A traveling daguerreotypist first visited the village of Ithaca in Tompkins County in the beautiful Finger Lakes region of New York state in September, 1841. S. S. Powell of Brooklyn, New York—the same gentleman had visited Elmira, New York, the previous July—set up his camera and equipment in the North Wing of the Clinton House.1 Besides offering daguerreotype miniatures, he advertised for sale a “splendid DAGUERREOTYPE instrument, with full practical directions for its use.”2 He stayed about two weeks before leaving the village.
A local resident may have taken advantage of S. S. Powell’s offer of training in this new artistic medium. In October, 1841, artist/painter Newell Hungerford advertised that he had “purchased an excellent instrument for taking daguerreotype likenesses” and would “remain in this place as long as patronage will warrant. His room is over the store of Smith & Rice…”3 He advertised in Ithaca for three weeks. He, afterward, began to travel through the Finger Lakes region offering daguerreotype likenesses.
In January, 1842, Newell Hungerford set up his equipment in the small village of Ovid (Seneca County), New York. A notice appeared in the local newspaper to “call the attention of patronizers of the fine arts, as well as of citizens generally, to the numerous exact likenesses produced by the Daguerreotype under the supervision of an accurate copyist of the great Daguerre, Mr. Hungerford, A view of the pictures, of the apparatus and the explanations of the gentlemanly proprietor will, we feel confident, be highly pleasing to all those who visit his room.”4 He notified the residents of the village “Specimens of this last great triumph of art may be seen at the Stone Block of A. Joy, (upstairs) one door south of Joy & Grays’ Store; where the subscriber proposes to remain for a few days, for the purpose of exercising this art.”5 Newell Hungerford returned to Ithaca in May, 1842. This time his rooms were over the Merchants & Farmers Bank. Due to his “having recently made some valuable discoveries in the Science of Photography,” Hungerford felt “confident that he can not fail to please and that his pictures shall not be inferior to any in the United States.”6 His advertisement continued in the Ithaca newspapers through the end of August, 1842. After this time, he remained in Ithaca but returned to his previous work as a painter.7 The following information on Newell Hungerford is in the files of the DeWitt Historical Society:
Newell Hungerford, ...was one of the early settlers of Ithaca. Born in Bristol, Connecticut, in 1808, he came to Ithaca when about twenty years of age, a year after his sister, Keziah, had become the wife of Timothy S. Williams… Newell Hungerford was possessed of the typical Yankee ingenuity and pioneering spirit and had a ready hand and quick brain in all emergencies. His business life was devoted mainly to painting and interior decorating, though he was somewhat skilled in portrait painting and daguerreotyping. He was for many years an earnest and prominent officer in the First Baptist Church… ”8
Newell Hungerford married Adeline Savage of Trumansburg, New York on 22 November 1832.
Prior to Newell Hungerford’s initial advertisement in October, 1841, a notice appeared for a forthcoming visit by another daguerreian artist. Mr. Hudson, of Albany, New York, planned to visit Ithaca “between the 15th and 20th of the present month.9 He candidly pointed out ”The operation of taking a likeness is performed in ordinary light, and occupies but from 12 to 40 or 50 seconds."10 The lengthy exposure times needed to produce an image made obtaining an acceptable likeness difficult. Any movement by the sitter during the exposure produced a blurred image. Actually, Mr. Hudson’s “ordinary light” would have been bright sunlight flooding the sitter’s face. Most daguerreotypists of this early era did not reveal this fact in their advertising. Many claimed to be able to produce an image in a “twinkling,” but the reality was quite different.
A. T. Hudson, however, did not arrive in Ithaca until the middle of November, 1841. Like S. S. Powell before him, he selected the North Wing of the Clinton House for his daguerreian gallery.11 There were no advertisements for any daguerreotypists from the fall of 1842 through the spring of 1844.
During May, 1844, two new daguerreotypists, Senter and Williams, invited the citizens of Ithaca to call at their room over the store of D. W. Hale. This location had been the studio of J. H. Felch, a local engraver. Senter is probably E. Price Senter listed as a daguerreotypist in Auburn, N. Y. from 1849-1859.12 Mr. Williams full identity is not known. They continued to advertise in the newspaper through the end of June, 1844.
In the autumn of 1844, the Daguerreotype Room of Mr. Partridge opened “over Smith & Rice’s store in this village.” The editor of the paper claimed “having ourself called and examined the specimens of those he has on hand we think them far superior to those, or any which have heretofore been exhibited.”13
A. C. Partridge was not satisfied with his location and two weeks later moved to the Clinton House, Parlor No. 22, in the South Wing. He remained at the Clinton House until May, 1845. From Ithaca, he traveled southeast to Owego, New York where he stayed for a brief time.
In January 1845, J. H. Felch opened Daguerreotype Rooms at No. 90, Owego Street, over the store of D. W. Hale. J. H. Felch, a native of Ithaca, was a self-taught engraver. In previous years, his engraving work was favorably reviewed in the local newspapers. In September, 1842, the editor of the Tompkins Volunteer noted Felch’s engraving of the Tompkins House “is most admirably executed, Mr. Felch certainly deserves patronage inasmuch as he embarked in the engraving business without experience, and has acquired the art by unwearied labors, in order that Ithaca might not be deprived of an occupation which it actually needs.”14 Six months later, J. H. Felch was selling for twenty-five cents an engraving of a “View of Ithaca” from a drawing by Mr. Watson. The engraving was printed on cap paper for putting into frames or on letter paper for sending in the mails.15
During the summer of the next year, he had “completed a beautiful miniature portrait of Gov. Polk, printed on ribbon, for badges.”16 Felch had also done a similar portrait of Henry Clay. Both items were available for sale. J. H. Felch, like many other artists and engravers, quickly embraced the art and commerce of the daguerreotype.
