Tag Archives: Artist

Hart, Alfred

Ambrotypes, Colorist, Daguerreotypes, Landscape Painter, Photographs, Portrait Painter, , , , , , , ,

1857-1859       337 Main Street, Hartford, Connecticut.

N. D.  The New York Historical Society’s Dictionary of Artists In America 1564-1860.  (New Haven, Connecticut.)  P. 296.

Hart, Alfred.  Portrait painter and panoramist.  Born March 28, 1816, at Norwich (Conn.), he began his art studies there and continued them in NYC.  In 1848 he settled at Hartford (Conn.), where he painted a panorama of Bunyan’s Pilgrim’s Progress.  Another panorama by Hart, showing the New Testament and the Holy Land, was exhibited in NYC in 1852.  Hart was still living in Hartford in 1860, but soon after moved to the West, where he was active as an artist and inventor at least until 1878. 

1850 November 9.  Hartford Weekly Times.  (Hartford, Connecticut.)  November 9, 1850, Vol. XXXIV, No. 1768, P. 3.

Premiums Awarded By The Hartford County Agricultural Society, Oct. 1850…

Fine Arts And Art…

Alfred Hart, Hartford, best original landscape in oil,             Gold Medal.

H. H. Bartlett, Hartford, best daguerreotype likenesses,             gold medal.

A. Washington, Hartford for daguerreotype likenesses,             silver medal.

1854 October 28.  Hartford Weekly Times.  (Hartford, Connecticut.)  October 28, 1854, Vol. XXXVIII, No. 1975, P. 1.

Premiums Awarded By The Hartford County Agricultural Society, Oct., 1854…

Fine Arts.  Gold Medals To…

Alfred Hart, Hartford, for fine Landscapes in Oil.

H. H. Bartlett, Hartford, Best Daguerreotype likenesses.

Silver Medals To…

R. D. O. Smith, Hartford, for Peroscopic [sic.] Daguerreotypes.

1857 July 18.  The Connecticut Courant.  (Hartford, Connecticut.)  July 18, 1857, Vol. XCIV, No. 4826, P. 3.

Bartlett, Hart & Co.’s.  Old Established Gallery of Art, 337 Main St.  The proprietors have now on exhibition at their gallery, the largest and best variety of Daguerreotypes, Photographs, (colored and plain) Ambrotypes, and Photographic Portraits in oil, from the cabinet to life size, to be found in Hartford.  The public may rest assured that the well earned reputation of the gentlemen connected with the different departments of this establishment, will be maintained by the constant production of the “very best pictures” in every branch of the art.  Bartlett, Hart & Co., 337 Main street.

Advertisement ran from July 18, 1857 to March 19, 1859.

1857 October 10.  The Connecticut Courant.  (Hartford, Connecticut.)  October 10, 1857, Vol. XCIV, No. 4838, P. 2.

The County Fair.  From the Daily Courant of Wednesday.  The County Fair opened at the City Hall, yesterday…

Fine Arts Department.  Under this head the display is in many respects superior to former exhibitions.

The display on the part of the Daguerrean Artists of our city, is very fine, and they are deserving of great praise for doing so much to make the display in the Fine Arts room, so nearly complete.  In fact their specimens of skill, are among the most attractive features of the room.  W. H. Chase has some 28 specimens.  Bartlett and Hart exhibit but one specimen, the Photograph in oil of Governor Holley.  G. W. Davis has a very large and fine collection.  He has on exhibition 50 Photographs and 12 Ambrotypes.  N. A. Moore exhibits some 50 specimens of Daguerreotypes, Ambrotypes and Photographs, many of them very beautiful specimens.  Hartford can well afford to boast of fine Daguerreotype artists.

1858 November 11.  Hartford Daily Post.  (Hartford, Connecticut.)  November 11, 1858, Vol. 1, No. 183, P. 2.

Visit To Mr. Hart’s Rooms.—We yesterday called upon our Artist friend, Mr. Alfred Hart, at his rooms 237(sic.) Main street, and found him, as usual, busied in the mysteries of his profession, but withal as genial in his manners and as attentive to the calls of his friends as ever.  Mr. Hart is so well and favorably known to our citizens, that it seems scarcely necessary to speak in commendation of him.  His portraits and landscapes are much admired.  But there is a branch of his profession, less pretentious perhaps though we think really of more importance to the people, to which we wish especially to refer.  We allude to the beautiful and life-like Colored Photographs of Bartlett, Hart & Co., the finishing touches to which are imparted by Mr. Hart, and which possess all the excellence of a portrait, are indeed far mor accurate and truthful, and may be procured at a much less price.  The desirableness of these pictures can scarcely be over estimated.  Any one possessing a daguerreotype of a deceased friend may readily, and at a small price, have substituted for it a good-sized picture, which shall be a fac-simile in expression, while the delicate process of coloring seems virtually to restore the living subject.  A fine collection of these photographs may at all times be seen at the rooms of the above firm.

1859 March 22.  Hartford Daily Post.  (Hartford, Connecticut.)  March 22, 1859, Vol. 1, No. 294, P. 2.

The Most Beautiful and Durable Pictures Ever Made By Any Process, Are Photographs painted in Oil Colors.  They are made at Bartlett & Hart’s And No Where Else In The City.

The First Premium Daguerreotypes, Have always been made at Bartlett & Hart’s, And they are making those Beautiful Crayon Pictures every day.  They are perfect gems.  Remember that every style of good pictures are made at Bartlett & Hart’s Old Gallery 337 Main street.

Advertisement ran from March 22 to April 14, 1859.

1859 March 22.  Hartford Daily Post.  (Hartford, Connecticut.)  March 22, 1859, Vol. 1, No. 294, P. 2.

The celebrity which Bartlett & Hart have each acquired in different branches of Art, has had the effect of creating no slight stir among their professional brethren; and what is better, has caused the Old Daguerrean Gallery, 337 Main st, to become the popular institution of Hartford, for Photographs, Daguerreotypes and Ambrotypes, as well as numerous other styles of pictures, and more especially for the elegantly finished Photographs In Oil, which are undoubtedly the most beautiful  perfect and valuable Cabinet Portraits ever painted.  Daguerreotypes copied in every style from $1 to 50.

Advertisement ran from March 22 to September 1, 1959. September 10 to November 26, 1859,

1859 March 26.  The Connecticut Courant.  (Hartford, Connecticut.)  March 26, 1859, Vol. XCVI, No. 4914, P. 3.

The Most Beautiful And Durable Pictures Are The Photographs Painted In Oil Colors At Bartlett & Harts, And No Where Else In This City Bartlett & Hart’s Is The Gallery Where The First Premium Daguerreotypes Have Always Been Made.

Advertisement ran on March 26 and April 2, 1859.

1859 May 25.  Hartford Daily Post.  (Hartford, Connecticut.)  May 25, 1859, Vol. 2, No. 348, P. 2.

The Most Beautiful and Durable Pictures Ever Made By any Process Are Photographs painted in Oil Colors They are made at Bartlett & Hart’s, And Nowhere Else in the city.

The First Premium Daguerreotypes Have always been made at Bartlett & Hart’s, And they are making those beautiful Crayon Pictures every day.  They are perfect gems.  Remember that every style of good pictures are made at Bartlett & Hart’s Old Gallery, 337 Main street.

Advertisement ran from May 25 to September 1, 1859.

1859 August 2.  Hartford Daily Post.  (Hartford, Connecticut.)  August 2, 1859, Vol. 2, No. 96, Whole No. 406, P. 3.

Dissolution Of Copartnership.  The Copartnership heretofore existing between Bartlett & Hart, is by mutual consent this day dissolved,  H. H. Bartlett, Alfred Hart, Hartford, July 30, 1859.

Harrison, Gabriel

Daguerreotypes, Landscape Painter, Photographs, Portrait Painter, , , , , , ,

c. 1841-1844   Address Unknown, Washington, D. C.[1]

1844                Address Unknown, Newport, Rhode Island.[2]

1845                201 Elm, New York, New York.[3]

1846                154 Ave. 4, New York, New York.

1848                411 Broadway, New York, New York.

1849                203 Broadway, New York, New York.

c. 1849-1852   203 Broadway, New York, New York.[4]

1852-1858       283 Fulton Street, Brooklyn, New York.

1859                953 Broadway, New York, New York.[5]

N. D.  The New York Historical Society’s Dictionary Of Artists In America, 1564 – 1860.  (New

Haven, Connecticut & London, England.)  1957, P. 294.

Harrison, Gabriel (1818-1902).  Landscape and portrait painter; born March 25, 1818, in Philadelphia, a son of Charles P. and grandson of William Harrison, Sr.  Growing up in NYC, Gabriel became stage-struck and made his professional debut in Washington (D.C.) in 1938.  He was at the Park Theater in NYC in 1845.  After moving to Brooklyn (NY) in 1948, he became prominent in dramatic, literary, and artistic circles there.  An early experimenter with the daguerreotype, he also painted landscapes and some portraits, including one of Edwin Forrest. He died in Brooklyn, December 15, 1902.

1851 March.  The Photographic Art Journal.  (New York, New York.)  March 1851, Vol. 1, No. 3, P. 138.

The Daguerrean Art—Its Origin And Present State…

With Martin M. Lawrence, No. 203 Broadway, is an excellent young artist by the name of Gaberiel Harrison, who is the principal operator in the establishment, and whose pictures are highly prized.  We have seen some of his portraits of our female friends which are superb.

1851 March.  The Photographic Art Journal.  (New York, New York.)  March 1851, Vol. 1, No. 3, P. 169-177.

…Gabriel Harrison was born in Philadelphia on the 25th of March 1817.  His father moved to New York in July 1822…

[summer 1844] Mr. Harrison was at Newport, [Rhode Island] taking daguerreotypes…

[paraphrase]—Gabriel Harrison as a young boy of thirteen befriended an old man who he later discovered to be Colonel Aaron Burr who taught him to read… 

The same year (1844)[6] …he made application to Mr. John Plumbe, who was at that time at the head of the profession.  After being but two weeks in Mr. Plumbe’s establishment, Mr. Butler, Mr. Plumbe’s head man, very kindly gave him permanent employment.  Here he remained over three years, where he soon became a favorite with Mr. Plumbe’s customers, and contributed as much towards his fame, as any one in his employment.

In 1845, when at the Washington Fair, D. C., Mr. Harrison’s picture of Martin Van Buren, and one of a boy clinging around the bust of Washington, which was placed on a pedestal, were highly extolled in numerous papers, and took the first premium…

Mr. Harrison is likewise the first operator who has, to any degree been successful in taking what is called “double whole plate pictures;” that is—pictures three times the size of any heretofore taken.  This single fact speaks volumes for his untiring energy and consummate skill…

1852 June 15.  The Brooklyn Daily Eagle.  (Brooklyn, New York.)  June 15, 1852, Vol. 11, No. 140, P. 2.

Superior Daguerreotypes, At Harrison & Hill’s Gallery, Whitehouse Building, 283 Fulton St., Between Tillary and Johnson streets, Brooklyn.

The undersigned solicit your attention to the opening of their new Suite of Rooms, which have been constructed especially for Photographic purposes, and are fitted up with a degree of taste and splendor hitherto unappropriated to the beautiful Art.  As regards quality of work, we are not of those who would sing their own praise, but would call your attention to the annexed testimonials from some of the first American Historical and Portrait Painters—men qualified in every respect to be the best of judges, and who would not give commendation to those in the world of Art who are not deserving.

[From Charles C. Ingham, Esq., Ex-Vice President of the National Academy of Design]

Gabriel Harrison—Dear Sir:  You have requested me to give my opinion of your Daguerreotypes.  I think it scarcely necessary, as all persons of taste who may look ipon them must at once perceive that there can be nothing finer in their way, and their having taken the Premium at the great exhibition, the Worlds’ Fair, proves that they are superior to everything of the kind in Europe.

Very truly, yours,  Charles C. Ingham.

[From Charles L. Elliott, N. A.]  New York, April 24th.

Mr. G. Harrison—Dear Sir: Having frequently compared the best specimens of Daguerreotypes, I cannot resist the desire to express my opinion, that those produced by yourself combine in the greatest degree all the excellencies of the Photographic Art, in clearness, tone and color; also, in the artistic arrangement of positions, accessories, &c., they stand pre-eminent in this country, and, “of course,” in any other.

Wishing your entire success,

I remain, yours truly, C. L. Elliott.

The Operating Room.

Is fifty feet long, thirty feet wide, and frescoed in a quiet, subdued tint, which is of great importance to the producing of a first rate Daguerreotype, as thereby we have no reflected lights to destroy the quality, roundness and strength of shadows, also preserves the natural sharpness of the eyes, as but one light will be observed on the iris instead of half a dozen—as is the case in most daguerreotypes, from the fact of harsh white walls. &c., &c.

The Light.

Under which the sitters are placed to have their portraits taken, is the largest in the world, and contains over two hundred and fifty square feet of the best English white plate glass, faces about North-East, angle of thirty-five degrees—the best position for a light to prevent abrupt shadows under the eyes, nose, chin and has a tendency of producing miniatures of such softness and roundness of flesh that they must become at once the favorite style of pictures with all persons of refined and artistic taste.

The Ladies Dressing Room.

Is contiguous to the operating Room; is fifteen feet square, and fitted up in the most chaste and beautiful style with salmon color and marble top furniture.  Toilet always kept in order and of the first quality.

The Children.

Have every attention paid to their wants, as will be found in the apartments a series of Cosmoramic Views, baby jumpers and the largest kaleidoscope ever invented for their amusement.

Engagements.

Better be made the day previous by those who do not wish delay by taking rotation.

 Groups.

Of ladies and gentlemen, as large as 50 in number, can be taken with the greatest facility.  Portraits miniatures, Paintings, Engravings copied, Gentlemen’s private residences, Public Buildings, Cottages, and Monuments, taken either Photograph, Oil or Water Colored Painting.

Gallery Opened Free from 8 A. M. , to 9 P. M.      Advertisement ran from June 15 to July 16, 1852.

1852 July 13.  The Brooklyn Daily Eagle.  (Brooklyn, New York.)  July 13, 1852, Vol. 11, No. 164, P. 3.

Daguerreotypes.—Harrison & Hill’s establishment for taking perfect fac similes of the human face divine, is situated in Whitehouse’s building, 283 Fulton street.  Our citizens are perhaps not aware that the above artists are second to none in this, or any other country under the sun, in their profession.  So far as perfection can be attained, the merit is due them of having attained so desirable an end.  Their rooms are fitted up with an elegance and neatness unsurpassed in this or any other city.  In fact, the style in which they seek the patronage of the public must ensure to them a corresponding return in a pecuniary point of view.  Their gallery is one containing more gems in the art Daguerreian, than we have ever seen congregated in one establishment.  We do not mean more Daguerreotypes, but simply “more gems.”—Those wishing their likeness taken within a week, must enter their names at an early day.

1853 March 25.  The Brooklyn Daily Eagle.  (Brooklyn, New York.)  March 25, 1853, Vol. 12, No. 71, P. 2.

Brooklyn Dramatic Academy.  The first theatrical performance of the Brooklyn Dramatic Academy took place at the Museum last night and was attended by an overflowing audience—every seat in the building being occupied.  The stage and boxes were tastefully decorated for the occasion.  In front of the stage hung down a most beautiful wreath of flowers surmounted by the American flags and having in the centre the words, “Our Country’s Drama,” in gilt letters.—At the front and placed on either side of the stage were columns containing the names of the most celebrated American and European dramatic actors, and in the recesses stood elegant bust of Washington and Shakespeare.  The scenery, costumes of the actors, stage accompaniments, such as thunder, lighting, &c., were all admirably got up and added greatly to the effect of the pieces performed.  The standard play of “William Tell” was the first piece presented, and its characters embraced all the principal members of the corps.  Gesler was personified by Mr. J. B. Brown in a manner which evinced on the part of that gentleman the possession of dramatic talent of a very high order.  There was a grace and dignity in his bearing and an entire absence of affectation in his manner which would do credit to a veteran actor.  Mr. G. Harrison took the part of Tell, and we must do Mr. H. the credit to say that we never saw that difficult character better played than it was last night.  He elicited repeated rounds of applause from the audience, and at the conclusion of the piece was called before the curtain where he made a few brief but eloquent remarks.  The pretty character of Albert was performed very creditably by Master Cibber.  Mr. Brown’s subsequent appearance in the character of Luke the Laborer confirmed the favorable opinion which he had previously created.  The perplexities of Bobby Trot, as personified by Mr. Hill, were ludicrous in the extreme.  He cut a very comical figure.  Mr. J. North, in the character of Philip, exhibited the rollicking and rude chivalry of the sailor in a very excellent style, and overhauled the land-lubbers in a way that brought down the house with applause.  Mr. N. looked extremely well as a Jack-Tar, and has an excellent voice for the stage.  The character of Farmer Wakefield, by Mr. Kingsley, we have seen performed better.  Old Mike, the Gipsey, was admirably portrayed by Mr. Harrison.  The ladies of the corps looked remarkably pretty, and fully sustained the characters allotted to them.—The entire performance was undoubtedly beyond the reach of the most captious critic, and there was no evidence afforded by which a stranger could perceive whether the company was not a crack veteran corps instead of an amateur company.  After the performances were over some two or three hundred ladies and gentlemen adjourned to the Daguerrian Rooms of Messrs. Harrison & Hill, where a splendid supper was served up by the members of the Academy to their particular friends and the Press of Brooklyn and New York.  Success to the Brooklyn Dramatic Academy, say we!

1853 March 25.  The New York Herald.  (New York, New York.)  March 25, 1853, Whole No. 7398, P. 1.

Brooklyn, March 17, 1853—Mr. Clover—Dear Sir:—A few days since we learned, by accident, that you are the chairman of the few remaining members of the Dartmoor Prison, with which frightful history we became acquainted from the perusal of your reminiscences of that place, published some years ago.  The hard fate of those who passed through those horrid scenes will ever make Dartmoor disgusting to the civilized world.  The object of our communication is to invite yourself and associates to sit for a large group picture, for as Americans, we feel that at least some little attention should be given to the aged patriots of our country, especially those who drank to the very dregs the thousands of detested Dartmoor.  After obtaining the picture for our gallery, we shall take great pleasure in presenting to each of the group a copy of the same, earnestly hooping through a simple gift, it will prove a token to your time-seared selves of the deep sympathy of two American hearts for your past sufferings, and also, when you have passed to mother earth, he of inestimable value to your rising generations. With The highest respect yours, Harrison & Hill, 283 Fulton street, Brooklyn. 

