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| 1. |  | Mathew B. Brady 1854 (ca) [Brady's Daguerrean Gallery] Daguerreotype, 1/2 plate Library of Congress, Prints and Photographs Division DAG no. 030, LC-USZ62-109858 DLC (b&w film copy neg. post-1992) An interior view of reception gallery, showing ladies and gentlemen in groups, conversing and looking at work of studio, which is displayed on walls. In distant background, seen through entrance to another room, is operator standing beside camera. Apparently from original drawing by unknown artist, reproduced as woodcut in Brady's advertisements in Norton's Literary Gazette for 1854 and elsewhere. |
| 2. |  | Mathew B. Brady 1853, 11 June Brady's New Daguerreotype Saloon ("Illustrated News", New York: June 11, 1853) Magazine page Cornell University Library Curational comment from "Dawn's Early Light: The First 50 Years of American Photography", October 20, 2011 - May 4, 2012, Hirshland Exhibition Gallery in Carl A. Kroch Library, Cornell University In Brady's lavishly appointed New York gallery, visitors not only sat for their own portraits, but also saw Brady's portraits of the great men and women of the day. Soon after this article appeared, the invention of albumen paper and the cartes de visite permitted Brady to sell copies of his portraits to the public. Brady was poised to take full advantage of the technology that would soon revolutionize photography. |
| 3. |  | Mathew B. Brady 1853, 11 June Brady's New Daguerreotype Saloon ("Illustrated News", New York: June 11, 1853) Magazine page Cornell University Library Curational comment from "Dawn's Early Light: The First 50 Years of American Photography", October 20, 2011 - May 4, 2012, Hirshland Exhibition Gallery in Carl A. Kroch Library, Cornell University In Brady's lavishly appointed New York gallery, visitors not only sat for their own portraits, but also saw Brady's portraits of the great men and women of the day. Soon after this article appeared, the invention of albumen paper and the cartes de visite permitted Brady to sell copies of his portraits to the public. Brady was poised to take full advantage of the technology that would soon revolutionize photography. |
| 4. |  | Mathew B. Brady 1851, January M. Brady Magazine illustration, engraving Google Books Published in "The Photographic Art Journal", Volume 1, January 1851, No.1 |
| 5. |  | Mathew B. Brady n.d. Business card for Brady's Daguerrean Galleries Business card Archives of Modern Conflict OR National Gallery of Canada |
| 6. |  | Mathew B. Brady 1853-1859 Receipt from Brady's Daguerrian Galleries Receipt Cornell University Library This receipt acknowledges payment of $35 for four daguerreotypes, approximately $900 in today's dollars. The document features a "View of New Gallery" that depicts a visit to the grand reception hall of the Brady Gallery. The engraved receipt served as an artistic memento of the experience and a promotional piece detailing the gallery's range of services. |
| 7. |  | Mathew B. Brady 1845 M.B. Brady - First Premium New-York Daguerrian Miniature Gallery Advert Google Books Sheldon & Co.'s Business or Advertising Directory: Containing the Cards, Circulars, and Advertisements of the Principal Firms of the Cities of New-York, Boston, Philadelphia, Baltimore, &c., &c. (New York: John F. Trow & Company, 1845), p.41. FIRST PREMIUM NEW-YORK DAGUERRIAN MINIATURE GALLERY, Comer of Broadway and Fulton-street, Entrance third door from Broadway, Where may be had Miniatures which for beauty of coloring, tone and effect, cannot be surpassed. By a new process, the dim and shadowy appearance of the pictures formerly so much complained of, is entirely obviated; and Mr. Brady respectfully invites the criticism of a just and intelligent public. Likenesses in all cases warranted to give satisfaction, and colored in the most beautiful manner by a practical and competent artist. Ladies, Gentlemen, and all strangers are invited to call at the Gallery, whether they intend sitting or not. Miniatures taken in all kinds of weather, from 8 A. M. till 5 P. M. The American Institute awarded a first premium to Mr. Brady at the late Fair. Instructions carefully given in the art. M. B. BRADY. |