The daguerreotype was superb in its ability to record the details of a scene or the exactness of a person’s appearance. The drawback of the daguerreotype was that it was a one of a kind image, not easily reproduced. The image was usually manually converted to an engraving if many copies were to be made. Since the daguerreotype was a direct photographic process, the image was reversed from left to right. This reversal was not a problem for portraits, but scenic views were not visually correct. Sometimes the images were oriented properly by the engraver before printing, sometimes not.
J. H. Felch may have learned the complicated steps of the daguerreotype process from A. C. Partridge, who was the only daguerreotypist in Ithaca at this time. The following summer, J. H. Felch took his daguerreian skills to Elmira.
In June, 1845, J. H. Felch took over the daguerreian gallery above W. P. Yates’ Jewelry Store in Elmira. He remained there at least a month before leaving. His name did not appear among the daguerreian artists of Ithaca after June, 1845.
The National Miniature Gallery of S. L. J. Hillick opened in late January, 1846. He felt the daguerreotype miniatures taken at his rooms “need no puffing in an advertisement.” But he was quick to point out his images “have a delicateness of finish as well as truthfulness to nature, which render them really beautiful specimens of the art.”17 His rooms were over G. H. Collins’ Tailoring Shop at No. 82 Owego Street. He continued working at this location through September, 1846.
In 1846, Hillick had competition from someone who had considerable experience in the daguerreian art, Mr. Johnson. During the mid-1840s, Johnson, who claimed to have worked for John Plumbe, Jr. in New York City, traveled extensively through the Southern Tier of New York state.
Mr. Johnson, late of Plumbe’s Daguerrean Gallery, opened rooms in the North Wing of the Clinton House in mid-March, 1846. He noted his “pictures are universally admired for their brilliancy, beauty of finish, and life-like appearance, and he warrants them imperishable.”18 He remained in Ithaca through the end of May.
Another daguerreotypist with ties to both New York City and to John Plumbe, Jr., William B. Mathews, soon came to Ithaca. In August, 1847, W. B. Mathews noted he was still in Ithaca and would remain for a short time at his rooms over Curtis’s Store, one door above Spenser’s Bookstore.19 He claimed to have started his career in 1841 working in the earliest galleries in New York City. He noted he had also worked in the gallery of John Plumbe, Jr. in that city. There is no indication of when he first arrived in Ithaca or the length of his stay.20
In January, 1848, S. L. J. Hillick “commenced his old business at No. 37 Owego-st.; 3 door west of the hotel.” He remained at this location through April, 1848. In August of that year, Milton S. Lathrop was operating from these rooms. Lathrop may have worked for Hillick during the year.
In August, 1848, two visitors from the north, Reynolds and Rider, arrived at the Clinton House. The editor of the Ithaca Journal recommended their services by noting that the two gentlemen had produced a superb likeness of his 4-year-old daughter. The two artists advertised they were “just from Canada on their way to England” and offered the citizens of Ithaca the opportunity to view their “Daguerreotypes of the great Suspension Bridge, Niagara Falls, Queen Victoria, &c., &c.”21
At about this time, Milton S. Lathrop was operating the gallery at No. 37 Owego Street, S. L. J. Hillick’s old location. Lathrop announced he had taken a partner, Mr. Watson of Troy, “who has operated with the most approved success, in most of the cities and villages of eastern New York, and having with him a perfect set of German lenses, with the assistance of the best chemicals agents, and long experience in the art,….”22 Lathrop and Watson continued to advertise through August, 1848. Starting in early September, 1848, Bitely & Watson, Daguerrian Artists, took over the gallery of Milton S. Lathrop at No. 37 Owego Street.23
James F. Ryder, a native of Ithaca, began a long photographic career in 1848 in Ithaca, but spent most of his professional life in Cleveland, Ohio. He published an autobiography in 1902 titled Voigtlander and I: In Pursuit of Shadow Catching.24 His book allows us to catch a glimpse of the daguerreian world from the viewpoint of the artist. Ryder described the trials of the apprentice learning the complex chemistry of the process and the continuing education required of the daguerreotypist to master the latest techniques to improve his work J. F. Ryder began his book by describing the start of his daguerreian apprenticeship in Ithaca with Professor Brightly:
In the Fall of 1847 I met the professor who was to lead me into the mysteries of daguerreotypy. I had been three years the boy behind the press, pushing the inking roller over the pages of “forms” in a book printing office, with a vague idea of following the Ben Franklin routine, when I met Professor Brightly, a newcomer to our village, a daguerreotype man. He encouraged my visits to his rooms, and I naturally became interested in the new and mysterious work. Professor Brightly was a tall man of rather striking appearance. His silk hat had been much brushed and was shiny. He wore glasses, his hair was heavy, stiff, and, especially in front, stood up.25
Ryder mentioned that Professor Brightly had taught in a country school and had lectured on phrenology and biology. Ryder went on to describe his first camera, a German Voigtlander, and his first awkward efforts to learn the daguerreotype process. After three months, Ryder had gained enough skill and confidence to handle the customers when Brightly was absent. Ryder commented on the variety of talents and backgrounds possessed by the daguerreotypists of the time:
We were not accused of driving “a trust” or “a combine”, but photography, phrenology, and biology were all handled from our headquarters at 137 Owego Street, over J. M. Heggies’ harness store, Ithaca, New York. It was no uncommon thing to find watch repairs, dentists, and other styles of business folk to carry daguerreotypy “on the side.” I have known blacksmiths and cobblers to double up with it, so it was possible to have a horse shod, your boots tapped, a tooth pulled or a likeness taken by the same man; verily, a man, a daguerreotype man, in his time, played many parts.26
Ryder’s memories of this events may have been a year off. J. F. Ryder’s remembrances may have been equally faulty on his mentor’s name, Brightly. Note that the two names, Bitely and Brightly, are very similar. J. M. Heggies’ harness shop and the daguerreian gallery were definitely at 37 Owego Street, not 137, as recalled by Ryder. As noted above, Bitely & Watson opened their gallery in September, 1848. The following advertisement for Bitely & Watson appeared in that month:
BITELY & WATSON, Daguerrian Artists, would inform the people Ithaca & vicinity that they have opened a Gallery at 37 Owego St. (the rooms formerly occupied by Milton & Lathrop) where they are prepared to take likeness of all sizes. Miniatures set in lockets, pins, rings, &c. Ladies and gentlemen are invited to call and examine specimens and sit for their likenesses, if they choose by way of experiment. Instructions given in the latest improvement in the art. Chemical plates, Cases, Apparatus & furnished on the most reasonable terms.27
Prior to their arrival in Ithaca, Bitely & Watson operated a gallery in Oxford, New York (forty-five miles east of Ithaca) from May to August, 1848. In an advertisement in the Oxford newspaper, they noted “Having operated, with entire success in most of the cities and towns of Eastern New York, they flatter themselves to be able to execute Likenesses to the Satisfaction of all.”28 The advertisement quoted a testimonial from the Mohawk Valley Gazette.
