THURSDAY 24th NOVEMBER 2016
WEEKLY TRANSMISSION N°47 FAMILY OF MAN :
THE SCHENECTADY PORTRAITS
contents: Neckclothitania or how to tie different cravats One of Brady's chief competitors, Martin M. Lawrence... Union College, Schenectady Twenty Schenectady portraits
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N°16 Detail
In the 1830s, there was also much interest in the way to tie a proper cravat and this led to a series of publications. This began with Neckclothitania, which is a book that contained instructions and illustrations on how to tie 14 different cravats. Soon after, the immense skill required to tie the cravat in certain styles, quickly became a mark of a man's elegance and wealth. It was also the first book to use the word tie in association with neckwear. It was about this time that black stocks made their appearance. Their popularity eclipsed the white cravat, except for formal and evening wear. These remained popular through to the 1850s. At this time, another form of neckwear worn was the scarf. This was where a neckerchief or bandana was held in place by slipping the ends through a finger or scarf ring at the neck instead of using a knot. This is the classic sailor neckwear and may have been adopted from them. With the industrial revolution, more people wanted neckwear that was easy to put on, was comfortable, and would last an entire workday. Neckties were designed long, thin and easy to knot, and they did not come undone. This is the necktie design still worn by millions of men. (Wikipedia) The e-bulletin presents articles as well as selections of books, albums, photographs and documents as they have been handed down to the actual owners by their creators and by amateurs from past generations. The physical descriptions, attributions, origins, and printing dates of the books and photographs have been carefully ascertained by collations and through close analysis of comparable works. When items are for sale, the prices are in Euros, and Paypal is accepted.
N°47 : TWENTY SCHENECTADY PORTRAITS
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N°19 Dry stamp on mount
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Martin M. Lawrence (1808–1859), American daguerreotypist active in New York City, known for his large daguerreian plates known as "mammoths". He was one of the few American photographers who exhibited at the 1851 Great Exhibition in London, winning a prize for his work. He was elected president of the American Daguerre Association in 1852. “One of Brady's chief competitors, Martin M. Lawrence, opened a new gallery at 381 Broadway the same day that Brady opened his own studio. Matthew Brady's studio at 359 Broadway was one of an estimated eighty-six portrait galleries in New York City in 1853; thirty-seven of these were located on Broadway. The avenue was the favored location of daguerrian artists because of its role as a fashionable promenade, and the prospect of a saloon and a photographer in the same building was especially inviting to passing shoppers. All of the galleries were located on upper floors of buildings and illuminated by skylights essential to indoor portraiture. Matthew Brady's studio, which occupied 359 Broadway from 1853 to 1859, was one of the most famous Broadway galleries. One of Brady's chief competitors, Martin M. Lawrence, opened a new gallery at 381 Broadway the same day that Brady opened his own studio. Another competitor, Jeremiah Gurney, had a studio located at 189 Broadway and was known as Broadway's oldest and most popular daguerreotypist, having founded his business in 1840. All of these studios were housed in great splendor...”
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Union College is located in Schenectady, New York. Founded in 1795, it was the first institution of higher learning chartered by the New York State Board of Regents. In the 19th century, it became the "Mother of Fraternities", as three of the earliest such organizations were established there. After 175 years as a traditional all-male institution, Union College began enrolling women in 1970. The Union College seal combines ancient and modern elements in balanced proportions. The head of the Roman goddess Minerva (Greek goddess Athena) appears in the center of an oval with an outside star pattern surrounding the whole. Around the central figure are the French words "Sous les lois de Minerve nous devenons tous frères" (English: We all become brothers under the laws of Minerva). The precise origins of the motto and the choice of Minerva as the fundamental element of the College seal are obscure, but two things are certain: like most colleges of the time, Union was deeply rooted in the classical tradition, but, unlike most colleges, Union chose a modern language rather than Latin for its motto. The resulting tone of the entire seal is thus historically aware, but distinctly modern in outlook. In a move that supporters believe is long overdue, in 2015 the College modified the motto to add the French word for “sisters.” Under the Board of Trustees approved change, the Union’s motto now reads "Sous les lois de Minerve nous devenons tous frères et sœurs" (“Under the laws of Minerva, we all become brothers and sisters”).
