Category Archives: Patent

Hall, John Bishop

Hallotypes, Patent, , , , ,

1857                585 Broadway, New York, New York.

1857 January 21.  Evening Star.  (Washington, District of Columbia.)  January 21, 1857, Vol. IX, No. 1,252, P. 2.

Patents for the week ending January 20, 1857.  John Bishop Hall—For improved in treating photographic pictures.  No. 16,438.

1857 January 27.  The New York Herald.  (New York, New York.)  January 27, 1857, Whole No. 7454, P. 3.

New Patents Issued for the week ending January 20, 1857.  John Bishop Hall of N. Y., for improved in treating photographic pictures.  [No. 16,438]

1857 February 14.  The New York Herald.  (New York, New York.)  February 14, 1857, Whole No. 7472, P. 5.

Highly Important to the Pubic—Hallotypes patented.  The undersigned would respectfully announce that they will exhibit specimens of the “Hallotype” at their gallery.  No. 585 Broadway, on and after the 16th inst., and that they will commence taking them for the public on the 16th., and will deliver them on and after the 19th inst.  The hallotypes will be taken in this city by J. B. Hall the inventor and patentee, at the above gallery.  N. B.—No connection with any other establishment in the city.  John Bishop Hall, C. D. Fredricks.  585 Broadway, opposite Metropolitan Hotel.

Advertisement ran on the 14 & 16, 1857.

1857 February 16.  New York Daily Tribune.  (New York, New York.)  February 16, 1857, Vol. XVI, No. 4938, P. 7.

Important caution To The Public And Photographic Artist.  Hallotypes.

It having been announced in the Photographic journals and the daily papers that specimens of the Hallotype would be exhibited at Nos. 585 and 349 Broadway on the 16th inst. the undersigned would state that justice to the public, to himself and to the art, of which he is the inventor and patentee, demands of him the following statement:

The specimens exhibited by J. Gurney at No. 349 Broadway will not give a correct idea of the merits of this new Art, as they were not executed in strict accordance with instructions given by the undersigned, and for this reason he will not exhibit at his Gallery, No. 585 Broadway, any of the specimens produced at No. 349 Broadway, which he had designed doing as during his absence from the city some of the most important parts of the manipulation were neglected.  All the specimens, therefore, which he will exhibit at No. 585 Broadway will be those produced since the 13th inst., at his own Gallery—he having also recently made some very important improvements.  The undersigned will not, therefore, be in any way responsible for the results produced at any other establishment, as the Hallotypes will only be made under his personal direction at No. 585 Broadway, opposite Metropolitan Hotel.    John Bishop Hall.

1857 February 21.  New York Daily Tribune.  (New York, New York.)  February 21, 1857, Vol. XVI, No. 4943, P. 7.

Hallotypes—These Beautiful Portraits are taken by J. B. Hall, the inventor and patentee, only at the Gallery of Hall & Fredricks, No. 585 Broadway, opposite the Metropolitan Hotel.

Advertisement ran every three to four days from February 21 to 28, 1857.

1857 February 26.  New York Daily Tribune.  (New York, New York.)  February 26, 1857, Vol. XVI, No. 4947, P. 7.

Hallotypes.  To Photographic Artists And The Public.  The following not from Mr. Hall requires a public reply:

Temple Of Art, No. 585 Broadway, Feb. 24. 1857.

J. Gurney, esq.—Dear Sir:  My attention has been called to your card of the 17th inst., published in the Tribune and Times, in reply to mine of the 16th, which appeared in the same papers.  My arrangements have been such that I have here huberto neglected to take any steps in the matter.  You understand better than the public possibly can the reasons which prompted me to pen my Card.  But you evidently misunderstood the some what ambiguous language which I emplied, or your high sense of honor, of propriety and justice, would not have allowed you to prefer against me so grave a charge as “repudiating legal obligations,” and masing statement [    ] were “false.”  If you understood me as denying your right to practice the Hallotype, and your ability to present it in an attractive form to the public, you could not do otherwise than to pronounce such statements false.  The peculiar circumstance of the case, in connection with the somewhat ambiguous style which I employed, has led you into an error.  But there was nothing in my Card which if properly understood, could have justified the conclusion at which you arrive, and by correcting the erroneous impressions which your Card is calculated to procure, you will do no honor to yourself, justice to the public and to the undersigned.  Wishing you every success in the practice of the Hallotype. I am Truly Yours, John Bishop Hall.

                                                                        Reply

Mr. John B. Hall—Dear Sir:  Your conclusion is correct, that the peculiar circumstances of the case, together with the somewhat ambiguous language which you employed. did lead me to misunderstand your meaning, and it affords me pleasure to be able to make the correction.  A discriminating public will award to you the honor of having invented the most brilliant improvement in the Photographic art, and which I am determined to present to the public in all its exquisite perfection and beauty.  Yours truly,  J. Gurney, Photographic Artist.  Palace of Art, No. 349 Broadway, Feb. 26, 1857.

We, the undersigned, copartners in the disposal of the patent rights throughout the United States and Europe for the new style of portraiture called Hallotypes, would inform Photographic artists and amateurs that we are now ready to dispose of said rights to suit purchasers.

John Bishop, J. Gurney

All business letters to be addressed to Gurney’s Palace of Art, No. 340 Broadway, corner of Leonard-st., New York.

Advertisement ran on February 26 & 28, 1857.

1857 February 27.  The New York Herald.  (New York, New York.)  February 27, 1857, Whole No. 7485, P. 8.

To Photographic Artists And The Public.  The following note from Mr. Hall requires a public reply:

Temple Of Art, No. 585 Broadway, Feb. 24. 1857.

J. Gurney, esq.—Dear Sir:  My attention has been called to your card of the 17th inst., published in the Tribune and Times, in reply to mine of the 16th, which appeared in the same papers.  My arrangements have been such that I have here hitherto neglected to take any steps in the matter.  You understand better than the public possibly can the reasons which prompted me to pen my card.  But you evidently misunderstood the somewhat ambiguous language which I employed, or your high sense of honor, of propriety and justice, would not have allowed you to prefer against me so grave a charge as “repudiating legal obligations,” and making statement which were “false.”  If you understood me as denying your right to practice the Hallotype, and your ability to present it in an attractive form to the public, you could not do otherwise than to pronounce such statements false.  The peculiar circumstance of the case, in connection with the somewhat ambiguous style which I employed, has led you into an error.  But there was nothing in my card which if properly understood, could have justified the conclusion at which you arrive, and by correcting the erroneous impressions which your card is calculated to produce, you will do no honor to yourself, justice to the public and to the undersigned.  Wishing you every success in the practice of the Hallotype. I am Truly Yours, John Bishop Hall.

                                                                        Reply

Mr. John B. Hall—Dear Sir:  Your conclusion is correct, that the peculiar circumstances of the case, together with the somewhat ambiguous language which you employed. did lead me to misunderstand your meaning, and it affords me pleasure to be able to make the correction.  A discriminating public will award to you the honor of having invented the most brilliant improvement in the photographic art, and which I am determined to present to the public in all its exquisite perfection and beauty.  Yours truly, J. Gurney, Photographic Artist.  Palace of Art, No. 349 Broadway, Feb. 26, 1857.

We, the undersigned, copartners in the disposal of the patent rights throughout the United States and Europe for the new style of portraiture called Hallotypes, would inform Photographic artists and amateurs that we are now ready to dispose of said rights to suit purchasers.

John Bishop Hall, J. Gurney.

All business letters to be addressed to Gurney’s Palace of Art, No. 340 Broadway, corner of Leonard street, New York.

1857 February 27.  The New York Herald.  (New York, New York.)  February 27, 1857, Whole No. 7485, P. 8.

Hallotypes.  Letters Patent Granted January 20, 1857.  A large collection of this new and beautiful style of portraiture is now on exhibition at J. Gurney’s well known photographic palace of art, No. 349 Broadway, N. Y.