After a time, Professor Brightly decided to give up the daguerreian art and offered the business to Ryder:
Occasionally the professor showed up. He was more interested in lecturing and selling phrenology charts than in making daguerreotypes, so his tours were extended to greater distances. He had gotten new trousers, of better length, had discarded rubbers for daily wear, blackened his boots, and was really getting quite smart. He was desirous of selling out. I was inclined also to go out for myself, but at his desire I took charge of the business for a share of the proceeds as compensation.29
This would have been the time the following notice for Watson & Ryder’s gallery appeared:
ITHACA DAGUERREAN GALLERY
No. 37 OWEGO-ST.
WATSON & RYDER, Would most respectfully announce to the citizens of Ithaca and vicinity that they have opened a permanent Daguerrean Gallery for the purpose of taking CORRECT LIKENESSES. These miniatures are taken by one of the best German Achromatic Lens, giving them a life-like expression, and by an access of Chlorine Vapor, which places them beyond all fears of failing, (so common to those taken by most Daguerrean operators) it also gives them strength and beauty not surpassed by Oil Painting or Steel Engraving. The most artistical skill will be given as to position, also in equalizing the light and shade of the face, so as to give it every life-like appearance, entirely obviating that flat cadaverous appearance so common to Daguerreotypes. Likenesses taken after death if desired. Miniatures set in frames. Cases, Lockets, Bracelets, Pins, Rings, &c. The public are invited to call and examine specimens of the art. Rooms open from 8 o’clock a.m. till 6 p.m. / March 20th, 1849.30
The two gentlemen continued to advertise until late August, 1849, when their gallery was taken over by Lawyer & Clark.
Soon after becoming Watson’s partner, J. F. Ryder was concerned by a new competitor whose demeanor and magnificent coat formed a real threat, but, whose ability may not have been as formidable:
And now came into our village a rival daguerreotypist, Professor Bartholomew, and he looked dangerous. He was past middle life, a man of polished manners and fashioned dress. He wore a loose overcoat with fur collar and cuffs, great frogs of braids were stitched upon both sides of the coat as decorations, into which the buttons of the opposite side could be fastened. It was a “double breaster,” and, either buttoned or unbuttoned, presented a stunning effect and carried terror to me. I had a fear of this man of distinguished appearance, who looked like a real professor. He had been a teacher of penmanship in a large city and acquired there his superb style, while I was a mere boy, naturally timid, and destitute of a fine showing. That overcoat was a nightmare to me. How could I cope with such a man and such a coat! When I came to see his work my fear diminished, for even to my inexperienced eye it was clearly inferior.31
George Bartholomew first advertised in Ithaca in April, 1849:
Mr. Bartholomew would respectfully announce to the citizens of Ithaca that he has taken the rooms formerly occupied by Johnson & Schuyler on Aurora Street, for taking Daguerreotype Likenesses Single or in groups up to twelve upon the latest Paris and London improvements, which does away with that blue, dark, inanimate, fading appearance to pictures; like ivory painting, with a Light, Soft, Florid Tone as in nature. He finishes all his miniatures with the Electro Gilding (and the enamelled background if desired) which will last for ages without fading, and puts them up in the most beautiful and splendid French style, never before introduced in this village. Strangers can have their likenesses taken and put up in fifteen or twenty minutes.32
Mr. Bartholomew’s ability to produce a satisfactory daguerreotype must have greatly improved or Ryder’s opinion may have been somewhat exaggerated since Mr. Bartholomew managed to maintain a gallery in Ithaca until May, 1854.33 In November, 1849, an editorial comment did verify Ryder’s description of Bartholomew as a gentleman of “superb style:”
It is astonishing to see what improvements have been made in this wonderful Art. We called a day or two since at the Room of Prof. Bartholomew and examined some of his “Life like” Pictures. He has some of the best specimens of the Art, that we have seen. The Prof. has fitted up a room in the 3rd story of the building owned by G. P. Frost, Esq. on Aurora street, expressly for this business with sky lights, &c. Mr. B. is a gentleman of talents and refinement, and is master of his business; he seems always pleased to have his friends call and examine specimens and spend an hour with him socially, if they do not wish to sit for pictures.34
After September, 1850, Bartholomew’s Rooms were situated at 96 Owego Street. His advertisement of October, 1853 presented an insight into the nature of the daguerreotypist’s business. He boasted “that he is at the head of the Profession in this region, having stood the test of competition of other operators for the last four years in the village of Ithaca, 15 having left for business in other places, and in the same time he has taken from 6000 to 7000 miniatures.”35
Bartholomew revealed that other reasons for his success were his galvanizing or re-silvering of every plate and the use of machinery to prepare the surface. He offered “Gurney’s new process of coloring Likenesses, The Crysolotyne, this is a beautiful style of Daguerreotype. The Crayon, the Comeotype and the enamelled Backgrounds and circles of a variety of colors, &c.”
