1843-1844 Pennsylvania Avenue, Washington, D. C.
1844-1845 561 Broadway, at the Lyceum, New York, New York.
1845-1852 289 Broadway corner of Reade Street, Lafarge Building, New York, New York.
1852 73 Spring, New York, New York.
1852-1854 371 Broadway, New York, New York.
1855-1856 505 Broadway, New York, New York.
1857 546 Broadway, New York, New York,
1858 132 West 36th-st., New York, New York.
1859 Address Unknown, New York, New York.
N. D. The New-York Historical Society’s Dictionary Of Artist In America 1864-1860. (New Haven, Connecticut & London, England. 1957, P. 282.
Haas, P. Lithographer, and publisher of Washington, (D, C.)between 1837 and 1845. His work included technical prints, portraits and views of Washington and Mt. Vernon.
1843 May 27. The Daily Madisonian. (Washington,. D. C.) May 27, 1843, Vol. II, No. 446, P. 2.
Daguerreotype Likenesses. Mr. P. Haas, at the eastern end of Pennsylvania avenue, is taking, and has taken, many excellent Daguerreotype likenesses. Mr. H. also possesses the art of coloring his likenesses, which, we believe, is a new addition to the process. The faithful and perfect (not counterfeit) presentment of official dignitaries, Senators, M. C.’s, &c., which Mr. H. exhibits at his establishment, will convince the most sceptical [sic.] of his ability to make a genuine copy of the most beautiful as well as the most homely features.
1843 June 1. The New York Herald. (New York, New York.) June 1, 1843, Vol. IX, No. 149, Whole No. 3362, P. 3.
Philadelphia Daguerreotype Establishment. Exchange Building, Rooms 26 & 27. The Subscribers, having procured the agency for the sale of Voigtander’s Daguerreotype Apparatus, constructed according to Professor Petzval’s calculation, have on hand a large assortment of these Apparatus, and artists as well as amateurs of their art, wishing to procure a good apparatus, will find it to their advantage to procure instruments of this construction. They also have lately imported a large quantity of German and French plates, and all the chemicals used in their art, which they warrant in every respect, as they are made to their order. Polishing substances, and morocco cases, and all necessary materials, are sold on the most reasonable terms. The following gentlemen have agreed to act as their agents, viz:—
E. White, 175 Broadway, N. Y.
P. Haas, Esq., Washington, D. C.
Dr. A. Caspari, Richmond, Va.
P. Laurens, Esq., Savannah, Ga.
William West, Esq., Cincinnati, Ohio. Added to advertisement on (June 22, 1843.)
All communications (post paid) and orders, accompanied with remittance, will be promptly attended to, and should be directed to W. & F. Langenheim, Exchange Building, Phila.
Advertisement ran from June 1 to September 5, 1843.
1843 August 23. The New York Journal of Commerce. (New York, New York.) August 23, 1843, Vol. XXVIII, No. 5830, P. 2.
New Map Of Liberia:—A map of the West Coast of Africa, comprising Guinea and the British possessions at Sierra Leone, on the Gambia, the Gold Coast, the Liberia, together with the countries [within] the [coarsest] of the rivers Senegal, Gambia, and Kowarra, compiled mostly from the map of John Arrowsmith, has been lithographed by P. Haas, of Washington City. The same sheet contains a separate map of Liberia on an enlarged scale.
1843 October 17. The New York Herald. (New York, New York.) October 17, 1843, Vol. IX, No. 275, Whole No. 3497, P. 3.
Philadelphia Daguerreotype Establishment. Exchange Building, Rooms 26 & 27. The Subscribers, has received a large supply of Voigtander’s celebrated Daguerreotype Apparatus, large and small sizes, with achromatic lenses made according to Professor Petzval’s calculation.
Also a new supply of the best plates and chemicals, which he warrants good and sells at reduced prices.
The following gentlemen have agreed to act as their agents, viz:—
E. White, 175 Broadway, N. Y. P. Haas, Esq., Washington, D. C. Dr. A. Caspari, Richmond, Va. S. Broadbent, Esq., for the Southern States. William West, Esq., Cincinnati, Ohio.
All communications (post paid) and orders, accompanied with remittance, will be promptly attended to, and should be directed to William Langenheim, Exchange Building, Phila.
Advertisement ran from October 17, 1843 to January 26, 1844.
1844 January 21. The Atlas. (New York, New York.) January 21, 1844, Vol. VI, No. 33, Whole No. 285, P. 3.
…By the way, we have one branch of art practiced here, in a way which must surely be perfection.—With you the daguerreotype has taken the place of portrait painting, but here Messrs. Haas & Clarke[1]—the former of some repute, and the latter a gentleman of great skill and attainments from the north—have given a tone to their pictures, a delicacy of coloring, and an exquisite finish, which has never been approached by any other artists. They are evidently forming a gallery of eminent statesmen and jurists, and gentlemen distinguished in other pursuits, which would be worth a place in the National Gallery of Arts.
1844 February 27. The Evening Post. (New York, New York.) February 27, 1844, Vol. XLII, P. 2.
Correspondence of the Evening Post. Washington, Feb. 25, 1844.
