Category Archives: Photographs

Silas A. Holmes

Ambrotypes, Daguerreotypes, Lampratype, Photographs, , , , , , , , , , , , ,

Why write about Silas A. Holmes? I knew he was important because he patented the stereoscopic camera in 1854, and while research the New York Daily Tribune I also could not help but see the similarities in the style of advertising between Holmes and other photographers like Tyler and Company and C. R. Rees.  Interesting that there is a connection and the common denominator is C. R Rees.  As I explore the time line below many question still are left unanswered about Rees and the possible partnership with Holmes.  How long did Rees stay involved with Holmes at 289 Broadway?  Did Rees take over the business after Harrison & Holmes partnership ended?  Another question is who was G. Holmes? Was this a typo or someone else operating at 289 Broadway? As I continue researching the Tribune and other newspapers I hope to answer some of these questions.

To date I know little about Holmes’ early years from the newspapers. There was an advertisement signed by S. A. Holmes, News Agent, Park Row on January 1, 1847, but there is no proof that this is Silas A. Holmes the Daguerreotypist.  John Craig[i] records him as being active in 1848-1849 at 289 Broadway in partnership with Charles C. Harrison.  I suspect that John was looking at one directory dated 1848-1849, not a single directory dated 1848, and another one for 1849.  Recent discovery in the Evening Post dated July 17, 1848 announces the partnership and gallery at 289 Broadway.  An advertisement appears on December 2, 1850 for Holmes with no mention of Harrison, and a second advertisement that appears on January 7, 1851 that he is late Harrison & Holmes.  The first newspaper accounts in the New York Daily Tribune for him was on March 26, 1851 and reads in part that he has a fine establishment with two splendid sky-lights, is long and well experienced in the art, and also stated that he charges moderate prices.

On September 13, 1851 in an advertisement in the New York Daily Tribune he states that Forty Thousand Daguerreotypes sold at Holmes’s Gallery, No. 289 Broadway, in five years.  The last line of the ad says that all the rooms are on the fourth floor of 289 Broadway, late Harrison & Holmes.  This brings up the fact that Holmes was in business at 289 Broadway in 1847.  It is unknown if the partnership with Harrison started that early but it is a safe bet that the partnership probably ended in late 1850 based on the advertisement of December 2, 1850.

The first mention (to date) of Charles C. Harrison was in the New York Daily Tribune on April 26, 1851. It mentions that Gurney is using a powerful instrument manufactured in this city by C. C. Harrison.  On October 28, 1851 an article appears about Harrison’s cameras and that he won a gold medal at the Fair at Castle Island, the following day the list of Premiums awarded at the Fair and Harrison’s address is listed at 85 Duane Street.

October 1, 1851 Holmes advertises that he has taken Daguerreotypes of the Monuments, Tombs, and Vaults in Greenwood Cemetery and that duplicate copies can be purchased at his gallery. Later that month October 29th he is awarded a silver medal at the American Institute Fair for his views taken at Greenwood.  The following day he announces that he can be found at the cemetery until he has taken pictures of the entire collection.

If you look at Craig’s work he states that Holmes was listed in New York City from 1848-1860, at 289 Broadway from 1848-1859, from 1859-1860 at 691 Broadway. He goes on to say that he was a partner in Rees & Co., Ca. 1853.  No advertisement for Holmes have been recorded between November 13, 1852 to June 2, 1854 in a partnership or alone.  His advertising has been to this point sporadic, there will be several ads in a month and then he won’t advertise for several month.  Always the advertisements only run for one day.[ii]  Craig reports that Rees was active in New York from 1853-1855.  From 1853-1855 at 289 Broadway and also listed in as being active at 385 Broadway in 1854-1855.

The first advertisement for Rees & Co. appears in the New York Daily Tribune on December 8, 1852—Rees and Co. advertise 25 Cent Daguerreotypes, No. 289 Broadway, that they are taking pictures by a new process late from Germany, with the application of machinery which enables them to take 150 pictures daily. On December 30 they advertise 150 to 300 daily.  On April 26, 1853 he advertises again—The Two Shilling Daguerreotype System originated by Rees & Co., with their new German process and power plate machine to take 300 pictures daily, proves the greatest feature in art of all modern improvements—it upsets the old fogies in the profession and the small potato clique who attempt to rival and imitate their work.  Some nude professors of model artist notoriety, who claim years of famous experience in the art, wake up amazed that a poor German gentleman with enterprise and invention, should have introduced a system of picture-making which no rival can imitate, and with which it is leading him on to fame and fortune, notwithstanding the fog and fogyism and inventions of the enemy.  Rooms No. 289 Broadway.

In a June 9th 1853 advertisement Rees states that they are doing 300 pictures daily and that they are using a German invention of machine power and rotary chemical apparatus to make their images. January 23, 1854 they are now making 400 daily pictures. March 22, 1854 advertisement—Great Improvement In Daguerreotyping.—The New York Daguerreotype Company have invented a double working Camera to take two portraits at once together with other improvements.  They are now taking 500 pictures daily, at 25 cents and upwards.  The last advertisement for Rees (by name) appeared on July 8th Wanted—The whole world of humanity to know that the first quality Daguerreotype Portraits are taken by Professor Reese, No. 289 Broadway. It’s interesting to note that there is no mention of Holms in any of Rees’s advertisements.

On May 30, 1854 Holmes was granted a patent No. 10,987 for taking stereoscope or other daguerreotypes, also referred to in advertisements as the Double Camera for taking two portraits at once. The question is what was Rees’s connection in this?  We might never know.  What is known is that the two shared the same address, 289 Broadway.  There must have been a connection or a partnership between the two based on the March 22 advertisement announcing the double camera.  The similarities in the advertisements between Rees; Tyler & Company and Holmes is hard to overlook and needs further research.  The terminology is very similar.  A lot of the advertisements found for Rees in both New York and Richmond, Virginia and Tyler also in Richmond, and in Memphis, Tennessee, use the same terminology “600 hundred (or more) taken daily” and they all are using the double camera and machine/steam power to make their images.

