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50. FULL PLATE DAGUERREOTYPE OF ROBERT STEPHENSON BY THE MEADE BROTHERS. An elegant and superbly hand-tinted whole plate image portraying Robert Stephenson who was a well-known English bridge builder. On this continent, Stephenson was known for his design of the bridge spanning the St. Lawrence River. Charles Richard Meade (1827-1858) and Henry R. Meade first established a daguerreian gallery in 1842 at Albany, New York. From this early beginning, the two brothers had several daguerreian galleries located at various addresses in Albany and one in Buffalo up to the year 1847. In 1848 Charles visited Europe taking daguerreotypes himself. Six of the seven known portraits of Daguerre, the inventor of the daguerreotype process, were taken by Charles Meade during this trip. In 1851, the two brothers opened their New York City gallery at 233 Broadway, called the American Daguerreotype Depot, and remained at this address until at least 1858. The spacious New York City gallery employed ten assistants and contained a collection of more than 1000 pictures on display. It was at this address that this image of Stephenson was likely taken. This is a significant portrait of a historical figure. This daguerreotype is masterfully tinted with very life-like flesh tones with a subtle blue background. The mat is embossed Meade & Bro. The plate surface exhibits numerous brown spots and the background coloring is mottled. The image has been re-sealed, but remnants of the original paper seal have been retained in the case bottom. The case exterior surface is scuffed with detached spine, but the interior is in very good condition with a brilliant crimson velvet pad. 9-73649 (EST $7,500-12,500)
51. SIGNED DAGUERREOTYPE BY ROBERT CORNELIUS. Robert Cornelius (1809-1899) was among the first practitioners of daguerreotypy in America. He is credited with taking the first true photographic portrait in America—a self-portrait. Cornelius was a principal in the family business in Philadelphia of manufacturing lighting fixtures and had an extensive background in metal plating techniques. In October of 1839 Cornelius began to experiment with daguerreotype plates, and in early December of the same year, Cornelius combined talents with Dr. Paul Beck Goddard, a respected chemist. Goddard applied his knowledge of chemistry introducing bromine in addition to iodine sensitizing daguerreotype plates, thus making faster exposures possible. By May 6, 1840, Cornelius and Goddard had established a daguerreian studio at the corner of 8th Street and Lodge Alley in downtown Philadelphia, among the first in the United States. Cornelius and Goddard likely experimented with daguerreotypy together though the winter of 1840-41. In June of 1841 Cornelius opened a new studio at 278 Market Street. How long the Market Street studio remained open is not known, but it likely was not in business after 1842 when Cornelius returned to his lighting manufactory due to increased demand for his products. Cornelius retained his interest in photography taking sporadic daguerreotypes as late as 1847 as a non-professional. Robert Cornelius’s career in photography was short-lived, but of significance to the medium. There are relatively few identified Cornelius plates extant today, and the introduction to the market of any Cornelius image is important. This 1/6th plate daguerreian portrait of an elderly gentleman is presented with a mat stamped, R. Cornelius, Phild'a and is typical of Cornelius's extant studio work and stamped mat identification. The image is in poor condition, with the plate having numerous wipes present with a halo of tarnish at the mat opening. It is housed in a simple wooden wall frame. 9-73657 (EST $5,000-7,000) 52. UNSIGNED DAGUERREOTYPE ATTRIBUTED TO ROBERT CORNELIUS. A carefully posed, distinguished-appearing gentleman looks straight into the camera in this 1/6th plate early portrait. The consignor has attributed this image to have been taken by Robert Cornelius and the full leather case is typical of the type Cornelius was known to have used. The image is in good condition with a very light wipe at the subject's forehead. 