Tag Archives: Samuel Root

Faris, Thomas

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

1843-1844       Fifth Street, Cincinnati, Ohio.[1]

1846-1859       Fourth and Walnut Streets, Melodeon Building, Cincinnati, Ohio.

1856                26 West Fourth Street, Cincinnati, Ohio.

1856-1859       363 Broadway, corner Franklin Street, New York, New York.       

1846 November 30.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  November 30, 1846, Vol. VII, No. 36, p. 2.

Plumbeotypes.  This is the name given by Plumbe, to paper Daguerreotypes, an invention by him, of a very recent date.  We are indebted to Mr. Thomas Faris, Plumbe National Gallery, corner of 4th and Walnut streets, in this city, for a number of specimens of this new and very interesting art, including Hon. Lewis Woodbury, Hon. Cave Johnson, Hon Sam Houston, Hon. J. C. Calhoun, D. M. Hoyt, &c., &c.  Each portrait is prib=nted from Daguerreotype likenesses, with a frame and the signature in writing.  It is a very interesting discovery.  One hundred copies of any person can be ordered for $10.  Call on Mr. Faris.

1846 November 30.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  November 30, 1846, Vol. VII, No. 36, p. 2.

The Popular Magazine.  We are indebted to Mr. Thomas Faris, Plumbe Nat. Gal., corner of 4th and Walnut streets, for Nos. 1 and 2 of the “Popular Magazine,” a journal of art and literature, by Augustine J. H. Duganne, published in Philadelphia.  It has in each number a Plumbeotype of some of the distinguished personage, and much valuable reading.  In one of the numbers received is an autograph and letter from President Monroe, dated 1892, and in the other, one from Dr. Franklin, dated 1764.  Very valuable, indeed, are such works of art.  Please examine.

1847 February 23.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  February 23, 1847, Vol. VII, No. 107, p. 2.

[From the Herald of yesterday.  The finest gallery of Daguerreotypes we ever saw may be seen, by any body at the rooms of Faris, in the Melodeon.  We observed many familiar faces, true to nature.  He has some likenesses of Dr. Chamberlain and Col. Mitchell, which we do not think can be excelled.  The finish of these portraits is decidedly superior to any other we have ever seen.  The rooms of Mr. Faris are the best, perhaps, in the city.  The one in which the likenesses are taken, on the corner of Fourth and Walnut, is exceedingly well lighted.  Mr. Faris has been assisted for some time by Mr. Charles Carter, who is now as good at the business as the best.  Mr. Faris is open for inspection at all hours of the day, where he will be happy to see all disposed to give him a call.  They will see many admirable likenesses of some of their friends of the city.  The cavalcade of Rockwell’s company was daguerreotyped here, and considering the circumstances, was well done.  It is a pleasant place to spend a half hour.

1847 June 18.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  June 18, 1847, Vol. VIII, No. 65, p. 2.

That picture of Col. Mitchell, mentioned a few days since in this paper as being in possession of some person who found it in the street, was stolen from Mrs. Jone’s, 4th street, and may be left at Faris’s Daguerreotype rooms, corner Walnut and Fourth.

1847 September 15.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  September 15, 1847, Vol. VIII, No. 140, p. 2.

$5 Reward.—Stolen from Faris’ Daguerrian Gallery, on the morning of the 14th inst., five Gold miniature Lockets, one octagon, and one oval with glass on both sides, the others were round with but one glass.  The above reward will be paid for the delivery of the articles.  Thos. Farris, Melodeon Building, cor, 4th and Walnut.

1848 June 15.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  June 15, 1848, Vol. X, No. 55, p. 2.

The daguerreotype miniature of Mr. E. Forrest, hanging at the door of Faris’ gallery, Melodeon building, is a complete triumph of the art.

1848 July 15.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  July 15, 1848, Vol. XI, No. 15, p. 3.

Melodeon Gallery Of Daguerreotype Portraits, And Family Groups, Corner of Fourth and Walnut streets, 2nd story, Cincinnati.  Likenesses by the improved process from the largest to the smallest sizes, and of the most delicate execution, may be obtained at the above Rooms.

Portraits taken at this establishment, warranted to give satisfaction.  Thomas Faris.

1848 October 18.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  October 18, 1848, Vol. XI, No. 15, p. 2.

Melodeon Gallery.  T. Faris, Daguerreotypist, Melodeon Building, Cor. 4th and Walnut.  Daguerreotype Portraits, either single or in groups, colored or without colors, taken in a superior style, regardless of the weather.

