Tag Archives: Daguerreotypist

A. Shea Addis

Ambrotypes, Daguerreotypes, , , ,

Information on A. Shea Addis appears to be convoluted and without more intense research the picture of this photographer will remain unclear. See Craig’s Daguerreian Register.   The following is reported in an advertisement in the Squatter Sovereign published in Atchison, Kansas on September 26, 1857.

Daguerreotypes, Ambrotypes, etc. Mr. A. Shea Addis, late of Platte City, Mo., from whence he comes highly recommended, has taken rooms over Doyle & Green’s Store, on C Street, where he will execute likenesses of various sizes of a life-like appearance and fine finish.  We have not yet been able to visit his rooms, but will endeavor to send one of our hands for him to operate on, which will enable us to speak more advisedly.  In the meantime, those of our citizens who “wish to see themselves as other see them,” will do well to give him a call.

William G. Adams

Daguerreotypes, ,

A testimonial in the Mississippi Palladium, published in Holly Springs, Mississippi on April 29, 1852.  A letter from Mr. Falconer appears…Should any of your readers visit Memphis for the purpose of procuring good Daguerrean Likenesses of themselves or friends, I recommend all such to call on Wm. G. Adams, on Front Row, where they can get a perfect copy of the original.  He is a very polite and affable gentleman, and I feel justified in saying will do all justice who may want likenesses taken…

Adams is recorder in Craig’s Daguerreian Registry as being active in Memphis, Tennessee from 1849 to 1853.

Adams & Wood

Daguerreotypes, ,

Recorded in the Spirit of Jefferson newspaper, published in Charles Town, Virginia on February 17, 1852.  The following advertisement appeared, note the date on the ad was February 3ed (as annotated in the lower right corner) this was the only newspaper available in February, the next available newspaper that I had access to was on March 2, and they did not appear in that issue.

Premium Daguerreotypes. Adams & Wood, would respectfully inform the citizens of Charlestown and vicinity, that they have taken rooms at the Court House and would invite the attention of all to the superiority of their Miniatures, and solicits a comparison of their with the best made in Baltimore or Philadelphia.  Rooms open a few days only.            [Feb. 3, 1852.

Abbot

Daguerreotypes, , ,

The following report appeared in The Plaindealer published in Roslyn, New York on November 19, 1852.

A Daguerreotypist named Abbot, who itinerates with a car fitted up as a saloon for taking photographic pictures, stopped at Perry, New York, a few days since, where he induced girl ten years old, to allow him to take her picture in a nude condition.  The girl told of the transaction, and the indignation of the people caused the artist to decamp.  He sent a person to take away his car, but a mob destroyed the vehicle before he could get beyond their fury.  The cost of the apparatus was about $700.

John Craig list in Craig’s Daguerreian Registry, H. L. Abbott as a traveling daguerreotypist in Warsaw, New York and references that he took more than seventy five daguerreotypes in and around the construction site of the Portage Bridge on the Genesee River.  The Bridge is in the upper part of the Letchworth State Park.  The distance between the three locations is estimated to be under twenty miles.  There is a strong possibility that this is the same person, with a spelling variant of the last name.

Silas A. Holmes

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Activity Dates:

Silas A. Holmes

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

Charles R. Rees

*[iv]

1850                                    Address Unknown, Cincinnati, Ohio.[ii]

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

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

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

1857-1859                          139 Main Street, Richmond, Virginia.

1858                                    39 Sycamore Street, Petersburg, Virginia.

1858                                    Address unknown, Memphis, Tennessee.

1859                                    145 Main Street, Richmond, Virginia.

 

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

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

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

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

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

[vi] Information from Craig’s Daguerreian Registry.

Marcus A. & Samuel Root

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Silver Medal.

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

Bronze Medal.

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

Honorable Mention.

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

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

To be continued…..

John Plumbe, Jr.

