1847                Address Unknown, Madison, Wisconsin.

C. 1849           Address Unknown,  Galena, Illinois.[1]

1850                North West corner Main & Hill Streets, over St. Louis Store, Galena, Illinois.¹

1850-1851       Glove Building, third floor, Dubuque, Iowa.¹

1851-1852       Address Unknown, Moss Rio, Illinois.¹

1852-1855       90 Main Street, Galena, Illinois.¹

1853-1859       22 Metropolitan Block, Chicago, Illinois.

1859-1871       113 Lake Street, Chicago, Illinois.

1872-1877       Judson Block, corner Davis Street and Sherman Avenue, Evanston, Illinois.

1877-1879       Corner and Depot, Evanston, Illinois.

1879-1880       86 State Street, corner Washington Streets, Chicago, Illinois.

1880-1885       96 State Street, Chicago, Illinois.[2]

1880                92, 98 State Street, Chicago, Illinois.[3]

1885                157 Dearborn Street, Chicago, Illinois.

1892                603, 70 State Street, Chicago, Illinois.^2,3

1895                208 east Ohio Street, Chicago, Illinois.

1852 January 21.  The Daily Dispatch.  (Richmond, Virginia.)  January 21, 1852, Vol. 2, No. 79, P. 3.

The Galena (Ill.) Advertiser states, that a Mr. Hesler has finished a daguerreotype, for a gentleman in that city, in which the metallic appearance of his plate is wholly destroyed, and its place supplied a back ground as agreeable to the eye as India paper.  At first glance, says the Advertiser, the picture looks like a fine line engraving, but the second shows you that there is, if

Not a grace, a delicacy of touch and penciling beyond the reach of art.  This picture, unlike any other daguerreotype the editor of that paper has examined, can be seen, like a painting or drawing, from an angle, the metallic tints being destroyed.

1853 August 19.  Semi-Weekly Tribune.  (New York, New York.)  August 19, 1853. Vol. VIII, No. 859. P. 1.

The Exhibition At The Crystal Palace.  XVI.  American Art—Daguerreotypes.  If there be any one department in the whole building which is peculiarly American, and in which the country shines prominent, it is in that of Daguerreotypes, which are exhibited below stairs; and the collection, which is an extensive one, is made up of contributions from almost every section of the Union where the art is practiced.  In contrasting the specimens of art which are taken herewith those taken in European countries, the excellence of American pictures is evident, which is [to] be accounted for by several reasons.  In the first place, American skies are freer from fogs and clouds—from bituminous coal not being much used, the atmosphere of our cities is free from smoke, at least upon the Atlantic coasts.  Then the chemicals and processes are, generally speaking, of a more sensitive character, and the apparatus is more convenient and suitable than that of Europe.  Our little inventions come into play and aid in saving time and developing a good picture, and last, though perhaps not least our people are readier in picking up processes and acquiring the mastery of the art than our trans-Atlantic rivals.  Not that we understand the science better, but the detail of the work is acquired in a shorter time by us, while the enormous practice which our operators enjoy combines to render the daguerreotype art a necessary adjunct to the comfort of life.  Does a child start on the journey of existence and leave his “father’s hall” forthwith the little image is produced to keep his memory green..  Does the daughter accept the new duties of matron, or does the venerated parent descend into the grave; what means so ready to revive their recollection?  Does the lover or the husband go to Australia or California, and not exchange with the beloved one the image of what afforded so much delight to gaze upon?  The readiness with which a likeness may be obtained, the truthfulness of the image and the smallness of cost, render it the current pledge of friendship, and the immense number of operators who are supported by the art in this country shows how widely the love of sun-pictures is diffused.  Several thousand industrious artists and artisans are occupied in the preparation of very pure chemicals, as bromine, iodine, gold salts, hyperphosphate of soda.  Another class prepare silvered plates, cases, buffs, gilding, cut glass, and a hundred little addenda.  Then the manufacture of cameras and the grinding of good lenses is an important branch of the business; for without a camera having good lenses the best operator would fail to produce an image which would be distinct or saleable; and even with a good Voigtlander or Harrison camera, it requires great skill to focus the image; for, strange as it may appear, the point where a good view of the sitter is obtained is not the point best adapted for bringing out a good picture.  In other words the focus of vision and the focus of chemical action are not the same, and hence when we have the one we lose the other.  This is owing to the fact that it is not the rays of color on the solar spectrum which produce the image, but a different set of rays, viz: those of chemical action; and since this is the case, we submit the opinion that it is not possible to obtain a daguerreotype in its natural colors, as Mr. Hill and others have been trying to delude our operators into believing, and leading themselves and others by the [iguis fatuus] of plates tortured into iridescent colors by chemical oxidation.  But we are getting discursive upon this beautiful art, which was intended to subserve many other useful purposes than that of portrait painting.

Everybody known how difficult it is to keep silver from tarnishing, and that the action of the light is to destroy all preparations of silver.  Some of these are more readily acted on by light than others—are more sensitive, as it is termed.  Such are the iodide, bromide, and chloride of silver.  These salts cannot be kept exposed to the light for any reason, even a very short time, without undergoing some change; and when a plate of silver has a thin layer of iodine and bromine on its surface; and is placed in a camera, as soon as the screen is raised the image of the sitter falls on the plate.  The silver plate is acted on unequally, producing the effects of light and shade when brought out, as it is termed, by exposure to the vapor of quicksilver.  It is then fixed or prevented from undergoing further change, by washing it with a solution of gold.

To produce a daguerreotype picture there are five operations necessary.  The first is cleaning the plate.  This is the stumbling block of most operators.  They are not cleanly enough.  Several views in this Exhibition show that the plates were not well enough cleaned.  Never was a maxim more true than the old one, that “cleanliness is a virtue”—when it has reference to daguerreotyping.  The second the second is the foundation of the sensitive iodide of silver over the surface of the plate.  The third is the adjusting the plate in the camera obscura, for the purpose of receiving the impression.  The fourth is the bringing out the photographic picture, which is invisible when the plate is taken from the camera.  The fifth, and last, is to remove the excess of sensitive coating, and thus prevent that susceptibility to change under luminous influence which would otherwise exist and ultimately effect the picture.  The second operation is that which gives tone and warmth to the picture, and when performed by skillful hands makes a daguerreotype a beautiful piece of art.  The clearness and distinctness of the image is produced by the third process when carefully conducted, and the whole picture should be distinct over the whole plate.  These remarks will serve to illustrate the subjoined notes upon the collections in the Exhibition.