9-73658 (EST $4,000-6,000) 53. VERY EARLY UNSIGNED DAGUERREOTYPE ATTRIBUTED TO ROBERT CORNELIUS. An extremely early, over-size 1/9th plate portrait of a gentleman from the beginning of photography in the style of the famous Robert Cornelius self-portrait. This image demonstrates all the same characteristics as Cornelius's earliest works in that the plate was rolled in the same way, the mat is typical of those used by Cornelius, as is the case. The plate is ungilded and the original paper seal remains intact. (See page 50 in Robert Cornelius, Portraits from the Dawn of Photography) The image and case is in over-all very good condition. An important early portrait. 9-73659 (EST $5,000- 7,000) 54. AN IMPORTANT SIGNED SIXTH PLATE DAGUERREOTYPE BY HENRY FITZ, JR. Like Robert Cornelius in Philadelphia, Henry Fitz, Jr. (1808-1863) of Baltimore was an early experimenter and businessman in the art of the daguerreotype. Fitz opened the first daguerreian portrait studio in Maryland in the summer of 1840 at 112 Baltimore Street, Baltimore. Little is known of Fitz's early photographic commercial work as he is best known to photographic historians through his association with Alexander Wolcott and John Johnson. Wolcott and Johnson collaborated in the development of the Wolcott camera, an early daguerreian camera that used a small reflecting mirror to intensify the light making a faster exposure possible. Henry Fitz, Jr. was experienced in the optical field and ground and polished the reflector for the Wolcott and Johnson cameras. In November of 1839, Fitz took a daguerreotype of himself using a Wolcott camera. This early image now in the Smithsonian Institute, portrays a young Fitz posed with his eyes closed due to the estimated five-minute exposure time in bright light. Fitz's career as a commercial daguerreotypist was short lived and he only made daguerreotypes until the fall of 1842. He is perhaps better known for his efforts as a lens-maker, optician and telescope maker of note, later residing in New York City. The extant examples of signed and positively attributed images made by Fitz are extremely rare. This image represents perhaps the only known sixth plate image by Henry Fitz, Jr. and portrays a man posed off-center. The unusual-shaped mat is stamped H. Fitz Jr. and compliments the ungilded early plate. The red leather, top-hinging case is typical of those that Fitz was known to have used. The plate in is good condition with light abrasions or possibly heavy buffing marks on the surface. There is a halo of tarnish around the mat opening. No paper seal is present. 9-73660 (EST $4,000-7,000) 55. IMPORTANT EARLY SIGNED FITZ DAGUERREOTYPE. This ninth plate daguerreotype is an unusual close-up portrait of a gentleman whose head and shoulders fill most of the plate and probably was taken with the Wolcott and Johnson camera. The unusual-shaped mat is stamped, H. Fitz, Jr., Fecit, Balt. The ungilded plate is in fair condition with low contrast and a strong ring of tarnish. Like the previous lot this image is housed in a red leather case in very good condition. 9-73661 (EST $4,000-7,000) 56. THREE DAGUERREOTYPES ATTRIBUTED TO THE STUDIO OF JOHN PLUMBE, JR. REPORTEDLY PORTRAYING DAGUERREOTYPIST, JACOB SHEW. John Plumbe, Jr., an early practitioner of daguerreotypes, established the first franchised daguerreian galleries in the United States with branches in more than 14 major cities. His international exploits included galleries in Paris, France and Liverpool, England. Plumbe learned the art of daguerreotypy in June of 1841 in Washington, DC. By May of 1841 Plumbe was listed as a professor of photography at the U. S. Photographic Institute in Boston. Plumbe made many technical improvements with daguerreotypes and created the "Plumbe System". In 1847, Plumbe was fiscally overextended and was forced