1844                Address Unknown, New York, New York.

1845-1848       152 Broadway, New York, New York.

1849-1853       203 Broadway, New York, New York.

1851                East Touro Street, opposite Atlantic Hotel, Newport, Rhode Island.

1853                205 Broadway, New York, New York.

1853-1859       381 Broadway, New York, New York.

1844 October 28.  New York Daily Tribune.  (New York, New York.)  October 28, 1844, Vol. IV, No. 174, Whole No. 1105, P. 2.

The American Institute Fair Closed on Saturday evening with the announcement of Premiums, an Address from the President, a display of Fireworks, &c.  Other engagements imperatively forbade our remaining to the close, but at 8 o’clock the number in attendance was large and the interest evinced general and profound. 

The first premium for the best Specimen of Daguerreotype Likenesses was awarded to Messrs. Anthony, Edwards, & Co. of the ‘National Miniature Gallery.’…   

1844 October 29.  New York Daily Tribune.  (New York, New York.)  October 29, 1844, Vol. IV, No. 175, Whole No. 1106, P. 2.

Monday Evening, October 28^th, 1844. 

Mr. Editor—I noticed an article in your paper of yesterday awarding the first premium for Daguerreotypes to Messrs. Anthony, Edwards & Co. appearing as an editorial but more apparently emanating from a source calculating to benefit the parties concerned and to make the public believe that they alone received the first, when it was also awarded to Messrs. J. Plumbe and M. B. Brady, and for the second best to Mr. M. M. Lawrence.  I think it would be well to correct the article of yesterday.  Yours respectfully, Justice.

1845 October 16.  New York Commercial Advertiser.  (New York, New York.)  October 16, 1845, Vol. XLVIII, P. 2.

Fair Of The American Institute.  Ninth Day…

Of Daguerreotypes there is an endless variety.  One of the finest that we ever saw is the panoramic view of Niagara Falls, taken from the Clinton house, Canada side.  The very spray from the tumbling waters appears to be rising before you, and any one who has ever visited the falls will recognize the scenery at a glance.  This picture is the work of Mr. Langenheim of Philadelphia.  There are also some finely marked portraits and a view near the City Hall credited to Langenheim & Recker, [sic.] the work, we presume, of the same artist.  Plumbe of this city has some excellent portraits.  Among them is a frame containing likenesses of the present members and officers of the Common Council, which any one acquainted with the originals will recognize at once.  How life-like is “Old Hays”; you feel an involuntary inclination to ‘pull off your hat,” the moment it is seen.  The portraits of P. Haas, M. M. Lawrence, M. B. Brady, E. & G. H. Morand, and very finely finished.  In fact all or nearly all exhibited are pictures which furnish abundant evidence of the still continued improvement in the art.  The other exhibitors, so far as we could ascertain them through the crowd that always surrounds this portion of the exhibition, are Mr. Shankland, T. S. Walsh, Perry, Brothers & Co., J. P. Weston, A. F. Thompson, J. T. Tracy, S. Hart, Meade& Brothers, G. R. Spellman, and Walker & Garritt, (of Albany.)

1848 July 12.  New York Daily Tribune.  (New York, New York.)  July 12, 1848, Vol. VIII, No. 80, Whole No. 2260, P. 3.

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 [Possibly 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.

In addition to its merits as an exquisite likeness, this picture stands unrivaled as a work of art.

The title prefixed to this advertisement will distinguish the engraving from any other likeness of Henry Clay published by the subscriber or others.

Price of Proofs on India paper, $1.

plain paper, 50 cents.

prints in enameled frames, from $1 upwards. 

For sale by E. Anthony, 205 Broadway.

Daniel Webster.—Also a fine steel engraving of Daniel Webster by Ritchie, from an excellent Daguerreotype by Whipple, of the same size and style with the above.

To any Editor who will give the above advertisement, with this notice, a prominent insertion, a copy of Henry Clay will be forwarded on the receipt of the paper.  je. 7.

1848 August 17.  New York Evening Express.  (New York, New York.)  August 17, 1848, P. 3.

Crimes And Casualties.  Stealing Daguerreotype Specimens.—Last evening, as Mr. Horsley was passing through William street, near Spruce street, he noticed a lad offering for sale some daguerreotype specimens, which he recognized as those of Mr. Lawrence, of 152 Bowery; whereupon, after questioning him a little, Mr. H. returned to see Mr. L. who had not missed the specimens, but went back with Mr. H. to see them.  In the meanwhile, the boy had stopped.  However in the course of the evening he was arrested in some rear buildings in William st. and taken to the 2d ward station house for safe keeping.  Should any person have bought any articles of the kind lately, they ought to report to the Police for two reasons, one to save themselves from trouble, and the other to convict the thief.

1848 August 18.  Commercial Advertiser.  (New York, New York.)  August 18, 1848, Vol. LI, P. 2.

Police— Last evening, as Mr. Horsley was passing through William street, near Spruce, he noticed a lad offering for sale some daguerreotype specimens, which he recognized as those of Mr. Lawrence, of the Bowery; after questioning the boy a little, Mr. H. returned to see Mr. L. who had not missed the specimens, but went back with Mr. H. to see them.  In the meanwhile, the boy had disappeared.  In the course of the evening he was arrested in some rear buildings in William street, and taken to the 2d ward station house.

1848 October.  Seventh Annual Report Of The American Institute Of The City Of New York Made to the Legislature, March 29, 1849.  P. 63 & 87.

List Of Premiums Awarded By The Managers Of The Twenty-First Annual Fair Of The American Institute, October 1848…

Daguerreotypes.

J. Gurney, 189 Broadway, for the best daguerreotype likeness.  Silver medal.

M. M. Lawrence, 152 Broadway, for the second best daguerreotype likenesses.  Diploma.

McClees & Germon, Philadelphia, Penn., for daguerreotype likenesses.  Diploma.

Meade & Brothers, Albany, N. Y., for calotypes.  Silver medal.

1848 October 19.  New York Herald.  (New York, New York.)  October 19, 1848, Whole No. 5251, P. 4.

Another Trial for Grand Larceny—Thomas Shute was tried for stealing four daguerreotype pictures, worth $36, from Martin M. Lawrence, of 152 Broadway.  It was a clear case of guilt; the pictures were stolen from the door were they were hung out as specimens, and were afterwards offered for sale by the prisoner; but as there was some doubt about the value of the property stolen, the jury returned a verdict of guilty of petit larceny only.  The Court sentenced the prisoner to the penitentiary for six months.

