PROPS ~ TABLECOVERS ~ THE GRIFFIN MEDALLION

FOR EDUCATIONAL PURPOSES

☆☆☆

American History, Brick Walls, Charts and Maps, Collections, Critical Analysis, Family Stories, Genealogical Writing, Research Methods and Tip

Studio PROPS and Small Details Allowing Cross Referencing for Identification

1. Furniture, table
2. Textiles, fabric, posing tablecloth, tablecovers, carpet
3. Books, Annuals, daguerreotypes held in the hand
4. Urns, floral, vase
5. Case clasps, case hardware
6. Vertanessian, Carlos G. (1998), De estudios y de props: atribuir o no atribuir, he ahí la cuestión, Congreso de Historia de la fotografía, Santiago de Chile.Of studies and props: to attribute or not to attribute, that is the question, Congress of the History of Photography, Santiago, Chile.

Studio PROPS and Small Details Allowing Cross Referencing for Identification

Recurring and enduring Posing Tablecloths Found in Daguerreotype Photographs Associated  to Specific Artists. #Textiles, #Fabric, #Posing Tablecloth, #Tablecovers, #Photographers, #Ethnographic studies, 

Table Cover found in daguerreotypes including Moses Hadley family.

"The image shows a tablecloth with a Moroccan-inspired design. This design features repeating geometric patterns and stylized motifs, commonly found in Moroccan art and textiles. The central part of the tablecloth displays a complex, multi-layered geometric pattern resembling a stylized star in a Asteroid shape,  surrounded by concentric borders with variations of similar patterns. The corners of the square design contain motifs that look like stylized animals, possibly mythical creatures (Griffin), adding a layer of cultural symbolism. The color scheme is monochromatic, appearing in shades of gray, which gives it a classic and versatile look suitable for various dining settings. The fabric seems to have a slightly textured or woven appearance, suggesting a material like cotton or linen. Such tablecloths are often used not only for dining but also as decorative elements to bring an exotic and artistic touch to the space. Tablecloths with such designs were used for studio tables as decorative covers, adding a touch of elegance or historical charm to the setting.." AI

Design: Asteroid shaped center, surrounded by four elliptic-shaped medallions filled with animated Griffins punctuated and surrounded by beads.....

Based on a Byzantine silk from Saint Siviard, the fifth known abbot of the monastery of Saint-Calais (Benedictine).

Design symbolism:  "Saint Siviard , the fifth known abbot of the monastery of Saint-Calais (Benedictine). The original piece is a Byzantine silk from the Reliquary of Saint Siviard, Cathedral Treasury, France.

During the French Revolution, the original reliquary and much of the balsam were destroyed by Conventionnel Rühl one day in October 1793, at the foot of the statue of Louis XV in the Place Royale in Reims. 

The Griffin Silk has strong parallels with the Esztergom Lion mural, Hungary  and the so called Charlemagne Elephant silk Aachen, Germany."

Griffins from the Reliquary of Saint Siviard (France)

Byzantine silk

Period: X-XIIth century
Medallion diameter: 16.5 cm
4 medallions in a row
Material width: 75 cm (with 1+1 cm borders)
Vertical pattern repeat: 18 cm
6 row of pattern = 108 cm

Warp: silk
Weft: rayon

Source: The Glory of Byzantium. Art and Culture of the Middle Byzantine Era A.D. 843-1261. (ed.) C. Evans, Helen – D. Wixom, William

Massachusetts Historical Society daguerreotypes  Daguerreotype taken 1845 of Family of Moses Hadley Jr. (1780 - 1872)

Born 22 Mar 1780 in Medford, Middlesex, Massachusetts, USA. 

Held by Ellen Bowdlear Read [daughter of  Hannah Hadley (b. 1823; d. 23 Apr 1906, Boston, MA), m. June 1846  to William Augustus Bowdlear (b. 1819; d. aft 1890],  of Hampton, Virginia.

Daguerreotype Portrait:  Unknown

II.《S. Nolan Daguerreotype》

Occupational, Silversmiths. Boston, Roxbury, Massachusetts.