into bankruptcy, eventually committing suicide, but he was still known to have made daguerreotypes through 1848. Jacob Shew, (1826-1879) was part of a talented family of daguerreotypists. He began his photographic career in 1841 in Watertown, NY with his three brothers, Trueman, William and Myron. The Shew brothers had several gallery locations in different western New York locations, then established the firm of L. P. Hayden & Co. at 1 Park Place in New York City. A historical source lists Jacob Shew as the manager of John Plumbe’s Baltimore gallery from 1843 until May of 1846. Jacob Shew’s first gallery of his own opened in 1847 or 48 at 17 Baltimore Street in Baltimore. By 1849 or 50, he relocated to another Baltimore address and then went to Philadelphia to open a gallery with his brother, Myron. Jacob traveled to the west coast in 1849 or 50, arriving in California during the gold rush craze. He was listed as a photographer in the 1852 California census, and had several galleries located in different locations in San Francisco and Sacramento. Although there is no provenance associated with these three daguerreotypes as to the sitter actually being Jacob Shew, Shew did manage Plumbe’s Baltimore gallery, and his birth date of 1826 would match closely the age of the young man portrayed in the three daguerreotypes. The consignor has done considerable research on these images with the help of a noted authority on west coast early photographers, and their research indicates that these portraits could very well be of Jacob Shew. Two of these images were taken at the same time, one is presented in a "Plumbe" marked mat, and in the other, the young man in question is holding an open daguerreotype image to the camera, clearly wanting it to be a part of his portrait. All the images are in good condition with scattered tarnish at the mat openings. All three have full cases, two with detached spines. This lot bears further research and could be of great importance to the photographic historical community as a documentation of an early and respected daguerreotypist. 9-73652 (EST $2,000-5,000) 57. A LOT OF FOUR EARLY DAGUERREIAN PORTRAITS OF THE SAME GENTLEMAN. It is quite unusual to have a group of portraits of the same sitter remain intact. This lot features a 1/9th plate side-lit portrait of a distinguished white-haired gentleman holding a document. The next image is an unusual 1/6th plate of the same gentleman holding some papers posed in front of a railing. The third image is the man again in a semi-profile. Last is a wonderful and unusual close-up portrait detailing the man’s craggy features. All the images are in good condition with scattered tarnish, housed in full leather cases, two of which hinge from the top, one with detached spine. 9-73650 (EST $2,500-3,500) 58. A LOT OF TWO DAGUERREOTYPES OF A WOMAN WITH MUSICAL INCLINATIONS? HAVING A STRONG RESEMBLANCE TO "LEMONADE LUCY" (WIFE OF PRESIDENT RUTHERFORD B. HAYES). The first image portrays a young lady holding a sheet of music and was taken by Evan’s Sunbeam Gallery in Philadelphia. The second shows the same woman seated at a piano-forte with a large musical score open to the camera. One image is in good condition housed in a full case, the other is badly faded and scratched and has no case. 9-73653 (EST $1,000-3,000) 59. DAGUERREOTYPE OF A MAN WITH TUSSLED HAIR (POSSIBLY JOHN BROWN). Portrayed in this 1/6th plate daguerreotype is a middle-aged gentleman with an unruly hairstyle. Image in fair condition with spotting and abrasions, housed in a full case. Reference to similar images "American Portraits" page 81, "The Daguerreotype in America" plate 99. 