Mr. Lawrence exhibited a case in which softness of tone and distinctness of image are united with artistic arrangement.  The latter quality is specially noticeable in “The Three Ages.”  The mechanical execution of these pictures is unexcelled.  These pictures of Mr. L. were exhibited in London.  Mr. Brady’s collection is not very large, but there are a few very good pictures exhibited by him.  In Gurney’s collection the coloring of the background has a fine effect; there are some very well executed portraits, among which is one of Mr. Forrest, worth notice as a work of art: taken as a Whole there is less softness and more distinctness in this collection than in that of Lawrence.  The picture of Ware and his sister is an instance of a picture well developed when the chemical action extends to the margin of the plate.  D. Clark, New Brunswick, N. J., has four pictures of merit; and Van Schneidan a small collection of well-selected heads.  J. Brown has a collection of portraits of Commodore Perry and the officers of the squadron for the Japan Expedition, in half-size plates: the interest of this collection is much marred by the names of the officers not being attached underneath the plate; it is not too late to rectify this omission.  Haas has a whole-plate allegorical figure of a family man reading the paper at home—an excellent idea and well executed.  Besides this, he has a couple of other pictures, though on the whole his show is mediocre.  In the cases of Harrison & Hill there is displayed excellent artistic arrangement with very indifferent mechanical execution.  In the mammoth plates occupied by allegorical designs, the back-ground is wretchedly brought out—the plates were not properly cleaned, and are full of scratches; there are a few half and whole-sized pictures set in gaudy frames.

Webster, of Louisville, KY., has twenty-three pictures possessing clearness.  They have, however, been exposed a little too much in the camera; they lack warmth, but are otherwise well developed and exhibit good mechanical execution.  Alex Hesler has a collection of whole plates handsomely executed, possessing a nice arrangement of the drapery, which has the effect of throwing the head out in good relief.  There is artistic arrangement in this collection, especially evinced in the picture “Driving a “Trade,” one of a series illustrating character and passion.  The panoramic view of Galena, Ill. Shows that city to advantage; and the three views of the Falls of St. Anthony possess great merit.  Mr. North, of Cleveland, O., has a case of pretty fail likenesses, perhaps exhibiting the lights too strongly.  Bisbee, of Dayton, O. exhibits a panoramic view of Cincinnati from Newport, upon six large plates.  This view is, without exception, the finest thing in the whole room; we might even go further, and say that it is the finest view by the Daguerreian process ever exhibited.  The mechanical execution is excellent, the perspective good, and the development unsurpassed.  The effect of the smoke over the southern part of the city is very finely given.  the distinctness of the letter signs, three-quarters of a mile distance and across the Ohio river, is well brought out.  The rest of the collection is fair, possessing no peculiar merit.  Williamson exhibits a poor collection.  Dobyn, Richardson & Co. have several whole size well-executed specimens, in which the mechanical part, the artistic arrangement and the chemical effect is good.  The “Cupid Reposing” is a very ungraceful picture of an ill-formed child, and the coloring is bad.  That of the Bateman Children, in character, is a good picture.  There are some exceedingly well executed heads in this collection.

Long, of St. Louis, has four frames of 180 heads of Wyman’s School, in that city, with the edifice and Principal; they possess no merit.  A likeness of Prof. Mitchell, Cincinnati, is well executed.  Some of the pictures in this collection are inverted with papier mache frames inlaid with mother of-pearl and tinsel.  As this style of frame appears in a few other collections we may as well here express dissent to the use of this material as being too gaudy and wholly unsuitable for daguerreotype plates. These latter are difficult to be viewed except in one light, and from the brightness of their surface, are much set off by deadened color on the frames, while the glare and iridescence of the papier mache add to the difficulty of discerning the picture; the use of such implies bad taste in the artist.  We felt this opinion growing upon us as we looked at them and found our view corroborated by a boarding school miss, who whisked alongside of us and caught by the colors, exclaimed, “Oh my! aint those “frames beautiful?”  Fitzgibbon has the richest exposition in the Fair—The most expensive frames with a large and passable collection.  The mammoth plate of Judge Colt is very good—That of Jenny Lind the best in the exhibition—those of McAllister, Julia Dean, Kate Hays, and Kossuth, are good pictures.  His collection of Indian Warriors, is a very fine one, which we understand is to be forwarded to the Ethnological Society of London, to have copies and busts made from them.  Masury & Silsbee, Boston exhibited twelve pretty and tasteful plates, with good arrangement and well finished.  The collections of Kilsey, Beals, and Howe do not require notice.  Whitehurst has a few good pictures in a large and passable collection; he has ten pictures illustrating the Falls of Niagara, which are very well executed.  Some of his large heads have their features out of all proportion.  Whipple of Boston, has a collection of photographic pictures, which he calls Crystallotypes, taken from Hyalotypes; there is a plate of the moon daguerreotyped, and one of the spots on the sun.  McDonnell & Co., Buffalo, have a very poor collection—so poor as not to deserve a place in the exhibition; the views of Niagara are fair.   Hawkins exhibits photographs on paper.  Drummond, eight plates of the order of Free masons in their lodge dress.  Fitzgibbon (already noticed) exhibits a very interesting case, which is a frame of electrotype copies from daguerreotype plates, very beautifully executed.  It should not be over looked upon as a mere curiosity to place a daguerreotype plate in a copper solution and take a copper cast from its surface by means of electricity: the copper cast looks much warmer in tone than the original.  It is to be regretted that Fitzgibbon did not complete this frame by the insertion of a third plate, by taking a second copy from the copper copy.  This would be in relief, like the original silver-plate, and is succeptible of being treated like an engraved plate; yielding, when inked, prints resembling mezzotint.  Besides the above collection of daguerreotypes, there is an assortment of cameras, lenses, stereoscopes and photographic paper, which are of interest to those practicing these beautiful arts.

1853.  Official Catalogue of the New-York Exhibition of Industry of All Nations.  1853.

Class 10.  Philosophical Instruments And Their Products.

66.  Daguerreotype pictures, embracing panoramic views of Galena city; Falls of St. Anthony; Min-ne-ha-ha Falls, and a collection of portraits.  – Alex. Hesler, Daguerrean Artist, Galena, Illinois.

1854.  Illinois And Missouri State Directory for 1854-1855.  (St. Louis, Missouri.)  1854, P. 141-142.

Hesler, A., Address Unknown, Galena, Illinois.

1854.  Illinois And Missouri State Directory for 1854-1855.  (St. Louis, Missouri.)  1854, P. 74.

A. Hesler, Daguerrean Artist, And Dealer In Daguerreotype Materials, Galena, Ill.  Plates Of Every Brand.

Cases of Every Make and Style.  Chemicals From Every Laboratory.  Cameras and all kinds of Apparatus, from every manufactory, always on hand and for sale on the lowest terms.  Orders Solicited And Promptly Attended To.

Pictures taken in this Gallery received the highest award, A Gold Medal, At the Sixth Annual Fair in Chicago, in 1853.  Also Hesler’s Pictures On Exhibition At The World’s Fair In New York, Have received the highest praise, both from the Public and the Press.

No Pains Spared By The Artist To Please All Who May Favor Him With Their Patronage.

Pictures in every style of the Art, and of all sizes.  Also, the new style Of Glass and Paper Pictures, taken for all who wish.

All are invited to visit this Gallery, as it is the most extensive in the country, and all Pictures taken here are Warranted Unsurpassed in the world.

1854 January 20.  New York Daily Tribune.  (New York, New York.)  January 20, 1854, Vol. XIII, No. 3,981, P. 6.

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.

1854 January 21.  New York Daily Tribune.  (New York, New York.)  January 21, 1854, Vol. XIII, No. 3,982, P. 3.

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

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

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.

