A Case for Early Photography

Except for paper-based images, most early photographs were customarily enclosed in miniature cases. Frequently containing portraits, cases protected daguerreotypes, ambrotypes, and even tintypes from light, moisture, pollution, and abrasion; they also allowed the photographs to be easily and safely carried about.

The miniature case was not unique to photography when the daguerreotype appeared in 1839. It had been used by artists since the seventeenth century to enclose miniature portrait paintings on board, ivory, or glass. However, with the invention of the daguerreotype, and especially with the popularization of the daguerreian portrait, the leather-covered case industry quickly expanded. While examples of cased photographs can be found from nearly every European country, the use of miniature cases was primarily an Anglo-American convention.

Early cases were constructed of wood with leather or cloth coverings, metal fasteners, hinges, and fabric interior linings. The actual photograph, protected by glass and a brass mat, was snugly inserted into the back portion of the case. Opening the case like a book gave the viewer a chance to relate intimately to the image, and to its called-up memory.

Except for some well documented instances along with their success in this highly competitive and volatile industry, few manufacturers of the cases are known by name. These include, under the protection of their patent in case production, companies like Scovill Manufacturing Co.; Littlefield, Parsons & Company ; Edward T. Anthony Co. achieved financial success.

Both artistic and business imperatives led to the diversity of cases. Types ranged from wearable lockets, rings, and pins, to the most common rectangular leather case. There were also folding stereoscopic daguerreotype cases. When viewed through twin magnifying glasses mounted within the case, two nearly identical images merge into a single image in virtual three-dimensionality. Cases were often modeled on rouge pots or disguised as tiny books. Black-varnished cases were inlaid with gleaming mother-of-pearl to enhance the preciousness of what was inside. Leather, papier-mâché, and thermo-plastic, however, were the materials most often chosen for the exterior of the case, although velvet and silk were also used for both exterior and interior, thus enriching the jewel-like quality of pictures.

Initially invented and patented by a daguerreotypist, Samuel Peck, in 1854, thermo-plastic cases began to replace the previous ones of leather and paper. Often referred to as a Union or Gutta-percha case (drawn from the gutta percha tree that contained a gummy material), this novelty became itself an artistic object when its surface design was stamped from dies originally carved by artist-engravers. The Union case was substituted for its precedents due to both its artistic and practical competence. Not only could it possess deeper moldings, more elaborate designs, and polished gilt appearances of the surface, it also had inherent durability and enhanced resistance to breakage, which further spurred the use of the plastic case.

Design motifs on the early cases ranged from simple geometries to elaborate natural patterns. Often embossed on the leather case were flowers, fruits, ornate Rococo patterns, and ancient designs of Greek inspiration. With the invention of the Union case, the scope of the design motif expanded to include themes derived from literature, mythology, famous paintings, patriotic sentiment, and religion.

Toward the beginning of the 1860s, the miniature case industry declined as popular tintypes, paper prints, and calling card sized carte-de-visite came to dominate the market. Far cheaper, thus more available processes created markets for albums that could hold numerous, mass-produced family pictures. In competition with albums and paper mounts, but also due to the devastating conditions of the Civil War, cases began to lose their quality of craftsmanship and beauty and fell out of favor.

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