Tag Archives: Marcus A Root

J. L. Thompson

Daguerreotypes, , , ,

1853                Address Unknown, Washington, D. C.

J. L. Thompson was recorded in one announcement in the Daily Evening Star (Washington, D.C.) on March 25, 1853.  Awards of the Metropolitan Mechanics’ Institute….

Messrs. Whitehurst, daguerreotypes—medal. 

M. A. Root, daguerreotypes—medal. 

J. L. Thompson, daguerreotypes—first diploma.

J. L. Thompson is not listed in other photographic directories.  It is possible this is Edwin C. Thompson who was active in Washington, D. C. Between 4½ and 6th Streets.  His first advertisement dated January 21, 1852 and his last ran from November 12, 1853 to January 14, 1854.  On January 12, 1854 an advertisement appears for Adams & Dunshee who say that they have purchased the establishment from Thompson, on July 22, 1854 the studio once again changed hands when Vannerson purchased it.

Root & Granniss

Ambrotypes, Daguerreotypes, Photographs, , , , ,

1856                352 Pennsylvania Avenue, Washington, D. C.

Root & Granniss (Marcus A. Root & G. N. Granniss) were recorded in one advertisement that ran from July 29 to August 11, 1856 in the Evening Star (Washington, D. C.)  Root & Granniss, M. A. Root.  G. N. Granniss Photographic, Ambrotype, and Daguerrean Gallery.  Is Now Open At No. 352 Pennsylvania avenue, near Seventh street, where Photographs, colored or plain; Ambrotypes tinted and colored, new style; and Daguerreotypes, are taken in the highest perfection of the art.

The Public are respectfully invited to visit our Gallery whether desiring pictures or not.

Root & Granniss are not recorded as partners in other photographic directories.

Paige & Beach

Daguerreotypes, , , , , , , , , , , ,

1848                Concert Hall, Pennsylvania Avenue, Washington, D. C.

Paige & Beach (Blanchard P. Paige & Albert Beach) was first recorded in unpublished research A Directory of Nineteenth Century Photographers of Washington, D. C., by Paula Fleming & Laurie Baty.  Paige & Beach proprietors for Plumbe Gallery, Washington, D.C.

They next appeared in an advertisement and article.  The advertisement appeared in the  New York Daily Tribune (New York, New York) on 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 [Possibly Alexander Hay Ritchie]

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

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

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

Price of Proofs on India paper, $1.                                                                                                                      Price of plain paper, 50 cents.                                                                                                                      Price of prints in enameled frames, from $1 upwards.                                                                            For sale by E. Anthony, 205 Broadway.

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

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

The article appeared in the American Telegraph (Washington, D. C.) on July 8, 1851.  A sad case.—about a week ago the records of the Criminal Court should that Albert Beach had been found guilty of obtaining money under false pretenses; and he was yesterday sentenced by Judge Crawford to the Penitentiary for eighteen months.

This man is, we suppose, about thirty-six years old.  He was educated to commercial business in the city of New York, where he afterward held a profitable and responsible position in one of the first establishments.  He subsequently followed the business of daguerreotyping in this city, with apparently very good success; and while so engaged, two or three years ago, married a most estimable and excellent young lady.  To the surprise of many, however, he suddenly sold out his interest in the daguerreotyping establishment, and threw himself out of business for a time; but after a little commenced an auction store, in which his career was brief, as many who had come to know him predicted.  His course was then rapidly downward, and instead of “swelling” at the hotels he turned to lounging at the groggeries; and instead of trying to effect “transactions” at wholesale stores, his aim was simply to “do” some poor fool out of a few dollars.  Caught in one of these tricks, he has at least been sentenced to the felon’s punishment….

The partnership of Paine & Beach is not recorded in published photographic directories.  Paine is recorded in Craig’s Daguerreian Registry, but Albert Beach is not.

Johnson & Gurney

Daguerreotypes, , , , , , , , , , , ,

1852                Rooms at the Odd-Fellows’ Building, Franklin, Louisiana.

Johnson & Gurney were recorded in three announcements and one advertisement in The Planters’ Banner (Franklin, Louisiana).  The first announcement appeared on April 3, 1852. Messrs. Johnson and Gurney daguerreotypist, have taken rooms at the Odd-Fellows’ building, for the purpose of “practicing the daguerrean art in all its minutiae.”  The specimens of their work, which may be seen at the entrance to their rooms, are highly finished and beautiful.  See their card in another column.

