Posts Tagged ‘early American photography

22
Jul
20

Exhibition: ‘2020 Vision: Photographs, 1840s-1860s’ at the Metropolitan Museum of Art, New York

Exhibition dates: 3rd December 2019 – closing date to be announced due to the COVID-19 pandemic

 

Antoine-François-Jean Claudet. ‘The Chess Players’ c. 1845 (detail)

 

Likely by Antoine-François-Jean Claudet (French, Lyon 1797 – 1867 London)
Possibly by Nicolaas Henneman (Dutch, Heemskerk 1813 – 1898 London)
The Chess Players (detail)
c. 1845
Salted paper print from paper negative
Sheet: 9 5/8 × 7 11/16 in. (24.5 × 19.6cm)
Image: 7 13/16 × 5 13/16 in. (19.8 × 14.7cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

 

An excellent selection of photographs in this posting. I particularly like the gender-bending, shape-shifting, age-distorting 1850s-60s Carte-de-visite Album of Collaged Portraits by an unknown artist. I’ve never seen anything like it before, especially from such an early date. Someone obviously took a lot of care, had a great sense of humour and definitely had a great deal of fun making the album.

Other fascinating details include the waiting horses and carriages in Fox Talbot’s View of the Boulevards of Paris (1843); the mannequin perched above the awning of the photographic studio in Dowe’s Photograph Rooms, Sycamore, Illinois (1860s); and the chthonic underworld erupting from the tilting ground in Carleton E. Watkins’ California Oak, Santa Clara Valley (c. 1863).

Dr Marcus Bunyan

.
Many thankx to the Metropolitan Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

When The Met first opened its doors in 1870, photography was still relatively new. Yet over the preceding three decades it had already developed into a complex pictorial language of documentation, social and scientific inquiry, self-expression, and artistic endeavour.

These initial years of photography’s history are the focus of this exhibition, which features new and recent gifts to the Museum, many offered in celebration of The Met’s 150th anniversary and presented here for the first time. The works on view, from examples of candid portraiture and picturesque landscape to pioneering travel photography and photojournalism, chart the varied interests and innovations of early practitioners.

The exhibition, which reveals photography as a dynamic medium through which to view the world, is the first of a two-part presentation that plays on the association of “2020” with clarity of vision while at the same time honouring farsighted and generous collectors and patrons. The second part will move forward a century, bringing together works from the 1940s through the 1960s.

Text from the Metropolitan Museum of Art website

 

 

Antoine-François-Jean Claudet. ‘The Chess Players’ c. 1845

 

Likely by Antoine-François-Jean Claudet (French, Lyon 1797 – 1867 London)
Possibly by Nicolaas Henneman (Dutch, Heemskerk 1813 – 1898 London)
The Chess Players
c. 1845
Salted paper print from paper negative
Sheet: 9 5/8 × 7 11/16 in. (24.5 × 19.6cm)
Image: 7 13/16 × 5 13/16 in. (19.8 × 14.7cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

Lewis Carroll (British, Daresbury, Cheshire 1832 - 1898 Guildford) '[Alice Liddell]' June 25, 1870

 

Lewis Carroll (British, Daresbury, Cheshire 1832 – 1898 Guildford)
[Alice Liddell]
June 25, 1870
Albumen silver print from glass negative
Sheet: 6 1/4 × 5 9/16 in. (15.9 × 14.1cm)
Image: 5 7/8 × 4 15/16 in. (15 × 12.6cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

 

Eighteen-year-old Alice Liddell’s slumped pose, clasped hands, and sullen expression invite interpretation. A favoured model of Lewis Carroll, and the namesake of his novel Alice in Wonderland, Liddell had not seen the writer and photographer for seven years when this picture was made; her mother had abruptly ended all contact in 1863. The young woman poses with apparent unease in this portrait intended to announce her eligibility for marriage. The session closed a long and now controversial history with Carroll, whose portraits of children continue to provoke speculation. In what was to be her last sitting with the photographer, Liddell embodies the passing of childhood innocence that Carroll romanticised through the fictional Alice.

 

Unknown photographer (American) '[Surveyor]' c. 1854

 

Unknown photographer (American)
[Surveyor]
c. 1854
Daguerreotype
Case: 1.6 × 9.2 × 7.9cm (5/8 × 3 5/8 × 3 1/8 in.)
Gift of Charles Isaacs and Carol Nigro, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art
Public domain

 

 

This portrait of a surveyor from an unknown daguerreotype studio was made during the heyday of the Daguerreian era in the United States, a time that coincided with an increased need for survey data and maps for the construction of railways, bridges, and roads. The unidentified surveyor, seated in a chair, grasps one leg of the tripod supporting his transit, a type of theodolite or surveying instrument that comprised a compass and rotating telescope. The carefully composed scene, in which the angle of the man’s skyward gaze is aligned with the telescope and echoed by one leg of the tripod, conflates its surveyor subject with an astronomer. As a result, the lands of young America are compared to the vast reaches of space, with both territories full of potential discovery.

 

Unknown photographer (American) '[Surveyor]' c. 1854

 

Unknown photographer (American)
[Surveyor]
c. 1854
Daguerreotype
Case: 1.6 × 9.2 × 7.9cm (5/8 × 3 5/8 × 3 1/8 in.)
Gift of Charles Isaacs and Carol Nigro, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art
Public domain

 

Alphonse Delaunay (French, 1827-1906) 'Patio de los Arrayanes, Alhambra, Granada, Spain' 1854

 

Alphonse Delaunay (French, 1827-1906)
Patio de los Arrayanes, Alhambra, Granada, Spain
1854
Albumen silver print from paper negative
10 in. × 13 5/8 in. (25.4 × 34.6cm)
Gift of W. Bruce and Delaney H. Lundberg, 2017
The Metropolitan Museum of Art
Public domain

 

 

One of the most talented students of famed French photographer Gustave Le Gray, Delaunay was virtually unknown before a group of his photographs appeared at auction in 2007. Subsequent research led to the identification of several bodies of work, including the documentation of contemporary events through instantaneous views captured on glass negatives. Delaunay also was a particular devotee of the calotype (or paper negative) process, with which he created his best pictures – including this view of the Alhambra. Among a group of pictures he made between 1851 and 1854 in Spain and Algeria, this view of the Patio de los Arrayanes reveals the extent to which Delaunay was able to manipulate the peculiarities of the paper negative. He revels in the graininess of the image, purposefully not masking out the sky before printing the negative, so that the marble tower appears somehow carved out of the very atmosphere that surrounds it. In contrast, the reflecting pool remains almost impossibly limpid, its dark surface offering a cool counterpart to the harsh Spanish sky.

 

Hippolyte Bayard (French, 1801-1887) '[Classical Head]' probably 1839

 

Hippolyte Bayard (French, 1801-1887)
[Classical Head]
probably 1839
Salted paper print
6 1/2 × 5 7/8 in. (16.5 × 15cm)
Purchase, Horace W. Goldsmith Foundation Gift, 2019
The Metropolitan Museum of Art
Public domain

 

 

This luminous head seems to materialise before our very eyes, as if we are observing the moment in which the latent photographic image becomes visible. Nineteenth-century eyewitnesses to Hippolyte Bayard’s earliest photographs (direct positives on paper) described a similarly enchanting effect, in which hazy outlines coalesced with light and tone to form charmingly faithful, if indistinct, images. These works, which Bayard referred to as essais (tests or trials), often included statues and busts, which he frequently arranged in elaborate tableaux. In this case, he photographed the lone subject (an idealised classical head) from the front and side, as if it were a scientific specimen. The singular object emerges as a relic from photography’s origins and now distant past.

 

William Henry Fox Talbot (British, Dorset 1800 - 1877 Lacock) 'Group Taking Tea at Lacock Abbey' August 17, 1843

 

William Henry Fox Talbot (British, Dorset 1800 – 1877 Lacock)
Group Taking Tea at Lacock Abbey
August 17, 1843
Salted paper print from paper negative
Mount: 9 15/16 in. × 13 in. (25.3 × 33cm)
Sheet: 7 3/8 × 8 15/16 in. (18.7 × 22.7cm)
Image: 5 in. × 7 1/2 in. (12.7 × 19 cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

 

Although Talbot’s groundbreaking calotype (paper negative) process allowed for more instantaneous image making, works such as this one nevertheless reflect the technical limitations of early photography. Here, he adapts painterly conventions to the new medium, staging a genre scene on his family estate. The stilted arrangement of figures – rigidly posed to produce a clear image – belies Talbot’s attempt to show action in progress. To achieve sufficient light exposure, he photographed the domestic tableau outdoors, arranging his subjects before a blank backdrop to create the illusion of interior space.

 

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

 

Unknown artist (American or Canadian)
[Carte-de-visite Album of Collaged Portraits]
1850s-60s
Albumen silver prints
5 15/16 × 5 1/8 × 2 1/16 in. (15.1 × 13 × 5.3cm)
Bequest of Herbert Mitchell, 2008
The Metropolitan Museum of Art
Public domain

 

 

Beginning in the late 1850s, cartes de visite, or small photographic portrait cards, were produced on a scale that put photography in the hands of the masses. This unusual collection of collages is ahead of its time in spoofing the rigidity of the format. The images play with scale and gender by juxtaposing cutout heads and mismatched sitters, thereby highlighting the difference between social identity – which was communicated in part through the exchange of calling cards – and individuality.

 

Unknown artist (American) '[Studio Photographer at Work]' c. 1855

 

Unknown artist (American)
[Studio Photographer at Work]
c. 1855
Salted paper print
Image: 5 1/8 × 3 13/16 in. (13 × 9.7cm)
Sheet: 9 1/2 × 5 5/8 in. (24.1 × 14.3cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

In this evocative image, picture making takes centre stage. Underneath a canopy of dark cloth, the photographer poses as if to adjust the bellows of a large format camera. The view reflected on its ground glass would appear reversed and upside down. Viewers’ expectations are similarly overturned, because the photographer’s subject remains unseen.

 

Unknown artist (American) '[Boy Holding a Daguerreotype]' 1850s

 

Unknown artist (American)
[Boy Holding a Daguerreotype]
1850s
Daguerreotype with applied colour
Image: 3 1/4 × 2 3/4 in. (8.3 × 7cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

The boy in this picture clutches a cased image to his chest, as if to illustrate his affection for the subject depicted within. Daguerreotypes were a novel form of handheld picture, portable enough to slip into a pocket or palm. Portraits exchanged between friends and family could be kept close – a practice often mimed by sitters, who would pose for one daguerreotype while holding another.