The public are respectfully invited to call and judge for themselves of the superiority of these pictures over other styles; and although executed by the camera, they combine the truthfulness of the finest photographs, with the beauty and finish of the most delicate miniature in ivory.  To quote the expression of our celebrated miniature painters, “The stereoscopic effect is wonderful; our occupation is gone; these pictures surpass in every respect, our best endeavors.”  J. Gurney is now prepared to execute said pictures for the public.  Gallery open from 8 A. M. till 6 P. M.  J. Gurney, Photographic Artist, No. 349 Broadway, cor. Leonard st., N. Y.  N. B.—No connection with any other establishment.

1857 March 10.  New York Daily Tribune.  (New York, New York.)  March 10, 1857, Vol. XVI, No. 4957, P. 7.

Hallotypes.  J. B. Hall, the inventor and patentee of the Hallotypes, would respectfully inform the public that his Gallery of Pictures in the above style is at the Photographic establishment of Mr. Fredericks, No. 585 Broadway, opposite Metropolitan Hotel, and he has no connection with any other establishment in this city.

Advertisement ran on March 10 & 13, 1857.

1857 March 11.  The New York Herald.  (New York, New York.)  March 11, 1857, Whole No. 7497, P. 5.

Hallotypes.—J. B. Hall, the inventor and patentee of the hallotypes, would respectfully inform the public that his Gallery of pictures in the above style is at the photographic establishment of Mr. Fredericks, No. 585 Broadway, opposite Metropolitan Hotel, and he has no connection with any other establishment in this city.

Advertisement ran on March 11 & 14, 1857.

1857 March 19.  New York Daily Tribune.  (New York, New York.)  March 19, 1857, Vol. XVI, No. 4965, P. 7.

John Bishop Hall’s Gallery Of Hallotypes, At Fredericks’s Temple Of Art, No. 585 Broadway, Opposite Metropolitan Hotel.

1857 March 21.  The New York Herald.  (New York, New York.)  March 21, 1857, Whole No. 7507, P. 5.

John Bishop Hall’s Gallery of Hallotypes.  At Frederick’s Temple of Art, No. 586 Broadway, Opposite Metropolitan Hotel.

Advertisement ran on March 21, 25, 28; April 1, 1857.

1857 March 26.  New York Daily Tribune.  (New York, New York.)  March 26, 1857, Vol. XVI, No. 4971, P. 7.

John Bishop Hall’s Gallery Of Hallotypes, At Fredericks’s Temple Of Art, No. 585 Broadway, Opposite Metropolitan Hotel.

Advertisement ran from March 26 to April 2, 1857.

1857 April 3.  The New York Herald.  (New York, New York.)  April 3, 1857, Whole No. 7520, P. 5.

Hallotypes!—$1,000 Reward.—The Undersigned will give the above reward for the first conviction of any person or persons infringing the patent granted by the United States government to John Bishop Hall, of New York city, on the 20th day of January, 1857, for producing pictures known as “hallotypes”  Hall & Gurney.  New York, March 7, 1857.

Advertisement ran From April 3 to 10, 1857.

1857 April 11.  Frank Leslie’s Illustrated Newspaper.  (New York, New York.)  April 11, 1857, Vol. III, No. 70, P. 15.

Frederick’s Temple of Art—Hallotypes, Photographs, Daguerreotypes, Ambrotypes.  585 Broadway, opposite Metropolitan Hotel.

John Bishop Hall, The Inventor and Patentee of the Hallotype, would respectfully inform the Public that his gallery is at Frederick’s Temple Of Art, 585 Broadway, and that he has no connection with any other establishment.

Fontayne, Charles

Daguerreotypes, Patent, Photographs, , , , , , ,

1844-1845       268 Baltimore Street, Baltimore, Maryland.

1846-1847       30 West Fourth Street, Cincinnati, Ohio.

1847-1852       30 & 32 West Fourth, Cincinnati, Ohio.

1853                6 West Fourth Street, Cincinnati, Ohio.[1]

1855                6 West Fourth Street, Cincinnati, Ohio.

1856-1857       Over Merchants’ Bank, Cleveland, Ohio

1857-1858       Address Unknown, New York, New York.1

1859                Address Unknown, Cincinnati, Ohio.

1843 November 13.  The Sun.  (Baltimore, Maryland.)  November 13, 1843, Vol. XIII, No. 147, P. 2.

Removal Of D. J. Fontayne’s Artificial Flower Manufactory to 268 Baltimore street, above Howard, opposite the Globe Inn—D. J. F. has on hand a handsome assortment of Flowers, of the latest fashions, which she will offer at the following low prices—Velvet Face Flowers, with eich shaded velvet leaves, orange or green, at 18½ cts. to 25 cents per pair, of every style; outside Bunches, with rich shaded velvet leaves, from 50 to 75 cents; face Flowers, of handsome styles from 12½ to 25 cts. per pair, &c.  Merchants and Milliners supplied by wholesale at the very lowest prices.  Persons wishing to purchase are invited to give her a call.

N. B.—Flower Makers can be supplied with Stamps, Leaves, &c., by Chas. Fontayne.

1844 April 29.  The Sun.  (Baltimore, Maryland.)  April 29, 1844, Vol. XIV, No. 137, P. 2.

It  has been noted as the characteristic of the most refined taste, that it “Love to linger on the magic face of human beauty;” and truly, if we range the vast domains of nature in search of that which is most lovely to the eye, as well as most interesting to the mind, it is certainly found in the light and shade of the human countenance.  How many have spent their lifetime in trying to portray it with the brush, and how few have succeeded in giving that living expression to their works which the original possess—But the recent great improvement in the art of Photography, in a few seconds of time has enabled the operator to catch them all.  Those familiar only with the earlier attempts in this art, will be astonished to find how that sickly and deathly hue has given place to that healthy and natural color which our late improvements possess.  Likenesses taken daily, in all kinds of weather (rain or sunshine) in from 5 to 30 seconds of time.  Stranger and citizens are invited to call and examine specimens.  Fontayne & Porter, No. 268 Baltimore street, (above Howard) opposite the Globe Hotel.

Advertisement ran from April 29 to May 1, 1844.

1844 May May.  The Sun.  (Baltimore, Maryland.)  May 4, 1844, Vol. XIV, No. 142, P. 2.

The Convention.—Great Perfection Of Our Art.—The citizens of Baltimore have now the opportunity of examining several Photographic Views of the Great Whig Convention passing down Baltimore street, presenting an appearance truly wonderful.  In the distance is to be seen the two Arches, Banners, &c., with many thousands of persons as they appeared in the street—ladies at the windows waving handkerchiefs, &c.

Colored Likenesses taken daily, rain or sunshine, in from 5 to 30 seconds of time.  The public are invited to call and examine specimens.  Fontayne & Porter, No. 268 Baltimore street, above Howard, opposite the Globe Inn.

1846 December 24.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  December 24, 1846, Vol. VII, No. 57, P. 2.

Christmas and New Year’s Oresents, At Fontayne’s Gallery of Daguerreotype Portraits and Family Groups, No. 30 West Fourth Street, between Main and Walnut, opposite St. Paul’s Church.

These appropriate Presents for the season can be had after a few moments sitting, which, for strength of impressions and beauty of tone, have stood comparison with the works of the best operators of the East.  The subscriber invites the attention of all who may wish correct Portraits of themselves or friends, and particularly that of Parents, to his facilities for taking Children.

These Portraits are warranted not to fade in any place or situation whatever.  Daguerreotypes taken over four years, by the subscriber, and exposed to the bleaching effects of the sun, can be seen at the Rooms.

Where Post Mortem likenesses are desired, due notice must be given; and in this, as in all the departments of his business, he flatters himself, from the experience he has had, (having been practically engaged and proprietor for upwards of five years, in one of the principal establishments of the East,) that all who may favor him with a call, will be suited to their taste.

