Tag Archives: New Orleans Louisiana

Boisseau, Alfred

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

1845-1847       Address Unknown, New Orleans, Louisiana.

1848-1852       396 Broadway, New York, New York.

1852-1854       111 Superior Street, Williams’ Block, Cleveland, Ohio.

1855-1857       111 & 113 Superior Cleveland, Ohio.[1]

1859                243 Superior, Cleveland, Ohio.1

1860-1888       Address Unknown, Montreal, Canada.[2],[3]

1888-1901       Address Unknown, Buffalo, New York.3

1889                Address Unknown, Manitoba, Canada.3

The first mention of Alfred Boisseau practicing photography was on April 15 1854 while in Cleveland, Ohio, in addition to portrait and landscape painting. He also practiced photography while in Montreal Canada, in addition to portrait and landscape painting, he is also known for his painting of Indigenous peoples.

N. D.  The New York Historical Society’s Dictionary Of American Artists 1564-1860.  (New Haven, Connecticut.)  P. 62.

Boisseau, Alfred (1823-?)  Portrait and genre painter, drawing and painting teacher, and art dealer.  Boisseau was born in 1823 in Paris and exhibited at the Salon in 1842.  He was in New Orleans in 1845 and 1846, and in NYC in 1849 and 1852 , when he exhibited at the National Academy and American Art-Union, respectively.  He apparently moved to Cleveland (Ohio) late 1852, advertising there in December 1852 and January 1853 as a portrait and landscape painter, teacher of drawing and painting, and art dealer.  He was in Cleveland as late as 1859.

1848 November 2.  The Evening Post.  (New York, New York.)  November 2, 1848, Vol. XLVI, P. 2.

Alfred Boisseau, a pupil of Delaroche, and a painter of great merit, has just opened a gallery of portraits and other paintings, at No. 396 Broadway, corner of Walker street.  Mr. Boisseau is one of those men of talent whom the waves of the agitated ocean of European politics have just cast upon our shores, where we hope he will find an hospitable asylum.  Some of his pictures have been exhibited with great success at the Louvre, among others a scene of Creole Life, which is now in his gallery.  We counsel our connoisseurs to look at Mr. Boisseau’s collection.

1848 November 27.  The Evening Post.  (New York, New York.)  November 27, 1848, Vol. XLVI, P. 2.

Exhibition of Paintings.  Admission Free.  Mr. Alfred Boisseau, Portrait and Historical Painter, lately arrived from Paris, wishing to have his work appreciated by amateurs, will open to the public for a few weeks his private gallery of paintings, portraits, drawings, &c., daily.  Sunday excepted from 12 till 5 P. M.  396 Broadway, corner of Walker street, 1st floor.

Mr. Alfred Boisseau will receive a few pupils in his studio.

1848 November 29.  The Evening Post.  (New York, New York.)  November 29, 1848, Vol. XLVI, P. 2.

Mr. Boisseau’s Gallery.—We refer our readers to the advertisement of Mr. Boisseau, an able French artist, of whom we have already spoken.  His gallery of paintings is now open gratuitously to all who choose to visit it, at No. 396 Broadway.  We counsel our friends to look at them.

1848 December 8.  The Evening Post.  (New York, New York.)  December 8, 1848, Vol. XLVI, P. 3.

Boisseau’s Academy Of Drawing and Painting, No. 396 Broadway.  Mr. Alfred Boisseau, pupil of Paul Delaroche, will open a morning class for Ladies, and an evening one for Gentlemen, in which he will teach the different styles of drawing and painting portraits, figures and landscapes.  The pupils will be received in Mr. Boisseau Gallery of Paintings, at hours when visitors are not admitted.  This location is such that Ladies may attend with perfect propriety For particulars apply at Mr. Boisseau’s Gallery of Paintings 396 Broadway.

Mr. Boisseau can refer to the following gentlemen:

Major Poussin, Minister of France to U. S.; Mr. Simounet, Counsul General of France, N. Y.

Charles King, Esq.  N. Y.; W. C. Bryant, Esq.  N. Y.; N. P. Willis, Esq.  N. Y.

Regis de Trobriand, Esq.  N. Y.; R. Gignoux, Esq.  N. Y.; Charles de la Forest, Esq.  N. Y.

Comte de Dioin,  N. Y.; Charles Canda,   N. Y.; L. & H. Peugnet, Esq.  N. Y.; Paul Arpin, Esq.  N. Y.

E, Didier, Esq.  N. Y.; F. G. Berteau, Esq.  Brooklyn.

1848 December 9.  The Evening Post.  (New York, New York.)  December 9, 1848, Vol. XLVI, P. 2.

Instruction in Painting.—We refer our readers to the advertisement of Mr. Boisseau, who offers to give instructions in the art of drawing and painting in oil colors.  Mr. Boisseau is himself an artist of high merit, whose works have already won for his a reputation in the land of his birth.  The French painters are well grounded in the elements and principals of their art, and expert in the habit of reducing them to exact practice.  This qualifies them for the through instruction of pupils.

1849 April 14.  The Albion, or British, Colonial, and Foreign Weekly Gazette.  (New York, New York.)  April 14, New Series–Vol. 8, No. 15, P. 9.

National Academy of Design…

161.  Scenery of Creole Life.  A. Boisseau.—A picture singularly brilliant in colouring, reminding us in its exaggerated tone of the effect of coloured crayons.  A handsome Creole, an infant, and a negress are painted in dolce far niente attitudes.  We cannot praise the drawing, and were the lady’s lower limbs are bestowed it would be difficult to comprehend.  The form, size, style, and gay colouring will attract notice, and perhaps find admirers.  The picture is circular, and very handsomely framed; but from the peculiarity in the arrangement of the figures it somewhat reminds us of a target, with the bull’s eye distinctly marked.  Attentive observers will see what we mean.

