Philadelphia: 1854. Ninth plate ambrotypes in a union case, measuring 2 ½ x 2 ⅛ inches (visible) in larger case. With the identification of (Isaac) Rehn, with his imprint and “Patented July 4 & 11, 1854” imprinted on the case. A fine pair. A striking pair of ambrotypes of Mary.....
American: 1860s. An incredible portrait of an African-American soldier holding a rifle with a bayonet, highly uncommon for three reasons: the fact that it shows an African-American soldier in uniform during the conflict, the playful expression of the sitter, and the caption. The caption is of unknown origin, possibly composed.....
American: 1840s-1850s. Ninth-plate daguerreotype measuring 2 ⅜ x 1 ⅞ inches in thermoplastic case. Generally excellent condition. A bust-length daguerreotype portrait of an African American woman with coiffed hair. Her cheeks have been tinted pink and her bowtie is blue.
American: 1860s. Tintype measuring 2 ½ x 1 ½ in larger mount. Fine contrast and condition. An exceptionally exposed and preserved portrait of a young African-American man in a studio setting, taken in the 1860s or early 1870s when the arched mount seen here was in use.
N.p. 1850. Half plate daguerreotype in case, image measuring 4 7/8 x 3 1/2 inches. Some difficult-to-see scratches to the plate, the most offensive across the left eye of Burritt, excellent condition overall. A large daguerreotype of Elihu Burritt and a group of friends, taken circa 1850 during the height.....
American: 1860s. Tintype measuring 3 ½ x 2 ½ inches in oval case, lacking front panel. A fine example. A particularly striking portrait of two Union soldiers seated together. Their resemblance suggests that they might be brothers.
American: 1860s. Images measuring 1 ¾ x 1 ½ inches in union case. A fine example. A particularly striking portrait of a young Union soldier, in a union case with another young man, possibly a relative.
New York? 1860s. An unusual image of a Zouave soldier in an outdoor setting, holding a horse. During the Civil War, roughly 95 Zouave regiments formed, adopting the names, uni-forms and sometimes fighting styles of the North African Zouave brigades. The bulk - about 70 of the regiments - fought.....
California: 1855-56. Quarter plate ambrotype measuring 3 ¼ x 4 ¼ inches, with Vance’s embossed identification to mat, housed in a black thermoplastic case. Case split at both hinges, image fine. Robert Vance was one of the first photographers to document California’s gold rush, taking over three hundred images of.....
American? 1855-1864. First. Sixth plate ambrotype, heavily hand-painted, 2 ½ x 3 inches, cased in 4 ½ x 5 inch thermoplastic hanging frame. The Haitian Revolution had a profound affect on attitudes toward slavery in Antebellum America, influencing black attitudes regarding Pan-Africanism and self-governance, stoking fear in southern slaveholding whites.....
Latin America: 1870s-1880s. Eight ninth-plate tintypes measuring 3 ½ x 2 ½ inches each, some varied wear, very good overall. A collection of tintypes of Latin American subjects from the late nineteenth century. Tintype photography was quite uncommon in Latin America during the period, with photography dominated by the albumen.....
American? 1850s. Quarter plate ambrotype measuring 4 ¼ x 3 ¼ inches, uncased, with foil matt. Excellent contrast, some marks and wear, very good overall. An uncommon ambrotype of a pair of musicians, one holding a harp and the other with a violin.
American? 1860s. 2 ⅜ x 3 ⅜ inches, uncased. An arresting and uncommon image of a girl bathing her dolls in a formal studio setting. Some discoloration at margins, image area in excellent condition.
American? 1860s. 3 ½ x 2 ¼ inches, uncased. A striking image, featured on p. 79 of David Deitcher’s Dear Friends: Photographs of Men Together, 1840-1918. Images of men together from the nineteenth century do not necessarily suggest a sexual relationship, as Deitcher explains in his book, but rather a......
American: 1860s. Tintype in case, 3 ¼ x 4 ¼ inches. A quarter plate tintype of a women’s sewing circle, probably circa 1860s. Three women hold patterns while one sews. Ante-bellum sewing circles were often anti-slavery or missionary in nature, though we can find no details here that offer clues.....