The weather during the past week has been most delightful. It has been for several days past very much like Indian summer, the same genial air, blue, pleasant but chastened sun beams, and hazy atmosphere. I am reminded of this latter circumstance, so unusual in the month of February, from having witnessed a somewhat singular effect resulting from it, in the art of taking impressions by the daguerreotype process. The slight haze visible near the horizon, however cloudless the sky, has a greater influence in rendering the action of the light upon the prepared plate, feeble and ineffectual, than even a cloud which quite obscures the sun.
The vexation which this causes the several gentlemen who are engaged in that business, is the greater, for it is upon these very beautiful days that those whose faces they are most desirous to obtain perfect copies of, are most inclined graciously to afford them the opportunity of so doing. The success of Mr. Haas, a German artist of this city, in the use of this wonderful discovery and improvement in portrait taking, elicits the admiration of every visitor to Washington. His apparatus produces, with its natural aid, and under the direction of his acquired skill, the only perfectly true likeness of the human face divine that I have ever seen taken by this process.
There is no blur, no indistinctness of expression, or utter want of expression, as in most of them, the consequence probably of a defect in the instruments for the concentration of the light upon the surface of the plate. The features are all traced, and the minutest delineation made, with infinitely greater clearness and force than by the most delicate graver. To any one anxiously desirous of perpetuating his present appearance, countenance, figure, and tailorly embellishments, a journey to Washington and a visit to the premises of Mr. Haas, would be, if not the cheapest, certainly the only completely effectual means of attaining his object.
1844 March 19. The Whig Standard. (Washington, D. C.) March 19, 1844, Vol. I, No. 114, P. 3.
Portrait Of The Late T. W. Gilmer.—We have received from the publisher, P. Haas, a fine lithograph likeness of the late Secretary of the Navy. It was drawn by A. Gibert, from the daguerreotype by P. Haas, and is pronounced a good likeness of Mr. Gilmer. Price 50 cents; to be had at the store of the publisher.
1844 March 20. The Daily National Intelligencer. (Washington, D. C.) March 20, 1844, Vol. XXXII, No. 9699, P. 1.
The Late Mr. Gilmer’s Portrait.—Our townsman Mr. P. Haas, has just published an excellent and well executed portrait of the late Secretary of the Navy. It was drawn by that talented artist. M. Gibert, from the daguerreotype of Mr. P. Haas. This portrait of Mr. Gilmer is considered by all with whom we have conversed as a faithful likeness.
1844 March 21. The Daily Madisonian. (Washington, D. C.) March 21, 1844, Vol. III, No. 697, P. 2.
Portrait of Gov. Gilmer.—We have been presented with a most accurate lithograph portrait of the lamented Gilmer.
It is published by P. Haas, Lithographer. Drawn on stone by A. Gibert, from the Daguerreotype by Haas; 50 cents per copy.
1844 August 8. National Intelligencer. (Washington, D. C.) August 8, 1844, Vol. XLV, No. 6496, P. 3.
Miniature Likeness Of Mr. Clay. In the whole course of our observation of works of art we have never seen a more beautiful thing that the Miniature Daguerreotype of Mr. Clay, recently executed by Mr. P. Haas of this city, of a size to be set in one of the smallest sized breastpins. The portrait is colored or tinted after nature, and is a very striking likeness. Set in gold as a breastpin, we are informed that Mr. Haas will have them for sale at his establishment in this city at the low price of $5 each.
1844 August 17. The Whig Standard. (Washington, D. C.) August 17, 1844, Vol. I, No. 243, P. 3.
Haas’s Medallion Likeness Of Henry Clay. We have had the pleasure of examining a handsome breastpin, got up by Mr. Haas, of our city, containing a small but most accurate daguerreotype likenesses of Henry Clay. The original picture from which the medallion is taken, was executed by Mr. Hass during Mr. Clay’s late visit to this city, and is as good a specimen of the art as can well be conceived. No Whig, who can afford it, we feel satisfied, will fail to obtain a memento so valuable. Mr. H. will take pleasure in exhibiting the original picture and the medallion to those who may desire to examine them.
1844 December 16. The New York Herald. (New York, New York.) December 16, 1844, Vol. X, No. 347, Whole No. 3947, P. 3
Beautiful Christmas And New Year’s Presents. Photographic Miniatures of James K. Polk, by P. Haas. Set in a neat Gold Breast-pin, to be had at Haas’ Daguerreotype Rooms, 561 Broadway, at the Lyceum, nearly opposite Niblo’s—where the most splendid Daguerreotype Likenesses, of all sizes, as well as family groups are taken at all hours of the day.
Advertisement ran from December 16, 1844 to January 4, 1845.
1845 January 10. The Evening Post. (New York, New York.) January 10, 1845, Vol. XLIII, P. 2.
The Vice President elect, George M. Dallas, yesterday, accompanied by Mayor R. B. Boyd and Mr. Riell, visited the rooms of Professor Haas, in the Lyceum, 561 Broadway. On his invitation, the professor executed a daguerreotype portrait of Mr. Dallas. Which for beauty of execution and fidelity of likeness has never been excelled. Mr. Haas received his instruction in the art from the inventor in Paris, and is in every respect a perfect master of it.
