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Daguerreotype portrait of a man
Object No. H5249-19
This photograph is significant because it is one of the few surviving ambrotypes with links to Australia. While millions of these ambrotype photographs were produced around the world and many thousands in Australia remarkably few have survived that can be linked to Australian society during the 1850s and 1860s. Although the sitter in the portrait is currently unidentified the museum recognises the importance of maintaining its collection of ambrotypes as examples of the fashion and early photographic processes in Australia in this period. It is also hoped that research may at some future date identify the sitter in this photograph. Geoff Barker, Curatorial, September 2009
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Summary
Object Statement
Photograph and enclosure, daguerreotype, cased, unidentified man in three piece suit, glass / brass / velvet / collodion / wood, photographer unknown, place of production unknown, 1855-1865, owned by Albert James Perier, Sydney, New South Wales, Australia, late 19th to early 20th century
Physical Description
A daguerreotype showing a half length portrait of a man photographed seated in a studio setting. The man wears a three piece suit. The man looks directly into the camera, holds his left hand at his temple and rests his right hand in his lap. The daguerreotype is framed in an oval brass mat and sits in a case made from wood that has been covered in leather. The lid to the case is missing, however the metal clasps that would have held the lid closed can still be seen on the side of the case. The original panel of glass over the daguerreotype has been replaced and the original panel stored with the daguerrotype. The daguerreotype is stored in custom-made enclosure with a support.
DIMENSIONS
Width
93 mm
Depth
9 mm
PRODUCTION
Notes
The daguerreotype was a remarkably complex process. To make a daguerreotype you firstly had to clean a piece of silver plate to a mirror finish using a slurry made from pumice in oil, then give it a number of washings in nitric acid and water to remove the oil residue. Secondly the prepared plate had to be sensitised by exposing it to iodine vapour. Then the sensitised plate was placed in a camera and exposed to light, the exposure time varied according to the time of the day, the season of the year and the weather, and could be from three to thirty minutes. The silver plate was then exposed over heated mercury vapour until an image appeared and lastly it was fixed by placing the plate in a hot solution of common salt or a solution of sodium thiosulfate. Keeping a supply of the correct chemicals, making sure the plates and workspace were kept free of dust and ensuring there was a supply of clean water all conspired to limit the practicality of travelling with a camera. This coupled with the lengthy exposure times, which were a result of deficiencies of these early photographic emulsions and the quality of the camera's lens, made the whole process complicated and unwieldy. Geoff Barker, Curatorial, September 2009 References Janet Burger, French Daguerreotypes, University of Chicago Press, Chicago, 1989 Helmut and Alison Gernsheim, A Concise History of Photography, Thames and Hudson, Germany, 1965 Rudolf, Kingslake, A History of the Photographic Lens, Academic Press Limited, San Diego, California, 1989 Naomi Rosenblum, World History of Photography, Abbeville Press, New York, 1984
HISTORY
Notes
From the collection of Albert James Perier, photographer Albert James Perier (1870-1964) was born in France and moved to Sydney with his parents and brother Charles in 1884. In 1890, the address of his father Edward Perier was 13 Darlinghurst Road, Sydney. Edward Perier was a French teacher. Albert worked for Harrington & Co photographers. In 1922 he set up his own establishment to sell equipment for photography and microscopy. It was located at 151a William Street Sydney. In 1922 he was described as an early pioneer of the Australian motion picture industry by the Sydney Morning Herald. 'The Sydney Morning Herald', Friday 9 June, 1922, page 9 'Le Courrier Australien', Friday 5 November, 1920, page 4 His obituary was published by 'Le Courrier Australien' Friday 17th January 1964, page 5 'We learn with regret the death of Mr Albert J Perier (92) deceased of Mosman (N.-GS) Le 8.1.1964. He came from France, in 1884. Mr Perier was a photography technician. Employed first in Sydney by the Studio Baker and Rouse. He was the director of this firm when it merged with Kodak. It was M Perier who with M Sestler made known in Australia the cinematographic material of the lumière brothers. In 1897 Mr Perier filmed in Melbourne the famous Melbourne cup race. Through his love of the profession and his unalterable courtesy Mr. Perrier has earned the esteem and gratitude of a host of amateurs and many photography professionals. He leaves only friends in our community'
SOURCE
Acquisition Date
16 October 1953
Copyright for the above image is held by the Powerhouse and may be subject to third-party copyright restrictions. Please submit an Image Licensing Enquiry for information regarding reproduction, copyright and fees. Text is released under Attribution-Non Commercial-No Derivative licence.
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