Mr. Brand’s Temple of Art
Life Span: 1869-1871
Location: 28 Washington Street
West of Wabash on Washington Street, next to Carbutt’s Studio and Mosher’s Gallery. Photographer P. B. Greene had an office in the Brand building in 1871.
Architect: TBD
- D. B. Cooke & Co.’s City Directory for the Year 1859
Brand Edwin L., ambrotype gallery, 110 Lake, bds 328 State
Halpin & Bailey’s City Directory for the Year 1863
Brand Edwin L., photographs, 110 108 and Lake, bds 34 Washington
Edwards’ Annual Directory in the City of Chicago, for 1870
Brand E. L. , photographer 28 Washington, r. 1066 Wabash av.
Edwards’ Annual Directory in the City of Chicago, for 1871
Brand E. L. , photographer 28 Washington, r. 471 Michigan av.
Greene P. B. landscape photographer, 28 Washington, r. 315 W. Jackson
Lakeside Annual Directory of the City of Chicago, 1875
Brand E. L. & Co., 596 Wabash av.
Chicago Evening Post, February 22, 1868
BRAND’S.
Progress of the Photographic Art in Chicago.
No estimate of the progress of the fine arts in Chicago can be deemed full which overlooks photography. Few branches of discovery and invention have a history so striking and so clearly marked in their transitions from stage to stage towards a perfection which, in this art, seems at almost any particular time to have been finally reached. We assert for it the rank of a fine as well as a useful art; and challenge the entire range of the practical arts to produce a more impressive example of ingenious experiment, and the application of recognized principles in the attainment of results more attractive and better calculated to multiply the pleasures of taste and sentiment among all classes of people. The daguerreotype, the ambrotype, the photograph, on paper or porcelain, the stereoscopic picture is each a marvel in its way; and the extent to which painting and design are made to contribute to the popularity of an independent branch of art is one of the most striking facts in the progress of invention. We say, we claim for photography, pure and simple, the rank of a fine art: and it is conclusive on this point that while the artist in colors is doing so much to render photographic portraits attractive, the demand for good, clear, soft photographs, was never greater than now.
Especially have the past ten years been marked by progress; and this period covers the history of an establishment here which long since became one of the notable institutions of Chicago. Mr. Brand, who has occupied his present location, 108 Lake street, during that entire period, stands first among those of his profession who have subsidized and anticipated its leading improvements. And his establishment has kept pace, too, with the progress of the city as well with that of his as art. From time to time he has refitted and enlarged it; and now a step has become necessary, far in advance not only of all his previous ones, but of those taken by any similar establishment in the country. This is a new skylight, in addition to those which he has already, the construction of which is as ingenious as its dimensions are unsurpassed. The new extension has dimensions of thirty by forty feet, a large portion of which will be simply a glass house,—containing overhead and on the sides, down to the floor, an aggregate of 500 square feet of glass. A portion almost equally large will be devoted to the operator, and will be fitted up with screens, scenery, furniture and other “properties” which will enable him to secure any desired “effect.” The other will simply be enveloped in a radiance, such as surrounds one sitting in a bright day out of doors, on the shady side of a house. There will be none of the disagreeable “shadows” which photographers are generally vexed withal. The shadows will be all there, but will be marvelously delicate and soft,—such as artists designate as atmospheric half-tints. The arrangement will be especially admirable for children, who can be photographed instantaneously. Mr. Brand has true artists ip his employ, especially in the person of Mr. Carson, the operator, who studies his subjects from every point of view, and skillfully regards temperament, costume and pose in preparing his sittings; and W. O. Mull, Esq., recently of Philadelphia, who has been exclusively connected with Mr. Brand’s establishment during the year of his residence in Chicago. Mr. Mull, who confines Chicago himself to oil colors, was an excellent portrait artist to begin with. He is no “photograph colorer” merely; he does not “paint photographs” simply; he paints portraits. His portraits have more than the fidelity of the photograph, with the animation, softness: roundness and ease of the portrait from life—the artist having “sittings” just the same as though he had no photograph before him.