 

James Fitzallen Ryder (American, 1826-1904) 'Locomotive James McHenry (58), Atlantic and Great Western Railway' 1862

 

James Fitzallen Ryder (American, 1826-1904)
Locomotive James McHenry (58), Atlantic and Great Western Railway
1862
Albumen silver print
Image: 7 3/8 × 9 1/4 in. (18.7 × 23.5cm)
Mount: 10 × 13 in. (25.4 × 33cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

In spring 1862, the chief engineer in charge of building the Atlantic and Great Western Railway – which ran from Salamanca, New York, to Akron, Ohio, and from Meadville to Oil City, Pennsylvania – engaged James Ryder to make photographs that would convince shareholders of the worthiness of the project. Ryder’s assignment was “to photograph all the important points of the work, such as excavations, cuts, bridges, trestles, stations, buildings and general character of the country through which the road ran, the rugged and the picturesque.” In a converted railroad car kitted out with a darkroom, water tank, and developing sink, he processed photographs that make up one of the earliest rail surveys.

 

Attributed to Josiah Johnson Hawes (American, Wayland, Massachusetts 1808 - 1901 Crawford Notch, New Hampshire) Winter on the Common, Boston' 1850s

 

Attributed to Josiah Johnson Hawes (American, Wayland, Massachusetts 1808 – 1901 Crawford Notch, New Hampshire)
Winter on the Common, Boston
1850s
Salted paper print
Window: 6 15/16 × 8 15/16 in. (17.6 × 22.7cm)
Mat: 16 × 20 in. (40.6 × 50.8cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

Having originally set his sights on a career as a painter, Josiah Hawes gave up his brushes for a camera upon first seeing a daguerreotype in 1841. Two years later, he joined Albert Sands Southworth in Boston to form the celebrated photographic studio Southworth & Hawes. Turning to paper-based photography in the early 1850s, Hawes frequently depicted local scenery. This surprising picture, which presents Boston Common through a veil of snow-laden branches, shows that Hawes brought his creative ambitions to the nascent art of photography.

 

 

Carleton E. Watkins (American, 1829-1916)
[California Oak, Santa Clara Valley]
c. 1863
Albumen silver print
Image: 12 in. × 9 5/8 in. (30.5 × 24.5cm)
Mount: 21 1/4 in. × 17 5/8 in. (54 × 44.8cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

For viewers today, the crown of this majestic oak tree, with its complex network of branches, might evoke the allover paintings of Abstract Expressionism with their layers of dripped paint. As photographed by Carleton Watkins, the dark, flattened silhouette of the tree feathers out across the camera’s field of view. The sloped horizon line, uncommon in Watkins’s output, both echoes the ridge in the distance and grounds the energy of the tree canopy, ably demonstrating his masterful command of pictorial composition.

 

George Wilson Bridges (British, 1788-1864) 'Garden of Selvia, Syracuse, Sicily' 1846

 

George Wilson Bridges (British, 1788-1864)
Garden of Selvia, Syracuse, Sicily
1846
Salted paper print from paper negative
Image: 6 15/16 × 8 9/16 in. (17.7 × 21.7cm)
Sheet: 7 5/16 × 8 13/16 in. (18.5 × 22.4cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

 

The monk’s gesture of prayer in this image by George Wilson Bridges is a touchstone of stillness against the impressive landscape and vegetation that rise up behind him. Bridges was an Anglican reverend and friend of William Henry Fox Talbot, the inventor of the calotype (paper negative), who instructed him on the method before it was patented. Bridges was also one of the earliest photographers to embark upon a tour of the Mediterranean region; he wrote to Talbot that he conceived of the excursion both as a technical mission to advance photography and as a pilgrimage to collect imagery of religious sites.

 

Pietro Dovizielli (Italian, 1804-1885) '[Spanish Steps, Rome]' c. 1855

 

Pietro Dovizielli (Italian, 1804-1885)
[Spanish Steps, Rome]
c. 1855
Albumen silver print from glass negative
Image: 14 11/16 × 11 5/16 in. (37.3 × 28.8cm)
Sheet: 24 7/16 × 18 7/8 in. (62 × 48cm)
Gift of W. Bruce and Delaney H. Lundberg, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art
Public domain

 

 

Made in late afternoon light, Pietro Dovizielli’s picture shows a long shadow cast onto Rome’s Piazza di Spagna that almost obscures one of the market stalls flanking the base of the famed Spanish Steps. Rising above the sea of stairs is the church of Trinità dei Monti, its facade neatly bisected by the Sallustiano obelisk. In the piazza, a lone figure – the only visible inhabitant of this eerily empty public square – rests against the railing of the Barcaccia fountain. Keenly composed pictures like this led reviewers of Dovizielli’s photographs to proclaim them “the very paragons of architectural photography.”

 

Edouard Baldus (French (born Prussia), 1813-1889) '[Amphitheater, Nîmes]' c. 1853

 

Edouard Baldus (French (born Prussia), 1813-1889)
[Amphitheater, Nîmes]
c. 1853
Salted paper print from paper negative
Overall: 12 3/8 × 15 3/16 in. (31.5 × 38.5cm)
Gift of Joyce F. Menschel, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art

 

 

Instead of photographing the entire arena in Nîmes, as he had two years earlier, Baldus focusses here on a section of the façade, playing the superimposed arches against the vertical, shadowed pylons in the foreground. The resulting composition manages to isolate and monumentalise the architecture, while creating a rhythmic play of light and dark that energises the picture. The photograph was part of a massive, four-year project, Villes de France photographiées, in which the views from the south of France were said to surpass all of the photographer’s previous work in the region.

 

William Henry Fox Talbot (British, Dorset 1800-1877 Lacock) 'View of the Boulevards of Paris' 1843

 

William Henry Fox Talbot (British, Dorset 1800 – 1877 Lacock)
View of the Boulevards of Paris
1843
Salted paper print from paper negative
Mount: 9 in. × 10 1/16 in. (22.8 × 25.6cm)
Sheet: 7 3/8 × 10 1/8 in. (18.7 × 25.7cm)
Image: 6 5/16 × 8 1/2 in. (16.1 × 21.6cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

 

In May 1843 Talbot traveled to Paris to negotiate a licensing agreement for the French rights to his patented calotype process. His invention used a negative-positive system and a paper base – not a copper support as in a daguerreotype. Although his negotiations were not fruitful, Talbot’s views of the elegant new boulevards of the French capital were highly successful.

Filled with the incidental details of urban life, architectural ornamentation, and the play of spring light, this photograph appears as the second plate in Talbot’s groundbreaking publication The Pencil of Nature (1844). The chimney posts on the roofline of the rue de la Paix, the waiting horses and carriages, and the characteristically French shuttered windows evoke as vivid a notion of mid-nineteenth-century Paris now as they must have 170 years ago.

 

Lewis Dowe (American, active 1860s-1880s) '[Dowe's Photograph Rooms, Sycamore, Illinois]' 1860s

 

Lewis Dowe (American, active 1860s-1880s)
[Dowe’s Photograph Rooms, Sycamore, Illinois]
1860s
Albumen silver print
Image: 5 7/8 × 7 5/8 in. (14.9 × 19.3cm)
Mount: 8 × 10 in. (20.3 × 25.4cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

Above a bustling thoroughfare in Sycamore, Illinois, boldface lettering advertises the services of photographer Lewis Dowe, a portraitist who also published postcards and stereoviews. Easier to miss in the image is a mannequin perched above the awning to promote the studio. The flurry of activity below Dowe’s storefront and the prime location of the outfit, poised between a tailor and a saloon, speak to the important role of photography in town life.

 

E. & H. T. Anthony (American) '[Specimens of New York Bill Posting]' 1863

 

E. & H. T. Anthony (American)
[Specimens of New York Bill Posting]
1863
Albumen silver prints
Mount: 3 1/4 in. × 6 3/4 in. (8.3 × 17.1cm)
Image: 2 15/16 in. × 6 in. (7.5 × 15.3cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

Benefit concerts, minstrel shows, lectures, and horse races all clamour for attention in this graphic field of broadsides posted in the Bowery neighbourhood of Manhattan. The stereograph format lends added depth and dimensionality to the layered fragments of text, transporting viewers to a hectic city sidewalk. Published for a national market, the scene indexes a precise moment in the summer of 1863, offering armchair tourists an inadvertent trend report on downtown cultural life.

 

Roger Fenton (British, 1819-1869) 'The Diamond and Wasp, Balaklava Harbour' March, 1855

 

Roger Fenton (British, 1819-1869)
The Diamond and Wasp, Balaklava Harbour
March, 1855
Albumen silver print from glass negative
Image: 8 in. × 10 1/8 in. (20.3 × 25.7 cm)
Mount: 19 5/16 × 24 3/4 in. (49 × 62.9 cm)
Gift of Thomas Walther Collection, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art

 

 

Fenton’s view of the Black Sea port of Balaklava, which the British used as a landing point for their siege of Sevastopol during the Crimean War, shows a busy but orderly operation. The British naval ships, HMS Diamond and HMS Wasp, oversaw the management of transports into and out of the harbour, which explains the presence of ships and rowboats, as well as the large stack of crates near the rail track in the foreground. Against claims of “rough-and-tumble” mismanagement of Balaklava in the British press, Fenton (commissioned by a Manchester publisher to record the theatre of war) offers documentation of a well-functioning port.

 

Roger Fenton (British, 1819-1869) 'The Mamelon and Malakoff from front of Mortar Battery' April, 1855

 

Roger Fenton (British, 1819-1869)
The Mamelon and Malakoff from front of Mortar Battery
April, 1855
Salted paper print from glass negative
Image: 9 1/8 × 13 1/2 in. (23.1 × 34.3cm)
Sheet: 14 3/4 × 17 13/16 in. (37.5 × 45.3cm)
Gift of Joyce F. Menschel, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art

 

 

Fenton’s extensive documentation of the Crimean War – the first use of photography for that purpose – was a commercial endeavour that did not include pictures of battle, the wounded, or the dead. His unprepossessing view of a vast rocky valley instead discloses, in the distance, a site of crucial strategic importance. Fort Malakoff, the general designation of Russian fortifications on two hills (Mamelon and Malakoff) is just perceptible at the horizon line. Malakoff’s capture by the French in September 1855, five months after Fenton made this photograph, ended the eleven-month siege of Sevastopol and was the final episode of the war.

