AN ANNOTATED BIBLIOGRAPHY OF THE LITERATURE ABOUT MATHEW B. BRADY,
WITH SOME ADDITIONAL CITATIONS FOR ALEXANDER GARDNER
(AND A LITTLE BIT ABOUT THE CIVIL WAR)
compiled by
 WILLIAM S. JOHNSON.
  (June-August 2024)

NOTE 1.
Let’s get it out there right up front. One reviewer of my published 19^th c bibliography book trashed it because he thought (1) that I gave too much information (yikes!!!) and (2) that I had misspelled Mathew Brady’s first name by spelling “Matthew” with two “T”s. Given the current state of the art; anyone doing a “search and replace” function late at night knows how a slip of the finger can instantly create hundreds of errors. However, as it turns out, I chose to spell his name “Matthew” deliberately. Very few of the thousands of citations during Brady’s lifetime actually give his first name, usually just using “M. B. Brady.” When his first name is cited, it is often cited either way, and I’ve seen instances where it was spelled with two T’s when I thought that he could have complained if it was wrong. I’ve heard that the Library of Congress folks spent a lot of time trying to decide about this before officially choosing the one T spelling. So, while I personally think that he spelled it with two T’s, I am going along with the currently accepted practice of one T. Except I have not “corrected” the citations when the two T’s are found in the original citation. Also while we are on this issue, very early on, the word “daguerreotype” was misspelled in an extraordinarily inventive number of ways. I avoided correcting all those as well.

NOTE 2:
Studying the actual history of photography is a lot like practicing archeology. That is, by finding buried fragments of some artifact, then trying to deduce the shape of the whole culture from those fragmented items. The medium of photography has experienced wide swings of interest from the academic community over the course of the medium’s development, leaving large areas of practice and events still underknown and even misunderstood. My belief is that if a body of information is put together in certain ways, it may lead to fruitful new understandings of the character and work of individual artists as well as the issues of the world they work within. We may also see the arc of their careers and even the shifting concerns of the individuals reporting on those events, and we may also see a trace of the nature of the larger public’s interest as well. In some cases the sheer number of references about some topic is in itself important information. In the literature under review here the articles which allow the most access into the practices of the period and provide the public manifestation of the critical ideas of the day are found in the reports of the various organizational meetings and in the exhibitions and exhibition reviews. So I may have gone a bit overboard on some of these, and there is some repetition of information in the bibliographic references, but I am trying to present the context and climate of the world that the artist inhabited and the issues to which he responded.

NOTE 3. What’s in and what’s not in this bibliography? The core is drawn from my extensive Database One covering more than 800 magazines published in England and the USA between 1839 and 1869. To which has been items added from my less complete Database Two covering from 1870 to 1879, plus a variety of other random databases I have accumulated (and managed not to lose to the fickle electronic Gods) over the past forty-or fifty-odd years. This is supplemented with an on-line literature search for Brady from 1840 up to about the first World War. I once read somewhere that in America more books have been published about the Civil War than on any other subject. I have not attempted to cite the many, many books and articles discussing or mentioning Brady which have been published since Brady’s lifetime, although I do cite a few later references which were important to the establishment of his myth.
In Brady’s case the amount of available information astonished me. I knew that there would be more references than are generally listed for Brady, but I did not expect to find so much material. It would take 750 pages of regular 8½ by 11 paper, single spaced in a very compact 8 point Arial typeface, to print out all of this bibliography.
The references published here are organized into several categories, which were determined by their mode of publication and the characteristics of that mode. I did this for my own convenience while putting the bibliography together. Ideally, I think the most instructive way to use the bibliography would be to arrange everything in a strict chronological order, then just read it. But that would have been a horror to put together while searching the literature, and it would also be conceptually difficult to hold everything in the mind at once, so this document is divided into the following sections:
Introductory Essay;
Bibliography:
Mathew Brady. (Magazines 1840-1900)
Alexander Gardner. (Books and Magazines 1860-1900)
Selected Magazines (Published after 1900)
Newspapers City Directories
Mathew Brady. (Books 1840 – 1912)
Government Documents
Exhibition Catalogues (1840-1880)
NOTE 4:
This effort was made to be placed on my webpage, to be viewed on the computer. Traditional footnotes and endnotes do not seem to work well in this sort of format. So I’ve put my “introductory comments” in 10 point type, followed by the “sources” of my information in 8 point type. I had thought my introduction would be two or three paragraphs, but unfortunately it stretched out to more than the equivalent of one hundred and forty pages of printed text. Yikes!!! Sorry. So you can read the introduction quickly by reading only the 10 point type and skipping over the citations, or, I suppose, just read the 8 point type to follow that narrative without my commentary; or, for a little more context, just read it all at once.
Good luck,                                                                                                        William Johnson.

[It seems that I cannot paste my Microsoft Word file directly into this webpage with the original formatting intact. The webpage program insists on converting my text into a 12 point typeface and messing up the formatting for the hard copy version. After spending several weeks attempting to overcome this issue, I am simply going to post the damn thing as it is (formatting issues and all) and get on to other works that I want to publish. There are double spaces between my texts and the cited references and single spaces between the different citations, – if that helps. My original copy also has several dozen illustrations which did not transfer, which explains some of the holes in unusual places. I don’t know what to do, maybe I’ll look into publishing on demand programs. I have thought about generating a series of bibliographies similar to this one for other major artists and for exhibitions and other special topics, but it would require figuring out how to make it work. Sorry. I apologize for my technical illiteracy, WSJ]

                                                     “THE MYTH OF MATHEW BRADY”

Carte de visite by Mathew Brady..(Oct.1860)

“…After remaining a short time in the gallery he was taken up to the operating rooms, where, singly and with different members of his suite, he gave the artist a number of sittings. First were taken three imperial groups of the whole party, with his Royal Highness as the central figure. Next was a full length imperial photograph of the Prince standing alone. His Royal Highness had then a number of miniature photographs of himself and the young noblemen of his suite taken singly and in groups, to serve as cartes-de-visites. All the impressions were admirably distinct, the day being peculiarly favorable for the operation, and the members of the royal party to whom the proofs were subsequently shown were loud in their commendations of the accuracy and perfection of the apparatus used in the establishment.
Returning to the gallery, the Prince again spent some time inspecting the collection. He seemed particularly pleased with the colored photographs, which are finished in the most elaborate style, and admitted to be chef d’oeuvres of art. The collected heads of the members of the Senate and House of Representatives appeared to greatly interest the party, but more especially the Duke of Newcastle, who devoted a great deal of time to the examination of the portraits of politicians….”
“The Prince’s Third Day. Visit to Brady’s National Photographic Gallery.” New York Herald (New York, NY) no. 8802 (Sun. Oct. 14, 1860): 1.

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                                                 MATHEW B. BRADY (1823-1896)

Ask anyone. Everyone knows that Mathew Brady was the most famous photographer of the American Civil War. Even now, people with very little interest in photography itself know the name Mathew Brady.
But Brady probably never actually took a photograph of that conflict. So how did it happen that Mr. Brady became known as the famous Civil War photographer? There are far too many books and articles published about Mathew (or perhaps Matthew – see Note 1) B. Brady for me to present his biography here. For me it was interesting to follow the development of the myth of Brady, as much as it was to follow the development of his life and career.

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In the 1840s and 1850s it was possible to make good money as a photographer, if you were a little lucky and in the right place. And Broadway in New York City in the 1850s was the right place. New York was a brawling, bustling place – the largest urban center in the States, catering to the needs and interests of that rather new phenomenon in the US – an expanding middle class of people with disposable income who also had some patches of free time in which they could use to spend that money. You could buy anything on Broadway from soup to nuts, fine clothes to jewelry, but you could also go there to be entertained. Since 1841 P. T. Barnum’s Museum had been a focus there for tourism. In the 1850s Barnum’s Museum was reputed to draw in up to 15,000 visitors a day. And the sellers of luxury goods, the restaurants, saloons and theatres, the phrenological readers and fortune tellers, all clustered together around the nascent entertainment district on Broadway where all the other perks of the modern urban life-style could be found. One newspaper claimed that 1200 vehicles an hour crossed the corners of Broadway and Fulton street. Every day the newspapers would print a dozen notices in their want ads offering rewards for the return of items (lockets, watches, wallets, even overcoats) “lost” on Broadway. It doesn’t make sense until you see the engraving “View of Broadway, Opposite Fulton Street, New York,” published in Harper’s Weekly in 1860. It is February, a snowy midwinter day and the street is still so crowded from side to side that people are bumping together all the time. Pickpockets made a good living on Broadway. So did photographers. In 1850 the New York Tribune claimed that photography (Or, at this time, the Daguerrean business.) was generating two million dollars a year and supporting thousands of jobs in the US. In New York City alone there were 96 “operators.” (The “operator” was the fellow actually taking the picture.) And the biggest and best of these were the galleries on Broadway.

Early on there were two different types of Daguerreian galleries. The first type was usually small, owned by one person, who ran the gallery by themselves, or perhaps with a little help from a wife or other relative. They took the portraits, developed the metal plates, put them in mats and sold them to the customer. The second type of gallery was a business, owned by an individual whose name was on the gallery masthead, but who hired a staff to do the actual work; with one person taking pictures, another developing them, others fixing up the product and another dealing with the customers. In the larger cities these staffs could get to be fairly large. – in New York city several of the Broadway galleries could field enough players to have contentious baseball games on an occasional holiday. This type of gallery owner could have varied input into the actual making of the daguerreotypes or later the photographs. In some instances, the owner actually took the pictures themselves, in others they were not even there. For example, one very early Daguerrean business, the Plumbe National Galleries, was located in five or six separate cities, with each gallery having its own “operator” and other staff. None of them being Mr. Plumbe himself.

We do know that Brady owned a jewelry store on Broadway in the early 1840s and that he sold daguerreotype cases along with the other jewelry in his store. Then he began to sell daguerreotypes at that store. Brady claimed that he learned daguerreotypy from Samuel Morse, who had made the first daguerreotype in the United States. Later it was even written that Brady had learned the process from Daguerre himself – which was completely impossible. Brady may have listened to a lecture or demonstration given by Morse, or even had a conversation with Morse about the exciting new discovery which drew Brady’s attention to the process, but I am dubious that Morse taught him how to make daguerreotypes.

Mathew Brady was a canny businessman, adept at using advertising in the media of his day, and his gallery flourished and quickly became the second type of gallery. Brady simultaneously ran galleries at two and occasionally three separate locations in New York during the 1850s and later on had galleries in both New York and Washington, D. C. He may or may not have begun by taking his own daguerreotypes, (It’s been claimed that he had very poor vision -sorry, let me rephrase that, he had very bad eyesight; no one could claim that his visionary use of his medium was poor.); but by as early as 1847 he was employing others to actually take the portraits and process the daguerreotypes. So photographs actually made by any number of Brady’s employees would all be subsumed under the Brady trademark and become a “Brady” photograph. Inside the photographic community everyone would know who was actually taking all those award-winning photos, but to the world at large they were taken by Brady himself. This practice may have proved irritating to some, but it was already well-established and difficult to change. When the operator James Brown left Brady’s Gallery in 1851 to open his own gallery he somewhat waspishly pointed out that it was he who had taken all those award-winning daguerreotypes that Brady was crowing about so extensively.

“The Daguerrean Art its Origin and Present State.” Photographic Art Journal 1:3 (Mar. 1851): 136-138.
[“Extracts from the Sunday Courier and from the American Artisan. “That which, within ten short years, was regarded as the wonder of the age, is fast finding the place of all truly great and wonderful discoveries,—that of universal enjoyment….” (p. 136)
“[On the same subject we find the following article in the Sunday Courier. It is with pleasure that we view these evidences of the interest the art is exciting in all circles.—Ed.]
“Probably in no portion of this Western Hemisphere are there so many daguerreotype establishments, within the same space of street front, as along the Broadway limits of the Third ward. Some dozens of active operators, in as many establishments, promulgate their show-cases, all along the thoroughfare, and, probably, more pictures are taken within the locality than anywhere else in the world, in the same longitude of carriage-way….”“…Mr. James Brown, of 181 Broadway, is another very promising artist,—a young man, but with great experience in his profession. Mr. Brown was one of Brady’s principal operators, and, joined to a well-trained judgment, he has much merit as a painter and draftsman. Mr. Brown has furnished several spirited sketches for the Illustrated London News, and has likewise given us a number of those truthful heads of our Police Captains, which have made our Portrait Gallery a matter of so much interest. He is probably the only artist in the city who can successfully transfer his own photographs to the block, and we shall probably avail ourselves extensively of his services hereafter….” “…M. B. Brady, of 205 and 207 Broadway, corner of Fulton, has, however, after all, the largest and most fashionable establishment in the city. His enterprise is proverbial, and his gallery of the members of Congress, noted military, naval, and civil officers, perhaps cannot be equalled. Brady is not an operator himself, a failing eyesight precluding the possibility of his using the camera with any certainty, but he is an excellent artist, nevertheless—understands his business so perfectly, and gathers around him the first talent to be found. His daguerreotypes on ivory have attracted considerable attention, and they may, without flattery, be said to be the most magnificent productions of the art….” (p. 138)

“James Brown’s Daguerreotype Miniature Gallery.” Daguerreian Journal 1:8 (Mar. 1, 1851): 257. [“The undersigned, for four years the principal Operator of M. B. Brady, has the honor to announce to his friends, and the fashionable circle, that his Rooms are now open at the above No., for the transaction of business, where he will be pleased to see his friends and the public generally; and hopes to receive a portion of that patronage so liberally extended to him while principal at Brady’s. He will also take the liberty of mentioning, to those unacquainted with the fact, that the pictures which have received the different premiums for Mr. Brady, were taken, colored, and arranged, with the assistance of Mr. Hayes, who is still with him, entirely by himself.”]


It was also a common practice to buy daguerreotypes and later negatives from other photographers and reissue the photographic prints under the gallery trademark. At that time there was little concern for the notion of “authorship” attached to photographs and no copyright protection for images in the US. Early on, a less proficient daguerreotypist would acquire some daguerreotypes made by a more successful practitioner and display them outside his gallery to entice customers. This was considered an unsavory but not illegal practice. Brady assiduously purchased daguerreotypes and later negatives from other photographers in Europe or other parts of the US if he was not able to get the individual to sit in his New York gallery, and those prints would be reissued as “Brady” photos as well.

Unlike later photographic processes where a photographic negative is used to make many positive prints, the daguerreotype process produced a single unique image on a metal plate. A photographic gallery daguerreotyped a person, then immediately developed and sold them the plate and that was the single point of income for the photographer. (Essentially, it was an act of individual or private commerce between the seller and the buyer.) Later, almost every gallery retained the negatives of the portraits they made, in the hope that the patron would return later for some additional prints. Some galleries advertised that they guaranteed that they would hold the glass-plate negatives for six months or a year. Many just gradually built up a large collection of massively heavy glass plates which they had to store and then apply some simple form of organization in order be able to locate a patron’s request. (Thus are archives and archivists born.)

In Brady’s lifetime the evolution of technologies in photography and in publishing, and the expansion of an urban, literate audience in America all helped develop and propagate an era of “celebrities.” Like many others of the time, Brady believed Carlyle’s statement that “The history of the world is the biography of great men.” Brady realized that the portrait itself, if it was of the correct person and if it was handled properly, was a resource which had larger potential than that traditional single act of commerce between the seller and the buyer. Brady made a serious and sustained effort to gather as many portraits of the influential and famous of his era and then organize them into a resource base for future use. He was determined to assemble an archive of portraits of “Notable Men,” which he could use to promote his gallery in a variety of ways. Essentially, he shifted the product of a portrait session from the private to the public arena. Of course Brady was far from the only photographer taking advantage of this new market, but he responded to that demand more completely and cleverly than his competitors had and his gallery and his reputation flourished.

The competition among the five or six larger Broadway galleries was fierce, as each tried to draw customers from those restless crowds wandering up and down the street. When the Meade Brothers opened their new gallery in 1850 they advertised that they were displaying the only daguerreotype portrait in existence of the inventor Daguerre himself, which may have drawn in those curious about the medium. Brady had already hung a permanent exhibition of scores of portraits of notables in his studio, basically turning his premises into an exhibition gallery; and then he pointedly advertised that the exhibition was free to the public. He actually stated in his ads that they didn’t even have to have their pictures taken while they were there – thus establishing his studio as a site of public entertainment and education.
There was nothing new about this practice, from the very beginning Daguerreian galleries had put up examples of their work to attract customers; and the National Miniature Gallery of Anthony, Edwards & Co., No. 247 Broadway, had begun forming a collection of notables in 1843, but they closed as a gallery and became the major manufacturer and dealer E. & H. T. Anthony & Co. But, metaphorically speaking, Brady weaponized it, aggressively focusing the core of his gallery’s public identity around the exhibition of portraits of celebrated individuals.


“Monthly Literary Bulletin.” The United States Magazine and Democratic Review 16:81 (Mar. 1845): 310-311. [“We present our readers this month with a likeness of the Hon. Charles I. Ingersoll, engraved from the original daguerreotype likeness in the National Miniature Gallery of Messrs. Anthony, Edwards & Co., No. 247 Broadway, N. Y. The collection which these gentlemen are forming, must soon be universally acknowledged as, in our opinion it is now, one of the most valuable and interesting objects connected with art. This gallery, the first and as yet the only one, we believe, of its kind in this country (consisting entirely of likenesses of distinguished persons), was commenced about two years since, and no effort or expense has been (p. 310) spared to make it as complete as possible. A part of the firm pass each winter in Washington, where they are allowed the use of one of the beautiful committee rooms in the Capitol, and of course have great facilities for procuring their portraits of the many eminent men who reside at or visit the metropolis during the sessions of Congress. These are regularly transmitted to New York and arranged in the gallery, with the autographs of each person. There are very few Americans known to the country whose “counterfeit presentment” may not be found among them. For seeing them there is no charge, as the gallery is free to all.
Nor is this the only benefit rendered to the public by these enterprising artists. They are engaged on a work which will be of great value and interest to the country, when completed, and add new laurels to American genius and enterprise. It is a view of the Senate Chamber, at Washington, to be engraved on steel in the finest style of mezzotint, representing the Senate in session at the time of Henry Clay’s farewell address, giving accurate likenesses of the members of that body, besides introducing in the lobby and gallery numerous other likenesses of eminent characters, copied from their daguerreotypes. The size of the plate is 40 inches by 32, being the largest ever executed in this country. It has been under the engraver’s hands several months, and will probably require sixteen or eighteen months more for its completion. The subscription price is $5,00, which is lower than any work of equal magnitude and interest, ever before offered to the public. It will, undoubtedly, have an immense sale. Its conception and execution, at a very heavy cost, reflect high credit on the publishers, who have undertaken to give it to the country.
In the practice of this art, these gentlemen are without superiors. They have obviated the principal objections that existed against daguerreotypes, and if they have not yet attained perfection, it would be difficult to say in what respect they may be made more perfect.” (p. 311)]


          

Sheldon & Co.’s Business or Advertising Directory; Containing the Cards, Circulars, and Advertisements of the Principal Firms of the Cities of New-York, Boston, Philadelphia, Baltimore, &c., &c. Designed for Circulation, as a Book of Reference, Among the Merchants, on Board the Steamers, and in the Hotels Throughout the West and South. New-York: Printed by John F. Trow & Company, No. 33 Ann-Street. 1845. 176, 64, 39, 36, [6] p.; illus. 23 cm.
[“Daguerreotypes.” (p. 41-43.)
“Brady, M. B.”
“Daguerreian Miniature Gallery.”
[Woodcut depicting a cut-away view of the interior of the gallery, with figures looking at displays, sitting for a portrait, etc.]
First Premium New-York Daguerrian Miniature Gallery,
Corner of Broadway and Fulton-street,
Entrance third door from Broadway,
Where may be had Miniatures which for beauty of coloring, tone and effect, cannot be surpassed. by a new process, the dim and shadowy appearance of the pictures formerly so much complained of, is entirely obviated; and Mr. Brady respectfully invites the criticism of a just and intelligent public.
Likenesses in all cases warranted to give satisfaction, and colored in the most beautiful manner by a practical and competent artist.
Ladies, Gentlemen, and all strangers are invited to call at the Gallery, whether they intend sitting or not.
Miniatures taken in all kinds of weather, from 8 A. M. till 5 P. M.
The American Institute awarded a first premium to Mr. Brady at the late Fair.
Instructions carefully given in the art. M. B. Brady.”                                                                                                                (p. 41)]

Doggett’s New York City Directory for 1850-1851. New York: J. Doggett, 1850. 560, 110 p.; illus,
[“Appendix – Advertisements.”
Brady’s Gallery of Daguerreotype,
Nos. 205 and 207 Broadway,
(Third Door South of St. Paul’s Church.)
Admission Free.
[Woodcut showing a busy street scene (Broadway) depicting people walking, riding in carriages,, unloading goods, etc. in front of Brady’s Studio building.].
“This collection embraces some of the most distinguished men of this country. The President and Cabinet, also the late President Polk and his Cabinet, Members of the United States Senate and House of Representatives, Judges of the Supreme Court at Washington, and many other prominent persons are included in this Gallery. The Proprietor being much of his time in Washington. has the advantage of adding to these portraits any others that may interest the public. This establishment is one of the most extensive in the world, its facilities for the production of portraits by the Daguerrean art being unrivalled. It now occupies two large buildings, 205 and 207 Broadway. The operating department is arranged in the most scientific manner, and directed by persons of acknowledged skill in the profession. In the department arranged for copying paintings, daguerreotypes, engravings, statuary, &c., the light and instruments have been expressly designed for this purpose. It is the aim of the proprietor to render in every part of his business that attention which the public are entitled to from the patronage he has received. At the annual exhibitions of the American Institute for five years, the pictures from this establishment have received the first prize, consisting of a silver medal. The last, year the first gold medal ever awarded to Daguerreotypes was bestowed on the pictures from this Gallery. The portraits taken for the “Gallery of Illustrious Americans,” a work so favorably received throughout the United States, are engraved from these Daguerreotypes. Strangers and citizens will be interested and pleased by devoting an hour to the inspection of Brady’s National Gallery, Nos. 205 and 207 Broadway, corner of Fulton-street, New York.                                                  (adv. section p. 108.)]


Improvements in engraving and printing technologies throughout the 1850s fostered the growth of more profusely illustrated magazines and newspapers. And in an era when a great deal of news was about celebrated individuals, (Carlyle again) there was always a demand for accurate portraits of those individuals who came to public notice. Brady was quick to establish good connections with the editors and writers in the magazines and newspapers, and he was quick to allow the magazine’s artists to copy from his portrait collection. Brady established his gallery as a picture archive which he made available to the many magazines publishing out of New York City long before that concept became a regular practice. The by-product of this practice was that it became an almost inexhaustible source of publicity for Brady. A very ardent and active reader between ca 1845 and ca 1900 could have seen Mathew Brady noticed, mentioned, discussed or even actively praised almost 1,700 times in more than 150 magazines ranging from the American Agriculturalist to the Zion’s Herald and Wesleyan Journal, covering topics ranging from farming to religion. He was cited at least 430 times in the popular Frank Leslie’s Illustrated Newspaper (Leslie’s claimed to have 123,000 readers in 1857.)andabout 420 times in Harper’s Weekly: A Journal of Civilization during this time. He was also cited more than 700 times in thirteen newspapers in the New York and Washington and known to have been mentioned overseas in England and Germany and he was also mentioned in at least 40 books published about every topic under the sun, 40 official government documents, and nearly 30 exhibition catalogs of major exhibitions. (Those are the rough numbers of the references I’ve managed to find, and I assure you there are more that I didn’t.) Even a casual reader must have seen his name in print dozens of times over the span of a year. No wonder he was famous.

“Daguerreotype Likenesses.” Anglo American, A Journal of Literature, News, Politics, The Drama, Fine Arts, Etc. 5:7 (June 7, 1845): 165. [“The process of taking likenesses in daguerreotype is considered an easy one, and on principle it must be a correct one; but there are many things to be taken into account before one shall be produced of a really appropriate nature. When the state of the atmosphere and of the light are continually varying, as in cloudy weather, the sitting may be much too short or too long to effect a due proportion of light and shade; again, much depends on the position of the head, the attitude of the person, the colours of the drapery, and the steady stillness of the sitter with respect to all the details, but more especially of the eyelids and of the facial muscles, which are the most difficult to be kept in restraint. During the last week we have had occasion to be present during the operations in the establishment of Mr. M. B. Brady in these respects, and have been greatly pleased with his judgment and care on all the points we have mentioned, as well as others. At this place the likenesses are taken again and again, readily and patiently, until an effect is produced satisfactory to both the sitter and the operator;…

“Note.” Sunday Dispatch (New York, NY) 1:17 (Sun., Mar. 29, 1846): 2. [“Brady’s Daguerreian Gallery, Broadway, corner of Fulton street, is, every pleasant day, crowded with lady visitors. The impression is general that Brady’s lady faces, for correctness and grace cannot be surpassed, and Brady is, in consequence, hourly called upon to transfer the speaking features of beauty to the faithful plate.”]

‘Daguerreotypes–the Art Perfected.” Spirit of The Times; A Chronicle of The Turf, Agriculture, Field Sports, Literature And The Stage 16:19 (July 4, 1846): 228. [“Having lately heard a great deal said about Brady’s improved daguerreotype likenesses, we resolved to absent ourselves an hour or so from business last week, for the purpose of examining some of the specimens of this wonderful art by this clever artist. We have always dislikes the art (and we doubt not that there are many more like us), in consequence of the shabby-looking things that are met with on every block in Broadway, with one side of the face as white as chalk, and the other, in many instances, so black as to be almost invisible. This abominable defect is not to be found in Brady’s likenesses; they are brilliantly clear and beautiful, with the proper distribution of light to make the likeness perfect and… Mr. B. informed me that he has given Mr. J. G. Wolf, the celebrated German optician…an order for a new and improved instrument, the glass to be an inch and a half larger in diameter than any yet made,… In his collection of specimens we noticed the likenesses of some of our most eminent citizens. The coloring on Mr. B’s pictures surpasses any thing we have seen on the daguerreotype… Brady has received a Diploma and Silver Medal from the American Institute two years in succession. A Friend to Merit.”]

“Brady’s Daugaerrian [sic.] Gallery.” Scientific American 3:21 (Feb. 12, 1848): 167. [“Those who desire a likeness taken which cannot be excelled by any other artist in this city, are recommended to the establishment of Mr. Brady, 205 Broadway. We have seen some of the best executed and most perfect likenesses of his taking we ever beheld. His manner of executing them is according to the most improved plan and we should not do him justice did we not pronounce his pictures the best we ever saw. His method of retaking pictures from other daguerreotype plates so that the duplicate will be as correct and perfect as the one from which he copies, is really surprising.”]

“Editor’s Table. Premium Daguerreotypes.” American Agriculturalist 7:11 (Nov. 1848): 356. [“—On a recent visit to Brady’s Gallery, 205 Broadway, we were favorably impressed at the inspection of several Daguerreotypes, in miniature, of a number of our friends, which excelled in truthfulness, beauty, and finish, anything of that we have yet seen. Mr. Brady, who has taken the first premium at the fairs of the American Institute, for three or four years in succession, has brought this comparatively new art to a perfection, no where else surpassed, if equalled, which justly entitles him to the encomium thus bestowed….” (Etc., etc.)]

“Gossip with Readers and Correspondents.” Knickerbocker; Or New York Monthly Magazine 34:3 (Sept. 1849): 264-282. [“Among the gossipry omitted from our last number was a notice of the manifold attractions of Brady’s Daguerrian Gallery, corner of Fulton-street and Broadway. There is scarcely a prominent man in the country, from the past and present Presidents, their cabinets, and families, and high political magnates, out of office, (all of whom are admirably taken,) down, or up, to the distinguished literary, scientific, and artistic men of our time, but are here represented, and precisely ‘to the life.’ Mr. Brady and Mr. Haas have accomplished much toward perpetuating the celebrities of this day and generation…” p. 267.]


Brady also worked hard to develop yet another income stream from his portrait collection. He had developed good relations with many individuals in publishing. He had some experience in managing the complexities of transferring a daguerreotype plate into an engraved image and then publishing it as a separate print or within a magazine or book. He had been publishing and selling individual lithographic printsdrawnfrom his daguerreotypes for several years and in 1846 he had provided daguerreotypes for nineteen engravings to illustrate Marmaduke Sampson’s book Rational of Crime andhe had been providing portraits to magazines since at least 1848.

            

                 

Sampson, Marmaduke B. Rationale of Crime, and Its Appropriate Treatment; Being a Treatise on Criminal Jurisprudence Considered in Relation to Cerebral Organization. By M.B. Sampson. From the 2d London ed. With notes and illustrations by E.W. Farnham. New-York, D. Appleton & Company; Philadelphia, G.S. Appleton, 1846. 2 p.l., [ix]-xxiv, 177 p. illus. 19 cm.
[19 engravings drawn from Brady’s daguerreotypes.]

    

1 b & w (“Hon. George W. Crawford, Secretary of War.”) as frontispiece. American Review: A Whig Journal of Politics, Literature, Art And Science 10:19 (July 1849). [“Daguerreotype by Brady—Engraved by A. H. Ritchie.” “Portrait of Mr. Crawford. –We desire to call the attention of our Subscribers to the peculiar excellence of the elegant Portrait accompanying the present number. It is by Ritchie, from a daguerreotype by Mr. Brady, who has spent some time at Washington, since the advent of the Whig Administration, and has by great labor and skill obtained a series of portraits of our distinguished men, probably superior to anything of the kind in the world. We have made an arrangement with him for the exclusive use of such of them as we may require, and shall present them to our Subscribers in the unsurpassed style of the present one.”]

1 b & w (“Charles McDonald, of Georgia.”) as frontispiece. United States Magazine and Democratic Review 23:123 (Sept. 1848). [“Engraved by T. Doney.” “From a Daguerreotype by Brady.” Portrait in the viewed copy was with the July 1848 issue, but I think this was a binder’s error as the biographical essay was printed in September.]

‘The President and Cabinet.” Saturday Evening Post 29:1470 (Sept. 29, 1849): 2. [“We have received from the publisher, Mr. M. B. Brady, Daguerrian artist, a very handsome engraving of the President and his Cabinet—Messrs. Clayton, Meredith, Ewing, Collamer, Crawford, Johnson and Preston. The likenesses are taken from Daguerreotypes, and are said to be as accurate as they are finely executed. Gen. Taylor occupies the centre and foreground of the picture, and the members of the Cabinet are grouped around him. The price is only one dollar.”]

[Advertisement.] “Jenny Lind.” New York Daily Tribune (New York, NY) 10:2946 (Thurs. Sept. 25, 1850): 4. [“Just received, the only correct likeness of the Nightingale, executed by F. D’Avignon, from Brady’s Daguerreotype. Price 50 cents. Published from Brady’s Gallery, 205 Broadway by Brady & D’Avignon.”]


Brady decided to publish a large and elegantly illustrated portfolio of lithographic portraits drawn from the daguerreotype portraits of twenty-four notable men. The book was to be issued in parts throughout the next year while soliciting subscriptions to support the program, with the cumulated fascicules bound when completed. This type of serial publication of parts of an expensive book was more common in Europe, but it had not been practiced extensively in the US. The project would be one of the earliest books of biography which had the illustrations derived from photographic sources. Brady either hired or established a contract with an artist to copy his daguerreotype portraits onto lithographic plates and a writer to craft short biographical essays for each individual and then he began publishing the work. Brady elected to handle the advertising and distribution of the work himself out of his gallery. This was followed by the irregular release of a dozen fascicules for the book throughout 1850. He sent review copies of the work to dozens of magazines which catered to every type of interest all across the country. And as these fascicules were issued serially, the Gallery could be reviewed several times in each magazine during the year. Almost all of the reviews were favorable and a few were ecstatic – it was a groundbreaking work for America, with all the component parts done very well. And it probably didn’t hurt that the completed book was priced for $30.00, which was a pretty expensive book for the day; which the magazine’s editors could get for free by writing a few nice words about it every few months. But, in spite of all the favorable reviews, apparently the project did not garner enough subscribers or purchasers to continue the effort. I don’t know why the project stopped, but I suspect that the labour to accomplish the goal had been underestimated or that people weren’t getting paid. Finally, in December 1850 the twelve fascicules which had been issued separately were reissued and sold as a completed volume, even though only half of the announced number of portraits had been achieved.

                    

[Advertisement.] “A Great National Work.” Weekly Herald (New York, Ny) 16:50 (Dec. 15, 1849): 400. [Book notice. The Gallery of Illustrious Americans – Daguerreotypes by Brady. Engraved by D’Avignon. Edited by C. Edwards Lester. Under this title will be published during the year 1850, twenty-four Portraits and Biographical Sketches of American citizens who have become illustrious in the service of the country. Every portion of the work will receive the most careful attention, and nothing will be spared to render it a worthy and enduring monument to the great men of the Republic. Mr. Brady has been many years engaged, at great expense, in collecting Portraits for a National Gallery, and these which are being engraved for this work are believed to be superior to any that have ever been taken. In the accomplishment of this great object he has experienced the utmost courtesy and encouragement from distinguished men. Mr. Brady’s reputation has been too long established to need any recommendation. At home and abroad it is acknowledged that he has brought the art to perfection. His daguerreotypes are in the highest sense the productions of an artist, glowing with the soul of the living countenance. The drawings and engravings of D’Avignon have been pronounced by Europeans of taste to be fully equal and, in some respects superior, to those of the best artists of London and Paris and every impression in this Gallery will be taken under his immediate supervision. The typography will be executed as carefully and in as superb style as the engravings themselves. The entire work will be on the finest imperial folio paper, 16 by 23 inches, made expressly for this purpose. This work has nothing sectional in its scope; it will, therefore, be comprehensive in its spirit. The names of those men only will be admitted whose talents and public services have won for them an honorable fame throughout the nation. Each of the great departments of life will have its representatives. Art and Literature are universal in their spirit, and the Gallery is intended to be a worthy and enduring monument to the great men of the republic, whose achievements and fame constitute the chief glory of the nation. We hope that every lover of art and friend of our glorious Union, will respond to our appeal for encouragement and aid in so commendable an undertaking, that its publication may make an era in the progress of American Art, and, by grouping the illustrious men of the Union together, consolidate it still more firmly. As no work of this kind has appeared in America, and the prices they sustain in Europe would place it beyond the reach of most of our citizens, the publishers have resolved to merit a large circulation, by charging a very low price. They have, therefore, established the following conditions of subscriptions and sale –
A years subscription for 24 numbers…                   $30.
2 copies for the year…                                            $18
5 copies…                                                              $16
10 copies…                                                            $15
20 copies…                                                            $14
50 copies…                                                            $12.50
All numbers sold separately. For a single number $1…
N. B. – All orders and business communications may be addressed (post paid) to M. B. Brady, 205 Broadway, New York. Subscription lists are opened in all the principal bookstores throughout the United States. C. Edward Lester, Editor.”]

‘Literary Notices.” Home Journal: For The Cultivation of The Memorable, The Progressive, And The Beautiful n. 204 (Jan. 5, 1850): 2. [Book review. Gallery of Illustrious Americans. Long, positive review of this work, including an excerpt from the text Mr. Lester’s “Salutation.” “…the first number contains four pages of superb letter-press, printed on drawing paper, in the French style, on one side only. The size is the largest Imperial folio—eighteen by twenty-four inches. The portrait in this number is of General Taylor, and it is, without doubt, not only the best, but the only likeness of the hero-president we have ever had….”]

‘New Publications.” New York Evangelist 21:5 (Jan. 31, 1850): 20. [Book review. The Gallery of Illustrious Americans. “A semi-monthly issue has been undertaken of a work in folio form, printed in large elegant type on thick paper, each number to contain a large size portrait of some eminent character, engraved in beautiful style from daguerreotypes by Mr. Brady. The first number presents a striking portrait of President Taylor,… We must say of Mr. Brady’s daguerreotypes that they are by all odds the clearest and most artistic we have ever seen. His gallery of distinguished political personages is well worth visiting. Nothing can exceed the beauty, clearness and precision of his portraits, even the smallest. There are to be seen the portraits of Webster, Clay, Cass, Calhoun, Gen. Taylor and others just taken, which are surprisingly rich, and gave us, when we saw them, a better idea of the perfection to which this art has been brought than we had ever conceived….”]

‘The Book Trade.” Merchants’ Magazine And Commercial Review 22:2 (Feb. 1850): 249-256. [Book review “The Gallery of Illustrious Americans; containing Portraits and Biographical Sketches of twenty-four of the most Eminent Citizens of the Republic since the Death of Washington. Daguerreotypes by Brady; engraved by D. Avignon. Edited by C. Edwards Lester. New York: G. P. Putnam. “The publication of this work has created an interest among all classes, and the successive numbers will be looked forward to with curiosity. It is the first time on attempt has been made in this country to produce a specimen of fine printing on imperial folio drawing paper, after the style of those superb galleries which are so often published in Europe. The type, which is of a very beautiful kind, has never before been used for printing, either at home or abroad. The paper, the presses, and everything connected with it. we understand, have been manufactured expressly for the purpose, and no pains could have been spared to produce so magnificent a work. It is to be completed during the year, in twenty-four numbers, containing the portrait and biographical sketch of our ” Illustrious Americans,” under the editorship of C. Edwards Lester, Esq, The portraits are engraved by D’Avignon, who is without a rival in his superb style, from a series of very large and exquisitely executed daguerreotypes, by Mr. Brady, whose reputation in his art is very generally and justly appreciated. Under the favorable auspices which attend the publication of the work, we doubt not it will be completed in the same splendid style in which it is begun. General Taylor’s portrait in this number, is regarded, by those who know him well, as being superior to any that have yet been taken. We venture to say, however, that it surpasses public expectation, in every respect; and when complete, will form such a gallery as has long been wanted, and which will transmit, to coming times, the most striking and beautiful portraits of our public men, embellished with the finest letter-press our country has produced.” p. 254.]

“The Fine Arts.” Literary World 6:158 (Feb. 9, 1850): 132. [“…The first number of a Gallery of Illustrious Americans has appeared in folio, with a fine lithograph of General Taylor, engraved by D’Avignon from a Daguerreotype by Brady, the letter-press by C. Edwards Lester. It is proposed to publish twenty-four numbers within the year, and the selection is to include ‘the most eminent citizens of the Republic since the death of Washington.’ The lithograph is finely executed, one of the best specimens of the art yet published in this country. Several of the difficulties of the daguerreotype are successfully overcome, but something of the severity and cadaver of that popular but frequently impracticable method of portraiture remains.”]


Brady’s book project was never fully completed, but the sequential issue of the parts had kept his name present and noticed among the literate population of the country throughout the year. (I’ve located at least 200 reviews for the Gallery in dozens of magazines and newspapers during 1850, and I’ve probably missed at least that many more.) So Brady’s name, attached to the portraits of important or interesting people, was distributed throughout the country and Brady’s name appeared in print almost on a weekly basis to be seen by thousands of people in every walk of life.
And all this on top of his already extensive and ongoing advertising campaign. New York City had held its annual American Institute Fair, which was sort of a County Fair on steroids, throughout the 19^th century. During the Daguerreian era ,from about 1844 to about 1860, the fair was an important venue for the city’s photographers. (Remember, each daguerreotype is unique – no multiple copies.) The exhibition was seen by thousands of visitors each year and premiums or medals were awarded to the best products in each display category by presumably knowledgeable judges. Each year two or three of the major galleries of the five or six entered usually received some award, with first place medals rotated among them annually on an apparently informal and casual basis. (“Lets keep everyone happy, yes?”) Most of the other galleries were proud to get an award and acknowledged it in their advertising, but when Brady won he blanketed the city with his advertisements touting the award.
In 1851 Brady submitted some daguerreotypes to the “Great Exhibition of the Art and Industry of All Nations” in London’s fabulous new “Crystal Palace.” This was a big deal, opening after years of planning. That extraordinary structure was stuffed with hundreds of thousands of “objects of art and industry” from Great Britian and the rest of the world. Great Britian submitted scores of thousands of items for display. France submitted 1740 items. The U. S. agents gathered together 586 items ranging from buggy carriages to needlework samples and got most of them to London in time for the show – just a little late for the opening. The exhibition must have resembled a huge jumble sale. Apparently only the most rudimentary sort of grouping of like items was accomplished throughout the exhibition, at least for the photographs. They seem to have been stuck wherever they could be fit in, and, if grouped together at all, only because their makers shared the same place of origin. The Daguerreian entries were placed among the “Philosophical Instruments and Products” category, and among the flurry of awards given for superior false teeth and artificial legs, air pumps, opera glasses and timepieces, several awards were given to the American daguerreotypists – probably because they managed to finally get them there. Brady submitted a bound copy of his Gallery of Illustrious Americans along with about forty daguerreotype portraits – some of them of the individuals in the book. He was awarded a medal. It was not even the highest medal awarded in his category, which went to John Whipple of Boston for a daguerreotype of the moon, but that fact did not stop Brady. Brady exploited his award relentlessly on this side of the Atlantic ocean in a heavy advertising campaign over the next few years.


The Illustrated American Biography; Containing Correct Portraits and Brief Notices of the Principal Actors in American History; Embracing Distinguished Women, Naval and Military Heroes, Statesmen, Civilians, Jurists, Divines Authors and Artists; Together with Celebrated Indian Chiefs… Complete in Six Volumes, One Volume to be Issued Annually. by A. D. Jones… volume I. New York: J. Milton Emerson & Co., 1853. 412 p.; illus., ports.
[Advertisement.]                                                              “The Prize Medal
                                                    [Engraving Depicting The Recto And Verso Sides of The Medal]
                                                                               Was Awarded To M. B. Brady,
                                                                                                at the
                                                                                World’s Fair, in London,
                                                                                                1851,
                                                                             For the Best Daguerreotypes.
                                                                             In addition to his old stand at
                                                                         205 Broadway, cor. of Fulton Street,
                                                                      Mr. Brady has fitted up a New Gallery at
                                                                                        359 Broadway,
                                                    Over Thompson’s Saloon, between Leonard and Franklin Streets,
                                              For the better accommodation of his customers in the upper part of the city.
Having spent most of the past year in Europe, in examining the most celebrated Galleries and Works of Art, especially in France and Italy, Mr. Brady has introduced into his establishments all the improvements and discoveries of those countries, and is prepared to execute every description of work pertaining to his business, in the highest style of the art.
Portraits of Sick or Deceased persons taken at their residence by a skilful and experienced artist.
An extensive assortment of Gold Lockets, Pins, Rings, Seals, and rich and elegant Cases, selected in Paris under Mr. B.’s personal supervision, constantly on hand.”                (p. 47)
(This is a full-page ad, with illustrations.)                                                                                                                                           ]

[Advertisement.] “Brady’s National Gallery of Daguerreotypes,” New York Daily Tribune(New York, NY) 12:3468 (Sat., May 29, 1852): 4. [“…No. 205 Broadway, comprises Portraits of the most eminent men of our own country as well as fine likenesses of Louis Napoleon, Lamartine, Eugene Sue, and other celebrated Europeans. celebrities, Also, a Grand Panoramic View of the City and Bay of San Francisco, just received by the last steamer. His pictures, for which a prize medal was awarded at the World’s Fair, are alone worthy of a visit of every lover of the fine arts.”]

[Advertisement.] “Daguerreotypes by Brady,” New York Herald (New York, NY) no. 7212 (Sat., July 31, 1852): 4. [“The public is respectfully invited to examine the Prize Pictures exhibited at the World’s Fair, together with a large collection of portraits of most of the distinguished men of our country, at Brady’s Gallery, 205 Broadway, corner of Fulton street.”

[Advertisement.] “Brady received the Prize Medal at the World’s Fair in London,…,” New York Herald (New York, NY) no. 6413 (Thurs., Mar 16, 1854): 5. [“…and at the Crystal Palace in New York, for the best daguerreotypes. Brady’s Daguerrean Galleries, Nos. 359 and 205 Broadway.”]

Official Catalogue of the Great Exhibition of the Works of Industry of All Nations. Second Corrected and Improved Edition. London: Spicer Brothers, Wholesale Stationers; W. Clowes & Sons, Printers; Contractors to the Royal Commission. 320 pp. + 34 pp. advertising. [“Arrangement of the Catalogue. — The British productions are entered in the Catalogue in the order of the classes, and the Foreign in alphabetical order of the countries; the title and number of the class, and the name of each colony and foreign country, are printed conspicuously at the top of the page. Exhibitors’ Numbers. — Each class as well as each foreign collection has its own distinct set of numbers; and labels are appended to the various articles, showing where the descriptions are to be found in the Catalogue.”
(The British portion of the catalog was divided into 30 Classes, from “Class 1. Mining and Mineral Products.” to “Class 30. Fine Arts, Sculpture, Models, & Plastic Arts, &c.” (pp. 1 – 155) Materials relating to photography were most often placed in “Class 10. Philosophical, Musical, Horological, and Surgical Instruments.” or in “Class 30. Fine Arts, Sculpture, Models, & Plastic Arts, &c.” The remainder of the catalog is organized by country, first those of the British Colonial possessions (India, Australia, etc.) (pp. 156 – 183) then the Foreign States, from “America, United States of” to “Tuscany.” (pp. 184-320.) The system of arrangement by classes was not followed in the displays of the foreign countries, and all items seem to have simply bundled together in little order, if any. The USA had 586 items on display listed, France had 1740, etc.
Apparently only the most rudimentary sort of grouping of like items was accomplished throughout the exhibition, at least for the photographs. They seem to have been stuck in wherever they could be fit, and, if grouped together at all, only because their makers shared the same city of origin. I have included a random sample of the some other items listed, as an indication of what a jumble sale the exhibition must have resembled. Almost all of the photographs on display seem to have been there as examples of photographic practice, rather than in the exhibition for their content or subject matter. by 1869 the use of photographs to document and illustrate the works or activities of a distant country or even of a specific company or product had become commonplace practice in international fairs, but in the 1851 exhibition it seems to have been so used very sparingly.
The following is a listing of exhibitors, following the order of presentation in the catalog.)
                                                                 —————————————
America, United States of. [586 items displayed]
41 Lacey & Phillips, Philadelphia, Pennsylvania. — Harness.
42 Root, M. A. Philadelphia. — Daguerreotypes.
43 Wetheriel Brothers, Philadelphia, Pennsylvania. — Four bottles of chemicals and a sample of white lead.

108 Lease, Mrs. J. Albany, New York. — Needlework: — Satin patchwork cradle-quilt; satin nursery-basket; merino embroidered under-shirt; linen stitched and corded Blip; cambric shirt; infant’s articles; mourning articles of various kinds; polka dress-cap, with narrow white satin piping.
109 Mead & Brothers, New York. — Daguerreotypes.

125 Gavit, D. E. New York. — Daguerreotypes.
126 Atlantic Dock Mills, Brooklyn, New York. — Specimens of flour and farina from Indian corn.

132 D’Avignon, Francis. New York. – Designer. Specimens of lithography.
136 Frisbie, M. J. New York. — Specimens of India-rubber shoes.
137 Brady, M. B. New York. — Daguerreotypes; likenesses of illustrious Americans.
138 Arrowsmith, G. A. Prop. New York. — Jenning’s permutation locks.

141 Cochran, John W., New York-Inventor.
142 Brady, D’Avignon, & Lester, New York
One volume, entitled “Gallery of Illustrious Americans,” a specimen of lithography, letter-press, and binding.
143 Sherman & Smith, New York.
Map of the United States.
144 Griffin, Daniel, New York.
Model of a water-wheel, furnaces, &c.
145 Bullock, S. W. & J., New York.
Self-operating oil press.

149 Moore, D. D. T. Watervliet, New York. — Cornbrooms.
150 Jeffrey, A. Canandaguia, New York. — Oil-paintings of the wild flowers of Western New York.
151 Lawrence, M. M. New York. — Daguerreotypes.

223 Harrison, C. C. New York. — Camera obscura, and daguerreotypes.
224 Thompson, W. M. New York. — Pictorial bookbinders’ stamps.

226 Griffith, J. VV. New York. — -Model of an ocean steamer. Treatise on Marine and Naval Architecture.
227 Thornton, Frances, New York. — Articles in shirtmaking and laundry-work.
229 Tuckerman, E. G. Prop. New York. — Air exhausted coffin, intended to preserve the dead from putrefaction. Air-exhausted fruit-box, for preserving fish, fruit, game, &c.
230 Pease, R. H. Albany, New York. — Specimens of lithographed engravings.
231 Higginbotham, L. C. Vernon, New York. — Miniature steam-engine, made by the exhibitor.

264 Pratt, W. A. & Co. Richmond, Virginia. — Daguerreotypes.

285 Robinson, P. Richmond, Virginia. — Specimens of manufactured tobacco.

377 Whitehurst, J. H. Baltimore, Massachusetts. — Daguerreotypes: Falls of Niagara.
378 Goodyear, C. New Haven, Connecticut. — India-rubber goods.

451 .Whipple, J. A. Boston. — Daguerreotypes.
452 Cummings, J. A. Boston. — Tooth-wash and dentifrice.

490 Fuller, J. E. Boston, Massachusetts. — Mathematical telegraph and model calculator. Computing telegraph. Pocket computer.
491 Mayall, J. E. Philadelphia. — Daguerreotypes.
492 Kidder, C. F. BostonIndian cap.
493 Dalphin, .1. E. Springfield, Otsego County, New York. — Self-adjusting churn.
(Etc., etc.)
                                                                 —————————————
(Etc., etc.)
Brady (United States, No. 137, p. 1441) has exhibited forty-eight daguerreotypes, uncoloured. These are excellent for beauty of execution. The portraits stand forward in bold relief, upon a plain background. The artist having placed implicit reliance upon his knowledge of photographic science, has neglected to avail himself of the resources of art. The portraits of General Taylor, Calhoun, General Cass, and James Perry, are strikingly excellent; but all are so good that selection is almost impossible. The Jury awarded the Prize Medal to Mr. Brady.
Whipple (United States, No. 451, p. 1464) has exhibited several specimens of daguerreotypes, amongst which one of the moon may be mentioned with the highest commendation: this is, perhaps, one of the most satisfactory attempts that has yet been made to realise, by a photographic process, the telescopic appearance of a heavenly body, and must be regarded as indicating the commencement of a new era in astronomical representation. The same exhibitor has included in his collection three pictures, containing several full-length figures, well grouped, and artistically arranged. Each part is well in focus, and the definition is admirable. An agreeable tone pervades all these pictures. A Prize Medal was awarded to Mr. Whipple.
Mayall (United States, No. 491, p. 1465) has contributed largely to the American collection,—his works here being characterized by the same broad masses of light and shadow as those which he has exhibited in the British Department (No. 291). The subjects of the pictures in the present series consist chiefly of small groups and portraits; also two cases containing illustrations of the Lord’s Prayer. The majority of these (most of which are uncoloured) are effective, verging upon the theatrical in point of style, but they are not all equally well defined. We should be doing Mr. Mayall an injustice, were we not to mention, as a brilliant exception to the above criticism, a small figure of a female reclining: it is exquisite in delicacy of execution, harmonious distribution of light and shade, whilst an admirable tone pervades the whole picture; this, the finest of Mr. Mayall’s contributions, is free from colour, and is daguerreotyped from a classic work of art. The Jury awarded Honourable Mention to this exhibitor.
Evans, New York (United States, No. 105, p. 1440), has exhibited several portraits of great merit. Those of the Rev. — Ingersoll, Dr. Nott, Dr. Lord, and Dr. Shel ton, are characterized by peculiar excellence; also two portraits, each of a lady sitting near a table upon which a group of flowers is displayed, deserve to be noticed as fair specimens of the perfection to which this application of science, to the purposes of art, has been carried.
Meade Brothers (United States, No. 109, p. 1440) have exhibited a series of portraits of more than ordinary size. Conspicuous among this collection are the heads of Wallack and H. W. Meade. The modulation of light and shade upon these last is admirable, as well as the details of the features, and the total absence of all harshness: the artistic effect is excellent. Greater credit is due to this collection of portraits, than to the series of allegorical subjects exhibited by Mr. Meade.
Pratt, Richmond, and Co. (United States, No. 264, p. 1452), have exhibited several daguerreotypes, of various degrees of excellence. The profile of an old man, assisted by colour, is the best.
Whitehurst, Virginia (United States, No. 377, p. 1461), has exhibited twelve views of the Falls of Niagara. These are admirable, and possess a degree of reality not always attained in landscapes produced by the daguerreotype process.
Among the remaining exhibitors of daguerreotypes in
the United States Department are—
Gavit (United States, No. 125, p. 1441), Root (United States, No. 42, p. 1435), Whitehurst (United States, No. 525, p. 1467), and Hogg (United States), all of whom have exhibited daguerreotypes, but not distinguished by any striking degree of excellence. Langenheim(United States, No. 62, p. 1437) has exhibited two large Talbotypes, one of which is a panoramic view of Philadelphia, executed in compartments, but wanting unity of effect. This artist, also, exhibits a series of subjects on glass, designated by him under the name of hyalotypes, being delicate miniatures, excellently adapted for magic lanthorn subjects. The material would appear to be collodion, albumen, or some similar preparation, forming a film on the glass, capable of receiving the impression. A daguerreotype view of Cincinnati, by Fontyne and Porter (United States, No. 550, p. 1468), is more successful. This is also taken in separate compartments: it is clear and good in colour, and forms an effective picture. Harrison (United States, No. 223, p. 1450) has also some daguerreotypes of a very superior description.
In turning our attention to France, we find several daguerreotypes, which, in contradistinction to those of America, are characterized by large masses of light, in (p. 277) which is expressed the greater amount of detail and minutiae. They are not so entirely free from glare as those of America.
(Etc., etc.)                                                                                                                                                                                         ]

The Illustrated Exhibitor: A Tribute to the World’s Industrial Jubilee; Comprising Sketches, by Pen and Pencil, of the Principal Objects in the Great Exhibition of the Industry of All Nations. London: John Cassell, 1851. “A tribute to the world’s industrial jubilee.” i-viii, 556, ix-xliv, pages. ill. ; 26 cm
List of Awards of the Juries.
Class X. Philosophical Instruments and Their Dependent Processes.
The Council Medal.
144. Brooke, C., U.K., for the invention of a means of self-registering natural phenomena, by photography
301 Buckle, S., class XXX., U.K., for his photographs on paper.
296. Claudet, A. F., U.K., for his several inventions based upon experiments in the
practice of photography; and for his non-inverted pictures [see p. 489] (p. xix)
299 Ross and Thompson, Class XXX., U.K., for great improvements in photography
610. Martens, F., France, for his talbotypes on glass by the albuminous process
The Prize Medal.
414. Bayard, H., France, Talbotypes
137. Brady, M. B., U.S., daguerreotypes
220. Horne, Thornthwaite, and Wood, U.K., good work in photograph apparatus
836. Flacheron, F., France, Talbotypes
297. Henneman and Malone, U.K., Talbotypes
291. Kilburn, W. E., U. K., photographs
453. Knight and Sons, U.K., chemical apparatus
151. Lawrence, M. M., U.S., daguerreotype
688. Nasmyth, J., U.K., moon maps
160A. Negretti & Zambra, U.K., meteorological instruments on glass.
1679. Plagniol, A., France, camera obscura
— . Pretsch, P., Austria, photographs.
251A. Reade, Rev. J. B., U.K., solid eye-piece
999. Schiertz, J. G., France, photographic. apparatus.
257. Varley & Son, U.K., telescopes, Camera. lucida
131. Whipple, J. A., U.S., daguerreotype of the moon.
Honourable Mention.
7. Albert, J. W., Frank.-on-Maine, photo.
241. Gouin, A., France, coloured daguerreotypes
 — . Hill and Adamson, U.K., Talbotype goods
548. Jamin, France, prisms and lenses
620. Maucomble, France, coloured daguerrotypes.
491. Mayall, J. E., America, photographs.
1038. Thierry, J., France, daguerreotypes. (p. xx)                                                                                                                            ]

“Industrial Exhibition of 1851: American Awards.” New York Times (New York, NY) (Wed. Oct. 29, 1851): 2. [“The list of awards made by the Royal Commissioners to the American contributions at the World’s Fair, is published in the National Intelligencer of yesterday. We annex the list complete. It was forwarded to this country by Mr. Edward Riddle, per steamer Pacific…Awards for all categories listed, among them …Category II. Prize Medals: Class X: Daguerreotypes Brady, M. B: Daguerreotypes Lawrence, M. M: Daguerreotype of the Moon Whipple, J. A. Category III. Honorable Mention: Class X Photographs Mayall, J. E. “]
“Business Notices.” New York Times (New York, NY) (Tues. Feb. 17, 1852): 2. [“Those magnificent Daguerreotypes, for which a Prize Medal was awarded to Mr. Brady, at the World’s Fair, have been returned in perfect order, and are now on exhibition at his Gallery, No. 205 Broadway, corner of Fulton-st., together with the portraits of more than 500 of the most distinguished Statesmen, Scholars, and Artists of our country; and are open at all times to the free examination of the public.”]

[Advertisement.] New York Daily Times (New York, NY) (Wed. June 2, 1852): 2. [“Brady’s Prize Pictures at the World’s Fair, together with his extensive Gallery of Portraits of distinguished persons, universally admitted to be the best collection extant, are daily on exhibition at his National Gallery, No. 205 Broadway.”]

[Advertisement.] “Brady’s Daguerreotypes.” New York Daily Times (New York, NY) (Fri. June 11, 1852): 2. [“The first Gold Medal ever awarded any Daguerreotypists in this country was bestowed upon M. B. Brady, No. 205 Broadway, whose unrivaled collection of portraits of illustrious men, both American and European, has been admired as the best in the United States. His magnificent pictures, for which he received a prize medal at the World’s Fair, have been pronounced the best specimens of the Daguerrean Art ever exhibited, and will repay a careful examination.”]

[Advertisement.] “Business Notices. Brady, Having Received the Gold Medal…” New York Daily Times (New York, NY) (Sat. Nov 13, 1852): 4. [“from the American Institute, and also other prize medals for years in succession, as well as the prize medal awarded in London at the World’s Fair, deems it unnecessary to expatiate on the superiority of his pictures; but invites the attention of the public to his superb and unrivalled collection of Daguerreotypes now on exhibition at his Gallery, No. 205 Broadway, corner of Fulton–st.”]
“Business Notices: Brady’s Daguerreotypes.” New York Times (New York, NY) (Mon. Nov. 29, 1852): 5. [“…Received a Prize Medal at the World’s Fair in London, and at various Fairs of the American Institute in this City; nor have they ever failed of receiving the highest prize whenever offered for competition. His Rooms at 205 Broadway, corner of Fulton-st., are open at all times, and the public are invited to examine his superb collection of rich and elegant articles suitable for the coming Holidays.”]

[Advertisement.] “Brady’s Daguerreotypes.” New York Times (New York, NY) (Tues. Dec. 27, 1853): 1. [“His famous pictures are too well known to our citizens to require comment. the daguerreotypes from his establishment have invariably commanded the highest prizes whenever offered for competition….No. 359 Broadway and No. 205 Broadway.”]

                                                            +++++++++++++++++++

Official Catalogue of the New York Exhibition of the Industry of All Nations. New-York: George P. Putnam & Co., Publishers, 10 Park Place, Contractors to the Association, &, &, 1853. 247 pp. [(The United States, Great Britain and Ireland, Zollverein and Germany, Belgium, France, Switzerland, Holland, Austria, Italy, British Colonies: (British Guiana, Newfoundland, Prince Edward’s Island,) Sweden and Norway, Mexico, Turkey, and Hayti were listed as participating in the Industry of all Nations exhibition. The catalog was divided into 31 Classes, from “Class 1 Minerals, Mining and Metallurgy, and Geological Mining Plans and Sections.” to “Class 31. Fine Arts, Sculpture, Paintings, Engravings, &c.” Materials relating to photography were placed under each country in “Class 10. Philosophical Instruments, and Products Resulting from Their Use, Including Horological and Surgical Instruments and Appliances.” Not all countries entered materials under Class 10, and even fewer countries entered photographic materials. It seems that, other than a frame of photographs entered by Blanquart-Evrard from France, some photographs from Ireland, and some microphotographs of vaccine and some apparatus from England, that few countries submitted daguerreotypic or photographic items. The United States presented by far the largest number of entries in Class 10, with 179 listed items, ranging from a working display of Samuel Morse’s patent electric telegraph apparatus, with operators on duty and sending messages to Washington, D.C., to Specimens of artificial teeth, set and unset, to large marine chronometers. Items 43 to 86 were daguerreotypists.)
                                                                 —————————————
“United States…Class 10. Philosophical Instruments, and Products Resulting From Their Use, Including Horological and Surgical Instruments and Appliances.”…
1 Morse’s patent electric telegraph apparatus in operation, and the wires in direct connection with the principal lines in the United States — Wm. M. Swan (President of Morse’s Magnetic Telegraph Company); Offices in New-York, Philadelphia, and other cities
43 Collection of large crayon daguerreotypes, and daguerreotypes by the ordinary process, — Samuel Root, Daguerrean Artist, 363 Broadway, New-York City.
44 Collection of specimens of the arts of daguerreotyping, talbotyping, and crystallotyping. — M. A. Root, Daguerrean Artist, 140 Chestnut street, Philadelphia.
45 Frame of daguerreotypes. — Phillip Haas, Daguerrean Artist, 371 Broadway, New-York City.
46 Collection of daguerreotype portraits Jeremiah Gurney, Daguerrean Artist, 349 Broadway, New-York City.
47 Solographs, plain and colored; nebular daguerreotypes. — E. C. Hawkins, Daguerrean Artist, Cincinnati, Ohio.
48 Specimens of the daguerreotype art on extra large plates. — A. Bisbee, Daguerrean Artist, Dayton, Ohio.
49 Portraits in daguerreotype. — S. P. Barnaby, Daguerrean Artist, Dayton, Ohio.
50 Specimens of daguerreotyping. — William E. North, Daguerrean Artist, Cleveland, Ohio.
51 Specimens of the daguerreotypic art — E. L. Webster, Daguerrean Artist, Louisville, Kentucky.
52 Daguerreotype pictures. — Ernest Van Herringen, Daguerrean Artist, Chestnut street, Philadelphia, Pennsylvania.
53 Specimen of daguerreotyping. — Sheldon К Nichols, Daguerrean Artist, 168 Main street, Hartford, Connecticut.
54 A variety of daguerreotype pictures. — Antony C. Zucky, Daguerrean Artist, 499 Broadway, New-Yoгk City.
55 Daguerreotype pictures — Capt. P. Von Schneidau, Daguerreotypist, 142 Lake street, Chicago, Illinois.
56 A collection of daguerreotypes. — Henry Pollock, Daguerreotypist, 165 Baltimore street, Baltimore, Maryland.
57 Daguerreotype miniatures. — Thomas Favis, Daguerrean Artist, Cincinnati, Ohio.
58 Collection of daguerreotype miniatures. — Masury & Sillsbee, Daguerrean Artists, 299 ½ Washington street, Boston, Massachusetts,
59 Collection of daguerreotypes. — J. H. Whitehurst, Daguerrean Artist, 206 Baltimore street, Baltimore, Maryland.
60 Collection of illuminated daguerreotypes. — Henry E. Insley, Daguerreotypist, 311 Broadway, New-York City.
61 Daguerreotypes of two monuments. — Louis V. J. Pfeiffer, Sculptors, 5 Second Avenue, New-York City.
62 A large collection of photographic portraits and pictures from members of the association. — New-York State Daguerrean Association, (George N. Barnard, Sec.), Oswego, New-York.
63 Improved coating box for the daguerreotype process. Card distributing apparatus. (Patents applied for). — William ,& William H. Lewis,  manu. 63 Elizabeth street, New-York City.
64 Collection of microscopic objects in physiology and natural history, prepared by the exhibitor. — Silas Durkee, M. D. Boston, Massachusetts.
65 Specimens of daguerreotype portraits on full size plates. — A . Washington, Daguerrean Artist, Hartford, Connecticut.
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,
67 Daguerreotype specimens. — Charles C. Lincoln, Daguerrean Artist, 182 Fulton street, Brooklyn, New-York.
68 Daguerreotype instruments and cameras of various sizes. — Charles С Harrison, manu. 86 Duane street, New-York City.
69 Daguerreotype portraits. — David Clark, Daguerrean Artist, New Brunswick, New Jersey.
70 Daguerreotypes by the common method. Specimens of crystallotypes; or daguerreotypes taken by means of glass upon prepared paper. — John A . Whipple, pat. & manu. 96 Washington street, Boston, Massachusetts.
71 Specimens of daguerreotype portraits. — Edward Long, Daguerrean Artist, St. Louis, Missouri.
72 A collection of daguerreotypes. — Martin M. Lawrence, Daguerrean Artist, 203 & 381 Broadway, New-York City.
73 Specimens of daguerreotypes. — F. Moissinet, Daguerrean Artist, New Orleans, Louisiana.
74 Collection of daguerreotype pictures. — Donald McDonell, Daguerreotypist, Buffalo, New-York.
75 Collection of daguerreotypes in frames. — A. J. Beals, Daguerrean Artist, 166 Broadway, New-York City.
76 Various specimens of daguerreotypes. — C. C. Kessy, Daguerrean Artist, 96 Lake street, Chicago, Illinois.
77 Daguerreotype apparatus and materials of all descriptions. — Edward Anthony, manu. 308 Broadway, New-York City.
78 Descriptive daguerreotypes. — Harrison & Hills, Daguerrean Artists, 283 Fulton street, New-York City.
79 Tableau of elegantly mounted daguerreotypes. — J. H. Fitzgibbon, Daguerrean Artist, St. Louis Missouri.
80 Daguerreotypes, representing Shakspeare’s “Seven ages of men;” taken from life-subjects. Portrait of Daguerre, from life. Groups of various portraits of full and half sizes. — Meade Brothers, Daguerrean Artists, 233 Broadway, New York City.
81 Collection of daguerreotypes. — Matthew B. Brady, Daguerrean Artist, 205 & 369 Broadway, New-York City.
82 Specimens of daguerreotypes. — George M. Howe, Daguerrean Artist, Portland, Maine.
83 Collection of daguerreotypes. — James Brown, Daguerreotypist, 181 Broadway, New-York City.
84 Framed tableau of fine daguerreotypes. — Charles H. Williamson, Daguerrean Artist, 249 Fulton street, Brooklyn, New-York.
85 Daguerreotype apparatus. Cases and prepared plates of all sizes and qualities. — Scovill Manufacturing Co., manu. Waterbury, Connecticut. Office, 67 Maiden lane, New-York City.
86 Electrotypes, produced upon new principles. (Patent applied for). — Haas, Honneger, & Co., inv. & manu. 69 Fulton street, New-York City….” (pp. 51-53)]

Art and Industry as Represented in the Exhibition at the Crystal Palace New York—1853-4. Showing the Progress and State of the Various Useful and Esthetic Pursuits.
From The New York Tribune.
Revised and Edited by Horace Greeley.
Redfield, 110 & 112 Nassau-Street, New York. 1853.
XVII. Daguerreotypes.
If there be any one department in the whole building which is peculiarly American, and in which the country shines preeminent, if 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 practised….”
(Etc., etc.)
These remarks will serve to illustrate the subjoined notes upon the collections in the Exhibition.
Mr. Lawrence exhibits 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 back-ground 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. (p. 173)
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. The collection of Meade Brothers, taken as a whole, is fair, there being great variety in the display, and some pictures of merit. The portrait of Daguerre, in this collection, is the only one of the kind in this country, having been taken by one of the exhibitors when in France, in 1848. Shakespeare’s “Seven Ages” are illustrated on as many plates, taken from life. The earlier pictures of this series are better conceived than the later ones, especially those representing the Soldier and the Lover. The Meades have also a number of heads on the largest-sized plates; some Daguerreotypes colored to resemble miniatures on ivory; and what are termed by them Instantaneous Daguerreotypes. These do not possess any remarkable merit. We perceive in Brady’s collection some well-selected heads, among which are two of President Pierce and one of Lieut. Maury. M. A. Root has a large and respectable collection now on view, among which are many specimens of his Crayon Daguerreotypes.
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 of the Japan Expedition, in half-sized 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 to the camera; they lack warmth, but are otherwise (p. 174) well developed, and exhibit good mechanical execution. Alexander 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 views of Galena, Ill., show 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 fair 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 Daguerrean 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 distant 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, are good. The “Cupid Reposing” is a very ungraceful posture 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 one hundred and eighty 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 invested 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 our dissent from 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 (p. 175) 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 felt 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 Hayes, 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 and Silsbee, Boston, exhibit twelve very 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 are 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 fine. Hawkins exhibits photographs on paper. Drummond, eight plates of the Order of Freemasons 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 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 (p. 176) copper copy. This would be in relief, like the original silver-plate, and is susceptible of being treated like an engraved plate, yielding, when inked, prints resembling mezzotint. Beside 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.” (p. 177)        ]

“Advertisements.” New York Times (New York, NY) (Tues. Feb. 14, 1854): 8. [“Brady’s Daguerreotypes were awarded the Prize Medal at the World’s Fair in London and at the Crystal Palace in New York. These pictures are on exhibition at Brady’s new gallery, No. 359 Broadway, over Thompson’s saloon, with many others of acknowledged merit. This galley commands superior facilities for the business and is fitted up with great elegance. It contains valuable portraits of distinguished individuals not to be seen elsewhere. To say that pictures from this establishment have always defied competition would be superfluous, the fact being known to all persons who are competent to judge of the art.”]

[Advertisement.] New York Times (New York, NY) (Tues. Feb. 28, 1854): 1. [‘Brady was the first to establish the superiority of American daguerreotypes. At the World’s Fair in Hyde-park, London, 1851, he received the Prize Medal for the best pictures. Also at the Crystal Palace in New York, he was awarded the Prize Medal. Many improvements have been introduced, and his portraits taken at No. 359 Broadway, over Thompson’s Saloon, are unequalled in all the points which constitute a faultless picture.”]

[Advertisement.] New York Times (New York, NY) (Wed. Mar. 8, 1854): 8. [“A the most severe ordeal to which the Daguerreotype was ever subjected, Brady triumphed. We allude to the World’s Fair in London, in 1851. In addition to the foreign medal he then obtained, a Prize Medal was awarded him at the Crystal Palace in New York. His portraits have borne away the palm in the Old World and the New. Comment seems unnecessary. His galleries are Nos. 359 and 205 Broadway.”]


One small issue. Like his colleague P. T. Barnum, Mathew Brady was a firm believer in advertising, and like Mr. Barnum, Mr. Brady did not always strictly adhere to the actual facts.


“Personal and Art Intelligence.” Photographic and Fine Art Journal 7:1 (Jan. 1854): 32. [“…Brady has carried the first prize at the New York Crystal Palace Exposition.”]

“Personal & Art Intelligence.” Photographic and Fine Art Journal 7:2 (Feb. 1854): 63-64. [“The rumor that Mr. Brady had obtained the gold medal of the World’s Fair exhibition in New York, appears to be incorrect. The awards of the Jurors have been published and we find the result is as follows:
Silver Medal.
(The highest premium awarded.) J. A. Whipple of Boston, for crystalotypes.
Bronze Medals.
Alexander Butler, for several excellent daguerreotypes.
M. B. Brady, for uniformly excellent daguerreotypes.
C. C. Harrison, for cameras.
A. Hesler, for beautiful daguerreotypes, “The Three Pets,” “The Toilet” and others.
M. M. Lawrence, for excellent daguerreotypes, particularly, “Past, Present and Future.”
Henry Plant of France, for photographic apparatus.
Samuel Root, for fine daguerreotypes.
Honorable Mention.
J. H. Fitz Gibbon, for daguerreotypes.
Jeremiah Gurney, for fine daguerreotypes.
Harrison & Hill, for daguerreotypes.
E. Long, for an exquisite daguerreotype of a lady.
Meade Brothers, for daguerreotypes of “Seven Ages of Man.”
Moissenet, Dobyns & Richardson, for daguerreotypes.
W. C. North, for daguerreotypes.
O. S. Peters, for stereoscopes.
M. A. Root, for fine daguerreotypes.
J. H. Whitehurst, for fine daguerreotypes.
Fine Arts, Sculpture, Paintings, Etc.
Antigua A., France, for Oil Painting Inundation of the Loire.
Ball T., U. S., for Statuette of Webster, in Plaster.
Crawford Thomas, U. S., for Bust of a Lady, in Marble.
Frankin C. A., Belgium, for Child Sleeping in a Shell, in Plaster.
(Etc., etc.)                                                                                                                                                                                         ]


Basking in the celebrity created by the Gallery of Illustrious Americans and the prestige of the World’s Fair Medal, Brady opened up another gallery up the street to a better location just across from Barnum’s American Museum. One problem for any photographic gallery in a smaller venue had always been that once you photographed everyone who wanted a portrait in that town you had exhausted the resource base, so you had to move on to the next town to get new customers. Larger cities held a larger resource base, but a “destination spot” with a continuing resupply of customers was ideal. Brady knew this and always pitched his advertising to both ”citizens” and “strangers” in the local newspapers and he even advertised in publications from other cities – much of which he often focused on “strangers” to the city from the “South and West,” – territory not overly supplied with photographic galleries. He opened his new gallery with a lavish dinner attended by the Mayor of New York and a host of other notables and it soon became one of the “destination spots” for the city’s literati and for the tourists that visited the city and the Museum. Brady’s new gallery benefitted from the spill-over tourism generated by his wide-spread advertising. As his business grew he added specialized staff and began to restrict his own participation to a managerial role. By the mid-1850s he spent much of his time promoting his gallery by developing relationships with prominent or influential individuals in the community and through the heavy advertising. He might “direct the pose” of his more celebrated sitters, but most of his customers probably never saw him at all.
Brady might not be actually taking the portraits in his gallery, but he was always looking for innovative ways to improve his business. And when improvements occurred, he quickly took them up. The wet-collodion process was perfected in England in 1851. This type of photography consisted of creating a negative image on a coated glass plate, which could then be used in a variety of ways, the most important being to create any number of positive paper prints. Wet collodion was the next big innovation in photography and the system was quickly commercialized in a variety of ways to become the dominant practice for the next thirty years. Brady quickly adopted the ambrotype and was proud to claim that he was the first to offer the quicker and cheaper ambrotypes in New York City.
Now, no one was going to say it out loud, but while America had been focused on perfecting and commercializing the daguerreotype, Europe had concentrated on developing photographic systems that could generate multiple copies of an image and the Brits were just a little ahead of America when it came to dealing with the new photography of paper prints. So Brady also hired the experienced Scot, Alexander Gardner, to help transition into the new process and run his dramatic new Imperial Print Portrait program.

[Advertisement.] “Photographs or Daguerreotypes on Paper.” New York Times (New York, NY) (Thur. Nov. 23, 1854): 8. [“The subscriber having fitted up one department of his extensive establishment for the production of pictures by the above named process, invites public attention to the specimens on exhibition at his Gallery, No. 350 Broadway. Heretofore the French have been regarded as the only successful practitioners of this beautiful novelty in art. An inspection of the specimens will convince the public that the acknowledged superiority of American Daguerreotypes extends also to the kindred art of Photography. When in Europe, the subscriber visited England, France, Germany and Italy, devoting particular attention to this new method of daguerreotyping on paper. by the improved process adopted by this establishment, results are produced for which the subscriber challenges comparison with those of any other artist in Europe or America. Portraits can be taken of life-size on paper, either colored or uncolored. To those possessing portraits of deceased friends this process is invaluable, as copies of any desired size may be taken from small originals. M. B. Brady, No. 350 Broadway, (over Thompson’s Saloon.)”]

[Advertisement] “Brady’s Gallery….” New York Times (New York, NY) (Tues. Apr. 10, 1855): 1. [“No. 359 Broadway – the largest in the world. Photographs and daguerreotypes in every style. Gallery, dressing, and operating rooms on the same floor. the finest collection of portraits in America. Strangers in New York are respectfully invited to pay a visit.”]


He then advertised these innovations relentlessly. The average newspaper page was about 15 x 22 inches or bigger, which was divided into five or six columns of type. News items and paid advertisements were often indiscriminately mixed together, although there also were designated advertising sections. The average newspaper advertisement was one column wide and usually from a half-inch to an inch in length. During the second half of the 1850’s Brady bought half-page columns or even full page columns in four or five New York papers and filled them with eye-catching, graphically designed advertisements which were published every three or four days in any given week.

                                
[Advertisement.] “Ambrotypiana.” New York Times (New York, NY) (Wed. Aug. 13, 1856): 5.
[(This is an unusual advertisement which takes up an entire column of the paper—about eighteen to twenty column inches. The texts are organized into a group of typographic designs, with the texts arranged in hollow diamonds, hollow chevrons, solid diamond forms, reducing triangles, double pillars, and similar patterns down the length of the page. In a paper consisting solely of tight columns of a small, dense typeface, this is a striking graphic novelty. The texts are similar to other Brady advertisements in content, extolling their ambrotypes, vignette photographs, etc. This is followed by some shorter, less dramatic, but still typographically interesting ads in subsequent issues of the paper, such as on Aug. 15. Then another large advertisement was published on page 5 of the August 21 issue, where the words of the texts are set so as to spell out the word “Brady’s.” In the highly competitive struggle for attention in the advertising sections of the paper, this was definitely a coup for the Brady studio.)]

[Advertisement.] “Brady’s Gallery, No. 359 Broadway.” New York Daily Tribune (New York, NY) 15:4667 (Thurs. Apr. 3, 1856): 3 [“This new and valuable art.
                                                                                Ambrotypes
was first introduced in New York by Mr. Brady. The finest specimens in the United States are at his Gallery; more durable and less expensive than Daguerreotypes, and finer than any known style of picture. Taken instantaneously, and adapted to the production of groups.
                                                                                Photographs
in new and unique styles, superior to any made in this country or Paris. The vignettes and ornamental sketches in Water Color have acquired a high celebrity. Life, Cabinet and Miniature sizes executed promptly.
                                                                                Daguerreotypes
in every style as usual. Miniatures on Ivory executed in this rarest style. M. B. Brady.”]

“Fine Arts.” New York Daily Tribune (New York, NY) 16:4772 (Tues. Aug. 5, 1856): 1.
[Advertisement.] “M. B. Brady’s Galleries of Photographs and Ambrotypes are the largest and most complete in New-York City. Every style of Picture is produced in rare perfection and at reduced cost The Photograph has been recently Improved and cheapened. It in now within reach of every one.
                                                                                ——————
The Ambrotype will not change in years.
Sea Voyages,
so destructive to the daguerreotype,
do not affect
the Ambrotype in any degree.
Introduced by Brady,
and made in perfection only at his Galleries Nos. 359 and 205 Broadway.
                                                                                ——————
Strangers in the city will take notice that the Ambrotype is completed In Five Minutes; that Its durability and perfection are guaranteed, and that the place to obtain them is at Brady’s Galleries. Nos. 359 and 205 Broadway.
                                                                                ——————
Photographic Portraits are produced with a rapidity, cheapness, and perfection not generally understood.
Every Picture made at Brady’s Gallery is warranted perfect. You can obtain fine life-size Portraits in Oil or Pastil in a single day.
                                                                                ——————
Ltfe Size Photographs,
 In Oil. Pastil and Crayon
                Extra Cabinet Photographs,
                                In Water Colors and Mezzotint.
                                                Cabinet and Medallion Photographs.
                                                                ln every variety of finish.
                                                                                Miniature Photographs.
                                                                                                Finished in the style of
                                                                                                                Pictures on Ivory.
                                                                                                                                Superb Transparent Ambrotypes,
Made at Brady’s Gallery, Nos. 359 and 205 Broadway. Strangers passing through the city are requested to examine the  collection.
                                                                                ——————
Persons who wish Copies from Old Daguerreotypes can obtain them by means of the Photograph quickly, cheaply and perfectly They may be sent by express to M. B. Brady No 359 Broadway, New York, with instructions in regard to the complexion, eyes, hair, &c, with certainty of a successful result.
                                                                                ——————
The Presidential Trio. – Portraits, full life size, of Fremont, Buchanan and Fillmore are among the attractions at Brady’s Gallery, No. 359 Broadway.
                                                                                ——————
Any one purchasing an unsatisfactory Ambrotype at Brady’s Galleries can have it renewed without expense. Nos. 359 and 205 Broadway.”                                                                                                                                 ]

[Advertisement.] “Fine Arts.” New York Daily Tribune (New York, NY) 17:5160 (Tues. Nov. 3, 1857): 1. [“Until further notice, the superb Photographs of M. B. Brady will be sold at half their former price. The price is due partly to the enhanced value of money, but principally to the introduction of a                 process which materially diminishes the cost of their production.
                                                                                Full-Length—Life Sizes,
Photographs on Canvas and finished in Oil. They are similar in appearance, although more accurate resemblances, than ordinary oil paintings.
                                                                                Medallion—Life Sizes.
Finished in oil at $30 each. They have hitherto been sold at $60. Copies from Daguerreotypes in this style present the perfect effect of life, and the result is of course permanent. Those who possess fading portraits of deceased friends, may rely upon obtaining accurate portraits of life size, finished in a manner which assures durability.
                                                                                Life Sizes, in Crayon.
A new style of Portrait, just introduced. The blend the delicacy of the Crayon Sketch with the vigorous effect of the Photograph in a remarkable degree. They are sold at from $20 to $50.
                                                                                   Crayon Vignettes,
suited to the portrayal of ladies and children, are also a new feature in Photography. A sitting for either of the above styles occupies but three seconds.
                                                                                    Large Groups
of Families or Friends are taken almost instantaneously, and may be made of any desired size. Taken by the new process, groups are free from the crude severity which usually characterizes those made by the Camera. Twenty or thirty persons may be portrayed at once perfectly. The result may be finished in oil or water colors, and is susceptible to the most elaborate artistic finish. The ease and simplicity with which they are made render them comparatively inexpensive. Portraits of an entire family may be obtained by this method at little more than the cost of a single picture.
                                                                                The Imperial Photograph.
The most exquisite and elaborate product of the Camera, is made at Brady’s Gallery Only. Copies have heretofore been sold at $60, $50 and $40. They are now offered at $30, $25 and $20. No successful imitation of this celebrated Picture has yet been made. It is a unique feature in Photography—its most perfect and successful application thus far.
                                                                                Photographs in Water Colors.
Possess, in addition to their reality as likenesses, the brilliant artistic effect of water color sketches. Those exhibited by Mr. Brady are pronounced by recent visitors to European galleries superior to any similar works in Europe.
From twenty to thirty different styles of portraits are made at Brady’s Gallery, adapted to every taste and designed to accommodate every pecuniary condition. The elaborate groups, in water and oil colors, range from $20 to $250 each; single portraits from $3 to $75. Where a large number of duplicates are required the price is diminished largely. Photographs suitable for interchange among classes or clubs are made at from $3 to $20 per dozen. Portraits, which a year ago were sold at $40, may now be procured for $15.
The announcement of this reduction in price has had the effect of creating a demand which the resources of the establishment will be taxed to the utmost to supply. As the causes which necessitate this decline are in a measure transient, a partial resumption of the old prices will ultimately become necessary. Those, therefore, who design to take advantage of the opportunity which the present occasion offers, should do so at an early date.
                                                                                The Collection.
Of specimen pictures has recently been enriched by numerous valuable additions; among these are portraits of Frezzolini, Vestvali, Charlotte Cushman, Charles Mathews, Thallberg, Brignoli, Juliana May, Mlle. Rolla, Miss Hosmer, the female sculptor, Pierce, Kaulbach, Church, Van Buren, Marcy, Benton, Pierce, Dickinson, Buchanan, Guthrie, N. P. Banks, R. J. Walker, Bryant, Bancroft, Willis, Halleck, Lowell, Curtis, Cozzens, Edgar A. Poe, Tuckerman, Henry C. Cary, Lord Macaulay, and minor celebrities without number. There are few persons of note in the country who are not represented in the collection.
                                                                                Brady’s Lower Gallery,
No. 205 Broadway, will be found convenient for those occupied down town who desire portraits. It is in the vicinity of the Astor House, corner of Fulton-st.
The Upper Gallery is No. 359 Broadway, over Thompson’s Saloon.”                                                ]

[Advertisement.] “Brady’s Gallery.” New York Herald (New York, NY) no.7220 (Thurs., June 5, 1856): 5. [“                                                                                                           359 Broadway, over Thompson’s Saloon.
The great success which has attended the introduction of the Ambrotype at the above establishment, is without a parallel in that branch of art. Every
                Desired
                                Quality In a portrait,
                                                                Durability,
                                                                                Clearness,
                                                                                                Delicacy.
                                                                                                                Rapidity at production.
                                                                                                                                                       Cheapness of price,
Are combined in the Ambrotype. While possessing every merit of the daguerreotype. It surpasses that picture in the refinement and delicacy of its execution. For the production of
                Family groups,
                                Portraits of Infants,
                                                                        lnvalids,
                                                                                                Or aged people,
It presents every possible advantage. The universal approval, both of the artistic community and the public, is an ample endorsement of its excellence. Many persons to whom in consequence of nervousness, ill health, or impaired eight, the daguerreotype is unsuited, will find in the Ambrotype. at Brady’s, everything desired.
Those possessing daguerreotypes
                Ot deceased friends
                                Will find Ihe Ambrotype
                                                An effective means
                                                                Or arresting their corrosion
                                                                                And dimness,
                                                                                                As copies,
                                                                                                                Whether from life,
                                                                                                                                Or other pictures.
                                                                                                Are beyond the possibility
                                                                                Of change or destruction,
                                                                Except by violence.
                                                They resist equally
                The atmospheric changes
              of a sea voyage,
    And the dampness
Incident to our climate
Many persona are deterred from attempting to procure pictures of their children by the supposed uncertainty attending it. The Ambrotype renders success almost certain, even with the most restless of children. Mr. Brady devotes especial attention to this branch.
The method of encasing the Ambrotype is as novel as the quality of the picture is rare.
They are cemented
Between plates of glass.
And when he’d
Between the eye and sight
Offer no obstruction
to the sight.
They, however, develope
A positive or negative portrait
at will, thus affording
Two pictures
At less than the former price of one.
—————————————————————————————————————————————————————————
Transparent Glass Pictures – An Entirely new art, at Brady’s National Gallery, No. 359 Broadway, over Thompson’s Saloon.
—————————————————————————————————————————————————————————
The portraits which embellish Frank Leslie’s Illustrated Paper are made front Brady’s AMBROTYPES. Much of their grace and fidelity is due to the extraordinary  merit of these pictures.
—————————————————————————————————————————————————————————
There may be persons who are yet unacquainted with the advantages offered  by the Ambrotype as an agency of portrayal. We recommend such to Inspect the collection at BRADY’S gallery. 359 Broadway, where they cannot fall to be assured of Its superiority.
—————————————————————————————————————————————————————————
Nothing but encomium is heard of the extraordinary style of picture at Brady’s; it is universally pronounced the rarest art yet introduced in this country.
—————————————————————————————————————————————————————————
                Persons Who Wish
                                                portraits without
                                                                delay or uncertainty,
                                                                                should obtain the Ambrotype,
                                                                                                at Brady’s. They are taken
                                                                                                                and completed
                                                                                                                in ten minutes.
                                                                                                For subduing
                                                                                the several lines
                                                                of aged features.
                                                It is without an equal.
                For preserving fading portraits,
it is without an equal.
—————————————————————————————————————————————————————————
If The Day is Rainy or Cloudy, There Is no necessity for delaying your visit to BRADY’S gallery. The unsurpassed Ambrotype is taken equally well In all varieties of weather.
—————————————————————————————————————————————————————————
You Will Not Have to Wait Long for an Ambrotype at Brady’s. He has perfected such excellent arrangements for their production, that the long delay frequently experienced elsewhere is avoided.
—————————————————————————————————————————————————————————
Military companies desiring groups should inspect some of the specimens of Ambrotypes at
Brady’s, Groups of fifty taken instantaneously.
—————————————————————————————————————————————————————————
Those Who are Visiting the City Should Remember their friends at home, and obtain one of Brady’s new Transparent Ambrotypes. Bear In mind that his gallery was the first to introduce them, and is the best and cheapest place In the city to obtain them.
—————————————————————————————————————————————————————————
Brady’s Lower Gallery is Now Devoted to the production of the Ambrotype exclusively. Merchants, clerks, and persons at the down town hotels, will find it a convenient place to procure first class ambrotypes, at reduced prices, corner of Fulton street, near Astor House.
—————————————————————————————————————————————————————————
Persons Purchasing Ambrotypes
                at Brady’s gallery.,
                                have the privilege
                                                of exchanging them
                                                                if not satisfactory.
                                                                                The Ambrotype rooms
                                                                                                are accessible
                                                                                                                without the usual
                                                                                                                                amount of stairs.
                                                                                                                Invalids,
                                                                                                or Aged people,
                                                                                will find this
                                                 an Important convenience.
                                                The gallery is open
                                from 7 A. M. to 7 P. M.
                Rainy or cloudy weather
suitable lor the Ambrotype.
—————————————————————————————————————————————————————————
The Ambrotype, While Preserving the likeness in minute perfection, renders the features far more beautiful than any other quality of picture. Those who have been exaggerated by the daguerreotype please take notice.
—————————————————————————————————————————————————————————
The subscriber respectfully invites the public to visit his collection of portraits. He has devoted fifteen years to the accumulation, and the features of interest embraced in his gallery are unequalled in this country. The recent discovery of the kindred arts of Photography and Ambrotyping has opened a new field which be has first successfully occupied. He has endeavored not only to make his portrait gallery one of cosmopolitan interest bat also to present to the public, in advance of contemporaries. the perfected results or the various discoveries in the art. The encouragement he has met with attests the appreciation which has been bestowed upon his efforts. The future promises a more extended application of Daguerre’s discovery than has hitherto been made. He will endeavor as formerly, to keep In advance of competition, and justify the approbation he has enjoyed. M. B. Brady, 359 Broadway, over Thompson’s.
—————————————————————————————————————————————————————————]

[Advertisement.] New York Times (New York, NY) (Tues. Feb. 17, 1857): 8. [“Mr. Brady requests the attention of the public to an entirely new application of the Photograph, the results of which are exhibited in his Gallery; they surpass in artistic grace any work of the Camera hitherto produced, and are as unlike the ephemeral diversions of the Art which obtain a transient currency as possible. The artistic community unite in awarding them the highest place ever attained by a Camera Picture. Chemical discoveries which have been made within the past year have established the complete durability of the Photograph, while the cost of its production has been materially lessened. Every grade of Portraiture, from the exquisitely elaborated Miniature to the life-size picture, is readily produced. The corps of artists associated with Mr. Brady have no superiors in this country. The durability of each picture is guaranteed, and those who are likely to be diverted by the inartistic novelties which from time to time attract public attention will please bear this in mind. On or after the 20^th instant Photographs will be produced at Brady’s Lower Gallery, No. 205 Broadway, corner of Fulton –st.”]
[Advertisement.] “Photographs.” New York Times (New York, NY) (Tues. Feb. 24, 1857): 8. [“M. B. Brady has recently produced an entirely new variety of the Photograph, to which he solicits the attention of the public. It embodies the best qualities of engraving, sketching and painting, and occupies a place hitherto deemed beyond the reach of the Camera. It is entirely new in effect, exempt from the possibility of decay or change, and has elicited the highest praise from distinguished American and European connoisseurs. The public are frequently diverted by temporary novelties, which from time to time are pressed upon its attention until their worthlessness becomes apparent. These are mostly fabricated from European processes, long since abandoned as illegitimate, and their currency tends to throw general discredit upon the art. Scientific experiment during the past few years has demonstrated the Photograph to be the extremest grasp of the Camera. It is due to the public, under whose patronage it has become so distinguished a feature of Metropolitan Art, that it should be made acquainted with the instability and inferiority of the processes which, under meaningless and outré names, solicit the attention as novelties. The production of the Photograph has been vastly simplified. Within the past year, artistic talent of the first order has been enlisted, and owing to these causes, Mr. Brady is enabled to produce Portraits of every description, of unsurpassed grace and excellence, at prices corresponding with the increased facility of their production. Every style of Picture is now fixed at a price which places it within universal reach. The readiness with which the Photograph is duplicated renders it valuable to those who desire inexpensive Portraits for friends or relatives. Family Portraits are also copied and duplicated with extreme perfection and facility. In every respect—of permanence, cheapness, rapidity of production and intrinsic excellence—the Photograph is, par excellence, fitted to universalize Portraiture. While in Europe for the past ten years it has been the subject of constant scientific experiment, the recipient of Government patronage, and the diversion of thousands of enthusiastic amateurs; while it has been extensively applied to mechanical and military purposes, and has received from first to last the warmest support and most appreciative cognizance of the press, it is pronounced by competent judges inferior in development to American art. The Photographic Pictures exhibited at Mr. Brady’s Gallery are said to surpass (as they certainly do any American productions) the rarest exhibitions in London, Paris and Vienna salons. Though convinced that the excellence of the Photograph is such as to entitle it to special commendation above all other pictures, the resources of Brady’s establishment enable him to produce any and every style of Picture possible to the Camera. This id for those to whom the charm of novelty outweighs the merit of established excellence.”]

[Advertisement.] “The Imperial Photograph.” New York Times (New York, NY) (Sat. Feb. 28, 1857): 8. [“An entirely new application of the art is exhibited at Brady’s Gallery, No. 359 Broadway. Nothing approaching the Imperial Photograph has ever been produced in this country, and Mr. Brady commends them to the public as the highest result of the art thus far attained.”]

“The Imperial Photograph.” New York Times (New York, NY) (Wed. Apr. 22, 1857): 4. [“The improvements that have been made in the art of making pictures by the action of light upon chemically prepared surfaces, since the introduction of the Daguerreotype, is surprising. It was then confidently predicted that nothing deserving of the name of a work of art could ever be produced by a process so purely mechanical: and so long as the picture was taken directly upon a metallic surface, leaving no room for further finish, the opinion was just. The Photograph, however, produced a very great change in this respect. by transferring the picture to paper, room was found for subsequent touches of the pencil, and by taking the impression upon glass and then using this as a stereotype-plate from which an indefinite number of copies may be printed upon paper, the process is carried to the highest degree of perfection. The Imperial Photograph, as it is styled, is the latest improvement in the art. Some of the finest specimens are fully equal to the best steel engravings. Persons walking in Broadway may see in several galleries, and especially in Brady’s, pictures of this class which are wonderful, not only as striking and accurate likenesses, but as finished works of art. The portraits at Brady’s of Lady Napier and her two children—of Martin Van Buren, W. C. Bryant, and others, are among the most beautiful pictures ever exhibited, and are scarcely distinguishable from the largest and most finished line engravings. The likeness is attained by the photographic process, performed with large and accurate instruments, and the exquisite finish is given by the pencil with India ink. This is a combination of the mechanical process with the labors of the artist, which secures the most perfect accuracy together with the highest artistic excellence; and the comparative cheapness of the pictures thus produced renders them universally accessible. Although it is generally conceded that the Photographs produced in this country are superior to those of Europe, yet the art itself receives much more general attention in England than here. Nothing is more common there than for naturalists, travelers, and amateurs of every sort, to learn to use photographic instruments, and employ them for their own private amusement in copying plants, animal structures, and other objects of natural history. That it is less used for this purpose here is probably due in part, at least, to the fact, that we have fewer amateurs in any department of study or of art than are found abroad. Their number, however, is certain to increase, and the use of the photograph as an auxiliary to their studies will become correspondingly common. The Imperial Photograph is the highest point which the art has yet reached; but it would scarcely be safe, remembering the past, to predict that no further improvements will hereafter be made in it.”]


The wet-collodion process in its various formats was still being assimilated into the American professional market during the second half of the 1850s, most importantly as photographic prints on paper. The shift from the single daguerreotype image to multiple print copies of an image led to more portrait studios, more photographers, more photographs, more customers and a deeper penetration into the cultural matrix. Photography itself  – if no longer a sensation – was still considered newsworthy. Notes and articles on interesting aspects of the medium and cartoons situated in photographer’s studios show that the medium of photography was still interesting to the general populace. Brady was friendly with several newspaper reporters and editors and in addition to the paid advertising, brief notes or even more extensive “news items” or “puff pieces” about Brady’s gallery would appear in the New York papers at regular intervals during this period.

“News of the Day.” New York Times (New York, NY) (Fri. May 29, 1857): 4. [“…Dr. R. Ogden Doremus last evening attracted an immense audience of fully three thousand persons to the Academy of Music. He lectured on “Light,” for the benefit of St. Ann’s Church for Deaf-Mutes. For three hours and a half the Doctor kept his audience spellbound. The most brilliant experiments were produced, on a gigantic scale, commensurate with the size of the building. The final experiment of the evening was the production of photographic pictures by electric light, a thing never before attempted with any considerable success. Mr. Brady officiated, with a large camera. The light produced was perfectly dazzling, and very sunlike. The experiment proved eminently successful.”]

[Advertisement.] New York Times (New York, NY) (Mon. June 1, 1857): 8. [“Photographs by Electric Light on exhibition at Brady’s Gallery, No. 359 Broadway.”]

“Welcome to General Walker. His Reception Preceded by a Riot and Concluded by a Storm. Proceeding from his Arrival in the City to his Retirement in the Lafarge. Diplomacy Greeting War.” New York Times (New York, NY) (Wed. June 17, 1857): 5. [“…Chevalier Wyckoff presented himself and introduced an agent of Brady, the celebrated daguerreotypist, who made application to Gen. Walker to sit to him this morning for a photograph. The General promptly acceded to the request, and fixed an hour for the engagement…”]

[Advertisement.] “General Walker.” New York Times (New York, NY) (Thur. June 18, 1857): 8. [“A Superior Imperial Photograph of General Walker was yesterday added to the collection at Brady’s Gallery, No. 359 Broadway.”]

“Movements of General Walker.” New York Times (New York, NY) (Fri. June 19, 1857): 4. [“Rumors of Walker’s activities during the day were mentioned by the reporter, then: “Having failed to get a sight of the great filibuster, during the day, our Reporter contented himself with stopping at Brady’s, in Broadway, and taking a look at his reputable photograph, redeeming, indeed, the terribly scaley counterfeit of him that the same artist’s ambrotype presented.”]


By the late 1850s Brady was himself a celebrity, travelling in select circles, with his activities often reported upon by the press. Brady was so well-known that he was mentioned in more than one poem, and in comic skits in the burlesque shows playing in the Broadway theatres. And even one Washington, DC newspaper, reporting on a fancy dress ball for congressmen and other power players, chose to describe his costume among a few others.

In 1858 Brady, with his close contacts in the visual arts community and his established celebrity, was among the dozen key participants initiating the first National Convention of Artists in Washington, D. C. This was a group which had come together to petition the government to assign commissions to American artists to decorate all the Capitol construction that was then taking place at the time. In the accompanying petition signed by more than more than one hundred artists from every major city in the US, Brady was the only photographer (with the exception of Albert Bierstadt, a painter who took some daguerreotypes years before on one of his western trips) that I recognize.

“Amusements.” New York Herald no. 8351 (Mon., July 18, 1859): 5. [“Wallack’s Theatre.
Sixth Week of Mr. and Mrs. W. J. Florence. New Burlesque will be produced with new scenery, music, dresses, and machinery, the whole forming at once the most Beautiful and Entertaining Piece de circossianse ever …”
New Acts:
“The Cavern of Despair…
The Shade of Shakspere………………………….Mr. Grosvener.
The Shade of Byron………………………………..Mr. Fiourante
Dead Heads – Brady’s photographs $40 colored $60 plain –
Shakspere and Byron – Good combination – Wont draw in warm weather…

Havilland, John von Sonntag de, A metrical description of a fancy ball given at Washington, 9^th April, 1858. Dedicated to Mrs. Senator Gwin. Washington, F. Philp, 1858. 40 p. 31 cm.
[“Originally published in the Washington Evening Star, May 10, 1858.”]

National Convention of Artists. Proceedings of the National Convention of Artists held March 20, 22, and 23, 1858, at the Smithsonian Institute, Washington, D.C., together with the proceedings of the 2d and 3d conventions. Washington, William H. Moore, Printer, 1860. 21 p. 23 cm.
[(The Congressional report that resulted from this event is bound together with this document. See: Government Documents: 35^th Congress 2^nd Session. House of Representatives. Report No. 198.  WSJ)]

            

1 b & w (“M. B. Brady’s New Photographic Gallery, Corner of Broadway and Tenth Street, New York.”) in: “Brady’s New Photographic Gallery, Broadway and Tenth Street.” in: Frank Leslie’s Illustrated Newspaper 11:267 (Jan. 5, 1861): 106, 108. [Extensive, (Almost two full columns.) description of the new gallery, the collections, etc. The illustration is a view of the waiting room, with its many portraits.) “For many years past Brady’s Gallery has been one of the recognized institutions of the metropolis. No matter from which point of the compass the travellers come, whether from the South, West, East, or North, one of the sights to be seen—one noted down before they arrived to be first visited is Brady’s Photographic Gallery We have known Brady in his various localities, have watched his gradual upward flight from place to place, and each change has been for the better until improvement has cumulated in his present unrivaled location, and in his New Gallery, which is probably unequalled in the world. The whole history of the Daguerrean Art is within the knowledge of the present generation, from its first feeble efforts to its uttermost perfection, and the beautiful variations which have sprung from it and eventually eclipsed it, as in the case of Photography. Brady made a brilliant reputation in his early experiments in the art, not only as an exponent of its mere mechanics, but in the higher attributes of taste, judgment and refinement—qualities which transform the mere dead transcript into a living picture. It is this fact more than any other which raised Brady to, and has maintained him in, the foremost position among the celebrated photographers of the world. He has been actively engaged in experimenting and perfecting the art for over eighteen years, during which period he accumulated more than ten thousand portraits of noteworthy individuals from every section of the country and from every quarter of the globe. This does not include the tens of thousands of private sitters whose plates have not been preserved. Before speaking of his New York Gallery we must mention that he has had for several years a branch establishment—a very fine Gallery— in the National Capital, Washington. His first idea in establishing this branch in Washington was to secure greater facilities for adding to his New York Gallery, as all the distinguished men of America. European diplomatics, and the leading ladies of the country, were to be found in Washington during the sessions of Congress. His experiment, however, proved a great pecuniary success, and it must be Iooked upon now as a distinct and independent establishment. Within the last few days he has taken a superb picture of the House of Representatives, with portraits of all the members of the present Congress. At any time this would be an important historical record, but in the present aspect of affairs its value can hardly be calculated; and it would be well that it should be purchased by the Government and placed in some conspicuous place in the House of Representatives. Brady’s New Gallery is situated on the west corner of Broadway, extending down Tenth street some one hundred and fifty feet. Lorilard’s house is above it, on the north; Grace Church, the resort of the pious fashionables, is opposite it, to the east; and Stewart’s New Store will face it directly to the south. It is in the heart of the city, and as a location for that peculiar business is certainly unsurpassed, nay, unequalled in the city. The Gallery is fitted-up in admirable taste, and is richly and handsomely furnished. A costly carpet covers the entire and, while elegant and luxurious couches abound in liberal profusion. The elegant and artistic gas fixtures were specially designed and manufactured by Mr. Morgan L. Curtis, of No. 141 Elm street, with reference to the richness and harmony of the whole design of the Gallery. They are of the finest material, and the workmanship is of the first class in character, equal to the rarest specimens which Mr. Curtis has furnished to decorate the palatial residences and stores of many of our wealthiest citizens. Curtis brings much artistic taste and sound judgment to bear upon his business, and this combination has secured to him the first position among the manufacturers and designers of gas-fixtures in the city. The heating apparatus, consisting of a series of Littlefleld’s Heaters, was put in place by Tibbetts & Co., 590 Broadway, and is admirably designed to promote the health and comfort of visitors, a desideratum in such establishments seldom found. The ventilation, light and heat, being under complete control, give the finishing touch to this most artistic and altogether unique establishment. But the crowning attractions of this splendid Gallery are the countless exquisite pictures which fill every available inch of the walls. So vast a collection of masterly photographs, plain and colored, was never before brought into one Gallery. The subjects are not of the common-place John Smith and John Jones sort, but to use the words of a brilliant writer upon the subject:
“Here may be found a historic collection of our great and venerable dead – many of the men who have led the van of the Revolution, and whose memories are embalmed in the hearts of a grateful people. The ecclesiastics of America are well and ably represented in the compartment devoted to the remembrance of these great men. Here we find the portraits of some of the greatest American bishops and scholars of the United States, among whom the honored names of Hopkins, Dane, Delancy, McGoon, Anthon, Hawks, Cummings and Tyng are to be seen. The visitor can at a single glance observe all the principal merchants, bankers and millionaires of the city. He can see the Grinnells, Taylors, Aspenwalls, Whitneys, and a hundred others of the men who have earned large and princely fortunes in this country, and the pictures have the double value of being exact likenesses, true to life, and at the same time, the highest specimens of photographic art. And so with every department of public life in this country. Our leading lawyers, medical men, xxx, statesmen, and others are duly and faithfully represented and if a casual visitor to the city were to spend two or three hours in this gallery he would leave it with better information concerning our mercantile and public men than he could collect after two or three years’ residence in the country. The dead are brought back to life here so faithfully and so perfectly that those who knew them in the flesh can scarcely fail to recognize the impress of their shadows on the magic glass. The department allotted to the great and distinguished dead must particularly recommend itself to visitors. From the rude forefathers of the country, to the men who built up the superstructure of the republic on the foundations which they laid, and down to the men of the present day, when our power is spreading abroad with electric speed – every important face will be here represented. The learned historians of America, her naval heroes and her conquering warriors are reproduced by the silent yet eloquent camera.”
These superb works of art form a portrait-history of the times of incalculable value, as great in the variety of their subjects as in their artistic finish and marvelous perfection in detail. The operating-rooms are replete with all the modern conveniences arid improvements; among the latter we must mention the successful use of colored glass, which Mr. Brady has found to work with magical effect, and to enhance in an extraordinary degree the life-like beauty of his pictures. One other point requires mention. There is a private entrance in Tenth street, for ladies in full dress, which lends directly to the operating-rooms, thus obviating the unpleasant necessity of pausing, so attired, through the public gallery. If Brady lived in England his Gallery would be called the Royal Gallery, for it was specially honored by a lengthy visit, by appointment from the heir-apparent of England, the Prince of Wales and suite. The Prince visited no other Photographic Gallery, that special honor being reserved for that establishment. acknowledged on all hands to be the first and finest of its kind in America. In connection with our beautiful illustration of this famous Gallery, the visit of the Prince of Wales has peculiar und appropriate interest, and we consequently subjoin a brief account, from a contemporary, of that memorable occasion:
“At half-past twelve the carriages of the Prince and his suite were seen approaching from the direction of Fifth Avenue, and a rush was made for the private entrance where they were to alight. His Royal Highness acknowledged the cheers of the crowd and the salutations of the ladies, through a long file of whom he had to pass, by uncovering and bowing frequently. On entering the splendid new gallery, which has just been completed as so much expense, the Prince gave expression to the gratification which the spectacle of this magnificent collection afforded him. He inspected, with curious interest, the portrait of the statesmen and literary and other celebrities of this country, pointing out to the members of his suite such of them as he had been familiar with by reputation. After remaining a short time in the gallery he was taken up to the operating rooms, where, singly and with different members of his suite, he gave the artists a number of settings. First were taken three imperial groups of the whole party, with his Royal Highness as the central figure. Next was executed a full-length imperial photograph of the prince standing alone. His Royal Highness had then a number of miniature photographs of himself and the young noblemen of his suite taken singly and in groups, to serve as cartes de visites. All the impressions were admirably distinct, the day being peculiarly available for the operation, and the members of the royal party to whom the proofs were subsequently shown were loud in their commendations of the accuracy and perfection of the apparatus used in the establishment. Returning to the gallery, the Prince again spent some time inspecting the collection. He seemed particularly pleased with the colored photographs which are finished in the most elaborate style, and admitted to be the chef d’ouvres of art. The collected heads of the members of Senate and of the House of Representatives appeared greatly to interest the party, but more especially the Duke of Newcastle, who devoted a good deal of time to the examination of the portraits of politicians. Several large commissions were given by the Prince, the Duke, Mr. Englebart and other members of the suite, for immediate execution. Amongst those given by the Duke was one of the President and his Cabinet, and one of each of the Presidential candidates. Before leaving the royal party inscribed their names on the visitor’s book. The following is the page as it stands inscribed – a proud memorial for Mr. Brady:
October 19.
Albert Edward.
Lyons.
Newcastle.
St. Germans.
Robert Bruce.
C. Teasdale.
Hinebinbrooke.
Charles G. L. Eliot.
G. D. Englehart.
Hugh W. Ackland.
G. F. Jenner.
As the Prince stood at the head of the staircase, on the point of taking his departure, an interesting incident occurred. An old man, bowed down and battering with the weight of years, was presented to him by Mr. Purdy, who stated that he happened to be in the palace on the night the Royal Highness was born. The Prince addressed him in the most kindly terms, and seemed touched by the circumstance. On leaving his Royal Highness extended his hand cordially to Mr. Brady, and expressed the great gratification he had derived from the inspection of his collection. The visit of the royal party lasted over two hours, and on entering their carriages they were greeted with enthusiastic cheers by an immense crowd which had been waiting patiently all that time to get a glimpse of the Prince.”
It need hardly be said that the eclat of so distinguished an honor brought the fame of Mr. Brady freshly and prominently before the country, into every section of which accounts of the visit penetrated, or that Brady’s Gallery became the “lion” of fashion and its followers from all parts of the United States. Such were the results of the Prince’s kindness and condescension, and as a necessary consequence, not only his Gallery but his extensive and commodious operating-rooms have been, and continue to be, crowded by people eager to be “taken” by the Prince’s photographer – the man he visited, shook hands with and compliments so warmly. In conclusion, Brady’s Gallery is a “sight” that every one should see.”]

“…Now that I am away from the noise and bustle of New York, and can look back at what I saw there, sifting the good from the bad, and treasuring up the choice items of information for future use, I feel that the art as conducted in the large establishments of that city must be considered as the highest grade of photographic portraiture in this country. There are hundreds of establishments there where work of the poorest character is turned out, but the good class of work is falling into the hands of those best able to do it; hence such large establishments as Brady’s, Fredricks’, &c., are pressed almost beyond their ability, and that too almost exclusively with card pictures. Messrs. Anthony are printing 3600 of these pictures every day, and yet they are behindhand in supplying some orders….” Sellers, Coleman. “Letter from Coleman Sellers, Esq. “ Humphrey’s Journal of Photography, and the Allied Arts and Sciences 14:5 (July 1, 1862): 26-29.

It is at this time, at the high point of Brady’s public prestige and personal wealth, that the Civil War broke out. Brady’s rise to fame had been largely based on his deliberate and sustained efforts to collect and maintain and promote a body of photographic portraits of celebrated individuals which he felt would be valuable for current interests and invaluable in the future. This historical sensibility was not shared by a great many of his peers – or, at least, not many structured the core of their process around that premise. Brady was a gambler – taking big risks on his intuitions about the way things would work out. He was attracted to “big ideas” and “big events” and this war was going to be the biggest thing in his lifetime. And while his plans had not always matured perfectly the way he thought they would – the Gallery of Illustrious Americans didn’t exactly go as it was planned – nevertheless most of his business moves had worked out to his ultimate benefit. And Brady wanted to get the jump on his rivals and still be the leading innovator in the field – he wanted the photos that the other galleries failed to get and he quickly moved to dominate the market of “war views.” Few photographers had the resources to mass produce stereo cards or cartes-de-visite in the quantity needed, but Brady had the necessary entrepreneurial experience, the contacts, and the resources and he decided to invest some income to support a team or a few teams of photographers to go out into the field to “document” the war. Besides, everyone knew the war was going to be over very quickly, as soon as the Union forces beat the “Rebs” at the first real battle.

Only it didn’t work out that way.

The myth is that Brady initiated the photographic coverage of the Civil War at the first battle of Bull Run.
Brady described the event later. He and some prominent friends, whom he names, went out to where the battle was expected to happen to watch the fight. Everyone expected that the Union forces would win easily and the war would be over in a few days, so it was almost like going on a picnic. Brady also took along several employees, whom he does not name, with some photographic apparatus to photograph the event. But the Union forces were defeated and if any photos were actually taken they were destroyed in the panicked flight of the Union army and its spectators back to Washington.

“Brady, The Grand Old Man of American Photography.” The Photographic Times and American Photographer. 21:508 (June 19, 1891):301-303. [“…However, I went to the first battle of Bull Run with two wagons from Washington. My personal companions were Dick McCormick, then a newspaper writer, Ned House, and Al Wand, the sketch artist. We stayed all night at Centreville; we got as far as Blackburne’s Ford; we made pictures and expected to be in Richmond next day, but it was not so, and our apparatus was a good deal damaged on the way back to Washington; yet we reached the city. My wife and my most conservative friends had looked unfavorably upon this departure from commercial business to pictorial war correspondence, and I can only describe the destiny that overruled me by saying that, like Euphorion, I felt that I had to go. A spirit in my feet said “Go,” and I went. After that I had men in all parts of the army, like a rich newspaper. They are nearly all dead, I think. One only lives in Connecticut. I spent over $100,000 in my war enterprises…”]

“The Bull’s Run Battle.” New York Herald no.9086 (Sat. July 27, 1861): 1, 8. [“Washington, July 26, 1861. It is now stated that our total loss in killed at the battle of Bullrun will not exceed one hundred and fifty. Vast numbers of the missing, who were at first reported killed, have straggled back to their regiments,… As facts are developed, proving beyond doubt that the victory has been actually won by our forces at Bullrun when they were stampeded, speculation is busy to account for the panic. The facts as they occurred have already been stated, but why the panic among the teamsters and civilians in the rear should have communicated itself to the soldiers, who had for hours faced torrents of leaden ball, and repulsed charge after charge of the enemy, is not entirely clear…. There are unquestionably a good many Falstaffs in our army of the Potomac, men who tell astounding stories of their valorous feats at Bullrun…. Among the most active and energetic on the battle field on Sunday, in giving aid and comfort to the wounded men, was M. B. Brady, the enterprising photographic artist. He had accompanied the army, provided with a complete outfit for the purpose of taking views of the battle fields, but when the action commenced he abandoned his professional duties and devoted himself exclusively to the humane and, under the circumstances, hazardous occupation of attending to the wounded on the edge of the battle field. Brady took with him a splendid instrument, the first one carried into the field. He has two wagons and six assistants. He had an opportunity to take views at Fairfax Court House and about thirty views at Centreville. It is his intention to accompany the army on its march and preserve the record of its incidents and achievements. These pictures will have a rare historic value, not only to the thousands who are enlisted in defense of the Union and the constitution, but to the tens of thousands of their friends throughout the country. Major Bidwell, acting commander of the Michigan First, in his official report of the engagement on Sunday, says his loss, which was heavy, occurred mostly in front of the enemy batteries…. General Patterson, who has been so much abused for not moving forward in pursuit of General Johnston, could not do so with safety without wagons. He was not allowed to procure any that were not made in Pennsylvania, or produced by some agent in that State, appointed by Mr. Cameron. This system of jobbing for the benefit of particular speculators, prevented General Patterson from engaging General Johnston, hence the latter was permitted to reinforce General Beauregard, and enable him to make the fight he did at Bullrun on Sunday last, and which proved so disastrous to our army.”]

Whitney, E. T. “Reminiscences.” Photographic Times and American Photographer 14:159 (Mar. 1884): 122-124. [“…When the war broke out, Mr. Brady asked me to take my operator, Mr. Woodbury, and go into the field and make photographs for the Government of the scenes of the war. We went. Our first pictures were taken after the battle of Bull Run. We had a large covered wagon with two horses, and a heavy load of glass, apparatus, chemicals, and provisions Arriving at Manassas, we took possession of a deserted cottage making views of the fortifications, the battle-field, etc., until one morning a regiment came along. The colonel rode up with the pleasing intelligence that we were outside of our lines, and liable to capture. You may be sure we did not waste much time in harnessing the horses and joining the regiment as it moved to a safer place. We spent the winter taking views of the fortifications around Washington and places of interest for the Government. But time will not allow me to go into detail of views taken at Yorktown, Williamsburgh, White House, Gaines Hill, Chickahominy, Seven Pines. During the seven days’ retreat from before Richmond to Harrison’s Landing, photographs were taken of the James River from a balloon. At some other time, if desired, I may try to do justice to those times and scenes.” ]


    

    


Brady was still a celebrity, and he still had many friends working for the newspapers and the notion that photographers were trying to actually photograph the events of the war was considered unusual enough to be considered newsworthy; and so stories about Brady and his photographers reached print often throughout the first few years of the conflict.


“Photographs of the War.” New York Times (Sat. Aug. 17, 1861): 4. [“Mr. Brady, the Photographer, has just returned from Washington with the magnificent series of views of scenes, groups and incidents of the war which he has been making for the last two months. Mr. Brady, after visiting all the camps in the vicinity of Washington, and taking views of all the most striking scenes, accompanied the Army in its advance into Virginia. He had a full corps of artists and workmen, and embraced every opportunity to add to his collection of illustrative views. He went upon the field of battle at Bull Run, — accompanied Heintzelman’s column into the action, and was caught in the whirl and panic which accompanied the retreat of our Army. We saw him constantly, at every point, before and after the fight, neglecting no opportunity and sparing no labor in the pursuit of his professional object. As a result of his arduous and perilous toil, he has brought back a very large collection of pictures which will do more than the most elaborate description to perpetuate the scenes from that brief campaign. Mr. Brady was the only photographer on the field, and is entitled to the highest credit for the energy and enterprise which he displayed. This series of pictures has been added to the magnificent collection at his Photographic Gallery, corner of Tenth-street and Broadway.” ]

”Photographs of War Scenes.” Humphrey’s Journal of Photography ,and the Allied Arts and Sciences 13:9 (Sept. 1, 1861): 133. [“The public are indebted to Brady, of Broadway, for numerous excellent views of “grim-visaged war.” He has been in Virginia with his camera, and many and spirited are the pictures he has taken. His are the only reliable records of the fight at Bull’s Run. The correspondents of the rebel newspapers are sheer falsifiers, the correspondents of the Northern journals are not to be depended upon, and the correspondents of the English press are altogether worse than either; but Brady never misrepresents. He is to the campaigns of the republic what Vandermeulen was to the wars of Louis XIV. His pictures, though perhaps not as lasting as the battle pieces on the pyramids, will not the less immortalize those introduced in them.
Brady has shown more pluck than many of the officers and soldiers who were in the fight. He went-not exactly like the “Sixty-ninth,” stripped to the pants-but with his sleeves tucked up and his big camera directed upon every point of interest on the field. Some pretend, indeed, that it was this mysterious and formidable looking instrument that produced the panic! The runaways, it is said, mistook it for the great steam gun discharging 500 balls a minute, and incontinently took to their heels when they got within its focus! However this may be, it is certain that they did not get away from Brady as easily as they did from the enemy. He has fixed the cowards beyond the possibility of a doubt.
Foremost amongst them the observer will perhaps notice the well-known correspondent of the London Times; the man who was celebrated for writing graphic letters when there was nobody by to contradict him, but who has proved, by his correspondence from this country, that but little confidence can be placed in his accounts. See him as he flies for dear life, with his notes sticking out of his pockets, spurring his wretched looking steed, his hat gone, and himself the picture of abject despair.
But, joking aside, this collection is the most curious and interesting we have ever seen. The groupings of entire regiments and divisions, within a space of a couple of feet square, present some of the most curious effects as yet produced in photography. Considering the circumstances under which they were taken, amidst the excitement, the rapid movements, and the smoke of the battle-field, there is nothing to compare with them in their powerful contrasts of light and shade.]

“Photographs of War Scenes.” Humphrey’s Journal of Photography, and the Allied Arts and Sciences 13:10 (Sept.15, 1861): 158-159. [“Among the portraits in Brady’s collection, spoken of in our last number are those of many leading generals and colonels —McClellan, McDowell, Heintzelman, Burnside, Blenker, Wood, Corcoran, Slocum, and others. of the larger groups, the most effective are those of the army passing through Fairfax village, the battery of the 1st Rhode Island regiment at Camp Sprague, the 71st regiment, formed in hollow square at the Navy Yard, the Eighth regiment at Camp McDowell, the Engineer corps of the New York Twelfth at Camp Anderson, Zouaves on the look-out from the belfry of Fairfax Court House, etc., etc. Mr. Brady intends to take other Photographic scenes of the localities of our army and of battle scenes, and his collection will undoubtedly prove to be the most interesting ever yet exhibited. But why should he monopolize this department? We have plenty of other artists as good as he is What a field would there be for Anthony’s instantaneous views and for stereoscopic pictures. Let other artists exhibit a little of Mr. Brady’s enterprise, and furnish the public with more views. There are numerous photographers close by the stirring scenes which are being daily enacted, and now is the time for them to distinguish themselves.”]

“Special Dispatch from Washington, Saturday, Oct. 19….” New York Times (Sun. Oct. 20, 1861): 1. [“…Several photographers attached to Brady’s establishment are now in Virginia, taking views of the new points of interest within our lines….”]

“Art Matters at the National Capital.” New York Times (Wed. Jan. 8, 1862): 3. [“Brady is indefatigably busy in developing new capabilities for photography; and some of his late processes for depicting out-door camp life, &c., seem the ultimate possible for the art. The art folk generally will recognize an old acquaintance in a recent acquisition to the Brady corps—Mr. H. Amidon.” From the Washington Star, Jan. 3….”]

“Photographic Phases.” New York Times (Mon. July 21, 1862): 5. [“Photography came to us smilingly and trippingly, fragrant with meadows and beautiful with landscapes, seemingly the handmaid of Peace. …Consequently, one may be pardoned for starting with surprise when she suddenly flashes from the clouds, helmeted, plumed, and be-belted, at once the Minerva and the Clio of war. Generals have taken her into their councils. She is employed to map out roads and lines when others hands fail. Our army has a corps of photographical engineers as well as topographical ones…. Among the many sun-compellers Mr. Brady deserves honorable recognition as having been the first to make Photography the Clio of the war. On the disastrous day of Bull Run he stood upon the field with camera and chemicals, and would have photographed the retreat, had it not been conducted with too much rapidity. And since, his artists have accompanied the army in nearly all its marches, planting their sun batteries by the side of our General’s more deathful ones, and “taking” towns and cities, forts and redans, with much less noise, and vastly more expedition. The result is a series of pictures christened “Incidents of the War,” and nearly as interesting as the war itself; for they constitute the history of it, and appeal directly to the throbbing heart of the North…. The enterprise which begets these battle pictures is worthy of support as well as praise…” ]

“The Lounger: Photographs of the Seat of War.” Harper’s Weekly: A Journal of Civilization 6:294 (Aug. 16, 1862): 514. [“Mr. Brady’s series of card photographs of characteristic and famous scenes and spots at the seat of war in Virginia is profoundly interesting. With these in hand, or in box, the strategist who conducts the campaign at home may actually see the places of which he is talking; may look far over the bare, sad plain from the heights of Centreville, or stand among the ruins of Mrs. Henry’s house at Bull Run where the battle was fiercest; or muse over the soldiers’ graves; or lean upon the pier of the shattered stone bridge where the flight of our army was choked and terrible slaughter followed; or sit upon the low, awkward piazza of the old Virginia house in which Johnson had his headquarters just before the evacuation of Manassas; or gaze from Cub Run to the brow of the hill where the brave Haggerty was buried. Then descending to the Peninsula, the strategist at home may see the interior of battery No. 1, at York River, with its huge guns, or Fairhold’s house close by; or he may step closer to the works and almost lay his hand upon the one and two hundred pound rifled guns; or move on to the mortar batteries beyond with groups of officers at their posts; or look out upon the broad, calm York River from the earth-works through the orchards; or chat with the contrabands in front of the old cabin which was Lafayette’s head-quarters; or pass with amazement through the gateway at Yorktown; or count each pane of glass in the windows of the White House. Returning, you may pause before the slave-pen of Price, Birch, & Co., in Alexandria, and cross the Long Bridge to Washington. the collection has an almost painful interest. the vivid reality of the pictures recalls a thousand melancholy memories, and the interest is one which will only increase with time. For long after the fortifications and earth-works have become grass-grown mounds upon which cattle graze, and long after the brave men whose valor made them famous are gone, their children will stand pensively among them, and in these magic cards see them exactly as they were when the cannon were just planted, the timber just felled and placed, the earth just heaped up; and the bravest heart grew sober and the most buoyant mind grave as they contemplated the magnitude and character of the work to be done.”]

[Advertisement.] “Send for a Catalogue. Brady’s Photographic Views of the War.” New York Times (Tues. Sept. 16, 1862): 6. [“Consecutive Views of the leading Scenes and Incidents of the War are now offered the public, consisting of Photographic Pictures, unequaled in beauty and fidelity, taken by corps of trained artists, which have accompanied the great Union armies in their several campaigns. Perfect transcripts have thus been obtained of the Armies, Fleets, Marches, Fortifications, Hospitals, Encampments, and Battle-Fields, which have constituted the Scenic History of this thrilling era. Each picture is complete in itself; the whole forming a series of inestimable value. Brady’s Incidents of the War. First size, 16×13 inches, $1.50 each, Second size, 8×10 inches, $1 each, mounted on fine plate paper suitable for the folio of the connoisseur and the art lover, represent a great variety of the most interesting scenes and events of the war. The Plain of Manassas, The Fortifications of Washington, Scenes of the Peninsula, Groups of Officers, Entire Regiments and Brigades on the March or in Review, and many others of surpassing interest and value. In Brady’s Album Gallery. (Mounted on Cartes, for Albums, at 25 cents the picture,) are exhibited those earlier panoramas of the war, of which these views are already the most truthful record. Through their aid the friends of those who were first to defend their country can see the Vistas of Washington, Arlington Defences, Rebel Works at Centreville, Battles of Bull Run, Scenes at Hilton Head, Views of the Union Encampments, Groups of Federal and Rebel Commanders, and the countless minor Tableaux, Movements and Legendary Spots, which have picturesquely marked the progress of the conflict….”
[(This advertisement runs almost a full column length, with detailed listings of the available photographs, including the Union Army campaign of 1862, through the Seven Days’ Battles, and including several published reviews from the London Times, New York Times, and the New York World. WSJ)]
“Brady’s Photographs of the War.” New York Times (Thur. Sept. 26, 1862): 5. [“The Horace Vernet of our great civil war is yet to appear, and as he is no doubt waiting upon the arrival of its Napoleon, we confess a serious anxiety for his advent…. “…the task of the latter will be greatly simplified to his cunning hand by the efforts which our leading photographic artist has made, and is making, to catch our armies “living as they rise,” and, alas! To embalm our falling heroes ere they fall. From the onset Mr. Brady has been in the field. His cameras have followed the cannon from the Potomac to the York, from the Chesapeake to the Alleghanies. Scarce has the camp of the volunteer been pitched by the more or less muddy waters of the Chickahominy ere the patriotic Polyphemus plants himself within range, flings away his green curtain, and opens his one-eyed battery upon the scene. Like the sunlight which he presses into his service and ours, this silent Asmodeus penetrates into every secret, unveils every mystery. He captures the fugitive contraband as he urges his slow oxen through the splash of the Rappahannock fords, and sends him down through all coming time to reveal the insensibility of the negro race to the compromises of the Constitution, and to the beneficent influences of patriarchal order….There is nothing in the scene to suggest the throes of war—nothing to arrest the fancy or the eye. Turn to the title and what do you read: “Battle-field of Cedar Mountain. House in which Gen. Charles Winder was killed.” Over this common-place corner of the Old Dominion then, …the red light of battle has fallen. Never again shall the new glow depart from the scene… Let us, then, heartily acknowledge our obligations to such an “abstract and brief chronicle of the times” as this which Mr. Brady has been so earnestly and unobtrusively making up for us…. Here he fixes for us a deserted battery of the rebels with the ruins of its exploded gun… Here he preserves the grim tremendous outlines of one of McClellan’s consummate batteries… Harper’s Ferry… Once more let us repeat it –Mr. Brady is rendering us all a real service, in divers ways, by this work of his, undertaken so courageously, and carried forward so resolutely. It is no holiday business this taking the likeness of “grim-visaged war”—and it is no mere gratification of idle curiosity which its results may afford us. We wish the artist all possible success in his task and commend his efforts anew to the admiration and the appreciation of the American public.”]

“From Sharpsburgh. The Visit of the President.” Correspondence of the New York Times. “ New York Times (Sun. Oct. 12, 1862): 5. [“The prevailing monotony of the camp was agreeably relieved today by the presence upon the ground of President Lincoln, accompanied by… While there, the President, surrounded by officers of note, including Gen. McClellan, Gen. Marcy and others who accompanied him from Washington, also Gens. Porter and Morrell, with the senior officers of their staffs, were taken in photograph by an artist connected with the establishment of Brady.”]

“Literary Miscellanies. Brady’s National Photograph Gallery.” Eclectic Magazine of Foreign Literature, Science and Art 57:3 (Nov. 1862): 430. [“The immense collection of works of art in Brady’s saloons is unequaled. It is a grand gathering of human faces, human celebrities, renowned men and women whose names stand high on the role of fame. The visitor to Brady’s galleries can gaze on more human faces of remarkable men and women than, perhaps, in any other rooms in the world. Brady himself is a celebrity in the art-world. It has been the labor of years, the accumulation of untiring industry and enterprise. The fame of this gallery has led public men and statesmen, distinguished foreigners and princes, to visit it, and leave their photographs, to add to the interest of the vast collection. Here may be found portraits of prominent men in the State, in the army and navy, in the clerical and literary world, and other professions. Along the walls may be seen portraits of celebrated ladies, whose characters and accomplishments adorn the race. Brady’s Gallery is also an art-world. He has photographed army and navy scenes, battles and carnage, amid the deadly conflicts. All these, or any of them, portraits and battle-scenes, are copied to order and sent to any part of the land, to enrich private collections. Brady’s Gallery is worth a day’s time to any visitor of New York.”]

“Editor’s Easy Chair:” Harper’s New Monthly Magazine 25:150 (Nov. 1862): 853. [“What would you give for a perfect view of the battlefield of Dunbar, or of Waterloo? of the Huguenots flying from France, or the Covenanters praying in the Highlands? What would you give for an actual view—homely or handsome, as the fact might be—of any great event, or famous place, when the event took place or the fame was made? It would be a fairy gift beyond human science, you think. Yes, so it would have been when Dunbar was fought, or even Waterloo. But it is not a boon of fairy now, only of science. Brady’s album photographs of the war, and its persons and places, are the portraits of the living time. Here is a bridge over a sluggish stream. Every tree-trunk, leaf; and stem is exact. There is nothing here that is not in nature. There is no “composition”—no arrangement of any kind. The rough logs upon the rough log piers, over the gleaming, reflecting water. It looks compact and very strong—strong enough to bear an army. What is that still, narrow, sluggish river in a wilderness? Last year it had no association, its name no meaning except to the dwellers near it. Henceforth it has a melancholy interest. It is the ‘Chickahominy. The bridge is built by Colonel M’Leod Murphy’s men. Or here is a picture, quite perfect in itself; although seized instantaneously from nature, such as Leopold Robert, reversing Italy and apparent poetry, might have painted. It is a river ford. In the distance is a high bridge stalking across. Woods fringe the other shore and make the dark back-ground. In the centre of the picture and the ford is a heavy country wagon, with two yokes of oxen that have stopped in the coolness. A dusky figure sits upon the nigh ox behind, and there is a group of similar figures clustered high upon the wagon. In front of the oxen is a horse with loose blinders and bridle, and another dusky form bestriding him. Behind the wagon in the middle distance there are other horses mostly drinking in the stream, all carrying the same kind of rider. The whole scene is tranquil. They are travelers, evidently, reposing. And they are more than that. They are fugitive negroes fording the Rappahannock. But here again is the living time. This is Savage’s Station, with the wounded there after the battle of the 27th June. There is a tree in the middle; a shed and tents; and around the tree, lying thick and close, so that the ground looks like a dull, heavy sea of which bodies are the waves, lie the wounded soldiers. This scene brings the war to those who have not been to it. How patiently and still they lie, these brave men who bleed and are maimed for us! It is a picture which is more eloquent than the sternest speech. This calm, smoothly-outlined hill against the sky, soft distant, infinitely peaceful, with gently waving lines of field and placid trees between it and us, is Cedar Mountain, near which is this house and barn and fence and shed in the next picture; and the holes in the side of the house were made by the cannon-balls of the battle which was fought upon this field; and in that house General Winder was killed. The interest of these vivid pictures is very great. A set of them—there are more than five hundred— gives you a picture of the whole theatre of the war in Virginia. Suppose Lossing had had such material for his “Field-Book of the Revolution I” This series is a perfect Field-Book of the Rebellion. In these days of Photographic albums what is so stirring, so touching, as these views! Look, here is a glance behind the war, and beyond the revolution. This is St. Peter’s church, Yorktown, in which Washington was married. It is plain enough, with its arched carriage-way under the tower. But as it stands there distinct and firm in the clear daylight, how it annihilates time, and actually brings us nearer to men and days which are dim and strange when we read of them! The thought of Mr. Brady in making this series is so good, and the choice and execution so excellent, that it only needs to be generally known to be universally familiar.”]

“American Photographs.” Photographic Journal 8:128 (Dec. 15, 1862): 184-186.  “The pencil of the artist was never more fancifully employed than when it delineated those battle—scenes of the last century which delighted the Courts and decorated the palace walls of France and Germany. But it must be admitted nevertheless that the object of giving an idea of what “a battle is like,” which is a legitimate and universal bit of curiosity among men and women in all ages, was then more successfully accomplished than it is likely to be by means of photographic processes, so far as we know of them at present. When we gaze on the acres of canvas in Versailles, Munich, Berlin, or Petersburg, covered with the semblance of masses of men and serried squares and lines of infantry, clouds of cavalry and smoke, we know that the figures, with a few exceptions of prominent individuals, whose verisimilitude is in proportion to the painter’s skill, are purely imaginary, and that the wounded man in whom we take such an interest, or the dashing squadron leader heading his surge of horse against the rocky square, never existed at all in the world military, but, with the little drummer who is beating his pas de charge so manfully in the advance of his column, were picked up from the “models” of the day. The photographer who follows in the wake of modern armies must be content with conditions of repose, and with the still life which remains when the fighting is over; but whatever he represents from the field must be real, and private soldier has just as good a likeness as the general. Barring faults of manipulation and artistic power, the likenesses must be like, and they must be real if the mechanism is of moderate goodness. When the artist essays to represent motion, he bewilders the plate and makes chaos; and, so far as we have yet gone, a photographic “charge” is an impossibility. Mr. Fenton was, probably, the first photographer who ever pitched his camera-stand under fire; but Mr. Simpson was out before him in the Crimea, and it is no disparagement to the former to say that the scenes in the trenches were much more interesting than the likenesses or groups or other works of the photographer, though they were more ideal or less actual. It was considered something remarkable when Mr. Fenton succeeded in fixing on his plate the puff of smoke from a distant gun.
After him, and perhaps with greater opportunity, certainly with greater success, came Mr. Beato, who has since been with the British armies in India and in China, reaping a golden harvest, whose reproductions of Oriental architecture were wonderfully good, but gave far less pleasure than the sketches of Mr. Lundgren, who was engaged for Her Majesty. The photographer, however, could multiply his copies as fast as he pleased, and every one could send home his image in jackboots, beard, dust, and topee for a few shillings. The artist could barely colour his drawings by working incessantly. The French had recognized photographers in attendance on their army in Italy; and for purposes of natural history, for architecture, and still life, their work is not to be excelled. America swarms with the members of the mighty tribe of cameristas; and the civil war has developed their business in the same way that it has given an impetus to the manufacturers of metallic air-tight coffins and embalmers of the dead. The young volunteer rushes off at once to the studio when he puts on his uniform; and the soldier of a year’s campaign sends home his likeness, that the absent ones may see what changes have been produced in him by war’s alarms. In every glade and by the roadsides of the camp may be seen all kinds of covered carts and portable sheds for the worker in metal acid and sun-ray; Washington has burst out into signboards of ambrotypists and collodionists; and the “professors” of New York, Boston, and Philadelphia send their representatives to pick up whatever is left, and to follow the camps as well as they can.
We have before us a collection of photographs by one of the best-known of American photographers, Mr. Brady of New York, which includes, however, not merely the war-scenes to which we have alluded, but a number of interesting portraits of the most eminent Americans and of some strangers. First, there are two plates of the ‘Monitor,’ one showing her deck, which seems raised a vast distance above the water, whereas it is only a few inches, and the cupola or revolving tower, with the shot-marks upon it from the ‘Merrimac’s’ guns. It is not too much to say that an Armstrong or a good solid-shot gun would have destroyed such armour and such a fabric as the plate represents. There are but four marks on the armour, and those of the feeblest character. The other represents the crew on the deck in easy groups, which are creditable to the skill of the artist— a set of stout, brawny fellows, in no particular uniform, and rather unkempt, of whom a few have the air of the genuine “old salt.” For guns and the like the lens is well adapted in experienced hands; and here we have a striking “picture of the effect caused by the bursting of a 100-lb. shell on board the Confederate gunboat ‘Teazer,’ which was captured by the Federals, deck stove in, iron stanchions gone, a great crater in the hold, machinery torn into ribands; but at best the craft, with its engines exposed on deck, and frail scantling, was a perilous thing to put a gun into. Mr. Brady’s artist went down to Richmond, and has sent us some views which are of interest; but generally the sun of Virginia was too powerful, and the appearance of snow is produced on most of the photographs, and an excessive whiteness of colour diminishes the effect. Groups of wounded out in the open sun at Savage’s Station, on the railroad to Richmond; “the house where Washington wooed his Martha, burnt by the Federals when they abandoned the line of the Pamunkey; Virginian farmers wooden houses; the balloon and its modus operandi; the Confederate works at Yorktown; the ruins of Hampton destroyed by Magruder, with its venerable (for it was the oldest edifice of the sort in the States) church, batteries of artillery, horses and all, which would be a very curious subject of study to our Horse Guards, as they might get an idea of what the Federal cavalry are like by examining the appearance, seat, equipments, and horses of the field artillery, which are unquestionably the best part of the Federal army;—these, and the like, are all very worthy of attention. It can be seen from them that the work executed by the Confederates at Yorktown was very slovenly, but that nothing that was ever seen of the most slovenly European soldiery can equal the utter want of military smartness in the Federal Artillery. Men with unbuttoned coats, and open collars, and all sorts of head-gear are seated, with their overalls gathered halfway up the leg, in their saddles, with an attempt to dress in line, which renders their shortcomings more obvious. The most agreeable subject in the volume, perhaps, is one of a Confederate lieutenant, of the Washington family and name (for all the representatives of the Pater Patriae are and were Secessionists), who was taken prisoner, sitting beside his college friend and relation, Captain Custis, of the United States’ army; while a negro boy, barefooted, with hands clasped, is at the feet and between the knees of his master, with an expression of profound grief on his shining face. The Confederate, in his coarse grey uniform, sits up erect, with a fighting, bulldog face and head, the Federal, a fair haired, thoughtful-looking man, looks much more like a prisoner; the teterrima causa belli, who appears to think only of his master, is suggestive enough. We can see here that the houses in which the better sort of people live in this part of the Old Dominion would not content the humblest of our tenant-farmers or yeomen; that the Federal soldiery do not improve in appearance during the war, and that their attention to uniform is of the smallest; and we form some idea of the difficulties of fighting in such a country when we observe that every view is fringed by woods. Turning to the volume of portraits, the eye is first arrested by Mr. Lincoln, sitting, in company with an ink-bottle, at a table, which does not conceal that foot which he is so often said by the papers “to put down” on various questions-an odd, quaint face, sagacious not withstanding the receding brow, and kindly despite the coarse, heavy-lipped mouth, but with such capillary arrangements that, in combination with the long-limbed, narrow body and great extremities, there is a gorilla expression produced by the ensemble. Next is Hannibal Hamlin, Vice-President, who is chiefly interesting on account of what he might become. Turn over, and Mr. Stanton gives a sitting for his head alone, the lines of which do not stand comparison very well with the keen clear outline of Mr. Seward’s features, next to it. Why did not Mr. Brady give the full face of Mr. Seward, so that one could see his eye? In other respects the likeness, though it does not convey that air of “cunning and conceit” which Prince Napoleon’s attaché attributed in his feuilleton to the Secretary of State, is characteristic and true. Pass over Mr. Bates, and we come to Mr. Chase, who is standing with one hand outside his coat, over his breeches’ pocket, and the other on a plaster-of-Paris pedestal, looking as though he were waiting for someone to lend him a little money, and expecting it too. He has one of the best heads among the Cabinet, though one cannot help remarking he has a defect in his eyes; and, oddly enough, so has General Butler, and so has Mr. Jefferson Davis. It is not too much to say that any stranger would be struck by the immense superiority of the heads and expression of Mr. Davis, of General Polk, of Beauregard, of Stonewall Jackson, and Lee to most of the Federal chiefs, of whom few are at all striking in any way. M‘Clellan looks small, and anxious, and unhappy; Blenker stands like a soldier, and has the air of being one; and Burnside seems calm, and self-possessed, and capable; Halleck’s head is intellectual, but the face is dreamy, and the lower jaw feeble; Pope, a stout, florid, sanguine-looking man, is like a German bass-singer in fine condition; and there is no other to speak of, excepting perhaps Meagher and M‘Dowell, in the list of soldiers worth looking at a second time, after we have passed Banks, the unhappy recipient of Stonewall Jackson’s favours. The few naval men in the book contrast advantageously with many of the soldiers; but some of the best of the latter are not here. “Stonewall” Jackson’s likeness is something like that of Ney—a remarkable head, but without the beetle-brows, shaggy and overhanging the full eye, attributed to him. From the Confederate soldiers there is but the thickness of a cardboard to the Federal journalists, of whom the most remarkable thing is that they all seem to be above the age for liability to conscription. Literary men follow a group of the clergy, and the fine faces of Longfellow and Mottley are among the best in the collection. Jefferson Davis, who comes after a batch of Federal politicians, is back to back with Jerritt Smith, and Mr. Stephens, the Vice-President of the Southern Confederacy, supports Mr. Charles Sumner. The portrait of Chief Justice Taney attracts one not merely on account of the air of the venerable old man, but because it is the likeness of the judge who will, in all probability, prove the last that ever sat on the bench as head of the Supreme Court of the United States, and in whose person was signally demonstrated the complete worthlessness of that boasted palladium of the American Constitution when the storm arose and the sword was unsheathed by violent and unscrupulous men. Place aux dames! In the photograph of Mrs. Lincoln the loyalty and skill of Mr. Brady are as conspicuous as his gallantry in adapting the focus to the subject; but he has treated the wife of the President, who is, of course, the “first lady in the United States,” much better than he has Miss Lane, who did the honours of the White House for President Buchanan, and who won such praise for her discharge of them. The women’s portraits, which are almost at the end of the volume, are not many. Admitting many merits, and some very good specimens of the art in this collection, it does not appear from it that American photographers, among whom Mr. Brady occupies the highest place, have attained to that beauty of finish and fidelity which distinguish the better European artists, while they are immeasurably behind them in landscape. If one uses a magnifier to most of these subjects, it will be seen the paper is fluffy, and the photograph spoilt by a sort of dustlike covering, such as we were familiar with here some years ago. But the portraits are of lasting attractiveness, although we are too apt, when looking at them now, to forget that we are scanning the features of men who will be famous hereafter as actors in the greatest drama which the world has seen in these later ages—Times.” [The Photographic Journal was a British journal and the Times is the London Times. WSJ)]

[Advertisement.] “Anthony.” American Phrenological Journal and Life Illustrated: A Repository of Science, Literature and General Intelligence 37:1 (Jan. 1863): 23. [“Photograph Albums, Card Photographs of Celebrities, Photographic Copies of Fine Engravings, Statuary, Etc., for Albums. Our house first introduced these beautiful and desirable souvenirs into the American market, and our assortment is varied in extent and quality. The Trade supplied on most favorable terms. Edward and Henry T. Anthony, Manufacturers and Importers of Photographic Materials, 501 Broadway, New York, (Three doors down from the St. Nicholas Hotel). Our assortment of Card Photographs of celebrated men is tenfold that of any other house. Catalogue sent on receipt of stamp… (List of prices for individual items follows) …We have always on hand also an extensive assortment of Stereoscopic Views and Stereoscopes. Brady’s War Views. by special arrangement we publish this remarkable series, illustrating scenes and incidents of the War for the Union, in Album size and Stereoscopic form. Catalogue sent on receipt of stamp.”]


In an early book with a history of photographic practice in the United States, Marcus A. Root summarized how Brady was regarded in 1864. (Incidentally, as Marcus and his brother Samuel had been fairly contentious business rivals with Brady on Broadway for years, Marcus’s commentary seems pretty generous.

Root, Marcus A. The Camera and the Pencil; Or the Heliographic Art, Its Theory and Practice in All Its Various Branches; e. g.-Daguerreotypy, Photography, &c.; Together with Its History in the United States and in Europe; Being at once a Theoretical and a Practical Treatise, and Designed Alike, as a Text-Book and a Hand-Book. Illustrated with Fine Engravings on Steel and on Wood. by M. A. Root, Professional Heliographic Artist-Recipient of Eighteen First Prizes Awarded by Institutions in Philadelphia, New York, Boston, Washington, Harrisburg, Etc., For Superior Artistic Productions in the Art. Philadelphia: M. A. Root, 808 Chestnut St. J. B. Lippincott & Co., 715 & 717 Market St. D. Appleton & Co., 443 & 445 Broadway, N. Y.,1864. 446 p. [4] leaves of plates; illus.; 20 cm.
[“Chapter XXIX. History of the Heliographic Art in the United States.”
“…M. B. Brady commenced the daguerreotype practice in 1843. He received, in 1844, the first medal ever awarded by the American Institute for the best specimens exhibited, and, in subsequent years, received several others. The first medal was awarded to him at the London Crystal Palace, in 1851. He has always been energetic and untiring in his efforts to improve and elevate the art-employing, at high prices, the best artists to finish portraits in India ink, water, and oil colors for his patrons. He took the photographs of the members of the United States Senate and House of Representatives, and combined them in a single group, just before the rebellion broke out. He has also photographed war scenes,” or “incidents of the war,” having eighteen or twenty assistants employed on the work for months. The most remarkable productions of his establishment for artistic effect, and that expression, which imparts to a picture an air of intelligence and thought, were a series of photographic representations of Mr. Forrest in his various dramatic characters, finished in India ink. In these pictures the several characters were admirably (p. 375) expressed and told each its own individual story. For the series Mr. F. paid $1000. The work was, in all its departments, executed in the finest style of the art, and was, in the highest degree, creditable to Mr. Brady.”                                                                                            (p. 376)


The problem is that all the above stuff is only partially true and even the correct information is riddled with errors. Brady’s trip to Bull Run was far from the first instances of photographers leaving their galleries and going into the field. Several teams of photographers, hired by Brady himself, were already photographing sites of skirmishes or newsworthy events. Both Brady and Alexander Gardner, who had developed the Imperial photograph trade for Brady in New York and then worked as the director of the Brady Gallery in Washington, would later claim to have been responsible for the concept of creating teams of photographers to leave the studios and go out into the fields to take the historical photographs of the war. In fact, many photographers more or less spontaneously went out to where the action was, dragging the recalcitrant equipment along and subsequently forcing it to achieve more than anyone had previously thought could be possible. However, it is true that the most sustained and coherent early attempts to photograph and then disseminate large numbers of war views to a wider public on a mass-media basis through the vehicle of cartes-de-visite and stereo views seems to have come from the Brady organization, working with the E. & T. H. Anthony manufacturing company as the printer and distributor of the thousands of prints. And it seems that Gardner, functioning as an independent manager of the Washington gallery, worked out the techniques and business tactics necessary to accomplish this. It is also indispensably true that Brady had built up a huge publicity machine which he was able to turn to support his series of “war views.”

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I accept Josephine Cobb’s extraordinary research as the most accurate information in this confused area of photographic scholarship. See: “Mathew B. Brady’s Photographic Gallery in Washington,” Record of the Columbia Historical Society of Washington D.C. v. 53 (1953):28-69. and “Alexander Gardner,” Image no. 62 (June 1958):124-136.

[n. b. I am writing this essay from the bibliography I have just put together and a bit from my memories of Miss Cobb’s excellent article. Somewhere in my various moves I have lost the “folder” where I kept Mathew Brady materials, with Cobb’s article and everything else I had gathered on Brady and Gardner over the years. A Google search tells me that the closest library where I can get another copy of her article is 226 miles away. This is an informal document, so I’m not taking the time to get another copy just now. So a few of my minor details may be a bit off, given the quality of my memory nowadays, but I think that everything is generally correct. WSJ]

For the information about the illustrated magazines’ usage of photography during the war and the rivalry between Brady and Gardner I have repurposed excerpts from an article I published years ago:
Johnson, William. “Back to the Future: Some Notes on Photojournalism before the 1870’s.” Views 9:2 (Winter 1988): 8‑12. 8 illus.

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We can trace some of this photographic activity in Harper’s Weekly. Harper’s Weekly: A Journal of Civilization was started in 1857 by Fletcher Harper, the youngest brother of the Harper family publishing empire. The Weekly was designed to be both more topical than Harper’s monthly literary journal, and more political – although the political position of Harper, who was a Methodist and a liberal, was always restrained and middle-of-the-road. Fletcher Harper wanted to publish a family magazine, and the Weekly quickly achieved and maintained the position of the most solid, respectable American weekly magazine during those decades. The Weekly, with its larger size opted from the very beginning to use the strongest illustrations that it could find. The magazine soon found a place for photography in its editorial thinking. From the first it published portraits derived from photographic sources when it could – including twenty-five portraits by Brady in the first year of publication. By March 1859, the Weekly could claim to be a success, with a circulation of 120,000 copies. The magazine continued to expand its usage of photography throughout the rest of the decade.
As the threat of succession and impending conflict grew during 1860, Harper’s Weekly turned its focus to these events, shifting its editorial emphasis to hard news coverage. Frank Leslie’s Illustrated Weekly and the other illustrated journals also did this to some extent, but Harper’s Weekly chose the best artists and began to excel at it and quickly developed a superb corps of talented and diligent field correspondents and embedded them with the troops to cover events on all the various fronts of the conflict. Theodore R. Davis, Andrew McCallum, W. Warren, Alfred R. Waud, William Waud, Robert Weir, and others followed the troops to the field, on campaign, and into battle. 
Both the subject content and the style of the illustrations in Harper’s Weekly shifted during the course of the war. Initially the illustrators depicted the conflicts with a rhetoric of flag-waving patriotism, derived from the tropes of 18^th century paintings. As the war dragged on and the illustrators began to see events more clearly, there were fewer dramatic charges and more events depicting the mundane activities of a modern war. The editors – and their audience – wanted a more truthful depiction of events and more accuracy and detail in the visual records. It was felt, within the limits of their capabilities, (Taking a picture was still awkward and intrusive due to the apparatus and process and the camera still could not capture any significant movement.) that photographs provided a more persuasively accurate representation of those subjects. Magazines publishing images derived from photographs taken in the field, once rare enough to be commented upon, began to be used more and more frequently as more photographers were successful in photographing the sites of troop maneuvers or skirmishes. And the actual style of the magazines illustrations began to shift as well. The magazine’s illustrations were wood-engravings cut from drawings and initially they imitated the looser, more linear impressionistic style of earlier steel engravings. As the technology improved the facture of the woodcut prints became tighter, more detailed and more precise, and the style of the images more naturalistic or “realistic,” – again reflecting the impact of photography on illustrated publishing.
The Weekly would soon come to be one of the most powerful agencies for presenting the war to the American citizenry. Portraits of military figures, taken in the portrait studios, formed the largest use of photographically-derived images during the war. Harper’s Weekly alone printed something like forty portraits of military leaders during the first two years of the conflict. The Brady gallery, which had already a firmly-established practice of supplying portraits to the illustrated press, provided the majority of these portraits.

    

1 b & w (“President Lincoln.”) “Photographed by Brady.” Harper’s Weekly: A Journal of Civilization 5:226 (Apr. 27, 1861): 268. [“We publish herewith, from a photograph just taken expressly for this paper, a Portrait of the President. It is the first accurate portrait that has been published of him since he began to grow his beard. Hon. Abraham Lincoln, of Illinois, was born on the 12th February, 1809, in Hardin County, Kentucky….”]

1 b & w (“Winfield Scott, Æt. 75, Commander-In-Chief of the United States Army.”) “Photographed by Brady.” Harper’s Weekly: A Journal of Civilization 5:237 (July 13, 1861): 440.

1 b & w (“Colonel Wilson, of Wilson’s Brigade.”) “Photographed by Brady.” Harper’s Weekly: A Journal of Civilization 5:228 (May 11, 1861): 289. [“Colonel William Wilson, of the “Wilson Zouaves,” whose portrait we give on this page, is a well-known character in New York. He has long been famous as a leader of the Mozart Democracy, having joined Fernando Wood in his famous bolt from Tammany Hall. A doughty chief of the “roughs,” Mr. Wilson has figured prominently in almost every mélée of our turbulent city Democracy, and is justly feared even by the strongest and boldest of the “b’hoys.” in his youth he was a prize-fighter, and made a name for himself in the ring. A few years since he became Alderman of the First Ward, and was an active member of the Board. Since his retirement from the City Council he has not filled any public station….”]

1 b & w (“The Late Colonel Ellsworth.”) “Photographed by Brady.” Harper’s Weekly: A Journal of Civilization 5:232 (June 8, 1861): 357. the following account of Colonel Ellsworth’s murder is from the pen of Mr. House, the Tribune correspondent, who actually had his hand on Colonel Ellsworth’s shoulder when Jackson shot him: “On entering the open door, the Colonel met a man in his shirt and trousers, of whom he demanded what sort of a flag it was that hung above the roof. the stranger, who seemed greatly alarmed, declared he knew nothing of it, and that he was only a boarder there. Without questioning him further the Colonel sprang up stairs, and we all followed to the topmost story, whence, by means of a ladder, he clambered to the roof, cut down the flag with Winser’s knife, and brought it from its staff. the re were two men in bed in the garret whom we had not observed at all when we entered, their position being somewhat concealed, but who now rose in great apparent amazement, although I observed that they were more than half dressed. We at once turned to descend, Private Brownell leading the way, and Colonel Ellsworth immediately following him with the flag. As Brownell reached the first landing-place, or entry, after a descent of some dozen steps, a man jumped from a dark passage, and hardly noticing the private, leveled a double-barreled gun square at the Colonel’s breast. Brownell made a quick pass to turn the weapon aside, but the fellow’s hand was firm, and he discharged one barrel straight to its aim, the slugs or buckshot with which it was loaded entering the Colonel’s heart, and killing him at the instant. …“]

          

          

As the war continues and more photographers become actively engaged, the percentages of photographically-derived images of field activities would expand rapidly. On April 12th, 1861 the army of the newly established Confederate States of America fired upon Union forces at Fort Sumter in Charleston Harbor in South Carolina.  President Lincoln called for volunteers on the 15th and troops of the 6th Massachusetts left Boston to defend Washington on the next day.  On the 19th an angry mob attacked these troops as they passed through Baltimore and several of the soldiers were killed – the first victims of the war. During the confusion of the next few weeks forces on both sides struggled to occupy strategic military points and General Butler’s Massachusetts volunteers occupied Baltimore to protect access to the national capitol. Responding to the excitement of these events, the Baltimore photographer W. H. Weaverleft his studio to photograph scenes in the city and the encampments of the occupying troops.  Eight of these views, published in May and June, are among the first photographs of scenes and events of the war that were published in Harper’s Weekly. 

                          

                                  

1 b & w (“President Lincoln Hoisting the American Flag with Thirty-Four Stars Upon Independence Hall, Philadelphia, February 22, 1861.”)–From Photographs by F. D. Richards, Philadelphia.” Harper’s Weekly: A Journal of Civilization 5:219 (Mar. 9, 1861): 145-146. [“We publish on the preceding page a picture— from photographs, taken at the time—of Mr. Lincoln raising the stars and stripes opposite Independence Hall, Philadelphia, on the morning of Washington’s birthday. Just in front of the main entrance to the State House, and but a few feet from the sacred hall of liberty, a large platform had been erected for the President-elect to stand upon before the people while he raised the starry banner of the republic. the elevation, nearly six feet, enabled a vast multitude to observe every thing enacted thereon. the front and sides of the stage were wrapped around with an American flag, while lesser flags floated from the stanchions….”]

1 b & w (“Inauguration of President Jefferson Davis of the Southern Confederacy, at Montgomery, Alabama, February 18, 1861.”) Harper’s Weekly: A Journal of Civilization 5:219 (Mar. 9, 1861): 157.. [“From a photograph obligingly placed at our disposal…” (Actually a view of the state capitol building. Photo by Alexander McIntyre?)]

                  

1 b & w (”Major Anderson’s Command at Fort Sumter From a Photograph taken in the Fort.”) Harper’s Weekly: A Journal of Civilization 5:221 (Mar. 23, 1861): 177, 190. [Group portrait. “We publish on page 177 a group of portraits of the officers of the garrison at Fort Sumter. Our picture was taken from a photograph recently made by a Charleston photographer. of the Commander, Major Anderson, and of the Chief-Engineer, Captain Foster, we published portraits and biographical sketches in Nos. 211 and 215, respectively, of Harper’s Weekly, and refer our readers to those numbers.” (See “Am. J. of Photo” (Mar. 1, 1861): 298-300 for source of my attribution.)]

                        

             

                

           

These were followed on June 29th by five views of Fort Monroe, a military site vital to the Union defenses, from the photographs of George Stacy. Jesse H. Whitehurstfurnished views of the defenses of the Chain Bridge in Washington, D. C. for the August 24th issue.  Several other views of militia troops drilling or embarking were published during the year as well. The following selected list of articles published in Harper’s Weekly during the first eighteen months of the conflict show how the magazine adapted to the act of covering the war and how it began to incorporate images derived from photographs into its process


                       

                         

Advertisements: Exquisite Photograph of Major Anderson.” Harper’s Weekly: A Journal of Civilization 5:219 (Mar. 9, 1861): 159. [“Taken at Fort Sumter, Feb. 8th, 1861. Price 25 cents. A remittance in postage stamps will bring the portrait by return mail. E. Anthony, 501 Broadway, Importer and Manufacturer of Photographic Materials. Every American patriot will prize this picture.”]

Advertisements: the Photographic Visiting Card.” Harper’s Weekly: A Journal of Civilization 5:221 (Mar. 23, 1861): 191. [“Charles D. Fredricks & Co., 585 and 587 Broadway, were the first to introduce this very beautiful and popular picture in the United States, and from the success which has followed its introduction, various styles of frames, passe-partouts, and other articles adapted to the picture, have been manufactured by us in Europe and in this country. With a view to make our establishment the depot for all the articles referred to, both wholesale and retail, we respectfully call the attention of the public to the following:— Albums holding 200 Visiting Cards, Albums holding 100 Visiting Cards, Albums holding 50 Visiting Cards, Albums holding 30 Visiting Cards, Albums holding 20 Visiting Cards, Velvet Frames for Visiting Cards, Jet Enamelled Frames for Visiting Cards, Turkey Morocco Frames for Visiting Cards, Velvet Frames, for 2, 3, 4, 5, and 6 Visiting Cards, Composition Frames, richly ornamented, for Visiting Cards Black Walnut and Ebony Frames for Visiting Cards, Feather Fans, holding 6 Visiting Cards, and many other articles exclusively adapted to the Photographic Visiting Card. Ladies having fine miniatures and other pictures for which they desire rich and appropriate frames and cases, are invited to examine our varied assortment of Velvet, Turkey Morocco, and Enamelled Frames, adapted to almost any sized picture. Photographs colored in oil, pastel, or water-colors. Prices reduced to conform to the times. C. D. Fredricks & Co., Photographers and Dealers, 585 Broadway.]

“Advertisement.” Harper’s Weekly: A Journal of Civilization 5:225 (Apr. 20, 1861): 241-242. [“In view of the momentous events which are impending, and of the possible outbreak of civil war, the proprietors of Harper’s Weekly beg to draw public attention to the following list of engravings which have been published in this journal within the past few weeks, as evidence of the fidelity and thoroughness with which they are redeeming their pledge to “give a well-drawn, well-engraved, and well-printed illustration of every important event that occurs.” Almost all of the illustrations of the Southern Forts have been made from drawings by United States officers; and the proprietors of Harper’s Weekly take this opportunity of informing officers in the Army and Navy serving in the South that they will be glad to receive sketches of Forts and Scenes of Interest at the present crisis, and to pay liberally for such as they may use. Any officer in either service can obtain the Weekly gratuitously for six months by sending his address to this office.
Illustrations of the War.
Several Sketches of Major Anderson in Fort Moultrie. the Entry into Fort Sumter. the Occupation of Castle Pinckney. Maps of the Charleston Harbor. Profile View of the Same. the Marine School at Charleston. Fort Sumter, from Sullivan’s Island. the Custom-House and Powder Magazine at Charleston. Fort Moultrie—Charleston in the Distance. Portrait of Major Anderson, U. S. Army. Portrait of Captain Foster, U. S. Army. Portraits of Major Anderson’s Command. Water Battery. Harbour Police Boat. Fort McRae. Lagoon. Portrait of Governor Pickens. Portrait of Judge Magrath, Secretary of State. Portrait of Secretary of War Jamieson. Portrait of Rev. Dr. Bachman. Portraits of the South Carolina Delegation in Congress. the Washington Artillery of Charleston. the Charleston Zouaves. Fort Johnson, Charleston Harbor. the “Star of the West.” the Prayer at Sumter. Firing on the “Star of the West.” the Battery at Fort Moultrie bearing on Fort Sumter. Dismantled Guns at Fort Moultrie. Fort Sumter, seen from the Rear. the Main Battery at Fort Sumter. the Casemates at Fort Sumter. the Sally-port at Fort Sumter. the Gorge at Fort Sumter. the Interior at Fort Sumter. A ten-inch Columbiad at Fort Sumter. Interior of the Sally-port at Fort Sumter. officers’ Quarters at Fort Sumter. the Good-by of the Soldiers’ Wives to Fort Sumter. Major Anderson’s Quarters at Fort Sumter. An Embrasure—Outside and Inside—at Fort Sumter. Major Anderson’s Command at Fort Sumter. the City of Charleston. Fort Moultrie, as Seen from Fort Sumter. Morris Island, as seen from Fort Sumter. Fort Johnson, as seen from Fort Sumter. the Iron-clad Battery on Cumming’s Point As seen from Fort Sumter. Fort Pickens, Pensacola, looking Seaward. Portrait of Lieutenant Slemmer. Portrait of Lieutenant Gilman. Front View of Fort Pickens, showing the Sally-Port. the Flag-staff Bastion at Fort Pickens. the Salute on 22d February at Fort Pickens. the Boat-house and Landing at Fort Pickens. one of the Flank Casemate Batteries at Fort Pickens. the Confederate Batteries against Fort Pickens. Sea Battery at Fort Monroe, Virginia. Interior of Sea Battery at Fort Monroe. Testing the Big Columbiad at Fort Monroe. the Rip-Raps. Ships in the Norfolk Navy-Yard. Fort Jefferson, Tortugas Fort Taylor, Key West. Fort Smith, Arkansas. United States Arsenal at Little Rock, Arkansas. the Navy-Yard at Norfolk. the Navy-Yard at Washington. Fort Wichita, Texas. Fort Arbuckle, Texas. Fort Davis, Texas. Fort Brown, Texas. Fort Lancaster, Texas. Point Isabel, Texas. the Alama, San Antonio, Texas. Surrender of General Twiggs, at San Antonio, Texas. the Washington Arsenal. Fort on Craney Island. Fort Norfolk. Fort Washington. the Richmond Armory.
The proprietors of Harper’s Weekly beg to state that they have made the most extensive arrangements for the illustration of future movements at the South, and that the public may rely upon finding in Harper’s Weekly an accurate and reliable picture of every scene of interest to which occurrences may direct attention. the increasing circulation of Harper’s Weekly renders it a most desirable advertising medium.”]

5 b & w (“Commander Dahlgren, U.S.N., and the Dahlgren Gun.”) “From Photographs.” Harper’s Weekly: A Journal of Civilization 5:225 (Apr. 20, 1861): 244, 246. [Medallion portrait, surrounded by views of the Dahlgren Gun (a cannon) being loaded and fired by a military crew under Dahlgren’s supervision.]

1 b & w (“General Beauregard, C. S. A.”) “From a Photograph furnished by E. Anthony.” Harper’s Weekly: A Journal of Civilization 5:226 (Apr. 27): 269.

1 b & w (“Colonel Ellsworth, of the Fire Zouaves.”) Harper’s Weekly: A Journal of Civilization 5:228 (May 11, 1861): 289. [“We publish above, from a recent photograph, a portrait of Colonel Ellsworth, the commander of the Fire Zouaves of this city. Colonel Ellsworth’s face and gallant bearing are well known to most of our citizens, and they will be glad to meet him once more in our pages. the Colonel is quite a young man, being only about twenty-seven years of age. He is a native of New England, and studied for a time at West Point, acquiring the usual proficiency in the manual of military exercise and the use of arms….”]

Our War Illustrations.” Harper’s Weekly: A Journal of Civilization 5:228 (May 11, 1861): 291-294. [“We continue in this number the series of illustrations of the pending War which have formed so conspicuous a feature in Harper’s Weekly for some months back. Mr. Strother has sent us some sketches of the Harper’s Ferry affair. on page 292 we give a picture of the Gathering of the Virginians for the attack on the Arsenal; and on the following page the Approach, and the Burning of the Work-shops. the following account is the Narrative of An Eye-Witness.” Harper’s Ferry, which, eighteen months ago, was the centre of public interest, has again become the scene of historic events of more immediate political importance, but fortunately not of so tragic a character as those of October, 1859. on Thursday, the 18th instant, private orders were brought from the authorities at Richmond commanding the seizure of the arms and public works at Harper’s Ferry….”] “

1 b & w (“View of Fort McHenry, Baltimore.”), 1 b & w (“The Burning of the Bridge at Canton, Maryland, by the Mob.”)-Photographed by W. H. Weaver of Baltimore.” Harper’s Weekly: A Journal of Civilization 5:228 (May 11, 1861): 292. [Two views. “The small cut on the opposite page exhibits the burning of the bridge at Canton by the Baltimore mob. Both of these pictures are from photographs by W. H. Weaver, of Baltimore.”]

1 b & w (“Raising the Stars and Stripes over the Custom-House at Baltimore, on May 1.”) –Photographed by W. H. Weaver.” Harper’s Weekly: A Journal of Civilization 5:229 (May 18, 1861): 316.

1 b & w (“Winans Steam Gun, Captured by Colonel Jones on the Way To Harper’s Ferry.— Photographed by Weaver.” Harper’s Weekly: A Journal of Civilization 5:230 (May 25, 1861): 331.

1 b & w (“Camp of the United States Volunteers at the Relay House.”) “Photographed by Weaver.” Harper’s Weekly: A Journal of Civilization 5:230 (May 25, 1861): 332.

1 b & w (“The Cabinet of the Confederate States at Montgomery.”) “From Photographs by Whitehurst, of Washington, and Hinton, of Montgomery, Alabama.” Harper’s Weekly: A Journal of Civilization 5:231 (June 1, 1861): 340-341. [This is a composite group portrait of the Cabinet members, Attorney-General Benjamin Secretary Mallory. Secretary Memminger. Vice-President Stephens. Secretary Walker. President Davis. Postmaster Reagan. Secretary Toombs, sitting around a table, but drawn from individual portraits made at different times and locales by Whitehurst and Hinton.]

1 b & w (“Luther C. Ladd, A Massachusetts Volunteer, Killed at Baltimore, April 19, 1861.”) Harper’s Weekly: A Journal of Civilization 5:231 (June 1, 1861): 341. [“We publish herewith, from a photograph kindly sent us from Lowell, a Portrait of the late Mr. Ladd, who was murdered by the rowdies of Baltimore, on his passage through that city, on 19th April. Our correspondent writes us: Lowell, May 16, 1861. Luther Crawford Ladd was born in Alexandria, New Hampshire, and on the 22d of last December was seventeen years of age. When the order came to Lowell for troops to be in readiness to march, he enlisted with the City Guards, giving as a reason for choosing this company that he thought it the most likely to be called out; and when the orders came for marching his friends urged him not to go, but his reply was, “I shall go for my stars and stripes any way!” and with a brave heart he left his machinist’s tools and shouldered his musket. Although young, `tis said that he was a lover of historical reading, and was well posted in our national affairs. Hoping that the inclosed will be of some use to you, I remain, your humble servant, Charles A. Kimball.”]

1 b & w (The Military Occupation of Baltimore. Major General Butler’s Encampment on Federal Hill.”)-Photographed by Weaver.” Harper’s Weekly: A Journal of Civilization 5:231 (June 1, 1861): 344-345. [“We mentioned in our last number that Baltimore had been occupied by the United States forces under General Butler, of the Massachusetts Volunteers. We now publish on pages 344 and 345, from a photograph by Mr. Weaver, of Baltimore, a picture of the Encampment of General Butler’s Corps d’Armee on Federal Hill, which the troops occupied on 13th inst., having marched through part of the city of Baltimore to that point without molestation. Our artist writes us as follows concerning his picture: Baltimore, May 15, 1861. Inclosed find photograph of Encampment of United States troops under command of General Butler on Federal Hill, opposite Baltimore City, or just across the Basin. General Butler left the Relay House with 1500 men, and reached here on evening of 13th, and the picture gives them as on the 14th inst. This place of encampment is much higher than the city, and overlooks the same. There is also from the same point a fine view down the river on the city side. the hill is almost perpendicular, and some 75 to 200 feet in height. You will perceive the hill is a peninsula, which runs down to Fort M`Henry, which is about one mile below.”]

1 b & w (“General Cadwallader’s Camp of the United States Volunteers at Locust Point, Opposite Baltimore, Maryland.”)-Photographed by Weaver.” Harper’s Weekly: A Journal of Civilization 5:232 (June 8, 1861): 359.

1 b & w (“Colonel Morehead’s Camp, Near Patterson’s Park, Baltimore, Maryland.”)-Photographed by Weaver.” Harper’s Weekly: A Journal of Civilization 5:233 (June 15, 1861): 374.

“More Southern Pictures.” Harper’s Weekly: A Journal of Civilization 5:234 (June 22, 1861): 386. [“We continue in this number our illustrations of Scenes at the South, though there is no communication either by mail or express with that section of the country. on another page the reader will find an engraving of a Bivouac of Confederate Troops at Warrington, Pensacola, from a photograph taken a few days ago. We venture to promise our readers that the interruption of mail and other intercourse with the Southern States will not prevent our receiving a regular supply of illustrations from thence. Notwithstanding the abuse of Southern journals, we seem to have friends left at the South, who promise to keep us supplied with sketches by smuggling them across the lines. Our late subscribers in that section do not know what they miss in being deprived of Harper’s Weekly.”]

1 b & w (“Bivouac of Rebel Troops at General Bragg’s Camp at Warrington, Pensacola.”)-From a Photograph.” Harper’s Weekly: A Journal of Civilization 5:234 (June 22, 1861): 395.

1 b & w (“Gun-Yard Under the Walls of Fortress Monroe.”).— Photographed by Stacy., 1 b & w (“John Tyler’s Residence, Hampton, Virginia.”) “Photographed by Stacy., 1 b & w (“Chesapeake Female College –Headquarters of General Pierce.”)—Photo. by Stacy., 1 b & w (“Shot and Shell Piled under the Walls of Fortress Monroe.”)—Photo. by Stacy, 1 b & w (“The only Entrance to Fortress Monroe.”)—Photo. by Stacy, on p. 406; 1 b & w (“Moat and Seaward Face of Fortress Monroe.”) “Photographed by Stacy, on p. 410 in: “Our Army at Fortress Monroe.” Harper’s Weekly: A Journal of Civilization 5:235 (June 29, 1861): 406, 410, 413.

1 b & w (“Gun Bent Double by a Cannon-Ball.” Photographed by Weaver.” Harper’s Weekly: A Journal of Civilization 5:235 (June 29, 1861): 413.

“The Eleventh Indiana Regiment of Zouaves, Colonel L. Wallace.” Harper’s Weekly: A Journal of Civilization 5:238 (July 20, 1861): 452. 3 b & w., 2 illus.. [Views of troops in camp, practicing formations, parading, leisure activities. Two of these “Camp recreation…” are from drawings, the three others “Deployed as Skirmishers,” “Rallying by Fours,” ”Formed in Hollow Square,” are credited from photographs. “We devote page 452 to the Eleventh Indiana Zouaves Colonel Lewis Wallace, a regiment which is likely to make a name for itself in the present war. Some of our sketches are from photographs sent us from the West. Others from sketches by Mr. Gookins, to whom we have been frequently indebted for illustrations of the Eleventh Indiana boys. the camp of the Zouaves has been at Wills Gap, near Cumberland, a place somewhat noted, as it was on the mountain on which Wills Creek takes its rise that George Washington, then a provincial colonel, raised his flag while mustering his forces at Fort Cumberland to march under General Braddock to the memorable battle in which the latter was defeated. the “Camp Recreations” show that the Indiana boys, who are serious enough in fight, are as merry as ever when the grim work of war is over. the illustrations of the drill and manuuvres—from photographs—are quite striking.”]

1 b & w (“Military Occupation of Monument Square, Baltimore, Md., by United States Artillery, by Order of Major-General Banks.”)-Photographed by Weaver.” Harper’s Weekly: A Journal of Civilization 5:238 (July 20, 1861): 461.

1 b & w (“General M`Clellan and His Staff.”) “Photographed by Brady.” Harper’s Weekly: A Journal of Civilization 5:243 (Aug. 24, 1861): 532. [Group portrait, of Captain Clark. General M`Clellan. Captain Van Vliet, and Major Barry. While possibly taken at one time, I suspect this is probably a composite portrait, actually engraved from four separate photographs.]

1 b & w (“Interior of Upper Battery at the Chain Bridge, Washington, D. C.”) “Photographed by Whitehurst., 1 b & w (“Interior of Lower Battery at the Chain Bridge.”) “Photographed by Whitehurst. In: “Batteries at the Chain Bridge, Washington, D.C.” Harper’s Weekly: A Journal of Civilization 5:243 (Aug. 24, 1861): 538. [“We publish herewith pictures of two of the batteries erected at the north end of the Chain Bridge at Washington. the y are planted so as to sweep the bridge in case the rebels should attempt to cross it for the attack of Washington. We understand that every ford across the Potomac, from Washington to Harper’s Ferry, is similarly guarded, and that batteries of heavy cannon, well supported by infantry, protect the whole line of the river.”]

1 b & w (“Brigadier-General Burnside.”) “Photographed by Brady.” Harper’s Weekly: A Journal of Civilization 5:243 (Aug. 24, 1861): 541. [“We take pleasure in laying before our readers the portrait of Brigadier-General Burnside, United States Army, one of the most gallant officers in the army. General Burnside was born some thirty-seven years ago, in Indiana, and entered the Military Academy at West Point from that State….”]

1 b & w (“The Rebel General Lee.”—Photographed by Brady.” Harper’s Weekly: A Journal of Civilization 5:243 (Aug. 24, 1861): 541. [“We publish herewith, from a photograph by Brady, a portrait of the rebel General Lee, now one of the “Generals” of the Confederate forces in Virginia. Robert E. Lee was born in Virginia about the year 1808. He entered West Point, where he received the usual military education at the cost of the Government of the United States. He graduated honorably in 1829, and received an appointment as Second Lieutenant of Engineers. For eighteen years he served in the army, drawing the usual pay from the Government, and rising to the rank of Major and Lieutenant-Colonel of Cavalry. in the Mexican war he was further honored by a brevet of Colonel, and on the appointment of Albert S. Johnston to the command of the Utah expedition, Lee succeeded him in command of the 2d Cavalry. After filling this honorable and agreeable post in the military service of his country for several years, he crowned his career by deserting his flag at the moment of his country’s sorest need. When the Richmond politicians passed what they called an Ordinance of Secession, Robert E. Lee threw up his commission and accepted the rank of General in the rebel army.”]

1 b & w (“The United States War Steamer `Minnesota,’ Flag-Ship of the Blockading Squadron.” “Photographed by Whipple, of Boston.”) Harper’s Weekly: A Journal of Civilization 5:243 (Aug. 24, 1861): 541.

1 b & w (“Camp Dennison, Cincinnati, Ohio, East of the Railroad.”-“Photographed by C. A. Johnson, Cincinnati.”) Harper’s Weekly: A Journal of Civilization 5:244 (Aug. 31, 1861): 554.

1 b & w (“The Des Moines Cavalry Company Leaving Des Moines (Iowa) for the War.”-“Photographed by T. P. Sherman.”) Harper’s Weekly: A Journal of Civilization 5:247 (Sept. 21, 1861): 604. [“Our other picture, from a daguerreotype by Mr. T. P. Sherman, of Des Moines, represents the Des Moines Calvary Company leaving for the war….”]

“Captain Strong’s Adventure.” Harper’s Weekly: A Journal of Civilization 5:248 (Sept. 28, 1861): 609-610. 1 illus. [“To the Editor of Harper’s Weekly: I herewith forward you an excellent photograph of Captain William E. Strong, Company F. (Belle City Rifles), Second Regiment Wisconsin Volunteers, taken by Mr. John Golden, Whitehurst’s Gallery, this city. While on duty extending our line of pickets, three miles northwest of Chain Bridge, on Friday last, Captain Strong was taken prisoner. As he neared the river he left three men while, according to the orders of Major Larrubee, he reconnoitred, preparatory to assigning them positions…” (The letter then details Strong’s fire-fight with a rebel patrol, before being captured. the illustration, printed large on the front cover of the magazine, is an artist’s dramatic depiction of that fight, with Strong shooting Confederate soldiers with a pistol in each hand. the actual portrait by the Whitehurst Gallery was not printed in the issue. This early in the conflict the magazine still presented images and stories with a patriotically rhetorical florish. by 1864-1865 this entire story and its illustration would have been handled very differently-if published at all. WSJ)]

1 b & w (“Fairfax Court House, the Rebel Gen. Bonham’s Head-Quarters.” “Photographed by Brady.”) Harper’s Weekly: A Journal of Civilization 5:249 (Oct. 5, 1861): 638. [(This may be the first view credited to Brady published in this magazine. WSJ.)]

1 b & w (“Brig.-Gen. S. D. Sturgis.”) Harper’s Weekly: A Journal of Civilization 5:250 (Oct. 12, 1861): 641-642. [“On page 641 will be found a portrait (from a photograph sent us by our Western artist) of this distinguished officer, who has lately been promoted from the rank of Major in the First Cavalry to a Brigadier-Generalship, and is now actively engaged in suppressing rebellion in Northern Missouri. General Sturgis was born in Pennsylvania in 1822 ….”]

1 b & w (“The Rebel General Price.”) Harper’s Weekly: A Journal of Civilization 5:250 (Oct. 12, 1861): 641-642. [“We publish on p. 641 a portrait of the Rebel General Price, who has just taken Lexington, Missouri –from a photograph sent us by our artist in the West…”]

1 b & w (“Major-General Fremont, U. S. A., and Staff Inaugurating Camp Benton, at St. Louis, Missouri, Before Starting for Lexington.”—From a Photograph.” Harper’s Weekly: A Journal of Civilization 5:250 (Oct. 12, 1861): 644, 646.

“Photographic Saloon in Camp, Near Ball’s Cross Roads, Virginia.” Sketched by our Special Artist.” Harper’s Weekly: A Journal of Civilization 5:256 (Nov. 23, 1861): 742. 1 illus. [View of a temporary hut set up as a gallery to make tintypes at a campsite. There doesn’t seem to be any text piece accompanying the image.]
1 b & w (“Major-General Ulysses S. Grant, U.S.A., the Hero of Fort Donelson.” “From a Photograph.”) Harper’s Weekly: A Journal of Civilization 6:271 (Mar. 8, 1862): 145.

1 illus. (“General View of the City of Nashville, Tennessee.”), 1 illus. (“The Railroad Bridge over the Cumberland, at Nashville, Tennessee.”), 1 b & w (“The Capitol at Nashville.” “From a Photograph.”) Harper’s Weekly: A Journal of Civilization 6:271 (Mar. 8, 1862): 152-153. [“On page 152 we give a view of the City of Nashville, Tennessee, from a sketch kindly placed at our disposal by Mr. R. J. Meigs, a loyal citizen of Nashville, now resident in New York. It is, as every body knows, the capital of Tennessee, and is a fine city of about 20,000 inhabitants, situated on the Cumberland River….”]

1 b & w (“Brigadier-General Quincy A. Gilmore.” “From a Photograph by Lieutenant Haas.”) Harper’s Weekly: A Journal of Civilization 6:280 (May 10, 1862): 301. [“We publish on this page a portrait of General Gilmore, the hero of Pulaski, from a photograph by Lieutenant Haas. General Gilmore was born in Ohio, about thirty-six years ago. He entered the Military Academy at West Point in 1845, and graduated in 1849, at the head of a class of 43 members…”]

[Advertisement.] “Gems of Art!” Harper’s Weekly: A Journal of Civilization 6:284 (June 7, 1862): 367. [“Elegant Steel Plate Engravings of our Military Naval Heroes, and Eminent Men of the day. Printed on plate paper, size 9×11 inches, copied from Photographs by Gurney, Brady, and other celebrated Artists. Copies sent by mail, post-paid, for 25 cents. Agents wanted. A liberal discount to Agents and the Trade. Send for a circular. Address Francis Morrison & Co., 177 William Street, New York City.”]

1 b & w (“Robert Smalls, Captain of the Gun-Boat ‘Planter.’”), 1 b & w (“The Gun-Boat ‘Planter,’ run out of Charleston, S. C., by Robert Smalls, May, 1862.”) in: “The Steamer `Planter’ and Her Captor.” Harper’s Weekly: A Journal of Civilization 6:285 (June 14, 1862): 372. [“We publish herewith an engraving of the steamer ‘Planter,’ lately run out of Charleston by her negro crew, and a portrait of her captain, Robert Smalls—both from photographs sent us by our correspondent at Hilton Head. the following, from the Herald correspondence, will explain the transaction: One of the most daring and heroic adventures since the war commenced was undertaken and successfully accomplished by a party of negroes in Charleston on Monday night last. Nine colored men, comprising the pilot, engineers, and crew of the rebel gun-boat Planter, took the vessel under their exclusive control, passed the batteries and forts in Charleston harbor, hoisted a white flag, ran out to the blockading squadron, and thence to Port Royal, via St. Helena Sound and Broad River, reaching the flagship Wabash shortly after ten o’clock last evening….”]

“The Lounger: Photographs of the Seat of War.” Harper’s Weekly: A Journal of Civilization 6:294 (Aug. 16, 1862): 514. [“Mr. Brady’s series of card photographs of characteristic and famous scenes and spots at the seat of war in Virginia is profoundly interesting. With these in hand, or in box, the strategist who conducts the campaign at home may actually see the places of which he is talking; may look far over the bare, sad plain from the heights of Centreville, or stand among the ruins of Mrs. Henry’s house at Bull Run where the battle was fiercest; or muse over the soldiers’ graves; or lean upon the pier of the shattered stone bridge where the flight of our army was choked and terrible slaughter followed; or sit upon the low, awkward piazza of the old Virginia house in which Johnson had his headquarters just before the evacuation of Manassas; or gaze from Cub Run to the brow of the hill where the brave Haggerty was buried. Then descending to the Peninsula, the strategist at home may see the interior of battery No. 1, at York River, with its huge guns, or Fairhold’s house close by; or he may step closer to the works and almost lay his hand upon the one and two hundred pound rifled guns; or move on to the mortar batteries beyond with groups of officers at their posts; or look out upon the broad, calm York River from the earth-works through the orchards; or chat with the contrabands in front of the old cabin which was Lafayette’s head-quarters; or pass with amazement through the gateway at Yorktown; or count each pane of glass in the windows of the White House. Returning, you may pause before the slave-pen of Price, Birch, & Co., in Alexandria, and cross the Long Bridge to Washington. the collection has an almost painful interest. the vivid reality of the pictures recalls a thousand melancholy memories, and the interest is one which will only increase with time. For long after the fortifications and earth-works have become grass-grown mounds upon which cattle graze, and long after the brave men whose valor made them famous are gone, their children will stand pensively among them, and in these magic cards see them exactly as they were when the cannon were just planted, the timber just felled and placed, the earth just heaped up; and the bravest heart grew sober and the most buoyant mind grave as they contemplated the magnitude and character of the work to be done.”]


Initially, the magazine drew its images from any photographic source it could find – and it would do so throughout the conflict; but the superior organization of Brady’s teams soon began to predominate. Brady later claimed that he had talked to Secretary of War Stanton to obtain permission to hire photographers to follow the Union Army and that this made him and his employee Alexander Gardner working “under authority of the U. S. Government,” and thus were “U. S. Government Photographers.”
This was nonsense, or hyperbole at best. Any civilian – sutlers, laundresses, reporters, medical staff, etc. – wishing to enter any militarized zone under control of the Union Army had to get permission from the military authority in that region – and the itinerant photographers who followed the troops to set up portrait studios in the camps, as well as the photographers actually documenting the conflict, all had to obtain these permissions. There were “official” photographers in the war, usually hired to do the vitally important task of providing accurate copies of maps and military orders so that the different commanding officers would have the same information; but there were some who photographed actions and events as well – Capt. Andrew J. Russell and others documented the activities of General Meigs’ Corps of Engineers, Gardner actually left Brady initially to work briefly for the Army of the Potomac, George N. Barnard had some official connections to Sherman’s troops – and there were others with contracts of greater or lesser length. But Brady and his teams were not among those “official” photographers. But Brady’s teams of active photographers working among the troops, his contract with the Anthony Brothers to furnish and distribute sufficient prints in the popular and collectable carte-de-visite, stereographic and cabinet sized prints, his contacts within the publishing industry, and his well-developed publicity apparatus soon established him in the public mind as the dominant maker of photographs documenting the war..-
In 1862, eighteen months after the beginning of the conflict, a group of actual battlefield aftermath scenes, complete with views of dead soldiers, was brought before the public. Brady held an exhibition of these Antietam battle photographs at his New York gallery and released cartes-de-visite and stereos and prints showing the random destruction at the battle site and the bodies of dead soldiers scattered around like half-empty bags of dirt. No more heroic flag waving of dying men cheering on the victorious charge. Eight scenes of the battlefield and the dead soldiers were published on a double-page spread in the October 18, 1862 issue of Harper’s Weekly. These were the first Civil War battlefield aftermath photos published in print, to be viewed by a large audience. The photos created a storm of commentary.

   

8 b & w (“Scenes on the Battlefield of Antietam.”) “From Photographs by Mr. M. B. Brady. in “The Battle of Antietam.” Harper’s Weekly: A Journal Of Civilization 6:303 (Oct. 18, 1862): 663-665. [(Double-page spread with seven battlefield aftermath views of the bodies of dead men and horses being gathered for burial, surrounding a central view, “The Bridge,” depicting an important landmark of that battlefield. the photographs credited to Brady were actually taken by Alexander Gardner and John F. Gibson. These are, I think the first battlefield aftermath photographs published in this magazine.) “We reproduce on pages 664 and 665 a number of photographs of the Battle of Antietam, taken by the well-known and enterprising photographer, Mr. M. B. Brady, of this city. the following description of these wonderfully lifelike pictures is from one who knew the ground: the first of these pictures—the large view of Antietam creek and bridge, the crossing of which General Burnside effected at such a fearful sacrifice of life—exhibits little or no traces of the conflict. the spot is just as lovely and tranquil as when last we visited it. Artistically speaking, the picture is one of the most beautiful and perfect photograph landscapes that we have seen. the tone is clear and firm, but soft, and every object is brought out with remarkable distinctness. Next to it is a smaller photograph, some seven inches square, which tells a tale of desperate contention. Traversing it is seen a high rail fence, in the fore-ground of which are a number of dead bodies grouped in every imaginal position, the stiffened limbs preserving the same attitude as that maintained by the sufferers in their last agonies. Minute as are the features of the dead, and unrecognizable by the naked eye, you can, by bringing a magnifying glass to bear on them, identify not merely their general outline, but actual expression. This, in many instances, is perfectly horrible, and shows through what tortures the poor victims must have passed before they were relived from their sufferings. Another photograph exhibits a deep trench or gully, one side of which had been protected by a strong fence, the rails of which are seen scattered about. Lying transversely in its depths, where they have evidently fallen in attempting to cross, are piles of rebel dead, many of them shoeless and in rags. on the left bank are a number of persons examining the spot with curious interest, visitors probably from some of the Northern cities. A poetic and melancholy interest attaches to the next scene that we come to. There is such a dash of sentiment in it that it looks more like an artistic composition than the reproduction of an actuality. A new-made grave occupies the centre of the picture, a small head and foot board, the former with lettering, defining its limits. Doubled up near it, with the features almost distinguishable, is the body of a little drummer-boy who was probably shot down on the spot. How it happens that it should have been left uninterred, while the last honors were paid to one of his comrades, we are unable to explain. Gazing on the body, with a pitying interest, stands in civilian’s attire one of those seedy, shiftless-looking beings, the first glance at whom detects an ill-spent career and hopeless future. It is some time, perhaps, since that blunted nature has been moved by such deep emotion as it betrays at this mournful sight. We now pass on to a scene of suffering of another character, where, under tents, improvised by blankets stretched on fence-rails, we see the wounded receiving the attentions of the medical staff. Next to it is a bleak landscape, on which the shadows of evening are rapidly falling, revealing, in its dim light, a singular spectacle. It is that of a row of dead bodies, stretching into the distance, in the form of an obtuse angle, and so mathematically regular that it looks as if a whole regiment were swept down in the act of performing some military evolution. Here and there are beautiful stretches of pastoral scenery, disfigured by the evidences of strife, either in the form of broken caissons, dead horses, or piles of human corpses. In one place a farm-house offers visible marks of the hot fire of which it was the centre, the walls being battered in and the lintels of the windows and doors broken.”]

“Fine Arts. Brady’s Incidents of the War The Battles of South Mountain and Antietam, &c., &c “ New York Herald no.9518 (Sun. Oct. 5, 1862): 1. [“Mr. Brady, whose splendid collection of photographs illustrative of the war has rendered to the country an invaluable service, and obtained for his art a historical distinction that it had not previously enjoyed, has just added to is a series of some eight and thirty pictures, taken at South Mountain and Antietam two of the most desperately contested battle fields of modern times. The endurance and heroism exhibited by the Union troops throughout the fearful carnage and suffering of these long protracted engagements impart to these memorials an enduring interest. As records of the great and vital struggle in which we are engaged, they possess a value far beyond that of any written descriptions; for they offer to the eye the dreadful actualities of scenes which the pen of the most skillful writer could only reproduce with a remote degree of accuracy. The first of these pictures the large view of Antietam creek and bridge, the crossing of which General Burnside effected at such a fearful sacrifice of life exhibits little or no traces of the conflict. The spot is just as lovely and tranquil as when last we visited it. Artistically speaking, the picture is one of the most beautiful and perfect photograph landscapes that we have seen. The tone is clear and firm, but soft, and every object is brought out with remarkable distinctness. Next to it is a smaller photograph, some seven inches square, which tell of desperate contention. Traversing it is seen a high rail fence, in the foreground of which are a number of dead bodies grouped in every imaginable position, the stiffened limbs preserving the same attitude as that maintained by the sufferers in their last agonies. Minute as are the features of the dead, and unrecognizable by the naked eye, you can, by bringing a magnifying glass to bear on them, identify not merely their general outline, but actual expression. This, in many instances, is perfectly horrible, and shows through what tortures the poor victims must have passed before they were relieved from their sufferings. Another photograph exhibits a deep trench or gully, one side of which had been protected by a strong fence, the rails of which are seen scattered about. Lying transversely in its depths, where they have evidently fallen in attempting to cross, are piles of rebel dead, many of them shoeless and in rags. On the left bank are a number of persons examining the spot with curious interest, visitors probably from some of the Northern cities. A poetic and melancholy interest attaches to the next scene that we come to. There is such a dash of sentiment in it that it looks more like an artistic composition than the reproduction of an actuality. A new made grave occupies the centre of the picture, a small head and foot board, the former with lettering, defining its limits. Doubled up near it, with the features almost distinguishable, is the body of a little drummer boy who was probably shot down on the spot. How it happens that it should have been left uninterred, whilst the last honors were paid to one of his comrades, we are unable to explain. Gazing on the body with a pitying interest stands, in civilian attire, one of those seedy, shiftless looking beings the first glance of whom detects an ill-spent career and hopeless future. It is some time, perhaps, since that blunted nature has been moved by such deep emotion as it betrays at this mournful sight. We now pass on to a scene of suffering of another character, where, under tents, improvised by blankets stretched on fence rails, we see the wounded receiving the attention of the medical staff. Next to it is a bleak landscape, on which the shadows of evening are rapidly falling, revealing, in its dim light, a singular spectacle. It is that of a row of dead bodies, stretching into the distance, in the form of an obtuse angle, and so mathematically regular that it looks as if a whole regiment were swept down in the act of performing some military evolution. Here and there are beautiful stretches of pastoral scenery, disfigured by the evidence of strife, either in the form of broken caissons, dead horses, or piles of human corpses. In one place a farmhouse offers visible marks of the hot fire of which it was the centre, the walls being battered in and the lintels of the windows and doors broken. From the above brief description of a few of these pictures, our readers can judge of the interest which attaches to the whole collection. It can with truth be said that the photographic art has never contributed to the historical memories of our time anything that at all approaches it in value.”]

“Brady’s Photographs. Pictures of the Dead at Antietam.” New York Times (Mon. Oct. 20, 1862): 5. [“The living that throng Broadway care little perhaps for the Dead at Antietam, but we fancy they would jostle less carelessly down the great thoroughfare, saunter less at their ease, were a few dripping bodies, fresh from the field, laid along the pavement… As it is, the dead of the battle-field come up to us very rarely, even in dreams. We see the list in the morning paper at breakfast, but dismiss its recollection with the coffee. There is a confused mass of names, but they are all strangers; we forget the horrible significance that dwells amid the jumble of type…. Mr. Brady has done something to bring home to us the terrible reality and earnestness of war. If he has not brought bodies and laid them in our door-yards and along the streets, he has done something very like it. At the door of his gallery hangs a little placard, “The Dead of Antietam.” Crowds of people are constantly going up the stairs; follow them, and you find them bending over photographic views of that fearful battlefield, taken immediately after the action, of all objects of horror one would think the battle-field should stand preeminent, that it should bear away the palm of repulsiveness. But, on the contrary, there is a terrible fascination about that draws one near these pictures, and makes him loth to leave them. You will see hushed, reverend groups standing around these weird copies of carnage, bending down to look in the pale faces of the dead, chained by the strange spell that dwells in dead men’s eyes….”]


It is at this point where two conflicting narratives begin to emerge. Brady is credited as the photographer of these battlefield photos in all of the newspapers and general-interest magazines commenting on the photographs. But the photographs were actually taken by Alexander Gardner and James F. Gibson. Gardner was at that time the director of Brady’s Washington gallery, and, following the custom of the time, the credit for the images was given to the gallery owner. And while the New York city based “general interest” publications were praising Brady and even carelessly stating that he had taken these photographs by himself, the specialized literature of the photographic community relates a different story. An unusually detailed and extensive review of this group of photos is published in the Oct. 15^th issue of Humphrey’s Journal of Photography, but the author does not name Brady or any other photographer. And finally, four months later in January 1863, Coleman Sellers, the American correspondent for the British Journal of Photography, identified the actual photographers. So, if you’ve read the New York Herald or the Times or Harper’s Weekly you think that the photographer who took those extraordinary photos that everyone was talking about is the famous Mr. Brady, if you happen to read the British Journal of Photography, which was not exactly a best-seller in the States, you think that the photographer is someone else you’ve never heard of named Gardner.


“Photographs of War Scenes.” Humphrey’s Journal of Photography, and the Allied Arts and Sciences 14:12 (Oct. 15, 1862): 143-144. “We have recently seen a series of very fine views of Battle Fields taken by some of our New York photographers. Some of these views were taken at South Mountain and Antietam—two of the most desperate fights in modern times. The endurance and heroism exhibited by the Union troops throughout the fearful carnage and suffering of these long protracted engagements impart to these memorials an enduring interest. As records of the great and vital struggle in which we are engaged, they possess a value far beyond that of any written descriptions; for they offer to the eye the dreadful actualities of scenes which the pen of the most skillful writer could only reproduce with a remote degree of accuracy.
The first of these pictures—the large view of Antietam creek and bridge, the crossing of which General Burnside effected at such a fearful sacrifice of life—exhibits little or no traces of the conflict. The spot is just as lovely and tranquil as when last we visited it. Artistically speaking, the picture is one of the most beautiful and perfect photograph landscapes that we have ever seen. The tone is clear and firm, but soft, and every object is brought out with remarkable distinctness. Next to it is a smaller photograph, some seven inches square, which tells a tale of desperate contention. Traversing it is seen a high rail fence, in the foreground of which are a number of dead bodies grouped in every imaginable position, the stiffened limbs preserving the same attitude as that maintained by the sufferers in their last agonies. Minute as are the features of the dead, and unrecognizable by the naked eye, you can, by bringing a magnifying glass to bear on them, identify not merely their general outline, but actual expression. This, in many instances, is perfectly horrible, and shows through what tortures the poor victims must have passed before they were relieved from their sufferings. –
Another photograph exhibits a deep trench or gully, one side of which had been protected by a strong fence, the rails of which are seen scattered about. Lying transversely in its depths, where they have evidently fallen in attempting to cross, are piles of rebel dead, many of them shoeless and in rags. On the left bank are a number of persons examining the spot with curious interest, visitors probably from some of the Northern cities.
A poetic and melancholy interest attaches to the next scene that we come to. There is such a dash of sentiment in it, that it looks more like an artistic composition than the reproduction of an actuality. A newly-made grave occupies the center of the picture, a small head and foot board, the former with lettering, defining its limits. Doubled up near it, with the features almost distinguishable, is the body of a little drummer boy who was probably shot down on the spot. How it happens that it should have been left undeterred, whilst the last honors were paid to one of his comrades, we are not able to explain. Gazing on the body with a pitying interest stands, in civilian’s attire, one of those seedy, shiftless-looking beings, the first glance at whom detects an ill-spent career and hopeless future. It is some time, perhaps, since that blunted nature has been moved by such deep emotion as it betrays at this mournful sight.
We now pass on to a scene of suffering of another character, where, under tents, Improvised by blankets stretched on fence rails, we see the wounded receiving the attentions of the medical staff. Next to it is a bleak landscape, on which the shadows of evening are rapidly falling, revealing, in its dim light a singular spectacle. It is that of a row of dead bodies, stretching into the distance, In the form of an obtuse angle, and so mathematically regular that it looks as if a whole regiment were swept down in the act of performing some military evolution.
Here and there are beautiful stretches of pastoral scenery, disfigured by the evidences of strife, either in the form of broken caissons, dead horses, or piles of human corpses. In one place a farm-house offers visible marks of the hot fire of which it was the center, the walls being battered in and the lintels of the windows and doors broken.
From the above brief description of a few of these pictures, our readers can judge of the interest which attaches to the whole collection. It can with truth be said that the photographic art has never contributed to the historical memorials of our time anything that at all approaches it in value.”]

Sellers, Coleman. “Foreign Correspondence.” British Journal of Photography 10:182 (Jan. 15, 1863): 41-42. [“Philadelphia, Dec. 22nd, 1862…” “…Some allusion has been made in former letters to the pictures published by Messrs. Brady & Co. of the Antietam battle-field. Mr. La Merle, of the Washington Brady’s Gallery, says that these pictures were made by Mr. Alexander Gardner, assisted by Mr. Timothy Sullivan. Six of them were made on the field the day after the principal battle, but while there was still a great deal of firing on both sides, and Mr. Gardner told him that one shell struck within fifteen yards of the camera. He says also that Mr. Gardner has been using Harrison’s globe lenses, and speaks in the highest terms of them. The Bull Run and Peninsula pictures, published by Mr. Brady, were taken by Mr. Barnard and Mr. Gibson. It was the former of these gentlemen who took the fine Niagara views published by Anthony. These Niagara pictures, which were noticed in a former letter, were taken with a pair of Harrison’s globe lenses. I was not aware of this fact until some time after the publication of my notice of them. They are the only pictures of that wonderful cataract which seem to bring back the impression of immensity experienced in witnessing the falls. But to return to the battle-field. Most of the cabinet-size pictures taken in and around Washington were the work of Messrs. Whitney and Woodbury. Mr. Whitney says he never witnessed a more distressing sight than the field of Antietam the day after the battle — the wounded filling the air with cries for water, and no one daring to go to their assistance on account of the continual skirmishing. He tells many anecdotes — some sad and some laughable — about what he saw, but not pertaining in any way to the photographic art, else I should be glad to put them in print….”]


The simmering discontent between Brady and Gardner over the credit of authorship, as Brady insisted that all photos taken by his employees should be published under his name, – even if the photos were taken on their own time and with their own equipment, (as in this case) – while Gardner felt that the actual photographer should receive a credit – apparently came to a head after Antietam .Gardner had become dissatisfied with working for Brady. Fortunately, he could afford to quit Brady and open his own gallery in Washington, where he went into an active competition with Brady.


[Advertisement.] “Alex. Gardner, Photographic Artist,” National Freemason 1:1 (June 1863): 16. [“…Corner Seventh and D streets, Washington, (Over Shephard & Riley’s Bookstore, and opposite the National Intelligencer Office.)
Premises expressly fitted up as a Photographic Gallery, stocked with the newest and most improved apparatus. The “Light” constructed so as to obviate all heavy and unnatural shadows under the eyebrows and chin. The sitting for a Carte de Visite rarely exceeds five seconds. Often not more than one or two! Fine Photographs of Children and Family Groups a comparatively easy task. Operating room open for sitters from 8 am. till 6 p. m.
                                                                                Imperial Photographs,
                                                                And every intermediate size to Miniature,
                                                                       Plain, Colored, and Re-touched,
                                                                           In the finest style of the art.
                                                                                Cartes De Visite.
                                                                                Elegantly finished.
                                                                Prices Moderate. Satisfaction Guarantied,
Daguerreotypes, Ambrotypes, and Photographs copied for Cartes de Visite, or enlarged and finished in Mezzotint, Oil, or Water Colors. Paintings, Statuary, Models, Maps, Drawings, Engravings, &c., copied with dispatch. Orders for Public Buildings, Family Residences, Family Groups, Pic Nics, Company, Regimental, and out-door work attended to.
                                                                      Photographic Incidents of the War.
The largest and finest collection of War Views ever made. Views of and scenes on the battle-fields of the first and second Bull Run, York town, Fair Oaks, Savage Station, Cedar Mountain, Hilton Head, Fort Pulaski, South Mountain, Harper’s Ferry, Antietam, and Fredericksburg; Warrenton, Culpeper. Fairfax, Beaufort, Aquia Creek, Falmouth, Sharpsburg, Berlin, Ruins of Hampton, and various localities. Groups of General Officers and Staffs. Groups illustrating Camp Life. Portraits of General Officers on Horseback. Distinguished personages, Military, Literary, and Scientific. A corps of artists constantly in the field, adding to the collection. Send for Catalogue, corrected till 1st June, 1863.” (This ad ran at least nine times from 1863-1865. WSJ)]

“Official.” National Freemason 1:4 (Sept. 1863): 57. [“At present there is no place in Washington of so much interest as the photographic rooms of Bro. Gardner, corner 7th and D streets, third story. We advise all our masonic friends to call and view his fine collection of War Views. Among them we notice of particular interest, (for which Bro. Gardner will accept our thanks and those of our family:) 1. Burnside Bridge across the Antietam, near Sharpsburg bridge, which he was ordered to carry and hold at all hazards; in the doing so five hundred fell in twenty minutes. 2. Mrs. Leister’s House, headquarters of General Meade at battle of Gettysburg. Seventeen horses belonging to the staff were killed here. You can see them where they were tied to the trees. Several shells went through the house. General Butterfield and Lieutenant Colonel Dickinson were wounded at the gable end. 3. Home of a Rebel Sharpshooter. 4. Gateway of Cemetery, Gettysburg. 5. Military Bridges over the Chickahominy, Nos. 1 and 2. No. 2 is called the Grapevine, where Sumner’s troops crossed, 6. Ruins of Stone Bridge, Bull Run, destroyed by General Johnston when he evacuated Centreville. Then there are — Confederate Sharpshooter at foot of Round Top, Gettysburg ; Confederate Soldiers, as they fell near the centre of the Battlefield, Gettysburg; Camp Life; Yorktown; Confederate Fortifications, Yorktown; Wounded at Savage Station after battle of 27th June, 1862; Fugitive Negroes crossing Rappahannock during Pope’s retreat; Dead Confederate Artillerymen as they lay around their battery after the battle of Antietam. Persons who can afford the whole of these views of the war (photographed) can make no better artistic expenditure. There are. but few who can do without some of these views, so full of interest. Bro. Gardner’s enterprise and faithfulness do not discredit his Masonry.”]

“New American Books and Recent Importations.” Trübner’s American and Oriental Literary Record. A Monthly Register No. 13 (Mar. 26, 1866): 232. [“Gardner. – Photographic Sketch-Book of the American War. by Alexander Gardner. Two vols., imperial oblong folio, extra morocco gilt, and gilt edges. Washington, 1866. £50.
“Two magnificent volumes, containing in all one hundred photographs of the most interesting scenes and events in the recent war. Mr. Gardner, at the commencement of the military operations, conceived the idea of forming a photographic history of the incidents connected therewith, and had his assistants attached to nearly every corps. Out of 3,000 photographs, he has selected one hundred, relating mainly to the operations of the Army of the Potomac, including scenes in Richmond, etc., and has accompanied each plate with a page of letter-press description.” [The London bookdealer’ catalogue, published in 1866, described A. Gardner’s Photographic Sketch-Book in words that are almost exactly how Brady’s collections will later be described by various individuals; just replace “Gardner” with “Brady.” WSJ)]


When General Lee invaded the North through Pennsylvania to threaten Baltimore or to swing around to approach Washington from the less fortified northwest, the Union army quickly maneuvered to block him near the little town of Gettysburg during the first days of July 1863. Alexander Gardner, who had many contacts with the Union Army by this time, learned about this impending fight and he rushed out to pick up his son who was a student at the Gettysburg Military Academy. Gardner brought his assistant Timothy O’Sullivan and some photographic equipment along and was at the battlefield the day after this most important and consequential battle. Gardner and O’Sullivan then made some of the most powerful and dramatic photographs of the war. These photographs were not published anywhere until they were published in Harper’s Weekly two years later — when a view of dead soldiers, titled “The Harvest of Death – Gettysburg July 4, 1863” was included in an article on the dedication ceremony of the Gettysburg monument. The Gettysburg “battlefield aftermath” photos which were published in Harper’s Weekly appeared in the August 22 issue. They consisted of eleven views taken in and around Gettysburg and Brady was credited as the photographer.


     



 
                     


1 b & w (“John Burns, the Only Man in Gettysburg, Pa., Who Fought at the Battle.”), 1 b & w (“Residence of John Burns of Gettysburg”) on p. 529; 1 b & w (“General Meade’s Head-Quarters.”), 1 b & w (“General Lee’s Head-Quarters.”)  , 1 b & w (“Wheat Field in which General Reynolds was Shot.”), 1 b & w (“Entrance to the Cemetery.”), 1 b & w (“Barn in which Reynolds Died.”), 1 b & w (“Woods on the Right of the Battle Field.”), 1 b & w (“Collage, used as a Hospital for Rebel Prisoners.”), 1 b & w (“Breast-Works in the Woods.”) in: “Views of the Gettysburg Battle-Field.” on p. 532; 1 b & w (“General View of Gettysburg, From the West.”, ” From Photographs by Brady.”) “Reminiscences of Gettysburg.” Harper’s Weekly: A Journal of Civilization 7:347 (Aug. 22, 1863): 529, 532, 533, 534 ” “Mr. Brady, the photographer, to whose industry and energy we are indebted for many of the most reliable pictures of the war, has been to the Gettysburg battle-field, and executed a number of photographs of what he saw there. We reproduce some of these pictures on pages 529, 532, and 533. One of them shows us the old man John Burns, the only citizen of Gettysburg who shouldered his rifle and went out to do battle in the Union ranks against the enemies of his country. The old man made his appearance in a uniform which he had worn in the last war, but he fought as stoutly as any young man in the army. Honor to his name! Old Burns’s house is there too, a memorial in its way of the fight: from its condition it looks as though it would not be very likely to remain many years as an object of curiosity. Other pictures are the Head-Quarters of General Lee and General Meade near the battle-field; modest, unpretending farm-houses in themselves, but destined hereafter to be as famous and as great an object of curiosity to travelers as the barn and mill at Waterloo. Elsewhere we see the rough breast-works thrown up in the woods behind which the troops crouched to repel the enemy’s charges, with the trees above and around them scarred and furrowed every where by round shot, shell, and rifle-ball. The large View of Gettysburg from the West will give the beholder a general idea of the field of battle—a great valley well adapted for the movements of infantry and artillery. Mountains in the back-ground explain why the cavalry could not pursue very far. We have details as well. There is the Gate of the Cemetery, which was the scene of more than one fierce conflict, and where hundreds of Union men and rebels fell side by side; the College, which our troops used as a hospital after the battle; the Wheat-field in which General Reynolds was shot, and the Barn to which he was carried, and where he breathed his last moments, etc. Coupled with these interesting pictures we give, on page 533, an illustration of the Crossing of the Rappahannock by the Advance of the Twelfth Army Corps in Pursuit of Lee. Intelligence of this movement is contraband, and the author of our sketch warns us to be careful to disclose no facts which may be useful to the enemy. We therefore let the picture speak for itself.”]


The title for the accompanying text, “Reminiscences of Gettysburg,” for the August 22 article is precisely accurate; for a close reading of the images and text shows that the scenes were actually taken several weeks after the battle and are therefore simply views of the site of the earlier battle. Several of the photographs feature Brady posed prominently gazing over the sites of the battlefield. Brady’s photographer also had young students from the local military academy lie around the scenes as if they were corpses. All the real bodies had been cleared away and buried several weeks before Brady’s visit. Brady’s views of Gettysburg were not available until the first week in August, a month or more after the battle and the views were not published in Harper’s Weekly until the 22 of August, seven weeks after the conflict. Even given that the production time for magazines took longer back then, this seems like an unusually long delay.
Perhaps this reflects another, smaller conflict that was playing itself out during this same time. When Gardner left Brady he had taken many of the best field photographers with him. Then he and Timothy O’Sullivan had almost accidentally documented the bloody aftermath of the most significant battle of the war, but the photos had not been published. It’s possible that Brady feared that he would lose control of his monopoly on war views, so he assembled another team, – probably with James Gibson, who was an experienced field photographer who had taken over as director of Brady’s Washington gallery after Gardner had left – and went along with his photographers on this trip to obtain some photos of the site of a battle that was already being recognized as critical to the Union. There are not that many photographs in which photographers other than Brady deliberately introduce themselves into the scene. Brady will do this on several occasions. Perhaps Brady felt that his public reputation as the dominant “war photographer” was threatened by Gardner and he wanted visual evidence to reassert his claims
 – or perhaps he was just very vain. It may never be fully known why Gardner’s powerful photographs of the battlefield were not published in the magazine after the battle, while Brady’s far less interesting views of the site were printed after a long delay. It may be that the Weekly remained loyal to its long-standing formal or informal arrangements with Brady, — who, after all, had been providing portraits of notable figures to the magazine for years– and so published Brady’s images instead of Gardner’s. Or perhaps Gardner, fearful that a dispute over ownership of the rights to the images might arise — as this had been one of the points of argument between the two men — didn’t offer his photographs to the magazine. In any case, Brady quickly whipped up his publicity apparatus.