1853 March 25.  The New York Herald.  (New York, New York.)  March 25, 1853, Whole No. 7398, P. 1.

New York, March 19, 1853.—Gentlemen—We have received your letter of the 17th inst., inviting us to sit in a group for a large Daguerreotype picture.  For your very liberal offer to present to each member of our association who sit with a copy, you will be pleased to accept our warmest thanks.  This mark of kindness on your part is acknowledged by us with deep feelings of emotion, as it is an evidence that those who, in days of yore, braved “the battle and the breeze” in defense of their country, are not totally forgotten by their fellow-citizens.  Will you please to suit your own convenience in regard to the time you wish us to sit.  Very respectfully yours, Lewis P. Clover, Theaf Hardenbroak, Theo. Thomas, Robert Concklin, B. Howard, and others.  To Messrs. Harrison & Hill.

1853 March 25.  The New York Herald.  (New York, New York.)  March 25, 1853, Whole No. 7398, P. 2.

The Dartmoor Prisoners.—We perceive that this body of “ancient mariners” are beginning to attract public attention.  One of the Daguerreotype artists of Brooklyn has invited them to his rooms, in order to take their portraits, for the purpose of presentation to their families.  This is all very well, as far as it goes.  We hope it is only a beginning of something of a more tangible nature for their benefit.  Many of these old men are infirm and in destitute circumstances.  Why should not Congress grant them sufficient to smooth their down-hill path of life?  It would certainly be more just than the Galphin, and the other claims of a like character, which have been granted.

1853 March 30.  The New York Herald.  (New York, New York.)  March 30, 1853, Whole No. 7403, P. 4.

The World Challenged to find a Daguerreotype establishment which equals, in beauty of arrangement, that of Harrison & Hill’s, 283 Fulton street, Brooklyn.  Here, the gallery, operating and auxiliary rooms, are all on the second floor, and each of them is peculiarly adapted to the photographic art.  The operating room is of immense size, with walls of a subdued tint, and has the largest skylight in the world, under which pictures are daily produced even superior to those of Mr. Harrison’s which took the prize medal at the World’s Fair.  Always on hand a large assortment of fancy cases, lockets, rings, seals, keys, &c., at the very lowest prices.  Gallery open to visitors until 2 o’clock in the evening.

1853 May.  The Photographic Art Journal.  (New York, New York,)  May 1853, Vol. 3, No. 5, P. 320.

Mr. Gabriel Harrison has opened an elegant gallery on Fulton Street Brooklyn.  These rooms are decorated and furnished in a style superior to any other we have seen, and the well known ability of Mr. Harrison as an artist, both as painter and daguerreotyper will undoubtedly secure to him a most liberal share of the public favor.  Mr. Harrison’s rooms will bear description, and we insert the following for the benefit of those who wish to follow his tasteful and artist like example.

The Whitehouse Buildings, just finished are said to be the finest ever erected in Brooklyn.  The entrance is ten feet wide, with the Gallery and Operating Room all on the second floor; doors of brilliant stained glass; size of the Exhibition Room, forty-five feet long, twenty-five feet wide, and fourteen feet high, octagon in form, and elegantly painted in fresco, with Crocus Martis tint, white and gold, Elizabethien in design, and the whole lighted with a large oblong skylight of ground glass, thereby producing a light of such softness that Daguerreotypes, and other works of Arts, can be looked at with a degree of pleasure hitherto not afforded in like establishments. 

The Operating Room.—Is fifty feet long, thirty feet wide, and frescoed in a quite subdued tint, which is of great importance to the producing of a first rate Daguerreotype, as thereby we have no reflected lights to destroy the quality, roundness, and strength of shadows, it also preserves the natural sharpness of the eyes, as but one light will be observed on the iris, instead of half a dozen—as is the case in most daguerreotypes, from the effect of harsh white walls, &c., &c.

The Light.—Under which the sitters are placed to have the portraits taken, is the largest in the world, and contains over two hundred and fifty square feet of the best English white plate glass, faces about North-East, angle of thirty-five degrees—the best position for a light to prevent abrupt shadows under the eyes, nose and chin, and has a tendency to produce miniatures of such softness and roundness of flesh that they must become at once the favorites with all persons of refined and artistic taste.

The Ladies Dressing-Room.—In contiguous to the Operating Room; is fifteen feet square, and fitted up in the most chaste and beautiful style with salmon color and marble top furniture.  Toilet always kept in order, and of the first quality.

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 22.  The Evening Post.  (New York, New York.)  August 22, 1853, Vol. LII, P. 2

Daguerreotypes.—Gabriel Harrison, whose taste and skill as an artist we have long known and appreciated, states, in a communication to a morning paper, that the daguerreotypes exhibited by Mr. Lawrence, at the London World’s Fair, and which took the first prize medal, were all taken by him, and that “every process, from the polishing of the plates to the finishing of each separate picture, was performed by him alone.”  Harrison has some superb pictures in the New York Exhibition, and it is in reply to a careless or a less excusable criticism upon them in the Tribune, that he makes this statement.  There is no doubt that Harrison is one of the best daguerreotypists in the country, and we are sorry that there should be any disposition in any quarter to contest the fact.

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

The Industrial Exhibition At The Crystal Palace.—…

Among the Daguerreotypes, on the lower floor, we notice a great display by Messrs. Harrison & Hill, of Brooklyn, who have a reputation for producing correct and beautiful pictures.  The likeness of Mr. Harrison, taken by Mr. Hill, is as true as life, as is likewise a portrait of Rev. Dr. Schroeder, of St. Thomas’s church, Brooklyn.  Harrison & Hill also exhibit a number of other pictures in a large gilt frame, which attract the attention of the visitor.

1853 October 17.  The Evening Post.  (New York, New York.)  October 17, 1853, Vol. LII, P. 2.

The daguerreotypes of Messrs. Harrison & Hill, of Brooklyn, exhibited on the left of the west entrance to the palace, have been highly praised by several members of the National Academy of Design, as possessing all the elegance of the photographic art, in clearness, tone and color, and in the artistic arrangement of positions, accessories, etc., being pre-eminent in this country.  Their collection consists of twenty-three pictures, in an ornamental frame, among which are: The Father of his Country, a group, large size; and Trinity of our Country, another group; a large portrait of Franklin; the Dartmoor prisoners, a large group; the graduating class of the Brooklyn Female Academy for 1853, etc.

1853 December 15.  The New York Herald.  (New York, New York.)  December 15, 1853, Whole No. 6324, P. 4.

Daguerreotypes vs. The Holidays.—The holidays are speedily coming, but more rapidly are daguerreotypes going from Harrison & Hill’s gallery, 283 Fulton street, Brooklyn, who challenge the world to claim greater facilities for their art, or produce better pictures than theirs.

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.

1854 June 4.  The New York Herald.  (New York, New York.)  June 4, 1854, Whole No. 6493, P. 4.

Brooklyn Museum.—Thespian Association.—Opening night.—Monday June 5, will be presented Othello and Boots At The Swan.  Complimentary tickets may be had of any of the members, and at Harrison & Hill’s daguerreotype rooms, Fulton street.  Gentlemen unaccompanied by ladies not admitted.

1855 November 26.  The New York Herald.  (New York, New York.)  November 26, 1855, Whole No. 7029, P. 5.

Harrison’s Daguerreotypes and Photographs.—If you desire a perfect likeness, that cannot be surpassed for brilliancy of tone and softness of flesh, call at 283 Fulton street, Brooklyn.

Advertisement ran from November 26 to 28, 1855.

1855 November 30.  The New York Herald.  (New York, New York.)  November 30, 1855, Whole No. 7033, P. 5.

Daguerreotypes and Photographs, (Copied from the New York Sunday Courier).  Brooklyn points with pride to Harrison’s gallery as one of her distinguishing features.  It is at No. 283 Fulton street, and from it are obtained the best portraits, either daguerreotypes, photographs or ambrotypes, which are to be found in this country.  If the reader thinks this is too emphatic, let him test the matter by a personal examination, which will suffice.

1856 February 5.  Long Island Farmer, and Queens County Advertiser.  (Jamaica, New York.)  February 5, 1856, Vol. XXIII, No. 46, P. 3.

New-York Daguerreans Beaten!  Harrison & Hill Triumphat!! And Brooklyn Victorious!!!

If you desire a perfect Likeness, that cannot be surpassed for brilliancy of tone and softness of flesh, call at our Gallery, where can be seen Daguerreotypes, for which we have received at the World’s Fair, in Europe and America, Bronze Medals, the highest award ever given to any one man in the profession.

The Most Splendid Gallery In The World Is Situated At 283 Fulton Street, Second Floor, between Johnson and Tillery Streets, Brooklyn.                                         

Advertisement ran from February 5 to November 4, 1856.

1856 April 19.  The Brooklyn Daily Eagle.  (Brooklyn, New York.)  April 19, 1856, Vol. 15, No. 97, P. 3.

Painting.—A new and beautiful art.  Classes are now being formed at Mr. Harrison’s Daguerrean Saloon, 283 Fulton Street.  Remember, Mr. Shaver’s stay in this city is short…

1856 November 11.  The New York Herald.  (New York, New York.)  November 11, 1856, Whole No. 7378, P. 3.

Fine Arts.—To Daguerreans And Others.—Instructions given in every branch of the Photographic art.  Price only $25.  Apply G. Harrison, 283 Fulton street, Brooklyn.

1857 April 13.  The New York Herald.  (New York, New York.)  April 13, 1857, Whole No. 7530, P. 6.

To Daguerreans.—Wanted, A Young Man To learn the photographic art, also a first rate daguerreotype plate cleaner.  Inquire of G. Harrison, 283 Fulton st., Brooklyn.

1857 April 18.  The Brooklyn Daily Eagle.  (Brooklyn, New York.)  April 18, 1857, Vol. 16, No. 90, P. 2.

The great Independent Volunteer parade and review in New York on the 20th inst., promises to be a very grand affair.  In addition to the thousands enrolled in New York city, it is expected that several fine companies from neighboring cities and towns will be on hand, including Philadelphia, Albany, Baltimore, &c., which will swell the multitude beyond parallel.

The “Union Ferry Guard,” under the command of Captain James Boyd,, are making extensive preparations for the occasion, and it is conceded that they will return home in the evening bearing the prize of public opinion for superiority.  They are composed entirely of ferrymen and will be led by nineteen pioneers, their regular compliment, and the rank and file will number over a hundred able men.  They have a beautiful full armory at the South Ferry, and possess every thing necessary for any parade.  Before starting they will be presented with a rich pair of silk and gilt camp colors, and a ferry boat, like those now in use, bearing the beautiful name, “Union,” which they will carry on the occasion, and there is no doubt that Brooklyn will produce in the Union Ferry Guard the banner company, as it is [t]he determination of every man to try.  The Guard will start from the South Ferry and proceed to the City Hall park, where Professor Harrison will take the Daguerreotype likeness of the entire company.

1857 April 23.  The Brooklyn Daily Eagle.  (Brooklyn, New York.)  April 23, 1857, Vol. 16, No. 94, P. 2.

The Parade Of The Military.—The general parade of target companies in New York, postponed on account of the weather, came off today.  The martial glory of Brooklyn was ably represented by the Union Ferry Guards, and the Forty Acre Guards.  The Union Ferry Guards under the command of Captain James Boyd, made a handsome appearance in their neat uniform, and they were accompanied by Turl’s Brass Band. Before starting the company was daguerreotyped in the City Hall Park by Mr. Harrison, daguerrean artist….

1858 March 16.  The New York Herald.  (New York, New York.)  March 16, 1858, Whole No. 7865, P. 5.

Daguerreotypes and Photographs, Perfect in [finish and] likeness, taken at Harrison gallery, 283 Fulton street, Brooklyn.

1858 March 22.  The New York Herald.  (New York, New York.)  March 22, 1858, Whole No. 7871, P. 5.

Harrison, the Daguerrean, of 283 Fulton street, Brooklyn, is producing a most exquisite style of miniature, called the vignette.  Wanted a first class water colorist, to color phot5ographs.

1858 March 24.  The New York Herald.  (New York, New York.)  March 24, 1858, Whole No. 7873, P. 5.

The Daguerreotypes and Photographs taken by Harrison, 283 Fulton street, Brooklyn, are exquisite for their touch and finish.

1858 March 25.  The New York Herald.  (New York, New York.)  March 25, 1858, Whole No. 7874, P. 5.

Brooklyn and the Fine Arts.—The Time was when this city had not a celebrated artist; now it has two young Coleman, the landscape painter and Harrison, the daguerrean and photographer, of 283 Fulton street.  These young men are producing works of which the citizens of Brooklyn may well be proud.  Call and be convinced.

1858 March 29.  The New York Herald.  (New York, New York.)  March 29, 1858, Whole No. 7878, P. 5.

Harrison’s Photographs and Daguerreotypes, taken at 283 Fulton street, Brooklyn, are worthy of all the high approbation they receive.

1858 April 5.  The New York Herald.  (New York, New York.)  April 5, 1858, Whole No. 7885, P. 5.

Harrison and the Brooklyn Ladies.—This artist’s cameo, crayon and vignette daguerreotypes are gems.  Only $1.  Taken at 283 Fulton street.

1858 May 10.  The Brooklyn Daily Eagle.  (Brooklyn, New York.)  May 10, 1858, Vol. 17, No. 110, P. 3.

The Police Parade.—The Brooklyn Police under the command of Capt. Joel Smith, proceeded about noon to-day to the South Ferry, to receive the men of the 8th Precinct, Captain Turnbull, New York.  The route of the march was published on Saturday.  A platform has been erected on the steps of the City Hall, from which the Mayor will review them, which is expected to be about 2 o’clock to-day.  After the review, they will dine at Gothic Hall.  The officers had their daguerreotypes taken by Harrison this morning.

1858 May 11.  The Brooklyn Daily Eagle.  (Brooklyn, New York.)  May 11, 1858, Vol. 17, No. 111, P. 5.

The Police Parade.—The Eighth Ward Police, New York, under command of captain Turnbull, visited this city yesterday.  Under the old system they formerly took a yearly excursion to the country but on this occasion they concluded to enjoy themselves among their brethren of the club in Brooklyn.  Detachments of the First Precinct Police, under Inspector Smith (commanding), Second Precinct, Inspector King; Third Precinct, Inspector  Shaurman, proceeded to the South ferry about noon, accompanied by Shelton’s band and escorted the visitors.

Previous to marching to the ferry the officers of the Brooklyn Division proceeded to Harrison’s daguerreotype establishment and photographs of the following were taken, a copy of which is to be presented to each man:  Inspector Smith, 1st Precinct, commanding;  Inspector King 2d Precinct, 1st Lieutenant; Inspector  Shaurman, 3d Precinct, 2d Lieutenant; Serg’t. Port, 2d Precinct, 1st Sergeant; Serg’t. Holbrook, 3d Precinct, 2d Sergeant; Serg’t. Mathews, 1st. Precinct, 3d Sergeant; Serg’t. Preston, 3d Precinct, 4th Sergeant.

1902 December 15.  The Brooklyn Daily Eagle.  (Brooklyn, New York.)  December 15, 1902, Vol. 62, No. 346, P. 20.

Gabriel Harrison Dead; Long Dean Of The Stage Artist, Playwright, First Manager of Park Theater, Boy Pet of Aaron Burr.  First Man to Dramatize “The Scarlet Letter”—Career That was Full of Interest.

Gabriel Harrison, Artist, dramatist, actor and the first manager of the Park Theater of Brooklyn, died at the home of his daughter , Mrs. Hart, 835 Sterling place, this morning.

Gabriel Harrison was born in Philadelphia, March 25, 1818.  His father Charles P. GHarrison, a man of education and a skilled bank-note engraver, moved to New York when Gabriel was 6 years old.  His house was a resort for the literary men and artist of that time, among them George P. Morris, N. P. Willis, McDonald Clarke (the “mad poet”).  M. M. Noah, Col Trumbull, John Howard Payne, James Audubon, Bishop Hughes and the Spanish philosopher, Father Varela.  When Malibran was here in 1825 she spent much of her time at the Harrisons’.

The house of the Harrisons was on Reade street near Broadway, close to where A. T. Stewart’s store was afterward, and near where Aaron Burr lived, Gabriel remembered seeing him as a boy.  He was invited to the house by him and an intimacy sprang up between them.  Burr taught young Harrison how to read and developed the taste for elocution which afterward was Harrison’s beloved art.

Gabriel Harrison was moved to study for the stage after seeing Edwin Forrest, whom he saw with his father and John Howard Payne as Damon in “Damon and Pythias.”  He immediately joined the American Histrionic Society, in which he achieved great success in spite of his youth.  Mr. Wallack of the National Theater brought him out in 1838, when he appeared as Othello to Wallack’s lago and Emma Wheatley’s Desdamona.

Prior to this time and after his appearance on the stage Gabriel’s occupations were varied.  At one time he kept a grocery store on Broadway, to which was attached, as was common in those days, a bar.  The latter was frequented by Edgar A. Poe, Fitz Green Hallack and other litterateurs of a clique, and Harrison, who nourished a profound admiration for them, was so pleased with their presence that he forgot to collect their bills, to the disaster of his business.

A subsequent appearance in Brooklyn pleased him so well that he removed here, and in 1851 organized the Brooklyn Academy of Art for the encouragement of local dramatic spirit.

In addition to this he cultivated his taste for landscape painting and produced some excellent examples.  He was one of the first to produce pictures after the process of Daguerre and won prizes at the Crystal Palace in London and the world’s fair in New York.

He was the chief mover in building the monument to Commodore Lawrence in the Trinity church yard.  His purpose was to have the monument built by popular subscription , but the Trinity corporation, placed it there at their own cost.

Young Gabriel Harrison was president of the White Eagle Club of New York and did much to aid the election of Polk and Dallace in 1844.  He joined the Free Soilers in 1844 and was a state delegate to nominate “Prince” John Van Buren for the Presidency.

During the Civil War he was active for the Union and made frequent speeches in New York and Brooklyn.  After his appearance with Wallack he was in demand as leading man and was for years with the old Park Theater Company of New York, supporting Charles Kean in a round of characters.  He subsequently managed theaters in Paterson and Troy.  In 1848 he appeared at the Brooklyn Garden on the present site of the County Court House in a round of leading characters.