●See: MFA, Boston

https://collections.mfa.org/objects/43090

Retailed by: Lincoln & Foss (active 1847–1858)

Charles M. Foss (died in 1892)

Albert Lamb Lincoln (died in 1903)

Obadiah Rich (69 Washington), silversmith, also made daguerreotype plates.

https://pioneeramericanphotographers.com/2020/10/16/obadiah-rich/

●Palmer & Bachelders (91 Washington)  Litch and Whipple at 96 Washington Aveue. Boston. Mass.

●Jones, Ball & Poor (123 Washington)

●Bigelow Brothers & Kennard (124 Washington)

●Harris & Stanwood (253 Washington).

John Felix Poem

RIDDLE: WHO AM I? Would be most interested if anyone can solve the Riddle!

• I was taking daguerreotypes by 1844, maybe earlier.

• I was taking daguerreotypes in 1853, maybe later.

• I took at least two daguerreotypes of people that were firmly rooted in the Boston/Cambridge area.

• I took a portrait of a woman from Greenfield whose husband was a lawyer and state legislator.

• I took separate portraits of a mother and daughter from Amherst whose husband/father was a U.S. Representative.

• I took a portrait of a woman from Amherst whose husband was a prominent physician in Amherst.

• I am quite good in coloring daguerreotypes.

• I took a wholeplate sometime between 1846 and 1848 of a family firmly established in Boston.

• My name is not North, Whipple, or Southworth & Hawes.

• I took 1/9, 1/6, 1/4, 1/2, and wholeplates.  

• I never stamped my mats.

• I operated a very “Spartan” studio (i.e. no backdrops, columns, etc.).

Facebook discussions on Tablecovers 

●https://www.facebook.com/groups/the.daguerreian.society/permalink/2693472580753938/?app=fbl

Loyal Moss Ives

Resemblence: 

Roosevelts????

Actor: Russell Turvey

●https://www.facebook.com/groups/the.daguerreian.society/permalink/724222351012314/?app=fbl

●Discussion about tablecovers.        https://www.facebook.com/groups/the.daguerreian.society/permalink/1397628313671711/?app=fbl

Genealogy of Moses Hadley Family

Massachusetts Historical Society daguerreotypes  Daguerreotype taken 1845 of Family of Moses Hadley Jr. (1780 - 1872)

Born 22 Mar 1780 in Medford, Middlesex, Massachusetts, USA. 

Held by Ellen Bowdlear Read [daughter of  Hannah Hadley (b. 1823; d. 23 Apr 1906, Boston, MA), m. June 1846  to William Augustus Bowdlear (b. 1819; d. aft 1890],  of Hampton, Virginia.

William Augustus Bowdlear

Husband of Hannah H. (Hadley) Bowdlear — married 4 Jun 1846 in Boston, Suffolk, Massachusetts, USA map icon at age 26.

Hannah H. Bowdlear formerly Hadley

Daughter of Moses Hadley Jr. and Susanna (Hazeltine) Hadley

Sister of Mary (Hadley) Clapp [half], Rebecca (Hadley) Purkitt [half], Elizabeth Frances (Hadley) Wyman, Susan R. Hadley, Martha H. (Hadley) Cook, Sarah Matilda Hadley and Ellen Maria Hadley

Wife of William Augustus Bowdlear — married 4 Jun 1846 in Boston, Suffolk, Massachusetts, USA map icon at age 21.

Moses Hadley Jr.

Moses Hadley Jr. (1780 - 1872)

Born 22 Mar 1780 in Medford, Middlesex, Massachusetts, USA 

Died 5 Feb 1872 at age 91 in Brookline, Norfolk, Massachusetts, USA

Deacon' Moses Hadley, son of Moses and Mary (Pierce) Hadley, was born in March of 1780 at Medford, Massachusetts Bay Colony.

Marriages and Children

Moses was twice married. He married 1) Rebecca Cartwright (1781-30 Oct 1812).[2]Moses and Rebecca had two daughters, both born in Boston:

Mary Hadley (b. 1810; d. 10 Dec 1871),[3] m. 2 Oct 1844 in Boston, Otis Clapp (1806-1866)

Rebecca H. Hadley (b. 1811; d. 5 Apr 1888, Brookline, MA),[4] m. say 1832 in Boston, John Henry Purkitt (1807-aft 1880).

