The early photographic history of Chenango County, New York is a puzzle with many pieces missing. The pieces needed to complete the story of the arrival of the earliest photographers are buried in newspaper advertisements, local history books, census records, and various public records. Although only the village of Oxford has a fairly complete run of newspapers from this era, the available information from the other villages can be pieced together to form a starting point for further research. This article is an attempt to bring some of these facts to light.
The location of the county made it an important crossroads to the travelers going to the Finger Lakes Region and the Southern Tier of New York from the north or east. The Catskill Turnpike connected the region to the village of Catskill on the east and to Ithaca and beyond on the west. The Chenango Canal and the stagecoach road passed north to south through the county connecting Utica and the Erie Canal to Binghamton on the Susquehanna River. In the center of the county, the villages of Norwich, Oxford, and Greene were convenient stops for the travelers of the nineteenth century.
Many of these travelers at mid-century were the early photographers stopping for a while to offer the local residents an opportunity for a likeness. These photographic "artists" promised an image much more accurate and lifelike than those available from a traveling painter of miniature portraits.
The earliest practical photographic process was the daguerreotype. The vapor of iodine on a silvered copper plate formed a thin layer of light-sensitive silver iodide on the surface. The plate was exposed to light in a camera. Afterward, the latent image was brought to the surface by the action of mercury vapors. An application of sodium thiosulfate "fixed" the image, making it permanent. To protect the surface from damage, the fragile plate was covered with a mat, a cover glass, and a sealed in a case similar to the ones used by miniature painters.
Although daguerreotypists had first appeared in the Finger Lakes Region and Southern Tier of New York in the summer and fall of 1841, there is currently no identified record of these earliest photographic pioneers working in Chenango County.
In November 1843, W. B. Rockwood stopped in Oxford to preserve the likenesses of the village's citizens. Describing himself as a "Daguerreotype operator," he offered his services from his "rooms at Gilbert's Hotel for a few days only, ...Those wishing pictures of themselves or friends will find this a favorable opportunity, and may rely on having their work done in the best possible manner." Rockwood priced his creations at the going rate "Single Miniatures $3,00, with a liberal reduction to families."<Oxford Republican, 16 November 1843.>
The following spring, two gentlemen, Utter & Palmer, announced "having taken a room in Fort Hill Buildings, they are prepared to execute Photographic Likenesses, in a manner which, for beauty and accuracy, was never excelled in this village."<Oxford Republican, 30 May 1844.> A newspaper notice in the same issue commented on the faithful likenesses produced by the daguerreotype, "The Daguerreotype apparatus is not liable, like the brush of the painter, to 'favor nature,' or on the other hand to 'rob her of her fair proportions,' but with an unerring pencil it traces a true and perfect copy of the original."
The two daguerreians may have traveled south from Utica, New York. From August 1842 through January 1843, E. D. Palmer had operated a daguerreian gallery at the Old Museum in Utica.
A year later, a notice in the Oxford Times announced the arrival of another daguerreian artist, Mr. Johnson, late of New York. The notice pointed the high quality of his work, "He has a large collection of the finest specimens of the Photographic Art which we have ever seen. We recognize among them many faces with which we are familiar in a neighboring village, which are 'beautiful exceedingly' and 'true to nature' withal."<Oxford Times, 14 August 1845.>
Although the identity of the neighboring village is not revealed, Johnson spent the summer traveling through central New York daguerreotyping many of the citizens of the area. Prior to coming to Oxford, he had been in Elmira in June 1845. A daguerreotypist named Johnson had also visited Binghamton and Owego, New York earlier in the year.
Mr. Johnson claimed to have formerly worked for John Plumbe, Jr. at his New York City Gallery. He located his rooms one door east of Dr. Packer's Drug Store (upstairs). He was not modest in describing his abilities, "Boasting is not a part of Mr. J's business; he is willing to let his friends exercise their own impartial judgment; but one thing he will say, that his pictures are acknowledged equal to any taken in the city of New York, and far superior to any taken in the country by other operators." He also offered advice to potential customers on proper dress for their sitting, "therefore for Ladies, silk dresses of any color (except white or light blue, or red) either plain, striped, or figured, are the best for the purpose. A striped or figured vest, and a cravat, or scarf, which covers part of the triangular form of the bosom, would be suitable for gentlemen."<Oxford Times, 14 August 1845.>
Another two years would pass before another traveling daguerreian artist would stop in Oxford. In July 1847, J. M. Wilder opened rooms over Tuttle & Brown's Grocery and Fruit Store on Navy Island for the purpose of taking miniatures by the Daguerreotype process. He sold a single likeness for $2.50 and groups of five or more for $2.00.<Oxford Times, 7 July 1847.>
The following spring, in late May 1848, two gentlemen, Bitely & Watson, rented rooms over the store Chapman & Thorpe and opened their daguerreian gallery. They noted extensive experience in Eastern New York state and included a testimonial from the Mohawk Valley Gazette in their advertisement.< Oxford Times, 31 May 1848.> Although visits by previous daguerreotypists had been for a week or less, Bitely & Watson remained in Oxford through most of the summer until the middle of August. By that time, they had reduced the price of a daguerreotype miniature to $1.00. After leaving Oxford, the two gentlemen traveled westward to Ithaca, where they opened a daguerreian gallery.