1856 January 5.  The Daily Democratic Press.  (Chicago, Illinois.)  January 5, 1856, Vol. IV, No. 83, P. 3.

Hesler’s Daguerreotype, Photographic and Fine Art Gallery, No. 22, 24, 25 and 27 Metropolitan Block, Lasalle Street.  The subscriber takes pleasure and pride in being able to announce to the public that his magnificent establishment is now in complete and successful operation. And Chicago can now boast of the most extensive and beautiful Photographic Gallery in the world—fitted up at a cost of Twenty Thousand Dollars.  It contains all that is new and beautiful in the Photographic Art.  The Light and arrangements for the production of the finest Gem of Life and Beauty, and arranged on the most approved and Scientific Principal, and are the result of years of untiring labor and study.  The success of the unrivalled pictures produced are abundantly attested by the praises of the public, and the awards of the Highest Prices In Every Fair or place wherever these Pictures have been exhibited.

Every style of Photographic Pictures is here produced in its highest perfection.  Hesler’s Daguerreotypes are too well known to require a word of mention.  Hesler’s Crystalographs, Or Daguerreotypes On Glass by some called “Ambrotypes, and claimed to be imperishables,” are here taken in their highest perfection.

Hesler & Joslin’s Photographs are taken in every style and size, from the smallest miniatures up to full life.  These are also taken on Ivory, Paper And Canvas—The Life And Cabinet Sizes, on canvas re made precisely like any other first class oil painting, with the exception that the drawing is all the faithfulness and beauty of light and shade is made with the Daguerreotype Camera, thus giving a more perfect likeness than is possible to attain by the old method of Portrait Painting.

Persons having Daguerreotypes of deceased or absent friends, can have them copied of any size and with all the beauty and fidelity of nature.

The public are cordially invited to visit the Gallery and see its productions.  oc25.

Advertisement was recorded from January 5, 1856 to February 5, 1857.

1856 February 1.  The Daily Democratic Press.  (Chicago, Illinois.)  February 1, 1856, Vol. IV, No. 105, P. 2 & 3.

Review of the Manufacturers of Chicago for 1855.  In presenting our readers with the fourth Annual Review of the Manufactures of Chicago, we are happy to say , that this important arm of our prosperity continues to keep pace with the general growth of the city and country…

Daguerreotypes, Photographs, Ambrotypes, &c.  The Daguerrean business is not strickly speaking a manufacturing branch of industry, yet as there is in this city a large amount of capital invested in establishments of this kind, we have thought it  but proper to include them.  During the past two years Daguerrean rooms have increased very rapidly; and we are happy to record the fact, that Chicago has some of the best operators in the United States.

A. Hesler, Daguerrean and Photographer, Metropolitan Block, Lasalle street.

This is the largest Daguerrean establishment in the United States.  It consists of 12 large rooms, most appropriately fitted up.  The show rooms are luxuriously furnished.

Mr. Hesler’s Daguerreotype likenesses have taken the premium at the World’s Fair, New York, and at several of the State Fairs throughout the United States.  He was formerly situated at Galena, in this State, and moved to this city in December, 1854.

The following is a statement of his business during 1855.

Capital Investment…………$22,000

Va. Of Pictures, &c.………..$38,000

Material used……….………$18,000

Wages used………………….$6,500

No. of operators employed….10.

Root, Cook & Fassett, Daguerreotypist and Ambrotypist, 131 Lake street.

This establishment was only commenced las September, since which time they have acquired a good reputation as Daguerreans.  Some of their pictures have taken premiums at State Fairs and Industrial exhibitions.

The Following is a statement of their operation from Sept. 1st to Dec. 31st, 1855.

Capital Invested……….$3,000

600 pictures……………$2,000

Raw material used……..$400

H. W. Williams, Daguerrean Artist, 58 West Randolph street.

The amount of business turned out in this establishment during the past year, is as follows:

Capital Invested……$500.

Value of pictures……$1,500.

No. of operators…….2.

Taylor & Lenox, Ambrotypist and Daguerreans, 75 Lake street.

This firm commenced business in September last.  They are the proprietors of the patent right of Cutting’s process of Ambrotyping, for this State and Wisconsin.  The figures during the few months they have been in business, we did not receive.

C. H. Lillibridge, Photographer, 77 Lake st….No report.

C. C. Kelsey, Daguerrean, 96 Lake st………..Blanks not returned.

G. E. Gordan, Daguerrean, 44 Dearborn st…..No returns.

E. G. Stiles, Daguerrean, 139 Lake st…………Blanks not returned.

P. Von Schneidau, Daguerrean, 142 Lake st….Blanks not returned.

1856 February 28.  The Daily Democratic Press.  (Chicago, Illinois.)  February 28, 1856, Vol. IV, No. 128, P. 3.

Young Men’s Association Rooms.—The new rooms for the Young Men’s Association in Bryan’s block on Washington street, are so far finished that the Association is about removing and will probably be found in its new quarters next week.  The rooms will be spacious and pleasant and we congratulate the Association upon the change.

Among the embellishments of the rooms, portraits of distinguished literary men will be most conspicuous.  The Association have arranged with Hesler to take photographs in his inimitable style of all those who deliver lectures before the Association, and which will be hung in the Association rooms.  It was only recently that this arrangement was made. So that for portraits of the earlier lecturers some other measures mast [sic.] be relied upon.  We have seen several heads taken under the arrangement with Hesler, and they are very fine.  By a recent improvement the pictures are taken on paper with a clear white background, thus giving all the distinctness of an engraving combined with the softness of the most finished crayon sketches.  They are called Crayon Photographs.  Those of Bishop Clark, and of Prof. Felton, are remarkably good.

1856 March 22.  The Daily Democratic Press.  (Chicago, Illinois.)  March 22, 1856, Vol. IV, No. 148, P. 3.

Art Matters…Pictures and paintings are more talked of among us than ever before…

Hesler’s gallery contains some new gems in daguerreotypes and photographs.  The crayon photographs on white paper are still “the rage” here.  Mr. Marck, the artist in oil colors at Hesler’s has completed two photograph portraits of the late Edwin Shermanwhich will be exhibited next week and attract the attention of the numerous friends of the deceased.  They were photographed from daguerreotypes.

At Fassett’s, some of the most perfect groups have been taken during the last week.  In a short time Mt. Root of Philadelphia, Mr. Fassett’s partner, will be here to take photographs.  Some of his specimens are already shown in the gallery.  In some of them the effect is wonderfully heightened by deepening the darker portions by skilfully touching them with India ink.  Some of these are valued as high as fifty dollars each.

1856 March 28.  The Daily Democratic Press.  (Chicago, Illinois.)  March 28, 1856, Vol. IV, No. 153, P. 3.

New Style Of Photographs.—Hesler does not stop at anything.  One advance is no sooner made in his beautiful art, than we behold him striding on to something beyond.  The “Crayon Photographs” produced in their perfection a few weeks ago, seemed to leave nothing more to be desired, and yet so soon we are called on to admire something still finer.  A large display is just made of them in his Art Gallery.  “What are they?” asks every one.  “Who did them?” 