Moses married 2) Susannah (aka Susan) Hazeltine (aka Hazelton) on 25 October 1815 in Boston, Massachusetts.[5][6]Susan, the daughter of John Hazeltine (1763-1856) and Hannah Ayer (1767-1835) was born 5 May 1788 at Concord, New Hampshire and died18 February 1871 at Natick, Massachusetts. Moses and Susan had six daughters, all born in Boston:

Elizabeth Hadley (b. 1819; d. 1858), m. Edward Wyman (b. abt 1815)

Susan Hadley (b. 17 Jul 1821; d. 13 Oct 1906, Boston, MA), died unmarried.[7]

Hannah Hadley (b. 1823; d. 23 Apr 1906, Boston, MA),[8]m. William A. Bowdlear (b. 1819; d. aft 1890)

Sarah Matilda Hadley (b. 5 Sep 1828; d. 10 Aug 1904, Boston, MA), died unmarried[10]

Martha Hadley (b. 1825; d. 7 Aug 1905, Westborough, MA),[11] m. Moses Cook (1823-1882)

Ellen Maria Hadley (b. 1831; d. 16 Oct 1911), died unmarried.

Notably, several of these family members became Swedenborgians and attended the New Jerusalem Church in Boston, Massachusetts, Including:

Mary (Hadley) Clapp joined on 5 April 1846,

Otis Clapp joined on 9 August 1829

Susan Hadley joined on 5 April 1846, and

Sarah Matilda Hadley joined on 5 April 1857.

The 1860 U.S. Census for Natick, Massachusetts  indicates that Moses (80 years old) worked as a 'Toll Gatherer' and was living with wife, Susan (72 years) and daughter Susan (38 years).[14]In 1890, Moses (90 years), No Occupation listed, wife Susanna (83 years) and daughter Susan (47 years) continued to live in Natick, Massachusetts.

Death and Burial

Moses Hadley died on 5 February 1872 at the age of 91 years 10 months and 14 days of 'Old Age' in Natick, Brookline, Massachusetts. His occupation is listed as 'Gentleman' and birthplace listed as Medford, Massachusetts. His parents names are listed as "Unknown." Moses is buried in Mount Auburn Cemetery in Cambridge, Massachusetts, as well as his wife Susanna "Susan" (Hazeltine) Hadley, and daughters Susan Hadley,[20]Sarah M. Hadley, Martha (Hadley) Cook,and Ellen M. Hadley.

This PT is from the Moses Hadley family,  Photographer, North, Litch, Whipple, Cooley??????Massachsetts daguerreotype held at the Massachusetts Historical Society. John Felix from Harvard left several comments at the link below. I have copied a segment, flipped the copy and joined the two portions to get a better understanding of the center image. 

Searched words and phrases representing the ornamental detail and texture.  

Textile fabric:  linen, cotton, silk, cotton flax

Time period: Baroque, Edwardian, Victorian. Styles: Gothic, Renaissance, Egyptian, Alhambra.

Country of origin: Moroccan, Persian Termeh, Italian, Antique Italian Trapunto Brocatelle, India, Nepal, 

Design features: stylized motifs... , Griffin, medallion, Block print, woven print. Stencil print, hand painted,  embroidered textile vintage Jacquard, piano scarf

AI GENERATED:

The image shows a tablecloth with a Moroccan-inspired design. This design features repeating geometric patterns and stylized motifs, commonly found in Moroccan art and textiles. The central part of the tablecloth displays a complex, multi-layered geometric pattern resembling a stylized flower or star, surrounded by concentric borders with variations of similar patterns. The corners of the square design contain motifs that look like stylized animals, possibly birds or mythical creatures (Griffin), adding a layer of cultural symbolism. The color scheme is monochromatic, appearing in shades of gray, which gives it a classic and versatile look suitable for various dining settings. The fabric seems to have a slightly textured or woven appearance, suggesting a material like cotton or linen. Such tablecloths are often used not only for dining but also as decorative elements to bring an exotic and artistic touch to the space.