“Fine Arts. The Late Battle of Gettysburg Brady’s Photographs of the Scene of Conflict, Etc.” New York Herald no.9820 (Thur. Aug. 6, 1863): 5. [“The principal scenes of the last great battle of the Army of the Potomac, led by General Meade, with the Southern Army of Virginia, under Gen. Lee in short, a bird’s eye view of the ground on which the battle of Gettysburg was fought have just been produced by Mr. Brady with all the artistic excellence for which he is so deservedly known. A better memorial of that sanguinary conflict cannot well be imagined; and in after years, when this war shall be spoken of only in the history of the past, these faithful sketches of Brady will be invested with an importance and patriotic beauty which at this moment can scarcely be sufficiently appreciated. The sketches, which are executed in the best style of the photographic art, are fourteen in number, and may be thus enumerated “Cemetery Hill,” showing Dr. Holmes’ tent, where the process of embalming the dead was carried on. This view is very picturesque and suggestive. The headquarters of General Meade at Gettysburg are among the finest of the views. The farmhouse which he occupied during the struggle is a perfect copy of the original, and reminds one of former experiences in Virginia. The wheat field where Reynolds fell a spot rendered sacred and truly memorable cannot fail to be always attractive to the patriot in civil or in military life. There are two views of this position. The battle field of Gettysburg proper is seen from three distinct points of view from the front, the left and the right. The woods on the left are most admirably portrayed, the cupola in the distance being plainly visible. The entrance to the cemetery and the stone fences in the vicinity are well represented, many of the broken sashes in the former place being plainly indicated. The other most notable points of these views are the headquarters of General Lee, a regular stone wall building of the old times. This view is another of the finest of the collection. Sugar Loaf Mountain and Pennsylvania College are also fine views. So is the view of the house of John L. Buren, which is as natural as anything can be. On the whole, Mr. Brady has been highly successful in this enterprise, and there is scarcely a doubt that his efforts to perpetuate the memories of the battle field of Gettysburg will meet with prompt and generous public approval.”]

“Literary Miscellanies. Brady’s Photograph Gallery.” Eclectic Magazine of Foreign Literature, Science and Art 60:1 (Sept. 1863): 131. [“The gems of photographic art here find their home in great variety and beauty. They are the admiration of innumerable strangers and visitors, who here assemble and find themselves in the photographic presence of the distinguished and renowned among men and women. Mr. Brady, with his accomplished artistic assistants and associates, achieves wonders in the photographic world. He follows the army. He photographs the battle scenes. He photographs the history of this great rebellion in many of its aspects. He goes to the battle-grounds, almost before the thunder and smoke have passed away, and placing his photographic instruments in battle array, he invokes the sunlight of heaven to make an accurate sketch of the scene. Mr. Brady has taken the sunlight into partnership, to aid him in enriching his gallery collection with portraits, and battle-scenes, and all in his line of art which can gratify the eye of the visitor. His carte-de-vistes [sic] are marvels of beauty in their execution.”]

“Brady’s Gallery.” Harper’s Weekly: A Journal of Civilization 7:359 (Nov. 14, 1863): 722. [“There are very few establishments in the city better worth visiting than the Photographic Gallery of M. B. Brady, to whom this journal is indebted for nine-tenths of the portraits we publish. Nowhere else can so extensive and in one sense so valuable a collection of art treasures be witnessed. For the last twenty years there has hardly been a celebrity in this country who has not been photographed here; and when the history of American photography comes to be written Brady, more than any other man, will be entitled to rank as its Father. Many of us can still remember the old gallery at the corner of Fulton Street and Broadway, where Mr. Brady first began to photograph prominent characters for the sake of mere fame. People used to stroll in there in those days to see what new celebrity had been added to the little collection, and “the last new portrait at Brady’s” was a standing topic of conversation. Pretty soon the city began to migrate northward, and Brady moved to the well-known rooms in 359 Broadway, where he made his reputation. There, by great exertion and labor, he amassed a collection of portraits which is probably unrivaled in the world. The Presidents and Secretaries during five or six consecutive administrations; Senators and Congressmen complete for an equal period of time; soldiers, sailors, divines, editors, doctors, merchants; Garibaldi, Kossuth, Jenny Lind, Sontag; every body, male or female, American or foreign, who had any claim to distinction, was sooner or later inveigled by the indefatigable Brady into his parlor, and left his or her head there. The consequence was, as we said, an accumulation of portraits absolutely unequaled —constituting materials for history of the very highest value. What would we not give now for such a portrait gallery of the revolutionary days? When the war broke out Brady attempted higher aims. With a camera he accompanied the army to the battle-fields of Bull Run and Gettysburg, and seized, with mathematical accuracy and artistic skill, scenes that will be historical. Another camera went from his house to Charleston, and will presently show us the effect of Gilmore’s Greek fire on the cradle of treason. This deviation from the old track has not, however, diminished Brady’s eagerness for portraits. The Prince of Wales and suite, the Russian Admiral and staff, the French and British Admirals, and a host of other celebrities, native and foreign, have been added to his collection since he moved to the corner of Tenth Street. If any man deserves credit for accumulating materials for history, that man is M. B. Brady.”]

“Brady’s New Photographs.” New York Herald (New York, NY) no.10,119 (Tues. May 31, 1864): 4. [“It is worth while for those who are interested in the process of photography to step into Brady’s gallery. In the pictures now on exhibition there they will find the evidences of an extraordinary advancement in the art. There is just as much difference between the photographs at present executed in this establishment as there is between the chefs d of the modern and pre-Raphaelite schools of painting. The frequent blurs, the feeble or exaggerated tones, the stiff positions, and the imperfect knowledge of effects generally which marked the earlier productions of the camera, have all given place to the conditions demanded by the higher principles of art. Until the photograph could be rendered in composition, distinctness and evenness of tone equal to the works of the portrait and landscape painter, it must always have failed to satisfy persons of cultivated taste. We own that we had despaired of seeing this point of excellence reached by a process on which so much depends on mechanical results. It seemed to us impossible for the photographer to infuse into his productions the qualities that impart value to every other class of picture. That Mr. Brady has succeeded in conquering the difficulty is due entirely, we believe, to the fact that he is a man of artistic aspirations, who looks upon the mechanical features of his art as subsidiary to the higher aims which should guide those professing to strive for excellence in it. The most extraordinary picture that has as yet been produced by photography is that of the Executive Committee of the Sanitary Fair, now to be seen at this gallery. Each figure and there are upwards of fifty of them is a study in itself. In groups of this kind the great difficulty in photography has hitherto been to avoid stiffness and the repetition of lines. In the composition of an oil painting of this character there are essential requirements, and where so many figures are introduced there are but few artists who can strictly comply with them. In photographic pictures, where the position of the sitter requires to be fixed for the camera to do its work, it would seem next to impossible to attain them. And yet in this picture Mr. Brady has not only succeeded in divesting his grouping of all photographic stiffness, but of throwing his figures into the most varied and natural attitudes possible. There is not one of them that repeats itself. And in its other details the picture is equally admirable. We find in it no imperfections of outline, no blurring or indistinctness on the more minute features. Everything is clear, well defined and satisfactory to the eye. The harmonious tone of the picture is another of its great merits. Had it been executed by hand it would have been impossible to produce a softer or more pleasing effect. There is another group that of the Art Committee which is equally deserving of inspection. It possesses all the fine qualities of the work that we have just noticed, with some additional features of interest, arising from the eminence of the persons introduced in it. Another curious and equally difficult series of photographs are the representations of the works in the Art Gallery at the Fair. The details of each are as clear as they are in the originals a result but seldom obtained in pictures of this kind. To the general visitor, who may not be versed in art matters, the greatest attraction of the gallery will be the portraits of the heroes of the present campaign. Most of them were taken by Mr. Brady just previous to their departure for the field. Grant, Hancock, Warren, Thomas, Hooker, Baldy Smith, and the lamented Sedgwick, Wadsworth and Hayes, are all to be found there. We would advise those who have an hour or two to spare to visit Mr. Brady’s gallery. We know no other place where a little leisure can be as well spent.”                                            ]


In spite of all this verbiage, it’s at this point when things start to “Go South” for Brady.
The break between Brady and Gardner was not particularly pleasant and there may have been a certain competitiveness in the air. In any case, this rivalry between Brady and Gardner may have given both some additional motivation to excel in documenting the armies at war. After a short period during which Gardner was establishing his own gallery in Washington and re-establishing his contacts in the military and the media, Gardner took some teams into the field again, this time under his own name. Brady still excelled in his long-held position of providing portraits to the magazines but his dominance in field photography was challenged by the very people who had achieved that dominance while working for him.
Suddenly there is a rival team of photographers in the field who actually are more experienced than his own; and they have the economic support and institutional connections to compete against him. And while he still controlled the New York media, many of the news “notes” and praise for his war coverage outside of New York that had promoted his name begin to mention Gardner instead, In 1862 “Brady’s war scenes” become Gardner’s “Incidents of the War” in 1863. –


“Brady’s Album Gallery.” The Evening Star. (Washington City) 20:2946 (Sat., Aug. 2, 1862): 2. [“We have before us some war scenes, of surpassing spirit and excellence, belonging to the renowned collection known as the “Brady Album Gallery.” Brady’s name seems bound to come uppermost in any branch of the photographic art; and just now everybody is going to his Gallery to see these photographic views of all scenes and points of interest belonging to the campaigning in Virginia. The Brady corps of photographers have accompanied the army to Manassas, Fortress Monroe, Yorktown. the Pamunkey, the Chirkahominy, the James river; and the fruits of their labor, attained at no little peril and cost, may now be obtained at a trifling expense, by those wishing to recure this pictorial history of the war.”]

“Captured.” The Evening Star. (Washington City) 22:3231 (Thurs., July 9, 1863): 2. [“From a dispatch received today from the Headquarters of the Army of the Potomac, we learn that Mr. Alex. Gardner, the photographer, who left here last Saturday morning for the purpose of taking views on the battle field at Gettysburg, was taken prisoner on Sunday by the rebels at Emmiittsburg, but was paroled and arrived at headquarters on Monday.”]

“The Fine Arts.” The Evening Star. (Washington City) 22:3251 (Sat., Aug. 1, 1863): 2. [“From Gardner. Seventh street. (formerly of Brady’s,) the renowned photographer, we have  some remarkably effective photographic pictures of war scenes, taken in person by him on the battle field of Gettysburg, where, by the bye, he was taken prisoner at one time by the Confederates, while zealously engaged in the prosecution of his art. In the whole range of photographic achievement that has come under our notice, we have seen nothing superior to these vivid sunlight representations of war scenes by Gardner.”]

“Incidents of the War.” The Evening Star. (Washington City) 22:3302 (Mon., Sept. 28, 1863): 2. [“Gardiner, [sic] Seventh street, near the corner of D, Is constantly adding to his already very extensive and interesting collection of photographic “Incidents of the War.” His two last pictures if the series are the “Headquarters of General Meade, Culpepper – residence of W. D. Wallach, editor of the Washington Star,” and the village of Culpeper Court House; both admirable specimens of the photographer’s art, and true to the life, as the war has left them, as we cheerfully bear testimony.”]


Harper’s Weekly subsequently published images of troops in the field that it received from both Brady and Gardner and also from others. On July 9th, 1864 the magazine published a double-page spread of photographs of General Grant’s Union troops on campaign in Virginia. Twelve scenes of the sites of battles and views of dead soldiers were grouped around O’Sullivan’s now-famous view of the “Council of War at Massaponax Church.” Many of the photographs were taken by Timothy O’Sullivan, who had left Brady to work for Gardner, but, again true to the custom, these photographs were credited to Gardner.
In August the magazine announced that Brady had returned “…from the army in Virginia with a series of views of the campaign…” However, with the exception of a view of a military execution of a union soldier named William Johnson, (Not related!) all of the images from this trip which were published in the Weekly during the last half of 1864 were either single portraits or group portraits of general staff officers. The officers were taken at their campsites instead of in the studio, but otherwise the photos are little different in conception or execution from a traditional studio portrait. And Brady continued his practice of sneaking himself into the photos. When groups of officers were being photographed standing or sitting in a camp often Brady would stand just a little apart from the group but within the view of the lens, so that it seemed that he was part of the group. Since Brady was in the photographs the only way to interpret these scenes is that, at best, Brady was “directing” the actual photographer on which photos to take. It’s a little dangerous to make sweeping statements about such a large and diverse and still underknown body of work, but I will say that for me, at least from reading those photos that reached print, Gardner and his team were better at photographing the everyday events and activities of the war. Brady’s teams did well on their own, but when he went along with them to “manage” the views, those sessions were turned into publicity opportunities for Brady and “celebrity hunts” for the “leaders” of the “Battles and Leaders” part of the later collections. Of course the work of both is beyond value now, and should be treasured.


   
    

            
    

                                             
                                             
               

“Epitome of the Week. Art, Science and Literature.” Frank Leslie’s Illustrated Newspaper 17:420 (Oct. 17, 1863): 51. [Gardner, the well-known photographer of Washington, has published three remarkably fine photographic views, representing the New York Herald’s Camp Establishment in the Field. It gives a vivid idea of the enterprise of the American publishers.”]
1 b & w (“The Army of the Potomac.”) The Great Depot of Supplies on the Railroad.” ) on p. 789; 1 b & w (“The Army of the Potomac.” – The Bridge over Bull Run – Present Appearance. – (From a Photograph.”) on p 789 in: Harper’s Weekly: A Journal of Civilization 7: 363 (Dec. 12, 1863): 789.

1 b & w (“Work Shops Head-quarters Army of the Potomac.”) Harper’s Weekly: A Journal of Civilization 8: 385 (May 14, 1864): 317. [Fixing weapons, tents, in the field. “Our sketch is made from a photograph furnished us by our artist, A. R. Waud, at the Army head-quarters.” Waud was an illustrator; doubtful that he took the photograph himself. There are several other camp scenes throughout the 1864 volume that also seem to be derived from photos, but which are not credited.]

1 b & w (“President Lincoln and His Secretaries.”) in: “The Latest Portrait of the President.” Harper’s Weekly: A Journal of Civilization 8:389 (June 11, 1864): 370, 373. [This is a full-page image. Not credited, but from a photograph. See p. 421 for attribution. This is a portrait of Lincoln sitting in a chair, with his two secretaries Hay and Nicolay. Although presented as a group portrait, I suspect that this image was combined from three separate individual portraits. “Upon page 373 of this paper we present the latest portrait of the President of the United States. He is represented attended by his two secretaries, Mr. Nicolay seated by his side, and Mr. Hay standing by the table. in this earnest, care-worn face, saddened by a solemn sense of the great responsibility which in God’s Providence has devolved upon him, we see the man who said to his neighbors, as he left his home three years ago, that he was called to a graver task than any chief magistrate since Washington, and whose simple faith and devotion bade him ask them to pray for him. From that moment to this, through three years of tremendous war, beginning amidst clouds and darkness, and gradually emerging into a more cheerful light of hope and final success; through an infinite perplexity of events, which have sometimes elated the bitterest enemies of the national life, and sometimes disheartened its most sanguine friends, the faith of the President has never wavered, nor his hand faltered….”]

1 b & w (“The Late Rev. Gordon Winslow.”) “Photographed by Gardner, Washington, D. C.” Harper’s Weekly: A Journal Of Civilization 8:392 (July 2, 1864): 421. [“Rev. Gordon Winslow, D. D., whose portrait we give on page 421, and who fell overboard from a Sanitary Commission steamer on the Potomac, on the 7th of June, and was drowned, was born in Vermont in 1804, prepared for Yale College at Andover, Massachusetts, and graduated at that institution. Soon after his attention was drawn to the Episcopal Church, and he became rector of a church in Troy, New York, and subsequently in Annapolis…. the photograph from which our portrait is made was taken by Gardner, corner of Seventh and D streets, Washington, District of Columbia, to whom we were recently indebted for the fine picture of Mr. Lincoln and his Secretaries.” (This may be the first credited Gardner reference in this magazine.]

1 b & w (Execution of the Negro William Johnson, at Petersburg, Va.”) “Photographed by Brady.” Harper’s Weekly: A Journal of Civilization 8:393 (July 9, 1864): 445. [Hanging, witnesses by troops.]

1 b & w (“The War in Virginia – Lieutenant-General Grant in a Council of War at Massaponax Church – From a Photograph by Gardner.”) on p. 257 in: “General Grant in a Council of War at Massaponax Church.” Frank Leslie’s Illustrated Newspaper 18:459 (July 9, 1864): 257, 263. [“There have been few mere groupings in the illustrations of the present war. The public calls for action, and our battle scenes cannot be painted in the stereotyped fashion of European art, where a group of mounted officers, glass in hand, overlook, from a rising ground, the work of death below. Even Meissonier, free by his reputation to carve out a new path, durst not depart from the old idea in his Battle of Solferino. Our illustrated papers have opened a new path, and its influence is felt in Europe, It has been remarked, and justly, that the recent illustrations in the foreign papers of the Danish war resemble our American battles. The scenery is given truthfully, the moving masses of men, the steady progress of the shot and shell of the great guns, with the cloud of the volleys of small arms, the rising dust, all are now given. Formerly a few officers made a battle, now we see armies contending, and can recognise the spot. Yet, perhaps, we overdo this. The sketch which we give of Gen. Grant at Massaponax Church deserves to live in history. Spottsylvania had been left and the Mattapony crossed. At Massaponax Church Gen. Grant stopped with his staff and Gen. Meade did the same. Warren came up with his staff, and under the trees, on the church benches, a council of war was held. The fine spirited grouping of men, who 100 years hence will be the heroes of American enthusiasm, inspired the photographer, and his success in producing a fine picture cannot be denied. At the foot of the two trees sat Grant, and beside him the more towering form of Meade-Rawlins lies studying the map on the right, and Warren, who was the last comer, seems similarly engaged. On the bench to the left Burnside will easily be detected, and on the bench to the right we cannot guess far astray in placing Sheridan and Pleasanton. How many a deed of fame, how many a battlefield won with glory come up to the mind as we gaze on these men! Gettysburg, Vicksburg, Chattanooga, Newberne, South Mountain, Antietam, with the varied scenes of two months’ battle still going on, come to our lips and minds. In these careless hats, these scarce military dresses, devoid of all but the faintest show of rank, are the true heroes of a republic.”
[The FLIN, relying on their corps of artists, published far fewer field views taken from photographs than HW, but in this instance, they printed Grant’s council of war at Massaponax Church on the first page of this issue, i. e. , functioning as the front cover. The image was credited to Gardner, but actually taken by O’Sullivan. WSJ]

13 b & w (“General Grant’s Campaign in Virginia.”) “From Photographs by Gardner, Washington, District of Columbia.” Harper’s Weekly: A Journal of Civilization 8:393 (July 9, 1864): 440-441, 442. [Double-page spread. the central picture is of Grant’s council of war at Massaponax Church (by O’Sullivan), surrounded by twelve sketches of dead soldiers, equipment, sites, etc. These are captioned as follows: “Quarles Mill, N. Anna R.” “Rebel Redoubt on the North Anna.” “Constructing a Military Road.” “Burying the Dead.” “Jericho’s Mill and Pontoon Bridge, N. Anna R.” “Braddock’s Coach, Guinness Station, Va.” “Dead Rebel Soldier, Pine Forrest 19 May.” “Bethel Church.” “One of Ewell’s Soldiers.” “Beverly House.” “Confederate Soldier’s Laid out for Burial.” “Soldiers in Rifle Pits Near Chesterfield Bridge, N. A. River.” Includes statement about the photographs on p. 442. “Last week we presented before our readers a sketch of the pontoon bridge over which a portion of General Grant’s army effected a crossing just above Fort Powhatan. We add this week on page 436 another sketch illustrating the Passage of the Second Corps at Wilcox’s Landing, three miles below. the crossing at this point was effected by transports. the main interest of this sketch, however, centers in the group of general officers who are witnessing the operation from the shore. Among these General Grant’s presence is easily detected by the “inevitable cigar:” the General is complacently resting in his saddle, surrounded by his aids and members of his staff.…From these we turn to the series of pictures on pages 440 and 441, printed from photographs, and representing scenes of vivid interest connected with the progress of Grant’s army from Spottsylvania Court House to the North Anna. in our description of these we follow the order of time. the pictures of the Confederate Dead carry us back to May 19th, when Ewell made his desperate attack on our right, but was repulsed with the loss of nearly two thousand men. These dead soldiers were found after the battle near Mrs. Alsop’s, at Pine Forest, and were carefully buried by the First Massachusetts Heavy Artillery. Beverly House was the head-quarters of General Warren on May 19, and Bethel Church of General Burnside, May 21. If we turn now to the central picture of the series we find seated before us the officers of the army holding a Council of War at Massaponax Church, on the 21st of May, the army being now fairly on its way southeastwardly from its former position. General Grant is sitting on a bench at the right, with his back to the tree, smoking. Braddock’s Coach represents a relic of the past century found at Guines’s Station. the captured rifle-pits are those taken by Berry’s brigade in the fight near Chesterfield or Taylor’s Bridge, on the North Anna. This bridge and the Jericho are those over which our forces crossed the North Anna. Federal soldiers are sitting in the trenches. the Rebel Redoubt is a work captured by our forces in the same neighborhood. in addition to the above there are other pictures: one representing our engineers constructing a military road to Jericho Mills, on the North Anna; another giving a view of these mills as seen from the south side, with a canvas pontoon bridge thrown across the river; and a third giving a view of Quarles Mill. These pictures are all printed from photographs taken on the field by Gardner, of Washington, to whom our readers are already indebted to other similar favors. of course it is impossible for photography to lie, and we may therefore regard these portraitures as faithful to the minutest feature of the original scene. by the pictures here given of the Confederate dead we are brought face to face with scenes which are the daily incident of a soldier’s life. It is doubtless true of both armies that the continual recurrence of such scenes tends to harden the soldiers’ sensibilities; but this induration is in a great measure prevented by the ministration which is daily so tenderly given by these same soldiers to the dead and wounded of the enemy. We give on page 437 a View on the Pamunkey. This river was lately the base of supplies for Grant’s army, and was covered with a vast flotilla of transports.”]

1 b & w (“Lieutenant-General Grant at His Head-Quarters.”)-Photographed by Brady.” Harper’s Weekly: A Journal of Civilization 8:394 (July 16, 1864): 449. [“Portrait of Grant leaning against a tree, in front of army tents.] 

1 b & w (“General Meade and His Staff.”), 1 b & w (“General Burnside and His Staff.”) “From a Photograph by Brady. in “General Grant’s Campaign.” Harper’s Weekly: A Journal of Civilization 8:395 (July 23, 1864): 469. [Posed group portraits, taken in the field, in front of tents, etc. “Mr. Brady, of Washington, furnishes two photographs which enable us to present our readers with the illustrations on this page, representing Generals Meade and Burnside, with their Staffs. Several illustrations are given on pages 468, 472, and 473, which relate to Petersburg and its surroundings. the large double-page cut is a panoramic view of the country as well as of the military situation around Petersburg….”] 

“Brady’s Photographs from the Seat of War.” New York Times (Tues. July 26, 1864):4. [“The war which we are waging for our national existence is, in its attendant circumstances, as well as in its origin and its vastness, unlike any other known to history…. Not the least interesting of these contemporary memorials of our great struggle are the photographs “from the front,” which the eminent photographer, Mr. Brady, brings back from expeditions which carry him so far into the hurly-burly of the fight that they are only not military because he is not armed save with his camera. the fruits of his last visit to the seat of war in Virginia, made immediately after taking his remarkable views of the Metropolitan Fair which now adorn his gallery, are perhaps the most interesting of all that we owe to his enterprise, his taste and skill, and which he has now on exhibition and for sale. …”The Great Pontoon Bridge,” by which the Army of the Potomac passes the James River–…a view of “Belle Plain,”… “Burial Place at Fredericksburg”…”A Group of Wounded Men,”… “Port Royal and City Point,”… a glimpse of “Burnside’s Corps” in motion,; “Rebel Prisoners at White House”…”Battle-field at Fredericksburg,” “Cooper’s First Pennsylvania Battery,” and “General Potter and his Staff,” both of which were taken while under fire;… To those of the kind noticed above Mr. Brady has added groups of Gens. Grant, Meade, Hancock, and, in fact, all the principal corps and division commanders of note… thus enabling us who ‘live at home at ease’ to see just how the men live and look who are fighting the battles of the Republic.”]

[Advertisement.] “Agents Wanted…” Harper’s Weekly: A Journal of Civilization 8:396 (July 30, 1864): 495. [“….to Sell Accurate Imperial Steel Portraits of President Abraham Lincoln, Lieut.-General Ulysses S. Grant, Major-General Winfield S. Hancock. Engraved by Ritchie from Brady’s Photographs. Price $1 00 each. Derby & Miller, Publishers, 5 Spruce St., N. Y.”]

“Photographs of the Virginia Campaign.” Harper’s Weekly: A Journal of Civilization 8:397 (Aug. 6, 1864): 499. [“Mr. Brady, the photographer, has lately returned from the army in Virginia with a series of views of the campaign, which are now on exhibition at his galleries 785 Broadway. The series includes the most interesting scenes of operations at Cold Harbor, the Wilderness, Petersburg, etc., as well as portraits of all the most noted generals. the actuality of these views, the distinct detail, and the inflexible veracity, make them invaluable to every student of the campaign; while all who follow the army with their private hearts as well as their public hopes will see with curious satisfaction the roads, the fields, the woods, the fences, the bridges, the camps, and the streams, which are the familiar daily objects to the eyes of their loved soldier boys.”] 

1 b & w (“Army of the Potomac -General Hancock and Staff.”), 1 b & w (“Army of the Potomac -General Warren and Staff.”) –Photographed by Brady.” Harper’s Weekly: A Journal of Civilization 8:398 (Aug. 13, 1864): 517. [Group portraits, taken in the field.]

1 b & w (“Major-General Wright and Staff.”) “Photographed by Brady.” Harper’s Weekly: A Journal of Civilization 8:402 (Sept. 10, 1864): 589. [Group portrait, taken in the field.]

1 b & w (“Private Miles O’Reilly.”) “Photographed by Brady.” Harper’s Weekly: A Journal of Civilization 8:404 (Sept. 24, 1864): 621-622. [“The accompanying portrait is a very exact reproduction of a daguerreotype taken by Mr. Brady of this city, who assures us that its original was no other than Private Miles O’Reilly, formerly of the 47th Regiment New York Volunteer Infantry, but now serving as a re-enlisted veteran in some regiment belonging to the Irish brigade. Mr. Brady says that, in spite of every remonstrance he could offer, Private Miles insisted on `bein’ sot for his picture” in a coat borrowed for the occasion from some friendly field officer of his regiment —the reason he assigned for not appearing in his proper uniform being, that he wanted the picture for his sweet-heart, and therefore it must be “lookin’ the purtiest he knew how.”…]

1 b & w (“Major-General Philip H. Sheridan.”) –Photographed by Brady.” Harper’s Weekly: A Journal of Civilization 8:406 (Oct. 8, 1864): 641. [Portrait of Sheridan sitting in a camp chair, in his tent.]

1 b & w (“Major-General David B. Birney.”) “Photographed By Brady.” Harper’s Weekly: A Journal of Civilization 8:407 (Oct. 15, 1864):661. [“Generals Birney and Ord, whose portraits are above given, command respectively the Tenth and Eighteenth Corps of Butler’s army. These officers had charge of the late operations north of the James River, in which Major-General Ord was wounded. General David B. Birney was born in Alabama. He was the son of a rich planter, James B. Birney, who, although a Southerner by birth and a slaveholder, became a radical abolitionist. He carried his political creed into practice by coming to Ohio and emancipating his slaves….”]

1 b & w (“Major General William Tecumseh Sherman.”) “Photographed by Brady.” Harper’s Weekly: A Journal of Civilization 8:416 (Dec. 17, 1864): 808-809. [Double-page spread portrait of Sherman on horseback, in the open. Unlike most earlier representations of soldiers on horses, this is from an actual photograph. Designed to be read as a vertical, this is an exceptional woodcut image.] 

1 b & w (“Rear Admiral David D. Porter.”) “Photographed by A. Gardner, Washington, D. C.” Harper’s Weekly: A Journal of Civilization 9:421 (Jan. 21, 1865): 37. [Portrait of Porter on board his flagship, surrounded by his officers.]

1 b & w (“Ruins of the Norfolk Navy-Yard.” Photographed by A. Gardner, Washington, D. C.” Harper’s Weekly: A Journal of Civilization 9:432 (Apr. 8, 1865): 213-214. [“The war has left nowhere more permanent traces of its destructive work than at the Norfolk Navy-yard, which was one of the first objects against which the Confederate revolutionists lifted treasonable hands. We reproduce from a photograph an illustration truthfully showing the present aspect of the place. in 1861 the Norfolk Navy-yard was filled with the maritime and military wealth of the nation, and within its limits were the most extensive and complete array of shops, foundries, ship-yards, mills, and docks in the country….”]

“Local News. Richmond Taken by Brady.” The Evening Star (Washington, D. C.) 25:3780 (Wed., Apr. 12, 1865): 2. [“Brady, the enterprising photographer, is in Richmond with a full corps of artists, taking views of that city and all the objects of interest in and about it. Among a number of photographs received here to-day from Mr. Brady, and to be exhibited this evening are pictures of Lee and Jackson, taken from negatives found in Richmond, and copies of all the prominent rebel generals, together with a large panoramic picture of the whole city, showing the burned part, Belle Isle, the prisons and the pontoon bridges across the James.”]

Hamilton, J. R. “Condition of the Public Mind in Richmond–…Gen. R. E. Lee.” From Our Own Correspondent. New York Times (New York, NY) (Sun. Apr. 30, 1865): 2. [“Richmond, Va., Sunday, April 23, 1865. …Gen. R. E. Lee still remains in this city, and keeps himself so secluded that nobody would suppose, unless so informed, that he is still among us. Few, I believe, have ventured to intrude upon his privacy, beyond the circle of his own friends; but one Northern gentleman was necessarily bound to call upon him in the ordinary pursuit of his business. I yesterday met Mr. Brady, the celebrated photographer of New York, who had just been favored with an interview by the General, and had taken splendid cabinet portraits of him and all his staff. It will doubtless add an interesting item to his already splendid gallery of notabilities. Mr. Brady says the General received him with the utmost affability and cordiality of manner.”]

Crounse, L. L. “The Surrender. Full Details of the Great Event from an Eye-Witness. The Interview Between Grant and Lee….” From Our Own Correspondent. New York Times (Fri. Apr. 14, 1865): 1. [“On Board Steamer “City Point, James River, Va., Wednesday, April 12.” “Lieut.-Gen. Grant and staff arrived at City Point this morning at half past four o’clock, having left Appomattox Court house—the scene of the surrender of Gen. Lee and his army—on Tuesday morning at daylight… The congratulations at headquarters this morning was very hearty. As the various gentlemen of the staff appeared at their old homes, and as commemorative of their triumphant return, Brady, the eminent photographer of New York, preserved the group, Generals and all, for the admiration of all their friends in this and future generations.”]

Crafts, F. A. “Letter from City Point, Va.” Zion’s Herald and Wesleyan Journal 36:17 (Apr. 26, 1865): 66. [(Describes visit to Union army’s encampment, talking with General Grant, etc.) Mr. Editor:–This is a day never to be forgotten in the history of our land. While the whole nation blazes with bonfires and trembles with the shouts of victory, it has been my privilege to be at the very point of greatest interest, to stand on the ground shaken by the guns of the last decisive conflict, near the headquarters of the little hero whose hand, guided by Omnipotence) has laid the temple of Moloch in the dust…. “…Gens. Rollins, (chief of staff), Bernard, Ingalls, Parker, and others were present, and the whole group were photographed by the celebrated Brady, of Washington. Don’t look for your correspondent in the picture; I was not included…”]


There were other photographers active in the field as well, and several of their images appeared in the magazine. In December 1863 the Weekly published two illustrations of destroyed railroad bridges and military railroad facilities that were not credited to any individual, but which probably were the work of Captain Andrew J. Russell or a member of his crew, documenting the work of the Corps of Army Engineers under General Meigs. Several other uncredited scenes of the Army of the Potomac in camp were published throughout 1864. Burnite & Weldon’s views of the ruins of Chambersburg were published on August 20th, 1864 as well. In January, 1865 the Weekly published a striking view of Negro troops excavating the Dutch Gap Canal, supplied to the magazine and possibly taken by Captain S. L. Langdon of the 1st United States Artillery. This was followed with scenes from George N. Barnard’s views along the course of General Sherman’s march through Georgia to the sea. Views of ruined cities in the South, taken by Gardner and others, were also published throughout the final months of the war.
And Frank Leslie’s Illustrated Weekly, which also had raised a corps of trained artists to document the war but which had lagged significantly in incorporating images derived from photographs, began to publish Aleander Gardner’s photographs during this time.

           

           
   


1 b & w (“The Ruins of Chambersburg – Bank and Franklin Hotel – Photographed by Burnite & Weldon, Harrisburg, Pa.”) on p. 541; (The Ruins of Chambersburg – View of Main Street. – Photographed by Burnite & Weldon, Harrisburg, Pa.”)  on p. 541; 1 b & w (“The Ruins of Chambersburg –The Town Hall– Photographed by Burnite & Weldon, Harrisburg, Pa.”) on p. 541 in: “The Ruins of Chambersburg.” Harper’s Weekly: A Journal of Civilization 8:399 (Aug. 20, 1864): 541, 542.

1 illus. (“Exterior View of the Prison-Pen at Millen, Georgia.”), 1 illus. (“Interior View of the Prison-Pen at Millen, Georgia.” Harper’s Weekly: A Journal of Civilization 9:419 (Jan. 7, 1865): 9. [“…by George W. [sic N.] Barnard, to whom we are indebted for the graphic sketches of the Prison-Pen at Millen, published on p. 13. [sic p. 9.]” (From drawings by Barnard. I expect the army was moving too fast for Barnard to photograph these sites.)]

1 b & w (“Major-General Sherman and Staff Before Savannah.”) “Photographed by George W. [sic N.] Barnard.” Harper’s Weekly: A Journal of Civilization 9:419 (Jan. 7, 1865): 13. [“We give on the next page two illustrations of General Sherman’s Army in front of Savannah. One of these represents General Sherman and his Staff, and is reproduced from a photograph by Mr. George W. Barnard, to whom we are indebted for the graphic sketches of the Prison-pen at Millen, published on page 13 [sic p. 9]….”]

1 b & w (“View of General Butler’s Dutch Gap Canal before the Explosion of the Bulk-Head.”) Harper’s Weekly: A Journal of Civilization 9:421 (Jan. 21, 1865): 33, 38. [Negro troops digging. “We have previously, in No. 410, Volume VIII., given an illustration of General Butler’s Canal at Dutch Gap, while the work was still in operation. the more picturesque and interesting sketch, which we give on the first Page, we reproduce from a photographic view, for which we are indebted to Captain S. L. Langdon, First United States Artillery. This sketch gives a view of the work in its last stages, while preparations were being made to explode the bulk-head. Dutch Gap Canal was originally suggested by General Butler….”]

1 b & w (“Brevet Major-General Hazen.” Photographed by George N. Barnard.” Harper’s Weekly: A Journal of Civilization 9:424 (Feb. 11, 1865): 93.

1 b & w (“The Spot Where General James B. McPherson Fell, Near Decatur, Georgia, July 22, 1864.”) “Photographed by George N. Barnard.” Harper’s Weekly: A Journal of Civilization 9:425 (Feb. 18, 1865): 101. [“The adjoining cut, from an excellent photograph by George N. Barnard, shows the scene and surroundings of General M`Pherson’s death. a simple inscription upon a tree tells the story so far as he was concerned, while the details of the picture—the shot and shell, the broken artillery-wagon, with the skeletons of the horses lying where they fell, the soldier’s dilapidated hat and shoe—indicate the scene of carnage just as it was left after the battle had swayed from this to some other portion of the field….”]

1 b & w (“Colonel O. M. Poe.”) “Photographed by George N. Barnard.” Harper’s Weekly: A Journal of Civilization 9:432 (Apr. 8, 1865): 212.

1 b & w (“Brigadier-General H. A. Barnum.”) “Photographed by George N. Barnard.” Harper’s Weekly: A Journal of Civilization 9:432 (Apr. 8): 212.

1 b & w (“Ruins in the Heart of Charleston View of King Street.”) “Photographed by George N. Barnard.” Harper’s Weekly: A Journal of Civilization 9:445 (July 8, 1865): 428. [(Very graphic, powerful view of ruins, presented full page.) “Our readers doubtless remember the ruinous fire which devastated Charleston in the month of December, 1861. The fire broke out in a sash factory at the foot of Hazel Street, and, under the impulse given it by a stiff breeze, did not cease until a considerable portion of the city from East Bay to King Street was destroyed. Among the prominent buildings burned were the South Carolina Institute, the Circular Church, the Catholic Cathedral, St. Andrew’s Hall, and the Theatre. the illustration which we engrave on page 428, taken from a photograph by Barnard, places the reader upon King Street, and gives him a view of the desolating effect of the conflagration. Standing here, he sees opposite him the Circular Church on Meeting Street. It is surrounded by a scaffold. It was the design of the Charlestonians to repair the injury done to the church. the attempt was made, but subsequently Gillmore’s shells discouraged the citizens, and the work was given up….”]

1 b & w (“Lieutenant-General Grant and Staff.”) Harper’s Weekly: A Journal of Civilization 9:446 (July 15, 1865): 436. [Group portrait of the following officers: Leet. Breneman. Morgan. Porter. Ingalls. Babcock. Williams. Grant. Rawlins. Bowers. Webster. Comstock. Parker. Badeau. (This may be composited from individual portraits.)]


As the war progressed, photography came to be used as a powerful means of persuasion and the Weekly published several examples of this use of the medium. In 1863, a Negro slave named Gordon fled his master in Mississippi to join the Union army in Louisiana. The New Orleans photographers Macpherson & Oliver subsequently issued several cartes-de-visite depicting Gordon in rags, then clothed in the army uniform. They also issued a portrait displaying Gordon’s back, savagely scarred from repeated whippings. The Weekly reprinted these views in its July 4, 1863 issue. In January 1864 the magazine published another group portrait of “Emancipated Slaves, White and Colored,” in New Orleans, with information about purchasing copies from the National Freedman’s Relief Association. In July another before and after pair of a ragged slave converted into a soldier, taken by T. B. Bishop appeared in the magazine.
The persuasiveness of photography was also called into use when the medium was used as a witness. In June 1864 the magazine published portraits of Union soldiers at the Annapolis Hospital, starved and sickened in Confederate prison camps. In January 1865 George N. Barnard’s views of the prison-pen at Millen, Georgia were printed. These were followed by portraits of ex-prisoners from Andersonville, dying from exposure, malnutrition and illness, published in June 1865. “These illustrations are the exact facsimiles of photographs…”]

                                        
1 b & w (“The Escaped Slave.”), 1 b & w (“The Escaped Slave in the Union Army.”) “Photographed by T. B. Bishop.” Harper’s Weekly: A Journal of Civilization 8:392 (July 2, 1864): 422, 428. [Negro field hand, dressed in ragged clothing, then dressed in an army uniform. Propaganda. “Surely not the least interesting of the varied war-pictures we present to our readers this week are the two sketches on page 428—one, the picture of a negro slave, who fled from Montgomery, Alabama, to Chattanooga, for the express purpose of inlisting in the army of the Union…”]

2 b & w (“Rebel Cruelty Our Starved Soldiers.”) “From Photographs Taken at United States General Hospital, Annapolis, Maryland.” Harper’s Weekly: A Journal of Civilization 8:390 (June 18, 1864): 385-386. [“Evidences of the inhuman treatment of our prisoners by the Confederate authorities at Richmond continue to multiply. We give on the preceding page two illustrations which afford indubitable proof on this point. These illustrations are made from photographs taken in the United States General Hospital, Division No. 1, Annapolis, Maryland, under charge of Dr. Z. Vanderkieft. They represent two of the unfortunate prisoners as they appeared upon their return from the Richmond prisons. Dr. Ellerslie Wallace, in sending the photographs, writes as follows: These two pictures are what may be called good specimens of the bad cases which are brought to the hospital from the prisons and Belle Isle. They are from the worst of the cases, and these worst cases form a numerous body. Both are dead….”]


During the war the importance of the Harper’s Weekly as a vehicle for news and as a conveyer of opinion and national values to the body politic increased significantly, and the editorial usage of illustration –and photography– expanded dramatically to help meet that need. By the end of the war the magazine was as close to its role as an authoritative voice of the American people as it would hold during its entire fifty-nine year career.
Alexander Gardner (and the group of photographers working for him) had clearly come to the fore by the last two years of the war. His obvious talents had won him the confidence of government officials and a strong relationship of mutual trust with the editors of Harper’s Weekly. In 1865 Gardner furnished nine portraits of military and civil leaders to the Weekly, by far the largest number from any photographer other than Brady –who continued to dominate in that area with twenty-five. In April Gardner also published a view of the ruins of the Norfolk Navy Yard. But it was in the photographs of live events that Gardner excelled and where he outstripped everyone else. He illustrated the article on President Lincoln’s second inauguration, published in the March 18th issue. There are only two images in this brief article, but they demonstrate an important conceptual step that extended the range of expressive possibilities of reportage photography. The first image is a large general view of the crowd of onlookers witnessing the ceremonial swearing-in of the President in front of the Capitol building. Although technically difficult to achieve, this image isn’t, in itself, unusual. It is printed large across a double-page spread of the magazine, providing a sense of the scale and grandeur of this important ceremony — a ceremony which thousands of men during the past four years had given their lives to guarantee would take place. The other image is unusual. It is a portrait of a minister reading the oath of office to President Lincoln, who has his hand on the Bible. Several important issues are buried in this apparently straight-forward scene. In the first place, the participants in the scene are actually performing an act and not just facing the camera, as are the individuals in almost all previous ceremonial portraits. And the camera was so placed that it functions to separate these two men from their crowded surroundings while simultaneously incorporating the viewer into that same social space being shared by them. The viewer shares with Lincoln the intimacy of the special moment while surrounded by the crowded confusion of the event. The viewer feels the sanctity –and therefore the validity– of the oath and of the Office that the oath represents, as well as the human scale –and therefore the humanity– of the man taking the oath. The conjunction of the two images in this article, each bearing its freight of emotional overtones, is the first occasion in the 19th century periodical press that I am aware of where the connotative possibilities of several images were used together to create an expressive dimension larger than the message of its subject content alone. Even if this was done at an unconscious level, it is a definitive leap forward in the creative use of photography in the printed media. And subsequent articles published during the rest of the year bear out that this unusually creative conjunction of Gardner’s photographic skills and historical conceptualization, in combination with Harper’s editorial perception, was consciously used throughout the duration of a very critical episode in the history of the United States.

                                               

        
1 b & w (“Lincoln Taking the Oath at His Second Inauguration, March 4, 1865″) on p. 161; 1 b & w (“President Lincoln’s Reinauguration at the Capitol, March 4, 1865.” “Photographed by Gardner, Washington.”) on pp. 168-169 in: Harper’s Weekly: A Journal of Civilization 9:429 (Mar. 18, 1865): 161, 164, 168-169. [The first image is a portrait group, but seemingly taken at the event. the second image is a double-page spread of the crowd in front of the Capitol building during the ceremony.]

President Lincoln was assassinated in April 1865, almost four years to the day from when he had called for volunteers to defend the Union and four days after General Lee surrendered the Army of Northern Virginia to General Grant. This is quickly followed by a complex period of volatile events and highly-charged public emotions.

                        

                      

      

“The Day of Mourning. Appearance of New York City Yesterday. The Metropolis One Scene of Sorrow. Decorations, Mottoes, Sermons, Services, &c.” New York Times (New York, NY) (Fri. Apr. 21, 1865): 1. [“It is natural that public buildings, hotels, theatres, newspaper offices, saloons, banks and insurance offices should be garbed in mourning; it is eminently fitting that rich men, merchants, bankers, politicians and prominent citizen, should, with extravagant displays adorn their places of business… …We yesterday took a grand round through streets rarely visited by the cleaners…Tenement house, swarming with families,… with dirty entrances, rickety stairways, broken sashes… grim with the dust of years and rank with the smells combined of twenty kitchens and as many crowded bed-rooms… were tricked out with tiny flags about whose frail supports were twined crape or pieces of muslin… rough lithographs of Mr. Lincoln, nailed to the wall, were bound with black, in a thousand varieties… Passing along Broadway, we notice a universal compliance… Every one has his flag–every flag its appropriate drapery…. Large stores heavily draped and festooned with black and white, while the smaller displayed little flags, pictures of Lincoln, and mottoes expressive of respect and appreciation… Tenth street, beginning with Stewart’s magnificent house and Brady’s artistically managed display, is a fit leader for the other cross streets. All of our public buildings seem to have been attended to persons of rare good taste and discretion. The Custom House, for instance, is simply magnificent in its internal hangings and drapings…(follows a detailed description of the decorations) “…Immediately beneath this is a large size photograph of Collector Draper, encircled by the national colors covered by black… Upon a side wall is a large picture of our late President, with flags crossed above, the whole heavily draped…”The armory of the Seventh Regiment, over Tompkin’s market,…draperies of black have been hung in graceful curves, and the rolls and the names and pictures of deceased members of companies are draped heavily in crape with white satin bows… From this hasty summary it will be seen that the entire city is illustrious in its manifestation of sorrow at the great bereavement of our nation…”]

“The Decorations.” New York Times (New York, NY) (Wed. Apr. 26, 1865): 8. [“Along the route of the procession the decorations had generally been readjusted and improved… among these one of the most tasteful was that of Messrs. Brady’s photographic gallery, in the centre of the building was a large portrait of President Lincoln, the frame tastefully draped with black. Above the picture was a laurel wreath in silver and a large American shield, covered with crape. Lying diagonally across the shield were two large flags, furled, and entwined with black crape, and above these another laurel wreath. These decorations covered the whole façade, and attracted much attention. The Messrs. Brady, we are informed, have in preparation, imperial photographs of the funeral car and of the procession, taken from different points along the route.”]

[Advertisement.] “New Publications.” New York Times (New York, NY) (Wed. May 3, 1865): 5. [“Frank Leslie’s Illustrated Newspaper No. 502. Ready on Tuesday Morning for May 13, Contains Portrait of Sergeant Boston Corbett, the man who shot Booth. From a Photograph by Brady. The killing of Booth, the Assassin. The dying murderer drawn from the barn where he had taken refuge,… from a sketch by an eye-witness. The President’s Funeral Car, on a steam lighter, approaching New York from Jersey City… View of the Funeral Car…Scenes of the Famous Negotiation between Gens. Sherman and Johnston… Rocking Chair in which President Lincoln was sitting when assassinated… Frank Leslie, No. 537 Pearl-st., New York.”]

1 b & w (“President Lincoln at Home.”) “Photographed by Brady.” Harper’s Weekly: A Journal of Civilization 9:436 (May 6, 1865): 273. [Memorial tribute published a week after Lincoln’s death. Photo is of Lincoln and his son Todd looking at a family album. the photo was taken much earlier.] 

1 b & w (“President Lincoln’s Funeral Procession in New York City.”) “Photographed by Brady.” Harper’s Weekly: A Journal of Civilization 9:437 (May 13, 1865): 296-297. [Double-page spread of the funeral procession, considerably altered by the engraver.] 

[Advertisement.] “Hunter & Co.” Harper’s Weekly: A Journal of Civilization 9:437 (May 13, 1865): 302. [“The best Photograph of the late President Lincoln, also Mrs. Lincoln, J. Wilkes Booth, and 300 others, only 15 cts. each, postpaid, by Hunter & Co., Hinsdale, N. H.”]

[Advertisement.] “Just Published:” Harper’s Weekly: A Journal of Civilization 9:437 (May 13, 1865): 304. [“President Lincoln Reading the Bible to His Son Tad. President Lincoln at Home. Photographs of the admirable portrait of President Lincoln at Home (reproduced in Harper’s Weekly of May 6) will be furnished as follows: Carte de Visites, by mail, postage paid, for Twenty-five Cents. Imperial Photograph, by express, freight paid, Two Dollars and a Half. Also a fine Photograph, from life, of Boston Corbett, the Avenger of the President. Price 25 cts. Sent by mail. W. I. Pooley, 331 Pearl Street, Franklin Square, New York—Harper’s Building.”]


The June 10th issue was largely given over to portraying the Grand Review of the victorious Union armies at Washington, D. C. Both Brady and Gardner document this historic moment. These views of thousands of battle-hardened veterans marching through the city in disciplined rows stretching as far as the eye could see, both commemorated the end of the war and provided a salutary reminder to any restless souls that might be considering any new rebellions.


                  

  

  

                                               

“The Grand Review. Great Rush of Visitors to See the Boys in Blue…” New York Times (Tues. May 23, 1865): 1. [“Washington, Monday, May 22. The military display which begins to-morrow is the great talk of the town to-night….” (Detailed descriptions of the forthcoming parade, etc.) “The column will begin to move promptly at nine o’clock, A. M.; and to crown all, Brady, the photographer of New York, has his arrangements all complete for copying the pageant and handing it down to posterity, in the highest style of art.”]

2 b & w (“Grand Review at Washington, May 24 President Johnson, Lieut-Gen. Grant and Others Inspecting Sherman’s Army from the Reviewing Stand on Pennsylvania Avenue from a Photograph by Brady.”) on p. 177; 1 b & w (“Home from the War—Grand Review of the Returned Armies of the United States. At Washington May 23.—View from the Treasure Building, Showing Troops Marching up Pennsylvania Avenue on Their Way to the Grand Reviewing Stand—From Photographs by Brady and Sketches by Our Specialist, W. T. Grant”) on pp. 184-185 in: Frank Leslie’s Illustrated Newspaper 20:506 (June 10, 1865): 177, 184-185. [(Troops on horseback parading before a reviewing stand. Second view is a long view of troops parading down Pennsylvania Ave. with the Capitol building in the back If these images were taken from a photo at all, then they are heavily overworked by the engraver.)]

1 b & w (“The Grand Review at Washington -General Meade and Staff Passing the Principal Stand, May 23, 1865.,”), 1 b & w (“”Public School Children Greeting the Soldiers From the Steps of the Capitol,”), 1 b & w (“Sheridan’s Cavalry Passing Capitol Hill Toward Pennsylvania Avenue, May 23, 1865,” “Sheridan’s Cavalry Passing Through Pennsylvania Avenue, May 23, 1865”), 1 b & w (“General Sherman’s Veteran’s Veterans Marching Through Pennsylvania Avenue, May 24, 1865.”), 1 b & w (“Sheridan’s Veterans Crossing the Long Bridge.”) “Photographed by Gardner, Washington, D. C.” Harper’s Weekly: A Journal of Civilization 9:441 (June 10, 1865): 353, 356, 357, 364, 365.

1 b & w (“Grand Review of the Army of the Potomac Before President Johnson at Washington.”) on p. 576 in: “Review of the Federal Armies at Washington.” Illustrated London News 46:1320 (Sat., June 17, 1865): 576, 596. […We are indebted to Messrs. Brady & Co, of Washington, for our Illustration of the first days martial display, in Pennsylvania Avenue near the White House, with the pavilion, or grand stand, where the President and his Cabinet Ministers, accompanied by some members of the Senate, the Judges, the chief Government officials, and other persons had taken their seats to behold the troops marching past. They had a very imposing appearance, all arms of the service being represented in full force. The occasional introduction of a body of Zouaves served to relieve the sameness. The dark and light blue uniforms gave fine effect to the spectacle, looking up the broad avenue. There was a continuous moving line, as far as the eye could reach, of national, State, division, brigade, regiment, and other flags. Some of them were new, their stars of gold leaf glittering in the sun, and contrasted strongly with the flags tattered in battle or worn to mere shreds. The troops were well clad, and their fine marching elicited praise from every spectator. As the different corps and divisions passed before the President and General Grant, their respective commanders left the column and took seats on the platform. The troops occupied six hours in review, from nine o’clock in the morning until three in the afternoon.”]


Brady’s publicity apparatus was still working and his photos are being discussed far more frequently in the New York newspapers than those of Gardner. Several of Brady’s photographs of these events were even published in the Illustrated London News. But it is Gardner who obtains sole access from the federal government to the individuals and events that take place during the next critical period. During the confusion which followed the assassination and the subsequent chase, capture, and trial of the conspirators amid the conclusion and uneasy aftermath of the war and the still uncertain peace, it was vitally necessary that a totally convincing and coherent view of the continued functioning and ability of the national government be presented to the populace of the shakily reunited country. The Harper’s Weekly editors published images that essentially presented the strength and power of the Union and its leadership, or the devastation and destruction the war had brought to the South, or, a bit later, the various memorials honoring the victors.
The June 17th issue contains Gardner’s portraits of Secretary Seward, General Sherman, and General Sheridan and his staff, as well as a panoramic view of Richmond, Virginia in ruins, a group portrait of the army officers responsible for capturing the Confederate President Jefferson Davis, and a view of the woman’s dress that Davis used for a disguise in his embarrassing attempt to escape capture by Federal troops.

                                     

                                      
      

On July 1st Harper’s Weekly published four views of the Bull Run monuments, followed on the 22nd by an article on the dedication of the Gettysburg Monument, which was illustrated with a view of the dedication ceremonies, a portrait of the speaker, Major-General Howard –who had lost an arm during that battle, and a scene of the Union dead on the battlefield, which had been taken two years earlier. This conjoining of present and past images is again a most unusual tactic for the time, and one that, by layering the constantly frozen “present” of a photograph of the recent past upon the real-time “present” of the ceremony, adds a powerful emotional context to the presentation of the ceremonial event.

                                      
1 b & w (“Monument Erected on the Field on the First Battle of Bull Run.” “Photographed by Gardner, and Published by Philip & Solomons, Washington, D. C.,); 1 illus. (“Consecration of the Bull Run Monuments—Reading the Service, June 11, 1865.”) on p. 401; 1 b & w (“The Monument Erected at Groveton, On the Field of the Second Battle of Bull Run.”).—Photographed by Gardner., 1 b & w (“The 16th New York Artillery Firing a Salute On the Spot Where Rickett’s Battery Was Captured by the Enemy, July 21, 1861.”)—Phot. by Gardner., on p. 404 in: “The Bull Run Monuments.” Harper’s Weekly: A Journal of Civilization 9:444 (July 1, 1865): 401, 402, 404. [“The battle of Bull Run was the first great battle of the war. It was proper that upon the field where it was fought should be erected the first monuments. The movement to erect such monuments on this field was quite impromptu. The idea was conceived by Lieutenant M`Callum, of the Sixteenth Massachusetts Light Battery, and under his superintendence the structures were erected in four days, being completed June 10. the next day, the 11th, was chosen for the observance of appropriate dedicatory ceremonies…. The illustrations which we give on our first page and on page 404 are from photographs taken on the spot by Gardner, of Washington, and form a part of his interesting series of photographs relating to the war. The monument illustrated on our first page is that erected on the field of the first battle of Bull Run, fought July 21, 1861. the location of the monument is on a commanding crest, about three hundred yards southeast of the Henry House, and on the identical spot where Heintzelman’s Division made their hardest fight, and from which they were finally driven back, by the arrival of Kirby Smith’s reinforcements, after having flanked and driven the enemy from Sudley Church, on Bull Run, where Heintzelman and Hunter crossed their divisions. On page 404 we give an illustration of the Sixteenth New York Artillery firing a salute on the spot where Rickett’s Battery was captured by the rebels in the first Bull Run battle. The monument erected at Groveton commemorates the Second Battle of Bull Run, fought August 28, 29, and 30, 1862. An illustration of this is given on page 404.”]

                           



1 b & w (“The Harvest of Death—Gettysburg, July 4, 1863.” “Photographed by A. Gardner, Washington.”); 1 b & w (“Major-General Oliver O. Howard.” “Photographed by Gardner, Washington.); 1 b & w (“Laying the Corner-Stone of the Soldiers’ Monument at Gettysburg, July 4, 1865.” “Photographed by Gardner, and Published by Philp & Solomons, Washington); in: “The Gettysburg Monument.” Harper’s Weekly: A Journal of Civilization 9:447 (July 22, 1865): 452-454. [“In our last Number we gave an illustration of the Soldiers’ National Cemetery at Gettysburg, and printed Colonel Halpine’s eloquent poem. This week we give further illustrations of the Battle and of the late Celebration. the battle of Gettysburg, fought on the 1st, 2d, and 3d of July, 1863, was a critical battle, and was the first very decisive contest of the war. the victory gained by General Meade stood not alone, but was paralleled by a simultaneous success at Vicksburg—just as important and just as decisive….” (Includes a view of the dedication of the Gettysburg monument, a portrait of Major-General Oliver Howard, and a scene of dead soldiers taken two years earlier at the Gettysburg battlefield.)]


The editors of Harper’s Weekly rose to the challenge of providing a detailed and persuasive record of the continued functioning of the government during the crisis, and they called heavily on Gardner’s talents to provide many of the materials for this task. An extraordinarily high percentage of the illustrations of the events of the months following Lincoln’s death were drawn from photographs rather than from artist’s sketches –and further, most of these photographs were provided to the magazine by Gardner. This may be because Gardner’s skills were developed and available, or perhaps in response to the acknowledged veracity and authority –and therefore the persuasiveness– of the photographic image, or perhaps for other, still unknown, reasons. In any case, it’s known that Stanton, the Secretary of War, was aware of the emotive power of photography as he absolutely refused permission to photograph Lincoln’s corpse, and he attempted to confiscate and destroy all photographs of the death-room. It’s also obvious that Gardner must have received official assistance or at least official sanction in order to have access to the subjects that he photographed during this critical time. Brady’s photograph of Sergent Boston Corbett is published in the May 13^th issue, but Gardner is the only photographer to gain access to the captured prisoners and his portrait of the assassin Lewis Paine appears in the May 27th issue. On May 13th Harper’s Weekly published Gardner’s portrait of the new President Andrew Johnson. Also a group portrait by Gardner of three military officers grouped around a map with the title “Planning the Capture of Booth and Harold.” Instead of the common practice of showing three studio portraits with captions, the officers are depicted intently at work. It is tiny, almost subliminal shift in the manner of depicting the events portrayed; but it conveys a crucial sense of purposeful activity and measured response to the challenges facing the authorities

                          

                         



Gardner also furnished seven portraits of the Lincoln assassination conspirators and a group portrait of the Military Commission conducting their trial for the issue of July 1st. Three additional portraits of the conspirators and three sequential views of their hanging were published on the 22nd. Another view of the ruins of Richmond was published on August 5th and a view of the Negro freedman’s village of Hampton, Virginia on September 30th. Gardner’s views of the hanging of Captain Henry Wirz, the commandant of the Andersonville Prison were published in November.

                         

“News from Washington.” New York Times (New York, NY) (Thur. May 4, 1865): 4. [“The members of the Levy Court, of Washington County, also had a short interview with the President on his return from Brady’s photographic gallery, where some fifteen negatives of Mr. Johnson were taken.”] 

1 b & w (“Lieut.-Gen. Ulysses S. Grant.”) in: “General Grant.” Illustrated London News 46:1311 (Sat., Apr. 23, 1865): 365. [“From a Photograph by Mr. Brady, of the National Portrait Gallery, New York.”]

1 b & w (“Andrew Johnson.”) “Photographed by Gardner, and published by Philip & Solomons, Washington, D. C.” Harper’s Weekly: A Journal of Civilization 9:437 (May 13, 1865): 289.

1 b & w (“Lieutenant Baker. Colonel Baker. Colonel Conger. Planning the Capture of Booth and Harold. Photographed by Gardner, Washington, D.C.” Harper’s Weekly: A Journal of Civilization 9:437 (May 13, 1865): 292. [Group portrait of three officers gathered around a map.]

1 b & w (“Sergeant Boston Corbett.” “Photographed by Brady.”) on p. 292 in: Harper’s Weekly: A Journal of Civilization 9:437 (May 13, 1865): 292. [Portrait of the soldier who shot Booth.] 

Corbett, Boston. “Manner of Booth’s Death–Letter from Boston Corbett.” New York Times (New York, NY) (Mon. May 15, 1865): 2. [(Corbett’s letter to his brother Broughton Corbett, describing how and why he shot Booth in the burning barn. The final sentence is as follows.) “Inclosed [sic] please find one of the photographs made by Brady, of me, after we returned. Yours, &c.”]

“Weekly Summary. Miscellaneous. The Plot.” Zion’s Herald And Wesleyan Journal 36:20 (May 17, 1865): 79. [“It is stated that one of the projects of the conspirators to seize Mr. Lincoln during one of his weekly visits to the War Department, and carry him to an old house back of the department on the bank of the Potomac… Cellar divided by partitions… Careful plans of the building have been made for the use of the Commission, and Brady has photographed the interior of the house from different points…. Photographs of Davis, Thompson, Clay, Tucker, Sanders, and Cleary have been procured, and large numbers of copies are being sent to every place where these conspirators can credibly have absconded to.”]

1 b & w (“Lewis Payne the Assassin.”) “Photographed by A. Gardner, Washington, D.C.” Harper’s Weekly: A Journal of Civilization 9:439 (May 27, 1865): 321.

1 b & w (“Major-General William T. Sherman.”) “Photographed by Gardner, and Published by Philp & Solomons, Washington.” Harper’s Weekly: A Journal of Civilization 9:442 (June 17, 1865): 372.

1 b & w (“The Clothes in Which Davis Disguised Himself.”—“From a Photograph Taken at the War Department by Alexander Gardner.,” 1 b & w (“Officers Engaged in the Capture of Davis.”-Photographed by Gardner, and Published by Philp & Solomons, Washington”) on p. 373 in: “Capture of Davis.” Harper’s Weekly: A Journal of Civilization 9:442 (June 17, 1865): 373 [Group portrait of the following officers: Lieutenant Purinton. Lieutenant-Colonel Pritchard. Captain Hudson. Lieutenant Stauber.”]

1 b & w (“Hon. William H. Seward, Secretary of State.”.— “Photographed by A. Gardner, and Published by Philp & Solomons, Washington.”) on p. 369 in:  Harper’s Weekly: A Journal of Civilization 9:442 (June 17, 1865): 369.

1 b & w (“Panoramic View of Richmond from General Henningsen’s House.” “Photographed by Alex, Gardner, and Published by Philp & Solomons, Washington.”) on pp. 376-377 in: Harper’s Weekly: A Journal of Civilization 9:442 (June 17, 1865): 376-377. [Panoramic view of Richmond, presented as two vertical strips on one page, but reading left to right on to image, then continuing, left to right on bottom image.]

1 b & w (“Sheridan and His Generals.” “Photographed by Gardner, and Published by Philp & Solomons, Washington, D. C.”) on p. 389 in: Harper’s Weekly: A Journal of Civilization 9:443 (June 24, 1865): 389. [Group portrait of Merritt. Sheridan. Crook. Forsyth. Custer.]

1 b & w (“The Military Commission Engaged in the Trial of the Conspirators at Washington.”) “Photographed by Gardner.” Harper’s Weekly: A Journal of Civilization 9:444 (July 1, 1865): 408. [Group portrait: Colonel Clengenin. Brigadier-General Haris. Colonel Tompkins. Major-General Wallace. Major-General Hunter. Major-General Kautz Judge Bingham. Colonel Burnett. Judge Hott. Brigadier-General Howe. Brigadier-General Ekin. Brigadier-General Foster.]

1 b & w (“Lewis Payne.”), 1 b & w (“J. W. Atzerott.”), 1 b & w (“Samuel Arnold.”), 1 b & w (“David C. Harold.”), 1 b & w (“Edward Spangler.”), 1 b & w (“Michael O’Laughlin.”) in: “The Conspirators and the Conspiracy.” Harper’s Weekly: A Journal of Civilization 9:444 (July 1, 1865): 409. [Portraits of six of the Lincoln assassination conspirators. “We recur to the subject this week and give portraits – drawn from photographs by Gardner, of Washington, of six of the conspirators…”]


                




                    

1 b & w (“Execution of the Conspirators at Washington, July 7, 1865.” “Photographed by Gardner, Washington, D. C.”) on p. 456, 1 b & w (“Execution of the Conspirators—Clergymen Officiating on the Scaffold” “Photographed by Gardner.”); 1 b & w (“Execution of the Conspirators—Adjusting the Rope.” “Photographed by Gardner.”), 1 b & w “Lewis Payne.”), 1 b & w (“David Harold.”). 1 b & w (“J. W. Atzerott.”), 1 illus. (“Execution of the Conspirators—Springing of the Trap.” “Drawn by A. M’Callum.,):1 illus. (“The Late Residence of Mrs. Surratt, 541 Eighth Street, Washington.” “Sketched by E. A. Perkins.”) on p. 457 in: “The End of the Conspirators.” Harper’s Weekly: A Journal of Civilization 9:447 (July 22, 1865): 454, 456-457. [Six engravings from Gardner photos, two engravings from sketches.]

1 b & w (“The Tredegar Iron Works at Richmond, Virginia Photographed by Gardner, Washington.” Harper’s Weekly: A Journal of Civilization 9:449 (Aug. 5, 1865): 490, 493.

1 b & w (“A Freedman’s Village, Hampton, Virginia.) “Photographed by Gardner, Washington, D. C.” Harper’s Weekly: A Journal of Civilization 9:457 (Sept. 30, 1865): 613, 614.

1 b & w (“The Late Brigadier-General Alexander Schimmelpfennig.”) “Photographed by A. Gardner, Washington, D. C.” Harper’s Weekly: A Journal of Civilization 9:458 (Oct. 7, 1865): 629. [“Brigadier-General Alexander Schimmelpfennig, whose portrait we give on this page, died on the 7^th of September, 1865, at Wernersville, near Reading (Berks Country) Pennsylvania, after a long illness, contacted in part, it is believed, by severe service in the army…. Full name Alexander Schimmelpfennig von der Oye…aristocratic family in Prussia, but his liberal and democratic spirit…did not permit him to stay there…. in the1848-49 revolution he sided with the people… to USA in 1853…”]

1 b & w (“Execution of Captain Wirz-Adjusting the Rope.”), 1 b & w (“Execution of Captain Wirz-Lowering the Body.”) on p. 748; 1 b & w (“Execution of Wirz-The Old Capitol Prison, Washington, D. C.”), 1 b & w (“Members of the Press Awaiting the Execution of Wirz.”) on p. 749. Photographed by Gardner.” Harper’s Weekly: A Journal Of Civilization 9:465 (Nov. 25, 1865): 748, 749. [Two sequential views of the hanging, one distant view of the prison, group portrait of members of the press.]


The trial and executions of Lincoln’s assassins was followed closely in the press, as was that of the Confederate Capt. Wirz, commandant of Andersonville prison camp; and Gardner’s documenting of these events was reported on in the Washington press.


“The Military Commission.” The Evening Star (Washington, D. C.) 25:3828 (Fri., June 9. 1865): 3. [“This morning, the military commission engaged in the trial of the conspirators at the Arsenal, composed of Maior General Hunter, President; Major Generals Wallace and Kautz, Brigadier Generals Howe, Foster, Ekin and Harris, Colonels Tompkins and Clendenin, with Judge Advocate General Holt and Colonels Burnett and Bingham. Assistant Judge Advocates, sat for Gardner, the photographer, who took good negatives.”]

“The Execution.” The Evening Star (Washington, D. C.) 26:3851 (Fri. July 7. 1865): 2-3. [“The last act of the tragedy of the 19th century is ended, and the curtain dropped forever upon the lives of four of its actors. Payne. Herold, Atzerodt and Mrs. Surratt, have paid the penalty of their awful crime.
In the bright sunlight of this summer day, When the hills and grassy fields are fairest, and all the elements make earth pleasant, the “Wretched criminals have been hurried into eternity; and to-night, will be hidden in despised graves, loaded with the execrations of mankind.
Their deeds have been judged patiently and impartially. Seven weeks were devoted to their trial, witnesses have been summoned *rom remote sections, every point that in any manner suggested innocence was carefully weighed, and the sentence of death executed only because there was not one reasonable doubt of overwhelming guilt….” (Etc., etc.)
Further of the Prisoners.
Herold, when he was first placed on the Montauk, had nothing to say, except that he would like to send out to his mother to get him a pair of shoes. For the most part of the time he was on the monitor he was sullen. Colonel Wells was on the boat one day, and when Herold was brought before him, he told the Colonel to “take a good look, a good square look, so you will know me.”
During the time they were on the iron-clads they were kept, as will be seen above, entirely separated, and no one of them knew that any of the others had been arrested. During the whole time two marines, with loaded muskets, kept guard over each man at his cell; and at the same time it sentry was placed at the hatch ‘The prisoners during their confinement here, were brought upon deck, one at a time, where they were photographed by Gardner. Herold was brought up for this purpose on the same day he arrived, and it was some time before a satisfactory picture was got. On this occasion he appeared sullen, and he put on a pouty look as he took his seat in the chair and glanced with dissatisfaction in the direction of the wharf, where a number of spectators were watching every movement on the vessel, many of whom were his old acquaintances.
The Findings. (Etc., etc.)
The Reading of the Sentences. (Etc., etc.)                                                                                                                                    (p. 2]

“The Great Execution.” The Evening Star (Washington, D. C.) 26:3851 (Fri., July 7. 1865): 3. [“Full Details.
“…The Photographer About.
At 12 o’clock the click of a hammer was heard in the upper story of the old workshop of Penitentiary days, in the centre of the prison yard, and the eyes of all were turned in that direction. Presently a window was raised, and forthwith was seen protruding the familiar snout of the camera, showing that the inevitable photographer was on hand. Gardner’s good-humored face presently was seen over the camera, as he took “a sight” at the gallows, to see that it was focussed properly.
View of Atzerodt. (Etc., etc.)
The Bodies Buried. (Etc., etc.)                                                                                                                                                      (p. 3)]

“Execution of Wirz.” The Evening Star (Washington, D. C.) 26:3959 (Fri., Nov. 10. 1865): 1.
[“Wirz Executed.
“Henry Wirz is hung. Civilization affords no parallel to his crimes, and it is impossible to believe that earthly retribution could have been more terrible. Confronted by accusers in a crowded court from week to week, and daily listening to the recital of indescribable horrors, the last summer of his life must have been a rack of immeasurable agony….”
(Etc., etc.)
Wirz’s Dying Statement. (Etc., etc.)
Conduct of the Condemned. (Etc., etc.)
Wirz’s Last Night on Earth. (Etc., etc.)
The Gallows. (Etc., etc.)
The Executioner. (Etc., etc.)
The Photographer on Hand.
Gardner was early on hand with his camera taking views of the prison yard, scaffold, and
scene oi execution lor Harper’s Weekly.
The press-gang present, seated on some dilapidated steps were taken in characteristic outfit of shocking bad hats, pencils and notebooks, and the rush of the group to see the negative was immediately followed by a scatteration and rush in the direction of the scaffold, as the prisoner was brought out somewhat sooner than had been anticipated by the crowd..
Scenes in the Cell. (Etc., etc.)
Scenes on the Scaffold. (Etc., etc.)
The walls of the prison, the adjoining house-tops; and the trees in the street and the Capitol grounds were loaded with curious spectators, who indulged in a variety of outcries, not calculated to inspirit the criminal in his last moments. In one instance Wirz turned quickly and with a sort of defiant look in the direction from which some groans and calls of “Hang the Scoundrel.” reached his ears. Afterwards he gave a cool, comprehensive look to the whole surroundings of prison yard, spectators, fellow prisoners looking out at the windows, photographic apparatus, gallows, &c., resting his eye in conclusion on Major Russell, who was reading the findings and sentence of the Court. From the peculiar facial expression of Wirz. noticeable throughout his trial, he appears to wear a sort of grim smile in his most unmirthful moments, and this gave him on the scaffold the appearance of indulging a form of ghastly merriment in the very edge of the Great Shadow he was entering….”
The Death Sentence Read to Wirz. (Etc., etc.)                                                                                                                       (p. 1)]

“Execution of Captain Wirz at Washington, Friday, Nov. 10.” Frank Leslie’s Illustrated Newspaper 21:530 (Nov. 25, 1865): 152. 1 illus. [This sketch of the view of the hanging of Capt. Wirz shows two photographers in the crowd of observers, photographing the event, which would have been Alexander Gardner and his crew. Other sketches of the preparations for the execution on p. 145.]


Alexander Gardner’s first credited photograph to appear in Harper’s Weekly was a portrait or the late Rev. Gordon Winston published on July 2, 1864. This was followed a week later by the double-page spread of views of General Grant’s campaign in Virginia. The magazine did not publish any more photographs by Gardner until January 1865. Then it published thirty photographs by Gardner during the next six months. This brief, explosive period of publication of Gardner’s photographs equals in volume and quality almost everything else photographic that had been published during the course of the war. Eventually that fact drew forth a comment from the Harper’s Weekly’s editor.


“Gardner’s Photographs.” Harper’s Weekly: A Journal of Civilization 9:447 (July 22, 1865): 451. [The present perfection of the art of photography enables an illustrated paper like ours to depict persons and events with the utmost precision. During the war, now happily ended, we have been in the daily receipt of the greatest variety of views and portraits from all the armies and from every part of the country, so that we have been enabled from these and from the sketches of our artists to construct a truly exact and living history of the time. Among our photographic friends and allies none have been more constant and serviceable than Mr. Alaxander Gardner, of Washington. It is to his skill that we owe the interesting and accurate views we print to-day of the ceremonies at Gettysburg on the Fourth of July, when the corner-stone of the monument was laid in memory of the fallen brave. the orator of the occasion, General Howard, whose portrait, from a photograph by Mr. Gardner, is included in the illustrations, is one of the historic heroes of the war. Conspicuous at the battle of Gettysburg, where he lost an arm, he was subsequently distinguished as a corps commander in the great march of Sherman, and is now Chief of the Freedmen’s Bureau. General Howard is thus identified with two of the most decisive military events of the war, and with one of the most important and responsible services created by it. But Mr. Gardner’s photographic operations are not limited to the war, and its scenes and soldiers. He has sent a corps to South America; and in a series of two hundred views, called “Rays of Light from South America,” he presents a collection of most valuable and striking scenes. the various guano islands and the methods of procuring and shipping their rich deposits, the manners and customs of the people, the venerable and picturesque cathedrals and other public buildings, the romantic passages of famous scenery, are all vividly and accurately reproduced. These pictures, under the title named, will be issued in a volume about the first of August by Messrs. Philp & Solomons, of Washington, and with them the striking series of War Views under the title of “Memories of the Rebellion.” Their value is apparent. Mr. Gardner does not confine his work to such subjects as we have mentioned. His rooms in Washington are a portrait gallery of noted persons, executed in every style of the art, from the carte de visite to the imperial photograph; and it gives us pleasure to commend the skill, enterprise, and fidelity with which his business is conducted.”]


The intense level of interaction between a specific photographer and an illustrated journal, here demonstrated by Gardner and Harper’s, would not be reached again during the 19th century, until a cluster of technological changes in the 1880s changed the nature of photography and the nature of the magazines. Gardner himself, even though he would continue to contribute work to the Weekly, would never again reach this same peak of activity. However, the impetus generated by the war, the additional experience with outdoor photography among American photographers, and the increase in number of practitioners all contributed to a higher level of general use of news photographs in the Weekly throughout the final years of the 1860s.
After the war Harper’s Weekly was faced with the challenge of maintaining the wartime level of energy and quality while finding a new range of subjects to replace the war-related materials that had filled about eighty percent of its pages during the past four years. The editors went to more serialized fiction, a new emphasis on international news, more social reporting, and reporting the development or redevelopment of American territories which were not yet settled. To replace the many war scenes, the editors began to print many more copies of paintings and other artwork, and they offered more political cartoons and engravings of sentimental scenes or genre studies. The Weekly replaced its presses in 1865, and by early 1866 it was publishing illustrations engraved with a much finer line and more stippling, which led to a more refined, precise, detailed style that quickly became prominent in the magazine. This finer line responded favorably to the sort of image that contained a visual grammar dominated by the “veracity” universally held to be an implicit part of the camera’s rendering of a subject.
The corps of trained field artists that had served the Weekly so well during the war were sent on sketching tours – first throughout the new South, then, as interest shifted to the frontier being opened up by building the railroads, to the West. The American West became a topic of steady interest for the Weekly –as it was for all the magazines– throughout the rest of the century, filled, as it was, with both new opportunities and the frequent turbulent conflicts of the constantly fascinating and newsworthy Indians. Gardner would participate in this expansion, travelling out West to document these interesting and exciting events

                        

Meanwhile Brady became increasingly embroiled in a host of financial troubles as he tried to save his business. Brady had slashed his New York gallery prices in the late 50’s to ride out the financial recession, but he was still losing ground to the growing number of “portrait factories,” flooding Broadway; each with a dozen operators lined up like a barber shop, – “Take a ticket, and take a seat…” – who produced a tintype or even an ambrotype for 25 cents. In 1864 Brady had left his Washington gallery under the management of James Gibson and returned to New York to attempt to revive his sagging business and for a while he seemed to be doing well. His portraits were still being published, as his publicity apparatus was working and he was getting good reviews in the local press. Brady positioned himself prominently in the high-profile event of that year – the Metropolitan Fair in Aid of the United States Sanitary Fund.. – (This oddly-named organization was the precursor to the Red Cross, it was a charitable organization which provided medical aid to the soldiers during the war.)


“Fine Arts.” New York Herald (New York, NY) no.9975 (Sat. Jan. 9, 1864): 1. [“We have received from Mr. Brady a fine photograph of the lying in state of the remains of the late Archbishop Hughes. The impression is sharp and clear, and the features of the corpse are as distinct as if the spectator were actually looking at the body. Considering the disadvantages under which the picture was taken, it is one of the most remarkable results of the photographic art that have fallen under our notice.”]

“General News. Arrival and Reception of General Grant.” New York Herald (New York, NY) no.10,050 (Thurs. Mar. 24, 1864): 5. [“Lieutenant General Grant arrived here at two o’clock this morning, from Philadelphia, on a special train, in the midst of the furious snow storm which prevailed during the whole of last night….”
(Etc., etc.)
“…Notwithstanding the late, or rather early, hour of his arrival, General Grant was early in attendance at the War Department, where he spent most of the day in consultation with the Secretary of War and the President in regard to military matters and the future programme of operations of the different armies for the pending campaign.
A most excellent and confident feeling has been inspired by the presence of the distinguished and popular hero and there is a general anticipation of an early and affective movement of the gallant but hitherto unfortunate Army of the Potomac, now that it is to be handled by this uniformly successful commander.
During the afternoon he found time, accompanied by the Secretary of War, to visit Brady’s photograph gallery, where a number of excellent likenesses of the General were taken. He has issued an order countermanding, on account of the storm yesterday, the review which was to have taken place on Thursday.
This evening the General is privately entertained by the President at the White House. He leaves early tomorrow morning on a special train for the front, where he  will probably remain for the present, engaged in the work of reorganizing the Army of the Potomac and putting it in an efficient state of preparation for the great work which it has to accomplish…”
(Etc., etc.)                                                                                                                                                                                         ]

“The Sanitary Fair. Proclamation by the Mayor.” New York Herald (New York, NY) no.10,060 (Sun. Apr. 3, 1864): 4. [“Monday Next to be a General Holiday. Inaugural Ceremonies. The Military Parade. The opening of the Sanitary Fair tomorrow will be a great event in the history of New York. All classes of our citizens are desirous of participating in or witnessing the inaugural ceremonies. Mayor Gunther, appreciating this almost universal desire, yesterday issued the following Proclamation… The Art Exhibition Last Night. There was a private view of the picture gallery last evening, forming the most beautiful and selection collection of paintings, engravings and photographs that has ever been exhibited at one time in the United States. It was opened for the private inspection of certain ladies and gentlemen especially invited. This, of course, has nothing to do with the grand public display of Monday night next, which, from present appearances, will excel anything of the kind ever achieved in the art world of New York. The gallery of paintings, embracing the works of the greatest masters who have illustrated that art; the collection of engravings, faithfully, and even minutely, copying the deeper inspirations of the earlier painters; and last, though not to be forgotten, the specimens of photographic excellence which were everywhere apparent, showed plainly that in the Empire City there is power and talent in no way inferior to the best that Europe can produce. of the immense collection of choice paintings it is impossible now to speak, except in a general manner. They were for the most part truly excellent specimens, sent on to the Fair for temporary exhibition by the wealthiest gentlemen in the city and country. The engravings, and even some of the paintings, were free gifts of the artists of the city to the Sanitary Fair. of the gifts so presented we noted over three hundred, the total value of which could scarcely have been under five thousand dollars. Our fellow citizen, Mr. Brady, the well known photographist, contributed a large number of his best works. Among these time will not permit us to enumerate any others than the portraits of General G. B. McClellan and Mrs. McClellan and of Miss Kellogg, the well known operatic singer. We may, however, mention that these were of the most eminent style of excellence. When the picture hall was lighted up, at half past seven o, the brilliancy of the scene was grand in the extreme. Ladies, dressed in the richest and most voluptuous styles, came flowing into the building in an incessant stream. Money changed hands with a degree of rapidity which speaks more than well for the tremendous outlays of the coming week; and, as we cannot follow the brilliant scene any further tonight, we reluctantly lay down our pen until a more fitting opportunity.”]

‘’Photographic Chef d’Ouvre Brady’s Sanitary Commission.’” New York Herald (New York, NY) no.10,075 (Mon. Apr. 18, 1864): 5. [“The most remarkable picture which has as yet been produced by the photographic process, is that which has just been sent in by Mr. Brady to the Fine Art Collection of the Fair. It contains between forty and fifty portraits of members of the Sanitary Commission, the largest number of figures, we believe, that have ever been introduced in a single picture of this kind, without the greater portion becoming blurred and indistinct. In Mr. Brady’s picture each portrait is as perfect as if it was taken individually, and the whole are grouped in a manner so artistic that it conveys the idea of a photographed group. In quality and tone it is as effective and pleasing as the imperial photographs of the same establishment, which are justly regarded as the ne plus ultra of the art. The following are the names of the gentlemen whose portraits are introduced in the picture: Gen. Dix, Messrs. Wilson G. Hunt, R. Grant White, Geo. Griswold Gray, Thos. C. Acton, Lloyd Aspinwall, W. T. Blodgett, C. Astor Bristed, Legrand B. Cannon, A. M. Cozzens, E. Delano, A. J. Delatour, C. E. Detmold, D. Devlin, W. B. Dinsmon. E. D. Gareschi, Gen. W. Hall, Jos. C. Heyward, P. H. Holt, W. P. Hosack, S. B. Jones, John F. Kensett, M. Lazarus, A. Leary, A. R. Macdonough, Peter Marie, E. Matthews, Levi P. Morton, A. Van Rensselaer, M. O. Roberts, Jas. A. Roosevelt, J. F. Ruggles, W. Scharfenberg, E. F. Shepard, F. A. Stout, John H. Swift, Chas. Tracy, W. H. Wickham, W. H. Webb and James Renwick. The work is attracting a great deal of attention, and at the suggestion of the friends of some of the members of the Sanitary Commission a subscription book has been opened for copies. We congratulate Mr. Brady on the success which he has achieved in this picture. It will stimulate him, we hope, to many similar undertakings, thus multiplying the materials for valuable historical collections.”]

“The Fair. Commencement of the Third Week Today. About $700,000 Already Realized.” New York Herald (New York, NY) no.10,075 (Mon. Apr. 18, 1864): 5. [“The third week of the Fair will open today, and arrangements have been made to give the children of the various public schools, who have done so much for the Fair and received so little credit, an opportunity to visit the exhibition gratis….. One Figure Too Much. The splendid photograph of the Executive Committee which has been added to the Art Gallery contains one figure too much. The superfluous figure is that of a young gentleman not belonging to the committee at all. The fact has caused a sensation, and there is talk of getting Brady to do the thing over again….”]
“The Fair.” New York Herald (New York, NY) no.10,079 (Fri.. Apr. 22, 1864): 1.
[“Continued Success and Popularity
                                                                ——————.
The Sword Contest Becoming Exciting.
                                                                ——————
Heavy Vote Yesterday.
                                                                ——————
McClellan Three Hundred and Eighty-five Ahead.
                                                                ——————
Valuable Contributions from Germany,
                &c,                           &c.                           &c.,
                                                                ——————
“The Fair was splendidly attended yesterday, and no diminution whatever in the public interest seems to have taken place….”
(Etc., etc.)
The Sword Play.
As the time for the closing of the polls approaches the excitement respecting the army sword seems to
increase in intensity….”
(Etc., etc.)
The Committee on Arms and Trophies.
The Committee on Arms and Trophies announce that…”
(Etc., etc.)
The Art Department Sales.
The sale was continued last evening of the paintings,, engravings, &c., in the Art Department at the Fair….”
(Etc., etc.)
The “Affghan.”
A splendid piece of crochet work is to be found at stand No. 4, …”
(Etc., etc.)
Sale of Cattle, Etc.
At the cattle show in Fifteenth street a number of animals was disposed of at public Auction yesterday afternoon…”
(Etc., etc.)
Fine Contributions to the International Department.
Among the articles at the tables of the Swiss Department and of the Nineteenth street Presbyterian church, are some two hundred phials of water,…”
(Etc., etc.)
”The One Figure Too Much.”
which was alluded to the other day In connection with Brady’s photograph of the Executive Committee, has been pleasantly settled. It appears that the gentleman, not belonging to the committee, happened to be present at the time of the “taking,” and was “taken” by Brady in connection with the other members of the committee. The matter has been settled by electing the gentleman a member of the committee, so that there is no longer an intruder in the picture. There are more ways of getting over a ditch than jumping it.
The Receipts.
The total receipts up to three P. M. yesterday were as follows …
(Etc., etc.)”]

“Brooklyn News. The Sanitary Fair.” New York Times (New York, NY) (Sat. Mar. 5, 1864): 5. [“Among the curiosities in the New England Kitchen, the visitor’s eye will be speedily caught by the copy of the Emancipation Proclamation done in pen and ink, by Mr. Paine, and presented to the Kitchen. It is quite a remarkable specimen of penmanship-illustration. A stately tree rises along one border… The lettering of the Proclamation itself is beautifully illustrated; and in the centre is a portrait of the President, drawn from a photograph by Brady. The effect of this is more like that of a fine steel engraving than anything done with a pen that we recollect ever to have seen…. The subscribers, however, do not propose to draw lots for it, but to make a present of it to President Lincoln, at the risk of being charged with carrying coals to Newcastle.”]

“The Metropolitan Fair. The Grand Opening To-day. The Arrangement and Decoration of the Buildings.” New York Times (New York, NY) (Mon. Apr. 4, 1864): 1. [“Picture Gallery.—It is situated on the west boundaries of the Fair grounds, and is one hundred feet in length. There are upward of six hundred paintings on view, the gallery is lofty and well-lighted from the roof by day, and at night by four hundred and ninety gas jets. At the head of the room is Mr. Leutze’s well-known picture of “Washington Crossing the Delaware…” (Display included paintings by Church, Bierstadt, Huntington, Durand, Cole, Hicks, Newton, Kensett, Cropsey, Baker, Muller, Eastman Johnson, et al.) “The lower end of the room is devoted to pictures presented by private citizens and others; these will be sold in addition to a collection of photographs for albums. Mr. Brady exhibits a number of his finest specimens of photographic portraits. Above the large gallery is a small room for engravings…”]

“The Metropolitan Fair. The Art Auction. Auction Sale of Photographs, Etc.” New York Times (New York, NY) (Thur. Apr. 21, 1864): 4. [“A fine and interesting collection of photographs and engravings will be sold at auction… this evening, in the Art Gallery of the Metropolitan Fair. This collection embraces proofs of some of the finest engravings ever imported,… original sketches by architectural contributors, with photographs of their finished works, and a most valuable collection of photographs, embracing highly finished imperials of distinguished public men by Brady, Gurney, and others. A cabinet-size copy of the splendid photograph by Brady, of the Executive Committee of the Fair, will also be offered. This is an unusual opportunity whereby to make purchases of choice works…”]

“Mr. Brady’s Photographs of the Committees of the Sanitary Fair.” New York Times (New York, NY) (Sat. May 7, 1864): 4. [“That the kindly influences of the New-York Sanitary Fair, the pleasant and beneficial grasping of hands that took place there, should not die out, it is desirable that every souvenir of that great undertaking should be preserved, and its aim and triumph commemorated in all ways possible…Mr. Brady, the photographic artist, has taken two groups on an unusual scale, representing all the members of the Ladies’ Executive Committee, and all the members of the Gentlemen’s Executive Committee. a third group—but not of the same proportions—represents the Art Committee; and here we recognize the portrait of Mr. Brady, who very justly and worthily finds a place in it. Not long ago photography was reviled and scouted as a mechanical trick that could never claim or merit mention as an Art. Indeed it may be noticed as an agreeable coincidence that the brush painters and the sun painters came together for the first time on this occasion. Let us hope that the alliance may never be broken…. Mr. Brady has many fine views of the principal departments of the Sanitary Fair. His gallery at the present moment is unusually interesting. It is well worthy of a visit.”]

“Photography and the Fair.” New York Times (New York, NY) (Sun. May 15, 1864): 4. [“We have already made mention of the splendid photographic views of the various departments of the Metropolitan Fair, made by Mr. Brady, the well-known photographic artist. by he is by no means alone in this display of artistic enterprise and skill. Messrs. Gurney & Son are publishing stereoscopic views of the fair, comprising a series of 54 different views. The are also engaged upon a group of the Executive Committee, which will soon be on exhibition at their rooms in Broadway. Messrs. Gurney & Son made very valuable donations of portraits and other works of art to the fair—among which was a full length portrait of Mayor Gunther, valued at $575.”]

“Brady’s New Photographs.” New York Herald (New York, NY) no.10,119 (Tues. May 31, 1864): 4. [“It is worth while for those who are interested in the process of photography to step into Brady’s gallery. In the pictures now on exhibition there they will find the evidences of an extraordinary advancement in the art. There is just as much difference between the photographs at present executed in this establishment as there is between the chefs d of the modern and pre-Raphaelite schools of painting. The frequent blurs, the feeble or exaggerated tones, the stiff positions, and the imperfect knowledge of effects generally which marked the earlier productions of the camera, have all given place to the conditions demanded by the higher principles of art. Until the photograph could be rendered in composition, distinctness and evenness of tone equal to the works of the portrait and landscape painter, it must always have failed to satisfy persons of cultivated taste. We own that we had despaired of seeing this point of excellence reached by a process on which so much depends on mechanical results. It seemed to us impossible for the photographer to infuse into his productions the qualities that impart value to every other class of picture. That Mr. Brady has succeeded in conquering the difficulty is due entirely, we believe, to the fact that he is a man of artistic aspirations, who looks upon the mechanical features of his art as subsidiary to the higher aims which should guide those professing to strive for excellence in it. The most extraordinary picture that has as yet been produced by photography is that of the Executive Committee of the Sanitary Fair, now to be seen at this gallery. Each figure and there are upwards of fifty of them is a study in itself. In groups of this kind the great difficulty in photography has hitherto been to avoid stiffness and the repetition of lines. In the composition of an oil painting of this character there are essential requirements, and where so many figures are introduced there are but few artists who can strictly comply with them. In photographic pictures, where the position of the sitter requires to be fixed for the camera to do its work, it would seem next to impossible to attain them. And yet in this picture Mr. Brady has not only succeeded in divesting his grouping of all photographic stiffness, but of throwing his figures into the most varied and natural attitudes possible. There is not one of them that repeats itself. And in its other details the picture is equally admirable. We find in it no imperfections of outline, no blurring or indistinctness on the more minute features. Everything is clear, well defined and satisfactory to the eye. The harmonious tone of the picture is another of its great merits. Had it been executed by hand it would have been impossible to produce a softer or more pleasing effect. There is another group that of the Art Committee which is equally deserving of inspection. It possesses all the fine qualities of the work that we have just noticed, with some additional features of interest, arising from the eminence of the persons introduced in it. Another curious and equally difficult series of photographs are the representations of the works in the Art Gallery at the Fair. The details of each are as clear as they are in the originals a result but seldom obtained in pictures of this kind. To the general visitor, who may not be versed in art matters, the greatest attraction of the gallery will be the portraits of the heroes of the present campaign. Most of them were taken by Mr. Brady just previous to their departure for the field. Grant, Hancock, Warren, Thomas, Hooker, Baldy Smith, and the lamented Sedgwick, Wadsworth and Hayes, are all to be found there. We would advise those who have an hour or two to spare to visit Mr. Brady’s gallery. We know no other place where a little leisure can be as well spent.”                                            ]

“Brady’s Photographs from the Seat of War.” New York Times (New York, NY) (Tues. July 26, 1864):4. [“The war which we are waging for our national existence is, in its attendant circumstances, as well as in its origin and its vastness, unlike any other known to history…. Not the least interesting of these contemporary memorials of our great struggle are the photographs “from the front,” which the eminent photographer, Mr. Brady, brings back from expeditions which carry him so far into the hurly-burly of the fight that they are only not military because he is not armed save with his camera. the fruits of his last visit to the seat of war in Virginia, made immediately after taking his remarkable views of the Metropolitan Fair which now adorn his gallery, are perhaps the most interesting of all that we owe to his enterprise, his taste and skill, and which he has now on exhibition and for sale. …”The Great Pontoon Bridge,” by which the Army of the Potomac passes the James River–…a view of “Belle Plain,”… “Burial Place at Fredericksburg”…”A Group of Wounded Men,”… “Port Royal and City Point,”… a glimpse of “Burnside’s Corps” in motion,; “Rebel Prisoners at White House”…”Battle-field at Fredericksburg,” “Cooper’s First Pennsylvania Battery,” and “General Potter and his Staff,” both of which were taken while under fire;… To those of the kind noticed above Mr. Brady has added groups of Gens. Grant, Meade, Hancock, and, in fact, all the principal corps and division commanders of note… thus enabling us who ‘live at home at ease’ to see just how the men live and look who are fighting the battles of the Republic.”]

“Gen. Grant’s Departure: the Rain Prevents a Formal Parade-Visits of the General to the Post-Office, the Mercantile Library and Brady’s Photographic Gallery—Quiet Departure of the General and Suite for Washington.” New York Times (New York, NY) (Wed. Nov. 22, 1865): 2. [“The departure of Lieut.-Gen. Grant for Washington yesterday was a very quiet affair. As was announced in the Times, considerable preparations were made by the military to give him a fitting escort on his departure from the city, and the Seventh Regiment… On leaving the Library Gen. Grant drove down to Brady’s Photographic Gallery, and afforded Mr. Brady’s artist an opportunity to give some necessary touches to a set of photographs of the Lieutenant-General, lately ordered by Sir. Morton Peto and party. After taking a brief stroll around the gallery, and viewing some of the more recent additions to Mr. Brady’s collection, the General returned to the hotel for dinner.”]

“General Grant.” New York Times (New York, NY) (Thur. Nov. 23, 1865): 5. [“In the account of Gen. Grant’s visit to Brady’s gallery, we stated that the General gave a sitting to Mr. Brady’s artist, with reference to a set of photographs ordered by Sir Morton Peto. The sitting Gen. Grant gave was for the finishing touches of a life-size portrait in oil for Mr. James McHenry, of London, who has also ordered from Mr. Brady a companion picture of the late President Lincoln.”]

“General City News. Gen. Grant.” New York Times (New York, NY) (Wed. Nov. 23, 1864): 8. [“After leaving Col. Hillyer’s on Monday morning, Gen. Grant, accompanied by the Colonel and Mr. Brady, proceeded to the latter’s Photographic Gallery to inspect a portrait of his old friend, Gen. C. F. Smith, who fell at Fort Donelson. He examined the collection of portraits in the gallery with considerable interest, and favored Mr. Brady with sittings for several negatives.”]

“General Grant at Brady’s Photographic Gallery.” New York Herald (New York, NY) no.10,315 (Thur. Nov. 24, 1864): 1. [“It is well known that while Lieutenant General Grant remains in this city, during the recent unexpected visit, he endeavored to evade public observation as much as possible. In his hotel he confined himself to his rooms, and it was only through the earnest entreaties of the Governor elect, and the persuasions of many individual friends, that he consented to appear at the serenade, of which we have already spoken at length. He made but very few visits in the city. That to Lieutenant General Scott was the most worthy of note. The two most distinguished officers of the United States army met and had a pleasant and friendly conversation. On the morning before leaving the city General Grant breakfasted with Colonel Hillyer, at his residence, in Fifteenth street. There were very few guests. Among these were Mr. Brady, the celebrated New York photographic artist. After breakfast the General expressed a wish to pay a visit to Mr. Brady’s renowned gallery, at the corner of Tenth street and Broadway, as he had frequently heard that the best collection of paintings and photographs could be found there. Mr. Brady, with his usual urbanity, afforded the Lieutenant General every facility, who minutely inspected the spacious and elegant galleries, and expressed himself much pleased with everything that he saw. Brady’s collection of popular photographs is the greatest of the kind in America. Here General Grant saw all his friends of the military and naval service, and recognized them in a moment. He also saw portraits of many distinguished officers unknown to him personally, but well know to fame. He lingered several minutes over the portraits of Farragut and Porter, and looked at Hooker’s noble features with apparent interest. It would be impossible to mention all the movements of the General in the gallery. There was one portrait, however, to which he paid much attention. This was Brady’s splendid photograph of General C. F. Smith, who was wounded at the storming of Fort Donelson, and died shortly after. General Grant pronounced the likeness perfect, as he was the intimate friend of General Smith. Before leaving Brady’s gallery he was persuaded to sit for his portrait, when the accomplished artists of the establishment secured the most perfect picture of him that has yet been taken. Strange as it may appear, it is nevertheless true, that there are no correct portraits of Gen. Grant in circulation. We see shop windows crowded with lithographs, photographs and paintings, but none of them are real likenesses of the general of whom we speak. They are, for the most part copied from bad woodcuts and indifferent engravings in second hand illustrated papers. Now we know that Gen. Grant has given Mr. Brady the best opportunity in the world to secure a true and correct portrait. Mr. Brady has done so. The public may be assured therefore that the portraits of Gen. Grant from this establishment will be the only correct ones in existence. Gen. Grant not only sat for a life size portrait, to be painted in oil, but he consented to be taken in a variety of other forms. On leaving he expressed his pleasure at seeing so fine a gallery, where he had had the satisfaction of meeting his friends of the army and navy. Mr. Brady may well be proud of the visit, for he will thus add to his famous gallery the fine portrait of the greatest general of modern times.”]


In spite of this heavy dose of publicity, it’s possible that by the close of the war his New York gallery was looking a little old and falling out of fashion, or that having your portrait taken there was no longer considered absolutely necessary for the moneyed classes. Brady’s newspapers repeatedly notified everyone that General Grant patronized Brady to get his portrait added to “The Collection;” but while Grant might be “the savior of our country,“ culturally he was just a hick from Ohio who was not up on the latest fashions. By the close of 1864 Brady was facing some serious challenges. He had lost his best field photographers when Gardner left in 1862 and Brady’s field operations were almost completely shut down by November 1864 as Brady’s other experienced field photographers also left him. For example, E. T. Whitney returned to a regular studio in New York in November 1864. At some point Gibson also left him and moved out to the mid-west somewhere. And in spite of his publicity barrage, it didn’t help that a stereopticon slide performance of Gardner’s war views was being advertised in New York City in June 1864


[Advertisement.] “Whitney & Paradise.” New York Evangelist 35:44 (Nov. 3, 1864): 5. [“Practical Photographers, 585 Broadway, late of Brady’s New York and Washington Galleries. After 18 years experience in the First Galleries in New York, the above firm have established themselves in business on their own account. Citizens of New York, we offer our services to you as Practical and Artistic Photographers, trusting that our long experience and extensive acquaintance will assure us success in maintaining another first-class Gallery on Broadway, and we promise you the Best Pictures that art can produce, of every description. E. T. Whitney. A. W. Paradise. 585 Broadway, opposite Metropolitan Hotel.”]

[Advertisement.] “Irving Hall – Fallon’s Stereopticon.” New York Dispatch (New York, NY) 19:30 (Sun, June 26, 1864): 8. [“To the Public.”
“The management beg to announce that they have made arrangements with Mr. Alexander Gardner, Photographer to the Army of the Potomac, to exhibit by means of Fallon’s Stereopticon now on exhibition at the above Hall, a series of his photographic views of the war, selected from a collection of over 1,500 taken during the last three years, while with the army “in camp.,” “on the march,” and “in the field.” These views form a faithful illustrated history of the army of the Potomac and can be vouched fr by all our Generals. The prior exhibition will take place on Monday Evening, June 27 and will be continued during the week.                                                                                                                                                                                                        L. F. Harrison & Co.”]

“Amusements: War in Irving Hall.” New York Times (New York, NY) (Mon. June 27, 1864): 7. [“Illustrations of the Army of the Potomac, at Irving Hall, Every Night for this week only, by Fallon’s Stereopticon, from original photographs taken in the field during the last three years. By Mr. Alexander Gardner, photographer of the Army of the Potomac, and his corps of celebrated artists. The views illustrate the Army from the first Battle of Bull Run up to its present position, under the commands of Gen. McDowell, Gen. McClellan, Gen. Burnside, Gen. Hooker, Gen. Meade, and Lieut. Gen. Grant; are vouched for by all our Generals, and bring the battle-fields, their incidents and localities before us in the most faithful and vivid manner, each view being reproduced on a canvas covering a surface of over 600 square feet. Among others the following views will be shown: Rebel dead at Antietam. View in Fredericksburgh, Burnside Bridge at Antietam, View in Culpepper, Irish Brigade at Antietam, Wounded at Fredericksburgh, Pontoon Docks at Belle Plain, Gen. Patrick and Staff, Battle at Anteitam, Views of Aquia Creek and Bull Run, Marye House taken by the Irish Brigade. 1862, The first Contrabands flying to the Union lines. Grant’s Pontoons on the James River. &c. &c., &c. Tickets 25 cents. Doors open at 7 ½. Commence at 8 o’clock.”]

“Amusements: Irving Hall.” New York Times (New York, NY) (Tues. June 28, 1864): 7. [“Incidents of the War. Reproduced by Fallon’s Stereopticon. On a Canvas containing over 600 square feet. From actual Photographs taken by Mr. Alexander Gardner, Photographer to the Army of the Potomac during the last three years while with the Army. In Camp, on the March, and in the Field. Every Evening, at 8 o’clock. Tickets, 25 cents.”]

“Amusements: Irving Hall.” New York Times (New York, NY) (Mon. Sept. 12, 1864): 7.
[“Fallon’s Stereopticon. This wonderful and beautiful exhibition will open for two weeks only, on Monday Evening, Sept. 12, with a series of Instructive and elegant programmes, Illustrating the whole world. Together with the most Celebrated and exquisite Statuary. Portraits of Our Generals. Local Views and Battles of the War. Tickets 25 cents. Commencing at 8 o’clock.”]


Brady’s Washington gallery, which had been very profitable under Gardner, was losing money under Gibson. And Brady was suddenly embroiled in the midst of a host of legal troubles. It seems that while Brady had been chasing grand ideas and developing great schemes, he kept forgetting to pay his bills. After years of delays and obstruction, the courts were finally opened up to the lawsuits of more than 90 creditors who were suing Brady. (If there was any truth to his later claim to having spent $100,000 on photographing the war, it seems that he must have done a lot of it “on the cuff,” as they say.)
Then Brady lost control of large portions of his collections as creditors began to close in for payment of his many unpaid debts. In 1865 the E. & T. H. Anthony Company advertised stereo of war views for sale under their own name. These were photographs that Brady’s teams had photographed, but which Brady had lost to the Anthony company for non-payment of his bills. Brady’s income from the sale of the cartes-de-visite and stereos of the war had fallen off dramatically as well, and the market was being flooded with cheap knock-offs. Even worse, by the mid-60’s the fad for collecting cartes-de-visite and stereos had peaked. After the war there was a period when everyone seemed to want to forget about it, and thousands of cartes-de-visite and stereos were remaindered to secondary dealers and sold off in job lots of dozens of cards for a quarter or thereabouts.


[Advertisement.] “Stereoscopic Views of the War,” Harper’s Weekly: A Journal of Civilization 9:433 (Apr. 15, 1865): 240. [“Obtained at Great Expense, and forming a Complete Photographic History of the Great Union Contest. Bull Run, Yorktown, Gettysburg, Fair Oaks, Savage Station, Fredricksburg, Fairfax, &c., &c., Dutch Gap, Pontoon Trains, Hanover Junction, Lookout Mount’n, Chickahominy, City Point, Nashville, &c., &c., Strawberry Plain, Deep Bottom, Belle Plain, Monitors, Chattanooga, Fort Morgan, Atlanta, &c., &c., Every body is interested in these memorable scenes. Just published by E. & H. T. Anthony & Co. 501 Broadway, New York. Catalogue sent on receipt of stamp.”]

[Advertisement.] “100 Photographs of Union Generals” Harper’s Weekly: A Journal of Civilization 9:432 (Apr. 8, 1865): 222. [“…sent post-paid for 25 cents; 50 Photographs of Rebel Officers, 25 cents; 100 Actresses, 25 cents; 100 Actors, 25 cents. Address Box 48, Holland P.O., New York.”]

[Advertisement.] “The best Photograph.” Harper’s Weekly: A Journal of Civilization 9:438 (May 20, 1865): 319. [“…of the late President Lincoln, also Mrs. Lincoln, J. Wilkes Booth, and 300 others, only 15 cts. each, postpaid, by Hunter & Co. Hinsdale, N. H.”]

[Advertisement.] “Free.” Harper’s Weekly: A Journal of Civilization 9:438 (May 20, 1865): 319. [“A Photograph of Mrs. Gen. Tom Thumb and Baby sent to any address, free, upon application to Crawford & Willis No. 167 Broadway, New York.

[Advertisement.] “Free.” Harper’s Weekly: A Journal of Civilization 9:438 (May 20, 1865): 320. [“A Photograph of Gen. Grant will be sent to Any address, Free, upon application to Crawford & Willis No. 167 Broadway, New York.”]

[Advertisement.] “Card Photographs.” Harper’s Weekly: A Journal of Civilization 9:440 (June 3, 1865): 351. [“2000 Styles. Inclose 25 cents and 2 red stamps for sample card and catalogue. True copies of our late President Lincoln, 25 cents, or $15 per 1000. Address H. S. Greer, Artist, 46 John Street, New York.”]

[Advertisement.] “Photographs.” Harper’s Weekly: A Journal of Civilization 9:440 (June 3, 1865): 352. [“Lincoln and Lincoln at Home, card size, 15 cents each; “Medium” size, about 11×14 inches, 60 cts. each. Sent free by mail. Cartes de Visite of Grant, Sherman, Sheridan, Johnson, Seward, Stanton, &c. F. P. Whiting, 87 Fulton Street, New York.”]


Brady’s other investments didn’t pan out either, and gradually he lost his Staten Island home, his keystone Broadway gallery in New York, control over large parts of his photograph collections, and pretty much everything but a piece of his Washington gallery, which had been put in the hands of his wife and at this point, being run by her nephew L. C. Handy. Brady moved back to Washington after he lost his possessions in New York, but he is no longer the undisputed leader in the field. If, as I have claimed, Brady and Gardner had both been jockeying for supremacy throughout the conflict then by the end of the war Gardner had won. Gardner’s Washington studio was flourishing. His photos were being published frequently. He was receiving many positive notices in the press, his various projects were receiving high praise and he had garnered the bulk of the government patronage. Alexander Gardner was again in the field documenting the construction of the Kansas Pacific railroad, and the treaties with the Sioux and Cheyenne tribes and his gallery was flourishing while he was publishing expensive photographic albums, such as Henry de Witt Moulton’s photographs of Peru in the Rays of Sunlight from South America in 1865, his own two volume Photographic Sketch Book of the Civil War in 1866, or William A. Bell’s and his own photographs in Across the Continent on the Kansas Pacific Railroad (Route of the 35^th Parallel) in 1869, or providing illustrations for books (Tam O’Shanter. By Robert Burns. With Illustrations by E. H. Miller. Photographed by Gardner.) In addition to publishing the bound volumes; after the war Gardner’s gallery partnered with Philip & Solomon to publish and distribute individual portraits of notable men or publish a series of mounted prints titled “Scenes in the Indian Country.” Or to provide commissioned sets of Indian portraits for the Blackmore Museum in Salisbury England. During the late 1860s and 1870s the U. S. Geological and Geographical Survey of the Territories of the Department of the Interior published cabinet cards of his portraits of individual Indians as well.
He also supplied the major lithographic firm L. Prang, of Boston, with photographs as source for the chromolithographs “Monuments in memory of the patriots who fell in the first and second battles of Bull Run.”
Gardner also issued at least 150 stereos of views taken along the Kansas Pacific Railroad – Later named the Union Pacific Railroad – and more than 90 stereos documenting the Fort Laramie Indian Peace Commission meetings with the Arapaho, Sioux, Cheyenne, and Crow tribes. Included are Indian camp scenes and portraits, and views of the fort, its surroundings, and the negotiations. He also contributed photographs to the magazines and submitted photographs to the huge Exposition Universelle in Paris in 1867. (600 photographers from around the world) These are all indications of a vital and active business.

Sala, George Augustus. “The Streets of the World. Washington, D. C. Pennsylvania Avenue.” Temple Bar, A London Magazine For Town And Country Readers 15 (Sept. 1865): 182-188. [“….I never met with either the most patriotic or the most prejudiced of Americans who had a word to say in favour of Washington as a dwelling-place. It is universally given up as a bad job. “Vedi Napoli,” cry the Neapolitans, “e poi mori.” Now you may see Washington, and then die of disgust and discomfort; but, in order to avoid premature dissolution, I should advise you not to see it at all. Visit it by proxy. Go there in the spirit, but in the flesh give it a wide berth. There are plenty of stereoscopic views of Washington. Send to Messrs. Philip and Solomon for the latest photographic productions of Mr. Gardner’s studio, but give the actual city the go-by. Or, better still, “read my book,” as the late Mr. Abernethy used to say. I don’t mean my humble works in particular, but those of any honest and intelligent tourist: say Russell, or Dicey, or Mackay; or that wonderful description of Washington in Mr. Charles Dickens’s American Notes—a description which has often been imitated, but never approached, much less surpassed….” p. 183. “…Moreover, as Americans are much given to taking their wives, daughters, cousins, and female relatives generally, with them wherever they go, there is a large floating body of ladies is Washington, quite strange to the place, quite devoid of any resident connections or acquaintances in it. They have absolutely nothing to do, and they do it with the most amiable persistency. They roam up and down the avenues, not shopping; for, with the exception of Philp and Solomon’s book-store, and Brady’s photographic gallery—a branch of his great establishment in Broadway, New York—there are positively no places in Washington where a lady can buy any thing worth purchasing, or see any thing worth seeing,—but idling and trapesing up and down in a shiftless and disconsolate manner. The pavement, as in most American cities, is in an execrable condition. You are smothered in mud during the winter months, and suffocated in dust during the summer; while as to spring or autumn, there is none….” p. 186.]

“Local News. Excursion to Glymont.” The Evening Star (Washington, D. C.) 25:3801 (Mon., May 8. 1865): 2. [“The fine steamer Thomas Collyer, Capt. Gedney, left her wharf Friday morning last, with a party of gentlemen, for the above-named place, to spend a day and enjoy the fine spring breezes and a plank-shad dinner, with its usual accompaniments.
Alexandria, Fort Washington, Mount Vernon, the White House, Craney Island, &c. &c., were soon passed, and the party safely landed at the well-known suburban retreat above named. The weather, which in the early morning had appeared so unpropitious, had long ere this cleared off finely.
Arriving here, the first thing in order was photographing, Mr. Gardner having detached a portion of his force for the purpose, and two good negatives of the boat with all on board were soon taken, and during the day several groups on shore were transferred to the artist’s plates for future copy.
Bathing, jumping, rambling, swinging, music, shooting, whist, etc., occupied the pleasant hours, while the caterer was warming into & well-flavored condition on the planks before a hot fire some capital specimens of the shad family
At 4 o’clock the dinner bell summoned the party to the charming repast. The tables were loaded With the delicacies which spring brings in all its sweetness; while dish after dish came sailing in with planked shad swimming in, not petroleum, but butter, much to the gratification of the guests, who had them properly cared for. The dishes removed, the corks began to fly, and wine, wit, repartee and song mingled in pleasant company until the sunset hour, when the shrill whistle of the steamer reminded of home.
All aboard, and two and a half hours were spent in song, speaking and recitations, until the wharf was reached. The Star Spangled Banner, Just before the Battle, Mother, The Sheepskin, Beautiful Dreamer, Vive L’Amour, Auld Lang Syne, Whither are the Loved Ones Gone, &c., &c., were well rendered by Messrs. Mattingly, Allen and others of the party.”]

“Personal.” The Evening Star (Washington, D. C.) 26:3970 (Thurs., Nov. 23. 1865): 2. [“Three of Washington’s ex-mayors, Col. Force, Gen. Weightman and Col. W. W. Seaton, sat lately at Gardner’s for a photograph, and the group (styled The Ancient Regime) is given with infinite spirit….”]

Catalogue of Photographic Incidents of the War, from the Gallery of Alexander Gardner, Photographer to the Army of the Potomac, Corner of 7th and D Streets, Washington, D.C., September, 1863, Washington: H. Polkinhorn, printer, 1863. 28 p.
[Lists number, title, and photographer for illustrations of Meade’s campaign, etc.; photographers include Timothy H. O’Sullivan, James F. Gibson, and Alexander Gardner, others by: George N. Barnard, William F. Browne, James Gardner, James F. Gibson, Timothy H. O’Sullivan. Most views distributed by E. & H.T. Anthony, listed as wholesale agents. Some views published by Philp & Solomons, Washington.]

Gardner, Alexander, Henry de Witt Moulton. Rays of Sunlight from South America. Washington: Philip & Solomans, 1865. 4 p. 70 unnumbered leaves of plates,: all illustrations (mounted photographs); 33 x 45 cm.

1 b & w (“The Chincha (Or Guano) Islands—Dumping the Guano into Shutes.”). 1 b & w (“Loading Lighters with Guano From Shutes.”), 1b & w (“Great Guano Heap of Two Million Tons, on the Chincha Islands.”) “Photographed by Gardner, Washington, D. C. in: “Spain and Chili.” Harper’s Weekly: A Journal of Civilization 9:467 (Dec. 9, 1865): 780-781. [Views of guano gathering in Chili.”…from ‘Rays of Sunlight’ a collection of interesting photographs by Mr. A. Gardner, recently published by Messrs. Philip & Solomons, Washington.” (Photos actually made by Moulton, then purchased by Gardner.)]

Gardner, Alexander.Gardner’s Photographic Sketchbook of the War, 1861-1865. Washington: Philp and Solomons, 1866. 2 vol. [5] p., 100 leaves of plates, [5] p. : chiefly ill.; 32 x 43 cm.

“Reviews: Gardner’s Photographic Sketch-Book of the War.” Art-Journal ns 5:4 (Apr. 1866): 127. [Book review. Gardner’s Photographic Sketch-Book of the War. 2 vols. Published by Philp and Solomon, Washington. This is an appalling work, yet one that cannot fail to be examined with the deepest interest, teaching a lesson that will, we trust, hare influence for all time in the country and to the people who, during four terrible years, endured miseries and witnessed horrors that made even those shudder who lived in peace thousands of miles away. The volumes consist of one hundred photographs of places that have become histories. We read of them day after day during “the war.” The Rappahannock, the Chickahominy, and other rivers of the South, became as familiar to our ears as the Tweed and the Thames; and Gettysburg, Antietam, Petersburg, and Richmond, the bloody battle-fields of brothers, are imperishable names,—whether they suggest ideas of glory or of grief,—whether they be uttered by the conqueror or the conquered. It is a terrible monument this over the graves of millions who died useless deaths; but it will have mighty value if it so exhibit the horrors of war as to be the advocate of peace. One sickens over some of the frightful details represented by a pencil that cannot err—by an artist to whom there was no possibility of exaggeration. Fancy has done nothing more; the frightful pictures are but a collection of awful truths. The publisher tells us the hundred are selected from three thousand photographs. Some of them show the dead as they fell, singly or in masses; others represent the scenes of the hardest fights; others the peaceful dales, and the dales after they had been ” watered with blood;” others the tranquil homes, and the homes after the cannon or fire had destroyed them; in short, nearly all the memorable places of which we heard so much and so often during the most calamitous contest that ever cursed humanity, will be found accurately pictured in these volumes of intense, absorbing, yet appalling interest. We can readily understand that in America hundreds of thousands will eagerly desire to possess the work; of both sides, indeed, for it is rarely that any place pictured is not associated with the heroism of both; and it is but just to say that the compiler has not manifested the prejudice of a partisan.”]

“Washington. Personal Matters.” Special Dispatches to the New-York Times.” New York Times (New York, NY) (Fri. Mar. 15, 1867): 5. [“All the Judges of the Supreme Court of the United States a few days ago called together upon Gardner, photographic artist, and their pictures were taken in a group. The picture is about twenty by thirty inches.”]

“Literariana.” Round Table. A Saturday Review of Politics, Finance, Literature, Society And Art 6:135 (Aug. 24, 1867): 124-125. [“…Photographic progress is certainly being made in our time, which is not that of Joshua, for neither the sun nor his works ever stand still. We have received from Mr. A. Gardner, of Washington, D. C., a collection of large photographic views of the public buildings at the capital which are really surprising for their elegance, accuracy of detail, and atmospheric fidelity. They certainly surpass any similar works that we have ever seen. We have also received from Messrs. J. S. Notman & Co., of Boston, a beautiful set of what they call ‘Cabinet Portraits,’ being full-lengths, about six inches by four in size, which deserve the highest commendation. In all our experience in Europe or America we have seen no specimens of the photographic art which surpass either of these artists’ work, which we have do doubt will meet ample appreciation….” p. 125.]

1 b & w (“The Chief Justice and Associate Justices of the Supreme Court of the United States.-Photographed by A. Gardner, Washington, D. C.”) on pp. 72-73 In: “The Justices of the United States Supreme Court.” Harper’s Weekly 12:579 (Feb. 1, 1868): 72-73, 74. [Associate Justice Davis. Associate Justice Swayne. Associate Justice Grier. The late Associate Justice Wayne. Chief Justice Chase. (Associate Justice Nelson. Associate Justice Clifford. Associate Justice Miller. Associate Justice Field.
“In view of this fact, and the additional importance given to the Chief Justice and his assistants, a great deal of interest has been manifested to know more of them; and we therefore give on other pages of this issue of the Weekly accurate portraits of Mr. Chase and the Assistant Justices. Our engraving is taken from an imperial photograph recently published at Washington by Mr. Alexander Gardner. It represents the members of the court attired in the official robes worn by them when upon the bench, but seated in their private room or consultation-chamber, not in the hall of the Supreme Court….” (p. 44)]

Burns, Robert. Tam O’Shanter. With Illustrations by E. H. Miller. Photographed by A. Gardner. New York: W. J. Widdleton, 1867. p. 20, [8] p. plates; photographs; 28 cm.

Palmer, William Jackson, Gardner, A. and Union Pacific Railroad Company. Report of Surveys Across the Continent in 1867- ‘68: On the Thirty-fifth and Thirty-Second Parallels. For a Route Extending the Kansas Pacific Railway to the Pacific Ocean at San Francisco and San Diego. December 1^st, 1868. Philadelphia: W. B. Selheimer, Printer, 1869. 250 p., 20 leaves of plates; ill., fold. Plan, fold map; 23 cm.
[20 artotype plates by Alexander Gardner.]

By the end of the war Gardner, quite frankly, would best Brady in every category of photography –from the production of the historic scenes of the war to gaining the preferred status as unofficial “court photographer” for the Washington officials and politicians. At the same time Brady was embroiled in contentious legal wrangles with many of his former employees and suppliers, trying desperately to salvage fragments of his previous eminence and placing an increasingly desperate hope on patronage from the federal government. Brady became one of many photographers working in Washington and servicing the major industry there, which was the federal government. It was a period of intense activity in the country, with rebuilding the damage and making up for the delays caused by the political divides of the 1850s and 1860s by expanding into the Western territories and tying together the two coasts. Multiple Departments of the U. S. Government – State, Interior, Treasury, the Post Office and Congress itself – would purchase portraits or photographs from various photographers in the course of their activities and list them in their accounts. These purchases varied from $35.00 for a single portrait to thousands of dollars. Brady sold photographs to various agencies of the government throughout his lifetime, in lots ranging from a single portrait of a State Department official to decorate an office, or copies of prints to be used as gifts. But in spite of his many acquaintances in Congress Brady had lost the post-war competition for government patronage to Gardner. Traces of Brady’s loss of dominance in the Washington arena can be found in the labyrinth of U. S. Congressional documents published after the war. Trolling through these documents, one finds that while Brady or Brady & Co. receive various small jobs, the great majority of these commissions after the war went to Gardner. In 1869 the State Department paid Brady $122.00 for photographs, but it had spent similar amounts or more with other photographic galleries during the same period, and it had also paid Gardner $861.00 for “portraits” and “photographs,“ plus an additional $673.00 for copying maps for the Northwest Boundary Commission. And while there were a few commissions to Brady from various branches of the government through the 1870s a much larger amount of custom went to Gardner’s gallery during that time. In 1869 Gardner was paid $1977.47 from the Department of the Interior – which amount was probably associated with his trip west to Fort Laramie in the Dakota Territory in 1868, where he documented the treaties with the Northern Cheyenne and Arapahoe tribes.
As the barrage of economic and legal woes descended upon Brady he began to place more and more hope on selling his collection of war views in a block to a public institution.. After the war Brady had assiduously collected all the photographs of the conflict that he could find to create a permanent record of the war. Nobody else was doing this – certainly no one in any official or institutional capacity; so generations of historians since then have to be grateful for his efforts.
But there were a few slightly shifty issues. As I’ve said, in America the notion of authorship was not clearly attached to photographs during the first few decades of the medium. Early on, less adept Daguerreian “professors” would post other more successful artist’s efforts by their studio entrances to attract customers and while sometimes a good daguerreotypist would get irritated by this, no one understood it to be either illegal or even immoral. Although reputations for gallery employees who actually made the photographs were established within the community, they were seldom publicly acknowledged. And larger galleries would buy negatives made by someone else and sell the prints under their own name or brand. This was customary practice throughout much of the 19^th century. But Brady copied other photographer’s prints to add to his collection, and he did it often without the knowledge or permission of the original maker of the photograph; which was stretching customary practice, especially as photographs had begun to fall under the partial protection of the United States copyright acts in 1865.


“Domestic Intelligence. Congress.” Harper’s Weekly: A Journal of Civilization 9:428 (Mar. 11, 1865): 147. [“February 22: in the Senate… a bill was passed to amend the Copyright Law so as to authorize the copyrighting of photographs; also to require that a copy of every book copyrighted in the United States shall be forwarded to the library of Congress, a failure to do which forfeiting the copyright.”]


In 1866 Brady, with his newspaper friends, mounted an elaborate campaign to sell the collection to the New York Historical Society, and when that failed, he tried to sell it to the U. S. government. Brady still had many friends in Congress and an attempt was made to get Congress to authorize payment to purchase the collection for the Library of Congress. (Which, incidentally at that time, was a closed reference collection for the Congress, and not open to the ordinary citizens of the United States, as it is today.) Brady had photographed almost all of the members of Congress over the years and the initial response was positive, but it is instructive to follow the tortuous path of the bill through the legislative bodies of the House and the Senate during the next few months and years.


“Local Intelligence: Brady’s Historic Exhibition.” New York Times (New York, NY) (Mon. Feb. 26, 1866): 2. [“A quarter of a century has passed away since the discovery of photography. the generation which visits the galleries now devoted to the treasures of that art is that which immediately follows the one which immediately follows the one which was mature enough to wonder at and appreciate the strange discovery of Daguerre… There is now on exhibition at Brady’s Gallery, No. 785 Broadway, a collection of pictures, specimens of the progressive skill and labors during five and twenty years of this patriarch of photography; portraits of remarkable men in all the ranks of life,… To this collection has been lately added a remarkable array of scenes and incidents of the late rebellion. It is proposed to place this complete collection in one of the galleries of the New York Historical Society.” (Statements by officials of the Historical Society follow, plus a letter from General Grant praising the collection and the idea of it being placed in a public institution, then a description of the collection.)]

“Amusements: Fine Arts.” New York Times (New York, NY) (Mon. Mar. 5, 1866): 5. [Brady’s superb collection of war photographs will be exhibited to the public during the present week. the Gallery is at N. 785 Broadway, corner of Tenth-street.”]

“Fine Arts.” New York Herald (New York, NY) no.10,789 (Thurs. Mar. 15, 1866): 6. [“Brady’s Collection of Memorials of the Rebellion.”
“We understand that some agents from Paris and London are now in the city endeavoring to buy up all such mementoes of the war as may be of historic value in Europe, there is perhaps more interest attached to these memorials in the Old World than here; but they should not be permitted to leave this country. Take, for example, Brady’s photographic collection of the prominent men and the interesting scenes of the war. This is a pictorial record so valuable that it ought to become the property of the public and be retained in some public institution, where, like a good book in a public library, the people at large could always have access to it. We have heard that the New York Historical Society were disposed to obtain it, and it would be an excellent idea; but the Society seems to be rather slow about it. Would it not be well for the Chamber of Commerce, which is an Institution identified with the leading interests of the country, to purchase this collection and place it in the new building which they contemplate erecting? This would be a very fit place for it. Or the Commissioners of the Park might make it a most valuable addition to the Museum at the old arsenal in the Park. At all events Mr. Brady’s valuable pictorial library should be retained in some public institution, and should, under no circumstances, be allowed to go to any foreign country.”]

“A National Historical Museum and Portrait Gallery in New-York.” New York Times (New York, NY) (Fri. Mar. 30, 1866): 5. [“If there is little present promise of the appearance of a Horace Vernet to glorify the walls of commemorative galleries with rich canvasses and historical compositions of the late war in the United States, it is at least gratifying that the memorable scenes and personages of that eventful .struggle are not destined to be left wholly without a witness. Thanks to Mr. Brady and to the photographic art, which has come to rank secondarily in importance to “the art preservative of all arts,” there has been made, and is now preserved for present use and future instruction and wonder, a rich and varied collection of all that is notable in the fields where the great battles of the Union were fought and won. ….It is, we understand, proposed by Mr. Brady to transfer this entire collection of war-views, together with portraits… numbering above three thousand pictures, to the Art Galleries of the New-York Historical Society,… We believe Mr. Brady is prompted less by any consideration of pecuniary benefit than by the honorable ambition of making his collection the nucleus of a grand national museum Yet the outlay incurred in producing the collection has been too great to permit its being made a free-will offering by the artist, and hence a Fund is being raised to be applied to its purchase….New York will have in this gallery the life-like portraits of her most distinguished sons, and an everlasting memorial of our great national struggle…. Already the earthly monuments of the war are disappearing as well under the irreverent hand of man as by Time’s effacing finger; the graves and battlefields are o’ergrown with grasses and flowers; and these figments will soon be all that will remain of a mighty and mysterious past.”]

“Historical Photography.” New York Times (New York, NY) (Fri. Mar. 29, 1867): 1. [“Mr. Brady has just made an interesting addition to his large and valuable collection of historical pictures. It is a group of eminent personages, of which the central figure is the venerable philanthropist, George Peabody. Around him are grouped the gentlemen whom he has selected as the trustees of the fund which he has given to advance the cause of education in the Southern States –Gen. Grant, Admiral Farragut, Hon. W. C. Rives, of Virginia; Hon. W. A. Graham, of North Carolina; Hon. William Aiken, of South Carolina; Hon. Robert C. Winthrop and Gov. Clifford, of Massachusetts; Hon. Hamilton Fish and Hon. W. M. Evarts, of New York; and Bishop McIlvain, of Ohio. The grouping of all these persons so as to make an artistic and satisfactory picture is a task of no small difficulty; but Mr. Brady has succeeded admirably, not only in this respect, but in producing very characteristic likenesses of all the persons in the group. If any might be singled out as particularly successful, it would be those of Mr. Peabody and Gen. Grant. But none are poor, while the general effect of the grouping and the care with which every portion of the picture is finished, leave nothing to be desired as a photographic composition. The collection to which this is the latest and not the least interesting addition, is one in which Mr. Brady may well be proud, and which the country should value as above all price. There is no other collection like it, probably, in the whole world, either as respects numbers, interest, or completeness. It forms a pictorial history of this country, embracing a period of nearly half a century. Here are included portraits of all statesmen, generals, and men of letters who have flourished within that period, and here are preserved the most authentic records of the great events through which the country has just passed. Mr. Brady went to Washington about twenty years ago, when the Daguerrean art was in its infancy, and there secured portraits of the prominent statesmen of the day… Coming down to the commencement of the late war, we find Mr. Brady among the earliest in the field. More successful than McDowell or McClellan, he took Bull Run, Manassus, and rebel batteries and trenches by the dozen, the record of his achievements in this line being open to the inspection of all who may choose to visit his gallery. From the first defeat of the army of the Potomac until its triumphal entry into Richmond and the surrender of Lee and of Johnston, Mr. Brady and his assistants were constantly in the field. They participated in every campaign, both in Virginia and the Southwest, and were indefatigable in the pursuit of their art. Not infrequently they adjusted their cameras and took their pictures under fire, while the ground all about them was plowed and harrowed by rebel shot and shell. Taken under these circumstances, Mr. Brady’s war pictures are literally pictures of the war. They tell the story of the great conflict with sad fidelity. There is nothing ideal in this sun picture of the Petersburg trenches, after the final assault—that rebel soldier was really lying there, among the ruins of the battered fortifications, his left temple pierced by the fragment of shell;–such was the appearance of the City of Richmond, on the day after its evacuation by the rebel troops, the tottering walls in the burnt portion still standing, and the streets all deserted and silent. Turning from picture to picture, we can trace the story of the various campaigns as told by that unerring historic artist, the Sun…. Bull Run… the Peninsula… Yorktown… Antietam… Vicksburg… Port Hudson… Chattanooga the panoramic view of this region, taken from the summit of Lookout Mountain, is an admirable specimen of landscape photography, giving the whole sweep of the river as it turns away from the mountain barrier, with all the nearer details clearly and sharply defined, while the distance fades away into aerial mistiness the campaign in the Wilderness is told in these pictures with more vividness than will ever be narrated by the historian… the repulse at Cold Harbor, the passage of the James River, and the long siege of Petersburg are all thus faithfully and vividly chronicled. So also are the incidents of Sherman’s grand march from Atlanta to the seaboard, and the final scenes of the war… Some of the most interesting pictures of the whole series are these portraits… Mr. Brady has taken photographs of every man of note connected with the Union army, and of many of the more distinguished of the rebel officers… Grant…Sheridan…Lee the day after the surrender of he rebel army of Northern Virginia…. a series of photographs from the prison-pens of Andersonville possess a painful interest. These pictures were taken by a union prisoner, formerly one of Mr. Brady’s assistants, to whom Mr. Brady sent through the lines a small camera with photographic materials the rebel officer in charge interposed no obstacles to the taking of pictures, and in this way was obtained a mass of testimony against them which cannot be contradicted. These pictures substantiate all the charges of neglect and cruelty that have been made against the rebel, and it is rather surprising that our men were permitted to carry them away. Besides these photographic records of the war, Mr. Brady has in his gallery a large collection of the portraits of well-known citizens of New-York…. But the most valuable portions of Mr. Brady’s collection, are the series of war pictures and the historical portraits. These, once lost, could never be reproduced… the photographic record of these men, these events and these scenes should be placed where they will be secure from destruction…. They ought to be deposited at once in some fire-proof building, where they could remain as a permanent record of the men and events of our time.”]

“Brady’s Historical Portraits.” Harper’s Weekly: A Journal of Civilization 11:537 (Apr. 13, 1867): 227. [“The engraving upon another page of the trustees of the Peabody Southern Fund is from the photograph made by Mr. Brady, which is the interest addition to his National Gallery of Historical Portraits. For twenty years, beginning at the time when Clay, Calhoun, Webster, John Quincy Adams and Andrew Jackson, were yet living, Mr. Brady has been diligently and incessantly collecting the portraits of all the men of mark of every kind in the country. The war was oppressively rich in materials, but nothing was lost by the indefatigable collector; and to the portraits of the Generals and soldiers of all degree he added the most extraordinary series of war-scenes in the world. The ruined cities still smoking; the terrible battle-fields still gory and palpitating; the trenches; the bridges; the camps; the scenery of military marches and all their incidents—all are contained in this unparalleled gallery. Many of the most illustrious of the originals of these portraits are gone, and every year obliterates the traces of the war-scenery which these pictures have perfectly preserved. Ought such a collection to be exposed to the chances of destruction and dispersal? Ought not our Historical Society, or some Historical Society, to secure for itself and for the country a gallery of such profound and unique interest, which, once scattered, is practically lost forever?”]

“Brady’s Views of the War.” New York Times (New York, NY) (Mon. Feb. 8, 1869): 4. [“Mr. M. B. Brady, the well-known photographer, offers to transfer to Congress, on favorable terms, his extensive and admirable collection of photographic views of the prominent incidents; and scenes of our recent war, together with the portraits of prominent Americans which he has taken during the last twenty or twenty-five years. This proposition deserves the careful and favorable consideration of Congress, to which it is made. No such faithful and lifelike record of any great war exists in the world as that which Mr. Brady has made of our great civil struggle. He made it the special object of his most assiduous efforts during the war to secure those memorials of its most striking incidents. Wherever anything of interest or importance was going on, in any section of the country and at every period of the contest, Mr. Brady was certain to be present, either in person or through his agents, and his apparatus became as familiar to every division of the army as the headquarters of its Commanding-General. In this way we have accurate and invaluable pictorial views of everything that happened—of everything memorable connected with it-such as make it easy to reproduce to the mind’s eye the whole series of its events, and give them a direct and impressive interest to be gained in no other way. Included in this collection are the portraits of over 2,000 persons—mainly prominent and distinguished Americans, Generals, members of Congress, men of mark of every class and position in public life, but including also foreign Ministers, distinguished visitors, &c, &c. These give completeness to the whole, and make it unique and invaluable. We hope some steps may be taken which will insure the preservation of this collection. Most of the material from which the views were made have ceased to exist. The battles are over,—the forts, bridges, &c, have been destroyed,—the camps have been broken up, most of the actors have disappeared, and the whole of the splendid but tragical pageant has vanished. These views are all that remain to represent them to the eye, and too much care cannot be taken to prevent the same decay and destruction from overtaking them which has swept away their originals. We hope Congress will take such action as may be required.”]

“Brady’s Gallery of the War.” New York Herald (New York, NY) no.11,862 (Wed. Feb. 10, 1869): 6. [“Mr. Brady, the well known photographer, is now in Washington, endeavoring to secure the passage of a bill to authorize the purchase of his Gallery of the War by the United States government. Surely this is a purchase which the government ought to make. This unrivalled collection of photographic views of battle fields, mountain passes, valleys, streams, prisons, cities, villages, camps and other memorable scenes of the war, taken at the time and on the spot, possesses an inestimable value. It offers a bird’s eye view of the whole eventful period. Such a pictorial chronicle of the war must prove infinitely useful to the historian and the historical painter. If any thing like it had illustrated the wars of the Greeks and Romans how much more familiar should we be with the customs, costumes and life of antiquity. Xenophon’s “Anabasis” and Caesar’s “Commentaries” would have been rendered far more intelligible and interesting. The collection of Mr. Brady comprises new and rich treasures as a contribution to the history of a war which forms an epoch not only in the annals of this nation, but in the affairs of mankind. The information supplied by it could be replaced from no other source. We are glad to learn that Senator Cameron, Mr. Lincoln’s first Secretary of War, Mr. Stanton, his successor, and General Schofleld, the present Secretary of War, unite in enthusiastic recommendations of the proposal to make Mr. Brady’s gallery the property of the nation. We are sure that General Grant and all the other officers of the army would heartily favor the purchase of this invaluable collection. Every citizen of the United States would take pride in seeing it permanently placed at the Capitol. The price at which it can be secured is but a trifle in comparison with its importance as a desirable national acquisition.”]

“The Fortieth Congress. Third Session. Senate.” New York Herald (New York, NY) no.11,866 (Sun. Feb. 14, 1869): 3. [“Washington, Feb. 13, 1869.”
(Etc., etc.)
“Bills Introduced.”
(Etc., etc.)
“Brady’s Pictures of the War.”
Mr. Wilson, (rep.) of Mass., offered a resolution instructing the Library Committee to inquire into the expediency of securing for the government the collection of Brady’s war photographic views now in his possession in Washington. Adopted.”
(Etc., etc.)                                                                                                                                                                                         ]

“Washington. Fortieth Congress. Third Session. Senate… Bills Introduced. Brady’s War Pictures…” New York Times (New York, NY) (Sun. Feb. 14, 1869): 1. [“Bills Introduced.
Mr. Cole introduced a bill granting lands to aid in the construction of a railroad from Stockton, Cal., to a point in connection with the Southern Pacific Railroad. Referred to the Committee of Railroads of California.
Mr. Spencer introduced a bill fixing the status of certain soldiers enlisted in the United States Army from Alabama. Referred to the Committee on Military Affairs. Also, a bill to provide for the improvement of the river, bay and harbor of Mobile. Referred to the Committee on Commerce.
Brady’s War Pictures.
Mr. Wilson offered a resolution instructing the Library Committee to inquire into the expediency of securing for the Government the collection of Brady’s war photographic views, now in his possession in Washington. Adopted.
New York Revenue Frauds.
Mr. Cragin offered a. resolution directing the Attorney-General to inform the Senate…”]

Croswell, Edwin. “Brady’s Gallery of National Personages–Suggestions as to its Preservation.” New York Times (New York, NY) (Mon. Mar. 1, 1869): 5. [“To the Editor of the New-York Times: Several of the leading City Journals have brought to the public consideration, with much force, within the past year or two, the value and importance of some effective made to place on a secure basis for use and preservation Mr. Brady’s invaluable collection of what may be not inaptly styled national photographic portraits. The extent and completeness of this collection is well known. It has probably no superior in the galleries of photographic art in the world; certainly none in the United States. It needs no minuteness of description from me. It is sufficient that, it embraces most of the prominent men and many striking scenes of a marked stretch of time in the history of the nation—historical names before the civil war, and participators in the war, on both sides of that dire conflict. All paintings, pictorial sketches, and we may now include photographic portraits, which float about in marked periods of a nation’s history, are necessarily of an ephemeral existence and are lost, unless collected and preserved by a nation’s care and fore-thought. In the lapse of time, these will be mainly effaced from the recollection or knowledge of coming generations, and can be traced only by “counterfeit presentments” through the aid of canvas or photography. The latter opens a source of transmission of the lineaments of statesmen, heroes, publicists, poets and writers, unknown to the ancients, but precious to us and to the age in which we live. If the products of this last mode of transmission be not treasured and preserved, one generation may look in vain to antecedent times for anything like a general knowledge of the features of historical personages. For the few portraits of the men of the Revolution to which there is anything like public access, we are indebted to the fortunate circumstance that Col. Trumbull was not less an artist than a patriot and a member of Gen. Washington’s staff, who persisted in perpetuating in canvas (then no other mode) the Signers of the Declaration of Independence, and the four accompanying interesting Revolutionary scenes—the “Battle Before Quebec,” (“Death of Montgomery,”) the “Surrender of Burgoyne,” “Washington Taking Leave of the Army,” and the “Surrender of Cornwallis,” These four paintings embrace nearly all the Revolutionary faces, (except occasionally family portraits in the seclusion of private life,) which have been preserved beyond the period in which they figured. In the instance of the Signers of the Declaration, they have undoubtedly the merit, of fidelity, since Col. Trumbull was in intimate association with them at the time, and most of them sat to him. This remark is less applicable to the surrender pieces, and to Gen. Washington’s leave-taking; for most of the participants, it will be seen, whether American or English, look alike—an objection which could not exist in the use of photography, for exact art being the limner, the portrait must be true to life. But Col. Trumbull’s efforts to multiply copies for general circulation by engravings, were attended with peculiar difficulties. The art of engraving not being sufficiently advanced in this country to produce the superior style of line engraving required by his artistic eye, he proceeded to London, and at large cost brought out the admirable series of line engravings, not, however, until long afterward known to his countrymen, beyond a few intimate friends. When brought home, finding he could not afford them at less than $50 each set, and not meeting with a ready appreciation and sale at that price, he indignantly nailed them up in boxes, and did not open them until the lapse of fifty years! Thus, perhaps, a thousand scattered engravings and the four fine paintings in the rotunda of the Capitol at Washington, are all that remain of the revolutionary portraits which can by possibility be open to the general public eye. But who would part at any price with these inestimable relics of revolutionary life! And yet what a combination of circumstances it required to gather and preserve (in the absence of photography) even these few to the present time! In their notices of this subject, and the importance of preserving this great collection for future use and observation, and from the hazard of fire and the certainty of being scattered and dispersed, the Press have suggested that it be purchased by or deposited with the New-York Historical Society. Certainly to the keeping of no institution, not national in its organization, could it be more appropriately confided than to a Society which occupies an exalted place in the annals of history and letters in this country. But this collection is national in its nature, and ought to belong to the nation and be deposited where it may be open to the inspection at will of citizens of all quarters of the Republic. Hence its true position is in the Capitol at Washington, in an appropriate room, open at certain hours every day. And certainly in no place in the Union could it be more securely deposited, more easy of access, and where more ample room for its occupancy could be so easily provided. The effect of this collection at the seat of Government upon the popular mind in all sections could not fail to be salutary. The gathering, as it were, of citizens of all quarters of the Republic, face to face, in a single gallery, would contribute to revive and perpetuate a spirit of good-will; and while it served to dissipate old prejudices, would enkindle a sacred love of country and promote a spirit of good-fellowship. Aside from these considerations, Mr. Brady’s zeal nearly from the origin of the photographic art to the present moment, the devotion of his great establishment for years to this object, his liberal views and large expenditure, the persistent and well-directed efforts with which he has pursued the original design during all the interesting years and striking events of his times, deserve recognition and are entitled to reward. Edwin Croswell. No. 348 Lexington –avenue, Washington’s Birthday, 1869.”]

The Congressional Globe and Appendix. Third Session Fortieth Congress; In Three Parts. Part II. Congressional Globe. Washington: Office of the Congressional Globe, 1869. 3 vol.
[“In Senate.”
“Saturday, February 13, 1869.”
“Petitions, Etc.”
“Brady’s War Views.”
“Mr. Wilson. I offer the following resolution, and as it is simply one of inquiry I ask for its present consideration:
Resolved, That the Committee on the Library be instructed to inquire into the expediency of securing for preservation by the Government a collection of war views and incidents photographed by Mr. M. B. Brady, and now in his possession in this city.
There being no objection, the Senate proceeded to consider the resolution.
Mr. Wilson. Mr. President, Mr. M. B. Brady, photographer, during the war followed the Army, and with an able corps of assistants took views of war scenes and events, embracing almost everything of interest to the historian or the professional soldier; every possible variation of camp life, the many contrivances and inventions of the soldiers to render themselves comfortable, sanitary measures, appliances for embarkation and debarkation of troops, destruction of railroads, speedy building of bridges, saw-mills, and road-making. In addition, he has numerous views of Union and rebel forts complete and dismantled, showing the effect of fire; views of ships of war, transports, rebel rams, and torpedo boats. He has purchased since the war a large number of similar works from others, and he has portraits of all the distinguished generals and statesmen; the whole comprising a very valuable collection, and one which if accidentally destroyed can never be replaced, and gives the best idea of the herculean task accomplished by our Army and Navy. These views are now in a building which is not fire-proof, and their preservation therefore becomes a matter of grave importance. Mr. Brady has received since the war many offers for the purchase of his collection by public institutions, but has refused them all, believing that it should belong to the national Government and be preserved from injury or destruction at the Capitol, where free access could be had by the historical student, the artist, Army and Navy, and the public generally. Mr. Brady has spent much time, money, and personal effort to complete this collection, and it is, in fact, the principal work of a busy life. He is naturally anxious that his labor should not be in vain, and that a work so interesting to every patriot should not be longer exposed to the risk of loss or destruction.
The resolution was adopted.”                                                                                                  (p. 1159)]
                                                                                                ———
“Evening Session.”
“Mr. Wilson. I present the memorial of Matthew B. Brady, relative to a national and historical collection of portraits. Mr. Brady sets forth that after the commencement of the war he employed a corps of artists who have taken views of battle-fields, military camps, bridges, and other matters of that sort, and he asks some action by Congress on the subject. I move the reference of the memorial to the Committee on the Library.
The motion was agreed to.”                                                                                                    (p. 1280)
                                                                                                ———
“In Senate. February 23, 1869.”
Reports of Committees.
“Mr. Morgan. I am directed by the joint Committee on the Library, to whom was referred the memorial of Matthew B. Brady, asking Congress to take the necessary steps to procure the collection of war views and incidents photographed by him during the rebellion, to report it back and to ask to be discharged from the further consideration of the memorial on the ground that there is not sufficient time to consider it at this session of Congress, and without expressing any opinion thereon.
The report was agreed to.”                                                                                                     (p. 1480)]
[41^st Congress, 2^nd Session]

Journal of the Senate of the United States of America, during the Third Session of the Fortieth Congress; Begun and Held at the City of Washington, December 7, 1868, in the Ninety-Second Year of Independence of the United States. Washington: Government Printing Office, 1869. 631 p.
[“Tuesday, February 23, 1869.”
“…Mr. Pomeroy presented a petition of Alexander Gardner, praying that Congress may purchase his collection of photographic memorials of the late war; which was referred to the Committee on the Library. (p. 320)
(Etc., etc.)
“Friday, February 26, 1869.
“On motion by Mr. Morgan.
Ordered. That the Committee on the Library be discharged from the further consideration of the following petitions and resolution:
The petition of Alexander Gardner.
The petition of the Pennsylvania Academy of Fine Arts.
(Etc., etc.) (p. 335)]

The proposal to purchase the Brady collection, laid over from the Second Session, was taken up again in the third session of the forty-first Congress.

Journal of the House of Representatives of the United States: Being the Second Session of the Forty-First Congress; Begun and Held at the City of Washington, December 6, 1869, in the Ninety-Fourth Year of the Independence of the United States. Washington: Government Printing Office. 1870.
[“House of Representatives.”
“Wednesday, April 20, 1870.”
“The following memorial, petitions, and other papers were laid upon the Clerk’s table, under the rule, and referred as follows:
By Mr. Benjamin: The petition of Edward Williams, heretofore referred January 5, 1864, praying for a pension, to the Committee on Invalid Pensions.
By Mr. Blaine: The memorial of M. B. Brady, proposing to dispose of his national photographic gallery of statesmen to the United States, to the Committee on the Library.
By Mr. Asper: The petition of citizens of Missouri, praying for a pension to the widow of Joseph R. Stille.
(Etc., etc.)                                                                                                                                               (p. 641)]

41st Congress, 3d Session Report No. 46. House of Representatives.
Reports of the Committees of the House of Representatives, 1870-‘71. Third Session of the Forty-First Congress. Washington: Government Printing Office. 1871.
[                                               “Brady’s Collection of Historical Portraits.”
March 3, 1871-Ordered to be printed and recommitted to the Joint Committee on the Library.
Mr. Peters, from the Joint Committee on the Library, made the following
                                                                        Report.
The Joint Committee on the Library, to whom was referred the memorial of M. B. Brady, of New York, photographer, proposing to the Congress of the United States the purchase of his National Collection of the portraits of eminent Americans, embracing those of our most illustrious statesmen, legislators, jurists, journalists, inventors, authors, artists, explorers, soldiers, sailors, and representative men of various classes, having duly considered the same, submit the following report:
The work of forming and completing the large and varied Collection of Portraits embraced in the catalogue of Mr. Brady’s gallery, has been the Occupation, in a prime measure, of thirty years of his business life, during which period, as is well known, his superiority as a photographic artist has earned for him national recognition and distinction. His collection presents, in the highest perfection to which the photographic art has attained, an historical gallery in which the most illustrious men in our history are embraced, and is therefore a property unique in its character and interest, and of a value not to be estimated solely by a pecuniary standard. It is, as it were, a Photographic Pantheon, in which the votive genius of American art has perpetuated, with the unerring fidelity with which the lens of the camera does its inimitable work, not only the likeness of form and feature, but the very countenances, with their living and natural expression, of those in whose achievements in all walks of life the American heart takes pride, and whose memory we endeavor to glorify by whatever means it is in our power to exert.
There are many considerations which are of controlling influence in the conclusion to which your committee have arrived, that such a collection as the one in question-one so comprehensive and national in its character, and so impressive with patriotic and personal associations, in the fact that all its portraits have been taken from actual life-should not be permitted to remain subject to the vicissitudes of mere personal ownership, but, for the sake of its preservation and permanent safety, should become the property of the Government.
As the mere illustrator and exponent of the photographic art, now so universal in its adaptation to the highest human tastes, and so conducive to human welfare and happiness, in the possession of our Government this Collection of Historical Portraits would become a monument to the inventive genius of our own country, through which photography has reached its present degree of perfection. As a memorial (p. 1) of the illustrious dead, whose names are connected with the great events of American history, there can be no more worthy act performed by the Congress of the United States than to secure for it a fixed place of deposit in the Library of Congress; while the collection, placed there in an accessible and suitable form for general inspection and study-an historical album both of the living and of the dead-would be a constant source of national gratification, and its locality the very shrine of patriotism. “A portrait,” according to an eminent authority, “is superior in real instruction to half a dozen written biographies;” nor can we doubt that the purchase by the Government of this Collection, and its exhibition in the Library, will fail to exert the most salutary influence, kindling the patriotism as well as the artistic taste of the people. Through its means the country will become possessed of a rare collection of the portraits of her most distinguished sons. A collection around which not alone the idle and the curious will linger, but to which the artist will resort for the faithful representations of men, many of whom the eye may no longer behold, and where the historian may enrich his page with glimpses of life-like reality.
The gallery, in the form in which it is proposed by Mr. Brady to convey it to the Government, contains an aggregate of two thousand portraits, or thereabouts, and the same are to be uniformly mounted, classified, and bound, under the direction of the Joint Committee on the Library, or otherwise, as Congress shall direct. With reference to the price to be paid to Mr. Brady, and for which provision is made in the bill to be submitted, your committee have to say that the sum named is one which has been determined upon between your committee and the memorialist; and while falling short of the expectation of the latter as to the sum which, in view of the value of the property, might reasonably be demanded, is one, nevertheless, which, having been proffered by your committee, he has finally concluded to accept.”                                                                                                                          (p. 2)]


The first effort in Congress to get the “Brady collection” into the Library of Congress just peters out without any clear reason published in the official documents. Some scholars have argued that Gardner’s protests during these sessions, based on the fact that he felt that Brady had stolen a lot of the photos from him, were the cause for the Library of Congress’s failure to acquire the collection at that time. I have not seen Gardner’s protests mentioned in the published documents, although Gardner did have a petition to have his photographs acquired by the Library of Congress filed on the same day that Brady’s petition was tabled until the next session, and then Gardner’s petition was dismissed three days later, apparently without published commentary. Perhaps this was a way to get Gardner’s protest onto the Congressional floor for debate. I can state that the normally non-political Gardner joined the nascent National Photographic Association in 1869, was elected a regional vice-president and then led a group of photographers to Washington to successfully petition for an extension of the Copyright law to better cover photographs by having copies deposited at the Library of Congress. After that Gardner didn’t really have much contact with the NPA.


See:
“The Exhibition and Meetings of the National Photographic Association.” Philadelphia Photographer 6:67 (July 1869): 205-237 and “The Photographic Copyright Law.” Philadelphia Photographer 7:80 (Aug. 1870): 299-300.


Brady had previously placed portions of his collection with the E & H. T. Anthony Company as security of a large debt for supplies and materials which he had amassed over the years and that collection had been placed into storage and when Brady finally defaulted on the debt, it was put up for auction just as the attempts in Congress to buy Brady’s collection had failed. The War Department, (Now known as the Department of Defense.) which had discretionary operating funds for which it did not have to acquire prior Congressional approval to use, bought the “Brady Collection” at the auction at a bargain price of about $2,500. So for a few thousand dollars a large part of this collection touted to be worth $100,000 to $150,000 dollars wound up in the War Department under the control of the Signal Corps. Later inventories show some conflicting numbers on these materials, but roughly speaking, about three quarters of the collection consisted of studio portraits of military and political figures, most of the views were of architecture around Washington, and of the thousands of prints about 700 depicted actual field operations of the armies.
Then Brady’s friends in Congress made another attempt to acquire the remainder of the “collection” for the Library of Congress. In 1875, amidst the political and personal quibbling as the 43rd Congress was drawing up and approving or disproving its budget items on the Sundry Civil Appropriations Bill one by one, – $25,000 for a statue in Washington, D. C. , $8,000 to improve a bit of land on Maryland Avenue or Missouri Ave (The senators are not sure which), $5,000 to knock down a fence they had just put up, $25,000 to survey and build public roads in the new Yellowstone Park, – Senator (former General) Butler of Massachusetts slipped in a request for $25,000 “To enable the Secretary of War to acquire a full and perfect title to the “Brady collection of photographs of the war,” and to secure by purchase the remainder now in the possession of the artist, $25,000.” Later in the session, when this item is challenged, Senator (former General) Garfield gives an impassioned speech defending it. – and this time the request stayed in the bill.


Congressional Record and Appendix. Proceedings and Debates of the Forty-Third Congress, Second Session. Part III. [From February 23, 1875, to March 3, 1875.] Washington: Government Printing Office, 1875. 815 p. (pp. 1665-2276, 204 p. index); 23 cm.
[“…Mr. Conger. But there is no appropriation to pay the claims allowed in the Departments under the existing law to soldiers who have incurred losses of this kind. From my knowledge of the subject, I think there has been more neglect and less care exercised in Congress in providing for this class of claims than any other. This appropriation will meet a few of those cases. I hope the House will not concur in the amendments of the Senate.
Strike out lines 1544 to 1547, as follows:
To enable the Secretary of War to acquire a full and perfect title to the “Brady collection of photographs of the war,” and to secure by purchase the remainder now in the possession of the artist, $25,000.
Mr. Garfield. We recommend non-concurrence in the amendment of the Senate striking out this paragraph.
Mr. Holman. hope we shall concur.
Mr. Butler, of Massachusetts. I hope not; and I know my friend from Indiana [Mr. Holman] would not so desire if he understood the case. The Secretary of War purchased from Mr. Brady, the photographer, a part of a gallery of photographs of all the scenes of the war and all the leading men in the war, a collection that must be very valuable hereafter in connection with the history of the war. The rest of this collection remained in Mr. Brady’s hand. The title under which the Secretary of War purchased the part already obtained was acquired from forfeiture for non-payment of the storage.
It is very doubtful whether the Secretary of War has a valid title. But that part of the collection has already been purchased; and now the object of this provision is to close up the whole thing and give the Government entire control of this collection, which would be worth at a commercial valuation more than $150,000.
Mr. Merriam. Then why does Mr. Brady sell it to the Government through this appropriation for $25,000?
Mr. Holman. I do not think this is a sort of expenditure that this Government ought to make. Does any gentleman suppose that if the Government does not become the owner of this collection it is therefore lost to the country? Are we to assume that nothing which has connected with it anything of patriotic recollection must be a matter of private enterprise or private ownership? The truth is that for a Government in our condition, embarrassed financially, obliged to resort to heavy taxation to meet current expenses-for a Government in this position to make expenditures for any purpose not absolutely necessary seems to me entirely unwarranted and is in violation of the pledge made by one hundred and forty-nine members of this House, that during the present session no money should be appropriated except where imperatively required for the public service. I insist that there is no necessity for this expenditure; that it is not even warranted by good taste. To preserve and perpetuate the memories connected with the recent great struggle it is not necessary for us to take a collection of photographs here and there. Every city and town and village and hamlet in this country preserves and perpetuates whatever was valuable and glorious in the late struggle. It is not necessary that Congress should in this way burden still further the people of this country by oppressive taxation to do that which the people are taking care of themselves, and for the doing of which they will not thank us, when it involves additional taxation. I hope that an appropriation like this, even though it be only $25,000, will not be sustained by the House.
Mr. Garfield. I wish to say but a word; I dislike to detain the House at all. Here is a man who has given twenty-five years of his life (and the life of any man, however humble his station may be, is worth something considerable) to one great purpose-to preserving national monuments so far as photographic art can do it, with a view of making such a collection as nowhere else exists in the world. I suppose that this is the only collection that contains original photographic plates and ambrotypes and even the earlier daguerreotype plates of our Presidents, beginning away back as early as Jackson and coming down to the present time, embracing all the great executive leaders of this country, all the military and naval heroes during that period, as well as all the scenes of great national importance. This man went so far as absolutely to send his organization into the field, and some of his men were wounded in going so near the battle-field to take pictures of the fight that was going on.
Now, when a man has followed up a purpose like this, and finally has fallen into misfortune and become broken down in his property, so that this vast collection which a few years ago it was said ought to be worth one hundred or one hundred and fifty thousand dollars had to be sold to pay for storage in a warehouse where it was kept, the Government of the United States becoming a buyer for $2,500 and getting three-fourths of the collection for that sum-under these circumstances, I submit, this great Government should not take advantage of a man’s distress. I do not mean to say that the Secretary of War did wrong in purchasing this collection in the manner he did; he did right; he ought to have purchased it wherever he could purchase it cheapest. But this Government, this Congress, ought not to stand by and say “we will take advantage of this citizen in his distress.” I think that this provision of the bill ought to be retained. It is just, it is a good purchase for the Government of the United States, and it is a great mercy to a suffering and worthy man..
The amendment of the Senate was non-concurred in.                                                                                                           (p. 2250)]


Here’s the problem. The government paid $25,000 for materials it already owned “To enable the Secretary of War to acquire a full and perfect title to the “Brady collection of photographs of the war,” and “to secure by purchase the remainder now in the possession of the artist.” Apparently a humane and liberal thing to do. And this bill did get through Congress, and Brady finally received those funds.
But the other end of the equation is not so great. Additional groups of “Brady’s Civil War photographs” would keep turning up during Brady’s lifetime and even after his death. Thousands of photographs, which presumably had been sold to the government, started to turn up hidden away in various attics or barns or sheds scattered about the countryside. It seems that Brady had made at least two copies of everything, or at least of a lot of the stuff, and he had put together collections in both New York City and in Washington; – a fact he may not have mentioned to the government. Parts of the collection had been hidden away from his creditors, parts just seem to have been lost or mislaid.
Those prints that were now owned by the government moved around within the various agencies over the years. At one time the State Department held prints, as did the War Department, which were eventually moved to the National Archives. Additional holdings were at the Library of Congress and gradually some or all these daguerreotypes and prints were shifted to the Library of Congress. But every record of the collections lists differing subjects and different amounts of the items in the collections. It actually becomes quite confusing to track the various parts of the “Brady” collection that show up at various times and the torturous way they finally, in the mid 20^th century, get assembled into the Library of Congress archives; and it would take another essay to do so. Fortunately, someone has done that and done it well. See: Guide to the Special Collections of Prints & Photographs in the Library of Congress. Compiled by Paul Vanderbilt. Reference Department. The Library of Congress. Washington: 1955. 200 p. 26 cm.
Things go quiet for a while. Brady continued to work as a photographer, on a much reduced scale, working with his wife’s nephew until he lost the Washington Gallery in the 1880’s to another round of lawsuits for unpaid debts. Then in other galleries with other partners off and on, but he is no longer the major player he once was, his health was deteriorating, and he was drinking. Photography had become a more commonplace and familiar activity and the simple act of photographing something was not in itself necessarily newsworthy. The fad for collecting cartes-de-visite and stereos had peaked, then flattened out
And a period of time occurred when an interest in photography and specifically in its role in documenting the civil war had slipped out of the public consciousness for a while.
As I said previously, after the war the magazines turned their interest to current events and of course a number of history books were published immediately following the war; but the difficulties and expense inherent in publishing illustrations limited the number of illustrations in these books. For example W. A. Crafts’ two volume, 1300 page The Southern Rebellion: Being a History of the United States from the Commencement of President Buchanan’s Administration through the War for the Suppression of the Rebellion… proudly states that it is “Illustrated with Elegant Steel Engravings from Original Designs and Photographs, Executed Expressly for the Work.” Each volume holds about twenty full-page engraved portraits of military or political figures – about half of which are credited to be “from a photograph.” Only one image, of the Union General Quincy Adams Gillmore, facing p. 569 in volume one, is credited “Engraved by H. Wright Smith, from a Photograph by Brady,” although several of the others could also possibly be by Brady. This is typical of most of the books published at this time. The two publishers who could have been in position to use more photographically-derived illustrations would have been Harper’s Pictorial History of the Civil War and Frank Leslie’s Illustrated History of the Civil War. Frank Leslie had used far fewer images from photographers in his magazine during the war and very few, if any, were reproduced in the 1866 book. The Harper’s Pictorial History of the Civil War is profusely illustrated with woodcuts, most of them reprinted from the earlier Harper’s Weekly magazine. But the illustrations are not used as they were in the magazines; and, unlike in the magazines, no credits are given for any of the illustrators. Thus dozens of Brady’s portraits of military figures are republished here, as are scenes from his views of Gettysburg several weeks after the battle; as well as views by Gardner and other photographers., but an inaccurate footnote on p. 401 is the only credit given to any photographer in this volume.

1 b & w (“At the Fence.) on p. 401; 1 b & w (“Burying the Dead.”) on p. 401; 1 b & w (“The Stone Bridge over the Antietam.”) on p. 402; 1 b & w (“Site of a Battery.”) on p. 403; 1 b & w (“Scene of a Charge.”) on p. 403; 1 b & w (“Behind a Breastwork.”) on p. 403; 1 b & w (“Shelter for Wounded.”) on p. 403 in: “Scenes on the Field after the Battle.” “Chapter XXIII. “The Invasion of Maryland.—Antietam.” pp. 393-405.in: Guernsey, Alfred H. and Henry M. Alden. Harper’s Pictorial History of the Civil War. Part Second.
Chicago, IL: McDonnell Brothers, 1868. 836 p., illus., facsims., maps, plans, portraits.; 41 cm.
[“These views, and those on page 403, are reproduced from Photographs by M. B. Brady, taken a day or two after the action. They are introduced as presenting the real aspect of a great battle-field. My acknowledgments are due to Mr. Brady for access to, and free use of his immense collection of scenes and portraits.” (p. 401)
The photographs are by Gardner and Gibson. The editors selected illustrations from the Harper’s Weekly magazine to illustrate the two folio-sized volumes, but the illustrations are not used in the same order as they were in the magazines and, unlike in the magazines, no credits are given to the illustrators. Thus dozens of Brady’s portraits of military figures are republished here, as are scenes from his views of Gettysburg several weeks after the battle; and views by other photographers., but this inaccurate footnote on p. 401 is the only credit given in this volume. WSJ]

So, as Brady was experiencing grave difficulties in his professional and private life, his name was also falling out of the public eye. Then, gradually, as the Union held and the rancor cooled, the country began to interest itself in the war again. Veterans’ organizations flourished. Generals argued over the critical decisions and fought the battles again, this time on paper. Memories were reported and memoirs were published. The government launched a massive publication program The War of the Rebellion: A Compilation of the Official Records of the Union and Confederate Armies. Published under the direction of the Secretary of War, which produced 128 volumes over the next twenty years in a sustained attempt to get the participant’s experiences on record before they all died off.
Similar “civilian” publishers developed ambitious printing programs as well. The Century Illustrated Monthly Magazine published an extensive series of articles about the Civil War during the 1880s, then cumulated the articles and published them in a four-volume set of books. This was a very large project which managed to collect many of the experiences and memories of the veterans of both sides of the conflict. Each of these articles was profusely illustrated with excellent engravings of maps and illustrations which had been transposed from earlier sketches by combat artists or the soldiers, or from photographs. The magazine used as many photographs as they could find. The source of many of these illustrations was from materials held by the Boston Commandery of the Loyal Legion, a Union Army veteran’s organization which had built a collection of war photographs.
A common practice runs throughout the published series. Portraits by Brady – and portraits by other photographers – are usually credited. Views of military activities, troop maneuvers, battlefield aftermath views, etc., are liberally used, but only credited “From a Photograph.” Brady’s portraits were cited 83 times throughout the run of this series and more than 100 times in a subsequent series on Abraham Lincoln, while no other photographers of the field views and battlefield sites were mentioned by name. This practice inadvertently implied to the general audience that Mathew Brady was the premier war-time photographer. The extended series in the Century Magazine and the consequent books helped establish a narrative about the photographic coverage of the war and also helped to re-establish Brady’s reputation as a war photographer in the public mind. When the books were published, there had been time to do some research and they were more complete and inclusive in their citations, with credits to Gardner, A. J. Russell and others as well as those to Brady.

   
      

      

“Stonewall Jackson in Maryland: Harper’s Ferry and Sharpsburg.” Century Illustrated Monthly Magazine 32:2 (June 1886):296-308.
[1 illus. “A Union Charge through the Cornfield.” [Probably by the Century Magazine’s artist. WSJ.] p. 296.
1 b & w “Confederate Dead on the West Side of the Hagerstown Road opposite the Corn-field. (From a Photograph.)” p. 296.
1 b & w “Major-General Joseph K. F. Mansfield. (From a photograph by Brady.)” [Probably a carte-de-visite] p. 297.
1 illus. “Charge of Irwin’s Brigade at the Dunker Church. (By Edwin Forbes, after his sketch made at the time.)” p. 298.
1 b & w. “Brigadier-General William E. Starke. (From a Tintype.)” p. 299.
1 b & w. “After the Battle – Position of the Confederate Batteries in Front of Dunker Church. (From a Photograph)” [Dead bodies, broken caisson, with a building in the far background. WSJ.] p. 299.
1 illus. “Sumner’s Advance – Frenches Division Closing up on Roulette’s Barns and House – Richardson’s Division Continuing the Line far to the Left. (By Frank H. Schell, after his Sketch made at the Time.)” p. 300.
3 b & w. “Roulette’s Farm. (From a recent photograph)” [Actually three sketches of farm buildings. WSJ.] p. 301.
1 b & w “South-Eastern Stretch of the Sunken Road. (From a recent photograph) “p. 301.
1 b & w “The Sunken Road, or “Bloody Lane.” (From a recent photograph)” p. 302
1 b & w “Confederate Dead in the Sunken Road. (From a Photograph.)” p. 302.
1 illus. “Scene of the Ruins of Mumma’s House and Barns.” (By Frank H. Schell, after his Sketch made at the Time.” p. 303.
1 b & w. “The Sunken Road, Looking East from Roulette’s Lane. (From a recent photograph)” p. 303.
1 b & w “Major-General Israel B. Richardson. (From a photograph by Brady.)” [Studio portrait. WSJ.] p.304.
2 b & w “Confederate Wounded at Captain Smith’s Barns, West of Sharpsburg. (From a Photograph)”
[A field crowded with tents and canvas flies sheltering wounded from the sun. WSJ.] p. 305.
1 b & w “On the Line of a Scattered Fence. (From a Photograph)” [Dead body and a new grave. WSJ.] on p.306.
[The article combined portraits, photos from the war, war-time sketches, contemporary photos of the site and a sketch by a contemporary artist, to present precise and richly detailed information about this skirmish that took place during the larger military campaign. The illustrations and layout matched and enhanced the specificity and authority of the texts in the article. A quality effort at using visuals in this magazine. WSJ]

“Material for the illustrations, which form a most striking and not the least important feature of the work, has been received from all sides, as will be noted in the table of contents. Special acknowledgment is due to the Boston Commandery of the Loyal Legion, to whose complete set of the Gardner and the Brady photographs, as well as to other material, access has been had from the beginning of the series. Colonel Arnold A. Rand, Secretary of the Boston Commandery, and General Albert Ordway have rendered valuable aid in connection with the Brady and the Gardner photographs and in other ways. The importance of accuracy has been kept constantly in view in the preparation of the illustrations-a laborious work which has been executed under the direction of Alexander W. Drake, Superintendent, and W. Lewis Fraser, Manager, of the Art Department of the Century Co.
The Editors. New York, November, 1887.”                                                                                                                             (p. xi)]

The level of detail in the narrative texts is impressive; as is the unusually careful attempt to correctly identify the source or maker of the images.

                            

Battles and Leaders of the Civil War. Being for the Most Part Contributions by Union and Confederate Officers. Based upon “The Century War Series”. Ed. by R. U. Johnson and C. C. Buel, of the Editorial Staff of the “Century Magazine.” New York: Century Co. [c1884-1888] 4 v., fronts., illus. (incl. ports, maps, facsims.) 27 cm.
[“Contents of Volume One”
Frontispiece, “The Bugle Call.” From the lithograph by D. C. Fabronius of the painting by William M. Hunt                           VI
Preface…                                                                                                                                                                                IX
Illustrations: Camp Gossip, from Gardner photo.; and Confederate Wooden Canteen (W. Taber).
List of Maps.                                                                                                                                                                            XXII
List of Artists                                                                                                                                                                           XXIII
List of Draughtsmen…                                                                                                                                                             XXIII
List of Engravers..                                                                                                                                                                   XXIII
Introduction.
Preliminary Events. From The Charleston Convention to the First Bull Run
Illustration: The Reveille (W. Taber).
Organization of the Two Governments
(Etc., etc.)
Washington on the Eve of the War.        General Charles P. Stone…                                                                                    7
Illustrations: Rotunda of the Capitol in 1861, from photo, lent by General M. C. Meigs (E. J. Meeker) — Map of the United States in 1861, showing Military Posts occupied by United States Troops January 1, 1861, and Approximate Limit of Territory controlled by the United States Forces July, 1861 (Jacob Wells) Uniform of the National Rifles; Uniform of the Potomac Light Infantry (H. A. Ogden) — Brevet Lieut.-General Winfield Scott, from Brady photo. Headquarters of General Scott (Theo, R. Davis) — Washington Arsenal, from Russell photo. (E. J. Meeker) -The Columbian Armory (T. R. Davis) — Joseph Holt, Secretary of War, from Brady photo. President Buchanan, from Brady photo. General Charles P. Stone, from Brady photo. President Lincoln, from ambrotype taken May 20, 1860-Vice-President Hamlin, from Brady photo. South or Garden Side of the White House (F. H. Cocks) The White House at Night (Joseph Pennell) — Inauguration of President Lincoln, from photo. lent by General M. C. Meigs.
(Etc., etc.)
 Taber) — Lieutenant Adam J. Slemmer, from Brady photo.
Recollections of the Twiggs Surrender.                  Mrs. Caroline Baldwin Darrow.                                                                33
Illustrations: A Texan Ranger, from ambrotype (A. C. Redwood) The Alamo, San Antonio (Abram Hosier) — Colonel Daniel H. Vinton, from photo. In order to save much repetition, particular credit is here given to the Massachusetts Commandery of the Loyal Legion, to Colonel Arnold A. Rand, General Albert Ordway, Charles B. Hall, and W. H. Whiton, for the use of photographs and drawings. War-time photographers whose work is of the greatest historical value, and has been freely drawn upon in the preparation of the illustrations, are M. B. Brady, Alexander Gardner, and Captain A. J. Russell in the North; and D. H. Anderson of Richmond, Va., and George S. Cook of Charleston, S. C.the latter since the war having succeeded to the ownership of the Anderson negatives                                                                                                                                                                                                     (p. xiii)
(Etc., etc.)
Fort Sumter.
From Moultrie To Sumter.       General Abner Doubleday.                                                                                                      40
Illustrations: View of Charleston from Castle Pinckney (T. R. Davis) — Major Robert Anderson, from Brady photo. Major Anderson and his Officers, from Cook photo. The Sea-battery at Fort Moultrie, from photo. -Map of Charleston Harbor (Jacob Wells) · The Hot-shot Furnace, Fort Moultrie, from photo. Major Anderson’s Men Crossing to Fort Sumter (Theo. R. Davis).
Inside Sumter In ’61.               Captain James Chester                                                                                                          50
Illustrations: South-west or Gorge Front of Fort Sumter, from photo. lent by the Washington Light Infantry, Charleston, S. C. (W. Taber) — The Sally-port of Fort Sumter, from photo. Ground Plan of Fort Sumter (F. E. Sitts) Interior of Fort Sumter after the Surrender, from photo. (W. Taber) — Interior of Fort Sumter after the Bombardment, showing the Gate and the Gorge Wall, from photo. Interior of Fort Sumter, showing the 10-inch Columbiad bearing on Charleston, from photo. lent by G. L. G. Cook (W. Taber) — Effect of the Bombardment on the Barbette Guns, from photo. lent by the Rev. John Johnson (E. J. Meeker) — The Sumter Garrison Watching the Firing on the “Star of the West” (T. R. Davis) — Confederate Floating Battery in Action (T. R. Davis) — Plan of the Floating Battery, from a Sketch by Colonel Joseph A. Yates Sergeant Carmody Firing the Barbette Guns of Sumter (T. R. Davis) -A Casemate Gun during the Conflagration (T. R. Davis) — Ruins of the Casemates and of the Barbette Tier of Guns, from photo’s.
The First Step In the War        General Stephen D. Lee.                                                                                                         74
Illustrations: Bursting of the Signal-shell from Fort Johnson over Fort Sumter (T. R. Davis) — Governor Francis W. Pickens, from photo. lent by Louis Manigault Confederate Mortar-battery on Morris Island, from photo.-General G. T. Beauregard, from Anderson-Cook photo.-Secession Hall, Charleston, from Cook photo. (E. J. Meeker) Fort Sumter at the close of the Bombardment (T. R. Davis) –Jefferson Davis, from Brady photo.-View of Cumming’s Point (T. R. Davis).
(Etc., etc.)
Notes on the Surrender of Fort Sumter.  Colonel A. R. Chisolm.                                                                                            82
Organizing For the Conflict.
War Preparations In the North.                General Jacob D. Cox.                                                                                            84
Illustrations: The Awkward Squad (W. Taber) Life-mask of Stephen A. Douglas, from photo. Portrait of Stephen A. Douglas, from daguerreotype taken in 1852 — Major-General George B. McClellan, from photo. by R. W. Addis. Major-General Gordon Granger, from Brady photo. Camp Dennison, near Cincinnati, based upon photo. (W. Taber).
The Confederate Government at Montgomery. By the Editor of the Charleston “Mercury” in 1860-2.    R. Barnwell Rhett.   99
Illustrations: Montgomery, Alabama, in 1861, showing the Confederate Capitol (T. R. Davis) — Alexander H. Stephens, from Brady photo. William L. Yancey, from Cook photo. Robert Toombs, from photo. Leroy Pope Walker, from Brady photo. R. Barnwell Rhett, from Cook photo. Howell Cobb, from photo. lent by General Marcus J. Wright Stephen R. Mallory, from daguerreotype – Judah P. Benjamin, from photo. lent by James Blair-Charles G. Memminger and John H. Reagan, from steel-engravings, by permission of D. Appleton & Co.
(Etc., etc.)
The First Battle of Bull Run.    General G. T. Beauregard.                                                                                                      196
Illustrations: A Louisiana “Tiger” (A. C. Redwood) —Arlington, the Home of General Robert E. Lee (J. H. Cocks) Map of the Bull Run Campaign (Jacob Wells) — The McLean House, General Beauregard’s Headquarters, near Manassas, from Gardner photo. (W. Taber) — Topographical Map of the Bull Run Battlefield (Jacob Wells) Rallying the Troops of Bee, Bartow, and Evans behind the Robinson House (T. de Thulstrup) A Louisiana Pelican” (A. C. Redwood) The Robinson House, from Gardner photo. (J. D. Woodward) — The Main Battle-ground, two views, from photo’s (Harry Fenn) — Colonel F. S. Bartow, from photo. lent by Georgia Historical Society Fairfax Court-house, from Gardner photo. (W. Taber) — Ruins of the Stone Bridge, looking along the Warrenton Turnpike toward the Battlefield, from Gardner photo. Confederate Quaker Guns, from Gardner photo. (A. C. Redwood) — Generals R. E. Lee and J. E. Johnston, from photo. by D. J. Ryan (with Autographs).                                                                 (p. xv)
Incidents of the First Bull Run.                General John D. Imboden.                                                                                      229
Illustrations: The New Henry House and the Monument of the First Battle, from photo. (W. Taber) Confederate Fortifications about Manassas Junction, and the Stone House on the Warrenton Turnpike, from Gardner photo’s (Harry Fenn) — Plan of the Bull Run Battle-field (Jacob Wells) — Brigadier-General Barnard E. Bee, from photo. by Tucker & Perkins.
(Etc., etc.)


Unfortunately, this level of care would not be followed in several subsequent publishing efforts. Of necessity this magnificent series had been illustrated with engravings, many of them laboriously copied from photographic originals. But critical changes in the technologies of both photography and printing were on the horizon. By the mid-90s the decades-long anticipated advances in photoengraving, photolithography, and half-tone screen processes had first made it possible and then a regular practice to publish photographs in print without the previous necessity of transcribing them into wood cuts or engravings. This created yet another expansion in the publication of magazines, books, and even newspapers illustrated with photographs while it changed the nature of the illustrated articles. Previously an magazine article might be illustrated with one or two engravings laboriously copied from photographs, now it was possible to use five or six photographic illustrations in each article.
And suddenly another tranche of missing war photographs appears in the mid-90s, “…packed away in a store-room and covered with the dust of almost a quarter of a century….” A business venture, responding to the renewed interest in the war, was established to capitalize on this newly available resource. “…We contracted to purchase the entire collection, and we paid the owners thousands and thousands of dollars on the contract, until we have finally paid up the entire amount, and we now own, absolutely, the whole of this most wonderful and interesting collection…”
The War Photograph and Exhibition Company of Hartford, Conn. initially tried to establish a franchise operation consisting of “agents” offering public lectures with stereopticon lantern slides made from photos in the collection. The agent was expected to purchase a package consisting of a stereopticon (slide projector), 68 4×7 inch slides, a “Curtain,” (projection screen), 2000 tickets, some advertising apparatus, and possible lecture “notes” for $188.00 and then go out and sell the lantern slides. Illustrated public lectures were a popular form of entertainment at the time. (It is possible that Brady was scheduled to give one of these lectures until the accident put him in the hospital.) But this venture failed. However, even if this venture failed, their advertising helped solidify Brady’s myth.

                    
                     

“During the war the United States Government authorized and employed Messrs. M. B. Brady and Alex Gardiner, two of the leading photographers of this country, to procure the most excellent cameras possible and to accompany the Union armies in the field, making photographs of all those wonderfully interesting and thrilling scenes. The object of this was to preserve in accurate form an illustrated historical record of the scenes of the war, to be treasured in the archives of the War Department in Washington. Messrs. Brady and Gardiner were permitted, by the terms of their contract with the Government, to make two negatives of each scene; they therefore prepared their cameras so that when they photographed any scene there were two separate negatives made, both exactly alike, of course. Both negatives were original and both made at the same moment by the same “exposure,” as the photographers call it. So they went on, through the entire war, photographing thousands of scenes, of each scene they had the two negatives, as above explained, making two complete sets all through. One set of these negatives was placed in the War Department at Washington, where they have since been treasured and where they now remain. The other set of negatives were stored away at the close of the war, and as years went by they were almost forgotten. We accidentally discovered them, packed away in a store-room and covered with the dust of almost a quarter of a century. We contracted to purchase the entire collection, and we paid the owners thousands and thousands of dollars (p. 26) on the contract, until we have finally paid up the entire amount, and we now own, absolutely, the whole of this most wonderful and interesting collection. The other set is, as above stated, in the archives of the War Department at Washington, where it will always be treasured. The Government set is not, and never will be, for sale, for the United States is not in business commercially, and of course never will undertake any business in opposition to any of its citizens. Consequently, we say that no original war photographs can ever be obtained except of us. To say that these negatives are worth their weight in gold would be putting a cheap value on them. They are priceless, and should anything happen to destroy them they could never be replaced, for of course the scenes they represent are gone forever, and consequently no more photographs could ever be made. We carry a heavy line of insurance on the collection, but insurance money could not replace them if they should be destroyed.”  War memories, 1861–the War for the Union–1865: catalogue of original photographic war views, taken by M. B. Brady and Alex. Gardner. The War Photograph and Exhibition Company. Hartford, Conn.: The Company, c1891. 28 p. illus. [Pamphlet.]


This is, of course, not accurate at all, it is a narrative crafted to justify the existence of the second set of photographs that Brady had collected and which it looks like he hid from the government.
During this period Brady was interviewed by reporters again for the first time in ages. Throughout his career Brady had moved from a public celebrity to an obscure, even pitiful, figure sentimentally remembering better days, who was barely surviving at the edges of government patronage. Suddenly he was back in the spotlight again. He was being interviewed by newspaper reporters looking for interesting anecdotes, not by historians looking for facts. As Brady got older his responses to these interview questions became more careless or more subject to misinterpretation by this new generation of interviewers. When Brady was interviewed in 1891 he described his involvement in photographing the war as consisting of hiring and equipping photographic crews to document the conflict,


“…However, I went to the first battle of Bull Run with two wagons from Washington. My personal companions were Dick McCormick, then a newspaper writer, Ned House, and Al Wand, the sketch artist. We stayed all night at Centreville; we got as far as Blackburne’s Ford; we made pictures and expected to be in Richmond next day, but it was not so, and our apparatus was a good deal damaged on the way back to Washington; yet we reached the city. My wife and my most conservative friends had looked unfavorably upon this departure from commercial business to pictorial war correspondence, and I can only describe the destiny that overruled me by saying that, like Euphorion, I felt that I had to go. A spirit in my feet said “Go,” and I went. After that I had men in all parts of the army, like a rich newspaper. They are nearly all dead, I think. One only lives in Connecticut. I spent over $100,000 in my war enterprises…”


As Brady pointed out in that interview, he had outlived most of his colleagues. Barnard was still alive but working as a commercial salesman for George Eastman in Rochester, NY, and Woodbury had died in 1879, Gardner and O’Sullivan both died in 1882, Whitney in 1893, Gibson had moved to the mid-west somewhere and was as good as dead; therefor there wasn’t anybody around to challenge him if he got a little careless with his claims. In an interview with a reporter of the Washington Evening Star in 1894 there is enough ambiguity in his answers to imply that he, himself, had taken the photographs.


“Ah! yes,” said Mr. Brady with a sigh, “those were stirring times and full of incidents. I was the first man to take a camera on the battle field and make it the historian of war….” An Old Time Photographer and His Reminiscences.” Photographic Times 25:691 (Oct. 55, 1894): 226.


There may be no more than an accidental misunderstanding here. Remember, during the wet-collodion era to make a photograph one had to coat the glass plate with the light-sensitive film, put the plate into the camera which was firmly fixed upon a tripod before that film dried, expose the picture, then develop the negative immediately before the film dried and cracked off the glass. Given time, one person could do all of this, but it took a team to successfully photograph active events – someone to prepare the glass plate and hand it to the photographer, someone to take the photograph, then someone to immediately develop the negative. That’s why Brady talked about sending out “a team” rather than an individual. And apparently, Brady had felt that on occasion the team needed someone to suggest what and where the photograph should be taken, to “direct” the operation, as he had so often done in a portrait session. (This apparently was Brady’s role in the field, and it probably was just irritating to the actual working photographers.) Perhaps Brady assumed that these reporters would know all that when he talked about “Taking a camera to the field of battle…” But by the 1890s the faster flexible films, better lenses, and hand-held cameras had produced a new generation of photographers who just lifted the camera to eye level (more or less) and snapped the shutter, so they may have thought he meant that he actually took the photographs himself. In any case, Brady didn’t make a lot of effort to make sure that the reporters understood the difference. By 1896 the myth was alive and well-established in the printed literature.


“…He was the first to take a camera on the field of battle, and at the battle of Bull Run succeeded in getting a number of views that were not alone interesting historically but scientifically….” From The New York Herald, reprinted in “Matthew B. Brady.” The Photographic Times 28:3 (Mar. 1896): 153.

“…Brady, the great photographer of war times,…” Bourland, R. R. “Photography and Art.” The Photographic Times 27:5 (Nov. 1895): 263-268.

“…He was at his post of duty during the great battles as truly as the gallant private in the ranks, and from the battle of Bull Run on he took the pictures, which have ever since been the only standard and accurate authority for illustrating the battles of the war….” Illustrated Washington: Our Capital, 1890. New York: American Publishing and Engraving Co., 1890. (p. 168).


The War Photograph and Exhibition Company’s next venture was the publication of a big book with a big title. The technology for publishing photographs in print was on the cusp of radical change, and illustrations could now be produced by photoengraving which presented a much closer representations of the original photograph and also were cheaper to manufacture.


      

       

   
   

“…The original war views reproduced in this work are selected from more than 6,000 negatives taken by the Government Photographers, M. B. Brady and Alexander Gardner, during the years 1861, 1862, 1863, 1864 and 1865, by special arrangements with the owners, The War Photograph and Exhibition Company, of Hartford, Conn., from whom we have obtained their exclusive use.” (p. 4)]
George F. Williams. The Memorial War Book, As Drawn from Historical Records and Personal Narratives of the Men Who Served in the Great Struggle, by Major George F. Williams … Illustrated by Two Thousand Magnificent Engravings Reproduced Largely from Photographs Taken by the U. S. Government Photographers, M. B. Brady and Alexander Gardner, Being the Only Original Photographs Taken During the War of the Rebellion; Making a Complete Panorama of this Greatest Event In History, Including Portraits of the Leaders and Commanders of Both the Federal and Confederate Armies and Navies, Giving, for the First Time, a Complete Pictorial Representation of the Scenes, Battles, and Incidents, the Whole Forming a Fitting Memorial of the Greatest Event of the Century, the Most Momentous of the Age. New York, Lovell Brothers Company, c1894. 610 p.

[Advertisement.] “Announcement.” Judge’s Library: A Monthly Magazine of Fun no. 82 (Jan. 1896): 40. [“The Judge Publishing Company have issued The Memorial War Book Illustrated With Nearly Two Thousand Magnificent Illustrations, Mostly reproduced from the celebrated series of photographs taken during the war by M. B. Brady and Alexander Gardner, under the Authority of the United States Government, the original negatives of which are now in the possession of the War Department at Washington, to which have been added reproductions of several noted paintings of Gilbert Gaul, and the series recently issued by the Messrs. Prang from paintings by de Thulstrup and Davidson, altogether [Illustration: Mounted soldiers pulling a cannon up a muddy hill.] forming the most Sumptuous Work on the War ever issued.
The text has been written especially for the work by Major George F. Williams, and is compiled from Historical Records, Narratives of Men who fought, and from personal observations. It aims to present a series of pen pictures drawn from material that has never before been collected. It is a series of personal reminiscences of stirring adventures and lifelike descriptions of campaigns and battles, as the soldier saw them, rather than a history, with sufficient memoranda of the events attending the progress of the struggle to give the reader an understanding of their relative importance.
Pen and Photographic Pictures of Actual Scenes on the March, in Camp, on the Field of Battle, and in the Trenches.
It will be delivered complete in one Imperial Quarto Volume, printed on the finest quality heavy coated paper, manufactured expressly for this work, and bound in seal grain leather, full gilt edges, and will be sold only by subscription and only in conjunction with Leslie’s Weekly. For particulars address,
Leslies’s Weekly, 110 Fifth Ave., New York.” [This advertisement or similar ad ran in every issue of the year. WSJ]


Then, in the midst of all this renewed activity around the war photos, Brady died in 1896. A surprising number of obituaries were published in the press. The most measured was from his long-time associates at Harper’s Weekly. The majority of the other obituaries, apparently partially based on those late interviews, are more laudatory  – and less accurate.


“This Busy World.” Harper’s Weekly A Journal of Civilization 40:2041 (Feb. 1, 1896): 114. [“Most Americans who are old enough to remember the civil war have heard of Matthew Brady, the Washington photographer. Brady was the great picture-maker of the war-time. In his studios at Washington and elsewhere he took the likenesses of all the famous people that came along, from the Prince of Wales in 1860 down through a long list of generals and statesmen. He was a remarkable man, and his services in this line of his business were very valuable to the country. He was born in 1823, and grew up with the intention of being a portrait-painter; but in 1840, or thereabout, his friend and fellow-craftsman S. F. B. Morse called his attention to the new method of Daguerre of taking likenesses. Brady studied it thoroughly, and presently opened a small establishment in New York for taking daguerreotypes. He did it well, and prospered; took a first prize at London at the exhibition of 1851, and became well known both at home and abroad. When the photograph superseded the daguerreotype, Brady moved his gallery to Washington, and there too he prospered. When the war broke out he sent men to photograph battle-fields and war scenes, and got together a remarkable collection of plates, some of which he afterwards sold to the War Department.
His later history is sad enough. He had disappointments in business and troubles in his household, and began to drink and to neglect his business. His savings became dissipated, like himself. His remarkable collection of pictures and plates was broken up and scattered. He gave up his business, and though later he started it again, he could not attend to it. A year or two ago he was run over by a street car in Washington and crippled. After that he was cared for by members of the Seventh Regiment Veterans in New York, and he died in the Presbyterian Hospital. Happily his pictures have lasted better than he, for many of them are of great value now as historical and biographical documents.”

“Matthew B. Brady.” The Photographic Times 28:3 (Mar. 1896): 153. [“Matthew B. Brady, who has been described as the prince and pioneer of American photographers, died in the Presbyterian Hospital last Thursday afternoon after nearly a month’s treatment for Bright’s disease. He had been ill for a long time. Mr. Brady’s body was sent to Washington, where it will be buried to-day. No man, says The New York Herald, in the United States has enjoyed personal dealings with so many celebrities as Mr. Brady. For more than fifty years he met almost every person of distinction who came to this country, or who acquired fame here.
An Associate of Morse.
He was born in 1823, in Warren County, N. H. What Daguerre did in France, Brady accomplished in only a slightly lesser degree in this country, and it was Morse, the inventor, who first called Mr. Brady’s attention to the opportunity which was offered him to become a famous photographer. In fact, long before Morse succeeded in inducing the government to build the experimental telegraph line between Washington and Baltimore, he was the partner of Mr. Brady in a photographic establishment in Beekman Street, this city, and aided him in his work.
Mr. Brady started as a painter, and achieved no little success as an artist. But the possibility of photography became so evident that he abandoned the profession he first chose and adopted that of a photographer. He established a studio in this city fifteen years before the civil war began, which soon afterward became famous.
Mr. Brady had a remarkable fund of stories bearing on notable persons, and an hour spent with him was always sure to bring to the surface some intensely interesting episode of his life. After giving up his studio in Beekman Street, he removed to Fulton Street, and at about the same time established a branch in Washington, which eventually became more famous than the original place. In his Washington gallery he took the photograph of every man who has appeared before the public in any conspicuous manner for forty years.
Some of His Famous Photographs.
While in Fulton Street Mr. Brady took the first picture of Jenny Lind ever taken, and of this he never tired of telling. He took the photograph of Andrew Jackson, from which all of the familiar paintings of that popular hero have been made, and the number of photographs of the anti-bellum dignitaries of the country were countless. He delighted to tell of his experiences with Daniel Webster, Henry Clay and John C. Calhoun, and always spoke lovingly of Fenimore Cooper and Edgar Allan Poe, both of whom he knew intimately. He went to London in 1851 with a collection of his photographs, and exhibited them at the World’s Fair of that date. He was rewarded with the grand prize. He was the first to take a camera on the field of battle, and at the battle of Bull Run succeeded in getting a number of views that were not alone interesting historically but scientifically.
Mr. Brady made a practice for a number of years past of photographing all the members of the two houses of Congress at the assembling of the legislature at each session. These albums are exceedingly valuable historically. Mr. Brady met with a severe accident at Washington about three years ago, and the shock induced the disease from which he died. He lost a large sum of money in 1891, and at the time of his death he had but little.” (p. 153)

“In Memoriam. J. W. Black, M. B. Brady, W. D. Gatchel, E. P. Libby, Allen J. Skutt, K. P. Merritt.” Wilson’s Photographic Magazine 33:471 (Mar. 1896): 120-126. 5 b & w. [(Illustrations are portraits: J. W. Black, on p. 120; M. B. Brady on p. 121; W. D. Gatchel on p. 123; Allen J. Skutt on p. 125; K. P. Merritt on p. 125.) [“As announced in our last number, death has been very busy among our veteran photographers of late. Since the first of the year no less than six of these have passed away, and it becomes our sad privilege to place on record a few, although very incomplete, notes concerning them….” (p. 120)
                                                                                M. B. BRADY.
“Mr. Brady died in the Presbyterian Hospital, New York, Wednesday night, January 15th. A full record of his life-work as a photographer would read like a romance. He entered the art of photography when it was in its infancy, begin-(p. 121) ning with the making of daguerreotypes. Earlier in life he was a portrait painter. His first studio was located in Fulton Street, this city, at that time one of our principal thoroughfares. He likewise had a gallery in Fulton Street, Brooklyn, which afterward became the Williamson gallery; then he moved his studio to Broadway near Prince Street, close to the present establishment of Messrs. E. & H. T. Anthony & Co. In 1860 he opened a branch gallery on Pennsylvania Avenue, Washington, which was destined to become his headquarters. In 1861, when Sumter was fired upon, Washington was thronged by the men who were to make history for America. Mr. Brady was bright enough to see this, and made efforts to secure the portraits of all these, so that his Washington gallery soon became famous, and he made a fortune in photographing men of national reputation. His gallery included, besides all the distinguished generals, admirals, and several Presidents, nearly every army and naval officer of note.
A hasty visit to the army at the beginning of the war convinced him that photographs of the actual scenes of battle would be exceedingly valuable. He obtained permission of Secretary of War Stanton, then at once constructed and sent to the front three or four wagons for photographic use, which followed the army from place to place. The negatives of these war pictures and portraits were sold to the United States Government a few years ago for $25,000.
All who are familiar with New York will remember the gallery at the corner of Tenth Street and Broadway, now occupied by D. H. Anderson, where was located “Brady’s Famous National Portrait Gallery.”
Mr. Brady was not well known personally to the photographic fraternity, but those who did know him knew that he was an admirable conversationalist. This faculty gave him a decided advantage while arranging his subjects for their negatives. No man had a larger fund of anecdotes than he, and yet he was retiring and modest, and rather shrank from publicity. His name will always be connected with the name of photography as one of its earliest disciples who always honored it, and as one of the most careful workers. Those who knew him best will remember him as talented, enthusiastic, artistic, and as a gentle, generous man.
Personally we shall not soon forget instruction we have received from his lips from time to time, and the advantages we have had from acquaintance and contact with him.
For the last several years of his life Mr. Brady lived with his nephew, Mr. L. C. Handy, from whose letter we gather the following interesting details:
“In 1851 Mr. Brady went to the London Exhibition and took the first prize. The same year he visited the galleries of Europe and found his pictures everywhere, as far as Rome and Naples. A visit to his gallery was considered the thing; there one could gaze on the features of the greatest men and women the country ever produced.
“The government purchased from him a collection of war negatives, for which they paid him $25,000. This enabled him to continue in business for a short time, when reverses came. Piece by piece his collection passed from him, and in 1880 he closed his place of business in Washington, transferring a number of celebrity negatives to me (his nephew). I learned the business with him and was associated with him for more than twenty-five years. I succeeded to a greater part of his business.
“A few years ago a friend assisted Mr. Brady and started him again, but he seemed to have lost his hold on the public; his (p. 122) former friends kept away from him. This seemed to worry him greatly, as old age was coming on.
“A change of administration and many other things discouraged him, and he finally mortgaged the remainder of his material, instruments, etc. This seemed. to break his heart. In his eagerness to keep afloat he ventured out on the night of Emancipation Day, April 16, 1894, and in crossing the street in front of the Riggs Hotel, was run over by a carelessly driven carriage; his leg was broken, and he was removed at once to my house, where the limb was set. Mr. Brady was forced to remain indoors nearly a year. While he lay on his back the parties holding the mortgage closed in on him and left him penniless. As soon as he was able to get out he went to New York, where arrangements were being made that he should give an exhibition by the stereopticon of some of his celebrated pictures. All things seemed to favor the plan; the exhibition was to have taken place on the 30th day of January. Mr. Brady while in New York on this last visit was largely assisted by the Veterans of the 7th Regiment, of which he was a member, and the Artist Club, of which he was the founder, stopping for some time with Mr. William M. Riley, of 119 East Fifteenth Street. Mr. Brady, however, never fully recovered from the injury received in Washington. It caused a complication of troubles, and he was finally removed to the Presbyterian Hospital, where everything possible was done for him. An operation was performed, under which he gradually sank until he died. He was conscious until the last and was at peace with God.
“He will be remembered as a genial gentleman, famous not only for his art, but also for his philanthropy. He was exceedingly popular with public men and had an unusually wide acquaintance with them.
“Mr. Brady’s remains were sent to Washington to me, the funeral services were held at my house, and the remains buried in the Congressional Cemetery by the side of his wife.” (p. 123)

“American Obituaries: Mathew B, Brady.” Appletons’ Annual Cyclopedia and Register of Important Events of the Year 1896. Embracing Political, Military, and Ecclesiastical Affairs; Public Documents; Biography, Statistics, Commerce, Finance, Literature, Science, Agriculture, and Mechanical Industry. 3^rd series, vol. 1. New York: Appleton, 1897. (p. 548).
[“Brady, Matthew B., photographer, born in Warren County, N. Y., in 1823; died in New York city, Jan. 16, 1896. While studying to be a portrait painter, he became intimate with Samuel F. B. Morse, who was successfully following that art, and when Daguerre’s invention was first made public (p. 547) in the United States, in 1839, Morse became deeply interested in the discovery and induced Mr. Brady first to investigate, and then to adopt the new method of portraiture. Mr. Brady soon abandoned portrait painting wholly, opened a small gallery, and began making daguerreotypes, seeking his early sitters among the best-known men and women of the city. His success was encouraging from the start, people willingly paying him from $3 to $5 each for portraits. In 1851 he took a collection of his daguerreotypes to the London Exhibition, where he took the first prize, and afterward he made a tour of the art galleries of Europe. About 1855 he discarded the daguerreotype and began to make photographs. At the beginning of the civil war Mr. Brady established a gallery in Washington, D. C., and perfected an elaborate plan for securing photographs of the principal scenes and actors in the struggle; and by the close of the war he had a collection of plates that had cost him over $100,000 and comprised historical points, battle scenes, and portraits of military, naval, and other public men. After the war several ineffectual attempts were made to induce Congress to purchase the collection, which Mr. Brady had kept intact. The War Department bought a considerable number, and Mr. Brady either gave away or sold privately the remainder. Several years ago he lost most of his property, became nearly blind, and was incapacitated by an accident.”]

Then, in 1898, a brief note appeared in Wilson’s Photographic Magazine.


“Mr. David Proskey, of 853 Broadway, New York, has acquired a large selection of Brady’s famous photographs of the War of the Rebellion, battle scenes, portraits of prominent Union and Confederate generals, etc. We understand that the collection may be had at a reasonable figure.” “Editor’s Table.” Wilson’s Photographic Magazine 35:499 (July 1898): 336.


More photographs have turned up. Yet another collection of negatives or photographs hidden away in a variety of places by Brady during his legal problems is discovered. And each discovery of additional photographs would be transferred into some sort of money-making attempt and each attempt would lend additional weight to the ongoing legend.
The most consequential of these occurred in 1911, when a new find (If my memory serves me correctly, in a barn somewhere in upstate New York or maybe New Jersey.) wound up as the major impulse and source for the publication of Francis Trevelyan Miller’s The Photographic History of The Civil War in Ten Volumes. In addition to the almost fulsome notices and mentions of Brady scattered about the ten volumes of the work and in the publicity campaign associated with the publication, the “managing editor,” Henry Wysham Lanier, wrote what might well be the first historical survey of Civil War photography. Lanier was diligent and he attempted to pursue original sources for his information, but, unfortunately, many of those sources were now missing, dead, or flawed. It was now nearly fifty years since the war and much has been forgotten. (One ironic note about the brevity of the public’s memory is that when Miller first published these books he was actually accused of faking the photos. He had to go to court to prove that they were real by bringing some old veterans into the courtroom to prove that there really had been photographers operating during the war.)
                      