1849 April 17.  The New York Herald.  (New York, New York.)  April 17, 1849, No. 5429, P. 1.

John Keese Auctioneer…Thursday Evening—April 19.  Oil Paintings—Valuable and splendid Oil Paintings at the studio of Mr. Boisseau, at No. 396 Broadway, corner of Walker street, (over Stoppani’s Baths)—A valuable collection of ancient and modern Oil Paintings by celebrated masters, exquisite drawings, &c., all of which are now ready for examination.  The sale will be positive, and offers to the lovers of art he public generally, and opportunity seldom met to furnish their galleries with pleasing works of art.  Mr. Boisseau, celebrated as an artist, being about to travel through the United States, renders it important to him to close this concern, and to which public attention is respectfully invited.  

1849 April 9.  The Evening Post.  (New York, New York.)  April 19, 1849, Vol. XLVII, P. 2.

Oil Paintings.—The entire lot of paintings and frames, from the studio of A. Boisseau, is to be sold at auction this evening, at No. 396 Broadway, by Cooley & Keese.  The pictures are nearly all from the easel of Bosseau, (sic.) consisting of originals and copies from old masters.  It affords an excellent opportunity to any person who may desire to purchase pictures, as many of them are very fine, and have been visited by great numbers of persons while on exhibition in this city.

1851 December 15.  The Evening Post.  (New York, New York.)  December 15, 1851, Vol. LI, P. 2.

American Art-Union.  Catalogue Of Works Of Art to be distributed among the members at Tripler Hall, on Friday Evening, Dec. 19.  The present collection contains more works of high cost and superior merit than that of any previous year, and will be increased in proportion to the amount of subscription received…

Subject of Pictures………Names of Artists

154*  Flower Girl……….A. Boisseau.

*The pictures marked with an asterisk were purchased by the Art Union of the National Academy of Design, having been contributed by the Academicians for the benefit of the Academy.

1852 December 25.  Morning Daily True Democrat.  (Cleveland, Ohio.)  December 25, 1852, Vol. 6, No. 305, P. 2.

Alfred Boisseau, Portrait And Landscape Painter, Keeps constantly on hand a fine collection of Landscape and Fancy Paintings, ready for sale.  Pictures cleaned, repaired, and varnished.

Instruction in Drawing and Painting carefully given.  Rooms No. 111 Superior street, Williams Block.

1853 August 13.  Daily Forest City.  (Cleveland, Ohio.)  August 13, 1853, Vol. 2, No. 95, P. 3.

Alfred Boisseau, Portrait And Landscape Painter, Keeps constantly on hand a fine collection of Landscape and Fancy Paintings, ready for sale.  Pictures cleaned, repaired, and varnished.

Instruction in Drawing and Painting carefully given.  Rooms No. 111 Superior street, Williams Block. dec. 30.

1853 September 14.  Daily Forest City.  (Cleveland, Ohio.)  September 13, 1853, Vol. 2, No. 122, P. 2.

Academy of Drawing and Painting.  111 Superior st., Williams’ Block.  In answer to earnest solicitations, Mr. A. Boisseau, of Paris, and latterly of New York, has opened classes for ladies and gentlemen, in which he will teach the different styles of Drawing and Painting Portraits, Figures and Landscapes. 

Drawing and Painting from Examples, Plaster Figures, and Living Models, will form principal features in the course of instruction thereby leading to that knowledge of form and power of delineating Nature so much desired by the Artists.

The instruction will be given in Mr. Boisseau’s studio, and under his immediate attention and personal instruction.

A choice and complete assortment of Artist’s Materials will always be found at A. Boisseau’s rooms, to be sold at New York prices.

1854 February 6.  Daily Forest City Democrat.  (Cleveland, Ohio.)  February 6, 1854, Vol. 8, No. 2470, P. 5.

The amateurs of the fine arts are invited to step into Holbrook & Long’s Music Store and examine four paintings, executed by A. Boisseau.  Two of them are portraits, which will be recognized at sight.  The other pair are landscape paintings—one a view of the Cuyahoga valley, between Cleveland and Ohio City—which is pronounced fine.

1854 February 14.  Cleveland Daily Plain Dealer.  (Cleveland, Ohio.)  February 14, Vol. IX, No. 272, P. 2.

Amateurs of Fine Arts are respectfully invited to go and examine the two attractive Oil Paintings now on exhibition and for sale at Holbrook & Long’s Music Store.  A. Boisseau.

1854 April 15.  Cleveland Daily Plain Dealer.  (Cleveland, Ohio.)  April 15, Vol. X, No. 13, P. 2.

Boisseau’s New Daguerrean Room, 111 Superior Street, Williams Block, Opposite Forest City House, Cleveland, O.  Mr. A. Boisseau having secured the services of Mt. T. Magher, one of the best operators of the city of New York, now opens a new Room for Daguerreotyping, in common with his Painting room.  The Room is nicely fitted up, and being constantly supplied with a fine collection of Oil Paintings, will be quite a rendezvous for the friends of the fine arts.  Mr. B. has put to profit his long experience in Portrait Painting to procure the kind of light just calculated to produce the handsomest Pictures; and intending to follow Daguerreotyping as an Art, he has spared neither time nor money to gather up the best instruments and materials necessary to practice successfully.