But let it here be noted that Mr. Mull has the faculty of producing a speaking portrait in the absence of the living form. This is a consideration of great importance to the thousands who have lost friends, but have fortunately preserved a daguerreotype or other similar picture. No matter how much obscured this may be, even though partial-y defaced by accident or wear,—Mr. Brand will reproduce it, aided by the recollections of the friends, with entire fidelity. An exquisite reproduction of this kind may be seen in the gallery; in which the accessories, not only, but the countenance and pose seem those of life and reality. It should also be stated, in this connection that Mr. Brand exhibits the especial taste and skill adaptation of costume, in his reproduction of old pictures, to present styles. Also, where there are two or more heads on the same plate, any one can be taken, apart from the rest.
Among portraits which are really notable in Mr. Brand’s gallery are those (already referred to in these columns) of Mayor Rice and ex-Mayor Haines—to be placed in the Municipal Council Chamber; a portrait of the son of Silas Barton, Esq.; of Mr. West, (firm of West & Farrar) exquisite in fidelity to life, in natural fulness of feature, and softness of handling;” and of Thomas Church, Esq., an accurate portrait, and a most thoroughly artistic picture, Among several Masonic pictures, in uniform, a portrait of Dr. O. H. Tiffany, recently of this city, is noticeable. We alluded, a few days since, to Mr. F. N. Hamlin’s children’s group, an exquisite composition and portrait piece, seeing which reminds us to say that Mr. Brand is now engaged in surpassing himself and eclipsing all similar attempts in Chicago, by making a family group of eight, parents and children.
In conclusion, among many things which we wish we had space to commend, we should be glad to more than mention Mr. Brand’s porcelain pictures, colored in oil by Mr. Mull; and, last but not least, his cartes de visite, a marvel of fidelity, neatness and cheapness.
Chicago Evening Post, March 26, 1869
A PALACE OF ART.
A Fashionable Residence Converted into a Photographic Gallery.
E. L. Brand in his New Quarters—The Most Expensive and Elegant in the Country.
It is scarcely more than thirty years since the art of daguerreotyping was invented, yet what a startling difference is evident between the first plain sun-picture and the artistic, life-like photograph of to day! Photography has reached a stage which seems capable of little improvement, and those who are engaged in its higher ranks justly claim the title of artists. The public appreciation has kept pace with the progress of the art, and those whose skill, taste and experience make them especially successful in picture-taking are rewarded with a popularity which attests their success.
So thoroughly does photography, with its accessions, supply every requisition for a good likeness that the expensive oil pertraits are meeting with little demand, and people with abundant means go to the photographic gallery rather than to the painter. To furnish attractions and conveniences for even the most fastidious sitters much attention has been paid of late years to the fitting up and adornment of the galleries. This city has several of very creditable appearance, but the medal for taste, elegance and expensiveness must now be awarded to Mr. E. L. Brand, who yesterday threw open his magnificent apartments, at No. 28 Washington street, to the public. Notwithstanding the rain, many visitors poured into them during the day, and all the evening a fashionable throng wandered through the brilliantly-lighted apartments, admiring and praising.
The building No. 28 Washington street is a signal instance of the power of Chicago enterprise. A few months ago it was a dwelling differing in naught from the others in the block, one of a stereotyped class to be found in every city of the country. To-day it is, what its name indicates, a magnificent temple of art. So complete, so radical is the change, that it requires quite a stretch of the imagination to place before the mind the building in its original form. There is the neat iron fence, the well kept front yard, the stone stoop, the pride of a former possessor, the cozy basement, the elegant parlors. In vain do we seek for the grassplot and walks of the back yard, nor can we find any longer a trace of the stable which sheltered in bygone days some one-horse shay and the gallant Rosinante which drew it. All have disappeared at the waving of the magic wand of the deus ex machina of this transformation.
The old front yard is replaced and covered by a portico of elegant proportions—floored with encaustic tile, the inside of the walls frescoed, the sides still further ornamented by show-cases of elaborate finish. Stone stoop, front doors, basement, parlor and chamber windows, are all removed, and replaced by enormous panes of polished plate glass, separated from each other by bronzed columns and by cornices. of chaste design.
