Ambrotype (12 résultats)

No Binding. Etat : Very Good. ANTIQUE FINE AMBROTYPE PHOTO Early ambrotype photo of a woman. c. 1860. Case: 9.5x8.5 cm. Photo: 6.5x5.5 cm. In the original case. Very good ISBN: CATALOG: Photographs KEYWORDS: photography.

Hardcover. Etat : Gut bis sehr gut. Ambrotypien Fotos, Familie um 1855 --- Vier sehr dekorative Ambrotypien um 1855, eine gehobene Familie darstellend (Vater, Mutter und zwei kleine Töchter), wohl aus Deutschland. In schönem zeitgenössischem geprägten Rahmen der Zeit, hinter Glas. Die Goldkette der Frau und das Kleid der größeren Tochter handkoloriert. O.O. (wohl Deutschland) um 1855. Die Ambrotypien im Format 8 x 7 cm. Mit vergoldeter Einfassung aus Metall; hinter Glas in einer aufklappbaren Holzschatulle (aufgeklappt im Format 19 x 15,5 cm). --- Sehr guter Zustand, in exzellenter Erhaltung.…

Unidentified woman ambrotype, mid nineteenth century. Formal portrait of a woman whose restrained dress suggests possible association with the Quaker tradition of plain dress, offering visual evidence for the study of women's clothing, religious identity, portraiture, and social presentation in nineteenth century America. The sitter's identification as Quaker cannot be established from the photograph alone and should remain tentative; nevertheless, her appearance warrants comparison with documented Friends' clothing practices. Mid nineteenth century Quakers generally rejected fashionable display, and women's plain dress could include unornamented bonnets and simple white caps as part of a broader religious emphasis on simplicity. Quarter plate ambrotype of an unidentified woman, approximately 3 1/8 by 3 5/8 inches, housed beneath glass in an embossed case. The sitter appears formally posed and wears clothing characterized in the original description as resembling Quaker dress. Ambrotypes are unique photographic images made using a collodion negative on glass placed against a dark backing so that the negative appears positive; they were commonly housed in protective cases and were especially popular from the mid 1850s through the mid 1860s. The process therefore places the portrait within the period when photographic likenesses became faster and less expensive to produce than the earlier daguerreotype, broadening access to studio portraiture. As an unidentified woman's portrait, the ambrotype is most useful as documentary evidence of self presentation and material culture rather than as proof of a particular religious affiliation. If the sitter's clothing can be further identified as Friends' plain dress through provenance or comparative costume study, the image would additionally contribute to research concerning the visual expression of Quaker principles of simplicity during a period when those conventions remained recognizable within Friends communities. The embossed case retains prior restoration to its binding; remaining condition is not further specified. Fair. A useful mid nineteenth century portrait for the study of women's dress and photographic culture, with the sitter's possible Quaker association providing a focused avenue for further identification.…

6. Portrait of a man seated on a chair. Encased, kept in a contemporary molded bakelite holder with a rich floral decoration, inside with red velvet lining, intricate gilt frame. Ca. 1850-1860. Holder size 95 x 80 mm.

2 7/16 x 2 7/8 inches (image). 2 7/16 x 2 7/8 inches (image). The Ambrotype mounted above the orange printed label for ? J. Bryant, Ambrotype & Photographic Artist. Barnstable County, Mass?? On the verso of the ambrotype are three stamps: one of One Cent U. S. Inter. Rev. Express and the other two for two cents, each dated Aug. 3, 1864.…

Sixth plate ambroype in original case, photographer's name and date ("H.J. Ellicott/ September 15, 1852") in pencil in case behind image. 3 3/4" x 2 1/4 ". A few spots to image, and some oxidization to frame Sixth plate ambroype in original case, photographer?s name and date (?H.J. Ellicott/ September 15, 1852?) in pencil in case behind image. 3 3/4" x 2 1/4 ". Signed. …

No Binding. Etat : Good. Scottish Photographic Society Portraits, Five Ambrotype portraits taken 1857-1863 at Jamieson's Photographic Rooms, 42 Lothian Road, South Side of Entrance to Railway Station Edinburgh c.65 x 52mm. Contemporary ornamented copper frames; 5 images within gilt mounts (3 decorative). Individual subjects are: a young mother holding an infant on her lap; a young boy seated at a table (identified on reverse as Walter Charles Stewart, dated 27 June 1863); a young girl in a smock wearing a bonnet; a middle-aged man seated at a table reading a letter (glass cracked), an elderly woman in a widow's mourning dress (identified on reverse as 'Mrs Robinson, née Brush, February 1861). 4 of the society portraits are lightly tinted. Fine specimens of Scottish ambrotypes, or imperishable pictures. The ambroype, a wet collodian positive on glass with a characteristic grey appearance, was introduced as a cheap substitute for the daguerrotype c.1854; it is mounted and framed in the same way. Unlike the daguerreotype, it cannot be duplicated except by re-photographing. Ambrotypes are usually unsigned, but sometimes tinted or hand-coloured. Signed by Author(s).…

LeatherBound. Etat : New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1859 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. Pages: 261 As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 261 Language: English.…