 

Felice Beato (British (born Italy), Venice 1832-1909 Luxor) and James Robertson (British, 1813-1881) [Dome of the Rock, Jerusalem] 1856-57

 

Felice Beato (British (born Italy), Venice 1832-1909 Luxor) and James Robertson (British, 1813-1881)
[Dome of the Rock, Jerusalem]
1856-57
Albumen silver print
Image: 9 in. × 11 1/4 in. (22.9 × 28.6cm)
Mount: 17 5/8 in. × 22 1/2 in. (44.8 × 57.2cm)
Gift of Joyce F. Menschel, 2013
The Metropolitan Museum of Art

 

 

This detailed print showing the Dome of the Rock in Jerusalem provides a sense of the structure’s natural and architectural surroundings. Felice Beato depicted the religious site from a pilgrim’s point of view – walls and roads are given visual priority and stand between the viewer and the shrine. Holy sites such as this were the earliest and most common subjects of travel photography. Beato made multiple journeys to the Mediterranean and North Africa, and he is perhaps best known for photographing East Asia in the 1880s.

 

R.C. Montgomery (American, active 1850s) '[Self-Portrait (?)]' 1850s

 

R.C. Montgomery (American, active 1850s)
[Self-Portrait (?)]
1850s
Daguerreotype with applied colour
Image: 3 1/4 × 4 1/4 in. (8.3 × 10.8 cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

The insouciant subject here may be the daguerreotypist himself, posing in bed for a promotional picture or a private joke. His rumpled suit and haphazard hairstyle affect intimacy, perhaps in an effort to showcase an informal portrait style. Because they required long exposure times, daguerreotypes often captured sitters at their most stilted. With this surprising picture, the maker might have hoped to attract clients who were in search of a more novel or natural likeness.

 

 

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10
Apr
20

Exhibition: ‘Women of Progress: Early Camera Portraits’ at the Smithsonian National Portrait Gallery, Washington, DC

Exhibition dates: 14th June 2019 – 31st May 2020

Curator: Ann Shumard

The National Portrait Gallery, Washington has temporarily closed until further notice due to the novel coronavirus (COVID-19) pandemic

#MuseumFromHome

 

 

Unidentified Artist. 'Lucy Stone' c. 1855

 

Unidentified Artist
Lucy Stone
c. 1855
Half-plate daguerreotype
Case Open: 19.9 × 32.9 × 0.8 cm (7 13/16 × 12 15/16 × 5/16″)
National Portrait Gallery, Smithsonian Institution

 

 

Lucy Stone (August 13, 1818 – October 18, 1893) was a prominent U.S. orator, abolitionist, and suffragist, and a vocal advocate and organiser promoting rights for women. In 1847, Stone became the first woman from Massachusetts to earn a college degree. She spoke out for women’s rights and against slavery at a time when women were discouraged and prevented from public speaking. Stone was known for using her birth name after marriage, the custom being for women to take their husband’s surname.

Text from the Wikipedia website

Lucy Stone was unequivocal in her opposition to slavery and her support for women’s rights. Yet, when some abolitionists argued that her antislavery efforts should take precedence, she replied, “I was a woman before I was an abolitionist.” Stone helped to organise the first national women’s rights conference in Worcester, Massachusetts, in 1850, and lectured widely on the topic of women’s suffrage. When she married Henry Blackwell in 1855, she defied tradition by retaining her maiden name. In 1866, Stone became a founder of the American Equal Rights Association, which sought to secure voting rights for African Americans and women.

Exhibition label from Smithsonian National Portrait Gallery website [Online] Cited 13/11/2019.

 

 

Let us celebrate strong, creative, (com)passionate women.

Marcus

.
Many thankx to the National Portrait Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

In mid-nineteenth-century America, the growing presence of women in public life coincided with the rise of portrait photography. This exhibition of daguerreotypes and ambrotypes from the 1840s and 1850s features portraits of early feminist icons, women’s rights advocates Margaret Fuller and Lucy Stone, abolitionist Lucretia Mott and best-selling author Harriet Beecher Stowe.

 

 

Seriousness of their intent and purpose writ large upon their faces. Portraits of the self, as if alone, without decorous engagement for the camera.

.
Elizabeth Gertsakis

 

 

Unidentified Artist. 'Charlotte Cushman' c. 1850

 

Unidentified Artist
Charlotte Cushman
c. 1850
Half-plate daguerreotype
Image: 12 × 9 cm (4 3/4 × 3 9/16″)
National Portrait Gallery, Smithsonian Institution

 

 

Charlotte Saunders Cushman (July 23, 1816 – February 18, 1876) was an American stage actress. Her voice was noted for its full contralto register, and she was able to play both male and female parts. She lived intermittently in Rome, in an expatriate colony of prominent artists and sculptors, some of whom became part of her tempestuous private life.

Text from the Wikipedia website

Charlotte Cushman was the foremost American-born actress of her day and the first to enjoy critical and popular acclaim at home and abroad. Following her 1836 New York City stage debut as Lady Macbeth, she honed her craft there and in Philadelphia, where she managed the Walnut Street Theatre from 1842 to 1844. With a dramatic range and commanding stage presence that more than compensated for her lack of conventional beauty, Cushman boldly developed a repertoire that included male as well as female roles. Taking London by storm in 1845, she returned to universal acclaim in the United States in 1849.

Exhibition label from Smithsonian National Portrait Gallery website [Online] Cited 13/11/2019.

 

Unidentified Artist. 'Charlotte Cushman' c. 1850 (detail)

 

Unidentified Artist
Charlotte Cushman (detail)
c. 1850
Half-plate daguerreotype
Image: 12 × 9 cm (4 3/4 × 3 9/16″)
National Portrait Gallery, Smithsonian Institution

 

Unidentified Artist. 'Harriet Beecher Stowe' 1852

 

Unidentified Artist
Harriet Beecher Stowe
1852
Sixth-plate daguerreotype
Image: 3.9cm x 3.4cm (1 9/16″ x 1 5/16″)
National Portrait Gallery, Smithsonian Institution

 

 

Harriet Elisabeth Beecher Stowe (June 14, 1811 – July 1, 1896) was an American abolitionist and author. She came from the Beecher family, a famous religious family, and is best known for her novel Uncle Tom’s Cabin (1852), which depicts the harsh conditions for enslaved African Americans. The book reached millions as a novel and play, and became influential in the United States and Great Britain, energising anti-slavery forces in the American North, while provoking widespread anger in the South. Stowe wrote 30 books, including novels, three travel memoirs, and collections of articles and letters. She was influential for both her writings and her public stances and debates on social issues of the day.

Text from the Wikipedia website

Harriet Beecher Stowe authored numerous articles, essays, and books during her long career, but it was her dramatic, antislavery novel Uncle Tom’s Cabin that brought her fame at home and abroad. First serialised in the National Era newspaper, Uncle Tom’s Cabin appeared in book form in 1852 and sold more than 300,000 copies during its first year in print. Lionised by Northern abolitionists and vilified by Southern slaveholders, Stowe became the subject of intense public interest. When requests for her portrait multiplied, she responded by posing for several daguerreotype likenesses that were soon copied and distributed widely.

Exhibition label from Smithsonian National Portrait Gallery website [Online] Cited 13/11/2019.

 

Ezra Greenleaf Weld. 'Frederick Douglass with the Edmonson Sisters at Fugitive Slave Law Convention, Cazenovia, New York' 1850

 

Ezra Greenleaf Weld
Frederick Douglass with the Edmonson Sisters at Fugitive Slave Law Convention, Cazenovia, New York
1850
Half-plate copy daguerreotype
Case Open: 15.2 x 24.4 x 1.3 cm (6 x 9 5/8 x 1/2″)
National Portrait Gallery, Smithsonian Institution; on loan from Mr. and Mrs. Set Charles Momjian

 

 

Weld daguerreotype taken at the 1850 Fugitive Slave Law Convention, Cazenovia, New York. The Edmonson sisters are standing wearing bonnets and shawls in the row behind the seated speakers. Frederick Douglass is seated, with Gerrit Smith standing behind him.

Ezra Greenleaf Weld (October 26, 1801 – October 14, 1874), often known simply as “Greenleaf”, was a photographer and an operator of a daguerreotype studio in Cazenovia, New York. He and his family were involved with the abolitionist movement.

Weld opened his first studio in his home in 1845. In 1850, Cazenovia hosted the abolitionist meeting known as the Fugitive Slave Law Convention. This gave Weld the opportunity to photograph the legendary orator Frederick Douglass with the Edmonson sisters, Gerritt Smith and Abby Kelley Foster. This daguerreotype was given to the imprisoned abolitionist William Chaplin who had helped many of the attendees escape to freedom.

Of the six daguerreotypes of Douglass that have survived, only one besides Greenleaf’s image has had its daguerreotypist identified. Greenleaf’s image is unique because it is a group shot at an outdoor meeting rather than a studio portrait. Daguerreotypes were seldom attempted under these circumstances because the long exposure time required made it difficult to get a satisfactory result. Weld’s is the only daguerreotype of Douglass whose date is known with certainty. This daguerreotype is also unique in the paradoxical sense that it is the only one known to have been copied. Two original half-plates exist: One is held by the Madison County Historical Society in Oneida, New York, the other is in a private collection and currently on display at the Smithsonian Institution in Washington, D.C.

Text from the Wikipedia website

The Fugitive Slave Law Convention was held in Cazenovia, New York, August 21-22, 1850. Organised to oppose passage of the Fugitive Slave Act of 1850 by the United States Congress, participants included Frederick Douglass, the Edmonson sisters, Gerrit Smith, Samuel Joseph May, and Theodore Dwight Weld, among others. The convention opened at the First Congregational Church of Cazenovia (now Cazenovia College’s theater building), then moved to “the orchard of Grace Wilson’s School, located on Sullivan Street,” to accommodate the estimated 2000 to 3000 participants. It was chaired by Douglass.

Text from the Wikipedia website

Frederick Douglass (born Frederick Augustus Washington Bailey; c.  February 1818 – February 20, 1895) was an American social reformer, abolitionist, orator, writer, and statesman. After escaping from slavery in Maryland, he became a national leader of the abolitionist movement in Massachusetts and New York, gaining note for his oratory and incisive antislavery writings. In his time, he was described by abolitionists as a living counter-example to slaveholders’ arguments that slaves lacked the intellectual capacity to function as independent American citizens. Northerners at the time found it hard to believe that such a great orator had once been a slave. …

Douglass was a firm believer in the equality of all peoples, whether white, black, female, Native American, or Chinese immigrants. He was also a believer in dialogue and in making alliances across racial and ideological divides, and in the liberal values of the U.S. Constitution. When radical abolitionists, under the motto “No Union with Slaveholders”, criticised Douglass’ willingness to engage in dialogue with slave owners, he replied: “I would unite with anybody to do right and with nobody to do wrong.”

