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Ste Croix in London, 1839

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Ste Croix in London, 1839 [The first year of the daguerreotype:] Ste Croix in London, 1839. R. Derek Wood [published in History of Photography, Spring 1993, Vol.17 (1), pp. 101–7] The Times, 14 September 1839: “THE DAGUERREOTYPE. – The first experiments made in this country with the instrument and process of M. Daguerre were exhibited yersterday [sic] by M. St. Croix, who has just arrived from Paris, in the presence of a select number of scientific men and artists… The place of exhibition was No. 7, Piccadilly, nearly opposite the southern crescent of Regent–street, and the picture produced was a beautiful miniature representation of the houses, pathway, sky, &c, resembling a beautiful mezzo tint. The experiments were perfectly satisfactory”. September and October in London On 14 September 1839 reports appeared in several newspapers 1 about the first display in London of the apparatus and method used to produce daguerreotypes. The demonstration had been given the previous day of Friday 13th September at 7 Piccadilly, London, by a Frenchman called St. Croix. In Paris, it had been only six days earlier, on Saturday 7th September that the first public demonstration had been given before a large audience by Daguerre himself: an event that had been very swiftly, although briefly, reported from the just arrived French papers in The Times on Tuesday 10 September, and in considerable detail in the Morning Herald 2 the day before St. Croix’s demonstration. Processing equipment and technical data required to produce images could have been available in Paris for only an extremely short time before St.Croix came to England. Even so,he obviously already had technical confidence enough to demonstrate the process to anyone on payment of a fee. Could he have just been simply a self–taught first amateur? He came to, and disappeared from London with a great lack of clues as to his identity. Three days after St. Croix’s display to the press and some other invited guests at his lodgings, another exhibition began on Monday 16 September “and every succeeding day”. In fact those days seem to have been just for the rest of that week. Two shillings was the entrance fee and the place was No. 246 Regent Street, ‘the Argyll Rooms’, not a great distance from the Polytechnic. No name of the person doing the demonstration was given in the first advertisement in The Globe of Saturday 14 September 1839, or a few days later in The Times, but it did appear that the daguerreotype apparatus had been ‘made in Paris under the immediate direction of M. Daguerre’ and it was also stated that 1 (a) The passage quoted is from The Times, Saturday, 14 September 1839, p.4 (but not in a second edition printed later that day). Other reports appearing the same day were in (b) Morning Herald, p.3. (c) Morning Chronicle, p.3. (d) The Globe, p.3. (e) One paper published in the evenings, managed to make its report available at the end of the actual day of the demonstration: The Sun, Friday Evening, 13 September 1839, p.2 2 The Times, Tuesday, 10 September 1839, p.4c. Morning Herald, Thursday, 12 September 1839, p.3d 2 R. Derek Wood some daguerreotype views of London would be shown. So who – apparently with some connection with Daguerre himself? – was exhibiting at the Argyll Rooms? It is a little surprising perhaps to learn from a reviewer of Memes’ English version of Daguerre’s Manual writing in the Literary Gazette of 21 September that It happens, very opportunely, that a French Gentleman, M. St. Croix has arrived in London from Paris; and, at the Argyll Rooms, every day, publicly goes through M. Daguerre’s process. We ‘assisted’ the other 3 morning at one of these lectures or exhibitions.… There is no doubt that the unnamed advertisements saying the apparatus used at the Argyll Rooms was made ‘under the immediate direction of M. Daguerre’ were placed by St. Croix, or – as it seems he did not speak English 4 – by an English associate. So where else would St. Croix have obtained the equipment but at the Giroux et Cie in Paris? ‘ The crowd at Giroux’s shop is immense’ and many were disappointed, it was said, ‘at the price (about 400 francs) of the apparatus!!’