“BY BURGESS”

That is written neatly so that it would read correctly on a small card propped up against the spine of the bottom book. The rather affable gentleman, taken circa 1843 possibly into 1844 comes with a classical Lyre leather case with “M.B. Brady Casemaker NY” stamped on the horizontal motif. The sixth size dag is in the style of Brady’s earliest images. Nathan Burgess and Matthew Brady definitely had a daguerreian relationship since they shared props, including those three books, tablecloths, and the same style of lighting and tinting. John Craig has a long listing for Burgess, who was first mentioned as a daguerreotypist in 1843-44, located at 192 Broadway.  At about that same time, Mathew Brady opened his studio, at 187 Broadway, five doors south on the opposite side of the thoroughfare.  Apparently Burgess was experimenting with the process in Paris in 1840. I have a splendid example showing another man with his arm resting next to a vase.  Written on the base of the pottery is: “Burgess NY”. That same vase appears in several likenesses made by Brady. For years I have been convinced that the two men were closely associated.  I just don’t know who was the pupil, although I suspect that Brady learned the art from Burgess. This self-assured subject moved his head slightly during the long exposure.  The magnificent contrast and incredible reflected depth are both astounding daguerreian technical artifacts for the beginning of the early period in the art, circa 1843-1848.  While there are mold growths and spotty tarnish on the surface, many of the white specks would disappear with new glass and an archival seal. Burgess superbly colored his client’s face and hand while adding brushed pigments on the books whose words are almost readable. This is a triumphant work on a silver tablet for a serious collector of early jewels. The dag was resealed by a previous owner who used the original glass.