         
   

     

         

        

The Photographic History of The Civil War in Ten Volumes. Francis Trevelyan Miller Editor-In-Chief. Robert S. Lanier Managing Editor. “Semi-Centennial Memorial.” Thousands of Scenes Photographed 1861-65, with Text by many Special Authorities. New York: The Review of Reviews Co. 1911. 10 v. fronts., illus. (incl. ports) maps. 29 cm.                                                                 ————————————                                                                   
                                                                                                Volume One
                                                                                       “The Opening Battles.”
“Acknowledgment.”
“…Readers as well as publishers are also indebted to the collectors, historical societies, and others who have furnished hundreds of long-treasured photographs, unwilling that the HISTORY should appear without presenting many important scenes of which no actual illustrations had ever before been available to the public. Hence the Civil War-time photographs in the present work are not only several times as numerous as those in any previous publication, but also include many hundreds of scenes that will come as a revelation even to historians and special scholars-photographs taken within the lines of the Confederate armies and of the hosts in the Mississippi Valley, whose fighting was no less momentous than the Eastern battles, but in the nature of things could not be as quickly or as fully heralded. With these additions to the “Brady-Gardner” collection-the loss and rediscovery of which Mr. Henry Wysham Lanier’s introductory narrates-it is now possible for the first time to present comprehensively the men and scenes and types of the American epic, in photographs….” (                                                                                                                 p. 14)
First Preface
Photographing the Civil War
1 b & w (The War Photographer Brady (Wearing Straw hat) With General Burnside (Reading Newspaper)-Taken While Burnside Was in Command of the Army of the Potomac, Early In 1863, After His Ill-Fated Attack on Fredericksburg.”                         (p.21)
“Photographing the Civil War.’ By Henry Wysham Lanier.”
“A notice in Humphrey’s Journal in 1861 describes vividly the records of the flight after Bull Run secured by the indefatigable Brady. Unfortunately the unique one in which the reviewer identified “Bull Run Russell in reverse action is lost to the world. But we have the portrait of Brady himself three days later in his famous linen duster, as he returned to Washington. His story comes from one who had it from his own lips:
He [Brady] had watched the ebb and flow of the battle on that Sunday morning in July, 1861, and seen now the success of the green Federal troops under General McDowell in the field, and now the stubborn defense of the green troops under that General Jackson who thereby earned the sobriquet of “Stonewall.” At last Johnston, who with Beauregard and Jackson, was a Confederate commander, strengthened by re-enforcements, descended upon the rear of the Union troops and drove them into a retreat which rapidly turned to a rout. The plucky photographer was forced along with the rest; and as night fell he lost his way in the thick woods which were not far from the little stream that gave the battle its name. He was clad in the linen duster which was a familiar sight to those who saw him taking his pictures during that campaign, and was by no means prepared for a night in the open. He was unarmed as well, and had nothing with which to defend himself from any of the victorious Confederates who might happen his way, until one of the famous company of “Fire” zouaves, of the Union forces, gave him succor in the shape of a broadsword. This he strapped about his waist, and it was still there when he finally made his way to Washington three days later. He was a sight to behold after his wanderings, but he had come through unscathed as it was his fate to do so frequently afterwards.
Instances might be multiplied indefinitely, but here is one more evidence of the quality of this pictorial record. The same narrator had from Brady a tale of a picture made a year and a half later, at the battle of Fredericksburg. He says:
Burnside, then in command of the Army of the Potomac, was preparing to cross the Rappahannock, and Longstreet and Jackson, commanding the Confederate forces, were fortifying the hills back of the right bank of that river. Brady, desiring as usual to be in the thick of things, undertook to make some pictures from the left bank. He placed cameras in position and got his men to work, but suddenly found him-(p. 36) self taking a part very different from that of a non-combatant. In the bright sunshine his bulky cameras gleamed like guns, and the Confederate marksmen thought that a battery was being placed in position. They promptly opened fire, and Brady found himself the target for a good many bullets. It was only his phenomenal good luck that allowed him to escape without injury either to himself and men or to his apparatus.
It is clearly worth while to study for a few moments this man Brady, who was so ready to risk his life for the idea by which he was obsessed. While the war soon developed far beyond what he or any other one man could possibly have compassed, so that he is probably directly responsible for only a fraction of the whole vast collection of pictures in these volumes, he may fairly be said to have fathered the movement; and his daring and success undoubtedly stimulated and inspired the small army of men all over the war-region, whose unrelated work has been laboriously gathered together.
Matthew B. Brady was born at Cork, Ireland (not in New Hampshire, as is generally stated) about 1823. Arriving in New York as a boy, he got a job in the great establishment of A. T. Stewart, first of the merchant princes of that day. The youngster’s good qualities were so conspicuous that his large-minded employer made it possible for him to take a trip abroad at the age of fifteen, under the charge of S. F. B. Morse, who was then laboring at his epoch-making development of the telegraph.
Naturally enough, this scientist took his young companion to the laboratory of the already famous Daguerre, whose arduous experiments in making pictures by sunlight were just approaching fruition; and the wonderful discovery which young Brady’s receptive eyes then beheld was destined to determine his whole life-work.
For that very year (1839) Daguerre made his “daguerreotype” known to the world; and Brady’s keen interest was intensified when, in 1840, on his own side of the ocean, Professor Draper produced the first photographic portrait the world had yet seen, a likeness of his sister, which required the amazingly short exposure of only ninety seconds!
Brady’s natural business-sense and his mercantile training showed him the chance for a career which this new invention opened, and it was but a short time before he had a gallery (p. 38) on Broadway and was well launched upon the new trade of furnishing daguerreotype portraits to all comers. He was successful from the start; in 1851 his work took a prize at the London World’s Fair; about the same time he opened an office in Washington; in the fifties he brought over Alexander Gardner, an expert in the new revolutionary wet-plate process, which gave a negative furnishing many prints instead of one unduplicatable original; and in the twenty years between his start and the Civil War he became the fashionable photographer of his day-as is evidenced not only by the superb collection of notable people whose portraits he gathered together, but by Brete Harte’s classic verse (from “Her Letter “):
                Well, yes-if you saw us out driving
                Each day in the Park, four-in-hand—
                If you saw poor dear mamma contriving
                To look supernaturally grand,—
                If you saw papa’s picture, as taken
                By Brady, and tinted at that,—
                You’d never suspect he sold bacon
                And flour at Poverty Flat.
Upon this sunny period of prosperity the Civil War broke in 1861. Brady had made portraits of scores of the men who leaped into still greater prominence as leaders in the terrible struggle, and his vigorous enthusiasm saw in this fierce drama an opportunity to win ever brighter laurels. His energy and his acquaintance with men in authority overcame every obstacle, and he succeeded in interesting President Lincoln, Secretary Stanton, General Grant, and Allan Pinkerton to such an extent that he obtained the protection of the Secret Service, and permits to make photographs at the front, Everything had to be done at his own expense, but with entire confidence he equipped his men, and set out himself as well, giving instructions to guard against breakage by making two negatives of everything, and infusing into all his own ambition to astonish the world by this unheard-of feat.
The need for such permits appears in a “home letter” from E. T. Whitney, a war photographer whose negatives, unfortunately, have been destroyed. This letter, dated March 13, 1862, states that the day before “all photographing has (p. 40) been stopped by general orders from headquarters.” Owing to ignorance of this order on the part of the guard at the bridge, Whitney was allowed to reach the Army of the Potomac, where he made application to General McClellan for a special pass.
We shall get some more glimpses presently of these adventurous souls in action. But, as already hinted, extraordinary as were the results of Brady’s impetuous vigor, he was but one of many in the great work of picturing the war….”
“…The story of the way in which these pictures have been rescued from obscurity is almost as romantic a tale as that of their making. The net result of Brady’s efforts was a collection of over seven thousand pictures (two negatives of each in most cases); and the expenditure involved, estimated at $100,000, ruined him. One set, after undergoing the most extraordinary vicissitudes, finally passed into the Government’s possession, where it is now held with a prohibition against its use for commercial purposes. The $25,000 tardily voted to Mr. Brady by Congress did not retrieve his financial fortunes, and he died in the nineties, in a New York hospital, poor and forgotten, save by a few old-time friends.
Brady’s own negatives passed in the seventies into the possession of Anthony, in default of payment of his bills for photographic supplies. They were kicked about from pillar to post for ten years, until John C. Taylor found them in an attic and bought them; from this they became the backbone of the Ordway-Rand collection; and in 1895 Brady himself had no idea what had become of them. Many were broken, lost, or destroyed by fire. After passing to various other owners, they were discovered and appreciated by Edward Bailey Eaton, of Hartford, Connecticut, who created the immediate train of events that led to their importance as the nucleus of a collection of many thousand pictures gathered from all over the country to furnish the material for this work….” (p. 52)]


So the myth is now firmly and completely established. And it will be perpetuated in books and magazines throughout the 20^th century and even brought into the 21^st century. On May 9, 2022 the New Yorker magazine published an excellent portfolio of photos by James Nachtwey of the war in the Ukraine, and the caption writer claimed they were “…in the tradition of Mathew Brady at Antietam…”

So it goes….                                                                             William S. Johnson (Aug. 26, 2024)

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          A BIBLIOGRAPHY OF MATHEW B. BRADY AND FRIENDS

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MAGAZINES (MATHEW BRADY) 1840-1900
MAGAZINES (ALEXANDER GARDNER) 1860-1900
SELECTED MAGAZINES PUBLISHED AFTER 1900
NEWSPAPERS
CITY DIRECTORIES
BOOKS 1846 – 1912
GOVERNMENT DOCUMENTS
EXHIBITION CATALOGUES

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MAGAZINES (MATHEW BRADY)
ORGANIZED by TITLE, THEN CHRONOLOGICALLY. 1840 – 1900

 magazine                                           no. of references

ALBION, OR BRITISH, COLONIAL, AND FOREIGN WEEKLY GAZETTE 3
AMERICAN AGRICULTURALIST 1
AMERICAN AND FOREIGN CHRISTIAN UNION 8
AMERICAN ART JOURNAL 1
AMERICAN BIBLIOPOLIST (SABIN & SONS’) 1
AMERICAN JOURNAL OF THE MEDICAL SCIENCES 1
AMERICAN JOURNAL OF PHOTOGRAPHY 13
AMERICAN MONTHLY MAGAZINE 1
AMERICAN NATIONAL PREACHER. MONTHLY REPOSITORY OF ORIGINAL SERMONS 2
AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 29
AMERICAN PHOTOGRAPHIC ALMANAC 1
AMERICAN PUBLISHERS’ CIRCULAR AND LITERARY GAZETTE 6
AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 19
ANGLO AMERICAN, A JOURNAL OF LITERATURE, NEWS, POLITICS, THE DRAMA, FINE ARTS, ETC 3
ANNUAL OF SCIENTIFIC DISCOVERY, OR YEAR-BOOK OF FACTS IN SCIENCE AND ART 1
ANNUAL REPORT OF THE AMERICAN HISTORICAL ASSOCIATION 1
ARCHITECTURE AND BUILDING. 1
ARMY AND NAVY JOURNAL 3
ART-JOURNAL 2
ATHENÆUM 3
ATLANTIC MONTHLY 1
BALLOU’S PICTORIAL DRAWING-ROOM COMPANION 11
THE BAPTIST MEMORIAL, AND MONTHLY RECORD, DEVOTED TO THE HISTORY, BIOGRAPHY, LITERATURE AND STATISTICS OF THE DENOMINATION 2
BLACKWOOD’S EDINBURGH MAGAZINE 1
BRITISH JOURNAL OF PHOTOGRAPHY ` 15
BRITISH JOURNAL PHOTOGRAPHIC ALMANAC & PHOTOGRAPHERS’ DAILY COMPANION 2
BULLETIN OF THE AMERICAN ART-UNION 2
CENTURY ILLUSTRATED MONTHLY MAGAZINE 83
CHAMBERS’S JOURNAL OF POPULAR LITERATURE, SCIENCE AND ARTS 1
CHICAGO MAGAZINE. THE WEST AS IT IS 1
CHRISTIAN EXAMINER AND RELIGIOUS MISCELLANY 1
CHRISTIAN INQUIRER 1
CHRISTIAN PARLOR BOOK: DEVOTED TO SCIENCE, LITERATURE AND RELIGION 1
CHRISTIAN RECORDER 2
CHRISTIAN UNION 1
THE COMMERCIAL AND FINANCIAL CHRONICLE AND HUNT’S MERCHANTS’ MAGAZINE, A WEEKLY NEWSPAPER REPRESENTING THE INDUSTRIAL AND COMMERCIAL INTERESTS
OF THE UNITED STATES 1
COSMOPOLITAN ART JOURNAL 3
CRAYON 3
CRITIC, LONDON LITERARY JOURNAL 1
DAGUERREIAN JOURNAL 14
title change
HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 58
DEBOW’S REVIEW, AGRICULTURAL, COMMERCIAL, … PROGRESS & RESOURCES 2
DE BOW’S SOUTHERN AND WESTERN REVIEW 3
ECLECTIC MAGAZINE OF FOREIGN LITERATURE, SCIENCE AND ART 8
EVERGREEN 1
FARMER AND MECHANIC 9
FRANK LESLIE’S ILLUSTRATED NEWSPAPER 414
GALAXY 1
GAZETTE OF THE UNION, GOLDEN RULE AND ODD-FELLOWS FAMILY COMPANION 12
GENESEE FARMER 1
GODEY’S LADY’S BOOK 4
GRAHAM’S AMERICAN MONTHLY MAGAZINE OF LITERATURE, ART, AND FASHION 2
HARPER’S NEW MONTHLY MAGAZINE 12
HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 406
HISTORICAL MAGAZINE, AND NOTES AND QUERIES CONCERNING THE ANTIQUITIES, HISTORY, AND BIOGRAPHY OF AMERICA 2
HOLDEN’S DOLLAR MAGAZINE 7
HOME JOURNAL FOR THE CULTIVATION of the MEMORABLE, THE PROGRESSIVE, AND THE BEAUTIFUL 14
HUNT’S MERCHANT’S MAGAZINE AND COMMERCIAL REVIEW 6
ILLUSTRATED AMERICAN NEWS see also ILLUSTRATED NEW YORK NEWS 1
ILLUSTRATED LONDON NEWS 13
ILLUSTRATED MAGAZINE OF ART 1
ILLUSTRATED NEWS (N.Y.) 22
ILLUSTRATED PHOTOGRAPHER 1
INDEPENDENT 34
INDUSTRIAL NEWS 1
INTERNATIONAL ANNUAL OF ANTHONY’S PHOTOGRAPHIC BULLETIN 1
INTERNATIONAL WEEKLY MISCELLANY OF LITERATURE, ART, AND SCIENCE 3
INTERNATIONAL MAGAZINE OF LITERATURE, ART, AND SCIENCE 10
JOURNAL OF AGRICULTURE 1
JOURNAL OF THE FRANKLIN INSTITUTE 1
JOURNAL OF THE MILITARY SERVICE INSTITUTION OF THE UNITED STATES 1
JOURNAL OF THE NEW-YORK STATE AGRICULTURAL SOCIETY 1
JUDGE’S LIBRARY: A MONTHLY MAGAZINE OF FUN 1
KNICKERBOCKER; OR NEW YORK MONTHLY MAGAZINE 9
LADIES REPOSITORY: A MONTHLY PERIODICAL DEVOTED TO LITERATURE, ARTS AND RELIGION 9
LADIES’ WREATH 1
LIBERATOR 2
LITERARY AMERICAN 9
LITERARY WORLD 14
LITTELL’S LIVING AGE 7
McCLURE’S MAGAZINE 1
MAGAZINE OF AMERICAN HISTORY 1
MAGAZINE OF SCIENCE, AND ARTISTS, ARCHITECTS, AND BUILDERS JOURNAL 1
MANUFACTURER AND BUILDER 1
MEDICAL AND SURGICAL REPORTER 1
MERCHANTS’ MAGAZINE AND COMMERCIAL REVIEW 9
MERRY’S MUSEUM AND PARLEY’S MAGAZINE 1
MESSAGE BIRD, A LITERARY & MUSICAL JOURNAL 6
METHODIST QUARTERLY REVIEW 1
MICHIGAN FARMER 1
MOORE’S RURAL NEW-YORKER: AN AGRICULTURAL AND FAMILY JOURNAL 1
MUSICAL WORLD 1
NATIONAL ERA 5
NATIONAL MAGAZINE; DEVOTED TO LITERATURE, ART, AND RELIGION 3
NEW ENGLAND FARMER 1
NEW YORK EVANGELIST 10
NEW YORK FARMER AND MECHANIC: THE SPIRIT OF AMERICAN INSTITUTES 1
NEW YORK ILLUSTRATED NEWS 13
NEW YORK LEGAL OBSERVER, 1
NEW YORK OBSERVER AND CHRONICLE 3
NILES’ NATIONAL REGISTER 1
NORTH AMERICAN MISCELLANY; A WEEKLY MAGAZINE OF CHOICE SELECTIONS FROM THE CURRENT LITERATURE OF THIS COUNTRY AND EUROPE 1
NORTH AMERICAN REVIEW 1
NORTON’S LITERARY ADVERTISER 8
OHIO CULTIVATOR 2
OHIO FARMER 4
OLD GUARD 1
ONEIDA CIRCULAR 3
OUR YOUNG FOLKS. AN ILLUSTRATED MAGAZINE FOR BOYS AND GIRLS 1
PETERSON’S MAGAZINE 1
PHILADELPHIA PHOTOGRAPHER damaged file 9
PHOTOGRAM 1
PHOTOGRAPHER’S FRIEND: A PRACTICAL, INDEPENDENT MAGAZINE, DEVOTED TO THE PHOTOGRAPHIC ART 2
PHOTOGRAPHIC ART JOURNAL 52
PHOTOGRAPHIC & FINE ART JOURNAL 60
PHOTOGRAPHIC JOURNAL 3
PHOTOGRAPHIC NEWS 1
PHOTOGRAPHIC TIMES AND AMERICAN PHOTOGRAPHER 31
PHOTOGRAPHIC WORLD 2
PHOTOGRAPHY. THE JOURNAL OF THE AMATEUR, THE PROFESSION, AND THE TRADE 2
PHRENOLOGICAL JOURNAL AND LIFE ILLUSTRATED 1
PLOUGH, THE LOOM AND THE ANVIL 2
PRAIRIE FARMER 3
PUBLISHERS’ AND STATIONERS’ WEEKLY TRADE CIRCULAR 1
PUTNAM’S MONTHLY MAGAZINE OF AMERICAN LITERATURE, SCIENCE AND ART 6
ROUND TABLE. A SATURDAY REVIEW OF POLITICS, FINANCE, LITERATURE, SOCIETY
AND ART 3
SARTAIN’S UNION MAGAZINE OF LITERATURE AND ART 4
SATURDAY EVENING POST 2
SCIENTIFIC AMERICAN 7
SCRIBNER’S MAGAZINE 1
SOUTHERN LITERARY MESSENGER; DEVOTED TO EVERY DEPARTMENT OF LITERATURE,
AND THE FINE ARTS 3
SPECTATOR 1
SPIRIT OF THE TIMES; A CHRONICLE OF THE TURF, AGRICULTURE, FIELD SPORTS, LITERATURE AND THE STAGE 12
ST. LOUIS AND CANADIAN PHOTOGRAPHER 4
STEPHEN H. BRANCH’S ALLIGATOR 1
TEMPLE BAR, A LONDON MAGAZINE FOR TOWN AND COUNTRY READERS 1
UNITED SERVICE JOURNAL, DEVOTED TO THE ARMY, NAVY AND MILITIA OF THE UNITED STATES 1
UNITED STATES ECONOMIST, A WEEKLY COMMERCIAL JOURNAL 1
UNITED STATES MAGAZINE AND DEMOCRATIC REVIEW 24
UNITED STATES SERVICE MAGAZINE 1
VANITY FAIR 1
WASHINGTON LAW REPORTER 1
WATER CURE JOURNAL 1
WILSON’S PHOTOGRAPHIC MAGAZINE 5
YALE LITERARY MAGAZINE; CONDUCTED BY THE STUDENTS OF YALE COLLEGE
YOUTH’S COMPANION 1
ZION’S HERALD AND WESLEYAN JOURNAL 4

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ALBION, OR BRITISH, COLONIAL, AND FOREIGN WEEKLY GAZETTE

BRADY, MATHEW B. (1823-1896) (USA)
“Fine Arts: Photographs.” ALBION, OR BRITISH, COLONIAL, AND FOREIGN WEEKLY GAZETTE n. s. 14:38 (Sat. Sept. 22, 1855): 453-454. [“There is an approach to dignity in the recent discoveries resulting from Daguerre’s invention. The Daguerreotype itself, while its importance and advantage are conceded, has failed–in its general application–to support its claim to anything beyond mere mechanical excellence. The Photograph, however, demands attention from a different point of view, and advances reasonable and well supported claims to a recognition among the aesthetic features of the day. In this city, the Gallery of Mr. Brady–one of the earliest and certainly the most skilled practitioners. As he seems to have brought to its development a more refined sense of its requirements, and a more artistic perception of its possibilities, than any of his contemporaries… afford his establishment the benefit of our columns… the Ambrotype… The Ambrotype is as great an advance upon the original Daguerreotype, as is a skillfully hand-colored Photograph upon nineteen-twentieths of bedaubed portraits in oil.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Fine Arts: A Great Advance In Photography.” ALBION, A JOURNAL OF NEWS, POLITICS AND LITERATURE 35:40 (Oct. 3, 1857): 477. [Of Mr. Brady, his Daguerreotypes, his Ambrotypes and his Photographs, the Albion has often spoken with high commendation, but we have now to report an immense stride in this branch of the mechanism of Art–… succeeded in reproducing, from small originals, full-length likenesses of life-size…. Rid of the well-known distortions and disproportions which have hitherto been inseparable, in greater or less degree, from any form of the invention… The specimens we have seen are, we believe, to be exhibited at the Crystal Palace.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Fine Arts: Brady’s New Gallery.” ALBION, A JOURNAL OF NEWS, POLITICS AND LITERATURE 38:43 (Oct. 27, 1860): 513. [“It is not without a twinge of conscience that we notice, under the above heading, the new Photographic establishment, at the corner of Tenth Street and Broadway, just opened by the experienced and enterprising Mr. Brady. We know very well that Photography is not Art; but, artists availing themselves largely of its Marvelous processes, and the public finding it, in too many cases, a cheap and agreeable substitute, we are perhaps justified in giving it a momentary place of honour. Be it known then of all men, and of all women, that all the attractions, all the facilities wherein Photography is capable, are

AMERICAN AGRICULTURALIST

BRADY, MATHEW B. (1823-1896) (USA).
“Editor’s Table. Premium Daguerreotypes.” AMERICAN AGRICULTURALIST 7:11 (Nov. 1848): 356. [“—On a recent visit to Brady’s Gallery, 205 Broadway, we were favorably impressed at the inspection of several Daguerreotypes, in miniature, of a number of our friends, which excelled in truthfulness, beauty, and finish, anything of that we have yet seen. Mr. Brady, who has taken the first premium at the fairs of the American Institute, for three or four years in succession, has brought this comparatively new art to a perfection, no where else surpassed, if equalled, which justly entitles him to the encomium thus bestowed. Being himself an artist of a high order, independent of his knowledge of optics, as connected with this particular branch of his profession, he is enabled to impart to his likenesses, both color and expression almost equal to life itself. by the way—Why is not this art practised more than it is, in taking portraits of favorite domestic animals, trees, buildings, paintings, &c, in which the cost, in many instances, will not exceed one tenth part as much as when sketched or painted the usual way 1 We hope our agricultural friends will take a hint at this suggestion. Mr. R. S. Griswold, of Connecticut, had his fine Ayrshire stock beautifully Daguerreotyped last year and made sales of them, at a distance, from the portraits, much to the satisfaction of all concerned.”]

THE AMERICAN AND FOREIGN CHRISTIAN UNION

BRADY, MATHEW B. (1823-1896) (USA)
“Notices of Books.” THE AMERICAN AND FOREIGN CHRISTIAN UNION 1:3 (Mar. 1850): 138-140.
[“11. The Gallery of Illustrious Americans, is the title of a work which probably surpasses in mechanical beauty and value, any previous publication of the kind. It will be completed in twenty- four numbers, each of which, appearing semi-monthly, is to contain a splendid engraving of some distinguished character, accompanied by a biographical sketch from the pen of Mr. C. Edwards Lester. The first number of this publication, which deserves, for its literary and artistic merit, a high degree of popularity, gives a striking likeness of President Taylor, engraved from a daguerreotype taken for the purpose. Published by Brady, d’Avignon & Co. New-York.”]

BRADY, MATHEW B. (1823-1896) (USA)
“Notices of Books.” THE AMERICAN AND FOREIGN CHRISTIAN UNION 1:5 (May 1850): 234-236.
[“4. The Gallery of Illustrious Americans, published by Brady and d’Avignon, under the literary supervision of Mr. C. E. Lester, has reached its third number, which gives us a most accurate and life- like portrait of Daniel Webster. We will add nothing to our previous notice of this splendid work, except that our expectations of its value have been fully realized thus far. We hope that its popularity may justify the expense incurred by so important an enterprise.” (p. 235)]

BRADY, MATHEW B. (1823-1896) (USA)
“Notices of Books.” THE AMERICAN AND FOREIGN CHRISTIAN UNION 1:6 (June 1850): 282-284.
[“10. The Gallery of Illustrious Americans. Messrs. Brady & D’ Avignon have issued the fourth Livraison of this magnificent work of artistic and literary merit. It contains the portrait and life of the late Silas Wright, and must be very satisfactory to the numerous friends and admirers of that great man.” (p. 284)]

BRADY, MATHEW B. (1823-1896) (USA)
“Notices of Books.” THE AMERICAN AND FOREIGN CHRISTIAN UNION 1:7 (July 1850): 332-333.
[“The Gallery of Illustrious Americans has added to its collection the portraits of Clay and Fremont. Both are life-like resemblances and excellent engravings. We observe a marked improvement in the style of biographical sketches accompanying them. Published by Brady, d’Avignon & Co., New York.” (p. 333)]

BRADY, MATHEW B. (1823-1896) (USA)
“Notices of Books.” THE AMERICAN AND FOREIGN CHRISTIAN UNION 1:9 (Sept. 1850):426-428.
[“Audubon, the celebrated Ornithologist, occupies the seventh picture frame in the Gallery of Illustrious Americans. The engraving is, we presume, a most faithful one; the biographical sketch is very interesting.” (p. 427)
(Etc., etc.)
“Gallery of Illustrious Americans. – The eighth number of this splendid work has appeared, containing an admirable portrait of Mr. Prescott, the historian, and an excellent sketch of his life and literary achievements.” (p. 428)]

BRADY, MATHEW B. (1823-1896) (USA)
“Notices of Books.” THE AMERICAN AND FOREIGN CHRISTIAN UNION 1:10 (Oct. 1850):475-476.
[“The Gallery of Illustrious Americans. – we have received the ninth number of this magnificent work. It contains the Portrait and Life of General Scott. The Engraving and the Memoir are worthy of the Hero of many battles, the greatest of American generals.” (p. 476)]

BRADY, MATHEW B. (1823-1896) (USA)
“Notices of Books.” THE AMERICAN AND FOREIGN CHRISTIAN UNION 1:11 (Nov. 1850):523-525.
[“The tenth number of Brady and D’Avignon’s Gallery of Illustrious Americans gives us a wonderfully faithful and life-like portrait of President Fillmore. We do not know what progress the fine arts may make in the next fifty years; but we could not desire, and posterity will not obtain a better idea of our thirteenth President, than this fine engraving gives.” (p. 524)]

BRADY, MATHEW B. (1823-1896) (USA)
“Notices of Books.” THE AMERICAN AND FOREIGN CHRISTIAN UNION 1:12 (Dec. 1850):560-563.
[“The Gallery of Illustrious Americans, No. 11. This magnificent work comes to us with increasing merit and value. The present number contains the portrait of Dr. Channing. The biographical sketch by Mr. Lester is the most finished and interesting we have yet seen; as an elaborate eulogy it compares favorably with anything of the kind we have ever known.” (p. 563)]

AMERICAN ART JOURNAL

BRADY, MATHEW B. (1823-1896) (USA).
“Constantino Brumidi, the Great Fresco Artist.” AMERICAN ART JOURNAL. MUSIC, ART, LITERATURE, AND THE DRAMA 32:20 (Mar. 18, 1880): 309. [“Constantino Brumidi, the artist, died February 20th, at his residence in Washington. For months past he has been failing, but until two weeks has been able to work very day in his studio, and was dressed and sat up each day until the one proceeded his death…” (Etc., etc.) “…The picture which we publish of him is a capital one. It was taken by Brady about two years ago, and is the only one that is known.”
(There is no picture in this copy of this work, nor, seemingly, any place for it to be in what is mostly an unillustrated magazine. Perhaps it was published as a separate insert, which was removed from this copy. WSJ)]

AMERICAN BIBLIOPOLIST (SABIN & SONS’)

BRADY, MATHEW B. (1823-1896) (USA).
“Catalogue of Books for Sale at the Annexed Prices, by J. Sabin & Sons,….”
AMERICAN BIBLIOPOLIST 3:29 (May 1871): 189-210.
[(Etc., etc.)
“Recollections of the Art Exhibition, Metropolitan Fair, in Aid of the U. S. Sanitary Commission. Photographed and published by M. B. Brady. Folio oblong, cloth gilt. New York, 1864. $10.00.”
(Etc., etc. (p. 204)]

AMERICAN JOURNAL OF THE MEDICAL SCIENCES

BRADY, MATHEW B. (1823-1896) (USA)
“To Readers and Correspondents. The Following works have been received: – ” AMERICAN JOURNAL OF THE MEDICAL SCIENCES 19:39 (July 1850): 286-290. [The Gallery of Illustrious Americans is listed on pp. 288-289, with scores of other books listed.]

AMERICAN JOURNAL OF PHOTOGRAPHY

BRADY, MATHEW B. (1823-1896) (USA).
”The Atlantic Cable & Photography.” AMERICAN JOURNAL OF PHOTOGRAPHY 1:7 (Sept. 1, 1858): 111-113. [Detailed descriptions of the facades of major New York, NY galleries during the celebration commemorating the completion of the Atlantic cable -the galleries of Gurney, Brady, and Fredericks specifically noted and described.]

BY COUNTRY. USA. 1858.
Seeley, Charles A. “Editorial Miscellany.” AMERICAN JOURNAL OF PHOTOGRAPHY AND THE ALLIED ARTS & SCIENCES n. s. 1:9 (Oct. 1, 1858): 145. [Criticism that the photography displayed at the American Institute Fair was “less than one-fourth as that of last year; also felt that they were hung at a disadvantage. “The first class galleries of New York are all represented, with the exception of Brady’s.” “…a series of five pictures, by Mr. T. Farris, symbolising the five senses. These pictures are especially noteworthy, for the reason that successful artistic composition photographs are rare. a poem describing the photos follows. Maurice Sancier exhibits a fine collection of photograph views from dry collodion. Mr. Sancier, we believe, is the first in the field, and demonstrates that he has a useful process, His pictures compare favorably with the landscapes of others, made by the ordinary methods. In the apparatus department, we noticed Becker’s Panoramic Stereo scope and Stock’s patent Camera Shields. Mr. E. K. Hough writes us as follows: “In the short article, entitled ‘Photo-Kaleidoscopes,’ published in the last number of your journal, there was a typographical error, which materially changes the idea intended to be conveyed….”]

GURNEY, JEREMIAH. (1812-1886) (USA).
”Photography in New York.” AMERICAN JOURNAL OF PHOTOGRAPHY AND THE ALLIED ARTS & SCIENCES n. s. 1:14 (Dec. 15, 1858): 223-225. [Gurney’s new gallery and operations discussed in detail, Brady’s gallery mentioned briefly and praised.]

BRADY, MATHEW B. (1823-1896) (USA).
”Note.” AMERICAN JOURNAL OF PHOTOGRAPHY AND THE ALLIED ARTS & SCIENCES n. s. 3:2 (June 15, 1860): 29-30. [Brady taking portraits of members of the House of Representatives, to make imperial prints for sale.]

BRADY, MATHEW B. (1823-1896) (USA).
”Mr. Brady’s Photographic Picture of the House of Representatives.” AMERICAN JOURNAL OF PHOTOGRAPHY AND THE ALLIED ARTS & SCIENCES n. s. 3:4 (July 15, 1860): 50-52. [From NY Daily Times. 250 members in a group portrait 20″ x 24″.]

BRADY, MATHEW B. (1823-1896) (USA).
”A Broadway Valhalla: Opening of Brady’s New Gallery.” AMERICAN JOURNAL OF PHOTOGRAPHY AND THE ALLIED ARTS & SCIENCES n. s. 3:10 (Oct. 15, 1860): 151-153. [From NY Times (Oct. 6).]

BRADY, MATHEW B. (1823-1896) (USA).
”Editorial Miscellany.” AMERICAN JOURNAL OF PHOTOGRAPHY AND THE ALLIED ARTS & SCIENCES n. s. 3:11 (Nov. 1, 1860): 176. [Prince of Wales visited U. S. A., sat for Brady and Gurney, but apparently visited only Brady’s gallery.]

ORGANIZATIONS. USA. AMERICAN PHOTOGRAPHICAL SOCIETY. 1860.
Seely, Charles A. “The American Photographical Society. 22nd Meeting.” AMERICAN JOURNAL OF PHOTOGRAPHY n. s. 3:13 (Dec. 1, 1860): 204-206. [“Twenty-Second Meeting.” “The Society held its regular monthly meeting on Monday evening, November 12th; S. D. Tillman, esq., presiding Honorary Membership.—On nomination-of Mr. Seely, Lieut. Gov. Butler G. Noble, of Wisconsin, was elected an honorary member. Mr. Seely remarked that Gov. Noble was one of the pioneers of the photographic art, and about twenty years ago had some business interest in it, and since that time had taken pains to keep himself informed of its progress. He had been for many years a reader of photographic literature, and had contributed something himself to it. He was a patron of science generally and was also known as an ingenious inventor. The Chairman said that he had known Mr. Noble from his schooldays and was pleased that the Society could offer the compliment of honorary membership.
The Photographic Museum.—Mr. Johnson of the committee on collecting specimens, said that he had called on many of the photographers in New York and Boston, and found that there was a general sympathy in the objects of the Society, and that we might expect co-operation from every quarter. Mr. Johnson laid on the table a large and valuable collection of photographs, which had been sent as donations from the most eminent photographers of Boston and New York. The exhibition of the photographs occupied a considerable part of the evening, and evidently to the great satisfaction of the members. Many of the specimens were of historical interest, as well as illustrations of processes. The comments made on the pictures were of considerable force and value, but their effect cannot be easily conveyed to our readers without an exhibition or minute description. The balloon photographs described in our last number (see p. 188), were examined with the most lively interest.
Mr. Dixon: Mr. Black, who sends these views, was the first to make a perfect photograph of the moon, aiming his camera upward from the earth. It is an interesting coincidence that Mr. Black was the first to go above the earth, and looking down, to make the first view of our planet. The balloon pictures only excite our curiosity and wonder, but there can be no doubt that some day, balloon photography will become useful, and perhaps a legitimate business. The very valuable donation of Mr. Black is not sufficiently rewarded by a simple vote of thanks. It must at the same time be well understood that we admire his work and consider it as a great triumph of our art.
Mr. Seely: The credit of having made the first photograph of the moon is commonly accorded to Mr. Whipple. The original daguerreotype was exhibited in the World’s Fair, of 1851, and Mr. Glaisher, in a lecture at that time, especially compliments Mr. Whipple. I have not before heard Mr. Black’s name connected with the transaction.
Mr. Dixon: Mr. Whipple was simply the proprietor of the photographic operations, and Mr. Black was the practical photographer who really did the work.
Fumes in the Operating-room.—Mr. Dixon: The balloon photographers were very much annoyed by the fumes of the gas, which expanded on the rising of the balloon, and came down through the opening at the bottom This cause produced many failures before it was discovered. A very little gas in the air, which was scarcely unpleasant to breathe, proved fatal to photography. This fact suggests to me that it may be odors or fumes noxious to our operations, which may be the reason of what we call ill luck in our operating rooms. It is well known how fatal the fumes of camphine were to the daguerreotype, and it may lie that there are substances just as destructive to collodion. And when health demands it also our motto should be “ventilate the operating room.”
Mr. Werge, of New York, presented several English landscape photographs of historical interest, and which elicited complimentary remarks for the fine texture of the paper, and the smoothness of the varnish. The work was pronounced superb.
Mr. Babcock, for R. A. Lewis of New York, presented a splendid portrait of Albert Pike, of Arkansas. This is a gem, and if Mr. Lewis should produce a dozen like it, his fame would be established.
Mr. J. A. Whipple of Boston, presented views of the Latting Tower, portraits of the Hayes’ Arctic expedition, &c.
Appropos of card photographs and caricatures presented by Messrs. Fredricks and Brady of New York:
Mr. Johnson: About fifteen years ago similar pictures by the daguerreotype were quite popular. Mr. Haas, I think, was the first to make a…” (remainder of the article is missing.)]

BY COUNTRY. USA. 1861-1865 (US CIVIL WAR)
Seely, Charles A. “Editorial Miscellany.” AMERICAN JOURNAL OF PHOTOGRAPHY AND THE ALLIED ARTS & SCIENCES n. s. 4:5 (Aug. 1, 1861): 120. [“The irrepressible photographer, like the warhorse, snuffs the battle from afar. We have heard of two photographic parties in the rear of the Federal army, on its advance into Virginia. One of these got so far as the smoke of Bull’s Run, and were aiming the never-failing tube at friends and foes alike when with the rest of our grand army they were completely routed and took to their heels, leaving their photographic accoutrements on the ground, which the rebels no doubt pounced upon as trophies of victory. Perhaps they considered the camera an infernal machine. The soldiers live to fight another day, our special friends to make again their photographs. The other party, stopping at Fairfax, were quite successful. We have before us their fine stereo-view of the famed Fairfax Court House. When will photographers have another chance in Virginia?” (Could this be Brady and O’Sullivan in one party and Barnard and Gibson in the other?)]

BRADY, MATHEW B. (1823-1896) (USA).
“American Photographs.” AMERICAN JOURNAL OF PHOTOGRAPHY AND THE ALLIED ARTS & SCIENCES n. s. 5:7 (Oct. 1, 1862): 145-150. [From London Times. Long article discussing the virtues of photography to record historical events and personages, initiated by seeing Brady’s photographs. “We have before us a collection of photographs by one of the best American photographers, Mr. Brady, of New York, which includes… not merely the war scenes…but a number of interesting portraits of the most eminent Americans…the volume of portraits…”]

BRADY, MATHEW B. (1823-1896) (USA).
“Stolen.” AMERICAN JOURNAL OF PHOTOGRAPHY 12:136 (Apr. 1891): 174. [“From M. B. Brady, the well-known photographer in Washington, D. C., a Dallmeyer rapid rectilinear lens, 21X25, No. 44,338. Any one to whom this lens should be offered or who may discover its whereabouts will confer a favor and obtain a suitable by notifying the owner.”]

BRADY, MATHEW B. (1823-1896) (USA).
“M. B. Brady’s Stolen Lens.” AMERICAN JOURNAL OF PHOTOGRAPHY 12:141 (Sept. 1891): 174.
[“That the manufacturer’s record of the sale of his lenses by number of the instrument and name of purchaser does not always prevent the sale of a stolen instrument is clearly established by the facts in Brady’s case.
On the 29th of January last a Dallmeyer Rapid Rectilinear Lens, 21 X 25, No. 44338, was stolen from the gallery of M. B. Brady, in Washington city. The house from which it had been purchased, and the trade generally, were immediately notified of the loss. About the middle of February the stolen instrument was offered to a dealer on Broome Street, this city, for $150 less than its market value. The dealer immediately took the instrument to the office of the agents of the make of lenses of whom it had been purchased, and it was at once identified as belonging to Brady; and yet the agents allowed the stolen property to be carried away, If for any reason or from any cause the agents did not wish to act in the matter, they might at least have notified the police.
Had they done so, it would have been recovered by the owner. But they did not, and Mr. Brady now regards it as lost beyond recovery.
Washington, D. C., June 27th, 1891.
M. B. Brady.”]

AMERICAN MONTHLY MAGAZINE

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“First Continental Congress, February 22, 1892, of the Daughters of the American Revolution.
Mrs. Benjamin Harrison, President General. Matthew B. Brady, Photographer.”) after p. 336 in: THE AMERICAN MONTHLY MAGAZINE 2:3 (Mar. 1893): following p. 336.

AMERICAN NATIONAL PREACHER. A MONTHLY REPOSITORY OF ORIGINAL SERMONS.

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s New and Magnificent Daguerreotype Gallery,” THE AMERICAN NATIONAL PREACHER. A MONTHLY REPOSITORY OF ORIGINAL SERMONS. 27:10 (Oct. 1853): 30.
[ “No. 359 Broadway, New York.
(Over Thompson’s Saloon.)”
(Engraving)
[This full-page ad is on the back cover of this issue. Consists of just the gallery name and address and an
engraving of the recto of the World’s Fair medal; consisting of the heads of Queen Victoria and Prince Albert, side by side. See the following reference. WSJ)]

[Advertisement.] “Brady’s New and Magnificent Daguerreotype Gallery,” THE AMERICAN NATIONAL PREACHER. A MONTHLY REPOSITORY OF ORIGINAL SERMONS. 28:1 (Jan. 1854): 2.
[ “No. 359 Broadway, New-York.
(OVER THOMPSON’S SALOON).
[Engraving of the World’s Fair medal, depicting a young woman surrounded by other women in classic dress, kneeling to receive a laurel wreath; with the phrase “Dissociata Locis Concordi Pace Ligavit”]
THE PRIZE MEDAL
WAS AWARDED TO
M. B. BRADY,
FOR THE
BEST DAGUERREOTYPES,
AT THE WORLD’S FAIR IN LONDON, 1851.
This Establishment is now completed, and the public are invited to view the many improvements combined in this
MAGNIFICENT GALLERY.
The Proprietor has no hesitation in claiming advantages possessed by no similar Establishment, either in this country or in Europe. The facilities for the production of
FIRST CLASS PICTURES
Are unrivalled. An additional building has been erected, by which the Reception Saloon, Ladies’ Dressing Room and the Operating Rooms are on THE SAME FLOOR, thus forming a new and most desirable arrangement. This Gallery, in connection with the OLD ESTABLISHMENT, corner of Fulton-street and Broadway, contains a matchless collection of Daguerreotypes. of American and European celebrities, unequalled on this continent.
BRADY’S DAGUERREIAN GALLERIES,
Nos. 359 and 205 BROADWAY, NEW-YORK,”
[This is a full-page advertisement, with an illustration. Depicting the verso of the medal. WSJ)]

AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE

BRADY, MATHEW B. (1823-1896) (USA).
“Miscellany.” AMERICAN PHRENOLOGICAL JOURNAL AND MISCELLANY 12:6 (Aug. 1850): 264.
[“The Gallery of Illustrious Americans, containing the portraits and biographical sketches of twenty-four of the most eminent citizens of the Republic since the death of Washington. Daguerreotypes by Brady; engraved by D’Avignon; edited by C. Edwards Lester, assisted by an association of literary men. Price $1.00 per number, payable on delivery. One fourth of the work is now complete.
“This work is got up on an extensive and most costly plan. The word Best can be applied to all its departments. This work is particularly adapted to those who have refinement of feeling, exquisite taste, love of country, of character, of science, of discoveries, and of nature. Courage, ambition, friendship, and desire to excel are qualities of mind particularly stimulated by the possession of this work, and all will be proud to exhibit it to their friends. The likenesses are all good, and the character of each one is easily seen in their portraits. Their biographies are a simple story of their acts, told in the best manner possible. The type, printing, and style of the work are equal, if not superior, to any thing in this country.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“No. 31. Zachary Taylor.”) on p. 329 in: “Article LXIX. Portraits of the Presidents. – No. XII. Phrenological Character of General Taylor, with a Likeness.” AMERICAN PHRENOLOGICAL JOURNAL AND MISCELLANY 12:11 (Nov. 1850): 329-333. [“General Taylor had a powerful constitution, a stout, large, straight, ad muscular figure, which fitted him for sustaining labor and excitement…” (p. 329) ]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“No. 32. Millard Fillmore.”) on p. 361 in: “Article LXXVI. Portraits of the Presidents. – No. XIII. Phrenological Character of Millard Filmore, with a Likeness.” AMERICAN PHRENOLOGICAL JOURNAL AND MISCELLANY 12:12 (Dec. 1850): 361- 365. [“Animal power is the most strongly marked characteristic of this organism; not that he is thereby rendered a sensualist, or gross, depraved, or brutal, for that depends upon the perversion of animal power,….” (Etc., etc.) (p. 361)]

BRADY, MATHEW B. (1823-1896) (USA).
“Portraits of Taylor and Fillmore.” AMERICAN PHRENOLOGICAL JOURNAL AND MISCELLANY 12:12 (Dec. 1850): 388. [“We are indebted to the undersigned for a copy of these excellent likenesses. We copy their polite note, which will explain itself:
New York, 205 Broadway, Oct. 18th, 1850.
Gentlemen: Your note requesting permission to engrave the heads of General Taylor and Mr. Fillmore, in our “Gallery of Illustrious Americans,” for your Phrenological Journal, is received; and although we have generally declined such applications, we have great pleasure in granting the request in your case, since the object you have in view is one of science. With great respect, your ob’t serv’ts,
Brady, D’avignon & Lester.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“John Charles Fremont.”) on p. 53 in: “John Charles Fremont, His Character and Biography.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 15:3 (Mar. 1852): 52-54. [“From a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Henry Clay.) on p. 37. “Henry Clay, His Character and Biography.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 16:2 (Aug. 1852): 36-38. [“From a daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
“General Notices.” AMERICAN PHRENOLOGICAL JOURNAL AND MISCELLANY 16:11 (Aug. 1852): 47.
[“The likeness of Henry Clay, in this number, is from a daguerreotype by Brady, and is copied by permission of the publishers of that excellent work, :The Gallery of Illustrious Americans,” for which the portrait was originally taken.”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s Card to the Public.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 20:1 (July 1854): 23. [“A new feature in Daguerreotypes has recently been introduced by Brady, at his old gallery, 205 Broadway, corner of Fulton Street. The extent of his Establishment enables him to produce for 50 cents, and $1, pictures of a quality infinitely superior to the phantoms usually designated cheap pictures. This is a new feature in first-class establishments, and the fame of the artist is too well known to doubt its success. The public can now rely on obtaining as good a picture for that price as can possibly be put up, and a far better picture than can be obtained elsewhere at the same rates. Brady’s New Gallery, 359 Broadway, over Thompson’s Saloon, is fitted up with great taste and beauty, and possesses greater facilities for the production of first-class portraits than any similar establishment in this country. These Galleries form an elegant resort for persons of taste—containing as they do the largest collection of distinguished portraits in America. Prize Medals were awarded to Brady at the World’s Fair in London, 1851, and the Crystal Palace, New York, 1853….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Dr. Thomas E. Bond.”) on p. 96. “Dr. Thomas E. Bond.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 23:4 (Apr. 1856): 96. [“The above excellent likeness is from an ambrotype taken by Brady…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Portrait of J. F. G. Mittag, M. D.”) on p. 121. “J. F. G. Mittag. Phrenological Character and Biography.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 25:6 (June 1857): 121-122. [“Ambrotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“William L. Marcy.”) on p. 48. “William L. Marcy. Phrenological Character and Biography..” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 26:2 (Aug. 1857): 48. [Governor, Sec. of State for President Pierce, etc. “…Mr. Marcy on one occasion during his last visit to this city, evidenced in an unmistakable manner the symptoms of the fatal disease. While having his photograph taken by Brady, he was requested by the artist to stand, in order, we suppose, to correspond with most of the other portraits of eminent men in the gallery. Mr. Marcy, however, attempted it in vain, the palpation of his heart requiring him either to sit or move about…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Edward H. Barton, A. M., M. D.”) on p. 77. “Edward H. Barton. Phrenological Character and Biography.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 26:4 (Oct. 1857): 77-80. [“Ambrotyped by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“S. S. Randall.”) on p. 97. “S. S. Randall. Phrenological Character and Biography.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 26:5 (Nov. 1857): 97-98. [“Ambrotyped by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Barton S. Spears.”) on p. 99. “Barton S. Spears. Phrenological Character and Biography.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 26:5 (Nov. 1857): 99-100. [“Ambrotyped by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Samuel W. Francis.”) on p. 121. “Samuel W. Francis. Phrenological Character and Biography.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 26:4 (Dec. 1857): 121-122. [“Daguerreotyped by Brady, drawn by Wallin, engraved by Bobbit.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“James Bogle.”) on p. 1. “James Bogle. Phrenological Character and Biography.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 27: 1 (Jan. 1858): 1-3 [“Ambrotyped by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Matthew B. Brady) on p. 65. “M. B. Brady. Phrenological Character and Biography.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 27:5 (May 1858):65-67. [“Photographed on wood from life by Price’s Patent Process.” ]
[“Phrenological Character.”
You have a temperament indicating a high degree of the mental or nervous, in conjunction with a wiry toughness of body, indicative of great propelling power and physical energy and activity. These conditions combined, produce intensity of emotion, depth and strength of feeling, and a disposition to be continually employed. You are living too much on your nerves, and need a great amount of sleep to recuperate your constitution, and to quiet your brain and nervous system; but you are tough, and will wear a long time, provided you take ordinary care of yourself.
Your brain is unusually large for such a body, and therefore you should guard against the use of everything calculated to chafe the nervous system and excite the brain, such as coffee, tobacco, alcoholic liquors, and also the common irritating condiments of the table. In addition to this, if you can secure eight hours of sleep in the twentyfour, you will find it greatly to your advantage.
The development of your brain indicates a great amount of force of character. You are a natural worker, and you would be truly miserable if placed where you had nothing to do. You like to meet and overcome difficulties, and ought to have been engaged in civil engineering, building railroads, navigating ships, or in some other way wrestling with the world’s difficult enterprises. You have astonishing Firmness. It would seem that for all your life long you had been overcoming obstacles and bearing heavy responsibilities. Opposition is almost a luxury to you, and to meet and master obstacles and conquer less to try to force you to do anything against your will. You can not and will not be driven by your peers, though you can be persuaded by sympathy and friendship to go almost any length, and to sacrifice almost any amount of convenience or ease to confer a favor. You have large Self-Esteem, which gives great self-reliance, disposition to trust to your own judgment, to rely upon your own resources, and take responsibilities. Firmness and Self Esteem appear to have been greatly increased by use, for they stand out sharply beyond the other organs. Your sense of duty appears to be strongly marked; and when your idea of honor, your will, your sense of reputation, and your integrity are at stake, you will do and suffer vastly to achieve what you know is right, and to crush out the wrong. If you think that a man is true to you and really honest, you can put up with ignorance, carelessness, want of capacity, and a variety of other unpleasant things, just because of his fidelity; but if a man is treacherous, and indicates a disposition to be an (p. 65) eye-servant, you bear but little, and rid yourself of him as soon as possible.
You have very strong friendships, and very great aversions. You like and dislike in the extreme and, for a friend you will go through fire and water; and if an enemy pursues you, you would run almost any personal or pecuniary hazard to punish him, or at least to repel his aggressions. You are a man of high temper, of real bravery, but not possessed of a malignant, revengeful spirit. Your anger is mostly made up of powder without the ball, and if you were to injure a man in anger, except it were in an extreme case of self-defense, no person would regret it more sincerely than yourself; but so long as the enemy’s flag is flying, you have no idea of giving or taking quarter.
You love home devotedly. Nothing would give you more pleasure than to own a nice situation on the Hudson. Every vine, and every shrub and tree would seem to have a heart and soul beating in harmony with your own, and with these you would seem to take root in the soil.
You love children, and are a fervent friend, and capable of being an ardent, affectionate husband.
Your Constructiveness and Ideality, joined with Order and Calculation, appear to be enormously developed, as seen in that great ridge running upward and backward from the external angle of ‘he brow. We rarely find Ideality so large; and Constructiveness seems wedded to it, as if your mind had been in an artistic and mechanical study and labor for years, and, moreover, as if it were natural for it to be so.
You are continually studying some new and beautiful design; and if you were a worker in marble or a painter, your reputation would be achieved through the talent to devise new patterns and work out original ideas. You are a natural inventor, and had you been trained up as a mechanical engineer, you would doubtless have achieved high success as an inventor.
You have a full development of Imitation, and can copy well, but prefer to work right from the judgment or by the eye-to make new tracks rather than to follow old ones.
Another peculiarity of your organization is the immense development of the perceptive group of organs. Individuality or Observation just above the root of the nose, Form which gives width between the eyes, and Size and Weight which give a kind of frowning appearance, together with Locality, are all remarkably large. You see everything that comes in sight, and remember forms remarkably well, also distances, outlines, and dimensions. You study attitudes successfully, and as an artist would show skill in that particular. Order, as seen in the prominence of the external angle of the brow, is also large, making you fastidious in respect to arrangement, while your great Ideality gives you such a sense of the perfect of what is tasteful and stylish, that your feelings in this respect are almost painful to yourself; and even when you get things just as you want them, the exhilaration in your mind incident thereto is of such an extreme character, that it is hardly pleasurable. Few men are as highly pleased as you with that which is gratifying to your faculties, and few, indeed, are so deeply exasperated when things are wrong. This all grows out of-first, your large brain; second, your nervous excitability; and third, the sharpness and activity of those large organs which give perception and criticism.
Your memory of faces is first-rate, of places and outlines good, of dates, names, and of immaterial facts deficient. You love to read and study mind, and are rarely at fault in your first impressions of strangers. You like to read biographies and travels, in which action and character make up the chief attributes.
You have strong sympathy, and this joined with your friendship makes your character quite bland under certain circumstances; but you have had your mind screwed up to the laboring point so long, that it has become rather angular, and it is less easy to please you and keep you in good temper than it was formerly.
Your Veneration is subservient in its influences, and your respect for others depends upon ascertained merits, real achievement, and the power to do, rather than upon the common fame of the world in respect to them. Your religious feelings are shown more through benevolence than through devoutness. You have a kind of spirituality of mind which often leads you out of the region of the material, and gives, as it were, a foretaste of the inner and higher life, but you rarely attain to this state of mind through the action of your Veneration. Your imagination, faith, and sympathy constitute the only Jacob’s ladder on which you climb.
Your forehead appears retreating, not because it is small in the upper part, or region of the reasoning organs, but because it is so very large in perceptive development just over the eyes. Your sense of property is subservient. If you had a fixed income or annuity beyond the reach of mutation, you would like to work and make money to use in making experiments and in gaining knowledge. You value money solely for its uses-not to hoard it in a miserly manner. If you had been one of the British nobility, with a fortune and an education, you would have been likely to devote yourself to the culture of art and literature and science, as a source of mere gratification; and if you were removed from the idea or possibility of want, so that you could revel in the luxury of experiments and art, of science, literature, and travel, you would feel that heaven was almost begun.
You are working too hard, and wearing out your constitution. You should husband your powers, take life more easily, that you may retain your health and prolong your life to a good old age.
BIOGRAPHY.
MATTHEW B. BRADY, the world-renowned disciple of Daguerre, is a native of the northern part of the State of New York, and is now about forty years of age.
When a mere lad he was attacked with a violent inflammation of the eyes, and came near losing his sight. This misfortune, combined with an indomitable spirit of self-reliance and enterprise, induced his parents to send him from home for medical treatment.
He first came to Albany, where he made the acquaintance of Paige, the eminent artist, who soon became his warm friend, affording him aid and encouragement.
About this time the discovery of Daguerre having been introduced into this country, Mr. Brady decided to devote himself to the practice and development of the new art, and, if possible, to win a name and fortune as an operator and an artist -a resolve which he at once, with characteristic energy and intelligence, commenced to carry into effect. He learned the process, and familiarized. himself with the chemical and artistic knowledge required to produce daguerreotype pictures, and soon was able to accomplish wonders in his new field of endeavor.
He shortly after came to this city and opened a gallery, which was soon extended and enlarged to meet the requirements of a large and rapidly increasing business. His popularity and success were established in a very short time, and Brady’s Gallery became one of the permanent institutions of our city, and a center of attraction for the resident lovers of the beautiful in art, and for strangers visiting the city.
He early formed a plan for a National Gallery of Portraiture, which should be more complete than anything of the kind in the world. In connection with this purpose Mr. Brady established a gallery at Washington, and visited Europe, where he received marked attention, and was recognized as the Daguerre of America. In 1851, at the great World’s Fair in London, Mr. Brady was an exhibitor, and carried off the highest award, thus establishing a supremacy which he has since maintained against the most determined spirit of competition.
With the introduction of the ambrotype and photograph he has won a distinctive reputation. Brady’s imperial photographs have become a national feature in art, and are spoken of by the highest authorities with the respect due to the most celebrated fine-art creations.
He has recently reopened his gallery at Washington, which had been closed for some time. He has also commenced, in this city, a splendid Gallery of Imperial Photograph Portraits of Distinguished Clergymen and Pulpit Orators, which excites universal admiration, and has added a most interesting and attractive feature to his unequaled establishment.
The last great success achieved by Mr. Brady in his art surpasses all previous conception of the possibilities of production. Single portraits and groups are taken life-size, with an accuracy, boldness, and perfection of naturalness never before attained.
Mr. Brady’s name has become inseparably associated with the development and application of the Daguerrean process in this country, and its history could not be written disconnected from his name, labors, and numerous successful applications of the art to practical uses.
Few men have more vividly impressed individual traits upon a profession; few have ever illustrated any pursuit more brilliantly. His experience has been one of uninterrupted success, and in his hands a process, in itself mechanical, has become a plastic and graceful art, varied in its effects and almost infinite in its susceptibilities, exerting a revolutionary influence upon general art, culture, and taste.
The difficulties which surround the introduction and application of a new discovery are known only to those who have encountered them. Effects alone impress the popular mind, their complicate (p. 66) causes being usually lost sight of. Thus while many have participated in the surprise and satisfaction occasioned by the remarkable development of this and kindred discoveries, few have recognized it as the result of combined energy, enterprise, and ingenuity.
The theory of Daguerre was of so startling a nature as to repel general faith in its practicability, and until its assumption by Mr. Brady, no effort commensurate with its importance was made to establish its utility.
Convinced from the first that it embodied the germ of a new and unique art; that it promised to fulfill an important social and esthetic use, he devoted himself to its development with a zeal to which his present exalted position and that of the discovery bear ample and honorable witness.
Improved instrumental appliances, free galleries, and various chemical and optical experiments were gradually productive of a result which soon attracted attention and affirmed decisively the soundness of Mr. Brady’s judgment and the success and immense value of the discovery.
Brady’s Gallery of National Portraiture, numbering more than six thousand specimens, surpasses in cotemporary interest and historic value any of a similar character in the world.
All of that Titanic race which has covered the present century with renown; all who have added to the art-wealth of the age, or augmented its lettered glory, or aided its material advancement, are embodied in this magnificent collection; and a new grace is lent to the art, a historic dignity imparted to the effort, that thus concentrates and embodies from life the greatness of an era.
Of the millions of engraved portraits issued during the last fifteen years by the publishers of this country, more, than from any other, have been executed from originals derived from Brady’s Gallery, thus adding a universal recognition of the skill with which he has rendered the camera auxiliary to the art of the engraver,
Several works, among which the “Gallery of Illustrious Americans,” a work unsurpassed in magnitude or symmetry of design, have been issued from his establishment.
In applying the camera to scientific illustrations of all kinds, Mr. Brady has rendered the most efficient aid to the cause of letters, and has given a greatly accelerated impulse to the introduction of illustrated periodical literature, which has become so marked a feature in the history of the times.
Few men among us who have attained great eminence and success in business pursuits are more deservedly popular than Mr. Brady, from claims purely personal; for none can be more distinguished for urbanity and geniality of manners, and an untiring attention to the feelings and happiness of those with whom he comes in contact. From this cause, as well as from the extraordinary character of his artistic creations, has Brady’s Gallery ever been recognized by the most distinguished families in the country as a fashionable and popular resort; while thousands have come and gone bearing away a new sense of beauty, with treasured specimens of art reflecting the features of loved and cherished ones.
Mr. Brady, like all men who have impressed themselves with a powerful originality upon an age prolific in such characters, is a self-made man, and owes his present exalted position and remarkable artistic and business success mainly to his own unaided efforts and devotion to a high conviction and purpose. (p. 67)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (‘Little Ella.’ Virginia Burns.) on p. 1. “Ella Virginia Burns. Phrenological Character and Biography.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 29:1 (Jan. 1859): 1-2. [Not credited, but probably from a photograph or daguerreotype. Portrait of a four year old girl, the “…wonderful child reader and elocutionist…” performer. The article quotes an anecdote by “N. P. Willis, in one of his Idlewild Papers, in a recent number of the Home Journal.. …I was in a Brady’s, in Broadway, looking at his new Gallery of the Full and Fair–…I was struck by … a child playing about the room…. While I stood watching her movements, and marveling how all Art was undone by so simple and easy a work of Nature as a little child, Brady touched me on the shoulder, and told me I was looking at a famous wonder—no less a personage than ‘Little Ella,’ as she is called, the wonderfully precocious child who is now running a race of celebrity,… Brady presented me to her mother…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Sebastian Bach Mills.) on p. 8. “Sebastian Bach Mills. Biography and Phrenological Character.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 31:1 (Jan. 1860): 7-8. [Pianist. “From an Imperial Photograph by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Washington Irving.) on p. 9. “Washington Irving. Phrenological Character and Biography.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 31:1 (Jan. 1860): 8-10. [Article reprinted from 1846. “From an Imperial Photograph by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Peter Cooper.) on p. 24. “Peter Cooper. Biography and Phrenological Character.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 31:2 (Feb. 1860): 23-25. [Wealthy manufacturer, philanthropist, founder of Cooper Institute. “From an Imperial Photograph by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Henry C. Spaulding.) on p. 25. “Peter Cooper. Biography and Phrenological Character.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 31:2 (Feb. 1860): 25-26. [“From an Imperial Photograph by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Albert Edward, Prince of Wales.) on p. 65. “The Prince of Wales.” AMERICAN PHRENOLOGICAL JOURNAL AND REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 32:5 (Nov. 1860): 65-66. [Recent visit to New York. “The portrait we give is from an original photograph, kindly loaned to us by that eminent photographic artist, Brady, of this city, whose gallery was visited by the Prince and his suite, for the purpose of securing some specimens of our unsurpassed American photography. As our picture was photographed on to the block, directly from the original untouched photograph taken from life, the reader may regard this as a perfect likeness…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Commodore Charles Wilkes, the Capturer of Messrs. Mason and Slidell.) on p. 1. “Commodore Charles Wilkes. Phrenological Character and Biography.” AMERICAN PHRENOLOGICAL JOURNAL AND LIFE ILLUSTRATED: A REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 35:1 (Jan. 1862): 1-2. [“To the proprietors of Frank Leslie’s Illustrated Newspaper we are indebted for the use of the portraits of Commodores Dupont and Wilkes. The likenesses are from photographs by Brady.” p. 14.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Commodore Samuel F. Dupont, Commanding the Expedition to Port Royal.) on p. 12. “Commodore Samuel F. Dupont. Biography and Phrenological Character.” AMERICAN PHRENOLOGICAL JOURNAL AND LIFE ILLUSTRATED: A REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 35:1 (Jan. 1862): 11-12. [“To the proprietors of Frank Leslie’s Illustrated Newspaper we are indebted for the use of the portraits of Commodores Dupont and Wilkes. The likenesses are from photographs by Brady.” p. 14.]

ANTHONY, EDWARD & HENRY T. ANTHONY. (NEW YORK, NY)
[Advertisement.] “Anthony.” AMERICAN PHRENOLOGICAL JOURNAL AND LIFE ILLUSTRATED: A REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 37:1 (Jan. 1863): 23. [“Photograph Albums, Card Photographs of Celebrities, Photographic Copies of Fine Engravings, Statuary, Etc., for Albums. Our house first introduced these beautiful and desirable souvenirs into the American market, and our assortment is varied in extent and quality. The Trade supplied on most favorable terms. Edward and Henry T. Anthony, Manufacturers and Importers of Photographic Materials, 501 Broadway, New York, (Three doors down from the St. Nicholas Hotel). Our assortment of Card Photographs of celebrated men is tenfold that of any other house. Catalogue sent on receipt of stamp… (List of prices for individual items follows) …We have always on hand also an extensive assortment of Stereoscopic Views and Stereoscopes. Brady’s War Views. by special arrangement we publish this remarkable series, illustrating scenes and incidents of the War for the Union, in Album size and Stereoscopic form. Catalogue sent on receipt of stamp.”]

BY COUNTRY. USA. 1864.
“Have Your Likeness Taken.” AMERICAN PHRENOLOGICAL JOURNAL AND LIFE ILLUSTRATED: A REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 40:3 (Sept. 1864): 87. [“There is a charm, an indescribable satisfaction in having the likeness of one we love, be it father, mother, brother, sister, son or daughter. The soldier in the field, the sailor in distant seas, the traveler in strange lands feels never quite so alone when he has with him the likeness, even the carte-de-visite of a loved ones. The wounded soldier on the battle-field, whose life blood is trickling to the ground, clasps the dear object to his heart… Where to Get the Best. There are good artists in all the larger towns and cities… In New York there are hundreds devoted to Photography, and never before, since the discovery of the art, were they more fully employed….On Broadway, a few doors down from the Phrenological Cabinet, at 411, are the rooms of Mr. Ormsbee, formerly from Boston; Mr. Brady is at 785; Mr. Rockwood at 889; Messrs. Gurney at 707; Mr. Fredricks at 587; Mr. Holmes at 599; Messrs. Meade at 233, near the Astor House; Mr. Anson at 589. All of these, and many others, are on Broadway. We have named only those with whom we have had personal interviews, and whom we believe to be at the head of their calling. Reader, have your likeness taken; you will never be younger—perhaps never better looking, and life is uncertain;…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (President Lincoln.) on p. 97. “Abraham Lincoln. Portrait, Character and Biography.” AMERICAN PHRENOLOGICAL JOURNAL AND LIFE ILLUSTRATED: A REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 40:4 (Oct. 1864): 97-98. [“Our portrait of Mr. Lincoln is from a recent photograph by Brady, and was engraved for our use. If not perfect, it is at least one of the best yet produced….”]

BRADY & CO. (WASHINGTON & NEW YORK)
1 b & w (Andrew Johnson, President of the United States.) on p. 1. 1 b & w (Andrew Johnson. Side View.) on p. 2. “President Johnson. Portrait, Character, and Biography.” AMERICAN PHRENOLOGICAL JOURNAL AND LIFE ILLUSTRATED: A REPOSITORY OF SCIENCE, LITERATURE AND GENERAL INTELLIGENCE 42:1 (July 1865): 1-3. [“From a Photograph by Brady & Co., Washington and New York.” Second portrait not credited, but from a daguerreotype or photograph.]

AMERICAN PHOTOGRAPHIC ALMANAC

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “The Celebrated Helion Cotton, AMERICAN PHOTOGRAPHIC ALMANAC FOR 1866
Made exclusively by the Daguerre Manufacturing Company, No. 93 Crosby Street, New York, from the best Sea Island staple, by a process unknown to all other chemists in the world.
C. D. Fredricks & Co.,
M. B. Brady,
J. Gurney & Son,
A. Bogardus,
R. A. Lewis,
W. C. Worth,
John Sawyer,
Moses Sutton,
A. G. Gardner,
E. Goddard,
S. J. Thompson,
Dennisson & Churchill,
and more than twenty thousand others,
Use the Helion Cotton with great success, and recommend it to others in terms of highest praise.
Willard & Co.,
E. & H. T. Anthony,
Scovill Manufacturing Co.,
Holmes, Booth & Hayden,
G. A. Chapman,
William B. Holmes,
W. H. Mountfort,
R. V. Harnett,
O. S. Follett,
New York;
Benjamin French,
John Sawyer,
Boston;
R. B. Appleby,
N. C. Thayer,
Chicago;
A. C. Parridge,
Wheeling, W. Va.;
P. Smith & Co.,
Cincinnati ;
Willson & Hood,
Philadelphia;
L. B. Darling,
C. C. Kelsey,
Cincinnati ;
and all other dealers in America,
Sell the celebrated Helion Cotton.
Helion Cotton took the prize medal at the late Fair of the American Institute. Its uniformly good qualities have driven all foreign competition from this continent. It is the greatest improvement of the age in Photographic art.
N. B.-Helion Cotton is used exclusively in the manufacture of the celebrated Lewis & Holt Collodions.
Formula for Collodion.-Ether and alcohol, equal parts; iodide of ammonium, 4 grains; bromide of cadmium, 2 grains; helion cotton, No. 1, 8 grains; No. 2, 7 grains; or No. 3, 6 grains to the ounce. Add 3 to 5 drops of strong tincture of iodine to each ounce of collodion as you use it.
Beware of counterfeits; the genuine has the name of the manufacturer on each ounce package.” (p. 133)]

AMERICAN PUBLISHERS’ CIRCULAR AND LITERARY GAZETTE

PHOTOGRAPHIC LITERATURE. BOOKS. 1856.
[Advertisement.] “A Book for Every True American.” AMERICAN PUBLISHERS’ CIRCULAR AND LITERARY GAZETTE 2:18 (May 3, 1856): 269. [Book notice. The Great American Battle; or The Contest between Christianity and Political Romanism. by Miss Anna Ella Carroll, of Maryland. One vol. 12mo. cloth, gilt Price $1.25. Containing between Three and Four Hundred Pages, and ten new Portraits on Steel. From recent Photographs by Brady and others, of the following distinguished Members of the American Party: Millard Fillmore…Andrew Jackson Donelson… Jacob Broom…(lists nine men and the authoress.) …Miller, Orton & Mulligan. No. 25 Park Row, New York, or 107 Genesee Street, Auburn.”]

PHOTOGRAPHIC LITERATURE. BOOKS. 1858.
[Advertisement.] “To Lovers of Art!. Miles Standish, illustrated.” AMERICAN PUBLISHERS’ CIRCULAR AND LITERARY GAZETTE 4:52 (Dec. 25, 1858): 636. [“Just Published, (With express permission and approbation of the author) A Volume of Photographs, from original drawings by John W. Ehninger, illustrative of Longfellow’s New Poem, the Courtship of Miles Standish. the work contains eight large highly finished photographs, executed by Brady, (the eminent photographer,) whose name alone will attest their superiority. the special peculiarity of these illustrations is, that they are photographed on a reduced scale from the original drawings, which are thus reproduced, even in the minutest touches, and have all the delicacy of the celebrated paintings upon Dresden china. These impressions are pasted upon heavy plate paper, with intersecting cream-colored leaves, containing the descriptive text; the whole bound in large quarto massive Turkey morocco covers, with bevelled and gilt edges. Price Six Dollars. Rudd & Carleton, Publishers and Booksellers, 310 Broadway, New York.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Intelligence. Trade Sales.” AMERICAN PUBLISHERS’ CIRCULAR AND LITERARY GAZETTE 7:10 (Mar. 9, 1861): 94. [“Messrs. George A. Leavitt & Co. announce their Spring Trade Sale for the 28th inst. We shall, on receipt of catalogue, give a further notice, but at present desire to mention that Messrs. Leavitt & Co. have completed and occupied their splendid new building,,Nos. 21 & 23 Mercer, near Howard, and in the immediate vicinity of those great thoroughfares, Broadway and Canal Street, a few doors above Messrs. Mason & Brothers, and directly opposite the Mercer Street front of D. Appleton & Co. ‘s establishment. The new building is five stories high, with marble front, and presents a very handsome appearance. The lower floor is occupied by Messrs. Leavitt & Allen, and the second story is devoted to the sales room. It is 100 feet deep by 37 wide, has been, specially arranged for the purpose, and is fitted up in the neatest, most tasteful, and convenient manner. The walls are adorned by n very excellent and full collection of large photographs, executed by Brady, of the principal American publishers, and various other works of art serve to embellish the rooms. The ceilings are elegantly paneled, the desks, partitions, etc., are of black walnut, handsomely designed, and chastely ornamented, and are creditable to the direction under which they were constructed. The booksellers who attend the sales in future, will find every possible arrangement made for their case and comfort. It is surpassed by no other commercial room in the city of New York.”]

PHOTOGRAPHIC LITERATURE. BOOKS. 1864.
[Advertisement.] “Moore, Wilstach, & Baldwin, 25 West Fourth Street, Cincinnati. In Preparation.” AMERICAN LITERARY GAZETTE AND PUBLISHERS’ CIRCULAR ns 2:11 (Apr. 1, 1864): 400. [Book notice. The Life of Abraham Lincoln. The volume will comprise about 600 pages, 12mo, and will contain a new and fine likeness of the President, photographed by Brady and engraved by Ritchie expressly for this volume…” (This advertisement written before Lincoln’s assassination.)]

PHOTOGRAPHIC LITERATURE. BOOKS. 1867.
[Advertisement.] “Messrs. Hurd & Houghton Have Recently Published:.” AMERICAN LITERARY GAZETTE AND PUBLISHERS’ CIRCULAR ns 8:12 (Apr. 15, 1867): 363. [ “…Nearly Ready. (8.) Martin Van Buren. An Inquiry into the Origin and Course of Political Parties in the United States. by the late Ex-President, Martin Van Buren. With a new steel Portrait, engraved by Ritchie from Brady’s imperial photograph. 1 vol. 8vo.”]

AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE (1845-1852)
Vol. 1 no. 1 (Jan. 1845) – vol. 16 no. 95 (Nov. 1852) Cornell index
[ Monthly. Two volumes per year, each with six issues. Numbering varied throughout, going through several volume series and shifting from issue numbers to whole numbers in 1851. Total of 95 issues. New York: Wiley and Putnam publishers. Editors George H. Colton 1845-47, James D. Whelpley 1848-49, George W. Peck (?) 1850-52.
[Approximately 98 references.]
In 1844 Daniel Webster, Rufus Choate, J. P. Kennedy and other leading members of the American Whig party resolved to organize a journal supporting their political ideas and opposing those of the Democratic Review, which had begun publication in 1837. The American Review was initiated late in that year under the editorship of George H. Colten; with its inaugural issue given the date of Jan. 1845. The magazine was published each month from 1845 until its demise following the dissolution of the Whig Party as a political entity in 1852. From the beginning the magazine was a credible effort, usually printing 112 pages per issue –a respectable size for the time— filled with short stories, poems and essays by such authors as Herman Melville, Edgar Allen Poe, William Wallace and others, as well as book reviews, essays on travel, current affairs, history, culture and art by Horace Greeley, Charles Winterfield, and others. The American Review also published extensive biographical essays of prominent Whig political figures; averaging four or five biographies for each year of publication. These biographies, usually written by Daniel D. Barnard, were frequently accompanied by a large and well executed mezzotint or engraved portrait appended as the frontispiece for that month’s issue.* These portraits, with one minor exception, were the only type of illustration used in the American Review. At least forty portraits, engraved or drawn by T. Doney, C. Burt, P. M. Whelpley and others, were published from 1845 through 1852. Many of these portraits were of contemporary individuals and quite frequently they were drawn from daguerreotype sources. It seems clear that the editors valued the quality of exactness that the daguerreotype provided and that some effort was made to utilize daguerreotypes as a resource when they could do so –even though in some instances the daguerreotype sources were credited while in others they were not. Initially, these portraits were produced by Anthony, Edwards, & Co. [later Anthony, Clark & Co,] proprietors of the National Miniature [Daguerreotype] Gallery on Broadway, in New York City. Later credited sources include the Plumb National Gallery, Phillip Haas, John Whipple, Loyal Moss Ives, and the Root Brothers; among others. A note in the July 1849 issue states that “…Mr. Brady, who has spent some time in Washington, since the advent of the Whig Administration, has by great labor and skill obtained a series of portraits of our distinguished men, probably superior to anything of the kind in the world. We have made an arrangement with him for the exclusive use of such of them as we may require, and shall present them to our Subscribers …”

AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hamilton Fish.”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 10:5 (Nov. 1848). [“Engraved by A. H. Ritchie from a Daguerreotype.”]

ANTHONY, EDWARD. [?]
1 b & w (“Hon. William L. Dayton, U. S. Senator from New Jersey.”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 9:13 (Jan. 1849). [“Engraved by A. H. Ritchie. “Daguerreotype by Brady, NY.”]

BRADY, MATHEW B. (1823-1896)
1 b & w (“Hon. Jacob Collamer, Representative from Vermont in U. S. Congress.”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 9:14 (Feb. 1849). [“Daguerreotype by Brady, N. Y. -Engraved by A. H. Ritchie, N. Y.”]

BRADY, MATHEW B. (1823-1896)
1 b & w (“W. Hunt, A Representative in U. S. Congress from New York.”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 9:15 (Mar. 1849). [“Daguerreotype by Brady, N. Y. -Engraved by A. H. Ritchie, N. Y.”]

BRADY, MATHEW B. (1823-1896)
1 b & w (“Hon. George W. Crawford, Secretary of War.”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 10:19 (July 1849). [“Daguerreotype by Brady—Engraved by A. H. Ritchie.” “Portrait of Mr. Crawford. –We desire to call the attention of our Subscribers to the peculiar excellence of the elegant Portrait accompanying the present number. It is by Ritchie, from a daguerreotype by Mr. Brady, who has spent some time at Washington, since the advent of the Whig Administration, and has by great labor and skill obtained a series of portraits of our distinguished men, probably superior to anything of the kind in the world. We have made an arrangement with him for the exclusive use of such of them as we may require, and shall present them to our Subscribers in the unsurpassed style of the present one.” p. “d” in unpaged front matter of the issue.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. William M. Meredith”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 10:20 (Aug. 1849). [“Daguerreotype by Brady – Engraving by A. H. Ritchie.”]

BRADY, MATHEW B. (1823-1896)
1 b & w (“Wm. Ballou Preston, Secretary of the Navy”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 10:21 (Sept. 1849). [“Daguerreotype by Brady – Engraving by A. H. Ritchie.”]

BRADY, MATHEW B. (1823-1896)
1 b & w (“Roger S. Baldwin, Senator from Connecticut.”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 10:22 (Oct. 1849). [“Daguerreotype by Brady – Engraving by A. H. Ritchie.”]

BRADY, MATHEW B. (1823-1896)
1 b & w (“Henry Washington Hilliard, Representative from Alabama in U. S. Congress.”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 10:24 (Dec. 1849). [“Daguerreotype by Brady – Engraving by A. H. Ritchie.”]

BRADY, MATHEW B. (1823-1896)
1 b & w (“Thomas Ewing, Secretary of the Home Department.”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 11:25 (Jan. 1850). [“Daguerreotype by Brady – Engraving by A. H. Ritchie.”]

BRADY, MATHEW B. (1823-1896)
1 b & w (“John Davis, Senator from Massachusetts.”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 11:26 (Feb. 1850). [“Mezzotinted by P. M. Whelpley Daguerreotyped by Brady – Etched & Stippled by S. V. Hunt.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Robert A. Toombs, U. S. Representative from Georgia.” “Mezz. By P. M. Whelpley – Dag. by Brady.”) on tipped-in p. preceding p. 218 in: THE AMERICAN REVIEW 11:2 (Feb. 1850): 218.

BRADY, MATHEW B. (1823-1896) (USA).
“Critical Notices.” THE AMERICAN REVIEW 11:2 (Feb. 1850): 218.
[“The Gallery of Illustrious Americans.”
“The first number of a very elegant work, with this title, has been shown us by the editor, C. E. Lester. It contains a magnificent engraving of General Taylor; the best we have seen, without any exception or reservation. It is executed (lithographed!) by D’Avignon, perhaps the best living artist, in this line, who has given lithography an effect almost equal to the mezzo-tints etchings of Cozzens. The daguerreotypes for the work are by Brady. Twenty-four numbers, semi-monthly, will complete the work. A portrait of Henry Clay, and another of Daniel Webster, will succeed this one of President Taylor.
The work is of the largest size, and the letter-press the finest, perhaps, that has ever come from a New-York press.
Three centuries ago, the fame of a good printer was as wide as the civilized world; in these days of cheap reading and cheap writing, the art of printing is slighted, as something merely mechanical. And yet what an elegant piece of taste and ingenuity is an elegantly printed-how delightful to the eye-a pure, solid page, with type, architecturally proportioned, cut by a true artist, and printed smoothly, and of a raven black!
The work before us has all these excellencies. Taken altogether, it is perhaps, artistically, the best possible. Its purpose, as it has been explained to us, is to group together, into a gallery, twenty-four heads of the most eminent citizens of America, who have flourished since the death of Washington each portrait to be accompanied with a suitable brief biography.
The numbers are sold separately for $1 each, the entire subscription being but $20, payable quarterly, in advance. The whole is on fine drawing paper, enclosed in tinted covers, and enveloped in a fine, buff-colored portfolio case, instead of a common wrapper. On the cover of the present, or possibly the succeeding number of this journal, the reader will find a prospectus of the work. It is certainly the best thing of the kind.
Any of our friends or subscribers who wish to procure a specimen number of the work can have it forwarded to them by enclosing five dollars, with the order to this office, and directions for its safe transmission. -Publishers of the Amer. Review.
The work is peculiarly worthy of Whig patronage, as it will embrace the portraits of the most illustrious men of that party. [Ed.]”]

BRADY, MATHEW B. (1823-1896)
1 b & w (“Joshua R. Chandler, U. S. Representative from Pennsylvania.”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 11:28 (Apr. 1850). [“Dag by Brady – Mezz by P. M. Whelpley.”]

BRADY, MATHEW B. (1823-1896) (USA). [?]
1 b & w (“Richard Yeadon, of Charleston, S. C.”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 11:29 (May 1850). [“P. M. Whelpley, Mezz.”]

BRADY, MATHEW B. (1823-1896) (USA). [?]
1 b & w (“William S. Seward, U. S. Senator from New York.”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 11:30 (June 1850). [“P. M. Whelpley, Mezz.”]

BRADY, MATHEW B. (1823-1896) (USA). [?]
1 b & w (“Samuel S. Phelps. U. S. Senator from Vermont.”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 11:31 (July 1850). [“P. M. Whelpley, Mezz. – From a Daguerreotype.”]

BRADY, MATHEW B. (1823-1896) (USA). [?]
1 b & w (“John Davis, Senator from Massachusetts.”) as second frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 11:32 (Aug. 1850). [“P. M. Whelpley, Mezz. from a Daguerreotype.” Another variant portrait of Davis was published in the Feb. 1850 issue of the magazine. I could not find any reason why a second portrait was published, other than the first portrait may have been considered unflattering or was flawed.]

BRADY, MATHEW B. (1823-1896)
1 b & w (“Winfield Scott, Major General, U. S. A.”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 11:33 (Sept. 1850). [P. M. Whelpley, Mezz, from a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896)
1 b & w (“N. K. Hall, Postmaster General of U. S.”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 15:86 (Feb. 1852). [“Daguerreotype by Brady – Engraved by F. Hallpin.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Winfield Scott, Major General, US Army.”) as frontispiece. AMERICAN REVIEW: A WHIG JOURNAL OF POLITICS, LITERATURE, ART AND SCIENCE 16:92 (Aug. 1852). [“P. M. Whelpley, Mezz. From a daguerreotype by Brady.”]

ANGLO AMERICAN, A JOURNAL OF LITERATURE, NEWS, POLITICS, THE DRAMA, FINE ARTS, ETC

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “First Premium Daguerrian Miniature Gallery.” ANGLO AMERICAN, A JOURNAL OF LITERATURE, NEWS, POLITICS, THE DRAMA, FINE ARTS, ETC. 5:1 (Apr. 26, 1845): 23. [“Corner of Broadway and Fulton Street, New York. At this Gallery Miniatures are taken which, for beauty of colour, tone, and effect, can at all times recommend themselves; and which are at least equal to any that have been heretofore executed. M. B. Brady respectfully invites the attention of the citizens of New York, and strangers visiting the City, to the very fine specimens that they will meet the approbation of the intelligent Public. Mr. Brady has recently made considerable improvement in his mode of taking Miniatures, particularly with regard to their durability and colouring, which he thinks cannot be surpassed, and which in all cases are warranted to give satisfaction. The colouring department is in the hands of a competent and practical person, and in which Mr. B begs to claim superiority. The American Institute awarded a First Premium, at the late Fair, to Mr. M. B. Brady for the most effective Miniatures exhibited. Instructions carefully given in the Art.—Plates, Cases, Apparatus’s, &c., supplied. M. B. Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Married,” THE ANGLO-AMERICAN 5:6 (Sat., May 31, 1845): 138.
[“On Sunday, 25th inst., at St. Peter’s Church, Barclay-street, by the very Rev. John Power, Matthew B. Brady to Julia R. C. Williams, all of this city.”
(This is a curious reference. It is the only instance that I saw where the magazine published a marriage announcement. And while there is no indication that this is the “correct” Mathew B. Brady, he did advertise extensively in the magazine during this year. WSJ)]

BRADY, MATHEW B. (1823-1896) (USA).
“Daguerreotype Likenesses.” ANGLO AMERICAN, A JOURNAL OF LITERATURE, NEWS, POLITICS, THE DRAMA, FINE ARTS, ETC. 5:7 (June 7, 1845): 165. [“The process of taking likenesses in daguerreotype is considered an easy one, and on principle it must be a correct one; but there are many things to be taken into account before one shall be produced of a really appropriate nature. When the state of the atmosphere and of the light are continually varying, as in cloudy weather, the sitting may be much too short or too long to effect a due proportion of light and shade; again, much depends on the position of the head, the attitude of the person, the colours of the drapery, and the steady stillness of the sitter with respect to all the details, but more especially of the eyelids and of the facial muscles, which are the most difficult to be kept in restraint. During the last week we have had occasion to be present during the operations in the establishment of Mr. M. B. Brady in these respects, and have been greatly pleased with his judgment and care on all the points we have mentioned, as well as others. At this place the likenesses are taken again and again, readily and patiently, until an effect is produced satisfactory to both the sitter and the operator;… We have also to notice the operations of a similar kind performed by Mr. Plumbe, which, in candor, we must say are not a whit less meritorious than those of Mr. Brady’s establishment. We have just seen a group of a gentleman, his lady, and three children, put together with most artistical taste,…”]

ANNUAL OF SCIENTIFIC DISCOVERY, OR YEAR-BOOK OF FACTS IN SCIENCE AND ART

EXHIBITIONS. 1851. LONDON. EXHIBITION OF ALL THE NATIONS.
“The Great Industrial Exhibition of 1851.” ANNUAL OF SCIENTIFIC DISCOVERY, OR YEAR-BOOK OF FACTS IN SCIENCE AND ART FOR 1852 (1852): 1-20.
[“Mechanic and Useful Arts.”
“The Great Industrial Exhibition of 1851.” (pp. 1-20)
“Prominent among the events which have signalized the progress of Science and Art in the course of the nineteenth century, has been the “Great Industrial Exhibition of all Nations,” during the year 1851. The conception of the scheme might have originated in any age; its realization could have belonged only to our own. The time, the location selected, the condition of the civilized world, all were propitious to the undertaking; and its results have surpassed the expectations of its designers. A friendly confidence among rival States, a feeling of perfect security, a freedom of commercial intercourse among all nations, facility and cheapness of transportation, the perfection of inventions, and the multiplication of practical applications — all these conditions, as they exist now, were requisite for the success of the Exhibition. That its results have been in the highest degree beneficial, in the diffusion of intelligence, promotion of good taste, and the cultivation of friendly intercourse among different people, none can doubt. The Exhibition has existed and passed away, but it will remain in history as an exposition and true exponent of the progress and degree of development to which the civilized world had attained, in all branches of science and art, at the close of the first half of the nineteenth century. In the following pages we propose to present a succinct and intelligible account of the origin, plan, and construction of the Crystal Palace, with the general history and details of the Exhibition….” p. 1. “…Continuance and Close of the Exhibition.—The arrangement for the exhibition of articles was effected by the division of the building into courts, or areas, of 24 feet square, included between four columns, which were appropriated to the different countries contributing productions, or to particular classes of materials. Any attempt at description of the various wonderful and curious objects exhibited, would be impossible in the space allotted to the present work. Many, which were of unusual novelty, or which displayed remarkable ingenuity, we have described elsewhere under appropriate heads. An examination, however, of the catalogue of articles exhibited, will show, that comparatively few inventions or discoveries, originating and belonging to the history of the progress of science in the years 1850 and 1851, were brought forward or illustrated at the Great Exhibition. Many of the most striking objects displayed were of a class which might have been produced equally well centuries ago, as at the present time; for example, the statuary, wood carving, ornamental work in gold and silver, etc. Other articles were the result of patient industry only, or of processes which, although not old, are yet generally familiar. All these illustrate the general progress of the race up to the present epoch, but have little pertaining to the history of advancement during the past year. The exhibition, which opened on the 1st of May, continued until the 11th of October, when the final closing took place, accompanied with the awards of the jurors, and the distribution of medals. The number of prize medals awarded was 2918; the number of council medals, 170; of others, honorable mention was made. The prize medals were awarded for the attainment of a certain standard of excellence; utility, beauty, &c., being taken into consideration. The council medals were given for such articles as might be expected, from their originality and ingenuity, to exercise a more important influence upon industry than could be produced by mere excellence in manufacture. The whole number of exhibitors was 17,000….” p. 9. “…The following are the awards made to exhibitors from the United States….” p. 9. “…Class X. Philosophical and Surgical Instruments and the like.
Council Medal. William Bond & Son, for the invention of a new mode of observing astronomical phenomena, &c….” (p. 9)
(Etc., etc.)
“The following are awards made to exhibitors from the United States.” (p.10-12)
“CLASS X. Philosophical and Surgical Instruments and the like.
Council Medal. William Bond & Son, for the invention of a new mode of observing astronomical phenomena, &c.
Prize Medals. A. D. Bache, balance; M. B. Brady, daguerreotypes; W. A. Burt, solar compass, surveying instruments; J. Ericsson, sea lead, pyrometer, &c.; M. M. Lawrence, daguerreotype; John R. St. John, detector compass; J. A. Whipple, daguerreotype of the moon; B. F. Palmer, artificial leg.
Honorable Mention. J. E. Mayall, photographs.” (p. 11)]

ANNUAL REPORT OF THE AMERICAN HISTORICAL ASSOCIATION

BRADY & CO. (WASHINGTON, D. C.)
Owen, Thomas McAdory. “A Bibliography of Mississippi.” ANNUAL REPORT OF THE AMERICAN HISTORICAL ASSOCIATION FOR 1899 (1899): 633-828
[“(Etc., etc.)
Brady, M. B., and Handy, L. C. Brady & Handy’s Album of the 50th Congress of the United States. 4to. [Contains separate portraits, grouped on a single page, of the members of the Mississippi delegation in this Congress. Facing this is a page containing biographical sketches, copied from the Congressional Directory….” ]
(Etc., etc.) (p. 657)]

ARCHITECTURE AND BUILDING

BRADY, MATHEW B. (1823-1896)
MacDonald, N. “Statues and Monuments of New York. V.” 25:5 (Aug. 1, 1896): 49-52. 4 b & w. [“…None of my readers need be informed that Prof. Morse was fully entitled not only to a good statue, but to any other distinction which has been bestowed upon him. A man of great and varied powers of mind, he could scarcely fail of success in any sphere of human activity to which he directed his efforts. He studied art under Sir Benjamin West, himself a native of the United States, and his first effort in sculpture, “The Dying Hercules,” was in 1813 awarded a gold medal in London. He was one of the founders of the National Academy of Design in New York, and was its president for many years. He was also Professor of Fine Arts in the University of the City of New York, and, in addition to his inventions in telegraphy, he was a successful author. Of the many who have been honored by statues in the city of New York, but few were worthier of being so remembered than Prof. Morse.
A few years ago a memorial was placed in the Metropolitan Museum of Art in honor of Edgar Allan Poe, the poet. The memorial consists of an ornamental tablet of white marble, in the upper section of which is a bronze bust of Poe, and on the lower a gold-gilt inscription. To the right of the tablet a draped female figure in marble stands as if in the act of crowning the poet with a wreath of oak leaves. The statue and tablet are placed upon a base formed of two sections, the upper of white and the lower of gray marble. The work, a beautiful specimen of art production, was designed by Richard Hamilton Park, the sculptor, in Florence, Italy. The bust was modeled from a photograph of the poet taken by Matthew B. Brady, a leading photographer of Washington and New York, who died a few months ago in a New York hospital. The sculptor has done his work well in reproducing almost to the minutest detail the features of Poe as conveyed in the original photograph, which is now in the possession of Wilson Macdonald, the well-known sculptor….” (p. 50)]

ARMY AND NAVY JOURNAL

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “National Photographic Gallery,” ARMY AND NAVY JOURNAL 1:40 (May 28, 1864): 671. [“…785 Broadway, corner of 10th Street, New York. Mr. M. B. Brady begs to announce that in addition to his collection of Historical Portraits, Scenes of the War, &c. He has on exhibition Photographic Groups of the Ladies’ Executive Committee; the Gentlemen’s Executive Committee; the Art Committee. and the Arms and Trophies Committee of the Metropolitan Fair; as well as Photographs representing the most prominent features of the Art Gallery, the Arms and Trophies Department, the Knickerbocker Kitchen, the Shipping Department, &c. &c. Mr. Brady, having his corps of operatives in the field is continually adding to collection the most interesting views of the present struggle as well as portraits—both military, naval and civilian — of those brought into prominence by the exigencies of the times. Cartes de Visits of all celebrities constantly on hand.”]

BRADY, MATHEW B. (1823-1896) (USA).
“New Military Books.” ARMY AND NAVY JOURNAL 3:7 Whole no.111 (Oct. 7, 1865): 102. [“Bill & Brother, New York, publish very good engravings of two of the great men of our war — President Lincoln and General Grant. “Lincoln at Home” is the title of the former. H. B. Hall, Jr., engraves the picture from a photograph by Brady. Mr. Lincoln is sitting in an arm chair, and himself and a fine-looking boy intent upon a Bible which the father holds. The photograph is so well known as not to require further description. The portrait of Grant is by the well-known engraver J. C Butler, from a photograph by Barr &. Young.”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s National Photographic Gallery,” ARMY AND NAVY JOURNAL 3:25 Whole no.129 (Feb. 10, 1866): 404.
[“785 Broadway, New York, Nearly opposite Grace Church.
Mr. Brady has on view and for sale at his Gallery, as above,
Portraits of all Officers,
of both services, who have distinguished themselves in the late war. The sizes vary from carte dt visite to imperial.
In addition to his varied assortment of likenesses,
Mr. Brady has a
Collection of Views
of almost every point made historic in the recent conflict, which it may be presumed will be valued by not only those more immediately concerned, but their friends, as mementos of the trials through which the Nation has just passed.
Mr. Brady always pays considerable attention to copying.
The new style of Portraits in Porcelain has been brought by Mr. Brady to perfection.” (This ad, with slight variations, was published several times in this volume. WSJ)]

ART-JOURNAL

BRADY, MATHEW B. (1823-1896) (USA).
“Reviews.” ART-JOURNAL 12:7 (July 1, 1850): 236. [“The Gallery of Illustrious Americans. M. B. Brady, New York. Published by T. Delf, Bow Lane, London.
[“This work is as its title imports, of a strictly national character, consisting of portraits and biographical sketches of twenty-four of the most eminent of the citizens of the Republic, since the death of Washington; beautifully lithographed from daguerreotypes. Each number is devoted to a portrait and memoir, the first being that of General Taylor (eleventh President of the United States), the second, of C. Calhoun. Certainly, we have never seen more truthful copies of nature than these portraits; they carry in them indelible stamp of all that earnestness and power for which our trans-Atlantic brethren have become famous, and are such heads as Lavater would have delighted to look upon. They are truly, speaking likenesses, and impress all who see them with the certainty of their accuracy, so self-evident is their character. We are always rejoiced to notice a great nation doing honour to its great men; it is a noble duty which when properly done honours all concerned therewith. We see no reason to doubt that America may in this instance rank with the greatest.”]

BY COUNTRY. USA. 1850.
“Minor Topics of the Month: America.” ART-JOURNAL 2:11 (Nov. 1850): 362. [“It is believed that the present number of persons directly engaged as daguerreotypists in the United States is ten thousand, to which may be added at least five thousand who obtain their living from indirect connexion with the art, by the manufacture of plates, cases, chemicals, and apparatus—or that the aggregate supported in the Union by this means cannot be far short of fifteen thousand persons. According to the New York Tribune, Mr. Brady, of that city, is about to establish a new and important improvement—viz., the process of taking pictures on ivory, by the aid of the daguerreotype art.”]

ATHENÆUM: JOURNAL OF ENGLISH AND FOREIGN LITERATURE, SCIENCE, AND THE FINE ARTS

BRADY, MATHEW B. (1823-1896) (USA).
“Fine Arts. New Publications.” ATHENÆUM no. 1183 (June 29, 1850): 689. [Book review. The Gallery of Illustrious Americans. Nos. 1 and 2.
“From the cover of this American publication we learn that it is intended to contain the portraits and biographical sketches of twenty-four of the most eminent citizens of the Transatlantic republic since the death of Washington. This instalment gives the portraits of General Taylor, the eleventh President of the United States, and of John Caldwell Calhoun. They are daguerreotyped by Brady, lithographed by D‘Avignon, and the biographies are edited by C. Edwards Lister assisted by an association of literary men. The publication is more remarkable for one particular quality than for any artistic or literary excellence. That peculiarity of American physiognomy which results no doubt from American habits of thought and association has here its effect exaggerated by the mechanical agency of the daguerreotype,— which always emphasizes the more obvious and minute particulars that are un-essential to the description of general character. Such themes the portrait-painter who has well studied his art renders with a discrimination and taste that do not interfere with the truth.— There is much ability in the execution of the lithographer; and in the style of the biographies there are the peculiarities of American writing when descanting on the characters of American political men.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Fine Arts. New Publications.” ATHENÆUM no. 1237 (July 12, 1851): 742. [Book review. Gallery of Illustrious Americans. Parts III., IV., V. and VI.
“Daniel Webster, Silas Wright, Henry Clay, and Colonel Fremont form the subjects of these four numbers: and their faces, lithographed by: D’Avignon from daguerreotypes by Brady, confirm our before-recorded opinion, that there are as distinctive attributes in the character of the American head as in any of the classes that have furnished. a Prichand or a Latham with the matter of their investigations. The head of Webster has a touch of Benjamin Franklin in it — it is benevolent and. thoughtful. Wright looks like the French deputy of the present day,— Clay, like the subtle and cunning politician,— Fremont resembles the ardent and excitable American who is met with often in a month of foreign travel.”]

PHOTOGRAPHIC LITERATURE. ILLUSTRATED BOOKS. 1859.
[Advertisement.] “New and Important American Books.” ATHENÆUM no. 1631 (Jan. 29, 1859): 137. [“North American Review, for January, 1859. No. 182, 6s. Irving’s Life of George Washington. Library Edition. Illustrated. 4 vols. imp. 8vo. 3l. 3s. The Land and the Book; or, Biblical Illustrations drawn from the Manners and Customs, the Scenes and Scenery of the Holy Land. by W.M. Thomson, D.D., Twenty-five Years a Missionary. With 2 Maps of Palestine and several hundred Engravings, 2 vols. post 8vo. cloth, 21s. Photographic Illustrations to Miles Standish. by John W. Ehninger. Photographed from the original Drawings by Brady. Oblong 4to, cloth, 21s. Japan and the Japanese. — Narrative of the United States Japan Expedition, performed in the Years 1852, 3, and 4, under the Command of Commodore M. C. Perry, U.S. Navy, by order of the Government of the United States, Compiled from the original Notes and Journal of Commodore Perry and his Officers at his request and under his supervision, by Francis L. Hawke, D.D. Vol. I. 4to, cloth, with Maps, 89 Lithographs, and 76 Woodcuts, 63s. Japan and the Japanese. — Narrative of the United States Japan Expedition. Vol. II, 4to, cloth, with 14 Maps and 42 Plates, partly coloured, 42s. Japan and the Japanese. — Narrative of the United States Japan. Expedition. Vol. III. Observations on the Zodiacal Light from April 2, 1853, to April 22, 1855, made chiefly on Board the U.S. Steam Frigate Mississippi during the late Cruize in Eastern Seas and her Voyage homeward, with Conclusions from the Data thus obtained. by the Rev. George Jones, Chaplain U.S. Navy. With 352 4to. Zodiacal illustrations. 42s. Or the Three Volumes, uniform, 6l. 6s. (Eliphalet Brown, Jr’s daguerreotypes were used as source for a number of illustrations for these volumes. WSJ) A Treatise on Fractures. by J. F. Malgaigne, Chirurgien de l’Hôpital Saint-Louis, Chevalier de la Légion d’Honneur, et du Mérite Militaire de Pologne, Membre de l’Académie de Médicine. Translated from the French, with Notes and Additions, by J. H. Packard, M.D., 8vo. 106 Illustrations, sheep, 21s. Dust and Foam; or, Two Continents and Three Oceans: being Wanderings in Mexico, South America, the Sandwich Islands, China, India, and Australia. by T. Robinson Warren. Post 8vo, cloth, 7s. 6d. The States of Central America; their Geography, Topography, Climate, Population, Resources, Productions, Commerce, Political Organizations. Aborigines, &c. &c. Comprising Chapters on Honduras, San Salvador, Nicaragua, Costa Rica, Guatemala, Belize, the Bay Islands, the Mosquito Shore, and the Honduras inter-oceanic Railway. by E. G. Squire, formerly Charge d’Affaires of the United States to the Republics of Central America, with numerous Original Maps and Illustrations. A New and enlarged Edition, 8vo, cloth, 18s. (Squire would later learn photography in Peru. WSJ) The Power of Prayer, illustrated in the Wonderful Displays of Divine Grace at the Fulton-Street and other Meetings in New York and elsewhere in 1857 and 1858. by Samuel Irenaeus Prime, Author of ‘Travels in Europe and the East,’ &c. 12mo, cloth, 6s. Plymouth Pulpit. – Notes from Plymouth Pulpit: a Collection of Memorable Passages from the Discourses of Henry Ward Beecher. by Augusta Moore. 12mo, cloth, 6s, Text-Book of Modern Carpentry; comprising a Treatise on Building Timber, with Rules and Tables for calculating its Strength and the Strains to which each timber of a structure is subjected; Observations on Roofs, Trusses, es, &c., and a Glossary explaining at length the Technical Terms in use among Carpenters. by Thomas W. Silloway, Architect of the New Capitol at Montpelier, Vermont. Illustrated by 20 Copper-Plates. Fcap, 8vo, cloth, 7s. 6d. Peasant Life in Germany. by Miss Anna C. Johnson, Author of ‘The Iroquois,’ ‘Myrtle Wreath,’ &c. &c. Crown 8vo. cloth, 7s. 6d. Howe’s Speeches. — The Speeches and Public Letters of the Hon. Joseph Howe. Edited by William Annaud. 2 vols. 8vo. 24s. Palfrey’s New England. History of New England During, the Stuart Dynasty. by John Gorham Palfrey, LL.D. Vol. I. 8vo. cloth, 14s. Jefferson’s Life. — The Life of Thomas Jefferson. by Henry S. Randall, LL.D. 3 vols. Christian Days and Thoughts. by the Rev. Ephraim Peabody, D.D. Fcap. 8vo, with Portrait, cloth, red edges, 7s. 6d. London: Sampson Low, Son & Co. 47, Ludgate-hill; English, American, and Colonial Booksellers.”]

ATLANTIC MONTHLY

BY COUNTRY. USA. 1863.
Holmes, Oliver Wendell. “Doings of the Sunbeam.” ATLANTIC MONTHLY 12:69 (July 1863): 1-16. [(Extensive and informed survey of the variety of photographic practices at the time, from scientific uses to amateur hobbyists. Mentions by name: E. & H. T. Anthony, John W. Black, Carleton Watkins, London Stereoscopic Company, Mathew Brady [Alexander Gardner’s views of Antietam battlefield.], Walter De la Rue, Rutherford, John Whipple, Dr. Henry Draper, Donne, Professor O. N. Rood, Dr. John Dean, Coleman Sellers, S. Wager Hull, and others.) “Few of those who seek a photographer’s establishment to have their portraits taken know at all into what a vast branch of commerce this business of sun-picturing has grown. We took occasion lately to visit one of the principal establishments in the country, that of Messrs. E. & H. T. Anthony, in Broadway, New York. We had made the acquaintance of these gentlemen through the remarkable instantaneous stereoscopic views published by them, and of which we spoke in a former article in terms which some might think extravagant. Our unsolicited commendation of these marvellous pictures insured us a more than polite reception. Every detail of the branches of the photographic business to which they are more especially devoted was freely shown us, and “No Admittance” over the doors of their inmost sanctuaries came to mean for us, “Walk in; you are heartily welcome.” We should be glad to tell our readers of all that we saw in the two establishments of theirs which we visited, but this would take the whole space which we must distribute among several subdivisions of a subject that offers many points of interest. We must confine ourselves to a few glimpses and sketches….. “We had been for a big time meditating a devotion of a part of what is left of our more or less youthful energies to acquiring practical knowledge of the photographic art. The auspicious moment came at last, and we entered ourselves as the temporary apprentice of Mr. J. W. Black of this city, well known as a most skilful photographer and a friendly assistant of beginners in the art. We consider ourselves at this present time competent to set up a photographic ambulance or to hang out a sign in any modest country town.” (Holmes then describes the process of making a wet-collodion negative and a print.) …“Many “dry methods” have been contrived, of which the tannin process is in most favor. The plate, after being “sensitized” and washed, is plunged in a bath containing ten grains of tannin to an ounce of water. It is then dried, and may be kept for a long time without losing its sensitive quality. It is placed dry in the camera, and developed by wetting it and then pouring over it a mixture of pyrogallic acid and the solution of nitrate of silver. Amateurs find this the best way for taking scenery, and produce admirable pictures by it, as we shall mention by-and-by. In our former articles we have spoken principally of stereoscopic pictures. These are still our chief favorites for scenery, for architectural objects, for almost everything, but portraits,—and even these last acquire a reality in the stereoscope which they can get in no other way. In this third photographic excursion we must only touch briefly upon the stereograph. One of the most interesting accessions to our collection is a series of twelve views, on glass, of scenes and objects in California, sent us with unprovoked liberality by the artist, Mr. Watkins. As specimens of art they are admirable, and some of the subjects are among the most interesting to be found in the whole realm of Nature…. The “London Stereoscopic Company” has produced some very beautiful paper stereographs, very dear, but worth their cost, of the Great Exhibition…. The London Stereoscopic Company has also furnished us with views of Paris, many of them instantaneous, far in advance of the earlier ones of Parisian origin…. With the exception of this series, we have found very few new stereoscopic pictures in the market for the last year or two. This is not so much owing to the increased expense of importing foreign views as to the greater popularity of card-portraits, which, as everybody knows, have become the social currency, the sentimental “green-backs” of civilization, within a very recent period. We, who have exhausted our terms of admiration in describing the stereoscopic picture, will not quarrel with the common taste which prefers the card-portrait. The last is the cheapest, the most portable, requires no machine to look at it with, can be seen by several persons at the same time, in short, has all the popular elements…. The sitters who throng the photographer’s establishment are a curious study. They are of all ages, from the babe in arms to the old wrinkled patriarchs and dames whose smiles have as many furrows as an ancient elm has rings that count its summers. The sun is a Rembrandt in his way, and loves to track all the lines in these old splintered faces. A photograph of one of them is like one of those fossilized sea-beaches where the rain-drops have left their marks, and the shellfish the grooves in which they crawled, and the wading birds the divergent lines of their foot-prints, tears, cares, griefs, once vanishing as impressions from the sand, now fixed as the vestiges in the sandstone. Attitudes, dresses, features, hands, feet, betray the social grade of the candidates for portraiture. The picture tells no lie about them…. We have learned many curious facts from photographic portraits which we were slow to learn from fades. One is the great number of aspects belonging to each countenance with which we are familiar. Sometimes, in looking at a portrait, it seems to us that this is just the face we know, and that it is always thus. But again another view shows us a wholly different aspect, and yet as absolutely characteristic as the first; and a third and a fourth convince us that our friend was not one, but many, in outward appearance, as in the mental and emotional shapes by which his inner nature made itself known to us. Another point which must have struck everybody who has studied photographic portraits is the family likeness that shows itself throughout a whole wide connection…. The field of photography is extending itself to embrace subjects of strange and sometimes of fearful interest. We have referred in a former article to a stereograph in a friend’s collection showing the bodies of the slain heaped up for burial after the Battle of Malignano. We have now before us a series of photographs showing the field of Antietam and the surrounding country, as they appeared after the great battle of the 17th of September. These terrible mementos of one of the most sanguinary conflicts of the war we owe to the enterprise of Mr. Brady of New York. We ourselves were on the field upon the Sunday following the Wednesday when the battle took place. It is not, however, for us to bear witness to the fidelity of views which the truthful sunbeam has delineated in all their dread reality. The photographs bear witness to the accuracy of some of our own sketches in a paper published in the December number of this magazine. The “ditch” is figured, still encumbered with the dead, and strewed, as we saw it and the neighboring fields, with fragments and tatters. The “colonel’s gray horse” is given in another picture just as we saw him lying. Let him who wishes to know what war is look at this series of illustrations. These wrecks of manhood thrown together in careless heaps or ranged in ghastly rows for burial were alive but yesterday. How dear to their little circles far away most of them — how little cared for here by the tired party whose office it is to consign them to the earth! An officer may here and there be recognized; but for the rest if enemies, they will be counted, and that is all. “80 Rebels are buried in this hole” was one of the epitaphs we read and recorded. Many people would not look through this series. Many, having seen it and dreamed of its horrors, would lock it up in some secret drawer, that it might not thrill or revolt those whose soul sickens at such sights. It was so nearly like visiting the battlefield to look over these views, that all the emotions excited by the actual sight of the stained and sordid scene, strewed with rags and wrecks, came hack to us, and we buried them in the recesses of our cabinet as we would have buried the mutilated remains of the dead they too vividly represented. Yet war and battles should have truth for their delineator. It is well enough for some Baron Gros or Horace Vernet to please an imperial master with fanciful portraits of what they are supposed to he. The honest sunshine “Is Nature’s sternest painter, yet the best”; and that gives us, even without the crimson coloring which flows over the recent picture, some conception of what a repulsive, brutal, sickening, hideous thing it is, this dashing together of two frantic mobs to which we give the name of armies. The end to he attained justifies the means, we are willing to believe; but the sight of these pictures is a commentary on civilization such as a savage might well triumph to show its missionaries. Yet through such martyrdom must come our redemption. War is the surgery of crime. Bad as it is in itself, it always implies that something worse has gone before. Where is the American, worthy of his privileges, who does not now recognize the fact, if never until now, that the disease of our nation was organic, not functional, calling for the knife, and not for washes and anodynes? It is a relief to soar away from the contemplation of these sad scenes and fly in the balloon which carried Messrs. King and Black in their aerial photographic excursion…. One of their photographs is lying before us. Boston, as the eagle and the wild goose see it, is a very different object from the same place as the solid citizen looks up at its eaves and chimneys…. We have formerly taken occasion to speak of the wonderful stereoscopic figures of the moon taken by Mr. De la Rue in England, by Mr. Rutherford and by Mr. Whipple in this country. To these most successful experiments must be added that of Dr. Henry Draper, who has constructed a reflecting telescope, with the largest silver reflector in the world, except that of the Imperial Observatory at Paris, for the special purpose of celestial photography…. While the astronomer has been reducing the heavenly bodies to the dimensions of his stereoscopic slide, the anatomist has been lifting the invisible by the aid of his microscope into palpable dimensions, to remain permanently recorded in the handwriting of the sun himself. Eighteen years ago, M. Donne published in Paris a series of plates executed after figures obtained by the process of Daguerre. These, which we have long employed in teaching, give some pretty good views of various organic elements, but do not attempt to reproduce any of the tissues. Professor O. N. Rood, of Troy, has sent us some most interesting photographs, showing the markings of infusona enormously magnified and perfectly defined. In a stereograph sent us by the same gentleman the epithelium scales from mucous membrane are shown floating or half-submerged in fluid, a very curious effect, requiring the double image to produce it. Of all the microphotographs we have seen, those made by Dr. John Dean, of Boston, from his own sections of the spinal cord, are the most remarkable for the light they throw on the minute structure of the body…. Still another application of photography, becoming every day more and more familiar to the public, is that which produces enlarged portraits, even lifesize ones, from the old daguerreotype or more recent photographic miniature. As we have seen this process, a closet is arranged as a camera-obscura, and the enlarged image is thrown down through a lens above on a sheet of sensitive pa per placed on a table capable of being easily elevated or depressed. The image, weakened by diffusion over so large a space, prints itself slowly, but at last comes out with a clearness which is surprising, a fact which is parallel to what is observed in the stereoscopticon, where a picture of a few square inches in size is “extended” or diluted so as to cover some hundreds of square feet, and yet preserves its sharpness to a degree which seems incredible. The copying of documents to be used as evidence is another most important application of photography…. Some of our readers are aware that photographic operations are not confined to the delineation of material objects. There are certain establishments in which, for an extra consideration, (on account of the difficilis ascensus, or other long journey they have to take,) the spirits of the departed appear in the same picture which gives the surviving friends. The actinic influence of a ghost on a sensitive plate is not so strong as might be desired; but considering that spirits are so nearly immaterial, that the stars, as Ossian tells us, can be seen through their vaporous outlines, the effect is perhaps as good as ought to be expected…. There are various ways of producing the spirit-photographs. One of the easiest is this. First procure a bereaved subject with a mind “sensitized” by long immersion in credulity. Find out the age, sex, and whatever else you can, about his or her departed relative. Select from your numerous negatives one that corresponds to the bite lamented as nearly as may be. Prepare a sensitive plate. Now place the negative against it and hold it up close to your gas-lamp, which may be turned up pretty high. In this way you get a foggy copy of the negative in ‘one part of the sensitive plate, which you can then place in the camera and take your flesh-andblood sitter’s portrait upon it in the usual way…. The number of amateur artists in photography is continually increasing. The interest we ourselves have taken in some results of photographic art has brought us under a weight of obligation to many of them which we can hardly expect to discharge. Some of the friends in our immediate neighborhood have seat us photographs of their own making which for clearness and purity of tone compare favorably with the best professional work. Among our more distant correspondents there are two so widely known to photographers that we need not hesitate to name them: Mr. Coleman Sellers of Philadelphia and Mr. S. Wager Hull of New York. Many beautiful specimens of photographic art have been sent us by these gentlemen, among others, some exquisite views of Sunnyside and of the scene of Ichabod Crane’s adventures. Mr. Hull has also furnished us with a full account of the dry process, as followed by him, and from which he brings out results hardly surpassed by any method. A photographic intimacy between two persons who never saw each other’s faces (that is, in Nature’s original positive, the principal use of which, after all, is to furnish negatives from which portraits may be taken) is a new form of friendship. After an introduction by means of a few views of scenery or other impersonal objects, with a letter or two of explanation, the artist sends his own presentment, not in the stiff shape of a purchased carte de visite, but as seen in his own study or parlor, surrounded by the domestic accidents which so add to the individuality of the student or the artist. You see him at his desk or table with his books and stereoscopes round him; you notice the lamp by which he reads, the objects lying about; you guess his condition, whether married or single; you divine his tastes, apart from that which he has in common with yourself….]

BALLOU’S PICTORIAL DRAWING-ROOM COMPANION

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Cornelius Vanderbilt.”) BALLOU’S PICTORIAL DRAWING-ROOM COMPANION 8:13 (Mar. 31, 1855): 202-203. [“…we give a portrait, from a daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Col. Hiram Fuller, Editor of the New York Mirror.”) BALLOU’S PICTORIAL DRAWING-ROOM COMPANION 9:4 (July 28, 1855): 60. [“From a photograph by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Dr. Sheldon MacKenzie.”) “From an excellent daguerreotype by Brady.” BALLOU’S PICTORIAL DRAWINGROOM COMPANION 10:236 (Jan. 12, 1856): 28.

BRADY, MATHEW B. (1823-1896) (USA).
2 b & w (“Hon. James Buchanan and John C. Breckinridge, Democratic candidates for the Presidency and Vice-Presidency.”) BALLOU’S PICTORIAL DRAWING-ROOM COMPANION 11:264 (July 26, 1856): 49. 2 illus. [“…indebted to Mr. Brady, of New York, for the fine photograph of Mr. Buchanan… Mr. Brady has executed portraits of all the nominees now before the people for their choice, and they form an attractive addition to his famous gallery, 359 Broadway. Our portrait of Mr. Breckinridge was drawn from an ambrotype taken expressly for us by an artist of Lexington, Ky.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“John C. Fremont, Republican candidate for President.”) BALLOU’S PICTORIAL DRAWING-ROOM COMPANION 11:267 (Aug. 16, 1856): 97. [“In the engraving below we present a correct likeness of Col. John C. Fremont, the presidential candidate of the Republican party, drawn for us by Rowse, from a photograph by Brady, of New York.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Broadway, New York, by Gaslight.” BALLOU’S PICTORIAL DRAWING ROOM COMPANION 11:284 (Dec 13, 1856): 381-382. 1 illus. [“On page 376 of the present number, we have placed a fine characteristic picture, drawn for us by A. Hill, and engraved by Damoreau, representing Broadway by gaslight. Its spirit will be acknowledged by all who see it, and its truthfulness by those who are best conversant with its localities. Prominent in the line of buildings on the right is the Broadway Theatre, with its line of glittering lamps, and the people pouring into the vestibule. On the other side of the street are several noted places–Putnam’s bookstore, Taylor’s famous saloon, Brady’s daguerreotype rooms….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Erastus Brooks, of NY.”) BALLOU’S PICTORIAL DRAWING-ROOM COMPANION 12:288 (Jan. 10, 1857): 28. [“…drawn expressly for us by Mr. Barry, from a fine ambrotype by that eminent and successful artist and operator, Brady of New York, and is consequently a reliable likeness.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“John A. King, Governor of New York.”) BALLOU’S PICTORIAL DRAWING-ROOM COMPANION 12:296 (Feb. 21, 1857): 124. [“…drawn by Barry, from an ambrotype by Brady, of New York, and is pronounced an accurate likeness.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Peter Cooper, founder of Cooper Institute, New York, NY.”) BALLOU’S PICTORIAL DRAWING-ROOM COMPANION 12:298 (Mar. 7, 1857): 156. [“The accompanying portrait was drawn expressly for us by Mr. Barry, from a fine photograph by Brady, of New York city. Mr. Cooper is ranked among the wealthiest citizens of the empire city, and his large fortune is the result of honorable industry. He commenced life without a dollar to start with, but by perseverance in his business, the manufacturing of glue, he has from small beginnings seen his fortune swell to its present colossal dimensions. He has now a very large business establishment, and is we believe engaged in another branch of manufacture also.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Miss Matilda Heron, the Tragedienne.”) BALLOU’S PICTORIAL DRAWING-ROOM COMPANION 12:302 (Apr. 4, 1857): 209. [“…drawn by Mr. Barry, from an ambrotype by Brady, of New York, and engraved by Tarbell, in his best style.”

BRADY, MATHEW B. (NEW YORK, NY) “Splinters.” BALLOU’S PICTORIAL DRAWING ROOM COMPANION 12:306 (May 2, 1857): 285. [“Brady’s photographic and daguerreotype gallery in Broadway, is one of the most attractive places in New York.”]

THE BAPTIST MEMORIAL, AND MONTHLY RECORD, DEVOTED TO THE HISTORY, BIOGRAPHY, LITERATURE AND STATISTICS OF THE DENOMINATION

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Notices.” THE BAPTIST MEMORIAL, AND MONTHLY RECORD, DEVOTED TO THE HISTORY, BIOGRAPHY, LITERATURE AND STATISTICS OF THR DENOMINATION 9:7 (July 1850): 271. [“The Gallery of Illustrious Americans.-New-York: Published from Brady’s Gallery, 520 Broadway. By G. P. Putnam, D. Appleton & Co. & C. S. Francis & Co. This is truly a splendid work-royal folio, and will contain when completed portraits and biographical sketches of 24 of our most eminent statesmen since Washington. It is edited by C. Edwards Lester, a man of talent and a beautiful writer. The portraits are engraved by D’Avignon in admirable style, presenting perfect likenesses of men in whom all feel interested. The printing is elegant on very thick and fine paper. No. six, which we have before us, contains the portrait of Col. Fremont. In previous Nos. will be found Clay, Webster, Calhoun and others. We do not wonder that the work is circulated with great rapidity throughout the country.” (p. 271)]

BRADY, MATHEW B. (1823-1896) (USA).
“Monthly Record.” THE BAPTIST MEMORIAL, AND MONTHLY RECORD, DEVOTED TO THE HISTORY, BIOGRAPHY, LITERATURE AND STATISTICS OF THR DENOMINATION 9:12
(Dec. 1850): 337. [“The Daguerreotyping Art.-It is surprising to what an extent this business is carried on in the country and in this city. The Tribune informs us that there are about ten thousand engaged as daguerreotypists in the United States, and five thousand who obtain their living indirectly from it. The amount of stock consumed is about $2,000,000. This city employs ninety-six operatives. The process of chemically preparing the plate to take an impression from the rays of light proceeding from any object, and the method of rendering that impression visible, are curious and ingenious. Mr. Brady is, we believe, considered as the best Daguerrean artist of this city. His portraits are truly elegant. He showed us recently some which were taken upon ivory instead of a metallic plate. They were the finest of any thing of the kind which we have ever seen. This is a new improvement in the art. It presents a much more life-like portrait than upon metallic plates, and is less expensive. We advise our patrons, if they wish for perfect daguerreotypes, to call at Brady’s, 205 and 207 Broadway.”]

BLACKWOOD’S EDINBURGH MAGAZINE

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “The Gift-Book of the Republic.” BLACKWOOD’S EDINBURGH MAGAZINE (American Edition) 32:1 (Jan. 1851): inside back cover.
[ “A NATIONAL TRIBUTE TO OUR GREAT MEN.
The Gallery of Illustrious Americans,
DAGUERREOTYPES BY BRADY. ENGRAVED BY D’AVIGNON.
EDITED BY C. EDWARDS LESTER.
Having now brought the FIRST SERIES of this magnificent Work to a conclusion, the Publishers offer it to their Fellow-citizens as the
MOST SUPERB NATIONAL GIFT-BOOK
Ever produced in this Country. It embraces the PORTRAITS AND LIVES of the following
EMINENT MEN:-
ZACHARY TAYLOR, J. J. AUDUBON,
JOHN C. CALHOUN, WM. H. PRESCOTT,
DANIEL WEBSTER, WINFIELD SCOTT,
SILAS WRIGHT, MILLARD FILLMORE,
HENRY CLAY, WM. E. CHANNING
J. C. FREMONT, LEWIS CASS.
The work is printed on Imperial Folio Drawing Paper; and while the American Press universally
pronounce it superior to any other American publication, the European Journals accord to it the same
superiority over any similar works which have appeared on the other side of the Atlantic. The work
a now ready for delivery, bound in the best manner, at the annexed prices:
Cloth Gilt, $15 00
Cloth Full Gilt Extra, $17 50
Imitation Morocco, $20 00
Full Turkey Morocco Gilt, $25 00
All orders will be attended to at once, on the receipt of the money, according to the above terms. The usual discount made to the BOOK TRADE, and AGENTS in all parts of the world.
OUR TERMS ARE INVARIABLY CASH.
The work can be sent by Express to any part of the Country.
BRADY, D’AVIGNON & LESTER,
Publishers and Proprietors,
205 BROADWAY.
New York, January 1st, 1850.” ]

BRITISH JOURNAL OF PHOTOGRAPHY

ORGANIZATIONS. GREAT BRITAIN. LIVERPOOL PHOTOGRAPHIC SOCIETY. 1857.
“Liverpool Photographic Society.” LIVERPOOL AND MANCHESTER PHOTOGRAPHIC JOURNAL ns 1:11 (June 1,1857): 108-110. [“The Fifth Meeting of the Society took place at the Royal Institution, on Tuesday, the 19th instant, Charles Corey, Esq., in the chair.
It was proposed by Mr. Forrest, and seconded by Mr. Duckworth, and resolved, that the meetings of the Society be adjourned until September: the next meeting will, therefore, take place on Tuesday, September 15th.
The Chairman exhibited a beautiful specimen of untouched photography, a portrait of talented author and actor, John Brougham, New York, by C. Frederick, of the Broadway which was much admired.
Mr. Keith also exhibited a specimen of new Hallotype process, patented by Messrs. Brady and Gurney, of New York. A peculiar effect is produced in this process by the combination of two prints from a collodion negative. The upper print is attached to the back of a glass, and made transparent by varnish, another picture is then roughly and strongly coloured, and placed underneath.

EXHIBITIONS. 1859. EDINBURGH. PHOTOGRAPHIC SOCIETY OF SCOTLAND.
“Exhibition. Exhibition of the Photographic Society of Scotland.” BRITISH JOURNAL OF PHOTOGRAPHY 7:109 (Jan. 1, 1860): 13-14. [“I have again made it convenient to “conjoin business with pleasure,” and send you some notes regarding the progress of our northern friends in the beautiful and useful Art of Photography. The Exhibition was opened on the 16th ult., as I am informed by the Mercury of the 17th, which gives a brief account of the private view of the evening previous, and, after giving the names of the grandees who were present, winds up the peroration by stating that “Carlow, Cobalt, and Madder” had sent (!) some fine specimens from Kensington Museum. Being tolerably familiar with the names of the great majority of photographic artists, on entering the exhibition room, which is the same as last year (90, George Street), I wended my way on a voyage of discovery to find out the productions of these gentlemen, when, lo and behold! matters turned out as I had anticipated; these were the modes of production and not the names of artists at all.
There were four proofs — two in carbon, a portrait and landscape, the finest that I have yet seen produced by this process: in both the detail and half-tone are excellent, but the whites and sky are a dull cold grey, yet very superior to the copy exhibited by Mr. Pouncy the previous year. The cobalt one is a small portrait, two inches by one, with a warm tint of variegated blue, and the madder (crimson red), a portrait of a lady, about an inch square, giving a curious but pleasing effect. With regard to their permanency I can say nothing; but your able chemical correspondent, Mr. C. J. Burnett, will probably be able to inform you on that matter.
The most peculiar and prominent picture in the Exhibition is a panoramic view of Lucknow, in six divisions, The respective sections are not harmoniously toned, but it is bold, clear, and well defined, giving a very accurate realization of that great and wonderful city. There are in all nine hundred and twenty separate (p. 13) views, counting the stereoscopic frames as one only. Five hundred and sixty-five of these are of Scottish origin; the remaining three hundred and fifty-five are from either foreign artists or sent from foreign climes — a large number being from India. Several artists have deluged the rooms with a plethora of specimens. The Messrs. Hay, for instance, send forty-five; Messrs. Cramb, of Dundee, thirty-five; Mr. M’Craw, thirty-five; Miss Taylor, twenty-nine; Mr. Wilson, of Aberdeen, thirty-one; Mr. Scott Eliot (amateur), thirty one; Mr. M‘Leay, twenty-six; Mr. Horatio Ross (amateur), twenty-four; Messrs. Maull and Polyblank, twenty-five, &c. I understood that, in consequence of the same thing occurring the previous year, a bye-law had been recommended or introduced by some member of the Society, to the effect that none were to exceed twenty specimens in one year, which is certainly an abundant limit, and only fair-play, to allow all to have their pictures exhibited. An intelligent dealer informed me that the Society had more pictures sent them than they could conveniently exhibit. The hanging committee, however, don’t seem to discard proofs because they are of humble pretensions, of which No. 209 is an example. The catalogue states it to be the portrait of a gentleman, but who looks very like a condemned felon, seated solitarily in his cell, leaning his back against a perpendicular panel of timber, with one leg over the other, looking very sorry for himself — the foreground being very like a portion of a river or sea-beach, terribly out of focus. There are a few more pictures of the same character. I am persuaded had these been the product of some poor professional, instead of an office-bearer, they would certainly have been turned to the door and quietly disposed of.
Another amateur office-bearer has gone all the way to Venice to invest his nitrate of silver in a few blurred, ill-focused pictures of that palatial city, and, while packing up his other photographic traps, had evidently forgotten his spirit-level. Architecture seems to have been in a merry mood when this gentleman planted his camera amidst that city of the sea, and disposed to dance a jig; for the perpendiculars of the buildings are nowhere. I allude especially to No. 126. A Canal in Venice — a picture awfully blurred and worthless — (No. 128), is equally poor, the camera having been tilted to embrace the field, clearly indicating, by the curved marginal lines, that it was not taken by one of the new lenses so bepraised by the committee of the Photographic Society of Scotland. Nevertheless, this illustrates the charm and fascinating power this science has over its devotees, when gentlemen are impelled by it to make long, troublesome, and expensive journeys, to procure for themselves what they could purchase at home for a few shillings, infinitely superior proofs, and taken by artists on the spot. I hope this indefatigable photo’ will be more successful on some future occasion.
I must try to mix a little sweet with the bitter, and give you an account of some things that are better; but knowing, as I do, your reverence for truth, and the rigid, inflexible way in which you fearlessly state your opinions in your criticisms upon the photographic art, I deemed it best to endeavour to give an accurate view of the tout ensemble.
In this year’s Exhibition there are some very large portraits — that is, enlarged and coloured, as well as plain; but in these I find no appearance of progress. No. 269 is one by Mr. Brady, an artist of New York, in which the face is entirely stippled over, and which would require a couple of days hard artistic labour with the pencil. This picture is hung as an untouched photograph, which it is not; and, if I remember right, by one of the regulations of the Exhibition, promulgated by advertisement in the now British Journal of Photography was, that all such productions were to be labelled as touched or painted pictures.
Such being the case, this picture, according to the Council’s own rules, ought to have been rejected and allowed no place on their walls.
Messrs. Lyndon Smith and Raven, who took the medals last year, are large contributors; and Mr. Smith has not only doubled his diligence, but also the number and size of his pictures and lens. He sends nine large landscapes, mostly from the sombre, gloomy, misty region, entitled the “Valley of Desolation.” — Mr. Raven contributes twentytwo subjects, but I do not think any of these show any marks of progress; but no wonder, for, as he is doubtless carried by the same zeal and devotion to the discharge of his parochial and clerical duties, little time will be left to prosecute the science of photography. — Mr. Wilson, of Aberdeen, sends some thirty exquisite landscapes, and one frame of stereoscopic views which surpass in beauty and definition all the photographs that have been publicly exhibited in Britain hitherto; but, as you have noticed these so recently yourself, I shall pass them over. — Mr. Rodger, of St. Andrew’s, contributes twenty-four, principally portraits, of rare excellence and beauty. One of these is an artistic family group, consisting of twelve, all beautifully delicate, and in good focus, with one tiny exception — a little boy in the foreground has moved, and has three eyes and partially two heads — otherwise it is a perfect gem, and I am much mistaken if the Society’s medal will this year be awarded to misty, woolly, waxed-paper pictures.
I have not time for further remarks at present, but will probably communicate with you again in a few days, more in detail.” “Sel D’Or.” (p. 14)]

EXHIBITIONS: 1860: EDINBURGH: PHOTOGRAPHIC SOCIETY OF SCOTLAND. Sel D’Or. “Exhibition: Exhibition of the Photographic Society of Scotland.” BRITISH JOURNAL OF PHOTOGRAPHY 7:112 (Feb. 15, 1860): 55-56. [M. Brady (New York, NY); H. P. Robinson; J. Mudd; J. Dixon Piper; Henry White; Maxwell Lyte; Morgan; Macpherson; Maull & Polyblank; Williamson (India); Charles Negre; Hay; Cramb Brothers; Ramage; Kirk; Zeigler; Walker; Roger; Moffats; Tunny; Valentine mentioned.]

BRADY, MATHEW B. (1823-1896) (USA).
“Photographs of War Scenes.” BRITISH JOURNAL OF PHOTOGRAPHY 8:151 (Oct. 1, 1861): 340. [“The following strange scrap is extracted from Humphrey’s Journal: —
“The public are indebted to Brady, of Broadway, for numerous excellent views of ‘grim-visaged war.’ He has been in Virginia with his camera, and many and spirited are the pictures he has taken. His are the only reliable records of the fight at Bull’s Run. The correspondents of the rebel newspapers are sheer falsifiers, the correspondents of the Northern journals are not to be depended upon, and the correspondents of the English press are altogether worse than either; but Brady never misrepresents. He is to the campaigns of the republic what Vandermeulen was to the wars of Louis XIV. His pictures, though perhaps not as lasting as the battle pieces on the pyramids, will not the less immortalise those introduced in them.
“Brady has shown more pluck than many of the officers and soldiers who were in the fight. He went — not exactly like the “Sixty-ninth, stripped to the pants — but with his sleeves tucked up and his big camera directed upon every point of interest on the field. Some pretend, indeed, that it was this mysterious and formidable-looking instrument that produced the panic! The runaways, it is said, mistook it for the great steam gun, discharging 500 balls a minute, and incontinently took to their heels when they got within its focus! However this may be, it is certain that they did not get away from Brady as easily as they did from the enemy. He has fixed the cowards beyond the possibility of a doubt.
“Foremost amongst them the observer will perhaps notice the well-known correspondent of the London Times — the man who was celebrated for writing graphic letters when there was nobody by to contradict him, but who has proved, by his correspondence from this country, that but little confidence can be placed in his accounts. See him as he flies for dear life, with his notes sticking out of his pockets, spurring his wretched-looking steed, his hat gone, and himself the picture of abject despair!
“But, joking aside, this collection is the most curious and interesting we have ever seen. The groupings of entire regiments and divisions, within a space of a couple of feet square, present some of the most curious effects as yet produced in photography. Considering the circumstances under which they were taken, amidst the excitement, the rapid movements, and the smoke of the battle-field, there is nothing to compare with them in their powerful contrasts of light and shade.”]

BY COUNTRY: USA: 1861-1865. (US CIVIL WAR)
Sellers, Coleman. “Foreign Correspondence.” BRITISH JOURNAL OF PHOTOGRAPHY 9:167 (June 2, 1862): 219-220.
[“Philadelphia, May 11th, 1862.” “My last letter to you was written in New York: since then I have visited many cities in New England, and now once more address you from Philadelphia. Outside of New York I found but little of interest in the way of photography. The country towns are always behindhand in adopting the latest improvements and discoveries in the art; and I am inclined to believe the country operators do not invest much money in photographic literature, at least not in the journals of the day. They generally depend on picking up information from the itinerant vendors of wonderful formulas, and from the handbooks published from time to time. Divine’s new book — which gives some very good instruction — sells rapidly; in fact, the publisher tells me the edition has been exhausted. Now that I am away from the noise and bustle of New York, and can look back at what I there saw, sifting the good from the bad, and treasuring up the choice items of information for future use, I feel that the art as conducted in the large establishments of that city must be considered as the highest grade of photographic portraiture in this country. There are hundreds of establishments there where work of the poorest character is turned out, but the good class of work is falling into the hands of those best able to do it; hence such large establishments as Brady’s, Fredericks’, &c., are pressed almost beyond their ability, and that too almost exclusively with card pictures. Messrs. Anthony are printing 3600 of these pictures every day, and yet they are behindhand in suppling some orders.
I visited their factory in company with Mr. Henry Anthony, and was struck with the great care taken to produce good work. As we entered the printing-room the prints of the day before were being assorted — those not perfect enough for sale being torn up and thrown up into a scrap pile; and that scrap pile, had the pictures not been torn, would have been a good place to spend an hour or two in. Most of the printing is done by women, one man having charge of the toning.
Mr. Anthony has introduced many novelties into his way of working, and has very wisely kept to himself his most valuable formulae. Yet he is a kind friend to amateur photographers — ever ready to lend them a helping hand; and I have to thank him for much valuable information. His washing arrangements for his prints is on quite an extensive scale, the most noticeable feature being the management of the jets and currents of water in the different tanks. His theory being that as paper floats before it has been in the hypo., the preliminary washing is all done in tanks, having the water distributed by jets on top, while the final washing to carry off the hypo, is conducted in a tank so arranged as to have the water ascend from below, thus lifting the waterlogged prints and keeping them in motion. I should not neglect to say that the syphon principle of intermittent emptying of the tanks is in general use.
I find that acetate of soda is much used in toning, the toning solutions consisting of acetate soda, common salt, chloride of gold, and sometimes, for over printed proofs, chloride of lime. But little attention is paid to exact quantities; but, as one operator expresses it, he “takes a small handful of each salt, and adds them to about five quarts of water, and then pours in fifteen grains of gold.” Mr. Anthony tells me that the use of salt in the toning solution is a preventive to irregular toning, and avoids the red stripes arising from streaks of thick albumen on the paper.
In a former letter I mentioned glass roofs, and gave, as the experience of a first-class operator, an objection to blue glass; but while in New York I saw many instances of portraits taken under such light, which could not have been obtained in any other way. One very old gentlemen, whose eyes were painfully affected by strong light, showed me his portrait taken by Fredericks, and assured me that it was the first good one he had been able to get. It was remarkably well executed, the eyes well expanded, and no painful contraction of the brows.
Dry collodion is engrossing as much of the attention of amateurs as ever, and we are still on the eve of that wonderful instantaneous dry process; but I am free to confess as yet it has not been reached, to my knowledge, this side of the Atlantic. Dr. Draper’s warm water has been only an approximation to the desired end, and it does not seem to answer for many of the other dry plates besides tannin.
A great want is felt of a very perfect arrangement for changing dry plates in the field, and considerable originality is being displayed in the outfits of the various amateurs. Wood has been preferred as the material for constructing these cameras and boxes, although there are many made of brass. In fact, the first cameras made in the United States were of that metal.
While at Springfield, Massachusetts, my business was with the U. S. Armoury. This celebrated manufactory of rifles has been carried on with closed doors since our war began, as visitors interrupt the workmen and distract their attention. But being provided with a pass from Major Dyer, the commandant, and having four days to devote to this one establishment, there was time to enjoy some of the charming views over the Connecticut Valley from Armoury Hill; and in one of my rambles over the ground I found a dark tent, deserted and out of order, but to the eye of a photographer looking like work. At first I hoped there might be some kindred spirit among the officers of the works — some amateur; but none could be found. In the Major’s parlour his wife showed me some good views, but could not say by whom they were taken; in fact no one seemed to take any interest in the artist, whoever he might be. At last, just before I left there, I happened to ask the Major’s coachman, as he was taking me to the hotel, to whom that mysterious dark tent belonged? He soon informed me that some photographic firm in the town were the owners, and that before they had taken to the art they had been employed in the Armoury. To them I went and found quite a room-full of pictures; for their “art-gallery was open every day and evening.” But of all the uncommunicative individuals I ever encountered they were the most so. I could make nothing out of them; and when they bowed me out l dare say they congratulated themselves on getting rid of a very inquisitive visitor.
One half-day we spent in the Cemetery of Springfield, and secured thirteen good stereoscopic negatives, proofs from which shall be sent to the Editor of the British Journal of Photography, when they can be printed. Speaking of that gentleman reminds me that several persons in New York called my attention to a remark of his before one of the societies, to the effect that “it was quite likely that what the Americans called instantaneity might not accord with the English views on the subject.” I explained to them that Mr. Shadbolt alluded to dry plates and not to wet, and that the claim for quickness in Dr. Draper’s process gave grounds for supposing just what he had asserted; for I have not yet seen any proof at all of a perfectly instantaneous dry plate having been produced here or in England, assuming as a criterion the best wet instantaneous pictures made by Messrs. Anthony.
These gentlemen use a drop shutter falling very freely, and in some cases have used a spring; but their experience is in favour (p. 119) of the wooden drop. Their collodion, as I have tested myself, has qualities peculiarly fitted for quick work; and this quickness is not only due to the purity of the chemicals used, but to the addition of other chemicals to their collodion not generally used. Most sincerely do I hope that they will relieve me from my promise of secrecy on this score, and then I shall tell you how they work. The instrument they use has an opening of about three-quarters of an inch diameter, and gives a clear field, in which can be inscribed a square of three and one-half inches, all the objects being in focus to the extreme corner.
I have now before me a large number of interesting communications relating to scientific photography; but I must keep them for another letter. Mr. T. E. Blackwell, of Canada, has just passed through Philadelphia on his final tour through the States, collecting his reminiscences of America. He brought from Canada the negatives of the eclipse of last year as observed by Mr. Notman for him; but unfortunately two of the negatives were broken on the journey, and the series is thus injured.
One of the gentlemen to whom I am indebted for valuable information intended for these pages, writes to me saying that be wants “Strasburgh Cathedral (on paper), and if I could get the inside of the Arch of Titus, the side with the golden candlestick (I have the other side), I should be happy.” If any kind friend will send me these for him I will repay him fourfold in kind, and will promise him the thanks of one of our first men of science.
I mentioned in a former letter Dr. Dean’s work. He is preparing a work on the nervous system, and its illustrations will be from the photo-micrographic copies of the sections of the various nerves. Thus I have before me now sections of the Medulla oblongata from human subjects, as well as various animals of low grades. Some are said to have been on tannin plates, and some very fine prints have the memorandum “ammonio-nitrate print” on them. He has shown great skill in the production of his proofs, which are remarkably clear and full of delicate detail. His expertness in preparing the sections for the microscope has been mentioned by many who are able to judge of such matters. I must here state that my correspondence with The British Journal of Photography, and the consequent correspondence at home for matter to make up these letters, has brought under my notice a large number of amateurs who are devoting themselves exclusively to scientific photography.
The Amateur Photographic Exchange Club has been conducive of much good to its individual members, as is evinced in the improvement shown in their proofs. Some of the least enthusiastic adhere to the specified times of exchange, while others, who “have the fever bad,” exchange several prints each week. A grand excursion is talked of this summer; but the Club is made up of hard-working men, and I fear it will not be possible for them to make the time suit all.
It is thought that the Southern ports now in our possession will soon be re-opened to trade, and then I shall have some photographic news from the South to communicate. Sincerely hoping that this will soon take place, I am, with due regard, yours, &c., Coleman Sellers.” (p. 220)]

EXHIBITIONS. 1862. LONDON. EXHIBITION of the INDUSTRY OF ALL NATIONS.
(Late arrivals) BRADY, MATHEW and WATKINS, CARLETON E. see (BRITISH JOURNAL OF PHOTOGRAPHY, Sept. 1, 1862); 335.

BRADY, MATHEW B. (1823-1896) (USA).
“Notes of the Month.” BRITISH JOURNAL OF PHOTOGRAPHY 9:173 (Sept. 1, 1862): 335. [“…To the American Department at the International Exhibition a number of photographs have been added, including a series called Brady’s Incidents of the War — remains of railway depots presenting little but masses of debris, a melancholy spectacle of the sad havoc of war — forts, entrenchments, and Father Mooney Administering Mass to the 69th Regiment; Bridge at Bull Run, &c. Mr. Brady also exhibits some interesting portraits of very large size, 18 by 16, though much worked upon, including His Royal Highness the Prince of Wales, Fremont, Seward, Jefferson Davis, and others.
Some exceedingly large views of the lakes, valleys, gigantic trees, and almost untrodden solitudes of the interior of California — where do not photographers penetrate? — by C. E. Watkins, are worth attention, though much faded….” (p. 335)]

EXHIBITIONS: 1862: LONDON: INTERNATIONAL EXHIBITION OF INDUSTRY. “Exhibition Gossip. Another Accident. Foreign Landscape Photographs.” BRITISH JOURNAL OF PHOTOGRAPHY 9:174 (Sept. 15, 1862): 351-352. [“In my last “Gossip” I chronicled an accident in the French Department, caused by the descent of glass and sash-work from the roof during a heavy fall of rain. In my present I have to chronicle a similar accident in the British Department, by which a group of the splendid stereographs of Mr. Breese, together with the instruments in which they were exhibited, and the strong top of the walnut-wood table on which they stood, have been destroyed. My friend, Mr. Sebastian Davis, had the case containing his ingenious manipulating camera also injured at the same time. It is fortunate that this accident occurred in the morning before the opening of the Exhibition, as otherwise serious injuries might have been inflicted on some of the visitors, the stand of Mr. Breese being seldom without a crowd about it.
In the British Department of Photography we find, since our last visit, various efforts have been made to re-dress the walls and partially fill the blanks caused by removing faded pictures, which blanks are still likely to increase in number if fading pictures continue to be removed.
Our present visit, however, is intended for the Foreign Photographic Departments, and we shall commence our tour of inspection with the French.
The French landscapes, to which our attention is now directed, are not so numerous as the specimens illustrative of other branches of the art; but there are some very excellent pictures of this kind nevertheless. A wild, artificial looking landscape, by Silvy, has its principal merit in the attempt rather than the deed. Some enlarged instantaneous pictures of sky, water. and shipping are particularly striking from their picturesque and natural qualities. A. Poitevin exhibits good landscapes, some of which are executed by this gentleman’s carbon process. E. Jouet, also, has some excellent pictures. A. Davanne contributes some capital landscapes by the Taupenot process, and P. Gaillard is another successful photographic landscapist. But the great masters are to be found in Marville, Jouet, the Marquis de Bérenger, Aleo, Warnod, and Maxwell Lyte. Warnod’s instantaneous views equal the very best and most artistic I have seen; while the grandeur and beauty of Maxwell Lyte’s mountain scenes cannot easily be surpassed either as photographs or works of art. (p. 351)
It is evident that, although British photographers have borne away the palm of landscape art from all comers, their French rivals are not so far behind them in the race that in the future they can safely rest upon their oars; although in the French their only serious rivals can as yet be found. The few. specimens sent from other lands are either decidedly inferior or simply commonplace. Good and artistic portraiture may be found in very many parts of the great International Exhibition, but good landscape photography is almost entirely! confined to the French and English Departments.
In the contributions from Denmark some good street views mingle, and some tolerably good landscapes are to be found among the pictures sent from Belgium. A number oi good landscapes have been sent from Canada. A tew commonplace views of scenes and incidents connected with the American war, sent by Brady from New York, are in an out-of-the-way corner, near one of the minor entrances. Cheesy-looking views, some of them huge and panoramic, are to be found in the New Zealand Department, most of which will be found more interesting to the geologist than to the artist or the photographer. The grand old ruins of Greece have been badly photographed, and are fading away in the collection sent from that country. The Temple of the Winds, and bas reliefs from the Parthenon, photographed by Constantine, of Athens, are the best among these interesting productions. Some inferior and commonplace landscapes are sent from India, among which are some panoramic views by T. Marten, and some very interesting pictures of the majestic and awe-inspiring temples of India’s far, far away and unrecorded past, by Captain Dixon.
South Australia contributes a collection of views chiefly interesting — although many of them are very respectable photographs — from the novel and interesting character of the scenery they represent. Among the best of these are C. Nettleton’s, of Williamstone, and E. Haigh, from Melbourne — some by the latter gentleman being very good indeed. A good and large series, illustrative of fossil rock sections and Victorian geology, by R. Daintree, deserve. our praise and thanks. From Adelaide we have sulphur-toned prints of street scenes, &c.; from Queensland some sulphur-toned panoramic and other views. Street views from Natal and Maritzburg do not astonish us photographically, although I rather think they were intended so to do. Flood sends some good pictures from New Brunswick; and Allport sends some good stereographs from Tasmania. By-the-bye, I should have mentioned some pictures of the Public Library at Melbourne, which are decidedly good.
But photography is scattered so thinly and widely over the whole building, that, although I think I dare assert that I have examined nearly every specimen of the art it contains, I can find nothing demanding very special notice beyond those specimens to which I have already called attention among landscapes.
In our next “Gossip” we must give some attention to the architectural photographs and the reproductions. A. H. W.” (p. 352)]

BY COUNTRY: USA: 1862.
Sellers, Coleman. “Foreign Correspondence.” BRITISH JOURNAL OF PHOTOGRAPHY 9:177 (Nov. 1, 1862): 418-419. [“Philadelphia, October 8th, 1862.” “The majority of American operators make use of iodide of ammonium as the principal sensitizer, taking for the bromide any of the other metals their experience suggests as the best. The iodide of ammonium used to be made quite white; and, assuming this as a proof of its purity, the white article was the most sought after. But some photographers seemed to prefer the yellow variety, and, without knowing any reason for their choice other than experience, would prefer those samples which were decidedly yellow. In the course of time it became a standing rule to select the very darkest yellow, such having been found to produce the best negatives. This very dark iodide of ammonium is now regularly offered for sale, labelled “Ammonium. Iodide for Negatives;” and all who use it concur in the assertion that, from the large amount of free iodide in it, it is the best — that collodion sensitised with it is sooner ready for use. It would be a matter of interest also to determine what bromide is most generally used. There seems to be a great difference of opinion on this subject; but, from noting the experience of those who have communicated their formula} to me, I think the bromide of cadmium has just now the preference. A photographer writing from the west says he has been obliged to discontinue the use of bromide of magnesium, as it neutralized his bath too rapidly. The sample he had been using perhaps partook too much of the alkalinity of its base.
I mentioned in my last letter that the majority of the pictures made for the soldiers in camp, or as they pass through any town, are ambrotypes. This is because their movements are too uncertain to allow for the delay of paper pictures; besides, many of them have a liking for the fancy cases in which their portraits are enclosed — and, in addition to all this, they are so cheap.
A gentleman just returned from Europe says there is the greatest difference imaginable between the general management of photographic galleries here and abroad. In America everything is done in a hurry. The people are, as a mass, impatient and restless — they are always in a hurry; and it is no unusual thing to see a man rushing into a photographic establishment, exclaiming as he enters — “Here! I’ve just ten minutes to spare, and want you to make my picture!” The accommodating operator puts him through in a short time, and it is no wonder the portrait shows a face of rather a care-worn aspect. In Europe, on the contrary, my informant says people seem to have more time, and would object to being “taken” so very rapidly. By-the-bye, The Times’ criticism of the card-pictures of American notabilities, furnished by Messrs. Brady and Co., of New York, has afforded a good deal of amusement on this side of the water. People laugh at the “Thunderer’s” “secesh proclivities” influencing its opinion of pictures. Much credit is due to Messrs. Brady and Co. for their untiring search after reliable portraits of our great men, and they publish no pictures that they cannot with credit attach their name to. No doubt great tact and address is required to secure sittings from those men who are now so engrossed with official cares, some of whom call this picture-taking a bore, and escape from it when they can.
A subscriber to The British Journal of Photography writes from New York, inquiring whether the eighteen-inches condensing lenses, spoken of in former letters in connexion with solar cameras, are the diameter or the focal length. In all cases I alluded to the diameter of the lenses, their focal length differing in different instruments. It is, however, claimed that those of the shortest focus are the quickest workers. It is probable, from what I hear, that it would be advantageous to vary the focal length of the condenser with variation of work — as, for instance, to throw up a given-sized picture from a whole-size negative. The distance of the negative from the copying-tube and the distance of the printing-board from the tube are fixed and unchangeable; while, to work the quickest, the focus of the condensing lens should be such as to cause a condensed circle of light to just cover the part of the negative to be copied, and to come to a focus at or near the front lens of the copying-tube. This is theoretically what seems to be required; but much latitude is assumed in practice. Still, the best (p. 418) printers with the solar camera say that they prefer to carry out this theoretical requirement by varying the size of the negative, and to intensify also in proportion to the size to which it is to be enlarged, thus using a small negative — say half-size for full-size prints and a 4/4 negative for cabinet size, the latter being made more intense than the former. The writer above alluded to goes on to say: — “Many years ago — in 1851 or 1852 — I used Ross’s megascopic camera, which is precisely the same as the solar camera, except that he had discarded the reflector, using a ground-glass instead. His condenser was two plano-convex lenses, beautifully chromatic, with a combined focus of 14 inches, and their diameter was about 8 inches. It was originally intended to copy 2½ by 2 inches Daguerreotypes to full-size plates, 8½ by 6½ inches, and was contrived in 1843, or thereabouts, before there was a whole-size plate instrument in New York. It was presented to the clear sky, using a single lens to make the image and an elevating table to get the focus and to hold the plate while being impressed. I still think, this was the best arrangement, as it certainly was the earliest. He claimed no invention about it, for he showed any one its principle in Smith’s Optics, and in a French work by Biot.” I give his letter almost entire, as it may be of interest to those studying the history of photography. The expression, “he had discarded the reflector,” probably was not intended to convey the idea that he had used a reflector and then discontinued the use of it, as it is generally conceded that Woodward was the first to use a reflector.
Various contrivances have been offered for cutting out photographs, one of the simplest being a punch with a sharp cutting edge, similar to what is used for cutting gun-wads, the tool being made, of course, of the required shape of the print. The most serious difficulty in the use of such an instrument lies in the selection of the substance of the block to do the cutting on. The end grain of some kind of wood serves well for the purpose; but it soon gets rough and uneven. A new substance has just been introduced for this purpose, which seems to be just the thing. Strips of raw hide about two inches wide and twelve inches long are clamped together by bolts passing through them, thus forming a hard slab twelve inches square and two inches thick of hide standing on its edge. The surface is planed down smooth, and will bear an incredible amount of cutting on with the punch before needing re-dressing. This article is now being extensively used in several establishments in this country where paper is to be cut into shapes by chisel-shaped cutting edges. The tanner’s old maxim of “there’s nothing like leather” must be changed for “there’s nothing like raw hide.” Should any photographers find the journals of their polishing rollers inclined to cut from the pressure on them and from the neglect of oiling, let them put a piece of raw hide between the journal and the bearing and they will have no more trouble. This article, from its great toughness and durability, has always held an important place in the arts and manufactures — as, for instance, being used for small cog wheels in some class of silk-weaving machinery, as well as being made to act as the elastic and yet nondestructible cushion to save the ends of wooden piles from being crushed by the oft-repeated blows of the pile-driver.
Not many hundred miles away there is being built, by Uncle Sam, a very nice building, intended for a front office, and the contractor who is erecting its marble front was some days ago presented by a photographer with a print from a negative he had made of it, and which was of interest as showing the progress of the work. “What!” exclaimed the contractor — “did you get all the men to remain still while you were taking this?” “Oh no!” was the reply, “I watched my opportunity, and the picture was taken without their knowing anything about it!” “Well, my dear-sir, I thank you for the picture, and also for the information too. There’s that foreman of mine, who was to have kept his eye on the men the whole time the front was being built up, idling his time away, and paying no attention to his work! I’ll see him about that!” This is a true story, for it was told to me by some one who had read it in a newspaper; and newspapers, you know, from The Times downwards, never lie.
Of late we have had some dull cloudy weather, and the storm has no doubt been what is usually called the equinoctial. This rainy period past, photographers will look forward to the long-clear spell called the Indian summer. Some days, however, of our delightful Indian summer are almost as bad as clouds. There is a kind of yellow haze pervading the atmosphere which shuts out much of the sun’s actinic power, even while it is shining very brightly. This reminds me of the remark made a few nights ago by an ardent amateur, when a lady exclaimed to him — “See! what a charming-moonlight night! It is almost like day!” “Yes! I see: very pretty, but horridly non-actinic!” Coleman Sellers.” (p. 419)]

BY COUNTRY: USA: 1861-1865. (US CIVIL WAR)
Sellers, Coleman. “Foreign Correspondence.” BRITISH JOURNAL OF PHOTOGRAPHY 9:177 (Nov. 1, 1862): 418-419.
[“Philadelphia, October 8th, 1862.
“…I mentioned in my last letter that the majority of the pictures made for the soldiers in camp, or as they pass through any town, are ambrotypes. This is because their movements are too uncertain to allow for the delay of paper pictures; besides, many of them have a liking for the fancy cases in which their portraits are enclosed — and, in addition to all this, they are so cheap….” (Etc., etc.)
“…By-the-bye, The Times’ criticism of the card-pictures of American notabilities, furnished by Messrs. Brady and Co., of New York, has afforded a good deal of amusement on this side of the water. People laugh at the “Thunderer’s” “secesh proclivities” influencing its opinion of pictures. Much credit is due to Messrs. Brady and Co. for their untiring search after reliable portraits of our great men, and they publish no pictures that they cannot with credit attach their name to. No doubt great tact and address is required to secure sittings from those men who are now so engrossed with official cares, some of whom call this picture-taking a bore, and escape from it when they can….”]

BY COUNTRY: USA: 1863.
Sellers, Coleman. “Foreign Correspondence.” BRITISH JOURNAL OF PHOTOGRAPHY 10:182 (Jan. 15, 1863): 41-42. [“Philadelphia, Dec. 22nd, 1862. In the number of the British Journal of Photography published on December 1, containing the account of Mr. Wenderoth’s solar camera, there seems to be some doubt as to the focus of the condensing lens as it was and as it now is. I had always believed the first lens to be achromatic; and yet I cannot say positively that Mr. Wenderoth told me it was achromatic, but rather think that I asked him if it was a single lens, and his reply being “No, it is double,” I had inferred it was achromatic, when in reality it had only been made double of two plano-convex lenses, the plane sides cemented together so as to form a very thick lens, thicker than could be well made from one piece of glass. The pair of lenses forming the first compound lens was said to have a focus of 24 inches: the other pair — one of which was broken as described— was of a shorter focus. One of the plano-convex lenses composing the first pair was used in combination with the remaining planoconvex lens of the second combination, being separated by about the thickness of a piece of ordinary mounting card-board, and they have a focus of 22 inches. There is little more that I can say in regard to this camera that would be of use in explaining its opera (p. 41) tion. The operator who has it in charge had always been used to the Woodward camera, i.e., a camera with a reflector, but is now very earnest in his praise of Mr. Wenderoth’s arrangement. I would also state for the benefit of those interested that the cost of the iron frame-work of this instrument was only $90.
Mr. Charles Waldack has written an interesting letter from Belgium, much of which is devoted to proving that Mr. Woodward was not the original inventor of the solar camera with a reflector and condenser, and he cites various authorities. This I do know, and no more, that to Mr. Woodward the patent was granted, and to him is due the introduction of the invention to the public, and it is no very easy matter to set his patent aside by the charge of “common and general public use, more than two years previous to his patent being applied for.” The working of the invention in secret previously would not injure his claim in the least, except so far as those previously using it were concerned.
Several meetings of the Philadelphia Photographic Society have been held for the purpose of perfecting the organization; but still much time at the next meeting will be consumed in considering disputed points of the constitution and by-laws. That trouble over, the meetings will assume the scientific tone proper to them. A very desirable room has been obtained in Falon’s-building, Walnut Street overlooking the centre walk in Independence Square, in full view of the State House, and of the spot from which was read the Declaration of Independence on the 4th of July, 1776. The windows of our room have a northern exposure, and as the square is used for all great public meetings, some of the members have in prospect the securing of instantaneous pictures at suitable seasons.
Some allusion has been made in former letters to the pictures published by Messrs. Brady & Co. of the Antietam battle-field. Mr. La Merle, of the Washington Brady’s Gallery, says that these pictures were made by Mr. Alexander Gardner, assisted by Mr. Timothy Sullivan. Six of them were made on the field the day after the principal battle, but while there was still a great deal of firing on both sides, and Mr. Gardner told him that one shell struck within fifteen yards of the camera. He says also that Mr. Gardner has been using Harrison’s globe lenses, and speaks in the highest terms of them. The Bull Run and Peninsula pictures, published by Mr. Brady, were taken by Mr. Barnard and Mr. Gibson.
It was the former of these gentlemen who took the fine Niagara views published by Anthony. These Niagara pictures, which were noticed in a former letter, were taken with a pair of Harrison’s globe lenses. I was not aware of this fact until some time, after the publication of my notice of them. They are the only pictures of that wonderful cataract which seem to bring back the impression of immensity experienced in witnessing the falls. But to return to the battle-field. Most of the cabinet-size pictures taken in and around Washington were the work of Messrs. Whitney and Woodbury. Mr. Whitney says he never witnessed a more distressing sight than the field of Antietam the day after the battle — the wounded filling the air with cries for water, and no one daring to go to their assistance on account of the continual skirmishing. He tells many anecdotes — some sad and some laughable — about what he saw, but not pertaining in any way to the photographic art, else I should be glad to put them in print.
There does not seem to be the least falling off in the demand for card-pictures and albums. The latter are being, made in larger quantities than ever, and much time and talent is being devoted to the perfecting of machinery for their cheap manufacture. There would doubtless have been some reduction in the retail price of them but for the great advance in the cost of paper. This, seems to have covered the saving in labour, and the albums are still held at their old price; but they show a very marked improvement in appearance. The bronze printing machinery has been considerably improved, and the punching machines have been made to register more correctly with the ornamented borders.
Since Mr. Henry T. Anthony has given his fuming with ammonia to the public,* [* See number for January 1st, page 10.] a large number of our practical photographers have adopted it, and all seem to like the process. One of our amateurs, who has been trying it of late, says that when he fumed very thin albumen paper it seemed to print quite through the paper, and the image was almost as distinct on the back as on the front of the paper. This was no doubt owing to the fact that he had floated the paper longer than there was any need of doing, and the silver had soaked quite through. With the very long experience Mr. Anthony has had in printing with this process, there is every encouragement for all who try it to persevere and not to be discouraged with failures. In my own experience with it, I would state that the bath upon which 1 float my paper was originally what was called the ammonia nitrate, but has had many ounces of silver added to it from time to time, and also some little alcohol, when any tendency to form bubbles on the first putting down the paper shows itself. Sometimes it is acid with nitric acid, and some times neutral: again it is sometimes alkaline, just as experience with any particular kind of paper shows to be the best. No doubt there is in this bath a great deal of nitrate of ammonia. Mr. Anthony, when he gave me the process, then said that all kinds of paper could not be treated in the same manner, but that the bath must be varied in degree of acidity, and the time of fuming be varied with different qualities of paper and with different changes of the weather. One essential condition is absolute dryness of the paper before fuming. It is with pleasure we learn that Major Russell has turned his attention to the fuming of tannin plates. All who have tried it in this country have remarked the developing power of the ammonia; and Mr. Robert Shriver, of Cumberland, Maryland, was quite enthusiastic about it when Mr. Anthony first proposed it to the Amateur Club.
Now a few words about cleaning plates. In one of my early letters to this Journal, I mentioned the use of acid nitrate of mercury in the place of nitric acid for the purpose of cleaning new and old plates. This I had said was in general use here, and the part of my letter alluding to this was extensively circulated in the journals. Some time since a statement was made at a meeting of the New York Society that “Sellers’s acid nitrate of mercury was a great humbug.” Since then very many letters have been written to me, asking me about the matter, and requesting to know if I use the process. Now the facts of the case are these: about two years ago Mr. Peale, of New York, informed me that he and many other Broadway operators were using this acid nitrate of mercury, and that with the use of this chemical cleaner all trouble from dirty plates had disappeared. I mentioned it to many in Philadelphia, and all who used it liked it, and I have myself used it continually ever since. The process did not originate with me at all (I wish it had); but was in general use long before I heard of it. Mr. P. T. Fassitt stated at an informal meeting of our Society some days ago that, in making glass transparencies on white glass (the semi-opaque kind), his failures could not be removed with nitric acid; that, as he said, “nitric acid would not touch it,” the glass being rather rough, but that the acid nitrate of mercury cleaned the plates quickly and thoroughly; and that he had used the mixture: for more than a year for all his dry-plate work, and had never had any trouble from dirty plates. Many of the members present, both practical operators and amateurs, gave their testimony in favour of it. I should be very glad indeed if I could call the process “Sellers’s,” as I should deem the making public of so valuable an aid to the photographic world some little return for the instruction I have received from others. Coleman Sellers.” (p. 42)]

BY COUNTRY: USA: 1861-1865 (CIVIL WAR)
Sellers, Coleman. “Foreign Correspondence.” BRITISH JOURNAL OF PHOTOGRAPHY 10:182 (Jan. 15, 1863): 41-42.
[“Philadelphia, Dec. 22nd, 1862…” “…Some allusion has been made in former letters to the pictures published by Messrs. Brady & Co. of the Antietam battle-field. Mr. La Merle, of the Washington Brady’s Gallery, says that these pictures were made by Mr. Alexander Gardner, assisted by Mr. Timothy Sullivan. Six of them were made on the field the day after the principal battle, but while there was still a great deal of firing on both sides, and Mr. Gardner told him that one shell struck within fifteen yards of the camera. He says also that Mr. Gardner has been using Harrison’s globe lenses, and speaks in the highest terms of them. The Bull Run and Peninsula pictures, published by Mr. Brady, were taken by Mr. Barnard and Mr. Gibson. It was the former of these gentlemen who took the fine Niagara views published by Anthony. These Niagara pictures, which were noticed in a former letter, were taken with a pair of Harrison’s globe lenses. I was not aware of this fact until some time after the publication of my notice of them. They are the only pictures of that wonderful cataract which seem to bring back the impression of immensity experienced in witnessing the falls. But to return to the battle-field. Most of the cabinet-size pictures taken in and around Washington were the work of Messrs. Whitney and Woodbury. Mr. Whitney says he never witnessed a more distressing sight than the field of Antietam the day after the battle — the wounded filling the air with cries for water, and no one daring to go to their assistance on account of the continual skirmishing. He tells many anecdotes — some sad and some laughable — about what he saw, but not pertaining in any way to the photographic art, else I should be glad to put them in print….”]

HOLMES, OLIVER WENDELL. (1809-1894) (USA)
Holmes, Dr. O. W. “Doings of the Sunbeam.” BRITISH JOURNAL OF PHOTOGRAPHY 10:197 (Sept. 1, 1863): 351-352. [“Continued from page 333.” “The field of photography is extending itself to embrace subjects of strange and sometimes of fearful interest. We have referred in a former article to a stereograph in a friend’s collection showing the bodies of the slain heaped up for burial after the Battle of Malignano. We have now before us a series of photographs showing the field of Antietam and the surrounding country, as they appeared after the great battle of the 17th of September. These terrible mementoes of one of the most sanguinary conflicts of the war we owe to the enterprise of Mr. Brady, of New York. We ourselves were on the field upon the Sunday following the Wednesday when the battle took place. It is not, however, for us to bear witness to the fidelity of views which the truthful sunbeam has delineated in all their dread reality. The photographs bear witness to the accuracy of some of our own sketches in a paper published in the December number of this magazine. The “ditch” is figured, still encumbered with the dead; and strewed, as we saw it and the neighboring fields, with fragments and tatters. The “colonel’s gray horse” is given in another picture just as we saw him lying.
Let him who wishes to know what war is look at this series of illustrations. These wrecks of manhood thrown together in careless heaps, or ranged in ghastly rows for burial, were alive but yesterday. How dear to their little circles far away most of them! How little cared for here by the tired party whose office it is to consign them to the earth! An officer may here and there be recognized; but for the rest— if enemies, they will be counted, and that is all. “Eighty rebels are buried in this hole, was one of the epitaphs we read and recorded. Many people would not look through this series. Many, having seen it and dreamed of its horrors, would lock it up in some secret drawer, that it might not thrill or revolt those whose soul sickens at such sights. It was so nearly like visiting the battle-field to look over these views, that all the emotions excited by the actual sight of the stained and sordid scene, strewed with rags and wrecks, came back to us, and we buried them in the recesses of our cabinet as we would have buried the mutilated remains of the dead they too vividly represented. Yet war and battles should have truth for their delineator. It is well enough for some Baron Gros or Horace Vemet to please an imperial master with fanciful portraits of what they are supposed to be. The honest sunshine
“Is Nature’s sternest painter, yet the best;”
and that gives us, even without the crimson colouring which flows over the recent picture, some conception of what a repulsive, brutal, sickening, hideous thing it is, this dashing together of two frantic mobs to which we give the name of armies. The end to be attained justifies the means, we are willing to believe; but the sight of these pictures is a commentary on civilization such as a savage might well triumph to show its missionaries. Yet through such martyrdom must come our redemption. War is the surgery of crime. Bad as it is in itself, it always implies that something worse has gone before. Where is the American, worthy of his privileges, who does not now recognize the fact, if never until now, that the disease of our nation was organic, not functional, calling for the knife, and not for washes and anodynes?
Is is a relief to soar away from the contemplation of these sad scenes and fly in the balloon which carried Messrs. King and Black in their aerial photographic excursion. Our townsman, Dr. John Jeffries, as is well recollected, was one of the first to tempt the perilous heights of the atmosphere, and the first who ever performed a journey through the air of any considerable extent. We believe this attempt of our younger townsmen to be the earliest in which the aeronaut has sought to work the two miracles at once— of rising against the force of gravity, and picturing the face of the earth beneath him without brush or pencil.
One of their photographs is lying before us. Boston, as the eagle and the wild goose see it, is a very different object from the same place as the solid citizen looks up at its eaves and chimneys. The Old South and Trinity Church are two landmarks not to be mistaken. Washington street slants across the picture as a narrow cleft. Milk-street winds as if the towpath which gave it a name had been followed by the builders of its commercial palaces. Windows, chimneys, and skylights attract the eye in the central parts of the view, exquisitely defined, bewildering in numbers. Towards the circumference it grows darker, becoming clouded and confused; and at one end a black expanse of waveless water is whitened by the nebulous outline of flitting sails. As a first attempt it is on the whole a remarkable success; but its greatest interest is in shoving what we may hope to see accomplished in the same direction.
While the aeronaut is looking at our planet from the vault of heaven where he hangs suspended, and seizing the image of the scene beneath him as he flies, the astronomer is causing the heavenly bodies to print their images on the sensitive sheet he spreads under the rays concentrated by his telescope. We have formerly taken occasion to speak of the wonderful stereoscopic figures of the moon taken by Mr. De la Rue, in England; by Mr. Rutherford and by Mr. Whipple, in this country. To these most successful experiments must be added that of Dr. Henry Draper, who has constructed a reflecting telescope, with the largest silver reflector in the world, except that of the Imperial Observatory at Paris, for the special purpose of celestial photography. The reflectors made by Dr. Draper “will show Debilissima quadruple, and easily bring out the companion of Sirius or the sixth star in the trapezium of Orion.” In taking photographs from these mirrors a movement of the sensitive plate of only one-hundredth of an inch will render the image perceptibly less sharp. It was this accuracy of convergence of the light which led Dr. Draper to prefer the mirror to the achromatic lens. He has taken almost all the daily phases of the moon, from the sixth to the twenty-seventh day, using mostly some of Mr. Anthony’s quick collodion, and has repeatedly obtained the full moon by means of it in one-third of a second.
In the last Annual of Scientific Discovery are interesting notices of photographs of the sun, showing the spots on his disc, of Jupiter with his belts, and Saturn with his ring.
While the astronomer has been reducing the heavenly bodies to the dimensions of his stereoscopic slide, the anatomist has been lifting the invisible by the aid of his microscope into palpable dimensions, to remain permanently recorded in the handwriting of the sun himself. Eighteen years ago M. Donne published in Paris a series of plates executed after figures obtained by the process of Daguerre. These, which we have long employed in teaching, give some pretty good views of various organic elements, but do not attempt to reproduce any of the tissues. Professor O. N. Rood, of Troy, has sent us some most interesting photographs, showing the markings of infusoria enormously magnified and perfectly defined. In a stereograph sent us by the same gentleman the epithelium scales from mucous membrane are shown floating or half submerged in fluid — a very curious effect, requiring the double image to produce it. Of all the microphotographs we have seen, those made by Dr. John Dean, of Boston, from his own sections of the spinal cord, are the most remarkable for the light they throw on the minute structure of the body. The sections made by Dr. Dean are in themselves very beautiful specimens, and have formed the basis of a com(p. 351) munication to the American Academy of Arts and Sciences, in which many new observations have been added to our knowledge of this most complicated structure. But figures drawn from images seen in the field of the microscope have too often been known to borrow a good deal from the imagination of the beholder. Some objects are so complex that they defy the most cunning hand to render them with all their features. When the enlarged image is suffered to delineate itself, as in Dr. Dean’s views of the medulla oblongata, there is no room to question the exactness of the portraiture, and the distant student is able to form his own opinion as well as the original observer. These later achievements of Dr. Dean have excited much attention here and in Europe, and point to a new epoch of anatomical and physiological delineation.
The reversed method of microscopic photography is that which gives portraits and documents in little. The best specimen of this kind we have obtained is another of those miracles which recall the wonders of Arabian fiction. On a slip of glass, three inches long by one broad, is a circle of thinner glass, as large as a ten-cent piece. In the centre of this is a speck, as if a fly had stepped there without scraping his foot before setting it down. On putting this under a microscope magnifying fifty diameters there come into view the Declaration of Independence in full, in a clear, bold type, every name signed in facsimile; the arms of all the States, easily made out, and well finished; with good portraits of all the Presidents, down to a recent date. Any person familiar with the faces of the Presidents would recognize any one of these portraits in a moment.
(Still another application of photography, becoming every day more and more familiar to the public, is that which produces enlarged portraits, even life-size ones, from the old Daguerreotype or more recent photo graphic miniature. As we have seen this process, a closet is arranged as a camera-obscura, and the enlarged image is thrown down through a lens above on a sheet of sensitive paper placed on a table capable of being easily elevated or depressed. The image, weakened by diffusion over so large a space, prints itself slowly, but at last comes out with a clearness which is surprising — a fact which is parallel to what is observed in the stereoscoptican, where a picture of a few square inches in size is “extended” or diluted so as to cover some hundreds of square feet, and yet preserves its sharpness to a degree which seems incredible.
The copying of documents to be used as evidence is another most important application of photography. No scribe, however skillful, could reproduce such a paper as we saw submitted to our fellowworkman in Mr. Black’s establishment the other day. It contained, perhaps, a hundred names and marks; but smeared, spotted, soiled, rubbed, and showing every awkward shape of penmanship that a miscellaneous collection of half-educated persons could furnish. No one, on looking at the photographic copy, could doubt that it was a genuine reproduction of a real list of signatures; and when half-a-dozen such copies, all just alike, were shown, the conviction became a certainty that all had a common origin. This copy was made with a Harrison’s globe lens of sixteen inches’ focal length, and was a very sharp and accurate duplicate of the original. It is claimed for this new American invention that it is “quite ahead of anything European,” and the certificates from the United States Coast Survey Office go far towards sustaining its pretensions.
Some of our readers are aware that photographic operations are not confined to the delineation of material objects. There are certain establishments in which, for an extra consideration (on account of the difficilis ascensus, or other long journey they have to take), the spirits of the departed appear in the same picture which gives the surviving friends. The actinic influence of a ghost on a sensitive plate is not so strong as might be desired; but considering that spirits are so nearly immaterial — that the stars, as Ossian tells us, can be seen through their vaporous outlines — the effect is perhaps as good as ought to be expected.
Mrs. Brown, for instance, has lost her infant, and wishes to have its spirit-portrait taken with her own. A special sitting is granted, and a special fee is paid. In due time the photograph is ready, and, sure enough, there is the misty image of an infant in the background, or, it may be, across the mother’s lap. Whether the original of the image was a month or a year old, whether it belonged to Mrs. Brown or Mrs. Jones or Mrs. Robinson, King Solomon, who could point out so sagaciously the parentage of unauthenticated babies, would be puzzled to guess. But it is enough for the poor mother, whose eyes are blinded with tears, that she sees a print of drapery like an infant’s dress, and a rounded something, like a foggy dumpling, which will stand for a face: she accepts the spirit-portrait as a revelation from the world of shadows. Those who have seen shapes in the clouds, or remember Hamlet and Polonius, or who have noticed how readily untaught eyes see a portrait of parent, spouse, or child in almost any daub intended for the same, will understand how easily the weak people who resort to these places are deluded.
There are various ways of producing the spirit-photographs. One of the easiest is this. First procure a bereaved subject with a mind “sensitised” by long immersion in credulity. Find, out the age, sex, and whatever else you can, about his or her departed relative. Select from your numerous negatives one that corresponds to the late lamented as nearly as may be. Prepare a sensitive plate. Now place the negative against it and hold it up close to your gas-lamp, which may be turned up pretty high. In this way you get a foggy copy of the negative in one part of the sensitive plate, which you can then place in the camera and take your flesh-and-blood sitter’s portrait upon it in the usual way. An appropriate background for these pictures is a view of the asylum for feeble-minded persons, the group of buildings at Somerville, and, possibly, it the penitentiary could be introduced, the hint would be salutary.
The number of amateur artists in photography is continually increasing. The interest we ourselves have taken in some results of photographic art has brought us under a weight of obligation to many of them which we can hardly expect to discharge. {Some of the friends in our immediate neighborhood have sewnt us photographs of their own making which for clearness and purity of tone compare favourably with the best professional work. Among our more distant correspondents there are two so widely known to photographers that we need not hesitate to name them: Mr. Coleman (Sellers, of Philadelphia, and Mr. S. Wager Hull, of New York. Many beautiful specimens of photographic art have been sent us by these gentlemen — among others, some exquisite views of Sunnyside and of the scene of Ichabod Crane’s adventures. Mr. Hull has also furnished us with a full account of the dry process, as followed by him, and from which he brings out results hardly surpassed by any method.
A photographic intimacy between two persons who never saw each other’s faces (that is, in Nature’s original positive, the principal use of which, after all, is to furnish negatives from which portraits may be taken) is a new form of friendship. After an introduction by means of a few views of scenery or other impersonal objects, with a letter or two of explanation, the artist sends his own presentment, not in the stiff shape of a purchased carte de visite, but as seen in his own study or parlor, surrounded by the domestic accidents which so add to the individuality of the student or the artist. You see him at his desk or table with his books and stereoscopes round him; you notice the lamp by which he reads — the objects lying about; you guess his condition, whether married or single; you divine his tastes, apart from that which he has in common with yourself. By-and-by, as he warms towards you, he sends you the picture of what lies next to his heart — a lovely boy, for instance, such as laughs upon us in the delicious portrait on which we are now looking, or an old homestead, fragrant with all the roses of his dead summers, caught in one of Nature’s loving moments, with the sunshine gilding it like the light of his own memory. And so these shadows have made him with his outer and his inner life a reality for you; and but for his voice, which you have never heard, you know him better than hundreds who call him by name, as they meet him year after year, and reckon him among their familiar acquaintances.
To all these friends of ours, those whom we have named, and not less those whom we have silently remembered, we send our grateful acknowledgments. They have never allowed the interest we have long taken in the miraculous art of photography to slacken. Though not one of them may learn anything from this simple account we have given, they will perhaps allow that it has a certain value for less instructed readers, in consequence of its numerous and rich omissions of much which, however valuable, is not at first indispensable.” (p. 352)]

“Photographic College for New York.” BRITISH JOURNAL OF PHOTOGRAPHY 16:491 (Oct. 1, 1869): 476. [“[Humphrey’s Journal.]“ “In the last number of your journal, in my notes on the Boston meeting, fairs, &c., I glanced at the subject of a photographic college, and promised to express my views more fully at some future time. As I therein stated, I am of the opinion that an institution of that kind could be successfully established in the city of New York, and upon that basis could be formed a photographic society—one that would interest photographers generally throughout the length and breadth of our land. This would seem to be a tangible starting point for a photographic union, a step towards advancement in sunlight drawing, and would present a remunerative aspect to its members. The question now arises—1. How can an enterprise of such immense magnitude, requiring such a vast amount of capital, be accomplished? Where are the requisite funds to come from? 2. How can a college be managed and arranged so as to elevate the art, and, at the same time, pay a fair dividend on the capital invested? How to get funds is always a perplexing question to solve. I have already stated, in my former article, that a college fund could be raised in two different ways—either by donation or by a joint stock company. If the plan of a joint stock company were adopted, it would be necessary, in the first place, to organise a company for that purpose, and get a charter from the National Government, and appoint permanent officers. This company would then have a legal right to issue bonds or stocks in shares of ten or one hundred dollars each, as might be deemed best. Issue a sufficient amount of bonds to cover the entire cost of the college, and sell them for fifty or sixty cents on the dollar, as circumstances may require; it will be necessary to obtain at least one-half the cost of the college in cash, and the balance can be put on bond and mortgage, to be paid off from the income of the institution. As soon as the college is made to pay ten per cent, per annum the original bonds will rise to par value, and a new issue or second bonds may be made sufficiently large to pay off the entire debt; this being done, the first bonds would at once command a high premium in market. The donation plan is less complicated, and, in some respects, preferable, if the necessary funds can be obtained in this way by this plan the college would necessarily become a free institution, self-sustaining, and no more—and, perhaps, preferable in this respect. I am under the impression that the requisite funds could be obtained in this way. I am told that Prof. Morse has offered to donate $50,000 for this purpose; Professors Draper and Avery each have manifested a desire for a college, and their willingness to contribute liberally towards erecting one. I believe that if proper influences were brought to bear upon our wealthy men in this great city, they might be induced to contribute bountifully to this fund. I base this opinion upon this fact, that our wealthy men in New York have always manifested a lively interest in the photographic art. Also, in our own profession, we have men of wealth and liberal ideas. J. Gurney, A. Bogardus, C. D. Fredericks, M. B. Brady, R. A. Lewis, Whipple and Black, of Boston, and many others I could mention, I believe, could be relied upon for strong sup¬ port in this enterprise. This is not all, for in the stock trade there is much wealth and liberality combined. We have the Messrs. Scovill Manufacturing Company, E. & H. T. Anthony, Willard Manufacturing Company, Benjamin French, Peter Smith, and others too numerous to mention—each and every one of whom, I have no doubt, would help in this effort to advance the art of photography. of the two plans for a college suggested I prefer the former or stock company, and will proceed to construct an imaginary edifice on that plan, which, however, is equally applicable to both. I would say that a building 100 x 50, and five stories high, with a rear, two stories high, for galleries, would answer the purpose. I would locate on Broadway, as centrally as possible. The building should be of white marble, and the architecture beautiful and appropriate. D, D. T. Davie. (To be continued. )

1872

“History of Photography in America.” BRITISH JOURNAL OF PHOTOGRAPHY 19:649 (Oct. 11, 1872): 486-487. [Continued from page 463.]
“M. B. Brady .—The name of this gentleman is historic. For many years he stood at the head of his profession without a rival. Mr. Brady was the first who undertook to elevate heliography from a mere mechanical process to the graceful dignity of an art. Not only in his own country, but throughout the civilized world, was he recognized as having attained the highest excellence. At home, for seven consecutive years, he wrested the first prize from his struggling competitors at the exhibitions of the American Institute in this city. In 1851, at the World’s Great Fair held in London, he achieved the culmination of triumphs, and was proclaimed the best daguerreotypist on the planet, and was awarded the highest premium. But however lustrous may be his career as a photographer, and however enviable his position as an artist, it is as a national benefactor that Mr. Brady will live longest and brightest. (p. 486)
For upward of twenty years he has maintained a studio at the national capital. He early conceived the idea of securing the portraits of eminent Americans. For nearly twenty years he has, with this fixed purpose, portrayed all of our countrymen who have been distinguished in every career. His, collection contains, among others, the portraits of the heroes of the Mexican war, of the great rebellion, and of the departed statesmen, who have adorned the past generation, and whose memory will be perpetuated in revered remembrance. To appreciate properly the benefit thus conferred on the nation, we have but to remember how all mankind deplore that there exists no accurate portrait of Washington. What a solace would our countrymen derive from gazing on the very expression worn by the features of the nation’s “ father ” embalmed in living sunbeams ! For years Mr. Brady has struggled on without any public recognition of his great-services; but during the spring of the present year the committee on the library reported a bill in the house of representatives urging the importance of securing to the country this collection of portraits of the illustrious dead. To use the appropriate phraseology of the committee’s report—“ An historical album both of the living and the dead would be a constant source of national gratification, and its locality the very shrine of patriotism.” But. the services of Mr. Brady are far more comprehensive than in the portrayal of representative men; he has in the very din of battle, amid the carnage and the smoke, snatched the fading scenes of death and preserved them in perpetual vividness. The prominent incidents of the battle-field with its shifting scenery, its pomp and misery—now partially screened by the curtain of smoke, now revealed in all its naked horrors—-are preserved as perennial pictures, painted by the same sun which gave reality to the original scene.” (p. 487)]

BRITISH JOURNAL PHOTOGRAPHIC ALMANAC AND PHOTOGRAPHERS’ DAILY COMPANION

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “L. W. Seavey, Scenic Artist.” THE BRITISH JOURNAL PHOTOGRAPHIC ALMANAC AND PHOTOGRAPHERS’ DAILY COMPANION FOR 1871 (1871): adv. section p. 20.
[“684 Broadway, New York. The IMMENSE SUCCESS of our New Rembrandt background impels us to invite the Special Attention of the Photographic Public to them. One of these Backgrounds. 5×5 feet, costs only $5. Full illustrated photographic directions, as worked in the best galleries, sent gratis with every order. Every Photographer can produce the latest style Rembrandt Pictures.
“…Landscape & Interior Backgrounds, Papier Mache Rocks, Fire Places, Trees, Rustic Arbors and Fences, Artificial Ivy, &c,. &c.,…”
“…Our Backgrounds and accessories are now in use in the Galleries of Sarony, Kurtz, Gurney, Brady & Fredricks of New York, and the Principal Galleries of the Continent….” (p. 20)

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “L. W. Seavey, Scenic Artist.” THE BRITISH JOURNAL PHOTOGRAPHIC ALMANAC AND PHOTOGRAPHERS’ DAILY COMPANION FOR 1871 (1871): adv. section p. 23.
[Sarony’s Patent Universal Rest and Posing Apparatus. Price, complete with Chair, Table, Cabinet Top, &c., $100, Since its introduction in this country, it is used by the following leading Photographers; C. D. Fredricks & Co., J. Gurney & Son, M. B. Brady, A. Bogardus, Bendann Brothers, W. Notman, John L. Gihon, J. A. Whipple, J. W. Black, and hundreds of others. It is now in use by the most celebrated Photographers of Europe, all of whom consider it invaluable and worthy of the highest praise. Sarony’s Patent Frame, for Retouching Negatives, Enables the artist to stipple and touch out the strong markings in faces, &c., thereby inducing their patrons to more than double their orders. Price, $4.00….” (p. 23)]

BULLETIN OF THE AMERICAN ART-UNION

BRADY, MATHEW B. (1823-1896) (USA).
“Chronicle of Facts and Opinions. Daguerreotyping in New-York. ” BULLETIN OF THE AMERICAN ART-UNION 3:6 (Sept. 1850): 101. [“[“The Art of Daguerreotyping is justly ranked among the greatest of modern discoveries. Its rapid progress, its improvements, its convenience and moderate cost, alike commend it to all classes. Great improvements in the various processes of the Art have been made In this country, and much credit is due to American artists for the excellence of their finer qualities of workmanship. There is much, however, of inferior quality, and it is only when we see an establishment well organized and scientifically conducted, that a true idea can be formed of the extent and importance of the business. It is believed that the present number of persons directly engaged as Daguerreotypists in the United States, is ten thousand; to which may be added at least five thousand who obtain their living from indirect connection with the Art, by the manufacture of plates, cases, chemicals and apparatus-or that the aggregate supported in the Union by this means, cannot be far short of fifteen thousand persons. The City of New-York employs about ninety-six operatives. The amount of stock annually consumed throughout the Union, is estimated at about $2,000,000; and by some is rated even higher. Among the most widely celebrated Daguerreian artists of our City, Mr. Brady has been long and favorably distinguished; and we shall take his establishment as a pattern of the whole -purposing to give a brief description of the processes of the Art, its extent, and the variety of its resources and improvements. Every portrait implies a variety of processes. First, the plate is prepared by being rendered chemically clean, with the highest degree of polish, It is then subjected to a chemical coating, the principal ingredients of which are iodine and bromine; then inserted in the camera, placed before the sitter, and exposed to the rays of light; and afterwards exposed over the fumes of mercury, which makes the impression visible. The plate is now washed with a solution of hyposulphate of soda; and the concluding process is the gilding or enameling, which, if properly done, makes the impression perfect. The gilding is performed by a solution of chloride of gold and the hyposulphate of soda. The length of time required for these processes of course varies with the size of the picture, and is well known to all who have sat for Daguerreotypes. The celerity and certainty of the work, and the wonderful fidelity of the likeness, when performed by skillful operators, are too well appreciated to need any comment. After several months of experiment, Mr. Brady is now about to establish a new and important improvement, viz, the process of taking pictures on ivory, by the aid of the Daguerreotype Art. by this process, it is believed that miniatures can be obtained at less than half the original price of these beautiful and hitherto costly works of Art., The specimens we have seen of the new process combine in an eminent degree the beauty of a fine painting with the fidelity of the Daguerreotype. This improvement, when fully established and thrown open to the public, will no doubt win its way to general favor. Mr. Brady merits a handsome return for his unwearied efforts to improve the Art of which his establishment is so good a pattern. N. Y. Tribune.”]

BY COUNTRY. USA. 1850.
H. “The Daguerreotype.” BULLETIN OF THE AMERICAN ART-UNION 3:8 (Nov. 1850): 131-132. [“It is now nearly eleven years since the first effective exhibition of pictures produced by the Daguerreotype, was made in this city. It was opened in the building on the corner of Chambers street and Broadway, which is now the Irving House, and consisted of about twenty specimens, of different sizes, but measuring generally six or seven inches high, by four or five wide. The greater part of these represented certain views in the city of Paris, the rest were groupings of still life, formed apparently in the studio of M. Daguerre. Here was that most beautiful of river views, the Seine with its bridges, the celebrated facade of the Louvre, and in the distance the antique towers of the Palais de Justice. Here was the equestrian statue of Henry IV, upon the Pont Neut. On another plate, was a side view of Notre Dame, with all the tracery of its beautiful rose window; on others the Quai St. Michael, and the glorious tower of St. Jacques de la Boucherie. Well do we remember the beautiful combination of objects in the groupings of still life—plaster casts, medallions, articles of virtu, cut glass vessels, shields of metal, tankards, engravings-gracefully arranged and relieved by a drapery falling in thick folds, which in many of the pictures was nothing more or less than a–Marseilles bedquilt. We wrote at that time a description of these works, and thought we could not describe them better than by comparing them with the most exquisite cabinet paintings of the Dutch School. “They differ, of course, in being without color, but those readers who have seen, for instance, the celebrated Evening School, by Gerard Douw, at Amsterdam, may imagine pictures infinitely more delicate in execution than this, and exhibiting quite as beautiful contrasts of light and shadow. This same Gerard Douw, who spent five days in painting a lady’s hand, and copied objects from their images in a concave mirror, has produced nothing where the chiaro-scuro is more beautiful than in these works, and where the gradations of shadow are fused so exquisitely. They differ from all other pictures in this-that they show no marks of graver, or pencil, or lines, or dots, or anything which reminds one of a mechanical process. They are images almost as pure as reflections in a looking glass. In the representations of the small plaster casts, you trace the marks of the juncture of the moulds; you distinguish the peculiar cottony look of the quilt from the semi-transparency of the muslin drapery-the engravings from the oil-paintings; the clear glitter of the cut glass from the metallic brilliancy of the shield and tankard.” It may be that the novelty of these objects gave them so much interest in our eyes, that now in recollecting them, we attribute to them more merit than they really possessed; but it seems to us the Art has since produced nothing more beautiful in its impressions upon metallic plates, than these old pictures of Daguerre. It has quickened the process, it has extended the number of different surfaces capable of receiving photographic action, it has fixed the impressions more firmly, and made various other improvements, but we hardly think it has returned more beautiful reflections of the external world than these early essays of its great discoverer. We expect to see the time when the apparatus shall be rendered so simple and cheap that it will form a common addition to the travelling appointments of every person of taste, and photographs of fine pieces of architecture and striking landscapes become as frequent as sketches in pencil or watercolors are at present. Not that we believe that Art will ever be superseded by this mechanical contrivance; she will only be assisted, and her efforts verified and connected by it. “Art,” says Coleridge, -is the mediatress between, and reconciler of Nature and Man. It is, therefore, the power of humanizing Nature, of infusing the thoughts and passions of men into everything which is the object of his contemplation.” The Daguerreotype cannot effect this at all, or only in a limited degree. There is therefore, a radical difference between its productions and true works of Art. The first are simple reflections of Nature, in bulk, glimpses through a new medium: the last present a mingling of the individuality of the artist, his tenderness, his fancy, his imaginativeness, his patriotism, or what not, with natural appearances. Not even in the department of portraiture, will Daguerreotypes ever supersede the Art of Painting, In saying this, we have no desire to underrate the worth of the new discovery, Its results in this field are most interesting and surprising. There is a nearness in the connection between the pictures it produces and their originals which makes them invaluable as mementoes of dear friends. The traits that we behold were formed by the rays of light that streamed directly from the faces of those we loved. It is as if the dead were beside us, arrayed again in all the glow of life, and we were looking at the reflection of their forms in a mirror. There is no language that can exaggerate the importance of the discovery in this point of view, When we think, however, that the Daguerreotype can only give us the aspect of a face as it appears during a mere moment of time, and that our ideas of that face are formed from the combination of a great number of its appearances at various times, and that its characteristic expression comes and goes with the rapidity of thought-we shall cease to wonder that a photograph is so often unsatisfactory, and the artist’s portrait so much more life-like. It is he only who can catch this fleeting peculiarity, which distinguishes his sitter from all other people;-this looking of the soul out of the features, which, after all, is what we observe and remember, more than all the fixed contours and lines of the countenance. When we go still further, and require in a portrait something that marks the artist –the strength of Velasquez, the dignity of Vandyke, or the like, of course we can have nothing of this in the Daguerreotype. Let the sitter be arranged as artistically as you please, in costume or position, and obey the manipulations of the operator as faithfully as one of Faure’s lay figures, still neither Brady, nor Haas, nor Gurney, nor any of the Daguerreotypists, can produce a result like Reynold’s Mrs. Siddons, or Copley’s portrait of himself. No: Art has nothing to fear from this invention. On the contrary, she has everything to gain; for she can verify by it her imitations of lines and masses, and her nice gradations of lights and shadows. There is one use of this discovery, which strikes us as being exceedingly valuable, although it has not been very frequently adopted. We mean its power of reproducing great objects of Art, particularly in sculpture. The metallic plate seems to take reflections from white marble with more clearness and beauty than from other substances, When rays of different colors, strike upon the plate, their action is unequal-that of the blue rays being very different, for instance, from that of the red and yellow. Reflections from one color make a perfect impression long before those form another; so that in a picture composed of many colors, it is obvious that when the image is finished as to one portion, it will not be so as to the others. There is no difficulty of this sort in the case of marble statues. The rays there are homogeneous, and act upon the metallic surface exactly alike. We were reminded of this a few days since, in seeing the Daguerreotype of a most beautiful bust of a child in white marble, by Palmer, which he calls the Infant Ceres. This is, by the way, one of the most admirable productions of American Art, and we hardly think we are extravagant in attributing to it a grace and delicacy worthy of the chisel of an ancient Greek. These qualities were all represented in the Daguerreotype, which seemed to us to be only less valuable than the original object itself, and infinitely more so than all the etchings or drawings that could be made of it. The idea then occurred to us of the inestimable worth of a collection of Daguerreotype views of the principal statues in the world. -those, for instance, in the Vatican. We give full weight to the imperfection arising from the impossibility of adapting the focal length of the instrument to all parts of the statue at the same time. We think this might be overcame, in a measure, by taking the view from greater distance than is usually adopted. But even if it should exist to some degree, these representations would still be of the highest interest and beauty. They would afford the next best pleasure to that derived from ageing the originals; and we are satisfied that if any artist should obtain permission to take them, he might afford one of the most gratifying and lucrative exhibitions which has ever been opened. H.”]

CENTURY ILLUSTRATED MONTHLY MAGAZINE

1 b & w (“Roger B. Taney. From a photograph by Brady.”) on p.166; 1 b & w (“John G. Nicolay, Marshal of the Supreme Court. From a photograph by Brady.”) on p.176 in: Smalley, E. V. “The Supreme Court of the United States.” CENTURY ILLUSTRATED MONTHLY MAGAZINE 25:2 (Dec. 1882): 162-181. 14 b & w, 7 illus.
[In 1883 the CENTURY ILLUSTRATED MONTHLY MAGAZINE initiated a series of articles on the Civil War which were written by the participants of both sides of the conflict, with comments, notes, explanations and clarifications, arguments and counter-arguments on the actions and events of the conflict. This series was basically treated as a continuing sub-section of the magazine, which normally featured articles about historical figures and current events, biographies, culture and the arts, fiction and poetry.
Each article in the “Battles and Leaders of the Civil War” series tended to focus on a major battle or strategic maneuver in the conflict, and each seems to have been published in a random order, as the materials – coming from scores of sources – arrived and were processed. (Later, the articles will be reordered chronologically to provide a historical survey of the war in a four volume set of books.)
Each of these articles was profusely illustrated with excellent engravings of maps and illustrations which had been transposed from earlier sketches by combat artists or the soldiers, or from photographs. The magazine used as many photographs as they could find and the editors were exceptionally careful to credit the source of the original picture in its captions. The core photographic source for this series was from a collection of photos held at the Boston Commandery of the Loyal Legion, a Union Army veteran’s organization which had built a collection of war photographs; and, unfortunately, much of those holdings did not identify the maker of specific images. A common practice runs throughout the published series. Portraits by Brady – and portraits by other photographers – are usually credited. Views of military activities, troop maneuvers, battlefield aftermath views, etc., are liberally used, but only credited “From a Photograph.” Brady’s portraits were cited 83 times throughout the run of this series and a following series on Abraham Lincoln, while no other photographers of the field views and battlefield sites were mentioned by name. This practice inadvertently implied to the general audience that Mathew Brady as the premier war-time photographer.
This series is far too large and complex for me to cite every instance of a Brady or a Gardner photograph, but I will describe a typical article to present a sense of the series and its use of photography.
“Stonewall Jackson in Maryland: Harper’s Ferry and Sharpsburg.” CENTURY ILLUSTRATED MONTHLY MAGAZINE 32:2 (June 1886):296-308.
[1 illus. “A Union Charge through the Cornfield.” [Probably by the Century Magazine’s artist. WSJ.] p. 296.
1 b & w “Confederate Dead on the West Side of the Hagerstown Road opposite the Corn-field. (From a Photograph.)” p. 296.
1 b & w “Major-General Joseph K. F. Mansfield. (From a photograph by Brady.)” [Probably a carte-de-visite] p. 297.
1 illus. “Charge of Irwin’s Brigade at the Dunker Church. (By Edwin Forbes, after his sketch made at the time.)” p. 298.
1 b & w. “Brigadier-General William E. Starke. (From a Tintype.)” p. 299.
1 b & w. “After the Battle – Position of the Confederate Batteries in Front of Dunker Church. (From a Photograph)” [Dead bodies, broken caisson, with a building in the far background. WSJ.] p. 299.
1 illus. “Sumner’s Advance – Frenches Division Closing up on Roulette’s Barns and House – Richardson’s Division Continuing the Line far to the Left. (By Frank H. Schell, after his Sketch made at the Time.)” p. 300.
3 b & w. “Roulette’s Farm. (From a recent photograph)” [Actually three sketches of farm buildings. WSJ.] p. 301.
1 b & w “South-Eastern Stretch of the Sunken Road. (From a recent photograph) “p. 301.
1 b & w “The Sunken Road, or “Bloody Lane.” (From a recent photograph)” p. 302
1 b & w “Confederate Dead in the Sunken Road. (From a Photograph.)” p. 302.
1 illus. “Scene of the Ruins of Mumma’s House and Barns.” (By Frank H. Schell, after his Sketch made at the Time.” p. 303.
1 b & w. “The Sunken Road, Looking East from Roulette’s Lane. (From a recent photograph)” p. 303.
1 b & w “Major-General Israel B. Richardson. (From a photograph by Brady.)” [Studio portrait. WSJ.] p.304.
2 b & w “Confederate Wounded at Captain Smith’s Barns, West of Sharpsburg. (From a Photograph)”
[A field crowded with tents and canvas flies sheltering wounded from the sun. WSJ.] p. 305.
1 b & w “On the Line of a Scattered Fence. (From a Photograph)” [Dead body and a new grave. WSJ.] on p.306.
[The article combined portraits, photos from the war, war-time sketches, contemporary photos of the site and a sketch by a contemporary artist, to present precise and richly detailed information about this skirmish that took place during the larger military campaign. The illustrations and layout matched and enhanced the specificity and authority of the texts in the article. A quality effort at using visuals in this magazine. WSJ]
The ”Battles and Leaders Series” was followed by another long and detailed series titled “Abraham Lincoln: A History,” written by John G. Nicolay and John Hay, Private Secretaries to the President, which contained even more portraits by Brady.
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Brady’s photos cited in the “Battles and Leaders…” series:
Brady is cited 6 times in volume 29 (Nov. 1884 – Apr. 1885)
J. E. Johnston (From A photograph by Brady, Taken in November, 1867) on p.89
Major-General C. F. Smith. (From Photograph By Brady) on p.290.
Major-General Lew Wallace. (From a photograph by Brady.) on p.596.
Captain John Ericsson, Inventor of the “Monitor.” (From a photograph by Brady.) on p.754.
Captain (Afterward Rear-Admiral) Theodorus Bailey, In command of the first division of the fleet. (From a photograph by Brady.) on p.940.
Commander (Now Rear-Admiral) Charles S. Boggs, of the “Varuna.” (From a photograph by Brady.) on p.943.
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Brady is cited 11 times in volume 30 (May 1885 – Oct. 1885):
Major-General Benjamin Huger. (From a photograph by Brady.) on p.115.
Major-General Darius N. Couch. (From a photograph by Brady.) on p.117.
Major-General Edwin V. Sumner. (From a photograph by Brady.) on p.118.
Major-General Erasmus D. Keyes. (From a photograph by Brady.) on p.119.
General Fitz John Porter. (From a photograph by Brady.) on p.305.
General George A. McCall. (From a photograph by Brady.) on p.475.
Major-General George W. Morell. (From a photograph by Brady.) on p.618.
Major-Gen. George Sykes. (From a photograph by Brady.) on p.624.
Major-Gen. William Mahone, C. S. Army. (From a photograph by Brady.) on p.624.
General James McQuade, Died 1885. At Malvern Hill, Colonel of the Fourteenth N. Y. (From a photograph by Brady.) on p.628.
General Grant at Headquarters during the Virginia Campaign. (From a photograph by Brady.) on p.932.
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Brady is cited 3 times in volume 31 (Nov. 1885 – Apr. 1886):
General Thomas L. Crittenden. (From a photograph by Brady.) on p.750.
General Alexander Mcd. McCook. (From a photograph by Brady.) on p.751.
General William Nelson. (From a photograph by Brady.) on p.752.
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Brady is cited 7 times in volume 32 (May 1886 – Oct. 1886):
Major-General Jesse L. Reno. (From A photograph by Brady on p.147;
Major-General Joseph K. F. Mansfield. (From a photograph by Brady.) on p.297.
Major-General Israel B. Richardson (From a photograph by Brady.) on p.304.
General Hooker (From a photograph by Brady;) on p.748.
Major-General O. O. Howard. (From a photograph by Brady.) on p.752.
Major-General John Sedgwick, Killed at Spotsylvania in the “Wilderness Campaign,” May 9th, 1864. (From a photograph by Brady.) on p.773.
Major-General David S. Stanley. (From a photograph by Brady.) on p.916.]
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Brady is cited 23 times in volume 33 (Nov. 1886 – Apr. 1887):
Major-General George G. Meade. (From a photograph by Brady.) on p.109.
Brigadier-General Henry J. Hunt, chief of artillery of the army of the Potomac. (From a photograph by Brady.) on p.111.
Major-General John F. Reynolds. (From a photograph by Brady.) on p.116.
Brigadier-General Strong Vincent, mortally wounded, July 2d, in the struggle for the Round Tops. (From A photograph by Brady.) on p.280.
Colonel George L. Willard, Commanding the third brigade of Hays’s division, killed on July 2d. (From a photograph by Brady.) on p.289.
Colonel Edward E. Cross, Commanding The First Brigade Of Caldwell’s Division, Killed Near Devil’s Den, July 2d. (From a photograph by Brady.) on p.291.
Brigadier-General Stephen H. Weed, Commanding the third brigade of Ayres’s division, killed July 2d. (From a photograph by Brady.) on p.299.
John Tyler, President, 1841-1845. (Photographed by Brady.) on p.515.
Colonel E. D. Baker. (About 1861.) (After A photograph by Brady.) on p.517.
James K. Polk (1845) President, 1845-49. (From a photograph by Brady.) on p.518.
Robert C. Winthrop. (After a photograph by Brady.) on p.537.
David Davis. (1862-66.) (After a photograph by Brady.) on p.538.
Martin Van Buren, President from 1837-41. (From a photograph by Brady.) on p.539.
Colonel W. W. Seaton. (After a photograph by Brady.) on p.540.
Joshua E. Giddings. (After a photograph by Brady.) on p.541.
Brigadier-General William Barksdale, Wounded July 2d, Died July 3d. (From a photograph by Brady.) on p. 626.
Lewis Cass. (Photographed by Brady.) on p. 694.
Franklin Pierce, President, 1853-57. Photographed by Brady;. on p. 695.
William A. Richardson. (Photographed by Brady.) on p. 696.
William Aiken. (Photographed by Brady.) on p. 698.
Nathaniel P. Banks. (Photographed by Brady.) on p. 700.
Cassius M. Clay. From a photograph by Brady.) on p. 858.
Lyman Trumbull. From a766 photograph by Brady.) on p. 860.
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Brady is cited 11 times in volume 34 (May 1887 – Oct. 1887):
Brigadier-General James S. Wadsworth, Mortally wounded May 6th, 1864. Died May 8th. (From a photograph by Brady.) on p. 283.
General Emory Upton. (From a photograph by Brady.) on p. 302.

[The series “Abraham Lincoln: A History,” by John G. Nicholay and John Hay, Private Secretaries to the President began in the November 1886 number of Century Magazine. WSJ]

James Buchanan, President, 1857-61. (From a photograph by Brady.) on p. 370.
Frederick P. Stanton. (From a photograph by Brady.) on p. 372.
John Calhoun, (From a painting By D. C. Fabronius, after a photograph by Brady, Owned by Joseph Ledlie, Esq.) on p. 381.
Caleb Cushing. (From a photograph by Brady.) on p. 533.
John Bell, Nominee for President of the Constitutional Union Party. (From a photograph by Brady.) on p. 670.
Herschel V. Johnson, Candidate for Vice-President of the Douglas Wing of the Democratic Party. (From a photograph by Brady.) on p. 672.
Postmaster-General Joseph Holt. (From a photograph by Brady.) on p. 834.
The Attorney-General Jeremiah S. Black. (From a photograph by Brady.) on p. 835.
Major Robert Anderson. (From a photograph by Brady.) on p. 836.
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Brady is cited 18 times in volume 35 (Nov. 1887 – Apr. 1888):
Jefferson Davis, President of the Confederate States of America. (From a photograph by Brady.) on p. 68.
Hon. E. B. Washburne. (From a photograph by Brady.) on p. 77.
Thurlow Weed. (From a photograph by Brady.) on p. 78.
Alexander H. Stephens. (From a photograph by Brady.) on p. 80.
George D. Prentice. (From a photograph by Brady.) on p. 85.
John A. Gilmer. (From a photograph by Brady.) on p. 86.
Ward H. Lamon. (From a photograph by Brady.) on p. 273.
Frederick W. Seward. (From a photograph by Brady.) on p. 274.
Simon Cameron, Secretary of War. (From a photograph by Brady.) on p. 426.
Gideon Welles, Secretary of the Navy. (From a photograph by Brady.) on p. 427.
Caleb B. Smith, Secretary of the Interior. (From a photograph by Brady.) on p. 428.
Edward Bates, Attorney-General. (From a photograph by Brady.) on p. 429.
Montgomery Blair, Postmaster-General. (From a photograph by Brady.) on p. 430.
A. B. Roman, Confederate Commissioner. (From a photograph by Brady.) on p. 605.
John Forsyth, Confederate Commissioner. (From a photograph by Brady.) on p. 605.
Martin J. Crawford, Confederate Commissioner. (From a photograph by Brady.) on p. 606.
John Minor Botts. (From a photograph by Brady.) on p. 608.
General M. C. Meigs. (From a photograph by Brady.) on p. 707.
—————————————
Brady is cited 3 times in volume 36 (May 1888 – Oct. 1888):
Governor T. H. Hicks. (From a photograph by Brady.) on p. 61.
Major-General Francis P. Blair, Jr. (From a photograph by Brady.) on p. 63.
Brigadier-General Nathaniel Lyon. (From a photograph by Brady.) on p. 64.
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Brady is cited 0 times in volume 37 (Nov. 1888 – Apr. 1889):
—————————————
Brady is cited 1 time in volume 38 (May 1889 – Oct. 1889):
William Pitt Fessenden. (From a photograph by Brady.) on p. 297.
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Brady is cited 3 times in volume 39 (Nov. 1889 – Apr. 1890):
—————————————
Andrew Johnson. (From a photograph by Brady.) on p. 428.
[and]
1 b & w (Forrest as “Metamora.” Photo by Brady. Engraved By T. Johnson.) on p. 498; 1 b & w (Forrest as “King Lear.” Photo by Brady. Engraved By T. Johnson.) on p. 500 in: “The Autobiography of Joseph Jefferson.” CENTURY ILLUSTRATED MONTHLY MAGAZINE 39:4 (Feb. 1890): 494-504. 3 b & w, 1 illus.

CHAMBERS’S JOURNAL OF POPULAR LITERATURE, SCIENCE AND ARTS

BY COUNTRY. USA. 1857.
“Matrimonial Correspondence.” CHAMBERS’S JOURNAL OF POPULAR LITERATURE, SCIENCE AND ARTS s. 3 7:162 (Feb. 7, 1857): 93-95. [“The art of getting married is practised in many different ways in different parts of the world. This statement, admitting of no dispute, need not be illustrated with examples. I will not detail to a well-informed public, whose ear has been bored, figuratively speaking, with numerous particulars of the same kind, the manner in which the Cingalese and the Chinese, and other lies, take wives unto themselves…” P. 93. “…The method in question has lately come into use in America, and is intimately connected with the discovery of photography. There is an illustrated periodical published in New York, called the Ledger of Romance, which allots a portion of its space to what is called ‘ Matrimonial Correspondence.’ Under this head, ladies and gentlemen who desire to enter into the bonds of wedlock, insert descriptions of themselves and of the paragon they are in search of. Occasionally a portrait is sent—usually a photograph—which is engraved above the description. Sometimes a name is given, but more commonly an initial, the address being confided to the editor, who ‘mails’ all letters, sent by way of reply, to the respective parties. It may be said that this is only a variety of the matrimonial agency said to exist in Paris, and not entirely unknown in our own country. There is, however, this important distinction between the two— that whereas in France the negotiation is conducted with some degree of privacy, and is known only to the persons interested, or supposed to be so, in America the candidate publishes his offer to the world at large. It is not very difficult to imagine how the system is found to operate. Coelebs, who goes little into society, or whose tastes are fastidious, takes up this valuable paper, say at breakfast, and straightway his eye falls upon that pink of perfection which he has sought for in vain. The hand, with its piece of buttered cake, is stayed on its way to his mouth, he bends eagerly over the description, his coffee perhaps grows cold, but no matter—he thinks she would suit him! Presently he draws up an account of his own advantages, and forwards it to the editor. Perhaps a photograph goes with it; but engraved portraits do not admit of being highly coloured, while those of the pen do: usually, therefore, he prefers the latter. The rest is darkness and silence. The imagination of the uninitiated reader must supply the denouement. In the observation of scientific phenomena, we note effects the causes of which are frequently concealed, but in this experimental philosophy of matrimony, the causes lie on the surface, while the effects are left to conjecture. The ‘gentlemen’s department’ of this correspondence is likely to be the more amusing to the general reader, shewing as it does the several candidates to be possessed of every merit, except perhaps that of modesty. If we may take the various statements au pied de la letlre, we shall be surprised to find men of all ranks and very different ages coming forward to find wives. In the number which I hold in my hand, one column is appropriately headed by a military officer, whose portrait represents him in full costume, and who is introduced by the editor with the following flourish of trumpets: Col. T. B. M o has called at our sanctum with one of Brady’s best photographs of himself, and begs that we will present his claims to the fair readers of our paper as a candidate for matrimony. We know the colonel intimately, and can say, that although a few hairs of iron-gray are sprinkled among his raven locks, yet they were caused by exposure among the glades of Florida, and the well-fought fields of Mexico, I where he distinguished himself by his valour, and are not sown there by years, for he is but thirty. He holds a commission in the U. S. army, and his family is one of the oldest in the country….” p. 94.]

CHICAGO MAGAZINE. THE WEST AS IT IS

HESLER, ALEXANDER. (1823-1895) (CANADA, USA)
“Publisher’s Record.” CHICAGO MAGAZINE. THE WEST AS IT IS 1:2 (Apr. 1857): 188. [“By some neglect we have failed to attach Mr. A. Hesler’s name to the portraits in this or the former number, as the artist. All the photographs from which we engraved were taken by him. Indeed, we have almost arrived at the conclusion that he is the only Artist in our city. His name as an excellent workman being as thoroughly on every Western man’s tongue as ever was Brady’s or Meade’s, on that of the ‘Knickerbockers’—by the way, we notice that on their own territory even, they are outdone by our own Hesler; he having been awarded the first premium for excellence and variety of work, at the last fair of the American Institute, New York city.” (These portraits were all in a section titled “Biographies,” and possibly were taken for the biographical book, containing many of Hesler’s portraits of Chicago worthies, published a few years later. As Hesler is known to have traveled about, daguerreotyping views on the Mississippi river and elsewhere, then it may be that some if not all of the unattributed views may be from him as well.)]

THE CHRISTIAN EXAMINER AND RELIGIOUS MISCELLANY

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Intelligence.” THE CHRISTIAN EXAMINER AND RELIGIOUS MISCELLANY 49:1 (July 1850): 156-157. [“ The Gallery of Illustrious Americans ” is the title of a series of royal folio publications, which are to contain portraits and biographical sketches of twenty-four of the most eminent citizens of this republic since the death of Washington. The work is projected on a generous scale. The portraits are from Daguerreotypes by Brady, engraved by D’Avignon, and the letter-press by C. Edwards Lester. Six of the number contemplated in the series have already appeared, viz. President Taylor, John C. Calhoun, Daniel Webster, Silas Wright, Henry Clay, and Colonel Fremont.” (p. 157)]

CHRISTIAN INQUIRER

BRADY, MATHEW B. (1823-1896) (USA).
“Summary of News. Franklin Philp, Esq.” CHRISTIAN INQUIRER 15:3 (Oct. 13, 1860): 3. [“…of Washington, D. C., presented to Baron Renfrew, on behalf of Messrs. Philp & Solomon, booksellers, of that city, a large and magnificent photograph, measuring thirty by forty inches, of Rossiter and Mignot’s beautiful picture of “The Home of Washington after the War.” This photograph is the only one taken, and was obtained by special permission at the request of Messrs. Philp & Solomon, for presentation to his Royal Highness. The photograph (by Brady) is a very fine specimen of the art, was tastefully framed in white and gold, and was accompanied by a suitable inscription….”Presented to His Royal Highness Albert Edward the Prince of Wales, on the occasion of his visiting the Home of Washington, October 1860…”]

THE CHRISTIAN PARLOR BOOK: DEVOTED TO SCIENCE, LITERATURE AND RELIGION

BRADY, MATHEW B. (1823-1896) (USA).
“Passing Events and Current Reading.” THE CHRISTIAN PARLOR BOOK: DEVOTED TO SCIENCE, LITERATURE AND RELIGION (June 1850 [?]): 232. [“…A fine work of art is now in progress, entitled the Gallery of Illustrious Americans, published by Mr. Brady, the eminent daguerreotypist, in Broadway. It has reached its tenth number, and contains fine large portraits of Gen. Taylor, Webster, Clay, Calhoun, Silas Wright, Fremont, Audubon, Prescott, Scott, and President Fillmore, which are engraved in a better style of lithograph than we have ever seen of American origin. The perfection which Mr. Brady has secured for his daguerreotypes, and the extraordinary skill of Mr. D’Avignon’s engravings, render these portraits exceedingly valuable. Letter press biographies by C. Edwards Lester, Esq., accompany the portraits, written with brevity and point, and printed in a remarkably beautiful style. A fly leaf of criticism and art, gives Mr. Lester an opportunity for some very shrewd and suggestive remarks on men and books, which disclose learning and discrimination. The work is creditable to the progress of art amongst us; and preserving the features, in a style so attractive, of so many of the most prominent men of the country, it has claims upon the public favor, not often belonging to works of its class. We very cordially recommend it.”
[(Badly misbound volume with no covers, confusing pagination, no published dates other than an appended title page dated 1851, which I think was furnished to the binder at the end of the year, as the cumulated volumes were reissued as an annual. It is almost impossible to figure the actual month or even year of the issue. I believe these issues were actually published during 1850. WSJ)]

CHRISTIAN RECORDER

BRADY, MATHEW B. (1823-1896) (USA).
“Steamboats on the Western Waters.” CHRISTIAN RECORDER 3:14 (Apr. 4, 1863): 55. [“How many steamboats of various kinds navigate our western rivers, I have, just now, no means of ascertaining. Their name is, however, legion; for they are many. And, besides this general name, each boat, no matter to what “base uses” it may be destined, must be individualized, and have its distinctive name. Like a child in a well regulated family, it must be named before it runs alone. Occasionally old names become worn out, or are considered unlucky, and new ones must be found. Hence, our steamboat men are often in great straits, and their inventive genius is often heavily taxed. Like the “United head” of a family, when called upon to name the fifteenth or twentieth child, they are in great perplexity. Sometimes, in this extremity, they produce a name which seems a compound of Arabic, Greek, Latin, and Ojibway, and the meaning of which is known neither to the inventor nor any one else. Sometimes, for the first time in their lives, they rush to the Bible, and select a name from its ample list. Several years since, we made the passage from St. Louis to New Orleans on the “St. Paul.” After reading the name of the new boat, the owner of a wood-pile down in Arkansas emitted a flood of tobacco-juice, and remarked, “I like yer ‘Paul’ well enough, but wouldn’t giver ary dime for yer ‘Saint.'” Just now the pride of our Western waters is the new steamer “Ruth,” whose commodious state-rooms, spring-mattress beds, well-furnished tables commend her to the travelling public. Upon each wheel-house she bears a large-as-life picture of a female, which is said to be a portrait of Ruth, the Moabitess. I trust, for the sake of the original, that it is not a good portrait. If the artist ever saw the original Ruth, he must, I think, have pained from a bad memory. I do not believe this is from a daguerreotype by Brady. I would as soon believe in the duplicate skull, the tenth thigh-bone, or fiftieth tooth, of a Hebrew saint, as to believe that this painting represents the gentle daughter-in-law of Naomi.Presbyterian”].

BRADY, MATHEW B. (1823-1896) (USA).
“A Portrait of Mr. Greeley.” CHRISTIAN RECORDER ns 8:1 (Jan. 4, 1868): 2. [“The publishers of the New York Tribune having received many inquiries from time to time for a good likeness of the Editor, have made an arrangement with Messrs. Derby & miller to furnish copies of Ritchie’s engraving, from a photograph by Brady, which will be sent to such subscribers to The Tribune as wish it on the conditions below. This is much the best likeness of Mr. Greeley that has been engraved. The print sells for $1. Each subscriber who sends us $10 for The Daily, $4 for The Semi-Weekly, or $2 for The Weekly Tribune, the paper to be sent by mail, and who requests the engraving At the Time of Subscribing, will have a copy carefully mailed, post-paid, to his address. One will likewise be sent to any person who forwards a club of ten or more. Semi-Weeklies, at our club rates, and asks for the portrait at the time of remitting. We do not propose this as a premium, but to satisfy the many friends of the Tribune, who feel a desire to possess a good likeness of its founder….”]