| 8. |  | Mathew B. Brady 1845 M.B. Brady - First Premium New-York Daguerrian Miniature Gallery Advert Google Books Sheldon & Co.'s Business or Advertising Directory: Containing the Cards, Circulars, and Advertisements of the Principal Firms of the Cities of New-York, Boston, Philadelphia, Baltimore, &c., &c. (New York: John F. Trow & Company, 1845), p.41. |
| 9. |  | Mathew B. Brady 1854 Brady's Daguerrian Galleries, 359 & 205 Broadway, New York Advert Google Books This advert was published in "The Illustrated American Biography" by A.D. Jones, Volume II, (New York: J. Milton Emerson & Co., 1854) |
| 10. |  | Mathew B. Brady 1854 Brady's Daguerrian Galleries, 359 & 205 Broadway, New York Advert Google Books This advert was published in "The Illustrated American Biography" by A.D. Jones, Volume II, (New York: J. Milton Emerson & Co., 1854) |
| 11. |  | Mathew B. Brady 1854 Brady's Daguerrian Galleries, 359 & 205 Broadway, New York Advert Google Books This advert was published in "The Illustrated American Biography" by A.D. Jones, Volume II, (New York: J. Milton Emerson & Co., 1854) |
| 12. |  | Mathew B. Brady 1854 Brady's New and Magnificent Daguerreotype Gallery, 359 Broadway, New York Advert Google Books This advert was published in "The American National Preacher" edited by Rev. E. Carpenter, Volume I28, No.1, January 1854 |
| 13. |  | Mathew B. Brady 1854 A New Feature in Daguerreotypes has been introduced by Brady, at his Old Gallery, 205 Broadway, cor. Of Fulton St. N.Y. Advert Google Books This advert was published in "The Commercial Advertiser - Directory of the City of Buffalo" (Buffalo: Jewett, Thomas & Co., 1854) |
| 14. |  | Mathew B. Brady 1854, December Advert for Brady's Daguerrean Galleries Advert Google Books This advert was published in "The Knickerbocker", Volume XLIV, December, 1854, No.6, p.662 |
| 15. |  | Mathew B. Brady 1847-1848 (ca) Gen. Taylor taken during or after the Mexican War Daguerreotype, full plate 16 x 14.3 cm Yale University, Beinecke Rare Book and Manuscript Library Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library, Call number: GEN MSS 243, Image ID number: 1070233 |
| 16. |  | Mathew Brady's Studio 1845 (ca) [Samuel F. B. Morse, head-and-shoulders portrait, facing right]. Daguerreotype, 1/6 plate Library of Congress, Prints and Photographs Division DAG no. 1278 / cph 3g12153 |
| 17. |  | Mathew Brady's Studio 1844-1860 [G.P.A. Healy, half-length portrait, facing front]. Daguerreotype, 1/2 plate, gold-toned Library of Congress, Prints and Photographs Division DAG no. 398 / cph 3g04154 |
| 18. |  | Mathew Brady's Studio 1851 (ca) Mathew B. Brady, (1823?-15 Jan 1896), Juliette Handy Brady (1822-1887) and Mrs. Haggerty (19th Century) Daguerreotype 10.7 x 8.3 cm (4 3/16 x 3 1/4) National Portrait Gallery, Smithsonian Institution [NPG.85.78] |
| 19. |  | Mathew Brady's Studio 1844-1860 [Tom thumb, full-length portrait, facing front, standing on table with tablecloth] Daguerreotype, 1/2 plate, gold-toned Library of Congress, Prints and Photographs Division DAG no. 082 / cph 3c09908 |
| 20. |  | Mathew Brady's Studio 1850, Sept [Jenny Lind, three-quarter length portrait of a woman, three-quarters to the left, facing front, seated] Daguerreotype, whole plate, gold toned Library of Congress, Prints and Photographs Division DAG no. 509X / cph 3g06777 Date based on a lithograph of Lind copyrighted in 1850 by D'avignon from a Brady daguerreotype. |