In April 1849, S. B. Skinner opened a gallery in "Root's Building, on Navy Island , where he is ready to wait on upon all who wish to procure perfect and durable likenesses of themselves and friends by the improved daguerreotype."<Oxford Times, 18 April, 1849.>
J. B. Marquis first came to Oxford in early June 1849.
Mr. J. B. MARQUIS, would respectfully inform the citizens of Oxford and vicinity that he is fitting up a DAGUERRIAN GALLERY! in their midst, which he designs second to none in the country. He will be ready to receive calls in a few days or by the 9th of June. <Oxford Times, 6 June 1849.>
A month later, Marquis ran a lengthy advertisement for the "Chenango Daguerrian Gallery, or The People's Photographic Depot." He mentioned that "Having a full sized German Camera of the best quality, he is enabled to take likenesses 7 by 9 inches, and all sizes under." He stressed his ability to take large groups, "Since he has been an operator in the State of New York, he has had constant application for the taking of large groups, and whole families, on a single plate. To accomplish this object, he has spared no time or expense in fitting up a Daguerrian Gallery in Oxford, with a splendid Sky-Light, that will diffuse an equal light over a group of fifty or a hundred persons." <Oxford Times, 18 July 1849.>
He offered "In addition to the Daguerrian or Photographic Likenesses, the subscriber has made preparations for executing the ELECTROTYPE and COLOTYPE Pictures, the perfection of which must soon astound the world."
At this time, Marquis had two galleries: the Oxford Gallery, in Root's Building, Navy Island and one in Norwich, two doors South of the bank (upstairs). Marquis' ability to capture large groups on his silver plates is demonstrated by the following notice in the Oxford Times:
Mr. Marquis took at his Daguerrian Room, on Saturday last, a group of one hundred and ten persons. It consisted of the Members of the Teachers' Institute, which has been in session here. Every figure is distinct in outline and features, and the whole constitutes an attractive picture. It may be seen at Mr. Marquis' Rooms. <Oxford Times, 24 October 1849.>
The Teachers' Institute was held annually in Oxford to bring the teachers of the county together for lectures on various topics and to verify their credentials.
In late August 1850, Wm. H. MacDonald of the Chenango Sky Light Daguerrean Gallery "would respectfully inform the citizens of Oxford and vicinity, that he has taken the Rooms formerly occupied by J. B. Marquis and having purchased one of the large Cameras, he is now ready to take groups or whole families on a single plate." <Oxford Times, 28 August 1850.>
William MacDonald continued to operate at this location until November 1851.
J. B. Marquis named his gallery in Norwich the "National Daguerrean Gallery." He seemed to be doing quite well in this location and continued to specialize in group sittings.
His unequaled success in grouping has so increased his business that he has been induced to open new rooms, with more extensive apparatus, which affords him a flattering prospect for the future. It would seem that daguerreotyping had become a necessity. <Oxford Times, 2 October 1850.>
At this time, he officially informed "his friends of Oxford and vicinity, that he has from necessity, closed his business in that place, and will be happy to see familiar faces at the National Gallery in Norwich."
In late May 1851, W. P. Hoffman offered daguerreotypes from his rooms at Bartle's Hotel. He may been from New York City since he "used all the modern improvements now in vogue in the city of New York."<Oxford Times, 27 May 1851.>
In June 1851, D. C. Bronson took over and re-fitted the daguerreian gallery previously used by J. B. Marquis in Root's Building, on Navy Island. He was "prepared to make Pictures that cannot fail of pleasing the most fastidious."<Oxford Times, 25 June 1851.> In March 1852, he notified the public he was closing his gallery temporarily. On the 23rd of March, he re-opened the gallery, but cautioned his stay would be very limited. He continued at this location through the middle of April 1852, when he closed his gallery permanently. After his days as a daguerreotypist, D. C. Bronson became a partner of William Frasier and opened a cabinet ware and chair factory in Oxford.
Most of the early daguerreotypist traveled by stagecoach between villages carrying their valued chemicals and apparatus in heavily loaded trunks. Once in new town, they rented rooms, advertised, and waited for the customers to stop by. A few daguerreotypists traveled the countryside in large wagons fitted with both living accommodations and a photographic studio. These elaborate daguerreian cars gave their operators the ability to take their art to smaller outlying settlements. Once in a settled location, the mobile studio could be repositioned during the day to follow the sun, or to avoid lengthening shadows from neighboring buildings. A daguerreotypist always rented a room on the top floor of a building to avoid some of these problems.
