Finding aid for Portraits of a British merchant family in Brazil, between 1845 and 1865 95.R.30
Beth Ann Guynn
Special Collections
2020
1200 Getty Center Drive, Suite 1100
Los Angeles 90049-1688
Business Number: (310) 440-7390
Fax Number: (310) 440-7780
reference@getty.edu
Contributing Institution: Special Collections
Title: Portraits of a British merchant family in Brazil
Creator: Fredricks & Weeks
Identifier/Call Number: 95.R.30
Physical Description: 35 Photographic Prints
Date (inclusive): between 1845 and 1865
Physical Location: Request access to the physical materials described in this inventory through the
catalog record for this collection. Click here for the
access policy .
Abstract: The collection of cased photographs comprises 32 photographs, mostly portraits of the extended Youle family, a British merchant
family residing in Recife, Brazil, in the mid-nineteenth century. Included are 14 daguerreotypes, 18 ambrotypes, one tintype,
and two albumen prints. While the makers of most of the photographs in the collection are unidentified, three daguerreotypes
that did not originate with the Youle family were made by Fredricks and Weeks in Recife in 1851.
Language of Material: English.
Publication Rights
Biographical / Historical
Alfred Phillips Youle, one of the few sitters identified in the collection, was born in London in 1824. He was one of the
ten children of Peter Youle (London, 1788-London, 1863) and Ann Jones Shepherd Youle (1788-1873). It is not known when Alfred
Phillips Youle arrived in Brazil, but by 1851 he had already joined his older brother Frederick and George Deane as a partner
in Deane, Youle & Company, commission merchants whose transatlantic trade included sundries such as sugar, preserved meats,
and spirits. Alfred Phillips Youle returned to London sometime in the 1860s, and by 1872 he was named to the first board of
directors of the Great Western Railway Company Limited, the "Greitueste," which was formed to build railway lines in Western
Brazil. He was also on the board of directors of the Conde d'Eu Railway, Limited in Parahyba, Brazil.
In 1852, Alfred Phillips Youle married seventeen-year-old Annie Stewart Schwind (Bahia, 1835-London, 1871) in Bahia. Annie
was the daughter of Fredrick Louis Schwind (Liverpool, 1796-1873) and Margaret Stewart Schwind (Ireland,1811- ). Her grandfather
of the same name (Germany, ca. 1750-Cape Coast, Ghana, 1799) was a mariner and later a ship's surgeon who served aboard several
English enslaver ships. His first post was to the
Alfred in 1784. He was serving as ship's master on the
Pilgrim when she went down off Cape Coast in 1799. Annie's father, Schwind, Jr., along with his older brother Charles, was a member
of the Bahia commission merchants firms of Schwind, Brade & Company and Schwind, Weetman & Company. The extended Schwind family
was a British presence in Bahia well into the twentieth century.
The Schwinds were thus rooted in both Liverpool, the epicenter of the British enslaver trade, and in Brazil, which did not
begin to seriously enforce anti-slave trade legislation until 1850, and which was the last country in the Western world to
abolished slavery, doing so only in 1888. As merchants participating in the last leg of the triangular trade by sending goods
produced in the Americas back to Europe, the Schwind brothers and their firms continued to accrue benefits from the institution
of slavery in the form of compensations and reinvestment derived from products created through the labor of enslaved people.
The commodities the Youle firms shipped to Europe were likewise produced in large part through the labor of enslaved people.
The Youles had 12 children before Annie died at age 35 or 36. A few years later, in 1875, Charles Youle married Charlotte
Emily Broadbent in London. He died in England in 1905.
-------------------------------------------------
American photographer, Charles DeForest Fredricks (1823-1894), was an itinerant daguerreotypist who had been traveling extensively
in Venezuela, Brazil, Uruguay, and Argentina since 1843 when, on 8 March 1851, he paid a visit to Alexander B. Weeks (1818-1859)
at J. Gurney's Daguerreotype Gallery in New York City, where Weeks worked as a daguerreotype operator, to convince Weeks to
join him on his upcoming trip to South America. On April 14, the two men finalized their photographic partnership and, after
making preparations, they embarked upon their journey, setting sail from New York on the
Mary Ellen on May 19. They arrived in Recife, Brazil (then Pernambuco) in early July, and from the middle of that month until late
September they operated a daguerreotype studio in the city before moving on to ply their trade first in Montevideo and then
in Buenos Aires.
