Long Letters Home

The sons of Albert Berthoud and Marinda Boyton Root left Pennsylvania for Kansas, Colorado, and beyond, but they never stopped writing to the people of Wellsboro.

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Albert Berthoud Root, Cabinet Card Copy of Original Daguerreotype, Circa 1850. Ann Longmore-Etheridge Collection.

Albert Berthoud Root was born 3 October, 1813, in Farmington, Connecticut. His parents were Connecticut-born Noah Root, Jr. (1777-10 Oct., 1854), and Nancy Smith (1779-17 May, 1845.) The Root family had come to the American Colonies in the mid-1600s, and can be traced as far back as John Roote, who was born 24 January, 1576, in Badby England.

Between 1830 and 1832, Albert married the slightly older Marinda Boyden, who had been born in Royalton, Windsor County, Vermont in 1809. From the fashions displayed in this pair of cabinet cards, the originals were daguerreotypes taken in about 1850. They likely belonged to the descendants of the couple’s third son John C., as he is referenced on the reverse of each image: “Albert B. Root. John C. Root father,” and “Mrs. Mariandra Root Boyden. John C. Root mother.” The cabinet cards, which date to about 1890, are both marked “F. C. Lutes, Topeka, Kans.”

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Marinda Boyden Root, Cabinet Card Copy of Original Daguerreotype of Circa 1850. Ann Longmore-Etheridge Collection.

What Marinda actually called herself is up for debate. In the public records she appears as “Marinda,” “Miranda,” “Lavinda,” “Mariandra”—even “Gorinda.” However, Marinda appears most often, and is most likely correct.

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Their Lives Well Lived

“Live a good life. If there are gods and they are just, then they will not care how devout you have been, but will welcome you based on the virtues you have lived by. If there are gods, but unjust, then you should not want to worship them. If there are no gods, then you will be gone, but will have lived a noble life that will live on in the memories of your loved ones.”―Marcus Aurelius

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An elderly woman in her final sleep, 1/9th-plate postmortem ambrotype, circa 1860. Ann Longmore-Etheridge Collection.

We see the still, worn body of old lady, prepared for burial by her family and laid out, most likely, upon her own bed.

This photograph may have been both this woman’s first and her last. She was likely a child in the 1790s and a young wife and mother when Jane Austen wrote her literary oeuvre. The story of her life unfolded during the waning of one century and the child years of another. For many, by the time this post-mortem ambrotype was taken, familiar patterns of life had been radically altered by the industrial revolution. The War of 1812 and the Napoleonic Wars had rolled by like awful storms. The British Queen would shortly lose her dearest love and plunge herself into perpetual mourning. America was spilling out across a vast continent and tensions were escalating to the point of eruption between its North and South. War was a dark cloud on the horizon, threatening the young men of her family, but mercifully, she never saw it blot out the sun.

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Grandmother Whitney, postmortem cased melainotype, circa 1856-1860.

A note tucked inside the case of this 1/6th-plate reads, “Grandmother Whitney—mother of Samuel. Born between 1775 & 1780.” The plate is stamped “Melainotype for Neff’s Pat 19 Feb 56.”

In John Towler’s 1864 opus on what was then state-of-the-art photographic technology, The Silver Sunbeam, he writes, “The melainotype takes its name from the black background upon which it is taken…. Very thin plates of sheet-iron are covered with a protective varnish or Japan, of which one is of a rich black or brown-black color, highly polished, and without flaw, for the reception of the collodion and the collodion picture. Glass in this sort of picture is entirely dispensed with, and so is also the black Japan, the black velvet, and paper. This type is by far the easiest and the quickest to take, and in general the most satisfactory when taken. Melainotype plates of all the variable photographic sizes, and of variable qualities, can be obtained from the photographic warehouses.” Ω

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Postmortem tintype of a very old woman, circa 1863. Courtesy Jack and Beverly Wilgus Collection.
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An elderly nun in her coffin, 1/6-plate daguerreotype, circa 1858. Courtesy Jack and Beverly Wilgus Collection.