1845 January 15. The New York Herald. (New York, New York.) January 15, 1845, Vol. XI, No. 14, Whole No. 3976, P. 2.
Professor Haas.—We have seen a beautiful specimen of daguerreotype, executed by him at his rooms in New York Lyceum; it is a portrait of Mr. Dallas, the vice president elect, with a view of the capitol at Washington in the distance—as a work of art it is unsurpassed, It is in the possession of Mr. H. E. Riell; duplicates can be obtained by application to the professor at his rooms 561 Broadway.
1845 February 26. True Sun. (New York, New York.) February 26, No. 605, P. 2.
We are indebted to Col. W. H. Maxwell for a Congressional document of no little value.—It is a statement of expenses charged to the contingent fund of the House of Representatives. It is a rich exhibit of the economy of the “true, faithful, honest, and high minded friends of the people” in Congress. We shall give the details of this account as we can find room. Meantime the following is part of the summary.
Amount paid W. J. Stone for maps, $3, 270.78.
P. Haas for do, $3,789.50…
1845 February 27. New York Journal of Commerce. (New York, New York.) February 27, Vol. XXXII, No. 6299, P. 3.
The amendment was put up and lost. The resolution then coming up was adopted. The singular part of the amendment, was that portion of it which confined the Clerk to Mr. Haas,—a German, I believe, who has never been naturalized,—to give him the job at some price. If it would have passed, it would probably have put $10,000 dollars into Mr. Haas’ pocket!
We believe, from past developments, it has been made to appear that this same Mr. Haas, by collision with some parties about the Capitol. Has made a large sum of money. He for a time, had a kind of “carte blanche,” to charge what he pleased.
It was in vain the most skillful and experienced American engraver and lithographer became applicants for work. Jobs they would gladly have done at one half to one fourth the price, were denied, all were either thrown into the hands of Haas, or Mr. Stone, an English engraver. It is supposed Haas had strong friends in high quarters, who had some interest in the direction things took. Although this tergiversation has been publicly condemned, we again find a proposition put forth to-day, to give him probably $10,000 more!!
1845 October 16. New York Commercial Advertiser. (New York, New York.) October 16, 1845, Vol. XLVIII, P. 2.
Fair Of The American Institute. Ninth Day…
Of Daguerreotypes there is an endless variety. One of the finest that we ever saw is the panoramic view of Niagara Falls, taken from the Clinton house, Canada side. The very spray from the tumbling waters appears to be rising before you, and any one who has ever visited the falls will recognize the scenery at a glance. This picture is the work of Mr. Langenheim of Philadelphia. There are also some finely marked portraits and a view near the City Hall credited to Langenheim & Recker, [sic.] the work, we presume, of the same artist. Plumbe of this city has some excellent portraits. Among them is a frame containing likenesses of the present members and officers of the Common Council, which any one acquainted with the originals will recognize at once. How life-like is “Old Hays”; you feel an involuntary inclination to ‘pull off your hat,” the moment it is seen. The portraits of P. Haas, M. M. Lawrence, M. B. Brady, E. & G. H. Morand, and very finely finished. In fact all or nearly all exhibited are pictures which furnish abundant evidence of the still continued improvement in the art. The other exhibitors, so far as we could ascertain them through the crowd that always surrounds this portion of the exhibition, are Mr. Shankland, T. S. Walsh, Perry, Brothers & Co., J. P. Weston, A. F. Thompson, J. T. Tracy, S. Hart, Meade& Brothers, G. R. Spellman, and Walker & Garritt, (of Albany.)
1845 October 25. New York Commercial Advertiser. (New York, New York.) October 25, 1845, Vol. XLVIII, P. 2.
Fair Of The American Institute The eighteenth annual Fair of the American Institute…
Silver Medals…
M. B. Brady and P. Haas, for best Daguerreotypes. Silver Medal; each.
1845 October 27. The New York Herald. (New York, New York.) October 27, 1845, Vol. XI, No. 276, Whole No. 4158, P. 3.
First Premium Daguerreotypes. P. Haas, Daguerrean Artist, 289 Broadway, corner of Reade Street, Lafarge Building.
Mr. H. has received the Medal at the late Fair of the American Institute, for Pictures executed by himself, and not purchased nor done by hired operators; the public, therefore, can at all times depend upon obtaining the same style of Portraits, from the smallest to the largest sizes, which cannot be surpassed for beauty or accuracy.
Instruction given in the Art on reasonable terms.
Advertisement ran from October 27 to December 14, 1845.
1845 November 1. New York Weekly Tribune. (New York, New York.) November 1, 1845, Vol. V, No. 8, Whole No. 216, P. 4.
Gen. Tallmadge Address at the close of the Fair…
So of the wonderful improvements in Daguerreotyping; a few years since, and we knew no more about it than the man in the moon; and now Messrs. Haas, Plumbe, Anthony & Edwards, Gavitt, Brady, &c. have far surpassed all French daguerreotypes.