Daguerreotypes, , ,

 

The following is a description of John Plumbe’s gallery in New York that I just found and wanted to share. All I can think of is how incredible and amazing this would have been to see.  Hundreds of daguerreotypes exhibited from floor to ceiling, of some of the most recognizable people of their time.  If we could travel back in time it would be amazing to walk into his gallery and see hundreds of daguerreotypes of this caliber, I personably would be blown away.  I’ve seen some great exhibitions over the years but I think this would have been right up there with the best.  All spelling and punctuation remain the same as in the newspaper article.

The Brooklyn Daily Eagle and Kings County Democrat.  (Brooklyn, New York.)  July 2, 1846, Vol. 5, No. 160, P. 1.

Visit to Plumbe’s Gallery.  Among the “lions” of the great American metropolis, New York city, is the Picture Gallery at the upper corner of Murray street and Broadway, commonly known as Plumbe’s Daguerreotype establishment.  Puffs etc., out of the question, this is certainly a great establishment!  You will see more life there—more variety, more human nature, more artistic beauty, (for what created thing can surpass that masterpiece of physical perfection, the human face?) than in any spot we know of.  The crowds continually coming and going—the fashionable belle, the many distinguished men, the idler, the children—these alone are enough to occupy a curious train of attention.  But they are not the first thing.  To us, the pictures address themselves before all else.

What a spectacle!  In whichever direction you turn your peering gaze, you see nought but human faces!  There they stretch, from floor to ceiling—hundreds of them.  Ah! What tales might those pictures tell, if their mute lips had the power of speech!  How romance, then, would be infinitely outdone by fact.  Here is one, now—a handsome female, apparently in a bridal dress.  She was then, perhaps, just married.  Her husband has brought her to get her likeness; and a fine one he must have had, if this is a correct duplicate of it.  Is he yet the same tender husband?  Another, near by, is the miniature of an aged matron, on whose head many winters have deposited their snowy semblance.—But what a calm serene bearing!  How graceful she looks in her old age!

Even as you go in by the door, you see the withered features of a man who has occupied the proudest place on earth; you see the bald head of John Quincy Adams, and those eyes of dimmed but still quenchless fire.  There too, is the youngest of the Presidents, Mr. Polk.  From the same case looks out the massive face of Senator Benton.  Who is one of his nearest neighbors?  No one less than the Storm-King of the piano, De Meyer.  Likewise Chancellor Kent and Alexander H. Everett.

Perico’s statuary of the drooping Indian girl, and the mail figure up-bearing a globe, is in an adjoining frame, true as the marble itself.  Thence, too, beams down the napoleon-looking oval face of Ole Bull, with his great dreamy eyes.  Among others in the same connection, (and an odd connection, enough!) are Mrs. Polk, her niece Miss Walker, marble the comedian, Mayor Mickle, George Vandenhoff, Mrs. Tyler, and Mr. Buen, a most venerable white-haired ancient, (we understand, just dead!)  On another part of the wall, you may see Mrs. J. C. Calhoun, the venerable Mesdames Hamilton and Madison, and Miss. Alice Tyler.  There, also, are Mike Walsh—Robert Owen, with his shrewd Scotch face, but benevolent look—Horace Greely—[the] “pirate” Babe—Grant Thorburn—Audubon, the ornithologist, a fiery–eyed old man—Mr. Plumbe himself.  Besides these, of course, are hundreds of others.  Indeed, it is little else on all sides of you, than a great legion of human faces—human eyes gazing silently but fixedly upon you, and creating the impression of an immense Phantom concourse—speechless and motionless, but yet realities.  You are indeed in a new world—a peopled world, though mute as the grave.  We don’t know how it is with others, but we could spend days in that collection, and find enough enjoyment in the thousand human histories, involved in those daguerreotypes.

