Collection of encased images including daguerreotypes, ambrotypes, and tintypes, ca. 1840-1870. Each item includes a view of the recto and verso of the case (when case is present), as well as the interior image.

Pages

[Henry Howard Houston, 1820-1895]
Portrait of Houston as a young man. He has a full head of hair, and is wearing a wide black tie. Houston was a prominent Philadelphia businessman with interests in railroads, shipping and oil. His real estate dealings led to the development of the Chestnut Hill neighborhood in Philadelphia., Previously attributed to Robert Cornelius. See Rachel K. Wetzel, "The Robert Cornelius Project: Formulating Attributions Through a Collaborative Research Process," Daguerreian Annual 2019, fig. 21., Cased photographs retrospective conversion project., Pad: Brown felt. Manuscript note under pad: Augusta, Georgia February 1840. Henry Howard Houston., Mat: Ornamented oval., Case: Leather Cornelius case. Overall pattern of tiny flowers. Same design on verso., Reproduced in Robert Cornelius: Portraits from the Dawn of Photography by William F. Stapp (Washington, D. C.: Smithsonian Institution, 1983), plate 14. See also Anne Ayer Verplanck, Facing Philadelphia: Social Functions of Silhouettes, Miniatures, and Daguerreotypes, 1760-1860, (Ph.D. diss., College of William and Mary, 1996), fig. 53., Gift of Mrs. James Dallett, 1981.
Hon. Morton McMichael.
McMichael is sitting on a high backed chair with patterned upholstery. The fingers of both hands are touching each other. He appears to be in his early 40's and is looking slightly to his left., Cased photographs retrospective conversion project., Mat: Double elliptical., Case: Uncased., Manscript note on verso: Hon. Morton McMichael - Daguerreotype portrait taken about 1848., Morton was a Philadelphia editor and newspaper publisher. For additional biographical information about McMichael see LCP 1996 Annual Report, pp. 43-44, and research file.
[Isaac Lea, 1792-1886]
Bust-length, hand-tinted portrait of a rather stern Isaac Lea facing very slightly left. He is wearing eye glasses. His white hair is neatly combed, and his sideburns come down to form a short beard under his chin., Pad:Deep burgundy velvet. No design., Mat: Ornamented oval., Case: Full plate size leather. No design., See Research File for biographical information about Isaac Lea. The Wenderoth, Taylor and Brown Fine Art Studio was at 912-914 Chestnut St., Philadelphia in 1864-1866., Gift of Charles Lea Hudson, Ann L. Salmon, and Mathew C. Hudson.
Isaac Lea, 1792-1886
Hand-tinted portrait of Isaac Lea with a full head of white hair, a wide white mustache and a full white beard. He has a steady, straight gaze., Pad: Brown silk., Mat: Ornamented square., Case: The leather case measures 4 1/2 x 5 1/4. No design., The folding leather case was designed to permit the portrait to stand up or be hung. See Research File for biographical information about Isaac Lea., Gift of Charles Lea Hudson, Ann L. Salmon, and Mathew C. Hudson.
[James Lea, Jr., 1759-1825]
Reproduction of a painting showing a bust-length, hand-tinted portrait of rather somber James Lea, Jr. facing very slightly right. Wisps of his hair are on his forehead, Pad: Faded red silk. No design., Mat: Elliptical., Case: Leather with an overall geometric pattern of fancy scrolls, semi-circles and a small cross-hatched oval in the center. Same design on back., Handwritten note pinned on pad: James Lea Jr., Born 28 March 1759; Died 30 September 1825. Born in Wilmington; Died at Cincinnati, Ohio., Gift of Charles Lea Hudson, Ann L. Salmon, and Mathew C. Hudson.
