SILHOUETTES ~ PROFILES

Silas Holmes, photographer

SAY HOLMES . . . Could I be taken in a profile for my sweetheart, on one of those smaller sized plates? Certainly Mr. W! The illustrious chap turned thusly, focused his eyes on the adjoining wall and smiled while complacently thinking of the lass he would soon merry. While I really don?t know who the gent was, Silas Holmes DID operate a gallery at 289 Broadway in New York City. That was the information impressed on the oval brass mat in the lower right corner. The ninth plate was retaped and the surface has never been altered since the fellow was taken in the early 1850s. The line touching the subject?s shoulder doesn?t seen to be a recent scratch and was possibly a flaw in the silver. The cover of his leather case is gone. https://finedags.com/product/ninth-plate-44/

Silas A. Holmes 
Self-Portrait 
1854 (ca) 
  
Daguerreotype, 1/9 plate 
2 1/2 x 1 13/16 ins (6.35 x 4.6 cm) 
  
Nelson-Atkins Museum of Art 
Gift of the Hall Family Foundation, Object number: 2005.27.428 
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Silas A. Holmes

January 20, 2018Ambrotypes, Daguerreotypes, Lampratype, PhotographsAmbrotypist,

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 Charles C. Harrison, Charles R. Rees, Daguerreotypist, Double Camera, Harrison & Holmes, Lampratypes, Mathew Brady, New York City, Photographer, Rees & Co., Silas A. Holmes, Stereoscopic Camera, Tyler & Company

Why write about Silas A. Holmes? I knew he was important because he patented the stereoscopic camera in 1854, and while research the New York Daily Tribune I also could not help but see the similarities in the style of advertising between Holmes and other photographers like Tyler and Company and C. R. Rees. Interesting that there is a connection and the common denominator is C. R Rees. As I explore the time line below many question still are left unanswered about Rees and the possible partnership with Holmes. How long did Rees stay involved with Holmes at 289 Broadway? Did Rees take over the business after Harrison & Holmes partnership ended? Another question is who was G. Holmes? Was this a typo or someone else operating at 289 Broadway? As I continue researching the Tribune and other newspapers I hope to answer some of these questions.

To date I know little about Holmes’ early years from the newspapers. There was an advertisement signed by S. A. Holmes, News Agent, Park Row on January 1, 1847, but there is no proof that this is Silas A. Holmes the Daguerreotypist. John Craig[i] records him as being active in 1848-1849 at 289 Broadway in partnership with Charles C. Harrison. I suspect that John was looking at one directory dated 1848-1849, not a single directory dated 1848, and another one for 1849. Recent discovery in the Evening Post dated July 17, 1848 announces the partnership and gallery at 289 Broadway. An advertisement appears on December 2, 1850 for Holmes with no mention of Harrison, and a second advertisement that appears on January 7, 1851 that he is late Harrison & Holmes. The first newspaper accounts in the New York Daily Tribune for him was on March 26, 1851 and reads in part that he has a fine establishment with two splendid sky-lights, is long and well experienced in the art, and also stated that he charges moderate prices

On September 13, 1851 in an advertisement in the New York Daily Tribune he states that Forty Thousand Daguerreotypes sold at Holmes’s Gallery, No. 289 Broadway, in five years. The last line of the ad says that all the rooms are on the fourth floor of 289 Broadway, late Harrison & Holmes. This brings up the fact that Holmes was in business at 289 Broadway in 1847. It is unknown if the partnership with Harrison started that early but it is a safe bet that the partnership probably ended in late 1850 based on the advertisement of December 2, 1850.

The first mention (to date) of Charles C. Harrison was in the New York Daily Tribune on April 26, 1851. It mentions that Gurney is using a powerful instrument manufactured in this city by C. C. Harrison. On October 28, 1851 an article appears about Harrison’s cameras and that he won a gold medal at the Fair at Castle Island, the following day the list of Premiums awarded at the Fair and Harrison’s address is listed at 85 Duane Street.

October 1, 1851 Holmes advertises that he has taken Daguerreotypes of the Monuments, Tombs, and Vaults in Greenwood Cemetery and that duplicate copies can be purchased at his gallery. Later that month October 29th he is awarded a silver medal at the American Institute Fair for his views taken at Greenwood. The following day he announces that he can be found at the cemetery until he has taken pictures of the entire collection.

