Category Archives: Photographs

Official 1853 Catalogue Of The New York Exhibition Of The Industry Of All Nations

Daguerreotype Exhibition, Daguerreotypes, Manufacturer, Photographs, ,

The official 1853 catalogue of the New York exhibition of the industry of all nations’ list 43 American daguerreotype artist or manufacturers.  The information in the official catalogue gives a brief description of what is being exhibited.  Exhibitors name and address or in some cases just the city and state.  Most but not all of the biggest names in the industry are exhibiting daguerreotypes and a few are exhibiting paper photographs (crystalotypes).  Missing from the exhibition most notably is Southworth & Hawes, Langenheim Brothers and everyone west of St. Louis.  A few names are misspelled, and a few surprises, a doctor and a sculptor in addition Whipple is listed as a manufacture not a daguerrean artist or photographer.  Twelve states are represented along with the names of the photographers or manufacturers they are.

Connecticut—three;  Sheldon K. Nichols, Scovill Manufacturing Co., A. Washington.      Illinois—three;  Alexander Hesler, C. C. Kesst, Captain P. Von Schneidau.                        Kentucky—one;  E. L. Webster.                                                                                                          Louisiana—one;  F. Moissinet.                                                                                                                  Maine—one;  George M. Howe.                                                                                                        Maryland—two;  Henry Pollock, Jesse H. Whitehurst.                                                        Massachusetts—three;  Silas Durkee, M. D., Masury & Silsbee, John A. Whipple.                  Missouri—two;  J. H. Fitzgibbon, Edward Long.                                                                                    New Jersey—one;  David Clark.                                                                                                                  New York City & Brooklyn—seventeen;  Edward Anthony, A. J. Beals, Matthew B. Brady, James Brown, Jeremiah Gurney, Phillip Hass, Harrison & Hill, Charles C. Harrison, Henry E. Insley, Martin M. Lawrence, William & William H. Lewis, Charles C. Lincoln, Meade Brothers, Loins V. J. Peeiffer, Samuel Root, Charles H. Williamson, Anthony C. Zucky.                           New York state—two;  Donald McDonell, New York State Daguerrean Association.                    Ohio—five;  S. P. Barnaby, A. Bisbee, Thomas Faris, E. C. Hawkins, William E. North.  Pennsylvania—two; Ernest Van Heeringen, M. A. Root.

The Catalogue:

43.  Collection of large crayon daguerreotypes, and daguerreotypes by the ordinary process.—Samuel Root, Daguerrean Artist, 363 Broadway, New York City.

44.  Collection of specimens of the art of daguerreotyping, talbotyping and crystallotyping.—M. A. Root, Daguerrean Artist, 140 Chestnut Street, Philadelphia, [Pennsylvania.]

45.  Frame of Daguerreotypes—Phillip Haas, Daguerrean Artist, 371 Broadway, New York       City.

46.  Collection of daguerreotype portraits—Jeremiah Gurney, 349 Broadway, New York City.

47.  Solographs, plain and colored, nebular Daguerreotypes— E. C. Hawkins, Daguerrean     Artist, Cincinnati, Ohio.

48.  Specimens of the daguerreotype art on extra large plates— Anthony, Edward—308      Broadway, New York City.

49.  Portraits in daguerreotype.—S. P. Barnaby, Daguerrean Artist, Dayton, Ohio.

50.  Specimens of daguerreotyping.—William E. North, Daguerrean Artist, Cleveland, Ohio.

51.  Specimens of the daguerreotypie art.—E. L. Webster, Daguerrean Artists, Louisville,      Kentucky.

52.  Daguerreotype pictures.—Ernest Van Heeringen, Daguerrean Artist, Chestnut Street, Philadelphia, Pennsylvania.

53.  Specimens of daguerreotyping.—Sheldon K. Nichols, Daguerrean Artist, 168 Main   Street, Hartford, Connecticut.

54.  A variety of daguerreotype picture.—Anthony C. Zucky, Daguerrean Artist, 499      Broadway, New York City.

55.  Daguerreotype pictures.—Capt. P. Von Schneidau, Daguerreotypist, 142 Lake Street, Chicago, Illinois.

56.  A collection of daguerreotypes.—Henry Pollock, Daguerreotypist, 155 Baltimore Street, Baltimore, Maryland.

57.  Daguerreotype miniatures.—Thomas Faris, Daguerrean Artist,. Cincinnati, Ohio.

58.  Collection of daguerreotype miniatures.—Masury & Silsbee, Daguerrean Artists, 299½ Washington street, Boston, Massachusetts.