In the June 2, 1854 advertisement for Holmes the following ad appears. New Invention In Daguerreotyping.—By reference to the last list of patents granted May 30, 1854, S. A. Holmes, the Daguerreotypist, No. 289 Broadway, has been honored with a patent for his invention of the Double Camera for taking two portraits at once.  Rights of use, manufacture and sale of the Double Cameras for sale by the proprietor at his office.  No. 289 Broadway.

For the next several months Holmes advertises that he is taking 25 cent daguerreotypes, stereoscopic pictures and sun pictures. On March 28, 1855 he starts using the term Depot of Art to describe the gallery.  On May 2, 1855 the advertising takes a different twist—Photograph   Portraits for $1 to $5—Daguerreotypes 25 and 50 cents; Stereoscope Pictures, $1.  Taken by Holmes’ United States Patent Double Camera.  Depot of the New York Picture Club composed of 20 Artists taking 600 daily by German Steam Power, No. 289 Broadway.

On May 24, 1855 the following ad appears for the 289 Broadway address—Irish Artists—25 Cent Daguerreotypes.—Prof. Buffer of Dublin has arrived with his celebrated company of 25 Irish picture-makers, and has taken bunks at 289 Broadway for the season. Buffer & Co.

So far I have recorded 80 advertisements between June 2, 1854 – June 25, 1856. There are fifteen different ways the studio is identified.  20 times by the address only, 289 Broadway; 6 times by Depot of Art, 289 Broadway;  3 time by The Picture Factory, 289 Broadway; 1 time by the Depot of Economical Pictures, 289 Broadway;  9 times by Holmes, 289 Broadway;  1 time by the Irish Artists, 289 Broadway, Buffer & Co.; 2 times New York Picture Co., 289 Broadway; 1 time by Wholesale Picture Depot, 289 Broadway; 1 time as the Picture Company, 289 Broadway;  2 times as the Sky Parlors, 289 Broadway;  12 times as the Artist Club, 289 Broadway;  2 times as Holmes Art Depot , 289 Broadway;  3 times Depot of Machine Portraits, 289 Broadway;  5 times as Depot at 289 Broadway; and twice as G. Holmes.  What’s going on?

On August 1, 1855 Mathew Brady is the first to introduce Ambrotypes to New York.

On August 13th William Augur Tomlinson announces that he also is making Ambrotypes and that he holds Cuttings patent rights.  Repeatedly advertises this fact as Brady and others advertise that they are making Ambrotypes.  On October  11th, Holmes advertises New Discovery In Art—Portraits on Glass—Holmes, No. 289 Broadway, offers to the people a new style of Sun Pictures termed the “Lampratype”[iii]  While Holmes is not using the term Ambrotype technically they are Ambrotypes.

Several week later on November 1 the following advertisement appears. $200,000 have been saved to the people, and the subscriber has made a fortune out of the Original Twenty-Five Cent Daguerreotypes, No. 289 Broadway, and he will now sell the entire Picture Factory to any responsible party and retire from the interesting excitement appertaining to Life in a Daguerreotype Room.  Holmes.

It’s not known if Holmes sold his gallery, the advertisement ran only one time, according to Craig he was listed at 289 Broadway until 1859, in addition his name does appear on the advertisements after this date. The real question is does C. R. Rees have anything to do with the gallery after 1855?  In correspondence with D. A. Serrano author of an article entitled Southern Exposure! The Life and Times of C. R. Rees & Co.  One of Rees’s expressions is the word fogyism which appears several times the last appears on November 24, 1855.  One hundred years ahead of time—Daguerreotypes—one shilling—No. 289 Broadway—the revolutionary community of picture makers, and headquarters of the Artists’ Club, composed of twenty members, who repudiate, fogyism and borrowed thunder.

I had the opportunity to look at five New York City Directories 1856-1857; 1857-1858; 1858-1859; 1859-1860 and 1860-1861. Unlike most of the directories from Massachusetts there was no business directory, but there were a few advertisements.  First looking in the residence listing for Silas A. Holmes  1856 directory list him as a Daguerreotyper at 289 Broadway; 1857 as an Artist, 289 Broadway; 1858 as a Photographer at 289 Broadway; 1859 he is listed as gallery, 691 Broadway, late 289 Broadway; and the 1860 list him as photographs 395 Broadway.  No advertisements were found in the city directories for Holmes in the 1856-1859 directories.  The 1860-1861 directory for The Holmes Gallery Of Photographic Art, 691 Broadway, New York.  Photographs, Daguerreotypes, Ambrotypes, Miniatures in Oil;, Ivorytypes, Cameotypes, &c.  Stereoscopic Portraits of Family Groups taken as they appear in their own Parlors, Gardens, or Parks.  Portraits of Private Residences, Houses, &c. taken to order. G. D. Morse, Proprietor.

The research continues…as new information is found I will update the blog…I am working on the July 1856 issues of the New York Daily Tribune.

 

Activity Dates:

Silas A. Holmes

Ca. 1847-1859                   289 Broadway, New York, New York.                                                         1859-1860                          691 Broadway, New York, New York.

Charles R. Rees

*[iv]

1850                                    Address Unknown, Cincinnati, Ohio.[ii]

1851                                    Corner Main & Eighth Street, Richmond, Virginia[V]

1852-1854                          289 Broadway, New York, New York.

1854-1855                          385 Broadway, New York, New York.[iv]

1857-1859                          139 Main Street, Richmond, Virginia.

1858                                    39 Sycamore Street, Petersburg, Virginia.

1858                                    Address unknown, Memphis, Tennessee.

1859                                    145 Main Street, Richmond, Virginia.

 

[i] The reason I often cite John Craig’s Daguerreian Registry is that he like all of us who worked on photographic directories in the 1980 & 90’s we checked, verified and recorded all the various sources that were available to our specific state or area of interest.

[ii] This is an ongoing project and only a few of the New York newspapers (to date) have been reviewed.  Advertisements found for daguerreians in the New York Daily Tribune on average usually only advertise a single time. There are the occasional exceptions Gurney & Fredericks advertise every other day for several week up to a month or so at a time, also Samuel Root’s gallery possible after he left for Iowa in 1855 would advertise the same advertisement for several days and weeks in a row.  Several others Gurney, Tomlinson, Welling and others have advertised two or three times in a row. 