There is always, to us, a strange fascination in portraits.  We love to dwell long upon them—to infer many things, from the text they preach—to pursue the current of thoughts running riot about them.  It is singular what a peculiar influence is possessed by the eye of a well painted miniature or portrait.—It has a sort of magnetism.  We have miniatures in our possession, which we have often held, and gazed upon the eyes in them, for the half-hour!  An electric chain seems to vibrate, as it were, between our brain, and him or her preserved there so well by the limner’s cunning.  Time, space, both are annihilated, and we identify the semblance with the reality.—And even more than that.  For the strange fascination of looking at the eyes of a portrait, sometimes goes beyond what comes from the real orbs themselves.

Plumbe’s beautiful and multifarious pictures all strike you, (whatever their various peculiarities) with their naturalness, and the life-look of the eye—that soul of the face!  In all his vast collection, many of them thrown in hap-hazard, we notice not one that has dead eye.  Of course this is a surpassing merit.  Nor is it unworthy of notice, that the building is fitted up by him in many ranges of rooms, each with a daguerrian operator; and not merely as one single room, with one operator, like other places have.  The greatest emulation is excited; and persons or parties having portraits taken, retain exclusive possession of one room, during the time.

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

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

Activity:

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

1852                Hines Hotel, Fayetteville, Tennessee.

1852                Union Street, Nashville, Tennessee.

1854-1855       59 College Street, Nashville, Tennessee.

1854-1858       26 Union Street, Nashville, Tennessee.

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

 

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

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

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

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

Daguerrean Stock And Picture Establishment.

Dobyns & Yearout, Nashville, Tennessee, College Street

Dobyns & Hall, Louisville, Ky.

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

Dobyns & Spaulding, St. Louis, Mo.

Dobyns & Yearout, Memphis, Tenn.

Dobyns & Harrington, New Orleans, Louisiana

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

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

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

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

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

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

Class 26—Daguerreotypes, Photographs and Apparatus.

Hughes Brothers, daguerreotypes and photographs…..Diploma.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tyler & Company revisited

Ambrotypes, Daguerreotypes, , , , , , , , , , ,

While in my opinion Tyler & Company are not in the top echelon of photographers operating in America during the first twenty years. Their advertisements would lead you to believe that they were.  In researching the Memphis Daily Appeal newspaper. In which I have access to the latter part of the project from January 1857 through December 1859 and beyond. Fortunately, or unfortunately Tyler and Company fit into this time slot during their stay in Memphis.  Like in Richmond their modus operandi is the same, they brag that they are better than everyone else, that their accomplishments are better, and that their gallery is the finest in the State that they have won many awards and have 16 years of experience.  Again like Richmond they undercut the other photographers’ prices and start fights in their advertisements with their competitors.  In reviewing the files they have advertised more in 15 months, (October 1858 through December 1859) then all the other photographs put together in 36 months.

On October 17, 1858 their first advertisement appeared in the Memphis Daily Appeal.

Tyler & Co. Give notice to the public of Memphis that they have opened an extensive Sky Light Depot of Art at 219 Main Street, opposite Odd Fellows’ Hall, for the purpose of introducing a new and original plan of Picture Making.  It consist in taking at the rate of 300 pictures daily, and being enabled to make fine Ambrotypes for 75 cents, the same as others charge $2 for. Ladies and gentlemen who visit Tyler & Co.’s Gallery, can be assured of receiving the best of treatment and the highest satisfaction in point of good work.  Tyler & Co., have had 16 years’ experience in their profession, and enjoy a celebrity worldwide throughout the Union.  They make all the various styles of pictures at prices ranging from 75 cents to $1, and also introduce the Vitreotype[1], a picture heretofore unknown in Memphis.  Call and see the new Gallery.

As stated above there are many similarities between their advertisements in Richmond and Memphis. “They still keep it before the public” their words.  Meaning that they advertise most every day often there are multiple entries of between one paragraph, or more often than not three to nine lines consisting of a sentence or two in the same Business Notices or the Local Matters columns.  The overall tone of the advertisements seems to have become more reserved then in Richmond, they are still making claims that they have the finest and largest gallery in the state.  In Richmond they continued to say that they made 400 to 800 portraits daily and sometimes as high as 1,000 a day.  In Memphis they are consistent throughout their stay at 300 portraits taken daily.  From October 17, 1858 to January 4, 1859 their prices stay the same at 75 cents to $100.  On January 5, 1859 they lower their prices to 50 cents to $50.

