Tag Archives: Washington D. C.

Albert Beach

Daguerreotypes, , , , ,

Albert Beach is recorded in the New York Daily Tribune (New York, New York) on July 12, 1848 in the partnership of Paige & Beach. The advertisement reads in part.

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.[1]  This likeness was mainly taken from a fine Daguerreotype now in the possession of the subscriber, executed by Messrs. Paige & Beach, Washington.

The second entry was actually the first mention of the Albert Beach that I came across which appeared in the American Telegraph (Washington, D. C.) on July 8, 1851.

A sad case.—about a week ago the records of the Criminal Court should that Albert Beach had been found guilty of obtaining money under false pretenses; and he was yesterday sentenced by Judge Crawford to the Penitentiary for eighteen months.

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

After checking Craig’s Daguerreian Registry Beach was not list but Blanchard P. Paige was.  I checked part of Laurie Baty’s unpublished research of Nineteenth Century Washington, D. C. Photographers, and found an entry that said that he they worked at Plumbe’s studio.

[1] Alexander Hay Ritchie, Engraver, genre, portrait, and figure painter.

Julian Vannerson

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

I have recently rechecked The Photographic and Fine Art Journal, December 1857 issue for the source of Vannerson working for McClees in Washington D. C.   For background, I have added the first advertisement for James E. McClees in Washington, D. C. from the Evening Star (Washington, D. C.) October 23, 1857.

New Gallery of Art.  No. 308 Pennsylvania Avenue, (over Davis’s Piano Store.) The subscriber, induced by his success in Philadelphia, and the numerous orders he receives from this section of the country, has opened a first-class gallery in this city for the production of Ambrotypes, Daguerreotypes and Photographs, affording the citizens of Washington and the public an opportunity of procuring as fine a work as is made in New York or Paris.

Portraits in Oil, from Life or Daguerreotypes; and Photographs finished in India Ink, Crayon, and Natural Colors, by a distinguished Parisian artist, engaged expressly for this establishment.

Persons residing at a distance wishing to have Daguerreotypes enlarged and painted can send them (with description of person) and have them accurately copied, and returned by express.   All likenesses are guaranteed, and an examination of specimens is solicited.  J. E. McClees, Photographer, 308 Pennsylvania avenue, 626 Chestnut street, Philadelphia.

Entry from the Photographic and Fine Art Journal.  Washington Galleries.  Washington November 5, 1857.

Mr. James McCleese of Philadelphia, has opened his new gallery below the Kirkwood House.  His operator is Samuel A. Cohner, Esq., a practical chemist of some notoriety; he is very successful in all of his operations.  I was shown many of his beautiful plain photographs, that in tone and sharpness were exquisite.  But ‘tis just like Mr. McC., he never has any body about who does not fully understand his business.  His gallery is one of the finest in Washington, and the many water colored pictures that are adorning his walls, speak highly for the business.  His artists is a man of the first order and paints with unusual rapidity.  Mr. Vannerson is the agent is the agent of Mr. McClesse’s gallery, and for the length of time he has resided in Washington, no man is more capable of doing the agreeable in securing the public patronage.  This gallery will do a large share of the business the coming winter.  I fully predict a brilliant career for them, and well they deserve it.  By the time your next number appears, I hope to be able to speak more of this gallery.                             J. R. J.

 

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…..

Julian Vannerson

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

By deciphering Vannerson’s activities through the newspapers in Washington, piecing together several newspapers a clearer picture appears. The first advertisements which I have access to that mentions Vannerson is from the Daily American Organ on July 22, 1854, and reads in part “New Daguerrean Gallery.  The establishment formerly owned by Mr. [Edwin C.] Thompson, has been purchased by Mr. Vannerson, of this city…” From this advertisement through July 30, 1856 only Vannerson’s last name is used, giving the impression that Vannerson is operating his own gallery.  Not until the following advertisement appears on January 5, 1855, in the Daily American Organ do we have a clue as to which of the three brothers is operating in Washington (Adrian, Julian or Lucian.) In referencing Craig’ Daguerreian Registry Julian is the brother who is operating the Whitehurst’s Gallery in Washington, which is confirmed in later advertisements.

