BGuthrie Photos: DC -- Donald W. Reynolds Center (NPG) -- Exhibit: Warranted to Give Satisfaction: Daguerreotypes by Jeremiah Gurney

DC -- Donald W. Reynolds Center (NPG) -- Exhibit: Warranted to Give Satisfaction: Daguerreotypes by Jeremiah Gurney:

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Description of Pictures: Warranted to Give Satisfaction: Daguerreotypes by Jeremiah Gurney
June 25, 2021 – February 6, 2022
Jeremiah Gurney (1812–1895), a jeweler by profession, gave up that trade in favor of daguerreotypy in 1840 and established one of New York City’s first daguerreotype studios. In the years that followed, Gurney built his reputation as one the city’s leading daguerreotypists. Despite vigorous competition from rivals such as Mathew Brady, Gurney produced daguerreotypes hailed as “nearer to absolute perfection” than those of other camera artists. In 1851, he founded the American Daguerre Association—the first national organization of photographers. Two years later, Gurney captured the first major American prize for daguerreotypes.

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[4] GURNEY_210728_014.JPG	[5] GURNEY_210728_017.JPG	[6] GURNEY_210728_021.JPG
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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. GURNEY_210728_008.JPG: Warranted to Give Satisfaction": Daguerreotypes by Jeremiah Gurney June 25, 2021 - February 6, 2022 Shortly after the daguerreotype process was revealed to the public in 1839, Jeremiah Gurney (1812–1895) acquired a rudimentary camera and began experimenting with the first practical method of photography. A jeweler by profession, he gave up that trade in favor of daguerreotypy in 1840 and established one of New York City's first daguerreotype studios in a building at 189 Broadway. In the years that followed, Gurney built his reputation as one of the city's leading daguerreotypists. Despite vigorous competition from rivals such as Mathew Brady, Gurney produced daguerreotypes hailed as "nearer to absolute perfection" than those of other camera artists. In 1851, Gurney founded the American Daguerre Association -- the first national organization of photographers. His experiments yielded improvements to the daguerreotype process but also contributed to the acute case of mercury poisoning that sidelined him for several months in 1852. A year later, he captured the first major American prize for daguerreotypes in a contest sponsored by Edward Anthony, owner of the nation's largest photographic supply company. This was just one of many awards that made Gurney the nation's most honored photographer. Widely admired for the beautiful, hand-tinted portraits produced in his studio, Jeremiah Gurney continued to make daguerreotypes until the close of the 1850s, when his practice fully transitioned to paper print photography. Unless otherwise indicated, all works are by Jeremiah Gurney. This exhibition was made possible by the American Portrait Gala Endowment.
2. GURNEY_210728_014.JPG: Young Man This small-format portrait is believed to date from the earliest period of Jeremiah Gurney's daguerreotype practice at his 189 Broadway gallery. It is attributable to Gurney based on the distinctive, patterned tablecloth that was one of his studio props. Sixth-plate daguerreotype, c. 1841 Terry J. Alphonse, Alphonse Gallery
3. GURNEY_210728_017.JPG: Young Man This small-format portrait is believed to date from the earliest period of Jeremiah Gurney's daguerreotype practice at his 189 Broadway gallery. It is attributable to Gurney based on the distinctive, patterned tablecloth that was one of his studio props. Sixth-plate daguerreotype, c. 1841 Terry J. Alphonse, Alphonse Gallery
4. GURNEY_210728_021.JPG: Young Woman In the early 1840s, Gurney sometimes identified his pictures by including an urn inscribed with his name. Close examination of this portrait reveals the unusually formatted caption "GURNEY .N.Y" at the base of the urn to the left of the sitter. Daguerreotypes present laterally reversed images, so the urn's lettering had to be written in reverse to appear legible in the picture. This apparently led to some confusion, for when Gurney's urn was inscribed, the periods that should follow the letters "N" and "Y" precede them instead. The painted backdrop representing a Hudson River scene appears in several Gurney daguerreotypes from this period. Sixth-plate daguerreotype, c. 1842–43 Terry J. Alphonse, Alphonse Gallery
5. GURNEY_210728_035.JPG: American Institute Gold Medal Robert Lovett Sr. (1796–1874) or George Hampton Lovett (1824–1894) Gold-plated medal, 1852 Awards from the American Institute Founded in 1828 and incorporated a year later, the American Institute of the City of New York regularly organized "fairs" or grand exhibitions to promote and celebrate "the products of American industry." Manufacturers and others engaged in the "useful arts" were invited to exhibit their works in various categories. Prizes in the form of medals (such as the examples exhibited here) or diplomas were awarded to those whose efforts were judged worthy of commendation. During his decades-long career, Jeremiah Gurney earned more American Institute awards than any photographer in the United States. His honors included ten gold and nine silver medals, as well as one bronze.
