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Horse-drawn wagon

Artist Unknown
Dateca. 1855
MediumDaguerreotype
DimensionsPlate (half): 5 1/2 × 4 1/2 inches (13.97 × 11.43 cm)
Case (open): 9 5/8 × 6 × 3/8 inches (24.45 × 15.24 × 0.95 cm)
Case (closed): 4 7/8 × 6 × 1 inches (12.38 × 15.24 × 2.54 cm)
Credit LineGift of Hallmark Cards, Inc.
Object number2005.27.99
Signednone
Inscribednone
MarkingsBehind plate, lining tray, in black type: "LITTLEFIELD, PARSONS & GO., / MANUFACTURES OF / Daguerreotype Cases. / L., P. & CO. / are the sole Proprietors / and the only legal Manufacturers of / Union Cases, / WITH THE / Embracing Riveted Hinge. / PATENTED / Oct. 14, 1856, and April 21, 1857."
On View
On view
Gallery Location
  • L10
Collections
DescriptionImage of a horse-drawn wagon with two horses and one figure. There is a wooden fence behind them and trees along the horizon. This half plate daguerreotype is housed in a brass mat with rounded corners and presented in a full thermoplastic case with embossed red velvet liner.Exhibition History

Developing Greatness: The Origins of American Photography, 1839-1885. The Nelson-Atkins Museum of Art, Kansas City, MO, June 9 – December 30, 2007, no. 245.

Rotation 24. The Nelson-Atkins Museum of Art, Kansas City, MO, June 9 – November 12, 2017, no cat.

Gallery Label
Horses and horse-drawn carriages were relatively common subjects in outdoor daguerreotype scenes. This plate features well-groomed horses whose handsome appearances take center stage, overshadowing their human companions.
Provenance
Hallmark Cards Inc., Kansas City, MO, 2001;
Given by Hallmark Cards, Inc. to The Nelson-Atkins Museum of Art, Kansas City, MO, 2005.
Published References
Keith F. Davis, The Origins of American Photography: from Daguerreotype to Dry-Plate, 1839-1885. With contributions by Jane L. Aspinwall. Kansas City, MO: Hall Family Foundation: in association with the Nelson-Atkins Museum of Art, 2007. Distributed by Yale University Press. Published in conjunction with Developing Greatness: the Origins of American Photography, 1839-1885, shown at the Nelson-Atkins Museum of Art, 133 (repro.).
Information about a particular artwork or image, including provenance information, is based upon historic information and may not be currently accurate or complete. Research on artwork and images is an ongoing process, and the information about a particular artwork or image may not reflect the most current information available to the Museum. If you notice a mistake or have additional information about a particular artwork or image, please e-mail provenance@nelson-atkins.org.


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