“Daguerreotype likenesses are taken at this establishment equal, we venture to say, to any other place in America; and, when compared with some other establishments of the kind, there is no comparison whatever.”—Ohio State Journal.

“One of the richest and most highly finished Daguerreotypes we have ever seen.”—Queen City.

“Successful in a high degree in divesting his pictures of that dull and lifeless hue which disfigures the Daguerreotypes of so many artists.”—Cist’s Adv.

“For faithfulness of delineation and exquisite coloring far transcends anything we deemed the art capable of producing.”—Signal.

“Crowded all the while with customers, his bold and truthful style of Daguerreotyping is becoming every day more and more popular.”—Dispatch.

Advertisement ran from October 18 to November 1, 1848.

1849 January 18.  Liberty Hall And Cincinnati Gazette.  (Cincinnati, Ohio.)  January 18, 1849, Vol. XLV, No. 2324, P. 1.

The Greek Slave is now exhibiting at Louisville.  During the exhibition of the statute in our city the receipts were over $3,000.  Mr. Broadwell, proprietor of the Apollo Building, made no charge for the use of the Hall in which the exhibition was had.  Those who were not privileged to see the substance can now look upon the shadow of this master-piece of Powers’ genius, by calling at the Daguerreotype rooms of either of Mr. Hawkin’s, Mr. Faris, or Mr. Fontayne, each of whom took several excellent views…

1849 February 26.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  February 26, 1849, Vol. XI, No. 125, p. 2.

Splendid Daguerreotypes may always be obtained at Faris’, Melodeon Gallery, corner of Fourth and Walnut sts.

By a late and important improvement, the time of sitting occupies but a few seconds, either in clear or cloudy weather.

Advertisement ran from February 26 to 28, 1849.

1849 March 2.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  March 2, 1849, Vol. XI, No. 129, p. 2.

Daguerreotypes.—Magnificent Daguerreotypes are taken every day, without regard to the weather, at Faris’ Melodeon Gallery, corner of Fourth and Walnut sts.  Call and see.  Free admission.

Advertisement ran from March 2 to 5, 1859.

1849 March 23.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  March 23, 1849, Vol. XI, No. 147, p. 2.

Daguerreotypes.—It is becoming better understood every day , that the Daguerreotypes mader by Faris at the Melodeon Gallery, exhibit a superiority seldom attained by those of other artists.  Positive excellence is the universal—and not the chance—characteristics of his work.  Having very lately added to his already superior facilities one of Voightlander & Son celebrated quick working Cameras, he is enabled to take groups and single Pictures of Children, in very much less time that they could be taken heretofore.

Rooms N. West corner of Fourth and Walnut streets, second story.

1849 October 4.  Liberty Hall And Cincinnati Gazette.  (Cincinnati, Ohio.)  October 4, 1849, Vol. 46, No. 2360, P. 2.

The Horticultural Exhibition.  This beautiful Autumn Festival closed on Saturday evening…

On the last day of the exhibition, a couple of daguerreotype views of the two avenues were taken by Mr. Faris, of the Melodeon, which preserve well the symmetrical proportions of the first and last, and give a fine view of the prominent thing in the Hall, and the general style of their disposal.  In one of these we recognize the towering form of our friend Mr. A. H. Ernst, and in the other the well known figure of our neighbor Mr. J. P. Foote.  For interior views, these pictures are highly creditable to the skill of Mr. Faris, who holds a first rank as a Daguerreotypist.  The tone of the coloring is superb… 

1849 October 11.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  October 11, 1849, Vol. XII, No. 163, p. 1.

Horticultural Society.  The meeting last Saturday was a monthly one, and one of more than usual interest, It being the first after the autumnal exhibition…

Daguerreotypes of the Hall during the exhibition by Mr. Faris, were exhibited.

1849 December 13.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  December 13, 1849, Vol. XII, No. 13, p. 2.

Prepare For The Holidays.  Great Excitement at Faris’ Melodeon Gallery.  The Subscriber would respectfully inform his friends and the public generally, that he is now receiving from the East, the finest assortment of Daguerreotype Cases and Frames ever offered in the West, intended expressly for Holiday Presents.  All who wish to make a presentation plate of themselves or friends should call at the Melodeon Gallery and examine this fine stock.

