Tag Archives: Boston Massachusetts

George H. Butler

1853-1856       140 Washington Street, Boston, Massachusetts.                                                          1855                   257 Washington Street, Boston, Massachusetts.

George H. Butler was recorded twice in the Boston Daily Evening Transcript (Boston, Massachusetts) on July 12, 1853 in an announcement and then in an advertisement.  New Daguerreotype Rooms.  It will be seen by reference to our advertising columns, that Messrs. Seaver & Butler have established themselves at No. 140 Washington street, where they would be happy to see their friends and the public, and to serve them in the line of their art.

The advertisement ran from July 12 to 25, 1853.  New Daguerreotype Rooms.  140 Washington Street, Seaver & Butler, having recently purchased these rooms, and neatly fitted and newly furnished them throughout, till they are surpassed in convenience and elegance by none in the city, are now prepared to take Likenesses with promptness, in the very best style of the art, and in every size and mode of finish.  The public are respectfully invited to give them a call.  Entire satisfaction guaranteed.

Mr. Seaver having been employed as Operator at Ives’s Establishment, for over a year past, would be pleased to see his numerous friends and acquaintances at his new place of business, where they will meet with entire satisfaction, as heretofore.

George H. Butler has been recorded in other photographic directories.  The 1853 information above is new and was not included in A Directory of Massachusetts Photographers, 1839-1900.

S. D. Brewer

Ca.1849           109 Washington Street, Boston, Massachusetts.                                        1850                Union Street Bazaar, opposite the Lynn Railroad Station, Lynn, Massachusetts.

S. D. Brewer was recorded in the Lynn News (Lynn, Massachusetts) on April 26, 1850.  He has been hired as an assistant to S. H. Whitmore and was formerly form [Luther Holman] Hale & Company, Boston  gallery.

New Daguerreian Gallery, In the Union Street Bazaar, opposite the Lynn Railroad Station.  The subscriber, having decided upon a permanent Location, has at great expense fitted up a suit of rooms, and furnished them with every facility for executing Likenesses, single or in groups, in a new and unique manner.  He has also the assistance of Mr. S. D. Brewer, who is acknowledged to be one of the best operators in the country, (recently from Hale & Co., Boston,) with the best Voigtlander Camera in the world, which will enable him to carry out his motto, “Excelsior.”

N.B. Particular attention will be given to procure good likenesses of sick or deceased persons, at their residence.  Children taken, in from three to ten seconds, between 9, A. M, and 3, P. M.  Copying attended to with punctuality and dispatch.  Persons learning of him will receive the best of instruction.  Lockets, Cases, and Frames, constantly on hand and for sale.  Perfect satisfaction guaranteed.              S. H. Whitmore

Brewer was not listed in the business or residence sections of the Boston City Directory for 1848 through 1851 and he was not recorded in A Directory of Massachusetts Photographers. 1839-1900, either under Boston or Lynn sections.

Bigelow Brothers & Kennard

Bigelow Brothers & Kennard were recorded in the Boston Daily Evening Transcript (Boston, Massachusetts) in an advertisement that ran from November 20, 1849 to February 12, 1850.  Daguerreotype Plates.  A consignment of French Daguerreotype Plates just received and for sale low, at 121 Washington Street.

Bigelow Brothers & Kennard are a new names and were not recorded in A Directory of Massachusetts Photographers, 1839-1900.

Nahum S. Bennett

There are a series of announcements and advertisements in the Washington, D. C. Newspapers that place Nahum S. Bennett in D. C. from 1850 to late 1852.  He was first recorded in The Daily Union (Washington, D. C.) in an announcement on August 21, 1850.