Entering the building we find ourselves in the business room of the establishment. This occupies all of the parlor and basement stories of the old house, the floor of the latter having been let down to within sixteen inches of the grade line. This room is elegantly fitted up. The distinguishing feature is the beautiful case against the west wall made of solid black walnut elaborately carved and pannelled. An elegant Brussels carpet covers the floor, and the walls are artistically decorated. Back of this room, is the picture gallery, lighted from the ceiling, and one of the best lighted rooms in the city. Back of this room the old division of basement and first floors again asserts itself. In the former are the “baths” of the establishment, together with storerooms for the many paraphernalia of such an establishment; in the latter the studio of Prof. Mull, the portrait painter attached to this establishment.
From the main business room, a handsome and capacious staircase leads to the second floor, the former chamber story. Here are elegant parlors and dressing rooms, and two operating rooms, containing what we believe the two largest skylights in the city. Above one of the skylights is the printing room of the establishment. Another flight of stairs connects this with the operating room, the studio, the gallery and the baths. Speaking tubes and dumb waiters complete the means of communication between the different parts of the structure. In all the description of the details of this building, the elegance of the finish, the fitness of the different parts to each other and to the whole, are distinguishing characteristics not usually found in renovated buildings.
We congratulate the young architects of this “Temple,” Messrs. Kinney and Adler, on their success The carpentry of the building was done under the superintendence of Mr. Neal; the carving by Mr. J. M. Cook; the paper hanging and decorating by McGrath; graining by Heath & Milligan; gasfitting from McGinley; plumbing by Harry Byrne; iron work by J. Clark & Co; plate glass from Page & Sprague; stained glass from Geo. A. Misch & Co.; masonry by Paesch; plastering by Boland;: tiling by E. R. Doolittle.
The equipments of the operating rooms where the work of the establishment is to be done and the reputation acquired, are of the most complete and expensive kind, Mr. Brand having thrown away all his old material and started de novo. His cameras embrace Dallmeyer’s Patent, made in London, for the taking of cabinet cards, of which class of instruments there is only one duplicate, we believe, in the city; the “Mammoth,” for imperial pictures; and the “Extra Mammoth,” for life-size pictures; the “Eight-Four,” for groups; the “Card Tubes,” which take four vignettes on the same plate, and will thus give sitters an order of pictures in four different positions, instead of one uniform position; and the Patent Combination, which takes seventy-four pictures at a time, from the size of a tin type up to card size. These instruments are all new, procured abroad, and combine all the latest improvements both in material and manipulation. For plain pictures, the stone-colored reflectors are used, but for pictures requiring accessories, a complete assortment of backgrounds in the way of rocks, rustic fences, vines and beautifully painted landscapes, exteriors and interiors, sufficient in number to stock a small theatre, have been provided.
Mr. Brand, in devising and completing this magnificent edifice, has shown what energy and ability will do in Chicago. He is still quite young, and started here, a few years ago, with small means, from which his industry, artistic taste, and appreciation of the public wants, have yielded abundant fruit.
It is said that the fitting up of his new establishment cost nearly forty thousand dollars—showing the material success which has attended his efforts. The description given above fails to do justice to the elaborate and costly equipment of the building which should be seen by all lovers of art. In adding it to the other tokens of increasing refinement and artistic taste in Chicago, Mr. Brand has done something praiseworthy, and his efforts should be rewarded, as they doubtless will be, with a liberal and increasing patronage.
Chicago Tribune, November 7, 1869
Progress in Art.
We notice that the proprietor of Brand’s Temple of Art, No. 28 Washington street, announces a reception for Thursday evening of this week, to which the ladies and gentlemen of Chicago are generally invited. He is constantly introducing the latest styles of photographs. Several new portraits of prominent citizens are among his collection, and many new landscapes, and a large number of new photographic gems.
From the Chicago Medical Times, Vol. 1, 1869
Mr. E. L. Brand’s New Temple of Art, 28 Washington Street, is all that is beautiful, chaste, and grand, and ranks as the finest in the West if not the Americas. Brand was known for his “anatomical photography of the human body and its elements”, including photography of “carefully dissected cadaver specimens for the purpose of anatomical research at Bennett College.”
- Mr. Edwin Brand’s New Gallery of Art
28 Washington
About 1869
- Mr. Edwin Brand’s New Gallery of Art
28 Washington
Sanborn Fire Insurance Map
1869
Chicago Tribune, February 20, 1875
Brand’s.