The image shows a tablecloth with a repeating pattern that includes stylized depictions of a Griffin. The central design features a floral or sunburst-like motif surrounded by geometric shapes and borders. The Griffin figures are positioned symmetrically, facing opposite directions, within oval frames. The overall color scheme is muted, possibly black and white or shades of gray, giving the tablecloth a vintage or classic appearance. The pattern suggests a decorative style, possibly inspired by ancient Greek or Roman art, where Griffin is a common mythological figure. Tablecloths with such designs were used for studio tables as decorative covers, adding a touch of elegance or historical charm to the setting..

Timeline for Albert Litch

1844

 Albert Litch married Mary Ann Moore, mother Nancy Moore from England, several bookbinders in area, 1850, 1860, listed as shoemaker. journalist???????

 A. Litch b. 1813

 

1845

 Litch, Albert

A daguerreian and a camera manufacturer, he was first recorded in Boston, Mass., from 1845 to 1847. There he was listed as daguerreotypes, 96 Washington Street, in partnership with John Whipple. He lived in Roxbury. One source noted the firm known as Litch, Whipple and Co.

 John Adams Whipple (1822–1891) was a pioneering American daguerreotypist and inventor based in Boston, renowned for producing the first, award-winning photographs of the moon and stars (notably Vega) between 1847 and 1852 using Harvard's Great Refractor telescope. He also developed the "crystalotype" (glass plate photography) and "crayon" portraiture techniques.

 96 Washington, Boston; living in Roxbury. Boston

 

1846

 "Litch, Albert

A daguerreian and a camera manufacturer, he was first recorded in Boston, Mass., from 1845 to 1847. There he was listed as daguerreotypes, 96 Washington Street, in partnership with John Whipple. He lived in Roxbury. One source noted the firm known as Litch, Whipple and Co.

"

 96 Washington, Boston; living in Roxbury. Boston

 1846

In 1846 he advertised taking the largest portraits in the United States; life size, with from two to 50 people on the same plate. Southworth and Hawes countered with an ad stating they used the largest plates, and warned customers not to be misled into thinking a life-size full-length portrait could be had. From 1846 to 1848, one source noted a daguerreian partnership of Litch, Whipple and Cannon, but this is unsupported by directory listings. From 1845 to 1847, Litch was listed in partnership as Litch and Whipple (J.A.) at 96 Washington Street, Boston. If there was a "Cannon" involved in the partnership, it would probably have been Marsena Cannon, who was listed in those years without a business address. Litch was not listed in Boston directories in 1847-1848.

 96 Washington, Boston; living in Roxbury. Boston

 

1846

 White, Edward

A daguerreian and daguerreian case maker, he was first listed in 1841-1842 as a maker of morocco cases at 183 Broadway, New York City. In 1842-1843 he was listed as a maker of jewel cases at 175 Broadway; his residence as listed at 144 Clinton Street.

In 1843-1844 he was listed as "daguerreotypes" at 175 and 281 Broadway. He noted he was the sole importer of German cameras. In 1844-1845 he was listed as a morocco case manufacturer at 175 Broadway; it is also known that he employed Alexander Beckers for a period in this year as a daguerreian. In an alternate directory for the same period, he was listed as a daguerreian operator and dealer, 175 Broadway. He offered 'N.B. Imported German Cameras'. He also advertised as a "Daguerreotype Depot and General Furnishing Establishment". He noted he was the only agent for Voigtlander camera instruments.

In 1846, White advertised he received testimonials from Paul B. Goddard, Joseph E. Parker and William G. Mason, all amateur daguerreians. He also listed as his agents the Langenheims and Mason in Philadelphia; Litch and Whipple, Boston; and Meade Brothers, Albany, N.Y. In that year, Mason was listed at 46 Chestnut Street, Philadelphia, Pa., as a plate maker; rather, he was probably an agent for White. Actually, the original attribution was made by the Rinharts in American Daguerreian Art, where they note an "E. Whitemaker" as a daguerreian plate maker. The corrected entry should have read, "E. White, maker."