Chas Fontayne, Late of the firm of Fontayne & Porter, Baltimore, Md.

N. B.—Apparatus furnished, and the Art taught on the principles of Chemical Philosophy, and embracing all the very latest improvements of the East, upon the most reasonable terms.  The public are invited to call and examine specimens at his Gallery.

Advertisement ran from December 24, 1846 to January 15, 1847.

1847 January 16.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  January 16, 1847, Vol. VII, No. 75, P. 2.

J. C. Fontayne.  The gentleman whose name heads this article, has but recently come to our city from the East, and opened rooms for Daguerreotyping, on Fourth street, north side, near Walnut.  From specimens of his work which have come under our notice, he is, without doubt, well acquainted with the various branches of this style of Miniatures, and calculated, from this knowledge, to adapt his pictures to the taste of any and all who may favor him with a call.

1847 September 21.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  September 21, 1847, Vol. VIII, No. 145, P. 2.

Fontayne’s Gallery of Daguerreotype Portraits and Family Groups, Nos. 30 & 32West Fourth St., between Main and Walnut, opposite St. Paul’s Church.

Impressions can be had after a few moments’ sitting, which for strength of impression and beauty of time, have stood comparison with the works of the best operators of the East.  The subscriber invites the attention of all who may wish correct Portraits of themselves or friends, and particularly that of parents to his facilities for taking children.

These Portraits are warranted not to fade in any place or situation whatever.  Daguerreotypes taken over four years by the subscriber, and exposed to the bleaching effects of the sun, can be seen at his Rooms.

Where Post Mortem likenesses are desired, due notice must be given; and in this, as in all the departments of his business, he flatters himself, from the experience he has had, (having been practically engaged and proprietor for upwards of five years, in one of the principal establishments of the East,) that all who may favor him with a call, will be suited to their taste.

Chas. Fontayne.

Advertisement was recorded from September 21 to October 15, 1847.

1848 February 25.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  February 25, 1848, Vol. IX, No. 125, P. 2.

Fontayne’s Gallery of Daguerreotype Portraits and Family Groups, Nos. 30 & 32West Fourth St., between Main and Walnut, opposite St. Paul’s Church.

Impressions can be had after a few moments’ sitting, which for strength of impression and beauty of time, have stood comparison with the works of the best operators of the East.  The subscriber invites the attention of all who may wish correct Portraits of themselves or friends, and particularly that of parents to his facilities for taking children.

These Portraits are warranted not to fade in any place or situation whatever.  Daguerreotypes taken over four years by the subscriber, and exposed to the bleaching effects of the sun, can be seen at his Rooms.

Where Post Mortem likenesses are desired, due notice must be given; and in this, as in all the departments of his business, he flatters himself, from the experience he has had, (having been practically engaged and proprietor for upwards of five years, in one of the principal establishments of the East,) that all who may favor him with a call, will be suited to their taste.

Chas. Fontayne.  nov3.

Advertisement was recorded one time on February 25, 1848.

1848 September.  Public Library of Cincinnati and Hamilton County Pamphlet.

Fontayne & Porter 8 Whole Plate Panorama Daguerreotype of Cincinnati partnership Ca. 1848-1854.

1848 October 20.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  October 20, 1848, Vol. XI, No. 17, P. 2.

Fontayne, daguerreotypist in this city, has completed a full daguerreotype panorama of Cincinnati!  A portion of it may be seen in front of his room on Fourth street.

1848 December 30.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  December 30, 1848, Vol. XI, No. 77, P. 2.

Holyday Presents.—In what manner can money be better spent than by presenting to a friend a faithful likeness of one’s self?  Many who bethought themselves during the holidays, a year ago, of this kind of present, little dreamed they were giving what is now invaluable, whether rendered so by death or absence.  Fontayne & Porter, No. 30 and 32 West Fourth street, Between Main and Walnut.

Advertisement was recorded on December 30, 1848 and January 1, 1849.

1849 January 3.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  January 3, 1849, Vol. XI, No. 79, P. 2.

The Greatest Gem of Modern Art, are the Daguerreotypes taken by Fontayne & Porter.  The exquisite finish of the picture, the warm, glowing depth of tone, the clear, brilliant expression of the eye, all command the admiration of hundreds who b=visit the gallery, all anxious to obtain a likeness of themselves or friends.

Gallery No. 30 & 32 West Fourth st., between Main and Walnut.

Advertisement ran from January 3 to 12, 1849.

1849 January 12.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  January 12, 1849, Vol. XI, No. 87, P. 2.

The Expression Of The Eye Perfected.—The immense Sky-Light used by Fontayne & Porter, Daguerreotypists, enables them to produce Portraits and Family Groups which are the admiration of all who have seen them, diffusing an even light over the sitter, giving to the drapery great force of shadow, and to the Eyea clear and brilliant expression, which cannot be obtained by the old method of the side window.  Miniatures taken daily, without regard to the state of the weather.

Advertisement ran from January 12 to 24, 1849.

1849 January 24.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  January 24, 1849, Vol. XI, No. 97, P. 2.

Fontayne & Porter’s Daguerreotype Gallery.—These beautifully furnished Rooms continue to attract crowds of visitors and strangers daily.  The many fine specimens of the Daguerrean Art which adorn the Gallery command general admiration.  No improvement which modern search has discovered but is immediately applied.  The various conveniences in all the chemical and operating departments enable them to produce, in the shortest possible time, Portraits and Family Groups unrivalled for brilliancy of impression and faithfulness of execution.  No state of the weather deters them from producing beautiful Miniatures.  Gallery Nos. 30 and 32 West 4th st., between Main and Walnut, Cin.

Advertisement ran from January 24 to February 7, 1849.

1849 February 8.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  February 8, 1849, Vol. XI, No. 110, P. 2.

Beautiful As Are The Productions of the Painter’s Art, still the Daguerreotype, for accuracy of detail and beauty of execution, will command the preference.  The associations connected with the Daguerreotype are preferred in the extreme, when we view the miniature of those we love; it is the impression of their own shadow, drawn by the faithful pencil of Nature.

Fontayne & Porter still are on the advance with improvements, and are daily giving their customers Pictures which give great satisfaction.  Gallery Nos. 30 and 32 West Fourth st.

Advertisement ran from February 12 to 27, 1849.

1849 February 28.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  February 28, 1849, Vol. XI, No. 127, P. 2.

California Has Not Turned The Heads of Fontayne & Porter, Daguerreotypists; but they are still as active as ever in making improvements.  The last one is the receipt of a very fine improvement of great Focal power and perfection, in which children and aged persons are taken almost in an instant of time.  Persons wishing Miniatures of their children, have now the opportunity of procuring a perfect Likeness.

Gallery Nos. 30 and 32 West Fourth st., between Main and Walnut, Cin.

Advertisement ran from February 28 to March 14, 1849.

1849 March 15.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  March 15, 1849, Vol. XI, No. 140, P. 2.

Never Behind The Times In Improvements.—The new quick working Camera of Voightlander & Sons, of Vienna—their latest improvement—is now in constant use at Fontayne & Porter’s.  Perfect pictures warranted, taken in all weathers, even in the darkest days, in a few seconds of time.  The groups of Children taken by this splendid instrument are not to be surpassed.

Gallery Nos. 30 & 32 West Fourth st., between Main and Walnut, Cincinnati.

Advertisement ran from March 15 to 30, 1849.

1849 March 31.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  March 31, 1849, Vol. XI, No. 154, P. 2.

It’s Painful To The Eye.   How often do we hear persons make this remark after they have been sitting for a Daguerreotype likeness.  This great evil has been overcome by Fontayne & Porter—their Pictures are taken by a north side and sky light. Which gives no pain to the sitter, thereby enabling them to make those beautiful Pictures which are so much admired for their beauty of tone, clear and expressive eyes; all of which is adding daily to the already high reputation of their establishment.