At E.L. Brand & Co’s photographic art-gallery, No. 596 Wabash avenue, may be seen specimens of this class of work which illustrate the development and relative perfection if the art, and express in a new and impressive manner the glory of this great modern discovery; full-size portraits finished in all styles and colors,—crayon, oil, India ink, pastel, and water colors,—reproducing the human face, form, and presence with wonderful precision and accuracy, and with faithful adherence to the permanent laws of art, several of the specimens actually representing a value equal to the entire photographic outfit and business of the city during the first year of the history of the art in Chicago. This establishment, by old association and the historic interest and popular patronage naturally incident to old-time institutions, has some features of a public and representative character, and is commonly instanced in illustration of the photographic art in Chicago from its rude beginnings to its present flourishing and perfected state. Mr. Brand first engaged in the business in Chicago in 1857, and has contributed a large share of the capital, enterprise, and professional skill which have entered in the history and growth from the art from the time that it became one of the prominent industries of the city. For a period of about eleven years his first establishment at 108 and 110 Lake street, constituted a sort of popular headquarters for all the improvements and novelties developed in the primitive days of the business, in ambrotypes, ferrotypes, and all the old-fashioned miniatures, and the successive improvements in photography, till the completion of Brand’s famous Temple of Art, No. 28 Washington street, where he relocated March 25, 1868, and which till its destruction in the general conflagration of Chicago, constituted one of the features and public attractions of the city,—the daily resort of throngs of visitors,—claimed to have been, in architecture, decoration, and furniture, costly attractions of art, and general mechanical equipment and outfit, the finest establishment of the kind in the world. It was at this magnificent Temple of Art that Mr. Brand introduced the true method of assigning to the several branches or departments of the photographic-work special artists of the highest professional skill and attainments, for exclusive attention to respective branches,—a special artist for each of the departments respective branches,—a special artist for each of the departments respectively of printing, retouching, crayon, water and oil colors, positioning, operating, etc.,—a measure and method of business still adhered to by the firm at the Wabash avenue photographic gallery, and which has resulted here, as the old Temple of Art, in the production of a class of portraits and pictures which has established a local frame and developed the immense popular patronage of the establishment.
The general outfit and equipment in mechanical apparatus at E.L. Brand & Co.’s is said also to be unsurpassed at any of the famous galleries of London, Paris, and New York, an item of which—a single instrument for life-sized plates at an expense of $1,000, and said to be the only “8D.” Delmeyer in the United States—is instanced as an illustration of the improvements in the mechanical department of photography in our city. Among the notable specimens of art that embellish the walls of the main parlors of the gallery is a $700 picture,—a full-length, life-size photograph, in crayon, of the late Mrs. J.C. PAtterson, taken in her wedding attire, and highly prized by friends, both as an eaquisite work of art and as a faithful likeness of that estimable lady. The exhibition includes also an endless variety of small pictures, porcelain miniatures, in various forms and styles, cartes de visites, Brand’s “Souvenir” portraits, cabinet or imperial, etc., the same minute attention to the details of art being equally conspicuous in all the work exhibited in the gallery.
Chicago Tribune, October 1, 1876
BRAND’S ART RECEPTION.
His Great Picture of the Chicago Fire Department.
The great social circles of this city are looking forward to the reception of next Thursday evening, and are eager to witness Mr. Brand’s successful representation of the whole Chicago Fire Department in action. The completion of the large picture is a triumph of photographic art, the action of busy men being portrayed with vigor, yet each individual face of over 400 men is easily recognized as if working at a great fire, although the whole work was done in Mr. Brand’s new studios, Nos. 210 and 212 Wabash avenue. It is the most successful work of this class, alike, both in its composition, perspective, and accuracy of details, and is another evidence of Mr. Brand’s efforts to elevate the photographic art, ranking well with the fine portraits of ladies and children which will be exhibited at the reception of Thursday evening.
Chicago Tribune, October 7, 1876
BRAND’S ART RECEPTION.