What can exceed the beauty and truthfulness of the Daguerreotype, when well executed, the impression being fixed upon a plate of pure silver, enameled by fine gilding, and warranted never to fade!  Few know the value of a likeness of a Parent, Brother, Sister or Friend, until they are departed, by death or absence, therefore, as delays are dangerous, call early, and “Secure the Shadow Ere the Substance fades.”  Thos. Faris, Melodeon Gallery, N. W. cor. 4th and Walnut sts.

1850 January 3.  Liberty Hall And Weekly Cincinnati Gazette.  (Cincinnati, Ohio.)  January 3, 1850, Vol. 46, No. 2373, P. 2.

Daguerreotyping.—Cincinnati in the art of Daguerreotype occupies a position equal in all respects to any city of the Union.  We have numerous artist in this line whose pictures are superior perhaps to those made at any other city, except Philadelphia, and they do not take second rank even to the Quaker City productions.  Among these artists, Faris, in the Melodeon Building, takes one of the first places.  His pictures are finished and beautiful in their effect, and he understands the advantages of position and attitude.  He has recently returned from the East with a variety of beautiful and appropriate styles of cases in which he will be happy to put up pictures for New Year’s presents.

His collection of portraits of eminent persons is rare and extensive.  Among the late additions to the gallery are portraits of Father Mathew, Geo. M. Dallas, and T. S. Arthur, taken from life.

1850 August 29.  Presbyterian Of The West.  (Cincinnati, Ohio.)  August 29, 1850, Vol. V,

No. 49, Whole No. 257, P. 3.

Melodeon Gallery of Daguerreotype Portraits & Family Groups.  The Subscriber invites special attention to the distinct, lively, and lifelike expression of the Eye in his Daguerreotype Miniatures; to the beauty and perfection of the drapery; to the rich warm tone and mellowness of the lights and shadows, yet depth, boldness, and rotundity, as well as highly artistic effect peculiar to the pictures taken at the Free Admission Gallery, Melodeon Building, corner of Fourth and Walnut sts.  Thos. Faris.  may16.

1851 January 30.  Liberty Hall And Weekly Cincinnati Gazette.  (Cincinnati, Ohio.)  January 30, 1851, Vol. 51, No. 2429, P. 1.

Faris’ Daguerreotypes.  T. B. Read, in a recent letter from Dusseldorf, Germany, to the Cincinnati Commercial, makes the following statement of the value placed at that distant point, on the work of our Cincinnati Artists:

On of my first inquiries was for Whitridge, the landscape painter, whom I had known years ago in Cincinnati.  The idea of meeting with any one whom you have known before, is one of the most agreeable sensations which can be experienced in a land of strangers.  But unfortunately for us, he had gone up the Rhine on a sketching tour, and would be absent for a week or more.  I had the pleasure, however, of finding Mr. McConkey, another landscape painter from the Queen City, at his studio, and saw some fine pictures on his easel, which have, I presume, by this time, reached America.  I do not intend to take up  much of your space with comments upon artists and their works, for I fear that your readers do not all feel the same interest in the subject which I do.  But when I can meet men such as Leutze and Powers, and especially the artist from your own city, you shall hear about them and their productions.  My only fear is that I shall find such subjects but too seldom.  Speaking of this, I am reminded of what I should have mentioned before.  Previous to leaving Cincinnati, I possessed myself of a few daguerreotypes, which were taken by Faris and Hawkins, and wherever they have been seen by artists and others in England, Germany and Italy, they have been pronounced to be the finest specimens ever beheld in these countries.  One, a large plate by Mr, Faris, has attracted so much attention and admiration, that it is continually lent out and passed around as a curiosity, showing how far the new world has beaten the old, even at her own inventions.  A friend of mine yesterday exhibited this one to a French daguerreotypist in Florence, who stared over it with eyes like saucers, and shrugged his shoulders up to his ears and exclaimed, “Vive Amerique!” recognizing at a glance that it was not European.  He acknowledged without hesitation, that he had never seen anything in his line of art to compare with it.  To be convinced of the truth of this, one has only to look at the specimens which adorn the show cases here; they remind me of those “half-dollar” establishments to be met with so frequently in our eastern cities.  I cannot understand why in this old world of art, daguerreotyping should be so far inferior to what it is in America; nor have I heard any satisfactory explanation.  The operators, when they pretend to give any reason, lay the blame upon the weather.  In London this might be a good and sufficient reason, but in Italy, especially, the atmosphere can scarcely be the sole cause for so much difference.  I am inclined to think that good chemist in this country have not, as in ours, turned their attention to the subject.