1849 July 13.  New York Herald.  (New York, New York.)  July, 1849, Whole No. 5515, P. 3.

Father Mathew.—Four Superior Likenesses, two full length, on whole size plates, taken on the 4^th of July, and two busts, showing his temperance medal, taken on the 7^th, can be seen at Lawrence’s New Gallery, 203 Broadway, three doors below Fulton street; also, family groups, and one of a collegiate class of twenty-four persons, taken by his new and peculiar arrangement of light.

1850 December 16.  New York Daily Tribune.  (New York, New York.)  December 16, 1850, Vol. X, No. 3016, P. 4.

Daguerreotypes.—The public are invited to visit Lawrence’s Gallery, 203 Broadway, and examine some of the most exquisite pictures ever produced by this beautiful art.  Having one of the best arranged operating rooms in the world, he has produces groups of schools, and families, of 10, 20, and 30 persons, which have no equal.  Mr. L. has also outstripped all his competitors in producing pictures the size of life, having for several months past been taking, with the mammoth apparatus, Daguerreotypes the size of portraits.  His large heads are well worth a long walk to see.

1850 December 24.  New York Daily Tribune.  (New York, New York.)  December 24, 1850, Vol. X, No. 3023, P. 4.

Splendid Gifts For The Season.—Lawrence’s Daguerreotypes, the size of life—call and see them.  A great variety of beautiful caskets for Daguerreotypes, to be had nowhere else.  Also, Pins and Lockets of every size.  Rooms 203 Broadway, three doors below Fulton-st.

Advertisement ran from December 24 to 28, 1850.

1850 December 31.   The New York Herald.  (New York, New York.)  December 31, 1850, Whole No. 6045, P. 1.

American Industry in a Crystal Palace.  World’s Fair, London, 1851.  Articles Approved By The Local Committee Of The State Of New York, With Name And Residence Of Exhibitor.

O. B. Evans, Buffalo, Daguerreotypes.

Meade & Brothers, New York, Daguerreotypes.

D. E. Gavit, New York, Daguerreotypes.

M. B. Brady, New York, Daguerreotypes.

W. M. Lawrence, New York, Daguerreotypes.

1851 January 8.  The New York Herald.  (New York, New York.)  January 8, 1851, No. 6752, P. 3.

Industrial Exhibition—London—1851.  Our Washington Correspondence.  Washington, Jan. 4, 1851.  The following is a list of articles received up to this date, by the Centeral Committee, for exhibition at the Great London Fair.—

6.  M. A. Root, daguerreotypes.

28.  W. & F. Langenheim, photographic slides.

31.  O. B. Evans, daguerreotypes.

35.  Meade & Brothers, daguerreotypes.

51.  D. E. Gavit, daguerreotypes.

63.  M. B. Brady, daguerreotypes.

77.  M. M. Lawrence, daguerreotypes.

1851 February 13.  The New York Herald.  (New York, New York.)  February 13, 1851, No. 6088 P. 4.

The World’s Fair.  The Works and Inventions of the American Sovereigns, for the Crystal Palace.  Yankee Cabinet of Curiosities, &c., &c., &c.

42.  M. A. Root, Philadelphia, Pa., daguerreotypes.

62.  W. & F. Langenheim, Philadelphia, Pa., photographic magic lantern specimens.

105.  O. B. Evans, Buffalo, N. Y., daguerreotypes.

109.  Meade & Brothers, New York, daguerreotype.

125.  D. E. Gavit, New York, daguerreotypes.

137.  M. B. Brady, New York, daguerreotypes.

151.  M. M. Lawrence, New York, daguerreotypes.

396.  J. W. Whitehurst, Baltimore, daguerreotypes.

1851 July 10.  Copway’s American Indian.  (New York, New York.)  July 10, 1851, Vol. 1, No. I, P. 4.

Daguerreotypes.

M. M. Lawrence, Daguerreotypist, 203 Broadway, New-York, 3 Doors below Fulton Street.

Advertisement was recorded on July 10 to September 27, 1851.

1851 July 10.  Herald of the Times.  (Newport, Rhode Island.)  July 10, 1851, Vol. XXI, No. 47,

Whole No. 1087, P. 3.

Daguerreotypes.  Citizens and Strangers of Newport, are informed that Lawrence’s Gallery is Reopened for the season, and that he will be happy to receive calls at his Rooms, in East Touro street, opposite the Atlantic House.  M. M. Lawrence, from 203 Broadway, New York.

Advertisement ran on July 10 & 31; August 7 & 21, 1851.

1851 October 9.  New York Daily Tribune.  (New York, New York.)  October 9, 1851, Vol. XI, No. 3269, P. 5.

The Daguerreotypes At The Fair.—Among the most attractive articles in the present Fair of the American Institute at Castle Garden, the Daguerreotypes by our City artists hold, and worthily hold, we think, a very high place.  The improvements in the photographic art within a few years have certainly been extraordinary; and notwithstanding the art itself originated in France, the World’s Fair in London completely settled the question, that in this country it had already received a finish and perfection known to no other part of the earth.  And yet, in the World’s Fair were to be found only some of our most inferior specimens; the display in Castle Garden at this moment, far surpassing in point of excellence in the Daguerreotypie Art, that presented by the celebrated Crystal Palace.  Castle Garden, however, even to the most careless eye, exhibits, by no means, a monotonous uniformity of perfection in this particular branch of our national skill, taste and industry; for, although many of the specimens of the Daguerreotype are very good indeed, and many strikingly better, the collection in the upper, north gallery, by Messrs. M. A. & S. Root, of this City, is one that cannot fail to meet the entire approval of every one.  We look on those exceedingly large likenesses as beyond anything of the kind we have yet seen either in this country or in Europe.  In addition to their size, while it brings them up almost to the magnitude of portraits, increases immeasurably the difficulty of their correct production, there is a sharpness in the outline, a distinctness in the impression, a depth and clearness of expression, a fullness of character about them, as well as an absence of the cloudy dimness and mercurial flatness which so generally characterize and mar the limnings of the daguerreotype, that they at once arrest the attention and extort from all exclamations of admiration.  The likeness of Mr. Hite, the miniature painter, is exquisite.  The Messrs. Root also exhibit a very beautiful series of daguerreotypie illustrations of the sentiment of the song of “The Old Arm Chair.”  The picture are eminently artistic, appropriate and poetic, natural and full of taste.  If no other evidence were at hand, if the medals won by the Messrs. Root from various exhibitions in this and other States counted for nothing, if the gigantic pictures they have produced, so next to life itself in all their characteristics were set aside, this graphic illustration of so popular a song would place them in the foremost rank among the daguerreotypists of the world.