1845 November 15. Portsmouth Journal of Literature and Politics. (Portsmouth, New
Hampshire.) November 15, 1845, Vol. LVI, No. 46, P. 1.
Domestic Industry. Almost every person among us who is acquainted with the industry of our country on a large scale, is in favor of continuing the operation of those laws which give it encouragement; and under which it is generally prosperous. A perusal of the following extracts from the recent speech of Mr. Tallmadge at New-York, will astonish many who know but little of the magnitude or the variety of our manufactures
Gen. Tallmadge’s Address At The Close Of The Fair Of The Institute At New York…
So of the wonderful improvement in Daguerreotyping; a few years since we knew no more about it than the man in the moon; and now Messrs. Haas, Plumbe, Anthony & Edwards, Gavitt, Brady, &c. have far surpassed all French Daguerreotypes…
1846 October 16. New York Daily Tribune. (New York, New York.) October 16, 1846, Vol. VI, No. 163, Whole No. 1718, P. 2.
Haas, in the Lafarge Building, corner of Broadway and Reade st. produces a softness of shading, a depth of expression and a perfectness of finish in his Daguerreotypes which render them true works of art, rather than mere shadows caught by the hair and transfixed upon the plate. He has also so thoroughly studied the art of coloring as to impart to his pictures all the exquisitely blended effects of a miniature united with all that truthfulness and identity of likeness for which the heart, bowing before the ivory semblance of dear features, yearns in vain.
1847 February 10. New York Morning Express. (New York, New York.) February 10, 1847, Vol. II, P. 1.
Herr Alexander, so well known as a gentleman, in private, as well as most amusing performer, in his way, is now in this city. He has accepted a most flattering invitation from the commander of a United States man-of-war, (the Scourge) to be his guest to Havana. Mr. Davignon has just finished a capital likeness of Alexander from a daguerreotype of Haas, a copy of which we have seen.
1847 February 14. The Atlas. (New York, New York.) February 14, 1847, Vol. IX, No. 37, Whole No. 445, P. 2.
in literary circles.—One day during the week, we received a speaking likeness, by Davignon, fro a daguerreotype of Haas, of Herr Alexander, the prince of the magic; together with an intimation that he was about accompanying the commander of the Scourage, [sic.] an American armed vessel, on a trip to Havana, the Secretary of the Navy…
1847 March 3. The New York Herald. (New York, New York.) March 3, 1847, Vol. XIII, No. 61, Whole No. 4658, P. 2L.
Nagel has published a beautiful lithographic portrait of Sig. Beneventano, of the Italian opera, drawn on stone by F. Davignon, from a Daguerreotype by Haas.—The likeness is perfect, and the execution admirable.
1847 March 6. Merchants’ Ledger. (New York, New York.) March 6, 1847, Vol. 1, No. 1, P. 10.
First Premium Daguerreotypes. P. Haas, Daguerrian Artist, 289 Broadway, 289 Corner of Reade Street—Lafarge Building.
1847 March 21. The Atlas. (New York, New York.) March 21, 1847, Vol. IX, No. 42, Whole No. 450, P. 2.
Our Portrait.—We gave this week a portrait of the fascinating Barili, the new prima donna of the Opera. The portrait is drawn by an eminent artist in this city, from a capital daguerreotype likeness taken by Haas, of Broadway. It will be more readily recognized by those who have seen the charming singer in private than only on stage. It is therefore the more life-like.
1848 April 16. The Atlas. (New York, New York.) April 16, 1848, Vol. X, No. 46, Whole No. 505, P. 3.
Card.—Philip Haas, Daguerrian Artist, 289 Broadway, cor. of Reade street.
Advertisement was recorded three times between April 16 to 30, 1848.
1848 August 9. The New York Herald. (New York, New York.) August 9, 1848, No. 5178, P. 3.
To Daguerreotypist.—I Would Caution Operators in this city, and throughout the country, against a man who peddles a chemical purporting to be the same as I use in producing pictures. It is a false imitation; an abortive attempt at copying; the work of a country boy who was formerly in my employ, but never as an operator. The genuine chemical is only to be had at my establishment, 289 Broadway. I suffer no one to peddle it.
1848 November 5. The Atlas. (New York, New York.) November 5, 1848, Vol. XI, No. 23, Whole No. 534, P. 2.
…The portraits are all from daguerreotypes—that of Mr. Anderson, by Plumbe; that of Mr. Hart, by Haas; and that of Mr. Arcularius, by Gurney, 189 Broadway—and were all engraved by Mr. Roberts, “in haste.” When Roberts has time, he can’t be beat, in cutting heads; but, when he has to cut four, in three days, we cannot expect perfection.