Sit Down, John: An Adams Image Rediscovered

The historical importance of March 1843 daguerreotype was forgotten until now.

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Newly rediscovered daguerreotype of President John Quincy Adams. Photo courtesy Sotheby’s.

A new image of John Quincy Adams, America’s sixth president, will be presented for sale by the auction house Sotheby’s later this year. The March 1843 daguerreotype, which Quincy Adams gifted to a friend, remained in the recipient’s family through the generations although its historical importance was forgotten. The image was made during a sitting with early photographers Southworth & Hawes that yielded at least two daguerreotypes. A copy of the other now resides in the collection of the New York Metropolitan Museum.

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This daguerreotype copy of a second, cleaner image from the Southworth & Hawes sitting shows the former president as he actually appeared. Daguerreotypes present a mirror image of the subject; daguerreotype copies present the correct frontal view. Although it may appear so, Adams was not photographed in a private home. This set was used in other daguerreotypes taken by Southworth & Hawes. Image courtesy the Metropolitan Museum.

There is a third, badly damaged daguerreotype of Quincy Adams held by the Smithsonian’s National Portrait Gallery. Adams disliked it, noting in his diary that he thought it “hideous” because it was “too close to the original.” More than a hundred years later, in 1970, the daguerreotype was bought for 50 cents in an antique shop. After identification, it was eventually donated it to the nation.

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For Want of a Surname, Her Lifestory is Lost

Julia was one of thousands of Americans who made for California after gold was discovered in 1848.

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1/6th-plate daguerreotype of  Aunt Julia. Ann Longmore-Etheridge Collection.

This wonderful 1/6th-plate daguerreotype shows a plump, well-dressed, melancholy woman. An inscription in the case identifies her as “Aunt Julia. mothers [sic] sister that went to Calif. in 1851 or 52.” Unfortunately, the niece or nephew who penned this message to posterity left out Julia’s last name. Lacking it, we will never know Julia’s story, save that this daguerreotype almost certainly marked her departure west, as her fashionable clothing and coiffure can be dated to about 1851.

After the Gold Rush kicked off in January 1848, many thousands hurried west to seek their fortune or to provide goods and services for those allured by gold’s siren song. This mass movement lifted the nonnative population from less than a thousand to 100,000. Filled by newcomers and new wealth, the California Territory was quickly admitted as the U.S. 31st state on 9 September, 1850.

The society that Julia joined was only somewhat more than nascent. One new arrival, Jessie Benton Fremont, who came by sea to San Francisco in 1849, noted her first impressions from the deck of the vessel, “A few low houses, and many tents, such as they were, covered the base of some of the wind-swept treeless hills, over which the June fog rolled its chilling mist.” (A Year of American Travel, published 1878.)

Fremont, the daughter of Missouri Senator Thomas Hart Benton and the wife of military officer and politician John C. Fremont, was used to the finer things. Her account of society in early San Francisco and Monterrey makes for enticing reading. I quote her here at length not necessarily as a member of the social class that Julia represented but as one of the few surviving women’s voices from the Gold Rush era.

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Fashion Fix

“The woolen dress in this portrait has been finished with self puffing to emphasize the waist taper, the shoulder caps, and the sleeve cuffs.”

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Dennis Waters, who conserved this 1/6th-plate daguerreotype in 1994, helpfully left a note on the reverse that says, “Pemberton & Co, Conn. Very rare plate mark. C. 1850.” Ann Longmore-Etheridge Collection.

This circa-1851 daguerreotype, now in my collection, was published on page 126 of Joan Severa’s seminal work on nineteenth century fashion, My Likeness Taken. Of it she wrote, “The woolen dress in this portrait has been finished with self puffing to emphasize the waist taper, the shoulder caps, and the sleeve cuffs. The fitted and darted bodice has the shorter waist point of the [1850s], and the skirt is taken into the waistline by small knife pleats. It is interesting to speculate on the color of the dress, as it is not black. Cherry red is a possibility, but soft brown is more likely.

