Daguerreotype of a Young Couple, 1840s
Photograph
<p>This young couple is truly “dressed for the photographer.” He wears a frock coat, black waistcoat, and silk top hat set at a slant. His white neck tie is either a skillfully tied white cravat, or a pre-formed necktie known as a “stock” that fastened in the back. She wears a silk dress that buttons at the front of the bodice. Her bodice appears taut, thanks to the corset beneath. The shawl draped over her left arm obscures her sleeve, although the cuff of an undersleeve is visible. Her bonnet frames her face and is secured with a decorative ribbon.</p>
<p>According to Joan Severa, at this time it was unusual for sitters to wear hats as they often cast a shadow across their faces in the photograph. Fortunately, this is not the case for the image of this couple.<br /><br />The case is embossed paper on wood frame with embossed velvet pad and metal matte</p>
<p>References</p>
<p>Joan Severa, <em>Dressed for the Photographer: Ordinary Americans and Fashion, 1840-1900</em>. Kent, OH: Kent State University Press, 1995.</p>
Donor: Estate of Mrs. John Gardner
1840s
URI 1955.36.84
Daguerreotype, "The Token" 1840s
Photograph
<p>The case enclosing this daguerreotype is covered in plum-colored velvet with the words “The Token” stamped on the spine in gold letters. The new medium of photography meshed with the sentimentality of the early Victorian period. The photograph itself shows a seated woman wearing a paisley shawl with a book in her hand. The woman’s hair is parted down the middle and likely secured in the back with a bun, which was common during this period. She is wearing a white cap, probably of cotton or linen, with lappets hanging down (Tortora and Eubank 2010: 338). She also wears a brooch.</p>
<p>Her dress has fan pleating on the bodice. Until the end of the 1840s it was common to have bodices with front fullness created by gathers or pleats (Severa 1995: 9). The removable white collar protected the neckline of the dress from body oil. Her sleeves are hidden beneath the shawl, prohibiting the viewer from determiniing how they were cut, but they appear to be tight to the wrists.</p>
<p>The paisley shawl would have been a status item at this time. Women saved to buy the best that they could afford, although printed shawls began to provide an inexpensive alternative in the mid 1850s. The manner in which this shawl drapes around the shoulders suggests that it is a woven, rather than a printed, shawl.<br /><br />The case is of voided velvet over wood with embossed velvet pad and embossed metal matte.<br /><br />Purchased on Cape Cod</p>
<p>References</p>
<p>Phyllis Tortora and Keith Eubank. <em>Survey of Historic Costume</em>, 5<sup>th</sup> ed. New York: Fairchild, 2010.<br /><br />Joan Severa, <em>Dressed for the Photographer: Ordinary Americans and Fashion, 1840-1900</em>. Kent, OH: Kent State University Press, 1995.<br /><br /><br /></p>
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Whitlock Collection<br />Donor: Mary C. Whitlock
1840s
Brianna Souza
URI 1962.31.904
Daguerreotype of Young Woman seated
Photograph
<p>This daguerreotype in a case features a young woman associated with the Gardner family of Exeter, Rhode Island. She is wearing a striped, one-piece dress. Draped bodices were popular in the 1830s and 1840s. During the 1830s, the fabric would go from shoulder to shoulder or shoulder to waist. In this image, the fabric drapes from the shoulder and is gathered in a V at the waist. The use of pleats allowed the skirt to be very full. The sleeves are fitted to the arm with two rows of detailing (possibly fringe) on the upper sleeve. Her hairstyle was a popular look in the 1840s: parted in the middle and looped over the ears.</p>