They are choice photographs, colored by Winters, formerly of Cincinnati and now one of the group of artists engaged at Hesler’s.  There are no words actually to convey the difference between these pictures finished by Winters, and others we have seen.  The common photographs have never been great favorites with us, but these later productions are unexceptionable.  Every requisite is met; the correctness of life, the naturalness and warmth of color in the features, and the most beautiful effects in the arrangement of draperies and other accessories.  Every lover of art should take time to pass an hour or two at Hesler’s.

1856 April 5.  The Daily Democratic Press.  (Chicago, Illinois.)  April 5, 1856, Vol. IV, No. 160, P. 3.

Art Matters…From Hesler’s the artists are never gone.  He is always there, a whole host in himself, and others are ever and anon coming to work with him.  The pictures colored by Winters the last week have been better than his “specimens,” and are greatly admired.  Marck has just finished a life size photograph on oil colors, of a child of a citizen of Kenosha, which is the best thing at Hesler’s this week.  He is improving his pictures by lending a warmer tone of color.  Hesler has commenced something which promises to be very fine; a photograph panoramic view of Chicago; it will be taken from the top of the new grain elevator at the Illinois Central depot, which is on the lake shore and 105 feet high.  The view is complete from this stand point and if the work when finished equals our expectations, we shall have, more to say of it hereafter.

Fassett’s Gallery has been rather surrendered to the carpenters, the painters and the upholsterers the past week, and will be found vastly improved in consequence, while several new and beautiful daguerreotypes show what is constantly being done by the artists there.

1856 May 15.  The Daily Democratic Press.  (Chicago, Illinois.)  May 15, 1856, Vol. IV, No. 194, P. 3.

Meeting Of The Mechanics’ Institute.—The Institute met last Tuesday evening, pursuant to notice at their Hall.  The President, G. P. Hanson, in the Chair.

Minutes of the previous meeting read and approved, when these persons proposed at the previous meeting, thirteen in number, were duly elected members.  On motion, it was Resolved, That Messrs. G. P. Hanson, John Broughton and Geo. W. Gray, be a committee on Photographs presented for inspection by Mr. Hesler, and reported at the next meeting.

After which Mr. Alexander Hesler exhibited before the meeting some specimens of Photographs in their different stages, and gave a few explanations as to their production, confining himself simply to the photographic branch of his art.  He took the raw cotton and followed it through its processes, until it became collodion, and made sensitive to the action of light, then deposited on a plate of glass which was shown to the audience.  This plate formed the plate corresponding to the engraved plate, from which duplicates to an indefinite extent, can be taken.  He explained how they could be made on canvas or any other substance.  Those photographs made on canvas are designed simply for artists to paint on, and afforded a striking illustration of the advantage derived from the combination of science and art.  At a future meeting Mr. H. has consented to give an explanation of the stereoscope, and exhibit some samples illustrating it.

1856 July 7.  The Daily Democratic Press.  (Chicago, Illinois.)  July 7, 1856, Vol. IV, No. 238, P. 3.

Photographs Of The Fourth.—We are happy to know that Hesler succeeded in photographing fine views of the scene at the Encampment Friday afternoon, and of the presentation at the Tremont House Friday morning, which are very beautiful pictures, and may be obtained at his gallery.

1856 September 20.  Saturday Evening Gazette.  (Boston, Massachusetts.)  September 20, 1856, Quarto Series 38, Whole No. 2342, P. 8.

The Mechanics Fair.  A Second Visit.

…In the daguerreotype department, Messrs. Whipple & Black with their monster photographs, and Messrs. Masury, Silsbee & Case, with their neatly executed specimens, made a fine display; but gentlemen, did you notice little gems from the photographic and fine art Gallery of Mr. Hester, [sic.]Chicago, Ill?  That man is an artist and his gems were admired by all.  We have never seen pictures of that description which please us more…

1856.  Mass Charitable Association, Boston, Massachusetts.

Two Silver Medals for best Daguerreotypes and Photographs.

1856 October 27.  The Daily Democratic Press.  (Chicago, Illinois.)  October 27, 1856, Vol. V, No. 33, P. 3.

Premiums Awarded at the Mechanics’ Institute Fair…

Class XXIII.

105.  Best ambrotypes C. H. Lillbridge; diploma.

115.  Best plain photographs, Fassett & Cook; diploma.

276.  Best colored photographs and daguerreotypes, A. Hesler; diploma.

295.  Best melainotypes, A. Hesler, diploma.

1856 December 27.  The Daily Democratic Press.  (Chicago, Illinois.)  December 27, 1856, Vol. V, No. 84, P. 3.

A Picture.—We saw yesterday a great curiosity in the way of daguerreotypes, in the hands of a distinguished artist, Alex. Helser.  It was a picture of Dr. Boynton creating the electric light, at his lecture Christmas night.  The picture was taken by the electric light, and shows the face of the lecturer in intense brightness, and his hands and the instruments by which he operated.  The picture is certainly a great curiosity, and no one but Hesler would have undertaken it.

1857 January 26.  Congregational Herald.  (Chicago, Illinois.)  January 26, 1857, Vol. 4, No. 48, Whole Mo. 204, P. 3.

A silver medal was recently awarded by the American Institute of New York to A. Hesler for the best Daguerreotypes and Photographs.  In Boston, also, The Massachusetts Charitable Association adjudged to A. Hesler the highest prize for Daguerreotypes and Photographs, which, say the committee, “were remarkable for clearness and beauty, as well as graceful and effective arrangement of figures.”  The committee further say, “We are of opinion that such pictures must be judged as paintings, and in this view we prefer to all others those executed by Mr. Winter, of Chicago,” at Hesler’s Fine Art Gallery, No. 22 Metropolitan Building.

1857 March 5.  The Daily Democratic Press.  (Chicago, Illinois.)  March 5, 1857, Vol. V, No. 141, P. 3.

Business Notice.  The public are invited to Hesler’s Gallery of Art to see a new style of Photograph in oil combining all the perfection of the Daguerreotype and beauty of the Oil Painting and Miniature on Ivory.  The cabinet size portraits are beautiful as life, and are unsurpassed in excellence and life-like beauty.

1858.  U. S. Fair at Chicago, five Silver Medals for Photographs of various kinds.

Genuine Art Pictures Of Chicago.—Happening in at Hesler’s yesterday, we were exceedingly interested in a series of views of the city, which he has taken from the belfry of the Court House.  The embrace the entire city, and for the more densely settled portion of it they will be invaluable for future reference.  It is surprising with what accuracy the different blocks in the principal streets stand out upon the picture.  They are arranged on cards for the parlor table, or placed in succession upon a cloth so that the whole city is seen at a glance, as it appears to the eye of the beholder from the belfry of the Court House.  Nor is it for the inspection of future alone that these pictures are vainly designed.  There are many uses to which they are now put.  Among others, the agents of eastern capitalists send them to their principals, to show them how and where a particular lot on which it is proposed to make a loan is situated.  Real estate men use them to make sales, and it is a curious subject of reflection to see in how many ways the skill of the artist can be made to subserve the ends of legitimate business.  Great is Hesler!

