Serving Photo Collectors Since 1969
Link to Craig's Daguerreian Registry
(Research on American Photographers 1839-1860)

e-mail address: john@craigcamera.com

(860) 496-9791·····P.O.BOX 1637,TORRINGTON, CT 06790······FAX: (860) 496-0664

CRAIGCAMERA.COM IS NOW RE-OPENED. Our founder John S. Craig died on Friday February 25, 2011.

I appreciate your loyalty and all your kind words about my husband John.

I will accept your orderes by e-mail or snail mail at the following addresses: Hon. Joyce Krutick Craig (Ret.) at craigcamera@outlook.com or at our post office box PO 1637 Torrington, CT.If you wish to pay with a credit card I will send you a PayPal invoice. You click on the link supplied and you can enter your credit card information. I will also accept check or money order, or PayPal. The telephone is now working. Please give me the items you wish to purchase and your address so that I can determine the shipping costs. I ask that you be patient with me as John refused to teach me to run the business and this will be trial and error for me.




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  • Branded Literature A to Z
  • Hove Magic Lantern Guides
  • Reprinted Repair Manuals
  • New and Reprinted Reference Books
  • Reprinted Photo Catalogs
  • The Daguerreian Era
  • British Journal of Photography 1920-1939

  • Daguerreotypes, Ambrotypes & Cases
  • 19th and 20th Century Images
  • Signed Political CDV's, c. 1863-1865
  • Quality Cartes-de-Visite
  • Edward S. Curtis Gravures on Tissue
  • Photographical Images
  • Pasadena Rose Parade Photographs, 1892
  • Images by Edward Steichen

  • Cameras, Lenses, Projection
  • Camera Accessories
  • Bargain Page
  • Photographer's Baby Posing Chair, c. 1910
  • Projection Lamps
  • Projection Lamp Cross-Reference
  • General Ephemera
  • Photo-Related Playing Cards
  • Kodak Collector Pins & Things
  • Nikon Collector Pins & Things
  • Other Photo Pins & Things

  • 3-D Equipment
  • 3-D Literature
  • Stereo Views
  • New 3-D Specialties
  • Tru-Vue
  • View-Master
  • Nishika 3-D Camera Special! + a new packaged outfit Special!

  • Kodak Bellows By Part Number
  • Dating Your Rolleicord
  • Dating Your f/3.5 Rolleiflex
  • Dating Your f/2.8 Rolleiflex
  • Dating Later Graflex Cameras
  • Dating Some Zeiss Lenses
  • Identifying Bronica Models
  • Who Made Your Tower Camera
  • Folksy Deardorf History
  • Uncle Sam Prices Your Used Camera, 1942
  • Basic Computer Lesson(Humor)
  • Funny is Everywhere(Photos)
  • Dealers Beware! An internet scam with a delayed reaction

  • If you arrived here directly from a search engine, please go to my Home Page. Search engine cached pages are probably not current. PLEASE NOTE: Since my husband's death I have left many of the webpages exactly as they were at his death. This is one. So please check with me for the availability of these images.
    Prices do not include shipping
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    Photographical Images
    OK, so I coined my own word to describe this page. But it did catch your attention. The images linked here all relate directly to photography -- they are of photographers, of photographic studios or exhibits, or specialized sample photographs from specific cameras, or show photographic equipment.

    There has always been a fascination among photographic collectors for directly-related photographic images. I hope you find something here that fascinates you enough to want to add it to your collection.


    This unusual carte-de-viste is undated, but is c. 1870's. The back imprint carries the photographer's name, "A. Orr, Jr., Photographer, Ridge Street, Glen's Falls, N.Y." The decorative background on the face of the print is part of the photograph, and also bears the imprint "A Orr, Jr." above the image itself. We believe this to be a self-portrait of the photographer, possibly used for advertising purposes. We see no other explanation for the name to be part of the printed negative. $300.00

    This orange-mount stereo view, c. 1880's, is titled in the negative "Monument Square, Front Street." Looking down the street, the sign "Photographic Studio" can be seen on the wall behind the statue on the right. And strung across the middle of the street is a large banner, advertising "J.S. Wooley's Photo Studio." Imprinted on the reverse of the view is the legend, "A Complete Assortment of Ballston Spa and Saratoga Views May be Found at J.S. Wooley's Photo Studio." Jesse Sumner Wooley (1867-1940) reportedly began his photographic career in 1880, and retired in 1923. His stereo work is uncommon, but usually of extremely high quality. Rarely do we find views of photographic galleries; rarer yet is one with a hanging advertising banner for the photographer. Crisp, Excellent condition. $350.00