In September, 1863 he opened the Park Theater, Brooklyn, opening in the comedy of “Married Life,” but was induced to abandon the drama, which was remunerative, for English opera, for which the public was not ready.  He introduced Messrs. Castle and Campbell in “The Bohemian Girl,” with Theodore Thomas as conductor.  The enterprise was a financial failure, but an artistic success.  He lost his own money, refusing all offered loans.

His efforts were appreciated by some, and a benefit was afterward given him at the Academy of Music in 1864.  He was broken in health and it was appropriate.  The play chosen was “Twelfth Night” and it was given on the 300 anniversary of Shakspeare’s [sic.] birth.  On several occasions thereafter Gabriel Harrison was a lessee of the Academy of Music and introduced Matilda Heron, William Florence, Charles Dillon and Mrs. Waller to a Brooklyn audience.  Miss Kate Bateman also appeared then under his direction and netted hi $2, 938 as his share.

He was elected a member of the Brooklyn Academy of Design in 1867, and afterward its secretary.  He got up a benefit for its continuance for two years from 1869.

When the Long Island Historical Society was organized, in 1864, Mr. Harrison presented it with a dramatic library over over a thousand volumes, together with some rare manuscripts.  He gave it also Poe’s wedding ring, which had been given him by the poet’s mother in return for a water color portrait of Poe.

In 1872 he aided in organizing the Faust Club, a company of literary and artistic people with Bohemian instincts.  Then he read the paper on John Howard Payne, which resulted in a bronze bust for Payne at the instance of the Faust Club, which was unveiled in Prospect Park in 1873.  As a consequence of this he wrote a life of John Howard Payne.  In 1878 he dramatized and daughter appeared in “The Scarlet Letter,” which was a success.

Gabriel Harrison was a firm friend of Edwin Forrest and one of the first to whom the latter talked about the famous Forrest Home.

In addition to his dramatic work and skill as a painter Gabriel Harrison was an author of many books, pamphlets and verses, which have made him a reputation which will last long after his death.  His last days were spent in comparative quite, devoting himself to teaching the art of elocution at intervals with success.

His death was a result of old age, aggravated by stomach trouble.  His daughter, Mrs. Beatrice Harrison Hart, with whom he lived, was his faithful nurse.  The funeral arrangements have not yet been made.

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

1839-1843.  Not Listed

1844.  grocer, 568 Broadway, h-497 Broome

1845.  daguerreotype, 201 Elm.

1846.  daguerreotype, 154 Av. 4.

1847.  Not Listed.

1848.  daguerrian, 411 Broadway, h-191 Elm.

1849.  daguerrian, 203 Broadway, h-377 B’me. (Broome)

1850-1852.  Not Listed.  

[1] Information from Craig’s Daguerreian Registry, possibly an error he may have worked for Plumbe in New York, at 251 Broadway.

[2] The Photographic Art Journal.

[3] New York City Directories.

[4] Photography in America: The Formative Years 1839-1900.

[5] Craig’s Daguerreian Registry.

[6] Date possibly 1841-1844.

Douglass, Robert M. J.

Daguerreotypes, Engravers, Lithographs, Portrait Painter, , , ,

1850                54 Arch Street, Philadelphia, Pennsylvania.

1850-1855       34 & 54 Arch Street, Philadelphia, Pennsylvania.[1]

1858                Unknown Address, Philadelphia, Pennsylvania.

N. D.  The New York Historical Society’s Dictionary Of Artist In America 1564-1860.  (New Haven, Connecticut.  P. 186.

Douglass, Robert M. J.  (1809-1887).  Portrait, sign, and ornamental lithographer.  A Negro born in Philadelphia, February 8, 1809, Robert Douglass studied under Thomas Sully, Except for visits to Haiti, and England, he seemed to have worked almost exclusively in Philadelphia.  He exhibited one portrait at the Pennsylvania Academy in 1834.  He was recorded in the 1850 Census as Robert Douglass, engraver, age 37, mulatto, owning realty valued at $1,000; others in the house were his wife Sarah, age 21, mulatto, $1,000 in realty; and James F. Douglass, age 35, hairdresser, $1,000 in realty, the artist died probably in Philadelphia, on October 26, 1887.

1850 January 17.  The Pennsylvania Freeman.  (Philadelphia, Pennsylvania.)  January 17, 1858, P. 4.

Daguerreotypes, The Arch Street Gallery of Daguerreotype.  Price from $1.50 to $5.  The most perfect Instrument that can be procured, is here made use of.  Students of this fascinating Art, furnished with Apparatus and Instruction.  No. 54 Arch St.  Philada.  R. Douglass.           

1858 September 17.  The Daily Exchange.  (Baltimore, Maryland.)  September 17, 1858, Vol. I, No. 178, P.1.

The Colored National Emigration Convention has finished its sitting at Chatham, C. W.  The results which have been reached at this last convention, are the recommendation of a select emigration of the enterprising among the colored people, and the appointment of a “Niger Valley Exploring Party.”  The parties already appointed are Robert Douglas, of Philadelphia, Dr. Delany, of Chatham, C. W., and Robert Campbell, of Philadelphia.  Mr. Douglas goes out as an Artist, Photographer, &c., Mr. Campbell as a Naturalist and Botanist.  Their object is to explore the fertile valley of the Niger, the region known as the Yoruba county, and ascertain whether the reports which have been rendered will warrant an emigration to that land.

[1] Directory of Pennsylvania Photographers, 1839-1900.

Cushing, T. H.

Daguerreotypes, Engravers, , , , , , , ,

1841                1 Exchange, fourth floor, Albany, New York.

1841                Address Unknown, Saratoga, New York.

1840 January 3.  Albany Journal.  (Albany, New York.)  January 3, 1840, Vol. 10, No. 1023, P. 1.

Engraving of Judge Buel.—We have seen proof impression of an engraved Portrait of the late Judge Buel, by T. H. Cushman[1], from a painting of Mr. F. Fine[2].  It is an excellent and striking likeness.  The Artist, who are both Albanians, have in this effort displayed genius which give abundant promise of future usefulness and eminence.  He numerous friends of Judge Buel will appreciate their obligations to these young Artists for their fidelity in preserving the resemblance of a distinguished public benefactor.  A copy of this Portrait will be sent to each of the subscribers of the Cultivator.

1840 January 25.  Daily Albany Argus.  (Albany, New York.)  January 25, 1840, Vol. XV, No. 5423, P. 2.

Portrait Of The Late Judge Buel.  We have been favored with a proof impression of a portrait of the late Judge Buel, designed to grace the pages of the valuable agricultural paper to which he devoted the latter years of his useful life.  It is by Cushman, an artist of no ordinary cleverness, from Fink’s portrait, which is conceded to be both a good likeness and a capital effort of art.  The intellectual as well as personal characteristics of the original are well retained in the copy, which is in the best style of line engraving.  The simplicity and dignity of attitude and expression, which belonged tin his profession.  o the subject, and which evinced the benevolence and practical character of the man, are finely preserved.  To the numerous friends and acquaintances of the late Judge Buel, and to a public that appreciate the value of his labors, it is a desirable memento.

1840 May 1.  Albany Journal.  (Albany, New York.)  May 1, 1840, Vol. 11, No. 1057, P. 2.

“The New Yorker”—The last number of the quarto edition of this valuable publication is accompanied by a beautiful vignette engraven on steel, representing “the outlet of Lake George,” designed as a frontispiece for the 8th volume.  The engraving is skillfully executed by Mr. T. H. Cushman of this city whose talents and attainments as an artist cannot fail to elevate him to a high rank in his profession.  The subject has been happily selected from a picture in the possession of Mr. James Horner of this city, painted by J. C. Ward, one of natur’’s most accomplished limners.

1840 July 21.  Albany Argus.  (Albany, New York.)  July 21, 1840, Vol. XXXII, No. 2869, P. 3.

Poem.  Delivered before the Young Men’s Association, July 4, 1840.  By Thomas H. Cushman.

Not recorded.

1841 January 5.  Albany Argus.  (Albany, New York.)  January 5, 1841, Vol. XXIX, No. 2917, P. 3. 

Daguerreotype.—We have seen several specimens of the portraits taken at No. 1, 4th floor Exchange, by this newly discovered process, and think them beautiful and correct.  The young men who have this matter in charge will not let their productions suffer by comparison with any  thing of the kind done in this country. We assure the public that they are skillful in such science and art as is necessary to bring it to its highest perfection.

1841 January 5.  Albany Argus.  (Albany, New York.)  January 5, 1841, Vol. XXIX, No. 2917, P. 3. 

Daguerreotype Portraits taken every clear day, from 10 A. M. to 1 P. M., at No. 1, fourth floor, Exchange.

Advertisement ran on January 5 & 8, 1841.

1841 March 30.  Albany Argus.  (Albany, New York.)  March 30, 1841, Vol. XXIX, No. 2941, P. 3. 

Daguerreotype Miniatures.—Those who have not been witness to the fact, will be surprised attendance  the facility and accuracy with which miniature likenesses are produced by the Daguerreotype process, under the superintendence of Mr. Thomas H. Cushman, at No. 1, 4th floor, Exchange building.  To those who are desirous of possessing a correct copy of their own features, or those of a friend, at a small outlay of time and money, the discovery is invaluable; since a person is thereby enabled to leave the room in five minutes after his entry, with an unflattered likeness in his pocket—(the medium though which it is taken being like the finding  of a great jury, in legal contemplation, “uninfluenced by fear, favor or hope of reward,”) and that too at a cost not incompatible with the most moderate circumstances.  It may not be amiss to add that under recent improvements, the miniatures are taken in the ordinary light, and of course, without the painful sensations heretofore incident to bringing the rays of the sun into direct contact with the eyes.

1841 May 7.  Albany Argus.  (Albany, New York.)  May 7, 1841, Vol. XXIX, No. 2951, P. 3. 

Daguerreotype Portraits Taken Daily—Instruction will be given in Portrait and Landscape taking with the Daguerreotype, by the subscribers, at thgeir rooms in the Exchange.  The recent discovery of their own, by which, with the light in an ordinary room, portraits may be taken in a few seconds, and with sun light in a single instant, will be imparted, together with all information which shall enable any one successfully to take either Landscape views or Portraits.  They will n

By new arrangements and improved apparatus, they are now enabled to take two or three  figures upon the same plate, and of children a larger number.  Prices—Single portrait in plain case, $5; in embossed morocco, $6; set in gold locket, $10; groups, from $8 to $10.  E. N. Horsford, T. H. Cushman.

Daguerreotype apparatus for sale.

Advertisement ran on May 7 & 11, 1841.

1841 June 23.  Albany Argus.  (Albany, New York.)  June 23, 1841, Vol. XXIX, No. 2966, P. 2. 

Daguerreotype.  Those who have not supplied themselves with a fac simile of their features by means of this correct and expeditious limner, should embrace the present opportunity.

Mr. Cushman has been experimenting long and faithfully to bring the new art to perfection, and has recently been awarded with gratifying success.

We understand that Messrs. Horsford &Cushman are about removing their apparatus to Saratoga, to remain there for the season.

1841 November 19.  Albany Argus.  (Albany, New York.)  November 19, 1841, Vol. XXIX, No. 3008, P. 2. 

Died on Tuesday evening, 16 inst., Thomas Hasting Cushman, aged twenty-six years.

Also listed in The New York Historical Society’s Dictionary Of Artist In America 1564 to 1860.

Cushman Thomas Hastings (1851-1841).  Banknote and general engraver; born in Albany (N. Y.), June 6, 1815; died there November 17, 1841.  A member of the Albany banknote engraving firm of Hall, Packard & Cushman in 1838-1839, Cushman exhibited an engraving at the National Academy in 1838.  He was working in NYC in 1840, but died in Albany the following year.

[1] Possibly Thomas Hasting Cushing

[2] Frederick Fink (1817-1849) Portrait, miniature, and figure.

Curtis, Calvin

Landscape Painter, Photographs, Portrait Painter, , , , ,

1859                230 Main Street, Bridgeport, Connecticut.

N. D.  The New York Historical Society’s Dictionary Of Artist In America 1564-1860.  (New Haven, Connecticut.) P. 159.

Curtis, Calvin (1822-1893). Portrait and landscape painter.  Born at Stratford (Conn.), July 5, 1822, Calvin Curtis began his formal studies under Daniel Huntington in December 1841.  He had a studio in NYC from 1843to 1847, worked in Birmingham and Waterbury (Conn.) c.1849, and then settled in Bridgeport (Conn.), where he was living in 1878, he died in 1893.

1859 December 7.  The Daily Standard.  (Bridgeport, Connecticut.)  December 7, 1859, Vol. VI, No. 116, P. 2.

Naramore’s Photographic Gallery, 230 Main Street, Bridgeport, Conn. 

Something New!  Photographs Painted In Oil!!  W. M. Naramore respectfully announces that he is now prepared to make Pictures that surpass anything ever before produced in this State, viz:  Photographs taken upon canvass and painted in oil.

These Pictures, which may be of any required size, from a miniature to the Size Of Life, combine beauty of color, durability, and the highest artistic finish, with the perfection of Photographic art, and are therefore unequalled.

We have secured the co operation and assistance of Mr. C. Curtis, whose reputation and skill enables us to Defy Competition; and in proof of our assertion we invite the public to call at P. B. Segee’s Store, No. 1 Sterling Block, and examine the Portrait of Rev. Dr. Hewit, just completed by us.  At our rooms, 230 Main Street, may also be seen other specimens of the art, together Photographs painted in water colors, plain, &c.

N. B.—Persons having Daguerreotypes, Ambrotypes or any other pictures of deceased friends can have them copied and made perfect Portraits of any required size.  Children should be brought between the hours of 10 and 2 o’clock on a clear day.  Pictures of adults taken equally well in clear or cloudy weather.

Advertisement ran from December 7 to 31, 1859.

1859 December 15.  The Daily Standard.  (Bridgeport, Connecticut.)  December 15, 1859, Vol. VI, No. 123, P. 2.

Photographs In Oil.  This beautiful style of picture  has been brought to great perfection, as may

be witnessed by looking at the likeness of Mr. Geo. P. Sanborn at the store of J. C. Blackman,

and that of Rev. Dr. Hewit at the store of P. B. Segee.  The coloring is beautiful, and would do

honor to artist of greater pretensions than Messrs. Naramore & Curtis, while the likenesses we 

think, could hardly be excelled by any.  They may truly be called ‘master-pieces’ of portrait

painting.  Go and see them; and if you want a correct picture, one that really looks life-like, call

on Naramore, at his rooms, No. 220 (sic.) Main st.

Crocker, J. Denison

Daguerreotypes, Landscape Painter, Portrait Painter, , , ,

1846                3 Hubbard’s Row, Norwich, Connecticut.

1847-1850       1 & 2 Hubbard’s Block, Norwich, Connecticut.

1858-1859       Address Unknown, Norwich, Connecticut.

N. D.  The New York Historical Society’s Dictionary Of Artists In American 1564-1860.  (New Havey, Connecticut.)  P. 154.

Crocker, J. Denison (1823-?).  Portrait and landscape painter, born in Salem (Conn.), November 25, 1823.  A silversmith by trade, he took up portrait painting about 1840, but later devoted himself mainly to landscape painting.  He was a resident of Norwich (Conn.) in 1879.

1846 October 7.  Norwich Weekly Courier.  (Norwich, Connecticut.)  October 7 1846, Vol. XLVIII, New Series XXV, No. 31, Whole No. 3291, P. 1.

Portrait And Landscape Painting.  Mr. Crocker feels happy to announce to the inhabitants of this City and vicinity that he has taken a room in Hubbard’s Row, No. 3, third story, where he is ready to receive orders in either of the above named professions, feeling confident that he shall be able to do work equal to any in the State, and warranted to give satisfaction.

Copies made from daguerreotype miniatures, and casts of deceased persons, with great exactness.

A general invitation is extended to all, and especially to those interested in the art, to call and examine specimens.  J. D. Crocker.

1846 December 2.  The Norwich Aurora.  (Norwich, Connecticut.)  December 2, 1846, Vol. XII, No. 30, Whole No. 602, P. 1.

J. D. Crocker, Portrait and Landscape Painter, Hubbards Block, No. 3, 3d Story.

1847 April 24.  Norwich Evening Courier.  (Norwich, Connecticut.)  April 24, 1847, No. 23, Whole No. 867, P. 1.

J. D. Crocker, Portrait and Landscape Painter, Hubbards Block, No. 1 and 2, 3d Story.  Norwich, Conn. Feb 16.

1850 December 2.  The Norwich Aurora.  (Norwich, Connecticut.)  December 2, 1850, Vol. XVI, No. 24, Whole No. 804, P. 3.

Daguerreotype Miniature Gallery.  Crocker & Hedge, Proprietors.  (Rooms in Hubbard’s Block, first door at the right, top of second flight of stairs.)  Mr. Crocker feels himself competent, by several years’ experience in the art of Portrait Painting, to arrange groups and single miniature figures, in a style that cannot fail to please all who may favor their establishment with their patronage.

C. & H. warrant their pictures to surpass all others ever offered in this city.  An examination of specimens at their rooms, will satisfy any one of the truth of this claim.  In addition to the benefit of an important and recently discovered process, they have combined the advantage of a newly constructed sky light which enables them to present a picture closely resembling the most finished steel engraving, marked with all the prominence and softness of the nicest specimens of the mezzotinto art.

N. B.—Please remember, that Crocker & Hedge’s rooms are in the third story of the Hubbard’s Block, first door at the right, top of second flight of stairs.  Norwich, Feb. 20, 1849.

1858 July 17.  The Norwich Aurora.  (Norwich, Connecticut.)  July 17, 1858, Vol. XXIV, No. 29, Whole No. 1209, P. 2.

Colored Photographs.—Some of the most exquisite specimens of this branch of the arts we have ever seen were executed at Jennings’ Gallery in this city.  The photographs were taken by Jennings, but they were colored by our well-known native artist, Mr. J. D. Crocker, We have never seen anything of the kind more beautiful.  A visit to Jennings’ Gallery will satisfy any one that we do not exaggerate, though we expect their best work is not allowed to remain in the gallery.

1859 March 5.  The Norwich Aurora.  (Norwich, Connecticut.)  March 5, 1859, Vol. XXV, No. 10, Whole No. 1242, P. 3.

The following from one of our contemporaries, in regard to a very deserving and talented artist, we copy with pleasure:

Editor Of The Courier:—Allow a lover of the beautiful to express through the columns of your paper, the pleasure experienced in viewing in the Studio of Mr. J. D. Crocker, the portraits of two well known and esteemed ladies of Norwich, one of whom is now no more.  One picture is nearly life size, and the other is a large colored photograph.  They are both perfect as representations of their originals, and as works of art are not to be excelled by any thing of the kind to be found in cities that make much more pretensions than Norwich to a patronage of the arts.  Mr. Cocker’s decided superiority as a painter of natural scenery has been long known and acknowledged.  His success in this new branch of his art is equally certain and complete.  If to behold a perfect likeness and a most beautiful and finished picture, can impart any pleasure to the mind, that happiness may certainly be enjoyed by a call at his Studio before the removal from it of the above works from his pencil.