[iii] The Lampratype.  A new and ingenious plan has been devised and successfully carried into practice by Mr. S. A. Holmes, of New York, of rendering Ambrotypes much darker in the dark portions of the picture, and whiter in the white portions. For distinction, he has named them Lampratypes. Information from Ambrotype Manual: A Practical Thesis On The Art Of Taking Positive And Negative Photographs On Paper And Glass, commonly known as photography, in all its branches.

[iv] The Daily Dispatch. (Richmond, Virginia.)  May 5, 1859, Vol. XV, No. 107, P. 2.  Old Rees has had 17 years experience in New York, Boston, Philadelphia, Charleston, New Orleans and Cincinnati….

[v] Article Southern Exposure!  The Life and Times of C. R. Rees & Co. by D. A. Serano.

[vi] Information from Craig’s Daguerreian Registry.

Marcus A. & Samuel Root

Daguerreotypes, Photographs, , , , , , , , , , , , , ,

For the past couple of months I’ve been working on The New York Daily Tribune (April 22, 1842 through December 31, 1859.)  The Tribune is a daily newspaper published six day a week, on April 10th 1850 the paper starts publishing eight pages with six columns, previously it was four pages with six columns.  It’s huge and very time consuming to go through.  But rich with advertisements and articles, some new name and activity dates have been found that have not been previously recorded. Normally I would wait until the newspaper has been completely gone through and checked before writing anything up.  But I wanted to write something to keep up the blog, but there are so many names to choose from Anson; Anthony; Brady; Butler; Clark; Gavit; Gurney; Holmes; Humphrey; Insley; Knapp; Langenheim; Lawrence; Meade Brothers; Morand; Page; Plumbe; Rees; Root; Van Loan; White, or Whitehurst. And these are only some of the names with larger files, there are many more names with smaller files, and I have just finished going through 1853 with six years to go.

The largest file is that of the Root’s, Marcus A. and Samuel. They advertise almost every day, and in many cases more than once, an advertisement rarely run on consecutive days, and only occasionally are they repeated, but for the most part every day is a different one.  There are a number of observations that I thought needed mentioning.  In the Directory of Pennsylvania Photographers1839-1900 by Linda A. Ries and Jay W. Ruby, and in Philadelphia Photographers 1840-1900 By William and Marie Brey there is no listing for Samuel Root. In the Brey directory Samuel is listed in his brothers bio under selected Biographies, but nothing is said about his work in Philadelphia. In Craig’s Daguerreian Registry he states that little is known of Samuel’s early career.  To date I have not read any of the newspapers from Philadelphia so I have nothing to add, except that in an advertisement from the New York Daily Tribune dated July 12, 1848.

Henry Clay In His 71St Year.—Published this day, (June 6, 1848.) by E. Anthony, 205 Broadway, a beautiful steel mezzotint engraving of Henry Clay, drawn and engraved from several Daguerreotypes by H. H. Ritchie (this is probably Alexander Hay Ritchie.)

This likeness was mainly taken from a fine Daguerreotype now in the possession of the subscriber, executed by Messrs. Paige & Beach, Washington. The artists is also indebted to Daguerreotypes taken by Messrs. Root, Simons, and W. & F. Langenheim of Philadelphia, and M. B. Brady, M. M. Lawrence and the Plumbe Gallery of New York, to all of whom the subscriber takes this occasion to express his thanks for the liberality with which they placed their valuable pictures at his disposal….

One can only speculate that “Messrs. Root” means Marcus A. & Samuel. That would mean that Samuel was active in Philadelphia in 1848, and possibly earlier.

The following two advertisements place Marcus in New York City in September 1850. The first announces the opening of his gallery at 363 Broadway.

New York Daily Tribune.  September 26, 1850…M. A. Root’s Daguerreotype Saloons, South west corner of Broadway and Franklin-st.—M. A. Root celebrated for years as a Daguerreotypist in Philadelphia has opened a magnificently furnished suits of rooms in the most fashionable part of the city, (363 Broadway, corner Franklin-st.) where having an admirable sky-light, he flatters himself that he will be able to furnish Daguerreotype Likenesses, equal in finish, accurate and effect, to anything of the kind in the world.  He has [six] medals from the various institutes and fairs of our country for his superior productions.  He invites the public to visit his rooms and examine his Gallery of Likenesses of [the] most distinguished people.

On the same page another advertisement appears and possibly proves the authorship of the Jenny Lind Daguerreotype that has been speculated was taken by Samuel.

Jenny Lind.—Have you seen this famous lady? If not, have you seen the great likeness of her taken yesterday by Root, the renowned Daguerreotypist from Philadelphia, who just opened the most magnificent Daguerreotype Saloons in the country.  Go and see it.  The place is gorgeously fitted up, and Jenny’s likeness is wonderful.

Not until October 23, 1850 in the New York Daily Tribune do we find Samuel’s name mentioned in an advertisement. Between October 23, 1850 to December 8, 1851 most of the time the partnership is identified as M. A. & S. Root, on December 9, 1851 for the only time the firm is identified in the New York Daily Tribune as Root and Co.

It is difficult to determine when the partnership ends in New York. We learn from the Journals of the day that Marcus sold his interest of the New York Gallery by the end of 1851.  John Craig reports that Marcus and Samuel were still listed in the New York City Directories until 1853 this might explain the occasional reference to M.A. & S. Root, and the fact that no first names are use in the advertisements, the firm is referred to as Root’s.  Not until 1854 does Samuel’s name appear in the advertisements as Samuel Root or S. Root.

On October 23, 1850 in the New York Daily Tribune the following advertisement appears.

The Question Settled.—A day or two will settle it. We affirm that M. A. & S. Root make Daguerreotype pictures that cannot be equaled in this country.  Will they get the gold medal at the Fair?  That remains to be seen.  It is a test that will settle the whole difficulty.  Their elegant Saloons are at the southwest corner of Broadway and Franklin-st.

There is no question that Marcus and Samuel Root are both in the top echelon of image makers in the 1850’s. If for no other reason their advertisements tell us so.  Shortly after John A. Whipple of Boston announces the patent of the Crayon Daguerreotype in the Tribune, the Roots purchase the rights for everywhere except New England.  They (Marcus & Samuel) advertise that they are making the Crayon Daguerreotype, they hold the patent and it’s the only place to get it.  Two examples in the New York Daily Tribune when the firm was Marcus and Samuel Root.