<p>The use of accessories is apparent as we can see four different rings and a sizable brooch at the center front neckline. The long chain may be attached to a pencil, a common accessory at this time according to Joan Severa: “… the gold watch and pencil on the long watch cord or chain was an important symbol to the young woman of the forties” (Severa 13)<br /><br />References<br /><br />Severa, Joan. Dressed for the Photographer: Ordinary Americans & Fashion, 1840-1900. Kent, Ohio: The Kent State University Press, 1995.</p>
Donor: Mrs. John Gardner Estate
Nellie Taylor Gardner (1882 - 1955)
ca. 1840 - 1850
Alex Ragosta
URI 1955.36.82
Daguerreotype of a Young Woman, ca. 1845
Photograph
<p>This woman wears a dark-colored dress with long, closely-fitted sleeves with ruffles above the elbow. These sleeves are a transition from the uncommonly large balloon-like ones of the 1830s, which began deflating in 1837. By 1840, the transition was complete. Ruffles, shirring, horizontal tucks, or capped oversleeves were seen in the late 1830s and early 1840s. With shrinking sleeves, emphasis shifted to the skirt, which was full and gathered at the waist. The seated woman wears just this, a tight-fitted bodice gathered to a V at the waist. Necklaces with charms were very common, as seen on the figure, as well as the hairstyle parted in the middle.<br /><br />References</p>
<p>Joan Severa, <em>Dressed for the Photographer: Ordinary Americans and Fashion, 1840-1900</em>. Kent, OH: Kent State University Press, 1995.</p>
Donor: Estate of Mrs. John Gardner
ca. 1845
Sydney Hazen
URI 1955.36.79
Daguerreotype of Young Woman with her bonnet and parasol
Photograph
<p>This ambrotype is a portrait of a young woman. As for the dating, it can be determined by the bodice style of the dress which was popular across a span of several years during the 1840s.</p>
<p>The bodice, shaped by a long rigid corset, comes to a V-shaped point at the bottom. The neckline is somewhat open and finished with a ruffled of lace. The skirt reveals a generous amount of pleating as evidenced at the front and sides. Similar styles can be dated to circa 1847.<br /><br />The dress fabric may be cotton, as evidenced by the soft folds of the bodice front and skirt. The printed textile design alternates stripes of a floral pattern with patterned horizontal lines.</p>
<p>Her hair is parted in the middle with loose curls gathered at the nape of her neck. This style is nearly universal for women during this period. Nearly all women parted their hair in the center in the forties.<br /><br />As for accessories, a simple narrow bracelet adorns one of her wrists. She wears a brooch at the neckline and appears to have a ring on the third finger of her right hand. She has draped a long chain around her neck but it is impossible to see what lies in the folds of her skirt, perhaps a watch.<br /><br />Her bonnet lies on the covered table beside her. Made of woven and light-colored straw and with a with a long brim, it appears to be decorated with an exuberance of fabric flowers. The parasol, just visible, may have a finger ring at the base or a decorative ferrule.<br /><br />References<br /><br />Severa, Joan. Dressed for the Photographer: Ordinary Americans & Fashion, 1840-1900. Kent, Ohio: The Kent State University Press, 1995.</p>
Donor: Mary C. Whitlock
Whitlock Collection
ca. 1840 - 1850
Corina Vidal
Susan J. Jerome, MS '06
URI 1952.05.12
Daguerreotype of Woman with cap and glasses on her head
Photograph
<p>This daguerreotype of a woman from the 1840s is in a wood case covered by embossed leather. The front has three flowers, which are framed by a complex border. The back of the case has a repeating pattern of diamonds and zig-zag lines with a decorative border. The case is lined with red silk. The daguerreotype is sealed with glass and in a brass- or gold-plated rectangular frame with a hexagonal cutout. The frame, glass, and daguerreotype are held in place by a velvet bumper.</p>