Comely gentlemen, beautiful ladies, fine pictures, good music, and handsome flowers, combined to make Brand’s art gallery unusually attractive last evening, and those in attendance appreciated so highly the rare attraction that many requested the reception might be repeated to-night. In order to allow their friends the privilege of attending. This evening, Mr. Brand will gladly welcome his friends, and all who are interested in the great photographic group of the Fire Department, and other local pictures, or elegant copies of old masters, at his gallery, Nos. 210 and 213 Wabash avenue.
The Inter Ocean, July 4, 1881
THE ASSASSIN’S PHOTOGRAPH.
The photograph of the assassin Gauteau, (of President James A. Garfield), printed above is submitted to the readers of The Inter Ocean though the courtesy of Mr. Edwin L. Brand, of No. 212 Wabash avenue, and the originals from which this is made were taken early in the present year. After seeing the picture taken just four years ago by the police department, it occurred to the reporter, from what he had gleaned regarding Guiteau’s habits, that it was possible he had had some photographs taken in the city. A hurried run around to the principal galleries soon settled the point. Early in the search a picture was found in Mr. Brand’s studio, on Wabash avenue.
“Do you remember the man, Mr. Brand?”
“I do, for more than one reason.”
“May I inquire what those reasons are?”
“Well. yes. I will state one of them anyway. He came here and ordered a dozen photographs and paid for them. Then he ordered another dozen, which were made, and those he failed to call for. Here they are.”
“UNCALLED FOR.”
And here Mr. Brand produced the dozen photographs enveloped, ready for delivery, endorsed, “Uncalled for.”
“Did you know Guiteau simply from his coming here on those two or three occasions, Mr. Brand?”
“No; I was introduced to him one day prior to his ever coming to the gallery.”
“How did he impress you?”
“Candidly, not favorably. Our introduction was simply a matter of courtesy. We did not meet socially at all. He was a lawyer and fond of making himself conspicuous, and met one day in the company of a mutual friend, a respected citizen.”
“Was he a man of good address and appearance?”
Well, his address was fair, and his appearance varied. He was well dressed at times, and then again he was down at heel.”
“He hardly impressed you favorably, then?”
“Not at all. I thought he had a very strange way of doing business, and had by no means a high opinion of him, from my very slight acquaintance.
This was all Mr. Brand could say of his customer, so he was briefly thanked for his kindness in at once furnishing The Inter Ocean with a photograph, and then left.
Chicago Tribune, October 26, 1883
BUILDING PERMITS
E. L. Brand, four-story store-building, 50×70, Nos. 73 and 75 Jackson street, to cost $15,000.
Chicago Tribune, November 11, 1883
Architects Adler & Sullivan are erecting a store and flats at Nos. 73 and 75 East Jackson street for E. L. Brand. The building will be four stories high, and will have a front of Anderson pressed brick.
Chicago Tribune, January 28, 1894
Col. E. L. Brand has sold his studio on Wabash avenue to Charles F. Hartley and will retire from the business. The deal was closed yesterday and Mr. Hartley takes possesion at once. Thirty-six years ago Mr. Brand came to Chicago and began taking pictures. He was then located over Potter Paimer’s dry goods store, No. 208 Lake street. As an evidence of the success he made, his secures 400,000 fine negatives, so labeled and boxed that the original photograph of a man, woman, or child taken thirty years ago can be produced in five minutes. The exact purchase price is not known, except to the buyer, seller, and Edvard H. Peters, who negotiated the trade, but it is said to be $150,000. Mr. Brand said the price was twice as much as the largest sum ever before paid for an establishment of the kind. Among the negatives is one of Abraham Lincoln, taken when he was a candidate for the United States Senate; several of Stephen A. Douglas; the finest collection of negatives of Gen. Grant in the world: one of James A. Garfield, taken within an hour after he was nominated for the Presidency; of Gen. Sheridan. Chester A. Arthur, Edwin Booth, Christine Nilsson, Adelina Patti, Parepa Rosa, Gen. George Crook, and many other distinguished people, as well as of most of the prominent families of Chicago. Besides the pictures he gets sixty cameras of every style and make from the old-fashioned up-side-down popgun to the latest instantaneous dash light invention. Having amassed a fortune in the shape of real estate and houses Mr. Brand will hereafter give his attention to the collection of rents and matters in connection therewith. He is at the head of the Chicago and belongs to several other organizations.