[John Bouvier,1787-1851]
Portrait of white haired, scowling, Bouvier. Hand colored pink on cheeks., Cased photographs retrospective conversion project., Pad: Deep red velvet with flower design in center and geometric border all around., Mat: Oval. Photographer's imprint stamped on mat: McClees & Germon, Phila., Case: Leather. Double clasp. Blank in the center, with a geometric design at each corner. Same arrangement on verso., John Bouvier was a noted jurist who practiced law in Philadelphia. He is best known for his Law Dictionary and The four voume Institutes of American Law. See P.9357.1 for another daguerreotype of John Bouvier
[John Fries Frazer, 1812-1872]
Portrait of Frazer with mustache and short beard looking slightly to his left. Hand colored pink on cheeks., Engraving of Frazer [5657.F.29g] based on this Root daguerreotype., Cased photographs retrospective conversion project., Pad: Deep purple velvet. No design., Mat: Double elliptical., Case: Leather. Spray of mixed flowers within a fancy border. Swirls all around. Geometric design on verso., See article by Sarah J. Weatherwax in Pennsylvania History, Vol. 64, Number 2, Spring, 1997, pp. 171-173 for information about Marcus Root, and John and Persifor Frazer., See Anne Ayer Verplanck, Facing Philadelphia: Social Functions of Silhouettes, Miniatures, and Daguerreotypes, 1760-1860, (Ph.D. diss., College of William and Mary, 1996), fig. 52., LCP AR [Annual Report] 1979, pgs. 37-38.
John Gummere.
Cased photographs retrospective conversion project., Pad: Deep purple velvet with green geometric design in center., Mat: Ornamented oval. Photographer's imprint stamped on mat: McClees, Phila., Case: Thermoplastic. Design of beehive and farm implements. This design is similar to #I-90 and #I-91, Beehive, Farm Motif, in Nineteenth Century Photographic Cases and Wall Frames by Paul K. Berg (Huntington Beach, Ca. 92647: Huntington Valley Press, 1995.) Same design on verso. Manuscript note on recto identifies the sitter: John Gummere.
[John J. Thompson, 1815-1886.]
Cased photographs retrospective conversion project., Pad: Faded red velvet embossed W & F. Langenheim Philadelphia Exchange., Mat: Octagonal., Case: Leather. Within an ocatgonal border is a bouquet of mixed flowers. No design on verso., Manuscript note pasted to pad reads "John J. Thompson, my mother's brother and my dear uncle. - John T. Morris." Reproduced in "The Ties That Bind: Daguerreotypes and the Roberts and Thompson Families" by Sarah Weatherwax in The Daguerreian Annual 1999 (Pittsburgh, Pa.: The Daguerreian Society, 1999) p. 214. See also the Board Report for January 20, 1998.
[Jonah Thompson with an open book in his left hand.]
Cased photographs retrospective conversion project., Pad: Red silk. No design. Manuscript note pasted on pad reads: Jonah Thompson, brother of my grandfather, James B. Thompson. - J. T. Morris., Mat: Octagonal., Case: Leather. Within an oval border is an urn with a bouquet of mixed flowers. No design on verso. Case opens horizontally., Reproduced in "The Ties That Bind: Daguerreotypes and the Roberts and Thompson Families" by Sarah Weatherwax in The Daguerreian Annual 1999 (Pittsburgh, Pa.: The Daguerreian Society, 1999) p. 216. See also the Board Report for January 20, 1998.
[Joseph Morgan Eldridge, 1787-1859]
Portrait of an elderly Eldridge with long white whiskers, head tilted slightly to his right. Hand colored pink on cheeks., Cased photographs retrospective conversion project., Mat: Ornamented oval., Removed from frame. Gold gilt wooden oval. No design., Joseph Morgan Eldridge was Sewell Biggs' great-great- grandfather. Mr. Biggs also donated an original manuscript documenting Eldridge's indenture, at the age of six, to James Molony, a Philadelphia currier, in September, 1804. See Board Report of January 20, 1998., Gift of Sewell C. Biggs, December 12, 1997.
Joseph or William Francis.
Seated portrait of either young Joseph or William Francis. His left arm is resting on a table, and his right arm is on his lap., Cased photographs retrospective conversion project., Pad: Dark purple velvet., Mat: Double elliptical. Photographer's imprint stamped on mat: Ambrotype by Rehn. 250 Chestnut St. Patented July 4 & 11 1854., Case: Leather. Small urn with flowers in center. No design on verso. Manuscript note pasted on verso: Joseph or William Francis.
Judge Bouvier.
Bouvier was a Philadelphia lawyer and judge, best known for his Law Dictionary., Cased photographs retrospective conversion project., Case: In square brass frame. Paper label on verso: Daguerreotype miniatures, by R. Cornelius, Eighth Street, above Chesnut, Philadelphia. Manuscript note on verso: Judge Bouvier., See also research file; LCP Annual Report for 1991, pgs. 51-52; Board Report, November 19, 1991; and Sarah Weatherwax, "Picturing the Law: Images of John Bouvier," The Daguerreian Society Quarterly 32 (January-March 2020), 5-7. See also P.9357.2 for another daguerreotype of John Bouvier.