CHRISTIAN UNION

BRADY, MATHEW B. (1823-1896) (USA).
“Miscellany.” THE CHRISTIAN UNION 40:1 (Jan. 6, 1875): 18.
[“A Grand Engraving: Marshall’s “Beecher. “
“After his signal success with the portrait of Washington, a line engraving on steel that instantly placed him in the very first rank of the world’s engravers, Mr. Marshall next took up Abraham Lincoln, at that time President of the United States, painted his portrait, and then made that strong, homely, kindly, thoughtful face to stand out in imperishable lines for the future comfort of a bereaved people. “People’s Portrait of Lincoln” has received the strongest testimonials,…” (Etc., etc.)
“…After the Lincoln, Mr. Marshall took up General Grant as a subject and made a splendid likeness and an engraving that again won him the plaudits of the discerning….” (Etc., etc.) “…Mr. Marshall asked Mr. Beecher to give him sittings, and went to work on his new subject….”
(Etc., etc.)
“Mr. M. B. Brady, whose fame as a photographer and connoisseur of art is world-wide, says of the engraving: “It is an exquisite work of art, and, as a portrait, is more truthful than any ever before obtained of him.”
There can be no doubt that Mr. Marshall has produced a portrait of Mr. Beecher that shows careful study, and gives a clear, fine, true impression of the man. That it is a perfect portrait of the face which so many of America’s best artists have tried to reproduce we cannot say; but it is by long odds the best ever made, and there is no likelihood of a better one in the future. As a work of art it is simply superb-rich, strong, masterly in every part.
We have made such arrangements with Mr. Marshall’s publishers,…” (Etc., etc.)
[(Republished on p. 69 in the Jan. 27th and on p. 540 in the June 30, 1875 issues. WSJ) (p. 18)]

COSMOPOLITAN ART JOURNAL

BRADY, MATHEW B. (1823-1896) (USA).
“The Photographic Beauty.” COSMOPOLITAN ART JOURNAL 2:4 (Sept. 1858): 201-204. [(Fiction.) “…Young Alfred Mousoon, passing Brady’s celebrated gallery, in New-York, came to a halt, glided up to the specimen cases, halted again and gazed, as earnestly as Cagliostro upon his mirror, at one face which hung there imprisoned for the eyes of every passer-by….”p. 201. “…He soon made another visit to Brady’s. There at the door, hung the dear, sweet face, now more bewitching than ever. It was not, upon close inspection, that of a girl of “sweet sixteen,” but of a full-blown, graceful woman – one fitted to lead in society, and to adorn a home — who would grace a ball-room, and prove the belle of the watering place: just Alfred’s idea of a model wife. Again he essayed to find out from the operator the whereabouts of Lizzie Gray, but to no purpose; the operator only smiled knowingly, saying, “she was a beautiful woman indeed.”…” (It turns out Lizzie Gray was an impoverished widow, making a small living coloring photography for the gallery. Alfred is passionately infatuated to the point of sickness and his mother ”…had gone down to Brady’s –had been photographed—had sat to Mrs. Gray to have the picture colored in oil—had drawn the artist out, had found her to posses a very superior mind as well as a noble heart…” then tells Lizzy of her son’s illness and arranges for them to meet. They do and then get married.) “So much for one of the “asides” of Photographic Beauty.” p. 204]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Anna Cora Ritchie.”) on p. 29 in: “Anna Cora Ritchie.” COSMOPOLITAN ART JOURNAL 3:1 (Dec. 1858): 28-29. [Engraved by N. Orr after a Brady photograph. “The portrait accompanying this sketch is from an ambrotype by Brady – said to be the best likeness ever made of this subject.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Engraving and Portraiture.” COSMOPOLITAN ART JOURNAL 3:2 (1859): 83-84. [(Brief survey article, states that American popular taste has been elevated through access to inexpensive reproductions of paintings, etc. Brief histories of engraving processes –“Mr. Perkins, forty years ago, decarbonized steel,…” making steel engravings possible, mentions the invention of lithography, decline of copper-plate engravings, which are expensive and wear out too fast, that Aquatint and mezzotint still in demand, chronicles the rise of wood-engraving, etc.) “…Daguerre and Fox Talbot, who respectively and simultaneously discovered the means of making metal and paper so sensitive as to receive and retain the images… as presented to the camera… have almost annihilated the race of painters who produced portraits in oil or water-color,… by the daguerreotype, the ambrotype, the photograph, the portrait is executed almost as rapidly as thought… We lately saw the Gallery of Eminent Persons (which Mr. Brady, of New York, has established in Pennsylvania –avenue, Washington), and there beheld the very triumphs of sun-portraiture. The walls are crowded with the portraits of gallant and able men and beautiful and talented women. We shall notice this collection per se, in a day or two and have now alluded to it merely to mention that it now includes, upon a single sheet of prepared paper, eight feet high by five-and-a half feet in width, full-length and life-size portraits of Mr. Brady himself and two of the gentlemen who operate in his gallery. This most surprising production establishes the fact that, henceforth, photography will yet further supersede portrait-painting in oil, as it is thus capable of producing life-sized likenesses. (I have not found any such article; but this article may be from an unattributed source, perhaps a Washington newspaper, as the magazine seems to have had this practice.) “If Photography can do these great, it can also descend to small things….” (Then discusses microscopic photography.) ‘…Apropos of the Centenary commemoration of the birth of Robert Burns, our old friend Henry Lacey, of New York, collected, arranged, photographed and published… a group containing authentic portraits of 157 eminent Scotchmen – Burns himself, while the others surround him: …” (Photographic processes enable him to make and sell the work for three dollars, much more cheaply than would have been previously possible.) “Mr. Lacey has published many other illustrations of Burns; including views of scenery. These are photographed…” (Unclear, I think these are engravings, reproduced photographically.) . E. Everett and the advantages of steel plate in the production of Cosmopolitan Art Journal.]
PLUMBE, JOHN, JR. (1809-1857) (GREAT BRITAIN, USA) “Portraits of Irving.” COSMOPOLITAN ART JOURNAL 4:2 (June 1860): 76. [From NY Home Journal. (A detailed listing of ten portraits, both paintings and daguerreotypes, which were made of Washington Irving before his death.) “Ninth.—A daguerreotype, by Plumbe, taken in 1849. An excellent portrait, by Nagle, was lately painted from it for Brady, and from which was recently taken the photograph now in Brady’s Gallery…. This [list] does not include the portrait prepared by Elliott for a photograph by Brady…”]

CRAYON

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Photographs.” CRAYON 1:1 (Jan. 3, 1855): 13. [“The undersigned invites attention to the specimens of the Art exhibited at his Gallery, No. 359 Broadway. Heretofore the French been regarded as the only successful practitioners of this beautiful novelty in Art; an examination, however, of the results exhibited in his establishment will convince the Public that the acknowledged superiority of American Daguerreotypes extends also into the kindred Art of Photography. Any desired size, from life to small miniatures, taken perfectly without retouching. They are susceptible of coloring, and thus supply the place of Oil Portraits or miniatures. Copying carefully executed by this process. Large copies produced from small originals. Daguerreotypes from life, Old Pictures, Paintings and Statuary, as usual. M. B. Brady, 359 Broadway (Over Thompson’s).” (Adv. ran every week through vol. 1.)]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Photographs.” CRAYON 2:1 (July 4, 1855): 1. [“The undersigned invites attention to the Specimens of this Art exhibited at his Gallery, No. 359 Broadway. Heretofore the French have been regarded as the only successful practitioners of this beautiful novelty in Art; an examination, however, of the results exhibited at his establishment will convince the Public that the acknowledged superiority of American Daguerreotypes extends also into the kindred Art of Photography. Any desired size, from life to small miniature, taken perfectly without retouching. They are susceptible to coloring, and thus supply the place of oil portraits or miniatures. Copying carefully executed by this process. Large copies produced from small originals. Daguerreotypes from life, Old Pictures, Paintings, and Statuary, as usual. M. B. Brady. 359 Broadway (over Thompson’s).” (This notice was republished in each weekly issue throughout volume 2 (July-Dec. 1855).]

BRADY, MATHEW B. (1823-1896) (USA).
‘Sketchings. New Publications.” CRAYON 6:1 (Jan. 1859): 25-31. [“Ehninger has made a series of drawings illustrating Longfellow’s poem of the Courtship of Miles Standish, which drawings have been photographed by Brady, and published by Rudd & Carleton, with letterpress. The series consists of eight designs…” p. 27. “…Darley has also sent forth an illustration of Miles Standish…. The drawing is photographed by Masury, and published by J. E. Tilton & Co., Boston.” p. 28.]

THE CRITIC, LONDON LITERARY JOURNAL

[(The following reference indicates that Numbers I and II of Brady’s The Gallery of Illustrious Americans was reviewed in this journal – probably in 1850, in an issue not accessible to me.)]

BRADY, MATHEW B. (1823-1896) (USA). (NEW YORK, NY)
“Art Journal.” CRITIC, LONDON LITERARY JOURNAL 10:237 (Feb. 15, 1851): 93. [Book review. The Gallery of Illustrious Americans. Numbers III. IV., V., and VI. New York: Putnam. “This magnificent work is a worthy tribute from the Great Republic to the honour of her most distinguished citizens. The portraits are, for the most part, taken from daguerreotypes, by Mr. Brady, and then enlarged and engraved by Mr. D’Avignon. They are accompanied with Biographical Sketches contributed by Mr. C. E. Lester, and an Association of Literary Men. The parts before us, which are in continuation of those already noticed, contain, 1st, a Portrait of Mr. Webster, a grave, intelligent, but rather heavy face, with a full broad and high brow, betokening great power. The man is remarkably shown in the countenance; Lavater would have rejoiced in such an instance to vindicate his science. The next we open is that of Mr. Clay—an extraordinary head, full of intellect, but very plain, and in expression unprepossessing. His thin lips and pale, hollow checks indicate a deficiency of the sentiments: he looks like a man who thinks much and feels little. Both of the former are peculiarly English in their aspect. Not so with No. 4, Colonel Fremont. He is thoroughly American—the very type of the States Among the tourists on the Continent you may meet a dozen such in a month—sharp, bustling, confident and pushing. Lastly, Mr. S. Wright, again, has more of the English type—a full-faced, amiable looking man, with a broad forehead, showing a capacious brain, perhaps not easily moved, but, when roused into energetic action, irresistible in its might. There is a thoughtfulness in his eyes that indicates a man given to reflection. These portraits are sufficiently large to be framed— being on imperial folio. They are admirably engraved, and the accompanying memoirs are carefully compiled, pleasantly written, and, what is still more important, authentic.”]

DAGUERREIAN JOURNAL

BRADY, MATHEW B. (1823-1896) (USA).
“Note.” DAGUERREIAN JOURNAL 1:1 (Nov. 1, 1850): 17. [Actress Jenny Lind sits for M. B. Brady and for Marcus Root.

BY COUNTRY. USA. 1850.
“Daguerreian Artists’ Register.” DAGUERREIAN JOURNAL 1:2 (Nov. 15, 1850): 64. [(This listing, presumably based on subscribers, and continually increasing, was posted in almost every early issue of the DJ.)
“Adams, George, Worcester, Mass.
Brady, Matthew B., No. 205 Broadway, N. Y.
Burges, Nathan G., No. 187 Broadway, New York.
Baker, F. S., Baltimore, Md.
Broadbent, Samuel, Wilmington, Md.
Barnes, C, Mobile, Ala.
Brown, H. S., Milwaukee, Wis.
Collins, David, Chesnut Street, Philadelphia, Pa.
Cooley, O. H. Springfield, Mass.
Clark Brothers, No. 551 Broadway, N. Y. 128 Genesee Street, Utica, Franklin Building, Syracuse, New York, and Tremont Row, Boston, Mass.
Cook, George S., Charleston, S. C.
Coombs, F., San Francisco, Cal.
Cary, P. M., Savannah, Ga.
Dodge, E. S., Augusta, Ga.
Davie, D. D.T., Utica, N.Y.
Dobyns, T, J., New Orleans, La., Nashville, Tenn., and Louisville, Ky.
Evans, O. B. Main Street, Buffalo, New York.
Finley, M., Canandaigua, Ontario Co., N. Y.
Fitzgibbon, J. H., Si. Louis, Mo.
Faris, Corner Fourth and Walnut Street, Cincinnati, Ohio.
Gurney, Jeremiah, No. 489 Broadway, N. Y.
Gavit, Daniel E., 480 Broadway, Albany, N. Y.
Gay, C. H., New London, Ct.
Hough & Anthony, Pittsburg, Alleghany Co., Pa.
Hale, L. H., 109 Washington street, Boston, Mass.
Hawkins, E. C, Corner of Fifth and Walnut Street, Cincinnati, Ohio.
Johnson, Charles E, Cleveland, Ohio.
Jacobs, New Orleans, La.
Johnston, D. B., Utica, N. Y.
Johnson, George H., Sacramento, Cal.
Kelsey, C. C., Chicago, Ill.
Lawrence, Martin M., No. 203 Broadway, N. Y.
Lewis, W. and W. H., No. 142 Chatham Street, New York.
Long, H. H., St. Louis, Mo,
Long, D., St. Louis, Mo.
L’homdieu, Charles, Charleston, S. C.
Meade Brother, No. 233 Broadway, New York, and Exchange Albany, N. Y.
Martin, J. E., Detroit, Mich.
Moissenet, F., New Orleans, La.
Moulthroup, M., New Haven, Ct.
Manchester & Brother, Providence, and Newport, R. I.
McDonald, D., Main Street, Buffalo, New York.
Peck, Samuel, New Haven, Ct.
Root, M. A. & S., No. 363 Broadway, New York, and 140 Chesnut Street, Philadelphia, Pa.
Sissons, N. E., No. 496 Broadway, Albany, N. Y.
Shew, Jacob, Chesnut Street, Philadelphia, Pa.
Thompson, S. J., No. 57 State Street, Albany, New York.
Tomlinson, William A., Troy, New York.
Van Alsten, A., Worcester, Mass.
Walker, Samuel L., Poughkeepsie, N. Y.
Westcott, C. P., Watertown, Jefferson Co., N. Y.
Wood, R. L., Macon, Ga.
Whipple, John A., Washington Street, Boston, Mass.
Whitehurst, J. H., Norfolk and Richmond, Va., and Baltimore, Md.”]

BY COUNTRY. USA. 1851.
“Our Daguerreotypes.” DAGUERREIAN JOURNAL 1:4 (Jan. 1, 1851): 114-115. [Meade Brothers, D. E. Gavit, M. B. Brady, M. M. Lawrence, O. B. Evans (Buffalo, NY) works in the World’s Fair of 1851; Mr. Fitzgibbon (St. Louis, MO); Root Brothers (NYC and Philadelphia, PA); S. L. Walker (formerly Poughkeepsie, opens gallery in Albany, NY).]

EXHIBITIONS. 1851. LONDON. GREAT EXHIBITION OF THE ART AND INDUSTRY OF ALL NATIONS.
“Our Daguerreotypes.” DAGUERREIAN JOURNAL 1:4 (Jan. 1, 1851): 114. [“World’s Fair of 1851. — In a late report of the local Committee of this State, we find among other articles approved, Daguerreotypes from the following gentlemen: Meade & Brother, New York; D. E. Gavit, do; M. B. Brady, do.; M. M. Lawrence, do.; and O. B. Evans, Buffalo. There are many other persons who intend to enter the list for the prize, and we shall be disappointed if it don’t come west, across, the Atlantic.”]

BY COUNTRY. USA. 1851.
“Daguerreian Artists’ Register.” DAGUERREIAN JOURNAL 1:8 (Mar. 1, 1851): 255-256.
[“Appleby, R. B., 14 Arcade, Rochester, N. Y
Anthony, J. B., Poplar Grove, S. C.
Adams, George, Worcester, Mass.
Brady, Matthew B., No. 205 Broadway, N. Y.
Burges, Nathan G., No. 187 Broadway, New York.
Baker, F. S., Baltimore, Md.
Broadbent, Samuel, Wilmington, Md.
Barnes, C., Mobile, Ala.
Bartlet, No. 102½ Main street, Boston, Mass.
Bogardus, A., No. 217 Greenwich street, N. Y.
Brown, F. A., Museum Building, Mashetnec, N. H.
Brown, H. S., Milwaukie, Wis.
Buxton, John, St. Catharine street, Montreal, Canada.
Bradlee, J. E., Boston, Mass.
Buell, E. M., Pittsfield, Mass.
Bowman, J. A., Berlin, Waterloo County, Canada West.
Bisbee, A., Dayton, Ohio.
Bowen, N. O., Norwich, Conn.
Beckers & Piard, 201 Broadway. N. Y.
Brown, James, 181 Broadway, N. Y.
Campbell, B. F., Corner Hanover and Union streets, Boston, Mass.
Collins, David, Chesnut Street, Philadelphia, Pa.
Cooley, O. H., Springfield, Mass.
Clark Brothers, No. 551 Broadway, N. Y., 128 Genesee Street, Utica, Franklin Building, Syracuse, New York, and Tremont Row, Boston, Mass.
Cook, George S., Charleston, S. C.
Coombs, F., San Francisco, Cal.
Cary, P. M., Savannah, Ga.
Chuchill, R. E., 55, State Street, Albany, N. Y.
Chase, L. G., Boston, Mass
Dodge, E. S., Augusta, Ga.
Davie, D. D. T., Utica, N. Y.
Dobyns, T. J., New Orleans, La., Nashville, Tenn., and Louisville, Ky.
Done, T. C., No. 2, Place d’Armes, Montreal, Canada.
Ducan, W. H., No. 303 Broadway, N. Y.
Die Riemer, C. R., Auburn, N. Y.
Evans, O. B., Main Street, Buffalo, New York.
Evens, Chas., No. 380 Market street, Philadelphia, Pa.
Ennis, T. J., 106 Chestnut street, Philadelphia, Pa.
Finley, M., Canandaigua, Ontario Co., N. Y.
Fitzgibbon, J. H., St. Louis, Mo.
Faris, Thomas, Corner Fourth and Walnut Street, Cincinnati, Ohio.
Gurney, Jeremiah, No. 189 Broadway, N. Y.
Gavit, Daniel E., 480 Broadway, Albany, N. Y
Gay, C. H., New London, Ct.
Geer & Benedict, Syracuse, N, Y
Hill, R. H., Kingston, Ulster Co., N. Y.
Haas, Philip, No. 280 Broadway, N. Y.
Hall, W. H., Rouse’s Point, Clinton Co., N. Y.
Harrison, C. C., 293 Broadway, N. Y.
Hill, L. L., Westkill, Green Co., N. Y.
Hale, J. W., Newark, N. J.
Hough & Anthony, Pittsburg, Alleghany Co., Pa.
Hale, L. H., 109 Washington street, Boston, Mass.
Hawkins, E. C., Corner of Fifth and Walnut Street, Cincinnati, Ohio.
Insley, Henry E., 311 Broadway, N. Y.
Johnson, Charles E., Cleveland, Ohio.
Jacobs, E., 73 Camp St, New Orleans, La.
Joes, L. M., No. 142 Washington street, Boston, Mass.
Johnston, D. B., Utica, N. Y.
Johnson, George H., Sacramento, Cal.
Kelsey, C. C., Chicago, Ill.
Lawrence, Martin M., No. 203 Broadway, N. Y.
Lewis, W. and W. H., No. 142 Chatham Street, New York.
Litch & Graniss, Waterbury, Ct.
Long, H. H., St. Louis, Mo.
Long, E., St. Louis, Mo.
L’homdieu, Charles, Charleston, S. C.
Martin, J. E., Detroit, Mich.
Moissenet, F., New Orleans, La.
Moulthroup, M., New Haven, Ct.
Manchester & Brother, Providence, and Newport, R. I.
McDonald, D., Main Street, Buffalo, New York.
Miles, Chas. T., Fayette, Jefferson Co., Miss.
McClees & Germon, Philadelphia, Pa.
Morand, A., 132 Chatham Street, N. Y.
Naramore, William, Bridgeport, Conn.
Nichols, John P., No. 75 Court street, Boston, Mass.
Ormsbee & Silsbee, No. 203 Washington street, Mass.
Owen, N., Goshen, N. Y.
Prosch, G. W., Newark, N. J.
Peck, Samuel, New Haven, Ct.
Powelson & Co., 177 Broadway, N. Y.
Prod’homme, J. F., 663 Broadway, N. Y.
Reynolds, G. L., Lexington, Va.
Rice, S. N., 194 Canal Street, N. Y.
Root, M. A. & S., No. 363 Broadway, New York, and 140 Chesnut Street, Philadelphia, Pa.
Ritten, E. D., Dunburry, Conn.
Swift, H. B., 312 Market St, Philadelphia, Pa.
Sawyer, Jo., Boston, Mass.
Stansbury, B., Brooklyn, L. I.
Stamm & Upman, Milwaukee, Wis.
Sissons, N. E., No. 496 Broadway, Albany, N. Y.
Shorb, J. R., Winnsboro, S. C.
Shew, Myron, Chestnut Street, Philadelphia, Pa.
Thompson, S. J., No. 57 State Street, Albany New York.
Tomlinson, William A., Troy, New York.
Van Alsten, A., Worcester, Mass.
Vail, J. H., New Brunswick, N. J.
Van Loan & Co., 118 Chestnut street, Philadelphia, Pa.
Westcott, C. P., Watertown, Jefferson Co., N. Y.
Wood, R. L., Macon, Ga.
Whipple, John A., Washington Street, Boston, Mass.
Whitehurst, J. H., New York, Richmond, Norfolk, Petersburg, and Lynchburg, Va., Baltimore, Md., and Washington City, D. C.
Wells, J. D., No. 6, Kirkland Block, Main street Northampton, Mass.
Walker, S. L., Broadway, Albany and Poughkeepsie, N. Y.
Walker & Horton, Newburgh, N. Y.
Wentworth. Henry, Fort Plain, Montgomery Co., N. Y.
Williams, J. A., Washington Square, Newport, R. I.
Williams, J. B., Philadelphia, Pa.

BROWN, JAMES. (NEW YORK, NY)
“James Brown’s Daguerreotype Miniature Gallery.” DAGUERREIAN JOURNAL 1:8 (Mar. 1, 1851): 257. [“181 Broadway: Rear Stairs.
The undersigned, for four years the principal Operator of M. B. Brady, has the honor to announce to his friends, and the fashionable circle, that his Rooms are now open at the above No., for the transaction of business, where he will be pleased to see his friends and the public generally; and hopes to receive a portion of that patronage so liberally extended to him while principal at Brady’s. He will also take the liberty of mentioning, to those unacquainted with the fact, that the pictures which have received the different premiums for Mr. Brady, were taken, colored, and arranged, with the assistance of Mr. Hays, who is still with him, entirely by himself. Particular attention is called to the very superior coloring tone and finish of the impressions from this establishment, which, through an incessant study of seven years, the subscriber feels conscious in asserting can always be relied on, as he attends personally to his sitters. Pictures taken in any weather, in any desired style, and his charges being extremely moderate, he hopes to suit all classes.
James Brown, Member of the Society for the Promotion of Painting in Water Colors, and for ten years a Student in the National Academy of Design.”]

BROWN, JAMES. (NEW YORK, NY)
[Advertisement.] “James Brown’s Daguerreotype Miniature Gallery.” DAGUERREIAN JOURNAL 2:2 (June 1, 1851): 65. [“…181 Broadway: Rear Stairs. The undersigned, for four years the principal Operator of M. B. BRADY, has the honor to announce to his friends, and the fashionable circle, that his Rooms are now open at the above No., for the transaction of business, where he will be pleased to see his friends and the public generally; and hopes to receive a portion of that patronage so liberally extended to him while principal at Brady’s. He will also take the liberty of mentioning, to those unacquainted with the fact, that the pictures which have received the different premiums for Mr. Brady, were taken, colored, and arranged, with the assistance of MR. HAYS, who is still with him, entirely by himself. Particular attention is called to the very superior coloring tone and finish of the impressions from this establishment, which, through an incessant study of seven years, the subscriber feels conscious in asserting can always be relied on, as he attends personally to his sitters. Pictures taken in any weather, in any desired style, and his charges being extremely moderate, he hopes to suit all classes. James Brown,
Member of the Society for the Promotion of Painting in Water Colors, and for ten years a Student in the National Academy of Design.”]

BY COUNTRY. USA. 1851.
“Our Daguerreotypes.” DAGUERREIAN JOURNAL 2:4 (July 1, 1851): 117-118. [R. Anson (NYC); DeWitt C. C. Grenell (NYC); Lamartine & Sullivan (boat on the Muskingum River); A. Bogardus; M. B. Brady leaves for Europe, leaving his establishment in charge of George S. Cook, of Charleston, SC; Webster & Brother (Louisville, KY); M. Moulthroup (New Haven, CT); Bostwick & Burgess (Springfield, MA); S. C. McIntire (San Francisco, CA) burned out.]

BRADY, MATHEW B. (1823-1896) (USA).
“Our Daguerreotypes.” DAGUERREIAN JOURNAL 2:4 (July 1, 1851): 117. [“M. B. Brady leaves for Europe, per steamer of next Saturday. We understand he leaves his establishment in charge of Geo. S. Cook, of Charleston, S. C. Could not do better.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Notice.” DAGUERREIAN JOURNAL 2:7 (Aug. 15, 1851): 211. [“Mr. John Brady, brother of M. B. Brady the Daguerreotypist, died in this city on the 9th inst. He was, we believe, for some time engaged with his brother, M. B., in the manufacture of cases. This will probably cause the latter gentleman, who is now in Europe, to return somewhat earlier than he otherwise would.”]

COOK, G. S. (BRADY’S GALLERY) see also EXHIBITIONS: 1851: NEW YORK: AMERICAN INSTITUTE FAIR. (DAGUERREIAN JOURNAL, Oct. 15, 1851)

BY COUNTRY. USA. 1851.
“Daguerreian Artists’ Register.” DAGUERREIAN JOURNAL 2:12 (Nov. 1, 1851): 383-384. [“Appleby, R. B., 14 Arcade, Rochester, N. Y.
Anthony, J. B., Poplar Grove, S. C.
Adams, George, Worcester, Mass.
Atkins, J., No. 219 Fulton St., Brooklyn, N. Y.
Brady, Matthew B., No. 205 Broadway, N. Y.
Burges, Nathan G., No. 167 Broadway, New York.
Broadbent, Samuel, 138 Chestnut st. Philadelphia, Penn.
Barnes, C., Mobile, Ala
Bowmau, [sic Bowman?] Isrial, Berling, Canada.
Benson, W., Boonville, Mo.
Bailey, Thomas, Ives, Columbia, Maury Co., Tenn.
Bartlet, H. H., 102 ½ Main street, Hartford, Conn.
Bogardus, A., No. 217 Greenwich street, N. Y.
Brown, F. A., Museum Building, Manchester, N. H.
Brown, H. S., Milwaukie, Wis.
Buxton, John, St. Catharine street, Montreal, Canada.
Bradlee, J. E., Boston, Mass.
Bowen, N. O., Norwich, Conn.
Beckers & Piard, 201 Broadway. N. Y.
Brown, James, 181 Broadway, N. Y.
Campbell, B. F., Corner Hanover and Union streets, Boston, Mass.
Collins, David, Chesnut Street, Philadelphia, Pa.
Cooley, O. H. Springfield, Mass.
Clark Brothers, No. 551 Broadway, N. Y. 128 Genesee Street, Utica, Franklin Building, Syracuse, New York, and Tremont Row, Boston, Mass.
Cook, George S., Charleston, S. C.
Coombs, F., San Francisco, Cal.
Cary, P. M., Savannah, Ga.
Chuchill, R. E., 55, State Street, Albany, N. Y.
Chase, L. G., Boston, Mass
Dodge, E. S., Augusta, Ga.
Davie, D. D. T.. Utica, N. Y.
Dobyns, T. J., New Orleans, La., Louisville, Ky., Memphis, Tenn., and St. Louis, Mo.
Done, T. C, No. 2, Place d’Armes, Montreal, Canada.
Durang. W. 11., No. 303 Broadway, N. Y.
Ellicott, E., Main Street, Chester C. H., S. C.
Ellis & Burnham, Bangor, Me.
Evans, O. B. Main Street, Buffalo. New York.
Evens, Chas, No. 380 Market street, Philadelphia, Pa.
Finley, M., Canandaigua, Ontario Co., N. Y.
Finley, A. C, Jerseyville, Ill.
Fitzgibbon, J. H., St. Louis, Mo.
Faris, Thomas, Corner Fourth and Walnut Street Cincinnati, Ohio.
Gurney, Jeremiah, No. 189 Broadway, N. Y.
Gavit, Daniel E., 247 Broadway, N. Y.
Gay, C. H., New London, Ct.
Geer & Benedict, Syracuse, N. Y
Gatewood, E. H., Boonville, Mo.
Gilchrest & Currier, Canal Block and 82 Merrimack street, Lowell, Mass.
Holcomb, J. G. Augusta, Me.
Howell, W. B., Lexington, Mo.
Hill, R. H. Kingston, Ulster Co., N. Y.
Haas, Philip, No. 289 Broadway, N. Y.
Hall, W. H., Rouse’s Point, Clinton Co., N. Y.
Harrison. C. C, 293 Broadway, N. Y.
Hill, L. L. Westkill, Green Co., N. Y.
Hough & Anthony, Pittsburg, Alleghany Co., Pa
Hale, L. H.. 109 Washington street, Boston, Mass.
Hawkins, E. C., Corner of Fifth and Walnut Street, Cincinnati, Ohio.
Housekeeper, C. H., 118 Chestnut street, Philadelphia, Penn.
lnsley, Henry E, 311 Broadway, N. Y.
Ives, L. M., No. 142 Washington street, Boston, Mass.
Jaquith, N. C, No. 98 Broadway, New York.
Johnson, Charles E., Cleveland, Ohio.
Jacobs, E., 73 Camp St. New Orleans, La.
Johnston, D. B., Utica, N. Y.
Kelsey, C. C., Chicago, Ill.
Knight, W. M. Racine, Wis.
Lawrence, Martin M., No. 203 Broadway. N. Y.
Lewis, W. and W. H., No. 142 Chatham Street, New York
Leinback T., Salem, N. C.
Litch & Graniss, Waterbury, Ct.
Long, H. H., St. Louis, Mo.
Long, E., St. Louis, Mo.
L’homdieu, Charles, Charleston, S. C.
Lloyd, John R. Tallahassee, Florida,
Martin, J. E., Detroit, Mich.
Marks, H. R., Baltimore street, Baltimore, Md.
Mayall, J. E., No. 433 West Strand, London, England.
Merrick, Dr. G. W., Adrian, Mich.
Moissenet, F., New Orleans, La.
Moulthroup, M., New Haven, Ct.
Manchester & Brother, Providence, and Newport, R. I.
McDonald, D., Main Street, Buffalo, New York.
M’Kiney, E. H., Biddeford, Maine.
Mills, Chas. T., Fayette, Jefferson Co., Miss.
McClees & Germon, Philadelphia, Pa.
M’lntyre, S. C., San Francisco, California.
Morand, A., 132 Chatham Street, N. Y.
Nichols, John P., No. 75 Court street, Boston, Mass.
Ormsbee & Silsbee, No. 203 Washington street, Boston, Mass,
Prosch, G. W., Newark, N. J.
Peck, Samuel, New Haven, Ct.
Prod’homme, J. F., 663 Broadway, N. Y.
Rice, S. N., 194 Canal Street, N. Y.
Rice, J. Loring, Washington street, Boston Mass.
Root, M. A. & S., No. 363 Broadway, New York, and 140 Chesnut Street, Philadelphia, Pa.
Ritton, E. D., Danbury, Conn.
Swift, H. B., 312 Market St, Philadelphia, Pa.
Sawyer, Jo., Boston, Mass.
Stansbury, B., Brooklyn, L. I.
Stamm & Upman, Milwaukee, Wis.
Selkirk. J. H. & J., Matagorda, Texas.
Sissons, N. E., No. 496 Broadway, Albany, N.Y.
Shorb, J. R., Winnsboro, S. C.
Shew, Myron. Chestnut Street, Philadelphia, Pa
Thompson, S. J., No. 57 State Street, Albany, New York.
Terry, Arther, Lima, Peru.
Tomlinson, William A., Troy, New York.
Van Alsten, A., Worcester, Mass.
Van Loan & Co., Chestnut street, Philadelphia, Pa.
Warren, Geo. K., 128 Merrimack St., Lowell, Mass.
Westcott, C. P., Watertown, Jefferson Co., N. Y.
Wood, R. L., Macon, Ga.
Whipple, John A., Washington Street, Boston, Mass.
Whitehurst, J. H., New York, Richmond, Norfolk, Petersburg, and Lynchburg, Va., Baltimore, Md., and Washington City, D. C,
Wells, J. D., No, 3, Pleasant street, Northampton, Muss.
Walker, S. L., Broadway, Albany and Poughkeepsie, N. Y.
Warren, Geo. K. 128 Merrimack St., Lowell, Mass.
Wentworth, Henry, Fort Plain, Montgomery Co., N.Y.
White, L., Springfield, Mass.
Williams, J. A., Washington Square, Newport, R. I.
Williams, J. B., Philadelphia, Pa.”]

BY COUNTRY. USA. 1851.
“Daguerreian Journal.” DAGUERREIAN JOURNAL 3:2 (Dec. 1, 1851): 49-51. [B. L. Higgins, of Syracuse, (a stock dealer’s business) destroyed by fire; M. B. Brady, M. M. Lawrence and John A. Whipple received medals at World’s Fair, London. M. A. Root separated from partnership with brother and S. Root & J. W. Thompson reformed the partnership. Brinkerhof & Co. (formerly with C. C. Harrison) opened a gallery. E. Elliott (Chester, SC) visited NYC. Bartlett (Hartford, CT). C. H. Gay (New London, CT). McClees & Germon (Philadelphia, PA); A. B. Mortley (Utica, NY dealer); R. B. Appleby (Rochester, NY); E. S. Dodge (Augusta, GA); Ennis (Philadelphia, PA). L. L. Hill’s letter protesting statement that his color process was fraudulent.]

BRADY, MATHEW B. (1823-1896) (USA).
“Daguerreian Journal.” DAGUERREIAN JOURNAL 3:2 (Dec. 1, 1851): 50. [“Messrs. M. B. Brady, M. M. Lawrence, and John A. Whipple, received each a medal for Daguerreotypes, at the World’s Fair. The latter named gentleman received his medal for his picture of the Moon. We learn that some are endeavoring to take advantage from the fact, that their names happened to be first mentioned. All must be reminded that the Exhibitors names were arranged in alphabetical order, consequently fortune, regardless of merit, place one person’s name before the other. We dislike to see one man endeavor to deprecate equal merit on so small a pretext. (The reference here is to Brady’s claims.) We shall in our next refer to the matter of photography, as treated by the Judges at the late Fair in London.”]

title change

BY COUNTRY. USA. 1852.
“Movements of the Daguerreotypists.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 4:3 (May 15, 1852): 47-48. [M. B. Brady returned from Europe; J. Gurney recovering from mercury poisoning; D. D. Winchester (Columbus, OH); M. Sutton (Detroit, MI); J. H. Whitehurst (NYC); P. Haas (NYC); J. E. Martin (Detroit, MI); left the business; Dr. Canfield (PA), Whipple (Boston, MA) and Holt (NYC) making calotypes; A. Bogardus (NYC); J. C. Heath (Rochester, NY).]

BRADY, MATHEW B. (1823-1896) (USA).
“Movements of the Daguerreotypists.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 4:3 (May 15, 1852): 47. [“M. B. Brady has returned after a long absence in Europe: he looks somewhat improved in health.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Humphrey’s Journal.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 4:4 (June 1, 1852): 58-59. [“We have enjoyed the pleasure of examining the specimen Daguerreotype sent from this city to the World’s Fair by Mr. Brady. Not having seen them before, we embrace this as the first opportunity: speak of them. It is indeed gratifying, that we are enabled to present to the world such specimens of one of the most beautiful arts, specimens of an art, excelling those produced in the country that gave it birth. America bears the ensign, this is universally acknowledged—our Daguerreotypes at World’s Fair meet the place of all, and, among all, those by Mr. B., deservedly stood in the front rank. Our readers have before heard of the superior specimens by Lawrence and others, hence it is unnecessary to refer to them again. Mr. B., has a Daguerreotype likeness of Louis Napoleon, by Thompson of Paris, as a picture it resembles most of those from that country, lacking that brilliancy which so strongly characterizes our pictures. We also, were shown a view of the city of Athens, this is a fine picture, lacking only in perspective, this objection might be remedied in future productions if the operator would purchase one of Harrison’s or Chap-man’s American Cameras.”]

EXHIBITIONS. 1851. LONDON. GREAT EXHIBITION OF THE ART AND INDUSTRY OF ALL NATIONS. “Heliography.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 4:16 (Dec. 1, 1852): 243-248. [(Detailed review of the “Great Exhibition at London,” with historical background included. Source not mentioned.) “We find the following among the reviews of the Great Exhibition at London, and present it to our readers for the valuable historical information which it contains.
A peculiar interest attaches itself to the production of pictures by the influence of the solar rays. We have become familarized with the results, and the magical character of the process has ceased to excite more than ordinary attention. The fact, however, that some radiant principle, influenced in a very remarkable manner by the structure and color of the surfaces of bodies, has the properly of effecting chemical changes—and, when reflected through the lens of a camera obscura, produces at its focus pictures of them—is one of the most extraordinary discoveries of modern times. The fact that a certain salt of silver—formerly known as horn-silver—would blacken when exposed to the sunshine, was known to those strange enthusiasts of yore, the alchemists—to whom modern chemistry owes many debts; but it remained unnoticed until the Swedish chemist, Scheele, showed that this peculiar blackening was due to a certain set of rays, and that it was the function of those which possess the least luminous influence—the chemical effect being in inverse proportion to the illuminating power of the prismatic rays.— Wedgewood, the celebrated potter of Etruria, was the first who sought to obtain pictures by the agency of the solar rays.—, In this he was quite successful—and failed only in his endeavors to give permanence to the pictures he thus obtained. Sir Humphry Davy also failed in this, after having obtained images of microscopic objects upon prepared paper.
Nièpce, of Chalons-sur-Saone, was the first who obtained any impressions from the beautiful images produced in the camera obscura of Baptista Porta. This was, however, an operation of much time, the tablets which he employed being simply plates of glass or metal covered with a film of resin, and many hours were required to produce the necessary change. These heliographs, as they were called, though of little value as pictures, established the very remarkable fact that every resinous substance then examined, was susceptible of change from the sunbeam. From this discovery Nièpce advanced, in connection with his partner, Daguerre, to the enunciation of a truth long doubted, but now most fully confirmed— viz., that the sun’s rays cannot fall upon any material substance without producing a chemical or molecular change, and that the tendency is constantly towards the decomposition of the body into its most simple elements—that is, according to common language, a process of destruction. And, again, he ascertained that all bodies have the power of restoring themselves to their original state during the hours of darkness; showing that night and repose are as necessary to the preservation of the inorganic mass as to the restoration of those higher organisms to which darkness and sleep are indispensable.
Daguerre eventually announced his discovery of the sensitive tablet of iodide of silver, and the development of the solar impressions by the agency of mercury; and Talbot, who was unacquainted with the researches of Daguerre, delighted the scientific world of England by the announcement of a process on paper by which ‘the thousand florets of an agrastis was depicted with all its capillary branchlets.’ The process of Daguerre consisted in exposing silver plate to the action of the vapor of iodine until a film of ioduret of silver was formed —that of Mr. Fox Talbot in producing by chemical means, upon paper, a surface of the chloride of silver. In the former the image was developed, after the operation of the solar rays, by the vapor of mercury, which, in obedience to a law not yet understood, is deposited upon the surface of the metal, in a curiously exact relation to the amount of chemical influence to which every part has been exposed. In the latter process, the solar radiations were allowed to produce the picture; but in the more recent discoveries of Mr. Fox Talbot the image is developed by the subsequent influence of gallic acid, and, in an analogous process by Mr. Robert Hunt, by the application of a wash of the protosulphate of iron.
The present condition of the art is well shown in the productions exhibited. Six nations have shown their various degrees of success in photography, and there are about 700 photographic pictures in the Exhibition. We will commence our examination of these with the Daguerreotypes exhibited in Class X.
M. Claudet is a large exhibitor; the Daguerrian portraits of this photographic artist are well known. The pictures produced by him are of a marked character. He pays considerable attention to giving graceful attitudes to his sitters, and to obtaining harmony in the effects of light and shade. This last result is effected by means of his moving black screens, which soften the light where it is too strong. These screens are exhibited among many other ingenious instruments which we shall have to notice in their turn. M. Claudet also excels in the white of his pictures, which are never solarized; this is due to the use of bromine and iodine, prepare according to their chemical compounds. by exposing his plates to the vapor of bromide of iodine so combined, he is not liable to give an excess of either the one or the other, and he obtains the highest state of sensitiveness. One great peculiarity in M. Claudet’s pictures is, that they are not inverted. This a most important condition for the truthfulness of the likeness, and it seems surprising that all photographers do not attend to it; for the representation of features as reflected on a looking-glass shows them in a contrary way to that in which they are seen in nature, and there are no faces that are identically similar on both sides. It is strange that this question of inverted and non-inverted image is so little understood; for if it were, no one would submit to have his portrait taken subject to the inversion. But it must be remarked that the portrait inverted is more true to the person represented, for the reason that we know our face only from its reflection in a looking-glass; so that if our portraits were for ourselves, it would be preferable to have them inverted; but as they are chiefly for our friends, they must be non-inverted. It will be easily understood that, as all the rays pass from the object to the lens in right lines—and then, being refracted, fall upon the plate placed in the lenticular focus—the image is in every respect inverted. This often leads to the production of an image which is not like the original as we see it, the picture being wrong as regards right and left. — This objection is overcome by M Claudet, by reflecting the image from the base of a glass prism, and the result is a picture correct as in nature.* [A. Harrison’s view cameras present the image non-inverted, but the time required in its formation is too long to be practical. This is an objection to any instrument yet produced for that purpose. —Ed.] The objections to the averted photographs are strikingly shown where the individual has any remarkable peculiarity on one side of the face; for example, a mole on the left cheek is seen on the right one in the Daguerreotype, and where the hair is arranged towards the right side in reality, it appears as if disposed towards the left in the photograph. It is not unfrequently remarked that a Daguerreotype portrait must be like, since it is a reflex image of the sitter; it however very frequently happens that these portraits are exceedingly unlike. This arises from the inversion of the image, from lenticular distortion, and from the difficulties which present themselves when we attempt to adjust a figure to the focus of the lens. Many of these difficulties have been overcome by the careful manner in which lenses have been made by Mr. Ross, but they still, to some extent exist. With a view of determining with accuracy the focus of a lens, under any conditions, M. Claudel has invented an instrument which he calls a ‘Focimeter.’ [(* The instruments now manufactured in this country are so arranged as to preclude the necessity of the focimeter. —Ed.] One of these he exhibits; it consists merely of segments of a circle, numbered and placed at fixed distances apart, upon a moveable axis. This is copied by the lens employed, and as each segment is at a different distance from the focus of the lens, that which is in the best chemical focus is impressed with the most distinctness on the plate. It should be stated that the luminous focus and the chemical focus do not coincide—that the image which is produced with the greatest beauty and visibility upon the tablet is not that which produces the sharpest chemical image. This is very satisfactorily proved by the use of the focimeter. The fact was first observed in non-achromatic lenses by Sir J. Herschel and by Mr. John Towson, of Devonport, who has since that time gained a European reputation by his able indication of the great advantages to be derived from navigating on the great circle instead of by the ordinary system of Mercator. The chemical rays being considerably more refrangible than the luminous rays, it is obvious that a non-achromatic lens could not give a photogenic image coinciding with the visual image. The observation of Sir J. Herschel and Mr. Towson referring only to non-achromatic lenses, photographers, from the beginning of the art, used achromatic lenses, supposing that in them all the rays were condensed at the same focus — But it is not so. and in 1842 M. Claudet discovered that even in the best achromatic lenses the two foci are not coincident—that instead of the photogenic focus being shorter, as in non-achromatic lenses, it is generally longer.
This discovery made a complete revolution in the art of photography, and M. Claudet by means of his focimeter, has given photographers a sure method for correcting the error. The use of this instrument is therefore indispensable for the practice of photography, and the more so since M. Claudet has discovered that there are constant variations in the distance of the two foci, arising principally from alterations in the conditions of the atmospheric medium; they appear also to arise from constant alternations of the relative proportions of that light and actinism—as the chemical principle of the solar rays is termed—by which, in all probability, the changes of the seasons are determined. Certain it is, that the peculiar conditions of vegetable life are governed by the influence of these principles or forces, and that the condition of a sunbeam in the Spring is not the same as in the Autumn. It is a curious fact that, with the increase of solar light as we approach the tropics, there is a regular diminution of the amount of chemical influence, and that in the Spring, when the chemical process of germination is most active, the actinic power is in excess; that, as we advance into the Summer, light increases, and acts as an antagonistic agent to it; and that in the Autumn heat exerts a very peculiar power, which has led Sir John Herschell and Mrs. Somerville to speculate on the existence of heat rays having a distinct function, and this is shown by a marked action on the properties of the luminous and chemical forces. As it is important to the photographer to determine the exact conditions of the sun’s rays, M. Claudet has devised an instrument which he exhibits, and calls a “photographometer.” by means of this he is enabled to determine with very great exactitude the chemical action of the solar rays at any given time, and also the sensibility of his daguerreotype plates previously to using them in the camera. In addition to these the dynactinometer, which is “to determine the sensitiveness of two plates under the action of the same intensity of light,” is also exhibited. These instruments are of considerable importance to those who are engaged in the practice of photography, and we are satisfied that if they were adopted in every photographic establishment, much improvement would soon be evident in the pictures obtained.* [Where the Daguerreotype art is practised the extent that it now is in America, we believe the professor has no need for a single instrument introduced in this article.—Ed.] There are some curious and highly interesting specimens exhibited also by M. Claudet, which show in a popular and striking way the differences between light and the photographic agent. It has been observed that the chemical principle of the solar rays will not pass through yellow media. A yellow glass will not obstruct any light, but it entirely stops the chemical radiations; a deep blue one on the contrary, obstructs a very large quantity of light, but it admits the actinic or chemical rays to permeate it freely. A portrait of her majesty, and another of Prince Albert, are glazed—the first with yellow glass, through which the image is most distinctly seen, and the second with blue glass, through which the engraving is not visible. A daguerreotype copy of these being taken, a most perfect representation of the engraving of Prince Albert is produced, but not a trace of any image of the Queen. This, and some other curious results, obtained under diligent atmospheric conditions, and by the use of colored media, are deserving of the most attentive consideration, as showing some peculiar physical conditions which demand the closest scientific investigation; for they point, without doubt, to some important law, connected with the influences of the solar radiation on the conditions of external nature, whether in the determination of molecular and chemical force in the inorganic world, or in the yet higher developments of urbanization and life. “In 1846 attempts were, we believe, first made to vary the character of photograph pictures by a process of coloring by the use of dry powder color; and portraits so executed, soon became popular. It was found, however, in many cases, that the colors, after a while, began to lose their brilliancy. Recently an ingenious process has been introduced by Mr. Beard, of enamelling the daguerreotypes: and, in addition to specimens of the ordinary productions, he exhibits several prepared according to this new mode. Its advantage is stated to be the greater permanence of the pictures. Certain it is that, having been enamelled, the plates may be washed or bent without injury. We are not sure, however, that the best effects of the art are realised by this process. We know not the manipulatory details, but examination shows that the plates are submitted to a tolerably high degree of heat, and that isinglass or some other resinous substance—though not varnish, we are informed—is then flowed over them. In the operation the mercury is slightly diffused, so that, viewed in some lights it appears a white metallic sheet, instead of the fine dust to which are due the high lights of the picture. Daguerre, in the first publication of his process, stated that he had endeavored to secure the productions of his discovery from injury by the application of varnishes of different kinds, applied in various ways; that the result of his experiment was, in all cases, the eventual injury of the photograph, generally by the action of the organic matter employed upon the mercury on the silver plate, ending at last in a complete obliteration of the picture under a cloud of blackness. This, we fear, may be the case with the enamelled daguerreotypes; the application has, however, been too recently made, in the examples given, to enable us to discover if any chemical action has commenced. Mr. Mayall [Mr. Mayall was formerly from Philadelphia and stood at the head of his profession when he left our country.—Ed.] exhibits some fine daguerreotypes, in many of which the exquisite polish of his plates produces the best effect —the result being a deeper blackness than ordinary, in contrast with the whites of the picture. The views near Stratford-on-Avon, by this artist, are beautiful specimens of the art, and in “Shakspeare’s house” we have exhibited in the highest degree the exquisite details of which the daguerreotype is susceptible. We have serious objections to his large pictures; they are curious from their size, but they are of necessity very imperfect. The peculiar manner in which Mr. Mayall’s back-grounds are manipulated is not unpleasing, but in the large pictures, the result is too much as if a sharp knife had been employed to cut the images from one plate and fix them upon another. The “Soldier’s Dream ” is a very happy idea artistically carried out. Certainly, to Mr. Mayall is due the merit of studying the practice of the daguerreotype, with special reference to its employment by artists. Many of his poses are of a very high character. Mr. Kilburn exhibits a series of colored daguerreotypes, in which the artist has certainly displayed very considerable skill in the application of his colors. The process of coloring photographs is, it appears to us, exceedingly detrimental to the art. Bad daguerreotypes may be painted up and passed off as tolerably successful photographs. In such as are not artificially colored, every imperfection is apparent, and, to secure the production of life-like daguerreotypes, greater care would be taken if color were not applied. There are several exhibitors—Mr. Paine, Messrs. Tyree and others—in the gallery; and some few daguerreotypes are to be found in the Fine Arts Court. In Class X. are also some specimens of daguerreotype apparatus, of which we intend to take notice in a future article. The exhibition of daguerreotypes in the United States department is of a very superior character. In the arrangements of the groups, and in the general tone of the pictures, there will be found an artistic excellence which we do not meet with in many others. This has been attributed to peculiar atmospheric conditions, but we believe it to be due to a great extent also to superior manipulation. This extra care is, we are inclined to think, to be traced to the general dislike of artificially colored photographs in the United States. [*The highest premiums were awarded to Mr. M. B. Brady and M.M. Lawrence of this city. Mr. Whipple receiving a prize medal for his daguerreotype of the moon.—Ed.]
The daguerreotypes from France are good, as are also the few specimens from Austria and the German States, but these require no particular notice.”]

PHOTOGRAPHIC LITERATURE. MAGAZINES. SCIENTIFIC DAGUERREIAN. 1852.
“The Scientific Daguerreian.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 4:16 (Dec. 1, 1852): 250. [“The Scientific Daguerreian is a monthly publication of six octavo pages (reading matter) published in Utica by D. D. Y. [sic D. D. T.] Davie & Gordon Evens. This publication is evidently for the purpose of advertising the articles for sale by the publishers, as the following from its columns shows: “Last, but not least in importance to ourselves, is the advertising department.— In fact, we may as well frankly avow this medium of bringing our manufactured articles to the notice of dealers and consumers, as among the leading causes which give it existence.”
One more extract will answer.
“On Broadway, New York, are to be seen some of the most hideous and ghastly caricatures that ever haunted human beings, of all colors and forms that language can describe. Some appear as though the likeness had been baked on, after the manner of japanning, others looked as though the concentrated light and heat had burned them to some depth below the surface of the plate, while others had the appearance of having been chased into a premature existence by a densely black thunder cloud.”
We may expect to soon hear of Lawrence, Gurney, Brady, and Beckers & Piard going up to Utica to receive instruction from Mr. Davie. It should be remembered however that “on Broadway” hang the only Daguerreotypes that took the first premium at the World’s Fair—also, the only Daguerreotypes that ever took a gold medal, and, if our memory is not treacherous, and we are quite sure it is not, (Gavit can tell,) the Daguerreotypes now hang “on Broadway” that took the first medal at a fair where Mr. Davie was a competitor—this time does not date far back.”]

BY COUNTRY. USA. 1852.
“Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 4:17 (Dec. 15, 1852): 271-272. [Bailey (Winchester, VA); J. H. & J. Selkirk (Matagora, TX);Douglas (St. Louis, MO); Wellington (Nashville, TN); Davis (Cincinnati, OH); Whitney & Denny (Rochester, NY stock-dealers); Mayall (London); Mercer (formerly of Rochester, NY) is dead; North (formerly Boston, MA, now Cleveland, OH); Cooley(Springfield, MA); Wells (Northampton, MA); Brown (Manchester);G. S. Cook (now at Charleston, SC); Wellman (Georgeton, SC); Dr. Barr (Harrisburg, PA) is sick; Brady (NYC); Ellis (formerly Providence, RI, now in Lynn, MA); Gurney & Litch; Churchill (Albany, NY); McBride (Albany, NY).]

BRADY, MATHEW B. (1823-1896) (USA).
“Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 4:17 (Dec. 15, 1852): 272. [“Brady is preparing to open a new gallery over Thompson & Son’s on Broadway.”]

VAN SCHNEIDAU. (CHICAGO, IL)
“Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 4:18 (Jan. 1, 1853): 287. [“Van Schneidau, in Chicago, has a fine suit of rooms. This gentleman was the first, in this country, to obtain a Daguerreotype likeness of Jenny Lind. The pictures were taken at Mr. Brady’s rooms in this city.”]

BY COUNTRY. USA. 1853.
“Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 4:21 (Feb. 15, 1853): 335-336. [Nelson (Pittsburgh, PA); Manchester & Brother (Providence, RI) formed partnership with Mr. Chapin, now Manchester & Chapin; Wells (Northampton, MA); Meade Brothers; Fitzgibbon; Brady; Lawrence, etc.]

BRADY, MATHEW B. (1823-1896) (USA).
“Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 4:21 (Feb. 15, 1853): 336. [“Mr. Brady will soon open his new establishment in this
city.”]

LAWRENCE, MARTIN M. (1808-1859) (NEW YORK, NY) “Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 4:21 (Feb. 15, 1853): 336. [“Lawrence has his new establishment nearly ready to open to the public. We shall in a future number give a description of this, as well as Mr. Brady’s.”]

BRADY, MATHEW B. (1823-1896) (USA).
“New Daguerreotype Establishments.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 4:24 (Apr. 1, 1853): 378. [“On the 19th ult. we were present at the opening of two of the most extensive Daguerreotype establishments in this country. Mr. Brady is proprietor of one, and Mr. Lawrence the other. “We were pleased with the spirit and taste displayed in the general arrangement of the specimens, furniture, and ornaments, and felt gratified to witness such liberal efforts to put forth the importance of Daguerre’s discovery in so brilliant a manner. Both gentlemen were found at their post, each extending a welcome hand to a host of warm friends who had been invited to participate in the opening entertainments—which, by the way, were not inappropriately provided with a collation of the choicest supplies of good things in the most epicurean order. The evening passed off pleasantly, proving, profitable, and interesting to all present.’ We cannot, in this, the last number of the present volume, enter into a detailed description of the various departments connected with their establishments, and must defer until our next.”]

BY COUNTRY. USA. 1853.
“Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 4:24 (Apr. 1, 1853): 383-384. [Lawrence (NYC); Brady (NYC); Combs (CA); Douglass (St. Louis, MO, travelling to CA); Litch (operator for Gurney, about to open a gallery in England with Mr. Terry (who had been in South America); A. d’Othon Hartmann (from Hayti, opened rooms on Broadway (NYC); J. W. Thompson purchased Clark’s establishment on Broadway, sold his 50 cent gallery (NYC); J. Gurney; Collins (Westfield, MA); Whitney & Denny (Rochester, NY) not Whitney & Dewey as previously reported.]

BRADY, MATHEW B. (1823-1896) (USA).
“Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 4:24 (Apr. 1, 1853): 383. [“Mr. M. Lawrence and Mr. M. B. Brady, have opened their new establishment, and are now under successful operation.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Note.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 5:1 (Apr. 15, 1853): 15. [“We have been unable to give in this a description of Mr. Brady’s new establishment. It is prepared, and will appear in our next.”]

BY COUNTRY. USA. 1853.
“Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 5:1 (Apr. 15, 1853): 16. [C. E. Johnson “…long and favorably known as one of the first Daguerreotype operators in America…” has left Cleveland, OH, for CA; Tucker & Perkins (Augusta, GA) dissolved; J. D. Wells (Northampton, MA); Dobyns & Richardson & Moisset about to open a gallery in NYC; Hough, of Hough & Anthony, Pittsburgh, PA, visiting NYC; Richards, Humphrey, Hill, Brady mentioned on p. 15 as well.]

BRADY, MATHEW B. (1823-1896) (USA).
“Brady’s Daguerreotype Establishment.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 5:5 (June 15, 1853): 73-74. [(Description of Brady’s new gallery.) “We shall, in reviewing this establishment be confined to a plain and somewhat minute description of the premises. Mr. B’s Rooms are situated at 350 Broadway, in the most central part of the city. At the door hangs a fine display of specimens, which are well arranged in rich rosewood and gilt showcases. The Reception Rooms are up two flights of stairs, and entered through folding doors, glazed with the choicest figured cut glass and artistically arranged. This room is about twenty-six by forty feet, and is the largest Reception Room in this city. The floors are carpeted with superior velvet tapestry, highly colored and of a large and appropriate pattern. The walls are covered with satin and gold paper. The ceiling frescoed, and in the center is suspended a six-light gilt and enamelled chandelier, with prismatic drops that throw their enlivening colors in abundant profusion. The light through the windows is softened by passing the meshes of too most costly needle worked lace curtain, or intercepted, if occasion requires, by shades commensurate with the gayest of palaces, while the golden cornices, and festooned damask indicate that Art dictated their arrangement. The harmony is not in the least disturbed by the superb rosewood furniture—tetes-a-tetes, reception and easy-chairs, and marble-top tables, all of which are multiplied by mirrors from ceiling to floor. Suspended on the walls, we find the. Daguerreotypes of Presidents, Generals, Kings, Queens, Noblemen—and more nobler men—men and women of all nations and professions. Adjoining the Reception Room is the business office of the establishment. This department is about twenty by twenty-five feet, and is fitted up with a variety of show-cases, where can be seen samples of all the various styles of Frames, Cases, Lockets, &c., used in the Art. Still further on past the office, is the Ladies’ parlor, which has all of the conveniences to make the Patrons comfortable and delighted. The walls are covered with the richest green velvet satin and gold paper. The ceiling frescoed with a center, through which is suspended a large enamelled chandelier. The two windows have curtains to correspond with the general appearance between them is a large oval mirror, with a massive carved gilt frame—cottage chairs, rosewood tet-a-tetes, covered with green and gold brocatelle, while the exquisite velvet tapestry contribute to the perfection of the room. On same floor we pass to the Operating Rooms. There are two—one having a sky and side-light of a northern, and the other of a southern, exposure. To go into a description of the apparatus and arrangements, would be repeating what every first class operator is familiar with. Suffice it to say, that nothing here (operator included) is of the second quality. The foregoing described rooms are on -the third floor, occupying a space of about “one hundred and fifty feet in depth.” On the next floor above is the Plate-cleaning Department, also the Electrotype Room. Over these, and on the next floor is another room with a sky-light, nearly flat, inclined towards the west; and adjoining this is a Chemical Room.”]

EXHIBITIONS. 1853. NEW YORK. EXHIBITION of the INDUSTRY OF ALL NATIONS.
“Editorial.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 5:8 (Aug. 1, 1853): 121. [“We find but few articles in the Fair pertaining to Daguerreotype or Photography; and Mr. Brady, Mr. Root and others, are very dilatory in putting in their specimens, so that a criticism would be incomplete at present. We may mention that we find two or three Paris exhibitors of stereoscopes and cameras; also, a collection of photographs from Banquart-Everards, [sic Blanquart-Evrard] in France, but there are no Daguerreotypes from abroad.”]

DOBYNS, RICHARDSON & CO. (NEW YORK, NY)
Humphrey, S. D. “Editorial.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 5:8 (Aug. 1, 1853): 121. [(Dobyns, Richardson & Co. opened a gallery in New York, NY, under the management of V. L. Richardson.) “We have recently paid a visit to the rooms of Dobyns, Richardson & Co., of this city. This establishment has been recently opened, and is under the charge of V. L. Richardson, a gentleman well adapted to win a circle of friends, and in whose hands, no doubt, the standards of the Daguerreotypes will meet no depreciation. Judging from the specimens taken since those rooms have been opened, we predict for them a successful competition with our older establishments. At the present time, one of two things is necessary to success: Money—or excellent work. These are indispensible qualifications, and where both are to be found the public must know where to go and get good Daguerreotypes. We find a few whole plate specimens of the first order. They recommend themselves to the eye of the connoisseur. With such places as Brady’s, Lawrence’s, Gurney’s and the above establishment, our citizens and others cannot want for faithful counterfeits.”]

EXHIBITIONS. 1853. NEW YORK. EXHIBITION OF THE INDUSTRY OF ALL NATIONS.
“Daguerreotypes at the Crystal Palace.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 5:9 (Aug. 15, 1853): 139-143. [(Extended review from New York Tribune.) “We present the following from the N. Y. Tribune, as being a fair criticism for the daguerreotypes in the exhibition; yet we do not wish it understood that this will be allowed to pass, as all we have to say upon the exhibition, for we shall look over the specimens when they are all in:
The Exhibitions at the Crystal Palace. American Art. — Daguerreotypes.
If there be any one department in the whole building which is peculiarly American, and in which the country shines pre-eminent, 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 here with 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 fog 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 practice 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 halls;” 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 imige 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, hyposulphate of soda. Another class prepare silvered plates, cases, buffs, gilding, cut glass, and a hundred little addenda. Then the manufucture 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 Voightlander 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 ignis fatui 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 knows 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, even a 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 specimens 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 is the formation 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 ploto is taken from the camera. The fifth, and Iast, is to remove the excess of sensitive coating, and thus prevent that susecptibility to change under luminous influence which would otherwise exist and ultimately chage 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 exhibits 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 few very good pictures exhibited by him.s (sIt is evident that the pictures by Mr. Brady.were not in at the time of the writer’s report in the Tribune for we now find a good collection of well selected specimens.—Ed. H. J.) In Gurney’s collection the coloring of the back ground 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 [sic E. Brown] has a collection of portraits of Commodore Perryand the officers of the squadron for the Japan expedition, in half sized 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 allogorical 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 bronght-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 views of Galena, Ill., show that city to advantage; and three views of the Falls of St. Anthony possess great merit. Mr. North, of Cleveland, O., has a case of pretty fair-likenesses, perhaps exhibiting the lights too strongly, Bisbee, of Dayton, O., exhibits a pnnoramic 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 thai it is the finest view by the Daguerrenn 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 distant 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-sizo well-executed specimens, in which the mechanical part, the artistic arrangement and the chemical effect is good. The “Cupid Reposing”s (sThis picture has recently been replaced by a far better one.—Ed. HJ.) is a very ungraceful posture 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 108 heads of Wymen’s School, in that city, with the edifice and principal; they posess no merit. A likeness of Prof. Michell, Cincinnati, is well executed. Some of the pictures in this collection are invested 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 our 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 iridescense 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 felt 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 & Silsby, Boston, exhibit twelve very 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 fine. 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 looked upon as a mere curiosity to place a daguerreotype plate in a copper solution and take a copper cast from its surface by menns 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 susceptible 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 practising these beautiful arts.”]

BROWNE, EDWIN. (USA)
“Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 5:11 (Sept. 15, 1853): 175. [“Mr. Brown, formerly the principal operator at Brady’s establishment, has made such arrangements with Dobyns & Spaulding of St. Louis, as to take him from our city…” Mr. B. goes with all of the advancements of the Daguerrean art, and so no doubt will reap a rich reward in the Mound City.” (Browne later worked in Winchester and Columbus, OH.)]

BY COUNTRY. USA. 1853.
“Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 5:17 (Dec. 15, 1853): 272. [T. L. Ennis, formerly of Philadelphia, PA, now in Cleveland, OH; Rea & Bailey; A. Johnson (Lima, NY) selling out; A. Hester (Galena, IL); M. Brady (NYC); S. Root acquiring views of Jerusalem through purchase; P. Smith (Cincinnati, OH); Fredricks (from Paris) to make paper photographs for Gurney; Hovey makes paper prints for Mr. Root.]

BRADY, MATHEW B. (1823-1896) (USA).
“Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 5:17 (Dec. 15, 1853): 272. [“Mr. Brady, of this City—It is rumored that Mr. B, has the premium on Daguerreotypes at the Crystal Palace. We should not be surprised if it should prove true. It has not yet been officially announced.”]

EXHIBITIONS. 1853. NEW YORK. EXHIBITION of the INDUSTRY OF ALL NATIONS.
“New York Industrial Exhibition. Report of Jury. F. Class, 10. Daguerreotypes, etc.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 5:19 (Jan. 15, 1854): 299. [“We have at last received the report of the Jury on Daguerreotypes, at the Crystal Palace, and as we expected, several rivals are flattered to an equal amount. Up to this time we are unable to give the (if any) comments of the jury upon the various specimens, as only an alphabetical list has been handed in. The only silver medal awarded to Photography, is to “JOHN A. WHIPPLE, of Boston, Mass., U. S., for Crystalotype, a new art.”
“A new art!” Even in the face of this report, we have yet to learn if the Crystalotype is a “new art.” Had the Jury looked over the file of almost any of the foreign scientific journals, they would not have said as they now do.
The following named exhibitors have been awarded a “Bronze Medal, with special approbation.”
Brady, M. B. New York City, for Daguerreotype.
Hesler, Alex. Galena, 111., for Daguerreotype.
Harrison, C. C. New York City, for Cameras.
Lawrence, M. M. New York City, for Daguerreotype.
Plunt, Henry. France, for Photography Apparatus.
Root, S. New York City, for Daguerreotype.
Solomon, Joseph. London, G. B., for Stereoscope.
The following named exhibitors have received “honorable mention.”
Fitzgibbon, J. H. St. Louis, Mo., for Electrotype and Daguerreotype.
Gurney, J. New York City, for Daguerreotype.
Harrison & Hill, Brooklyn, N. Y., for Daguerreotype.
Long, E. St. Louis, Mo., “for an exquisite Daguerreotype of a lady.”
Meade Brothers, New York City for Daguerreotypes.
Moissinet, Doryns & Rlchardson, New York City, for Daguerreotypes.
North, M. A. Cleveland, Ohio, for Daguerreotypes.
Peters, O. P. New York City, for Stereoscope.
Root, M. A. Philadelphia, Pa., for Daguerreotypes.
Whitehurst, J. H. Baltimore, Md., for Daguerreotypes.
It will be observed that the above names are arranged in alphabetical order; consequently each exhibitor stands equal. We regret not finding some favorable report in favor of that unsurpasstd Panorama view of Cincinnati. This specimen we regard as one of the finest productions ever resulting from the Daguerreotype.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 5:21 (Feb. 15, 1854): 335. [“Brady, S. Root, and Lawrence, each claim the first premium for their specimens exhibited at the Crystal Palace. Now can either of these gentlemen refer us to any portion of the Jurors’ report by which there is equal grounds for these claims?”]

BRADY, MATHEW B. (1823-1896) (USA).
“Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 6:1 (Apr. 15, 1854): 15-16. [Brady’s advertisements, from the N.Y. Tribune, Apr. 18.]

BY COUNTRY. USA. 1854.
“Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 6:9 (Aug. 15, 1854): 143. [Whipple (Boston, MA); McClees & Germon (Philadelphia, PA); J. H. Fitzgibbon (St. Louis, MO); J. H. S. Stanley (Houston, TX); Bronk (formerly operator at Brady’s) is with Winchester, in Columbus, OH; James Cremer; C. A. Johnson, formerly Batavia, NY to Madison, WI; Gurney & Frederick; M. M. Lawrence; Denny, formerly Whitney & Denny (Rochester, NY) leaving the profession for health; H. D. Knight (Batavia, NY).]

BY COUNTRY. USA. 1854.
“Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 6:16 (Dec. 1, 1854): 255-256. [Moulthroup (New Haven, CT); R. B. Appleby (Rochester stock dealer); I. Tucker (Augusta, GA); Cary & Perkins (Savannah, GA) opened rooms in Macon, GA; Lewis (Bridgeport, CT); E. Ritten (Danbury, CT); Zeley (Columbia, SC); Brady (NYC); A. M. Allen (Pottsville, PA); Sutton & Brother (Detroit, MI).]

BY COUNTRY. USA. 1855.
“Daguerreotype Movements.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 6:18 (Jan. 1, 1855): 295-296. [R. B. Appleby hired G. W. Squiers to take charge of his operating department, A. taking over stock department full-time; J. B. Smith (Rome, NY); A. Litch working for Cooley (Springfield, MA); J. Gurney & C. D. Fredricks taking paper photos (NYC); S. Root (NYC); Brady (NYC); Anson (NYC); S. A. Holmes (NYC).]

BY COUNTRY. USA. NEW YORK: 1855.
“Daguerreotype Movements: Daguerreotypists in New York.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 6:20 (Feb. 1, 1855): 326-327. [S. Root; S. A. Holmes; J. W. Thompson; M. B. Brady; Gurney & Fredricks; M. M. Lawrence; H. E. Ilsey; A. Bogardus; Barnard; Meade Brothers, Haas.]

BY COUNTRY. USA. 1856.
“Sixteenth Size in Union Cases.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 8:13 (Nov. 1, 1856): Additional section; 8. [Mentions J. Gurney; Dobyns; M. B. Brady; M. M. Lawrence still ill; J. H. Fitzgibbon; W. W. Granger moved from Palmyra, MO; G. M. Thomas moved from Madison, GA; Samuel Holmes; C. C. Harrison, others mentioned.]

ORGANIZATIONS. USA. AMERICAN PHOTOGRAPHICAL SOCIETY. 1859.
“American Photographical Society of New York.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 11:8 (Aug.15, 1859): 113-114. [“A meeting of the above Society was held on Monday, August 8th; it was well attended; Prof. Draper was in the Chair. After the usual business and the election of six new members, Mr. Tilman read a paper on Phosphorescent Light, being an extract of Becquerel’s Iate report of his experiments on this subject. Mr. Seely remarked that nothing appeared to prove that light was stored in phosphorescent bodies. Dr. Van der Weyde said that his latest experiments on the photographic power of those bodies proved that absolute contact was necessary to obtain any impression in the dark, even on the most sensitive surfaces; he was rather inclined to the belief that, after all, chemical affinity was the cause of most impressions thus far ascribed to the photographic power of phosphorescent or fluorescent bodies. Prof. Draper related in detail some of his experiments, but we have not space to report them in full, which seem to prove that light may, in reality, be stored up, but that its power afterwards is too feeble to expect from it any photographic impression. Several members took part in the discussion, and it was remarked that however well the laws of light may be understood and mathematically defined on the subject of its nature we are rather in the dark, and require more information.
Mr. Stetson exhibited some splendid specimens of illustrating advertisements by means of photography, and other members stated that this was beginning to be extensively used—that it was employed by the’ police to facilitate their business of rogue-catching, by establishing a Rogues’ Gallery. The remark gave rise to a very amusing discussion about this collection of celebrities, as being one of the New York institutions well worthy of a visit, and also with regard to the services of photography to law and order.
Mr. Stetson next mentioned, as a preventive against imitating bank-bills, the introduction of silk threads in the paper, which would make it unfit for photographic purposes. Mr. Garbannati observed that this idea was an old one. Dr. Van der Weyde said that it would not prevent its use in photolithography; that a photographed bank-bill, printed in the usual way by a silver salt, was so easily detected by means of a cyanide salt, that there was no danger whatever; in photolithography it was otherwise, as by its means counterfeiters had succeeded in imitating bank bills printed in two colors: so as to succeed in this, they took two genuine bills of the same kind, and, with two different chemicals, destroyed all the red in the one and all the black in the other, or any other two colors the bills may be printed with; each bill was then photographed, and the two impressions obtained were afterwards printed with the identical colored inks of the original bills. The Doctor further stated that in 1856 he was consulted on this subject by the firm of Danford, Wright & Co., 1 Wall Street, bank-note engravers, and the question put to him, if it would be possible to produce one color of ink which could not be destroyed. He answered that it could not be done, as some substance would be found which would act chemically upon it. A bill was then presented to him printed in red and black, accompanied by a certificate of a certain chemist that the red resisted all chemical tests. The Doctor demonstrated his first assertion by destroying the red with the second chemical test he applied. He stated that, in his opinion, the only way to prevent the fraud would be to make two inks of different colors, but identical in their chemical composition, or at least in their affinity, so that any substance which would destroy the one would also destroy the other. As an illustration he mentioned the black and red sulphuret of mercury or Vermillion, the different-colored chromides of lead, etc.: this would prevent the imitation of the two colors by means of photolithography, and would put all bills printed with two colors of this nature beyond the possibility of being imitated—an abuse so much the more dangerous, as this class of imitated bills is so precisely similar to the originals, that a description in the bank-note list fails to distinguish the genuine from the counterfeit ones. He further mentioned that his idea has been acted upon, and that a chemist of this city had experimented on different colors obtained by the chromium compounds, and discovered couples of the same chemical constitution, but of a different chemical modification, thus presenting different colors, which were now used to print some kinds of bank bills in two colors.
After this the members received an invitation from Mr. Wilson to examine an arrangement he had in the large hall of the Institute to light the one hundred and fifty-six gas-burners at once by means of an electric spark. After finding their way with some trouble along the dark stairs to the darker hall, the company was agreeably surprised with a sudden brilliant illumination of all the lights; a thin copper wire is conducted from one burner to the other, and so arranged that a little spark, one-sixteenth of an inch long, will fly over to the orifice of each burner, as soon as the gas is turned on. The electricity used is the secondary current of Rubinkort’s induction apparatus, with the improvement of Ritchie, of Boston. For the benefit of those of our readers not acquainted with such matters, we will only say that this apparatus is nothing more than the common small battery so generally known and used for medical purposes, and described in all the books on philosophy, improved and made on a large scale: the principle is exactly the same. It is the application of this instrument that Mr. Wilson has patented; his instrument is perhaps ten times more powerful than is necessary for the purpose. In fact all those instruments, if large, send such immensely powerful currents in both directions, that only the accidental excess of one or the other kind of electricity may be caught and examined. It requires a previous study of the laws of electricity not to be confused by its effects, and a person who knows nothing of this natural agent but by this instrument must necessarily obtain strange and confused notions about it. This is the case with Mr. Wilson, the patentee, as he showed by the explanations he attempted to give about the action of Rhumkort’s apparatus. There is another way of lighting gas by means of electricity, patented in 1857 by Gardner, namely: thin platinum wire near the orifice of the burners heated by the electric current. The same current opens all the stop-cocks by means of small electro-magnets, a very ingenious arrangement also patented by Mr. Gardner. Those electric currents and sparks are of some interestto photographers, as their light is one of the best to obtain impressions from in the night. Brady, a few years ago, in the Academy of Music, made a few large negatives at midnight, from a statue and a group of persons, illuminated by the light of electric sparks.”]

CUTTING, JAMES AMBROSE. (1814-1867) (USA)
“The Balsam and Bromide Patents.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 11:20 (Feb. 15, 1860): 305-307. [Brady, Gurney, Lawrence, Bogardus paid Tomlinson (representative of Cutting). Fredricks fought the claim. Meetings held, call for support for Fredricks.]

ROOT, MARCUS AURELIUS. (1808-1888) (USA)
“Heliographic Schools.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 12:4 (June 15, 1860): 49-52. [(Very long editorial on the topic of establishing a school, raised in M. A. Root’s earlier article.) “In our last number appeared an article from an esteemed correspondent, M. A. Root, Esq., of Philadelphia, having the above caption. Mr. Root is one of the oldest Heliographers in the United States. He commenced taking daguerreotypes as early as 1840, and no one in this country, we believe, ever took better. He also understands the whole theory and practice of the photograph and the ambrotype, and any advice he may give to his fellow artists, as to the best course for elevating and ennobling their profession, will, of course, be received and treated with respectful attention.
We think the establishment of a heliographic school in this city would be a good thing, and have a beneficial effect on the art generally. It would have the tendency to improve operators in the theory and practice of their profession. An institution of this character, supplied with all necessary chemicals and apparatus, in charge of competent practitioners of the art, and men thoroughly versed in the science of chemistry, would be great utility to some of our operators; men who have blundered into the business for the sake of getting a livelihood in an easy kind of a way. Such men are often in the dark as to what is the reason of their not making good pictures. They know nothing whatever of chemical science, never having read, or even opened a book on the subject. How do they get along without the aid of such an Institution as that proposed above? Why, by enquiring of their brother operators, or of their stock dealer, or of their chemist; taking up his time, and therefore his money, and making no compensation whatever for the same; actually sponging on the good nature of the man. We know of parties who are in the habit of purchasing their materials of a certain chemist not a great way off from where we write, and who think that if they buy of him to the extent of a few shillings, or a dollar, they have a perfect right to pump out of him whatever Heliographic information they may be in want of at the time; and he —good-natured man—will leave his laboratory, where he is busily engaged in the manufacture of reagents, and talk and talk away with his customer, answering all questions, and growing more and more interested, as the conversation, proceeds, until fifteen minutes, or half an hour’s time has passed. the seeker after chemical knowledge, after having crammed his cranium with ten times as much information as he can by any possibility retain there, departs with a “good morning,” and a promise to call again when he wants another bottle of gold, not realizing the fact that the valuable knowledge he has obtained free gratis and for nothing, has cost his informer time and money.
A physician acquires his profession by years of application and thousands of dollars of expense, and his advice, given in a few words, and in a few minutes time, is paid for in money. They never give advice without charging for it from one to five dollars, and sometimes more. So with a lawyer: he gets pay for all the legal information he imparts to his client. But with chemists, certainly with those in the Heliographic line, the case seems to be entirely different. They have spent as much time, and as much or more money, in acquiring a knowledge of their profession, as either the lawyer, or the doctor; but how often do they get payment for mere advice or information? The fact is that a thorough going chemist is so much in love with his profession, and so enthusiastic, that he is only too happy to talk on the subject at any and all times; and when he gets fairly under way, he does not know where to stop, or leave off: he has the love of an artist for his profession; he does not follow it for the sake of the gold it brings, and the wealth it produces; he is trying continually to find out the “Philosopher’s Stone,” and is sanguine yet that it will be found, and if it should be, it would not be one-sixth part as marvellous as many of the discoveries of modern chemical science.
But to return from this digression to our subject of Schools for operators. No one can deny that they need them badly enough; but will they patronize them, and will they be willing to pay sufficient to support them? That is the main question after all. To answer this query correctly, let us look and see the character of the men who are expected to support such an Institution. Are they liberal in supporting the means of information already within their reach? We trow not!
Our correspondent speaks of the Heliographic Journals as being the mouthpieces of those having either a professional, amateur, or scientific interest in our art, and of their doing a good service. they are doing a good service wherever taken, but they are not sufficiently encouraged or supported, and although their terms are very low, just about the bare cost of paper and material, they are not taken so generally as they should be. Why take this Journal, for example. We flatter ourselves that each number issued contains matter well worth, in hard cash, two dollars to any operator, and yet there are thousands who think they cannot afford to pay two dollars a year for it! Much of the information that could be furnished by a Heliographic School in furnished by the Journals, and yet there are many who cannot afford to take them. This Journal has articles in each number written by the leading and most scientific Photographers in England and France, detailing at length the results of long research and large experience; giving new formulas, and continually new discoveries, and your cheap picture-taker thinks his business will hardly afford it this year!
And this is the class that are expected to support a Heliographic School, forsooth! and such a support! We pity the poor professor who trusts to it for his daily bread! The better class of operators, such men as Brady, Gurney, Fredricks, and the like, think they know as much about taking pictures as anybody in this country, at least, can teach them. They also are men who are doing a lucrative business, and who have no time or inclination to devote to going to school; they are posted; they have learned the ropes, and are not going to impart their information to greenhorns, either for money or for love of their profession.
And if such men do not care for a school of Heliographic art, if they will take no interest in it, on whom will you rely for your teachers and your professors? They must come from the ranks of such men, and no other. Amateurs are not going to meddle with it. They are generally men engaged in other business, and practice the art for pastime, in their leisure moments. We think we have shown that it would be extremely difficult, and in fact impossible, to establish such a school as Mr. Root describes. You could not obtain sufficient support for such a one. You might indeed find some experienced artist who was out of business, who would, for a consideration, act the part of a President and Faculty of a Heliographic College; and if the consideration should be forthcoming, all well and good. But it will never come from operators; that’s clear.
If some nice old gentleman, like Peter Cooper for instance, should see fit to appropriate a sufficient quantity of the dust to support such an Institution as Mr. Root advocates, we think it would be a very good thing; but we fear he will never do it in our day. In England such an Institution will do very well. There it will be well supported. There are hundreds of amateurs in Great Britain, among the nobility and gentlemen of wealth, who will avail themselves of the advantages offered by such an Institution..
Heliographers in this country must devote themselves more to the science of chemistry, as the first and most important step towards the attainment of a the rough knowledge of their art. They will thus gradually become more interested in their profession, and more willing to take an active part in anything that will tend to its advancement and increase its respectability. Let them also subscribe for a good Heliographic Journal, and keep thoroughly posted up in all the new discoveries made in their art.
One of the chief objects of the proposed school is, to give information to artists when they happen to get into a “fog,” and can’t make things work generally, and charge a respectable fee for so doing. This identical thing has been one of the provinces of this Journal; we have frequently sent to us from our subscribers questions to answer, which require no small amount of chemical information and experience, and when the Editor of this Journal has been unable to give a satisfactory solution himself, he has submitted the query to a thorough-going analytical chemist; and how much has he charged for it? Why two dollars a year, including 384 pages of new and interesting Heliographic matter!
We hope to Hear from some of our numerous correspondents in relation to their views on this subject. We have no wish to throw cold water on it; but as our friend wished for our opinion in the matter, we have given it herewith, and we hope in a modest and becoming manner! If any of our friends wish to advocate the measure, let them send along their ideas, and we will thoroughly ventilate them in the pages of Humphrey’s Journal.”]

CUTTING, JAMES AMBROSE. (1814-1867) (USA)
Gage, F. B. “The Patent Case. Reply to Mr. Fitzgibbon.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 12:6 (July 15, 1860): 84-85. [“To the Editor of Humphrey’s Journal: I noticed an article in a late number of your Journal, from the pen of Mr. Fitzgibbon, on the subject of the Cutting Patents, which seems to be very much at variance with the Fund movement in your city. Now, although I have an abundance of respect for Mr. Fitzgibbon, I cannot endorse his article on account of its not being sufficiently philanthropic. In fact, Mr. Editor, there is a great want of philanthropy in the photographic ranks. There is an exclusiveness among the first operators which, to the undiscriminating, seems very remarkable. As you remark in the Journal of June 15: “The better class of operators, such as Brady, Gurney, Fredricks, etc., think they know as much about taking pictures as anybody, in this country at least, can teach them. They also are men who are doing a lucrative business, and who have no time or inclination to devote to going to school. They are posted; they have learned the ropes, and are not going to impart their information to greenhorns either for money or love of their profession.” It is noticeable that almost every good operator has his mouth eternally sealed as far as the art is concerned, and he has also conceived the idea that he never learned to use the pen. Now, you see, if there was a proper degree of public spirit and interest in the welfare of the art, these first-class operators would put all their dodges in the Journal and reveal them to the Photographical Society; they would also generously go across the street and detail the particulars to the rival artist, who is taking pictures superior to any in town at one-fourth the charge in other galleries. It has not cost these first-class operators anything to obtain this ascendency. No! they were born lucky. No toil, no money, no hard study. Nature showered success upon them in such abundance that they have only to float; never to wade. But, on account of this great want of philanthropy, they are not disposed to help the less favored.
Now, if these operators of the first class would only consent to reveal to the second class, then the latter would be very grateful, and forthwith sink the price of pictures from five cents, down to two and a-half cents; and, if they thought this was not compensation enough, they would make up the balance in slandering and lying about class 1.
I would like to know what right this Mr. Fitzgibbon has to wish to obtain an honest, honorable livelihood? Does he not know that he might do a vast amount of good by divulging his knowledge of the art and assisting the five cent class, who never take a journal, and never will, provided they have to pay for it? Even if Mr. Fitzgibbon has children to feed and clothe, he should show his philanthropy though he lets them starve. More than ten cents, for a photograph as large as a barn door is rank extortion. No matter whether they are good or bad, all pictures should be the same price per square yard! I have no doubt that Mr. Fitzgibbon could give any honorable competitors fits, or, at least, he could Fitz-gib-um. But then he should be philanthropic; he should look to the good of the art!
There is another set of extortioners; these are the stock dealers. Some of them are actually making enough to pay their way, which should be looked to at once. They should be made to work for something less than their board. The old Bible standard, “Love thy neighbor as thyself,” is changed to “Love thy neighbor and hate thyself.” This is designed to apply only to the best class of operators and journalists. Now, why not publish the Journal for one dollar a-year? This would enable the five-cent class to make pictures about half a cent cheaper per square yard, as one dollar a year would be saved from their actual expenses, provided they were to take the Journal.
I can cite an individual case of this exclusiveness. There is a Mr. Gage, living somewhere up in Vermont, who has written more or less for this Journal. There is also another operator, born very near where this Mr. Gage originated, who is at present taking pictures in the same State. Although friends in boyhood and at the present time separated by more than a hundred miles, and having no interests that clash, this artist has grown very unfriendly to Mr. Gage. He acknowledges that Mr. Gage is a good operator, but says that he “publishes all he knows, and more too.”
The probable reason of his unfriendliness is, that his own reputation has not extended beyond his native State, while Mr. Gage’s having become somewhat more extended, he evidently feels envious; he looks upon every one more successful than himself as his enemy, and treats him accordingly. Mr. Gage, however, could inform this same operator that, although he has published some things, he has not yet published all he knows, neither has he published the best he knows. There is one process that Mr. Gage possesses, which he has worked out within the last three months, the secret of which neither this oporator, nor any other cheap oporator, could purchase for five hundred dollars, unless they would give satisfactory bonds not to degrade the price of pictures made by this process.
Here you find, Mr. Editor, a case of want of philanthropy and the good of the art. Mr. Gage, however, says that he “would be pleased to publish the process in full in your Journal, but as long as the assassin stands at his door he chooses not to lend him his choicest weapons.
“If there was only an honorable competition at uniform prices, every operator of credit in the land would be willing to publish his best process in the Journal at once. If that were the case, you would see the art progress. Until then you will see it developing only under the exclusive order. The man who sincerely thinks the art is going to advance in the least under the cheap operators is more than a fool.”
Well, Mr. Editor, you see by the above what Gage thinks about the matter, and, as he unblushingly asserts that he has none of the philanthropic spirit, and does not publish the best he knows, I advise you not to print any more of his productions. I also advise all cheap operators, and several in particular, not to steal certain copies of Humphrey’s Journal and read its articles in secret, being too stingy and miserably mean to pay for them.
If Mr. Fitzgibbon should happen to see this communication, I hope he will feel pretty nearly used up. Let him study the new translation of scripture: “Love thy neighbor; hate thyself.” Truly yours, F. B. Gage.
P. S.—The Editor of H. J. may have a chance ere long to see some of the pictures taken by the process mentioned above.”]

CUTTING, JAMES AMBROSE. (1814-1867) (USA)
Davie, D. D. T. “The Cutting Patents. Letter from an old artist. Mr. Frederick’s motives called to question. Advice to operators. Will Mr. Tomlinson succeed?” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 12:10 (Sept. 15, 1860): 147-149. [“New York, Sept. 1860. To the Editor of Humphrey’s Journal: Thus far I have kept silent upon the subject of the Cutting Patent Suit, which has at last become a topic of general discussion. I am sorry to differ with your Journal and several correspondents in relation to the merits of Cutting’s suit against Fredricks; but such is my lot, and having been for almost twenty years a slave to the photographic art and, a reader of everything published relating thereto, and constantly having an eye turned to improvements abroad as well as in this country, I feel that my opportunities of knowing something about this matter are too good to throw away. Judging from mere hearsay, I believe that Mr. Cutting is entitled to the full benefit of the discovery of the use of bromides in photography; and I have, as I believe, a very large number of the old school Simon-pure brothers to endorse my opinion. I do not propose now to discuss the merits of the question. Suffice it to say that, at the time that Cutting perfected his application of bromides Messrs. Brady, Gurney, Root, and several others of the same class purchased rights of Cutting, which they would not have done under false claims and representations. I have no doubt that bromides were used, or attempted to be used, in Europe…”

BRADY, MATHEW B. (1823-1896) (USA).
“Photographs of War Scenes.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 13:9 (Sept. 1, 1861): 133. [“The public are indebted to Brady, of Broadway, for numerous excellent views of “grim-visaged war.” He has been in Virginia with his camera, and many and spirited are the pictures he has taken. His are the only reliable records of the fight at Bull’s Run. The correspondents of the rebel news papers are sheer falsifiers, the correspondents of the Northern journals are not to be depended upon, and the correspondents of the English press are altogether worse than either; but Brady never misrepresents. He is to the campaigns of the republic what Vandermeulen was to the wars of Louis XIV. His pictures, though perhaps not as lasting as the battle pieces on the pyramids, will not the less immortalize those introduced in them. Brady has shown more pluck than many of the officers and soldiers who were in the fight. He went —not exactly like the “Sixty-ninth,” stripped to the pants — but with his sleeves tucked up and his big camera directed upon every point of interest on the field. Some pretend, indeed, that it was this mysterious and formidable looking instrument that produced the panic! The runaways, it is said, mistook it for the great steam gun discharging 500 balls a minute, and incontinently took to their heels when they got within its focus! However this may be, it is certain that they did not get away from Brady as easily as they did from the enemy. He has fixed the cowards beyond the possibility of a doubt. Foremost amongst them the observer will perhaps notice the well-known correspondent of the London Times, the man who was celebrated for writing graphic letters when there was nobody by to contradict him! but who has proved, by his correspondence from this country, that but little confidence can be placed in his accounts. See him as he flies for dear life, with his notes sticking out of his pockets, spurring his wretched looking steed, his hat gone, and himself the picture of abject despair. But, joking aside, this collection is the most curious and interesting we have ever seen. The groupings of entire regiments and divisions, within a space of a couple of feet square, present some of the most curious effects as yet produced in photography. Considering the circumstances under which they were taken, amidst the excitement, the rapid movements, and the smoke of the battle-field, there is nothing to compare with them in their powerful contrasts of light and shade.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Photographs of War Scenes.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 13:10 (Sept.15, 1861): 158-159. [“Among the portraits in Brady’s collection, spoken of in our last number are those of many leading generals and colonels —McClellan, McDowell, Heintzelman, Burnside, Blenker, Wood, Corcoran, Slocum, and others. of the larger groups, the most effective are those of the army passing through Fairfax village, the battery of the 1st Rhode Island regiment at Camp Sprague, the 71st regiment, formed in hollow square at the Navy Yard, the Eighth regiment at Camp McDowell, the Engineer corps of the New York Twelfth at Camp Anderson, Zouaves on the look-out from the belfry of Fairfax Court House, etc., etc. Mr. Brady intends to take other Photographic scenes of the localities of our army and of battle scenes, and his collection will undoubtedly prove to be the most interesting ever yet exhibited. But why should he monopolize this department? We have plenty of other artists as good as he is What a field would there be for Anthony’s instantaneous views and for stereoscopic pictures. Let other artists exhibit a little of Mr. Brady’s enterprise, and furnish the public with more views. There are numerous photographers close by the stirring scenes which are being daily enacted, and now is the time for them to distinguish themselves.”]

SELLERS, COLEMAN. (1827-1907) (USA)
Sellers, Coleman. “Letter from Coleman Sellers, Esq. “ HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 14:5 (July 1, 1862): 26-29. [(Describes visit to Springfield, MA., photographing there, etc.) “Philadelphia, May 11th, 1862. My last letter to you was written in New York: since then I have visited many cities in New England, and now once more address you from Philadelphia. Outside of New York I found but little of interest in the way of photography. The country towns are always behindhand in adopting the latest improvements and discoveries in the art; and I am inclined to believe the country operators do not invest much money in photographic literature. They generally depend on “picking up information from the itinerant vendors of wonderful formula, and from the handbooks published from time to time. Divine’s new book—which gives some very good instruction —sells rapidly; in fact the publisher tells me the edition has been exhausted.
Now that I am away from the noise and bustle of New York, and can look back at what I saw there, sifting the good from the bad, and treasuring up the choice items of information for future use, I feel that the art as conducted in the large establishments of that city must be considered as the highest grade of photographic portraiture in this country. There are hundreds of establishments there where work of the poorest character is turned out, but the good class of work is falling into the hands of those best able to do it; hence such large establishments as Brady’s, Fredricks’, &c., are pressed almost beyond their ability, and that too almost exclusively with card pictures. Messrs. Anthony are printing 3600 of these pictures every day, and yet they are behindhand in supplying some orders.
I visited their factory in company with Mr. Henry Anthony, and was struck with the great care taken to produce good work. As we entered the printing-room the prints of the day before were being assorted—those not perfect enough for sale being torn up and thrown up into a scrap pile; and that scrap pile, had the pictures not been torn, would have been a good place to spend an hour or two in. Most of the printing is done by women, one man having charge of the toning.
Mr. Anthony has introduced many novelties into his way of working, and has very wisely kept to himself his most valuable formulas. Yet he is a kind friend to amateur photographers—ever ready to lend them a helping hand; and I have to thank him for much valuable information. His washing arrangements for his prints is on quite an extensive scale, the most noticeable feature being the management of the jets and currents of water in the different tanks. His theory being that as paper floats before it has been in the hypo., the preliminary washing is all done in tanks, having the water distributed by jets on top, while the final washing to carry off the hypo, is connected in a tank so arranged as to have the water ascend from below, thus lifting the water-logged prints and keeping them in motion. I should not neglect to say the syphon principle of intermittent emptying of the tanks is in general use.
I find that the acetate of soda is much used in toning, the toning solutions consisting of acetate soda, common salt, chloride of gold, and sometimes, for over printed proofs, chloride of lime. But little attention is paid to exact quantities; but, as one operator expresses it, he “he takes a small handful of each salt, and adds them to about five quarts of water, and then pours in fifteen grains of gold.” Mr. Anthony tells me that the use of salt in the toning solution is a preventative to irregular toning, and avoids the red stripes arising from streaks of thick albumen on the paper.
In a former letter I mentioned glass roofs, and gave, as the experience of a first-class operator, an objection to blue glass; but while in New York I saw many instances of portraits taken under such light, which could not have been obtained in any other way. One very old gentleman, whose eyes were painfully affected by strong light, showed me his portrait taken by Fredricks, and assured me that it was the first good one he had been able to get. It was remarkably well executed, the eyes well expanded, and no painful contraction of the brows. Dry collodion is engrossing as much of the attention of amateurs as ever, and, we are still on the eve of that wonderful instantaneous dry process; but I am free to confess as yet it has not been reached, to my knowledge, this side of the Atlantic. Dr. Draper’s warm water has been only an approximation to the desired end, and it does not seem to answer for many of the other dry plates besides tannin.
A great want is felt of a very perfect arrangement for changing dry plates in the field, and considerable originality is being displayed in the outfits of the various amateurs. Wood has been preferred as the material for constructing these cameras and boxes, although there are many made of brass. In fact, the first cameras made in the United States were of that metal.
While at Springfield, Massachusetts, my business was with the U. S. Armory. This celebrated manufactory of rifles has been carried on with closed doors since our war began, as visitors interrupt the workmen and distract their attention. But being provided with a pass from Major Dyer, the commandant, and having four days to devote to this one establishment, there was time to enjoy some of the charming views over the Connecticut Valley from Armory Hill; and in one of my rambles over the ground I found a dark tent, deserted and out of order, but to the eye of a photographer looking like work. At first I hoped there might be some kindred spirit among the officers of the works—some amateur; but none could be found. In the Major’s parlor his wife showed me some good views, but could not say by whom they were taken; in fact no one seemed to take any interest in the artist, whoever he might be. At last, just before I left there, I happened to ask the Major’s coachman, as he was taking me to the hotel, to whom that mysterious dark tent belonged? He soon informed me that some photographic firm in the town were the owners, and that before they had taken to the art they had been employed in the Armory. To them I went, and found quite a room-full of pictures; for their “art-gallery was open every day and evening.” But of all the uncommunicative individuals I ever encountered they were the most so. I could make nothing out of them; and when they bowed me out I dare say they congratulated themselves on getting rid of a very inquisitive visitor.
One half-day we spent in the Cemetery of Springfield, and secured thirteen good stereoscopic negatives, proofs from which shall be sent to the Editor, when they can be printed. Speaking of that gentleman reminds me that several persons in New York called my attention to a remark of his before one of the societies, to the effect that “it was quite likely that what the Americans called instantaneity might not accord with the English views on the subject.” I explained to them that Mr. Shadbolt alluded to dry plates and not to wet, and the claim for quickness in Dr. Draper’s process gave grounds for supposing just what he had asserted; for I have not yet seen any proof at all of a perfectly instantaneous dry plate having been produced here or in England, assuming as a criterion the best wet instantaneous pictures made by Messrs. Anthony.
These gentlemen use a drop shutter falling very freely, and in some cases have used a spring; but their experience is in favor of the wooden drop. Their collodion, as I have tested myself, has qualities peculiarly fitted for quick work; and this quickness is not only due to the purity of the chemicals used, but to the addition of other chemicals to their collodion not generally used. Most sincerely do I hope that they will relieve me from my promise of secrecy on this score, and then I shall tell you how they work. The instrument they use has an opening of about three-quarters of an inch diameter, and gives a clear field, in which can be inscribed a square of three and one-half inches, all the objects being in focus to the extreme corner.
I have now before me a large number of interesting communications relating to scientific photography; but I must keep them for another letter.
Mr. T. E. Blackwell, of Canada, has just passed through Philadelphia on his final tour through the States, collecting his reminiscences of America. He brought from Canada the negatives of the eclipse of last year as observed by Mr. Notman for him; but unfortunately two of the negatives were broken on the journey, and the series is thus injured.
One of the gentlemen to whom I am indebted for valuable information intended for these pages, writes to me saying that he wants “Strasburgh Cathedral (on paper), and if I could get the inside of the Arch of Titus, the side with the golden candlestick (I have the other side). I should be happy.” If any kind friend will send me these for him I will repay him fourfold in kind, and will promise him the thanks of one of our first men of science.
I mentioned in a former letter Dr. Dean’s work. He is preparing a work on the nervous system, and its illustrations will be from the photo-micrographic copies of the sections of the various nerves. Thus I have before me new sections of the Medulla oblongata from human subjects, as well as various animals of low grades. Some are said to have been on tannin plates, and some very fine prints have the memorandum “ammonio-nitrate print” on them. He has shown great skill in the production of his proofs, which are remarkably clear and full of delicate detail. His expertness in preparing the sections for the microscope has been mentioned by many who are able to judge of such matters.
The Amateur Photographical Exchange Club has been conducive of much good to its individual members, as is evinced in the improvement shown in their proofs. Some of the least enthusiastic adhere to the specified times of exchange, whilst others, who “have the fever bad,” exchange several prints each week. A grand excursion is talked of this summer; but the Club is made up of hardworking men, and I fear it will not be possible for them to make the time suit all.”]

CUTTING, JAMES AMBROSE. (1814-1867) (USA)
“The Cutting Patents. Third Meeting, Friday Evening, December 8.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 17:16 (Dec. 15, 1865): 251-253. [“The minutes of the last meeting were adopted, and the nominating committee nominated the following named gentlemen for officers: M. B. Brady, President; N. G. Burgess, Vice-President; A. Bogardus, Treasurer; W. Peale, Secretary; Charles A. Seely, Corresponding Secretary.
Mr. Bogardus declined the nomination, and has since positively refused to have anything to do with the movement. Mr. Brady also refused to accept the nomination, he having previously purchased a license as has also Mr. Bogardus.
Mr. Grossklaus wanted such men to head our list, as they give character, and are known all over the country; hoped they would accept.
Mr. Bogardus said he could not attend to the duties.
Mr. Burgess—We will appoint an assistant to help.
Mr. Nesbitt, of Nyack, nominated Mr. Taylor, who is well known all over the country, and is a splendid artist. Mr. Taylor declined.
Mr. Bogardus hoped Mr. Taylor would accept, as he holds a peculiar position towards the patentees.
Mr. Seely declined to act as Corresponding Secretary, as he was not a member.
A voice—You are an honorary member.
Mr. Seely—I cannot attend to the duties. Mr. Johnson stated that Mr. Peale would not serve as Secretary, but would as Corresponding Secretary.
Mr. Nesbitt moved that the election of Officers lay over for one hour.
Carried.
Mr. Matthews—Are we organized? if so, we wish all who have not signed to leave the room; don’t know if there are any such persons, but if so, let them leave.
Mr. Nesbitt, of Nyack, remarked that he did not think it was right to invite the Photos here and then tell them to leave, as it was a public invitation, and he did not wish to be insulted; as for his friends and himself, they had a right to attend this meeting.
Mr. Griffiths, of Jersey City, called the gentleman to order!
Mr. Nesbitt—State your point of order, sir.
Mr. Griffiths then said, “I appeal!” (Great laughter.)
Mr. Griffiths then gave way to Mr. Matthews, who stated that he did not intend it as an insult, but thought it best for members only to be present. Mr. Matthews also remarked that all wishing to become members must send money with the application. Mr. Nesbitt objected for the reason that he did not wish to invite his friends to unite with them, and immediately after ask them for ten dollars.
Mr. Matthews replied that It was as proper for a Photographic Society to require the initiation fee in advance as for any other society to do so, although he would trust a photographer almost as soon as he would any other man. (Great laughter.)
Mr. Burgess requested all who wished to become members to come for-ward, pay and sign their names.
Mr. Tomlinson wished to pay and become a member; the Vice-President stated that it was too late. Mr. Ormsbee also was not allowed to become a member; after haying paid and signed his name his money was returned to him, and the Vice-President remarked that any one wishing now to become a member could have his name proposed and be balloted for.
Mr. Taylor wished all to become members. He then proposed Messrs. Tomlinson and Ormsbee. These two gentlemen declined, as they stated they had been invited once, and, when willing to join, had been refused.
Mr. Taylor then proposed Mr. Hubbard, who arose and remarked:
That he was grateful for the kind feelings indicated by the presentation of his name for membership, but, in consideration of the fact, that one feature of the organization contemplated resistance to the claims of the “Cutting Bromide Patent,” of which he was the general assignee, he begged leave to decline the honor of the proposition.
The presiding officer here assured Mr. H. that the Society did not propose to combine against the patent, whereupon Mr. H. replied, That he did not allude to it as a criminal conspiracy and wished it understood that he recognized fully the right of any one to determine the validity of any claim upon him, by “due process of law,” and that he desired to conduct this business by such honorable means, within his territory, that there should no ill feeling arise between himself and photographers, although they might differ so widely in their respective views of their personal rights and liabilities as to render legal measures necessary. He (Mr. H.) believed fully in his asserted rights under the Patent, and felt bound to accord to those who opposed it, equal integrity of view in relation to the same. Mr. H. invited all to a friendly arid thorough investigation of the merits of the Patent, and pledged himself to use his utmost efforts in aid of such an undertaking at his office, No. 74 Broadway, New York, or elsewhere, as they might desire. He returned his thanks to the meeting for their courtesy, and trusted that the future would develop a pleasant mutual acquaintance. His remarks were received with much applause.
An election of Officers was then held, resulting as follows:
M. B. Brady, President; N. G. Burgess, Vice-President; A. Bogardus, Treasurer; Mr. Grossklaus, Secretary; W. Peale, Corresponding Secretary; Mr. Grossklaus, Financial Secretary.
Mr. Nesbett wished to have the constitution and bye-laws read, as some of the gentlemen had been told to enquire about the criminality of a combination; after much trouble he had found the following in regard to the same, and hoped the matter would be attended to.
He then read extracts from the Third Volume of Story’s Reports, page 172:
1st. What would be the legal effect of an actual combination to resist a patent is a question of much importance. Woodworth vs. Sherman. Third Volume of Story, page 172.
2d. It would seem that a combination of a number of persons to resist a patent approaches very near, if it does not actually reach, a criminal conspiracy. Ibid, 172.
3d. In many eases it is lawful for individuals to do what cannot be done lawfully by a combination. Ibid, 173.
4th. An individual patentee may successfully resist an individual, when it may be much more difficult to resist the combined force of a great number of persons united to oppose his patent. Ibid, 173.
Mr. Burns wished to know if they were not likely to be imposed on by photographers who were not at present members, who might have suits commenced against them which would not be known to this Society; they would then become members, and are we not bound to defend them; now, Mr. President, I wish to know if our constitution and bye-laws cannot be amended to cover such cases, the presiding officer hoped and trusted all would become members before they were sued, and he believed this Society would number over 500 members embracing photographers from all parts of the Union.
After some unimportant business the meeting adjourned to meet again at the same time and place on Tuesday evening next, December 19.
Since the above was in type our Publisher has called upon Mr. Brady and Mr. Bogardus and saw both gentlemen. Mr. Brady told him that he would not. accept the position of President of the Society on any consideration. Mr. Bogardus said he had been entirely misinformed as to the objects of the Society when he accepted the office of Treasurer, but since he had ascertained that its principal object was to resist Patents granted by the United States’ Government, and that such an organization was, in the eye of the law, a criminal conspiracy, he would have nothing to do with it. For himself he considered the Cutting Patent valid and legal, and he had submitted to it, and paid for the right to work under it. The declination of the above gentlemen is very unfortunate for the Society, who seem to find it impossible to induce any man of responsibility, who has anything to lose, to accept any position under it.”]

CUTTING, JAMES AMBROSE. (1814-1867) (USA)
“The Cutting Patents. Fourth Meeting.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 17:17 (Jan. 1, 1866): 265-266.
[“(Reported expressly for Humphrey’s Journal) “
“An adjourned meeting of the “Photographers’ Protective Union of the United States” was held at the Cooper. Institute on Tuesday evening, December 19.
The meeting, owing to the members not coming up promptly, did not convene until after 8 o’clock.
The meeting was then called to order by the Vice-President, N. G. Burgess. The minutes of the last meeting were read and adopted. The Secretary then read letters from Messrs. Brady and Bogardus, in which they declined the positions of President and Treasurer. The resignations were then accepted.
The Vice-President stated that he had called on Mr. Bogardus, and that gentleman could not be prevailed upon to accept of any office, as he believed the Society to be a criminal conspiracy. Mr. Brady would not accept, not having time to attend to it.
Mr. Matthews moved that the Vice-President be nominated President.
The Vice-President thought the suggestion out of order, as the Vice-President could not be nominated as President.
Mr. Matthews stated that that was the way they done in the army. The matter was then laid over,
The Vice-President then invited those who wished to become members to step forward and sign, and attend to the other arrangement which was, we suppose, to pay!
Several signed.
A member then wished to know how far the case of Mr. Fredricks had been carried. Mr. Burgess informed him that it had only been carried to the Circuit Court, and as the Judge had died and the war was breaking out, Mr. Tomlinson did not wish to press the (poor) Photos until another Judge could be informed of the matter. He also stated that it was only necessary to bring the case before a Jury. A member wished to know how much it would cost. No one being posted, he could not be informed; but Mr. Matthews knew of a lawyer who could not be bought….” (p. 265) (Etc., etc.)]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brinckerhoff’s Porcelain Surface Photographic Paper.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 17:23 (Apr. 1, 1866): adv. section p. 10.
[Patent Granted, November 21, 1865.
As evidence of its value and utility, read the following testimonials from ARTISTS:…”
“…And the following from our leading New York Photographers:
Brady’s National Photographic Gallery, February 3, 1866.
785 Broadway, New York.
I have fully tested the Porcelain Surface Paper, invented by Mr. Brinckerhoff, of New York, and am satisfied as to its value for photographic purposes, both plain, retouched, and colored work.
Signed,… M. B. BRADY.” (Etc., etc.)]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Chinese Solvent.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 17:23 (Apr. 1, 1866): adv. section p. 63.
[“The Most Remarkable Article Ever Discovered for Removing Silver, Gold, and Acid Stains from the Hands. It Is Entirely Free from all Poisonous Substances; is economical, quick, and sure in its operations; and has been used in the leading Galleries in New York and elsewhere with the
Most Perfect Success.
Many Artists have written to us, that they would not do business without it.
The following named Artists in New York City have used it in their Galleries, and unhesitatingly recommend it to all:
C. D. Fredricks & Co.; A. Bogardus; J. Gurney & Son; M. B. Brady;
And Over One Hundred Others.” (Etc., etc.)]

BY COUNTRY. USA. 1869.
“Chips from an Old Block.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 20:25 (Sept. 15, 1869): 398-399. [Brief satiric or comic comments on current events within the field, here twitting J. W. Black’s photo of the assembled photographers at the Boston convention, M. B. Brady, and others not now identifiable from the reference. These are probably by D. D. T. Davie.]

BRADY, MATHEW B. (1823-1896) (USA).
“Obituary.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 20:28 (Dec. 15, 1869): 446. [A singular coincidence has transpired in the death of two of Mr. M. B. Brady’s bookkeepers… J. W. Gaw died Nov. 5, 1849. Wm. Healy, twenty years to the day died in 1869.]

DEBOW’S REVIEW, AGRICULTURAL, COMMERCIAL, INDUSTRIAL PROGRESS AND RESOURCES

BRADY, MATHEW B. (1823-1896) (USA).
‘Editorial Notes, Etc.: Review and Advertising Index.” DEBOW’S REVIEW, AGRICULTURAL, COMMERCIAL, INDUSTRIAL PROGRESS AND RESOURCES. ns 2:4 (Oct. 1866): 446-448. [“Photographers.-Brady.” p. 448. (Anderson no longer listed here.)]

BRADY, MATHEW B. (1823-1896) (USA).
“Editorial Notes, Etc.: Review Advertising Index.” DEBOW’S REVIEW, AGRICULTURAL, COMMERCIAL, INDUSTRIAL PROGRESS AND RESOURCES ns 3:1 (Jan. 1867): 112. [“Photographers. – Brady, Hall.” (These photographers listed at least through the Oct. 1867 issue.)]

DEBOW’S SOUTHERN AND WESTERN REVIEW

BRADY, MATHEW B. (1823-1896) (USA).
‘Literary and Editorial Department.” DEBOW’S SOUTHERN AND WESTERN REVIEW 9:5 (Nov. 1850): 567-576. [Book review. The Gallery of Illustrious Americans, containing the portraits and biographical sketches of twenty-four of the most eminent citizens of the republic, since the death of Washington. Daguerreotyped by Brady, engraved by D’Avignon, edited by C. Edwards Lester and an association of literary men. Published on imperial folio drawing paper, in a new and magnificent style. Those who have seen this work will admit that nothing has issued from the press, in this age of artistic excellence, which surpasses it, either in the letter-press or style of engravings. They are the most striking, beautiful and just, without a fault. The one of Mr. Calhoun, presents that great statesman as he appeared in his latter days, and there is no other engraving which does anything like merit to the distinguished original. Ten numbers have been published from Brady’s Daguerreotypes, which have the reputation of being the best in America, as he is the prince of daguerreotypists. The terms for 24 numbers $20, or one dollar a number.” p. 575.]

BRADY, MATHEW B. (1823-1896) (USA).
‘Literary Department. 5. Late Publications, Editorial Notes, &c.” DE BOW’S SOUTHERN AND WESTERN REVIEW 9:3 (Sept. 1850): 351. [“13. Gallery of Illustrious Americans: Containing portraits and biographies of twenty-four most eminent citizens of the Republic. Edited by C. Edwards Lester, assisted by an association of literary men. New York: Brady, Davignon & Co. Price $1 per number-imperial folio size.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Literary and Editorial Department.” DE BOW’S SOUTHERN AND WESTERN REVIEW 10:3(Mar. 1851): 372. [“The Gallery of Illustrious Americans, contains the portrait and biographical sketches of twenty-four of the most eminent citizens in the Republic since the death of Washington. Published from Brady’s Gallery, 205 Broadway, New-York. By John Wiley, G. P. Putnam, D. Appleton & Co., C. S. Francis & Co. New York, 1850.
“We have received the sketches of Clay, Webster, Wright, Taylor, Fillmore, Fremont, Prescott and Scott, and would thank the publishers to send us Calhoun and the others as they are published, so that we can have the work complete. The work is edited by C. Edwards Lester, our late consul at Genoa, who is assisted by other literary gentlemen. The portraits are generally faithful—that of Calhoun is the best we have ever seen of him. The work is printed on large and distinct type, on stout fine paper, and does great credit to all who are engaged. We recommend it to the public patronage, and trust it may receive all the encouragement it so richly deserves. We shall continue to notice the numbers as they appear, and recommend them to our friends.”]

ECLECTIC MAGAZINE OF FOREIGN LITERATURE, SCIENCE AND ART

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Miscellanies.” ECLECTIC MAGAZINE OF FOREIGN LITERATURE, SCIENCE AND ART 22:4 (Apr. 1851): 571. [“The Gallery of Illustrious Americans, published originally by Brady & Davignon, of New York, is highly complimented as a work of art by the best London journals. One of the latest we have noticed is the following from the Spectator:
“The New York press furnishes us with a first series of portraits, to include ‘twenty-four of the most eminent citizens of the Republic since the death of Washington.’ In no people do the chief men appear as more thoroughly incarnate of the national traits; each outwardly a several Americanism. Here we have the massive potency of Daniel Webster, – on whose ponderous brow and fixed abashing eyes is set the despotism of intellect; Silas Wright, – a well-grown and cultivated specimen of the ordinary Statesman; Henry Clay and Colonel Fremont, – two halves of the perfected go-ahead spirit; the first shrewd, not to be evaded, knowing; the second impassive to obstacles, and alive only to the thing to be done. The heads are finely and studiously lithographed from daguerreotypes by Brady, and suffice to show how utterly fallacious is the popular notion that character is lost in this process. Some effervescing patriotism and prostration might be spared from the biographical notices by Mr. Lester and others, in whose hands each eminent citizen’ seems his country’s supreme hero for the time being: but the excellence of the work in its more important feature makes this of but minor account. A strong concrete idea of the man is of no mean value in such cases; and we do not wish the English student of American events a better clue of its kind than is here presented to him.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Elisha Kent Kane, M. D.”) as frontispiece. ECLECTIC MAGAZINE OF FOREIGN LITERATURE, SCIENCE AND ART 40:4 (Apr. 1857). [“From Life by Brady. Engraved by J. Sartain.” “In connection with the very truthful portrait-likeness of Dr. Kane which accompanies our present number, taken from life, by Brady of New York, in ambrotype, just before Dr. Kane last sailed for Europe in search of health, we subjoin the following biographical sketch:… (p. 556)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w. (“Prince Napoleon and his Wife the Princess Clotilde.”) as frontispiece. “The Prince and Princess Napoleon.” ECLECTIC MAGAZINE OF FOREIGN LITERATURE, SCIENCE AND ART 54:4 (Dec. 1861): 556-559. [“On Steel by John Sartain, Phila. For the Eclectic. by Brady after Photograph from Life.” “The portraits have been finely engraved by Mr. Sartain from photographs taken from life by Mr. Brady, of New-York. The artistic arrangement is our own…”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Miscellanies. Brady’s National Photograph Gallery.” ECLECTIC MAGAZINE OF FOREIGN LITERATURE, SCIENCE AND ART 57:3 (Nov. 1862): 430. [The immense collection of works of art in Brady’s saloons is unequaled. It is a grand gathering of human faces, human celebrities, renowned men and women whose names stand high on the role of fame. The visitor to Brady’s galleries can gaze on more human faces of remarkable men and women than, perhaps, in any other rooms in the world. Brady himself is a celebrity in the art-world. It has been the labor of years, the accumulation of untiring industry and enterprise. The fame of this gallery has led public men and statesmen, distinguished foreigners and princes, to visit it, and leave their photographs, to add to the interest of the vast collection. Here may be found portraits of prominent men in the State, in the army and navy, in the clerical and literary world, and other professions. Along the walls may be seen portraits of celebrated ladies, whose characters and accomplishments adorn the race. Brady’s Gallery is also an art-world. He has photographed army and navy scenes, battles and carnage, amid the deadly conflicts. All these, or any of them, portraits and battle-scenes, are copied to order and sent to any part of the land, to enrich private collections. Brady’s Gallery is worth a day’s time to any visitor of New York.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Miscellany. Remarkable Wedding.” ECLECTIC MAGAZINE OF FOREIGN LITERATURE, SCIENCE AND ART 58:3 (Mar. 1863): 392. [“The grand nuptials of the two greatest little celebrities of this country or age, were celebrated in all due form and ceremony at Grace Church, in this city, February 10th, at noon. The arrangements had been amply made for this remarkable event by the prince of managers, (p. T. Barnum,., the renowned showman, to introduce to the curious public of New-York, and all civilized lands besides, this diamond edition of humanity…. Beautiful photographs of these great little personages may be had at Brady’s Establishment, who is always prompt to publish anything rare and interesting in his line.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Luther Bradish. President of the New York Historical Society. President of the American Bible Society.”) as frontispiece. ECLECTIC MAGAZINE OF FOREIGN LITERATURE, SCIENCE AND ART LITERATURE 60:1 (Sept. 1863). [“Engraved expressly for the Eclectic by George E. Perine, from a Photograph from Life by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Miscellanies. Brady’s Photograph Gallery.” ECLECTIC MAGAZINE OF FOREIGN LITERATURE, SCIENCE AND ART 60:1 (Sept. 1863): 131. [“The gems of photographic art here find their home in great variety and beauty. They are the admiration of innumerable strangers and visitors, who here assemble and find themselves in the photographic presence of the distinguished and renowned among men and women. Mr. Brady, with his accomplished artistic assistants and associates, achieves wonders in the photographic world. He follows the army. He photographs the battle scenes. He photographs the history of this great rebellion in many of its aspects. He goes to the battle-grounds, almost before the thunder and smoke have passed away, and placing his photographic instruments in battle array, he invokes the sunlight of heaven to make an accurate sketch of the scene. Mr. Brady has taken the sunlight into partnership, to aid him in enriching his gallery collection with portraits, and battle-scenes, and all in his line of art which can gratify the eye of the visitor. His carte-de-vistes are marvels of beauty in their execution.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Sir Morton Peto, Bart.”) as frontispiece. “Varieties. Sir Morton Peto and Mr. Brady.” ECLECTIC MAGAZINE OF FOREIGN LITERATURE, SCIENCE AND ART n. s. 3:3 (Mar. 1866): 391. [“Engraved for the Eclectic by Perine & Giles, N. Y.” Photograph from Life by Brady, N. Y.” “Our thanks are due to Mr. Brady, the renowned photographer, of 785 Broadway, New-York, for a handsome photograph copy of Sir Morton Peto, to be engraved for this number of the Eclectic, by permission of Sir Morton. Mr. Brady, by his skill and enterprise, has collected an immense congress of faces and portraits of eminent personages, foreign and domestic, worthy of an appropriate room at the National Capitol, for perpetual preservation.”]

THE EVERGREEN

BRADY, MATHEW B. (1823-1896) (USA).
“Book Table.” THE EVERGREEN 7:7 (July 1850): 224.
[“The Gallery of Illustrious Americans, containing the Portraits and Biographical Sketches of twenty-four of the most Eminent Citizens of the Republic, since the death of Washington. Daguerreotypes by Brady. Engraved by D’Avignon. Edited by C. Edwards Lester. Assisted by an Association of Literary Men. Published from Brady’s Daguerrian Gallery, by G. P. Putnam; D. Appleton & Co.; C. S. Francis & Co. 1850.
“We have received No. 6 of this magnificent work, containing a splendid engraving of Cot. Fremont. It is published on imperial folio drawing paper. It is altogether the most costly and elegant work of the kind ever issued from the American press. Every engraving is large enough to be framed, and to make a beautiful im-ornament for the drawing-room or parlor. It is published at the price of $20; to be completed in 24 numbers.”]

FARMER AND MECHANIC

EXHIBITIONS. 1849. NEW YORK. AMERICAN INSTITUTE FAIR. “
Articles for Exhibition at the Fair.” FARMER AND MECHANIC n. s. 3:42 (Oct. 18, 1849): 499-501. [“The influence of the American Institute, in giving encouragement to practical talent, is in nothing more manifest than in the numerous articles submitted for exhibition at their Fair; and in no particular department is the evidence, in this respect, more conclusive, than in the large room erected around the rotunda, expressly for machinery….” (p. 499) “…Burdon’s Steam Engine…” “…Dodge’s Improved Cop Spinner…” “…Safety Steam and Fire Engine…” “…Jones’ Improved Boring Machine…” “…Hartson’s Lathes and Planing Machine…” “…Patent Grist Mill…” “…Embossing and Copying Presses…” “…Ford’s Annunciation for Railway Carriages…” “Potter’s Improved Steam Boiler and Safety Guage…” …Harlett’s Lung Protective…” “…Improvement in Tanning…” (p. 499) “…Stoves, Etc….” “…Culver & Co’s Patent Hot-Air Furnace…” “…Brittannia Ware…” “…American Cutlery…” “…Matteawan Works…” “…Splendid Plow…” ‘…Diaphragm Filters…” “…Bee Hives…” “…Chemical Oil Soap…” “…India Rubber Goods…” “…Ginghams, Etc….” “…Tapestry Carpeting, Etc….” “…Silk Goods…” “…Woolen Goods…” (p. 500) “…Tickings…” “…Flint Glass Ware, Etc….” “…Brush’s Double Acting Pump…” “…Papier Mache Goods…” “…American Steel…” “…Engraver’s Ruling Machine…” “…Carpenter’s Planes, Etc….” “…Porcelain Knobs…” “…Card Wire…” “…Brady’s Daguerreotypes.” Mr. M. B. Brady, of 205 Broadway — to whose enterprise the public are so much indebted for the fine portraitures of the “President and his Cabinet” — has on exhibition in the Gallery a very fine assortment of his unrivaled Daguerreotypes. Among the specimens we observed many striking portraits of eminent men. There are many others of private characters, but all are evidently life-like and speaking. indeed, the general beauty and faithfulness of Mr. Brady’s Daguerreotypes entitle his establishment to the front rank of the great army of picture-makers.” (p. 501)…” “…Jones’ Safety Locks…” (p. 501)]

EXHIBITIONS. 1849. NEW YORK. AMERICAN INSTITUTE FAIR.
“Premiums awarded by the American Institute.” FARMER AND MECHANIC n. s. 3:45 (Nov. 8, 1849): 535. [“Class First. Gold Medals. For best Bank Locks, to J. Hutterworth & Co., Dover, N. J. For best Piano Forte, to David I. Van Winkle, New York. For superior Leather Hose and Pipes, to J. H.-Bowie &. Co., New York. For best Gas Fixtures, Chandeliers, and Candelabras, to Cornelius & Co., Philadelphia. For an Equatorial Telescope, to Henry Fitz, New York. For an Ore Separator, (a beautiful application of Modern Science,) to Ransom Cook, Saratoga Springs. For best American Steel, to Adirondack Steel Manufacturing Co., Jersey City. For best Grist Mill, to E. Harrison, New Haven, Conn. For best improved Cloth-Shearing Machine, with self-acting List-Guards, to Davidson, Park & Woolson, Springfield, Vt. For best Iron Planing Machine, to G. B. Hartson, New York. For best improved Ventilating Smut Machine, to L. Smith, Troy, N. Y. For a Gold Melting Furnace, to Barron Brothers, New York. For a Lathe for Face Turning Screws, and Gear Cutting combined, (a superior article,) to G. B. Hanson, New York. For improved Cop Spinning and Winding Machine, to J. C. Dodge Gt, Sons, Dodgeville, Maine. For Swords of elegant workman, to Ames Manufacturing Company—James F. Ames Agent. For best specimen of Velvet Tapestry Carpeting to A. & E. S. Higgins, New York. For best specimen of Enamel Wares, to Alexander Marshall, New York. For best specimens of Flint Colored, Plain and Cut Glass, to Brooklyn Flint Glass Go. For Pen and Pocket Cutlery, to Waterville Manufacturing Co., Waterbury, Conn. For best Table Cutlery, to Pratt, Roper, Webb & Co. For best specimen of Daguerreotypes, to M. B. Brady, New York. For best specimen of Lithography, to Edward Lawrence, New York. For best Statuary-Marble Mantel Piece, to M. G. Lenghi, New York. For best Black Broad Cloth, to Derastus Kellogg, Skaneatales, N. Y. For best Cassimeres, to Burlington Mills Company, Burlington, Vt. For best Fancy Cassimeres, to Milleville Manufacturing Company, Milleville, Mass. For best Woollen Long Shalls, to Bay State Mills, Lawrence, Mass. For specimen of superior Twilled Jeans, to the New York Mills. For best Cashmere d’Ecosse, to Robert Rennie, Lodi Print-works. For Pins and Coarse Hemp, to Henry Alexander, Mason Co., Kentucky, For India Rubber Goods, with some improvements over last year, to Union India Rubber Company, New York. Special Premiums. For a piece of Bleached Linen Sheeting, woven by Power Loom, to H. H. Stevens, Webster, Mass. Tallmadge Premium—Gold Medal. For best piece of Silk, 27 inches wide and 60 yards in length. Van Schaick Premium, $60, and Bronze Medal. For best Silk for Handkerchiefs, 25 yards in length. Van Schaick Premium, $20, and Bronze Medal. For best 10 pounds of Reeled (Raw) Silk. Van Schaick Premium, $10 and Bronze Medal.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Notices.” FARMER AND MECHANIC n. s. 4:26 (June 27, 1850): 310. [Book review. “The Gallery of Illustrious Americans; Containing the Portraits of Twenty-four of the most Eminent Citizens of the Republic, since the Death of Washington. Daguerreotypes by Brady. Engraved by D’Avignon. Edited by C. Edwards Lester; assisted by an Association of Literary men. “This splendid work now in progress, has reached its Sixth Number, which contains a portrait and biographical sketch of Col. Fremont. This is an undertaking creditable alike to the taste and talent of the able and enterprising proprietors; and, as far as we have learned, fully answers the expectations of its numerous patrons. it is offered for sale, at the lowest price at which so expensive it work can possibly be afforded, and should be in the hands of all true Americans, whose hearts glow with the feelings of patriotism, and who delight in the exemplary and praiseworthy deeds of their illustrious fellow citizens, and who would become familiar with their look of noble thought and daring, The present number cannot fail to be highly acceptable, and to be read with emotions of unusual interest and gratification.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Splendid Literary and Artistic Effort.” FARMER AND MECHANIC n. s. 4:27 (July 4, 1850): 320. [“Next to the venerated names who have borne a conspicuous part in the achievement of our Country’s Independence, which shall go down with grateful recollections of their noble and glorious deeds to the latest generations, are those illustrious and gifted men who have since adorned the councils of the Nation, performed feats of valor and heroism in war, and been foremost in the cultivation of the useful arts in times of peace. Such men have lived, and some of them still remain to occupy high and prominent stations —
Since the heroes of the revolution have sunk to rest,
. With all their country’s honors blest.
And to portray the life and character of the principal and most distinguished individuals of this class, since the death of Washington, is the object of what may be styled the Work of the Age, comprising biographical sketches and portraits of those celebrated individuals, called the gallery of illustrious Americans. This work is edited by Charles Edward Lester—a writer already well known for the force and beauty of his compositions in various departments of literature, but in none more happy, or at home, than in these biographical sketches. The portraits, ‘as daguerreotyped and drawn by one of our most favorite artists, Brady, and engraved by D’Avignon, for expression and truthfulness, it is impossible to surpass. The execution of the work, so far as type, paper, and mechanical skill are concerned, is equal to anything of the kind from the American press. Altogether, as a vivid representation and lasting memorial of those who have filled a conspicuous place in the eyes of the Nation, it is invaluable to every true patriot; nor do we know how he can better gratify the feelings of an American than by the purchase of this work. We heartily recommend it to the patronage of our readers generally, and can assure them, that they will not fail, when they possess it, to consider it a most estimable treasure.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Notices.” FARMER AND MECHANIC n. s. 4:31 (Aug. 1, 1850): 369. [Book review. “The Gallery of Illustrious Americans, Containing the Portraits and Biographical Sketches of Twenty-four of the most eminent citizens, since the death of Washington; Daguerreotyped by Brady; Engraved by C. Edwards Lester; Assisted by an Association of Literary men. Published from Brady’s Gallery, 205 Broadway, New York. Number seven, containing the portrait, and an able biographic sketch: of the great Ornithologist Audubon, is published, and for interest in description and narration, as well as beauty of execution, is not surpassed by any of the former numbers We have recently spoken of this valuable work in our editorial columns, to which we would refer our readers for a more particular account of its merits and claims on the patronage of the American public.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Notices.” FARMER AND MECHANIC n. s. 4:32 (Aug. 8, 1850): 381. [Book review. “The Gallery of Illustrious Americans, Containing the Portraits and Biographical Sketches of Twenty-four of the most eminent citizens, since the death of Washington; Daguerreotyped by Brady; Engraved by C. Edwards Lester; Assisted by an Association of Literary men. Published from Brady’s Gallery, 205 Broadway, New York. “The Eighth Number of this valuable work, containing the portrait and sketch of the life of William Hickling Prescot, is published and ready for delivery. Such genius and talent and perseverance as belonged to the interesting and celebrated author of the lives of Ferdinand and Isabella, of the Conquest of Mexico, and also of Peru, may well be held forth to the public, as worthy of, and honorable to. the American name. Descended from one of those renowned heroes, who struck the first blow in the cause of his country’s Independence, and evincing a like spirit and superior talent in his energetic efforts under the most discouraging circumstances. he may well be considered as entitled to a distinguished niche in the Gallery of Illustrious Americans. This number will be highly valued by the subscribers of this excellent work.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Personal Sketches.” FARMER AND MECHANIC n. s. 4:42 (Oct. 17, 1850): 498.
[“President Fillmore.”
“For the following interesting sketch of President Fillmore, we are indebted to the last number of the “Gallery of Illustrious Americans-a most admirable and elegant work, published by Brady, D’Avignon & Co., 205 Broadway:
“The life of Fillmore is a deeply instructive lesson for the young men of America…” (Etc., etc.)]

BRADY, MATHEW B. (1823-1896) (USA).
“Portrait of Jenny Lind.” FARMER AND MECHANIC n. s. 4:42 (Oct. 17, 1850): 500.
[“One of the most beautiful specimens of art that we have recently seen, is a portrait of the “Swedish Nightengale,” which, for perfect correctness of expression, and beautiful execution, stands unrivalled. It is published by M. B. Brady, Esq., No. 205 Broadway, whose name alone is sufficient to guarantee a most favorable reception to any of his numerous productions. Whatever Mr. B. undertakes is executed in the most perfect manner, and we take great pleasure in recommending him as one of our most excellent artists. A visit to his extensive gallery of portraits, is time well expended.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Notices.” The Gallery of Illustrious Americans.” FARMER AND MECHANIC n. s. 4:48 (Nov. 28, 1850): 573. [“This superb work, daguerreotyped by Brady, engraved by D’Avignon, and edited by C. Edwards Lester, is truly a most valuable acquisition to our literature. It will contain ‘the portraits and biographic sketches of twenty-four of the most eminent citizens of the Republic, since the death of Washington, being issued in semimonthly numbers, on imperial folio drawing paper, in a new and splendid style, all the portraits being new and faithful representations of the originals. it is probably superior to any publication of the kind ever issued in the country. The work in published from Brady’s Gallery, 205 Broadway, and for sale by G. (p. Putnam, D. Appleton & Co, and C. S. Francis & Co., at $20 for the whole set of twenty-four numbers. The present number contains a fine portrait and sketch of the Rev. W. E. Channing, of Boston.”]

FRANK LESLIE’S ILLUSTRATED NEWSPAPER

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Arctic Explorers. Drawn by Wallin. From an Ambrotype by Brady.”) in: “The Arctic Explorers.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:1 (Dec. 15, 1855): 1-2. [(Group portrait.) “In the magnificent picture given on our title page, … We have presented, with unerring truthfulness, the appearance of our Arctic Explorers, in their dresses of skins and furs. So perfectly has Mr. Brady accomplished his work through his new improvement styled Ambrotype, that we can look in, as it were, upon the actors engaged in the recent great discoveries in the Arctic seas, and behold them as they appeared while prosecuting their daring undertakings. The original of this picture is unquestionably one of the greatest triumphs of the Daguerrean art.” (p. 2.)]

BRADY, MATHEW B. (1823-1896) (USA)
1 b & w (“Henry Grinnell, Esq.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:1 (Dec. 15, 1855): 8. [(Credited “From an Ambrotype by Brady.”)]

BRADY, MATHEW B. (1823-1896) (USA)
1 b & w (“Lieut. Hartstein.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:1 (Dec. 15, 1855): 12. [(Credited “From an Ambrotype by Brady.”)]

BRADY, MATHEW B. (1823-1896) (USA)
[Advertisement.] 1 b & w (“Col. A. B. Grey, surveyor of the Great American Southern Pacific Railway.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:1 (Dec. 15, 1855): 12. [(Credited “From an Ambrotype by Brady.”)]

BRADY, MATHEW B. (1823-1896) (USA)
1 b & w (“George N. Barrett.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:1 (Dec. 15, 1855): 12.”] [(Credited “From an Ambrotype by Brady.”)]

BRADY, MATHEW B. (1823-1896) (USA).
‘News.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:2 (Dec. 22, 1855): 22. [Brady, the Daguerreotypist, last week, received from the editors of the London Illustrated News, an order for his ambrotype of Dr. Kane and the Arctic adventurers, and any other pictures of interest that he may have from time to time in his gallery.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Parker H. French.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:5 (Jan. 12, 1856): 73. [“From an Ambrotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mrs. Myra Clark Gaines.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:5 (Jan. 12, 1856): 77. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Bust of George Law, by T. D. Jones. From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:8 (Feb. 2, 1856): 128.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Ex-Gov. Hunt, of New York.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:9 (Feb. 9, 1856): 129. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“B. M. Fowler, Pres. of Board of School Officers, New York, N. Y.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:9 (Feb. 9, 1856): 136. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Robert Toombs, of Georgia.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:9 (Feb. 9, 1856): 137. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Dr. H. Delafield, consulting physician to the Woman’s Hospital, New York, N. Y.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:9 (Feb. 9, 1856): 144. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Dr. Alexander H. Stevens, President of the National Medical Assoc.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:9 (Feb. 9, 1856): 144. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Capt. Ezra Nye, of the U. S. Mail Steamship ‘Pacific.'”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:10 (Feb. 16, 1856): 152. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. William H. Milburn, ‘The Blind Orator.'”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:10 (Feb. 16, 1856): 153. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“S. S. Randall, Supt. of Public School, New York, N. Y.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:10 (Feb. 16, 1856): 153. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s National Galleries of Photographs, Ambrotypes and Daguerreotypes.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:10 (Feb. 16, 1856): 159. [359 Broadway, over Thompson’s Saloon, and 265 Broadway,…of Fulton Street. The largest gallery in the world, containing the most superb collection of portraits to be found in America.
Photographs.—The attention of the public…” “…Ambrotypes.—A new style of picture on glass,…” Daguerreotypes…”]

BRADY, MATHEW B. (1823-1896) (USA).
“George R. West, Chinese traveller and artist.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:10 (Feb. 16, 1856): 160. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Oscanyon, the Turkish lecturer.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:11 (Feb. 23, 1856):173. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (J. Marion Sims, Surgeon of the Woman’s Hospital.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:11 (Feb. 23, 1856): 176. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Dr. John W. Francis, A.M., M.D., LL.D.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:11 (Feb. 23, 1856): 176. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. George Mifflin Dallas, Our New Minister to England.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:12 (Mar. 1, 1856): 184. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“James T. Brady, Esq.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:12 (Mar. 1, 1856): 186. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. James L. Orr, of South Carolina.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:13 (Mar. 8, 1856): 193. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. John A. Quitman, of Mississippi.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:13 (Mar. 8, 1856): 193. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Bishop G. F. Pierce, D. D.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:13 (Mar. 8, 1856): 208. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. H. Cox, New Jersey.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:13 (Mar. 8, 1856): 208. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Bishop M. Simpson.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:13 (Mar. 8, 1856): 208. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Millard Fillmore, candidate for President.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:14 (Mar. 15, 1856): 209. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Andrew Jackson Donelson, Vice-Pres. candidate.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:14 (Mar. 15, 1856): 209. [“From an Ambrotype by Brady.)]

PHOTOGRAPHIC LITERATURE. MAGAZINES. FRANK LESLIE’S ILLUSTRATED NEWSPAPER. 1856.
“Note.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:14 (Mar. 15, 1856): 214. [“We have established a rule in the management of our pictorial columns of letting our illustrations speak for themselves. Without regard to trouble or expense we endeavor to produce the best things possible for a great American newspaper. Our success in one of our illustrated department’s has been marked, and has called forth much admiration—we allude to the production of portraits of eminent men. In accomplishing this, we are greatly indebted to the enthusiasm and untiring efforts of Mr. M. B. Brady, whose National Gallery of Daguerreotypes, has been of signal importance to publishers throughout the Union. In our present number we trust we shall be pardoned if we call particular attention to the portrait of Hon. Andrew Jackson Donelson, taken by Mr. Brady from life, especially for this paper, and which has been so faithfully transferred to the wood, that all who see it, may rest assured that it is life-like, and remarkably perfect.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Dr. Horace Green, NY Medical College.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:15 (Mar. 22, 1856): 240. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“R. V. Samuel L. Southard, Rector of St. John’s Church, Buffalo.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:16 (Mar. 29, 1856): 249. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Joseph Gales, editor of ‘National Intelligencer.'”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:16 (Mar. 29, 1856): 249. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Dr. Thomas Bond, late editor of ‘Christian Advocate and Journal.'”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:16 (Mar. 29, 1856): 256. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mr. and Mrs. W. J. Florence (actors) as Pat Farbell and Nancy Stokes. (Costume portrait).”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:17 (Apr. 5, 1856): 268. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Edward Everett.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:18 (Apr. 12, 1856): 273. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Thomas Ritchie, editor.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:18 (Apr. 12, 1856): 288. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. John W. Shackelford, of Newark, New Jersey.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:18 (Apr. 12, 1856): 288. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. James Buchanan.”) in: “James Buchanan.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:21 (May 3, 1856): 321. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“William Cullen Bryant, editor.”) in: “Editorial Portrait Gallery, No. IV. William Cullen Bryant.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:21 (May 3, 1856): 328. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“.”) in: “ FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:21 (May 3, 1856): 331-332. [“The funeral honors were performed Thursday morning, April 24, at Grace Church, Rev. Dr. Taylor officiating. The services were solemn and imposing,…” “The procession was most imposing, and we shall publish in our next issue a splendid full-page engraving of it, drawn on the spot by one of our very best artists, showing its appearance during the passage down Broadway. We shall also give in the same number a magnificent group of officers and privates of the City Guard, full length, in complete uniform, ambrotyped by Brady expressly for our paper. This will form the first of a series of our citizen soldiery, most of whom we design to illustrate in a similar manner.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major Noah.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:22 (May 10, 1856): 349. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Ogden Hoffman, late AttnyGen. of N. Y.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:23 (May 17, 1856): 368. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Our Citizen Soldiery. Costumes of the N. Y. National Guard…. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:24 (May 24, 1856): 369. [(Military group portrait. This article was one of several in a loose series, each illustrated with a group portrait. Although this image, of the 9th Regiment, was the first such to have the illus credited to a Brady ambrotype, I feel that an earlier portrait of the City Guard, published on (p. 337 in the May 10th issue, was also from a Brady image.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. Sidney Augustus Corey, Pastor Fifth Avenue Baptist Church, New York, N. Y.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:24 (May 24, 1856): 373. [“Ambrotyped by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Madame Anna de la Grange, Italian Prima Donna.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:24 (May 24, 1856): 384. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“James W. Wallace, actor, as Benedict.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:25 (May 31, 1856): 385. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“James Gordon Bennett, editor.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:25 (May 31, 1856): 393. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
‘Fine Arts.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:26 (June 7, 1856): 406. [“It has been our purpose for some time past to call the attention of our readers to the improvements in “sun-pictures,” constantly being introduced by Brady at his splendid National Gallery, No, 359 Broadway. He is constantly producing pictures which possess every quality that constitutes works of high art. . Bringing to bear all the facilities of chemistry, the choicest materials, the most scientifically constructed “operating rooms,” Mr. Brady throws over the whole the charm that grows out of a highly-cultivated mind, enlightened by an intimate acquaintance with, and the sympathy of, the best artists of the country, and the most careful study of art associations in Europe. The consequence is, that a sitter to Mr. Brady secures not only the best possible picture, so far as mechanism and choice materials are concerned, but also is disposed of in the picture, in the attitude and style best calculated to give a favorable likeness, and secure in the general design a perfect daguerreotype. To such an extent has this gentleman brought this indescribable charm, that recently many of his single figures and groups of figures have been engraved, and elicited enthusiastic commendation for their masterly disposition, seeming to have been copied from carefully-studied paintings rather than from creations of “instant art.” Under his new style of Ambrotypes, which he has brought to unrivalled perfection, his triumphs are perhaps more extraordinary than even those achieved upon the metal plates. Under all circumstances, our citizens, and visitors to our city from abroad, lose a rare intellectual treat if they do not visit Mr. BRADY’S gallery, and witness for themselves the many attractions which adorn his walls. To this gentleman the nation is indebted for his magnificent conception of a “National Gallery,” which has secured to the present and future generations, correct likenesses of our heroes, authors, artists, statesmen, merchants, clergymen, and others in whom the country take an interest; and the gallery alone, without any of the other multiplied attractions, is well worthy of the attention of all who take an interest in the advancement of whatever adorns our country, and elevates its intellectual character.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. R. N. T. Cook, Rector of the Memorial Church.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 1:26 (June 7, 1856): 416. [“From an Ambrotype by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. James Roosevelt Bailey, D. D. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:27 (June 14, 1856): 4.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Capt. James Price, 3rd Co., National Guard. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:27 (June 14, 1856): 5.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Erastus C. Benedict. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:27 (June 14, 1856): 13.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Henry Kiddle, New York, NY Supt. of Schools. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:27 (June 14, 1856): 13.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Prof. James J. Mapes, editor. – Ambrotyped by Brady.”) in: “Gallery of Distinguished Editors. No. VI.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:28 (June 21, 1856): 28.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“John. M. Carnochan, Chief Surgeon, NY State Hospital. – Ambrotyped by Brady.”) on (p. 32 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:28 (June 21, 1856): 30, 32.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Col. John Charles Fremont. Republican Candidate for President. – Ambrotyped by Brady.”) in: “The Approaching Presidential Election.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:31 (July 12, 1856): 65. [“By calling into requisition the mysteries of the ambrotype, the cunning of the artist, and the skill of the engraver, we are enabled to present to our numerous readers a gallery of distinguished Americans; distinguished at least for the moment, by representing the different political parties which divide the people of the United States…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“William L. Dayton, Vice-Pres. candidate. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:31 (July 12, 1856): 68.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Andrew Jackson Donaldson, Vice.-Pres. candidate. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:31 (July 12, 1856): 69.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Millard Fillmore, Pres. candidate. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:31 (July 12, 1856): 72.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“John C. Breckenridge, Vice-Pres. candidate. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:31 (July 12, 1856): 77.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“James Buchanan, Pres. candidate. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:31 (July 12, 1856): 80.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. H. Mattison, M. E. Church. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:33 (July 26, 1856): 109.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Dion Bourcicault, actor, author. Ambrotyped by Brady.”) on (p. 112 in: “Dion Bourcicault.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:33 (July 26, 1856): 110, 112. [(Bourcicault was an actor, whose more natural acting style apparently influenced a newer generation of actors.) “…Thus Charles Kean, Ellen Tree, Mrs. Keely, Harley, Wigan, Madam Celeste, Charles Mathews, Farren, and Madame Vestris studied from his portraits. These performances were made from the daguerreotypes he drew from nature…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Bronze Statue of Washington, Union Park, New York. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:35 (Aug. 9, 1856): 129. [(View, with figures.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mrs. Ann G. Stephens, author. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:36 (Aug. 16, 1856):160.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Henry J. Raymond, editor, “NY Daily Times.’Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:37 (Aug. 23, 1856): 176.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Broadway Varieties. George Marsh in the Character of ‘Young Toodles.’Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:37 (Aug. 23, 1856): 176.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Dr. E. K. Kane, U. S. N., Commander of the Arctic Exploring Expedition. Ambrotyped by Brady.”) on (p. 177 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:38 (Aug. 30, 1856): 177, 178. [“It is with more than usual pleasure that we present our readers with a truthful and spirited portrait of Dr. Kane, an American citizen, immortalized as the commander of the Arctic exploring expedition. In our first number we gave The Arctic Explorers, representing Dr. Kane and four of his companions in their polar dresses, taken from an ambrotype by Brady, which was pronounced by judges to be one of the finest pictures of the kind in the world….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Professor Louis Agassiz. Ambrotyped by Brady from a Bust by John C. Kong, of Boston.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:38 (Aug. 30, 1856): 185. [(Statue.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“William M. Fleming. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:39 (Sept. 6, 1856): 197. [“William M. Fleming, the original of the above striking engraving from one of Brady’s inimitable ambrotypes, was born in…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Cornelius Bogart, Esq., deceased. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:39 (Sept. 6, 1856): 205.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“John E. Gavitt, Esq. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:39 (Sept. 6, 1856): 205.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Portrait of John Brougham, Lessee of the Bowery Theatre, New York. – From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:40 (Sept. 13, 1856): 220.

BRADY, MATHEW B. (1823-1896) (USA).
1 illus (“Interior View of the Buckley’s Theatre, Broadway, New York.”) on (p. 236; 4 b & w (“R. Bishop Buckley, James Buckley, Frederick Buckley, George Swain Buckley.”) on (p. 237 in: “Sketch of the ‘Buckley Family’ and Description of their Theatrical Temple, Broadway, New York.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:41 (Sept. 20, 1856): 236, 237. [(Four individual portraits, credited to Brady on (p. 246 in Sept. 27, 1856 issue of FLIN.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brougham’s Dancers at the Bowery Theatre.” Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:42 (Sept. 27, 1856): 242. [(Two actresses in costume.)]

BRADY, MATHEW B. (1823-1896) (USA).
‘Note.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:42 (Sept. 27, 1856): 246. [We omitted, last week, to state the fact that the admirable portraits of the Buckley Family in our paper were drawn from ambrotypes by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Great Cricket Match between the United States and Canada, at Hoboken, N. J., September 11 and 12. United States Victorious! Ambrotyped by Brady, while the Game was in Progress.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:43 (Oct. 4, 1856): 261. [(View, with crowd.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“George Peabody, the American Banker, London, England. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:43 (Oct. 4, 1856): 271.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Leading American Chess Players. Ambrotyped by Brady.”) on (p. 271 in: “Chess, Chess Clubs and leading American Chess Players.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:43 (Oct. 4, 1856): 269, 271. [(Group portrait, Ten individuals, each named in the caption.). “…In connection with this splendid illustration we feel bound to notice the happy combination of artistic skill displayed in its construction. Here we have the inimitable groupings of Brady’s ambrotype, the delicate drawing of Wallen’s pencil, and the equally masterly handling of Holcomb’s graver…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Max Maretzek. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:44 (Oct. 11, 1856): 277.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lorenzo B. Shepherd. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:44 (Oct. 11, 1856): 284.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“George Steers, deceased. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:44 (Oct. 11, 1856): 288.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Madame Cora de Wilhorst, opera singer. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:45 (Oct. 18, 1856): 293.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Anson Burlingame, from Mass. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:45 (Oct. 18, 1856): 301.

BRADY, MATHEW B. (1823-1896) (USA).
5 b & w (Group of Portraits of the Heads of the New York Fire Dept. Ambrotyped by Brady.”) on (p. 305 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:46 (Oct. 25, 1856): 305, 310. [(Five separate portraits, presented in medallion fashion.)]

BRADY, MATHEW B. (1823-1896) (USA).
‘Brady and His Art Triumphs.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:46 (Oct. 25, 1856): 310. [“Among our citizens who have, by well-directed enterprise and superior judgment, made themselves honored names throughout the country, no one has more pleasing associations connected with them than M. B. Brady, Esq., so long known as the unrivalled artist in Daguerrean pictures. Under his management, a pursuit originally mechanical has risen to the dignity of the highest art; for he has succeeded in improving his pictures with so many excellencies, all emanating from his mind, that we cannot look upon the fruits of his labors otherwise than as intellectual creations, and feel towards them the same admiration that is elicited when we behold the successful productions of the pen and pencil. Mr. Brady, by the most careful study of his business, in connection with the severest rules of grouping, and the highest attainments of light and shade, has produced pictures which worthily rank as fine compositions, and we could name several that remind us of the style of Rembrandt, Raphael, Correggio, Reynolds, and Lawrence, so perfectly were these great masters disciples of nature, which Brady, with his magical instruments and mental cultivation, permanently reflects in his pictures which are so freely scattered broadcast over the land. Among the many enterprises carried through by Mr. Brady was the establishment of his “National Gallery,” which has secured to the living the portraits of many of our most distinguished men, which otherwise would have been hopelessly lost. So complete has been the gallery, that the book publishers throughout the Union are indebted to him (though generally unacknowledged) for the portraits which adorn their best publications, and the public find in his magnificent rooms the originals of these pictures, glowing at it were with the impress of life, and we can walk among the Clays and Websters, Everetts and Chaunceys; our statesmen, ministers, clergymen, and authors—whether dead or alive—are before and beside us. Passing these sterner representatives of humanity, we come to the collection of female beauty, where we find all that is lovely and graceful so delicately portrayed, and so spiritually preserved for our admiration. Indeed it can be said of Brady’s highest attainments that they tend to confer a species of immortality upon their fair subjects, and will, undoubtedly, give a better idea in the future of the beauties of “our time” than does the pencil of Kueller of the fascinating women who flourished in the reign of the “thoughtless Charles.” Our age is realty to be distinguished as one of individualities. We have had the natural desire to see the form and face of those we love or hear spoken of, excited by the labors of the Daguerrean art, and to such an extent has this been carried, that no book is now published treating of individuals that is considered perfect unless accompanied with engraved portraits, and for these portraits of our eminent men and distinguished women the world is indebted, in almost every instance, to the foresight and public spirit of Mr. Brady. Our space will, not permit us to enlarge upon the many improvements which he has introduced. A visit to his splendid galleries will convince the most superficial observer that he has no rival, and that in ambrotypes and photographic pictures, which we deem the best of “sun paintings,” Mr. Brady has by his acknowledged excellence made their production especially his own, and by his superior knowledge and command of resources has brought these beautiful creations, so far as cost is concerned, within the reach of all. Mr. Brady adds to his accomplishments as an artist the high-toned manner of the gentleman, and in the often delicate associations which cluster round pictures taken as objects of affection, he has displayed the highest sense of honorNo picture has ever been surreptitiously obtained from his collection, and we know from our personal knowledge, that he has refused huge sums for copies of pictures which were entrusted to his care, and which the owners or originals desired should not be duplicated. In consideration of the flow of business peculiar to the “fall season,” Mr. Brady has completed the most extensive arrangements for carrying on, with unusual excellence, every department of his complicated profession, and while he will produce better pictures than were ever presented to the public, the manner of setting them will be equally remarkable for their elegance and refined taste. Altogether, we consider Mr. Brady has reached a perfection in his pursuits which, a few years ago, would have been chimerical, and that he now is entitled to the highest place in his profession, combining with the most remarkable mechanical and chemical perfection the highest mental qualities, thus deservedly dignifying his productions with the title of—Works of Art.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. Santos Guardiola.” “From an original Daguerreotype to be seen at Brady’s Gallery.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:47 (Nov. 1, 1856): 321.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“‘Harry Howard,’ Engineer, New York, NY Fire Dept. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:47 (Nov. 1, 1856): 325.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Distinguished Members of the New York, NY Fire Dept. (Group portrait may be a composite print or engraving). Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:47 (Nov. 1, 1856): 336.

EXHIBITIONS. 1856. NEW YORK. AMERICAN INSTITUTE FAIR.
“American Institute.—Second Notice Novel Inventions, Improvements, Etc.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:48 (Nov. 8, 1856): 342-343. [(A long two-column article describing the many exhibits of the annual Fair, with one paragraph devoted to the photographic exhibits.) “…The exhibition of rare pictures was large and varied. Gurney, Root, Meade, Fredericks, and several other establishments were represented, among which the Photographic Views of McClees, of Philadelphia, were very fine – the finest we ever saw. We missed Brady’s unrivalled ambrotypes and photographs, none of which were on exhibition this year.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“James K. Leggett, Esq. Ambrotyped by Brady.”) in: “Pacific Engine Co. No. 14, of Brooklyn, New York.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:49 (Nov. 15, 1856): 368. 2 illus. [(The other illustrations are a view of the Fire engine and an elaborate Fireman’s trumpet, presented by Leggett to the Brooklyn Fire-fighting Company.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“J. W. Buckley, Supt. of Schools, New York, N. Y. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:50 (Nov. 22, 1856): 373.

PHOTOGRAPHIC LITERATURE. MAGAZINES. FRANK LESLIE’S ILLUSTRATED NEWSPAPER. 1856.
“To Correspondents.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:51 (Nov. 29, 1856): 390. [“If artists and amateurs living in distant parts of the Union, or in Central or South America, and Canada, will favor us with drawings of remarkable accidents or incidents, with written description, they will be thankfully received, and if transferred to our columns, a fair price, when demanded, will be paid as a consideration. If our officers of the army and navy, engaged upon our frontiers, or attached to stations in distant parts of the world, will favor us with their assistance, the obligation will be cordially acknowledged, and every thing will be done to render such contributions in our columns in the most artistic manner.
English Agency.–Subscriptions received by Trübner & Co., 12 Paternoster Row, London.
Our Great Picture!! In our Next Issue, the first Number of the
New Series, Price Six Cents,
will be issued our Four Page Engraving of the
Saviour and the Adulteress,
Size—Twenty-three by Thirty-three inches, undoubtedly one of the largest, and we can announce,
The Finest Engraving Ever Produced In This Country.
This picture is one of the finest of the modern French School, and has been universally admired in every part of the civilized world. Although furnished our subscribers at a mere nominal price of Six Cents, it will be worthy of framing, and a prominent place in our parlors and sitting rooms. With this picture will close our Second Volume.
The Third Volume Will Commence
with a large and highly finished picture of
Mr. Buchanan’s Residence, Wheatland,
near Lancaster, Pennsylvania, from a Photograph View taken, by Brady expressly for this paper, Mr. Brady having visited the Residence of the President Elect, and superintended the taking of the one we publish, with others, all of which will be exhibited in his Gallery of National Portraits. We trust that our determination to win a liberal patronage from the public will be duly appreciated. We have this assurance in the fact that our subscription list, under our new price, will commence with double our former large circulation.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. E. H. Chapin. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 2:51 (Nov. 29, 1856): 400.

PHOTOGRAPHIC LITERATURE. MAGAZINES. FRANK LESLIE’S ILLUSTRATED NEWSPAPER. 1856.
“A Picture of National Interest!” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:52 (Dec. 6, 1856): 6. IN our next issue we shall publish a large two-page picture of
“Wheatland,”
The Residence of the President-Elect,
James Buchanan.
The view is from a beautiful Photograph, taken under the personal superintendence of Mr. BRADY, who visited Lancaster for the purpose of producing the picture. It will-be one of the finest Engravings ever issued is this country.
We shall also, among ether original pictures, give a view of
The Interior of
Laura Keene’s New Theatre, And a Portrait of the Fair Manageress, Etc., Etc.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“William Stuart, Esq., Manager of Wallack’s Theatre. Ambrotyped by Matthew Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:52 (Dec. 6, 1856): 16.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“`Wheatland,’ Near Lancaster, Pennsylvania, the Residence of James Buchanan, President Elect. From a Photographic View Taken by M. B. Brady, New York City.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:53 (Dec. 13, 1856): 24-25, 26. [(Double-page engraving. “Our magnificent view of ‘Wheatland,’…is from a photograph taken especially for this paper.)]

BRADY, MATHEW B. (1823-1896) (USA).
“Our Photograph of Wheatland.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:53 (Dec. 13, 1856): 26. [“This beautiful picture was taken by M. B. Brady, Esq., so well known, we may with propriety say, throughout the world, for his extraordinary success in his profession. Mr. Brady visited Wheatland some few days before the Presidential election, and found the distinguished host at home and at leisure, and speaks of his visit with pleasure, and of the hospitality he received with enthusiasm. The original of our picture, with other Views connected with Wheatland, are on exhibition at Mr. Brady’s gallery, Broadway, New York.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Wheatland” the Residence of James Buchanan.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:53 (Dec. 13, 1856): 26. [“Our magnificent view of Wheatland, the residence of James Buchanan, the President elect, which will hereafter possess a historical interest, and be spoken of in connection with Mount Vernon and Monticello, is from a photograph taken especially for this paper. It represents “the southern exposure,” selected on account of its giving the best view for picturesque effect. It is situated one mile from the city of Lancaster, Pennsylvania, and as this place is now attracting more than usual attention, we give some details regarding it, in connection with the description of Wheatland.
City of Lancaster
The city of Lancaster is one of the large interior cities of the State of Pennsylvania. It is on the great railroad route to the Far West, and passengers for Pittsburg and St. Louis find this the most commodious and expeditious route, as a party can leave New York on the morning of any day and be landed in St. Louis In forty-six hours. Cars leave the corner of Market street and Eleventh, three or four times a day; and if one is pressed for time, he can leave New York at 7 A. M., reach Lancaster at 3 1/2 (p. M., remain until 9 o’clock, see Mr. Buchanan, return to Philadelphia in season to take the cars for New York and for the Sooth the same night: so politicians need lose but little time….”

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Miss Laura Keene, actress. Ambrotyped by Matthew Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:53 (Dec. 13, 1856): 32.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Sigismund Thalberg. Ambrotyped by Matthew Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:54 (Dec. 20, 1856): 48.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“M. B. Brady.”) on (p. 96 in: “M. B. Brady, Esq.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:57 (Jan. 10, 1857): 86, 96. [“In this week’s journal we present our readers with a portrait of M. B. Brady, the celebrated daguerrean artist, whose name has been inseparable from the growth and development of the daguerreotype in America. Few mm hare more vividly impressed individual traits upon a profession; few illustrated a pursuit more brilliantly. His experience has been one of uninterrupted success, and in his hands a process originally mechanical has become a plastic and graceful art, varied in its susceptibilities and effects, and exerting a favorable influence upon general taste. The difficulties which surround the application of a new discovery are known only to those who have encountered them. Effects alone impress the popular mind, their complicate causes being usually overlooked. Thus, while many have participated in the surprise occasioned by the electric development of this and kindred discoveries, few have recognized it as the fruit of combined energy, enterprise and ingenuity. The introduction of the daguerreotype in this country followed quickly its discovery in France. Its theory was of so startling a nature as to repel general faith in its practicability, and until its assumption by Mr. Brady, no effort commensurate with its Importance was made to establish its utility. Convinced that it embodied the germ of a new and unique art, that it promised to fulfill an important social and esthetic use, he devoted himself to its development with a zeal to which his present position and that of the discovery bears ample witness. Improved instrumental appliances, spacious galleries, and various chemical and optical experiments, were productive of a result which at once attracted attention, and affirmed decisively the success of the discovery. The Gallery of National Portraiture, in the collection of which several years were spent in Washington and Europe, surpasses in contemporary interest and historic value any of a similar nature in the world. All of that Titanic race which lit the century with renown, all who have added a laurel to the art wreath of the age, or augmented its lettered glory, are embodied in this collection, and a new grace it lent to the art, a historic dignity imparted to the effort which thus concentrates and embalms the greatness of an era. Its accumulation has been effected by the exercise of sustained enthusiasm and energy, and to these solely are referable its cosmopolitan scope and extent. We have not space, nor is it necessary to refer to the many triumphs which have embellished his career, nor his many ingenious directions of the art to new purposes. We may allude in illustration to the wide celebrity attained by his works in Europe on the occasion of the World’s Fair, and to the universally recognized skill with which he has tendered the camera auxiliary to the art of the engraver. To the latter our own pages have borne constant witness, and of the millions of engraved portraits issued during the past fifteen years by the publishers of the Union, more have been executed from originals derived from his collection. Several works, among which the “Gallery of Illustrious Americans,” a work unsurpassed in magnitude or symmetry of design, deserved special mention, have issued from, his establishment, and have aided largely in familiarizing the public with the features of leading men. Few men among us who have attained an eminence in business pursuits are more deservedly popular than Mr. Brady, from claims purely personal, for none can be more distinguished for urbanity of manners, and an untiring attention to the feelings and happiness of those with whom he comes in contact. Because this is so true of Mr. Brady, is one reason, that his gallery has ever been so popular with the ladies, and in every family circle throughout the Union, a visit to his rooms is always alluded to with pleasure by young people and old. Mr. Brady has the happy faculty of being attentive without being officious, of possessing suavity without obtrusiveness, and is altogether eminently the right man for the right place.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“His Excellency John A. King, Governor of New York.”) on (p. 112 in: “Governor King.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:58 (Jan. 17, 1857): 102, 112. [“The inauguration of our new executive was one of the events last week. It was an imposing and somewhat novel ceremony,… An excellent ambrotype by Brady, made expressly for our Illustrated Newspaper, will be found on our last page.”]
BRADY, MATHEW B. [?].
5 b & w (“Trip of the Washington Light Infantry of Charlestown, S. C., to the Battle Ground of Cowpens.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:59 (Jan. 24, 1857): 121-122. [(Not credited to photographs, but two of the group portraits of this military organization closely resemble photographs now attributed to Brady, and the visual grammar of the views of the group encampment at Cowpens strongly suggest a photographic source for the engravings. Actually, see “Items of All Sorts.” FLIN 3:59 (Jan. 24, 1857): 115. [“The trip of the Washington Light Infantry of Charleston, S. C., to the battle field of Cowpens, cannot fail to attract the attention of our readers throughout the entire Union. The incidents are brilliantly related, and will recall vividly to the imagination of the reader the days which tried men’s souls. The illustrations are taken from daguerreotypes, and are most carefully rendered in our engravings. We exceedingly regret that we could not find room for all the “details of the trip,” as given by the able historian of the expedition.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Miss Matilda Heron, actress. From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:59 (Jan. 24, 1857): 128.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Samuel W. Seton, Asst.Supt. of Schools, New York, N. Y. From an Ambrotype by Brady.”) on (p. 128in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:59 (Jan. 24, 1857): 128.

BRADY, MATHEW B. (1823-1896) (USA).
‘Compliment to American Art.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:60 (Jan. 31, 1857): 141. [“While Mr. Delane, editor of the London Times, was in New York city, he visited the gallery of Mr. Brady, the distinguished daguerreotypist, and sat for his picture. Since Mr. Delano’s return to London the “Thunderer ” has favored the accomplished artist with the following letter, which we cut from the New York Herald of January the 16th.
The Times Office, Dec. 26, 1856. My Dear Mr. Brady: Pray accept my very cordial thanks for the beautiful portrait you have been good enough to send me. Nothing so perfect has ever been seen on this side of the Atlantic, and it has excited a very lively interest, not only among my friends, who value it as a likeness, but among professional men and photographic artists, who regard it only as an admirable specimen of their art. For myself, it will be always one of the most agreeable souvenirs of a most pleasant and instructive journey. Yours ever faithfully, John J. Delane.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Dr. Franklin Tuthill, M.D., City Editor of the New York Daily Times. – Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:61 (Feb. 7, 1857): 160.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Capt. George Dilks, New York, NY Police. From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:64 (Feb. 28, 1857): 196.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mr. Farrell, witness at murder trial. From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:64 (Feb. 28, 1857): 200.

BRADY, MATHEW B. (1823-1896) (USA).
2 b & w (“Coroner Edward Downes Connery.”); (“Judge Capron. From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:64 (Feb. 28, 1857): 204.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Chief-Justice Taney Administering the Oath to Mr. Buchanan. Portraits from Ambrotypes by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:66 (Mar. 14, 1857): 217. [(View of small group. The faces were taken from photographs, the grouping and activity was drawn by the engraver.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Isaac V. Fowler, Postmaster, New York City. From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:70 (Apr. 11, 1857): 288.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Maj. Gen. Frederick Henningsen, of the Nicaragua Army. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:71 (Apr. 18, 1857): 304.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Robert J. Walker, Gov. of Kentucky. From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:71 (Apr. 18, 1857): 308.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lord Napier’s Family.From an Imperial Photograph by Brady.”) on (p. 308 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:71 (Apr. 18, 1857): 308, 312.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lord Napier, British Minister to the United States. – Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:71 (Apr. 18, 1857): 312.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. Edwin F. Hatfield, D. D. Ambrotyped by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:72 (Apr. 25, 1857): 324.

MEADE BROTHERS. (CHARLES R. MEADE (1826-1858) & HENRY W. M. MEADE (1823-1865) (NEW YORK, NY)
2 b & w (“Capt. Wm. L. Hudson, Commander of the `Niagara.’”); (“Jabez C. Rich, Commanding Marine Corps, U. S. Frigate Niagara. – Photographed by Meade Brothers.) on (p. 336; (1 b & w (“The U. S. Steam Frigate Niagara, W. L. Hudson, Commander, Leaving the Harbor of New York to Assist in Laying Down the Inter-Oceanic Telegraph Cable. From a Photograph by Meade Brothers.”) on (p. 337; 1 illus. (“Furnace Room of the Niagara”) on (p. 336; 1 illus. (“The Engine Room of the U. S. Steam Frigate Niagara.”) on (p. 344 in: “Furnace or Boiler Room of the Niagara.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:73 (May 2, 1857): 336-337, 344. [(This is complicated. I believe that the FLIN commissioned Brady’s Gallery to visit and photograph the Niagara (See pp. 341-342.) and that the two unaccredited interior views were from photographs taken by them, as well as the exterior view of the ship, which is mis-credited to Meade Brothers. The two formal portraits of the ship’s officers were taken in the Meade Brother’s gallery. Brady’s gallery was taking exterior views at this time, while the Meade Brothers seldom left the studio. The FLIN often published articles using many different sources for their illustrations, and, in this case, I believe they just scrambled the attributions.)]

BRADY, MATHEW B. (1823-1896) (USA).
‘The U. S. Steam Frigate Niagara.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:73 (May 2, 1857): 341-342. 6 illus. [(Illustrations are sketches of activities on board the ship “Niagara.”, one of them of a sailor inspecting a very large camera titled, “Jack and the Photographic instrument.” A section of the text, with the same subtitle, relates the incident. “While Mr. Brady’s operators were busily engaged in taking different photographic views of the deck of the Niagara, intended for a picture illustration of our paper, their instrument, which is of considerable magnitude, attracted from Jack “an the marines’ the most intense curiosity…” (Curiously, the photograph of the Niagara published in the same issue of the journal, credits the photograph to the Meade Brothers. See also “Furnace or Boiler Room of the Niagara.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:73 (May 2, 1857): 336-337, 344. I believe that the FLIN commissioned Brady’s Gallery to visit and photograph the Niagara and that the two unaccredited interior views were from photographs taken by them, as well as the exterior view of the ship, which is mis-credited to the Meade Brothers. The two formal portraits of the ship’s officers were taken in the Meade Brother’s gallery. Brady’s gallery was taking exterior views at this time, while the Meade Brothers seldom left the studio. The FLIN often published articles using many different sources for their illustrations, and, in this case, I believe they just scrambled the attributions for the other illustrations.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. Rufus W. Clarke. From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:74 (May 9, 1857): 356.

BRADY, MATHEW B. (1823-1896) (USA).
6 b & w (“A. Oakley Hall, District Attorney, Counsel for the Prosecution.”); (Henry E. Davies, Presiding Judge.”); (“Henry L. Clinton, defense counsel.”); (“John Graham, defense counsel.”); (“Judge Dean, defense council.”); (“Attorney-General Cushing, prosecution.” From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:75 (May 16, 1857): 368. [(Six portraits of participants in the Burdell murder trial.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mirabeau B. Lamar, of Texas. From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:77 (May 30, 1856): 404.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Thomas J. Oakley, late Chief-Justice of the Supreme Court. From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 3:77 (May 30, 1857): 408.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Andrew (p. Butler, of South Carolina. ” From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 4:80 (June 13, 1857): 17.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Dr. J. F. G. Mittag, of South Carolina. ” From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 4:80 (June 13, 1857): 29.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Don Fermin Ferber, of Nicaragua. ” From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 4:82 (June 27, 1857): 56.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Col. S. A. Lockridge, Nicaraguan Army. ” From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 4:84 (July 11, 1857): 92.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Charles MacKay, editor. From an Ambrotype by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 4:100 (Oct. 31, 1857): 341.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Don Fermin Ferrer, Ex-President of Nicaragua. Appointed Minister to the United States by Gen. Walker. – Ambrotyped by Brady.”) on p.56 in: “A Visit to General Walker.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 4:82 (June 27, 1857): 55, 56.
BRADY, MATHEW B. 9 b & w (“George A. Baker.”); (James Bogle.”); (“George H. Hall.”); (“S. Coleman.”); (“C. L. Elliott.”); (“William Hart.”); (“A. D. Shattuck.”); A. F. Tait.”); (“J. McDougal Hart. – Ambrotyped by Brady.”) on (p. 89 in: “An Hour’s Visit to the National Academy of Design.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 4:84 (July 11, 1857): 88-90. [9 portraits of artists, on (p. 89; 7 illus of paintings, on (p. 88. In both instances, one column-wide illustrations are dropped into the three columns of running text on each page. Unusual, more common practice would have been to devote a full page to a medallion presentation of the nine heads, and present a solid block of text on a separate page.)]

BRADY, MATHEW B. (1823-1896) (USA).
9 b & w (Geo. A. Baker, James Bogle, George H. Hall, S. Cole, C. L. Elliott, William Hart, A. D. Shattuck, A. F. Tait, J. McDougall.”) in: “An Hour’s Visit to the Academy of Design.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 4:84 (July 11, 1857): 89. [(Nine portraits, organized in medallion fashion.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Charles MacKay. – Photography by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 4:100 (Oct. 31, 1857): 341. [(Biography of MacKay, who was the editor of the Illustrated London News, then visiting New York, N. Y. Born Perth, Scotland, in 1815. Family moved to London when he was a child. Military tradition in family, but he did not join the army. A student in Belgium during the “Revolution of 1830.” Began to write at 16 and published a volume of poems at 20. Began to work for the Morning Chronicle. Nine years there, then editor of the Glasgow Argus. Produced many books of poetry, and musicology. Chief editor of the ILN since 1848.)]

ANDERSON, JAMES. ISAAC ATKINSON (GREAT BRITAIN, ITALY)
1 b & w (“Beatrice Cenci, in Prison the Night before the Execution, Statue by Miss Harriet Hosmer. From a Photograph by James Anderson, Rome.”); 1 b & w (“Miss Harriet Hosmer, the American Lady Sculptor – from a photograph by Brady.)” in “Miss Harriet Hosmer.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 4:101 (Nov. 7, 1857): 353. [(Mentions that when Miss Hosmer visited the Roman studio of the sculptor John Gibson, she showed him a daguerreotype of her earlier work and the sculptor took her on as an apprentice.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Maj. Gen. W. J. Worth. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 5:105 (Dec. 5, 1857): 1.

BRADY, MATHEW B. (1823-1896) (USA).
‘The Harpers and the ‘Tribune.’” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 5:105 (Dec. 5, 1857): 6-7. [(Report about conflict between Harper’s Weekly, which the author only names by its subtitle, Journal of Civilization and the New York Tribune, over the fact that Harpers had paid the British author Thackeray to publish his new novel in serial form, which texts were then pirated by the Tribune. Article goes on to discuss the complicated history of pirating materials, which all the journals –including the FLIN did from time to time.) “…While on the subject, we would delicately allude to the fact that the female portraits (announced as photographed by Brady), of the lady contributors to the Civilized Journal, in the last week’s issue, were published by us in the December number of our New Family Magazine, issued two weeks since, from a foreign journal, as various styles of fashionable head-dresses. O bogus lady contributors! This is a pleasant blending of wonderful enterprise and unscrupulous fiction…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Daniel F. Tiemann, Mayor-Elect of New York, N. Y. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 5:106 (Dec. 12, 1857):28.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“James L. Orr, of South Carolina, Speaker of the House of representatives. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 5:107 (Dec. 19, 1857): 44.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“M. W. Wm. H. Milnor, Mason. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 5:107 (Dec. 19, 1857): 44.

BRADY, MATHEW B. (1823-1896) (USA).
‘Chess Answers to Correspondents. Important.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 5:113 (Jan. 30, 1858): 142. [“We have much pleasure in announcing to our readers, that a highly finished lithograph, containing the likenesses of nearly twenty of the gentlemen who assisted at the First American Chess Congress, held in New York, Nov. 1857, will shortly be published. It will be an exact copy of the masterly photograph by Mr. Brady, an engraving of which appeared at the time in this paper… 28 by 22 inches,…

BRADY, MATHEW B. (1823-1896) (USA).
“Mrs. Squizzle’s Journal—No. 5. Her Opinion of Church—Efforts to Convert Bew Cannon—Valentines Received and Sent by Her Darter Sally…” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 5:122 (Apr. 3, 1858): 278. [(Comic essay, containing a poem, “To John O’Flannigan, just from Swate Ireland,” with the following verse:
For music, Jack, you have an ear,
That everybody knows, for here
In Brady’s lifelike photograph,
Your ears take up the greater half.”…]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. John Calhoun, Pres. of the LeCompton Convention. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 5:124 (Apr. 17, 1858): 309.

BRADY, MATHEW B. (1823-1896) (USA).
Our Washington Correspondent. “Our Washington Letter.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 5:124 (Apr. 17, 1858): 314-315. [(Column on political news, etc., with satiric commentary.) “…P. S. 1. .…Brady has just called with the enclosed photograph of Sanders’ turnout, with your correspondent in it, being driven by him up the avenue. Tell your artist to be very particular about cutting my moustache, and above all to preserve the scientific corkscrew to each end of it. The curl too, on the right side of the face ought to be cared for. That handsome man at the side nodding his head is Mr. Bigelow, of the Evening Post. The colored person is Mr. —, of the Tribune. (This sketch has reached us too late for this paper; it will probably appear in our next. – Ed. FLIN.)…” (p. 315)]

BRADY, MATHEW B. (1823-1896) (USA).
‘Brady’s Photograph Gallery.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 5:124 (Apr. 17, 1858): 314. [By an oversight we last week neglected to give Brady credit for the photograph from which our picture of Musard was taken; accidents of this kind will happen sometimes in the best regulated “institutions.” We take the earliest opportunity to make the amende honorable.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Col. Thomas H. Benton, Died at Washington City, Saturday Morning, April 10, 1858. – From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 5:125 (Apr. 24, 1858): 328.

BRADY, MATHEW B. (1823-1896) (USA).
‘Chess. To Correspondents.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 5:127 (May 8, 1858): 366. [D. J. Miller – The picture of the Chess Players has not yet made its appearance, and we fear it never will. We can procure you a photographic portrait from Brady for $15, full size….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lindsey Blues, Independent Corps. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 6:155 (Nov. 20, 1858): 386. [(Group military portrait.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Isaac Newton. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 7:157 (Dec. 4, 1858): 12.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Benjamin F. Butler. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 7:157 (Dec. 4, 1858): 13.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mrs. Hoey, Actress. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 7:160 (Dec. 25, 1858): 47.

BRADY, MATHEW B. (1823-1896) (USA).
“Domestic Miscellany Congressional Summary. Washington Ladies.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 7:166 (Feb. 5, 1859): 144. [“…Mrs. Douglas… Mrs. Conrad, a young, rich and lovely widow… Her full-length photograph, with those of all the other beauties of Buchanan’s court, is to be seen at Brady’s, in Broadway…. Madame Le Vert… Harriet Lane… Lady Gose Ouseley…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Daniel. Sickles. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 7: 171 (Mar. 12, 1859): 230.

MEADE BROTHERS (NEW YORK, NY)
4 b & w (“Thomas Wildey, Esq. – Ambrotype by Meade Brothers.”); (“James L. Ridgely. – Ambrotype by Meade Brothers.”); (“Joshua Van Sant. – Ambrotype by Meade Brothers.”); (”John G. Clayton. – Ambrotype by Meade Brothers.”); 2 b & w (“D. W. C. Langdon. – Ambrotype by Meade.”); (“Samuel Craighead. – Ambrotype by Meade.”); 1 b & w (“John J. Davies. Photograph by Brady.”); 1 b & w (“George Smith. – Ambrotype by Weston.”); 2 b & w (“Jacob Russell. – Photograph by Loud.”); (“Charles C. Pinckney – Photograph by Loud.”); 3 illus. (Views of carriages in I.O.O.F. parade.) in: “The Great Celebration of the Order of Odd Fellows, New York, April 26, 1859.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 7:179 (May 7, 1859): 359-361. [(Illustrations consist of three views, from sketches, of the parade floats on one page, then one page of ten individual portraits, taken from photographs, etc.)]

BRADY, MATHEW B. (1823-1896) (USA).
‘Notice.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 8:185 (June 18, 1859): 42. [“The beautiful illustrations of the Morphy Testimonial, published in No. 183 of our Illustrated Newspaper, as well as those of the silver prizes of the New York Yacht Club, given in our last, with the portrait of Mr. Morphy, were engraved from Ambrotypes taken for our especial use by Mr. Brady, the well-known Daguerreotypist. We take this opportunity of acknowledging his courtesy, and of acquainting the public that Mr. Brady intends to remove, early in July, his establishment to a magnificent gallery just above Bleeker. Everything shows that New York is moving up town.”]

BRADY, MATHEW B. (1823-1896) (USA).
“The Ups and Downs of the Daguerrean Art.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 8:203 (Oct. 22, 1859): 328. [“This is a world of change. Now we go up and now we go down; but some of us go down to get up, while others go up to get down in the world. Our friend, Brady, the Daguerreotypist, has gone up, but let us hope it will not be to “come down,” in a worldly point of view. “Show me your company,” says the old saw, “and I will tell you what you are;” but it must not be supposed because our friend Brady is located over a barber’s shop he consequently shaves his customers. Its not so – certainly not.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. James J. Roosevelt, United States District Attorney of New York, N. Y. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:217 (Jan. 28, 1860): 133.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Thomas S. Bocock, House of Rep. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:217 (Jan. 28, 1860): 133.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Richard Realf, Appointed Secretary of State in the New Constitution Planned by John Brown, of the Harper’s Ferry Insurrection.. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:218 (Feb. 4, 1860): 160.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Wm. Pennington, the Speaker of the House of Representatives . From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:219 (Feb. 11, 1860): 164.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Mr. Smith, North Carolina. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:219 (Feb. 11, 1860): 164.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Mr. Faulkner, U. S. Minister to France. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:219 (Feb. 11, 1860): 173.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Judge Abney, Kansas, witness to the Brown Committee, Wash. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:219 (Feb. 11, 1860): 173.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late Stephen Whitney. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:222 (Mar. 3, 1860): 211.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. John Cochrane addressing the 7th Regiment. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:223 (Mar. 10, 1860): 223.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late George Wood, New York Bar. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:226 (Mar. 31, 1860): 275.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mr. Thaddeus Hyatt, witness at John Brown Committee. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:226 (Mar. 31, 1860): 283.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“George Wilkes, Esq., Editor of Wilkes’s New York Spirit of the Times. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:227 (Apr. 7, 1860): 298.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Albert Pike, Grand Commander, Masonic Order. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:229 (Apr. 21, 1860):326.

BRADY, MATHEW B. (1823-1896) (USA).
2 b & w. (Robert Hunter (VA), James Hammond (SC), Portraits by Brady) in: “Candidates for the Presidency in 1861.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:229 (Apr. 21, 1860): 327-328. [Eight portraits, collaged onto one page. Robert Hunter (VA), James Hammond (SC), (portraits by Brady); Andrew Johnson (TN), Howell Cobb (GA), James L. Orr (SC), Jefferson Davis (MS), Robert Toombs (GA), (portraits by Whitehurst); Samuel Houston (TX) (portrait by Webster & Brother, Louisville, KY))]

WEBSTER & BROTHER. (EDWARD Z. WEBSTER (c. 1821-?) & ISRAEL B. WEBSTER (1826 -?) (LOUISVILLE, KY)
1 b & w Samuel Houston (TX) Portrait by Webster & Brother, Louisville, KY.”) in: “Candidates for the Presidency in 1861.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:229 (Apr. 21, 1860): 327-328. [Eight portraits, collaged onto one page. Robert Hunter (VA), James Hammond (SC) (portraits by Brady); Andrew Johnson (TN), Howell Cobb (GA), James L. Orr (SC), Jefferson Davis (MS), Robert Toombs (GA) (portraits by Whitehurst); Samuel Houston (TX) (portrait by Webster & Brother, Louisville, KY))]

WHITEHURST, JESSE HARRISON. (1819-1875) (USA)
5 b & w (Andrew Johnson (TN), Howell Cobb (GA), James L. Orr (SC), Jefferson Davis (MS), Robert Toombs (GA) Portraits by Whitehurst.” In: “Candidates for the Presidency in 1861.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:229 (Apr. 21, 1860): 327-328. [Eight portraits, collaged onto one page. Robert Hunter (VA), James Hammond (SC), (portraits by Brady); Andrew Johnson (TN), Howell Cobb (GA), James L. Orr (SC), Jefferson Davis (MS), Robert Toombs (GA), (portraits by Whitehurst); Samuel Houston (TX) (portrait by Webster & Brother, Louisville, KY)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Nathaniel Parker Willis, author. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 9:231 (May 5, 1860): 354.

BRADY, MATHEW B. (1823-1896) (USA).
3 b & w (“M. B. Brady and ‘Frank Leslie’s’ Artists Taking Photographs and Sketches of the Japanese Presents in the Reception-Room of the Embassy at Willard’s Hotel, Washington.”) on (p. 20; (“Vases Presented by the Emperor of Japan to the U. S. President.”); (“Japanese Saddle Presented by the Emperor of Japan to the President of the United States –Photographed by Brady.”) on (p. 28 in: “The Japanese Embassy in America.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:236 (June 6, 1860): 20, 27, 28, 29. [“Our artists, in the company of M. B. Brady, Esq., the celebrated photographist, were permitted to take sketches of the assembled Japanese in their reception-room… Mr. Brady also took many successful and beautiful photographs, which, together with others in his possession, will form a Japanese gallery of exceeding interest.” Sketch of the photographers at work photographing the equipment, with views of saddles, vases, etc., credited “Photograph by Brady.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Monster Bowie Knife Presented to the Hon. John F. Potter, of Wisconsin, by the Republicans of Missouri. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:236 (June 6, 1860): 32. [View of a very large knife, stacked with rifles, swords, etc)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Reception of the Japanese Embassy at the Navy Yard, Washington. Photographed on the spot by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:237 (June 9, 1860): 40-41. [Outdoor group portrait of Japanese and American officials)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Group of Principal Officers of the Japanese Embassy in Full Costume. -Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:237 (June 9, 1860): 45.

BRADY, MATHEW B. (1823-1896) (USA).
6 b & w (“Presents from the Tycoon of Japan to the President of the United States. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:241 (July 7, 1860): 105, 110. [Specimens of Brocade Silk….Lacquered Cabinet, Japanese Swords, Folding Screen, etc)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Savannah Blues, of Georgia. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:245 (Aug. 4, 1860): 161-162. [(Group portrait, five military officers, in Shakos, with swords, etc..)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Col. Ellsworth, U. S. Chicago Zouaves. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:246 (Aug. 11, 1860): 190.

BRADY, MATHEW B. (1823-1896) (USA).
“Personal.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:247 (Aug. 18, 1860): 193. [“…There is a charming picture of Lady Bury, Sir Allen McNab’s daughter, at Brady’s Gallery, in Broadway.”]

BRADY, MATHEW B. (1823-1896) (USA).
“News of the Week.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:251 (Sept. 15, 1860): 265. [“A Russian merchant named Ludovico Tode, and residing in St. Petersburg, was commissioned by a London house last year to sell a vessel… and remit the proceeds… “ (Tode sold the boat, stole the money and ran to New York.) “The English firm in the meantime got scent of his whereabouts, and communicated with the police authorities, and on the 3rd September Mr. Tode was discovered looking into Brady’s Daguerreotype Gallery, preparatory to have his likeness taken. Fifty thousand dollars of money were found in his trunk. Officers Elder and McCord made the arrest…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Girbaldi, taken in New York. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:254 (Oct. 6, 1860): 303.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mrs. Barney Williams, Prima Donna. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:254 (Oct. 6, 1860): 315.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“N. A. Woods, “London Times” correspondent. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:256 (Oct. 20, 1860): 339.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Abraham Lincoln, of Illinois, the Presidential Candidate for the Republican Party. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:256 (Oct. 20, 1860): 345, 347.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mons. Berger, the Celebrated French Billiard Player. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:257 (Oct. 27, 1860): 366.

BRADY, MATHEW B. (1823-1896) (USA).
“Prince of Walesiana. The American Artists.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:258 (Nov. 3, 1860): 369. [(Article describing minutiae of Prince of Wales’s visit to New York City.) “…Brady has also supplied him, by order, with numerous photographs, which are to be sent on to London; and at Boston a most unique pen and ink portrait of himself, the outlines being filled in with Washington’s Farewell Address, microscopically legible…”]

BRADY, MATHEW B. (1823-1896) (USA).
“News of the Week.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:258 (Nov. 3, 1860): 373. [“…The Prince paid a very handsome and deserved compliment to Brady, the famous photographer. Hearing that he had no ticket for the Boston ball, the Prince sent for one, and presented it to him. Brady was jubilant.”]

BRADY, MATHEW B. (1823-1896) (USA).
“The Grand Ball at the Boston Academy of Music, Given in Honor of the Prince of Wales, on Thursday Evening, October 18th, 1860, by the Citizens of Boston, Mass.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:258 (Nov. 3, 1860): 373. 1 illus. [“…Mrs. M. B. Brady of New York, was very elegantly attired in a rich and heavy white satin dress, trimmed with the most costly point lace. The headdress was elegant and elaborate, and her jewelry consisted of a pearl suite of rare beauty….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late J. C. Adams, known as ‘Grizzly Adams. ‘Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:259 (Nov. 10, 1860): 386.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“John C. Breckinridge, Pres. candidate. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 10:259 (Nov. 10, 1860): 390)]

BRADY, MATHEW B. (1823-1896) (USA).
3 b & w (“James Chesnut, Jr., succeeding South Carolina Senator.”); (“Robert Toombs, Senator from Georgia.”); (Alexander H. Stephens, Ex-Senator from Georgia. Photographed by Brady.”) in: “Secession Movement in South Carolina.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 11:262 (Dec. 1, 1860): 24.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lorenzo Sibert, inventor of the ‘Great Virginia Gun. The Union Pacificator’ – From a Photograph by Brady.”) on (p. 41 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 11:263 (Dec. 8, 1860): 41, 42. [(This is about a rifle.)]

PHOTOGRAPHIC LITERATURE. MAGAZINES. FRANK LESLIE’S ILLUSTRATED NEWSPAPER: 1860.
Willis, N. (p. “Frank Leslie. A Life-Lengthener.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 11:264 (Dec. 15, 1860): 53. 1 illus. [“From the Home Journal.” (The illustration is a view of the Frank Leslie’s publication office building. The article is full of praise for Leslie’s publishing enterprises.) “There are men who lengthen human life—those who shorten its industrial processes, or remove its hindrances or accelerate its compelled purposes and movements-enabling us to take ease and enjoy, where, before, we only lost life by toiling and suffering. It is for more time to live worthily, in fact, that we thank all great inventors-Morse for relieving us of suspense and dependence on mail-bags; Fulton for faster conveyance than by sails and stage-coaches; Whitney for a machine by which one man can do the work of three hundred. Hahnemann for enabling us to omit emetics and purges; Daguerre and Brady for superseding expensive portrait-sitting and difficult friend-remembering. And to this list of public benefactors we now think should be added Frank Leslie, who has rendered comparatively needless two of life’s most laborious processes, viz., the travelling and fancy-picturing which have been hitherto necessary to get “a realizing sense” of what is going on in the world. But look for a moment at this Leslie-wonder of substitution and acceleration. You buy for sixpence, at any corner in Broadway, or in any railroad car, Frank Leslie’s Illustrated Newspaper. Two days before there has been a stirring event of public excitement, five hundred miles away—and here is a picture of it! ln one second (after paying your sixpence) as complete a knowledge of the affair as you would get by travelling to the spot is conveyed to your brain, and this without the reading of an elaborate description, and without any effort of the imagination to locate the actors and their surroundings. The affair took place only twenty-four or forty-eight hours ago, and here is an exact copy of the scene, printed from an engraving on wood— a job of itself that used to take a month to execute. Think of all the other hindrances which there used to be—the tediousness of getting the artist to the spot, of his taking the view, and of long waiting for its return from the engraver-—and now how is this miracle achieved? It is by a skilful combination of the new facilities of the day, aided by ingenious contrivances and bold enterprise. In every part of the country there are now photographers and artists, with nearly all of whom Leslie is in correspondence. On the occurrence of any noteworthy event some one of them is immediately on the spot, as is also one of his equally numerous literary agents—the view and the written description being thus done at the moment, and transmitted by special messenger on an express train. The telegraph has meantime informed the office at New York, and the engravers are ready for the arrival of the drawings. A picture is made by skilful artists on a block of wood, which (a new invention) consists of many pieces, held together by bolts and nuts, so that the whole can be put into the hands of twenty engravers instead of one. by skilful arrangements of light and other conveniences these can work all night on a subject of urgent interest; and in twelve or eighteen hours from the time of the sketch’s arrival it is admirably engraved and ready for the press. The description has been meantime rewritten or adapted by the resident editors and put in type. Thus far there has been the employment of photography, the electric telegraph, the railway express, division of labor among artists, mechanic invention as to blocks and combined literary talent—reducing a month’s work to a day! Then comes the printing-press. And here Mr. Leslie’s own specific invention has done wonders. He found out a way so to overlay the cylinders by which certain effects of light and shade could be produced better and in one-tenth part of the time formerly consumed to produce the same results. The desired art of printing huge and rapid editions of pictorial newspapers was thus rescued from final abandonment. There were also several minor difficulties which he has had to contend with, such as the warping of the blocks by change of temperature and the alteration in the character of the ink, And this .latter article he is obliged (with the inferiority of the article in this country) to import from England and Germany. But what a lesser world—standing, indeed, in the world of New York like “A world within a world”)—is this vast establishment of Frank Leslie’s! And how unconsciously and carelessly we daily pass by such a hidden world, reading only the sign over the door! Such has been our own reflection, at least, after a chance visit we made to it yesterday—invited by a friend to look in for once, and see its wonders of industry and talent in operation. Let us tell one or two more of its statistics, thus gathered. A tall white marble building, on City Hall Square. opposite the Park, is the locality we speak of. The street floor is a long hall of one hundred and forty feet, occupied by the desks and counters of the superintendents and financial clerks, and looking like a vast banking-house in London. The mailing departments are connected with this, and the united business of four periodicals here issued—Frank Leslie’s Illustrated Newspaper, the German illustrated paper, called Illustrierte Zeitung, Frank Leslie’s Monthly, and the Budget of Fun—require, of course, a well-disciplined system of industry and management. Beneath is a cellar, and again another cellar beneath this, the first devoted to the printing-presses (which are worked by steam, and are perfect marvels of human ingenuity when seen in operation), and the second to the vast preparations of paper and ink. The several upper stories of the building are divided quite as systematically—the rooms where the numerous artists work together, the “dens” of the different members of the editorial corps, the type-setters of the two languages—German and English—and (last and most curious) the apartment of the many engravers on wood. This is under the more particular superintendence of Frank Leslie himself (originally an engraver), and the process, as carried on by these talented and fine-looking men with their various delicate implements, is exceedingly interesting. The money circulation of which the single building (or rather Mr. Leslie’s brain) is the valvular heart, is, of course very large. In answer to inquiries we ventured to make, we learned one item or two. Nearly one hundred and sixty-eight thousand dollars a year paid for paper, between six thousand and seven thousand dollars for printing ink, nearly six thousand dollars per month for salaries to sub-editors and artists, one hundred and thirty persons employed altogether, and the receipts about five hundred thousand a year. Frank Leslie’s is the oldest of the family of illustrated newspapers in America. We really think such an establishment is a wonder—and not so much from any one feature, as from the mingled genius for combination and effectiveness which is at the bottom of it all!….”

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“M. B. Brady’s New Photographic Gallery, Corner of Broadway and Tenth Street, New York.”) in: “Brady’s New Photographic Gallery, Broadway and Tenth Street.” in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 11:267 (Jan. 5, 1861): 106, 108. [Extensive, (Almost two full columns.) description of the new gallery, the collections, etc. The illustration is a view of the waiting room, with its many portraits.) “For many years past Brady’s Gallery has been one of the recognized institutions of the metropolis. No matter from which point of the compass the travellers come, whether from the South, West, East, or North, one of the sights to be seen—one noted down before they arrived to be first visited is Brady’s Photographic Gallery We have known Brady in his various localities, have watched his gradual upward flight from place to place, and each change has been for the better until improvement has cumulated in his present unrivaled location, and in his New Gallery, which is probably unequalled in the world. The whole history of the Daguerrean Art is within the knowledge of the present generation, from its first feeble efforts to its uttermost perfection, and the beautiful variations which have sprung from it and eventually eclipsed it, as in the case of Photography. Brady made a brilliant reputation in his early experiments in the art, not only as an exponent of its mere mechanics, but in the higher attributes of taste, judgment and refinement—qualities which transform the mere dead transcript into a living picture. It is this fact more than any other which raised Brady to, and has maintained him in, the foremost position among the celebrated photographers of the world. He has been actively engaged in experimenting and perfecting the art for over eighteen years, during which period he accumulated more than ten thousand portraits of noteworthy individuals from every section of the country and from every quarter of the globe. This does not include the tens of thousands of private sitters whose plates have not been preserved. Before speaking of his New York Gallery we must mention that he has had for several years a branch establishment—a very fine Gallery— in the National Capital, Washington. His first idea in establishing this branch in Washington was to secure greater facilities for adding to his New York Gallery, as all the distinguished men of America. European diplomatics, and the leading ladies of the country, were to be found in Washington during the sessions of Congress. His experiment, however, proved a great pecuniary success, and it must be Iooked upon now as a distinct and independent establishment. Within the last few days he has taken a superb picture of the House of Representatives, with portraits of all the members of the present Congress. At any time this would be an important historical record, but in the present aspect of affairs its value can hardly be calculated; and it would be well that it should be purchased by the Government and placed in some conspicuous place in the House of Representatives. Brady’s New Gallery is situated on the west corner of Broadway, extending down Tenth street some one hundred and fifty feet. Lorilard’s house is above it, on the north; Grace Church, the resort of the pious fashionables, is opposite it, to the east; and Stewart’s New Store will face it directly to the south. It is in the heart of the city, and as a location for that peculiar business is certainly unsurpassed, nay, unequalled in the city. The Gallery is fitted-up in admirable taste, and is richly and handsomely furnished. A costly carpet covers the entire and, while elegant and luxurious couches abound in liberal profusion. The elegant and artistic gas fixtures were specially designed and manufactured by Mr. Morgan L. Curtis, of No. 141 Elm street, with reference to the richness and harmony of the whole design of the Gallery. They are of the finest material, and the workmanship is of the first class in character, equal to the rarest specimens which Mr. Curtis has furnished to decorate the palatial residences and stores of many of our wealthiest citizens. Curtis brings much artistic taste and sound judgment to bear upon his business, and this combination has secured to him the first position among the manufacturers and designers of gas-fixtures in the city. The heating apparatus, consisting of a series of Littlefleld’s Heaters, was put in place by Tibbetts & Co., 590 Broadway, and is admirably designed to promote the health and comfort of visitors, a desideratum in such establishments seldom found. The ventilation, light and heat, being under complete control, give the finishing touch to this most artistic and altogether unique establishment. But the crowning attractions of this splendid Gallery are the countless exquisite pictures which fill every available inch of the walls. So vast a collection of masterly photographs, plain and colored, was never before brought into one Gallery. The subjects are not of the common-place John Smith and John Jones sort, but to use the words of a brilliant writer upon the subject:
“Here may be found a historic collection of our great and venerable dead – many of the men who have led the van of the Revolution, and whose memories are embalmed in the hearts of a grateful people. The ecclesiastics of America are well and ably represented in the compartment devoted to the remembrance of these great men. Here we find the portraits of some of the greatest American bishops and scholars of the United States, among whom the honored names of Hopkins, Dane, Delancy, McGoon, Anthon, Hawks, Cummings and Tyng are to be seen. The visitor can at a single glance observe all the principal merchants, bankers and millionaires of the city. He can see the Grinnells, Taylors, Aspenwalls, Whitneys, and a hundred others of the men who have earned large and princely fortunes in this country, and the pictures have the double value of being exact likenesses, true to life, and at the same time, the highest specimens of photographic art. And so with every department of public life in this country. Our leading lawyers, medical men, xxx, statesmen, and others are duly and faithfully represented and if a casual visitor to the city were to spend two or three hours in this gallery he would leave it with better information concerning our mercantile and public men than he could collect after two or three years’ residence in the country. The dead are brought back to life here so faithfully and so perfectly that those who knew them in the flesh can scarcely fail to recognize the impress of their shadows on the magic glass. The department allotted to the great and distinguished dead must particularly recommend itself to visitors. From the rude forefathers of the country, to the men who built up the superstructure of the republic on the foundations which they laid, and down to the men of the present day, when our power is spreading abroad with electric speed – every important face will be here represented. The learned historians of America, her naval heroes and her conquering warriors are reproduced by the silent yet eloquent camera.”
These superb works of art form a portrait-history of the times of incalculable value, as great in the variety of their subjects as in their artistic finish and marvelous perfection in detail. The operating-rooms are replete with all the modern conveniences arid improvements; among the latter we must mention the successful use of colored glass, which Mr. Brady has found to work with magical effect, and to enhance in an extraordinary degree the life-like beauty of his pictures. One other point requires mention. There is a private entrance in Tenth street, for ladies in full dress, which lends directly to the operating-rooms, thus obviating the unpleasant necessity of pausing, so attired, through the public gallery. If Brady lived in England his Gallery would be called the Royal Gallery, for it was specially honored by a lengthy visit, by appointment from the heir-apparent of England, the Prince of Wales and suite. The Prince visited no other Photographic Gallery, that special honor being reserved for that establishment. acknowledged on all hands to be the first and finest of its kind in America. In connection with our beautiful illustration of this famous Gallery, the visit of the Prince of Wales has peculiar und appropriate interest, and we consequently subjoin a brief account, from a contemporary, of that memorable occasion:
“At half-past twelve the carriages of the Prince and his suite were seen approaching from the direction of Fifth Avenue, and a rush was made for the private entrance where they were to alight. His Royal Highness acknowledged the cheers of the crowd and the salutations of the ladies, through a long file of whom he had to pass, by uncovering and bowing frequently. On entering the splendid new gallery, which has just been completed as so much expense, the Prince gave expression to the gratification which the spectacle of this magnificent collection afforded him. He inspected, with curious interest, the portrait of the statesmen and literary and other celebrities of this country, pointing out to the members of his suite such of them as he had been familiar with by reputation. After remaining a short time in the gallery he was taken up to the operating rooms, where, singly and with different members of his suite, he gave the artists a number of settings. First were taken three imperial groups of the whole party, with his Royal Highness as the central figure. Next was executed a full-length imperial photograph of the prince standing alone. His Royal Highness had then a number of miniature photographs of himself and the young noblemen of his suite taken singly and in groups, to serve as cartes de visites. All the impressions were admirably distinct, the day being peculiarly available for the operation, and the members of the royal party to whom the proofs were subsequently shown were loud in their commendations of the accuracy and perfection of the apparatus used in the establishment. Returning to the gallery, the Prince again spent some time inspecting the collection. He seemed particularly pleased with the colored photographs which are finished in the most elaborate style, and admitted to be the chef d’ouvres of art. The collected heads of the members of Senate and of the House of Representatives appeared greatly to interest the party, but more especially the Duke of Newcastle, who devoted a good deal of time to the examination of the portraits of politicians. Several large commissions were given by the Prince, the Duke, Mr. Englebart and other members of the suite, for immediate execution. Amongst those given by the Duke was one of the President and his Cabinet, and one of each of the Presidential candidates. Before leaving the royal party inscribed their names on the visitor’s book. The following is the page as it stands inscribed – a proud memorial for Mr. Brady:
October 19.
Albert Edward.
Lyons.
Newcastle.
St. Germans.
Robert Bruce.
C. Teasdale.
Hinebinbrooke.
Charles G. L. Eliot.
G. D. Englehart.
Hugh W. Ackland.
G. F. Jenner.
As the Prince stood at the head of the staircase, on the point of taking his departure, an interesting incident occurred. An old man, bowed down and battering with the weight of years, was presented to him by Mr. Purdy, who stated that he happened to be in the palace on the night the Royal Highness was born. The Prince addressed him in the most kindly terms, and seemed touched by the circumstance. On leaving his Royal Highness extended his hand cordially to Mr. Brady, and expressed the great gratification he had derived from the inspection of his collection. The visit of the royal party lasted over two hours, and on entering their carriages they were greeted with enthusiastic cheers by an immense crowd which had been waiting patiently all that time to get a glimpse of the Prince.”
It need hardly be said that the eclat of so distinguished an honor brought the fame of Mr. Brady freshly and prominently before the country, into every section of which accounts of the visit penetrated, or that Brady’s Gallery became the “lion” of fashion and its followers from all parts of the United States. Such were the results of the Prince’s kindness and condescension, and as a necessary consequence, not only his Gallery but his extensive and commodious operating-rooms have been, and continue to be, crowded by people eager to be “taken” by the Prince’s photographer – the man he visited, shook hands with and compliments so warmly. In conclusion, Brady’s Gallery is a “sight” that every one should see.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Adolphus H. Davenport, comedian. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 11:270 (Jan. 26, 1861): 157.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Miss Isabella Hinkley, prima donna. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 11:271 (Feb. 2, 1861): 165.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lieut. Hall, U. S. Army Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 11:271 (Feb. 2, 1861): 168.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mrs. John J. Crittenden. Photographed by Brady.”) in: “Our Gallery of Distinguished American Ladies—No. 3—Mrs. John J. Crittenden.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 11:272 (Feb. 9, 1861): 185.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Col. Isaac W. Hayne, bearer of the ultimatum from South Carolina to the government in Washington. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 11:273 (Feb. 16, 1861): 197.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“John Tylor, ex-Pres. of U S A, Pres. of Peace Convention. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 11:273 (Feb. 16, 1861): 204.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Jefferson Davis, Pres. of the Southern Confederacy. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 11:276 (Mar. 9, 1861): 241.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late Dr. John Francis. Photographed by Brady.”) on (p. 252 in: “John W. Francis, M. D., LL. D., &c.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 11:276 (Mar. 9, 1861): 246, 252. [(Full-page portrait.) “We have delayed until now to present to our readers a sketch of our old and valued friend, the late Dr. John W. Francis, in order that we might be able to prepare from the only existing imperial photograph, by Brady (the last portrait of him even taken), now in the possession of Dr. J. Marion Sims, the most lifelike representation that time and artistic skill could produce;…”]

RYDER, JAMES FITZALLEN. (1826-1904) (CLEVELAND, OH)
1 b & w (“S. F. Chase, Sec. of Treasury. Photographed by J. F. Ryder, Cincinnati, Oh.”) in: “The Members of President Lincoln’s Cabinet.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 11:280 (Apr. 6, 1861): 312. [(Seven portraits, six by Brady, one by Ryder.)]

BRADY, MATHEW B. (1823-1896) (USA).
6 b & w (“Hon. Simon Cameron, Sect. of War.”); (“Hon. Gideon Welles, Sec. of the Navy.”); (“Hon. W. H. Seward, Sec. of State.”); (“Hon. Montgomery Blair, Postmaster-General.”); (“Hon. Caleb B. Smith, Sec. of Interior.”); (“Hon. Edward Bates, Attorney-General.”) in: “The Members of President Lincoln’s Cabinet – From Photographs by Brady.”: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 11:280 (Apr. 6, 1861): 312-313. [(Seven portraits, six by Brady, one by Ryder.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Col. Fred. W. Lander, the Pacific Railroad Explorer and Engineer.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 11:280 (Apr. 6, 1861): 316. [“…the photograph is copied from an imperial one by Brady…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Messrs. Roman, Forsyth, Crawford, Commissioners at Washington of the Southern Confederacy. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER11:281 (Apr. 13, 1861): 321.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. William S. Harney, U. S. A. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 12:290 (June 8, 1861): 54.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Capt. Roger Jones, U. S. A. Promoted for Destroying the Arms and Government Buildings at Harper’s Ferry, on the Approach of the Secession Troops, April 18th, 1861.Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 12:292 (June 22, 1861): 87.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Col. Noah L. Farnham. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 12:302 (Aug. 31, 1861): 245.

BRADY, MATHEW B. (1823-1896) (USA).
‘Theatrical and Musical.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 12:306 (Sept. 28, 1861): 307. [“…Forrest is about to fulfill a round of engagements, and opens in Boston on the 30th. Brady, the photographer, has just completed a series of admirable portraits of the great actor in his favorite characters…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late Col. E. D. Baker, Sen. from Oregon. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 12:311 (Nov. 9, 1861): 389.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. William I. Hardee, of Georgia, Commanding One Division of the Rebel Troops in Missouri. – From a Photograph by Brady.”) on (p. 395 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 12:311 (Nov. 9, 1861): 391, 395. [

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. William I. Harder, C. S. A.“) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 12:311 (Nov. 9, 1861): 395.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. Louis Blenker, U. S. A. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 12:312 (Nov. 16, 1861): 410.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. Samuel (p. Heintzelman. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 13:313 (Nov. 23, 1861): 6.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. John B. Floyd, C. S. A. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 13:313 (Nov. 23, 1861): 11.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. William I. Harder, C. S. A.“) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 12:311 (Nov. 9, 1861): 395.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. Louis Blenker, U. S. A. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 12:312 (Nov. 16, 1861): 410.

vol. 13

BENICZKY, K. W. (NEW YORK, NY)
1 b & w (“Major Zagonyi. Photographed by K. W. Beniczky.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 13:313 (Nov. 23, 1861): 1.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. Samuel (p. Heintzelman. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 13:313 (Nov. 23, 1861): 6.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. John B. Floyd, C. S. A. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 13:313 (Nov. 23, 1861): 11.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“William M. Gwin, Late U. S. Senator from California. Now Under Arrest on a Charge of treason – From a Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 13:317 (Dec. 21, 1861): 70.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig.-Gen. Daniel F. Sickles, Excelsior Brigade. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 13:320 (Jan. 11, 1862): 128.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. James Shields. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 13:335 (Apr. 12, 1862): 356.

PHOTOGRAPHIC LITERATURE. MAGAZINES. FRANK LESLIE’S MONTHLY. 1862.
“Beautiful Steel Engraving of Mrs. President Lincoln.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:346-347 (May 31, 1862): 131. [“Frank Leslie’s Monthly for June commences a series of great public interest – the Representative Women of America. The present number contains a superb full-length picture of Mrs. President Lincoln, beautifully engraved on steel by Capewell & Kimmelll, from a photograph by Brady. It is undoubtedly the first National Portrait that has been published by the Lady of the White House, and well deserves the compliment of a fine frame…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Maj. W. F. M. Arny, U. S. Indian Agent for the Territories, Successor to the famous Kit Carson. From a Photograph by Brady.”) on (p. 213 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:352-353 (July 5, 1862): 213, 222.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lieut. Col. Wm. Carey Massett, killed. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:354 (July, 12, 1862): 241.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. Joseph Hooker. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:354 (July 12, 1862): 252.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. Henry w. Benham. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:355 (July 19, 1862):257.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Col. James McQuade. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:355 (July 19, 1862): 268.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Capt. J. B. Ricketts. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:355 (July 19, 1862): 268.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. Edwin V. Sumner. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:356 (July 26, 1862): 284.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rebel Gen. Thomas J. Jackson From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:358 (Aug. 9, 1862): 305. [(Photograph obviously taken much earlier, when Jackson was a cadet or still an officer in the U. S. army.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. Henry Wager Halleck. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:358 (Aug.9, 1862): 309.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. John M. Schofield. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:360 (Aug. 23, 1862): 348.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. Samuel D. Sturgis. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:360 (Aug. 23, 1862): 348.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. Willis A. Gorman. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:360 (Aug. 23, 1862): 349.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. Darius N. Couch. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:360 (Aug. 23, 1862): 349.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. King. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:361 (Aug. 30, 1862): 356.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. Tyler. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:361 (Aug. 30, 1862): 365.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. Michael Corcoran. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:362 (Sept. 6, 1862): 381.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Maj. Gen. John Pope. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 14:363 (Sept. 13, 1862): 385.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. Robert E. Lee, Commander-in-Chief, C. S. A. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 15:366 (Oct. 4, 1862): 29. [(Portrait taken earlier.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. Wm. Benj. Franklin. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 15:367 (Oct. 11, 1862): 37.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. Don Carlos Buell. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 15:367 (Oct. 11, 1862): 37.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. Fitzjohn Porter. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 15:369 (Oct. 25, 1862): 68.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. Geo. W. Cullum. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 15:370 (Nov. 1, 1862): 85.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mrs. Jefferson Davis, Wife of the President of the so-called ‘Southern Confederacy.’ From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 15:370 (Nov. 1, 1862): 88.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Col. Geo. W. Pratt, killed. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 15:371 (Nov. 8, 1862): 108.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig. Gen. Quincy Adams Gillmore. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 15:372 (Nov. 15, 1862): 125.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Maj. Gen. Israel B. Richardson. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 15:372 (Nov. 15, 1862): 125.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Horatio Seymour, Govt.-elect of N. Y. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 15:373 (Nov. 22, 1862): 129.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“T. Mason Jones, lecturer. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 15:374 (Nov. 29, 1862): 156.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Madame Genevieve Guerrabella, singer. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 15:375 (Dec. 6, 1862): 169.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Artemus Ward (Charles F. Brown) From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 15:376 (Dec. 15, 1862): 188.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. Morgan Dix, Rector of Trinity Church. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 15:377 (Dec. 20, 1862): 197.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. George L. Hartsuff. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 15:377 (Dec. 20, 1862): 197)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rear-Admiral Lisovsky, of the Russian Navy. From an Imperial Photograph by Brady.” in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 17:423 (Nov. 7, 1863): 97.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lieut. John F. Nickels. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 17:438 (Feb. 20, 1864): 349.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“John N. Pattison, pianist. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 18:443 (Mar. 26, 1864): 5.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Col. Ulric Dahlgreen, U. S. A. – From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 18:443 (Mar. 26, 1864): 13.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. George A. Custer. – From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 18:443 (Mar. 26, 1864): 13.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. Henry W. Bellows, of New York, Pres. of the U. S. Sanitary Commission. Photographed by Brady.”) on (p. 53 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 18:446 (Apr. 16, 1864): 53, 55.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“William Fressenden of Maine. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 18:460 (July 23, 1864): 277. [(Correction: the portrait is actually of the late Theodore Frelinghuysen, see. (p. 315)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“William P. Fressenden of Maine. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 18:462 (Aug.6, 1864): 315. [“In our last paper but one, by an error not discovered in season, a portrait of the late Hon. Theodore Frelinghuysen was given with the name of the new Secretary of the Treasury. We give today a fine portrait from the photograph by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Maj. Gen. Oglesby, of Illinois Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 18:467 (Sept. 10, 1864): 389.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late James Wm. Wallack, as Benedict, in ‘Much Ado about Nothing.’ From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 19:485 (Jan. 14, 1865): 268.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Reubin Fenton, Gov. of the State of New York. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 19:485 (Jan. 14, 1865): 269.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Daniel S. Dickinson. From a Recent Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 19:491 (Feb. 25, 1865): 365.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Sergeant Boston Corbett, the man who shot Booth. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 20:502 (May 13, 1865): 113.