Strangers and citizens should call and examine the fine collection of Portraits in the Gallery, No. 30 and 32 West Fourth st., between Main and Walnut.  Admission free.

Advertisement ran from March 31 to April 9, 1849.

1849 April 10.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  April 10, 1849, Vol. XII, No. 6, P. 2.

Going To California.—Every man that is bound for the Gold Region has some dear friend or relation to leave behind: and what would be more pleasing to that father, brother, sister, or friend, than a good Daguerreotype Likeness of one’s-self?   Call at Fontayn & Porter’s, and get one of their gems. 

Gallery No. 30 and 32 West Fourth st., between Main and Walnut.  Likenesses taken in any weather.

Advertisement was recorded fifty-four times between April 10 and July 19, 1849.

1849 June 20.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  June 20, 1849, Vol. XII, No. 67, P. 2.

Daguerreotype Portrait Gallery.  No. 30 West 4th st., bet Main and Walnut.  Fontayne & Porter, Proprietors.  This Establishment contains the largest and best collection of Portraits, and Family Groups, of any other in the West.  The Franklin Institute, at their last exhibition in Philadelphia, awarded to F. & P. a Silver Medal, the highest premium, for the best Daguerreotypes exhibited.  This alone proves the superiority of our Pictures.—We invite all to pay us a visit and examine for themselves.

The art of Daguerreotyping taught on scientific principles.  We have added to our already extensive establishment, a large room expressly for the use of those who may wish a knowledge of the art.  Here they are taught all branches connected with Daguerreotyping, together with all the late improvements.

Likenesses and Family Groups taken in any weather.—We have lately received one of the latest improved Cameras from Germany, which enables us to take children and infants in two and three seconds sitting.  Frames, Cases, and Gold Lockets, of various patterns for sale.  Alsom German and American Cameras.

N. B.  The best hour for taking children is from 11 A. M. to 4 P. M.

No. 30 West 4th street, between Main and Walnut.  Fontayne & Porter.

Advertisement ran from June 20 to August 22, 1849.

1849 July 19.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  July 19, 1849, Vol. XII, No. 91, P. 2.

Bring It Back.  The person who stole the beautiful Daguerreotype view of the Philadelphia Exchange, from the door of Messrs. Fontayne & Porter, had better return it at once, as it has been seen and admired by thousands in this city, and would undoubtedly lead to the detection of the thief should he offer it for sale.  It is highly prized as a specimen by the owners, and we hope they may recover it.

1849 August 11.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  August 11, 1849, Vol. XII, No. 111, P. 1.

Passing along Fourth street a few days ago, my attention was arrested at the entrance to the Daguerrean rooms of Messrs. Fontayn & Porter, by a very perfect and beautiful picture of Girard College, at Philadelphia.  Being myself a sort of amateur operator, the superiority of this, together with other specimens exhibited at their door, I determined to embrace the earliest opportunity of paying said gallery a visit.  I this morning spent a couple of hours in examining and studying its contents, and, although I have visited all the best establishments of this kind in New York and Philadelphia, I am free to say that I have seen but few specimens to equal those which adorn this gallery.—The collection comprises a great variety of landscape views, family groups, &c., much superior to any I have seen elsewhere.  The taking of views and groups of persons, has always been considered the most difficult branch of the art, and it is a branch in which but few operators have been successful; but the efforts of these gentlemen, in this department of their profession, may be set down as the ne plus ultra of excellence.  I was highly pleased and interested in examining a very comprehensive view of your “Queen City of the West.”—This is indeed a beautiful picture, embracing the entire river line of the city—a distance of some six or seven miles!  So faithfully and distinctly are the various objects represented, that the name of the different steamboats lying at the wharves, are legibly brought out.  The sign on all the warehouses, stores, &c., fronting on the river, are likewise given with equal distinctness.  I also read the names of several firms, on large buildings, situated high up in the city.  This, so far as my knowledge extents, is the greatest feat ever performed in the art of Daguerreotyping.

The collection also embraces views of Fairmount water-works, scenes on the banks of the Schuylkill river, and many of the finest residences and public buildings in Philadelphia—all of them perfect, even under the test of a strong magnifying glass—throughout, their softness, evenness and beauty of finish, is remarkable.  I was informed, upon inquiry, that some of these splendid sketches might be purchased at a fair price, and it is matter of surprise with me, that they have not ere this been transferred to the dwellings of some of your wealthy citizens. Certainly, nothing more beautiful or interesting could adorn the walls of a private parlor.

Among the many portraits of distinguished persons, is a very accurate and life-like one of “Amelie,” of Kentucky.  Having frequently seen this gifted lady, I am able to judge as to the merits of her picture.  Here, also, may be seen a likeness of the brave and noble-hearted sailor, Frederick Jerome, who, at the imminent risk of his own, saved so many lives from the burning of the steamship “Ocean Monarch.”  He is taken in the same clothes he wore at the time this awful scene occurred.  The actions of this obscure sailor, on this occasion, were sublime, and shed around him in his humble station a moral grandeur and exaltation of character, to which but few in any sphere of life may lay claim; and far more ennobling than the rank and title of a king!  The “counterfeit presentment” of many distinguished statesmen , poets and divines, may likewise be seen and studied here.  Clay, Van Buren, Dallas, Clayton, Buchanan, Webster, Irving, Cooper, Bryant and John Quincy Adams, are among the number—all of them accurate, distinct and life like.  I was shown also several likenesses taken in death, by these accomplished operators.  The partially closed, expressionless eyes, the pale, fixed features, and even the cold sweat upon the brow, are rendered with an effect so startling and truthful as I had thought never could be attained in a type of the departed.

Messrs. Fontayne & Porter are worthy of all praise and encouragement, for what, with energy and talent they have done to develop and perfectionate their profession in the west.

With your permission, Mr. Editor, I may offer, before my departure from amongst you, a few remarks concerning matters and things in general in your city—her peculiarities, business, present condition, and future prospects—impressions and fore-shadowings of a         Sojourner.

1849 August 23.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  August 23, 1849, Vol. XII, No. 121, P. 2.

Daguerreotype Portrait Gallery.  No. 30 West Fourth St., Bet Main and Walnut.  Fontayne & Porter, Proprietors.—This establishment contains the largest and best collection of Portraits, and Family Groups, of any other in the West.  The Franklin Institute, at their last exhibition in Philadelphia, awarded to F. & P. a Silver Medal, the highest premium, for the best Daguerreotypes exhibited.  This alone proves the superiority of our pictures.—We invite all to pay us a visit and examine for themselves.

The art of Daguerreotyping taught on scientific principles.  We have added to our already extensive establishment, a large room expressly for the use of those who may wish a knowledge of the art.  Here they are taught all branches connected with Daguerreotyping, together with all the late improvements.

Likenesses and Family Groups taken in any weather.—We have lately received one of the latest improved Cameras from Germany, which enables us to take children and infants in two and three seconds sitting.  Frames, Cases, and Gold Lockets, of various patterns for sale.  Alsom German and American Cameras.

N. B.  The best hour for taking children is from 11 A. M. to 4 P. M.

No. 30 West 4th street, between Main and Walnut.  Fontayne & Porter.

Advertisement ran sixty-two times between August 23 to November 20, 1849.

1849 December 10.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  December 10, 1849, Vol. XII, No. 214, P. 2.

Daguerreotyping.  We were shown yesterday the likeness of twins, two years old, taken by Fontayne & Porter, No. 30 West Fourth street, which elicited general admiration.  The perfection to which this art has been brough is truly astonishing.

1850 March 16.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  March 16, 1850, Vol. XII, No. 294, P. 2.

The Washington Euterpeans.  Fontayne & Porter on Fourth street near Walnut, have just completed a beautiful Daguerreotype of those justly popular singers.  It is a group of them all, six in number, and can be seen at their gallery No. 32, west Fourth street.