Copeland, Oliver Perry

Daguerreotypes, Portrait Painter, , , , ,

1854                Rooms on Fayetteville Street, Raleigh, North Carolina.

1855-1856       Rooms above Samuel Young’s Store, Raleigh, North Carolina.

1856-1857       Rooms in the upper part of the Post Office Building, Raleigh, North Carolina.

1855 February 15.  Semi-Weekly Standard.  (Raleigh, North, Carolina.)  February 15, Vol. IV, No. 26, P. 3.

The New Portrait Gallery, C. B. Havens, Daguerrean Artist, and O. P. Copeland, Portrait and Miniature painter, Respectfully Invite Visitors To Their Portrait Gallery, on Fayetteville St., in the new brick building recently erected by W. J. & A. S. Lougee.

Mr. Haven’s has a Splendid Sky-Light and feels confident that with his improved Instruments he can now produce Daguerreotype likenesses equal to any in the country, and with a very low bow he therefore solicits and hopes to receive a liberal patronage.

Mr. Copeland also takes occasion respectfully to inform those who may desire to perpetuate the likeness of the “human face divine,” that he will take great pleasure in serving them at his snug little studio, adjoining the rooms of Mr. Havens.

Mr. Copeland will visit the surrounding country at any time for the purpose of taking family portraits, if it should be desired, and will also pledge himself to make good portraits (of departed friends) from Daguerreotype pictures.  Raleigh, Feb. 14, 1854.

Advertisement ran from February 15 to March 22, 1854.

1854 February 15.  Weekly North Carolina Standard.  (Raleigh, North Carolina.)  February 15, 1854, Vol. XX, No. 1010, P. 3.

The New Portrait Gallery, C. B. Havens, Daguerrean Artist, and O. P. Copeland, Portrait and Miniature painter, Respectfully Invite Visitors To Their Portrait Gallery, on Fayetteville St., in the new brick building recently erected by W. J. & A. S. Lougee.

Mr. Haven’s has a Splendid Sky-Light and feels confident that with his improved Instruments he can now produce Daguerreotype likenesses equal to any in the country, and with a very low bow he therefore solicits and hopes to receive a liberal patronage.

Mr. Copeland also takes occasion respectfully to inform those who may desire to perpetuate the likeness of the “human face divine,” that he will take great pleasure in serving them at his snug little studio, adjoining the rooms of Mr. Havens.

Mr. Copeland will visit the surrounding country at any time for the purpose of taking family portraits, if it should be desired, and will also pledge himself to make good portraits (of departed friends) from Daguerreotype pictures.  Raleigh, Feb. 14, 1854.

Advertisement ran from February 15 to March 29, 1854.

1855 November 14.  Semi-Weekly Standard.  (Raleigh, North, Carolina.)  November 14, 1855, Vol. V, No. 102, P. 3.

Copeland’s Gallery.—See advertisement elsewhere, showing that Mr. Copeland adds the art of poesy to other fine arts practiced by him.  He can paint you naturally, or daguerreotype you ditto.  Give him a call.

1855 November 14.  Weekly North Carolina Standard.  (Raleigh, North Carolina.)  November 14, 1855, Vol. XXI, No. 1099, P. 3.

Copeland’s Gallery.—See advertisement elsewhere, showing that Mr. Copeland adds the art of poesy to other fine arts practiced by him.  He can paint you naturally, or daguerreotype you ditto.  Give him a call.

1855 November 14.  Semi-Weekly Standard.  (Raleigh, North, Carolina.)  November 14, Vol. V, No. 102, P. 3.

Copeland’s Gallery. 

Come Ladies fair and gentlemen, who want a likeness true,

Come to my Portrait Gallery and I will give it you. 

I’ll paint your portrait large as life, and very cheap will make ‘em,

I also take Daguerreotypes, and take ‘em in a hurry,  

And if you come and sit for one, I’ll not your patience worry.

My light is soft, yet very strong—my fixtures all complete,

And all I ask you is to come along and take seat,

Come bring your wives and little ones, and bring your pretty daughter,

And patronize a native—now I really think you ought to.

My Rooms you’ll find above the store of Sam’l Young, Esq.,

All carpeted, and neat and clean, and warmed up with a fire.

From morning till the close of day you’ll find me at my station,

And now to one and all I give a cordial invitation—To come and examine specimens of my skill in portrait and daguerreotype.  Hooping these few lines will find the public “enjoying the same great blessings.”  I subscribe myself, Very Respectfully, O. P. Copeland.

P. S.—The subscriber continues to give lessons in drawing and painting, and will visit surrounding country when desired to do so for the purpose of painting the portraits of families.

O. P. C.  Raleigh, Nov. 12, 1855

Advertisement ran from November 14 to 24, 1855.

1855 November 14.  Weekly North Carolina Standard.  (Raleigh, North Carolina.)  November 14, 1855, Vol. XXI, No. 1099, P. 3.

Copeland’s Gallery. 

Come Ladies fair and gentlemen, who want a likeness true,

Come to my Portrait Gallery and I will give it you. 

I’ll paint your portrait large as life, and very cheap will make ‘em,

I also take Daguerreotypes, and take ‘em in a hurry,   

And if you come and sit for one, I’ll not your patience worry.

My light is soft, yet very strong—my fixtures all complete,

And all I ask you is to come along and take seat,

Come bring your wives and little ones, and bring your pretty daughter,

And patronize a native—now I really think you ought to.

My Rooms you’ll find above the store of Sam’l Young, Esq.,

All carpeted, and neat and clean, and warmed up with a fire.

From morning till the close of day you’ll find me at my station,

And now to one and all I give a cordial invitation—To come and examine specimens of my skill in portrait and daguerreotype.  Hooping these few lines will find the public “enjoying the same great blessings.”  I subscribe myself, Very Respectfully, O. P. Copeland.

P. S.—The subscriber continues to give lessons in drawing and painting, and will visit surrounding country when desired to do so for the purpose of painting the portraits of families.

O. P. C.  Raleigh, Nov. 12, 1855

Advertisement ran from November 14 to December 26, 1855.

1855 January 16.  Semi-Weekly Standard.  (Raleigh, North, Carolina.)  January 16, Vol. VI, No. 16, P. 2.

Highly Creditable.—A few evening since, in company with a literary friend, we visited the portrait Gallery of Mr. O. P. Copeland of this city, and were pleased to find so many fine likenesses, and quite a number of them of distinguished North Carolinians.  So far as we are competent to judge, we really think Mr. C. is an artist of no ordinary grade.  His paintings are natural, striking and well executed.  We were also the more gratified on learning that this artist is not a foreigner, but a native of the South.  We can but recommend all North Carolinians who desire to have a good likeness, and who have what all the citizens of the good Old North State ought to have—State pride, to call on Mr. Copeland, and they will not be disappointed.  Likenesses as large as life are taken by this gentleman from Daguerreotypes, so that those that have miniature likenesses of departed or absent friends, may from them obtain portraits of large size.  Among many others we were pleased to see in course of completion a good likeness of Dr. S. wait President of Oxford Female College. One of the Literary societies of Wake Forest College, we understand, desire to have a good likeness of the Doctor, as a fitting ornament for the Society’s Hall, a compliment which is in good taste to one who was the originator and first President of that cherished and useful Institution.  Bib. Recorder.

1856 January 16.  Weekly North Carolina Standard.  (Raleigh, North Carolina.)  January 16, 1856, Vol. XXII, No. 1107, P. 2.

Highly Creditable.—A few evening since, in company with a literary friend, we visited the portrait Gallery of Mr. O. P. Copeland of this city, and were pleased to find so many fine likenesses, and quite a number of them of distinguished North Carolinians.  So far as we are competent to judge, we really think Mr. C. is an artist of no ordinary grade.  His paintings are natural, striking and well executed.  We were also the more gratified on learning that this artist is not a foreigner, but a native of the South.  We can but recommend all North Carolinians who desire to have a good likeness, and who have what all the citizens of the good Old North State ought to have—State pride, to call on Mr. Copeland, and they will not be disappointed.  Likenesses as large as life are taken by this gentleman from Daguerreotypes, so that those that have miniature likenesses of departed or absent friends, may from them obtain portraits of large size.  Among many others we were pleased to see in course of completion a good likeness of Dr. S. wait President of Oxford Female College. One of the Literary societies of Wake Forest College, we understand, desire to have a good likeness of the Doctor, as a fitting ornament for the Society’s Hall, a compliment which is in good taste to one who was the originator and first President of that cherished and useful Institution.  Bib. Recorder.

1856 June 12.  Semi-Weekly Standard.  (Raleigh, North Carolina.)  June 12, 1856, Vol. VI, No. 59, P. 3.

Portraits!  Portraits!!  The Subscriber Continues To Paint Portraits at his Gallery in Raleigh, both from life and daguerreotype pictures, and in either case pledges himself to give satisfactory likenesses upon very moderate terms.

If you have a daguerreotype likeness of a dead friend whom you loved and would like to obtain a life like portrait from the same, send the picture to Raleigh (by mail or otherwise) and you shall be accommodated.  The subscriber has, in connection with his Portrait Gallery a Daguerrean Gallery  also, where, with an excellent light, “quick working” cameras, &c., he flatters himself he can produce as fine a daguerreotype portrait as can be desired.

Gallery on Fayetteville street, over the store of Samuel Young, Esq.

Visitors respectfully invited and patronage solicited.  O. P. Copeland.

P. S.—The subscriber will visit the country when desired to do so for the purpose of painting family portraits.  Raleigh, June 12, 1855.

Advertisement ran from June 12 to October 4, 1856.

1856 October 4.  Semi-Weekly Standard.  (Raleigh, North Carolina.)  October 4, 1856, Vol. VI, No. 91, P. 3.

The Color Type, A New and Beautiful Style of Picture.  Call At Copeland’s New Gallery in the upper part of the Post Office building, and see the Color Types (painted in oil colors,) and say if you have ever seen anything to surpass it, in the way of a “sun picture.”

Sky-light, splendid cameras, neat and comfortable rooms, fine pictures, low prices.  So come along without delay, And get a picture with the pay.

P. S.—Mr. Copeland continues to take Daguerreotypes and Ambrotypes, and paint portraits upon the most moderate terms possible.  Raleigh, October 1, 1856.  Signal, Register and Biblical Recorder copy till 1st January.

Advertisement ran from October 4, 1856 to September 23, 1857.

1856 October 8.  Weekly North Carolina Standard.  (Raleigh, North Carolina.)  October 8, 1856, Vol. XXII, No. 49, Whole No. 1153, P. 1.

New Style of Pictures.—By an advertisement in another column it will be seen that Mr. Copeland has removed to the rooms over the Post Office, where he is prepared to execute all orders in his line.  We have seen specimens of his “Color Type” pictures, as he calls them, and they are beautiful.—We believe this is his own invention, or discovery.  It is a daguerreotype painted in oil, and it is permanent and lifelike.  Mr. Copeland is a native artist, and deserves success, which his talents will surely win.

1856 October 8.  Weekly North Carolina Standard.  (Raleigh, North Carolina.)  October 8, 1856, Vol. XXII, No. 49, Whole No. 1153, P. 1.

The Color Type, A New and Beautiful Style of Picture.  Call At Copeland’s New Gallery in the upper part of the Post Office building, and see the Color Types (painted in oil colors,) and say if you have ever seen anything to surpass it, in the way of a “sun picture.”

Sky-light, splendid cameras, neat and comfortable rooms, fine pictures, low prices.  So come along without delay, And get a picture with the pay.

P. S.—Mr. Copeland continues to take Daguerreotypes and Ambrotypes, and paint portraits upon the most moderate terms possible.  Raleigh, October 1, 1856.  Signal, Register and Biblical Recorder copy till 1st January.

Advertisement ran from October 8 to 15, 1856.

1856 October 18.  Semi-Weekly Standard.  (Raleigh, North Carolina.)  October 18, 1856, Vol. VI, No. 95, P. 3.

North Carolina State Fair… The annual Fair of the North-Carolina State Agricultural Society commenced, at the grounds near this city, on Tuesday last; and will close to-day Friday… Floral Hall…

Specimens of the color-type likenesses by Mr. O. P. Copeland, Raleigh.  Also, specimens of likenesses in ambrotype, by Messrs. Havens & Mallon, Raleigh.  These likenesses, both by Mr. Copeland and by Messrs. Havens & Mallon, are elegantly done, and reflect credit on the taste and skill of the artist.

1856 October 22.  Weekly North Carolina Standard.  (Raleigh, North Carolina.)  October 22, 1856, Vol. XXII, No. 41, Whole No. 1155, P. 1.

North Carolina State Fair… The annual Fair of the North-Carolina State Agricultural Society commenced, at the grounds near this city, on Tuesday last;…Floral Hall…

Specimens of the color-type likenesses by Mr. O. P. Copeland, Raleigh.  Also, specimens of likenesses in ambrotype, by Messrs. Havens & Mallon, Raleigh.  These likenesses, both by Mr. Copeland and by Messrs. Havens & Mallon, are elegantly done, and reflect credit on the taste and skill of the artist.

1856 October 29.  Semi-Weekly Standard.  (Raleigh, North Carolina.)  October 29, 1856, Vol. VI, No. 98, P. 3.

North Carolina State Fair.  Report of Awarding Committees for the Fourth Annual Fair, held in Raleigh, October 1856….Works of Art, taste, Painting, &c….

The Committee also mention as deserving of notice and praise…A lot of Ambrotypes by Messrs. Havens & Mallon, and of Color Daguerreotypes by Mr. Copeland…

1856 October 29.  Weekly North Carolina Standard.  (Raleigh, North Carolina.)  October 29, 1856, Vol. XXII, No. 42, Whole No. 1156, P. 2.

North Carolina State Fair.  Report of Awarding Committees for the Fourth Annual Fair, held in Raleigh, October 1856….Works of Art, taste, Painting, &c….

The Committee also mention as deserving of notice and praise…A lot of Ambrotypes by Messrs. Havens & Mallon, and of Color Daguerreotypes by Mr. Copeland…

1856 December 20.  Semi-Weekly Standard.  (Raleigh, North Carolina.)  December 20, 1856, Vol. VII, No. 9, P. 3.

Fine Pictures.—Members of the Legislature, and others, wishing fine Daguerreotypes or life-like portraits, can be accommodated at Copelands.  His rooms are over the Post Office.  Call and see specimens of his work.

The Color Type, A New and Beautiful Style of Picture.  Call At Copeland’s New Gallery in the upper part of the Post Office building, and see the Color Types (painted in oil colors,) and say if you have ever seen anything to surpass it, in the way of a “sun picture.”

Sky-light, splendid cameras, neat and comfortable rooms, fine pictures, low prices.  So come along without delay, And get a picture with the pay.

P. S.—Mr. Copeland continues to take Daguerreotypes and Ambrotypes, and paint portraits upon the most moderate terms possible.  Raleigh, October 1, 1856.  Signal, Register and Biblical Recorder copy till 1st January.

1857 January 7.  Semi-Weekly Standard.  (Raleigh, North Carolina.)  January 7, 1857, Vol. VII, No. 13, P. 3.

To All Whom It May Concern.

“When in the course of human events,”

It right becomes, for men of sense,

Their likeness to perpetuate,

Mere common reason will dictate,

That they a picture should procure,

Which will the lapse of time endure.

“These truths, I hold self evident,”

Daguerreotypes ain’t worth a cent;

For they will, just as sure as day,

All spot, and rust, and fade away.

And Ambrotypes will rust and soil,

Unless they’re finished off in oil;

Which thing to do, an artist’s hand,

Alone, must wield the “magic wand.”

Full twenty years I’ve taxed my brain,

The painter’s “art divine” to gain;

And oft “consumed the midnight oil.”

In study and laborious toil:

Then now, my humble self I flatter,

That I can—but it does’nt matter;

All I ask is, come and see

The pictures in my gallery;

And if you don’t prefer my labors,

Go and patronize my neighbors.

Come ladies fair, and “[shentlemens,”]

And see my splendid specimens

Of Portraits both, and “Color Types.”

Come aged ones, whose locks are gray,

And get a likeness while you may;

That by and by you, progeny

May great grand Papa’s image see.

Come middle aged, in prime of life—

Come husband, come, and bring your wife:

Perhaps she’s pretty, sir, and may be

She has a pretty—baby;

And if so, don’t forget to bring

The pretty little, tiny thing;

And of yourself, your wife and pet,

A perfect likeness you shall get.

Come maidens fair, and gallant beaux,

As flies the time your baanty goes;

Come get your likeness in a locket,

To carry in each other’s pocket.

That by and by, when you are old,

Your beauty still you may behold.

Come now, ye honored Legislators,

Whether lesser ones or greaters—

Whether married or “old batch,”

Handsome or homely as—(no matter what!)

Come honored members of both parties,

And patronize a native Artist.

Come one, come all, and I will ever

Grateful be, as you are clever.

O. P. Copeland, Post Office building, Raleigh, N. C.  Jan. 6, 1857.

Advertisement ran from January 7 to 28, 1857.

1857 January 7.  Weekly North Carolina Standard.  (Raleigh, North Carolina.)  January 7, 1857, Vol. XXIII, No. 1, Whole No. 1166, P. 3.

Copeland, The Artist.—By reference to our advertising columns, it will be seen that our friend Copeland is no mean poetiser, as well as painter. 

Mr. Copeland is a decided genius, and we are glad to see a disposition on the part of North-Carolinians to patronize a native artist.  We hope he will continue to enjoy that patronage to which his merits so justly entitle him.

Members of the legislature and others visiting the “City of Oaks” at this time, who desire to procure a good likeness to carry home with them, would do well to call at Copeland’s Gallery (over the Post Office,) and sit for a color type.

Give him a call, one and all;

He’s very entertaining,

And if you want a likeness, he

Won’t keep you long remaining.

1857 January 28.  Weekly North Carolina Standard.  (Raleigh, North Carolina.)  January 28, 1857, Vol. XXIII, No. 4, Whole No. 1169, P. 3.

