NEW YORK ~ 19th Century
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Park place
239 Broadway, W. Hall and Son
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Martin M. Lawrence (1808–1859); 203 Broadway, was an American daguerreotypist active in New York City. A contemporary of Mathew Brady and Jeremiah Gurney, Lawrence was known for his large daguerreotypes known as "mammoths" and allegorical subjects. He was one of the few American photographers who exhibited at the 1851 Great Exhibition
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205 Broadway,
209 Broadway
214 BROADWAY
April 24, 1854 fire, killed 9 fire fighters
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Le Farge Building
337 Broadway. MOFFAT, Dr. John
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BREESE MAP, NEW YORK. NY 1945.
NEW YORK TIMES, BARD GRADUATE SCHOOL, VISUALIZING 19-TH CENTURY NEW YORK CITY
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photograph depicts the editorial staff of the New York Tribune taken by renowned photographer Mathew Brady, likely before the Civil War.Key figures seated in the front row include financial editor George M. Snow, travel writer and editor Bayard Taylor, and editor-in-chief Horace Greeley. The standing figures are identified as music editor William Henry Fry and managing editor Charles A. Dana.The image is part of a collection held by the Library of Congress, showcasing the attire and style of 19th-century American journalists.
The Bayard family not only had immense wealth in Colonial times—they engaged in a tremendous trade with sugar plantations in the Caribbean and owned a large Sugar House on Wall Street—but they wielded significant political power. The family owned a sprawling estate—referred to as the Bayard or West Farm—north of the city in what two centuries later would be known as Soho.
239
https://visualizingnyc.org/map/
Panoramic View of Broadway, New York City, woodcut engravings
Gleason's Pictorial Drawing-Room Companion
March 18, 1854, (Vol. VI, No. 11)
Maker: Henry Bircher (1817 - )
Medium: wood engraving
Size: 15 1/2 in x 22 1/4
Gleason's Pictorial Drawing Room Companion, pg. 168-169
Agnes Penot, La Maison Goupil, Mare % Martin, Paris, 2017, fig 22.
Shows the following daguerreotype galleries:
TOP ROW
No 233 Meade Bros American Daguerreotype Depot
MIDDLE ROW
No 251 Plumbe National Daguerrian Gallery
No 262 JT Barnes Daguerrian Gallery
No 264 Bickard (Beckers) & Piard Daguerrian Artists
BOTTOM ROW
No 288 Holmes Daguerreotypes
No 288 Goupil & Co
No 303 Dobyns, Richardson & Co Daguerreotyoes
No 315 Bayles & Bardley Bradley Superior Cheap Daguerreotypes.
Broadway (W), Park Place and Murray
239 Broadway, W.Hall and Son
William Hall - New York Flute Maker The emphasis in the current revival of interest in 19th century wooden flutes has been on London-made instruments, particularly on the instruments of Rudall & Rose, and later Pratten. But flute-making had become big business in the US too, particularly around New York. We'll look at a flute by famous American maker, William "General" Hall.
Company History
The New Langwill Index tells us that Hall was born in Sparta in 1796 and was apprenticed to a musical instrument maker in Albany (possibly Meacham) until 1812, when he joined the militia. After the war, he moved to New York, working for Edward Riley, whose daughter he married. In 1820, he set up independently, a year later joining with John Firth (who had also worked for Riley and married one of his daughters) as Firth & Hall. In 1831, they were joined by Sylvanius Pond (Firth, Hall and Pond). He left that company in 1847 to set up with his son James as William Hall & Son. They seemed to have moved elegant:
Hard to be sure about the wood - it could be a particularly red piece of cocus, or perhaps rosewood. As you can see, the head and barrel are a little redder than the rest, though this might be because of refinishing.
A typical bore
The chart below illustrates the bore of the flute in rather exaggerated terms, without which we would have no way of appreciating fine detail.
In aqua, we have the head and barrel bore. The vertical line represents the face of the stopper, the effective top of the flute. The gap in the horizontal trace is the embouchure. I've chosen to illustrate the head bore with the slide partially extended, to show the relatively large perturbation (compared to the vagaries of the conical section of the bore) that this represents.
We see:
a general similarity between this flute and R&R 742, in terms of overall lengths,
hole sizes are more similar to medium-sized English 2nd Generation flutes
a long gap between G# and the G hole. The tiny size of the G# hole and the long way to the next vent hole explain the flatness of this note,
the long gap between the left hand cluster and the right hand cluster explains the relative flatness of the right hand notes (in both octaves),
the further big gap between the right hand cluster and the foot notes ensures that the foot notes are even flatter,
F# gets no useful venting support and simply isn't big enough to get that note up to pitch
Because F# is flat, G suffers for want of venting and is also flat,
F is too small and too low (compare the G# to G semitone with the F# to F semitone)
Low C# is well spaced between D and C but very much smaller, so it ends up particularly flat
Eb is bigger but needs to move up a bit
(W), Park Place and Murray
239 Broadway, W.Hall and Son
240 Broadway, Watson Tailor
241 Broadway, Hertz and son
243 Broadway, Solomon and Hartz; Crispin and Payne;
¹
Original title: A Panoramic View of Broadway, New York City, Commencing at the Astor House. West side, from Astor House to 321 Broadway (Singer Sewing Machines), near Thomas Street. Illustration published in the Gleason's Pictorial, Vol. VI. No. 11, Boston, March 18, 1854.
Description from the publisher: "On pages 168 and 169 we present an accurate panoramic view of this great thoroughfare, commencing at the Astor House, and running up Broadway. To any person who is acquainted with the main artery of the city of New York, these views will appear most natural and perfect. Our New York friends will feel quite at home while viewing them. Broadway is the great street of streets on this continent, unequalled in its busy aspect, breadth, length, and all that goes to form a splendid and unrivalled thoroughfare."
Helpful Resources
- https://www.bgc.bard.edu/exhibitions/exhibitions/12/visualizing-19th-century-new-york
- t/Historic Photographs and Geo-Referencing, Early Photographic Studios in New YorkJ City.. Dr. JeremyRowe. Daguerreotype_Journal_Autmun_isuue_def_THE_DAGUERREOTYPE_STUDIO (1).pdf. https://www.researchgate.net/publication/311876352_Georeferencing_the_Locations_of_Daguerreian_Era_Photographic_Studios_in_New_York_City. https://www.vintagephoto.com/updates.html
- Sanborn Maps at the New York. Public Library. https://libguides.nypl.org/mapsandcartography
- New-York Historical Society Journal article on street numbers. Http://Anthonywrobins.com/MASresources/New-York%20Historical%20Society%20Journal%20article%20on%20street%20numbers.pdf
- https://storymaps.arcgis.com/stories/913c86e06f564c2288ff6b8e5ea08e76
- The Gleason's Pictorial, Vol. VI. No. 11, Boston, March 18, 1854. https://archives.mountvernon.org/repositories/3/archival_objects/11941
https://histograd.com/list.php?street=BROADWAY&borough=Manhattan&city=2&lang=en
Historic Photographs and Geo-Referencing, Early Photographic Studios in New YorkJ City..
Dr. Jeromy Rowe
Daguerreotype_Journal_Autmun_isuue_def_THE_DAGUERREOTYPE_STUDIO (1).pdf
https://www.vintagephoto.com/updates.html
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1. Johnson, John
1. Wolcott. Alexander (https://infostory.com/2013/03/04/first-photo-studio/)
2. Morse. Samuel. east side of Washington Park
2. Draper
Alphabetical Daguerreian Photographrrs
ANSON, Anson Studio 589 BroadwayANTHONY, Edward, 501 BroadwayEdward Anthony and Mathew Brady shared occupancy of 205 Broadway and offered related services.BECKERS, AlexanderLANGENHEIM & Beckers studio in New York, which became Beckers & Piard in 1849.BECKERS and PIARD, 201 Broadway, New York. Alexander Beckers and Victor Piard. 264 Broadway (1855-1856). 261 Broadway (1856).BECKMAN, Rudolph (1851-1852)BOGARDUS, AbraGURNEY, first American photo gallery at 189 Broadway in 1840, and charging $5 for a portrait.HOLMES, 289 BroadwayINSLEYKAPP, AugustKAUFMAN,KAYLOR, ThomasKEARSING, G.T.KERTSON, Marcellus 413 broadway corner of Canal.KIMBALL, Myron H.KINGSBERRY, H.K.KIRK, JosephKLEIN, MichaelKNAPP, William RKNICKERBOCKER GalleryKURTZLANGENHEIMMEADE BrothersPIARD, VictorPREVOST, Victor (1820-1881)QUINBY, Charles J. Quinby. Charles J. Quinby was a daguerreian in New York City from 1854 to 1859. From 1854 -55 he had two addresses - 90 Chatham Street and 413 Eighth Avenue, and he lived in White Plains. From 1855 to 56 he was at 233 Greenwich Street, 90 Chatham Street and 385 Broadway.REES, Charles Richard (1825-1914) 289 Broadway, New York, NY 1852-1854. Professor Reese?ROOT, Marcus Aurelius Root (1808-1888)ROOT, Samuel Root, photographer.WEHNERT, Bertha (1851-1852)WESTON, 192 Broadway
Panoramic View of Broadway, Commencing at Astor House - 1854
Park place
More: Antique images of Broadway ►
Broadway. Vesey Street to Murray Street - 1899.