1851 October 10.  New York Daily Tribune.  (New York, New York.)  October 10, 1851, Vol. XI, No. 3270, P. 5.

To the Editors of the N. Y. Tribune:

Gentlemen:  I cannot let the article in your paper of this morning, headed “ The Daguerreotypes at the Fair,” pass without a reply.  Although appearing as editorial, I cannot for a moment believe that it was written by either of the Editors of The Tribune.  It is to partial, and so far from the truth, that no one at all acquainted with the facts of the case, can believe that it emanated from any other than the gentlemen who are so highly extolled.  It certainly is a sort of left-handed compliment to the exhibitors at the London Exhibition to say, that they have carried off the palm from the whole world, and yet, have done so, with the “most inferior specimens.”  Why did not the gentleman send some of those specimens “that arrest attention, and extort from all, exclamations of admiration?”  His name appears on the list of competitors at the Crystal Palace, yet, his pictures have never arrived there.  Why? Was he afraid to compete with “inferior specimens?”  Will any one suppose, That Mr. Whipple of Boston, Mr. Evans of Buffalo, Mr. Brady and Meades of New York, or your humble servant, sent nothing but “most inferior specimens?”  Fair competition, and honest rivalry I most heartily approve of.  It is that which has placed the art in its present high position in this country.  But for one to endeavor to elevate himself, by depreciating the productions of others that are equally meritorious, is neither fair, honorable nor honest.  M. M. Lawrence, No. 203 Broadway.  New York, Oct. 9, 1851.

1851 October 11.  New York Daily Tribune.  (New York, New York.)  October 10, 1851, Vol. XI, No. 3271, P. 5.

To the Editors of the N. Y. Tribune:

Gentlemen:  In The Tribune of this morning, I find an article signed “M. M. Laurence,” reflecting ungenerously upon Messrs. M. A. & S. Root, of this City, on account of an editorial that previously appeared in your columns, justly eulogizing the Daguerreotypes exhibited by the Messrs. Root, at the Fair, at Castle Garden.

With the personal feeling evinced by Mr. L. in his communication against the Messrs. R., I can have nothing to do, although, upon the principle “let the galled jade wince,” Mr. L. has placed himself, by his lamentation over the success of a rival, in a very undignified position before the public; and, as “one of the public,” I might have a right to amuse myself by taking advantage of it.

But, gentlemen, when Mr. L. taxes you with either injustice or ignorance, in your remarks relative to the Daguerreotypic specimens from this country, in the Crystal Palace, in London, and the very superior specimens of the art displayed by the Messrs. Root at Castle Garden, I cannot remain silent.

I attended the Great World’s Fair in Hyde Park.  And examined their contents, every day, for weeks.  And yet, with the highest possible respect for the abilities of “Mr. Whipple, of Boston, Mr. Evans, of Buffalo, Messrs. Brady and Meade, of New York.” as well as of Mr. L., I assert that the Crystal Palace does contain, or did in May, June and July last, the “most inferior specimens” of the progress of the Daguerreotypic art in this country.  I would not insult any of those gentlemen by supposing that they sent their best pictures, for I have seen better at their doors; and I was going to say, they had more meritorious ones now on exhibition at Castle Garden.  But I discover that not one of them has felt disposed to enter into the contest for the medal, with the Messrs. Root, on this occasion.  “Discretion,” Falstaff remarks, “is the better part of Valor.”

As for Mr. L.’s anxiety to charge upon the Messrs. Root the disposition to “blow their own trumpet,” I have only to say, in the language of Lacon, “They most accuse who oftenest sin themselves.”  I know that the Messrs. Root did not write the article that has so wounded Mr. L.; and as to the merits of the Messrs. Root’s pictures at Castle Garden, they may be safely left to speak for themselves.  If they do not “arrest attention and extort from all exclamations of admiration, “then am I, certainly, no Judge Of Facts.            .

1851 October 29.  New York Daily Tribune.  (New York, New York.)  October 29, 1851, Vol. XI, No. 3286, P. 4.

The World’s Exhibition—Awards to Americans.  The National Intelligencer of yesterday contains a complete list of the Awards in favor of American contributors to the great Exposition of Industry at London—…—The Prize Medals, awarded by the several Juries…Daguerreotypes.

M. B. Brady, New York, Daguerreotypes.

J. A. Whipple, [Boston], Daguerreotypes.

M. M. Lawrence, [New York], Daguerreotypes.

Mayall, J. E., Honorable Mention, Photographs.

1851 October 29.  The New York Herald.  (New York, New York.)  October 29, 1851, Whole No. 6943, P. 4.

List Of Awards to United States Contributors at the Great Exhibition for all Nations.  Class X.  Prize Medals

M. B. Brady, for daguerreotypes.

M. M. Lawrence, for daguerreotypes.

J. A. Whipple, for daguerreotype of the moon.

Honorable Mention—J. E. Mayall, for photographs.

1851 October 30.  The Daily Union.  (Washington, District of Columbia.)  October 30, 1851, Vol. I, No. 169, P. 2.

From the National Intelligencer, October 28.  American Awards at the World’s Industrial      

Exhibition in London…Class X.—Council Medal.

Prize Medals.

Brady, M. B.               Daguerreotypes.

Lawrence, M. M.        Daguerreotype.

Whipple, J. A.             Daguerreotype of the moon.

Honorable Mention.

Mayall, J. E.                Photographs.

1851 November 4.  The Spirit of the Times.  (Batavia, New York.)  November 4, 1851, Vol. 33, No. 21, P. 2.

The World’s Exhibition—Awards To Americans.  The National Intelligencer contains a complete list of the awards in favor of American contributors to the great Exposition of Industry at London, as officially communicated by our Commissioner, Edward Riddle, Esq. to Joseph G. C. Kennedy, Esq. Secretary of the Central Committee Washington….

The following are awards of prize medals…

M. B. Brady, New York, Daguerreotypes

J. A. Whipple, do

M. N. Lawrence, do

…The following articles, though not deemed worthy of prizes, were awarded honorable mention…

J. E. Mayall, Photographs. 

1852 May 10.  New York Daily Tribune.  (New York, New York.)  May 10, 1852, Vol. XII, No. 3451, P. 7.

Lawrence’s Daguerreotypes At London.—The pictures for which Mr. Lawrence was awarded the Prize Medal, have been returned and can be seen, with the Medal, at his Rooms, No. 203 Broadway, three doors below Fulton-st.  They are worth seeing.

Advertisement ran on May 10 & 11, 1852.

1852 May 11.  The Evening Post.  (New York, New York.)  May 11, 1852, Vol. LI, P. 2.

Daguerreotypes At The World’s Fair.  The Prize Medal was awarded to M. M. Lawrence, for his Daguerreotypes sent to the Crystal Palace, thus placing him at the head of the list of competitors.