We are indebted to Mr. N. S. Bennett, of this city, for a daguerreotype likeness of Mr. Millard Fillmore, the present President of the United States, and lithographed by Mr. A. Newman.  It is an admirable likeness, and beautifully executed.  The President’s face is calculated to grace the art of the daguerreotypist or the painter; but those features are too apt to undergo a premature revolution from the wrinkles of care, which power, if faithfully administered, stamps with its seal upon the brow.…

In an announcement that was published in the Daily American Telegraph (Washington, D. C.) on July 13, 1852.  A Beautiful Daguerreotype.  The most perfect and admirable daguerreotype likeness we have ever seen has just been made of General Winfield Scott, by Mr. Bennett, of this city.  It is of very large size, and as clear and distinct as the reflection from a polished mirror.

We learn that the old General sat for this likeness with cheerfulness and patience, though under protest, declaring that so frequently has he of late been called upon to sit to artists of various kinds that he must henceforth refuse.  If others have succeeded as well as Mr. Bennett, we do not, indeed, think further efforts are needed.

Also on the 13th the following advertisement appears Rocky Mountain Indians!  Daguerreotype likenesses of the principal Chiefs of the Different Rocky Mountain tribes of Indians on exhibition at Bennett’s National Gallery, Penna. av., between 6th and 7th sts.

The last Daguerreotype, from life, of the departed patriot, Henry Clay, may be seen at Bennett’s National Gallery, Pa. av., between 6th and 7th sts.

In an article entitled The Pueblo Indians in the Daily American Telegraph (Washington, D. C.) on August 13, 1852 in part….Bennett, the skilful and popular daguerreotypist, took their portraits yesterday.  They were highly gratified, and, when told that each of them should have a copy of his own likeness, their pleasure knew no bounds.  The old man of the party (aged sixty-four) looked at his image for a while, and then said:  “When I am dead, and gone to heaven, I shall still live in this.”…

In an advertisement in the Daily American Telegraph.  (Washington, D. C.) on September 20, 1852 we learn that a portrait of General Scott is being painted by Stanley[1] which is possibly the best portrait of the General ever painted.  It is from a most beautiful daguerreotype by Bennett, of this city.

The last advertisement in the Daily American Telegraph (Washington, D. C.) appeared on October 26 and ran until November 18, 1852.  Crayon Daguerreotypes.  This style of Photographic Pictures was patented by John A. Whipple, of Boston, about six years since[2], and introduced into this city by Bennett in 1850, as many who have had them know.  Mr. B. continues to take them, in a superior manner, at his Gallery, Pennsylvania avenue, between 6 and 7th streets.

Published in an article about early Daguerreotypist in Washington, D. C. a letter from Samuel Rush Seibert dated October 19, 1896 is included.  It is in reply to Samuel C. Busey’s inquiry about early Daguerreotypist in Washington.  He states in part “Mr. N. S. Bennett had a Daguerreotype gallery a few doors west, on the same avenue, in a building which was on the east side and adjoining L. D. Gilman’s drug store. During the winter of 1851 and 1852 I negotiated with him for the purchase of the gallery for Marcus A. Root and John H. Clark, who immediately obtained possession and refitted the skylight and rooms, and there produced many fine specimens of the Daguerrean art.[3]

Based on the last advertisement of Bennett’s (October 26, 1852) and the first ad for Root in the Washington papers (December 19, 1852) the sale of the gallery had to be in October-November 1852.  Interesting John H. Clark[e] does not appear in any advertisements found in the D. C. newspapers.  According to Laurie Baty’s unpublished Directory of Washington, D. C. Photographers Clark was a pupil of Root’s and was the operator of his D. C. gallery.

Bennett was on board the steamer Empire which left Troy, NY around 7 P. M. on Friday July 15, 1853 heading to New York City, when it was in a collision with the sloop General Livingston about 2 A. M on the 16th on the west shore of the Hudson River, opposite Clinton Point, about two and a half miles above New-Hamburg, and six below Poughkeepsie.   A number of people were killed or injured in the accident.  The extent of Bennett injuries are unknown it is reported in the Daguerreian Journal that he did lose a valuable collection of daguerreotypes including a whole plate of the last portrait taken of Henry Clay, sixteen specimens of members of the U. S. Senate, Likenesses of the Rocky Mountain Indian Tribes, and a portrait of Billy Bow Legs and John Howard Payne[4], who was an American actor, poet, playwright, and author.