PHOTOGRAPHIC LITERATURE. MAGAZINES. CHIMNEY CORNER. 1865.
“Prospectus of the Chimney Corner A New Family Newspaper.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 20:502 (May 13, 1865): 114. [“…Every number will also contain a most striking and correct portrait, exquisitely engraved, with an original biography of some eminent person,… This series will be termed “The Self-made Men of our Times.” With Nos. 1 and 2 of the Chimney Corner will be presented gratuitously, a magnificent plate, entitled “Grand Reception of the Notabilities of the Nation at the White House, 1865.” The picture contains nearly 100 portraits of our most celebrated Generals, Statesmen and Civilians, also of many of our most distinguished American ladies. The likenesses are admirable, having been taken from photographs by Brady. This is the most costly gift plate ever presented by any publisher in the United States, having been produced at an expense of $10,000. Every family should possess this truly national picture, and carefully preserve it,…”]

BRADY, MATHEW B. (1823-1896) (USA).
2 b & w (“Grand Review at Washington, May 24 President Johnson, LieutGen. Grant and Others Inspecting Sherman’s Army from the Reviewing Stand on Pennsylvania Avenue From a Photograph by Brady.”) on (p. 177; 1 b & w (“Home from the War—Grand Review of the Returned Armies of the United States. At Washington May 23.—View from the Treasure Building, Showing Troops Marching up Pennsylvania Avenue on Their Way to the Grand Reviewing Stand—From Photographs by Brady and Sketches by Our Specialist, W. T. Grant”) on pp. 184-185 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 20:506 (June 10, 1865): 177, 184-185. [(Troops on horseback parading before a reviewing stand. Second view is a long view of troops parading down Pennsylvania Ave. with the Capitol building in the back If these images were taken from a photo at all, then they are heavily overworked by the engraver.)]

BRADY, MATHEW B. (1823-1896) (USA).
3 b & w (“The Saratoga Races—View of the Grand Stand. The Horses Starting,”); (“The Home Stretch,”); (“The Horses Passing the Judges’ Stand. – From a Photograph by Brady.”) in: “The Saratoga Races.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 20:517 (Aug. 26, 1865): 360-361. [(Three engravings are all credited to be from photographs by Brady. Perhaps the buildings were from photos, but the horses, depicted in the classic rocking horse stretch, have been added by the engraver.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Grizzly Bear Chair, Presented to President Andrew Johnson, by Seth Kinman, the California Hunter, Sept. 6. Photographed by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 21:523 (Oct. 7, 1865): 44.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. Hashem, Ambassador from Tunis. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 21:526 (Oct. 28, 1865): 84.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. Hashem, Ambassador from Tunis. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 21:526 (Oct. 28, 1865): 84.

BRADY, MATHEW B. (1823-1896) (USA).
see also BRADY & CO. (WASHINGTON, DC)
BRADY & CO. (WASHINGTON, DC) see also
BRADY, MATHEW B. (1823-1896) (USA).

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Andrew Johnson, President of the U. S. A. From a Photograph by Brady & Co., Washington, D. C.“) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 21:536 (Jan. 6, 1866): 241.

BRADY, MATHEW B. (1823-1896) (USA).
‘News.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 21:536 (Jan. 6, 1866): 243. [“We regret that in giving the fine portrait of the Mayor elect, John T. Hoffman, in last week’s paper, that we omitted giving credit for the beautiful photograph from which it was taken, to Mr. M. B. Brady, corner of 10th street and Broadway. We feel this necessary from the reception of many favors from Mr. Brady, who deservedly holds the position of the first photographer in the world.”]

BRADY & CO. (WASHINGTON, DC) 1 b & w (“Late Prof James Mapes. From a Photograph by Brady & Co., Washington, DC.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 21:539 (Jan 27, 1866): 300.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Robert B. Minturn. From a Photograph by Brady.“) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 21:540 (Feb 3, 1866): 316.

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Robert E. Lee, General-In-Chief of the Late Confederate Army—From a Photograph Taken, during his Recent Visit to Washington, by Brady & Co. Washington, D. C.“) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 22:547 (Mar. 24, 1866): 1.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Ralph Waldo Emerson. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 22:548 (Mar. 31, 1866): 21.

BRADY & CO. (WASHINGTON, DC) 1 b & w (“The Late Hon. Solomon Foot, Sen. from Vermont. -From a Photograph by Brady & Co., Washington, D. C. “) in: “Hon. Solomon Foot, United States Senator from Vermont .” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 22:550 (Apr. 14, 1866): 60.

BRADY & CO. (WASHINGTON, DC)
1 b & w (“The Late Hon. James H. Lane, of Kansas – From a Phot. by Brady, Washington, D. C.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 22:566 (Aug. 4, 1866): 308.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Rev. John Pierpont. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 22:572 (Sept. 15, 1866): 404.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Madame Adelaide Ristori, actress. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 23:575 (0ct. 6, 1866): 33.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Leonard W. Jerome. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 23:576 (Oct. 12, 1866): 49.

BRADY, MATHEW B. (1823-1896) (USA).
‘Town Gossip. Among the Diamonds.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 23:577 (Oct. 20, 1866): 66. [“Mr. John A. reed amused himself on Wednesday evening, the 4th of September, by throwing open his “Diamond Parlor,” on Broadway…and inviting to a private view a knot of artistes and press people… Music had its representative there in Mr. Wehli; sculpture, in Messrs. Mozier and McDonald; painting in Mr. T. Addison Richards; photography in Mr. M. T. Brady (an old friend of Frank Leslie’s); the bygone rebellion in Roger A. Pryor; and the newspaper world in….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late rev. Dr. Frances L. Hawes, rector of Calvary Church, New York – From a Photograph by Brady.”) on (p. 68 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 23:577 (Oct. 20, 1866): 68, 71.]

BRADY, MATHEW B. (1823-1896) (USA).
2 b & w (“Signor Giorgio London, the Celebrated Operatic Buffo-Basso.—From a Photograph by Brady, N. Y.”); (“Signorina Ronconi, the Young Operatic Prima Donna, Soon to Make Her Debut in America.—From a Photograph by Brady, N. Y.”) on (p. 69 in: “Town Gossip.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 23:577 (Oct. 20, 1866): 67, 69.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Hon. John Van Buren. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 23:579 (Nov. 3, 1866): 97.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. E. H. Chapin. From a Photograph by Brady.”) on (p. 148 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 23:582 (Nov. 24, 1866): 148, 151.

BRADY & CO. (WASHINGTON, DC)
1 b & w (“John H. Surratt, alleged Lincoln conspirator. -Photographed by Brady & Co., Washington, D. C.“) on (p. 241 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 23:588 (Jan. 5, 1867): 241, 251. [“Mr. Brady, the celebrated photographer, has sent us the last photograph taken of this feeble specimen of a notorious man.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“James Gordon Bennett, Jr., Owner of the Henrietta, and Winner of the Great Ocean Yacht Race. -Photographed by Brady, N. Y.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 23:591 (Jan. 26, 1867): 293. [“Our portrait…is from a photograph taken by Brady. It represents him in yacht dress…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Roscoe Conkling, of New York. -Photographed by Brady.”) on (p. 311 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 23:592 (Feb. 2, 1867): 311, 312.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Daniel Devlin, City Chamberlain. -Photographed by Brady.”) in: “Daniel Devlin, the City Chamberlain.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 23:597 (Mar. 9, 1867): 389.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Benjamin F. Wade, President of the U. S. Senate. Photographed by Brady, N. Y.“) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 24:599 (Mar. 23, 1867): 1.

BRADY, MATHEW B. (1823-1896) (USA).
‘Epitome of the Week. Domestic.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 24:601 (Apr. 6, 1867): 35. [“—A meeting of the trustees of money lately given by Mr. Peabody for the aid of the South, was held recently in this city, and a group composed of them and donor was photographed by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“George Peabody, and the Trustees of the Peabody Educational Fund Photographed by Brady, N. Y. “) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 24:602 (Apr. 13, 1867): 56. [(Group portrait.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. Theodore L. Cuyler. – From a Photograph by Brady. “) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 24:608 (May 25, 1867): 149.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late Charles Anthon, LL.D. Photographed by Brady, N. Y. “) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 24:620 (Aug. 7, 1867): 341.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Frank Leslie’s National Portrait Gallery—Major-General Philip H. Sheridan—From a Photograph by Brady, N. Y.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 24:623 (Sept.7, 1867): 392. [(Full page engraving.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Sir Frederick Bruce, Ambassador to the United States from England.”) on (p. 48 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 25:627 (Oct. 5, 1867): 39, 48.

BRADY, MATHEW B. (1823-1896) (USA).
“Scenes and Incidents in Major-General Sheridan’s Reception in New York and Brooklyn.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 25:629 (Oct. 19, 1867): 65, 67. 7 illus. [Page with seven small illustrations depicting events of Sheridan’s visit to New York. One of the sketched illustrations is, “Gen. Sheridan Visits Brady, the Photographer, Broadway and 10th St., and His Picture is Secured.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late Rev. Dr. John M. Krebs. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 25:629 (Oct. 19, 1867): 73.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late Elias Howe Jr., inventor of the Sewing Machine. From a Photograph by Brady.”) on (p. 85 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 25:630 (Oct. 26, 1867): 85, 92.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late John A. Andrew, of Boston. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 25:633 (Nov. 16, 1867): 140.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Daniel Drew, Esq. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 25:635 (Nov. 30, 1867): 165.

BRADY, MATHEW B. (1823-1896) (USA).
‘News.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 25:635 (Nov. 30, 1867): 174. [“We hear that Mr. Brady has succeeded in taking photographic portraits in collodion so small that they are wholly invisible to the naked eye. How delightful if one could only have some of one’s friends done in this way – we mean, of course, those friends one likes the better the less one sees of them.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late Fitzgreen Halleck. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 25:636 (Dec. 7, 1867): 181.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late Right. Rev. Bishop John Henry Hopkins. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 25:643 (Jan. 25, 1868): 296.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Managers of Impeachment. From a Photograph by Brady & Co., Washington, D. C. “) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 26:654 (Apr. 11, 1868): 49. [(Group portrait of the Impeachment Court.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Chinese Embassy Hon. Anson Burlingame and the Chinese Ambassadors and Secretaries of Legation Associated with the Mission. From a Photograph by M. B. Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 26:663 (June 13, 1868): 193. [Group portrait)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Anson Berlingham, Ambassador to China. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 26:664 (June 20, 1868): 220.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Miss Adelaide Phillips, singer. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 26:664 (June 20, 1868): 220.
SARONY. (NEW YORK, NY) “News.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 26:671 (Aug. 8, 1868): 322. [“It is no disparagement to Brady, nor Fredericks, nor any other of the disciples of the Sun, to say that in the art of photography, wherein the artist himself takes part, with the right feeling and true capacity, no photographer surpasses Sarony, 630 Broadway. We find in the Springfield (Mass.) Daily Republican a most deserved estimate of Sarony’s pictures, this time mainly apropos of his fine studies of Ristori in her leading characters. The Republican says: “What photographs are usually, anyone who has been vain enough to pose, can testify. An ordinary photograph is just such a likeness as one’s worst enemy would take if he were the sun. There is no such liar under the sun as the sun, but by some legerdemain Sarony has got the upper hand, and is master of the situation. Why? Because he is an artist. Sarony has devoted himself entirely to art for many years, being the head of the Sarony lithographic company. He is an admirable draughtsmen, and now that he has turned his attention to photography, New York realizes for the first time that it can be made an art. Sarony’s photographs are not only finely executed and good as likenesses, but they are pictures. He seizes whatever as picturesque in his subject, and turns it to the best advantage, so that very plain people are astonished to find out how many good points they possess. “I never knew I had such a good-looking wife until Sarony took her photograph,” said a solid man of New York, the other day.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Charles Loring Elliot, artist. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 26:676 (Sept. 12, 1868): 412)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Cricket in America The All-England Eleven and Umpire, Now on a Professional Visit to the United States. From a Photograph by M. B. Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 27:679 (Oct. 3, 1868): 40. [Group portrait)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mme. de la Molinre (Olympe Audouard). From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 27:680 (Oct. 10, 1868): 53.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Charles (p. Daly, First Judge of the New York Supreme Court. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 27:689 (Dec. 12, 1868): 204.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Anthony L. Robertson, Chief Justice of the New York State Supreme Court. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 27:690 (Dec. 19, 1868): 213.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Gunning S. Bedford, Jr., New York, New York Judge Elect. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 27:691 (Dec. 26, 1868): 229.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Samuel B. Gavin, Justice of New York Superior Court. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 27:692 (Jan. 2, 1869): 252.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. John K. Hackett, Recorder of the City of New York. From a Photograph by M. B. Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 27:693 (Jan. 9, 1869): 261.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Thomas W. Clerke, Justice of the Supreme Court of New York. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 27:694 (Jan. 16, 1869): 277.

MORSE, SAMUEL FINLEY BREESE. (1791-1872) (USA)
“The Banquet to Professor S. F. B. Morse, at Delmonico’s Hotel, New York, Dec. 29th.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 27:694 (Jan. 16, 1869): 284. [Portrait by M. B. Brady)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Professor S. F. B. Morse. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 27:694 (Jan. 16, 1869): 284.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon C. L. Monell, Justice of the Superior Court of New York, New York. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 27:696 (Jan. 30, 1869): 309.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. J. M. Barbour, Chief Justice of the Superior Court of New York, New York. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 27:696 (Jan. 30, 1869): 325.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“J. W. Gerald, Esq. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 27:697 (Feb. 6, 1869): 333.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. James G. Blaine, of Maine, Speaker of the National House of Representatives.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 28:703 (Mar. 20, 1869): 1. [See FLIN (Mar. 27, 1869): 18. “We neglected in our last issue to acknowledge our indebtedness to Mr. M. B. Brady, photographer, for the excellent photograph from which was taken our portrait of Speaker Blaine. The accuracy of our picture of the Inauguration ceremony is also due to the skillful and courteous assistance of Mr. Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Inauguration of Ulysses S. Grant as President of the United States, March 4th, 1869 Chief Justice Chambers Reading the Oath of Office The Scene from near the East Portico of the Capitol, Washington, D. C. From a Sketch by James E. Taylor, and Photographs by M. B. Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 28:703 (Mar. 20, 1869): 8-9. [View, with crowd)]

BRADY, MATHEW B. (1823-1896) (USA).
2 b & w (“The Bronze Doors of the Capitol, Washington, D. C. From Photographs by M. B. Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 28:704 (Mar. 27, 1869): 28.

BRADY, MATHEW B. (1823-1896) (USA).
3 b & w (“Gen. John A. Rawlins.”); (”Hon. J. A. J. Creswell.”); (“Hon. George S. Boutell; all in Pres. Grant’s Cabinet. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 28:705 (Apr. 3, 1869): 40-41.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Moses H. Grinnell, Collector of the Port of New York. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 28:707 (Apr. 17, 1869): 69.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. John Jay, U. S. Minister to Austria. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 28:709 (May 1, 1869): 101.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. J. Lothrop Motley, U. S. Minister to England. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 28:709 (May 1, 1869): 104.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Zachariah Chandler, of Michigan. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 28:711 (May 15, 1869): 141.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. Francis C. Barlow. From a Photograph by Brady.”) on (p. 149 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 28:712 (May 22, 1869): 149, 158.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Edwards Pierrepont. U. S. District Attorney for the Southern District of New York From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 28:715 (June 12, 1869): 204.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. George M. Rodeson, Sec. of Navy. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 28:720 (July 17, 1869): 277.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Senhor D. J. G. Magalhaens, Brazilian Minister at Washington. From a Photograph by Brady.”) on (p. 357 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 28:725 (Aug,. 21, 1869): 355, 357.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. Alexander G. Webb, Pres. of College of the City of New York. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 28:727 (Sept. 4, 1869): 396.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Chang, the Chinese Giant.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 28:728 (Sept. 11, 1869): 413. [This portrait not credited, but probably from a Brady photograph)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late General John A. Rawlins. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 29:730 (Sept. 25, 1869): 28.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Hon. William Pitt Fessenden. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 29:730 (Sept. 25, 1869): 28.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Richard B. Connoly, Comptroller of the City of New York. – From a Photography by Brady.”) on (p. 61 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 29:732 (Oct. 9, 1869): 61.
RUSSELL, ANDREW JOSEPH. (1830-1902) (USA) 1 b & w (“The National Grand Lodge of Odd Fellows Holding a Meeting in Echo Canyon, on the Pacific Railway. From a Photograph by A. J. Russell.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 29:732 (Oct. 9, 1869): 61. [View, with crowd)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Jay Gould, President of the Erie Railway Company. From a Photograph by Brady.”) on (p. 73 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 29:733 (Oct. 16, 1869): 73, 80.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“James Fisk, Jr., Comptroller of the Erie Railway Company. From a Photograph by Brady.”) on (p. 73 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 29:733 (Oct. 16, 1869): 73, 80.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Ex-President Franklin Pierce. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 29:734 (Oct. 23, 1869): 100.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Father Hyacenthe (Charles Lotson). From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 29:736 (Nov. 6, 1869): 121.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late George Peabody. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 29:738 (Nov. 20, 1869): 153. [Full-page portrait)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Frederick F. Low, U. S. Minister to China. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 29:738 (Nov. 20, 1869): 161.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Commodore Cornelius Vanderbilt. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 29:739 (Nov. 27, 1869): 169. [(Full-page portrait.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Hon. Robert J. Walker. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 29:739 (Nov. 27, 1869): 181.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Amos Kendall. From a Photograph by Brady.”) in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 29:741 (Dec. 11, 1869): 213.

WHERE IS 1870 1875

1876

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Reverdy Johnson, Ex-Minister to England – From a Photograph by M. B. Brady”) on p. 405 in: “The Late Reverdy Johnson.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 41:1065 (Feb. 26, 1876): 405.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Red Fox, Bearskin, Red Dog, Rocky Bear, Living Bear Prominent Chiefs of the Sioux Nation. – From a Photograph by Brady.”) on p.336 in: “The Late General George A. Custer, U. S. A.”
FRANK LESLIE’S ILLUSTRATED NEWSPAPER 42:1086 (July. 22, 1876): 335-336. 2 b & w, 1 illus.
[Uncredited portrait of Custer on p. 335, view of Sioux chiefs on p. 336, 1 drawing, “One of General Custer’s Scouts surrounded by Indians – From a Sketch taken by David Carroll, in Custer’s Black Hill Expedition of 1874.” on p. 336.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Green B. Raum, the New Commissioner of Internal Revenue. – From a Photograph by Brady, Washington, D. C.”) on p. 412 in: “the New Commissioner of Internal Revenue.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 42:1091 (Aug. 26, 1876): 412.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Samuel J. Randall, of Pennsylvania, Speaker of the U. S. House of Representatives, Photographed by Brady, Washington, D. C.”) on p. 261 in: “Hon. Samuel J. Randall, Speaker of the U. S. House of Representatives.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 43:1108 (Dec. 23, 1876): 261.]

1877

BRADY, MATHEW B. (1823-1896) (USA).
15 b & w (“The Members of the Electoral Commission Appointed to Adjudicate upon the Disputed Points in the Presidential Election of November, 1876. From Photographs by Brady, Washington. See Page 395..”).on p. 396 in: “The Electoral Court.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 48:1116 (Feb. 17, 1877):395, 396. 15 separate portraits.]

BRADY, MATHEW B. (1823-1896) (USA).
8 b & w (“Washington, D. C.-The New Administration-President Hayes’s Cabinet, Confirmed in Special Session of the United States Senate, March 10th. Carl Schurz. Richard W. Thompson. John Sherman. William M. Evarts. David M. Key. George W. Mccrary. Charles Devens. From Photographs by Brady, Washington. See Page 51.”) on p. 51, 54 in: “President Hayes’s Cabinet.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 44:1121 (Mar. 24, 1877):.51, 52-53, 54. [8 separate portraits.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Hon. Benjamin Hill, United States Senator from Georgia. From a Photograph by Brady, Washington.”) on p. 112 in: “Hon. Benjamin Hill.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 44:1124 (Apr. 14, 1877):112.]

BRADY, MATHEW B. (1823-1896) (USA).
12 b & w (“Washington, D. C. The Forty Fifth Congress. The Chairmen of the Leading Committees of the House. From Photographs by Brady; Washington, D. C. See Page 226.”) on p. 225 in: “The Forty Fifth Congress.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 45:1158 (Dec. 8, 1877):225, 226. [12 separate portraits.]

1878

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Washington, D. C. – Statue of William King, First Governor of Maine, in Statuary Hall, From a Photograph by Brady.”) on p. 272 in: “Statue of William King, First Governor of Maine..” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 46:1186 (June 22, 1878): 267, 272.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Washington, D. C. –Mrs. Agnes D. Jenks, Who Claims the Authorship of the Sherman Letter, From a Photograph by Brady.”) on p. 321 in: “Mrs. Agnes D. Jenks.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 46:1189 (July 13, 1878): 321, 322-323.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon Simon B. Conover, United States Senator from Florida From a Photograph by Brady.”) on p. 29 in: “Simon B. Conover, United States Senator” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 47:1198 (Sept. 14, 1878):29.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Right Rev. John J. Keane, Bishop of Richmond, and Vicar Apostolic of North Carolina From a Photograph by Brady.”) on p. 76 in: “Rev. J. J. Keane, Bishop of Richmond, Va.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 47:1201 (Oct. 5, 1878):76.]

1879

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. William Hunter, Second Assistant Secretary of State. From a Photograph by Brady.”) on p. 229 in: “The Hon. William Hunter.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 48:1236 (June 7, 1879):229.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General Thomas Ewing, Democratic Candidate for Governor of Ohio. From a Photograph by Brady.”) on p. 285 in: “General Thomas Ewing.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 48:1229 (June 28, 1879):285.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Clarkson Nott Potter, Late Democratic Candidate for Lieutenant-Governor of New York. From a Photo. by Brady, See Page 202.”) on p. 197 in: “Hon. Clarkson Nott Potter.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 49:1260 (Nov. 22, 1879):197, 202.]

1880

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (““Hon. Alexander Ramsey, the Newly-Appointed Secretary of War From a Photograph by Brady.”) on p. 309 in: “Hon. Alex. Ramsey, Secretary of War.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 49:1266 (Jan. 3, 1880):309.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Frank Hereford, United States Senator from West Virginia. From a Photograph by Brady.”) on p. 453 in: “Hon. Frank Hereford, U. S. Senator from West Virginia.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 49:1273 (Feb. 21, 1880):453.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Constantine Brumidi, Decorator of the Dome of the National Capitol From a Photograph by Brady.”) on p. 29 in: “The Late Constantine Brumidi.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 50:1276 (Mar. 13, 1880):29.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (““Hon. James A. Garfield, Republican Candidate for President of the United States From a Photograph by Brady.”) on p. 277 in: The National Republican Convention.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 50:1291 (June 26, 1880):277, 293.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Ute Indian Chief, Ouray.From a Photograph by Brady.”) on p. 37 in: “Ouray, the Ute Chief. His Life, Character and Death.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 51:1303 (Sept. 18, 1880):37.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (““Hon. James A. Garfield, President-Elect of the United States From a Photograph by Brady.”) on p. 181 in: The National Republican Convention.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 51:1312 (Nov. 20, 1880):181.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. William D. Kelley, ‘Father’ of the House of Representatives.” From a Photograph by Brady.”) on p. 233 in: “Hon. William D. Kelley.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 47: (Dec. 11, 1880):309.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. James L. Pugh, United States Senator-Elect from Alabama From a Photograph by Brady.”) on p. 273 in: “Hon. James L. Pugh, United States Senator from Alabama.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 51:1317 (Dec. 25, 1880):273.]

[missing 1881, 1882]

1883

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Texas. Colonel “Tom” Ochiltree, Representative-Elect from the Galveston District. From a Photo by Brady.”) on p. 332 in: “Colonel Tom Ochiltree, Independent Congressman from Texas.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 55:1424 (Jan. 6, 1883): 332.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Washington, D. C.-Truman N. Burrill, Chief of the Bureau of Engraving and Printing. Photograph by Brady.”) on p. 129 in: “Captain Truman N. Burrill, Chief of the Bureau of Engraving and Printing.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 56:1438 (Apr. 14, 1883):129.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Walter Q. Gresham, The New Postmaster-General. From a Photo. by Brady.”) on p. 145 in: “Hon. Walter Q. Gresham, The New Postmaster-General.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 56:1439 (Apr. 21, 1883):145.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Washington, D. C. Statue of Professor Joseph Henry, in the Smithsonian Park, Unveiled April 19th-Photo. by Brady.”) on p. 153 in: “Unveiling the Statue of Professor Joseph Henry.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 56:1440 (Apr. 28, 1883):153.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Gen. E. O. C. Ord, Who Died at Havana, of Yellow Fever, July 22d. Photo. by Brady.”) on p. 392 in: “The Late Gen. E. O. C. Ord.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 56:1454 (Aug. 4, 1883):392.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Maryland. The Late Ex-Governor Thomas Swann. Photograph by Brady.”) on p. 392 in: “The Late Ex-Governor Thomas Swann.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 56:1454 (Aug. 4, 1883):392.]

missing 1884

1885

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“ Photo by Brady.”) on p. in: “ FRANK LESLIE’S ILLUSTRATED NEWSPAPER: (, 1885):.]

1889

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Anniversary of Washington’s Birthday.-General Lafayette Visiting Washington in Retirement at Mount Vernon, Photo by Brady; and Handy, of the Painting in the Family Mansion.-See Page 31.”) on p. 25 in: “Washington Reminiscences.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 68:1745 (Feb. 23, 1889): 25, 31.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Indiana – Hon. Albert G. Porter, United States Minister to Italy Photo by Brady.”) on p. 109 in: “Portraits of Diplomatic and Other Appointees Under the New Administration.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 68:1749 (Mar. 23, 1889):106, 109. 8 b & w portraits by various photographers, 1 by Brady.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Illinois. Hon. Frank W. Palmer, Government Printer. Photo by Brady.”) on p. 272 in: “Hon. Frank W. Palmer.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 68:1758 (May 25, 1889): 272.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Delegates, Secretaries, and Attachés of the Congress. Photographed for “Frank Leslie’s Illustrated Newspaper” by M. B. Brady.”) on p. 197 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 69:1779 (Oct. 19, 1889): 197. [Group photograph.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Famous Pan-American Congress Excursion Train in Which the Delegates Are Making the Tour of the Country. From a Photo by M. B. Brady.”) on p. 261 in: FRANK LESLIE’S ILLUSTRATED NEWSPAPER 69:1783 (Nov. 16, 1889): 261.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“South Dakota – Hon. R. F. Pettigrew, U. S. Senator-Elect. Photo by Brady.”) on p. 268 in: “Hon. R. F. Pettigrew.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 69:1783 (Nov. 16, 1889):268.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Acting Rear-Admiral John G. Walker, Commanding Squadron of Evolution. Photo by Brady.”) on p. 268 in: “Commodore John G. Walker.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 69:1783 (Nov. 16, 1889): 268.]

1890

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Illinois – Hon. J. H. Rowell, Chairman of House Committee on Elections – Photo. by Brady.”) on p. 388 in: “The Chairman of the Election Committee.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 69:1790 (Jan. 4, 1890):388.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Ohio-Hon. William H. Taft, United States Solicitor-General – Photo by Brady.”) on p. 124 in: “Judge William H. Taft, United States Solicitor-General.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 71:1800 (Mar. 15, 1890):124.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Chicago World’s Fair Committee, The Winners In the Struggle over the Site in the House of Representatives. -Instantaneous Photo by M. B. Brady.[See Page 130]”) on p. 133 in: “The Chicago World’s Fair Committee.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 71: 1800 (Mar. 15, 1890): 130-131, 133.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Minnesota General Lewis A. Grant, the New Assistant Secretary of War Photo by Brady.”) on p. 256 in: “General Lewis A. Grant, the New Assistant Secretary of War.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 70:1806 (Apr. 26, 1890): 256.]

BRADY, MATHEW B. (1823-1896) (USA).
2 b & w (“General Grant and Family at City Point During the Siege of Petersburg.” “In the Field before Petersburg.” “The Approaching Anniversary of General Grant’s Birthday From War-Time Photos by Brady-See Page 259.”) on p. 257 in: “General Grant’s Birthday.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 70:1806 (Apr. 26, 1890): 257, 259.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Montana. Hon. Wilber F. Sanders, U. S. Senator Photograph by Brady.”) on p. 281 in: “The New Senators from Montana.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 70:1807 (May 3, 1890):280-281.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Massachusetts-Professor James R. Soley, the New Assistant Secretary of the Navy. Photo by Brady.[See Page 577]”) on p. 568 in: “James R. Soley, the New Assistant Secretary of the Navy.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 70: (Aug. 9, 1890):568.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Minnesota. -Hon. William R. Merriam, Republican Nominee for Governor Photo by Brady.”) on p. 65 in: “The Governor of Minnesota.” FRANK LESLIE’S ILLUSTRATED NEWSPAPER 71:1824 (Aug. 30, 1890):65.]

GALAXY

BRADY, MATHEW B. (1823-1896) (USA).
‘Nebulae.” GALAXY 1:4 (June 15, 1866): 369-371. [“Photography, although its services are invaluable as an aid to the arts of design, does not, even in the hands of the most tasteful and skilful manipulators, fully supply the place of the portrait painter. There is something in the human face which the most sensitive material substance cannot seize, and which the most delicate mechanical contrivance cannot convey to and fix upon the expectant surface. The highest and subtlest expressions of man’s nature, which are the most characteristic of the individuals to whom they pertain, are only to be conveyed to the general eyes through a human medium.’. Yet we confess that among our debts to photography is the diminution year after year of the number of those Portraits of a Gentleman and of a Lady which used to glare upon us from the walls of the Academy of Design. The decrease has gone steadily on, until the proportion of portraits is now not at all too large. Portrait painting is a very high and most interesting department of the painter’s art; and it would be a sad and irreparable loss to art and to history were it to become entirely disused. But there are portraits and portraits; and the ability of the photographer to supply that demand for mementoes of people who had neither beauty, brains, nor culture, which ten or fifteen years ago kept hundreds of young men dabbing canvass who might better have been engineers, farmers, or mechanics, has left portraiture almost entirely in the hands of those painters who can produce works that have intrinsic value as pictures…. Among the portraits in the Academy’s exhibition this year we notice that of Abraham Lincoln as the best of the many that we have seen of this good, patriotic man. It softens, though it does not smooth, the harsh lines of his rugged face, by diffusing over it the expression of that pure benevolence which was the most characteristic trait of his nature. No photograph could bring up, as this painting does, the full memory of what Abraham Lincoln was, and we congratulate the Union League Club in having such a memorial of him. In color it is sweet and rich, like all Mr. Huntington’s best works; and the accessories are well chosen and harmonious. The dome of the Capitol seen through the window was an almost obvious incident proper to such a picture, but the addition to the almost equally obvious Constitution of the United States of the Holy Bible (New Testament) is a happy expression of the spirit of the man and of his administration…. To turn back to Mr. Huntington, why is it that Mr. Bryant’s face is so difficult of treatment in any style of portraiture? We have seen, we believe, every portrait of him that ever has been painted, every photograph that has been taken, and yet we never found one that entirely satisfied us or other people; except, perhaps, the grand imperial photograph taken by Mr. Brady, which comes as near being a fine work of art as is possible to a photograph. Mr. Huntington’s portrait, No. 235, is fine, perhaps the best that has been painted; but although our most thoughtful and most finished poet’s features are easily represented, his characteristic expression has never been transferred to canvass.”]

GAZETTE OF THE UNION, GOLDEN RULE AND ODD-FELLOWS FAMILY COMPANION

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “A Great National Work. The Gallery of Illustrious Americans. Daguerreotypes by Brady. Engraved by D’Avignon. Edited by C. Edwards Lester.” GAZETTE OF THE UNION, GOLDEN RULE AND ODD-FELLOWS FAMILY COMPANION 12:4 (Sat., Jan. 26, 1850): 66. [(This is the same prospect as that which was published in other magazines. See Holden’s Dollar Magazine 5:2 (Feb. 1850): 128, for text. WSJ)]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Notices.” The Gallery of Illustrious Americans.” GAZETTE OF THE UNION, GOLDEN RULE AND ODD-FELLOWS FAMILY COMPANION 12:5 (Sat. Feb. 2, 1850): 79.
[“This is the title of a new and magnificent work, which will be published in twenty four numbers, during the present year, at an expense to subscribers of Twenty Dollars for the series complete, or One Dollar for each number sold separately. It is published on large separate sheets of drawing paper, sixteen by twenty-three inches, and the letter press is printed only on one side of the sheets. This number, containing the title page, the life of Gen. Taylor, and a most beautifully executed engraving of his portrait, is the first part of the work. So far as our observation extends, no work of equal magnificence has ever been published on either side of the Atlantic. The type and presses on which it is printed, the paper and every thing connected with the work has been ordered and manufactured expressly for this purpose. No department has been neglected, and we cannot conceive how it could have been improved in any one respect. We confess that, with all our confidence in the ability and capacity of the country and the people, to produce every thing that is great and honorable in every sphere of life, we had not looked for any thing like such a work as this. It is true that we have the materials, in the achievements and the genius of our public men for such a Gallery; but we hardly supposed that the time had yet come when any spirits would be so adventurous as to undertake the publication of one, in a style like this. The work opens with the life and portrait of President. It will be followed by the portraits and biographical sketches of twenty-four of the most eminent citizens of this republic, since the death of Washington its founder. It is a noble, a patriotic, a national object, and we have no doubt that it will be sustained by the American people. We have never seen so striking, so grand, and so exquisitely engraved a portrait of any man, as we have here of the President. Mr. Brady who took the daguerreotype, stands at the head of his profession. Mr. D’Avignon is thought, by good judges, to be one of the best engravers in the world; and of the ability of our distinguished brother C. Edwards Lester, to conduct and complete such a work, there can be no doubt among the Order which claims him for a member. From the time that breathless multitudes listened to the strain of his impassioned eloquence, in Castle Garden, on the memorable occasion of the dedication of Odd-Fellows Hall, on the 4th of June last, thousands of the Order, who had never known him before, will now listen to this announcement with satisfaction and pleasure. In his hands, there is every reason to believe that such a work as this will be conducted with impartiality and talent Aside however from the public motives which influence us in our warm approbation of this truly great and noble undertaking, we are influenced by a feeling of personal kindness toward an honored member of our Order. There are many men of taste and genius who have reflected honor upon our Institution; and we fancy that no one can be found among them, who will regret the day that, by crossing the sacred threshold of Odd-Fellowship, he had brought himself, within the sacred enclosure of our Institution, where feelings of generosity and sympathy, and hope for mankind have been kindled that will burn on for ever in ten thousand hearts.
The more talent a man possesses, the more his genius has been refined by study, the more his observation has been enlarged by travel, the higher will be the estimate he will place upon this noble Institution, which has done so much to staunch the bleeding wounds of humanity, and which will in the future do so much to alleviate human suffering and enlighten and embellish humanity, When such men as Mr. Lester come forward and become practical and devoted members of our Fraternity, it only shows that those, who are above the necessities which it proposes to relieve, must be influenced by a magnanimous spirit, in lending their efforts, their time, and their talents, to build up an institution whose tendency, in their opinion, has been, and will likely to be in the future, to exalt and sanctify the human race.
We hope therefore that every member of our Order, whose means will permit, will come forward to sustain this enterprise, which is conducted by Mr. Lester. Among the twenty-four illustrious citizens published during the year, there will be certainly be found one or more, who have been so long regarded with respect and veneration by every citizen of the country, that no man will regret that he has so truthful and beautiful a representation of them in his house. Those who wish to obtain this work can do it through Brady, D’Avignon & Co, 205 Broadway, New-York; or if they like it better, we will ourselves undertake to furnish any subscribers who may wish us to do so, with any particular No. which they may order, for which One Dollar shall be enclosed; or with the whole series, to all those who shall send Five Dollars as a quarterly payment in advance, which will entitle them to six Nos. The full terms and conditions, on which the Gallery is published, will be found in our advertising columns.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Notices. The Gallery of Illustrious Americans.” GAZETTE OF THE UNION, GOLDEN RULE AND ODD-FELLOWS FAMILY COMPANION 12:8 (Sat. Feb. 23, 1850): 130.
[“Brady’s Gallery, 205 Broadway. The second number has made its appearance, the portrait accompanying it being that of John C. Calhoun. It is an excellent likeness in highest style of art. The biography, by the editor, Mr. Lester, is well written, and does ample justice to the great statesman.
The next number will contain the portrait of Henry Clay. All the likenesses are to be from portraits by Brady, transferred to stone by D’Avignon.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Notices. Gallery of Illustrious Americans.” GAZETTE OF THE UNION, GOLDEN RULE AND ODD-FELLOWS FAMILY COMPANION 12:13 (Sat. Mar. 30, 1850): 208.
[“By Brady, D’Avignon and Co. The third number contains a portrait of Mr. Webster. It is a good likeness, ad the biography does justice to his eminent services.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Notices. Gallery of Illustrious Americans.” GAZETTE OF THE UNION, GOLDEN RULE AND ODD-FELLOWS FAMILY COMPANION 12:19 (Sat. May 11, 1850): 308.
[“No. 4, of this work, containing an excellent portrait of Silas Wright, has been issued, fully sustaining the reputation of the gallery.”]

BRADY, MATHEW B. (1823-1896) (USA).
“P. G. S. John A Kennedy.” GAZETTE OF THE UNION, GOLDEN RULE AND ODD-FELLOWS FAMILY COMPANION 12:21 (Sat. May 25, 1850): 337.
[“Measures are in progress, and we know they will be successful, to obtain a portrait of this distinguished Odd Fellow, of the size now in course of publication in the gallery of Illustrious Americans. To every one who appreciates services in the cause of the Order, a portrait of this much-esteemed citizen and brother must have a charm surpassed by no portrait ever engraved of any member of our fraternity. It is, we know, invidious, to pronounce who is the head of an association so numerous as our own in New York; but justice and common assent alike award the palm to the P. G S. from New York.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Notices. Gallery of Illustrious Americans.” GAZETTE OF THE UNION, GOLDEN RULE AND ODD-FELLOWS FAMILY COMPANION 12:25 (Sat. June 22, 1850): 400.
[“The sixth number of this publication gives a portrait of Col. J.C. Fremont, the great explorer. The portrait is executed in the same artistic style with those that have preceded it.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Notices.” GAZETTE OF THE UNION, GOLDEN RULE AND ODD-FELLOWS FAMILY COMPANION 13:8 (Sat. Aug. 24, 1850): 123.
[“The last number of the Gallery of Illustrious Americans, published by Brady, D’Avignon & Co., contains a good portrait of W. H. Prescott, the Historian, with a well-written sketch of his life, by C. E. Lester.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Notices.” GAZETTE OF THE UNION, GOLDEN RULE AND ODD-FELLOWS FAMILY COMPANION 13:13 (Sat. Sept. 28, 1850): 202.
[“The “Gallery of Illustrious Americans,” No. 9, is devoted to Gen. Scott, of whom it contains a brief biographical sketch, and a well-executed portrait. New York: Brady, D’Avignon & Co.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Notices.” GAZETTE OF THE UNION, GOLDEN RULE AND ODD-FELLOWS FAMILY COMPANION 13:15 (Sat. Oct. 12, 1850): 234.
[“No. 10 of the Gallery of Illustrious Americans contains an exquisite likeness of Millard Fillmore, President of the United States. The biography accompanying is of very small account, and we are surprised that the editor has not shown his usual boldness and given him the enthusiastic welcome to his pages which we have been pleased to see him extend to the distinguished gentlemen whose portraits have preceded this one. Do not fear to speak plain upon all who are placed in this national work.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Notices.” GAZETTE OF THE UNION, GOLDEN RULE AND ODD-FELLOWS FAMILY COMPANION 13:22 (Sat. Nov. 30, 1850): 346.
[“William Ellery Channing forms the subject of the eleventh number of Brady and Lester’s Gallery of Illustrious Americans. The picture is one of the finest lithographs we have seen, and the biographical sketch is not only worthy of the subject, but of the Editor also. No friend of the eloquent and lamented Channing should be without a copy of this portrait and sketch.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Notices.” GAZETTE OF THE UNION, GOLDEN RULE AND ODD-FELLOWS FAMILY COMPANION 13:26 (Sat. Dec. 27, 1850): 408.
[“Gallery of Illustrious Americans” Complete The Gift-Book of the Republic.
“Our readers will have observed, that during the year, we have frequently called their attention to this great national work-The Gallery of Illustrious Americans, which is edited by C Edwards Lester, Esq., containing twelve portraits, engraved on stone by D’Avignon, from Daguerreotypes by Brady. Mr. Brady stands at the head of his art as a Daguerreotypist. D’Avignon has no rival even in Europe as a lithographer. He has received the honors of the Louore, [sic Louvre ?] and the Academy of Arts and Sciences in Paris, which is conclusive proof that he has surpassed all his cotemporaries. We do not know of any work ever published in this country, for which there has been expressed by the journals of all parties, and shades, such unequivocal approbation, and such universal encomium. It has been every where felt, and said, that such portraits as these have never been seen before; and although Mr. Lester’s reputation stood very high in the literary world, before he undertook this work, yet more honor has been awarded to him for the biographical sketches contained in the Gallery of Illustrious Americans, than for any of his other works. One number a month has been published during the year, and now the twelve, constituting the first series, are all brought out together, in magnificent bindings, and sold for the small sum of $15. It is called the Gift-Book of the Republic. It could not have a better, or more appropriate name. Twelve of the noblest and most illustrious of our citizens of the present age, are here brought together, and although the choice has been made from almost every department of eminence, we believe the judgment of the country has sustained the editor, in the selections he has made; and so impartially, and honestly have these biographical sketches been prepared, by general consent they will go down to the future with the approbation of the men of the times. No caveat has been filed against Mr. Lester’s literary, or political judgment. No exceptions have been taken, so far as we have seen, to a single word in the Gallery, while the great ability of the artists who have contributed the pictures–Brady, and D’Avignon-has rendered full justice to the subject. Among all the holiday books which have been offered to the community, none have ever been equal to this; and aside from its beauties and merits, the Gallery of Illustrious Americans, will be sure to meet with a warm reception from our vast and rapidly increasing Order, of which Mr. Lester has so long been a distinguished member. We are glad to know, that the publishers offer uncommon facilities to their patrons in every part of the country, since they have made arrangements by which copies can be sent with the most perfect security, to the most distant portions of the nation and at a very small expense, immediately after the orders are received. We therefore recommend our distant subscribers, if they wish, during the holiday period, or subsequently, to possess themselves of a work of unparalleled magnificence, which will be an ornament to the center table or the library, to order this Gallery from the publisher’s direct, whose address can be found in the advertisement of their work, in this present number of the Gazette.”]

GENESEE FARMER

EXHIBITIONS. 1851. LONDON. GREAT EXHIBITION OF THE ART AND INDUSTRY OF ALL NATIONS.
“Close of the Great Exhibition.” THE GENESSEE FARMER 12:12 (Dec. 1851): 290-291.
[“From the London Correspondent of the Buffalo Com. Advertiser.”
“London, Oct. 17, 1851.”
“The Exhibition closed pro forma on Wednesday. The Prince and Royal Commissioners went through the dumb show of delivering and receiving the awards in gross. The Bishop of London made an inaudible prayer. An anthem was sung, and one verse of “God Save the Queen.” From daylight to dark the heavens poured down the rain in torrents. There was something in the appearance of Albert and the Commissioners, which cast a damper upon the whole audience-there was throughout a feeling of apprehension that something diabolical and outrageous was in the future.
This feeling was fed by the article of the Times that morning intimating what might be expected when the awards should appear. So strong was the consciousness of the Prince and Royal Commissioners that they were about to do a mean and dastardly act in the face of the world, that manifested itself in their countenances and actions, while in the audience it produced a sullen silence, and the whole passed off more like a funeral ceremony than the closing of a great fete.
Yesterday’s Times presented the list of awards, and so different were they, in numberless cases, from what had been known to be the decisions of the jurors, that it was clear that those decisions had undergone a garbling and tampering by the Council of Chairmen. This Council of Chairmen, it must be borne in mind, were the Chairmen of the several juries, and were all Englishmen. After the juries made their Reports, it was found that we were decidedly ahead of all the world in the new and useful, and if the original programme was adhered to, we would have a large proportion of the first or great medals, which would be very few in number at best. Early in the proceedings a change was made-a wider range was made to first medals. Even after the report of the juries, the Council of Chairmen virtually set aside the entire action of the juries, altering and transposing so as to (as the Times said) “take away the distinction likely to attach to the great medal.” By the published awards this has been done effectually, for it has been given to things entirely below such distinction, while very important-in fact, a greater number of the most important things have only prize medals, while the majority of things having first medals, are below mediocrity in class, and out of the proposed range of first medals entirely, as for instance: the first medal named in the whole list was a council medal, for a “process of washing coals.” The first great medal to the United States is in class 3d, to Borden Gail, Jr., for the preparation called “Meat Biscuit. “To John Pean & Son, of the United Kingdom of Great Britain, a large medal for two pair of Steam Engines of a compactness for small vessels.” A large medal is awarded to David Dick, of Pennsylvania, for his “Anti-Friction Press.” But a similar medal in the same class is given to Hibbet & Sons, of England, for a display of cotton machinery, so that the greatest inventions of foreigners are put against collections of old machinery by Englishmen. So in the 10th class, St. John’s (American) Self-Determining Variation Compass after having been reported favorably upon by the 8th class and 10th class, and also Burt’s (American) Solar Compass, have received prize medals equal to that of A. D. Rocher, for exhibiting a balance made in the government workshop at Washington. About ten English, and a dozen European, gun workers have prize medals, in all cases for workmanship at best, while Colt is unnoticed. Then Hobbs, who has picked all their locks, has his lock, which has defied them all, put upon the same footing, a prize medal. Our Prouty and Mears’ plows, although they have beaten in every contest, are awarded prize medals, while a large medal is given to an English plow. And the American churn, although it beat all others, is dropped along side of an English and Belgian churn which it beat. The fact is, our greatest inventions, our best works of art, and genius, and industry, have, by the award, been placed on a par with a pot of pickled peaches, and a Scotch snuff box of wood, cartloads of which can be bought in the stores at eighteen pence each. The list of awards seem to have been prepared especially to throw us as much in the shade as possible. An honest and fair list of awards would have left England too far behind; they have therefore adopted the course likely to prevent distinction of merit as much as possible. They have smothered and covered us up by giving council medals, in nine cases out of ten, to the English and Europeans for things no way entitled to distinction, while, except Dick’s Press, the council medals to the United States have been given as erroneously, and to the exclusion of more new and useful inventions, well entitled to such distinction; and I doubt not their recipients will view themselves as “being used” by the Council of Chairmen for their own purposes.
In short, we shall hold a meeting next week of the exhibitors here, and very likely we shall respectfully decline the honor intended us by the medals awarded. If that is not a unanimous vote of those now here, the great majority will be declining theirs, and to which their respective signatures will be attached. It is generally felt here by the exhibitors, that it is a studied attempt to defraud the American exhibitors of their proper position before the world, which it is duty to resent in a proper and dignified manner.
Whatever is done will be well counselled beforehand.
Our Commissioner, Mr. Riddell, who has been Commissioner, agent, exhibitor, owner, and a good while absent presenting the bills of exhibitors, which are very heavy, continues to refuse to give any statement of his expenditures, so that our meeting, when held, will be to deal with not only our enemies, but our friends. One thing may be relied on, the whole will be attended to properly.
Sonsion.
List of Awards to United States Contributors at the Great Exhibition of All Nations.
CLASS I.-Prize Medals-Adirondac Manufacturing Company, New York, for steel and iron; Morris, Jones, & Company, for plate iron; New Jersey Exploring and Mining Co., for zinc ores, iron Franklinite) ore, smelting process; Trenton Iron Co., for iron of fine quality, ores, &c. cast iron; Morrill, Stewart, & Co., for sheet iron; Morris, Jones,
Honorable Mentions-Adirondac Manufacturing Co., N, Y., for & Co., for boiler plate iron.
CLASS II.-Council Medal Goel Borden, Jr., for preparation called meat biscuit.
Prize Medals-W. Barnes, maple sugar; T. Bell, soft wheat from Genesee; L. Dean, maple sugar; Dill & Mulchahey, Cavendish tobacco; J. H. Grant, do.; P. Robinson, do.; C. Duffield, ham; Hecker & Brother, Genesee flour; E. T. Heriot, Carolina rice; B. B. Kirtland, collection of maize, 35 varieties; N. Y. State Ag. Society, collection of wheats; Raymond & Schuyler, flour, thirds; Schooley & dough, ham, Cincinnati.
Honorable Mentions-John Bridge, oil cake; George Dominick, lard; Hecker & Brother, Farina; W. Hotchkiss, wheat; Lee & Co., do.; James Thomas, do.; Thomas & Co., do.; Oswego Starch Facoil cake; Mookler & Chiles, Cavendish tobacco; Tyler & Anderson, tory, fecula of maize; M. White. Muscovada sugar.
GLASS III.-Prize Medal-Power & Weightman, chemicals.
Honorable Mention-Wetherill & brother, various salts.
CLASS IV.-Prize Medals-S. Bond, cotton; Cockerill, wool; W. Colegate & Co., starch; J. Ewing, wool; H. Hampton, cotton; L. Hotchkiss, oil of peppermint; J. R. Jones, cotton; J. V. Jones, Geo. Hicks, tillandsia usnoides; G. L. Holmes, cotton; H. G. & cotton; A. M. Rimber & Co., wool; W. W. Macleod, cotton; the State of Maryland, collection of products; J. B. Merriewether, cotton; Perkins & Brown, wool; J. Pope, cotton; W. Seabrook, cotton; Rev. Z. Thompson, woods; J. Nailer, cotton; Oswego Starch Factory, starch.
Honorable Mentions-E. R. Dix, hemp, flax guano; G. Dominick, lard oil; E. Eeuchtwanger, bleached shellac; F. Frank, lard oil; L. Goddard, whalebone; Holbrook & Stanley, lard oil; F. O, Ketteridge, corn-husk fibre; B. J. Pell, woods; Truesdale, Jacobs, & Co., cotton.
CLASS V, (a)-Prize Medals-C. Childs, for slide top buggy or phaeton, enamelled apron of leather of very superior quality. The whole well got up and neatly finished; G. W. Watson, for a sporting wagon, very neatly finished in all respects.
CLASS VI.-Council Medal-D. Dick, various engineer’s tools and presses.
Prize Medals Blodgett & Lerow, sewing machine; T. K. Earl & Co., card clothing; W. Hapden, drawing regulator for cotton; Lowell Machine Shopp, self-acting lathe and a power loom; C. Starr, bookbinding machine; J. P. Woodbury, wood planing, tonguing and grooving machine.
CLASS VII-Prize Medal-Iron Bridge Manufactory, New York, model for Ryder’s patent iron bridge.
CLASS VIII.-Prize Medals-National Institution of Washington, models of ships of war and large merchant vessels; J. R St. John, nautical compass, purporting to show the presence of any disturbing forces upon the needle, and also to show the amount of the deflection resulting from these causes. Honorable Mentions-Samuel Colt, revolving rifles and pistols; W. R. Palmer, target rifles; Robbins & Lawrence, military rifles.
CLASS IX.-Council Medal-C. H. McCormick, reaping machine.
Prize Medal-Prouty & Mears. plow.
CLASS X.-Council Medal-William Bond & Son, invention of a new mode of observing astronomical phenomena, &c.
Prize Medals-A. D. Bache, balance; M. B. Brady, daguerreotypes; W. A Burt, solar compass, surveying instruments; J. Ericsson, sea-lead, promoter, &c.; M. M. Lawrence. daguerreotypes; John R. St. John, detector compass; J. A. Whipple, daguerreotype of the moon.
Honorable Mention-J. E. Mayell, photographs. (p. 290)
CLASS X, (a)-Prize Medals-J. Chickering, a square piano forte, and the jury think highly of his grand piano forte; C. H. Eisenbrant,clarionets and flutes; G. Gemunder, for a Joseph Guarnerious, violin (chiefly,) and for three other violins and a viola; C. Meyer, two piano fortes; R. Nunns & Clark, seven-octave square piano forte.
Honorable Mentions-Gilbert & Co., piano forte with Eolian attachment; C. Goodyear, successful application of a sew material (India rubber) for the manufacture of a flute; G. Hews, patent piano forte.
Money award-J. S. Wood, expenses incurred in constructing his piano violin, £50.
CLASS XI.-Prize Medals-Amoskeag Manufacturing Co., assortment of drillings, tickings, sheetings, and cotton flannel; Williamantic Duck Manufacturing Co., cotton sail cloth
CLASS XII.-Prize Medal-Gilbert & Steven, flannels exhibited by Johnson, Lewell, & Co. Honorable Mention.-P. T. & D. Holden, blankets.
CLASS XV.-Prize Medals-Lawrence, Stone, & Co., tartans made from native wool.
CLASS XVI.-Prize Medals-B. Baker, light harness of superior workmanship; H. M. Crawford, calf skins tanned in oak bark; Hickey & Tull, two portmanteaus; Lacy & Phillips, case of harness; Wisdom Russell & Whitman, specimens of curled hair, for furniture.
Honorable Mention-H. Adams, for a portable saddle.
CLASS XVII.-Prize Medals-J. K. Henrick, for superior ruling of account books; S. G. Howe, for a system of characters, slightly angular in form, without capitals, for the blind. Honorable Mentions.-Bradley, Bond, & Co., for book cloth binding and block gilding; H. Gassett, far superior ruling of account books; J. & W. McAdams, for ruled account books and circular ruling; Libell & Mott, for specimens of account books; C. Starr, for binding works for the blind, with thickened margins, to prevent the embossing from being pressed out; E. Walker & Co., for a bible elaborately bound and ornamented, with a recess for a family register inside the cover.
CLASS XIX.-Prize Medal-Albro & Hoyt, for floor cloth. Honorable Mention-A. & A. Lawrence & Co., for carpet.
‘CLASS XX.Prize MedalsW. H. Addington, for shoes for mining purposes; Mrs. W. Haight, for shirt; the workmen of W. H. Jeffers, for ladies’ boots shoes (honorable mention to exhibition.) Honorable Mentions.-N. A. Breed & Co., for children’s shoes; W. H. Jeffers, for collection of boots and shoes (prize medal to the workman;) Millard & Sons, for bonnets made of cotton braid.
CLASS XXI.-Prize Medals-Brown & Wells, for tools; North Wayne Scythe Co., for scythes; D. Simmonds & Co, for edge tools. Honorable Mention-A. B. Allen & Co., for tools.
CLASS XXII.-Prize Medals-Adam & Co., for bank lock; G. A. Arronworth. for permutation locks; Chilson, Richardson, & Co., for hot air furnaces; Cornelius & Co., for Chandeliers; Day & Newell, parautoptic permutating locks (with special approbation,) S. C. Herring, for salamander safe; C. Howland, for bell telegraph; McGregor & Lee, for bank lock. Honorable Mention-Pond & Co., for cooking stoves.
CLASS XXIII.-Prize Med.-Brooklyn Flint Glass Co, flint glass.
CLASS XXIV.-Honorable Mention-W. Ragan, for mechanical reclining chair.
CLASS XXVII.-Honorable Mentions-Maryland Soap-stone Co for articles made of soap-stone; Sall & Mear, for water vase of fine brick clay.
CLASS XXVIII.-Council Medal-Goodyear, for India rubber. Prize Medals-J. Feen, for comb; Hayward Rubber Co., for India rubber shoes; G. Loring, for water pail; S. C. Moultan, for India rubber goods; Bratt, Julius, & Co., for Ivory veneer.
CLASS XXIX-Prize Medals-Bazin, Xavier, & Co., for fancy soaps; J. Hanel, for toilet soaps; M. J. Louderback, for preserved peaches; State of Maryland, for collection of produce; J. R. St. John, for soap; H. P. & W. C. Taylor, for toilet soap.
CLASS XXX.-Prize Medal-Hiram Power’s statue of a Greek Slave, in marble. (p. 291)]

GODEY’S LADY’S BOOK

BRADY, MATHEW B. (1823-1896) (USA).
‘Editors’ Book Table. A Great National Work.” GODEY’S LADY’S BOOK 40:4 (Apr. 1850): 292. [Book review. The Gallery of Illustrious Americans. “Daguerreotypes by Brady. Engraved by D’Avignon. Edited by an Association of Literary Men. We have seen the first number of this work, which contains a beautifully executed likeness of General Taylor. If the other numbers are got up in the same handsome style, it will, indeed, be a valuable work. The price for a year’s subscription will be, for twenty-four numbers, $20. Single numbers, which will be sold separately, $1. The publishers are Brady, D’Avignon, & Co., 205 Broadway, New York.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Editors’ Book Table.” GODEY’S LADY’S BOOK 40:5 (May 1850): 357. [Book review. The Gallery of Illustrious Americans. “We have received from Messrs. Getz & Buck, Agents, No. 3 Hart’s Building, Sixth above Chestnut Street, the second number of this truly national work. It contains a finely engraved likeness of the Hon. J. C. Calhoun, Senator from South Carolina. The portrait is from a Daguerreotype by Brady, engraved by D’Avignon. A spirited biographical sketch, beautifully printed, accompanies the portrait.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Editors’ Book Table.” GODEY’S LADY’S BOOK 41:1 (July 1850): 59. [“The Gallery of Illustrious Americans: containing the Portraits and Biographical Sketches of twenty-four of the most eminent citizens of the Republic since the death of Washington. Daguerreotypes by Brady. Engraved by D’Avignon. Edited by C. Edwards Lester, assisted by an association of gentlemen. “We have received from the publishers,… the third and fourth numbers of this splendid national work, consisting of portraits of Daniel Webster and Silas Wright, with biographical sketches of their lives and eminent services. It is in every respect worthy the patronage of patriotic Americans.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Editors’ Book Table.” GODEY’S LADY’S BOOK 41:3 (Sept. 1850): 187.
[“From Brady, 205 Broadway, New York –
We have received No. 6 of the American Portrait Gallery, containing the portrait of one of the greatest men of the age – J. C. Fremont. This work keeps up its early promise.”]

GRAHAM’S AMERICAN MONTHLY MAGAZINE OF LITERATURE, ART, AND FASHION

BRADY, MATHEW B. (1823-1896) (USA).
‘Review of New Books.” GRAHAM’S AMERICAN MONTHLY MAGAZINE OF LITERATURE, ART, AND FASHION 36:6 (June 1850): 417. [Book review. Gallery of Illustrious Americans. Brady & D’Avignon. New York, 1850. “Daguerreotypes by Brady—Engraved by D’Avignon, with Biographical Notices by C. Edwards Lester, assisted by other literary men. This is announced by the publishers of this work, and is sufficient alone to recommend it. It will be a noble Gallery when completed, if carried out as commenced. Two numbers are before us. The first number contains a fine portrait of Gen. Taylor, with a short clear notice of his life. The second number has a striking life-like head of Mr. Calhoun, which is particularly valuable now, that we are all called upon as countrymen to mourn the death of this great and good man… We have but one fault to find with this work. The interior of the cover is used as a sort of journal… its notices…are too valuable to be thus thrown away on a mere cover…”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Review of New Books.” GRAHAM’S AMERICAN MONTHLY MAGAZINE OF LITERATURE, ART, AND FASHION 37:4 (Oct. 1850): 264. [The Gallery of Illustrious Americans Daguerreotypes by Brady. Engraved by D’Avignon. Edited by C. Edwards Lester, assisted by an Association of Literary men. 205 Broadway, New York. We have received the sixth number of this truly national work-the first and second we have before this noticed. The third, fourth and fifth numbers the publishers have omitted to send us. As we have before stated, this is a publication of great merit, and cannot fail to attract a liberal encouragement both in this country and abroad. The portraits are executed with wonderful fidelity, and are the best specimens of the lithographic art we have ever seen. Mr. Brady deserves much praise for his exact and skillful daguerreotypes, from which D’Avignon has produced these masterly “counterfeit presentments” of our great national characters. The selection from our living worthies have been well made. The publishers have not confined themselves to the faces of our elder public men long familiar in the print shops, but they have well chosen alike from the old and the young-those who have been long famous by past services, and those whose genius and precocious merit have excited a keen in- terest and a just pride in the heart of every American. This number is adorned by a life-like portrait of Col. Fremont; and the editor, Mr. Lester, has in this, as he has in those numbers which have preceded it, and which have been sent to us, given a brief and pointed sketch of the marvelous youth whose adventures in the camp of science out- strips the wildest tales of romantic daring. A work like this must prosper.”]

HARPER’S NEW MONTHLY MAGAZINE

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Zachary Taylor) on p. 298 in: “Biographical Sketch of Zachary Taylor.” HARPER’S NEW MONTHLY MAGAZINE 1:3 (Aug. 1850): 298-303. [ “From a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Literary Notices.” HARPER’S NEW MONTHLY MAGAZINE 1:3 (Aug. 1850): 428. [Book review. The Gallery of Illustrious Americans has reached its seventh number, which contains a portrait and biographical sketch of the distinguished ornithologist, J. J. Audubon. The engraving presents a delightful view of the intellectual and expressive features of the veteran forester, savant, and artist, while the sketch by Mr. Lester gives a rapid and satisfactory Summary of the principal incidents in his adventurous life. The daguerreotypes by Brady, and the lithographs by D’Avignon throughout this series, are highly creditable specimens of their respective arts. The biographical notices are carefully written and beautifully printed. The previous numbers embrace Taylor, Calhoun, Webster, Wright, Clay, and Fremont—and that our readers may form some idea of the striking fidelity of the Portraits, we present, in a previous page, the well-known likeness of our late President, copied on wood by Lossing, from the first number of the work.“]

BRADY, MATHEW B. (1823-1896) (USA).
‘Editor’s Easy Chair.” HARPER’S NEW MONTHLY MAGAZINE 6:36 (May 1853): 849. [“The Bourbon matter,… has created some speculations in Paris; and has been met, accidentally, but opportunely, by a true history of the lost Dauphin. …and poor Eleazer remains a martyr to the American curiosity and the American paragraphists. Whatever may be the truth of the matter, … Has Mr. Brady secured his portrait for the National Daguerreotype Gallery? We have, thus far, remarked no unusual press of carriages at his door.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (John C. Fremont.) on p. 577 in: Brewerton, G. D. “Incidents of Travel in New Mexico.” HARPER’S NEW MONTHLY MAGAZINE 8:47 (Apr. 1854): 577-596. 1 b & w. 14 illus. [Portrait of C. Fre Portrait of C. Fremont. “By permission from a daguerreotype by Brady.” p. 577. 14 additional sketches of landscape views and peoples near Taos, New Mexico.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b& w (“Commodore Perry”) on p. 441 in: “Commodore Perry’s Expedition to Japan.” HARPER’S NEW MONTHLY MAGAZINE 12:70 (Mar. 1856): 441-466. [“From a Photograph by Brady.”]
BROWN, ELIPHALET, JR. (1816-1886) (USA) “Commodore Perry’s Expedition to Japan.” HARPER’S NEW MONTHLY MAGAZINE 12:70, 72 (Mar., May 1856): 441-466, 733-756. 37 b & w. [Views, portraits, natives. Engravings, many from daguerreotypes by E. Brown. “Temple at Tumai, Loo-Choo” on p. 452 depicts a photographer posing a group of Japanese in front of his camera. Studio portrait of Commodore Perry is credited, “From a Photograph by Brady.”]

BY COUNTRY. USA. 1857.
“Charleston, The Palmetto City:” HARPER’S NEW MONTHLY MAGAZINE 15:85 (June 1857): 1-22. 21 b & w. 2 illus. [ Architectural views, maps, etc. of Charleston, SC. The text states that the views were drawn from daguerreotypes, i. e. “…The college building would show well in a picture, but our daguerreotypist has omitted it from his survey.” p. 11. “The Roman-Corinthian portico shown in our picture, next the Hall of the Institute, is that of the Circular Church, the tower, unhappily, decapitated, an almost necessary consequence of attempting too much with the focus of a daguerreotypist. But as this tower asserts no claims to special excellence, we make no apologies for its omission.” p. 17. “…there are sundry other excellent establishments, devoted to the same domestic deities, which are, no doubt, quite as capable of ministering happily to the appetites of the race; but as our daguerreotypist has thought proper to confine us to these three illustrations of the order, we submit to his decision; particularly as our aim is the architectural rather than the gastronomical, and designed to show where our Charlestonians feed, rather than how they feed.” p. 19. “Our daguerreotypist was simply a little too quick for the contractor. Talking of daguerreotypers, by-the-way, reminds us to report that we owe our pictures to several of the best in Charleston, Cook, and Cohen, and Bowles and Glenn; all of whom deal with the sun on familiar terms, making as free use of the solar as if they had a full partnership in the concern. We suppose, however, that the privilege is not confined to these parties, and that Brady and others are permitted a share upon occasion, when Apollo is not engaged with better company.” p. 20. ]

BRADY, MATHEW B. (1823-1896) (USA).
‘Editor’s Easy Chair:” HARPER’S NEW MONTHLY MAGAZINE 25:150 (Nov. 1862): 848-853. [“What would you give for a perfect view of the battlefield of Dunbar, or of Waterloo? of the Huguenots flying from France, or the Covenanters praying in the Highlands? What would you give for an actual view—homely or handsome, as the fact might be—of any great event, or famous place, when the event took place or the fame was made? It would be a fairy gift beyond human science, you think. Yes, so it would have been when Dunbar was fought, or even Waterloo. But it is not a boon of fairy now, only of science. Brady’s album photographs of the war, and its persons and places, are the portraits of the living time. Here is a bridge over a sluggish stream. Every tree-trunk, leaf; and stem is exact. There is nothing here that is not in nature. There is no “composition”—no arrangement of any kind. The rough logs upon the rough log piers, over the gleaming, reflecting water. It looks compact and very strong—strong enough to bear an army. What is that still, narrow, sluggish river in a wilderness? Last year it had no association, its name no meaning except to the dwellers near it. Henceforth it has a melancholy interest. It is the ‘Chickahominy. The bridge is built by Colonel M’Leod Murphy’s men. Or here is a picture, quite perfect in itself; although seized instantaneously from nature, such as Leopold Robert, reversing Italy and apparent poetry, might have painted. It is a river ford. In the distance is a high bridge stalking across. Woods fringe the other shore and make the dark back-ground. In the centre of the picture and the ford is a heavy country wagon, with two yokes of oxen that have stopped in the coolness. A dusky figure sits upon the nigh ox behind, and there is a group of similar figures clustered high upon the wagon. In front of the oxen is a horse with loose blinders and bridle, and another dusky form bestriding him. Behind the wagon in the middle distance there are other horses mostly drinking in the stream, all carrying the same kind of rider. The whole scene is tranquil. They are travelers, evidently, reposing. And they are more than that. They are fugitive negroes fording the Rappahannock. But here again is the living time. This is Savage’s Station, with the wounded there after the battle of the 27th June. There is a tree in the middle; a shed and tents; and around the tree, lying thick and close, so that the ground looks like a dull, heavy sea of which bodies are the waves, lie the wounded soldiers. This scene brings the war to those who have not been to it. How patiently and still they lie, these brave men who bleed and are maimed for us! It is a picture which is more eloquent than the sternest speech. This calm, smoothly-outlined hill against the sky, soft distant, infinitely peaceful, with gently waving lines of field and placid trees between it and us, is Cedar Mountain, near which is this house and barn and fence and shed in the next picture; and the holes in the side of the house were made by the cannon-balls of the battle which was fought upon this field; and in that house General Winder was killed. The interest of these vivid pictures is very great. A set of them—there are more than five hundred— gives you a picture of the whole theatre of the war in Virginia. Suppose Lossing had had such material for his “Field-Book of the Revolution I” This series is a perfect Field-Book of the Rebellion. In these days of Photographic albums what is so stirring, so touching, as these views! Look, here is a glance behind the war, and beyond the revolution. This is St. Peter’s church, Yorktown, in which Washington was married. It is plain enough, with its arched carriage-way under the tower. But as it stands there distinct and firm in the clear daylight, how it annihilates time, and actually brings us nearer to men and days which are dim and strange when we read of them! The thought of Mr. Brady in making this series is so good, and the choice and execution so excellent, that it only needs to be generally known to be universally familiar.” p. 853.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (General Sherman) on p. 640 in: Shanks, W. F. G. “Recollections of General Sherman.” HARPER’S NEW MONTHLY MAGAZINE 30:179 (Apr. 1865): 640-646. [“With the personal appearance of General Sherman the public are but little acquainted. Very few full-length pictures of him have been made. of the numerous engravings and photographs which have been published since he became famous very few are good likenesses, and none conveys a proper idea of his general appearance. The best photograph which the writer has seen of him is the one by Brady, from which the accompanying engraving is made. The outlines of the features are given with great accuracy, and any one familiar with the General’s physiognomy will pronounce it a faithful likeness, though the position in which the subject sat serves to conceal the extreme Romanism of his nose. The expression is that of Sherman in a good-humor. He seldom has such a self-satisfied air. A critical observer of the picture in question would remark that Sherman has done in this case what he seldom takes time or has inclination to do, and has given the artist a special sitting. He has “made himself up” for the occasion. If the critic were one of Sherman’s soldiers he would notice the absence from his lips of the inevitable cigar. The coat, it will be observed, is buttoned across the breast, and is the chief fault of the engraving, for Sherman seldom or never buttons his coat either across his breast or around his waist. His vest is always buttoned by the lower button only, and, fitting close around his waist, adds to his appearance of leanness. It is doubtful if at this time any one can be found, except the General’s tailor, who can tell when his coat was new. He appears to have an aversion to new clothes, and has never been seen in complete suit or heard in creaking boots. It may be said that he never conforms to the regulations in respect to the color of his suit; for the uniform he generally wears has lost its original color, and is of that dusty and rusty tinge, and with that lack of gloss which follows constant use. One would readily imagine, judging by its appearance, that he purchased his uniform second-hand. The hat which he generally wears is of the same order of faded “regulation,” with the crown invariably puffed out instead of being pushed in, in the “Burnside style.” The regulation cord and tassel he does not recognize at all…” pp. 645-646.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Abraham Lincoln at Home) on p. 223 in: Brooks, Noah. “Recollections of Abraham Lincoln.” HARPER’S NEW MONTHLY MAGAZINE 31:182 (July 1865): 222-230. [Portrait “Abraham Lincoln at Home.” on p. 223 portrays Lincoln sitting and showing a book [album of photographs] to his son Tad. Photograph taken by Anthony Berger of the Brady Studio in 1864.]

BY COUNTRY. USA. 1866.
Chesebro, Caroline. “The Work of Salvation.” HARPER’S NEW MONTHLY MAGAZINE 34:199 (Dec.1866): 35-47. [Fiction. The protagonists are ambulatory photographers and the background of that type of life seems well depicted here.“The young lady who invariably accompanied the old gentleman was supposed to be his daughter by those who merely saw them come and go —known to be so by others who understood that these two were the “celebrated photographer” Hancock, and his no less celebrated assistant in business who painted on porcelain and ivory. These conferences with mediums, this entrance to the invisible world was brought about through the portrait painter Goldsmith, who produced such wonderful likenesses of the deadalive, painted under spiritualistic influences. … Facts became more momentous when, one day, Mr. Goldsmith procured a portrait which Hancock and Agnes were compelled to verify as Hamlet and his father’s ghost. … How far did she believe, how far hope, nay, how far did she fear, when she saw the portrait of her mother, denizen of another world, between which and our own falls the black drapery of death? There on the wall it hung, and there it was to hang—Madonna never worshiped by true saint as the vision by the photographer. There on the wall it hung, a beautiful fascination, not without its terrors to the eye and the heart of Agnes. ” p. 35 Agnes said all that Hancock fell in with a man who called this because she had been charged to say it, himself a photographer, and he was in need of but then she began to cry. an assistant. The man called himself a travel “How soon will she come? Don’t cry. Young artist…. …and so these two went up and down the country in their car—a sort of triumphal chariot it proved, in its way—and made pictures of living men and women. Hancock was the successor of his partner when he died. He kept to the road and the business. Why? He followed in the train of circuses and traveling theatres, and was seen much oftener in such places of entertainment than might have … It was evident that the little girl could not go on with the troupe, neither could she be left alone with the stranger who so suddenly found a woman and child on his hands. But the managers would have been less ready to supply their horsewoman’s place had the photographer been less generous in buying off the performers. Mary and little Agnes therefore staid while the circus went on. Before the broken bones were fairly knit together Agnes was sick, in orthodox manner, of measles…… Of course ‘tis the old story over again. Patience made her a good colorist, Nature at the outset having bestowed upon her a discriminating eye, and her tints and touches gave John almost as much joy, and excited in him quite as much wonder, as the improvements he made in his branch of the business occasioned in her. So they went their circuit, year after year— patrons became prejudiced in their favor, and their appearance was always hailed with welcome. Children became young men and young women—then they brought in turn their lovers and their children for portraiture. It ceased to be a question with Hancock how long this would go on—it would probably go on forever. But every summer when he began his wanderings—for in the winter they took lodgings in some large town, and opened “a gallery”—(no, my friends, it did not rival Brady’s)—as often as he saw the birds building their nests, the trees in leaf, the flowers in bloom, the skies in summer shine, his hope revived, and waxed in solemn beauty, and he watched the maturing life of Agnes, thinking of the good God who had left her in his charge, and who would surely, surely in His own time, restore the lost darling to them again.” .p. 41.]

BARNARD, GEORGE N.
“Literary Notices.” HARPER’S NEW MONTHLY MAGAZINE 34:200 (Jan.1867):263-267. [“Photographic Views of Sherman’s Campaigns, by George N. Barnard. Photography has done much to illustrate the details of our civil war. We have before bad occasion to speak of Mr. Brady’s immense collection of views. These relate largely, though by no means exclusively, to affairs at the East. Mr. Barnard, whose field was mainly the West, has collected into one magnificent volume some threescore imperial photographs of the most important scenes made memorable in Sherman’s Campaigns. The subjects are admirably chosen, both in respect to the picturesqueness of the scenes and their historical importance, and the execution of the photographs has reached the highest capacity of the art.” p. 266.]

[Advertisement.] “Exhibition of Real War Scenes.” HARPER’S NEW MONTHLY MAGAZINE 88:526 (Mar. 1894): 485. [“We have the large collection of war photographs taken by the U. S. Government Photographers, M. B. Brady and Alex. Gardner, during the war of 1861-1865. These views are very interesting. We want reliable Agents to manage public exhibitions of these war scenes. It is a pleasant and profitable business. Call on us or write for particulars.
The War Photograph & Exhibition Co.
No. 21 Linden Place, Hartford, Conn.”]

HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION (1857-1969) New York, NY

Fletcher Harper, the youngest brother of the family that has played such a long and distinguished role in the history of American publishing, and the driving force behind HARPER’S MONTHLY, which he began in 1850, founded HARPER’S WEEKLY on January 3, 1857. Fletcher Harper’s ideas and personality dominated the magazine for the next twenty years, as he apparently functioned as the de facto editor until his retirement in 1875, even though there were several other editors during those decades. The WEEKLY was designed to be both more topical than the monthly literary journal, and more political although the political position of Harper, who was a Methodist and a liberal, was always restrained and middle-of-the-road. Fletcher Harper wanted to publish a family magazine, and the WEEKLY quickly achieved and maintained the position of the most solid, respectable American weekly magazine during those decades.
The MONTHLY had been phenomenally successful from its inception, and there was little doubt that one factor in that success was its liberal use of illustrations. The WEEKLY, with its larger size and emphasis on illustration, opted from the very beginning to use the strongest illustrations that it could find. As one part of this ambition, the magazine soon found a place for photography in its editorial thinking.
At the start, the magazine followed practices already well-established by 1857. During the first year it printed thirty-five portraits of notable or newsworthy individuals taken from photographs. Twenty-five of these were credited to the BRADY GALLERY and five more were provided by the MEADE BROTHERS. In the first year the magazine published only one photographically illustrated article of what might be termed a “news event.” These illustrations were two views, taken by WEBSTER & BROTHER, of the grounds of the United States Agricultural Society’s fifth annual exhibition, held that year in Louisville, Kentucky.
After this fairly modest start, the WEEKLY became more adventuresome with its usage of the medium. In addition to the thirty-two portraits by BRADY and seven portraits by other photographers, it began to publish more illustrations derived from photographs of events. In the March 20, 1858 issue it republished the nine views of the Naples earthquake aftermath, first published in the ILLUSTRATED LONDON NEWS. Through the remainder of the year the WEEKLY followed this article with fourteen more news stories illustrated from photographs. On June 12th the CLARK STUDIO provided portraits of the Seminole Indian, Billy Bowlegs, and members of his tribe then visiting New Orleans; which were clearly commissioned by the magazine. “Our admirable photographer, Clark, placed the whole of his apparatus, together with the capital operator, Carden, at my disposal for this purpose….” in: “Billy Bowlegs in New Orleans.” HARPER’S WEEKLY 2:76 (June 12, 1858): 376-378. J. C. ELROD provided a view of a lynching in Lexington, Kentucky in the July 31st issue. BURR & MOGO provided seven views of Salt Lake City for a series on Utah and the Mormons which was published during the final quarter of the year. Views of funerals and other ceremonies made up the bulk of the remaining images.
The wet-collodian process was still being assimilated into the American professional market during the second half of the 1850s, leading to more portrait studios, more photographs, and more customers. Photography itself was still considered newsworthy – if no longer a sensation. Notes and articles on some interesting aspects of the medium and a number of cartoons situated in photographer’s studios that appeared throughout the magazine show that the medium of photography was still interesting to the general populace. On November 20th the magazine published a full-page engraving of the British photographer HENRY PEACH ROBINSON’s composite genre photograph “Fading Away,” with a brief statement of praise for its artistic qualities. This may be the only time that an “art photograph” was mentioned by this magazine before the evolution of the interest in amateur photography in the 1880s.
by March 1859, the WEEKLY could claim to be a success, with a circulation of 120,000 copies. The magazine continued to expand its usage of photography throughout the rest of the decade. In 1859 the magazine sent a “special correspondent,” who either could make photographs himself or who had access to a photographer, to report on the progress of the Paraguay Expedition. This curious event was a military venture by a squadron of sixteen heavily armed vessels of the United States Navy, which could “…carry men enough to conquer all the states of South America, if any such conquest were desired….,” which was instructed to sail to Paraguay to convince that country’s leader, Mr. Lopez, to stop harassing American commercial ventures and open the country to foreign trade. Mr. Lopez read the writing on the wall when the gunboats appeared in his harbor and he quickly invited everyone in for an extended round of parties. The punitive expedition fizzled out into a series of friendly visits and ceremonies –apparently to the disgust of some of the more belligerent advocates of America’s manifest destiny-and the magazine’s (and possibly America’s) first potential foreign-war correspondent/photographer lost his place in history.
In 1860 HARPER’S WEEKLY benefited from the cessation of its strongest rival, the Boston-based BALLOU’S PICTORIAL at least to the extent that it published JOHN WHIPPLE’s view of the Pemberton Mills fire in Lawrence, Massachusetts in its January 21st issue and JAMES BLACK’s view of the construction of the Cambridge, Massachusetts, Christ Church bell chimes in the May 26th issue. These photographs would have probably gone to BALLOU’S if it hadn’t folded in 1859. The CLARK STUDIO’s view of a Mexican sailing ship laying off the coast of Louisiana, G. H. JOSLYN’s and WILLIAM FIELD’s views of tornado aftermath scenes in Illinois and Iowa, JAMES F. RYDER’s views of the celebrations honoring the memory of Commodore Perry in Cleveland, Ohio, and ALSCHULER’s view of a boating disaster on the Chicago waterfront all indicate that the WEEKLY had definitely come to speak with a national voice by the end of the decade. A powerful collection of photographs of Negro slaves aboard the captured slave bark “Wildfire,” published in June, demonstrated one of the most striking uses of photography’s potential. “The Africans of the Slave Bark ‘Wildfire.’” HARPER’S WEEKLY 4:179 (June 2, 1860): 344-345. 5 illus. The illustrations are credited “From Daguerreotypes” without naming the photographer who may have been someone aboard the American naval ship “Mohawk” that had interdicted and captured the slave trader.
As the threat of succession and impending conflict grew during 1860, HARPER’S WEEKLY turned its focus to these events, shifting its editorial emphasis to hard news coverage. The WEEKLY quickly developed a superb corps of talented and diligent field correspondents to cover events on all the various fronts of the conflict. Theodore R. Davis, Andrew McCallum, W. Warren, A. R. Waud, William Waud, Robert Weir, and others followed the troops to the field, on campaign, and into battle. The WEEKLY would come during the course of the war to be one of the most powerful agencies for explaining that war to the American citizenry.
On April 12th, 1861 the army of the newly established Confederate States of America fired upon Union forces at Fort Sumter in Charleston Harbor in South Carolina. President Lincoln called for volunteers on the 15th and troops of the 6th Massachusetts left Boston to defend Washington on the next day. On the 19th an angry mob attacked these troops as they passed through Baltimore and several of the soldiers were killed the first victims of the war. During the confusion of the next few weeks forces on both sides struggled to occupy strategic military points and General Butler’s Massachusetts volunteers occupied Baltimore to protect access to the national capitol. Responding to the excitement of these events, the Baltimore photographer W. H. WEAVER left his studio to photograph scenes in the city and the encampments of the occupying troops. Eight of these views, published in May and June, are the first photographs of scenes and events of the war that were published in the WEEKLY. These were followed on June 29th by five views of Fort Monroe, a military site vital to the Union defenses, from the photographs of STACY. WHITEHURST furnished views of the defenses of the Chain Bridge in Washington, D. C. for the August 24th issue. Several other views of militia troops drilling or embarking were published during the year as well. But, as always, more than forty portraits of the military leaders formed the largest number of images derived from photographs.
This pattern –of many portraits of military figures taken in portrait studios, plus a scattering of views of sites associated with events in the war-remained the dominant use placed on photography during the war. The cumbersome equipment and awkward, slow wet-collodian process placed the photographer at a serious disadvantage with the far more flexible sketch-artist in the field. However an increasing number of photographers did forsake their studios for the field during the course of the war. And though rare, a representative amount of that work, gradually increasing in frequency and sophistication, did appear in the WEEKLY. But this occurred slowly and it wasn’t until more than eighteen months after the beginning of the conflict that a group of actual battlefield aftermath scenes, complete with views of dead soldiers, appeared in the magazine. These images of the aftermath of the battle of Antietam were credited to BRADY, but they were actually taken by ALEXANDER GARDNER and JAMES F. GIBSON. Gardner was at that time the director of Brady’s Washington gallery, and, following the custom of the time, the credit for the images was given to the gallery owner. Eight scenes of the battlefield and the dead soldiers were published on a double-page spread in the October 18th issue. The half-column of text accompanying these illustrations was written as an aesthetic response to the photographs rather than to present factual information about the battle, which had already been thoroughly reported in the press. The unnamed author discussed the power of the photographs to carry an emotional weight through their ability to present overwhelmingly detailed and persuasive information about the subject.
The WEEKLY did not publish battlefield aftermath photographs again until August 22, 1863, when it printed eleven views taken in and around Gettysburg, Pa., which were again credited to BRADY. The title for the accompanying text, “Reminiscences of Gettysburg,” is precisely accurate; for a close reading of the images and text shows that the scenes were actually taken several weeks after the battle and are therefore, simply views of the site. (As was his occasional practice, Brady went along with his photographer on this trip and several of the photographs feature Brady posing prominently in the scenery. In other views Brady’s photographer had young students from the local military academy lie around the scenes as if they were corpses. All the real bodies had been cleared away and buried several weeks before Brady’s visit.) Photographs of the actual aftermath of the battle, taken by ALEXANDER GARDNER and TIMOTHY O’SULLIVAN in July 1863, were not published in the WEEKLY until two years later –when a view of dead soldiers, titled “The Harvest of Death Gettysburg July 4, 1863” was included in an article on the dedication ceremony of the Gettysburg monument. It may never be fully known why Gardner’s powerful photographs of the battlefield were not published while Brady’s far less interesting views of the site were printed. Perhaps this reflects another, smaller conflict that was playing itself out during this same time. Gardner had become dissatisfied with working for Brady and decided to quit and open his own gallery in Washington, where he went into an active competition with Brady. The break was not pleasant and there may have been a certain competitiveness present. by the end of the war Gardner, quite frankly, would best Brady in every category of photography –from the production of the historic scenes of the war to gaining the preferred status as unofficial “court photographer” for the Washington officials and politicians. Gardner’s break with Brady was taking place in 1863 and it may be that the WEEKLY remained loyal to its long-standing formal or informal arrangements with Brady, –who, after all, had been providing portraits of notable figures to the magazine for years-and so published Brady’s images instead of Gardner’s. Or perhaps Gardner, fearful that a dispute over ownership of the rights to the images might arise –as this was already one of the points of argument between the two men-didn’t offer his photographs to the magazine.
In any case, this rivalry between Brady and Gardner may have given both some additional motivation to excel in documenting the armies at war. Brady, the owner of galleries in New York and Washington, and Gardner, who had worked as the director of the Brady Gallery in Washington, both would later claim to have been responsible for the concept of creating field photographers to take the historical photographs of the war. In fact, many photographers more or less spontaneously went out to where the action was, dragging the recalcitrant equipment along and subsequently forcing it to achieve more than anyone had previously thought could be possible. However, it is true that the most sustained and coherent early attempts to photograph and then disseminate large numbers of war views to a wider public on a mass-media basis through the vehicle of cartes-de-visite and stereo views seems to have come from the Brady organization, working with the Anthony manufacturing company as the printer and distributor of the thousands of prints. And it seems that Gardner, functioning as an independent manager of the Washington gallery, worked out the techniques and business tactics necessary to accomplish this. I accept Josephine Cobb’s extraordinary research as the most accurate information in this confused area of photographic scholarship. See: “Mathew B. Brady’s Photographic Gallery in Washington,” Record of the Columbia Historical Society of Washington D.C. v. 53 (1953):28-69. and “Alexander Gardner,” Image no. 62 (June 1958):124-136.

HARPER’S WEEKLY subsequently published images of troops in the field that it received from both photographers. On July 9th, 1864 the magazine published a double-page spread of photographs of General Grant’s Union troops on campaign in Virginia. Twelve scenes of the sites of battles and views of dead soldiers were grouped around O’SULLIVAN’s now-famous view of the “Council of War at Massaponax Church.” Many of the photographs were taken by Timothy O’Sullivan, who had left Brady to work for Gardner, but, again true to the custom, all were credited to Gardner.
In August the magazine announced that Brady had returned “…from the army in Virginia with a series of views of the campaign…” However, with the exception of a view of a military execution, all of the images from this trip that were published in the WEEKLY during the last half of 1864 were either single portraits or group portraits of general staff officers; they were taken at their campsites instead of in the studio, but otherwise little different in conception or execution from a traditional studio portrait.
There were other photographers active in the field as well, and several of their images appeared in the magazine. In December 1863 the WEEKLY published two illustrations of destroyed railroad bridges and military railroad facilities that were not credited to any individual, but which probably were the work of CAPTAIN ANDREW J. RUSSELL or a member of his crew, documenting the work of the Corps of Army Engineers under General Meigs. Several other uncredited scenes of the Army of the Potamac in camp were published throughout 1864. BURNITE & WELDON’s views of the ruins of Chambersburg were published on August 20th, 1864 as well.
In January, 1865 the WEEKLY published a striking view of Negro troops excavating the Dutch Gap Canal, supplied to the magazine and possibly taken by CAPTAIN S. L. LANGDON of the 1st United States Artillery. This was followed with scenes from GEORGE N. BARNARD’s views along the course of General Sherman’s march through Georgia to the sea. Views of ruined cities in the South, taken by Gardner and others, were also published throughout the final months of the war.
As the war progressed, photography came to be used as a powerful means of persuasion and the WEEKLY published several examples of this use of the medium. In 1863, a Negro slave named Gordon fled his master in Mississippi to join the Union army in Louisiana. The New Orleans photographers MACPHERSON & OLIVER subsequently issued several cartes-de-visite depicting Gordon in rags, then clothed in the army uniform. They also issued a portrait displaying Gordon’s back, savagely scarred from repeated whippings. The WEEKLY reprinted these views in its July 4, 1863 issue. In January 1864 the magazine published another group portrait of “Emancipated Slaves, White and Colored,” in New Orleans, with information about purchasing copies from the National Freedman’s Relief Association. In July another before and after pair of a ragged slave converted into a soldier, taken by T. B. BISHOP appeared in the magazine.
The persuasiveness of photography was also called into use when the medium was used as a witness. In June 1864 the magazine published portraits of Union soldiers at the Annapolis Hospital, starved and sickened in Confederate prison camps. In January 1865 GEORGE N. BARNARD’s views of the prison-pen at Millen, Georgia were printed. These were followed by portraits of ex-prisoners from Andersonville, dying from exposure, malnutrition and illness, published in June 1865. “These illustrations are the exact facsimiles of photographs…”
During the war the importance of the HARPER’S WEEKLY as a vehicle for news and as a conveyer of opinion and national values to the body politic expanded dramatically, and the editorial usage of illustration –and photography-expanded dramatically to help meet that need. by the end of the war the magazine was as close to its role as an authoritive voice of the ideology of the American people as it would hold during its entire fifty-nine year career.
Alexander Gardner (and the group of photographers working for him) had clearly come to the fore by the last two years of the war. His obvious talents had won him the confidence of government officials and a strong relationship of mutual trust with the editors of HARPER’S WEEKLY. In 1865 Gardner furnished nine portraits of military and civil leaders to the WEEKLY, by far the largest number from any photographer other than Brady –who continued to dominate in that area with twenty-five. In April Gardner also published a view of the ruins of the Norfolk Navy Yard. But it was in the views of events that Gardner excelled and where he outstripped everyone else. He illustrated the article on President Lincoln’s second inauguration, published in the March 18th issue. There are only two images in this brief article, but they demonstrate an important conceptual step that extended the range of expressive possibilities of reportage photography. The first image is a large general view of the crowd of onlookers witnessing the ceremonial swearing-in of the President in front of the Capitol building. Although technically difficult to achieve, this image isn’t, in itself, unusual. It is printed large across a double-page spread of the magazine, providing a sense of the scale and grandeur of this important ceremony –a ceremony which thousands of men during the past four years had given their lives to guarantee would take place. The other image is unusual. It is a portrait of a minister reading the oath of office to President Lincoln, who has his hand on the Bible. Several important issues are buried in this apparently straight-forward scene. In the first place, the participants in the scene are actually performing an act and not just facing the camera, as are the individuals in almost all previous ceremonial portraits. And the camera was so placed that it functions to separate these two men from their crowded surroundings while simultaneously incorporating the viewer into that same social space being shared by them. The viewer shares with Lincoln the intimacy of the special moment while surrounded by the crowded confusion of the event. The viewer feels the sanctity –and therefore the validity-of the oath and of the Office that the oath represents, as well as the human scale –and therefore the humanity-of the man taking the oath. The conjunction of the two images in this article, each bearing its freight of emotional overtones, is the first occasion in the 19th century periodical press that I am aware of where the connotative possibilities of several images were used together to create an expressive dimension larger than the message of its subject content alone. Even if this was done at an unconscious level, it is a definitive leap forward in the creative use of photography in the printed media. And subsequent articles published during the rest of the year bear out that this unusually creative conjunction of Gardner’s photographic skills and historical conceptualization, in combination with HARPER’S editorial perception, was consciously used throughout the duration of a very critical episode in the history of the United States.
President Lincoln was assassinated in April 1865, almost four years to the day from when he had called for volunteers to defend the Union and four days after General Lee surrendered the Army of Northern Virginia to General Grant, effectively bringing the long, sad conflict to its close. During the confusion that followed the assassination and the subsequent chase, capture, and trial of the conspirators amid the uneasy aftermath of the war and the still uncertain peace, it was vitally necessary that a totally convincing and coherent view of the continued functioning and stability of the national government be presented to the populace of the shakily reunited country. The editors of HARPER’S WEEKLY rose to the challenge of providing a detailed and persuasive record of the continued functioning of the government during the crisis, and they called heavily on Gardner’s talents to provide many of the materials for this task. An extraordinarily high percentage of the illustrations of the events of the months following Lincoln’s death were drawn from photographs rather than from artist’s sketches –and further, most of these photographs were provided to the magazine by Gardner. This may be because Gardner’s skills were developed and available, or perhaps in response to the acknowledged veracity and authority –and therefore the persuasiveness-of the photographic image, or perhaps for other, still unknown, reasons. In any case, it’s known that Stanton, the Secretary of War, refused permission to photograph Lincoln’s corpse and that he attempted to confiscate all photographs of the death-room -which is at least one indication of an awareness of the power of the medium by a highly placed governmental official. It’s also obvious that Gardner had to have received official assistance or at least official sanction in order to have access to the subjects that he photographed during this critical time.
On May 13th the WEEKLY published a group portrait by Gardner of three military officers grouped around a map with the title “Planning the Capture of Booth and Harold.” The small device of using the map as a prop again adds, as did the Bible in the portrait of Lincoln’s inauguration, a slight but definitive additional dimension of “action” to the event portrayed, which in turn conveys a sense of purposeful activity and measured response to challenge in a way that would not have been achieved by simply presenting the officers’ portraits in the more common way. Gardner’s portrait of the assassin Lewis Paine in captivity appears in the May 27th issue. The June 10th issue was largely given over to portraying the Grand Review of the victorious Union armies at Washington, D. C. Six of these views were from Gardner’s cameras. These views of thousands of battle-hardened veterans marching through the city in disciplined rows stretching as far as the eye could see, both commemorated the end of the war and provided a salutary reminder to any restless souls that might be considering any new rebellions. The June 17th issue contains Gardner’s portraits of Secretary Seward, General Sherman, and General Sheridan and his staff, as well as a panoramic view of Richmond, Virginia in ruins, a group portrait of the army officers responsible for capturing the Confederate President Jefferson Davis, and a view of the woman’s dress that Davis used for a disguise in his embarrassing attempt to escape capture by Federal troops.
On July 1st the WEEKLY published four views of the Bull Run monuments, followed on the 22nd by an article on the dedication of the Gettysburg Monument, which was illustrated with a view of the dedication ceremonies, a portrait of the speaker, Major-General Howard –who had lost an arm during that battle, and a scene of the Union dead on the battlefield, which had been taken two years earlier. This conjoining of present and past images is again a most unusual tactic for the time, and one that, by layering the constantly frozen “present” of a photograph of the recent past upon the real-time “present” of the ceremony, adds a powerful emotional context to the presentation of the ceremonial event.
Gardner also furnished seven portraits of the Lincoln assassination conspirators and a group portrait of the Military Commission conducting their trial for the issue of July 1st. Three additional portraits of the conspirators and three sequential views of their hanging were published on the 22nd. Another view of the ruins of Richmond was published on August 5th and a view  of the Negro freedman’s village of Hampton, Virginia on September 30th. Gardner’s views of the hanging of Captain Henry Wirz, the commandant of the Andersonville Prison were published in November.
This brief, explosive period of publication of Gardner’s photographs equals in volume and quality almost everything else photographic published during the course of the war. Eventually that activity drew forth a comment from the WEEKLY’s editors.
The present perfection of the art of photography enables an illustrated newspaper like ours to depict persons and events with the utmost precision. During the war, now happily ended, we have been in the daily receipt of the greatest variety of views and portraits from all the armies and from every part of the country, so that we have been enabled from these and from the sketches of our artists to construct a truly exact and living history of the time. Among our photographic friends and allies none have been more constant and serviceable than Mr. Alexander Gardner, of Washington.
One measure of the intensity of this effort is to see what the competition did during the same period. FRANK LESLIE’S ILLUSTRATED NEWSPAPER, after a weak start, had come to be an important journal of record of the Civil War. LESLIE’S would later become important to the history of American photojournalism, but during the war the magazine did little to match HARPER’S use of photography –apparently content to publish the standard portraits and an occasional random view. In the first half of 1865, during this period of great activity by Gardner, LESLIE’S published only a portrait of Sergeant Corbett (The man who shot Booth.) by BRADY –which was probably taken from a generally available carte-de-visite, two views of President Lincoln’s funeral service in Chicago from photographs by ALSCHULER, and one scene of the Grand Review at Washington on May 24th, credited to BRADY. However, all three of these last images were so overworked with figures added by the engraver that it would be impossible to know that they were from photographs without the credit lines.
The intense level of interaction between a specific photographer and a journal, here demonstrated by GARDNER and HARPER’S, would not be reached again during the 19th century, until a cluster of technological changes in the 1880s changed the nature of photography and the nature of the magazines. Gardner himself, even though he would continue to contribute work to the WEEKLY, would never again reach this same peak of activity. However, the impetus generated by the war, the additional experience with outdoor photography among American photographers, and the increase in number of practitioners all contributed to a higher level of general use of news photographs in the WEEKLY throughout the final years of the 1860s.
After the war the magazine was faced with the challenge of maintaining the wartime level of energy and quality while finding a new range of subjects to replace the war-related materials that had filled about eighty percent of its pages during the past four years. The editors went to more serialized fiction, a new emphasis on international news, more social reporting, and reporting the development or redevelopment of American territories which were not yet settled. To replace the many war scenes, the editors began to print many more copies of paintings and other artwork, and they offered more political cartoons and engravings of sentimental scenes or genre studies. The WEEKLY replaced its presses in 1865, and by early 1866 it was publishing illustrations engraved with a much finer line and more stippling, which led to a more refined, precise, detailed style that quickly became prominent in the magazine. This finer line responded favorably to the sort of image that contained a visual grammar dominated by the “veracity” universally held to be an implicit part of the camera’s rendering of a subject.
The corps of trained field artists that had served the WEEKLY so well during the war were sent on sketching tours first throughout the new South, then, as interest shifted to the frontier being opened up by building the railroads, to the West. The American West became a topic of steady interest for the WEEKLY –as it was for all the magazines-throughout the rest of the century, filled, as it was, with both new opportunities and the frequent turbulent conflicts of the constantly fascinating and newsworthy Indians.
In 1866 the WEEKLY printed over thirty “news” articles illustrated from photographs. This number grew to thirty-seven in 1867, shrank back to thirty-three in 1868, and reached fifty in 1869.
The largest number of these images are views of houses, bridges, statues, or other structures or memorabilia. These are accompanied by the usual scattering of scenes of an accident or the aftermath of other disasters. The depiction of actual events was again quite rare and usually confined to ceremonial functions of one sort or the other. The following articles display the kinds and range of news events available to the camera during the final three years of the decade.
Several scenes of Peru, which complement an earlier group of  images printed in December 1865, of gathering guano in Chili, were published in the March 31, 1866 issue. These scenes are from photographs published in ALEXANDER GARDNER’s “Rays of Sunshine from South America” album, actually taken by HENRY MOULTON. A photograph by A. S. AVERY showing the gathering of maple syrup in Otsego County, New York was published on May 4, 1867. DR. WILLIAM BELL’s photograph of a soldier killed by Cheyenne Indians appeared in the July 27, 1867 issue. Five of ALFRED HART’s stereo views of the construction of the Central Pacific Railroad appeared in the December 7, 1867 issue although Hart was not credited for them. Some views of buildings and scenes of people in Havana, Cuba, taken by C. D. FREDERICKS, published in the November 28, 1868 issue, were followed by more scenes on February 27, 1869. WILLIAM S. SOULE’s photograph of a hunter, killed and scalped by Indians, was published on January 16, 1869. ALEXANDER GARDNER’s view of a plains Indian tree burial appeared on March 6th. On June 5th, the WEEKLY published a photograph of the ceremony of the driving of the golden spike that joined the rails of the Union Pacific and Central Pacific railroads. The magazine attributed the photograph to SAVAGE & OTTINGER, one of the several groups of photographers at the historic event, along with ANDREW J. RUSSELL’s team, and ALFRED HART. Curiously, the WEEKLY didn’t spend a great deal of coverage on the building of the Union Pacific Railroad. In contrast, the ILLUSTRATED LONDON NEWS sent over a “special correspondent” to write a series of articles about the railroad. The NEWS also published a number of fine views taken by ANDREW J. RUSSELL along the line of construction of the U.P.R.R. and several views of the C.P.R.R. by ALFRED HART.
On June 26th, the magazine published an interior view of the Grand Coliseum of the Peace Jubilee, filled with a huge crowd, taken in Boston by JOHN A. WHIPPLE. The KILBURN BROTHERS’ stereo views of the Mt. Washington Cog Railway were featured in an article in early August. The Harvard Astronomical Expedition observing the solar eclipse in Shelbyville, Kentucky was documented by a photograph by one of its members, JOHN A. WHIPPLE, in the 28th August issue. On November 13, 1869, ROCKWOOD furnished a photograph titled “Mowing with the Camel in the New York Central Park.”
Perhaps the most noteworthy event in this context is the record of the early portion of the long career of GEORGE G. ROCKWOOD as it is shown in HARPER’S WEEKLY in the years following the war. The ROCKWOOD credit first appears 1865, appended to an ordinary studio portrait. In 1866 several more portraits appear, but there are also several views of a number of buildings around New York City and New York State published during the year. In 1867 Rockwood supplied the magazine with fourteen portraits and sixteen scenes and views of buildings around the city. Ten more photographs, ranging from a view of Pike’s New Opera House, published in January, to two photographs of the entrance and a sketch of underground drilling in the Hoosac Tunnel, appearing in December, were published in 1868. In 1869 Rockwood supplied photographs ranging from a number of views of buildings, to a sequence of four images of the solar eclipse, to a collection of eight photographs –in what might be called a proto-photographic essay-of the inmates and structures of the Institutions of Charity and Correction on Blackwell’s Island, New York, to a portrait of the Central Park Zoo’s camel earning his keep by pulling a mowing machine around the park.
After the war Rockwood displayed the necessary mixture of skills and energy to supplant the Brady Studio, which was then suffering a number of financial and legal problems, as the New York photographer most closely affiliated to the WEEKLY. During these years Rockwood certainly became at least the unofficial photographer for the magazine, whether or not he received any direct salary or specific commissions from the journal. The fact that his value to the magazine derived from his ability to go away from the commercial portrait studio to take photographs of scenes and events in the city, rather than provide a studio portrait of someone in the news, as had been the practice of Brady and others in the past, is an indication of the direction that the magazines and the professional photographers would have to go in the future.” “Photography and the Magazines 1830s 1880s.” WSJ

HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION

1857

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s Gallery of Ambrotypes and Photographs.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:2 (Jan. 10, 1857): 32. [Advertisement. “No. 359 Broadway, over Thompson’s Saloon. Every requisite in Portraiture is met by the immense facilities of this establishment. It contains the largest collection of Specimen Portraits in the United States. the Public are invited to visit the Gallery.” (This or similar advertisements appeared regularly in Harper’s Weekly: A Journal Of Civilization throughout 1857.]

BRADY, MATHEW B. (1823-1896) (USA).
7 b & w (“The New Cabinet.”) HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:15 (Apr. 11, 1857): 228-229. [“Our readers will no doubt be glad to make the acquaintance of the members of the new Cabinet. the venerable face of the veteran Cass has long been familiar to every one; but his six colleagues may be strangers to a good many among the rising generation. the likenesses, we are enabled to state, are perfect, and do great credit to Mr. Brady, of this city, from whose photographs they are designed. of the seven, two only have held executive office under the General Government before—General Cass and Mr. Toucey….” (7 portraits of the President’s Cabinet. First credited use of engravings from photographs found in this magazine)]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s Galleries of Photographs and Ambrotypes HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1;16 (Apr. 18, 1857): 256. [“Nos. 205 and 359 Broadway. the Imperial Photograph, An entirely novel application of the art, is made only at 359 Broadway. Ambrotype and Photographic Miniatures at 205 Broadway, corner of Fulton Street—a convenient place for persons employed down town to procure First-Class Pictures at a Moderate Price.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late George Steers”) “Photographed by Brady, on p. 280, 1 b & w (“Professor Morse.”) — Photographed by Brady, on p. 280. 1 b & w (“Captain Hudson of the Niagara.”) “Photographed by Meade, on p. 280 in: “The Laying of the Transatlantic Telegraph.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:18 (May 2, 1857): 280-282. 8 illus. [Engravings, of ships laying the telegraph lines in the ocean, etc. and four portraits of leading men associated with the activity. Portrait of S. Morse and George Steers by Brady and of Captain Hudson, of the ‘Niagara,’ by Meade. Each portrait is accompanied by a brief biography. Morse: “We are as proud of presenting to our readers his portrait at the head of this article, as he will be to achieve this crowning work for his fame. Forty years ago, when he was an art student in London, a pupil of Allston, West, and Copley, he would have gladly discounted his glory in advance for the satisfaction of painting a picture like the Death of Wolfe. Thirty years ago, when he was a poor portrait-painter at Charlestown and Boston, when he traveled through the country villages painting portraits at $15 apiece, and not unfrequently at a loss for work, a very few dollars secured safely would have satisfied his worldly aspirations. Twenty years ago, when he dreamed out the electric telegraph on board an ocean steamer, the realization of that magnificent dream seemed so distant that, though his genius saw it, his judgment shed a mist of doubts, and he dared not be positive in his conviction even to his own mind. And now all his brightest hopes are realized; he enjoys fame, a competency, a world-wide recognition. Not many days since, in conversation with the writer, and in replay to a remark on the subject of the rival claims of Wheatstone and the European “discoverers” or “inventors” of the electric telegraph, Professor Morse cried, hastily: “Ah! Sir, but they are noble fellows; they behaved nobly to me, Sir; they are true men of science….” p. 280.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lord Napier, British Plenipotentiary to Washington.”) “From a Photograph by Brady.” “The St. George’s Society’s Dinner.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:18 (May 2, 1857): 285. 1 b & w 1 illus. [“We have the pleasure of engraving this week the dinner of the Saint George’s Society, which was given at Delmonico’s on 23d of April, the anniversary of England’s patron saint. We also give a portrait of his Excellency Lord Napier, British Plenipotentiary to Washington, who accepted the Society’s invitation to be present at the dinner….”]

BRADY, MATHEW B. (1823-1896) (USA).
‘American Benevolent Societies.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:20 (May 16, 1857): 316-318. 5 b & w [(Illustrated with five separate portraits on p. 317, one (“J. C. Brigham, D.D.”) credited as photographed by Brady, the other four portraits not credited, but from photographic sources. “We take this occasion, in the midst of the week of Anniversaries, to present a sketch of some of the principal societies whose object is the advancement of religion in our own country and through the world. the list by no means embraces all, not even half, of the institutions laboriously and successfully engaged in the same work. We have seized upon the more prominent of those whose annual meetings have just been held in our own city….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Doctor Rae.”) “From a Photograph by Brady.” “Doctor Rae And the New Arctic Expedition.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:22 (May 30, 1857): 348-349. [“Twelve years ago the 18th of the present month (May) Sir John Franklin sailed, in command of one hundred and thirty-eight gallant spirits, on that fatal expedition from which they have not returned…. As early as 1851 distinct traces of the voyagers were found in the neighborhood of Cape Riley and Beechey Island,”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Arab Mohammed Habat.”) HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:22 (May 30, 1857): 349-350a. [“In the Kangaroo, on 14th inst., there sailed from this country an old man whose presence here and whose story are not very flattering to our national pride. His name is Mohammed Habat. He is a nephew of that famous ex-bashaw of Tripoli—Hamet Caramanli—who, in the days of Mediterranean piracies, conspired with our gallant countryman Eaton against his brother, the reigning bashaw…. We have had the accompanying engraving of Mohammed Habat made from a photograph taken by Mr. Brady; it is an excellent likeness. As usual, the venerable Arab was requested by Mr. Brady to inscribe his name upon his book. He did so, and the hieroglyphs represented in the cut on the preceding page are the result. Our juvenile friends will have no difficulty in reading them off to their seniors….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Annie M. Andrews.”) “From an Ambrotype by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:23 (June 6, 1857): 355.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lord Elgin, British Plenipotentiary to China.”) “From an Ambrotype by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:23 (June 6, 1857): 357.

BRADY, MATHEW B. (1823-1896) (USA).
“St. Lukes Home for Indigent Females.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:26 (June 27, 1857): 413. 3 b & w. 1 illus. [“Engraving of the building, plus three portraits of indigent women, Mrs. Ryan, Mrs. Sarah Thompson, Mrs. Weatherspoon, which are credited, “Ambrotyped by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Hon. William L. Marcy.”) “From a Photograph Lately Taken by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:29 (July 18, 1857): 461.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Henry C. Murphy, U. S. Minister to the Hague”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:32 (Aug. 8, 1857): 501.

BY COUNTRY. USA. 1857.
“Boggles’s Photograph.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:35 (Aug. 29, 1857): 557. [Satire. Brady mentioned. “Our friend Boggles has got his photograph. Every body who is any body is getting his or her photograph. It has become a recognized social duty. Boggles, the great stock-broker and financier, going out of his way to float a little with the tide of the humanities, as we observed, has been photographed. To those who do not know that his income is fifty thousand a year, he seems a bilious citizen, with a wart upon his nose, and bad arrangement of legs and shoulder-blades. Now a stoop is not worthy of perpetuation; symmetrical legs only should be delineated; a nasal wart is not a facial felicity. Why, therefore, did Boggles get his photograph? why rush upon the peril of solar decapitation? why diffuse his ugliness? why yield to the gentle weakness of wishing to see himself as others saw him? Is the great financier blind to his inharmonies? Is he oblivious of his anatomical inaccuracies? or does he indulge the delusion that his great monetary and moral presence will cause the physical to pale its ineffectual fire?… We began apropos of the photograph. That of Boggles is our present theme. It is one of the chefs-d’oeuvre of Brady, and is a work which should confer upon the artist academic honors. It is Boggles transmuted and apotheosized; Boggles with a reverend and benign aspect. the wart upon his esteemed nose is subdued to the most harmonious and unobtrusive pimple; all the excellent traits of our friend in their Sunday clothes, and all his inharmonies under cover…. But the photograph we approve. We see in it the germ of an art which is to eclipse the Mediæval and the Renaissance. on one or two occasions the great artist has drawn the bead upon ourselves. He has contributed to our melancholy by requesting us to look as cheerful as possible. We therefore feel qualified to speak upon this as upon all other subjects with fine intelligence. We reverence the art as we honor the artists. the mastery of the camera ranks with the mastery of steam and the electric fluid. In his famed hemicycle of photography are grouped apotheosized shadows of men. the illustrious and the commonplace are alike exalted; the Boggleses and the Noggleses infused with an alien grace; the Chesterfields and D’Orsays, their elegances all intact; the Clays and Websters in what some rhetorician of extreme polish has designated as “the almighty majesty of skull.” Society, perpetually vigilant to catch the first echo of our sentiments upon any and all subjects, will doubtless take still closer to its bosom this child of the sun. Boggles will probably ask us to…”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Major Garrett Dyckman and the Gold Box Which He Did Not Get.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:40 (Oct. 3, 1857): 637-638. 2 b & w, 1 illus. [“We beg to present our readers with a portrait of that gallant soldier, Major Garrett Dyckman, who has been pronounced by the Common Council of the city to be the bravest son of New York; likewise with a view of that famous gold box, which the said Major Dyckman so nearly got as a reward for his bravery. It is hard to say which is the more interesting object, the Major or the Box….” Illustrations: “Hon. F. B. Angel, United States Minister To Sweden.” (Uncredited, but from a photograph) the Box. (woodcut) and “Major Garrett Dyckman.”—From a Photograph by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Don Ignacio Comonfort, President of the Mexican Republic.”) HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:41 (Oct. 10, 1857): 653-654. [“We present below a portrait and sketch of the distinguished statesman and general, Comonfort, President of Mexico. the portrait is taken from a photograph in Brady’s Gallery, where it is deposited by the gentleman to whom it was presented by the General…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Alexander Grant, Fireman of the ‘Central America.’”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:42 (Oct. 17, 1857): 657.

BRADY, MATHEW B. (1823-1896) (USA).
‘Progress of Photography.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:42 (Oct. 17, 1857): 659. [“Photography was born in the United States, and the sceptre has not departed from us. An improvement in the art, scarcely second to the original invention, has lately been made by Mr. Brady, of this city. by this new process lifesize portraits are produced with even superior accuracy to the admirable imperial photographs which have reflected so much credit on Brady’s establishment. the picture, by the new process, is originally taken on glass as an ambrotype. From this ambrotype it is thrown back on a photographic surface, and a picture is produced which the greatest portrait-painters of the day could not equal. the distortions which usually occur in photographic pictures—objects in the foreground being exaggerated, while objects in the background are diminished—are obviated by this process; as the original author of the disturbance—Light—takes care to reverse his work in throwing the picture back again on the canvas or pasteboard. the vocation of the portrait-painter is not gone, but modified. Henceforth, every portrait-painter will require a photograph of his sitter, just as heretofore he required a pallet and an easel. His the duty, now, to tone the picture, to throw in light, shade, and expression, and to light up the face with the color which gives it freshness and animation. But the age of portraits guessed at by men of genius, and set on the canvas by the eye merely, is past. Portrait-painting, by the old methods, is as completely defunct as navigation by the stars.”]

BRADY, MATHEW B. (1823-1896) (USA).
2 b & w (“Louis Paulsen.”) and (“Paul Morphy.”) “From a Photograph by Brady in: “The Chess Congress.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:43 (Oct. 24, 1857): 685-686. [“There are a score of men just now in New York who are to be envied. There they are, in the very midst of our city, and as remote from its financial difficulties and anxieties as if they were at the bottom of the mines of Potosi. What care they for the hazardous game being played just now in Wall Street, and who loses or wins, provided they can, with their chess-board, check or stalemate an opponent?…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. N. P. Banks. Governor Elect of Massachusetts.”) .—Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:47 (Nov. 21, 1857): 737-738. [“Nathaniel, P. Banks, who has just been elected Governor of Massachusetts by a plurality of nearly 24,000, was born in Waltham, a town of that State, on the 30th of January, 1816….”]

BRADY, MATHEW B. (1823-1896) (USA).
‘The Lady Contributors to Harper’s Weekly: A Journal Of Civilization.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:48 (Nov. 28, 1857): 765-766. 10 b & w [ “For the reasons which induced Addison to sketch his own portrait, in his assumed character, for the readers of the Spectator, we have thought that it would be interesting to the readers of Harper’s Weekly: A Journal Of Civilization to see, not only pen and ink sketches, but actual likenesses of a few of our lady contributors. Having arrived at this decision, we applied to our fair coadjutors for their portraits. Some refused… With these and a few other exceptions, our lady contributors consented to be photographed by Mr. Brady. It was our original intention to have given full-length portraits of all; but, on measurement, it was found that, in consequence of the prevailing style of dress, such portraits would more than usurp the whole of our space. It was impossible to place two literary ladies, in hoops, side by side, in our page. We reluctantly resolved to be content with heads….” (This may be intended to be a satiric article. Ten separate portraits on one page. If not, the ten portraits have been so heavily altered by the engraver that its impossible to believe that they are from actual photographs, regardless of the text.)]

BRADY, MATHEW B. (1823-1896) (USA).
‘Our Mayors.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:50 (Dec. 12, 1857): 785-786. 2 b & w [“We give below portraits of Fernando Wood, the present Mayor of New York, and Daniel F. Tiemann, the Mayor-elect. the recent contest for the mayoralty, which has attracted so much attention in all parts of the country, will naturally make people desirous of seeing what sort of looking people the rival candidates for the chief magistracy of New York were….” “Hon Fernando Wood, Mayor of New York.”—Photographed by Brady. and “Hon. Daniel F. Tiemann, Mayor-Elect.—“Photographed by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. William R. Williams, D.D., Pastor of Amity Street Baptist Church, N. Y.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:50 (Dec. 12, 1857): 788. [“If a stranger in this city, passing up Broadway, should, on reaching Amity Street, turn two or three blocks to his left, his eye would rest upon a plain, unpretending structure of marble, somewhat dingy with age, and which, with some slight hesitation, perhaps, he might denominate a church….”]

BY COUNTRY. USA. 1857.
“Bohemian Walks and Talks: An Hour With the Photographs.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 1:52 (Dec. 26, 1857): 819. [Social commentary. “As I was meandering down Broadway the other day, thinking of nothing in particular and Ethelinda in general, my attention was excited by a most remarkable work of art, in the shape of a photograph. It was placed in a very narrow door-way, where ladies and gentlemen from the interior jostled against each other in the endeavor to get a good view of it, and I more than half suspect that it was intended as a decoy, wherewith might be seduced the aforesaid pastoral individuals. the photograph was of a young man quite well known about town. He had the appearance of an actor and a man-milliner equally mixed. His hair was very black, and curled a great deal; one little ringlet was allowed to droop in a studied, yet apparently careless, manner off the left temple. Raven, likewise, were his mustaches, and jetty his side whiskers. the flash of genius would have beamed from his eyes, I have no doubt, but unfortunately the photograph is better at taking waistcoats and trowsers than eyes. Ethelinda’s, for example, look like the optics of a boiled codfish. But look at his boots, and regard his tout ensemble! He reclines upon a mossy bank, the babbling brook laughs at his feet, and the pure autumn sky almost touches his head. the artist intends to convey the idea that the young man has been shooting something or somebody, or that he is meditating some act of that kind. It is a little curious that he should go out to shoot over a Newfoundland dog, and there is a strong probability that the dog would run away the first time a shot was fired; but any a happy idea of the artist I am relieved from any fears on that head. the gun is laid flat upon the ground, so that the powder would have become so far moistened that no percussion-cap in the world could discharge it. the young man sits in a pensive attitude, looking at his boots, which have not been in the least soiled by his walk. He has clean yet low breeches, and in the pocket his hand is thrust, probably to typify the crisis. His shooting-coat is a miracle of art, and might possibly sustain the wear and tear of half an hour’s real work. the accoutrements—powder-flask, belt, etc.—we now find painfully shiny. the picture served the purpose of the artist and the subject. To the artist it brought numerous great-booted, snub-nosed, redhaired, hard-fisted, large-mouthed young men from the rural districts, who desired to be taken exactly like that “feller down to the door;” while all the young ladies stopped to say, “How sweet!” “What a love!” “Don’t you think he’s handsome?” “I do, I’m sure; and so does ma.” “What do you suppose pa says? Says he looks like a fool!” and so on, ad infinitum. Now, as a general thing, I like photographs very much, and therefore I followed in the wake of the pastoral young men. I asked the young woman in attendance if she could make a picture of me like unto that of he with the boots? and she thought she would try; but as she could not insure it, and as I had put my mustaches upon the peace establishment, the negotiation was suspended for the time. So I looked about among the men of war and of peace—the divines, the generals, the foreign ministers, and poets, and editors, and pretty women, and lump-faced children, whose portraits adorned the walls. I noticed that all the statesmen and philosophers had their hands in the breastpockets of their coats, and that all the women with bad figures insisted upon being taken at half-length. the men all seemed to labor under the impression that they were going to be married, or buried, or bored, or executed, or some other dreadful thing, and they had conjured up an amount of Stoic bravery laughable to see. Some who had gone through the operation several times managed to get up a sickly smile. There was young Foozle, who has nothing to do but dress himself, and takes all day to it. the girls have made Foozle believe that he’s a pretty fellow, ay marry, and a fashionable one withal. So Foozle has trotted about to nearly all the photographic galleries in town, and got himself taken in all sorts of shapes. See him there with his light head surmounted by rows of auburn ringlets—see his round, smooth, expressionless face, lighted up with the smirk of self-conceit; see his pretty scarf fastened with a sweet horse-shee pin; observe his delicate watch-chain, his little ornamented waistcoat-buttons, and his diminutive golden-headed stick. How he ever managed to get into those boots no one can tell, and how he ever manages to get out of them is a still greater mystery. It is almost like painting the lily to say that Foozle is a duck, and that he makes a sweet picture. Quite in contrast with Foozle is the portrait of a foreign minister—Austrian or Russian—I forget which. Here you may see the real man of the world, trained in courts and camps, accomplished in small talk, as well as thoroughly versed in blue books—able to flirt with Mrs. Senator Blank, and discuss a commercial treaty with the Secretary of State, at one and the same time—perfectly au fait to the mysteries of polkas and pátes—admirably, and yet not ostentatiously dressed. Gracious! young Foozle would give all his rings, and pins, and buttons, and canes if he could get on like the baron. But these foreigners have such a way, you know. Why, a fellow can’t do anything like them, you know. When a fellow is trying to think what he’ll say to a girl, you know, why along comes one of these attachés, and just takes and monopolizes her, you know, for all the evening. And then, yóu know, they have such a way of being so deuced familiar without doing any thing rude, you know, and the women they like it, you know, and it makes a fellow feel like a fool, you know—which it does. Foozle always gets disgusted, goes off, drinks brandy, and plays pharo. the next day he has repentance and headache in plenty, but no money; which is, to say the least, inconvenient to Foozle, who always wants a great deal. Falling into these reminiscences of Foozle, I became lost to the great galaxy of pretty faces all about me, and awoke to a consciousness of the outer world by coming in violent collision with a vast expanse of crinoline. There was a little oval face, some curls, and a bonnet; like a tiny ocean shell, rising from the centre, like the single oyster in a bowl of Brown’s soup. Perhaps you never heard of this famous soup. It was, like Soyer’s, soup for the masses, and was much affected for its cheapness and filling qualities by Bohemians of limited pecuniary resources. Jones, the eminent sensation writer, was one of Brown’s best customers, and one day he astounded the guests at the Café Brown by crying out, “I say, Colonel, there’s an oyster in this soup!” the announcement created as much excitement as when a student, who had suddenly discovered half a franc in his pocket, called out at the Café in Paris, where you dine for ten cents— and where all the Bohemians go when they have no money—“Garcon, donnez moi un demi-bouteille Bordeaux s. v. p.” It is due to Brown to say that he repelled the insinuation, so dangerous to the credit of his house, with promptness and dignity. “Don’t lie to me, Sir,” said he; “I never put an oyster in my soup in all my life.” I made due obeisance and apology to the crinoline, and so ended my hour with the photographs. A good suggestion, like a good joke, is never the worse for repetition. I saw, some time ago, a piece of good advice to our photographic artists. the writer acknowledged their superiority over the French in taking portraits, but directed their attention to the splendid views of public buildings, monuments, and so forth, taken in Paris. Those of the additions to the Louvre are splendid, and would attract more attention than portraits of any individuals, however distinguished or notorious they might be. the Broadway photographist who shall first present us with some fine views of well known localities will find his account in it. Mr. Brady could do it very well. Bohemien.”]

1858

BRADY, MATHEW B. (1823-1896) (USA).
‘Domestic Intelligence: Personal.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:53 (Jan. 2, 1858): 7. [“Mr. Brady, the well-known New York photographer, has been to Washington in search of a suitable place in which to open a gallery there of photographic art. It is understood he has made satisfactory arrangements, and will return immediately to carry out his proposed enterprise.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘The Lounger: Act Second.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:53 (Jan. 2, 1858): 2-3. [(This seems to be a possibly fictional exchange of correspondence, in which one individual attempts to get the other to have their portrait taken by Brady.) “With this number of the Weekly begins the second volume. As the curtain rises, the Lounger stands,…He claims that he has worked in good company; that, on the whole, a fair result has been produced; that, viewed with shrewd and calculating eyes, you have rarely bought a better five cents’ worth than when you have bought this paper….Jim makes one mistake. the Lounger did not hope “to draw people out,” but to draw them in—to his box. But he makes no mistake when he speaks well of the ever-pointed pencil of Hoppin. As for the Lounger’s photograph, let it remain invisible. Some things are better unseen. There are some illusions, Jim, that should be cherished. the outward appearance of the Lounger is one of them…. Jim will surely appreciate what the Lounger hopes Jim will consider the Lounger’s modesty. Dear Lounger,—I appreciate letters, and to some people I like to address them. I have a good many correspondents, but very few of them write any thing interesting…. I am glad to see Hoppin’s pencil so often in the Weekly, and the oftener it employs such a genius as his the better for it. I consider Hoppin the best artist in America—comic or otherwise. Don’t you, Lounger? By-the-by, talking of art, why will you not let Brady take your ambrotype or photograph, and put it at the head of your lounging place? Do let your admirers see your good old face. Yours truly, Jim….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Charles O’Conor.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:56 (Jan. 23, 1858): 52. [“To perfect the portraiture of Mr. O’Conor the reader must imagine a compact and erect figure of commanding height clad in an unvarying suit of black; he must endow the eye with an expression of keenness, and light up the face with intellectual fire; he must assume the grayness of hair and whisker as the result rather of excessive mental toil than as a concomitant of age; he must be informed that the countenance can one moment express powerful scorn or indignation, and at the next relax itself to a mould of humor or sympathy. And then the reader, by the aid of the engraving, will be presented to one of the first lawyers in the United States….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. Stephen H. Tyng, D.D.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:57 (Jan. 30, 1858): 65.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Hon, Edward Everett, of Massachusetts.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:59 (Feb. 13, 1858): 97.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Bishop Waugh.”) HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:61 (Feb. 27, 1858): 140. [“A good man has fallen at his post. Rev. Beverly Waugh, D. D., Senior Bishop of the Methodist Episcopal Church, died in Baltimore, on the morning of the 9th inst., in the sixty-ninth year of his age…. (See p. 140 for attribution.)”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Rev. Beverly Waugh, D. D., Senior Bishop of the Methodist Episcopal Church.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:61 (Feb. 27, 1858): 140.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. James M. Mason, United States Senator From Virginia.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:64 (Mar. 20, 1858): 177.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“His Excellency Rear-Admiral Mohammed Pacha.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:65 (Mar. 27, 1858): 196 [“The portrait of his Excellency Rear-Admiral Mohammed Pacha, which we present below, is taken from a photograph by the eminent artist Mr. Brady, and may be relied upon as more correct than—if the Courrier des Etats Unis is to be believed—portraits in illustrated newspapers sometimes are. It gives a very fair idea of the man. Rear-Admiral Mohammed Pacha is a man of only thirty-five years of age….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. John Slidell, United States Senator from Louisiana.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:65 (Mar. 27, 1858): 193.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Alexander H. Stephens, of Georgia.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:67 (Apr. 10, 1858): 225.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Monsieur Musard.”) “From a Photograph by Brady, in: “Musard and the Paris Masked Balls.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:67 (Apr. 10, 1858): 229. [“Now that we have Monsieur Musard here in the flesh, and that there is a striking prospect of masked balls being given at the Academy of Music, the opportunity is favorable for a brief glance at the historic Musard, and at the theatre of his fame, the masked balls at the Academy of Music at Paris….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Hon. Thomas H. Benton, of Missouri.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:68 (Apr. 17, 1858): 241.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. John. P. Hale, United States Senator From New Hampshire.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:69 (Apr. 24, 1858): 257.

BRADY, MATHEW B. (1823-1896) (USA).
‘Photographic Portraits.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:69 (Apr. 24, 1858): 258. [“Mr. Brady, the great photographer of this city and of Washington, has initiated a new feature in the photographic art. He has begun to publish photographic likenesses of eminent individuals. These likenesses resemble steel engravings; differing from them only in their superior fidelity to nature. Their cost is the same. Mr. Brady has begun his series with a portrait of the Reverend Archbishop Hughes; he proposes to continue it with the late Colonel Benton (of whom we gave an admirable likeness in our last Number), and to keep it up for some time, publishing a portrait a week. the subscriber to Mr. Brady’s photographic gallery of portraits will thus be enabled to cover the walls of his library with reliable likenesses of the most eminent Americans of the day at a very moderate cost. While we trust Mr. Brady will be as successful as he deserves, and indeed doubt not but he will find his new branch as profitable as the former ones, we can not forbear contrasting the cost of his gallery of portraits with that which is presented to the subscribers of Harper’s Weekly. We do not hesitate to say that our portraits will not yield to Mr. Brady’s in point of accuracy and finish. They are invariably drawn by the first artist—in that line—in this country; they are engraved by the most practiced and skillful engraver of portraits; they are printed as no newspaper illustrations have ever been printed in the United States. As a general rule, their fidelity as likenesses and their merit as works of art are admitted by all. They appear, on an average, in every number of the paper. Thus, the subscriber to Harper’s Weekly will obtain, for two dollars and a half, a series of fifty-two portraits of eminent men, as choice and perfect as Mr. Brady’s for one-half the cost of one of Brady’s photographs. We need not add that, in addition to the portrait, he will have, every week, a biographical sketch of one or more eminent men, together with the best stories, essays, poetry, and the illustrated news of the world. It may well be questioned whether two and a half dollars ever procured for any one so much instruction, entertainment, and wholesome reading.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Galusha A. Grow, of Pennsylvania.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:70 (May 1, 1858): 273.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. James S. Green, United States Senator from Missouri.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:71 (May 8, 1858): 299.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Jacob Collamer, United States Senator from Vermont.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:72 (May 15, 1858): 305.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. John MClintock, D. D.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:72 (May 15, 1858): 309. [“In the portrait-gallery of distinguished Americans with which the pages of our Weekly have been graced, there is no one who more finely illustrates the elastic energy of our national character than the learned and eloquent pastor of the St. Paul's Methodist Episcopal Church of this city. the Rev. Dr. John MClintock is a native of Philadelphia, in which city he was born, in 1814, and where his early life was spent. From 1830 to 1832 he was book-keeper in the Methodist Book Concern of this city, then under the charge of the Rev. John Emory….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. William H. English, of the House of Representatives.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:73 (May 22, 1858): 321.

BRADY, MATHEW B. (1823-1896) (USA).
1 b& w (“Hon. William M. Gwin, United States Senator from California.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:74 (May 29, 1858): 337.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. William Bigler, United States Senator from Pennsylvania.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:75 (June 5, 1858): 353.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lieutenant-General Winfield Scott”).—Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:77 (June 19, 1858): 385.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Most Reverend John Hughes, D. D., Archbishop of New York.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:78 (June 26, 1858): 401.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“James Gordon Bennett, Esq.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:80 (July 10, 1858): 433.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. Henry Ward Beecher.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:81 (July 17, 1858): 449.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Dr. John W. Francis.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:82 (July 24, 1858): 465.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late General John A. Quitman.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:83 (July 31, 1858): 484. [“Many a reader will recognize the features of the brave old filibuster chief in the portrait which we give on this page. Few men in the country are better known or more esteemed than the gallant veteran who has just yielded his spirit to his Creator. John A. Quitman was a New Yorker by birth, having first seen the light on 1st December, 1799, at Rhinebeck, Dutchess County, in this State…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Cyrus W. Field, Esq.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:86 (Aug. 21, 1858): 529.
BRADY. 1 b & w (“Sir. Alexander Bannerman, Governor of Newfoundland.”) “Photographed by Brady. HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:86 (Aug. 21, 1858): 536.
BRADY. “Brady’s Portraits.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:87 (Aug. 28, 1858): 546. . [“We have to acknowledge the receipt of an excellent photograph of Senator Seward from Mr. Brady, the famous photographer of New York and Washington. Mr. Brady’s photographs of celebrated men will soon hang in every drawing-room. They are fine works of art, and wonderful likenesses.”]

BRADY, MATHEW B. (1823-1896) (USA).
“The Atlantic Cable Celebration. The ‘Niagaras’ in Broadway.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:89 (Sept. 11, 1858): 577. 1 illus. [“Illustration of a parade celebrating the completion of the Atlantic telegraph cable. Brady’s Gallery is shown in the background, behind the parade group.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Jacob Little, Esq.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:90 (Sept. 18, 1858): 593.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. Samuel I. Prime, D.D.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:91 (Sept. 25, 1858): 609.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gerard Hallock, Esq.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:94 (Oct. 16, 1858): 657.
BRADY. 1 b & w (“Gerard Hallock, Esq.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:94 (Oct. 16, 1858): 657.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General Paez, of Venezuela.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:96 (Oct. 30, 1858): 693-694. [“We place on record on this page the portrait of one of the greatest heroes of South America, General José A. Paez, the friend of Bolivar, and the liberator of Venezuela. His approaching departure from this country for his own home, in compliance with the invitation of the Venezuelan Legislature, will render the publication opportune at the present time….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Amasa J. Parker.”) “Photographed by Brady, 1 b & w (“Hon. Edwin D. Morgan.”) —[Photographed by Brady. in “The Rival Candidates for Governor.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:97 (Nov. 6, 1858): 705.

ROBINSON, HENRY PEACH. (1830-1901) (TUNBRIDGE WELLS, ENGLAND)
“Fading Away.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:99 (Nov. 20, 1858): 740-741. [(Full page reproduction of H. P. Robinson’s composite print, “Fading Away,” with brief commentary praising its artistic qualities.) “The picture on the opposite page is a novelty in Art. It is an engraving made from a photograph, the photograph being taken from life. In a word, Mr. Robinson, of London, has begun to compose pictures with living models, and to photograph them from life. This is even ahead of Mr. Brady, who, we believe, has never got beyond the portrait business. From the engraving we now publish the public will probably be inclined to augur well of Mr. Robinson’s project.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘The Lounger: A Puritan Idyl.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 2:104 (Dec. 25, 1858): 819. [“Longfellow’s new poem has now been fully admired and abused. And yet abuse it as the sharpest critic may, he can not prevent his inward eye from seeing the lovely range of pictures that glimmer along the music, like reflections in a limpid brook. the picturesqueness of the poem is very striking, and Mr. Ehninger has drawn a series of very happy illustrations which have been faithfully photographed by Brady; and which, with the proper text, will be issued immediately by Rudd & Carleton, making one of the most unique and beautiful holiday volumes ever published. In fact, the drawings are conceived and executed in such perfect sympathy with the spirit of the poem, and of the time and manners it describes, that they are a living commentary upon the verse, and will be always valuable as works of art. the artist has infused the sweetness and heroic simplicity of the story into each picture; and as the style has the advantage of exactly reproducing the design, every copy is, as it were, especially illustrated by the artist’s own hand. Mr. Ehninger has achieved a great success. the figure of Standish is admirable, and the scene in the council is full of characteristic Puritan heads, most faithfully elaborated. the eye glides satisfied and delighted from the interview of Miles Standish, the wooer, with the scribe John Alden, to the exquisite pastoral of Priscilla (the comely Puritan Europa) with Miles Standish, the friend, and handsome John Alden, the bridegroom.”]

1859

BRADY, MATHEW B. (1823-1896) (USA).
‘Advertisement: Holiday Notice.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:105 (Jan. 1, 1859): 14. [“Superb Photographs, Ambrotypes, And Daguerreotypes, At Brady’s Galleries, 205 and 359 Broadway, New York.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Domestic Intelligence.: Other Court Belles.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:108 (Jan. 22, 1859): 54-55. [“Apropos of female politicians, Mrs. Douglas is not alone. Mrs. Conrad, a young, rich, and lovely widow, who (another has said) has too good sense to marry,' is called the greatest courtier in Washington, and exerts no small influence over state affairs. Her full-length photograph, with those of all the other beauties of grandpapa Buchanan's court, is to be seen at Brady's in Broadway. First stands Mrs. Douglas; her physique is splendid—not soft and pliant, but proud and queenly, after the Roman model. Dark hair, eyes, classic features, brilliant complexion, with a commanding rather than winning expression. The picture does not do her justice. Her dress of black silk is not becoming, and is made in a fashion which robs somewhat the grace of her perfect form. Next stands Mrs. Conrad, all grace, clad in black velvet with pearls. A wily, a subtle, a beautiful Greek, with far-searching eyes, peach-tinted cheek, and wavy, golden-brown hair. Beside her stands Madame Le Vert, of Mobile, long an habitué of Washington, who, for her social genius, is pre-eminent above all American women. Madame Le Vert, without being beautiful either in form or feature, has reigned as abelle’ since she was ten years old. She has traveled widely, has visited nearly all foreign courts, can carry on conversation in six different languages at one time, and be equally charming in all. Yet not in her talents, nor in her accomplishments, lies her fascination; but in the genial sweetness, naturalness, and perfect simplicity of her manners, which seem to give her possession of all hearts. Her clear blue eye overflows with the exuberance of kindness, while around the serene mouth all gentle affections seem to have found dwelling. She wears a dress of brown silk with gorgeous bordered flounces, and a crimson rose in her hair. The sweetest compliment I ever heard for Madame Le Vert was uttered to me by one of her personal friends: She is like a flower out in nature.' Next her is Harriet Lane, of theWhite House,’ Mr. Buchanan’s niece. A blonde, cold and statuesque; pure and passionless as marble—one’s very admiration gives them a chill. She stands in a veranda, the Capitol in sight. A spray of flowers in her hair falls low upon her bare and beautiful neck. She looks a model of repose; the very Miss Lane whom the papers assure us receives with great dignity.' And then Lady Gore Ouseley, the Yankee Englishwoman, who had seen fit recently to dip her fingers into Nicaragua affairs; who rules not only her dearSir William,’ but our lady-like old President. Well, she is coarse and homely enough; and, according to the notion of your Own Correspondent,' is dressed in horrid taste. She wears a string of jets around her head of the size of walnuts; another around her neck of equal rotundity. She does not seem to care for an ample skirt, and has utterly discarded theline of beauty’ in its fall,' for it isskimped’ shorter behind than before, and the flounces curve up on the sides. But she has a falcon eye, and her whole bearing indicates, in even more than an ordinary degree, the woman’s penchant—power to `rule.’”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. William Preston, Our New Minister To Spain.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:108 (Jan. 22, 1859): 60.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. J. W. Cummings, D. D.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:109 (Jan. 29, 1859): 65.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. John Cochrane, Member of Congress.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:110 (Feb. 5, 1859): 92.
MAYALL. “The Lounger: The Lounger’s Letter Box.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:110 (Feb. 5, 1859): 83. [“Dear Lounger,—A disconsolate bachelor, a torment to himself and desirous (if the conditions are not too hard) to be a torment to some lovely woman, requests you to solve a difficulty which has thrown him into the utmost despair: How far does a wife’s ownership over her husband extend? I am not so absurd, you know, as to suppose that a man after marriage has any free-will of his own. But there must be a limit somewhere to female—let us call it supervision; and I did think, until I met with this notice in a recent English paper, that both by law and common usage, a man might go and have his likeness taken without asking permission of his wife. The notice states that “`The National Portrait Gallery of Eminent Personages will commence a New Volume on the 8th of January, 1859, when will be published, by permission of Her Majesty, a Portrait of H.R.H. the Prince Consort, engraved on Steel, from a Photograph by Mayall.’ “I have heard before that Prince Albert is sadly obedient; but to me this is a very serious matter. Suppose I were married—and I assure you the case is easily supposable—I am just about to send to the publishers my great American Epic, and desire to have it illustrated with a portrait of General Washington and one of myself—now would I have to get the permission of Mrs. Brown, Jones, or Robinson (the name is neither here nor there), before placing myself in the hands of the inimitable Brady? ”I await your reply with anxiety. If you perversely decide in favor of the ladies, Matilda will have to wait till my Epic is published. That is decided. “Yours faithfully, B. B.” —Whatever ill-regulated bachelors may think of the duties and limitations of matrimony, and however wild their ideas may be of personal independence, they will be brought to a clear sense of their condition as soon as they are married. Why, evidently, if a husband might go without permission and have his daguerrotype taken, what is there that he might not do? It is simply opening the door of opportunity, which every wise wife keeps locked and the key in her pocket. Wherever the wife has brought her husband under proper control she suffers no step to be taken without her permission. Did B. B. never hear of the striped pig? But if the Queen of every Prince Albert did not insist upon her natural right of veto, does not B. B. see that “I want to go and have my daguerreotype taken, please, ma’am,” would gradually be a mere play upon words, and upon things also? Every self-willed husband would go “for a week’s shooting in the country,” under pretense of having his daguerreotype taken. No, Sir, the Queen is perfectly right. All the Master Alberts must be ticket-of-leave men, or they ought to be arrested, whatever they are doing.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘The Napier Ball.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:113 (Feb. 26, 1859): 134. [“From our Special Correspondent. Washington City, February 18, 1859. Dismal and dreary, my dear editor, was the night-ride from New York here, diversified by unmannerly jostlings at each change of cars, and by the persistent efforts of the conductors to keep themselves awake by waking up all sleeping passengers, under pretense of seeing their tickets…. Notables. Leutze, the artist, was greeted by many friends on his return from the Old World; Brady, the imperial photographist, accompanied by Mrs. B., is very popular here. Then we had your New York dignitaries of fashion, radiant and resplendent….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Cornelius Vanderbilt, Esq.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:114 (Mar. 5, 1859): 145-146. [“The accompanying portrait will be recognized as that of the most distinguished steamboat owner in the United States—Cornelius Vanderbilt, popularly known as the “Commodore.” No man connected with our merchant navy has done so much for the advancement of steam enterprise or the expedition of travel as Commodore Vanderbilt…. Our likeness of Mr. Vanderbilt is taken from a photograph by Brady. In person he is full six feet, and of fine presence. He is now about sixtyfour, and just in the prime of his powers….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lady Napier.”) “From a Photograph by Brady., 1 b & w (“Lord Napier.”) “From a Photograph by Brady, in: “The Napier Ball At Willard’s Hotel, Washington City, On February 17, 1859.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:114 (Mar. 5, 1859): 151-153. 2 b & w, 4 illus. [Portraits. Views of the hotel, the ballroom, etc.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mrs. Daniel E. Sickles.”) “From a Photograph by Brady,” 1 b & w (“Hon. Daniel E. Sickles.”) “From a Photograph by Brady,” 1 b & w (“The Late P. Barton Key.”) “From a Photograph by Brady,” 2 b & w (“Scene of the Homicide, with the Club-House in the Distance”). and (“Lafayette Square, Showing Mr. Sickles’s House.”) “From Photographs by Brady.” and 1 illus. (“Homicide of P. Barton Key by Hon. Daniel E. Sickles, at Washington, on Sunday, February 27, 1859.”) “The Sickles Tragedy at Washington.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:115 (Mar. 12, 1859): 167-168. [Mr. Sickles shot Mr. Key, who was having an affair with Sickles’ wife.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Postmaster-General, Hon. A. V. Brown.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:116 (Mar. 19, 1859): 188.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Captain Page, of the Paraguay Expedition.”) “From a Photograph by Brady,” on p. 217, 1 b & w (“General Justo Jose de Urquiza, President of the Argentine Confederation.”) [not credited, but probably from a photograph] on p. 217, 3 views of Montevideo and Corrientes, not credited, but possibly from photographs, in: “The Paraguay Expedition: Progress of the Squadron.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:118 (Apr. 2, 1859): 217. [(Harper & Brothers published a book La Plata: The Argentine Confederation, and Paraguay. Being a Narrative of the Exploration of the River La Plata and Adjacent Countries, during the Years 1853, ’54, ’55, and ’56, under the orders of the United States Government. by Thomas J. Page, U.S.N., Commander of the Expedition. With Map and numerous Engravings. 8vo, Muslin, $3 00., in 1859. I don’t know if the unnamed correspondent who was supposed to be photographing this venture is mentioned in this work.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Judge Crawford.”) “From a Photograph by Brady,” 1 b & w (“District Attorney Ould.”) “From a Photograph by Brady,” 1 b & w (“ Mrs. Sickles.”) “From a Photograph by Brady,” 1 b & w (“The Witness Butterworth.”) “From a Photograph by Brady.,, 1 illus. (“The City Hall At Washington, In Which The Trial Takes Place.”) on p. 233, 1 illus (Sketch inside the courtroom of the trial in session.) on p. 232 in: ”The Trial of Hon. Daniel E. Sickles.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:119 (Apr. 9, 1859): 232-233. [“The accompanying illustrations, for the fidelity of which the well-known accuracy of the photographer Brady will vouch, will enable our country readers to realize the great trial which is now pending at Washington. Considering every thing, the nature of the charge, the standing of the prisoner and the deceased, and the circumstances generally, the case will undoubtedly be the most striking of American causes célèbres. We give in another part of this paper an elaborate review of Mr. Sickles’s career, prepared by a friendly hand….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“James T. Brady, Esq.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:120 (Apr. 16, 1859): 248. [James T. Brady was a New York trial lawyer, then defending Mr. Sickles in a notorious murder trial.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“New York City and Environs, from the Spire of Dr. Spring’s New Brick Church, Fifth Avenue.”) on pp. 264-265.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:121 (Apr. 23, 1859): 261, 264-265. [“On pages 264 and 265 will be found a view of New York city, taken from the spire of Dr. Spring’s New Brick Church, which is worth preserving. The picture will be found, on examination, to be as mathematically accurate as a plan; its artistic merit will speak for itself. We are again, in this matter, indebted to Mr. Brady, the photographer, for valuable aid; without the assistance of the views he took for us, it would have been difficult to insure perfect accuracy. We subjoin below a key to the picture, with the proper references to the principal buildings….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Chancellor Bibb.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:122 (Apr. 30, 1859): 273.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Prof. Wise, The Aeronaut.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:129 (June 18, 1859): 393.

BRADY, MATHEW B. (1823-1896) (USA).
‘The Lounger. In Re Trowsers.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:130 (June 25, 1859): 403. [“The Lounger spoke in the spring, soon after its arrival, of Powers’s colossal bronze statue of Daniel Webster purchased by a hundred Boston gentlemen. The first one was lost at sea. The second arrived, and has been exposed to public animadversion, since the middle of February last, in the vestibule of the Athenæum Gallery in Boston. Public opinion has condemned it without distinction of party. Even the committee of one hundred, who were all friends of Mr. Webster, can not agree that they are pleased with the work; and at a late meeting to consider whether the statue should be erected within the State House grounds, as the Legislature had allowed, it was resolved that it should not be so erected. The eloquent author of the Mount Vernon Papers protested against this action. He made an interesting speech, giving details of the personal appearance of Mr. Webster at various times, quoting letters from his friends, from Mr. Ames, who had painted him, from Mr. Fletcher Webster, his son, and finally appealed to his own long and personal acquaintance with Mr. Webster, to prove that the statue was a good likeness. The fasces upon which the hand is resting, he did not defend. But he stood by the body itself, and the bronze trowsers, which have been compared to every thing under heaven but human garments, as they are known to experience, the speaker defended by appealing to the appearance of his own trowsers in a full length photograph made of him by Mr. Brady, of New York, in which the inexpressibles, although they had been worn for several weeks, were not recognized by members of his family who had been constantly in their presence. Even this was not enough for the committee, and in fact the argument is a little halting; for the object of a memorial statue or picture is to represent persons and things as they looked. If, then, the photographic trowsers do not appear to the spectator as the garments appeared in nature, nature can not justly be reproved. The average Bostonian of the nineteenth century is certainly competent to decide what does or does not resemble the human trowser. If a certain fabrication in bronze does not present that appearance, how is it made more like by the suggestion that certain other trowsers in a photograph are not recognized by their most familiar friends? The argument was audacious, but it was not satisfactory. The committee declined to take the view of the trowsers urged by their president, who thereupon resigned. Now the head of this statue is a reproduction of Power’s celebrated bust of Webster, with which nobody has ever quarreled. The difficulty lies in the trowsers. Might it not be surmounted by ordering a new pair?”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Governor Wise, of Virginia.”) “Photographed on Wood by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:138 (Aug. 20, 1859): 541. [“We present our readers this week with a portrait of Governor Henry A. Wise, of Virginia, one of the most prominent politicians of the Union. The portrait we should mention, was printed on wood at Mr. Brady’s photographic establishment in this city. Mr. Wise was born at Drummond Town, Accomac County, Virginia, on 3d December, 1806, and is, therefore, at the present time, only fifty-two years of age. His family were enabled to give him a good education…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. Dr. Bellows.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:139 (Aug. 27, 1859): 548.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Professor C. Lowe.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:143 (Sept. 24, 1859): 609.

BRADY, MATHEW B. (1823-1896) (USA).
[Brief note that Brady’s Gallery has been moved to the corner of Broadway and Bleeker St.].” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 3:146 (Oct. 15, 1859): 659.

1860

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. William Pennington, of N. J., Speaker of the House of Representatives.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:163 (Feb. 11, 1860): 81.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. William Porcher Miles, of Charleston, South Carolina.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:163 (Feb. 11, 1860): 84. [“W. Porcher Miles, Esq., the Representative from the Charleston District of South Carolina, was born therein, on the Fourth of July, 1822. His ancestors for eight successive generations had been inhabitants of the Palmetto State, to which the Miles family emigrated from England when it was a loyal colony, and where they rendered good service during the struggle which resulted in establishing it as a sovereign member of the Original Confederation…..”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. J. L. M. Curry, of Alabama.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:164 (Feb. 18, 1860): 100. [“Hon. J. L. M. Curry, of Alabama, is a native of Lincoln County, Georgia, where he was born in June, 1825. His father, Colonel William Curry, a wealthy planter, removed with his family to Talladega County, Alabama, in 1838, and settled in the beautiful valley bordering on the picturesque mountain ranges known as the Hillabee country….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Clement Clairborne Clay, of Alabama.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:165 (Feb. 25, 1860): 116. [“Clement Clairborne Clay, a Senator of the State of Alabama in the Congress of the United States, is one of the three sons of senators who have been elected to seats in that body. His father, the Hon. Clement Comer Clay, was born in Halifax County, Virginia, December 17, 1789, and had strong ties to bind him to the Old Dominion, but an adventurous disposition led him to Tennessee, where he graduated, studied law, and was admitted to the bar….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. John Sherman, of Ohio.”) —From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:166 (Mar. 3, 1860): 132.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Robert M. T. Hunter, United States Senator from Virginia.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:167 (Mar. 10, 1860): 145.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. Amos Pilsbury, Chief of the N. Y. Metropolitan Police.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:167 (Mar. 10, 1860): 148. [“We present in connection with this sketch an excellent likeness of the General Superintendent of Police, Amos Pilsbury. He was born in the town of Londonderry, New Hampshire, on the 8th of February, 1805. He came from a sturdy stock. His grandfather took part in the baptism of blood on the plains of Lexington and slope of Bunker’s Hill….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Elihu B. Washburne, of Illinois, Chairman of the Committee On Commerce.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:168 (Mar. 17, 1860): 172.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Robert Toombs, of Georgia.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:169 (Mar. 24, 1860): 180.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Miss Adelina Patti, the New Prima Donna.”) –Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:169 (Mar. 24, 1860): 185. [(Note that Ms. Patti’s photograph was also apparently being used to sell perfume. See p. 126 and following.) “We present herewith a portrait of Miss Adelina Patti, the new prima donna, whose success at the Academy of Music in this city, and elsewhere, has been the subject of so much comment. Miss Patti is almost an American; the English is the tongue she knows and likes best. the following sketch of her was written by an enthusiastic admirer: “Miss Adelina Patti was born at Madrid, Spain, April 9, 1843. Her mother, Madame Barili Patti, was the prima donna of the Grand Theatre at Madrid, and on the evening preceding the birth of Adelina, the youngest of a large family, Madame had sung `Norma,’ in which rôle she had a high reputation. Curiously enough, after the birth of Adelina, Madame Patti lost her voice almost entirely, and has always believed that it was given to the child….”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Brady’s Portrait of Washington Irving.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:170 (Mar. 31, 1860): 194. [(No image.) “Many regrets were expressed, on the death of the late Washington Irving, that he had left no portrait with which his friends were satisfied. For many years of his life Mr. Irving had refused to sit for his portrait, and his relatives and friends said that in early life pictures had not been satisfactory to him. Literary institutions, historical societies at home and abroad, had in vain solicited his portrait. This aversion seemed unconquerable. Recently a lady, a relative of the family, who has been absent in Europe several years, much to the surprise of his family, said she had a small daguerreotype taken of Mr. Irving previous to her departure for Europe. It was a good likeness; and from this, after infinite labor and expense, a fine photograph has been obtained by Mr. Brady, of this city, and a portrait in oil on canvas. His friends and nearest relatives are delighted with it, and pronounce it perfect. the many admirers of the great Washington Irving can now have an opportunity of gracing their libraries by a portrait pronounced excellent. the genial smile is peculiarly his own; and the face expresses all the humor, genius, and humanity belonging to his character. Mr. Brady is certainly indefatigable in his profession, and deserves the popularity he enjoys.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. John S. Phelps, of Missouri.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:170 (Mar. 31, 1860): 196. [“John Smith Phelps, of Missouri, is—in legislative parlance—the “senior member” of the prescent House of Representatives. Many of his colleagues are older in years, but his consecutive term of service dates back to the commencement of the Twenty-ninth Congress, in 1845, and it consequently devolved upon him to administer the oath of office to the Speaker elect….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Thomas Corwin, of Ohio.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:171 (Apr. 7, 1860): 212. [“Hon. Thomas Corwin, a Representative in Congress from the Warren District of the State of Ohio, stands at the head of the “Old Guard” of national legislators—that race of Statesmen whose voices were heard in the now deserted halls of the original Capitol; who were inspired by high-toned sentiments of patriotism; who investigated every question without either sectional or partisan prejudice; and who met every responsibility with fearless intrepidity. Among the many distinguished citizens of the United States there is scarcely one who, from his character and talents, as well as his national principles and patriotic career, has a stronger hold upon the affections of the People, than ‘the Wagoner-Boy, Tom Corwin!’…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Martin J. Crawford, of Georgia.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:172 (Apr. 14, 1860): 228. [“Martin J. Crawford, a Representative in Congress from Georgia, was born in Jasper County, in that State, on the 17th day of March, 1820. He is a son of Hardy Crawford—a member of that family so old and honorable in Georgia, where the name of Crawford has repeatedly been associated with responsible and distinguished public positions….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Stephen A. Douglas, United States Senator from Illinois.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:173 (Apr. 21, 1860): 241.

BRADY, MATHEW B. (1823-1896) (USA).
‘Prominent Candidates for the Democratic Nomination at Charleston, South Carolina.”) “From Photographs by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:173 (Apr. 21, 1860): 248-249. [11 medallion portraits, of J. Lane, Hunter, Breckinridge, Douglas, Houston, Stephens, Orr, Davis, Guthrie, Slidell, and Pierce, encircling a view of the White House, arranged across a double-page spread.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. John F. Potter, of Wisconsin.”)—Phot. by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:173 (Apr. 21, 1860): 247, 253.

BRADY, MATHEW B. (1823-1896) (USA).
‘Prominent Candidates for the Republican Presidential Nomination at Chicago.”—From Photographs by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:176 (May 12, 1860): 296-297. [11 medallion portraits, of Bates, Pennington, Chase, Fremont, Lincoln, Seward, Banks, McLean, Cameron, John Bell, and Cassius M. Clay, encircling a view of Washington, D. C., arranged across a double-page spread.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Edward Everett, of Massachusetts, “Union” Candidate For Vice-President.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:177 (May 19, 1860): 305. [“Mr. Everett, the golden-mouthed orator, was born at Dorchester, Massachusetts, in 1794. the son of a New England clergyman, he was educated with the care which such a father was likely to bestow on his son. So precocious was he, that at thirteen he matriculated at Harvard, and graduated with honors four years later. His aptitude as a linguist was so notorious that the ruling powers of Harvard College kept their eye on him; and soon after he left the University, before he was twenty-one, he was offered the professorship of Greek, with the condition that, if he accepted it, he must spend some years in European travel, in order to fit himself for his duties. in 1819 Mr. Everett entered upon the discharge of his duties as Professor of Greek; and shortly afterward, the editorship of the North American Review falling vacant, he assumed charge of that journal, and raised it to a high rank in literature…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Abram [Sic] Lincoln, of Illinois, Republican Candidate For President.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:178 (May 26, 1860): 321. [“We engrave herewith the portrait-from a photograph by Brady—of Hon. Abram Lincoln, of Illinois, the Republican candidate for President. the following sketch of his career is from the Herald: Abram Lincoln, the Republican candidate for the Presidency in the campaign of 1860, is a native of Harden County, Kentucky. He was born February 12, 1809. His parents were born in Virginia, and were of very moderate circumstances. His paternal grandfather, Abram Lincoln, emigrated from Rockingham County, Virginia, to Kentucky about 1781-’82, where, a year or two later, he was killed by Indians. His ancestors, who were respectable members of the Society of Friends, went to Virginia from Berks County, Pennsylvania. Descendants from the same lineage still reside in the eastern part of Pennsylvania. Abram Lincoln, the subject of this memoir, further removed from Kentucky to Spencer County, in Indiana, in 1816. Mr. Lincoln received a limited education. in 1830 he removed to Illinois, and passed the first year in Macon County, engaged in agricultural pursuits….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Hannibal Hamlin, of Me, Republican Candidate for the Vice-Presidency.”)-Photographed by Brady.—See Last Week’s Number, Page 322.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:179 (June 2, 1860): 340.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“’Tommy,’ the Favorite of the Ladies.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:182 (June 23, 1860): 389. [“Tommy” was the nickname given to Tataiesi Owasjero, one of the Japanese Ambassador to the U. S., who was apparently young and pleasant, and so well-liked by the Americans.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Japanese Embassy and their Attendants.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:182 (June 23, 1860): 396. [Group portrait, taken outdoors – I suspect by A. Gardner, presented full-page.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Our Visitors, the Republican Blues of Savannah, Georgia.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:188 (Aug. 4, 1860): 489-490. [Group portrait of militia unit, but I suspect that the engraving was combined from individual portraits: “Fatigue Dress. Private. Lieutenants (Summer Dress). Captain (Winter Dress). Color-Bearer. Officer Undress. Full Uniform (Winter). Private. Musician.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Horace Greeley.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:194 (Sept. 15, 1860): 581-582 .

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Our Recent Visitors, the Prince of Wales and Suite – At Brady’s Gallery, New York.”) on p. 692 in: “Visit of the Prince of Wales: Our Concluding Pictures.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:201 (Nov. 3, 1860): 689-690, 692, 696-697, 700. 1 b & w 4 illus. [“We terminate our series of pictures of the tour of the Prince of Wales through the United States this week. the reader will find on page 692 the Group of the Prince and his Suite from Brady’s photograph; of pages 696 and 697 a fine picture of the Prince’s Embarkation on Board the “Hero,” in the Bay of Portland; on page 700 a picture of the City of Portland; and on this page a view of the Royal Squadron passing Fort Preble on their homeward voyage….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Abraham Lincoln, Born in Kentucky, February 12, 1809.’) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:202 (Nov. 10, 1860): 705.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Roger B. Taney, Chief-Justice of the United States.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:206 (Dec. 8, 1860): 769.
BRADY, MATHEW B. 8 b & w (“The Seceding South Carolina Delegation.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 4:208 (Dec. 22, 1860): 801. [Eight individual portraits, Keitt, Chesnut, M’queen, Hammond, Bonham, Boyoe, Ashmore, Miles, grouped onto one page.]

1861

BRADY, MATHEW B. (1823-1896) (USA).
10 b & w (“The Georgia Delegation in Congress.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:210 (Jan. 5, 1861): 1-2. [“Individual portraits of Underwood. Crawford. Hardeman. Toombs. Love. Jones. Iverson. Hill. Gartrell. Jackson, collated onto one page.].

BRADY, MATHEW B.
7 b & w (“The Seceding Mississippi Delegation in Congress.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:214 (Feb. 2, 1861): 65-66. [Individual portraits, Reubin Davis, Lucius Q. Lamar, Senator Jefferson Davis, Senator Albert G. Brown, William Barksdale, Otho H. Singleton, John J. M’Rae, collated into one image.]

BRADY, MATHEW B.
9 b & w (“Seceding Alabama Delegation in Congress.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:215 (Feb.9, 1861): 81-82. [“Nine individual portraits, Sydenham Moore, Senator Clement C. Clay, Jr., James A. Stallworth, Williamson R. W. Cobb, Senator Benjamin Fitzpatrick, David Clopton, James L. Pugh, Jabez L. M. Curry, George S. Houston, presented on one page.].

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Hon. Joseph Holt, Secretary of War.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:216 (Feb.16, 1861): 109.

BRADY, MATHEW B. (1823-1896) (USA).
2 b & w (“Davis and Stephens, President and Vice-President of the Southern Confederacy.” Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:217 (Feb.23, 1861): 125. [Two separate portraits, here conjoined.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Salmon P. Chase, of Ohio, Secretary of the Treasury.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:221 (Mar. 23, 1861): 189.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General Sam Houston, Governor of Texas.”).— Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:222 (Mar. 30, 1861): 0204

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. William H. Seward, Secretary of State.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:223 (Apr. 6, 1861): 209.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mrs. General Gaines.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:224 (Apr. 13, 1861): 225. [“We publish herewith a portrait of Mrs. General Gaines; the heroine of the most remarkable lawsuit ever prosecuted in our civil courts. This lady has just won a case which entitles her to a property variously estimated at from ten to fifteen millions of dollars. the circumstances which gave rise to that case constitute a romance stranger than the boldest fancies of novel writers. Just sixty years ago a young man, handsome, polished, brave, energetic, who, from some strange whim, had devoted himself to a life of trade among the Indians and French settlers on the Mississippi, spent a winter in the American metropolis of that day—Philadelphia….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Charles F. Adams, U. S. Minister To England.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:225 (Apr. 20, 1861): 241.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“President Lincoln.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:226 (Apr. 27, 1861): 268. [“We publish herewith, from a photograph just taken expressly for this paper, a Portrait of the President. It is the first accurate portrait that has been published of him since he began to grow his beard. Hon. Abraham Lincoln, of Illinois, was born on the 12th February, 1809, in Hardin County, Kentucky. His family, although much respected, were not blessed with much of this world’s goods, and he was forced to fight his own way through the opening struggles of life’s campaign. in this way he became intimately acquainted with the industrial classes, and they now claim him as one of their number—”The Flatboatman.” It is also reported that he supported himself for a winter by splitting rails for a farmer —whence his sobriquet, The Rail-splitter. Whether he was engaged in rural pursuits, or in piloting down the Mississippi boats laden with produce, he permitted no opportunity to escape for the improvement of his mind….”]

ANTHONY, EDWARD & HENRY T. ANTHONY & CO.
1 b & w (“General Beauregard, C. S. A.”) “From a Photograph furnished by E. Anthony.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:226 (Apr. 27): 269.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Colonel Wilson, of Wilson’s Brigade.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:228 (May 11, 1861): 289. [“Colonel William Wilson, of the “Wilson Zouaves,” whose portrait we give on this page, is a well-known character in New York. He has long been famous as a leader of the Mozart Democracy, having joined Fernando Wood in his famous bolt from Tammany Hall. A doughty chief of the “roughs,” Mr. Wilson has figured prominently in almost every mélée of our turbulent city Democracy, and is justly feared even by the strongest and boldest of the “b’hoys.” in his youth he was a prize-fighter, and made a name for himself in the ring. A few years since he became Alderman of the First Ward, and was an active member of the Board. Since his retirement from the City Council he has not filled any public station….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Colonel Ellsworth.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:232 (June 8, 1861): 357. the following account of Colonel Ellsworth’s murder is from the pen of Mr. House, the Tribune correspondent, who actually had his hand on Colonel Ellsworth’s shoulder when Jackson shot him: “On entering the open door, the Colonel met a man in his shirt and trowsers, of whom he demanded what sort of a flag it was that hung above the roof. the stranger, who seemed greatly alarmed, declared he knew nothing of it, and that he was only a boarder there. Without questioning him further the Colonel sprang up stairs, and we all followed to the topmost story, whence, by means of a ladder, he clambered to the roof, cut down the flag with Winser’s knife, and brought it from its staff. the re were two men in bed in the garret whom we had not observed at all when we entered, their position being somewhat concealed, but who now rose in great apparent amazement, although I observed that they were more than half dressed. We at once turned to descend, Private Brownell leading the way, and Colonel Ellsworth immediately following him with the flag. As Brownell reached the first landing-place, or entry, after a descent of some dozen steps, a man jumped from a dark passage, and hardly noticing the private, leveled a double-barreled gun square at the Colonel’s breast. Brownell made a quick pass to turn the weapon aside, but the fellow’s hand was firm, and he discharged one barrel straight to its aim, the slugs or buckshot with which it was loaded entering the Colonel’s heart, and killing him at the instant. …“]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“*** Douglas. Born April 23, 1813 Died June 3, 1861.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:233 (June 15, 1861): 381. [Obituary, with a portrait, a holographic signature, and the engraved statement “Photographed by Brady 1860.” underneath the image.]

BY COUNTRY. USA. 1861.
“The Leaders of the Nation.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:237 (July 13, 1861): 434. 1 b & w 1 illus. [Two full-page portraits of General Scott published side by side, the first a photograph by Brady, of Scott at age 75, the second, an engraving by Gimbrede, of Scott at age 41. “We devote an unusual proportion of our space this week to Portraits of the Men on whom the eyes of the people are at present fixed. on page 440 will be found an admirable portrait of Lieutenant-General Scott, from a recent photograph by Brady; and on the page following an accurate copy of an exceedingly well executed portrait of the same General Scott, made thirty-four years ago, when he was forty-one years of age. The present crisis was essential to the full perfection of General Scott’s fame. had he died a twelvemonth
since, history might have classed him as a mere successful soldier….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Winfield Scott, Æt. 75, Commander-In-Chief of the United States Army.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:237 (July 13, 1861): 440.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Speaker Grow.”).— Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:238 (July 20, 1861): 461. [“On page 461 we publish a portrait of Speaker Grow, of the House of Representatives, from a photograph by Brady. Galusha A. Grow was born at Ashford, Windham County, Connecticut, on 31st August, 1823, and is consequently thirty-eight years of age. His father dying when he was three years old, young Grow, with five brothers and sisters, was left dependent on his mother for support….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig-Gen. M’Dowell, U. S. A.’) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:242 (Aug. 17, 1861): 516.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brig.-Gen. Mansfield, U.S.A.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:242 (Aug. 17, 1861): 516.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Colonel Francis P. Blair.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:242 (Aug. 17, 1861): 516.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brigadier-General Burnside.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:243 (Aug. 24, 1861): 541. [“We take pleasure in laying before our readers the portrait of Brigadier-General Burnside, United States Army, one of the most gallant officers in the army. General Burnside was born some thirty-seven years ago, in Indiana, and entered the Military Academy at West Point from that State….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Rebel General Lee.”—Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:243 (Aug. 24, 1861): 541. [“We publish herewith, from a photograph by Brady, a portrait of the rebel General Lee, now one of the “Generals” of the Confederate forces in Virginia. Robert E. Lee was born in Virginia about the year 1808. He entered West Point, where he received the usual military education at the cost of the Government of the United States. He graduated honorably in 1829, and received an appointment as Second Lieutenant of Engineers. For eighteen years he served in the army, drawing the usual pay from the Government, and rising to the rank of Major and Lieutenant-Colonel of Cavalry. in the Mexican war he was further honored by a brevet of Colonel, and on the appointment of Albert S. Johnston to the command of the Utah expedition, Lee succeeded him in command of the 2d Cavalry. After filling this honorable and agreeable post in the military service of his country for several years, he crowned his career by deserting his flag at the moment of his country’s sorest need. When the Richmond politicians passed what they called an Ordinance of Secession, Robert E. Lee threw up his commission and accepted the rank of General in the rebel army.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General MClellan and His Staff.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:243 (Aug. 24, 1861): 532. [Group portrait, of Captain Clark. General MClellan. Captain Van Vliet, and Major Barry. While possibly taken at one time, I suspect this is probably a composite portrait, actually engraved from four separate photographs.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Flag-Officer Stringham.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:246 (Sept. 14, 1861): 577.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General M`Clellan, U.S.A.”)—[From Photographs by Brady and Others.] HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:247 (Sept. 21, 1861): 600. [Full-page portrait of McClellan, standing with an [improbable] stallion, with a wooded, mountain landscape background. Obviously the engraving is enhanced from the photographs, which would have been standard studio portraits.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Fairfax Court House, the Rebel Gen. Bonham’s Head-Quarters.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:249 (Oct. 5, 1861): 638. [(This may be the first scene or place credited to Brady published in this magazine. Check.)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late General E. D. Baker Killed in Battle October 21, 1861.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:253 (Nov. 2, 1861): 693.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Captain S. F. Dupont, Commanding the Great Naval Expedition.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:254 (Nov. 9, 1861): 705.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Thurlow Weed, Esq.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:256 (Nov. 23, 1861): 749-751. [On page 749 we publish a portrait of Thurlow Weed, Esq., from a photograph by Brady—the first ever taken of him. Very few public men of the day are so well known, or so justly entitled to esteem and honor, as Thurlow Weed. Born, in 1797, at Catskill, New York, he commenced life as a cabin-boy on board a North River sloop; then became “devil” and ‘prentice in a printing-office; then, at sixteen, drummer in the army during the war of 1812….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General Hunter, Commanding Our Army in Missouri.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:256 (Nov. 23, 1861): 738, 741.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Captain S. F. Dupont, U.S.N.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:257 (Nov. 30, 1861): 764.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Commodore Wilkes, U.S.N.”) “Photographed by Brady., 1 b & w (“The Captured Rebel Commissioner Mason.”) “Photographed by Brady., 1 b & w (“The Captured Rebel Commissioner Slidell.—Photographed by Brady., 1 illus. (“The Rebel Commissioners brought on Board the United States Sloop of War ‘San Jacinto’ as Prisoners.” In: “The Capture of the Rebel Commissioners to Europe.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:257 (Nov. 30, 1861): 765.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Honorable George Opdyke, Mayor Elect of New York.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 5:260 (Dec. 21, 1861): 805. [“We publish on this page, from a photograph by Brady, a portrait of the Hon. George Opdyke, Mayor Elect of New York. Mr. Opdyke is a native of this city and about forty-one years of age. in early life he went to New Orleans, and learned the trade of a tailor, which he followed for some years, growing rich enough to open a large dry-goods store. He eventually retired from business in New Orleans with a handsome fortune, which he has since increased here….”]

1862

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General Burnside, Commanding the Burnside Expedition.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:264 (Jan. 18, 1862): 36.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lord Lyons, the British Minister to Washington.”) “Photographed by Brady., 1 b & w (“M. Mercier, the French Minister to Washington.”) “Photographed by Brady.,1 b & w (“Baron Stoeckel, Russian Minister to Washington.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:269 (Feb. 22, 1862): 116.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brigadier-General Burnside.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:270 (Mar. 1, 1862): 136.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late General F. W. Lander.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:272 (Mar. 15, 1862): 165.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Andrew Johnson, Military Governor of Tennessee.”) HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:275 (Apr. 5, 1862): 221. [“Andrew Johnson, the loyal Senator from Tennessee, has just been appointed by the President Military Governor of that State, and we publish his portrait accordingly, from a photograph by Brady. He was born of poor parents, in North Carolina, about 1812, and was apprenticed to a tailor. After trying his fortune in various places, he finally walked over the mountains into Tennessee, with his wife, and established himself at Greenville, in that State….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lieutenant Morris, U.S.N., Commander of the ‘Cumberland,’”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:275 (Apr. 5, 1862): 221. [“We publish on this page, from a photograph by Brady, a portrait of Lieutenant Morris, who commanded the Cumberland in the battle with the Merrimac, one of the most gallant heroes of the war. Lieutenant George U. Morris was born in Massachusetts about the year 1826, and is consequently about thirty-five years of age. He was appointed to the navy from New York in 1846. He received his present commission the 16th of September, 1861….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brigadier-General Shields.”) “Photographed by Beady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:276 (Apr. 12, 1862): 225, 235.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General Buell.”) “Photographed by Beady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:276 (Apr. 12, 1862): 225, 234.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Commodore Foote.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:278 (Apr. 26, 1862): 262, 268.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General Pope.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:278 (Apr. 26, 1862): 262, 268.

BY COUNTRY. USA. 1861-1865.
[Advertisement.] “Gems of Art!” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:284 (June 7, 1862): 367. [“Elegant Steel Plate Engravings of our Military Naval Heroes, and Eminent Men of the day. Printed on plate paper, size 9×11 inches, copied from Photographs by Gurney, Brady, and other celebrated Artists. Copies sent by mail, post-paid, for 25 cents. Agents wanted. A liberal discount to Agents and the Trade. Send for a circular. Address Francis Morrison & Co., 177 William Street, New York City.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brigadier General Keyes, U. S. A.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:293 (Aug. 9, 1862): 508.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Martin Van Buren, Ex-President of the United States.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:293 (Aug. 9, 1862): 497.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brigadier General Keyes, U. S. A.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:293 (Aug. 9, 1862): 508.

BRADY, MATHEW B. (1823-1896) (USA).
‘The Lounger: Photographs of the Seat of War.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:294 (Aug. 16, 1862): 514. [“Mr. Brady’s series of card photographs of characteristic and famous scenes and spots at the seat of war in Virginia is profoundly interesting. With these in hand, or in box, the strategist who conducts the campaign at home may actually see the places of which he is talking; may look far over the bare, sad plain from the heights of Centreville, or stand among the ruins of Mrs. Henry’s house at Bull Run where the battle was fiercest; or muse over the soldiers’ graves; or lean upon the pier of the shattered stone bridge where the flight of our army was choked and terrible slaughter followed; or sit upon the low, awkward piazza of the old Virginia house in which Johnson had his headquarters just before the evacuation of Manassas; or gaze from Cub Run to the brow of the hill where the brave Haggerty was buried. Then descending to the Peninsula, the strategist at home may see the interior of battery No. 1, at York River, with its huge guns, or Fairhold’s house close by; or he may step closer to the works and almost lay his hand upon the one and two hundred pound rifled guns; or move on to the mortar batteries beyond with groups of officers at their posts; or look out upon the broad, calm York River from the earth-works through the orchards; or chat with the contrabands in front of the old cabin which was Lafayette’s head-quarters; or pass with amazement through the gateway at Yorktown; or count each pane of glass in the windows of the White House. Returning, you may pause before the slave-pen of Price, Birch, & Co., in Alexandria, and cross the Long Bridge to Washington. the collection has an almost painful interest. the vivid reality of the pictures recalls a thousand melancholy memories, and the interest is one which will only increase with time. For long after the fortifications and earth-works have become grass-grown mounds upon which cattle graze, and long after the brave men whose valor made them famous are gone, their children will stand pensively among them, and in these magic cards see them exactly as they were when the cannon were just planted, the timber just felled and placed, the earth just heaped up; and the bravest heart grew sober and the most buoyant mind grave as they contemplated the magnitude and character of the work to be done.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Rebel General Stonewall Jackson.”)–Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:296 (Aug. 30, 1862): 556. [(If this is an actual photographic portrait of Jackson, it was taken when he was a much younger man –a fact implied by the uniform, but not actually stated in the texts.) “We publish on this page, from a photograph by Brady, a portrait of the famous rebel General Thomas Jefferson Jackson, better known as Stonewall Jackson. Thomas J. Jackson was born in Virginia about the year 1825, and is consequently about thirtyeight years of age. He graduated at West Point in 1846, and in the following year accompanied Magruder’s battery to Mexico. At Contreras and Churubusco he distinguished himself so highly on the field that he was brevetted Captain for gallantry. At Chapultepec he again won laurels, and was brevetted Major for gallant and meritorious conduct. on his return from Mexico he was for same time in command at Fort Hamilton; but in 1842 he resigned his rank. At the outbreak of the rebellion Major Jackson was one of those Southerners who were greatly embarrassed to discover the true line of their duty. He had married a Northern wife, was an honorable and conscientious man, and long hesitated what course to pursue. It is stated that his father-in-law, a Northern clergyman, visited him, and urged him to remain faithful to his country and his flag. They spent several hours in prayer together, and Jackson confessed that the struggle was sore. But finally the pernicious doctrine of State Rights, which Jackson, like so many other gallant Southrons, had imbibed early in life, won the day: “I must go with Virginia!” he cried, and plunged headlong into the vortex of treason. As a rebel officer he has been energetic, lucky, and skillful. At Bull Run he won his cognomen of “Stonewall” by promising Beauregard that his brigade should stand like a stone wall before the enemy; the promise was kept….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late General Phil Kearney.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:299 (Sept. 20, 1862): 604. [On page 604 we publish a portrait of the late General Phil Kearney, who was killed in battle near Fairfax Court House on 1st September. Philip Kearney was born in this city on 2d June, 1815. He was born a soldier, and in spite of the wishes of his family, who desired him to study law, enlisted in the First United States Dragoons when quite a boy. His uncle then commanded them, and through his influence he succeeded in obtaining a commission as Second Lieutenant.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late General Isaac I. Stevens.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:299 (Sept. 20, 1862): 604. [“Brigadier-General Isaac Ingalls Stevens, whose portrait we give on this page, was born at Andover, Massachusetts, in the year 1818, and was killed on 1st September, in Virginia. He graduated at the head of his class at West Point in 1839, and entered the Engineers. At the time the Mexican war broke out he was Adjutant. At Contreras and Churubusco he won the brevet rank of Captain, and at the assault upon the San Cosme gate of the city of Mexico his gallantry won for him the rank of Major. After the war he was connected for a time with the Coast Survey, and subsequently with the surveys for a Pacific Railroad. He had chosen to make his home in Washington Territory, and Mr. Pierce appointed him its Governor. Subsequently, when Mr. Buchanan became President, he represented Washington Territory in Congress….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General Hooker.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:301 (Oct. 4, 1862): 629, 634. [“We publish on page 629, from a photograph by Brady, a portrait of General Hooker, who was wounded at the Battle of Sharpsburg on 17th. Brigadier-General Joseph Hooker was born in Massachusetts about the year 1817, and is consequently about 45 years of age. He entered West Point in 1833, and graduated in 1837, standing No. 28 in a class which included Generals Benham, Williams, Sedgwick, etc., of the Union army, and Generals Bragg, Mackall, and Early of the rebel forces. At the outbreak of the war with Mexico he accompanied Brigadier-General Hamer as Aide-de-camp, and was brevetted Captain for gallant conduct in several conflicts at Monterey….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General Franklin.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:301 (Oct. 4, 1862): 629. [“We publish on this page, from a photograph by Brady, a portrait of Major-General Franklin, commander of the 6th army corps of the Army of the Potomac. William Benjamin Franklin was born in Pennsylvania about the year 1821, and entered West Point in 1839. He graduated at the head of his class in 1843; being a classmate of Ulysses S. Grant, Reynolds, Augur, etc. on the 1st of July, 1843, he was appointed a Brevet Second Lieutenant of Topographical Engineers, and on the 21st of September, 1846, received his full commission. He served in Mexico, and was brevetted First Lieutenant for gallant and meritorious conduct at Buena Vista, dating from February 23, 1847….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late General Reno.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:301 (Oct. 4, 1862): 629, 634. [“We publish on page 629 a portrait of the late General Reno, who was killed at the Battle of South Mountain, on 14th September. the portrait is from a photograph by Brady. Jesse L. Reno was born in Virginia, in 1825. His family removed to Pennsylvania when he was a boy, and from that State he was appointed to West Point in 1842. He graduated in 1845, ranking seventh in a class which included Stonewall Jackson and many gallant officers of the Union army, and was appointed Brevet Second Lieutenant of Ordnance. During the war with Mexico, 1846-‘7, he commanded a howitzer battery, and for “gallant and meritorious conduct at the battle of Cerro Gordo” was brevetted First Lieutenant April 18, 1847….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & (“The Late General Mansfield.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:301 (Oct. 4, 1862): 629, 636. [“On page 629 we publish, from a photograph by Brady, a portrait of the late General Mansfield, who was killed at the Battle of Sharpsburg on 17th September. Joseph K. Fenno Mansfield was born in Connecticut about the year 1802, and entered West Point in 1817. He graduated in 1822, standing second in a large class, which included General Hunter, M`Call, and others who have been often mentioned of late. He was at once appointed Brevet Second Lieutenant in the Corps of Engineers. He was subsequently promoted to a First Lieutenancy in March, 1832; Captain, July, 1838, Chief Engineer of the army commanded by General Taylor in the Mexican war, 1846-’47….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General View of Harper’s Ferry and the Maryland Heights.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:301 (Oct. 4, 1862): 628. [I think this is the first outdoor scene published in this magazine that is credited to Brady.]

GARDNER, ALEXANDER. see also BRADY, MATHEW B. (HARPER’S WEEKLY, Oct. 18, 1862):

GIBSON, JOHN F. see also BRADY, MATHEW B. (HARPER’S WEEKLY, Oct. 18, 1862):

BRADY, MATHEW B. (1823-1896) (USA).
8 b & w (“Scenes on the Battlefield of Antietam.”) “From Photographs by Mr. M. B. Brady. in “The Battle of Antietam.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:303 (Oct. 18, 1862): 663-665. [(Double-page spread with seven battlefield aftermath views of the bodies of dead men and horses being gathered for burial, surrounding a central view, “The Bridge,” depicting an important landmark of that battlefield. the photographs credited to Brady were actually taken by Alexander Gardner and John F. Gibson. These are, I think the first battlefield aftermath photographs published in this magazine.) “We reproduce on pages 664 and 665 a number of photographs of the Battle of Antietam, taken by the well-known and enterprising photographer, Mr. M. B. Brady, of this city. the following description of these wonderfully lifelike pictures is from one who knew the ground: the first of these pictures—the large view of Antietam creek and bridge, the crossing of which General Burnside effected at such a fearful sacrifice of life—exhibits little or no traces of the conflict. the spot is just as lovely and tranquil as when last we visited it. Artistically speaking, the picture is one of the most beautiful and perfect photograph landscapes that we have seen. the tone is clear and firm, but soft, and every object is brought out with remarkable distinctness. Next to it is a smaller photograph, some seven inches square, which tells a tale of desperate contention. Traversing it is seen a high rail fence, in the fore-ground of which are a number of dead bodies grouped in every imaginal position, the stiffened limbs preserving the same attitude as that maintained by the sufferers in their last agonies. Minute as are the features of the dead, and unrecognizable by the naked eye, you can, by bringing a magnifying glass to bear on them, identify not merely their general outline, but actual expression. This, in many instances, is perfectly horrible, and shows through what tortures the poor victims must have passed before they were relived from their sufferings. Another photograph exhibits a deep trench or gully, one side of which had been protected by a strong fence, the rails of which are seen scattered about. Lying transversely in its depths, where they have evidently fallen in attempting to cross, are piles of rebel dead, many of them shoeless and in rags. on the left bank are a number of persons examining the spot with curious interest, visitors probably from some of the Northern cities. A poetic and melancholy interest attaches to the next scene that we come to. There is such a dash of sentiment in it that it looks more like an artistic composition than the reproduction of an actuality. A new-made grave occupies the centre of the picture, a small head and foot board, the former with lettering, defining its limits. Doubled up near it, with the features almost distinguishable, is the body of a little drummer-boy who was probably shot down on the spot. How it happens that it should have been left uninterred, while the last honors were paid to one of his comrades, we are unable to explain. Gazing on the body, with a pitying interest, stands in civilian’s attire one of those seedy, shiftless-looking beings, the first glance at whom detects an ill-spent career and hopeless future. It is some time, perhaps, since that blunted nature has been moved by such deep emotion as it betrays at this mournful sight. We now pass on to a scene of suffering of another character, where, under tents, improvised by blankets stretched on fence-rails, we see the wounded receiving the attentions of the medical staff. Next to it is a bleak landscape, on which the shadows of evening are rapidly falling, revealing, in its dim light, a singular spectacle. It is that of a row of dead bodies, stretching into the distance, in the form of an obtuse angle, and so mathematically regular that it looks as if a whole regiment were swept down in the act of performing some military evolution. Here and there are beautiful stretches of pastoral scenery, disfigured by the evidences of strife, either in the form of broken caissons, dead horses, or piles of human corpses. In one place a farm-house offers visible marks of the hot fire of which it was the centre, the walls being battered in and the lintels of the windows and doors broken.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brigadier-General Wadsworth, Union Candidate For Governor of New York.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:304 (Oct. 25, 1862): 685.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General William S. Rosecrans, Commander of the Army of the Ohio.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:306 (Nov. 8, 1862): 705.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mrs. Lincoln, Wife of the President.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:306 (Nov. 8, 1862): 709. [“We publish herewith a portrait of Mrs. Lincoln, wife of the President of the United States, from a photograph by Brady. Mrs. Lincoln is a native of Kentucky. Her maiden name was Tod. She has a large number of brothers and sisters, who, like so many other families, have been divided in their allegiance by the war. Two of her brothers entered the rebel army, and one was lately killed at a battle in the Southwest. One of these two was for some time employed at Richmond as jailer of the Union prisoners. His brutality and cruelty were such, however, that Jefferson Davis finally removed him from the post, and sent him to join his regiment. Another brother is in the employ of the United States Government in one of the Northwestern Territories. Mrs. Lincoln’s sisters are understood to sympathize rather with the rebels than with the Government. It is probably this division of sentiment which has given rise to the gossip and scandal respecting the views of the lady who presides over the White House. Mrs. Lincoln has lately been spending some time in this city, and has been serenaded and visited by many of our leading citizens.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brigadier-General Thomas, of the Army of the Ohio.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:308 (Nov. 22, 1862): 749.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Horatio Seymour, Governor-Elect of the State of New York.:) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:308 (Nov. 22, 1862): 737.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General A. E. Burnside, Commander of the Army of the Potomac.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:309 (Nov. 29, 1862): 753.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General Nathaniel P. Banks, United States Army.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:310 (Dec. 6, 1862): 769, 782. [“On page 769 we give a portrait of Nathaniel P. Banks, Major-General in the Army of the United States, and commander of the Great Southern Expedition which is now on its way to its destination. Our likeness is from a photograph by Brady. General Banks was born at Waltham, Massachusetts, on 30th January, 1816. His parents were poor operatives who worked in the mills; young Nathaniel went barefoot to the common school, and there obtained all the education he ever enjoyed as a lad. He was soon called upon to take his place in a factory to earn his living, and for several years he worked regularly with the other operatives. Simultaneously he assisted in the establishment of a debating society, and contributed to the columns of the local paper. He subsequently became editor of this paper, and in 1842 was brought forward as Democratic candidate for Assembly from Waltham. He was defeated. He ran again in 1843, and in each of the following four years, with equal non-success. At length, in 1848, just as he was thinking of seeking fortune in California, he was elected, and remained a member of the Massachusetts Legislature until he was sent to Congress, voting and acting with the Democratic party. In 1850 he was chosen Speaker of the House; and in 1852 was sent to Congress, and became Speaker of that body too, after one of the most memorable contests in our Congressional history. As Speaker of the House Mr. Banks won high fame by his Parliamentary skill, firmness, and fairness. It was well said of him, at the close of his term, by a political opponent, that he “stood so straight that he almost leaned over to the other side.”…”]
BRADY, MATHEW B. 5 b & w (“Major-General Burnside And the Division Commanders of the Army of the Potomac.”) “From Photographs by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:311 (Dec. 13, 1862): 785, 794. [Five separate portraits collated onto one page, the portrait of Burnside surrounded by those of Hooker, Franklin, Sigel and Sumner.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. Morgan L. Dix, Rector of Trinity Church, New York.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:311 (Dec. 13, 1862): 797.
FIGURATIVE LANGUAGE. 1862. “Dickens’s New Christmas Story. Somebody’s Luggage. His Leaving It Till Called For.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 6:312 (Dec. 20, 1862): 810-815. [Fiction. “The writer of these humble lines being a Waiter, and having come of a family of Waiters, and owning at the present time five brothers who are all Waiters, and likewise an only sister who is a Waitress, would wish to offer a few words respecting his calling;… Sitting there opposite, and having little to do in the way of conversation myself, I heard many scraps of dialogue between Miss Crawcour and her neighbor. the young lady was attentive to what Lord Sneyd said, certainly, but always with grave attention. She never smiled, or relaxed. A great dinner! What a wondrous jumble of sound, what a queer mixture of words and thoughts, of observations made aloud and observations made in secret. What scraps overheard. What nonsense. If sound and thought and action could be photographed—caught in some camera obscura, and retained, what would be the result of the process? In the case with which we have now to do— something of this sort. Quick! the instrument is set, the slide withdrawn, and the sensitive and prepared plate exposed. Lady Salteith (to me). Did they have the same house last season?—Myself (bawling). No. They didn’t come to town at all.—Butler (over right shoulder). Champagne, Sir, or sparkling ‘ock?—Myself (to myself). Feverish last night: (to Butler) Neither.—Lady Salteith (to me). Well, they couldn’t have taken a nicer house.— Myself (to myself). It’s no use putting her right; (to Lady S., bawling louder) No….”]

1863

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brigadier-General J. G. Foster.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:315 (Jan. 10, 1863): 21. [“On this page we publish a portrait of Brigadier-General J. G. Foster, U.S.A., the commander of the recent successful expedition to Goldsborough, North Carolina. The family of John G. Foster has ever been distinguished for its patriotism and valor. His grandfather, in company with the gallant Benjamin Pierce (father of ex-President Pierce), then quite young, was among the first to join the Massachusetts line in the war of the Revolution, and was often commended for his noble conduct on the field of battle….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General John A. M`Clernand.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:319 (Feb. 7, 1863): 81, 94.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General Joseph Hooker, The New Commander of the Army of the Potomac.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:319 (Feb. 7, 1863): 93. [“We publish herewith a portrait of Major-General Joseph Hooker, who has just been appointed to the command of the Army of the Potomac, in lieu of General Burnside. Major-General Joseph Hooker was born in Massachusetts about the year 1817, and is consequently about 45 years of age. He entered West Point in 1833, and graduated in 1837, standing No. 28 in a class which included Generals Benham, Williams, Sedgwick, etc., of the Union army, and Generals Bragg, Mackall, and Early of the rebel forces. At the outbreak of the war with Mexico he accompanied Brigadier-General Hamer as Aid-de-camp, and was brevetted Captain for gallant conduct in several conflicts at Monterey. In March, 1847, he was appointed Assistant Adjutant-General, with the rank of Captain. At the National Bridge he distinguished himself, and was brevetted Major; and at Chapultepec he again attracted attention by his gallant and meritorious conduct, and was brevetted Lieutenant-Colonel. At the close of the war with Mexico he withdrew from the service, and soon afterward emigrated to California. The outbreak of the rebellion found him there, and he was one of the first of the old West Pointers who offered his services to the Government….]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General Daniel Butterfield, Chief Of Staff To General Hooker.”) “Photographed by Brady., 1 b & w (“Major-General Darius N. Crouch, Commanding the Right Grand Division of the Army of the Potomac.” In: Generals Couch and Butterfield.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:320 (Feb. 14, 1863): 109-110. [“We publish herewith, from photographs by Brady, portraits of General Darius N. Couch, General Sumner’s successor in command of the Right Grand Division of the Army of the Potomac, and of General Daniel Butterfield, Chief of Staff to General Hooker. Both are fine looking military men, and will make themselves heard of. We subjoin the following sketches of their lives:…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mr. And Mrs. Charles S. Stratton (General Tom Thumb And Wife).”) — Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:321 (Feb. 21, 1863): 113.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General Hooker, Commanding The Army of the Potomac.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:322 (Feb. 28, 1863): 129.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major General David Hunter, U.S.A.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:324 (Mar. 14, 1863): 165. [“We publish herewith a portrait of Major-General David Hunter, U.S.A., commanding the Department of the South. General Hunter was born about the year 1802, in the District of Columbia, and was appointed from thence to West Point in 1818. He graduated in the infantry in 1822, and served eleven years with his regiment. In 1833 he was appointed Captain of Dragoons. After three years’ service he resigned, and settled in Illinois, which State has ever since been his home. In 1842 he was offered, and accepted, the post of Paymaster in the army….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. John Van Buren.”) “Photographed by Brady,” 1 b & w (“James T. Brady, Esq.”) “Photographed by Brady,” in: “The North United.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:325 (Mar. 21, 1863): 177. [“We regard the mass meeting of the people which was held at Cooper Institute in this city, on 6th March, as securing the consolidation of the North on the great question of the war; and we therefore take occasion to lay before our readers the portraits of the two principal speakers, Mr. John Van Buren and Mr. James T. Brady, both well-known men, lawyers of the highest rank, gentlemen of high character, and the most influential leaders of the Democracy in this city….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Prince Salm-Salm.”) HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:332 (May 9, 1863): 301. [“We publish herewith a portrait of Prince Salm-Salm, Colonel 8th New York Volunteers, from a photograph by Brady. This officer, who won distinction as a cavalry officer in Prussia, arrived here on the outbreak of our war with a letter from the King, and was received with cordiality. His first wish was to command a regiment of cavalry. This, however, was found to be impracticable in consequence of the Prince’s ignorance of the English language. He was accordingly placed on General Blenker’s staff. After serving in this capacity for some months he was appointed to the command of General Blenker’s old regiment, the 8th New York Volunteers, which he has led throughout the war. The regiment has completed its term of service, and returned home last week. We presume that the Prince will soon find some new sphere in which he can continue serving the country.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General Ulysses S. Grant, U. S. A.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:336 (June 6, 1863): 365-366. [“We publish herewith a portrait of the hero of the day, Major-General Ulysses S. Grant, Commander of the Army at Vicksburg. General Grant was born at Point Pleasant, Clairmont Co., Ohio, on 27th April, 1822, and is consequently forty-one years of age. He entered West Point in 1839, and graduated in 1843, with Franklin, Reynolds, Steele, etc. Having entered the Fourth Infantry, he obtained his full commission at Corpus Christi in 1845, and served at all the battles under Taylor. His regiment subsequently joined General Scott, and young Grant figured conspicuously at all the battles of the old hero’s campaign. For Molino del Re he got a brevet of First Lieutenant, and for Chapultepec one of Captain. He subsequently obtained his full rank as Captain, and accompanied his regiment to Oregon. In 1854 he resigned his commission, and took up his residence at Galena, Illinois. On the outbreak of the rebellion he tendered his services to Governor Yates, and was shortly afterward appointed Colonel of the Twenty-first Illinois. On 17th May, 1861, he was commissioned a Brigadier-General. and filled various commands in Missouri and the vicinity….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Clement L. Vallandigham.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:336 (June 6, 1863): 365.

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Gen. Tom Thumb and Wife.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:338 (June 20, 1863): 399. [“Elegant Photographic Cartes de Visite, by Brady, representing Tom Thumb and Wife on one Card, 15 cents; Com. Nutt and Little Minnie Warren on one Card, 15 cents; and the whole four on one Card, in the Wedding Costume in which Tom Thumb and Lavinia Warren were married, 25 cents. These are the only genuine pictures published of the four smallest mature human beings living. Sent by mail at the same price. These little wonders remain at the Museum but a short time longer. P. T. Barnum, Museum, New York.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General George G. Meade, The New Commander of the Army of the Potomac.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:341 (July 11, 1863): 433.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major Kiernan.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:341 (July 11, 1863): 445.

BRADY, MATHEW B. (1823-1896) (USA).
‘The Late Rear-Admiral Foote.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:341 (July 11, 1863): 445-446. [“We publish herewith a portrait of the late Rear Admiral Andrew Hull Foote, who died in this city on 26th June. The Admiral was born in New Haven, Connecticut, on September 12, 1806, and was consequently nearly fifty-seven when he died. He entered the navy in 1822, obtained a warrant of Midshipman in 1824, passed Midshipman in 1827, and Lieutenant in 1810. His services on board the John Adams, Cumberland, and other famous vessels of our navy are well remembered. In 1849 he obtained the command of the brig Perry, and was sent to the coast of Africa, where he took an active part in suppressing the slave-trade. In 1856 he took the command of the Portsmouth, and sailed for the East Indies. It was on that cruise that the affair of the Barrier Forts took place, which we find thus detailed in the Herald:…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Brigadier-General George C. Strong.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:346 (Aug. 15, 1863): 525.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“John Burns, the Only Man in Gettysburg, Pa., Who Fought at the Battle.”), 1 b & w (“Residence of John Burns of Gettysburg”) on p. 529; 1 b & w (“General Meade’s Head-Quarters.”), 1 b & w (“General Lee’s Head-Quarters.”), 1 b & w (“Wheat Field in which General Reynolds was Shot.”), 1 b & w (“Entrance to the Cemetery.”), 1 b & w (“Barn in which Reynolds Died.”), 1 b & w (“Woods on the Right of the Battle Field.”), 1 b & w (“Collage, used as a Hospital for Rebel Prisoners.”), 1 b & w (“Breast-Works in the Woods.”) in: “Views of the Gettysburg Battle-Field.” on p. 532; 1 b & w (“General View of Gettysburg, From the West.”) “Photographed by Brady, on page 533; text “Reminiscences of Gettysburg.” on p. 534.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:347 (Aug. 22, 1863): 529, 532, 533, 534. [“From Photographs by Brady.” (Portrait of the civilian Burns and a view of his house, views on the site of the battlefield. Description of the photographs on p. 534. Brady’s team arrived at Gettysburg a week after the battle, asked students from a nearby academy to pose as dead and wounded soldiers, and then photographed the site.) “Mr. Brady, the photographer, to whose industry and energy we are indebted for many of the most reliable pictures of the war, has been to the Gettysburg battle-field, and executed a number of photographs of what he saw there. We reproduce some of these pictures on pages 529, 532, and 533. One of them shows us the old man John Burns, the only citizen of Gettysburg who shouldered his rifle and went out to do battle in the Union ranks against the enemies of his country. The old man made his appearance in a uniform which he had worn in the last war, but he fought as stoutly as any young man in the army. Honor to his name! Old Burns’s house is there too, a memorial in its way of the fight: from its condition it looks as though it would not be very likely to remain many years as an object of curiosity. Other pictures are the Head-Quarters of General Lee and General Meade near the battle-field; modest, unpretending farm-houses in themselves, but destined hereafter to be as famous and as great an object of curiosity to travelers as the barn and mill at Waterloo. Elsewhere we see the rough breast-works thrown up in the woods behind which the troops crouched to repel the enemy’s charges, with the trees above and around them scarred and furrowed every where by round shot, shell, and rifle-ball. The large View of Gettysburg from the West will give the beholder a general idea of the field of battle—a great valley well adapted for the movements of infantry and artillery. Mountains in the back-ground explain why the cavalry could not pursue very far. We have details as well. There is the Gate of the Cemetery, which was the scene of more than one fierce conflict, and where hundreds of Union men and rebels fell side by side; the College, which our troops used as a hospital after the battle; the Wheat-field in which General Reynolds was shot, and the Barn to which he was carried, and where he breathed his last moments, etc. Coupled with these interesting pictures we give, on page 533, an illustration of the Crossing of the Rappahannock by the Advance of the Twelfth Army Corps in Pursuit of Lee. Intelligence of this movement is contraband, and the author of our sketch warns us to be careful to disclose no facts which may be useful to the enemy. We therefore let the picture speak for itself.”]

BRADY, WILLIAM B.
1 b & w (“Major-General Stoneman.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:347 (Aug. 22, 1863): 541. [“On this page we publish portraits of four leading cavalry officers of the Army of the Potomac…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rear-Admiral David G. Farragut, U.S.N.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:348 (Aug. 29, 1863): 545-546. [“We publish on this page a portrait of Rear-Admiral Farragut, the hero of the day, from a photograph just taken by Mr. Brady. David Glasgow Farragut was born near Knoxville, Tenn., about the year 1803, and is now sixty years of age. His father was an officer in the army, well known to and much esteemed by General Jackson. When only nine years of age little David determined to be a sailor, and was taken by Commodore Porter on board the Essex as midshipman….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General Quincy A. Cilmore.”) “From A Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:350 (Sept. 12, 1863): 584.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General George H. Thomas, U.S.A., The Hero of Chicamauga.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:354 (Oct. 10, 1863): 641-642. [“We publish on page 641 a portrait, from a photograph by Brady, of General George H. Thomas, the hero of the Battle of Chicamauga, or Chattanooga. General Thomas was born in Southampton Co., Virginia, in July, 1816. He was appointed from that State to West Point in 1836, graduated on 1st July, 1840, and was appointed to the Third Artillery. In the following year he distinguished himself in the war against the Florida Indians, and was brevetted First Lieutenant for his gallantry. He accompanied General Taylor to Mexico, and at Monterey won the brevet rank of Captain….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Our Russian Visitors.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:358 (Nov. 7, 1863): 708, 711. [Group portrait of Captain Zelenoi. Captain Bootakov. Captain Fedorovski. Admiral Lesoffski. Captain Kopitov. Captain Kraemer. Captain Lundh. “On page 708 we reproduce an admirable photograph by Brady, representing our Russian visitors, Admiral Lesoffski And The Captains Of His Fleet. They are all sturdy-looking men, perfect gentlemen, and as accomplished in letters and science as they are skillful in their profession. Private individuals, cities, and public bodies are vying with each other to do them honor. For the noble attitude of Russia in abstaining from interference in our war has touched the heart of every American and filled it with gratitude. Brady’s photograph is, as usual, a success.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Brady’s Gallery.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:359 (Nov. 14, 1863): 722. [“There are very few establishments in the city better worth visiting than the Photographic Gallery of M. B. Brady, to whom this journal is indebted for nine-tenths of the portraits we publish. Nowhere else can so extensive and in one sense so valuable a collection of art treasures be witnessed. For the last twenty years there has hardly been a celebrity in this country who has not been photographed here; and when the history of American photography comes to be written Brady, more than any other man, will be entitled to rank as its Father. Many of us can still remember the old gallery at the corner of Fulton Street and Broadway, where Mr. Brady first began to photograph prominent characters for the sake of mere fame. People used to stroll in there in those days to see what new celebrity had been added to the little collection, and “the last new portrait at Brady’s” was a standing topic of conversation. Pretty soon the city began to migrate northward, and Brady moved to the well-known rooms in 359 Broadway, where he made his reputation. There, by great exertion and labor, he amassed a collection of portraits which is probably unrivaled in the world. The Presidents and Secretaries during five or six consecutive administrations; Senators and Congressmen complete for an equal period of time; soldiers, sailors, divines, editors, doctors, merchants; Garibaldi, Kossuth, Jenny Lind, Sontag; every body, male or female, American or foreign, who had any claim to distinction, was sooner or later inveigled by the indefatigable Brady into his parlor, and left his or her head there. The consequence was, as we said, an accumulation of portraits absolutely unequaled —constituting materials for history of the very highest value. What would we not give now for such a portrait gallery of the revolutionary days? When the war broke out Brady attempted higher aims. With a camera he accompanied the army to the battle-fields of Bull Run and Gettysburg, and seized, with mathematical accuracy and artistic skill, scenes that will be historical. Another camera went from his house to Charleston, and will presently show us the effect of Gilmore’s Greek fire on the cradle of treason. This deviation from the old track has not, however, diminished Brady’s eagerness for portraits. The Prince of Wales and suite, the Russian Admiral and staff, the French and British Admirals, and a host of other celebrities, native and foreign, have been added to his collection since he moved to the corner of Tenth Street. If any man deserves credit for accumulating materials for history, that man is M. B. Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. Henry Ward Beecher.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:359 (Nov. 14, 1863): 733. [“We publish herewith a portrait of one of the greatest living preachers, and one of the best men of our time—the Rev. Henry Ward Beecher. All England is ringing with his eloquent appeals in favor of our cause; and even Liverpool, sodden in pro-slavery corruption, listens to his speeches. The following account of his life was written five years ago by one who knows and loves him: The Rev. Henry Ward Beecher is one of the many children (thirteen, we believe, in number) of the Rev. Lyman Beecher. Mr. Beecher was born in Litchfield, Connecticut, June 24, 1813. He graduated at Amherst College, Massachusetts, in 1834, and studied Theology under his father at the Lane Seminary, in Cincinnati, Ohio. In 1837 he was settled as a Presbyterian clergyman in Lawrenceburg, Indiana, where he preached for two years, and then removed to Indianapolis, where he remained until he was called by the orthodox Congregational society of Plymouth Church, Brooklyn, New York, where his ministry commenced in 1847, and still continues….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General C. C. Washburne.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:361 (Nov. 28, 1863): 764. [“We publish herewith a portrait of Major-General C. C. Washburne, who commands a division in General Bank’s army of the Gulf, and is distinguishing himself in the work of restoring Western Louisiana and Texas to the Union. General Washburne is one of that great family of Washburnes which has furnished so many good and great men to the country in the present age. He was born at Livermore, Maine, on April 22, 1818, and is consequently nearly 46 years of age. He studied law, and at an early period of his life removed to Wisconsin, where he settled….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Charles G. Gunther, The Mayor Elect.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:364 (Dec. 19, 1863): 813.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Schuyler Colfax, The New Speaker of the House.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 7:365 (Dec. 26, 1863): 817.

1864

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General William W. Averili.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:368 (Jan. 16, 1864): 34, 36.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Most Reverend John Hughes, D. D., Archbishop of New York.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:368 (Jan. 16, 1864): 44. [“The Catholic Archbishop of New York, the Rev. John Hughes, died on Sunday evening, January 3, aged about 65 years. Few men of his day exercised so wide an influence, social, moral, and political, and few men have exercised it, upon the whole, so honestly and wisely. He was born in Ireland in 1798, the son of a respectable farmer. He came to America in 1817, and soon after became a student at the Catholic College at Emmetsburg, Maryland. in 1825 he received ordination, and was appointed to the charge of a church in Philadelphia, and became recognized as a man of mark in his Church….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General Francis J. Herron.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:371 (Feb. 6, 1864): 85.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brigadier-General George A. Custer.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:377 (Mar. 19, 1864): 177. [This was used as the front page of the issue and it depicts Custer waving a sword on a galloping horse. If any photograph was used as a source at all, it would have been a studio portrait which the artist used to depict Custer’s face in this drawing.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brigadier-General Judson Kilpatrick.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:377 (Mar. 19, 1864): 180.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Colonel Ulric Dahlgren.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:378 (Mar. 26, 1864): 193. [“Colonel Ulric Dahlgren, of whose death we give an illustration on page 196, was killed near Richmond, Virginia, during the recent raid of Kilpatrick. Colonel Dahlgren, with a body of 100 men, having been sent on detached service, was entrapped and surrounded at night by the rebels, who posted their forces in ambush, and while attempting to cut his way out was shot at the head of his column by persons lying in wait….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brigadier-General Henry E. Davies.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:379 (Apr. 2, 1864): 209.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General William F. Smith.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:379 (Apr. 2, 1864): 209.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General John A. Dix President of the Metropolitan Fair.”) “Photographed by Brady, 1 b & w (“Rev. Henry W. Bellows, D. D., President United States Sanitary Commission.”) “Photographed by Brady., 1 illus (“Metropolitan Fair Buildings, on Union Square, New York.”), 1 illus. (Artist’s rendition of five medallion scenes of “Our Heroines” nursing sick and wounded soldiers, etc.) in “The United States Sanitary Commission. Metropolitan Fair.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:380 (Apr. 9, 1864): 228-229.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brigadier-General David M. Gregg.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:384 (May 7, 1864): 300. [“Brigadier-General David M. Gregg, whose portrait we give on page 300, is a native of Pennsylvania, and is only thirty years of age. He entered West Point as a cadet in 1851, and graduated on the 30th of June, 1855, standing No. 8 in his class, among the members of which were Generals Weitzel, Torbert, Hazen, Merrill, Du Bois, Averill, Colonel Colburn, and many others in the Union army….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General Thomas E. Greenfield Ransom.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:385 (May 14, 1864): 309.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Major-General John Sedgwick.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:387 (May 28, 1864): 349.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General Gouverneur K. Warren.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:389 (June 11, 1864): 369. [“General Gouverneur K. Warren, whose portrait we give on the first page, is one of our ablest and most skillful officers, having demonstrated in all the positions he has occupied the highest qualifications for command. He is a native of New York,…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Governor Andrew Johnson, of Tennessee.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:391 (June 25, 1864): 401.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Execution of the Negro William Johnson, at Petersburg, Va.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:393 (July 9, 1864): 445. [Hanging, witnesses by troops.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lieutenant-General Grant at His Head-Quarters.”)-Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:394 (July 16, 1864): 449. [“Portrait of Grant leaning against a tree, in front of army tents.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General Meade and His Staff.”), 1 b & w (“General Burnside and His Staff.”) “From a Photograph by Brady. in “General Grant’s Campaign.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:395 (July 23, 1864): 469. [Posed group portraits, taken in the field, in front of tents, etc. “Mr. Brady, of Washington, furnishes two photographs which enable us to present our readers with the illustrations on this page, representing Generals Meade and Burnside, with their Staffs. Several illustrations are given on pages 468, 472, and 473, which relate to Petersburg and its surroundings. the large double-page cut is a panoramic view of the country as well as of the military situation around Petersburg….”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Agents Wanted…” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:396 (July 30, 1864): 495. [“….to Sell Accurate Imperial Steel Portraits of President Abraham Lincoln, Lieut.-General Ulysses S. Grant, Major-General Winfield S. Hancock. Engraved by Ritchie from Brady’s Photographs. Price $1 00 each. Derby & Miller, Publishers, 5 Spruce St., N. Y.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Photographs of the Virginia Campaign.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:397 (Aug. 6, 1864): 499. [“Mr. Brady, the photographer, has lately returned from the army in Virginia with a series of views of the campaign, which are now on exhibition at his galleries 785 Broadway. The series includes the most interesting scenes of operations at Cold Harbor, the Wilderness, Petersburg, etc., as well as portraits of all the most noted generals. the actuality of these views, the distinct detail, and the inflexible veracity, make them invaluable to every student of the campaign; while all who follow the army with their private hearts as well as their public hopes will see with curious satisfaction the roads, the fields, the woods, the fences, the bridges, the camps, and the streams, which are the familiar daily objects to the eyes of their loved soldier boys.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Army of the Potomac -General Hancock and Staff.”), 1 b & w (“Army of the Potomac -General Warren and Staff.”) –Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:398 (Aug. 13, 1864): 517. [Group portraits, taken in the field.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Clement L. Vallandigham.”) “Photographed by Brady, 1 b & w (“Hon. Fernando Wood.”) “Photographed by Brady, 1 illus. (“View of the Tent in Which the Democratic Convention is to be Held, at Chicago, August 20, 1864”) in: “The Chicago Convention.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:401 (Sept. 3, 1864): 573. [“We give on this page portraits of C. L. Vallandigham and Fernando Wood, the leaders of the Peace Party; also a view of the Wigwam in which the Democratic Convention is to be held on Monday the 29th. These two gentlemen recently held a Peace Convention at Syracuse, New York, the object of which was to coerce the Chicago Convention by a vast popular demonstration in favor of peace. the meeting was of no significance. They each made speeches, earnestly begging the people by their fear of severe wounds and of heavy taxes not to resist the rebellion any longer with arms, but to settle our difficulties by compromise…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Most Rev. John MCloskey, D.D., Archbishop of New York.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:402 (Sept. 10, 1864): 577. [“We give on this page a portrait of the Reverend John MCloskey, the successor of John Hughes in the Archbishopric of New York. Formerly the bishop of the diocese of Albany, Dr. M`Closkey was known as one of the most polished and eloquent orators of the Roman Catholic Church in the United States. He was born in Brooklyn, New York, and after the usual course of education was ordained a priest. On the 10th of March, 1844, he was ordained Bishop of Axieren and coadjutor to Dr. Hughes, then Bishop of New York. Three years later he became the Bishop of Albany, being the first prelate of that see, as the diocese was then first established….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General Wright and Staff.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:402 (Sept. 10, 1864): 589. [Group portrait, taken in the field.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rear-Admiral David G. Farragut, U.S.N.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:403 (Sept. 17, 1864): 597.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General Jefferson C. Davis.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:403 (Sept. 17, 1864): 605.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. George H. Pendleton.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:403 (Sept. 17, 1864): 605. [“George H. Pendleton, the Democratic candidate for the Vice-Presidency, whose portrait we give on this page, was born in Cincinnati, Ohio, July, 1825. He was elected a member of the State Senate of Ohio in 1854 and 1855, and was the subsequent year chosen as representative of his district in Congress, and has held that position ever since….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Reuben E. Fenton, the Union Candidate For Governor of New York.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:404 (Sept. 24, 1864): 620.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Private Miles O’reilly.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:404 (Sept. 24, 1864): 621-622. [“The accompanying portrait is a very exact reproduction of a daguerreotype taken by Mr. Brady of this city, who assures us that its original was no other than Private Miles O’Reilly, formerly of the 47th Regiment New York Volunteer Infantry, but now serving as a re-enlisted veteran in some regiment belonging to the Irish brigade. Mr. Brady says that, in spite of every remonstrance he could offer, Private Miles insisted on `bein’ sot for his picture” in a coat borrowed for the occasion from some friendly field officer of his regiment —the reason he assigned for not appearing in his proper uniform being, that he wanted the picture for his sweet-heart, and therefore it must be “lookin’ the purtiest he knew how.”…]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General Philip H. Sheridan.”) –Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:406 (Oct. 8, 1864): 641. [Portrait of Sheridan sitting in a camp chair, in his tent.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General David B. Birney.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:407 (Oct. 15, 1864):661. [“Generals Birney and Ord, whose portraits are above given, command respectively the Tenth and Eighteenth Corps of Butler’s army. These officers had charge of the late operations north of the James River, in which Major-General Ord was wounded. General David B. Birney was born in Alabama. He was the son of a rich planter, James B. Birney, who, although a Southerner by birth and a slaveholder, became a radical abolitionist. He carried his political creed into practice by coming to Ohio and emancipating his slaves….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (The Late Chief-Justice Roger B. Taney.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:409 (Oct. 29, 1864): 693. [“Roger Brook Taney, the late Chief-Justice of the Supreme Court of the United States, was born in Calvert County, Maryland, March 17, 1777. His ancestors immigrated into that State two centuries ago. They were English, but of the Roman Catholic faith. Educated at Dickinson College, Carlisle, Pennsylvania, he was admitted in 1799 to the bar. He practiced law for a short time in his native county, from which, in 1800, he was elected a delegate to the General Assembly. He took up his residence at Frederick in 1801, and was elected State Senator in 1816. at the age of forty-five Mr. Taney removed to Baltimore, where he resided during the remainder of his life. He was appointed Attorney-General of Maryland, holding that office for four years, at the expiration of which term he was appointed by President Jackson Attorney-General of the United States….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Captain Napoleon Collins.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:413 (Nov. 26, 1864): 753. [“We illustrate on our first page the capture by the “Wachusett” of the rebel war-steamer “Florida,” which took place in the Bay of San Salvador October 7, and give the portraits of Captain Morris, of the “Florida,” and Captain Collins, of the “Wachusett”.…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General Gershom Mott.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:413 (Nov. 26, 1864): 764.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“W. W. Wood, Chief Engineer United States Navy.”) “Photographed by Beady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:413 (Nov. 26, 1864): 764. [“Chief-Engineer W. W. Wood, United States Navy, whose portrait we publish on this page, is at present attached to the staff of Rear-Admiral Gregory, as general superintendent of iron-clad steamers and other vessels being constructed for the Navy Department. He was born in Wake County, North Carolina, in the year 1818. Upon the death of his parents, which occurred when he was very young, he was sent to the North to be educated. After passing through college his great taste and natural inclination for mechanics and engineering induced him to connect himself with the Messrs. Kemble, of the West Point Foundry, in this city, at the time the largest and most eminent works of the kind in the country….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General George H. Thomas.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:416 (Dec. 17, 1864): 801.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major General William Tecumseh Sherman.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 8:416 (Dec. 17, 1864): 808-809. [Double-page spread portrait of Sherman on horseback, in the open. Unlike most earlier representations of soldiers on horses, this is from an actual photograph. Designed to be read as a vertical, this is an exceptional woodcut image.]