Fine Likenesses!  Messrs. Editors:  Acting upon your recommendation, I called, a few days since, (with several friends,) at Mr. Copeland’s gallery, and sat for one of those large a beautiful “color Types” likenesses.  I was detained but a few minutes in procuring the most satisfactory picture I have ever obtained.  The “color type” likeness, (as Mr. Copeland’s showed me,) is finished off in oil colors, and hence it must be a far more durable picture than those put up in the ordinary manner with dry colors.  Mr. Copeland is an accomplished artist, and I cheerfully recommend to all who want a perfect likeness to go and sit for a “color type,” and they may rest assured, that instead of getting, for their money, a miserable caricature, they will secure a likeness that will do them justice and be gratifying both to themselves and friends.  A Friend To Merit.

1857 March 28.  Semi-Weekly Standard.  (Raleigh, North Carolina.)  March 28, 1857, Vol. VII, No. 36, P. 1.

To All Whom It May Concern.

“When in the course of human events,”

It right becomes, for men of sense,

Their likeness to perpetuate,

Mere common reason will dictate,

That they a picture should procure,

Which will the lapse of time endure.

“These truths, I hold self evident,”

Daguerreotypes ain’t worth a cent;

For they will, just as sure as day,

All spot, and rust, and fade away.

And Ambrotypes will rust and soil,

Unless they’re finished off in oil;

Which thing to do, an artist’s hand,

Alone, must wield the “magic wand.”

Full twenty years I’ve taxed my brain,

The painter’s “art divine” to gain;

And oft “consumed the midnight oil.”

In study and laborious toil:

Then now, my humble self I flatter,

That I can—but it does’nt matter;

All I ask is, come and see

The pictures in my gallery;

And if you don’t prefer my labors,

Go and patronize my neighbors.

Come ladies fair, and “[shentlemens,”]

And see my splendid specimens

Of Portraits both, and “Color Types.”

Come aged ones, whose locks are gray,

And get a likeness while you may;

That by and by you, progeny

May great grand Papa’s image see.

Come middle aged, in prime of life—

Come husband, come, and bring your wife:

Perhaps she’s pretty, sir, and may be

She has a pretty—baby;

And if so, don’t forget to bring

The pretty little, tiny thing;

And of yourself, your wife and pet,

A perfect likeness you shall get.

Come maidens fair, and gallant beaux,

As flies the time your baanty goes;

Come get your likeness in a locket,

To carry in each other’s pocket.

That by and by, when you are old,

Your beauty still you may behold.

Come now, ye honored Legislators,

Whether lesser ones or greaters—

Whether married or “old batch,”

Handsome or homely as—(no matter what!)

Come honored members of both parties,

And patronize a native Artist.

Come one, come all, and I will ever

Grateful be, as you are clever.

O. P. Copeland, Post Office building, Raleigh, N. C. 

Advertisement ran from March 28 & April 1, 1857.

1857 October 28.  Semi-Weekly Standard.  (Raleigh, North Carolina.)  October 28, 1857, Vol. VII, No. 97, P. 2.

Award of Premiums.  At The Fifth Annual Fair of the North-Carolina State Agricultural Society…Branch Fourth—Manufactures, &c….

Best specimen of ambrotype, T. J. Havens, Wake, [County]                          5.

Best Specimen of Photographs, T. J. Havens, Wake, [County]                      5.

Improvement in ambrotype, O. P. Copeland, Wake, [County]                      5.

1857 October 28.  Weekly North Carolina Standard.  (Raleigh, North Carolina.)  October 28, 1857, Vol. XXIII, No. 52, Whole No. 1208, P. 2.

Award of Premiums.  At The Fifth Annual Fair of the North-Carolina State Agricultural Society…Branch Fourth—Manufactures, &c….

Best specimen of ambrotype, T. J. Havens, Wake, [County]                           5.

Best Specimen of Photographs, T. J. Havens, Wake, [County]                      5.

Improvement in ambrotype, O. P. Copeland, Wake, [County]                      5.

Collins, George W.

Ambrotypes, Daguerreian Stock and Materials, Daguerreotypes, Photographic Stock and Chemicals, Photographs, Portrait Painter, Stereoviews, , , , ,

1850-1853       Rooms in Stadler & Rupert’s Building, Urbana, Ohio.

1853-1855       Weaver & Brothers Building, East side of Public Square, Urbana, Ohio.

1859-1860       Weaver’s Building, East side of Public Square, Urbana, Ohio.[1]

1845 April 15.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  April 15, 1845, Vol. 7, No. 52, Whole No. 364, P. 3.

G. W. Collins, Portrait Painter, Rooms on the corner of Main and Market Streets, Urbana, Ohio,

1846 April 7.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  April 7, 1846, Vol. 8, No. 51, Whole No. 415, P. 3.

Portrait Painting.  Mr. Saxton:—Your townsman, Mr. G. W. Collins, has, for a short time, been engaged in Portrait Painting in our village, to, I believe, the general satisfaction of all who employed him.—His likenesses are excellent, giving clearly the delineation of the features, and a full expression of the countenance.  Some of his paintings drawn here are almost true as life.  The painting is neatly executed, and performed with an expert and masterly hand.  Mr. Collins, we believe, is destined to become a proficient in his profession, and is worthy the patronage of an intelligent and tasteful community.  He is not merely an artist, but nature has bestowed bountifully upon him the requisite facilities for a limner.  Genius should be encouraged in the ornamental and beautiful as well as in the useful arts. 

Yours, &c., Jas. W. Hamilton. East Liberty, O.

1850 December 6.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  December 6, 1850, Vol. 13, No. 34, Whole No. 658, P. 2.

G. W. Collins’ Daguerrean Rooms.  G. W. Collins respectfully announces to the citizens of Urban and the public generally, that he has recently fitted up an immense “Northern Light,” especially for Daguerrean purposes, and is prepared to execute pictures in a style of beauty seldom attained, and no where excelled.

Miniatures executed and put up in all the various styles of the art, from the smallest Lockets, Pins, and Finger Rings, to the largest sizes for frames; and taken at such prices as cannot fail to please.  Rooms open at all hours.  Pictures taken every day, with out regard to weather.

Daguerreotype Miniatures, when correctly taken, preserve the features which disease and death destroy in a few years, and which our memories retain but imperfectly, and for a short time are made to abide with us.  Who can tell how much influence a venerable, benevolent parent’s portrait exerts on the family possessing it?  They are, therefore, at all times desirable menentoos (sic.) of absent or deceased friends, but more especially in the event of death, they are above to surviving relatives.  No family should be without them.

Rooms in Stadler & Rupert’s building, up stairs.

1851 May 16.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  May 16, 1851, Vol. 14, No. 5, Whole No. 681, P. 3.

The Daguerrean Art—G. W. Collins.  Messrs. Editors:  It was my pleasure to sit a few evenings ago, for a picture in the Gallery of this gentleman, situated one door west of Stadler’s Clothing Store, up stairs.  At a great expense he has procured, and has now in successful operation, a new Camera, of surpassing beauty and elegance, which far exceeds the old ones so long in use by the professor of this art.  To the eve of the most casual observer, the pictures taken by the two instruments, the contrast is strikingly manifest.  This new machinery works to a charm: while the operations of the old ones, in the opinion of those whose knowledge of them may be relied upon, was in a great measure unsatisfactory and untrue.  The Daguerrean Art, although by many considered of no real value to the public or to individuals, is in my opinion a stride in science, equal to any other of the present age.  No one who possesses a particle of attachment to friends and relations, can fail to appreciate the untold pleasure—though it be a melancholy one—of retracing the features of the loved and lost; and I envy not the man, who for the sake of a small pittance, would deny himself this great after comfort.

It should be gratifying to the pride of our citizens, that one has arisen in our midst, born and raised on the sod of Champaign, whose ambition and genius have led him to anticipate and supply its wants in this valuable Art; and we mistake the spirit of her people, if they do not reward his efforts by a liberal and enlightened patronage.  Mr. Collins is ever on the alert to grasp & apply every improvement in the art, without stopping to compute the cost: his desire is to please: when that is accomplished, he seems to have attained his greatest ambition.  This is the true position of the Artist.  When his mind and heart are engaged, failure is an impossibility.

We believe the public of Urbana, and of Champaign county, will foster the growth and advancement of these praiseworthy efforts on his part, to build up a Gallery of Art in this place, which shall be a credit to himself and his fellow citizens.  B.

1851 May 16.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  May 16, 1851, Vol. 14, No. 5, Whole No. 681, P. 3.

More Light.  Daguerrean Gallery.  G. W. Collins respectfully announces to the citizens of Urbana and the public generally, that he has just received from the City of New York, one of the first class German Cameras, and is now better prepared to take Pictures than before; and to test the matter, he invites Ladies and Gentlemen to call and have their Miniatures taken, and examine his specimens—among which they will find Tom Thumb and Jenny Lind.

Rooms open from 7 o’clock A. M. to 6 P. M.  Miniatures executed and put up in all the varied styles of the art, from the smallest Lockets, Pins and Finger rings, to the largest sizes for frames; at prices ranging from $1.00 upwards, according to size and quality of Cases.  Pictures taken every day, without regard to weather.

Rooms in Stadler & Rupert’s building, up stairs.

Advertisement ran from May 16 to June 20, 1851.

1851 June 27.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  June 27, 1851, Vol. 14, No. 11, Whole No. 687, P. 3.

More Light.  Daguerrean Gallery.  G. W. Collins respectfully announces to the citizens of Urbana and the public generally, that he has just received from the City of New York, one of the first class German Cameras, and is now better prepared to take Pictures than before; and to test the matter, he invites Ladies and Gentlemen to call and have their Miniatures taken, and examine his specimens—among which they will find Tom Thumb and Jenny Lind.

Rooms open from 7 o’clock A. M. to 6 P. M.  Miniatures executed and put up in all the varied styles of the art, from the smallest Lockets, Pins and Finger rings, to the largest sizes for frames; at prices ranging from $1.00 upwards, according to size and quality of Cases.  Pictures taken every day, without regard to weather.

Likenesses of sick or deceased persons taken at short notice.  Painted or Daguerreotype likenesses accurately copied.  He will keep on hand a general assortment of Daguerreotype Stock and Apparatus to supply the trade, and will sell as low as can be had any where in the State; and will also give instructions in this beautiful and fascinating Art, on favorable terms.

Rooms in Stadler & Rupert’s building, up stairs.

Advertisement ran from June 27 to August 15, 1851.

1851 October 10.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  October 10, 1851, Vol. 26, No. 11, Whole No. 701, P. 2.

Campaign County Fair.  Our Annual Agricultural Fair came off on Wednesday and Thursday of this week…

G. W. Collins exhibited some very beautiful specimens of Art in his line.—But, we cannot go into details today.  The Ladies, (God bless them!) were out in full force.

1852 March 26.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  March 26, 1852, Vol. 14, No. 50, Whole No. 724, P. 2.

Daguerreanism. Mr. Editor:—Suffer me to call the attention of the public, and especially the admirers of the fine arts, to the merits of one of our citizens, Mr. G. W. Collins, who is now engaged in taking Daguerreotype Likenesses in our village, as one of the most successful operators that I have had the pleasure of visiting.  I think his pictures will compare favorably with the best pictures taken in any of our large cities.  If any objection at all can be found against them, it would be that he makes his subjects look too much like themselves.  I hope this young artist will meet with all the success his distinguished skill demands.  Mc.

1853 January 7.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  January 7, 1853, Vol. 15, No. 39, Whole No. 765, P. 4.

G. W. Collins.—Daguerreotype Artist, West Main Street, Urban, Ohio.  Persons wishing to get good Likenesses, will please call at G. W. Collin’s Daguerreotype Room, which will be open from 7 o’clock A. M. to 6 P. M.; at which hours the Public generally are invited to call and examine Specimens, whether they desire Pictures or not.  Pictures will be taken from the largest size for frames, down to Lockets, Breastpins and Finger Rings.—Instructions Given in the art, on favorable terms.

Daguerreotype Goods.  Keeps constantly on hand every variety of Daguerreotype Stocks, consisting of Apparatus, Plates, Cases and Chemicals.  For sale low for cash.  May 28. 1852.

1853 January 28.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  January 28, 1853, Vol. 15, No. 42, Whole No. 768, P. 2.

G. W. Collins has fitted up new Daguerrean Rooms in Weaver’s Block, where he is better prepared than ever to take accurate likenesses of the human face.  He has acquired great notoriety as an artist, and those wishing good pictures of themselves or families, would do well to give him a call.  See his notice.

1853 January 28.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  January 28, 1853, Vol. 15, No. 42, Whole No. 768, P. 3.

Removal.  G. W. Collins’ New And Magnificent Daguerrean Gallery, Has just been fitted up with a large sky light, in Weaver & Brothers building, above the Shoe Store.

“Music hath charms;”

But there is nothing which can soothe the rugged paths of affliction more exquisitely than the extraordinary fife Daguerreotypes, taken by G. W. Collins every day, from the largest size for frames, down to the smallest for Breast Pins, Lockets and Finger Rings.

The public are generally invited to call and see his specimens, whether they desire Pictures or not.

The Rooms will be open from 8 a. m. to 5 p. m., at which hours the public are invited to call.

Instructions given in the art on favorable terms.

Daguerreotype Goods.—Keeps constantly on hand, every variety of Daguerreotype Goods, which will be supplied to artists low for cash.

A word to Artists.  No goods will be forwarded, unless the money is inclosed (sic.) with the order.

1853 February 4.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  February 4, 1853, Vol. 15, No. 43, Whole No. 769, P. 2.

Daguerreotype Gallery.  We noticed very briefly in our last week’s issue, (more for want of time and space, than a better reason,) the Daguerrean Gallery of Mr. G. W. Collins.

The room which he now occupies, is a large and commodious one, and furnished in an elegant and tasteful manner.  His facilities, too, for picture-taking are greatly increased, having the combined advantage of both side and sky-lights.

We do not know that we laud too highly the artistic skill of Mr. Collins, by classing him with the first Artists of this “day and age” of the World.  All who have seen his pictures unite in awarding to him this praise; and those of our citizens who desire to—”Secure the shadow ere the substance fades,” Are no longer required to go to cities and larger towns for such.

1853 August 12.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  August 12, 1853, Vol. 16, No. 18, Whole No. 798, P. 2.

Collin’s Daguerrean Rooms are still in full blast.  George’s pictures are hard ti beat; and those who have never visited his Gallery, had better do so and examine his sp3ecimens.  They are exceedingly attractive.  See his card.

1853 August 12.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  August 12, 1853, Vol. 16, No. 18, Whole No. 798, P. 3.

G. W. Collins, Daguerrean Artist, North East Corner of Public Square, Urbana, Ohio.  Apparatus, Plates, Cases, Chemicals, Frames, All sizes, and everything connected with the Daguerrean Art, constantly on hand and for sale, at New York prices.

Instruction Given In The Art.

1853 August 28.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  August 12, 1853, Vol. 16, No. 20, Whole No. 800, P. 2.

Stereoscopic Daguerreotypes.  We are glad to see that our friend Collins, who, by the way, is always up with the improvements of the day, has introduced the Stereoscopic Daguerreotype.  The likeness with this is a likeness—a fac similie of the original.  To those who are not acquainted with the effect of the Stereoscopic, we would say that the picture, instead of being flat, stands out from the plate like a marble statute—in fact, it presents you with a model of yourself.  All who have occasion to have their likenesses taken should examine this method, and our word for it, they’ll have no other.

By the way, we hope our friend Collins will be particularly polite to all the ladies who may visit his rooms, and put himself to a good deal of trouble and expense to accommodate them.  Ladies always require and expect a little extra attention, you know.  “Mattie Lee,” in behalf of herself and other ladies, sent us a note the other day, complaining that Mr. C. did not “soft soap” them enough when they visited his rooms.  He will do well, therefore to give them a little extra attention hereafter, and thus remove all cause of complaint on that score.

1853 October 21.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  October 21, 1853, Vol. 16, No. 28, Whole No. 808, P. 3.

Tuition On The Violin.  Mr. E. Blank, Pupil of Ole Bull, from New York, an accomplished Violinist, is prepared to give lessons to those who desire to play that lovely instrument.  He is able to satisfy all of his qualifications, and learn pupils by a new method, to become good players in half the time required by the old method of teaching. 

Terms $5.00 for 15 lessons, or 50 cents for a single lesson, payable in advance.  He can be found at Collins’ Daguerrean Rooms.

1853 November 18.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  November 18, 1853, Vol. 16, No. 32, Whole No. 812, P. 2.

G. W. Collins’ Daguerrean Gallery, North-Easy corner Public Square, Urbana, Ohio.  Instructions given in the art, and complete apparatus furnished.

1853 December 30.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  December 30, 1853, Vol. 16, No. 38, Whole No. 818, P. 2.

Piano Tuner.  And Teacher on the Violin and Violincello, And Guitar, E. Blank, To Be Found At G. W. Collin’s Daguerrean Rooms, Urbana.

1854 July.  The Photographic And Fine Art Journal.  (New York, New York.)  July 1854, Vol. 7, No. 7, P. 224.

Mr. R. M. Cole, of Peoria. Ill., is one of the most successful operators in the Western country, and is deserving of great praise for his perseverance in attaining to his skill he now exhibits, and is well worthy the support he receives.  Mr. G. W. Collins, of Urbana, Ohio, is also a most excellent artist, and has our warmest wishes for his success.

1854 October 27.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  October 27, 1854, Vol. 17, No. 29, Whole No. 861, P. 3.

G. W. Collins’ Great Western Daguerreotype Rooms & Stock Depot, Urbana, Ohio.  Rooms in Weavers’ Building, North-East corner Public Square, Instructions in the art carefully given.

Advertisement ran from October 27, 1854 to November 30, 1855.

1855 September 14.  Urbana Citizen and Gazette.  (Urbana, Ohio.)  September 14, 1855, Vol. 18, No. 23, Whole No. 907, P. 3.