1848 November 12. The Atlas. (New York, New York.) November 12, 1848, Vol. XI, No. 24, Whole No. 535, P. 2.
On the outside page of our paper to-day, will be found a portrait of Mr. S. Cornelius Bogardus, the naval officer of the port of New York, and who was translated to that office by Mr. President Polk, some six weeks since, on the death of Mr. Michael Hoffman. The portrait, which is an admirable one, is from a daguerreotype of Hass, and was engraved by Roberts…
1849 April 12. The New York Herald. (New York, New York.) April 12, 1849, Whole No. 5424, P. 2.
Haas Daguerreotypes.—Among the most wonderful specimens of this branch of art, we do not think that any others may be compared with the admirable daguerreotypes made by Mr. Haas, the famed artist, who dwells in Lafarge Building. This gentleman may be considered as the Raphael of his profession, and the portraits which are issued from his studio are the ne ultra plus of discovery and chemistry. We have visited the gallery of M. Haas, which contains, the most curious collection of portraits, not only of the celebrated men of this country, but also of the prettiest ladies who grace the parlors and the streets of New York. On this subject we may add, that, by a particular process M. Haas has discovered the means to make visible not only the lines of the face, but also the loveliness and beauty of the ladies, as well as the colors of the skin. A daguerreotype of M. Haas is as fine as a beautiful painting or the French painters, Ingres, Court, or Winterhalter.
1850 November 20. The New York Herald. (New York, New York.) November 20, 1850, Whole No. 6006, P. 2.
…We have already advised this interesting class of our city visitors where the best bonnets, shoes, shawls, dry goods, and dancing masters are to be had; and if they should desire a daguerreotype to send home in the new fashions, we should say that Haas, one of the most experienced in the art on Broadway, or Brady, who has a fine collection, would do it in style….
1852 May 11. New York Daily Tribune. (New York, New York.) May 11, 1852, Vol. XII, No. 3452, P. 3.
Removal.—Haas’s Daguerreotypes from 289 to 371 Broadway, Between White and Franklin-sts., where he respectfully invites his friends and customers to give him a call.
1852 October 13. The New York Herald. (New York, New York.) October 13, 1852, Whole No. 7286, P. 4.
371 Broadway.—Stereoscopes and Stereoscopic Daguerreotypes, in a superior stype, at Haas’ Daguerrean gallery, 371 Broadway; also, his new and much admired style of vignette Daguerreotypes, which are considered the most artistical specimens of the art.
Advertisement ran on October 13, 17 & 27.
1852 November 12. The New York Herald. (New York, New York.) November 12, 1852, Whole No. 7316, P. 4.
Vox Populi Gold Medal.—Haas’ Daguerreotypes, 371 Broadway, have received the gold medal vox populi, the greatest proof of their superiority. Stereoscopic pictures are done in this establishment to great perfection. As well as Haas’ new and original vignette daguerreotypes.
1853 February 21. The New York Herald. (New York, New York.) February 21, 1853, Whole No. 7366, P. 5.
A Droll Illustration of the Difficulties of the English language occurred to an artist friend of ours a day or two since. A French gentleman inquired of him:”Sare, you shall tell a me who has se best daguerre in se Broadway.” “Well,” said our friend, “I should say Haas.” “Yes sair, is what I ask a you, who has?” “Why Haas has the”—“Dable! Is what I ask a-you; who has?” “I tell you Mr. Haas has, of 371 Broadway.” “O, ah! Now I comprehend. Mr. Haas, (nom proper) has, ah! By gar is a [noner] beauty of se English language. Ah! Ah! I am fort oblige, I shall go immediatement.” By the way, a notice of Mr. Haas, contained in a letter to Humphrey’s Journal, dated London, December 30th, speaking of Mr. Kilburn’s colored daguerreotypes, says: “With the single exception of Mr. Haas, of your city, I do not remember of ever seeing any thing bearing even an approximation to competition in this department on the western side of the Atlantic.”
1853 August 19. Semi-Weekly Tribune. (New York, New York.) August 19, 1853. Vol. VIII, No. 859. P. 1.
The Exhibition At The Crystal Palace. XVI. American Art—Daguerreotypes. If there be any one department in the whole building which is peculiarly American, and in which the country shines prominent, it is in that of Daguerreotypes, which are exhibited below stairs; and the collection, which is an extensive one, is made up of contributions from almost every section of the Union where the art is practiced. In contrasting the specimens of art which are taken herewith those taken in European countries, the excellence of American pictures is evident, which is [to] be accounted for by several reasons. In the first place, American skies are freer from fogs and clouds—from bituminous coal not being much used, the atmosphere of our cities is free from smoke, at least upon the Atlantic coasts. Then the chemicals and processes are, generally speaking, of a more sensitive character, and the apparatus is more convenient and suitable than that of Europe. Our little inventions come into play and aid in saving time and developing a good picture, and last, though perhaps not least our people are readier in picking up processes and acquiring the mastery of the art than our trans-Atlantic rivals. Not that we understand the science better, but the detail of the work is acquired in a shorter time by us, while the enormous practice which our operators enjoy combines to render the daguerreotype art a necessary adjunct to the comfort of life. Does a child start on the journey of existence and leave his “father’s hall” forthwith the little image is produced to keep his memory green.. Does the daughter accept the new duties of matron, or does the venerated parent descend into the grave; what means so ready to revive their recollection? Does the lover or the husband go to Australia or California, and not exchange with the beloved one the image of what afforded so much delight to gaze upon? The readiness with which a likeness may be obtained, the truthfulness of the image and the smallness of cost, render it the current pledge of friendship, and the immense number of operators who are supported by the art in this country shows how widely the love of sun-pictures is diffused. Several thousand industrious artists and artisans are occupied in the preparation of very pure chemicals, as bromine, iodine, gold salts, hyperphosphate of soda. Another class prepare silvered plates, cases, buffs, gilding, cut glass, and a hundred little addenda. Then the manufacture of cameras and the grinding of good lenses is an important branch of the business; for without a camera having good lenses the best operator would fail to produce an image which would be distinct or saleable; and even with a good Voigtlander or Harrison camera, it requires great skill to focus the image; for, strange as it may appear, the point where a good view of the sitter is obtained is not the point best adapted for bringing out a good picture. In other words the focus of vision and the focus of chemical action are not the same, and hence when we have the one we lose the other. This is owing to the fact that it is not the rays of color on the solar spectrum which produce the image, but a different set of rays, viz: those of chemical action; and since this is the case, we submit the opinion that it is not possible to obtain a daguerreotype in its natural colors, as Mr. Hill and others have been trying to delude our operators into believing, and leading themselves and others by the [iguis fatuus] of plates tortured into iridescent colors by chemical oxidation. But we are getting discursive upon this beautiful art, which was intended to subserve many other useful purposes than that of portrait painting.