On February 19, 1851…New Style Of Art.—Letters Patent have been granted for a new and beautiful style of Miniatures, called “Crayon Daguerreotypes.” The effect is truly wonderful, and recommends itself to all good judges.  Artists and others are invited to call at 363 Broadway, corner of Franklin-st, Root’s Gallery, and examine specimens.Advertisement ran on February 19 & 20, 1851.

And then on February 26, 1851…Crayon Daguerreotypes—Process patented.—this new and exquisite style of art is pronounced by artists and all good judges, “the last great improvement in Daguerreotyping.” Ladies and gentlemen are invited to call and judge for themselves.  This new style can be had only at Root’s Gallery, 363 Broadway, cor. of Franklin-st.                                                                                                                         Advertisement ran on February 26 & 27, 1851.

This type of advertisement continues into 1854. On April 27, 1852….Crayon Pictures.—The Exquisitely delicate Crayon Daguerreotype is taken in full perfection in cloudy weather, by Root, No. 363 Broadway.  By-the-way, we would caution Daguerreian Artists and others against taking these pictures in any other establishment, since Root owns the patent for this region, and will be sure to prosecute all infringements.

June 25, 1852….The best artists pronounce the beautiful Crayon Pictures the most perfect thing ever achieved by the Daguerreotype. It is taken only by Root, No. 363 Broadway, to whom eleven first premiums have been awarded.

May 20, 1853….The magnificent Crayon Daguerreotype, Made only at Root’s Gallery, No. 363 Broadway, is still the delight and admiration of all true lovers of art. Examine it, by all means.  Root’s Rooms, easy of access.

Not once is there a mention of Whipple the inventor of the process, nor do they acknowledge that they purchased the rights from him. Published in the July 1851 issue of the Photographic and Fine Arts Journal….the following appears.  Mr. Root, of New York, has now brought the Crayon Daguerreotype process to such perfection that we cannot express too highly an appreciation of the beautiful specimens he sends from his gallery.  We have always expressed our admiration for this style of picture, and Mr. J. A. Whipple, of Boston, has not, we think, received that credit for the invention which he most richly deserves.  We never saw a more beautiful picture than the one he exhibited to us two years ago, taken in this style, and we never have yet seen it surpassed…

Root through his advertising style has alienated many of the photographic community in New York claiming that they are the best, and when multiple awards were given at the World’s Fair in New York he claims almost every day that he won the highest award at the fair. In fact he was only one of five daguerreotypist who won the Bronze Medal, in addition Charles C. Harrison also won the Bronze Medal for a Camera.  Whipple won the highest award a Silver Medal for his Crystalotypes.  Below is the complete list of awards given as published in the Tribune on January 20, 1854.  The following day the list of Honorable Mention were listed.

The [1853] Exhibition At The Crystal Palace. Official Awards of Juries.

Jury F.  Class 10.  Philosophical Instruments And Their Products….

Silver Medal.

Whipple, John A.  Boston, Mass, U. S., for Crystalotypes a new art.

Bronze Medal.

Butler, Alexander.  [  ?  ]  U. S., for several excellent Daguerreotypes.                            Brady, Mathew B. New-York City, U. S., for uniformly excellent Daguerreotypes.            Harrison, C. C.  New-York City, U. S., for Camera.                                                                  Hesler, Alexander, [Galena, Ill.], U. S., for several beautiful Daguerreotypes,            Lawrence, Martin M. [New-York City], U. S., for excellent Daguerreotypes, particularly     “past, present, future.”                                                                                                                 Root, Samuel.  New-York City, U. S., for fine Daguerreotypes.

Honorable Mention.

Gurney, Jeremiah.  New-York City, U. S., for fine Daguerreotypes.                              Harrison & Hill.  Brooklyn, U. S., for Daguerreotypes.                                                           Long, E.  St. Louis, Mo., U. S., for an exquisite Daguerreotype of a lady.                            Meade Bros.  New-York City, U. S., for Daguerreotypes of “Seven Ages of Man.”            Moissinet, Dobyne & Richardson, New-Orleans, U. S., for Daguerreotypes.                      North, W[illiam]. C. Cleveland, U. S., for Daguerreotypes.                                                  Peters Otis F. sic [Otis T.], New-York City, U. S., for Stereoscopes.                                       Root, M. A., Philadelphia, U. S., for fine Daguerreotypes.                                            Whitehurst, J. H., Baltimore, U. S., for fine Daguerreotypes.

The day the Tribune published the list of award winners January 20th Root placed the following advertisement.  Crystal palace Medal.—The Bronze Medal of the World’s Fair at the New-York Crystal Palace, being the highest honor for Daguerreotypes, was yesterday awarded to Root, of No. 363 Broadway.  Palmam qyi meruit ferat.  This type of advertising continues almost every day.  In fact one advertisement by Root was copied entirely, with Mathew Brady’s name attached.  The next day Root complains.  This is not the first time that Root’s style has caused a rift between the photographic community.  Words have passed between Gurney and also with Lawrence.  I am sure that if Plumbe or Whitehurst were still active in New York they also would have had a disagreement with Root’s claims.

To be continued…..

Frederick N. Hughes; and the Hughes Brothers. (Frederick N. & C. C.)

Ambrotypes, Daguerreotypes, Photographs, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Activity:

1849-1851       83 Eighth Avenue, New York, New York

1852                Hines Hotel, Fayetteville, Tennessee.

1852                Union Street, Nashville, Tennessee.

1854-1855       59 College Street, Nashville, Tennessee.

1854-1858       26 Union Street, Nashville, Tennessee.

1857                46 Public Square, over Hicks’ China Hall, Nashville, Tennessee.

 

John Craig in his Craig’s Daguerreian Registry list Frederick N. Hughes in New York City from 1849-1851.  To date no articles or advertisements have been found in the New York Daily Tribune or The Evening Post in addition none of the suburban New York papers that have been search have revealed anything. C. C. Hughes reported by Craig was also in New York City from 1851 to 1853. 1851 at 271 Bleecker Street; 1852-1853 at 4 Ames Street; and he speculates that in 1854 that Cyril Hughes is the same person and a daguerreian at 201 east 21st Street.  Like his brother no additional articles or advertisements have been found in the New York papers.