Me B. is prepared as before to execute Portraits in Oil, Landscapes and Fancy Paintings, and would inform his pupils in Drawing and Painting, that the Daguerreotyping business will not interfere with their Lessons,, as he will continue to devote to them part of his time.

Advertisement ran from April 15 to 21, 1854.

1854 June 20.  Cleveland Leader.  (Cleveland, Ohio.)  June 20, 1854, Vol. X, No. 69, P. 3.

Boisseau’s Daguerreotypes, are every day gaining popularity among our citizens.  As a portrait painter and daguerreotypist.  Mr. Boisseau ranks with the best.  Call at his rooms. 111 Superior street, Williams’ Block.  May 12.

1856 September 24.  Cleveland Daily Plain Dealer.  (Cleveland, Ohio.)  September 24, 1856, Vol. XII, No. 22, P. 3.

State Fair…At the Fine Art Hall the exhibition is charming.  By the skillful arrangements of the Superintendent, Allen Smith, Jr.,…

Boisseau’s portrait of Mr. Williams is excellent; his landscapes are indifferent in both subject and execution.

Ryder’s Photographs form a gallery of beauties, and cannot be surpassed for faithfulness and skill in coloring.

North Exhibits some very excellent photographs among the best of which are those of Mr. A. P. Winslow, Mr. and Mrs. Stevens.

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

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

1856 October 11.  The Ohio Farmer.  (Cleveland, Ohio.)  October 11, 1856, Vol. 5, No. 41, P. 1.

Fine Arts Fair…Photographs And Ambrotypes.  North, of Cleveland, stands without rival in this department of art.  Some of his ambrotypes, are most exquisitely executed.  Ryder, Boisseau, Bisbee, Mrs. Short, and Stimpson, were without merit; some were superior.  Some of these pictures had a peculiar appearance, standing out, as it were, from the glass.

Photographs In Oil, (Life Size.) In this department, there were several competitors.  Among these, North, Pease, Ryder, Boisseau, and Smith, stand prominent.  The rivalship in coloring these photographs in oil, stands chiefly between Smith, Pease, and Boisseau, each of whom has a peculiar style.  The general expression seemed to be in favor of those by Smith, though many preferred those by Pease—others, those by Boisseau.

1891 February 12.  Buffalo Evening News.  (Buffalo, New York.)  February 12, 1891, Vol. XXI, No. 103, P. 2.

Portraits Prof. Boisseau and J. Theo Chabot, Artist.  Oil, Pastel and Crayon Studio—20 Court St.

Advertisement was recorded from February 12 to March 10, 1891.

Buffalo City Directories.  Published by The Courier Company, Buffalo, New York.

1891.

Boisseau, Alfred—Not Listed.

Boisseau, Leon—Artist—75 Delaware Place.

1892.

Boisseau, A.—Professional Artist—17 West Eagle—b—606 Main

Boisseau, Leon—Not Listed.

1893.

Boisseau, A.—Professional Artist—17 West Eagle—b—606 Main

Boisseau, Leon—Not Listed.

Additional directories not available on line.

Wikipedia:

Alfred Boisseau (1823–1901) was an American/Canadian artist who was born in Paris, France. He was known as a painter and photographer, who specialized in paintings of North American Natives and the West.

As a young man in his 20s, Boisseau immigrated to the United States, settling first in New Orleans, where his brother was working for the French consul. Except for a brief visit to Paris, he lived and worked in North America for the rest of his life. From 1848 Boisseau lived and worked in New York City and later in Cleveland. In 1860 he moved to Montreal and later to Manitoba, Canada in the western part of the country.

Biography

Alfred Boisseau was born in Paris, France. He had an older brother who later served in government and the diplomatic corps. Becoming interested in art, Boisseau studied under Paul Delaroche, a fashionable Paris artist whose style combined neo-classicism and romanticism.

In his early 20s, Boisseau moved to New Orleans, Louisiana, living there from 1845 to 1847, while his brother served as secretary to the French consul. Boisseau painted his first works on Native American themes – mostly of members of the Choctaw nation who were historically based in Louisiana and Mississippi. He returned to Paris, where his painting Louisiana Indians Walking Along a Bayou (1847), now in the permanent collection of the New Orleans Museum of Art, was exhibited at the Paris Salon of 1848. After that Boisseau sailed back to the United States, settling in New York City. There he taught art from 1849 to 1852.[1]

By 1852 Boisseau was working as a daguerreotypist in Cleveland, Ohio. He also advertised as a portrait and landscape painter, art teacher and art dealer.

In 1860 he moved to Canada, where he opened a succession of three photographic studios in Montreal. While working as secretary and bibliographer to the Institut canadien de Montréal, he completed several paintings.[2]

Near the end of his life, he moved to western Canada, where he opened a studio in Brandon, Manitoba. There he produced paintings of Plains Indian natives. He returned to the United States and died in Buffalo, New York in 1901 where he is interred.

[1] Craig’s Daguerreian Registry.

[2] Wikipeadia.

[3] Early Painters and Engravers in Canada by J. Russell Harper.

Blessing, Samuel T.

Ambrotypes, Daguerreotypes, Photographic Stock and Chemicals, Photographs, , , , , ,

1858                134 Canal Street, New Orleans, Louisiana.

1859                61 Camp Street, corner Commercial Place, New Orleans, Louisiana.

1858 April 19.  New Orleans Daily Crescent.  (New Orleans, Louisiana.)  April 19, 1858, Vol. XI, No. 38, P. 4.

Anderson & Blessing’s New Photographic Gallery.  The Most Extensive in the City.  No. 134 Canal Street, New Orleans.

Daguerreotypes, Ambrotypes and Photographs in every style, either plain or colored.