<p>The woman can be seen holding a book with a floral pattern on the cover. She accessorizes her dress with a white day cap featuring a dark ribbon going across the top, a white collar, a beaded necklace, and wire frame glasses, which are sitting on her day cap. Her dress is plain and dark, featuring narrow but not tight-fitting sleeves with buttons above the elbow and gauging or cartridge pleating on the front of the bodice. The V-shaped bodice and tight-fitting sleeves along with her hairstyle are characteristic of an 1840s date.</p>
<p>References</p>
<p>Franklin, Harper. "1840-1849." Fashion History Timeline. Last modified November 2, 2020. https://fashionhistory.fitnyc.edu/1840-1849/.</p>
<p>Harding, Colin. "How to Spot a Daguerreotype (1840s-1850s)." Science and Media Museum. Last modified April 16, 2013. https://blog.scienceandmediamuseum.org.uk/find-out-whe n-a-photo-was-taken-identify-daguerreotype-photography/.</p>
<p>North, Susan. "From Neoclassicism to the Industrial Revolution: 1790-1860." In <em>The Fashion Reader</em>, 3rd ed., by Linda Welters and Abby Lillethun, 50-63. London: Bloomsbury Visual Arts, 2022.</p>
<p>Severa, Joan L. "The 1840s." In <em>Dressed for the Photographer: Ordinary Americans and Fashion, 1840-1900</em>, 1-25. Kent, OH: Kent State Univ. Press, 1995.</p>
Donor: In Collection
ca. 1848 - 1858
Isabel D’Hondt-Gorbea
URI 2022.98.02
Daguerreotype of a Seated Woman, ca. 1850
Photograph
<p>This photograph shows an older woman seated and resting her arm on a table with four books. She is wearing a dark-colored day dress with bishop sleeves, which are gathered into narrow cuffs at each wrist. Bodices at this time were V-shaped and restrictive, limiting body movement. Her bodice is loosely fitted and shirred at the waist. The sheen of the fabric suggests that it is silk.</p>
<p>Fashion plates and costume history books show the latest styles for affluent, urban people. This photograph demonstrates what older women might have worn in rural Rhode Island in the 1840s. She has a neck ribbon, possibly velvet, which is the only ornament on her otherwise plain outfit.</p>
<p>References </p>
<p>Joan Severa, <em>Dressed for the Photographer: Ordinary Americans and Fashion, 1840-1900</em>. Kent, OH: Kent State University Press, 1995.</p>
Donor: Estate of Mrs. John Gardner
ca. 1847-1850
Mariela Aguero Barrantes
URI 1955.35.85
Daguerreotype of Seated Woman with glasses and shawl
Photograph
The photo seen here, called a daguerreotype, features an elderly woman sitting in a chair. Daguerreotype portraits, popular from the 1840s-1860s were made using a sheet of silver-plated copper that had been treated with light sensitive chemicals. Once the photograph was taken and transferred onto the sheet of silver plated copper, it was usually built into a small box to protect it. This form of photograph is very delicate, and can only be produced once without having to retake the picture. Note the book on the table: the title is backwards, another indicationt that this is a daguerreotype. When flipped, it reads "The Works of ??? Illustrated."<br /><br />The case imitates a book cover, with a binding title that reads "Memory's Leaflet." The cover has an embossed gold floral pattern on the front. The inside cover is a padded velvet with the same floral pattern embossed on it. When the case is closed, the velvet keeps the glass from touching the hard cover of the case. A metal clasp on the side keeps the case shut when necessary. The photograph itself is in a gold frame with ornate floral detailing along the edges. <br /><br />The woman in the photograph wears glasses and sits in a chair with a shawl around her shoulders. The day cap that she is wearing, with frills at each side, is a focal point and draws attention to her face. Day caps of the 1840s were typically made from white cotton, and towards the latter part of the decade were primarily worn by older women. The woman is wearing a white collar and white cuffs as well. White collars and cuffs were popular for women to wear during the day, and in this particular photo, they create a very nice contrast to the dark color of her dress. <br /><br />It’s hard to determine the type of material this dress is made from, but the highlights around the draped parts of the dress suggest a silk fabric was used. The bodice has been gathered into the center front to create the V-shaped line popular in the 1840s. The shawl that falls from her shoulders appears to be a dark-colored damask weave silk.