1859 April 22.  The Press and Tribune.  (Chicago, Illinois.)  April 22, 1859, Vol. XII, No. 249, P. 1.

The Best Move Yet.—We learn that Hesler has leased the splendid store, No. 113 Lake street where he will move his justly famed gallery as soon as he can get his new light ready, which is being built under his especial supervision on the most approved known scientific principles.  Mr. Hesler has devoted twelve years of untiring labor and zeal to the advancement of art in the West, and it has been his constant aim and pride to make it here—like the Great West itself, unequalled and unsurpassed.  How far he has succeeded is abundantly testified by his having received the first prizes in the World’s Fair, and in the fairs in Boston and New York, in spite of all the prejudices against Western excellence and art, and in every fair where his work has been exhibited in competition with his fellow artists, and most of all by the very liberal patronage bestowed upon him by an enlightened and appreciative public.

It is about five years since he fitted up and opened his present splendid gallery of which the West and our own city is justly proud.  But not content with this, he is now about to fit up the most accessible, commodious and artistic gallery of art in America.

1859 April 22.  The Press and Tribune.  (Chicago, Illinois.)  April 22, 1859, Vol. XII, No. 249, P. 1.

Removal.—Daguerreotypes, Photographs and Portraits.  Hesler will remove his Gallery to the splendid and spacious store, first floor over Titsworth’s clothing Store, next to D. B. Cooke’s, No. 113 Lake street, as soon as his New Light, that is being built under his supervision for the especial purpose, is completed, which will be about the middle of May.

The Old Gallery is now for Rent.  Apply to A. Hesler, No. 22 Metropolitan Block.

Advertisement ran from April 22 to May 21, 1859.

1859 August 6.  The Press and Tribune.  (Chicago, Illinois.)  August 6, 1859, Vol. XIII, No. 31, P. 1.

Proof Graphic And Photographic.—The Journal says that a London Insurance Company having instructed their Chicago agent to take no risks in our “wooden city,” a copy of Hesler’s great photograph, the city at a glance, has been sent out to refute the calumny.

1859 August 26.  The Press and Tribune.  (Chicago, Illinois.)  August 26, 1859, Vol. XIII, No. 48, P. 1.

View Of The City.—Of a variety there be very many views of Chicago, and they differ somewhat; but none are more striking and reliable than those the sun paints for Hesler.  We stated, the other day, that he sent to England—on orders from capitalists—a copy of his large panorama photograph of Chicago.  We learn that the latter work will probably be exhibited at the National Fair, under magnifiers, after the “dioramic view” style, to give the thousands of strangers what they will scarcely get in any way equally as well—a view of the entire city at a glance.  Hesler, at his new gallery on Lake street, has also jist completed some exquisite views of that prominent business street.

1859 September 23.  The Press and Tribune.  (Chicago, Illinois.)  September 23, 1859, Vol. XIII, No. 71, P. 4.

List of Premiums Awarded at the U. S. Agricultural Fair…

Class 118—Daguerreotypes And Photographs,

Best photographs in water color, Fassett & Cook, Chicago, silver medal.

Plain photographs, O. T. Wallace¹, Chicago, silver medal.

Certificates were awarded to A. Hesler for stereoscopic and microscopic photographs; Fassett & Cook colored ambrotypes.

Photographs in India Ink, Mrs. Fassett, Chicago, silver medal.

Photograph in Waster colors, Fassett & Cook, Chicago, silver medal.

Photographs plain, O. J. Wallace[4], Chicago, silver medal.

Photograph Miniatures, Fassett & Cook, Chicago, diploma.

Photograph plain, A. Hesler, Chicago, diploma.

Photographs in oil, A. Hesler, Chicago, diploma.

Stereoscopic photographs, A. Hesler, Chicago, certificate.

Colored Ambrotypes, Fassett & Cook, Chicago, certificate.

Microscopic photographs, A. Hesler, Chicago, certificate.

1859 October 3.  The Press and Tribune.  (Chicago, Illinois.)  October 3, 1859, Vol. XIII, No. 80, P. 1.

The Photographic Art.  We are often reminded of the striking service the camera is rendering mankind even at the present era of its history.  We do not mean, here, to redfer to it as the means of livelihood of this or that operator, though a great proof of its utility is to be deduced from the vast numbers who live by the art.  We allude to its services in perpetuating in a permanent and beautiful form the wonders of the microscopic world since cheese mites have come to sit for there pictures and loom a foot in diameter, and a fly’s foot is projected upon the photographic surface of the dimensions of a platter.  Hesler here and his brother artists all round the world are thus rendering science sterling and beautiful service, and as sun painting cannot lie, nor exaggerate save in size, the wonders revealed by the microscope have come to receive an endorsement of their truth that the savans have lacked and mourned for.  Those who admired Hesler’s microscopic views at the late Fair here were sure that what they saw had actual existence in insect and microscopic life.

As the ready Means of procuring views of places, scenes, &c., the camera is going round the world, now turning its object-glass against the icebergs near the Polar Circles, and then receiving on, its glass retina the rich bouquet or the magnolia of the South.  Every scientific expedition now carries its photographer in its train.  It went to Japan and brought us portraits not sketches.  It set up its tripod in the Crimea, and the artists took Sebastopol long before the siege was over.

In more peaceful scenes the camera is reproducing the beautiful spots of earth.  We have been led to what we have written by seeing some beautiful views of the romantic falls of the Upper Mississippi—Minne-ha-ha and her gladsome sisters, from the camera of Whitney of St. Paul.  They are pure, clear and delicate as the best engraving, with this advantage that the magnifying glass develops only beauties instead of flaws.  In the bookstore of Messrs. Cooke & Co., on lake street, are specimens of what the photographer is doing in producing faithful and charming copies of the old masters.

The world is apt to forget or undervalue present advantages.  Thus we whirl a league a minute in the flying car, or send the lighting on instantaneous errands of thought and intelligence, and all unconcernedly and as a matter of course.  So the photograph, which we have received and accepted as convenient and suitable in the branch of art, a short cut where the old miniature painter toiled long and painfully, and yet it is the magic mirror of the fable which fixes the shadows it receives.  It has advanced to take its place high in art, not simply an affair of plate cleaning, with a smattering of chemicals, but high and important, not only in that its aid may fix the fleeting shadows of things mortal and fading, but because whatever the light opens to the eye or the optical aids of man it may and does reproduce and detain imperishably and truly.

1859 December 6.  The Press and Tribune.  (Chicago, Illinois.)  December 6, 1859, Vol. XIII, No. 134, P. 1.

A New and Remarkable Invention In Photography.  We have already briefly adverted to the fact that one of our Chicago photographic artists has developed a new and most valuable feature in the photographic art.  We are now able to refer to the matter more in detail.  Some years since much attention was to attached to the result and claim that a Mr. Hill of New York State had achieved or was about to achieve the result of seizing the actual colors of the subject whether portrait or landscape, and permanently fixing the same in one and the same process.  So desirable and attainment was heralded in advance, but the matter died out.  Mr. Hill’s picture never came to pass.

This artist Alexander Hesler, widely known as a thoroughly skillful and scientific operator, has been for some time past working at, and has now developed a discovery which bids fair to create an entire revolution in the photographic art.  It is not the Hill process, but the results are more nearly like those claimed as about to be discovered by Mr. Hill.  It is a chemical process by which the photographer without the aid of any touch of brush or pencil may give all the colors of life, more perfectly and beautifully than by any previous known process.