On March 11, 1852 an advertisement places Frederick in Fayetteville, Tennessee taking daguerreotypes at the Hines Hotel, which was on or near the Public Square.  It appears by the number of times that he has advertised that he made at least three visits to Fayetteville in 1852.  The first series of advertisements were on March 11 and on the 18th.  His second visit in which he advertised was on April 29, and his third visit from July 15 through August 5, 1852.  On November 18 he advertises that he has permanently relocated to Union Street in Nashville.

The first advertisement for F. N. Hughes found in the Nashville papers is not until October 31, 1854 in an advertisement for the Hughes Brothers Daguerrean Artists and Daguerreotype Stock Dealers.  It is learned from that advertisement that they purchase the Gallery from Dobyns & Co.  “The subscribers have the honor to inform their numerous friends, that owing to an increase of business they have purchased the Rooms lately occupied by Dobyns & Co.”  C. C. Hughes is listed on Union Street, over Streetch & Orr’s.  F. N. Hughes is listed at 59 College Street with the note (late Dobyns & Co.)  Hughes is not listed in any of the Advertisements for Dobyns, in fact an advertisement appears that list Dobyns’ Galleries and his partnerships.  They go on to say that our galleries are fitted up in a neat style, with powerful Sky-Lights…and in the Union Gallery they have a beautiful Piano for the use of the Ladies.

The Dobyns advertisement appeared on August 17, 1853 and ran until January 15, 1854 in the Nashville Union and American newspaper.

Daguerrean Stock And Picture Establishment.

Dobyns & Yearout, Nashville, Tennessee, College Street

Dobyns & Hall, Louisville, Ky.

Dobyns, Richardson & Morssewet, sic. Moissenet, New York City

Dobyns & Spaulding, St. Louis, Mo.

Dobyns & Yearout, Memphis, Tenn.

Dobyns & Harrington, New Orleans, Louisiana

At any of the above establishments, you can procure as fine Pictures as can be had in any city, of any desired style or finish, as we have every improvement, and expect to keep up with any and all improvements.  We are prepared in either city to furnish artists with every article used in the art.  Our arrangements are such, we can furnish stock on the most reasonable terms.

N.B.—Pictures taken in any kind of Weather. Dobyns & Co.

While we’re talking about Thomas Jefferson Dobyns, the following first names or initials of his partners follows.  Nicholas Hall; William H. Harrington; Felix Moissenet; V. L. Richardson; J. M. Spalding; and John T. Yearout.  Two other advertisements related to Dobyns in Nashville are worth mentioning on October 16, 1853 we learn that Edwin Church has accompanied Dobyns from New York to run the Nashville Gallery.  Then on September 3, 1854 the following notice appears—The Copartnership heretofore existing under the firm of Dobyns & Church and Dobyns & Co., is dissolved.  No one is authorized to collect debts of the concern but Mr. J. T. Yearout.          T. J. Dobyns.

Curious no announcements were located in the Nashville newspapers announcing this partnership.  Yearout was in charge of the Nashville and Memphis galleries prior to Church’s arrival and evidently charged with settling the accounts and disposing of the gallery.

In another advertisement for the Hughes Brothers that appeared on November 1, 1854 and ran until September 8, 1855 they added that they also have a powerful side and sky lights, the only ones in the city…In an advertisement in the Nashville Union and American that ran on September 9 to October 16, 1855 they now list themselves as photographic and daguerrean artists, and dealers in daguerreotype stock and apparatus. The same advertisement ran in the Daily Nashville True Whig from September 10 to November 27, 1855 and is the last time the 59 College Street address was listed.

Reported in the Daily Nashville True Whig on October 11, 1855.  The first annual Mechanics Fair of the Mechanics Institute closed on Saturday night, after having been the center of attraction to citizens and strangers for a week…Of daguerreotypes, specimens were exhibited by Messrs. Hughes Brothers and C. C. Giers, and of photographs by the former gentlemen.  These were highly finished specimens, and such as may be produced at the establishments of the exhibitors… The following day October 12 the list of Premiums appeared.

Class 26—Daguerreotypes, Photographs and Apparatus.

Hughes Brothers, daguerreotypes and photographs…..Diploma.

  1. C. Giers, daguerreotypes……………………………2nd class Diploma.
  2. McLain, daguerreotypes……………………………Honorable Mention.

On January 30, 1856 they start advertising themselves as ambrotype, photographic and daguerrean artists at 26 Union Street, Nashville.  They go on and elaborate ambrotypes, photographs, plain or colored in oil, and warranted as permanent as any other style of painting.  Daguerreotypes, stereoscopic, crayon or vignette, and every other style of pictures taken at this establishment.

They go on to say in the next paragraph that they recently introduced the ambrotype to Nashville and that they have become so popular that they have at great expense secured the services of a celebrated New York artist to attend to this branch of the business exclusively.  No name was ever mentioned in any of the advertisements associated with the Hughes Brothers to determine who this was.

On October 26, 1856 the premiums were announced for the second annual exhibition of the Mechanics’ Institute held on October 13 through 20.

Class No. 6—Marble Work, Paintings, Drawing, Daguerreotypes, Etc.

W. & E. S. Dodge, Nashville, Miniatures on Ivory………………………………5

W. & E. S. Dodge, Nashville, Photographs, plain and colored…………. 5

Larcomb, Nashville, Ambrotypes……………………………………………………….5

Hughes Brothers, Nashville, Daguerreotypes……………………………………5

A side note J. W. Dodge is John Wood Dodge (1807-1893) and E. S. Dodge is possibly Edward Samuel Dodge (1816-1857).  It is not known if there is any relation between the two men.  John Wood Dodge is identified through a website as being in Nashville.  Both are miniaturist John Wood is also described as a dioramist.  In researching both men in The New-York Historical Society’s Dictionary of Artists in America 1564–1860. There is no mention of either one being in Tennessee.  John Craig records in his Craig’s Daguerreian Register Edward Samuel Dodge as a miniature painter in New York City and Poughkeepsie and a Daguerrean in Richmond, Virginia in 1844, and in August, Georgia, between 1850-1853 and possibly earlier.  He sold his gallery in November with the intention to retire.  Craig does not document John Wood Dodge in his Registry.  Advertisements do indicate a partnership of Dodge & Wenderoth in 1855-1856.  On September 29, 1855 an advertisement in The Daily Nashville True Whig announces that they are in St. Louis, Missouri making Photographic Miniature Portraits, (crystalotype likenesses) and that they will be in Nashville in October for a short stay.  August Wenderoth is also a miniature painter.  The last advertisement for the partnership appeared on August 2, 1856.   A little over two months before the second annual exhibition of the Mechanics Institute Fair.