<br /><br />The sitter wears two rings on her left hand. A brooch holds the ribbon at her throat closed. The metal frame glasses with the slight octagonal shape are appropriate for the 1840s.<br /><br />References<br /><br />Jackson, Tracy. “Photographs: Daguerreotypes and Ambrotypes”, (2014). <span>Blog and Digital Exhibitions site of the Archives & Special Collections Center and the Walsh Gallery at Seton Hall University. http://blogs.shu.edu/archives/2014/10/photographs-daguerreotypes-and-ambrotypes/</span><br /><p>Severa, Joan. Dressed for the Photographer: Ordinary Americans & Fashion, 1840-1900. Kent, Ohio: The Kent State University Press, 1995.</p>
Donor: In Collection
ca. 1845 - 1860
Jade Totten
Susan J. Jerome, MS '06
URI 2022.98.03
Daguerreotype of Seated Woman
Photograph
<p>This image depicts a seated woman wearing a simple, solid colored dress. The dress has full length, set in sleeves with epaulets and a white collar. Tied around the collar is a neck ribbon.</p>
<p>An everyday dress for an elderly woman was a simple one-piece dress in a solid color fabric. This woman’s dress has the narrow sleeves popular at the end of the 1840s. Plain collars protected the dress from soil and could be removed for laundering. She is also wearing a ruffled day cap. Day caps were fading from fashion in the 1840s, however, elderly women and “invalids” wore them for at home. <br /><br />References</p>
<p>Lisson, Lisa -. 2015. “How to Identify 5 Types of Old Photographs.” LisaLisson. <a href="https://lisalisson.com/5-types-of-old-photographs/">https://lisalisson.com/5-types-of-old-photographs/</a>.</p>
<p>Severa, Joan. Dressed for the Photographer: Ordinary Americans & Fashion, 1840-1900. Kent, Ohio: The Kent State University Press, 1995.</p>
Donor: Purchased from Mr. H.E. Dawson in Wickford, RI for $1.00
ca. 1845 - 1855
Aileen Valerio
URI 1952.99.123
Ambrotype of Woman seated with arms crossed
Photograph
This photograph is an ambrotype of an older woman circa 1850s. The ambrotype is in a brass matte with decorative engravings. Ambrotypes were developed in the early 1850s and were considerably less expensive than their predecessor, the daguerreotype, making it more affordable for middle and working class people. <br /><br />The woman is sitting with her arms crossed on her lap and is wearing a dark-colored, long sleeved dress with a full gathered skirt. According to Joan Severa, black was considered the most appropriate color for older women to wear in the 1850s, though they could also wear other colors such as dark brown or blue. She is also wearing a small white collar and a brooch. The white collar was worn to protect the neck of the dress from getting soiled from contact with the body and was removable so that it may be washed. The sleeves have epaulet caps that are tightly fitted at the top of the arm and trimmed with either rows of tucks or possibly covered cord. The woman’s hair is neatly pulled back, probably in a bun, with the hair in the front being parted in the middle and smoothed down on each side of her head as was fashionable in the 1850s.
<p>References<br /><br />Langberg, Karen. "Daguerreotypes, Ambrotypes & Tintypes. The Rise of Early Photography." Bonhams Skinner, October 18, 2011. https://www.skinnerinc.com/news/blog/daguerreotypes-ambrotypes-tintypes-the-rise-of-early-photography/<br /><br />Severa, Joan. Dressed for the Photographer: Ordinary Americans & Fashion, 1840-1900. Kent, Ohio: The Kent State University Press, 1995.</p>
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Donor: Mabel Etta Streeter Perrin (Mrs. Irving Perrin)
Maude Ide Streeter Crabbs (Mrs. Frank W. Crabbs)
Perrin Collection
ca. 1848 - 1860
Arianna Gutierrez
URI 1964.30.52