Tag Archives: Daniel Bendann

Bogardus, Abraham

Daguerreotypes, Photographs, , , , , ,

1846                363 Broadway, New York, New York.[1]

1846                Barclay & Greenwich Streets, New York.1

1847-1850       217 Greenwich Street, New York, New York.

1849                126 Washington Street, Newark, New Jersey.1

1850-1851       8 Clinton Street, Newark, New Jersey.1

1851-1863       229 Greenwich Street, Corner Barclay Street, New York, New York.

1862-1879       363 Broadway, New York, New York.

1870-1874       1153 Broadway, New York, New York.

1875-1886       872 Broadway, New York, New York.

1880-1889       349 Sixth Avenue, New York, New York.

1887-1890       11 East 42d Street, New York, New York.

1852 November 25.  New York Daily Tribune.  (New York, New York.)  November 25, 1852, Vol. XII, No. 3622, P. 4.

Daguerreotypes.—A Card.—The undersigned takes this method of reminding his numerous friends and the public of the of the necessity of calling for their pictures during the “early part of the day.”

Our facilities for the executing pictures with accuracy and dispatch are unsurpassed, and yet we are compelled to disappoint hundreds from the fact of their calling “too late.”

During the short days sitting should always be taken before 3 P. M., as the light fails soon after that hour.

N. B.—Extra exertions will be made to supply the demand for pictures during the holidays.

Bogardus, Practical Daguerreotypist, No. 229 Greenwich st., south-east corner Barclay-st.

1853 March 8.  The New York Herald.  (New York, New York.)  March 8, 1853, Whole No. 7381, P. 5.

To Daguerreotypist—Wanted A Young Man that understands putting up daguerreotypes.  Apply to Bogardus, 229 Greenwich street.

1853 May 12.  The New York Herald.  (New York, New York.)  May 12, 1853, Whole No. 7446, P. 4.

Something Good out of Broadway.—Persons wishing a first class daguerreotype, at a reasonable price, can always depend on a very fine picture, by visiting Bogardus Daguerreotype establishment, 229 Greenwich street, south corner of Barclay.

Advertisement ran on May 12 to 17, 1853.

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

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

Bogardus — This gentleman is well-known to the public. He has gone through the photographic mill, and mastered all the difficulties of the art. His pictures are sharp, clear and well-developed. They possess an artistic excellence which distinguishes them above the mass. His galleries are very tastefully arranged and the specimens are so placed that their advantages are at once perceived; (this is not often the case.)

We cannot select any one specimen as being superior to the rest, there is an evenness and regularity throughout. Mr. Bogardus seems to have his hands full. He deserves it.

1857 April 28.  The Evening Post.  (New York, New York,)  April 28, 1857, Vol. LVI, P. 2.

We have received from A. Bogardus, No. 229 Greenwich street, a well executed photograph of Columbia College, in its present condition.  As in a few weeks, this venerable pile will be levelled with the ground, so exact a representation of it as this will be ordered by many of its alumni in this city.

1858 February.  The Photographic And Fine Art Journal.  (New York, New York.)  February 1858, Vol. XI, No. 2, P. 63.

We had occasion to visit Mr. Bogardus’ gallery in this city, and were highly pleased, not only with his arrangements, but with the majority of his pictures.  Mr. Bogardus is one of those who attends strictly to his business, pleases his customers, and fines his advantage in the attention he bestows.

1858 February 11.  New York Daily Tribune.  (New York, New York.)  February 11, 1858, Vol. XVII, No. 5245, P. 1.

Photographs of the late Rev. Dr. Knox, from a most perfect daguerreotype, executed a few months before his decease, for sale at Bogardus’s Daguerreotype Establishment, No. 229 Greenwich-st.

1861 April 23.  The New York Herald.  (New York, New York.)  April 23, 1861, Whole No. 8992, P. 7.

A First Rate Photographic Printer Wanted at Bogardus’ 229 Greenwich street.

1862 April 26.  Frank Leslie’s Illustrated Newspaper.  (New York, New York.)  April 26, 1862, Vol. XIII, No. 337, P. 18.

Bogardus, the well-known Daguerreotypist, has sent us a most excellent likeness of Captain Johnson of the New York 51st, who fell, mortally wounded, while leading a charge at the battle of Newberne.  It was this gallant soldier whose last words were, “I die gladly for my country!”

1862 October 30.  New York Observer.  (New York, New York.)  October 30, 1862, Vol. XL, No. 44, Whole No. 2060, P. 3.

Bogardus’ New Photographic Establishment, 363 Broadway, corner of Franklin, Now Open.  The Premises have been remolded, and every convenience added to insure the comfort of visitors; new Sky-lights constructed, and all the arrangements necessary for the production of first class Photographs in every desirable style.

Special Attention To The Carte De Visite.

My prices are reasonable for fine work.

Having unusual facilities, we shall be able to take sittings with rapidity, not subjecting our customers to tedious delay before sitting.

My Old Gallery, corner Barclay and Greenwich Streets, is still continued, having been in successful operation over 15 years.

Patronage is respectfully solicited.  Abm. Bogardus, 363 Broadway.

1863 May 9.  Frank Leslie’s Illustrated Newspaper.  (New York, New York.)  May 9, 1863, Vol. XVI, No. 397, P. 11.

Illustration.  The Late Lieut. Col. Edgar Addison Kimball.  9th N. Y. Vol.—From A Photograph By Bogardus.

1865 January 26.  New York Observer.  (New York, New York.)  January 26, 1865, Vol. XLIII, No. 4, Whole No. 2177, P. 6.

Bogardus, 363 Broadway, has published excellent photographs of Rev. Dr. Ormiston, of Canada, whose many friends in this city will be pleased to obtain this admirable likeness.

1866 February 24.  Frank Leslie’s Illustrated Newspaper.  (New York, New York.)  February 24, 1866, Vol. XXL, No. 543, P. 13.

Illustration.  The Rev. Thomas E. Vermilye.  This photograph gives as good a likeness, probably, as there is of Dr. Thomas E, Vermilye, pastor of the Collegiate Dutch Reformed Church of this city.  It was taken by Bogardus…

1867 February 14.  The New York Herald.  (New York, New York.)  February 14, 1867, Whole No. 11,125, P. 1.

A Desirable Photograph Gallery For sale for half its value.  Apply to or address Wm. F. [Kidney, care of Bogardus, 363 Broadway.

1872 February 23.  The Jewish Messenger.  (New York, New York.)  February 23, 1872, Vol. 31, No. 8, Whole No. 735, P. 8.

Bogardus & Bendann Brothers’ Photographic & Portrait Galleries No. 1153 Broadway, Near 27th Street, New York.  Photographs in all styles.

Oil and Pastel Portraits in the Highest Style of Art.  Small pictures of deceased persons copied to any size.

Advertisement ran from February 23 to June 28, 1872.

1872 April 19.  The Jewish Messenger.  (New York, New York.)  April 19, 1872, Vol. 31, No. 16, Whole No. 743, P. 2.

Messrs. Bogardus & Bendann Bros. have issued timely photographs of the late Prof. Morse, which excite general admiration.  The large painting of the venerable gentleman, which is on exhibition at their gallery, has been pronounced faultless, recalling vividly the deceased, and forming a rare work of art; and the photographs are faithful reproductions.  Of course, Bogardus enterprise is richly rewarded by the rapid sale of the photographs, in card, cabinet and imperial styles.

1872 July 5.  The Jewish Messenger.  (New York, New York.)  July 5, 1872, Vol. 32, No. 1, Whole No. 753, P. 2.

Bogardus & Bendann Bros., Photographic And Portrait Galleries, 1153 Broadway, (near 27th Street,) N. Y.  Pictures In The Highest Style Of Art At Moderate Prices.  Daniel Bandann.  A. Bogardus.  David Bendann.