1850 October 24.  Daily Ohio Statesman.  (Columbus, Ohio.)  October 24, 1850, Vol II, New Series—No. 979, No 880.

Ohio State Agriculture Fail.  Discretionary Premiums…

Fontayne & Porter, Cincinnati, for superior daguerreotypes.

1850 October 24.  Liberty Hall And Cincinnati Weekly Gazette.  (Cincinnati, Ohio.)  October 24, 1850, Vol. 51, No. 2415, P. 2.

Ohio State Board of Agriculture.  The following is a list of premiums awarded by the several committees, also the discretionary premiums recommended and amended by the Executive Committee…

Paintings And Drawings, Open To All…

Best specimen of Architecture, Fontayne & Porter, Cincinnati,      Dip.

Best collection of Portraits, Thomas Faris, Cincinnati,                        Dip.

Best specimen of single face, E. C. Hawkins, Cincinnati,                        Dip.

Best specimen of Talbotypes, E. C. Hawkins, Cincinnati,                        Dip.

1851 September.  The Photographic Art Journal.  (New York, New York.)  September 1851, Vol. II, Vo. 3, P. 153-154.

From La Lumiere.  The Worlds’ Fair.  Translated from the French by J. Russell Snelling, M. D.  To Monsieur Montfort:  Sir:—Intrusted by you with the honorable and delicate mission of describing to the readers of La Lumiere, in a series of critical letters, the contributions of the photographers of different nations to the Worlds’ Fair at London, I cannot wholly conceal from myself for a single moment the many and various difficulties which this task imposes upon me.   I have likewise, hesitated a long time as to the manner which it would be the most expedient and useful for me to begin the subject.  A single word from one of those men whom it gives me pleasure to call my perception in the art, terminated my perplexities and decided my irresolute mind.  In a visit of several days—made quite recently to Paris.  I related my troubles to Mr. Ziegler, who thus said to me:  “Why give yourself so much trouble to arrive less expeditiously at that point which you could reach very easily by marching straight before you?  The chief wish of our photographers is, to know what their brethren of foreign countries are sending to London.  Commence by making out a catalogue, than you will render an account of the woks.”

The advise was good, and I have followed it.  In the indication of the name of the artists, I have adopted the alphabetical order.  Before the name I inscribe the number of the order in which each member is found in the list; after the name, I write the number which is devoted to him in the official catalogue; then I indicate the number of frames, with those proofs which they contain, designate those which are upon paper, upon plate, and upon glass; and afterwards, I copy the excellent remarks accompanying the works which the authors have judged apropos.  As to a classification of nations, it was very natural that I should have followed the same order which has been adopted in the Crystal Palace.  To commence with the United States, the department of which is situated at the eastern extremity of the Hyde Park edifice, and to finish our description with England and its dependencies, which are placed at the western extremity, and passing along through the intervening nations, appears to me the most rational method.

United States of America:—

1.  Mr. Brady, of New York.  137, has exhibited 35 portraits upon plates.

2.  Mr. Evans, Buffalo, U. S., 105; Three frames, each containing six portraits upon plates.

3.  Messrs. Fontayne & Porter, (bearing the number 550 which does not yet exist in the U. S. catalogue):  view of Cincinnati, composed of eight plates united in the same frame, and where the points of junction are concealed by perpendicular fillets, in such a way that the spectator appears to see the city through a gallery of columns.

4.  Mr. Harrison, 225, Five portraits upon plates, and several camera obsecura.

5. Messrs. W. & F. Langenheim: Panorama of Philadelphia and a view of Fairmont, near Philadelphia.  In both, several proofs upon paper, are brought together so as to form a panorama.  Talbotype.

6.  Mr. Lawrence, 151, Twenty-six portraits, among which six are representations of three persons from nature.

7.  Mr. J. G. Mayall, Philadelphia, 491; Seventy-two plates, among which is found Notre Dame, from M. Le Baron Gross.

8.  Messrs. Meade Brothers, N. Y., 109; Twenty-four frames containing nearly all single portraits upon plates, together with some groups.

9.  Mr. W. A. Pratt, Richmond, Va., 264; Three frames enclosing jointly twenty-six portraits upon plates.

10.  Mr. Jno. A. Whipple, Boston; 451: Five single portraits; three family groups, one of which has seven figures, another nine, and the last six, the whole upon plates.  A daguerreotype of the moon taken by means of the large telescope at the Cambridge observatory.

10.  Mr. J. H. Whitehurst, Norfolk, Va., 377: Twelve views upon plates, of the Niagara Falls, taken from nature, in Sept. 1850.

1852 January 6.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  January 6, 1852, Vol. XV, No. 72, P. 2.

Daguerreotypes by the mammoth sky-light.—Fontayn & Porter, No. 30 West Fourth street, between Main & Walnut,—are always fully prepared (rain or sunshine) to accommodate you with a Miniature in their unsurpassed style.

1855.  Cincinnati City Directory.  (Cincinnati, Ohio.)  Advertisements P. 76.

Fontaine’s Gallery Of Daguerreotype Portraits, And Family Groups, No. 6 West Fourth Street, Between Main and Walnut.

1855 January 20.  Cleveland Daily Plain Dealer.  (Cleveland, Ohio.)  January 20, 1855, Vol. X, No. 226, P. 2.

Now Look Out.  The following communication from Dr. Buchanan, of Cincinnati, to the New York Tribune, discloses the fact that the whole Rag Money system is in danger of being blown sky high by the magic power of Photography.—Counterfeiters will not be slow in availing themselves of the discovery, and then they will be able to deceive the very elect among the money changers.  Dr. Buchanan says:—

I have just witnessed some illustrations of the art of Photographic Counterfeiting, which I deem highly important, not only to bank officers, but to the public at large.  Mr. Fontayne, of this city, one of the best daguerreotypists in the world, has recently made several photographic copies of bank notes, which far surpass, in the perfection of their details, anything which has ever been done in the old way of counterfeiting.  When these photographs are carefully taken on proper bank note paper, they defy detection either by the naked eye or by microscopic inspection…

1855 January 31.  The Ashland Union.  (Ashland, Ohio.)  January 31, 1855, Vol. IX, No. 36, Whole No. 1202, P. 1.

Same article.

1855 January 31.  Cadiz Democratic Sentinel.  (Cadiz, Ohio.)  January 31, 1855, Vol. 21, No. 39, P. 2.

Bankers, Look Out.  Same article.

1855 February 8.  Carroll Free Press.  (Carrollton, Ohio.)  February 8, 1855, Vol. 23, No. 6, P. 1

Photography in Counterfeiting.  Correspondence of the N. Y. Tribune.  Same article, expanded.

1856 May 29.  Cleveland Morning Leader.  (Cleveland, Ohio.)  May 29, 1856Vol. 10, No. 49, P. 1.

Ryder’s Photographs.—We called in at Ryder’s daguerrian rooms yesterday, when the first objects that caught our attention were four most admirable executed photographs, two of life size and two cabinet size.  They are certainly as fine specimens of the art as were ever exhibited in this city.  They were taken by Mr. Chas. Fontague, (sic.) whose services Mr. Ryder has lately secured.  Mr. F. is from Cincinnati, where his pictures have attracted general admiration.  He showed us a large collection of valuable photographs, among which were many portraits of distinguished personages, which have a very life-like appearance.  Among the rest were some beautiful scenes from nature, but the most remarkable of all was a collection of pictures taken from the ruins of Carthage, Thebes and Memphis, and other Egyptian and African ruins; besides these scenes from around Athens and Rome that are highly entertaining.  These should be framed and hung around the rooms for the benefit of the visitors, as they are not only well worth seeing but instructive.  Mr. Ryder has done well in thus associating with him in his business Mr. Fontague, (sic.)  and we feel confident that they cannot but be highly successful.  Their intention is to take photographs of all sizes.  We understand the smaller ones will be put at very reasonable prices and within the means of any one desirous of having a good picture taken.

