MY DAGUERREOTYPES
II. #3 - 9/11/2024 CK
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Unidentified woman ~ girl], John Plumbe National Gallery, W. (Walter) H. Eastman, 75 Court St. Boston, Massachusetts. ca. 1854.
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Girl with 1850 Victorian child's dress with drindl Renaissance style front lacing, short lace sleeve.
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Creator(s)
Eastman, W. B.
Title
[Unidentified woman ~ girl].
Date
[ca. 1854].
Publisher
Eastman, 75 Court St.
Physical description
1 photograph : ninth plate daguerreotype, b&w.
Summary
Portrait of a girl. Title devised by cataloger. Oval mat. Red velvet lining.
Case; Eichmeyer case with two horizontal bands running all the way around inside which is a vine with leaves.The Gold gilding pattern is identified in Nolan, Sean, Fixed in Time, as gSwag2 (1851-1870). Elaborate latch of two hinges with heart motifs and a connector that resembles a lyre. The Eichmeyer 'book' case, patented Feb. 27, 1855. Henry Adolph Eichmeyer, of Philadelphia, were made of fine leather and beautifully put together. Advertising card reads: 25 cent Daguerreotypes at the Plumbe National Daguerrian Gallery, No.75 Court Street, the oldest establishment of the kind in New England. Founded 1840. W.B.Eastman-Proprietor Copying and all that pertains to the art done at low prices.
Provenance: Purchased from Clifford Krainik, Plumbe expert, 2024.
Subjects
Girl--Portraits.
Genre terms
Daguerreotypes--United States--1850-1860.
Call number
Prints and Photographs Dept. (photo) UTB-9 5.4 (no.39)
Rights
Collection of the Hyden Photography. May not be reproduced or quoted without written permission. For more information,.....from the the collection of Clifford Krainik, (Balltowne).
Source
2361.jpg
"A variant of this is in my book (Sean Nolan) on page 226, “Pressed Flower”. I would have put this among the geometric cases except that Rinhart already named this design Pressed Flower” in their book.
Yours is a more ornamented version, which I call, unsurprisingly, “Pressed Flower Ornamented.” It is not in my book but I estimate it is circa 1854 based on only two dated examples I’ve seen."
According to Craig’s Daguerreian Registry (Revised Edition 2003), Walter B Eastman was at 75 Court Street 1854-1860. It also says that he reportedly bought out Plumbe’s studio at that address in 1847. In 1847 he was a daguerreian at Court & Howard streets; this may be 75 Court street but I’m not sure how to tell. That neighborhood was razed in the 1960s to put in the monstrosity known as “Government Center.”
Timeline
John Plumbe National Gallery, 75 Court Street, Boston, Massachusetts. W. (Walter) H. Eastman1847. Corner of Court and Howard Streets (~Plumbe Studio)
1848-1849. 11-1/2 Tremont Row
1849-1850
1850-1851 2 Blanchard's Block, in partnership as Hadley (S.D.)
1851 to 1853. 103 Court Street
1854 to 1860. 75 Court Street
1856 Charleston, his home
Walter B. Eastman (1819-1864, age 45) was recorded as a daguerreian in Boston, Mass., 1847-1860. In 1847 he was listed as a daguerreotype artist at the corner of Court and Howard Streets. In 1848-1849 he was listed at 11-1/2 Tremont Row in 1849-1850 he listed no business address. In 1850-1851 he was listed at 2 Blanchard's Block, in partnership as Hadley (S.D.) and Eastman. He was listed alone at the same address (103 Court Street) from 1851 to 1853. From 1854 to 1860 he was listed as Eastman & Co. at 75 Court Street. He is also reported to have operated Plumbe's Gallery at 75 Court Street at some point (probably 1847). "Eastman" and "Eastman & Co." have both been noted stamped on daguerreotype mats.
Framing: Matted & Framed This is an original daguerreotype by notable daguerreian Walter B. Eastman of Boston, MA. Recorded as a daguerreian in Boston, Mass., 1847-1860. In 1847 he was listed as a daguerreotype artist at the corner of Court and Howard Streets. In 1848-1849 he was listed at 11-1/2 Tremont Row in 1849-1850 he listed no business address. In 1850-1851 he was listed at 2 Blanchard's Block, in partnership as Hadley (S.D.) and Eastman. He was listed alone at the same address (103 Court Street) from 1851 to 1853. From 1854 to 1860 he was listed as Eastman & Co. at 75 Court Street. He is also reported to have operated Plumbe's Gallery at 75 Court Street at some point (probably 1847). "Eastman" and "Eastman & Co." have both been noted stamped on daguerreotype mats. He reportedly bought out Plumbe
References:
Krainik, Clifford and Michele. A Special Space, Lost and Found Images of Abraham Lincoln's White House Stables. https://www.whitehousehistory.org/a-special-space-lost-and-found-images-of-abraham-lincolns-white-house-stables
Krainik, Clifford and Michele, https://sova.si.edu/record/nasm.1990.0009
Krainik, Clifford and Michele, Union Cases: A Collector's Guide to the Art of America's First Plastics
Carl Walvoord
https://www.c-span.org/program/public-affairs-event/the-coming-of-age-of-the-white-house/102419
IV. #6 - 2024, CM, RICE
FOR EDUCATIONAL PURPOSES ONLY
Creator(s): RICE, SAMUEL, 184
CANAL STREET. NEW YORK, NEW YORK
Title: [MARY K PRADER, ANDOVER].