American Hote
239 Broadway, W. Hall and Son
Copyright © Geographic Guide - Old NYC. Historic Buildings. |
Broadway, west side. Chambers Street to Thomas Street - 1899.
Panoramic View of Broadway, Commencing at Astor House - 1854
Broadway, west side. ps.
CROSS STREETS
Wall, Pine, Cedar, Liberty, Courtland (100), Maiden, John (200), Dey, Fulton, Ann and Vesey, Barclay, Park Place, Murrey, Warren, Chambers, Reade, Duane (300), Worth, Leonard, Franklin, White, Walker (400), Lispenard, Canal, Houston, Bleecker, Bond, Great Jones, E. 4th
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2
1
4
3rd
5
6
7
9
Broad-way, Wall and Pine Street➡️
8
80 Block of Broadway
89 Broadway, Trinity Church. ( NW)
Broad-way, at Liberty ➡️
1839 Samuel Morse and George Porsch
Summer and fall of 1840 opened studio
90 Block of Broadway
98 Broadway, (SE)
JAQUITH, Nathaniel (1816-1879,)
1849-18/6Daguerreian photographer and brother-in-law to Henry Earle Insley, also a daguerreian photographer.https://www.findagrave.com/memorial/114533969/nathaniel_crosby_jaquith
Broadway at
Cortland Street ➡️
100 Block of Broadway
Odd numbered addresses are on the west side of the street???
141 Broadway, BURGESS, Nathan141 Broadway, BROWN, James Sidney149 Broadway Street (between Vesey and Barclay Streets) ASTOR HOUSE156 Broadway, BEALS, A. J.161 Broadway, Putnam and Wiley Publishers170 Broadway, BARNES, J. T.177 Broadway, POWELSON and Co.179 Broadway PROSCH. Charlotte 1846181 Broadway, BROWN, James187 Broadway, CARY, Preston, 1850CROSS STREETS
Wall, Pine, Cedar, Liberty, Courtland (100), Maiden, John (200), Dey, Fulton, Ann and Vesey, Barclay, Park Place, Murrey, Warren, Chambers, Reade, Duane (300), Worth, Leonard, Franklin, White, Walker (400), Lispenard, Canal, Houston, Bleecker, Bond, Great Jones, E. 4th
Fig. 1 August Köllner. Broad-Way, New York, 1850. Lithograph, lithographer after Isidore-Laurent Deroy, printed by Cattier, Paris, published by Goupil & Co., New York. The Metropolitan Museum of Art, Bequest of Susan Dwight Bliss, 1966 .
Broad-way, and John Street ➡️
200 Block of Broadway (NW)
Odd numbered addresses are on the northwest side of the street
Broadway (NW) Dey and Fulton ➡️
201 Broadway, BECKERSBeckers and Piard (Alexander Beckers and Victor Piard). Forsythe Shirts1845-1850 201 Broadway, New York, New York.1852 201 Broadway, New York, New York .1855-1856 264 Broadway, New York, New York.18571861 411 Broadway, New York, New York.203 Broadway, LAWRENCE, M. M.M. M. Lawrence, 203 Broadway, 3 doors below Fulton St.
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M. M. Lawrence, 203 Broadway, 3 doors below Fulton St. (https://exhibitions.library.columbia.edu/exhibits/show/jewels/item/11181) in London, winning a prize for his work. He was elected president of the American Daguerre Association in 1852.
(https://exhibitions.library.columbia.edu/exhibits/show/jewels/item/11181) in London, winning a prize for his work. He was elected president of the American Daguerre Association in 1852.
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ANTHONY, BRADY
Edward Anthony and Mathew Brady.
Broadway (NW) Fulton and Vesey ➡️
ST. PAUL'S CHURCH
BTW. Fulton and Veasey
The EVEN (east) ? side of the street:
John N. Genin the Hatter https://www.metmuseum.org/art/collection/search/128206
Broadway (NW)
Vesey and Barclay.
ASTOR HOUSE. ➡️
229 Broadway
The old American Hotel opened in 1825 at 229 Broadway, on the northwest corner of Barclay Street, facing City Hall Park.230 - 231 Broadway, JENNINGS, Wm. T. Clothing
April 24, 1854 fire, killed 9 fire fighters
233 Broadway MEADE Brothers
235 Broadway
1845 Prosch, Charlotte
234-235 Broadway,
SMITH, John I. Umbrellas and parasols, SMITH, A. E. Tracy, Irwin and Co.James H. Ransom, of Frederick Tracy, Irwin, & Co., attnys
Broadway (SE) at Vesey/Ann ➡️
222 Broadway Townsend, Barnum American Museum, Edward Fox
In 1803, the old Hampden Hall at the corner of Ann Street and Broadway was the town residence of Andrew Hopper. He also had a dry goods store on this block in a building at 222 Broadway that he shared with John Scoles, an engraver and bookseller. A few years later the site was occupied by Jotham Smith, who also operated a large dry goods store on this corner.
In 1825, Nos. 220 and 222 Broadway — now occupied by the stores of John Vreeland and others — was sold at auction by the estate of Andrew Hopper. The land was purchased by Francis W. Olmstead, who constructed a large, 5-story marble building on the site. John Scudder opened the American Museum in this building in 1830. P.T. Barnum entered the picture in December 1841.
Barnum, P.T., New York: Penguin Classics, 1987 (1869) pp. 94-102 for Barnum’s description of the purchase of the Scudder’s Museum collection and his first lease from Francis Olmstead, dated, according to Barnum, December 26, 1841. After Olmstead’s death, the property appears to have been transferred to Henry Sargent through his wife Caroline, the daughter of Olmstead
Broadway (NW) Barclay and Park Place
WOOLWORTH BUILDING
243 Broadway
Woolworth
247 Broadway, GAVIT, Daniel E., 247 Broadway, N.
Rich Jewelry and Silverware
Ball Black Jewelers
Black, Starr & Frost begins with Isaac Marquand, a skilled silversmith and clockmaker who founded Marquand & Company in 1810 at 164 Broadway, New York City
attnys
Broadway (NW) Murry and Warren
across from City Hall
251 Broadway, at Murry St near Warren , PLUMBE NATIONAL DAGUERRIAN STUDIO, TENNEY JEWELRY, MOLINSKI, J. S.
1851 July 19. Norfolk County Journal. (Roxbury, Massachusetts) July 19, 1851, P. 4.
Daguerreotypes In Oil Colors.—We are not quite enabled to announce the discovery of a process whereby daguerreotypes may be instantly taken, with all the natural colors in oil, but the next thing to such a process has been produced. Mr. William H. Butler, of the Plumbe National Daguerrian Gallery, corner of Broadway and Murray street, has recently discovered a mode of fixing Daguerreotypes upon panels, which enables a likeness to be fixed by the hand of an artist, in a remarkably brief space of time, and with astonishing accuracy.
This throws all the other new processes entirely in the shade, for the expense is only ten dollars, and the likeness is actually an oil painting! We have seen a number of specimens, and cannot withhold our unqualified praise as to the fidelity and beauty of pictures thus produced. The discovery is one of great importance, as it will lead, in a measure to the disuse of the present mode of daguerreotyping.—[N. Y. Sun.
1851 August 23. Copway’s American Indian. (New York, New York.) August 23, 1851, Vol. 1, No. VII, P. 4.
Daguerreotypes In Oil. William H. Butler, Proprietor Of The Plumbe National Gallery, No. 251 Broadway.
1851 November 13. The New York Herald. (New York, New York.) November 13, 1851, Whole No. 6958, P. 5.
Mr. Butler’s Daguerreotypes in Oil.—This new discovery combines the fidelity of the Daguerreotype with the finish of the finest miniature painting. Being put on a metallic surface, their durability cannot be questioned. Specimens can be seen at Mr. B.’s rooms, No. 251 Broadway, over Tenney’s Jewelry store.
Advertisement ran on November 13 & 15, 1851.