Everybody known how difficult it is to keep silver from tarnishing, and that the action of the light is to destroy all preparations of silver. Some of these are more readily acted on by light than others—are more sensitive, as it is termed. Such are the iodide, bromide, and chloride of silver. These salts cannot be kept exposed to the light for any reason, even a very short time, without undergoing some change; and when a plate of silver has a thin layer of iodine and bromine on its surface; and is placed in a camera, as soon as the screen is raised the image of the sitter falls on the plate. The silver plate is acted on unequally, producing the effects of light and shade when brought out, as it is termed, by exposure to the vapor of quicksilver. It is then fixed or prevented from undergoing further change, by washing it with a solution of gold.
To produce a daguerreotype picture there are five operations necessary. The first is cleaning the plate. This is the stumbling block of most operators. They are not cleanly enough. Several views in this Exhibition show that the plates were not well enough cleaned. Never was a maxim more true than the old one, that “cleanliness is a virtue”—when it has reference to daguerreotyping. The second the second is the foundation of the sensitive iodide of silver over the surface of the plate. The third is the adjusting the plate in the camera obscura, for the purpose of receiving the impression. The fourth is the bringing out the photographic picture, which is invisible when the plate is taken from the camera. The fifth, and last, is to remove the excess of sensitive coating, and thus prevent that susceptibility to change under luminous influence which would otherwise exist and ultimately effect the picture. The second operation is that which gives tone and warmth to the picture, and when performed by skillful hands makes a daguerreotype a beautiful piece of art. The clearness and distinctness of the image is produced by the third process when carefully conducted, and the whole picture should be distinct over the whole plate. These remarks will serve to illustrate the subjoined notes upon the collections in the Exhibition.
Mr. Lawrence exhibited a case in which softness of tone and distinctness of image are united with artistic arrangement. The latter quality is specially noticeable in “The Three Ages.” The mechanical execution of these pictures is unexcelled. These pictures of Mr. L. were exhibited in London. Mr. Brady’s collection is not very large, but there are a few very good pictures exhibited by him. In Gurney’s collection the coloring of the background has a fine effect; there are some very well executed portraits, among which is one of Mr. Forrest, worth notice as a work of art: taken as a Whole there is less softness and more distinctness in this collection than in that of Lawrence. The picture of Ware and his sister is an instance of a picture well developed when the chemical action extends to the margin of the plate. D. Clark, New Brunswick, N. J., has four pictures of merit; and Van Schneidan a small collection of well-selected heads. J. Brown has a collection of portraits of Commodore Perry and the officers of the squadron for the Japan Expedition, in half-size plates: the interest of this collection is much marred by the names of the officers not being attached underneath the plate; it is not too late to rectify this omission. Haas has a whole-plate allegorical figure of a family man reading the paper at home—an excellent idea and well executed. Besides this, he has a couple of other pictures, though on the whole his show is mediocre. In the cases of Harrison & Hill there is displayed excellent artistic arrangement with very indifferent mechanical execution. In the mammoth plates occupied by allegorical designs, the back-ground is wretchedly brought out—the plates were not properly cleaned, and are full of scratches; there are a few half and whole-sized pictures set in gaudy frames.