All our readers are aware how the camera has invaded the realm of the portrait and miniature painter and the landscape artist, but the results have hitherto been plain, and have required the services of these latter artists to supply and add the colors.  By Mr. Hesler’s process the pallet and the pigments together seem finally banished, and photography stands complete, her handmaid Chemistry, thanks to such patient seekers as Mr. Hesler, now answering her fullest needs.

Obviously we can give no description of the process, we can only speak of the pictures we have seen, where all the colors, shades and tints, of hair, eyes, complexion, lips, and apparel have been brought out clearly and by the simple action of chemicals.  The method is, Mr. H. says, a simple one, easily learned by any moderately skillful operator, while these pictures may be furnished for less than half the usual price of photographs in oil or water colors, corresponding in style but inferior in beauty.  The time too is shortened, and a large sized picture may be furnished the same day of the sitting.  The difference between these pictures and other colored photographs is best shown under a magnifier.  The oil and water colors decrease in beauty as the strokes of the pencil and the brush come out under the glass, while by Mr. Hesler’s process the magnified picture is only the more perfect.

We chronicle this invention with much pleasure, and Mr. Hesler deserves the fullest returns his discovery will realize to him for the patient zeal with which he has wrought out this result.   

1859 December 24.  The Press and Tribune.  (Chicago, Illinois.)  December 24, 1859, Vol. XIII, No. 150, P. 1.

Beautiful, Very.—Those photographs taken in colors by Hesler, continue to attract very general attention.  It is an honor to our city to possess an artist whose genius has achieved so splendid a triumph.  We saw, at his gallery, yesterday, pictures of our fellow citizen Hon. F. C. Sherman and his lady, which for beauty and life-like reality far exceed anything of the kind we ever saw.  We predict that this new discovery of Hesler will give him a world-wide celebrity.

1860 February 1.  The Press and Tribune.  (Chicago, Illinois.)  February 1, 1860, Vol. XIII, No. 183, P. 1.

Views Of The Upper Mississippi.—Whitney, the artist, of St. Paul, formerly with Hesler of this city, is located in a region full of natural beauty, and some of his winter views of Minne-ha-ha and other points in the Upper Mississippi region and among the most exquisite we have ever seen.  Those beautiful waterfalls in their winter garb, have a charm that one can enjoy even their counterfeit presentment by Whitney’s skilful camera.

1860 April 10.  The Press and Tribune.  (Chicago, Illinois.)  April 10, 1860, Vol. XIII, No. 243, P. 1.

At St John’s Church…

Yesterday morning (Easter Monday) the annual business meeting of the Parish was held…

The following gentle were elected Wardens and Vestrymen for the ensuing year…

Vestry…Alex. Hesler…

1860 May 5.  The Daily Chicago Herald.  (Chicago, Illinois.)  May 5, 1860, Vol. I, No. 58, P. 3.

The Beautiful Ice Boat, Lady Franklin, left this city yesterday, en route for Prairie du Chien, where it will be on exhibition at the steamboat landing until winter.  Many travellers will undoubtedly take the Prairie du Chien line of boat and cars on the way from St. Paul to Chicago or the east, and vice versa, and visit the notable invention.

Those of our citizens who have not seen it while it has been here, can get copies of a photograph taken by our Hesler, by calling at the gallery, 113 Lake st…

1860 May 17.  The Press and Tribune.  (Chicago, Illinois.)  May 17, 1860, Vol. XIII, No. 275, P. 3.

Views Of The Wigwam.—While there is scarcely more than one view expressed as to the Great Wigwam, one of the best views to carry away is the beautiful photograph by Alex, Hesler.

1860 May 26.  The Press and Tribune.  (Chicago, Illinois.)  May 26, 1860, Vol. XIII, No. 283, P. 1.

Republican Wigwam.—Photographs taken at the time the third ballot was pending, may be had at Hesler’s, 113 Lake street.

1860 June 15.  The Press and Tribune.  (Chicago, Illinois.)  June 15, 1860, Vol. XIII, No. 299, P. 1.

Volk’s Statuette Of Douglas, (Patented February 14th, 1860,) and Busts of Lincoln, (Patented June 12th, 1860.)  Beautifully finished in Composition to bear water and washing when soiled, and finished at the following greatly Reduced Prices in the Western States:—

Life size bust of Abraham Lincoln…………………$5.00

Cabinet, or half size………………………………..$2.00

Full length Statuette (27 in. high) of S. A. Douglas..$7.00

And superior Photographs of the above by Hesler….$1.00…

1860 June 22.  The Press and Tribune.  (Chicago, Illinois.)  June 22, 1860, Vol. XIII, No. 305, P. 2.

Excursion of the Chicago Academy of Science.  The Chicago Academy of Science and their guest, in all some seventy ladies and gentlemen, have just returned from a very agreeable instructive excursion to Southern Illinois…

As the storm abated, Hesler brought out his “instruments,” and “took” several of the groups, with the trees and rocks by which they were surrounded, copies of which we have no doubt will be longed retained as souveniers [sic.] by the party…

1860 September 24.  The Press and Tribune.  (Chicago, Illinois.)  September 24, 1860, Vol. XIV, No. 73, P. 1.

Daguerreotypes The Best and Cheapest in the City, At Hesler’s, 113 Lake Street.

Photographs.  The Best and Cheapest in the City, At Hesler’s, 113 Lake street.

Ivorytypes.  The Best and Cheapest in the City, At Hesler’s, 113 Lake Street.

Melainotypes.  The Best and Cheapest in the City, At Hesler’s, 113 Lake street.

Ambrotypes.   The Best and Cheapest in the City, At Hesler’s, 113 Lake street.

Advertisement ran from September 24 to October 24, 1860.

1860 October 25.  Chicago Daily Tribune.  (Chicago, Illinois.)  October 25, 1860, Vol. XIV, No. 99, P. 2.

Daguerreotypes The Best and Cheapest in the City, At Hesler’s, 113 Lake Street.

Photographs.  The Best and Cheapest in the City, At Hesler’s, 113 Lake street.

Ivorytypes.  The Best and Cheapest in the City, At Hesler’s, 113 Lake Street.

Melainotypes.  The Best and Cheapest in the City, At Hesler’s, 113 Lake street.

Ambrotypes.   The Best and Cheapest in the City, At Hesler’s, 113 Lake street.

Advertisement ran from October 25 to December 31, 1860.

1872 July 6.  The Chicago Tribune.  (Chicago, Illinois.)  July 6, 1872, Vol. 25, No. 326, P. 1.

Hesler.  The veteran photographer opens his new studio in Evanston, on Tuesday July 9, and invites his old patrons and all lovers of art to visit him on that occasion.

1879 October 3.  The Tripod.  (Chicago, Illinois.)  October 3, 1879, Vol. IX, No. 12, P. 13.

Hesler’s Art Gallery Removed to Northwest Corner of State And Washington Sts., Chicago.,

Illinois.  Hesler & Peabody.

At every exhibition where Hesler’s work has been placed in competition with the Best Photographers in the world, it has been accorded by Judges The Highest Awards. 