In April 1852, Weeks left on his return trip to New York, while Fredricks remained in South America for another year before
moving on to Paris where he took up the new technique of collodion glass plate photography and opened a studio with Jeremiah
Gurney. Meanwhile, upon returning to New York, Weeks opened a studio in Brooklyn under the name Fredericks & Weeks. Weeks
operated the business as a partnership until January 1854, when he bought out Fredricks's half of the business. Shortly thereafter
Weeks moved to Toledo, Ohio where he opened a studio. Fredricks, who had returned to New York at the end of 1853, established
what would become New York City's largest and most fashionable portrait photography studio. Located at 585-587 Broadway, the
facade of his premises was illuminated by hundreds of lanterns forming a sixty-foot arch which spelled out the words "Fredrick's
Photographic Temple of Art." In 1857, he also opened C. D. Fredricks y Daries with Augusto Daries in Havana. Fredricks never
returned to South America.
Sources consulted:
"Charles Schwind, 1790-1842." WikiTree. Profile last modified September 10, 2019. https://www.wikitree.com/wiki/Schwind-273
"Frederick Louis Schwind (abt. 1750-1799)." WikiTree. Profile last modified January 10, 2020. https://www.wikitree.com/wiki/Schwind-274
"Frederick Louis Schwind (1796)." WikiTree. Profile last modified October 10, 2019. https://www.wikitree.com/wiki/Schwind-277
Herold, Marc. "Re: Liverpool Merchants Active in Bahia 1810-1900." Geneology.Com. June 30, 2008. https://www.genealogy.com/forum/regional/countries/topics/brazil/2665/
New York (State).
Court of Appeals, New York Court of Appeals. Records and Briefs, vol. 13. 1864.
Peterson, Rebecca Ewing. "Alfred Phillips Youle." Find a Grave. Added to website February 6, 2012. https://www.findagrave.com/memorial/84596148/alfred-phillips-youle
Peterson, Rebecca Ewing. "Annie Steward Schwind Youle." Find a Grave. Added to website February 6, 2012. https://www.findagrave.com/memorial/84596151/annie-stewart-youle
Peterson, Rebecca Ewing. "Peter Youle." Find a Grave. Added to website February 6, 2012. https://www.findagrave.com/memorial/84596168/peter-youle
Ramer, Richard C. "Inventory for Early Brazilian Photographs, Including a Daguerreotype View and Two Daguerreotype Portraits
Signed by Charles DeForest Fredricks," 1995.
Skinner, Thomas.
The Directory of Directors, 1881. London: Gresham House, 1881.
Weeks, Alexander B.
Alexander B. Weeks: A Daguerreotypist's Journal: Brooklyn, Recife, Montevideo, Buenos Aires, Toledo, Detroit, transcribed by Catherine A. Murray. Mt. Pleasant, Mich.: Catherine A. Murray, 2014.
Arrangement
Arranged in a single series: Series I. Portraits of a British merchant family in Brazil, between 1845 and 1865.
Access
Copy prints are open for use by qualified researchers. The original photographs are restricted.
Digitized Material
The collection was digitized by the institution in 2010 and the images are available online:
http://hdl.handle.net/10020/95r30b7
Immediate Source of Acquisition
Acquired in 1995.
Preferred Citation
Portraits of a British Merchant Family in Brazil, between 1845 and 1865, The Getty Research Institute, Los Angeles, Accession
no. 95.R.30.
http://hdl.handle.net/10020/cifa95r30
Processing Information
Processed by Beth Ann Guynn in 1995. The finding aid was written by Guynn in 2020.
Scope and Content of Collection
The collection of cased photographs comprises 35 photographs, mostly portraits of the extended Youle family, a British merchant
family residing in Recife, Brazil, in the mid-nineteenth century. Included are 14 daguerreotypes, 18 ambrotypes (17 collodion
positives and one collodion negative), one tintype, and two albumen prints. Most of the items are in leather cases or wooden
frames with glass. Although most of the sitters are unidentified, three daguerreotypes portray Alfred Phillips Youle, while
five ambrotypes are portraits of Annie Stewart Schwind, who married Alfred Phillips Youle in Bahia in 1851, and her parents.
All of the photographs originating from the Youle family collection are unsigned.
Three of the daguerreotypes are not from the Youle family. They are stamped on their gilt mats: Electrotypo-Fredricks e Weeks
(1) or Electrotypo-Fredricks é Weeks (2), identifying the photographic partnership of Charles DeForest Fredricks and George
H. Weeks. They all date to 1851 when Fredricks and Weeks were briefly active in Recife. A full plate daguerreotype depicts
a view of Recife harbor. The two daguerreotype portraits depict, respectively, two small girls standing and holding hands
and a Black woman seated in three-quarter view holding a light-skinned infant in her lap. This is one of the earliest known
photographs of a Black person taken in Brazil.
