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[Unidentified man, about 70 years of age, half-length portrait, slightly to the right, eyes front]
[Unidentified man, half-length portrait, slightly to right]
[Unidentified man, about 60 years of age, half-length portrait, three-quarters to the right, hands in lap]
[Unidentified man, about 45 years of age, half-length portrait, slightly to the right]
[Unidentified man, about 40 years of age, half-length portrait, facing left]
[Unidentified man, half-length portrait, slightly to right]
[Unidentified man, about 70 years of age, half-length portrait, facing three-quarters to the left]
[Unidentified man, about 40 years of age, half-length portrait, nearly facing front, head slightly to the right]
[Unidentified man, half-length portrait, facing right]
[Unidentified man, about 60 years of age, half-length portrait, slightly to left]
Summary
Scratched on back of plate: 59; 192 [cancelled]
Hallmark: 40.
Transfer; U.S. War College; 1920; (DLC/PP-1920:46153).
Forms part of: Daguerreotype collection (Library of Congress).
Produced by Mathew Brady's studio.
In 1844, Mathew Brady opened a photography studio at the corner of Broadway and Fulton Street in New York. By 1845, he began to exhibit his portraits of famous Americans, including the likes of Senator Daniel Webster and poet Edgar Allan Poe. In 1849, he opened a studio at 625 Pennsylvania Avenue in Washington, D.C. Brady's early images were daguerreotypes, and he won many awards for his work. In 1850, Brady produced The Gallery of Illustrious Americans, a portrait collection of prominent contemporary figures. The album, which featured noteworthy images including the elderly Andrew Jackson at the Hermitage, was not financially rewarding but invited increased attention to Brady's work. When the Civil War started, he used a mobile studio and darkroom enabled vivid battlefield photographs. Thousands of war scenes were captured, as well as portraits of generals and politicians on both sides of the conflict, though most of these were taken by his assistants, rather than by Brady himself. After the war, these pictures went out of fashion, and the government did not purchase the master-copies as he had anticipated. Brady's fortunes declined sharply, and he died in debt.