ca. 1860-90, [cabinet card, portrait of a frame maker with his tools], A. L. Walline
- May 14 2013 | 51 Notes - Read More →
ca. 1860-90, [cabinet card, portrait of a frame maker with his tools], A. L. Walline
ca. 1860-90’s, [tintype portrait of a bearded carpenter or shipwright, smoking a pipe, and holding a large square, compass, and the head of a large adze. A saw also leans against his leg]
ca. 1860’s-80’s, [tintype occupational portrait of a pair of mechanics holding wrenches]
via Cowan’s Auctions
ca. 1855, [daguerreotype portrait of a dentist with his tools and a patient]
ca. 1860-80’s, [occupational tintype portrait of a pair of plumbers with a variety of tools at their feet]
via Cowan’s Auctions
ca. 1880-90’s, [tintype portrait of a gentleman with his stereoview camera]
via Cowan’s Auctions
ca. 1860’s, [ambrotype portrait of a young English student with his microscope]
ca. 1860-70’s, [tintype portrait of two women posed with a camera box]
via Cowan’s Auctions
ca. 1870-80’s, [cabinet card, occupational portrait of a miner with his equipment], J.W. Wilder
via Cowan’s Auction
ca. 1850-61, [daguerreotype portrait of a tinworker working with a mallet, snips, compass, and metal cylinder], A. Bogardus
ca. 1860-80’s, [occupational tintype portrait of a silversmith with his tools, showing off a few spoons]
ca. 1875, [albumen portrait of Mohan Lal with His Camera]
The subject here is likely the painter-photographer Mohan Lal, posing with his camera and holding the lens cover in his hand. A number of Mohan Lal’s pictures are documented in the Udaipur City Palace photographic archives. Most courts either maintained a photographer in the same manner that court painters were employed in the household, or else, they increasingly turned to the services of commercial photographic studios, which arose rapidly in India.
ca. 1860, [ambrotype portrait of a young cricketer with bat and glove], Wm. Bellham
"Until the handkerchief of history covers us with its Times New Roman black and white post script..."
This blog is a collection of vernacular photography and ephemera focused mainly within the curious and often misunderstood realm of 19th century America. I have a soft spot for all things silly, antiquated, macabre, and grotesque. The content is from a variety of collections; public, academic, and private. In addition, there's an occasional emphasis on Ulysses S Grant and the Civil War, as well.
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