Text from the Wikipedia website

Mary Edmonson (1832-1853) and Emily Edmonson (1835-1895), “two respectable young women of light complexion”, were African Americans who became celebrities in the United States abolitionist movement after gaining their freedom from slavery. On April 15, 1848, they were among the 77 slaves who tried to escape from Washington, DC on the schooner The Pearl to sail up the Chesapeake Bay to freedom in New Jersey.

Although that effort failed, they were freed from slavery by funds raised by the Congregational Church in Brooklyn, New York, whose pastor was Henry Ward Beecher, an abolitionist. After gaining freedom, the Edmonsons were supported to go to school; they also worked. They campaigned with Beecher throughout the North for the end of slavery in the United States.

Text from the Wikipedia website

Gerrit Smith (March 6, 1797 – December 28, 1874), also spelled Gerritt, was a leading American social reformer, abolitionist, politician, and philanthropist. Spouse to Ann Carroll Fitzhugh, Smith was a candidate for President of the United States in 1848, 1856, and 1860, but only served 18 months in the federal government – in Congress as a Free Soil Party Representative, in 1853-4.

Text from the Wikipedia website

In 1850, as Congress considered passage of a harsh new Fugitive Slave Law, more than 2,000 people heeded the call of abolitionist Gerrit Smith (standing, center) to meet in Cazenovia, New York, and protest the impending legislation. Among the nearly fifty escaped slaves to participate were Emily and Mary Edmonson (in plaid shawls), whose freedom had been purchased by abolitionists in 1848, and Frederick Douglass (seated, center right), who served as the convention’s presiding officer. On the gathering’s second day, the overflowing crowd moved from its initial meeting place in a church to a nearby orchard. There, a local daguerreotypist made this extraordinary record of the convention.

Exhibition label from Smithsonian National Portrait Gallery website [Online] Cited 13/11/2019.

 

Marcus Aurelius Root (American, 1808-1888) 'Lucretia Coffin Mott' 1851

 

Marcus Aurelius Root (American, 1808-1888)
Lucretia Coffin Mott
1851
Half-plate daguerreotype
Case Open: 15 x 23.2 x 1 cm (5 7/8 x 9 1/8 x 3/8″)
National Portrait Gallery, Smithsonian Institution

 

 

Marcus Aurelius Root (1808-1888) was a writing teacher and photographer. He was born in Granville, Ohio and died in Philadelphia, Pennsylvania.

On 20 June 1846, he bought John Jabez Edwin Mayall’s Chestnut Street photography studio that was in the same building as Root’s residence in Philadelphia, Pennsylvania. Root had success as a daguerreotypist working with his brother, Samuel Root. The Root Brothers had a gallery in New York City from 1849 to 1857. Marcus Aurelius Root authored an important book on photography entitled The Camera and the Pencil.

Text from the Wikipedia website

Lucretia Mott (née Coffin; January 3, 1793 – November 11, 1880) was a U.S. Quaker, abolitionist, women’s rights activist, and social reformer. She had formed the idea of reforming the position of women in society when she was amongst the women excluded from the World Anti-Slavery Convention in 1840. In 1848 she was invited by Jane Hunt to a meeting that led to the first meeting about women’s rights. Mott helped write the Declaration of Sentiments during the 1848 Seneca Falls Convention.

Her speaking abilities made her an important abolitionist, feminist, and reformer. When slavery was outlawed in 1865, she advocated giving former slaves who had been bound to slavery laws within the boundaries of the United States, whether male or female, the right to vote. She remained a central figure in the abolition and suffrage movement until her death in 1880.

Text from the Wikipedia website

A devout Quaker whose activism proved unsettling to some members of her faith, Lucretia Mott assumed a highly visible role in the abolitionist movement. After joining William Lloyd Garrison at the launch of the American Anti-Slavery Society, she helped to found Philadelphia’s Female Anti-Slavery Society. Her concern for women’s rights was a natural outgrowth of her abolitionist efforts. In 1848, Mott and Elizabeth Cady Stanton organised the convention at Seneca Falls, New York, that galvanised the women’s suffrage movement.

Exhibition label from the Smithsonian National Portrait Gallery website [Online] Cited 13/11/2019.

 

Marcus Aurelius Root (American, 1808-1888) 'Lucretia Coffin Mott' 1851 (detail)

 

Marcus Aurelius Root (American, 1808-1888)
Lucretia Coffin Mott (detail)
1851
Half-plate daguerreotype
Case Open: 15 x 23.2 x 1 cm (5 7/8 x 9 1/8 x 3/8″)
National Portrait Gallery, Smithsonian Institution

 

 

The Smithsonian’s National Portrait Gallery will display photographs of 19th-century activists and professionals in “Women of Progress: Early Camera Portraits,” a presentation of 10 daguerreotypes and two ambrotypes from the museum’s extensive collection of antebellum portraits. This focused exhibition will explore the increasing visibility of American women in society before the Civil War and the corresponding advent of portrait photography. Organised by Ann Shumard, senior curator of photographs, “Women of Progress” is part of the Smithsonian American Women’s History Initiative, “Because of Her Story,” and is one of seven exhibitions in the Portrait Gallery’s 2019 – 2020 program to highlight women in history. “Women of Progress: Early Camera Portraits” will be displayed on the museum’s first floor June 14 through May 31, 2020.

The Portrait Gallery’s exhibition will reacquaint visitors with the fascinating lives of 13 memorable Americans. “In the 1840s and 1850s, the growing presence of women in public life coincided with the rise of portrait photography,” Shumard said. “As a result, women who were making their mark in endeavours as varied as journalism, literature, abolitionism and the burgeoning women’s rights movement became sought-after subjects for the camera.”

Those featured in the exhibition will include Dorothea Lynde Dix, activist and educator who sought humane treatment for people with mental illness; Margaret Fuller, editor and women’s rights advocate; Lucretia Mott, abolitionist and co-organiser of the Seneca Falls Convention; Lucy Stone, suffragist and a founder of the American Equal Rights Association; and Harriet Beecher Stowe, author of Uncle Tom’s Cabin. Other pioneers are the actress Laura Keene, the first woman manager of a major theatre in New York City and Mary Ann Brown Patten, the first woman to command a sailing ship around Cape Horn. The exhibition will also highlight the abolitionists Emily and Mary Edmonson, who are pictured in a daguerreotype with Frederick Douglass at the 1850 Fugitive Slave Law Convention in Cazenovia, New York. Funding for the exhibition was made possible by the National Portrait Gallery’s Women’s Initiative Leadership Committee including Capital One and the Smithsonian American Women’s History Initiative.

Press release from the National Portrait Gallery [Online] Cited 03/11/2019

 

Rufus Anson. 'Laura Keene' c. 1855

 

Rufus Anson (American, c. 1821-?)
Laura Keene
c. 1855
Sixteenth-plate daguerreotype
Case Open: 5.4 × 9.7 cm (2 1/8 × 3 13/16″)
National Portrait Gallery, Smithsonian Institution
Acquired through the generosity of Bill and Sally Wittliff

 

 

Rufus Anson (active 1851-1867), American daguerreotypist who operated a studio in New York City.

An accomplished comedic actress, Laura Keene (20 July 1826 – 4 November 1873) rattled New York City’s theatrical establishment in 1855 when she became the first woman manager of a major theatre in that city. After leasing the Metropolitan Theatre, she opened Laura Keene’s Varieties, serving as manager, director, and principal star. Keene faced hostility from New York’s male theatrical managers. Her theatre was vandalised, and she lost her lease. Undeterred, she opened the Laura Keene Theatre in a new building in 1856. Well versed in all aspects of her craft, Keene was a highly successful manager who championed emerging playwrights and attracted the brightest stars to her acting company.

Exhibition label from the Smithsonian National Portrait Gallery website [Online] Cited 13/11/2019.

 

Rufus Anson. 'Laura Keene' c. 1855 (detail)

 

Rufus Anson (American, c. 1821-?)
Laura Keene (detail)
c. 1855
Sixteenth-plate daguerreotype
Case Open: 5.4 × 9.7 cm (2 1/8 × 3 13/16″)
National Portrait Gallery, Smithsonian Institution
Acquired through the generosity of Bill and Sally Wittliff

 

John Plumbe, Jr. 'Margaret Fuller' 1846

 

John Plumbe, Jr. (born United Kingdom, 1809-1857)
Margaret Fuller
1846
Sixth-plate daguerreotype
National Portrait Gallery, Smithsonian Institution

 

 

Short on funds and waiting to receive a commission from the United States Congress to survey the route for a transcontinental railroad, an idea which he is credited with originating, civil engineer John Plumbe, Jr., took up photography in 1840 after seeing the work of an itinerant daguerreotypist in Washington, D.C. A Welshman by birth, Plumbe opened a gallery in Boston the following year. He eventually maintained galleries in thirteen cities, making his name recognisable in numerous cities across the country. Plumbe opened his Washington, D.C., gallery in 1844, the first in the nation’s capital. By the time he established the National Plumbeotype Gallery of engraved and lithographic reproductions of his own images in 1846, Plumbe had been dubbed “the American Daguerre” by the press. In 1847 Plumbe found himself in financial trouble and he sold his business to his employees. Two years later he gave up photography and retired to Dubuque, Iowa, where [suffering from the prolonged effects of malaria and from acute depression] he met an untimely end by cutting his own throat [at his brother’s residence in Dubuque on May 28, 1857].

Text from the J. Paul Getty Museum website [Online] Cited 13/11/2019

After working briefly for the Wisconsin territorial legislature in late 1839, Plumbe went east to continue his campaign for a Pacific railroad. He turned to the newly introduced daguerreotype process of photography as a means of support and excelled in that endeavour. Within six years Plumbe had attained a national reputation through photographic competitions and by establishing a chain of 23 galleries. Plumbe’s Dubuque gallery, opened in 1841 and operated by his brother Richard (1810-1896), was the first photographic establishment west of the Mississippi. Plumbe manufactured and imported photographic materials, gave instruction to the first generation of photographers, and published dozens of lithographic prints of noted Americans based on his daguerreotypes. Among his many achievements are the earliest photographs of the U.S. Capitol and White House (exterior and interior), the earliest photograph of a president in office (James K. Polk), and thousands of portraits of the most noted personalities of the era. Plumbe pioneered brand name recognition, obtained patent rights for colour photography, and published a magazine filled with illustrations based on his photographs. By late 1848, however, Plumbe had experienced severe financial reverses due to competition and mismanagement and was forced to sell his galleries to pay his debts.

