Firm

Quinby & Co.

Charles J. Quinby’s Charleston gallery, successor in February 1857 to Tyler & Co. at No. 233 King Street and by 1861 at No. 261 King Street. This is where Charleston went to be photographed in the spring of secession, and its backmark is the reason a great many surviving Charleston portraits can still be attributed.

An advertisement in the autumn of 1857 described the firm as manufacturers and importers of photographic goods, with a factory at Waterbury, Connecticut and galleries in Charleston, Augusta and on Broadway — a supply business as much as a portrait gallery.

By 1861 the Quinby Photograph and Fine Art Gallery had moved to No. 261 King Street. In late March, Mary Boykin Chesnut recorded a friend at her door: come with us to Quinby’s, everybody will be there, to be photographed is the rage just now. Edmund Ruffin sat there in the days after 12 April, and his diary notes that Quinby could not keep up with the demand for his likeness.

The firm also published other men’s work. A stereograph of Institute Hall in the Library of Congress carries the Quinby & Co. imprint at 261 King Street on the mount, but the Library attributes the photograph itself to Osborn & Durbec, on Harvey Teal’s authority.

George N. Barnard partnered with the firm at 261 King Street between 1868 and 1871, after the war.

Partners and operators

Addresses

Photographs in this collection

Works

Statement by statement

Sources

  • Stephen Davis and Jack W. Melton Jr., 100 Significant Civil War Photographs: Charleston in the War (Charleston: Historical Publications LLC, 2020).
  • Prints and Photographs Division, Library of Congress, Washington, D.C. https://www.loc.gov/pictures/
  • Harvey S. Teal, Partners with the Sun: South Carolina Photographers, 1840–1940 (Columbia: University of South Carolina Press, 2001).