59.  Collection of daguerreotypes.—J. H. Whitehurst, Daguerrean Artist, 205 Baltimore        street, Baltimore, Maryland.

60.  Collection of illuminated daguerreotypes.—Henry E. Insley, Daguerreotypist,             311 Broadway, New York City.

61.  Daguerreotypes of two monuments.—Louis V. J. Pfeiffer, [sic.] Peeiffer, Sculptors, 5     Second Avenue, New York City.

62.  A large collection of photographic portraits and pictures from members of the             association.—New York State Daguerrean Association, (George N. Barnard, Sec.),   Oswego, New York.

63.  Improved coating box for the daguerreotype process.  Card distributing apparatus.  (Patent applied for)—William & William H. Lewis, Manufacturer, 63 Elizabeth street,          New York City.

64.  Collection of microscopic objects in physiology and natural history, prepared by the exhibitor.—Silas Durkee, M. D., Boston, Massachusetts.

65.  Specimens of daguerreotype portraits on full size plate.—A. Washington, Daguerrean     Artist, Hartford, Connecticut.

66.  Daguerreotype pictures, embracing panoramic views of Galena city, Falls of St. Anthony; Min-ne-ha-ha Falls, and a collection of portraits.—Alex Hesler, Daguerrean Artist, Galena, Illinois.

67.  Daguerreotype specimens.—Charles C. Lincoln, Daguerrean Artist, 182 Fulton street,  Brooklyn, New York.

68.  Daguerreotype instruments and cameras of various sizes.—Charles C. Harrison,         Manufacturer, 85 Duane street, New York City.

69.  Daguerreotype portraits.—David Clark, Daguerrean Artist, New Brunswick, New Jersey.

70.  Daguerreotypes by the common method.  Specimens of Crystallotypes; or daguerreotypes taken by means of glass upon prepared paper.—John A. Whipple, patent and Manufacturer, 96 Washington street, Boston, Massachusetts.

71.  Specimens of daguerreotype portraits.—Edward Long, Daguerrean Artist, St. Louis, Missouri.

72.  A collection of daguerreotypes.—Martin M. Lawrence, Daguerrean Artist, 203 & 381 Broadway, New York City.

73.  Collection of daguerreotypes.—F. Moissinet, Daguerrean Artist, New Orleans, Louisiana.

74.  Collection of daguerreotype pictures.—Donald McDonell, Daguerreotypist, Buffalo,          New York.

75.  Collection of daguerreotypes in frames.—A. J. Beals, Daguerrean Artist,, 156 Broadway,  New York City.

76.  Various specimens of daguerreotypes.—C. C. Kessy, Daguerrean Artist, 96 Lake street,     Chicago, Illinois.

77.  Daguerreotype apparatus and materials of all descriptions.—Edward Anthony,             Manufacturer, 308 Broadway, New York City.

78.  Descriptive daguerreotypes.—Harrison & Hills, Daguerrean Artist, 288 Fulton street, New York City.

79.  Tableau of elegantly mounted daguerreotypes.—J. H. Fitzgibbons, Daguerrean Artist, St. Louis Missouri.

80.  Daguerreotypes representing Shakespeare’s “Seven ages of men;” taken from life-     subjects.  Portrait of Daguerre, from life.  Groups of various portraits of full and half           sizes.—Meade Brothers, Daguerrean Artist, 233 Broadway, New York City.

81.  Collection of daguerreotypes—Matthew B. Brady, Daguerrean Artist, 205 & 359      Broadway, New York City.

82.  Specimens of daguerreotypes.—George M. Howe, Daguerrean Artist, Portland, Maine.

83.  Collection of daguerreotypes.—James Brown, Daguerreotypist, 181 Broadway, New     York City.

84.  Framed tableau of fine daguerreotypes.—Charles H. Williamson, Daguerrean Artist, 249 Fulton street, Brooklyn, New York City.

85.  Daguerreotype apparatus.  Cases and prepared plates of all sizes and qualities.—Scovill Manufacturing Co., Waterbury, Connecticut.  Office 57 Maiden Lane, New York City.

Part 2 introduction to the Daguerreotype exhibit posted tomorrow 4/23/18.