6. GURNEY_210728_046.JPG: American Institute Silver Medal Robert Lovett Sr. (1796–1874) Silver medal, 1849 Awards from the American Institute Founded in 1828 and incorporated a year later, the American Institute of the City of New York regularly organized "fairs" or grand exhibitions to promote and celebrate "the products of American industry." Manufacturers and others engaged in the "useful arts" were invited to exhibit their works in various categories. Prizes in the form of medals (such as the examples exhibited here) or diplomas were awarded to those whose efforts were judged worthy of commendation. During his decades-long career, Jeremiah Gurney earned more American Institute awards than any photographer in the United States. His honors included ten gold and nine silver medals, as well as one bronze.
7. GURNEY_210728_056.JPG: American Institute Bronze Medal George Hampton Lovett (1824–1894) Bronze medal, 1890 Awards from the American Institute Founded in 1828 and incorporated a year later, the American Institute of the City of New York regularly organized "fairs" or grand exhibitions to promote and celebrate "the products of American industry." Manufacturers and others engaged in the "useful arts" were invited to exhibit their works in various categories. Prizes in the form of medals (such as the examples exhibited here) or diplomas were awarded to those whose efforts were judged worthy of commendation. During his decades-long career, Jeremiah Gurney earned more American Institute awards than any photographer in the United States. His honors included ten gold and nine silver medals, as well as one bronze.
8. GURNEY_210728_067.JPG: Mary Jay 1846–1916 Augusta Jay 1844–1878 The great-granddaughters of John Jay, first Chief Justice of the United States, Mary (left) and Augusta Jay (right) were reared in a family committed to justice and reform. Their father (also named John Jay) was an attorney and antislavery advocate who represented fugitives prosecuted under the Fugitive Slave Law of 1850. During the Civil War, he endorsed African American enlistment and the Emancipation Proclamation. In 1863, Mary Jay married William H. Schieffelin, who headed a leading pharmaceutical firm. Four years later, Augusta Jay wed lawyer and Civil Service reformer Edmund R. Robinson, who helped to break up "Boss" Tweed's ring of corrupt New York City politicians. Quarter-plate daguerreotype with applied color, 1848 Terry J. Alphonse, Alphonse Gallery
9. GURNEY_210728_077.JPG: Ida Josephine Babbitt 1846–1890 Ida Babbitt was the eldest daughter of Benjamin T. Babbitt, an innovative and highly successful businessman who held more than 100 patents and accumulated a vast fortune through his manufacturing ventures. Best known for introducing commercially produced bars of soap to the market, he pioneered promotional techniques such as distributing free samples and using colorful packaging and pictorial advertising. After Ida Babbitt wed Dr. Frederick E. Hyde in 1869, the couple lived initially with her parents in their fashionable Manhattan residence. A strong-willed young woman, Ida insisted after their marriage that her husband confine his medical practice to New York City's most prominent families. Quarter-plate daguerreotype with applied color, 1849 Terry J. Alphonse, Alphonse Gallery
10. GURNEY_210728_084.JPG: Samuel Jackson Underhill 1848–1910 Daniel Underhill 1826–1899 In this charming double portrait, Daniel Underhill (right) poses proudly with his young son, Samuel. A nationally recognized authority in the fire insurance industry, the senior Underhill began his career as an office boy with the New-York Fire and Marine Insurance Company. He rose through the corporate ranks to the position of secretary in 1844 and four decades later was elected by unanimous vote to serve as the company's president. A number of Gurney's portrait clients shared his Quaker faith, including members of the Underhill family, who were part of Long Island's Quaker community. Quarter-plate daguerreotype with applied color, 1850 Terry J. Alphonse, Alphonse Gallery
11. GURNEY_210728_087.JPG: Young Woman In a letter published in Cincinnati's Daily Dispatch newspaper in October 1856, a recent visitor to New York City wrote glowingly of the many amenities enjoyed by patrons of "Gurney's Palace of Art." These included "the ladies' boudoir, an elegantly furnished room for ladies." The best photographers often provided special accommodations for women, such as dressing rooms where they could freshen their appearance or change into finer clothing in preparation for their portrait sitting. The beautifully attired young woman portrayed in this daguerreotype clearly made every effort to ensure she looked her best before posing for the camera. Sixth-plate daguerreotype with applied color, c. 1852–58 Collection of Nick Vaccaro
