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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
ANSON, Anson Studio 589 Broadway
ANTHONY, Edward, 501 Broadway
Edward Anthony and Mathew Brady shared occupancy of 205 Broadway and offered related services.
BECKERS, Alexander
Langenheim & 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, Abraham
GURNEY, first American photo gallery at 189 Broadway in 1840, and charging $5 for a portrait.
HOLMES, 289 Broadway
KAPP, August
KAUFMAN,
KAYLOR, Thomas
KEARSING, G.T.
KERTSON, Marcellus 413 broadway corner of Canal.
KIMBALL, Myron H.
KINGSBERRY, H.K.
KIRK, Joseph
KLEIN, Michael
KNAPP, William R
KNICKERBOCKER Gallery
KURTZ
MEADE Brothers
PREVOST, 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.
ROOT, Marcus Aurelius Root (1808-1888)
ROOT, Samuel Root, photographer.
WEHNERT, Bertha (1851-1852)
WESTON, 192 Broadway
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
Panoramic View of Broadway, Commencing at Astor House - 1854
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."
Broadway. Vesey Street to Murray Street - 1899.
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. Murray to Chambers St. - 1899.
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80 Block of Broadway
89 Broadway, Trinity Church
90 Block of Broadway
98 Broadway, JAQUITH, Nathaniel
Daguerreian photographer and brother-in-law to Henry Earle Insley, also a daguerreian photographer.
https://www.findagrave.com/memorial/114533969/nathaniel_crosby_jaquith
Cortland Street
100 Block of Broadway
Odd numbered addresses are on the west side of the street???
141 Broadway, BURGESS, Nathan
141 Broadway, BROWN, James Sidney
149 Broadway Street (between Vesey and Barclay Streets) ASTOR HOUSE
156 Broadway, BEALS, A. J.
161 Broadway, Putnam and Wiley Publishers
170 Broadway, BARNES, J. T.
177 Broadway, POWELSON and Co.
181 Broadway, BROWN, James
187 Broadway, CARY, Preston, 1850
189 Broadway. GURNEY, first American photo gallery at 189 Broadway in 1840, and charging $5 for a portrait. Matthew Brady worked here and E. Anthony making cases. 349 Broadway.
199 Broadway, Newman & Ivison, dealt primarily with books related to Christianity
Mark Haskell Newman (June 9, 1806 – December 21, 1851) married to Mary Dickinson, Emily Dickinson's Aunt.
Are the even numbered addressesEven numbered addresses are on the east side of the street???
164 Broadway, Isaac Marquand, a skilled silversmith and clockmaker who founded Marquand & Company in 1810 at 164 Broadway, New York City became Black, Starr & Frost
166 Broadway, MAURAND Silver
192 Broadway. WESTON, New York, NY., Weston (John P., 1842-1857, Robert, Mary) James partnered with artist William Hendrik Franquinet (1785-1854), 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. and 132 Chatham.
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 .
John Street
200 Block of Broadway
Odd numbered addresses are on the west side of the street
201 Broadway, BECKERS
Beckers and Piard (Alexander Beckers and Victor Piard). Forsythe Shirts
203 Broadway, LAWRENCE, M. M.
ANTHONY, BRADY
Edward Anthony and Mathew Brady.
ST. PAUL'S CHURCH
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
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
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
259 Broadway, TIFFANY, YOUNG, ELLIS
270 Broadway near Chambers, Chemical Bank
289 Broadway, Goupil Galleries (1846-1896) Gustav Courbet. New York, NY Norman Freeman, Healty and Ferguson Window Treatments, Henry Time...., New York Cemetery, Checkerings PianoForte, Eben R. Collamore, J. E. Browne's
289 Broadway, HAAS, Phillip (1851)
289 Broadway, REES
Rees, Charles Richard. Silas Holmes, Professor Reese
289 Broadway, Holmes
293 Broadway BURGESS, NATHAN
293 Broadway, HARRISON, C. C. (Cameras, lenses 1851)
293 Broadway, COOK, GEORGE
293 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.
DUANE STREET
299 Broadway at Duane St., Dobyn and Richardson
In 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.
The EVEN (east) ? side of the street:
John N. Genin the Hatter https://www.metmuseum.org/art/collection/search/128206
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.
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.
WARREN STREET
261 Broadway, at Warren. RAIT, Robert Jewelers Robert Rait (1807-1869)
New York, NY 1835-1867
Was in the firm of Robert Rait & Co. 1857-1862. Silversmith, jeweler, and retailer.
262 Broadway, BARNES, J. T. James; Crofoot and Laird Dental Depot
1855-1856 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 strange
artists 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
303 Broadway, DURANG, W. H. (1851)
303 Broadway, DOBYNS, Thomas Jefferson
In 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.
303 Broadway, RICHARDSON,
303 Broadway, MOISSENET
(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)
315 Broadway, THOMPSON, Josiah W., TERWILLIGER, Hiram T., Bayles and Bradley Daguerreotype
Listed 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.
https://pioneeramericanphotographers.com/2024/08/
Luther D. BUSWELL
Bushnell ???
https://pioneeramericanphotographers.com/2024/08/
323 Broadway, New York, L. L. Harrington and Bushnell
337 Broadway. MOFFAT, Dr. John (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)
363 Broadway, BOGARDUS, Abraham
385 Broadway, REES
Charles Ricard Rees and Co.1854-1855
385 Broadway, QUINBY, WEHRNERT, BECKMAN, RUDOLF.
Charles J. Quinby, Beckman, Rudolf. Bertha Wehrnert.
385 Broadway, KENNARD
Kennard. Thomas
323 Broadway, New York
400 Block of Broadway
Odd numbered addresses are on the west side of the street
407 Broadway, CARY, Preston (1853)
413 Broadway corner of Canal, KERTSON
477 Broadway, HOPE, G.W
477 Broadway, KNAPP, William R. & James B. Field (1856) https://pioneeramericanphotographers.com/tag/william-r-knapp/
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
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"
500 Block of Broadway
Odd numbered addresses are on the west side of the street
T. Anthony & Company
Broadway at Franklin, Franklin Street and Broadway. 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.
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
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, 1824-1899, IMLAY (M)
New York Drawing Association
https://openlibrary.org/works/OL141165W/Historic_annals_of_the_National_academy_of_design_New_York_drawing_association_etc
Founded in 1825 as the New York Drawing Association by Samuel Morse, Asher Durand, 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.
691 Broadway, HOLMES, Silas A
691 Broadway, STACY, George (1831-1897).
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 to house his pictures, and it was the first building built for the sole purpose of photography in the United States.
752 Broadway,
800 Block of Broadway
831 Broadway, LAWRENCE, M. M.
839 Broadway, ROCKWOOD
BREESE MAP, NEW YORK. NY 1945.
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/
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