9-73654 (EST $1,000-3,000) 60. THREE EARLY DAGUERREOTYPES OF MR. & MRS. ROBERT SCHUYLER. The consignor believes the image of Mr. Schuyler to be the earliest dag in his collection and may have possibly been made in late 1839. For similar images of this period, refer to the works of Walter Johnson. The first image, of Mr. Schuyler is an odd, undersize quarter plate and is from the dawn of the daguerreian era and was taken on a very early ungilded plate. There is a period notation attached to the verso which reads, Robert Schuyler of N. J. There is no case present and the image has a metal loop attached so it could be hung on a wall. The second is a 1/6th plate of Mrs. Schuyler in full case with a period notation affixed to the case pad. Last is an un-cased portrait of Mrs. Schuyler posed with some books placed on a table. The images are all in good condition, one cleaned by a professional conservator, another resealed, both with appropriate notation on the verso. 9-73651 (EST $3,000-5,000) 61. DAGUERREOTYPE OF A MAN HOLDING A HANDKERCHIEF POSSIBLY SAM BRENNAN. A forceful 1/6th plate portrait of a man seated sideways to the camera. Man appears to hold a small glass vial of gold dust. This is in the same manner that Sam Brennan used to promote the California Gold Fields (he never was without his vial of gold dust in his pocket) This may be an image of Sam Brennan himself. Housed in a full green Eichmeyer-style case. 9-73655 (EST $500-1,000) 62. EARLY DAGUERREOTYPE OF A WOMAN POSED AGAINST A SWAGED DRAPE. A well-composed portrait from the early 1840's of a woman posed against a swaged drape. This portrait has classical elements, which exhibit the work of an accomplished daguerreotypist, and has been attributed to Huttleson, an early Massachusetts maker. The image lacks contrast and has some staining and is housed in an early full, top-hinged leather case. This image has been put side by side to a signed Huttleson daguerreotype (a private collection) and appears to have the same drape background. 9-73656 (EST $1,000-3,000) 63. OCCUPATIONAL AMBROTYPE OF A PATTERN MAKER. An exciting quarter plate ambrotype of a man identified as Charles L.Tenny hard at work in his shop. This is a beautifully side-lit image where the ambrotypist made a call to Tenny's shop to capture him with all the tools of his trade. Tenny is posed holding a wooden mallet and chisel already working on a box with a arched-top cutout. Visible in the background is a huge array of chisels and saws with other assorted tools scattered about the workbench. An accompanying piece of paper reads, Charles L. Tenny in his pattern shop, grand father of Catharyn Hare. A family history indicates that Tenny was from the Philadelphia, PA area. The ambrotype is bright and sharp with excellent contrast. Some of the black varnish backing is separating from the plate. The image is housed in a nice full leather case. 9-73675 (EST $1,000-2,000) 64. ARTISTIC DAGUERREIAN PROFILE PORTRAIT. An unusual and artistically composed 1/6th plate portrait of a seated gentleman posed in profile. He is shown in a side-lit, non-studio setting, most likely at the sitter’s home. An ogee frame with a daguerreotype can be seen hanging up on the wall in the background. The plate is in good condition with only a few very light rubs visible. Housed in a full leather case. 9-85978 (EST $500-800) 65. MILITIAMAN AT ATTENTION. A 1/6th plate daguerreotype of a seated 1850's militiaman in uniform wearing a tall shako. Uniform details such as the epaulettes and brass buttons, and shako with eagle pin with pompom can all clearly be seen. A swaged drape with tassel at the left completes this formal portrait. The plate is in poor condition with much staining and spotting. No case. 8-85979 (EST $400-600) 66. EARLY PORTRAIT OF A GENTLEMAN. A young man is unusually portrayed with one finger inserted into his coat in this early, ungilded 1/6th plate daguerreotype. The plate is in fair condition with low contrast and scattered spotting. Housed in a half, top-hinged leather case. 9-73663 (EST $500-800) 67. EARLY PORTRAIT OF MAN POINTING AT BOOK. An early daguerreotype portraying a young man posed with his finger marking his place in a book. The plate is in poor condition with very low contrast and has been resealed. No case. 9-73664 (EST $200-500) 68. EARLY PORTRAIT OF A WOMAN. A young lady wearing a