Tyler and Company use several name to describe their gallery. Sky-Light Depot of Art; Tyler & Co.’s Gallery; Young America Picture Depot; Big Depot of Art; Locomotive Picture Depot; Great Depot; Great Depot of Art; Tyler & Co.’s Gallery of Art; and Great sky-light Daguerreotype Depot and Emporium of Art, Beauty and Fashion to name but a few.

There seems to be a double standard in the way that Tyler & Co. attacks their competitors…their work is inferior, their images cost too much, they will fade or rust…when the other photographers voice their opinion of them, Tyler and Company often attack back “Don’t be deceived by the bombast of their rivals. The fogyism they exhibit in the newspapers, shows their envy of Tyler & Co.”  They never really answer the other photographers’ accusations.

In trying to tie up the record for Tyler and Company in Memphis I searched the latter part of 1860 knowing that Tyler and Company only stays in one location for two or three years at the most, see below for activity dates. They also probably were not in the South during the Civil War, since the first hard dates for them was 1853 in Boston, which would mean that they probably had northern sympathies. In addition Edward M. Tyler is recorded as being in Providence, R. I. in 1860 and in Newport, R. I. in 1865.  The last advertisement found was on October 11, 1860 and reads Tyler & Co. attend personally to their visitors, assisted by a corps of talented artists.

To confuse the time line more, two days later on October 13 the report of the Shelby County Agricultural Fair is published.  It list for Best Daguerreotypes, $5, O. H. Tyler; Brandon & Crater received a certificate.  Than on October 19 the following appears

Premium Daguerreotypes.—We will willingly correct an error which in the hurry of reporting the premiums awarded at the late fair, we, with other reporters, fell into, copying the list of premiums from the Secretary’s books. We reported Tyler & Co. as having received the premium for best daguerreotypes, and Brandon & Crater the certificate.  We understand from a member of the latter firm that the premium was awarded to them instead of O. H. Taylor & Co.  Since no first name was ever used for Tyler & Company in the Richmond or Memphis newspapers it is unclear if O. H. Taylor is another typo or do we have a clue as to who Tyler is.  At least in Richmond it was suggested that there was at least two Tyler’s running the gallery. Possibly Edward M., or O. H.?

Unlike John Plumbe, Jr., Jesse Harrison Whitehurst, and Thomas Jefferson Dobyns who had multiple galleries operating at the same time Tyler & Co. appears to open one studio and then moves on after a couple of years. This may not have been the case while they were in Richmond and Petersburg, Virginia where they seem to be operating both galleries at the same time.

A side note Charles R. Rees who worked for Tyler & Company, in the Richmond and Petersburg Galleries and possibly in several other locations, took over their Richmond Studio and made reference to sending ambrotypes to a new gallery in Memphis. On October 23, 1858 the following appeared in the Richmond Daily Dispatch. “We understand the reason that Rees & Co. have no Pictures on exhibition at the Mechanics’ Institute, is partly owing to their not having had time to arrange them in time for competition, and having just sent about 200 specimens of their new style of Ambrotypes to Memphis, Tenn., for the opening of a new Gallery. We are certain that their new style of Pictures would be much admired at the Institute.”

This opens a whole new line of questions. On May 5, 1859 in the Richmond Daily Dispatch the following appears….Old Rees has had 17 years experience in New York, Boston, Philadelphia, Charleston, New Orleans and Cincinnati…. Did Rees work for Tyler & Co. in those locations? We know that Tyler and Company was in Boston and Charleston, and they claim they were in New Orleans and in Cincinnati, there was a James Tyler & Co. in 1857.  No hard evidence has been found at this time that Tyler & Company were in New Orleans, New York or Philadelphia.  John Craig does list Rees in Craig’s Daguerreian Registry as being in Richmond and in New York. What is the connection with Tyler & Company in Memphis?  Is he a partner?  No advertisement, articles or notices were recorded in the newspaper for C. R. Rees that I have found to date.