[Julianna Randolph, b. 1794]
Seated portrait of a matronly Randolph wearing a black taffeta dress with a tight fitting bodice and a white scarf. She is also wearing white gloves. Hand colored pink on cheeks., Cased photographs retrospective conversion project., Pad: Faded red velvet embossed: Willard 120 W. Market St. 8 Doors E. Schl. 6th St. [i.e. 17th St.], Mat: Modified non pareil., Case: Leather. In a circle in the center are grapes and other fruits, surrounded by a six pointed star. Same design on verso., Julianna Randolph was the aunt of Julianna Randolph Wood, 1810-1885. See Anne Ayer Verplanck, Facing Philadelphia: Social Functions of Silhouettes, Miniatures, and Daguerreotypes, 1760-1860, (Ph.D. diss., College of William and Mary, 1996), section of Chapter IV, Wood Family Daguerreotypes, pp. 221-233. See research folder for biographical information about the Wood Family.
[Julianna Randolph Wood, 1810-1885.]
Wood wears a black lace shawl over a ruffled dress, is seen in profile. She is seated, resting her left arm on an open book. Pale hand painted pink on cheeks., Cased photographs retrospective conversion project., Pad: Faded dark red silk. No design., Mat: Oval. Stamped on mat: M. P. Simons, Philada., Case: Leather. (Design seems upside down.) A spray of roses and leaves. The design is similar, but not identical to, A Spray Of Roses, Variant plate 125 in American Miniature Case Art by Floyd and Marion Rinhart (Cranbury, New Jersey: A. S. Barnes and Co., Inc., 1969.) This design, with many variants, was produced in large quantity. Same design on verso., See Anne Ayer Verplanck, Facing Philadelphia: Social Functions of Silhouettes, Miniatures, and Daguerreotypes, 1760-1860, (Ph.D. diss., College of William and Mary, 1996), section of Chapter IV, Wood Family Daguerreotypes, pp. 221-233. See research folder for biographical information about the Wood Family.
[Julianna Randolph Wood, 1810-1885]
Portrait of Wood wearing a white lace cap and a checked dress buttoned down the front. She is sitting, resting her right arm on a table. Very pale pink hand coloring on cheeks., Cased photographs retrospective conversion project., Pad: Faded red silk. No design., Mat: Oval., Case: Leather. Spray of two roses in a leafy border. The design of the case is called Delicate Roses, Variant and is plate 123 in American Miniature Case Art by Floyd and Marion Rinhart (Cranbury, New Jersey: A. S. Barnes and Co., Inc., 1969.) Generally produced in large quantity, ca. 1844. Same design on verso. The Die-engraver was David Pretlove., See also P.8926.8 for a different pose. Richard Davis Wood (1799-1869), Julianna's husband, notes in his diary on May 1, 1846, "Took wife and daughters Mary and Caroline to Langenheim's, and had their daguerreotypes taken, succeeding very well.", See Anne Ayer Verplanck, Facing Philadelphia: Social Functions of Silhouettes, Miniatures, and Daguerreotypes, 1760-1860, (Ph.D. diss., College of William and Mary, 1996), section of Chapter IV, Wood Family Daguerreotypes, pp. 221-233. See research folder for biographical information about the Wood Family.
[Julianna Randolph Wood, 1810-1885]
Portrait of Wood wearing a white lace cap and a checked dress buttoned down the front, is in a prim pose, with her hands clasped at her waist. The image is off center. Very pale pink hand coloring on cheeks., Cased photographs retrospective conversion project., Pad: Faded red silk. No design., Mat: Oval., Case: Leather. Spray of two roses in a leafy border. The design of the case is called Delicate Roses, Variant and is plate 123 in American Miniature Case Art by Floyd and Marion Rinhart (Cranbury, New Jersey: A. S. Barnes and Co., Inc., 1969.) Generally produced in large quantity, ca. 1844. Same design on verso. The die-engraver was David Pretlove., See also P.8926.7 for a different pose. Richard Davis Wood (1799-1869), Julianna's husband, notes in his diary on May 1, 1846, "Took wife and daughters Mary and Caroline to Langenheim's, and had their daguerreotypes taken, succeeding very well.", See Anne Ayer Verplanck, Facing Philadelphia: Social Functions of Silhouettes, Miniatures, and Daguerreotypes, 1760-1860, (Ph.D. diss., College of William and Mary, 1996), section of Chapter IV, Wood Family Daguerreotypes, pp. 221-233. See research folder for biographical information about the Wood Family.