The following are some of the more prominent, to wit:

1853.  World’s Exhibition Crystal Palace, silver metal for Best Daguerreotypes.

1854.  American Institute, New York, silver medal for Best Daguerreotypes.

1856.  Boston, Mass., Charity Institute, two silver medals for Best Photographs and Daguerreotypes.

1853.  Chicago Mechanic Institute, gold medal, for Best Daguerreotypes.

1854.   same place, gold medal, for Best Daguerreotypes.

1858.  U. S. Fair at Chicago, Five Silver Medals for Best Photographs of all kinds.

1876.  Philadelphia Centennial World’s Exposition, highest Award for Best Photographs.  At this exhibition not one picture was made for the purpose—only such work as had been sold to my regular customers was placed in competition with others who had worked for the past two years to make sample show-pictures, yet Hesler’s every-day work came out ahead of all.

Advertisement ran from October3, 1879 to December 17, 1880.

1889 March 15.  Photographic Times and American Photographer.  (New York, New York.)  March 15, 1889, Vol. XIX, No. 391, P. 130-131.

Some Practical Experience Of A Veteran Daguerreotypist.  At your request I give you some of the practical experience of an old veteran Daguerreotyper, some of which have not (to my knowledge) before been published, and, so far as I know, were only known and practiced by myself.

Much has been said and written about the slow Daguerreotype and long exposure required to make a fully exposed plate, and the wonderful improvement of the instantaneous dry-plate.  The following facts will show how much gain in rapidity the latter has made over the former. 

In the early summer of 1851 I made a series of views for “Harpers’ Traveler’s Guide” of all the towns between Galena and St. Paul that were then settled on the Mississippi, from the pilot-house of the steamer “Nominee” while under full head-way, that were just as sharp as if taken from a fixed point.  The pictures were taken on what was than called a half Daguerreotype plate.

I had constructed a dro-shutter, the first and only one I had ever seen or heard of—Had it made at a tin-shop—and practically the same as is now in use.  In the drop I made a slit half an inch wide, and extending entirely across the diameter of the lens.  The drop was accelerated in its fall by a stout rubber spring.  The lens was a “C. C. Harrison” single view. 

When the boat was far enough away so that all the village was embraced in the plate it was at once put in place and the shutter released, the plate put away in a light-tight box, and not developed until I got back to Galena.

How did I get the rapidity?  Simple by having a pure silver surface exposed to the right proportion of the fumes of iodine and bromine.  And here was the secret.  Coating the plates two or three weeks beforehand and keeping in light and air-tight boxes!  The longer they were kept the more rapid they became!  When properly prepared, the time was reduced from minutes to seconds!

The plates could be exposed and developed at any future time.  Many, both in and out of the profession, wondered at the soft and delicate detail both in shadow and high light, and roundness of the portraits I exhibited at the Crystal Palace in 1853, and tried in vain to equal.

None of the pictures had received over five seconds’ exposure!  Hence their lifelike pose and expression.

Rapid or short exposures were also obtained by charging the plates with electricity generated by giving the plate for the last finish a brisk rubbing on a white silk-plush buff; but this was only effectual in a dry warm atmosphere.  When thus treated I could get rapid plates about one-sixth the usual time, but unless the temperature and atmosphere was right the exposure was only retarded, so I had to abandon that as very uncertain.  A. Hesler.

1895 July 6.  The Daily Inter Ocean.  (Chicago, Illinois.)  July 6, 1895, Vol. XXIV, No. 104, P. 7.

The Obituary Record.  Alexander Hesler.  Death came yesterday morning to Alexander Hesler, the veteran photographer of Evanston.  He expired at his home a few minutes after 6 o’clock in the morning.  Thursday Mr. Hesler suffered a slight stroke of what appeared to be apoplexy, and lost consciousness.  He was at the residence of John M. Ewen, where he was arranging to take a group picture.  In the midst of his work he fell to the ground, and was removed to his home unconscious.  He lived at No. 216 Lake street.

Alexander Hesler was born in Canada, in 1823 of English parentage.  After passing his early boyhood in Burlington, Vt., he came to Racine, Wis., in 1833.  In 1847 he learned the art of daguerreotyping.  In 1853 he came to Chicago, where he prepared an exhibit of daguerreotype work, which took the highest award at the Crystal Palace World’s Fair in London, and made his name throughout the country.  In 1876, at the Centennial Exposition, he received the highest award for general photographic work.  He was also awarded prizes for microscopic insect work.

From 1853 to 1858 he occupied rooms in the old Metropolitan Block.  For Thirteen years he had his studio at No. 113 Lake street, which he sold out just prior to the great fire in 1871.  He than had his studio at Evanston for five years, to which place he moved many valuable negatives.  Returning to Chicago, he opened a studio at the corner of State and Randolph streets.  He organized the first photographic society of the West in 1862.  and has always been identified with photographic organizations both national and local.

In the month of August of the year 1851 Mr. Hesler made a tour through the Northwest.  One day during his tour he wandered over the present site of Minneapolis, and happened on the Falls of Minnehaha.  He was so taken up by this bit of picturesque nature that he returned to his tent, got his photographing instruments, and took several views of the falls.  These pictures, it is said, inspired Longfellow’s celebrated poem.

In 1849 he was married to Miss Helen, daughter of Captain Dorchester, of Racine, Wis., with whom he lived until her death.  At the time of his death Mr. Hesler was a member of the firm Melander & Hesler, No. 208 Ohio street.

Mr. Hesler oldest son Fred is an officer in the United States navy, and is now in san Francisco.  Archie Hesler, the second son, is a traveling salesman, and is in Dakota, where his sister Nellie  is visiting friends, and the younger son Harry, is at Evanston.

Mrs. Hesler died six months ago, and since that time Mr. Hesler had greatly failed in health.  The funeral services will be held at the residence of the deceased, No. 216 Lake street, Evanston.  Sunday afternoon at 4 o’clock.  Dr. E. Dickinson has been asked to officiate.  The deceased was a member of the Evanston Presbyterian Church, and as the pastor of that church is at present in England the relatives asked Dr. Dickerson to deliver the sermon.  The remains will be conveyed to Racine, wis., where they will be interned beside the remains of Mrs. Hesler, in Mound Cemetery.

1895 July 6.  The Chicago Record.  (Chicago, Illinois.)  July 6, 1895, Vol. 15, No. 159, P. 3.

Death Of Alexander Hesler.  Chicago’s Oldest Photographer Passes Away In His Evanston Home.  Alexander Hesler died yesterday morning at 6 o’clock at his residence in Evanston.  He was stricken with paralysis the day before and did not regain consciousness.

Mr. Hesler probably was Chicago’s oldest photographer.  He was born in Montreal, Canada, in 1823, and came to Chicago in 1853.  Soon after locating here he prepared an exhibit of daguerreotype work, which took the highest award at the Crystal Palace world’s fair in New York.  At the centennial exhibition he received the highest awards for general photographic work.  His daguerreotypes of Lincoln have been used in many histories and magazines, and his pictures of the Falls of Minnehaha were in Longfellow’s study when the poet wrote “Hiawatha.”  Longfellow sent him a copy of an elegantly bound book containing the poem “Hiawatha,” with the poet’s autograph on the fly-leaf.