“A standing band of whitework, with lappets crossed, is worn at the neck, and fine, close undersleeves extend the somewhat shortened sleeves. The netted mitts cover the fingers to the first finger joint, a new style for the year.

“The hair is done in long curls hanging behind the ears on either side.”

The figure at bottom left of this April 1851 fashion plate wears a similar dress and can help us visualize the full length gown worn by the daguerreotype’s subject. Ω

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European Daguerreotypes

Europeana.eu offers up 2 million historical photographs that bring the old Europe and its people to life.

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Courtesy Nordiska Museet.

In this daguerreotype an unknown woman sits in a high-backed chair, dressed in a patterned dress with elbow-length sleeves and a wide slanted neckline. The white paper passe-partout is printed with a gold decorative pattern and the stamp “Daguerreotype by J. W. Bergström.” According to Nordiska Museet, Johan Wilhelm Bergström (1812-1881) was born in Kungsholmen to a carpenter’s wife and died quite wealthy, after a decade as a leading daguerreotypist and a career as an inventor.

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Courtesy Victoria and Albert Museum, London.

According to the Victoria and Albert Museum, “This is one of the first daguerreotypes ever taken in the UK. Landscape view of London: Parliament Street from Trafalgar Square. In the foreground to the right is a statue of Charles I mounted on horseback, seen from the back, on a raised stone plinth or column with carved royal arms, surrounded by a palisade of railings and protected by stone bollards. Parliament Street goes to the left, lined with tall buildings of five or more storeys, most of which have awnings over the street. The skyline shows many chimneys and chimney-pots. The pavements have lamps at regular intervals. On the left side of the street is a line of vehicles and drivers. In the distance is the Royal Banqueting House. Note the man in a top hat sitting slumped against the lamp-post in the middle foreground, with four bollards around him.”

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This is Why We Can’t Have Nice Things

“I bought this for 6d. at a Rummage Sale at Ealing Broadway Methodist Church. It was thrown out by Mrs J. W. Allcock.”—Thomas Inwood, 1939

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An English 1/9th-plate daguerreotype of an unidentified teenager, possibly a member of the Allcock family, taken in the mid-1840s. Image courtesy James Morley Collection.

The first photographic image of a human being was captured in 1839, when at about 8 a.m. one fine Spring day, photographic pioneer Louis-Jacques-Mandé Daguerre sat up his camera in the window of the Diorama in Boulevard du Temple, Paris, 3rd arrondissement, for an exposure that lasted up to 12 minutes. Although the street was crowded with both persons and horse-drawn traffic, none of them remained still long enough to register save for one man on a corner to whom a bootblack attended. We will never know who he was, but this 19th Century Frenchman holds a special place in mankind’s history.

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This is the unmirrored version of the Daguerre’s 1839 daguerreotype, correctly reflecting the photographer’s view of the Boulevarde du Temple. The man having his boots blackened is at lower right. This precious sliver of the past was destroyed during cleaning in 1974.

In the 21st Century, we possess both still and moving images of our family and friends, but in the 1830s faces of loved ones could be preserved only by personal memory, sculpture, portraits, caricatures, or silhouettes. The vast majority of people were born and died leaving no visual legacy. This quote from Henry Fitz, Sr., captures the enthusiasm that resulted from the release of the daguerreotype process by the French government as a gift to the world 19 August, 1839: “Here is a similitude of heavenly origin! Of a wonderful power! A supernatural (so far as man’s agency is concerned,) agent! An effect produced by the light of heaven; absolutely creating man’s perfect image and identity [emphasis mine].” (The Layman’s Legacy, Volume II, 1840.)

