connecticut.)  May 26, 1841, Vol. 1, No. 40, P. 3.

Daguerreotype Likenesses Taken At The City Hotel, In from 1 to 5 minutes!!!  The subscribers having made arrangements to remain in the city for a few days, respectfully solicit the attention of the Ladies and Gentlemen to their Room, where may be seen a variety of specimens.  It is impossible for any one to form an accurate idea of the character and style of these likenesses who have not examined good specimens.—Nothing in the arts can be more striking than Miniatures taken by this process—they are perfect and without flattery.  Persons wishing to preserve a true likeness of their friends, or any of their family, would do well to call at the Exhibition Room and judge for themselves whether they can be so preserved.  The time of sitting is so short, and the process so simple, that it is in no respect wearisome to the sitter.  A group of two or three may be taken on one plate, at the same time, if desirable.  The subscribers will be much gratified to receive calls from any one curious to examine their specimens; and those wishing a likeness may call for a sitting between the hours of 9 A. M. and 1 P. M.  Cloudy and rainy weather presents no obstacle to success of the process.  Cadwell & Sherman, Room No. 18 City Hotel, New London.

Advertisement ran on May 26 and June 2, 1841.

1841 June 9.  The People’s Advocate.  (New London, Connecticut.)  June 9, 1841, Vol. 1, No. 42, P. 3.

Daguerreotypes.

“O, would some power the fiftie gi’e us,

To see oursel’s aa ither’s see us.”

By the most magical art of the Daguerreotype the wish of the poet seems to be accomplished.  We had heard much f this wonderful art without at all comprehending its principles, but within the past week we have had an opportunity to observe the process by which the “human face divine” can be permanently fixed on a silver plate in as perfect a manner as delineated by a mirror.  The great excellence of the art consists in its perfect truth to nature.  The contour of the head—each feature, with a perfect expression—the drapery—even to the most minute button—are all brought out with more truth than the most practiced and skilful painter can ever hope to reach.  The process by which this singular result is produced was perfected within the last year by a mons. Daguerre, of Paris.  After some 10 or 12 years of study and practice he was enabled, by means of the camera obscura, to transfer to a silvered copper plate—chemically prepared—the perfect and permanent image of every object presented for its reflection—whether buildings, landscapes, human faces, or other objects.  We went into a small room in the upper part of the City Hotel the other day to witness this singular process, and there saw the “sitting” of two or three of our friends.  A small stand about four feet high was surmounted by the “camera,” all the apparatus of which was contained in a frame or box about 15 or 20 inches long by 6,or eight square—this was placed opposite an open window, with a bright sun shining, but not within the chamber.  Directly opposite the line of vision through the “camera,” about 5 or 6 feet from it, was placed an elevated chair, somewhat like a barber’s chair, having a slide behind to keep the head in a steady and natural position.  The subject takes his seat in this chair and is directed to place himself in such position as he prefers, either for a profile or full view of the countenance.  After remaining in a fixed position for the space of from one to three minutes, he is told that the “deed is done,” and directly after is presented with a perfect facsimile of himself, with his beauties or deformities staring him full in the face.  The colors—folds of drapery—indeed every thing which could identify the individual, are brought out—nothing extenuating, and setting down nought in malice.  We have seen several Daguerreotype portraits taken by popular artists in New York, but have seen none equal to those produced at the City Hotel.  Those of our citizens who are as ignorant of this art as we were, will derive great pleasure from witnessing its singular effects; and we are assured can do so without charge, as the gentleman who conducts the process is an amateur and takes pleasure in explaining it to the public.[1]

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[1] Article attributed to Cadwell & Sherman based on address.  The only other daguerrean active in New London, Connecticut during this time was Isaac Treby.