On November 23, 1856 the Hughes Brothers start to advertise that they are making colored ambrotypes and melainotypes for 50 cents.  Put up in first rate style, including case.  Others are charging one dollar, we will take for fifty cents and large ones $1.00. On December 5th they drop their price to forty-five cents.

In the Nashville Union and American on April 14, 1857, J. W. Dodge announces that he has sold his rooms, apparatus, and materials to the Hughes Brothers and plans to reside permanently at his home in Cumberland County.  He takes great pleasure in recommending them as his successors.  He goes on to say that they are gentlemen of skill and experience in their profession and have engaged a corps of artists of superior abilities.

No advertisements appear for J. W. Dodge for his photographic business or for a partnership with E. S. Dodge before or after the 1856 fair, and no death notice was located for E. S. Dodge who died on April 6, 1847.  There are a couple of article and an advertisements for a J. W. Dodge in Cumberland County that are unrelated to photography but are relevant.  On October 18, 1856 at the same fair he is awarded a premium for his display of apples. Pronounced the finest ever seen by all.  On October 22 an announcement that his apples will be sold at auction to-night at 8 P. M.  On November 15th in an article entitled Cumberland Mountain—Fine Fruit And Vegetables.  Which talks about the agricultural resources and access to the Cumberland Mountains and J. W. Dodge.  In this article the possibility that this is the same person changes to probably with the one sentence…Our clever artist friend, J. W. Dodge, Esq.  On December 28, 1856 Dodge advertises that he is selling a tract of land in the Cumberland Mountains.  In this advertisement it is confirms that this is the same person.  A plat of the land can be seen at my painting rooms, over Hick’s China Hall on the square.

The Fourth Annual Fair of the Mechanics’ Institute of Tennessee announced the list of awards on October 22, 1857 where the Hughes Brothers are given a diploma for their photographs, ambrotypes, melainotypes and sphereotypes.  They are the only photographers listed as having an award this year.  (*this should be the third not fourth fair.)

They continue to advertise without mentioning daguerreotypes until January 23, 1858 this advertisement ran until June 3.  A Great Rush!  Hughes Brothers, melainotypes, ambrotypes, photographic and daguerrean artist.  It’s always interesting to see how the daguerreotype is referred to after the introduction of the ambrotype.  Most of the time photographers advertising that they are now taking ambrotypes down play or should I say that they are vehemently opposed to the daguerreotype, they say almost like it’s a caned response in their argument that the daguerreotype is of an inferior quality, they complain about the reflection, and the fact that they are reversed, and that they fade, etc. The argument most photographers give is that the ambrotype is superior, it can be seen in any light, and the tones are richer.  It is refreshing to see that the Hughes Brothers did not use this tactic they continue to offer all processes.

Hughes Brothers, were listed together until 1858.  The last article for the Hughes Brothers was on May 8, 1858 in the Nashville Patriot.  And announce that they have been engaged to execute the likenesses of the delegates and Bishops of the M. E. Church General Conference now in session in Nashville, for the purpose of a steel engraving.

Frederick N. Hughes does not appear in the Nashville newspapers after the June 3d Advertisement.  C. C. Hughes appears through 1859 and continues in business into 1861 in Nashville according to Craig.

Julian Vannerson

Ambrotypes, Daguerreotypes, Photographs, , , , , , , , , , ,

By deciphering Vannerson’s activities through the newspapers in Washington, piecing together several newspapers a clearer picture appears. The first advertisements which I have access to that mentions Vannerson is from the Daily American Organ on July 22, 1854, and reads in part “New Daguerrean Gallery.  The establishment formerly owned by Mr. [Edwin C.] Thompson, has been purchased by Mr. Vannerson, of this city…” From this advertisement through July 30, 1856 only Vannerson’s last name is used, giving the impression that Vannerson is operating his own gallery.  Not until the following advertisement appears on January 5, 1855, in the Daily American Organ do we have a clue as to which of the three brothers is operating in Washington (Adrian, Julian or Lucian.) In referencing Craig’ Daguerreian Registry Julian is the brother who is operating the Whitehurst’s Gallery in Washington, which is confirmed in later advertisements.

Portrait of Rev. Mr. Sunderland.—A lithographic portrait of Rev. Byron Sunderland, pastor of the four-and-and-a-half street Presbyterian Church, in this city, is to be published by Mr. C. H. Brainard, of Boston, who has already published portraits of many of our distinguished men in a style of artistic excellence rarely equaled.

This portrait of Mr. Sunderland will be drawn by Grozelier, from a daguerreotype by Vannerson, the accomplished superintendent of Whitehurst’s gallery, and we feel bold to say in advance, be in every respect creditable to all concerned in its production.

On July 30, 1856 the following advertisement appears in the Evening Star. From this we learn that he has left Whitehurst Gallery which he had been employed for the past five years.

Vannerson’s Gallery Of Premium Daguerreotypes, Ambrotypes & Photographs, No. 424 and 426 Pa. avenue, (Lane & Tucker’s building.) between 4½ and 6th sts., Three Doors from his former place of business, Washington, D. C.

Mr. Vannerson Returns His thanks for the very liberal patronage bestowed on him, while conducting the Whitehurst Gallery, for the last five years, and solicits its continuance from his friends and the public at his New Gallery, where he has greater facilities for the production of fine Portraits than formerly, with all the latest improvements for the production of Daguerreotypes, Ambrotypes, Photographs, and Portraits, in Oil colors, on Canvas, in Water colors, and Pastille.

Mr. Vannerson devotes his personal attention to all sittings.