On the hardware side of the business, Bartholomew gave an idea of the number and variety of optical devices contained in the daguerreotypist’s gallery:
He has one full sized instrument Acromatic Lens. In goodness not surpassed, 1 1/2 size Quick working instrument for taking likenesses of Babies, Children, and nervous people, in from 2 to 5 seconds, the only one in this county, one copying instrument that copies all sizes perfectly, 1 1/9 instrument expressly for taking Locket pictures, a new thing, 1 full size Scoptrum for taking views of Buildings and Landscapes at any distance within two miles, without reversing the object in the picture taken.
Ryder was always willing to learn (and to pay for) new techniques and processes in an effort to improve his own results. He described another daguerreotypist who offered a better method of preparing the surface of the plate:
A man named Lawyer, who had been operator for Meade Brothers, in New York City, showed me work of such excellence that I employed him to stop and teach me. Mr. Lawyer had a hobby. It was a moist buff, his theory being that moisture in a buff for polishing plates gave a deeper and richer polish than could otherwise be attained, and the deeply polished plate gave a finer image.36
In August, 1849, Lawyer & Clark advertised the opening of their gallery in the rooms vacated by Watson & Ryder:
The Subscribers respectfully announce to the citizens of Ithaca and vicinity, that they have opened a DAGUERREAN GALLERY. In the Rooms lately occupied by Messrs. Watson & Ryder, NO. 37 Owego Street, Ithaca. The subscribers having all the improvements, fear no competition from inexperienced operators, and invite the strictest examination and criticism. The idea held out by indiffident operators that light eyes cannot be well taken, and that linen cannot be made white, is dispelled at once by an examination of the work in this Gallery.
The following recommendation is from the best Gallery in the State: “We confidently recommend Mr. J. H. Lawyer to the public as a first rate Daguerrean Artist, understanding all the late improvements in the art. Mr. L. has taken pictures in our establishment and has given general satisfaction. MEADE & BROTHER, Albany, July 10, 1848."
Instructions given in the art on reasonable terms, and chemicals kept constantly on hand and for sale. Ithaca, August 20, 1849."37
Jacob H. Lawyer later worked as a daguerreotypist in Pittsburgh, Pennsylvania from 1856 to 1860.38 In the 1870s, he returned to New York state as a photographer in Binghamton, New York.
At the time of this encounter, Ryder was a partner of Watson. Bitely had already left the area. In his book, Ryder never mentions his association with Watson. Since Ryder met J. H. Lawyer near the end of Ryder’s stay in Ithaca, the following events would have occurred prior to this time. J. F. Ryder described meeting another gentleman who offered a different approach to the buffing process of the daguerreotype :
Now came Professor Powelson, carrying an air of intelligence and success. His work was fine, yet differing in a way from Mr. Lawyer’s, and because it differed I coveted it, and so took instructions from him. He, too, had a hobby. He showed me that the foundation for fine daguerreotype work was a finely polished plate, which could be secured by a perfectly dry buff of fine buckskin well rouged, and the finishing touch given with calcined lampblack upon buff of buckskin thoroughly dried.39
Apparently, Powelson had been working with Bartholomew when Ryder learned his new method of buffing. The following notice appeared in December, 1849:
Prof. Powelson has removed his office from Mr. Bartholomew’s Room to No. 96. Owego Street, over the Messrs. Grant’s Cloth Store, where he is fitting up a set of Rooms for DAGUERREOTYPING with a large Sky and Side Light. Those wishing good Pictures of themselves of friends, are respectfully solicited to wait a few days until his Rooms are in readiness. Ithaca, Dec. 7, 1849.40
A week later, Prof. Powelson officially announced the opening of his gallery:
Prof. POWELSON’S Daguerrean Hall is now open; He invites all to call on him at No. 96. Owego Street, opposite the Bank of Ithaca. An idea has been prevolent that these Pictures cannot be taken in cloudy weather, but that eronious impression has been entirely removed by Prof. P’s having opened a large SKY and side Light, of 75 sq’r feet. Pictures executed daily, not surpassed in the world, nor equalled this side of New York, or Paris. Ithaca, Dec. 15th, 1849."41
In April, 1850, Prof. Powelson announced that his daguerrean rooms would close on the first of May. Powelson, apparently, left Ithaca at that time. This gentleman may have been Benjamin F. Powelson, who had an active photographic career in New York, Canada, and Detroit, Michigan until his death in 1885.42
We can assume that J. F. Ryder finally took to the field after this date to establish his own photographic career. Although J. F. Ryder never discussed his family in his book, the 1850 U. S. Census gives a portrait of the family he left behind in Ithaca. His father, John Ryder, was a 50 year-old peddler from Ireland. His mother, Lucy, was a 45 year-old native of Vermont. His brother, John, was 18 years old and listed as a shoemaker. John eventually made his way to Cleveland and joined his brother at the photographic gallery. His sister, Lucy, was 15 years old. The next oldest sibling, Philip, was 13 years old. Philip later had an extremely successful career as a photographer in Syracuse, New York. The two youngest sisters; Caroline, age 8, and, Elmira(?), age 5, completed the family.