Near the end of May 1852, a notice in the Oxford Times informed the citizens of the impending arrival of the "Daguerrean Car" of J. R. Orvis. He intended to set up in Oxford on the 7th of June, but in a notice headed "Not Arrived Yet" he revised the date of the arrival by a month to the first week of July. Since the notice was from Norwich, the delay may have been due to an unexpected increase in business in that village.
By the time the car arrived in Oxford near the end of July 1852, Orvis had obtained a partner, Mr. Clapp. In their initial advertisement, they explained the reasons for using the traveling wagon:
The subscribers having built this establishment expressly for taking Daguerreotypes, with a view to obviate many of the difficulties that surround the Daguerrean Artist, have found after a fair trial of some months, that their expectations have been fully realized.
The arrangement of their Side and Sky-lights is new, and believed to be superior to all others, for producing uniformly soft and bold pictures, giving to the eye that sharpness of expression, which no other light can produce. Many Artists have pronounced it a model light. It produces what they have been long looking for in Daguerreotypes, the middle or neutral tints giving the picture's soft and beautiful effect. <Oxford Times, 21 July 1852.>
Within a week, the two gentlemen were already offering reduced prices, "Daguerreotypes put up in Morocco Cases for One Dollar, Silk Velvet Cases for $1,50,(the usual price is $2,50.) Quarter sizes, Silk lined, $2,50,(common price, $3,00.) Half size, best case for $5,00. Paper Mache from$2,50 to $6,00!..."<Oxford Times, 26 July 1852.> They may have decided to use Oxford as a base from which to launch excursions to other nearby villages. In late September 1852, they informed everyone they would be traveling to Norwich for a week after which they would return to Oxford for two weeks. During this time, they received a premium for their daguerreotypes at the Chenango County Fair.
By December 1852, Clapp had left the partnership and J. R. Orvis continued to travel the back roads of central New York alone. In February 1853, he advertised "No Humbug! Orvis' Daguerrean Car Now in the Village of Greene!" He planned to remain there for two weeks. During the winter, spring, and summer of 1853, he constantly traveled the villages of the region. By August 1853, however, the travel had become too demanding and Orvis decided to establish a permanent location in Oxford. He informed the citizens of Oxford "that he is having fitted up a splendid daguerrean Gallery, with the best arranged Sky Light west of New York, for the purpose of taking daguerreotypes of from 1 to 40 in number."<Oxford Times, 30 August 1853.>
J. R. Orvis officially announced the opening of his permanent location in early October 1853 in the new building on Navy Island, over the Oxford Times Office.<Oxford Times, 3 October 1853.> Eventually, this particular location became known as the Oxford Daguerrean Gallery hosting a succession of photographic artists.
William F. Allen purchased the Oxford Daguerrean Gallery in May 1854. He directed his advertising toward the fact that in this era an early death from a variety of diseases was a distinct possibility. A daguerreotype could hold a beloved one here although they were gone forever. He implored, "Do not wait for the Family circle to be broken by the hand of the spoiler! How often have we heard the exclamation after the last fond look at a beloved relative in the arms of death, 'what would I not give for a correct Daguerreotype of the loved but lost' These you can have in the short space of ten minutes, after entering the rooms."<Oxford Times, 17 May 1854.> This notice also points out how quickly a daguerreotype could be taken, developed, packaged, and presented to the customer. The image was formed directly on a silver-plated copper plate. Once the image was developed and fixed, no other processing steps were necessary.
In early March, 1855, a small notice in the Oxford Times disclosed J. C. Brenner, late of Philadelphia, was now the occupant of the Oxford Daguerrean Gallery.
A couple of months later (late May, 1855), F. D. Wood was in charge of the Oxford Daguerrean Gallery. Frank D. Wood was a native of Greene, New York. He traveled extensively through New York and Pennsylvania over the following years during a long photographic career. By the end of September, he notified the public of his intent to vacate the gallery in two or three weeks.<Oxford Times, 30 May 1855, 26 September 1855.>
In late November 1855, O. Thayer became the new proprietor of the Oxford Daguerrean Gallery. In a lengthy notice, he candidly explained the problems of the photographic artist surviving in a small village:
Allow me the privilege of saying to the public and the citizens of Oxford, that I shall stop here for a short time, if not longer, It will depend on the business, of course, Some say I can't do no business here; but inasmuch as I have to be dependent on the public for my livelihood, I shall leave that matter for the public alone to decide whether I shall stay or not. If you want an Artist to stay here expressly for your accommodation as a matter of course, you will have to patronize him, instead of others, provided that I can suit you as well. When I came to this place I found the Rooms unoccupied, the Artist could not stay because you did not support him. Now, if you patronize me, I shall think you want to sustain a room here for your own accommodation, if not, I shall leave the premises vacant as others have done."<Oxford Times, 21 November, 1855.>
He also mentioned having about five years experience in the business. Unfortunately, Mr. Thayer did not get the support he was hoping for. By the end of January 1856, he was gone and two new individuals tried their hand in the Oxford photographic market.
