200
Men. It listed 700 Civil War views and more than 2,500
portraits. His work was exhibited at the 1876 Centennial
Exhibition held in Philadelphia. After three decades of
fi nancial diffi culties, Brady died on 16 January 1896.
He is buried at the Congressional Cemetery in Wash-
ington, DC.
Brady’s career spanned the early history of photogra-
phy. He utilized most of the nineteenth century processes
in vogue during this time period, including daguerreo-
types, ambrotypes, salt prints, and albumen prints. Major
holdings of Brady’s work are housed at the Library of
Congress, National Portrait Gallery, Harvard University,
Chicago Historical Society, National Archives, and the
New York Historical Society. Brady’s work is also held
in numerous private collections.
See Also: Morse, Samuel Finley Breese; Cartes-de-
Visite; Gardner, Alexander; Plumbe, John, Jr.; and
Anthony, Edward and Henry T.
Further Reading
Cobb, Josephine, “Mathew B. Brady’s Photographic Gallery in
Washington,” in The Columbia Historical Society Records
(1953–1954): 28–69.
Markham, Sandra, “Fragments of a Mighty Past: Mathew Brady
Portrait Photographs at the New York Historical Society,” in
The New York Journal of American History (March 2003):
80–102.
McCandless, Barbara, “The Portrait Studio and the Celebrity:
Promoting the Art,” in Photography and Nineteenth-Cen-
tury America, edited by Martha A. Sandweiss. New York:
Abrams, 1991.
Panzer, Mary, Mathew Brady and the Image of History. Wash-
ington, DC: Smithsonian Institution Press, 1997.
Sullivan, George, Mathew Brady: His Life and Photographs. New
York: Cobblehill Books, 1994.
Trachenberg, Alan, Reading American Photographs: Images
as History, Mathew Brady to Walker Evans. New York: Hill
and Wang, 1989.
BRAGGE, JAMES (1833–1908)
English photographer
James Bragge (1833–1908) was born in South Shields,
England and moved to New Zealand with his family,
arriving in Wellington shortly after it had been made
the seat of Government in 1865. Having established a
successful portrait business, he soon became known for
his excellent landscape studies which were very popular
with residents and visitors to the Capital whose business
brought them to Wellington. Bragge not only made a fea-
ture of having on hand a constantly changing selection
of Wellington views in whole plate and carte-de-visite,
but he mastered large format photography. His largest
camera took a plate measuring 16 × 14 inches. It was
not long before civic dignitaries called upon his talents
and commissioned him to make a series of views which
were offi cially entered in the Sydney and Melbourne
International Exhibitions of 1879 and 1880/1881. These
submissions earned him several awards. He also made
a spectacular series of views of a district close to Wel-
lington called the Wairarapa. Using a horse-drawn van
which he had fi tted out in a fully equipped darkroom,
he made over a hundred 10 × 8 inch to 12 × 10 inch
views which were later bound into leather albums.
These photographs did much to direct the attention of
land investors to the district’s potential, the negatives
of which are currently housed in the Museum of New
Zealand—Te Pap Tongarewa.
William MainBRANDSEPH, GEORG FRIEDRICH
(1826–1915)
Georg Friedrich Brandseph was born May 5, 1826, in
Stuttgart as illegal son of Friederike Brandseph. He
received training in lithography, and in 1851 he could
be found in the city’s address book as “lithographer,
silhouetteur, and painter.” Around this time he gained
knowledge in the daguerreotype process through Karl
Reutlinger who lived in Stuttgart as well. The idea of
a professional career in photography occured to him
while living in Hamburg between 1852 and 1853. Be-
fore opening his own studio in Stuttgart in late 1853,
Brandseph went to Paris and visited a number of impor-
tant studios including the one of Adrien Tournachon’s.
Brandseph’s studio in Stuttgart grew to an extraordinary
size in the 1870s and was handed over to his son Her-
mann Brandseph (1857–1907) in 1884. G.F. Brandseph
retired to Kennenburg near Esslingen and died on Nov.
24, 1915.
During his involvement with photography, Georg
Friedrich Brandseph was a true contemporary. He started
his Stuttgart business in 1853, and starting with the
Daguerrean process, switched to Collodion processes
the next year, and then later introduced the carte-de-
visite to Germany as soon as it was available in Paris.
The extraordinary size of his company—around 1870
is reported to have had more than 40 employees and
refl ects the variety of his engagements. Of course, he
had a portrait studio but there were printing departments,
as well and a publishing house, which took care of the
many photographs Brandseph produced of Stuttgart’s
edifi ces, streets, and places. In addition to this, Brand-
seph was an expert draftman and a painter, too. Typical
for his time, Brandseph encouraged the Wurttemberg
ducal family to collect photographs and to begin with
their own experiences as amateurs. When Georg Fried-
rich Brandseph resigned in favor of his son Hermann in
1884, he handed over one of the biggest studios in the
German speaking countries of his time. Unfortunately,
Hermann was not as prosperous. When he died at the