Particular attention paid to copying Daguerreotypes of deceased persons into Photographs—life, cabinet and miniature sizes, and painted in oil colors.  By this process perfect and life-like Portraits and Miniatures can be secured either from life or Daguerreotypes.

Terms, very moderate.

Advertisement ran from April 19 to May 20, 1858.

1859 October 31.  New Orleans Daily Crescent.  (New Orleans, Louisiana.)  October 31, 1859, Vol. XII, No. 202, P. 1.

Anderson & Blessing’s New Extensive Photographic And Daguerrean Saloon, No. 61 Camp Street, Corner of Commercial Place, New Orleans. 

We beg leave to inform our patrons and the public that we have removed from 134 Canal street to the above named spacious building, which we have spared no pains or expense in fitting and furnishing in a superior style, for the comfort of our visitors and patrons, as well as for the better execution of every style of Miniatures and Portraits known to the art.

Photographs made Life Size by the new Solar Camera Process, either taken from  life of copied from Daguerreotypes, Paintings, etc. and painted in Oil, Water, Pastel or India Ink.

We call special attention to this new style of Portraits, as being much more truthful to life in point of likeness, and equally as durable and beautiful to the old style of Oil paintings.

Photographs, either Plain or Colored, made all sizes.

Ambrotypes made to their perfection on a new and improved plan taken upon Metallic Plates, which cannot be broken.

Particular attention given to making Daguerreotypes.

None but the best Operators and Painters employed, and the public can rely on getting only the best.

The public are invited to examine specimens of our work, which we will take pleasuring in showing.  Anderson  Blessing, 61 Camp street, corner of Commercial Place.

Advertisement ran from October 31 to November 4, 1859.

1859 November 4.  New Orleans Daily Crescent.  (New Orleans, Louisiana.)  November 4, 1859, Vol. XII, No. 206, P. 5.

Anderson & Blessing’s New And Superb Photographic & Daguerreotype Saloon, No. 63 Camp street, Corner Of Commercial Place, New Orleans.  Opposite the Picayune Office.

We beg leave to inform our numerous patrons and the public, that we have removed from 134 Canal street to the above named commodious building, which we have fitted and furnished  in a suitable style, with the Largest Sky-Light in the City, A Large Reception Room for the Public, A Splendid Parlor And Dressing-Room, Exclusively for Ladies, and A Large Studio for our Painters, Together with all the necessary room and conveniences for the execution of Every Size And Style of Miniatures and Portraits known to the art.  From The Smallest Locket To Full Length Life Size On Canvas In Oil.

Photographs, Life Size, made by the new Solar Camera Process.

Photographs on Visiting Cards, by the hundred.

Photographs, all intermediate size.

Photographs, all sizes, untouched.

Photographs Painted in Oil Colors.

Photographs Painted in Water Colors.

Photographs Painted in Pastel Colors.

Photographs Touched in India Ink.

Photographs Copied from old Daguerreotypes, Ambrotypes, Paintings, Drawings, etc. and finished in any style.

Photographs taken in Groups of Families.

Photographs taken of Buildings in any part of the city.

Daguerreotypes taken in all their beauty and perfection.

Daguerreotypes taken of deceased persons in any part of the city.

Ambrotypes taken on a new and improved plan upon metallic plates, thereby obviating the danger of braking.

Ambrotypes transferred to Paper or Leather, letter size, for mailing.

—Also—Any, Every And All Styles Of Miniatures and Portraits, Too numerous to enumerate here.

Advertisement ran from November 4 to December 31, 1859.

1859 November 7.  New Orleans Daily Crescent.  (New Orleans, Louisiana.)  November 7, 1859, Vol. XII, No. 208, P. 2.

A Splendid Establishment.—It is a function of our professionality to pry into and examine the merit of everything curious or unusual, and necessarily the attributes of novelty of curiousness which a thing so inspected possesses, must be of a very marked character to excite surprise in an intelligence rendered blasé by much sight-seeing.  Consequently we were surprised that we were surprised when we visited the new photographic and daguerreotype saloon of Messrs. Anderson & Blessing, at 61 Camp street.  It is an establishment which is really a credit to the city, such is its extent and elegance, and the costly magnificence of its appointments.  The finest furniture, the most gorgeous products of the carpet loom, and superb specimens of art combine to impart to the various and spacious apartments occupied by the proprietors an unusual aspect of elegance and munificence of management. A visit will repay any one, no matter where he has traveled and how much he has seen, for the saloon in unsurpassed.  It occupies the upper part of the large building corner of Camp street and Commercial Alley.  At the head of the first flight of stairs the visitor is issued into a wide apartment—the general reception room and and picture gallery—sumptuously furnished, its walls covered with paintings and pictures taken by several processes of daguerrean and photographic art.  Beyond this is the bookkeeper’s office and a vault large enough for any bank, or for a small family to go to house-keeping in, for the deposit of valuables used in the art, etc.  Further on is the warehouse room heavily stocked with material used by daguerrean and photographic artists, for Messrs. Anderson & Blessing are among the heaviest importers and dealers in these goods in the country.

The third floor is occupied by ladies’ and gentlemen’s’ parlors and dressing rooms, elegantly furnished like the reception room below; by the skylight room, the skylight being of extraordinary size and probably not surpassed in the country; by a chemical laboratory; by a workshop and finishing room, and by a laboratory for the preparation of the paper, etc., for photographs, and by the studio for the artists who finish photographs in colors.  On the fourth floor are several rooms devoted to various uses, one of them containing the various solar camera apparatus for taking those life-size or colossal pictures, the excellence of which have given Messrs. A. & B. so wide a reputation.

