Daguerreotypes
Considered to be the first successful photographic image, the daguerreotype is an image on silverplated copper sensitized with iodine. The plate is then exposed to mercury vapor to produce the image. Early daguerreotypes had an exposure time of up to fifteen minutes; later developments in both the sensitization process and camera lenses reduced this to less than a minute. All daguerreotypes are unique images and produced in the camera rather than from a negative. Because of the fragile nature of the plate surface, daguerreotypes are always furnished behind glass either in frames or cases. The vast majority of these images were produced between 1840 and 1860.
History
The daguerreotype process was invented by Frenchman Louis-Jacques Mande Daguerre (1787 to 1851). Daguerre started his working life as an apprentice architect, but at age 16 he went to Paris to become an assistant stage designer. He became widely known for his elaborate stage designs, and his ability to manipulate light to create marvelous effects, resulting in the widely popular Dioramas. Daguerre often used a camera obscura to aid with perspective in his painted backdrops. His desire to capture images permanently eventually led to a partnership with fellow Frenchman Joseph Nicephor Niepce (1765 to 1833). It was their cooperation that ultimately led to the first daguerreotype.
Niepce is credited with the first permanent photographic process in 1827, which he called Helliographs, but sadly died in 1833 several years before the daguerreotype process was perfected. Undeterred by his partner’s death, Daguerre continued to experiment, finally discovering in 1837 that mercury vapor was key to the whole process of developing and fixing a latent image.
In August 1839 the process was announced publicly. The French government purchased the patent rights from Daguerre and it was given freely to all countries except Great Britain. A British patent had already been issued for Daguerre’s process by action of his agent Miles Barry. That same year details of Daguerre’s discovery reached America. Inventor and artist Samuel F. B. Morse soon began producing portraits and teaching the process to others. Two years later there were hundreds of American daguerreotypists. One of the finest early portrait studios was that of J. J. Hawes and Albert Sands Southworth in Boston. By 1845 every major U.S. city could boast a daguerreotype gallery, but New York had the greatest number of studios. Perhaps the most famous studio was owned and operated by Mathew Brady, who started producing daguerreotypes in 1844, having been taught by Samuel Morse. Other major figures included the German born Langenheim brothers, Jeremiah Gurney and Martin Lawrence as well as a host of others.
In 1841 the British entrepreneur Richard Beard (1802 to 1885) paid Daguerre 150 pounds per annum for a license under the English patent and opened the first official portrait studio in England. The images were expensive to produce but Beard could see the potential for profit. In that same year Antoine Francois Jean Claudet (1797 to 1867) also bought a license from Daguerre and set up his studio in London. These two men became London’s premier daguerreotypists of their day. Other early highly regarded daguerreotypists in London included John Mayall and William Kilburn.
The advent of less expensive photographic processes including ambrotypes and paper images brought about the eventual demise of the daguerreotype. With few exceptions the production of Daguerreotypes after 1860 was very limited.
Collecting Information
Daguerreotype image plates come in a variety of sizes, as follows:
Whole plate 6.5″ by 8.5″
Half plate 4.5″ by 5.5″
Quarter plate 3.25″ by 4.25″
Sixth plate 2.75″ by 3.25″
Ninth plate 2″ by 2.5″;
Sixteenth plate 1.375″ by 1.625″.
The vast majority of Daguerreotype images produced were general portraiture; these are widely available and today’s collector prices vary from a few dollars to several thousand. Occupational and outdoor images do surface from time to time and these are highly sought after and command significantly higher prices. One can also expect to pay more for the larger size images. Whole plates images for instance are seldom seen and therefore attract premium prices, whereas the smaller plate sizes are far more common.
A daguerreotype is a one of a kind image, this can make it difficult to attribute a value but as a guide the subject matter, photographer and its general appeal, as well as the condition, will all influence the price. Similarly each collector will have their own opinion on what they personally find attractive in an image and inevitably this will influence the amount they are willing to pay for a particular item.
Reference note by p4A Contributing Editor Robert M. Ginns.