Subjects and Indexing Terms
Merchants -- Brazil -- Portraits
Merchants -- Great Britain -- Portraits
Blacks -- Brazil -- Portraits
Harbors -- Brazil -- Recife
Recife (Brazil) -- Description and travel
Photographs, Original
Studio portraits -- Brazil -- 19th century
Albumen prints -- Brazil -- 19th century
Daguerreotypes (photographs) -- Brazil -- 19th century
Ambrotypes (photographs) -- Brazil -- 19th century
Cased photographs -- Brazil -- 19th century
Group portraits -- Brazil -- 19th century
Tinypes (photographs) -- Brazil -- 19th century
Youle, Alfred Phillips, 1824-1905
Portraits of a British merchant family in Brazil, Series I.
between 1845 and 1865
[Portraits of a British merchant family in Brazil] (digitized version)
Arrangement
Arranged by photographic type: daguerreotypes, ambrotypes, tintypes, and prints on paper. A small group of loose case components
is found at the end of the collection.
Scope and Contents
To avoid confusion, directionals in both the daguerreotypes and ambrotypes (i.e, left and right) have been described as they
are seen by the viewer.
Daguerreotypes,
1845-1865
Scope and Contents
Fourteen daguerreotypes.
box 3
Fredricks & Weeks, [Recife Harbor], 95.R.30-D1
1851
Scope and Contents
Full plate housed in an embossed morocco case with a red velvet lining; the case is lacking its hinge. The oval brass mat
is stamped: Electrotypo. Fredericks e Weeks.
The view looking across the harbor shows a fortified watchtower in the left foreground. A cluster of ships appears on the
left just below the horizon line, while the city is located on the right along the same plane.
box 3
Fredricks & Weeks, [Portrait of a Black Woman Holding an Infant], 95.R.30-D2
1851
Scope and Contents
Sixth plate housed in an embossed morocco case with gilt stamping; the case is lacking its hinge. The case is lined in red
velvet with cut red velvet facing the plate. The oval brass mat is stamped: Electrotypo. Fredricks é Weeks. A thin brass preserver
frame encases the daguerreotype, mat, and cover glass.
The woman is seated in three-quarter view. The baby the woman is holding appears to be white or of lighter skin.
Not from the Youle collection.
box 3
Fredricks & Weeks, [Portrait of Two Small Girls Standing], 95.R.30-D3
1851
Scope and Contents
Quarter plate housed in an embossed morocco case with gilt stamping; the case is lacking its hinge. The case is lined in red
velvet with cut red velvet facing the plate. The inner edges of the brass mat are rounded and it is stamped: Electrotypo.
Fredricks é Weeks. A thin brass preserver frame encases the daguerreotype, mat, and cover glass.
The girls are holding hands and have their hair in ringlets. Their dresses appear to be tinted.
Not from the Youle collection.
box 3
Photographer unidentified, [Portrait of an Older Woman Holding a Book], 95.R.30-D4
between 1845 and 1865
Scope and Contents
Quarter plate housed in a plain morocco case lined in red velvet with cut red velvet facing the plate; the case lacks its
hinge. A thin brass preserver frame encases the daguerreotype, domed brass mat, and cover glass.
The woman is dressed for the outdoors in a cape and gloves. Her face is tinted.
box 3
Photographer unidentified, [Portrait of a Woman in Ringlets], 95.R.30-D5
between 1845 and 1865
Scope and Contents
Sixth plate in an embossed morocco case lined in brown velvet with a brass nonpareil mat and thicker brass frame preserver;
the case is lacking its cover.
The woman is seated facing the viewer.
box 3
Photographer unidentified, [Portrait of a Young Woman with Ear Buns], 95.R.30-D6
between 1845 and 1865
Scope and Contents
Sixth plate in an embossed morocco case lined in red velevet with an oval brass mat; the case is lacking its cover. A paper
tag with the numeral 7 written on it is pasted to the upper right corner of the cover glass.
The seated woman faces the viewer.
box 4
Photographer unidentified, [Portrait of a Seated Boy Wearing a Checkered Dress], 95.R.30-D7
between 1845 and 1865
Scope and Contents
Quarter plate in a gilt wooden frame and domed brass mat; with a ring for hanging at top.