Webster, of Louisville, KY., has twenty-three pictures possessing clearness. They have, however, been exposed a little too much in the camera; they lack warmth, but are otherwise well developed and exhibit good mechanical execution. Alex Hesler has a collection of whole plates handsomely executed, possessing a nice arrangement of of the drapery, which has the effect of throwing the head out in good relief. There is artistic arrangement in this collection, especially evinced in the picture “Driving a “Trade,” one of a series illustrating character and passion. The panoramic view of Galena, Ill. Shows that city to advantage; and the three views of the Falls of St. Anthony possess great merit. Mr. North, of Cleveland, O., has a case of pretty fail likenesses, perhaps exhibiting the lights too strongly. Bisbee, of Dayton, O. exhibits a panoramic view of Cincinnati from Newport, upon six large plates. This view is, without exception, the finest thing in the whole room; we might even go further, and say that it is the finest view by the Daguerreian process ever exhibited. The mechanical execution is excellent, the perspective good, and the development unsurpassed. The effect of the smoke over the southern part of the city is very finely given. the distinctness of the letter signs, three-quarters of a mile distance and across the Ohio river, is well brought out. The rest of the collection is fair, possessing no peculiar merit. Williamson exhibits a poor collection. Dobyn, Richardson & Co. have several whole size well-executed specimens, in which the mechanical part, the artistic arrangement and the chemical effect is good. The “Cupid Reposing” is a very ungraceful picture of an ill-formed child, and the coloring is bad. That of the Bateman Children, in character, is a good picture. There are some exceedingly well executed heads in this collection.
Long, of St. Louis, has four frames of 180 heads of Wyman’s School, in that city, with the edifice and Principal; they possess no merit. A likeness of Prof. Mitchell, Cincinnati, is well executed. Some of the pictures in this collection are inverted with papier mache frames inlaid with mother of-pearl and tinsel. As this style of frame appears in a few other collections we may as well here express dissent to the use of this material as being too gaudy and wholly unsuitable for daguerreotype plates. These latter are difficult to be viewed except in one light, and from the brightness of their surface, are much set off by deadened color on the frames, while the glare and iridescence of the papier mache add to the difficulty of discerning the picture; the use of such implies bad taste in the artist. We felt this opinion growing upon us as we looked at them and found our view corroborated by a boarding school miss, who whisked alongside of us and caught by the colors, exclaimed, “Oh my! aint those “frames beautiful?” Fitzgibbon has the richest exposition in the Fair—The most expensive frames with a large and passable collection. The mammoth plate of Judge Colt is very good—That of Jenny Lind the best in the exhibition—those of McAllister, Julia Dean, Kate Hays, and Kossuth, are good pictures. His collection of Indian Warriors, is a very fine one, which we understand is to be forwarded to the Ethnological Society of London, to have copies and busts made from them. Masury & Silsbee, Boston exhibited twelve pretty and tasteful plates, with good arrangement and well finished. The collections of Kilsey, Beals, and Howe do not require notice. Whitehurst has a few good pictures in a large and passable collection; he has ten pictures illustrating the Falls of Niagara, which are very well executed. Some of his large heads have their features out of all proportion. Whipple of Boston, has a collection of photographic pictures, which he calls Crystallotypes, taken from Hyalotypes; there is a plate of the moon daguerreotyped, and one of the spots on the sun. McDonnell & Co., Buffalo, have a very poor collection—so poor as not to deserve a place in the exhibition; the views of Niagara are fair. Hawkins exhibits photographs on paper. Drummond, eight plates of the order of Free masons in their lodge dress. Fitzgibbon (already noticed) exhibits a very interesting case, which is a frame of electrotype copies from daguerreotype plates, very beautifully executed. It should not be over looked upon as a mere curiosity to place a daguerreotype plate in a copper solution and take a copper cast from its surface by means of electricity: the copper cast looks much warmer in tone than the original. It is to be regretted that Fitzgibbon did not complete this frame by the insertion of a third plate, by taking a second copy from the copper copy. This would be in relief, like the original silver-plate, and is succeptible of being treated like an engraved plate; yielding, when inked, prints resembling mezzotint. Besides the above collection of daguerreotypes, there is an assortment of cameras, lenses, stereoscopes and photographic paper, which are of interest to those practicing these beautiful arts.
1854 May 28. The New York Herald. (New York, New York.) May 28, 1854, Whole No. 6486, P. 4.
Paul Julien.—We have received a lithographic portrait of this great artist, drawn upon stone by F. Davignon, from a daguerreotype by P. Haas. The artists have done their work well, and we have rarely seen a more [objective] and spirited likeness. As our lady readers are well aware, Master Julien has a fine face and handsome person in addition to his wonderful talent. In consequence, we have no doubt that all his admirers will possess themselves of this “counterfeit presentment.” Our copy is endorsed “Souvenir de haute effect offert a M. James Gordon, par Paul Julien.” New York, May 27, 1854.
1855 March 14. The New York Herald. (New York, New York.) March 14, 1855, Whole No. 6774, P. 6.
The Late William Poole.—The Late William Poole.—The Best Daguerreotype or photograph of Wm. Poole can be procured at Haas’s new daguerrean gallery, 505 Broadway, next door to the St. Nicholas Hotel.
1855 March 15. The New York Herald. (New York, New York.) March 15, 1855, Whole No. 6775, P. 4.
William Poole’s Portrait, executed in artistic style, can be found in the Police Gazette, now ready. It is taken from a large daguerreotype, for which he sat a few days prior to receiving his death wound.
1855 December 8. The New York Herald. (New York, New York.) December 8, 1855, Whole No. 7041, P. 6.
Hass’ Photographs, Ambrotypes And Daguerreotypes, with all the latest improvements, 505 Broadway, one door below the St. Nicholas Hotel.