long strand of pearls is portrayed in this early, ungilded 1/6th plate daguerreotype. The urn containing flowers placed next to her is very similar to the one Mathew Brady used in his early portraits. The plate is in poor condition with many scratches and probably has been cleaned at some time. Housed in a half, top-hinged leather case. 9-73662 (EST $200-500) 69. EARLY PORTRAIT OF A MAN. A serious man looks back into the camera in this early 1/9th plate daguerreian portrait. The image is in poor condition with numerous scratches and tarnish around the edges. Housed in a full leather, top-hinged case in very good condition. 9-73665 (EST $200-500) 70. SALT PRINT COPY OF A DAGUERREOTYPE PORTRAYING A PORTLAND, MAINE STREET SCENE. An exciting print with much detail showing a business district on Middle Street in Portland, Maine. Visible are numerous signs advertising retail shops and building lining both sides of the street. This 5 ½" x 7 ¾"salt print is a copy from a daguerreotype taken before 1848 by Marcus Ormsbee of Portland. A historically significant depiction of early Portland. The print is faded overall with heavy staining at the top center and sides. Mounted on board. 9-73667 (EST $250-450) 71. ALBUMENIZED SALT PRINT OF A GENTLEMAN. An anonymous albumenized salt print portrait of a gentleman wearing gloves and a heavy coat in a classic Napoleonic pose. The print measures 5 ½" x 7 3/8", mounted on larger board and is housed in a period walnut shadowbox frame. This photo came out of a home in Key West, Florida from a family originally from New Bedford, MA. 9-73668 (EST $150-250) 72. SIGNED EDWARD CURTIS PLATINUM PRINT. A rare 8 3/8" x 6" Edward Curtis signed portrait of an unidentified seated gentleman. The mounted print is in excellent condition and is hand-signed, Curtis, in period ink, at the lower right corner of the mount. The image is housed in a period dark-colored oak frame. 9-73666 (EST $1,000-1,500) 73. CASE OF 139 GLASS SLIDES. Each slide is ¾" x 4". Topics include Connecticut River and Maine Woods, Glacier Park, North Carolina Mountaineers and others. Housed in a fitted oak case. Some slides are colored. Most are identified with the photographer. All are in good condition. 9-73839 (EST $400-600) NOTE: THE FOLLOWING COLLECTION WILL BE SOLD IN ELEVEN PARTS AND THEN OFFERED AS A WHOLE. WHICHEVER WAY BRINGS THE HIGHEST PRICE WILL BE THE WAY IT WILL BE SOLD. This collection was painstakingly assembled over a number of years and contains rare original photographs, autographs and ephemera all related to Charles Stratton (1838-1883) and Lavinia Warren (1841-1919). General and Mrs. Tom Thumb were household names in the 19th century that enjoyed great international celebrity thanks to P. T. Barnum and Mathew B. Brady. Phineas T. Barnum was introduced to Charles Stratton in 1842 in Bridgeport, CT at the Franklin House, which his half brother managed. From that point on Stratton was destined to become the toast of 19th century America as well as continental Europe. Stratton was granted audiences with Queen Victoria, more than one President of the United States and countless dignitaries, and by mid-century was truly the most sought after celebrity in the world. Barnum always the consummate promoter and showman was quick to exploit the Tom Thumb phenomena and with the help of Mathew Brady, an across the street neighbor, Tom Thumb’s face became readily recognized the world over. As a result of all this celebrity, Stratton became a very wealthy man and contributed greatly to Barnum’s riches as well. In 1862, Stratton was introduced to Mercy Lavinia Warren Bump, a 21 year old dwarf, at the home of P. T. Barnum. Charles instantly fell in love with Lavinia and the two were destined to be married causing a media event the likes of which the world had never seen. Profiting from all this were Brady and a legion of other photographers who made photographs and copies of photographs for eager public consumption. Cartes-de-visite were made by the thousands as well as