Advertisement ran from July 5, 1872 to February 21, 1873.

1873 February 11.  The Evening Post.  (New York, New York.)  February 11, 1873, Vol;. 72, P. 2.

The Firm Of Bogardus & Bendann Bros. is this day dissolved by mutual consent, Bendann Bros. retiring.  A. Bogardus will receive and settle all accounts due to or from the late firm.  Dated New York, Feb. 1, 1873.  Wm, (sic.) Bogardus, Daniel Bendann, David Bendann.

Advertisement ran on February 11 & 12, 1873.

1873 February 27.  New York Observer.  (New York, New York.)  February 27, 1873, Vol. LI, No. 9, Whole No. 2599, P. 3.

Dissolution.  The Partnership heretofore existing under the firm name of Bogardus & Bandenn Brothers, Photographers, is dissolved (the Messrs. Bendann retiring).  The business will in future be conducted by the undersigned, who will, as far as possible, give his personal attention to every Sitter.

Abraham Bogardus, 1153 Broadway, Near 27th Street.

Fine Photographs At Reasonable Prices, and pains will be taken, in every instance, to make satisfactory Pictures.

Old Daguerreotypes, Photographs, &c., enlarged to any desired size, and artistically finished in Oil, Pastel, Crayon, India-ink, &c., &c.

See Specimens On View.  Bogardus, Established 1846.

1889 April 13.  Anthony’s Photographic Bulletin.  (New York, New York.)  April 13, 1889, Vol. XX, No. 7, P. 211-214

Fifty Years of Light, Fifty Years of Practice, Fifty Years of Advancement, What are the Results!

By Abraham Bogardus. Read before the Photographic Section of American Institute.

The daguerreotype on the silver plate, followed by the ambrotype or positive on glass, and now the photograph on paper.

These various productions have followed each other in rapid succession, and the photograph, with its many variations, is the picture of to-day.

Results, did I say ? The exposure in the camera reduced from thirty minutes to the fraction of a second. The at first dim, evanescent image succeeded by the strongly defined impression.

Then, from each sitting but one impression; now, from one sitting impressions without limit. Then, a burdensome and complicated set of apparatus was necessary to secure a picture ; now, a spring is touched and the embryo picture is secured. Then, the nature of the materials used required the immediate and continued prosecution to the finish, no stopping or waiting in any part of the operation; now, there is no limit to the time ; do it at your leisure ; carry your plate thousands of miles, and develop it this year or the next Then, the picture must be under glass for safety; now, they are mailed as freely as any printed matter. These are some of the results.

Little do the general public know of the time, labor and money spent in experimenting to bring about these results. Many expensive and difficult experiments resulted in failure. These were followed by some variations, another trial and another failure; but its votaries were not to be discouraged. Every point, was discussed, every difficulty attacked, until success was attained, and the process has been so simplified that persons of very little skill can practice it with some degree of success.

Honor, all honor, I say, to the pioneers who, by hand and brain, have accomplished all this. Many persons now enjoying the benefit of the labor of these pioneers fail to give credit **to whom credit is due,” and some in their wisdom seem to consider the now easy process as the result of their superior ability ; they say, ** Those old fellows had a hard time to make pictures, but just see how easy we do it.” The hard time those pioneers were having was the means of placing it where you can reach it, my friend.

The usual result of simplifying any difficult process is to place it in the hands of those who never would have touched it had it remained difficult, and they are the first to say, **See how easy it is !” And, as I said last month at the Society of Amateurs, “The men who have worked for half a century to bring photography to its present status know of the difficulties encountered before success was attained, and can better appreciate its worth than the novice who finds his newly purchased satchel to contain everything required, and, as the patent medicine chest says, ‘with full printed directions inside.'”

Somebody acquired knowledge by careful experimenting to prepare and classify those chemicals. Somebody possessed brains enough to write those directions, and that somebody did not find it so easy as the aforesaid novice. Practical knowledge is acquired by hard work and does not come ready-made.

I will just mention one troublesome, and, in fact, incomprehensible, difficulty. The workers of the old wet process will remember the uncertainty in making collodion (plates did not come ready coated then) ; the careful and exact weighing, the mixing and the shaking, and then on trying it we found it worthless. What was to be done ? Why, just buy another lot of ingredients and try it again, and perhaps with the same result ; and these large bottles of worthless collodion are placed on the upper shelf, and another mixture perhaps gives you something to work with, but its results are hardly up to your desires. Now, singular to relate, after those two bottles had “sparked ” on that upper shelf for two or three months, mix their contents together and they will often produce the best work you have made in years. Neither will produce a picture alone, but mix them and the combination seems perfect. When mixing our chemicals we could not tell whether they would be good or good for nothing. So much for the past

I am now going to indulge in imagination. If my audience will go with me, I should like to carry them to a meeting that will probably be held fifty years from to-night It will be the one hundredth anniversary of Daguerre’s discovery. I do not expect to be present on that occasion, but, as I said, we will* imagine ourselves there. It will be held in the year 1939. I do not know the name of the gentleman occupying the President’s chair. I do not know the speaker’s name; he speaks on subjects so far advanced that we do not comprehend him. The audience looks very much like the one assembled here to-night, except that the style of dress is entirely changed. The audience room is fitted up entirely different; the walls, the ceilings, the seats, all belong to an advanced age. And the light ! No gas-light, no electric light or any artificial light; these are as much things of the past as the old dip candle is in our time. Although it is evening, yet the room is lighted by day-light; by a simple contrivance the sunshine is stored in a reservoir during the day, and its rays are released as needed. There are no reporters present; all out of date. An instrument with sounding board is in front of the speaker; it is connected with wires with all the newspaper offices, and gives direct to the compositor in the printing room every word as it is uttered. This instrument is the result of a contrivance by a man named Edison some fifty years before. A venerable antiquarian reads from an old musty book found in his library the report of a meeting of a society called the Photographic Section of the American Institute, held in the City of New York, March 5, 1 889. That meeting celebrated Daguerre’s fiftieth year of discovery. Professor Henry J. Newton was the presiding officer and Messrs. O. G. Mason and J. B. Gardner were the members of his cabinet.

As the venerable man reads the audience laugh heartily at the antiquated ideas promulgated at that meeting, and they congratulate themselves on living in an age when such ignorance in regard to photography has passed away. The officers of that meeting are spoken of as fairly intelligent men for that dark age, but modem inventions had so completely changed everything connected with the process that the complications worried over fifty years before had become obsolete.

The reader said he found page after page occupied in the discussion of dry plates, dark rooms, flash-lights, over-timed and under-timed negatives, amateur outfits, etc. All these terms were out of use and the audience wondered what it all meant

The reader continued, and said at all the society meetings and in all the publications of that day the one subject that seemed to occupy the entire time and attention was something called developer, A member moved a recess of half an hour and the appointment of a Committee to examine the society dictionary and report what developer was, any way. (The dictionary was a book some three feet hy four and two feet tljick, mounted on a frame with rollers for convenience.) The motion was adopted and recess taken. During the recess the audience interested themselves in examining some photographs made fifty years before. These pictures had been carefully preserved, and were highly valued, not for intrinsic worth, but as relics of a former age. They bore the names of Sarony, Kurtz, Falk, Fredricks, Mora, Rockwood, Anderson, Hargrave, Alman and others. These men were spoken of as **old masters.” There were also exhibited some daguerreotypes bearing the stamps of Gumey, Brady, Lawrence, Becker, Bogardus and others, but there was not a person present who had ever made one or knew how they were made. It was stated that at the School of Mines of Columbia College a set of daguerreotype apparatus had been preserved, but the present feculty did not know how to use them.