Text from The Biographical Dictionary of Iowa website [Online] Cited 13/11/2019

 

John Plumbe, Jr. 'Margaret Fuller' 1846 (detail)

 

John Plumbe, Jr. (born United Kingdom, 1809-1857)
Margaret Fuller (detail)
1846
Sixth-plate daguerreotype
National Portrait Gallery, Smithsonian Institution

 

 

The only known daguerreotype of Margaret Fuller.

Sarah Margaret Fuller Ossoli (May 23, 1810 – July 19, 1850), commonly known as Margaret Fuller, was an American journalist, editor, critic, and women’s rights advocate associated with the American transcendentalism movement. She was the first full-time American female book reviewer in journalism. Her book Woman in the Nineteenth Century is considered the first major feminist work in the United States. …

Fuller was an advocate of women’s rights and, in particular, women’s education and the right to employment. She also encouraged many other reforms in society, including prison reform and the emancipation of slaves in the United States. Many other advocates for women’s rights and feminism, including Susan B. Anthony, cite Fuller as a source of inspiration. Many of her contemporaries, however, were not supportive, including her former friend Harriet Martineau. She said that Fuller was a talker rather than an activist. Shortly after Fuller’s death, her importance faded; the editors who prepared her letters to be published, believing her fame would be short-lived, censored or altered much of her work before publication.

Text from the Wikipedia website

 

Unidentified Artist. 'Olive Oatman' Nd

 

Unidentified Artist
Olive Oatman
Nd
Ambrotype
National Portrait Gallery, Smithsonian Institution

 

 

In the spring of 1851, a band of Apache men in present-day Arizona captured thirteen-year-old Olive Oatman and her younger sister. They killed or seriously injured the rest of the family during the attack. At the time, the Oatman family-originally from Illinois-was headed west to California to start their lives anew. Shortly thereafter the Apache sold the two sisters to a Mohave family. While living with this family, Oatman was tattooed on the chin, a custom common among members of the tribe. In 1856, after enduring five years in captivity and the death of her sister, Oatman had her freedom negotiated, and she was given over to authorities at Fort Yuma. Accounts of her release were published widely, and her biography became a best-seller. Though Oatman stated that her Mojave family treated her well, stories such as hers reinforced commonly held assumptions that Native Americans were violent savages.

Exhibition label from the Smithsonian National Portrait Gallery website [Online] Cited 13/11/2019.

 

Olive Ann Oatman (September 7, 1837 – March 21, 1903) was a woman born in Illinois. While traveling from Illinois to California with a company of Mormon Brewsterites, her family was killed in 1851, in present-day Arizona by a Native American tribe. The town of Oatman, Arizona is named after the Oatman family and the massacre which occurred therein. Though she identified her family’s attackers as Apache, they were most likely Tolkepayas (Western Yavapai). This small group of Native Americans clubbed Olive’s family to death. They captured Olive and her younger sister, Mary Ann, and enslaved them for one year. The girls were traded to the Mohave people. Olive spent four years with the Mohave. During her time with the Mohave tribe her sister, Mary Ann, died from starvation. Olive returned to white society five years after the Oatman Massacre, wearing a blue tattoo on her chin as a reminder of her time with the Mohave people.

Following her repatriation into American society, Olive’s story began to be retold with dramatic license in the press, as well as in her own “memoir” and speeches. Novels, plays, movies, and poetry have been inspired by Olive’s story, which resonated in the media of the time and long afterward. She had become an oddity in 1860s America, partly owing to the prominent blue tattooing of Oatman’s face by the Mohave, making her the first known tattooed American woman on record. Much of what actually occurred during her time with the Native Americans remains unknown.

Text from the Wikipedia website

 

Unidentified Artist. 'Olive Oatman' Nd (detail)

 

Unidentified Artist
Olive Oatman (detail)
Nd
Ambrotype
National Portrait Gallery, Smithsonian Institution

 

 

In the United States, the rise of studio portrait photography during the 1840s and ’50s coincided with a period of heightened visibility for women, who were emerging as prominent players in arenas including activism, literature, journalism and theatre. Harriet Beecher Stowe’s Uncle Tom’s Cabin, for example, sold 300,000 copies across the nation in the first year following its publication, while in 1855, comedic stage actress Laura Keene became the first female manager of a major New York City theatre. These women, as well as others making their mark in antebellum America, increasingly found themselves in front of the camera, posing for portraits to be shared with the public or exchanged among loved ones as tokens of affection.

“Women of Progress” catalogues the stories of 13 such mid-19th century figures through the lens of ten daguerreotypes and two ambrotypes. Some of these individuals remain household names today – Beecher Stowe, Lucretia Mott and Dorothea Dix, for example. Others, including Mary Ann Brown Patten, the first woman to sail a clipper ship around Cape Horn; Charlotte Cushman, a popular actress who played both male and female parts; and Mary Ann Meade, a daguerreotypist in her own right – are lesser known. Regardless, the women are united by both their progressive bent and the fact that their camera likenesses survive as a direct result of the burgeoning popularity of photography.

An 1846 photograph of journalist Margaret Fuller falls into the first of these categories: In a letter to her brother, the writer explains that photographer John Plumbe Jr. asked her to pose for a portrait. The resulting image, a sixth-plate daguerreotype, depicts its sitter reading a hefty tome, seemingly so engrossed in the text that she remains unaware of the camera’s presence. The image was later displayed in Plumbe’s studio to attract future clientele.

The circumstances surrounding the production of an 1851 half-plate daguerreotype of abolitionist and women’s rights advocate Lucretia Mott are far hazier. Taken by photographer Marcus Aurelius Root, the portrait served as the basis for a widely circulated lithographic print by Boston-based artist Leopold Grozelier. Unlike daguerreotypes, lithographic prints could be produced in multiple copies. Lithographs also conveyed a greater variety of tones than earlier printing methods, allowing for more accurate copies of original works such as daguerreotypes and paintings.

Shumard says it’s possible Root’s photograph was taken with the direct intention of serving as the basis for Grozelier’s print. Whereas a daguerreotype sitting typically produced just one plate, lithographs could be easily mass-produced for public purchase. …

To make copies of daguerreotypes, photographers placed original plates on specialised copy stands and then reshot the image – a process known as redaguerreotyping. Although these copies often lacked the level of contrast and subtle gradation seen in the original daguerreotypes, they were more accurate than lithographs and could be circulated on a smaller scale. “Women in Progress” features two copies – an 1852 picture of Beecher Stowe and a half-plate depicting sisters Mary and Emily Catherine Edmonson in a group photograph taken at an 1850 gathering of abolitionists protesting the impending passage of the new federal Fugitive Slave Law. The Edmonsons earned their freedom from slavery with the help of the Uncle Tom’s Cabin author’s brother, Henry Ward Beecher.

Shumard notes that the group portrait had previously been exhibited in relation to two of its better-known sitters, abolitionists Frederick Douglass and Gerrit Smith. Now, however, the scene’s female subjects are the ones commanding visitors’ attention. “In this instance,” she says, “it’s really nice to be able to highlight the Edmonson sisters.” The Beecher Stowe copy, Shumard says, stems from one of several studio sittings that yielded multiple plates ready for reproduction and distribution to an eager public.

The majority of daguerreotypes produced in mid-19th century America were designed for private rather than public consumption. “They are very intimate objects, [made] to be held in your hand and looked at,” says Shumard, or perhaps gifted to a loved one as a personal memento.

The medium’s capacity for conveying familiarity is apparent in an 1855 half-plate of abolitionist and women’s rights advocate Lucy Stone, who took the then-unheard of step of keeping her maiden name upon marrying husband Henry Blackwell. In the portrait, Stone’s features and clothing – including hand-coloured peach-tinted flesh and a pink pigmented skirt – are accentuated in an attempt to make the keepsake image look more lifelike.

Other notable images not to be missed include an 1850 quarter-plate daguerreotype of poet Sarah T. Bolton, who urged readers to “Battle for the right. / And break the chains that bind / the mighty to the few,” and a sixth-plate ambrotype of Olive Oatman, a young woman who was abducted by Native Americans and spent five years in captivity, first as a slave of the tribe that murdered most of her family and later as an adopted member of the Mohave people.

Oatman’s 1856 return attracted national attention. She was the subject of an exaggerated 1857 account, Life Among the Indians: Captivity of the Oatman Girls, and traveled the country on a publicity lecture circuit. Her likeness, meanwhile, was cemented in the public’s imagination by blue markings tattooed across the length of her chin. This facial tattoo, applied with cactus ink, is just discernible in the exhibition ambrotype, which is among the National Portrait Gallery’s most recent acquisitions.

Referencing the Oatman and Brown Patten ambrotypes, Shumard concludes, “I’m so excited that we have these ambrotypes of [women] who are not household names but… who experienced such trying circumstances and managed to survive.”

Extract from Meilan Solly. “How the Camera Introduced American to their Heroines,” on the Smithsonian.com website July 9, 2019 [Online] Cited 12/11/2019

 

Unidentified Artist. 'Dorothea Lynde Dix' c. 1849

 

Unidentified Artist
Dorothea Lynde Dix
c. 1849
Half-plate daguerreotype
Case Open: 15.4 x 24.4 x 1.3cm (6 1/16 x 9 5/8 x 1/2″)
National Portrait Gallery, Smithsonian Institution

 

 

In 1841, teacher, humanitarian, and reformer Dorothea Dix launched a vigorous campaign to secure humane treatment for those afflicted with mental illness. At a time when such individuals were more often imprisoned and abused than cared for and treated, Dix became a tireless advocate for their welfare. Personally investigating the “cages, cellars, stalls, [and] pens” where sufferers were confined, she reported her findings in speeches and articles, as well as in the petitions she submitted to lawmakers. Thanks to her efforts, facilities for the mentally ill were greatly expanded and improved.

Exhibition label from the Smithsonian National Portrait Gallery website [Online] Cited 13/11/2019. For more information see the large Wikipedia entry.