Bedell

Daguerreotypes, Photographs, , ,

In an article in the Photographic and Fine Arts Journal of January 1, 1856 entitled the Photographic Galleries of America, Number One, New York. The author visited 69 Galleries in New York City.

Bedell—Cleanliness is next to godliness, especially is this the case in photographic galleries. Very excellent pictures are often underrated from the fact of the glass being soiled or the plate or paper spotted. This gallery contains some excellent specimens.

John Craig list three Bedell’s in his work Avery Augustus (1851-1853); Richard, Jr. (1853-1856); and William (1851-1852).  Only Richard, Jr. has the correct dates but he is listed has a dealer in daguerreian apparatus not a daguerreian.  As I continue to go through New York City newspapers it might be possible to identify which Bedell the above article is about.

R. S. Baraclow

Ambrotypes, Photographs, , , , , , , , , ,

A new advertisement found that sheds light on a previously blogged photographer named Barkelow who on July 12, 1854 with other Daguerreotypist was arrested on complaint of practicing their business on Sundays.  In other sources Barkelow’s name is spelled differently.

In an article entitled the Photographic Galleries of America.  Number One, New York. The author visited 69 Galleries in New York City.  Barcalo—A really good artist. His ambrotypes are excellent.  I believe he has a large run of custom.  This is a very good criterion to judge by.

In an advertisement in the New York Daily Tribune dated January 30, 1858 the following advertisement appears.  To Photographic Artists.—For sale, one-half of the entire interest in Barcalow & Hope’s Two Galleries, No. 76 and 80 Bowery, New York.  This is a rare chance to secure a first-class business place.  Possession given April 1, or sooner if desired.  For particulars apply personally or by letter to G. W. Hope, No. 80 Bowery, New York.

And in Craig’s Daguerreian Registry John identifies him as R. S. Baraclow. With the activity dates of 1850-1857.  From 1850–1855 at 80 Bowery, 1854-1855 in partnership with S. T. Reed at 132 Bowery, in 1855-1856 at 80 & 132 Bowery, and in 1857 at 80 Bowery, in 1857-1858 in partnership with George W. Hope. George W. Hope is recorded as being at 76 & 80 Bowery, New York from 1857 to 1860.

Which spelling is correct?  Since John did not list a variant spelling in his work I will also use R. S. Baraclow as the main entry but will also reference the other spellings.

Jefferson Beardsley

Landscape Painter, Photographs, Portrait Painter, , ,

Jefferson Beardsley (1833-1895) was recorded in an advertisement in the Ithaca Journal and Advertiser (Ithaca, New York) on September 15, 1858 and which ran until February 23, 1859.  His address is based on Moses Reeves’s advertisement 49 Owego Street, over T. C. Thompson’s Merchant Tailor’s store, Ithaca.

The Sun Still Shines!  “By their Works ye know them.”  I would respectfully announce to the citizens of Ithaca and surrounding country, that I have taken the rooms formerly occupied by M. Reeves, over T. C. Thompson’s and 2 doors west of Culver’s store, where I am prepared to take all kinds of Photographic Pictures in a superior manner.  I will take pictures of Invalids or Deceased Persons, at their residence, on the most reasonable terms and the shortest possible notice.  Portraits painted—miniature or life size—in oil and crayon, Views of residences, Draughting and pictures of every description painted to Order.

Another example of a painter doing photography.  After doing an internet search for Jefferson Beardsley.  I found out that he was a portrait and landscape painter and photographer, working into the 1880’s and possibly beyond.  He is listed in The New York Historical Society Dictionary of Artist in America, 1864-1860.  As a genre painter, Ithaca (N. Y.), exhibited at the National Academy in 1859.

A foot note Beardsley attended the American Centennial Celebration in Philadelphia in 1876 and evidently purchased photographs of French pornography, sometime after he returned home he was charged with a crime and stood trial after college student and young men came in contact with them, he was also accused of making copies.  At the end of the trial he was sentenced to six months of hard labor.[1]

[1] Zen And The Art Of Local History (edited by Carol Kammen, Bob Beatty) p. 103-110.

Julian Vannerson

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

I have recently rechecked The Photographic and Fine Art Journal, December 1857 issue for the source of Vannerson working for McClees in Washington D. C.   For background, I have added the first advertisement for James E. McClees in Washington, D. C. from the Evening Star (Washington, D. C.) October 23, 1857.