Portrait of Rev. Mr. Sunderland.—A lithographic portrait of Rev. Byron Sunderland, pastor of the four-and-and-a-half street Presbyterian Church, in this city, is to be published by Mr. C. H. Brainard, of Boston, who has already published portraits of many of our distinguished men in a style of artistic excellence rarely equaled.

This portrait of Mr. Sunderland will be drawn by Grozelier, from a daguerreotype by Vannerson, the accomplished superintendent of Whitehurst’s gallery, and we feel bold to say in advance, be in every respect creditable to all concerned in its production.

On July 30, 1856 the following advertisement appears in the Evening Star. From this we learn that he has left Whitehurst Gallery which he had been employed for the past five years.

Vannerson’s Gallery Of Premium Daguerreotypes, Ambrotypes & Photographs, No. 424 and 426 Pa. avenue, (Lane & Tucker’s building.) between 4½ and 6th sts., Three Doors from his former place of business, Washington, D. C.

Mr. Vannerson Returns His thanks for the very liberal patronage bestowed on him, while conducting the Whitehurst Gallery, for the last five years, and solicits its continuance from his friends and the public at his New Gallery, where he has greater facilities for the production of fine Portraits than formerly, with all the latest improvements for the production of Daguerreotypes, Ambrotypes, Photographs, and Portraits, in Oil colors, on Canvas, in Water colors, and Pastille.

Mr. Vannerson devotes his personal attention to all sittings.

Over the next couple of week several card appear in the Washington newspapers Whitehurst implies that Vannerson has misappropriated funds for his own use. Vannerson on the other hand claims that over the last couple of years under an agreement he was entitled to one half of the profits and that he is innocent of Whitehurst’s claims, which Whitehurst does acknowledge the agreement, but continues to claim misappropriation of funds.  At this time no outcome of the accusations have been found in any of the Washington newspapers that I have viewed.

Vannerson continues to operate his gallery into 1857.  On March 31, 1857 it is reported in the Evening Star that he has been awarded a bronze medal for photographs, ambrotypes and daguerreotypes at the Mechanics’ Fair.  This is the last advertisement or article found in the Washington newspapers at this time.  It is reported in Craig’ Daguerreian Registry and by Merry A. Foresta the former director of the Smithsonian Photography Initiative that Vannerson was associated with James E. McClees around mid-1857[1], Craig also reports that Vannerson moves back to Richmond, Virginia in 1861.

On August 4th, 1859 the following appears in the Evening Star. Phelan (Michael) and Bird continue to made much of by the billiard amateurs of this city.  They dropped in at Ellicott’s saloon, corner of Thirteenth street and the avenue, yesterday afternoon, and played three games, (four ball American game,) Phelan winning two of the three.  In the evening they had some further playing at Marr’s Billiard Hall, Bird beating Phelan by 70 points in 200.  The weather was voted too warm entirely for the French carom games.  To-day Phelan and Bird are sitting for their photographs at Vannerson’s.

The question is, is Vannerson on his own again, or is he still working for McClees?

A quick search of the Richmond Daily Dispatch has determine approximately when Vannerson arrived back in Richmond, by using caricature recognition searching under Vannerson’s name the first hit was an advertisement on December 12, 1860 that announced the co-partnership between Smith & Vannerson has been dissolved.  I next searched the various processes in use.  On April 20, 1860 the following advertisement appears,

For rent—Photographic Gallery, in Corinthian Hall, now occupied by J. Thomas Smith. Possession given immediately.  On May 23ed Smith’s first advertisement appears at his new gallery at 77 Main Street, Whitehurst’s Old Stand.  On June 13 at the end of a Smith Advertisement he advertises that an “Operator is wanted.”  On September 22 the announcement of the Smith & Vannerson partnership appears.