Mr. Hesler leaves three sons and a daughter, his wife having died a year ago.

1859 July 6.  The Evanston Press.  (Evanston, Illinois.)  July 6, 1859, Vol. VI, No. 27, P. 4.

Alexander Hesler, the pioneer photographer of Chicago, and for many years the most famous daguerreotypist in the United states, died at his home, 216 Lake street, yesterday morning at 8 o’clock, Mr. Hesler had not been ill twenty-four hours:  The family of the late Dr. R. H. Patterson held a reunion at the residence of John M. Ewen, at Church street and Judson avenue, and Mr. Hesler was called to take group picture.  In the midst of his preparations for the negative he fell to the lawn unconscious and was removed to his home.  Mr. Hesler was over seventy years old, and his age made it appear doubtful whether he would recover.  Early that morning dissolution came to the old gentleman, without pain or consciousness. 

The funeral exercises will be held at the house tomorrow at 4 p. m. and the internment will take place at Racine, Wis., Monday.

He organized the first photographic society of the West in 1862, and has always been identified with the photographic organizations both national and local.  In 1849 he was married to Miss Helen, daughter of Capt. Dorchester, of Racine, Wis., with whom he lived till her death a year ago.  He leaves three sones and a daughter.  His eldest son, Fred, is a lieutenant in the United States navy and is now in San Francisco.  The youngest son Harry, lived with his father at Emerson.  Archie Hesler, the second son, is a traveling salesman for Reid, Murdock and Fisher and is now in Dakota, where the daughter Nellie is visiting with relatives.  At the time of his death Mr. Hesler was a member of the firm of Melander & Hesler, 208 East Ohio street.

Alexander Hesler was born at Montreal, Canada, in 1823, and was of English parentage.  After passing his early boyhood in Burlington, Vt., he came to Racine, Wis., in 1833.  In 1847 he learned the art of daguerreotyping and did a thriving business that winter among the legislators at Madison, Wis.  In 1853 he came to Chicago, where he prepared an exhibit of daguerreotype work which took the highest award at the Crystal Palace World’s Fair in New York and made his name throughout the country.  His work was the most perfect at that time produced.  In 1876 at the Centennial Exhibition he received the highest awards for general photographic work.  His portraits of children were especially fine, and the lifelike expression in his pictures was considered remarkable.  He also was awarded prizes for microscopic insect work.

From 1853 to 1858 he occupied rooms in the old Metropolitan block.  For thirteen years previous to the fire he had his studio at 113 Lake street, where he was burned out in 1871.  He than had his studio in Evenston, where he remained until 1880.  Returning to Chicago he opened at the corner of State and Washington street.  His daguerreotypes of Lincoln, taken before his first inauguration, were famous for their lifelike expression and have been used in many histories and magazines.

It has been the subject of much comment among artists and poets that it was Mr. Hesler who was principally responsible for the inspiration which induced Henry W. Longfellow to write ‘Hiawatha.’  The incident became known at a dinner in this city attended by old-time photographers, at which anecdotes were discussed as well as choice morsels and cigars.

It seems that Mr. Hesler, armed with his picture-taking paraphernalia, wandered into the northwest in search of nature’s beautiful retreats.  This was in 1851, and in August of that year he tramped over the present site of Minneapolis.  There was no sign of a city at that time.  Coming upon the falls of Minnehaha, he took several views of the ‘natural poem.’  While arranging his pictures he was accosted by a man who said his name was George Sumner.  The latter purchased two pictures of Minnehaha to take to his home in the East, remarking that he would retain one and give other to his brother Charles.

“The incident had nearly been forgotten by Mr. Hesler when it was revived in a startling manner.  He received an elegantly bound volume of a work by Longfellow, and the principal poem was ‘Hiawatha.’  On the flyleaf was the poet’s signature and the legend ‘with the authors compliments.’  Hesler was puzzled to account for the poet’s solicitude, and almost a year after the receipt of the book he met George Sumner, who explained the mystery.  No deeper student of posing and nature ever directed a lens at an object.  He could produce daguerreotypes that might almost be said to talk.

One day in February 1857, a tall awkward man come into Mr. Hesler’s studio in Chicago and said the boys in the court house wanted him to get his picture taken.  It was Abraham Lincoln then stumping the state in the presidential campaign with Stephen A. Douglas.  Mr. Lincoln’s hair was long and unbrushed and stood out in every direction from his head.  Mr. Hesler told him he’d better comb it down, but Mr. Lincoln refused, saying “the boys wouldn’t know him if his was combed down.”  Mr. Hesler got a fine likeness, a daguerreotype.   In June, 1860, after Mr. Lincoln’s presidential nomination, his likeness was in great demand throughout the country, for people didn’t know “what he looked like.”  Mr. Hesler was invited to Springfield and got two likenesses, one of which has become famous.  One was almost a profile the mother alost a front view.  These were before Mr. Lincoln wore a beard on his face.  Many hundreds of thousands of these pictures were printed and sent to Boston, New York and all over the country.

Mr. Hesler became famous as a daguerreotypist, first in 1851, when he placed several daguerreotypes in competition in the Crystal Palace exhibition in London.  Several of these won medals, one of them being a first prize.  One of these daguerreotypes which was at the Crustal Palace is still in possession of Mr. Hesler’s friends, and is a piece of art of marvelous beauty.  It is merely a portrait of a young girl of refinement and beauty, but so realistic, so lifelike, so beautiful is it, that to see it is a rear treat.  Who the young miss is, is not known, but whoever sees that picture will never forget it.

Others of Mr. Hesler’s famous works of art “Picturesque Evanston,” a birdseye view of Chicago before the fire, and a laughing picture of the young daughter of  Mr. Jewell, which became famous through this country and Europe also.

1896 January 17.  Owyhee Avalanche.  (Silver City, Idaho) January 17, 1896, Vol. XXXI, No. 21, P. 2.

Inspired a Noble Poem.  It was the late Daguerreotypist Hesler of Chicago who inspired Longfellow to write “Hiawatha.”  Mr. Hesler was one of the most eminent of his profession, and in 1851 the London World’s Fair awarded him the prize medal for daguerreotypes.  One of them, a picture of the falls of Minnehaha, came into the poet’s possession and furnished immediate inspiration for the poem.  In testimony of his debt to Mr. Hesler Longfellow sent him a bound volume of his poems with his signature and compliments on the flyleaf.

Edwards’ Chicago City Directories.  (Chicago, Illinois.)

1868  Not Listed

1870    A. Hesler & Co., r—Evenston.   Hesler & Co. (A. Hesler & John Dorchester)  photograph and ambrotype stock, 113 Lake.

1875.  Not Listed.

1880.   Hesler, Alexander (Hesler & Peabody) 96 State.  h—Evanston.  Hesler & Peabody (Alexander Hesler & Henry G. Peabody) photogs. 96 State.

1885.   Hesler, Alexander, photog.  96 State.

1892.   Hesler, Alexander, photog. 603, 70 State, h—Evanston.

[1] Craig’s Daguerreian Registry.

[2] 1880 Chicago City Directory (residence section.)

[3] 1880 Chicago City Directory (business section.)

[4] Probably O. J. Wallis