The Champaign County Fair was the most attractive feature in the passing events of the last week…

And Mrs. Ackerman’s picture gallery made a fine display, as did also Collins’ Daguerreotypes…

List of Premiums Awarded at the sixth Annual Fair of the Champaign Agricultural Society…

Class U.  Miscellaneous Articles…

G. W. Collins, Daguerreotypes, 1st Prem., 2.00

1856 September 24.  Cleveland Morning Leader.  (Cleveland, Ohio.)  September 24, 1856, Vol. 10, No. 204, P. 2.

Pen Jottings Taken On The Fair Ground Yesterday…Fine Arts Hall.  This has been fitted up under the supervision of Mr. Allen Smith, Jr. in the fine taste which characterizes this well known artist, although every thing was not quite arranged.  We think we hazard nothing in saying that a more charming display of artistical good things, has not graced any previous fair.  The oil paintings both on canvas and photographic, were highly creditable to the artists Mr. Smith had his usual variety of finely colored heads, lifelike and beautiful.  Nothing which we could say would add many thing to his well established fame.  The death of the stag from Landseer will bear looking at more than once.  Mr. Ryder exhibits some very fine photographs also colored by Mr. Alonzo Pease which were much admired.  The two finest pictures in the room and those which attracted the most attention were two heads of Fremont, one a photograph by North, colored in oil by Smith, and one by Ryder, colored also in oil by Pease.  (We noticed as singular that although there were some 6 or 7 pictures of Fremont there was none of Buchanan!)  Boisseau also exhibited a number of oil colored Photographs which are much admired.  Daguerreotypes, Photographs, Ambrotypes, etc. were there from North, Ryder, Boisseau, of Cleveland, Bisbee of Columbus, and G. W. Collins of Urbana, Ohio, Spherotypes from Stimpson, also of Cleveland.

[1] Craig’s Daguerreian Registry.

Carvalho, Solomon Nunes

Daguerreotypes, Portrait Painter, , , , , ,

1849-1850       205 Baltimore Street, Baltimore, Maryland.

1849-1850       Corner of 4½ Street and Pennsylvania Avenue, Washington, D. C.

1850                205 Baltimore Street, Baltimore, Maryland.

1850-1851       230 King Street, Charleston, South Carolina.

1851                Masonic Hall, King and Wentworth Streets, Charleston, South Carolina.

1851-1852       167 Meeting Street, Charleston, South Carolina.

1852                294 King Street, Charleston, South Carolina.

1853                349 Broadway, New York, New York.

N. D.  The New York Historical Society’s Dictionary Of American Artists In America 1564-1860.  (New Haven, Connecticut.)  1957, P. 113-114.

Carvalho, Solomon Nunes (1815-1894).  Portrait and Landscape painter, daguerreotypist, and photographer; born in Charleston (S. C.), April 27, 1815.  The artist’s father, David N. Carvalho (1784-1860), a watchmaker and merchant in Charleston for many years, moved in 1828 to Baltimore, where he established a marble paper Manufactory.  The family moved again in 1835, to Philadelphia, where they remained for the next fifteen years.  Solomon’s career as an artist began in Philadelphia about 1838 and centered there for the next decade, though he also worked in Charleston and Washington in the early 1840’s.  S. N. Carvalho was again in Philadelphia in 1849, when he exhibited at the Pennsylvania Academy, but the following year the whole family, including Solomon’s wife and two year old son David, moved to Baltimore, where they made their home until the elder Carvalho’s death in 1860.  In 1851-52 Solomon again paid a professional visit to Charleston.  His next professional venture was his two year service as artist-photographer with John C. Fremont’s expedition to the Far West (1853-54), Carvalho’s own account of which was published in 1857.  During the latter half of the 1850’s the artist worked in Baltimore, but soon after his father’s death he moved to NYC, accompanied by his wife and four sons—David, Jerrite, Jacob, and Solomon (ages 12, 10, 8 and 4, respectively, in 1860).  Carvalho was listed as an artist or photographer in NYC directories until about 1880 and thereafter as president of the Carvalho Heating and Super-heating Co. or simply as inventor.  He died in NYC in 1894…

1845 October 25.  Saturday Courier.  (Philadelphia, Pennsylvania.)  October 25, 1845, Vol. XV, No. 33, P. 3. 

On the 15th inst. By the Rev. Isaac Leeser, Mr. Solomon N. Carvalho, of Barbadoes, (sic.), eldest son of D. N. Carvalho, of this city, to Miss. Sarah M. daughter of the late Jacob S. Solis, of New York.

1846 February 5.  American Sentinel.  (Philadelphia, Pennsylvania.)  February 5, 1846, Vol. XXX, P. 3. 

Married. In Barbados, W. I. On Wednesday, the 15th October, at the residence of Mr. S. Solis, Mr. Solomon N. Carvalho, of Bridgetown, Barbados, and son of D. N. Carvalho, of Philadelphia, to Miss. Sarah M. Solis, of that city, daughter of the late Jacob S. Solis.

1849 May 28.  American and Commercial Daily Advertiser.  (Baltimore, Maryland.)  May 28, 1849, Vol. XCIX, No. 17,288, P. 3.

Gallery Of Fine Arts.  No. 205 Baltimore Street.  S. N. Carvalho, Artist, respectfully informs the inhabitants of Baltimore and its vicinity, that he has become the proprietor of the establishment formerly known as the Plumbe National Gallery, over The Jewelry Store of Messrs. R. & A. Campbell.  He has procured the services of Mr. T. O. Smith, the principal operator at Root’s Gallery of Philadelphia, who will attend to the production of an entirely new style Daguerreotype, patented under the name of the Crayon Daguerreotype, never before introduced in this city.  The great advantage which this style of picture possesses over any other, is that the picture can be seen equally well in any light, and as distinctly when hung against a wall as the finest miniature.  The whole strength of the Instrument is thrown on the head, and the artistic distribution of light and shadow give it the appearance of one of the celebrated Italian Crayon Drawings.

S. N. Carvalho will attend to the Painting department.  Portraits and Miniatures, either from life or Daguerreotype, executed in a manner which he is certain will give satisfaction.  In connection with the above, the Gallery will be adorner with choice works of art, both ancient and modern, affording to the citizens and ladies of Baltimore a fashionable and pleasing resort, without any pecuniary outlay.  The establishment is now being newly fitted up, and will be opened on the first of June.

The charges for the Crayon Daguerreotype will be less than those charged for ordinary Pictures, by the old process.  The subscriber depends solely on the merits of the Pictures produced at this establishment for the success which he anticipates.  

1849 June 22.  American and Commercial Daily Advertiser.  (Baltimore, Maryland.)  June 22, 1849, Vol. XCIX, No. 17,310, P. 3.

Daguerreotypes—Mr. S. N. Carvalho, has recently opened his Gallery of Fine Arts at No. 205 Baltimore street, where he is prepared to take likenesses which, for superiority of execution and strictness of resemblance, cannot be surpassed.  Mr. C. has adopted the Crayon style, by which the daguerreotype is made to resemble a finely executed engraving.  By it, too, the artistic affect of light and shadow is more clearly developed; the bust is lost in the back ground, in imitation of crayon drawing; and the eyes, heretofore considered a very difficult feature to imitate successfully, are brought out with a distinctness and close resemblance which must satisfy all.  Another thing claimed for this style is that a large sized picture may be taken on a plate of one third the dimensions required by the old process.  Mr. Carvalho will also execute colored daguerreotypes when desired, for which his experience as an artist renders him peculiarly qualified.  He is assisted in his beautiful art by Mr. Smith, whose knowledge of chemistry enables him to prepare the plates with such sensitiveness that children may be taken in the short space of from one to three seconds.  The likeness of the Hon. Henry Clay, John Swift, Esq. Mayor of Philadelphia, and a number of other distinguished gentlemen, which may be found at Mr. C.’s rooms, will be readily recognized.  All in want of first rate pictures should not fail to give him a call.  Visitors will find the rooms handsomely furnished, and while waiting for pictures may amuse themselves on one of Messrs. Wise & Bro.’s fine tone pianos with the improved touch.

1849 July 17.  American and Commercial Daily Advertiser.  (Baltimore, Maryland.)  July 17, 1849, Vol. C, No. 17,330, P. 2.

Improved Daguerreotypes.  S. N. Carvalho’s Gallery Of Fine Arts, No. 205 Baltimore street.  The subscriber informs the public generally that he has erected a building with a combination of sky and side lights, where he can (from his knowledge of light and shadow, having made it his study for 15 years,) produce Daguerreotype likenesses which will compare with any taken in the United States.  His new crayon process is admirably adapted for gentlemen’s portraits.  He invites the public to call and view his specimens, and will in all instances, if allowed, take a picture of a gentleman or lady to show the style of his work, without any charge.

Children of any age taken in a few seconds.

Portraits, Engravings, Statuary, &c., accurately copied.  S. N. Carvalho, over Campbell’s Jewelry Store, 205 Baltimore st.

1849 July 31.  American and Commercial Daily Advertiser.  (Baltimore, Maryland.)  July 31, 1849, Vol. C, No. 17,342, P. 3.

Daguerreotypes.—There is no branch of art in which more improvement has been effected in so short a time as that of Photography, or Daguerreotyping.  Among those who are foremost in the adoption of all new progressions in this beautiful science in Mr. S. N Carvalho, who has lately introduced here the Crayon process, by which his pictures are made to closely resemble a fine engraving.—He has recently much enlarged and made important additions to his already excellent sky light, and sitters may rely on having their likenesses taken in the most correct and life-like manner, and in the highest style of the art.  Mr. Carvalho’s rooms are at 205 Baltimore street, and will be fond to be handsomely furnished, with piano and other musical instruments for the entertainment of visitors.

1849 August 21.  American and Commercial Daily Advertiser.  (Baltimore, Maryland.)  August 21, 1849, Vol. C, No. 17,360, P. 3.

Carvalho’s Daguerreotypes are justly admired for their truthful likenesses, classical arrangement, and beautiful tone.  Those who want a good picture are invited to call on Mr. Carvalho, No. 205 Baltimore street, over R. & A. Campbell’s jewelry store.

Advertisement ran from August 21 to 27, 1849.

1849 September 3.  American and Commercial Daily Advertiser.  (Baltimore, Maryland.)  September 3, 1849, Vol. C, No. 17,371, P. 3.

Improved Daguerreotypes.  S. N. Carvalho’s Gallery Of Fine Arts, No. 205 Baltimore street.  The subscriber informs the public generally that he has erected a building with a combination of sky and side lights, where he can (from his knowledge of light and shadow, having made it his study for 15 years,) produce Daguerreotype likenesses which will compare with any taken in the United States.  His new crayon process is admirably adapted for gentlemen’s portraits.  He invites the public to call and view his specimens, and will in all instances, if allowed, take a picture of a gentleman or lady to show the style of his work, without any charge.

Children of any age taken in a few seconds.

Portraits, Engravings, Statuary, &c., accurately copied.  S. N. Carvalho, over Campbell’s Jewelry Store, 205 Baltimore st.

1849 September 17.  American and Commercial Daily Advertiser.  (Baltimore, Maryland.)  September 17, 1849, Vol. C, No. 17,386, P. 3.

Carvalho’s Daguerreotypes are worthy a place in the Cabinet of all lovers of good pictures—his portraits are gems in their way.  They have a beautiful rich lifelike tone, and are considered by first rate judges to be the best in the city.  Mr. Carvalho is an experienced artist having practiced successfully his profession in this city ten years ago; and his knowledge of light and shadow enables him to give a classical arrangement to the figure.  His skylight is most scientifically projected; and his Saloon, No. 205 Baltimore st., is well worth a visit.

Advertisement ran from September 17 to 21, 1849.

1849 November 13.  The Republic.  (Washington, D. C.)  November 13, 1849, Vol. 1, No. 130, P. 3.

Arrivals At The Hotels…National Hotel, Corner of Pennsylvania Avenue and 6th street…S. N. Carvalho, Baltimore.

1849 November 27.  The Republic.  (Washington, D. C.)  November 27, 1849, Vol. 1, No. 142, P. 3.

Arrivals At The Hotels…National Hotel, Corner of Pennsylvania Avenue and 6th street…S. N. Carvalho, Baltimore.

1849 November 28.  American and Commercial Daily Advertiser.  (Baltimore, Maryland.)  November 28, 1849, Vol. C, No. 17,428, P. 3.

Carvalho’s Gallery Of Fine Arts’ (formerly Plumb’s,) No. 205 Baltimore St. 

Why are Carvalho’s Daguerreotypes the best in the city?  Because they are made by an experienced Artist who understands the profession scientifically.

Why is Carvalho’s Gallery of Fine Arts continually thronged with visitors?  Because his rooms are elegantly arranged with beautiful specimens of Paintings, Engravings and Daguerreotypes, an improved tone Piano, and a Lady always in attendance for the comfort of Lady visitors.

Why are Carvalho’s Daguerreotypes easily distinguished from all others taken in the city?  Because there is a depth of tone, an artistic arrangement of light and shadow, and an ease and grace about the attitudes, which none others possess.

Why did not Carvalho’s Daguerreotypes take the premium at the late fair?  Simply because Carvalho’s Daguerreotypes were not on exhibition at the late Fair.  The public had already awarded him the highest premium for his Pictures.

Why is the operating room filled with Children of all ages from eleven o’clock till three every day?  Because during those hours he is continually engaged in producing the most beautiful groups of these interesting responsibilities.

Why he is always engaged in cloudy weather?  Because a cloudy day is the very best time for Adults to sit for Pictures.  Let the public bear this in mind.

1849 December 4.  The Republic.  (Washington, D. C.)  December 4, 1849, Vol. 1, No. 147, P. 3.

Arrivals At The Hotels…National Hotel, Corner of Pennsylvania Avenue and 6th street…S. N. Carvalho, Baltimore.

1849 December 7.  The Republic.  (Washington, D. C.)  December 7, 1849, Vol. 1, No. 150, P. 3.

Daguerreotypes.—We refer to the card, in another column, of Mr. Carvalho, artist, who has established himself in our city.  He has acquired much celebrity, and understands the art not only pf taking Daguerreotype likenesses, but of drawing, painting, &c., thoroughly.  Mr. C. is well known in Baltimore, and has now in that city a superb and highly attractive gallery of paintings.  We refer those who may desire his services to his establishment, and are confident they will be suited in the very best manner.

1849 December 7.  The Republic.  (Washington, D. C.)  December 7, 1849, Vol. 1, No. 150, P. 3.

American Photographic Gallery.  S. N. Carvalho, Artists, of Baltimore, respectfully informs the citizens of Washington and the public in general, that he has rented the Daguerreotype Gallery formerly occupied by Van Loan & Chase, at the corner of 4½ street and Pennsylvania avenue, where he is prepared to make pictures which will bear comparison with any daguerreotypes in the world.  He has established at Baltimore a reputation for making the best pictures in that city; and the public at Washington have now the opportunity of procuring an artistic picture, such an one as will be worthy a place in the cabinet of the connoisseurs or the ladies’ centre table.  Groups of any number of persons can be taken, with all the classical arrangement of light and shadow, expression, and beautiful tone of a highly-finished mezzotint engraving.

N. B.  The greatest care taken in procuring correct likenesses of children; and in no instance will a charge be made without the picture is perfectly satisfactory.  Call and examine specimens.  Post mortem cases promptly attended to.  Corner of 4½ and Pennsylvania avenue.

1849 December 8.  Daily National Intelligencer.  (Washington, D. C.)  December 8, 1849, Vol. XXXVII, No. 11,479, P. 3.

American Photographic Gallery.  S. N. Carvalho, Artists, of Baltimore, respectfully informs the citizens of Washington and the public in general, that he has rented the Daguerreotype Gallery formerly occupied by Van Loan & Chase, at the corner of 4½ street and Pennsylvania avenue, where he is prepared to make pictures which will bear comparison with any daguerreotypes in the world.  He has established at Baltimore a reputation for making the best pictures in that city; and the public at Washington have now the opportunity of procuring an artistic picture, such an one as will be worthy a place in the cabinet of the connoisseurs or the ladies’ centre table.  Groups of any number of persons can be taken, with all the classical arrangement of light and shadow, expression, and beautiful tone of a highly-finished mezzotint engraving.

N. B.  The greatest care taken in procuring correct likenesses of children; and in no instance will a charge be made without the picture is perfectly satisfactory.  Call and examine specimens.  Post mortem cases promptly attended to.  Corner of 4½ and Pennsylvania avenue.

1849 December 12.  The Daily Union.  (Washington, D. C.)  December 12, 1849, Vol. V, No. 191, P. 3.

American Photographic Gallery.  S. N. Carvalho, Artists, of Baltimore, respectfully informs the citizens of Washington and the public in general, that he has rented the Daguerreotype Gallery formerly occupied by Van Loan & Chase, at the corner of 4½ street and Pennsylvania avenue, where he is prepared to make pictures which will bear comparison with any daguerreotypes in the world.  He has established at Baltimore a reputation for making the best pictures in that city; and the public at Washington have now the opportunity of procuring an artistic picture, such an one as will be worthy a place in the cabinet of the connoisseurs or the ladies’ centre table.  Groups of any number of persons can be taken, with all the classical arrangement of light and shadow, expression, and beautiful tone of a highly-finished mezzotint engraving.

N. B.  The greatest care taken in procuring correct likenesses of children; and in no instance will a charge be made without the picture is perfectly satisfactory.  Call and examine specimens.  Post mortem cases promptly attended to.  Corner of 4½ and Pennsylvania avenue.

Advertisement ran from December 12, 1849 to March 24, 1850.

1850 January 1.  The Daily Union.  (Washington, D. C.)  January 1, 1850, Vol. V, No. 207, P. 3.

Wonders will never cease!—We are told that a most beautiful Daguerreotype likeness can be obtained at the new daguerrean establishment, at the Odeon, for only One Dollar.

Advertisement ran from January 1 to 10, 1850.

1850 March 13.  Daily National Intelligencer.  (Washington, D. C.)  March 13, 1850, Vol. XXXVIII, No. 11,557, P. 3.

Carvalho’s Daguerreotypes, Odeon, corner of 4½ street and Pennsylvania avenue.  Daguerreotypes taken in the first style of art.  The public are invited to call and examine specimens.

1850 June 29.  Baltimore Price-Current and Weekly Journal of Commerce.  (Baltimore, Maryland.) June 29, 1950, Vol. 1, No. 1, P. 1.

Carvalho’s Daguerreotype Gallery, No. 205 Baltimore st.  Pictures taken in all weathers.

The most extensive and scientifically arranged sky-light in the city.

Advertisement ran from June 29, 1850 to July 12, 1851.

1850 July 6.  Baltimore Price-Current and Weekly Journal of Commerce.  (Baltimore, Maryland.) July 6, 1850, Vol. 1, No. 2, P. 1.

Carvalho’s Daguerreotype Gallery, No. 205 Baltimore st.  Pictures taken in all weather.

The most extensive and scientifically arranged sky-light in the city.

1850 July 31.  American and Commercial Daily Advertiser.  (Baltimore, Maryland.)  July 31, 1850, Vol. CII, No. 15,843, P. 2.