Inter Ocean, December 2, 1900
“Brand” has long been synonymous with all that in the best in photography. Tomorrow and Tuesday those fortunate enough to have received invitations will be given an opportunity to inspect the most perfectly equipped gallery in Chicago, if not in the country.
Edwin L. Brand will open his new studios and art galleries at Nos. 73 and 75 Jackson Boulevard East on those days. The Brand studio has long been famous, but realizing that Jackson Boulevard East, which is the only business boulevard in the city where carriages may be used with safety in Chicago, is rapidly becoming the lower Fifth avenue of Chicago. Mr. Brand decided to open another gallery in a more desirable location.
Money has not been spared in fitting up the new quarters. Everything is of the best, both from an artistic and utilitarian standpoint. There are four reception rooms, and four more beautifully or substantially furnished rooms could be found in America. Two of them are furnished in Louis Quatorze style, and are considered the most elegant in the city. The other two reception rooms are furnished in the old colonial style, which serves as a contrast to the more luxuriantly equipped rooms representing the days of France’s more lavish period. Simplicity in one and wealth in another prove a combination which cannot help the eye of the artist to discover that elegance and simplicity are the foundations of art.
The furniture is all of hard mahogany of excellent workmanship, and the carpets were especially manufactured for Brand more than six months ago. Not only has money been expended in decorating and making attractive the reception rooms, but the operating rooms have been equally taken care of. There is not an old piece of furniture in the new working apartments of the studio.
It is the highest wish of the proprietor to make it the gallery to be pointed to as an example of what can be considered a model one. Mr. Brand has been known as one of the best, if not the very best, man in his line in the West, and that reputation he desires to surpass. With this object before him he has engaged as the chief of his operating room Mr. Louis A. Steffans, who is known as one of the best operators in the country, while R. J. Steffons will take charge of the printing department of the work, and Mr. R. E. Brown, the well-known miniaturist, will have charge of the water coloring and pastel department. That Mr. Brand has secured the best man to be had is evident from the selections here named, and there is no doubt that the best that money can procure will characterize the new gallery.
There are about a dozen private rooms in which those who desire to prepare themselves for the ordeal of having their “picture took” can get in readiness, and none of the many inconveniences experienced by those who in former years looked upon the taking of a photograph with about as much horror as a surgical operation will be in evidence when the new gallery opens.
Inter Ocean, January 27, 1901
The conflagration to Brand’s Art Studios building, Nos. 73-75 Jackson boulevard, east, last Monday night gave rise to an erroneous statement in each of Chicago’s daily papers regarding the connection of that building with the estate of the late Edwin L. Brand.
In the newspaper articles referred to there appeared the statement that the building was leased by Edwin L. Brand some two months ago, whereas in reality the property had been numbered among the Brand real estate for nearly if not quite forty years.
The acquisition of this and the rest of the Brand holdings, as well as the story of Mr. Brand’s life from his father’s farm to his own fame, is of rare interest and reads like a romance.
A Gentlemany Man.
Edwin L. Brand, whose recent demise caused such widespread sorrow and profound regret among his myriads of personal friends and business associates, was no average man. He was a perfect specimen of that quiet, soft-spoken, gentlemanly type so seldomly encountered in the rush and crush of “business.” There never was a time, no matter how busy he may have been. nor of what great importance that business was, but what he had time and natural inclination to courteously extend a polite audience to the most casual caller—nio matter of what, perchance unpleasant, mission the call. His newspapermen friends were many, and not one is there of them but has expressed the sentiment that they would rather receive a “turn-down” from Major Brand than a “signed contract” from many another less affable customer.
It was this admirable characteristic that helped the fortunes of Mr. Brand at every turn, and that he should be called away forever, just after having attained the aim of his life, in the establishing of his new and magnificent studios in Jackson boulevard, east, seems to all who knew him to have been literally the irony of fate.