1854 March 2.  Liberty Hall And Weekly Cincinnati Gazette.  (Cincinnati, Ohio.)  March 2, 1854, Vol. 62, No. 2, P. 3.

The Committee From Boston And The Stem Fire Engine.—As we have before announced, the Committee from Boston arrived in our city Saturday night, and on Sunday they visited many of our churches and the suburbs of our city…

Since writing the above we learn that the great daguerrean artist, Faris, has taken a number of daguerreotypes of the steam fire engine, and each member of the Boston delegation has been furnished with a copy to take home, that the citizens may have an is=dea of the appearance of the machine.—Copies have also been sent to New York, New Orleans and other cities.

1855 March 8.  Dollar Weekly Times.  (Cincinnati, Ohio.)  March 8, 1855, Vol. XII, No. 33, P. 7.

The Times Office On The 22d.  On the first page we present our readers with a spirited view of the Walnut Street front of the Dollar Weekly Times Office Building on the 22d Feb’y, the anniversary of Washington’s Birthday.  The engraving is from a daguerreotype taken about noon, by Faris, from the third-story of a building diagionally opposite our office… 

1855 September 27.  Belmont Chronicle.  (St. Clairsville, Ohio.)  September 27, 1855, New Series Vol. VII, No. 51, Whole No. 966, P. 2.

The State Fair…West of this on the brow of the ridge stood the “Hall for Fine Arts,” a gothic frame structure, in which a large number of excellent works of art were on exhibition.  It would of course be impossible for us to enumerate everything, but we cannot pass this hall without alluding to the display of pictures on exhibition from the gallery of our fellow citizens Thomas Faris.  His colored Photographs are perfect.  A colored likeness, life size, seemed to be breathing, and stands out from the plate as if it were really a living being, instead of an inanimate image.  Mr. Faris has brought his art to the greatest perfection, and reflects honor on the city of his residence, (Cincinnati,) where, ever his pictures are seen.

1855 December 29.  Star In The West.  (Cincinnati, Ohio.)  December 29, 1855, Vol. XVIII, No. 40, P. 3.

City Artists.  A New Kind Of Picture.—There is a new kind of picture lately introduced, called the Ambrotype, which will probably take the place of the Daguerreotype.  It is thus described by a writer for one of our city papers:—…

This method of taking pictures is patented and the art is practiced by but one artist in our city, viz:  Thomas Faris who in located in the Melodeon Building at the corner of Fourth and Walnut streets.  He is one of our oldest and best daguerrean artists.  Those of our readers who may desire a durable, excellent picture, and no humbug, would do well, to call on Mr. Faris.  We say this, not because we have been requested to do so, but from a desire that true merit should be rewarded, and the public not deceived.

1856.  Pencil and the Camera by Marcus A. Root, P. 366.

Samuel sold gallery to [Thomas] Faris in 1856.

1856 October 9.  The Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  October 9, 1856, Vol. XVII, No. [ ? ], P. 2.

Remember

Faris’ Ambrotypes are surprisingly beautiful.

Faris’ Ambrotypes are life-like.

Faris’ Ambrotypes are entirely durable.

Faris’ Ambrotypes for richness of tone, are wonderful.

Faris’ Stereoscopes are miracles of art.

Faris’ Daguerreotypes are perfect gems.

Faris’ Heliographs are pronounced by Artists “Perfection.

Faris’ Gallery is in the Melodeon, corner Fourth and Walnut, Cincinnati, and No. 28 West Fourth street.

Remember Faris is the only Artist [it] in the city who makes the real Ambrotype.

1857 April 11.  Frank Leslie’s Illustrated Newspaper.  (New York, New York.)  April 11, 1857, Vol. III, No. 70, P. 15.

Diaphaneotypes, Photographs, Daguerreotypes, at the Root Photographic and Fine Art Gallery, 363 Broadway, corner Franklin street.  Faris & Erwin, Proprietors.

Advertisement ran from April 11 to September 19, 1857.

1858 January 11.  The Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  January 11, 1858, Vol. XVIII, No. 267, P. 2.

Photographs, Heliographs, &c., At Greatly Reduced Prices, Melodeon Gallery.—As the Photographic business is very dull during the month of January , February and March and in view of the present financial crisis, anticipating an unusually dull business that time, in order to retain the services of all our artists, and keep them employed, we will for the next three months furnish our customers with the same quality of Photographic pictures, for which the Gallery is renowned, at Greatly Reduced Prices!

As this reduction will be temporary, we advise all who wish to have good pictures to call at once—examine our prices and pictures.  We will furnish a better picture than can be obtained at any other establishment at our price.