On re-assembling the Committee asked for time, saying it would be impossible to report before the next meeting, as the subject of developer occupied a large portion of the big book, and the more they read the less they knew ; and they should be obliged to call to their aid all the professors of some college to explain the complication called developer. The remaining time of the meeting was used to show the great advances made since the semi-centennial referred to, and for the men of that day to think they knew anything about photography was simply ridiculous. ‘*Why,” said one worthy brother, “they could not produce a color, and they could not deliver a dozen pictures under several days, as they even printed with nitrate of silver in the sunshine only, and they did not know any better than to fix their prints with hyposulphite of soda, that miserable salt, that eats itself up and bleaches everything it touches.*’

The newspapers of that day, claiming a circulation of as many millions as they now do of thousands, are all printed from negatives. The matter once set «p is immediately photographed on plates the size of the sheet, and as many negatives as are required to print the immense edition are at once supplied.

There are no photograph galleries at that day. An individual carrying a camera under his arm goes from house to house and takes your picture. The lenses are at one end of the box and the finished picture comes out of the other end, if the box is long enough. It’s the make-’em-while-you-wait process.

All the photographic literature was practical. The writers on imaginary theories and impracticable nothings had long since gone to their own place. No demand then for articles on the “Evanescent nature of nothing as compared with the translucent equanimity of the intangible.”

When the meeting adjourned the audience were conveyed to their homes by real rapid transit, propelled by electricity, which had superseded steam ; and by its use time and space were almost annihilated.

There, I think we have been away long enough, and had better come home while it is safe.

1 am asked all kinds of questions. Will the colors ever be photographed?

Well, in this day of wonders I am not going to say. Scientific men say color is a sensation, and when we can photograph a sensation then we shall have the colors. A good story is told of a woman who brought her bouncing baby for a picture. When the operator came with his plate he found her ** spanking” the baby. When asked why she did that she said he always had such a good color after that operation. Still, I do not think the color in this instance was a chemical production. It seems to have been produced by hand.

Question. — Is photography a fine art? That depends on where you get your pictures. If you go down to Coney Island the proprietor is so clam-tiou% for patronage that he does not give much attention to the ‘*art” question ; but many of the pictures produced in Europe, and also in this countn*, show as^ much art in posing, lighting and composition as many of the world- renowned works of art do.

Question. — Will photographs fade? I hope so. I hope the cheap trash now made in quantities will fade, and that right early, and not disgrace this age in the eyes of the next generation.

Question. — Will prices continue to come down ? With the photographer on one side, and the employee, stock dealer and the landlord on the other, I hope not From certain notices at the photographer’s desk, I think it’s the sitter who is obliged to **come down.”

Question.— Is it true that the photograph of the murderer has been seen on. the eyes of the murdered man ? Well, we are using many substances nowadays for photographing, but I have not seen any exhibited on dead men’s eyes* When I see that I shall look for my picture on the eyes of every fish I catch.

Question. — Will the process be still shortened? They are taken prettyquick — so quick that some of the pictures of females seem to have been taken before they had had time to more than half dress themselves.

Question. — How many New York photographers have retired rich?

Question. — Where do photographers go to when they die ? These questions. I will answer when I get the statistics.

New York City Directories:

1844-1846 Not listed in city directories.  Published by John Doggett.

1847 New York City Directories.  (New York, New York.)  1847/1848, Published by John Doggett.

Bogardus, Abraham, daguerreotypes, 217 Greenwich.

1848 New York City Directories.  (New York, New York.)  1848/1849, Published by John Doggett.

Bogardus, Abraham, daguerreotypes, 217 Greenwich.

1849 New York City Directories.  (New York, New York.)  1849/1850, Published by John Doggett.

Bogardus, Abraham, daguerreotypes, 217 Greenwich, H – Newark.

1850 New York City Directories.  (New York, New York.)  1850/1851, Published by John Doggett.

Bogardus, Abraham, daguerreotypes, 217 Greenwich, H – Newark.

1851 New York City Directories.  (New York, New York.)  1851/1852, Published by Doggett & Rode.

Bogardus, Abraham, daguerreotypes, 229 Greenwich, H – Grove Between Bleecker & Bedford.

1852 New York City Directories.  (New York, New York.)  1852/1853, Published by John Fowler Trow.

Bogardus, Abraham, daguerreotypes, 229 Greenwich, H – 36 King.

1853 New York City Directories.  (New York, New York.)  1853/1854, Published by John Fowler Trow.

Bogardus, Abraham, daguerreotypes, 229 Greenwich, H – 36 King.

1854 New York City Directories.  (New York, New York.)  1854/1855, Published by John Fowler Trow.

Bogardus, Abraham, daguerreotypes, 229 Greenwich, H – 45 West 29th.

1855 New York City Directories.  (New York, New York.)  1855/1856, Published by John Fowler Trow.

Bogardus, Abraham, daguerreotypes, 229 Greenwich, H – 45 West 29th.

1856 New York City Directories.  (New York, New York.)  1856/1857, Published by John Fowler Trow.

Bogardus, Abraham, daguerreotypes, 229 Greenwich, H – 45 West 29th.

1857 New York City Directories.  (New York, New York.)  1857/1858, Published by John Fowler Trow.

Bogardus, Abraham, daguerreotypes, 229 Greenwich, H – 45 West 29th.

1858 New York City Directories.  (New York, New York.)  1858/1859, Published by John Fowler Trow.

Bogardus, Abraham, daguerreotypes, 229 Greenwich, H – 45 West 29th.

1859 New York City Directories.  (New York, New York.)  1859/1860, Published by John Fowler Trow.

Bogardus, Abraham, daguerreotypes, 229 Greenwich, H – 45 West 29th.

1860 New York City Directories.  (New York, New York.)  1860/1861, Published by John Fowler Trow.

Bogardus, Abraham, photographs, 229 Greenwich, H – 45 West 29th.

1861 New York City Directories.  (New York, New York.)  1861/1862, Published by John Fowler Trow.

Bogardus, Abraham, daguerreotypes, 229 Greenwich, H – 45 West 29th.

1862 New York City Directories.  (New York, New York.)  1862/1863, Published by John Fowler Trow.

Bogardus, Abraham, photographs, 363 Broadway & 229 Greenwich, H – 45 West 29th.

1863 New York City Directories.  (New York, New York.)  1863/1864, Published by John Fowler Trow.

Bogardus, Abraham, photographs, 363 Broadway & 229 Greenwich, H – 45 West 29th.

1864 New York City Directories.  (New York, New York.)  1864/1865, Published by John Fowler Trow.

Bogardus, Abraham, photographs, 363 Broadway, H – 45 West 29th.

1865 New York City Directories.  (New York, New York.)  1865/1866, Published by John Fowler Trow.

Bogardus, Abraham, photographs, 363 Broadway, H – 45 West 29th.

1866 New York City Directories.  (New York, New York.)  1866/1867, Published by John Fowler Trow.

Bogardus, Abraham, photographs, 363 Broadway, H – 45 West 29th.

1867 New York City Directories.  (New York, New York.)  1867/1868, Published by John Fowler Trow.

Bogardus, Abraham, photographs, 363 Broadway, H – 45 West 29th.

1868 New York City Directories.  (New York, New York.)  1868/1869, Published by John Fowler Trow.

Bogardus, Abraham, photographer, 363 Broadway, H – 45 West 29th.

1869 New York City Directories.  (New York, New York.)  1869/1870, Published by John Fowler Trow.

Bogardus, Abraham, photographs, 363 Broadway, H – 45 West 29th.