[Julianna Randolph Wood and another unidentified woman with album.]
Both women are seated at a table with their hands on an open large album. Wood is wearing a dark dress with a white collar and cuffs and a white lace cap. The other woman is resting her chin on her right hand., Cased photographs retrospective conversion project., Pad: Faded and torn red velvet. No design., Mat: Double elliptical., Case: Leather. No design on front or back., See Anne Ayer Verplanck, Facing Philadelphia: Social Functions of Silhouettes, Miniatures, and Daguerreotypes, 1760-1860, (Ph.D. diss., College of William and Mary, 1996), section of Chapter IV, Wood Family Daguerreotypes, pp. 221-233. See research folder for biographical information about the Wood Family. Probably taken at the same time as P.8926.6.
[Julianna Randolph Wood holding her baby daughter, Julia, on her lap.]
Cased photographs retrospective conversion project., Pad: Faded deep purple velvet. No design., Mat: Oval. Stamped on mat: M. P. Simons, Philada., Case: Leather. No design. Manuscript note pasted on spine: Julia Wood... 12th, 1848., See Anne Ayer Verplanck, Facing Philadelphia: Social Functions of Silhouettes, Miniatures, and Daguerreotypes, 1760-1860, (Ph.D. diss., College of William and Mary, 1996), section of Chapter IV, Wood Family Daguerreotypes, pp. 221-233. See research folder for biographical information about the Wood Family.
[Julianna Randolph Wood holding her baby son Stuart.]
Cased photographs retrospective conversion project., Pad: Deep purple velvet. No design., Mat: Double elliptical., Case: Leather. No design., Manuscript note in case reads "As you think about making this a little larger Mother & baby." Proably taken at the same time as P.8926.11., See Anne Ayer Verplanck, Facing Philadelphia: Social Functions of Silhouettes, Miniatures, and Daguerreotypes, 1760-1860, (Ph.D. diss., College of William and Mary, 1996), section of Chapter IV, Wood Family Daguerreotypes, pp. 221-233. See research folder for biographical information about the Wood Family.
[Julianna Randolph Wood in a dark dress, holding a daguerreotype portrait of a Richard D. Wood in her right hand.]
Cased photographs retrospective conversion project., Pad: Dark purple velvet. No design., Mat: Octagonal., Case: Leather. (Design is horizontal) A wavy spray of mixed flowers and leaves is in an oval. No design on verso., See P.8926.4 for the daguerreotype portrait of Richard D. Wood that Julianna holds in this image. See Anne Ayer Verplanck, Facing Philadelphia: Social Functions of Silhouettes, Miniatures, and Daguerreotypes, 1760-1860, (Ph.D. diss., College of William and Mary, 1996), section of Chapter IV, Wood Family Daguerreotypes, pp. 221-233. See research folder for biographical information about the Wood Family.
[Julianna Wood, 1847-1924]
Portrait of Wood, probably about 5 years old, standing in front of a studio backdrop. She is holding a purse on her right arm, and is holding onto a chair with her left hand. A purse and a bonnet rest on the chair beside her. Hand colored pale pink on cheeks., Cased photographs retrospective conversion project., Pad: Faded purple velvet. Leaf design in an oval surrounded by scrolls., Mat: Nonpareil. Photographer's imprint: Collins, 3d & Chestnut., Case: Thermoplastic. A clover shaped design is in an oval in the center, fancy scrolls and shells form the border. Same design on verso., See Anne Ayer Verplanck, Facing Philadelphia: Social Functions of Silhouettes, Miniatures, and Daguerreotypes, 1760-1860, (Ph.D. diss., College of William and Mary, 1996), section of Chapter IV, Wood Family Daguerreotypes, pp. 221-233. See research folder for biographical information about the Wood Family.
[Julianna Wood, aged 5 years, holding a doll in her right hand and pointing to a page in an open album on a table next to her.]
