Rufus Anson

sixth-plate daguerreotype, the photographer's credit stamped on the mat, half-cased, 1850s

Acquired from Ken Appollo, Rhinecliff, Joseph Buberger as agent

Stanley B. Burns, Mirror Mirror: The Burns Collection Daguerreotypes (New York: The Burns Archive Press, 2012), facing preface

This charming portrait of a boy with his dog is an impressive example of early outdoor portraiture. As is visible in the catalogue illustration, there is a semi-translucent border of tarnish extending from the edges of the mat and there are small spots overall. Excellent detail remains highly visible, including the lichen-covered boulder upon which the boy and dog are posed; the tufts of white fur on the dog; foliage in the background; and the boy's wrinkled socks.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present daguerreotype is remarkable for the sophistication of its composition and the technical proficiency with which it was made.  Within its diminutive package it delivers a great amount of detail and offers an intimate view of a young boy and his dog posed casually on a lichen-covered boulder. 

Outdoor daguerreotypes of any size in the vertical format are unusual.  The verticality of the present image emphasizes the heft of the boulder and dramatizes the height from which the boy and his dog are seen.  The excellent quality of the exposure is also remarkable, and the photographer took full advantage of the natural light bathing his sitter and peeking through the foliage in the background.  Surprisingly modern in conception and execution, this 19^th century daguerreian snapshot could just as easily have been captured in the 21^st century. 

The brass mat stamped with credit and ‘589 Broadway’ suggests not only the authorship of this plate but also that it was made within New York City.  Rufus Anson (B. 1822, active circa 1851-1866) was in business by July 1851 at 633 Broadway and had moved to 589 Broadway by 1853.  According to Craig’s Daguerreian Registry, Anson remained at his Broadway location making daguerreotypes for over a decade and was noted for employing 15 camera operators by 1860 (Vol. 2, p. 15).  He is not known to have practiced outside of New York City and thus the present unidentified verdant setting is likely one of the city’s parks that was created in the first part of the 19^th century.