1852 February 3. The New York Herald. (New York, New York.) February 3, 1852, Whole No. 7039, P. 5.
Daguerreotypes in Oil.—A New and Beautiful discovery in the arts, by William H. Butler, proprietor of the Plumbe National Gallery, No. 251 Broadway. These pictures combine the detail of the daguerreotype, with the finish of the finest miniature painting.
Advertisement ran on February 3 & 4, 1852.
1852 February 10. The New York Herald. (New York, New York.) February 10, 1852, Whole No. 7041, P. 5.
Daguerreotypes in Oil.—A New and Beautiful discovery in the arts, by William H. Butler, proprietor of the Plumbe National Gallery, No. 251 Broadway. These pictures combine the detail of the daguerreotype, with the finish of the finest miniature painting.
Advertisement ran on February 10 to 13, 1852.
1852 March 9. The New York Herald. (New York, New York.) March 9, 1852, Whole No. 7041, P. 5.
Daguerreotypes in Oil.—This new and important discovery in the arts, by William H. Butler, proprietor of the Plumbe National Gallery, No. 251 Broadway, ought to be seen by all lovers of art.
252 Broadway, C. S. Francis Co.
259 Broadway,
TIFFANY, YOUNG, ELLIS 1837-1847271 Broadway (1847-)550 Broadway (1853-)1870, to Union Square and 15th Street.
271 Broadway To Chambers Street,
The National Shoe & Leather Bank building, at 271 Broadway, corner of Chambers Street
Formerly Tiffany's
Broadway (SE) Murray and Warren
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270 Broadway near Chambers, Broadway,
Goupil Galleries (1846-1896) willia. Schaus director; . New York, NY Norman Freeman, Healty and Ferguson Window Treatments, Henry Time...., New York Cemetery, Checkerings PianoForte, Eben R. Collamore, J. E. Browne'shttps://storymaps.arcgis.com/stories/913c86e06f564c2288ff6b8e5ea08e76
Broadway
Warren and DUANE STREET ➡️
289 Broadway, HAAS, Phillip (1851)289 Broadway, REESRees, Charles Richard. Silas Holmes, Professor Reese289 Broadway, HolmesThe 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.Professor Buffer, IrishArtists’ Club, composed of twenty members, who repudiate, fogyism and borrowed thunder.CHICKERINGS PIANOFORTE
293 Broadway BURGESS, NATHAN293 Broadway, HARRISON, Charles C. ,(1817,.North Carolina- (Cameras, lenses 1851)293 Broadway, COOK, GEORGE293 Broadway, PERRY, W. A.While in Brady's employ in New York, in May, 1851, Cook also purchased the gallery of C.C. Harrison, at 293 Broadway, and installed W.A. Perry as principal operator.1851 293 Broadway, New York, New York.William B. Parsons was recorded in one advertisement in The New York Herald (New York, New York) on December 22, 1851.
Card.—Daguerreotypes.—The Subscriber wishes to inform his friends and the public that he is not located at 383 Broadway, as was anticipated, but will be happy to see them at the old stand, 293, where they can obtain pictures equal, if not superior, to any produced from the hands of that celebrated operator, James P. Perry.Respectfully, Wm. B. Parsons, 293 Broadway, (Cook’s Gallery)William B. Parsons is not listed in other photographic directories.
Broadway
Reade and Duane Street➡️
299 Broadway at Duane St.,
Dobyn and RichardsonIn 1854, in New York, Dobyns continued to be listed as a daguerreian at 303 Broadway, but alone, with no indication of any partnerships. An alternate source listed him at 299 Broadway, in partnership as Dobyns, Richardson & Co.
.
262 Broadway,
BARNES, J. T. James; Crofoot and Laird Dental Depot1855-1856 262 Broadway, New York, New York.1855 June 20. New York Daily Tribune. (New York, New York.) June 20, 1855, Vol. XV, No. 4421, P. 8.Many parents have experienced great difficulty in obtaining correct Likenesses of their children through the impatience of operators. This can be remedied by calling on J. T. Barnes, No. 262 Broadway, 2d door above Warren-st.Advertisement ran on June 20 & 21, 1855.1856 January 1. Photographic and fine Arts Journal. (New York, New York.) January 1, 1856, Vol. IX, No. 1, P. 19.In an article entitled the Photographic Galleries of America. Number One, New York. The author visited 69 Galleries in New York City.J. T. Barnes — A general dimness and want of sharpness is the general feature of these specimens, which is a fault scarcely excusable that being one so easily overcome. It is strangeartists are not more careful what pictures they expose as specimens. In some galleries I have seen pictures which can hardly be called shadows. If a picture is sharp many faults are over-looked. No picture lacking sharpness and depth of tone should be hung up as a specimen. Some pictures I have seen stand forth boldly from their backgrounds, and I was not obliged to keep my head going from one side to the other of the plate in order to make out the contours, though as to other particulars they were perhaps quite as bad. There are some fine local views in this gallery which show great delicacy.
300 Block of Broadway
Odd numbered addresses are on the west side of the street
1853-1854
May 1854 Yearout & Richardson303 Broadway, DURANG, W. H. (1851)303 Broadway, DOBYNS, Thomas JeffersonIn New York City, N.Y., in 1853, the catalog for the New York Exhibition of the Industry of All Nations listed the daguerreian firm of Moissenet, Dobyns, Richardson & Co. The directories listed Dobyns as a daguerreian at 303 Broadway, New York City; alternately he was listed as Dobyns, Richardson (V.L.) & Co., and Dobyns, Richardson and Moissenet. The gallery in New York City was opened in April, at the corner of Duane Street and Broadway. By 1855 the firm had apparently abandoned its New York Gallery, and Richardson was listed there alone.St. Louis, Missouri (Dobyns & Spaulding)New Orleans, Louisiana (Dobyns & Harrington)Louisville, Kentucky (Dobyns & Hall)Memphis & Nashville, Tennessee (Dobyns & Yearout)303 Broadway, RICHARDSON, V. L.303 Broadway, MOISSENET, Felix
(c.1802-1865)
Buildings numbered from 309 to 329 1/2, with the City Hospital behind a park.No. 308: Ruckoldt; No. 311: J. H. Boyd, merchant tailor; No. 311: St. John, Raymond & Co, Henry Insley daguerreotype, ; No. 313: John T. Henry, draper & tailor; No. 315: Thompsons, Daguerreotype Materials and Gallery; No. 315: T. R. Tilley; No. 321: Putnam Singers Sewing Machines; No. 321:Ivison & Phinney, Booksellers & Publishers; No. 325: I. N. Brown & Co.323 Broadway, New York Harrington and Bushnell
311 Broadway, INSLEY. Henry (1851)
A pioneer in daguerreian photography, Mr. Insley manufactured brooms in lower Manhattan when, in 1839 he was approached by his brother-in-law, George W. Prosch to enter into the new art form of daguerreotype.Legend has it he once chased Junius Booth from his establishment for haggling over the price and quality of his portrait.He had a long, successful career, establishing studios initially on lower Broadway and then across the Hudson river in Jersey City.He retired to upstate Nanuet NY in the late 1860's and lived in semi-retirement as a farmer until his death in 1894.
315 Broadway
THOMPSON, Josiah W., TERWILLIGER, Hiram T., Bayles and Bradley DaguerreotypeListed as a daguerreian at 315 Broadway, New York City, N.Y., 1854, in partnership as Bayles and Frederick & William Harrison Bayles??? Kingston, NJ. Daguerreotype. Son of Joseph & Abigail Tenley Burell. By Brady's Gallery, 205-207 Broadway, NY.Terwilliger, Hiram T. Listed as a daguerreian at 315 Broadway, New York City, N.Y., 1853-1854. He advertised daguerreotypes for fifty cents. Information corrected to November, 1997;
321 Broadway, Singer Sewing Machines
Two street views of Broadway appear within a decorative frame of leaves. From left, the top image shows at center. The lower image is numbered from 329 1/2 to 349, with Worth Street and Leonard Street breaking through the facades. At left, two smaller views show numbers 33 to 27 and 76 to 82. At right, two smaller views show numbers 49 to 43, and 94 to 100. The print centers on a larger central image of the City Prison.
Companies identified on the buildings:
Top row: .
Center row left: Chambers of Chatham Street, No. 82: C. & J. Davis, Umbrella & Parasol Manufactory.
Bottom row: No. 329 1/2: Jellison & Co., Mens Furnishing Store; No. 331: Fraser & Son, Painters & Showcard Writers; No. 333: W. Heylin, Gimps, Cords & Tassels; No. 341: Mexican Mustang Linament; No. 343: Douglas & Sherwood, Skirt manufacturers; No. 343: G.W. Westbrook.
