The Silver Canvas - Daguerrotype Masterpieces (Art Photography Ebook)

T H E S I L V E R C A N V A S
The selection of nearly eighty items for
this book was guided by the twin criteria of aesthetic
quality and condition. This book is neither a
catalogue of the collection nor a history of the
daguerreotype in all of its manifestations. Its purpose
is to provide both an overview of the very best
of the Museum s holding and an introduction to the
art of the daguerreotype. The choices were made
chiefly on the basis of the visual properties of the
daguerreotypes, a yardstick for gauging importance
established by centuries of practice evaluating traditional
art.
In determining quality, physical condition
played a large role, since the polished surface of a
daguerreotype is extremely fragile and subject to
abrasion, fingerprints, oxidation, and other forms of
deterioration. Nevertheless, some images with damage
or deterioration are so beautiful or unusual in
composition that their inclusion was mandatory.
The most important element of quality is the visual
acuity of the maker—the choice of light, viewpoint,
posing, setting, and gesture all contribute to the
artistic success of a daguerreotype.
In 1972 Bates Lowry and Isabel Barrett Lowry
started down a path that eventually led to this book,
first as collectors of daguerreotypes and then as
scholars. This book represents considerable new
research attained in the authors' pursuit of original
sources—letters, periodicals, and other documents
of the period—as well as the study of other public
and private collections of daguerreotypes. Each
daguerreotype plate took the authors on a search
for new information concerning the historical background,
the social context, and the aesthetic factors
guiding its makers style. For their dedication and
skill at this work I am deeply grateful.
While the authors have shaped the content
of this book in every possible way, its undertaking
incorporates some form of contribution from the
entire Department of Photographs. On behalf of the
authors I would like to acknowledge and thank a
number of these individuals. The several visits by the
authors to the Museum for study and research were
coordinated by Peggy Hanssen and Marcia Lowry,
with the help of Jean Smeader. Assistance in the
Study Room was cheerfully provided by Gordon
Baldwin, Katherine Ware, Joan Gallant Dooley, and
Julian Cox, who also coordinated the several rounds
of new photography that were required to faithfully
copy the originals. Judith Keller read and commented
insightfully on the manuscript during its preparation.
I am particularly grateful to Michael Margraves,
who catalogued the objects, compiled the Roster of
Daguerreian Makers, prepared a preliminary draft
of the index, and pursued elusive items in the literature
of photography.
The high quality of the reproductions is due
to a combination of efforts. Marc Harnly conservator,
and Ernest Mack, assistant conservator, with
the occasional assistance of conservation consultant
Valerie Baas, have cleaned or replaced the cover glass,
as well as providing other mitigating treatments to
the plates and the restoration of their cases.
The conserved daguerreotypes were skillfully
photographed before and after treatment by Ellen
Rosenbery who benefited from the advice of Charles
Passela, head of Photographic Services, and his consultant,
Dennis Waters. It has been our good fortune
to benefit from an excellent editorial and design
team. The editing of the manuscript was handled by
David Featherstone, with contributions in house
from Shelly Kale, working under the guidance of
Mark Greenberg, managing editor, and Chris Hudson,
head of Museum Publications. The design and
layout of the book by Vickie Sawyer Karten preserves
the integrity of the daguerreotypes and is
sensitive to the authors' text. In addition, I wish
to acknowledge Cecily Gardner, for successfully
procuring illustrative materials from other institutions,
and Stacy Miyagawa, for overseeing the pro-
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