After leaving Ithaca, Ryder traveled extensively through New York and northern Pennsylvania (probably, Bradford County) as an itinerant daguerreotypist. In the spring of 1850, he decided to travel to Cleveland, Ohio to meet daguerreotypist Charles E. Johnson, who had impressed Ryder with his skills during a chance meeting in Ithaca.
J. F. Ryder arrived in Ohio on 25 April 1850, one of the few definite dates listed in the book. Eventually, Ryder met Johnson in Cleveland. Johnson offered Ryder the opportunity to manage his gallery while he was out of town. Ryder accepted the offer and worked for Johnson for a few years.
J. F. Ryder returned to central New York in late 1852 with a short stay in Owego, New York. In mid-November, he began advertising in the Owego Gazette. Ryder remained in Owego, about twenty-five miles southeast of Ithaca, until shortly before Christmas, 1852. Ryder mentioned he had previously been working in Cleveland, Ohio and Dunkirk, New York. In Cleveland, C. E. Johnson had formed a partnership with Parker Fellows. The two gentlemen had opened a second room in Dunkirk, New York in July, 1851. Ryder, apparently, had been working there before his journey east.
When Charles E. Johnson left for California in April, 1853, Ryder took over the Cleveland gallery and remained there the rest of his life.
In late September, 1851, No. 49 Owego Street became the home of Rumsey’s Paris Daguerrean Gallery. Mr. Rumsey described his gallery as “the very best in Ithaca to have your LIKENESS taken, both as regards durability and life like appearance.” He offered portraits for $1-10 depending on size and richness of the case.43 This gentleman was probably Henry D. Rumsey. In the 1850 census, H. D. Rumsey was listed as a 25-year-old wood engraver. His wife, Christine 21 years old and daughter, Mary, was 5 months old.44 He was listed in the county directory as a daguerreotypist in Dryden, New York in 1859.45
The following April, F. C. Clark and a new partner, Mr. Graves, took over the rooms at No. 49 Owego Street, over C. F. Blood & Co’s Clothing Store. They offered “PERFECT LIKENESSES, and at the same time rich mellow toned pictures. An entirely different style of Type than has heretofore been offered to the public.”46
In the fall of 1852, Theodore Ribble purchased the rooms at No. 49 Owego Street and renamed them the Forest City Picture Gallery. He confidently assured the public “that work executed by him shall be finished in the best style, and that for boldness, beauty of tone, softness of light and shade, expression of the eye, and accuracy of likeness, his miniatures are unsurpassed.”47
James V. R. Schuyler opened a “new & complete Daguerrean Hall, Owego-street, near the Ithaca Hotel, over G. W. Schuyler’s Drug Store” in October, 1852. He boasted “His rooms for neatness and pleasant accommodations to customers are unequalled in this vicinity, and his operating apartment is furnished with cameras and North Sky-lights, the largest, latest improved and most elegant in this country.”48 During the Tompkins County Agriculture Fair of October, 1853, Theodore Ribble and George Bartholomew entered daguerreotypes in the Fine Arts competition. The committee “examined two fine cases of Daguerrian Pictures, one by Mr. Bartholomew and one by Mr. Ribble. We consider the work nearly equal, but from the large collection and style of exhibition, award the 1st Premium to Mr. Bartholomew, $1,00.”49 George Bartholomew was quick to add a line at the top of his local advertisements boasting of his award at the county fair.
The following June, he continued to use his award to his advantage, “A tree is known by its fruit, A daguerreotypist is known by the pictures he takes, The first Premium daguerreotypes in this county have been awarded to Mr. Bartholomew, No. 96 Owego-street….” He boasted he had nearly done away with all competition. Among the reasons he listed for his success was the easy access to his rooms, one flight of stairs from the street. He mentioned his quick working camera which could capture an image of a child in 2 to 4 seconds.50 For some unknown reason, James V. R. Schuyler responded to this advertisement with a bitter, personal attack on Bartholomew’s character and abilities:
Animalism as Is Known
Thus a large species of monkey called the Baboon is known by his machinery display and chaffing grin-his apish arrogant buffoonery and deceitful pretense, fawningly performed to make sure his pocket grab. The Peacock is known by its weak intellect, dark understanding and habit of puffing feathers of many colors without a proper knowledge of their use or effect. The Daguerreotype Man is known by his 10,000 false customers, &c. A man is known by his worth, and a fellow by his want of it…51
Perhaps Schuyler was motivated by envy of Bartholomew’s success and of his “superb style” mentioned previously by J. F. Ryder. Within a few months, George Bartholomew left the daguerreian business in Ithaca for unknown reasons. Schuyler had one less competitor.
During this time, Theodore Ribble kept in the public eye by noting his gallery had the largest and best light in Ithaca which enabled him to produce the best daguerreotypes with his “Rooms being elevated above the reflection of other buildings,” he had “a decided advantage for purity and strength of light over others of this place….” In addition, Ribble revealed his feeble health required associating with an able and experienced partner. The name of Ribble’s associate did not appear in advertisements until April, 1855, when it was pointed out that Ribble & Cornue’s Premium Sky & Side Light Rooms were still at No. 49 Owego Street, over C. F. Blood’s Clothing Store. Unfortunately, the advertisement was directly below the notice of the death of Theodore Ribble on 13 April 1855, from consumption (tuberculosis) at the age of 31 years, 10 months.52 The advertisement was soon amended to include “notice is hereby given that permanent arrangements have been made with Messrs. Cornue & Blood to perpetuate the superior advantages of Mr. Ribble’s Daguerrean Gallery.” Since C. F. Blood owned the store directly below the gallery, he may have formed a partnership with Cornue to maintain the continuity of the daguerreian business. It is difficult to determine if C. F. Blood took an active part in the operation of the gallery. Jno. Cornue continued operating the gallery through September, 1855. In some advertisements, Cornue’s name is spelled Conner.