Hand colored pink on cheeks and on flowers on table., Cased photographs retrospective conversion project., Pad: Faded red velvet. No design., Mat: Oval., Case: Leather. It is shaped like a book and is similar to Fig, 41 in American Miniature Case Art by Floyd and Marion Rinhart (Cranbury, New Jersey: A. S. Barnes and Co., Inc., 1969.) The case manufacturer is identified as H. A. Eichmeyer of Philadelphia., Accompanying manuscript note reads: Julianna Wood, aged 5 years., See Anne Ayer Verplanck, Facing Philadelphia: Social Functions of Silhouettes, Miniatures, and Daguerreotypes, 1760-1860, (Ph.D. diss., College of William and Mary, 1996), section of Chapter IV, Wood Family Daguerreotypes, pp. 221-233. See research folder for biographical information about the Wood Family.
Liny Borie, 2 years and 2 months old.
Sits on a big chair, with her left leg tucked under her. She has long curls. Hand colored pink on her cheeks, and hand colored yellow on her dress. Slightly burred from movement., Cased photographs retrospective conversion project., Pad: Dark purple velvet. No design., Mat: Octagonal., Case: Leather. Small central circle surrounded by flowers and leaves within a larger circle. Circles surrounded by diamond shaped scroll pattern with additional scrolls at each corner. All within rectangular border.Photographer's blindstamp appears running vertically along the edge of the border nearest the clasps. No design on verso., Title from accompanying manuscript note., LCP AR [Annual Report] 1979, pg. 38.
[The Little Family]
Arthur W. Little is holding his son, Arthur H. (3 1/2 years old) on his lap. His wife, Martha is holding their son, William A. (2 years old) who is sitting on a table. Both boys are wearing the same patterned clothes. Arthur Little was a successful Philadelphia silk goods merchant. Martha may be pregnant., Cased photographs retrospective conversion project., Pad: Purple velvet embossed Root's Gallery 140 Chestnut St. Philada., Mat: Ornamented octagonal., Case: Leather. A small circle is within a larger circle. Both are enclosed within an ornamented diamond. Octagonal border. No design on verso. Accompanied by manuscript note: Taken about 1850. Mr. & Mrs. A.W. Little. & sons. Arthur H. 3 1/2 years. Wm. A. 2 [years]., LCP Annual Report for 1997, pgs. 47-48 for a description of this daguerreotype and information about Marcus A. Root, as well as conjecture of Martha Little's pregnancy.
[M. Stanton Hall with his parents and sister.]
Cased photographs retrospective conversion project., Pad: Deep purple velvet. No design. Newspaper clipping containing biographical information on Hall is pasted on the pad., Mat: Oval., Case: Thermoplastic. Geometric design. This design is #3-14 in Nineteenth Century Photographic Cases and Wall Frames by Paul K. Berg (Huntington Beach, Ca. 92647: Huntington Valley Press, 1995.) It is designated as rare., Hall was the first President of the Philadelphia Board of Education. See also Board Report for November 19, 1991.
[Madame Marie-Athenaide Le Febvre Buchey, 1800-1874, headmistress of Mrs. Buchey's French & English Seminary for Young Ladies, 260 Spruce Street, Philadelphia.]
Portrait of Madame Buchey wearing a dark dress with a long, wide white collar. Her hair is parted tightly in the middle, with two curls coming forward over her ears. She is holding a fan in her left hand., Cased photographs retrospective conversion project., Pad: Dark purple velvet., Mat: Oval., Case: Leather, with a horizontal floral bouquet in an oval., Madame Buchey was Headmistress of the Seminary at No. 240 Spruce St. (now 626) from September 1833 to June 1853. Buchey, born in St. Domingue (i.e., Haiti), emigrated to Cuba circa 1803 following the uprisings of the enslaved people of the island. She settled with her mother in Philadelphia in 1809. See Research File - Buchey., Gift of Francis James Dallett, great-great grandson of Madam Buchey, 2003., LCP AR (Annual Report) 2003 p. 61-63., Filed under: Unid. photographer - Sitter - Buchey.
[Margaret Vaughan Lea, b. 1881]
Bust-length, hand-painted full face minature pendant of lovely Marjorie Vaughan Lea wearing a low cut white lacy dress. Her beautifully coiffed hair is combed high on her head., Pad: Faded and torn ivory silk., Mat: Oval., Case: Oval., Engraved on verso: Margaret Vaughan Lea, May 27, 1903, with lock of her hair., Gift of Charles Lea Hudson, Ann L. Salmon, and Mathew C. Hudson.
