Sixth plate daguerreotype depicting a stern-faced teacher posed in the center of five children, her students, inside what is likely a rural schoolroom. The group is arranged in front of a highly detailed, wall-mounted map of the United States, visible with pronounced state outlines, a feature rarely seen so clearly in early American daguerreotypes. The backdrop provides crucial context, suggesting a formal educational setting, and may assist in geographic attribution.

Housed in its original leather case with bright blue pad and stamped brass mat, the image is attributed to daguerreian John P. Garrett of South Trenton, New York, whose work is documented between 1859 and 1860. Garrett is known to have operated near Utica, and the educational subject matter paired with the large wall map makes this one of the more evocative depictions of early American schooling to appear in cased format.

This image stands out for its rarity of subject, an institutional or pedagogical interior featuring children, and the inclusion of a recognizable wall map, which significantly enhances its documentary value. A standout artifact for collectors of early education photography, New York daguerreotypes, or Americana.

Provenance and Context for the Garrett Daguerreotypes

The remarkable group of daguerreotypes offered here originate directly from the Garrett family holdings and were first dispersed in the 1970s, when they changed hands a couple of times before being acquired by noted early photography collector Yann Mailett. Held privately since that time, the collection was recently sold by Mailett as a single lot and is now being offered for the first time as individual items. The grouping represents a rare and cohesive visual record of mid-19th century life and architecture near Utica, New York, as documented by John P. Garrett, a little-known daguerreian active in South Trenton circa 1859–1860.

From the internal evidence within the collection, a compelling narrative emerges connecting Garrett to Stephen S. Rounds, a better-documented Utica photographer. Two daguerreotypes in the group feature the same corner building, with signs in the windows identifying it first as Rounds’ skylight daguerrean rooms and later as Garrett’s. The consistent angle and architectural features confirm the transition of ownership and operation from Rounds to Garrett around 1859, matching the dates found in period directories. While Rounds operated at 162 Genesee Street from 1856 to 1861, Garrett’s brief tenure as a photographer appears to coincide precisely with his acquisition of the studio.

The images preserved by the Garrett family span street scenes, vernacular architecture, commercial buildings, and private residences, many of which bear hallmarks of a professional’s hand—clear focus, balanced compositions, and even experimentation with color tinting. Taken together, they form an invaluable record of a rural New York photographer whose work bridges the professional lineage of the region’s photographic history, now illuminated through these surviving works.