1856 March 31.  Cleveland Morning Leader.  (Cleveland, Ohio.)  March 31, 1856, Vol. 10, No. 50, P. 1.

The name of the gentleman associated with Mr. Ryder in the Photograph business is Chas. Fontayne, instead of Fonyague, as we printed it on Saturday.  Mr. F. is the same person who photographed the bills of several of the Cincinnati banks so exactly that the officers of the banks could not distinguish between the imitations and the genuine ones.  We would again say that his pictures are highly worthy the attention of all interested in such matters.

1856 April 28.  Cleveland Daily Plain Dealer.  (Cleveland, Ohio.)  April 28, 1856, Vol XII, No. 102, P. 3.

Ryder is taking a great number of Ambrotypes in the very best style.  The Photographs of Mr. Fontayne now being taken at these rooms have not been surpassed in the West.  They compare favorably with the best now taken in New York, and colored or not, are beautiful representations of the human face.

1856 May 1.  Cleveland Morning Leader.  (Cleveland, Ohio.)  May 1, 1856, Vol. 10, No. 78, P. 2.

Photographs, of Every Style and Size, from Lockets to Life Size, Plain and Colored, at Ryder’s, over Merchants’ Bank.

Prof. Fontayne, late of the well known form of Fontayne & Porter, Cincinnati, and the Pioneer Of The Photographic Art in that City, has charge of the Photographic Department.

His portraits are unequalled in this country.  Daguerreotypes Copied to any size, and Finished, in Oil or Water Colors, equal to the Finest Painting.

Lovers of Art are invited to call and examine specimens. 

Advertisement ran from May 1 to September 30, 1856.

1856 May 2.  Cleveland Daily Plain Dealer.  (Cleveland, Ohio.)  May 2, 1856, Vol. XII, No. 106, P. 2.

Photographs, of Every Style and Size, from Lockets to Life Size, Plain and Colored, at Ryder’s, over Merchants’ Bank.

Prof. Fontayne, late of the well known form of Fontayne & Porter, Cincinnati, and the Pioneer Of The Photographic Art in that City, has charge of the Photographic Department.

His portraits are unequalled in this country.  Daguerreotypes Copied to any size, and Finished, in Oil or Water Colors, equal to the Finest Painting.

Lovers of Art are invited to call and examine specimens. 

Advertisement ran from May 1 to 26, 1856.

1856 May 15.  Cleveland Daily Plain Dealer.  (Cleveland, Ohio.)  May 15, 1856, Vol XII, No. 117, P. 3.

Ryder’s Ambrotypes.—The rooms of Mr. Ryder, the Daguerreotypist, over Merchants’ Bank, are becoming a resort for the beauty and fashion of the city.  As an artist, his success in securing good pictures has rarely been surpassed in this country.  The comparatively recent introduction of photography has not become familiar to the people, but those who have visited the exhibition of Mr. Fontayne’s photographs, will cheerfully testify to their admirable perfection and beauty.

1856 August 14.  Cleveland Morning Leader.  (Cleveland, Ohio.)  August 14, 1856, Vol. 11, No. 195, P. 3.

A beautiful photograph, from a splendid steel engraving, has just been taken by Mr. Fontayn, at Ryder’s Daguerrean Gallery, of “Evangeline,” one of the sweetest of all poetic creations.  The countenance of “Evangeline” is angelic in its simplicity and innocence, and perfectly charming in its beauty.  Mr. Fontayne has several of these pictures for sale; those who love the beautiful will not require an invitation to purchase after seeing the picture.

1856 August 27.  Cleveland Daily Plain Dealer.  (Cleveland, Ohio.)  August 27, 1856, Vol XII, No. 204, P. 3.

Miniature City Map.—Pierce & Co. have just published on a little sheet a very neat map engraved by Tibbitts, of this city.  We understand that a photograph was taken at Ryder’s by Prof. Fontayne, engraved and electrotyped and is furnished at five cents a sheet, or 75 cents the quire,  It will be found convenient for business  men and others, to inform their correspondents particularly as to the location of a residence or office.  It gives the names of the streets, designates the wards and shows the different lines of the railroads meeting in the city.

1857 August 29.  Cleveland Morning Leader.  (Cleveland, Ohio.)  August 29, 1857, Vol. 11, No. 208, P. 3.

Mr. Fontayne, with Mr. Ryder, has taken several “star” pictures of residences about town—among them, that of Mr. Price, on Euclid street.  It is a splendid picture; and is an excellent method, for those who feel disposed, to secure pleasant remembrances of the “homestead.”

1859 July 28.  Railroad Record and Journal of Commerce, Banking, Manufactures and Statist..  (Cincinnati, Ohio.)  July 28, 1859, P. 270.

Fontayne’s Telesmatic Photograph.  In the short notice which we gave of this “magical light-writer” last week, we had only time and space to say that it would print from 3.000 to 4,000 perfect photographs in an hour.  This, we then thought, was sufficiently marvelous to be believed by only a few of the most credulous.  Since then we have become better acquainted with the capacities of the inventor and his machine, and we have no hestitation in saying that it can be made to far surpass even these marvelous figures.

Photographers have been able, for some years, to make paper exceedingly sensitive to the influence of reflected light; and one great difficulty with many of them, has been to so retard this sensitiveness, as that they could admit the rays of light, and instantly shut them out, without spoiling their paper.

This waste of paper, too, has been another serious objection, and has kept the price of photographs ranging at high rates.

These difficulties Mr. Fontayne has been facing for years, earnestly working against them, and such has been his success, that his pictures have stood first wherever they have been presented.

Being cast upon what many supposed his death-bed, about the first of this year, he had time sufficient to classify his experiments, to theoretically meet his difficulties, and discuss them as they seemed to be presented.

The results wa have already given, and, in reviewing the subject, we find that he makes the paper, upon which the picture is to be produced, exceedingly sensitive.  This he dries, and places upon a cylinder in a dark case, having apparatus on the exterior by which the cylinder can be rotated.  In the top of this case is an orifice through which the light can be admitted; and underneath this is the negative, so adjusted that it can be made to touch the paper, and leave it similar to the fly in a printing machine.  Over this orifice and negative, is mounted a large condensing lens, of such power that a most intense light can be projected through the negative upon the paper beneath.  But to prevent any action of the light, except as wanted, this orifice is closed by a slide which is adjusted in a frame, and so operated by coil springs, that his motion is instantaneous, and the orifice is opened and closed as instantaneously as the contraction of a coil spring can produce action.  By means of connecting levers and cams, one operator can rotate the cylinder, cause the slides to move together in such a manner, that with one negative, one hundred flashes of light may be admitted per minute, and thus over 6,000 pictures may be given in one hour.  But the same machine will admit as many as ten small negative , all operated at the same time, and only requiring more paper.

His improvements also extend to the manner of toneing (sic.) up these impressions afterward; for the paper, on being removed from the cylinder, is as white as when rolled upon it; but the governor of the light is not mistaken.  The invention is truly a remarkable one, and will introduce some new flashes in photography.—Scientific Artisan.

1859 September 10.  The Penny Press.  (Cincinnati, Ohio.)  September 10, 1859, Vol. 2, No. 18, P. 3.

If any one wishes to run his face, Cincinnati furnishes as progressive Photographers as can be found anywhere.  The walls of the room devoted to the fine arts prove that.  We do not see, however, specimens of the recent wonderful discovery of Fontayne, of this city, by which he can print fifteen thousand impressions of a picture in an hour.  Fontayne’s Telesmatic Photographs make eastern artists say, “That Queen City is a great place.” 

