The history of photography has remained enduringly entwined over its nearly two-century existence with technological breakthroughs and advancements. The evolving methods, equipment and materials, along with the public’s shifting appetite for varying aesthetics, themes, applications and expense, forged the medium’s prosperity over time. With the introduction of the French-born daguerreotype process to America in 1839, the nineteenth century was a period of fruitful experimentation marked by the introduction of a multitude of processes, each flourishing and reigning for a brief to extended period of time before being dethroned for the next surpassing development.
The American middle class’s ability to obtain inexpensive detailed images of themselves was ushered in with the arrival of the British Queen to New York City in November of 1839. Aboard the steamer was Francois Gouraud—the agent of the Frenchman Louis-Jacques-Mande Daguerre, who was the inventor of the world’s first utilitarian, commercially-viable photographic process known as the daguerreotype. Just four months following the arrival of Daguerre’s agent, the first daguerreotype portrait studio in the world opened in New York City. New York cultivated the evolution of daguerreian industry throughout America due to the city’s prominent and influential standing within the nation, and by the mid-1840s, all principal cities in America were brimming with daguerreotype studios.
The daguerreotype’s period of greatest production in America was from 1850 to 1855 when approximately three million were produced annually, reaching its zenith in 1853 in correspondence with a large-scale display of daguerreotypes at the New York Crystal Palace Exhibition. Nevertheless, the popularity of the daguerreotype began to wane in 1853 with the introduction of the wet plate collodion negative process that allowed for image production on paper, glass, and iron for relatively less cost. By 1858, only a trickle of photographic studios continued to specialize in the process, and by the late 1860s the daguerreotype had become an outmoded and soon to be forgotten photographic technique.
The nature of the daguerreotype method created a one-of-a-kind image. To create a daguerreotype, a thin copper plate coated with silver and polished to a mirror-like reflectivity was sensitized with iodine and then placed in a camera where it was exposed to light. To develop the image, the plate was held over highly-toxic mercury vapor fumes until the image appeared and then fixed with salt (hyposulfite of soda).
Modern daguerreotypes are made in much the same way as they were in the 19th century. They are now considered an art form as each daguerreotype is unique and multiple copies are not able to be reproduced.
The ambrotype process was patented in 1854 and enjoyed great popularity for a few short years, and again during the Civil War. It produced pictures on glass instead of metal plates. Like the earlier daguerreotype, each image is unique, made one-at-a-time in the camera. The glass is flowed with a sticky material known as iodized collodion. It is then sensitized by being dipped into a bath of silver nitrate, and exposed in the camera while still wet. A chemical developer is used to bring out the image. The glass plate is then backed with black material-paint, cloth or paper, and furnished in a case similar to those used for daguerreotypes. The ambrotype process was marketed as an improvement, because the finished image lacked the glittery, elusive reflective quality of daguerreotypes and was therefore easier to view. The detail and tonal range, however, tend to be less impressive than in the earlier process.
With its popularity peaking from 1855 to 1856, the ambrotype’s popularity began to decline in 1857 with the commanding acceptance of paper photography and the mounting favor of the ambrotype’s relatively cheaper and sturdier wet collodion photographic cousin, the tintype. Although ambrotypes continued to be produced until 1865, they become rare by 1861.
The 1856 American invention of the “japanned” iron plate, a thin iron plate brushed with a boiled varnish of black lacquer composed modestly of asphaltum (tar), linseed oil and ample amounts of lampblack color and precedingly oven-dried to an exceptionally hard consistency, would lead to the cheapest and most favored photographic process of the nineteenth century within the nation: the ferrotype (the prefix “ferro” referencing to the iron support), more commonly known as the tintype despite the absence of tin.