1865

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Hon. William L. Dayton.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:420 (Jan. 14, 1865): 28. [“William Lewis Dayton was born at Baskinridge, New Jersey, February 17, 1807. He was a farmer’s son; but at an early period of life acquired an excellent education, graduating at the age of eighteen at the College of New Jersey. He immediately entered upon the profession of law. He became quite intimately connected with political affairs, being associated with the Whig party in his State, and especially with the Free Soil wing of that party. in 1837 he was elected a member of the New Jersey Senate, and was made Chairman of the Judiciary Committee…..”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. William Dennison, Postmaster General.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:422 (Jan. 28, 1865): 49. [“William Dennison was appointed Postmaster-General of the United States upon the resignation of Montgomery Blair, of Maryland, September 24, 1864, and entered upon the discharge of his duties on the 1st day of October. He was born at Cincinnati on the 23d of November, 1815. On his mother’s side he was of New England ancestry. His father was a native of New Jersey. in the year 1835 Mr. Dennison graduated at Miami University, then a leading educational institution of the West. Mr. Dennison pursued the study of law at Cincinnati, and was admitted to the bar in 1840….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General H. W. Slocum.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:422 (Jan. 28, 1865): 49. [“Major-General H. W. Slocum, who commanded the left wing of Sherman’s army in its recent advance through Georgia, originally entered the war as Colonel of the Twenty-seventh New York Volunteers. This regiment left Elmira, one thousand strong, for Washington July 10, 1861. On August 9 of that year he was, at the same time with Colonel Blenker, promoted to the rank of Brigadier-General….:]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Lieutenant Samuel W. Preston.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:423 (Feb. 4, 1865): 69.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Lieutenant Benjamin H. Porter.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:423 (Feb. 4, 1865): 69. [“Lieutenant B. H. Porter, killed in the assault on Fort Fisher, was born in New York in 1845, and entered the navy at the age of fourteen. in the Burnside Expedition he was midshipman in the frigate Roanoke; and during the battle of Roanoke Island he commanded the launch of six Dahlgren howitzers in the advance of the centre. He maintained his position under a galling fire until most of his men had fallen, when one of his guns exploded and only one man remained with him. at last this solitary gunner, a young man of seventeen, fell, and Porter remained alone, cleaning, loading, and firing his guns himself until the day was won….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brigadier-General Adelbert Ames.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:423 (Feb. 4, 1865): 76.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Daniel S. Dickinson.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:427 (Mar. 4, 1865): 141. [“Daniel Stevens Dickinson, besides holding various minor offices of public trust, has been Lieutenant-Governor of the State of New York, Presidential Elector at Large, United States Senator from that State from 1844 to 1851, and AttorneyGeneral. Mr. Dickinson was born at Goshen, Connecticut, in the year 1800. His father removed to the Chenango Valley, in Western New York, in 1806. He was brought up as a farmer’s son and received only a common-school education. Gifted with a strong will, and an acute and quick intellect, he studied Latin without a master so as to be able to teach it himself. He also mastered and taught some of the higher mathematical studies, and among them the art of Surveying, which in early life he practiced extensively….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. James Harlan, Secretary of the Interior.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:430 (Mar. 25, 1865): 181.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“President Lincoln at Home.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:436 (May 6, 1865): 273. [Memorial tribute published a week after Lincoln’s death. Photo is of Lincoln and his son Todd looking at a family album. the photo was taken much earlier.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Sergeant Boston Corbett.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:437 (May 13, 1865): 292. [Portrait of the soldier who shot Booth.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“President Lincoln’s Funeral Procession in New York City.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:437 (May 13, 1865): 296-297. [Double-page spread of the funeral procession, considerably altered by the engraver.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Sherman and His Generals.”) “Photographed by Brady, Washington, D. C.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:444 (July 1, 1865): 405. [Group portrait: Howard. Kilpatrick. Logan. Hazen. Sherman. Jeff C. Davis. Slocum. Blair. Mower.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Prince Napoleon.”) “From a Photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:444 (July 1, 1865): 412.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General Charles Griffin.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:449 (Aug. 5, 1865): 493.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brevet Major-General Nathaniel A. Miles.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:451 (Aug. 19, 1865): 513.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rear-Admiral Henry H. Bell.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:452 (Aug. 26, 1865): 540.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“William Cullen Bryant.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:453 (Sept. 2, 1865): 549.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Preston King.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:453 (Sept. 2, 1865): 556.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rear-Admiral Francis H. Gregory.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:453 (Sept. 2, 1865): 556.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General H. W. Slocum.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:458 (Oct. 7, 1865): 628. [“Major-General Henry Warren Slocum, the Democratic candidate for Secretary of State, was born at Delhi, New York, September 24, 1827…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Bishop Quintard of Tennessee.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:459 (Oct. 14, 1865): 652.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Embassy from Tunis.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:460 (Oct. 21, 1865): 660, 661. [(Full-page group portrait, with Mr. Perry. Chevalier Conte. General Hashem. and Colonel Gaita.) “At length, after waiting so long, we have seen Tunis. There arrived by the Persia at this port, on the 4th instant, a party of four gentlemen, of whom three were natives of Tunis, while the fourth was Mr. Perry, the American Consul at the Court of Tunis. the gentlemen comprising the party—which proves to be an embassy from the Bey of Tunis to President Johnson—are General Otman Hashem, special envoy; Colonel Ramero Gaita, his aide-camp; the Chevalier Antoine Conte, secretary and interpreter, together with Mr. Perry, before referred to. We give portraits on page 660 of this party, and also one of the Bey of Tunis himself on this page…. the Embassy while here made a pretty complete tour of the city, visiting the objects of principal interest. On Friday, the 6th, they visited Brady’s photographic gallery, where the photograph was taken from which our portraits are drawn. the portrait of the Bey is from a foreign photograph. at the New York Historical Society they found, especially in the Egyptian Department, many objects of great interest….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General Francis Barlow.”) –Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION) 9:460 (Oct. 21, 1865): 669. [This is the third time a portrait of Barlow was published in this magazine. This time the portrait seems to be of an older, mor mature man, and it is credited – to Brady.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Charles F. Adams.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:463 (Nov. 11, 1865): 705.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Studio portrait of the bridal couple with Professor Lowe, the balloonist.) inset in 1 b & w (“The Balloon Bridal Party Starting on its Aerial Tour from Prof. Lowe’s Amphitheater, Central Park.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:465 (Nov. 25, 1865): 745. [The scene of the balloon ascension was considerably enhanced by the engraver. “]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Hon. Preston King.” Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:466 (Dec. 2, 1865): 757.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. John T. Hoffman, Mayor-Elect of New York City.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 9:469 (Dec. 23, 1865): 801. [“It is many years since the city of New York has chosen for her Chief Magistrate a man of the position and reputation of John T. Hoffman. He is not only a gentleman of high social position, but a lawyer of distinction, a judge of eminent probity, a representative by descent of some of the oldest New York families, a citizen of unblemished reputation, and (as will appear by our sketch) one of the few New Yorkers who have received the unanimous vote of the city for high and responsible office. John T. Hoffman was born at Sing Sing, in Westchester County, January 10, 1828, and is now not quite thirty-eight years of age….”]

1866

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Edwin Forrest Booth.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:472 (Jan. 13, 1866): 17. [Full page front cover.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Benito Juarez, Pres. of Mexico.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:472 (Jan 13, 1866): 29.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General Carvajal.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:472 (Jan. 13, 1866): 29.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lafayette S. Foster, Vice-President.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:473 (Jan. 20, 1866): 45.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late Hon. Henry Winter Davis.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:473 (Jan. 20, 1866): 45.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late Rev. J. W. Cummings, D. D.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:473 (Jan. 20, 1866): 45.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late Gerard Hallock.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:473 (Jan. 20, 1866):45.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“George Bancroft.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:477 (Feb. 17, 1866): 100.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“John William Draper.”) “Photographed by Brady.” “John William Draper.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:480 (Mar. 10, 1866): 148-149. [Biographical sketch.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late Col. Theodore S. Bowers.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:482 (Mar. 24, 1866): 177.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Thaddeus Stevens.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:484 (Apr. 7, 1866): 212.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Robert E. Lee, in Civil Life.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:485 (Apr. 14, 1866): 237.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late Solomon Foot, Senator from VT.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:485 (Apr.14, 1866): 237.

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Alexander H. Stephens.”) “Photographed by Brady & Co., Washington D. C.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:488 (May 5, 1866): 276.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Commodore John Rogers, U. S. N.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:490 (May 19, 1866): 305.

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Edwin M Stanton.”) “Photographed by Brady & Co., Washington, D. C.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:491 (May 26, 1866): 324.

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Miss Clara Barton.”) “Photographed by Brady & Co., Washington, D. C.” “Andersonville Relics.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:499 (July 21, 1866): 460. 1 illus. [Article discusses the Andersonville Prison relics collected by Sarah Barton on a visit to the prison to mark the graves of the Union dead, now on display at the National [Sanitary] Fair in Washington. With a portrait of Clara Barton and a sketch of the relics on display. “..we would, if we dared, give the great American people, who so love and cherish her, a slight sketch of her appearance. It seems that as one is born with a gift for poetry, or music, or beautiful activity, so others are born to be photographed. To this latter class our noble friend does not belong, at least we have seen no photograph that does her any justice…”]

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Hon. James H. Lane.”) “Photographed by Brady & Co., Washington, D. C.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:499 (July 21, 1866): 461.

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Barbara Frietchie.”) “Photographed by Brady, Washington, D. C..” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:500 (July 28, 1866): 477.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Samuel F. B. Morse.”) “Photographed by Brady.” “S. F. B. Morse, L.L. D.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:504 (Aug. 25, 1866): 531-532. [Biography. Portrait by Brady.]

BRADY & CO. (WASHINGTON, DC)
1 b & w (“John T. Monroe, Mayor of New Orleans.”) “Photographed by Brady & Co., Washington D. C.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:504 (Aug.25, 1866): 540.

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Sen. J. R. Doolittle, President of the Philadelphia Convention.”) “Photographed by Brady & Co., Washington, D. C.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:505 (Sept. 1, 1866): 545.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late Rev. John Pierpont.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:507 (Sept. 15, 1866): 589.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Adelaide Ristori, actress.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:509 (Sept. 29, 1866): 609.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Distinguished Men of Methodism.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:510 (Oct. 6, 1866): 632-633. [Twenty-five portraits on one double-page spread. Photos by Brady, Hallet, and others.]

BRADY & CO. (WASHINGTON, DC)
“An Acknowledgement.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 10:511 (Oct. 13, 1866): 643. [“The Editor of Harper’s Weekly acknowledges the receipt of excellent photographs of the Ruins of the Bridge at Johnstown, Pennsylvania, from Brady & Co.’s National Photograph Gallery, 352 Pennsylvania Avenue, Washington. This favor, one of the many received from the same source, unfortunately came too late to be made available; but our thanks are none the less due to Brady & Co. for their courtesy.”]

1867

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“James Gordon Bennett, Jr.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 11:525 (Jan. 19, 1867): 41. (Brady, New York.)

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Hon. Rosco Conkling, N. Y. Senator-Elect.”) “Phot. by Brady & Co., Washington.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 11:526 (Jan. 26, 1867):49. (Brady & Co., Washington.)

BRADY, MATHEW B. (1823-1896) (USA).
“Brady’s Historical Portraits.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 11:537 (Apr. 13, 1867): 227. [“The engraving upon another page of the trustees of the Peabody Southern Fund is from the photograph made by Mr. Brady, which is the interest addition to his National Gallery of Historical Portraits. For twenty years, beginning at the time when Clay, Calhoun, Webster, John Quincy Adams and Andrew Jackson, were yet living, Mr. Brady has been diligently and incessantly collecting the portraits of all the men of mark of every kind in the country. The war was oppressively rich in materials, but nothing was lost by the indefatigable collector; and to the portraits of the Generals and soldiers of all degree he added the most extraordinary series of war-scenes in the world. The ruined cities still smoking; the terrible battle-fields still gory and palpitating; the trenches; the bridges; the camps; the scenery of military marches and all their incidents—all are contained in this unparalleled gallery. Many of the most illustrious of the originals of these portraits are gone, and every year obliterates the traces of the war-scenery which these pictures have perfectly preserved. Ought such a collection to be exposed to the chances of destruction and dispersal? Ought not our Historical Society, or some Historical Society, to secure for itself and for the country a gallery of such profound and unique interest, which, once scattered, is practically lost forever?”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mr. George Peabody and the Board of Trustees of the Peabody Educational Fund.”) “From a photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 11:537 (Apr. 13, 1867): 228. [“Group portrait.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Oliver P. Morton, United States Senator from Indiana.”) “Photographed by Brady, New York.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 11:538 (Apr. 20, 1867): 252.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Daniel Drew, Esq.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 11:539 (Apr. 27, 1867): 257.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mr. Thomas Nast.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 11:451 (May 11, 1867): 293.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The late Gen. Thomas F. Meagher.”) “From a photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 11:552 (July 27, 1867): 477.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Charles Anthon, LL. D., Columbia College.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 11:555 (Aug. 17, 1867): 525.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Sir Frederick Bruce.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 11:562 (Oct. 5, 1867): 625.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. Stephen H. Tyng, Jr., Rector of the Church of the Holy Trinity, N. Y.”) “From a photograph by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 11:566 (Nov. 2, 1867): 700. (Photographed by Brady, Corner of Broadway & Tenth St.)

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Fitz-Green Halleck, the Poet.”) ” Photographed by Brady, 785 Broadway.”] HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 11:571 (Dec. 7, 1867):769.

1868

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Bishop Hopkins.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:578 (Jan. 25, 1868): 61.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Rear Admiral H. H. Bell, U. S. N.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:583 (Feb. 29, 1868): 141.

BRADY & CO. (WASHINGTON, DC)
7 b & w (“Portraits of the Managers to Conduct the Impeachment of President Johnson.”) “Photo. by Brady & Co., Washington.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:586 (Mar. 21, 1868): 177. [7 individual portraits, medallioned and presented on one page.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Daniel Lord.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:587 (Mar. 28, 1868): 196.

BRADY & CO. (WASHINGTON, DC)
“The Impeachment Trial.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:589 (Apr. 11, 1868): 225-226, 232-233. 1 b & w. 2 illus. [“Our engraving in this issue of the Weekly which bears upon this highly important event, are of the most interesting character. On pages 232 and 233 will be found one of the most valuable engravings which has ever appeared in this journal. It is an elaborate and correct view of the interior of the United States Senate Chamber, showing the details of architecture and fresco-work, the various departments of the gallery, the arrangements of the desks on the floor of the Senate (thus giving at a glance the positions of the Senators, each of whom is portrayed in his designated seat), and the temporary arrangements for the accommodation of the members of the House of Representatives, and the managers, and the counsel of the President…. The details of the architecture, etc., are made from photographs of the architect’s plans; the numerous portraits of the more prominent members of each House are from photographs furnished by Messrs. Brady & Co., Pennsylvania Ave., Washington; and the beautiful design and accurate drawing are by Mr. Theodore R. Davis, our artist in Washington….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Daniel Drew, Treasurer of the Erie Railroad.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:589 (Apr. 11, 1868): 237.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Cornelius Vanderbilt, President of the Central Railroad.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:589 (Apr. 11, 1868): 237.

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Henry Stanbery, of Ohio.”) “Photographed by Brady & Co., Washington.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:590 (Apr. 18, 1868): 244.

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Wm. S. Grosebeck, of the President’s Counsel.”) “Photographed by Brady & Co.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:591 (Apr. 25, 1868): 260.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Chinese Embassy.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:598 (June 13, 1868):376. [Group portrait.]

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Hon. Reverdy Johnson, of Maryland.”) “Photographed by Brady& Co., Washington.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:601 (July 4, 1868): 420.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Horatio Seymour, Democratic Nominee for President of the United States.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:604 (July 25, 1868): 465.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Gen. F. P. Blair, Democratic Nominee for Vice President of the United States.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:604 (July 25, 1868): 468.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. John A. Griswold, of New York.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:604 (July 25, 1868):477.

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Hon. James Brooks, of New York.”) “Photographed by Brady & Co.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:606 (Aug. 8, 1868):508.

BRADY & CO. (WASHINGTON, DC)
“The Body of Thaddus Stevens Lying in State at the Capitol, Washington.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:609 (Aug. 29, 1868): 545, 548. 2 b & w. 1 illus. [“Photographed by Brady, Washington.” Portrait plus view of coffin displayed in the Capitol building. Other illustration is a sketch of the death bed scene.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The ‘All-England Eleven’ Cricketers and their Umpire.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 12:614 (Oct. 3, 1868): 636. [Group portrait.]

1869

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Hon. John W. Menard, Colored Congressman from Louisiana.”) “Photographed by Brady, Washington.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:630 (Jan. 23, 1869): 53.

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Hon. E. B. Washburne, Secretary of State.”) “Photographed by Brady, Washington.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:638 (Mar. 20, 1869): 180.

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Hon. James G. Blaine, Speaker of the House.”) “Photographed by Brady, Washington.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:638 (Mar. 20, 1869): 180.

GARDNER, ALEXANDER. (1821-1882) (GREAT BRITAIN, USA)
“The Inauguration of President Grant, March 4, 1869.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:638 (Mar. 20, 1869): 184-185, 186. 1 b & w. [“From Photographs by Gardner and Brady.” One view of crowd in front of Capitol, illustration freely drawn from photos supplied by the photographers.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. George S. Boutwell, Secretary of the Treasury.”) “Phot. by Brady.”) HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:639 (Mar. 27, 1869): 193.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. John A. J. Cresswell, Postmaster General.”) “Phot. by Brady.”) HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:639 (Mar. 27, 1869): 193.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Jacob D. Cox, Secretary of the Interior.”) “Phot. by Brady, Washington.”) HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:640 (Apr. 3, 1869): 209.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“John A. Rawlins, Secretary of War.”) “Phot. by Brady, Washington.”) HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:640 (Apr. 3, 1869): 209.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Ebenezer R. Hoar, Attorney-General.”) “Phot. by Brady, Washington.”) HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:640 (Apr. 3, 1869): 209.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Henry B. Anthony, President Pro-Tem. of the United States Senate.”) “Photographed by Brady, Washington, D. C.”) HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:640 (Apr. 3, 1869): 220.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Hon. Henry J. Raymond.”) “Photographed by Brady, New York.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:653 (July 3, 1869): 417. [Founder, editor of New York Times.]

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Hon. George M. Robeson, Secretary of the Navy.”) “Phot. by Brady, Washington.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:655 (July 17, 1869): 453.

BRADY, MATHEW B. (1823-1896) (USA).
2 b & w (“Sing-Man, Chinese Merchant, San Francisco.”) (“Choy-Chew, Chinese Merchant, San Francisco.” “Phot. by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:662 (Sept. 4, 1869): 573.

BRADY, MATHEW B. (NEW YORK, NY) 1 b & w (“Father Charles Loyson Hyacinthe.”) “Photographed by
Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:668 (Oct. 16, 1869): 657.

BRADY, MATHEW B. (NEW YORK, NY) 1 b & w (“James Fisk, Jun.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:668 (Oct. 16, 1869): 669.

BRADY, MATHEW B. (NEW YORK, NY) 1 b & w (“Major-General William M. Belknap, the New Secretary of War.”) “Photographed by Brady.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:670 (Oct. 30, 1869): 692.

BRADY & CO. (WASHINGTON, DC)
1 b & w (“Ex-Governor Frederick F. Low, United States Minister to China.”) “Photographed by Brady, Washington, D. C.” HARPER’S WEEKLY: A JOURNAL OF CIVILIZATION 13:673 (Nov. 20, 1869): 749.

1870

BRADY & CO. (WASHINGTON, DC)
1 b & w (“The Late Edwin M. Stanton.” “Photographed by Brady & Co., Washington, D. C.”) on p. 28 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 14:680 (Jan. 8, 1870): 28.

BRADY & CO. (WASHINGTON, DC)
1 b & w (“A. T. Akerman, Attorney-General of the USA.” “Photographed by Brady & Co., Washington,” D. C.) on p. 452 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 14:707 (July 16, 1870): 452.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w ([“Commander Thomas O. Selfridge, U.S. Navy.” “Photographed by M. B. Brady, Washington, D.C.”) on p. 149 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 14:688 (Mar. 5, 1870): 149.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late John McClintlock, D.D..” “Photographed by M. B. Brady, Washington, D.C.”) on p. 188 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 14:690 (Mar. 19, 1870): 188.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mr. Gulian C. Verplanck.” “Photographed by M. B. Brady, Washington, D.C.”) on p.225 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 14:693 (Apr. 9, 1870): 225.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mr. W. W. Cornell.” “Photographed by M. B. Brady, Washington, D.C.”) on p. 225 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 14:693 (Apr. 9, 1870): 225.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Admiral Farragut.” “Photographed by M. B. Brady, Washington, D.C.”) on p. 557 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 14: 713 (Aug. 27, 1870): 557.]

1871

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. William H. Tweed.” “Photographed by Brady.”) on p. 57 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 15:734 (Jan. 21, 1871): 57.]

BRADY, MATHEW B. (1823-1896) (USA).
”San Domingo: The Commissioners,” and “View in San Domingo City Alter Erected by Columbus. [Photographed by Davis Hatch, Esq.]” HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 15:741 (Mar 11, 1871): 209-210. 5 b & w. [View by Davis Hatch. The portraits of the commissioners are commercial studio portraits: President White by Tomlins & Beardsley, Ithaca, NY, Dr. S. G. Howe by Whipple, Boston, and the Hon. Benjamin F. Wade by Brady & Co.]

BRADY & CO. WASHINGTON, DC.
1 b & w (“Hon. Benjamin F. Wade, commissioner to San Domingo.” “Photographed by Brady.” ) on p. 209 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 15:741 (Mar. 11, 1871): 209.]

BRADY & CO. WASHINGTON, DC.
1 b & w (“Hon. Robert C. Hutchings.” “Photographed by Brady.”) on p. 340 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 15:746 (Apr. 15, 1871): 340.]

BRADY & CO. WASHINGTON, DC. [?]
2 b & w. (“The English Members of the Joint High Commission,”) and (“The American Members of the Joint High Commission.”) in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 15:744 (Apr. 1, 1871): 292-293, 286. [These group portraits are not credited to be from photographs, but they must be, and they closely resemble the type of group or montaged group portrait that Brady made.]

BRADY & CO. WASHINGTON, DC.
1 b & w (“Captain Hall’s Arctic Expedition. The ‘Polaris” Photographed by Brady & Co., Washington.”) on p. 597 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 15:757 (July 1, 1871): 597, 602-603. [View of the expedition’s ship. Article states that a Dr. Emil Bessels, from Germany, was serving as the chief of the scientific corps on this, the third of Hall’s trips to the Arctic. Bessels described as an

1872

BRADY & CO. WASHINGTON, DC.
1 b & w (“Attorney-General. George H. Williams.” “Photographed by Brady & Co., Washington.”) on p. 29 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 16:785 (Jan. 13, 1872): 29.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late James Fisk, Jun.-From a Photograph by Brady.”) on p. 49 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 16:786 (Jan. 20, 1872): 49.

BRADY, MATHEW B. (1823-1896) (USA).
“The Geneva Conference-The American Arbitrator and Counsel.” HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 16:788 (Feb. 3, 1872): 100, 107. 5 b & w. [Five individual portraits in medallion configuration. “J. C. Bancroft Davis. Brady Photo.”; “Wm. Evarts, Rockwood Photo.”; “C. F. Adams. Black Photo.”; “Caleb Cushing, Meinerth Photo.”; “M. R. Waite. Rockwood Photo.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Rev. T. De Witt Talmage.Photographed by Brady.”) on p. 101 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 16:788 (Feb. 3, 1872): 100, 107. 5 b & w.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. S. S. Cox.-From a Photograph by Brady.”) on p. 125 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 16:789 (Feb. 10, 1872): 124, 125.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late James Gordon Bennett.Photographed by Brady, New York.”) on p. 481 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 16:808 (June 22, 1872): 481-482.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Ulysses S. Grant. Photographed by Brady;, New York and Washington.“ on p. 508 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 16:809 (June 29, 1872): 508, 510.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Henry Wilson Photographed by Brady;, New York and Washington.“ on p. 508 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 16:809 (June 29, 1872): 509, 510.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (‘Henry Watterson, Editor of the Louisville “Courier-Journal.” Photographed by Brady.”) on p. 525 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 16:810 (July 6, 1872): 525, 526.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Hon. William F. Havemeyer Photographed by Brady, New York.”) on p. 868 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 16:828 (Nov. 9, 1872): 868.

BRADY, MATHEW B. (1823-1896) (USA).
“Personal.” HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 16:829 (Nov. 16, 1872): 868.
[“…There are some notable “personals” in the interesting exhibition of the American Institute now open in Third Avenue. We mean the superb collection of imperial photographs of eminent Americans, taken by Brady;. As works of art, independent of their priceless value as portraits of our great historic characters, they are simply faultless. It is to be hoped that at the next session of Congress an appropriation will be made that will secure Mr. Brady’s collection of historical portraits to the country. In March 1871, the Joint Library Committee of Congress made an unanimous report recommending that Congress should purchase the entire collection. The report says, very truthfully, that as a memorial of the illustrious dead, whose names are connected with the great events of American history, there can be no more worthy act performed by the Congress of the United States than to secure for it a fixed place of deposit in the Library of Congress, while the collection, placed there in an accessible and suitable form for general inspection and study – a historical album both of the living and the dead – would be a constant source of national gratification, and its locality the very shrine of patriotism. ‘A portrait,’ according to an eminent authority, ‘is superior in real instruction to half a dozen written biographies;’ nor can we doubt that the purchase by the government of this collection, and its exhibition in the library, will fail to exert the most salutary influence, kindling the patriotism as well as the artistic taste of the people. Through its means the country will become possessed of a rare collection of the portraits of her most distinguished sons – a collection around which not alone the idle and the curious will linger, but to which the artist will resort for the faithful representations of men many of whom the eye may no longer behold, and
where the historian may enrich his page with glimpses of life-like reality.” (p. 891)]

1873

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Samuel C. Pomeroy, United States Senator from Kansas – From a Photograph by Brady, of Washington.”) on p. 173 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 17:844 (Mar. 1, 1873): 173.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General Washington Ryan. – Photographed by Brady.”) on p. 1060 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 17:883 (Nov. 29, 1873): 1060.

1874

[no references found]

1875

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Henry Wilson Photograph by Brady.”) on p. 877 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 19:983 (Oct. 30, 1875): 877.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“John K. HackettPhotograph by Brady.”) on p. 989 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 19:988 (Dec. 4, 1875): 989, 990.

1876

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Reverdy Johnson Photographed by Brady, Washington.”) on p. 166 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 20:1000 (Feb. 26, 1876): 166.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Hon, Lot. M. Morrill.Photographed by Brady, Washington, D. C.”) on p. 621 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 20:1022 (July 29, 1876): 621.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Statue to General McPherson, Washington, D.C. Photographed by Brady.”) on p. 897 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 20:1036 (Nov. 4, 1876): 895, 897.

1877

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Hon. S. J. Randall.Photographed by Brady, Washington.”) on p. 123 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 21:1047 (Jan. 20, 1877): 123.

BRADY, MATHEW B. (1823-1896) (USA).
“Personal.” HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 21:1051 (Feb. 17, 1877): 184.
[“—Mr. Brady, the well-known photographer, has recently re-opened his gallery in Washington, where he displays the splendid collection of pictures exhibited by him at the Centennial. His gallery of portraits-embraces a long catalogue of eminent Americans, and is of very great value from a historical as well as an artistic point of view.”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Photographic Groups…” HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 21:1056 (Mar. 24, 1877): 234. [“…of the Electoral Commission; the Republican Council; the Democratic Council—each with an Autograph. Also, excellent portraits, embracing eminent statesmen of either party, lately taken by Brady, at his National Portrait Gallery, Washington, D.C. Instantaneous photographs of the Inaugural Ceremonies will be mailed free on receipt of price, $1.00 each. Address “BRADY’S NATIONAL PORTRAIT GALLERY, Washington, D. C.”]

BRADY, MATHEW B. (1823-1896) (USA)
“The Cabinet.” HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 21:1057 (Mar. 31, 1877): 241, 246. 7 b & w. [(Seven portraits in medallion configuration, three credited to Brady. WSJ)
“On our first page will be found the portraits of the gentlemen whom President Hayes has selected for his constitutional advisors…” (John Sherman, Secretary of the Treasury) “…Our portrait of Mr. SHERMAN is from a photograph by BRADY…” (George W. M’Crary, Secretary of War) “…Our portrait of Mr. M’CRARY is from a photograph by BRADY…” (David M. Key, Postmaster-General) “…Our portrait of Mr. KEY is from a photograph by BRADY… (p. 246)”]

BRADY, MATHEW B. (1823-1896) (USA).
“Four Southern Statesmen.” HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 21:1062 (May 5, 1877): 352. 4 b & w. [1 b & w “The Hon. Benjamin H. Hill. – Photographed by Brady.” 1 b & w “The Hon. Lucius C. Lamar. – Photographed by Brady.” 1 b & w “The Hon. John B. Gordon. – Photographed by Brady.” 1 b & w “The Hon. John Young Brown. – Photographed by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Sioux and Arapahoe Delegations. — Photographed by Brady; Washington.”) on p. 821 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 21:1086 (Oct. 20, 1877): 821. [Group photo, with Red Cloud, Little Bigman, Little Wound, Big Road, Three Bears. He Dog. Yellow Bear. Young-man-afraid-of-his-horses, Iron Crow.]

1878

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mrs. Agnes D. Jenks. — Photographed by Brady; Washington.”) on p. 548 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 22:1124 (July 13, 1878): 548.

1879

[no references found]

1880

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon, John K. Hacket Photographed by Brady.”) on p. 44 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 24:1203 (Jan. 17, 1880): 44.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Hon. George F. Hoar. Photographed by Brady.”) on p. 415 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 24:1226 (June 26, 1880): 411, 415.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General W. B. Hazen, The New Chief Signal Officer. Photographed by Brady.”) on p. 832 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 24:1252 (Dec. 25, 1880):832.

1881

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Hon. H. H. Riddleberger. Photographed by Brady.”) on p. 868 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 25:1305 (Dec. 24, 1881): 868.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Hon. Bancroft Davis. Photographed by Brady.”) on p. 892 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 25:1305 (Dec. 31, 1881): 892, 900.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Hon. T. O. Howe. Photographed by Brady.”) on p. 900 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 25:1305 (Dec. 31, 1881): 900.

1882

[vol. not available]

1883

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“George F. Hoar, Massachusetts. Photographed by Brady.”) on p. 61 in: “The United States Senatorial Elections.” HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 27:1362 (Jan. 27, 1883): 61, 62. 6 b & w. [Six portraits, one credited to Brady.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Hon. T. O. Howe. Photographed by Brady.”) on p. 221 in: “The Late Postmaster-General.” HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 27:1372 (Apr. 7, 1883): 211, 221.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Hon. Montgomery Blair. Photographed by Brady.”) on p. 493 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 27:1389 (Aug. 4, 1883): 493.

1884

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Hon. H. B. Payne, Senator-Elect from Ohio. Photographed by Brady.”) on p. 49 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 28:1418 (Jan. 19, 1884): 49.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“John J. Cisco.-. Photo by Brady.”) on p. 217 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 28:1424 (Apr. 5, 1884): 217.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“John Jay Knox, Late Comptroller of the Currency.Photo by Brady.”) on p. 305 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 28:1429 (May 10, 1884): 305.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Thomas A. Hendricks, Democratic Candidate For Vice-President. Photo by Brady.”) on p. 460 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 28:1439 (July 19, 1884): 460, 463.

1885

[no references found]

1886

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brigadier-General Joseph H. Potter, U. S. A. Photographed by Brady, Washington, D. C.”) on p. 245 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 30:1530 (Apr. 17, 1886): 245, 254.

1887

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“General W. B. Hazen. Photographed by Brady.”) on p. 72 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 31:1570 (Jan. 22, 1887): 72, 74.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Algernon S. Paddock. Photographed by Brady, Washington.”) on p. 92 in: “The New Senator from Nebraska.” HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 31:1570 (Jan. 22, 1887): 92.

1888

BRADY, MATHEW B. (1823-1896) (USA).
King, Captain Charles, U. S. A. “A War-Time Wooing.” HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 32:1642 (June 9, 1888): 409-410. [(Fiction. A short story, serialized over several issues of the magazine. WSJ)
“Chapter IV.” “…Abbot glances at his patient, fearful lest the noise should wake him, but he sleeps the sleep of exhausted nature, and the soldier in his temporary nurse prompts him to steal to the window and look down upon the troops. They are marching south, along Fourteenth Street—a regiment going over to the fortifications beyond the Long Bridge, and, after a glance, Abbot steps quickly back. On the table nearest the window lies a dainty writing-case, a woman’s, and the flap is down on a half-finished letter. On the letter, half disclosed, is the photograph of an officer. It is strangely familiar as Abbot steps toward it. Then—the roar of the drums seems deafening; the walls of the little room seem turning upside down; his brain is in some strange and sudden whirl; but there in his hands he holds, beyond all question—his own picture—a photograph by Brady, taken when he was in Washington during the previous summer. He has not recovered his senses when there is an uneasy movement at the bed. The gray-haired patient turns wearily and throws himself on the other side, and now, though haggard and worn with suffering, there is no forgetting that sorrow-stricken old face….” (p. 410)]

1889

[no references found]

1890

[no references found]

1891

BRADY, MATHEW B. (1823-1896) (USA).
“The Reunion of the Grand Army of the Republic.” HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 36:1867 (Oct. 1, 1892): 944-946. 8 b & w.
[“From Photographs by Bell and Brady.”
1 b & w (“May 24, 1865 School-Children Greeting the Soldiers from the Steps of the Capitol-(From Harper’s Weekly, June 16, 1865.]”)
1 b & w (“September 20, 1892—School-Children Greeting The Veterans Passing The Treasury Building.”)
1 b & w (“Captain A. G. Weissert. The newly elected Commander-in-Chief of the Grand Army of the Republic.”)
1 b & w (“The Review at Washington, May 24, 1865–General Sherman’s Veterans Passing Willard’s Hotel on Pennsylvania Avenue. [From Harper’s Weekly, June 10, 1865.])
1 b & w (The Review, September 20, 1892 The Head of the Massachusetts Column at the Same Point Twenty-Seven Years Later.”) (p. 944)
1 b & w (“The Procession Passing the Treasury Building.”)
1 b & w (Opening Ceremonies of the Grand Army of the Republic – Model of the “Kearsarge.”)
1 b & w (Ex-Prisoners of War on the Steps of the Washington City Hall.”) (p. 945)]

BRADY, MATHEW B. (1823-1896) (USA).
“Personal.” HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 36:1870 (Oct. 22, 1892): 1022.
[“…— M. W. Brady, to whom Harper’s Weekly has recently been indebted for photographs of the Grand Army celebration in Washington, is one of the veteran photographers of the country. Reproductions of several examples of Mr. Brady’s work appear in the issue of this journal for October 1st–school-children greeting the veterans as they passed the Treasury Building, September 20th; the head of the Massachusetts column passing Willard’s Hotel; model of the Kearsarge, and ex-prisoners of war on the steps of the City-Hall at Washington….” (p. 1022)]

1893

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Brigadier-General W. P. Carlin, U. S. A. – From a Photograph by Brady, Washington.”) on p. 523 in: HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 37:1902 (June 3, 1893): 523.

1894

[no references found]

1895

[no references found]

1896

BRADY, MATHEW B. (1823-1896) (USA).
“This Busy World.” HARPER’S WEEKLY A JOURNAL OF CIVILIZATION 40:2041 (Feb. 1, 1896): 114.
[“Most Americans who are old enough to remember the civil war have heard of Matthew Brady, the Washington photographer. Brady was the great picture-maker of the war-time. In his studios at Washington and elsewhere he took the likenesses of all the famous people that came along, from the Prince of Wales in 1860 down through a long list of generals and statesmen. He was a remarkable man, and his services in this line of his business were very valuable to the country. He was born in 1823, and grew up with the intention of being a portrait-painter; but in 1840, or thereabout, his friend and fellow-craftsman S. F. B. Morse called his attention to the new method of Daguerre of taking likenesses. Brady studied it thoroughly, and presently opened a small establishment in New York for taking daguerreotypes. He did it well, and prospered; took a first prize at London at the exhibition of 1851, and became well known both at home and abroad. When the photograph superseded the daguerreotype, Brady moved his gallery to Washington, and there too he prospered. When the war broke out he sent men to photograph battle-fields and war scenes, and got together a remarkable collection of plates, some of which he afterwards sold to the War Department.
His later history is sad enough. He had disappointments in business and troubles in his household, and began to drink and to neglect his business. His savings became dissipated, like himself. His remarkable collection of pictures and plates was broken up and scattered. He gave up his business, and though later he started it again, he could not attend to it. A year or two ago he was run over by a street car in Washington and crippled. After that he was cared for by members of the Seventh Regiment Veterans in New York, and he died in the Presbyterian Hospital. Happily his pictures have lasted better than he, for many of them are of great value now as historical and biographical documents.”]

HISTORICAL MAGAZINE, AND NOTES AND QUERIES CONCERNING THE ANTIQUITIES, HISTORY, AND BIOGRAPHY OF AMERICA

BRADY, MATHEW B. (1823-1896) (USA).
‘Societies and their Proceedings. New York.” HISTORICAL MAGAZINE, AND NOTES AND QUERIES CONCERNING THE ANTIQUITIES, HISTORY, AND BIOGRAPHY OF AMERICA 1:6 (June 1857): 177. [“New York Historical Society (Officers No. 2, p. 48).–There was a large attendance at the Monthly Meeting of the New York Historical Society on Tuesday evening, May 5. In consequence of Gov. Bradish’s illness, the Vice President, Rev. Dr. DeWitt, occupied the chair…. Dr. DeWitt read a letter by which two clever Daguerreotypes (by Brady) from miniatures painted in 1791, were presented to the Society. These works, framed and hung on the wall, were closely and admiringly examined. They are the gift of T. W. C. Moore…” (Apparently the miniature portraits were of George Washington.)]

BRADY, MATHEW B. (1823-1896) (USA).
‘Societies and their Proceedings. New York:” HISTORICAL MAGAZINE, AND NOTES AND QUERIES CONCERNING THE ANTIQUITIES, HISTORY, AND BIOGRAPHY OF AMERICA 4:7 (July 1860): 206-209. [“New York Historical Society.–At the meeting of the N. Y. Historical Society, held on the evening of the 17th of April, Mr. W. G. Jackman presented to the Society, … a proof-impression of the large and elegant engraved likeness of their venerable associate, Dr. John W. Francis, dedicated to the Society by permission. The engraving… was taken from a large photograph by Brady…”]

HOLDEN’S DOLLAR MAGAZINE

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “A Great National Work. The Gallery of Illustrious Americans. Daguerreotypes by Brady. Engraved by D’Avignon. Edited by C. Edwards Lester.” HOLDEN’S DOLLAR MAGAZINE 5:2 (Feb. 1850): 128. [“Under this title will be published during the year 1850 twenty-four Portraits and Biographical Sketches of American citizens who have become illustrious in the service of the country. Every portion of the work will receive the most careful attention, and nothing will be spared to render it a worthy and enduring monument to the great men of the Republic.
Mr. Brady has been many years engaged, at great expense, in collecting Portraits for a National Gallery, and those which are being engraved for this work are believed to be superior to any that have ever been taken. In the accomplishment of this great object he has experienced the utmost courtesy and encouragement from distinguished men. Mr. Brady’s reputation has been too long established to need any recommendation. At home and abroad it is acknowledged that he has brought the art to perfection. His daguerreotypes are in the highest sense the productions of an artist, glowing with the soul of the living countenance.
The drawings and engravings of D’Avignon have been pronounced by Europeans of taste to be fully equal and in some respects superior to those of the best artists of London and Paris, and every impression in this Gallery will be taken under his immediate supervision. The Typography will be executed as carefully and in as superb style as the engravings themselves. The entire work will be on the finest imperial folio paper, 16 by 23 inches, made expressly for this purpose.
This work has nothing sectional in its scope; it will, therefore, be comprehensive in its spirit. The names of those men only will be admitted, whose talents and public services have won for them an honorable fame throughout the nation. Each of the great departments of life will have its representatives. Art and Literature are universal in their spirit, and this Gallery is intended to be a worthy and enduring monument to the great men of the Republic, whose achievements and fame constitute the chief glory of the nation. We hope that every lover of art and friend of our glorious Union, will respond to our appeal for encouragement and aid in so commendable an undertaking, that its publication may make an era in the progress of American Art, and, by grouping the illustrious men of the Union together, consolidate it still more firmly. As no work of this kind has appeared in America, and the prices they sustain in Europe would place it beyond the reach of most of our citizens, the publishers have resolved to merit a large circulation, by charging a very low price. They have, therefore, established the following
Conditions of Subscriptions and Sale:
A year’s subscription for 24 numbers, $20
2 Copies for the year, (each) $18
5 Copies for the year, (each) $16
10 Copies for the year, (each) $15
20 Copies for the year, (each) $14
50 Copies for the year, (each) $12.50
All the Numbers sold separately. For a single
Number, $1; and a larger quantity of any single No. at the rates as above.
All orders for single Nos., or for more, will be promptly filled on the receipt of the money. The work can be sent without danger of injury, by the Expresses, to any part of the country.
Any Bookseller, Postmaster, Librarian, or any other person, may obtain subscribers, and his orders will be filled when the money is received.
Advertisements which concern the progress of the FINE ARTS, in every department. will be admitted on the Cover, in the style of the European journals, on the following terms:
For one square (of eight lines) once, $1.
For a square for a year, $10.
A corresponding reduction for larger space.
Cards of Artists and others, (for half a square), for a year. $5
N. B. – All orders and business communications may be addressed (post0paid) to M. B. Brady, 205 Broadway, N. Y.
Subscription lists are opened at all the principal Bookstores throughout the United States.
The Editors.”
[(This 2/3 page advertisement is a prospectus for the forthcoming publication. WSJ) ]

BRADY, MATHEW B. (1823-1896) (USA)
“Holden’s Reviews.” HOLDEN’S DOLLAR MAGAZINE 5:3 (Mar. 1850): 188.
[“The Gallery of Illustrious Americans. Edited by C. Edwards Lester. No. 1. New York. 1850.
“Taken altogether this is one of the best publications of the kind that has yet been undertaken on this side the Atlantic, and the splendid manner in which the first number has been got up should insure it a most hearty reception from all whose pecuniary ability will enable them to recompense the publishers for their liberality. The work is to consist of twenty-four numbers, and when completed will form a gallery of which every American should feel proud. We can boast of more than two dozen illustrious Americans, but it will be no small matter to have even that number bound up in so hand- some a manner. The portrait of General Taylor furnished in the first number is one of the best likenesses of Old Zach that we have seen; it is executed in lithograph by D’Avignon, from a daguerreotype by Brady. The letter press by Mr. Lester is well written, and the typography is extremely beautiful. This work is for sale at all the principal bookstores.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Holden’s Review.” HOLDEN’S DOLLAR MAGAZINE 5:6 (June 1850): 379. [Book review. The Gallery of Illustrious Americans.
The Gallery of Illustrious Americans, containing the Portraits and Biographical Sketches of Twenty-four of the most Eminent Citizens of the Re- New public since the Death of Washington. York: Brady, D’Avignon & Co., 205 Broadway. We have received Nos. 3 and 4 of this magnificent publication, containing portraits of Daniel Webster and Silas Wright. These portraits are correct likenesses, full of expression, and the best specimens of American lithography we have seen. The sketches are condensed statements of the rise and progress of our distinguished statesmen-to the high eminence they have attained, containing the most important facts of their lives, and of deep interest to all classes of our community; they aregiven in a clear and concise style by C. Edwards Lester. The work bears evidence of a most liberal expenditure, and should receive a corresponding support from the community.
W. H. D.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘To All Our Readers and Correspondents.” HOLDEN’S DOLLAR MAGAZINE 56:2 (Aug 1850): 506-510. [“…No. 6 0f the Gallery of Illustrious Americans gives a magnificent portrait of Col. Fremont, engraved by D’Avignon from a Daguerreotype by Brady. If possible this portrait surpasses any of the proceeding ones. No work of portraits and sketches has been published in the country equal to this….”(Quotes excerpt from Lester’s biographical sketch.) p. 510.]

BRADY, MATHEW B. (1823-1896) (USA).
‘Holden’s Review.” HOLDEN’S DOLLAR MAGAZINE 6:4 (Oct. 1850): 633. [The Gallery of Illustrious Americans. Published from Brady’s Gallery, 205 Broadway, New York,
“We have received Nos. 7 and 8 of the above splendid work; the subject of No. 7 being Audu- bon, and No. 8, Prescott-names that will live as long as American literature withstands the ravages of Time. The publication of this work seems to increase in interest with each successive number. As we have said before, the likenesses are true and spirited, and of the highest order of American lithography. The literary part of these two numbers seem to be written with a purer and more discriminating taste than the previous ones. Perhaps the subjects naturally called it forth. Their characters must awaken feelings of admiration and respect, and inspire efforts for the attainment of the highest excellence in the paths of literature and art.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Holden’s Review.” HOLDEN’S DOLLAR MAGAZINE 6:5 (Nov. 1850): 695-696. [“The Gallery of Illustrious Americans. Published from Brady’s Gallery, 205 Broadway, New York, by George P. Putnam, D. Appleton & Co., C. S. Francis & Co. 1850.
“Messrs. Brady, D’Avignon and Lester are doing a work which ought to entitle them to the gratitude of all Americans. The publication of the portraits of our distinguished countrymen in such a magnificent style is an honor to the country in which all participate, and satisfaction in the portraits is greatly enhanced by the spirited, graphic, concise and elegantly finished biographies. We are glad that Mr. Lester is employing his rare talents in this direction. No. 9 contains the portrait of Gen. Scott, which is decidedly superior to any preceding one. Those who have seen the portraits of Taylor and Fremont will hardly credit the possibility of an advance on these until they see this really grand one of Scott. No. 10 contains the (p. 695) portrait and sketch of President Fillmore, which we think is equal to the preceeding one. It could not be superior.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Holden’s Review.” HOLDEN’S DOLLAR MAGAZINE 6:5 (Nov. 1850): 696. [“Mr. Brady has published a lithographic portrait of Jenny Lind, executed by D’Avignon, from a Daguerreotype taken by Mr. B. The lithographic portraits of distinguished Americans, published by Brady and D’Avignon, have secured for those gentlemen a most enviable reputation, which this portrait of Jenny Lind will not injure, though it may not enhance. We regret that it does not give Jenny’s happiest or best expression – perhaps a copy of a Daguerreotype could not. It gives an idea of strength of character, but the enthusiasm, the hearty sympathy, the soul which makes the really ordinary face of Jenny Lind a face of extraordinary beauty when lit up from within, do not find their expression in this picture.”]

HOME JOURNAL FOR THE CULTIVATION of the MEMORABLE, THE PROGRESSIVE, AND THE BEAUTIFUL

BRADY, MATHEW B. (1823-1896) (USA).
‘Literary Notices.” HOME JOURNAL: FOR THE CULTIVATION OF THE MEMORABLE, THE PROGRESSIVE, AND THE BEAUTIFUL n. 204 (Jan. 5, 1850): 2. [Book review. Gallery of Illustrious Americans. Long, positive review of this work, including an excerpt from the text Mr. Lester’s “Salutation.” “…the first number contains four pages of superb letter-press, printed on drawing paper, in the French style, on one side only. The size is the largest Imperial folio—eighteen by twenty-four inches. The portrait in this number is of General Taylor, and it is, without doubt, not only the best, but the only likeness of the hero-president we have ever had….”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Literary Notices.” HOME JOURNAL: FOR THE CULTIVATION OF THE MEMORABLE, THE PROGRESSIVE, AND THE BEAUTIFUL n. 209 (Feb. 9, 1850): 3. [Book review. Gallery of Illustrious Americans. Containing the Portraits and biographical Sketches of twenty-four of the most Eminent Citizens of the Republic since the death of Washington. From Daguerreotypes by Brady, engraved by D’Avignon, and edited by C. Edwards Lester. “We made some allusions to this work a short time ago, and spoke of it as bidding fair to surpass every thing…hitherto been produced in America. The appearance of the first work fully realizes our anticipations, and a single glance…”]

BRADY, MATHEW B. (1823-1896) (USA).
“A Few Last Things.” HOME JOURNAL: FOR THE CULTIVATION OF THE MEMORABLE, THE PROGRESSIVE, AND THE BEAUTIFUL n. 245 (Oct. 19, 1850): 2. [“The Gallery of Illustrious Americans—(a series of portraits of our leading men, now in the process of publication by Goupil & Co.)—is enriched with a really grand likeness of Calhoun. The successive additions to this fine collection are improvements, one above the other, and this speaks well for the character of the series, while it encourages subscription for the art.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Literary Notices. Gift Book of the Republic.” HOME JOURNAL: FOR THE CULTIVATION OF THE MEMORABLE, THE PROGRESSIVE, AND THE BEAUTIFUL n. 252 (Dec. 7, 1850): 3. [Book review. The Gallery of Illustrious Americans. “ is now issued in a complete form for the holiday season. (Lists and describes each of the twelve individuals in the work. “In regard to the portraits there is but one opinion expressed, we believe. Brady, as a Daguerreotypist, is conceded, on all hands, to have no superior; and it is generally supposed that there is a fidelity, a naturalness, a life-likeness to his pictures which is very rarely found. He has treated the Daguerreotype as an art of taste while most in his business have dealt with it only as mechanics. Accompanying each portrait are two leaves of biography;… $15…We recommend… it is a household treasure, and the time will come when every copy of the work will be worth four-fold the cost…”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s National Gallery.” HOME JOURNAL: FOR THE CULTIVATION OF THE MEMORABLE, THE PROGRESSIVE, AND THE BEAUTIFUL n. 274 (May 10, 1851): 3. [“…Of Daguerreotypes—This collection embraces some of the most distinguished men in the country. The President and the Cabinet, also the late President Polk and his Cabinet, Members of the United States Senate and House of Representatives, Judges of the Supreme Court at Washington, and many other eminent persons, are included in this Gallery. The proprietor, being much of his time in Washington, has the advantage of adding to these portraits any others that may interest the public. It now occupies two large buildings, 205 and 207 Broadway.”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s Daguerreotypes.” HOME JOURNAL: FOR THE CULTIVATION OF THE MEMORABLE, THE PROGRESSIVE, AND THE BEAUTIFUL n. 290 (Aug. 30, 1851): 3. [“It has been candidly and frankly admitted by the English press—so slow to do justice to anything reflecting honor on America—that the specimens of the Daguerreotype art sent from this country to the World’s Fair, are decidedly superior to those from any other part of the world. We are certain we cannot be disputed, when we say that the Daguerreotypes produced at the establishment of Mr. Brady equal, if they do not surpass, those of any other concern in the Union. Mr. Brady has employed, in carrying out the delicate processes of the art, none but skilful and long experienced operators aided by all the improvements which modern science has produced, and the portraits of the many distinguished persons now on exhibition at his Gallery, need only be examined to convince the most skeptical of their merit. Mr. Brady’s rooms are at Nos 205 and 207 Broadway, corner of Fulton street.”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s Daguerreotypes.” HOME JOURNAL: FOR THE CULTIVATION OF THE MEMORABLE, THE PROGRESSIVE, AND THE BEAUTIFUL n. 305 (Dec. 13, 1851): 3. [“At the World’s Fair—It is, we presume, generally known that a Gold Medal was awarded to Mr. Brady for his Daguerreotypes exhibited at the World’s fair—an acknowledgement that, beyond all doubt, the gentleman stands at the head of the list of accomplished Daguerreans in this or in any other country. For depth and softness of tone, artistic arrangement of light and shade and a natural, life-like expression, the pictures produced at this establishment have no superiors. Of this fact the most skeptical will be convinced by an examination of the Portraits of the many eminent men now on public exhibition at his Gallery, Nos 205 and 207 Broadway, corner of Fulton street.”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s Card to the Public.” HOME JOURNAL: FOR THE CULTIVATION OF THE MEMORABLE, THE PROGRESSIVE, AND THE BEAUTIFUL n. 428 (Apr. 22, 1854): 3. [“New York abounds with announcements of twenty-five cent and fifty cent Daguerreotypes, but little science, experience, or taste is required to produce these so-called cheap pictures. During several years that I have devoted to the Daguerrean art, it has been my constant labor to perfect and elevate it. The result has been that the prize of excellence has been accorded to my pictures, at the World’s Fair in London, the Crystal Palace in New-York, and wherever exhibited on either side of the Atlantic. Art has always suffered when the public have been deceived by unfounded assumptions of economy. A valuable invention is no sooner presented, than its counterfeit is paraded at half the price. by such deceptions art has at all periods deteriorated. My new Gallery, No. 359 Broadway, over Thompson’s Saloon, contains every facility for the production of first-class pictures; but, for the accommodation of such persons as may desire cheap likenesses, I take this opportunity of announcing that I am prepared to furnish Daguerreotypes at fifty cents and upwards, at my old establishment, No. 205 Broadway, corner of Fulton street, where specimens may be seen with the prices affixed; and I will demonstrate that I can produce a better picture at four shillings, than any adventurer. Being unwilling to abandon any artistic ground to the producer of inferior work, I have no fear in appealing to an enlightened public as to their choice between pictures of the size, price and quality, which will fairly remunerate men of talent, science and application, and those which can be made by the merest tyro. I wish to vindicate true art, and leave the community to decide whether it is better to encourage real excellence, or the opposite, to preserve and perfect an art, or permit it to degenerate by inferiority of materials which must correspond with the meanness of price. M. B. Brady, New York.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Topics Astir. Young America.” HOME JOURNAL: FOR THE CULTIVATION OF THE MEMORABLE, THE PROGRESSIVE, AND THE BEAUTIFUL n. 447 (Sept. 2, 1854): 2. [“…The above thoughts were put in type by a very suggestive picture, published by Messrs. Williams and Stevens, from a daguerreotype by Brady, and styled ‘Young America.’ The engraving in question is the most perfect embodiment in question of the subject that could well be conceived. A very fine-looking youngster surveys you with an air…”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Mere Mention.” HOME JOURNAL: FOR THE CULTIVATION OF THE MEMORABLE, THE PROGRESSIVE, AND THE BEAUTIFUL n. 482 (May 5, 1855): 3. [“Heretofore the French have been regarded as the only successful practitioners of the photograph; an examination, however, of the results exhibited at Brady’s establishment, 359 Broadway, will convince the public that the acknowledged superiority of American daguerreotypes extends also to the kindred art of photography.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘A Word to Shoppers.” HOME JOURNAL: FOR THE CULTIVATION OF THE MEMORABLE, THE PROGRESSIVE, AND THE BEAUTIFUL n. 485 (May 26, 1855): 3. [Article extolling the charms and virtues of strolling down Broadway. “…leaving them unexpected leisure to linger over a favorite portrait at Elliott’s studio, or a superb crayon at Hick’s, or study character for the hundredth time at Brady’s or Gurney’s elegant daguerreotype drawing-room, or…”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Idlewild Evening Lamp: Or Gossip over Books, Papers, and Correspondence.” HOME JOURNAL: FOR THE CULTIVATION OF THE MEMORABLE, THE PROGRESSIVE, AND THE BEAUTIFUL n. 510 (Nov. 17, 1855): 2. [“…And, by the way, there is a new stamping of the ingots into coin, in the formal adoption of the photograph as a branch of high Art by that admirable painter, Wandesford. [sic Wandesforde, Juan Buckingham, 1817-1902) He has regularly ‘gone into business’ with Brady, Sunshine and Co. (probably feeling that a partnership with light is a thing for which Art can afford to be up-Brady’d), and now turns out superb masterpieces of portrait, letting his two partners (Brady and the Sun) commence the picture, while he finishes with pencil and genius. It is worth anybody’s while to step into the Brady Gallery in Broadway, and see how admirably Science and Art thus work together. A portrait by Wandesford [sic Wandesforde] alone was always a beautiful thing; but, with the truth of the likeness first assured by the photograph, his skill is improved in its effects (he will allow us to say,) while with the labor saved in the drawing, the portrait is given at an important reduction in the price. And those who visit this one of the most curious places of curious Broadway, should not forget to ask for a sight of Brady’s ambrotypes—photography on glass—of which we shall have something to say in a more leisurely corner of our Journal.:]

BRADY, MATHEW B. (1823-1896) (USA).
‘Idlewild Evening Lamp: Or Gossip over Books, Papers, and Correspondence.” HOME JOURNAL: FOR THE CULTIVATION OF THE MEMORABLE, THE PROGRESSIVE, AND THE BEAUTIFUL n. 514 (Dec. 15, 1855): 2. [“…But, talking of presents, here is one from Mr. Brady—a specimen of the portraits which are now making such a stir, and which are begun by the sun in heaven and finished by Mr. Wandesford [sic Wandesforde] in the fourth story of 359 Broadway. This is a likeness of that heroine-looking creature, Vestvalli, and it is as perfect, for resemblance, as anything could well be; but after the photograph had secured this part of it, Wandesford [sic Wandesforde] took it in hand to supply the color and the grace, and admirably has he done it. Really, there is no more charming way for a lady to be portrayed. We recommend a call on Brady, at least, to look at his new wonders.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Mere Mention: A Photograph.” HOME JOURNAL: FOR THE CULTIVATION OF THE MEMORABLE, THE PROGRESSIVE, AND THE BEAUTIFUL n. 678 (Feb. 5, 1859): 2. [“The admirers of Mrs. Browning’s poetry, who may wish to know how the lady herself looks, can gratify that laudable desire by dropping in at Francis’s bookstore, where they will see her ‘counterfeit presentment’ in the shape of an imperial photograph, done by Brady in his best style, from an original ambrotype, taken, we believe, in Paris. It is quite unlike the miserable profile medallion of her that appeared a year or so ago, in some English paper—the London Illustrated News, if we remember rightly. We are assured, by those who know Mrs. Browning, that the aforesaid does her justice; it is a thoughtful, interesting portrait. Francis intends engraving it for some future edition of her poems; in the mean time, smaller copies of it may be had at a reasonable price.”]

HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES see
DAGUERRIAN JOURNAL

HUNT’S MERCHANT’S MAGAZINE AND COMMERCIAL REVIEW

BRADY, MATHEW B. (1823-1896) (USA)
[Advertisement.] “A Great National Work.” HUNT’S MERCHANT’S MAGAZINE AND COMMERCIAL REVIEW 22:2 (Feb. 1850): inside front cover. [(This is the same prospectus that was published in other magazines. See Holden’s Dollar Magazine 5:2 (Feb. 1850): 128, for text. WSJ)]

BRADY, MATHEW B. (1823-1896) (USA)
“The Book Trade.” HUNT’S MERCHANT’S MAGAZINE AND COMMERCIAL REVIEW 22:2 (Feb. 1850): 254. [“22.-The Gallery of Illustrious Americans. Containing the Portraits and Biographical Sketches of Twenty-four of the most Eminent Citizens of the Republic, since the Death of Washington. The publication of this work has created an interest among all classes, and the successive numbers will be looked forward to with curiosity. It is the first time an attempt has been made in this country to produce a specimen of fine printing on imperial folio drawing paper, after the style of those superb galleries which are so often published in Europe. The type, which is of a very beautiful kind, has never before been used for printing, either at home or abroad. The paper, the presses, and everything connected with it, we understand, have been manufactured expressly for the purpose, and no pains could have been spared to produce so magnificent a work. It is to be completed during the year, in twenty-four numbers, containing the portrait and biographical sketch of our “Illustrious Americans,” under the editorship of C. Edwards Lester, Esq. The portraits are engraved by D’Avignon, who is without a rival in his superb style, from a series of very large and exquisitely executed daguerreotypes, by Mr. Brady, whose reputation in his art is very generally and justly appreciated. Un- der the favorable auspices which attend the publication of the work, we doubt not it will be completed in the same splendid style in which it is begun. General Taylor’s portrait in this number, is regarded, by those who know him well, as being superior to any that have yet been taken. We venture to say, however, that it surpasses public expectation, in every respect; and when complete, will form such a gallery as has long been wanted, and which will transmit, to coming times, the most striking and beautiful portraits of our public men, embellished with the finest letter-press our country has produced.”]

BRADY, MATHEW B. (1823-1896) (USA)
“The Book Trade.” HUNT’S MERCHANT’S MAGAZINE AND COMMERCIAL REVIEW 22:3 (Mar. 1850): 365. [“8.-Littell’s Living Age. Boston: E. Littell. New York: Dewitt & Davenport. Mr. Littell, the editor and proprietor of this work, may be regarded as the pioneer in re-producing in these United States the choicest literature of England. He started nearly, if not quite a quarter of a century ago, the first journal of foreign literature; and if his taste, zeal, and industry had been properly appreciated, he would, (if it were possible for one of his tireless energy and activity,) have retired, ere this, on a well and honestly earned fortune. A contemporary, C. Edwards Lester, Esq., the editor of the “Gallery of Illustrious Americans,” in his “Fly-Leaf of Art and Criticism,” pays a high but well merited tribute to Mr. Littell and his “Living Age,” which we take great pleasure in transferring to the pages of the Merchants’ Magazine, with our unhesitating assent to the justness of our cotemporary’s criticism :—
“Littell’s Living Age.-This best of all the Eclectics, has nearly reached its three hundredth number, and from week to week its appearance is looked for with interest by more readers of taste and intellectual culture than any other hebdomidal in the country. Mr. Littell was the founder of this school of publications. His Museum of Foreign Literature was for twenty years the chief medium through which the periodical literature of Europe was diffused through America. The Living Age has existed about six years, and during that period it has gained a wider circulation, and become a far more valuable work. It exceeds all similar publications, in being a weekly, in the living and electric spirit of its articles, in their immense volume and variety, and in the punctuality of its appearance. If an extraordinary article comes out in Blackwood, or any of the great reviews, his readers are sure to be among the first to get it. Any number of the Living Age is reliable reading to slip into the pocket for a leisure evening, a steamboat, or a railway car, and if there has been a change in it, it has steadily been growing better from the beginning. The twenty-two bound volumes of this work contain more Literature than has ever been crowded into the same space, and as a reference book, or one for family reading, make up a richer, racier, and a more varied library than can be had for the same expense in any form.”]

BRADY, MATHEW B. (1823-1896) (USA)
“The Book Trade.” HUNT’S MERCHANT’S MAGAZINE AND COMMERCIAL REVIEW 22:4 (Apr. 1850): 480. [“23.-The Gallery of Illustrious Americans. Published from Brady’s Gallery. The third number of this splendid work has made its appearance, and fully sustains the promise of preceding issues. It contains a portrait of Daniel Webster, the most perfect and life-like presentiment of that great lawyer that has ever, to our knowledge, been produced. Indeed, it is the finest specimen of lithographic engraving we have seen. Mr. Lester’s brief but comprehensive sketch of the life and character of Mr. Webster is tersely written, and most emphatically comprises “many things in few words.”]

BRADY, MATHEW B. (1823-1896) (USA)
“The Book Trade.” HUNT’S MERCHANT’S MAGAZINE AND COMMERCIAL REVIEW 22:6 (June 1850): 703. [“28. The Gallery of Illustrious Americans. New York: Published from Brady’s Gallery. The fourth number of this great national work is devoted to a portrait and sketch of the life and character of the late Silas Wright. The portrait, drawn and engraved by D. Avignon, is in the same finished and masterly style of the portraits embraced in former numbers of this work. The biographical notice, from the pen of C. Edwards Lester, Esq., is a model of artistic elegance of diction. It is one of the most laconic and comprehensive portraitures of character we have ever read.”]

BRADY, MATHEW B. (1823-1896) (USA)
“The Book Trade.” HUNT’S MERCHANT’S MAGAZINE AND COMMERCIAL REVIEW 24:1 (Jan. 1851): 137. [“15.-The Gallery of Illustrious Americans.-Edited by C. Edwards Lester. “Number twelve has been issued in the same handsome style with the previous ones. This number contains a portrait of General Cass. It is executed with great fidelity of expression, and much artistic skill. This biographical sketch is brief, yet pointed and, comprehensive, and will serve, like all the others, as admirable specimens of this kind of composition. The publication is now half completed, and judging from the execution of the first numbers, it will undoubtedly sustain its present high reputation to the last.”]

ILLUSTRATED AMERICAN NEWS (1851) New York, NY

The engraver T. W. Strong began the ILLUSTRATED NEW YORK NEWS in New York City on June 7, 1851. The first issue consisted of 8 pages, in a three column newspaper format, with 15 small one column or one and a half column woodcuts. The journal published a farrago of news events, fiction, poetry and comic items, with generic or stock illustrations, many of them probably repurposed from other, earlier sources. Some current news events, such as the London World’s Fair and the San Francisco fire was reported and illustrated. But the first attempt to represent an actual individual was a portrait of the poet Bayard Taylor on the first page of the 1:6 (Sat., July 12, 1851) issue. (This image may have been taken from a daguerreotype source, although it was not credited.
The title was changed to the ILLUSTRATED AMERICAN NEWS on July 19th, with the 8th issue. At that time the magazine also changed to a larger page size and a more active use of illustrations. The periodical continued publication through its twenty-fourth number, on November 15, 1851, when it abruptly folded. The journal also published several special extra-illustrated “Supplements” for some of its issues. (One on the State Fair in Rochester, NY, another on the Erie Railroad), but I have not actually seen any copy of these.
In these twenty-four numbers the magazine published approximately a dozen portraits of actors, poets, and other celebrities that were credited as derived from daguerreotypes. All but two of these daguerreotypes were credited to the WHITEHURST gallery. BRADY and MEADE & BROTHERS provided the other two portraits. The first view published from a daguerreotype was a scene of the Genesee Falls in Rochester, N. Y, taken by the ROOT BROTHERS and published in the October 11th issue. Two other scenes from daguerreotypes were published in the October 25th and November 8th issues. These were scenes of California gold miners at work, and they were part of the 300 views taken there by R. H. VANCE, which then displayed in New York City in the Fall of 1851. “Photography and the Magazines 1830s 1880s.” WSJ [modified 7/3/ 2020)

ILLUSTRATED AMERICAN NEWS see also ILLUSTRATED NEW YORK NEWS

BRADY, MATHEW B. (1823-1896) (USA).
1 b& w (“James Fennimore Cooper from a Daguerreotype by Brady.”) on p. 136 in: “James Fennimore Cooper.” ILLUSTRATED AMERICAN NEWS 1:17 (Sept. 27, 1851): 136. [“On Sunday, the 14th inst., died at Cooperstown, Otsego County, New York, James Fenimore Cooper, one of the leading authors of America. He was born at Burlington, New Jersey, Sept. 15th, 1789, and if he had lived one day longer, would have been 62 years age…..”]

ILLUSTRATED LONDON NEWS

BRADY, MATHEW B. (1823-1896)
1 b & w (“President Taylor and His Cabinet – Daguerreotyped by Brady,”); 1 illus. (“General Taylor on his horse, during the Mexican-American War.”) in: “The Late General Zachary Taylor, President of the United States.” ILLUSTRATED LONDON NEWS 17:438 (Sat., July 27, 1850): 84-85. 1 b & w, 1 illus. [Illustrations are “The Late General Taylor, President of the United States,” a drawn representation of General Taylor on his horse, during the Mexican-American War., and “President Taylor and His Cabinet – Daguerreotyped by Brady,” which includes a portrait of Taylor and seven of his cabinet members, each named, presented as a group but probably collaged from separate portraits.)]

BY COUNTRY. USA. 1850.
“Daguerreotyping in America.” ILLUSTRATED LONDON NEWS 17:447 (Sat., Sept. 21, 1850): 248. [“It is believed that the present number of persons directly engaged as daguerreotypists in the United States is 10,000; to which may be added at least 5000 who obtain their living from indirect connation with the art, by the manufacture of plates, cases, chemicals, and apparatus — so that the aggregate supported in the Union by this means cannot be far short of 15,000 persons. According to the New York Tribune, Mr. Brady, of that city, is about to establish a new and important improvement, viz. the process of taking pictures on ivory by the aid of the daguerreotype art.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Colonel Fremont.”) in: “The Honourable John Charles Fremont.” ILLUSTRATED LONDON NEWS 18:471 (Sat., Feb. 22, 1851): 168. [“In the “Gallery of Illustrious Americans,” Brady’s Gallery, New York; and Delf, Bow-lane, Cheapside. The Portraits are engraved by D’ Avignon, from Daguerreotypes by Brady.”]

EXHIBITIONS. 1851. LONDON. GREAT EXHIBITION OF THE ART AND INDUSTRY OF ALL NATIONS.
“A Guide to the Great Industrial Exhibition: Light and Its Applications.” ILLUSTRATED LONDON NEWS 18:485 (Sat., May 17, 1851): 424-425. [(I have included all of this long review, including the discussion of those items not directly related to photography, because it portrays the concept that in the 1850s photography was still regarded as one of the myriad of recent inventions that was bringing so many benefits to the industrializing country, of which many of these devices were loosely described as “philosophical instruments or “philosophical tools,” which foregrounded the notion of discovery and technological invention. When photography was placed together with the many other technological improvements loosely grouped around the utilization of “Light” which provided a better modern world, no one felt compelled to complain about its placement in the exhibition. But there was a very different and angry response from the photographers when a similar categorization was applied in the 1862 exhibition, as this group thought of themselves as artists, and they no longer accepted the belief that the practice was driven by simple mechanical practice. WSJ)
“It forms a pleasing task for us to review the application of light; for although electricity has been made subservient to the will of the manufacturer within the last ten years, and has, therefore, the first claim upon our attention, yet some of the phenomena of light have also been adapted to the wants of man for the first time within the last few years. The vast area of the great Building itself has taught mankind a lesson as to the mode in which the glorious light of day may be judiciously used. On entering at the South Transept a spectacle is afforded which tills the mind with wonder, and produces an overwhelming effect on the senses from its novelty, grandeur, and beauty….” (p. 424)
“…It is only within the last few years that the force of light has been made directly available for the arts, in the production of pictures. Here we have very excellent, examples of Daguerreotype and Calotypes. of the former we are inclined, after a very minute and careful examination, to give to America the first place. Whether the atmosphere is better adapted to the art, or whether the preparation of Daguerreotypes have been congenial with the tastes of the people, or whether they are unfettered by the patents in force in England, certain it is that the number of exhibitors has been very great, and the quality of production superexcellent. The likenesses of various distinguished Americans, by Mr. Brady, are noble examples of this style of art. The family of Mr. Churchill is a very pretty group; and the series of views illustrating the falls of Niagara are a very appropriate example of American industry, by Mr. Whitehurst, of Baltimore. The large specimens by Mr. Harrison are also excellent. In fact, the American display of Daguerreotypes in some degree atones for the disrespect with which they have treated all other nations, in having applied for so large a space, and yet at last having left their space comparatively unfilled.
Whilst stating that the Americans have surpassed all nations in the production of Daguerreotypes, it must not be understood that the English are much deficient in this branch of art. M. Claudet has exhibited a very fine collection. Mr. Mayall, who, perhaps, must be regarded as an American, has also a good display; and, upon the whole, our show is by no means discreditable to us.
With regard to calotypes, Mr. Bingham has shown some of his exquisite productions; and Mr. Field has been by no means behindhand in this branch of art. The specimens of Mr. Bingham and Mr. Field have surpassed the Americans, and are even better than those exhibited by any other country; though we must admit the photographic panorama of Philadelphia is a masterly production of the art The Austrians also have exhibited many specimens of exquisite calotypes.
With respect to photographic camera; there are many exhibitors, but the folding machine of Messrs. Horne and Thornthwaite deserves the first notice. It is made with such cunning skill, that the whole box will fold into a compass not quite an inch in thickness. The backs of one of their camera; can be adjusted to different distances in perspective; and in their Talbotype contrivances two sheets of paper can be placed in a less compass than has hitherto been required for one. Mr. Willatt has also shown a camera which will pack in a small compass, which may be sometimes usefully employed. Hitherto the plates have required to be prepared in a dark chamber; but there is one contrivance invented by Mr. Thornthwaite, wherein the plate can be transferred to a chamber, in an ordinary apartment, and from thence transferred to the operating frame.
As far as the chemicals used for photography are concerned, many exhibitors have shown good examples; Messrs. Knight have sent the largest collection, but Messrs. Horne have contributed the best specimen of chloride of gold which we have ever seen.
Our readers will doubtless expect a critical account of photographic lenses; but in answer to their inquiries we must state that we cannot examine them sufficiently to pass judgment on them. Mr. Ross, Messrs. Horne and Co., Mr. Field, Mr. Harrison, of the United States, and some of the French opticians, have exhibited under this diss, but we have no means of estimating the relative excellence of their glasses.
Mr. Knight has shown an apparatus for polishing Daguerreotype plates, so that photography must be considered as well represented in all its departments. We nearly omitted to mention that in the American department a collection of slides adapted to the magic lantern and prepared by photography, are shown, but no description of them is given in the present Catalogue. They are labelled “specimens of hyalotype, by Mr. Langenheim,” but, if we mistake not, they are identical with a specimen executed by Mr. P. V. Fry, of the Calotype Club, by one of Messrs. Horne and Thornthwaite’s cameras. We have seen the experiments of this amateur photographist on former occasions, and the pictures which he has prepared upon glass are extremely beautiful. He washes over the glass with a mixture of weak collodion, nitrate of silver, and iodide of potassium, which forms a thin delicate sensitive pedicle, which can be treated as paper for the calotype process, washed, removed from the glass, and finally made adherent to the glass again This process is very little known to scientific men, and should be carefully examined by all photographers. Perhaps Mr. Fry would, now the Illustrated London News has called attention to the subject, be kind enough to give the public an opportunity of examining a few more of these specimens. This specimen is exhibited in the case belonging to Messrs. Horne and Thornthwaite.
M. Claudet has exemplified the properties of colours to modify photographic impressions by one or two very remarkable instances. He has shewn pictures of Prince Albert and the Queen; that of his Royal Highness being covered with glass of so deep a blue colour as to be in visible; whilst the likeness of her Majesty is only covered with a light yellow glass. The impression on photographic paper is sufficiently remarkable, for the picture of the Prince is accurately copied, whilst that of the Queen has not given the faintest impression. M. Claudet has also shown a photograph from a series of colours, which may be very instructively studied; and also instruments for photographic experiments, which are highly interesting to all who delight in these new applications of scientific knowledge to art. To us, who have frequently seen the contrivances, the single inspection is sufficient; but again we urge upon the Executive Committee the importance of full descriptive labels, to prevent the necessity of referring to the Catalogue, even should its present defects be entirely remedied.
Of the whole articles connected with light, the self-registering contrivances of Mr. Brook are by far the most remarkable. This philosopher has shewn the adaptations which he has contrived, and which are now in use in the National Observatory at Greenwich. by his instruments the course of the magnetic needle, its dip, the force of its declination and deviation are registered, day by day and hour by hour, and an example of the record may be seen near the instruments, and is well worthy a careful inspection. The record is obtained by the action of light on photographic paper, and the light employed is either the better sort of street gas or the naphthalised gas or Mr. Lowe. These instruments are thought to be of the highest possible value, and although known to the leading scientific men, yet they have not heretofore been publicly shewn. by the use of these instruments the philosopher is accurately recording all which is taking place in his absence; and it is, therefore, to him a supplemental eye, which requires no sleep, and is never disturbed by ebullitions of temper. These instruments are regarded as some of the most noble triumphs of science which have yet been devised.
The three great microscope makers of England — Ross, Smith, Powell — have each contributed, more or less, to the World’s Fair; but the scientific are not agreed as to which are the best. The physiological men like Powell’s; and when the Royal Society purchased an instrument, they purchased one from that maker. The chemical and botanical men prefer microscopes made by Ross; and the natural history investigators prefer Smith’s. We apprehend that these three great makers are so nearly equal that there is no very essential difference between them; but we ourselves, having had an extensive experience of all these microscopes, are inclined to award to Smith and Beck the first place. We exceedingly regret that our readers have not the means of judging for themselves; and we trust that the Executive Committee will cause all these microscopes to display some beautiful object; and doubtless many of our country friends would be astonished at the acari which are contained in sugar, or would be delighted with the circulation of the blood in young fish; and would leave the Building much edified by having read “sermons in stones,” if some of the fossils of Mantell or Owen could only be placed under these noble instruments, which possess, whilst closed up in glass cases, no more interest than a bright tea-kettle or a neat stew pan.
Amongst the French exhibitors Chevalier is a contributor; and. as we have used his lenses for years with the best results, we doubt not that he has ably sustained his character in the specimens which he has exhibited.
Mr. Ladd has contributed a microscope, which we have only seen once or twice before, in which the adjustment, instead of being by the ordinary pinion and rack, is performed by means of a fusee chain. This manufacturer states that be requires no finer adjustment, except for the 1-12th object glass, and this must be considered as an improvement, but further experience is still wanted to prove its excellence. Mr. Varley has shown his method of moving the stage by a ball and socket joint, which attracted so much attention a few years ago, and is so frequently employed. But, perhaps, amongst contrivances of microscopes, one of the prettiest is the parabolic condenser, with meniscus and diaphragm for cutting off the central rays, as shown by Mr. Smith. by this apparatus transparent objects are seen bright on a dark ground. This manufacturer has also shown Mr. White’s ball and socket stage.
Mr. Varley has contributed a drawing telescope — that is, an instrument with a camera lucida attached, so that any uneducated person may make a drawing of natural scenery, with but moderate practice. It is a very good contrivance, and may be extensively used.
With respect to telescopes, Mr. Ross, for size and workmanship, has contributed the finest specimen of an equatorial instrument in the Building. Some persons have confounded his name with that of the Earl of Rosse, the distinguished President of the Royal Society. The large telescope contributed by Mr. Ross stands in the western part of nave, surrounded by microscopes of his own manufacture. The tube is designed for a 12-inch object glass, which we need hardly say is a very large instrument. We hear that this eminent optician has achromatised the glass at the first trial; but, whilst placed in its present situation, it is, like many other objects, a mere specimen of brass and iron work.
In the department for spectacles and other similar contrivances, Messrs. Home and Thornthwaite have exhibited Smee’s optometer, for accurately examining the state of vision, and adjusting optical contrivances. The principle of the instrument is to bring the range of in finite distance, as fat as the rays of light are concerned, within the scope of a few inches, within the point of distinct vision, and the range of adjustment, which the eye possesses for various distances, is easily learnt, and, in every case of either pure shortsightedness or longsightedness, the number of either the concave or convex glass can be read off by inspection. No person should employ spectacles without having his eye first carefully examined as to its optical properties by this instrument, for the use of improper glasses is apt to produce damage which may remain to the latest period of life.
Of the countless multitudes who may be expected to visit the Exhibition, but a very small proportion have the slightest idea how spectacle-glasses are manufactured, but they will here have an opportunity, as two or three specimens of the apparatus are exhibited by Messrs. Chadburn, of Sheffield. A number of lenses are fixed into a lump of pitch, and an iron concave instrument of the right curve is rubbed over them until they acquire the right thickness, when they are polished, and are fit for use. In spectacles adapted for use, Mr. Braham’s case is the most interesting. He has exhibited specimens of spectacles from their earliest invention, and has illustrated the various modes adopted by Sir Isaac Newton, Drs. Kitchener, Wollaston, and Herschell. We have the highest opinion of the pantoscopic spectacles, which are menisci lenses, as recommended by the great Wollaston, so ground and fixed in frames, that the eye can look at near objects through the glass, but at distant objects over the frame. This form should be adopted by all who first take to glasses, as it will allow the use of these adjuvants to vision without injuring the eye by straining it when the glass is not required. In Mr. Braham’s case of spectacles the visitor will have an opportunity of examining the mode in which “pebbles ” are made from blocks of quartz. Slices of the transparent stone are first cut; these are ground to the requisite curve, and then polished, when they are ready to be inserted in the frame.
In this department the Executive Committee have it in their power of carrying out the idea first promulgated by Prince Albert, of affording to the people the means of examining manufactures in every stage; but at present the objects are exhibited without labels or proper explanations; and such great masses of subjects are crowded into one case, that the visitor cannot get as good an idea of that which is shown, as if he were walking through the ordinary streets, We could not find anything in Messrs. Dixie’s case, or in the cases of some of the other exhibitors, which could not have been seen twenty years ago in any shop-window. Such displays cannot serve to any useful purpose, the more especially as it is well known that in some cases no single object has been made by the exhibitor, but every object is simply an article of commerce, which can be purchased by any person at the real makers’, who dwell in the back streets of Pentonville and Clerkenwell.
There are many opera-glasses exhibited by various firms, but, until proper labels are attached to them, and persons are employed to show their respective peculiarities, we advise our readers not to waste their time in viewing them, for they can get as much information by looking into the shop-windows as they perambulate the streets. Mr. Hyams has shown an opera-glass made of one block of glass, but it has the disadvantage of not admitting of adjustment. In the French department there are many exhibitors of telescopes and opera-glasses; and M. Janin has a case of very interesting lenses, prisms, and other optical glasses.
Mr. G. Dubosq Soleil has the first place amongst exhibitors in the department of polarising apparatus. Other French exhibitors are rich in all forms of optical apparatus, but in this particular department he has excelled The polarising microscope of Amici; the polarising apparatus of Arago; the instrument to exhibit the double refraction by compression of Fresnel; and a stereoscope, to show the complimentary colours of Brewster, are contained in the glass case: but, unless this be placed upon the table, for any person who desires to examine them, they may as well be in France as in the Industrial Exhibition. Mr. Dubosq-Soleil exhibits an instrument to show all the effects of interference and diffraction of light.
In the French department, quadrants and sextants are also abundantly represented.
The dissolving view apparatus is shown by a few persons. It consists of two cameras, the view from one being cut off as that from another is allowed to shine. Mr. Abraham, of Liverpool, has also exhibited a dioptric and trioptric lantern, which will be doubtless new to most visitors of the Exhibition.
Photometers are very poorly represented. We only observed a single specimen amongst the philosophical instruments; but it is possible that amongst the chaos of objects exhibited, others might exist without being noticed by us.
In the western part of the nave the Commissioners of Northern Lighthouses have exhibited an apparatus the same as used at Skerry Rock, together with various other models. This is a very beautiful specimen of the practical application of the well-known theoretical laws of optics. There is also a model by Dr. Thomas Stephenson, where advantage is taken, not only of the laws of refraction, but also of the reflection of light from internal surfaces of glass when falling at an oblique angle. These objects and models require full explanations to be appended to them, to render them of service to the public who wish to study them; but the general object of the constructor is to throw from any definite lamp the greatest possible amount of parallel rays of light in one definite direction.
In optical glass, we have exhibitors both in the foreign and our own department. Messrs. Chance, of Birmingham, have astonished other exhibitors by the production of a piece of optical flint glass reported to be worth several hundred pounds even in its unmanufactured state.
There is a pretty geometrical projection in the foreign department, where all the objects appear greatly distorted, unless viewed at one situation. Perhaps, when speaking of optical delusions, we should not forget the statuette of the veiled vestal virgin, purchased by the Duke of Devonshire; and the artificial ermine which has been manufactured from silk at so great a cost by Messrs. Worthington and Davis.
One of the most curious applications of physical knowledge of the present day is that of fixing Newton’s soap bubble. Every child must have observed that when a soap bubble is blown it becomes thinner and thinner, and exhibits the most beautiful iridiscent colours till it bursts, and thereby vanishes into the air. To Mr. De la Rue, sen., belongs the merit of not only having conceived the idea, but also of having, by his own ingenuity and delicacy of manipulation, fixed this iridiscent bubble, and then rendered it applicable for the arts. To this purpose he uses a little varnish, into which are inserted various other substances. A few drops of this is allowed to thin, till it covers the water and becomes iridiscent, when by dexterous manipulation the object to be covered is raised from the basin, and draws with it the delicate film, which possesses all the properties of a soap bubble. The name he has given to this glorious triumph of physical philosophy is “Opaline;” and having been greatly interested with the specimens shown at his stall, we have been favoured with a sight of other specimens, which have been made for different purposes. In future years the visiting card is destined to be as brilliant as the brightest mother-of-pearl, or the richly coloured Haliotus. Our walls are to be papered with iridiscent colours, which vie with the natural hues of the birds and butterflies which flit about the tropical groves. The colours upon these papers are of the same kind with the colours on the wings of the Emperor of Morocco butterfly, the most beautiful beetle, or the brightest shell; and, curiously enough, is one of the few human productions which will bear the microscope, and still gain instead of losing by the more minute examination.
At the curious stall of these manufacturers two artificial rainbows are shown, one above another, in complimentary colours. This very instructive display is, we believe, as perfect as the present state of chemical knowledge will permit; and, as far as we know, the colours are arranged in a true chromatic scale. by observing this scale, different person will be enabled to detect any defect in their own vision; for it is well known that different persons have a very unequal power of discerning various colours; and we have read the particulars of a case detailed by an ophthalmic surgeon, where all colours appeared as different degrees the
of light and shade.
At the present time our sources of artificial light are sufficiently numerous. The old rush candle, made of a piece of pith dipped into the refuse fat of the kitchen, is now become a curiosity, so seldom is it seen This was followed by the use of dips, where a greater quantity of grease was used in the candle, and later by moulds. At a later period we had the costly wax, or spermaceti, but all have yielded to the improvements of modern chemistry and the products of modern science. The old rushlight required no snuffing: its wick turned out, and it snuffed itself: those which followed it demanded the perpetual attention of the reader, and the clumsy contrivances of snuffers were always required to be at hand. The principle by which the wick was self-snuffed by the rushlight was at last employed by Mr. Palmer to modem candles, and few that are now used require any attention, as in the process of burning, the end of the wick turns to the outer margin of the flame, where sufficient oxygen is afforded to consume it. Great improvements have been made in stearine candles. At first arsenic was used to prevent the crystallisation of the substance; but, by the vigorous efforts of the doctors, the public were spared the pernicious effects which might have resulted from their use, and the manufacturers were compelled to find out some other mode of treating the subject; but, doubtless, fur economy and brilliancy of light, the compositions of palm oil take the lead. We thus find modern candles are composed either of tallow, wax, spermaceti, stearine, palm oil, or various combinations of these materials. Packets of candles are lying in various spots over the Exhibition; but candles are for the purposes of illumination, and therefore our readers cannot possibly get any knowledge from their inspection, so long as they are “hid under a bushel” in this manner.
Oil lamps are shown in great profusion, by almost countless exhibitors. Two classes attract attention: one, by which the oil is carried to the flame by capillary attraction; the second, in which the oil is pressed up by mechanical contrivances, We believe that we owe the second class to the ingenuity of our French neighbours, who are ever fertile in such inventions. The carcel and moderator lamps are of this class — the first acting by clock-work, the, second by a spring.
We have various forms of naphtha, adapted for illuminating purposes under the term of camphine. This material gives a most bright light, and is much more highly photographic than oil lamps or candies. It is liable, without care, however, to smoke; and, some years ago, when the material was first employed, we saw a trick played upon the inventor of the camphine lamps at one of our leading scientific soirees. A gentleman asked the inventor whether there was much tendency to smoke, and, instead of answering him, the person attending the lamp ridiculed his question before the company. Whilst the inventor was talking to a number of individuals upon the absurd questions which some people put, the inquirer unseen turned up the lamp and walked away, when, in a few seconds, such a shower of blacks descended upon the dresses of the ladies, that the managers peremptorily ordered the lamp out of the room. With care, however, this deposition of carbon may be avoided, and then it forms a splendid mode of illumination.
Mr. Halladay has shown a form of naphtha light, which he calls the Self-generating Gas-lamp, because the vapour of the fluid is burnt. We often observe the light upon the stalls of those who sell eatables in the manufacturing districts of London. The light seems admirably adapted for that or other purposes where gas cannot be procured; but, from a calculation we have made, we find that it is not so cheap as gas.
A great variety of forms of gas-burners are shown, of which, to our taste, the fish-tail is by far the most perfect Leslie has exhibited his burners as used in front of the Post-Office As, however, they require rather more pressure than other burners, a person using them on dark days, when the demand for gas exceeds the supply, might be left in the dark, while his neighbours were illuminated. Mr. Strode has shown the naphthalisers of Mr. Lowe, whereby poor gas can be enriched with carbon. Since the dispute between the gas companies, they are trying to outvie each other by using cannel coal instead of common coal, which process has so much improved the quality of the gas supplied to London, that the invention of Mr. Lowe may only eventually be required to demonstrate the value of carbonaceous products, to improve the illuminating power of gas.
We have searched diligently for the apparatus for burning carbonic oxide and hydrogen, without success, which is now attracting so much attention in Paris. by it the water is decomposed by passing steam at a very high temperature through white-hot coke. The hydrogen and carbonic oxide mix with air, and produce intense heat, which, acting upon platina gauze, gives a light which is now employed in some of the French manufactories.
Upon the whole we have good reason to be satisfied with the manner in which man has rendered the properties of light obedient to his will. In all those applications and adaptations which we have described, the first process was to observe the natural phenomena which the physical force manifested. The philosopher having collected these observations into groups, the manufacturer has been able to act according to the observed laws of nature. In all these instances no power of creation is shown; but man first learns the phenomena which nature presents, groups these phenomena in classes, which he assumes to be the result of fixed laws, and according to these laws conducts his operations. We thus find how the man of science precedes the inventor; how the philosopher is continually observing new groups of facts; abstracting his observations into general laws, for the inventor and adapter at a subsequent period to employ for the wants of man. It can hardly be said that the philosopher is more meritorious than the inventor, or the inventor than the philosopher: the latter, however, too frequently only receives the pleasure which the gratification of his thirst for knowledge affords, whilst the. inventor, aa a general rule, obtains wealth, position, and power. The philosopher can claim the Crystal Palace, and ail which it, contains, as deductions from his labour; and we are afraid, if we trace the histories of the men of science, who have led to the production of this vast Industrial Exhibition, for the last century, that their labours have been comparatively unrequited, unnoticed, and have hardly obtained a passing thank. The time may yet come when great discoveries, no less than great battles, may be thought by the Crown and the Legislature to be entitled to the consideration of the country, and the philosopher be no less worthy of a nation’s thanks than the successful warrior.”]

EXHIBITIONS. 1851. LONDON. GREAT EXHIBITION OF THE ART AND INDUSTRY OF ALL NATIONS.
“The Great Exhibition. — Official Award of Prizes. Class X. — (Jury 10.) Philosophical Instruments, and Processes Depending Upon Their Use; Musical, Horological, and Surgical Instruments.” ILLUSTRATED LONDON NEWS 19:525 (Sat., Oct. 18, 1851): 506. [(More than 120 medals were awarded for this category, which included everything from electric telegraphs to air pumps to devices for weighing money – as well as photographs and photographic equipment)
Council Medal.
Brooke, C., for the invention of a means of self-registering natural phenomena, by photography
Buckle, S., Class XXX, for his photographs on paper
Claudet, A. F., for his several Inventions based upon experiments In the practice of photography; and for his non-inverted pictures
Dubosq-Soleil, J., France, for a very ingenious heliostat, on a new construction, by Silverman; the invention of an apparatus for fixing the charcoal points for electric light; a saccharometer of delicate structure and much ingenuity, and an elegant and novel instrument, by Brevaia, for exhibiting the phenomena of polarised light
Martens, F., France, for his Talbotypes on glass, by the albuminous process
Ross and Thomson, Class XXX., for great improvements in photography
Prize Medal.
Bayard, H., France, Talbotypes
Brady, M. B., United States, Daguerreotypes
Flacheron. F., France, Talbotypes
Henneman and Malone, Talbotypes
Horne, Thornthwaite, and Wood, good work in photographic apparatus
Kilburn, W. E, photographs
Lawrence, M. M., United States, Daguerreotype
Nasmyth, J, moon maps
Negretti and Zambra, meteorological instruments on glass
Plagniol, A, France, camera obscura
Pretsch, Paul, photographs
Reade, Rev J. B, solid eye-piece
Schiertz, J G, France, photographic apparatus
Shadbolt, G, microscope condenser
Varley and Son, telescopic camera lucida
Whipple, J. A., United States, Daguerreotype of the moon.”]

EXHIBITIONS. 1851. LONDON. GREAT EXHIBITION OF THE ART AND INDUSTRY OF ALL NATIONS.
“The Royal Commissioners, Executive Committee, and Foreign Commissioners of the Great Exhibition.” ILLUSTRATED LONDON NEWS 19:525 (Sat., Oct. 18, 1851): 508-509. [(The pages consist of 18 engraved portraits, 7 identified from photographs or daguerreotypes, 1 by Beard, 2 by Kilburn, 4 by Claudet. Most of the other portraits also probably derived from photos. Each portrait has the sitter’s name and title underneath.)
“Lord Rosse, President of the Royal Society, Royal Commissioner. – From a Daguerreotype by Claudet.
Richard Cobden, Esq., M.P., Royal Commissioner – From a Photograph by Kilburn.
The Right Hon. W. E. Gladstone, M.P., Royal Commissioner. From a Daguerreotype by Claudet.
Thomas Bazley, Esq., President of the Manchester Chamber of Commerce, Royal. Commissioner From a Photograph by Kilburn.
Sir Stafford Northcote, Bart., Secretary to the Royal Commissioners. From a Daguerreotype by Claudet.
Owen Jones Esq., R.A., Author of “The Alhambra,” Decorator of the Crystal Palace.
Dr. Royle, Indian Commissioner. — From a Daguerreotype by Claudet.
William Edmond Logan, Esq., F.R.S., F.G.S., Director-General of the Geological-Survey of Canada, Canadian Commissioner.
Francis Fuller, Esq., Executive Commissioner From a Daguerreotype by Beard.” (p. 508) Henry Cole, Esq., Executive Commissioner.
Charles Wentworth Dilke, Esq., Executive Commissioner.
Matthew Digby Wyatt, Esq., Secretary to the Executive Committee.
E. Riddle, Esq., of Philadelphia, United States Commissioner.
M. Gabriel Kamensky, Imperial Russian Commissioner.
Woldemar Seyffarth, LL.D. Saxon Commissioner.
Dr. Steinekis, Commissioner for Stuttgardt and Wurtenburg.
Signor Carlo Trebri, Roman Commissioner.
M. Dufrenoy, Deputy Chairman and Reporter of Jury No. 1.” (p. 509)]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Henry Clay.”) in: “Death of Mr. Clay.” ILLUSTRATED LONDON NEWS 21:569 (Sat., July 17, 1852): 36. [“From a daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Colonel Fremont, the Republican Candidate for the American Presidency.”) in: ILLUSTRATED LONDON NEWS 29:815 (Sat., Aug. 9, 1856): 138. [“… from a daguerreotype engraving in The Gallery of Illustrious Americans.”]

EXHIBITIONS. 1859. EDINBURGH. PHOTOGRAPHIC SOCIETY OF SCOTLAND.
“Photography in Edinburgh.” ILLUSTRATED LONDON NEWS 35:1010 (Sat., Dec. 31, 1859): 632. [“Last Saturday the Photographic Society of Scotland opened their fourth annual exhibition in Edinburgh. The collection is extensive and shows considerable progress over that of last year. The Views and Landscapes attract immediate attention on account of execution and size. Several of these are by local artists, both professional and amateur while others are due to the skill of their French and American bretheren in the art. Messrs. Brady, of New York, exhibit a series of very fine pictures — a portrait of the President, Mr. Buchanan, and some large heads, being particularly worthy of note. Mr. Mayall, of London, exhibits an interesting selection from the portraits of the notabilities he has photographed during the past year. His portrait of the Prince of Wales (just executed) attracts considerable attention, partly on account of its size and finish, and partly from the fact of his Royal Highness being well known to the citizens from his recent sojourns in Edinburgh.”]

ANTHONY, EDWARD & HENRY T. ANTHONY.
[Advertisement.] “The Fairy Wedding.” ILLUSTRATED LONDON NEWS 42:1192 (Sat., Mar. 7, 1863): 242. [“By special arrangement we publish exclusively the Card Photographs of the Liliputian Wedding Party, as follows:—Mr. and Mrs. Gen. Tom Thumb, in wedding dress, 1s. 6d.; Commodore Nutt and Miss Minnie, groomsman and bridesmaid, 1s. 6d.; Mrs. Gen. Tom Thumb, In celebrated reception dress, 1s, 6d. Misses Lavinia and Minnie Warren, 1s. 6d., the Whole Bridal Party (group of four), 3s.; the Bridal Party (stereoscopic picture), 3s.; the Bridal Party (stereoscopic coloured), 4s. 6d. Can be sent by mail on receipt of price and postage-stamp. None genuine unless stamped with our trade mark (EA in a circle) on the front of the photograph. Beware of spurious copies made from engravings, —E. and H. T. Anthony, 601 Broadway, New York, manufacturers of the best photographic albums and publishers of card photographs of celebrities. The negatives of these exquisite pictures were made for us by Brady. Orders for there pictures, accompanied by the cash, may be sent to the card of Messrs. Wheatley, Starr, and Co., American European Express, No. 116, Cheapside, London, and they will be filled in rotation as received, as fast as photography is capable of multiplying them.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Echoes of the Week.” ILLUSTRATED LONDON NEWS 46:1304 (Sat., Mar. 4, 1865): 199. [“…I can mark on the tablets of my mind a good many funerals I have seen… that of Archbishop Hughes, in St. Patrick’s Cathedral, New York, in the year last past. The ceremonial just named resembled, in pomp, pride, and circumstance, that observed at the obsequies of Cardinal Wiseman; only, in lieu of a coffin closed and covered with a pall, the actual corpse of the deceased Prelate, clad in full robes, and with his mitre on his head, lay exposed to view on a gorgeous catafalque surmounted by a baldaquin as gorgeous. Mr. Brady, of Broadway, took a photograph of the remains; and a very ghastly picture it made….”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lieut.-Gen. Ulysses S. Grant.”) in: “General Grant.” ILLUSTRATED LONDON NEWS 46:1311 (Sat., Apr. 23, 1865): 365. [“From a Photograph by Mr. Brady, of the National Portrait Gallery, New York.”]

BY COUNTRY. USA. 1861-1865 (US CIVIL WAR)
1 b & w (“Grand Review of the Army of the Potomac Before President Johnson at Washington.”) on p. 576 in: “Review of the Federal Armies at Washington.” ILLUSTRATED LONDON NEWS 46:1320 (Sat., June 17, 1865): 576, 596. […We are indebted to Messrs. Brady & Co, of Washington, for our Illustration of the first days martial display, in Pennsylvania Avenue near the White House, with the pavilion, or grand stand, where the President and his Cabinet Ministers, accompanied by some members of the Senate, the Judges, the chief Government officials, and other persons had taken their seats to behold the troops marching past. They had a very imposing appearance, all arms of the service being represented in full force. The occasional introduction of a body of Zouaves served to relieve the sameness. The dark and light blue uniforms gave fine effect to the spectacle, looking up the broad avenue. There was a continuous moving line, as far as the eye could reach, of national, State, division, brigade, regiment, and other flags. Some of them were new, their stars of gold leaf glittering in the sun, and contrasted strongly with the flags tattered in battle or worn to mere shreds. The troops were well clad, and their fine marching elicited praise from every spectator. As the different corps and divisions passed before the President and General Grant, their respective commanders left the column and took seats on the platform. The troops occupied six hours in review, from nine o’clock in the morning until three in the afternoon.”]

ILLUSTRATED MAGAZINE OF ART

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (‘Henry Ward Beecher.”) on p. 369 in: “Henry Ward Beecher.” THE ILLUSTRATED MAGAZINE OF ART 1:6 (June 1853): 369-370.
[“Henry Ward Beecher is a son of the venerable Dr. Lyman Beecher, and a brother of Mrs. Harriet Beecher Stowe, whose publications are exciting such deep interest on both sides of the Atlantic. He was born at Litchfield, Connecticut, in the year 1813, during the settlement of his father in that place. After receiving the rudiments of a sound and liberal education at Litchfield and Boston, he entered Amherst College at the age of seventeen, and graduated there in 1834….” (p. 369)
(Etc., etc.) “…We rejoice to be able to present our readers with a good portrait of this interesting branch of a most interesting family, from a daguerreotype, taken expressly for this work, by Mr. M. B. Brady, of New York.” (p. 370)]

ILLUSTRATED NEWS (N.Y.)

Claiming that New York and Philadelphia had a potential readership larger than that of London and Paris combined, the ILLUSTRATED NEWS began publication in January 1853. Citing as its role-models England’s ILLUSTRATED LONDON NEWS, L’ILLUSTRATION from Paris, and Leipsig’s ILLUSTRIRTE ZEITUNG -while conveniently forgetting to mention its closest rival, Boston’s two-year old GLEASON’S PICTORIAL -the ILLUSTRATED NEWS stated its intention to publish “the best and cheapest illustrated newspaper ever published.” Following the ILN closely in format and style, and frequently republishing materials from the ILN and other journals, the ILLUSTRATED NEWS quickly became competitive with GLEASON’S in style and size. However the American audience apparently wasn’t large enough to support two similar illustrated weeklies and the venture didn’t turn the necessary profit quickly enough for the showman P. T. Barnum, one of the magazine’s two financial backers. In November, the title was sold to its Boston rival, which simply absorbed its subscription list and stopped its publication.
The ILLUSTRATED NEWS published thirty-one portraits from photographs (fifteen of these credited to BRADY) in the forty-eight numbers of the magazine that were published. It also published nine news stories illustrated from photographs. These photographs fall into familiar categories views of houses or cities associated with some event or person in the news, aftermath scenes of a fire, ceremonies, and the like. The most interesting photographically illustrated feature appeared in the January 22nd issue. A Japanese merchant ship was caught in a storm and driven far out to sea, where the sailors were eventually rescued by an American ship and then brought to San Francisco. In early 1851 these sailors were transferred to the U. S. R. “Polk,” which eventually returned them to Japanese waters. The Baltimore daguerreotypist, H. R. MARKS, in San Francisco at the time, photographed the eighteen Japanese sailors while they were aboard the “Polk,” As Japan was still interdicted to Westerners, these portraits of Japanese, which the magazine claimed were the first such taken, were certainly newsworthy.
The ILLUSTRATED NEWS also published several articles on photography as news items during the year. The inauguration of the DAGUERRE monument in France was reported. On June 11th, the magazine ran a feature on MATHEW BRADY’s new gallery and it published a similar article on GURNEY’s gallery in the November 12th issue.
In addition to these articles, which were probably paid for by the galleries, there seems to have been some sort of informal arrangements between various gallery owners and the magazine’s illustrators. It seems that every time an illustration of a parade on Broadway in New York was needed, the illustrator chose to place the parade in front of Brady’s gallery. One coup that Brady must have felt good about was having his gallery prominently featured as the background to a parade of firemen in an illustration appearing on the cover of the November 12th issue, effectively trumping the article on the rival Gurney gallery published in the same issue.
BRADY would later, in 1857, form a strong affiliation with HARPER’S WEEKLY at that magazine’s inception, which would last for almost fifteen years. On the other hand, GLEASON’S PICTORIAL, which frequently used and mentioned the work of the MEADE BROTHERS, published a “Panoramic View of Broadway, N.Y.C.” in its March, 18, 1854 issue that featured the MEADE BROTHER’S AMERICAN DAGUERREOTYPE DEPOT and didn’t show the BRADY GALLERY at all. These items raise interesting speculations about the internecine connections between the galleries, the illustrators, and the magazines during that era.” “Photography and the Magazines 1830s 1880s.” WSJ

ILLUSTRATED NEWS (N.Y.)

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Purser Smith.”) in: ILLUSTRATED NEWS (NY) 1:2 (Jan. 8, 1853): 29. [“From a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Ellis’ Statuette of Lopez.”) in: ILLUSTRATED NEWS (NY) 1:4 (Jan. 22, 1853): 53. [“From a Daguerreotype by Brady.” ]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“John Ericsson.”) in: ILLUSTRATED NEWS (NY) 1:5 (Jan. 29, 1853): 69. [“From a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Thomas Sedgwick.”) in: ILLUSTRATED NEWS (NY) 1:6 (Feb. 5, 1853): 84. [“From a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Captain Ericsson, explaining his Invention to the Editors of New York (composite group portrait).”) in: ILLUSTRATED NEWS (NY) 1:7 (Feb. 12, 1853): 97. [“From a Daguerreotype by Brady.”]

UNKNOWN. USA. 1853.
1 b & w (“President Pierce.”) in: ILLUSTRATED NEWS (NY) 1:11 (Mar. 12, 1853): 161. [Not credited, but probably from a daguerreotype –possibly by Brady.]

UNKNOWN. USA. 1853.
1 b & w (“The Old Cabinet.”) in: ILLUSTRATED NEWS (NY) 1:11 (Mar. 12, 1853): 164-165. [Group portrait of seven politicians, standing together. Not credited, but the heads, at least, were probably from daguerreotypes –possibly by Brady.]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Eminent Men of Our Country.” ILLUSTRATED NEWS (NY) 1:11 (Mar. 12, 1853): 174. [“All those desirous of finding faithful portraits of the most distinguished Poets, Statesmen, and Heroes of our country…” “Brady’s Celebrated gallery, Nos. 205 and 207 Broadway. His collection embraces portraits of many hundreds of celebrated men, among whom may be enumerated the following:–…” (Lists 33 notables.) “Mr. brady is about opening a New and Magnificent Gallery at 359 Broadway….” “…All the daguerreotypes, from which the portraits used for the illustrations of this paper are engraved, were executed by Mr. Brady, and fully sustain the reputation which he has long held as the first artist of his profession.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. William R. King, Vice-President of the U. S. A.”) in: ILLUSTRATED NEWS (NY) 1:12 (Mar. 19, 1853): 177. [“From a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
“M. B. Brady, Esq.” ILLUSTRATED NEWS (NY) 1:13 (Mar. 26, 1853): 203. [“…the eminent daguerreotypist, has lately opened a new saloon for the purposes of his art, in one of the best buildings on Broadway, New York. On the occasion of the first opening, a large number of ladies and gentlemen, comprising many distinguished persons, were invited, and partook of Mr. Brady’s hospitality at a splendid dinner. The saloon is one hundred and fifty feet long, finished and furnished in the most costly manner. Mr. Brady is one of the oldest daguerreotype artists in the country, and one of the most successful too. He is the author of many valuable improvements connected with the art, his pictures having a world-wide fame for fidelity and elegance.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Cornelius Vanderbilt.”) in: ILLUSTRATED NEWS (NY) 1:15 (Apr. 9, 1853): 233. [“From a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Asher B. Durand, President of the National Academy of Design.”) in: ILLUSTRATED NEWS (NY) 1:18 (Apr. 30, 1853): 280. [“From a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“David R. Atchison, Present Vice-President of the United States.”) in: ILLUSTRATED NEWS (NY) 1:19 (May 7, 1853): 296. [“From a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Lucy Stone, Feminist.”) in: ILLUSTRATED NEWS (NY) 1:22 (May 28, 1853): 345. [“From a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Azariah C. Flagg, Comptroller of NY.”) in: ILLUSTRATED NEWS (NY) 1:24 (June 11, 1853): 377. [“From a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mr. Westervelt, Mayor of New York.”) in: ILLUSTRATED NEWS (NY) 1:24 (June 11, 1853): 377. [“From a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Photography Brady’s Daguerrean Salon.” ILLUSTRATED NEWS (NY) 1:24 (June 11, 1853): 384. 1 illus. [(Includes an idealized view of the waiting room in Brady’s gallery.) “it is well-known to our readers that this art has been brought to a higher point in this country than in the land of its discovery…”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Major-General Riley – Recently Deceased.”) in: ILLUSTRATED NEWS (NY) 1:26 (June 25, 1853): 409. [“From a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. James Buchanan, U. S. Minister to England.”) in: ILLUSTRATED NEWS (NY) 2:34 (Aug. 20, 1853): 84. [“From a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. Pierre Soule, U. S. Minister to Spain.”) in: ILLUSTRATED NEWS (NY) 2:34 (Aug. 20, 1853): 84. [“From a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Late Lieut. Col. Bliss.”) in: ILLUSTRATED NEWS (NY) 2:37 (Sept. 10, 1853):121. [“From a Daguerreotype by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Firemen’s Celebration The Procession in Broadway.” ILLUSTRATED NEWS (NY) 2:46 (Nov. 12, 1853): 265. 1 illus. [(View of parade on Broadway, with Brady’s Gallery prominently featured behind the marching firemen. The gallery, on the second floor above Thompson’s Saloon, has a large sign, “Brady’s Gallery” with a model of a large camera hanging from the front of the three or four story building.)]

ILLUSTRATED PHOTOGRAPHER

SEYMOUR, R. A.
“Pencil Jottings. Posing and Grouping.” ILLUSTRATED PHOTOGRAPHER 1:12 (Apr. 24, 1868): 142. 3 illus. [“In this number I give three examples. The one is from a photograph by Brady, of New York, one of the most enthusiastic photographers in the world. It is a portrait of the celebrated American artist, Elihu Vedder, Esq., posed by himself, for which we have to thank Mr. Wills; but the group I am unable to give author of now, having mislaid the original. The third is from a photograph my possession, bearing no name. In reply to “Scotus,” I beg to state that Messrs. Ross and Pringle have given me permission to publish sketches from some of their famous portraits of children, and that I hope shortly to avail myself thereof. I have also to acknowledge specimens of good posing, from J. C. H. and H. Lancaster, some of which I shall also use.”]

INDEPENDENT

BRADY, MATHEW B. (1823-1896) (USA).
‘Literary.” INDEPENDENT 2:70 (Apr. 4, 1850): 56. [Book review. The Gallery of Illustrious Americans, containing the portraits and biographical sketches of twenty-four of the most eminent citizens of the republic, since the death of Washington. Daguerreotyped by Brady, engraved by D’Avignon, edited by C. Edwards Lester. No. Third. “The portrait of Mr. Webster, in this number of the Gallery, is by far the best, the most spirited, life-like and impressive, that has ever been published of that great Senator. It is so much better than any of the others which we have seen…”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Literary.” INDEPENDENT 2:81 (June 20, 1850): 104. [Book review. The Gallery of Illustrious Americans, containing the portraits and biographical sketches of twenty-four of the most eminent citizens of the republic, since the death of Washington. Daguerreotyped by Brady, engraved by D’Avignon, edited by C. Edwards Lester. No. Six. “The portrait in this number of the Gallery,–of that distinguished and bold explorer whose exploits of the western wilds and mountains,… We give in the adjoining column the biographic sketch of Fremont, as a fine specimen of its species of writing…”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s National Gallery of Daguerreotypes.” INDEPENDENT 2:105 (Dec. 5, 1850): 200. [“This collection embraces some of the most distinguished men in the country. The President and the Cabinet, also the late President Polk and his Cabinet, Members of the United States Senate and House of Representatives, Judges of the Supreme Court at Washington, and many other eminent persons, are included in this Gallery. The proprietor, being much of his time in Washington, has the advantage of adding to these portraits any others that may interest the public. His establishment is one of the most extensive in the world. Its facilities for the production of portraits by the Daguerrean art being unrivalled. It now occupies two large buildings, 205 and 207 Broadway. The operating room is arranged in the most scientific manner, and directed by persons of acknowledged skill in the profession. In the department arranged for copying paintings, daguerreotypes, engravings, statuary, &c., the light and instruments have been expressly designed for this purpose. It is the aim of the proprietor to render in every part of his business that attention which the public are entitled to from the patronage he has received. At the annual exhibitions of the American Institute for five years, the pictures from this establishment received the first prize, consisting of a silver medal, the last year the first gold medal ever awarded to Daguerreotypes was bestowed on the pictures from this Gallery. The portraits taken for the Gallery of Illustrious Americans, a work so favorably received throughout the United States, are engraved from these Daguerreotypes. Strangers and citizens will be interested and pleased by devoting an hour to the inspection of Brady’s National Gallery., Nos. 205 and 207 Broadway, New York, Corner of Fulton Street, and Branch Gallery, Pennsylvania Avenue, Washington, D. C.”]

BRADY, MATHEW B. (NEW YORK, NY)
[Advertisement.] “European Daguerreotypes.” INDEPENDENT 4:198 (Sept. 16, 1852): 151. [“Mr. Brady, No. 205 Broadway, has recently returned from Europe, where he has spent nearly a year in visiting the most celebrated Galleries and Works of Art, especially in France and Italy, and in carefully studying all the improvements in instruments and chemistry made in these countries. He has spared no expense in thoroughly refitting up his Gallery; and by a new arrangement of light, and various improvements recently introduced, he hoped to produce pictures superior to any hitherto exhibited. He has also on exhibition, Daguerreotypes of some of the most distinguished men in France; among whom are Louis Napoleon, Lamartine, Thiers, Victor Hugo, Eugene Sue, &c. Arrangements have also been made with some of the best English and French artists to forward, from time to time, portraits of the most celebrated men in Europe, as well as every discovery or improvement made by foreign artists—thus forming the nucleus of a European Gallery, which, in connection with his American Gallery, will render his establishment second to none in the world.”]

PHOTOGRAPHIC LITERATURE. MAGAZINES. DEMOCRATIC REVIEW. 1852.
“Literary Intelligence. Monthlies.” INDEPENDENT 4:208 (Nov. 25, 1852): 191. [The Democratic Review for October, is embellished with a portrait—not at all flattering—of ‘Frank Pierce,’ now President Elect of the United States, and a wood-cut—caricature—of Louis Napoleon. Whoever wishes to correct the latter can see a reliable daguerreotype at Brady’s Gallery….”]

BRADY, MATHEW B.
“Daguerreotypes.” INDEPENDENT 4:209 (Dec. 2, 1852): 194. [“There is as much difference between the daguerreotype portraits of a skillful artist and those of an ignorant, raw hand, as there is between the finished picture of a finished painter and the daub of a novice. This will be apparent to anyone who compares the portraits of Brady’s Gallery with the common run of photographs.”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Daguerrean Establishment.” INDEPENDENT 5:247 (Aug. 25, 1853): 136. [Brady’s New and Extensive Daguerrean Establishment, No. 359 Broadway, over Thompson’s Saloon, has been completed, and the public are invited to view the many improvements combined in this magnificent gallery. The Proprietor has no hesitation in any reinstating any advantage possessed by no similar establishment either in this country or in Europe. The facilities for the production of first class pictures are unrivalled. An additional building has been erected, by which the Reception Salon, Ladies’ Dressing Room and Operating Rooms are on the same floor, thus forming a new and most desirable arrangement. This Gallery, in connection with the old gallery, Fulton and Broadway, contains a matchless collection of Daguerreotypes of American and European celebrities, unsurpassed on this continent. In addition to various Medals, received in New York for the best daguerreotypes, a Medal was awarded at the World’s Fair, in London, in 1851.” Brady’s Daguerrean Gallery, 205 and 359 Broadway.”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s Daguerreotype Galleries.” INDEPENDENT 6:275 (Mar. 9, 1854): 79. [“The Prize Medal, in London, 1851, at the World’s Fair, and the Prize Medal, in New York, at the Crystal Palace, 1853, were awarded to Brady’s Daguerreotypes. Brady’s new and magnificent Gallery has been recently completely, and the public are invited to view the many improvements combined in his magnificent gallery. The proprietor has no hesitation in claiming advantages possessed by no similar establishment either in this country or in Europe. The facilities for the production of first-class pictures are unrivaled. Attention especially directed to the admirable arrangement of light for children; also, for copying daguerreotypes, paintings, statuary, &c. An additional building has been erected; and the Reception Saloon, Ladies’ Dressing-room, and the Operating Rooms are on the same floor, forming a new and most desirable arrangement. This Gallery contains a matchless collection of European and American celebrities, unrivaled on this continent. In addition to various Medals received in New York, the Prize Medal was awarded in London at the World’s Fair, 1851, and also at the World’s Fair in New York, 1853. Brady’s Daguerreotype Galleries, Nos. 205 and 359 Broadway, New York.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Literary Record. His Honor.” INDEPENDENT 7:328 (Mar. 15, 1855): 82. [“Goupil & Co., 366 Broadway, have published a fine lithographic portrait of our admirable and wonderful mayor of New York, Hon. Fernando Wood, drawn by Bouvier, from a photograph by Brady. The Mayor rests his right arm upon the Bible.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Our City Column. Art.” INDEPENDENT 7:328 (Mar. 15, 1855): 88. [“Messrs. Goupil & Co. have just published an excellent lithographic portrait of Mayor Wood, after a photograph by Brady. Many citizens will be glad to possess the likeness of this efficient reformer. Photography, as an art, is approaching perfection. As a means of copying architecture, it far surpasses all engraving. There are several establishments in Broadway where photographic portraits are finely taken, and beginning to supersede daguerreotypes. The National Academy’s exhibition is open, and more attractive than usual…”]

LAWRENCE, M. M. (NEW YORK, NY)
“Photography.” INDEPENDENT 7:340 (June 7, 1855): 181. [“Mr. M. M. Lawrence, of this city, (corner of Broadway and White streets) has just taken a capital photograph of Rev. H. W. Beecher, a copy of which may be seen at this office. The execution is clear yet delicate, and the expression is remarkably happy… so very amiable and lamb-like does Mr. Beecher appear… We cannot say as much of our own physiognomy, which Mr. Lawrence’s sun-glass has also caught with wonderful truthfulness. Mr. Brady has executed a fine of Rev. Dr. Leavitt, with an expression of energy that looks equal to the taking of Sevastopol. This beautiful art is becoming very popular, and is fast superseding daguerreotyping in cases where several copies are desired. You sit as for your daguerreotype, and, presto, your countenance shines upon a glass plate, with lights and shades reversed; then from this glass copies are multiplied indefinitely upon prepared paper. Mr. Lawrence has orders from schools and colleges accounting in all to ten thousand copies of class-mates, who adopt this cheap and easy method of retaining the likenesses of their friends. His gallery exhibits fine portraits of most of the ministers of the city, copies of which may be procured at one dollar a piece.”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s National Galleries of Daguerreotypes,” INDEPENDENT 7:340 (June 7, 1855): 183. [“…Nos. 205 and 359 Broadway, offer to the public facilities for obtaining first-class pictures rarely presented. The upper gallery is located over Thompson’s Saloon, and contains the largest collection of distinguished portraits in America. Photographs from miniatures to life sizes, in every variety of finish and style, are made here superior to any this side of the Atlantic. The lower gallery, corner of Fulton street, is convenient of access to traders at the down town hotels and the residents of adjacent cities. The rare Daguerreotypes for which Brady is celebrated taken here to perfection. Remember the Nos. 359 Broadway, over Thompson’s Saloon, and 205 Broadway, corner of Fulton street.” (Also published in Nov. 15 issue.)]

BRADY, MATHEW B. (1823-1896) (USA).
‘Literary Record. Portraits.” INDEPENDENT 8:386 (Apr. 24, 1856): 131. [“Messrs. Goupil & Co., picture dealers, Broadway, have laid on our table two very fine portraits of distinguished characters. 1. Alexander von Humboldt, very finely engraved, by S. A. Scholf, from an original portrait painted by Wight at Berlin in 1852. As a picture and portrait, rarely equaled in merit. 2. Andrew Jackson, lithographed from a daguerreotype by Brady, drawn on stone by Lafosse. As a specimen of lithography, it is very superior; we cannot say as much of the likeness of the old Chief.”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s Gallery, No. 359 Broadway.” INDEPENDENT 8:410 (Oct. 9, 1856): 325. [“Ambrotypes, Transparent, Colored, Tinted, and less in price than formerly. Photographs, Water-Color, Pastel, Oil, Mezzotint. A new style of Vignette Photographs, made at no other establishment in the world. Strangers in the city are invited. An interesting collection of Portraits constantly on exhibition. Copies made from Daguerreotypes perfectly. No. 359 Broadway, over Thompson’s Saloon. No. 205 Broadway, corner Fulton-street.”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s Galleries of Photographs, Ambrotypes, and Daguerreotypes, No. 357 and 205 Broadway.” INDEPENDENT 8:413 (Oct. 30, 1856): 349. [(Texts of this ad, which are descriptions of the various services and qualities of Brady’s establishment, are arranged to form the numbers 3, 5, 9 vertically down the column, making it unusually graphic.)]

BRADY, MATHEW B. (1823-1896) (USA).
‘Brady’s Gallery of Photographs.” INDEPENDENT 9:434 (Mar. 26, 1857): 8. [“The perfection to which pictures taken by the camera are now brought as works of art, is strikingly displayed in the specimens of the “Imperial” photograph at Mr. Brady’s Gallery, No. 359 Broadway. One cannot easily pass this building without having his attention arrested by the elegant full length portraits of Mr. Bryant of the Post, and Mr. Dana of the Tribune–both fine subjects for a picture–and the well-known head of Dr. Francis; not can we believe at first view, that these are not engravings, or at least copies from engravings finished in mezzotint. A closer inspection, however, shows that these are original pictures, taken by sunlight–…but toned and finished by some after-process, which adds to the reality of the impressions secured by the camera, that artistic effect which has hitherto been wanting in such pictures…. We see not why this improved style of photograph is not the perfection of portraits…. Mr. Brady’s Gallery is well worth visiting….”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “The Imperial Photograph.” INDEPENDENT 9:438 (Apr. 23, 1857): 5. [“A unique Application of the art, surpassing in effect, of unusual size, and presenting the combined advantage of painting and finish with the truth of the Camera. The Imperial Photograph was introduced and made only at Brady’s Gallery, 359 Broadway. The Imperial Photograph is pronounced by the most distinguished connoisseurs—Bryant, Dana, Willis, Tuckerman and Lowel—to surpass any previous result of the Camera. The Imperial Photograph, in every artistic respect, is worthy a place in the rarest collections. Its production is immediate. One sitting only is required. Owing to extended improvements, Mr. Brady is enabled to supply the Imperial Photograph at a price which places it within general reach. Every description of the portrait will hereafter be supplied at a large reduction from former prices. No. 359 Broadway, Over Thompson’s Saloon.”]

KANE. DR.
“Dr. Kane.” INDEPENDENT 9:461 (Oct. 1, 1857): 6. [From Christian Register. “This, the prominent hero of the age,… biography…by Dr. William Elder…soon to be published by Childs & Peterson of Philadelphia…. As to the mechanical execution of the octavo volume proposed, it is enough to say that it is to correspond in style to the beautiful volumes describing the last Arctic expedition of Dr. Kane. Engravings of his portrait, his residence, his tomb, and many others, will illustrate it. The portrait is from Brady’s photograph, taken just before the Doctor sailed on his last expedition….”]

BRADY, MATHEW B. (1823-1896) (USA).
“The Albion’s Portrait of Dr. Kane.” INDEPENDENT 10:476 (Jan. 14, 1858): 1. [“The publishers of the Albion, true to their liberal policy, are treating their subscribers this year to the customary gift of a large and elegant engraving, richly worth the whole price of a year’s subscription… For this year, a beautiful drawing, by Wanderforde, engraved by D. G. Thompson, representing Dr. Kane at the Graves of Sir John Franklin’s men… The likeness of Dr. Kane, who is in his seal-skin dress, is taken from a Photograph by Brady; and is approved by his father, Judge Kane of Philadelphia, who says: ‘It is, in the estimation of all my family, the very best likeness we have seen of him,…”]”

BRADY, MATHEW B. (1823-1896) (USA).
“The Stand-Point of Prophecy.” INDEPENDENT 10:476 (Jan. 14, 1858): 1. [(Ironic commentary of contemporary prophetic statements.) “…By this prudent course any little obscurity of vision can be cleared up. When Brady has taken a splendid photograph, he does not let it go from his hands till an artist has touched it with a pencil, defining the lines, deepening some shadows, raising the lights, so that the original impression and the after-touches taken together make out an admirable thing. And prophecy and photography, are, in this respect, singularly alike. All modern prophecies should be retouched after the fact…”]

BRADY, MATHEW B. (1823-1896) (USA).
“Portrait of Mr. Field.” INDEPENDENT 10:506 (Aug. 12, 1858): 1. [“Deserved success is deserved fame. Hundreds, we presume, will be glad to see the features of Cyrus Field, as they are admirably depicted in a beautiful ‘imperial photograph’ portrait, by Brady, who is able to furnish beautiful copies of the same for $1 each.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Domestic. Photograph of Senator Seward.” INDEPENDENT 10:509 (Sept. 2, 1858): 8. [“Brady has just published, as a third of his series of imperial photographs, a portrait of William H. Seward. The likeness, attitude, and accessories, are all excellent.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Literary Record. Books Received. The Little Giant.” INDEPENDENT 10:513 (Sept. 30, 1858): 3. [“Brady’s ‘Semi-monthly Series of National Photographs’ brings us the portrait of Hon. Stephen A. Douglas, which of course is done in the best style, and is warranted a ‘correct likeness.’”]

BY COUNTRY. USA. 1859.
“Portraits of Mr. Beecher.” INDEPENDENT 11:572 (Nov. 17, 1859): 1. [“The artists have once more been taking the head of Rev. Henry Ward Beecher. He is now to be seen ambrotyped in every gallery on Broadway, photographed in every print-shop window, steel-plated and mezzotinted, in large and in small, on half the parlor-walls in his parish, and periodically wood-engraved in the Sunday papers. As a general thing, these different pictures look about as little like each other, as like the original…. Mr. Beecher, when sits for ten seconds in a red cushioned chair for his daguerreotype, is sure to put on such an expression as he never afterward will wear again… We do not, of course, mean that there are no recognizable portraits of Mr. Beecher. …the numerous published engravings and lithographs do not in any degree render him justice, or give satisfaction to his friends. Mr. Lawrence’s three-quarter photograph, nonwithstanding the unfortunate shirt collar, is generally esteemed the best that has been taken, although Mr. Brady’s full face view, without bust, is thought by the family to be more characteristic and satisfactory… a recent miniature bust by Thomas Hall, of Boston…”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Literature, Science, and Art. Washington Irving.” INDEPENDENT 12:591 (Mar. 29, 1860): 3. [“In Brady’s gallery a life-size photograph in oil can be seen of the late Washington Irving, a most perfect likeness. It was thought that there was no likeness of Irving in existence except the one taken in his youth; but Mr. Brady has succeeded by dint of perseverance in obtaining a small daguerreotype, taken about ten years since. From this he has produced a life-size photograph. As a work of art, the painting is pronounced by connoisseurs of the highest order. Mr. Brady will certainly receive, as he deserves, the thanks of the numerous friends of Irving for this excellent production.”]

BRADY, MATHEW B. (1823-1896) (USA).
A Lady. “Reception of the Prince of Wales in New York.” INDEPENDENT 12:620 (Oct. 18, 1860): 2. [(Detailed description of the festivities, the receptions, etc.) “Saturday was spent in looking about the city, among other places at Brady’s, where the royal party remained several hours, being photographed, and leaving various orders. A Fireman’s procession in the evening…”]

BY COUNTRY. USA. 1862.
[Advertisement.] “Agents Wanted!.” INDEPENDENT 14:704 (May 29, 1862): p. 7. [“To Sell Beautiful Steel Engravings of the Military and Naval Heroes and prominent men of the day. Printed on fine plate paper, size 10 x 12 inches. Copied from Photographs by Brady, Gurney, and other celebrated artists. Copies sent by mail, post-paid, on receipt of the retail price, 25 cents. A liberal discount made to agents. They will be found very salable. Our agents are making money fast. Send for a Circular. Francis Morrison & Co. No. 177 William st., New York.”]

WHITNEY & PARADISE. (NEW YORK, NY)
[Advertisement.] “Whitney & Paradise.” INDEPENDENT 16:795 (Feb. 25, 1864): 7. [“Practical Photographers. No.585 Broadway, Late of Brady’s New York and Washington Galleries. After eighteen years’ experience in the First Galleries in New York, the above firm have established themselves in business on their own account as Practical and Artistic Photographers. We promise the best pictures the art can produce, of every description. E. T. Whitney, A. W. Paradise, No. 585 Broadway, opposite the Metropolitan Hotel.”]

WHITNEY & PARADISE. (NEW YORK, NY)
“Messrs. Whitney & Paradise.” INDEPENDENT 16:797 (Mar. 10, 1864): 2. “Messrs. Whitney & Paradise have recently opened a Photograph Gallery at No. 595 Broadway. They were a long time connected with Brady’s gallery, in this city and in Washington, which promises well for their future success.”]

BY COUNTRY. USA. 1861-1865. (US CIVIL WAR)
Carpenter, F. B. “Abraham Lincoln.” INDEPENDENT 17:886 (Nov. 23, 1865): 1. [“…The Hon. W. D. Kelly, of Philadelphia, in his address in that city upon the death of Mr. Lincoln, said: ‘…stealing upon him in the evening, I would find him with a book open before him (as you have seen him in the popular photograph) and little ‘Tad’ beside him…. One day some of Brady’s photographers came up to make some stereoscopic ‘studies’ for me of the President’s office. The ‘operator’ said that they required a dark room in which to ‘develop’ the pictures, and, without a thought that I was infringing on anybody’s rights, I took them to a room that ‘Tad’ had darkened and fitted up as a ‘theater.’ He had arranged a stage, curtains, orchestra stalls, parquette, and all. Knowing that their process would interfere with none of his arrangements, as they simply wished a darkened room, I showed them the way to this apartment. Everything went on well, and one or two pictures had been taken, when suddenly there was an uproar. The ‘operator’ came back to the office, and said that ‘Tad’ had taken great offense at the occupation of his room without his permission, and had locked the door, refusing to admit them. Their ‘chemicals’ were all inside, and there was no way of getting at them, he having carried off the key to the door. In the midst of this conversation, ‘Tad’ burst in, in a fearful passion. He laid all the blame on me,–said I had no right to use his room, and that the men should not go in even to get their things. He had ‘locked’ the door, and they should not go there again—‘they had no business in his room!’ Mr. Lincoln had been sitting for a photograph, and was still in the chair. He said, very mildly” ‘Tad, go and unlock the door.’ “Tad went off muttering to his mother’s room, refusing to obey. I followed him into the passage, but no coaxing would pacify him. Upon my return to the President, I found him still sitting patiently in the chair, from which he had not risen. He said: ‘Has not the boy opened that room?’ I replied that we could do nothing with him—he had gone off in a great pet. The President’s lips came together firmly, and then, suddenly rising, he strode across the passage with the air of one bent on punishment, and disappeared in the domestic apartments. Directly he returned with the key to the ‘theater,’ which he unlocked himself. ‘There,’ said he, ‘go ahead, it is all right now.’ He then went back to his office, followed by myself, and resumed his seat. ‘Tad,’ said he, ‘is a strange child. He was violently excited when I went to him. I simply said: ‘Tad,’ do you know you are making your father a great deal of trouble? He burst into tears, instantly giving me the key.’ Such was Mr. Lincoln in the bosom of his family….”]

BY COUNTRY. USA. 1866.
Straws Jr. “Art in Boston. The Flaneur’s Paradise. House Decoration. Boston Notions. A Musical Instrument. Marshall’s. Photographers, Attention! Allston Club. Courbet. Corot, Rousseau, Etc. J. F. Millet. Ames, Hunt, and Furness. Vedder, Bicknell, and La Farge. A Model Catalogue.” INDEPENDENT 18:918 (July 5, 1866): 8. [“A very curious and interesting place is this “Studio Building,” sheltering as it does two or three hundred people, and well nigh roofing in all the art of which our ‘modern Athens’ can boast. In New York, art being more of a good fellow with little regard for situation, sprinkles itself along the full length of Broadway, making detours the while into Fifth avenue, Tenth street, and many a by-way….
After a melodious wrangle, we wander into Marshall’s and sit for a photograph. A New York dilettante never visits Boston without having his likeness taken. It is one of the excitements of the place; besides, when larks fall from heaven ready cooked, it is absurd, as well as ungrateful, not to eat them: being next door to a photographer is equivalent to one species of ‘larks.’ Why the inhabitants of Studio Building are not perennially posing, and how they can ever do anything else, is a mystery not to be explained by the rules of ordinary vanity. It is really pathetic to see how fond one becomes of his own face, and how determined ugly people are that the scriptural command, ‘increase and multiply,’ shall be particularly applied to the cartes de visite. A good moral photographer ought to put over his shop-door the wholesome warning, ‘Vanitas vanitatum!’… did you ever have a photograph taken that your friends recognized? Were you ever told to ‘look pleasant,’ that the idea of suicide was not suggested? Do not your blue eyes take brown, and your brown hair take black? Did you ever assume an easy, natural attitude, that was not spoiled by an inquisitorial instrument of torture, which the operator sticks into you? The theory that the sun never lies is nonsensical. As at present interpreted, there is no such liar under the sun as the sun.
Photographer’s Attention!
And pray why do not such men as Marshall, Brady, Gurney, Anthony, etc., line their walls with mirrors, that the sitter may pose himself according to fancy, and not be completely at the mercy of lookers-on? How can an agreeable expression be better obtained than by the contemplation of one’s own countenance? Prythee, good sirs, delay not in holding the mirror up to nature!”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Commercial Notices. A Portrait of Mr. Greeley.” INDEPENDENT 19:991 (Nov. 28, 1867): 3. [(The publishers of the New York Tribune offered a portrait of Mr. Greeley, engraved by Ritchie, from a photograph by Brady, and valued at $1, to subscribers to the newspaper. Advertisements on this were run by the Tribune in this and other journals throughout 1867.)]

BRADY, MATHEW B. (1823-1896) (USA).
H. C. B. “Washington Items.” INDEPENDENT 21:1058 (Mar. 11, 1869): 4. [“Brady, the well-known photographer was present, (at Grant’s inauguration) and took a fine picture of the great assemblage on the portico in front of the Capitol while the Chief-Justice was administering the oath to General Grant.”]

BRADY, MATHEW B. (NEW YORK, NY)
M. C. A. “The Budget.” INDEPENDENT 21:1091 (Oct. 28, 1869): 2. [“Many people who cannot visit the Fifth Avenue Hotel for a sight of Father Hyacinthe console themselves by looking at his photograph in imperial size, which Brady has hung out on Broadway. So many persons stop and look! It is a study to watch their countenances and to mark the various impressions made on them by the countenance of the great priest….”]

INDUSTRIAL NEWS

WELLS, SIDNEY P.
[Advertisement.] “Artistic Photography.” THE INDUSTRIAL NEWS PUBLISHED BY THE INVESTOR’S INSTITUTE, COOPER’S UNION 2:1 (Jan. 1881): 23.
[“MESSRS. WELLS & CO.,
26 WEST 14TH STREET,
Bet. 5th and 6th wes.,
NEW YORK.
Sidney P. Wells. —-Lorenzo Sweet.
At this elegant Photographic Establishment the public will find the latest important improvements, and the most modern conveniences, that are necessary to attain perfection in the Art of Photography.
Among the first of these may be mentioned the advantage of two skylights (others having one only); and these are the largest in the United States, thus being enabled to control a larger volume of light, and produce a picture unequalled by any other establishment, Furthermore, the Skylights are on a level with the Reception Parlors, thus avoiding the unpleasant task of climbing stairs, a feature which is peculiar to ours only.
Among our specialties, aside from Photography, are Pastells, India Ink, Water Colors, Crayons, and the Enlargement of Copies, to which we give special attention, and assure the most exacting entire satisfaction.
Mr. Wells personally produces all the photo-portraits, and is the only photo-artist in America wearing the badge of honor issued by the Institut de Progrés, Paris, France. The establishment is perfect in its resources and facilities, under the financial and general management of Mr. Lorenzo Sweet. Many of the works of art and gems of photography which have been for years the admiration of the art public at the galleries of Messrs. M. B. Brady, J. Gurney, and A. Bogardus, of New York, and Messrs. Houseworth, G. D. Morse, and Bradley & Rulofson, of San Francisco, are the direct products of Mr. Wells’ skill. The firm have the able assistance of Mr. Codezo, who, as a crayon drawer, is the best artist in his line in the World.”]

INTERNATIONAL ANNUAL OF ANTHONY’S PHOTOGRAPHIC BULLETIN

BY COUNTRY. USA. 1839-1869.
Smillie, Thomas W., Smithsonian Institution, Washington, D. C. “Early Isochromatic Photography.” THE INTERNATIONAL ANNUAL OF ANTHONY’S PHOTOGRAPHIC BULLETIN FOR 1890 (1890): 191-192.
[“In 1868, in a talk with an itinerant photographer (whom I found rather interesting), I mentioned that I was about to order one of the Steinheil lenses, which about that time were being introduced into this country. Thereupon he remarked, very emphatically, “That is all right for you, but I do nothing but portrait work, and I don’t want any new lens for portraits. I said, “Why do you not want a new lens for portrait work? In reply, he said, “Because they don’t do as good work as old lenses. You just photograph a girl with freckles with your new lens and you will get a picture that will look like a dominic chicken. Now, with my old lens (I call it my freckle lens) I can make a photograph of a girl with the worst case of freckles and red hair, and she will appear quite passable. I tell you, a lens has got to get mellow before it will do first class work.”…” (p. 191) (Etc., etc.) “…Three years ago I purchased from Mr. M. B. Brady, a large Harrison lens, as an historical specimen for the section of photography in the United States National Museum. This lens, Mr. Brady bought in 1846 and used until about 1870. As soon as I saw it, I thought, now at last I have a “mellow” lens. It had evidently stood for years under the skylight, where the sun had free entrance, the glass having become quite pink, and the balsam between the lenses being much discolored from the brass work. I tested this lens, and found that it had decidedly the effect of a color screen. I can easily imagine the boon it would have been, in the old days before the era of retouching, to the photographer who was a victim to freckles and auburn hair….” (p. 192)]

INTERNATIONAL WEEKLY MISCELLANY OF LITERATURE, ART, AND SCIENCE

BRADY, MATHEW B. (1823-1896) (USA).
‘The Fine Arts.” INTERNATIONAL WEEKLY MISCELLANY OF LITERATURE, ART, AND SCIENCE 1:7 (Aug. 12, 1850): 207-208. [Book review. “Lester, Brady & D’Avignon’s Gallery of Illustrious Americans, is very favorably noticed generally by the foreign critics. The Art Journal says of it: “This work is as its title imports, of a strictly national character, consisting of portraits and biographical sketches of twenty-four of the most eminent of the citizens of the Republic, since the death of Washington; beautifully lithographed from daguerreotypes. Each number is devoted to a portrait and memoir, the first being that of General Taylor (eleventh President of the United States), the second, of John C. Calhoun. Certainly, we have never seen more truthful copies of nature than these portraits; they carry in them an indelible stamp of all that earnestness and power for which our trans-Atlantic brethren have become famous, and are such heads as Lavater would have delighted to look upon. They are, truly, speaking likenesses, and impress all who see them with the certainty of their accuracy, so self-evident is their character. We are always rejoiced to notice a great nation doing honor to its great men; it is a noble duty which when properly done honors all concerned therewith. We see no reason to doubt that America may in this instance rank with the greatest.” p. 207.]

BRADY, MATHEW B. (1823-1896) (USA).
‘Authors and Books.” INTERNATIONAL WEEKLY MISCELLANY OF LITERATURE, ART, AND SCIENCE 1:9 (Aug. 26, 1850): 267. [Book review. “The Gallery Of Illustrious Americans, conducted by Mr. Lester, continues with every number to increase in interest. The work is designed to embrace folio portraits, engraved by D’Avignon, from daguerreotypes by Brady, of twenty-four of the most eminent American citizens who have lived since the time of Washington. The portraits thus far have been admirable for truthfulness and artistic effect. It may be said that the only published pictures we have, deserving to be called portraits, of the historian Prescott, or Mr. Calhoun, or Colonel Fremont, are in this Gallery. The great artist, naturalist, and man of letters, Audubon, is reflected here as he appears at the close of the battle, receiving the reverence of nations and ages. In the biographical department Mr. Lester has evinced very eminent abilities for this kind of writing. He seizes the prominent events of history and the strong points of character, and presents them with such force and fullness, and happy combination, as to make the letter-press as interesting and valuable as the engraved portion of the work. We are p leased to learn that the Gallery is remarkably successful. No publication of equal splendor and expensiveness has ever before been so well received in this country. The cost of it is but one dollar per number, or twenty dollars for the series of twenty-four numbers. It is now half completed.” p. 267.]

BRADY, MATHEW B. (1823-1896) (USA).
‘International Miscellany.” INTERNATIONAL MISCELLANY OF LITERATURE, ART, AND SCIENCE 1:4 (Nov. 1850): 482-484. [“The last numbers of Brady, D’Avignon, and Lester’s Gallery of Illustrious Americans contained admirable portraits and memoirs of General Scott and President Fillmore.” p. 484.]

INTERNATIONAL MAGAZINE OF LITERATURE, ART, AND SCIENCE

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“James Fenimore Cooper.”) on p. 1 in: “James Fenimore Cooper.” INTERNATIONAL MAGAZINE OF LITERATURE, ART, AND SCIENCE 3:1 (Apr. 1851): 1-7. [“The readers of the International have in the above engraving, from a Daguerreotype by Brady the best portrait ever published of an illustrious countryman of ours, who, as a novelist, take him all in all, is entitled to precedence of every other now living.” p. 1.]

BRADY, MATHEW B. (1823-1896) (USA).
‘The Fine Arts.” INTERNATIONAL MAGAZINE OF LITERATURE, ART, AND SCIENCE 3:1 (Apr. 1851): 135-138. [“Noticing Brady, Lester, and D’Avignon’s Gallery of Illustrious Americans, the London Spectator observes: “In no people do the chief men appear as more thoroughly incarnate of the national traits; each outwardly a several Americanism. Here we have the massive potency of Daniel Webster, — on whose ponderous brow and fixed abashing eyes is set the despotism of intellect; Silas Wright,—a well-grown and cultivated specimen of the ordinary statesman; Henry Clay and Col. Fremont— two halves of the perfected go-ahead spirit; the first shrewd, not to be evaded, knowing; the second impassable to obstacles, and alive only to the thing to be done. The heads are finely and studiously lithographed from daguerreotypes by Brady, and suffice to show how utterly fallacious is the notion that character is lost in this process.” p. 137.]

BRADY, MATHEW B. (1823-1896) (USA).
‘Authors and Books.” INTERNATIONAL MAGAZINE OF LITERATURE, ART, AND SCIENCE 3:2 (May 1851): 163-180. [“To those who seek a good acquaintance with the current belles-lettres literature of Germany, we can cordially recommend the Deutsches Museum, published semi-monthly at Leipsic, under the editorial care of Professor Rohert Prutz and Wilhelm Wolffson, and sold in this city by Westermann, 290 Broadway. …In the number now before us, …Among the art notices, we observe a brief criticism on the Gallery of Illustrious Americans, in which the lithography of the pictures is praised as well as the faces themselves. The critic is delighted with the energy, originality and freshness of character expressed in their features.” p. 168.]

BRADY, MATHEW B. (1823-1896) (USA).
‘Authors and Books.” INTERNATIONAL MAGAZINE OF LITERATURE, ART, AND SCIENCE 3:2 (May 1851): 163-180. [“To those who seek a good acquaintance with the current belles-lettres literature of Germany, we can cordially recommend the Deutsches Museum, published semi-monthly at Leipsic, under the editorial care of Professor Rohert Prutz and Wilhelm Wolffson, and sold in this city by Westermann, 290 Broadway. …In the number now before us, …Among the art notices, we observe a brief criticism on the Gallery of Illustrious Americans, in which the lithography of the pictures is praised as well as the faces themselves. The critic is delighted with the energy, originality and freshness of character expressed in their features.” p. 168.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Dr. Starbuck Mayo.”) on p. 442 in: “Dr. Starbuck Mayo, Author of Kaloolah, The Berber, &c.” INTERNATIONAL MAGAZINE OF LITERATURE, ART, AND SCIENCE 3:4 (July 1851): 442-443. [“The portrait at the beginning of this article is very truthful; it is from a recent daguerreotype by Brady.” p. 443.]

BRADY, MATHEW B. (1823-1896) (USA).
‘The Fine Arts.” INTERNATIONAL MAGAZINE OF LITERATURE, ART, AND SCIENCE 4:1 (Aug. 1851): 130-132. [“The French and English journals mention several important improvements of the daguerreotype, some of which are of the same character as Mr. Hill’s. Mr. Brady, of this city, has gone to London, to establish a branch of his house in that city.” p. 131.]

BRADY, MATHEW B. (1823-1896) (USA).
‘Recent Deaths.” INTERNATIONAL MAGAZINE OF LITERATURE, ART, AND SCIENCE 4:3 (Oct. 1851): 428-431. 1 b & w. 1 illus. [Black bordered page with an engraved portrait “James Fenimore Cooper. From a Daguerreotype by Brady taken for the International, 1851.” and a second engraving “Otsego Hall. Residence of Mr. Cooper, Cooperstown. From a drawing by Miss Cooper.” (This engraving bound into Sept issue of the copy I’ve seen, but I expect that it should have been with the Oct. issue which has the accompanying texts.) “James Fenimore Cooper, the first American who gave to American literature a name in other nations, and the most illustrious of the authors of his country, died at Otsego Hall, his residence in Cooperstown, on Sunday, the fourteenth of September, aged sixty-two years. Of his literary life and character we have recently written at large in these pages; of his noble personal qualities, which entitled him to no less eminence in society, we shall have occasion to speak hereafter.” p. 428.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“William Cullen Bryant.”) on p. 588 in: “William Cullen Bryant.” INTERNATIONAL MAGAZINE OF LITERATURE, ART, AND SCIENCE 4:5 (Dec. 1851): 588-592. [“We present to the readers of the International Magazine, this month, from a recent Daguerreotype by Brady, the best portrait ever published of the greatest living poet who writes the English language.” p. 588.]

BRADY, MATHEW B. see also UNKNOWN. USA. 1852. (INTERNATIONAL MAGAZINE OF LITERATURE, ART, AND SCIENCE, Jan. 1852)

UNKNOWN. USA. 1852.
“Kossuth.” INTERNATIONAL MAGAZINE OF LITERATURE, ART, AND SCIENCE 5:1 (Jan. 1852): 1-3. 2 b & w. [Portrait of Kossuth presented full page on the title page of the issue, engraved by J. W. Orr and the caption “Arrived in New York Dec. 5th, 1851,” complemented with another portrait with the following caption “The Wife and Children of Kossuth—From a Recent Daguerreotype.“ on the last page of the short article. Photographer not credited. Brady claimed, in an 1891 interview, to have daguerreotyped Kossuth. But, then, Brady claimed many things, and this magazine freely credited several other portraits from Brady daguerreotypes during this year.]

UNKNOWN: USA: 1852.
1 b & w (Portrait of a normal sized gentleman sitting with two midgets.) on p. 289 in: “The Aztecs at the Society Library.” INTERNATIONAL MAGAZINE OF LITERATURE, ART, AND SCIENCE 5:3 (Mar. 1852): 289-290. [(Probably from a daguerreotype or photograph, possibly by Brady? I think I’ve seen this image before.) “For several weeks the attention of the curious has been more and more attracted to a remarkable ethnological exhibition at the Society Library. Two persons, scarcely larger than the fabled gentlemen of Lilliput, (though one is twelve or thirteen and the other eighteen years of age), of just and even elegant proportions, and physiognomies striking and peculiar, but not deficient in intellect or refinement, have been visited by throngs of idlers in quest of amusement, wonder-seekers, and the profoundest inquirers into human history.” p. 289.]

JOURNAL OF AGRICULTURE

EXHIBITIONS. 1851. LONDON. GREAT EXHIBITION OF THE ART AND INDUSTRY OF ALL NATIONS.
“The World’s Fair. Awards to Americans.” THE JOURNAL OF AGRICULTURE 1:9 (Nov. 19, 1851): 283-284.
[“We take pleasure in presenting to the readers of the Journal of Agriculture the following list of the awards in favor of American contributors to the great Exposition of Industry at London, which we copy from the National Intelligencer. The list was officially communicated by our Commissioner, Edward Riddle, Esq., to the Secretary of the Central (p. 283) Committee at Washington. The following are the COUNCIL MEDALS.
To Joel Borden, jr., Texas, for his preparation called Meat Biscuit.
To David Dick, Meadsville, Pa., for his Anti-Friction Press, and various Engineer’s tools and
Presses.
To C. H. McCormick, Chicago, Ill., for his Reaping Machine.
To Wm. Bond & Son, Boston, for the invention of a new mode of observing Astronomical Phenomena, &c.
To Charles Goodyear, New Haven, Ct., for India Rubber Fabrics.
Cornelius & Co., Philadelphia, Chandelier.
Charles Howland, New York, Bell Telegraph.
Adams & Co., Bank Lock.
McGregor & Lee, Bank Locks.
G. A. Arrowsmith, Permutation Locks.
C. Childs, a Slide-top Buggy or Phaeton.
W. G. Watson, a Sporting Wagon.
Blodgett & Lerow, Sewing Machine.
W. Hayden, Drawing Regulator for cotton.
Lowell Machine Shop, Self-acting Lathe, and a Power Loom.
Prouty & Mears, Plow.
C. Starr, Book-Binding Machine.
J. P. Woodbury, Wood Planing, Tonguing, and Grooving Machine.
Hecker & Brother, New York, Genesee Flour.
B. B. Kirtland, Indian Corn, 35 varieties.
C. Duffield, Hams. Sehooley & Hough, do.
E. T. Herriot, Carolina Rice.
T. K. Earl & Co., Card Clothing.
Ryder’s Patent Iron Bridge, N. Y., (model.)
National Institute, Washington, Models of Ships.
J. R. St. John, New York, Nautical Compass.
A. Dallas Bache, (U. S. Gov’t.) Balances.
M. B. Brady, New York, Daguereotypes.
J. A Whipple, do. M. N. Lawrence, do.
PRIZE MEDALS.
Hiram Powers, for statue of a Greek Slave.
Brooklyn Flint Glass Co., for Flint Glass.
Day & Newell, New York, Parautoptic Permutating Locks, (with special approbation.)
Silas C. Herring, New York, Salamander Safe.
North Wayne Scythe Company, Maine, for Scythes.
D. Simmons & Co., Edge Tools.
Brown & Wells, Tools.
Chilson, Richardson & Co., Boston, Hot-Air Cloth. Furnace.
New York State Agricultural Society, varieties of Wheat.
S. G. Howe, Boston, Alphabet for the Blind.
W. H. Jeffers, Ladies’ Boots and Shoes.
W. H. Addington, Shoes for Mining.
Adirondack Company, N. Y., Steel and Iron.
Morris, Jones & Co., Plate Iron.
New Jersey Exploring and Mining Company,
Zinc Ores, Franklinite, and Smelting Process.
Trenton Iron Company, Fine Iron, Ores, &c.
W. Barnes, Maple Sugar. L. Dean, do.
Mrs. W. Haight, a Shirt.
Thomas Bell, Westchester county, New York,
Soft Wheat from Genesee.
Raymond & Schuyler, Flour, thirds.
Grant, do. P. Robinson, do
Dill & Mulchaey, Cavendish Tobacco.
J. H. Power & Weightman, Chemicals.
Holmes, do; J. R. Jones, do; J. V. Jones, do; W.
S. Bond, Cotton. Wade Hampton, do; G. L.
do; W. B. Seabrook, do; J. Nailor, do.
W. MacLeod, do; J. B. Meriwether, do; J. Pope,
J. H. Ewing, Wool. Cockerill, do; Perkins &
Brown, do; A. M. Kimber & Co. do.
W. Colgate & Co., New York, Starch. Oswego
Factory, do.
State of Maryland, collection of her Produce.
Rev. Zadock Thompson, Vermont Woods.
H. G. & L. B. Hotchkiss, Oil of Peppermint.
George Hicks, Tillandsia Usnoides.
Amoskeag Manufacturing Company, N. H., Drillings, Tickings, Sheetings and Cotton Flannels.
Willimantic Duck Company, Ct., Cotton Sail
Gilbert & Stevens, Mass., Flannels.
Lawrence, Stone & Co., Tartans from Native Wool.
B. Baker, Light Harness, superior workmanship.
Lacey & Phillips, a case of Harness.
H. M. Crawford, Calf Skins tanned in Oak Bark.
Wisdom, Russell & Whitman, Curled Hair, for furniture.
Hickey & Tull, two Portmanteaus.
Harward Company, India Rubber Shoes.
J. Fenn, a Comb.
S. C. Moulton, India Rubber Goods.
G. Loring, Water Pail.
Julius Pratt & Co., Ivory Veneer.
M. J. Louderback, Preserved Peaches.
Bazin, Xavier & Co., Fancy Soap.
J. R. St. John, Soap.
H. P. & W. C. Taylor, Philadelphia, Toilet Soap.
Some two hundred articles, though not deemed deserving of prizes, were awarded an honorable
mention in their reports by their respective Juries.” (p. 84)]

JOURNAL OF THE FRANKLIN INSTITUTE

BRADY, MATHEW B. (1823-1896) (USA)
“Bibliographical Notices.” JOURNAL OF THE FRANKLIN INSTITUTE 3rd ser., 20:1 (July 1850): 359. [“The Gallery of Illustrious Americans.” Containing the Portraits and Biographical Sketches of 24 of the most eminent citizens of the Re- public, since the death of Washington. New York: Brady, D’Avignon & Co., G. D. Putnam, D. Appleton & Co., C. S. Francis & Co. 1850.
“The work consists of a series of portraits, with biographical notices appended, intended to make us familiar with our own great men. The present number contains the portrait of Col. Fremont; how he gets there we cannot say, but-will not at present stop to question his right. The portrait has the appearance of faithfulness, and is well lithographed and printed; but we are sorry that some friend with better taste had not been at the editor’s elbow to induce him to adopt a more legible form of type. The execution is very good, but the form is exceedingly unreasonable and unpleasant. Ed.”]

JOURNAL OF THE MILITARY SERVICE INSTITUTION OF THE UNITED STATES

BRADY, MATHEW B. (ca. 1822-1896) (USA)
“Reviews and Exchanges.” JOURNAL OF THE MILITARY SERVICE INSTITUTION OF THE UNITED STATES. 43:154 (July-Aug. 1908): 158. [“Pictures of War.” [Book review. Original Photographs taken on the Battle-field during the Civil War of the United States by Matthew B. Brady and Alex. Gardner. From the collection of E. B. Eaton, Hartford, 1907.
“The pages of history would be colorless, indeed, without the aid of the artist’s pencil, or the vivid tints which sometimes illuminate the record. Italy gave to the world the great Leonardo; France produced Vernet, Meissonier and Detaille, the latter a soldier, and Russia the lamented Verestschagin, who depicted with much realism the horrors of war. Yet, if the naked truth is sought and the grim face of war, without its glamour, desired, none of these has handed down more faithful glimpses of life in the camp and of death on the battle-field than Brady, the photographer of the American Civil War. It may seem a curious blending of great names with that of a modest citizen who carried his camera to the front, regardless of personal safety, and amid the booming of cannon and the charging of squadrons made sun-pictures for posterity.
At the close of the war Mr. Brady had accumulated an immense collection of photographic plates, part of which were purchased by the United States Government; part became the property of Edward Bailey Eaton, of Hartford, Conn., who has recently published an illustrated quarto containing many impressions from the original plates. The book is well worth the price ($3.00) per copy. Perhaps the rarest picture is the excellent half-tone reproduction of a photo of the Battle of Antietam, taken just in rear of the firing line during the engagement.” T. F. R.”]

JUDGE’S LIBRARY: A MONTHLY MAGAZINE OF FUN

BRADY, MATHEW B. (ca. 1822-1896) (USA)
[Advertisement.] “Announcement.” JUDGE’S LIBRARY: A MONTHLY MAGAZINE OF FUN no. 82 (Jan. 1896): 40.
[“The Judge Publishing Company have issued The Memorial War Book Illustrated With Nearly Two Thousand Magnificent Illustrations, Mostly reproduced from the celebrated series of photographs taken during the war by M. B. Brady and Alexander Gardner, under the Authority of the United States Government, the original negatives of which are now in the possession of the War Department at Washington, to which have been added reproductions of several noted paintings of Gilbert Gaul, and the series recently issued by the Messrs. Prang from paintings by de Thulstrup and Davidson, altogether
[Illustration: Mounted soldiers pulling a cannon up a muddy hill.]
Forming the most Sumptuous Work on the War ever issued.
The text has been written especially for the work by
Major George F. Williams,
and is compiled from Historical Records, Narratives of Men who fought, and from personal observations. It aims to present a series of pen pictures drawn from material that has never before been collected. It is a series of personal reminiscences of stirring adventures and lifelike descriptions of campaigns and battles, as the soldier saw them, rather than a history, with sufficient memoranda of the events attending the progress of the struggle to give the reader an understanding of their relative importance.
Pen and Photographic Pictures of Actual Scenes on the March, in Camp, on the Field of Battle, and in the Trenches.
It will be delivered complete in one Imperial Quarto Volume, printed on the finest quality heavy coated paper, manufactured expressly for this work, and bound in seal grain leather, full gilt edges, and will be sold only by subscription and only in conjunction with Leslie’s Weekly. For particulars address,
Leslies’s Weekly, 110 Fifth Ave., New York.”
[This advertisement or similar ad ran in every issue of the year. WSJ]

KNICKERBOCKER; OR NEW YORK MONTHLY MAGAZINE

BRADY, MATHEW B. (ca. 1822-1896) (USA)
“Gossip with Readers and Correspondents.” KNICKERBOCKER; OR NEW YORK MONTHLY MAGAZINE 34:3 (Sept. 1849): 264-282. [“Among the gossipry omitted from our last number was a notice of the manifold attractions of Brady’s Daguerrian Gallery, corner of Fulton-street and Broadway. There is scarcely a prominent man in the country, from the past and present Presidents, their cabinets, and families, and high political magnates, out of office, (all of whom are admirably taken,) down, or up, to the distinguished literary, scientific, and artistic men of our time, but are here represented, and precisely ‘to the life.’ Mr. Brady and Mr. Haas have accomplished much toward perpetuating the celebrities of this day and generation…” p. 267.]

BRADY, MATHEW B. (ca. 1822-1896) (USA)
“Editor’s Table.” KNICKERBOCKER; OR NEW YORK MONTHLY MAGAZINE 35:1 (Jan. 1850): 90.
[“…We would call especial attention to Brady’s ‘Gallery of Illustrious Americans,’ advertised on the third page of the cover of the present number. It will prove to be one of the most superb works of the kind ever issued from the American press. The advertisement renders farther reference to the proposed enterprise unnecessary. . . .”
[(Covers not bound in this copy. This is probably the same prospect as that which was published in other magazines. See Holden’s Dollar Magazine 5:2 (Feb. 1850): 128, for text WSJ)]

BRADY, MATHEW B. (ca. 1822-1896) (USA)
“Editor’s Table. The Gallery of Illustrious Americans.” KNICKERBOCKER; OR NEW YORK MONTHLY MAGAZINE 35:3 (Mar. 1850): 265-268. [“This great national work, lately advertised on our cover, the joint production of Mr. Brady, the celebrated Daguerrian artist (who has unquestionably surpassed every other rival in his art, and taken a succession of the most superb likenesses that have ever been seen), D’Avignon, whose portraits are equal to the very best that have ever been executed in Paris, and C. Edwards Lester, the editor, has been received with a chorus of applause from the press throughout the country. We remember no work whose publication has excited so much interest among literary circles and public men. It not only surpasses, in its mechanical execution, all the galleries and similar publications of the kind which have appeared before, but so far as our knowledge extends, nothing more beautiful has been sent out from the presses in Europe. As most of our readers have already, through other channels, learned the scope of the work, we shall direct our attention more directly to the contents….” (Followed by extensive quotes from the biographical texts in addition to commentary.) “…The second number is dedicated to John Caldwell Calhoun, one of the most brilliant men that have existed under our republic. The daguerreotype from which this engraving is made has been one of the chief attractions of Mr. Brady’s Gallery for several months. It has attracted the attention of all persons of taste, and we believe that he himself regards it as the best picture he ever made. There had been a considerable number of tolerable pictures of General Taylor, beside a much larger number of caricatures; but hitherto no likeness of Mr. Calhoun has appeared which has given the slightest idea of the man. This one is perfect, and none of the power or beauty of Mr. Brady’s picture has been lost in passing through the hands of D’Avignon. As a likeness and a picture it surpasses everything that has ever been produced in the United States…” “It is a noble design to group together twenty-four of the greatest men that have lived during the first half of the present century, in a republic like this. To gaze upon their portraits, in such a Gallery, must stir the pride of their countrymen; and what nobler offering could be sent by this country to the nations of Europe than the portraits and biographies of so many of our great citizens?…”]

BRADY, MATHEW B. (ca. 1822-1896) (USA)
“Gossip with Readers and Correspondents.” KNICKERBOCKER; OR NEW YORK MONTHLY MAGAZINE 40:1 (July 1852): 74-94. [“…Brady, at his ‘National Daguerreotype Gallery,’ Number 205 Broadway, exhibits some likenesses that he recently took in Europe, that will excite no little curiosity. Among them are Louis Napoleon, Victor Hugo, and Eugene Sue. While abroad, he made arrangements with eminent artists to forward, from time to time, portraits of all the most eminent men of the day, as well as every improvement or discovery in the art, thus rendering his establishment one of the most popular and interesting exhibitions in our city. Mr. Brady has also thoroughly refitted his apartments; and by the introduction of improvements in the arrangements of light, and other matters, acquired during his residence in Europe, is enabled to produce pictures equal, if not superior, to those for which he received a prize medal at the World’s Fair….” pp. 78-79.]

BY COUNTRY. USA. 1853.
“Gossip with Readers and Correspondents.” KNICKERBOCKER; OR NEW YORK MONTHLY MAGAZINE 42:1 (July 1853): 97-109. [“It is universally conceded now, we believe, that Daguerreotyping in America is now superior to that of any country in the world. Our operators have taken prizes and medals over all competitors ‘in the markets of the world.’ We have spoken heretofore of Brady’s great skill, and the extent and perfection of his establishment and portraits, which are remarkable. Gurney stands preeminent also. His rooms are large, airy, and convenient; and his daguerreotypes are ‘perfect gems.’ He has among his vast collection one that we never saw surpassed. Lawrence, likewise, whose new and immense house is among the note-worthy attractions of the town, is ‘winning golden opinions from all sorts of people.’ These are signs of ‘the times.’” p. 107.]

BY COUNTRY. USA. 1855.
“Gossip with Readers and Correspondents.” KNICKERBOCKER; OR NEW YORK MONTHLY MAGAZINE 45:3 (Mar. 1855): 312-330. [“We very well remember the day, although how many years it was since, we cannot now recall, when the late Flauvel Gouraud, the Mnemotechnist, called upon us at the sanctum, and desired us to accompany him to his apartment at the St. George Hotel, below Trinity Church, to examine specimens of a new art of transferring all forms and objects in nature; to transfix them at once upon permanent plates; an art but just that period discovered or invented by a Mons. Daguerre, of Paris, and of which he had several remarkable copies. Nothing loth, we went with him; and ‘then and there’ saw numerous specimens of the first Daguerreotypes ever seen in this city. And greatly do we regret the subsequent loss of one, of which he made us a present—a charming ‘Scene on the Seine,’ embracing a fine view of the Louvre. But what was the art then, in contrast to the perfection to which it has now arrived? Let the magnificent Daguerrian saloons, such as may be found in Broadway, Brady’s, Gurney’s, Root’s, and the like, make answer. But another style has recently ‘come out,’ as the shop-keepers say, and that is the Phototype. We have examined specimens of this art at Brady’s, the only ones indeed that we have ever seen, which are wonderfully fine, natural, artistic. What think you of daguerreotyping upon fine white Bristol-board, with all the softness, delicacy of shading, and graceful effect of the most elaborate miniature or original painting? And yet this is the art; and if Mr. Brady will show his visitors the portrait of our friend and contemporary Mr. Dana, of ‘The Tribune’ daily journal, or any of the six or eight others which we examined, they will acquit us of any exaggeration in our praise of this new phase in the art of ‘sun-painting.’ It is in truth a most extraordinary and very beautiful improvement.” pp. 317-318.]

PHOTOGRAPHIC LITERATURE. BOOKS. 1856.
“Literary Notices.” KNICKERBOCKER; OR NEW YORK MONTHLY MAGAZINE 47:3 (Mar. 1856): 306-307. [Book review. Cyclopedia of American Literature. by Evert A. Duyckinck and George L. Duyckinck. New York: Charles Scribner. In two volumes. Vol II, 781 pp. “We have noticed briefly this important and elaborate work, which deserves far more than a passing comment. There are perhaps none better qualified than the Messrs. Duyckinck, by taste, culture, habits, and opportunity, for an undertaking of the kind. As editors of the ‘Literary World’ for many years, they have taken cognizance of literary men and books: their antiquarian researches have been long prosecuted: in the course of foreign travel, and by keeping an eye open to the occasions which our own country affords, they have collected many rare and curious volumes, and have one of the best-stocked and most costly private libraries which can anywhere be found…. The first volume contained as a frontispiece an elegant engraving on steel, one of the most satisfactory likenesses of Franklin which we have seen. The second is prefaced by one equally well executed of J. Fenimore Cooper, from a daguerreotype by Brady. …two volumes, royal octavo, containing in all fifteen hundred pages, embracing personal and critical notices of nearly a thousand American writers, with selections from their writings, from the earliest periods to the present day; with two hundred and twenty-five portraits, four hundred and twenty-five autographs, and seventy-five views of colleges, libraries, and residences….”]

BRADY, MATHEW B. (ca. 1822-1896) (USA)
“Editor’s Table. Gossip with Readers and Correspondents. Fine Arts.” KNICKERBOCKER; OR NEW YORK MONTHLY MAGAZINE 47:6 (June 1856): 632-655. [“It has been our purpose for some time past to call the attention of our readers to the improvements in ‘sun-pictures,’ constantly being introduced by Brady at his splendid National Gallery, No. 359 Broadway. He is constantly producing pictures which possess every quality that constitutes works of high art. Bringing to bear all the facilities of chemistry, the chicest materials, the most scientifically-constructed ‘operating-rooms,’ Mr. Brady throws over the whole the charm that grows out of a highly-cultivated mind, enlightened by an intimate acquaintance with, and the sympathy of, the best artists of the country, and the most careful study of art associations in Europe. The consequence is, that a sitter to Mr. Brady secures not only the best possible picture, so far as mechanism and choice materials are concerned, but also is disposed of in the picture, in the attitude and style best calculated to give a favorable likeness, and secure in the general design a perfect daguerreotype. To such an extent has this gentleman brought this indescribable charm, that recently many of his single figures and groups of figures have been engraved, and elicited enthusiastic commendation for their masterly disposition, seeming to have been copied from carefully-studied paintings rather than from creations of ‘instant art.’ Under his new style of Ambrotypes, which he has brought to unrivalled perfection, his triumphs are perhaps more extraordinary than even those achieved upon the metal plates. Under all circumstances, our citizens and visitors to our city from abroad, lose a rare intellectual treat if they do not visit Mr. Brady’s gallery, and witness for themselves the many attractions which adorn his walls. To this gentleman the nation is indebted for his magnificent conception of a ‘National Gallery,’ which has secured to the present and future generations, correct likenesses of our heroes, authors, artists, statesmen, merchants, clergymen, and others in whom the country take an interest; and the gallery alone, without any of the other multiplied attractions, is well worthy of the attention of all who take an interest in the advancement of whatever adorns our country, and elevates its intellectual character.” pp. 654-655.]

BRADY, MATHEW B. (ca. 1822-1896) (USA)
1 b & w (“Cyrus W. Ould, author.”) as frontispiece. KNICKERBOCKER; OR NEW YORK MONTHLY MAGAZINE 52:4 (Oct. 1858). [“Brady.” “John A. O’Neill” credits under the engraving.]

LADIES REPOSITORY: A MONTHLY PERIODICAL DEVOTED TO LITERATURE, ARTS AND RELIGION

BRADY, MATHEW B. (1823-1896) (USA).[?]
1 b & w (“Rev. Beverly Waugh. Senior Bishop of the Methodist Episcopal Church.”) as second frontispiece. LADIES REPOSITORY: A MONTHLY PERIODICAL DEVOTED TO LITERATURE, ARTS AND RELIGION 13:1 (Jan. 1853). [“Engraved by illegible from a Daguerreotype by illegible.” Holt? There was a A. G. Holt in Boston at this time. However Brady was also known to have taken a portrait of Waugh—see Aug. 1859, p. 478.]

BRADY, MATHEW B. (1823-1896) (USA).[?]
1 b & w (“Rev. Edmund S. Janes, D. D.”) as second frontispiece. LADIES REPOSITORY: A MONTHLY PERIODICAL DEVOTED TO LITERATURE, ARTS AND RELIGION 15:1 (Jan. 1855). [“Engraved by F. E. Jones from a Daguerreotype.” Brady was known to have photographed Janes—see Aug. 1859, p. 478.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Alice Cary, author.”) as second frontispiece. LADIES REPOSITORY: A MONTHLY PERIODICAL DEVOTED TO LITERATURE, ARTS AND RELIGION 15:8 (Aug. 1855). [“Engraved by F. E. Jones from a Daguerreotype by Brady.” “Our artist-F. E. Jones, Esq.-has succeeded admirably, we think, in his work. It was copied from a daguerreotype taken by Brady, the first of the daguerreotypists of New York city.” p. 511. Print missing from this issue.]

BRADY, MATHEW B. (1823-1896) (USA).
‘Editor’s Table.” LADIES’ REPOSITORY: A MONTHLY PERIODICAL, DEVOTED TO LITERATURE, ARTS, AND RELIGION 15:8 (Aug. 1855): 511-512. [“Alice Cary.-Elsewhere from our pen in this number the reader will find a sketch of the life of Miss Cary. Our artist F. E. Jones, Esq.-has succeeded admirably, we think, in his work. Having seen Miss Cary frequently, our recollection of her features and the general expression of her countenance is in accordance with the engraving. It was copied from a daguerreotype taken by Brady, the first of the daguerreotypists of New York city.” p. 511.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. Francis Burns, Bishop of the Methodist Episcopal Church in Africa.”) as frontispiece. LADIES REPOSITORY: A MONTHLY PERIODICAL DEVOTED TO LITERATURE, ARTS AND RELIGION 19:3 (Mar. 1859). [“Engraved by J. C. Buttre from an Ambrotype by Brady.” Burns was an African-American, born in Albany, NY. The engraving is a portrait bust, but it displays a background that might be part of a coastal town in Liberia, Africa; thus it could have been added by the engraver or Brady might have purchased the ambrotype from another photographer—a practice not foreign to him.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Rev. Nathan Bangs, D. D.”) as frontispiece. LADIES REPOSITORY: A MONTHLY PERIODICAL DEVOTED TO LITERATURE, ARTS AND RELIGION 19:6 (June 1859). [“Photograph by Brady. Engraved by J. C. Buttre.”]

BRADY, MATHEW B. (1823-1896) (USA).
Strickland, Rev. W. P. “The Fine Arts—Photography. LADIES REPOSITORY: A MONTHLY PERIODICAL DEVOTED TO LITERATURE, ARTS AND RELIGION 19:8 (Aug. 1859): 477-478. [“Usefulness of the Arts-Equalization of Enjoyments-Importance of Photography-Its Applications-Brady’s Gallery-Clerical Gallery-All the Professions —Beautiful Women-Methodist Divines. We claim a greater latitude for the fine arts than is to be found in the old definition, which restricted them to poetry, music, painting, and sculpture. We make not this demand, however, because we consider photography as not legitimately belonging to the realm of taste and imagination. As a polite art, we believe it worthy of a high place in the esthetical world, while, as a useful art, it commends itself in an eminent degree. It is worthy of special notice,…. Within the past ten years the photographic art has fully developed itself, and has become a subject of the greatest interest and importance to the student, the antiquarian, and the traveler, as well as to the professional artist; and now the latest discoveries of Layard or Livingstone, Robinson or Bayard Taylor, among the countless objects of interest in Egypt, Assyria, or the classical old world, are photographed upon the spot, and furnished to us with a truthfulness and accuracy which the pencil of the artist, however skillful he may be, can never approach in the remotest degree…. Have you ever, Mr. Editor, been in Brady’s Gallery? But why ask this question when I know your fac simile hangs upon its walls, if not “as large as life,” we may say, at least, quite as “natural.”… I can say, however, that you are in good company. Such an array of clerical celebrities never were together before. The “divine” gallery is quite large. Popes, cardinals, archbishops, bishops, doctors, and pastors in thick profusion meet the eye at every turn. Here are statesmen, living and dead, constituting one of the finest national galleries in the world; embassadors, plenipotelntiaries, attaches and consuls, judges, lawyers, physicians, authors, artists, prima donnas, and litterateurs-the latter, like the clerical gallery, representing the different professions. Here may be seen the most distinguished officers of the army and navy, all properly grouped, and making these galleries the most important and interesting place for the study of American character one can find. Mr. Brady has four extensive galleries, one in Washington and three in New York-one opposite the museum, another in the upper part, and the third in the central part of Broadway. This latter is by far the most extensive of his galleries, and the visitor to New York will here find his curiosity and love for the beautiful gratified…. Generally the portraits are spiritualized, the great artist, the sun, seeming to have consumed the dross of earth and left the soul’s pure gold. Lady Napier, Lady Bury, Madame Le Vert, and Lady Gore Ousley; Mrs. Crittenden, Miss Lane, Mrs. Hale, and Mrs. Mowatt Ritchie; Mrs. Douglas, Fitzpatrick, Brown, and Pugh, of Washington society, are among the number in the ladies’ gallery. Among the artistes are Jenny Lind, Piccolomini, and numerous others. Mrs. Palmer, the author of the Stratford Gallery, is one of the most exquisite specimens of art. The full-length, lifesize portrait of Madame Frezzalini challenges universal attention, and, to artists especially, is an object of great interest, presenting, as it does, the proof of Mr. Brady’s improvement in the appearance of the prima donna’s hand, the beautiful proportion of which is preserved, though advanced several inches on a table at her side. We feel unwilling to conclude this short article without referring to some of the portraits of distinguished Methodist divines. On the left, as you enter, you will see a most exact and striking likeness of the late venerated Bishop Waugh. That inimitable smile which always played like a sunshine over his calm, benignant features, is there. That great soul still seems to beam from those dark, expressive eyes. Next you look upon the face, as large as life, of the great historian of the Church, Dr. Bangs. To see him but once is to know him forever. The engraving in the Repository, which has been so admirably executed by Mr. Buttre, is taken from one of Brady’s photographs. Then there is the full-length portrait of Bishop Janes, with its calm and thoughtful expression, and also that of Dr. Durbin, which is considered the most perfect of any representation of that greatest of American divines, together with numerous other representative men of the Methodist Church.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Daniel Drew, Esq., of New York.”) as frontispiece. LADIES REPOSITORY: A MONTHLY PERIODICAL DEVOTED TO LITERATURE, ARTS AND RELIGION 19:9 (Sept. 1859). [“Photograph by Brady. Engraved by J. C. Buttre.”]

BRADY, MATHEW B. (1823-1896) [?]
1 b & w (“Rev. Davis W. Clark, D. D., Bishop of the Methodist Episcopal Church.”) as frontispiece. LADIES REPOSITORY: A MONTHLY PERIODICAL DEVOTED TO LITERATURE, ARTS AND RELIGION 25:1 (Jan. 1865). [“Engraved by J. C. Buttre, New York.” Possibly from a daguerreotype or photograph. Brady was known to have photographed Clark—see Aug. 1859, p. 478.]

LADIES’ WREATH

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Mrs. Myra Gaines.”) as frontispiece. LADIES’ WREATH, A MAGAZINE DEVOTED TO LITERATURE, INDUSTRY AND RELIGION 5:9 (Jan 1, 1851). [“Daguerreotyped by Brady. Engraved by J. Bannister.” (As happened often with early portraits of women, the engraver “improved” the portrait to the point that it is almost unrecognizable as a photograph.)]

LIBERATOR

BRADY, MATHEW B. (1823-1896) (USA).
‘Note.” LIBERATOR 30:23 (June 8, 1860): 92. [“Mr. Brady, photographer, is now engaged in reproducing upon paper the features of Mr. Thaddeus Hyatt, of the Washington jail, and also the room in which he temporarily resides. The latter picture, prepared under Mr. Hyatt’s supervision, bears the inscription, ‘Room in which Thaddeus Hyatt is incarcerated, in the American Bastile,’ etc., etc.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘A Scene at Washington.” LIBERATOR 34:16 (Apr 15, 1864): 62. [From the Philadelphia Press. “The scene on Wednesday evening, when the English Abolitionist, George Thompson, spoke against slavery, should have been photographed by Brady. It would have made a picture worthy of being displayed in every loyal house. What Mr. Thompson said was precisely what I expected; and it was strongly and gracefully said….”]

LITERARY AMERICAN

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s Gallery of Daguerreotypes,” THE LITERARY AMERICAN 4:3 (Sat., Jan. 19, 1850): 58.
[“PORTRAITS, AND FAMILY GROUPS,
Nos. 205 and 207 Broadway.
Third door south of St. Paul’s Church, 2d, 3d. and 4th stories.”]

BRADY, MATHEW B. (1823-1896) (USA)
“A Great Work.” THE LITERARY AMERICAN 4:4 (Sat., Jan. 26, 1850): 76. [“On the eve of going to press, we have time and space to devote but a few words to the 1st No. of the Gallery of Illustrious Americans, which has just been placed in our hands. Next week we shall say more of this enterprise; we would now merely state that, under the above title, will be published during the year twenty-four Por- traits and Biographical Sketches of some of our most distinguished men. The portraits are from Brady’s unrivalled daguerreotypes; the letter-press is by C. Edwards Lester. The first number is devoted to Gen. Taylor. Single numbers, $1. The whole series, $20. Subscribers will please remit to us, post-paid, and they shall receive No. I. by Ex- press, without delay, and the other numbers as fast as they appear. This publication is no humbug it is on paper, 16 by 23 inches, and will truly be a great national work that should have a place in the library of every American. The numbers may be had separately, if desired. Our agents or readers may depend upon having their orders sent to us, either for the whole work, or individual numbers, promptly filled, if accompanied by the cash.” “We would call attention to the Prospectus of the Gallery of illustrious Americans” Orders transmitted to us will be promptly filled.” [(See p. 100. WSJ)]

BRADY, MATHEW B. (1823-1896) (USA)
“Note.” THE LITERARY AMERICAN 4:5 (Sat., Feb. 2, 1850): 95. [“We would call attention to the Prospectus of the Gallery of illustrious Americans” Orders transmitted to us will be promptly filled.”
[(See p. 100. WSJ)]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “A Great National Work.,” THE LITERARY AMERICAN 4:5 (Sat., Feb. 2, 1850): 100.
[“The Gallery of Illustrious Americans.
Daguerreotypes by BRADY.
Engraved by D’Avignon. Edited by C. E. Lester.
“Under this title will be published, during the year 1850, twenty-four Portraits and Biographical Sketches of American citizens who have become illustrious in the service of the country. Every portion of the work will receive the most careful attention, and nothing will be spared to render it a worthy and enduring monument to the great men of the Republic.
Mr. Brady has been many years engaged, at great expense, in collecting Portraits for a National Gallery, and those which are being engraved for this work are believed to be superior to any that have ever yet been taken.
The drawings and engravings of D’Avignon have been pronounced by Europeans of taste to be fully equal, and, in some respects, superior to those of the best artists of London and Paris, and every impression in this Gallery will be taken under his immediate supervision. The Typography will be executed as carefully and in as superb style as the engravings themselves. The entire work will be on the finest imperial folio paper, 16 by 23 inches, made expressly for this purpose.
This work has nothing sectional in its scope; it will. therefore, be comprehensive in its spirit. The names of those men only will be admitted. whose talents and public services have won for them an honorable fame throughout the nation. Each of the great departments of life will have its representatives. Art and Literature are universal in their spirit, and this Gallery is intended to be a worthy and enduring monument to the great men of the Republic, whose achievements and fame constitute the chief glory of a nation.
TERMS.-Numbers may be had, singly, for $1 each; the whole series of twenty-four numbers for $20. Part I. has just been issued: it contains a portrait and life of Gen. Taylor. All orders accompanied by the money, will be promptly filled, by return of Mail or Express.
Address G. P. Quackenbos. Literary American Office, N. Y.”
[Quackenbos was the publisher of the The Literary American. This ad republished throughout the remainder of the volume on pp. 120, 140, 160, 180, 200, 220, 240, 260 etc. WSJ)]

BRADY, MATHEW B. (1823-1896) (USA)
“Gallery of Illustrious Americans.” THE LITERARY AMERICAN 4:8 (Sat., Feb. 23, 1850): 155. [“We would once more call the attention of our readers to this great national work, the Prospectus of which will be found on our´ last page. The second number has been issued, and contains a likeness and biographical sketch of Calhoun. It is needless to say that the engraving and letter press are both unexceptionable. Orders sent to our office, accompanied by the money, will be promptly filled.”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Dyspepsia.” THE LITERARY AMERICAN 4:20 (Sat., May 18, 1850): 389.
[ “HUTCHINGS’
VEGETABLE DYSPEPSIA BITTERS.
The most popular Family Medicine of the age, used by Physicians of high standing.
These Bitters remove all morbid secretions, purify the blood, give great tone and vigor to the digestive organs, fortify the system against all future disease, can be taken with safety, at no time debilitating the patient being grateful to the most delicate stomach, and remarkable for their cheering, invigorating, strengthening, and restorative properties, and an invaluable and sure remedy for the
Dyspepsia in its worst forms.
Also, Liver Complaints, Jaundice, Heartburn, Costiveness, Faintness. Disorders of the Skin, Liver and Kidneys. Loss of Appetite, Low Spirits, Nervous Headache, Giddiness, Palpitation of the Heart, Sinking and Fulness, or Weight at the Stomach, and all other diseases caused by an impure state of the blood, liver, &c., which tend to debilitate and weaken the system.
Females who suffer from a morbid and unnatural condition, will find this medicine of
Inestimable value.
In cases of general debility it acts like a charm.
Read the following from an eminent Physician:-
The undersigned being acquainted with some of the ingredients of Hutchings’ Vegetable Dyspepsia Bitters. and having used it for some time in his practice with every desired effect, he recommends this medicine from the certainty of its effect. and gives it a preference over all preparations in medicine for that distressing complaint, Dyspepsia.
T. HARDENBERGH,
No. 1 Beach street, New York.
From Luther B. Wyman, Esq, late President of the New York Musical Society, now of Brooklyn.
The undersigned was afflicted with the Dyspepsia of the worst form for one year and a half; during a greater portion of this time he made use of no remedies, but suffered the disease to take care of itself, until he was recommended to try Hutchings’ Dyspepsia Bitters. He very soon derived a benefit from the use of a few bottles of this medicine, and now considers himself perfectly well.
The undersigned has every confidence in the efficacy of Hutchings’ Bitters for the cure of this troublesome and dangerous complaint, and he has no hesitation in recommending it as a most valuable medicine.
L. B WYMAN,
NEW YORK, Sept. 3d, 1850. 28 Burling Slip.
The following certificate is from M. B. Brady, the celebrated Daguerreotypist:
Having been afflicted very severely with Dyspepsia. together with extreme weakness, I was advised to take Hutchings’ Dyspepsia Bitters, and I have every reason to believe it has perfectly cured me. I have since felt no symptoms of a return of the disease, and believe. from the effect it had on me, that it will cure the worst cases of Dyspepsia.
M. B. BRADY.
No. 205 Broadway, N. Y.
The Proprietor of this medicine has received many other certificates of cures. equally remarkable. of the various diseases for which this preparation is applicable; but the above are deemed sufficient to satisfy any unprejudiced minds of its value and superiority above all other preparations.
Principal Office, 122 Fulton street, New York, upstairs.
ROWAND & SON, Wholesale and Retail Agents, for Philadelphia, 21 North Sixth Street.”
[(This ad repeated several times in the volume. WSJ)]

BRADY, MATHEW B. (1823-1896) (USA)
“Gallery of Illustrious Americans, Brady’s Gallery, 205 Broadway, N. Y.” THE LITERARY AMERICAN 4:21 (Sat., May 25, 1850): 405. [“Silas Wright is the subject of the fourth number of this splendid publication. The likeness will at once be pronounced admirable by all who knew our illustrious Governor. We rejoice in the success of this magnificent work, regarding it as a well- deserved triumph of native art. It is eminently worthy of patronage, and needs only to be seen to be admired and appreciated.”]

BRADY, MATHEW B. (1823-1896) (USA)
“Gallery of Illustrious Americans.” THE LITERARY AMERICAN 4:24 (Sat., June 15, 1850): 452-453. [“No 5 of this splendid national work has just reached us, and we cannot commend it too warmly to the notice of the public. The engraving is a faithful likeness of Henry Clay, presenting the old patriot just as he appears, crowned with honors and with years. The letter press of this work is splendid; in fact we doubt that any thing ever emanated from the American press which will surpass it in point of purity and execution. The sketch of Mr. Clay in this number, is written with Lester’s usually bold and vigorous manner. It is just long enough to be read, and not too long to be tedious. The fly-leaf of art and criticism on the corner is filled with choice literature. We are glad to hear that the work is prospering. (p. 452)
“The projection and design of the “Illustrious Americans” was most timely and happy.” (p. 453)]

BRADY, MATHEW B. (1823-1896) (USA)
“Gallery of Illustrious Americans.” THE LITERARY AMERICAN 4:26 (Sat., June 29, 1850): 484-485.
[“No. VI. Col. Fremont. Brady’s Gallery: 205 Broadway.
“A character more worthy of a place among “illustrious Americans” than Col. Fremont could not be selected. We have perused Mr. Lester’s able sketch of his career with all absorbing interest. “The feet of three men,” eloquently exclaims Mr. L., “have pressed the slopes of the Rocky Mountains, whose names are associated forever with those vast ranges: Humboldt, the Nestor of scientific travellers; Audubon, the interpreter of Nature; and Fremont, the Pathfinder of Empire. Each has done much to illustrate the Natural (p. 484) History of North America, and to develop its illimitable resources. The youngest of all is likely to become as illustrious as either, for fortune has linked his name with a scene in the history of the Republic as startling as the first announcement or its existence. To his hands was committed the magnificent task of opening the golden gates of our Pacific Empire. His name is identified forever with some of the proudest and most grateful passages in American History. His 20,000 miles of wilderness explorations in the midst of the inclemencies of Nature, and the ferocity of jealous and merciless tribes; his powers of endurance in a slender form; his intrepid coolness in the most appalling dangers; his magnetic sway over enlightened and savage men; his vast contributions to science; his controlling energy in the extension of our Empire; his lofty and unsullied ambition; his magnanimity, humanity, genius, sufferings and heroism; make all lovers of progress, learning and virtue rejoice, that Fremont’s services have been rewarded by high civic honors, exhaustless wealth, and the admiration and gratitude of mankind.” The plate accompanying this number is an admirable specimen of engraving; the beauty of its execution is surpassed only by its fidelity as a likeness.” (p. 485)]

LITERARY WORLD

EXHIBITIONS. 1849. NEW YORK. AMERICAN INSTITUTE FAIR.
“What is Talked About.” LITERARY WORLD 5:142 (Oct. 20, 1849): 337-338. [“The Fair of the American Institute has attracted the usual crowd of visitors. It is always a gratifying sight to look upon its crowded assemblies, among which we fancy we can discern a liberal representation of the families and friends of the mechanics, artisans, and the contributors to its collection of native manufactures…. In the scientific arts belonging to Photography, our artists display that practical talent for which they have been so distinguished. For, to an American, Dr. Draper, belongs the credit for having made the Daguerreotype available for popular wants. The collection of Talbotypes or photographs on paper will be found extremely interesting, and a similar but newly discovered process transfers portraits to the surface of plate glass. Both these styles of aer are from the galleries of the Messrs. Langenheim of Philadelphia. Among the exhibitions of the Daguerreotypes, Mr. Brady’s pictures present a large array of faces belonging to distinguished characters, male and female, Gen. Taylor and cabinet, and the stars of literature and public life, are on these silvery mirrors…” p. 337.]

BRADY, MATHEW B. (1823-1896) (USA).
‘The Fine Arts.” LITERARY WORLD 6:158 (Feb. 9, 1850): 132. [“…The first number of a Gallery of Illustrious Americans has appeared in folio, with a fine lithograph of Geberal taylor, engraved by D’Avignon from a Daguerreotype by Brady, the letter-press by C. Edwards Lester. It is proposed to publish twenty-four numbers within the year, and the selection is to include ‘the most eminent citizens of the Republic since the death of Washington.’ The lithograph is finely executed, one of the best specimens of the art yet published in this country. Several of the difficulties of the daguerreotype are successfully overcome, but something of the severity and cadaver of that popular but frequently impracticable method of portraiture remains.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘American Portrait Galleries.” LITERARY WORLD 6:170 (May 4, 1850): 449. [“The first numbers of Messrs. Goupil, Vibert & Co.’s new publication, the series of Portraits of Distinguished Americans, have made their appearance, and do credit to the artistic taste and execution of this house. The portraits selected are Bryant and Webster… lithographs…drawings by C. G. Crehen, who has also just executed a popular print of Jenny Lind, which is published in a similar form. The fourth number of the Gallery of Illustrious Americans has also appeared, with a portrait of Silas Wright. The best qualities of the original daguerreotype by Brady are successfully preserved.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Art Items.” LITERARY WORLD 6:177 (June 22, 1850): 618. [“Numbers 5 and 6 of ‘Brady and Lester’s Daguerreotype Gallery of Illustrious Americans,’ contains the portraits of Henry Clay and Colonel Fremont. The portrait of the latter is one of the best in the series. It is a characteristic face, combining something of the roughness of the pioneer with the clear eye and open brow of the man of thought and observation. The publishers, in the variety and truth of these illustrations of American character, are consulting the best interests of the subscribers to this series.”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “To the Trade and the Public. A National Tribute to our Great Men.” LITERARY WORLD 7:182 (July 27, 1850): 80-81. [“The Gallery of Illustrious Americans, Daguerreotyped by Brady—Engraved by D’Avignon.—Edited by C. Edwards Lester. This great work, now being issued in semi-monthly numbers, will contain the Portraits and Biographies of Twenty-Four of the most Illustrious Citizens of the Republic during our own times. It is published on imperial folio drawing paper, 16 by 23 inches—in a new and magnificent style, and furnished to subscribers at a Dollar a No. or $20 for the 24 numbers—payable quarterly in advance. Those who pay the entire subscription of $20 in advance, receive gratis a beautiful Portfolio to contain and preserve the work. The First Quarter is Now Complete—Embracing General Taylor,…No. 1; John C. Calhoun,…No. 2; Daniel WebsterNo. 3; Silas Wright,…No. 4; Henry Clay,…No. 5; Col. Fremont,…No. 6. These Six Numbers will be sent by Express to any person, at home or abroad, on the receipt of Five Dollars, by mail. Portraits of Audubon, Prescott the historian, General Scott, Dr. Channing, Chancellor Kent, Dewitt Clinton, Washington Irving, and other great men, will soon appear in the same superb style…. Brady, D’Avignon & Co., 205 Broadway, New York. (This advertisement ran for two full pages. The remainder of the advertisement, titled “Opinions of the Journals,” is filled with short quotes from reviews from Morris & Willis’ Home Journal, Journal of Commerce, Bryant’s Evening Post, Courier & Enquirer, Morning Express, American Review, Hunt’s Magazine, The Independent, Holden’s Magazine, Knickerbocker, Courrier des Etats Unis, Revue du Nouveau Monde, The Albion, Tribune, The Truthteller, Sunday News, American and Foreign Christian Union, New Orleans Picayune, Journal of Commerce, Philadelphia Episcopal Recorder, Albion, Boston Post, Sunday Atlas, Sunday Dispatch, Evening Post, Knickerbocker, Boston Post, Merchant’s Day Book, Boston Daily Advertiser, Boston Atlas, Washington Union, Morning Express, Morning Star, The Presbyterian, Sunday News, Atlas, Two Worlds, Boston American Sentinel, Democratic Review, Journal of Commerce, Morning Star, Pathfinder, Brooklyn Advocate, Tribune, Milwaukee Commercial Advertiser, New York Evangelist, Message Bird, Providence Journal, National Intelligencer, Willis Hall, Brighton Gazette (England), Tribune, Hunt’s magazine, American Courier (Philadelphia), Boston Gazette, Literary World, Two Worlds, National Intelligencer, Washington Globe, Philadelphia News, Literary America, Evening Post, Tribune, Sunday News, John A. Dix and A. C. Flagg, Daily Globe, Message Bird, Evangelist, Courrier des Etats Unis, Washington Intelligence, Milwaukee Daily Advertiser, Brooklyn Advertiser. The duplicated magazines titles are from separate issues reviewing different prints or numbers of the work, as the work was originally issued in series. The remainder of the ad contains a list of about forty “Agents for the Gallery” in Europe and around the USA, plus the final statement, “Will be published immediately, The Portrait and Biography of President Fillmore.”)]

BRADY, MATHEW B. (1823-1896) (USA).
‘Fine Arts. The Daguerreotype Gallery of Illustrious Americans.” LITERARY WORLD 7:182 (July 27, 1850): 74. [“As a man who has built and dwells under his own roof-tree, we suppose there is no greater analogous satisfaction than that which, author, artist, and publisher enjoy who have succeeded in erecting over their own heads a plan which is in the nature of a shelter of their own. The “Gallery” of Messrs. Lester, Brady & Davignon is a structure of this kind. The scheme, in its union of the finest effects of Daguerreotype, engraving, and size and clearness of publication, is unique, and secures for itself a vantage-ground in popular favor, which, from the enterprise and outlay involved, is almost in the nature of a monopoly… In the accuracy of the daguerreotypes, the spirit and eloquence of the biography, and the execution of the portraits, the co-laborers in this undertaking have, so far, well performed their duty…”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Fine Art Gossip.” LITERARY WORLD 7:200 (Nov. 30, 1850): 433. [“…A new number of Brady’s Gallery of Illustrious Americans is occupied with the Portrait and Biography of Channing. The former is one of the best executed of the series, which appears steadily improving in body and finish, overcoming the superficial hardness of the daguerreotype. In this respect, and in general artistic execution, this portrait is highly successful…”]

PHOTOGRAPHIC LITERATURE. MAGAZINES. PHOTOGRAPHIC-ART JOURNAL. 1851.
“The Photographic Art-Journal.” LITERARY WORLD 8:208 (Jan. 25, 1851): 68-69. [Magazine review. The Photographic-Art Journal (Jan. 1851). “The first number of a new journal, the specialty of which is the means and progress of ‘the Art of Light.’ A capital lithograph of Mr. Brady, after a daguerreotype, is prefaced as a popular recommendation of the studies of Robert Hunt and others, on Chemistry, &c., which follows. This journal is to be published monthly.”]

EXHIBITIONS. 1851. LONDON. WORLDS’ FAIR.
“Varieties.” LITERARY WORLD 9:252 (Nov. 29, 1851): 431-432. [“The list of awards to the United States Contributors to the Great Exhibition, as far as published yet, amount to five Council Medals, 101 prize medals, and one sum of L.50; there are also fifty who have received honorable mention… Among the receivers of Prize Medals are: Hiram Powers, for his Greek Slave; C. Starr for a bookbinding machine;… M. B. Brady, for daguerreotypes;… M. M. Lawrence, for daguerreotypes;… J. A. Whipple, for daguerreotype of the moon; J. Chickering, for a square piano-forte;… of the honorable mentions we note—…J. E. Mayall, for Photographs…”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Fine Arts.” LITERARY WORLD 10:257 (Jan. 3, 1852): 12. [“Putnam has issued portraits of three distinguished American authors, the late Fenimore Cooper, well engraved from a daguerreotype by Brady, a highly characteristic work, and Bryant and Irving, by Illman and Sons, and Halpin, from crayon designs by Charles Martin…

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “To Librarians and Book Collectors. G. P. Putnam.” LITERARY WORLD 10:258 (Jan. 10, 1852): 40. [(Announcement that Putnam would be closing his retail store, auction off the stock, and concentrate on publishing, followed by a list of his books and then a short list of individual prints recently published, including portraits of Washington Irving and William Cullen Bryant from sketches by the artist Charles Martin and a portrait of J. Fenimore Cooper, “From the latest and best Daguerreotype, by Brady. Exquisitely engraved by H. B. Hall. Prints, 50 cents; India Proofs, with Fac-simile Authographs, $1.50….”]

PHOTOGRAPHIC LITERATURE. BOOKS. 1852.
[Advertisement.] “New and Beautiful Presentation Books for the Holidays. G. P. Putnam & Co.” LITERARY WORLD 11:301 (Nov. 6, 1852): 304. [Book notice. The Homes of American Authors, comprising Anecdotal, Personal, and Descriptive Sketches, by the following writers,… Geo. Wm. Curtis, Henry T. Tuckerman, George Washington Greene, Charles W. Briggs, George S. Hillard, William C. Bryant, G. W. Peck, Rufus W. Grisswold, Parke Goodwin, Edward H. Hale, Mrs. C. M. Kirkland. Illustrated by Nineteen Fine Engravings on Steel, Fifteen Engravings on Wood, Printed in Tints, and Sixteen Fac-Similes of Manuscripts. New York: C. P. Dutton & Co., 1852. (This is followed by a specific list of the illustrations, citing the artist and engraver for each illustration, except that four of the illustrations, (One, a portrait of J. Fenimore Cooper, and three views of various artists’ residences,) are credited not to the artist, but to “Daguerreotype.” The Cooper portrait was probably by Brady, as Putnam had already published that work, but the other views remain unattributed.)]

BRADY, MATHEW B. (1823-1896) (USA).
‘Miscellany and Gossip.” LITERARY WORLD 12:320 (Mar. 19, 1853): 230-231. [“The opening on Monday last of Mr. Brady’s new suite of Daguerreotype rooms, in Broadway, in the building to which Thompson’s saloon in the first story affords a ready land mark to strangers and others, was an occasion which deserves chronicling, both for the proficiency to which Mr. B. has brought his art, amply exhibited in the choice specimens, on the walls, of the notabilities of the last and present generations, and for the liberal hospitality extended to the numerous guests of the evening. Mr. Brady’s rooms, always greatly frequented, have now an additional claim to popularity in the increased elegance and substantial luxury of the accommodations for visitors. His gallery is one of the established-lions of the city which no tourist

PHOTOGRAPHIC LITERATURE. MAGAZINES. ILLUSTRATED MAGAZINE OF ART. 1853.
“Magazines for the Month.” LITERARY WORLD 12:331 (June 4, 1853): 461. [“The first volume of the Illustrated Magazine of Art (published by Montgomery) is completed. Its wood cuts are the best offered in this way to the public. The series of Landseer in the new number are capital, and we speak as highly of the architectural, historical, portrait engravings. A good head of Henry Ward Beecher, after on of Brady’s large daguerreotypes, is the American feature.”]

LITTELL’S LIVING AGE

BRADY, MATHEW B. (1823-1896) (USA).
‘New Books: The Gallery of Illustrious Americans.” LITTELL’S LIVING AGE 24:302 (Mar. 2, 1850): 431. [From the Evening Mirror. Book review. “A few weeks ago the public were interested by the announcement, that with the new year, would commence the publication of this Gallery, in a style superior to anything which has gone before it…. It contains a magnificently engraved portrait of General Taylor, which, in beauty of execution, striking resemblance, naturalness of expression, and artistic effect, surpasses anything of the kind we have ever seen of him, and, we must confess, of anybody else. The engraving is made by Mr. D. Avignon, the celebrated French artist, from a splendid daguerreotype of the largest size, by Mr. Brady. This number contains five sheets, printed on drawing paper of imperial folio size; the first being the title-page, the second the “ Salutation,” the third and fourth a Biographical Sketch, and the fifth the portrait, all enclosed in a beautiful printed buff cover, … The entire design of the Gallery is original; and the type and paper, and, indeed, the whole work, surpasses anything that we have ever seen as a specimen of the art of typography. From the publication of such a work, every American may take pride and pleasure. We are glad, too, that the p rice is put at a dollar a number, which brings it within the reach of nearly all of our citizens. Such works, when published abroad, are confined in their circulation, of necessity, to the upper classes; their circulation is small, and their price enormous. With us, everything can be sold cheap, because the consumers are numerous. It was a bold enterprise to undertake the publication of this Gallery, in the superb style in which it now appears; and we confess we had no expectation of ever seeing, in this country, so magnificent a specimen of the printing art. We hope that all our public men will encourage the enterprise, and that literary men, universities, and schools of learning, libraries, amid institutions of art, will everywhere encourage this work… ‘ p. 431.]

BRADY, MATHEW B. (1823-1896) (USA).
‘New Books: The Gallery of Illustrious Americans.” LITTELL’S LIVING AGE 24:304 (Mar. 16, 1850): 527. [From the Home Journal. Book review. “We made some allusions to this work a short time ago, and spoke of it as bidding fair to surpass everything in the shape of typography and art which had hitherto been produced in America. The appearance of the first number fully realizes our anticipations, and a single glance at its superb pages will show any person familiar with the character of similar European works, that it is a most exquisite illustration of the perfection to which typography can be carried… The utmost pains, and a good deal of expense, were requisite to bring about so beautiful a result. Fine imperial folio drawing paper was manufactured expressly for the purpose, and new type, made a few years ago in Paris, … The cover of the number is a beautifully printed journal of art, taste, and criticism; and, appearing semi-monthly, it will form a new topic of interest and conversation in all polite and literary circles….” p. 527.]

BRADY, MATHEW B. (1823-1896) (USA).
‘New Books.” LITTELL’S LIVING AGE 24:305 (Mar. 23, 1850): 569-576. [“From the “Fly Leaf of Art and Criticism,” a page attached to the “Gallery of Illustrious Americans,” edited by C. Edwards Lester. A Tour to Circassia. by George Leighton Ditson. This is the title of a new hook of travels which has just been issued from the press of Stringer & Townsend. It is published… “ p. 574]

BRADY, MATHEW B. (1823-1896) (USA).
‘New Books: The Gallery of Illustrious Americans.” LITTELL’S LIVING AGE 26:323 (July 27, 1850): 171. [From the Spectator. “A handsome and interesting work; to comprise American citizens, “who, from the tribune and in the field, in letters and the arts, have rendered the most signal services to the nation since the death of the Father of the Republic.” …The portraits are lithographed by D’Avignon after daguerreotypes by Brady; biographical sketches are added by Mr. Edwards and his assistants. In the two numbers before us, the lithographs are executed with considerable distinctness and spirit. They are of some size, the head and face probably exceeding two inches in perpendicular length. The biographical notices are clear, and clearly printed, and not too long to be perused as accompaniments to the engravings. The two portraits are those of General Zachary Taylor and Senator John Caidwell Calhoun… In England these portraits will be welcomed for that kind of information as to the character of public men which is only to be derived from a sight of their personal aspect.” p. 171.]

BRADY, MATHEW B. (1823-1896) (USA).
“John Charles Fremont. Born In South Carolina, Jan., A. D. 1813.” LITTELL’S LIVING AGE 26:324 (Aug. 3, 1850): 207-208. [“The Gallery of Illustrious Americans (edited by C. Edwards Lester, and published by Brady, New York) contains, in the sixth number, an admirable portrait of Colonel Fremont, and the following sketch of his life.” …”The feet of three men have pressed the slopes of the Rocky Mountains, whose names are associated forever with those vast ranges: ‘Humboldt, the Nestor of scientific travelers; Audubon, the interpreter of nature; and Fremont, the pathfinder of empire….” p. 207.]

BRADY, MATHEW B. (1823-1896) (USA).
“New Books.” LITTELL’S LIVING AGE 26:324 (Aug. 3, 1850): 239. [“Silas Wright—Gallery of Illustrious Americans”.
“The fourth number of the “Gallery of Illustrious Americans,” containing a portrait and a brief sketch of the life and character of Silas Wright, has. been published by Brady, 205 Broadway. The portrait of Mr. Wright is the most perfect resemblance of that truly great man that we have seen, and we doubt not the best existing. His was a face of which it was easy to make a lumpy, stolid likeness, but that was not its true character, nor, fortunately, is that the character given it in this engraving. The friends of Mr. Wright will, no doubt, be glad of the opportunity to obtain so good a resemblance of the features of one whom they so much honored. Mr. Lester’s character of him is a just tribute to his merits.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘New Books: The Gallery of Illustrious Americans.” LITTELL’S LIVING AGE 26:325 (Aug. 10, 1850): 287. [From the Tribune. “No. 6, is not inferior to any of the preceding numbers. The portrait of Colonel Fremont is a noble specimen of daguerreotype and lithograph, which it would be difficult to surpass in natural and effective expression. The calm, earnest, self-sustained features are indicative of high intellectual qualities, and the life-like air of the whole picture is an assurance that it is true, to the original. A sketch of Colonel Fremont’s adventurous life, written with uncommon terseness and point, does justice to his character. The fly-leaf; devoted to Art and Criticism, gives an anecdotal amid gossiping, but very interesting, biography of the eminent portrait painter, Mr. Charles L. Elliott, of this city.”]