Margot Griscom McCord Smith. Born Ap. 29, 1821 - Died Ap. 28, 1909. Grand niece of Elizabeth Griscom Ross (Betsy Ross).
Three-quarter length portrait of Smith wearing a black cape, plaid skirt, and a lace cap tied under her chin. Her right arm is resting on a table, her left arm is on her lap. Her hair is in long curls. She is looking slightly to her right., Cased photographs retrospective conversion project., Pad: Red velvet. Leaves in an oval in the center. Fancy scrolled border., Mat: Ornamented double elliptical. Label on mat: Collins, Nos. 100 & 166 Chestnut St., Case: Leather. Geometric design with interlocking swirls. Same design on verso. Double clasp. Accompanied by manuscript note identifying sitter: Margot Griscom McCord Smith. Born Ap. 29, 1821 - Died Ap. 28, 1909. Grand niece of Elizabeth Griscom Ross (Betsy Ross)., Manuscript note on plate verso: Aged about 33 years. Smith was a charter member of the Flag House Chapter of the Daughters of American Revolution., For additional information about Margaret Smith, see research file, LCP Annual Report, 1993, pg. 42 and Board Report, 9/21/93.
[Maria Conarroe, 1835?- 1906]
Possibly portrait of Maria Conarroe as a young woman sitting demurely with her hands clasped in her lap. Her long hair is parted in the middle and pulled back. She is wearing an off the shoulder dress., Cased photographs retrospective conversion project., Pad: Red velvet. Geometric scrolled design in center with geometric border., Mat: Oval. Photographer's imprint stamped on mat: Ambrotype by Gutekunst & Bro. Patented July 4 & 11 54., Case: Leather. Geometric with cross hatch design. Different geometric design on verso with small oval in the center., See Conarroe Family research file., Gift of Hugh P. Brinton, January 3, 1977.
[Maria Conarroe, b. 1835]
Portrait of a serious looking Maria is looking straight ahead. She is wearing a high necked dress with a brooch., Cased photographs retrospective conversion project., Pad: Pale apricot colored velvet with a leaf design within a star border., Mat: Oval., Case: Leather. Small urn of flowers within an inverted octagonal border. Photographer's imprint stamped in gold on verso: Swift & Mahan, 312 Market St. Phila., See Conarroe Family research file., Gift of Hugh P. Brinton, January 3, 1977.
[Martha Jane Gibson (later) Spencer, 1825-1901, as a young woman]
Seated portrait of Gibson, hair parted in the middle, with her right arm resting on a table. She is wearing a white collar and cuffs., Cased photographs retrospective conversion project., Mat: Ornamented nonpareil., Case: Thermoplastic. Lacking cover. Geometric design. This design is #3-11 in Nineteenth Century Photographic Cases and Wall Frames by Paul K. Berg (Huntington Beach, Ca. 92647: Huntington Valley Press, 1995.) It is designated as Scarce. Printed paper label on case verso under image: Patent applied for., Gift of Mrs. A. Douglas Oliver, August 22, 1977.
[Mary Barnes Swift, 1795-1866]
Portrait of the photographer's mother wearing a dark dress with a white lace cap and collar. Hand colored pink on cheeks., Cased photographs retrospective conversion project., Mat: Oval (black backing is missing, so image appears three dimensional.), Case: Leather. Originally in the shape of a book. Lacking both cover and back. Spine stamped in gold., See Henry B. Swift research file.
[Mary Barnes Swift, 1795-1866]
Portrait of the photographer's mother wearing a white lace cap and collar. She is looking slightly to her right., Cased photographs retrospective conversion project., Pad: Dark red velvet with geometric design., Mat: Oval., Case: Leather. A geometric design with a circle in the center surrounding a wheel of small leaves. Curved octagonal border. Same design on verso., Accompanying manuscript note: Mary Barnes Swift, mother of Hannah Swift Given (one of Henry B. Swift's sisters)., See Henry B. Swift research file.