1870 New York City Directories.  (New York, New York.)  1870/1871, Published by John Fowler Trow.

Bogardus, Abraham, photographs, 363 & 1153 Broadway, H – 45 West 29th.

1871 New York City Directories.  (New York, New York.)  1871/1872, Published by John Fowler Trow.

Bogardus, Abraham, photographs, 363 & 1153 Broadway, H – 45 West 29th.

1872 New York City Directories.  (New York, New York.)  1872/1873, Published by Trow City Directories.

Bogardus, Abraham, photographs, 1153 Broadway, H – 45 West 29th.

Bogardus, Edward W, photographer, 363 Broadway, H – 45 Charles.

Bogardus Photographic Establishment, 363 Broadway.

Bogardus & Bendann Brothers, photographs, 1153 Broadway.

Bendann, Daniel, photographs, 1153 Broadway.

Bendann, David, photographs, 1153 Broadway, H – St. George.

1873 New York City Directories.  (New York, New York.)  1873/1874, Published by Trow City Directories.

Bogardus, Abraham, Photographic Establishment, 1153 Broadway, H – 35 West 50th.

Bogardus Photographic Establishment, 363 Broadway, corner Franklin.

Bogardus, Edward W, photographer, 363 Broadway, H – 45 Charles.

Bendann, Daniel, photographs, 1134 Broadway, H – 28 West 45th.

Bendann, David, photographs, 1134 Broadway, H – 28 West 45th.

1874 New York City Directories.  (New York, New York.)  1874/1875, Published by Trow City Directories.

Bogardus, Abraham, Photographic Establishment, 1153 Broadway, H – 35 West 50th.

Bogardus Photographic Establishment, 363 Broadway, corner Franklin.

Bogardus, Edward W, photographer, 363 Broadway, H – New Jersey.

1875 New York City Directories.  (New York, New York.)  1875/1876, Published by Trow City Directories.

Bogardus, Abraham, Photographic Establishment, 872 Broadway, H – 36 West 50th.

Bogardus Photographic Establishment, 363 Broadway, corner Franklin.

Bogardus, Edward W, photographer, 363 Broadway.

1876 New York City Directories.  (New York, New York.)  1876/1877, Published by Trow City Directories.

Bogardus, Abraham, Photographic Establishment, 872 Broadway corner 18th, H – L. I.

Bogardus Photographic Establishment, 363 Broadway, corner Franklin.

Bogardus, Edward W, photographer, 363 Broadway, H – Nyack.

1877 New York City Directories.  (New York, New York.)  1877/1878, Published by Jo Trow City Directories.

Bogardus, Abraham, Photographic Establishment, 872 Broadway corner 18th, H – L. I.

Bogardus Photographic Establishment, 363 Broadway, corner Franklin.  The only gallery where photos are produced by the blue light.

Bogardus, Edward W, photographer, 363 Broadway, H – Nyack.

1878 New York City Directories.  (New York, New York.)  1878/1879, Published by Trow City Directories.

Bogardus The original old downtown photographic gallery, 363 Broadway, corner Franklin. 

Bogardus, Abraham, Photographic Establishment, 872 Broadway corner 18th, H – L. I.

Bogardus, Edward W, photographer, 363 Broadway, H – New Jersey.

1879 New York City Directories.  (New York, New York.)  1879/1880, Published by Trow City Directories.

Bogardus The original old downtown photographer,  clubs of 10 &15 a specialty, 363 Broadway, corner Franklin. 

Bogardus, Abraham, photographs, 872 Broadway corner 18th, H – 1455 Lexington Ave.

Bogardus, Edward W, photographer, 363 Broadway, H – New Jersey.

1880 New York City Directories.  (New York, New York.)  1880/1881, Published by Trow City Directories.

Bogardus The original old town photographer has removed to 349 6th Ave.,  between 21st & 22d Streets.

Bogardus, Abraham, photographs, 872 Broadway corner 18th, H – 222 East 117th.

Bogardus, Edward W, photographer, 349 Broadway Sixth Ave.

1881 New York City Directories.  (New York, New York.)  1881/1882, Published by Trow City Directories.

Bogardus The original old downtown photographer has removed to his new studio 349 Sixth Ave.,  between 21st & 22d Streets.

Bogardus, Abraham, photographs, 872 Broadway corner 18th, H – 1455 Lexington Ave.

Bogardus, Edward W, photographer, 349 Broadway Sixth Ave.

1882 New York City Directories.  (New York, New York.)  1882/1883, Published by Trow City Directories.

Bogardus, Abraham, photographs, 872 Broadway, H – 1455 Lexington Ave.

Bogardus, Edward W, photographer, 349 Broadway Sixth Ave.

1883 New York City Directories.  (New York, New York.)  1883/1884, Published by Trow City Directories.

Bogardus, photographer 349 Sixth Ave., between 21st & 22d Streets, formerly 363 Broadway corner Franklin.

Bogardus, Abraham, photographs, 872 Broadway, H – 1455 Lexington Ave.

Bogardus, Edward W, photographer, 349 Broadway Sixth Ave, H – Nyack, New York.

1884 New York City Directories.  (New York, New York.)  1884/1885, Published by Trow City Directories.

Bogardus, photographer, The old reliable 349 Sixth Ave., between 21st & 22d Streets, formerly of Broadway corner Franklin.

Bogardus, Abraham, photographs, 872 Broadway, H – 1455 Lexington Ave.

Bogardus, Abraham & Co., photographs 872 Broadway

Bogardus, Edward W, photographer, 349 Broadway Sixth Ave, H – Nyack, New York.

1885 New York City Directories.  (New York, New York.)  1885/1886, Published by Trow City Directories.

Bogardus, photographer, The old reliable 349 Sixth Ave., between 21st & 22d Streets, formerly of Broadway corner Franklin.  Imperials $5,00 per doz.

Bogardus, Abraham, photographs, 872 Broadway, H – 1455 Lexington Ave.

Bogardus, Edward W, photographer, 349 Broadway Sixth Ave, H – Nyack, New York.

1886 New York City Directories.  (New York, New York.)  1886/1887, Published by Trow City Directories.

Bogardus, photographer, The old reliable 349 Sixth Ave., between 21st & 22d Streets, formerly of Broadway corner Franklin.

Bogardus, Abraham, photographs, 872 Broadway, H – 1455 Lexington Ave.

Bogardus, Edward W, photographer, 349 Broadway Sixth Ave, H – Nyack, New York.

1887 New York City Directories.  (New York, New York.)  1887/1888, Published by Trow City Directories.

Bogardus, photographer, The old reliable 349 Sixth Ave., between 21st & 22d Streets, formerly of Broadway corner Franklin.

Bogardus, Abraham, photographs, 811 East 42d (on Broadway upwards of 30 years), H – 1455 Lexington Ave.

Bogardus, Edward W, photographer, 349 Broadway Sixth Ave, H – Nyack, New York.

1888 New York City Directories.  (New York, New York.)  1888/1889, Published by Trow City Directories.

Bogardus, photographer, The old reliable 349 Sixth Ave., between 21st & 22d Streets, formerly of Broadway corner Franklin.

Bogardus, Abraham, photographs, 811 East 42d (on Broadway upwards of 30 years), H – 1455 Lexington Ave.

Bogardus, Edward W, photographer, 349 Broadway Sixth Ave, H – Nyack, New York.

Bogardus Photographic Parlors 11 East 42d.

1889 New York City Directories.  (New York, New York.)  1889/1890, Published by Trow City Directories.

Bogardus, photographer, The old reliable 349 Sixth Ave., between 21st & 22d Streets, formerly of Broadway.