No other advertisements, notices or articles have been found in any of the Washington newspapers that I have access to, until the three advertisements in the Evening Star discussed previously about Smith Bennett who was award a silver medal at the 1855 Metropolitan Mechanic’s Institute while he was in Alexandria, Virginia.

Reported in the Evening Star (Washington, D. C.) on February 10, 1857.  That N. S. Bennett has sent an application to the Mechanics’ Fair to exhibit ambrotypes and daguerreotypes.  Then on March 31 (in the same paper) a list was published of the premiums awarded at The Fair…Class 30….

Brady, N. Y.—photographs—Silver Medal.                                                                                 Whitehurst, Washington—ambrotypes—Silver Medal.                                                               Whitehurst, Washington—daguerreotypes—First award of merit.                                         Langenheim, Philadelphia—stereoscopes—Silver Medal.                                                      Vannerson, Washington—photographs, ambrotypes and daguerreotypes—Bronze Medal.   Whitehurst, Washington—photographs—Diploma.                                                                       Cutting & Turner, Boston—ambrotypes—Diploma                                                                                  N. S. Bennett, Alexandria—daguerreotypes—Diploma.

Bennett is reported to have been active in 1860 in Alexandria at 69 King Street.  At this time I have been unable to find directories for Alexandria to verify activity dates and address for Bennett from 1855-1860+.

[1] Probably John Mix Stanley.

[2] Crayon Daguerreotypes were patented by Whipple on January 23, 1849, Patent No. 6,056.

[3] In an article published in the Records of the Columbia Historical Society, Washington, D. C.  Vol. 3, P. 81-95.  Entitled Early History of Daguerreotypy in the City of Washington, by Samuel C. Busey.

[4] Article in the New York Times, July 18, 1853, P. 1.

Nathan S. Bennett

Nathan S. Bennett was first recorded in the 1844 Boston City Directory as a photographer at 109 Washington Street, Boston[1], with no residence information provided.  He was not listed in subsequent directories.  He next appears in an advertisement in the Wilmington Journal newspaper (Wilmington, North Carolina.)  The advertisement ran from December 24, 1847 to January 28, 1848.

“Transferred by wondrous magic art, Behold how perfect every part.”  N. S. Bennett, From Boston, would most respectfully inform the inhabitants of Wilmington and vicinity, that he has fitted up rooms in the rear of Dr. Ware’s Office, Front Street, for the purpose of taking Daguerreotype Miniatures, and would invite all who wish really bold and perfect miniatures of themselves or friends, to give him a call.  By a new and expeditious process, peculiar to himself, he is enabled to take the likeness of infants, of almost any age; and parents may now procure pictures of their little ones which will be protraction’s of life itself.  Hours for operating, from 10 a. m., till 4 p. m.

Nathan S. Bennett is recorded in several photographic directories for his time spent in Boston in 1844.  The possible connection to the Hale brothers (Charles E. and or Luther Holman) has not previously been explored.  There is also another possible connection to Smith Bennett and Nahum S. Bennett in Washington, D. C. and Alexandria, Virginia.

[1] He may have worked for Charles E. Hale and or possibly Luther Holman Hale in 1844-1845 at 109 Washington Street.

William T. Anderson

Anderson was first listed in the 1844 Boston City Directory with no occupation listed and has a house at 10 Central Street; in 1845 he is not listed in the directory; he is listed in the Boston City Directory in 1846 with an occupation of collar maker, he lives at 50 Billerica; the 1846/1847 Boston City Directory list his occupation as Daguerreotype Composition Factory with no business address, he is still living at 50 Billerica; In 1847/1848 directory he is not listed; In the 1848/1849 Directory his occupation is Manufacturer of Artists Colors & Paints, business address is 13 East Dedham and lives at 3 Hamburgh; 1849/1850 again he is not listed in the residence listings; 1850/1851 Directory he is listed as a Chemist with no business address listed, House at Hooton Court; 1851 Directory he is not listed; and In the 1852 Directory his occupation is listed as Manufacturer Printers Ink, and house at 95 Marginal Street.