12. GURNEY_210728_094.JPG: Alfred R. Waud 1828–1891 During the Civil War, artist-correspondent Alfred Waud created an incomparable record of the conflict with his illustrations for two of the nation's leading newsweeklies -- the New-York Illustrated News and Harper's Weekly. At a time when technical limitations made combat photography impractical, Waud produced highly detailed sketches that captured all the chaos of the battlefield. But when he sat for Gurney's camera, Waud was a recent immigrant who was just beginning to establish his career as an illustrator for publications such as the Illustrated News, the short-lived weekly launched by showman P. T. Barnum and partners Henry D. and Alfred E. Beach in January 1853. Half-plate daguerreotype, c. 1853 National Portrait Gallery, Smithsonian Institution
13. GURNEY_210728_102.JPG: Young Woman This woman's identity remains a mystery, but her forage-style cap and false facial hair suggest that she is an actress costumed for a male role. During this period, it was not unheard of for women to portray male characters. Famed actress Charlotte Cushman was known for performing in so-called "trouser" roles. During the Civil War, actress and former Union spy Pauline Cushman donned a modified major's uniform for her stage appearances. Sixth-plate daguerreotype with applied color, c. 1852–58 Wm. B. Becker Collection
14. GURNEY_210728_108.JPG: Gurney's Daguerrean Saloon -- Broadway, New York When the Illustrated News published this interior view of Gurney's new gallery, located at 349 Broadway, the accompanying article observed: Mr. Gurney's establishment consists of nine spacious rooms, devoted exclusively to this art. The proprietor owes the high reputation of his pictures entirely to his own personal exertions. Having had, we understand, more than twelve years' experience, he has attained for himself a theoretical and practical knowledge excelled by no others in the profession. In this depiction of Gurney's handsomely appointed reception room, patrons can be seen admiring works that line the walls. At a table in the center of the room, an assistant helps a woman select a case for her daguerreotype. Behind them, a man in a top hat stands before the box-like grand piano that visitors were invited to play for their own amusement. Leslie & Hooper (active 1853–1854) Wood engraving, 1853 Published in the Illustrated News, November 12, 1853 National Portrait Gallery, Smithsonian Institution; gift of Larry J. West
15. GURNEY_210728_113.JPG: Advertisement for Gurney's Premium Daguerrian Gallery Gurney used a clever ploy to promote his original gallery. Designed to mimic one of the $100 banknotes then in circulation, this "note" is actually an advertising handbill whose "100 AND 89" denomination references the 189 Broadway street address of Gurney's studio. Its text includes the promise, "Pictures taken at this establishment warranted to give satisfaction." Engraving, c. 1850 Terry J. Alphonse, Alphonse Gallery
16. GURNEY_210728_118.JPG: J. Gurney's Premium Daguerreotype Gallery, 349 Broadway, New York In October 1852, Gurney expanded his enterprise by opening a spacious new gallery in a five-story building at 349 Broadway -- some twelve blocks north of his original studio at 189 Broadway. Located on a fashionable stretch of New York City's principal commercial thoroughfare, Gurney's new gallery enjoyed close proximity to popular stores, entertainment venues, and hotels that attracted a broad clientele. Gurney continued to do business at his 189 Broadway location until February 1853, when it was announced that he would close that branch and consolidate operations at his 349 Broadway address. In this advertisement, Gurney proclaims his gallery to be "the largest and most perfect Daguerreotype establishment in the United States." He also emphasizes his personal supervision of the operating department, which "contains three immense skylights, arranged on scientific principles, for the admission of one unbroken and steady flood of light, the thing most essential to secure a favorable picture." John William Orr (1815–1887) Wood engraving, 1854 Published in Abner D. Jones, Illustrated American Biography, 1854 National Portrait Gallery, Smithsonian Institution
17. GURNEY_210728_126.JPG: Two Gentlemen The bond evidently shared by these young men is reflected in a pose that underscores their closeness. Gurney's composition derives its strength from the central triangle created by the careful positioning of the men's hands. Although daguerreotypes featuring two sitters are fairly common, few approach the level of sophistication seen in this double portrait. The daguerreotype's brass mat is stamped with Gurney's 189 Broadway address, however the chair that appears in the picture was used exclusively at his 349 Broadway gallery. This suggests the portrait may date from the brief period when both studios operated simultaneously. Quarter-plate daguerreotype, c. 1852 Wm. B. Becker Collection