These gentlemen, since removing to their new quarters, have renewed the beautiful daguerrean art which fell into comparative desuetude in the first rage for ambrotypes and photographs, and have made some of the finest pictures that were ever produced for those visitors who preferred the daguerreotype, which, after all, is “hard to beat,” if the picture be taken by a skillful and experienced artist, and only such practice their profession at Messrs. Anderson & Blessing’s establishment, where the extensive business of the concern is conducted in all its branches with a systematic regularity, promptitude and perfection only to be secured by the management of gentlemen who are thorough business men, as well as entirely accomplished artists.  We advise those who want the best pictures at a reasonable price, or want nothing but the gratification of an intelligent curiosity, to look in at 61 Camp street, for until they do they will have no idea of what a first-class photographic and daguerreotype saloon is.

Andrews, James

Daguerreotypes, ,

1855-1856       Corner Canal and St. Charles Streets, New Orleans, Louisiana.

1857                3 & 10 St. Charles, New Orleans, Louisiana.

1855 October 20.  Weekly Confederate.  (Galveston, Texas.)  October 20, 1855, Vol. 1, No. 15, P. 4.

National Daguerrean Gallery!  Cor. Canal and St Charles sts.  Entrance Numb. Three St. Charles Rooms Nos. 20 and 21—up stairs.  New Orleans.  Jas. Andrews.  Feb 23.

Advertisement was recorded on October 20, 1855 & April 19, 1856.

1857 May 1.  New York Daily Tribune.  (New York, New York.)  May 1, 1857, Vol. XVII, No. 5002, P. 5.

[From the N. O. True Delta, April 24.]  A Woman’s Revenge.  Almost A Second Burdell Affair.  St Charles street, in the aristocratic and fashionable neighborhood of Canal, is becoming famous for scenes of startling importance.… (Mrs. Mary Jane Charles) wielded the dagger, James Andrews, the daguerreotypist being the victim.

From the best information we could obtain, we learn that Mrs. Mary Jane Charles lives, and has lived for some time past, in a large and elegant establishment at No. 269 Common street, where she rents furnished rooms.  She is a widow, and has been for some time; is about 30 years of age, beautiful, highly accomplished and fascinating in her manners.  Andrews is a young artist of lofty aspirations and Byronic exterior; and as he, some two years ago, took rooms at the establishment of the fascinating widow, it may, without any stretch of imagination, be supposed that a unity of sentiment soon sprung up between two such congenial spirits.  They loved, but did not get married.  They progressed on the mutual confidence plan for nearly two years, when their honeymoon began to wane, or perhaps became obscured by the overshadowing influence of the comet which is now whisking his ponderous tail over our planet, killing the early blossoms, and destroying not only the fruit crop throughout the Union, but also the sugar crop of our beloved Louisiana.

Andrews abandoned the idea, gave up all thoughts of reaching the round of the artistic ladder, when his admiring countrymen would concede to him the unquestioned right of wearing the unappropriated mantle of a Michel Angelo or a Rubens.  He became practical.  The charming widow was flush of the “sordid lucre,” and, with true Jacksonian energy and will, he laid his plans for a transfer of the deposits, which he soon accomplished, and instead of erecting a villa on the banks of the Lake of Como with the widow’s funds, he established two daguerreotype saloons—one at No. 3 St. Charles street, and the other at No. 10, a few doors from the True Delta establishment. This was not all—the cup of the charming widow’s misery was not yet full—the last drop that overflows the golden goblet, like the last ounce that breaks the camel’s back, was poured in when the unfaithful Andrews deserted her, which he did a short time ago, and married a Miss. Hoffner.

We have now stated the case as it was yesterday morning, and will give the sequel in as few words as possible.

Mrs. Charles, it seems, made up her mind to wreak her vengeance on her faithless swain by assaulting him, and then end life’s troubles by killing herself.  She procured a beautiful pearl handled dagger, we believe at Guion’s , and crossed the street towards the entrance of No. 3 St. Charles street, intending to reach the daguerrean saloon of Andrews and strike him while in the act of transferring the features of some fair one to the metallic plate.  She met him on the sidewalk, and as quick as thought the glistening blade had pierced his neck. As he turned and reeled she inflicted two more wounds on his left arm, and before the by-standers that thronged the sidewalk at the time could interfere, she gave him another stab in the thigh, when the dagger dropped from her hand.  With the utmost coolness she then forced her way through the crowd, no one in  it attempting to interfere with her, and proceeded to a carriage in waiting at the next corner, and was driven rapidly to her home, No. 269 Common street.

At a late hour last night Andrews was still living and Mrs. Charles was at her home, no arrest or legal investigation that we could hear of having taken place.

1857 May 2.  The Brooklyn Daily Eagle.  (Brooklyn, New York.)  May 2, 1857, Vol. 16, No. 102, P. 1.

[From the N. O. True Delta, April 24.]  A Woman’s Revenge.  Almost A Second Burdell Affair.  St Charles street, in the aristocratic and fashionable neighborhood of Canal, is becoming famous for scenes of startling importance.… (Mrs. Mary Jane Charles) wielded the dagger, James Andrews, the daguerreotypist being the victim.