    A "boudoir" (so-called) size yellow mount stereo view (4-1/4x7"), undated, in Southern Utah or Nevada. The view is listed as #21 in the 1875 Powell Survey series, and is titled "Mouth of the Narrows." Credited to John K. Hillers, the view shows the Rio Virgen, with a large view camera on a tripod, with various plate boxes on the ground, on the opposite side of the river. The view has a full explanatory label on the reverse, and the imprint of the Powell Survey on the front. Minor rubbing of mount corners, else Excellent. $275.00

    A crisp 4-3/4x3-3/4" photograph of an 1890's home interior, mounted on a stiff green mount. Imprinted at the bottom of the mount is "Made with HAWK-EYE Camera". Photographs that we can call "samples" taken with different cameras were used at the time to show the quality of images available with many of these new amateur "hand" cameras. Few of these sample photographs have survived to the present time. This Hawk-Eye camera was undoubtedly one of those produced by the Blair Camera Company of Boston, before its absorption into the Eastman Kodak Company shortly after the turn of the century. $75.00

    Square-cornered yellow so-called "boudoir" size stereo view. From the Department of the Interior J.W. Powell survey, #134, "Scene on the River." View shows a photographer or his assistant, with two boats for traveling on the river. The boat in the foreground contains the photographer's equipmnent; tripod legs are visible extending down from a covered camera. Another covered box sits behind it, probably the portable darkroom. Some bottles also seem to be in evidence at the side. The view shows some minute age wear, and was not an especially crisp image originally (unfortunately). Nevertheless, quite scarce and sought after among collectors, both of Western survey views and of photographic views. $375.00

    Standard gray curved-mount stereo view, from the Keystone View Company, copyright 1909. Numbered #11917, and titled, "Still There's no Place Like Home." The view shows a family of eight in the parlor, engaged in various activities; two boys play some board game, while another watches; etc. Agains the back wall, between the boys, stands a 16-drawer Keystone stereo view cabinet, with an extremely ornate pedestal stereo viewer on top of the cabinet. A passionate diatribe about the American home is imprinted on the back. Not an extremely rare view, but more exceptional for the highly unusual and apparently undocumented viewer. View is in Excellent condition, and crisp.$75.00

    Yellow mount so-called "boudoir" size stereo views. Both this view and the one below are from the same "series", if you will, and attributed to R. Anderson (not listed in Darrah), with hand-written date of about 1874 on the reverse. This view is also identified as a "Birch Bark Dark Room"; the man standing next to it is holding a camera plate-holder in his right hand. The view below is described on the reverse as a "Camp Scene, Lake George" and noted as being by "R. Anderson Phot." The view shows five men engaged in various man-type "camping" activities. No photographic equipment is evident. The views have only average contrast, and show minute wear on the mount corners. But I don't think I have ever heard of or seen another example of a birch bark darkroom; and the photographer appears to be unknown. A great addition to an esoteric collection of photographic images.$250.00

    4-1/4x5-1/4" tintype, c. 1870's, in an unidentified location. It wouldn't be easy to move this tintype studio, but judging from its location in the woods, it probably was set up on a temporary basis. The photographer or his assistant stands casually outside, while a man and wife and their children can clearly be seen posing inside the gallery, allowing the photographer to use the sidelight for illumination. The detail is Excellent. The lacquer on the surface has a rough texture, affecting viewing the image properly. Overall, quite a rare image.$1500.00

    A crisp carte-de-viste, c. 1860's. Identified on the reverse as Elmer C. Johnson, this man appears to be wearing the typical long coat attire of a photographer of the time, or a photographer's assistant. Imprint on the reverse is "Perkins & Co., Photographers, 520 Seventh Street, Washington, D.C." Additional research may find Johnson listed in the Washington, D.C. business directories in the mid to late 1860's.$275.00

    This orange-mount stereo view, c. 1880's, is titled on the mount "2807 'You know how it is yourself'. Also identified as published by C.W. Woodward of Rochester, N.Y., from the series "Oil Regions of Pennsylvania." This floating photographer's boat has a sign on top noting "Photographic Gallery", and on the side of the building can be read "Oil Creek Artist." One man stands by the door, looking shoreward; two young boys sit in a smaller boat. Oil derricks can be seen on shore, and a couple of photorgaphs and/or print frames are leaning against the building. The original image is not as crisp as we would all like. Mount corners show minute rubbing, and there is a minuscule chip in the print on the top right panel. Still, an extremely scarce and rare look at photoraphic ingenuity and enterprise in this time period.$300.00

