ambrotype (7 Ergebnisse)

Hardcover. Zustand: 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.

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.

No Binding. Zustand: Good. Six Ambrotype portraits taken 1857-1863 at Edinburgh studios c.65 x 52mm. Contemporary ornamented copper frames; 5 images within gilt mounts (3 decorative) one with paper mount. 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), an elderly women in a cape with a head dress with ribbons (identified on reverse as Mrs Corsane Cunningham, dated 1857); the last portrait was taken at the Rooftop Studio of J[ames] Howie , listed as 'portrait & animal painter' in period Edinburgh almanacs. 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).

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 ".

Zustand: 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 surface that could make daguerreotypes troublesome to view and which some people disliked. An ambrotype, however, appeared dull and drab when compared with the brilliance of a well-made and properly viewed daguerreotype. By the late 1850s, the ambrotype was overtaking the daguerreotype in popularity. By the mid-1860s, the ambrotype itself was being replaced by the tintype, a similar image on a sturdy black-lacquered thin iron sheet, as well as by photographic albumen paper prints made from glass plate collodion negatives. Ambrotype in an ornamental case.

Zustand: 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.