Edwin L. Brand was born in Edmeston, Ostego county, N. Y., in 1835. His childhood days were passed on his father’s farm in that quaint Eastern town, and so far he could then be seen his future life seemed to be leading toward the hardy occupation of his father—that of the village blacksmith. And naught occurred to change that current until one summer’s day in 1850, when the town of Edmeston was thrown iunto what might be termed a “panic” by the unheralded appearance of a traveling photographer of the daguerreotype school. His workshop—his gallery—was likewise his home, both being in one and in the form of a house of wheels. The outfit was drawn by a team of donkeys at a snail-like pace from town to town, at each of which was a stop of sufficient time was made to allow a canvass of the representative communities and the acquisition of enough business to necessitate at times a visit from two weeks to a month in town.
His Future is Cast.
The day that donkey outfit hove into sight of Edmeston town the future life of Edwin L. Brand was cast. Always of a naturally mechanical turn of mind, the paraphernalia and the operation of taking, developing, and finishing perfect daguerreotypes interested at first, then charmed, and finally fascinated into abject captivity the person of Chicago’s late photographic leader.
Ten dollars even represented his entire cash fortune at that time, and a deal was quickly consummated between the artist and the farmer’s lad whereby the former’s stock of “professional knowledge” was to be exchanged for the entire $10 fortune of the latter. The boy learned rapidly, and long before the wandering photographer had left Edmeston the country boy had packed his personal belongings into a spick and span carpetsack, and, ‘mid the hearty handclasps of his father and the tearful blessing of his mother, with parting injunctions to “take cafe of yourself, Eddie,” he was off to the nearest “big” city—Utica, N.Y.—to perfect himself in the photographer’s art.
A stay of less than two years in Utica sufficed to given all that was possible there in the line of photographic knowledge, and another move into a larger locality landed young Brand in Kingston, Ontario. Soon came a jump into a “real metropolis” in the shape of Rochester, N.Y., and there the name of Brand commanded its first widespread attention in the world of photography. He perfected a process for photographing on patent leather which, had he patented the discovery, would have made him a rich man at that youthful age, but instead he revoted his time in Rochester to teaching the process to competitive photographers, in which manner he was enabled in a short period to amass a sum of something more than $1,000.
Chicago Attracts Him in ’58.
The motto, “Forward, aye Forward,” used in the Brand crest of today, seems then to have become a breathing part of the great portrait maker, for at just about that time tales of a wondrous future were discussed in the East, of Chicago, a little town on the shores of Lake Michigan, with big prospects and plenty of room for men of the Brand type. A train brought him from Buffalo to Chicago in something less than a week’s time, and a few days of reconnoitering satisfied his ambitious spirit that Chicago was to be the scene of his life’s successes and attainment of his principal business aim—”absolute superiority.” Returning East, he settled his affairs there and in due time was back again in Chicago, prepared to tie to this city’s fortunes, for better or for worse. That was in 1858, and Mr. Brand at that time was 23 years of age. The location he selected by him for his first Chicago gallery was at No. 109 Lake street, in what was then the heart of the city. There he remained until 1870, when increased business and fame to his name caused a removal to larger and more pretentious quarters at No. 34 Washington street, where Brand’s Temple of Art became one of Chicago’s points of interest. It was while at that location that the Chicago fire wiped out every trace of what had stood there, and the blow to Mr. Brand was a disastrous one. Dazed in the loss of all he had accumulated in the line of photographic and mechanical equipment, but never unnerved or weakened in his indomitable will power, he quickly re-established his business in a private residence at what was then No. 504 Wabash avenue (now 1223), and in November, 1871, scarce two months after Chicago’s monster disaster, he was ready for business and open to the public in his new location.
The Photographic World Surpassed.
In `1875, when the burned district had been partly rebuilt, the Brand’s studios were installed at Nos. 210 and 212 Wabash avenue, near Adams street, and from then until Jan. 12, 1901, (two weeks ago), the location remained unchanged, Meantime Mr. Brand and his son, E. L. Brand, Jr., who had been taken into full partnership in in the business, had completed a study and research of over two years’ duration tending toward the establishing in Chicago of such studios, in point of magnificence and thoroughness of appointments as could not be surpassed in America. This resulted in the opening, early in December, 1900, of the Brand’s studios at Nos. 73-75 Jackson boulevard, east, to witness and to participate in the exultant satisfaction of which Edwin L. Brand, Sr., lived just long enough and that was all, for on Christmas day, after a happy, loving morning with his family, he died suddenly, but peacefully, with the knowledge that the aim of his life tom outdo all others in his line of business, in the entire world, had been realized, and that his work on earth was ended.
