Sixth Plate Daguerreotype, attributed to John P. Garrett, circa 1859

Street-level architectural daguerreotype depicting the prominent corner building at Genesee and Fayette Streets in Utica, New York, home to “Rounds’ Skylight Daguerrean Rooms.” The rooftop skylight used for natural-light exposures is clearly visible, offering a rare glimpse of a working photographic studio from the height of the daguerreian era. Above the storefronts is the professionally painted sign reading “Rounds’ Skylight Daguerrean Rooms,” identifying the business as that of Stephen S. Rounds, who operated here from 1856 until his business was taken over by John P. Garrett in 1859.

At ground level, signage for “William H. Crissy, Stoves” and “Tinner, Sheet Iron, Copper Ware” adds valuable historical and commercial context to the composition. A cast-iron pump sits prominently in the cobbled intersection. Period details include wood-planked sidewalks, stacked materials near the steps, and subtle evidence of foot traffic and cart activity.

Garrett likely made this image near the time of his takeover of Rounds’ studio, either while apprenticing or during his early tenure as proprietor. The daguerreotype serves as a vital visual document of the local photographic trade, highlighting the physical structure, advertising practices, and spatial arrangement of a mid-19th century daguerreian operation in upstate New York.

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.