 

Unidentified Artist. 'Dorothea Lynde Dix' c. 1849 (detail)

 

Unidentified Artist
Dorothea Lynde Dix (detail)
c. 1849
Half-plate daguerreotype
Case Open: 15.4 x 24.4 x 1.3cm (6 1/16 x 9 5/8 x 1/2″)
National Portrait Gallery, Smithsonian Institution

 

Meade Brothers Studio. 'Mary Ann Meade' c. 1850

 

Meade Brothers Studio
Mary Ann Meade
c. 1850
Sixth-plate daguerreotype
Case Open: 9.6 × 15.9 × 1.6 cm (3 3/4 × 6 1/4 × 5/8″)
National Portrait Gallery, Smithsonian Institution
Gift of Mr. and Mrs. Dudley Emerson Lyons

 

 

A daguerreotypist in her own right, Mary Ann Meade began her career in the successful photography business founded around 1840 by her brothers, Charles and Henry Meade. After Charles’s death in 1858, Mary Ann gained greater visibility in the gallery’s operations. At a time when few women worked behind the camera, she was listed as a photographer in Trow’s New York City Directory (1861-62). In 1861, an article about the Meade Brothers gallery noted, “Mr. [Henry] Meade and his sister attend personally to visitors.” By June 1863, Mary Ann had become the gallery’s director and was billed as “Successor to MEADE BROTHERS.”

Text from the Smithsonian National Portrait Gallery website [Online] Cited 13/11/2019/

Meade Brothers Studio

The brothers opened their daguerreian gallery in Albany, N.Y., in 1842, and their business later expanded to other cities. They each traveled to Europe and in 1848, Charles Meade became the first American to photograph Frenchman Louis-Jacques-Mandé Daguerre – the originator of the daguerreotype process. In 1850, the Meade brothers established their flagship American Daguerreotype Gallery on Broadway in New York City, where they photographed such famous subjects as statesman Daniel Webster and entertainer Lola Montez.

Exhibition label from the Smithsonian website [Online] Cited 13/11/2019

 

Meade Brothers Studio. 'Mary Ann Meade' c. 1850 (detail)

 

Meade Brothers Studio
Mary Ann Meade (detail)
c. 1850
Sixth-plate daguerreotype
Case Open: 9.6 × 15.9 × 1.6 cm (3 3/4 × 6 1/4 × 5/8″)
National Portrait Gallery, Smithsonian Institution
Gift of Mr. and Mrs. Dudley Emerson Lyons

 

Unidentified Artist. 'Mary Ann Brown Patten' c. 1857

 

Unidentified Artist
Mary Ann Brown Patten
c. 1857
Ninth-plate ambrotype
Case Open: 7.4 x 12.4 x 0.9 cm (2 15/16 x 4 7/8 x 3/8″)
National Portrait Gallery, Smithsonian Institution
Gift of Dorthy Knouse Koepke

 

 

Mary Ann Brown Patten (April 6, 1837 – March 18, 1861) was the first female commander of an American merchant vessel. She was the wife of Joshua Patten, captain of the merchant clipper ship Neptune’s Car. The ship was bound around Cape Horn from New York towards San Francisco when Joshua Patten collapsed from fatigue in 1856. His wife took command for 56 days, faced down a mutiny, and successfully managed to navigate the clipper ship into San Francisco. At the time she was 19 years old and pregnant with her first child.

Text from the Wikipedia website

In 1856, Mary Ann Brown Patten became the first woman to sail a clipper ship around Cape Horn, through the notoriously treacherous waters at the tip of South America. Schooled in navigation by her sea captain husband, she took helm of his ship after he fell seriously ill and the first mate proved untrustworthy. Only nineteen years old and pregnant at the time, Patten captained the San Francisco-bound Neptune’s Car for fifty-one days, during the most hazardous portion of its 15,000-mile voyage. Upon bringing the vessel safely to its destination, she was hailed for her skill as well as her courage.

Exhibition label from the Smithsonian National Portrait Gallery website [Online] Cited 13/11/2019

 

 

Smithsonian National Portrait Gallery
8th and F Sts NW
Washington, DC 20001

Opening hours:
11.30 am – 7.00 pm daily

Smithsonian National Portrait Gallery website

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21
Feb
18

American daguerreotypes, ambrotypes and tintypes of men

February 2018

 

J[eremiah] Gurney (American) 'Untitled [Cross-eyed man in three-quarter profile]' Nd

J[eremiah] Gurney (American) 'Untitled [Cross-eyed man in three-quarter profile]' Nd

 

J[eremiah] Gurney (American) at 349 Broadway, New York
Untitled [Cross-eyed man in three-quarter profile]
Nd
Half-plate daguerreotype

 

 

All of these photographs came from the Internet, most from an auction site selling them at prices way beyond what I could afford.

As you can see, I have given most of them a digital clean. Even though this might seem too clinical, unethical? or just wrong- you can now see the photographs as they were originally intended, without the grunge and gunk of years of dust and degradation over the top of them.

Just look at the photograph above, and you can immediately get an idea of the unique spatiality of the image, from front to back. A really low depth of field that is focused diagonally across the front of the body and jacket, making the hands, the table and the back of the head out of focus. Because it is occluded with all the scratches and dust on the original, you have little idea of the complexity of the visualisation of this portrait until you observe the image in its pristine state, as it was meant to be seen just after it was taken.

I just love these early portraits and photographic processes for the presence they bring to their subjects. For example the hair, the gaze and the attitude of the right hand in Handsome man with fifth finger ring is just magnificent. I could go on cleaning them for a very long time, and never get bored.

Marcus

 

Unknown photographer (American) 'Untitled [Group of three men]' c. 1850

 

Unknown photographer (American)
Untitled [Group of three men]
c. 1850
Sixth-plate daguerreotype
Unusual period frame of cast thermoplastic

 

Unknown photographer (American) 'Untitled [Man on crutches]' c. 1850-60s

 

Unknown photographer (American)
Untitled [Man on crutches]
c. 1850-60s
Sixth-plate ambrotype
Housed in a moulded leather case

 

Unknown photographer (American) Untitled [Man with pistols] c. 1850-60s

Unknown photographer (American) Untitled [Man with pistols] c. 1850-60s

 

Unknown photographer (American)
Untitled [Man with pistols]
c. 1850-60s
Sixth-plate daguerreotype, delicately tinted
Housed in a moulded leather case

 

Unknown photographer (American) 'Untitled [Man, possibly a sailor, wearing hoop earrings]' Nd

Unknown photographer (American) 'Untitled [Man, possibly a sailor, wearing hoop earrings]' Nd

 

Unknown photographer (American)
Untitled [Man, possibly a sailor, wearing hoop earrings]
Nd
Sixth-plate daguerreotype
Housed in a moulded leather case

 

Unknown photographer (American) 'Untitled [African American]' c. 1850s

 

Unknown photographer (American)
Untitled [African American]
c. 1850s
Sixth-plate daguerreotype

 

Unknown photographer (American) 'Untitled [African American]' c. 1850s

 

Unknown photographer (American)
Untitled [African American]
c. 1850s
Sixth-plate daguerreotype

 

Unknown photographer (American) 'Untitled [Two men in caps, elegantly dressed]' c. 1850s

 

Unknown photographer (American)
Untitled [Two men in caps, elegantly dressed]
c. 1850s
Sixth-plate daguerreotype
Housed in a moulded leather case

 

Unknown photographer (American) 'Untitled [Handsome man with fifth finger ring]' c. 1850s

 

Unknown photographer (American)
Untitled [Handsome man with fifth finger ring]
c. 1850s
Sixth-plate daguerreotype

 

Unknown photographer (American) 'Untitled [Portrait of violinist holding instrument]' c. 1855

 

Unknown photographer (American)
Untitled [Portrait of violinist holding instrument]
c. 1855
Sixth-plate daguerreotype
Union case

 

Unknown photographer (American) 'Untitled [Two men, one with trug of tools]' c. 1850-60s

 

Unknown photographer (American)
Untitled [Two men, one with trug of tools]
c. 1850-60s
Sixth-plate ambrotype
Housed in a moulded leather case

 

Unknown photographer (American) 'Untitled [Two firemen]' c. 1850-60s

 

Unknown photographer (American)
Untitled [Two firemen]
c. 1850-60s
Quarter-plate tinted tintype
Leather case

 

Unknown photographer (American) 'Untitled [Man in button braces]' c. 1850

Unknown photographer (American) 'Untitled [Man in button braces]' c. 1850

 

Unknown photographer (American)
Untitled [Man in button braces]
c. 1850
Ninth-plate daguerreotype

 

 

William J. Shew (American, 1820-1903) 'Charles Calistus Burleigh (1810-1878)' c. 1845-1850

 

William J. Shew (American, 1820-1903)
Charles Calistus Burleigh (1810-1878)
c. 1845-1850
Quarter-plate daguerreotype
11.5 x 9.5 cm (cased)
Boston Public Library, Print Department

 

 

Charles Calistus Burleigh (1810-1878)

An ardent abolitionist and journalist, Burleigh was vocal against Connecticut’s “Black Law” and became editor of the Unionist, originally published in defence of Prudence Crandall’s school.

Eccentric in dress and with a flowing beard he vowed not to remove until the end of slavery, Burleigh turned his back on a professional career to become agent and lecturer for the Middlesex Anti-Slavery. He was a regular contributor to the Liberator and one of the editors of the Pennsylvania Freeman.

He was a supportive friend of Abby Kelley. Active in a number of reform movements, Burleigh plunged into the Anti-Sabbatarian campaign after he was arrested in West Chester, Pennsylvania, in 1847 for selling antislavery literature on Sunday. Abby and Stephen Foster had been arrested in Ohio for the same offence in July 1846.

In 1845 he published a pamphlet, Thoughts on the Death Penalty, condemning capital punishment.

Karen Board Moran

 

William J. Shew (1820-1903)

William Shew (1820-1903) made a name for himself as a Daguerrotype portrait artist in the United States. He maintained a mobile studio in a wagon that he called his “Daguerrotype Saloon.”

William Shew was born on a farm in Waterton, New York on March 1820. At the age of 20 he read an article by the inventor Samuel F.B. Morse about the daguerreotype process and, along with his three brothers, moved to New York City to study with Morse. His brothers Jacob, Myron and Trueman were also photographers, but not attained the stature of William Shew. Morse would become more famous as the inventor of the telegraph.