To throw another twist to the relationship with Tyler & Company there is a Rees, Blodget & Company in Worcester, Massachusetts at the same time that that Tyler & Co were there. There are no first names attached to the company so it is unclear if this could possibly be C. R. Rees or not…  The advertisements are a standard attack by their competitors. Two advertisements follow.

October 18, 1855 in the Worcester Daily Spy. Take Notice!—Opposition to Steam Daguerreotypes, taken by a new American discovery, for only 25 cents, warranted to be of the best quality, and satisfaction given.  Something less than 500 taken daily.  No connection with the steam whistle, next door.  Rees, Blodget, & Co, artists.  Piper Block, Main st.

October 19, 1855. Rees, Blodget, & Co. do not take Daguerreotypes by steam, as their noisy competitors boast to do, but at the same time give all who visit them good portraits, and at a quick rate, for 25 cents.  Rees, Blodget & Co. have opened their rooms at Piper’s Block, bent upon blowing up all steam boilers in the vicinity, if they burst themselves in doing so.

While reading through the Memphis Daily Appeal newspaper the following item appears.  It’s not directed by name specifically to Tyler and Company, nor is it signed, but by the tone and history of Tyler & Co.’s advertisements it is conceivable that a rival had it published.  This is pure speculation on my part and I really try not to do that.  There is a quote that I’ll end with that I try to live by, but in this case it sounds so much like them that after days of consideration I decided to include it here.  It was published on November 17, 1858 exactly one month after Tyler & Co.’s first advertisement appears in Memphis papers.

What sort of an Animal a “Snob” is.—Thackeray thus daguerreotypes this animal. He is speaking of English society:

“A snob is that man or woman who are always pretending before the world to be something better—especially richer or more fashionable—than they are. It is one who thinks his own position in life contemptible, and is always, yearning and striving to force himself into one above, without the education or characteristics which belong to it; one who looks down upon, despises, and overrides his inferiors, or even equals of his own standing, and is ever ready to worship, fawn upon, and flatter a rich and titled man, not because he is a good man, a wise man, or a Christian man; but because he has the luck to be rich or consequential.”

The quote that I mentioned is by John Drydan and holds as true today as the day it was written. “We find but few historians of all ages, who have been diligent enough in their search for truth; it is their common method to take on trust what they distribute to the public, by which means, a falsehood once received from a famed writer becomes traditional to posterity.”  This is the one reason why in my research I document everything and give a source of where the information comes from.

Tyler & Co. Activity dates and addresses.

N.D.                 Address Unknown, New Orleans, Louisiana.[2]

1853-1855       2 Winter Street, Boston, Massachusetts.[3]

1855                 Main & Front Streets, Worcester, Massachusetts.[4]

1854-1856       Address Unknown, Charleston, South Carolina.[5]

1857-1858       139 Main Street, Richmond, Virginia.[6]

1857-1858       39 Sycamore Street, Petersburg, Virginia.[7]

1858                   Canal Street, New Orleans, Louisiana.[8]

1858-1860       219 Main Street, opposite Odd Fellows’ Hall, Memphis, Tennessee.[9]

1860                81 Westminster Street, Providence, Rhode Island.[10]

[1] Their name for Daguerreotypes.

[2] Richmond Daily Dispatch

[3] Directory of Massachusetts Photographers, 1839-1900 and Boston Morning Journal

[4] Worcester Daily Spy

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

[6] Richmond Daily Dispatch.

[7] ibid

[8] ibid

[9] Memphis Daily Appeal.

[10] Craig’s Daguerreian Registry.