McCLURE’S MAGAZINE

BY COUNTRY. USA. 1839-1869.
Davis, Mrs. D. T. “The Daguerreotype in America.” McCLURE’S MAGAZINE 8:1 (Nov. 1896): 3-16.
[(5 b & w by unidentified; 1 b& w (“Daniel Webster”) by Josiah J. Hawes; 1 b & w (“Oliver Wendell Holmes”) by Josiah J. Hawes; 1 b & w (“Louis Kossuth”) by Josiah J. Hawes; 1 b & w (“Edward Everett”) by Josiah J. Hawes; 1 b & w (“Jenny Lind”) by Josiah J. Hawes.)
“While in Paris in the spring of 1839, engaged in securing a patent on his telegraphic apparatus, Professor S. F. B. Morse became deeply interested in what he heard of the brilliant experiments of M. Daguerre, whose genius and perseverance had just brought to perfection one of the most important and astonishing discoveries of the age. An artist, as well as a scientist, Professor Morse was naturally anxious to hear more of this new art of painting with sunbeams, especially as he himself had made experiments to ascertain if it was possible to fix the image of the camera obscura, and had given the matter up as impracticable….” (p. 3) (Etc., etc.) “…Some of the early daguerreotypers attained a national, even world-wide, reputation for the noble contributions they made, not only to the art, but to the history of the country. Conspicuous among such is the late M. B. Brady, a full record of whose life would read like a romance. (p. 15) His first studio was located in New York, in Fulton Street, at that time one of the principal thoroughfares. He afterwards moved to Broadway, near Prince Street; and, later still, “Brady’s Famous National Gallery,” at the corner of Tenth Street and Broadway, became widely known. He had also a studio in Brooklyn, and in 1860 opened a branch gallery on Pennsylvania wenue, Washington, which he finally made his headquarters. In 1861 Washington was thronged with men who were helping to make the history of America. Mr. Brady was far-seeing enough to realize this, and aimed to secure portraits of the most distinguished. In consequence he soon made his Washington gallery a celebrated rendezvous. He also sent out wagons for photographic use, which followed the army from place to place.
In the early days Gurney enjoyed no less reputation than Brady, and his daguerreotypes are still considered the finest specimens of the art in existence. Meade Brothers were distinguished as having, in the second story of the Astor House, the most spacious galleries in New York, and enjoyed the further distinction of being the only daguerreotypers in the world who had taken a portrait of Daguerre himself. Bogardus, Powelson, and Rick well were also among the many well-known New York daguerreotypers of the early day, while Hale and French, Whipple and Black, Plum, and Southworth and Hawes were influential in giving Boston a leading position in the new art. One of the earliest of the Boston galleries still exists, a dusty relic of the 40’s. Any one who will take the trouble to climb three flights of stairs, at 19 Tremont Row, will find there the original studio of Southworth and Hawes, opened in 1841, and still presided over by Mr. Hawes, now a white-haired man of nearly ninety. In the old days, when this studio was opened, Tremont Row was the centre for the artists of the city. Here fully one-third of the portrait painters of Boston lived; here, too, were most of the sculptors, several engravers, and a goodly number of art-supply stores. In the building where Southworth and Hawes took their quarters, Greenough and Story both had studios, and in this same building Harriet Hosmer worked. All of the fraternity up and down the Row were deeply interested in the new discovery and were constant visitors at the gallery. Traversing Tremont Row to-day one would not dream that it had ever harbored skilled craftsmen and artists. Traffic and noise have crowded from it every sign of the finer pursuits of life. The most melancholy of commercial undertakings monopolize it— cheap bargain stores, employment bureaus, sweater shops. One remnant only of its former life remains, the ancient daguerreotype studio at the top of No. 19. Here are a half-dozen rooms furnished with ancient apparatus and appointments, and cluttered with the daguerreotypes and photographs of a half century of active work. For fifty-four years Mr. Hawes has practised his art in this place. Here have come to him for portraits the great men and women of his day in every profession and art-Webster and Pierce, Garrison and Sumner, Wendell Phillips and Jenny Lind, Charlotte Cushman and Harriet Beecher Stowe. Mr. Hawes has in the specimens of his work an almost complete gallery of the eminent residents. of Boston in the 40’s and 50’s, and of the prominent people who visited the city in the same period. The collection is of rare historical interest, and should be kept intact in some Boston museum, though it is doubtful if any one else would give it the reverent care that its whitehaired owner does. Mr. Hawes has also a number of daguerreotypes made recently, for he is one of the few operators who remain loyal to the old process, and he would gladly see it take its place again as a method of portraiture. There are signs, too, that it may do this. During the last year there has been, indeed, a distinct revival of interest in the daguerreotype in this country. And with the much better knowledge we now have of all the scientific and mechanical principles involved, it could hardly be taken up again as a serious pursuit without being carried to even finer execution than it formerly attained.” (p. 16)]

MAGAZINE OF AMERICAN HISTORY

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“America’s Congress of Historical Scholars.” Photo by M. B. Brady; Wash DC”) on p. 94; .1 b & w (“America’s Congress of Historical Scholars. The Association Leaving the National Museum at the Close of the Morning Session on Monday, Dec. 30, 1889. [Section of a photograph by M. B. Brady]”) on p. 101 in: “America’s Congress of Historical Scholars.” MAGAZINE OF AMERICAN HISTORY 23:2 (Feb. 1890): 89-107. 3 b & w. [The first is a posed group portrait in Brady’s studio. (Perhaps even a collaged portrait.) The second is a group portrait taken outdoors.]

THE MAGAZINE OF SCIENCE, AND ARTISTS, ARCHITECTS, AND BUILDERS JOURNAL

BRADY, MATHEW B. (1823-1896) (USA).
“Reviews.” THE MAGAZINE OF SCIENCE, AND ARTISTS, ARCHITECTS, AND BUILDERS JOURNAL 13:618 ?: 350-351. [“The Gallery of Illustrious Americans. Nos. 1 and 2. Thomas Delf, Bow Lane.
“This transatlantic, and very fine serial, is purposed to comprise portraits, together with biographical sketches, of twenty-four of the most eminent American citizens; of those who have either honorably filled high governmental offices, or otherwise, prominently distinguished themselves in advancing the well-being and prosperity of their Republic, subsequent to the death of its ever-celebrated Founder Washington.
The work, of the largest folio size, is to consist of 24 numbers, each of which will include a Portrait and a Biography. In the two before us, we are supplied with those of General Zachary Taylor-whose recent demise, by the way, has been universally and, doubtlessly, sincerely lamented -and John Caldwell Calhoun, of whose likenesses, as mere works of art, it is quite impossible to write too highly. They are executed in lithography, by D’Avigon, (p. 350) after Daguerreotypes, taken by Brady, and are assuredly much to be admired.
The Biographies are written by Mr. Lester officiating as Editor-assisted by an Association of literary men. They are well and calmly-composed, and afford information, as well interesting as of use. [In all its phases, this “Gallery” is a noble, attractive work, and one, of which our Far-West friends have quite just cause to be proud.” (p. 351)]
[(Institutional copy, bound without covers, and without printed dates or volume or copy numbers. I suspect issued serially throughout the year, then cumulated and bound as an annual volume. WSJ)]

MANUFACTURER AND BUILDER

BRADY, MATHEW B. (1823-1896) (USA).
“Official List of Premiums Awarded by the American Institute, at the 41st Annual Exhibition, 1872.”
THE MANUFACTURER AND BUILDER 5:2 (Feb. 1873): 34.
[“Medals of Special Award. Department I—Fine Arts and Education. Group 1. — William Kurtz, 872 Broadway, for Crayon Drawings; Bogardus, Bendann & Brother, 1158 Broadway, Portraits in Pastel; M. B. Brady, 785 Broadway, Pastels and Crayon; Geo. G. Rockwood, 845 Broadway, Porcelain Miniatures; J. Gurney & Son, 108 Fifth avenue, Pastel Photographs. Group 2.—Gavit & Co., Albany, N. Y., Wedding and Invitation Cards, and Monograms. Group 3.—E. & H. T. Anthony & Co., 591 Broadway, Photographic Goods; Scovill Manufacturing Co., 4 Beekman street, Photographic Apparatus; William Kurtz, 872 Broadway, Photographs. Group 4.— American Decorative Wood Co., 48 Beekman street, Imitations of Carved Wood. Group 6.—American Lead Pencil Co., 483 and 485 Broadway, Lead Pencils; Lange, Little & Hillman, Fine Printing. Group 7.—Giles, Wales & Co., 13 Maiden lane, Watches and Parts of Watches; Mitchell, Yance & Co., 597 Broadway, Clocks and Bronzes; Autenreith & Himmer, 371 Pearl street, for Clock Trains, with Dials, driven by gravity and electric Batteries.
Department II. — The Dwelling….” (p. 34)]

MEDICAL AND SURGICAL REPORTER

PHOTOGRAPHIC LITERATURE. MAGAZINES. HARPER’S WEEKLY. 1859.
“Editorial.” MEDICAL AND SURGICAL REPORTER 1:23 (Mar. 5, 1859): 413-414. [(Apparently there was a sensational trial in New York, known as the ‘Whitney case,’ that was splashed around the media. The fact that some doctors were featured in part of this media exposure was considered unprofessional by some of the medical journal, and drew their censure. This drew a letter in response from Dr. Horace Green denying responsibility for the notoriety.) “With giving publicity to the particulars of the Whitney case,…I emphatically declare that I have in no way participated. Not a sentence—not a word, has from beginning to end of this affair, gone from me to the public except through the legitimate channel of the Academy of Medicine,… Again you say, ‘we cannot but think that some at least of the publicity has been designedly allowed for the sake of popular effect. One sheet gives the likeness of the accused specialist,’ etc. A gentleman connected with Harper’s Weekly, called on me before the publication in that journal, of the article to which you refer, and stated that it was the intention of the proprietors of that journal to publish some account of my method of treatment, etc. I also received a letter from the editor, making a request for my photograph, and stating that Mr. Brady had been instructed to take it, etc. I dismissed their applications by refusing utterly and positively to comply with them; begging the gentleman who called on me to exert his influence to prevent anything of the kind being done. I also wrote a letter to the editor, entreating as a personal favor, that these intentions should not be carried out. I heard nothing more of the matter until the paper came out with the flashy and silly caricatures of which you speak.’” (This is the first statement that I know of that defines the nature of the relationship between the journal and Brady, indicating that the magazine would sent specific individuals to the photographer to be photographed, rather than simply going to the photographer’s ‘picture files’ for available portraits.)]

MERCHANTS’ MAGAZINE AND COMMERCIAL REVIEW

BRADY, MATHEW B. (1823-1896) (USA).
‘The Book Trade.” MERCHANTS’ MAGAZINE AND COMMERCIAL REVIEW 22:2 (Feb. 1850): 249-256. [Book review “The Gallery of Illustrious Americans; containing Portraits and Biographical Sketches of twenty-four of the most Eminent Citizens of the Republic since the Death of Washington. Daguerreotypes by Brady; engraved by D. Avignon. Edited by C. Edwards Lester. New York: G. P. Putnam. “The publication of this work has created an interest among all classes, and the successive numbers will be looked forward to with curiosity. It is the first time on attempt has been made in this country to produce a specimen of fine printing on imperial folio drawing paper, after the style of those superb galleries which are so often published in Europe. The type, which is of a very beautiful kind, has never before been used for printing, either at home or abroad. The paper, the presses, and everything connected with it. we understand, have been manufactured expressly for the purpose, and no pains could have been spared to produce so magnificent a work. It is to be completed during the year, in twenty-four numbers, containing the portrait and biographical sketch of our ” Illustrious Americans,” under the editorship of C. Edwards Lester, Esq, The portraits are engraved by D’Avignon, who is without a rival in his superb style, from a series of very large and exquisitely executed daguerreotypes, by Mr. Brady, whose reputation in his art is very generally and justly appreciated. Under the favorable auspices which attend the publication of the work, we doubt not it will be completed in the same splendid style in which it is begun. General Taylor’s portrait in this number, is regarded, by those who know him well, as being superior to any that have yet been taken. We venture to say, however, that it surpasses public expectation, in every respect; and when complete, will form such a gallery as has long been wanted, and which will transmit, to coming times, the most striking and beautiful portraits of our public men, embellished with the finest letter-press our country has produced.” p. 254.]

BRADY, MATHEW B. (1823-1896) (USA).
‘The Book Trade.” MERCHANTS’ MAGAZINE AND COMMERCIAL REVIEW 22:4 (Apr. 1850): 475-480. [Book review “The Gallery of Illustrious Americans; containing Portraits and Biographical Sketches of twenty-four of the most Eminent Citizens of the Republic since the Death of Washington. Daguerreotypes by Brady; engraved by D. Avignon. Edited by C. Edwards Lester. New York: G. P. Putnam. “23.—The Gallery of Illustrious Americans. Published from Brady’s Gallery. “The third number of this splendid work has made its appearance; and fully sustains the promise of preceding issues. It contains a portrait of Daniel Webster, the most perfect and life-like presentiment of that great lawyer that has ever, to our knowledge, been produced. Indeed, it is the finest specimen of lithographic engraving we have seen. Mr. Lester’s brief but comprehensive sketch of the life and character of Mr. Webster is tircely [sic tersely] written, and most emphatically comprises “many things in few words.”…” p. 480.]

BRADY, MATHEW B. (1823-1896) (USA).
‘The Book Trade.” MERCHANTS’ MAGAZINE AND COMMERCIAL REVIEW 22:6 (June 1850): 697-704. [Book review “The Gallery of Illustrious Americans; containing Portraits and Biographical Sketches of twenty-four of the most Eminent Citizens of the Republic since the Death of Washington. Daguerreotypes by Brady; engraved by D. Avignon. Edited by C. Edwards Lester. New York: G. P. Putnam. “28.—The Gallery of Illustrious Americans. New York: Published from Brady’s Gallery. “The fourth number of this great national work is devoted to a portrait and sketch of the life and character of the late Silas Wright. The portrait, drawn and engraved by D. Avignon, is in the same finished and masterly style of the portraits embraced in former numbers of this work. The biographical notice, from the pen of C. Edwards Lester, Esq., is a model of artistic elegance of diction. It is one of the most laconic and comprehensive portratures of character we have ever read.” p. 703.]

BRADY, MATHEW B. (1823-1896) (USA).
‘The Book Trade.” MERCHANTS’ MAGAZINE AND COMMERCIAL REVIEW 23:1 (July 1850):139-144. [Book review “The Gallery of Illustrious Americans; containing Portraits and Biographical Sketches of twenty-four of the most Eminent Citizens of the Republic since the Death of Washington. Daguerreotypes by Brady; engraved by D. Avignon. Edited by C. Edwards Lester. New York: G. P. Putnam. “The fifth number of this great national work is illustrated with an admirable portrait of Henry Clay, the great American statesman It affords another unmistakable proof of D’Avignon’s unrivalled genius and masterly power as an artist. The brief letter-press sketch of the life and character of Henry Clay, by O. Edwards Lester, scarcely covering two pages, affords one of the finest specimens of comprehensive biography that we have ever seen. It condenses many things in few words; and that without sacrificing that graceful elegance of diction which characterizes the best efforts of the gifted editor.” p. 143.]

BRADY, MATHEW B. (1823-1896) (USA).
‘The Book Trade.” MERCHANTS’ MAGAZINE AND COMMERCIAL REVIEW 23:3 (Sept. 1850):363-368. [Book review “The Gallery of Illustrious Americans; containing Portraits and Biographical Sketches of twenty-four of the most Eminent Citizens of the Republic since the Death of Washington. Daguerreotypes by Brady; engraved by D. Avignon. Edited by C. Edwards Lester. New York: G. P. Putnam. “The sixth and seventh numbers of this work are before us; equal, in every respect, to the preceding issues, which is saying all that is necessary to those who have been so fortunate as to secure copies of one of the noblest works of art our country has produced. Number Six contains a portrait of Col. Fremont, and Number Seven of Audubon, men equally distinguished in the different departments of scientific research and enterprise; the one as a bold and adventurous traveler, the other as an enthusiastic, devoted, and intelligent ornothologist. A more proper or judicious selection of subjects for this great work, could not well have been made. The brief, compendous narratives of their remarkable lives, are written in a singularly felicitous and condensed style. Mr. Lester has contrived to crowd a vast number of facts in a very few words, without sacrificing that elegant and perspicuous diction which characterizes every line from his polished pen.” p. 365.]

BRADY, MATHEW B. (1823-1896) (USA).
‘The Book Trade.” MERCHANTS’ MAGAZINE AND COMMERCIAL REVIEW 23:5 (Nov. 1850): 587-592. [Book review. “25.—The Gallery of Illustrious Americans; containing Portraits and Biographical Sketches of twenty-four of the most Eminent Citizens of the Republic since the Death of Washington. Daguerreotypes by Brady; engraved by D. Avignon. Edited by C. Edwards Lester. This splendid work is of the folio style, and is published in semi-monthly numbers. Numbers 9 and 10 contain portraits of General Scott and President Fillmore, which are very finely executed. The letter press is admirable, and the biographical sketches are succinct and eloquent, as might be expected from the pen of the distinguished Author. We know of no publication so well adapted to please the taste and strike the fancy of Americans, and no one that can at all compare with it, or which is worthy of so general a patronage as this one. Number 10 contains, likewise, a large and handsome portrait of Jenny Lind by Brady.” p. 592.]]

BRADY, MATHEW B. (1823-1896) (USA).
‘The Book Trade.” MERCHANTS’ MAGAZINE AND COMMERCIAL REVIEW 23:6 (Dec. 1850): 703-710. [Book review. 22—The Gallery of Illustrious Americans. No 11. “The present number of this splendid production of American art contains a portrait of the late lie.’. Dr. Channing. It is a very correct likeness, and beautifully executed. The biographical sketch which accompanies it is brief yet eloquent and glowing, and conveys a condensed but faithful outline of the character and genius of a morally and intellectually great man. We are happy to see how well this magnificent publication sustains its character, and how highly it is appreciated, both in this country and in Europe. The biographical sketches of Mr. Lester are models of their kind, and the artistic execution of the portraits is unsurpassed for faithfulness and skill by anything in this country.” p. 707.]

BY COUNTRY. USA. 1855.
“Daguerreotypes, and the Daguerreotypic Art.” MERCHANTS’ MAGAZINE AND COMMERCIAL REVIEW 32:4 (Apr. 1855): 507-508. [“The art of daguerreotyping, which may be said yet to be in the infancy of its development, presents the only exception to the non-commercial features which characterize the entire catalogue of the arts. The materials which enter into the composition of its rare expressions, have called forth large manufacturing establishments, and maintained the investment of millions of capitol. It therefore claims a recognition among the standard elements of Commerce. Not twenty years have elapsed since the first result of light upon metal came to reward the earnest scientific research of the French Chemist, Daguerre. So feeble was it even then, and so beset with obstacles, that to all save him it seemed a chimera. Perseverance, however, evolved the truth of his theory, and from thence dates the commencement of an increase and improvements unparalleled in the history of the arts. Through the cities of Europe it first spread, engaging the attention of men of science and artistic taste. Its popular acceptance being, nevertheless, impeded by the obstacles of ignorance, prejudice and distrust. The scene, however, of its most exalted triumphs, its rarest excellence, and its most rapid universalization, has been this country. The golden arts had not woven about us the subtle spell of their influence, we had no precedents to break from; it was a desideratum which had almost become a necessity, and its applicability to the pecuniary condition of all classes, its facility of supplying universally what had hitherto been inaccessible except to the wealthy, aided the rapidity of its spread and the cordiality of its reception. The consequence of this world-wide demand for its products was the sudden and large investment of capital to supply its mechanical requirements. Gigantic factories arose in France and Germany; the whirr of industrial energy followed, and from its dim and obscure germination in the dusky laboratory of Daguerre, it rapidly expanded into a recognized element of manufacture and Commerce, and an invaluable auxiliary of the sister arts. At this time, although the capacities of the art are comparatively undeveloped, and new and almost fabulous improvements are continually being made, scarcely a village throughout the length and breadth of the land which does not contain a gallery for the production of daguerreotypes, nor a home, however humble, but is gladdened by the fairy inspiration of the art. Some efforts have been made to transplant the production of materials from France to this country. Comparatively speaking, they have been attended with success, and several establishments devoted to that branch are now in active operation. The bulk of its manufactured requirements, however, are derived from France. Hereafter, we may devote an article to the statistics of the trade. At present, our limits forbid an extended or elaborate treatment of the theme. Its rapidly increasing commercial importance, and the probabilities of its future, however, render pertinent the direction to it of general attention. We therefore defer to another period the more comprehensive and exact treatment which it merits. A propos to the above sketch, and as an illustration of the enterprise manifested in the prosecution of this art, we can do no better than to give a description of the establishment of M. B. Brady, which, being the largest and most comprehensive in the world, may stand as the representative of the multitudinous galleries in the country. His name was first heard of prominently in association with the art, and his unceasing efforts, while they may be said to have given life and system to daguerreotyping in this country, have also attracted the attention and elicited the applause of the country. Bringing, as he did, to the task of elevating and improving the crudities which ten characterized it, and prevented its recognition by people of taste, a genuine appreciation of its possibilities, and an energetic and resolute determination to give it permanence and position, it is not strange that his name should be identified with its improvement, nor that to him should be awarded the credit of lifting American daguerreotypic art to the altitude it occupies. The results of his experience, embracing a period of nearly fifteen years, which have been spent in Washington, New York, and Europe, are contained in his two galleries in Broadway…. We have recently examined a new process of this art, which is nothing less than taking daguerreotypes on paper. As it may not be familiar or uninteresting to our readers, we will detail briefly its difference from the daguerreotype. The impressions are first taken upon glass, and thence transferred to paper, producing an effect combining the perfection of the daguerreotype with the fineness of a steel engraving. The process is such as to render the reduplication easy and inexpensive. We observe that Mr. Brady has recently made arrangements to supply photographs of any of the distinguished men his gallery contains at from one to two dollars each. The opportunity thus afforded of possessing life-like portraits of our celebrities is a timely and important one. We cannot too strongly commend the enterprise which these establishments and the wide reputation Brady has acquired exemplify. We advise such of our readers as are interested in this phase of American art to pay his gallery a visit.”]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Thomas Tileston.”) as frontispiece in: “Mercantile Biography. Thomas Tileston, President of the Phoenix Bank, New York.” MERCHANTS’ MAGAZINE AND COMMERCIAL REVIEW 50:2 (Feb. 1864): 85-96. [“Engr. by [illegible] from a Photograph by Brady.”]

MERRY’S MUSEUM AND PARLEY’S MAGAZINE

BRADY, MATHEW B. (1823-1896) (USA).
‘Merry’s Monthly Chat with his Friends.” MERRY’S MUSEUM AND PARLEY’S MAGAZINE 25:1 (Jan. 1853): 34-36. 1 illus. [“Here is a portrait of our old friend, Santa Claus. We know not who sketched it. It cannot have been taken from a daguerreotype, for we all know very well that Santa Claus is only a fabulous being; and even Brady, with all his skill, could not take the portrait of a fairy….”]

THE MESSAGE BIRD, A LITERARY & MUSICAL JOURNAL

BRADY, MATHEW B. (1823-1896) (USA).
“Gallery of Illustrious Americans.” THE MESSAGE BIRD, A LITERARY & MUSICAL JOURNAL 1:19 (May 1, 1850): 309. [“Our readers will -remember that we called their attention, in a recent number, to this superb work. Mr. Calhoun’s life and portrait were in the second of the series-the latter immeasurably the best likeness of him that has ever appeared. The death of the great Southern statesman has made his portrait invaluable, and we understand that a new edition of the 2d number of the Gallery which contains it, was called for at once. We are somewhat slow in this country to appreciate the value of a truthful and magnificent portrait of an eminent contemporary, until he is no more. Then his memory is sanctified, and all that relates to him becomes valuable. This noble work-the Gallery of Illustrious Americans-far surpasses in interest, value, and artistic elegance, any publication of the kind ever brought out in America.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Gallery of Illustrious Americans.” THE MESSAGE BIRD, A LITERARY & MUSICAL JOURNAL 1:22 (June 15, 1850): 367. [“This most elegant work is progressing well. The number just out contains the portrait of Henry Clay-Col. Fremont will be the subject of the next number, upon whose life we hope to see the able Editor of the Gallery. throw the light of truths scarcely as yet understood in the career of that remarkable adventurer. Now is the time to subscribe.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Gallery of Illustrious Americans.” THE MESSAGE BIRD, A LITERARY & MUSICAL JOURNAL 2nd yr:26 (Aug. 15, 1850): 435. [“This work is progressing finely. The two last portraits given are those of Audubon and Prescott, which fully equal the inimitable ones before them. Six numbers have now been issued-being the portraits and lives of General Taylor, John C. Calhoun, Daniel Webster, Silas Wright, Henry Clay, Colonel Fremont, Audubon and Prescott. The work is now one fourth completed, and so far, has been ably edited by Mr. Lester, while its artistic execution has never before been equalled in this country.”]

BRADY, MATHEW B. (1823-1896) (USA).
“The Gallery of Illustrious Americans.” THE MESSAGE BIRD, A LITERARY & MUSICAL JOURNAL 2nd yr:34 (Dec. 16, 1850): 563. [“This great work is progressing finely. President Filmore, Dr. Canning, and Gen. Scott, are the last out. We understand that volumes bound in most superb and costly style are now for sale.”]

BRADY, MATHEW B. (1823-1896) (USA).
“The Gallery of Illustrious Americans.” THE MESSAGE BIRD, A LITERARY & MUSICAL JOURNAL 2nd yr:35 (Jan. 1, 1851): 570.
[“The Gallery of Illustrious Americans
The Gift Book of the Republic. Complete.
Brady, D’avignon, & Lester: New York.”
“We are glad to notice the completion of this spirited undertaking. It forms now a noble Annual, and, presented in superb binding, is really one of the grandest holiday books that could be got up. It must become exceedingly popular, for it appeals to the Union spirit which has of late been so thoroughly awakened throughout the country. Certainly no greater incentive to patriotism can be conceived than the ever-present idea which this work embodies, of the mighty souls which our great nation numbers among its chosen ones. The twelve men whose portraits and biographies make up the “Gift Book of the Republic,” have stamped themselves upon their age, and illustrated their country’s history. Their lives and memories are part and parcel of their countrymen’s household treasures. Too much veneration cannot be cherished for those who worthily achieve republican greatness, or whose characters exemplify the glory of patriotism and national virtue, the standard of which we are glad to feel, is rising in every part of the world. Mankind everywhere are feeling a deeper respect for one another. Institutions which have been consolidated by the slow growth of ages, involving abuses, outrages, deception, and oppression, are fast melting away before the humanizing influences of the present century. Coincident with this feeling as developed in the policy of nations and the course of events, there is manifest at this period, in our country, a higher appreciation of art, and literature, than at any former era. The number of artists in every part of the country is increasing. Their works are growing better. The standard of merit is being raised; and men are now willing to give their money freely to sustain enterprises which appeal to the taste, and no longer consider that money lost which is spent in adding to the embellishments of life. We rejoice in the progress of this sentiment; and when we see a work, involving so much expense, and having for its scope so noble an object, as the one we are now speaking of, sustained warmly and generously y the community, we feel that it is a sign of better times. The cheap and shabby style of portraits, and of books, is rapidly going out of date. Those magazines and journals, those portraits and pictures, which are the most needed for their ability and elegance, are the very ones which now meet with the greatest success.
No book has been published at any time in the United States which will have a nobler or more benign effect upon the spirit of the nation than this Gallery of Illustrious Americans. The cost of the work, in elegant bindings, with the portraits and biographies of twelve of the most illustrious Americans of the present age, is only $15. By referring to the advertisement in another column our readers will learn the names of those distinguished men; and as we have frequently reviewed the numbers as they have successively appeared during the year, it is unnecessary for us to speak more of its merits, in detail.”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “The Gallery of Illustrious Americans.” THE MESSAGE BIRD, A LITERARY & MUSICAL JOURNAL 2nd yr:35 (Jan. 1, 1851): 583.
[“The Gift Book of the Republic.
The Union-Now and Forever.
The Gallery of Illustrious Americans, Now ready to deliver, is the most perfect National Gift-Book ever published. It embraces the portraits and lives of the following eminent men-
Zachary Taylor,
John C. Calhoun,
Daniel Webster,
Silas Wright,
Henry Clay,
J. J. Audubon,
Wm. H. Prescott,
Winfield Scott,
Millard Fillmore,
Wm. E. Channing,
Lewis Cass.
J. C. Fremont,
This work is printed on Imperial Folio Drawing Paper 17×25 inches, and while our Press universally pronounce it superior to any other American publication, the European journals accord to it the same superiority over any similar works which have appeared on the other side of the Atlantic. The work is furnished, bound in the best manner, at the annexed prices:-
Cloth Gilt $16.00
Cloth, Full Gilt, Extra $17 50
Im. Morocco $20 00
Full Turkey Morocco, Gilt $25 00
As only a limited number of copies are published, those who wish it should order it at once by mail (with the money enclosed,) and it will be sent safely by express to any part of the country.
Terms invariably cash.
Brady, D’Avignon, & Lester
For sale at all principal Bookstores, and by the Publishers and Proprietors, 205 Broadway, New York.”
[(This ad repeated on Jan. 15, 1851; Feb. 1, 1851; Feb. 15, 1851. WSJ) ]

METHODIST QUARTERLY REVIEW

BRADY, MATHEW B. (1823-1896) (USA).
‘Art. XIII.–Miscellanea.” METHODIST QUARTERLY REVIEW ns 10:4 (Oct. 1858): 667-668. [“…The Atlantic Telegraph, the topic of all pens, tongues, and minds, creates an epoch so marked, that its inauguration must not pass unnoticed in our Quarterly… We delight little in external shows and excitements; we have an overpowering tendency to sheer the huzzaing crowd; but for once we profess a sterling sympathy with banners, illuminations, and cheers, to celebrate a victory, not of one foraying army over another, but a victory of our common humanity over the obstacles of crude nature. There is something so simple and unpretending in the personal presence of Oerstead, of Morse, and of Field, that it is hard for the popular mind to hail them as heroes; yet heroes they are of purer triumphs than the sword can ever win.
The genius of Brady has brought to an unrivalled practical perfection the kindred art of Photography. Stop, visitor of our metropolis, at his magnificent gallery on Broadway, which you will find courteously open to your inspection, enriched with the most perfect specimens of his amazing art. Likenesses the most accurate, taken from the living original, you will there find, of our statesmen, merchants, literati, and clergy. It is a compendious mode of making magnificent acquaintances. of the desiderata yet remaining in this beautiful art, the North British Review thus subjectively speaks: ‘Upon looking into the past history of photography, it would be hazardous to predict its future. But though we dare not venture to shorten the arm of science, or limit its grasp, there are certain steps in advance which we may reasonably anticipate. Optical instruments are yet required to represent on a plane the human face, without deforming its lines and magnifying its imperfections. We still require a more sensitive tablet to perpetuate the tender expressions of domestic life, and to fix the bolder lines of intellect and of passion which are displayed in the forum and in the senate. But above all, we long to preserve the life-tints of those we love; to give to the ringlet its auburn, and to the eye its azure; to perpetuate the maiden blush, and to rescue from oblivion even the hectic flush from which we are so soon to part.’…” p. 668.]

MICHIGAN FARMER

BRADY, MATHEW B. (1823-1896) (USA).
‘Household Varieties. The Court Ladies at Washington.” MICHIGAN FARMER 1:5 (Jan. 29, 1859): 38. [The Washington correspondent of the Springfield Republican. “…Apropos of female politicians, Mrs. Douglas is not alone. Mrs. Conrad, a young, rich and lovely widow, ‘who (another has said) has too good sense to marry,’ is called the greatest courtier in Washington, and exerts no small influence over state affairs. Her full-length photograph, with those of the other beauties of grandpapa Buchanan’s court, to be seen in Brady’s in Broadway. First stands Mrs. Douglas; her physique is splendid–…The picture does not do her justice. Her dress of black silk is not becoming… Next stands Mrs. Conrad, all grace, clad in black velvet with pearls… Beside her, stands Madame Le Vert of Mobile, long a habitué of Washington,… She wears a dress of Brown silk with gorgeous bordered flounces, and a crimson rose in her hair… Next to her is Harriet Lane of the ‘White House,’ Mr. Buchanan’s niece. A blonde, cold and statuesque;… And then, Lady Gore Ouseley, the Yankee English woman,..”]

MOORE’S RURAL NEW-YORKER: AN AGRICULTURAL AND FAMILY JOURNAL

BRADY, MATHEW B. (1823-1896) (USA).
“The World’s Exhibition. — American Awards.” MOORE’S RURAL NEW-YORKER: AN AGRICULTURAL AND FAMILY JOURNAL 2:45 (Thur., Nov. 6, 1851): 358.
[“of Tuesday, contains a complete list of the Awards in favor of American contributors to the Great Exposition of Industry at London—as officially communicated by our Commissioner, Edward Riddle, Esq., to Joseph G. C. Kennedy, Esq., Secretary of the Central Committee at Washington.
The following are the Council Medals, (five) as we have already stated:
To Gael Borden, Jr., Texas, for his preparation. called “Meat-Biscuit.”
To David Dick, Meadsville, Pa., for his “Anti-Friction Press” and various engineer’s tools and presses.
To C H McCormick, Chicago, Ill., for his “Reaping Machine.”
To Wm Bond & Son, Boston, for the invention of a new mode of observing Astronomical Phenomena, &c.
To Charles Goodyear, New Haven, Conn., for “India Rubber Fabrics.”
The Prize Medals, awarded by the several Juries, subject to the confirmation or veto of the section or classes of Juries having cognizance of kindred branches of Industry, are naturally much more numerous. The following are awards of Prize Medals.
Hiram Powers, for a Statue of Greek Slave.
Brooklyn Flint Glass Co., for Flint Glass.
(Etc., etc.)
M B Brady, New York, daguerreotypes.
J A Whipple, do. M N Lawrence, do.
T R St John, detector compass.
W A Burt, solar compass, surveying instruments, &c.
(Etc., etc.)]
Money Award.
J S Wood, for expenses of constructing his piano violin —£50.
The following articles, though not deemed deserving of Prizes, were awarded an Honorable
Mention in their Reports by their respective Juries, viz:
(Etc., etc.)
“…J E Mayall, photographs;…”]

MUSICAL WORLD

BRADY, MATHEW B. (1823-1896) (USA).
“New York Advertisements.” MUSICAL WORLD. A LITERARY AND FINE-ART PAPER 12:218 (Sat., June 12, 1855): 57.
[“Brady’s Great National Gallery of Photographs and Daguerreotypes contains the largest collection of distinguished portraits, and combines greater facilities for the production of first class pictures, than any similar establishment in America.
The Gallery, Operating and Dressing Rooms are upon the same floor, and are thus easily accessible to sitters.
PREMIUMS
From the World’s Fairs of London and New York have been awarded his pictures.
PHOTOGRAPHS
In every style, from miniatures colored equal to ivory, to life size, finished similar to oil portraits. Strangers stopping transiently in New York are requested to pay it a visit.
M. B. BRADY, 359 Broadway, over Thompson’s Saloon.”
[(This or a similar ad ran in every issue at least for the years 1855, 1856. WSJ)]

NATIONAL ERA

BRADY, MATHEW B. (1823-1896) (USA).
‘Literary Notices.” NATIONAL ERA 4:32 (Aug. 8, 1850): 128. [Book review. The Gallery of Illustrious Americans. From Daguerreotypes by Brady. C. Edwards Lester, Editor. New York: Brady, D’Avignon, & Lester. “We have received but two numbers of this admirable publication the first and sixth. We owe the publishers an apology for thus far neglecting to notice their valuable work. The first contains a fine likeness of our late brave and noble President, General Taylor. This has now for us a new and mournful interest. The picture is marked by their republican simplicity, and the face expressive of that quiet strength, cool intrepidity, and sterling honesty, which were the distinguishing characteristics of the soldier and the civilian. The biography accompanying this portrait is quite brief, but written with much clearness and spirit. No 5 contains the portrait and a sketch of the life of one of the most remarkable men of this or any other age, for genius and heroism John Charles Fremont. Here are a head and face for a phrenologist and a physiognomist to study. The life, deeds, and achievements of Colonel Fremont have been but the natural product, the inevitable result, of such an organization and such developments. The height and broad expanse of the forehead, the arch of the brow, the large orbit of the full clear eye, the firmness of the lips, the strength of the chin, the luxuriance of the hair and beard, the fullness of the chest, the energy and elasticity shown in the slight but well-knit figure all are indications and proofs of his great natural capacities and powers, as they were once prophecies of his most eventful and brilliant career. Nature seems to have held back nothing which was needed to fit this heroic man for a destiny so peculiar and so important. In what character may we find so much imagination and executive energy working harmoniously together where find another mind so poetical, yet so eminently practical a history so romantic, yet so useful a spirit do daring and adventurous, yet so thoughtful and far-seeing, so boundless in resources, so patient in research! Taken all in all, the hero, the soldier, the man of science, and the “Pathfinder of Empire,” seems a noble embodiment of the richest and strongest life of our time and our country. Heaven send us “a few more of the same sort!” The biography of Colonel Fremont is written as all biographies should be written, in a tone of warm regard and enthusiastic admiration. For sale by Taylor & Maury, Pennsylvania avenue, Washington, D.C. “]

BRADY, MATHEW B. (1823-1896) (USA).
‘Additional Traits In Mohammed Habat’s (The Arabian Knight) History.” NATIONAL ERA 11:547 (June 25, 1857): 101. [“We now clip from the New York Evening Post the following extract, giving some truly remarkable traits of the old gentleman’s character, and adding interest to his history: “The Arabian Knight’s Departure.” “Mohammed Habat, after an unsuccessful attempt to obtain the money alleged to be due his uncle, Hamet Bashaw, for his services in General Eaton’s campaign in 1805, against the piratical Government of Tripoli, departed on the 14th in the steamer Kangaroo, intending to proceed by way of Paris to his present home in Cairo. This venerable Arab, of over seventy, was the first of his race that ever reached our shores. An excellent photograph of him was taken by the artist Brady, which will be interesting to all admirers of the full-bearded patriarchal type of humanity which prevails in the deserts of his native country. The old gentleman’s conversational accomplishments are confined to his oriental vernacular, but through an interpreter he was able to communicate some rather shrewd observations on men and things in this country….”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Miscellaneous. Mr. Marcy’s Last Portrait.” NATIONAL ERA 11:551 (July 23, 1857): 117. [“. Mr. Marcy appears to have died of disease of the heart. He was not of an apoplectic habit, and the suddenness of his death the heart ceasing to beat while he was lying on his couch, reading a book, which dropped upon his breast as he expired together with the naturalness of his expression, and absence of distortion in his features, countenances this supposition. Although it was not generally known that he was subject to heart disease, Mr. Marcy on one occasion, during his last visit in this city, evinced in an unmistakable manner the symptoms of the fatal disease. While having his photograph taken by Brady, he was requested by the artist to stand, in order, we suppose, to correspond with most of the other portraits of eminent men in the gallery. Mr. Marcy, however, attempted it in vain, the palpitation of his heart requiring him either to sit or move about. His restlessness was so noticeable in the effort of standing for his picture, that he was finally taken sitting in his chair a posture rather more familiar to the old man, of late years, than any other. At all events, the likeness itself, which is the last ever taken of the great statesman, is prefect. His garments are a little more glossy and fresh than in the original; but the face, the features, and what Shakspeare called the “visage of his mind,” is there. The shrewd, wise half smile with which, when in a jocose and amiable mood, he would at once please and baffle those of his friends who tried to know more of his mind than he chose to reveal an expression which sent the quidnuncs of Washington empty, but not wholly dissatisfied, away is here caught, and perpetuated with a grace almost beyond the reach of art. N.Y. Post.

BRADY, MATHEW B. (1823-1896) (USA).
Hamilton, Gail. “Brady’s Gallery.” NATIONAL ERA 13:638. (Mar. 24, 1859): 46. [“I am not about to write a “puff.” I wish this to be distinctly understood, so that if this article be of a puffy nature, it may not be attributed to original design. I have never been photographed by Brady. I do not expect over to attain such a distinction; or, if I should be handed down to posterity by that enterprising gentleman, I expect to pay just as many dollars for value received as if I were not now engaged in perpetrating this notice. But chancing, a few months ago, to observe the clarum et venerabile nomen of Brady conspicuously displayed on Pennsylvania avenue—a name with which we have become familiar in the columns of the Home Journal, where N. P. Willis, in convulsive contortions of despair at being unable to show his appreciation of it’s owner’s excellence, has twisted and Brady’ed it into all manner of into all manner of intolerable puns… After many visits… It is no exaggeration to say that that little room contains treasures which are beyond price. This wonderful art of Photography, this true child of the sun, last-born and fairest, has caught expression and traced form and feature with a most delicate and accurate pencil. On the right, as you enter, you meet a troupe of beautiful women:–Miss Lane,… Lady Napier, with her two fresh young English boys,… Mrs. Crittenden,…Mrs. Samuel, of Missouri,… Mrs. Conrad,…Mrs. Collins, of Arkansas, who would look better if she were dressed, Lady Gore Ouseley, a traditional female Englishwoman, the incomparable Madame Le Vert,… On the left, Brady himself, whose spell has evoked all these spirits, presides over the scene, as large as life. His picture is exhibited as a triumph of photographic art over some mechanical difficulty that has long stood in the way of perfection. It has all been explained to me, lucidly and philosophically, but I forgot it…the next moment. … Here on your left, and in front, is a mob of the thinkers and workers, and a few of the idlers, of our own day and generaion, furnishing an almost unbounded field for the study of character. Here is Charles Sumner,… Clingman, Lord Napier, James Buchanan, Breckenridge,…Toombs,…Trumbull,…Seward,…Benjamin,…Near the center sits John P. Hale,…J. P. Lovejoy,…Miss Lizzy Hale,… The most valuable part of the gallery is that devoted to the great and the good who have gone from among us. There is the downcast, thoughtful, dreaming face of Adams,…Webster,… Storyt,…, Jackson,… Prescott,… Cooper,… Calhoun,… Taylor,… Audubon,… Gallatin, and Gaines, and Worth and Benton, and many, many more… To these portraits, all of which are from original sittings, every year brings an added value… I wish for Brady many years of usefulness and happiness, but man is mortal,…I hope the collection which he has taken so much pains to make, will not be suffered to be scattered abroad, but will pass into the hands of the Government, that a memorial of their fathers may be handed down to our children and our children’s children.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Falling In Love with a Picture on a Bank-Note.” NATIONAL ERA 14:687 (Mar. 1, 1860): 33. [From Springfield Republican. “An ardent young man in this city, who fell in love some time since with the portrait of a woman on a bank bill, wrote to the cashier of the bank to know whether it was a fanciful picture, or “the representation of a breathing woman.” If the latter, he was resolved to have her, or die in the attempt. The cashier replied to him, after a few days delay, which he hoped had “not tended unduly to aggravate the fierceness of his disorder,” thus: “I am unable to give you the abundant consolation of a letter of introduction to the original of the portrait, if it had an original, which I am not disposed to question. My knowledge of her is quite scanty and unsatisfactory. The story told by our engravers is, that she was a teacher in the school house in New York, at the time of that cruel disaster a few years ago, when, upon a false alarm of fire, the children rushed down the stairway, which gave way, causing the death of a large number of the ‘innocents.’ “Our heroine is said to have saved all her pupils by that presence of mind that shines in her face, and to have then leaped from a third-story window. Whether in so doing she broke both her legs, irreparably damaged her lovely nose, and forever dimmed one lustrous eye, I am not told. My own belief is, that she came out unscathed and unharmed, and at once proceeded to Brady’s, who photographed her, and thus gave her unparalloled lineaments to immortality on a bank note….”]

NATIONAL MAGAZINE; DEVOTED TO LITERATURE, ART, AND RELIGION

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (The Hon. John M’Lean.) on p. 5. “The Hon. John M’Lean.” NATIONAL MAGAZINE; DEVOTED TO LITERATURE, ART, AND RELIGION 11:1 (July 1857): 5-6. [(See “Editorial Notes and Gleanings…” p. 84 of this issue.)]

PHOTOGRAPHIC LITERATURE. MAGAZINES. NATIONAL MAGAZINE. 1857.
“The National Magazine. July, 1857. Editorial Notes and Gleanings.” NATIONAL MAGAZINE; DEVOTED TO LITERATURE, ART, AND RELIGION 11:1 (July 1857): 84. [“Our pictorial embellishments not only speak for themselves, but are highly spoken of by those best capable of passing judgment upon them. Of course, it is not for us to take to ourselves any credit on their account; but it is due to our artists, especially to Mr. Felter and to Mr. Houseworth, that we make honorable mention of their names, and of our obligations…. We are indebted, also, in various directions for sketches and original drawings, and to Mr. Brady, of this city, who kindly furnished the photograph from which has been taken the admirable portrait of Judge M’Lean, which graces our present number.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘The National Magazine. June, 1858. Editorial Notes and Gleanings. Brady’s Gallery.” NATIONAL MAGAZINE; DEVOTED TO LITERATURE, ART, AND RELIGION 12:6 (June 1858): 562. [“One of the most attractive places in relation to the fine arts in the city, is the gallery of Mr. Brady, 350 Broadway. Under the enterprising skill of this gentleman the photographic art has reached perfection. The most perfect representations, from the miniature to the life-size, are taken in all styles. Those that have been painted, present the most perfect specimens of art we have seen. Mr. Brady has recently enriched his gallery with imperial photographs of the most distinguished divines in the different denominations in the city; and this gallery of itself would well repay a visit. The most distinguished officials in state as well as Church, from this and other countries, with a full representation of the literary men of the times, can be found in his collections. Among the photographs may be seen most exact likenesses of our bishops, with quite a number of our pulpit celebrities in New York. The whole corps editorial of the Book Concern is represented with admirable exactness. Mr. Brady is a native of New York, and among the first to introduce this beautiful art among us, and to him, perhaps, more than any other artist, is the country indebted for the perfection to which it has attained. His gallery in Washington city, as well as the one on Broadway, is one of the largest and most attractive of its kind in the country; and as they are open to access to all visitors, our friends would doubtless be gratified in looking upon his finely executed pictures.”]

THE NEW ENGLAND FARMER

BRADY, MATHEW B. (1823-1896) (USA).
“Notices of Publications.” THE NEW ENGLAND FARMER 2:14 (Sat. July 6 1850): 232.
[“Gallery of Illustrious Americans. This work contains the portraits and biographical sketches of twenty-four of the most eminent citizens of the republic, since the death of Washington. It is a very splendid and beautiful work, published semi-monthly, on imperial folio drawing-paper, in a new and magnificent style. These portraits are very skilfully executed, and do great credit to the artists, Brady and D’Avignon. The letter-press, or biography, by the editor, C. Edwards Lester, is brief, comprehensive, and appropriate. No. six contains the portrait and history of Col. Fremont, senator elect from California, and one of the most illustrious men of the age. New York: G. P. Putnam; D. Appleton & Co.; C. S. Francis & Co.- Boston: Redding & Co., 8 State St.”]

NEW YORK EVANGELIST

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Copying.” NEW YORK EVANGELIST 19:39 (Sept. 28, 1848): 156. [“M. B. Brady, at his Gallery of Daguerreotype Portraits and groups, Nos. 205 and 207 Broadway, New York, 3rd door south of St. Paul’s church, 2nd, 3rd and 4th stories, has now appropriated one of his rooms to the exclusive use of copying Portraits, Paintings, Miniatures, Engravings, Busts, Statuary, Daguerreotypes, and Designs and Models of every description, &c. with fidelity and dispatch.” (This ad repeated through 1848-1849.)]

BRADY, MATHEW B. (1823-1896) (USA).
‘New Publications.” NEW YORK EVANGELIST 21:5 (Jan. 31, 1850): 20. [Book review. The Gallery of Illustrious Americans. “A semi-monthly issue has been undertaken of a work in folio form, printed in large elegant type on thick paper, each number to contain a large size portrait of some eminent character, engraved in beautiful style from daguerreotypes by Mr. Brady. The first number presents a striking portrait of President Taylor,… We must say of Mr. Brady’s daguerreotypes that they are by all odds the clearest and most artistic we have ever seen. His gallery of distinguished political personages is well worth visiting. Nothing can exceed the beauty, clearness and precision of his portraits, even the smallest. There are to be seen the portraits of Webster, Clay, Cass, Calhoun, Gen. Taylor and others just taken, which are surprisingly rich, and gave us, when we saw them, a better idea of the perfection to which this art has been brought than we had ever conceived….”]

BRADY, MATHEW B. (1823-1896) (USA).
‘New Publications. Pamphlets and Periodicals.” NEW YORK EVANGELIST 21:13 (Mar. 28, 1850): 52. [The third number of the Gallery of Illustrious Americans contains a truly magnificent portrait of Daniel Webster, lithographed by Davignon, from a daguerreotype by Brady…”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s National Gallery.” NEW YORK EVANGELIST 21:19 (May 9, 1850): 75. [“Of Daguerreotypes.—This collection embraces portraits of the most distinguished men of the country. The President and Cabinet, also the late President Polk and his Cabinet, Members of the United States Senate and House of Representatives, Judges of the Supreme Court, and many other eminent persons are included in this Gallery. The proprietor being much of his time in Washington, has the advantage of adding many others to these portraits that may interest the public. This establishment is one of the most extensive in the world, its facilities for the production of portraits by the Daguerrean art being unrivaled. It now occupies two large buildings, 205 and 207 Broadway. The operating department is arranged in a scientific manner, and directed by persons of acknowledged skill in the profession. In the department arranged for copying paintings, daguerreotypes, engravings, statuary, &c. the light and instruments have been expressly designed for this purpose. It is the aim of the proprietor to render every part of his business that attention, which the public are entitled to from the patronage he has received. At the annual exhibitions of the American Institute for five years, the pictures of his establishment received the first prize, consisting of a silver medal and the last year the first gold medal ever awarded to Daguerreotypes was bestowed on the pictures of this gallery. The portraits taken for the ‘Gallery of Illustrious Americans,’ a work so favorably received throughout the United States, are engraved from these Daguerreotypes. Strangers and citizens will be interested and pleased by devoting an hour to the inspection of Brady’s National gallery. Nos. 205 & 207 Broadway, New York, Corner of Fulton Street.” (Ad repeated throughout 1850.)]

BRADY, MATHEW B.
[Advertisement.] “Portrait of Dr. Duff.” NEW YORK EVANGELIST 25:22 (June 1, 1854): 87. [“The subscribers have been requested to issue a portrait of Rev. Dr. Duff, and having procured a fine Daguerreotype, taken by Mr. Brady, of new York, on the morning of his departure fro Europe, and which is said by his friends to be the best likeness of him in the United States, beg to announce that the above Daguerreotype will be engraved, large size—12 x 15 inches,…A. H. Ritchie & Co., No. 23 Chambers street, New York.”]

BRADY, MATHEW B.
[Advertisement.] “The Imperial Photograph.” NEW YORK EVANGELIST 28:19 (May 7, 1857): 149. [“A unique application of the art, surpassing in effect, of unnatural size, and presenting the combined advantages of painting and finish with the truth of the Camera, is pronounced by the most distinguished connoisseurs—Bryant, Dana, Willis, Tuckerman, and Lowell—to surpass any previous result of the Camera. Owing to extended improvements, Mr. Brady is enabled to supply the Imperial Photograph at a price which places it within general reach. Every description of portrait will hereafter be supplied at a large reduction from former prices. No. 359 Broadway, Over Thompson’s Store.” (Ad repeated through July.)]

BRADY, MATHEW B. (1823-1896) (USA).
‘General Intelligence.” NEW YORK EVANGELIST 28:19 (May 7, 1857): 149. [“The Imperial Photograph, as seen at Brady’s Gallery on Broadway, indicate the rapid progress of the art. It to more fully described in the following paragraph: The Improvements that have been made in the art of making pictures by the action of light upon the chemically prepared surfaces, since the Introduction of the Daguerreotype, is surprising. It was then confidently predicted that nothing deserving the name of a work of art could ever be produced by a process so purely mechanical: and as long as the picture was taken directly upon a metallic surface, leaving no room for further finish, the opinion was just. The Photograph, however, produced a very great change in this respect. by transferring the picture to paper, room was found for subsequent touches of the pencil, and by taking the impression upon glass and then using this as a stereotype plate from which in Indefinite number of copies may be printed upon piper, the process Is carried to the highest degree of perfection. The Imperial Photograph, as it is styled, is the latest Improvement in the art. Some of the finest specimens of it are fully equal to the best steel engravings. Persons walking in Broadway may see in several galleries. and especially in Brady’s, pictures of this class which are wonderful, not only an accurate and striking likenesses, but as finished works of art, The portraits at Brady’s of Lady Napier and her two children-of Martin Van Buren, W. C. Bryant, and others, are among the most beautiful pictures ever exhibited, and are scarcely distinguishable from the largest and most finished line engravings. The likeness is attained by the photographic process, performed with large and accurate instruments, and the requisite finish is given by the pencil with India ink. This is a combination of the mechanical process and the labors of the artist, which secures the most perfect accuracy together with the highest artistic excellence; and the comparative cheapness of pictures thus produced, render them universally accessible Although it is generally conceded that the Photographs produced in this country are superior to those of Europe, yet the art itself receives much more general attention in England than here. Nothing is more common there than for naturalists, travelers, and amateurs of every sort, to learn the use of photographic instruments, and employ them for their own private amusement In copying plants, animal structures, and other objects of natural history. That It is less used for this purpose here is probably due in part, as least, to the fact, that we have fewer amateurs to any department of study or of art than are found abroad. Their number, however, is certain to Increase, and the use of the photograph as an auxiliary to their studies will become correspondingly common. The Imperial Photograph is the highest point which the art has yet reached; but it would scarcely be safe, remembering the past, to predict that no further improvement will hereafter be made in it.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Pictures.” NEW YORK EVANGELIST 29:51 (Dec. 23, 1858): 1. [“…Mr. J. E. Tilton, of Boston, has executed a very beautiful photograph, from a drawing by Darley, of the Courtship of Miles Standish. This is a new application of this beautiful art, to take by it exact copies of the drawings and etchings of some of our finest masters of the pencil. Messrs. Rudd & Carleton are about to issue a volume of such illustrations of the same poem by Longfellow, from designs of Ehninger, photographed by Brady.”]

MORAND. (BROOKLYN, NY)
“Photographs in Brooklyn.” NEW YORK EVANGELIST 33:5 (Jan. 29, 1863): 4. [“We have several times called attention to the Galleries of Brady and Fredricks, and to their extensive and beautiful collection of photographs. We are happy to find in Brooklyn an establishment of similar excellence. Mr. Morand, 297 Fulton street, has produced some of the best photographs that we have yet seen. Indeed, his carte de visite of Rev. Dr. Cox, we think the very best we have ever seen in from any gallery. To be sure, in this case he had the advantage of a very noble head to work upon. But in general his photographs are of uncommon excellence. He takes great pains with sitters, and if he fails in a first attempt, tries and tries again, until he is successful. His pictures have great softness and delicacy, avoiding that white glare which spoils so many photographs. Our friends across the river will do well to look in at his gallery, and indeed its fame already attracts visitors and sitters from this side of the water.”]

WHITNEY & PARADISE. (NEW YORK, NY)
[Advertisement.] “Whitney & Paradise.” NEW YORK EVANGELIST 35:44 (Nov. 3, 1864): 5. [“Practical Photographers, 585 Broadway, late of Brady’s New York and Washington Galleries. After 18 years experience in the First Galleries in New York, the above firm have established themselves in business on their own account. Citizens of New York, we offer our services to you as Practical and Artistic Photographers, trusting that our long experience and extensive acquaintance will assure us success in maintaining another first-class Gallery on Broadway, and we promise you the Best Pictures that art can produce, of every description. E. T. Whitney. A. W. Paradise. 585 Broadway, opposite Metropolitan Hotel.”]

NEW YORK ILLUSTRATED NEWS

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (Horace Greeley, Editor of the N.Y. Tribune.” “From a Photograph by Brady.”) on p. 349 in: NEW YORK ILLUSTRATED NEWS 3:74 (Apr. 6, 1861): 349.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Colonel Ellsworth. From a Photograph by Brady.” ) on p. 5 in: NEW YORK ILLUSTRATED NEWS 4:79 (May 11, 1861): 5.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Late Colonel Ellsworth.”) on p. 68 in: NEW YORK ILLUSTRATED NEWS 4:83 (June 8, 1861): 68. [Same portrait of Ellsworth, previously published in May 11 issue, reprinted here after Ellsworth was killed.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“The Tom Thumb Wedding. Miss Minnie Warren and Comm. Nutt.” “From a Photograph by Brady.”) on p. 256 in: NEW YORK ILLUSTRATED NEWS 7:173 (Feb. 21, 1863): 256.

BY COUNTRY: GREAT BRITAIN: 1863.
“Photographic Portraiture.” NEW YORK ILLUSTRATED NEWS 7:175 (Mar. 7, 1863): 279. [From “Once a Week.” General commentary on growth of studio portraiture since 1840s.]

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Col. Sir Percy Wyndham, commanding 1st NJ Cavalry.” “From a Photograph by Brady.”) on p. 28 in: NEW YORK ILLUSTRATED NEWS 8:184 (May 9, 1863): 28.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Maj. Gen. Sedgwick.” From a Photograph by Brady.”) on p. 53 in: NEW YORK ILLUSTRATED NEWS 8:186 (May 23, 1863): 53.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Maj. Gen. Stoneman.” From a Photograph by Brady.”) on p. 64 in: NEW YORK ILLUSTRATED NEWS 8:186 (May 23): 64.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Maj. Gen. Slocum.” From a Photograph by Brady.”) on p. 65 in: NEW YORK ILLUSTRATED NEWS 8:187 (May 30, 1863): 65.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Flag of the 44th NY Volunteers.” From a Photograph by Brady.”) on p. 65 in: NEW YORK ILLUSTRATED NEWS 8:187 (May 30, 1863): 65.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Hon. C. L. Vallandigham.” From a Photograph by Brady.”) on p. 68 in: NEW YORK ILLUSTRATED NEWS 8:187 (May 30, 1863): 68.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Maj. Gen. Daniel E. Sickles.” “From a Photograph by Brady.”) on p. 68 in: NEW YORK ILLUSTRATED NEWS 8:187 (May 30, 1863): 68.

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“Maj. Gen. George G. Meade.” From a Photograph by Brady.”) on p. 177 in: NEW YORK ILLUSTRATED NEWS 8:194 (July 18, 1863): 177.

NEW YORK LEGAL OBSERVER,

BRADY, MATHEW B. (1823-1896) (USA).
‘Reviews.” NEW YORK LEGAL OBSERVER, CONTAINING REPORTS OF CASES DECIDED IN THE COURTS OF EQUITY AND COMMON LAW, AND IMPORTANT DECISIONS IN THE ENGLISH COURTS; ALSO, ARTICLES ON LEGAL SUBJECTS, WITH A TABLE OF CASES, A GENERAL INDEX, AND A DIGEST of the REPORTS v. 8 (July 1850): 240. [Book review. The Gallery of Illustrious Americans,…. Edited by C. Edwards Lester. No. 6., John James Fremont. “This magnificent work, which has met with unbounded popular favor, and which, without a question, surpasses in truth, fullness and beauty of likenesses, elegance and luxury, any similar work ever published, is now being issued rapidly, and is commanding universal applause and favor. Already the portraits of… We are glad to learn that the Gallery has in its success outstripped all the calculations of its proprietors. It is published at Brady’s Gallery, 205 Broadway, were subscriptions are received.”]

NEW YORK OBSERVER AND CHRONICLE

BRADY, MATHEW B. (1823-1896) (USA).
‘Ambrotypes.” NEW YORK OBSERVER AND CHRONICLE 33:32 (Aug. 9, 1855): 254. [“A new invention in the art of taking pictures by the sun has just been completed by Mr. Brady, daguerrean artist, of New York, which seems likely to supersede in a great measure the wonderful perfection of the daguerreotype. The likeness is taken on a plate of glass, and when finished has every appearance of a painting on enamel. The groundwork of the picture is light, and the general effect remarkably distinct and powerful. The process is called Ambrotyping, and will not fail soon to become popular.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Literature of the Day.” NEW YORK OBSERVER AND CHRONICLE 37:7 (Feb. 17, 1859): 53. [“Rudd & Carlton have published in beautiful binding, on thick elegant paper, Ehninger’s Photographic Illustrations of the Courtship of Miles Standish, by Longfellow. The volume is composed exclusively of large and beautiful views of the serious scenes in this delightful poem, with only so much of the letter press as is necessary to understand the engravings, which are in the finest style of art….” “…The novelty of these pictures is also worthy of mention. It is the first time that we have ever seen, on a large scale, the photographic art used for the illustration of a work of genius. These pictures, each and every one of them, are the paintings of the sun. They are not engravings; they are successively painted by the light itself upon the pages which are here opened in their order, within these elegant covers. So this book itself is unique as well as beautiful, and is to be prized as a curiosity, as well as one of the finest specimens of American art. We admire the enterprise of the publishers who have undertaken the expense of bringing out so costly a work,…”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Portraits of Presidential Candidates.” NEW YORK OBSERVER AND CHRONICLE 38:25 (June 21, 1860): 195. [“Beautifully engraved on Steel, from Brady’s celebrated Photographs. They are reliable in their correctness and beauty of execution, and consist of the following, viz: Abraham Lincoln. Hannibal Hamlin. Price 25 cents each. Sent free by mail, on receipt of price. Agents wanted. Engraved and published by J. C. Buttre, 48 Franklin –st., N. Y.”]

NILES’ NATIONAL REGISTER

BY COUNTRY. USA. 1845.
“The American Institute.” NILES’ NATIONAL REGISTER 19:10 (Nov. 8, 1845): 150-152. [“The eighteenth anniversary and fair of this invaluable institution, which closed in New York during the past month, was one of the most gratifying exhibitions of the kind that this country has yet witnessed. More than eight thousand persons visited the exhibition. The receipts in one day amounted to $1500. The total receipts largely exceeded that of any former year…. The customary annual address was delivered by the Hon. Mr. Elliott, of New Bedford, Mass… (Excerpts from Eliott’s address then quoted.) “…So of the wonderful improvements in daguerreotyping; a few years since, and we knew no more about it than the man in the moon, and now Messrs. Haas, Plumbe, Anthony & Edwards, Gavitt, Brady, &c., have far surpassed all French daguerreotypes…”]

NORTH AMERICAN MISCELLANY; A WEEKLY MAGAZINE OF CHOICE SELECTIONS FROM THE CURRENT LITERATURE OF THIS COUNTRY AND EUROPE

EXHIBITIONS. 1851. LONDON. GREAT EXHIBITION OF THE ART AND INDUSTRY OF ALL NATIONS.
“Chronicle of the Week, in a Bundle of Gossip.” NORTH AMERICAN MISCELLANY; A WEEKLY MAGAZINE OF CHOICE SELECTIONS FROM THE CURRENT LITERATURE OF THIS COUNTRY AND EUROPE 2:20 (June 14, 1851): 333-335. [(Quoting an unidentified English journal about the Crystal palace exhibition.) “We quote from the same journal a word or two of commendation for American daguerreotypes:-‘It is only within the last few years that the force of light has been made directly available for the arts, in the production of pictures. Here we have very excellent examples of Daguerreotypes and Calotypes. of the former, we are inclined, after a very minute and careful examination, to give to America the first place. Whether the atmosphere is better adapted to the art, or whether the preparation of Daguerreotypes have been congenial with the tastes of the people, or whether they are unfettered by the patents in force in England, certain it is that the number of exhibitors has been very great, and the quality of production super-excellent. The likenesses of various distinguished Americans, by Mr. Brady, are noble examples of this style of art. The family of Mr. Churchill is a very pretty group; and the series of views illustrating the Falls of Niagara are a very appropriate example of American industry, by Mr. Whitehurst, of Baltimore. The large specimens by Mr. Harrison are also excellent. In fact, the American display of Daguerreotypes in some degree atones for the disrespect with which they have treated all other nations, in having applied for so large a space, and yet at last having left their space comparatively unfilled.’”]

NORTH AMERICAN REVIEW

BRADY, MATHEW B. (1823-1896) (USA).
‘18.–Carlyle’s Translation of William Meister.” NORTH AMERICAN REVIEW 101:208 (July 1865): 281-285. [Book review. “This new edition of Goethe’s great novel will give many persons the opportunity of reading a work which, although introduced to the English public forty years ago, is yet known to us chiefly by hearsay. We esteem it a matter for gratitude that it should now invite some share of attention as a novelty, if on no other ground; and we gladly take advantage of the occasion thus afforded to express our sense of its worth. We hope this republication may help to discredit the very general impression that Wilhelm Meister belongs to the class of the great unreadables. The sooner this impression is effaced… There is the same difference between them and the figures of last month’s successful novel, as there is between a portrait by Velasquez and a photograph by Brady. Which of these creations will live longest in your memory? Goethe’s persons are not lifelike; that is the mark of our fashionable photographic heroes and heroines: they are life itself. It was a solid criticism of certain modern works of art, that we recently heard applied to a particular novelist: “He tells you everything except the very thing you want to know.” p. 283.]

NORTON’S LITERARY ADVERTISER

BRADY, MATHEW B. (1823-1896) (USA).
“Literary Intelligence.” NORTON’S LITERARY ADVERTISER 1:2 (June 1851): 5. [“The first number of the “Deutches Museum,” a spirited new German periodical of Literature, Art, and passing events, contains a passage on Brady & Lester’s Gallery of Illustrious Americans, in an article which speaks more at length of a similar work on “German Contemporaries,” now in progress of publication, and which has a good deal to do with “great men” whom no one knows or has ever heard of.
At the auction of Scott’s effects, the manuscript of Waverley, written solely by Scott himself, was knocked down to a Mr. Wilks for £40, who sold it again for 40 guineas to a Mr. Hall one week after the purchase. This gentleman has recently presented it to the richest collection of books in Scotland, the Advocate’s Library of Edinburgh….” (Etc., etc.)]

BRADY, MATHEW B. (1823-1896) (USA).
“Engravings.” NORTON’S LITERARY GAZETTE AND PUBLISHER’S CIRCULAR 2:1 (Jan. 15, 1852): 11.
[“From G. P. PUTNAM, 155 Broadway, New York.
A New Portrait of Washington Irving, engraved on steel by Halpin, after the Sketch from Life
by Charles Martin.
A New Portrait of J. Fenimore Cooper, engraved on steel by Hall, from the latest Daguerreotype by Brady.
A New Portrait of William Cullen Bryant, engraved on steel by Illman, after the original sketch by Martin.
From BUNNELL & PRICE, 121 Fulton St., New York.
A New Portrait of Louis Kossuth, Governor of Hungary, engraved by T. Doney, from an original drawing by J. Gollmann.”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.” “George P. Putnam’s Forthcoming Publications.” NORTON’S LITERARY GAZETTE AND PUBLISHER’S CIRCULAR 2:3 (Mar, 1852): 60.
[(Full page ad, listing dozens of books, magazines, etc., including:
“PORTRAIT OF J. FENIMORE COOPER.
Finely engraved on steel, from the latest and best Daguerreotype by BRADY.
India Proofs in folio, $1 50; Prints, with fac-simile autograph, 50 cts.
NEW PORTRAIT OF WASHINGTON IRVING.
Sketched from life, in crayons, by CHARLES MARTIN, Esq., and engraved in the finest style, on steel, by F. HALPIN.
Single copies, 50 cts.; Proofs, on larger paper, $1.50.
“The happy temper and strong intellect of Irving-the joyously indolent man, and the arousably brilliant author-are both there. As a picture, it is a fine specimen of art.”-Home Journal.
NEW PORTRAIT OF WILLIAM CULLEN BRYANT.
Sketched from life, in crayons, by CHARLES MARTIN, Esq.; engraved on steel, in the best style, by ILLMAL
India Proofs, $1 50; Prints, 50 cts. The steel plate of the portrait of Mr. Bryant having been destroyed at the recent fire at the printing office, and but a limited number of impressions remaining, early application should be made, to prevent disappointment.”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “European Daguerreotypes, Now on Exhibition at Brady’s National Gallery,” NORTON’S LITERARY GAZETTE AND PUBLISHER’S CIRCULAR 2:6 (June 15, 1852): 117.
[“… No. 205 Broadway, N. Y.,
Fine likenesses of many of the most celebrated persons in Europe, among whom are Louis NAPOLEON, VICTOR HUGO, LAMARTINE, EUGENE SUE, &c. Arrangements have been made with eminent artists to forward, from time to time, portraits of all the most eminent men of the day, as well as every improvement or discovery in the art, thus rendering this establishment one of the most popular and interesting exhibitions in our city. Mr. Brady has also thoroughly refitted his establishment, and by the introduction of improvements in the arrangements of light, and other matters, acquired during his residence in Europe, is enabled to produce pictures equal, of not superior, to those for which he received a prize medal at the World’s Fair. Annexed will be found a list of original Portraits of distinguished persons that are now on exhibition at the Gallery.
Andrew Jackson, Millard Fillmore, John Q. Adams, Henry Clay, James K. Polk, Daniel Webster, Albert Buren, Judge Story, Silas Wright, Chancellor Kent, Thomas H. Benton, Judge Woodbury, James Buchanan, Judge McLean, John M. Clayton, Judge Spencer, Thos, Ewing, Judge Cranch, Abbott Lawrence, Judge Mayne, Cassius M. Clay, General Taylor, Francis Granger, General Scott, William L. Marey, General Gaines, John J. Crittenden, General Worth, William H. Seward, General Houston, Henry Foote, General P. F. Smith, William H. Meredith, General McDuffie, Reverdy Johnson, General Riley, William B. Preston, General Brady, Cave Johnston, General Bankhead, Bailey Payton, Commodore Perry, Mrs. John Q Adams, Commodore Morris, Mrs. James Madison, Col. Fremont, Mrs. Alexander Hamilton, Col. Duncan, Mrs. General McComb, Col. Donophan, Mrs. James K. Polk, Col. Jack Hays, Mrs. Chancellor Kent, Major Crittenden, Henry Inman, Major Borland, Thomas Cole, J. Fenimore Cooper, D. Huntington, William C. Bryant, A. B. Durand, William H. Prescott, Charles Elliott, William Ellery Channing, Robert Weir, John J. Anderson, Brown, William Knealand, M. M. Noah, Thomas Cummings, Thomas Ritchie, Col. Taylor, Bayard Taylor, Capt. Sands, C. Edwards Lester, Gen. Soule, G. G. Foster, Gen. Bailey, Horace Greeley, Capt. Walker, G. P. Morris, Capt. Hunter, Amos Kendall, Dr. Goldsmith, Samuel G. Goodrich, John Van Buren, Horace Mann, Edwin Forrest, James T. Brady, Esq., Jenny Lind, Dr. S. Tyng, Dr. Potts, Dr. De Witt, Dr. Brownlee, Bishop Hughes, Father Mathew, Parodi, Madame Bishop, Madame Laborde, Madame Augusta, Truthi.”]
[This ad ran several times during the year. WSJ)]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “The Prize Medal.” NORTON’S LITERARY GAZETTE AND PUBLISHER’S CIRCULAR 2:8 (Aug. 15, 1852): 162. [“…For The Best Daguerreotypes at the World’s Fair,
[Engraving, depicting the recto and verso of the medal] was Awarded to M. B. Brady, 205 Broadway, New York.”
“In addition to this testimony to the excellence of his pictures, Mr. BRADY received the first Gold Medal ever awarded to any Daguerreotypist. He also won the highest prize, for five successive years, at the various exhibitions in this city, and in no instance has he ever failed of obtaining the first prize at any public exhibition where his pictures have been entered for competition; a proof beyond all doubt that his pictures have never been surpassed, at home or abroad.
Having spent nearly a year in Europe, Mr. BRADY has carefully examined the most celebrated Galleries and Works of Art, especially in France and Italy, and has brought with him all the improvements and discoveries made in those countries.
He has also on exhibition portraits of some of the most distinguished persons in Europe, among whom are Louis Napoleon, Lamartine, Victor Hugo, Eugene Sue, etc. Arrangements have also been made to forward, from time to time, portraits of most of the celebrated men in Europe, as well as every improvement or discovery made by foreign artists; thus forming a valuable addition to his Gallery, which has long been considered the most extensive and the most valuable of any in existence.
Having rearranged his light, and introduced various improvements, Mr. BRADY is prepared to execute every description of work pertaining to his art, especially copies of Portraits and Daguerreotypes, Statuary, etc., in the highest style of the art.
Portraits of sick or deceased persons taken at their residences, by a skillful and experienced artist.
A large assortment of Gold Lockets, and rich and elegant Cases, selected at Paris, under Mr. B’s personal supervision.”
[(This ad ran in several issues. Ads on pages 117, 141, 162, 179 and 251 in this volume. WSJ)]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Brady’s Daguerrean Gallery.” NORTON’S LITERARY GAZETTE AND PUBLISHERS’ CIRCULAR ns 1:1 (Jan. 1, 1854): 18. 1 illus. [(The illustration is an artist’s view of the Reception room, with crowds of people waiting for their appointment and viewing the daguerreotypes displayed on the walls.) “No. 359 Broadway, (Over Thompson’s Saloon), New York. This New and Extensive Establishment Has been recently completed, and the public are invited to view the many improvements combined in this Magnificent Gallery. The proprietor has no hesitation in claiming advantages possessed by no similar establishment, either in this country or in Europe. The facilities for the production of First-class Pictures are unrivaled. Attention is specially directed to the admirable arrangement of light for Children; also for copying Daguerreotypes, Paintings, Statuary, &c. An additional building has been erected, by which the Reception Saloon, Ladies’ Dressing Room, and the Operating Rooms, are on the same, floor, forming a new and most desirable arrangement. This Gallery contains a matchless collection of European and American Celebrities, unrivaled on this continent. In addition to various Medals received in New York, the Prize Medal, was awarded In London at the World’s Fair, 1851.” p. 18. (This advertisement was published at least five times throughout the volume.)]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “The Imperial Photograph.” NORTON’S LITERARY LETTER, COMPRIZING AMERICAN PAPERS OF INTEREST AND A CATALOGUE OF RARE AND VALUABLE BOOKS RELATIVE TO AMERICA n. s. no. 1 (Oct. 1857): (adv. section p.3)]
[“The latest and most striking movement in Photographs is illustrated by the Imperial Photograph on exhibition and made only at
Brady’s Gallery,
No. 859 Broadway.
It is regarded by eminent connoisseurs as faultlessly artistic, complete, and perfect. Its principal excellences are those of unusual size, elaborate finish, absolute accuracy of form and likeness, and entire durability. It is produced by means of
An Immense Camera,
one of the largest in the world; a few minutes only are required to complete the sitting. Since its introduction, Mr. Brady has received visits from many of the distinguished men of the country, Imperial Photographs of whom now embellish this Gallery. In addition to the Imperial Mezzotints, his collection contains a great number of specimens in oil and water-color and pastel. Persons possessing
Daguerreotypes of Deceased Friends,
may obtain copies of any size, colored and finished as perfectly as if taken from life. Duplicate copies are readily produced at a moderate cost. Historical Societies, Families, and others desirous of having copies of Portraits of Prominent Men deceased, will receive every attention. Families or Clubs desirous of interchanging Portraits will receive especial attention. Academy or University classes Photographed on liberal terms.
Southern and Western Visitors
in New York are especially solicited to pay the Gallery a visit. They will find it a repository of Portraits, including those of most of the distinguished men in the country.
The Ambrotype
is offered to those who desire portraits at a moderate price. It is made instantaneously, and may be completed and delivered in a few minutes. The Ambrotype is made at both Mr. Brady’s Galleries No. 359 Broadway, over Thompson’s Saloon, and No, 205 Broadway, corner of Fulton Street. The lower Gallery will be found conveniently accessible by business men and persons at down-town hotels.
Specimen Photographs
may be seen at the principal Theaters and Hotels.”
[Full-page advertisement.]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “Portrait of Irving.” NORTON’S LITERARY LETTER, COMPRIZING AMERICAN PAPERS OF INTEREST AND A CATALOGUE OF RARE AND VALUABLE BOOKS RELATIVE TO AMERICA n. s. no. 2 (1860): adv. section n. p.
[“THE UNDERSIGNED,
HAVING MADE ARRANGEMENTS WITH
MR. M. B. BRADY,
FOR THE EXCLUSIVE SALE OF
Brady’s Imperial Photographic Portrait
of
WASHINGTON IRVING,
Is happy to announce that it is now ready. This most brilliant success in Photographic Art has been
pronounced by the best judges and most intimate friends of Mr. Irving, to be a perfect likeness.
PRICE…….$10.
For which sum it will be carefully packed flat for Express, to any part of the United States.
Appropriate Frames will be supplied, if needed, either oval or square. Address
CHARLES B. NORTON, Agent for Libraries,
IRVING BUILDING, NEW YORK.”]
[The same ad repeated twice more within the series. Bound volume with disparate cumulated issues, identified as” No. 1-4, n. s. 1-2 (1857-1860)” Cover pages and advertising pages. may have been gathered from each issue and bound together in the back by the bookbinder, (A practice by many institutional libraries) and the magazine was careless about identifying vol. and issue numbers.]

OHIO CULTIVATOR

BY COUNTRY. USA. 1845.
“Mechanics’ Department. Progress and Improvement in the Mechanic Arts. Exhibition of the American Institute, New York.” OHIO CULTIVATOR 1:22 (Nov. 15, 1845): 173-174. [From the Albany Evening Journal. (Quotes the speech of the Institute’s president, Gen. Tallmadge, made at the close of the exhibition, in which he extols America’s technological progress in many areas.) “…So of the wonderful improvements in daguerreotyping; a few years since, and we knew no more about it than the man in the moon; and now Messrs. Haas, Plumb, Anthony & Edwards, Gavitt, Brady, &c., have far surpassed all French Daguerreotypes…”

EXHIBITIONS. 1851. LONDON. WORLD’S INDUSTRIAL FAIR.
“Premiums at the World’s Exhibition. Great Medals to Inventors. Prize Medals.” OHIO CULTIVATOR 7:22 (Nov. 15, 1851): 341-342. From the National Intelligencer. Lists American award winners only. “M. B. Brady, New York, Daguerreotypes. J. A. Whipple, do., M. N. Lawrence, do.” under “Prize Medals.” “J. E. Mayall, photographs;” under “Honorable Mention.”

OHIO FARMER

BRADY, MATHEW B. (1823-1896) (USA).
‘Book Notices.” OHIO FARMER 5:37 (Sept. 13, 1856): 146. [Book review. Life of Fremont. by Samuel L. Smucker. New York: Miller, Orton & Mulligan. “The memoir is very brief, not over 70 pages. The body of the book is made up of Fremont’s narrative of explorations, and adventures, in Kansas, Nebraska, Oregon, and California. It is by no means, a mere campaign document, but is a book of permanent value. There is a fine steel engraving of Fremont, from a photograph by Brady.”]

BRADY, MATHEW B. (1823-1896) (USA).
Hope, Anna. “Letter from Anna Hope.” OHIO FARMER 6:48 (Nov. 28, 1857): 190. [“Notwithstanding the hard times, New York was never more crowded, nor do I believe there was over more shopping than at the present time. There are not many handsome carriages to be seen, and few seem to be driving for pleasure, but pedestrians abound. The dry-goods stores are full of customers, and great bargains for the ladies are the order of the day… (Discusses consequences of the financial recession, loss of homes, etc.) The book stores are deserted; all the money is used to buy ‘good at greatly reduced prices,’ and the mind is left unprovided… The book publishers are doing nothing… No one can do any business in New York now who does not profess to do it on the reduced price system. Daguerreotypes have ‘come down’ with everything else. Even Brady advertises to photographs at half price. I went through his gallery a few days since, and saw a photograph of James Russell Lowell. It stood upon the floor, and as I kneeled before it to examine it more easily, I longed to thank him for the rich enjoyment his poems have afforded me—an enjoyment so rare and perfect that words may never express it. Every poem has a voice to me like that of a beloved friend, and I enjoy reading and rereading each one, as I enjoy little else but my free, intimate communication with nature. I observed in the face of Lowell what I have sometimes before in the faces of earth’s noblest sons, a womanly expression, which without distracting from his manliness, adds to it a wonderful grace. Just as I was leaving the gallery, I saw a photograph that at once attracted my attention, and quickened the beating of my heart. It was the face of one who has been among my best friends for more than twenty years, and who in that time has won a name and a fame that will not soon be forgotten. How pleasant it is to look back upon twenty years of uninterrupted friendship, even if we have only occasionally been able to meet those we love….”]

BRADY, MATHEW B. (1823-1896) (USA).
Hope, Anna. “Letter from Anna Hope. Miss Hosmer’s Statue of Beatrice Cenci. Miss Hosmer’s Photograph. Rosa Bonheur’s Horse Fair. Cheap Goods. Hints about Ladies’ Dress.” OHIO FARMER 6:52 (Dec. 26, 1857): 206. [“…I saw at Brady’s a photograph of Miss Hosmer. She is standing with arm a-kimbo, dressed in a semi-masculine style. How any lady can fancy this I cannot imagine, for I do not think there is grace enough in man’s attire to make it worthy of imitation. Miss Hosmer wears….”]

BRADY, MATHEW B. (1823-1896) (USA).
[Advertisement.] “A Portrait of Mr. Greeley.” OHIO FARMER 16:51 (Dec. 21, 1867): 405. [The Publishers of the New York Tribune having received many requests… made arrangements with Messrs. Derby & Miller to furnish copies of Ritchie’s engraving, from a photograph by Brady to …subscribers…”]

OLD GUARD

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w. (“Samuel S. Cox.”) as frontispiece. OLD GUARD 2:7 (July 1864). [“Engraved by illegible, NY.” “Photo by M. B. Brady.”]

ONEIDA CIRCULAR

BRADY, MATHEW B. (1823-1896) (USA).
‘The Arabian Knight’s Departure.” ONEIDA CIRCULAR 6:19 (May 28, 1857): 76. [From the N. Y. Evening Post. “Mohammed Habat, after an unsuccessful attempt to obtain the money alleged to be due his uncle, Hamet Bashaw, for his services in Gen. Eaton’s campaign in 1805, against the piratical government of Tripoli, departed on the 14th in the steamer Kangaroo, intending to proceed by way of Paris to his present home in Cairo. This venerable Arab, of over seventy, was the first of his race that ever reached our shores. An excellent photograph of him was taken by the artist Brady, which will be interesting to all admirers of the full-bearded patriarchal type of humanity, which prevails in the deserts of his native country….”]

BRADY, MATHEW B. (1823-1896) (USA).
‘News Items.” ONEIDA CIRCULAR 6:38 (Oct. 8, 1857): 150-151. [“…Mr. Brady, the great daguerrean artist and photographer of New York city, now takes photographic full-length likenesses as large as life. ‘Mr. Brady,’ says the Tribune ‘shows cartoons, three feet by five, containing three figures large as life.’”]

NEGRETTI. (LONDON, ENGLAND)
“A Photographer in the Skies.” ONEIDA CIRCULAR 12:18 (July 2, 1863): 72. [From the Evening Post. “Mr. Brady has photographed battle-fields, and with wonderful effect, too; but an English photographer is the first to ascend with his camera and chemicals to the skies, and try photography from the novel standpoint of a balloon in mid-air. Mr. Negretti made an ascent a few weeks ago from London, in Mr. Coxwell’s mammoth balloon, and actually secured a number of views—some, when he reached the altitude of four thousand feet. None of his pictures are perfect, however. It is found that the constant rotary movement of a balloon interferes with the taking of photographs. Those of Mr. Negretti are all reported ‘moved’—that is, the edges of the objects in the pictures are all a little shifted, and the pictures are not quite sharp and true. It is believed, however, that mechanical expedients can be contrived to meet this difficulty….”]

OUR YOUNG FOLKS. AN ILLUSTRATED MAGAZINE FOR BOYS AND GIRLS

BRADY, MATHEW B. (1823-1896) (USA).
‘Our Letter Box.” OUR YOUNG FOLKS. AN ILLUSTRATED MAGAZINE FOR BOYS AND GIRLS 3:9 (Sept. 1867): 575-576. [(Correspondence with readers, answering questions. “…Lorain Lincoln….The name of the great female actor was Rachel Felix. –You can undoubtedly get a photograph of Ristori from Brady’s or Anthony’s, in New York. N. There are no photographs of Gail Hamilton…” etc. Similar queries were published and answered in this column throughout 1868 and 1869.)]

PETERSON’S MAGAZINE

BRADY, MATHEW B. 1823-1896) (USA).
Traux, John Quincy. “Kaladora Andros; Or, the Advertisement. Part I.” PETERSON’S MAGAZINE 28:3 (Sept. 1855): 162 -168. [Fiction. “’…I am just twenty; a handsome brunette; studious, accomplished, conversable and witty; even-tempered, affectionate; strong and healthy. That short description, which I assure you is entirely unbiased, will be as good as one of Brady’s daguerreotypes for you. There is one other trifling circumstance, viz: I am rich, in my own right, and otherwise…”]

PHILADELPHIA PHOTOGRAPHER
(This is an extremely incomplete sampling of this important magazine. My old database is damaged here and the on-line resources are extremely poor for this title.)

BY COUNTRY: USA: 1866.
“The Stamp Infliction.” PHILADELPHIA PHOTOGRAPHER 3:27 (Mar. 1866): 89-90. [“To The Honorable The Committee of Ways and Means: The undersigned, on behalf of the photographers of the United States, respectfully ask leave to present the following statement, concerning the embarrassments to which they are subjected by the operation of the existing provisions of the Excise Laws relating to their business, and to ask such relief as, in your opinion, they are justly entitled to receive. Photographs are classed, properly, with “works of art,” and the reasons which have induced the exemption of paintings and statuary from tax will apply with equal force to a large proportion of the most valuable products of photography. We observe that the Revenue Commission advise the repeal of the taxes heretofore imposed on books, magazines, .and other printed publications, and in view of this fact, and also, that all the articles used in our business are taxed, both directly and indirectly, we believe that if books are exempted, it will be deemed equally politic and equitable to relieve our products also. But, if the necessities of the Government require that our business shall continue to be taxed, we will accept, most cheerfully, the portion of the common burden allotted to us — so far as the amount accruing to the treasury is concerned — asking only that it may not be unduly increased by the vexatious, embarrassing, and damaging requirements now imposed for its collection. We object to the stamp duty on photographs, &c., because:
1st. Those which are put up in cases cannot have the stamp exposed without marring the picture to an extent which will materially lessen its value, and frequently prevent a sale; while if the stamp is concealed,, the payment of the tax cannot be shown without serious inconvenience.
2d. It constantly occurs that pictures when packed are damaged by the “setting off” upon the front or face, of the ink used in printing the stamp, which is affixed to the reverse side, and the slightest imperfection of this kind is sufficient cause for returning them — and in the case of family pictures the result is a total loss — not only of labor, material, and profit, but of the tax paid thereon.
3d. An important feature of the photograph business has been developed by the demand for pictures of localities made famous by the war, and the growing taste for photographs of American scenery. These frequently require to be sent long distances by mail or by express, and for convenience as well as economy, are not “mounted” until finally sold for use. To attach stamps in this condition is to render them liable to be damaged by increasing the thickness of each sheet — and consequently of the package, in whatever part the stamp is affixed. And if they escape injury — the stamp must be removed before the picture is mounted, and others afterwards attached, corresponding .with the price of the final sale; thus requiring the payment of duty twice, in addition to the extra trouble and risk.
4th. It is difficult in many cases for even an expert to determine whether pictures are copies of engravings or paintings, or are originals; and it therefore happens frequently that those on which an ad valorem duty has been paid by the producer, are required to be stamped in the hands of the dealer, in order to exempt them from seizure, or to avoid trouble of collecting satisfactory proof that the tax has been paid, always difficult when the place of sale is different from that of production.
5th. All articles liable to stamp duty are required to have the stamps attached when “exposed for sale.” Compliance to this has already subjected us to losses which will become greater as our business and stock increase. A damaged picture has no value. To be salable it must be perfect. Hence, as our stock on hand becomes soiled by the constant handling of purchasers in making selections, we are subject to the loss of both our goods and the duties paid thereon. For these and many other equally forcible reasons which might be stated, we ask to be relieved from the payment of any duties on our products, in stamps, and to be permitted to pay such percentage on our sales monthly — in like manner as manufacturers — as in your judgment is equitable or necessary.
Samuel Masury, G. H. Loomis, Delegates from New England.
Ben. Gurney, C. D. Fredericks, Delegates from New York.
Edward L. Wilson, W. L. Germon, Delegates from Philadelphia.
Bendann Bros., P. L. Perkins, Delegates from Baltimore.
M. B. Brady, Alex. Gardner, Delegates from Washington.
Washington, D. C, Feb. 14, 1866.
The above will be better understood when we say that the gentlemen whose names are appended thereto have volunteered to do what they can to secure an abolishment of the stamp infliction. Being one of the delegates we feel at liberty to say that the best reception was given by the Committee on Ways and Means to our delegates, and that we have much hope of accomplishing all we desire. See our next issue.”]

BENDANN BROTHERS. (BALTIMORE, MD)
“The Washington Delegation.” PHILADELPHIA PHOTOGRAPHER 3:29 (May 1866): 159. [“Messrs. Bendann Brothers, of Baltimore, Md., have sent us two tine groups of the most of the gentlemen who are giving their time and money for the good of the fraternity in trying to have the stamp nuisance removed. The group is very fine as a photograph, and consists of Messrs. Bendann, Germon, Grurney, Brady, and Fredericks. Though not there in person, we were in spirit, and are with them in both ways in their efforts for the good of the craft. The delegation will not soon forget the kind and cordial reception given them in Baltimore by the Messrs. Bendann, and we tender our sincere thanks for these pictures in addition to their kindness to us, while at their elegant rooms.”]

“Proceedings of the National Photographic Convention,” PHILADELPHIA PHOTOGRAPHER 5:52 (Apr. 1868): 135-150. [“Held in New York, April 7th & 8th, 1868. Responding to the call published in the Philadelphia Photographer for March and April, and scattered largely by circulars, a large number of the photographers of the United States and their delegates, assembled at Room 24, Cooper Institute Building, N.Y., on Tuesday, April 7th, 1868, at 5 P.M. The meeting was called to order by A. Bogardus, Esq., of New York, who read the call, as follows:…” (p. 135)
“…Mr. Bogardus nominated Mr. Henry T. Anthony, of New York, as temporary chairman, and Mr. Edward L. Wilson as temporary secretary. The nominations were unanimously confirmed by the Convention. On assuming the chair, Mr. Anthony addressed the Convention as follows: Gentlemen: In assuming the position you have so kindly assigned to me, allow me to express my thanks for the distinction. It gives me, personally, great pleasure, and, as a member of the photographic community, great satisfaction, to meet at this time so many votaries of the photographic art. Many of you have traversed great distances to be present on an occasion in which every one concerned in photography takes a deep interest. You have left your business, your comfortable homes, and endured the discomforts of travel, at an inclement season of the year, for the purpose of standing side by side and shoulder to shoulder with your brethren of this city, in efforts to accomplish a common object. The exertion already made is evidence of the earnestness with which you embark on this enterprise, and is, at the same time, an earnest of success. From its exhibition, we can count upon the spirit which animates those of whom you are the representatives, and on whose behalf as well as your own you are here assembled; and we on the Atlantic are happy to have the opportunity to say to you, and through you to our brethren of the interior and the great West, that in this matter we are of one heart and one mind, ready to go as far as the most resolute. Feeling that you are ready for action, I will not take up more of your time by these preliminary remarks. Again thanking you for the honor you have conferred upon me, I await your pleasure in the transaction of the business before the Convention. On motion of Mr. G. H. Loomis, of Boston, the chairman appointed a committee on Permanent Organization, as follows: Mr. G. H. Loomis, Boston; Mr. M. B. Brady, New York; Mr. A. Hesler, Chicago. The committee retired for a few moments, and, during their absence, the secretary read communications from photographic Societies and photographers, unable to send delegates or to be present, from many places in Iowa, Illinois, Georgia, Ohio, Kentucky, Indiana, Minnesota, West Virginia, Michigan, Connecticut, Wisconsin, Louisiana, Mississippi, New York, Arkansas, Missouri, &c., &c., all expressing cordial sympathy with the Convention, and promising pecuniary aid in carrying out its purposes. The committee returned and nominated the following as permanent officers of the Convention:
President.
Mr. A. Bogardus, New York.
Vice-Presidents.
Mr. J. W. Black, Boston, Mass.,
W. E. Bowman, Ottawa, Ill.,
James Cremer, Philadelphia, Pa.,
David Bendann, Baltimore, Md.,
J. F. Ryder, Cleveland, Ohio,
E. T. Whitney, Norwalk, Conn.
Secretary and Treasurer.
Mr. Edward L. Wilson, Philadelphia, Pa.
The nominations made by the committee were unanimously confirmed by the Convention, and duly announced from the chair. Mr. Bogardus assumed the position to which he had been elected, on doing which he addressed the Convention as follows: Gentlemen of the Convention: You have not met to hear long speeches, but to work for common protection and the good of our profession. I regret to say we have too long failed to combine for our own good. We have rather operated against one another. I hope this Convention may be the means of making us feel that your interests are mine and my interests yours. May we from this day pull together. I have often instanced the newspapers of this city. They, as you all know, are directly opposed to each other; yet, when the state of the nation demanded it, they at once united so far as to raise their prices, and to assist each other pecuniarily. Without more formality, I thank you for the honor conferred, the unanimity exhibited, and the confidence placed in me in electing me your presiding officer. I shall ask your indulgence and assistance, and may your deliberations result in exalting and elevating our beautiful art. On motion of Mr. Wilson, it was resolved that a committee of five be appointed by the chair to prepare business for the consideration of the Convention. The chair appointed as that committee: Mr. G. H. Loomis, Boston; Mr. John A. Whipple, Boston; Mr. B. Gurney, New York; Mr. J. F. Ryder, Cleveland, Ohio; Mr. Edward L. Wilson, Philadelphia….” (p. 136)
(Etc., etc.)
“…Mr. B. Gurney said that he would make a statement of his grievances. Messrs. Brady, Fredericks and himself found, while in Washington, to endeavor to secure the removal of the stamp duty, that they could do nothing, without staying there a long time. It was decided to put it into the hands of some one to lobby it through, which they did. Mr. Fredericks and himself were appointed treasurers, to collect all they could. They were drawn upon over their collections, which were about eight hundred dollars. Messrs. Brady, Fredericks, and himself, therefore, were ‘‘out ’’ to the amount of about seven hundred dollars, beside the contributions they had made. It was by their exertions that the stamp duty had been removed. Every photographer receives the benefit therefrom, and should every one not pay for it? The bill has now been standing for two years. He could not say he was willing: to charge the same to profit and loss, as were Messrs. Loomis and Wilson. This matter ought to be attended to; he would leave it to the Convention whether it should be….” (p. 145)
“…Mr. M. B. Brady, of New York, said he did not believe that the application for extension of the patent would be granted. It will require very little effort on the part of the committee to prevent its extension, but it was important that something should be done in a very few days.
The President stated that the committee appointed were well aware of the need for immediate action. The motion that “the proceedings of this Convention be printed in pamphlet form and distributed,” was then voted on and carried….” (p. 147)
(Etc., etc.)
“…–-_
List of State Committees for Collecting Funds for Furthering the Objects of the Convention. –
F. F. Hale, Portland, Maine.
John S. Hendee, Augusta, Maine.
B. Carr, Concord, N. H.
S. Piper, Manchester, N. H.
S. O. Hersey, Montpelier, Vt.
D. H. Cross, Bennington, Vt.
John A. Whipple, Boston, Mass.
G. H. Loomis, Boston, Mass.
F. C. Birtles, Woonsocket, R. I.
Manchester Bros. & Angell, Providence, R.I.
H. L. Bundy, Middletown, Conn.
Whitney & Beckwith, Norwalk, Conn.
Henry T. Anthony, 501 Broadway, N. Y.
H. Lazier, Syracuse, N. Y.
J. Kirk, Newark, N. J.
A. W. Packer, Trenton, N. J.
James Cremer, Philadelphia, Pa.
O. B. De Morat, Philadelphia, Pa.
W. H. Curry, Wilmington, Del.
T. E. Sexton, Wilmington, Del.
Bendann Brothers, Baltimore, Md.
H. Pollock, Baltimore, Md.
J. N. Abell, Martinsburg, W. Wa.
A. C. Partridge, Wheeling, W. Wa.
A. J. Beals, Gold Hill, Nevada,
D. H. Anderson, Richmond, Wa.
C. R. Rees, Richmond, Va.
A. Gardner, Washington, D. C.
Jas. Gibson (Brady & Co.), Washington, D. C.
C. M. Van Orsdell, Wilmington, N. C.
H. A. Linebach, Salem, N. C.
Quimby & Co., Charleston, S. C.
Kuhn, Atlanta, Ga.
W. Motes, Athens, Ga.
P. Trott, Junction City, Kansas.
H. Masters, Atchison, Kansas.
Barnes, Mobile, Ala.
H. Lakin, Montgomery, Ala.
T. Blessing, New Orleans, La.
Anderson, New Orleans, La.
P. Bleesing & Brother, Houston, Texas.
Baker, Raymond & Co., Austin, Texas.
P. Smith & Co., Cincinnati, Ohio.
J. F. Ryder, Cleveland, Ohio.
W. H. P. Stoddard, Evansville, Ind.
Maxwell & Estell, Richmond, Ind.
W. H. Tilford, St. Louis, Mo.
Robert Benecke, St. Louis, Mo.
J. E. Martin, St. Paul, Minn.
J. E. Whitney, St. Paul, Minn.
Moses Sutton, Detroit, Mich.
Porter & Perry, Kalamazoo, Mich.
Moseley Brothers, Jamesville, Wis.
W. H. Sherman, Milwaukee, Wis.
J. Muller, Council Bluffs, Iowa.
S. Root, Dubuque, Iowa.
A. Hesler, Chicago, Ill.
W. E. Bowman, Ottawa, Ill.
C. C. Giers, Nashville, Tenn.
T. E. Hanbury, Memphis, Tenn.
J. C. Brewster, Helena, Montana.
M. Douglas, Helena, Montana.
T. J. Merritt & Co., Louisville, Ky.
J. W. Escott & Son, Louisville, Ky.
W. Q. Lowd, Jackson, Miss.
H. D. Gurney, Natchez, Miss.
T. W. Bankes, Little Rock, Ark.
C. Malone, Princeton, Dallas Co., Ark.
H. W. Bradley, San Francisco, Cal. ‘
A. T. Ruthrauff, San Francisco, Cal.
Savage & Ottinger, Salt Lake City, Utah.
J. H. Martineau, Logan, Cache Co., Utah.
W. H. & E. E. Jackson, Omaha, Neb.
J. H. Montgomery, Salem, Oregon.
J. A. Winter, Eugene City, Oregon.
A. Bogardus,
President.
Edward L. Wilson,
Secretary….” (p. 148)
(Etc., etc.)
Contributions already received by the Treasurer:
Name. Paid.
W. J. Kuhns, $5 00
T. Brasier, 5 00
William Huston, 5 00
J. Gurney & Son (subscribed $25.00) 10 00
W. Kurtz (subscribed $25.00) 10 00
Abraham Bogardus, 50 00
M. B. Brady (subscribed $25.00) 10 00
P. H. Van der Weyde, 10 00
S. E. Parsons, for Albany Photographers, 25 00
H. Lazier, 5 00
J. B. Roberts, 5 00
J. F. Nice, 5 00
J. F. Ryder, for self and Cleveland Photographers, 25 00
D. H. Cross, 5 00
Bendann Bros. (subscribed $25.00),
John Carbutt, 5 00
Whitney & Beckwith, 5 00
S. A. Thomas, 5 00
W. H. Rhoads, 5 00
L. R. Cheeseman, 5 00
James Cremer, 10 00
J. W. Osborne, 5 00
Mardock & Wallace, 5 00
E. F. Reimer, 5 00
B. Frank. Saylor 5 00
Hesler & Bowman, for Chicago Photographers, 20 00
Edward L. Wilson, 50 00
A. A. Pearsall, 5 00
E. & H. T. Anthony & Co. 100.00
Troy Photographers, by L. C. Everett, 15 00
William Terry, 5 00
C. K. Bill, 5 00
Frederick Ulrich, 5 00
J. Marsden Fox, 5 00
H. L. Bundy, 5 00
Elliott Bros. 5 00
H. Merz, 5 00
J. S. Young, 5 00
John Austen, 3 00
Samuel Austen, 3 00
W. C. North, . 5 00
J. B. Smith, 5 00
Munday & Williams, 5 00
S. S. Rownde, 5 00
H. W. Seward, 5 00
J. I. Jordan, 5 00
J. E. James, 5 00
C. G. Crane, 5 00
J. J. Maginn, 5 00
S. G. Sheafer, 1 00
Sherman & Co., printers, Philadelphia, 25 00
Edward L. Wilson,
Philadelphia, Pa. Treasurer.
Meeting of the Officers.
A meeting of the officers of the Convention was held at 8 P.M., April 8th, at the rooms of Mr. A. Bogardus, 365 Broadway, N. Y., Messrs. Bogardus, Bendann, Bowman, Ryder, and Wilson, being present. A list of State agents, as collectors, was read and adopted, subject to the amendments of the Secretary, who was authorized to furnish each collector with credentials, circulars to send to photographers in their State, and receipts signed by the President, to be valid only when countersigned by the State agent receiving the funds. …” (p. 149)]

HORTON, F. W.
“The Solar Negative Prize.” PHILADELPHIA PHOTOGRAPHER 8:76 (Apr. 1870): 132-133.
[“The judges selected by Mr. Moore to examine the negatives sent to compete for the gold medal offered by him for the best solar negative, were Messrs. J. C. Browne, A. J. De Morat, and A. Hemple, none of whom were competitors. According to the offer and conditions of Mr. Moore, the judges proceeded to select from the thirtythree negatives sent, the five they considered best, and from that five, the one to merit the award. The following persons’ negatives were then selected: 1 1. F. W. Horton, New York City. 2. O. B. De Morat, Philadelphia. 3. Thomas M. Saurman, Norristown, Pa. 4. Charles Stafford, Norwich, N. Y. 5. P. B. Jones, Davenport, Iowa. Prints were then made from each of the above by Mr. Moore, with equal care, and submitted to the judges, when they awarded the prize to Mr. F. W. Horton, Brady’s Gallery, New York City, and so reported to (p. 132) Mr. Moore…” (p. 133)]

HORTON, F. W.
Browne, John C. “The Solar Negative Prize.” PHILADELPHIA PHOTOGRAPHER 7:77 (May 1870): 149. [“In a recent number of the Philadelphia Photographer a prize of a gold medal was offered by Mr. Albert Moore, of Philadelphia, for the best negative for enlarging in the solar camera, and, as a result, thirtythree negatives were offered in competition. As one of the judges appointed by Mr. Moore, it gives me pleasure to attest to the excellence of a large number of them. It is not desirable in this article to make a lengthy report of all the negatives presented, but a few remarks may be appropriate, giving a short criticism of the five best negatives selected. The prize was awarded to Mr. V. W. Horton, of Brady’s Gallery, New York city. The subject was well chosen, in a young girl, sitting figure, gracefully posed, with exquisite arrangement of light and shadow. The dress of white or light color is admirably rendered, any tendency to excessive high light being toned down by the child resting her arms upon a table or chair over which some dark drapery had been thrown. The eyes are beautifully reproduced, giving the soft dreamy effect that children so often have when deeply interested in an attractive story. The negative is upon one-half size glass, unvarnished, clean, forcible, sharp, well-timed, and exceedingly brilliant; a little too transparent to make a first-class contact print, but exactly suited for a solar enlargement. Mr. Horton may justly be proud of his success in securing the prize,…” (p. 149)]

HORTON, V. W.
“Mysteries of the New York Dark-Chambers. (Continued.) “PHILADELPHIA PHOTOGRAPHER 7:78 (June 1870): 190. [“Mr. V. W. Horton now manipulator in chief at Brady’s galleries, New York, has favored us with a formula for negatives, as follows:
COLLODION.
Alcohol and Ether, equal parts
Iodide of Ammonium, 4½ grains
Bromide of Cadmium, 1¼ grains
Bromide of Potassium, 1¼ grains
Gun-Cotton, 5 grains.
The solution must be allowed to settle or be filtered before adding the cotton. The negative bath Mr. Horton uses is 40 grains strong. The best medicine for curing the bath of any of the evils it is heir to, Mr. Horton says, he finds is, that given in our pages a short time ago by Mr. O’Neil, i. e., “brains” used and exercised. They combine with any and all known chemicals. Mr. Horton has adhered to these formulæ for several years at Gurney’s gallery in New York, and now at Mr. Brady’s. He was the successful competitor for the medal given by Mr. Moore for the best solar negative, and states that in his experience he finds a solar negative should be longer exposed than a regular contact negative, and should be developed with a weaker solution. This fact is worthy of the attention of those who make solar negatives, and, shall we say it, intensify them. Mr. Horton is one of our most skilled photographers, as the excellent example of work, the solar prize picture, proves him to be.” (p. 190)]

PEARSALL, ALVA A.
Pearsall, A. A., Brady’s Gallery, New York. “Instantaneous Portraiture.” PHILADELPHIA PHOTOGRAPHER 8:96 (Dec. 1871): 385-386.

PHOTOGRAM

“Editorial Chat.” THE PHOTOGRAM 3:29 (May 1896):130-131. 1 b & w.
[(Illustration is a portrait of Brady.)
“We regret to have to record the death of M. B. Brady, who died in the Presbyterian Hospital, New York, on January 15th. ‘A full record of his life work as a photographer would read like a romance. In 1861, when Sumter was fixed [sic fired] upon, Washington was thronged by the men who were to make history for America. Mr. Brady was sharp enough to see this, and made efforts to secure the portraits of all these, so that his Washington Gallery soon became famous, and he made a fortune in photographing men of national reputation. His gallery included, besides all the distinguished generals, admirals, and several presidents, nearly every army and navy officer of note. A hasty visit to the army at the beginning of the war convinced him that photograms of the actual scenes of battle would be exceedingly (p. 129) valuable. He obtained permission of Secretary of War Stanton, then constructed and sent to the front several wagons for photographic use, which followed the army from place to place. The negatives of these war pictures and portraits were sold to the United States Government a few years ago for $25,000. In 1851, Mr. Brady went to the London Exhibition and took the first prize. The same year he visited the galleries of Europe and found his pictures everywhere as far as Rome and Naples. A visit to his gallery was considered the thing; there one could gaze on the features of the greatest men and women the country ever produced.” (p. 130)]

PHOTOGRAPHER’S FRIEND: A PRACTICAL, INDEPENDENT MAGAZINE, DEVOTED TO THE PHOTOGRAPHIC ART

Davie, D. D. T. “Saving Waste.” THE PHOTOGRAPHER’S FRIEND: A PRACTICAL, INDEPENDENT MAGAZINE, DEVOTED TO THE PHOTOGRAPHIC ART 2:4 (Oct. 1872): 116-117.
[““Pennies makes dollars, dollars makes fortunes, and drops of water make up the ocean’s bulk. A little forethought, a little economy, with a little labor combined, will oftentimes save the photographer many dollars…” “…M. B. Brady, of New York, has allowed waste enough in silver, gold other material in his establishments since he began the business which, if saved, as it might have been, to build a photographic college or a railroad across the Empire State. Others have done the same and are doing it at present to a great extent….” (Etc., etc.) (p. 116)]

“History of Photography in America.” THE PHOTOGRAPHER’S FRIEND: A PRACTICAL, INDEPENDENT MAGAZINE, DEVOTED TO THE PHOTOGRAPHIC ART 3:2 (Mar. 1873): 44-46.
[(Lists, with brief biographies, Southworth & Hawes, M. Brady, F. L. Langenheim, Abraham Bogardus. In this portion of a continuous essay. WSJ)
“M. B. Brady. The name of this gentleman is historic. For many years he stood at the head of his profession without a rival. — Mr. Brady was the first who undertook to elevate heliography from a mere mechanical process to the graceful dignity of an art. Not only in his own country, but throughout the civilized world, was he recognized as having attained the highest excellence. At home, for seven consecutive years, he wrested the first prize from his struggling competitors at the exhibitions of the American Institute of in this city. In 1851, at the World’s Great Fair held in London, he achieved the culmination of triumphs, and was proclaimed the best daguerreotypist on the planet, and was awarded the highest premium. But however lustrous may be his career as a photographer, and however enviable his position as an artist, it is as a national benefactor that Mr. Brady will live longest and brightest. For upward of twenty years he has maintained a studio at the national capital. He early convinced an idea of securing the portraits of eminent Americans. For nearly twenty years he has, (p. 44) with this fixed purpose, portrayed all of our countrymen who have been distinguished in every career. His collection contains, among others, the portraits of the heroes of the Mexican war, of the great rebellion, and of the departed statesmen who have adorned the past generation, and whose memory will be perpetuated in revered remembrance. To appreciate properly the benefit thus conferred on the nation, we have but to remember how all mankind deplore that there exists no accurate portrait of Washington. What a solace would our countrymen derive from gazing on the very expression worn by the features of the nation’s “father” embalmed in living sunbeams! For years Mr. Brady has struggled on without any public recognition of his great services; but during the spring of the present year the committee on the library reported a bill in the House of Representatives urging the importance of securing to the to country this collection of portraits of the illustrious dead. To use the appropriate phraseology of the committee’s report–“An historical album both of the living and the dead would be a constant source of national gratification, and its locality the very shrine of patriotism.” But the services of Mr. Brady are far more comprehensive than in the portrayal of representative men; he has in the very din of battle, amid the carnage and the smoke, snatched the fading scenes of death and preserved them in perpetual vividness. The prominent incidents of the battle-field with its shifting scenery, its pomp and misery — now partially screened by the curtain of smoke, now revealed in all its naked horrors -are preserved as perennial pictures, painted by the same sun which gave reality to the original scene.” (p. 45) (Etc., etc.)]

PHOTOGRAPHIC ART JOURNAL (1851-1853) New York, NY
Title change to
PHOTOGRAPHIC AND FINE ART JOURNAL (1854-1860) New York, NY

The Photographic art journal
New York: W. B. Smith,
Vol. 1:1 (Jan. 1851) 6:6 (Dec. 1853)
title change to
The Photographic and fine art journal
New York: H. H. Snelling,
Year: 1854-1860
New ser., v. 7 (1854) new ser., v. 12 (1859)
(indications that the magazine fell behind schedule in its monthly publication at the end of 1858 and then ceased publication for six months.)
Began volume 12:1 in June 1859
(ser 3, v. 1) 13:1 (Jan. 1860) – 13:8 (Aug. 1860) [all?]
The Photographic Art Journal began publication in January 1851, exactly two months after the initial publication of Humphrey’s Daguerrean Journal, which was the first journal devoted to photographic practice to be published anywhere. The magazines had been in preparation simultaneously and H. H. Snelling, the PAJ editor, claims to have held off until the DJ began and professed that he felt in no way competitive with the other magazine. And, in fact, the PAJ was an elegant, illustrated and expensive monthly publication, while the DJ was a more pragmatic and commercial bi-weekly, and the two journals were indeed substantially different in tone and context. Unfortunately Snelling’s sense of laissez-faire wasn’t shared by his competitors and Snelling and the magazine seems to have suffered constant and unremitting attacks from other publications or their allies in the field throughout the life of the journal.
As there was only a tiny minority of “scientific practitioners” or “amateurs” in the United States at this time; American photographic practice was dominated by professional photographers, most of whom were very reticent to reveal their hard-earned professional secrets, or who expected to be paid to train new practitioners. Thus it was difficult for the editor H. H. Snelling to develop a base of American authors, but he continued to try to develop authors from within the professional photographic community and published several such writers and correspondents through the early 1850s –even publishing poems, fictional short stories or essays by those professional photographers who had any interest in those areas. As did many other American magazines of that era, The Photographic Art-Journal obtained many of its articles by reprinting materials from British and French sources, often pirating entire books which were then published as a series of articles. (Some of these authors — Robert Hunt and Aubree, M-A. Gaudin, etc. — provided very detailed information and even long excerpted quotes from original authors about their various experiments and inventions and practices in these articles; thus providing a thorough overview of early photographic history.) The journal also went to some pains to acquire and even hire translators to make French articles and books available to their audience – thus opening up that community to an American audience. The journal thus helped expand the kinds and amounts of information available to the field.
In a larger measure than most other magazines, the journal strayed away from the strictly technical or “how-to” articles in order to present issues of aesthetics, to develop professional standards, and even to present biographical information about many of its most prominent practitioners. Beginning with the initial issue the editor was concerned about developing support for the visual arts in America, and the magazine published a number of articles about the various conflicts and failings associated with the nascent American Art-Unions; and in what may have been an attempt to broaden its readership base in the mid-1850s the journal changed its name to the Photographic & Fine Art Journal and published articles about the other visual arts, with biographies of painters, critical essays and histories of painting copied from British sources, extending a practice it had begun under the earlier title.
By the late 1850s Snelling had developed a stable of writers from within the photographic community and was publishing a respectable percentage of original material in each issue. But the latter years of the decade seemed to present fiscal or other problems for Snelling and the final few years of the journal present a litany of missed issues, with halts and restarts in publication, and with the journal’s content again dominated by excerpts from the by now numerous British photographic journals, until the final issue in August 1860.
The PAJ was, from the first designed to be an elegant magazine, and was initially presented with one or two full-page engravings or lithographic prints derived from daguerreotypes tipped-in as frontispieces or elsewhere in each 64 page monthly folio-sized issue. The first half-year was illustrated with six lithograph illustrations from daguerreotypes of Mathew Brady, M. M. Lawrence, Gabriel Harrison, August Morand, George S. Cook, and Luther H. Hale, all daguerreian artists. Four of these plates were engraved by D’Avignon, and the others by Sarony and Major, all New York artists. A few wood-cuts, illustrating equipment or processes, also appeared in the text pages of the issues. As soon as a feasible paper process began to be available in the USA the editor initiated a policy of providing original photographic illustrations in the journal, soliciting examples of “creative” photographs from the leading members of the profession and often making the 500 to 1000-odd prints needed for his print-run himself. These original prints, initially using John Whipple’s pioneering “crystalotype” process, began appearing in the issues in 1853, and continued, with occasional hiatuses, throughout the life of the journal. Although not every issue was so illustrated, frequently issues would contain from one to four tipped-in prints. He published almost a hundred original photographs over the course of publication. This was, of course, an enormously expensive, difficult and laborious process. Frequently, during the final years, the editor often complained about problems associated with producing these prints in a timely fashion, and often justified delays in publication on these problems. It may be, in fact, that one reason that many subscribers did not pay the annual fee on time (another frequent complaint) is that they were unhappy or uncertain that they would actually receive their copies of the journal. The vagrancies of the U. S. postal services at that time caused another serious problem for the editor, and his editorial column constantly filled with notes to subscribers complaining about the mails.

PHOTOGRAPHIC ART JOURNAL

BRADY, MATHEW B. (1823-1896) (USA).
1 b & w (“M. B. Brady.”) as frontispiece in: Lester, C. Edwards. “M. B. Brady and the Photographic Art.” PHOTOGRAPHIC ART JOURNAL 1:1 (Jan. 1851): frontispiece, 36-40. [“Lithograph by F. D’Avignon, 323 Broadway. Engraved Expressly for the Photographic Art Journal.” “The Daguerreotype has now assumed a permanent position among the arts of taste and utility. What was but twelve years ago, regarded as an accidental discovery, which excited the surprise and admiration of mankind, has since been brought, by various stages of progress, to a degree of perfection, which numbers it among the exquisite embellishments of life. It is well known to many of our readers, and they may all adopt it as an assertion which will no longer be disputed, that the Art has been elevated to a higher point in this country, than in the land of its discovery. And, although it is claimed by Daguerre himself, and his disciples on the Continent, that the superiority of our pictures is to be attributed more to the brilliancy of our atmosphere, than to our mechanical and artistic genius; yet, we are compelled to meet the assumption by an argument which cannot be answered, namely, that our own artists in Europe, carrying with them the recent inventions and improvements in the Daguerrean art, made on this side of the Atlantic, have been able to distance all competition, when they have had occasion to test their cleverness, with the artists of the Old World. In the progress of this Journal, which has been established mainly for the purpose of tracing the development of the Daguerrean Art in this country, we shall have frequent occasions to make honorable mention of those men who have, from time to time, contributed to its progress. We shall begin at the fountain-head, and open our first records, with some account of the eminent artist who stands at the head of this column, and whose portrait we have had engraved for our first embellishment. Matthew B. Brady, who is now about thirty years of age, has devoted his life chiefly to the cultivation of the arts of taste and design. During his early life, he became extremely attached to Mr. William Page, the celebrated painter, who is now on a visit to Italy; and during his frequent visits to the studio of the painter, received many ideas of art, and tokens of esteem from him, with a number of drawings, which he still preserves as mementos of his friend, and of his own youthful admiration for art. When the announcement was made in this country, in 1839, that the wonderful discovery of Daguerre had been made; Mr. Brady felt a deep interest in it, and embraced the first opportunities which lay in his power, of acquiring a knowledge on the subject. Although there was, at the time, considerable incredulity in the United States, and it was generally doubted if the alleged discovery of Daguerre could be brought to perfection, and be numbered among the useful arts, yet the fact that the announcement had been made had excited an interest in the mind of the subject of this sketch, which has increased till the present time. His belief in the genuineness and utility of the discovery, was confirmed by the interest which was manifested in it by such men as Professors Draper, Morse, Chilton, Avery, and many others, who, being well known for their scientific attainments, were not likely to be betrayed by a pretended art, which was not based upon principles of science and of nature. Availing himself of the first chance that came to hand, he got possession of a Daguerrean apparatus, and began experiments. Gifted with a warm, intuitive perception in such matters, and having already had a good deal of practical experience in mechanical and artistic experiments, he at once undertook a series of them for himself, which resulted so satisfactorily, that he resolved to adopt the art as his profession for life. He carried to the business a resolution which augured the success to which his subsequent and untiring exertions so fully entitled him. It has generally held true that those men who have risen to any considerable degree of eminence, in any calling or profession, have merited and acquired it, chiefly-as the reward of long, resolute, and patient labors. So far as the Daguerreotype art is concerned, we are not aware that any man ha3 devoted himself to it with so much earnestness, or expended upon its development so much time and expense, as Mr. Brady. He has merited the eminence he has acquired; for, from the time he first began to devote himself to it, he has adhered to his early purpose with the firmest resolution, and the most unyielding tenacity. When Daguerreotypes were introduced into the United States, although many improvements were made within a short period, yet, by the public generally, they were regarded only as the results of a mechanical process, by which forms and impressions were left upon the plate, in which likenesses could be traced. They were satisfactory chiefly to persons of crude and uncultivated taste. In a word, they were destitute of every combination of what is usually understood by the word art, in connection with design. They were unsatisfactory in almost all respects, and artists of genius and reputation were, with few exceptions, unwilling to engage in the process. But Mr. Brady resolved to bring the Daguerreotype to perfection, and remove the prejudices which existed against it, by elevating it into the dignity and beauty of an art of taste. Availing himself of everything that was published and known on the subject at the time, and seizing hold of every new discovery and improvement, he multiplied his facilities to such an extent, that he was soon able to produce pictures that were regarded as quite equal, if not superior, to all that had been made before. His first public exhibition was at the annual Fair of the American Institute, in 1844; and even at that early period, with many rivals in the field, he acquired the reputation of being one of the first artists in the country, and received a premium. Encouraged by his success, he made new efforts, which resulted in important improvements. While he offered inducements to the best operators and chemists to enter his studio, he superintended every process himself, and made himself master of every department of the art, sparing no pains or expense by which new effects could be introduced to increase the facilities or embellishments of the art. We do not know who was the first Daguerrean artist to introduce the sky-light, but Mr. Brady was among the first, and probably derived more immediate and decided advantages from it than any other man. There are several large sky-lights in his studio. We might remark here, that the subject of light is the grand mystery into which the whole art of Daguerre resolves itself. Indeed it has now, by a long series of inventions and improvements, of which the original inventor never dreamed in the beginning, so changed its character, that it is fast assuming another name. Although it will forever shed lustre upon the name of Daguerre, it will soon be known in every part of the world, chiefly by the more euphonious title of Photography, which may be interpreted, The Art of Light. In the scale of advancement, many of the grades of progress have been regulated by chemical processes; but they all contemplated the action of light, and in the distribution of this subtle element, and the regulation of its force, the chiefest experiments have depended for their success. A vast amount of time and money has been expended in attempting to guide and control the action of light, but it has been to no purpose, and experiments have been rewarded by startling and beautiful discoveries, only when they have carried out the single idea, that, to bring the Daguerrean art to perfection, it was only necessary so to prepare the plate and screens, and regulate the lenses, in correspondence with the laws of light, that the invisible hand of Nature herself might, with her own cunning pencil, by her silent and mysterious operations, trace the forms of creation in all their delicacy, witchery, and power. More than any other of the arts of taste and design, here the work is done by Nature herself. With the painter, everything depends upon the genius that guides the hand. In Photography, everything depends upon the skill with which the elements are prepared to make way for the hand of Nature. And although in the ceaseless repetition of the Photographic process it might seem that the charm of the experiment would be lost in the monotony of its repetition, yet it has often occurred to us that none but a man of sensitiveness and of genius would ever have made the remark which Mr. Brady has so frequently expressed, that he has never, after upwards of twenty thousand experiments, grown so familiar with the process of Daguerreotyping, as not to feel a new and tremulous interest in every repeated result, when, after preparing his plate, he stepped aside to wait in silence for Nature to do her work. There is nothing in the whole field of art or nature so impressive to a refined fancy or a sensitive spirit, as to watch and wait, with veneration and hope, to see how the eternal laws of nature shall recognize in our new experiments, some progress in that wisdom which will never grow into perfection, since nature, in her ingenuity, forever eludes and surpasses the genius of man. We believe that, from the beginning, Mr. Brady’s sky-lights have been so perfectly arranged, that his great success in the new experiments he has undertaken, can be attributed in no small degree to this circumstance. He has now reached such a stage in the art, that it seems to make little difference with him what the state of the atmosphere or light may be, since his lenses are so powerful, his camera obscuras are so numerous and varied, and the light shed upon the picture seems to be so entirely under his control, some of his finest pictures that we have seen, have been taken in the darkest and stormiest days. In the early part of 1845, he formed the project of collecting all the portraits of distinguished individuals he could induce to sit for that purpose, with the intention, if his life was spared, of making in the end a more complete collection than had ever before been made, of the distinguished men of the nation. In 1845, he exhibited his pictures again before the American Institute, and received one of the first prizes for the best plain and colored Daguerreotypes. Artists of every description now generally awarded to him a high position, and the most distinguished and discriminating of the journals of New York complimented him in the warmest terms on his superior skill and taste. In 1846, he again went to the annual exhibition of the Institute, with new specimens of his art, and, contending with competitors from Boston, Philadelphia, Albany, New York, and other cities, he gained the highest prize. Having now accomplished, in this respect, the highest of his ambition, he devoted himself with more earnestness to the carrying out of his favorite project, viz., to augment the number of his national collection, and embellish it with still rarer and choicer portraits. He visited the seat of Government, and opened a branch of his establishment there, where he was treated with courtesy and attention by the most distinguished men. We believe he is the only Daguerreotypist in America who has been honored by a visit at his studio from the President, and his Cabinet. Mr. Polk, and all the heads of departments; General Taylor and his Cabinet, with the new President and most of his Cabinet, have given him sittings at his Gallery, and at the President’s mansion. In 1849, he brought out his large picture of General Taylor and his Cabinet, which won for Mr. Brady no little honor; since it was the first work of the kind published in this country. With a branch of his studio in Washington, he has obtained the portrait of almost every man of distinction among our countrymen, and those of ambassadors and celebrated men from foreign nations. Senators, Members of the House of Representatives, ‘Judges of the Supreme Court, distinguished diplomatists and visitors,-with the most distinguished men of the army, of the navy, and the learned and liberal professions of every description, with those of the President’s Lady, and other distinguished women, now adorn his collection. In the year 1849, he made his last exhibition before the Institute, and his pictures were regarded as so far superior to all others, that there was awarded to him the first and only gold medal ever given to Daguerreotypes in this country. The mere enumeration of the distinguished names which adorn his collection would occupy a larger space than we can devote even to the purpose of this sketch. Among them, however, we will enumerate General Jackson, John Quincy Adams, Mr. Tyler, Mr. Van Buren, Mr. Polk, Gen. Taylor, Mr. Fillmore, with every member, we believe, of their Cabinets, Webster, Clay, Celhoun, Benton, Cass, Foote, Fremont, Dickinson, and every member of the U. S. Senate, for a considerable number of years past; all the Judges of the Supreme Court, most of the members of the lower House of Congress, nearly all the foreign ambassadors, the generals of the army, the commodores of the navy, the governors of states, and nearly all those men who have acquired influence in the departments of literature, science, and public life. We should be glad to specify, if we could, some of these portraits, upon which we have looked with the deepest interest, and we should instance among thorn those of the venerable Mrs. Alexander Hamilton, Mrs. Madison, Mrs. Polk, &c.; but those we should speak of more particularly, are, J. C. Calhoun and General Taylor. These, with others which have been engraved for the Gallery of Illustrious Americans, are not only superior to all that ever have been taken in this country by other artists, but they are probably the best which Mr. Brady has taken himself. The one of Mr. Calhoun was the last ever taken of that illustrious Senator. So perfect was it regarded by the family, that several copies of it have been made at their request, as also in the case of General Taylor, of whom the same remark may be made. This gives us an occasion to speak of the most magnificent publication which has ever been brought out in this country, and which has seldom been equalled, and never surpassed, in the Old World; for Mr. Brady is one of the proprietors of the Gallery of Illustrious Americans. This great work was regarded in the beginning as an enterprise too formidable to excite the interest of any American publisher, and in the successful accomplishment of it more genius and exertion have been called into requisition than have ever been displayed in any other American work. It has given to Mr. Brady, as an artist in the Daguerreotype, a reputation which belongs to no other man. There had been National Galleries undertaken before this, but they had either failed for lack of encouragement, or been abandoned mid-way in their progress; or if completed, the portraits themselves had been copied from unsatisfactory paintings, in which few traces could be discovered of resemblance to their originals. Hence the mere announcement that another National Gallery was begun, failed to excite that interest which was soon after manifested in that enterprise. We would not wish to be understood as using unkind or ungenerous language towards those men who attempted to furnish the nation with works of this class; for, before the Daguerrean art was discovered, it is all useless to say that it was within the power of any publisher in the world, or any artist in the world, to execute such faithful, life-like, and strikingly beautiful portraits of our public men. At best, the engravings had to be made from drawings and portraits, executed for the most part by artists of no great talent, and where the original paintings were, as a rule, so unsatisfactory, it could not be supposed that engravers, who had generally never seen the subjects of the painting, could be expected to trace the likenesses with much facility, much less to infuse into their transfers the vital energy and living truth which are so conspicuous in works that are produced in our times. It will not be disputed that such a work as the Gallery of Illustrious Americans could not have been made before the art of Daguerre was discovered. Who, for instance, could measure the value of a collection of faithful Daguerreotypes, if they were only in existence, of the Fathers of the Republic True, Stuart, Trumbull, and 6ther celebrated portrait painters, did their best to transmit to us the forms of those venerable founders of our empire, and in some instances they were undoubtedly fortunate or skillful enough to seize with some degree of accuracy upon the features, and in a few cases probably, to transmit to us the prevailing expression of the countenance, but we have, after all, no idea, with all the services these artists rendered to the nation by their labors, that we are at this period familiar with the habitual characteristic expression worn in the cabinet, in the field, and around the fire-side, by the “patriarchs of the Revolution. We would not depreciate any of the arts, and least of all the art of painting to which the world was indebted almost exclusively, for a knowledge of the faces and the forms of great men until the time of Daguerre; but we do rejoice that in our age, facilities exist by this new art, which will make posterity as familiar with the faces and forms of distinguished men, as are their own contemporaries. The first part of the Gallery of Illustrious Americans being now complete, and embracing as it does the portraits and biographical sketches of twelve of our most illustrious citizens, may well afford occasion for these brief remarks in reference to the artist to whom the world is indebted for these remarkable portraits from which they have been engraved. There is about them a naturalness of flesh tint, and the extreme fidelity with which the prevailing expression of the face and the distinguishing hue of the complexion are brought out. In Mr. Calhoun’s portrait, for instance, we find a nearer counterpart to that great man’s countenance than almost any thing we ever saw, either in oil, or in Daguerreotype. There is depth, and earnestness, and intensity, and spiritualism, which so eminently distinguish him from almost all other men, and which drew from the most critical of our journals the expression that ” his face looked more like that of a seer than of an ordinary man.” But these remarks are applicable to all the other portraits which have been engraved for the Gallery of Illustrious Americans. In no one instance out of the twelve portraits, can we conceive it possible that the likenesses could be improved. They were all taken expressly for this Gallery, and in doing it Mr. Brady brought out the fullest capacity of the Daguerrean art. So perfect have these likenesses been regarded, that there have been requests proffered from families, from societies, from publishers and engravers, and even from the committees of both Houses of Congress, as in the case of General Taylor, for permission to copy them in getting up memorials of those distinguished men after their death. Before closing this brief sketch, however, we should remark that Mr. Brady’s last improvement in the Photogenic art has been the production of miniatures on ivory, which combine all the truthfulness and extreme fidelity of the finished Daguerreotype with the exquisite coloring of the finest miniatures. It is a progressive art, and we believe that Mr. Brady himself still regards it, with all these improvements, only in its infancy. We may adopt this idea and say that we too believe it, because we are told so by the artist himself; but those of our readers who will visit Mr. Brady’s Gallery, and look upon those oil colored Daguerrean miniatures, will probably find as much difficulty as we do ourselves in imagining a higher degree of perfection to which the art will ever be carried.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Gossip.” PHOTOGRAPHIC ART JOURNAL 1:1 (Jan. 1851): 62-63. [(Commentary about D’Avignon as the engraver of the Gallery of Illustrious Americans, a work based on Brady’s photographs. His portrait of Brady was used as the frontispiece illustration of the magazine. WSJ)
“Mr. Lester, having in his sketch of Mr. Brady’s career as a Photographist, mentioned the beautiful serial, ” The Gallery of Illustrious Americans,” we shall take occasion to speak of the other gentlemen to whom no small share of the credit of that great national work is due. Mr. D’Avignon has incontestably no superior in the world as a lithographer.— There have never been better lithographs made than those he has made for this Gallery from Brady’s Daguerreotypes. Monsieur Jomart, the most celebrated connoissuer of Paris, and other distinguished members of the Academy of Arts and Sciences in the French Capitol, have given their attestation to this opinion, and many of the most distinguished scholars, artists and connoisseurs of England, Germany, Prussia, and Italy, have united in their tribute of respect and admiration for the superiority of those drawings by D’Avignon, over everything of the kind ever before attempted. So far as the abilities of Mr. Lester the editor of this work are concerned, his fame has too long been established to require any encomiums from us. There have been few such samples of condensed and brilliant style in our language, and the whole work taken together surpasses in artistic beauty and typographical magnificence anything which has ever been published in this country or in Europe—and when we inform our readers of the fact that its typography was executed by Mr. Wm. B. Smith, our enterprising co-laborer in the Art-Journal, we feel assured they will be satisfied that the latter will always retain its present elegant appearance. by their association together in the publication of so splendid and so difficult a work, Brady, D’Avignon and Lester have earned for themselves lasting reputation, and the public have already manifested not only a willingness but an enthusiastic desire to yield to them the honors they have won. This Gallery, which Is now published and offered in superb gilt bindings for $15 a copy, will be regarded as the most superb ornament to our libraries and saloons. A large number of copies have been ordered from different portions of Europe. Among its patrons are numbered the most distinguished men of this country, with its institutions of learning science and art.”]

BRADY, MATHEW B. (1823-1896) (USA).
Lyon, Caleb. “Stanzas Suggested by a visit to Brady’s Portrait Gallery.” PHOTOGRAPHIC ART JOURNAL 1:1 (Jan. 1851): 63. [“We have been requested to publish the following fine stanzas, and do so with pleasure. We shall never refuse anything of real value connected with the Daguerrean art:

“Stanzas, Suggested by a visit to Brady’s Portrait Gallery.”
Soul-lit shadows now around me;
They who armies nobly led;
They who make a nation’s glory
While they’re living—when they’re dead,
Land-marks for our country’s future,
Have their genius left behind;
Victors from the field of battle;
Victors from the field of mind—

Doniphan, who trod the desert;
Scott, who conquered on the plain;
Taylor, who would not surrender;
Butler, sleeping with the slain;
Houston, San Jacinto’s hero;
Fremont, from the Golden shore;
Jackson, as a lion, fearless;
Worth, whose gallant deeds are o’er—

Webster, with a brow Titanic;
Calhoun’s eagle look of old;
Benton, freedom’s valiant Nestor;
Kent, the jurist, calm and cold;
Clay, “ultimus Romanorum;”
Cass, with deep and earnest gaze;
Wright, of yore the Senate’s Cato;
Adams, last of early days—

Pere de Schmidt, the Jesuit preacher,
From the Rocky Mountains wild;
Tyng, Melancthon of the pulpit;
Channing, guileless as a child;
Barnes, who pondrous themes has written;
Bascom’s eye, a gleaming bright;
Anthon, whose unceasing labor
Fills the student’s path with light—

Audubon, from out the forest;
Prescott, from historic page;
Bryant, pilgrim of our poets;
Forrest, vet’ran of the stage;
Inman, looking palely thoughtful;
Huntington, with’ dreams of art;
Father Mathew, mild, benignant;
Jenny Lind, who wins the heart.

Lawrence, type of merchant princes;
Colt, of our mechanic peers;
Emerson, of Yankee notions;
Miller, of our Scripture seers;
Mott, the hero of the scalpel;
Cooper, wizard of the pen;
Flagg, the glorious painter poet;
Powers, of arts own nobleman—

From the hills and from the valleys,
They are gathered far and near,—
From the Rio Grande’s waters.
To Aroostook’s mountain drear,—
From the rough Atlantic’s billows,
To the calm Pacific’s tide,
Soldier, statesman, poet, painter,
Priest and Rabbi, side by side.

Like a spirit land of shadows
They in silence on me gaze,
And I feel my heart is beating
With the pulse of other days;
And I ask what great magician
Conjured forms like these afar?
Echo answers, ’tis the sunshine,
By its alchymist Daguerre—

Caleb Lyon, of Lyondale. Broadway, Dec. 12, 1850.”]

SNELLING, L. L.
Snelling, H. H. “The Difficulties of the Art.” PHOTOGRAPHIC ART JOURNAL 1:2 (Feb. 1851): 89-95. [“In our first number, we endeavored to show that the difficulties arising from the supposed imperfections of plates, were more or less attributable, in a majority of cases, to other causes. Of this we are more and more convinced every day. Situated as we are, we have opportunities for hearing the complaints on this subject in their broadest and fullest extent, as well as the means of canvassing them thoroughly, and ascertaining how far actual facts and experiments will go to prove the validity of each; and from facts which have come to our knowledge since our first article was written, we are convinced that we have no reason to retract one word of that article….” (p. 89) (Etc., etc.) “…It is a well ascertained fact that this difficulty is the result of the state of the atmosphere and is always the result of its being in a greater or less degree of a yellow color. The rays of light are now divided by scientific Photographers into photographic and non-photographic, the blue rays being most favorable to photographic manipulation, indigo the next, violet next, and yellow not at all; but on the contrary destroying the effect entirely,* as is found to be the case in Yucatan where these yellow rays are constantly present to the exclusion of all others. We have, then, to consider the means for removing this difficulty. It is very simple. It has been discovered by experiment both by Mr. Claudet of London and Mr. Brady of New York, that blue glass has the power of separating the photographic from the non-photographic rays, without effecting the time of the camera, or the boldness and sharpness of the picture—establishing a principle we laid down three years ago, that it is not so much the strength of light as the kind to which we are to look for perfect and unvarying success….” (p. 90)
“…By our advice Mr. Brady, of New York, made the experiment, and was convinced of its practicability, and that, although it made the room appear much darker, there was no perceptible difference in the time.
The expense, however, of a sky-light of blue glass being a serious objection to daguerreotypists—although it should not be —we turned our attention to the discovery of some means by which all its benefits, without its expense, might be secured, and we, in a very short time, accomplished our purpose…” (p.91)]

HILL, LEVI L. (1816-1865) (USA)
Hill, L. L. “The Natural Colors.” PHOTOGRAPHIC ART JOURNAL 1:2 (Feb. 1851): 116-118. [(The letter is from Levi Hill, claiming to have found a method of producing daguerreotypes in color. There is an editorial comment on pp. 124-125 in the same issue.) “H. H. Swelling, Esqr.—A few months ago, I briefly announced, on the cover of my last publication on Photography, the fact of my having solved the great problem of Chromatyping. This is all I have ever published in relation to the matter; but as you have kindly noticed my discovery in your valuable Journal, and as I am assured by my friends, and by the large number of letters I am constantly receiving, that an interest is beginning to be felt in the discovery by the Daguerrean fraternity, I will give a statement of the facts in the case. Some two years ago I commenced experimenting with a view to this great desideratum, but with little faith. I started with the theory that circumstances might be created, and certain juxtapositions arranged whereby a latent colored image might be imprinted by means of the camera, on a prepared sensitive surface, and that mercury not being the only vapor possessing a developing power, some other vapor or substance might be found, which, while it would develope, would preserve the colors of the said latent image. I found a large number of substances which would develope the images in light and shade. After almost numberless experiments, in which I produced nothing but light and shade, (save in one instance in which the red of a colored dress was brought out,) I was about giving up the pursuit, when I quite unexpectedly formed a singular compound, which I applied to the purpose, and succeeded in obtaining a magnificent picture in colors. This picture is quite equal to any I have taken since. The compound above referred to, is, to me, a nondescript, though I have made the science of chemistry my study for years. That it is a new substance, or combination of substances, I am positive, and this is all I know concerning it. It is simply and easily produced, but not by any law stated in the large number of chemical works with which I am familiar. Doubtless, however, a correct and thorough analysis will determine its nature. My process bears no resemblance to Becquerel’s or Sir John Herscbel’s, and it is essentially different from Daguerre’s. I am indebted to much humbler sources for my success, as the sequel will show. All is perfectly simple, and a good Daguerreotypist would master the process in one day. That the discovery will completely supersede Dagaerreotyping, I have the assurance of many eminent artists. No Daguerreotype ever taken will at all compare with these marvellous pencillings of the colored rays. Among my forty-five specimens, I have the following:— 1. A View, containing a red house, green grass and foliage, the wood-color of the trees, several cows of different shades of red and brindle, colored garments on a clothes-line, blue sky, and the faint blue of the atmosphere, intervening between the camera and the distant mountains, very delicately spread over the picture, as if by the hand of a fairy artist. 2. A sun-set scene, in which the play of colors upon the clouds are impressed with a truthfulness and gorgeous beauty which I cannot describe. 3. Several Portraits, in which I have the true complexion of the skin, the rosy cheeks and lips, blue and hazel eyes, auburn, brown, and sandy hair, and every color of the drapery. Changeable silk is given in all its fine blendings of colors, and delicate richness of hues. I not only get red, blue, orange, violet, &c, but their various tints. The whole impression, including the lights and shades, is far more brilliant, round and mellow than the most superb Daguerrean image I have ever seen. This, I am aware, is saying much, for I have had a familiar acquaintance with many fine specimens of Daguerreotype, in the hands of such men as Root, Brady, Haas, Lewis, Meade Brothers, A. Morand, Gurney, Thompson, Gavit, Walker, Burgess, and many others. I will here state a few things in reference to the present stale of my discovery. First, I meet with many little difficulties, but thus far they have been of a character analagous to those of a beginner in Daguerrean manipulation, and arise from the same source, viz: a want of experience, in this new branch of operating. Many difficulties I have entirely overcome, and others must yield to my perseverance, for I make no claim to superior skill. Second, the yellow rays do not comport with the other rays—yellow appearing a buff. by using a yellow glass in a part of my process, and exposing the plate under it to diffuse light for a few moments, I have succeeded perfectly in developing, by a subsequent process, a bright and beautiful yellow. Even this simple plan is attended with difficulties. Third, I obtain all my impressions in the camera in l-ess time than is required for Daguerreotyping; but I have recently found to my satisfaction, that by a slight variation in the process, I can work much quicker. For example, I have a most exquisite type of my little girl, (one year old,) taken in the act of crying, the plate not having been exposed a full second. At the same time my light required 15 seconds for a Daguerreotype. This picture has caught the expression perfectly, both of the eye and whole face. On one cheek is seen a bright tear drop, and the color showing through it much deeper than the surrounding parti, which latter, I suppose, is owing to the refractive action of the fluid. My experiments in quickening, were broken off some three weeks since by an inflamed eye; but as I am getting well, I shall lose no time in pushing on to completion, and I do most confidently expect to be able to work instantaneously. I am fully resolved to carry my process as far as I can, before making it public. Till then, all will be kept a profound secret. My wife and myself alone know the process, and not a scrap or item shall ever be communicated until I am made perfectly sure of a suitable compensation. I am a poor man, and need it; and if I cannot obtain a patent without incurring the risks of former inventors I have a plan by which I can secure my rights. The process shall not be monopolized by a Jew; but I intend to give all worthy Daguerreotypists a chance, and that on liberal terms. The above statements are made that my Daguerrean brethren, who see fit to communicate with me, may know my determination, and not urge me to a contrary course, as I wish to keep my mind aa free from confusion as possible. In conclusion, allow me to say that I am much, very much indebted to several distinguished artists in Philadelphia, and elsewhere, who have visited or corresponded, with me, for the warm interest they have evinced in the matter. To the fraternity at large I am under great obligations for their having so liberally patronized my publications on the art, and I shall probably ere long issue another volume (to aid me in my experiments,) in which more full particulars of my process will be given. Wishing you, Mr. Editor, every success in your important publication. I remain, Yours truly, L. L. Hill; Westkill, Greene Co., N. Y. Feb. 4th, 1851.”]

PHOTOGRAPHIC LITERATURE. MAGAZINES. PHOTOGRAPHIC ART JOURNAL. 1851.
“Gossip.” PHOTOGRAPHIC ART JOURNAL 1:2 (Feb. 1851): 126. [“As there seems to be a spirit of disgusting misrepresentation and envious backbiting prevalent on the part of a few—who are too insignificant for notice, otherwise than as one would notice a noisy puppy— in regard to our Journal, we take the liberty of publishing the following note in answer to our request to Professor Draper to become a correspondent.
University, New York, Nov. 24,1850. Dear Sir—It will give me pleasure to comply with your request respecting your proposed Journal. I must defer this, however, till after the College Session closes, for my time at present is fully occupied in giving two and sometimes three lectures a day. Wishing you every success, believe me, yours truly, Jno. W. Draper.
Mr. H. Hunt Snelling.
— We also understand that some very good-natured friend is endeavoring to injure us in the estimation of Daguerreotypists by insinuating that we make a charge for the insertion of our biographical sketches. This is as false as it is base. We charge nothing—we do not even give puffing paragraphs of artists for the sake of their subscription money. We have a higher aim in giving these sketches than a mere paltry money consideration. They never can, and we never anticipated that they would be of the slightest benefit to our Journal, and we publish them—as we have said before—as a stimulant to the Daguerreotype community at large. There may be a few narrow minds that cannot see the force of this philosophy, but we have full confidence that the more thoughtful will appreciate it to its full extent. As to the idea of our being too partial, that is too ridiculous for a moment’s comment, further than that it gives us an opportunity to assure our readers that in assuming the editorial charge of the Journal, we resolved to be just, conciliating and friendly to all alike. Our intention to publish biographical sketches of American Daguerreotypists were before the public, in our circulars, for three months previous to the issue of our first number, and Mr. Brady evinced good sense and sound judgment in taking advantage of the first issue. Our Journal is not confined in circulation to Daguerreotypists. We distributed a large number of our first issue among non-professional gentlemen and ladies, and shall continue to do so in future, for the benefit of the art. This must produce a good effect among our citizens, and be advantageous to all who advertise, or publish their biographies in the Journal, at the same time that it will raise their ambition to strive for greater improvement.
— To the many requests for the purchase of single numbers of the Journal we must answer that we cannot consent to peddle our work like needles and thread about the streets. Such a course may answer for the cheap novels daily issued from the press, but it is too paltry and undignified for a scientific magazine, and withal, too troublesome’. We will, however, state —as it is not in the prospectus—that subscriptions will be received for six months, or even three months when the artist is not permanently located.
— We feel that we have been somewhat severe in a portion of our gossip, but we think the occasions make it our duty to be so in our own vindication. Probably, if we know the authors of the slanders alluded to, we should treat them with silent contempt, but we wish them to understand that we cannot be driven into a sycophantic course to please any class of men. Here we shall drop the subject for all future time, wishing our friends all the prosperity that can be crowded upon them.
— We would call the attention of our subscribers to our list of premiums announced in our prospectus. To those who may feel disposed to compete for the picture prize we will say, that they may depend upon no partiality being shown, for we shall appoint men of high standing, in no way connected with the art, and whose judgment will be exercised in the most impartial manner. We shall publish the names of our prize committee in our next.
— Our artists who intend exhibiting at the “World’s Fair” will do us a favor by sending us their names, as we are preparing an article on the subject, and do not wish to neglect any. We intend sending a large number of the March issue to be distributed at the fair gratis, and we should be pleased to give a short sketch of each exhibitor. An early compliance with this request will greatly facilitate matters.
— We have the pleasure of announcing to Daguerrean artists, that we are now prepared to receive orders for our “Improved quick working camera box.” Having had our invention thoroughly tried and become convinced of its practical utility, we now offer it with perfect confidence. This box possesses many advantages over the common box now in use. The three principal are the following….”]

BY COUNTRY: USA: NEW YORK. 1851.
“The Daguerrean Art its Origin and Present State.” PHOTOGRAPHIC ART JOURNAL 1:3 (Mar. 1851): 136-138. [Extracts from the Sunday Courier and from the American Artisan. “That which, within ten short years, was regarded as the wonder of the age, is fast finding the place of all truly great and wonderful discoveries,—that of universal enjoyment. When the discovery was announced, the artistic world was on tip toes. The great mass of the civilized family of mankind, educated as they had been in the wonderful exploits of art, gave full credit to the news. To the sun they gave a new attribute, and had it not been for the knowledge of Christianity, science and art, the discovery would have added millions to the worshippers of the material source of Light. But, under their enlightenment, they saw, and are now continually seeing, new reasons for praises to the Creator. Additional blessings are imparted to man’s life. The Daguerrean Art during the nine or ten years since its introduction into this country, says E. Edwards Lester, has advanced more rapidly toward perfection than any other art or science in existence. “But probably no one of the fine arts, whose object is the representation of the human countenance, has ever had the misfortune to depend for its representatives, upon so incompetent a class of men as the Daguerreotype. Now we have no particular objection to anybody’s trying to get a living even by multiplying samples of poor faces except in so far as they misrepresent a beautiful art which, in the hands of men of taste and genius has been carried to great perfection. In this, as in all other arts, the principle holds true, that inferior specimens create misapprehension and disgust for the genuine thing. “And probably now, not one person in a thousand in the United States has the slightest conception how immeasurably superior the pictures of some of the Daguerrean artists in our principal cities are, over the common works which are daily brought to their view. There is as great a comparative difference between them, as there is between a portrait by Elliot, a landscape by Durand, or a historical piece by Huntington, and those common daubs which are daily brought under the hammer in our auction rooms, and gazetted as “works by the Old Masters. Without pretending to be very minute in details, we believe it was the year 1839, when the world was startled by the announcement, that Daguerre had made a discovery, by which views of scenery could be obtained by a mechanical process in the short space of twenty minutes. Shortly before the arrival of the first pictures taken by this new process, some of our scientific men had gleaned from the Paris journals a little information on the subject, and after discouraging failures, succeeded at last in producing the faint outline of a building. Professors Morse and Draper were engaged at the same time we believe in this experiment, and thus had the honor of taking the first Daguerreotypes in this country. As yet only inanimate, or objects of still life had been shadowed upon the silver plate; but subsequent experiments of these gentlemen led to the taking of likenesses, if such they might be called, for which persons sat twenty minutes in the full blaze of sun light, aided on either side by strong reflectors. Little if any doubt remains, that these were the first daguerreotypes ever taken. The art then in its infancy, has since been more indebted to these Professors for the results that have followed, than to any other men. Under their auspices, those persons received their instructions, who became in turn the teachers of all who are now practising in the art. Early in 1843, the practicability of painting or coloring Daguerreotypes was ascertained, by whom we certainly do not know; but one of its earliest applications was made by Mr. Washington Chilton of New York, and the first colored daguerreotypes were made we are informed by Anthony, Edwards & Chilton, at that time a very popular and successful house in this city. This constituted what may be called a new era in the art, as the chief objection of many, that daguerreotypes wanted the life-like hue of a miniature, was obviated. From that time till the present, rapid progress has been made by a few men of science, taste and industry, in every department connected with the daguerreotype; and pictures are now produced, which for distinctness of feature and outline, brilliancy of color and tone, artistic arrangement and effect, rival the finest efforts of the most gifted pencil; while, as likenesses they are doubtless more perfect than ever can be traced by the human eye, or the human hand. Without wishing to detract from the merit of any man who is justly entitled to it, we may pay a well deserved tribute to those gentlemen who from the beginning have been sooner or later connected with the Chiltons in the improvement and perfection of the Daguerrean art. Mr. Edwards who was at one time an efficient member of the firm of Anthony, Edwards & Chilton, and, afterwards Anthony, Edwards & Clark, rendered great services to this cause; and, in his intense application to the pursuit, may be said to have fallen a victim. This art seems to have accomplished for the mass of mankind, in such matters, what was achieved by them in another way by the printing press. It has brought one of the great luxuries and embellishments of life, within the reach of every body. The time was, when no man but a prince or a priest could own a Bible; now the blessed Word of God may lie upon the table of the poorest laborer. Once artists confined their labors to opulent patrons, and no man could be expected to transmit to his children his own picture, unless by incurring a large expense. Friends at a distance could not send to each other their likenesses, as memorials of affection except under peculiar circumstances. Now the poorest man can have the portraits of his children taken, and they become invaluable the moment they are dead. Friends, at their parting, to go on distant and perilous expeditions, can, in an hour, and at a trifling expense, multiply their portraits, and leave them to be gazed on by those whom they have left behind. Travellers and scientific explorers through new and unknown regions can bring back with them, by means of the daguerreotype, truthful illustrations of the architecture, the scenery, and the natives of foreign countries: wherever men wander over the face of the earth, it is possible, nay easy, to copy any scene which strikes the eye as new, grand or beautiful, almost with the rapidity of lightning. The Daguerrean art has already, in this manner, achieved much for science and still more for society. And although there are but few comparatively among those who prosecute it who are worthy of the name of artists, yet there are many in this country who are now taking better pictures than are taken even in London or Paris. Two years ago we saw a very large collection of Daguerre’s best works, and we have no hesitation in saying that none of them were equal to the best daguerreotypes taken in America; and the collection, as a collection, was far inferior to many in this city; while Brady, Gurney, Morand, Haas, Lawrence, and others, have made far better pictures than Daguerre ever dreamed of. Indeed there are in the galleries of all these artists we have mentioned, and others in Boston, Philadelphia, &c., pictures which are so extremely beautiful, faithful, artistic, and effective, that we rejoice in the great success they seem to be meeting with wherever talent, efficiency, perseverance and science are combined.
[On the same subject we find the following article in the Sunday Courier. It is with pleasure that we view these evidences of the interest the art is exciting in all circles.—Ed.]
“Probably in no portion of this Western Hemisphere are there so many daguerreotype establishments, within the same space of street front, as along the Broadway limits of the Third ward. Some dozens of active operators, in as many establishments, promulgate their show-cases, all along the thoroughfare, and, probably, more pictures are taken within the locality than anywhere else in the world, in the same longitude of carriage-way. The business, so far as the manufacture of New York photographs is concerned, may be said to have had its origin in this part of the city, and among the earliest operators was Gurney, now at 189 Broadway. He has been engaged in this novel and interesting art since 1840, and has, probably, taken more custom pictures than any other one operator. He has three large rooms, on the third and fourth floors, and in his gallery may be found the representations of many of the most distinguished people of the day. Nearly all our prominent American citizens are there daguerreotyped, and a stroll through his apartments will well repay the time and trouble. Mr. James Brown, of 181 Broadway, is another very promising artist,—a young man, but with great experience in his profession. Mr. Brown was one of Brady’s principal operators, and, joined to a well-trained judgment, he has much merit as a painter and draftsman. Mr. Brown has furnished several spirited sketches for the Illustrated London News, and has likewise given us a number of those truthful heads of our Police Captains, which have made our Portrait Gallery a matter of so much interest. He is probably the only artist in the city who can successfully transfer his own photographs to the block, and we shall probably avail ourselves extensively of his services hereafter. Also noted in their line, are Messrs. Mead [sic Meade] and Brothers, of 283; White, of 247; Anthony of 205; Langenheim, 247, and Butler of 251 Broadway, formerly Plumbe’s old establishment. Plumbe may be said to be almost the father of the Daguerreotype business in this city—and, at one time, he had operating offices in all the principal cities of the Union. His business became too extended for his supervision, and he finally became comparatively poor, with one of the most magnificent chances for a fortune in the world. His successor in the New York shop, Mr. Butler, was originally a clerk in the office of the Journal of Commerce, and, we believe, once a jour printer and sailor. His gallery is quite extensive, and, although somewhat antiquated, will prove quite interesting, there being many pictures of much merit. With Martin M. Lawrence, of No. 203 Broadway, is an excellent young artist by the name of Gabriel Harrison, who is the principal operator in the establishment, and whose pictures are highly prized. We have seen some of his portraits of our female friends, which are truly superb. M. B. Brady, of 205 and 207 Broadway, corner of Fulton, has, however, after all, the largest and most fashionable establishment in the city. His enterprise is proverbial, and his gallery of the members of Congress, noted military, naval, and civil officers, perhaps cannot be equalled. Brady is not an operator himself, a failing eyesight precluding the possibility of his using the camera with any certainty, but he is an excellent artist, nevertheless—understands his business so perfectly, and gathers around him the first talent to be found. His daguerreotypes on ivory have attracted considerable attention, and they may, without flattery, be said to be the most magnificent productions of the art.
Note by the Editor.—We do not know where the eyes of our friend could have been when he wrote this article. They certainly were half closed or he would not have overlooked some of the most prominent artists whose names deserved recording. We consider that Messrs. Beckers & Piard of 201 Broadway; Powelson & Co. 177 Broadway; N. G. Burgess, 187 Broadway were equally entitled to his consideration. We must also correct a few errors in his article. Mr. Anthony of 205 Broadway, is no longer a practitioner of the daguerrean art, having retired in 1847 and opened a depot for the sale of apparatus and materials for the use of Daguerreotypists. Mr. White has also retired from the business, and so has Langenheim, their place now being occupied by Mr. D. E. Gavit from Albany who excels them both in the art of transferring the form of the human face to the silver plate.”]

EXHIBITIONS. 1851. LONDON. GREAT EXHIBITION OF THE ART AND INDUSTRY OF ALL NATIONS.
“Gossip.” PHOTOGRAPHIC ART JOURNAL 1:3 (Mar. 1851): 189-190. [“— We have no doubt as to our Daguerreotype exhibitors at the World’s Fair, coming off with flying colors. We will venture to say that the world never saw such perfect specimens of the art as will be there exhibited. They are really superb, both in design and execution. We have engaged an excellent writer who intends visiting the Fair to make notes while there, of all he hears and sees in regard to these pictures, and we can give our readers promise of. a most interesting and instructive feast in reading his communications on the subject. In the meantime we shall here give a supplementary notice of those who are to exhibit. We shall not pretend to criticise as we have not sufficient time to give them more than a passing inspection.
Mr. Brady sends about thirty groups and portraits, which, for uniformity of tone, sharpness and boldness we have never seen surpassed. Two or three of them we noticed especially as very fine—the head of Mr. J. Perry—a group of females—and the head of the eccentric carman of John Street. Mr. Brady’s reputation will be much enhanced by these pictures.
Mr. Lawrence sends three frames full, of sizes varying from the quarter to the double whole. The variety of tones in his specimens will show the world that our operators are not confined entirely to one style of excellence, but that equally good pictures may be given of any tone. The pictures which struck our fancy most were the double whole sized head of Colonel J. Watson Webb—a light-toned full length picture of a lady—one of a child, and the beautifully conceived group of three young ladies representing the past, present, and future.
The Mead Brothers, send twenty-four pictures, three of which are groups. These specimens will fully sustain the reputation already acquired by these gentlemen. Their alegorical pictures of Europe, Asia, Africa and America, especially, will command attention for their happy conception, fine grouping and execution.
W. A. Pratt & Co., of Richmond, Va. sends a grand national gallery of pictures which will be much admired for |the artistic taste displayed in their arrangement as well as for their excellence as Daguerreotypes. The centre picture is a full size portrait of the Governor of Virginia. This is surrounded by portraits of the most distinguished men of that State; the whole forming a tout ensemble of excellent arrangement and superior Daguerrean skill.
We are told that the Messrs. Roots of Philadelphia send some fine specimens, but we have not seen them, nor received any description of their character.
Mr. Whitehurst will furnish the world of visitors at the great Fair with a sight that will not only surprise but delight them, and we think the enterprise he has exhibited in getting up his specimens will repay him far beyond his expectations. He will there exhibit twelve splendid views of the Falls of Niagara on double whole size . plates. This was a grand conception of Mr. Whitehurst’s which will undoubtedly attract more general notice than anything at the fair. The very idea of a Daguerreotype of Niagara would naturally cause surprise; what astonishment will, therefore, be created when twelve, equally good, are exhibited before the assembly of all nations.”]

HALE, LUTHER HOLMAN. (1823-1885) (USA)
1 b & w (“L. W. Hale.”) as frontispiece in: Keyes, R. W. “Luther Holman Hale and the Daguerrean Art.” PHOTOGRAPHIC ART JOURNAL 1:6 (June 1851): frontispiece, 357-359. [Portrait. (Lithograph by D’Avignon.) (Hale born at Milbury, MA, on Sept. 21,1823. His father was a wealthy scythe manufacturer. Luther was mechanically inclined, he entered Hopkinton Academy at age 16. Then he worked as a salesman, then learned the daguerreotype process “at the office of his brother in Milk Street, Boston.” Left once, then returned, finally “commenced his labors in1842.” Several years later he began his own gallery on Washington St., in Boston, MA. He also began to manufacture photographic chemicals with Benjamin French. “At this time he is 28 years old, and has been in the business 9 years.) “Among the many valuable and astonishing .discoveries made in this nineteenth century, that of the great Daguerre takes a very high position. Daguerre was the great originator of the Photographic art; the first who had the boldness and, ingenuity to mould the sun-beam into an artist’s pencil, and convert the shadow into a substance. The great Photographer won for himself, not only an independent fortune by his discovery, but also an imperishable name; a place on the scroll of fame, among those, ” whose names were not born to die.” Yet it cannot be said that he perfected the art. This was left to after experimentalists, the majority of whom, we are proud to claim as our countrymen. Still, with all the wonderful improvements in view, that have been made from time to time, we presume that Daguerreotyping is in a comparatively rude state, to what it will be in a few years hence. If a devotedness to the profession; a daily toiling in search of the still partially hidden principles of the art, which is constantly bringing forth some new application from the laboratories of Daguerreans; if a love of the art for its own sake, will not make some new developments, that will be equally astonishing with the discovery itself, then shall we be content in believing that the poet was in fault when he said: ” Attempt the end, and never stand to doubt; Nothing’s so hard, but search will find it out.” Among the many distinguished Daguerreans of our own country, standing out in bold relief, with the names of Brady, Lawrence, Harrison and Morand. is that of the subject of our present sketch. Luther Holman Hale was born in Milbury, Massachusetts, on the 21st of September, 1S23. His father was an extensive scythe manufacturer, possessed of ample means, and what is more, a disposition to aid his son in obtaining a good education. In early life, young Hale showed himself to be possessed of more than ordinary mechanical ingenuity, having at the early age of sixteen, acquired a good practical knowledge of his father’s business. Desirous of obtaining a good English education, he entered Hopkinton Academy, where during his Academical course he distinguished himself as being a close student, and a more than ordinary chemist. Having completed his studies, he graduated with the highest honors of the Institution, and with the respect and good will of his class-mates, to whom he bad endeared himself by his urbanity and winning manners. The subject of our memoir now sought some occupation more congenial to his tastes, than toiling at the anvil,or tem [PP. 358-359 MISSING.]

BY COUNTRY: USA: 1851.
“Gossip.” PHOTOGRAPHIC ART JOURNAL 2:1 (July 1851): 60-64. [Discussion of L. L. Hill and Niépce de St. Victor; article on enamelled daguerreotypes reprinted from May “London Art Journal”; discussion by Sir W. Brewster on whitening of interior of camera; call for a convention of photographic artists in Syracuse, (Mention of Mr. Haas); Brady sails to Europe to visit London World’s Fair; Mention that Root (NYC) working on Whipple’s Crayon Daguerreotype process; J. H. Whitehurst portrait of a child mentioned; Gurney (NYC); Cary (Savannah, GA).]

ORGANIZATIONS. USA. 1851.
“Gossip.” PHOTOGRAPHIC ART JOURNAL 2:1 (July 1851): 62. [“— It was our intention to publish in this number of the Journal the call for the Syracuse Convention of Photographic Artists, but the early day at which we are obliged to go to press, prevents our receiving the promised communication in time. We shall, however, endeavor to lay it before our readers in our next. We have written much in favor of this measure, and have said much more, and yet we think the subject is inexhaustable, so many points of argument present themselves. We are surprised that the Daguerreotypists of New York city are so lukewarm on this subject. Three attempts—to our knowledge—have been recently made to get together a sufficient number of operators to make a respectable response to this call, but to no effect. There has been always some frivolous excuse for non-attendance by more or less of those who agreed to meet together. This should not be. Let us make a proposition. Mr. Haas is known, not only to be one among our first artists, but the oldest in the art in this city. He commenced his career as a Daguerreotypist, in Paris, at the time M. Daguerre made the important announcement of his discovery, and he has been engaged practically in it ever since. This entitles him to seniority. He is also an advocate for the formation of a Photographic Society, and has thrice endeavored to effect the first step towards its construction. Our proposition therefore, is this. Let an evening be appointed— and we will name the 20th of July—when our artists shall agree to meet Mr. Haas to discuss the matter. We will take the liberty—knowing their liberality on all subjects connected with the art—to name the place of meeting either at Mr. Brady’s, Mr. Lawrence’s, or Mr. C. C. Harrison’s rooms. Let our Daguerreotypists do this, and in one year we shall see a society equally flourishing and talented with the Heliographio Society of France.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Gossip.” PHOTOGRAPHIC ART JOURNAL 2:1 (July 1851): 63. [“— Our friend M. B. Brady Esq., sailed for Europe last Saturday, to visit the World’s Fair in London. Before his return he will go to Paris and visit the celebrities of that city. He takes out some exquisite Daguerreotypes to exhibit to M. M. Daguerre and Niepce; these will establish his reputation for exquisite pictures in Europe as firmly as it is here. He is the second, only, we believe, of our distinguished artists, who have left us for the same purpose. W. A. Pratt Esq., of Richmond, Va., went over last month. We ‘ wish them safe and prosperous voyages, invigorated health, and a speedy return.”]

BY COUNTRY: USA: 1851.
Snelling, H. H. “The Daguerrean Art; Its Present State and Future Prospects.” PHOTOGRAPHIC ART JOURNAL 2:2 (Aug. 1851): 99-101. [(Lists over 40 American daguerreotypists, mentions L. L. Hill, argues for the creation of a national society, etc.) “In taking a retrospective view of the Daguerrean art in the United States, we cannot feel otherwise than proud of the high state of perfection to which it has been brought by the American Photographist. The last five years have established the fact all over the world, that the American Daguerreotypes surpass those of all other countries, not only for the beauty of their finish but the taste of their execution. Although to Daguerre and Niepce we owe the discovery of Photogenic drawing, it is incontestable that the first successful attempts to impress portraits of the human face upon the silver plate were made in New York, and were the result of the experiments of Professors Draper, Morse and Wolcott. All the most practical and valuable improvements except the gilding process, are also due to American discovery; while many of the most valuable treatise and papers on the art have emanated from the pens of our countrymen. by slow but steady steps has the art advanced to its present beautiful position, and like the art of sculpture, Americans stand pre-eminent in its practice. From light flitting shadows of former days, we have advanced to the full developed, dark, soft toned steel-engraving-like picture, defying the criticisms of the most fastidious. From the indistinct image, which could only be seen vaguely when viewed in one position, we have arrived at perfectly bold, sharply drawn, well-defined outline figures, beautifully filled up by light and shade of most exquisite and elaborate finish. From the awkward, stiff, and unmeaningly staring images of the art in its infancy, we have attained the graceful and poetical pencillings of nature both in their beauty and grandeur. We now catch the most exquisite expression of childhood itself with unfailing truthfulness. The quivering leaf, the impatient horse, and the passing traveler; the demure cow, the active lamb and the barn-yard fowl, are impressed in a landscape upon the Daguerreotype plate with an accuracy unsurpassed. The most minute details in architecture, sculpture, and still life, are most wonderfully drawn by the pencil of the sun’s rays, and we are constrained to look with wonder at the perfection to which improvement has brought this beautiful science. To the French philosophers are we indebted for the first application of this science, but to American operators do we owe the perfection to which it has attained. The experiments of a Morse, a Draper, and a Wolcott demonstrated the feasibility of applying the science to portrait taking; while to Anthony and Edwards—the former a pupil of Mr. Morse—to Haas, to Gurney, to Plumbe, to Beckers, to Brady, to Gabriel Harrison, to Piard, to Burgess• to Lawrence, to A. Morand, to Bronck. to Selleck, to Gavitt and others of New York; to Whipple, to Hale and Chase of Boston; Root and Broadbert of Philadelphia; Whitehurst of Baltimore; Pratt of Richmond; Carey and Cook of Charleston; Barnes of Mobile; M’Guire of New Orleans; Fitz Gibbon and the Longs of St. Louis; Hesler of Galena; Ferris of Cincinnati; Hansen and Von Schneideau of Chicago; Lyons of New London; Davie of Utica; Clark of Syracuse; Evans and McDonald of Buffalo; Moulthrop of New Haven, and a host of other American Daguerreotypists are we indebted for various improvements in the art, which has enabled our country to stand pre-eminent in the: production of Photographic pictures. Still the art may be considered as in a i questionable state in this country. So many have taken it up as a mere means of obtaining an easy livelihood, who are totally unfitted either by taste, education or inclination, to pursue it with the least degree of ability or success, that considerable disrepute has tainted its former fair fame, and we regret to say, that we have found those Daguerreotypists who were ashamed to be known as such, although they were themselves bright ornaments to the profession. An art, profession, or business, must indeed be in a deplorable state when those engaged in it are unwilling to acknowledge themselves so. Besides the mere mechanics, dabsters, or whatever you are pleased to call those operators who jump from the stable, the fish-market, the kitchen, or the poultry yard into the operating room of the Daguerreotypist, and after cleaning two or three plates, and seeing as many images produced upon them—and without even sufficient knowledge of the art to make a judicious purchase of their apparatus—set themselves up for Daguerreans. There is another class who do the art much greater injury. We speak of those who having some claim upon our consideration as men of talent are so devoid of common honesty as to care little about the quality of the pictures they take, so long as they can pocket the dollar in the quickest possible manner. Their rooms are frequently the resort of the low and depraved, and they delight in nothing more than desecrating the sabbath by daguerreotyping these characters in the most obscene positions. Their rooms become a byword and a reproach, and alas! there are too many who are ever ready to attribute to all the fellies and foibles of the few. We may here be met by the question; why is a daguerreotypist more culpable in this respect than the painter, who frequently resorts to nude life models in the practice of his art? We will answer, there are two reasons: in the first place, the painter and the sculptor are, from the very nature of their art. obliged to make the anatomical proportions of the body a close study, in order to depict upon their canvas or to chisel from the stone, nature as it truly exists. Every line, every muscle, every vein, and all the most minute details in the composition of the human form are necessarily subjects of earnest scrutiny. To the Daguerreotypist this is not absolutely necessary; all he requires is a perfect knowledge of the general outline of the figure before him in order to be enabled to sit his subject in the most attractive and graceful attitude. In the second place the motive of the two is widely different, the painter has a noble, glorious object in view; he aims at the elevation of his art, and the improvement of the public taste; while the class of Daguerreotypists to whom we allude are7 actuated by the desire to pander to a vitiated and gross appetite, to accomplish which the most obscene positions are required from the degraded characters obtained for the purpose. Another reason against this practice is the fact, that the Daguerrean room is a more public place of resort, than the painter’s, and every act within its walls is more publicly commented upon, and its reputation is more apt to be injured by such comments. There is still another class who in a great measure tend to depreciate the art. Among these we have some friends, and in speaking of them we wish to be understood as warring against their measures only, for we hold them personally, in respect. They are those who, holding their talents and skill less estimable than they really deserve, stoop to a level with the second class by taking pictures at a mere nominal price, in the hopes of drawing customers who are really not worth the time thrown away upon them. There are not a few of this class, but we hope that ere long many of them will change their policy; already do we know of those who look back with bitterness upon the day when they first took a picture for fifty cents. There is but one remedy against all these; evils, namely; the formation of a National Photographic Society, the objects of which shall be, not only to establish a fixed scale of prices for the finest productions of the i art, but to elevate the character of those I engaged in the business, by frequent ref unions, interchange of sentiments and improvements, and to establish a moral in fluence that must be both felt and appreciated. The first steps have been taken towards this great measure. A meeting, as we have before noticed, of the Daguerreotypists of New York—with the exception of the city—was held at the city of Syracuse on the 12th of July, and after passing a series of resolutions—which will be found under our ” Gossip”—adjourned to the 20th of August in order to secure a larger attendance from all parts of the Union. This convention, if not interruptedly sectional jealousies or arrogant assumption on the part of those, who coming into the measure at the eleventh hour, wish to deprive the originators of their just laurels, will be one of the most grand and important acts of our Daguerreotypists since the discovery of the art….”]

BY COUNTRY: USA: 1851.
“Gossip.” PHOTOGRAPHIC ART JOURNAL 2:2 (Aug. 1851): 127-128. [Death of Daguerre. Report on meeting held at Brady’s Gallery to form a photographic society; L. L. Hill; McDonell and Evans (Buffalo, NY); George P. Hanson (Chicago, IL); George S. Cook (Charleston, SC) taking over C. C. Harrison’s Broadway Gallery in NYC. Harrison retiring to make cameras; Mayall (London); D. D. T. Davie (Utica, NY); Johnson & Fellows (Cleveland, OH); North (Cleveland, OH); Von Schneidau (Chicago, IL).]

ORGANIZATIONS: USA: 1851.
“Gossip: At a Large and Enthusiastic Meeting.” PHOTOGRAPHIC ART JOURNAL 2:2 (Aug. 1851): 123-124. [(New York photographers meet to plan formation of a national society.) “Those who really feel a deep interest in the Photographic art will view with pleasure the movement now made—as indicated by the following reports—to form Photographic Art-Associations all over the United States, as well as one great parent, or national society. Our readers are already aware of the active part we have taken, through the columns of the Journal, I to stimulate action in this matter, and we cannot conceive it necessary to assure them of our continued co-operation in all legitimate attempts to further the objects of the Syracuse and Utica conventions. We regret that the notice for the former meeting was so short, and so limitedly advertised, as to prevent a larger attendance. This excuse cannot now, however, be made in regard to the adjourned meeting to be held at Utica on the 20th of the present month.
“Daguerrean Convention.” Pursuant to a call signed by a large number of Daguerreotypists from different parts of the State of New York, a Convention met at Syracuse on Saturday, July 12th, 1851. E. T. Whitney, of Rochester, was elected Chairman, and C. B. Denny, of Rochester, F. J. Clark, of Utica, and 13. L. Higgins, of Syracuse, were appointed Secretaries. Remarks were made by D. D. T Davie, of Utica, P. H. Benedict, of Syracuse, and G. N. Barnard, of Oswego, stating the object of the Convention to be a union of thought, action, sentiment, a uniform standard of prices, and to devise means to elevate this beautiful art in which we are engaged. Received a communication from H. H. Snelling, editor of the Photographic Art Journal, which was read by the Chairman. Resolved, On motion, That a committee be appointed to draft resolutions to be presented to this Convention. The Chairman appointed D. D. T. Davie, of Utica, G. N. Barnard, of Oswego, P. H. Benedict, of Syracuse, L. V. Parsons, of Auburn, and L. V. Griffin, of Genesee, as such committee. After a short time, the committee presented the following preamble and resolutions, which were unanimously adopted:
Whereas, The Daguerreotype likeness, when properly executed, is more faithful to nature than any other style of Portraits; and whereas, many impostors are flooding our country with caricatures at a much less price than good pictures can be afforded for, thereby not only robbing their patrons, but degrading this most beautiful art, and what is still worse those who are competent to practice the art successfully —those who would improve and g> on from one improvement to another until the last victory was achieved; and whereas, these men are held in poverty and disparagement by the mere catchpennies who hold themselves up to the world as artists, when they are not And, whereas, the increased demand for the best miniatures that can be taken, calls for a fair compensation for the same, in order that operators may be encouraged to use still greater effort in trying to excel in this most beautiful art. Therefore—
Resolved, That we form an association, to be called The New York State Photographic Association.
Resolved, That a committee be appointed to draft a Constitution and By-Laws, to be reported at an adjourned meeting to be held at Utica the 20th day of August, 1851.
Resolved, That we will do all in our power for the advancement of the art, aid each other in the study of the same, and bury forever all feelings of envy and jealousy which has heretofore existed.
Resolved, That we discountenance operators giving instructions to any but those whose natural talents and moral standing qualify them for successfully practicing the art.
Resolved, That we believe it to be the interest of all respectable operators to join this Association, and that we earnestly solicit all lovers of the art throughout the State to co-operate with us in our efforts to advance and retain for the art the highest state of perfection.
The convention then appointed M. A Root, of New York, D. D. T. Davie, of Utica, and O. B. Evans, of Buffalo, a committee to draft a constitution and by-laws, to be presented at the next meeting. The minutes were then read and adopted.
Resolved, That the Photographic Art Journal, the Daguerrean Journal, and all editors who feel desirous of forwarding our object, be respectfully requested to publish the proceedings of this Convention. (Signed) E. T. Whitney, C. B. Denny, ) Chairman. F. J. Clark, Secretaries. B. F. Higgins,
In response to the call of this Convention, a public meeting of Daguerreotypists of this city has been held, the proceedings of which we cheerfully publish. We find our name among the delegates elected, to the Utica demonstration, as an honorary member. We appreciate the friendly feeling which dictated this appointment—an honor to which we do not conceive ourselves entitled—although it is in direct opposition to our expressed wishes, and we are only led to accept the appointment, from a desire to witness the proceedings of the Convention, and to evince our esteem for those who have so honored us. After expressing our views of the position we hold in the Photographic art, as freely aa we have done, it cannot be expected that we will take more than a passive part in the proceedings. The editor of a journal such as we edit, should be left free to act as his conscience may dictate, and should not suffer himself to be placed in a position that may bias his mind in favor of any one measure, when others equally honest and justly put forward, claim his attention. As an honorary member we have the privilege of listening and thinking, but not speaking, which suits us perfectly, and does not detract from the position we wish to hold.”
At a Large and Enthusiastic Meeting of the Daguerreotypist of New York and Brooklyn, held at Brady’s Gallery, on the 8th inst., for the purpose of responding to a call made by the Syracuse Convention, D. E. Gavit was called to the Chair, and S. E. Barker chosen Secretary. Mr. Gabriel Harrison called the meeting to order, and said, that the object of this meeting was to make a response to the Syracuse call for a Convention, to be held at Utica on the 20th of August, the purpose of which Convention—as we understand it —is to organize both a State and National Daguerrean Association; which associations are to look after the great good of the profession,—to meet occasionally in scientific organization, there to take into consideration the mysteries of our beautiful art, to promulgate all improvements, and to do away with all secrecy and petty jealousy; for one and all to fraternize, to make strong a bond of union, and, if possible, to have a moderate, and but one standard price for pictures throughout the length and breadth of the land. Now, gentlemen, these things appear to me highly necessary—and as I expect to devote the rest of my life to the profession, I cannot help but feel a deep interest in the matter,—therefore I took the liberty of calling you all together. And it is really gladsome to see so many of the most worthy of the art here assembled, to take into consideration the construction of the new edifice, which I hope is soon to be finished and dedicated to our already famous profession. But, in putting together an edifice, particular attention must be paid to its foundation, for unless the commencement is good the whole will soon totter, and, in its fall to ruin, crush its constructors. The same rule is strictly applicable to organizations of every kind, and unless its commencement is honest, broadly democratic in its platform, equitable in all its parts, favor and selfishness left entirely out of the scale, the organization like the edifice, must, sooner or later, inevitably fall; and in its fall orush its constructors. Now, gentlemen, I come not here for the purpose of finding fault with any particular individual in the profession; but, certain it is, that lately, a Secret Society has been formed in this city, I must call it a Secret Society, from the notorious fact, that not more than a dozen or two knotted and gendered for it in a corner, elected its President, and even appointed its foreign Plenipotentiaries, and most inapplicably christened it a National Institution. Three out of the dozen originators, are not practical Daguerreotypists, and one of the three holds the high and responsible office of Secretary. I respectfully ask if this is not unprecedented in the history of the formation of National Institutions. All this was done without a single notice through the medium of the press calling together even the Daguerreans of the city, let alone from all parts of the Union, and at this moment, after they have had some eight or ten meetings, there is in this city some of the brightest stars the profession can boast of still uninvited, and even operators, the first that took up the art after the immortal Daguerre’s discovery, the men who have been scorched over the furnace of the art, the identical men, too, that have by their taste, their patience, and their genius, elevated these men in the eyes of the public, and placed their mysterious art on the high and proud pinnacles it now rests upon. Gentlemen, I must be emphatic, and tell these partialists I cannot, will not sanction any such work as this. If we are to have a society for the good of a!!, why not invite all to come in? Why not invite the fifty cent man as well as the dollar or two dollar man? Let the Daguerrean to come to their Convention at Utica on the 20th day of August, and there, in a proper manner, form a National Institution. I now offer, Mr. Chairman, the following resolution. Resolved, That a delegation of ten be appointed to attend the Convention to be held at Utica on the 20th of August next. The following gentlemen were then appointed: D. E. Gavit, H. H. Meade, Charles M’-ade, G. Harrison, Wm. H. Perry, Silas Selleck, James Perry, A. W. Paradise, J. P. Weston and Mr. Stansbury, and H. H. Snelling as honorary delegate. The Chair was then yielded for a few moments; and, after appropriate remarks, Mr. Gavit offered the following resolution: Resolved, That, as Daguerreans, we express our deep and heartfelt sorrow at the sudd n decease of Mr. Daguerre, the father of our mysterious and beautiful art; and, as a proper token of respect to his memory, the Daguerrean fraternity are requested to wear the usual badge of mourning on the left arm for the space of thirty days. A motion was then offered: That when we adjourn, we adjourn to meet at the Gallery of D. E. Gavit, 247 Broadway, on Thursday evening, 14th inst., I o’clock, and that a cordial invitation be offered to all the Daguerreotypists of the City of New York, Brooklyn and Williamsburg to attend and co-operate.
D. E. Gavit, Chairman. L. E. Barker, Secretary.
The resolution in regard to the death of M. Daguerre does honor to the hearts and feelings of those assembled, and we trust it will be fully carried out by the Daguerreans of this country. Besides this meeting of New York and Brooklyn Daguerreans, there has been a movement for the establishment of a society in this city, the proceedings of which were at first so questionable,—so far as we can learn—and so secretly kept from us, that we do not feel called upon to notice it further than this. We are, however, in hopes that those who have, as it were, by constraint, lately been admitted to take part in the proceeding, will set matters on a fair, impartial foundation.”]

EXHIBITIONS: 1851: LONDON: EXHIBITION of the WORKS OF ALL NATIONS.
Arnoux, J. J., J. Russell Snelling, trans. “The World’s Fair.” PHOTOGRAPHIC ART JOURNAL 2:3 (Sept. 1851): 153-156. [From La Lumiére. “…The chief wish of our photographers is, to know what their brethren of foreign countries are sending to London. Commence by making out a catalogue, then you will render an account of the works.” The advice was good, and I have followed it. In the indication of the name of artists, I have adopted the alphabetical order. Before the name I inscribe the number of the order in which each member is found in the list; after the name, I write the number which is devoted to him in the official catalogue; then I indicate the number of the frames, with those proofs which they contain, designate those which are “upon paper, upon plates, and upon glass; and afterwards, I copy the excellent remarks accompanying the works which the authors have judged apropos. As to a classification of nations, it was very natural that I should have followed the same order which has been adopted in the Crystal Palace. To commence with the United States, the department of which is situated at the eastern extremity of the Hyde Park edifice, and to finish our description with England and its dependencies, which are placed at the western extremity, and passing along through the intervening nations, appears to me the most rational method.
United States of America:

1. Mr. Brady, of New York. 137, has exhibited 35 portraits upon plates.
2. Mr. Evans, Buffalo, U. S., 105; Three frames, each containing six portraits upon plates.
3. Messrs. Fontaine & Porter, (bearing the number 550 which does not yet exist in the U. S. catalogue): view of Cincinnati, composed of eight plates united in the same frame, and where the points of junction are concealed by perpendicular fillets, in such a way that the spectator “appears to see the city through a gallery of columns.
4. Mr. Harrison, 225; Five portraits upon plates, and several camera obscura.
5. Messrs. W. & F. Langenheim: Panorama of Philadelphia and a view of Fairmount, near Philadelphia. In both, several proofs upon paper, are brought together so as to form a panorama. Talbotype.
6. Mr. Lawrence, 151; Twenty-six portraits, among which six are representations of three persons from nature.
7. Mr. J. G. Mayall, Philadelphia, 491; Seventy-two plates, among which is found Notre Dame, from M. Le Baron Gros.
8. Messrs. Meade Brothers, N. Y. 109; Twenty-four frames containing nearly all single portraits upon plates, together with some groups.
9. Mr. W. A. Pratt, Richmond, Va., 264; Three frames enclosing jointly twenty-six portraits upon plates.
10. Mr. Jno. A. Whipple, Boston, 451: Five single portraits; three family groups, one of which has seven figures, another nine, and the last six, the whole upon plates. A daguerreotype of the moon taken by means of the large telescope at the Cambridge observatory.
11. Mr. J. H. Whitehurst, Norfolk, Va., 377: Twelve views upon plates, of the Niagara Falls, taken from nature, in Sept. 1850.
    Germany:
12. Mr. J. William Albert, Frankfort upon the Main, No. 7 in the catalogue of Frankfort upon the Main: Four large proofs upon paper, and twentysix plates—the generality ovals—nearly all representing groups from objects of art. Mr. W. Albert also exhibits several articles of photographic apparatus.
13. Mr. Frederick Straucb, Frankfort upon the Main, 33: Two proofs upon paper, one of which is colored.
    Austria:
14. Mr. Paul Pretsch, Vienna: Fourteen views, upon paper, of Vienna and of Schvenbrugn, taken mostly while residing at the imperial capital; nine heads from antiquity, either from medals or from bas-reliefs.
    Italy:
15. Messrs. F. & G. Vogel, Milan, 739: Eighteen portraits, nearly all full length, upon paper, by the Talbotype process.
    France:
16. M. H. Bayard, 414: Three frames containing in all sixteen proofs upon paper.
17. M. Blanquart Evrard, Lille, 1551: A frame containing nine proofs. The author has had a note appended to it as follows: “These positive proofs are obtained by a new process, permitting me with the same negative to make and deliver in the same day and in rainy weather, two or three hundred proofs. The price of each proof varies from 15 to 20c «2fiW*, according to its size.”
18. M. Cousin, Paris, 1577: Seven positive proofs obtamed with the negatives, upon paper.
19. M. Christofle. In the glass of this manufacturer is discovered a portrait of a young girl, upon plate. It is a specimen of the plates prepared in the manufactory of M. Christofle, by the electro chemical process.
20. M. Flacheron Nayard, 836: a frame containing seven large views of Rome, upon paper.
21. M. A. Govin: Two frames containing altogether six pictures, upon plates, eight of which are colored.
22. M. Gustave Le Gray, 585: Two frames, each containing nine proofs upon paper.
23. M. Henri Lesccq, 592: Two frames, each containing six proofs, views of different parts of the cathedral of Rheims, with those of Amiens and Chartres.
24. M. Martens, 610: Two frames, in which are fourteen photographic proofs upon glass and upon paper, obtained with the apparatus of Lcrebours and Secretan. Moreover, a panoramic view of Paris, from one of the towers of Notre Dame, with the panoramic apparatus of M. Martens.
25. M. Maucomblo, 620: Five colored portraits, upon plates.
26. M. Sabatier, 1467: A portrait upon plate.
27. M. Saugrin: Four colored portraits upon plate.
28. M. Amsdae Thierry: Nine plates, upon eight of which is reproduced a view of Lyons, and upon the ninth ia represented a portrait of the author.
    England:
29. M. Beard, 292: Fifteen portraits, both colored and dark, upon plates
30. Mr. Bingham, 302: Nineteen photographic proofs.
31. Mr. Samuel Buckle, 301: Twelve proofs obtained by negative proofs upon paper.
32. Mr. Claudet, 296: Twenty-one dark portraits upon plates; forty-three others colored. M. C. has exhibited besides a photographic paradox, a photographometer, a dynactometer, a new camera obscura for every kind of plate, and the different plans of lenses; a mercury bath capable of containing plates of all sizes, and a great number all at once; a multiplying apparatus; an apparatus for preparing plates without powder or liquids, when they have been once polished; two frames containing several specimens from scientific experiments. We should not omit a small piece of furniture inclosed in a palisade, adorned with eight medallions containing colored portraits of women, surrounding a central plate upon which are represented their infants; likewise colored.
33. Mr. Wm. Collies, Jersey, number 2 in the catalogue of Jersey and Guernsey: Twenty proofs upon paper.
34. Messrs. Griffiths & Le Beau: Six portraits upon plates; colored.
35. Messrs. Harmer, 398: Three large proofs unon paper, in three different frames.
36. Messrs. Henneman & Malone, 297: Fifty-one proofs upon paper, portraits and views. Talbotype.
37. Messrs. D. O. Hill & Robt. Adamson, 300. Study of calotype, on paper: Seventeen proofs in the first frame: Fishers of the village of Newhaven rt’a’ Jv it burg. In the second frame are fifteen different objects; in a third are seventeen other proofs; in a fourth, twenty-one portraits. Mr. Alex. Hill, (probably a brother of Mr. D. O. Hill, the author of the works which we class under the No. 35), has attached to the frame last spoken of, the following note: “Each of these proofs can be sent by mail, upon an order being addressed to the publisher, stating the number of calotypes wanted. The proof cost five shillings.”
38. Mr. Kilburn, 294; Three colored portraits upon plates.
39. Mr. J. E. Mayall, the same as those exhibited with the United States, 91; Thirty-five plates, scenes, portraits, etc.
40. Mr. Hugh Owen, Bristol, 303; Thirty-six proofs on paper; views, portraits, tableaux, etc.
41. Mr. W. Paine, 295; Six portraits on plates, five of which are colored by A. Tyree.
42. Messrs. Ross & Thomson, Edinburg, 299; Two frames, one of which contains six proof and the other fifteen taken upon glass by a new process.
43. Mr. James Tyree, marked 299: the number set apart for him on the official catalogue; Ten portraits upon plates, colored by A. Tyree.
44. Messrs Voigtlander, Evans & Co., 254; Eight frames containing small full length portraits.
    I should perhaps, enumerate also, at this time, quite a large number of opticians who have exhibited photographic instruments, besides those belonging to members of the photographic art. This task would take me too long, and, besides, I can omit it without rendering incomplete the particular part of the description to which my report is devoted. Yet I see no reason why I should pass over in silence two of these manufacturers of instruments, in whose glass I have observed heliographic proofs. Messrs. Horn & Co., have shown us an antique daguerreotype bust, taken by a portable apparatus of Talbot. M. A. Ross, of London, (No. 254, class X,) exhibits among his camera obscura, six proofs on paper. I shall speak of these productions hereafter. I resume my account with what concerns the researches to which it is my province especially to confine myself. Among the twenty-four nations represented at the World’s Fair, only six have exhibited photographic specimens. These six nations are certainly the most advanced in the various arts of civilization. This is then a motive to incline us in favor of the art, the productions of which we at this moment possess. Yet grace to God and his sun, heliography bears its nobleness in itself. It gives more than it borrows. It is not only destined to render the greatest gratification in future time, but it contributes to it at the present time. I desire no better testimony of the foregoing statements, than the seven hundred and seventy-two proofs exhibited in this great museum of industry of the nineteenth century. It has had the effect to convert more than could otherwise have been by any other means, and persons are constantly going away saying, that the discovery of Niepce and Daguerre has already accomplished all that it promised; more of a marvellous character which I have beheld, is still imprinted upon any retina, caresses my imagination, and extends my knowledge. An account of these master-pieces I purpose to send to the incredulous or indifferent hereafter. J. J. Arnoux. From La Lumiere.”]

ORGANIZATIONS: USA: NEW YORK STATE DAGUERREAN ASSOCIATION: 1851.
Parsons, L. V., Rec. Sec. “Official Report of the Proceedings of the New York State Daguerrean Association, Utica, N. Y., Aug. 20, 1851.” PHOTOGRAPHIC ART JOURNAL 2:3 (Sept. 1851): 169-171. [“Utica, August 20th, 1851. At an adjourned meeting of the “New York State Photographic Convention,” held in the Common Council room, Mr. A. Morand of New York city was appointed chairman, and C. B. Denny, of Rochester, secretary. the minutes of the last meeting, held in Syracuse on the 12th ult., were read and approved….” “…A telegraphic communication was received from Mr. Gabriel Harrison of New York, which was read by the chairman and ordered to be received and placed on file…” “… Delegates then reported as follows.— P. Haas, J. M. Clark, S. D. Humphrey, from the American Heliographio Association.* (The name of this society has recently been changed to the American Daguerrean Association.) of New York city. S. Selleck, W. Metcalf, G. R. Turner, A. Morand, H. H. Snelling, honorary delegate of New York city, from the meeting of the Daguerreotypists of the cities of New York and Brooklyn, held at Brady’s gallery on the 8th inst.; P. H. Benedict, B. L. Higgins, Mary S.Hoyt, of Syracuse; G. N. Barnard, of Oswego; L. V. Parsons, C. B. De Reimer, of Auburn; A. C. Nichols, of Fulton; D. V. Frost, of Augusta, Erie Co.; N. E. Sissons, of Albany; C. P. Westcott, of Watertown; D. D. T. Davie, J. Davie, F. J. Clark, U. Dunning, D. B. Johnson, R. Everett Jr., of Utica; H. N. Manchester, Providence, R. I.; W. P. Beech, of Homer; P. C. Huntley, of Paris, Oneida Co.; W. P. Davis, of Union Springs; C. N. Johnson, of Batavia; M. J. Goddard, of Lyons; C. B. Whitney, C. B. Denny, of Rochester; G. S. Ragg, of Denmark, Lewis Co.; Jane P. Martin, of Paterson, N. J.; J. P. Merritt, of St. Catherine’s, Canada; D. McDonald, A. McDonald, R. McDonald, of Buffalo; A. Fairchild, of Deriter. Mr. D. D. T. Davie from the committee to draft a constitution, reported and presented a constitution, …” “… that the name be the “New York State Daguerrean Association,” instead of the New York Photographic Association. All the remaining seotions were acted upon and adopted with a few amendments. Voted—That the chair appoint a committee of three to nominate officers for the ensuing year. The chair appointed L. V. Parsons, D. D. T. Davie, and J. M. Clark, as said committee. Resolved, That a committee of three be appointed to draft By-Laws for this association. H. H. Snelling, (*Mr. Snelling defined his position in regard to his connection with the Convention and the Daguerrean art, and respectfully declined the appointment; but the Convention insisting upon his acceptance, he complied.—Ed. Phot. Art-Jour.) Miss Mary S. Hoyt, and E. T. Whitney, were appointed said committee. The committee appointed to nominate officers for the association here entered and reported as follows. For President:—A. Morand, of New York citv. For Vice Presidents:—D. McDonald, of Buffalo; C. P. Westcott, of Watertown; P. Haas, of New York city. For Corresponding Secretary:—C. B. Denny, of Rochester. Recording Secretary:—L. V. Parsons, of Auburn. Treasurer:—N. E. Sissons, of Albany. Trustees .—O. B. Evans, of Buffalo; E. T. Whitney, of Rochester; B. L. Higgins, of Syracuse; F. J. Clark, of Utica; P. H. Benedict, of Syracuse; W. A. Tomlinson, of Troy; S. J. Walker of Troy; J. S. Myers, of Po’keepsie; J. M. Clark, G. Harrison, J. P. Weston, of New York; D. B. Johnson, of Utica. Resolved, That two tellers with the secretary be appointed to count the ballots. The Convention appointed F. J. Clark, D. B. Johnson, and the secretary to act as tellers….” “…The Convention then proceeded, after signing the constitution and paying the initiation fee, to an election for president, which resulted in the unanimous election of Augustus Morand of New York city…” “…On motion, the following gentlemen wore unanimously elected honorary members of the Association:—H. H. Snelling, S. D. Humphrey, and D. S. Heffron. Resolved, That the Photographic Art Journal and Daguerrean Journal be requested to publish the proceedings of this Convention….” “…The president appointed D. D. T. Davie, P. Haas, and C. B. Denny, said committee. …On Chemistry.—D. D. T. Davie, E. T. Whitney, and J. M. Clark. On Light.—S. Selleck, D. McDonald, and L. V. Parsons. On Position:—P. Haas, F. J. Clark, and G. N. Barnard. Resolved, That this Convention call a National Convention of Daguerrean artists, to meet in the city of New York on the second Tuesday of November next. …The chair appointed J. M. Clark, S. Selleck, and G. It. Turner….. The president thereupon appointed the following delegates:— G. N. Barnard, of Oswego; L. V. Parsons, of Auburn; N. E. Sissons, of Albany; J. Davie, of Utica; P. Haas, of New York; D. D. T. Davie, of Utica; H. H. Snelling, of New York; W P. Beech, of Homer; Miss Mary S. Hoyt, of Syracuse; Mrs. J. P. Martin, of Paterson, N. J. Resolved, “…Resolved, That the American Heliographic Association be and are hereby invited to meet with this association on the 11th November next….”]

BY COUNTRY. FRANCE. 1851.
“Gossip.” PHOTOGRAPHIC ART JOURNAL 2:3 (Sept. 1851): 188. [“— It will be seen from the following extract from the French of La Lumiere, a valuable paper devoted to the art and published in Paris—and for which Mr. Anthony 308 Broadway is the agent for the United States—that a process has been discovered in France for taking Photographs on paper in the natural colors.
” Heliochromie.—M. Letillois announces having discovered a colorless liquid by means of which he can fix in a durable manner, upon white paper, all the prismatic colors. Two specimens thus prepared accompany the note, and present, indeed, the colors, which under certain incidences of light, are very vivid and very exact. M. Letillois had thought that he could procure for this invention the approbation of the Academy, by communicating his process to a single commissioner, whom he designates, and who, moreover, should preserve the secret. The rules of the Academy did not permit it to accede to a demand made under such conditions.”— Academy of Sciences, July 21, 1851.
We also learn with satisfaction that a substance has been invented that will indelibly fix the colored images (on the silver plate) of M. Niepce de St. Victor. Mr. Brady will undoubtedly bring this new discovery home with him, on his return from Paris, where he now is, we understand.”]

BY COUNTRY: USA: 1851.
Wanderer. “The Perigrinations of a Daguerrean. No. 2.” PHOTOGRAPHIC ART JOURNAL 2:5 (Nov. 1851): 270-271. [“No. 2: South, Oct 15, 1851.” (Commentary about people and events observed while working a travelling daguerreotype operation throughout North Carolina area.) “South, October 15th., 1851. H. Hunt Snellinq, Esq., Dear Sir:—”Our” postmasters Laving kindly forwarded your journal very gradually, I Lave at last received the June, July, August and September numbers safely. My movements are so devious and eccentrical that possibly the generally not very particularly obliging officials are in a manner somewhat excusable for not forwarding letters, magazines, &c., to where they know me to le. An anomalous compliment is all I can extend to them on this occasion, but when I receive your October number in February next, I shall be able to afford something more pointed. We left Mount Airy ” a long time ago,” and gliding past the corpse of Kockford (awaiting resuscitation by the navigation of the Yadkin), entered the little town of Jonesville, where we did a business quite as extensive as the place, and thence passed on to Wilkesboro where we were well entertained by a time-honored Virginian host, whilst doing a pretty good business considering the tastes of the people. Thence to several small towns and at last reached Lenoire, C. H., where everybody i< everybodys’ friend, and strangers are ” taken in and did for” in the kindest manner imaginable, if not more so. Towns vary in character and disposition as much as individuals. There are affable, disagreeable, friendly, unfriendly, ill-natured, good-humored, crabbed, sour, pleasant, piggish, polite, and all sorts of towns, as there are all kinds of people. Now Lenoire is a species of supernaturally polite, refined, liberal, courteous and friendly town. It patronizes everything and everybody that travels, from a superlatively asthrnatical hand-organ to the great and glorious ” Grand National American Circus,” and things of a kindred nature, discriminating between the ” utile et dulce” with a soundness and nicety of judgment perfectly wonderful to behold. As for the good-nature of the town, it is utterly impossible to do it ample justice in mere words. In the exuberance of its amiable benevolence it is so accustomed to saying yes, that it has entirely forgotten how to utter the negative, and in the redundancy of its great-hearted liberality it will continue to say yes until a most vivid state of fio-ativeness forces the conviction upon your mind that ” promises, like piecrusts, are made to be broken.” Lenuire is like no other town in general characteristics, but is precisely, in one particular, particularly like all other towns. I mean its ” boys of a larger growth” are given to practice the self-same tricks peculiar to all boys all over the world and to idle away their time, as good-for-nothing juveniles will always strive to kill the ancient. The Lenoire boys will be boys in fact, and as they can take no exception to this assertion I will leave them while we are on good terms, only inditing the addendum that there is no better town than Lenoire in all the country of the Hottentots, nor is there a set of finer boys nowhere. Taking an indescribably affectionate and almost heartrending leave of our good friends, the merchant princes and eminent professionals of the ever to be lauded Court House of Lenoire, we branched off to various places and several besides, until we got a focus upon Asheville, in the renowned county of Buncombe. Here we met with something refreshing and, I regret to say, something unusual to traveling daguerreans. As we entered the reception room of the Eagle Hotel (the best house in Asheville, kept by Dr. Boyd, formerly of the Charleston Hotel, S. C.,) our attention was at once drawn to a frame filled with beautiful specimens of our exquisite art, and attached to it the card of T. H. Smiley, Daguerrean Artist. After the usual renovation of our persons internally and externally we called up at the ” New York Store” and found Mr. Smiley operating in an excellent room “upstairs.” And finding in the person of Mr. Smiley a truly artistical and very gentlemanly and worthy Daguerrean I am sure we found that which is not often met with in the interior country. With what a gusto did we surround the table and pore over his elegant and numerous specimens of art. We could almost believe ourselves to be, | for the time being, Aladinized over the mountains and up into the magnificent Ealoon and sky-light gallery of a Brady, a Morand, a Harrison, or a Hale, so perfect was the illusion whilst gazing with deep interest and admiration upon the handy work of genius and taste. The tone, the execution, and finish of Mr. Smiley’s pictures are extraordinary, considering the many disadvantages traveling artists are constantly laboring under, and to convince you that I am speaking only ” the words of soberness and truth,” I herewith send you a specimen. But in criticising this likeness, I wish you to understand that Mr. Smiley does not consider it artistically a first rate specimen. Indeed, he has taken several far better while we have been sojourning here; but, you are acquainted with the original of the one sent, and can better judge by it of its merits. Mr. Smiley is of opinion that it is not quite deeply shaded enough to suit the New York artists, and perhaps not heavily enough to satisfy the requirements of a correct artistic taste. I send you this that you and others interested may see how well one who feels a pride in his profession and works for a name, can do. Good prices for good work is the rule Mr. Smiley works by, and be never deviates from it for the consideration of a few dollars. In this connection let me say that the public have paid dearly for their experience in the article of likenesses; but now their purchase is made; they have paid their dollar to ‘* dabsters,” and sometimes their dollar-and-a-half for invisible pictures daubed into existence, and they now feel when an artist exhibits his work, how sorely they have suffered. It is indeed most gratifying to meet with gentlemen who are an honor and an ornament to the profession, among hundreds, whom, I regret to say it to any, would disgrace an apprenticeship to a hod carrier. The Daguerrean atmosphere needs purifying, and let the ” National Photographic Society” be the thunder and lightning that will dispel the noxious and foated vapors so widely spread over the length and breadth of the land. Argus eyed and Briarius armed, it could see and reach as it were, from Maine to Louisiana, and from Florida to Oregon, and criticising the meritorious work of the true artist, as well as the ‘”botches” of ” dabsters,” it could extend to the former their elegant diplomas, and to the latter their leathern medals. In this way the public might at once know the worthy by their legitimate parchments, and the unworthy by their hog’s-hide honors, or nothing. Let the Society be the ordeal through which each Daguerrean as a man, and his work as an artist, shall have passed current before he goes into the world as the true coin of the ” National” mint. That the announcement made by Mr. Hill relative to his professed discovery is operating to the great disadvantage of traveling artists is now beyond a doubt in the minds of all with whom I have conversed upon the subject. It is to be sincerely hoped that Mr. Hill, for his own good name, as well as for the sake of the thousands whom he has deeply injured, and is injuring daily, will adopt the very fair and democratic proposition made by Mr. Anthony, or one ‘equally as impartial, by means of which he will be enabled to give to the world the result of his experiments. A Daguerrean, expressing himself very bitterly upon this subject, recently said to me that ” all the ‘ colors’ Mr. Hill would ever show would be a ground of Mack, with the white skull and cross bones.” Mr. Hill has subjected himself to such remarks, and he should know that they are made, and that right frequently too. Let him ” show his colors,” and redeem his name. The process can be sold for conditional notes, to the amount required by Mr. Hill. There is no excuse or justification any longer to be urged in reason by Mr. Hill, which can satisfy the public. To leave a subject which Mr. Hill’s conduct has made odious, I should like to relate an adventure or two, in which my fiiynd Mr. Johnson and myself figured prominently, and somewhat unpleasantly to ourselves, but the dawning page admonishes me to be brief, and I must defer the ” bile” story, ‘* long and short sweetnin’,” &c., until my next, Yours truly, Wanderer.”]

ORGANIZATIONS: USA: NEW YORK STATE DAGUERREAN ASSOCIATION: 1851.
Denny, C. B. “Official Report of the Proceedings of the New York State Daguerrean Association, Nov. 11th, 1851.” PHOTOGRAPHIC ART JOURNAL 2:5 (Nov. 1851): 298-300. [“The Association met at M. B. Brady’s rooms at half past 7 o’clock, P. M. The Secretary being absent Mr. C. B. Denny was appointed Secretary, pro. tern. The roll being called, Messrs. Metealf, Turner, Benedict, Higgins, Parsons, De Reimer, Nichols, Frost, Wcstcott, Johnson, Everitt, Beach, Johnson, Goddard, Whitney, Merritt, McDonel, and Fairchild were found absent.
The Committee on By-Laws reported and presented a code of By-Laws for the consideration of the Association, which were received and the Committee discharged.
Resolved, That when we adjourn, we adjourn to meet on Thursday evening next, for the purpose of taking up the By-Laws by sections, for their adoption.
The Committee on Design for Certificate of Membership, reported in part, and were continued.
The Committee on Chemistry, presented a very able report, which was received, entered on file, and the Committee discharged.
The Committee to solicit subscriptions to erect a Monument to the Memory of Daguerre, reported in part, and were continued.
The Committee on Light, reported progress.
Mr. G. N. Barnard, from the Committee on Position, presented a report, which was received, entered on file, and the Committee discharged.
Resolved, That a vote of thanks be presented Mr. G.N. Barnard for the able report presented by him.
Resolved, That a telegraphic communication be sent to the Rec. Secretary, requesting him to forward the Constitution, Minutes, and funds in his possession, addressed to the President.
Resolved, That a Committee of three be appointed to propose a plan to be adopted by this Association for the purpose of establishing a National Daguerrean Gallery of Design.
The President appointed Messrs. P. Haas, Tomlinson, and Weston.
Resolved, That the President be added to the above Committee.
Resolved, That the National Convention be called to meet to-morrow morning at 10 o’clock, at Mr. E. Anthony’s Rooms.
Resolved, That a committee of three be appointed to notify the Daguerrean Artists in this city, of the convention.
The President appointed Mr. F. J. Clark, Mr. J. P. Weston, and Mr. C. B. Denny.
Resolved, That we adjourn to meet at the Room of Mr. E. Anthony, No. 308 Broadway. A. Morand, Pres. C. B. Denny, Sec’y pro. tcm. New York, Nov. 13th, 1851.
The Association met pursuant to adjournment. The minutes of the last meeting were read and approved.
Resolved, That the By-Laws be read again by the Secretary.
The By-Laws were then adopted as read, except the blanks.
Resolved, That the blank in Art. 2, Sec. 1st, be filled, to read as follows:—At the city or place designated at the previous meeting.
Resolved, That the Secretary be instructed to fill those blanks in the By-Laws, which refer to Articles in the Constitution.
A report from Mr. D. McDonell, a member of the committee on light,was read, accepted and the committee discharged.
A communication was received from Mr. McDonell, of Buffalo, which was read, received, and entered on file.
The committee to propose a plan to establish a National Daguerrean Gallery of Design, reported progress.
Resolved, That each member of this Association be required to present at the next meeting, a Daguerreotype of their own production for the benefit, and to be the property of the Association.
Resolved, That a committee of three be appointed to attend to printing the Constitution and By-Laws.
The President appointed Messrs. Barnard, Weston, and J. M. Clark.
Resolved, That the committee be instructed to procure one thousand copies of the Constitution and By-Laws.
Resolved, That a committee of three be appointed on Daguerrean Chemistry, and report at the next meeting.
Mr. D. S. Heffron, P. Haas, and D. D. T. Davie, were appointed the above committee.
Resolved, That a committee of three be appointed on Light.
The Chair appointed Messrs. Barnard, Sisson, and F. J. Clark.
Resolved, That a committee of three be appointed on Artistic composition.
The Chair appointed Messrs. Weston, Sillick, and G. Harrison.
Resolved, that Mr. S. D. Humphrey be requested to make a statement of his information in relation to Mr. Hill’s alledged discovery of taking Daguerreotypes in Natural colors.
Resolved, that a committee of three be appointed to report upon the Philosophy of Daguerreotyping.
The President appointed Messrs. Sillick, Snelling and Nichols.
Resolved, that when we adjourn we adjourn to meet at Rochester.
Mr. Humphrey then gave a very interesting statement of his information in regard to the Hillotypes, and read extracts from correspondence between Mr. Hill and himself, which were listened to with great attention by all the members present.
Mr. Humphrey remarked that the information in regard to Mr. Hill’s discovery had extended throughout the whole world and that he had presented a claim for a discovery which he had not substantiated.
Mr. Hill sustains a good character at home. Nine months ago Mr. Hill announced he had made a discovery for taking Daguerreotypes in natural colors, termed Hillotypes; that he had then a large number of perfect specimens true to a tint; one in particular in which was a red house, beautiful sky, green foliage, and every color in its proper locality, true to a tint. That he had no difficulty in making the ” singular compound,” could make it as often as he pleased, and yet he showed him pictures on which he said he was experimenting for red. Nine months after he announced his discovery he says, a single grain more than is necessary to produce one color causes a predominance of that color over the plate, and that he never made a partial failure; either made a total failure or a splendid picture; he saw no splendid pictures, and refers to those seen by the President; did not doubt until he saw the productions. Never had any pecuniary offer from Mr. Hill, and did not insert one-fifth of his letters, as they were discretionary. He saw no picture from life, none made by the camera, and none of the originals from which tha pictures he showed him were taken. Never doubted Mr. Hill’s statement until he saw his productions. Went to his house at his own request, in which he said he would convince him he had all he said he had. Mr H. has plenty of time to teach pupils at fifty dollars per head, and no time to finish his experiments. He now has pupils. Mr. Hill said he showed him only imperfect impressions; insisted upon seeing perfect specimens or the originals from which the pictures he showed him were taken. he refused to take a Daguerreotype copy of a Hillotype of Mr. H. which he asserted he possessed. he fully believed that Mr. Hill has now lost the secret of compounding the “singular compound,” if he ever possessed it. Read several of Mr. Hill’s letters which were quite conflicting in their statements.
Resolved, that a committee of three be appointed to wait upon Mr. Hill, and obtain from him all possible information in regard to his discovery of taking Heliographic pictures in their natural colors, and report in two weeks from this date in the N. Y. Tribune, Daily Times, and Herald. The President appointed Messrs. Davie, J. M. Clark and Tomlinson.
Resolved, that a vote of thanks be presented to Mr. M. B. Brady for the use of Rooms for holding the meetings of this association.
Resolved, that we adjourn. A. Morand, Pres. C. B. Denny. Sec. pro. tem. “]

HILL, LEVI L. (1816-1865) (USA)
“Gossip. Report of the Committee Appointed by the New York State Daguerrean Association, To Investigate the Present State of the Hillotype, &c, &c.” PHOTOGRAPHIC ART JOURNAL 2:5 (Nov. 1851): 313-320. [“At a meeting of the New York State Daguerrean Association, held at Mr. Brady’s Gallery, in the city of New York on the 12th inst., among other interesting topics the alleged discovery of Mr. L. L. Hill, with respect to his ability in taking daguerreotypes in colors, was discussed; and from the many conflicting circumstances brought before the Association for investigation, it was finally voted that a committee of three members of the Association should visit Mr. Hill at his residence at Westkill, Greene Co., N. Y., for the purpose of hearing Mr. Hill’s explanations, and to receive such evidence as might have reference to this subject generally. The Committee to whom this business was entrusted, believing that the object of the Association was a fair, impartial and final decision as to the alleged discovery, beg leave, before proceeding with the immediate business of their report, to state that nearly a year has elapsed since Mr. L. L. Hill announced his discovery of a process for daguerreotyping all the natural colors; that the results furnished inexpressively beautiful copies of nature; that a red house with snow in the landscape, and other views of nature, were perfectly transferred to plates in all the hues of life and reality. The public journals announced many other wonders of a similar character, and the interest arising from the announcement of such a discovery has pervaded not only the minds of artists, but those of a large portion of the public. The Daguerrean art languished, in the expected presence of the new light which was to break over its diminished glory. Daguerrean artists awaited the fulfillment of Mr. Hill’s promises. Day passed after day, and month after month, without any visible evidence of the fruits of the alleged discovery, except in the patient watchfulness of the artists, who expected so much and who have reason, as we fear, to expect so little. Your Committee have taken pains to inquire into the rumors and reports which have had reference to the alleged discovery, not only with respect to Mr. Hill’s conduct since the announcement of his discovery, but also with respect to the pictures which he is said to have produced. They have found no evidence to satisfy them that any person has seen any picture colored by any process, new to the scientific world, at the hands of Mr. Hill. On the contrary, they are of opinion that the pictures in colors which have been exhibited by Mr. Hill are mere transfers of colored prints, and that they have been in no case transfers of copies from nature; in sifting the rumors connected with this part of the subject, a variety of facts, also, have presented themselves, which show that however profitable to Mr. Hill, may have been the means of keeping the public mind awake to the importance of the alleged discovery, the general result has been disastrous not only to the Daguerrean art itself, but, individually to the professors of it. However anxious your Committee may be to favor Mr. Hill as far as charity can do it, the public good seems to demand an acknowledgment of the fact that Mr. Hill appears to be realizing, or to have already realized a handsome income from his publications, and from the pupils, who have been induced by his vaunted discovery to place themselves under his tuition, in the eager hope of seeing those colored pictures, of which they know no more than that “the frames have been ordered.” Your Committee may believe that where there is smoke there may have been fire—but they are not fully persuaded that where there are frames, new and extraordinary pictures, colored like life and nature, are sure to present themselves. Happy will be the pupil in the vale at Westkill, who shall have his rosy-colored dreams fully realized. Your Committee on the 13th instant, called on Mr. Hill at his residence, at a late hour in the evening, and were cordially received. The purpose of the visit was distinctly and clearly made known, and Mr. Hill was fully advised that your Committee would report on the interview, and investigations made by them. Mr. Hill replied that he was prepared; that he had perfected his discovery; that he had taken advice, and that there was no necessity for further delay. This was quite satisfactory for the first interview. The next morning a second visit to Mr. Hill’s residence was made by your Committee, who were unable to ascertain that any new or useful discovery has been made. Mr. Hill declined exhibiting any pictures, giving as reasons that they had been misrepresented, and produced unfavorable impressions when they had been shown, and that the process would be discovered if they were inspected by practical Daguerrean. In an interview which lasted several hours, there appeared nothing in the least degree favorable to the assumed discovery, and very little that would induce men of sound judgment to employ their time in discourse with such a discoverer. Discrepancies and eccentricities of thought predominated over any wholesome and practical course of ideas, and, taken together with the many circumstances which have been discussed in the circle of the art, (in which the supernatural origin of the discovery should not be forgotten,) your Committee have come to the conclusion that Mr. L. L. Hill, has not only deluded many Professors of the Daguerrean Art, but that he has deluded himself thoroughly and completely—that the origin of the discovery was a delusion—that the assumed progress and improvement of it was a delusion —and that the only thought respecting it, in which there is no delusion, is for every one to abandon any possible faith in Mr. Hill’s abilities to produce natural colors in Daguerreotypes—of which the whole history has been an unmitigated delusion. D. D. T. Davie, Utica, N. Y., John M. Clark, New York, Wm. A. Tomlinson, Troy, N. Y., A. Morand, N. Y., Gabriel Harrison, N. Y. New York, Nov. 18, 1851.]