If you look at Craig’s work he states that Holmes was listed in New York City from 1848-1860, at 289 Broadway from 1848-1859, from 1859-1860 at 691 Broadway. He goes on to say that he was a partner in Rees & Co., Ca. 1853. No advertisement for Holmes have been recorded between November 13, 1852 to June 2, 1854 in a partnership or alone. His advertising has been to this point sporadic, there will be several ads in a month and then he won’t advertise for several month. Always the advertisements only run for one day.[ii] Craig reports that Rees was active in New York from 1853-1855. From 1853-1855 at 289 Broadway and also listed in as being active at 385 Broadway in 1854-1855.

The first advertisement for Rees & Co. appears in the New York Daily Tribune on December 8, 1852—Rees and Co. advertise 25 Cent Daguerreotypes, No. 289 Broadway, that they are taking pictures by a new process late from Germany, with the application of machinery which enables them to take 150 pictures daily. On December 30 they advertise 150 to 300 daily. On April 26, 1853 he advertises again—The Two Shilling Daguerreotype System originated by Rees & Co., with their new German process and power plate machine to take 300 pictures daily, proves the greatest feature in art of all modern improvements—it upsets the old fogies in the profession and the small potato clique who attempt to rival and imitate their work. Some nude professors of model artist notoriety, who claim years of famous experience in the art, wake up amazed that a poor German gentleman with enterprise and invention, should have introduced a system of picture-making which no rival can imitate, and with which it is leading him on to fame and fortune, notwithstanding the fog and fogyism and inventions of the enemy. Rooms No. 289 Broadway.

On September 13, 1851 in an advertisement in the New York Daily Tribune he states that Forty Thousand Daguerreotypes sold at Holmes’s Gallery, No. 289 Broadway, in five years.  The last line of the ad says that all the rooms are on the fourth floor of 289 Broadway, late Harrison & Holmes.  This brings up the fact that Holmes was in business at 289 Broadway in 1847.  It is unknown if the partnership with Harrison started that early but it is a safe bet that the partnership probably ended in late 1850 based on the advertisement of December 2, 1850.

The first mention (to date) of Charles C. Harrison was in the New York Daily Tribune on April 26, 1851. It mentions that Gurney is using a powerful instrument manufactured in this city by C. C. Harrison.  On October 28, 1851 an article appears about Harrison’s cameras and that he won a gold medal at the Fair at Castle Island, the following day the list of Premiums awarded at the Fair and Harrison’s address is listed at 85 Duane Street.

October 1, 1851 Holmes advertises that he has taken Daguerreotypes of the Monuments, Tombs, and Vaults in Greenwood Cemetery and that duplicate copies can be purchased at his gallery. Later that month October 29th he is awarded a silver medal at the American Institute Fair for his views taken at Greenwood.  The following day he announces that he can be found at the cemetery until he has taken pictures of the entire collection.

If you look at Craig’s work he states that Holmes was listed in New York City from 1848-1860, at 289 Broadway from 1848-1859, from 1859-1860 at 691 Broadway. He goes on to say that he was a partner in Rees & Co., Ca. 1853.  No advertisement for Holmes have been recorded between November 13, 1852 to June 2, 1854 in a partnership or alone.  His advertising has been to this point sporadic, there will be several ads in a month and then he won’t advertise for several month.  Always the advertisements only run for one day.[ii]  Craig reports that Rees was active in New York from 1853-1855.  From 1853-1855 at 289 Broadway and also listed in as being active at 385 Broadway in 1854-1855.

The first advertisement for Rees & Co. appears in the New York Daily Tribune on December 8, 1852—Rees and Co. advertise 25 Cent Daguerreotypes, No. 289 Broadway, that they are taking pictures by a new process late from Germany, with the application of machinery which enables them to take 150 pictures daily. On December 30 they advertise 150 to 300 daily.  On April 26, 1853 he advertises again—The Two Shilling Daguerreotype System originated by Rees & Co., with their new German process and power plate machine to take 300 pictures daily, proves the greatest feature in art of all modern improvements—it upsets the old fogies in the profession and the small potato clique who attempt to rival and imitate their work.  Some nude professors of model artist notoriety, who claim years of famous experience in the art, wake up amazed that a poor German gentleman with enterprise and invention, should have introduced a system of picture-making which no rival can imitate, and with which it is leading him on to fame and fortune, notwithstanding the fog and fogyism and inventions of the enemy.  Rooms No. 289 Broadway.

ture-makers, and has taken bunks at 289 Broadway for the season. Buffer & Co.