prints and a host of other souvenirs. The General and Mrs. Ton Thumb enjoyed celebrity status throughout their lives. This collection is comprised of actual artifacts which belonged to the "General" and his Mrs. including a pair of gloves and a single glove once worn by Lavinia with provenance, engraved and hand-signed personal greeting cards, a handwritten note from Lavinia, and an autograph book dated 1881 containing signatures of both Charles Stratton and Mrs. Charles Stratton. Included too are an 1872 souvenir booklet from Tom Thumb's tour around the world, an 1867 booklet about Charles and Lavinia Stratton, a silver souvenir spoon and a unique golden miniature photo album containing tiny albumen photographs of the diminutive couple. Especially noteworthy is a mid-19th century photograph album containing 48 period Cartes-de-visite of Charles and Lavinia and an excellent, period 1/6th plate ambrotype copy of the couple and the original carte-de-visite from which it was copied. A host of other photographs in this amazing collection include cabinet card and larger photographs, rare real photo post cards from late in their lives and 21 loose cdv’s all of Stratton and/or his wife . Included also are lithographed trade cards, newspaper articles, souvenir reprints, articles and booklets. This is a truly historic and important assemblage of artifacts and photographs documenting one of America’s great 19th century personages. 74. PERIOD 1/6TH PLATE AMBROTYPE COPY OF CHARLES & LAVINIA AND THE ORIGINAL CARTE-DE-VISITE FROM WHICH IT WAS COPIED. Ambrotype is in excellent condition and shows Charles on the left in suit holding Lavinia’s hand who stands on the right. The CDV is by Bartlett and Webster, Hartford, CT. Image is good, card has some stains to edge and one horizontal and one vertical crease mark. 9-73648 75. MID 19TH CENTURY PHOTOGRAPH ALBUM CONTAINING FORTY-EIGHT PERIOD CARTES-DE-VISITE OF CHARLES & LAVINIA. Each page holds one card. Some with colored highlights. Cards are in generally very good condition. 9-73648 76. UNIQUE GOLDEN MINIATURE PHOTO ALBUM CONTAINING TEN MINIATURE ALBUMEN PHOTOGRAPHS OF THE COUPLE. The photograph album is in miniature luggage form, which appears to be a bracelet charm. Condition of images are good with some folding and fading. 9-73648 77. HANDWRITTEN LETTER SIGNED "COUNTESS M. LAVINIA MAGRI". Letter is on folded notepaper and concerns the receipt of a poem. Accompanying the letter is a calling card and an admission ticket. 9-73648 78. LOT OF THREE ITEMS. Two postcards, one signed "Count Magri" and a cabinet card signed. Card has damage. 9-73648 79. AUTOGRAPH ALBUM WITH SIGNATURE OF MR. & MRS. CHARLES STRATTON DATED MARCH 2, 1881. Autograph album has stains. 9-73648 80. ONE SINGLE AND PAIR OF GLOVES WITH LAVINIA ATTRIBUTION. Single glove obtained from Abram Bowman, who was related to the Bump family. This glove purportedly was worn by Minnie Warren. Glove is 5" x 1-1/2" and in very good condition. Pair of gloves obtained from Ruth Gates, lifelong Middleboro resident. Pair of gloves are in tact but used. 9-73648 81. TWENTY-FOUR CDV’S AND ONE TIN TYPE. All relating to Tom Thumb and wife, com. Nutt and wife, etc. Generally in good condition. 9-73648 82. LOT OF THREE PHOTOGRAPHS. A unique cabinet card (unknown, unpublished) photograph of Minnie and Lavinia; a cabinet card of and signed of Lavinia and a photograph of Baron Magri and his full size wife. 9-73648 83. LOT OF SEVENTEEN CABINET CARD PHOTOGRAPHS PERTAINING TO COUNT AND COUNTESS MAGRI, TOM THUMB & WIFE AND BARON MAGRI. Generally in good condition. 9-73648 84. MISCELLANEOUS LOT PERTAINING TO GENERAL TOM THUMB. Includes General Tom Thumb’s three year tour booklet; pamphlet "Sketch... of Charles S. Stratton... 1867"; five lithographed trade cards; seven post cards including real life examples; newspaper clippings; Tom Thumb Souvenir spoon; etc. 9-73648 85. THIS LOT INCLUDES ALL ITEMS 74-84. WE WILL OFFER THE COMPLETE COLLECTION IN ITS ENTIRETY. 9-73648 (EST $8,000-15,000) |