1855 December 19. The New York Herald. (New York, New York.) December 19, 1855, Whole No. 7052, P. 4.
P. Hass, 505 Broadway.—Daguerreotypes, ambrotypes and photographs in the latest style.
Advertisement ran on December 19 & 21, 1855.
1855 December 27. The New York Herald. (New York, New York.) December 27, 1855, Whole No. 7060, P. 4.
Hass’ Photographs, Ambrotypes and Daguerreotypes, with the latest improvements, 505 Broadway, one door below the St. Nicholas Hotel.
Advertisement ran from December 27 to 29, 1855.
1856 January 1. Photographic and fine Arts Journal. (New York, New York.) January 1, 1856, Vol. IX, No. 1, P. 19.
In an article entitled the Photographic Galleries of America. Number One, New York. The author visited 69 Galleries in New York City.
Haas—The photographs by this artist are in the first style of the art, as is I believe all that he undertakes. Most of them general in being portraits.
1858 February 12. New York Daily Tribune. (New York, New York.) February 12, 1858, Vol. XVII, No. 5246, P. 1.
Photographic Visits—A Specialty.—Mr. P. Haas devotes special attention to Photographic and Daguerrian Portraits of the old, the sick, the infirm or dead, and is prepared to take such portraits upon the shortest notice, at the subjects residence in New-York or vicinity. he will also devote particular attention to the copying of old Daguerreotypes to any desired size. His long established artistic reputation continues a guaranty for the correctness and excellence of his pictures. Orders received and promptly attended to at Wm. Hall & Son’s, No. 239 Broadway; S. M. Peyser, No. 487 Broadway; Sidney Kopman, Clinton Place Hotel, and at Mr. Haas’s residence, No. 132 West 39th-st.
Advertisement ran from February 12 to March 3, 1858.
1870 June 11. Alexandria Gazette. (Alexandria, Virginia.) June 11, 1870, Vol. LXXI, No. 139, P. 3.
Mr. David Haas, an old and respected citizen of this place, came to this country from Hamburg in 1841, and went immediately to his brother in Washington, Philip Haas, who was a lithographer there, and subsequently removed to New York. David Haas settled in Alexandria in 1853, and as since carried on his business in a daguerrean gallery, and was successful as an artist. In 1857 he was called to Hamburg at the death of his mother, and returned to this country in August or September, 1857, brining with him from Hamburg his sisters’ children—a nephew named Joseph Hertz and a niece Bertha Hertz—[father’s] name Philip Joseph Hertz. He has not heard anything of them since, and would be glad of ascertaining their whereabouts; also of his brother and brother’s Children. Philip Haas, who lived in Washington, afterwards went to New York; New York; has five children—four daughters and one son; Berta, Mathilda, Annette and America Haas, and a son Leonard Hass. It is added to this card by a friend that David Haas suffered much loss by the war, and is now in infirm health, and deserves the sympathy and kindness of our citizens as well as of his relations.
1871 September 12. Alexandria Gazette. (Alexandria, Virginia.) September 12, 1871, Vol. LXXII, No. 216, P. 2.
Philip Haas, who died a few days ago in Chicago, was the first man who took a successful picture with a camera in this city. On his arrival in this country from Amsterdam, where he was born, he was appointed lithographer for the United States Government, and was allowed a room in the Capitol, in which to experiment with a camera. He subsequently removed to New York city.
[Was he not an uncle or near relative of the late Mr. Haas, a very worthy and respectable citizen of this place, and who was him self an artist in the same line?]
New York City Directories. (New York, New York.)
1844. Not listed.
1845. daguerreotype—289 Broadway, h-23 Mercer.
1846. daguerreotype—289 Broadway, h-44 Hudson.
1847. daguerreotype—289 Broadway, h-40 Hudson.
1848. daguerreotype—289 Broadway, h-20 West Broadway Place.
1849. daguerreotype—289 Broadway, h-Broadway, n. 21st.
1850. daguerreotype—289 Broadway, h-914 Broadway.
1851. daguerreotype—289 Broadway, h-73 Spring.
1852. daguerreotype—73 Spring, h-43 Spring.
1853. daguerreotype—371 Broadway, h-89 W. 26th.
1854. daguerreotypes—371 Broadway, h-13 Prince.
1855. daguerrean—505 Broadway, h-13 Prince.
1856. daguerreotypes—505 Broadway, h-13 Prince.
1857. daguerreotypes—546 Broadway, h-132 W. 36th.
1858. Not Listed.
1859. daguerrean—h-364 Eighth Ave.
1860. Not Listed.
1861. Not Listed.
1861-1863. Nineteenth Century Photography An Annotated Bibliography 1830-1879.
By William S. Johnson, 1990. (Boston, Massachusetts.) P. 278.
…When the Civil War broke out Hass enlisted in Company A, 1st. N. Y. Engineers, where he was promoted to lieutenant. His company spent part of 1863 among the forces involved in the blockade of the Confederacy. Haas, with a partner Peale, photographed the activities of these troops patrolling the string of islands off the coast of South Carolina.
[1] James R. Clark variant spelling
Pioneer American Photographers, 1839 - 1860 