Over the next couple of week several card appear in the Washington newspapers Whitehurst implies that Vannerson has misappropriated funds for his own use. Vannerson on the other hand claims that over the last couple of years under an agreement he was entitled to one half of the profits and that he is innocent of Whitehurst’s claims, which Whitehurst does acknowledge the agreement, but continues to claim misappropriation of funds.  At this time no outcome of the accusations have been found in any of the Washington newspapers that I have viewed.

Vannerson continues to operate his gallery into 1857.  On March 31, 1857 it is reported in the Evening Star that he has been awarded a bronze medal for photographs, ambrotypes and daguerreotypes at the Mechanics’ Fair.  This is the last advertisement or article found in the Washington newspapers at this time.  It is reported in Craig’ Daguerreian Registry and by Merry A. Foresta the former director of the Smithsonian Photography Initiative that Vannerson was associated with James E. McClees around mid-1857[1], Craig also reports that Vannerson moves back to Richmond, Virginia in 1861.

On August 4th, 1859 the following appears in the Evening Star. Phelan (Michael) and Bird continue to made much of by the billiard amateurs of this city.  They dropped in at Ellicott’s saloon, corner of Thirteenth street and the avenue, yesterday afternoon, and played three games, (four ball American game,) Phelan winning two of the three.  In the evening they had some further playing at Marr’s Billiard Hall, Bird beating Phelan by 70 points in 200.  The weather was voted too warm entirely for the French carom games.  To-day Phelan and Bird are sitting for their photographs at Vannerson’s.

The question is, is Vannerson on his own again, or is he still working for McClees?

A quick search of the Richmond Daily Dispatch has determine approximately when Vannerson arrived back in Richmond, by using caricature recognition searching under Vannerson’s name the first hit was an advertisement on December 12, 1860 that announced the co-partnership between Smith & Vannerson has been dissolved.  I next searched the various processes in use.  On April 20, 1860 the following advertisement appears,

For rent—Photographic Gallery, in Corinthian Hall, now occupied by J. Thomas Smith. Possession given immediately.  On May 23ed Smith’s first advertisement appears at his new gallery at 77 Main Street, Whitehurst’s Old Stand.  On June 13 at the end of a Smith Advertisement he advertises that an “Operator is wanted.”  On September 22 the announcement of the Smith & Vannerson partnership appears.

A New Art Gallery In Richmond. The proprietors of the new Art Gallery would respectfully call the attention of the citizens of Richmond, and strangers in the city, to the fact that they have leased the rooms formerly known as “Whitehurst Gallery,” No. 97 Main Street, and have opened an establishment for the production of Every Style Of Photographs, From the Smallest Locket to the Full Size Of Life.  And as A First Class Establishment, They have every facility, and will produce a better style of Photograph that has heretofore been made in this city.  To finish the Photographs In Oil, the very best talent will be employed.

Photographs In Water Colors.  A superior picture, and at a price much less than hitherto charged by artists in this city, prices ranging from Three to Five, Ten and Fifteen Dollars.  Crayon Photographs, of Cabinet Or Life Size. A new style, to which particular attention is requested.

Photographs in India Ink will be finished by the same artist, Whose skill in this branch of art has given so great a popularity to this style of Picture, as made in Washington and Philadelphia.

Photographs, Ambrotypes and Daguerreotypes Copied.—An important fact to be noted is that the Photographs finished in oil at this establishment, are all made upon canvas, and not on paper fastened to canvas. Another fact to be remembered is, that anyone possessing a Daguerreotype or Ambrotype of a friend, may have it copied by photography of any desired size, and finished in Oil, Water Color, Crayon or India Ink.  Parties at a distance may thus send a Daguerreotype and have the Photographed returned by express.  An examination of specimens is solicited.     Smith & Vannerson, Practical Photographers, No. 77 Main st., between 14th and 15th sts., Richmond, Va.

Pictures made at all prices, from Fifty Cents to Fifty Dollars.

On November 1 a List of Premiums awarded at the seventh annual exhibition of the Virginia Mechanics’ Institute, which closed on the night of October 31….

Class No. 27.—Photographs, Daguerreotypes, Engravings, &c.

To G. W. Minnis, for finest display of Photographs, Certificate of Silver Medal.

To Smith & Vannerson, for second best Specimens, First-Class Diploma.

To Rees & Co., for third best Specimens, Second-Class Diploma.

Vannerson was still operating a gallery in Richmond on September 4, 1866. On December 13, 1866 the following advertisement appears,

At Home Again In The Midst Of The Pictures!

In returning to the business, in the conduct of which some years since I flatter myself I established a fair reputation, I will respectfully inform my friends and the public that I have taken the well-known Old Whitehurst Gallery, On Main Street, Below Fourteenth Street (Late Vannerson & Co.’s) and with all the modern improvements introduced, I am prepared to furnish Photographic Pictures in every style of the art, at Reduced Prices, and warranted equal to any produced in this city. All persons in want will please give me a call.    P. E. Gibbs.  de. 12.

It interesting to note that Whitehurst left Richmond in 1857 yet everyone who has been in the studio since then (1866), has referred to the “Old Whitehurst Studio” in their advertisements.

In tracking Whitehurst addresses it is difficult to nail down specific locations through 41 pages of Whitehurst advertisements and articles from Washington, D. C.; Baltimore, Maryland; Tarborough, North Carolina; and Richmond, Virginia he uses for his Washington studio Pennsylvania Avenue, (or variant Pa./Penn Ave.) or Pennsylvania Avenue between 4½ and 6th Street, also Lane and Tucker Building and over Duvall & Brothers Store.

 

Vannerson’s activity dates and address.

1851-1854       Pennsylvania Avenue, between 4½ and 6th Street, Washington, District of Columbia.

1854-1855       426 and 428 Pennsylvania Avenue, Washington, District of Columbia.

1856-1857       424 and 426 Pennsylvania Avenue, Lane & Tucker’s Building, Washington, District of Columbia.

1857-1859       308 Pennsylvania Avenue, Washington, District of Columbia.

1861-1866       77 Main Street, Richmond, Virginia.