The pictures have been returned in fine order, and can be seen with the Medal, at his Rooms, 203 Broadway, 3 doors below Fulton street.  Portraits of Hon. Henry Clay, Hon. Daniel Webster, Wm. Cullen Bryant, Esq., Gen. James Watson Webb, the Sandwich Island Princes, and many other distinguished persons.  Also more than 100 Clergymen, including more than 50 Missionaries belonging to the American Board of Commissioners for Foreign Missions.

The public are invited to Visit his Gallery, which is free to all.  203 Broadway.

Advertisement ran on May 11 to June 22, 1852. 

1852 May 12.  New York Daily Tribune.  (New York, New York.)  May 12, 1852, Vol. XII, No. 3453, P. 7.

Daguerreotypes of more than 100 clergymen can be seen at Lawrence’s Gallery, No. 203 Broadway, three doors below Fulton-st.  Also, his World’s Fair Prize Pictures, with the Prize Medal.

Advertisement ran on May 12 & 13, 1852.

1851 November 13.  New Hampshire Sentinel.  (Keene, New Hampshire.)  November 13, 1851, Vol. LIII, No. 46, P. 2.

A list of Awards to United States Contributors at the Great Exhibition of all Nations of the Exhibitors, and the objects rewarded…

Class X.—Council Medal.—Bond, William & Son, for the invention of a new mode of observing astronomical phenomenon, &c.  Prize Medals.—Bache, A. D., balance; Brady, M. B., daguerreotypes; Burt, W. A., solar compass, surveying instruments; Ericsson, J., sea lead, pysometer, &c.; Lawrence, M. M., daguerreotype; St. John, John R., detector compass; Whipple, J. A. daguerreotype of moon.  Honorable mention.—Mayall, J. E., photographs.

1852 May 14.  New York Daily Tribune.  (New York, New York.)  May 14, 1852, Vol. XII, No. 3455, P. 7.

The Prize Pictures at the Crystal Palace—the largest Cameo in the world—the largest Groups, and the largest number of Clergymen, can be seen at Lawrence’s Gallery, 203 Broadway, three doors below Fulton.

Advertisement ran on May 14 & 15, 1852.

1852 June 26.  The Evening Post.  (New York, New York.)  June 26, 1852, Vol. LI, P. 2.

Daguerreotypes At The World’s Fair.—The Prize Medal was awarded to M. M. Lawrence, for his Daguerreotypes sent to the Crystal Palace, thus placing him at the head of the list of competitors.

The pictures have been returned in fine order, and can be seen, with the Medal, at his rooms, 203 Broadway, 3 doors below Fulton street.  Portraits of Hon. Henry Clay, Hon. Daniel Webster, Wm. Cullen Bryant, Esq., Gen. James Watson Webb, the sandwich Island Princes, and many other distinguished persons.  Also more than 100 Clergymen, including more than 50 Missionaries belonging to the American Board of Commissioners for Foreign Missions.

The public are invited to Visit his Gallery, which is free to all.  203 Broadway.

1853.  New York City Directory.  (New York, New York.)  1853-1854, advertisement opposite P. 400.

The Highest Premium, The Prize Medal, Was awarded, at the Great Exhibition Of The Industry Of All Nations, in London, 1851 to M. M. Lawrence, For The Best Daguerreotypes, M. M. Lawrence, Class 10.  The Prize Medal Of The Exhibition.

Mr. Lawrence has Removed to his New and Splendid Gallery, 381 Broadway, cor. Of White St., where he will be happy to see his friends and the public generally.

1853.  New York City Directory.  (New York, New York.)  1853-1854, advertisement opposite P. 401.

Lawrence’s Daguerreian Gallery, Is one of the most extensive, elegant, and best arranged in this country, occupying two entire floors of the new and beautiful building, 381 Broadway, corner of White street, The Reception Room is beautifully frescoed with a quite tint, and furniture to harmonize, being solid rosewood covered with green plush.  The pictures are suspended on panels covered with cloth.  The Operating Rooms have no equal in magnitude or arrangement of light, being similar (yet somewhat improved) to the one used at 203, introduced by Mr. Lawrence four years ago, and now generally adopted throughout this country, and also in Europe, having had (since the World’s Fair in London) applications for drawings, &c. to send to Europe and Asia.  The improvements consists in arrangements, so to change the Light, (the “Magic Pencil,”) as to produce any desired effect.  The walls have a quite tint, so that the weakest eyes are not disturbed by any glare of light.  As no expense has been spared in fitting up the establishment, so  none will be spared to please our patrons, and give them pictures unsurpassed by any other artist.

Having been engaged for more than Ten Years in the Daguerreian Art, the undersigned feels confident that he has no superior.  At the World’s Contest in London, Mr. Lawrence Daguerreotypes carried off the Palm, being pronounced the Best in the Exhibition, and awarded the first premium.

In the “Report of Juries,” page 244, they say, “in which for Daguerreotype portraits America stands prominently forward.  America stands alone for stern development of character, rejecting, with few exceptions, all accessories presenting a faithful transcript of the subject and yielding to none in excellence of execution.”  Again, on page 277, they say, “Lawrence of New York has exhibited several daguerreotype portraits, remarkable for clear definition and general excellence of execution.”  Speaking of some of them, they say:  “ the large ones of James Watson Webb and W. C. Bryant deserve particular commendation, that, notwithstanding their large size, they are throughout perfectly in focus, and beautifully finished in all their details.  These are two of the best pictures in the American collection.”  They also speak of other pictures as remarkable.  Since “the Exhibition, “Mr. Lawrence has received several flattering letters from different parts of Europe, and has been solicited to open rooms there.

Much attention is given to Copying Daguerreotypes and other Pictures.  Small Pictures Can Be Enlarged To Any Desired Size.

Children of all Ages taken.

Pictures Taken Just As Well In Cloudy As In Clear Weather.

A Large Collection Of Portraits of Prominent Men, can be seen at the Rooms, which are free to all, at all times, A Visit Is Solicited.  M. M. Lawrence, 381 Broadway, cor White Street.

1853 March 15.  New York Daily Tribune.  (New York, New York.)  March 15, 1853, Vol. XII, No. 3716, P. 7.

Daguerreotypes.—Mr. Lawrence has the pleasure to inform his friends and the public, that he will open to-day, at No. 381 Broadway, corner of White-st., one of the most extensive and splendid Daguerreian Galleries in the world.  Citizens and strangers are respectfully invited to visit the Rooms and view his numerous collection of the “human face divine,” and especially the frame of 25 pictures exhibited at the World’s Fair in London, pronounced the best in the exhibition, and awarded Mr. L. the first premium, the prize medal.  