From the best information we could obtain, we learn that Mrs. Mary Jane Charles lives, and has lived for some time past, in a large and elegant establishment at No. 269 Common street, where she rents furnished rooms.  She is a widow, and has been for some time; is about 30 years of age, beautiful, highly accomplished and fascinating in her manners.  Andrews is a young artist of lofty aspirations and Byronic exterior; and as he, some two years ago, took rooms at the establishment of the fascinating widow, it may, without any stretch of imagination, be supposed that a unity of sentiment soon sprung up between two such congenial spirits.  They loved, but did not get married.  They progressed on the mutual confidence plan for nearly two years, when their honeymoon began to wane, or perhaps became obscured by the overshadowing influence of the comet which is now whisking his ponderous tail over our planet, killing the early blossoms, and destroying not only the fruit crop throughout the Union, but also the sugar crop of our beloved Louisiana.

Andrews abandoned the idea, gave up all thoughts of reaching the round of the artistic ladder, when his admiring countrymen would concede to him the unquestioned right of wearing the unappropriated mantle of a Michel Angelo or a Rubens.  He became practical.  The charming widow was flush of the “sordid lucre,” and, with true Jacksonian energy and will, he laid his plans for a transfer of the deposits, which he soon accomplished, and instead of erecting a villa on the banks of the Lake of Como with the widow’s funds, he established two daguerreotype saloons—one at No. 3 St. Charles street, and the other at No. 10, a few doors from the True Delta establishment. This was not all—the cup of the charming widow’s misery was not yet full—the last drop that overflows the golden goblet, like the last ounce that breaks the camel’s back, was poured in when the unfaithful Andrews deserted her, which he did a short time ago, and married a Miss. Hoffner.

We have now stated the case as it was yesterday morning, and will give the sequel in as few words as possible.

Mrs. Charles, it seems, made up her mind to wreak her vengeance on her faithless swain by assaulting him, and then end life’s troubles by killing herself.  She procured a beautiful pearl handled dagger, we believe at Guion’s , and crossed the street towards the entrance of No. 3 St. Charles street, intending to reach the daguerrean saloon of Andrews and strike him while in the act of transferring the features of some fair one to the metallic plate.  She met him on the sidewalk, and as quick as thought the glistening blade had pierced his neck. As he turned and reeled she inflicted two more wounds on his left arm, and before the by-standers that thronged the sidewalk at the time could interfere, she gave him another stab in the thigh, when the dagger dropped from her hand.  With the utmost coolness she then forced her way through the crowd, no one in  it attempting to interfere with her, and proceeded to a carriage in waiting at the next corner, and was driven rapidly to her home, No. 269 Common street.

At a late hour last night Andrews was still living and Mrs. Charles was at her home, no arrest or legal investigation that we could hear of having taken place.

1857 May 4.  Boston Daily Evening Transcript.  (Boston, Massachusetts.)  May 4, 1857, Vol. XXVIII, No. 8286, NP.

—James Andrews, a daguerreotypist, was stabbed at New Orleans on the 24th ult. By Mrs. Mary Ann Charles, whom he had deserted, and married another woman.  She struck him on the sidewalk, first in the neck with a dagger, then twice in the arm, then in the thigh.  The spectators, did not arrest her.

1857 May 12.  Bangor Daily Journal.  (Bangor, Maine.)  May 12, 1857, Vol. 3, No. 219, P. 2.

  A Woman’s Revenge.—James Andrews, a daguerreotypist of New Orleans, lived with Mrs. Mary Ann Charles two years without being married, then stole her money and married another woman.  On the 24 ult., Mrs. Charles procured a beautiful pearl handled dagger, and crossed the street, intending to reach the daguerrean saloon of Andrews and strike him while in the act of transferring the features of some fair one to the metallic plate.  She met him on the sidewalk, and quick as thought the glistening blade had pierced his neck.  As he turned and reeled, she inflicted two more wounds on his left arm, and before the bystanders that thronged the sidewalk, at the time, could interfere, she gave him another stab in the thigh, when the dagger dropped from her hand.  With the utmost coolness she then forced her way through the crowd, no one attempting to interfere with her, and proceeded to a carriage in waiting at the next corner, and was driven rapidly to her home.

Samuel E. Moore

Retailer, Stereoviews, , ,

1858                49 Camp Street, New Orleans, Louisiana.

Samuel E. Moore was recorded in one announcement and one advertisement in the Times-Picayune (New Orleans, Louisiana).  The announcement appeared on November 6, 1858. 

Stereoscopic.—One of the pleasantest, cheapest and most easily obtainable amusements for a family circle is a set of stereoscopic views.  They are beautiful specimens of the optician’s and daguerreotypist’s skill and taste, and afford never-wearying variety. 

Messrs. S. E. Moore & Co., 49 Camp street, have just received a fine assortment of these views which are more particularly described in their card elsewhere.

The advertisement first appeared on November 6, 1858.  Stereoscopic Views.  We have just received a fine assortment of these most elegant and instructive Parlor Ornaments, comprising of

Views in Paris.

Views in Rome.

Views in Switzerland.

Views in Vienna.

Views of Domestic Life, &c., &c., &c.

And of all qualities—upon Glass, Illustrated Paper and Plain.

The prices are very moderate, and no more desirable evening entertainment for the members of a family can be conceived than a study of these beautiful Scenes, which have the effect of transporting the observer to the very spot whence they were taken.  Sam’le E./ Moore & Co., 49 Camp street.

Samuel E. Moore is not recorded in other photographic directories.

McClure

Daguerreotypes, , , , ,

1853                6 Camp Street, New Orleans, Louisiana.