Into the last decade of the nineteenth century, the tintype remained America's most popular photographic medium for personal portraits, due to the nominal expense of supplies and equipment along with the minimal training required by tintype “operators.” The tintype can be considered a distinctively American form of photography. The process’s peak years coincided with the American Civil War due to durability, allowing them to be easily mailed and carried in soldiers’ pockets on the battlefield. The tintype’s popularity also sprang from its instantaneous exposure and comparatively short processing time of only ten minutes, in comparison to the twenty to thirty minute wait for a finished daguerreotype.
Although the tintype endured as a novelty item into the 1920s, its popularity began to wane around 1890 with a series of technical and manufacturing innovations by the Eastman Kodak Company, including the introduction in 1889 of the first commercial transparent roll film and the advent of the easy-to-use snapshot camera.
Photographic images can be made on any absorbent fabric that can be
sensitized with light-sensitive emulsions, such as on silk, satin, leather, or
linen. Fabric prints were popular primarily from the art form's invention in
1839 to the early 1860s. A
Pannotypes were unusual even during their time of production (approximately 1853-early 1860s), attractive primarily to wealthier clientele and desirable for their ability to suffer less from being bent and, thus, especially suitable for enclosure in letters. While the cloth support was no more expensive to produce, it was less economical in the long run than paper photography since multiples could be made from a single glass negative while the pannotype was a singular picture unable of being copied. This was likely a factor in the rapid abandonment of the pannotype process. Pannotypes are even more rare photographic curiosities today due to the fragility and deterioration of the black waxed linen and leather supports.
Cyanotypes were first invented by Sir John Hershel of England in 1842, and were most popular from 1842-1848 and from 1885-1895. The name is derived from the Greek word meaning “dark blue impression,” cyanotypes are a relatively simple and inexpensive non-silver process. To make a cyanotype print, a photographic negative was placed in direct contact with a sheet of paper or cloth pre-soaked in a solution of light-sensitive iron salts, and was exposed in direct sunlight. A simple wash in a bath of water permanently fixed the image. The final photograph is blue.
It was mainly used by amateurs and for documentation of industrial products and for print proofs.
In the early 1850s, photographers began for the first time to produce
enlarged photographic images by utilizing reflectors or copying lens to
transfer beams of sunlight through a glass plate negative and onto a large
piece of albumen paper. The first practical
The enlarged crayon or charcoal portrait was produced by placing a wet-collodion glass negative exposed with the likeness of the sitter into a solar enlarger, whose adjustable mirror collected sunbeams from outside the window and printed the image onto the albumen paper. The portrait was lightly printed to produce a weakened, or dim, image on the paper to then act as a guide for reworking with either crayon, chalk or some other medium. The artist then drew over the picture with charcoal or pastels, trying to duplicate the photograph while making it look hand drawn. The quality of the picture was entirely dependent on the artist’s skill. Tinting or gilding was sometimes added to enhance the effect. From a few feet away, it is often taken for a photograph but viewed up close, it can be seen to be a drawing. An alternate method was to fully develop the portrait on the paper and, following the hand-retouching, the silver image was removed by “a chemical treatment.” While the exact chemistry at present time is unknown, it has been proposed that a diluted bleach, such as sulfuric acid, was used to remove the photographic image; thereby, giving the appearance of a hand-drawn or painted portrait.
These large-scale pictures were intended to be hung on the wall. This development encouraged photographs to adopt some of the aesthetic criteria associated with drawings and paintings. The print was then hand-accented with chalk or crayon, and sometimes ink or pastel, thereby giving the finished product an appearance of a drawing or painting.
The Autochrome was patented in 1903 by the Lumière brothers in France and first marketed in 1907; it was the principal color photography process in use before the advent of subtractive color film in the mid-1930s. Autochrome plates are covered in microscopic red, green and blue-violet colored potato starch grains (about four million per square inch). When the photograph is taken, light passes through these color filters to the photographic emulsion. The plate is processed to produce a positive transparency. Light, passing through the colored starch grains, combines to recreate a full color image of the original subject. The glass plate Autochrome was most commonly viewed in a diascope, which was a folding case with the Autochrome image and a ground glass diffuser fitted into an opening on one side, and a mirror framed into the other side. The user would place the diascope near a window or other light source so that light passed through the diffuser and the Autochrome, and the resulting back-lit, dark-surrounded image would be viewed in the mirror.