1853 March 24.  The Evening Post.  (New York, New York.)  March 24, 1853, Vol. LII, P. 2

Portrait of Dr. Floy.—One of the most spirited engravings that we have lately seen is a faithful likeness of the Rev. Dr. Floy, an eloquent preacher of the Methodist Episcopal Church, late pastor of the Madison street congregation.  It was engraved by G. Bather, from a daguerreotype by Lawrence, and does great credit to the artist by whom it was prepared.  The print is published for the benefit of the Madison street church, so that the friends of the subject, in purchasing it, may gratify their personal feelings, and at the same time do an act of charity.  It is for sale at 49 Ann street, and at 13 Rutgers street.

1853 June 18.  The Evening Post.  (New York, New York.)  June 18, 1853, Vol. LII, P. 2.

Daguerreotypes.—M. M. Lawrence has removed from 203 to 381 Broadway, corner of White street.  His new gallery is one of the most extensive, and beautiful in the city.  Having been built expressly for the business: it is adapted in all its arrangements for producing the most artistic and truthful likenesses.  On the walls of the reception room are suspended the Daguerreotypes of many of the magnates of the land, embracing more than 100 clergymen.  Pictures taken as well in cloudy as clear weather.

Mr. Lawrence’s Daguerreotypes at the World’s Fair in London, were pronounced the best in the exhibition and received the award of the highest premium, the Prize Medal.

Advertisement ran from June 2 to October 28, 1853.

1853 August 6.  Albany Evening Journal.  (Albany, New York.)  August 6, 1853, Vol. 24, No. 7097, P. 4.

Business Directory Of The City Of New York.  Daguerreotypes.

Gurney’s Premium Daguerrian Gallery, 349 Broadway, the most extensive establishment of the kind in the U. S.

M. Brady, Daguerreotypist, 205 and 359 Broadway.

Lawrence, London Prize Medal Gallery, 851 Broadway, corner of White street.

N. C. Jaquith, 98 Broadway, between Pine and Wall sts.

West Indian Daguerrean Gallery—A. D. Othon Hartman, No. 627 Broadway, between Houston and Bleecker sts.

Persons visiting New York would do well to call at No. 428 Broadway and have one of Harrison’s Electro Daguerreotypes.

1853 August 19.  The Brooklyn Daily Eagle.  (Brooklyn, New York.)  August 19, 1853, Vol. 12, No. 196, P. 2.

Daguerreotypes.—There is a long communication in the Tribune of this morning, from Mr. Harrison, of the firm of Harrison & Hill, Daguerreotypists, Brooklyn.  Mr. H. justly complains of an article that appeared in the Tribune of Yesterday, in which the writer condemns, in the most wholesale terms, the Daguerreotypes placed by Messrs. H. & H. in Crystal Palace, on exhibition, in New York, and gives the entire palm to a Mr. Lawrence, whose productions are also placed in the Crystal Palace, in New York.  Mr. H. asserts, that Mr. Lawrence’s Daguerreotypes are the same which were exhibited at the London Crystal Palace, and took the first prize medal at the Royal Exhibition, and are in fact, not the productions of Mr. L., but were actually taken by Mr. G. Harrison himself, for that gentleman. Not much can therefore be said for the artistic acumen of the Tribune’s reporter, who has pronounced, that the productions of the same Artist, were the very best in London, and the very worst in New York.

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 August 27.  The Brooklyn Daily Eagle.  (Brooklyn, New York.)  August 27, 1853, Vol. 12, No. 203, P. 2.

A Brooklyn Daguerreotypist and his Pictures at the Crystal Palace.  Among the articles at the Crystal Palace Exhibition are many rich cases of the most beautiful Daguerreotype Pictures yet taken any where in the world.  Some shallow critic may hop from one to the other, and announced his opinions with great clerity, putting this one very high and that one very low, and with a dismal stupidity, discussing fine chemical points about photographs, in a way that leaves Mrs. Partington entirely buried in the sand, like a pursued crab.  But in these numerous pictures, various in degree as they are, any true pair of artist eyes will find something genuinely good in quite all of them.  A large proportion of them from the New York daguerreotypist and Harrison & Hill, of Brooklyn, are superb to a perfection which ought to satisfy, and will satisfy any man that hath eyes to see, and will altogether astound European visitors.  The work from the Brooklyn establishment just named, is thoroughly up to the best degree of merit, in any respect, of every thing in that department of the Exhibition.

The art of making good Daguerreotypes is not very common; although the rooms and operations can be found in almost every quarter of our cities, villages, and country towns.  Indeed to do any work good, requires a vast deal more than people suppose; and we cheerfully welcome all good workmen in any thing.  Nature alone is the perfect constructor and artist—never at fault for material or power of moulding it.  Man experiments. Blunders, tries again, despairs, gets a partial success, and his fain to shut his own eyes to the numerous shortcomings, and be satisfied if he can only make it pay.

But we have seen a good deal of Gabriel Harrison’s work, in Daguerreotypes, where of we can say, without compliment, that there is no shortcoming; but the pictures are models of all that can be done by that process, directed by perfect mechanical knowledge and refined mind.  There is a little picture we have seen of his, of a boy with his eyes raised upward, and his arm around a bust of Washington; there are pictures of women; some of children; one large portrait of Mrs. Clark, of this city; a group of three beautiful girls, daughters of Brooklyn, if we are not mistaken; and, indeed, a variety of miniatures, large and small, of all sizes, in all attitudes, and from all subjects, that establish this man’s reputation as an operator, among the very best in the world.

Harrison is quick, mercurial, seizes on the points of his subject like a flask, and is the farthest possible removed from a slow coach.  His faith seems to be in inspiration.  It is so with his taking of pictures.  It is touch and go—of course this is all with due regard to the most elaborate and carefully prepared mechanical means beforehand; for he is to experienced an operator not to know that they form the foundation the stone wall, on which the house must be built.

Our opinion as here expressed is no puff or sudden judgment either.  We have known Gabriel Harrison for many years.  We known what a warm, sensitive, sympathetic heart he has; what a large and liberal disposition; what a fine artist soul, wild and unpruned as nature itself; leading him over the line at times, but held in check by any organically correct eye for purity in form, color, and the symmetry of things.  And we know too, that his daguerreotypes, the point in which the public is most interested, whether we judge of his case of pictures in the Crystal Palace or the work he accomplishes every day at his place in Fulton Street, will hold its own and not fail from a comparison with the best photographic portrait from Broadway or any other establishments in the world.

Brooklyn we consider is somewhat interested in this thing.  A great palatial saloon, sumptuously furnished, dressing rooms, the largest operating room, and the best arranged light—are these not worth a little attention from our people, where there is hardly a family that has not, and does not want, one or two daguerreotypes?

Mr. Hill, the other partner, we know from a good acquaintance, too; a gentleman and noble heart is he.