Prominent in Club Life and Masonry.
He was a member of the Calumet club, the Chicago Athletic association, the Hamilton club, and the Washington Park club, in each of which he was highly respected and universally beloved for his sterling qualities of manliners, and his gentle manners.
He was prominent in Knight of Pythian affairs, and on the occasion of his death a general order was officially issued by command of Major General Carnahan from the headquarters of the Uniform Rank, K. of P., which teemed with loving eulogy and respect. He first became a member of Cosmopolitan lodge, No. 6, K. of P. of Illinois, in 1880, but in 1889 withdrew to join Badger lodge No. 219, of Chicago. He was captain of the first company of Uniform Rank organized in Illinois, and was always a lover of military maneuvers, at which his born executive ability made him an adept. He was the first Brigadier General of the K. of P., Illinois brigade, and was re-elected for a second term, which expired in 1889, when he resigned. Later in the same year he was commissioned as Brigadier General and chief of staff of the Major General, which commission he retained until the time of his death. No Pythian ever appealed for aid to him in vain. Mr. Brand organized and became first captain of the Chicago Hussars, the most celebrated cavalry troop of this city, and was later chosen major of the squadron when it had grown to those proportions. It was this magnificent body of troopers that was selected by the World’s Fair directory in 1893 as the official escort for all the great occasions of that year.
In the Field of Militia.
Mr. Brand was a private in the famous Ellsworth Zouaves, organized in Chicago in 1861. He succeeded Colonel Ellsworth as captain of the original company, when the colonel abandoned the Chicago organization to go to New York, and organize the regiment which he took into the field of action.
His Word Was His Bond.
As a man among men his word was as solemnly fulfilled as his bond, and no man in business cared for any stringer assurance of his intention to perform any act than his mere promise to do so.
During all the years of continuous success following Mr. Brand’s coming to Chicago in 1858 he had invested liberally in real estate, until the study of probable future values in Chicago property became to him a hobby. His natural shrewdness, too, stood him well in his investment operations, for when his will was recently probated the list included over $642,000 in real estate alone, to which may easily be added enough in other lines to represent at least $1,000,000, realized from the lone $1,000 which represented the whole of his earthly possessions upon his arrival in Chicago less than forty-three years before.
Early in the ’60s Mr. Brand purchased the east half of the site where now stands the Brand studios in Jackson boulevard, east, and subsequently the west half (No. 75) was acquired, that a double building might be erected, as was done. The entire property was not leased by Mr. Brand, but instead represents but one of several prosperous investments made by him years and years ago.
Succeeded by His Son.
With the demise of Edwin L. Brand, Sr., the son and partner, Edwin L. Jr., becomes sole proprietor and managing director of this beautiful and sumptuous gallery. He has identically the views of his father as to how best to conduct such aristocratic studios as these, and no detail will be changed from the plans originally laid down for their future. Mr. Brand, Jr., has retained the services of Mr. Lee Steffins, who is in charge of the operating room, and of Mr. “Dick” Steffins as manager of the printing department. These gentlemen were selected by Mr. Brand, Sr., as being, without exception, the most thorough workmen and best natural students in the photographic world. Both are young men, bright, apt, and scientific in photography. The balance of the working forces at these studios will be maintained as nearly as possible exactly as would have been the desire of General Brand had he lived to longer enjoy the crowning achievement of his business life—the realization of his aim tom outdo and surpass the world in his chosen calling.
Mr. Brand’s Chicago Studio Locations:
1859-1869
108 & 110 Lake Street
1869-1871
28 Washington Street
1871-1876
1223 Wabash Avenue
1876-1900
210 & 212 Wabash Avenue
1900-1900 73-75 Jackson Boulevard
12, 16, 18 East Jackson after 1911.
This building was torn down in 1913 and was replaced by the Lytton Building.
I purchased a photo at an antiques store from Brand’s the card read 210 & 212 Wabash Ave established 1858 with extra finish
I have acquired a number of cabinet cards from Chicago photographers. Among them are two very clean cards from Brand, 210 & 212 Wabash. One is of two young children and the other is a distinguished gentleman who probably is the father of the children.