Ambrotypes
The ambrotype , also known as a collodion positive, is a positive photograph on glass made by a variant of the wet plate collodion process. Like a print on paper, it is viewed by reflected light. Like the daguerreotype, which it replaced, each is a unique original.
The ambrotype was introduced in the 1850s. During the 1860s it was superseded by the tintype, a similar photograph on thin black-lacquered iron, hard to distinguish from an ambrotype if under glass.
The ambrotype was introduced in the 1850s. During the 1860s it was superseded by the tintype, a similar photograph on thin black-lacquered iron, hard to distinguish from an ambrotype if under glass.
Isaac A. Rehn
Isaac A. Rehn (1815-1883, Pennsylvania) was a highly successful commercial photographer and inventor. He was trained as a painter, but in 1849 turned to the profession of photographer and became the partner of the daguerreotypist James A. Cutting. Rehn has been credited with the first ambrotype in the United States.
With Cutting, Rehn became part owner of patents for a variety of photographic processes. In 1854, Cutting received a patent for the ambrotype process, known as the “bromide patent”, and Rehn received a share of the licensing fees. Rehn’s studio, the “American Gallery of Photography”, was located in Philadelphia.
With Cutting, Rehn became part owner of patents for a variety of photographic processes. In 1854, Cutting received a patent for the ambrotype process, known as the “bromide patent”, and Rehn received a share of the licensing fees. Rehn’s studio, the “American Gallery of Photography”, was located in Philadelphia.
Through the years Rehn developed a very distinct and superior way of making ambrotypes, and even today one can easily distinguish an ambrotype made by Rehn from others. They are usually much thicker, consist of two sheets of glass, the image sandwiched in between, hermetically sealed using Canadian balsam resin and backed with black varnish. Because Rehn’s ambrotypes were much thicker, they were usually housed in Boston style cases, which tend to be ‘deeper’ than the regular leather cases used at the time.
Below are a couple of examples of ambrotypes by Rehn that I have been so fortunate to acquire over the years (notice the typical background and the chair re-appearing on several of these images).
Below are a couple of examples of ambrotypes by Rehn that I have been so fortunate to acquire over the years (notice the typical background and the chair re-appearing on several of these images).
Here's an rather remarkable ambrotype by Rehn : it does not have the image sandwiched and sealed between two sheets of glass, instead the backing applied is black wax. I have come across other ambrotypes with wax backing, but they are quite rare (as the wax tends to crack over the years) and for sure I haven't seen an example of a Rehn ambrotype with wax backing before. To protect the wax and conserve this ambrotype in its original state I have sealed the back with an extra sheet of glass and archival tape. Note the "COPY" label on the brass mat.
A couple more ambrotypes by Rehn ...