HILL, LEVI L.
“Gossip.” PHOTOGRAPHIC ART JOURNAL 2:5 (Nov. 1851): 320. [“—We understand, just as we are going to press, that one of the Philadelphia papers—not having seen it we are unable to give its name—has published an article of a most caustic and libelous nature upon the Committee appointed by the New York State Daguerrean Association to visit Mr. Hill, examine papers and report upon the truth of the alleged discovery of taking Daguerreotypes in their natural colors. We also understand that in the course of its remarks it says that the meeting from which this Committee emanated was got up by Mr. Brady of New York, for the purpose of gaining notoriety and custom, and otherwise attacks him in a most scandalous manner. Now, as Mr. Brady is absent from the city, and has been for the last four or five months, we consider it our duty to exculpate him from this cowardly, unwarranted and libelous attack. We have no doubt that if Mr. Brady had been in New York at the time of the meeting of the Daguerrean Association he would have taken an active part in its proceedings; but that this meeting was got up by him for the purpose indicated is a deliberate falsehood, and whoever penned the article in question must have known it to be such, and had it inserted in a literary sewer for the express purpose of injuring Mr. Brady’s business; perhaps with the frail hope that his own— if he is a daguerreotypist—might be benefitted. If this—as has been suggested to us—is the case, we have not words of abhorrence and censure sufficient to depict his true character. If the editor of the paper inserted the article on his own responsibility all we can say to him is, that, if he or his paper has the smallest particle of respect or influence in the community where it is printed, he may be assured Mr. Brady will insist upon the only reparation a gentleman can lawfully obtain, so soon as he returns from Europe, where he now is for the benefit of his health. We fear, however, that both the paper and the editor are too insignificant to be noticed by a gentleman, and we feel that we are polluting our Journal by alluding to the falsifier at all, and we should not do so if the attack had not been made on an absent friend, who is unable to defend himself in the manner we have mentioned. In regard to the Committee we will say— for the satisfaction of those most interested in the question at issue—that it was composed of five of the best and most respectable Daguerreotypists in the country, three of whom were personal friends of Mr. Hill. The other two were entirely unknown to him, and he to them, except by public reputation. From the evidence placed before them we do not see how they could have decided otherwise. If Mr. Hill does not entirely vindicate himself in regard to the matter—and we most sincerely and devoutly hope he may be able to do so—we shall hereafter lay the whole evidence presented to the Committee before the public.”]

BY COUNTRY: USA: 1852.
“Gossip.” PHOTOGRAPHIC ART JOURNAL 3:2 (Feb. 1852): 125-132. [Discussion on improvements in the field; letter from George P. Hansen (Chicago, IL); Poem “The Husband’s Daguerreotype,” by M. M. B.; Hesler (Galena, IL); Electro-Photography by Aubree, Millet & Leborgne (FR); W. J. Read (London); W. A. Allen & Brother opening a gallery on Broadway; Warren (Lowell, MA); Brady in Europe; A. Bogardus (NYC); Lawrence; L. L. Hill controversy.]

BRADY, MATHEW B. (1823-1896) (USA).
“Gossip.” PHOTOGRAPHIC ART JOURNAL 3:2 (Feb. 1852): 130. [“Brady is still in Europe, gradually improving in health, and we may expect shortly to have him with us again. We understand that he contemplates opening a gallery in London. If so a fortune is before him, for he is not unknown to fame in England. His pictures have gone there before him and secured the admiration of all who have seen them.”]

HARRISON, GABRIEL. (1817-1902) (USA)
Harrison, Gabriel. “The Dignity of Our Art.” PHOTOGRAPHIC ART JOURNAL 3:4 (Apr. 1852): 230-232. [“Every art and every science have had their votaries, consecrating themselves to the great worth, and the peculiar beauties existing in them. Art has had its Fulton, Science its Newton, and Daguerreotyping its Daguerre, and with the latter, the morning of the new art dawned with a light as pure, as brilliant and far penetrating into the chaste and beautiful as ever radiated on earth from the old arts or sciences, and it is undeniable that it is intimately connected both with pure art and science, so much so, that it seems to set a seal upon the age of its discovery; as the sun itself marks the heavens, telling us in language strong as its own brightness, I am Lord of the day, and yet how few there are either in or out of the profession, who properly estimate its great importance. In fact, there are those connected with the art, who refuse to read a journal devoted to the science of the art, on the ground, that, because they understand the simple manipulation of daguerreotyping, there is nothing more for them to learn — good fortune save the profession from any more such philosophical gentry, for, in my opinion, they have not enough of the intellectual to discern the difference between a hawk and a hand-saw — that it requires the taste of an artist to be an operator of any merit, is conclusive from the decision, that all it creates is precisely that which every true artist desires to accomplish, the nearest resemblance to nature, or most faithful representation of the object to be portrayed. The painter draws with his pencil, while the daguerrean draws with the camera, and each instrument in unartistic hands will undoubtedly produce abortions; for if the painter is without the knowledge of th.3 general rules of perspective we may expect faulty productions with their distorted proportions and bad lines, no matter how good the coloring may be or how effective the arrangement of lights and shades, and it will be disagreeable to look upon. The same rule holds good in daguerreotyping, as the correctness and pleasing lines depends entirely on the proper position of the camera towards the object to be taken, and it is from this fact, that we have so many complaints of daguerreotypes not looking like the person for whom they are taken. Operators seem to forget the immense distance to which the figure is thrown by means of the construction of the lens, also of the curvature of the glasses and the reflection of the image on a flat surface — the ultimatum looked for in a daguerreotype of a person is a strong likeness, and the proper position of the camera for such a result is to have the centre of the lens precisely opposite to the centre of the face at the same time taking care to have the position of the head as near plumb as possible, and if the glasses are purely achromatic the proper degree of reach and field, the likeness must be perfect. For instance, place the centre of the lens as high as the top of the head, and so as to get the face to come into its proper place on the plate by pitching the tube downward; and, behold, the imperfect likeness that will be produced; the top side of the lens beyond the centre being nearest to the forehead, that part of the face will undoubtedly be the largest and most disproportional to the nose, mouth, and chin. In taking a full length figure, to obtain good drawings or good proportions of the whole, the same rule must be observed, by placing the tube opposite to the centre of the body; but, in such a case, it would not be prudent, for in so doing, we get a full view of the nostrils, which is not a very pleasant feature; therefore, it would not be advisable to sacrifice a beauty in the face to any other part of the body, for it is with this as it is with many other things, ” of the two evils choose the least.” Beside inaccuracy of drawing to those who have pictures taken for the sake of the likeness, is far less observant in the body than it would be in the face. Another evidence of the relativeness of photography to pure art is, that the operator must observe all of the identical rules necessary for the production of a work of merit that a painter or sculptor would follow to secure graceful position, proper distribution and degree of light and shade, also tone of picture, arrangement of drapery, &c. As to daguerreotyping partaking strongly of science, who dares to deny it, if they understand any part of the art or the definition of the word, which means ” a collection of general principles on any subject, as a branch of knowledge depending on speculative principles rather than on practice,” for you may be a daguerrean for fifty years, and there will hardly be a week in that whole space of time but what something will turn up in your operations eluding all your philosophy and years of experience. For one moment look at the thousand chemical freaks under the influence of atmospheric changes, the chemical action of colors differing in degree of tint on the plate, in proportion to the peculiar powers of the fabric for absorption and refraction of light. A hundred other things could be mentioned, and, in fact, it is a perfect world of science, and you cannot look upon anything in nature without being reminded of some peculiar and beautiful result if daguerreotyped; even the small blade of grass, the little yellow butter-cup that in genial spring spaogles o’er and makes more lovely the face of nature; the blue jay that sports in endless space; the umber colored eagle that makes his course against the blazing sun as if it were his natural home and the nestling of his young. In taking this view of the art, — and beyond all doubt, it is the just one — it is not surprising that there should be so many in the profession so little calculated to carry it on with that taste and dignity that its thousand meritorious parts demand. What we mean by the dignity of the art, ii that pride and appreciation of it which the proper class of men who properly estimate the many beauties existing therein will make apparent, causing the public to look upon it with a higher estimate than that of merely requiring on the part of the operator nothing more by way of qualification, than the mere capacity to drive a nail into a board or place a lamp under the mercury bath. There must be a cause for the introduction of persons so unworthy the profession, and the parasite should be cut and rooted from the vitals of the new being before the sickly fibres entwine themselves too closely, causing decay and premature death to the discovery that has placed upon the brow of the discoverer a never-fad ng wreath. The first cause that has had the tendency to destroy the high position which photography should hold, is the fact of the very low price asked to communicate the art to others, so low that the lowest are always in possession of sufficient means to obtain instruction, and an ignoramus can be taught the manipulation in six hours, and will, perhaps, occasionally by accident produce a fine picture or two, thereby making for himself something of a reputation, as the individual will take great care to have always in his pocket the identical and only good picture he ever produced to hawk about as a sample of work equal to that of our best artists; Brady, Morand, Gurney, Root, Whipple and others. This then being one of the great causes that keeps the art from its proper elevation in the minds of the people or persons of letters. It now behooves those in the art, and who really know something of its merits, to put up immediately the price for instruction, to that standard which will demand the attention of men of capital, talents and respectability and that will hereafter encircle the new discovery with that tons and dignity to which it is rightly entitled. A specimen of some of the men now engaged in the art, may be gathered from the following advertisement which is cut from the New York Herald of the 5th of February, 1S52:
“Wanted, Fifty young men to learn the Art of Daguerreotyping. Instructions given in a few days, and a whole set of apparatus furnished for fifty dollars. Direct, 4 Broadway Post Office,’ will meet with immediate attention.”
This was some poor creature, undoubtedly, who knew very little about the art, and who was on his last legs in consequence, and thus made his last dive at Daguerreotyping;, and we will venture to say, he jumped higher, went deeper, and came out dryer, than any other man who has ever had anything to do with what such men elegantly term “Dog-a-ror-typing.” However, I am sorry to say, that this Sam Patch of the art does not stand alone, he has a fit competitor in an operator of this city, who told me but a few weeks since, that he was going to “advertise for a class of one hundred persons to whom he would give instructions for Five Dollars per head.” I gave him my opinion of such a transaction in round terms, and I believe he had sufficient of moral suasion in him to deter him from his intended dishonorable course. The matter does not end with these last instances. A great error exists at the present time in some of our first establishments in Broadway; men, who, if they choose, could be ornaments to society, and be looked upon as men of art and science, if they conducted their operating departments in a proper manner, by having the right sort of men for operators, and paying a sufficient salary that would induce men of artistic taste to embark in the profession, and not take their illiterate plate cleaners, whenever a rush of business occurs, from their work-bench, and in shirt-sleeves attempt to take a picture of a lady in a room beautifully furnished with Brussels carpets and marble top-tables, as has frequently been the case under my own observation during the few months past. We have heard of falls from the sublime to the absurd, but a better illustration of the respectable and the vulgar could not be given. Such conduct is disgusting, and its practice is the principal cause for my dedicating these few feeble lines to the Daguerreotypists of our beautiful art; with the hope that what I have said on the subject will be thought to have been actuated by a kindly feeling, to correct an abuse, which will in the end wound those the most who practise it; rather than with a disposition to find fault with those who might be an ornament to the profession and help to keep it in its own natural sphere, the very centre of the noonday sun.”]

ORGANIZATIONS: USA: NEW YORK STATE DAGUERREAN ASSOCIATION: 1852.
“New York State Daguerrean Association.” PHOTOGRAPHIC ART JOURNAL 3:5 (May 1852): 303-305. [“As this Association met on the first Tuesday of this month we have endeavored to collect a few facts in relation to its history which we shall embody in our present article. The idea of a Photographic Association may be said to have entered the minds of several gentlemen at the same moment, but owing to a mistaken conclusion that the attempt to form one would meet with decided opposition on the part of the majority of daguerreotypists, none were found bold enough, at first, to give the idea a tangible form. It was during this state of affairs that the daguerreotypists of Utica resolved to organize themselves into a Society for their mutual benefit and improvement in the art. Among the most active in this organization were Messrs. D. D. T. Davie and J. M. Clark, of Utica, Sissons of Albany, and Whitney and Denny of Rochester. In the fall of 1848, Mr. Davie took a broader and more comprehensive view of the principle, and spent much of his time and money in visiting and conversing with daguerreotypists in New York, Albany, Syracuse, Rochester and Buffalo, and many with whom he conversed on the subject promised their hearty co-operation. Others opposed the measure on the ground that daguerreotypists generally were such a selfish and ignorant class of men, that it would be an impossibility to get them sufficiently interested in the matter to sustain an Association. In a majority of these cases the very men who put forward the argument might be classed among those they thus censured. In the fall of 1850, Mr. Davie made a visit to New York city for the express purpose of ascertaining the views of daguerreotypists in this city on the measure, and he had the satisfaction of finding that Messrs. Brady, Lawrence, Haas, Morand, Beckers & Piard and Harrison, were strongly in favor of the movement and desirous of seeing it accomplished, but unwilling to take the first steps. This apparent lukewarmness we know to have been caused by a fear of being considered too forward and assuming a position that might be deemed arrogant. They preferred that those who had already agitated the subject should be the prime movers. There was some feeling, however, of jealousy, on the part of others favorable to the movement, who very unjustly supposed that the active part taken by Mr. Davie was merely dictated by ambitious motives towards the presidential chair. If such was Mr. Davie’s ambition it was a noble one; one that should have actuated every breast, and would have done honor to all who entertained it, and therefore should not be a cause of censure. Mr. Davie was, however, perfectly willing to submit to the will of the majority, and we think his subsequent course proves this, for although he was not elected its first president he has not abated one particle in his enthusiasm and interest for the Association. He returned home fully convinced that some movement must be made, and that, as no one else seemed willing to take the responsibility he determined to do so himself. He therefore drew up a call for a convention of daguerreotypists to be held at Syracuse, and obtained the signatures of a large number of artists in western New York, of whom we can only remember the following — and we regret our inability to remember all, as they well deserve to have their names recorded here, to be held up as a noble class in their art, and we shall be happy to correct this list at any time:
D. D. T. Davie, of Utica.
F. J. Clark, of Utica.
D. B. Johnson, of Utica.
Geer & Benedict, of Syracuse.
J. M Clark, of Syracuse.
B. F. Higgins, of Syracuse.
C. B. Denny, of Rochester.
E. T. Whitney, of Rochester.
Sherwood & Parsons, of Auburn.
G. N. Barnard, of Oswego.
L. V. Griffin, of Geneva.
O. B. Evans, of Buffalo.
N. E. Sissons, of Albany.
These gentlemen, with a number of others, about thirty, met .in pursuance of the call at Syracuse on the 12th of July, 1851, when the following proceedings were had
“E. T. Whitney, of Rochester, was elected Chairman, and C. B. Denny, of Rochester, F. J. Clark, of Utica, and B. L. Higgins, of Syracuse, were appointed Secretaries. Remarks were made by D. D. T. Davie, of Utica, P. H. Benedict, of Syracuse, and G. N. Barnard, of Oswego, stating the object of the Convention to be a union of thought, action, sentiment, a uniform standard of prices, and to devise means to elevate this beautiful art in which we are engaged. Received a communication from H. H. Snelling, editor of the Photographic Art-Journal, which was read by the Chairman.
“Resolved, On motion, That a committee be appointed to draft resolutions to be presented to this Convention.
“The Chairman appointed D. D T. Davie, of Utica, G. N. Barnard, of Oswego, P. H. Benedict of Syracuse, L. V. Griffin, of Geneseo, as such committee.
“After a short time, the committee presented the following preamble and resolutions, which were unanimously adopted:
“Whereas, the Daguerreotype likeness, when properly executed, is more faithful to nature than any other style of portraits; and whereas, many imposters are flooding our country with caricatures at a much less price than a good picture can be afforded for, thereby not only robbing their patrons, but degrading this most beautiful art, and what is still worse those who are competent to practice the art successfully — those who would improve and go on from one improvement to another until the last victory was achieved; and whereas, these men are held in poverty and disparagement by the mere catchpennies who hold themselves up to the world as artists, when they are not — And whereas the increased demand for the best miniatures that can be taken calls for a fair compensation for the same, in order that operators maybe encouraged to use still greater effort in trying to excel in this most beautiful art. Therefore—
Resolved, That we form an association, to be called The New York State Photographic Association.
Resolved, That a committee be appointed to draft a Constitution and By-Laws to be reported at an adjourned meeting to be held at Utica the 20th day of August, 1851.
Resolved, that we do all in our power for the advancement of the art, aid each other in the study of the same, and bury forever all feelings of envy and jealousy which have hitherto existed.
Resolved, That we discountenance operators giving instructions to any but those whose natural talents and moral standing qualify them for successfully practicing the art.
Resolved, That we believe it to be the interest of all respectable operators to join this Association, and that we earnestly solicit all lovers of the art throughout the State to co-operate with us in our efforts to advance and retain for the art the highest state of perfection.
The convention then appointed M. A. Root, of New York, D. D. T. Davie, of Utica, and O. B. Evans, of Buffalo, a committee to draft a constitution and bylaws to be presented at the next meeting. The minutes were then read and adopted.
Resolved, That the Photographic Art Journal, the Daguerrean Journal, and all editors who feel desirous of forwarding our object, be respectfully requested to publish the proceedings of this Convention. (Signed) E. T. Whitney, Chairman. C. B. Denny, F. J. Clark,
Secretaries. B. F. Higgins.)
It was thought expedient, by those present at this meeting, not to organize an association at that time, in order that all the New York City Daguerreotypists might have an opportunity of taking part in the noble work, particularly as it was understood that few in that city had seen the call, it having been published in the country papers only. The convention, therefore adjourned to meet in Utica on the 20th of August following, In the interim every exertion was made by the friends of the measure to call out a free expression on the subject, and create a healthy interest on the part of all daguerreotypists. Here again they were met by jealous dispositions and a movement for a separate organization was made by some of the New York artists. This movement, although it did not have the desired effect, was managed in such a manner that it turned for a time many well disposed towards the Utica convention to itself, and its real meaning was so apparent that it created considerable ill feeling between the country and city Daguerreotypists. This happily was but momentary, and when the convention met on the 20th of August, the City of New Yo k was fairly represented by Messrs. Haas, Morand. Selleck, and Turner, and we trust all animosities were there bui d, as the proceedings were conducted with the most perfect harmony and good will. The acts of this convention and the subsequent proceedings of the Association we have already laid before our readers. It now remains for the daguerreotypists of the State of New York to say whether or not the Association shall be sustained and its usefulness made fully apparent. There is much that has been left undone in its past career, and much to be done for the future. We think that two meetings a year are not sufficient to keep up that interest which it demands, but as daguerreotypists are too much scattered over the state to make monthly meetings feasible we would recommend quarterly meetings at a central point, for debate or lectures, and that — for the benefit of those who cannot attend — a suitable phonographist be employed to take down these debates for publication, that those at a distance may be benefitted by them. We would also suggest the propriety of the members of the Association in each city or town, meeting occasionally for the same purpose and transmitting to the president of the Association copies of their proceedings to be read at the regular meetings and for publication. Where the towns are small and contain but one or two artists, several from the nearest towns might assemble at the most central point and form themselves into a subordinate Society. In this way a constant interest will be kept up throughout the state and a much greater amount of usefulness will be accomplished than in any other way.”]

BY COUNTRY: USA: 1852.
“Gossip.” PHOTOGRAPHIC ART JOURNAL 3:5 (May 1852): 317-324. [Subscribe to the Journal; Brady returned from Europe; Philip Morand opened rooms on Broadway (NYC); Gabriel Harrison opened gallery in Brooklyn, NY; E. C. Thompson opened gallery in Washington, D.C.; Gurney ill from mercury poisoning; D. D. T. Davie opened additional rooms in Syracuse, NY; organizing a photo society in England; Ernest Lacan, in La Lumiére on the L. L. Hill controversy; C. B. Denny; McDonell (Buffalo, NY); letter from D. D. T. Davie; letter from George N. Barnard.]

BRADY, MATHEW B. (1823-1896) (USA).
“Gossip.” PHOTOGRAPHIC ART JOURNAL 3:5 (May 1852): 320. [“Our daguerreotypists have been unusually quiet during the past month, which we attribute to the improvement in the business throughout the whole country. Mr. Brady has returned from Europe in renewed health and with a rich budget to open for the benefit of his friends.”]

HILL, LEVI L. (1816-1865) (USA)
Lacan, Earnest. “Gossip.” PHOTOGRAPHIC ART JOURNAL 3:5 (May 1852): 322. [“La Lumiere holds the following language in regard to the article we published, from the Plattsville paper, on the Hillotype. We copy it to show the feeling prevailing in Europe concerning this matter, and to convince Mr. Hill that every day added to the delay in producing perfect specimens of his alleged discovery only serves to sink him deeper in the bad opinion of his fellow men. This opinion is not confined to Europe, but is as general here. More so than he is probably aware of. Another point which fixes unfavorable impressions in regard to the discovery is, that notwithstanding his written assertions that the interests of all respectable daguerreotypists should be consulted in the distribution of the rights to use the discovery, he is now negotiating with many who have no claims of this kind for the sale of town and city rights, while such men as Brady, Haas, Gurney, Whipple, McClees, and others, of our very first operators, are apparently discarded. Another reason unfavorable to Mr. Hill is the assertion of the men who claim to have secured rights, that these rights give them the exclusive use of the invention for the town or city in which they are located; which, if true, at once stamps falsehood upon the written words of Mr. Hill himself. La Lumiere says: —
“What bad spirits could have inspired all the wicked things we have written lately about the Rev. Mr. Hill? God help us! We have attached without pity the name of buffoon and a crowd of other epithets as malevolent to the rival of Franklin, Fulton, &c; we have treated irreverently a benefactor of mankind, and we now confess it, that it is now cried aloud by all the world that we are the enemies of the holy man; — for most assuredly he is a holy man, and we should have been convinced of this before by the pious style of his letters, and it is now clear to us that all the money that he will make with so laudable a perseverance and such great skill will be undoubtedly devoted to works of benevolence. It is not he, but it is the poor of New York who will reap the benefit of 200,000 francs secured by the sale of six editions of his book; and we have dared to reproach him! This is the conclusion (or the language) our clear seeing editor should have held after reading that portion of the article of which we have given the translation; the remainder is a repetition of what has already been said. Now, when he issues a prospectus for a sixth edition of his book we will be better able to applaud, for it will be required to solace humanity! We will say, however, that the last phrase — so edifying — of the article in question, (from the Plattsville Advocate,) and which has appeared in all the prospectuses and letters of the Rev. gentleman, induces us to believe that Mr. Hill himself is the author of it. What remarkable philanthropy! Dare then, still to demand proofs of his discovery! Earnest Lacan.”]
BY COUNTRY: USA: 1852.
“Gossip.” PHOTOGRAPHIC ART JOURNAL 3:6 (June 1852): 380-384, plus 2 pages following 384. 2 illus. [Caution against unscrupulous practitioners; commentary on formation of British photographic society; Brady promises to write an account of his trip to Europe; A. Hesler; J. A. Whipple, paper photographs; Allen’s “Union Head Rest;” Webster & Brother attacks Whipple for patenting the crayon daguerreotype process; Anthony’s prize pitcher award announced; two engravings of the Prize Pitcher following the announcement.]

BRADY, MATHEW B. (1823-1896) (USA).
“Gossip.” PHOTOGRAPHIC ART JOURNAL 3:6 (June 1852): 383. [“Our readers may look for a rich and racy account of Mr. Brady’s visit to Europe, from his own pen, in our next number. Mr. Brady had promised its commencement for this number, but he was unable, from a press of business, to prepare it in time. Mr. Brady spent several months in different parts of Europe, visited all the notorieties in the daguerrean art, and is prepared to open a very entertaining budget for the benefit of our readers.”]

BY COUNTRY: USA: 1852.
“Gossip.” PHOTOGRAPHIC ART JOURNAL 4:4 (Oct. 1852): 254-260. [“Considerable of a revolution is now taking place in the daguerrean art — particularly among the New York artists — caused by the introduction of the stereoscope. Like almost every improvement, this had to run the gauntlet of fears and speculations, distrust and hyper-criticisms, blind opposition and ignorant prejudices, and we were very nearly despairing of ever seeing it adopted.
We are indebted .to Mr. O. Peters for its introduction to the New York public, and it was not until he had demonstrated its practical application to the daguerreotype, and its wonderful and beautiful effects that others mustered sufficient courage to adopt it; in fact it is within three or four weeks that Messrs. Brady, Gurney and Beckers & Piard have followed him. As we anticipated, it has given a new impulse to the business, and much enquiry has been elicited from daguerreans, as to the most practicable method of taking Stereoscopic pictures. It is unnecessary for us, at this time, to trace the history of the stereoscope as we have in former numbers given as full an account of its discovery by Professor Wheatstone, its use and peculiarities, as can possibly be written. We shall therefore confine ourselves to a brief description of the methods of taking daguerreotypes for them.
The best and most economical is to use two cameras, having precisely the same focal distance, placed side by side, and at equal distance from the sitter. It is necessary that a slight difference of position in the model should exist upon the daguerreotype plate in order that a perfect roundness may result from the action of the stereoscope, and this difference is obtained by the variation of perspective caused by the slight divergnce of the line of vision through the lenses from the sitters; in other words, the rays of light proceeding from the object to be copied diverge towards each camera, and form the images upon the spectrums precisely alike except in the perspective one being foreshortened. An idea of this slight difference in perspective is given on page 176, vol. III, of this Journal. The plates are prepared precisely in the same way that they are for ordinary daguerreotypes and may be enclosed in a case in the same manner, substituting a double opening mat for the single. The most elegant form of the stereoscope is figured on page 175, vol.III, of this Journal, but a more compact instrument, in the form of a case is made and sold by dealers in daguerreotype materials, which reduces the price to a mere nominal sum. These, however, are subjected to several objections, the principal of which is in the construction of the glasses, the simple convex lens being used, instead of the stereoscopic or meniscus, which from their very nature must detract from the beauty and solidity of effect given by the latter. With the majority they will, however, become the most popular as very little consideration is given to beauty and perfection where the pockets are concerned, even where the difference of fifty cents only occurs. What a comment upon the tastes of the people is the dialogue which often occurs between buyer and seller somewhat after this style.
“What is the price of a daguerreotype in this style?”
“One dollar and fifty cents, sir,” — a ninth or medium as the case may be.
“And what for one in this?” (p. 254)
“Fifty cents.”
“Oh! well, take one of me for fifty cents; its good enough. ” And sometimes the addition is made; “its only for a friend.”
But to return to our subject. Stereoscopic daguerreotypes may be taken with a single camera, by having two stands, and changing the camera from one to the other; or the sitter may be placed upon a revolving platform and the difference in perspective obtained by slightly changing the position of the sitter. But these two methods are subject to serious objections and great inconvenience. In order to practice either, the operator must have a most accurate eye for distance, both mathematically and artistically, as well as a perfect knowledge of the rules of drawing. Otherwise he will be apt to produce variations that will entirely destroy the effect intended to be produced. Mr. W. A. Allen is constructing a stand, an engraving and description of which we shall give in a future number, admirably calculated to obviate the difficulty now experienced by using two. These stands are intended to accompany Mr. C. C. Harrison’s Stereoscopic cameras, which are undoubtedly the best made for the purpose.
The Stereoscope has been ranked by scientific men as one of the most wonderful of modern discoveries, and its effects are indeed most wonderful. ” With the aid of this instrument we have the means of transmitting to posterity the exact image of all that is physically remarkable in the present day, at least so much as can be appreciated by the sense of vision.” A new era has dawned upon the art of Daguerre which can only be surpassed by a successful termination to the Hillotype. The two combined will then be the very acme of daguerrean perfection. Then shall we have before us life-like images of our relatives and friends as perfect in all, except the power to move and talk, as the original.
———
— The New York State Daguerrean Association met pursuant to adjournment at Mr. Brady’s Gallery in the city of New York on the evening of the second Wednesday of this month, but the attendance was so small that nothing more was done than the reception of the following valedictory address by the President.
Gentlemen of the New York State Daguerrean Association: — I may be permitted to congratulate you on the circumstances and period of our present meeting.
But little more than a year has elapsed since our first organization, and yet we perceive that encouraging progress has been made in the objects we have undertaken to promote.
It ought not to be considered a small circumstance that we have fairly made a beginning. Beginnings are usually difficult, and, in our case, a beginning seemed to be surrounded with peculiar difficulties.
So rapidly had our profession sprung into existence, so divergent were the habits and associations of its members, and especially so prevalent were unworthy and groundless fears and jealousies, that at first thought it seemed almost impossible to unite in any general and effective association.
Already some artists, many of whom are deservedly distinguished for their skill and their philanthrophy have become practically enlisted in its objects, and we may safely presume that numerous others are prepared to enrol themselves on our list.
We already see a higher and nobler purpose cherished among many who perhaps adopted the profession merely as a means of livelihood. We have two able Journals, “The Photographic Art-Journal,” and “Humphrey’s Journal,” enthusiastically devoted to the promotion of our art, and one gentleman, E. Anthony, Esq., has proposed a munificient premium for degrees of success yet to be attained.
Let us now, gentlemen, place before us these general objects of co-operation and ejfort; — (p. 255) First, the advancement of the Photographic Art by a laudable and by a tireless devotion to improvement.
Second, the creation of an esprit du corps among ourselves, and
Third, an elevation of the daguerrean profession into the rank of Arts.
The satisfactory accomplishment of objects so great as these will not be the work of a day, and we must, therefore, enter upon our enterprise with a determination to persevere even in the face of difficulties.
That our profession should be elevated and honored as one of the Arts and no longer regarded as a species of slight of hand, might be easily demonstrated.
Neither sculpture nor painting requires so much of science, whatever may be said of genius. And while other arts are scarcely now any more advanced than they were scores, perhaps hundreds of years ago, ours is advancing with every new discovery and keeping pace with the most rapid march of human knowledge and power.
The chief thing now, that is wanted among us as a profession is that enlightened self-respect that will secure the respect and honor of the community.
I need hardly say that this can never be attained while any considerable portion of us yield to low principles of selfishness and seek to advance personal interests by a sacrifice of morality, as, for example, by Sabbath profanation.
If we would be respected among men we must take a high and honorable position; a position that will bear the sunlight and will not shrink from virtuous observation.
Circumstances, gentlemen, do not permit detail in my remarks; I will, therefore, in conclusion, say, that the motives which should urge us to high and honorable motives in behalf of our profession are numerous and mighty.
I trust that we have all suitable aspirations for our own fame.
We must also remember, that with ours, will be associated the names of our friends and families after us; but independent of ourselves and of our interests, we should aim to become public benefactors.
Was not the discovery of photography hailed throughout the world as a wonder and a triumph before unsurpassed by human skill? The wonder is now passed away, but hundreds of thousands of our fellow-beings are now actually possessing the cherished and tangible fruits of that discovery.
As art and time shall advance, millions more are yet to participate in the sweet and refined pleasures of an art which copies nature as no other art can do.
Indeed, so far from being content merely to place photography in the honorable rank of arts, we should aim to make it first and foremost among them. Nothing short of this is the proper destiny of the daguerrean profession.
While painting and sculpture are only to be seen in galleries, museums, and places of public rendezvous, our productions find their way to the million firesides of the nation and are made to rejoice under the smiles of genial hope and of pure affection.
While these reflections are pleasing, we may also aim at public results and at galleries also, which for variety and beauty, shall rival all those of the chisel and the pencil.
Let us then make ” onward and upward” our motto, and ever seek for progress under the blessing of Him whose power made the light and whose favor giveth life.
A. Morand.
The Association then adjourned until December, to meet at Utica, when the officers will be elected for the ensuing year.
We regret exceedingly that we have to record the fact that so few were in attendance at this meeting, as to prevent acts of importance from being past; but we have no doubt as to the cause. The daguerreotype business has been unusually active throughout the country this fall, and as a large majority of the artists have no assistants in their galleries whom they could leave in charge, they have undoubtedly found it impossible to remain so long away as it would necessarily require to come to New York. We trust, however, that the meeting at Utica in December will redeem the character of the Association.
While on this subject, we will subjoin (p. 256) the following letter, as it breathes the right spirit and is in perfect accordance with our views.
To the Editor of the Pho. Art Journal:
Mr. H. H. Snelling — Sir; I see by a notice in the last Journal that the N. Y. State Daguerrean Association is to convene in your city, Oct. 6th. I have watched the progress and reports of these meetings with much interest for two reasons; first, hoping that much good might result from associated effort, and that a friendly interchange of views and a fraternal reciprocity would help to do away with that selfishness, which has been too predominant among daguerreans; a selfishness as characteristic of the profession as of inventors of quack medicines and cure-all-receipts. Honorable exceptions there are, however, to these charges, which a generous charity demands us to allow, exceptions which I have happily witnessed, and for which I have felt grateful.
Secondly, I have been anxious to know whether female operators are to share its friendship and receive of its benefits. From the silence maintained on the subject, I have inferred that we were not cordially welcomed into the fraternity, that we were either not considered competent to perform the labor with honor to the profession or were stepping beyond our appropriate sphere and practising an innovation; I am not disposed to reiterate the claim to equality of the sexes so often made the theme of remark in these days of progression; but if the above be the case, I would simply ask if female talent and genius have not been sufficiently developed to warrant the idea that the intricacies of the art, and its perplexities may not be overcome by the quick perceptions and patient perseverance of the female mind. A quickness of apprehension and a ready judgment are necessary requisites, and does woman fail in these? Has she not a love for the beautiful equally as strong, also as good taste for artistic arrangement? What though she may not have threaded the analytical mazes of chemistry, can she not judge of cause and effect so far as her knowledge has extended. Does the host of daguerreans who are traversing the country understand the science perfectly; many of whom will curl the lip with contempt at the idea of a lady taking daguerreotypes. Permit me to respectfully request you, if not inappropriate, to obtain an expression of the Association on this subject, by resolution or otherwise, that I and others who are practising, may know that we have the sympathy and good wishes of wise and competent minds. If it be a lucrative employment may we not share in its profits? if an honorable profession may we not try to win its laurels? If it be an art designed to elevate and inspire the mind with a love of the beautiful and an admiration of the great source of all wisdom and beauty, the fountains of light, who can more readily appreciate it, than the cultivated and refined sensibilities of woman? Yours. &c.
Marcelia W. Barnes.
Our fair correspondent is right, and we will venture to answer for it, that she is as fully entitled to the benefits of the Association as any member of the profession. There is no clause in the Constitution or By-laws that debars any lady daguerrean from membership; on the contrary, we know that the liberal members — they are all so — of the Association desire the countenance and assistance of the female portion of our daguerreans. Our correspondent has only to observe the form for admission as laid down in the By-laws to become, we feel sure, a Member of the N. Y. State Daguerrean Association.
———
— It was our intention to present our readers this month with an engraving of the elegant silver pitcher and goblets which Mr. Anthony has offered as a prize for the best daguerreotype taken previous to the first of November, 1853. There appears still to be some misconception as to the nature of the offer and the disposition of the daguerreotypes after awarding the prize. The prize was offered for the best whole plate daguerreotype, taken by a whole plate camera. Pictures taken by a double whole size camera, no matter by whom or how excellent, will be excluded by the (p. 257) judges, if sent in. All pictures if desired will be returned to the artist who took them.
Since Mr. Anthony first announced his determination to award this prize, he has most liberally concluded to add a second prize of a pair of beautiful Goblets — an engraving of which will be given with the pitcher — for the second best picture. In awarding the prizes the characters of the judges are sufficient guarantee against impartiality, but in order that there may not be the shadow of an excuse for such an accusation, the regulations for sending in the daguerreotypes are such that they will not know by whom they are taken until after their decision is given.
We are at liberty to announce the following gentlemen as competitors.
J. Gurney, of New York City, N. Y. A. Hesler, of Galena, 111. W. A. Perry, of Mobile, Ala. Whitney & Denny, of Rochester, N. Y. P.M. Cary, of Savannah, Ga. V. L. Richardson, of Zanesville, Ohio. John A. Whipple, of Boston, Mass. Harrison & Hill, of Brooklyn, N. Y. Meade & Bro. of New York City, N. Y. J. H. Fitz Gibbon, of St. Louis, Mo. D. D. T. Davie, of Utica, N. Y. G. N. Barnard, of Oswego, N. Y.

ORGANIZATIONS: USA: NEW YORK STATE DAGUERREAN ASSOCIATION: 1852.
“Gossip: The New York State Daguerrean Association.” PHOTOGRAPHIC ART JOURNAL 4:4 (Oct. 1852): 255-256. [“The New York State Daguerrean Association met pursuant to adjournment at Mr. Brady’s Gallery in the city of New York on the evening of the second Wednesday of this month, but the attendance was so small that nothing more was done than the reception of the following valedictory address by the President.
Gentlemen of the New York State Daguerrean Association: — I may be permitted to congratulate you on the circumstances and period of our present meeting.
But little more than a year has elapsed since our first organization, and yet we perceive that encouraging progress has been made in the objects we have undertaken to promote.
It ought not to be considered a small circumstance that we have fairly made a beginning. Beginnings are usually difficult, and, in our case, a beginning seemed to be surrounded with peculiar difficulties.
So rapidly had our profession sprung into existence, so divergent were the habits and associations of its members, and especially so prevalent were unworthy and groundless fears and jealousies, that at first thought it seemed almost impossible to unite in any general and effective association.
Already some artists, many of whom are deservedly distinguished for their skill and their philanthrophy have become practically enlisted in its objects, and we may safely presume that numerous others are prepared to enrol themselves on our list.
We already see a higher and nobler purpose cherished among many who perhaps adopted the profession merely as a means of livelihood. We have two able Journals, u The Photographic Art-Journal,” and Humphrey’s Journal, enthusiastically devoted to the promotion of our art, and one gentleman, E. Anthony, Esq., has proposed a munificient premium for degrees of success yet to be attained.
Let us now, gentlemen, place before us these general objects of co-operation and effort; — (p. 255) First, the advancement of the Photographic Art by a laudable and by a tireless devotion to improvement.
Second, the creation of an esprit du corps among ourselves, and
Third, an elevation of the daguerrean profession into the rank of Arts.
The satisfactory accomplishment of objects so great as these will not be the work of a day, and we must, therefore, enter upon our enterprise with a determination to persevere even in the face of difficulties.
That our profession should be elevated and honored as one of the Arts and no longer regarded as a species of slight of hand, might be easily demonstrated.
Neither sculpture nor painting requires so much of science, whatever may be said of genius. And while other arts are scarcely now any more advanced than they were scores, perhaps hundreds of years ago, ours is advancing with every new discovery and keeping pace with the most rapid march of human knowledge and power.
The chief thing now, that is wanted among us as a profession is that enlightened self-respect that will secure the respect and honor of the community.
I need hardly say that this can never be attained while any considerable portion of us yield to low principles of selfishness and seek to advance personal interests by a sacrifice of morality, as, for example, by Sabbath profanation.
If we would be respected among men we must take a high and honorable position; a position that will bear the sunlight and will not shrink from virtuous observation.
Circumstances, gentlemen, do not permit detail in my remarks; I will, therefore, in conclusion, say, that the motives which should urge us to high and honorable motives in behalf of our profession are numerous and mighty.
I trust that we have all suitable aspirations for our own fame.
We must also remember, that with ours, will be csiDciated the names of our friends and families after us; but independent of ourselves and of our interests, we should aim to become public benefactors.
Was not the discovery of photography hailed throughout the world as a wonder and a triumph before unsurpassed by human skill? The wonder is now passed away, but hundreds of thousands of our fellow-beings are now actually possessing the cherished and tangible fruits of that discovery.
As art and time shall advance, millions more are yet to participate in the sweet and refined pleasures of an art which copies nature as no other art can do.
Indeed, so far from being content merely to place photography in the honorable rank of arts, we should aim to make it first and foremost among them. Nothing short of this is the proper destiny of the daguerrean profession.
While painting and sculpture are only to be seen in galleries, museums, and places of public rendezvous, our productions find their way to the million firesides of the nation and are made to rejoice under the smiles of genial hope and of pure affection.
While these reflections are pleasing, we may also aim at public results and at galleries also, which for variety and beauty, shall rival all those of the chisel and the pencil.
Let us then make ” onward and upward” our motto, and ever seek for progress under the blessing of Him whose power made the light and whose favor giveth life.
A. Morand.
The Association then adjourned until December, to meet at Utica, when the officers will be elected for the ensuing year.
We regret exceedingly that we have to record the fact that so few were in attendance at this meeting, as to prevent acts of importance from being past; but we have no doubt as to the cause. The da. guerreotype business has been unusually active throughout the country this fall, and as a large majority of the artists have no assistants in their galleries whom they could leave in charge, they have undoubtedly found it impossible to remain so long away as it would necessarily require to come to New York. We trust, however, that the meeting at Utica in December will redeem the character of the Association.” (p. 256)]

EXHIBITIONS. 1852. NEW YORK. AMERICAN INSTITUTE FAIR.
B. “Daguerreotypes at the Fair.” PHOTOGRAPHIC ART JOURNAL 4:4 (Oct. 1852): 258-260. [“As we have not had time to visit the fair of the American institute, we engaged a gentleman well calculated to judge of the daguerreotypes there exhibited, to inspect and give us his impressions in regard to them.
He has sent us the following:—
Daguerreotypes at the Fair.
Mr. Snelling—Dear Sir,—Having paid several visits to the Fair at Castle Garden, I am induced to note down for the Photographic Art-Journal a few remarks concerning the various specimens on exhibition by the Daguerrean Artists. There are not as many competitors for the prize this year as in former years, still the specimens exhibited evince much taste and skill, and plainly show that our art is constantly progressing. The pictures by Mr. Root who received the highest premium last year, are not any improvement on those which were exhibited at that time; indeed many of them are the same, which should not necessarily be the case, for the Art is certainly capable of great variety—we see the same beautiful conception of the old Arm Chair, which of itself is well worthy of credit—we should have been pleased to have seen also with this another, or more than one of this same class of pictures. Mr. Gurney has some specimens which reflect great credit on his skill and are such as will command the mede of praise from all the brethren of the Art, especially those of the largest size or double whole plate portraits; and if we mistake not, he will bear the palm of superiority this year at the final decision. The Brothers Meade, have greatly improved their style of pictures during the past year, and have placed themselves in the front rank of the profession; not only by their skill displayed in their arrangement of position, &c, but in their exquisite finish attained in the preparation of the plate, which is by far the most important feature of a good daguerreotype. They have also some new styles of shading, which they seem pleased to call “Rembrandt style.” They are, of themselves worthy of favorable notice; and, although their customers may not be inclined to purchase such pictures, still they are varieties of the art, and tend to show the versatility of a true daguerrean artist. There will be a close competition, as indeed their [sic there] should be, between such artists as the Messrs. Meades and Mr. Gurney. Each show their own peculiar style, and those that may be pleased with one may not be so with the other—thereby awarding to both the merit of pleasing all. In close proximity to Mr. Root’s pictures, we observe some excellent specimens by Mr. Holmes of views taken at Greenwood. They are of themselves works of art, depicting the double art of sculpture and the art of Daguerre; appealing also to the finer emotions of the heart—which is indeed true of all art—and bringing to our view the last resting-place of our near and dear friends. How appropriate then for us to possess copies of monuments which are so well executed by Mr. Holmes. Mr. Insley has also a frame containing some peculiar specimens of the art. They are mostly executed with light backgrounds having the shadings very heavy—and show much skill in manipulating to produce such results. They are, consequently, pleasing specimens of the art. Passing along the upper gallery we observe some well executed daguerreotypes of Messrs. Brinkerhoff & Co., who, although they have not long been engaged in the business, nevertheless evince much skill, and show themselves masters of the art by the exhibition of some on the double whole size plate. Their style, however, is quite different from others—and that is a peculiar feature of this art; that each artist can display his pictures, and there will be such a marked difference, that to the eye of one acquainted with the various styles they each may be designated at a glance. We observe also some specimens of photography by Mr. Holt, which are, perhaps, equal to any before of this style, known as Talbotypes or paper pictures. Still they are not such as please the public taste. The fact that all these pictures taken on paper, require so much retouching by the hand of the painter will never recommend them to those who value the faithfulness of a daguerreotype. These specimens of Mr. Holt are not any improvement on those exhibited by Messrs. Langenheim a few years ago, if indeed, they are so well executed, and we all know, that he was unable with all his facilities to enlist the energies of the daguerrean fraternity in the prosecution of that peculiar style of pictures. And such we fear will be the result of those who are striving to excel in this branch of the art. There is a field sufficiently wide in the daguerreotype itself to enlist all our energies, and there are many untrodden paths yet where those who persevere may excel, for the highest excellence is not yet attained in many of the beautiful processes known to our art. In connexion with this peculiar art we may mention the style known as “daguerreotypes in oil” on exhibition by Mr. Butler. They are indeed very fair specimens of small cabinet portraits in oil. But as far as being daguerreotypes with all the faithfulness so peculiar to them they are no more to be compared to them, than a rushlight is to the noon-day sun, from which our beautiful productions emanate. Their whole beauty and truthfulness is destroyed by entirely covering the expression, as indeed the whole plate is painted over by the hands of the artist. There are a few others who have specimens, and such as would recommend themselves only to those who may want a very cheap daguerreotype. Of these, we have no word of praise nor indeed of censure. Their style is also peculiar as well as their price—and, graduated according to it, they are not indeed worth much more. There are some other artists who should not withhold their specimens from the Fair who have in former years been foremost in the field, and we trust that such names as Brady and Lawrence and Beckers may figure more conspicuously in the Fair to be held next May at Reservoir Square.—Yours, &c. B.
Since the above was written we have learned that Mr. Gurney has taken the gold medal prize of the American Institute.”]

BY COUNTRY. USA. 1852.
“Gossip.” PHOTOGRAPHIC ART JOURNAL 4:6 (Dec. 1852): 381-384. [“Two years have now rolled away since the appearance of the first number of the Photographic Art-Journal, and during that time more discoveries — nearly all of them of the highest importance — have been made in the art of photography than during any former period. At that time, the daguerrean process was the all-absorbing question of interest — the hopeful and sanguine, the sensible man and the learned, looked forward to important improvements, while the vulgar and ignorant pronounced it perfect, and incapable of further modifications. The former have had their desires, in a measure, verified, while the latter, too self-satisfied, and egotistical to seek for the instructions of their superiors, are still plodding along in the old beaten track, and making as miserable abortions now as six years ago.
But a new era has dawned upon photography. The paper processes have been brought to such a degree of excellence, that the minds, not only of our daguerreans but of the public, are turned to them with a degree of attention of the most absorbing nature. A large number of our first artists have already commenced the practice of the art, and many others are making enquiries preparatory to entering the field We anticipated this result months ago. The ruinously low prices to which daguerreotypes have fallen, and the horde of men, wholly incapable of appreciating the excellence or beauty of the process, or of judging of the quality of their work 5 has made it a matter of self-defence on the part of the really talented and artistic operators to turn their attention to that branch of the photographic art which precludes the possibility of being affected in like manner by such a class of men, for as it requires far more talent and scientific knowledge, it is almost a moral impossibility for such harpies to understand, much more practice it, and the chances are, that those who can succeed in paper manipulation, will obtain both fair remunerative prices, and greater celebrity.
To review thoroughly the many improvements in the photographic art which have been given to the public during the last two years would occupy more space, at this time, than our publisher has allotted to us, and we shall therefore content ourselves with glancing at some of the most important of the discoveries and applications of Evrard, Le Gray, Renard, Macaire, Becquerel, Niepce, Hunt, Archer, Whipple, and Hill, which stand foremost. The exertions and self-sacrificing industry of these men, in the art, have been the means of giving to the world (we must except Mr. Hill, for he has not yet given to the world anything but “self-satisfied” assurances, pamphlets and certificates) processes which must eventually work wonders not only in photography, but in the fine arts generally.
The paper processes, of Evrard, Le Gray, Renard, Becquerel, and other Franch philosophers, are more or less modifications of the same principles, but these various modifications are in themselves highly important to the full development of the art, and to give that pleasing variety of tone and finish which is necessary to an avoidance’ of that monotony so repugnant to good taste, harmony and natural effect. (p. 381)
From all accounts, however, it appear to have been reserved to Mr. Archer and Dr. Wood of England to make the greatest discovery yet perfected in photogenic drawing upon paper, and their collodion processes bid fair to become, not only the most successful but most popular of any yet invented — until such times as the Heliocromatype and Hillotype are brought to the same degree of success.
In the daguerreotype art we have the wonderful discoveries of M. Macaire of France, and Mr. Hill, of our own country, neither of whom, however, have, as yet, seen fit to make their inventions public. They have, notwithstanding, been the all absorbing source of conversation and argument for the last eighteen months, with all who are interested in the art.
The crystalotype of Mr. Whipple of Boston, also bids fair to become an important acquisition. The results of the process, that we have seen, are very good, and we are pleased to see that it lias been adopted by several who have entered the field of paper manipulation. This invention has been patented by Mr. Whipple, and the process may he obtained by application to him.
We must not forget two or three discoveries added to the daguerreotype process by Messrs. Dorat, Hesler and Hunter, for cleaning the plate. It is true they do not partake of that greatness which appertains to some of those before mentioned, but they are really intrinsicly valuable to the daguerrean artist, and will effect all that is claimed for them, which every one, who is conversant with the cleaning operation, would acknowledge, were they to try the experiment. Another invention of the same class by another of our artists, we can recommend as very useful, particularly to those operators who meet with so many failures — we allude to “Wood’s Gilding Dissolvent, which enables the operator to clean a plate, that has been gilded, as effectualty as a new one.
“That photography is destined to work a great revolution in the world of art” is becoming more and more evident every day. Among its wonders is its application to lithography and wood engraving. M. V. Prevost has recently arrived in New York from Paris, accredited by M. M. Lerebours and Le Grey, for the purpose of pursuing their recent discoveries of taking photographs upon lithographic stones, and printing from them, and of also taking them upon wood for engravers. Processes of this nature were discovered four or five years ago, but not sufficiently perfect for practical use. We now understand, from M. Prevost, that this desideratum has been accomplished, and that he will shortly be enabled to exhibit some of his pictures printed from stones photographed by himself. He is fitting up a room in this city for the purpose.
———
— As we expected, Mr. Hill has — by by his last publication — injured himself exceedingly in the estimation of the daguerrean public. Men who were his staunch friends previously have become agrieved, and we will venture to say without fear of contradiction, that there is scarcely an artist in Boston, New York, or Philadelphia, who has not lost confidence in him and his alledged discovery. An obstinate self-will, and a foolish ambition, is only worthy of such a state of feeling. The most liberal offers-^we may say the most magnificent that ever were proposed to man — have been made to him, and, notwithstanding his continual whine about poverty, he refuses. And why? Simply because it is his desire to perfect the discovery himself — an ambitious wish certainly, and one which under some circumstances would do him credit — but he must be aware, as well as many who know him well, that he is not, (p. 382) scientifically, competent to the task of perfecting an accidental discovery such as the one he has made, for that it was an accidental one we have had from his own lips, his assertions in print to the contrary, notwithstanding. We will admit that no one has a right to oblige Mr. Hill to make his discovery known, and we defy him to point to an individual who has attempted to do so. But has Mr. Hill a right to jeopardize the business of thousands of his fellowmen in order to gratify a foolish ambition? Is not this treating them as enemies rather than as friends? A colonel, at the head of his regiment, is allowed the privilege of slaying as many men as he possibly can to gain possession of a fort, and gratify his ambition for promotion and renown, because it is for the good of the state to which he belongs, and those he kills are its and his enemies, but is Mr. Hill willing to submit his chances of reputation and renown upon the same principle? Suppose the colonel should turn traitor, flee to the enemy, and by the most daring acts of bravery destroy the fortifications of his countrymen, would his success meet — even among his new allies— with that distinguished fame which he sought? He has sacrificed his friends and his country to a foolish ambition — probably for no other reason than that it was by them justifiably curbed— and in consequence receives their most violent execrations. In this light do we say stands Mr. Hill at the present moment. He has only to read the communication in the present number, from one of the first operators in this city, and one who has always been his friend, to judge of the correctness of our views. This communication is published with the sanction not only of very many New York operators, but of two of those whose certificates he lately published in the N. Y. Times and in his pamphlet, and which we copied into our Journal. Other communications of similar character from other daguerreans may find a place in our columns.
We should like to ask if there ever was a more absurd or tyrannical demand made upon the credulity or fears of man than that exhibited in the following extract, clipped from Mr. Hill’s last circular. After requesting the daguerrean artists to buy his chemicals, and a new edition of his book at $2 per copy, he winds up thus: —
” — Those who have the old edition, can easily dispose of one or more copies of the new to pupils or otherwise.
” — I ask you to do me the favor to send your orders immediately, that I may know how many to print. The work will be ready for mailing, on or before the first of January next.
” — Here are my proposals. I promise nothing; unless it is to adhere to my original pledge not to suffer monopoly, and to place the name of each patron upon a Book, as a first applicant* [* What has become of his first book of this kind, and of the men whose names are therein recorded?] for a right, subject of course, to any future detailed plan. Your patronage shall give you no claim upon my invention, and you shall trust to my honor to fulfil the above intimation in a reasonable and liberal way. If I am out soon, you shall be fair in your concessions to any reasonable plan; if I am delayed you shall not grumble; and if I die, you shall not trouble my ashes.
” — The attention of Stock Dealers is respectfully solicited to the above proposals. A deduction of 10 per cent, from the above rates, is all I can afford.
” — All communications should be addressed to me — Westkill, Greene Co., N. Y.
Respectfully and fraternally yours,
L. L. HILL.”
Very respectful indeed!
———
— We understand from reliable authority that some individual by the name of Harrison has lent his name to be placed upon cameras to be manufactured by a new firm in this city, whose sense of moral, obligation must be considerably clouded by the hope of gain. This can only be done for the purpose of deceiving daguerreotypists into the belief that they are made by (p. 383) C. C. Harrison, the celebrated manufacturer, of the same, city, and we caution our friends to be on their guard in their purchases of this necessary article. They must remember that the genuine Harrison cameras have his full initials “C. C. Harrison” engraved upon them, with a number, which will enable them to detect fraud
Very readily.
———
—As several additions have been made to the list of competitors for the Anthony Prize Pitcher and Goblets we again publish it.
J. Gurney, New York city,
A. Hesler, of Galena, Ill.,
W. A. Perry, of Mobile, Ala,,
Whitney & Denny, of Rochester, N. Y.
P. M. Cary, of Savannah,
Geo. V. L. Richardson, of Nashville, Tenn.
J. A. Whipple, of Boston, Mass.
Harrison & Hill, of Brooklyn, L.I.
Meade & Brother, of New York city,
J H. Fitz Gibbon, of St. Louis, Mo.
D. D. T. Davie, of Utlca, N. Y.
G. N. Barnard, of Oswego,
A. Morand, of New York city,
R. B. Appleby, of Rochester, N. Y.
E. A. Stansbury, of Brooklyn, L. I.
S. Rea, of Indianapolis, Ind.
M. B. Brady, of New York city,
M. A. Root, of Philadelphia,
M’Clees & German, of Philadelphia,

BY COUNTRY. USA. 1853.
“Gossip.” PHOTOGRAPHIC ART JOURNAL 5:1 (Jan. 1853): 67. [“Messrs. Brady, Gurney, Lawrence, and Beckers & Piard are all engaged in fitting up new and beautiful galleries in New York, and enlarging their facilities to meet the increasing demand upon their skill. M. A. Root, is furnishing an extensive establishment in Washington city. Mr. W. R. King has returned from England, to purchase a complete apparatus with which he designs astonishing the people of the mother country.

HILL, LEVI L. (1816-1865) (USA)
“Gossip.” PHOTOGRAPHIC ART JOURNAL 5:3 (Mar. 1853): 191-193. [“— We have been told that it has been asserted by Mr. Hill that we sought his favor, and that “he could produce letters from us that would silence the course we have taken in regard to his discovery. If this gossip is true we are sorry that Mr. Hill should think for a moment that he could intimidate us by such a threat. We are not aware that we have ever written a line that would compromise us to any measure, and we will venture to say that if he will publish any of our letters to him without takiug the same liberty with them that he did with some published among his certificates, nothing will be found contained therein to convict us of “shuffling” or that will cause us to “regret the conduct we have pursued.” To show the advances were first made by Mr. Hill himself to obtain our cooperation in his proceedings, we take the liberty of publishing the following letter, which under any other circumstances we should not do. Mr. Hill has made so many remarks on this subject .and commented so severely—and with such injustice—that we feel obliged in self-vindication to make it public. We have not the least unkind feeling towards Mr. Hill, as we have said before very often, and if he still continues to consider us his “enemy” we cannot help it. There is not a move we would not make, consistent with our conscience, to assist him in his trouble, but, as we have never denied him the right to say what he pleases in regard to us, so long as he does not injure our moral character or influence, we will not yield ours as a journalist to comment on his course as we please. It will be seen by this letter that we had good grounds for some of our remarks— and we have more letters of the same stamp—particularly our assertion that he was under moral obligations to make no contracts, of a speculative or monopolizing character. Notwithstanding this obligation, we know that he has positively entered into written contracts—in one instance—for a whole state, we are told, and we can produce the proof. With this fact staring us in the face, what reliance can be placed upon other assertions. In our enthusiasm for the great discovery, and the hope still fluctuating with fear, we have written on the subject of the Hillotype. We sincerely hoped—because our heart desired its consummation—that Mr. Hill would succeed in perfecting his process; but we feared his limited knowledge of chemistry—for he certainly cannot consider himself a great philosopher—would prevent that most devoutly to be wished disideratum, and not desiring to crush his endeavors or to weaken his hold on the sympathy of the public we did not speak our mind fully. For this leniency what have we received? Sly thrusts that in a measure have crippled our influence; for, strange as it may appear, there are daguerreotypists who are afraid to subscribe for the Photographic Art-Journal from a supposition that by doing so they will be refused a share of Mr. Hill’s discovery. We now wish to be distinctly understood that the only difference between Mr. Hill and ourself is that he has a most enthusiastic hope that each week will bring about—in his hands—the perfection of his discovery; while we, entertaining the hope that his may be realized, doubt that he has the ability to accomplish it; and that he will at last be obliged, like Daguerre, to commit it, in its present state, to the hands of his worthy contemporaries. Before we close this subject we must speak of the system of spies entertained by Mr. Hill. We are not aware that he sanctions it, but we know there are men in his immediate interest, who prowl around among daguerreans, obtain the expression of their opinions from themselves or others, and make report to Mr. Hill in person; “in order,” as one of these wretches remarked to us not long ago, ” that Mr. Hill may know who are his enemies, and treat them accordingly.” Now, if this is honorable proceeding, we do not know what the term means. In conclusion, let us say that these remarks are made strictly in self-defence; we do not assert that all the words attributed to Mr. Hill proceeded from his own lips; he may never have entertained even the ideas put into his mouth, but as they are promulgated as his, they are as capable of doing us injury as if they actually were spoken by him. If they are not, he hag now full opportunity to disavow them. When shall we be relieved from the obligation of writing in this strain of Mr. Hill and his discovery? We sincerely regret it; then why put upon us the necessity? Daguerreans may think they are doing Mr. Hiil a service by circulating these reports and speaking harshly of us, but they only oblige us to do a disagreeable task, and the result is of no benefit to any one. Westkill, Greene Co., N. Y. April 8th, 1850. Friend Snelling—Allow me to introduce to you my friend and pastor, Rev. S. Jones. He can tell you better than I can write, the business in hand. I want, I need your co-operation, and to save time I request you to read this to Mr. Anthony and Mr. Brady. To keep myself free, (and I cannot act in any other way) I am driven to my present course. It will require some months for me to perfect my discovery. When I say this, I mean the manipulations—the 45 specimens I now have will never be surpassed. They will be appreciated at a future day. One of my principal difficulties lies in a want of pure plates. The least scum is fatal. Even an amount which would hardly be noticed in a daguerreotype prevents a result. With rottenstone, alcohol, and clean cotton I never fail—but the marks are injuriou-s—they show that I am on the track, and have no fears. Had I taken my own cou sthree months ago, I would have been far in advance,—I have been bored—not to death —but fairly out of my health, which latter has caused a loss of nearly two months. Now, my mind is fixed, I make no contracts till I am out—and, then, only such as will enable me to carry out my original design of furnishing the process to the entire respectable part of the daguerrean world, at fair rates. A few, with whom I have been intimate, say, that this step will be regarded by many a proof of humbuggery. For this, I care nothing, even if it so turns out— for “truth crushed to earth will rise again,” and what I am now doing is from honest mo’ives, and with good prospective views. I feel it a duty to write this much to you and your friends, not doubting that you will use this letter as confidential. A kindly notice in your Journal will be duly appreciated, but pray do not involve me with the sharpers. If Mr. Anthony, (and perhaps Mr. Brady) can purchase some of the books for sale without loss to themselves it will be remembered. I will furnish you with notes of my progress, after two or three weeks, if you wish. Thank you for your kindness so far, I hope to be able to make returns hereafter. Yours, in great haste, L. L. Hill.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Gossip.” PHOTOGRAPHIC ART JOURNAL 5:3 (Mar. 1853): 193. [“— Messrs. Brady and Lawrence of this city opened their new daguerrean halls on Monday, March 14. As it is too late to give a description of these openings in the present number, we shall do ample justice to them in our next.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Gossip.” PHOTOGRAPHIC ART JOURNAL 5:3 (Mar. 1853): 194. [“— We take the following just tribute from the London Art-Journal: Portraits of George Washington and Henry Clay. Engraved by A. L. Ritchie. Published by M. B. Brady & Co., New York, and Lloyd Brothers, London. These portraits may be accepted as honorable examples of the progress which art is making in the United States; they are full-length subjects, and are published separately, although we have classed them together, because executed by the same hand. The likeness of Washington is copied from Gilbert Stuart’s fine portrait, the composition and arrangement of the figure and accessories are the work of P. F. Rothernve, of Philadelphia: the print, is altogether excellent, rich and powerful in tone, and h i.limit in effect; if the shadowed parts in the background had been a little less heavily printed, this latter quality would have come out still more advantageously; the black drapery of the figure, powerful as it is, being scarcely sufficient to detach its wearer from the surrounding objects. The portrait of Henry Clay pleases us better as a whole; the countenance is remarkably demonstrative of the intellectual vigor of this distinguished American, and the attitude of the figure is firm but graceful. The engraving, if less forcible than the other, is more harmonious and generally effective. It is gratifying to find our brethren of the United States thus proceeding in the right course as regards art.”]

BRADY, MATHEW B. (1823-1896) (USA).
‘Gossip.” PHOTOGRAPHIC ART JOURNAL 5:4 (Apr. 1853): 253. [“— As we stated in our last, Mr. Brady and Mr. Lawrence have opened, each, a new and elegant suit of rooms in this city. No two establishments could be more dissimilar in their appointments, but they are both of the most beautiful description so far as furniture, painting, and taste of arrangement are capable of making them such, while the daguerreotypes displayed will challenge comparison with any in the world.”]

PHOTOGRAPHIC LITERATURE. MAGAZINES. PHOTOGRAPHIC ART JOURNAL. 1853.
“Gossip.” PHOTOGRAPHIC ART JOURNAL 5:5 (May 1853): 316-320. [“— Most of our best artists are making every preparation for the exhibition of their skill at the World’s Fair. With such names before us as Hesler, Long, Fitzgibbons, Cook, Dobyns, Von Schneideau, North, Farris, Hawkins, Meade, Webster, M’Donell, Barnard.Whitncy, Davie, Root, Brady, Lawrence, Piard, Gurney, Harrison, Stansbury, Whipple, Hale, Simons, and many others of whom we have not heard as exhibitors, there might be such a display of exquisite daguerreotypes as the world never saw. We should be pleased to obtain a complete list of all who intend exhibiting for publication and would feel obliged by having the names forwarded to us in time for our next issue.
— We take pleasure in announcing that our London publishers have effected an arrangement with Mr. A. Cundell, of that city, to assist us in the conduct of the Journal, and that his first article will probably appear in our next. Mr. Cundell has been long and favorably known in Europe, —and is so, undoubtedly, in this country, —as one of the most practical as well as scientific photographers living, and he cannot fail to enhance the value of our periodical far beyond the price at which it is afforded….”]

BY COUNTRY: USA: 1853.
“Photography in the United States.” PHOTOGRAPHIC ART JOURNAL 5:6 (June 1853): 334-341. [(From the NY Daily Tribune. This is a thorough survey of the early history of the medium in France and England, then detailing the work of L. L. Hill, Bond’s daguerreotype of the moon (Whipple not mentioned by name), the NYC galleries and the variety of services and products currently offered.) “The art of photography— more popularly known as Daguerrotyping—is brought to so great a perfection in this country, and prosecuted on a scale of such magnitude, and the different manufactures connected with it are of such importance, especially in this city, that we propose giving a few details respecting them, and also a sketch of the origin and progress of this discovery. Several designations distinguish this new art—it was originally called photography, or writing by light; afterward, the art of photogenic drawing, or drawing produced or occasioned by light; then heliography, or writing by the sun—the latter term being that used by the experimenter who first succeeded in fixing the delineations of pictures produced by light—Mons. Daguerre, whose name has originated another and the most general title by which the art is known—Daguerrotyping—a compliment to the discover which will hand his name down to the latest posterity. Although it was not until the year 1839 that Daguerre first succeeded in making a picture by the aid of the sunlight, upon a plate chemically prepared, still the idea that such an effect could be produced had been entertained as far back as early in the commencement of the eighteenth century; and memoirs on the influence of light in the crystalization of salts were published, by Petit, in 1722, by Chaptal in 1788, and by Dize in 1789. These and similar researches led to the experiments of Mr. Wedgewood, the porcelain manufacturer of Staffordshire, England, who in 1803, laid before the Royal Institution of London a memoir, entitled ” An Account of a Method of Copying Paintings upon Glass, and of Making Profiles by the Agency of Light upon Nitrate of Silver; with Observations by Sir Humphrey Davy.” A solution of nitrate of silver, spread on white paper or leather, was the photographic material employed; but the experiments eventually failed, owing solely to the want of those chemical agencies which were afterwards employed as the fixing materials. Bromine, iodine, and hyposulphite of soda, were not then discovered, and, without them, photography would still have remained where Wedgewood left it. No further investigations appear to have been made until 1814, when M. Niepce, of Chalons-sur-Saone, turned his attention to the chemical agency of light, his object being ” to fix the images of the cameraobscura;” and he discovered that by spreading bitumen on a glass or metal plate, and placing this in the camera, a dormant image was impressed on the plate in five or six Jwurs. In 1824 Daguerre commenced his researches, employing, like Wedgewood, nitrate and chloride of silver, and in 1826, he and Niepce becoming acquainted, pursued their inquiries together. In 1829, Niepce, in a letter to Daguerre, says: “The discovery which I have made consists in producing spontan;ously, by the action of the light, with gradations of tint, from black to white, the images received by the camera-obscura.” But previous to this, in 1827, Niepce had exhibited engravings, copied by means of photography, many of which are still in existence, presenting the appearance of advanced sketches, produced by means of a graver, and proving that he had already solved the problem, which had defeated all his predecessors, making his copy insensible to the subsequent and blackening rays of the sun. In 1829, Niepce and Daguerre entered into a deed of partnership, in which document the several portions of the discovery are accorded to the respective parties to the contract, and it contains the remarkable assertion that the experiments of the latter had elicited a process which reproduced images with sixty or eighty times the force of the previous mode. It is necessary to observe the words of the contract—” for the photographic copying of engravings”—for not only did he fail in producing likenesses of living objects, (for, as will be presently shown, the first successful attempt in that sphere was made in this State,) but he was unsuccessful in his attempts at producing copies from nature. In a landscape, for instance, a part of the picture was badly portrayed while another portion would be poor and inefficient, and there would be between gaps entirely destroying the effect of the whole. Daguerre at length conceived a method which he called Niepce’s plan completed, but, though an improvement, it was still far from efficient. Through a long course of observation, however, he at length saw the reason of his repeated failures, and by great perseverance and ingenuity finally so far overcame them as to bring his discovery to a practical state. Niepce died in 1833, and his interest in the invention devolved to his son; but it was not until 1839 that Daguerre had perfected his process. He then submitted it to the French Government, with a view to obtaining a compensation to enable him to make the result of his long labors public; and from a report made to the Chamber of Deputies, by the celebrated Arago, it appeared that the Commission of Inquiry were convinced of its capability to effect what its inventor claimed. A resolution was ultimately passed granting to Daguerre a pension of 6,000 francs ($1,200), and to Niepce, Jr., 4,000 fr. ($800) annually, but the former sum was finally increased to 10,000 fr. ($2,000.) But previous to the grant by the French Government, which also purchased the secret of Daguerre’s process, in their own words, ” for the glory of endowing the world of science and of art with one of the most surprising discoveries that honor their native land,” Mr. Fox Talbot, of London, published ” Some Account of the Art of Photogenic Drawing,” and still holds a contested claim, together with Mr. Wattles, of the United States, to a priority of the invention over Daguerre; but if Talbot be indeed entitled to the credit of an inventor of this beautiful art, the productions of Daguerre evince so much more perfection, that the palm of superiority must be conceded to the latter. The English invention is known by the name of the Calotype or Talbotype process, and differs from all others by the employment of paper instead of metal plates; but though many believe that, on account of its greater cheapness, it will finally supersede Daguerre’s process, we doubt whether such will be the case. The following is the contrary opinion of an eminent authority on the subject:— “As perfectly as the manipulators of the Talbotype profess to delineate an image on paper, they do not succeed so well as to preclude the ne cessity of retouching various parts of the picture with the pencil. All their art and care are incompetent to produce those well-defined, truthful and exquisite lines brought out by the daguerreotype process; while the moro rapid manipulation and greater economy of the latter will always cause it to be preferred.” Mr. Talbot also is the original introducer of the process substituting unglazed porcelain for paper. The latest discovery in this art is called the Crystalotype, invented by Mr. Whipple, of Boston. It is a method of taking scenes or likenesses upon glass and paper, so that with one picture thousands of copies may be made. Its rapidity and cheapness will no doubt make it a popular method of illustration for books; it, however, still needs to be greatly improved, especially in its representations of natural objects, as houses, trees, and landscapes. It makes everything appear flat, and its landscapes are without an atmosphere.
The Stereoscope.
But one of the most wonderful of all the discoveries connected with;the daguerrean art, is the stereoscope, a name signifying the power to show pictures of natural objects, under the form of solids, precisely as they themselves appear standing out in isolated relief. It was invented by Professor Wheatstone, of London, one of the claimants of the discovery of the magnetic telegraph, but who, nevertheless, regards the stereoscope as his best title to fame. by some means, however, its merits, if appreciated by a few, were overlooked by the public, and it was not until recently that a stereoscope introduced by Sir David Brewster received that attention which its predecessors had failed to procure. The following translation of a description by a French savan will clearly suggest its peculiar action:— “You take two designs or pictures of an object taken turn by turn, with the right eye and the left, then adjust them side by side, perpendicularly before your eye at the bottom of a little box, the imagjon the right being seen by the right eye, and that on the left by the left eye; between each eye and image you interpose a prism at such an angle or inclination as will force the two images from the right and left toward the centre….” “…The illusion is complete, and we see the person depicted standing there identically before us. It is known that pictures of natural objects are reproduced on the plates of Daguerre, the paper of Talbot, and the albuminated glass of Niepce de Saint Victor, with the same absolute exactitude that their fleeting images are pictured on the retina of the eye. When, therefore, we wish to obtain the image of a bas-relief, a statue, a landscape, or a living person, for the stereoscope, we have only to arrange before the object a binocular camera—that is, a camera furnished with object glasses of the same diameter and focal distance, and two plates of albuminated glass. This camera looks for us, and sees the object placed before it. Like a complaisant artist, it paints for us the two images with superhuman skill and perfection, and we thus obtain with ease and facility everything essential for the stereoscope. Photography, which was before only a designer of beautiful pictures in gray tint, with the incomparable pencil which the stereoscope lends to her, has now become transformed into a superhuman painter and sculptor, armed with a pencil which would have driven Raphael and Michael Angelo to despair. Photography, thus completed, and crowned by the stereoscope, is so vastly improved that the day must soon come when nearly all important photographic pictures of landscapes, monuments, portraits, &c., will ba produced double, that is, by couples, in order to their stereoscopic reproduction, in all the exact truth of living nature.” Notwithstanding this highly eulogistic description of the stereoscope, an investigation will satisfy the reader that it fully merits all the praise bestowed on it excepting only with regard to portraits. Stereoscopic portraits are frightful, giving to the individual the air of the corpse petrified and painted the color of life. But for objects of still-life, nothing could be more charming. Still, though so universally admired, the stereoscope meets with an unaccountable neglect on the part of the public, though this may be to some extent in consequence of the greater expense of pictures made by the process.
Colored Daguerreotypes.
But there is yet another difficulty to be overcome, which has hitherto baffled all the researches of the most untiring philosophers of this continent and Europe, and one which, when perfected, will add tenfold value and beauty to the art of photography. We allude to the transferring of the natural colors of the subject to be taken—whether animate or lifeless. It was fondly hoped, a few months since, that the United States would have had the honor of owning the discoverer of this grand object as one of her citizens, in the person of Rev. Levi L. Hill, of Westkill, Greene eo., New-York; and in consequence of his representations a committee of the Daguerrean tiade in this city is said to have waited on him with a guarantee of $100,000 to make his secret public. The offer was rejected, since which very free opinions as to the reality of the discovery having been made at all have been unceremoniously resorted to both in conversation and in that portion of the public prints more immediately interested in establishing the truth or falsity of Mr. Hill’s claim. It does not come within our present purpose to give an opinion, nor, indeed, are we sufficiently well informed on the matter. On the one hand it is stated that a large sum has been offered to the discoverer by responsible men, more than sufficient, exclusive of moneys that have been subscribed for publishing his works, with the avowed purpose of assisting him pecuniarily to prosecute his labors; and on the other, it is urged that the certificates of highly intelligent and upright men—among others, that of Professor Morse—are sufficient guarantees of the existence of the discovery. We also learn that Mr. Hill has, within a few weeks, exhibited his invention to a committee of the United Sates Sepate, with the view of obtaining a special patent, and that the report is favorable to his claims, though he ackuowledges his discovery has not been perfected in its practical details. In their own words: “The committee have formed the opinion that the specimens exhibited to them have afforded sufficient proofs that the inventor has solved the problem of photographic colorature. The committee had in their hands the plates, unprotected by glass or any other covering, and saw them freejy rubbed and otherwise tested, confirming in their minds the fact of the invention and the durability of the pictures.” We devoutly hope that the committee may not prove to be mistaken, for such a discovery would be another great American triumph in Daguerrean art, superior even to that of the application of the science to the delineation of the human countenance, which Daguerre failed in accomplishing, but in which Morse, Draper, Chilton and others have succeeded—a fact acknowledged with pleasure by Daguerre himself. It certainly is very desirable to establish an early claim to the discovery of photographio coloring as many scientific men in Europe are, it is well known engaged in the pursuit of the same object; indeed, a method of transferring colors by the aid of sun-light has already been discovered by a, Frenchman, though he has not yet succeeded in fixing them permanently—expo* sure to the light causing them to vanish in a few days. Mr. James Camphell of Dayton, Ohio, has also been experimenting with the same object; and though not attended with success, his researches have led to the development of many properties in various chemicals, under certain conditions, which they were not before known to possess; and the additional knowledge thus contributed will doubtless conduce to the more rapid discovery of the great aim in view.
The Moon Daguerreotyped.
But, great as are the claims of photography on our notice, from the unswerving minuteness with which it acts, it has still more exalted demands on our attention from its utility in advancing the cause of knowledge in its most sublime and difficult paths. Those whose admiration of the art has terminated with the expresssion of joy and surprise at the wonderful fidelity of the portrait of some cherished friend, are probably unprepared to learn that the cause of astronomy has boen advanced by the agency of the same simple means. Yet such is the fact, as the following translation from a foreign paper will show: “Dr. Bond, of Harvard University, thought that although it were impossible to render the moon,—.so pale and distant —more luminous, he could make the feeble light she possesses useful for photography, if he could make a gigantic camera obscura of the magnificent telescope which he had at his disposal….” “…The result was a veritable triumph. Three excellent proofs, reproducing the least details of the moon, were presented at the last meeting of the English Association for the progress of science. The most interestmg is a sort of portrait of the moon in profile, if we can say so, of the dimensions nearly of a half dollar piece. This position of the moon was chosen, because the elongated shadows that project from the inequalities of the surface, are seen most advantageously….” “…In the photographic image produced by Dr. Bond, all these details are revealed to the eye. Everything there is so completely and so faithfully reproduced, that by the aid of a magnifying glass we perceive new objects, minute details, that had escaped the sight. The revelations of the microscope in this proof are as strange and numerous as the revelations of the telescope in the moon itself. It is probable that when the most sensible photogenic surfaces have been found, and we can employ object glasses as large as the great reflector of Harvard University, some proofs representing groups of stars can be obtained. Dr. Bond has already succeeded in producing, even on a plate of iodised silver, a distinct image of the two constituents of the star Ester. It is impossible to calculate the services that photography is called to render to astronomy. Photographic charts of the stars, frequently renewed, would certainly give to astronometers the means of discovering all the bodies wandering in space and yet unknown; and we do not doubt that the number of them may be considerable, and worthy of serious attention, when we remember that the number of the planets has grown from 4 to 30 in the space of six years.” Our space forbids our enumerating many other of the appliances of this art which suggest themselves—but the one quoted will, of itself, suffice to show that the use to which it is most generally devoted is by no means the sole or the most valuable fot which it offers itself. And though it is brought in this city to so great perfection, its admirers believe that its resources and uses are but very imperfectly developed —that it may be looked upon, indeed, as in its infancy!
The Daguerrean Galleries of New York.
The daguerrean galleries of this city are among the primary objects of interest to visitors, and the collections here presented are incomparably superior to any to be found in a European metropolis, without exception. Many ot them, too, are adorned with portraits of the most eminent of our citizens, statesmen, jurists, soldiers, physicians, and men of letters, whilst in others, fac-similes of well-known scenes are to be found. Among so many first-rate artists as are established in this city, it would be invidious to mention one or two to the exclusion of the rest—it will therefore suffice to say, that at the great exhibition of 1851, three medals of the first class were awarded to as many American competitors, whose superiority in that friendly struggle was incontestable in this department. Indeed, with the exception of Claudet, whose valuable discoveries more than his artistic excellence procured him the award of a council medal, our artists were not only superior, but on the whole, unapproachable, whether from the competition of English, French or German. The reason of this may be found in the greater cheapuess of daguerreotype pictures here over those of Europe, caused equally by the more universal demand in this country, and by the profession there, being held in check by vexations and costly patents, (which, we think, ought never to have been granted, the original idea having been purchased for the world by the French. Government), which confine it within a limited circle of practitioners, and those, in all probability, less lovers of theartthan followers of it as a means of livelihood, while here the number employed, and their constant practice, cause an improvement, either in the manipulation, or in some chemical process, to be of frequent occurrence. We may say, in a word, that in Europe there are more learned works written, and here the best pictures made; there they speculate and experiment, while we work; they are unrivaled in theory, we at the highest present point of the art in practice; though we freely admit that the rapid improvement made has been much aided by the chemical experiments of European philosophers. Few visitors to these galleries have any idea of the importance of the trades and manufactures connected with the photographic art—a few statistics will probably be found interesting. In the cities of New York and Brooklyn, there are upward of 100 daguerrean establishments, giving direct employment to about 250 men, women and boys, though the number wlto deiive support from the art in the United States, in all its branches, is variously estimated at from 13,000 to 17,000, iucluding those working in the manufactories. For some years a great proportion of daguerreotype goods were imported from Europe, principally from France; those made here being considered by operators as much inferior, especially the plates. A great improvement has, however, of late taken place in our production of these articles, and it will be seen by the numberof persons employed, as given above, that this is now quite an important branch of domestic industry, there being in this city alone six large establishments for the making, importation and sale of photographic goods, the amount of cash invested being about $300,000, and the annual sale of materials, $1,000,000. It is estimated that there cannot be less than 3,000,000 daguerreotypes taken annually in the United States; Boston, Philadelphia and Baltimorco being extensively engaged in the trade, but not equally with New York. The interests of the science are represented in the Press by two publications— The Photographic Art Journal (monthly) and Humphrey’s Journal (semi-monthly), having a joint circulation of 5,000 copies. We learn that the editor of the former (Mr. Snelling) has in press, A Dictionary of the Photographic Art, containing every kind of information at all bearing on the subject of which he treats, and, from the knowledge and ability displayed in his editorial capacity, we are certain that the book will be invaluable to every member of the profession, as well as to those who may desire mure detailed information than our limits enable us to give. While on the Continent the price of a daguerreotype portrait prohibits its possession, except among the wealthier classes, the cost in this country ranges so as to suit the pockets of the most humble, there being an establishment in New York professing to produce likenesses as low as twenty-five cents a piece, while as much as fifty dollars, or even more, are willingly given in other instances for a single portrait. Of course, in the latter case, the highest artistic excellence is arrived at, and a considerable portion of the expense is entailed by the handsome frame in which the picture is placed. The method adopted at the present day to procure a photographic picture, differs materially from that of Daguerre’s: many improvements, both in the camera and the chemical combinations having been introduced. Daguerre originally employed a single lens; our principal operators use the achromatic lens, one of which is of a magnitude till lately unattainable by the best opticians. by a camera made by Harrison, the opcra’or is enabled to take a portrait nearly life-size, on plates 14 by 17 inches, the lens alone being 6 1/2 inches in diameter; the cost of the apparatus was $400. We are told this is the largest perfect lens ever made, yet the manufacturer expects shortly to produce another, inches in diameter. The opticians of Munich, though renowned for their skill, have never yet succeeded in making a lens without flaw, of the size at present in use here. The price of a camera, of the kind in ordinary use, varies with its quality; some beidg sold as low as $15, and ranging up to $150. The process of procuring portraits varies in some slight respects in different establishments, but we believe the following is the method adopted by our best operators: a plate, composed of copper and silver, in the proportion of One-sixteenth of the latter and the remainder of the former, the silver heing on the surface, is brought to a high state of polish by the use of rottenstone, rouge, &c. It is then galvanised, thus receiving a fine coat of pure galvanic silver, when it is repolished, and then submitted to a primary coating of the fumes of dry iodine, and also of bromine or other accelerating compound. Having been carefu’ly shielded from the light, it is then placed in a camera of achromatic lens, through which the reflected rays of the sun upon the sitter are transferred to the plate, when crystalisation takes place. No impression, however, will be visible until the plate be submitted to the heated fumes of mercury, when the picture stands boldly forth, a daguerreotype being nothing more than an amalgamation of mercury and silver. The application of a wash of hyposidphite of soda neutralises and removes the remaining chemicals, after which comes the most important part of the process— that of securing the impression upon the plate, which was discovered by Fifceau, in 1845, till which time daguerreotype impressions were merely transitory. It may be described as enameling or gilding. The plate is covered with a solution, consisting of chloride of gold, hyposulphite of soda, and water, which, worked upon by the agency of heat, fixes the colors of the picture beyond the possibility of their fading. To establish this fact, we have the authority of the eminent Faraday, who declares that a daguerreotype properly gilded by this process can never be naturally erased, and could only be removed by the application of acid6 or some other agent. The time usually occupied in what is generally called M taking a likeness,” is from fifteen to twenty seconds and upwards, yet we witnessed a few days since, in the laboratory of Mr. Williamson, of Brooklyn, a new method by which a perfect picture was taken, by the aid of a galvanic battery, in one second; but as the process is unprotected by patent, we are not at liberty to explain it more fully. In addition to what we call the daguerreotype proper, just described, are numerous other processes which have been more or less successful and popular; the principal being the daguerreotype on ivory, the crayon daguerreotype, the cameo daguerreotype, the daguerreotype in oil, the talbotype or calotype, the crystalotype, &c. The daguerreotype on ivory, introduced by Mr. Brady, we believe, consists in the substitution of the material from which it derives its name in the place of a metal plate, and the photographic image is then transferred to a painter in oil colors. This process, which owes its beauty as much to the skill of the artist as to the fidelity of the daguerreotype is very much admired. The daguerreotype in oil is precisely the same as the above, with the exception of an ordinarily prepared metal plate being used in the place of ivory. The crayon daguerreotype is the invention of Mr. J. A. Whipple, of Boston, and is patented by him. The manner of obtaining it is very simple. Over a hoop is stretched a piece of white paper, half of which is removed, leaving the remaining half in the form of a crescent. This is hung in a frame upon pivots, and placed between the sitter and camera in such a manner that the lower portion of the image is cut off from the spectrum. Duriing the exposition of the plate the screen is made to oscillate backward and forward. Instead of the ordinary back ground, a white one is used. This is a most beautiful style of daguerreotype. The cameo daguerreotype is almost the reverse of the crayon, being simply the head in light and the other parts dark and indistinct, the portrait being prominent as in a cameo-cut picture. When well executed, it presents a very tasteful appearance. The multiplicity of visitors that are anticipated at the coming Exhibition are being actively provided for by our leading daguerrean artists, whose handsome galleries abundantly prove that hitherto they have not sought the smiles of the public in vain. In addition to the temptation of elegantly furnished rooms, provided with papers and illustrated works to while away the tedium of inevitable delay, a different disposition of the skylight is attempted in one establishment, an improved camera in another, an entirely new process in a third, and so on. Among other experiments, one of our principal operators has tried the effect of a sky-light of blue-glass, under the impression that a picture would be thereby improved: but, owing to the variety of tints in the glass itself, the plan has been found impracticable, and accordingly abandoned. Nevertheless, if in a few cases unsuccessful, it is such attempts as these that have been the means of bringing the daguerrean art in this country to a perfection of which we may justly be proud, and we trust that the enterprise and activity we have lately witnessed in this branch of industry will this year meet again with an abundant public patronage. We anticipate that the exhibition will add fresh laurels to those which already grace our daguerrean triumphs, as we learn that a large space has been reserved for our leading artists, and we may in all confidence look forward to a display superior even to that in Hyde Park, as we have two years’ longer experience to guide us. We cannot do better than close our article with the words of a foreign writer, an enthusiastic admirer of the photographic art:— “Aided by the stereoscope, what may we not expect to see realised? Every scene hallowed to our memories by its associations with human progress, in all its varied phases, may be revived before our eyes in all the truthfulness of nature. From the East we may copy the temple and the tombs which tell the story of a strange but poetic creed. Assyria and Egypt may disclose their treasures to those who cannot travel to survey them, in such a form that all doubt of their authenticity must vanish. The harmonious elegance of the remains of Greece and examples of Roman art may thus be easily collected and preserved; and every time honored fane of Europe may be brought home and made to minister to our pleasures—instructing’ and refining our tastes, and teaching alt the mysteries of the beautiful, behind which, as under the shelter of a zephyr-woven veil, we may survey all that is good, and gaze upon the outshadowing of the Divine.”]

SNELLING, H. H.
“Gossip.” PHOTOGRAPHIC ART JOURNAL 6:4 (Oct. 1853): 254-257. [“In a former Number of our Journal, we called attention to the evident want of improvements in the photographic art in this country, and the few members of the profession who were sufficiently interested in their daily vocations, be-yond the mere calculation of dollars and cents, to endeavor to raise it a step further up the ladder to perfection. We are pleased to have the power of acknowledging, that at the present day the state of things is quite different: The change is somewhat for the better. The catchpennies in the business are somewhat fewer, and among those who remain, more deference is paid to the influence of taste. We form this judgment from the fact, that, even among those who at that time, repudiated the idea of further improvement, and the advantage of works and publications devoted to the art, a spirit of inquiry has arisen which must eventually improve their tastes and manipulations, or convince them conclusively of their entire inaptness for the business in which they are engaged, and cause them to seek some other more congenial to their minds and habits. Most of the class to whom we particularly refer, have not yet arrived at that state of feeling which prompts men to exchange a three or five dollar bill, for that instruction in their art, to be found in the publications devoted to it; but their daily attempts to glean from others who do and from the editors themselves, the truths taught in them, with as little expense to themselves as possible, is somewhat indicative of an acknowledgment, on their part, of their usefulness and of their own necessities, if it does speak nothing in praise of their liberality towards sustaining these who labor to furnish them these invaluable instructions. Some, however, of this class are not only illiberal in this respect, but are ”penny wise, and pound foolish,” for we can enumerate several instances in which daguerreans who have refused to subscribe for our Journal “because the price was too high,” who have paid more than that amount for recipes and directions copied from its pages. This may be a candid way of showing ones contempt for “book learning,” but we should say that it is quite as “expensive as experiments” if continued. However, we hail the apparent general interest for the further improvement of the Art, evinced by this seeking after reformation—under whatever form it may present itself–with pleasure, and we feel quite confident, if the same spirit continues after the closing of the “World’s Fair,” that the predictions we have ventured to-make, from time to time, will be realised much sooner than we anticipated. Those who asserted, two years ago that the Daguerrean Art had attained its highest state of perfection, and could go no further must become dumb upon an examination of the pictures at the Worlds Fair,’ as well as those daily executed by the more, justly, celebrated artists of the east and west. That many of this class have already been convinced of their errors, letters to us are sufficient evidence. In all these changes we can scarcely flatter ourselves we have had any influence as yet directly; but indirectly we trust we have. Our Journal has been more extensively read and circulated than paid for; those who have read it have, in a large majority of cases, acknowledged the benefits derived from it. Their consequent skill and improvement has effected the pecuniary interests of those who have plodded along in the old beaten track, consequently, although we must attribute the newly awakened interest mainly and directly to the potent dollar, we think the indirect moving powers have been our own, and other works devoted to the interest of Photography. The lecture of Cardinal Wiseman, which we publish in the present number, contains volumes of instruction, to all connected in any way with art, and is most pertinent to the subject before us. If it is necessary for the artisan to be acquainted with the art of design, how much more so is it for the daguerreotypist and general photographer. We publish this lecture because we know that the photographer is as ameniable to its truths as any other class of operatives or artists, and being as necessary to him as the detailed manipulations of his process. What we have heretofore said, in regard to photography upon paper is rapidly being borne out by the interest it is assuming in the minds of our best daguerrean artists. The exquisite results of foreign artists that are constantly being introduced into this country, tend greatly to opening the eyes of those who are capable of appreciating true art, and we have already Messrs. Whipple, Gurney, Root, Lawrence, Brady, M’Clees & Germon, Fitz Gibbon, Hesler and others, appropriating departments for the practice of portraiture by the various photographic processes, and with a success unparalleled, considering the short time it has engaged their attention. Their specimens show conclusively, that the paper processes are as applicable to portraiture as daguerrean, and in their, hands will assume as prominent a stand in public estimation. We consider the application of the pantograph to the photographic art, as another decided step towards its advancement to perfection. It would seem, as we, progress in the discovery of applications for the photographic art, that every science, art, and mechanical occupation is to be benefitted by its operations. We are assured by eminent philosophers that to photography they are indebted for some of the most important discoveries in the phenomena of nature. Coupled with the microscope it reveals principles of insect and vegetable creation of the most wonderful nature— with the telescope the heaven delivers up its mysteries—mysteries that have long baffled the most intense researches of astronomers; added to the thermometer, barometer and magnetometer, it accurately registers, the slightest changes indicated by them; even the diurnal courses of the sun and moon, and stars, may be indicated by this wonderful art; and their position at different periods of time most accurately registered. Thus we see that of all the arts and sciences given to man, none are of such varied usefulness as that of photography. Why should it therefore be exclusively or even partially in the hands of the unlearned and the unambitious? It is an art peculiarly adapted to the most refined, the most accomplished, the most learned. It is an art peculiarly adapted to the wants of the people. It is perfectly simple in all its minute details, and most comprehensive, and it is sufficiently important to be embraced in our system of popular education. The refined, the elegant, the accomplished, and the learned, all study with intense avidity mechanics and the fine arts, and why should they not this most wonderful of all discoveries? Painters affect to look upon with contempt, yet they would sacrifice everything they possess to be enabled to portray nature with the perfection of photography. Compare a painting of any celebrated ruin, say the Parthenon, by one of the great masters, with a fine photograph, supposing you have never seen the original, and never expecting to see it, wish to study its architecture in all its detail, how inadequate is the former to give a just and comprehensive idea of that once magnificent edifice. As an ornament to the hall or parlor, it is undoubtedly superior and more valuable; but as a precious study of antiquity, it is intrinsically valueless—a mere cipher in the estimation of the studious mind. The photograph, with the aid of a magnifying glass, reveals the whole structure in its minutest details. What are mere patches of brown and white in the painting, in the photograph are perfect fac-similies of exquisite sculpture –every stone, every crack and crevice, every curve and line, every figure, the most minute, every leaf and stem that hangs over the broken fragments of its wall, every effect of time’s destroying hand, is as distinctly before you as if you were in presence of the great structure itself. While the painting pleases your taste for the beautiful only, and causes you to admire and praise the exquisite skill of the artist, the photograph fills your mind with wonder and contemplation. The fine specimens of ornamental work, unrevealed by the painting, but conspicuous in the photograph, carries you back to the time when these things were executed, and furnishes you months of interesting study, which gives you an advantage over the mere visitor at this shrine of antiquity, who sees but to remember the more prominent features only. Thus, while the painting gives pleasure only to the eye, the photograph furnishes food for the mind. The same contrast will hold good in the landscape, or other views and in portraits, although not to so great an extent in the last, minute details being of less importance. Why then should the painter hold in contempt the photograph is art? Simply because he does not understand it. The line of art between the painter and the photographer, as may be perceived by our comparison, is distinctly drawn; and it is impossible that they should conflict. To adorn our walls, and please our sense of the beautiful, we apply to the painter; to obtain fac-similies of objects circumstances and our purses will not permit us to visit, and furnish us with means of studying them, we apply to the photographist—the first is the artist of ideality, the other the artist of reality. Therefore, there is no reason why the painter should look with contempt upon the photographer; but, on the contrary, extend to him the right hand of fellowship, for they can mutually benefit each other. The results of photography, we know, are at present considered by many artists as contrary, in several respects, to the true principles of art; but “who can paint like nature?” We have no hesitation in saying, that photography is destined to effect a considerable revolution in the present conceived opinion of the principles of art. There are beauties in a photographic picture unapproachable by the pencil of man, but which, considered in the present artistic view, would be pronounced ‘out of drawing,’and therefore imperfect; but the time may come when these apparent imperfections, looked upon with other eyes and increased knowledge, will be pronounced truly artistic and perfections of drawing. That there are imperfections in photographic drawing will not be denied, but those must ere long vanish before the mighty car of improvement, as they are the faults of manipulation, and not of the pencil that limns them. The greatest of these faults-the abrupt and broken outlines of the shadows, and the almost extinction of the middle tints in portraits, bids fair to be entirely remedied by the pantograph before alluded to. This instrument, a description of which will be given in our next number, is not only calculated to effect this desirable end, but with it the operator will be enabled not only to enlarge the negative photograph even to the size of life, but the daguerreotype also. In view of all these facts, it is the height of folly in any one to assert the perfection of the daguerreotype, or that “experiments are expensive.” As an advocate for the progressive improvement of the art, we say —no matter what the cost—that experiments are not expensive, if, in three years, they produce one single modification to its improvement. Were we to teach or counsel otherwise, we should justly be considered a mere panderer to the old fogyisms of the day—a mere catch-penny publisher, wholly intent upon self-interest, and fearful that every dollar spent in experiment, would deduct one from our subscription list. Would our daguerrotypists advance one step in the scientific principles of their art without experiment? Would they not now be where they were fifteen years ago had not a few enterprising spirits among them experimented, and brought forth good fruit? That man who would counsel a course detrimental to progress in any branch of industry, is totally unfit for a teacher. Therefore, onward! is our motto, still onward! and fame and honor attend him who shall effect the most and greatest improvements in his art. Let not the lust of gain wholly absorb your minds, but give some portion of your characteristic energy to that which will ennoble you in the estimation of your fellow men; be like the great masters of art, of old: they not only strove to excel all who went before, but assisted those who, coming after them, endeavored, in their turn, to overshadow them with the mantle of superiority.”]

EXHIBITIONS. 1853. NEW YORK. EXHIBITION of the INDUSTRY OF ALL NATIONS.
Snelling, H. H. “Daguerreotypes at the World’s Fair.” PHOTOGRAPHIC AND FINE ART JOURNAL 7:1 (Jan. 1854): 14-16. [“We have had at last the pleasure of visiting the Crystal Palace and viewing the rich collection of daguerreotypes there collected, and it is with pride we can say that, taking it collectively and individually, it is the finest we have ever seen. The collection of Mr. J. Gurney, the first we examined, is quite large and contains well executed pictures, showing excellent mechanical skill and chemical effects. The grey tone possessed by the larger number, and so universal in his manipulations, we never did nor can ever admire. It is too cold and chalky to suit our taste. One effect, however, he retains in a remarkable degree, that is, notwithstanding this whitish grey tone, and the usually white cast given to his pictures, we see none—or very few solarized. We think, also, he might improve the glassiness still predominant in his pictures—undoubtedly caused by his adherence to the old mode of polishing the plate. The 1/4 group picture is the best of this size in all those respects; although the positions of the figures are too formal and ungraceful, yet the tone and drapery is very fine. We also noticed two ½ size portraits of ladies, in which the outlines are very clear, expression well preserved, and the tone admirable. We should pronounce the portrait of Forrest a good picture were it not so dependent upon mercury for the effect displayed. Mr. Gurney’s colored daguerreotypes are among the best made, which is not saying much for this branch of the art. The whole collection exhibits a fair sample of his average work, but we cannot say we see any improvement during the last two yours; but, as Mr. Gurney himself says, he works to please the taste of his customers, more than his own, and in respect to the pecuniary point of his business, he Is wise in this; he certainly and deservedly stands high as a daguerreotypist. The next we come to are Mr. Whipple’s crystalotypes. The views are good—some of them fine—are the same we have already spoken of in former numbers. We have seen, and have in our possession better portraits. The ¾ size are decidedly the best.
The crystalotypes of the moon are exceedingly fine. Mr. North, of Cleveland, Ohio, has a large collection of half size portraits, the best of which are those of Gen’l. Scott, Allan North, and the Departure—a group of three young ladies. We like the effect produced by his new invention of convex glasses. His 1/4th pictures are ordinary; too chalky in appearance, the shadows too abrupt, and almost wholly destitute of middle-tints. A. Bisbee, of Dayton, Ohio, exhibits in his picture of Cincinnati—on a series of ¾th plates—the most superb views ever executed by the daguerreotype. It is admirable in design; the perspective is well adhered to; the tone perfect, and both the general and principle outlines clear and sharp, leaving no thing to be wished for, and evincing the skill not only of a consummate operator, but the taste of an artist. His portraits are all spoiled by coloring. C. H. Williamson, of Brooklyn, has a poor collection. James Brown, of this city, has a number of ½ size portraits, showing no improvement during the last five yours. They are fair ordinary pictures, nothing more. Mr. Clark, of New Brunswick, N. J., exhibits a few very good pictures, the best of which is the portrait of a lady. He evidently operates to suit the taste of the people; our objection being the whitish burnt appearance of his plates, He has undoubtedly, however, a proper appreciation of his art, for his pictures show good taste, and careful manipulation. His plates are beautifully cleaned. Von Schneidaw, of Chicago, Ill., has a small but very fine collection. His plates are well “got up,” the tones and outlines clear and fine, and the positions admirable. The portrait of Hellen Davis, and the group of “The Affectionate Friends,” are decidedly the best, the latter most exquisite. Every picture declares the hand of a true artist. Mr. Haas, of N. Y., also mars his pictures by coloring, but apart from the profusion of color, are most artistically executed. The portrait of a young lady at prayer, (not colored) is a well conceived and beautiful daguerreotype, one of the best for position, tone and expression in the Fair. His crayon daguerreotypes are very fine. In looking at the daguerreotypes of Harrison & Hill, of Brooklyn, L. I., we cannot avoid feeling disappointed, although we think they have been treated more harshly than they deserve. As works of true artistic conception, they are not excelled, but we must concur in the opinion that the plates were badly cleaned and finished— In fact carelessly—for we noticed that no less than three of the largest size were spotted as if dirty water had been spattered over them. The polishing, also, was not sufficient; and the consequence is that their pictures are, as it were, veiled, and we have to look through the mist to see the image; but let us look at the other side. There are no less than eleven of the very largest plates used in the daguerreotype art, and nearly all are groups, which for artistic and elaborate arrangement and execution, must command the approbation of all who appreciate true art, and, notwithstanding the defects alluded to, and some that are out of focus, and others solarized, they are well toned. If the same attention had been paid to the mechanical part of the process as to the artistic, the result would have been very different. A. Hesler, of Galena, exhibits a large and most admirable collection. For artistic merit and mechanical skill they are not surpassed by any in the fair. His views are not so good as we expected to find them, for we have seen much better from his hands, but his portraits and compositions are the very acme of daguerreotype manipulation. They possess a charm in general effect, warmth of tone, clearness and strength of outline that creates a picture truly animated, and which causes at once a desire to possess them. Every line and feature is strongly brought out, yet the lights and shades are perfectly preserved, gradually mingling into harmonious bearing, without loosing the most minute effect of the latter. Each hair of the head, the eyebrow and the eyelash is round and perfect, the eye itself beautifully clear and animated, or calm, according to the nature of the picture; the positions are graceful, and the drapery arranged with consummate taste. These qualities are so common to them all that it is difficult to particularize. We may mention, however, as gems, “Driving a bargain,” “The Toilet,” “The three Pets,” “Asking a Favor,” “Granted,” “Expectation,” “Almost Accepted,” and a portrait of the Rev. T. T. Waterman. We perfectly agree with the editor of the Daily Advertiser, who says:
“The portraits were mostly of our own citizens, and all appeared so real and so spirited, that it seems difficult to believe they were not real life in miniature forms. In the execution of these pictures the artist has endeavored to portray character as well as form, and we are sure that no pencil could at all equal the happy and striking results at which he has arrived. He must study the effect of light and shade most intently to produce such beautiful effect.”
Webster & Bro., of Louisville, Ky., have a good collection of crayon and 1/2 plate portraits, which shows decided improvement over former efforts, and a determination to rise to the highest point of excellence. They should pay a little more attention to position. The tone of their pictures is good; the plates well got up, but a little more attention to the middle shades, would be an improvement. The portraits of Dr. Knight and Hon. A. Dixon, please us most. M. A. Root, of Philadelphia, has a large number of 1/4th and 1/2 size daguerreotypes, so equal in tone, excellent in position, strongly marked, and pleasingly designed, that it would be difficult to particularize. .Most of them are a little too cold, however, to give us complete satisfaction, but their clearness, and the qualities already mentioned, speak of a refined taste in all that concerns art. S. Root, of New York, follows in the footsteps of his brother of Philadelphia so closely, that what may be said of one is applicable to the other, with this exception, that S. Root confining himself more intimately to daguerreotyping, excels in those points most pleasing to our taste—there is generally in his pictures more warmth of tone. The high reputation they both deservedly enjoy has been earned by the most assiduous toil and close attention to the art personally, and the faults we find may be considered more as a matter of taste than defects. The frame of daguerreotypes contributed by Mr. Kimbal, of Louisville, Ky., is so badly placed, that we could not see his efforts sufficiently well to judge of their merits. E. Long, of St. Louis, Mo., exhibits a very large collection of the smaller size pictures, and we are fearful he paid more attention to quantity than to quality. As a general run, his pictures are a fair sample of ordinary daguerreotypes. The plates generally are well cleaned, but the images cold and rather harsh. We have seen far better pictures from the sane artist, and this collection does not do him justice. He has three 1/2 size pictures that are exceptions to these strictures. Masury & Silsbee, of Boston, have a very elegant, graceful and skillfully executed collection, and it would be difficult to designate any one as superior to the others. The plates are beautifully cleaned and coated, but, although they are well done, they would be far preferable without the coloring. These pictures, with those of Mr. Hesler, are pronounced by portrait painters the two best collections in the Fair. They are certainly not excelled. We understand that Messrs. Massury & Silsbee have an entire new process, invented by themselves, for coating and bringing out their images. The tone, color and softness of their portraits indicate this, for they are in these respects entirely different from any we have seen. If such is the case, they may render invaluable service lo their art by publishing it, and we trust they will follow the good example of Mr. Hesler — who has expressed to us his determination to give his process in full in our pages—and honor our Journal with its publication. M. M. Lawrence contributes a large collection, most of them the same that he exhibited at the World’s Fair in London, and what was said of them at that time need not be repeated now. They are all single portraits, or groups, well arranged and beautifully executed, such as can only be produced by a careful manipulator, and a man of taste. Mr. Fitz Gibbon, of St. Louis, presents such a magnificent display of frame-work, and such an innumerable quantity of daguerreotypes, that to particularize any would have required more time than we could possibly spare. There are many good pictures among them—some well executed; but fewer with more care bestowed upon them would have exhibited his skill to better advantage. As in the case of Mr. Long, we have seen many better daguerreotypes from the same hands than the majority here presented, and we have no doubt that at another opportunity of the same kind, both these artists will exhibit their talents in their true light. It must be remembered that they have not had the same experience as our eastern and older operators in getting up daguerreotypes for exhibition. The Messrs. Meade Bro’s give us a very fine collection. The series styled “The Seven Ages of Man,” illustrative of Shakspeare, we have already noticed. Their 1/4 portraits, in the style of Rembrandt, please us better than any others of the same size in the fair. A little more clearness, us exhibited in the portrait of Col. Webb, and the group “Past, Present and Future,” by Lawrence, would have made them almost perfect. The positions are graceful, the tones warm and soft, the expressions life-like and pleasing, and the general effect artistic. Their ¼ pictures are also well executed, with the exception of being too much mercurialized in two or three instances. The ½ plate portraits are deficient in the half tints. With these exceptions, they exhibit a high degree of taste and manipulation, which evinces the most rapid improvement since their removal to New York. Howe, of Portland, Me., has a small but very good collection. They are all 1/4 or 1/2 plate pictures, but they exhibit the skill of a true artist, and one who, with time, opportunity and attention, must attain to the highest point of excellence in the art. Whitehurst, of Baltimore, exhibit the best collection we have seen of his work, giving decided indications of improvement. These pictures, generally are clear, well defined, and of good tone, but mostly wanting in grace. A half size of a young Iady reading, is pleasing, artist-like, and well posed. His crayon pictures are also fine; the ¾ are among the best we have seen, but they are, with the exception of the one in the centre of the collection, somewhat veiled. His stereoscopic arrangements are exceedingly fine and appropriate. Mr. Brady is most admirably represented here; besides the pictures which took the gold medals at the London Fair in 1851, and which have already been described, there are many or the highest order. The 4/4 group, the head of the old carman preacher, two 4/4 portraits of young ladies, and a portraits [sic] of Mr. Parks, are particularly fine, and rank Mr. Brady among the first artists in the world. We are sorry that the sameness of style, general method of manipulation, and the almost entire adherence to portraiture prevents us from being more explicit in our remarks. There is not an exhibitor in this exhibition, except Mr. Hesler, Mr. Harrison, Mr. Bisbee, and Mr. Root, who has made any attempt in the higher works of art, even in portraiture. All seem content to confine themselves to the simpler and more easy branch of their art, and the majority do not give indications of any improvement during the last five years. Many of our first daguerrean artists have grown wealthy by their art, and we think it is about time they should do something more for its elevation than the exhibition of mere portraits. They should endeavor to exhibit its scientific and artistic applications; in other words, its appliances to the arts of design and manufacture, and scientific research. The time has gone by when premiums should be awarded to the manipulators in portraits only; artistic merit and scientific skill should be solely consulted. European photographers are very poorly represented at this exhibition. We found but three daguerreotypes in this department, being views of the interior of the London Crystal Palace, by Kilburn of London, which, considering the difficulties that must have presented themselves to good results, are very fair. Either our trans-Atlantic friends must have been frightened by the daguerreotypes exhibited in the American department of the World’s Fair of 1851, and came to the conclusion that it was folly to attempt to compete with us at the present Exhibition, or they are less spirited and generous in their feelings and refused to accord to America that consideration she is as justly entitled to as any European nation. In either case, it places them in an unenviable position. It is our intention to solicit several of the daguerreotypes on exhibition for the purpose of crystalotyplng them as illustrations to future numbers of our Journal. We ought not to close our visit to the Crystal Palace without noticing a new coating box on exhibition by Messrs. Palmer & Longking. It strikes us as being well-adapted to the purpose intended, and the workmanship displayed in its construction is highly creditable. We shall speak of it hereafter. Mr. Harrison, also, has here some exquisite samples of his skill in the manufacture of cameras, and they establish his reputation as the best photographic camera maker beyond peradventure.”]

BY COUNTRY: USA: 1854.
“Personal & Art Intelligence.” PHOTOGRAPHIC AND FINE ART JOURNAL 7:1 (Jan. 1854): 31-32. [“We present the first number of our seventh volume to our subscribers in an entire new dress and form, and we flatter ourselves very much improved. Our reasons for this change are set forth in our prospectus and m our December number, and we feel confident that all will approve of them as well as of the general appearance and contents. To our old and well tried patrons we would appeal for extra exertions on their part to circulate the Journal. They will see at once that it is not only calculated to benefit the photographic art in all its branches, but also to interest all men of intelligence and taste, who can appreciate the bold step we have taken to make this the most elegant and useful publication of the kind in the world. None will deny that it is the only regular serial illustrated by the agency of light in the world, or that the character of its illustrations is far in advance of any other. In order to effect this great improvement we have been obliged to expend considerable amount of money in procuring new type and the various appliances of a new printing establishment; in engaging competent writers and translators, and last, but not least, in securing the services of all our best photographers and daguerreans on the illustrations. We look, therefore, to the hearty co-operation of all members of the art, as well as to the public generally for that liberal support necessary to the complete success of our undertaking. Our past career gives us the more confidence in this expectation, and we cannot entertain a shadow of doubt as to the result. All letters on business, or enclosing communications for the Journal, must hereafter be addressed to the editor, as indicated in our prospectus. Permit us also to request an early compliance from all with the terms of publication.
— “Mr. George N. Barnard, of Oswego, N. Y., has associated with him Mr. Nicholls of Fulton, and opened a daguerrean establishment in Syracuse, which we have seen highly spoken of in the papers. As to Messrs. Barnard & Nicholls’ abilities as daguerrean artists, the illustration in our present number is sufficient evidence of high artistic talent and consummate skill as manipulators. We are highly pleased to learn that they have met with the most flattering reception in their new sphere. May it continue always.”
— “P. H. Benedict, of the same city, is also undoubtedly in high favor, and doing a remarkably good business. We have seen many pictures by this artist of rare excellence, and his success is well deserved.”
— “We would say to our Syracuse and Utica friends that we cannot lend ourselves to such dirty business as indicated by certain queries. We see no reason why a daguerrean artist should be censured for taking pictures of natural objects even as nature made them, any more than the portrait or historical painter, provided he does not overstep the bounds of modesty and descend to obscenity and vulgarity. If he does the latter, the deed will bring about its own punishment; and we consider it an act of equal vulgarity and obscenity for an editor to be continually parading that deed for months before the public, and offending minds polite, by continually referring to a subject so disgusting. This must be our answer to all such queries as those to which we allude for all future time. We shall also take occasion here to say that we think it very bad taste in an artist to be always reminding his customers of such a lapse in the moral rectitude of a fellow artist. He should leave such matters to be corrected by the good sense of a discriminating and just public.”
— “There is so much that interests every respectable photographic artist in the following brief communication that we cannot refrain from publishing it, although intended for our private eye only. The writer is one every way entitled to consideration as an artist, a gentleman and a scholar, and the feeling manner in which he speaks, abundantly shows how strongly he has the interests and elevation of his art at heart. We do trust his appeal may not be in vain. The fault heretofore has been caused by selfish considerations, which must be ignored to secure successful results:
“I would to God you could elevate my profession in public estimation. Your daguerrean associations have hitherto produced no good results. I fear they never will. Why should not (p. 31) I and other gentlemen rank with the medical or legal professions? It will be impossible to keep quacks out of the daguerrean business; but the qualified artist and gentleman might be distinguished from the stable-boy or shoe-black and pretender, by a properly constituted body.
“The diploma of the College of Surgeons of Edinburgh or London entitles the holder to your consideration. It is difficult to pass the necessary examination: much study, attendance regular, &c., are requisite. Your doctors and your lawyers get their certificates, &c., much easier in this country.
” Incorporate a body of such men as Anthony, Gurney, Lawrence, Root, Harrison, Whipple, &c. and I, and hundreds of other respectable, educated men, of gentlemanly deportment and moderately good artists, will gladly undergo the necessary examinations, and pay $100 for a handsomely executed Diploma, fit to put in a frame for exhibition.
— “Mr. James Irving has opened his new rooms in Troy, N.Y., in the third story of the recently erected Market Bank Building, on River street. “Mr. Irving obtained a long lease of the entire story for his business very soon after the erection of the building was decided upon, and the plans were arranged, and all the work done, with the view of obtaining every facility that could be desired in an establishment of its character. This object seems to have been effected. From the entrance to the upper stories, near the centre of the building, you go into the Reception Room, 25 by 30 feet; out of this open two operating rooms, each about 20 feet square, and the chemical and finishing room. The operating rooms, separated by sliding doors, and each provided with sky and side lights, constructed differently, in order that all the various tastes in regard to light and shade may be gratified, and at the same time the business facilitated. Groups or single pictures may of course be taken in both of the two rooms at the same time. One room and light are especially adapted to taking likenesses of children, singly or in groups, which can be done without any interference with other sitters. In connection with each operating room is to be a toilet room, furnished with everything desirable for such an apartment. The carpeting and furniture are of the most elegant and costly descriptions. The first is of the most tasteful patterns of velvet and Brussels tapestry, manufactured at the Ida Hill carpet mill, which are similar to the superb specimens on exhibition at the Crystal Palace. The furniture consists of three suits of rosewood covered with silk brocatelle; one suit being elaborately carved, three marble top centre tables and one side table, also of rosewood. The five front (reception room) windows are fitted up with rich cornices, and have damask silk and worsted curtains. of the mirrors, two are very fine; a pier-glass worth $125, and an oval mirror worth $T5. Without our going into a more minute description of furniture, &c., it will be rightly inferred that the reception room has the appearance of an elegant saloon, and fully equal to the most expensive establishments of the kind in the country. So far as we are able to judge, the arrangements in every part, the fixtures and apparatus, are as near perfect as in the present state of the art could be expected, or need be desired. Certainly, as combined, they make up an establishment that reflects credit on its enterprising proprietor and the city. We cannot doubt that it will become a leading fashionable resort, and yield a rich remuneration for the liberal expenditure that has been made upon it. In regard to Irving himself, it is unnecessary to say more than that he intends to open these rooms in about a week, when and thenceforth he will be ready to receive and serve his friends and others who may desire to see him in his new quarters.”
— ”Mr. J. J. Bardwell has removed to St. Paul’s, Minn. Ter., and connected himself with Mr. J. E. Whitney. Both these gentlemen are fine artists, and deserve well of the people of St. Paul’s.
— “Mr. Farrand. of New York, one of our most worthy daguerreans offers a very excellent article of rouge, and also of rotten-stone, for sale, which we can cheerfully recommend. It may be had of all the principal dealers.
— “Mr. C. D. Fredericks has returned from Paris to establish himself in New York. He quite astonished us with his collodion photographs, and we cannot hesitate to say that for execution, tone, clearness, and life-like representations, they are the finest we have yet seen. There were no harsh lines or abrupt shadowing to mar their beauty, but the light and shades are delightfully blended. One of his pictures was nearly the size of life.
— “The Paris correspondent of the New York Tribune gives us the following information:
“Photography has been here already brought to a high degree of perfection. This art of reproducing copies from the original picture by means of transfer on stone, furnishes a new mode of illustrating works of science and art, and it gives the artist the most accurate studies from nature of every object which can be brought within the scope of the camera obscura. All the windows of the first shops are filled with the most exquisite specimens of portraits, landscapes, architectural and other subjects, produced by the photographic process.
“Monsieur Gillot has invented a new mode of producing plates in relief, like wood-cuts, from any drawing which can be made on stone by means of ink or crayon, or from transfers. I have visited his studies, and examined the specimens produced by his process. The plates resemble stereotype plates taken from engraved wood-blocks, and the lines of maps and charts printed from plates, produced from ink drawings or transfers on stone, are as sharp and neat as if printed from an engraved stone or copper-plate. These plates seem to print a little lighter, which may be the fault of the printer, or be caused by the metal M. Gillot employs for his plates. Still more astonishing are the plates produced from the crayon drawings on stone; the impression from the plates look like those taken from a stone. This is not an experiment: M. Gillot furnishes plates for four periodicals and illustrated works of all kinds and of any dimensions. This art must produce a revolution in the publication of illustrated works, because the process admits the most complicated drawing which can be produced with the pen on stone, or of a transfer from copperplates to be made into plate en relief in the short space of twenty-four hours, ready to be set up with the types in the ordinary manner, and printed from like any stereotype plate. The patent-right of this invention has been bought for the United States by some gentleman from New York.
— “Photographs on Textile Fabrics.” Some time since we announced an invention of a Manchester artist in England, by which daguerreotypes were produced on wood. We have now the pleasure of stating, that a new discovery has been made, by which various descriptions of fabric can become impressed with the lights and shades requisite to produce a picture, which will economise and consequently extend the application of the Photographic art to manufacturing purposes, The Builder, published in London, England, says:
“Messrs. Wulff, of Paris, have placed before the French Institute some specimens of Photography on linen, oil cloth, chintz, &c. This discovery will be of great importance for architectural ornamentation and other useful purposes. Such pictures can be cleaned by wiping, nay, they can be washed; and a portrait on linen or long cloth can be forwarded in a letter. As moreover, these photographs can be obtained at a cheaper rate than those on metal or paper, the art will become more popularized. Messrs. Wulff keep their procedure yet secret, but it is thought that they operate on a preparation of iodized collodion.”
— “Mr. E. C. Thompson, of Washington City, has acquired the paper process with a view to its practice in that city. He promises us some heads of the honorable gentlemen there assembled. They cannot do better than to apply to him for these fac-similies.
— “Mr. Whipple is now prepared to teach either the collodion or albumin process, in Boston or New York. Mr. Black, his agent, will be found at Mr. Root’s rooms, and is in every way capable of teaching these processes.
— “Mr. Whitehurst, of Baltimore, has also taken lessons of Mr. Cutting for the same purpose.”
— “As we go to press we understood that Mr. Brady, of New York, has carried off the first prize at the New York Crystal Palace Exposition.”]

BRADY, MATHEW B. (1823-1896) (USA).
“Personal and Art Intelligence.” PHOTOGRAPHIC AND FINE ART JOURNAL 7:1 (Jan. 1854): 32. [“Brady has carried the first prize at the New York Crystal Palace Exposition.”]

BY COUNTRY: USA: 1854.
“Personal & Art Intelligence.” PHOTOGRAPHIC AND FINE ART JOURNAL 7:2 (Feb. 1854): 63-64. [“— We present our subscribers this month with a crystalotype of the beautiful group of statuary by Lazzerini of Carrara, from a design by Henchel, now on exhibition at the Crystal Palace in this city. It is one of the most admired pieces of sculpture in the exhibition, and is admirably well represented in our illustration.
— We were in error in our notice of the coating box at the World’s Fair. This box is the invention and manufacture of Messrs. W. & W. H. Lewis, and is exhibited by them. It strikes us as being a most complete and useful article, and worthy of the attention of the daguerrean public. We shall give engravings and a description of it in our next,
— We also unintentionally omitted to speak of the daguerreotypes exhibited by J. E. Whitney of St. Pauls, Min. He has a small but very good collection, and when we take into consideration the short time he has been engaged in daguerreotyping, they do him much credit. They are far superior to those of many of our oldest manipulators, who put forth greater pretentions.
— Those who have seen the daguerreotypes taken by Meade’s instantaneous process, exhibited at the World’s Fair, will concur with us in the opinion that they are eminently worthy the consideration of daguerreans. The sensitive for the production of these pictures can be had of the Messrs. Meade Bros., of New York, or of Mr. E. Anthony, for the low price of five dollars, and we can safely say that our readers will not find it a “Dr. Cyrus affair:” The following are the directions for its use:
“Take two buff sticks covered with fine buckskin, marked No. 1 and No. 2, and use entirely free from rouge; clean and buff your plate in the usual manner with rouge, &c., with your ordinary buffs, after which, take a piece of Canton flannel, and after shaking the bottle, rub the Canton flannel against the stopper very slightly, so as to get a very little of the preparation on, or the result will not be good; then rub it carefully backwards and forwards over the surface of the buffed plate; afterwards buff with clean buffs No. 1 and No. 2 in rotation, until you restore the original polish. After using these buffs for one or two weeks, chalk them all over with chalk, and brush out with a clean hard brush. This article we recommend to daguerreotype artists generally, as they can obtain pictures of still or moving objects, which cannot be produced by any other process.”
— Mr. W. H. De Shong, who has become permanently located at Memphis, Tenn., in a letter to us, says
“I have succeeded in making some very good impressions on copper plates, by coating over the bromide of lime to a cherry-red. It requires some six minutes exposure in sun-light to produce the proper effect. I think them superior to those upon the silver plate, from the fact that there is much less reflection.”
— To the numerous inquiries regarding Mr. Werge’s colors, we have to say that we have every reason to believe they are what he represents them. Our own opinion of coloring the daguerreotype has always been freely expressed, and has not changed; but there are a great many persons who will have their faces colored, on the daguerreotype plate, particularly if the natural flesh possesses not a particle of the ruby or rosy red, consequently the daguerreotypist must please them whether at the expense of a good picture or not; and whether “all organic preparations will fade” or not; they therefore want good colors, and Mr. Werge supplies them.
— Mr. Snelling Dear Sir, Hoping I may be of service to some in the daguerrean art, I send you the following
I think that nearly, if not all operators are aware that in most cameras the plate must be either nearer or farther from the lens than the ground glass in taking pictures of persons at common distances. But I think many do not generally know that the reverse is the case in copying an object as large as the original. In copying a daguerreotype for instance, as large, or larger than the original picture, it will be seen that a focus on the ground or object glass will not be a focus on the plate, though it may be nicely arranged for taking pictures of more distant objects. In proof of this, we will place three cards in front of the lens, in the usual way of adjusting the focus of an instrument, one fourth of an inch apart, and near enough to have the impression on the object glass as large as the original cards; to regulate the focus to the middle card and take a picture of the three at one sitting, and the focus on the plate will be seen to favor one of the other cards. That is, if a camera favors a near object in a distant view, it will favor a distant object in a near view.* [*The lines in italic may not be correct in all cases but my experience indicates it.]
I have two whole size cameras. In copying with one of them I find it necessary to move the picture towards the camera one fourth of an inch, after the focus is arranged on the object glass, while with the other it is necessary to move it back the same distance, at the same time either of them are in focus for taking pictures of persons at common distances.
If you think the above is of any importance, you are at liberty to make what use of it you please.
I am Sir, most respectfully yours, B. F. Upton.
Every thing is of importance in the photographic art that tends to illustrate facts, or induce inquiry. We are always well pleased to receive communications on any subject in the art, no matter how brief, for each must create some interest and lead to (p. 63) good results. The effect here spoken of has been frequently alluded to in our Journal, and is called ” the difference between the visual and chemical foci,” and various rules are laid down for its correction. At one time it was supposed that the evil could not be corrected in the lens itself, but we think Mr. C. C. Harrison has fully disproved this, for it is absolutely necessary to bring the ground glass and plate to the same plane, in order to work perfectly with bis cameras. Ed.
— Messrs. V. Prevost, C. Debchauchoir & Co., of No. 621 Broadway, have done us the favor to present us with some very fine photographic views of scenes on the North River. These gentlemen are artists of fine taste and great ability, and their works will compare favorably with our best artists. The attractions of their room in photographic pictures are well deserving the attention of all lovers of art.
— Having received numerous inquiries, as to when our Dictionary will be published, we have to reply that we are dependent upon the mercy of a printer who has been already six months longer putting it in type than we were in writing it, and it wants considerable of being completed. We can only, therefore, ask the kind indulgence of the anxious ones, and promise it them at the earliest day possible.
— Dobyns & Richardson of New York, we also overlooked in our visit to the “Palace,” but we saw their pictures before they were “sent up,” and we cannot speak in too strong praise of their execution. Mr. Richardson’s general manipulations exhibit him not only as a man of taste but as an operator of a high order. Those who visit his rooms either on business or to see the specimens of his skill, will be most agreeably entertained by Mrs. Potter, a lady of good judgment and refined taste, who manages this department of the establishment.
— H. W. Bradley of San Francisco, Cal., has made us a flying visit and exhibited some of his pictures. They are very fine; some of the best we have ever seen; in fact, they preserve the middle tints and darker shades, at the same time that they produce the extreme high lights more perfectly than is usual in the daguerreotype.
— We were in error in stating that a gold medal was awarded to Mr. Brady at the World’s Fair at London. There were but two medals awarded for daguerreotypes. These were of bronze and were presented to Mr. Brady and Mr. Lawrence, both of New York city.
— The German sculptor Siegel, residing at Athens, has rediscovered the celebrated ancient marble-quarries of the red and vert antique, which have been lost since time immemorial. He found this red antique on the south side of the mountain chain of Taygetus, and the vert antique on the northern part of the Island of Tinos.
— The Tribunal Correctionnel de la Seine at Paris has made the following decision, which has created much interest among the artists. The question was: “If a statuette is transferred to paper or metal plate by means of the photographic or daguerrean process; and but in relief by means of an optical apparatus like the stereoscope, is this to be considered a piracy or infringement on the copyright?” Judge d’Herbelot decided in the affirmative, passing his decision upon the following grounds: 1. That the idea and the manifestation of the idea in any art whatever, is the property of its author. 2. That the reproduction of a work of art, no matter how it has been accomplished, by what means, process or material, constitutes a counterfeit, a piracy or infringement, as long as the original author has not given his consent to be copied. 3. That such reproductions injure the rights and interest of the original author, by rendering his work common and vulgar, consequently diminishing the artistic and commercial value of the original production.
— The rumor that Mr. Brady had obtained the gold medal of the World’s Fair exhibition in New York, appears to be incorrect. The awards of the Jurors have been published and we find the result is as follows:
Silver Medal.
(The highest premium awarded.) J. A. Whipple of Boston, for crystalotypes.
Bronze Medals.
Alexander Butler, for several excellent daguerreotypes.
M. B. Brady, for uniformly excellent daguerreotypes.
C. C. Harrison, for cameras.
A. Hesler, for beautiful daguerreotypes, “The Three Pets,” “The Toilet” and others.
M. M. Lawrence, for excellent daguerreotypes, particularly, “Past, Present and Future.”
Henry Plant of France, for photographic apparatus.
Samuel Root, for fine daguerreotypes.
Honorable Mention.
J. H. Fitz Gibbon, for daguerreotypes.
Jeremiah Gurney, for fine daguerreotypes.
Harrison & Hill, for daguerreotypes.
E. Long, for an exquisite daguerreotype of a lady.
Meade Brothers, for daguerreotypes of “Seven Ages of Man.”
Moissenet, Dobyns & Richardson, for daguerreotypes.
W. C. North, for daguerreotypes.
O. S. Peters, for stereoscopes.
M. A. Root, for fine daguerreotypes.
J. H. Whitehurst, for fine daguerreotypes.
Fine Arts, Sculpture, Paintings, Etc.
Antigua A., France, for Oil Painting Inundation of the Loire.
Ball T., U. S., for Statuette of Webster, in Plaster.
Crawford Thomas, U. S., for Bust of a Lady, in Marble.
Frankin C. A., Belgium, for Child Sleeping in a Shell, in Plaster.
Girardin Pauline, France, for several Water Color Paintings of Groups of Flowers.
Grampaoli D., Italy, for Death of Feruccio, in Marble.
Grolig, France, for Oil Painting View near Paris.
Gude Hans, Norway, for Oil Painting Mountain Scene in Norway.
Gurlitt Louis, Austria for Oil Painting Sunset near Naples.
Gayvard P., France, for Bust of Madame Cerito, in Marble.
Holl W., England, for Engraving on Steel The Merry Making.
Hasenclever J. B., Prussia, for Oil Painting The Deputation of Workmen.
Hubner, C, for Oil Painting The Intercepted Love Letter.
Jerichau A., Denmark, for Group of Adam and Eve, in Plaster.
Jacquemarcl A., France, for Tiger in PIaster.
Kneeling Horace, U. S., for Bust of Capt. Ericcson, in Plaster.
Lerolle, Paris, for a small Bronze Vase with Cupids.
L’Eveque, France, for Statue of Lesbia, in Marble.
Marshall W. Caider, England, for Statue of Sabrina, in Plaster.
Orr J. W., U. S., for sundry Specimens of Wood Engraving.
Pagani Petro, Milan, Italy, for Eve after the Fall, in Marble.
Powers Hiram, U. S., for Greek Slave, and other Works in Marble.
Ringuet, Le Prince & Marcott, France, for the Workmanship of a large Bronze Vaze.
Gillerie M., France, for Two Compositions in Relief, representing the one a Battle, the other a Religious Procession.
Santarelli Emillio, Italy, for Statue of Hypocrates, in Marble.
Serrure A., Belgium, for Oil Painting. The Lovers’ Meeting.
Spitzweg A., Bavaria, for Oil Painting. The Bookworm.
Soules Eugene, France, Water Color Painting. A Landscape.
Vache C. England, for Water Color Painting, View of St. Peter’s.
Vatican Manufactory of the, Rome, for a Mosaic Copy of St, John.
Van Schendal, Belgium, for Oil Painting. A French Market Woman.
Wilmore J. T., England, for Steel Engraving Deerstalker’s Return, after Landseer.”]

EXHIBITIONS. 1854. NEW YORK. NEW YORK WORLD’S FAIR.
“Personal & Art Intelligence.” PHOTOGRAPHIC AND FINE ART JOURNAL 7:2 (Feb. 1854): 63-64. [J. E. Whitney (St. Paul, MN) exhibited at NY Fair; …Dobyns & Richardson (NYC) at NY Fair; …note that “the rumor that Mr. Brady had obtained the gold medal at the World’s Fair exhibition in New York, appears to be incorrect. The awards of the Jurors have been published…” NY World’s Fair Exhibition awards listed.]

EXHIBITIONS. 1854. NEW YORK. WORLD’S FAIR.
“Personal & Art Intelligence.” PHOTOGRAPHIC AND FINE ART JOURNAL 7:2 (Feb. 1854): 64. [“The rumor that Mr. Brady had obtained the gold medal of the World’s Fair exhibition in New York, appears to be incorrect. The rewards of the jurors have been published and we find the result is as follows:
Silver Medal (The highest premium awarded.)
J. A. Whipple, of Boston, for; for crystalotypes.
Bronze Medals.
Alexander Butler, for several excellent daguerreotypes,
M. B. Brady, for uniformly excellent daguerreotypes.
C. C. Harrison, for cameras.
A. Hesler, for beautiful daguerreotypes—” The Three Pets,” “The Toilet” and others.
M. M. Lawrence, for excellent daguerreotypes, particularly, “Past, Present and Future,”
Henry Plant of France, for photographic apparatus.
Samuel Root, for fine daguerreotypes.
Honorable Mention
J. H. Fitz Gibbon, for daguerreotypes.
Jeremiah Gurney, for fine daguerreotypes.
Harrison & Hill, for daguerreotypes.
E. Long, for an exquisite daguerreotype of a lady.
Meade Brothers, for daguerreotypes of the “Seven Ages of Man.”
Moissenet, Dobyns & Richardson, for daguerreotypes
W. C. North, for daguerreotypes.
O. S. Peters, for stereoscopes.
M. A. Root, for fine daguerreotypes.
J. H. Whitehurst, for fine daguerreotypes.
Fine Arts, Sculpture, Painting, Etc.
Antigua A., France, for Oil Painting –Innundation of the Loire.
Ball, T., U.S., for Statuette of Webster, in plaster….”
(A listing of an addition dozen or so artists follows.)]

BRADY, MATHEW B. (1823-1896) (USA).
‘Personal & Art Intelligence.” PHOTOGRAPHIC AND FINE ART JOURNAL 7:2 (Feb. 1854): 64. [“We were in error in stating that a gold medal was awarded to Mr. Brady at the World’s Fair at London. There were but two medals awarded for daguerreotypes, These were of bronze and were presented to Mr. Brady and Mr. Lawrence, both of New York city.”]

BY COUNTRY: USA: 1854.
“Personal & Art Intelligence.” PHOTOGRAPHIC AND FINE ART JOURNAL 7:3 (Mar. 1854): 96-97. [“We certainly feel somewhat flattered at the great number of letters we receive from all parts of the country in commendation of our Journal; but we must inform the writers, as well as our friends generally, that we are not quite so well satisfied ourself as they appear to be, and that we intend to go on improving it in every department until it is as perfect as it is possible to have it. Our subscription list increases more rapidly than at any former period, and we have to thank many of our old subscribers for the additional names they have sent us. It evinces an interest in the work we have not hitherto experienced, except in one or two instances. If each of our subscribers send us but one additional subscriber during the year our circulation would be doubled, and our sphere of usefulness increased. Some have already sent us four, five, and six. One thing we can promise our subscribers to a certainty that is, that they will hereafter receive their copies regularly the first of the month. We have got our office established for the publication of the Journal exclusively — permanently located, and all to rights — so that there can be no further drawbacks to its prompt issue. To the subscriber who will send us the greatest number of new subscribers during the present year we will present one of C. C. Harrison’s Extra Half Cameras and Anthony’s Improved Box.
It may be remembered by our old subscribers that a little over two years ago we asserted that, before the expiration of that time, the paper processes in photography would claim the attention of the greater portion of our first class daguerrean artists; that their improvement would be such as to command their attention, and to those who had their doubts that paper photographs would ever equal daguerreotypes, we had but one reply; we felt assured that they could be produced quite equal, if not superior. Now we will ask, has not recent events proved the correctness of our prediction. There have been more apparatus, &c., sold in the United States, within the last three months, for paper manipulation, than during the whole time previous since its discovery. There is Whipple, and Masury, and Silsbee, of Boston; Brady, Gurney, Root, Haas, Fredericks, Lawrence, and Prevost, of New York; McClees and Germon, of Philadelphia; Whitehurst, of Baltimore, Washington, &c; Whitney and Denny, of Rochester; Hawkins, of Cincinnati; FitzGibbons, of St. Louis; Miller, of Akron, Ohio, who are already profitably engaged in this branch of their art, and every day brings anxious inquiries from all parts of the country regarding the process. In view of the hosts of 25 cent galleries springing up in all quarters, our most respectable artists begin to look to the crystalotype to redeem their artistic skill from the odium cast upon the daguerrean art by its prostitution to such paltry results.
We have no doubt that our readers will be pleased to learn that Mr. Hesler has furnished us with the first chapter of his new Treatise on Daguerreotyping, which we shall commence in our May number. Very many of Mr. Hesler’s manipulations are entirely original with him, and there cannot be a doubt that the work will be of some advantage to every one; to young beginners a very great advantage. We publish in this number a brace of epistles, as samples of the numerous letters he is constantly receiving from daguerreans in all parts of the country. The Philadelphia letter is exceedingly rich, and its author must have thought that Mr. Hesler, being a resident of the far West, was as simple as himself, and as easily imposed upon by quack receipts as those who are too wise to take a Journal. He (the writer of the letter) undoubtedly reads the Journal as we have evidence of that fact although he does not pay for it, and he should have remembered that Mr. Hesler not only reads it, but pays and writes for it; it would have saved him the mortification of seeing this letter in print. To prevent suspicions from resting for a moment upon the innocent, we will state that the letter was not written by either Mr. Root, Richards, McClees & Germon, Jaggard, Mascher or Innes.
We committed a great fault in neglecting to notice the beautiful electro-photographs of Mr. FitzGibbon, of St. Louis, at the Crystal Palace. Mr. FitzGibbon is the first American daguerrean who has successfully applied this new art, and he is certainly entitled to more than ordinary praise for the alile manner in which he has acquitted himself. The specimens exhibited at the “World’s Fair” have never been excelled anywhere, or by any artist; in fact they are almost perfect specimens of the art.
Our old friend. Judge Chas. H. Remmington, of Thomasville, Ga., was married on the 29th of January last, to Miss Ellen P. Sharp, daughter of the Rev. H. W. Sharp. We believe Judge Remmington is the only professional daguerreotypist on the bench in the United States. We tender to him the celebrated Indian chief Red Jacket’s toast, to Colonel Snelling: “May he live a thousand years, and have a thousand children.”
E. T. Whitney, of Rochester, will please accept our thanks for the communication sent us. It having been received too late for the present number, will appear in our next.
Mr. Gurney requests us to call attention to his advertisement of Chloride of Gold on our cover. We are also requested to do the same office for Meade Bros.’ cameras and colors, and Mr. Werge’s colors.
A new subscriber thus writes:
“Without in the least wishing to be regarded as a contributor, I will endeavor to dress up a small item or two I have, perhaps worthy oi publication. A lively correspondence the interchange of thought and experience is one of the things needed to give zest to a scientific Journal. This feeling prevails in the European publications, but is nearly lacking in ours. Try and raise the spirit. T. B.
“By the way have you any of the early editions on hand?”
“We will say to our new correspondent the same as we have said to ail others who have offered us contributions; send them along. One good step is sure to be followed by others, and the only way to excite the spirit of emulation is to set a good example. We can supply all the back numbers bound in six handsome volumes. To all new subscribers who, like T. B., pay their $5 in advance, we furnish the six volumes at $15, making no charge for binding.”
“G. W. Merrick has established himself at Adrian, Mich. His skill as an artist has been substantially set forth by the reception of several prizes, at various exhibitions, prior to his removal for that place. We trust the good people of Adrian will give him their hearty support.”]

EXHIBITIONS. 1853. NEW YORK. EXHIBITION of the INDUSTRY OF ALL NATIONS.
Justice. A New Contributor. “Daguerreotypes at the Crystal Palace, New York.” PHOTOGRAPHIC AND FINE ART JOURNAL 7:4 (Apr. 1854): 103-105. [“In attempting to criticise the productions of so many of America’s best artists in photography, I am led by a sincere desire to give, as far as in me lies, an impartial review or those works as they were presented to the public eye in the above named Palace. As the jury created for that purpose, have made their decision, and awarded all the premiums, any opinion of mine at this time can have no further influence on the matter, except as regards absolute fact, it is too often the case, as in the present instance—that gentlemen are selected to sit in judgment on articles of which they know little or nothing, especially in a practical point of view, and therefore I think it full time for artists and exhibitors to know this, and cease exhibiting their works altogether, or else have a proper guarantee that practical, or more properly speaking, working men should be placed on such committees, whose duties require them to judge of the merits or demerits of articles with which they are conversant. Genius, art and merit may then, and not till then, hope to gain their just reward. But when men, who are ignorant of the practical workings of any art or science, are appointed to decide upon the eminations of intellect, why, it is hardly to be supposed that the honors and rewards will be properly distributed. Even you, Mr. Editor, (excuse me for saying so), I conceive have not done your duty to the photographic art as you should. There was a field for you to exercise your talents which may never be presented again, or it may be a long time e’er the like number of such works may again be collected under one roof, Half a dozen pages would not have been too much to have been devoted to the task of criticism on that occasion. If you yourself couId not have spared time for such an undertaking, I think at least, some impartial artist could have been found competent to the task, to whom it should be a pleasure. But you will perhaps say, that I an doing it for you—not so, however; yours would have been official, as both the time and occasion called for it at your hands more than from others. It is to be hoped, that if any such display should again take place in this country, that those having the management of such an exhibition should know, or at least learn to know, what peculiar kind of light and position are required for the proper display of the works of daguerrean artist, for it is very well understood by operators, that light makes a great difference in showing off the beauties of a picture, and it is not fair to give to one a better position than another except it should be decided by lot, should the occasion call for It. In reviewing the many daguerreotypes on exhibition in the Crystal Palace, I will endeavor to point the difficulties under which each artist was supposed to have labored in making the peculiar kind of pictures he or they have produced, as well as the advantages that some have had over others in procuring very fine subjects, and making the most of the same by taking and displaying several pictures of the same party in different positions, a thing, except where various characters are personated by the same individual, ought never be resorted to in an exhibition of this kind. It leaves very little room to judge of an artist’s merits, as it is a well known fact, that a common place operator can get up good pictures when he happens to find a good subject. I shall commence my review of these works as they are placed on entering the west nave—and turning to the right, we first have a view of S. Root’s pictures which, almost without an exception, do great credit to the genius and skill of that persevering gentleman—they are really good, and some of them are very fine indeed. We noticed in particular, his plates, which are well got up; they show at once that he understands the first and great principle of daguerreotyping. Next we have J. H. Whitehurst’s collection. His large heads are not as fine or sharp as Mr. W. can produce. We don’t see the use of “straining” a camera—as it were—merely to get a large head when a smaller one with more of the figure will show to better advantage, besides, there is nothing artistical in such pictures. His views of Niagara are A No. 1; and also the majority of his small ones will bear comparison with any on exhibition. Howe of Maine, has a small collection of fair pictures—some very fine, but we noticed one among his collection (a copy of an engraving) which, we think, showed bad taste in the artist in allowing it a place by the side of his others. Mead [sic Meade] and Brothers next draw our attention; who among us do not know, or, at least, heard of those persevering gentlemen, whose constant endeavors to advance our art entitles them to our gratitude. They exhibit a large collection of fine pictures. The “Seven Ages of Man” are well got up, as are also the instantaneous views, and many of their larger, although the beauty of many of them were marred by his new style of coloring. Here allow me to say, although some of our first artists use this style of coloring, they must in their own minds condemn it, as they know very well they are working to please the bad tastes of the community and not their own. What is finer in the daguerrean art than a fine, sharp, bold picture without color (or a slight flesh tint,) or a drab background, not killed with too much mercury. We will also remark that the “Seven Ages of Man” are among the most difficult pictures to produce, as every thing must be prepared and got up accordingly. Their Rembrandt style attracted much attention, such pictures are very fine and truly artistical. Next, we had a glance at our old friend M. M. Lawrence’s pictures, and they will bear close inspection. Great artistical skill was displayed in getting up the majority of them. The only fault we could see, was in the tone, which in some was decidedly cold, owing, no doubt, to the chemicals with which they were produced. You know, Mr. Editor, that to criticise the works of the great masters and to differ from those who have passed their superior judgment upon works of art, is to stand upon slippery ground. Well, sir, I am there, and like the boy who said the horse was sixteen feet high—will still stick to it. The picture styled the “Past, Present and Future,” is not, in my honest opinion, the picture that many have been led to believe. The artistical arrangement is good, but the tone is cold, very cold, and the chemical effect is not as good as many of the same size that Mr. L. has already turned out. In saying this, I am not prompted by any selfish motive, for there is no gentleman in the business I respect and admire more than Mr. L. Again, I would remark that I am opposed, as well as others, to seeing our brethren take advantage of such pictures, by exhibiting them over and over again. It would seem by their doing so that they believe they could not produce the like a second time. It is to be hoped that this practice will no longer be followed. Were I placed a judge, I would most assuredly pass all such pictures by, as unfit subjects for exhibition. Brady comes next, and stands face to face with Lawrence. They rank in the profession as the number one artists. We hardly know what to any of Mr. B’s. pictures—the majority of them are excellent. Clear plates, artistical judgment displayed, and great variety; but some of them are rather cold in tone and not as sharp as might be, and, like our friend Lawrence, he goes in for re-exhibiting. Although Mr. B. not it practical operator, yet he displays superior management in his business and consequently deserves high praise for the lofty position he has attained in the daguerrean fraternity. Massury [sic Masury] and Silsbee’s small collection, next attracted our attention. These pictures seemed to strike the fancy of most persons visiting this department; in fact they were beautifully got up and pleased the eye very much. Now let us look at them artistically. Position, ease, and grace very fine—the chemical effect fine—the subjects very fine—and, it was obvious they were selected tor the purpose, from the fact that we saw many repetitions of the same pictures, which, like the re-exhibiting system we condemn in toto. An artist, in our estimation, deserves no credit for such kind of work. Suppose every artist should pick out some very fine subjects, and twist and turn them around into different shapes, what sort of an exhibition should we have had. I say this through no unkindly feelings towards these gentlemen, for they belong to the first rank in their profession. Here we turn a little to the left and behold Fitzgibbon’s collection, One would think he had sent on his whole gallery, so great is the display. He seems to have spared neither expense nor pains in getting up his frames and collection; let us examine his productions. One great fault with him is, he has too many pictures, and the position they were placed in prevents as close examination of them us we desired. The mass of his collection was composed of what are termed distinguished heads, which we all know an artist has to take as he can get them, and as such we consider them very fine. His Indian chiefs, and steam boat views also, cannot be easily surpassed. We noticed among his collection G. V. Brooke, the great actor in eight of his Shakspearean characters, which were well arranged and do him much credit. We would advise this artist to take a little more pains in the getting up of his plates. Next to Fitzgibbon and arranged somewhat in the same style, but much plainer, was E. Long of St. Louis. He beat the whole fraternity in point of numbers, and exhibited the pupils of a school amounting to nearly three hundred, on medium sized plates, of no interest to the artist or the world at large, He had some excellent views as well as fine pictures of the good folks of the west, with others not so good, This artist’s background seems rather too dark to show off pictures to advantage. His specimens are better suited to the parlor than the exhibition room in a public building. Turning again to the right, we have a full front view of our modest friend Gurney’s pictures, and again we were at a loss to know what to say for or against his chaste display. The plates are well got up, the impressions clearly brought out, and remarkably well colored, (notwithstanding our opposition to colored ones) and arranged, but, not we think, well mercurialized. A man may be perfect in many things but not in all, and I think Mr. G. lacks much. Here almost all of his pictures have too much mercury—a less quantity would materially add to their beauty. Some of his impressions were not as sharp as they might be, but the tone generally speaking was very fine. On the other side we noticed Dobyn’s and Richardson’s. Many of them were good. We only saw one that materially detracted from their merit, and that was a cupid in a very ungraceful position. It struck us that if this was a true representation of the God of Love, he would securely make a conquest in the Crystal Palace. Next in rotation we have a small but excellent collection from Von Schneidaw [sic Von Schneidau] of Chicago, in which he has displayed much good taste. The plates were well cleaned and the whole looked well. Mr. Von S. is not as well known as he deserves to be; but he bids fair to outshine some of our older artists. To the back of Mr. Von S’s collection is that of Mr. Brown. His specimens are fair without being striking or attractive, except as being portraits of the officers of the Japan expedition, and as their names are not given, the public take but little interest in them. On the opposite side is Williams of Brooklyn, in a kind of zig-zag frame, which puzzled us a good deal to comprehend for what it was intended to represent. The pictures were pictures indeed. I don’t know whether this gentleman intended them for burlesques on the Hillotype or not, but they certainly had more than their share of (unnatural) color. by the side of Mr. W. is a frame of fine electrotypes from daguerreotypes by Fitzgibbon of St. Louis. We know from experience the difficulty he must have encountered in procuring a perfect electrotype without spoiling the original copy. Too much credit cannot be awarded him for this most neat and perfect collection. Turning again to the right, we see Whipple’s collection of crystalotypes, nearly all of which are very fine. Great praise is due this gentleman for the manner he has persevered in bringing to such perfection these specimens of art. We hope a liberal public will sustain him in his undertaking. On the opposite side is Mr. North’s collection, some of which are good, but nothing extra. His convex pictures are somewhat novel, but are subject to one disadvantage which will prevent them from becoming favorites with the public, namely, the least defect is made very apparent— still they show what genius and perseverance can do. Passing to the left we see Bisbee’s of Ohio. Mr. B. is an artist, that every one will admit who examines his work. As a general thing, however, his pictures are too light and too much loaded with color, he seems to take more pains to please his customers than himself. His panoramic view of Cincinnati, on four double whole plates is extremely fine, and are sufficient in themselves to immortalize his name. We must take into consideration the great disadvantages the artist has to labor under in producing such works. He cannot, like the painter, spend weeks or months, in bringing them to perfection, for when once begun, they must be done immediately. If a boat moves in the slightest degree it is not possible for the artist to make the connection complete; hence it is that expedition is absolutely required, otherwise he could not have been able to produce such specimens as he has done. Opposite, we find Clark’s of New Jersey—rather light—not enough depth of tone—manipulation good. Mr. C. seems to understand his business, but does not practice what he knows. On the reverse side again is Haas of New York. His pictures are well taken, and he shows great taste in the arrangement of his subjects. If Mr. H. would only do away with that style of coloring which is s peculiar to himself, his pictures would be very fine. Mr. H. is one of the oldest daguerreotypists in this country, and proud are we to have to say, that unassuming as he is, without holding forth any peculiar attractions, either by show or advertisement to draw customers to his gallery, he is the only one of the fraternity in New York city, he invariably gets three dollars for medium sized pictures. Turn again to the left, and we find Hesler’s of Galena, which are good. His character pictures are very fine. His views are not so good; there is not enough of relief for his steam boats, for want of which they have the appearance of having been driven into the embankment. We do not like the peculiar white spot which he gives to the eye—it is far from natural, and in many pictures it looks like a white streak; we know that in some lights no white spot is perceptible, but his pictures all seem to have it whether natural or not.* (Our friend is here decidedly in the wrong, as all artists will tell him, that this “peculiarity” of Mr. Hesler’s pictures is the height of artistic skill, and one of the beauties of the natural effects, for which, more than anything else, he is considered eminent.—Ed.) Again, we must raise our voice against the practice of exhibiting the same picture in so many different shapes, and we are astonished at Mr. H. for resorting to such a practice, surely he could have found a sufficient variety of subjects without having recourse to the same models so often. His plates were very finely cleaned and his pictures have a warm tone, We may well feel proud of such an artist as Mr. H., but he like most of us is not yet perfect. Behind Mr. H. is Webster and Bro’s., of Louisville—pictures good, but not as fine as we expected to see from the hands of these gentlemen. Most of them seemed to have been forced out with mercury, His positions might have been improved. Some of the Lexington belles appeared to advantage. Next we find Messrs. Harrison and Hill’s pictures, in which we saw an much to admire as to condemn; so much had been said of these pictures we were led to examine them more closely than otherwise. We found the designs unsurpassed by any in the Palace. To get so many large size pictures and so perfect as these are, is no small task. In the first place the plates might have been well cleaned, but not well buffed, consequently that scummy appearance which they exhibited. In the next, they were not very sharp. The spots that are seen on several of them may have been caused by the water, the hypo or gilding. The majority of them were sat too long. In tone they were good, and the artistical arrangement so fine, that few can hope to surpass them. Mr. Harrison, we all know is an artist, and I have no doubt, would honestly admit that those pictures were not all that he could have wished them to be. But among such a vast collection whose works can lay claim to perfection. [sic?] Last, though not least, on this side was Mr. M. A. Root’s. Who among us does not know Root of Philadelphia? It is no easy matter to find fault with his productions, yet still we can. We are not disposed to be harder on him than others, all we wish is to point out what we, in our honest belief, think still be improved. Mr. Root’s pictures are very like his brother’s — hard to tell them apart. Backgrounds rather too light for the finest effect— not quite enough depth of tone to make the pure gems he has been so celebrated for producing. There was also exhibited, up-stairs, three collections from Kelsey, of Chicago; Mr. Donell of Buffalo and Hawkins of Cincinnati. Kelsey’s were good but he can do much better work than he has here exhibited. Mr. Donell, of Buffalo, had, I must honestly confess, the poorest collection in the Palace, and how he could have been induced to forward such for public exhibition is to me very unaccountable. We hope the next time he will endeavor to represent the city of Buffalo better, for, certainly such work tends more to harm the artist at home than abroad. Hawkins’ paper pictures are not to be compared to Whipple’s; the process is entirely different and do not show them to the same advantage, An artist practicing the paper process should endeavor to follow that which is the most perfect known. We hope that M. H. will persevere and try and do better the next time. (*These three last collections we did not see at our visit.—Ed.) In conclusion allow me to say that I as well as many others feel that many of our artists have not come forward as they should have done and exhibited proofs of their skill. What do we behold? Not one third of those who are really eminent artists have had any specimens there, and what I would ask is the cause of this? Could they not spare time? Were they afraid to come in competition with others? Or was the almighty dollar so great before their vision that they feared a few would be lost to them for ever if they should devote either time or money to the elevation of art. I would now say a few words in reference to the premiums awarded. As the first part of this communication was written long before the names of the successful candidates were known the force of any remark will be very apparent as regards the judges. Why did not Massury and Silsbee, Von Schneidaw, Kelsey, Bisbee, Haas, and others even get honorable mention, surely they deserved it as much as any in the exhibition. The decision shows two things, viz., that (to use a homely expression,) “kissing goes by favor,” or else the judges were incompetent.
Justice.
Our writer’s strictures upon our criticisms are easily answered. When we found that we could devote little or no time to the Crystal Palace, we endeavored to engage several gentlemen we knew to be fully competent to examine and write upon the subject, to furnish us with the criticisms we desired, but they all looked upon it as a thankless task, and we were obliged to go ourselves, we could devote but half a day to the exhibition, at a time, too, when we were suffering from a bad cold and a most violent headache; our examination was as clear as we could possibly make it under the circumstances, and our impressions were recorded without taint of partiality or prejudice. We had intended to select pictures and discuss them, but we were absolutely too ill to take more than a passing notice where we wished to do otherwise. We also lost the opportunity of seeing the other portions of the Palace, for we have never been able to pay it a second visit. There are many points in this criticism with which we cannot agree. Our ideas of tone are almost diametrically opposite in many instances, and our opinion of styles quite at variance; but we are too much pleased to see our artists taking up the pen on their own behalf to deny them the right to oppose us. — Ed.”]

EXHIBITIONS. 1853. NEW YORK. EXHIBITION of the INDUSTRY OF ALL NATIONS.
Justice. “Justice’s Reply to Mr. McDonald’s Letter.” PHOTOGRAPHIC AND FINE ART JOURNAL 7:7 (July 1854): 220-221. [(Reply to criticism of his criticism of McDonald’s work in the NY Crystal Palace exhibition, in his review of that exhibition in the April 1854 issue of the P & FAJ.) “To the Editor of Photo. and Fine Art Journal.”
“Dear Sir, I have taken the liberty of trespassing on your columns for the purpose of vindicating myself against the unjust aspersions of Mr. D. McDonald, of Buffalo, in reference to my criticism on the Daguerreotypes at the Crystal Palace, New York. I would ask this gentleman if he would have me to utter that which I could not believe, and give praise where it was not due, contrary to my honest belief, for the purpose of pleasing certain parties and elevating their pictures; that I must candidly say now and again were unworthy the profession and the Exhibition in which they were placed for public inspection. And what does Mr. McDonald’s letter amount to especially as regards his most enviable collection? Why simply this he knows they were below mediocrity and felt the truthfulness of my criticism. Did I withhold praise where it was justly due, or laud any work unworthy? No, Sir, I wrote down my observations at the time of the Exhibition at least two months before Mr. McDonald had removed his pictures from the Palace. Of this fact Mr. Editor, I believe you are aware, and it shows at least, that I did not wish to detract from his ten years reputation. If he valued his reputation at all, why, in the name of common sense did he ever think of exhibiting such pictures; surely the fault was his and not mine. Had it been such men as Gurney, Brady, or Root, who had sent such specimens of the Art, I (p. 220) should have been far more severe on them than I have been on him or his work; in my criticism I show no favor to any man, be he friend or foe, where my honest convictions are to the contrary; no, not even my best and dearest friend! I have no doubt that Mr. McD. can produce much better pictures any day than those he sent to the Palace, and I believe he can be favorably compared with the best operators in New York, but I do deny that any first rate artist of that city, or any other that saw those pictures, will differ with me in opinion as regards the demerits of those which were shown in the Palace they were most decidedly the worst there. As his pictures were placed up stairs and hung in a bad light, I regretted it myself as well as he did (I expressed myself so before, that it was not fair to give me a better position than another) but even that would not prevent an artist from making all due allowances for misfortunes of light and position, and with my experience of nearly fourteen years I could not kelp noting the, dirty plates, bad positions, worse tone, and mercurialization in a new fashion style, all on a cloudy day.
In conclusion, I would say, that I expected to tread slightly on somebody’s corns for I know truth is a bitter pill and hard to swallow, but in my remark about Mr. McD’s. pictures, I had no private feeling to gratify, (as he seems to suppose), about that gentleman, as I am unacquainted with him, his business, reputation, or personal appearance, never having seen him in my life that I am aware of; all I had to guide me in my observations was what I saw of his work in a public exhibition, where every ones’ works are supposed to be open to just and honorable criticism, and although he may think it derogatory to my judgment to pass such criticisms as I have done, or that in doing so I am knawing at a file, and that it would be better for me to find more lucrative employment than to waste my time on small matters! I must admit that it is rather unprofitable in a pecuniary point of view to write without pay and try to elevate the art you get your support from by transcribing ones thoughts on paper for the benefit of my brethren, while many around me are either too lazy or selfish to put themselves to the trouble of communicating a simple idea that might serve the profession to which they belong.
Justice.”]

ORGANIZATIONS: USA: NEW YORK STATE DAGUERREAN ASSOCIATION: 1854. Davie, D. D. T. “The N. Y. S. Daguerrean Association.” PHOTOGRAPHIC AND FINE ART JOURNAL 7:8 (Aug. 1854): 235. [“Utica, June 26, 1854.” “H. H. Snelling, Esq, Dear Sir. I have of late felt deep regret on account of the present languid condition of the N. Y. S. D. A. I have corresponded with some of the leading members in relation to holding a meeting, and making a renewed effort to carry on to perfection our well begun enterprise; but I fear others like mvself have but their hand to the plough and are looking back. At the last annual meeting there were only two members of the Association besides myself in attendance, namely, Mrs. Barnes, a lady of accomplishment, taste and untiring zeal in daguerreotyping, and U. Dunning, of Utica, not a sufficient number to form a quorum. Mrs. Barnes had left her happy home and business, and had journeyed from the fartherest extremity of the state to greet her brethren and counsel with them respecting her favorite art, but like Moses of old at the Saviours tomb, behold they were not there. Who can explain the cause of this fearful falling off? It is not for want of enterprise, for daguerreans are an example for all mankind in that respect. It cannot be for want of evidence of good results, from that and other similar organizations, for no intelligent daguerrean can be so blind from any cause whatever, but that he can see and appreciate the good that has resulted from daguerrean or photographic associations, both in America and Europe. Previous to these fraternal unions every daguerrean was for himself, and by himself: his sanctum was bolted against his neighbor, and his heart and lips were ever ready to do him an injury. There was but one pass-word that could open his heart or sanctum, and that was, sir, I have a great discovery. This key has unlocked too many hearts, but this is not the extent of its mischief; it has unlocked the daguerreans small treasury and scattered his hard earnings, and has materially retarded the advancement of the photographic art. ln a great measure old things have passed away, the production of daguerreotype pictures has become a science, and this science is learned and practised by very many who practice the Art. Humbugging has had its day; there are but one or two whose sails are still in the breeze, and they would have hauled in their colors long before this, had they taken the trouble to secure a correct daguerreotype of themselves, or that they could see themselves as others; see them. What has produced this change? What has thrown the daguerreans sanctum open and driven the Scribes and Pharisees from among them? I doubt not you will agree with me in crediting this change chiefly to Daguerrean Associations.
Daguerreans are a very industrious class of men, yet when asked to join the Association, they are like other men, very apt to feel of their pockets, and enter a plea that such things require much time. They do require time, and money, and daguerreans who are coming from one to ten thousand dollars a year, can afford a little of each, quite as well as the lady referred to in the fore part of this letter. There is no climate better adapted to the production of sunlight pictures than ours. Even London, the great depot of science, and Paris, the birth-place of daguerreotyping and nursery of the fine arts, acknowledges our superiority in the production of daguerreotype pictures. I am yet to learn if even the sunny land of Italy, or the clearness and brilliancy of Cuba’s sun, has equaled ours in the production of daguerreotype miniatures. As far as I can learn there is a greater number of well-established daguerreans, with a handsome competency and income in America than can be found elsewhere, a majority of whom have gathered their wealth by daguerreotyping. And yet how reluctant and slow we move when called upon to contribute a few dollars to defray the expenses of the Association, or for the purpose of erecting a monument to Daguerre, or for any other purpose connected with daguerreotyping. And yet daguerreans are liberal hearted men; they will give freely to any good cause but their own. This is not owing to a want of pride nor appreciation of their own occupation, but has grown out of the fact that for a long time after daguerreotyping was first practised in our country, all entertained serious doubts as to the durability of pictures as portraits made by this process. Had those suspicions been founded on reality, long before now the art of daguerreotyping would have been forgotten. Its epitaph would have been written not in gold nor in Italian marble, but on the margin of some ancient almanack. This was understood by daguerreans, which made cautiousness exceedingly active, and having cultivated that propensity until its growth is enormous, it is hard to overcome and subdue it. Now, since the durability of daguerreotype pictures has become a fixed fact, and the perpetual demand for them as evident as though they were the necessaries of life; why not act accordingly. I believe it is the avowed opinion of daguerreans (the intelligent ones) that they are in favor of an Association; if so, what excuse have they for not moving in accordance with their better judgment. We claim to excel, and do excel all other nations in our art, but I fear all other nations excel us in union of thought and action, and in scientific researches. If it is true that we are the wealthiest or the best manipulators (but not artists,) and have realized the most dollars and cents from the art, is it not our duty to lead other nations instead of laying far behind them in all public matters. Where is our subscription list for Daguerre’s monument? There should have been $10,000 subscribed before now; there is wealth enough among daguerreans to raise that monument if properly distributed, and no one suffer for it. Will not the whole world look upon us with contempt for our backwardness. The first step towards a monument or national gallery, is to organise an Association. That would embrace the principal operators from every city and town in the Union, and until this step is taken, all efforts for a monument gallery’, or any thing else requiring a large sum of money will be fruitless. Our plea that we cannot spare the time is without sense. All must occasionally get away from his laborious place, and the annual meeting of the American Photographic Association will be just the thing. I wish I could see in the next number of your Journal a call for a National convention, signed by Lawrence, Gurney, Brady, Root, Meades, Haas, Whipple, Hale, Massury [sic] and all the rest of the wide a-wakes. I finally believe there would be a fall attendance, and that an organization would be accomplished. Will you give this last suggestion a sober second thought. Most respectfully yours, D. D. T. Davie,”]

BY COUNTRY: USA: 1854.
“Personal & Fine Art Intelligence.” PHOTOGRAPHIC AND FINE ART JOURNAL 7:8 (Aug. 1854): 256. [“— We record this month one more step in the progress of photography its application to printing textile fabrics. This remarkable achievement has been effected by an English manufacturer, not only upon the most extensive scale, but to the entire satisfaction of those who have witnessed the wonderful results, the most astonishing part of which is the variety of colors obtained; giving further evidence as to the ultimate production of photography in the natural colors. In this branch of photography, we hope the facts stated in the article we now publish from La Lumiere will lead our photographers more thoroughly to investigate it and endeavour to produce decided and permanent paper photographs in colors; for we hold that if any process is capable of producing the colors enumerated in this article and fixing them, it is equally capable, under proper modifications, of reproducing views, &c. in all the colors with which nature has endowed them. We also think the attention of our own manufacturers should be called to the fact that photography can be so readily applied to printing textile fabrics, for we feel confident, that on application, they will find the difference between the cost of this and the present methods very considerable.
— The folly of those daguerreans who still refuse to read works devoted to their art, on the ground that nothing practical or useful can be extracted from them, is most emphatically demonstrated by two photographs we have received, since our last from Mr. Franklin White, now of Brattleboro, Vt., who is a self-taught artist in this branch of the art. They are small, but excellent, showing not only talent but taste. He has only to persevere to become an accomplished manipulator.
— We have been requested by several members or rather former members for none are members, de facto, unless their annual dues are promptly paid of the New York State Daguerrean Association to suggest the propriety of holding a special meeting this fall in the city of New York. We have also received a communication from Mr. Davie on the same subject, which may be found in another column of the present issue, and to which we cordially invite the attention of all our readers. Our own views respecting associations for mutual improvement, in all branches of art or labor, are too well known to require repetition; all we have to say, therefore, is that any movement of the kind will receive our most hearty co-operation.
To the Editor of the Photographic and Fine Art Journal. Dear Sir, Allow me to give you an opportunity of correcting a slight error published in the number for July of your highly valuable paper, The photographs you spoke of as taken by me, of the eclipse of the 26th of May last, were not for a Prof. of Columbia College; they were for Prof. W. H. Bartlett of West Point Military Academy. It may not be uninteresting for the public at large, and the amateur of the art in particular, to know that those photographs were obtained through the large Equatorial of the Observatory at West Point, and not through the ordinary camera. If you think this rectification worthy of your notice, I would be very happy to see it appear in your next number. Please receive my thanks for your kind notice of my humble efforts in an art so ably advocated by yourself, and believe me, my dear Sir, Most Respectfully, Your obedient Servant, V. Prevost. July 17th, 1854.

— Our thanks are due Messrs. Masury & Silsbee for the fine photograph which illustrates our present number. We should have preferred, however, to have printed the title &c. ourselves. The title of all our photographs have not been printed heretofore in consequence of our not having received them in time, but these last were furnished in ample time for that purpose.
— No matter what we may think in regard to Mr. Gurney’s daguerreotypes, we must do him, and Mr. Fredericks, the justice to say, that, at this present writing, they are far in advance of all other artists in the production of photographic portrait. Since our last issue they have executed a large number of various sizes, mostly life size, that are unsurpassed for excellence by any we have ever seen, not excepting the German which have heretofore been considered as superior to all others. Mr. Lawrence, Mr. Brady and Mr. Hesler. however, promise us equally good results in a short time, and from the specimens we have seen by Mr. Richards and Messrs. M’Clees and German, these artists will not come out second best. Those we have seen of their portraits are very fine. The great increase in this branch of Mr. Whipple’s business and also that of Messrs. Masury & Silsbee is sufficient evidence of the appreciation of their skill. To show the important tendency of the photographic art, we may merely mention that Mr. Whipple has received an order for 60,000 photographs from one New York publishing house.
— Mr. J. C. Gray, of Jamestown, N. Y., gave us the pleasure of a visit within a few days, and we found him the unassuming gentleman we had anticipated from his letters. Such artists honor the art.
— Messrs. Whitney & Denny of Rochester have dissolved partnership and the business is now exclusively in the hands of Mr. E. T. Whitney. Mr. Denny, we understand, repudiates daguerreotyping altogether, which we regret, as in him the art loses one of its most faithful and prominent supporters, and one whose place it will be difficult to refill. Mr. Whitney, the artist of the former concern, will continue the business as usual and we doubt not be as successful as his fine artistic skill deserves and should make him.
— Mr. Whitehurst of Baltimore has entered the list of competitors for photographic patronage and will no doubt succeed with his usual ability and energy.
— Mr. H. E. Insley will please accept our thanks for his unbiassed decision in regard to the merits of our Journal and Dictionary; but we would submit it to daguerreotypists generally, whether a man is capable of justly appreciating works he has never read or examined?
— Mr. Gaige has opened an elegant suite of photographic rooms at 369 Broadway N. Y. This young artist is a regular graduate of the Daguerrean College, which has for years been under the Presidency of M. B. Brady, Esq., who we all know has retained constantly the most skillful and learned professors in the art, and to say this, is to say sufficient to give confidence in his skill and taste as an artist; but we can say more; we have been personally acquainted with Mr. Gaige for some years, and we do him no more than justice in saying that as a gentleman and a daguerrean artist we place him in the front rank, and we are very much mistaken if, before the end of the year, he does not become captain. He certainly is an artist of high promise, and we sincerely trust that his present enterprise may be as successful and permanent as his most sanguine expectations could desire.
— R. H. A. You appear to be mistaken in regard to the price of Crystalotypes. Such as we publish in the Journal are sold, at present, by the single copy at $1. The quantity we take enables us to procure them sufficiently cheap for the Journal, allowance being made by the photographer for the benefit derived by his business through the publicity given to his work by the circulation of the Journal.
— To Mr. A. W. Phipps of Lexington, Ky., we tender our thanks for his efforts to increase the circulation of our Journal, as well as for the flattering praises he is pleased to bestow upon our labors. Our Journal would rise rapidly if all our subscribers would do half as well.”]

BY COUNTRY: USA: 1854.
“Personal & Fine Art Intelligence.” PHOTOGRAPHIC AND FINE ART JOURNAL 7:12 (Dec. 1854): 383-384. [“— We have again arrived at the close of a year the fourth of the publication of the Photographic and Fine Art Journal and we here propose to go over the pages of our monthly and review the progress of the Photographic art during the twelve months just passed. The art has made rapid strides during that time. No year since its first discovery have so many improvements been made, nor so much interest taken in its development by all classes of our people. The collodion process, which was only fairly introduced during 1854, has been reduced to a certainty in its operations, and made to work instantaneously, rendering failures to obtain copies of animated nature next to impossible. On this subject we have presented our readers with several most excellent works, by English and French practical photographers, besides various fugitive pieces; all of the most intrinsic importance to the student or practitioner of the photographic art who sincerely desires improvement in his manipulations. It was our intention to give a general review of Photography at this time, but our more pressing engagements have not permitted us. We intended, in that review, to have not only touched upon the various improvements made in England, France, and this country, but also to point out the formulaes of greatest merit, and speak of the results we have seen produced by them. Now, however, we must confine ourselves merely to a statement of them and their origin; and we are inclined to this course from having been promised a more elaborate article on the subject from a distinguished amateur, who has occasionally favored us with contributions from the French.
The works of Messrs. Delamotte and Cundall are undoubtedly the best and most practical treatise that have appeared during the year on the paper and glass processes, giving much that is new and interesting. of the many improvements in the collodion process, those of Messrs. Spiller and Crooke’s, M. Bertsch, and J. Maxwell Lyte appear to be the most important. The application of bromides instead of the iodides as accelerators, made by some of the French photographers among them MM. Niepce de St Victor, Evrard, and Brebisson and by the English photographers at a later date, have not claimed that attention they should have done in those countries, and it has been left to American photographers the principal of whom are Mr. Turner and Mr. Cutting to improve the formula to a degree which has enabled them to obtain the most perfect results in photographic portraiture. In this branch of the collodion process, the American photographer is unexcelled, in proof of which we can point to the results of Mr. Whipple, Massury [sic Masury] and Silsbee, of Boston; Messrs. Gurney and Fredericks, S. Root, M. M. Lawrence, Brinckerhoff, and Brady, of New York; M’Clees and Germon, and Richards and Betts, of Philadelphia, as well as the two gentlemen before named, in proof of our assertion. The collodion process has also enabled our photographers to multiply positive photographs with such facility, and to such a degree, that they are now beginning to take the place of engravings in the illustration of periodical literature, as well as in some standard works. Three years ago, the idea of obtaining photographs at a price sufficiently low for this purpose, was thought to be a chimera of the wildest nature, but we think we have established the fact beyond all doubt. It is true, many of the pictures with which we have illustrated our Journal during the present year are inferior to that class of engravings usually met with in periodicals of the style of our own, but if they be compared with those presented to the public by the popular magazines of the day, they will be found to be of a far more intrinsic value, not only as works of art, but in truthfulness and exactness to the original; and of far more accuracy in detail. Their defects we hope to remedy in future issues; and we trust before the expiration of the coming year, to present our subscribers with photographs in every particular superior to the productions of the burin.
The waxed paper process has also made rapid strides towards perfection. This result is mainly owing to Mr. Le Gray of Paris. The views taken by it are of the most exquisite description. Here we have a powerful competition to the burin. No engraver can for a moment expect to produce the detail, and at the same time the roundness and clearness, which we find in the photographs of ancient views and fine landscapes, taken by the French photographers. We had the pleasure, a few days since, of examining and comparing some of the most recent photographs with engravings by some of the best masters, and we venture to say that there is no artist who would hesitate to award the preference to the former.
The albumen process has not commanded that attention it should since the discovery of collodion as a photographic agent. Although the latter is no doubt much quicker in its operations, the former is allowed to give the most pleasing and perfect results in negative pictures. But its principal value is in the production of positive proofs. While all the details of a picture are quite as clearly developed on the albumen paper as on the waxed paper, we think we perceive a greater degree of solidity, more of an aerial aspect in the skies, greater delineation of the distance, and more uniformity in tone. Pictures produced on this paper are, also, equally warm and soft with those on waxed paper, and give a more natural appearance to the objects delineated.
One of the greatest inventions in photography, of the present year, is the process of Heliographic engraving, invented by M. Niepce de St. Victor. The indefatigable labors of this gentleman, in this branch of the art, is deserving of the highest praise. Notwithstanding the doubts and fears expressed by even the most learned in the art as to the final accomplishment of the end in view, he has pursued his experiments with increased success for the last three years, and he has now the satisfaction of possessing the confidence of some of the first engravers of Paris. In conjunction with two of them whose names we cannot at this moment call to mind he has produced results as surprising as they are pleasing. The two last numbers of La Lumiere we have received contain Heliographic engravings on steel, which give evidence of an undeniable character as to the future success of all M. Niepce’s aspirations in this new art. We predict that, before many mouths, engravings that now occupy months and years in their execution, will be produced in comparatively a few hours by this new process, in every respect equal in effect and appearance, and by far superior in detail and truthfulness to nature, of the original object.
In aid of photography, we have, as a recent invention, the pantograph, or box for the copying and enlargement of photographic pictures. The first published accounts of this simple but useful instrument are due to the English photographer, Mr. (p. 383) Stuart, but so far as data is given us, we must lay claim to its invention. As early as the spring of 1852, we consulted two celebrated opticians, Mr. Henry Fitz, and Mr. C. C. Harrison, of this city, upon the construction of an instrument similar to that described by Mr. Stuart, and we entered into an arrangement with Mr. Fitz to furnish the lens for one on a mammoth scale, at that time. It was our intention to endeavor to produce with this instrument, full length photographs the size of life, and our opinion as to the possibility of doing so was fully concurred in by Mr. Fitz. Our own time, however, was so fully occupied by other pressing duties that we could not find a moment of leisure to devote to it then, consequently the experiment was deferred from time to time, until the production of Mr. Stuart appeared, when, not wishing to be considered a mere imitator, we dropped our design altogether. The gentlemen named, however, can vouch as to the truth of this statement. Our plan was to copy the negative upon canvass prepared with a substance still entirely original with us, the lens for its enlargement to be placed in a partition containing a box so made as to admit of elongating to the required length. The canvass was to be stretched upon a frame similar to that used by painters, and set in another frame, movable upon the floor of the darkened room. This room was to be large enough for us to move about in it freely in order to prepare the canvass, and into which the only light to be admitted would pass through a very small piece of yellow glass. We do not give the name of the substance with which we intended to prepare the canvass, simply, because we know not how successful it might prove, although from its nature we should judge that whatever might have been the result of the first experiment, its ultimate success would be certain. It would have given us much satisfaction to have been able to present favorable results by this method in advance of any others, but as it would have interfered materially with other duties, we must be content at this late day to make this statement of facts.
The application of photography to meterological and magnetical registration, is one of considerable importance to the scientific world. The researches of Mr. Brookes and Mr. Howe, together with their method of application, which we have already published, furnished much that is highly interesting and instructive.
One of the most wonderful and most unexpected thus far applications of photography which have been made during the present year, is that of printing textile fabrics, discovered by Mr. R. Smith, Blackford, England, an account of which we gave in our August number. A full realization of the practical application of this invention will effect a great revolution in the printing of cloths.
It is not until recently that photography has been successfully applied to wood engraving, and we think we are doing injustice to none when we attribute the most successful results to Mr. Brinckerhoff, of this city. We hoped to have given a practical example in this number, of this process, but our engraver has disappointed us, by not finishing the portrait of Mr. C. C. Harrison in time. We shall, however, give it in our January issue.
Now, the result of all these improvements has been to verify our assertions made less than two years ago, that photography upon paper would within two years, command as great, if not greater attention in this country than the Daguerreotype. We were laughed at then, but nearly all of our then quisical friends are now the most eager in the search of instruction in the, to them, new art. It is but a few weeks ago that one of our best daguerreotypists, chose, through the columns of a “tuppenny” affair, to satirize us for our advocacy of the paper processes; but he is so evidently ignorant of the whole matter notwithstanding he takes the two Journals devoted to his art that he is entirely incompetent to form a correct judgment. He takes the false position, at the start, that we are opposed to the daguerreotype, and upon this bases his argument. As we have not laid ourselves open to an attack from that quarter, and being perfectly conscious of never having given M. F. any cause for the satirical expression he chooses to apply to us, we shall take no further notice of this paper bullet or any other article he may feel disposed to aim at us. We are wholly unacquainted with this man, but we have had every disposition, from what we have heard of him, to respect him, and we shall be sorry to find in him that littleness of mind which is influenced by the misrepresentations and slanders of others. Among all these improvements in photography the daguerreotype has not advanced a single step during the year. Not an improvement of any importance has been made; it admits of no enlargement of its field of operation; it may, in the hands of some artists improve in detail; but we question whether unless the colors are truly discovered it can go beyond its present position. There is every indication therefore that the paper process will be very soon the prominent branch of the photographic art. The idea that paper pictures could never be produced equal to the daguerreotype is already exploded, and the public mind is gradually, but surely, becoming biased in their favor. If M. F. will now visit this city and take a look at the photographs for sale by Messrs. Williams & Stevens, and Goupil & Co., and those taken by Mr. Turner, and by Gurney and Fredericks, and will then concientiously say we are wrong, we are very much mistaken in the man.
— Mr. Stanley, of Houston, Texas, writes:
“Permit me to suggest to your correspondent on the subject of coloring the accelerator, that he will find (provided that he has made the slab of plaster of Paris to fit the jar with tolerable accuracy) that it can be successfully and effectually united with the glass by a cement made of slacked lime and whites of eggs, or, if the jar is perfectly clean, with a little cream of plaster of Paris run round the edge of the tablet.”
— Mr. Gillou, Phila., will please accept our thanks for his favor. We hope he will favor us in like manner as often as he can find it convenient.
— The Messrs Meade are preparing a block of marble for the Washington Monument, to contain the following inscription:
To Washington,
An humble tribute from two disciples of Daguerre.
— A very interesting letter will be found in the present number, from Mr. Henry D. Meade, now in Paris. We tender him our warmest thanks for his remembrance of us.
— We clip the following from the California Christian Advocate:
Something not to be Surpassed. We have just returned from Mr. Vance’s new Daguerrean Gallery, corner of Montgomery and Sacramento streets, and we find his Gallery, in extent and magnificence, to surpass anything we have eyer before seen, and doubt whether his arrangements and conveniences are surpassed by any establishment of the kind in the United States. Specimens of his work, with which he has his Gallery adorned, are certainly worthy of attention, and will well repay a visit to his rooms. We would refer our readers to his advertisement in another column.
After seeing the splendid views exhibited in this city three years ago by Mr. Vance, we can fully endorse the above. These views are now in the possession of Mr. Fitzgibbon, of St. Louis, Missouri.
We have received two very fine daguerreotypes from Mr. Fitzgibbon for crystalotyping for the Journal. Tliey will appear shortly.
— We regret to learn that Mr. Keen has been quite ill for some time. We wish him speedy recovery.
— Messrs. Cook and Osbokn have returned to Charleston, the former fully posted up in the paper processes.
— Mr. Cary has also returned to his old quarters at Savannah.
— We have sent bills to all who owe us for subscriptions, and we trust it^will be the last call we will have to make for what is due us.
— Mr. Hesler has opened a fine suite of room in Chicago, whither he has removed.
— The Journal will appear in a ” beautiful new dress” on the first of January, 1855”]

BY COUNTRY: USA: 1855.
“Personal and Art Intelligence.” PHOTOGRAPHIC AND FINE ART JOURNAL 8:1 (Jan. 1855): 31-32. [“Every year, as it rolls over our heads, brings with it many events to gladden the heart as well as to depress the spirits. During that which has passed, our editorial career has had more, much more, of the former than the letter. We have had the pleasure of feeling that our efforts in aid of art — the Photographic Art, particularly — have been much better appreciated than at any former period, and the liberal increase in patronage to our Journal has enabled us fully to meet the intentions and promises of improvement which we held out at the beginning. It is therefore with no little pride we present the issue of this month to our readers, grateful to them for their steadfast friendship, notwithstanding the efforts that have been made by jealous and unprincipled opposition, thus causing the slanderous and libelous falsehoods to come to nought.
It is gratifying to us, in the extreme, thus to be made aware that our efforts — valueless as they may be in the estimation of a few heartless, perhaps brainless individuals — has met with a generous response from the community of Daguerreotypists and Photographers at large. They have not only handsomely sustained us in the course we had marked out for the past year, but enabled us to keep the promises made at its commencement.
We believe that the various improvements which have been made in Photography during’ the last twelve or eighteen months, are only forerunners of what is to come, and never more than now has the art required a means of intercommunication — a means that will be something; more than a vehicle for ill-nature, abuse and invective. This we have endeavored to make the Photographic and Fine Art Journal, and ever shall endeavor to make it. It is, and has been, our sincere desire, to place it above all personal considerations. It is for the benefit of Art that we publish it, and to Art it shall be exclusively devoted.
Many of our attempts to promote the rapid progress and improvement of the Art of Photography, since we began the publication of this Journal, have been met by a spirit of opposition as inexplicable, as narrow-minded, by a faction — and although we could not but feel regret at such a course from those who should have, not only appreciated our motives but, lent us a helping hand, we have not swerved from our purpose nor suffered this opposition to dishearten us. The result is before us — before our subscribers. We have succeeded in establishing friendly relations with many of those who once bitterly opposed us, and we are in hopes that many more will cast aside the unfriendly feelings they still entertain toward us, and for which they have not the slightest cause, and join us in our humble efforts to elevate the Art to which they are devoted.
We do not — never have — assumed to be a dictator in the art, or to have greater knowledge of its mysteries, than those who surround us, and have been longer engaged in its practice. The art is still in its infancy, and none of us know too much about it; we should therefore endeavor to keep pace with its progress and direct the minds of others in what we conceive to be the true path to its final perfection. That we have succeeded or failed in this, is for our readers to judge; but we shall still continue to strive for success until those for whom we labor give a verdict against us by the withdrawal of their patronage. Thus far we have reason to hope that our editorial career has not been in vain, and, so long as we can feel that the small stock of talent we possess can be of benefit to our fellow-men, so long will it be a pleasing task to devote it to them, let what may said by envious minds.
There is an old saying that “it is always darkest just before day,” and we trust the adage will hold good regarding the present general depression in the Daguerrean business. We think we can see a bright ray of sunshine through the dark overhanging clouds, and we would advise our readers to be prepared to take advantage of its revivifying effects. Depend upon it, the present year will bring about many changes and important results in the Photographic Art — such changes that to those who are foremost will be the race.
In order that our labors may be the more useful, we would earnestly entreat our subscribers to take something more than a local interest in their art, for the interest of one is the interest of all. There are none so devoid of intellect and resource in this country that they may not originate some new idea or experiment, which, properly discussed, may bring improvement with it. We repeat what we have said frequently before, that the great source of mental and practical improvement is study and intercommunication, particularly on any new subject. The Photographic Art is a new subject, scarcely emerged from the darkness of ignorance, and requires as much investigation now as it did fourteen years ago. The vast improvements which have already been made, only point to others more vast and now little dreamed of by many. Why should American Photographers ever follow the lead of Europeans? We have minds, which, properly directed, are as fully capable of originating, and which should not only originate but make themselves felt. This groveling apathy which induces one mind to be subservient to another, and prevents it from makingitself felt, is not natural to the American, and we regret to see it exist to such an unpardonable extent among American Photographers. Of what benefit is gold to the miser, who buries it beyond his reach, while he starves himself in a garret. In depriving the community of the benefits of its circulation, he deprives himself not only of the pleasure of doing good, but of the necessities of life, An idea locked up in the mind h like the gold buried in the earth; it is harassing to the possessor and useless to the world. We do wish our readers would study this principle in the spirit of true philosophy and philanthropy, and allow it to bring forth its fruit in due season.
We would ask Mr. Hesler, Mr. Fitzgibbon, Mr. Webster, Mr. Whipple, Mr. Richards, Mr. Root, Mr. Harrison, Mr. Bailey, Mr. Davie, and others, who have contributed to the public stock of information on their art, whether they derived benefit or injury from the publication of their inventions and thoughts? This is the true test of our assertions. We call upon them to answer, that the faint-hearted may be strengthened, and erroneous views on this point may be corrected. Let none think that he can impart no information, or receive instruction. Let ambition sway each mind, and not the propensity of the “dog in the manger.” Our friends must excuse us for introducing this subject so often, for we consider it of the utmost importance, and feel sincerely desirous that our subscribers shall do so likewise.
— Messrs. M’Clees & Germon, of Philadelphia, have sent us several very fine Photographic portraits. These gentlemen evince, by these pictures, an amount of taste and talent that places them in the front rank of the art. When we reflect on the brief space of time they have devoted to this branch of the Photographic art, and upon the slight instruction they have received, while examining these results of their efforts, we cannot avoid repeating the remark, that it is strange that our artists can content themselves with merely following in the track of those abroad.
— We have also received several Photographic views from Mr. Joseph Cundall, of London, England, which are very fine. The establishment of Mr. Cundall, in London, is said to be one of the finest in that city. We were sorry Mr. Meade did not visit it while there, and furnish us with a description. (p. 31)
— It always pleases us to read the good things said of our friends, and when we see such testimony as the following (from a St. Louis paper) we publish it:
“Fitzgibbons’ Daguerrean Gallery. — We desire to call attention once more to the fact that, among the great institutions of our city, the Daguerrean gallery of our friend Fitzgibbons stands very prominent. Mr. F. has confined himself for years to the study of the beautiful process by which the sunbeams of Heaven are made to stamp with clearness and accuracy, the varying forms and shades of the human countenance, and by his love and devotion to the art, has secured for himself a reputation unsurpassed by that of any other operator in the United States. In his long experience he has been enabled to collect, at great expense, the miniatures of almost all the distinguished individuals, male and female, that have visited our city, and this collection now exhibited in his splendidly furnished and decorated rooms, on the corner of Fourth and Market streets, continues to draw, from day to day, crowds of admiring visitors. This gallery of pictures has been collected at an expense of $10,000. The full length likenesses of distinguished actors and actresses in ordinary dress as well as in character costume, make up a very attractive feature of the Daguerrean rooms. Two large and distinct apartments have been appropriated for the special purposes of exhibition galleries, and the arrangements for the disposition of light are so excellent, that each picture stands out as prominent and clear as if the glowing pencil of some gifted artist had freshly touched the shining plate.
” We feel a pride in calling the attention of citizens and strangers to this gallery, as an evidence of the enterprise and superiority of one of the first of our Daguerrean artists. Mr. F. merits a large patronage — he receives it. Visitors to our city are constant in their demands at his establishment. Its fame has gone abroad, and our people owe much to the man who has devoted himself so energetically and successfully, in elevating the beautiful Daguerrean art in our city to its present popularity and eminence.”
This is not all that can be said of Mr. Fitzgibbon. His generosity is equal to his talents. As a proof, we copy the following from a recent letter, received from him, enclosing fifty dollars for subscriptions to the Journal:
“I was about to drop this in the office when I saw your letter in my box. In answer to it I would say, I cannot receive any commission from you for getting yon the few subscribers I have. I wish there were as many more, and I hope to still keep adding to your list. It is a duty we all owe to ourselves, to the art, and to you, to do all we can to sustain the Photographic and Fine Art Journal, and you, and not to take part of the small pittance you receive for such a valuable and interesting work, which is, in all conscience, cheap enough.”
He has added to the list — and his efforts to do this alone deserves our warmest thanks, while his friendly generosity claims our unbounded admiration. Such is the man, and we do not wonder at his success and the number of his friends I
— We take the liberty of transferring to our columns the first of a series of articles on the ” Rise and Progress of the Photographic Art,” now publishing in “Life Illustrated” — a new weekly family paper, published by Messrs. Fowlers & Wells, No. 308 Broadway, N. Y. This is one of the best literary and scientific papers issued from the New York press, and, in typography, the most beautiful.” To all those who wish to furnish their families with good, wholesome and interesting reading, we say subscribe for it. It is but two dollars a year.
— Rev. L. L. Hill, it will be perceived, by reference to our advertising columns, has resolved to dispose of the results of his discoveries in Heliochromie, or sun painting (in the natural colors), to the Daguerrean artists of this country. Those who wish to purchase the process can ascertain his terms by addressing him at Westkill, Grecue county, N. Y. Mr. Hill has been sorely afflicted, not only by his own ill-health, but by that of his lady and daughter, and it is at the earnest request of Mrs. Hill, who is pronounced past recovery, and anxiously desires to see the success of her husband proclaimed to the world and his character vindicated before she dies, that he now announces himself ready to impart his secret. If Mr. Hill has not committed himself to any person in such a manner as to prevent it, we still adhere to the opinion that he should accept the offer made two years ago, viz: fix a price, to be raised by subscriptions of one hundred dollars, or more, each, which, when fully made up and deposited in a bank, shall be subject to his order upon the publication ot his process to the world. Besides the sum thus realized, he would undoubtedly find sufficient revenue for support from the necessity a large number would be under to obtain practical instruction from himself.
— The finest Photographic portraits, uncolored or untouched by the pencil, taken in this country, are taken and on exhibition at Mr. Brady’s gallery in this city. Those of our readers who have doubted the possibility of producing paper Photographs, equal to the Daguerreotype, have only to look at these specimens to be convinced of their error.
— Mr. Lawrence, Mr. S. Root, and Messrs. Gurney & Fredericks succeed admirably in coloring their Photographs in oil and pastel. Brady is also advancing in this branch of the art. To Mr. Lawrence we must award both priority and excellence in the oil paintings, and to Messrs. Gurney & Fredericks the pastel. We have seen many very exquisite pictures produced by all these artists, whose enterprise certainly demands the highest praise.
— We take great pleasure and no little pride, in presenting our new engraved cover title page to our subscribers. We do not think we can be contradicted in saying, that it is the most beautiful and characteristic engraved cover ever produced in this country for a periodical work. It was engraved expressly for us by Mr. J. D. Felter, one of the best artists in America, from a design of our own, taken partly from a bass relief, by Heinrick. In the centre is a figure of the Goddess of Art, protecting Sculpture, Painting, and Photography — the latter being in its infancy, she carries in her arms. In one corner of the entablature, over these figures, is a very excellent portrait of Daguerre — and, in the opposite corner, another, equally good, of Niepce. At the base of one of the columns, supporting the arch and entablature, are the emblems of painting — and, at the base of the other, those of Photography. The columns are intended to represent America perpetuating the fame of the great discoverer of the Photographic Art.
— Our intention to further illustrate our Journal this month has been frustrated by the non-arrival of the engravings; but, hereafter, we shall increase its attractions by from three to five exquisite engravings by London artists. We are also making preparations to give, with each number, from and after January 1st, 1856, a Photographic steel engraving, provided the increase of our subscription list, during the present year, will enable us to do so.
— Those brothers of Louisville, Kentucky, must let us hear from them soon, according to promise, or we do not know what indiscretion we may be guilty of. We have a claim upon them in the plantation of memory, that reminds us of something more valuable than dollars and cents — (for fear others may misconstrue our language, we will say they are free of our ledger) — and, like bad coffee, it must be settled. We have a special liking for those who blow their own trumpets (now we do not mean by that that you are easy) so exquisitely and gracefully, and wish to listen to their music often.
A Master Piece Out-Done. — We have lately supposed Ayer’s Cherry Pectoral was the Ultima Thule in its line, and that nothing had been or would be invented which could surpass it in its fine points of excellence as medicine. But we are confidently assured by those competent to judge on the subject, that Dr. Ayer’s new Pills excel in high medical artistry even that widely celebrated embodiment of his skill. He has succeeded in making them not only pleasant to take, but powerful to cure the large class of complaints which require a purgative remedy. — Lancaster Argus, Ky.”]

EXHIBITIONS: 1855: PHILADELPHIA: FRANKLIN INSTITUTE FAIR.
Root, Marcus A. “The Franklin Institute and State Fair Exhibitions.” PHOTOGRAPHIC AND FINE ART JOURNAL 8:2 (Feb. 1855): 57-59. [(This essay begins as a report on the annual Franklin Institute exhibition, which leads to a denunciation of the quality of the judges at several recent exhibitions. The author then describes the state of the art of the field, naming and praising those daguerreotypists who are experimenting with various paper processes to “elevate” the discipline. He mentions Whipple and Black (Boston, MA); Cutting, (Boston, MA); J. Rehn, (Philadelphia, PA); Gurney & Fredericks, (New York, NY): Turner, (Brady Gallery, NY); Glosser, (Root Gallery, NY); M’Clees & Germon (Philadelphia, PA); Richards & Betts; Masury & Silsbee, (Boston, MA); Hovey, (Rochester, NY); North, (Cleveland, OH); Faris & Fontaine, (Cincinnati, OH); Fitzgibbons, (St. Louis, MO); Cook, (Charleston, SC); thus identifying some of the key figures active in an important transitional time in US photographic history.)
[“We publish this article without wishing to be considered as taking either side of the argument. When there appears to be two sides to a question both should be heard.—Ed.]
“If you want enemies, excel others; If you want friends, let others excel you.”
To the editor of the Photographic Journal: Mr. Editor—After reading your remarks, in the December number of your Journal, respecting the Mechanical and State Fairs in this country, in which you solicited reports descriptive of the annual Exhibitions, from Daguerreotypists generally, who have contributed specimens of their Art on these occasions, I resolved, for one, to comply with your request. And, although you published a report of our Franklin Institute Exhibition last year, and another, from the same source, this year, in your Iast number, I will, with your permission, go over the same ground in my own way, and in the present article give my own view of the two Exhibitions. Next, I will offer a few remarks upon the management of these Fairs—upon their influence on the community, and the duties of Managers and Judges, &c. Finally, I will touch briefly on the great improvement now making in heliography in the United States, and finish with a few words for those who will understand them. I rejoice to learn from the report of the Committee, as I had already suspected, from the Report of my own senses, that, in the various mechanical departments the specimens were considered the finest hitherto brought forward, and the Exhibition in 1853, as in 1854, as a whole, eminently successful. But, in regard to the Heliographic specimens, I feel constrained to take a somewhat different view from one heretofore advanced and published in your Journal. I am not advised who were the Judges, that exhibited such profound thought and keen discrimination, together with a judgment so rife in their awards for superiority in the Heliographs deposited in the Institute for public inspection last year. I do know, however, that it was a frequent remark of the throng of visitants (many of them, perhaps, not less competent to decide on artistic works generally, especially sun-paintings, than the acting Judges themselves), that some of the finest Heliographs ever deposited there, presenting a character and style such as artists love to look upon and the intelligent portion of the public desire to possess, were, last year, passed by as “unworthy of notice,” while a medal was awarded for splendid gilt frames, or for hideously magnified and distorted representations of the ” human face divine,” semi-developed, and half lost in the back-ground, yet cunningly suspended far above reach, completely out of the inspection of visitors, for the sole and sufficient reason, that, being unfit to sustain a close scrutiny, they looked best at a distance! The medal, however, was assigned to Mr. Richards, probably for the largest pictures! Of his remaining smaller pictures, all, except three, were either solarized or under time, half developed, and deficient alike in good mechanical, chemical, and artistic effect; and even those three, were wanting in roundness, life-like expression, &c., &c. These statements are not very complementary, but, according to my sincere, settled convictions, together with the often reiterated opinions of experienced and capable Daguerreotypists, they express the simple truth!
And yet Mr. R__’s report, published in your Journal last year, set forth these very pictures in exceedingly vivid colors, while, at the same time, sneering at sundry specimens of other Heliographers, most of which, in point of skill and genuine artistic merit, he lhas never yet been able to equal. Messrs. M’Clees & Germon had a very fine display, and presented several admirable daguerreotype specimens; but, for some inscrutable reason, they found no favor with the Judges, having been passed over by them without notice. There was, nevertheless, a medal awarded to these gentlemen for colored Crystalotypes, which they did not themselves color! This medal, with proper spirit, they restored to the Managers, publishing, at the same time, in the Philadelphia Public Leger, a well written valedictory, addressed to the Superintendent or Chairman of the Committee on exhibitions, in which they declined all further honors from the Institute. This fact I regret extremely, since they are skillful, capable, and worthy young men, whose productions would do great credit to themselves and the Art, while they much augmented the interest of our Exhibitions. Some of Mr. M. A. Root’s Daguerreotypes, it was reported, “had been carefully compared” “with the finest in other collections,” and pronounced “unequalled!” yet, as “they were not framed so expensively as usual, and “not quite so large” as some others, and as he had already “gained medals enough for one man,” (i. e. sixteen), and as, moreover, he was then absent, why he was passed by, in order that another, who made an extensive display of large gilt frames, might carry off the honor!” At our State Fair, this year, attended as it was by above two hundred thousand visitors, a large collection was exhibited of Photographs, taken by the Crystalotype and Collodion processes. Medals were awarded to M’Clees & Germon, for the superiority or their plain, re-touched, and colored Photographs and Daguerreotypes, and to Richards & Betts for their paper and glass pictures. The best Daguerreotypes exhibited the Report conceded to be by M. A. Root. Since, however, they were not entered in the books “until after the expiration of the hour,” they were referred to the Executive Committee. The finest pictures on glass (Ambrotypes) were unquestionably exhibited by Mr. J. Rehn. His stereoscopes and portraits, also, were exquisite, and his collodion pictures were “beautiful, exceedingly!” I should pronounce them, under whatever aspect regarded—tone, color, clearness, and force, the best “un-touched” specimens on paper offered at the State Fair this year. They were, however, passed by, and, the artist being a very modest man, retired, without a single complaint or murmur. At the recent Exhibition of the Franklin Institute, Rehn, and Richards and Betts exhibited Photographs on paper and glass. The first premium, a silver medal, was awarded to Rehn, for the superior excellence of both these classes of pictures, For a great variety of stereoscopes, put up in beautiful styles and deposited by Mascher, a silver medal was most justly awarded him. A silver medal was assigned, also, to Max Hilb, for his Daguerreotype Instruments—these being the same employed in producing all the largest and finest specimens in the Exhibition. For the best Daguerreotypes, both large and small, from quarter size up to double whole, the highest prize, a silver medal, was awarded to M. A. Root. Another was assigned to Richards—on what grounds, since the Judges forbore to explain, numerous visitors were unable even to “guess,” though “guessing” is pronounced a special “gift” of Yankeedom! To particularize: excepting a very few—say six or eight—although his specimens numbered, I think, over one hundred, they were not even “second-rate.” Many of them were the productions of others, and some had been on exhibition two or three times before! Our twenty-five cent, fifty cent, and one dollar galleries were quite liberally represented at the Franklin Exhibition this year. Among the best specimens were some, which, ten years ago, would have been pronounced “very good.” In a mechanical and chemical view, some of them were passable; but, like the majority of specimens, seen at the doors of nearly all Heliographic galleries, they were destitute of artistic merit. From M’Clees & Germon’s gallery (had they contributed), specimens in their various styles of the art, would have added much to the interest of the Exhibition. Now for the reputation of the Institute, in simple justice, to this wondrous and useful art, and, finally, for the general weal, I do hope future Judges, summoned to pass judgment upon Heliographic specimens, whatever their class, may carefully consider the nature of their office and the momentous influence of their decision, right or wrong, and, lastly, weigh well the fact, that merest equity, alike towards the public and the art, demands of them a vigilant, fair scrutiny of all specimens deposited. Still further, the Judges should, in their Report, state distinctly and fully the specific grounds of their awards, together with the particular points of excellence or marks of superiority which the works of one artist possess above another’s; in other phrase, they should assign a reason for their decisions intelligible to the public at large. For example, If a prize be given for magnifying and distorting the images three or four times beyond the field or power of the lenses employed, or for images only half developed or solarized, or for splendid gilt frames, then let the fact or facts be stated distinctly and unequivocally in the official report, so that the public may by no possibility be led astray. If, however, those appointed to this office regard it with indifference, and, either through partiality or blind ignorance, act unjustly, they must anticipate, as they will assuredly receive, the disapproval and condemnation of the community thus wronged. If, nevertheless, they are uninformed in the art, and therefore incompetent to discriminate between the valuable and the worthless among its specimens, they should receive rather our commiseration than our censure. Now, although Managers should invariably select men competent to the task, we are well aware that persons capable of judging accurately of Heliography and its productions, are extremely rare everywhere, and especially in the city of Penn and among the Managers of the Franklin Institute.
“Tis true, ’tis pity, and pity ‘tis ‘tis true!”
Yet there are, unquestionably, men in this Institution, who would not only desire to act justly, but who are capable of forming correct decisions. To perform intelligently the duties of their office. Judges should be practically versed in the Heliographic art—and yet the requisite knowledge is to be acquired solely by years of intense application and patient study. Supposing them thus qualified, they should consider the specimens submitted,
1st. In a mechanical view, i. e. if they are Daguerreotypes, as to the superior purity and finish and the high polish of the plates.
2d. Chemically—i. e. as to whether the impression be warm, mellow, rich and clear, and, therefore, pleasing in its tone; or, contraiwise, cold, blue and muddy, with the shadows not developed, but “filled in with mercury;” or whether the image has been “forced up” too quickly over mercury, when raised to a temperature too high; or whether it lacks development or additional mercury, or whether the effect of the picture is injured by having had too much bromine for the iodine, or vice versa, &c. &c.
3d. Under the artistic aspect, Judges should assign great importance to a proper view of the face, disposition of the drapery, light and shade, posture, composition, and finally expression, indicating, by the last term, the query, whether the picture is, or looks like the portrait of a veritable aminate, or of an inanimate being; whether it represents a face and head full of vitality, intelligence and thought, or the reverse, &c. &c.
All the above are items which competent Judges of Heliographs should be perfectly familiar with and carefully consider, while comparing the several productions put in competition at our Mechanical and State Fairs. I have urged the more strongly on the notice of the Franklin Institute, because this Institute having, all through the United States, a reputation for high character, transcending that of any kindred body, should strive, even anxiously to maintain it unimpaired. Had the Judges in the Heliographic department at the Crystal Palace been qualified for their office, and had they acted conscientiously, the awards, at least for Daguerreotypes, would have been other than they were, and the public might have learned wherein one contributor surpassed another—always provided, however, that their report be published. The simple truth is that the Judges on Daguerreotypes at the Crystal Palace were not artists, but scientific men; while artists were selected and acted as Judges of philosophical Instruments. Hence the absurd decisions made. If three persons are selected as Judges by the Managers of our Fairs, one at least of them should be practically acquainted with the Heliographic process. One, moreover, should be a genuine artist, capable of appreciating artistic merit—competent to point out the difference between the worthful and worthless in a picture, and to specify such differences in the Report, in terms intelligible even to the majority of the uninstructed in art. Through Reports of this character, the Exhibitions, at all our Fairs, of works of art, might exert an excellent influence on the community, and create, in the minds of even of the masses, a desire to procure Heliographs of the highest order, both as being perfectly truthful likenesses, and as being, also, gems of art.
But I will leave this topic until after another Exhibition, and take up another. Although you, Mr. Editor, in your Journal, have repeatedly suggested to the Daguerrean body of the United States somewhat extensive changes, one of the principal of which is the retirement of many who have mistaken their vocation, and thus have unwisely engaged in the practice of an art for which they are unfitted; these suggestions would seem hitherto to have had little effect. I do not apprehend that Daguerre’s brilliant discovery is destined to retrograde, but rather to full into abler hands, and eventually to rank high among the ornamental and useful arts. Possibly, however, it may sustain a temporary eclipse, for the vast and rapid improvement during three or four years past, on the other side the Atlantic in the Talbotype, and the Albumen and Collodion processes, will constrain our artists, ere long, to devote considerable attention to the paper-branch of Heliography. I have carefully noted its progress, and have been awaiting the period when I believe it will compensate the practitioner. And since the Daguerreotype profession has been so far degraded, in the general estimation, by unqualified operators, who have flooded the community with their twenty-five cent specimens (even that price being exorbitant considering their quality), it is gratifying to know that, as paper pictures cannot be made remunerative at these small sums, they cannot be produced by the numerous incompetents who have “rushed” into the rooms once illumined by the genius of Daguerre. So that, as I said, the paper-process, though it may for a season obscure the Daguerreotype is likely to benefit it, ultimately, by purging the entire Heliographic profession of those who have heretofore disgraced it. I rejoice, moreover, to know, that persons who are really artists, alike by nature and education, are, in our country, already turning their attention, quite extensively, to this branch of art; I mean portrait and miniature painters. The Crystalotypes (or pictures made by the albumen process) of Whipple, as vastly improved by Black; the Ambrotypes (or pictures impressed on glass, hermetically sealed), and the Collodion pictures of Cutting, in Boston, and of Rehn, in this city, have called forth, from genuine Artists and Connoiseurs, numerous tributes of warmest and richly deserved admiration. These gentlemen have contributed very much, not only to advance Heliography itself, but to elevate the profession of it in the public esteem by their achievements. But perhaps of all who, in this country, have recently been laboring in the “good cause” of true art, Messrs. Gurney & Fredericks, of New York, should receive the “olive-crown.” In the magnificent establishment, long previously occupied by the former in producing Daguerreotypes, these gentlemen, now associated, have a corps of real, and not sham, artists, introduced by Mr. Fredericks from Paris, who are daily producing Photographs, eminently distinguished alike by their artistic merit and their mechanical finish and beauty, Mr. Fredericks deserves not merely credit, but the success which he has already won, and which is steadily enlarging, for introducing his exquisite modification of the Photograph into our country, and securing for its advancement such potent instrumentalities. But “Young America” will not be long out-stripped in the contest for improvement in this branch of Heliography. As in Daguerreotype portraiture, so also in the paper-process, it is gratifying to know that a surprising certainty of success has been already achieved by several practitioners, who have recently turned their attention towards this quarter. Thus, Mr. Turner, now in Mr. Brady’s gallery, merits great commendation for his exquisite collodion impressions, both of smaII and life-size. His “untouched” specimens transcend by far most others I have seen. In fact, even without retouching, they are exceedingly beautiful; the drapery is distinctly and finely divided with equal richness and force, the color is good, and the half-tints, together with a proper disposition of the lights and shadows, are, for the most part, well secured. In truth, after Mr. Turner’s manipulation, faithful, beautiful, and highly valuable portraits and miniatures are obtained without aid from the artist’s pencil. So, too, at Root’s gallery, in New York, Mr. Glosser has succeeded in producing small, cabinet, and life-size portraits, which awaken admiration in every connoisseur who beholds them. This gentleman’s success in taking life-size portraits on canvass, completely prepared for the portrait painter’s easel, has won for him great credit. Moreover, his cabinet-size pictures on paper are well-defined, clearly developed, rich, beautiful, and bold portraits, even without being re-touched or receiving the aid of the artist’s pencil. In fact, judging from personal observations, Messrs. Turner & Glosser, in New York, and Mr. Rehn, in Philadelphia, strike me as now taking the lead in our country in producing the glass and paper pictures from life without re-touching. Others may be equally advanced, and possibly may soon out-strip them in the race of improvement; for numerous leading Daguerreotypists have either already introduced, or are on the eve of introducing, the paper and glass processes into their galleries, and sending forth pictures thus made to the public, as branches of their legitimate business. M’Clees & Germon were the first to introduce the paper or collodion process into Philadelphia. They have made great progress, during the last year, and their skill, energy, and perseverance, are fairly appreciated by the community. Their pictures, by both the albumen and collodion processes, are not only good, they are beautiful! many of them such without “re-touching.” Richards & Betts have also made a fair beginning, and have produced quite creditable specimens on both paper and glass. But the field for improvement is still wide before them, and another year may afford an opportunity for a more favorable report, concerning them, for your Journal. At any rate, then, as now, it shall be just according to my convictions. In the hands of those I have already named in this article— and I might add to them Black and Masury & Silsbee, of Boston; Hovey, of Rochester, N. Y.; North, of Cleveland; Faris and Fontaine, of Cincinnati, Ohio; Fitzgibbons, of St. Louis, Mo.; Cook, of Charleston, S. C, and still others—I feel assured not only that the general interests of Heliography are safe, but that all its branches will be greatly improved within the year 1855, and the character of the profession redeemed. Such redemption might be far more speedily secured, could some Heliographers, who are eternally vaunting themselves first-class artists, and would fain be so reckoned, cease to pour out, through the press, floods of venomous slang against their brother artists, which might put even a Billingsgate fisherman to the blush! I do not object to a little occasional sparring between competing artists if conducted with “science;” but gentlemen “box with the mufflers on.” It is “rowdies” only who “smash” each other’s faces with their naked “mauleys,” using, meanwhile, a brutal phraseology, that reveals the brutal spirit within. Our vocation can never be esteemed an intrinsically honorable one; worthy to rank with that which gave scope to the genius of Raphael and Michael Angelo, of Rubins and Velasquez, until its members cease jarring and reviling and striving to undermine each other, unite fraternally for its elevation. It were not easy branding, with adequate severity, certain advertisements, which daily obtrude themselves on our sight in the New York City prints, in which eternal self-puffing is largely mingled with sneers at, and malign assaults upon, rival galleries. Some fire and vigor, we admit, are displayed in these diatribes; but this fire is from the pit, and not the empyrean, and this vigor is the convulsionary force of lunatic malignity, and not the calm, serene potency of genial wisdom. Verse, too, is dragged into this ruffianly melee! Yes, that vehicle, through which supremest genius manifests its noblest sentiments and thoughts, is desecrated to the service of ribaldry and malice. What is this but “stealing the livery of the Court of Heaven to serve the devil in?” Is it not a veritable harnessing into offal-carts of the fiery coursers of the Sun-God? Philadelphia, January, 1855. M. A. R., [Marcus Aurelius Root] No. 140 Chestnut street.”]