    A crisp tintype, 2-1/4x4-1/4", c. 1870's. Unidentified as to photographer or location. Sharp image of a man seated in a chair, his hat in one hand. On the table beside him is a Holmes-type hand-held stereo viewer, with a view in it. Image at some point in time was in a mat, but no longer. Minute wear along bottom edge of plate, but not interfering with image. Quite nice. $135.00

    A crisp carte-de-viste, mid to late 1860's. The full length view of the youg woman was taken by "J.R. Tatman, Photograph and Fine Art Gallery, Shelbyville, Ind." (imprinted on reverse). Her left hand rests on the end of a carte-de-visite viewer known as a Robinson's Viewer. The unit held a number of cdv's in openings on a belt; the belt was advanced by turning knobs on the front of the viewer, and images could be displayed in both "windows" of the viwer. The unit was patented c. 1865. A crisp, Excellent image utilizing a nice backdrop; the young woman is identified on the image as "Mary C. Hilligoss." $275.00

    A unique 2-1/8x3" tintype, unidetified as to location of photographer. The image shows a padded photographer's posing chair, with a lot of fringe; and a cast iron posing stand. The image looks to be c. 1870 or so. Excellent, quite unusual. $400.00

    A pair of crisp cartes-de-viste, probably 1864. Both are signed on the back, "Compliments of J. Wheeler." The image on the left also has the added hand-written note on the back, "Photographic Artist" Also imprinted on the reverse of each CDV is "Bowdoin, Taylor & Co., 204 King, cor. Columbus Street, Alexandria. Va." This firm was only listed at this address in 1864. It is probable that Wheeler was a photographer employed by the company, and these images are interesting studies of the photographer. Rare, and in Excellent condition. Price for the pair, $600.00

    A group of three cartes-de-visite, originally from a family album related to photographer O.R. Wilkinson of Medford, Mass. According to researcher Chris Steele, Wilkinson was active in the city from 1860 to 1879. All three images carry the imprint of Wilkinson on the reverse; the image believed to be of Wilkinson himself also carries a penciled or penned signature on the bottom front identifying the subject as O.R. Wilson. We believe the younger woman to be Mrs. Wilkinson, and the older woman to the the mother of either Mr. or Mrs. Wilkinson. A nice group of images, in Excellent condition. $225.00

    A crisp carte-de-viste, probably 1864. Signed on the back, "Compliments of G.P. Taylor," and is noted below the image to be "Taylor." Also imprinted on the reverse of the CDV is "Bowdoin, Taylor & Co., 204 King, cor. Columbus Street, Alexandria. Va." This firm was only listed at this address in 1864. There appears to be no question that the G.P. Taylor pictured is the Taylor in the firm. Also compares favorably to the other image from the same firm of J. Wheeler. Rare, and in Excellent condition. $400.00

    C. 1940 8x10" glossy black and white photograph (shown here in reduced size) of the exterior of the plant of Duplex Motion Picture industries, Long Island City, New York. The company manufactured and sold a variety of high-quality professional 35mm motion picture equipment, including printers, splicers, Optical and Reduction Printers, Perforators, Light Changers, Polishing Machines, Developing Machines, etc. Signs adorn the building, including one for the "Duplex Restaurant." Great image for the movie collector, and eminently frameable. $150.00

    The company manufactured and sold a variety of high-quality professional 35mm motion picture equipment, including printers, splicers, Optical and Reduction Printers, Perforators, Light Changers, Polishing Machines, Developing Machines, etc. Signs adorn the building, including one for the "Duplex Restaurant." Great image for the movie collector, and eminently frameable. This image was shot at the same time as the other, but from a slightly different vantage point. $150.00

    A "boudoir" (so-called) size yellow mount stereo view (4-1/4x7"), from the Wheeler Expedition, 1874. The view is listed as #43 in the series, and is described on the reverse as being a characteristic ruin of the Pueblo San Juan, New Mexico." Credited to Timothy O'Sullivan, the view shows two unidentified men from the expedition, one of whom may be a photographer, and a large view camera on the ground. One panel of the view appears as a full-page illustration (p.304) in the 1965 book by James D. Horan, Timothy O'Sullivan, America's Forgotten Photorgapher. The view has a full explanatory note imprinted on the veverse, and the front carries the imprint of the Wheeler Survey. This was O'Sullivan's last stint as a government photographer before returning to New York. Excellent condition throughout, and scarce. $325.00

    This extremely rare advertising item for the Daguerreian Gallery of Jeremiah Gurney measures 7x3 inches, and extremely fragile. Printed on, literally, tissue paper, it is amazing than it has survived more than 150 years. The scrip was issued, generally, to be redeemed for pictures, although in this case there is no amount specified. The "100" in large print is part of the address of "100 and 89" (189) Broadway, New York City, the location of the gallery. His gallery was listed at this address in the New York City directories from 1843 until 1853. The minute wear to the corners of this piece can be see, as well as the light age stain at the right. Overall, an extremely rare piece of photographic ephemera, and eminently worthy of any serious collection. $1800.00