We would call particular attention to the Heliograph, the new and popular style of picture for which a patent has been granted to E. C. Hawkins, the inventor.  They are made only at this Gallery.  Farris & Mullen, Melodeon Gallery, N. W. corner of Fourth and Walnut.

Advertisement was recorded on January 11 & 12, 1858.

1858 July 24.  Daily Cincinnati Commercial.  (Cincinnati, Ohio.)  July 24, 1856, Vol. XIX, No. 122, P. 2.

Faris & Stillman, Melodeon Gallery, Corner Fourth and Walnut Streets.  Photographs, Melainotypes, Ambrotypes and Heliographs at greatly reduced prices.

N. B.—Life size Photographs colored in oil by first class artists.

Advertisement ran from July 24 to 27, 1858.

1858 August 28.  New York Daily Tribune.  (New York, New York.)  August 28, 1858, Vol. XVIII, No. 5414, P. 1

For Finely Finished Photographs, Go to Faris’s, (Late Root’s), No. 363 Broadway, Corner Franklin-st.

1858 October 21.  New York Daily Tribune.  (New York, New York.)  October 21, 1858, Vol. XVIII, No. 5460, P. 7.

The Diaphaneotype.  This, the most beautiful and truthful style of oil colored Photograph yet produced, was originally introduced, and is made in all its exquisite perfection at the Root Gallery Only.

Specimens made at this Establishment on exhibition.  Gallery No. 363 Broadway, corner of Franklin-st.  T. Faris, Proprietor.

1858 October 21.  New York Daily Tribune.  (New York, New York.)  October 21, 1858, Vol. XVIII, No. 5460, P. 7.

Highly Complimentary To The Root Gallery.—The fact of a rival establishment placing on exhibition Pictures made at our Gallery is an evidence that our efforts to perfect the beautiful art of Photography is duly appreciated.

The Diaphaneotype introduced and made only at the Root Gallery, No. 363 Broadway, corner of Franklin-st.  T. Faris, Proprietor.

1859 October 8.  New York Daily Tribune.  (New York, New York.)  October 8, 1859, Vol. XIX, No. 5760, P. 3.

Root Photographic Gallery.  T. Faris, Proprietor.  No. 363 Broadway, corner of Franklin-st.  Photographs in every style.  Daguerreotypes, Ivorytypes, &c.

Advertisement ran on October 8 to 14 & October 18 to 29, 1859.

1859 November 12.  New York Daily Tribune.  (New York, New York.)  November 12, 1859, Vol. XIX, No. 5790, P. 7.

The Root Gallery of Photographic Art, No. 363 Broadway, corner of Franklin-st.  T. Faris, Proprietor.

Photographs in every style, Daguerreotypes, Ivorytypes, &c.

Advertisement ran from November 12 to 22, 1859.

1859 December 13.  New York Daily Tribune.  (New York, New York.)  December 13, 1859, Vol. XIX, No. 5816, P. 7.

Ivorytypes!  Ivorytypes!!  This most beautiful, durable and appropriate picture for Holiday Presents is made in superior style at the Root Gallery, No. 363 Broadway, corner of Franklin-st., T. Faris, proprietor.

Although we were the first to present this style of picture to the public of New-York, we have not the extreme modesty to claim that they are made only at our gallery, as do some others.

What has become of the Hallotype?

[1] Recorded in Ohio Photographers 1839-1900.

Samuel Raymond Fanshaw

Daguerreotypes, Portrait Painter, , , , , , , , , ,

1843                235 Broadway, New York New York.

1850                247 Broadway, New York, New York.

Samuel Raymond Fanshaw was recorded in eight advertisements and two announcements, in the New York Herald and New York Tribune.  He was an miniature painter & artist according to the New York City Directory, and a miniature & portrait painter according to an entry in The New York Historical Society’s Dictionary of Artists in America 1564-1860. The advertisements and announcements show him in the partnerships of Fanshaw, Young & Cunningham; Fanshaw & Hite and Hite, Langenheim & Fanshaw.  The city directories only list him as an artist and not in a partnership.

The first advertisement ran every other day from May 25 to 29, and every day from June 4 to 6, 1843 in The New York Herald.  Miniature Portraits copied from Daguerreotypes in natural colors on ivory, with perfect accuracy, or with any desired alteration or improvement on very moderate terms.  Specimens to be seen in the Daguerreotype Room, No. 1, at 235 Broadway, near park place.