Etat : Fair. The ornamental case is approximately 2.5 inches by 3 inches. The front cover is separated but present. Shows some wear. The interior oval is approximately 1.75 inches in maximum width and 2 inches in maximum height. There is a copper framing around the image, with the oval opening so the image can be seen. There is an image of a young man, currently unidentified. In 1854, James Ambrose Cutting of Boston took out several patents relating to the process. Although Cutting, the patent holder, had named the process after himself, it appears the term, "ambrotype" itself may have been first coined in the gallery of Marcus Aurelius Root, a well-known daguerreotypist, as documented in the 1864 book The Camera and the Pencil as follows: "After considerable improvements, this process was first introduced, in 1854, into various Daguerrean establishments, in the Eastern and Western States, by Cutting & Rehn. In June of this year, Cutting procured patents for the process, though Langdell had already worked it from the printed formulas. The process has since been introduced, as a legitimate business, into the leading establishments of our country. The positive branch of it; i.e. a solar impression upon one glass-plate, which is covered by a second hermetically sealed thereto, is entitled the "Ambrotype," (or the "imperishable picture"), a name devised in my gallery. Root also states (pp. 373): "Isaac Rehn, formerly a successful daguerreotypist, in company with Cutting, of Boston, perfected and introduced through the United States the "Ambrotype," or the positive on glass." The ambrotype also known as a collodion positive in the UK, is a positive photograph on glass made by a variant of the wet plate collodion process. Like a print on paper, it is viewed by reflected light. Like the daguerreotype, which it replaced, and like the prints produced by a Polaroid camera, each is a unique original that could only be duplicated by using a camera to copy it. The ambrotype was introduced in the 1850s. During the 1860s it was superseded by the tintype, a similar photograph on thin black-lacquered iron, hard to distinguish from an ambrotype if under glass. One side of a clean glass plate was coated with a thin layer of iodized collodion, then dipped in a silver nitrate solution. The plate was exposed in the camera while still wet. Exposure times varied from five to sixty seconds or more depending on the brightness of the lighting and the speed of the camera lens. The plate was then developed and fixed. The resulting negative, when viewed by reflected light against a black background, appears to be a positive image: the clear areas look black, and the exposed, opaque areas appear relatively light. This effect was integrated by backing the plate with black velvet; by taking the picture on a plate made of dark reddish-colored glass (the result was called a ruby ambrotype); or by coating one side of the plate with black varnish. Either the emulsion side or the bare side could be coated: if the bare side was blackened, the thickness of the glass added a sense of depth to the image. In either case, another plate of glass was put over the fragile emulsion side to protect it, and the whole was mounted in a metal frame and kept in a protective case. In some instances the protective glass was cemented directly to the emulsion, generally with a balsam resin. This protected the image well but tended to darken it. Ambrotypes were sometimes hand-tinted; untinted ambrotypes are monochrome, gray or tan in their lightest areas. The ambrotype was based on the wet plate collodion process invented by Frederick Scott Archer. Ambrotypes were deliberately underexposed negatives made by that process and optimized for viewing as positives instead. In the US, ambrotypes first came into use in the early 1850s. Ambrotypes were much less expensive to produce than daguerreotypes, the medium that predominated when they were introduced, and did not have the bright mirror-like metallic.…

Dodge County Citizen. May 12, 1857 issue documents the commercial spread of photographic portraiture in antebellum Wisconsin through a substantial advertisement for "Kellog's Premium Ambrotype and Daguerreotype Gallery." Published as ambrotypes competed with daguerreotypes for the family portrait market, the advertisement presents photography as a dependable and increasingly convenient consumer service, emphasizing rapid exposures, portraits of children, operation in varied weather, and technical improvements intended to produce more durable images. It belongs to the culture of early American studio photography and supports research into photographic advertising, family representation, technological change, and the development of visual commerce outside major eastern cities. The Dodge County Citizen. Beaver Dam, Wisconsin. May 12, 1857. Number of pages and measurements not stated. The issue contains a large advertisement headed "Kellog's Premium Ambrotype and Daguerreotype Gallery," accompanied by an illustration of a camera mounted on a tripod. The text offers "First class pictures," states that "Pictures of children" could be taken "almost instantaneously," and promises sittings "in all kinds of weather." It further promotes Kellog's access to recent "improvements in ambrotypes" while distinguishing his process from images "protected only by black varnish," which the advertisement warns were "liable to get scratched." These claims show how photographers explained unfamiliar technologies to prospective customers through assurances of speed, durability, convenience, and successful portraiture of children. The newspaper was published in Beaver Dam, Wisconsin, and its documented run began in 1856, placing the advertisement within the early commercial development of photography in the region. The advertisement appeared during a period when photographic galleries marketed several competing processes side by side and used newspaper typography and camera imagery to cultivate public confidence in studio portraiture. Its combination of technical comparison and family-oriented appeal records how photographic innovation was translated into practical benefits for local consumers. Condition details were not supplied, and an overall condition designation cannot be assigned without examination. A visually distinctive example of how an antebellum Wisconsin photographer promoted new image-making technology to a growing provincial market.…

Etat : Very Good. Plate size 105 × 140 mm, mounted as issued behind an ornate oval gilt metal matt (visible image size 90 × 120 mm), in a velvet-lined leather-covered case. Case slightly worn, with the joint broken; the image itself is in excellent condition. The photographer, subjects, location and date are unknown, but the ambrotype came and went in the period 1855-1865. Large-format Australian outdoor ambrotypes are scarce; ones of this quality are rare. The ambrotype is a thin collodion negative on glass with a black backing of paper, cloth or paint (as in this instance), which makes it look like a positive image. The packaging as above is standard.…

Leather Bound. Etat : New. Language: English. Language: English. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2024, utilizing the invaluable guidance of the original edition published many years ago in 1859. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - English, Pages: - 261, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 261 261.…