.5 Giroux, a relative by marriage to Daguerre, had a contract to produce cameras carrying a notice that it was ‘The Daguerreotype made under the direction of the inventor in Paris by Alphon. Giroux’. A straight–forward statement about such a camera and processing equipment would have been read without a second glance in any other country: but in Britain, where steps to acquire a patent had been set in motion, it was different. So, were the advertisements regarding the daguerreotype apparatus at the Argyll Rooms a mere simple factual statement; or could St. Croix have been trying to puff–up his status? [No easy judgement can be made: not enough facts are available, but the issues need to be discussed later.] At the end of that week at the Argyll Rooms, St. Croix advertised in The Times6 that as well as demonstrating apparatus and daguerreotype views, he would at midday and 3.00pm on the following Monday of 23 September try a ‘new experiment’ of obtaining a portrait. Two shillings was again the cost of entrance to this demonstration, but this time it was to be at St. Croix’s apartment at 7 Piccadilly. Two days later on Wednesday 25 September 1839, St. Croix began demonstrating at the ‘Royal Gallery of Practical Science’. Commonly known as the Adelaide Gallery, it was just off Trafalgar Square in Adelaide Street at the corner of the entrance into Lowther Arcade between St. Martin’s Church and the west end of The Strand. It is not known when or how St. Croix organised the invitations to the press and other ‘scientific and literary gentlemen’ to attend his special first demonstration on 13 September but one person there was ‘Mr Clarke, of the Lowther Arcade, who has done a great deal himself in the construction of apparatus for photogenic drawing from nature upon paper’.7 According to the reporter from The Globe, Clarke had been very impressed by the apparatus brought to London by St. Croix: “he felt pleasure in yielding the palm to Mr.Daguerre, from whose invention all the others stood at an immeasurable distance.” TheSuperintendant of the Adelaide Gallery, at Lowther Arcade, was listed in Robson’s London Directory as a Mr. C. Payne, so maybe the man at St. Croix’s press demonstration was E. M. Clarke, an optical 3 Literary Gazette, 21 September 1839, p. 605 4 London Saturday Journal, 2 November 1839, Vol.2, pp.283–5. “.M.de Ste. Croix being unacquainted with our language, was assisted by an English lecturer, who explained the process as it proceeded...” 5 Literary Gazette, 14 September 1839, p.590 6 The Times, Saturday, 21 September 1839, p.1. Advertisements are generally printed on the front page but sometimes on p.2. Newton and Berry’s notices quoted appeared on the second page of the newspaper. 7 The Globe (London), 14 September 1839, p.3d History of Photography, Spring 1993 Ste Croix in London, 1839 3 instrument maker, with premises in Agar Street only two minutes from the Gallery. If the Adelaide Gallery had actually organised St. Croix’s trip to London, then surely he would not have given the first demonstrations in his apartment and at the Argyll Rooms. But St. Croix’s opening demonstration at the Adelaide Gallery on 25 September began an association for the place with the daguerreotype which surely could not have been without influence on the fact that the well known studio of Antoine Claudet was opened above the Gallery in June 1841. Some time during the two weeks that St. Croix had been demonstrating the daguerreotype apparatus and technique in London, the patent agency Newton and Berry of Chancery Lane must have gone along to see what St. Croix was doing, for on the following Saturday, 28 September, they had a Notice published in The Morning Herald and in The Times drawing attention to the fact that a patent had been sealed by Berry for the exclusive right to use the daguerreotype in England. They wanted to emphasize one particular point: We think it right to state that legal proceedings have already been taken against certain parties for publicly exhibiting this invention, more particularly as the failure of such exhibitions and the imperfect specimens which they have produced in illustration of this extraordinary process, will deceive the public and injure the proprietors of the patent. Furthermore, said Newton and Berry, they were arranging for the lecturer in Chemistry J. T. Cooper to demonstrate for them the daguerreotype technique at the Polytechnic Institution at 309 Regent Street. Cooper being, they said, ‘perfect master of the art, will do ample justice to the discovery’. On Monday 30 September in the first available issues of the same two newspapers following Newton and Berry’s warning, St. Croix or the management of the Gallery placed an advertisement: THE DAGUERREOTYPE. – This beautiful process will be SHOWN by Mr. DE ST. CROIX TODAY and tomorrow, at 1 o’clock precisely, for the last time, in consequence of a threatened injunction for the infringement of an alleged patent The one shilling price of admittance to all the attractions of the Adelaide Gallery also covered St. Croix’s two supposed ‘last time’ events to be held on 1st and 2nd October. When these two days moving from September into October had passed, a notice was again put by Newton and Berry into The Morning Herald and The Times to appear both on the Wednesday and Friday , 2 and 4 October.
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