The first announcement appeared on September 19,1843 in the New York Daily Tribune.  Fair at the American Museum.—The problem of opening a new and spacious Saloon at the American Museum, as a Perpetual Fair or Bazaar for the Exhibition and Sale of Goods, Wares, Merchandize, &c has proved highly successful.  It is now one of the most attractive Halls in the Establishment, and is undoubtedly the cheapest Advertising Medium in the world.  The name, location and business of all depositors are advertised in 100,000 small bills per annum—also in the principal city papers.  The following persons have already made deposits in this Fair, and as nearly all the articles are For Sale, Merchants and others will find it to their interest to make their purchases through this medium.  It is obvious that no articles but those of the best quality are deposited here.  Persons desirous of depositing specimens of Goods or Cards of Business in the perpetual Fair, can do so on reasonable terms.  Circulars of prices, & c. can be obtained at the Office of the Museum.

Daguerreotype Miniatures…..N. G. Burgess, 192 Broadway

Daguerreotype Miniatures…..J. Gurney, 189 Broadway

Daguerreotype Miniatures…..J. Plumbe, Jr., 251 Broadway

Daguerreotype Miniatures…..Fanshaw, Young & Cunningham, 235 Broadway

The second announcement appeared on June 18, 1850 in the New York Herald.  Fine Arts.—Samuel R. Fanshaw & George H. Hite, miniature and portrait painters, have associated with W. & F. Langenheim, the celebrated Daguerreotype and Talbotype artist of Philadelphia, and purchased the splendid National Miniature Gallery, established by Edwards, Anthony & Clark, 247 Broadway, corner Murray street, where they will superintend the sittings for Daguerreotypes.  Their Talbotype miniatures and portraits, which are taken upon ivory, ivory-paper, etc., may be seen in the above gallery.  There is but one prevailing opinion, that they possess all the truthfulness of a good Daguerreotype, with all the artistic merit that has characterized the former highly finished miniatures of those artists.  For further evidence; please call and see them.

The second advertisement ran from June 27 to 28, 1850 in the New York Herald.  Fine Arts.—Talbotypes and Daguerreotypes.—The subscribers having purchased the National Miniature Gallery, 247 Broadway, (late E. White’s) are prepared to take Talbotype Portraits of all sizes, up to the size of life.  The fidelity of likeness, and the beautiful finish of these pictures, gain them greater popularity every day.  Daguerreotypes taken in the most approved style.  The public are respectfully invited to examine specimens at our establishment, 247 Broadway.  Hite, Langenheim & Fanshaw.

The third advertisement ran from July 3 to 6, 1850 in the New York Herald.  Fine Arts.—Talbotypes and Daguerreotypes.—The subscribers having purchased the National Miniature Gallery, 247 Broadway, (late E. White’s) are prepared to take Talbotype Portraits of all sizes, up to the size of life.  The fidelity of likeness, and the beautiful finish of these pictures, gain them greater popularity every day.  Daguerreotypes taken in the most approved style.  The public are respectfully invited to examine specimens at our establishment, 247 Broadway.  Hite, Langenheim & Fanshaw.

The fourth advertisement appeared on July 10, 1850 in the New York Herald.  Fine Arts.—Talbotypes, or Portraits on Ivory and ivory paper, are daily taken in a superior style, and in any size required up to the size of life, at the National Miniature Gallery.  Daguerreotypes taken in the most artistical style.  The public are invited to examine specimens at 247 Broadway.  Hite, Langenheim & Fanshaw.

The fifth advertisement ran from July 14 to 17, 1850 in the New York Herald.  Fine Arts.—Talbotypes, or Portraits on Ivory and ivory paper, are daily taken in a superior style, and in any size required up to the size of life, at the National Miniature Gallery.  Daguerreotypes taken in the most artistical style.  The public are invited to examine specimens at 247 Broadway.  Hite, Langenheim & Fanshaw.

The sixth advertisement ran on July 16 & 20, 1850 in the New York Daily Tribune.  Fine Arts—Talbotypes, or Portraits on Ivory, Ivory Paper and Glass, and Daguerreotypes, are daily taken by the subscribers in a superior style, and in any size required up to the size of life.  The public are respectfully invited to examine specimens at the National Miniature Gallery, 247 Broadway.  Hite, Langenheim & Fanshaw.                                                        

The seventh advertisement ran on July 18 to 19, 1850 in the New York Herald.  Fine Arts.—Talbotypes, or Portraits on Ivory and ivory paper and glass, and daguerreotypes are daily taken by the subscribers, in a superior style, and in any size required up to the size of life. The public are respectfully invited to examine specimens at the National Miniature Gallery, 247 Broadway.  Hite, Langenheim & Fanshaw.