[1] The Photographic and Fine Art Journal, December 1857, Vol. X, No. 12, P. 380.  “Mr. Vannerson is the agent of  Mr. McCleese’s gallery…”

Tyler & Company

Ambrotypes, Daguerreotypes, Lettertypes, Photographs, Vitrotype, , , , , , , ,

While this is an interesting group of photographers and needs further exploration, the following is what I know at this point. They advertised mostly as Tyler & Co. (with no first names.)  John Craig refers to them as “mass merchandisers” they come in to a town, stay a short period of time, undercut their competition, and flood the market with ninth plate images.  I have advertisements from several newspapers from both Boston and Worcester Massachusetts, but the bulk comes from the Richmond Daily Dispatch.  A new advertisement appears almost every day, starting on March 19, 1857 until late December when they advertise that they have opened another gallery at 39 Sycamore Street, Petersburg, Virginia.  Afterwards their advertising slows down a little, they miss a day or two here and there.  On January 30, 1858 they drop their price in half from .50 – $50 to .25 – $25.  During this time period a typical day’s advertisement is in a solid block with a paragraph or two and or between one and 13 separate lines of often repeating text.  On March 20, 1858 they claim that they have spent $4,000 over the past year on advertising.

They repeatedly make unsubstantiated claims. First that they were in New Orleans, Louisiana for eight years prior to being in Charleston, South Caroline for three.  In reviewing a number of photographic directories, I cannot at this time verify the New Orleans claim.  Looking at Photography in New Orleans, The Early Years, 1840-1866 by Margaret Denton Smith & Mary Louise Tucker they do not mention them. Craig’s Daguerreian Registry also does not list them in New Orleans, except to say that they won a wager that they could make 1,000 likenesses in four hours.  This was probably from an advertisement in one of the Charleston papers.  Looking at Partners with the Sun South Carolina Photographers 1840-1940, by Harvey S Teal.  He has Tyler & Co. in Charleston from December 1855 to June 1856 and again between, November 1856 to February 1857 that’s a total of 11 months, not the three years they claim.

Another claim is the amount of portraits they take daily which can fluctuate between 300 to 1,000 on any given day. They do advertise that they are taking daguerreotypes or what they call Vitrotype, later they advertise ambrotypes, photographs, lettertypes, ect.  They make the same claims “400 taken daily” when they were in Boston, Worcester and Charleston.  In Boston and Worcester they use a double lens camera.  In Richmond they advertise that they are taking “three at a pop.”  They also start out advertising that they employ fifteen artist which quickly becomes twenty and by the end of their time in Richmond they are up to twenty-five artists.

By the tone of their advertisement they are the only ones that ever uses steam in the production of likenesses, and that anyone who say they uses steam are just imitators. John Adams Whipple in Boston advertises on May 12, 1848 in the Salem Gazette that he is using a small steam engine to buff his plates. They also claim to have daguerreotype and ambrotype patents, and that they are inventors from everything I have looked at, no records of patents were ever issued to them.  They are also in the habit of claiming that they have at different time been issued 5 Gold medals, but they never say when or where they received these awards.  Every other photographer list when and where they received an award.  They did win a silver medal for Daguerreotypes at the 1857 Fair of the Virginia Mechanics Institute.  Also Albert Litch won a silver medal for color photographs, Sanxay & Chalmers won a silver medal for Ambrotypes, and E. Powers a first class diploma for Ambrotypes and Photographs.

Their philosophy which they state several time is to “keep it before the people.” Translation beat them over the head with their advertisements, and they do.  Their claim that other photographers are charging $2.50 for the same image they charge 50 cents for, is unjustified.  If fact other image makers were charging 50 cents for their images long before Tyler & Co. came to Richmond.

On May 18, 1858 we learn in an advertisement that C. R. Rees has returned to Richmond from a five month stay in Petersburg (Tyler & Co. new gallery.) On August 10, 1858 we learn that C. R. Rees is now the Proprietor.  Rees continues the same practice in his advertising as Tyler & Co. but with less regularity.  His excuses as to why he did not exhibit at the late fair was that he was getting ready to send specimens to his new gallery in Memphis, Tennessee.  It is interesting Tyler and Company have also opened a studio in Memphis around this time, what is the conection?

Craig speculates that the various listings he has for Tyler & Co. based on the language of the advertisements are the same company.  On June 6, 1857 the following advertisement appears in the Daily Dispatch which seems to verify John’s speculation.

Strangers and all others, are cautioned against being humbugged and deceived by steam pictures advertisements. This steam picture taker has been Driven out of Boston, Cincinnati, Worcester, Mass, and Charleston, S. C.  This Imposter commenced to advertise 50 cent Daguerreotypes but he found they did not take.  He then altered his show bills and advertisements to Vitrotypes for 50 cts., pretending it was a new kind of picture.  This fellow says he has taken 400 Pictures a day for 16 years.  Now he did not have money enough to buy a few yards of carpet when he arrived here, but had to run his face.  This same humbug man took pictures in Boston for 20 cts. apiece.  The public can judge whether his work is good or bad.  It is my intention to show him up just as long as he continues to humbug, lie and deceive the people of Richmond.                                                                       Respectfully, A. W. Osborne, Opposite Exchange Bank.

Below is the timeline and address of their studios to date.

 

N.D.               Address Unknown, New Orleans, Louisiana. [i]

1853-1855       2 Winter Street, Boston, Massachusetts. (Edward M. Tyler.) [ii]

1855                   Main & Front Streets, Worcester, Massachusetts.[iii]

1855-1856       233 King Street, Charleston, South Carolina. [iv]

1856-1857       233 King Street, Charleston, South Carolina. iv

1857                30 & 32 Fourth Street, Cincinnati, Ohio (James Tyler.) [v]

1857-1858       139 Main Street, Richmond, Virginia. i

1857-1858       39 Sycamore Street, Petersburg, Virginia. i

1858                Canal Street, New Orleans, Louisiana. i

1859-1860       219 Main Street, Memphis, Tennessee (Edward M. Tyler.) v

1860                81 Westminster Street, Providence, Rhode Island. (E. M. Tyler.) v

 

 

 

 

 

[i] The Richmond Daily Dispatch

[ii] Directory of Massachusetts Photographers, 1839-1900 and the Boston Morning Journal.

[iii] Worcester Daily Spy

[iv] Partners with the Sun South Carolina Photographers 1840-1940.

[v] Craig’s Daguerreian Registry