1859 September 22.  Evening Star.  (Washington, D. C.)  September 22, 1859, Vol. XIV, No. 2,069, P. 1.

Patents week ending September 20, 1859.  Chas. Fontayne, of Cincinnati, O.—For photographic printing machine No. 25, 540.

1859 September 28.  The Penny Press.  (Cincinnati, Ohio.)  September 28, 1859, Vol. 2, No. 33, P. 1.

Patens To Ohio Inventors.  The following is the list of patents issued to Ohio inventors, from the United States Patent-office, for the week ending September 20, 1859, each bearing that date…

Charles Fontayne, of Cincinnati, Ohio—For Photographic printing machine.  [No. 25, 540]

1859 September 30.  Dayton Daily Empire.  (Dayton, Ohio.)  September 30, 1859, Vol. 10, 10 217, P. 2.

Patens To Ohio Inventors.  The following is the list of patents issued to Ohio inventors, from the United States Patent-office, for the week ending September 20, 1859, each bearing that date…

Charles Fontayne, of Cincinnati, Ohio—For Photographic printing machine.  [No. 25, 540]

[1] Craig’s Daguerreian Registry.

Day, Jr., Samuel S.

Patent, ,

1855                132 Mercer, New York, New York.

1855.  New York City Directory.  (New York, New York.)  1855/1856. Published by John Fowler Trow.

Day, Jr., Samuel S.  Silverplater, 132 Mercer.  H-188 Laurens.

1855 October 23.  Evening Star.  (Washington, D. C.)  October 23, 1855, Vol. VI, No. 875, P. 2.

Patents issued week ending October 23, 1855…Samuel S. Day, of New York, N. Y.—For improved daguerreotype plate vise, No. 13,701.

Davis, Jr., Daniel

Patent, , ,

1839-1845       11 Cornhill, Boston, Massachusetts.[1]

1842                75 Court Street, Boston, Massachusetts.

1846-1852       428 Washington Street, Boston, Massachusetts.1

1853                526 Washington Street, Boston, Massachusetts.1

1842 July 13.  Boston Semi-Weekly Advertiser.  (Boston, Massachusetts.)  July 13, 1842, Vol. LXXIX, No. 6388, P. 3.

By Clark & Hatch [Office No. 56 Milk st.]…

Electrical Machines.  On Tues next, at 11 o’clock—at office, Three superior Electrical Machines, suitable for schools or families.

Daguerreotype Apparatus—2 very complete Daguerreotype Machines, made by Professors Plumbe & Davis, with a book of instructions, by M. Daguerre.  Also a handsome Show Case…

1842 October 22.  United States Patent Office. 

Daniel Davis, Jr. of Boston, Massachusetts, Assignor to John Plumbe, Jr.  Patent No. 2826.  Improvement in Coloring daguerreotype-pictures.

1851 February 26.    Boston Daily Evening Transcript.  (Boston, Massachusetts.)  February 26, 1842, Vol. XXII, No. 6330, P. 2.

A Chance For The Knowing Ones.  It will be seen from an advertisement in our columns today, that Mr. Daniel Davis, the well known manufacturer of electrical instruments, 428 Washington street, offers a reward of one thousand dollars to any one who will furnish a solution of the phenomenon, known as “spirit rapping,” without reference to the spiritual theory.  Mr. Davis is a well respectable citizen, who makes his offer in good faith and form a sincere wish to be enlightened…

1851 February 26.    Boston Daily Evening Transcript.  (Boston, Massachusetts.)  February 26, 1842, Vol. XXII, No. 6330, P. 3.

$1,000 Reward.  I hereby offer the sum of One Thousand Dollars to the person who will satisfactorily explain the phonemes of the so called “Spiritual Manifestations,” without reference to their being made as they purport to be, by departed spirits.

I am induced to make the above offer, from having seen various articles in the newspapers in relation to the so called “Spirit Rappings,” in which many hard names are used, denouncing those who believe in them.

Believing, as I do, that it is much more easy to cry “humbug” than it is to explain these things, the above reward is offered in good faith, and will be promptly paid.  Daniel Davis, Magnetic Instrument Maker, 428 Washington st. 

[1] A Directory Of Massachusetts Photographers 1839-1900.

Coffin, Jr., David N. B.

Patent, ,

1855                Address Unknown, Lynn, Massachusetts.[1]

1855 February 7.  Evening Star.  (Washington, D. C.)  February 7, 1855, Vol. V, No. 654, P. 1.

Patent for the week ending February 6, 1855….—David N. B. Coffin, Jr., of Lynn, Mass. For improved daguerreotype holder.  No 12,344.

[1] A Directory Of Massachusetts Photographers 1839-1900.

Brown, James

Daguerreotypes, Patent, Portrait Painter, , , ,

1850-1853       181 Broadway, New York, New York.

N. D.  The New York Historical Society’s Dictionary Of Artist In America 1564-1860.  P. 86.

Brown, James.  Landscape, marine, genre, and portrait painter, born in New York State about 1820; at NYC, 1844-1855; St. Louis, 1859.  A portrait painter, J. Brown, is listed in NYBD 1844; James Brown appears in NYCD 1850 as an artist, and exhibited at the American Art-Union (1850) and the National Academy (1850-1855).

New York City Directories.  Published by Doggett, John(1843-1852); Trow, John Fowler (1853-on)

  1. 1843 to 1849 not listed in directory.
  2. 1850-1853 listed as an artist at 181 Broadway, H- 14 White.
  3. 1854 to 1856 not listed in directory

1851 August 28.  The New York Herald.  (New York, New York.)  August 28, 1851, Whole No. 6881, P. 3.

James Brown, Daguerrean Artist, Late Student of the National Academy of Design, and of the new Water Color Association, has in use, at his Gallery, 181 Broadway, up stairs (rear), all the modern improvements in the art.

Advertisement ran from August 28 to September 2, 1851.

1851 September 4.  New York Daily Tribune.  (New York, New York.)  September 4, 1851, Vol. XI, No. 3239, P. 4.

We see it stated in one of our contemporaries, that “New-York has returned to town, and will again take up her residence here for the next eight or nine months;” but we hope before she settles down to the dull, plodding business of life, she will step into the Daguerrean Gallery of Mr. James Brown, No. 181 Broadway, no stairs, and have her features transferred to the plate, while yet in her heyday of loveliness; for a few months of city life will quickly destroy the roses brought out on her cheeks by her late ramble through the hills and dales of the blooming country.

1851 September 5.  New York Daily Tribune.  (New York, New York.)  September 5, 1851, Vol. XI, No. 3240, P. 4.

These cool, delightful mornings make us feel on good terms with ourselves and with our fellow beings; and, beside, bring out our “good looks” in bold relief.  No better time can be chosen to have picture taken, and no better artist in the Daguerrean Art can be found in this city, than Mr. James Brown, of No. 181 Broadway, who stands unrivalled, not only as a daguerreotypist, but as a practical artist, and whose pictures have been pronounced, by connoisseurs, the ne plus ultra of the art.  Mr. Brown has adopted all the modern improvements, and is prepared to take pictures of any desired size, color or shade, and at moderate rates.

1851 September 5.  The New York Herald.  (New York, New York.)  September 5, 1851, Whole No. 6889, P. 5.

Mr. James Brown, Daguerrean Artist, Member of the Water Color Society—Gallery, 181 Broadway, between Courtlandt and Dey Streets.  The public, and stranger particularly, are invited to call and examine his specimens; and in particular, to note the peculiarly artistic arrangements, and general tone and finish, for which the picture from this Gallery stand pre-eminent.

Advertisement ran from September 5 to 10, 1851.

1851 September 10.  New York Daily Tribune.  (New York, New York.)  September 10, 1851, Vol. XI, No. 3244, P. 4.

The Art Of Daguerreotyping, although yet in its infancy, has been reduced to a science as nice and minute as that of Astrology; and we are proud to record the merits of such artists in the business as really deserve it.  In this list stands prominently the name of Mr. James Brown, whose gallery is located at No. 181 Broadway.  Mr. Brown’s picture possess a tone and finish rarely met with, and recommend themselves immediately to all who have a taste for the beautiful in art; and we are pleased to hear that his merits are receiving their just award.