F. C. Clark took over the daguerreian rooms at No. 94 Owego Street in September, 1855. A month later, he advertised his gallery as “Forest City Sky and Side Light Daguerreotypes.” He had “just returned from the South, where he visited with all of the most celebrated Daguerreans in the United States and has thus acquired a thorough knowledge of every improvement known in the Daguerreian Art.” He claimed to be experienced “in the art of Photography and Ambrotyping” and was “prepared to take Sterrioscope[sic] Daguerreotype Likeness, being the latest and most important discovery in the art, by which two Pictures of the same person is taken on one plate, and made to appear as one SOLID LIFE-LIKE STATUE.53
In May, 1856, N. J. Kellogg took over the rooms of F. C. Clark. Besides being skilled in the art of photography, N. J. Kellogg was a skilled painter. A notice in the newspaper pointed out “The taste of Mr. K. as an artist makes this business familiar to him while at the same time he brings to it a fine taste and a correctness of coloring and shade, of great practical utility.” The notice also mentioned F. C. Clark’s former assistant, Mr. Jenkins was continuing with N. J. Kellogg.54 In the 1850 Census, Noah Kellogg, age 37, was listed as an artist. His family consisted of wife, Sarah M., age 27, and children, Elizabeth M., age 9, and Frederick K., age 4.55
In February, 1857, Benajah G. Jayne took over the gallery from N. J. Kellogg. B. G. Jayne was probably the gentleman in partnership with Andrew B. Tubbs in Oxford, New York beginning in January, 1856. After J. J. Hull purchased their gallery in Oxford, A. B. Tubbs moved to Binghamton and Jayne came to Ithaca.
As an incentive to people to visit his gallery, Jayne offered “pictures for Fifty Cents” for the next month. When the other artists in Ithaca lowered their prices to match Jayne’s offer, his price became permanent. A notice in the newspaper commented on the skill of B. G. Jayne to deliver an accurate likeness:
The essentials constituting a good Daguerreotype or Ambrotype likeness are not as well understood generally as they should be. Some are very anxious for a handsome picture, when such a gratification would be the farthest distance from a true and perfect likeness. A bold outline of feature, lifelike expression, depth and tone to the countenance, fresh, natural appearance, should always be regarded as indispensable to a proper likeness. We noticed some types of this description at the Rooms of our friend B. G. Jayne & Co., the other day. In fact our friend the Col. and some others, were so very perfect in feature and expression, that we were on the point of entering into conversation with them, forgetting they were but the “works of art” not of nature.56
In March, 1857, Datus E. Sedgwick opened the “Excelsior Ambrotype & Daguerrean Rooms,” at 84 Owego St., over J. Kendall’s Store, opposite the Journal Office. He claimed to have 16 years of experience in the business and “confident of pleasing all who may favor him with a call.”57
M. Reeves, Jr. offered large size daguerreotypes of Ambrotypes for 50 cents at his gallery at 49 Owego Street, over T. C. Thompson’s Merchant Tailor’s Store.58 He pointed out the competition offered only smaller size images for that price. He mentioned he had purchased the right for taking Melainotypes or Pictures on enamelled sheet iron.59 The melainotype become more commonly known as the “tintype."
In September, 1858, Reeves’ gallery was taken over by Ithaca resident, Jefferson Beardsley. Besides being a photographer, he was also a skilled artist. In addition to the usual photographic images, he advertised “Portraits painted-miniature or life size-in oil and crayon, views of residences, Draughting, and pictures of every description painted to order.”60
In August, 1857, B. G. Jayne & Co. continued to offer the citizens of Ithaca the best daguerreotypes, ambrotypes, and melainotypes (tintypes). He later added the ambrograph to his inventory. The ambrograph was a picture on patent leather “which for depth of tone, fineness of finish, naturalness of expression, and brilliancy of effect, are unsurpassed by any productions in the Photographic Art.61 In February, 1859, B. G. Jayne prominently mentioned the availability of photographs on paper at his gallery. A little over a year later, Jayne announced he had “procured and now have in full operation a large size ‘SOLAR CAMERA’ by means of which we are now prepared to furnish photographs of any desired size, up to size of life.”62 The solar camera was an enlarger where the glass plate negative image could be placed at different distances from the paper and create images of different size. At this time, the sun was the primary source of energy for producing photographs. The solar camera was placed on the roof of the gallery and pointed toward the sun during the time required to expose the sensitized paper.
At the Tompkins County Fair in September, 1860, B. G. Jayne & Co. was awarded the premium for best photographs and for best melainotypes. The Fair’s Fine Arts Committee also recognized two local artists, photographer Jefferson Beardsley and Austin N. Hungerford, son of early Ithaca daguerreotypist, Newell Hungerford, The committee commended a view of Goodwin’s Falls and a view of Enfield Falls by Beardsley. Austin Hungerford was cited for a view of Lick-Brook Falls and a view of Ithaca.63
Photographic views of local interest and of the world were now available from the local photographers and dealers of stationery goods. The ability to produce photographic prints in any number resulted in the opportunity for people to purchase scenic views for pleasure or interest. At this time the stereoscopic photograph was becoming a popular way to visit the world without leaving the parlor. By taking a photograph through a camera with two displaced lens, two slightly different views of the scene were recorded. When paper photographs of the two scenes were placed side by side and viewed through a special viewer, a three-dimensional image was seen. Photographers would create and sell stereoscopic views of local scenery. Views from around the world could be purchased by photographers from the large photographic supply dealers in New York City and other large cities and be re-sold to the eager public.