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MARTIN M. LAWRENCE (1808–1859). Portrait of Nelson Millard, New York, c. 1856. Salt paper print from a glass negative, oval shape, 87x68 mm, name of sitter on mount. Reverend Nelson Millard (1834-1910), graduated at Union College, 1854-1858. He tutored at Union for four years and was offered a professorship. Instead, he chose to continue his own education at Union and Princeton Seminaries and graduated from Princeton in 1869, a member of the Phi Beta Kappa Society. 180 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of Alexander Marcellus Vedder (Med), Union College, New York, c. 1858. Salt paper print from a glass negative, oval shape, 115x88 mm, name of sitter on mount. The phrase “history is written by the victors,” attributed to Winston Churchill, was writen by Rev. Herman Vedder (1777-1873). 180 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of A Gentleman, New York, c. 1857. Salt paper print, oval shape, 120x88 mm, name of sitter on mount. 150 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of Charles C. Smeltzer, New York, c. 1856. Salt paper print, oval shape, 87x68 mm, name of sitter on mount. 120 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of Charles Hunsicker (Pennsylvania), New York, c. 1856. Salt paper print from a glass negative, oval shape, 87x68 mm, name of sitter on mount. 90 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of Augustus Brodhead, Union College, New York, c. 1856. Salt paper print from a glass negative, oval shape, 87x68 mm, name of sitter on mount. 90 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of H.F.S. Brotun (?), New York, c. 1856. Salt paper print, oval shape, 87x68 mm, name of sitter on mount. 90 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of L. D. Gregory, New York, c. 1856. Salt paper print, oval shape, 87x68 mm, name of sitter on mount. 90 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of Edward Livingstone Stevens (1834-1900), New York, c. 1856. Salt paper print from a glass negative, oval shape, 87x68 mm, name of sitter on mount. 180 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of A. P. Lelanke (?), New York, c. 1856. Salt paper print, oval shape, 87x68 mm, name of sitter on mount. 90 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of William. R. Cross (Ka), New York, c. 1856. Salt paper print, oval shape, 87x68 mm, name of sitter on mount. 90 euros
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Thursday 24th November 2016
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MARTIN M. LAWRENCE (1808–1859). Portrait of M. H. Guluska (?), New York, c. 1856. Salt paper print, oval shape, 87x68 mm, name of sitter on mount. 90 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of M. McKinnon (?), New York, c. 1856. Salt paper print, oval shape, 87x68 mm, name of sitter on mount. 90 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of William Wallace Kirby, New York, c. 1856. Salt paper print, oval shape, 90x70 mm, name of sitter on mount. 180 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of Sheldon Jackson, Union College, New York, c. 1856. Salt paper print from a glass negative, oval shape, 88x68 mm, name of sitter on mount. 120 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of Robert Lourie McMurran (Va), New York, c. 1856. Salt paper print from a glass negative, oval shape, 87x68 mm, name of sitter on mount. 90 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of James (?) Campbell, New York, c. 1856. Salt paper print, oval shape, 87x68 mm, name of sitter on mount. 90 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of William James Reid, New York, c. 1856. Salt paper print, oval shape, 88x68 mm, name of sitter on mount. 120 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of Isaac G. Collins, New York, c. 1856. Salt paper print from a glass negative, oval shape, 85x67 mm, name of sitter on mount and Lawrence’s dry stamp on mount. 180 euros
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MARTIN M. LAWRENCE (1808–1859). Portrait of M. L. Lincoln (Maine), New York, c. 1856. Salt paper print, oval shape, 87x68 mm, name of sitter on mount. 150 euros
Serge Plantureux - Photographies Cabinet d'expertises et d'investigations 80 rue Taitbout, rez-de-chaussée (Entrée du square d'Orléans) 75009 Paris + 33 140 16 80 80 www.plantureux.fr Number Forty-Forth, Second Year, of the Weekly Transmission has been uploaded on Thursday 3rd November 2016 at 15:15 (Paris time) Forthcoming uploads and transmissions on Thursdays : Thursday 10th November, Thursday 17th November, 15:15 (Paris time) The Cabin is open every Thursday 3-7 pm every other day on appointment