Bogardus, Abraham, No occupation listed.  H – 1455 Lexington Ave.

Bogardus, Edward W, photographer, 349 Broadway Sixth Ave, H – Nyack, New York.

Bogardus Photographic Parlors 11 East 42d.

1890 New York City Directories.  (New York, New York.) 1890/1891, Published by Trow City Directories.

Bogardus Photographic Parlors 11 East 42d.

1891 New York City Directories.  (New York, New York.)  1891/1892, Published by Trow City Directories.

Not listed.

[1] The American Daguerreotype, Floyd & Marion Rinhart P. 383.

Bendann, Daniel

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

Ca.1853-1854 77 Main Street, Richmond, Virginia.

1855                Address Unknown, Baltimore, Maryland.

1856-1857       110 Main Street, Richmond, Virginia.

1858                145 Main Street, Richmond, Virginia.

1859                205 West Baltimore Street, Baltimore, Maryland.

1854 June 13.  The Daily Dispatch.  (Richmond, Virginia.)  June 13, 1854, Vol. IV, No. 199, P. 2.

Daguerreotyping.—Mr. Daniel Bendann, an operator at Whitehurst’s Daguerrean Gallery in this city, has shown us some very beautiful specimens of his art, in some views, taken by himself, of the handsome residence of Mr. Stewart, on Brook Avenue.  The beautiful Mansion, embowered in a grove; the family group gathered upon the porch; the horses and carriage seen, at a little distance, in the shade of the trees, all are the very counterpart of life.  Mr. Bendann deserves great credit for this work.  He is a young artist, who has been for several years associated with the accomplished Mr. Metcalf, the principal operator in Whitehurst’s gallery.  He bids fair to be an ornament to his profession.

1856 March 31.  The Daily Dispatch.  (Richmond, Virginia.)  March 31, 1856, Vol. IX, No. 73, P. 2.

A Card.—The subscriber for the last three years connected with the establishment of Mr. J. H. Whitehurst in this city, and lately at Baltimore, begs leave to inform his friends and the public generally, that he has taken the commodious and well arranged rooms No. 110 Main street, next door above Mitchell & Tyler’s jewelry store, and fitted them up thoroughly, in a neat and elegant manner, for the purpose of conducting the Ambrotype, Photograph and Daguerreotype Business, with all their latest improvements; and hopes that by strict attention to business, and by the production of good pictures, to merit a liberal share of the public patronage.

Respectfully, Daniel Bendann.

A nice front room, suitable for a single gentleman, for rent, low.  Inquire at the Gallery.

Advertisement ran from March 31 to April 1, 1856.

1856 April 5.  The Daily Dispatch.  (Richmond, Virginia.)  April 5, 1856, Vol. IX, No. 78, P. 2.

Notice.—I have just received a lot of Fancy Cases for Ambrotypes, Daguerreotypes, and would invite those wishing Pictures to give me a call, as I have no doubt of being able to please.

D. Bendann’s Photographic Gallery, 110 Main st., next door to Mitchell & Tylers.

A front room over the gallery for rent.                                                                      

Advertisement ran from April 5 to 8, 1856.

1856 April 15.  The Daily Dispatch.  (Richmond, Virginia.)  April 15, 1856, Vol. IX, No. 86, P. 2.

To get an easy and graceful position, either in an Ambrotype, Photograph, or Daguerreotype, go to D. Bendann‘s Gallery, who has the most happy faculty of getting that pleasant expression so desirable in a Picture; and as his prices are reasonable, he would request those wishing a counterpart of themselves to give him a call.

Gallery 110 Main street, next door above Mitchell & Tyler’s Jewelry store.

Advertisement ran April 15 & 16, 1856.

1856 April 17.  The Daily Dispatch.  (Richmond, Virginia.)  April 17, 1856, Vol. IX, No. 88, P. 2.

To get an easy and graceful position, either in an Ambrotype, Photograph, or Daguerreotype, go to D. Bendann‘s Gallery, who has the most happy faculty of getting that pleasant expression so desirable in a Picture; and as his prices are reasonable, he would request those wishing a counterpart of themselves to give him a call.

Gallery 110 Main street, next door above Mitchell & Tyler’s Jewelry store.

1856 June 1.  Photographic and fine Arts Journal.  (New York, New York.)  June 1, 1856, Vol. IX, No. 6, P. 217.

In an article entitled the Photographic Galleries of America.  Number Three, Richmond. The author visited 7 Galleries in Richmond.

Sic. Bendon. — Photographs seem to be this artist’s forte; he was the first to introduce them to any extent in this city. I believe he has done a brisk business, since he commenced, a few months ago, which is calculated to keep up one’s spirit, but with this artist it has had a contrary effect, for right in the midst of his business he took the Blues (a military company), and has not got entirely rid of them yet, although he has been taking golden pills from them daily. His large photographs of Gov. Wise and Wm. P. Ritchie, are fine specimens of the art. His ambrotypes are not so numerous nor so good as his paper pictures. If he would take a few lessons from some first-rate

ambrotypist, he could excel in that, as he now does, in all the other branches of the art.

1856 June 6.  The Daily Dispatch.  (Richmond, Virginia.)  June 6, 1856, Vol. IX, No. 131, P. 2.

Richmond L. I. Blues.—I take pleasure in informing those ladies who have been desirous of seeing the Photographic Likenesses of the Richmond L. I. Blues, (active and honorary members,) that they are now ready and on exhibition at my Gallery, where they and the public are most cordially invited to call and see them.  The set consists of one Hundred and Twenty-Five Pictures.

Dan’l Bendann, 110 Main st., Next door above Mitchell & Tyler’s Jewelry Store.

Advertisement ran from June 6 to 11, 1856.

1856 June 13.  The Daily Dispatch.  (Richmond, Virginia.)  June 13, 1856, Vol. IX, No. 136, P. 2.

Some persons seem to be laboring under the mistake, that because the better class of our community patronize Bendann’s Photographic Gallery, his prices are higher than other establishments.  He would inform the public that ladies and gentlemen will go to his Gallery, not only to Get Pictures cheaper than anywhere else, but also because they are not persuaded to take a Picture unless it pleases.

Dan’l Bendann, 110 Main st., Next door above Mitchell & Tyler’s Jewelry Store.

Advertisement ran from June 12 to 14, 1856.

1856 June 16.  The Daily Dispatch.  (Richmond, Virginia.)  June 16, 1856, Vol. IX, No. 139, P. 2.

It is to be regretted that so little attention is paid by the soi dissant Artist of the present day, to the prose and expressions of their subjects.  Bendann seems to be endowed with the rare faculty of getting that ease of position and naturalness of expression, so desirable, but seldom attained, in pictures, Photographs, Ambrotypes and Daguerreotypes in their perfection, upon the most accommodating terms at Dan’l Bendann, 110 Main st., Next door above Mitchell & Tyler’s Jewelry Store.                                                                                                             

Advertisement ran from June 16 to 19, 1856.

1856 July 2.  The Daily Dispatch.  (Richmond, Virginia.)  July 2, 1856, Vol. X, No. 2, P. 2.

The Photograph, multiplied an infinitum; the Ambrotype, visible on both sides of the plate, and the brilliant Daguerreotype—all can be gotten, finished in the most elaborate manner, at Bendann’s Photographic Gallery, and that, too, upon the most reasonable terms.  Call and examine specimens.  110 Main st., Next door above Mitchell & Tyler’s.    

For Rent—Two most desirable front rooms over my Gallery, suitable for single gentlemen.

Dan’l Bendann.                                                                                                          

Advertisement ran from July 2 to 4, 1856.