After completing his studies, Shew worked briefly in upstate New York before becoming the supervisor at John Plumbe’s gallery in Boston. Three years later he opened John Shew and Company in Boston, where he manufactured his own dyes and created daguerrotypes with wooden frames, thin veneer backings and embossed paper coverings. In 1846, Shew married Elizabeth Marie Studley and had a daughter they named Theodora Alice, born in Feb. 1848. He also became and active member of the Massachusetts Anti-Slavery Society.

In 1851, he sold his business and sailed on the steamer Tennessee to San Francisco, where he joined his brother Jacob who arrived in 1849. It is believed that Shew set up a gallery shortly after arriving in San Francisco, which may have been destroyed by the 1851 fire that swept the city. After the fire he set up “Shew’s Daguerreian Saloon.”

Read more…

 

Unknown photographer (American) 'Untitled [Two young men with straw hats, seated beside each other]' Nd

 

Unknown photographer (American)
Untitled [Two young men with straw hats, seated beside each other]
Nd
Sixth-plate painted tintype
Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library

 

 

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15
Aug
13

Exhibition: ‘Photographic Wonders: American Daguerreotypes from The Nelson-Atkins Museum of Art’ at the Taft Museum of Art, Cincinnati

Exhibition dates: 17th May – 25th August 2013

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I love the word “occupationals” to describe portraits of individuals with the hallmarks of their trade.

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Many thankx to the Taft Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Unknown Maker (American) 'Three Lively Women' c. 1850

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Unknown Maker (American)
Three Lively Women
c. 1850
Daguerreotype, quarter plate
3 ¼ x 4 ¼ inches
The Nelson-Atkins Museum of Art, Gift of Hallmark Cards, Inc.,
© Nelson Gallery Foundation

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Thomas Easterly (American, 1809-1882) 'Man with Elephant' c. 1850

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Thomas Easterly (American, 1809-1882)
Man with Elephant
c. 1850
Daguerreotype, quarter plate
3 ¼ x 4 ¼ inches
The Nelson-Atkins Museum of Art, Gift of Hallmark Cards, Inc.,
© Nelson Gallery Foundation

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A sometime calligrapher and writing teacher, Vermont-born Thomas Martin Easterly (b. 1809 Guilford, Vermont, d. 1882) learned the daguerreotype process in New York between 1841 and 1844, possibly from Charles and Richard Meade. In 1844 Easterly sailed from New York City to New Orleans, where he made photographs before returning to Vermont the following year. He did not remain for long: by October, he had entered into a daguerreotype studio partnership in Iowa. He and his partner operated as traveling photographers working throughout Iowa and Missouri for several years. Some scholars have credited Easterly with making the first photographs of Plains Indians.

After the dissolution of the partnership, Easterly moved to Saint Louis and took over a studio in 1848. He had a successful career for ten years, but his loyalty to the daguerreotype process after the introduction of the ambrotype, tintype, and paper photograph processes caused his business to falter. By 1860 Easterly had begun to sell farm implements in addition to continuing his daguerreotype practice. (Text from the J. Paul Getty Museum website)

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Attributed to Ezekiel Hawkins (American, 1808-1862) 'The Jacob Strader at Wharf, Cincinnati' c. 1853

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Attributed to Ezekiel Hawkins (American, 1808-1862)
The Jacob Strader at Wharf, Cincinnati
c. 1853
Daguerreotype, half plate
4 ½ x 5 ½ inches
The Nelson-Atkins Museum of Art, Gift of Hallmark Cards, Inc.,
© Nelson Gallery Foundation

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This daguerreotype of the side-wheel packet Jacob Strader was taken at the Cincinnati boatyard where she was built in 1853. Owned by the U.S. Mail Line Co., this steamboat was named to honor Jacob Strader, the company’s first ,president. The Jacob Strader ran regularly between Cincinnati and Louisville, however during the Civil War, because her large cabin contained 310 berths, she was frequently used to transport sick and wounded soldiers. This boat was dismantled in 1866.
As steamboats replaced flatboats and keelboats as the major mode of river transportation, travel along the Ohio River became faster and easier. By the middle of the nineteenth century, more than 3,000 steamboats arrived each year at the port of Cincinnati. The city’s prominent location along the river contributed to its rapid growth, and by 1850 Cincinnati became the sixth largest city in the country. The development of railroads slowly led to the decline of steamboats. They continued to operate on the Ohio River, but their numbers dwindled. (Text from the Ohio Memory Collection website)

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Unknown Maker (American) 'A Showing of Daguerreotypes' c. 1850

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Unknown Maker (American)
A Showing of Daguerreotypes
c. 1850
Daguerreotype, quarter plate
3 ¼ x 4 ¼ inches
The Nelson-Atkins Museum of Art, Gift of Hallmark Cards, Inc.,
© Nelson Gallery Foundation

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Unknown Maker (American) 'Comic Dentist' c. 1850

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Unknown Maker (American)
Comic Dentist
c. 1850
Daguerreotype, sixth plate
3 ¼ x 2 ¾ inches
The Nelson-Atkins Museum of Art, Gift of Hallmark Cards, Inc.,
© Nelson Gallery Foundation

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American Daguerreotypes from The Nelson-Atkins Museum of Art, on display May 17 – Aug. 25, features 82 astonishing images of life in 19th-century America. The exhibition includes rare images of such well-known Americans as Harriet Beecher Stowe, Frederick Douglass, and Tom Thumb.

By the middle of the 19th century, Cincinnati was the Queen City of the West. A transportation hub, the city was home to industry, art, and even a professional baseball team. Though there are numerous written accounts of life in the big city at this time, we are also fortunate to have images of this era because of the earliest “photographic” works, known as daguerreotypes. In 1839 the American public first encountered this exciting new invention. By 1843, daguerreotypists had set up shop in every major city in the United States. Visitors to the Taft will have the opportunity to view these remarkable works. This exhibition features about 90 daguerreotypes of exceptional quality and variety, with the high degree of resolution typical of these rare, one-of-a-kind photographs. Works by both famed and anonymous makers provide a window into mid-19th-century America: its occupations, trades, urban and rural scenery, and racial and ethnic diversity.

In 1839 the American public encountered the exciting new invention of photography in its earliest form, the daguerreotype. Together, these two Taft exhibitions present an in-depth look at the art of early photography, as well as candid, touching, and sometimes humorous image of life in mid-19th century America and Cincinnati. A daguerreotype is a unique image crafted on a silvered copper plate, a surface that acts like a mirror. While sometimes hard to view, this exhibition presents the works under perfect lighting conditions. The earliest daguerreotypes required exposures of up to thirty minutes. Within a few years, however, portraits could be made in about ten to twenty seconds.

Among the exceptional daguerreotypes in Photographic Wonders are post-mortem images (portraits taken after death) that tell sorrowful stories, while The Comic Dentist and other humorous subjects still amuse today’s audiences. Portraits of individuals with the hallmarks of their trade (called occupationals), including a blacksmith with his tools, a woman ironing, and a clown in costume, show Americans’ pride in their work. Outdoor scenes reveal quaint towns and growing cities, while landscapes feature popular tourist destinations. The wide range of subjects offers something for every interest. The exhibited works in Photographic Wonders are part of an acclaimed collection that Hallmark Cards, Inc., donated in 2005 to The Nelson-Atkins Museum of Art.

The choice examples selected for the Taft date from about 1840 to about 1860, while Nicholas Longworth and his family lived in the historic house that is now the Taft Museum of Art. Local Exposures, a captivating “snapshot” of life in Cincinnati in the 1800s, will delight Cincinnati history enthusiasts. A rarely exhibited Cincinnati streetscape reveals what the city looked like in 1848, while business cards and advertisements for daguerreotype studios show the prominence of the industry in Cincinnati.

“These were the first photographs. Prior to this the only way you could preserve your image was through a painting or sketch. Imagine seeing yourself in a photograph for the first time – it would seem like magic, and that’s exactly the first reaction people had,” says installing curator, Tamera Muente. Taft Museum of Art Director/CEO, Deborah Emont Scott, says, “It’s an amazing experience to view these precious, one-of-a-kind photographs. The images are small and the viewing experience is an intimate one – you step back in time and share a rare mid-19th-century moment with the sitter.”

Press release from the Taft Museum of Art website

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William C. North (American, 1814-1890) 'The Fisherman' c. 1850

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William C. North (American, 1814-1890)
The Fisherman
c. 1850
Daguerreotype, half plate
5 ½ x 4 ½ inches
The Nelson-Atkins Museum of Art, Gift of Hallmark Cards, Inc.,
© Nelson Gallery Foundation

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Unknown Maker (American) 'Clown' c. 1850-55

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Unknown Maker (American)
Clown
c. 1850-55
Daguerreotype, sixth plate
2 ¼ x 2 ¾ inches
The Nelson-Atkins Museum of Art, Gift of Hallmark Cards, Inc.,
© Nelson Gallery Foundation

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Unknown Maker (American) 'Tightrope Walker' c. 1855

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Unknown Maker (American)
Tightrope Walker
c. 1855
Daguerreotype, half plate
5 ½ x 4 ½ inches
The Nelson-Atkins Museum of Art, Gift of Hallmark Cards, Inc.,
© Nelson Gallery Foundation

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Unknown Maker (American) 'Tom Thumb and his Mother' c. 1850-55

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Unknown Maker (American)
Tom Thumb and his Mother
c. 1850-55
Daguerreotype, quarter plate
4 ¼ x 3 ¼ inches
The Nelson-Atkins Museum of Art, Gift of Hallmark Cards, Inc.,
© Nelson Gallery Foundation

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General Tom Thumb was the stage name of Charles Sherwood Stratton (January 4, 1838 – July 15, 1883), a little person who achieved great fame under circus pioneer P.T. Barnum.

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Unknown Maker (American) 'Woman Ironing' c. 1850-55

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Unknown Maker (American)
Woman Ironing
c. 1850-55
Daguerreotype, sixth plate
3 ¼ x 2 ¾ inches
The Nelson-Atkins Museum of Art, Gift of Hallmark Cards, Inc.,
© Nelson Gallery Foundation

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Unknown Maker (American) 'Profile Portrait of Frederick Douglass' c. 1858

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Unknown Maker (American)
Profile Portrait of Frederick Douglass
c. 1858
Daguerreotype, sixth plate
3 ¼ x 2 ¾ inches
The Nelson-Atkins Museum of Art, Gift of Hallmark Cards, Inc.,
© Nelson Gallery Foundation

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Frederick Douglass (born Frederick Augustus Washington Bailey, c. February 1818 – February 20, 1895) was an African American social reformer, orator, writer and statesman. After escaping from slavery, he became a leader of the abolitionist movement, gaining note for his dazzling oratory and incisive antislavery writing. He stood as a living counter-example to slaveholders’ arguments that slaves did not have the intellectual capacity to function as independent American citizens. Many Northerners also found it hard to believe that such a great orator had been a slave.