Companies identified on the buildings:
Top row: .
Center row left: Chambers of Chatham Street, No. 82: C. & J. Davis, Umbrella & Parasol Manufactory.
Bottom row: No. 329 1/2: Jellison & Co., Mens Furnishing Store; No. 331: Fraser & Son, Painters & Showcard Writers; No. 333: W. Heylin, Gimps, Cords & Tassels; No. 341: Mexican Mustang Linament; No. 343: Douglas & Sherwood, Skirt manufacturers; No. 343: G.W. Westbrook.
https://pioneeramericanphotographers.com/2024/08/
Luther D. BUSWELL
Bushnell ???
https://pioneeramericanphotographers.com/2024/08/
323 Broadway, New York,
L. L. Harrington and Bushnell or Luther Buswell
Above the hospital
(white-sided building)
Gurney, Jeremiah
349 Broadway, BRADY, Matthew (above Thompson's Saloon); James Beck Office (L)
While in Brady's employ in New York, in May, 1851, Cook also purchased the gallery of C.C. Harrison, at 293 Broadway, and installed W.A. Perry as principal operator.
363 Broadway
ROOT, M. A. and S. (1851)Robert Henry Furman,Marcus Aurelius Root (1808-1888) was a writing teacher and photographer. He was born in Granville, Ohio and died in Philadelphia, Pennsylvania. On 20 June 1846, he bought John Jabez Edwin Mayall’s Chestnut Street photography studio that was in the same building as Root’s residence in Philadelphia, Pennsylvania. Root had success as a daguerreotypist working with his brother, Samuel Root. The Root Brothers had a gallery in New York City from 1849 to 1857. Marcus Aurelius Root authored an important book on photography entitled The Camera and the Pencil.
363 Broadway
BOGARDUS, Abraham, trained by George Prosch(Interesting comment from Daguerreian Society Facebook, https://www.facebook.com/groups/the.daguerreian.society/permalink/1982794965155040/?app=fbl).
383 Broadway, J. D. W. Brinkerhoff
385 Broadway,
REES
Charles Ricard Rees and Co.1854-1855
McClave & Merritt (James McClave, Jr. & John D. Merritt 1854
James Landy
HOLMES, Silas, Harrison and Holmes 289 Broadway
385 Broadway, QUINBY, WEHRNERT, BECKMAN, RUDOLF.
Charles J. Quinby, Beckman, Rudolf. Bertha Wehrnert.
385 Broadway, KENNARD
Kennard. Thomas323 Broadway, New York
400 Block of Broadway
Odd numbered addresses are on the west side of the street
Broadway
Walker and Lispenard Street ➡️
407 Broadway, CARY, Preston (1853)
413 Broadway KERTSON, corner of Canal.
Broadway
Lispenard and Canal Street ➡️
415 Broadway, National City Bank of New York (Alexander Hamilton)
[https://commons.wikimedia.org/wiki/File:First_National_City_Bank_of_New_York_415-417_Broadway_from_north.jpg]
415 John Wright
Broadway
Canal Street and Howard ➡️
UNKNOWN
Broadway
Howard and Grand Street ➡️
UNKNOWN
Broadway
Grand and Broome Street ➡️
477 Broadway, HOPE, G.W
477 Broadway, KNAPP, William R. & James B. Field (1856) https://pioneeramericanphotographers.com/tag/william-r-knapp/
Broadway
Broome and Spring Street ➡️
499 Broadway, NJ ??Krochls & Vetters, Phototypes
1890
Maas Blum & Co. Belts
Hackett Carhart & Co
https://www.bgc.bard.edu/exhibitions/exhibitions/12/visualizing-19th-century-new-york
Historic Photographs and Geo-Referencing, Early Photographic Studios in New YorkJ City..
Dr. Jeromy Rowe
Daguerreotype_Journal_Autmun_isuue_def_THE_DAGUERREOTYPE_STUDIO (1).pdf
https://www.researchgate.net/publication/311876352_Georeferencing_the_Locations_of_Daguerreian_Era_Photographic_Studios_in_New_York_City
https://www.vintagephoto.com/updates.html
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Broadway, New York. Shewing [sic] Each Building from the Hygeian Depot Corner of Canal Street to beyond Niblo's Garden
1836. Showing storefronts of John Wright at 415 Broadway, John J. Marshall at 42 Canal St., the British College of Health and Hygeian Depot at 50 Canal St.
The Edward W. C. Arnold Collection of New York Prints, Maps and Pictures, Bequest of Edward W. C. Arnold, 1954
This image is a hand-colored aquatint titled "Broadway, New-York" published in 1836, depicting the bustling city street.
Scene: It shows the view from the Hygeian Depot at the corner of Canal Street to beyond Niblo's Garden.
Artistic Detail: The print was drawn and etched by Thomas Horner and aquatinted by John Hill.
Historical Context: The scene captures the daily life, architecture, and transportation of 1830s New York City.
The Anthony Casemaking Factory and Gilding Room
Making a Case, Steve Edwards
Edward Anthony, Case Factory-Gilding Room, engraving, 1854
The Harlem Railroad Depot for Carriages
Park Avenue South and 26th Street.
New York Life Insurance Building
The site of the New York Life Building was used between 1837 and 1871 as the Union Depot of the New York & Harlem and the New York & New Haven Railroads (now part of the Park Avenue main line). The location then hosted a concert garden named Gilmore's Garden ] as well as P.T. Barnum's Hippodrome. The first Madison Square Garden (MSG) was built in 1879 on the northeast corner of Madison Avenue and 26th Street, and was replaced in 1890 by the second Madison Square Garden. At opening, New York Life president Darwin P. Kingsley described the structure as "a majestic cathedral of insurance".Miriam Berman, a historian, described the gold-plated roof as one "that catches and reflects the sunlight by day and by night is one of the more easily recognized shapes on the city's illuminated skyline".
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| Image from A Dictionary of the Photographic Art, by Henry Hunt Snelling, 1853 |
In 1854, the Anthony brothers, Edward and Henry, operated a large photographic apparatus and mugly material factory and distribution center,
"Known as the "Case Factory," in New York City's Harlem Railroad Depot, claiming to be the largest in the world.
Here's a more detailed look:
The "Case Factory":
The Anthony brothers' factory, located in New York City's Harlem Railroad Depot, was a prominent hub for photographic equipment and materials.
Scale of Operation:
By 1854, the factory occupied a significant portion of the Harlem Railroad Depot, covering a quarter of the building.
Claim to Fame:
The Anthony brothers' company, E. & H. T. Anthony & Company, advertised itself as the largest manufacturer and distributor of photographic apparatus and materials globally.
Historical Context:
The Anthony brothers' factory was a key player in the burgeoning field of photography during the mid-19th century.
Visual Representation:
An engraving from 1854, titled "Case Factory – Gilding Room," depicts the interior of the factory, which can be found in Henry Hunt Snelling and Edward Anthony's "A dictionary of the photographic art… together with a list of articles of every description employed in its practice".
Visualizing 19th-Century New York:
The "Case Factory" is discussed in the Visualizing 19th-Century New York essay titled "Edward and Henry Anthony's Production of “Instantaneous Views”".
The Harlem RR Depot
castlelike structure stood at what is now Park Avenue South and 26th Street. It didn’t have a food court or a giant vaulted space or lines of shops, but it did come to house six-day marathons, elephant races and a tattooed nobleman.
New York’s first railroad, the New York and Harlem, operated not by steam but by horse; putting carriages onto rails and taking them off the irregular dirt streets quadrupled efficiency, according to “The Horse in the City,” by Clay McShane and Joel Tarr (Johns Hopkins University Press, 2007).
The railroad opened in November 1832, with a route from Prince Street up the Bowery to Union Square. Service, according to The New York Courier and Enquirer, was offered only on “each fair day.” Ultimately the line ran up Fourth (later Park) Avenue to the village of Harlem, the original goal. In 1849 the railroad advertised that it stopped for passengers at 42nd, 51st, 61st, 79th, 86th, 109th, 115th, 125th and 132nd Streets.
The New York and Harlem Railroad depot in 1860.Credit...Office for Metropolitan History
Steam engines were introduced fairly early, but occasional boiler explosions provoked attempts to eliminate locomotives in built-up areas, which the railroad successfully resisted for years. A midline depot stood at Fourth Avenue and 26th Street as early as 1845, when it burned, and in 1847 The Evening Post reported a “spacious freight house” at that site. It is possible that was the picturesque castlelike building seen in the 1860s view above left, at the northwest corner of 26th and Fourth, stretching back to Madison Avenue.
If so, it might have been designed by Robert G. Hatfield, who did other work for the New York and Harlem around that time.