The eighth advertisement appeared on August 29, 1850 in the New York Daily Tribune.  To Artists.—An artists who understands Miniature Portrait Painting in oil and water colors, and who can give proof of his talents, can find employment at the National Miniature Gallery, No. 247 Broadway.  None but competent persons need apply.  Hite, Langenheim & Fanshaw.                                                                                  

Samuel R. Fanshaw is recorded in the New York City Directories.

1840/1841 & 1841/1842—Miniature painter, 1 Cortlandt, H- 280 Henry.

1842/1843 to 1844/1845—Artist, 1 Cortlandt, H-249 Seventh.

1845/1846—Artist, 1 Cortlandt, H-[ ? ] Ave C & 11th.

1846/1847-1847/1848—Artist, 25 Maiden Lane & 1 Cortlandt, H-249 Seventh.

1848/1849—Artist, 1 Cortlandt, H-249 Seventh.

1849/1850—Artist, 1 Cortlandt, H-Winchester.

1850/1851—Artist, 247 Broadway, B-Winchester.

1851/1852 to 1855/1856—Artist, 363 Broadway, H-Conn. (1854/1855) Norwalk.

1856/1857 & 1857/1858—Painter, 363 Broadway, H-Conn.

1858/1859—Not listed.

1859/1860—Artist, 381 Broadway, H-Hamilton Ave., near Gates Ave., Brooklyn.

Samuel R. Fanshaw is recorded in Craig’s Daguerreian Registry, but is misidentified as Thomas Fanshaw.  From 1851 to 1857 the 363 Address is the same as Samuel Root’s it is possible that Fanshaw is working for Root.  At this time it is only speculation about the connection.  

Root & Hovey

Photographs, , , , ,

1854                Address Unknown[1], New York, New York.

Root & Hovey (Samuel Root & Daniel or Douglass Hovey) were recorded in two announcements.  The first appeared on  October 7, 1854 in the New York Daily Tribune (New York, New York).  Premium List.  The following premiums were awarded at the Fair of the New-York State Agricultural Society, held in this City October 3-6…

Best Daguerreotypes—Meade & Brother, New York                        Dip.                                                  Best sample Photographs—Root & Hovey, New York City.           Dip.

The second appeared in The New York Herald (New York, New York) on October 8, 1854.  New York State Fair…Painting, etc.

Best Daguerreotypes—Meade & Brother, New York                        Dip.                                                     Best sample Photographs—Root & Hovey, New York City.           Dip.

Root and Hovey.  Craig’s Daguerreian Registry identifies Hovey as Daniel or Douglass and states that he worked in Samuel Root’s gallery in 1849.  Samuel Root is not recorded as working in Philadelphia in the Directory of Pennsylvania Photographers 1839-1900 or in Craig’s Daguerreian Registry.  Samuel Root does not appear in newspaper advertisements in New York City until 1850 in partnership with his brother Marcus A.

[1] Samuel Root’s address is 363 Broadway.

Hovey

Photographs, , , , , , ,

1854                Address Unknown[1], New York, New York.

Hovey[2] was recorded in two announcements.  The first announcement appeared on October 7, 1854 in the New York Daily Tribune (New York, New York).  Premium List.  The following premiums were awarded at the Fair of the New-York State Agricultural Society, held in this City October 3-6…

Best Daguerreotypes—Meade & Brother, New York…………………..Dip.                                        Best sample Photographs—Root & Hovey, New York City…………….Dip.

The second announcement appeared in The New York Herald (New York, New York) on  October 8, 1854. New York State Fair…Painting, etc.

Best Daguerreotypes—Meade & Brother, New York…………………..Dip.                                          Best sample Photographs—Root & Hovey, New York City…………….Dip.

[1] Samuel Root’s address is 363 Broadway.                                                                                                  [2] Possibly Daniel Hovey.  Craig’s Daguerreian Registry records that Daniel Hovey worked for Samuel Root in Philadelphia in 1849, but does dot record the partnership of Root & Hovey or that he was in New York City.  In the Directory of Pennsylvania Photographers 1839-1900 by Linda A. Ries & Jay W. Ruby Daniel (Douglass) Hovey is listed in 1849 as an operator for Samuel Root in Philadelphia.  From 1849 to 1860’s they record him in Rochester, New York, in partnership with John Kelsey in 1854 and Henry Hartman from 1857-1863.  Interestingly Samuel Root is not list in their directory.