McClure was mentioned in one advertisement that appeared on October 17, 1853 in the New Orleans Daily Crescent (New Orleans, Louisiana).  Daguerreotypes.—The Daguerreotyping Saloon of Messrs. Dobbyns & Harrington, on the corner of Camp and Canal streets, are now in active operation under the superintendence of Mr. McClure, the acting Operator.  These rooms contain a large and well selected stock of materials for taking likenesses according to the most approve method, and the pictures taken give general satisfaction.  The operation is almost instantaneous, and the results in all cases a true type of the features, even to the slightest shades of expression.  The specimens exhibited at these rooms are of such a various character that a visit to them is equivalent to a stroll through an extensive picture gallery.  The operator, Mr. McClure, has brought the art of coloring the pictures to the nicest perfection, imparting a tint to the complexion exceedingly life-like, and in a manner always true to the reality.  Persons having relations and friends at a distance, or who wish to preserve the likenesses of those in whom they are interested, may here find a ready means for engraving their features on lasting materials, which are unchangeable, and which will not deteriorate through time.  Plates of every description may be obtained here, and on the most accommodating terms.  Strangers in the city should not fail to gratify their curiosity by paying these rooms a visit.

McClure is not recorded in other photographic directories as being active in New Orleans, Louisiana.  Craig’s Daguerreian Register does list a J. S. McClure in Mobile, Alabama in 1859.  It is unknown if they are the same person at this time.

J. G. Harroun

Daguerreotypes, ,

1853-1854       26 Camp Street, New Orleans, Louisiana.

J. G. Harroun was recorded in three advertisements and two announcements.  The first advertisement ran from November 1, 1852 to February 13, 1854 in the New Orleans Daily Crescent (New Orleans, Louisiana).  Sky-Light Daguerrean Saloon, No. 26 Camp street, New Orleans.—The undersigned having opened their Saloon at 26 Camp street, are prepared to execute Likenesses in every variety and style to suit their patrons.

The Ladies and Gentlemen of New Orleans, and strangers visiting the city, are requested to call and examine their specimens before procuring Likenesses elsewhere.  Perfect satisfaction given to all.  J. G. Harroun & Co.  n1.

The second advertisement ran from November 2 to December 3, 1853 in the Times Picayune (New Orleans, Louisiana). J. G. Harroun & Co.’s Sky Light Daguerrean Saloon, No. 26 Camp street, corner Camp and Common.

Our Saloon has been fitted up in a superior style, and we are prepared to give Likenesses equal if not superior to any artist in the city.  Our motto is, “To give good Pictures or none.”  We invite all citizens and strangers to call, and think we can give satisfaction to each and every one. J. G. Harroun & Co.

The first announcement appeared on November 3, 1853 in the Times Picayune (New Orleans, Louisiana).  Photography.—J. G. Harroun & Co., have fitted up their daguerreotype saloon at the corner of camp and common street, in superior style, and engage to give likenesses equal, if not superior, to those taken by any artist in the city.  Citizens and strangers are invited to call.  See their advertisement.

The second announcement appeared on February 14, 1854 in the New Orleans Daily Crescent  (New Orleans, Louisiana).  Daguerreotypes.—Some of the best daguerreotypes obtainable in this city can be found at the saloon of J. G. Harroun & Co., 26 Camp street.  The likenesses taken by them are very accurate and do not fade.

The third advertisement ran from February 14 to May 11, 1854 in the New Orleans Daily Crescent (New Orleans, Louisiana).  Sky-Light Daguerrean Saloon, No. 26 Camp street, New Orleans.—The undersigned having opened their Saloon at 26 Camp street, are prepared to execute Likenesses in every variety and style to suit their patrons.

The Ladies and Gentlemen of New Orleans, and strangers visiting the city, are requested to call and examine their specimens before procuring Likenesses elsewhere.  Perfect satisfaction given to all.  J. G. Harroun & Co.  feb14.

J. G. Harroun is not recorded in other photographic directories.

Mr. Giroux

Photographs, , ,

1854                Mechanics’ Institute, New Orleans, Louisiana.

1856                142 Canal Street, New Orleans, Louisiana. 

Mr. Giroux was recorded in three announcements and two advertisements in the partnership of Giroux & Hirsch.   The first announcement was recorded on December 27, 1854 in the New Orleans Daily Crescent (New Orleans, Louisiana).  Destructive Fire—The Mechanics Institute in Ruins.—Last evening about 6 o’clock, a fire broke out in the rear part of the basement of the Mechanics’ Institute, on the Philippa street front of University Square, and in little more than a hour’s time the splendid edifice was reduced to a pile of smoking ruins; nothing being left standing but the front and portions of the side walls…

The Repository of Arts and Sciences, kept in one of the rooms by Mr. Brocket, lost every thing—valued at about $3000.  Mr. Truehols, the portrait and picture painter, occupying another room, lost every thing.  One picture alone, of large size, which he had nearly finished entitled “The Crucifixion,” he valued at [$3000].  Mr. Giroux, the photographist, occupying the from=nt room of the floor, opposite the library, lost every thing.  He had just finished fitting up at an expenditure of $2500.  Mr. Gomes who kept a cabinet making and repairing shop on the ground floor, under Mr. Giroux’s room, also lost his all—about $1000 worth…

The second announcement (same as the first) appeared on December 27, 1854 Times-Picayune.  (New Orleans, Louisiana).  Burning of the Mechanics’ Institute.  We regret to state that this noble building, one of the city’s proudest ornaments, was destroyed by fire last evening…   

Mr. Giroux, who had just established rooms for practicing the art of photography, lost about $2,500.

The third announcement (same as the first) appeared on January 5, 1855 in The New York Herald (New York, New York).  Burning of the Mechanics’ Institute, at New Orleans.  [From the New Orleans Picayune, Dec. 27.]  We regret to state that this noble building, one of the city’s proudest ornaments, was destroyed by fire last evening…Mr. Giroux, who had just established rooms for practicing the art of photography, lost about $2,500.