Ivory Daguerreotypes At Carvalho’s Gallery, 205 Baltimore Street.  The Subscriber is now producing a new and beautiful style of  pictures, resembling a miniature painted on Ivory, which for beauty and tone of finish, cannot be surpassed and supercede (sic.) entirely the necessity of the expensive Miniature Painting, which these imitate.  S, N. Carvalho. 205 Baltimore street, over Campbell’s Jewelry Store.

1850 October 24.  The Sun.  (Baltimore, Maryland.)  October 24, 1850, Vol. XXVII, No. 136, P. 2.

Cattle Show.—Strangers visiting the city for the purpose of attending the above, are respectfully invited to Carvalho’s Daguerreotype Gallery, No. 205 Baltimore Street, over Campbell’s Jewelry Store where they can obtain a superior picture of themselves and friends.

1850 December 16.  The Charleston Courier.  (Charleston, South Carolina.)  December 16, 1850, Vol. XLVIII, No. 14,681, P. 2.

Ship News Port Of Charleston Dec. 16, 1850.  Arrived on Saturday…

Line Schr. Saml. Butler, Booze, Baltimore, 3m days from Capes…S. N. Carvalho.

1850 December 17.  The Charleston Courier.  (Charleston, South Carolina.)  December 17, 1850, Vol. XLVIII, No. 14,682, P. 3.

Ivory Daguerreotypes.  S, N. Carvalho, a native of Charleston, respectfully informs the Ladies and Gentlemen of this city, and its vicinity, that he has taken rooms at No. 230 King street, opposite Messrs. Lambert & Brother’s Carpet store, where he is prepared to make Daguerreotypes on an entire new style, by a process discovered by himself.  These pictures resemble a highly finished miniature on Ivory, and possess the advantage of being seen in any light.  Being an artist, he is also enabled, from his knowledge of light and shade, to make classical arrangements of groups, by the usual process.

Particular care taken in making Daguerreotypes of Children of any age. Which by the aid of powerful quick working instrument, can be correctly delivered in one second of time.

Likenesses Taken After Death, at the shortest notice.  Paintings, Engravings, Statuary and Daguerreotypes accurately copied.

Portraits painted in oil from life, and Likenesses in every instance guaranteed.  S. N. Carvalho, 230 King street.

1851 February 3.  The Charleston Courier.  (Charleston, South Carolina.) February 3, 1851, Vol. XLIX, No. 14,721, P. 2.

Mr. Carvalho’s Daguerreotypes and Oil Paintings.—Within the last year, numerous important improvements in the process of Daguerreotyping have been introduced, which we have taken occasion from time to time, to notice.  Among the latest is a new style resembling a highly finished miniatures on ivory, several specimens of which are on exhibition at the rooms of Mr. S. N. Carvalho, 230 King street.  Mr. C. is a native of this city, where he has returned, after an absence of a few years, with recruited health, and experience in the profession to which he has devoted himself, with the view of taken up his permanent residence among us.  His studio has  been only recently opened to the public, but he has already accumulated a respectable number of likenesses of well known residents of this city both in Photographic and Oil paintings; his familiarity as a professional artist with the philosophical principles of light and shadow, enabling him to combine the study and practice of both to great advantage.  An exquisitely delicate and life-like fancy sketch in oil, which he has just completed, is attracting the admiration of his visitors, and considered by many good judges among them to be a highly successful effort, in the delineation of a difficult subject, altitude and expression.  Mr. Carvalho’s rooms are open at all hours of the morning and afternoon for the inspection of ladies and gentlemen desirous of seeing his specimens and improvements in the art.

1851 March 4.  American and Commercial Daily Advertiser.  (Baltimore, Maryland.)  March 4, 1851, Vol. CIII, No. 16,025, P. 3.

Paintings And Furniture Of A Gallery Of Fine Arts.—On This (Wednesday) Morning, March 5th, at 12 o’clock, precisely, we shall sell at 205 Baltimore street, over the store of Messrs. R. & A. Campbell, the Paintings and Furniture of Mr. S. N. Carvalho. Who is about to vacate the premises.  We name—One suit of solid Walnut Furniture, consisting of Sofas, 2 Lounges and 8 Chairs; Tapestry covers, made by Riddle, of Philadelphia; Damask Window Curtains; Lace do; French Plate Mirrors; Centre Tables; Side do; Show Cases; Stoves, &c. –in fact, every thing usually found in such an establishment.  Also, 25 Oli Paintings, part of which are original and very valuable.

Terms cash, in bankable money.  Cannon, Bennett & Co., Aucts.

Advertisement ran on March 4 & 5, 1851.

1851 April 2.  The Charleston Courier.  (Charleston, South Carolina.) April 2, 1851, Vol. XLIX, No. 14,772, P. 3.

Carvalho’s Daguerreotypes, at the Masonic Hall, corner of King and Wentworth sts., entrance on Wentworth-st.—The subscriber respectfully  informs the public generally, that he has removed his Gallery to the first floor of the Masonic Hall, where he is prepared to make Daguerreotypes of all sizes, in style which for classical arrangements and beauty of finish, cannot be excelled.   S. N. Carvalho.

1851 June 11.  The Charleston Courier.  (Charleston, South Carolina.) June 11, 1851, Vol. XLIX, No. 14,831, P. 3.

Ship News.  Port of Charleston, June 11, 1851.  Arrived Yesterday…

Brig. [Gulnare, Ellenis], Baltimore, 9 days from the capes…S. N. Carvalho.   

1851 June 17.  The Charleston Courier.  (Charleston, South Carolina.) June 17, 1851, Vol. XLIX, No. 14,836, P. 3.

South-Carolina Daguerrean Gallery,  Grand Sky Light 167 Meeting-st., nearly opposite the Charleston Hotel.  The subscriber has fitted up on scientific principles, a grand Sky Light , so arranged, that Pictures can be made in all kinds of weather, but without inconvenience to the weakest eyes from excessive glare of light.

Citizens and strangers are invited to visit this Gallery whether they wish pictures or not.

Daguerreotypes Of Children, singly or in family groups.

All pictures warranted not to rub off,  S. N. Carvalho.

Advertisement ran from June 17 to 20, 1851.

1851 November 21.  The Southern Press.  (Washington, D. C.)  November 21, 1851, Vol. II, No. 140, P. 3.

From the Charleston Courier.  Opening of the Fair,..

Specimens Of Art.  Daguerreotypes.—From Smith and Longman, S. N Carvalho. 

Oil Paintings—Messrs. Curtis, Carvalho.

1852 February 14.  Boston Evening Transcript.  (Boston, Massachusetts.)  February 14, 1852, P. 1.

A daguerreotypist in Charlestown, (sic.) Mr. Carvalho, has discovered a mode of covering the daguerreotypes with a transparent enamel surface, whereby he dispenses with the glass cover to protect the picture.  Rubbing the plate, instead of injuring, improves the picture.  Such pictures may be sent any distance without injury.

1852 February 21.  The Planters’ Banner.  (Franklin, Louisiana.)  February 21, 1852, Vol. XVII, No. 6, P. 3.

New Discovery in Daguerreotyping.—J. N. Carvalho, of Charleston, has shown the editor of the Courier a specimen of his newly invented daguerreotype plate, which possesses this advantage over the old method, viz: that it requires no glass to protect it, inasmuch as it is covered with a transparent enamel surface, which renders the picture impervious to the effects of the atmosphere, and less liable to be rubbed off; in fact, the more friction that is used on the surface, the brighter and clearer the picture becomes.  So durable is it that it can be sent in a letter any distance without the possibility of its being scratched or defaced.  Mr. Carvalho, who is a native of Charleston intends to take out a patent for his discovery

1852 February 21.  Sunbury American.  (Sunbury, Pennsylvania.)  February 21, 1852, New Series Vol. 4, No. 48, Old Series Vol. 12, No. 22, P. 1.

A Daguerreotypist in Charlestown, (sic.) Mr. Carvalho, has discovered a mode of covering the Daguerreotypes with a transparent enamel surface, whereby he dispenses with the glass cover to protect the picture.  Rubbing the plate, instead of injuring, improves the picture.  Such pictures may be sent any distance without injury.

1852 February 26.  The New York Reformer.  (Watertown, New York.)  February 26, 1852, Vol. 2, No. 27, P. 3.

Valuable Discovery.—A daguerreotypist in Charleston, Mr. Carvalho, has discovered a mode of covering the daguerreotypes with a transparent enamel surface, whereby he dispenses with the glass cover to protect the picture.  Rubbing the plate, instead of injuring, improves the picture.  Such pictures may be sent to any distance without injury.

1852 March 2.  Vermont Chronicle.  (Windsor, Vermont.)  March 2, 1852, Vol. XXVII, No. 9, Whole No. 1352, P. 4.

A gentleman in Charleston is said to have made a valuable discovery in the art of daguerreotyping.  The advantage claimed for a picture taken by the new process is, that it requires no glass to protect it, inasmuch as it is covered with a transparent enameled surface, which renders the picture impervious to the effects of the atmosphere, and less liable to be rubbed off; in fact, the more friction that is used on the surface, the brighter and clearer the picture becomes; and so durable is it, that it can be sent in a letter any distance without the possibility of its being scratched or defaced.

1852 March 4.  Hannibal Journal.  (Hannibal, Missouri.)  March 4, 1852, Vol. II, No. 27, P. 4.

New Discovery In Daguerreotyping.—We had placed on our desk yesterday by Mr. J. N. Carvalho, of 167 Meeting street for the inspection of the curious in such matters a specimen of his newly invented daguerreotype plate, which possesses this advantage over the old method, viz: that it requires no glass to protect it, inasmuch as it is covered with a transparent enamel surface, which renders the picture impervious to the effects of the atmosphere, and less liable to be rubbed off—in fact the more friction that is used on the surface the brighter and clearer the picture becomes, and so durable is it that it can be sent in a letter any distance without the possibility of its being scratched or defaced.  Mr. Carvalho intends, we understand, to take out a patent.—Charleston paper.

1852 April 1.  Pittsfield Sun.  (Pittsfield, Massachusetts.)  April 1, 1852, Vol. LII, No. 2689, P. 2.

A Daguerreotypist in Charleston, S. C. has discovered a mode of covering daguerreotypes with a transparent enamel surface, whereby he dispenses with the glass cover to protect the picture.  Rubbing the plate, instead of injuring, improves the picture.  Such pictures may be sent to any distance without injury.

1852 May 20.  The Charleston Courier.  (Charleston, South Carolina.) May 20, 1852, Vol. L, No. 15,118, P. 3.

Grand Scientifically Arranged Light,  Carvalho’s King-Street Daguerreotype Gallery, 294, Opposite Liberty-Street, Only Up One Flight Of Stairs.  First Rate Pictures From $1.50, Case Included, To Ten Dollars.

Likenesses of Children taken in One Second of time.  All Pictures Warranted.

N. B. A reception room expressly for Ladies.

1852 August 14.  The New York Herald.  (New York, New York.)  August 14, 1852, Whole No. 7226, P. 3.

Daguerrean Gallery.—A First Rate Opportunity for going into business.–For sale, a Daguerrean Gallery, with skylight ten feet square, neatly fitted up, now doing a business of $1,800 per annum, in the most business part of Charleston, S. C., either with or without a whole or a half plate instrument.  The subscriber, being engaged in the duties of his profession, is unable to attend to it.  Address, post paid, to S. N. Carvalho, artist, Charleston, S. C.  N. B.—From $300 to $400 required, as may be agreed on , and possession given immediately.

1852 November 23.  The Camden Journal.  (Camden, South Carolina.)  November 23, 1852, Vol. 3, No. 94, P. 2.

The Fair and Poultry Exhibition…We have taken a few notes in the more delicate and fine arts to-day.  In Oil Painting, Mr. S. N. Cavalho (sic.), of this city, presents several creditable offerings from his studio-conspicuous among which is a familiar Portrait readily recognized as the weather beaten but expressive countenance of “The Wandering Jew,” a venerable eccentric character well known down town, by his constant presence, and up the road, through the innumerable hieroglyphics traced along the fences, to an indefinite extent, by his hand.  These paintings add no little attraction to the Exhibition.

1852 November 25.  Charleston Courier.  (Charleston, South Carolina.)  November 25, 1852, Vol. L, No 15277, P. 2.

The Committee on Premiums, to whom was assigned the duty of selecting competent judges to decide on the respective merits of the various articles offered for exhibition at the Fair of the South-Carolina Institute for the present year, respectfully report the following list of awards…

S. N. Carvalho, for the Bust of a Beggar—a Silver Medal.

Osborn, for the best Composition Daguerreotypes—A Silver Medal. 

Glenn, for the best Daguerreotype heads—a Silver Medal.

1852 December 27.  The Charleston Courier.  (Charleston, South Carolina.) December 27, 1852, Vol. L, No. 15,304, P. 2.

For Sale.—The Subscriber, intending to devote his whole time to his profession (Portrait Painting) will dispose of his Daguerrean Gallery, 294 King-street, together with instruments, &c., on accommodating terms.  He will also give instructions to the purchaser if required.  Apply as above.  S. N. Carvalho.

1853 February 28.  Morning Journal and Courier.  (New Haven, Connecticut.)  February 28, 1853, Vol. VIII, No. 49, P. 2

A valuable discovery with regard to daguerreotypes has been made by Mr. S. N. Carvalho, an artist of Charleston, S. C.  It has been hitherto necessary to enclose daguerreotypes in cases, and cover them with glass, as the least friction destroyed the work of sun and shadow.  Mr. Carvalho has discovered a perfectly transparent enamel, insoluble by all ordinary agents, a thin coating of which being spread upon a daguerreotype, may be carried about without other protection, or sent by post to any part of the world.  The enamel, produces no perceptible effect upon the picture.

1853 March 4.  The Freeman’s Journal.  (Cooperstown, New York.)  March 4, 1853, Vol. XLV, No. 29, Whole No. 2,317, P. 4.

A valuable discovery with regard to daguerreotypes has been made by Mr. S. N. Carvalho, an artist of Charleston, S. C.  It has been hitherto necessary to enclose daguerreotypes in cases, and cover them with glass, as the least friction destroyed the work of sun and shadow.  Mr. Carvalho has discovered a perfectly transparent enamel, insoluble by all ordinary agents, a thin coating of which being spread upon a daguerreotype it may be carried about without other protection, or sent by post to any part of the world.  The enamel, produces no perceptible effect upon the picture.

1853 March 8.  Portland Weekly Advertiser.  (Portland, Maine.)  March 8, 1853, Vol. LV, No. 10, P. 2.

A Discovery And An Improvement.—Mr. Carvalho, a young artist who has won some deserved celebrity at Charleston, S. C. has shown us a specimen of the successful application of a recent discovery of his, which must add, we think great value to the daguerreotype.  It is a process of enamelling,—applied after the picture is taken—by which the impression is permanently secured, and protected from the action of fire, water, or contact of any kind.  Thus protected, the daguerreotype needs no glass, in framing, and it may be transmitted, without injury, by mail, to any distance.  [N. Y. Express.

1853 March 17.  New York Daily Tribune.  (New York, New York.)  March 17, 1853, Vol. XII, No. 3718, P. 4.

Transparent Enameled Daguerreotypes.—J. Gurney, Daguerreotypist, No. 349 Broadway, corner of Leonard-st., having completed arrangements and entered into an arrangement with Mr. S. N. Carvalho, the discoverer of the above beautiful and highly important process, takes this method to inform his patrons and the public generally, that Mr. Carvalho may be found at his gallery, No. 349 Broadway, where he is prepared to enamel daguerreotypes of all sizes, whether taken at the gallery or elsewhere.

In offering this discovery to the public, Mr. Gurney is deeply impressed with the importance which a hard, transparent; enamel surface must and does add to the intrinsic value of good Daguerreotypes.  It effectually and permanently preserves it from atmospheric action; the picture may be washed, rubbed hard with a soft handererchief or glove, handled with soiled or greasy fingers, the surface of the enamel not sustaining the slightest injury.

Valuable Daguerreotypes of deceased relatives or friends may be thus permanently preserved at a small expense.

To Miniature painters, engravers and artists generally this enamel surface affords facility for tracing, which is a great desideratum.

For transmitting Daguerreotypes in a simple letter to any part of the world, without extra expense for postage, express, &c., thousands of persons will take advantage, as it supercedes the great uncertainty, detention, and expense of ordinary transportation.

The public are respectfully invited to call and examine specimens.  J. Gurney, cor. Leonard and Broadway.

Advertisement ran on March 17 & 18, 1853.

1853 March 22.  Vermont Chronicle.  (Windsor, Vermont.)  March 22, 1853, Vol. XXVIII, No. 12, Whole No. 1408, P. 4.

Enamel For Daguerreotypes.  A valuable discovery with regard to daguerreotypes has been made by Mr. S. N. Carvalho, an artist of Charleston, S. C,  It has been hitherto necessary to enclose daguerreotypes in cases, and cover them with glass, as the least friction destroyed the work of sun shadow. 

Mr. Charvalho (sic.) has discovered a perfectly transparent enamel, insoluble by all ordinary agents, a thin coating of which being spread upon a daguerreotype, it may be carried about without other protection, or sent by post to any part of the world.  The enamel produces no perceptible effect upon the picture.

1853 October 28.  Wheeling Daily Intelligencer.  (Wheeling, Virginia.)  October 28, 1853, Vol. 2, No. 55, P. 2.

Col. Fremont had sufficiently recovered from his indisposition to enable him to resume his winter expedition over the central rout to the Pacific.  He left St. Louis on the 15th to join his company at Old Caw Mission, at which place they were camping.  His party consists of twenty-one men, ten of whom are Delaware Indians.  Some of these Indians have been with Col. Fremont on previous expeditions.  They are picked men of their tribe, and most skillful hunters.  A daguerrean artist goes with the party, who will take sketches of everything worthy to be represented along the route.

1854 September 22.  The Western Democrat.  (Charlotte, North Carolina.)  September 22, 1854, Vol. 3, No. 9, P. 2.

Daguerreotypes of The Rocky Mountains.  The Washington correspondent of the New York Times writes: 

Calling upon the world-renowned Col. Fremont, at his residence a few evenings since. I was favored with an exhibition of quite a number of the three hundred daguerreotype views of various points of interest passed by him during his recent expedition to the Rocky Mountains, taken by the Colonel, with the assistance of a young artist who belonged to his party.  I hardly know whether to express more admiration of the perfection of these pictures as a work of art, or of the happy idea which suggested this method of presenting perfectly truthful descriptions of the country through which the explorer passed.  Some of these views present a back-ground of twenty or thirty miles; and, notwithstanding they were all taken in the open air, and under circumstances which make it quite impossible for the artist to avail themselves of some of the chemicals indispensable by Brady or Whitehurst, the latter gentlemen never turned out better specimens of the art than are many of the Colonel’s plates.   