1851 September 21.  The New York Herald.  (New York, New York.)  September 21, 1851, Whole No. 6905, P. 3.

Mr. James Brown, Daguerrean Artist, Member of the Water Color Society—Gallery, 181 Broadway, between Courtlandt and Dey Streets.  The public, and stranger particularly, are invited to call and examine his specimens; and in particular, to note the peculiarly artistic arrangements, and general tone and finish, for which the picture from this Gallery stand preeminent.

Advertisement ran from September 21 to 26, 1851.

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.

1853 November 16.  The Daily Union.  (Washington, D. C.)  November 16, 1853, Vol. III, No. 183, P. 3.

List of patents issued from the United States Patent Office for the week ending November 15, 1853—each barring that date….

James Brown, of New York, New York, for improvement in daguerreotype apparatus.

William and William H. Lewis, of New York, New York, for improved coating-box for daguerreotype plates.  No. 10, 225.

1853 November 16.  The Evening Post.  (New York, New York.)  November 16, 1853, Vol. LII, P. 2.

James Brown, of New York, N. Y.—for improvement in daguerreotype apparatus.  Dated November 15, 1853.

Wm. and Wm. H. Lewis, of New York, N. Y.—For improved coating box for daguerreotype plates. Dated November 15, 1853.

1853 November 17.  The New York Herald.  (New York, New York.)  November 17, 1853, Whole No. 2628, P. 2.

American Genius.  James Brown, of New York, N. Y., for improvement in daguerreotype apparatus.

William and William H. Lewis, of New York, N. Y., for improved coating-box for daguerreotype plates.  No. 10, 225.

Bolles & Smith

Ambrotypes, Patent, Photographs, , , , , , , ,

1857-1859       Over George Story’s Saddlery Store, Main Street, Cooperstown, New York.[1]

1859                Over D. L. Birge’s Clothing Store, Cooperstown, New York

1857 February 20.  Evening Star.  (Washington, District of Columbia.)  February 20, 1857, Vol. IX, No. 1,278, P. 2.

List of patents for the week ending February 17, 1857.  Luzerne M. Bolles and Washington G. Smith, of Cooperstown, N. Y.—For photographic camera box.  No. 16,637.

1858 January 8.  The Freeman’s Journal.  (Cooperstown, New York.)  January 8, 1858, Vol. L, No. 22, Whole No. 2,570, P. 3.

The Patent taken out by Messrs. Bolles & Smith of this place, to which we have alluded at length on a previous occasion, for taking out-door views by photographic process, we are pleased to learn , is attracting favorable attention, and their agent has already disposed of a number of county rights to use the instrument.  Messrs. B. & S. manufacture all the instruments, at their establishment in this village.

1858 July 1.  The Freeman’s Journal.  (Cooperstown, New York.)  July 1, 1858, Vol. L, No. 47, Whole No. 2,595, P. 4.

25 Agents Wanted!  Bolles & Smith’s Patent Camera-Box.  Twenty-Five Agents are wanted to dispose of the Patent Rights of this popular invention.  Good active young men can find no more profitable employment.  Apply at the Daguerrean Rooms of Bolles & Smith, Cooperstown. 

Advertisement ran from July 2, 1858 to April 8, 1859.

1859 January 21.  The Freeman’s Journal.  (Cooperstown, New York.)  January 21, 1859, Vol. LI, No. 24, Whole No. 2,624, P. 4.

List of Premiums Awarded by the Otsego Co. at [    ] in 1858….Discretionary Permits….

Bolles & Smith, patent Camera-Box, dip and cash $3

Bolles & Smith, Photographs and Ambrotypes, cash $1…

J. Pardoe, oil paintings and photographs in oil, cash $2.

1859 April 22.  The Freeman’s Journal.  (Cooperstown, New York.)  April 22, 1859, Vol. LI, No. 37, Whole No. 2,637, P. 3.

Dissolution.—Notice is hereby given that the late firm of Boles, Smith & Co. is hereby dissolved my mutual consent, G. J. Olendorf retiring from said firm, which hereafter will be conducted by Bolles & Smith.  April 14 1859.

Advertisement ran from April 22 to June 3, 1859.

1859 May 20.  The Freeman’s Journal.  (Cooperstown, New York.)  May 20, 1859, Vol. LI, No. 41, Whole No. 2,641, P. 3.

Bolles & Smith’s New Photographic Gallery of Art, Opposite The Bank Of Cooperstown. Opposite The Bank Of Cooperstown.  Over D. L. Birge’s Clothing Store.  Over D. L. Birge’s Clothing Store.  Do Not Mistake The Place.  South Side of Main Street.

Bolles & Smith and G. L. Olendorf give particular notice to the public generally, that they are in no way connected with the old rooms formerly occupied by Olendorf & Smith.  We also return our thanks for the liberal patronage received for the past eight years from our patrons and friends, and invite them to call and examine our newly arranged sky and side light, combined upon the latest scientific principles, which gives better shades and more perfect likenesses then have ever before been attained in this village, together with the best fitted and most convenient suit of rooms in this section of the country. 

Advertisement ran from May 20 to September 23, 1859.

[1] Address is based on May 20, 1859 advertisement and is speculation on my part.

Bergstresser, Jacob

Monumental Daguerreotype Cases, Patent, , ,

1859                Address Unknown, Berrysburgh, Pennsylvania.

1859 February 12.  Evening Star.  (Washington, D. C.)  February 12, 1859, Vol. XIII, No. 1,881, P. 1.

List of patents for the week ending February 8, 1859.  Jacob Bergstresser, of Berrysburgh, Pennsylvania.—For improvement in monumental daguerreotype cases.  No. 22,850.

American Porcelain Photographic Company

Patent, Photographs, , ,

1859                781 Broadway, New York, New York.

1859 November 3.  The New York Herald.  (New York, New York.)  November 3, 1859, Whole No. 8459, P. 11.

The New Discovery In Photography.—The American Porcelain Photographic Company, patentees of the newly discovered part of photographing on porcelain, and opaque bodies of irregular or round surfaces, having completed all their arrangements, are now prepared to dispose of rights to use their patented process in the various States of the Union.  For terms, &c., apply at their office, 781 Broadway, where the public are invited to examine specimens of this new, beautiful and useful art.

1859 November 9.  The New York Herald.  (New York, New York.)  November 9, 1859, Whole No. 8465, P. 4.

Our attention has been lately called to the new process of photographing upon porcelain cups and vases which is now exhibiting in the rooms of the American Porcelain Photograph Company in Broadway.  The likeness are perfect, and they are rendered permanent by a [ ? ] mode of glazing, which dispenses with the [burning] in.  In England Mr. Fox Talbot and others have taken [ ? ] for photographing on flat porcelain surfaces; [ ? ] they have not succeeded in transferring the image to [and] or uneven bodies.  The patents held by this company claim the exclusive discovery of this latter process, [and] the portraits that they produce by it derive, as may [ ? ] imagined, a peculiarly soft and pleasing effect from transparency of the porcelain.

1859 December 12.  The New York Herald.  (New York, New York.)  December 12, 1859, Whole No. 8498, P. 7.

Photographs on Porcelain.—Portraits, far superior to the most exquisite miniatures in color, brilliancy, beauty and durability, produced by manual art are now being taken by the patented process of the American Porcelain Company, at their rooms, No. 781 Broadway.  These likenesses form the most economical, appropriate and beautiful presents for the holiday season, and all persons will do [well] to examine specimens of this novel and magnificent mode of photographing and compare its superiority over the ordinary and vulgar method.  The only place they can be taken is at No. 781 Broadway, nearly opposite Grace church.