In the mid to late 19th century, at the height of commercial color lithographic printing, color lithographs began to be known as chromolithographs. The term color lithograph was then reserved for the work of artists or “up-market” prints. In either case, making a color print required a separate stone for each color to be printed; up to twenty stones could be used. Typically, an outline of the image was drawn in red chalk (which was visible but not receptive to ink) and transferred to each stone. The colors were then separated by eye and transferred to the stone by a technician or artist referred to as the color-separator. The color was sometimes built up by layering colors, but often it was built up using a range of hues and tones of the same color. The ink was applied using the same techniques used in monochromatic lithography. In the mid to late 19th century, stippling (applying dots with a pen) became a common technique, giving color lithographs a dotted appearance.
Arranged in 9 series.
The collection consists of various types of early photographic technologies invented prior to the twentieth century. Examples include daguerreotypes, ambrotypes, tintypes, cyanotypes, autochromes, a pannotype, and a crayon/charcoal enlargement are included.
Daguerreotypes, ambrotypes, and occasionally tintypes (approximately
1856-1862) were protected within a small case intended to be held in one’s
hand. The
The "plate sizes" used in referring to 19th-century daguerreotypes, ambrotypes, tintypes, and other photographs stem originally from the daguerreotype, for which the first plates manufactured were approximately 6.5 x 8.5 inches (16.5 x 21.5 cm) in size. Smaller size daguerreotypes were then defined in terms of how many plates of the smaller size could be cut from such a "full" or "whole" plate. These plate sizes became standardized and were subsequently used for the photographic formats which followed on the daguerreotype. Plate sizes are still the standard method for referring to the dimensions of these 19th century images. The following are approximate 19th-Century image plate sizes: Whole Plate: 6.5 x 8.5 inches (16.5 x 21.5 cm), Half Plate: 4.25 x 5.5 inches (11 x 14 cm), Quarter Plate: 3.25 x 4.25 inches (8 x 11 cm), Sixth Plate: 2.75 x 3.25 inches (7 x 8 cm), Ninth Plate: 2 x 2.5 inches (5 x 6 cm), Sixteenth Plate: 1.375 x 1.625 inches (3.5 x 4 cm).
Selections from the collection can be viewed on the Libraries' Digital Collections website. Permission required to view originals.
Restrictions may exist on reproduction, quotation, or publication. Contact Special Collections, University of Washington Libraries for details.
Christy Hansen, 2010; Don Romero, 2015.
Quarter-plate (approximately 3-1/8" x 4-1/8") daguerreotype.
Protected in brown thermoplastic (varnish/shellac, sawdust,
pigments)
Original component parts, created approximately early 1850s: clear protective glass plate, brass rounded-corner rectangular mat ("double elliptical") stamped with crosshatching, narrow embossed decorative brass preserver, deep maroon velvet cover pad.
Sixth-plate (approximately 2-5/8" x 3-1/4") daguerreotype. Hand-tinted "rouge" on cheeks and gold gilt accents on jewelry.
Protected in wood-framed brown leather case with lightly-embossed rose bouquet medallion motif, created approximately 1847-1848.
Original package parts, created approximately 1847-1848: clear protective glass plate, brass rounded-corner rectangular mat ("double elliptical") with matte finish, narrow embossed decorative brass preserver, blush-colored velvet cover pad.
Sixth-plate (approximately 2-5/8" x 3-1/4") daguerreotype. Hand-tinted "rouge" on cheeks.
Protected in wood-framed dark brown leather case with lightly-embossed tulip motif, created approximately 1842-1850s.
Package parts, created approximately 1850s: clear protective glass plate, decorative brass oval mat with matte finish, narrow embossed decorative brass preserver, cranberry-colored velvet cover pad embossed with intricate geometric floral and geometric motifs.