John De Barnes

Daguerreotypes, , , ,

1856                363 Broadway, New York, New York.                                                                            1856                585 Broadway, New York, New York.

John De Barnes was recorded in an advertisement on December 11, 1856 in the New York Daily Tribune (New York, New York).  Daguerreotypes.—The best Daguerreotypes made in this city are by John De Banes (formerly of Root’s Gallery), now at the head of this department at Fredericks’s Magnificent Gallery, No. 585 Broadway, opposite Metropolitan Hotel.

John De Barnes is not recorded in other photographic directories.

Peter G. Clark

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

1850                Address Unknown, [Boston], Massachusetts.[1]                                                1851                247 Washington Street, Boston, Massachusetts.[2]                                                      1851-1852     36 Washington Street, Boston, Massachusetts.[3]                                                      1852-1854      in San Francisco, California.[4]                                                                          1853                Address Unknown, Boston, Massachusetts.[1]                                                  1854                103 Washington Street, Boston, Massachusetts.[3]                                                    1854-1856      in New York City.[4]                                                                                                1855                158 Bowery, New York, New York.[5]                                                                      1857                Lower Great George Street, Charlottetown, Prince Edward Island, Canada.[4]  1859-1862      in San Francisco, California.[4]

Peter G. Clark first appeared in the Massachusetts Charitable Mechanic Association Report for September 1850.  He exhibited daguerreotypes at the sixth exhibition of the Massachusetts Charitable Mechanic Association, no award was given.

Reported on December 20, 1851 in The Carpet Bag (Boston, Massachusetts). A Present.—We have received from the artist, Mr. P. G. Clark, No. 247 Washington street, an elegant and faithful likeness of Mrs. H. M. Stephens, of this city, and we take pleasure in exhibiting the treasure to our many visitors. [We have an adjourned promise of the transcript of another fair face from the East—“down east,”—when the “sometimes operator” shall get back.] Of course we are proud of it, and of course we thank the donor, and commend him to the notice of that public which always patronizes those who favor the printers.

Reported in the September 1853 report of the Massachusetts Charitable Mechanic Association.  Peter G. Clark exhibited daguerreotypes at the sixth exhibition of the Massachusetts Charitable Mechanic Association. Award a bronze medal for daguerreotype views of California.

Reported in an advertisement on December 22, 1855 in the New York Daily Tribune (New York, New York). Handsome Ladies!—Pictures Taken Gratis!—The time fixed for the opening of Barnum’s Gallery Of Beauty has been extended for a short period $20,000 will be expended in Premiums to the 100 handsomest Ladies and for painting their portraits.  Highest prize $1,000.  For particulars see circulars at the Museum.  Daguerreotypes for this Gallery will be taken free of all expense to the sitter, if application be made to them immediately, by all the principal artists in the United States, including the following superior Daguerreotypist in the City of New York.

J. Gurney, No. 489 Broadway; M. M. Lawrence, No. 831 Broadway; S. Root, No. 363 Broadway; Meade Brothers, No. 233 Broadway; R. Anson, No. 589 Broadway; Beckers & Piard, No. 264 Broadway; M. H. Kimball, No. 407 Broadway; J. W. Thompson, No. 315 Broadway, and 182 Fulton-st, Brooklyn; M. Kerston, No. 421 Broadway, cor. of canal; P. Welling, Cor. of Bleecker and Carmine-sts; P. G. Clark, No. 156 Bowery; Jullus Brill, No. 204 Chatham-st; R. A. Lewis, No. 142 Chatham Square.

Peter G. Clark is known see the following publications for more information Pioneer Photographers of the Far West, A Biographical Dictionary 1840-1865,  Craig’s Daguerreian Registry, A Directory of Massachusetts Photographers 1839-1900.

The new Information, is the fact that he showed at the Massachusetts Charitable Mechanic Association in 1850 and in 1853, the advertisement in the Carpet Bag newspaper with the 247 Washington Street address, and the December 22, 1855 New York Daily Tribune advertisement with address of 156 Bowery, New York.

[1] Massachusetts Charitable Mechanic Association records, 1850 & 1853.                                        [2] The Carpet Bag (newspaper).                                                                                                                        [3] Directory of Massachusetts Photographers 1839-1900.                                                                          [4] Pioneer Photographers of the Far West.                                                                                                        [5] New York Daily Tribune (newspaper).

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…..