The first advertisement was appeared on April 23,1856 in the Semi-Weekly Creole (New Orleans, Louisiana).  Heliographic Gallery.  Portraits Drawn in a few Seconds by the Attraction of the Light.  Giroux & Hirsch. No. 142 Canal street, between Bourbon and Dauphin streets.

Messrs. Giroux & Hirsch, Heliographs, Informs the public that their Saloon and Studio are now opened, at 142 Canal street, where visitors will be gladly received.

They avail themselves of this opportunity to call the attention of amateurs to their improvement, in New Orleans to Heliographic Portraits, and present, to be compared with what has been done heretofore in the line, the proof Portraits exhibited in their gallery.

Messrs. G. & H. announce, besides, that with a view to the popularity of their art, the prices of their Portraits, whether black or colored, will be very moderate.  mh5.

The second advertisement (same as the first) was recorded July 1 to September 12, 1856 in the   New Orleans Daily Creole (New Orleans, Louisiana).  Heliographic Gallery.  Portraits Drawn in a few Seconds by the Attraction of the Light.  Giroux & Hirsch. No. 142 Canal street, between Bourbon and Dauphin streets.

Messrs. Giroux & Hirsch, Heliographs, Informs the public that their Saloon and Studio are now opened, at 142 Canal street, where visitors will be gladly received.

They avail themselves of this opportunity to call the attention of amateurs to their improvement, in New Orleans to Heliographic Portraits, and present, to be compared with what has been done heretofore in the line, the proof Portraits exhibited in their gallery.

Messrs. G. & H. announce, besides, that with a view to the popularity of their art, the prices of their Portraits, whether black or colored, will be very moderate.  mh5.

Mr. Giroux is recorded in other directories as being in the partnership only.  First names are not known at this time.  There is an advertisement for Leon Giroux, 142 Canal Street for Fancy Shoes the same address as the partnership.  It is unknown if this is the same person.  No additional advertisements have been located at this time for Hirsch.  Hirsch is recorded in Craig’s Daguerreian Registry as a “painter of photographs” which led me into looking at The New York Historical Society’s Dictionary of Artists In America 1564-1860.  There is one listing for Siegfried Hirsch, miniature and portrait painted who was active in New York City as a miniature painter from 1851-1855; then he went to Charleston, South Carolina; and by 1857 he was back in New York City. It is also unknown if he is the same person.

John H. Frobus

Daguerreotypes, ,

1852                72 Chartres Street, New Orleans, Louisiana.

John H. Frobus appeared in one announcement on November 19, 1852 in the New Orleans Daily Crescent (New Orleans, Louisiana). 

From woman’s eyes this doctrine I derive:

The are the books, the art, the academies

Which show, contain, and nourish all the world.

Had Mahomet heard of daguerreotypes, he might have propagated his doctrines all the faster by showing the portrait of his Celestial Houris!  By the buy, Frobus, 72 Chartres street, is very successful in that all important feature of a daguerreotype likeness—the eye.

John H. Frobus is recorded in Craig’s Daguerreian Registry as being active in New Orleans, Louisiana  between 1855 to 1861.

A. Cosmes

Daguerreotypes, Photographs, , , ,

1854                1 Camp Street, New Orleans, Louisiana.

A. Cosmes (of the partnership of Moissenet & Cosmes) was recorded in one Advertisement that ran from December 25 to 30, 1854[1] in the New Orleans Daily Crescent  (New Orleans, Louisiana).  Moissenet & Cosmes’s Daguerrean and Photographic Gallery, No. 1 Camp Street, corner of Canal.

F. Moissenet has the honor of informing the citizens of New Orleans and Strangers, that he has formed a business connection with Mr. A. Cosmes, a Photographist and Painter of European celebrities, and has opened expressly for the purpose of taking Photographic Portraits and Miniatures in the same building in which Daguerreotype Rooms are, by which means both branches will be under his personal care and direction.  He invites particular attention to his new and perfect mode of taking Portraits by which the physiognomy and coloring of nature becomes indelibly transferred in such a manner as cannot fail to present a true and exact copy of all the features and expressions of life—a fac simile of nature.

The Rooms are always open to the public, who are invited to examine the various specimens there exhibited. d25.

A. Cosmes is not recorded in other photographic directories.

[1] No newspapers were found between December 31, 1854 to July 1, 1855.

J. W. Bradford

Daguerreotypes, , , , , ,

1852-1853       80 Camp Street corner Natchez Street, New Orleans, Louisiana.

J. W. Bradford of the firm Curtright & Bradford was recorded in two advertisements and one additional time by himself in the New Orleans Daily Crescent (New Orleans, Louisiana).  The first advertisement ran from June 18 to September 18, 1852.  80 Camp Street.  N. B. Curtright…J. B. Bradford.  We have taken the room over Geo. W. Hynson, corner of Natches and Camp street, for the prosecution of the Daguerreotype Business, and our charges—being half the usual prices—induce us to hope for a liberal patronage.

Hours of operation from 8 A. M. to 6 P. M.  Curtwright & Bradford, Artists. 

The second advertisement ran from September 28 1852 to February 11, 1853.  N. B. Curtright.  J. W. Bradford.  Curtright & Bradford, Daguerrean Artists, No. 80 Camp street, corner Natchez. 

The third advertisement ran from February 12 to May 9, 1853.  Bradford, J. W., Daguerrean Artist, No. 80 Camp street, corner Natchez.  sept. 28.

J. W. Bradford is not recorded in other photographic directories.  N. B. Curtright with a variant spelling Curtwright is known and recorded in other photographic directories.