What is a Daguerreotype Composition Factory? One can only speculate that based on Anderson’s occupations that it has something to do with manufacturing pigments for coloring daguerreotypes.

The original information about the Daguerreotype Composition Factory was brought to my attention by Ronald J. and Mary S. Zboray while they were doing research at the Massachusetts Historical Society.  William T. Anderson is not included in A Directory of Massachusetts Photographers, 1839-1900.

J. T. Ames

J. T. Ames is recorded twice in the Daily Republican newspaper, published in Springfield, Massachusetts on October 14, 1845. His name appears in a list of entries of the Hampden County Agricultural Fair under Specimens of fine arts which was held on October 8 & 9th. J. T. Ames possibly (James T.) from Cabotville (Chicopee) exhibited two daguerreotypes; J. Beals, Jr. of West Springfield exhibited 4 daguerreotypes; G. W. James probably (George W. James) from Springfield is listed with two entries first exhibiting twelve specimens of daguerreotypes and the second entry exhibiting four daguerreotypes; and Stock & Cooley who exhibited six paintings and four daguerreotypes.[1]

The second time he is mentioned was on September 29, 1851 also in the Daily Republican in an announcement for the Seventh Annual Cattle Show and Fair of the Hampden Agricultural Society…The following are the Committees on the various departments of the exhibition:…Under Paintings and Daguerreotypes.—T. W. Carter, Chicopee, James T. Ames, Chicopee, Edmund Freeman, Springfield.

In looking in Craig’s Daguerreian Registry he list a Joseph Ames as an artist and painter at 5½ Tremont Row from 1852-1856 the same address as Southworth and Hawes.  From 1857-1858 at 41 Tremont Row and 1859-1860 at 16 Summer Street.  He goes on to say that another source noted him as a daguerreian who gave assistance to Southworth and Pennell in their early stages (1840.)  John cites the business directory and WW as his sources.  W. W. is William Welling’s Photography in America: The Formative Years 1839-1900.  On page 20.  Welling writes Southworth & Pennell, meanwhile, at some point in the spring or summer of 1840, established a daguerreotype business in Cabotville, near Boston.  “We had the sympathy and substantial assistance of Messrs. Ames, Chase and Bemis.”  This information comes from The Philadelphia Photographer Volume 8, No. 94, October 1871 Page. 315-323. An Address To The National Photographic Association of the United States, Delivered at Cleveland, Ohio, June 1870.  By Albert Southworth. The passage is on page 317.

Checking The New York Historical Society’s Dictionary of Artist in America 1564-1860 there is a listing for Joseph Alexander Ames as working mostly in Boston from 1841-1847; he went to Italy in 1848, returning to Boston, visiting New York city in 1850, was in Baltimore, Maryland in 1870, and thereafter in New York City where he died on October 30, 1872.  There is no mention of an association with Southworth and Hawes, Southworth and Pennell or daguerreotyping.

In conclusion I believe that the attribution to Joseph Ames is based on the 5½ Tremont Row Address in Boston, not the Cabotville (Chicopee) location where Southworth & Pennell resided in 1840. Further research into J. T Ames (James T.) is needed, we know he made daguerreotypes in 1845 and still resided in Chicopee in 1851.  It is possible J. T. is the Ames mentioned in the Southworth Address to the National Photographic Association of the United States, not Joseph Ames.

[1] Three names J. T. Ames; J. Beals, Jr. and G. W. James are new name and not recorded in A Directory of Massachusetts Photographers, 1839-1900.

 

Marcus A. & Samuel Root

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Silver Medal.

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

Bronze Medal.

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

Honorable Mention.

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

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

To be continued…..