1856 July 10.  The Daily Dispatch.  (Richmond, Virginia.)  July 10, 1856, Vol. X, No. 9, P. 2.

Great inducement to those wishing Fine Pictures.—In consequence of the general dullness of business during the month of July, I will take Photographs, Ambrotypes and Daguerreotypes, at greatly reduced prices.  The best of work made, and no picture sold unless it pleases.  I would only invite a call, having no doubt of being able to please the most fastidious.  Particular attention paid to children’s pictures.  Call early at D. Bendann’s 110 Main st., Next door above Mitchell & Tyler’s.                                                                                 

Advertisement ran from July 10 to 12, 1856.

1856 August 12.  The Daily Dispatch.  (Richmond, Virginia.)  August 12, 1856, Vol. X, No. 37, P. 2.

Oh, dear, what a Picture, rare!

Exclaimed a maiden, pure and fair.

Where had you that Ambrotype made?

With such graduations of light and shade?

At Bendann’s Gallery, where I am sure

You as fine a one can procure;

And he’ll not charge you near as much

As some ignorant, pretending botch.

And if the first one you should not pleasing find,     

He’d soon make one more suited to your mind.

Bendann’s Photographic Gallery, 110 main street.                                                   

1856 September 4.  The Daily Dispatch.  (Richmond, Virginia.)  September 4, 1856, Vol. X, No. 57, P. 2.

A good Picture consists not only in a mere likeness of a person, but it should also possess that person’s natural expression—not tortured into that unmeaning stare so observable in most Sun-Pictures.  The real artist will not brook a solitary position into which to force old and young, grave and gay, but diversified it so as to harmonise (sic.) with his subject.  To get an Ambrotype or Photograph, to reflect you naturally, we would advise you to try D. Bendann’s Photographic Gallery, 110 Main st., next door above Mitchell & Tyler’s.                                                 

Advertisement ran from September 4 to 6, 1856.

1856 October 13.  The Daily Dispatch.  (Richmond, Virginia.)  October 13, 1856, Vol. X, No. 100, P. 2.

Something new, beautiful and meritorious—eclipsing anything yet attempted in the way of Pictures.  They gave a prominence of relief and softness of tint never before attained.  In them we also avoid the somber look heretofore so objectionable in Ambrotypes, and as the sitting is but a second, it is invaluable for children.  The subscriber has spared neither pains or expense to introduce this truly beautiful art in this city, and hopes that an appreciative public will give him their support.  He produces faultless portraits in all weather, and at all hours of the day.  D. Bendann, Gallery, 110 Main st., next door above Mitchell & Tyler’s.     

Advertisement ran October 13 & 14, 1856.

1856 October 28.  The Daily Dispatch.  (Richmond, Virginia.)  October 28, 1856, Vol. X, No. 113, P. 2.

Bendann’s Photographic Gallery is the resort of those wishing the artistic and natural representations of themselves, not those stiff and wooden things called Pictures.  An easy and graceful position is as necessary to a good picture as a good fit for a garment; without it both are tasteless.  Photographs, Ambrotypes, Stereographs, and Daguerreotypes, taken in a style unsurpassed; and as his charges are so moderate as to put his work within the reach of all, he would solicit a call, at 110 main street, next door above Mitchell & Tyler’s.                     

Advertisement ran on October 28 & 29, 1856.

1856 November 11.  The Daily Dispatch.  (Richmond, Virginia.)  November 11, 1856, Vol. X, No. 125, P. 1.

Awards Of The Mechanics’ Institute.  Made November 8, 1856 ….Class No. XLIII—Ambrotypes, Photographs, Daguerreotypes and Materials.

Ambrotypes, by Peter E. Gibbs, a silver medal.

Photographs, by J. H. Whitehurst, first class diploma.

Photographs, by D. Bendann, second class diploma.

1856 November 18.  The Daily Dispatch.  (Richmond, Virginia.)  November 18, 1856, Vol. X, No. 131, P. 2.

Bendann’s Star Gallery of Photographs and Ambrotypes, continues to be the resort of those wishing tasty and faithful Portraits of themselves, friends, and children.  He produces faultless Portraits in all weathers, and at all hours of the day.  A call is cordially invited, to examine specimens, at 110 Main street, next door above Mitchell & Tyler’s Jewelry Store, where pictures are warranted to please, or no charge.   D. Bendann.                                       

Advertisement ran from November 18 to 20, 1856.

1856 December 23.  The Daily Dispatch.  (Richmond, Virginia.)  December 23, 1856, Vol. X, No. 161, P. 2.

The most appropriate and desirable Christmas or New Year’ Gift, either to a parent, child or friend, is an enduring copy of yourself.  You must have a good one, however.  For such a one, go to Bendann’s Photographic Gallery, and get one of those Chrystal Miniatures, he is so justly famed for.  They are really gems of art.  Should you wish several, he will duplicate you into a half dozen Photographs at but little more cost than you would have to pay elsewhere for a single picture.  Gallery 110 Main street, next door above Mitchell & Tyler.                 

Advertisement ran from December 23 to 25, 1856.

1857 February 16.  The Daily Dispatch.  (Richmond, Virginia.)  February 16, 1857, Vol. XI, No. 40, P. 2.

Something Novel and Piquant.—having greater facilities than ever, to make that beautiful style “of picture, the Photograph,” and being enabled to make an indefinite number of copies from a single sitting.  I will, if ladies and gentlemen form clubs, from ten to fifty of their friends, take their Portraits, and furnish each of them with an illustrated album of the whole, or place them into any style of Book or Album, at a small cost, there by enabling persons to have a gallery of their friends, and a valuable ornament at the same time.  Call and see specimens at Bendann’s Photographic Gallery, 110 main street, next door above Mitchell & Tyler’s.         

Advertisement ran from February 16 to 18, 1857.

1857 April 3.  The Daily Dispatch.  (Richmond, Virginia.)  April 3, 1857, Vol. XI, No. 80, P. 2.

Free and interesting Exhibition.—Bendann has just returned from Washington with a fine Photograph of President Buchanan delivering his inaugural Address.  Also, Photographs from life of the following distinguished gentlemen:  Ex-President Pierce, Senators Butler and Toombs, General Cass and Quitman, Lieut. Maury of the National Observatory, Messrs. Orr of S. C., Faulkner and Letcher of Va., Geo. Peabody, Esq.; the late lamented Preston S. Brooks and Jno. M. Clayton; several committees of congress, and others.  The public are cordially invited to call and see them at Bendann’s Gallery of Photography, 110 Main st., next door above Mitchell & Tyler’s.                                                                                                                                   

Advertisement ran April 3 & 4, 1857.

1858 January 28.  The Daily Dispatch.  (Richmond, Virginia.)  January 28, 1858, Vol. XIII, No. 24, P. 2.

Splendid Photograph Of The Monument And Equestrian Statue, taken by D. Bendann, at Sanxay & Co.’s. Photographic Rooms, where duplicates are exhibited and for sale.  145 Main street, sign of Gothic Window.                                                                                      

1859 November 2.  The Daily Exchange.  (Baltimore, Maryland.)  November 2, 1859, Vol. IV, No. 526, P.1.

Closing Of The Fair.  Yesterday evening the twelfth annual exhibition of works of industry and art at the Maryland Institute, closed in the presence of a large an assemblage as has been convened since its opening—the Blues’ band being present during the evening….Award of Premiums…Class No. 43.—

Bendann & Bros., for Retouched Photographs, Silver Medal.

F. W. & R. King, for Stereoscopic and View Cameras, Silver Medal.

Mr. Metcalf

Daguerreotypes, , , ,

1852-1854       Rooms 77 Main Street, Richmond, Virginia.