The advertisement ran from April 3 to 24, 1852.  Mr. Johnson, The Oldest Daguerreotypist now living, and Mr. Gurney, of the firm Gibbs & Gurney, of Vicksburg and Natchez, Miss., have opened a room in the Odd-Fellows’ Hall, at Franklin, where they will remain a short time, for the purpose of practicing the Daguerrean Art in all its minutiae.

Mr. Johnson is a pioneer in the business, has practiced the Art ever since its introduction into the United States, and is acknowledged by Root, Brady, Plumb and Hill, of New York, and Jacobs, Maguire and Moissenett, of New Orleans, to be the best artist now living in America, as almost all of the above artist have received their instructions direct from him.

We have a beautiful variety of Cases and Lockets of all descriptions, namely—Parodi Cases, Kossuth Cases, Jenny Lind Cases, Catharine Hayes, Eareka Cases, Bridal Cases, Breast Pins, &c.   The Citizens of Franklin and its Vicinity are invited to call and examine our specimens.  Perfect satisfaction given, or no charge made.  N. B.—A rare chance is now offered for obtaining instructions in this beautiful Art, direct from Mr. Johnson.   Charles E. Johnson.  M. J. Gurney.

The second announcement appeared on April 10, 1852.  Messrs. Johnson & Gurney Daguerreotypist, are making admirable pictures at their rooms, in the Odd Fellows’ building.

The third announcement appeared on April 17, 1852.  Messrs. Johnson & Gurney Daguerreotypist, will only remain at their rooms in the Odd Fellows’ building a few days longer.  Those needing pictures had better make an early call.

Johnson & Gurney (Charles E. Johnson & M. J. Gurney) are not recorded as being partners in other photographic directories.  Both are recorded in separately.

G. N. Granniss

Ambrotypes, Daguerreotypes, Photographs, , , , , ,

1856                352 Pennsylvania Avenue, Washington, D. C.

G. N. Granniss was recorded in an advertisement as part of the partnership of Root & Granniss. The advertisement ran from July 29 to August 11, 1856 in the Evening Star (Washington, D. C.)  Root & Granniss, M. A. Root.  G. N. Granniss Photographic, Ambrotype, and Daguerrean Gallery.  Is Now Open At No. 352 Pennsylvania avenue, near Seventh street, where Photographs, colored or plain; Ambrotypes tinted and colored, new style; and Daguerreotypes, are taken in the highest perfection of the art.

The Public are respectfully invited to visit our Gallery whether desiring pictures or not.

G. N. Granniss is not recorded as being active in Washington, D. C. or in partnership with Root.   *Note correction was made to the entry on 9/14/2020.  Entry was written as G. W. Granniss not G. N.

Joseph Atkins

Daguerreotypes, , , , , , , , , ,

From the New York Daily Tribune, New York, New York, printed on October 29, 1851.

The official declaration of premiums awarded at the Twenty-Fourth Annual Fair of the American Institute for Daguerreotypes. Atkins receives a silver medal for his cameo daguerreotypes.  The full list of premiums awarded are recorded below.

  • M. A. & S. Root, No. 363 Broadway, best Daguerreotypes—Gold Medal.
  • J. Gurney, No. 159 Broadway, 2d best Daguerreotypes,—Silver Medal.
  • J. D. W. Brinkerhoff, No. 383 Broadway, for Still Life Daguerreotype Views—Silver Medal.
  • S. A. Holmes, No. 289 Broadway, Still Life Daguerreotype Views.—Silver Medal.
  • Joseph Atkins, No. 219 Fulton-St., Brooklyn, Cameo Daguerreotype—Silver Medal.
  • H. E. Insley, No 311 Broadway, Illuminated Daguerreotypes—Silver Medal.
  • Krochls & Vetters, No. 499 Broadway, Phototypes—Silver Medal.
  • Mrs. Bertha Wehnert, No. 385 Broadway, Phototypes.—Silver Medal.
  • C. C. Harrison, No. 85 Duane St., Daguerreotype Cameras.—Gold Medal.

Note Craig’s Daguerreian Registry list Atkins as being active from 1848-1852 at 219 Fulton Street, Brooklyn and from 1852–1860 at 263 Fulton Street, Brooklyn.

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…..