The boy's face, arms, and hair are tinted.
box 4
Portraits of Alfred Phillips Youle,
1850s
Scope and Contents
Alfred Phillips Youle was a partner in Deane, Youle & Co., a firm of commission merchants located in Recife (then Pernumbuco),
Brazil.
box 4
Photographer unidentified, [Portrait of Alfred Phillips Youle Holding a Book], 95.R.30-D8
Scope and Contents
Sixth plate housed in a plain morocco case lined in red velvet and with a domed brass mat.
A paper tag on the case identifies the sitter as Alfred Phillips Youle (1824-1905). In this highly tinted half-length portrait,
Youle, who is looking toward the left, is seated before a painted backdrop showing a pillar behind his right shoulder with
the sea to his left. He rests his left arm on a table and holds a book in his right hand. Youle's flesh and necktie are tinted
as is the backdrop. His watch chain and rings are picked out in gilt.
box 4
Photographer unidentified, [Portrait of Alfred Phillips Youle Resting His Elbow on a Book], 95.R.30-D9
Scope and Contents
Sixth plate housed in a plain morocco case lined in red velvet and with a domed brass mat.
In this highly tinted half-length frontal portrait Youle is seated before a painted backdrop showing a pillar behind his left
shoulder with the sea to his right. His left arm rests on a book set on a table. Youle's flesh and necktie are tinted as are
the backdrop and tablecloth. His watch chain and rings are picked out in gilt.
box 4
Photographer unidentified, [Portrait of Alfred Phillips Youle Holding Flowers], 95.R.30-D10
Scope and Contents
Sixth plate housed in an embossed morocco case lined in red velvet with a textured octagonal brass mat.
In this half-length seated portrait Youle is turned slightly to his right. His flesh and the flowers he holds in his right
hand are tinted. His watch chain is picked out in gilt.
box 4
Portraits of two men,
between 1845 and 1865
Scope and Contents
The series of three portraits depicts two men: a shorter dark-haired man and a taller man with fair hair. In all of these
three-quarter-length portraits the men are seated next to each other facing the viewer, with the dark-haired man to the right
of the fair-haired man.
box 4
Photographer unidentified, [Portrait of Two Young Men Wearing Dark Suits], 95.R.30-D11
Scope and Contents
Quarter plate housed in a plain morocco case lined in gold velvet and with a plain oval brass mat; the case lacks its cover.
The dark-haired man has his arm around the taller fair-haired man's shoulder. The faces and hands of the sitters are tinted.
The watch chain worn by the fair-haired man is picked out in gilt.
box 4
Photographer unidentified, [Portrait of Two Young Men Wearing Light Trousers and Dark Jackets], 95.R.30-D12
Scope and Contents
Quarter plate housed in a plain morocco case lined in pink velevt with pink silk facing the portrait. A thin embossed brass
preserver frame encases the daguerreotype, mat with rounded inner edges, and cover glass.
The dark-haired man has his arm around the fair-haired man's shoulder. The faces and hands of the sitters are tinted. The
fair-haird man's watch chain is picked out in gilt.
box 4
Photographer unidentified, [Portrait of Two Men], 95.R.30-D13
Scope and Contents
Quarter plate housed in an embossed morocco case lined in brown velvet; the case is lacking its cover. A brass preserver
frame surrounds the daguerreotype, cover glass, and brass oval mat. Both the preserver frame and the mat have embossed decorative
edges.
In this portrait the men are older and the dark-haired man is bearded. The faces and hands of the sitters are tinted. Their
watch chains are picked out in gilt.
box 4
Photographer unidentified, [Half-length Seated Portrait of a Middle-aged Man], 95.R.30-D14
between 1845 and 1865
Scope and Contents
Sixth plate housed in an embossed morocco case with brown velvet lining; the case is lacking its cover. A thicker, heavily
embossed brass preserver frame encases the daguerreotype, facing glass and domed texured brass mat.
The sitter's face is lightly tinted.
Ambrotypes,
between 1852 and 1865
Scope and Contents
Includes 17 collodion positives and one collodion negative.
box 1
Portraits of the Schwind Family,
1852-1865
Scope and Contents
Portraits of Annie Stewart Schwind and her parents. This identification was suggested by the last member of the Youle family
to be in possession of the collection. It appears likely, as custom would have dictated, that the portraits of Annie with
her parents and the one of Annie by herself were taken shortly before her marriage.
box 1
Photographer unidentified, [Portrait of Annie Stewart Schwind and Her Parents], 95.R.30-C1
1852?