| 21. |  | Mathew Brady's Studio 1850, Sept [Jenny Lind, three-quarter length portrait of a woman, three-quarters to the left, facing front, seated] Daguerreotype, whole plate, gold toned Library of Congress, Prints and Photographs Division DAG no. 509X Date based on a lithograph of Lind copyrighted in 1850 by D'avignon from a Brady daguerreotype. Which photographer with Brady's Daguerreian Study is not certain and it might have been Poly Von Schneidau or Luther Boswell. John Carl Frederick Polycarpus Von Schneidau (Daguerreotype in America by Beaumont Newhall. New York: Dover, 1976, p. 59, and in America of the Fifties: Letters of Fredrika Bremer. New York: American-Scandinavian Foundation, 1924, p. 210) or Luther Boswell (The Chrysler Museum acquired a daguerreotype of Jenny Lind along with a note from Mrs. Luther Boswell that described Lind coming to Brady's studio where operator Luther Boswell made the exposure.) [Wikipedia: December 2010] Further clarification is requested. |
| 22. |  | Mathew Brady's Studio 1850, Sept [Jenny Lind, three-quarter length portrait of a woman, three-quarters to the left, facing front, seated] Daguerreotype, whole plate, gold toned, digitally retouched Library of Congress, Prints and Photographs Division DAG no. 509X Date based on a lithograph of Lind copyrighted in 1850 by D'avignon from a Brady daguerreotype. Which photographer with Brady's Daguerreian Study is not certain and it might have been Poly Von Schneidau or Luther Boswell. John Carl Frederick Polycarpus Von Schneidau (Daguerreotype in America by Beaumont Newhall. New York: Dover, 1976, p. 59, and in America of the Fifties: Letters of Fredrika Bremer. New York: American-Scandinavian Foundation, 1924, p. 210) or Luther Boswell (The Chrysler Museum acquired a daguerreotype of Jenny Lind along with a note from Mrs. Luther Boswell that described Lind coming to Brady's studio where operator Luther Boswell made the exposure.) [Wikipedia: December 2010] Further clarification is requested. |
| 23. |  | Mathew B. Brady 1850, 19 October Jenny Lind in New York and Mr. Brady Magazine page Google Books Published in "Jenny Lind in New York" in "The Musical World", Volume 25, No: 42, Saturday, October 19, 1850, p.671 She also objects to have her likeness exhibited; but this objection is overruled by Mr. Brady, the daguerreotypist, who shared with the sun the honour of having taken it, and on his part objects to be considered a humbug. Our meaning will be understood from the following : Mdlle. Jenny Lind, who, in the first place, was averse to having her likeness taken, and, in the second, did not wish to have it exhibited, has permitted Mr. Brady to show it to the public, who have importuned him for the last week, many telling him it was all humbug, and that she did not sit for her likeness at all. On Monday there was a great rush to see it, and all who had seen her pronounced it to be an admirable likeness. It is a beautiful specimen of the perfection of the photogenic art. There were eight likenesses taken in all, and every one differed from the rest, so changeable is the expression of the countenance of the great cantatrice. There were three preserved, of which Mr. Brady has two, and one is in the possession of Jenny Lind herself. The two at Mr. Brady's gallery differ very much, one of them being far superior to the other. In looking at those likenesses of Jenny Lind, we saw some exquisite portraits done on ivory, which is a new invention of. Mr. Brady, and exceedingly creditable to him. |
| 24. |  | Mathew B. Brady 1853-1859 Portrait of an unknown man Daguerreotype, Encased Rijksmuseum Copyright © Rijksmuseum Amsterdam (RP-F-F14429) |
| 25. |  | Mathew B. Brady n.d. Portrait of a gentleman (American) Daguerreotype, 1/4 plate Stereographica - Antique Photographica Courtesy of Bryan and Page Ginns (#14 / 131) |
| 26. |  | Mathew Brady's Studio 1850s Unidentified woman, possibly Phoebe Cary Positive - type uncertain Library of Congress, Prints and Photographs Division |
| 27. |  | Mathew Brady's Studio 1844-1860 [Unidentified copy of a daguerreotype portrait of a woman] Daguerreotype Library of Congress, Prints and Photographs Division LC-USZ62-110011 DLC (b&w film copy neg. post-1992) / DAG no. 212) |