18. GURNEY_210728_129.JPG: Group Portrait The individuals in this daguerreotype are unidentified, but their pose -- with arms intertwined -- suggests a close-knit family group. The portrait's strong, pyramidal composition is anchored by the man's towering top hat. Half-plate daguerreotype with applied color, c. 1850 Wm. B. Becker Collection
19. GURNEY_210728_143.JPG: Two Girls This appealing double portrait of girls in matching gingham dresses refutes the commonly held belief that no one ever smiled when posing for their daguerreotype. The subtle smile of the girl pictured on the right seems to convey her pleasure in having her portrait made and in sharing the experience with a companion, presumably her sister. Quarter-plate daguerreotype with applied color, c. 1852–58 Wm. B. Becker Collection
20. GURNEY_210728_155.JPG: Young Boy Gurney's consummate skill in creating portraits of young children is on full display in this handsome, large-format daguerreotype. The little boy's seemingly casual pose has been carefully worked out to communicate an attitude of calm self-possession that appears surprising in one so young. By including a draped stool proportioned to the boy's height, rather than posing him with adult-scaled furniture, Gurney allows the child to dominate the composition. The subtle tinting of the boy's face and hands and the delicate blue coloring of the tablecloth add to the overall effect of the picture. Whole-plate daguerreotype with applied color, c. 1852–58 David S. Fondiller, through Harvey V. Fondiller
21. GURNEY_210728_157.JPG: Gold Medal from the Exposition Universelle, 1855 In 1855, Napoleon III staged France's first Exposition Universelle in Paris. Showcasing achievements in agriculture, industry, and the fine arts, this mammoth international fair attracted hundreds of exhibitors who vied for the exposition's coveted prizes. Although medals such as this were presented to several hundred recipients, Gurney claimed the only gold awarded for daguerreotypes. He proudly displayed the gleaming medal in his Broadway gallery and referenced it frequently in his advertisements. Albert D�sir� Barre (1818–1878) Gold-plated copper medal, 1855 Terry J. Alphonse, Alphonse Gallery
22. GURNEY_210728_161.JPG: Couple In the autumn of 1858, Gurney moved his operations further uptown to a handsome new gallery built to his specifications at 707 Broadway. The blind stamp in the lower right corner of this daguerreotype's brass mat indicates the portrait was made at the new gallery. Although the identity of the couple is unknown, their fine attire places them among the well-heeled members of Gurney's clientele. Three-quarter plate daguerreotype with applied color, c. 1858 Wm. B. Becker Collection
23. GURNEY_210728_168.JPG: Moses Yale Beach 1800-1868 and his wife, Julia Ann Beach born c. 1820 As the enterprising owner of New York's Sun, Moses Beach introduced innovations that helped to transform the newspaper business. He joined the fledgling Sun in 1834, and four years later became that paper's sole proprietor. Despite robust competition from rival dailies, Beach turned the penny-a-copy Sun into a profitable publication by vastly improving the paper's newsgathering ability. To speed breaking news to New York City from around the country, he utilized carrier pigeons and express riders. During the Mexican-American War, he increased the efficiency of news dissemination by helping to found the New York Associated Press, one of the nation's first news cooperatives. Whole-plate daguerreotype with applied color, c. 1855 National Portrait Gallery, Smithsonian Institution
24. GURNEY_210728_182.JPG: Jeremiah Gurney 1812–1895 Gurney first established his reputation as a skillful daguerreotypist, but he was also an early practitioner of paper print photography. In December 1850, he advertised "Likenesses on ivory, glass, and paper by GURNEY'S new process, together with an extensive collection of Daguerreotypes of distinguished persons." Three years later, he used the term "Daguerre on paper" to describe his photographic prints. Gurney gave equal weight to his description of the daguerreotype and the photograph in his 1856 publication, Etchings on Photography, and bristled at the notion that the works produced by a camera merely required mechanical rather that artistic skill. By 1858, when he opened his new gallery at 707 Broadway, Gurney was described as "confin[ing] his operations to the Daguerreotype and the Photograph." This large-format self-portrait is a fine example of his work in the latter medium. Self-portrait Salted paper print, c. 1859 National Portrait Gallery, Smithsonian Institution; gift of Larry J. West
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