Douglass wrote several autobiographies, eloquently describing his experiences in slavery in his 1845 autobiography, Narrative of the Life of Frederick Douglass, an American Slave, which became influential in its support for abolition. He wrote two more autobiographies, with his last, Life and Times of Frederick Douglass, published in 1881 and covering events through and after the Civil War. After the Civil War, Douglass remained active in the United States’ struggle to reach its potential as a “land of the free”. Douglass actively supported women’s suffrage. Without his approval, he became the first African American nominated for Vice President of the United States as the running mate of Victoria Woodhull on the impracticable and small Equal Rights Party ticket. Douglass held multiple public offices.

Douglass was a firm believer in the equality of all people, whether black, female, Native American, or recent immigrant, famously quoted as saying, “I would unite with anybody to do right and with nobody to do wrong.” (Text from Wikipedia)

“I have often been asked, how I felt when first I found myself on free soil. And my readers may share the same curiosity. There is scarcely anything in my experience about which I could not give a more satisfactory answer. A new world had opened upon me. If life is more than breath, and the ‘quick round of blood,’ I lived more in one day than in a year of my slave life. It was a time of joyous excitement which words can but tamely describe. In a letter written to a friend soon after reaching New York, I said: ‘I felt as one might feel upon escape from a den of hungry lions.’ Anguish and grief, like darkness and rain, may be depicted; but gladness and joy, like the rainbow, defy the skill of pen or pencil.”

Douglass, Frederick. Life and Times of Frederick Douglass. 1882, p. 170.

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Taft Museum of Art
316 Pike Street at the east end of Fourth Street
across from Lytle Park, in downtown Cincinnati

Opening hours:
Wednesday-Friday, 11 am – 4 pm
Saturday and Sunday, 11 am – 5 pm

Taft Museum of Art website

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26
Jan
09

Exhibition: ‘TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945’ at George Eastman House, New York

Exhibition dates: 7th February 2009 – 31st May 2009

 

Alfred Steiglitz. 'Snapshot - In the New York Central Yards' Negative 1903; Printed 1910

 

Alfred Steiglitz (American, 1864-1946)
Snapshot – In the New York Central Yards
Negative 1903; Printed 1910
Photogravure

 

This photograph of a train departing from Grand Central Terminal was probably made from the 48th Street foot bridge, which crossed over the railroad yard.

 

Alvin Langdon Coburn. 'Wapping' 1904

 

Alvin Langdon Coburn (American, 1882-1966)
Wapping
1904

 

 

Pictorialism was simultaneously a movement, a philosophy, an aesthetic, and a style, resulting in some of the most spectacular photographs in the history of the medium. This exhibition shows the rise of Pictorialism in the late 19th century from a desire to elevate photography to an art form equal to painting, drawing, and watercolour, and extends the historical period generally associated with it by including its influential precursors, its persistent practitioners, and its seminal effect on photographic Modernism.

With 130 masterworks from such well-known photographers as Alvin Langdon Coburn, Edward Steichen, Alfred Stieglitz, Robert Demachy, Frederick Evans, and F. Holland Day, this remarkable exhibition will illustrate the Pictorialism movement’s progression from its early influences to its lasting impact on photography and art.

Text from the George Eastman House website

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Many thankx to George Eastman House for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Edward Steichen (American, 1879-1973) 'The Pond - Moonlight' Negative 1904; print 1906

 

Edward Steichen (American, 1879-1973)
The Pond – Moonlight
Negative 1904; print 1906
Photogravure

 

 

The Pond – Moonlight (also exhibited as The Pond – Moonrise) is a pictorialist photograph by Edward Steichen. The photograph was made in 1904 in Mamaroneck, New York, near the home of his friend art critic Charles Caffin. The photograph features a forest across a pond, with part of the moon appearing over the horizon in a gap in the trees. The Pond – Moonlight is an early photograph created by manually applying light-sensitive gums, giving the final print more than one colour. Only three known versions of The Pond – Moonlight are still in existence and, as a result of the hand-layering of the gums, each is unique. (Wikipedia)

 

Edward Steichen. 'Grand Prix at Longchamp, After the Races' 1907

 

Edward Steichen (American, 1879-1973)
Grand Prix at Longchamp, After the Races
1907
Photogravure

 

Eva Watson Schutze (American, 1867-1935) 'Woman with Lilly' 1905

 

Eva Watson Schutze (American, 1867-1935)
Woman with Lilly
1905

 

 

Eva Watson-Schütze (1867-1935) was an American photographer and painter who was one of the founding members of the Photo-Secession. …

Around the 1890s Watson began to develop a passion for photography, and soon she decided to make it her career. Between 1894 and 1896 she shared a photographic studio with Amelia Van Buren another Academy alumna in Philadelphia, and the following year she opened her own portrait studio. She quickly became known for her pictorialist style, and soon her studio was known as a gathering place for photographers who championed this aesthetic vision.

In 1897 she wrote to photographer Frances Benjamin Johnston about her belief in women’s future in photography: “There will be a new era, and women will fly into photography.”

In 1898 six of her photographs were chosen to be exhibited at the first Philadelphia Photographic Salon, where she exhibited under the name Eva Lawrence Watson. It was through this exhibition that she became acquainted with Alfred Stieglitz, who was one of the judges for the exhibit.

In 1899 she was elected as a member of the Photographic Society of Philadelphia. Photographer and critic Joseph Keiley praised the work she exhibited that year, saying she showed “delicate taste and artistic originality”.

The following year she was a member of the jury for the Philadelphia Photographic Salon. A sign of her stature as a photographer at that time may be seen by looking at the other members of the jury, who were Alfred Stieglitz, Gertrude Kasebier, Frank Eugene and Clarence H. White.

In 1900 Johnston asked her to submit work for a groundbreaking exhibition of American women photographers in Paris. Watson objected at first, saying “It has been one of my special hobbies – and one I have been very emphatic about, not to have my work represented as ‘women’s work’. I want [my work] judged by only one standard irrespective of sex.” Johnston persisted, however, and Watson had twelve prints – the largest number of any photographer – in the show that took place in 1901.

In 1901 she married Professor Martin Schütze, a German-born and -trained lawyer who had received his Ph.D. in German literature from the University of Pennsylvania in 1899. He took a teaching position in Chicago, where the couple soon moved.

That same year she was elected a member of The Linked Ring. She found the ability to correspond with some of the most progressive photographers of the day very invigorating, and she began to look for similar connections in the U.S.

In 1902 she suggested the idea of forming an association of independent and like-minded photographers to Alfred Stieglitz. They corresponded several times about this idea, and by the end of the year she joined Stieglitz as one of the founding members of the famous Photo-Secession.

About 1903 Watson-Schütze began to spend summers in Woodstock at the Byrdcliffe Colony in the Catskill Mountains of New York. She and her husband later bought land nearby and built a home they called “Hohenwiesen” (High Meadows) where she would spend most of her summer and autumn months from about 1910 until about 1925.

In 1905 Joseph Keiley wrote a lengthy article about her in Camera Work saying she was “one of the staunchest and sincerest upholders of the pictorial movement in America.

Text from the Wikipedia website

 

Frederick Evans. 'York Minster: In Sure and Certain Hope' 1903

 

Frederick Evans (British, 1853-1943)
York Minster: In Sure and Certain Hope
1903
Photogravure

 

 

Frederick H. Evans (26 June 1853, London – 24 June 1943, London) was a British photographer, primarily of architectural subjects. He is best known for his images of English and French cathedrals. Evans began his career as a bookseller, but retired from that to become a full-time photographer in 1898, when he adopted the platinotype technique for his photography. Platinotype images, with extensive and subtle tonal range, non glossy-images, and better resistance to deterioration than other methods available at the time, suited Evans’ subject matter. Almost as soon as he began, however, the cost of platinum – and consequently, the cost of platinum paper for his images – began to rise. Because of this cost, and because he was reluctant to adopt alternate methodologies, by 1915 Evans retired from photography altogether.

Evans’ ideal of straightforward, “perfect” photographic rendering – unretouched or modified in any way – as an ideal was well-suited to the architectural foci of his work: the ancient, historic, ornate and often quite large cathedrals, cloisters and other buildings of the English and French countryside. This perfectionism, along with his tendency to exhibit and write about his work frequently, earned for him international respect and much imitation. He ultimately became regarded as perhaps the finest architectural photographer of his, or any, era – though some professionals privately felt that the Evans’ philosophy favouring extremely literal images was restrictive of the creative expression rapidly becoming available within the growing technology of the photographic field.

Evans was also an able photographer of landscapes and portraits, and among the many notable friends and acquaintances he photographed was George Bernard Shaw, with whom he also often corresponded. Evans was a member of the Linked Ring photographic society.

Text from the Wikipedia website

 

F. Holland Day. 'Ebony and Ivory' 1899

 

F. Holland Day (American, 1864-1933)
Ebony and Ivory
1899
Photogravure

 

Robert Demachy. 'Une Balleteuse' 1900

 

Robert Demachy (French, 1859-1936)
Une Balleteuse
1900
Gum bichromate print

 

 

Demachy was, with Émile Joachim Constant Puyo, the leader of the French Pictorial movement in France. His aesthetic sophistication and skill with the gum bichromate technique, which he revived in 1894 and pressed into the service of fine art photography, were internationally renowned. With the gum medium, he was able to achieve the appearance of a drawing or printmaking process-in this photograph, he has added marks characteristic of etching during intermediate stages of development-in order to advocate photography’s membership in the fine arts by revealing the intervention of the photographer’s hand in the printmaking stage of the photographic process. The result attested to Demachy’s mastery of his medium, but also proved his ability to unify a composition and select significant details from the myriad of facts available in his negatives. In this picture, Demachy has gently elided the background and erased the features of the left third of the image in order to emphasise the grace and delicacy of the ballet dancer that is its subject.

Text from the Metropolitan Museum of Art website

 

 

George Eastman House
900 East Avenue
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Opening hours:
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Sunday 11am – 5pm

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Padlocks/People’ 1994-96

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