A newspaper notice in 1861 suggested a novel and practical use of the photographic image:
The merchants of our village have long suffered from the pilfering propensity of some persons who visit their stores, and although attempts have been made to remedy this evil, it still continues. A new plan is in progress. Last week two females from Caroline were caught in the act of stealing some goods, and the merchant compelled them, after detection, to sit for their daguerreotypes, which he has on hand and which forms the commencement of a rogue’s gallery, which if followed out, our people will become well acquainted with all the light-fingered operators who are ready to depredate upon storekeepers.64
In early April, 1861, Jefferson Beardsley and his brother, George F., purchased the Photographic Rooms of B. G. Jayne & Co. at No. 94 Owego Street. They promised to make “it the most attractive Art Gallery in the State” offering portraits “perfect in every detail of likeness and expression.”65 By the middle of summer, the Beardsley Brothers pledged "themselves to take pictures cheaper that they have ever been obtained in this place." They offered Ambrotypes in cases for 13 cents and Photographs for only 5 cents. These prices were in effect until the following October. The brothers may have hoped for a significant increase in the volume of their business to justify these very low prices.66 They were apparently very successful in their marketing as witnessed by the following comment in the newspaper:
We made an attempt on Monday to visit them, and did actually succeed in forcing our way through the crowd of anxious and appreciative picture-seekers, who entirely blocked the stair-way leading to their rooms. We found six operators working as for their lives in the effort to supply the crowd with portraits, and in this labor were constantly employed from sunrise until sunset.67
After selling his gallery to the Beardsley Brothers, B. G. Jayne remained in Ithaca, but not in the business of photography. In November, 1861, he was elected to the position of Clerk of the Board of Supervisors of Tompkins County. The newspaper expressed appreciation to B. G. Jayne “for the prompt and correct manner in which he has furnished us a copy of the Supervisors Proceedings; he has discharged all his duties connected thereto with promptness and fidelity.”68
Two months later, B. G. Jayne was recovering from a broken leg suffered during a fall. After a four week recovery, he began to move about town again. Unfortunately, Jayne had been disabled by this same leg for many years. One month later, he was offered a Clerkship at the War Department in Washington, D. C. The position in Washington may have been due to Jaynes’ efforts in recruiting volunteers for the Union Army. Due to his crippled leg, Jayne was unable to join the army. But he was very active in encouraging others to join the Union cause.69
“Granger’s Ambrotype Car” arrived in Ithaca in November, 1861. Mr. Granger set up his wagon/gallery opposite Watkins’ Exchange Hotel, south side of Owego Street, 2 doors west of John L. Whiton’s Grocery and Bakery.70 He advertised his gallery was “The Best and Cheapest Place in Ithaca to get your LIKENESS taken, (not what others may advertise,),” an obvious reference to the Beardsley Brothers.71 In March, 1862, D. E. Sedgwick and Francis Granger formed a partnership and opened a gallery at 88 Owego Street, over Sidney’s Shoe Store. The notice pointed out Francis Granger’s previous experience with the best artists in New York City.72
The Beardsley Brothers moved to a new gallery in Stannard Hall in April, 1862. An article appeared in the local newspaper two years later giving an insight into the operation of a photographic gallery of the time. The article describes how family oriented and labor intensive the photographic business could be:
Beardsley’s Art Gallery
Their rooms are large, well furnished, and are crowded daily with visitors from all parts of the county. The Beardsley Brothers are well known as steady, hard-working young men, who have shown a commendable enterprise, in the business they pursue, there they work from early in the morning till eleven o’clock at night and pictures of loved ones who have long slept beneath the cold clods of the valley, when brought here and placed in their hands, soon assume a look so natural, that you almost imagine yourself in the presence of the departed.
Jefferson Beardsley has had much experience in the business, and is a good portrait painter, and an artist by nature, and cannot be beat, at least in this county, in coloring photographs. H. Buckland, though much younger in experience, bids fair to gain as high a position in this art as has his teacher. Ambrotypes and negatives for photographs are taken by George and Beach Beardsley, who seldom fail in producing a good picture, and of giving entire satisfaction to their visitors. George Beardsley, especially, possesses the facility of getting a good position for those sitting for pictures, a matter of no small importance in producing a perfect likeness. The printing of the cards from the negatives is performed by Miss Maria Beardsley. From morning till night she works, turning out from three to four hundred cards as the result of a day’s work. And it is not for a day only, but “every day brings its work,” and they never see the time when they are not hurried.73
The photographic career of J. V. R. Schuyler ended in April,
1863. Chauncey L. Tolles and William F Seeley purchased
Schuyler’s gallery, over G. W. Schuyler’s Drug Store
and enlarged it. They opened their new gallery in early May,
1863. They promised to “turn out a class of work second to
none in the State.” They felt “There is room in this
village for this addition to our art gallery; for it is a fact
long known to the community that the leading firm have been
entirely unable of late to get through with the business pouring
in upon them.”74
The partnership between D. E. Sedgwick and Francis Granger was dissolved in March, 1864. Sedgwick continued the business with a new partner, Stephen F. Lewis.