Approximately 3" x 2 ½" daguerreotype. Gold gilt accents on earrings and necklace.
Protected in dark leather case with flaps and brass corner decorations.
Package parts: clear protective glass plate, decorative brass oval mat with matte finish, narrow embossed decorative brass preserver, red velvet cover pad.
Approximately 3" x 2 ½" daguerreotype. Gold gilt accents on ring and brooch. Note inside of case reads: Miss Carolyn Northrup died 1862. My aunt, Mary W. Hill.
Protected in wood-framed brown leather case with lightly-embossed floral motif.
Package parts: clear protective glass plate, decorative brass mat with matte finish, narrow embossed decorative brass preserver, cranberry-colored velvet cover pad embossed with intricate geometric floral motifs.
Ken Nelson holds degrees in art photography and photographic history, as well as a certificate in photograph conservation. He is a renowned specialist in the daguerreotype process, and has taught with the George Eastman House’s Historic Photographic Process Workshops.
Mounted in 8 x 10 black wood frame.
Mounted in 8 x 10 black wood frame.
Ninth-plate (approximately 2" x 2-1/2") ambrotype. Hand-tinted "rouge" on cheeks.
Protected in wood-framed dark brown leather case with lightly-embossed oriental arabesque motif, created approximately 1850-1855.
Original package parts, created approximately 1854-1855: clear protective glass plate, decorative "nonpareil" brass mat with matte finish and a string of tiny stamped dots following contours of the interior frame, narrow decorative embossed brass preserver with inward points at corners and sides, pale red-orange velvet cover pad embossed with intricate scrolling designs.
Sixteenth-plate (approximately1-3/8" x 1-5/8") ambrotype.
Protected in wood-framed dark brown leather case with lightly-embossed spray of flowers in medallion motif, and gold gilt painted double helix on borders (front/back, inside). Created approximately 1854.
Original package parts, created approximately 1854: clear protective glass plate, decorative "nonpareil" brass mat with intricate acid-etched floral design, narrow embossed decorative brass preserver, cranberry-colored velvet cover pad embossed with quatrefoil flower motif.
Full-plate (approximately 6-1/2" x 8-1/2") ambrotype.
Protected in wood-framed dark brown leather "Eichmeyer band 'book'" case with two formidable brass hinge-clasp closures. Lightly-embossed geometric designs. Heavily-embossed with two raised double bands embossed with double helixes positioned at top and bottom, and encircle front and back. Gold gilt bands line the top and bottom edges (front/back). Right-most side upon which hinges and clasps attached rounded. Case created by Henry A. Eichmeyer (Philadelphia, Pennsylvania), approximately 1855-1856.
Original package parts, created approximately 1855-1856: clear protective glass plate, decorative brass oval mat with intricate acid-etched floral design and matte finish, narrow and straight decorative brass preserver embossed with simple pattern, maroon-colored velvet cover pad.
Ninth-plate (approximately 2" x 2-1/2") ambrotype.
Original package parts, created approximately 1856-1858: decorative oval brass mat with stamped pansies at four corners, narrow embossed brass preserver with simple floral pattern.
Sixth-plate (approximately 2-5/8" x 3-1/4") ambrotype.
No mat, preserver, or cover glass.
Quarter-plate (approximately 3-1/8" x 4-1/8") ambrotype. Hand-tinted "rouge" on cheeks.
Protected in original package, created approximately 1857-1858: decorative brass oval mat with stamped floral design, narrow embossed decorative brass preserver.
Ninth-plate (approximately 2" x 2-1/2") ambrotype.
Protected in wood-framed dark brown leather case with lightly-embossed oriental motif, created approximately 1847-1855.