Mr. Metcalf was mentioned in an advertisement and announcement in The Daily Dispatch (Richmond, Virginia).  The advertisement ran on April 2 and 3, 1852.  More New Pictures At Whitehurst’s.—Mr. Metcalf has just returned from Washington, where he has been engaged the past week in obtaining likenesses of prominent individuals, expressly for exhibition in this Gallery.  Among them are those of Gen. Winfield Scott, of the U. S. A., Gen. Gonzalez de la Vega, of Mexico, Col. Benj. McCulloch, of Texas Rangers, Hon. Lewis Cass, of Michigan, Hon. Judge Butler, of S. C., Hon. Judge McLane, of Ohio, Hon. R. M. T. Hunter, of Virginia, Ole Bull, Violinist, Miss Julia Dean, Actress, Miss Grace Greenwood, Authoress.  The public are respectfully invited to call and examine these specimens.  J. H. Whitehurst.

The announcement appeared on June 13, 1854.  Daguerreotyping.—Mr. Daniel Bendann, an operator at Whitehurst’s Daguerrean Gallery in this city, has shown us some very beautiful specimens of his art, in some views, taken by himself, of the handsome residence of Mr. Stewart, on Brook Avenue.  The beautiful Mansion, embowered in a grove; the family group gathered upon the porch; the horses and carriage seen, at a little distance, in the shade of the trees, all are the very counterpart of life.  Mr. Bendann deserves great credit for this work.  He is a young artist, who has been for several years associated with the accomplished Mr. Metcalf, the principal operator in Whitehurst’s gallery.  He bids fair to be an ornament to his profession.

Mr. Metcalf is recorded in Craig’s Daguerreian Registry as being active in Richmond, Virginia  in 1853 without a business address.

Montgomery Pike Simons

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

 The following is a brief history of the activities of Montgomery Pike Simons (ca. 1817-1877) during his sojourn in Richmond, Virginia as reported in articles and advertisements published in The Richmond Daily Dispatch.   During his stay from 1852 to1856 he was a prolific advertiser, the duration of most advertisements ran for a week or two, but sometimes only a day or two and only occasionally for a month or longer.  Throughout his stay in Richmond, Simons’ studio address stayed the same 151 Main Street, in Eagle Square.

In reviewing his advertisements family groups, and children were a specialty, and a re-occurring theme. Also whenever a convention was in town, be it a Medical Convention, Temperance Convention or Clubs. Simons would be among the first to invite the attendees to pay a visit to his Gallery and examine his specimens.  Like other daguerreotypist of the day the commonality in advertising are very formulaic and the majority sound alike.  As an example the following is an invitation to the Virginia State Legislators that appeared in the Dispatch on February 6, 1852.

Virginia Legislature.—Members of the Virginia Legislature now in session, are     particularly invited to call at M. P. Simons’ Gallery, and examine his exquisite likenesses of the President and his Cabinet, also Senators and Members of the House, together with a large sample of other distinguished and well known persons of this and other countries, too numerous to mention. All are desired to call, whether in want of pictures or not; and those wanting pictures would do well to judge for themselves of their superiority.  All pictures warranted to give full satisfaction.

Some of the prominent and distinguished individual daguerreotype portraits identified by name that Simons advertises in the Dispatch that were on exhibit in his gallery include Jenny Lind (1820-1887), opera singer; Lola Montes (1821-1861), actress and dancer; George Payne Rainsford James (1799-1860), English novelist, historical writer, and British Counsel; Henry Clay (1777-1852), lawyer, politician and Senator from Kentucky; Hon. K. Rayner, possibly Kenneth Rayner (1808-1884), congressman & legislator from North Carolina; General Lopez (full name unknown)[i]. Dr. Gibson; Rev. Mr. Read and William F. Titchis are possibly local individuals.  A view of St. John’s [Episcopal] Church in Richmond which was built in 1741 and is today the oldest standing church in Richmond. Tantalizingly a Tarantula spider that was found under his back gallery.  In addition there were for sale engraved likenesses Rev. Mr. T. V. Moore, pastor of the first Presbyterian Church in Richmond, by A. S. Walker of Philadelphia, after a daguerreotype by Simons.  In an advertisement dated March 30, 1855, Simons is appealing for a sufficient number of subscribers to off-set the expenses for engraved likenesses of the pastors of the different churches in the city.  Moore’s engraving may have been part of this project.

On at least three occasions Simons is extremely aggressive, antagonistic and sarcastic with fellow daguerreotypist. The first is with Frank E. Moulson who is charging $1 for his daguerreotypes.  The fight in the newspapers starts with the following notice which ran on August 13, 1852 in the Daily Dispatch:

A Chapter on the Daguerrean Art, and its Professors.—The Dollar Notoriety.—It has been suggested that these disciples of Daguerre attach the names of sitters to their productions, that they may be the more easily recognized by their friends. But as this is a matter we are not interested in, we leave it for those that are—their patrons. But would, ourselves, suggest the propriety and fairness of the operator’s name being attached, for two reasons—first, that the public may know where caricatures may be had; and, second, that they may avoid them when they wish a Daguerreotype.

Another thought occurs to us: it is well known that the State finds it necessary for the better protection of its citizens, to have officers, whose duty it is to inspect grain, flour, etc., and brand their qualities. Now, for the same reasons, would it not be well to have an inspector of Daguerreotypes?—We think it would, and hope that the Legislature, next fall, will take this matter up, and give it that calm and serious consideration which it deserves.  But as they probably will not understand this subject as well as they do that of unequal and arbitrary taxation, we will assist them, by furnishing for the purpose, a plan of a stamp or stencil plate, viz:—Taken for_________by­­­­­­­­­­­__________, an experimenter in the art, cost one dollar or fifty cents, as the case may be, which would be determined by the quality of the article; and then, on the event of our plan’s being accepted, we fancy we see Daguerreotypes finding their way into the price current of the day, reported thus:

Daguerreotypes, common brand, various prices, ranging from 37½ cts. to a dollar—little or no demand. Genuine article, medium size, ready sale, and firm at three dollars.  Remarks—public taste improving.

We are aware that our endeavors to hold these cadets in the art up to public gaze, that they may be seen in their true light, may, by some, be misconstrued into envy on our part, and by exciting public sympathies, increase the evil which we are trying to abate. But, however deplorable such a result would be, the task had to be performed.—For we should hold the man guilty indeed, who would sit in silence, and see the community in which he resides deluded by impostors.  But our object must not be mistaken.  Our intention is not to abuse, but rather to convince these mercenary operators that they have either mistaken their profession, or have most shamefully neglected to give it that attention and careful study which it requires,  and by improving the public taste, force this conviction upon them.

Moulson’s reply on the following day August 14, 1852;

Let the galled jade wince.”—When a slave is under the lash, his master trying to subdue a spirit of insubordination, the pain sinking deep into his soul, in a spirit of defiance he will often cry, “Oh, you don’t hurt.” Apply the lash, and he piteously cries for mercy.  So is it with some of our Daguerreotypist, for when we, to accommodate a large and respectable class of our citizens, brought down the prices of our pictures, the cry was heard, “it will ruin them,” “nobody will take such things,” &c., they have seen to their great mortification the gallery at 110 Main street crowded from early morn till twilight with the elite of the city; and viewing their own beggarly account of empty benches, cry out for protection by legislative enactment.  Could they produce superior pictures there would be no use for this.  We are delighted with the high encomiums of praise passed upon our productions of the art, and while we continue to receive the applause of the “fair, better part of creation” we shall be content to think, as we are sure thousands of others think, that some of our craft are small per-Simons.  Moulson’s, 110 Main st.