[Mary Barnes Swift with her great nephew Robert J. Swift]
Portrait of the photographer's mother with a young boy who may be her great nephew, Robert. The boy is leaning against the older woman who is holding his hand in her lap. She wears a patterned dress and an aporn., Cased photographs retrospective conversion project., Pad: Red velvet with geometric design., Mat: Modified nonpareil., Case: Leather. Mixed flowers within an ornate nonpareil like border. The design of the case is called Bouquet of Flowers and is plate 134 in American Miniature Case Art by Floyd and Marion Rinhart (Cranbury, New Jersey: A. S. Barnes and Co., Inc., 1969.) Produced in quantity, circa 1851. A different design with spray of flowers in a rectangular border is on verso., Accompanying manuscript note reads: Papa and Great grandmother Swift, born Barnes., See Henry B. Swift research file.
[Mary Elizabeth Garesche and child]
Lovely portrait of Garesche turned slightly to her left with a white lace bonnet tied under her chin. She is cradling her daughter in her arms. Hand colored pink on cheeks., Cased photographs retrospective conversion project., Pad: Deep purple velvet. Floral design in center, fanciful scrolls all around., Mat: Oval. Photographer's imprint stamped on mat: S. Broadbent., Case: Leather. Floral spray within a curved octagon. Ornate scrolls work all around. Same design on verso., Gift of Mrs. Custus B. Swope, December 31, 1979., Reproduced in Samuel Broadbent, Daguerreian Artist in The Daguerreian Annual, 2001, page 145.
[Mary R. Housekeeper as a young child.]
Mary sits on a square column in front of a painted landscape backdrop., Cased photographs retrospective conversion project., Pad: Faded red velvet embossed Van Loan Gallery 159 Chesnut St. Philada. Scrolled border., Mat: Nonpareil., Case: Leather. Spray of tulips within a nonpareil-like border. Scroll work all around. Geometric design on verso., Accompanied by manuscript note: Mary R. Housekeeper.
[Mary Wood, b. 1834]
Bust length portrait. Wood wears a dark dress with a white collar and bodice. A brooch is pinned at the collar. Pale hand painted pink on cheeks., Cased photographs retrospective conversion project., Pad: Dark purple velvet. Design is obscured., Mat: Oval., Case: Leather. No design., See Anne Ayer Verplanck, Facing Philadelphia: Social Functions of Silhouettes, Miniatures, and Daguerreotypes, 1760-1860, (Ph.D. diss., College of William and Mary, 1996), section of Chapter IV, Wood Family Daguerreotypes, pp. 221-233. See research folder for biographical information about the Wood Family.
Miriam Good.
A stern, frowning Good is wearing a tight fitting dark dress with a white bodice, a white lace bonnet, and patterned shawl. Painted backdrop of wooded landscape., Daguerreotypist attribution based on painted backdrop employed by Samuel Broadbent., Cased photographs retrospective conversion project., Pad: Red velvet. Geometric design with a lyre like design in center., Mat: Octagonal., Case: Leather. A spray of roses in a modified nonpareil border. The design of the case is called A Spray of Roses and is plate 131 in American Miniature Case Art by Floyd and Marion Rinhart (Cranbury, New Jersey: A. S. Barnes and Co., Inc., 1969.) One of the most popular case designs in the early 1850's. Variants were made by a number of casemakers., Accompanying manuscript note reads: Miriam Good. She was the wife of Ziba Pyle and mother of Elizabeth Good Pyle who married Thomas Williams. Taken about 1850., See the article The Ties That Bind: Daguerreotypes and the Roberts and Thompson Families by Sarah Weatherwax in The Daguerreian Annual 1999 (Pittsburgh, Pa.: The Daguerreian Society, 1999) pgs. 210-221 for information about the Roberts and Thompson Families. See also the Board Report for January 20, 1998.
[Mr. and Mrs. Gilbert Livingston Bishop at Horse Shoe Falls, Niagara Falls.]
She is seated with her husband, in top hat and frock coat, is standing next to her on the edge of the falls., Cased photographs retrospective conversion project., Mat: Ornamented double elliptical., Case: Uncased., Manuscript note on verso: Mr. & Mrs. G.L.B. Horse Shoe Falls. Canadian Side, June 7th 1869. Typed note taped on verso: Mr. and Mrs. Gilbert Livingston BIshop taken June 71th 1869. G.L.B. - 1845-1926. Mrs. G.B.L. 1840-1921., Gift of Hugh P. Brinton, January 3, 1977.

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