Original package parts, created approximately 1858: clear protective glass plate, decorative "nonpareil" brass mat with embossed flower bouquets at four corners and a string of diamonds following the contours of the interior frame, narrow embossed brass preserver deeply embossed with leafs with inward points at corners and sides, dusty orange-red velvet cover pad embossed with intricate scrolling leafs. Lock of hair twisted and pinned to center of cover pad.
Quarter-plate (approximately 3-1/8" x 4-1/8") ambrotype.
Protected in wood-framed dark brown leather case with lightly-embossed rose-variant motif, created approximately 1854-1858.
Original package parts, created approximately 1858: clear protective glass plate, decorative oval brass mat with matte finish, narrow decorative embossed brass preserver, mustard-colored velvet cover pad embossed with intricate scrolling leaves.
Unstandardized plate size (approximately 2-3/10" x 3-4/10") tintype. Hand-tinted "rouge" on cheeks.
Unstandardized plate size (approximately 2-1/2" x 3-1/4") tintype.
Sixth-plate (approximately 2-5/8" x 3-1/4") tintype. Hand-tinted "rouge" on cheek of boy.
Unstandardized plate size (approximately 2-3/4" x 4") tintype.
Unstandardized plate size (5" x 7") tintype. Image is reversed.
Sixth- plate size (approximately 2-5/8" x 3-1/4") tintype.
Unstandardized plate size (2" x 3-3/10") tintype.
Unstandardized plate size (1-1/4" x 1-1/2") tintype.
Mounted in a picture-envelope with a circle window and unelaborate stamped decoration.
Girl pictured is the same as in TN9.
Unstandardized plate size (1-1/4" x 1-1/2") tintype.
Mounted in a picture-envelope with a circle window and unelaborate stamped decoration.
Girl pictured is the same as in TN8.
Unstandardized plate size (approximately 4" x 5-5/8") tintype on
Mounted in pale pink paper picture envelope with top-hinged seal-flap with rectangular window (rounded corners) and decorated with printed beige lines surrounding window.
Woman is also pictured in TN11.
The
Unstandardized plate size (approximately 4" x 5-5/8") tintype on
Mounted in pale pink paper picture envelope with top-hinged seal-flap with rectangular window (rounded corners) and decorated with printed beige lines surrounding window.
Woman is also pictured in TN10.
The
Unstandardized plate size (approximately 1-1/2" x 2-2/10") tintype. Hand-tinted "rouge" on cheeks.
Tintype inserted into light blue card stock "Philadelphia Carte Envelope" with oval window and decorated with metallic gold printed design. Manufactured likely by Nixon & Stokes (Philadelphia, Pennsylvania) approximately 1870-1880.
Protected in a thin buff-colored card stock "Philadelphia Carte Envelope" with arch-top window and decorated with printed red design, backed with thin lavender-colored paper. Manufactured likely by Nixon & Stokes (Philadelphia, Pennsylvania) approximately 1870-1880.
James Burrill Beals (September 23, 1845 - December 31, 1888) married Katherine McMillan (September 1, 1851 - June 7, 1939) in 1875. James practiced law in St. Paul, Minnesota.
The photograph of James Beals, his wife Katherine McMillan Beals and his aunt, Caroline Beals, was taken on the Beals' honeymoon.
Unstandardized plate size (2-1/2" x 3-1/2") tintype on
Mounted in a shiny light blue card stock "Philadelphia Carte Envelope" with oval window and decorated with printed red design, backed with thin lavender-colored paper. Manufactured likely by Nixon & Stokes (Philadelphia, Pennsylvania) approximately 1870-1880. Front of lavender flap depicts black-stamped image of two Victorian-dressed long-haired girls peering into a mirror with the name of the photographic studio penned on the back, reading "Johnson's National Gallery, 809 Pa. Ave., Washingt'n D. C."
The
See PH 563 Portraits for biography of Beals and family.
Half- plate size (approximately 4-1/2" x 5-1/2") tintype.
Unstandardized plate size (approximately 3-1/2" x 5") tintype.