In 1857 a separate but related line, the New York and New Haven, erected an adjacent structure, at the southwest corner of 27th and Fourth, an awkward Italianate building, which like its neighbor stretched back to Madison Avenue. The rail lines turned into a yard shared by the two terminals, and this was the beginning of the Grand Central idea — different rail companies would use the same, centralized facility. Ultimately, Grand Central Terminal would serve the Hudson, Harlem and New Haven lines.
In 1858, a case of not-in-my-backyard syndrome erupted on Fourth when some rich residents of town houses in newly fashionable Murray Hill got the Common Council to consider banning steam south of 42nd Street. But a group of commuters met at the station to protest switching back to the much slower horse-drawn cars.
One protester was quoted by The New York Times as saying that “the squalor and misery of the poorer classes” would be prolonged by a change back to horsepower, that it would retard the growth of real estate farther north, and that it could lead to a total ban on steam in Manhattan. The railroad prevailed.
But after the Civil War, steam was indeed banned south of 42nd Street, leading to the construction in 1871 of what was the first of three Grand Central Terminals. Two years later, P. T. Barnum and a consortium of investors leased both the 26th and 27th Street stations. Joined and enlarged, they were converted to a grand exhibition space.
A magazine cover depicts a long-distance walking tournament at the exhibition hall in 1879.Credit...Library of Congress
The consortium presented a certain amount of high culture, like the American debut of Jacques Offenbach, the composer and cellist, in 1876. But others, particularly Barnum, played to the cheap seats, advertising in various papers “a Greek nobleman, tattooed head to foot,” as well as monkey, elephant and ostrich races and “Laughable Sack-racing by Metropolitan Amateurs.”
In 1877 The Evening Express announced an Edison Telephone Concert in the space, with a singing program in Philadelphia broadcast in, and The Times reported a “colored baby contest” — white babies competed in a separate event.
Two years later, The Evening Telegram announced a masquerade ball with entertainments like a Roman Carnival, and an “Indian camp attacked by United States soldiers in which the soldiers are defeated and scalped.” That was the year the building began to be known as Madison Square Garden, Madison Square having an elite connotation far above that of dusty old Fourth Avenue.
It was here that in September 1879 a punishing marathon walk took place, in a competition for a trophy called the Astley Belt. Also called Six-Day Races, such events were a tremendous fad in the late 1870s; competitors walked as much as they could over six solid days, the goal being total mileage rather than speed.
What The Boston Globe described as “an immense crowd” packed the Garden to watch Charles Rowell, an Englishman, take the belt with 530 miles. Frank Hart, born in Haiti, came in fourth at 482 miles. The Globe estimated that Rowell took home $28,000 and Hart $5,000.
The old depot continued in its second career until 1889, when it was demolished for Stanford White’s sumptuous entertainment palace, a new Madison Square Garden, itself demolished in the 1920s and succeeded by two namesake versions. That has come to be a favorite object of mourning, whereas Grand Central Terminal is one of the triumphs of historic preservation. But the original structure is as unlamented as a horse-drawn railway car.
Exert from Making a Case, Steve Edwards
Edward Anthony, Case Factory-Gilding Room, engraving, 1854. Digital image courtesy of Bard Graduate Center (all rights reserved). Steve Edwards’s research while affiliated with Birkbeck, University of London and other places. This essay considers physical daguerreotype cases from the 1840s and 1850s alongside scholarly debate on case studies, or “thinking in cases”, and some recent physicalist claims about objects in cultural theory, particularly those associated with “new materialism”. Throughout the essay, these three distinct strands are braided together to interrogate particular objects and broader questions of cultural history. It contributes to thinking about daguerreotypes and their cases, but it does so in order to interrogate thinking in cases and objecthood as a legal category. I argue that daguerreotypes have to be understood as image-thing amalgams, paying particular attention to the construction and distinguishing marks on the cases and frames that enclose these images. These cases, particularly those of the patent holder Richard Beard, are situated within legal debates on property and cannot be understood without attention to social relations of capital and class. "Object-image amalgam"
Broadway Leonard and Franklin Street ➡️
500 Block of Broadway
Odd numbered addresses are on the west side of the street
T. Anthony & Company Broadway at Franklin
. ROOT.
539 Broadway Barnum's New Museum opened in 1865 at 539-41 Broadway
551 Broadway, CLARK BROS.
559 Broadway, KNAPP
585 Broadway. FREDERICK'S,
Charles Deforest Fredricks, Henry A. Avery, partner. French photographers George Penabert and Augusto Daries. Sold F.R. Grumel albums.
589 Broadway ANSON
591 Broadway, ANTHONY
*
The EVEN (east) side of the street:
550 Broadway, TIFFANY'S
Elias Dexter of 562 Broadway, N.Y.C.
J. Buttre Engraving and Publishing on 48 Franklin St.
Catalogue of engravings by J.C. Buttre, publisher, engraver, and plate printer, no. 48 Franklin Street, New York.
Between Broadway and Lafeyette
Broadway
Bleeker Street ➡️
600 Block of Broadway
Odd numbered addresses are on the west side of the street
627 Broadway, PROVOST
659 Broadway, between Bleecker and West 3rd Streets in the NoHo neighborhood
An illustration of the first home of the NYU School of Medicine (1841-1851), located at 659 Broadway. In 1851 the school moved to a larger building on 14th Street between Third Avenue and Irving Place. This building burned down and temporary accomodations were used until the school moved to 26th Street, opposite Bellevue Hospital.
https://archives.med.nyu.edu/index.php/node/3632
666 Harpers Magazine
At the corner of Broadway and Bond St. (SE)
Broadway Bond Street and Great Jones➡️
Broadway at Bond St.
663 Broadway, PRUDHOMME (1851), McINTYRE, Sterling C.
663 Broadway, New York Academy of Design.
663 Broadway. New York Athenaeum.
663 Broadway, New York Gallery of Fine Arts
663 Broadway, Excelsior Stereoscopic and Photographic Company. Appeared in one advertisement on September 28, 1859 in The New York Herald (New York, New York). Photographic Visiting Cards. The last and most fashionable mode in Paris. These visiting cards giving no name, but an unmistakeable likeness of the individual, may only be obtained at the Excelsior Stereoscopic and Photographic Company, 663 Broadway. Excelsior Stereoscopic and Photographic Company is not recorded in other photographic directories
663 Broadway,
LEACH, George,
DAVIE (Daniel D. T. or brother Joseph Davie, 1824-1899, IMLAY (M)
New York Drawing Associationhttps://openlibrary.org/works/OL141165W/Historic_annals_of_the_National_academy_of_design_New_York_drawing_association_etcFounded in 1825 as theNew York Drawing Association bySamuel Morse,Asher Durand
Frederick Styles Agate
Thomas Cole,Martin E. Thompson,Charles Cushing Wright (1796-1857),Ithiel Town
and others “to promote the fine arts in America through instruction and exhibition,” one of its first homes was 663 Broadway between Bond and Great Jones Street. That building was demolished in 1911. But NYC directories show NAD moved not long after to the still-extant building at 58 East 13th Street in 1854. Thomas Seir Cummings (1804-1894), minaturist, also had his studio there during that time. He was the Vice President of the academy and ran the school starting in 1856.
Henry Inman.
691 Broadway, Union Club
691 Broadway. MORSE, George P. (1859)
George P. Morse was recorded in one advertisement that appeared on September 9, 1859 in The New York Herald (New York, New York). Photograph Gallery For Sale—Large, And well located; only up one flight of stairs; five year lease, with or with out specimens and apparatus; is between Brady and Gurney’s, 691 Broadway. A fine locality for bon ton business. Inquire of George P. Morse, on the premises. Listed as a daguerreian in Greenwich and New York City, N.Y. In 1859 he was listed in Greenwich. This is probably the same G.D. Morse listed as a daguerreian in 1860 at 691 Broadway, New York City, N.Y. He lived at 107 Bleecker Street. 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.
691 Broadway, HOLMES, Silas A
691 Broadway, STACY, George (1831-1897).
666 Broadway Harpers Magazine
Broadway at 4th Avenue
700 Block of Broadway
Odd numbered addresses are on the west side of the street
707 Broadway, GURNEY. (New York University)
In 1858 he built a three-story white marble studio at 707 Broadway at 4th to house his pictures, and it was the first building built for the sole purpose of photography in the United States.
2026; New York University, Neural Research
752 Broadway,
12th and 13th Street
800 Block of Broadway
831 Broadway, LAWRENCE, M. M.
839 Broadway, ROCKWOOD
810 Broadway
Roosevelt Building and
Hackett Carhart & Co
MAPS
Old map at Daguerreian Society Facebook in post
https://www.facebook.com/groups/the.daguerreian.society/permalink/1982794965155040/?app=fbl
BREESE MAP, NEW YORK. NY 1945
BREESE MAP, NEW YORK. NY 1945.
