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Daguerreotype portraits.(Current and coming)(Young America: The Daguerreotypes of Southworth and Hawes)
It has been estimated that in the mid-nineteenth century there were as many as ten thousand daguerreotype studios operating in the United States, although the process was only announced in 1839. Many of the photographs that have survived from this era are portraits of unknown sitters by anonymous photographers. Among the known daguerreotypists is the prolific partnership formed by Albert Sands Southworth and Josiah Johnson Hawes in Boston in 1843, which endured and prospered for two decades. An exhibition that takes a closer look at some of the astonishing output of this firm has been jointly organized by the International Center of Photography in New York City and George Eastman House International Museum of Photography and Film in Rochester, New York.
The show, entitled Young America: The Daguerreotypes of Southworth and Hawes, is on view in New York City until September 4 and then travels to Rochester (from October 1 through January 8, 2006) after which it may be seen at the Addison Gallery of American Art at Phillips Academy in Andover, Massachusetts, from January 28 to April 9, 2006. It includes more than 150 daguerreotypes, many drawn from the collection at Eastman House, which is the repository for more than half the firm's surviving output of more than twenty-five hundred works, as well as documents pertaining to the business. Also on view are patent models, a chair in which sitters posed in the studio, and stereo daguerreotypes, which, when viewed through the firm's invention called the Grand Parlor Stereoscope, appear to show a three-dimensional picture.
After being taught the daguerreotype process in New York City by Samuel F. B. Morse, Southworth joined forces with his former roommate from Phillips Academy, Joseph Pennell, and formed a partnership in Cabotville (now Chicopee), Massachusetts. In 1840 Southworth wrote to his sister Nancy (who later worked with him and married Hawes in 1849): "I cannot describe all the wonders of this Apparatus. Suffice it to say, that I can now make a perfect picture, in one hour's time, that would take a Painter Weeks to draw. The picture is represented by light and shade, nicer by far than any Steel engraving you ever saw."
Pennell left the partnership in 1843 and Hawes, who trained as a carpenter but also had experience in portrait and miniature painting, took his place. The partners operated out of a studio on Tremont Row, Boston, where, according to Marcus Aurelius Root, writing in the Photographic and Fine Art Journal for August 1855, "their fixed aim and ...
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