From 1846 to 1848 he was listed at 175 Broadway as a dealer in apparatus; he also listed the "U.S. Daguerreotype Gallery", upstairs. He received first premium for best daguerreotype for grouping and general effect at the exhibition of the American Institute. In 1846 he also took over Johnson's Southern Daguerreotype Portrait Gallery in New Orleans. In that year he was listed as E. White and Co., daguerreotype gallery and furnishing establishment, corner Camp and Canal Streets, New Orleans. In 1848, he employed Edward Jacobs in his New Orleans establishment.

In 1848-1849, he was listed in Newark, N.J., as a daguerreian plate manufactuer; his firm was called the Phoenix Works.

In 1848, with the death of John M. Clark, White moved into 247 Broadway, New York City (same address occupied by Anthony), taking over Anthony's National Miniature Gallery. In 1848-1849 he was listed as a manufacturer and importer of daguerreian materials, 247 Broadway, over the jewelry store of Ball, Tompkins and Black. He advertised his gallery contained 1000 daguerreotypes of distinguished people; his residence was at 178 Clinton Street. In 1850-1851 he was listed at 217 Broadway; an alternate directory listed him as a photographer at 101 William Street the same year. White retired from daguerreotyping in 1851. Among other things, White produced a leather daguerreotype case with 'E.White' embossed into the flag of sailboat.

 White

 

1847

 Litch, Albert

A daguerreian and a camera manufacturer, he was first recorded in Boston, Mass., from 1845 to 1847. There he was listed as daguerreotypes, 96 Washington Street, in partnership with John Whipple. He lived in Roxbury. One source noted the firm known as Litch, Whipple and Co.

 Litch and Whipple

 96 Washington St. Boston. Lived in Roxbury Street. Boston

 1850

 The 1847 bankruptcy of Plumbe's chain of galleries led Cannon to set up his own studio in Boston, which he shared with William Shew for several years until migrating west in 1850. Upon arriving in Salt Lake City, Cannon set up business as a Plumbe opened a daguerreian gallery in Boston in 1840 and soon had a chain of galleries, operated by agents, in a number of eastern cities. He was the first to copy daguerreotypes on lithographic stone, which could explain Cannon's later interest in using his photographs to make engravings. But Plumbe and his agents met financial disaster in 1847, and the galleries were sold to meet the demands of creditors. Cannon and another agent, William Shew, kept Plumbe's Boston gallery in operation, however, first at 75 Court Street and later at 123 Washington Street. This can be proven from the entries in Woodruff's journals

 Marsena Cannon (1812-1900) and William Shew

 123 Washington

 1850

 In 1850-1851 Litch was listed as a daguerreian at 23 and 24 Phoenix Building, New Haven, Conn., in partnership as Moulthrop (M.) and Litch. His residence was listed as boarding at 176 George Street. In 1851 he was listed as a daguerreian artist in Waterbury, Conn., in partnership as Litch and Granniss. This is probably the same Litch noted as working as a salesman at Scovill's store, New York City, at some point in 1851.

 Moulthrup

 23 and 24 Phoenix Building, New Haven

 1850

 Smith, Frederick B.

Engraver and diesinker, 122-1/2 Fulton Street, New York City, N.Y., 1850-1859. He was listed in business as Smith and Hartmann. The firm made dies for Litchfield, Parsons & Co., and Samuel Peck & Co. These included "Washington Crossing the Delaware" and the "Landing of Columbus". The business included Herman Hartmann.

 

1850

 Moulthrop, Major (1805-1890) Born in New Haven, Conn., he spent his entire photographic career there. Before becoming a photographer, he was a landscape and portrait painter. He reportedly learned the daguerreotype process "about 1840". From 1846 to 1848 he was listed as a daguerreian at #7, #8, and #9 Brewster's Exchange, in partnership as Moulthrop and Hart. He lived at 25 Fair Street. In 1848-1849 he was listed alone as a daguerreian at 15 Phoenix Building. The following year he was listed alone as a daguerreian at 22 Phoenix Building. In 1850-1851 he was listed as a daguerreian at 23 and 24 Phoenix Building, in partnership as Moulthrop and Litch (A.). The firm advertised the "Sun-Beam Sky-Light Gallery" and noted they were about to take pictures on paper and ivory. From 1851 to 1854 Moulthrop was listed alone as a a daguerreian at 23 and 24 Phoenix Building. In January, 1853, one sourced noted him in a possible partnership as Moulthrop and Wells and Brother (Henry M., J. Horace). In 1860-1861 he was listed at 22 and 23 Phoenix Building, in association with Bundy, Williams and Hart. He was reported to have lived in Providence, New York and Brooklyn at some point in his life, "returning to New Haven." It is unknown whether he moved around prior to or after his photographic career. He retired from photography in 1884, and died in New Haven February 27, 1890.