Scope and Contents
The quarter plate group portrait is mounted for hanging behind a thick black double mat with a gilt inner edge.
The daughter stands between her seated parents, resting her arm on her mother's shoulder.
box 1
Photographer unidentified, [Portrait of Annie Stewart Schwind and Her Parents], 95.R.30-C2
1852?
Scope and Contents
Quarter plate portrait housed in a plain morocco case lined in red velvet with gilt decorations on its inner edge; the case
lacks its cover. A heavily embossed narrow preserver frame encases the daguerreotype, cover glass, and chased brass domed
mat.
The daughter stands between her seated parents, resting her arm on her father's shoulder.
box 1
Photographer unidentified, [Portrait of Frederick Louis Schwind], 95.R.30-C3
between 1855 and 1865
Scope and Contents
Quarter plate portrait housed in a plain morocco case with gilt decorations on its inner edge; lined in red velvet. A heavily
embossed narrow preserver frame encases the daguerreotype, cover glass, and chased brass domed mat.
Schwind sits with his left arm resting on a table. His face, hands, and beard are tinted, as is the tablecloth.
box 1
Photographer unidentified, [Portrait of Margaret Stewart Schwind], 95.R.30-C4
between 1855 and 1865
Scope and Contents
Quarter plate portrait housed in a plain morocco case with gilt decorations on its inner edge and lined in red velvet; the
case lacks its cover. A heavily embossed narrow preserver frame encases the daguerreotype, cover glass, and chased brass domed
mat.
The portrait represents Margaret Schwind at her oldest age among the portraits of her found in the collection. She is shown
seated and resting her left elbow on a table. Her flesh, shawl, and the tablecloth are tinted; her brooch, chatelaine, and
rings are picked out in gilt.
box 1
Photographer unidentified, [Portrait of Margaret Stewart Schwind with Her Elbow Resting on Books], 95.R.30-C5
between 1855 and 1865
Scope and Contents
Quarter plate portrait housed in a plain morocco case with gilt decorations on its inner edge; lined in red velvet. A heavily
embossed narrow preserver frame encases the daguerreotype, cover glass, and chased brass domed mat.
The portrait depicts Margaret Schwind at an age between that of the two other portraits of her present in the collection.
She is shown seated and resting her left elbow on two books that sit on the corner of a table. Her flesh, shawl, the flowers
in her hair, and the tablecloth are tinted; her brooch, chatelaine, and rings are picked out in gilt.
box 1
Photographer unidentified, [Portrait of a Woman with a Long Ribbon in Her Hair], 95.R.30-C6
between 1852 and 1865
Scope and Contents
Quarter plate portrait housed in a plain morocco case with gilt decorations on its inner edge; lined in brown velvet. A heavily
embossed narrow preserver frame encases the daguerreotype, cover glass, and chased brass mat with rounded inner edges.
The woman sits with her left elbow on the barely visible edge of a table and has her head turned to her right. Her flesh,
plaid hair ribbon, and the table edge are tinted; her rings, brooch, and chatelaine are picked out in gilt.
box 2
Photographer unidentified, [Three-quarter view Portrait of a Young Man], 95.R.30-C9
between 1852 and 1865
Scope and Contents
Quarter plate collodion negative is housed in a morocco case lined in red velvet. The chased oval brass mat, daguerreotype,
and cover glass are encased by an elaborately embossed narrow brass preserver frame.
The young man is seated facing to his right with his left arm resting on a table; a column is partially visible to his right.
The background is tinted light blue.
box 2
Photographer unidentified, [Portrait of a Young Man with Light Hair], 95.R.30-C10
between 1852 and 1865
Scope and Contents
Sixth plate housed in an embossed morocco case with red velvet facing the plate.
The young man sits facing the viewer with his left arm resting on a table. The nonpareil brass mat, daguerreotype, and cover
glass are encased by a narrow, heavily embossed preserver frame.
box 2
Photographer unidentified, [Portrait of a Young Woman Seated in Profile], 95.R.30-C11
between 1852 and 1865
Scope and Contents
Sixth plate housed in a red morocco case lined in blue velvet. The chased brass mat with an oval opening, daguerreotype, and
cover glass are all encased by a narrow gilt preserver frame with heavy relief designs.