New Gallery of Art.  No. 308 Pennsylvania Avenue, (over Davis’s Piano Store.) The subscriber, induced by his success in Philadelphia, and the numerous orders he receives from this section of the country, has opened a first-class gallery in this city for the production of Ambrotypes, Daguerreotypes and Photographs, affording the citizens of Washington and the public an opportunity of procuring as fine a work as is made in New York or Paris.

Portraits in Oil, from Life or Daguerreotypes; and Photographs finished in India Ink, Crayon, and Natural Colors, by a distinguished Parisian artist, engaged expressly for this establishment.

Persons residing at a distance wishing to have Daguerreotypes enlarged and painted can send them (with description of person) and have them accurately copied, and returned by express.   All likenesses are guaranteed, and an examination of specimens is solicited.  J. E. McClees, Photographer, 308 Pennsylvania avenue, 626 Chestnut street, Philadelphia.

Entry from the Photographic and Fine Art Journal.  Washington Galleries.  Washington November 5, 1857.

Mr. James McCleese of Philadelphia, has opened his new gallery below the Kirkwood House.  His operator is Samuel A. Cohner, Esq., a practical chemist of some notoriety; he is very successful in all of his operations.  I was shown many of his beautiful plain photographs, that in tone and sharpness were exquisite.  But ‘tis just like Mr. McC., he never has any body about who does not fully understand his business.  His gallery is one of the finest in Washington, and the many water colored pictures that are adorning his walls, speak highly for the business.  His artists is a man of the first order and paints with unusual rapidity.  Mr. Vannerson is the agent is the agent of Mr. McClesse’s gallery, and for the length of time he has resided in Washington, no man is more capable of doing the agreeable in securing the public patronage.  This gallery will do a large share of the business the coming winter.  I fully predict a brilliant career for them, and well they deserve it.  By the time your next number appears, I hope to be able to speak more of this gallery.                             J. R. J.

 

Monroe L. Battel

Ambrotypes, Photographs, , ,

Monroe L. Battel, 371 Broadway was recorded in the Photographic and fine Arts Journal (New York, New York.) on January 1, 1856.  In an article entitled the Photographic Galleries of America.  Number One, New York. The author visited 69 Galleries in New York City.

M. L. Battel—Here again we encounter the artist. The ambrotypes are excellent. The photographs are worthy of much praise. The gallery is very pleasant and tastefully arranged.

First name and address are from Craig’s Daguerreian Registry.  Even thou M. L. Battel is a known name and activity dates are also known.  I have included names that were listed in the article because of the firsthand account of the author’s description of the gallery and the quality of the photographs on exhibit.

G. A. Barnard

Photographs, ,

G. A. Barnard was recorded in The Daily Exchange, (Baltimore, Maryland)  in an advertisement which ran from November 2, 1858 to May 2, 1859.

Photographs In Oil Colors, Photographs— in India Ink, Photographs—in Water Colors, Photographs—Plain Mammoth Size, Photographs—in every style, Photographs—made every size, Photographic Temple of Art, G. A. Barnard, No. 213 Baltimore street.

There is no listing for G. A. Barnard in Craig’s Daguerreian Registry, or The Directory of Maryland Photographers. 1839-1900 (Ross J. Kelbaugh.)

 

Axe, William H.

Photographs, ,

Recorded in the The Evansville Daily Journal, Evansville, Indiana on October 5, 1859. Below is the full advertisement. It is unknown if he was a photographer or just a salesmen, more research is needed.

Some of the most handsome visiting cards we ever saw were shown us, the other day, by Mr. William H. Axe. Many of them contained tasty little photographic likenesses of the persons for whom they were designed, on the upper corners, while the names were written in a style, and with a beauty rarely equaled.  Mr. Axe has them on exhibition at the Fair, we understand, and we have no doubt they will attract a full share of attention, as well as prove instrumental in procuring several orders from persons visiting the city, who may chance to see them.

Alcan & Helleberg

Daguerreotypes, Photographs, , ,

An advertisement that appeared in The Evansville Daily Journal that was published in  Evansville, Indiana on October 3, 1855.

Photograph of Evansville.—We are indebted to the politeness of Messrs. Alcan & Helleberg, Daguerreotype and Photographic Artists, for a very pretty little photograph view of Evansville, taken on paper, from a point below Pigeon Creek Bridge. Of course it is correct in the most minute details.  These artist have located in Evansville for the present, and can be found at Mr. J. P. Elliott’s new building on Main Street.  They are prepared to take elegant Daguerreotype or Photographic likenesses, and at low prices.

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.