NEW YORK TIMES, BARD GRADUATE SCHOOL, VISUALIZING 19-TH CENTURY NEW YORK CITY
Visualizing New York City
The image shows a digital map from Visualizing 19th-Century New York, a project by the Bard Graduate Center. This interactive tool uses an 1851 Matthew Dripps Map to explore Manhattan's history during its growth as a cultural and commercial center.
Source: Jeff Rosenheim, “‘A Palace for the Sun’: Early Photography in New York City,” in Art and the Empire City, 2000
https://historiccamera.com/cgi-bin/librarium2/pm.cgi?action=app_display&app=datasheet&app_id=1508
PAINTING OF LITTLE GIRL HOLDING FLOWERS The mat is stamped J.F.E. Prudhomme (John Francis Eugene), 663 Broadway (New York City). Interestingly, he shared this address with the New York Academy of Design, the New York Athenaeum and the New York Gallery of Fine Arts.. this painting might be found in connection with one of those establishments. Prudhomme photographed existing art work for engravings, many times found in published books.
Engravings, R. Burgess, Portraits of doctors & scientists in the Wellcome Institute, London 1973.
Anthony https://antiquephotographicscollections.com/
Goupil Galleries (1846-1896) Gustav Courbet
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The Perils and Perks of Trading Art Overseas: Goupil’s New York Branch
by Agnès Penot
Goupil & Cie, originally established as Rittner & Goupil in Paris in 1829, was one of the most prominent print and art dealers of the nineteenth century. Initially, the activities of the firm consisted of reproducing, publishing, and selling prints in Paris. Later, the directors diversified to also deal in original artworks. Goupil’s operations coincided with a turning point in the history of art, which marked the u
shift from traditional patronage of the arts—church, royalty, aristocracy, and state—to a market system made possible by an increasingly rich and powerful bourgeoisie. Goupil was one of the first dealers to engage in such a system, which in turn facilitated its ambitions of internationalization. After expanding first to London in 1842, the firm opened a New York branch in 1848 as Goupil & Co. and went on to develop an extensive network of branches and partnerships across Europe, the United States, the Ottoman Empire, and as far as Australia. While international expansion had a number of advantages—including higher growth potential by accessing a larger pool of clients—uncertain economic outlook, as well as cultural and regulatory differences, created a challenging scenario. Using Goupil’s New York branch as a case study, this article will investigate the strategy Goupil & Cie and its associates implemented to successfully balance the perks and perils of operating a business remotely.
As an addition to the numerous articles by DeCourcy E. McIntosh, which revealed for the first time the influence of the French dealer on the American market,[3] this paper will explore in detail the obstacles to, and uncertainties in, creating and keeping a presence in the art market across the Atlantic in the mid-nineteenth centurySince 2012, with the acquisition by the Getty Research Institute of the archival material of the Knoedler Gallery, successors of Goupil & Co. in New York in 1857, it has now become possible to also reconsider some aspects of a business relationship that dominated the market for European art in America for half a century and secured the legacy of Goupil in this country.[4]
The Early Years of Goupil in New York
In February 1848, William Schaus (1821–92) became the gallery’s first director in New York, opening Goupil, Vibert & Co. at 289 Broadway (fig. 1). A legal document pertaining to the 1855 liquidation of the Parisian headquarters, which followed insolvable divergences between Adolphe Goupil (1806–93) and Alfred Mainguet (fl. 1846–56) business partners since 1846, explains that the New York gallery consisted of “a whole house, entirely rented for another 8 years; for a price of 13,000 francs per year.”[5] Prior to the 1848 opening, very little European art had entered the embryonic American art market, and very few dealers had dared to establish a gallery, as Adolphe Goupil explains: “Until 1848, print exports to the United States were almost null, [and] painting exports did not exist.”[6] According to the 1860 census, New York, a city of 515,000 residents, was only beginning to approach its potential, while Paris and London had populations at least double New York’s size (over 1 and 2 million, respectively). Goupil, Vibert & Co. recognized, however, that the American art market had tremendous potential, and its owners knew there was little competition.[7] Furthermore, New York’s geographical location made the city one of the country’s main ports of entry and economic centers, thus a rich soil for a dynamic arts scene.[8]
Fig. 1, A Panoramic View of Broadway, New York City, Commencing at the Astor House, showing Goupil & Co. (after its change in name in 1850) at 289 Broadway, 1854. Wood engraving. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection, The New York Public Library, New York. Available from: The New York Public Library Digital Collections, digitalcollections.nypl.org. The building number for Goupil & Co. appears incorrectly as 288 in the wood engraving.
In his article on the history of picture dealing in America, published in the New York Times in 1897, C. L. Beaumont situates the inception of an interest in art in New York in the early years of the 19th century, when the principal picture dealer in the city, Michael Paff, a German immigrant, opened his doors, initially specializing in musical instruments7
McIntyre, Sterling C. (Panorama San Francisco)
https://youtu.be/5KKx_B_Ke8w?si=txc5QW0kjXqjDBif
Also sometimes noted as Samuel, he was a dentist and daguerreian. He may have been in Paris at the time of Daguerre's announcement, in 1839, and developed his interest in the process at that time.
While practicing dentistry in Tallahassee, Fla., in November, 1844, he advertised daguerreotypes. In May, 1845 he advertised he was taking a trip to Marianna, Fla., with plans to go on to Pensacola, Fla.
It was probably S.C. McIntyre who advertised in Tallahassee in December 20, 1845, as "G.A. McIntyre." Then he occupied rooms at Demilly's.
In May, 1846 he occupied rooms in Charleston, S.C., at 190 King Street, in partnership with J.J. Crygier. He maintained the gallery in Charleston until 1849, although one source reported him back in Tallahassee by December, 1848. Another source places him at 309 King Street, Charleston, in 1849.
In November, 1849, McIntyre announced he was opening a gallery in New York City, N.Y., and that W.S. McVaught would continue the Charleston gallery. In 1850-1851 he was listed in New York City, at 663 Broadway. It was also in 1850 that McIntyre left for California.
In January, 1851 he executed a five-panel panoramic daguerreotype of San Francisco, which he sent for exhibition at the Crystal Palace. He also sent back East various gold mining views. In April, 1851 he moved to Nevada City, Calif., where he advertised daguerreotypes. After that time, he advertised dental services but not daguereotypes, although one of his offices was in another daguerreian gallery. He left California in 1855 to return East, but nothing is known of him after his return. Information corrected to November, 1997; © 1996, 1997 John S. Craig
https://www.findagrave.com/memorial/24967148/sterling-campbell-mcintyre
Leach, George T.
Advertised as a daguerreian at 663 Broadway, New York City, N.Y., 1860, in business as Leach, Davie and Imlay (M.). He lived on 32nd Street. Information corrected to November, 1997; © 1996, 1997 John S. Craig
New Search
Leach, William, Jr.
Listed as a daguerreian at 127 West Baltimore Street, Baltimore, Md., 1859-1860, in partnership as Coss (George M.), Leach and Irwin (Edward). Leach lived at 127 West Baltimore Street in 1860. In 1860 the partnership was listed as G.M. Coss & Co., ambrotypists, over 65 West Baltimore Street, and Coss, Leach and Irwin, over 127 West Baltimore Street
References
https://visualizingnyc.org/essays/prosperous-partnership-edward-and-henry-anthonys-production-of-instantaneous-views/
https://www.laphamsquarterly.org/roundtable/midwestern-exposure
A History of Photography, 1887
object: 5 (Material Type: Books)
Extent
1 bound volume
Creator
Scoville Press
Harrison, W. Jerome (William Jerome), 1845-1909
Subjects
Topics
Photography
Places
New York (N.Y.).
Use Restrictions
None, In Public Domain
A History of Photography: 1887
View 176 images.
https://findingaids.library.nyu.edu/archives/cap_1/contents/aspace_2f14f32be2bce7765d3a40d08c70f910/
photograph depicts the editorial staff of the New York Tribune taken by renowned photographer Mathew Brady, likely before the Civil War.Key figures seated in the front row include financial editor George M. Snow, travel writer and editor Bayard Taylor, and editor-in-chief Horace Greeley. The standing figures are identified as music editor William Henry Fry and managing editor Charles A. Dana.The image is part of a collection held by the Library of Congress, showcasing the attire and style of 19th-century American journalists.
From the New York Daily Tribune, New York, New York, printed on October 29, 1851.