The young woman sits on a wooden chair with her body facing to her left and her face looking towards the viewer in three-quarter
view. Her flesh, the background, and the curtain behind her are tinted; her bracelets, brooch, and chatelaine are picked out
in gilt.
box 2
Photographer unidentified, [Portrait of a Girl with Books in Her Lap], 95.R.30-C12
between 1852 and 1865
Scope and Contents
Sixth plate housed in a morocco frame lined in brown velvet with a ring at the top for hanging. The domed gilt mat, daguerreotype,
and cover glass are encased by a thin brass preserver frame.
The young girl with parted hair is seated with her left hand on a vase of flowers set on a table; her right arm and hand are
resting on a pile of books in her lap. Her face is in three-quarter view looking to her right. Her flesh and dress are tinted,
as are the flowers and tablecloth.
box 2
Photographer unidentified, [Portrait of a Young Man with a Cleft Chin], 95.R.30-C13
between 1852 and 1865
Scope and Contents
Sixth plate housed in a morocco case lined in red cut velvet and with a simple brass mat with rounded inner corners; hinge
lacking.
The young man sits facing the viewer with his left arm resting on a doily or mat on a table.
box 2
Photographer unidentified, [Portrait of an Older Bearded Man], 95.R.30-C14
between 1852 and 1865
Scope and Contents
Ninth plate housed in an embossed morocco case with gilt edges. The case is lined in red velvet with green cut velvet facing
the plate. The chased brass mat with an oval opening, daguerreotype, and cover glass are encased by a narrow brass protector
frame with heavy relief designs.
The man sits facing the viewer with his hands at his sides. His face and tie are tinted.
box 2
Photographer unidentified, [Portrait of an Older Woman Wearing a Dark Cape and Bonnet], 95.R.30-C15
between 1852 and 1865
Scope and Contents
Ninth plate housed in an embossed morocco case with gilt designs on the edges. The case is lined in red velvet with red cut
velvet facing the plate. The chased brass mat with an oval opening, daguerreotype, and cover glass are encased by a narrow
brass protector frame with heavy relief designs.
The woman sits facing the viewer with her arms crossed. Her face and the flowers on her bonnet are tinted.
box 2
Uncased ambrotypes,
1855-1865
Scope and Contents
The group includes three quarter plates without frames or cases that depict the adult members of a family. Given the ages
of the sitters and the surroundings, it is likely that these three ambrotypes were all made at the same time.
box 2
Photographer unidentified, [Family Portrait] 95.R.30-C16
Scope and Contents
The group portrait includes three men and three women, likely parents and their grown children. The two young women in the
group are seated with the rest of the family members gathered around them.
box 2
Photographer unidentified, [Portrait of a Young Woman Seated before a Window with Her Hand Resting on Her Chin] 95.R.30-C17
Scope and Contents
The portrait depicts the young woman seated in a room before a window in the same chair in which she is seated in the group
portrait.
box 2
Photographer unidentified, [Portrait of a Young Woman Seated before a Window with One Hand in Her Lap] 95.R.30-C18
Scope and Contents
The portrait depicts a young woman seated in a room before a window with one hand in front of her chest and the other hand
in her lap. She is the young woman seen standing in the family portrait.
box 5
Photographer unidentified, [Large House with Crenellated Tower], 95.R.30-P3
1861
Scope and Contents
Quarter plate tintype housed in a thin brass preserver frame with a brass nonpareil mat. A ring for hanging is centered on
the top of the case.
box 5
Prints on paper,
1860s
Scope and Contents
The albumen prints may be copies of daguerreotypes.
box 5
Photographer unidentified, [Portrait of a Girl and Her Younger Brother] 95.R.30-P1
Scope and Contents
Albumen print housed in a sixth plate morocco case with gilt decorations. The print is behind a domed brass mat and thin brass
preserver frame set into the brown velvet case lining. A ring for hanging is centered on the top of the case.
In this double frontal portrait a girl is sitting in a chair with her younger brother standing at her side.
box 5
Photographer unidentified, [Bust Portrait of a Man with Mutton Chops] 95.R.30-P2
Scope and Contents
Albumen print housed in a sixth plate morocco case with a domed brass mat and thin brass preserver frame set into the brown
velvet case lining. The print is mounted to a cream backing which is visible at the bottom and one side. A ring for hanging
is centered on the top of the case.
box 5
Loose case components,
between 1845 and 1865
box 5
Green leather case
Scope and Contents
The case is lined in pink silk with an envelope pocket that contains a brass mat.
box 6
Copy prints
Scope and Contents
Comprises a complete set of archival gelatin silver use prints made by the repository from the original photographs in 2001.