A notice in the newspaper commented, “…During the long warm summer, both located on a third floor, we have noticed through the open windows that their rooms have been constantly thronged with customers, while their specimen case at the foot of the stairs shows the success with which they have secured the likeness of their visitors. Although all artists in their line have to pay a heavy government tax, we don’t understand that they intend to charge an extravagant price for their work in consequence.”75
Francis Granger had decided to go back to traveling the countryside in a photographic wagon. In November, 1864, Granger returned to Ithaca and parked his wagon at the corner of Owego and Geneva Sts., near Watkins’ Exchange Hotel. He was offering Ambrotypes for 50 cents and Gem Photographs for $1.50 per dozen. A short time later, Granger decided to establish another permanent gallery. He formed a partnership with George E. Young. The two gentlemen then purchased the gallery of Beardsley, Schenk & Co., 84 Owego Street, over Kendall’s Store. Granger noted his 12 years of photographic experience with 4 years in Ithaca.76
More later (perhaps)
Notes:
1. John Craig, Craig’s Daguerreian Registry, Vols 2-3 (Torrington, Conn.: John S. Craig, 1996), p. 462. Samuel S. Powell was a daguerreotypist at 10 Fulton St., Brooklyn, N. Y. in 1841-42.
2. Ithaca Journal, 22 September 1841.
3. Ithaca Chronicle, 13 October 1841.
4. The Ovid Bee, 19 January 1842.
5. Ovid Bee, 19 January 1842.
6. Ithaca Chronicle, 25 May 1842.
7. 1850 US Census, New York, Tompkins County, p. 211. Newell Hungerford listed as a painter, age 42. His family consisted of his wife, Adeline, age 36, and children, Austin W., age 14, and Candice A., age 9.
8. Information courtesy of DeWitt Historical Society, Ithaca, New York.
9. Craig 2, p. 287. A. T. Hudson was taking portraits in Troy, N. Y. in 1841.
10. Ithaca Journal, 6 October 1841.
11. Ithaca Journal, 17 November 1841.
12. Craig 3, p. 512.
13. Tompkins Democrat, 17 October 1844.
14. Tompkins Volunteer, 27 September 1842.
15. Tompkins Volunteer, 14 March 1843.
16. Tompkins Democrat, 15 August 1844.
17. Ithaca Chronicle, 28 January 1846.
18. Ithaca Chronicle, 18 March 1846.
19. Ithaca Journal, 25 August 1847.
20. Craig 3, p. 384. W. B. Mathews was a daguerreotypist in Ravenna, Ohio in 1853.
21. Ithaca Journal, 9 August 1848.
22. Ithaca Daily Journal, 10 August 1848.
23. Ithaca Daily Chronicle, 6 September 1848.
24. James F. Ryder, Voigtlander and I: In Pursuit of Shadow Catching, Cleveland: Cleveland Printing and Publishing Co., 1902. [Reprinted 1973, Arno Press]. Portions of this section on J. F. Ryder have previously appeared in The Daguerreian Annual 1993, the official yearbook of the Daguerreian Society.
25. Ryder, pp. 14, 15.
26. Ryder, p. 20.
27. Ithaca Chronicle, 20 September 1848. The reference to Milton & Lathrop is an error, the advertisement should have read Milton S. Lathrop.
28. Oxford Times, 22 May 1848.
29. Ryder, p. 26.
30. Ithaca Chronicle, 28 March 1849.
31. Ryder, pp. 21, 22.
32. Ithaca Chronicle, 19 April 1849. No daguerreian advertising for Johnson & Schuyler was located in the Ithaca newspapers prior to this date. The two gentlemen mentioned probably did not operate a daguerreian gallery from that location.
33. 1850 US Census, New York, Tompkins County, p. 244. George Bartholomew, age 52, artist, was a native of Vermont. His family consisted of wife, Sophronia R., age 35, and children, George R., age 9, and Henry, age 4.
34. Ithaca Chronicle, 21 November 1849.
35. Ithaca Chronicle, 5 October 1853.
36. Ryder, p. 22.
37. Ithaca Chronicle, 29 August 1849.
38. Craig 2, p. 343.
39. Ryder, p. 22.
40. Ithaca Chronicle, 12 December 1849.
41. Ithaca Chronicle, 19 December 1849.
42. Craig 3, p. 461.
43. Ithaca Chronicle, 24 September 1851.
44. 1850 US Census, New York, Tompkins County, p. 123.
45. Craig 3, p. 496.
46. Ithaca Chronicle, 4 April 1852.
47. Ithaca Journal, 6 October 1852.
48. Ithaca Journal, 12 October 1852.
49. Ithaca Journal, 19 October 1853.
50. Ithaca Journal, 7 June 1854.
51. Ithaca Journal, 14 June 1854.
52. Ithaca Journal, 18 April 1855.
53. Ithaca Journal, 17 October 1855.
54. Ithaca Journal, 21 May 1856.
55. 1850 US Census, New York, Tompkins County, p. 240.
56. Ithaca Journal, 22 April 1857.
57. Ithaca Journal, 11 March 1857.
58. Craig 3, p. 477. Moses Reeves was active as a daguerreotypist in New York City from 1852 to 1856.
59. Ithaca Journal, 20 May 1857.
60. Ithaca Journal, 15 September 1858.
61. Ithaca Journal, 26 August 1857.
62. Ithaca Journal, 9 May 1860.
63. Ithaca Journal, 19 September 1860.
64. Ithaca Journal, 20 February 1861.
65. Ithaca Journal, 10 April 1861.
66. Ithaca Journal, 14 August 1861.
67. Ithaca Journal, 25 September 1861.
68. Ithaca Journal, 18 December 1861.
69. Ithaca Journal, 18 March 1863.
70. Craig 2, p. 227. Francis Granger was a daguerreian artist in Rochester, N. Y. (1853-1854) and possibly in Newark Valley, N. Y. in 1859.
71. Ithaca Journal, 6 November 1861.
72. Ithaca Journal, 5 March 1862.
73. Ithaca Journal, 16 March 1864.
74. Ithaca Journal, 6 May 1863.
75. Ithaca Journal, 24 August 1864.
76. Ithaca Journal, 12 July 1865.