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Mommy and Me

“Because I feel that in the heavens above
The angels, whispering one to another,
Can find among their burning tears of love,
None so devotional as that of ‘Mother,’
Therefore, by that dear name I have long called you,
You who are more than mother unto me.” — Edgar Allan Poe

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A proud mother and her adorable daughter pose in this 1/6-plate daguerreotype, circa 1850. The mother wears a fashionable “Jennie Lind” collar, made popular by the soprano Jennie Lind, the “Swedish Nightingale,” who toured North America from 1850 to 1852 under the relentless promotion of showman P. T. Barnum. Ann Longmore-Etheridge Collection.
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This mid-1870s tintype from the Jack and Beverly Wilgus Collection includes a shy “hidden mother” who is revealed with the removal of the decorative paper mat.
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A nicely dressed English mother and son photographed in about 1862. Her smoothed and center-parted hair, pagoda sleeves, full hoop, and applied decorative trim was at the height of fashion. Her boy’s checkered, belted, one-piece dress was perhaps in shades of red and tan, similar to the fabric used in this earlier example. This albumen carte de visite is from the Caroline Leech Collection, originally photographed by G. J. Tear, Clapham Road, London.
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A mother, son, and baby in a pram enjoying a sunny day in England during the late 1920s. Scanned film negative from the James Morley Collection.
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An American mother and two daughters pose for an adorable 1/6th-plate Gaudin daguerreotype, circa 1852. The plate is marked “Double, A. Gaudin, 40,” the hallmark of Antoine Gaudin & Bro., 9 Rue de la Perle, Paris, a French company whose products were widely used by daguerreians throughout America. The older daughter is wearing a “protective” coral necklace. Coral was thought to have special efficacious properties to safeguard children. Ann Longmore-Etheridge Collection.

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A quick note: I will be having surgery on Tuesday, 4 April, and will be taking at least a four- or five-day hiatus to recover. I will return as soon as possible. Promise.

Men of Mystery

A selection of unidentified daguerreotype and ambrotype portraits.

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A very early daguerreotype of a personable young man that dates to about 1843. Courtesy Price and Zimmer Collection.
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The rugged and remarkable older gentleman who sat for this ambrotype in about 1852 probably first opened his eyes to the world in the 1780s or 1790s. Courtesy Price and Zimmer Collection.
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A painterly 1/6th-plate daguerreotype of a breathtaking young man. His fashions date this portrait to about 1850. Ann Longmore-Etheridge Collection.
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An unusual profile daguerreotype taken in about 1850. Courtesy Jack and Beverly Wilgus Collection.
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A 1/4th-plate ambrotype of an unknown man intently focused on a point in the distance. Taken circa 1860. From the James Morley Collection.
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A man and his dog, whose front paws were held to keep them from moving during the long exposure. This 1/6th-plate ambrotype, probably from the late 1850s, is courtesy of the Caroline Leech Collection.

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The World Before

“What makes photography a strange invention is that its primary raw materials are light and time.”—John Berger

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Photo courtesy James Morley Collection.

James Morley writes of this ambrotype of Channon Post Office & Stationers, Brompton Road, London, circa 1877: “I have found historical records including newspapers, electoral rolls, and street directories that give Thomas Samuel Channon at a few addresses around Brompton Road, most notably 96 and 100 Brompton Road. These date from 1855 until early into the 20th century. These addresses would appear to have been immediately opposite Harrods department store.”

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Ann Longmore-Etheridge Collection.

The limited research I have done on this image, which is a stereoview card marked “State Block, New Hampshire, W.G.C. Kimball, Photographer,” leads me to believe it shows mourners of Concord, New Hampshire native Franklin Pierce (November 23, 1804–October 8, 1869), 14th President of the United States (1853–1857).

The banners affixed to the carriage read “We miss him most who knew him best” and “We mourn his loss,” as well as another phrase that ends in the word “forget.” The image also features an upside-down American flag with thirteen stars.

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