The official declaration of premiums awarded at the Twenty-Fourth Annual Fair of the American Institute for Daguerreotypes. Atkins receives a silver medal for his cameo daguerreotypes. The full list of premiums awarded are recorded below.
- M. A. & S. Root, No. 363 Broadway, best Daguerreotypes—Gold Medal.
- J. Gurney, No. 159 Broadway, 2d best Daguerreotypes,—Silver Medal.
- J. D. W. Brinkerhoff, No. 383 Broadway, for Still Life Daguerreotype Views—Silver Medal.
- S. A. Holmes, No. 289 Broadway, Still Life Daguerreotype Views.—Silver Medal.
- Joseph Atkins, No. 219 Fulton-St., Brooklyn, Cameo Daguerreotype—Silver Medal.
- H. E. Insley, No 311 Broadway, Illuminated Daguerreotypes—Silver Medal.
- Krochls & Vetters, No. 499 Broadway, Phototypes—Silver Medal.
- Mrs. Bertha Wehnert, No. 385 Broadway, Phototypes.—Silver Medal.
- C. C. Harrison, No. 85 Duane St., Daguerreotype Cameras.—Gold Medal.
Note Craig’s Daguerreian Registry list Atkins as being active from 1848-1852 at 219 Fulton Street, Brooklyn and from 1852–1860 at 263 Fulton Street, Brooklyn
GENEALOGY
MORSE PROSCH INLEY
Peter Maverick New York’s finest engraver taught Cyrus Durand and Asher Durand
Saturday, January 10, 2015
The Federal Relic at No. 357 West Broadway
The Bayard family not only had immense wealth in Colonial times—they engaged in a tremendous trade with sugar plantations in the Caribbean and owned a large Sugar House on Wall Street—but they wielded significant political power. The family owned a sprawling estate—referred to as the Bayard or West Farm—north of the city in what two centuries later would be known as Soho.
By the end of the Revolutionary War, however, Nicholas Bayard had fallen on hard times. The conflict itself had negative financial consequences, and by now the Caribbean sugar economy had all but collapsed. In 1789 Bayard declared bankruptcy and was forced to sell the Bayard Farm to pay his creditors. The old sugar house was lost as well.
Although the property was divided into building lots; little development was seen until Broadway was paved and sidewalks laid as far north as Astor Place in 1809. Although development slowed with the outbreak of the War of 1812; it exploded around 1815 and continued for a decade. Fine brick residences were erected along Broadway with more modest homes sprouting on the side streets.
It was at this time, around 1825, that the two and a half story house at No. 357 West Broadway was constructed. A low stoop arose to the parlor floor of the middle class home. The Flemish bond red brick was trimmed with brownstone sills and lintels. Two prim dormers with fluted pilasters perched above the cornice.
The neighborhood around No. 357 remained quietly residential through the decade prior to the Civil War. Then, little by little, handsome homes of Broadway were lost to grand retail emporiums and hotels as commerce pushed northward. As the century drew to a close, the silk district had engulfed Broome Street one block north of No. 357 West Broadway. But the little brick building would have a less glamorous fate than housing imported silks.
By at least 1897 the house was no longer residential. That year it was headquarters of Louis T. Swartz whose self-named company, L. T. Swartz, manufactured ash cans. The small firm would remain here until 1904, when Cadoo & Co. moved in. George J. Cadoo was less successful than the ash can maker and his company dissolved just two years later.
J. L. Prouty & Sons, Inc., dealers in animal skins and furs, took the old house as its warehouse when Cadoo moved out. Prouty used Adams Express for the transportation of some of its goods; an arrangement that cause the firm serious financial loss in 1907.
Twenty-year old William Leonard was a driver for Adams Express and despite his tender age had already served two years and eight months in Sing Sing for grand larceny and another term in the Elmira Reformatory for burglary. In November 1906 Detective Sergeants Dale and Fogarty happened to notice the door of a vacant store on West 37th Street slightly ajar. They entered and found the floor littered with paper, string, an invoice of A. Epstein & Co., and a beaver skin.
The detectives went from one fur dealer to another until they “finally found the owner in Prouty & Son of 357 West Broadway, who had been robbed of $5,000 worth of furs. Then the detectives went to Epstein & Co. and found that the firm had shipped by the Adams Express Company some goods that had never reached the consignee.”
It was soon discovered that Leonard had stolen nearly $30,000 worth of goods; a significant three quarters of a million dollars today.
The New-York Tribune later listed a few of the types of pelts handled by Prouty & Sons. “Fisher, Hudson Bay sable, cross fox, silver fox, mink, mole and muskrat,” as well as marten, Russian sable, beaver, krimmer, red fox, and weasel.
In the years just prior to World War I No. 357 had become more industrial. Benjamin Levi ran his tool and die operation here in 1915, advertising “Special electrical and mechanical devices built to order. Models, Tools, Dies.”
The massive brick, stone and cast iron loft buildings in the area suffered major abuse during the second half of the 20th century. Neglected and deteriorating they housed mostly small factories and businesses. No. 357 was not immune. At some point, probably around mid-century, the parlor floor was removed and the basement floored over. The doorway was moved to sidewalk level and an industrial opening was broken through. In the early 1970s the grimy little building was being used as a garage.
 |
| The beautiful paneled lintels, now painted, and the dentil molding of the cornice survive after nearly 200 years. |
Then, in 1992 as the Soho area was rediscovered, No. 357 received a make-over. The garage area was converted to a restaurant-bar and the upper floors made into offices. Today the remaining façade has been restored. The brownstone has somewhat unfortunately been painted white; but the wonderful lintels survive intact. It is a surprising reminder of a time when West Broadway was lined with tidy little homes like this.
Daytonian in Manhattan
The stories behind the buildings, statues and other points of interest that make Manhattan fascinating.
Wednesday, November 15, 2023
The Mathew Brady Studio Building - 359 Broadway
The northward transformation of Broadway from residential to commercial had already reached 359 Broadway in 1834 when George Endicott moved his music printing business into the building. By 1850, the district teemed with activity. James Thompson ran a "confectionary saloon" at 235 Broadway--a high-end hybrid grocery, candy store, and cafe. In 1851 he purchased and demolished 359 Broadway, and began construction of a five-story marble-fronted building.
On June 19, 1851, Thompson notified his customers that his business had temporarily moved to 315 Broadway "where they will remain during the erection of their building at 359 Broadway." The notice added Thompson & Son "hope to make [the new store] the most complete of its kind in this country."
Although the building was not yet fully completed, Thompson & Son opened the store portion of its business on December 23, offering "the largest assortment in the city of Fancy Boxes, choice Confectionery, articles for Christmas Trees, Mottoes, Plum Cakes, Ornaments for the table, &c." The notice cautioned, "The new saloons [i.e., cafe] will not be opened until after the holidays."
- The architectural firm of Field & Correja treated each floor of the elaborate Italianate style structure differently. The fully-arched openings of the second floor were capped with foliate bands and keystones. Those of the third floor were segmentally-arched, and the fourth floor windows were slightly rounded. The architects gave the fifth floor openings--traditionally the least interesting--the most unusual treatment. The square windows sat below "bell-cast" arches, giving the impression of pulled-back draperies. Each level was divided horizontally by intermediate cornices and vertically by paneled pilasters--right, center, and left. The elaborate bracketed cornice was crowned by cast iron fencing anchored by square marble drums.
What might be termed a gourmet shop today, Thompson & Son offered a wide variety of delicacies, many of them imported. On December 30, 1851 the firm ran two back-to-back advertisements in The New York Times, one touting "bon bon boxes, &c.," which included "a large assortment of handsome French boxes, sacs, roleaux and fancy articles filled with the finest confectionary and chocolate." The other ad focused on the grocery side of the business:
Articles for New Year's Tables--Boned Turkeys, Jellied Tongues and Sounds, Pickled Oysters, Salads, Ornamented Pyramids, Baskets, &c.--Mottoes of every kind, small fancy Cakes, Moulds of Jelly, Ice Cream, Charlotte Russe and Blanc Mange.
At the time of the advertisement, photographer Mathew Brady was in London, where his daguerreotypes won a first prize and three medals at the Great Exhibition of 1851. He returned to America in 1853, and in March leased the top floors of 359 Broadway for his studio and photographic gallery. Brady initially listed the address as his home, as well, suggesting he lived on the topmost floor. (He operated a second, less opulent location at 205 Broadway.)