Mounted in a white-colored cardstock envelope with rectangular window (rounded corners) and decorated with printed black ink design and broken line surrounding the window.
Unstandardized plate size (approximately 3-1/2" x 5") tintype.
Sixth-plate (approximately 2-5/8" x 3-1/4") tintype. Sandy texture to surface.
Unstandardized plate size (2-1/2" x 3-1/2") tintype.
Unstandardized plate size (approximately 3-1/4" x 4-8/10") tintype.
John Conrad is also the subject of TN20.
Unstandardized plate size (approximately 3-1/4" x 4-8/10") tintype.
Mounted in a buff-colored paper envelope with arch-top window and decorated with printed red ink design and broken line surrounding the window, salmon-colored paper and flap. Manufactured likely by S. Wing & Company (Charlestown, Massachusetts) approximately 1876-1885.
John Conrad is also the subject of TN19.
Unstandardized plate size (approximately 3-1/2" x 5") tintype.
Mounted in a buff-colored paper envelope with arch-top window and decorated with printed red ink design and broken line surrounding the window, salmon-colored paper and flap. Manufactured likely by S. Wing & Company (Charlestown, Massachusetts) approximately 1876-1885.
Unstandardized plate size (2" x 3-3/10") tintype.
Unstandardized plate size (3-1/4" x 5") tintype on
The
Unstandardized plate size (6-8/10" x 10") tintype. Hand-tinted flesh tones to face, "rouge" to cheeks and lips. Hand-painted white decorative accents to collar. Black hand-painted drapery and button accents on dress. Hand-painted gold gilt accents to brooch and pendant earrings. Background painted with gray paint, sandy texture.
No mount.
Unstandardized plate size (1-4/10" x 4") tintype. Hand-tinted "rouge" on cheeks.
Unstandardized plate size (4-3/4" x 3-4/10") tintype.
Gem size (approximately 3/4" x 1") tintype. Hand-tinted "rouge" on cheeks.
Tiny
Quarter-plate (approximately 3-1/8" x 4-1/8") tintype.
Mounted in a peach-colored cardboard photographic card frame/mount with elliptical window, and printed with floral vines at corners and broken line surrounding window.
Sixth-plate (approximately 2-5/8" x 3-1/4") tintype.
Women are also pictured in TN31.
Unstandardized plate size (approximately 2-3/4" x 3-1/2") tintype.
Two women standing are also pictured in TN30.
Unstandardized plate size (approximately 2-4/8" x 3-1/2") tintype.
Tintype inserted into sage green lightweight card stock card mount envelope with arch-top window and decorated with stamped red printed design.
Unstandardized plate size (approximately 6-1/4" x 4") tintype. Hand-tinted "rouge" on cheeks.
Tintype inserted into faded pink lightweight card stock. Front paper flap is ripped half of full length along seam.
This is a small (approximately 5-1/2" x 4") album containing 44 tintype portraits. The album is in poor condition, with the front cover completely detached. Label on inside cover reads: S.E. Young & Co. Watches, Jewelry, Cutlery, Fancy Goods. 114 Main St. Laconia, New Hampshire. The tintypes could be members of the same extended family or possibly a collection by the photographer, due to many of the photos being taken in the same studio using the same props.
Photo is slightly blurry on left side.
Tintype has scratches.
Unstandardized plate size (approximately 2 1/4" x 3 1/4") tintype. Hand-tinted "rouge" on cheeks and gold gilt decorative accents on vest.
No mount.
Unstandardized plate size (approximately 3 1/16" x 1 7/8") tintype. Hand-tinted "rouge" on cheeks
Mounted in white card stock.
Unstandardized plate size (approximately 3 1/4" x 2") tintype. Hand-tinted "rouge" on cheeks.
Mounted in beige card stock.
Unstandardized plate size (approximately 3 5/8" x 2 3/8") tintype. Hand-tinted "rouge" on cheeks.
No mount.