 

1851

 Graniss, G.N.

Listed as a daguerreian in Waterbury, Conn. from 1851 to 1855 when he reportedly sold his firm to Adt and Brother. He was reportedly in business in 1851 as Litch (A.) and Graniss. Graniss was still listed in Waterbury in 1856 and 1860.

 Graniss,, G. N. also Adt

 Waterbury, Conn.

 1851

 During 1852-1853 he employed T. Hayes and W.A. Perry as camera operators. In 1852 he was also noted in partnership as Gurney and Litch (A.); the partnership was not listed in the New York City directory.

 Gurney; T. Hayes; W.A.Perry

 “W. A. Perry & CO”. Perry’s patron visited his gallery at 58 Hanover St. Boston, circa 1846-1847. A “candles and cross” theme was embossed on both sides of the separated leather case

 

1851

 In 1850-1851 Litch was listed as a daguerreian at 23 and 24 Phoenix Building, New Haven, Conn., in partnership as Moulthrop (M.) and Litch. His residence was listed as boarding at 176 George Street. In 1851 he was listed as a daguerreian artist in Waterbury, Conn., in partnership as Litch and Granniss. This is probably the same Litch noted as working as a salesman at Scovill's store, New York City, at some point in 1851.

 Moulthrup

 1851

 Litch, J.

Noted as a daguerreian, artist, 1851; location unknown.

 Litch, J.

 

1851

 Litchfield Mfg Co

Advertised as a manufacturer of all kinds of inlaid pearl and paper mache goods (including daguerreotype cases), Litchfield, Conn., 1851. Listed daguerreotype cases and plates, with a depot at 251 Pearl Street, New York City. The New York City depot was listed in 1851, but not in subsequent years

 Litchfield Mfg. Co.

 

1852

 Frink, George E.

May 25, 2025 DaguerreotypesAlbert Litch, Andrews & Frink, Daguerreotypist, George E. Frink, Major Moulthrop, New Haven Connecticut

1852 97 Chapel Street, New Haven, Connecticut.

1852 May 27. Morning Journal and Courier. (New Haven, Connecticut.) May 27, 1852, Vol. VII, No. 126, P. 4.

Daguerrean Gallery. The subscribers having fitted up the Room No. 97 Chapel street, known as Peck’s Old Stand, would respectfully invite the patronage of the public. The junior member of the firm has, for a number of years past, been connected with the Gallery of Major Moulthrop, Esq. where he was for some time under the instruction of Mr. Litch—undoubtedly the best artist who has ever taken pictures in this city. We are confident of our ability to please all who are desirous of obtaining well defined, rich-toned pictures; and haop by courteous treatment and a disposition to give ample satisfaction to those who favor us with a sitting, to gain the good wishes of the community. Art has dipped her pencil in sunbeams to preserve the face of loved ones—so that we may still have something to remind us of our friends when they are far away, or no more among the living.

“There is a reaper, whose name is Death,

And with his sickle keen,

He reaps the bearded grain at a breath,

And the flower that grows between.”

Andrews & Frink.

 Frink

 

1852

In 1852, Litch was reported by one source as being in partnership with Jeremiah Gurney in New York City, although the city partnership directory does not support that claim.

 Gurney

 

1853

In March, 1853 Humphrey's Journal reported that Litch was traveling in Europe, and was about to open daguerreian rooms in Liverpool or London with Terry. Litch returned to New York in June. Upon his return, Litch was reported to have worked for Scovill, and then for Holmes, Booth and Haydens late in this year.