A New Art Gallery In Richmond. The proprietors of the new Art Gallery would respectfully call the attention of the citizens of Richmond, and strangers in the city, to the fact that they have leased the rooms formerly known as “Whitehurst Gallery,” No. 97 Main Street, and have opened an establishment for the production of Every Style Of Photographs, From the Smallest Locket to the Full Size Of Life.  And as A First Class Establishment, They have every facility, and will produce a better style of Photograph that has heretofore been made in this city.  To finish the Photographs In Oil, the very best talent will be employed.

Photographs In Water Colors.  A superior picture, and at a price much less than hitherto charged by artists in this city, prices ranging from Three to Five, Ten and Fifteen Dollars.  Crayon Photographs, of Cabinet Or Life Size. A new style, to which particular attention is requested.

Photographs in India Ink will be finished by the same artist, Whose skill in this branch of art has given so great a popularity to this style of Picture, as made in Washington and Philadelphia.

Photographs, Ambrotypes and Daguerreotypes Copied.—An important fact to be noted is that the Photographs finished in oil at this establishment, are all made upon canvas, and not on paper fastened to canvas. Another fact to be remembered is, that anyone possessing a Daguerreotype or Ambrotype of a friend, may have it copied by photography of any desired size, and finished in Oil, Water Color, Crayon or India Ink.  Parties at a distance may thus send a Daguerreotype and have the Photographed returned by express.  An examination of specimens is solicited.     Smith & Vannerson, Practical Photographers, No. 77 Main st., between 14th and 15th sts., Richmond, Va.

Pictures made at all prices, from Fifty Cents to Fifty Dollars.

On November 1 a List of Premiums awarded at the seventh annual exhibition of the Virginia Mechanics’ Institute, which closed on the night of October 31….

Class No. 27.—Photographs, Daguerreotypes, Engravings, &c.

To G. W. Minnis, for finest display of Photographs, Certificate of Silver Medal.

To Smith & Vannerson, for second best Specimens, First-Class Diploma.

To Rees & Co., for third best Specimens, Second-Class Diploma.

Vannerson was still operating a gallery in Richmond on September 4, 1866. On December 13, 1866 the following advertisement appears,

At Home Again In The Midst Of The Pictures!

In returning to the business, in the conduct of which some years since I flatter myself I established a fair reputation, I will respectfully inform my friends and the public that I have taken the well-known Old Whitehurst Gallery, On Main Street, Below Fourteenth Street (Late Vannerson & Co.’s) and with all the modern improvements introduced, I am prepared to furnish Photographic Pictures in every style of the art, at Reduced Prices, and warranted equal to any produced in this city. All persons in want will please give me a call.    P. E. Gibbs.  de. 12.

It interesting to note that Whitehurst left Richmond in 1857 yet everyone who has been in the studio since then (1866), has referred to the “Old Whitehurst Studio” in their advertisements.

In tracking Whitehurst addresses it is difficult to nail down specific locations through 41 pages of Whitehurst advertisements and articles from Washington, D. C.; Baltimore, Maryland; Tarborough, North Carolina; and Richmond, Virginia he uses for his Washington studio Pennsylvania Avenue, (or variant Pa./Penn Ave.) or Pennsylvania Avenue between 4½ and 6th Street, also Lane and Tucker Building and over Duvall & Brothers Store.

 

Vannerson’s activity dates and address.

1851-1854       Pennsylvania Avenue, between 4½ and 6th Street, Washington, District of Columbia.

1854-1855       426 and 428 Pennsylvania Avenue, Washington, District of Columbia.

1856-1857       424 and 426 Pennsylvania Avenue, Lane & Tucker’s Building, Washington, District of Columbia.

1857-1859       308 Pennsylvania Avenue, Washington, District of Columbia.

1861-1866       77 Main Street, Richmond, Virginia.

[1] The Photographic and Fine Art Journal, December 1857, Vol. X, No. 12, P. 380.  “Mr. Vannerson is the agent of  Mr. McCleese’s gallery…”