C I V I L  W A R  T I N T Y P E S

This collection is illustrative of the era of American portraits from the 1860s that succeeded the earliest portrait photograph, the daguerreotype. The salt print and full-plate tintype had the advantage of greater size than the daguerreotype. The advantage of being easily reproduced also made it attractive for soldiers, who could offer copies to friends, parents, sweethearts, or wives. Tintypes like daguerreotypes were unique photos, and were probably chosen because they were more affordable and could be made under campaign conditions. They usually display a more primitive quality than salt prints. Salt print photos generally required a studio setting, with a finer backdrop and more skillful painting. We can surmise that the salt prints were made before campaigns began or during a leave. Many were made as “Enlistment” photographs, celebrating the sitter's initial pride in joining the army. Undoubtedly there were many cases where the sitter for a photograph did not survive to return home, and the family was left with this final remembrance, cherished at home perhaps for several generations. The hand-coloring of the photograph was a matter of choice for the client, and of course involved additional cost. They were framed usually in a walnut shadow frame or gilt gesso, and this again was an additional cost to the client. In the intervening years, many photos have become separated from the frames, which can often seen in antique shops bearing a mirror or a popular litho-print.


Dirk Braeckman

Dirk Braeckman

Ken Graves

Ken Graves

Summer Mann

Summer Mann

James Gallagher

James Gallagher

Leanna Hicks

Leanna Hicks

Sebastian Riemer

Sebastian Riemer

Melinda Gibson & Thomas Sauvin

Melinda Gibson & Thomas Sauvin

Yoko Kanayama

Yoko Kanayama

Tintypes

Tintypes