Date: [ca. 1854].
Publisher: RICE, SAMUEL, 184
CANAL STREET. NEW YORK, NEW YORK
Physical description
1 photograph : daguerreotype : 1/6 plate :
Summary
MARY K PRADER
ANDOVER
PHOTOGRAPHER:
Hair: center part puffed and padded coiffed
Dress: Early 1850's Dark, long bodice, two white collars
Jewelry: black ribbon cuffs; gold painted earrings and long Y-necklace chain known as chatelaine leading to waist pocket; broach at neck
Table: botanical print, wildflowers
Provenance: From Carl Mautz, from collection of Mr. BRO, PORTLAND OREGON.
WHO DOES SHE REMIND YOU OF: Gustof Klimpt model (BAUM); school mistress, with a châtelaine, the case has her name written as Mary K Prader, Andover. Andover could be various schools. Andover, England; Andover also known as Phillips Academy 20 Main Street, Exeter, NH ;
A chatelaine is a decorative belt hook or clasp worn at the waist with a series of chains suspended from it. Each chain is mounted with useful household appendages such as scissors, thimbles, watches, keys, smelling salts, and household seals. The name chatelaine derives from the French term châtelaine which meant the mistress of a chateau. She would have worn a belt for her keys, which the current meaning of chatelaine derives from.
Chatelaines were worn by many housekeepers in the 19th century and in the 16th century Dutch Republic, where they were typically used as watch chains for the most wealthy. Similar jewelry was also worn by Anglo-Saxon women, as seen from the burial record, but their function is uncertain. Status among women The chatelaine was also used as a woman's keychain in the 19th century to show the status of women in a wealthy household. The woman with the keys to all the many desks, chest of drawers, food hampers, pantries, storage containers, and many other locked cabinets was "the woman of the household". As such, she was the one who would direct the servants, housemaids, cooks and delivery servicemen and would open or lock the access to the valuables of the house, possessing total authority over who had access to what.
Frequently, this hostess was the senior woman of the house. When a woman married and moved into her father-in-law's house, her husband's mother would usually hold on to the keys. However, if the mother became a widow, the keys and their responsibilities and status were often passed to the oldest son's wife.
Younger women and daughters in the house often wanted the appearance of this responsibility, and would often wear decorative chatelaines with a variety of small objects in the place of keys, especially bright and glittering objects that could be used to start a conversation. In the case of the absence of a woman of the house, the controller of the keys was often a hired housekeeper.
Date:
circa 1854
Image Description:
Image: 1/6 plate; Woman with hair parted in center and smoothed over her head, covering her ears, wearing a floral printed dress with long belled sleeves with arm-hugging caps, white undersleeves, buttoned in the front, with a Jenny Lind collar and a brooch at her throat holds a young child, dressed in a patterned shoulder-baring dress, with bows at each shoulder, color applied to both their cheeks, and the child's dress. Preserver: [none]. Mat: Elliptical with sandy finish (late 1840s).
Case: Leather-covered wood-frame embossed with a floral design on the front, and a scarce geometric design (Berg No. 5-81) on the back (the engraver's name PAQUET SC appears in the lower left corner and PHILADA in the lower right corner- listed as a die sinker in Philadelphia 1850-55 and as a die sinker with the U.S. Bureau of Engraving & Printing in Philadelphia in 1858), with a red velvet pinchpad and red velvet cushion embossed with a floral design (1850s).
Source: https://digitallibrary.hsp.org/index.php/Detail/objects/5816
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IV. #6 - CM - 10/2024 (Moosemedicine)
Photographer: unknown
Date: ca. 1848-1850 Case: #131, A Spray of Roses A (1848-1850), Nolan p. 190; gold gilt edge, gWaves 1849-1853, p. 247 Nolan.
Description:
Provenance: Purchased 10/2024, Carl Mautz, Moosemedicine
Abigail Brown Jones, Photographer: Unknown, ca. ####, Provenance: from the collection of Mr. Brown, Portland,
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IV. #5 - 10/2024 - CM -Moosemedicine
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"Daguerreotype of Abigail Brown Jones, Grandmother. Her dress is made with a sea coral motif fabric. Sea coral design was found in William Kilburn fabrics. He designed and printed beautiful fabrics and was a botanical artist for William Curtis. The coral (sea plants, i.e. seaweed and kelp) motifs can also be seen in William Morris, Henri Matisse, and Sibyl Colefax & John Fowler designs.
Brooch pin possibly daguerreotype.
Case: Birds on a Ring (1854-1857), Rinehart 085.
Purchased:from Moosemedicine, Carl Mautz Vintage Photography & Publishing, 329 Bridge Way, Nevada City, California, ebay, October 2024. No provenance."
Possible sitter
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I. #1- 2024 SN
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