Simons continues his attack on July 29, 1853;

To The Daguerrean Fraternity

When will it be that we like others

Shall form ourselves a band of brothers?

The healing art to keep out quacks

With unity thus wisely acts;

And why not we our interest watch,

Hold up the artist and put down the botch?

Tis easy if we once begin

And show the mass they’re taken in;

Have we no ______ this evil to allay,

To drive them one by one with sticks away;

Or must they ever thus pursue us?

We swarm with skulks as base as Lewis

Trades are forsaken and the arts disgraced

By gawks whose fame is on the dollar based;

They who barns should paint and lumber haul,

Shriek “taken for one dollar” on the wall.

Then some to humbug little more

Stick “patent process” top their door.

All this is done the ignorant to beguile,

When in their sleeve the would be artists smile.

Yes, those who’d acorn the Doctor’s skill

That ignorantly prescribes a pill,

Do quite as bad, nay, even worse,

Encourage him who robs their purse;

Distorts their features, then, with a grace,

Asks you if that is not your face.

The feud continues until May 27, 1854, Moulson’s last advertisement appears in the Daily Dispatch which ran until June 6th.  On June 21, 1854, a constable sale is advertised the following items will be sold on June 23d, 1 mahogany sofa,; 1 pair of card tables; 1 mahogany show case; 1 rocking chair; 5 cane seat chairs; a lot of medallions and daguerrean cases.  Another sale was scheduled for July 11 to sell off all the fixtures at the Daguerrean Gallery.

The second dispute occurs with Jesse H. Whitehurst. Simons advertises On December 2, 1854 that he won the highest award, at the Virginia Mechanics Institute Fair.  Both Whitehurst and Simons did in fact win Silver Medals, but Whitehurst name appears first in the report.  The bantering goes back and forth Whitehurst citing the committees report and Simons going off on a tangent about Whitehurst claim to have won the highest award at the World’s Fair in London a bronze medal and Simons continues to refer to Whitehurst as the “Bronze Medal Man.”

Simons does bring up an interesting point in one of his advertisements, Whitehurst won many awards in New York, Maryland, Virginia, North Carolina and Washington, D. C. wherever he had a studios. Did Whitehurst actually take the image for which the award was given, or did his studio representatives take the image and then he took the credit because he owned the studio and his operators were his employees.

The third argument occurred again in the newspaper but went much further this time. On October 13, 1855, Simons advertises that he is taking Ambrotypes.  On October 15th Peter E. Gibbs responds

To Mr. M. P. Simons—Sir: Unless you discontinue the use of the word Ambrotype to your card. [which is my property as applied to Glass Pictures.] I shall proceed at once to require you to show cause why you infringe on my rights. ….

Simons continues to advertise Ambrotypes and on November 30th the notice appears in the paper.

Infringing a Patent.—In the U. S. Circuit Court, for the eastern district of Virginia. Judge Halyburton presiding, an application has been made by Mr. P. E. Gibbs for an injunction to restrain Mr. M. P. Simons from infringing a patent for making ambrotype pictures, of which Gibbs is assignee.—In consequence of the delay in receiving papers from the Patent Office in Washington, the case was adjourned until Thursday next, when it will be taken up and argued at length, by A. Judson Crane, Esq., for the complainant, and Messrs. August and Randolph for the respondent.

Court delays and Simons continuing to advertise the term Ambrotypes in numerous advertisements, the bantering and baiting from both Gibbs and Simons finely comes to blows as reported in the Dispatch on January 31, 1856.

Spoiling Pictures.—We understand that Messrs. Simons and Gibbs, picture makers, came in collision on Eagle Square yesterday morning, and made an effort to disfigure each others profiles, but were prevented from doing so by the interposition of bystanders, who separated them. These gentlemen have been pitching into each other, through the newspapers, for several weeks.  Which of the two has had the best of that fight, the public can decide.

Possibly a contributing factor for the continued resentment of each other may have been their egos, they both went so far that neither one could back down. In addition to advertising in the local newspapers Simons wrote articles to the Photographic and Fine Arts Journals, “claiming that he had the right to make Ambrotypes and that he was not infringing on Cuttings patent because he used varnish not balsam to seal the two pieces of glass together.[ii]”  In reading through the advertisements one could surmise that he believed as an artist he had the right to make Ambrotypes and that Cuttings patent had no more right to the exclusive use of two glasses than he had to the word Ambrotype.  A side note Whitehurst on January 26, 1856 reports in an advertisement that he had purchased an equal interest with P. E. Gibbs in his Ambrotype patent for the city of Richmond.  Most of the other Galleries in Richmond also advertise that they too are taking Ambrotypes.

On April 25, 1856 Simons last advertisement appears in The Daily Dispatch it ran until May 22, 1856.  On June 26 an advertisement appeared

For Rent.—The family part of the house at present occupied by M. P. Simons, No. 151 Main street. Possession given 27th August next.  On August 15, 1856 an advertisement appears auctioning off oil Paintings and furniture by virtue of a deed of trust to sell at M. P. Simons Daguerrean Rooms, 151 Main Street on August 23 at 10 o’clock a lot of furniture, consisting in part of tables, chairs, carpets, stoves, frames, &c. Also a lot of oil paintings, amongst which are some very valuable.

In conclusion many questions need to be answered. Was Simons’ business failing or was there a reason that he needed to return to Philadelphia?  By all indications his business in Richmond was thriving, reports in the papers indicated that he was very good and had many patrons.  What may have happen was a loss of business due to his disagreement with Gibbs.  An advertisement that appeared on February 2, 1856, stated that Gibb is a born and bred Virginian, which Simons was not.  Another explanation could be a decline in revenue due to competition from the makers of inexpensive images, such as Johnson (no first name) he advertises that he has twelve years’ experience, and has two wagons on the corner of 7th & Broad Streets. Johnson’s advertisements appear in the Dispatch starting on March 28, 1856 and the last advertisement appears on January 28, 1857, he is charging 50 cents for daguerreotypes; Other daguerreotypist working in Richmond in 1856 were E. M. Powers who is charging $1; Daniel Bendann advertises that his pictures are cheaper than anywhere else, but does not specify a specific price; Powers & Duke are making 50 cent daguerreotypes; William A. Pratt was not doing a lot of advertising and on May 17, 1856 announces that he now has the assistance of Sanxay & Chalmers and proceeds to go to Europe.  In an advertisement dated November 28, 1856 Sanxay & Chalmers announce that they had purchased the business from Pratt on May 5.  A. W. Osborne and Peter E. Gibbs do not list prices in their advertisements.  Where Pratt, Simons, and Whitehurst; do not list prices in their advertisements they are thought to be the elite photographers in Richmond.  By October of 1856 Albert Litch is running the Whitehurst Gallery in Richmond and by April of 1857 Whitehurst is no longer operating there, later in year Litch has also left.

In-fighting and disagreements between photographers is not uncommon Southworth and Whipple in Boston, Mass.; Allen and Van Alstin in Worcester, Mass.; Allen & Partridge in Wheeling, Va. and Tyler & Company where ever they had a presence, to name only a few.

[i] At this time it is not possible to confirm his identity. There are two General Lopez that are found when doing an internet search, but without the image or more information it is only speculation that either man is the correct General.  They are Antonio Lopes de Santa Anna, (1794-1876) Mexican President and General; and General Narciso Lopez (1797-1851) who was most notably known for his invasion of Cuba in 1850, he was defeated and retreated to Key West, he returned again in 1851 with the same results, he and his men were once again defeated, this time they were captured and most were executed.

[ii] The Ambrotype : a misunderstood history of a nineteenth century photographic process. By Sarah Janille Templeton.