 Terry

 1853

 Terry, Arthur

First reported as a daguerreian in Lima, Peru from 1848 to 1852. From November, 1851 to September, 1852 he employed the American daguerreotype operator, John Adams. Adams occupied Terry's location after that, and Terry sold the gallery to B.F. Pease in 1852, returning to New York City. One source listed him as a daguerreian in New York City in 1853. He then went to England, with Albert Litch. He returned from England, and was reported back in Peru in 1863, while Litch remained in Scotland. In Peru, he was known as Arturo Terry; while Adams is referred to as Don Juan Adams. Terry's last ad in Peru was in September, 1852.

 Terry

 1854

 There is an unsubstantiated report that c. 1854 Cooley was involved in a partnership in Springfield with A. Litch. An identified image is stamped on the brass mat, "Cooley/ Springfield."

 Cooley

 

1854

 In February, 1854, it was announced in Humphrey's Journal that Litch was "now making cameras". In August, the magazine announced that Holmes, Booth and Haydens had taken over Litch's cameras. The implication is that they would now be called Holmes, Booth & Haydens cameras, but would have Litch's name on them. Two months later, the Journal reported that Litch was no longer with Holmes, Booth and Hayden's, and that his name would no longer appear on their cameras. He was reported to have joined with O.H. Cooley in Springfield, Mass. as a daguerreian, but there is no evidence to prove this.

 Cooley ?

 

1856

 Bowdoin, David W.

First advertised as a daguerreian in Salem, Mass., in May, 1843 and April, 1844, in partnership as Snell (W.) and Bowdoin. The pair operated at Mechanic Hall, Essex Street. They also advertised in 1844 in Lynn, Mass. In 1846-1847 he was listed alone at 289 Essex Street, Salem, as well as in Boston at 11-1/2 Tremont Row. An 1846 ad noted he was giving up the Boston location to establish a gallery in Salem. From 1849 to 1851 in Salem he was listed at 208 Essex Street. In 1852 he was listed in partnership as Cremer (J.) and Bowdoin, daguerreian suppliers, and the firm reportedly opened a branch in Boston that year. In 1853 and 1855 Bowdoin was listed at 241 Essex Street. In 1855 and 1856 he was listed in Boston, at 49 Tremont Street, in partnership as Cutting (J.A.) and Bowdoin. Another source listed him in partnership as Bowdoin and Litch (A.) in 1856. From 1857 to 1860 he was listed alone at 49 Tremont Street. During those years he lived in Salem, and in 1860 was listed in that town as a daguerreian.

 J. Cremer and Bowdoin later J. A. Cutting and Bowdoin

 

1857

 Copies of the Portraits of the Convention of ’49 and ’50 will be ready in a few days. All orders by mail promptly attended to.

The second announcement appeared on November 7, 1857. List of Premiums Awarded At The Fair Of The Va. Mechanics’ Institute, November 5th, 1857…Class 26.—Photographs, Daguerreotypes, and Ambrotypes.

Albert Litch, for color photographs, a silver medal.

Tyler & Co., for daguerreotypes, a silver medal.

Sanxay & Chalmers, for ambrotypes, a silver medal.

E. Powers, for ambrotypes and photographs, first class diploma.

 Atwater, Professor John

 Scovill. Scovill Manufacturing Co., 423 Broome Street, New York, NY

 Holmes, Booth, and Haydens

Resources:

●  Bernard, Mary Elizaberh Kromer, Lost and Found: Emily Dickinson's Unknown Daguerreotypist, The New England Quarterly

Vol. 72, No. 4 (Dec., 1999), pp. 594-601 (8 pages)

Published By: The New England Quarterly.

● Felix, John  R., Otis H. Cooley: Possible Photographer of the Only Known Photograph of Emily Dickinson.

●International photography : George Eastman House index to photographers, collections, and exhibitions 

Andrew H. Eskind, editor ; Greg Drake, Kirsti Ringger, Lynne Rumney, associate editors.

https://photographydatabase.org/

●Pioneer American Photographers (Chris Steele), https://pioneeramericanphotographers.com/about/?fbclid=IwAR2TOmbOroh3-kFY-fBs8bvVwrE1BqtO1NwQQtq0EJ9Kxrq-npziT0aeOzU

●Facebook, Daguerreotye Society

●Craigcamera