Then long live Harrison and Hill’s Daguerreotype Establishment say we, with young Mr. Tarr, too, whose operating is capital, and his pictures likewise.  As to any flippant criticisms from some New York press, the writer whereof gives up about a quarter of a minute to look at the object criticized, and lets out the decision just as accident or interest turns it, why, the same critic, talking by word of mouth in an assembly of intelligent people, wouldn’t be thought worth any further answer than a pretty broad smile.—Why, old friend, Elizabeth, whose polite and honest face greets us so smilingly at your door, and into whose lap the children, we fancy, are always willing to sit quiet—she may have a far better eye for a good picture than even a Crystal Palace critic has.

1853 September 25.  The New York Herald.  (New York, New York.)  September 25, 1853, Whole No. 7575, P. 2.

Our repository of the fine arts has been enriched by the reception of a faithful sketch on home, entitled; “Things as they Were and Things as they Are,” by Johannes A. Verte, of Brooklyn; and Henry Hay’s magnificent engraving of William V. Wallace, taken from a daguerreotype by Lawrence.

1853 November 23.  Clarksville Jeffersonian.  (Clarksville, Tennessee.)  November 23, 1853, Vol. 10, No. 28, Whole No. 496, P. 3.

Stereoscopic Or Solid Daguerreotypes.  (For A Short Time Only.)  Messrs. Sandel & Stephens Daguerreotypist from Nashville would announce to the citizens of Clarksville and vicinity, that they have fitted up rooms in [Poston’s] building near the Washington Hotel and are prepared to take Daguerreotypes in the very best style, and on reasonable terms.

They would also announce that they have a license from the Patentee, to take the new Stereoscopic pictures which have created such a sensation in the Scientific world.

Mr. Sandel has been located in Nashville for some time, and Mr. Stephen was engaged with M. M. Lawrence at the time he took the first premium at the World’s Fair in London in 1851.

Perfect satisfaction given or no charge.

Particular attention taken with the portraits of children.

Cloudy weather no obstacle.

P. S. Daguerreotypes copied from portraits or other pictures—pictures set in lockets, breastpins, rings, bracelets & c. and at a moderate rate.

1853-1854.  Hearnes’ Brooklyn City Directory For 1853-1854.  (Brooklyn, New York.)  Appendix P. 74.

Harrison & Hill’s Daguerreian Palace, 283 Fulton St., Brooklyn, The finest suit of Rooms in the World, with the largest and best light ever put up for Photographic purposes. 

Gallery furnished with carved rosewood furniture of crimson plush, consisting of Sofas, Divans, Ottomans, Piano, &c., &c.  As regards quality of work, it should be sufficient to state that Mr. Gabriel Harrison took the pictures for Mr. Lawrence of Broadway, New York, which received the Prize Medal at the Great World’s Fair.

Always on hand, at manufacturers’ prices, a large and beautiful assortment of Lockets, Rings, Keys, Seals, &c., For Daguerreotyping.

1853.  Official Catalogue of the New-York Exhibition of Industry of All Nations.  1853.

Class 10.  Philosophical Instruments And Their Products.

72.  A collection of daguerreotypes.  – Martin M. Lawrence, Daguerrean Artist, 205 & 381 Broadway, New-York City.

1854.  Illinois And Missouri State Directory for 1854-1855.  (St. Louis, Missouri.)  1854, P. 166.

Lawrence’s Splendid Gallery, No. 381 Broad[way] Street, Corner of White Street, New York.  The Prize Medal was awarded to Mr. L. at the late London and New York Exhibitions for the best Daguerreotypes.

Likenesses taken in every Style of the Art, and in size From The Smallest Locket to the Size of Life Also, Family And School Groups, Photographs, Mezzographs, and Crystalotypes, or Daguerreotypes on Paper, colored or plain.  A great variety of Beautiful Caskets, Lockets, Pins, Rings, &c.

1854 January 20.  New York Daily Tribune.  (New York, New York.)  January 20, 1854, Vol. XIII, No. 3,981, P. 6.

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.

1854 January 21.  New York Daily Tribune.  (New York, New York.)  January 21, 1854, Vol. XIII, No. 3,982, P. 3.

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

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

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.

1854 February 24.  New York Daily Tribune.  (New York, New York.)  February 24, 1854, Vol. XIII, No. 4011, P. 7.

Who did get the Prize Medal at the Crystal Palace for Daguerreotypes?  Lawrence, to be sure, of No. 381 Broadway.  The same who took the prize medal at London for the best daguerreotypes.  Twice victorious against the world.            

1854 March 20.  New York Daily Tribune.  (New York, New York.)  March 20, 1854, Vol. XIII, No. 4031, P. 7.

Beyond Controversy, the best place in the world to get a good Daguerreotype is at Lawrence’s No. 381 Broadway, corner of White-st.  Proof, the first premium for best pictures was awarded him at the London Palace and also the highest premium at the New-York Crystal Palace.

1854 March 22.  New York Daily Tribune.  (New York, New York.)  March 22, 1854, Vol. XIII, No. 4033, P. 7.

The best Daguerreotypes in the world are taken at Lawrence’s, No. 381 Broadway, corner of White-st.  So say the Juries at the great World’s Fair in London and New-York, each awarding him the first premium, the prize medal.

1854 March 28.  The New York Herald.  (New York, New York.)  March 28, 1854, Whole No. 6425, P. 4.

Gurney, Lawrence, Sic. Beasely, Root—Each claim the first premium for the best daguerreotypes exhibited at the Crystal Palace.  546 Broadway, desiring that contention should be given to those who were of equal rank, withheld those fine large size fifty cent daguerreotypes, which surpass many sold at five dollars.

1854 March 29.  The New York Herald.  (New York, New York.)  March 29, 1854, Whole No. 6426, P. 4.

Gurney, Lawrence, Brady, Root—Each claim the first premium for the best daguerreotypes exhibited at the Crystal Palace.  546 Broadway, desiring that contention should be given to those who were of equal rank, withheld those fine large size fifty cent daguerreotypes, which surpass many sold at five dollars.

1854 May 10.  New York Daily Tribune.  (New York, New York.)  May 10, 1854, Vol. XIV, No. 4075, P. 7.

Dr. Duff.—Several very fine Likenesses of Dr. Duff were taken yesterday by Lawrence.  Copies of Daguerreotypes and Photographs for sale.  Nearly 200 Clergymen and Missionaries can be seen at his rooms, No. 381 Broadway, corner of White-st.

Advertisement ran on May 10 & 11, 1854.