    Jeremiah Gurney (1812-?) was one of the most well-known and respected photographers of his time; his photographic career spanned four decades, from 1840 until 1874. The following is information compiled in Craig's Daguerreian Registry (revised edition, 2003):

    Before learning the daguerreotype process, c. 1840, he operated a jewelry store at 18-1/2 Maiden Lane, New York City, N.Y., in 1839-1840. Following his introduction to the daguerreian process, he opened a gallery on Broadway. He was not listed in the New York city directories until 1843-1844, when he appears as a daguerreian at 189 Broadway. His residence was listed at 80 Greene Street. His gallery remained at the same address through 1853, with varying residence addresses.

    In 1846, 1847, 1848, 1850 and 1851 he exhibited daguerreotypes at the American Institute Fair, New York City. In 1850 he pioneered mammoth daguerreotype plates, and at the American Institute Fair in 1851 exhibited eleven double full plates and six half plates.

    Sometime between 1848 and 1854 (and possibly for the entire period), Gurney probably employed A.B. Weeks as a daguerreian.

    In 1851 he also exhibited at the Crystal Palace, London, England. It may have been about this same year that he employed Caleb Hunt as a daguerreian. Hunt eportedly worked for Gurney prior to establishing his own gallery in Cincinnati, Ohio.

    From 1851 to 1855 he lived at 53 Baltic Street, Brooklyn. In March, 1852, fire damaged his gallery. In June, 1852 he purchased the Whitehurst gallery at 349 Broadway, at the corner of Leonard Street. The gallery reportedly had been destroyed by fire; Gurney refurbished it and operated it as a second gallery for a short time. He advertised both galleries in an ad in November, 1852. He sold the gallery at 189 Broadway, and effective February 1, 1853, only operated at 349 Broadway.

    Sometime prior to 1853, he employed J.I. Pacheco as a daguerreian; the Brazilian native also worked for M. Brady and H. Insley before returning to his native country in 1853.

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

    In 1853, he received honorable mention at the New York Crystal Palace exhibition, and also won the Anthony prize competition. The same year, he exhibited again at the American Institute. Solomon N. Carvalho was employed by Gurney in 1853; and reportedly from 1853 onward Gurney used primarily paper photography processes. He advertised that year as taking "mezzographs."

    In late 1853, C.D. Fredericks began working at the gallery, and in 1854-1855 was listed in partnership as Gurney & Fredericks. The firm may have also employed a "Mr. Penabert" at that time as a daguerreian.

    The Brooklyn city directories lagged a little behind, continuing to list him at 189 Broadway (New York City) from 1853 to 1855. From 1855 to 1857 he was listed in partnership as Gurney and Fredericks (C.D.). From 1855 to 1859, Gurney lived at 332 Henry Street, Brooklyn. He continued to exhibit at the American Institute each year.

    An advertisement in the New York Times in late December, 1854, noted the gallery at 349 Broadway, and that Hayes, Perry and Johnson were employed as operators (Johnson appears to be a new addition to the family). The ad also noted that the photograph rooms were under the direction of (C.D.) Fredericks of Paris, France; and that Santain and Martain attended the pastel studio, as colorists.

    We're guessing here, but it may have been c. 1855 when Gurney employed a James Forbes; he was reported to have worked for Gurney in the "early days" of wet plate photography, probably before he opened his own Philadelphia gallery in 1856.

    In 1855-1856, A.A.Turner was listed as a daguerreian at the 349 Broadway address, and was probably an employe of the gallery.

    Vuillon and Hoefer were listed as artists who ran the "miniature studio", which Gurney operated for copying daguerreotypes, etc. The ad also noted a branch gallery at 46 Rue Vasso du Rempart, Paris, France.

    From 1857 to 1869 his gallery was listed at 707 Broadway, New York City. In 1857, he was noted in partnership with John Bishop Hall, making and distributing Hallotypes. This partnership was not listed in the New York City directories. From 1858 to 1860, he was listed as photographic artist, 349 Broadway. Sometime in the late 1850's he may have employed Samuel J. Miller, a former daguerreian in Akron, Ohio, as a "poser." This was the assistant who posed the sitter for the camera. In 1860-1861, he was listed as a photographist at 707 Broadway, in business as J. Gurney and Son, with Benjamin Gurney.

    In 1874, the Gurney and Son partnership was dissolved. Benjamin Gurney continued to work at Kurtz's old gallery at 872 Broadway.