half-plate daguerreotype, ‘Beckers & Piard, 264 Broadway’ stamped on the mat, cased, 1855-56

This expertly-rendered half-plate daguerreotype presents a detailed and nuanced portrait of Perry. The amount of detail delivered by the plate, and the three-dimensional quality of the image, are notable. The large, half-plate size of the image only adds to its impressiveness. The image itself is quite strong, and is clearly visible from a wide variety of angles – the image does not flip to the negative unless viewed at an extreme angle. The silvered reverse of the plate indicates that the daguerreotypists gave the plate a second electroplated application of silver, and this, no doubt, accounts for the high technical quality of the image. The plate has a number of imperfections, most of which are visible in the catalogue illustration: the scattering of tiny dark spots across the image, most noticeable against the white background; and several areas of warm-toned tarnish. When the plate is examined closely in raking light, four raised points can are visible on Perry's torso. When the plate is viewed straight-on, these are not apparent. While these condition issues are present, they do not undermine the overall power of this superb daguerreian portrait. The case is separated at the hinge.
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.

This previously unrecorded daguerreotype of Matthew Calbraith Perry (1794 – 1858) was made in New York City, in the months following Commodore Perry’s triumphant return from Japan in January of 1855.  The seminal achievement of his long naval career, Perry’s shrewd and persistent negotiations with Japan opened that isolated nation to the West for the first time in its history. 

 The present portrait can be dated to 1855–56, based on the date of Perry’s return to the United States and the years the Becker & Piard studio operated at 264 Broadway.   A variant, more conventional, portrait from this same sitting, previously unattributed, exists in three identical half-plates, one in the National Portrait Gallery, one in the New-York Historical Society, and one sold at Swann Galleries, New York, in 1988 (Sale 1468, Lot 186).  In addition, there is a half-plate profile study of Perry in the U. S. Naval Academy Museum in Annapolis, also made by Beckers & Piard, that was the model for a commemorative medal struck in Perry’s honor in 1856; and a half-plate seated portrait of Perry in his full uniform and regalia, also owned by the New-York Historical Society. 

The portrait offered here is perhaps the most candid of all of the extant daguerreotypes of Perry and reveals a more animate and human sitter.  His great diplomatic mission and years at sea behind him, he died in 1858, two years after this daguerreotype was made, at the age of 64. 

This portrait can be dated to 1855 or 1856 based upon Perry’s arrival in New York, from Japan, in 1855, and by the address of the daguerreotypists stamped on the portrait’s mat.  Alexander Beckers and Victor Piard were active at 264 Broadway, the address on the mat, from 1853 to 1856.  At some point in 1856, the studio moved across the street to 261 Broadway. This portrait would, therefore, have to have been made in 1855 or 1856.