In January 1856, A. B. Tubbs and B. G. Jayne took over the Oxford Daguerreian Gallery. An editorial note in the Oxford Times announced their arrival, "Daguerreotypes...Those in want of Pictures taken in the highest style of the art, can be supplied by calling on Messrs. Tubbs & Jayne, at their Rooms over this Office. By examining their specimens you can be fully convinced that their work excels anything which has been produced in this section."<Oxford Times, 30 January 1856.>
Their regular advertisement starting the previous week verified Tubbs's previous experience in Harrisburg:
Mr. Tubbs has had over eleven years experience in the Art. He has been for the last six years located in the city of Harrisburg, Pa., during which time he received the First Premium at the County Fair in that city, and also received the first premium for BEST PICTURES, awarded by the Pennsylvania State Fair. Also, Stereoscope and Crayon PICTURES. The stereoscope is the most wonderful and beautiful process for taking Likenesses, and needs only to be seen to receive universal admiration.<Oxford Times, 23 January 1856.>
By May 1856, the two gentlemen reduced the price of their daguerreotypes to 50 cents:
Warranted to give satisfaction or no charge. The subscribers would announce to the citizens of Oxford and vicinity, that in consideration of the liberal patronage they have received since in Oxford, they will for the coming month take Pictures for the low sum of Fifty cents! In adopting this system of cheap picture taking, we shall hope to see the table of the poor man replenished with those mementoes of friendship and affection of which the higher prices have deprived them...<Oxford Times, 28 May 1856.>
From the information in the advertisement, A. B. Tubbs began his photographic career in the mid 1840s. He worked as a daguerreotypist in Harrisburg and other cities in Pennsylvania from 1849 to August 1855. In September 1855, he opened a gallery on Court Street in Binghamton, New York. During this time, both galleries were in operation. A. B. Tubbs, most likely, handled the business in Binghamton and B. G. Jayne operated the Oxford location.
In March 1857, J. J. Hull announced that he had "purchased the entire interest of Messrs. Tubbs & Jayne, late proprietors of the Oxford Gallery, together with their superior apparatus, with which they produced those admirable pictures which are universally admired as master pieces of art..." <Oxford Times, 4 March 1857.>
When J. J. Hull took over the gallery, photography was in transitional period. The daguerreotype was beginning to be replaced by other more economical processes. The metal plate of the daguerreotype gave way to the glass plate. The toxic vapors of iodide, mercury, bromine, and chlorine were replaced by a silver nitrate solution applied to various surfaces. Glass, iron, paper, and, even, patent leather supplied the support for the photographic emulsion. A bewildering array of new names greeted the gallery's visitors. Now the customer had to chose between ambrotypes, melainotypes, ambrographs, photographs, and other assorted "graphs" and "types". The photographic artists needed training in these new processes and needed to be skilled enough to satisfy the customer.
J. J. Hull offered the new Ambrotype and described it as a more durable image than the daguerreotype without the phantom appearance common to the daguerreotype. The image on a glass plate was not as reflective as the mirror-like surface of the daguerreotype's metal plate. During the remainder of the year, he added additional photographic processes to his list of services. The Melainotype (commonly called a Tintype) used an enameled iron plate as the support for the light-sensitive emulsion. Patent leather provided the background for the Ambrograph. Both of these images were lightweight enough to be placed in letters and mailed.
Starting in 1857 and continuing into 1858, a nationwide economic recession occurred causing hardships for most people. J. J. Hull was forced to reduce his prices to try to increase business. He offered Ambrographs for 25 cents and the other types of images for 50 cents. Despite the downturn, J. J. Hull continued to look for new ways to increase his trade. He obtained the rights for Chenango County to use the Bolles & Smith Patent Camera. This camera, invented by two photographers from Cooperstown, permitted the glass or metal plate to be developed within the camera immediately after exposure. J. J. Hull pointed out that this camera would permit him the freedom to travel anywhere to deliver good pictures. Normally, the photographer would have to return to his gallery to develop any images taken in the field. Besides portraits, Hull's new camera permitted him to take scenic views and pictures of houses and businesses.<Oxford Times, 28 April 1858.>
By the end of 1859, J. J. Hull was no longer offering the daguerreotype. The paper photograph was now becoming the preferred image. He priced his photographs at "only $1 for the first, fifty cents for duplicates, or ten for five dollars!"<Oxford Times, 14 December 1859.>
To be continued. Information on Greene, N. Y. and Norwich, N. Y. will be added later.