1854 May 17.  New York Daily Tribune.  (New York, New York.)  May 17, 1854, Vol. XIV, No. 4081, P. 7.

Dr. Duff.—Daguerreotypes and Crystalotypes, (tinted or colored to life) of this eminent Scotch Missionary can now be obtained at Lawrence’s great World’s Fair Premium Gallery, No. 581 Broadway, corner of White-st.

Advertisement ran from May 17 to 22, 1854.

1854 December 15.  New York Daily Tribune.  (New York, New York.)  December 15, 1854, Vol. XIV, No. 4262, P. 7.

Photographs In Oil.—The large size Photographs in oil were first introduced by Lawrence several months since; long before any other artist had succeeded in producing them; and yet made no pretense of having a patent to frighten timid ones.  He has more Photographs in oil, at his rooms, than can be found in all the City beside.  Photographs taken in every style of the art.  The public are invited to call and view his new style of Crayon Photographs in oil, taken at no other establishment in the world.  M. M. Lawrence, No. 381 Broadway, cor. of White st.

1855 May 8.  New York Daily Tribune.  (New York, New York.)  May 8, 1855, Vol. XV, No. 4384, P. 7.

Lawrence’s Gallery, No. 381 Broadway, is the very best place to get a transcript of yourself or friend.  Photographs, Daguerreotypes and Stereoscope Pictures in the most exquisite manner.  Portraits of 200 Clergymen, including nearly 100 Missionaries, King Kamehameha of the Sandwich Island, and Sam, who expects to be President of the United States, &c.  Call and see them.

1855 August 14.  Morning Journal and Courier.  (New Haven, Connecticut.)  August 14, 1855, Vol X, P. 2. 

Something New.  Some twelve or fifteen years ago, when Daguerre, the ingenious Frenchman, perfected the invaluable and now world-renowned invention which has immortalized his name, he took the world by surprise, and commander its admiration.  Such, however, is the process of art, that the imperfect and indistinct pictures that were at first produced, would be no longer tolerated when compared with the pictures which such artists as Lawrence and Brady of New York, and Moulthrop and wells of our own city, now produce.  Now we find the daguerreotype in every house.  Every family has its own collection—invaluable to them—of family portraits; portraits perfectly correct and life-like,

But the art had not reached its perfection.  The Photograph was invented and improved upon; and the photograph has its advantages over the old daguerreotype; but it was not perfect; and often requires the artist’s touch before it is completed.

There has recently been perfected in Europe an invention which is an improvement, not only on the old daguerreotype, but on the photograph also.  It is the ambrotype.  We have had the pleasure of examining some specimens of the pictures.  They are taken not on the old plates, nor on paper, but on glass.  They are taken almost instantaneously; two seconds is frequently all the time required for a perfect picture.  For truthfulness of expression, for beauty, and for delicacy and softness of tint, we know of nothing equal to them.  The contrast of light and shade is much more perfectly and distinctly preserved than it can be in a daguerreotype, and there is none—or comparatively none—of that distortion of the features that often renders a daguerreotype likeness so undesirable.  The fact that the likenesses are taken so instantaneously must recommend them at once to all those who have been wishing for a good likenesses of children; for this reason, also, it is particularly well adapted for portraits in groups.

We understand that the quantity of light required for the “ambrotype” is much less than that required for the daguerreotype, and that the operator is frequently obliged rather to exclude the light instead of fearing a deficiency of it.

The specimens of the ambrotype which we had the pleasure of examining, were at the rooms of Mr. M. Moulthrop, in Chapel street.  Many of the likenesses were really starting from their perfection and truthfulness.

Mr. Moulthrop has been long and favorably known in our city as an accomplished and successful daguerreotypist, and he has been at considerable trouble and expense in introducing this new and beautiful art to our citizens.  He has been engaged in the daguerreotype business for more than a dozen years, and we know of no one who has had the experience, which makes an able artist, to a greater degree than he.  We trust that the patronage which he will receive will more than compensate him for all his trouble in the introduction of the “ambrotype.”

1855 December 22.  New York Daily Tribune.  (New York, New York.)  December 22, 1855, Vol. XV, No. 4579, P. 8.

Handsome Ladies!—Pictures Taken Gratis!—The time fixed for the opening of Barnum’s Gallery Of Beauty has been extended for a short period $20,000 will be expended in Premiums to the 100 handsomest Ladies and for painting their portraits.  Highest prize $1,000.  For particulars see circulars at the Museum.  Daguerreotypes for this Gallery will be taken free of all expense to the sitter, if application be made to them immediately, by all the principal artists in the United States, including the following superior Daguerreotypist in the City of New York.

J. Gurney, No. 489 Broadway; M. M. Lawrence, No. 831 Broadway; S. Root, No. 363 Broadway;  Meade Brothers, No. 233 Broadway; R. Anson, No. 589 Broadway; Beckers & Piard, No. 264 Broadway; M. H. Kimball, No. 407 Broadway; J. W. Thompson, No. 315 Broadway, and 182 Fulton-st, Brooklyn; M. Kerston, No. 421 Broadway, cor. of canal; P. Welling, Cor. of Bleecker and Carmine-sts; P. G. Clark, No. 156 Bowery; Jullus Brill, No. 204 Chatham-st; R. A. Lewis, No. 142 Chatham Square.

1856 January 1.  Photographic and fine Arts Journal.  (New York, New York.)  January 1, 1856, Vol. IX, No. 1, P. 19.

In an article entitled the Photographic Galleries of America.  Number One, New York. The author visited 69 Galleries in New York City.

M. M. Lawrence — This gallery is deserving of all the praise that could possibly be bestowed upon it. Most of the pictures are exquisite, The [ ?  ] that all-important feature of the face, is sharp and clear, the outlines perfect and the general tone, &c. of the portraits faultless. The photographs and ambrotypes keep pace with the best. Mr. Lawrence is widely known both

as a gentleman and an artist and his establishment is one of the few which have a solid and firm foundation.

1857 November 7.  New York Daily Tribune.  (New York, New York.)  November 7, 1857, Vol. XVII, No. 5164, P. 6 & 7.

Premiums Awarded at the Twenty ninth Fair of the American Institute…Daguerreotypes, Photographs, Hallotypes, &c.

M. B. Brady, No. 359 Broadway, N. J., for best plain and retouched photographs.

………………………………………………………………………………….Small Gold Medal    

J. Gurney, No. 349 Broadway, N. Y., for plain and retouched Photographs (a Gold Medal having been before awarded)……………………………………………………………………..Diploma

M. M. Lawrence, No. 381 Broadway, N. Y., for the best Daguerreotypes and Miniatures in Oil

…………………………………………………………………………………Large Silver Medal

Meade Brothers, No. 233 Broadway, N. Y., for instantaneous Daguerreotypes.