 1897 May 24.  New York Tribune.  (New York, New York.)  May 24, 1897, Vol. LVII, No. 18, 453, P. 7.

Solomon N. Carvalho.  Solomon N. Carvalho, an artist, of No. 479 Mount Hope Place, died at his home on Friday.  Mr. Carvalho was eighty-two years old.  He leaves two sons, S. S. Carvalho, the newspaper man, who lives at Metuchen, N. J., and David N. Carvalho, of No. 42 East One-Hundred-and-thirty-third-st., who is at present in California.

Information From internet:

http://www.jamaicanfamilysearch.com/Members/ffrenchConnections_2.htm

F) SOLOMON II NUNES CARVALHO (1815/1897)

Charleston, South Carolina.

27 Apr 1815 Born   Attended Charleston College?
1828 Parents left him @13?  to go to Baltimore
1833 Stayed in Charleston
1834 “Professional Artist” Paints Beth Elohim synagogue. After 1838 when it burnt down offers it to Congregation who pay him $50 for it.

Barbados?

1835 onwards  working for “Uncle” ie Emmanuel (or David, his father?
1838 Dry Goods store owner in Charleston
1840 “Child with rabbits” picture used on bank notes US & Canada
20 Mar 1841 visit to Washington DC for silhouette portrait of himself

July 1843 in Bridgetown, Barbados with sister Julia
1844 Barbados self-portrait

Philadelphia, Pennsylvania.

1845-50  Learned the daguerreotype process
16 Jul 1845 writes to Sarah’s brother re marriage
15 Oct 1845 M Sarah Miriam Etting Solis (b 15 Oct 1824/ d Mt Pleasant, NY 2 May 1894-Dau of Jacob daSilva Solis & Charity Hays who had been married by uncle Emanuel Carvalho-Sarah had royal ancestry from Portugal, Castile, Leon &Spain i.e. very establishment family)
1846 Shipwreck on honeymoon to the “Islands”
29 Sep 1848 son David 1-born
1848 visits Washington Dinner with Prof Samuel F B Morse
1849  Exhibition of work. residence 144 Chestnut Street, Phil. (Delightful! see Google Streetview)
1849/50 Officer Hebrew Education Soc

Baltimore, Maryland.

July 1849 opens Gallery of Fine Arts at 205 Baltimore St. prev. location of John Plumbe Jr.
1850 Listed as Daguerrian Washington DC & Baltimore. Advertised his gallery of “Ivory and other Daguerreotypes” at the Odeon, corner of 4-1/2 Street and Pennsylvania Ave, Washington.
1850  Occupation  Artist
1850 census lists family
1850 Painted Little Miss Carvalho “VKA” An Azevedo or Emanuel’s dau?.
Late 1850 moved his business to Washington
1851 advertised in Baltimore as daguerrian & portrait painter

Charleston, South Carolina.

3 Feb 1851 Advt. in Charleston Courier– Gallery at 230 King Street
1852 Spec Ctee Shearith Israel Congregation Synagogue
1852 Listed himself  “Grand Sky-light Daguerrian Gallery @167 Meeting St Charleston
23 Sep 1852 Jacob Solis 2-born (later “Uncle Jack who married Suzanne Walker convert
12 Apr 1853 Charity (Charrie) 3-born
1853 invented process for the transparent enameling of daguerreotypes.
1853 Employed by Jeremiah Gurney NYC to utilize this process

Fremont Expedition.

5 Sep 1853 “Accompanied General John C Fremont on his expedition across the Rockies as the artist of the expedition. Lost for 6 months & mourned as dead, reached California …first ever to put the beauty of the Grand Canyon on canvas” Claire Carvalho
8 Feb Arrived Parowan, Utah -saved by the Mormon Heap family
1 Mar Arrived Salt Lake City-painted many portraits Made a great deal of money.
13 June 1854 arr. Los Angles  “Carvalho & Johnson” Los Angles

Baltimore, Maryland.

1856 Paints portrait of wife Sarah Miriam Solis
Sept 1856 Published “Incidents of Travel & Adventure…with Col. Fremont….” Chose $300 flat fee instead of 5 cents per book which would have paid 5 times as much!
Jan 1856  Solomon III Solis 4-born
1856/7 listed as artist Baltimore directory resident at 35 South Gay St
1857 Founded Beth Israel synagogue, Sephardic Spanish & Portuguese customs
1857 Holiday with Sarah “Revisiting Bermuda” ? Barbados??
1858/9 listed at 81 Liberty St Baltimore
1859 Paints “Little Annie Abrams” aged 2 (She becomes David II’s wife later)
1860 listed at 92 Saratoga St Baltimore
1860 father David I dies & Sarah & family move to NYC-Solomon to New Orleans

New Orleans, Louisiana.

1860/61 Setting up steam heating invention in New Orleans
1861-Civil War time-Carvalho family is not on 1860 Census

NEW YORK CITY,NY

1862 Solomon joins family in NYC
1862 Res 177th St., Tremont Studio at “Dodsworth’s 204 5th Ave  per Nat Acad of Design
1862 Paints son Jacob Solis
1864  studio at 59 East 13th St Paints sister Miriam “Mona Lisa” style
1864 Exhibits self-portrait at National Academy of Design entry 256
1865 Paints portrait Abe Lincoln marking 2nd inauguration March 4.

1870 Census New York District 10.

Solomon Nunes  Carvalho           53 Artist Portrait Painter Real Est $6500 Pers $500
Sarah Miriam Solis  Carvalho      42  keeps house

David Nunes  Carvalho                21  clerk in soap manfg.
Charrie Solis Carvalho                 18  at home
Jacob Solis Carvalho                    17  Clerk lumber yard “Uncle Jack”  
Solomon Solis Carvalho              14
Elizth Kell                                      19  servant

1870 With Sarah directed a religious school-part of Hand-in-Hand Congregation NYC.
1871 Cataract operation.
1872 Fall  Travelled to Martinique with son David. Picture of them both on voyage. Produced “Album of Martinique with 24 plates” Copies in NYC Public Library and Schomberg Collection.
1872/3 Paints wife Sarah.
1877/8 Patents Steam Heating System-awarded Medal of Excellence by American Institute in NYC. Office address 119 Liberty Street then to 107.Resident  177th, Tremont.
Charity Carvalho and husband Adolf Marsheutz lived next door with their 4 children Jules, Solomon, Sarah & Ethel.
1885 Res at 24 East 131st St, NYC.
2 May 1894 Sarah died & Solomon went to live with Charity.
21 May 1897 Solomon died New York City death cert 15519.  Solomon & Sarah were both buried in a plot belonging to The Congregation Shearith Israel in NYC, the Sephardic synagogue founded in 1654.

“Jacob(Jack)  Carvalho, son of Solomon & Sarah, became president of a large lumber company in New York, married late in life to Suzanne Walker and built a lovely home in Lawrence, Long Island where they lived until their death.

“Another Carvalho son, Solomon Solis went into the newspaper business, first with Pulitzer, & then with Hearst, until his death. He also married late in life to a fellow newspaper worker, Helen Cuisak & they had 2 children. “Sol” was a connoisseur of Chinese porcelain.
“the only surviving daughter Charity ( was there another?)  became a painter of miniatures in addition to being a loving daughter, wife & mother”  per Joan Sturhahn’s “Carvalho”

Note: This is a work in progress. Not all newspapers have been searched. In some cases advertisements in Baltimore, Maryland, Washington, D. C. and Charleston, South Carolina have been recorded but have not been followed and recorded. In addition not all articles or advertisements were recorded, before being posted.

Brown, James

Daguerreotypes, Patent, Portrait Painter, , , ,

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

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

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

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

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

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

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

Advertisement ran from August 28 to September 2, 1851.

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

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

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

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

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

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

Advertisement ran from September 5 to 10, 1851.

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

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

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

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

Advertisement ran from September 21 to 26, 1851.

1853 August 19.  Semi-Weekly Tribune.  (New York, New York.)  August 19, 1853. Vol. VIII, No. 859. P. 1.

The Exhibition At The Crystal Palace.  XVI.  American Art—Daguerreotypes.  If there be any one department in the whole building which is peculiarly American, and in which the country shines prominent, it is in that of Daguerreotypes, which are exhibited below stairs; and the collection, which is an extensive one, is made up of contributions from almost every section of the Union where the art is practiced.  In contrasting the specimens of art which are taken herewith those taken in European countries, the excellence of American pictures is evident, which is [to] be accounted for by several reasons.  In the first place, American skies are freer from fogs and clouds—from bituminous coal not being much used, the atmosphere of our cities is free from smoke, at least upon the Atlantic coasts.  Then the chemicals and processes are, generally speaking, of a more sensitive character, and the apparatus is more convenient and suitable than that of Europe.  Our little inventions come into play and aid in saving time and developing a good picture, and last, though perhaps not least our people are readier in picking up processes and acquiring the mastery of the art than our trans-Atlantic rivals.  Not that we understand the science better, but the detail of the work is acquired in a shorter time by us, while the enormous practice which our operators enjoy combines to render the daguerreotype art a necessary adjunct to the comfort of life.  Does a child start on the journey of existence and leave his “father’s hall” forthwith the little image is produced to keep his memory green..  Does the daughter accept the new duties of matron, or does the venerated parent descend into the grave; what means so ready to revive their recollection?  Does the lover or the husband go to Australia or California, and not exchange with the beloved one the image of what afforded so much delight to gaze upon?  The readiness with which a likeness may be obtained, the truthfulness of the image and the smallness of cost, render it the current pledge of friendship, and the immense number of operators who are supported by the art in this country shows how widely the love of sun-pictures is diffused.  Several thousand industrious artists and artisans are occupied in the preparation of very pure chemicals, as bromine, iodine, gold salts, hyperphosphate of soda.  Another class prepare silvered plates, cases, buffs, gilding, cut glass, and a hundred little addenda.  Then the manufacture of cameras and the grinding of good lenses is an important branch of the business; for without a camera having good lenses the best operator would fail to produce an image which would be distinct or saleable; and even with a good Voigtlander or Harrison camera, it requires great skill to focus the image; for, strange as it may appear, the point where a good view of the sitter is obtained is not the point best adapted for bringing out a good picture.  In other words the focus of vision and the focus of chemical action are not the same, and hence when we have the one we lose the other.  This is owing to the fact that it is not the rays of color on the solar spectrum which produce the image, but a different set of rays, viz: those of chemical action; and since this is the case, we submit the opinion that it is not possible to obtain a daguerreotype in its natural colors, as Mr. Hill and others have been trying to delude our operators into believing, and leading themselves and others by the [iguis fatuus] of plates tortured into iridescent colors by chemical oxidation.  But we are getting discursive upon this beautiful art, which was intended to subserve many other useful purposes than that of portrait painting.

Everybody known how difficult it is to keep silver from tarnishing, and that the action of the light is to destroy all preparations of silver.  Some of these are more readily acted on by light than others—are more sensitive, as it is termed.  Such are the iodide, bromide, and chloride of silver.  These salts cannot be kept exposed to the light for any reason, even a very short time, without undergoing some change; and when a plate of silver has a thin layer of iodine and bromine on its surface; and is placed in a camera, as soon as the screen is raised the image of the sitter falls on the plate.  The silver plate is acted on unequally, producing the effects of light and shade when brought out, as it is termed, by exposure to the vapor of quicksilver.  It is then fixed or prevented from undergoing further change, by washing it with a solution of gold.

To produce a daguerreotype picture there are five operations necessary.  The first is cleaning the plate.  This is the stumbling block of most operators.  They are not cleanly enough.  Several views in this Exhibition show that the plates were not well enough cleaned.  Never was a maxim more true than the old one, that “cleanliness is a virtue”—when it has reference to daguerreotyping.  The second the second is the foundation of the sensitive iodide of silver over the surface of the plate.  The third is the adjusting the plate in the camera obscura, for the purpose of receiving the impression.  The fourth is the bringing out the photographic picture, which is invisible when the plate is taken from the camera.  The fifth, and last, is to remove the excess of sensitive coating, and thus prevent that susceptibility to change under luminous influence which would otherwise exist and ultimately effect the picture.  The second operation is that which gives tone and warmth to the picture, and when performed by skillful hands makes a daguerreotype a beautiful piece of art.  The clearness and distinctness of the image is produced by the third process when carefully conducted, and the whole picture should be distinct over the whole plate.  These remarks will serve to illustrate the subjoined notes upon the collections in the Exhibition.

Mr. Lawrence exhibited a case in which softness of tone and distinctness of image are united with artistic arrangement.  The latter quality is specially noticeable in “The Three Ages.”  The mechanical execution of these pictures is unexcelled.  These pictures of Mr. L. were exhibited in London.  Mr. Brady’s collection is not very large, but there are a few very good pictures exhibited by him.  In Gurney’s collection the coloring of the background has a fine effect; there are some very well executed portraits, among which is one of Mr. Forrest, worth notice as a work of art: taken as a Whole there is less softness and more distinctness in this collection than in that of Lawrence.  The picture of Ware and his sister is an instance of a picture well developed when the chemical action extends to the margin of the plate.  D. Clark, New Brunswick, N. J., has four pictures of merit; and Van Schneidan a small collection of well-selected heads.  J. Brown has a collection of portraits of Commodore Perry and the officers of the squadron for the Japan Expedition, in half-size plates: the interest of this collection is much marred by the names of the officers not being attached underneath the plate; it is not too late to rectify this omission.  Haas has a whole-plate allegorical figure of a family man reading the paper at home—an excellent idea and well executed.  Besides this, he has a couple of other pictures, though on the whole his show is mediocre.  In the cases of Harrison & Hill there is displayed excellent artistic arrangement with very indifferent mechanical execution.  In the mammoth plates occupied by allegorical designs, the back-ground is wretchedly brought out—the plates were not properly cleaned, and are full of scratches; there are a few half and whole-sized pictures set in gaudy frames.

Webster, of Louisville, KY., has twenty-three pictures possessing clearness.  They have, however, been exposed a little too much in the camera; they lack warmth, but are otherwise well developed and exhibit good mechanical execution.  Alex Hesler has a collection of whole plates handsomely executed, possessing a nice arrangement of of the drapery, which has the effect of throwing the head out in good relief.  There is artistic arrangement in this collection, especially evinced in the picture “Driving a “Trade,” one of a series illustrating character and passion.  The panoramic view of Galena, Ill. Shows that city to advantage; and the three views of the Falls of St. Anthony possess great merit.  Mr. North, of Cleveland, O., has a case of pretty fail likenesses, perhaps exhibiting the lights too strongly.  Bisbee, of Dayton, O. exhibits a panoramic view of Cincinnati from Newport, upon six large plates.  This view is, without exception, the finest thing in the whole room; we might even go further, and say that it is the finest view by the Daguerreian process ever exhibited.  The mechanical execution is excellent, the perspective good, and the development unsurpassed.  The effect of the smoke over the southern part of the city is very finely given.  the distinctness of the letter signs, three-quarters of a mile distance and across the Ohio river, is well brought out.  The rest of the collection is fair, possessing no peculiar merit.  Williamson exhibits a poor collection.  Dobyn, Richardson & Co. have several whole size well-executed specimens, in which the mechanical part, the artistic arrangement and the chemical effect is good.  The “Cupid Reposing” is a very ungraceful picture of an ill-formed child, and the coloring is bad.  That of the Bateman Children, in character, is a good picture.  There are some exceedingly well executed heads in this collection.

Long, of St. Louis, has four frames of 180 heads of Wyman’s School, in that city, with the edifice and Principal; they possess no merit.  A likeness of Prof. Mitchell, Cincinnati, is well executed.  Some of the pictures in this collection are inverted with papier mache frames inlaid with mother of-pearl and tinsel.  As this style of frame appears in a few other collections we may as well here express dissent to the use of this material as being too gaudy and wholly unsuitable for daguerreotype plates. These latter are difficult to be viewed except in one light, and from the brightness of their surface, are much set off by deadened color on the frames, while the glare and iridescence of the papier mache add to the difficulty of discerning the picture; the use of such implies bad taste in the artist.  We felt this opinion growing upon us as we looked at them and found our view corroborated by a boarding school miss, who whisked alongside of us and caught by the colors, exclaimed, “Oh my! aint those “frames beautiful?”  Fitzgibbon has the richest exposition in the Fair—The most expensive frames with a large and passable collection.  The mammoth plate of Judge Colt is very good—That of Jenny Lind the best in the exhibition—those of McAllister, Julia Dean, Kate Hays, and Kossuth, are good pictures.  His collection of Indian Warriors, is a very fine one, which we understand is to be forwarded to the Ethnological Society of London, to have copies and busts made from them.  Masury & Silsbee, Boston exhibited twelve pretty and tasteful plates, with good arrangement and well finished.  The collections of Kilsey, Beals, and Howe do not require notice.  Whitehurst has a few good pictures in a large and passable collection; he has ten pictures illustrating the Falls of Niagara, which are very well executed.  Some of his large heads have their features out of all proportion.  Whipple of Boston, has a collection of photographic pictures, which he calls Crystallotypes, taken from Hyalotypes; there is a plate of the moon daguerreotyped, and one of the spots on the sun.  McDonnell & Co., Buffalo, have a very poor collection—so poor as not to deserve a place in the exhibition; the views of Niagara are fair.   Hawkins exhibits photographs on paper.  Drummond, eight plates of the order of Free masons in their lodge dress.  Fitzgibbon (already noticed) exhibits a very interesting case, which is a frame of electrotype copies from daguerreotype plates, very beautifully executed.  It should not be over looked upon as a mere curiosity to place a daguerreotype plate in a copper solution and take a copper cast from its surface by means of electricity: the copper cast looks much warmer in tone than the original.  It is to be regretted that Fitzgibbon did not complete this frame by the insertion of a third plate, by taking a second copy from the copper copy.  This would be in relief, like the original silver-plate, and is succeptible of being treated like an engraved plate; yielding, when inked, prints resembling mezzotint.  Besides the above collection of daguerreotypes, there is an assortment of cameras, lenses, stereoscopes and photographic paper, which are of interest to those practicing these beautiful arts.

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

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

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

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

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

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

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

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

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

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