914
MEADE, CHARLES RICHARD (1826–
- AND HENRY W. M. (c. 1823–1865)
Subscribers to Gleason’s Pictorial Drawing-Room Com-
panion, found its cover for July 24, 1852, dominated by
a spectacular, full-length, engraved portrait of newly-
deceased statesman Henry Clay. His obituary credited
this “excellent likeness” to an original daguerreotype by
Meade Brothers, New York. Charles Richard and Henry
William Mathew Meade were already familiar fi gures
to readers. Their own, very handsome likenesses had
graced “The Brothers Meade,” an article in the June
12th issue. These talented daguerreotypists, dealers,
manufacturers, and instructors, became celebrities in
their own right. Their fame was obscured and much of
their legacy lost due to the early demise of both brothers.
For this reason and because inadequate labeling may
result in surviving pictures being credited incorrectly
or to “photographer unknown,” critical analysis is very
diffi cult. Nevertheless, from their fi rm’s establishment in
Albany, New York in 1842, through the period following
its 1850 relocation to a magnifi cent gallery in New York
City, at 233 Broadway, the achievements of Henry and
Charles Meade rank them among the most important of
professional daguerreotypists and early photographers.
The largest collection of their work is at the National
Portrait Gallery, Washington, D.C.
In Esquisses Photographiques, Ernst Lacan took
note of the superiority of Meade Brothers’ pictures and
the great interest of French daguerreotypists in their
technical excellence. Charles R. Meade published an
account of how this was achieved in the prestigious
journal edited by Lacan, La Lumiere. He revealed that
Meade Brothers used Voigtlander and French lenses,
an American camera by Fisch with a lens 6 inches in
diameter, and either French star or Christofl e (scale)
plates. He described the Meade method of preparation
and development in detail and noted that the extra work
of electroplating star plates (with the aid of a battery by
Farmer) could be avoided by using the Christofl e brand.
Charles also discussed lighting and backgrounds used
by the Meades and said exposure time for a half plate
on a beautiful day was about twenty seconds and a little
more if the weather was gloomy.
Ballou’s, the successor to Gleason’s, boasted that its
engraved likenesses of the Misses Fox, the Rochester
spirit rappers, were from a daguerreotype by Meade
Brothers “and are therefore reliable.” Lola Montez in-
scribed a copy of a Meade picture as follows: “I consider
this lithograph the best likeness I have yet had taken of
myself.” A review of three portraits displayed at Ernst
Lacan’s Paris home indicated that their appearance
could only be compared to Antoine Claudet’s work and
that “By a very special arrangement of the light, by the
care brought to the polishing, by the artistic choice of
the pose, Messrs. Meade give to their portraits a relief
which recalls the illusion of the stereoscope. When one
has seen these beautiful plates, one understands the
reputation that these artists have made for themselves
in America and the value that is attached to their works”
(Gaudin, Charles. “Réunion Photographique,” in La
Lumiere, February 24, vol. 1, 1855, 29–30, [Paris], J.
Lafi tte, 1995). The brothers also composed allegorical
and genre works such as a group of scenes illustrating
Europe, Asia, Africa, and America and the “Seven Ages
of Man,” after Shakespeare, a series of tableaux taken
by Charles.
Henry toured England, France, and Germany on
business in 1847–48. On Charles’s subsequent trip,
later in 1848, he visited Bry-sur-Marne, France, and
charmed Daguerre’s niece, Georgina Arrowsmith, into
persuading the inventor to pose for some very rare and
important daguerreotypes. One day, Charles arrived to
fi nd Daguerre working in his garden and announced that
he had come to take his portrait. Daguerre immediately
complied, changing into a white shirt and tie, dark vest,
and formal coat with the Legion of Honor on one lapel.
Charles took eight or possibly nine portraits on this oc-
casion. During his visit, Daguerre showed Charles the
fi rst daguerreotype, a view of Bry, and told him how it
was made. Charles left two originals in Europe, grate-
fully giving one each to Daguerre and his niece, and
brought the rest home. One was displayed at the Meade
gallery, whose collection would eventually include John
Quincy Adams, Franklin Pierce, James Buchanan, Mil-
lard Fillmore, Napoleon III, Louis Kossuth, Commodore
Perry, Sam Houston, Jenny Lind, Catherine Hayes,
Edwin Forrest, Charlotte Cushman, Billy Bowlegs, and
many others. From views of Niagara Falls, Broadway,
and a moving train shown as if still, to H. K. Brown’s
equestrian statue of Washington in Union Square, and
panoramas of regiments in City Hall Park, the Meades
also took many fi ne outdoor pictures. “Meade Broth-
ers, American Daguerreotype Galleries” refl ected their
patriotic theme as did the carpet with the eagle and stars
chosen for their Williamsburgh branch. At the Washing-
ton Monument may be seen the block they donated; it is
inscribed simply, “To Washington, An Humble Tribute,
From Two Disciples of Daguerre.”
On another European trip in 1853, Henry received
sets of new medals from America with profi les of Henry
Clay and Daniel Webster as they appeared on Meade
daguerreotypes. He was to present them to Queen
Victoria and Emperor Napoleon III. In London, he met
the most important daguerreotypists and at a Lacan
soirée in Paris, Henry displayed a Meade daguerreo-
type of Levi Hill. La Lumière reported that it was “one
of the most beautiful plates we have seen” and that
distinguished attendees such as Nièpce de St. Victor,
another color experimenter, studied Hill’s appearance
with great interest. Meade Brothers had demanded Hill