……………………………………………………………………………………….Bronze Medal

J. Gurney, No. 349 Broadway, N. Y., for the best life-size Photographs in Oil (a Gold Medal having been before awarded)………………………………………………………………Diploma

C. D. Fredricks, Nos. 585 and 587 Broadway, N. Y., for life-size Photographs in Oil (a Gold Medal having been before awarded)………………………………………………………Diploma

C. D. Fredericks, Nos. 585 and 587 Broadway, N. Y., for the best Crayon Photographs and Hallotypes………………………………………………………………………Large Silver Medal

J. Gurney, No. 349 Broadway, N. Y., for Crayon Photographs and Hallotypes.

……………………………………………………………………………………….Bronze Medal

J. Gurney, No. 349 Broadway, N. Y., for the best Photographs in Aquerille.

…………………………………………………………………………………Small Silver Medal

C. D. Fredericks, Nos. 585 and 587 Broadway, N. Y., for Photographs in Aquerille.

……………………………………………………………………………………….Bronze Medal

S. C. Holmes, No. 289 Broadway, N. Y., for the best Photographic Views.

…………………………………………………………………………………Small Silver Medal

B. Hafnagel, No. 413 Broadway, N. Y., for photographic Views and copies of Prints.

……………………………………………………………………………………….Bronze Medal

Phillip E. Bogart & Co., No. 58 Pine street, N. Y., for Photographs by the Solar Camera.

…………………………………………………………………………………………….Diploma

G. N. Bernard, Syracuse, N. Y., for Photographs on Wood.

…………………………………………………………….…………………………Bronze Medal

C. C. Harrison, Fifty-third Street, near East River, N. Y., for Photographic Cameras (a Silver Medal having been before awarded………………………………………………………Diploma

Robert A. Werner, No. 25 East Broadway, N. Y., for an ingeniously planned Diaphragm.

……………………………………………………………………………………………..Diploma

A. Beckers, No. 411 Broadway, N. Y., for a Stereoscopic Panorama.

……………………………………………………………………………………………..Diploma

R. Newell & Co., Philadelphia, Pa., for three delicately tinted Portraits.

……………………………………………………………………………………………..Diploma

J. Gurney, No. 349 Broadway, N. Y., for the best Photographs in Pastel.

……………………………………………………………………………………….Bronze Medal

C. D. Fredricks, Nos. 585 and 587 Broadway, N. Y., for Photographs in Pastel.

……………………………………………………………………………………………..Diploma

1858 October 26.  The Evening Post.  (New York, New York.)  October 26, 1858, Vol. 57, No. 254, P. 1.

Carpenter’s Portrait of Henry Ward Beecher.  A very satisfactory portrait of Henry ward Beecher having been produced—a likeness which is said to do justice to the extraordinary man—we give place to the following notice of it furnished by a friend:

There are two representations of Henry Ward Beecher which are worthy of him; the one, a photograph by Lawrence, taken last spring; the other, a portrait in oil, just completed, by Carpenter.  Both are worthy, we have said, and yet they are wholly unlike.  The photograph shows the reformer, the agitator, the people’s advocate and orator; it is all force and fire; every muscle speaks; the attitude is an unanswerable argument, and the face a universal challenge; it is the energy, the ardor, the intellectual directness and power of the man, caught and fixed for our beholding…

1859 November 9.  New York Daily Tribune.  (New York, New York.)  November 9, 1859, Vol. XIX, No. 5787, P. 7.

Capt. John Brown.—Photographs of the Captain for sale by Lawrence, No. 381 Broadway, cor. White-st.  Sent by mail on the receipt of $1.

1859 December 27.  Commercial Advertiser.  (New York, New York.)  mDecember 27, 1859, Vol. LXII, P. 3.

In this city, on Monday, Dec. 26, Martin M. Lawrence.

The relatives and friends are respectfully invited to attend the funeral services, at the house of his mother-in-law, Mrs. E. Vredenburgh, 333 Atlantic street, Brooklyn, on Wednesday, 28^th inst. at four o’clock, P. M. without further notice.  The remains will be taken to Hempstead, L. I., on Thursday morning for interment.

1859 December 28.  New York Herald.  (New York, New York.)  December 28, 1859, Whole No. 8514, P. 7.

In this city, on Monday, Dec. 26, Martin M. Lawrence.

The relatives and friends are respectfully invited to attend the funeral services, at the house of his mother-in-law, Mrs. E. Vredenburgh, 333 Atlantic street, Brooklyn, on Wednesday, 28^th inst. at four o’clock, P. M. without further notice.  The remains will be taken to Hempstead, L. I., on Thursday morning for interment.

1859 December 29.  New York Observer.  (New York, New York.)  December 29, 1859, Vol. XXXVII, No. 52, Whole No. 1912, P. 3.

On Monday, Dec. 26^th, Martin M. Lawrence of this city, of pulmonary consumption.  Thousands who have known and esteemed Mr. Lawrence, the eminent daguerreotypist, will read this announcement with deep regret.

New York City Directories.  (New York, New York.)

Published by Thomas Longworth 1840-1842; Thomas Longworth & Son 1843; John Doggett 1844-1850; Doggett & Rode 1851; John Fowler Trow 1852-1861.

1840.  211 Spring.

1841.  Clocks—128 Fulton—h-211 Spring.

1842.  Clocks—128 Fulton—h-211 Spring.

1843.  Clocks—128 Fulton—h-211 Spring.

1844.  Watchmaker—211 Spring

1845.  daguerreotypes—152 Broadway—h-21 Spring.

1846.  daguerreotypes—152 Broadway—h-21 Spring.

1847.  daguerreotypes—152 Broadway—h-21 Spring.

1848.  daguerreotypes—152 Broadway—h-333 Atlantic, Brooklyn.

1849.  daguerreotypes—203 Broadway—h-333 Atlantic, Brooklyn.

1850.  daguerreotypes—203 Broadway—h-333 Atlantic, Brooklyn.

1851.  daguerreotypes—203 Broadway—h-333 Atlantic, Brooklyn.

1852.  daguerreotypes—203 Broadway—h-333 Atlantic, Brooklyn.

1853.  daguerreotypes—381 Broadway—h-333 Atlantic, Brooklyn.

1854.  daguerreotypes—381 Broadway—h-333 Atlantic, Brooklyn.

1855.  daguerreotypes—381 Broadway.

1856.  daguerreotypes—381 Broadway—h-333 Atlantic, Brooklyn.

1857.  daguerreotypes—381 Broadway—h-333 Atlantic, Brooklyn.

1858.  daguerreotypes—381 Broadway—h-333 Atlantic, Brooklyn.

1859.  daguerreotypes—381 Broadway—h-9 Gay.

1860.  Not Listed.