Unstandardized plate size (approximately 3 1/4" x 2" ) tintype. Very faint hand-tinted "rouge" on cheeks.
Mounted in beige card stock with embossed design around image.
This is a small (approximately 4 3/4" x 3 ½") album containing 11 tintype portraits and one portrait on paper.
Written on inside front cover: Presented to A. G. Spence Feb. 15, 1874 at West Milton, Ohio. Mary Locke. Written on inside rear cover: Sunday, June 7th, 1874, A. G. Spence went walking with E.F. M---fields and Jennie Spence and Frank Wormby and Ann Smith and Ida Smith.
This photo is printed on paper.
Whole plate size (approximately 8" x 6 1/4" ) tintype.
Andrew D. Olmstead was born in 1846 and died in 1917.
Face of woman on left scratched out. From accompanying note: "Due to family dispute".
As was common with pannotypes, this piece is small (2-1/2” x 3-1/2”) and bears an impression of a flattened arch frame around the picture area of the image, evidence that the portrait was meant to have a special setting in an album or, more likely, in a small folding protective case.
8" x 11" cyanotype. Overall dimensions with frame, approximately 15-1/2" x 12-1/2".
Contemporary wood frame painted in muted blue and metallic silver.
The image is one of a set of cyanotypes photographed by C. B. Talbot for the Northern Pacific Railroad. Note with photo: Talbot was not a professional photographer. He was an engineer for the Northern Pacific Railroad and worked in the Tacoma area for a few years during the 1880s. He was an amateur photographer and took blueprint photographs mostly of the building of the Northern Pacific Railroad. He also took scenics of Tacoma, Mt. Rainier, and Western Washington. The Washington State Historical Society has an image showing the equipment used for blueprint photographs. It was quite bulky.
3 ½" x 4 1/4" cyanotype.
5" x 4" cyanotype.
6 3/4" x 4 1/2"cyanotype.
8 1/4" x 6 ½" cyanotype.
5" x 4" cyanotype.
Approx. 5" x 4" cyanotype.
Approx. 5" x 4" cyanotype.
Approx. 5" x 4" cyanotype.
Approx. 5" x 4" cyanotype.
Approx. 8 ½" x 7 1/4" cyanotype mounted on paper measuring 14-1/4" x 11-1/4"
Approximately 16" x 20" crayon/charcoal enlargement.
Approximately 22 " x 16" crayon/charcoal enlargement mounted in a 27" x 22" frame and mat.
Typed note pasted to board on back of frame reads: This crayon of General George E. Pickett was made by his Indian son James Tilton Pickett. It is signed by him. The pictures was given to "Judge" E.D. Warbass to hang above his fireplace in the San Juan Island "Pickett House." Warbass had been post sutler at Fort Bellingham and at Fort San Juan and was a close friend of Pickett, his Indian wife, and Jimmie. After San Juan Fort was abandoned, Warbass hired one John Douglas to transport by ox team the "Pickett House" from the Fort site to the Warbass property known as "Idlewild" on the east coast of San Juan Island. Warbass hung the crayon as Jimmie directed and it remained there after his death which occurred in about 1906. In 1920, when the property changed owners, the name became "Kwan Lamah" resort and the crayon remained above the fireplace. These owners believe that is should be among pioneer records and are giving it to the Northwest Collection at the University of Washington. Mr. and Mrs. Leon G. Little. January17, 1961.
Approximately 16" x 20" crayon/charcoal enlargement.
Written on original mounting material: Mary Neilsen Maternal Grandmother of Imogene Leona Miller Robbin.
Approximately 16" x 20" crayon/charcoal enlargement.
Written on original mounting material: Hans Nielsen-Maternal grandfather of Imogene Leona Miller Robbin.
Both autochromes are of the same image.
5" x 7" autochromes.
5" x 7" autochrome.
5" x 7" autochrome.
5 ½" x 8 3/4" image size with mat mounted in 9 ½" x 12 ½" frame.