Mathew B. Brady, The Photographic Art Journal, volume 1, 1851 (copyright expired)
An advertisement in The Knickerbocker in July that year said, "Brady's new and extensive Daguerrean Establishment, 359 Broadway, over Thompson's Saloon, is recently completed, and the public are invited to view the many improvements combined in this magnificent gallery." Brady had sumptuously outfitted each floor. The ad claimed there was "no similar establishment either in this country or in Europe." It continued in part:
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. The Gallery in connection with the gold gallery, corner of Fulton and Broadway, contains a matchless collection of Daguerreotypes of American and European celebrities, unequalled on the continent.
The resplendent gallery exhibited examples of Brady's work, including many famous Americans. The Knickerbocker, July 1853 (copyright expired)
Despite the relatively new technology of photography, Brady dealt with stiff competition. His advertisements stressed his dominance in the industry as well as his advanced methods. In the March 7, 1855 issue of The Crayon, he noted that "the French have been regarded as the only successful practitioners of this beautiful novelty in Art," but advised, "an examination, however, of the results exhibited at his [i.e., Brady's] establishment" would prove the "superiority of American Daguerreotypes." The ad promised "any desired size" from life size to small miniatures, and noted they could be hand-colored.
The Boston Directory, 1854 (copyright expired)
In the meantime, Thompson & Son's business flourished. In June 1856, it advertised a supply of "Black Hamburgh, Sweet Water, Chasselas and other fine varieties of Grapes from Hot-Houses in the vicinity which they can offer in better order than those brought from a distance." And as Christmas approached that year, Thompson & Son touted holiday presents "just received from Paris." They included "a splendid assortment of Fancy Boxes, Sacs, Cornets, Roleaux, fine French confectionery and chocolate, Nougat de Provence, &c."
The shop's offerings for the "New Year's Tables" a few weeks later included delicacies like jellied turkeys, blanc mange, pickled oysters, tongues, and green and mock turtle soup.
Brady continued to fight his for customers' attention. There were approximately 40 daguerreotype studios along Broadway at the time, all touting their craft. As the Presidential election neared in 1856, Brady cleverly arranged to photograph each of the candidates, including Republican candidate John Charles Fremont and his running mate William L. Dayton; James Buchanan and J. C. Breckenridge, on the Democratic ticket; and Millard Fillmore and A. A. Donelson of the American party. Supporters could buy copies at 359 Broadway for $3 (about $105 in 2023).
Brady posed candidate John Charles Fremont in his military uniform. from the collection of the National Portrait Gallery.
In 1856, Brady introduced the newly developed Ambrotype to his offerings, and an advertisement boasted that the lower gallery was now devoted to it. On June 6, 1856, the New-York Dispatch wrote, "To understand truly what Brady has accomplished in his profession, one must visit his peerless Gallery of Portraits, 359 Broadway, where all the celebrities of the nation seem to speak from the pictured walls." The article noted, as well, that Brady employed a full-time water color painter, whose "flesh tints are the very duplicates of nature."
A writer from the Photographic and Fine Art Journal visited 359 Broadway in 1858, and noted that Brady was "up to his ears in business," employing 26 people full-time. The New-York Dispatch commented, "Brady's rooms are crowded from 'morn till dewy eve' with the elite of society," and said that out-of-towners did not consider their tour of New York completed "until they have seen his stupendous Gallery."
The completion of the laying of the Atlantic Telegraph Cable was celebrated with "public rejoicings" in New York City and in London on September 1, 1858. In New York, businesses were closed and the celebrations included the firing of 100 guns in City Hall Park, fireworks from City Hall, the "burning of tar barrels" in the Battery, and a torchlight parade up Broadway, the buildings of which would be "illuminated." (The term referred to elaborate Victorian decorations, like bunting.) James Thompson was determined not to be outdone. The Common Council's Detailed Report of the Proceedings included the various decorations. It said:
The whole front of No. 359 Broadway, the lower part of which is used as a dining saloon and the upper stories as a photographic gallery, was decorated with a splendid transparency fifty-by twenty-five feet. It bore on the top the words "Science, Labor and Art--Union Cable."
On the right was a portrait of [Cyrus] Field, in the centre one of [Benjamin] Franklin, and on the left one of [Samuel] Morse. Beneath were two female figures, representing America and England joining hands, while to the right of these, and below, was a steamship, with the emblems of mechanism and science; and to the left, was a sailor from the Niagara. Under this was a bridge joining two countries, and beneath this again was a figure of Neptune chained, implying that his power was at an end. To the right was the letter B, and to the left the letter V, both surrounded by electric stars. The whole design was well conceived and beautifully executed. It attracted a great deal of attention.
The 1859 Carroll's New York City Directory listed Thompson & Son a "saloon suitable for ladies." That year marked the end of Mathew Brady's occupancy of the upper floors. A notice in Southern Trade in May 1860 announced that G. L. & J. B. Kelty were moving to 359 Broadway, "Where they will continue the business of importing curtain materials, furniture coverings, and manufacturing window shades."
Commercial Register, 1861 (copyright expired)
Like Thompson & Son, G. L. & J. B. Kelty took advantage of the holidays to market gifts. In an article on Christmas gifts on December 12, 1865, The New York Times reported that the shop "offer charming styles of Nottingham, Swiss tamboured, Swiss application, lace curtains; gilt, white and colored Holland window shades, and piano and table covers."
Thompson & Son was no longer listed at 359 Broadway after 1866. By 1880, the building was occupied by various dry goods businesses, including Schultz & Co., W. T. Moore & Co., Grimshaw Brothers, and umbrella dealers Alvah Ball & Co. The firms were heavily damaged by what The Evening Post described as a "destructive fire" on December 24, 1881. The loss was estimated at $250,000, or about $7.38 million in 2023. It was possibly at this time that the rooftop iron decoration was lost.
The building was sold in September 1886 to Dr. L. C. Warner, a founder of the underwear manufacturing firm Warner Brothers. A catalog boasted that Warner Brothers, which had a branch in Chicago, was the largest corset maker "in the entire world." The actual factory was in Bridgeport, Connecticut where it employed 1,200 workers.
Wearing Apparel, 1887 (copyright expired)
An advertisement in October 1888 read succinctly, "Dr. Warner's Camel's Hair health Underwear for men, women and children. Unequaled for Health, Comfort and Durability."
By 1890 Warner Brothers leased space in the building to Scheuer & Bro., makers of "straps and belts." Among the items it offered were, "handy straps," shoulder straps, shawl straps, tourist straps, purses, and ladies' belts.
Around 1892, Fordham Stone Renovating Co. leased one of the offices on an upper floor. The firm cleaned, painted and repaired stone and brick facades. On July 9, 1899 the Record & Guide reported that the firm was "finishing the facade of the Broadway Central Hotel which they have renovated in a very interesting and successful manner." Fordham Stone Renovating Co.'s offices remained at 359 Broadway at least through 1896.
The last years of the 19th century saw Warner leasing space to Weinman & Co., makers of ladies' and children's cloaks and suits; and an office to T. E. Ward & Co., grain and cotton brokers. It was one of three T. E. Ward & Co. branches in the city.
The vast array of items made and sold by Warner Bros. in 1899 included, "dress pads, dress shields, dress stays, hose supporters, children's waists, notions, corset bindings, bustles, abdominal corsets, nursing corsets." The firm, of course, adapted to changing times, and by 1922 was manufacturing Unionettes and Waist Union Suits--a modern version of the long underwear popular in the Civil War period.
The Corset and Underwear Review, February 1922, (copyright expired)
By the early 1920s, the a branch office of the Royal Typewriter Company occupied space in the building. Warner Brothers left in the Depression Era. Among the tenants in 1932 were the Mayflower Novelty Mfg. Co., makers of bedspreads and draperies; and Stanley Co., Inc., which dealt in "camping outfits, filter cloths and canvas goods."
In 1941 a vintage storefront survived. image via the NYC Dept of Records & Information Services.
In 1972 textile importer Maurice Russo purchased 359 Broadway and six years later moved his business in. As the business grew, he acquired 353 Broadway around 1982. Russo died in 1988, leaving the properties and operation of the firm to his sons, who purchased a third building, in between the others. The Russo sons' plan was to demolish the properties and erect a 160,000-square-foot, "15-to-30 story" structure, according to Albert Russo.
But the Landmarks Preservation Commission stepped in and held hearings in December 1989 about designating 359 Broadway an individual New York City landmark. The Russo brothers waged war. Albert traveled to the Library of Congress where he found "indisputable proof that Abraham Lincoln did not have his famous picture taken at 359 Broadway," he told Newsday. Historians countered with contemporary documentation proving that he did. At the hearing, Albert Russo argued, "It is Brady's work that is his legacy. Not an old textile building."
In the end, the landmark status was upheld in the courts and 359 Broadway, remarkable for its architecture as much as its historic importance, was saved.
photographs by the author
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