So far I have recorded 80 advertisements between June 2, 1854 – June 25, 1856. There are fifteen different ways the studio is identified. 20 times by the address only, 289 Broadway; 6 times by Depot of Art, 289 Broadway; 3 time by The Picture Factory, 289 Broadway; 1 time by the Depot of Economical Pictures, 289 Broadway; 9 times by Holmes, 289 Broadway; 1 time by the Irish Artists, 289 Broadway, Buffer & Co.; 2 times New York Picture Co., 289 Broadway; 1 time by Wholesale Picture Depot, 289 Broadway; 1 time as the Picture Company, 289 Broadway; 2 times as the Sky Parlors, 289 Broadway; 12 times as the Artist Club, 289 Broadway; 2 times as Holmes Art Depot , 289 Broadway; 3 times Depot of Machine Portraits, 289 Broadway; 5 times as Depot at 289 Broadway; and twice as G. Holmes. What’s going on?

On August 1, 1855 Mathew Brady is the first to introduce Ambrotypes to New York.

On August 13th William Augur Tomlinson announces that he also is making Ambrotypes and that he holds Cuttings patent rights. Repeatedly advertises this fact as Brady and others advertise that they are making Ambrotypes. On October 11th, Holmes advertises New Discovery In Art—Portraits on Glass—Holmes, No. 289 Broadway, offers to the people a new style of Sun Pictures termed the “Lampratype”[iii] While Holmes is not using the term Ambrotype technically they are Ambrotypes.

Several week later on November 1 the following advertisement appears. $200,000 have been saved to the people, and the subscriber has made a fortune out of the Original Twenty-Five Cent Daguerreotypes, No. 289 Broadway, and he will now sell the entire Picture Factory to any responsible party and retire from the interesting excitement appertaining to Life in a Daguerreotype Room. Holmes.

It’s not known if Holmes sold his gallery, the advertisement ran only one time, according to Craig he was listed at 289 Broadway until 1859, in addition his name does appear on the advertisements after this date. The real question is does C. R. Rees have anything to do with the gallery after 1855? In correspondence with D. A. Serrano author of an article entitled Southern Exposure! The Life and Times of C. R. Rees & Co. One of Rees’s expressions is the word fogyism which appears several times the last appears on November 24, 1855. One hundred years ahead of time—Daguerreotypes—one shilling—No. 289 Broadway—the revolutionary community of picture makers, and headquarters of the Artists’ Club, composed of twenty members, who repudiate, fogyism and borrowed thunder

ments were found in the city directories for Holmes in the 1856-1859 directories. The 1860-1861 directory for The Holmes Gallery Of Photographic Art, 691 Broadway, New York. Photographs, Daguerreotypes, Ambrotypes, Miniatures in Oil;, Ivorytypes, Cameotypes, &c. Stereoscopic Portraits of Family Groups taken as they appear in their own Parlors, Gardens, or Parks. Portraits of Private Residences, Houses, &c. taken to order. G. D. Morse, Proprietor.

The research continues…as new information is found I will update the blog…I am working on the July 1856 issues of the New York Daily Tribune

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189 Broadway. GURNEY, first American photo gallery at 189 Broadway in 1840, and charging $5 for a portrait. 349 Broadway.

192 Broadway. New York, NY., Weston (John P., 1842-1857, Rob÷rt, Mary) James partnered with artist William Hendrik Franquinet to create a series of daguerreotype views of the city of New York and continued to work as a daguerreotypist and silhouette artist throughout the 1840s and into the 50s. (3) and 132 Chatham

Uni

References

https://www.winterthur.org/silhouette-sleuthing-solving-the-mystery-of-the-weston-profile-artist-part-2/

William Hendrik Franquinet

Maestricht, Holland 1785 - 1854 New York, NY

Weston, James P. Active as a daguerreian in New York City, N.Y., 1842-1857. From 1842 until approximately 1847 he was listed at 12 Park Place, and at least in 1842 was listed in partnership as Franquinet and Weston. He made views of the Astor House and the New York City Hall in late 1842. In 1846-1847 he was listed as a dealer in daguerreotype apparatus at 192 Broadway, in partnership with P. Weston. James P. Weston was listed alone at the address in 1848-1849, as "apparatus." In 1851-1852 he was listed as a photographer at the same address. From 1852 to 1856 he was listed as a photographer at 132 Chatham Street. Stamped on the brass mat of a sixth plate daguerreotype, "Weston/ 192 B'dway, N.Y.". Probably the same as "Western", listed as a daguerreian in 1842 at 136 Nassau Street, in partnership as Western and Young (C.P.) Information corrected to November, 1997; © 1996, 1997 John S. Craig